California Living — April 11,2023 | John Moran Auctioneers

Featuring the Estate of Oscar & Barbara Leidenfrost

Tuesday, April 11, 2023

Sale 242 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Previews: Friday, April 7th: 12-4pm Saturday, April 8th: 12-4pm Monday, April 10th: 12-4pm Tuesday, April 11: Doors open 9am

Meet the Team

Maranda Moran Co-Head of Sale, Vice President marandam@johnmoran.com

Anne Spink Fine Art Cataloguer anne@johnmoran.com

Shannon Dailey Senior Decorative Arts Cataloguer shannon@johnmoran.com

Jenny Wilson Co-Head of Sale, Fine Art Director jennifer@johnmoran.com

Madison Ari Fine Art Cataloguer mari@johnmoran.com

Sarah Beaver Decorative Arts Cataloguer sbeaver@johnmoran.com

Client Services

Mario Esquivel Office Manager mario@johnmoran.com

Jamie Holthauser Client Services jamie@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

Bryan Ortega Client Services bryan@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

Oscar & Barbara Leidenfrost

John Moran Auctioneers is honored to bring to market the Estate of Oscar & Barbara Leidenfrost. Oscar and Barbara were a Los Angeles couple who loved art, music, and travel and took pleasure in curating their home with items that represented their passions. Oscar came from a humble upbringing in Davenport, Iowa by Germanimmigrant parents who ran a local grocery store. He attended the University of Illinois School of Architecture, then started the successful Oscar E. Leidenfrost & Associates architectural firm. Barbara also grew up in the Midwest and then moved to New York to attend Vassar College. After graduation, she wanted to travel so she got a job working on a cruise ship. Her passion for traveling continued, and eventually lead her to start a travel agency in Beverly Hills that she ran for 20 years. The couple met in 1966 while Greek folk dancing in Hollywood (they were married 3 months later!). When they were not jet-setting around the world and collecting art along the way, the two loved being at home in a house that Oscar designed which he often referred to as his “masterpiece.”

Decades of traveling worldwide collecting art created a medley of museum-worthy treasures. Over time, their sophisticated and diverse collection showcased California art and design, highlighted by works from Ed Ruscha, Vija Celmins, Richard Wyatt Jr., Takashi Murakami, Yayoi Kusama, Robert Longo, Adolph Gottlieb, and Edward Kienholz. Alongside up and coming and blue-chip artists are a bevy of design items like a series of wood-tur ned vessels, African baskets, masks, and fertility dolls, Georg Jensen silver, and furniture by the most sought-after designers including George Nelson, Mario Bellini, Charles and Ray Eames, Richard Schultz, Florence Knoll, Le Corbusier, Jonathan de Pas, and more.

The couple enjoyed over 45 years of marriage before Oscar passed away in 2012. Then, in 2022, Barbara passed away. The Leidenfrost collection is a swan song of the adventures and memories once enjoyed by the happy couple and, due to the proceeds of their items, will now benefit over a dozen non-profit organizations and educational institutions.

(continued on next spread)

“We know only too well that what we are doing is nothing more than a drop in the ocean. But if the drop were not there, the ocean would be missing something.

— Mother Teresa

Charitable Beneficiaries of The Estate of Oscar & Barbara Leidenfrost

VASSAR COLLEGE (Poughkeepsie, New York)

LOS ANGELES COUNTY MUSEUM OF ART

THE LIBRARY FOUNDATION OF LOS ANGELES

UNIVERSITY OF ILLINOIS

SCHOOL OF ARCHITECTURE (Champaign, Illinois)

FIGGE ART MUSEUM

LATIN SCHOOL OF CHICAGO

MUSIC CENTER FOUNDATION (with the request that it benefit the Jazz Program and Youth Orchestra, Los Angeles, at the discretion of such Foundation)

MERCY CORPS

DOCTORS WITHOUT BORDERS

MEMORIAL SLOAN KETTERING CANCER CENTER

MUSEUM OF CONTEMPORARY ART (Los Angeles)

SALVATION ARMY

COLBURN SCHOOL OF MUSIC

SINCE 1969

1

Ray

Time Life Stool Model 413-C, mid-20th century

Designed 1960

Appears unmarked

Turned walnut

15.5 H x 13” Dia.

$700-900

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

and Charles Eames (1912-1988 and 1907-1978)

2

Bob Stocksdale

(1913-2003)

Bowl, 1991

African blackwood

Signed, inscribed, and dated: Snake wood / from / Surinam / Bob Stocksdale / 1991 4” H x 4.5” Dia.

$300-500

Provenance: The artist’s collection The Estate of Oscar and Barbara Leidenfrost, acquired from the above

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This

lot is accompanied by a correspondence between the collector and artist detailing the vessel’s sale, dated September 25, 1991 and a hand-written response from the artist.

3

Robert W. Chatelain (b. 1945) Bowl, 1992

Black cherry wood and resin

Signed, dated, and inscribed: Robert W. Chatelain / Black cherry burl & resin / W 24 / 8/2/92

6.5” H x 9.25” Dia.

$100-200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a pamphlet on the artist, likely from the Museum of Modern Art.

4

Ray and Charles Eames (1912-1988 and 1907-1978)

Time Life Stool Model 0412-B, mid-20th century

Designed 1960

Appears unmarked

Turned walnut 15 H x 13” Dia.

$700-900

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

5

$500-700

Rene Megroz (b. 1942)

“Jacket,” 1992

Sugar pine and lacquer

Signed to verso: Rene Megroz / 1992

30.5” H x 10.5” W x 3” D

6

Circa 1974; Morelia, Michoacan de Ocampo, Mexico

Brass plate to the underside marked: Taller Ihuatzio Mich. / Mario Lopez Torres / Tzumindi / 1974 / Hecho en Mexico

The near-life size woven wicker pig with inset brass eyes and coiled wire tail

14” H x 12” W x 32” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

A Mario Lopez Torres “Tzumindi” sculptural wicker pig

7

A mid-century Brutalist-style iron chandelier

Mid-20th century

Unmarked

Possibly Harry Balmer, the torch-cut iron light fixture

25.5” H x 25.25” Dia.

$300-500

“Pot”

Titled

23”

$500-700

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

Notes: Paper label identifies this sculpture as being by the artist as part of one of Anderson’s numerous one man shows at Allan Stone Gallery (now Allan Stone Projects) in New York. Anderson was represented by Allen Stone Gallery, 1963-2013. Likely this work is one of his earlier pieces, ca. 1960-1979. Anderson is represented in several permanent collections including The Whitney and MOMA.

8

John S. Anderson (b. 1928)

Kinetic wood sculpture

to gallery label affixed verso, circa 1960-1979

H x 7” W x 12” D

10

Two Aboriginal “Tutini” polychromed wood spirit poles 20th century; Tiwi Peoples, Bathurst and Melville Islands, Australia Each appear unmarked

Each attenuated figural pole decorated with natural earth pigments in geometric motifs and a human visage along with a wood and metal display stand, 3 pieces

Larger: 57” H x 2.75” W x 2.25” D; smaller: 54” H x 3.25” W x 1” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: “Tutini” is the Tiwi word for the poles used in the traditional “Pukumani” funeral ceremonies on the Tiwi Islands.

Proceeds to benefit non-profit organizations and educational institutions.

9

An Aboriginal “Leangle” or “Lil Lyl” wooden club

Early 19th century; Aboriginal Peoples, Southeast Australia

Likely carved from Red River Gum or Pink Box tree wood, the indigenous boomerang-shaped implement with pointed tip and terminating in a beehive-style grip

27” H x 13” W x 1” D

$1,000-1,500

11

A turned wood vessel 1989

Inscribed and dated: Milo from Maui 1989 [HPBM?]

The Hawaiian milo wood bowl in a tulip form

8.5” H x 9” Dia.

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Richard Wyatt Jr.

(b. 1955)

Born and raised in Southern California, the artist Richard primarily for creating public art in and around the city tutelage of the renowned contemporary figurative Wyatt, who completed his undergraduate studies at Irvine, Otis College of Art and Design, and at the Watts History” mural, created in 1996, which is located at in collaboration with May Sun for the Robert F. Kennedy Jazz: 1945-1972” mural located at the Capitol Records

In 2015, Wyatt’s work was included in “Black SoCal: was also included in “Black American Portraits,” a

Three works by Richard Wyatt, Jr. were included in Related artists include Nina Chanel Abney, Bisa Butler, Smith, Kerry James Marshall, Jennifer Packer, Faith Henry Taylor, Mickalene Thomas, Hank Willis Thomas, Yiadom-Boakye.

Richard Wyatt Jr. has been active in the Los Angeles area art scene since the age of twelve. Known city of Los Angeles, Wyatt pursued his artistic studies at the Otis Art Institute and under the artist, Charles White.

at the University of California, Los Angeles, has since taught painting at the University of California Watts Towers Art Center in Los Angeles. He is perhaps best known for his “City of Dreams, River of at Union Station in Los Angeles. Other examples of his public artwork include a commission created Kennedy Monument at the former Ambassador Hotel on Wilshire Blvd., as well as his “Hollywood Records Building in Hollywood.

SoCal: Art and Practice in an Evolving Landscape” at the Venice Biennale. More recently, Wyatt’s work landmark exhibition that took place at the Los Angeles County Museum of Art in 2022. the Collection of Oscar and Barbara Leidenfrost, who were among his earliest collectors. Butler, Jordan Casteel, Elizabeth Catlett, David Hammons, Ernie Eugene Barnes Jr., Hughie LeeFaith Ringgold, Deborah Roberts, Betye Saar, Charles Robert Searles, Tschabalala Self, Amy Sherald, Thomas, Genesis Tramaine, Kara Walker, Carrie Mae Weems, Charles White, Kehinde Wiley, and Lynette

12

Richard Wyatt Jr. (b. 1955)

“Barbara” or “Woman Holding a Sock and a Rock for No Apparent Reason,” 1982 Graphite on cream-colored paper Signed and dated in pencil along the lower edge, at right: Wyatt Jr.; titled in pencil in the lower margin, at center Image/Sheet: 29.75” H x 43.875” W

$3,000-5,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

According to the artist, this drawing is a portrait of Barbara Leidenfrost. We are grateful to the artist for his assistance in cataloguing this work.

13

Hiroshi Tagami (1929-2014)

“Diversion,” 1980

Oil on three horizontal joined canvas panels

Signed and dated lower left: Tagami; signed and dated again, titled, and inscribed with the artist’s address, and numbered 2713, all verso

Overall: 44.25” H x 48” W

$1,000-1,500

Provenance: Property of the American Broadcasting Companies, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

Untitled triptych

Intaglio and collage in colors on very thick handmade paper Edition: 76/85

Signed lower right of the sheet, at right: J. Coignard; numbered lower left on each of the sheets

Each sheet: 26” H X 19.75” W

$600-800

14 James Coignard (1925-2008)

15

20th Century American School

Futuristic highway

Lithograph in colors on paper

Edition: 37/50

Signed indistinctly and numbered in pencil in the lower margin

Image: 24.25” H x 76.5” W; Sight: 27.25” H x 79” W

$800-1,200

Provenance: David Wise and Audry Taylor, Los Angeles, CA

16

Takashi Murakami (b. 1962)

“727-272,” 2006

Offset lithograph in colors on shiny wove paper

Edition: 199/300

Signed indistinctly and numbered in silver ink lower right; Takashi Murakami/Kaikai Kiki Co., Ltd., Tokyo, Japan and New York, NY, pub.

Image: 25.375” H x 39” W; Sheet: 25.875” H x 39.375” W

$2,000-3,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

17

Mary (Sister) Corita Kent (1918-1986)

“To Believe in God,” 1965

Screenprint in colors on thick Japanese paper

From the edition of unknown size and date Signed along the lower edge, right of center: Sister Mary Corita

Image/Sheet: 16.875” H x 13.375” W

$400-600

Provenance: Lois Burnett Gallery, Los Angeles, CA

18

Alice Baber (1928-1982)

“Blue X,” 1970

Screenprint in colors on Arches paper

Edition: 44/100

Signed, dated, and numbered in pencil lower left: Alice Baber; titled on gallery label affixed to board backing

Image/Sheet: 28” H x 22” W

$800-1,200

Provenance: Property from Frances Luban Fine Art, Burbank, CA

19

Untitled from the “Field Mouse Series”

Lithograph in colors on wove paper

From the edition of unknown size and date

Signed in pencil lower right: Natkin; with the embossed copyright stamp; two unidentified blindstamps in the lower left corner

Image/Sheet: 29” H x 25” W

$600-800

Robert Natkin (1930-2010)

20

Brian Arthur (b. 20th century)

Pelican, 1999

Patinated bronze

Edition: 4/60

Signed, numbered, and dated in the casting: Arthur / 4/60 / 1999

26.5” H x 19” W x 8” D

$600-800

21

20th Century American School

“Tumbling E Eye Chart”

Offset lithograph on paper

Appears unsigned; titled by repute; Spicher and Company, Carlisle, PA, pub.

Sight: 28” H x 22” W

$100-200

$300-500

Ray and Charles Eames (1912-1988 And 1907-1978)

Wire Chair for Herman Miller, mid-20th century

Designed 1951

Black coated steel with yellow Naugahyde bikini pad

32.5” H x 19” W x 21.5” D

23

Ray and Charles Eames (1912-1988 and 1907-1978)

Eames lounge chair and ottoman for Herman Miller, mid/late 20th century

Designed 1956

Each with paper label to the underside: Herman Miller / Zeeland, Mich.

Molded plywood and both powder-coated and brushed aluminum frame, rubber shock mounts, and black leather tufted upholstery

2 pieces

Chair: 32.5” H x 31.5” W x 31” D; ottoman: 17” H x 25” W x 22” D

$2,000-4,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

24

A Jalq’a woman’s mantle cloth

20th century; Jalq’a Peoples, Bolivia

A mantle cloth or pallay with stylized animal figural motifs and banding woven in red and black with brown edges, professionally stitch mounted and framed in a custom acrylic frame

27” H x 34” W

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

25

Rick Arnitz

(1949-2018)

Untitled, 1989

Oil enamel on paper

Signed and dated lower right: Arnitz

Image/Sheet: 35” H x 23” W

$800-1,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a small exhibition flyer from the Leidenfrost’s files. It lists 11 Arnitz oil paintings on either canvas or paper which were included in a show entitled “New Work” at the San Francisco Museum of Modern Art, October 12 - December 10, 1989. This show featured “A series of recent work by younger and established artists.” Although it is not illustrated in the flyer, there is a chance that the present lot might be Arnitz’s “Going Down (24 Stories)” shown in this exhibition, given the matching mediums, sheet size, and date.

David Hines

(b. circa 1955)

“Near Bakersfield,” 1988

Charcoal and pastel on paper

Signed and dated in pencil in the lower right corner of the image: Hines; signed again, titled, and dated in pen directly below the image in the lower margin, at left

Image: 28” H x 36” W; Sheet: 32” H x 40” W

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Exhibition: CSU Dominguez Hills, Carson, CA, University Art Gallery, “Twilight Scenes: Candice Gawne and David Hines,” September 19 - October 19, 1989.

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by documents relating to the artist, including an August 29, 1989 letter from Kathy Zimmerer, director of the University Art Gallery at California State University Dominguez Hills, Carson, CA, written to Barbara Leidenfrost on August 29, 1989. In the letter, Zimmerer requests a loan of the present lot for potential inclusion in the University Art Gallery’s exhibition, “Twilight Scenes: Candice Gawne and David Hines,” September 19 through October 19, 1989.

Initialed in pencil lower right: DCF; titled in pencil on the frame’s backboard in pencil; titled again on a label affixed to the stretcher

Image/Sheet: 42.5” H x 30” W

$400-600

“Shadow

Initialed in pencil lower right: DCF; titled

Image/Sheet: 42.5” H x 30” W

$400-600

27

Dana Fair (20th century)

“Shadow Play #3” Oil on paper

28

Dana Fair (20th century)

Play #9” Oil on paper

in pencil on the frame’s backboard

29

Dana Fair (20th century)

“Shadow Play #15” Oil on paper

Initialed in pencil lower right: DCF; titled in pencil on the frame’s backboard

Image/Sheet: 42.5” H x 30” W

$400-600

30

A modern chrome-plated metal side table

Late 20th/early 21st Century Appears unmarked

The cylindrical, partial drum table with thick tripod legs

20.25” H x 14” Dia.

$400-600

31

Two Lucite drum side tables

21st century

Each appears unmarked

Each cylindrical accent table with a circular Lucite top and two convex, semicircular Lucite pieces as the base, 2 pieces Largest: 21.25” H x 15” Dia.; smallest: 13.5” H x 15” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

32

A two-tiered side table

Late 20th/early 21st century With two silvered-metal tiers supported on black metal legs 20” H x 10.25” Dia, $400-600

33

Maureen Nampijinpa Hudson

(b. 1959)

“Water Dreaming”

Acrylic on canvas

Signed and titled, verso: Maureen Nampijinpa Hudson

38” H x 26” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a typed sheet detailing the Warlpiri artist, Maureen Nampajinpa Hudson, as well as the story of the piece, “Water Dreaming.”

34

(b. 1954)

‘’Asimetrias’,” 1995

Acrylic on canvas

Initialed lower right: FC; signed again, titled, and dated on the stretcher

47.5” H x 39” W

$3,000-5,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Francisco Castro-Lenero

A Maori “Putorino” wooden wind instrument

Mid/late 19th century; Maori Peoples, New Zealand

The bugle flute with a central grimacing mask carving featuring an oval aperture in the form of a mouth and inlaid paua (abalone) eyes; the two hollowed wood pieces held together with natural fiber cord lashings

16.5” H x 1.75” W x 1.25” D

$8,000-12,000

Provenance: Property of the American Broadcasting Company, New York

Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

Notes: One of the enigmas of Oceanic music is the putorino, an instrument once made by the Maori people of Aotearoa (New Zealand) that may have been played as a flute or as a trumpet. Carved from a block of matai wood (Podocarpus spicatus) to mimic a case moth’s (tungou ngou) cocoon, the putorino is formed by splitting the wood, hollowing the inside, and lashing it back together with vine. The putorino has a feminine voice representing the female ancestor Hineraukatauri, who personifies flute music.

37

Miguel Berrocal (1933-2006)

“Mini David,” 1969-1970

Aluminum twenty-six element puzzle sculpture

Embossed signature to the left arm: Berrocal / 2756

6” H x 2.25” Dia.

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

38

An Abelam painted carved wood mask 20th century; Abelam Peoples, East Sepik Province, Guinea

Appears unmarked

Created for the celebration of the yam harvest, the mask is decorated with earth pigments in geometric represents the spirit of a revered ancestor 26” x 10.5”

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations educational institutions.

Papua New carved wood geometric motifs and Leidenfrost and

39

A group of figural sculptures

Three works:

After Paul Bellardo (1924-2007)

“Sun God” sculpture, 20th century

Marked on the reverse: Austin Prod Inc / 1968 / ©

Painted plaster

13” H x 10” W x 7” D

An earthenware bust

Signed to the interior: Baas

With blue, purple, and white speckled glaze

13” H x 8.25” Dia.

A ceramic standing figure

Appears unmarked

With janus-face decoration in black overglaze, mounted on a wood base 17” H x 4.25” Dia.

3 pieces

$400-600

40

Ray and Charles Eames (1912-1988 and 1907-1978)

LCW Molded Plywood Lounge Chair for Herman Miller, late 20th century

Designed 1946

Metal tag to the underside: Eames for Herman Miller

Molded plywood body with Santos Palisander veneer and rubber shock mounts

27” H x 22” W x 22” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

41

Ray and Charles Eames (1912-1988 and 1907-1978)

LCW molded plywood lounge hair for Herman Miller, late 20th century

Designed 1946

Metal tag to the underside: Eames for Herman Miller

Molded plywood body with Santos Palisander veneer and rubber shock mounts

27” H x 22” W x 22” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

42

Ray and Charles Eames (1912-1988 and 1907-1978)

DCW Molded Plywood Dining Chair for Herman Miller, mid-20th century

Designed 1946

Appears unmarked

Molded plywood body with and rubber shock mounts

29” H x 19.25” W x 20” D

$600-800

43

“Bubblegum

Problems,” 1976

Charcoal and graphite on four sheets of cream-colored paper

Each signed and dated in pencil near the lower edge, at center: Wyatt Jr

Sheet of each: 14” H x 11” W

$5,000-7,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

We are grateful to the artist for his assistance in cataloguing this work.

Richard Wyatt Jr (b. 1955)

46

Eero Saarinen (1910-1961)

Knoll Executive chair, 21st century

Designed 1950

Each with Knoll label to underside

Chromed metal and jacquard upholstery

8 pieces

Each: 31.5” H x 20.5” W x 17.25” D

$800-1,000

44

A group of Eero Saarinen-style tulip chairs

Mid-20th/early 21st century

Each molded fiberglass, powder-coated cast aluminum, and with upholstered cushions, 4 pieces

Each: 31.75” H x 19.5” W x 18”D

$700-900

45

An Eero Saarinen-style tulip side table Mid-20th/early 21st century Molded fiberglass and powder-coated cast aluminum 20.25” H x 20.25” Dia.

$300-500

47

“Toes,” 1976

Graphite on two sheets of cream-colored paper

Each: signed and dated lower right; signed again on the second sheet in the lower right margin; titled on a gallery label affixed verso

Sheet of larger: 11” H x 15” W

$2,000-3,000

Provenance: Ankrum Gallery, Los Angeles, CA

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

We are grateful to the artist for his assistance in cataloguing this work.

Richard Wyatt Jr (b. 1955)

48

A George Nelson-style ball clock

21st

Marked on the interior: Quartz / Made in Germany; further marked 10 06 2007

Likely a reproduction of the Nelson clock, originally designed 1948-1960, by Vitra with multicolored, painted wood ball accents

$400-600

century

13” H x 13” L x 2.5” D

49

Allan M. D’Arcangelo (1930-1998)

Five landscapes, circa 1966-69

Each mixed media drawing on paper mounted to paper Each signed in pencil: D’Arcangelo; two undated, two dated ‘66, one dated ‘69 Sight of each: 7” Dia.

$400-600

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

50

George Nelson (1908-1986)

“OMNI” Shelving Unit, mid/late 20th century

Designed 1956

Label to the metal mounting rods: OMNI

Charcoal powder coated “floating” steel frame rods with seven walnut shelving surfaces, three walnut drawers, and three electrified lighting units

96.75” H x 96” W x 13.25” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

51

A Mossi “Biiga” wood and leather fertility doll

Mid-20th century; Mossi Peoples, Burkina Faso, West Africa

Appears unmarked

The carved wood stylized female figure accented with leather wrapping, woven cane strips, and a rawhide tassel

13.5” H x 1.5” W x 4.5”D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: The dolls signify motherhood and are washed and dressed and carried on the back just like a real child would be. The “Biiga” is passed on from mother to daughter or from sister to sister. The patination on the leather and wood illustrates this care and use.

Proceeds to benefit non-profit organizations and educational institutions.

52

$1,200-1,800

Jean Royere (1902-1981)

“Bekin” Wall Console, circa 1950s Appears unmarked Gilt wrought iron frame and glass top 24” H x 36” L x 15” D

53

Richard Serra (b. 1938)

‘’Between the Torus and the Sphere I,’’ 2006 Etching on white wove paper

Edition: 18/45

Signed and dated in pencil lower right: R Serra; numbered in pencil lower left; Gemini G.E.L., Los Angeles, pub.

Image/Sheet: 39.5’’ H x 39.5” W

$8,000-12,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by assorted photographs and postcards of Serra prints as well as a letter written to Barbara Leidenfrost on June 9, 2006, by a staff member at Gemini G.E.L., Los Angeles, about the images in Serra’s new series of etchings, “Between the Torus and the Sphere I-VI.” Handwritten calculations scribbled at the top of this letter, in another hand, may relate to the price the Leidenfrosts paid for the impression of “..... Sphere I” offered here.

54

Jasper Johns

(b. 1930)

“Bent Stencil,” from “Fragment--According to What” series, 1971 Lithograph in colors on paper

Edition: 72/79

Signed, dated, and numbered in pencil near the upper sheet edge, at left: J. Johns; Gemini G.E.L., Los Angeles, CA, pub., with their blindstamps on the recto, and their pale black ink stamps and pencil work number on the verso of the upper left corner

Image/Sheet: 27.625” H x 20.25” W

$3,000-5,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

In 1970, Jasper Johns created a series of seven prints with the publisher Gemini G.E.L. in Los Angeles, California that was effectively a revisitation of the artist’s 1964 painting, titled “According to What.”

This expansive painting, measuring seven feet tall by sixteen feet wide, was created at what is arguably the apex of Jasper Johns’s career. Created by joining several canvases together, “According to What” is more accurately described as a mixed-media assemblage than simply a painting. Although the work includes painted areas that are instantly recognizable as the work of Jasper Johns, the artist also stenciled the names of colors vertically on the canvas before affixing a variety of found objects and cast body parts onto its surface. Twelve years after it was created, the art historian Patricia Kaplan authored an essay on the painting where she described it as “one of the artist’s most challenging and disturbing works” created to date.

This particular print, titled “Bent Stencil,” revisits the very center of Johns’s painting “According to What.” In the 1964 assemblage, Johns has enclosed ten circles of color within black, white, and grey squares before stacking them vertically from the top to the bottom of the expansive, multi-piece canvas. “Bent Stencil” reproduces three of these circles found at the bottom of the canvas, which effectively divides the composition of “According to What” in half. A notable distinction between the prints and the painting is Johns’s use of a muted, rather than brightly colored palette in this lithographic reprisal, “Blue Stencil.”

Other impressions from Johns’s “Fragment - According to What” lithographic series can be found in the collections of the Whitney Museum of American Art, the Museum of Modern Art, and the Philadelphia Museum of Art.

Related artists include Chuck Close, Joseph Cornell, Jim Dine, Sam Francis, Helen Frankenthaler, Philip Guston, Donald Judd, Alex Katz, Ellsworth Kelly, Franz Kline, Roy Lichtenstein, Morris Louis, Robert Rauschenberg, Larry Rivers, James Rosenquist, Frank Stella, Bob Thompson, and Cy Twombly.

