California & American Fine Art — May 9, 2023 | John Moran Auctioneers

Tuesday, May 9, 2023

SINCE 1969

Tuesday, May 9, 2023—12pm

Sale 246 145 East Walnut Avenue, Monrovia CA 91016

Previews: Friday, May 5th: 12-4pm Saturday, May 6th: 12-4pm Monday, May 8th:: 12-4pm Tuesday, May 9th: Doors open 10am Or by appointment

Meet the Team

Jennifer Wilson Head of Sale Fine Art Director jennifer@johnmoran.com

Anne Spink Fine Art Cataloguer anne@johnmoran.com

Jeff Moran President Fine Art Specialist jeff@johnmoran.com

Madison Ari Fine Art Cataloguer madison@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

1 Thaddeus Welch (1844-1919) Painter at his easel Oil on canvas laid to canvas Signed lower right: T. Welch. 18” H x 14” W

$2,000-3,000

2 Thaddeus Welch (1844-1919)

Morning by the water, 1899 Oil on canvas

Signed and dated lower right: T. Welch

9.5” H x 17.5” W

$800-1,200

3

George Gardner Symons (1863-1930)

“Afternoon Sun (Corn Stacks - Connecticut)”

Oil on canvas

Signed

25.25”

$3,000-5,000

Exhibitions: Grand Central Art Galleries, Inc., New York, NY, “Impressionism and Post-Impressionism: Transformations in the Modern American Mode 1885-1945,” March 29-May 14, 1988, Catalog No. 175, illustrated

lower right: Gardner Symons; titled on an exhibition label affixed verso

H x 22” W

Provenance:

4 Allan Freelon (1895-1960)

“House Near River” Oil on artist board

Signed lower right: Freelon; signed again in pencil verso; titled on a sales invoice 12” H x 16” W

$7,000-9,000

Treasured Auctions, Westbury, NY Private collector, Amesbury, Massachusetts, acquired from the above, 2022

5 Wilson Irvine (1869-1