55

Frank Stella (1936-2007)

“Pagosa Springs,” from the “Copper Series,” 1970 Lithograph and screenprint in color on paper Edition: 63/75

Signed, dated, and numbered in pencil in the lower right margin corner: F. Stella; Gemini G.E.L., Los Angeles, CA, pub., with the blindstamp Sheet: 16” H x 22” W

$1,200-1,800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Created in 1970, “Pagosa Springs” is one from a series of seven lithographs relating to the artist’s “Copper Series” of paintings created between 1960 and 1961.

Printed and published by Gemini G.E.L., each of these lithographs both revisit and reinterpret these iconic paintings from an early period of Stella’s career. Titled after mining towns found in the mountainous regions of Colorado, these prints are an homage to the region of the United States that was the nation’s primary source of copper and silver at the turn of the twentieth century.

From a technical perspective, each print from this series is relatively complex: these lithographs were created using several screens through which metallic paints and tinted varnishes were applied in order to create the final image. As such, each print from the “Copper Series” is much more than simply a reproduction of Stella’s iconic paintings. A full page in the Frank Stella catalogue raisonne of prints is dedicated to this particular print from the series, “Pagosa Springs.”

Other impressions of this print are held in the collections of the Whitney Museum of American Art, the Museum of Modern Art, the Buffalo AKG Art Gallery, the Fine Arts Museums of San Francisco, and the National Gallery of Art in Washington D.C.

Related artists include Josef Albers, Jo Baer, John Baldessari, Larry Bell, Lee Bontecou, Mary Corse, Tony Delap, Jim Dine, Dan Flavin, Helen Frankenthaler, Sam Gilliam, Carmen Herrera, David Hockney, Hans Hofmann, Jasper Johns, Donald Judd, Ellsworth Kelly, Robert Mangold, Agnes Martin, Robert Motherwell, Louise Nevelson, Kenneth Noland, Beverly Pepper, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Robert Ryman, Tony Smith, Anne Truit, Richard Tuttle, Tom Wesselmann, and Franz West.

56

Dorothy Dehner

(1901-1994)

“Lunar Series #6,” 1971 Lithograph on Arches paper Edition: 2/20

Signed and dated in pencil lower center: D. Dehner; titled lower left Image/Sheet: 24” H x 36” W

$800-1,200

Provenance: Property from Frances Luban Fine Art, Burbank, CA

57

20th/21st Century American/Japanese School

Abstract with Red Square, 2002

Oil on canvas

Signed and dated verso: Lutz, and with Japanese chopmark in red

60” H x 48” W

$500-700

Screenprint

Edition: 141/250

Sight:

$1,200-1,800

58

Stephen Holland (b. 1941)

Muhammad Ali

in colors laid to canvas board

Signed in gold ink lower left: Stephen Holland; signed in gold ink by Muhammad Ali lower right

46”H x 32” W

59

Three Chinese scholar’s rocks

20th century

Comprising a large petrified wood stone, a yellow quartz stone, and a black and white agate stone, 3 pieces

Largest: 12” H x 10” W x 10.5” D; smallest: 12” H x 6” W x 5” D

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

60

Circa

With impressed maker’s mark to base reading perhaps: Shanxian chi zhi/Yamagata Tamotsu Sei The baluster-form vase depicting an armed soldier in winter attire staring at a temple complex in the distance, the incised inscription possibly referring in propagandistic terms to the 25th anniversary of the forcible Japanese annexation of Taiwan in 1895

9.5” H x 5” Dia.

$600-800

An East Asian bronze vase

1920

61

An Asian thangka

20th century Red ink script on the verso Painted image with a central mandala, various fabric borders and backing, and a textile cover with a hanging ribbon

Image: 29” H x 22.5” W; Overall: 50” H x 35” W

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

62

A Japanese carved wood mounted warrior sculpture

Circa 1900 or later, Meiji/Taisho Period; Japan

The underside incised with the artist’s signature, perhaps reading “Kazu[mori] tou” (carved by Kazu[mori]); further marked with various numbers

The ebonized hardwood sculpture depicting a mounted Japanese samurai dressed in armor

19.5” H x 6.25” W x 16” D

$500-700

63

An Indian Chola-style Lord Krishna bronze sculpture

19th century or earlier; Swamimalai, Tamil Nadu, India

The lost-wax cast bronze sculpture of the Hindu deity Krishna stands with hands aloft, presumably once holding a flute, likely as his avatar, Lord Venugopala, adorned with a highly rendered conical headdress and ample jewelry and backed by a floral mandala

26” H x 8.5” W x 7.5” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Adam Fuss (b. 1961)

Born in London in 1961, the photographer Adam Fuss earliest experiments in photography were rooted in that led to his abandonment of the camera altogether.

“Untitled” was created in 1992 and is a unique photogram a flower directly on the surface of light-sensitive Cibachrome to the work of Modernist photographers - such as using related techniques. As such, each photogram

Adam Fuss is represented by Cheim & Read of New collections of the Metropolitan Museum of Art, the Museum of Art, and the Victoria and Albert Museum

Fuss was raised in rural England, which was a location that heavily influenced his artwork. His in traditional practices, such as the daguerreotype, and he eventually developed a method altogether.

photogram from a series of 50 works depicting sunflowers. To produce each work, Fuss placed Cibachrome paper before then exposing it to light. Fuss’s camera-less technique harkens back Man Ray, Christian Schad, and Laszlo Moholy-Nagy - who each produced a body of work photogram in Fuss’s series of sunflower images is unique.

New York City and Fraenkel Gallery in San Francisco. Fuss’s work is held in the permanent the Museum of Modern Art, the Whitney Museum of American Art, the Los Angeles County Museum in London.

64

Adam

“Untitled,” 1992

Cibachrome photogram on paper

Appears unsigned

Image/Sheet:40” H x 30” W

$8,000-12,000

Provenance: Robert Miller Gallery, New York, NY

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a copy of a sales invoice from the Robert Miller Gallery, New York, NY, dated January 20, 1993, and with other related material about the artist from this gallery.

Fuss (b. 1961)

65

Shoichi Ida (1941-2006)

“Between Water and Earth No. 5,” 1988 Molded mud-dyed paper, twig, bone, and iron saw Signed and dated in ink on the frame’s backboard: S Ida; titled on the accompanying sales receipt 32.25” H x 26” W x 4.25” D approximately

$1,000-1,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is sold together with a sales receipt issued by Gallery Ueda, Tokyo, Japan, dated December 14, 1988. According to that document, the full title for this work is “Garden Project - Locus Sutra - Well from Karma / ‘Between Water and Earth No. 5’.”

66

Carl Malmsten (1888-1972)

“Visingso” Bench for Ab Carl Andersson and Soner, mid/late 20th century With foil label to the underside: Ab Carl Andersson and Soner / Design Prof. Carl Malmsten / Made in Sweden Pine seat with gently upturned ends and contrasting walnut dowel-fitted tapered legs

17” H x 35.25” W x 13” D

$400-600

67

A Japanese “Naga-hibachi” keyaki wood table

Late 19th/early 20th century; Japan

Appears unmarked

With inset brass-lined firewell beneath glass, secondary storage compartment beside the firewell, and four small drawers to the front each with brass pulls as well as brass corner braces to the wood case 16” H x 30.5” W x 21” D

$400-600

Yayoi Kusama (b. 1929)

Born in 1929, the Japanese artist Yayoi Kusama has polka dots are among the most recognizable elements her career. “It seems that pumpkins do not inspire much me most was the pumpkin’s generous, unpretentiousness. self-portraiture representing her alter-ego. Kusama her since childhood and has voluntarily lived in a mental -70s New York avant-guard, she has since become one

had a long and storied career as a painter, installation artist, and designer. Pumpkins and elements to be found in the artist’s oeuvre, having painted both obsessively across the duration of much respect. But I was enchanted by their charming and winsome form. What appealed to unpretentiousness. That and its solid spiritual balance.” The iconic use of pumpkins has been likened to has attributed her interest in pole dots to visual and aural hallucinations that have haunted mental health facility since the 1970s. Mentored by Georgia O’Keeffe and inspiring the 1960s one of the most recognized female artists alive today and a National Treasure in Japan.

68

Yayoi Kusama (b. 1929)

“A Pumpkin yB-B,” 2004 Screenprint in colors on wove paper Edition: 42/120

Signed, titled, dated, and numbered in pencil in the lower margin: Yayoi Kusama

Image: 9.5” H x 11.25” W; Sheet: 13” H x 15.25” W

$40,000-60,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

69

Yayoi Kusama (b. 1929)

“A Pumpkin (RT),” 2004

Screenprint and glitter in colors on wove paper, watermark Arches

Edition: 102/120

Signed, titled, dated, and numbered in pencil in the lower margin: Yayoi Kusama

Image: 13” H x 10.625” W; Sheet: 17.75” H x 15” W

$20,000-30,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

70

Edward Moulthrop

(1916-2003)

Figured Tulipwood Spheroid, circa 1978

Tulipwood

Signed, inscribed, and numbered: Ed Moulthrop [M cipher] / Figured Tulipwood / Liriodendron Tulipifera / 200941 15” H x 22” Dia.

$5,000-7,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Edward Allen Moulthrop is recognized as the founder of the American contemporary wood turning movement with works in nineteen permanent museum collections, including the Smithsonian, the Metropolitan Museum of Art, and the Museum of Modern Art.

This lot is accompanied by gallery postcards for Edward and Philip Moulthrop from Joanne Rapp Gallery, Scottsdale, AZ.

71 Philip Moulthrop (b. 1974) Wild Cherry Sphere Wild cherry wood

Signed, inscribed, and numbered to underside: PM / Philip Moulthrop / Wild Cherry / prunus serotina / 1901

12.25” H x 12” Dia.

$1,000-1,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

72

A Holmes portable 35mm motion picture projector

Mid-20th century

Affixed metal plate: Holmes Projector / Manufactured by Holmes Projector Co. / Chicago, U.S.A. / No. P 4115 / Volts 110 / Watts 1000

Designed 1920, the black painted body with decorative gold accents, two goldpainted Metro Goldwyn Meyer film cases affixed, and Bell & Howell-manufactured lenses, all mounted onto a wood and wrought iron stand

68” H x 10.75” W x 16” D

$800-1,200

Notes: Secondary metal plate reads; “Underwriters’ Laboratories inspected Motion Picture Machine for use with slow burning film. Consult with local inspection authorities for requirements on installation and use. No: M 8051”

73

An American molded copper pig weathervane

Early/mid-20th century; United States Appears unmarked

With wind kinetic directionals and globe beneath the pig ornament; all mounted onto a later added wrought iron stand for display With stand: 78.5” H x 18.5” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

74

Robert Longo (b. 1953) “Swing,” 1979 Cast aluminum

With the inscribed signature and date, verso: Rbt Longo; titled on the exhibition label affixed verso 21” H x 35” W x 5” D

$10,000-15,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Exhibited: Los Angeles County Museum of Art, Los Angeles, CA, “Robert Longo,” September 29, 1989 - December 31, 1989

Museum of Contemporary Art, Chicago, IL, “Robert Longo,” February 17, 1990 - April 22, 1990

Wadsworth Atheneum, Hartford, CT, “Robert Longo,” June 9, 1990September 2, 1990

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied and sold together by a card from Robert Longo thanking Oscar & Barbara Leidenfrost for lending the work to a traveling exhibition, c. 1990. A large yellow shipping envelope from the Los Angeles County Museum, addressed to Barbara Leidenfrost, contains assorted materials from the museum, including black and white photographs of this lot, slides, and a letter stating that “enclosed are black-and-white photographs of the piece prior to treatment at the Wadsworth Atheneum and slides following treatment. The slides indicate the damage has been virtually removed,” signed by the registrar, Renee S. Montgomery, and dated June 27, 1990.

In 1978, Robert Longo created a series of works known as “Boys Slow Dance.” These three-dimensional sculptures were inspired by a scene from the 1953 noir film “Pickup on South Street.” “Swing,” one of the works from this series, is a cast aluminum wall relief in which two men dressed in suits are shown scuffling with one another.

One author, writing on this series of works, asked: are these images of two men “locked in... deadly combat? [or an] amorous embrace?” Longo’s sculpture is decidedly post-modern for its lack of fixed meaning, even when we know the referential source of this work.

75

A turned wood vessel

20th century

Signed: G. Schrodr [?] / Douglas Fir Burl / New Mexico

The douglas fir burl wood bowl with naturally occurring openings from the burl 8.25” H x 15.5” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

(b. 1947)

Untitled vessel, 1986

Ebony wood

Signed, dated, inscribed, and numbered: #664 / Ebony / Wm. Hunter / ‘86 5” H x 9” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

76

William Hunter

77

Del Stubbs (b. 1952)

“Extremes,” 1989

Translucent olive wood

Signed and dated: D. Stubbs / 1989

7.75” H x 14.25” W x 11” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales receipt dated August 21, 1989.

78

A group of turned wood vessels

Three works:

Kelly Dunn (b. 20th century)

Vase, 1994

Koa wood

Signed, dated, and inscribed: Kelly Dunn / Koa Wood / 94

5.5” H x 4.75” Dia.

A spalted maple vase

1995

Signed, dated, and inscribed: smdarc [?] 1995 spalted maple

4” H x 6.75” Dia.

A burl wood vase

20th century

Signed: Kron / ker / berry / [cipher]

5.25” H x 4.25” Dia.

3 pieces

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Vija Celmins (b. 1938)

Artist Vija Celmins (b. 1938) immigrated to the United 1962, Celmins moved to Los Angeles to pursue a master’s rendered portrayals of naturally occurring phenomena to New York where she currently lives and works.

“Untitled (Ocean)” dates to a period in Celmin’s career depiction of natural objects. Celmins has had over including the Metropolitan Museum of Art, the Centre

Other impressions of this print can be found in the Harvard Art Museum, and the Whitney Museum of

United States in the 1940s before pursuing arts education in Indiana and at Yale University. In master’s degree at UCLA, a period during which her work evolved into the diligently phenomena that she is known for. Celmins resided in the Los Angeles area until 1981 before moving career when she began exploring the possibilities of printmaking when it came to the forty solo exhibitions and is included in more than 20 permanent museum collection, Centre Pompidou in Paris, and the Museum of Modern Art in New York.

the collections of the Fine Arts Museum of San Francisco, the Saint Louis Art Museum, the of American Art.

79

Vija Celmins (b. 1938)

“Untitled (Ocean),” 1972

Lithograph on Twinrocker handmade paper Edition: 32/65

Signed, dated, and numbered in pencil near the lower margin corners: V. Celmins; Cirrus Edition, Los Angeles, CA, pub., and with their blindstamp.

Image: 6” H x 41.5” W; Sheet: 28.5” H x 45.5” W

$60,000-80,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit a variety of non-profit organizations and educational institutions.

This impression is also annotated in pencil on the verso of the lower left margin corner: 83c-VC72.

80

Edward Ruscha (b. 1937)

“Hollywood in the Rain,” from “Hollywood Collects,” 1970 Offset lithograph in colors on paper

Edition: 104/220

Signed and numbered in pencil directly below the image: Ed Ruscha; with the title, date and copyright of the original 1969 lithograph printed in black ink directly below the image, at right, and the “Hollywood Collects” exhibition information printed in red in the center of the lower margin; Otis Art Institute, Los Angeles, CA, pub.

Image: 8” H x 32.5” W; Sheet: 23” H x 35” W

$1,500-2,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Literature: Engberg M19

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Ed Ruscha’s depictions of the “Hollywood” sign remains one of the most recognizable images in the artist’s oeuvre. This particular image was commissioned and published by the Otis College of Art and Design art gallery for its “Hollywood Collects” exhibition held in 1970.

Described by the Los Angeles Times as “an exhibition of 20th Century art culled from the living rooms of leading Hollywood personalities,” “Hollywood Collects” featured works by Pablo Picasso, Salvador Dali, Jean Dubuffet, Pierre Bonnard, and Pierre Auguste Renoir that were contemporaneously valued at over $10 million, lent by celebrities including Julie Andrews, Kirk Douglas, Gregory Peck, and Dennis Hopper.

Other impressions of this print are held in the collections of the Fine Art Museums of San Francisco and the Harry Ransom Center at the University of Texas.

Related artists include John Anthony Baldessari, Robert Barry, Larry Bell, Billy Al Bengston, Mel Bochner, Robert Cottingham, Jim Dine, Charles Gaines, David Hockney, Robert Indiana, Jasper Johns, Alex Katz, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Ed Moses, Bruce Nauman, Claes Oldenburg, Richard Pettitbone, Larry Rivers, Kay Rosen, James Rosenquist, Kenny Scharf, Frank Stella, Wayne Thiebaud, Lawrence Weiner, and Tom Wesselmann.

81

Edward Kienholz (1927-1994)

“Dix Tableaux, Edward Kienholz,” 1970 Color poster with mixed media From the edition of unknown size Color poster, with affixed calendar, and a translucent paper partial overlay with black ink thumb print; Mazarine, Paris, France, prntr.; Centre National d’Art Contemporain et A.R.C., Paris, France, pub. 30.75” H x 14.25” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

82

After David Shrigley (b. 1968)

“If You Don’t Like Tomatoes,” 2020 Offset lithograph in colors on Munken Lynx paper

From the edition of unknown size

Appears unsigned; Narayana Press, Odder, Denmark, pub.

Image: 29.25” H x 21.5” W; Sheet: 31.5” H x 23.625” W

“When Life Gives You A Lemon,” 2021 Offset lithograph in colors on Munken Lynx paper

From the edition of unknown size

Appears unsigned; Narayana Press, Odder, Denmark, pub.

Image: 29.25” H x 21.5” W; Sheet: 31.5” H x 23.625” W

“The Moment Has Arrived,” 2021 Offset lithograph in colors on Munken Lynx paper

From the edition of unknown size

Appears unsigned; Narayana Press, Odder, Denmark, pub.

Image: 29.25” H x 21.5” W; Sheet: 31.5” H x 23.625” W

“You Win This Mushroom,” 2020 Offset lithograph in colors on Munken Lynx paper

From the edition of unknown size

Appears unsigned; Narayana Press, Odder, Denmark, pub.

Image: 29.25” H x 21.5” W; Sheet: 31.5” H x 23.625” W

4 pieces

$600-800

Notes: According to the artist’s website, “Shrig Shop,” these offset lithographs are created from “select colour paintings reproduced as large format posters.” According to that resource, the offset lithographs “are official David Shrigley posters exclusively for Shrig Shop in collaboration with the artist. This poster is an open edition.”

83

Moshekwa Langa (b. 1975)

“Sweetness Flying,” 2000

Acrylic, enamel, and India ink on paper

Appears unsigned; titled and dated on an accompanying invoice

Sight: 39” H x 54.75” W

$600-800

Provenance: The Goodman Gallery, Johannesburg, South Africa

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales invoice from The Goodman Gallery dated February 27, 2001, and other related materials.

84

A De Sede DS 63 leather sofa for Stendig

Circa 1970s-80s; Switzerland

With De Sede logo liner fabric

Upholstered in cognac leather with enameled wood legs

27” H x 92” W x 35” D

$1,000-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

85

A De Sede DS 63 leather sofa for Stendig

Circa 1970s-80s; Switzerland

With De Sede logo liner fabric

Upholstered in cognac leather with enameled wood legs

27” H x 62” W x 35” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

86

A pair of De Sede DS 49 leather ottomans for Stendig Circa 1980s; Switzerland

One with Stendig sticker label

Each upholstered in cognac leather with enameled wood legs, 2 pieces

Each: 13.5” H x 25” W x 25” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

87

Two Yoruba “Ere Ibeji” carved wood figures with cowrie shell garment Late 19th/early 20th century; Yoruba Peoples, Nigeria, Africa Appears unmarked

Twin female statuettes held within a leather carrying bag which is adorned with cowrie and channeled bonnet shells, metal bells, and carved wood implements including a spoon and a comb, all covered with an indigo blue pigment; along with a clear Lucite display stand, 2 pieces

With stand: 20” H x 13” W x 6.5” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Yoruba peoples have one of the highest incidents of twin births in the world. As a result, twins are regarded as extraordinary beings protected by Sango, the deity of thunder. They are believed to be capable of bestowing immense wealth upon their families or misfortune to those who do not honor them. Powerful spirits in life, twins are honored with carved memorial figures when they die. These figures, known as “ere ibeji” (literally meaning ere: sacred image; ibi: born; eji: two), remain a point of access to the spirit of the departed individual. The mother provides ritual care to the figures, bathing, dressing, adorning, and feeding them. Such daily handling is responsible for giving their surface its distinctive patina.

Proceeds to benefit non-profit organizations and educational institutions.

88

Wu Yiming (b. 1966)

Untitled, 2003

Watercolor and ink on paper

Signed and dated lower right: Yiming

71” H x 38” W

$6,000-8,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

89

Zwelethu Mthethwa (b. 1960) Wedding party, 1997

Oil pastel on paper

Signed and dated lower right: Zwelethu

Sheet: 57.5” H x 42.5” W

$2,000-3,000

Provenance: The Everard Read Gallery, Cape Town, South Africa

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a copy of a sales invoice from the Everard Read Gallery, Cape Town, South Africa, dated November 3, 1997, and with other related material about the artist, Zwelethu Mthethwa.

90

Pierre Forsell (1925-2004)

Lampett wall-mounted candleholders, for Skultuna, circa 1950s

Brass

Each marked: Skultuna / 1607 / Sweden / H10 / P. Forsell

11 pieces

Each: 19” H x 1.5” W x 3.25” D

$2,000-3,000

91

Mario Bellini (b. 1935)

Cassina Cab no. 413 chairs, late 20th century; Italy

Designed 1977

Each embossed to the underside: Cassina

Constructed entirely from die-cut red leather upholstery over a steel frame with folded armrests and legs

8 pieces

Each: 32” H x 23” W x 19” D

$3,000-5,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

92

Mario Bellini (b. 1935)

Cassina CAB no. 414 sofa, mid/late 20th century; Italy

Designed 1977

Appears unmarked

The two-seater sofa constructed entirely from die-cut red leather upholstery over a steel frame with folded armrests and legs

31” H x 46” W x 23” D

$2,000-3,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

93

Mario Bellini (b. 1935)

Cassina CAB no. 412 chairs, late 20th century; Italy

Designed 1977

Each embossed to underside: Cassina

Constructed entirely from die-cut red leather upholstery over a steel frame with folded legs

2 pieces

Each: 33.5 H x 18.5 W x 18” D

$1,000-1,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

94

20th Century American School

Abstract portrait, 1968

Oil on canvas

Signed indistinctly and dated upper right: Q[******]; inscribed indistinctly, verso 31.5” H x 31.5” W

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

95

An early American crazy quilt

Early 20th century

The patchwork quilt with various pieces of randomly sized and shaped fabric, including velvet, tartan, and jacquard fabrics, accented with decorative embroidery stitching, and overall paisley backing material

77.5” H x 59” W

$200-300

Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

96

An American velvet patchwork quilt

Early/mid-20th century

An abstract patchwork block quilt with twenty “crazy quilt” blocks of various colors of velvet and other fabrics, with patterned velvet and satin dark sashing accented with embroidered starbursts and dark velvet patchwork borders edged with feather stitch embroidery, professionally mounted within a custom acrylic shadowbox frame 48” H x 59” W approximately

$300-500

Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

97

A Colonial Revival-style quilt and a group of completed blocks

Early 20th century, American Comprising a double-sided patchwork quilt with the “Dresden Plate” pattern on one side and a variation on a “Nine Square” pattern on the reverse; along with nineteen completed quilting squares in the “Dresden Plate” pattern, 20 pieces 86” H x 73” W; Each square: 17” H x 17” W

$200-400

Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

98

An American patchwork quilt

Mid-20th century

The randomly patterned patchwork quilt, including tweed, tartan, and solid fabrics, with all-encompassing floral backing

81.5” H x 79” W

$200-300

Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

99 Richard MacDonald (b. 1946)

“Three Graces,” 1999

Patinated bronze on marble base Edition: 63/90

Signed, numbered, and dated in the casting: © Richard MacDonald / 1999

35.75” H x 25” W x 11.25” D

$15,000-25,000

100 Richard MacDonald (b. 1946)

“Nightfall,” 2012

Patinated bronze on stone base

Edition: 236/250

Signed, numbered, and dated in the casting: © R MacDonald ‘12; signed again and dated on the base: R MacDonald 2015 [sic]

14.25” H x 7” W x 8.25” D

$1,500-2,500

101

Charles-Edouard “Le Corbusier” Jeanneret (1887-1965) and Charlotte Perriand (1903-1999)

LC1 Pampas armchair for Cassina, Mid-20th century

Designed 1929

With tag: Made in Italy

Chrome frame with cowhide and black leather upholstery

25” H x 22.5” W x 24” D

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

102

Charles-Edouard “Le Corbusier” Jeanneret (1887-1965) and Charlotte Perriand (1903-1999)

LC1 Pampas armchair for Cassina, Mid-20th century

Designed 1929

With tag: Made in Italy

Chrome frame with cowhide and black leather upholstery

25” H x 22.5” W x 24” D

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

103

Charles-Edouard “Le Corbusier” Jeanneret (1887-1965) and Charlotte Perriand (1903-1999)

LC4 chaise lounge for Cassina, 20th/early 21st century

Designed 1928

Embossed under the headrest: Cassina

Chrome and black powder-coated metal frame with cow hair on hide and black leather upholstery

23” H x 62” W x 21” D

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

104

Sergio Bustamante (b. 1942)

Bust with alligators

Ceramic and paint

Edition: 4/25

Signed and numbered lower left: Sergio Bustamante 30” H x 20.5” W x 15.5” D

$2,500-3,500

105

A pair of Masaya & Co. “Momotombo” lounge chairs

Mid-20th century

Each with mahogany frame, curved back legs, and multi-colored woven strap seats and back, 2 pieces

Each: 31” H x 24.25” W x 28.5” D

$600-800

106

Late 20th century

Appears unmarked

The circular table with inset black-backed glass top, lacquered mahogany body and legs, and rectangular metal feet

25.5” H x 24” Dia.

$400-600

A Barbara Barry-style lacquered wood side table

107

Jorge Sosa Campiglia (b. 20th century)

‘’En el Centro de la Tormenta,” 1999

Wool

Sewing attached tag verso and signed: Jorge 65.5” H x 66.25” W

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions. This lot is accompanied by the artist’s CV.

108

Signed

$2,000-4,000

Provenance: LA Louver Gallery, Los Angeles, CA

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Eduardo Sarabia (20th/21st century)

“Painted Memories 2,” 2008

Oil on canvas

indistinctly, titled, and dated in pencil, verso 56” H x 78.5” W x 2” D

This lot is accompanied by a copy of a sales invoice from LA Louver Gallery, Los Angeles, CA, dated January 26, 2009, and signed by Kimberly Davis.

109 20th Century American School Abstract, 1980

Mixed media on panel

Signed and dated lower right: Braden

48.125” H x 60” W x 3” D

$500-700

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

110

Tarmo Pasto (1906-1986)

“Seven Sunflowers,” 1973 Oil on canvas

Signed and dated lower right: Tarmo Pasto; titled on a piece of brown paper affixed to the frame, verso 36” H x 30” W

$800-1,200

Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his works. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, and Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pastoís work in its permanent collection.

In 1986, four years after a retrospective was held at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers. John Moran Auctioneers is pleased to offer this work for sale for the very first time.

111

An Art Deco Revival credenza Circa 1980s-90s

In bird’s eye maple veneer with curved, streamline ends and sliding doors revealing an interior glass shelf

27.5” H x 103” W x 19” D

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Figure walking with pack mules along an aqueduct Oil on canvas

Signed lower right: Edmund DeLavy 21” H x 34” W

$2,000-4,000

112 Edmund DeLavy (1916-1989)

113

Xiong Lijun (b. 1975)

“So Happy #1,” 2006 Acrylic on canvas

Signed and dated lower left: Xiong Lijun; inscribed in Chinese lower left

39.375” H x 39.375” W

$3,000-5,000

Provenance: Shine Art Space, Shanghai, China

Property from the Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

114

Rick Dilligham (1952-1994)

“Water Jar,” 1988

Earthenware with polychrome underglaze and silver leaf Signed and dated to the underside: Dillingham / 1988 - 6

15.5” H x 9.5” Dia.

$2,000-3,000

Provenance: Linda Durham Gallery, Santa Fe, NM

The Estate of Oscar and Barbara Leidenfrost, acquired from the above

Notes: Dillingham is known for pioneering a process in which he hand-built a vessel, pit-fired it, deliberately broke it into shards, randomly painted both sides of each shard, then refired and reassembled the individual pieces and finally added additional metallic decoration.

This lot is accompanied by a sales receipt from Linda Durham Gallery, Santa Fe, NM dated April 19, 1989. Proceeds to benefit non-profit organizations and educational institutions.

Abstract Vessel

Glazed ceramic

Appears unsigned 13” H x 14” Dia.

$800-1,200

Provenance: Property of an Important New York Corporate Collection

115

Takuchi Shugo

(b. 1937)

116

Lidya Buzio (1948-2014)

Roofscape XIV, 1984 Earthenware and slip paint

Signed,

10”

$2,000-3,000

Provenance: Garth Clark Gallery, New York, NY The Estate of Oscar and Barbara Leidenfrost, acquired from the above

Notes: Proceeds to benefit non-profit organizations and educational institutions.

titled, and dated to underside: L. Buzio / 1984 [in triangle] / XIV; a Garth Clark Gallery label to underside

H x 12” Dia.

This lot is accompanied by related materials about the artist, Lidya Buzio earthenware, from the Garth Clark Gallery, Los Angeles, CA.

117

A Memphis Milano-style postmodern lounge chair

Late 20th century

Appears unmarked

With black painted plywood “U”-shaped seat and turquoise

lacquered backrest

$500-700

53.5” H x 26” W x 16” D

118

Paolo Solari

(1919-2013)

Cosanti Windbell, mid/late 20th century; Paradise Valley, Arizona Bronze and copper With cast Paolo Solari cipher 27” H x 5.5” Dia.

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

119

Charles Pollock (1930-2013)

Two No. 657 Pollock Arm Chairs for Knoll, mid-20th century

Designed 1960

Each appear unmarked

Chromed steel, black powder-coated cast aluminum, brown leather “sling”, and black leather seat cushion

2 pieces

Each: 28” H x 25” W x 25” D

$800-1,200

Peglev Rocker, mid/late 20th century

Designed 1969

Appears unmarked

Teak wood frame with tan leather “sling” upholstery

28.5” H x 24” W x 26” D

$300-500

120

Michel Arnoult (1922-2005)

121

Flavio Cabral

(1916-1990)

“Four Sisters” Oil on Masonite

Signed twice lower left: Flavio Cabral / Cabral; titled by repute 18.25” H x 60” W

$800-1,200

Provenance: Private Collection, California Private Collection, California, by descent from the above

122

(1918-1990)

$800-1,200

Provenance: Private Collection, California Private Collection, California, by descent from the above

Flavio Cabral

Portrait of two women in pink Oil on Masonite

Signed lower left: Flavio Cabral

41” H x 30” W

$2,000-3,000

123 Ed Gilliam (b. 1941)

“Picnic on the Beach,” 1985

Oil on canvas

Signed and dated verso: Gilliam; titled by repute

40.5” H x 56” W

124

A Casella “Skyscraper” brass floor lamp

Circa 1980s

With Casella label to underside

Plated-brass body with single light, electrified 72.5” H x 11” W x 7.5” D

$400-600

125

Erik Buch (1923-1982)

Two “Model 61” Walnut Bar Stools, late 20th century

Designed 1961

Each appear unmarked

Black Naugahyde upholstered seat and walnut trestle-legged frame

2 pieces

Each: 33” H x 14” W x 14.75” D

$200-300

126

A pair of Barbara Barry salon chairs

21st century

Manufactured by HBF, each with nutmeg ash frame and grey upholstered seat and back, 2 pieces

Each: 30” H x 29” W x 28” D

$400-600

127

Henry Gabriel Ibels (1867-1936)

“Tous les Soirs Antoine / Resultat des Courses,” 1898 Lithograph in colors on paper From the edition of unknown size

With the artist’s printed signature in the image near the center of the left edge: H G. Ibels; F. Hermet, Paris, prntr. Sight: 63” H x 46” W

$1,500-2,500

Auguste (1872“Plus de Lithograph From the With the center: Image: $800-1,200

Auguste Jean-Baptiste Roubille 1955)

de Murs Humides avec l’Hydropeinture Rouillon”

Lithograph in colors on paper the edition of unknown size and date the printed signature in the image, near the lower edge, at A. Roubille

52” H x 36.5” W; Sight: 53” H x 37” W

$800-1,200

129

Two Chinese ceramic teapots

18th century or earlier

Possibly as early as Song Period, each with white glaze, one with blue floral motifs, 2 pieces

White: 2.75” H x 3.875” W x 3” D; blue: 2.875” H x 5.75” W x 4” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

130

Zhou Brothers

(b. 1952 & 1957)

“Life Temperament”

Terragraph in colors on paper

Edition: 102/425

Signed and numbered in pencil at the lower edge: Zhou B. 9.5” H x 8” W

$300-500

Provenance: Nahan Galleries, New York, NY

Notes: This lot is accompanied by a handwritten note from Nahan Galleries, New York, NY, dated January 1, 1996, wishing a Happy New Year with the original Terragraph from the Zhou Brothers. Also included are other materials regarding the Zhou Borther’s artistic experience and terragraphs. All items, plus the terragraph in this lot, are enclosed in an original white folder.

131

Randy Lee White (b. 1951)

“Exploit Portrait,” 1983 Mixed media on panel

Signed and dated in ink lower right: R Lee White; signed again lower right; titled, dated again, and inscribed in ink lower left: Finished This Day 5-28-83 At Oscar & Barbara Leidenfrost Home, L.A. Calif. Sight: 57.5” H x 39.75” W

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

133

An Art Deco wrought iron folding screen

Circa 1930

With three panels of scrolls and leaves 66” H x 20” W x 0.5” D

$400-600

132

A Harry Bertoia-style “Sonambient” metal floor lamp

Late 20th century

Stamped to the base: B & L

The white enameled steel frame lamp with small, kinetic rods radiating from a circular base, electrified 36” H x 8” Dia.

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: In the early 1970’s designer and sculptor Harry Bertoia and his son Val, made hundreds of sound sculptures. These sculptures represent Harry Bertoia’s formation of Sonambient, meaning sound and motion. This lamp is in the manner of those sculptures.

Proceeds to benefit non-profit organizations and educational institutions.

Robert Longo (b. 1953)

The American artist Robert Longo (b. 1953) is widely series that are arguably among the most recognizable

Between 1977 and 1983, Robert Longo created 60 business attire captured in exaggerated and contorted source of his inspiration for the series. In the movie’s flying in a dramatic recoil.

Seeking to capture the theatricality of the moment serve as subjects for the series. Pummeling them with that range from eerie to dance-like. Today, the “Men New York art scene of the 1980s.

widely known for his hyperrealistic charcoal drawings, though it works from his “Men in the City” recognizable images that the artist ever created.

60 hyperrealistic drawings and a series of prints showing men and women in professional contorted bodily poses. The artist identified the film “The American Soldier” (1970) as the initial movie’s final scene, as two gangsters are gunned down unexpectedly, their bodies are shown

moment a body is hit by a bullet, Longo began recruiting his friends and fellow photographers to with tennis balls and surprising them with loud noises, Longo captured his subjects in poses “Men in the City” series is one of the most memorable to have emerged during the tumultuous

134

Robert

“Jules, Gretchen, Mark (State II),” from “Men in the Cities” series, 1983 Lithograph with embossing on paper

One of four printer’s proofs aside from the edition of 30 (plus 10 artist’s proofs) in this state

Signed and dated in pencil in the lower right margin corner: R Longo; numbered in the lower left margin corner: PP 4/4; Maurice Sanchez, Derriere l’Etoile Studios, Long Island City, NY, prntr.; Brooke Alexander Inc., New York, pub.

Image overall: 30.125” H x 53” W; Sheet: 36.5” H x 67.75” W

$15,000-20,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

“State II” in the title of this work refers to the fact that Longo printed an edition (i.e. “State I”) of 45 impressions for each of these figures on separate sheets of paper before combining them as one image on a single large sheet of paper.

Longo (b. 1953)

135

David Hockney (b.1937)

‘’Celia 8365 Melrose Ave, Hollywood,” 1973

Lithograph on cream wove paper, watermark Arches

Edition: 9/46 (there were also 11 artist’s proofs)

Signed, titled, dated, and numbered in red pencil along the lower margin edge; Gemini G.E.L., Los Angeles, CA, pub., with their blindstamps at the lower right margin corner on the recto, and their black ink stamp and pencil work number in the same area on the verso

Sheet: 47.5” H x 31.5” W

$8,000-12,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a printed information sheet from the website of Tanya Baxter Contemporary Gallery (London, Hong Kong, Longford, Heathrow). It was found in the Leidenfrost files and may or may not relate to the exact impression of this Hockney lithograph offered here.

The textile and fashion designer Celia Birtwell has been the subject of a number of works by David Hockney, the earliest dating to 1968. A close friend of the artist, Birtwell regularly traveled from the United Kingdom to Los Angeles to visit Hockney who had a tradition of creating a portrait of her upon each arrival.

Created at the Gemini G.E.L. workshop, which was located at 8365 Melrose Avenue in Hollywood in 1973, Hockney’s print is as much a portrait as it is a document of the exact moment he created it. Hanging on the wall behind Celia is a print of a mountain, “Snow” from Hockney’s “Weather” series,” also completed in 1973.

Other impressions of this print are held in the collections of the Fine Art Museums of San Francisco, the Metropolitan Museum of Art, the Walker Art Center in Milaukee, the Morgan Library, and the National Gallery of Art in Washington, D.C.

136

Sadao Watanabe (1913-1996)

“Grapes of Canaan,” 1970

Katazome stencil print on handmade paper

Edition: 7/70

Signed, dated, and numbered in the lower margin: Sadao Watanabe

Sight: 25.5” H x 21.5” W

$600-800

137

Sadao Watanabe (1913-1996)

“The Presentation,” 1974

Katazome stencil print on handmade paper

Edition: 10/70

Signed, dated, and numbered in white in the lower margin: Sadao

Watanabe

Image/Sheet: 25” H x 22.5” W

$600-800

140 Bill Mack (b. 1949)

“Rhapsody,” circa 1993 Fiberglass composition

Edition: 2/75

Signed and numbered in the casting: Bill Mack; titled by repute 13.5” H x 35” W x 4.5” D

$1,000-2,000

141 A Poltrona Frau Chesterfield sofa 21st century

Upholstered in white leather with tufted backs and rolled arms 26” H x 56” W x 36” D

$500-700

Provenance: Private Collection, Bel Air, CA

$500-700

Provenance:

142 A Poltrona Frau Chesterfield sofa 21st Century Upholstered in white leather with tufted backs and rolled arms

26” H x 56” W x 36” D

Private Collection, Bel Air, CA

143

A Chinese Jingdezhen enameled eggshell porcelain bowl

Mid/late 20th century; China

Marked to the underside with a “Jingdezhen Zhi” reign mark in red enamel

The enamel painted and gilt porcelain bowl with various Buddhist figures and iconography including depictions of conquering a tiger and taming a dragon in primarily shades of red with gilt accents as well as an inscription in Chinese characters on the exterior and a central dragon surrounded by scrollwork on the interior

4.25” H x 10” Dia.

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

144

A Chinese Jingdezhen enameled porcelain eggshell bowl

Mid/late 20th century; China

Marked to the underside with a “Jingdezhen Zhi” reign mark in red enamel

The enamel painted porcelain bowl with several highly detailed court scenes within a wooded, lakeside setting on the exterior and a central Phoenix surrounded by stylized floral and scrollwork motifs on the interior

6.75” H x 17.5” Dia.

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

145

A George Nelson-style L-shaped executive desk

Mid-20th century

The mid-century modern L-shaped modular desk with floating top over a drawer and filing cabinet, connecting to a long cabinet with two drawers and six open compartments, on a black plinth base 29.25” H x 65” W x 87.5” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

146

Katharine Calvin (20th century)

Two girls holding a platter of fruit Oil on canvas

Signed on the stretcher: K. Calvin

24” H x 20” W

$1,500-2,500

Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “Women in Art,” October 23, 2018, Lot 83

147

A P.E. Guerin-style brass and glass coffee table

Mid/late 20th century

Appears unmarked

The sculpted glass tabletop suspended between four articulated foliate brass legs

17” H x 54” W x 30” D

$500-700

148

Adolph Gottlieb (1903-1974)

“Red Ground Maroon Disc,” 1966

Screenprint in colors on paper

Edition: 38/50

Signed, dated, and numbered in pencil in the lower margin: Adolph Gottlieb; titled, dated, and numbered again on a gallery label affixed to the frame’s backboard

Image: 20” H x 15” W; Sheet: 24” H x 18” W

$2,000-4,000

Provenance: Marlborough Graphics Gallery, New York, NY

Property from the Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

The Marlborough Graphics Gallery label affixed to the frame’s backboard includes a black ink notation that reads, Mr. Julian Ganz, Jr.

Beginning in 1957, Adolph Gottlieb began creating a series of work that later became known as his “Burst” series. Each of these works show two spheres: one of which is relatively uniform in shape, hovering above another that appears to have burst suddenly - and violently - apart.

The Abstract Expressionist movement emerged in New York City in the immediate aftermath of World War II. Gottlieb, like all of his contemporaries, shared a collective fear of nuclear annihilation in the years that followed the use of nuclear weapons against Japan in 1945.

While some art historians have described the two spheres found in Gottlieb’s “Burst” series as representing the sun, which remains uniform in shape as a nuclear weapon explodes beneath it, alternate interpretations for this imagery have also been put forth. One alternate interpretation of this imagery is closely tied to the ideas of the philosopher Carl Gustav Jung, which suggests that the hovering sphere represents the dominance of reason above the more mercurial element of the human mind: the unconscious. Both readings remain possible, as Gottelieb - along with the artist Mark Rothko - wrote in a 1943 letter published in the New York Times that they “favour[ed] the simple expression of the complex thought.”

Other impressions of this print are held in the collections of the Smithsonian American Art Museum and the Cleveland Museum of Art.

Related artists include William Baziotes, Lynne Drexler, Friedel Dzubas, Sam Francis, Helen Frankenthaler, Michael Goldberg, Arshille Gorky, Philip Guston, Hans Hofmann, Franz Kline, Willem de Kooning, Elaine de Kooning, Lee Krasner, Alfred Leslie, Morris Louis, Joan Mitchell, Robert Motherwell, Louise Nevelson, Barnett Newman, Kenneth Noland, Jules Olitski, Ray Parker, Jackson Pollock, Richard Pousette-Dart, Robert Rauschenberg, Ad Reinhardt, Milton Resnick, Larry Rivers, Mark Rothko, Hassel Smith, Theodoros Stamos, Clyfford Still, Mark Tobey, Bradley Tomlin, Cy Twombly, Jack Tworkov, Esteban Vicente, and Jack Youngerman.

149

Edward Ruscha

(b. 1937)

“Boiling Blood, Fly,” 1969 Lithograph in colors on wove paper

An artist’s proof aside from the edition of only 20 Signed, dated, and inscribed in pencil along the lower margin edge: E. Ruscha; Tamarind Lithograph Workshop, Inc., Los Angeles, CA, prntr./pub., and with their blindstamps; annotated Calendered Rives and with the workshop number 2548 in pencil, verso Image: 8” H x 9.875” W; Sheet: 11.875 x 13.625

$8,000-12,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

In 1969, Ed Ruscha was invited to create a series of prints with the Los Angeles-based Tamarind Lithography Workshop. Established in 1960 by the artist June Wayne, the workshop was established with the intention of bringing greater attention to the possibilities of lithography as a printmaking medium with funding from the Ford Foundation.

“Boiling Blood,” a lithograph in colors on paper, was created in a small edition of only twenty impressions; this particular image is an artist’s proof aside from the regular edition. Dating to an early period in the artist’s career, “Boiling Blood” is a notable example of Ruscha’s early experimentation with the lithography medium.

Other impressions from this edition can be found in the collections of the Norton Simon Museum, The Amon Carter Museum of American Art, the Museum of Modern Art, the National Gallery of Art in Washington D.C., the Yale University Art Gallery, and the Los Angeles County Museum of Art.

Related artists include John Anthony Baldessari, Robert Barry, Larry Bell, Billy Al Bengston, Mel Bochner, Robert Cottingham, Jim Dine, Charles Gaines, David Hockney, Robert Indiana, Jasper Johns, Alex Katz, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Ed Moses, Bruce Nauman, Claes Oldenburg, Richard Pettibone, Larry Rivers, Kay Rosen, James Rosenquist, Kenny Scharf, Frank Stella, Wayne Thiebaud, Lawrence Weiner, and Tom Wesselmann.

150 Estelle Goodman (20th Century)

“Escape,” 1964

Patinated bronze

Signed and dated on the base: Estelle Goodman

13.5” H x 8” W x 4” D

$200-400

Provenance: Property of an Important New York Corporate Collection

151

Malick Sidibe

(1936-2016)

“Les deux jumelles,” circa 1975

Gelatin silver print on photographic paper

From the edition of unknown size and date, this example possibly printed in 1978

Signed, initialed, dated, and inscribed in ink in the lower margin: Malick Sidibe / Cadeau Anniversaire pour Mme Barbara / Bamako / 31-10-2006; titled by repute; annotated and in pencil, verso, in another hand: 1978 / gelatin silver print

Image: 11” H x 11” W; Sheet: 15.75” H x 12” W

$3,000-5,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

152

A modern etched glass fireplace screen

Late 20th/early 21st century

Appears unmarked

The glass panel with an etched geometric pattern and chrome supports

33.5” H x 42” W x 4” D

$500-700

154

Antonio Citterio (b. 1950)

Visa lounge chair for Vitra, 21st century

Each with cloth Vitra tag

White Naugahyde upholstery, black piping, and tubular chrome metal frame

2 pieces

Each: 29” H x 24” W x 21” D

$600-800

A modern Neal Small-style faceted wall mirror

the style of “Slopes” by Neal Small, with a multi-plane faceted

155

A Rextite “Contrattempo” plastic and aluminum wall clock

Late 20th century

Embossed label on the verso: Rextite / Made in Italy; further marked: 987 / Contrattempo

/ design Raul Barbieri e Giorgio Marianelli

Designed by two members of Sottsass’ Memphis design collective, the silver clock face features a suspended black pendulum that perpetually moves left to right while appearing to “float” in space

1.5” H x 17.75” Dia.

$100-200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

“Museum” Wall Clock Model no. 4628 for Howard Miller Clock Co., mid/late 20th century

Designed 1969-70

With paper label on the verso: Howard Miller / Museum Wall Clock / designed by Nathan George Horwitt / Selected by The Museum of Modern Art Design Collection 1970 White powder-coated metal case and black powder-coated metal face and glass face

2.5” H x 12.75” Dia.

$100-200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

156

Nathan George Horwitt (1898-1990)

157

A Memphis Milano-style postmodern marble dining table Circa 1980s; Italy

Appears unmarked

The “U”-shaped, Carrera marble top “floating” table with off-set chrome conical pedestal base accented with red powder-coated tubular banding 30” H x 42” W x 63” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

158

Mario

Four Seconda armchairs for Alias, late 20th century

Designed 1982

Each with embossed: Alias Italy

Black enameled steel frames and perforated steel seats with polyurethane cylindrical back cushions

4 pieces

Each: 28” H x 20.5” W x 20” D

$1,800-2,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Botta (b. 1943)

159

(b. 1946)

“Black Narcissus,” 1996

Solarized gelatin silver print

Signed,

Sight: 17.875” H x 13.875” W

$600-800

Provenance: Armory Center for the Arts, Pasadena, CA

Joel Glassman

titled, and dated in ink on the frame’s backing paper: J. Glassman; titled again on a gallery label affixed to the frame’s backing paper

160

Patssi Valdez (20th century)

“Red Rain,” 1993

Oil on canvas

Signed lower right: Valdez; signed again and dated verso; titled in ink on accompanying receipt 36” H x 24” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

1993.

This lot is accompanied by a paper receipt showing that “Red Rain,” was sold to Barbara Leidenfrost on, July 18,

Untitled

Mixed media on artist board

Signed and dated lower right: W Bester

16” H x 34” W

$1,000-1,500

Provenance: VGallery, Kommetjie, South Africa

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales invoice from the VGallery, Kommetjie, South Africa, dated August 1, 2000, and other materials related to the invoice. This lot is also accompanied by miscellaneous documents from the Goodman Gallery related to this artist. As well as a curriculum vitae of the artist, Willie Bester.

161

Willie Bester

(b. 1956)

162

Debra Huse (21st century)

Lifeguard tower 15

Pastel on paper

Signed lower right: Huse

Sight: 38” H x 30” W

$800-1,200

Provenance: The Gregory Gallery, Newport Beach, CA

163

An Anagama earthenware studio vessel

20th century

Marked to the underside: [arrow]

The persimmon-shaped spheroid vessel with a scalloped rim and characteristic “ash” glaze surface of wood-kiln firing

11” H x 9” Dia.

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

164

Elliott Newton (1937-2015)

Three crystalline glazed vessels Ceramic

Each with incised signature to underside: Elliott 3 pieces

Larger: 22.5” H x 11” D x 9.5” D; smaller: 20” H x 6.5” Dia.

$700-900

165

$300-500

Steve Stein

(b. 1935)

“All Together”

Felt pen in colors on paper

Signed lower right: Stein; titled on a label affixed to the frame’s backing paper 30” H x 22.25” W

166

Anton Heyboer (1924-2005)

Untitled, 1982

Intaglio and mixed media in colors on paper, watermark Van Gelder Zonen

Signed and dated lower left: Anton Heyboer

Image/Sheet: 25.375” H x 39.25” W

$1,000-1,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Natalia Dumitresco (1915-1997)

Natalia Dumitresco was born in Bucharest, Romania. Alexandre Istrati, in 1947. While in Paris, the couple 1957. She and Istrati were the driving force behind institutional attention that it has today.

As an artist, Dumitresco gained recognition for her during her career. This artist organization, which cited its members” a roster that included Jean Arp and and worked in Paris until she died in 1997. She and Montparnasse in Paris.

Romania. However, she spent most of her life in Paris, where she moved with her husband, couple became very close with the artist Constantin Brancusi, who they lived with until he died in behind the restoration of the Brancusi workshop in 1977, in addition to helping his work gain the

her austere style of geometric abstraction that aligned her with the Salon des Realites Nouvelles cited Wassily Kandinsky as a significant influence, was dedicated to producing abstract art by Sonia Delaunay. Dumitresco was the recipient of the Kandinsky prize in 1955, and she lived and her husband Alexandre Istrati are buried with Constantin Brancusi at the Cimetiere du

167

Natalia Dumitresco (1915-1997)

“Abstract No. 15,” 1960

Gouache and ink on oatmeal-color paper

Signed and dated in ink lower left: Natalia Dumitresco; inscribed with the artist’s name and Parisian address, verso, possibly in another hand; titled by repute Image: 12.5” H x 18.5” W; Sheet: 16.125” H x 22.875” W

$1,000-1,500

Provenance: Galleria Hybler, Copenhagen, Denmark Private Collection, acquired from the above in 1968 Private Collection, by descent from the above

168

Steven Sorman (b. 1948)

Untitled, 1973

Mixed media and collage on paper

Signed and dated in pencil along the lower edge, at right: Steven Sorman / 7.19.73; possibly titled across lower portion of the image with black ink-stamped letters: Tree Sparkleberry 22.25’’ H x 22.25’’ W

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit a variety of non-profit organizations and educational institutions.

169

20th Century American School

Behind the scenes set of “Rear Window”

Photograph on paper

From the edition of unknown size and date

Appears unsigned

Sight: 20”H x 23.5”W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

170

20th Century American School

Cabaret

Photograph on paper

From the edition of unknown size and date

Appears unsigned

Sight: 20” H x 23.5” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

171

Untitled, 1981 Silver gelatin print on paper

From the edition unknown size

Signed and dated in pencil lower right of the mat board: Pat Alt

$400-600

Patrick Alt (1950-2013)

Image: 14.875” H x 14.875” W; Sight: 15.5” H x 15.5” W

172

Charles-Edouard “Le Corbusier” Jeanneret (1887-1965) and Charlotte Perriand (1903-1999)

Two LC2 Petit Modele Armchairs for Cassina, 20th century

Designed 1928

Each with Atelier international tag

Each with tubular chrome frame and black polyurethane faux leather upholstered cushions

2 pieces

Each: 26.5 H x 27.5 W x 26” D

$3,000-4,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

The LC2 design was legally licensed by Atelier International.

173

Jonathan de Pas (1932-1991) and Studio DDL (founded 1966)

“Abracadabra” Shelving Unit for Zerodisegno, circa 1990-1999; Italy

Designed 1990

Embossed to the metal gaskets: ZeroZero

White enameled and polished steel frame with four textured glass shelves

Overall: 90 H x 44 W x 13.5” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

174

A

Late 20th/early 21st Century

Appear unmarked

With a contemporary, trapezoidal Lucite base and thick beveled glass top 35” H x 30.75” W x 10” D

$400-600

postmodern Lucite and glass console table

175

A free-form aluminum and frosted glass dining table

21st Century

With outswept, spiraling legs in white powder-coated aluminum and a rectangular tempered, frosted glass top with pull-out extensions

29” H x 74.5” W x 41.5” D; Extended: 114.5” W

$700-900

Provenance: Private Collection, Hidden Hills, CA

176

A cold-painted Vienna bronze cat photographer sculpture

20th century; Austria

Appears unmarked

The tabletop sculpture of a cat positioned behind a Daguerreotype

camera

$500-700

8” H x 2” W x 5.25” D

177

Annette Bird (1925-2016)

“The History Lesson,” 1990

Bronze, wood, and mixed media

Signed in pencil to the underside: Annette Bird / 1990 / The History Lesson 12.25” H x 18” W x 11.75” D

$300-500

Provenance: Pasadena Art Alliance, Pasadena, CA

The Estate of Oscar and Barbara Leidenfrost, acquired from the above

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales receipt from the Pasadena Art Alliance, Pasadena, CA dated May 4, 1996.

178

A group of polychromed carved wood masks

Early/mid-20th century; Indonesia and Mexico

Each appears unmarked

Four carved and painted wood masks comprising one Balinese “Rangda” mask, depicting the fearsome “demon queen”, replete with real animal tusks, along with two Javanese dance masks, and a Mexican Guerrero-style festival mask, 4 pieces

Largest: 11” H x 8.5” W x 6.5” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceed to benefits non-profit organizations and educational institutions.

179 Michael Bryan (b. 1947)

Beach scene with figures, 1989 Oil on canvas

Signed lower right: Bryan; signed again and dated verso 60” H x 72” W

$2,000-3,000

180

Eloisa Schwab (1894-1990)

House by the bay Oil on canvas

Signed lower right: Eloisa Schwab

16” H x 20” W

$500-700

Couple relaxing at the beach Oil on canvas

Signed lower left: Cosby

36” H x 42” W

$800-1,200

181 John Cosby (b. 1955)

182

Yolande Ardissone (b. 1927)

Houses in a field of flowers

Oil on canvas

Signed lower right: Ardissone

18.5” H x 22” W

$2,000-3,000

Provenance: Wally Findlay Galleries, Beverly Hills, CA

183

Yolande Ardissone

(b. 1927)

Figures walking through a path of flowers

Oil on canvas

Signed lower right: Ardissone

18.5” H x 22.25” W

$2,000-3,000

Provenance: Wally Findlay Galleries, Beverly Hills, CA

184

Three Yaacov Kaufman for Lumina “Multi X” aluminum lamps

Circa 1980s, Italy

Each marked: Comelit / Made in Italy

Comprising two table lamps and one floor lamp, each with an articulating “X”linked wire neck and halogen bulb, electrified, 3 pieces

Floor lamp: 58” H x 6” w x 6” D; each table lamp: 30.5” H x 6.5” W x 6.5” D

$300-500

185

A group of Amat-3 Imax chairs

21st century

Each marked to underside: a3 / Amat / Imax / Design Amat / Made in Spain

Each yellow polyurethane foam with steel legs, 7 pieces

Each: 31” H x 17.5” W x 18.75” D

$600-800

“Mountain Autumn,” from “Mountain Suite,” 1979 Woodcut in colors on Japanese paper From an open edition of unknown size

Signed and titled in pencil in the lower margin: Sabra Field

$600-800

$500-700

186 Sabra Field (b. 1935)

Image: 14.5” H x 10” W

188 John Pasche (b. 1945)

The Rolling Color poster Signed: John corner with created & Sheet: 24”

187

Carol Summers (1925-2016)

Untitled, for “The Paris Review,” 1967 Screenprint in colors on paper Edition: 22/150

Signed, dated 1968, and numbered in pencil along the lower edge; published to benefit The Paris Review Foundation Sight: 38” H x 25” W

$200-400

Pasche

Rolling Stones logo

poster on satin wove paper, annotated by the artist John Pasche as well as annotated in black and red ink in the lower right with a smaller version of the tongue and lips logo as well as a statement, “I & designed the Rolling Stones’ logo in 1970 24” H x 18” W

189

Three Mecox Garden acrylic swiveling stools

21st century

Each appears unmarked

Each waterfall-style acrylic stool with a faux suede upholstered swiveling seat

Each: 19” H x 18.5” W x 17” D

$300-500

190

A Kaizo Oto for Design Institute America mixed metals console table

Circa 1980s

The Postmodern console with a brass and chromed, patinated, brushed, and enameled steel geometric base and a rectangular beveled glass top

27.5” H x 48” W x 14” D

$800-1,200

A group of Yixing Zisha ceramic teapots 20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha clay in various traditional forms, 4 pieces

Largest: 3.5” H x 5.875” W x 4” D; smallest: 3.25” H x 4.5” W x 2.5” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha and banshanlu clay in various traditional for ms, 5 pieces

Largest: 3.75” H x 4.125” W x 2.25” D; smallest: 2” H x 3.25” W x 2.125” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

193

A large Beatriz Ortega Ruiz lacquerware charger 2003; Patzcuaro, Michoacan, Mexico

Signed to the underside: Beatriz Ortega / 30 de Decembre 2003

The intricately decorated lacquer dish with floral and butterfly motifs interspersed with gilt foliate accents on a red and black ground; along with a painted wood display stand, 2 pieces 22.5” Dia.

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Mario Agustín Gaspar is a Mexican artisan known for his work in “maque” a pre-Hispanic lacquer and “pasta de caña” sculptures made from a corn-stalk paste. He works in the lakeside town of Pátzcuaro, Michoacán, along with his wife, Beatriz Ortega Ruiz, also an artisan in her own right. Maque is a preHispanic lacquering technique which Mario Agustin Gaspar prefers, but more modern lacquering, called “laca” is done at the workshop, mostly by Ortega Ruiz. She draws her designs from memory, most of which are traditional, but she has a few of her own invention.

Proceeds to benefit non-profit organizations and educational institutions.

194

A large Burmese “Yun” lacquered storage chest

Early/mid-20th century; Pagan (Bagan), Myanmar Marked to the underside: [flower within a turtle]

The lidded storage box with red, green, and yellow lacquer incised with decorative motifs of “orchid scrolling” and figures in court scenes to the exterior; as well, one inset tray decorated with foliate motifs on the interior

11” H x 24” W x 8” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

195

A Yoruba “Apa Ifa” diviner’s beaded leather and cloth bag

Early/mid-20th Century, Yoruba Peoples, Nigeria, Africa

The shadowbox-framed bag with three beaded mask motifs, two red and one yellow and black chevron-patterned, each representing various deities, on the front flap; all framed by a green beaded ground and floral and geometric motifs in red and yellow beads, terminating in three yellow beaded tassels

In frame: 18.625” H x 19.25” W x 5” D

$300-500

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

Notes: A Yoruba diviner (babalawo) would have carried this beaded leather bag to transport divining implements during his travels. The bag is used by a diviner to carry the set of sixteen palm nuts (ikin), the divining chain (opele), and other ritual accessories. In fact, diviners, who lead a peripatetic lifestyle, are commonly known as “carriers of bags” (akapo). This bag’s beadwork calls upon many different deities for protection: green and yellow beads refer to Ifa (the Yoruba system of divination); red faces to the god Ogun; and a chevron pattern to the god Sango. The floral pattern, however, marks the influence of Victorian textiles - present during the period of British colonialism - on Yoruba design.

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha, banshanlu, and zhusha clay in various traditional forms, 4 pieces

Largest: 3” H x 4.75” W x 3.125” D; smallest: 2.25” H x 5.5” W x 4.125” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

197

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of banshanlu and zhusha clay in various traditional forms, one with a wooden stand, 4 pieces

Largest: 4.625” H x 4” W x 3.75” D; smallest: 2.75” H x 5.75” W x 3.875” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

198

(1859-1923)

“Journee Serbe, 25 Juin 1916”

Lithograph in colors on paper

From the edition of unknown size and date

Appears unsigned; with the printed signature and date in the image lower right: Steinlen / 1916; I. Lapina, Paris, prntr.

Image: 46.25” H x 29.5” W; Sight: 47” H x 31” W

$800-1,200

Theophile Steinlen

199 Leonard E Creo (1923-2019)

Untitled Oil on canvas

Signed lower right: Creo

34” H x 28” W

$600-800

200

Henry Albert Botkin

(1896-1983)

“The Legend”

Oil on canvas board

Signed [reinforced] lower left: Botkin; titled on a gallery label affixed to the frame’s backing paper

Sight: 15.25” H x 7.75” W

$500-700

Provenance: Babcock Galleries, New York, NY

201 Victor Czerkas (1914-2003)

Untitled

Oil on canvas

Signed lower right: Czerkas

16” H x 20” W

$500-700

202

20th Century American School

Untitled Oil on canvas

Appears unsigned; possibly dated or numbered in the lower right: 70 30” H x 24” W

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

“Pollock (Jackson Pollock 1950) #1” from “Inside the Artist’s Studio,” 2002

Photograph in colors on paper mounted to panel

Edition size and printing date unknown

Appears unsigned; titled by repute

16” H x 20” W x 2.25” D

$300-500

Literature: Monroe Denton, “The Artist’s Studio: Painting, Photographs and Sculpture By Joe Fig” (Miami Beach: Bass Museum of Art, 2005)

Notes: Joe Fig is a multi-media American artist and is best known for his use of visual culture to explore the creative process. Some of his early work brought attention to the artist’s workspace, therefore, he started creating reproductions/miniature replicas of studio spaces of prominent artists. Specifically, for this lot, the workspace that has been replicated and photographed is Jackson Pollock’s studio.

203 Joe Fig (b. 1968)

204

20th Century American School

Gene Wilder on the set of “Young Frankenstein”

Photograph on paper

From the edition of unknown size and date

Appears unsigned

Sight: 15.5” H x 19.5” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

205

20th Century American School

Marilyn Monroe in hair and makeup

Photograph on paper

From the edition of unknown size and date

Appears unsigned; inscribed in the image in the lower edge, at center: 910-S-17

Sight: 13.75” H x 10.75” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

206

20th Century American School

Behind the scenes of the film “Gentlemen Prefer Blondes”

Photograph on paper Appears unsigned

Sight: 13.75” H x 10.75” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

207

20th Century American School

Audrey Hepburn in “How to Steal a Million”

Photograph on paper

From the edition of unknown size and date

Appears unsigned

Sight: 15.75” H x 19.75” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

208

20th Century American School

Joan Crawford

Photographs on paper

From the edition of unknown size and date

Appears unsigned

Sight of each: 7.25” H x 7.25” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

209

20th Century American School

Marilyn Monroe

Photograph on paper

From the edition of unknown size and date

Appears unsigned

Sight: 13.75” H x 10.75” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

210 Philip Moulthrop (b. 1974)

Ashleaf Maple Globe

Ashleaf maple wood

Signed, inscribed, and numbered to underside: PM / Philip Moulthrop / Ashleaf Maple / 5860

8” H x 10.25” Dia.

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

211

Bob Stocksdale (1913-2003)

Bowl, 1991

Snake wood

Signed, inscribed, and dated: Snake wood / from / Surinam / Bob Stocksdale / 1991

3.125” H x 7.5” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a copy of a correspondence between the collector and artist detailing the vessel’s sale, dated September 25, 1991 and a copy of a hand-written response from the artist.

212

A group of turned wood vessels

Three works:

Jack Straka (b. 1934)

Bowl, circa 1987

Norfolk pine wood

Signed and inscribed: Straka / Norfolk pine wood

11.5” H x 8.75” Dia.

John Jordan (b. 20th century)

“Lidded Hollow Vessel,” 1990

Red maple burl

Signed, dated, and inscribed: John / Jordan / 1990 / Red Maple Burl

11.5” H x 8” Dia.

Gerald Filipelli (b. 20th century)

Bowl, 2004

Cook Island pine

Signed, dated, and inscribed: Filipelli 8.5” H x 10.5” Dia.

3 pieces

$400-600

Filipelli / 2004 / Cook Pine

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales receipt for the Jack Straka vessel from Highlight Gallery, Mendocino, CA dated August 21, 1987, the Gerald Filipelli bowl from Arthur Dennis Williams Gallery, Paia, Maui, HI dated September 11, 2004, and an artist’s biography with published photograph of the John Jordan vessel.

Image/Sheet: 11.125” H x 15” W

$1,000-2,000

213 Damian Elwes (b. 1960)

“A View of Los Angeles (Without the Smog),” 1989

Mixed media on paper, watermark C.M.Fabriano

Signed, titled, and inscribed in pencil, verso: Damian Elwes / Much Love; titled again on a sheet of paper affixed to the frame’s backboard

214 20th Century American School

Untitled

Ink drawing on a paper placemat over blue paper

Appears unsigned

Image/Sheet: 7” H x 11” W

$300-500

Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

215

A group of Chinese Jingfa cloisonne vessels

Mid/late 20th century

One with foil label to the underside: JINGFA; others with various paper labels

Four polychrome enameled brass vessels manufactured by the Jingfa cloisonne factory comprising a near pair of lidded jars each with an all-over floral motif, one lidded ginger jar with floral and cloud motifs, and a tall baluster vase with floral and butterfly motifs, 4 pieces

Largest: 16.5” H x 6.5” Dia.; smallest: 5.5” H x 4” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

216

Richard Schultz (1926-2021)

Four Topiary Lounge Chairs with ottoman for Knoll, late 20th/early 21st century

Designed 1988

Each appears unmarked

Bent, stamped, and folded aluminum sheet with green powder coating

5 pieces

Each chair: 33.5 H x 27 W x 20” D; ottoman: 16” H x 19” W x 20” D

$1,200-1,500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

217

Marco Maran (b. 1963)

X3 Design Chairs for Maxdesign, circa 2000s

Each marked: X3 Design Marco Maran for Maxdesign / Made in Italy

Each seat with lattice-style polyurethane injected with translucent polycarbonate on chrome-plated steel legs, comprising eight green and two blue, 10 pieces

Each: 30” H x 19” W x 20” D

$700-900

218

Ray and Charles Eames Aluminum Group Executive Designed 1958 Appears unmarked Cast aluminum frame with base with casters 33” H x 22” W x 20.5” D

$700-800

Provenance: The Estate

Notes: Proceeds to benefit

Eames (1912-1988 and 1907-1978)

Executive Chair for Herman Miller, late 20th century

with arms and black leather upholstery cushions, on a four legged D of Oscar and Barbara Leidenfrost benefit non-profit organizations and educational institutions.

219

A group of Baccarat “Nelson” crystal candlesticks

20th century

Each with etched marks for Baccarat

Three hexagonal pillar-style glass candlesticks comprising two tall sticks and one slightly shorter, 3 pieces

Larger: 17.5” H x 6.25” Dia.; smaller: 13” H x 6.25” Dia.

$1,000-1,500

220

Bill Curry (1927-1971)

Stemlite Floor Lamp, circa 1960s

Designed 1962

With label to the socket base: Stemlite by Design Line Inc.® Blown, frosted glass “mushroom” shade on a cast aluminum base 16.5” H x 27.5” Dia.

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

221

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

A Walter von Nessen modern chrome floor lamp Circa 1960s; Bronx, New York Paper label to the underside; Nessen / Bronx, Manufactured by Nessen Studios, the chrome-plated floor lamp with adjustable swing arm and circular base, electrified 42” H x 19.5” W x 9.5” D

222

A Rosenthal “Suomi” porcelain dinner service

Circa 1996

Each marked; Rosenthal / studio-linie / Germany

Designed by Timo Sarpaneva with the “Anthracite” black trim decoration, comprising 11 service plates (11.75”), 10 dinner plates (9.75”), 10 salad plates (7.75”), 10 bread plates (6.375”), 10 rim soup bowls (8.375”), 11 cream soup bowls (4.125”), 11 soup bowl saucers (7.125”), 8 fruit/dessert bowls (4.125”), 1 round vegetable bowl (6”), a pair of salt and pepper shakers (2.875”), 1 coffee pot (8.5”), 1 teapot (6.5”), 1 creamer (3.75”), 1 sugar bowl (3.5”), 11 tea cups (3.625”), 10 tea cup saucers (6.125”), 1 covered vegetable serve with handle (8.25”), 1 covered sauce boat with handle (5.25”), 1 large serving platter (15.25”), 1 medium serving platter (13.25”), 1 large sandwich tray (14”), 1 relish dish (9.75”), 115 pieces

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions. This lot is accompanied by original pamphlet and price list.

223

Tarmo Pasto (1906-1986)

Horse in rolling hills Oil on canvas

Signed lower center: Tarmo Pasto 22” H x 48” W

$1,000-1,500

Notes: Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his works. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, and Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pastoís work in its permanent collection.

In 1986, four years after a retrospective was held at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers. John Moran Auctioneers is pleased to offer this work for sale for the very first time.

224

Roberto Gutierrez

(b. 1944)

Cityscape, 1995

Mixed media on paper

Signed and dated lower right: Roberto Gutierrez

Image/Sheet: 22.5” H x 30” W

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a red binder labeled, “Robert Gutierrez Art Resume,” which includes a handmade card addressed to Barbara Leidenfrost, signed and dated in ink by Roberto Gutierrez in 1996. This binder also includes a detailed record of exhibitions, collections, posters titled by Gutierrez, articles, etc.

$800-1,200

Provenance: Terrence Rogers Fine Art, Santa Monica, CA

225 Patricia Chidlaw (b. 1952)

“Palace Shoe Shine,” 2001

Oil on canvas

Signed lower right: Chidlaw

24” H x 24” W

226 Patricia Chidlaw

(b. 1952)

Grauman’s Egyptian theatre Oil on canvas

Signed lower right: Chidlaw

26” H x 18” W

$800-1,200

227

Antoni Tapies (1923-2012)

Untitled Lithograph in colors on paper

Edition: 72/75

Signed and numbered in pencil in the lower margin: Tapies; with the Erker Presse St. Gallen, Switzerland blindstamp in the lower left margin

corner Image: 25.25” H x 18.75” W; Sheet: 30” H x 22” W

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

228

Tanaka Ryohei (1933-2019)

“Adashino,” 1965

Etching & aquatint on beige-colored chine colle

Edition: 97/100

Signed and dated in pencil in the lower margin: T. Ryohei; titled from the artist’s website; Japanese notations in pencil at the extreme lower left margin corner

Plate: 8.25” H x 10.5” W; Sheet: 10.5” H x 14” W

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Along with the title, the artist’s website, https://www.tanakaryohei. com/gallery/, lists a work number for this image: TR #13.

229

Tanaka Ryohei (1933-2019)

“Farmhouse,” 1977 Etching on paper

Edition: 15/100

Signed, dated, and numbered in pencil in the lower margin: T. Ryohei

Plate: 15.5” H x 20.25” W; Sheet: 18” H x 23.75” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

230

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha and zhusha clay in various modern and geometric forms, 4 pieces

Largest: 4.5” H x 4” W x 6” D; smallest: 3” H x 5.5” W x 3.25” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

231

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha and zhusha clay in various gourd and natural forms, 5

pieces

Largest: 3.75” H x 6.375” W x 3.5”D; smallest: 2.25” H x 4.75” W x 3.25” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

232

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha and blue clay with variously patterned surfaces, 4 pieces

Largest: 3.375” H x 7.75” W x 4.25” D; smallest: 2.75” H x 5.25” W x 3.75” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by work certificates from the artists for the blue teapot and the brown marbled teapot.

233

A Perez Sanz mixed metal and leather bracelet

Late 20th century

Stamped: Perez Sanz / 3568

Comprising a cuff bracelet in tan braided leather with an abstract mixed metal and link clasp with set resin cabochons

6.25” inner C x 1.375” H

61.8 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

234

Two modernist-style necklaces

Late 20th/21st century

Two works

A Robert Lee Morris “Wabi Sabi” alternating with mixed metal beads circular brass pendant

Stamped: RLM Studio / Brass / China

20” L x 2.5” H

A choker necklace of brown woven shell, with shell toggle fastening Appears unmarked 17.5” inner C x 3.75” H

2 pieces

$200-300

necklaces necklace with jasper stone beads beads suspending a large abstract China woven cord suspending a large round

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

RLM necklace accompanied by sales receipt dated: 12/9/2006.

Owner’s handwritten note indicates shell necklace is an old giant clam shell currency ring from Papua New Guinea, cut with bamboo, water and silt.

235

A Montblanc Meisterstuck fountain pen No. 149

Mid/late 20th century

Marked with maker’s mark to cap band; clip stamped: Germany; nib stamped: 4810 / M [within star/circle] / 14C / Montblanc / 585 Comprising a Montblanc Meisterstuck No. 149 in black resin with gold-toned metal, white star to cap, two-toned nib, and ink window 5.875” L

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

236

A group of jewelry including Edison Cummings

Late 20th/21st century

Three works:

Edison Cummings (b. 20th century, Dine)

Stamped: E Cummings / 14K; partially stamped: Ste___

An E. Cummings Navajo silver and 14k gold cuff bracelet

6.75” total inner C x 1” H. with a 1.125” gap

An oval abstract textured silver and gold-toned metal brooch

Appears unmarked

1.125” H x 1.875” W

An abstract mixed metal brooch with set blue stone

Appears unmarked

1.5” H x 2.125” W

3 pieces

42.5 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

237

A group of silver and set stone jewelry

Late 19th/20th century

Three works:

A Sajen set stone sterling silver portrait pendant with carved mask and bejeweled headdress

Stamped: Sajen / 925

2.5” H x 1” W

A large cut stone and silver pendant

Illegibly marked under bail: 9__

1.5” H x 1.125” W

A silver and multicolored agate Scottish-style dirk dagger brooch/kilt pin with bejeweled hilt

Appears unmarked

3.25” H x 0.375” W

3 pieces

72.3 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

238

Alexis Rockman

(b. 1962)

“Untitled,” 1991

Watercolor on paper

Signed and dated in pencil on the verso lower right: Alexis Rockman

Image/Sheet: 20” H x 14.25” W

$2,000-3,000

Provenance: Thomas Solomon Garage, Los Angeles, CA

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales invoice from Thomas Solomon’s Garage, Los Angeles, CA, dated January 14, 1992, and other informational materials relating to the artist.

“Autumn Sunset”

Woodcut in colors on Japanese paper

From an edition of unknown size and date

Signed and titled in pencil in the lower margin: Sabra Field

Image: 12” H x 18” W; Sheet: 15” H x 21” W

$600-800

239 Sabra Field (b. 1935)

240

Sabra Field

(b. 1935)

“Snow and Stars,” 1971

Woodcut in colors on Japanese paper

From an open edition of unknown size

Signed and titled in pencil in the lower margin: Sabra Field

Image: 5.5” H x 15” W; Sight: 6.625” H x 16” W

$600-800

241

Sabra Field (b. 1935)

“Mountain Spring,” from “Mountain Suite,” 1979

Woodcut in colors on Japanese paper

From an open edition of unknown size

Signed and titled in pencil in the lower margin: Sabra Field

Image: 14.5” H x 10” W; Sight: 15.375” H x 11” W

$600-800

242

“Behind Shoreham”

Woodcut in colors on paper

Edition: 90/100

Signed, titled, and numbered in pencil in the lower margin: Graham Clarke

Image: 18” H x 26” W; Sheet: 26.5” H x 38.75” W

$300-500

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

Graham Clarke (b. 1941)

243

A Lalique “Mortefoutaine” glass vase

Circa 1978-present

Signed to underside of base: Lalique ® France; paper sticker: Made in France

The leaded glass vase with an alternating motif of depressed etched bands and raised polished bands

9.5” H x 7” Dia.

$600-800

244

A

Circa 1978-present

Signed to the underside: Lalique ® France

The frosted and polished glass vessel with undulating pattern 10.5” H x 8.5” Dia.

$600-800

Lalique “Ingrid” vase

245

A group of silver jewelry

20th century

One stamped: Ilaria / 925; two further stamped for sterling silver Comprising three bracelets including an Ilaria sterling silver repousse leaf motif cuff (6.5” total inner C x 2.25” H, with a 0.75” gap), a sterling silver five-wire cuff with twisted and stamped elements (6” total inner C x 0.75” H, with a 0.875” gap), and a silver spiral spring-style cuff (7.25” H x 1.5” H), as well as two silver necklaces, including a sterling silver chain necklace strung with jump rings (14.5” L) and a silver mesh “rope” necklace with gold-washed bead (16” L x 1.375” H), 5 pieces 484.4 grams

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

246

Two sterling silver and stone rings

Mid/late 20th century

Two works:

A Danish modernist-style sterling silver ring with yellow stone

Stamped: EF [probably for Einer Bernhard Fehrn]/ Sterling / Handmade / Denmark

Ring size: 7.75; 1.5” H

A sterling silver three-wire ring with oval yellow set stone

Stamped: [illegibly] R.J / 925

Ring size: 7; 1.625” H

2 pieces 50.5 grams gross

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

247

A group of silver jewelry and accessories

20th century

Buckle stamped: [Southeast Asian script ?] / 100% Comprising two silver herringbone mesh belts, including a belt with a twopiece repousse buckle with central elephant motif (34” L x 2” H) and a silver mesh belt with square pyramidal buckle and multiple links with repousse figural and animal motifs (25.25” L x 1.25” H), as well as a studded silver metal hinged cuff bracelet (6.25” inner C x 2.125” H), 4 pieces 827.7 grams

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

248

A group of Yixing Zisha ceramic teapots 20th century; Jiangsu Province, China Each signed to underside; toad teapot signed: Constructed of zisha and zhusha clay with various turtle, a toad by Ling Xigou, a frog, a dragon dragon spout with applied white eyes, 6 pieces Largest: 5.75” H x 6” W x 3” D; smallest: 2.75”

$500-700

Provenance: The Estate of Oscar and Barbara

Notes: Proceeds to benefit non-profit organizations

This lot is accompanied by a work certificate

teapots

signed: Ling Xigou various zoomorphic motifs, comprising a dragon egg, a cracked clay style with lizards, and a pieces

2.75” H x 5” W x 4.25” D

Barbara Leidenfrost

organizations and educational institutions. from the artist for one teapot.

A group of Yixing Zisha ceramic teapots 20th century; Jiangsu Province, China Each signed to underside

Constructed of zisha and green clay in various traditional forms, one with dragon motif, 4 pieces

Largest: 3.5” H x 6” W x 4.5” D; smallest: 2” H x 4.875” W x 4” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

250

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

Constructed of zisha clay in various traditional and modern forms, 4 pieces

Largest: 5.5” H x 4.75” W x 2.25” D; smallest: 4” H x 4.125” W x 3.625” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a work certificate from the artist for one teapot.

A group of Zulu “Isiquabetho” coiled baskets

Circa 2000s; KwaZulu-Natal, South Africa Each appears unmarked

Likely woven Ilala Palm, comprising five African baskets, each woven in various gradations of brown, in intricate geometric motifs, artists include Mahurero Twapika, Maria Thenu, and Mberu Rugugu, 5 pieces

Largest: 5” H x 16” Dia.; smallest: 5” H x 14.25” Dia.

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions. This lot is accompanied by pamphlets detailing the artists.

252

A Zulu “Isiquabetho” coiled basket 20th century; KwaZulu-Natal, South Africa

Appears unmarked

Likely woven Ilala Palm, the African basket with the Akimel O’odham peoples’ “Man in the Maze” weaving pattern in varying gradients of brown fronds

6.25” H x 16.75” Dia.

$100-200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

253

A Bontoc man’s “Suklang” woven hat

Late 19th/early 20th century; Igorot and Kalinga Peoples, Luzon, Philippines

The nito vine and bamboo basketwork pillbox-shaped hat accented with three turns of red-dyed rattan, dog’s teeth and boar tusks to each side, three motherof-pearl buttons on top, and a braided human hair strap 2.75” H x 8” Dia.

$300-500

Notes: ‘At the age of six or seven, a Bontoc lad put on his sulpak, the small bowl-shaped hat or flattened pillbox, which by its appendages and decorations recorded his progress through society. When he was old enough to go headhunting, the girls in the ulogs (dormitories for maidens) gave him dogsí teeth and boarsí tusks to stick on the sides of his hat. He sewed slabs of pearl shell on the sides of covered the top with agate beads and added bunches of feathers on special occasions. Traditionally there were from one to three mother-of-pearl buttons on the crown of the bowl-shaped hat, and tufts of animal hair stuck up at each side over the three or four turns of red-dyed rattan which trimmed the edge. But when a man married, he put on a sober, less fancy hat; only bachelors or men between wives wore gaudy headgear.’ - Rith Linker for Penn Museum’s “Expedition” Vol. 4 Issue 1, pub. 1961

254

A group of Yixing Zisha ceramic 20th century; Jiangsu Province, Each signed to underside Constructed of zisha and banshanlu Weaving” in the form of a bamboo Largest: 4.75” H x 7.25” W x 3.625”

$500-700

Provenance: The Estate of Oscar

Notes: Proceeds to benefit non-profit

This lot is accompanied by a work

ceramic teapots

China

banshanlu clay, in various illusionistic natural forms, one titled “Bamboo bamboo basket, 6 pieces

3.625” D; smallest: 2.5” H x 5.75” W x 4.25” D

Oscar and Barbara Leidenfrost

non-profit organizations and educational institutions.

work certificate from the artist for the “Bamboo Weaving” teapot.

A group of Yixing Zisha ceramic teapots

Circa 1990s; Jiangsu Province, China

Each signed to underside; coin pot signed: Xian Zhongying

Constructed of zisha and zhusha clay in various forms, one in the form of bamboo, one with elaborate architectural landscape scenes, and one “Coin Pot” by Xian Zhongying dated 1996, 5 pieces

Largest: 4.25” H x 5.75” W x 3.375” D; smallest: 3.5” H x 4.5” W x 3” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions. This lot is accompanied by a work certificate from the artist for the “Coin Pot” teapot.

256

Forrest Lee Moses (1934-2021)

Untitled Etching and aquatint in colors on paper Signed in pencil in the lower margin, at right: Moses; two unidentified blindstamps in the lower margin, at center Plate: 34.75” Hx 21.5” W; Sheet: 44.5” H x 30” W

$500-700

$700-900

Signed

$200-400

258 Joe Fig (b. 1968) ‘’Drawing of Dana Schultz,” 2003 Pencil on paper

and dated lower right: Joe Fig; titled Sight: 14” H x 10.5” W

257 William Clapp (1879-1954) Sanding female nude Pencil on paper

Signed in pencil lower left: Clapp Sight: 13.75” H x 7.5” W

260

A pair of Carrera marble plinth side tables

Mid/late 20th century

Each appears unmarked

Each constructed three-dimensionally from five slabs of stone with hollow interiors, 2 pieces

Each: 14 H x 24 W x 24” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

261

A Carrera marble low plinth table Appears unmarked

Constructed three-dimensionally from five slabs of stone with a hollow interior

3.375” H x 72.5” W x 18.25” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

262

Marcel Brauer (1902-1981)

“Laccio” Coffee and End Table, late 20th century

Designed 1925

Each appears unmarked

Wood with black laminate tops and tubular chrome frames

2 pieces

Coffee table: 13.5” H x 52” W x 19” D; end table: 17.5” H x 19” W x 20.5” D

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

263

A near pair of Danish France & Sons teak side tables

Mid-20th century, Denmark

Each marked to the underside: France and Sons / Made in Denmark

Each tabletop with two upturned edges and tapered legs, 2 pieces

Each: 15” H x 23.5” W x 16.75’ D

$500-700

264

Two modern teak wood lamps

Mid-20th century

Appear unmarked

Comprising one table lamp with geometric teak body and one “onion”-style floor lamp with bulbous carved wood base, each with linen shade, electrified, 2 pieces Larger: 55” H x 20” Dia.; Smaller: 30.5” H x 14” Dia.

$300-500

265

A Tibetan rug

20th century Wool on cotton foundation, with polychrome dragons on a deep blue field 9’9” L x 7’1” W

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

266

Toyohara Kunichika (1835-1900)

“Kanjincho,” 1869

Woodcut in colors on paper, triptych

Appears unsigned; titled and dated from an accompanying certificate of authenticity

Sight of each: 13.125” H x 9.25” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a piece of paper titled, “Genuine Original Woodblock Print,” which states that the woodblock print, “Kanjincho,” by Toyohara Kunichika is genuine and was printed in 1869. This statement is signed in ink by Y. Otsuki, the president of Uchida Art Co., LTD., Kyoto, Japan.

267

Toshi Yoshida (1911-1995)

“Eagle Owl,” 1968

Woodcut in colors on paper

From the edition of unknown size

Signed and titled in pencil in the lower margin: Toshi Yoshida; Japanese characters in ink along the left margin edge; printed Japanese characters and with the red seal along the right edge of the image; dated by repute

Image: 14.75” H x 10” W; Sheet: 16.25” H x 11.25” W

$300-500

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

268

Joan Strauss Carl (1926-2021)

Mother and child

Patinated bronze on marble base

Edition: 5/10

Signed, numbered, and inscribed: © JS Carl / [illegible] bronze

13.5” H x 9” W x 7” D

$300-500

Provenance: The Estate of Joan Strauss Carl, Southern California

269

Joan Strauss Carl (1926-2021)

Two works:

Plaque with two seated figures, 1985

Patinated bronze on marble base

Edition: 2/7

Signed, dated, and numbered: © Joan Carl / 1985

6.75” H x 15.5” W x 3” D

Plaque with standing figure, 1987

Patinated bronze on marble base

Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1987

6.75” H x 15.5” W x 3” D

2 pieces

$700-900

Provenance: The Estate of Joan Strauss Carl, Southern California

270

Richard Schultz (1926-2021)

1966 Dining Table and Lounge Chairs for Knoll, late 20th/early 21st century

Designed 1966

Each chair with Richard Schultz tag to underside

Porcelain enamel on steel and powder-coated aluminum with woven vinyl coated polyester mesh

5 pieces

Table: 26” H x 38” W x 38” D; each chair: 29.5” H x 21.5” W x 22.5” D

$1,500-2,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Ann Froman (1942)

“Scheherazade,” 1987

Patinated and gilt bronze, wire, beads, and glass jewels on a bronze base

Edition: 53/175

Signed, dated, and numbered: © AFroman / 1987; foundry mark: Fine Art Auctions FA © 18” H x 21” W x 16” D; with base: 36” H x 22” W x 17” D

$1,500-2,500

271

272

Ann Froman

(b. 1942)

Man and woman dancing, 1987

Patinated and gilt bronze and glass jewels on stone base

Edition: 57/175

Inscribed, dated, and numbered: © AFRoman 87 / FAA 57/175 [cipher]

13.625” H x 9.75” W x 8.5” D

$400-600

273

A Karumba “Adone” painted wood antelope headdress/mask

Mid-20th century; Karumba Peoples, Burkina Faso, Africa

Paper label affixed to the Lucite stand: Acquired on 7/15/81 from Museum of African Art / Karumba Sculpture (Upper Volta)

The antelope mask with attenuated proportions and cylindrical neck hollowed at the base, tiny pierced eyeholes and equalinterval holes at the perimeter for the attachment to raffia; decorated all-over with bands of diamond and dot motifs in black, white and red pigments; mounted onto a metal rod embedded in Lucite for display

With stand: 35” H x 6” W x 18” D

$500-700

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

Notes: This is a ceremonial headdress worn by the Karumba peoples of central Burkina Faso. Early examples of this mask such as this one are painted with geometric designs in natural pigments of white (kaolin), black (river mud or charcoal), and reddish brown (ochre). The headdress represents - according to the original myth - Sawadougou, the civilizing hero, who is said to have descended from the sky wearing a mask. His wife and children, who accompanied him, were endowed with the features of the antelope, the hyena, and the hare. Kurumba masks are used in three major events during the annual cycle: masks escort the body of dead male and female elders to the tomb and supervise the burial on behalf of the spirits of the ancestors of the clan. Weeks or even months later, during the dry season, masks appear at funerals to honor the deceased and to free the spirit to travel to the world of ancestors. Finally, just before the first rains in late May and June, masks appear at collective sacrifices in which the ancestors are honored together with the spirits of the protective antelope, Hippotragus koba, that is the totem of most Kurumba clans.

275

A Pamí’wa takü ceremonial dance mask 20th century; PamÌíwa (Cubeo) Peoples, Amazon River Region, Colombia/Brazil

The anthropomorphic dance mask or costume constructed of bark cloth with raffia fringe and painted designs 60” H x 22” Dia.

$600-900

Notes: These types of masks are worn during the ónyo, or “weeping,” mourning ceremony.

274

A polychromed wood and bamboo model of a Torajan spirit house 20th century; Torajan Peoples, Sulawesi, Indonesia

Appears unmarked

The model traditional house of the Torajan Peoples with a dramatic, saddle-backed bamboo roof, two gable ends sloping to a central section, and narrow windows, the lower structure elaborately carved and painted with scrollwork and geometric motifs

35” H x 8.5” W x 39” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefits non-profit organizations and educational institutions.

276

A South Asian “Siddhi Ganesha” carved teak panel

Late 19th/early 20th century

Appears unmarked

The carved wood panel depicting the Hindi god Ganesha with his trunk to the right, cradling a vase, and flanked by one of his consorts on his right side and his “vahana”, a large rat that serves as his vehicle, on his left side

19” H x 8.5” W x 3” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

277

A Thai Rattanakosin gilt-bronze standing Buddha figure

Mid-19th century, Rattanakosin Period(1782-1932); Thailand

The gilt cast bronze figure with elaborately decorated robes and the ushnisha, which signifies the wisdom of the Buddha, holding both hands in the “abhaya mudra” position, with later-added stand, 2 pieces

Figure: 12” H x 4” W x 2.25” D; with stand: 13.5” H x 4.5” W x 4” D

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

278

An Indian Chola-style Saint Sambamdar bronze sculpture

19th century or earlier; Swamimalai,Tamil Nadu, India Appears unmarked

The lost-wax cast bronze sculpture likely depicting one of the Tamil Shaiva Bhakti saints, Saint Sambamdar, as a youth with cymbals in hand, nude apart from ample jewelry and a waist garment adored with copious bells

20.5” H x 7.5” W x D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

279

Eero Saarinen (1910-1961)

Executive Side Chair for Knoll, mid-20th century

Designed 1946

Paper tag to the underside: Knoll International, Inc.

Woven multicolor wool upholstered seat and back on molded plywood legs

31.5” H x 22” W x 16” D

$300-500

280

Eddie Lawrence (20th century) “Mick Jagger”

Giclee print in colors on paper

Edition: 11/50

Signed and numbered in ink in the lower margin: Eddie Lawerence

Image: 37.75” H x 37.75” W; Sight: 39” H x 39” W

$200-400

Provenance: Trowbridge Gallery, London, England

Notes: This lot is accompanied by a certificate of authenticity, with the Trowbridge Gallery founder’s printed signature, Martin Trowbridge. Stating that this “wonderful image is a Fine Art Giclee reproduction print taken from an original work in the archives of TROWBRIDGE Gallery, Kings Road, London.”

281

Eddie Lawrence (20th century)

“Mick Jagger II”

Giclee print in colors on paper

Edition: 20/50

Signed and numbered in ink in the lower margin: Eddie Lawrence

Image: 37.75” H x 37.75” W; Sight: 39” H x 39” W

$200-400

Provenance: Trowbridge Gallery, London, England

Notes: This lot is accompanied by a certificate of authenticity, with the Trowbridge Gallery founder’s printed signature, Martin Trowbridge. Stating that this “wonderful image is a Fine Art Giclee reproduction print taken from an original work in the archives of TROWBRIDGE Gallery, Kings Road, London.”

283

A Danish modern slipper lounge chair with ottoman

Mid/late 20th century

Each upholstered in coordinating atomic-themed fabric, 2 pieces

Chair: 30.5” H x 26” W x 31” D; ottoman: 16” H x 24” W x 16.5” D

$500-700

282

A Poul Henningsen for Louis Poulson “PH5” pendant light

Circa 1950-60

Appears unmarked

Designed in 1958, the hanging lamp with three metal shades alternating in concave and convex structuring, varying in size; powder-coated on the exterior in pale verdigris and in both mauve and white on the interior, electrified

9” H x 22” Dia.

$300-500

“Water,” 1990

Pastel on two adjoined pieces of paper

Signed and dated lower left: Lisa Kasprzycki and with the artist’s device; titled along the lower edge, at center Sight: 57” H x 42” W

$500-700

285

(b. 1941)

Landscape

Signed,

8.5” H x 11.25” W

$400-600

Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

Kasprzycki century)

Donald Lawrence Herron

with black carved wood frame including miniature figure, 1985 Oil on canvas in an artist-made frame

dated, and inscribed verso: D. Herron / New York

286

20th Century American School Abstract

Oil on canvas

Signed lower right: J. Haas

60” H x 48” W

$400-600

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

Lee Reynolds (1936-2017)

Abstract floral Oil on canvas

$700-900

Provenance: Vanguard Studios, Beverly Hills, CA

287

Signed lower left: Lee Reynolds 48” H x 60” W

288

Raul Arguelles (20/21st Century)

“Pescando en la Colina,” 2002

Acrylic on canvas

Signed lower right: Raul Arguelles; titled on a gallery label affixed to the stretcher; titled again in ink on a piece of masking affixed to the stretcher 24” H x 20” W

Untitled

Mixed media on paper

Signed lower right: Raul Arguelles Image/Sheet:14.125” H x 10.625” W

2 pieces

$500-700

Provenance: Museo Nacional Bellas Artes, Santiago, Chile

Praxis Galeria de Arte, Buenos Aires, Argentina

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by assorted paperwork including deaccessioning documents from the Museo Nacional Bellas Artes in Santiago, Chile, signed by Milan Ivelic, the director, and dated June 7, 2002.

289

A group of Ndebele beaded fertility dolls

20th century; Zimbabwe, South Africa

Each appears unmarked

Comprising ten different “fertility” dolls, each with cylindrical wooden bodies, wrapped in cotton, and decorated with metal rings, various materials, and dense all-over beadwork, 10 pieces

Largest:11.5” H x 4.5” Dia.; smallest: 8” H x 7” W x 3” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: One of several dolls used in Ndebele culture to commemorate transitional phases of life, a fertility doll is given to a new bride after her wedding ceremony to encourage fertility and signify her new social status as a married woman. Cared for and cherished until her first child, the doll prepares the young woman for parenthood and is thought to bring good luck.

Proceeds to benefit non-profit organizations and educational institutions.

290

A group of African wirework beaded sculptures

Mid/late 20th century; Central and South Africa

Each appears unmarked

Seven beaded figural sculptures comprising one Bamileke “Fon” beaded figure with a cowrie shell cap, three beaded “Namji” dolls with wire legs and cloth and hide garments, one beaded soccer player figure, one beaded tall figure with a backpack, and one beaded pig, along with one folk art tin can masked ceremonial dancer figure, 8 pieces

Largest: 16.5” H x 5” W x 4” D; smallest: 7” H x 3.25” W x 2.5” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a pamphlet from Monkeybiz studio in South Africa.

291

An African beaded basket

Mid-20th century Coiled rod lidded basket with beadwork overlay in blue, brown, and gold banded geometric motifs

5.5” x 8” Dia.”

$400-600

292

A large North African brass storage vessel

Late 19th/early 20th century

Appears unmarked

The oversized lidded vessel with visible joinery seams and curved handles

29” H x 18” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

293 Jean Baron (active 20th Century) Rooster Tapestry, 1957 Wool

Signed and dated lower right: Baron

77.5” H x 45.5” W

$300-500

294

A

Mid-20th

Lacking

In

28.25” H x 53.75” W x 26” D

$700-900

Maximillian for Karp Furniture partner’s desk

century

original metal tag

the style of Paul Frankl, the modernist desk with three black lacquered drawers

295 A Heywood-Wakefield china cabinet

Mid-20th

century

The American mid-century modern dining set in champagne finished light-toned wood, with a glass-door cabinet topper over a base with three drawers and a sliding tambour door

57.5” H x 48” W x 19.75” D

$300-500

296

A Heywood-Wakefield “Kohinoor” dresser

Mid-20th century

Drawer interior with Heywood-Wakefield burn mark

Designed 1949-1951, the mid-century modern dresser in “Wheat” finished Northern Yellow Birch with six drawers

32.5” H x 55.5” W x 19” D

$400-600

297

A Turkish flatweave rug

20th century

Appears unmarked

Wool on wool foundation, with repeating polychrome geometric motifs on a red ground terminating in a braided fringe edge on either side

14’10” L x 6’2” W

$800-1,200

298

A Persian rug

Late 20th century; Iran

Cloth tag marked: Wool / Made in Iran

Wool on wool foundation, three central polychrome medallions with surrounding geometric motif and floral border in shades of mustard, navy, and cerulean on red ground 10’1” L x 6’11” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

299

Ernest Trova (1927-2009)

“F.M. Manscape,” 1969

Screenprint in colors on paper

Edition: 36/175

Signed, dated, and numbered in pencil in the lower right margin: Trova; titled and dated again on a label affixed to the frame’s backing board

Sight: 27.75” H x 27.75” W

$200-400

Provenance: Joyce Hunsaker & Associates Inc., Beverly Hills, CA

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

300

A Victorinox Swiss Army knife motorized store display

Late 20th Century

Embossed to the underside: Victorinox / © 1993

The kinetic, large-scale sculpture of the “Original” Swiss Army knife from Victorinox with “metal” implements that move when electrified 29” H x 23” W x 4.5” D

$400-600

301

A vintage Fender Stratocaster electric guitar

Serial number: 027905240; marked for Fender Stratocaster with synchronized tremelo

The reissued electric guitar with painted solid ash body and bolt on maple neck; along with original tweed and leather handled case, 2 pieces Guitar: 38” H x 12.5” W x 1” D; with case: 40” H x 13.5” W x 4” D

$800-1,200

Provenance: Maria Domont Collection, West Hollywood, CA

303

Circa 1990s

Serial no. AB03914; marked: Fender / Made in U.S.A. / Model ‘63 Vibroverb / Fuse 3 Amp / 125VAC / Product of Fender Musical Instruments, Corp., Brea, CA; with Canada import sticker

Reissued in the 1990s, model 6G16, with Groove Tubes and brown faux leather wrapped cabinet with beige grill, electrified

19.5” H x 25” W x 9.5” D

$800-1,200

302

Circa 1990s

Serial no. N3940334; marked: Fender / Telecaster / Made in U.S.A.

With aquamarine body with cream pick guard, together with a Chromacast hard case, electrified, 2 pieces

Guitar: 38.5” H x 12.625” W x 2.25” D; case: 4.25” H x 43.25” W x 15.25” D

$600-800

A Fender Telecaster electric guitar

A Fender Vibroverb-Amp amplifier

$800-1,200

304

Gene Francis (20th century) Charlie Chaplin Oil on paper

Signed lower right: Gene Francis and with the artist’s device; inscribed lower left: For Arts Sake Sight: 59” H x 38.75” W

305

Henri-Gabriel Ibels (1867-1936)

“Mevisto,” 1892

Lithograph in colors on two sheets of joined paper, as issued

From the edition of unknown size

With the signature printed in the image near the left edge: H G. Ibels ; Delanchy & Cie., Paris, prntr.

Sight: 67” H x 47.5” W

$400-600

306

After Maurice Utrillo (1883-1955)

“Magic City,” circa 1925

Lithograph in colors on paper

From the edition of unknown size

Appears unsigned; with the printed signature in the image lower right: Maurice Utrillo

Sight: 47” H x 30” W

$400-600

308

Henry Mirande (1877-1955)

“AXA Remplace Le”

Lithograph in colors on paper

From the edition of unknown size and date

Appears unsigned; with the printed signature in the image lower left: H Mirande

Image: 21” H x 29” W; Sight: 22” H x 30.25” W

$400-600

307

Maurice Leloir (1853-1940)

“Theatre National de L’Opera-Comique, Cigale Divertissement

Ballet de Henri Cain, Musique de J. Massenet”

Lithograph in colors on paper

From the edition of unknown size and date

With the printed signature lower left: Maurice Leloir; Devambez, Paris, prntr.

Sight: 34.5” H x 20.5” W

$400-600

309

A group of Metlox “California” free-form ceramic dinnerware

Circa 1954-1955; Manhattan Beach, Ca

Each marked for Metlox and Poppytrail California; some further marked “Hand-Painted”

The collection of tableware, first conceived of in 1954 by Frank Irwin, comprising four dinner plates (10.5” Dia.), four salad plates (8” Dia.) three coffee cups (2.25” H), four saucers (6” Dia.), one oval serving bowl (9.25” Dia.), one square serving platter (12.5” Dia.), and one beverage server (15.25” H) in the “Califor nia Mobile” pattern, along with one “jaw bone” platter (16” L), one covered vegetable dish (13” L), and one gravy dish (12.75” L) in the “California Freeform” pattern, along with one oval serving bowl (9.5” Dia.) and one oval soup bowl (6.75” Dia.) in the “California Contempora” pattern, 22 pieces

$300-500

Notes: These collections were conceived of for Metlox by designer Frank Irwin who, along with his personal flair for abstract art, was influenced by the work of sculptor Henry Moore and the wire mobiles of Alexander Calder. The freeform collections are now considered to be one of the finest achievements in 1950s avant-garde dinnerware design.

310

A collection of Red Wing “Pepe” ceramic dinnerware

Mid-20th century; Red Wing, Minnesota

Each marked for Pepe by Red Wing; further marked “detergent proof” / “oven proof’; Salem china style set appears unmarked

A group of “Pepe” patterned dinnerware, designed in 1962-63 for Red Wing Pottery, comprising four mugs (3.25” H), four saucers (6” Dia.), four dinner plates (10.25” Dia.), and one coffee pot (12” H), sold together with six Salem China-style coffee cups (2.25” H) and six accompanying blue saucers (6” Dia.), 25 pieces

$400-600

311

A collection of Red Wing “Smart Set” ceramic dinnerware

Circa 1953-1957; Red Wing, Minnesota

Each marked for Red Wing Pottery; some further marked: Handpainted / U.S.A.

Designed by Charles Murphy for Red Wing Pottery Co. in 1953, the collection of “Smart Set” comprising eight dinner plates (11” Dia.), eight salad plates (8” Dia.), three saucers (6.5” Dia.), three coffee cups (2.5” H), one lidded sugar (5.25” H), one creamer (7” H ), one lidded casserole (7” H), one beverage server (14” H), one long rectangular relish tray (23.75” L), one oval meat platter (19.75” Dia.), one oval vegetable platter (13.75” Dia.), one large serving bowl (12.5” Dia.), one boomerang-shaped compartment bowl (14” L ), and a pair of salt and pepper shakers (each: 6” H), 33 pieces

$400-600

312

A set of Franciscan Eclipse “Starburst” ceramic dinnerware

Mid-20th century; Glendale, CA

Each marked for Gladding, McBean, and Co. and Franciscan ©; further marked ‘Made in California” / “Oven-Safe”

The collection, designed in 1954 by George T. James with the pattern design by Mary Chalmers Brown, comprising four mugs (5” H), four coffee cups (2.25” H), three lidded cannisters graduated in size (largest: 10” H; smallest 5” H), one lidded sugar (3.5” H), one gravy sauce boat with ladle (7.5” Dia.), two small pitchers/creamers (larger: 5.5” H; smaller: 4” H), four cereal bowls (7” Dia.), four oval vegetable bowls (8” Dia.), four dinner plates (10.5” Dia.), four saucers (6” Dia.), three boomerang serving platters (9.5” L), two oval serving platters (larger: 15” Dia.; smaller: 13” Dia.), one large circular serving platter (13.5” Dia.), and one console bowl (8.25” Dia.), 39 pieces

$600-800

Notes: Starburst on the Eclipse shape, designed by George T. James with the pattern design by Mary Chalmers Brown, has become one of the most collectible vintage 20th mid-century dinnerware patterns from Gladding, McBean, and Co.

313

A group of Murano art glass table items

Mid-20th century

Four tabletop decorative pieces of Murano glassware comprising one amber semi-globular ashtray, two biomorphic bowls, one in blue and the other tri-color, and a teal bubble glass paperweight, 4 pieces

Largest: 5” H x 4” W x 3” D; smallest: 5” H x 3” Dia.

$400-600

314

A Cory A. Hann for Room and Board walnut and metal coffee table

21st century

Signed to the underside: Corey A. Hann; further marked: Room and Board

The surfboard-style coffee table with walnut top and brushed steel legs

15” H x 72” W x 23.5” D

$400-600

315

A group of sterling silver table items

20th century

Each marked for sterling; each further marked with various maker’s marks Comprising one pair of reproduction George Washington salt and pepper shakers, one Gorham gravy boat with oval undertray, one pair of Gorham weighted candlesticks, and one rectangular J.E. Caldwell & Co. handled tray, 7 pieces

Largest:0.25” H x 17.75” W x 8.5” D; smallest: 2” H 1.5” W x 1.5” D 30.850 gross oz. troy approximately

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

316

Georg Jensen (1866-1935)

A “Continental” sterling silver flatware service

Designed 1906, also known as “Antik,” comprising 7 long hollow-handled dinner knives (8.875”), 8 long hollow-handled luncheon knives (8.25), 1 hollow-handled butter spreader (6”), 8 dinner forks (7.25”), 8 luncheon forks (6.875”), 8 place spoons (7.625”), 8 oval dessert/soup spoon (6.875”), 5 round cream soup spoons (6.5”), 3 large teaspoons (5.875”), and 6 medium teaspoons (5.5”), together with 1 Allan Adler spoon (6”), 63 pieces Weighable sterling: 65.755 oz. troy approximately

$2,000-3,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

317

Flavio Cabral (1916-1990)

“Two Figures” Oil on Masonite

Signed lower left: F. Cabral; partially signed and titled verso 44.25” H x 24.5” W

$700-900

Provenance: Private Collection, California Private Collection, California, by descent from the above

pieces

$400-600

318 Myrle “Blex Lucy” Oil on Signed and with 10” H “Lexx Lucy” Oil on Signed and with 10” H 2

Medeiros (1912-1981)

Lucy” canvas lower right: Medeiros; titled on the stretcher, with the artist’s copyright ink stamp x 8” W

Lucy” canvas lower right: Medeiros; titled on the stretcher, with the artist’s copyright ink stamp x 8” W pieces $400-600

319

Hannah Plotke (b. 1988)

“Nose,” 2016

Oil on artist’s board and plaster on wooden panel Appears unsigned; titled and dated by repute 12” H x 9” W

$200-400

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

Signed and dated lower left: J Peca

38.375” H x 25.5” W

$500-700

320 Josef Peca (1923-1982)

Crouching figure with raised arms, 1963 Conte crayon on beige paper

“El Muerto,” 1969

Lithograph on paper

Edition: 15/20

Signed, titled, dated, and numbered in white graphite along the lower edge: Canogar; Tamarind Lithography Workshop, Inc., Los Angeles, CA, prntr. and pub.

Image/Sheet: 30.125” H x 22” W

$200-400

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

321 Rafael Canogar (b. 1935)

322

Jasper Johns

(b. 1930)

“Untitled,” 2013

Offset lithograph on Giama Natural paper

From the edition of unknown size

With the printed signature and date in the image, lower right: Jasper Johns; Bill Goldston/Universal Limited Art Editions, New York, prntr.; “Art in America” and Sharon Coplan Hurowitz, pub.

Image: 14.5” H x 10.375” W; Sight: 14.75” H x 10.75” W

$200-300

Notes: Johns produced this piece for the May 2014 issue of “Art in America” magazine.

323

Martha Mayer Erlebacher (1937-2013)

“Still Life with Eggplant #1”

Lithograph on paper

Edition 18/50

Signed lower right: M. Mayer Erlebacher; with a blindstamp in the lower right corner

Image/Sheet: 22” H x 30” W

“Apples, Bananas, and Eggs”

Lithograph on paper

Edition 30/50

Signed lower right: M. Mayer Erlebacher; with a blindstamp in the lower right corner

Image/Sheet: 22” H x 30” W

2 pieces

$200-400

Provenance: Property from Frances Luban Fine Art, Burbank, CA

324

Joan Strauss Carl (1926-2021)

Plaque with abstract figure, 1985 Patinated bronze on marble base Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1985

6.75” H x 15.5” W x 3” D

$200-400

Provenance: The Estate of Joan Strauss Carl, Southern California

325 John Bloom (1906-2002)

“Auction at Johnson”

Lithograph on paper

Edition: 1/7

Signed, titled indistinctly, and numbered in pencil in the lower margin: John Bloom

Image: 8” H x 10.5” W; Sight: 9” H x 11.5” W

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

326

Alberto Giacometti (1901-1966)

“Bust of a Nude” from “Derriere le Miroir,” 1961 Lithograph on wove paper, watermark Arches

Edition: 50/90

Signed and numbered in pencil in the lower margin: Alberto Giacometti

Sight: 20” H x 14” W

$400-600

327

Sigmund De Tonancour

(b. 20th century)

Standing woman, 1980

Driftwood on marble base

Signed and dated: Sig De Tonancour * / ‘80; with plaque to base: Sig De Tonancour

45.5” H x 14” W x 9.5” D

$800-1,200

328 Sigmund De Tonancour

(b. 20th century)

“Marden,” 1992

Driftwood wall sculpture

Signed, titled, dated: Sig De Tonancour * / 1992 / Marden 46” H x 27” W x 20” D

$800-1,200

329

Untitled, 1985

Mixed media and collage on paper

Signed and dated lower right: S Kunishima

Image/Sheet: 43’’ H x 31” W

$500-700

Provenance: Santa Monica University Art Gallery, Santa Monica, CA National Gallery, Bangkok, Thailand

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a visual exhibition catalogue for Seiji Kunishma, March 7March 25, 1990, at the National Gallery, Bangkok, Thailand.

Seiji Kunishima (b.1937)

330

Jef Diederen

(1920-2009)

Untitled, Color abstract, 1991

Watercolor on paper

Signed and dated lower right: J. Diederen

Image/Sheet: 21.75” H x 30” W

$300-500

Provenance: Galerie Nouvelles Images, Rijswijk, Netherlands

The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

332 Cheryl Swannack (1946-2020)

Untitled

Mixed media on paper

Signed in pencil lower right: Swannack

Image: 26.125” H x 29.25” W; Sheet: 29.5” H x

$200-400

331

A BDI model 1106 Fin coffee table

21st century

With BDI sticker to underside

Designed by Cristian Wicha, walnut veneer asymmetrical base with glass shelf and top on tubular steel supports

$600-800

15” H x 61.5” W x 31.25” D

333

20th Century American School

San Francisco

Mixed media and collage on paper

Appears unsigned

Sight: 35” H x 29” W

$300-500

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

334

20th Century American School

Los Angeles

Mixed media and collage on paper

Appears unsigned

Sight: 38” H x 29” W

$300-500

Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above

335

Joan Strauss Carl (1926-2021)

Two works:

Plaque with abstract figures, 1986

Patinated bronze on marble base

Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1986

6.75” H x 15.5” W x 3” D

Plaque with standing figures, 1988

Patinated bronze on marble base

Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1988

6.75” H x 15.5” W x 3” D

2 pieces

$500-700

Provenance: The Estate of Joan Strauss Carl, Southern California

336

A mid-century modern pottery table lamp

Mid-20th century

The porcelain lamp with fluted body and cream glaze, together with a silk drum shade, electrified

Overall: 48” H x 16.5” Dia.; base: 30.5” H x 6.5” Dia.; shade: 20.5” H x 16.5” Dia.

$200-300

338

Arabella Ark (b. 1946)

“Ghost Teapot”

Ceramic and plant fiber on wood stand

Appears unsigned; titled by repute 23.5” H x 12” W x 3.5” D

$300-500

Provenance: Nohea Gallery, Honolulu, HI

The Estate of Oscar and Barbara Leidenfrost, acquired from the above Notes: Proceeds to benefit non-profit organizations and educational institutions. This lot is accompanied by a sales receipt from Nohea Gallery, Honolulu, HI dated Arabella Ark is also known as Gail K. Bakutis.

337 Harding Black (1912-2004)

Bowl, 1959

Multicolor glaze on earthenware

Signed to the underside: Harding Black / 1959

2.75” H x 8” Dia.

$400-600

339

A Florence Knoll-style walnut and steel coffee table

Mid/late 20th century

Appears unmarked

In the manner of the table designed by Florence Knoll for Knoll Associates, the large coffee table with pieced-walnut top and brushed black powder-coated steel base 16” H x 60” W x 36” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

340

A modern chrome and rattan bar cart

Circa 1970s

Each caster embossed: Shepherd Profile

The chrome-framed cart with two shelves, both the upper and lower shelves with ebonized wood surround, the lower shelf with inset woven sheet caning while the upper shelf with inset glass

30” H x 36” W x 18” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

“Dear Vincent,” from “Inside the Artist’s Studio,” 2001

Photograph on paper

Edition size and printing date unknown

Appears unsigned Sight: 7.5” H x 9.5” W

$300-500

Literature: Monroe Denton, “The Artist’s Studio: Painting, Photographs and Sculpture By Joe Fig” (Miami Beach: Bass Museum of Art, 2005)

Notes: Joe Fig is a multi-media American artist and is best known for his use of visual culture to explore the creative process. Some of his early work brought attention to the artist’s space, therefore, he started creating reproductions/ miniature replicas of the spaces that prominent artists inhabited. Specifically, for this lot, the workspace that has been replicated and photographed is, Vincent van Gogh’s bedroom, where he is most likely reading over the letter’s between him and his brother Theo.

341 Joe Fig (b. 1968)

342

20th Century American School

Paul Newman and Robert Redford on the set of “Butch Cassidy and the Sundance Kid”

Photograph on paper

From the edition of unknown size and date

Appears unsigned

Sight: 15.5” H x 19.5” W

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

343

20th Century American School

“William Faulkner and Eudora Welty, New York City, May 24, 1962”

Kodak digital print on paper

Edition: 10/250

Appears unsigned; numbered in ink lower left; with the embossed seal of Budd Studios, New York, NY, lower right; and with a printed information sheet from Southside Gallery, Oxford, Mississippi, all framed together

Sheet of digital print: 14” H x 11” W

$1,500-2,500

Provenance: Southside Gallery, Oxford, MI

344

Zwelethu Mthethwa (b. 1960)

“The Visit,” 1977 Lithograph on paper Edition: 9/25

Signed, titled, dated, and numbered in pencil in the lower margin: Zwelethu Sight: 39” H x 27.5” W

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by miscellaneous documents from the Goodman Gallery related to this artist.

345

19th Century Mogul School

Three Mogul portraits

Mixed media on paper

Appears unsigned

Sight of each: 6.625” H x 5.625” W

$400-600

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

346

A set of Baccarat “Harcourt” crystal double Old Fashioned glasses

20th century

Each etched: Baccarat / France

Designed 1841, each lead glass tumbler with panel cuts and multisided hexagonal foot, 8 pieces 4.25” H x 4.25” Dia.

$600-800

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefits non-profit organizations and educational institutions.

347

A group of Baccarat crystal

20th century

Each marked for Baccarat

Each clear lead glass in various large bowl, a pair of candlesticks, Largest: 11.875” H x 4.75” Dia.;

$300-500

Provenance: The Estate of Oscar

Notes: Proceeds to benefit non-profit

crystal table items

forms and patterns, comprising two cylindrical vases, a candlesticks, two decanters, and a pitcher, 8 pieces Dia.; smallest: 6.125” H x 2.875” Dia.

Oscar and Barbara Leidenfrost non-profit organizations and educational institutions.

348

A pair of Lucite and chrome table lamps

Mid-20th century

Each appears unmarked

Two Hollywood Regency-style lamps, each with stacked disks of transparent, ripple cut acrylic surrounding a cylindrical, chromed metal core, dual sockets, ball chain pulls, and pleated silk shade, electrified, 2 pieces

Each with shade: 27” H x 14” Dia.

$400-600

349

A chrome and glass

Circa 1980s

Each chair with tag

The square dining teal within the triangular with chrome frame pieces

Table: 28” H x 42”

$1,000-1,500

glass dining table with four chrome barrel chairs

to the underside: Design Institute of America table with a chrome base and etched glass top, colored pink and triangular motifs, along with a set of four DIA-manufactured barrel chairs and reptile skin embossed upholstery, each chair on four casters, 5 W x 42” D; each chair: 28.5” H x 24.5” W x 24” D

350

Peter Watts (1934-2020)

Ferry Boat, 1974

Pastel on paper

Signed and dated lower right: Peter Watts

Sight: 11” H x 14” W

$300-500

Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

351

Myriam Bat-Yosef

(b. 1931)

Untitled, 1973

Lithograph in colors with embossing on Arches paper

Edition: Printers Proof II, aside from the edition of unknown size

Signed and dated in pencil lower right: Bat-Yosef; with two unidentified blindstamps in the lower corners

Image/Sheet: 15.75” H x 23.75” W

$200-400

Provenance: Property from Frances Luban Fine Art, Burbank, CA

“Better World III”

Offset lithograph with hand embellishment in colors on paper

Signed lower right: Max; titled on a label affixed to the frame’s

backboard

Sight: 23” H x 17.5” W

$500-700

352 Peter Max (b.1937)

353

“Off His Horse,”

Mixed media on paper laid to panel

Signed and dated upper left: R Lee White and with the artist’s device

Image/Sheet: 30” H x 40” W

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Randy Lee White (b. 1951)

1983

354

A postmodern acrylic bar cart

Late 20th century

Appears unmarked

The “Z”-shaped transparent dual shelf cart with applied acrylic accents of circles and tringles in black, white, and red as well as black acrylic handles to one side and casters to the base 35.75” H x 26.75” W x 18” D

$400-600

355

A postmodern steel and etched glass console table

Late 20th Century

Appears unmarked

With a powder-coated grey and white speckled tubular steel base and rectangular glass top with etched geometric motifs of circles, squares, and triangles, arranged in a randomized pattern

29.5” H x 48” W x 16” D

$400-600

356

An Art Deco revival copper and glass torchier lamp

Circa 1980s-1990s

Appears unmarked

The stylized foliate lamp with a cast copper base in the form of a stem and sepal surrounding the glass shard “petals”, electrified 51” H x 9.75” W x 9.75” D

$300-500

357

A group of Burmese etched red lacquerware

Late 19th/early 20th century; Pagan (Bagan), Myanmar

Each marked to the underside: [flower within turtle]

Four lacquered woven bamboo tabletop items comprising one large tray with traditional “Let-Taik-Let-Kya” motifs in the center, depicting alternating humans and buildings, and “orchid scrolling” motifs on the sides and verso, along with one small lidded pitcher, one bowl with lid, and a low-profile dish, each with intricate “Dha-Zin-Gwe” or “orchid scrolling” motifs; all red and black ground with green pigment and gilt accents, 4 pieces

Largest: 1” H x 13.25” W x 9” D; smallest: 1” H x 4.75” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

358

A group of Burmese red lacquered boxes

Late 19th century; Pagan (Bagan), Myanmar

Rectangular box marked to the underside: [flower within turtle]

Three lacquerware boxes comprising two cylindrical boxes known as “Kun-it” or betel boxes, each with two trays on the interior, along with one tabletop-sized “Yun” lidded storage chest with one tray on the interior; each decorated in red, black, green, and yellow lacquer with “orchid scrolling” and animal motifs, 3 pieces Largest: 7” H x 12” W x 8.5” D; smallest: 5.25” H x 5.5” Dia.

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Betel boxes were used to store the leaves, nuts and utensils associated with the preparation and serving of betel, a mild social narcotic traditionally popular in Burma.

Proceeds to benefit non-profit organizations and educational institutions.

359

A group of Burmese etched lacquerware

Late 19th/mid-20th century; Pagan (Bagan), Myanmar

Three marked to the underside: [flower within a turtle]; one marked to the underside: [griffin]

Nine pieces of etched and polished lacquerware in shades of red, black, green, and yellow comprising three etched bowls with “orchid scrolling” and fauna motifs, two bowls with multicolor layered lacquer over gold polished finish, one black bowl with the woven substrate and horsehair worked into the patterning, one lidded bowl with the “Yok-thei” patterning of repeated elephant motifs, one small footed tray with “orchid scrolling” motifs, and one large tray with repeated vase and “orchid scrolling” motifs, 9 pieces

Largest: 1” H x 13.25” W x 9.25” D; smallest: 2.5” H x 4” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

360

A Brown Jordan “Tamiami” patio set

Mid/late 20th century

Each appears unmarked

Each green powder-coated aluminum, comprising five aluminum patio chairs and one square side table, each with white vinyl strapping; along with one circular patio table and one square patio side table, each with inset Aqualite glass, 8 pieces

Largest: 25” H x 48”

$800-1,200

Dia.; smallest: 15” H x 15.5” W x 15.5” D

361

Richard Frinier (b. 1946)

Patio bar cart for Brown Jordan, mid/late 20th century Green powder-coated aluminum frame and three inset Aqualite glass shelves on four casters

34.5” H x 20.25” W x 21.5” D

$400-600

Untitled from the “Traveller Series V,” 1996-98

Cibachrome print on paper mounted to foam board

Edition: 1/12

Signed, titled, dated, and numbered in pencil on a label affixed to the frame’s backboard: T. Hunter

Image/Sheet: 24” H x 20” W

$400-600

Provenance: Modern Collections, London, England Corporate Collection, Los Angeles, CA

362

Tom Hunter (b. 1965)

“Indian Jones” from the “Traveller Series IV,” 1996-98

Cibachrome print on paper mounted to foam board

Edition: 2/12

Signed, titled, dated, and numbered in pencil on a label affixed to the frame’s backboard: T. Hunter

Image/Sheet: 24” H x 20” W

$400-600

Provenance: Jay Jopling, London, England Corporate Collection, Los Angeles, CA

363 Tom Hunter (b. 1965)

364

20th Century American School

Behind the scenes of the “Sound of Music”

Two photographs in black and white, and one photograph in colors on paper

Each: From the edition of unknown size and date

Each: Appears unsigned

Sight of each: 19.5” H x 15.5” W (or opposite)

3 pieces

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

365 21st Century American School

A group of production photographs from Marvel movies featuring Wolverine, Deadpool, and Beast from the Marvel Cinematic Universe

Two photographs in colors and one in black and white on paper

Each: From the edition of unknown size and date

Each: Appears unsigned

Sight of each: 19.5” H x 15.5” W (or opposite)

3 pieces

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

366

20th Century American School

A group of behind the scenes production photographs from “Titanic” (1997) featuring Leonardo di Caprio, Kate Winslet, and James Cameron

Each: Photograph in colors on paper

Each: From the edition of unknown size and date

Each: Appears unsigned

Sight of each: 15.5” H x 19.5” W

3 pieces

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

367

20th Century American School

A group of behind the scenes production photographs from “Titanic” (1997) featuring Leonardo di Caprio, Kate Winslet, and James Cameron

Each: Photograph in colors on paper

Each: From the edition of unknown size and date

Each: Appears unsigned

Sight of largest: 15.5” H x 19.5” W

3 pieces

$300-500

Provenance: Property of 21st Century Fox / Twenty-First Century Fox, Inc., New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above

368

A pair of Mastercraft-style vitrines

20th century

Each unmarked

Each divided cabinet constructed from a smoked metal frame with rounded corners and brass accents, with four glass doors comprising an upper and lower section revealing a fitted interior with glass shelves and mirrored floors and backs, the upper section is lighted, electrified, 2 pieces

Each: 81” H x 31” W x 18.25” D

$1,000-1,500

369

After Henri Matisse (1869-1954)

“Nice, Travail et Joie,” 1947 Lithograph in colors on paper

From the edition of 10,000

Appears unsigned; with the artist’s printed signature in the image lower right: Henri Matisse; Mourlot, Paris, prntr.; Le Syndicat d’Initiative l’Union pour l’art Moderne, Paris, pub.

Sight: 39” H x 24.5” W

$400-600

370

Josefina Aguilar (b. 1954)

Frida Kahlo, Late 20th century

Earthenware, metal wire, and acrylic paint

Signed to the verso: Josefina Aguilar

22” H x 15” W x 5.5” D

$500-700

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

Signed, titled, and dated lower right: Bill

371

Bill Brauer

(b. 1939) “Dusk at Donnerís,” 2011 Oil on panel

Brauer 11.75” H x 18.75” W

$400-600

372

Arne Jacobsen (1902-1971)

Series 7 chair for Fritz Hansen, model 3197, 21st century

Designed 1955

Each marked to underside: Republic of Fritz Hansen / Made in Denmark Bent oak in Lemon Lime lacquer with chrome base

4 pieces

Each: 44” H x 18” W x 23” D

$400-600

373

A collection of Russian Palekh lacquerware

Late 20th century

Each marked for artist and year produced A group of nine pieces of lacquerware comprising eight variously shaped boxes and one plate, each with gilt and polychrome decoration depicting various Russian fairy tales and religious scenes, 9 pieces

Largest: 1.5” H x 10” W x 4.25” D; smallest: 2” H x 1.5” Dia.

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

374

A group of Ardmore ceramic items

20th century; South Africa

Each signed to the underside

Each glazed ceramic, comprising a pitcher with giraffe handle, a giraffe bowl, a pair of rhinoceros salt and pepper shakers, and a pair of zebra salt and pepper shakers, 6 pieces

Largest: 5.875” H x 6.875” W x 3.625” D; smallest: 3.75” H x 3.125” W x 2.25” D

$300-500

Provenance: Charles Greig, Cape Town, South Africa

The Estate of Oscar and Barbara Leidenfrost, acquired from the above

Notes: Proceeds to benefit non-profit organizations and educational institutions.

This lot is accompanied by a sales receipt from Charles Greig, Cape Town, South Africa dated March 15, 2007.

375

An African hunting spear

20th century

With wood shaft, metal point, and embossed brass socket

97.25” L x 1.75” W x 0.5” D

$200-300

Provenance: The James M. Cole Collection, Visalia, CA

376

A Westnofa “Panter” bentwood lounge chair with ottoman

Mid-20th century; Norway

Each appears unmarked

Designed by Igmar Relling for Westnofa, the lounge chair and ottoman each with rosewood-finish bentwood frame and tufted bordeaux-colored leather upholstery, 2 pieces

Chair: 36” H x 28” W x 24” D; ottoman: 15” H x 25” W x 20” D

$600-800

377

Late 20th/early 21st century

Embossed for Herman Miller

Designed by Don Chadwick and Bill Stumpf for Herman Miller in 1994, the ergonomic chair with molded plastic frame, Pellicle suspension material seat and backing, and four plastic casters

40” H x 25” W x 18” D

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

A Herman Miller Aeron desk chair

378

Three modern Lucite vanity stools

Mid/late 20th century

Each appears unmarked

Comprising a near pair of acrylic stools, each with upholstered seat cushion in woven red fabric, and one acrylic stool with a grey faux suede upholstered seat cushion; each with four chrome casters, 3 pieces

Larger: 30” H x 17” W x 14.5” D; smaller: 27” H x 17” W x 16” D

$500-700

379

A two-tiered Lucite rolling cart

Late 20th/early 21st century

Appears unmarked With two transparent shelves and black plastic casters

16.5 H x 27.5 W x 16” D

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

380

A Quad multi-piece hi-fi sound system

Late 20th/21st century

Comprising two Quad ESL-63 Electrostatic Loudspeaker mid-tower speakers (serial no. Q017657 and Q017658), a Quad CD player (serial no. CDPB0307), a Quad FM4 Tuner (serial no. Q014060), a Quad Midi 34 (serial no. Q013421), a Quad 405-2 Power Amplifier, and a Peerless Moving Coil Step-Up Transformer SLC-1 (serial no. U502), with associated Quad Remote and various cables, electrified, 7 pieces

Speakers: 46” H x 26” W x 10” D

$800-1,200

Provenance: The Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

21st century

Serial no. 002266

With black grill, electrified

16” H x 17.25” W x 6.75” D

$700-900

381

Aerial Acoustics SR3 Surround Speaker

21st century

Serial no. 002265

With

$700-900

382

Aerial Acoustics SR3 Surround Speaker

black grill, electrified 16” H x 17.25” W x 6.75” D

Condition Reports

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age and use.

2

Overall good condition with scattered scuffs and scratches commensurate with age.

3

Overall good condition with scattered scuffs and scratches commensurate with age.

4

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age and use. One water ring on the seat of the stool, approximately 2.75” in diameter.

5

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age.

6

Overall good condition with dust accumulation commensurate with age and use. Structurally good condition. Scattered loose fibers throughout.

7

Overall good condition with scuffs commensurate with age.

8 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. please note: There are several carved wood shapes contained within the body of the pot. These are mechanically dumped via the connecting mechanism that opens the lid.

9

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age and use. Some evidence of woodworm. Appropriate patina for age and use.

10

Each in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered areas of rubbed wear and pigment loss throughout each pole.

11

Overall good condition with scattered scuffs and scratches commensurate with age.

Overall good condition. With margins. Minor toning to the paper and mat burn along all four margin edges. A 3.5” H x 1” W paper abrasion possibly from a former piece of tape. Handling creases scattered throughout, primarily in the background and outer edges, the largest measuring 5” W near the upper edge, at left. Hinged to the over mat in two places at the recto of the upper margin edge.

Framed under Plexiglas: 33” H x 47.75” W x 1” D

13

Overall good condition. Dust accumulation, grime, and occasional surface scuffing commensurate with age, primarily showing in the upper and lower canvas panels.

Blacklight: No evidence of restoration.

Frame: 45” H x 48.5” W x 1.5” D

14

Each overall good condition. Full sheet with deckled edges. The middle sheet with the lower left corner slightly dog-eared.

Unframed

15

Overall good condition. Not examined out of the frame.

Frame: 34.75” H x 86” W x 2.25” D

16

Overall good condition. With margins. Very soft rippling in the upper margin due to the hinging at the corners. Hinged to the back mat from the verso of the upper edge.

Framed under Plexiglas: 28.375” H x 42” W x 1.5” D

17

Overall good condition. Two very pale and unobtrusive vertical linear stains the upper right portion of the image, the longest approximately 0.25” H. Several pea-sized brown stains at the extreme right edge, showing mostly on the verso. The sheet is loose, not mounted.

Framed under Plexiglas: 17.25” H x 13.5” W x 1.5” D

18

Overall good condition. Full margins with deckled edges. A quarter-sized tape burn mark in the left verso corner.

Unframed

Overall good condition. Soft rippling along the upper edge. A 2” unobtrusive horizontal crease along the lower left corner. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 31.5” H x 27.375” W x 1.375” D

20

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

21

Overall good condition. Not examined out of the frame.

Framed under glass: 30.25” H x 24.25” W x 1.75” D

22

Overall good condition with scattered scuffs and wear commensurate with age and use. The black coating with some losses and rust, primarily around the feet. The seat pad with staining/soiling.

23

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

24

Overall good condition with dust accumulation and light wear commensurate with age and use. Textile not examined out of frame.

Frame: 30.5” H x 37” L x 1.125” D

25

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

Framed under Plexiglas: 43” H x 31” W x 2” D

26

Overall good condition. Smudges of charcoal and pastel in the margins and on the reverse attendent with the materials used. Artist pinholes at the tips of the margin corners. Hinged to the back mat with linen tape in three places at the upper margin edge. Please note that the old damp staining visible along the left edge of the overmat does not appear to have affected the actual artwork or its margins beneath this display mat.

Framed under glass: 37.5” H x 46” W x 1.5” D

27

Visual: Overall good condition. Stray specks of pigment in the upper and lower sections of the sheet, possibly in the hand of the artist. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 50.125” H x 37.375” W x 2.5” D

28

Visual: Overall good condition. Full sheet with deckled edges. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 50.25” H x 37.375” W x 2.5” D

29

Visual: Overall good condition. Full sheet with deckled edges. A 5” diagonal soft scratch in the upper edge, at left. A dime-sized area of stray blue pigment near the lower edge, at left, possibly in the hand of the artist. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 50.25” H x 37.375” W x 2.5” D

30

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

31

Each overall good condition with minor wear, scuffs, and light scratches commensurate with age. As well, each table has scattered nicks throughout the Lucite surface.

32

Overall good condition with scattered scuffs and scratches commensurate with age and use.

33

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 39.5” H x 27.5” H x 2” D

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Minor frame abrasion along the left and right edges.Two pinhead-sized areas of unobtrusive pigment loss along the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 49.125” H x 41.375” W x 2.25” D

35

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some of the cotton twine used as lashing for the two pieces of wood is missing on the upper third. As well, the twine on the lower end is loose and and the two ends appears to have loosely tied togrther to prevent further unravelling.

36

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

37

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

38

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Som pigment loss throughout the decoration. Wire added to the verso for hanging.

39

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The “Sun God” sculpture with one significant scuff beneath the left eye, approximately 0.75” in length. Likewise, there are several scratches on the sun sculpture, the largest on the reverse upper-third, approximately 4” long. As well, the standing figure sculpture with visible evidence of a repair to a break at the neck.

40

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Issues of note: two small scratches to the veneer on the backrest as well as one small water mark on the seat.

41

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Issues of note: two scratches to the veneer on the front of the seat.

42

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered water marks on the wood seat. This chair appears to be an older model, but likely was refinished and the shock mounts replaced at some point.

43

Each: Overall good condition. Very minor toning, primarily throughout the outer edges. The third sheet with a very soft handling crease at the center of the right edge. The third and fourth with minor handling creases. Hinged to the back mat with archival tape from the verso of the upper edge.

Framed under Plexiglas: 16.5” H x 48” W x 1.5” D

44

Each overall good condition with scattered dark scuffs, scratches, wear, and soiling to cushions commensurate with age and use.

45

Overall good condition with scattered scuffs, scratches, and wear commensurate with age and use

46

Each overall good condition with scattered scuffs and scratches to the metal bases commensurate with age. Upholstery for each in overall good condition with minor wear throughout.

47

Each: Overall good condition. Minor toning to the paper and mat burn along all four edges. The second with a 1” diagonal handling crease in the upper edge, at right. Hinged to the over mat with archival tape in four places from the verso of the upper edge.

Framed under glass: 14.75” H x 31.25” W x 1” D

48

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Working condition unknown. Moran’s does not guarantee the working condition of clocks and watches.

49

Each overall good condition. Each mounted to a support sheet, as issued. Each with pale light staining and slight traces of glue showing on the support sheet. Not examined out of the frames.

Frame of each under glass: 11.5” H x 11.5” W x 1” D

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age and use. Scattered nicks to the powder-coated metal frame. Surface grime and paint splatter throughout the wood surfaces of the shelves.

51

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

52

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Some losses to the gilt finish exposing the red bole priming layer beneath.

53

Overall very good condition. The full sheet, laid down to the back mat. Very slight dust accumulation commensurate with age and the lack of glazing common with Serra’s etchings of this type.

Framed without glazing: 44.5” H x 44.5” W x 2” D

54

Overall generally good condition. Full sheet with deckled edges. Very minor toning to the sheet, showing mostly at the upper left. A tiny, 0.125” horizontal tear with attendant pigment disturbance in the upper section of the right vertical edge. An unobtrusive, nickel-sized, faint surface stain in the darkest blue-black portion of the right vertical edge. A pale foxmark in the deckled edge at the upper left corner. Two dime-sized pieces of old glassine paper tape at the verso of the upper sheet corners. The sheet is loose, not mounted.

Framed under Plexiglas: 28.25” H x 20.75” W x 1.5”

55

Overall good condition. Minor handling creases in the upper quadrant, mostly visible in raking light. A 1” vertical crease in the lower right corner. Hinged to the back mat with archival tape in two places from the verso of the upper edge.

Framed under lucite: 18.25” H x 24.25” W x 1.5” D

56

Overall good condition. Minor toning to the paper. Two handling creases upper center. The full sheet with deckled edges. The sheet is loose, not mounted.

Unframed

57 Condition: Overall good condition. Uneven varnish discoloration throughout.

Blacklight: No evidence of restoration.

Unframed

58

Overall generally good condition. Craquelure scattered throughout. Dust accumulation commensurate with age.

Frame: 54” H x 37” W x 2” D

59

Each overall good condition with wear, dust accumulation, and scuffs commensurate with age. Stone with inherent surface-reaching fractures, inclusions, and abrasions.

60

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One pronounced, lighter-colored scuff on the front left, approximately 0.75” in length. As well, there is some rubbed wear to the black patination on the soldier’s helmet.

61

Overall good condition. With wooden dowels top and bottom. Slight rippling in the center, most likely from rolled storage. Pinhead-sized or smaller areas of rubbing with attendant pigment loss in the upper edge, at right of the painted center mandala. Scattered minor holes in the textile cover.

Unframed

62

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. One significant crack on the front left leg, just above the hoof. There are two small ships to the ornamental “horns” of the helmet. As well, there are scattered small watermarks on the wood base.

63

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The bronze flute, presumably cast separately, has been lost. Cast brass bell suspended from a chain accompanies the sculpture but appears later added.

Overall good condition. Very minor dust accumulation. Light staining showing mostly along the outermost edges. Edge wear with attendant pinhead-sized areas of lifting of the colored surface of the photogram along the extreme outer edges, primarily along the left edge. Mounted to Plexiglas.

Framed under glass: 43.625” H x 33.625” H x 0.875”

D

65

Overall good condition. Dust accumulation commensurate with age and materials .

Frame: 39” H x 32” W x 4.75” D

66

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered white paint splatter to the seat of the bench.

67

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

68

Overall very good condition. Full margins with deckled edges. The slightest trace of surface skinning in two places at the verso of the extreme upper margin edge, verso, from previous hinging. The sheet is loose, secured to the overmat with archival paper corners.

Framed under Plexiglas: 17.75” H x 18.75” W x 1” D

69

Overall very good condition. Full margins with deckled edges. The sheet is loose, secured to the overmat with archival paper corners.

70

Overall good condition with moderate surface scuffs and scratches commensurate with age. Some rough scuffing along rim, possibly inherent to the making.

71

Overall good condition with moderate surface scuffs and scratches commensurate with age.

72

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Working condition unknown. Moran’s does not guarantee the working condition of electronics.

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age and use. Appears to be missing the endcaps on the ornament’s mounting rod.

74

Overall good condition with minor surface scratches, scuffs, nicks, and dust accumulation commensurate with age. A pinhead-sized chip at the tip of the upper left corner. Dime-sized or smaller areas of glue residue, verso. With metal hinging, verso, presumably as issued.

Unframed

75

Overall good condition with scattered scuffs and scratches commensurate with age. Heavier scuffing to the foot. With scattered shrinkage cracks likely inherent to the time of making.

76

Overall good condition with scattered scuffs and scratches commensurate with age.

77

Each overall fair to good condition with scattered scuffs and scratches commensurate with age. The larger vessel with a prior repair running through one side, two spots of light discoloration to the finish, and naturally occurring slits inherent to the burl.

78

Each overall good condition with scattered scuffs and scratches commensurate with age.

79

Overall good condition. With full margins. A few very soft and unobtrusive handling creases near the upper margin edge, visible only in raking light. A 1” wide, vertical band of extremely pale toning along the left margin edge, visible mostly on the verso. Framed floating and hinged to the back mat at the verso of the upper margin corners.

Framed under Plexiglas: 31.5” H x 49” W x 1.5” D

80

The full sheet. Pale old damp staining with attendant cockling affecting both the left and right portions of the sheet, showing mostly in the blank sections and verso of the sheet. A short handling crease and several rice-sized pressure marks in the upper margin. Occasional scattered specks of surface skinning related to the old damp staining and also some foxmarks, mostly near the right margin edge. Occasional minute paper losses along the extreme right margin edge. The sheet is loose, not mounted.

Overall good condition. The colors slightly attenuated. Occasional soft handling creases in the lower quadrant. Not examined out of the frame.

Framed under Plexiglas: 31” H x 14.5” W x 1.2” D

82

Each overall good condition. The first with the tip slightly dog-eared in the upper right corner.

Each unframed

83

Overall good condition. Minor rippling throughout the paper. Artist pinholes at the upper left and right corners. Handling creases scattered throughout, primarily in the outer edges. Three tears along the upper edge, the largest measuring 1.25,” at left. Not examined out of the frame.

Framed under Plexiglas: 42.5” H x 58.5” W x 1” D

84

Overall good condition with minimal wear and some scattered scuffs and scratches commensurate with age. The arms with heavier surface wear.

85

Overall good condition with minimal wear and some scattered scuffs and scratches commensurate with age.

86

Each overall good condition with minimal wear and some scattered scuffs and scratches commensurate with age. Localized areas of heavier surface wear to leather.

87

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age and use. Scattered areas of pigment flaking and loss on all surfaces.

88

Overall good condition. Soft rippling throughout the four extreme edges. A 4” vertical pencil mark along the lower edge, at left.

Frame: 72.25” H x 39.75” W x 1.875” D

89

Overall good condition.The sheet with deckled edges on three sides, and unevenly trimmed along the lower edge. Dust accumulation and an occasional speck of grime commensurate with age. Three short horizontal edge tears in the lower portion of the left deckled edge, the longest approximately 0.5” W. The sheet is hinged to the back mat in four place with linen tape from the verso of the upper edge.

Framed under Plexiglas: 62” H x 47” W x 3” D

90

Each overall good condition with scuffs and darkening/oxidation to bronze commensurate with age. Scattered spots of rusting. Some with slight bending to wall mount.

91

Each overall good condition with typical signs of wear, scattered scuffs, and light scratches commensurate with age.

92

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use.

93

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use.

94

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age. Delicate paint shrinkage scattered throughout. Minor rubbing with an attendant dimesized pigment loss in the upper edge, at left.

Blacklight: No evidence of restoration.

Frame: 32.875” H x 32.875” W x 1.75” D

95

Each overall good condition with loss to stitching commensurate with age and use. Scattered areas of staining and discoloration throughout the quilt due to age and use.

96

Overall good condition with dust accumulation and a few minor loose seams commensurate with age and use. Quilt does not lie flat and is lightly rippled overall. A few panels with fabric loss and minor splits to weave. Textile not examined out of frame.

Frame: 58.5” H x 65” W x 3” D

Each overall good condition with loss to stitching commensurate with age and use. Scattered areas of loss and damage throughout the quilt due to age and use. Small areas of staining throughout the quilt as well. Individual finished blocks are each mounted onto beige cotton fabric.

98

Each overall good condition with loss to stitching commensurate with age and use. Scattered areas of staining and discoloration throughout the quilt due to age and use.

99

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

With base: 44.75” H x 25” W x 11.25” D

100

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

With base: 16” H x 7” W x 8.25” D

101

Overall good condition with scattered scuffs, light scratches, and oxidation to the chrome frame commensurate with age. Hide upholstery is in good condition with only light wear and no major rips, tears, or bald patches.

102

Overall good condition with scattered scuffs, light scratches, and oxidation to the chrome frame commensurate with age. Hide upholstery is in good condition with only light wear and no major rips, tears, or bald patches.

103

Metal frame in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered losses of the powder coated finish throughout the lower part of the frame. Hide upholstery with some creasing and roughing up of the hair. As well, the two cloth ties that hold the hide in place at the top of the frame with fraying and tears. The elastic supports beneath the upholstery are in good condition overall, but one elastic strap is missing. Lastly, the black leather pillow with scattered scuffs and scratches.

104

Overall good condition with wear and minor scuffs commensurate with age. With scatter craquelure to the painted surface with small areas of lifting and chips to the paint.

105

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some of the strapping with minor pulled stitches.

106

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

107

Overall good condition with minimal wear commensurate with age and use.

108

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

109

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Unframed

110

Visual: Overall good condition. Occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 42.25” H x 36.5” W x 1.5” D

111

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

112

Visual: Overall good condition. Minor dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 27.25” H x 40.25” W x 2.75” D

113

Visual: Overall good condition. Specks of occasional grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 41.5” W x 2.5” D

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Cracks throughout are inherent to the building process.

115

Overall good condition with wear, scattered scuffs, surface abrasions, and inherent firing flaws commensurate with age.

116

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

117

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scuffing and scratching heavier along the edges of the chair. As well, there are three small square foam cushions applied to the top of the back of the chair.

118

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Intentional verdigris patination to the metal.

119

Each overall good condition with scattered scuffs, light scratches, and oxidation to the metal frames commensurate with age. Each leather ‘sling’ in overall good condition with only minor scuffing, scratching, and wear to the edges. As well, there are scattered white paint splatters on the brown leather of each chair. The black leather cushions on each chair appear to be a later addition. The leather cushions are affixed with wide Velcro strips, which are adhered to the original leather “sling” upholstery. There chairs are being sold as is with these modifications.

120

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The bolt connecting the back to the right armrest is loose and possibly missing a nut to hold it in place. Likewise, the bolt on the right front side of the curved rocking base is loose from the leg. Lastly, the leather “sling” upholstery is patinated and stained throughout commensurate with age and use.

121

Visual: Overall good condition.

Blacklight: Small spots of touch-up scattered throughout.

Frame: 24.5” H x 66.5” W x 1.25” D

122

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Frame abrasion along the upper edge. Artist tack holes along each of the extreme edges. A 5” vertical unobtrusive surface scratch, mostly visible in raking light, near the upper left edge.

Blacklight: No evidence of restoration.

Frame: 45.5” H x 34.5” W x 2.5” D

123

Visual: Overall good condition. Minor dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 41.25” H x 56.5” W x 1.75” D

124

Overall good condition with scuffs, scratches, and oxidation commensurate with age. Scattered small surface indentations throughout. Areas of oxidation with pitting to the base. Wiring should be checked by a qualified electrician prior to use.

125

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, the upholstery for each stool in overall good condition with no stains or tears. Each faux leather surface with scattered white paint splatter.

126

Each overall good condition with scattered scuffs and scratches commensurate with age.

127

Overall good condition. Slight toning and specks of occasional grime commensurate with age. A vertical and horizontal central crease from previous folding. Minor handling creases scattered throughout, primarily in the outer edges. Pinhead-sized or smaller foxmarks in the upper section of the image. Unobtrusive, pinhead-sized holes near the upper left and upper right corners. Not examined out of the frame.

Framed under Plexiglas: 64.5” H x 48” W x 2” D

Overall good condition. With margins. Minor toning to the paper and the colors slightly attenuated. Handling creases scattered throughout, the largest measuring, 5” vertically through the male figure’s hand, at center. Soft rippling throughout the upper and right margin edges. Not examined out of the frame.

Framed under Plexiglas: 56” H x 40” W x 2” D

129

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each glaze with crazing, the blue teapot’s crazing with sediment/oxidation.

130

Overall good condition. Full sheet with deckled edges. A pinhead-sized unobtrusive area of foxing near the upper edge, at center.

Unframed

131

Visual: Overall good condition. Dust accumulation and occasional specks of grime. A 1” H x 1.5” W area of lifting in the upper right corner, with attendant pigment loss. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under 58.25” H x 40.375” W x 1.625” D

135

Overall good condition. Full margins with deckled edges. The sheet very slightly toned, showing mostly on the verso. An unobtrusive,1.5” H x 0.5” W, rectangle of reverse staining showing faintly in both the upper left and upper right margin corners, attendant with an old linen hinges on the verso of those margin corners. Three pea-sized pale foxmarks showing only on the verso of the upper margin edge. The sheet is loose, not mounted.

Unframed; Sold with its Plexiglas and metal frame: 49” H x 32.75” W x 1.5” D

136

Overall good condition. Not examined out of the frame.

Framed under glass: 32.25” H x 28.25” W x 1.5” D

137

Overall good condition. With wide margins. A pinhead-sized tear in the upper left margin. The paper is slightly bent forwards along the right edge. Scattered and unobtrusive pinhead-sized or smaller foxmarks in the upper margin edge. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 31.5” H x 29” W x 0.75” D

138

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Minor abrasion on each of the four edges. Areas of unrelated material adhered to the upper and lower edges.

132

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use.

133

Overall good condition with scuffs, weathering, and oxidation/rusting commensurate with age. One leg with a slight bend.

134

Overall good condition. A soft horizontal crease measuring approximately 4” wide in the lower right margin corner, just affecting the signature and date. Framed floating and hinged to the back mat.

Frame under Plexiglas: 38” H x 70” W x 1.5” D

Blacklight: No evidence of restoration.

Frame: 39.625” H x 39.625” W x 2.125” D

139

Visual: Overall good condition. Minor dust accumulation and occasional specks of unobtrusive grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 39.625” H x 39.625” W x 2.125” D

140

Overall good condition. Dust accumulation, minor scuffs, surface scratches, and nicks commensurate with age.

141

Overall good condition with scattered scuffs, scratches, and soiling commensurate with age.

Overall good condition with scattered scuffs, scratches, and soiling commensurate with age.

143

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.No evidence of repairs or restorations under blacklight.

144

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.

145

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top with localized areas of heavier surface wear., and heavier wear to base with a 24” scratch to the black plinth on one section.

146

Visual: Overall good condition. Small spots of paint loss upper center, lower left, and in the center. A small hole in the canvas in one of the girl’s arm’s right of center. The canvas is slightly loose and rippled.

Blacklight: No evidence of restoration under blacklight.

Frame: 35” H x 31” W x 3” D

147

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Minor scratching throughout the glass tabletop.

148

Overall generally good condition. With full margins. The red background showing slightly unevenly in the lower half of the image, apparently inherent in the original printing. The paper toned, showing mostly on the verso. Two old small adhesive stickers at the lower left corner, verso. The sheet is loose, not mounted.

Framed under glass: 24.5” H x 18.5” W x 1.5” D

149

Overall good condition. Full margins with deckled edges. A very pale and unobtrusive 1” H x 0.25” W stain near the upper right margin corner, not affecting the image. The sheet is loose, hinged to the back mat at the verso of the upper margin corners with what appears to be archival paper tape.

Framed under glass: 13.25” H x 15” W x 1” D

150

Overall good condition with oxidation to bronze commensurate with age. With a possible repair to the birds and the figure’s right wrist.

151

Overall good condition. Wide margins. Pale offsetting of pencil lines from the overmat showing very slightly in the margins. Taped to the overmat from the verso of the upper margin corners.

Framed under Plexiglas: 17” H x 16” W x 0.75” D

152

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

153

Overall good condition with scattered scuffs, scratches, and wear commensurate with age. Some losses to black Styrofoam base structure that exposes the white underneath.

154

Each overall good condition with scattered scuffs, scratches, and wear commensurate with age and use.

155

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Working condition unknown. Moranís does not guarantee the working condition of clocks and watches.

156

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Working condition unknown. Moranís does not guarantee the working condition of clocks and watches.

157

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. Likewise, there is slight yellowing to the marble table top commensurate with age and use. Please note: The “floating” design requires a bracket installation on the wall in order to support the flat edge of the marble.

158

Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. The underside of each frame with wear to the enamel finish on each chair. As well, each chair with a later added black cotton cushion, which was secured on the underside with the addition of Velcro strips. These strips cannot be removed from the perforated metal seat without risking adhesive residue and lifting of the original finish. Chairs are being sold asis with modifications in place.

159

Overall good condition. Not examined out of the frame.

Framed under glass: 27.5” H x 23.5” W x 2” D

160

Visual: Overall good condition. Very minor dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 37.125” H x 25.125” W x 2.25” D

161

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 16.5” H x 34.5” W x 1.75” D

162

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 49” H x 42” W x 0.75” D

163

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Adhesive felt pads to underside.

164

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues include, but are not limited to: each with thick glaze with heavy inherent crazing throughout, the green handled ewer with a more prominent raised line of crazing to side under handle.

165

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

Framed under Plexiglas: 38.75” H x 31” W x 1.375”

166

Overall generally good condition. With margins. Scattered surface soiling and possible stray printer’s ink primarily near the edges of the margins. A 1.5” diagonal crease across the tip of the lower right margin corner. Soft rippling and handling creases showing mostly at the margin edges. A small series of printer creases in the lower right corner of the sheet, just affecting the lower lines of text. Framed floating and hinged in two places to the back mat from the verso of the upper margin edge.

Framed under Plexiglas: 27.375” H x 41.25” W x 1.75”

167

Overall good condition. A few very pale and unobtrusive yellow stains in the margins, the largest being pea-sized. The margins slightly unevenly trimmed along all sides. The work is hinged to the back mat with linen tape from the recto of the upper sheet edge.

Unframed

168

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

Framed under glass: 28.5” H x 28.5” W x 1.5” D

169

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 33” W x 2” D

170

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 33” W x 1.25” D

171

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 22.25” H x 22.25” W x 1.25” D

172

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age and use. Upholstery for each is in overall good condition with only minor scuffing commensurate with age and use. No rips, stains, or tears present on either chair.

173

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered losses to the white enamel paint surface throughout the frame.

174

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

Overall good condition with scattered scuffs and scratches commensurate with age.

176

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Adhesive felt pads to underside. Appears to have a repair and retouching with pigments to a break on the lower third of the tail.

177

Overall good condition with minor scuffs throughout and darkening/oxidation to bronze commensurate with age.

178

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The smallest of the Javanese masks with more wear to the painted surface and several cracks radiating through the forehead. One tusk on the crown of the Rangda mask has broken off, piece retained.

179

Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Unframed

180

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Scattered craquelure throughout. Very minor frame abrasion along the upper left edge.

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

Frame: 22.25” H x 26.25” W x 2” D

181

Condition: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 42” H x 48” W x 1.5” D

182

Visual: Overall good condition. A pinhead-sized area of unobtrusive pigment loss along the upper right edge.

Blacklight: No evidence of restoration.

Frame: 26” H x 29.5” W x 2” D

183

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 26” H x 29.375” W x 2” D

184

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use.

185

Eahc overall good condition with scattered scuffs and wear commensurate with age and use. Each with areas of black scuffing. Most missing the black feet caps.

186

Overall good condition. With margins. Very minor toning to the paper. Not examined out of the frame.

Framed under Plexiglas: 20.25” H x 15.25” W x 1.25” D

187

Overall good condition. The colors fresh. A few very soft handling creases visible mostly in raking light. Not examined out of the frame.

Framed under Plexiglas: 43” H x 30.75” W x 1.25” D

188

Overall good condition. An occasional unobtrusive, soft handling crease. The sheet is loose, not mounted.

Unframed

189

Each overall good condition with minor wear, scuffs, and light scratches commensurate with age and use. Upholstery on each seat with wear and general grime.

190

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Several scattered minor scratches to the gass top.

191

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The smallest with a small chip to the lid’s flange.

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

193

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The charged with scattered chips and cracks to the edges, the largest loss to the laquer surface approximately 0.5” long.

194

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

195

Overall good condition with dust accumulation commensurate with age and use. Structurally good condition. One area of leather is lost on the top of the bag/front flap. Very few bead losses throughout. Carrying strap appears intact, but tucked into the bag inside of the frame. Not examined out of frame.

196

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

197

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The tallest pot with a small chip to the spout rim.

198

Toning throughout the paper and the colors slightly attenuated. Pea-sized or smaller foxmarks scattered throughout. Occasional handling creases and quarter-sized paper losses at the left and right margin edges. A vertical folding crease down the center. A 6.5” scratch near the upper right edge, slightly affecting the image. White pinhead-sized pigment scattered in the upper section of the image, possibly in the hand of the artist. Not examined out of the frame.

Framed under Plexiglas: 54.75” H x 38.625” W x 0.75” D

199

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Very minor frame abrasion along the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 34.75” H x 28.75” W x 1.25” D

200

Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Framed: 25.5” H x 18” W x 1.5” D

201

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 25.25” H x 29.25” W x 2.5” D

202

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Delicate craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 32.5” H x 26.625” W x 1.125” D

203

Overall good condition. Minor dust accumulation commensurate with age. The paper is slightly bent along the upper and right edges.

Unframed

204

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 23.5” H x 27.5” W x 2.25” D

205

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 21.25” H x 18.25” W x 0.875” D

206

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 21.25” H x 18.25” W x 0.875” D

207

Framed under Plexiglass

Frame: 23.5”H x 27.5”W

208

Each overall good condition. Not examined out fo the frame.

Framed under Plexiglas: 15” H x 31” W x 2” D

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 21.25” H x 18.25” W x 0.875” D

210

Overall good condition with moderate surface scuffs and scratches commensurate with age. Some rough edges to the varnish around the foot, likely inherent to the making.

211

Overall good condition with scattered scuffs and scratches commensurate with age. Some naturally occurring veins visible and some small shrinkage cracks.

212

Each overall good condition with scattered scuffs and scratches commensurate with age. The unattributed bowl with a chip to the rim and foot, the pieces accompany the bowl.

213

Overall good condition. Full sheet with deckled edges. Occasional grime commensurate with age. Scattered soft handling creases throughout, primarily along the upper edge and corners, the largest measuring 2.5” vertically in the upper edge, at left. The tip of the upper right corner is slightly dogeared. Stray specks of unobtrusive ink in the upper quadrant. Hinged to the back mat from the verso of the upper edge.

Framed under Plexiglas: 17.25” H x 21.25” W x 1.5”

214

Occasional grime commensurate with age. Minor toning throughout. Pale staining and surface soiling, mostly in the upper section and along the edges. A central vertical and one horizontal crease from prior folding. Unobtrusive and soft handling creases scattered throughout. Note that there is a round hole in the paper at the upper right, inherent in the manufacture of the original paper placemat. Not examined out of the frame.

Framed under Plexiglas: 15.125” H x 18.625” W x 1”

216

Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Two of the chairs appear to have been produced more recently or kept indoor, whereas two have more wear and tear to the overall finish. Scattered areas throughout two of the chairs as well as the ottoman where the green finish is peeling off. Likewise, there are areas on those same two chairs and the ottoman where the finish has become dull. Lastly, several bolt heads have lost some or all of the green finish on several chairs and the ottoman.

217

Each overall good condition with scattered scuffs and scratches commensurate with age and use.

218

Aluminum frame in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Likewise, leather upholstery in overall good condition with minor scuffing and scattered pinpoint discoloration commensurate with age and use.

219

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One significant scratch on the base of the smaller candlestick. No evidence of restoration or hairlines under illumination.

220

Overall good condition with minor scuffs, and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use.

221

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Fraying and wear to the cord. Wiring should be checked by a qualified electrician prior to use.

222

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Two cream soup bowls and one tea cup with chips to the rim.

223

215

Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Surface grime present on the interior and exterior of each vessel.

Visual: Overall good condition. Delicate scattered craquelure. Stretcher bar crease along the left edge. Very minor frame abrasion along the upper edge, at left.

Blacklight: A 7” horizontal area of touch-up near the lower edge, at left, with an attendant patch verso.

Frame: 31.125” H x 57” W x 2.5” D

Overall good condition. Full sheet with deckled edges. Artist pinholes at the tips of the sheet corners. Framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas:

225

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Minor frame abrasion along the lower left edge. Areas of unobtrusive rubbing with attendant pigment wear at the lower right.

Blacklight: No evidence of restoration.

Frame: 34.125” H x 34.125” W x 1.25” D

226

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very minor frame abrasion along the left edge, at center.

Blacklight: No evidence of restoration.

Frame: 36” H x 28.125” W x 1.25” D

227

Overall good condition. Full margins with deckled edges. Occasional minor handling creases in the margins, primarily at the extreme edges. Framed floating, hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 33.25” H x 25.25” W x 1.5”

228

Overall good condition. With wide, possibly full, margins. The palest time staining along the extreme margin edges. Framed floating. Not examined out of the frame.

229

Overall good condition. With wide, possibly full margins. Soft handling creases scattered throughout, the largest measuring 2” diagonally in the lower left corner. The tip of the upper right margin corner is slightly dog-eared. Framed floating. Not examined out of the frame.

Framed under Plexiglas: 18.5” H x 24.125” W x 1.375” W

230

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

231

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

232

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

233

Overall good condition with light oxidation and scratches commensurate with age and use. Resin with light abrasions. Light wear to leather.

234

Each in overall good condition with light wear and minor marks commensurate with age and use. RLM necklace with original box and dust bag. Shell necklace with Saks Fith Avenue box.

235

Overall good condition with light scratches and wear commensurate with age and use. Working condition unknown. Used previously and is currently inked.

236

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

237

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Scottish brooch with adhesive residue to top jewel and with a slightly bent pin.

238

Overall good condition. Very minor occasional specks of grime commensurate with age. Three pinhead-sized areas of water damage near the upper right corner. Pinhead-sized or smaller foxmarks at the left edge. Hinged to the back mat with archival tape in two places from the verso of the upper edge.

Framed under Plexiglas: 27.25” H x 21.25” W x 1.5”

239

Overall good condition. With full margins and deckled edges. Very minor toning to the paper. Framed floating and hinged to the back mat. Not examined out of the frame.

Framed under Plexiglas: 16.5” H x 22.25” W x 1.25”

240

Overall good condition. With margins. Pinhead-sized or smaller foxmarks scattered throughout the margin edges. Very minor and soft handling creases along the upper margin, not affecting the image. Not examined out of the frame.

Framed under Plexiglas: 13.25” H x 22.25” W x 1.875” D

241

Overall good condition. With margins. A 2” soft and horizontal handling crease along the left margin edge and partially through the image. A 0.25” area of unobtrusive stray red pigment in the image, near the left margin edge, at center. Not examined out of the frame.

Framed under Plexiglas: 20.25” H x 15.25” W x 0.875” D

242

Overall good condition. The sheet retains its wide, possibly full, margins. Minor toning to the paper and mat burn along all four margin edges. Unobtrusive handling creases scattered throughout the margins, not affecting the image. Minor rippling to the lower margin, not affecting the image. A 0.25” vertical tear and the paper bent towards the recto along the extreme left margin. Hinged to the overmat with white linen tape in three places from the verso of the upper margin.

Unframed

243

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination. Adhesive felt pads to underside.

244

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

245

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

246

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.

247

Each in overall good condition with tarnishing, oxidation and scratches commensurate with age and use. Square link belt lacking one closure pin. Pyramidal buckle lacking central stone. Hinged cuff lacking closure pin.

248

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

249

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

250

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

251

Each overall good condition with dust accumulation commensurate with age and use. Structurally good condition.

252

Overall good condition with dust accumulation commensurate with age and use. Structurally good condition.

253

Overall good condition with dust accumulation commensurate with age and use. Structurally good condition. One of the interior structural fibers with a single break.

254

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The purse pot with a small chip to lid.

255

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

256

Overall good condition. Full sheet with deckled edges. Minor handling creases along the lower margin, not affecting the image. A 0.25” horizontal and unobtrusive tear near the lower right margin edge. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 49” H x 34.5” W x 1.25” D

257

Overall good condition. Not examined out of the frame.

Framed under glass: 23” H x 17” W x 1” D

258

Overall good condition. Not examined out of the frame.

Framed under glass: 21.5” H x 18.25” W

259

Overall good condition. A speck of grime near the lower left side of the figure. The paper is slightly puckered along the upper edge. Very minor handling creases scattered throughout. Not examined out of the frame.

Framed under glass: 20.75” H x 16.625” W x 1.5” D

260

Each overall good condition with wear and minor scuffs commensurate with age. Likewise, there are scattered fleabite nicks to the edges of each.

261

Overall good condition with wear and minor scuffs commensurate with age. Stone with inherent surfacereaching fractures and inclusions.

262

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

263

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, each table has water markings and breaks in the finish on the tabletop.

264

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The smaller table lamp is missing a finial. Both shades likely replacements and not original. Wiring for each should be checked by a qualified electrician prior to use.

265

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: some moth damage and furniture indents.

266

Each overall good condition. Dust accumulation and specks of grime commensurate with age. Minor toning and the colors slightly attenuated. Pinheadsized or smaller foxmarks scattered throughout. Handling creases scattered throughout, primarily in the first panel. Minor rippling through the paper, primarily in the second panel. Not examined out of the frame.

Framed together under Plexiglas: 17.25” H x 32.25” W x 1.375” D

267

Overall good condition. A good impression with margins. Minor handling creases scattered throughout, primarily in the margins, the largest measuring 1.5” near the center, at left. Stray specks of ink in the lower left margin. Floating and mounted to the back mat.

Unframed

268

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

269

Each overall good condition with minor scuffs and oxidation to bronze commensurate with age. Each with minor abrasions and wear to stone. The standing figure plaque’s back panel is loose.

270

Each overall good condition with scattered scuffs, scratches, nicks, and wear commensurate with age. The finish with scattered black scuffs and some minor flaking/chipping exposing the base metal.

271

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

272

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Lacking a gem to the face.

With base: 14.875” H x 12” W x 10” D

273

274

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

275

Overall good condition with wear commensurate with age and use. The bark cloth with areas of wear, fraying, and separation/holes throughout. The seams at the arms are loose.

276

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One break to left lower hand pinky finger.

277

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The gilt surface has heavy wear and patina with many losses. As well, the figure’s ears and the spire of his crown are both broken off. Lastly, there is some corrosion to the feet of the figure with one small hole present on the right foot. Please note: The mount for the display stand has been adhered to the verso and cannot be removed.

278

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

279

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered areas of fading to the finish of the legs. As well, the upholstery with fading, staining, and wear commensurate with age and use. One large stain approximately 1.5” diameter that is orange in color on the seat.

280

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 42.75” H x 42.75” W x 1.75”

281

Overall good condition. With margins. The paper is slightly rippled along the upper left margin edge, and partially in the image. Not examined out of the frame.

Framed under Plexiglas: 42.75” H x 42.75” W x 1.75”

283

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The legs with heavier wear. The upholstery with typical soiling/ staining and puled stitches from use.

284

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 71” H x 54” W x 2.25” D

285

Overall good condition. The canvas is nailed to the backing board. The frame with dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 17.5” H x 23” W x 4” D

286

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

287

Visual: Overall good condition. Minor dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 49” H x 61” W x 1.5” D

288

Visual of each: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. The first with stretcher bar creases along the four edges. Unobtrusive pale staining in the upper right edge. The second with very minor rippling throughout the paper. Unobtrusive surface scratches at the lower left corner. Framed floating and hinged to the back mat. A pinhead-sized paper bend at the extreme upper edge, at center. Not examined out of the frame.

Blacklight of each: No evidence of restoration.

The second framed under Plexiglas: 16.75” H x 13.25” W x 1.75” D

282

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use.

289

Each overall good condition with minor wear, surface dust, and surface grime commensurate with age. As well each doll has scattered loose threads and lost beads. One braided length of beading with beaded rings strung on it has disconnected from its figure.

290

Each overall good condition with minor wear, scuffs, and light scratches commensurate with age. Scattered loose wires, threads, and missing beads.

291

Overall good condition with dust accumulation and wear commensurate with age and use.

292

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

293

Overall good condition with creasing and minimal signs of wear commensurate with age. A couple of pulled threads throughout.

294

Overall good condition with scattered scuffs, scratches, nicks/minor surface chips, indentations, and separation at joints commensurate with age.

295

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age and use.

296

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

297

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: heavier wear to the selvedge edges with fraying, wear to the braided fringes edges, and loss of the border along either edge near the fringe border.

298

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: wear to the fridge edges and scattered areas of moth grazing.

299

Overall good condition. Minor toning and pinheadsized or smaller foxmarks to the paper, primarily in the margin edges. Not examined out of the frame.

Framed under Plexiglas: 28.25” H x 28.25” W x 1.625” D

300

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Working condition unknown.

301

verall fair to good visual condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Heavier scratching and abrasions to the painted body. Wiring should be checked by a qualified electrician prior to use. Working condition unknown, guitar has not been tested or tuned. Moran’s does not guarantee the working condition of musical instruments.

302

Overall good visual condition commensurate with age and use. Issues include, but are not limited to: wear, scattered scuffs, scratches, dust, surface grime, and two dents at the bottom of the body, one with attendant chipping/cracking in the finish. Working condition unknown, guitar has not been tested or tuned. Wiring should be checked by a qualified electrician prior to use. Moranís does not guarantee the working condition of musical instruments.

303

Overall good visual condition commensurate with age and use. Issues include, but are not limited to: general wear, scattered scuffs, scratches, spots of staining/soiling to faux leather, oxidation to metal, and dust. Working condition unknown. Wiring should be checked by a qualified electrician prior to use. Moranís does not guarantee the working condition of electronic equipment.

304

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Frame: 72” H x 52” W x 2” D

305

Overall good condition. The work is most likely laid to canvas or paper. Unobtrusive flattened creases and handling marks scattered throughout. Not examined out of the frame.

Frame under Plexiglas: 73” H x 53.5” W x 1.25” D

Overall good condition. Occasional specks of grime commensurate with age. Minor toning along the margin edges. An old horizontal central folding crease extending across the center of the sheet. Minor handling creases scattered throughout, primarily in the margins. A 0.75” vertical tear in the lower margin, at left, not affecting the image. Not examined out of the frame.

Framed under glass: 48.5” H x 32.5” W x 1.375” D

307

Overall generally good condition. Dust accumulation and occasional specks of grime commensurate with age. The colors slightly attenuated. Soft handling creases scattered throughout. Pea-sized or smaller areas of scattered puckering of the paper throughout the lower section. A 0.75” horizontal tear along the left edge, at center, not affecting the image. Not examined out of the frame.

Framed under Plexiglas: 36.625” H x 22.625” W x 0.875” D

308

Overall generally good condition, the colors still strong. Occasional specks of grime commensurate with age. Scattered handling creases. Unobtrusive, pinhead-sized or smaller foxmarks near the margin edges. A 2” vertical tear in the upper margin, at right, just slightly into the image. Various edge tears in the right margin, a few of which extend very slightly into the image, largest measuring 2.5” in the lower portion of that margin. Not examined out of the frame.

Framed under glass: 31.5” H x 39.625” W x 1.25” D

309

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Note: The glaze for “Freeform” and “Mobile” is traditionally glossy, while the glaze for “Contempora” is satin. The more matte appearance of the “Contempora” pieces is an intentional design choice. Small area of loss to the satin pink glaze decoration of the “Contempora soup bowl.

310

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. One Red Wing mug with hairline crack, visible on the interior. Surface grime present on the Salem China-style cup and saucer set.

311

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age and use. The upper third of the vessel and lid of the casserole have yellowing/ discoloration to the glaze. One small chip to the rim of the large serving bowl.

312

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The ladle for the gravy boat has a small chip to the end of the handle. Likewise, there are minor chips to the rims, edges, and lids of several of the bowls and cannisters. Lastly, the dinner plates have some silverware-induced scratching to the glaze.

313

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Heavier scratching to the underside of each. No evidence of restoration or hairlines under illumination.

314

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use.

315

Each overall good condition with tarnishing and light scratches commensurate with age. The gravy boat with personalization. Gross weight does not include cement reinforced candle holders.

316

Each overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items.

317

Paint and Masonite loss and nail holes scattered along the edges. Tiny flecks of white paint throughout. The left and right edges of the Masonite have been cut an unknown amount, partially affecting the signature and title, verso.

Blacklight: Areas of touch-up throughout.

Unframed

318

Visual of each: Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight of Each: No evidence of restoration.

Frame of each: 18” H x 16” W x 1.75” D

Overall good condition. Dust accumulation and grime commensurate with age.

Unframed

320

Overall good condition. An area of pale toning near the upper right corner. Scattered very pale foxing. Occasional short and unobtrusive handling creases at the outer edges, showing only in raking light. Two very small paper losses, pea-sized or smaller, in the upper portion of the right sheet edge. A 0.5” vertical tear near the center of the upper sheet edge. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 47” H x 35” W x 2” D

321

Overall good condition. Full sheet with deckled edges. A pea-sized area of stray white pencil near the lower edge, at right, not affecting the image. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 31.25” H x 23.25” W x 1.5”

322

Overall good condition. With the usual horizontal fold across the sheet, just below the map. Not examined out of the frame.

Framed under glass: 20” H x 15.875” W x 1.25” D

323

Each overall good condition. The full sheet with deckled edges. Minor toning to the paper with heavier toning along the extreme edges. Not examined out of the frame.

Each framed under Plexiglas: 23.75” H x 31.25” W x 1.5” D

324

Overall good condition with minor scuffs and oxidation to bronze commensurate with age. With minor abrasions and wear to stone. The back panel is loose.

325

Overall good condition. Minor unobtrusive handling creases in the lower margin. Not examined out of the frame.

Framed under Plexiglas: 15.875” H x 18.375” W x 1”

326

Overall good condition. Uneven toning throughout the sheet. Mat burn along the four edges. Pale staining along the upper edge. Minor handling creases throughout, mostly showing in raking light in the lower section of the sheet. Not examined out of the frame.

Framed under glass: 27.5” H x 21.5” W x 1” D

327

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and inherent imperfections commensurate with age and material.

With base: 47.5” H x 14” W x 9.5” D

328

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and inherent imperfections commensurate with age and material.

329

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

Framed under Plexiglas: 45” H x 33” W x 1.5” D

330

Overall good condition. Full sheet with deckled edges. Scattered and unobtrusive handling creases, primarily in the outer edges, the largest measuring 1.125” diagonally in the lower left corner. Very soft rippling to the upper and lower edges, most likely due to the way that the sheet is mounted. Framed floating and mounted to the back mat.

Framed under glass: 23.375” H x 31.25” W x 1” D

331

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use.

332

The sheet is toned and with time staining along the outermost edges. A few pinhead-sized stains in the image. Other very pale stains showing in the margins. Pinholes in the margin corners. Not examined out of the frame.

Framed under Plexiglas: 30.25” H x 34.25” W x 1” D

333

Overall good condition. Specks of occasional grime commensurate with age. Minor toning throughout the paper. Minor handling creases throughout the outer edges. The sheet has dropped down several inches behind the overmat as a result of the hinges coming loose.

Framed under glass: 48.75” H x 39.25” W x 1.75” D

334

Overall good condition. Specks of occasional grime commensurate with age. Minor toning throughout the paper. Pinhead-sized or smaller foxmarks scattered throughout. Minor handling creases throughout the outer edges.

Framed under glass: 48.75” H x 39.25” W x 1.75” D

335

Each overall good condition with minor scuffs and oxidation to bronze commensurate with age. Each with minor abrasions and wear to stone.

336

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The shade with some minor wear and loose trimming. Wiring should be checked by a qualified electrician prior to use.

337

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

338

Overall fair to good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With scattered surface flakes in the glaze. Two repairs to the lid.

339

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. The walnut tabletop with multiple areas of wear and water marking to the finish, especially concentrated at the corners.

340

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, there are scattered nicks and scuffing to the lacquered surface, particularly along the edges of the lower shelf. Likewise, there is minor scratching to the glass inset of the upper shelf.

341

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 13.5” H x 15.5” W x 1.25” D

342

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 23.5” H x 27.5” W x 2.25” D

343

Overall good condition. The sheet retains its wide, possibly full, margins. Minor toning to the paper and mat burn along all four margin edges. Hinged to the back mat with tape in one place from the verso of the upper edge.

Framed under glass: 23.875” H x 14.625” W x 0.875” D

344

Overall good condition. With wide margins. Minor dust accumulation commensurate with age. A peasized unobtrusive abrasion to the sheet, mostly visible in raking light. Not examined out of the frame.

Framed under glass: 40.5” H x 29.125” W x 1.25” D

345

Overall good condition. The first and second portraits with slight rippling. Scattered and unobtrusive extremely pale foxmarks. Not examined out of the frame.

Framed under Plexiglas: 12” H x 25” W x 0.75” D

346

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Two with chips to the rims.

347

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One candlestick with a chip to the foot.

348

Each lamp in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One lamp is missing its finial. Each shade in fair condition with multiple tears to the silk fabric. Wiring should be checked by a qualified electrician prior to use.

Each overall good condition with scattered scuffs, light scratches, surface grime, and oxidation commensurate with age. Likewise, the glass tabletop has scattered scratching commensurate with age and use. As well, the upholstery for each chair is in overall good condition with no staining or tears and only minors pull scattered throughout the fabric.

350

Overall good condition. Dust accumulation and grime commensurate with age. Not examined out of the frame.

Framed under glass: 12.125” H x 15.125” W x 1.125”

351

Overall good condition. The full sheet with deckled edges. Minor toning to the paper. The sheet is loose, not mounted.

Unframed

352

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 37.625” H x 31.625” W x 1.5” D

353

Visual: Overall good condition. A pea-sized paper loss at the tip of the upper left corner. Framed floating and mounted to panel. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 32.5” H x 42.75” W x 1.375”

354

Overall good condition with minor wear, scuffs, and light scratches commensurate with age and use. Slightly heavier scratching to the surface of the upper shelf.

355

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered deeper scratches to the glass tabletop throughout. As well, there are several knicks to the powder-coated finish of the base, exposing the metal beneath.

356

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use.

357

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age and use. Two chips to the rim of the bowl’s lid, largest approximately 1.5” in length.

358

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. The larger betel box with heavier scuffing and losses to the enamel surface along the edge of the lid. As well, there are scattered patches of a white substance on the lid of the chest.

359

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Large tray with two larger chips to the rim.

360

Each metal frame in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. The vinyl strapping on each chair as well as the side table with discoloration, surface grime, and cracking commensurate with age and outdoor use. Each glass inset in Overall good condition with minor wear, scuffs, and light scratches commensurate with age.

361

Overall good condition with scattered scuffs and light scratches commensurate with age.

362

Overall good condition. Not examined out of the frame.

Framed under glass: 30” H x 26” W x 1.75” D

363

Overall good condition. Not examined out of the frame.

Framed under glass: 30” H x 26” W X 1.75” D

364

Each overall good condition. Not examined out of the frame.

Each framed under Plexiglas: 27.5” H x 23.5” W x 2.25” D (or opposite)

365

Each overall good condition. Not examined out of the frame.

Each framed under Plexiglas: 27.5” H x 23.5” W x 2.25” D (or opposite)

366

Each overall good condition. Not examined out of the frame.

Each framed under Plexiglas: 23.5” H x 27.5” W x 2.25” D

367

Each overall good condition. Not examined out of the frame.

Each framed under Plexiglas: 23.5” H x 27.5” W x 2.25” D

368

Each overall good condition with wear, scuffs, and light scratches commensurate with age.

369

Overall good condition. With margins. Specks of occasional grime commensurate with age. Not examined out of the frame.

Framed under Plexiglas: 41.375” H x 27” W x 1” D

370

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Titled by repute.

371

Visual: Overall good condition. Very slight wear at the extreme edges, commensurate with age.

Blacklight: No evidence of restoration.

Unframed

372

Each overall good condition with scattered scuffs, scratches, and wear commensurate with age.

373

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One box with more pronounced crazing to the lacquer surface.

374

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. One zebra with scattered visible repairs to to tail, ears, and mane and flaking to glaze. The giraffe bowl with a break to one ear.

375

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

376

Each wood frame in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The leather upholstery for each in overall good condition with no tears or staining. The leather has some wear and an overall nice patina from age on each piece.

377

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Some rubbed wear to the ends of each arm rest commensurate with use. Light staining to the fabric seat. Structurally sound with all levels fully functioning.

378

Each overall good condition with minor wear, scuffs, and light scratches commensurate with age. Some fractured inclusions within the Lucite on each of the stools. Please note: Grey upholstered stool has a swiveling seat, while the seats on the other two are stationary and fixed.

379

Overall good condition with wear, scuffs, and light scratches commensurate with age. Heavier scratching to each shelf surface.

380

Overall good visual condition commensurate with age and use. Issues include, but are not limited to: general wear, scattered scuffs, scratches, and dust. Working condition unknown. Wiring should be checked by a qualified electrician prior to use. Moranís does not guarantee the working condition of electronic equipment.

381

Overall good condition with wear commensurate with age. Working condition unknown. Wiring should be checked by a qualified electrician prior to use.

382

Overall good condition with wear commensurate with age. Working condition unknown. Wiring should be checked by a qualified electrician prior to use.

SPECIALISTS

President, Auctioneer

John Moran Auctioneers, Inc

Co-Head of Sale, Vice President, Decorative Arts Department Specialist

Co-Head of Sale, Fine Art Director

Senior Vice President

Vice President, Furniture & Decorative Arts Director

Junior Specialist / Senior Fine Art Cataloguer

Post-War & Contemporary Design Specialist

Post-War & Contemporary Fine Art Specialist

Fine Art Cataloguer

Fine Art Cataloguer

Senior Fur niture & Decorative Arts Cataloguer

Fur niture & Decorative Arts Cataloguer

Fine Art Department Administrator Operations Coordinator

Fur niture & Decorative Arts Department Administrator

Jewelry Director

Silver, Western, & American Indian Cataloguer

CLIENT SERVICES

Office Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Finance & Human Resources Director

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

Art Handler

Art Handler

MARKETING

Advertising & Marketing Director, Art Design

Brenda Smith

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

TRUSTS & ESTATES

Appraisals Director

Department Administrator

FOUNDERS

Founder

Co-Founder

Jeffrey J. Moran

Maranda Moran

Jenny Wilson

Morgana Blackwelder, AAA

Roland Rynkiewicz

Bobby Cullen

Matthew Grayson

Hayden Hunt

Anne Spink

Madison Ari

Shannon Dailey

Sarah Beaver

Ian Anderson

Alek Ellis

Mollie Burns Keith, G.J.G

Sally Andrew

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Jervey Inglesby

Jacob Baer

Nathan Martinez

PR Manager/Social Media

Brian Olivas

Keith Berson

Madison Torres

Michael Mizerowski

Mariam Whitten, ISA AM

Melissa Brownell

John H. Moran (1942-2017)

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.

AUCTION HOUSE AS AGENT

Conditions of Sale

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.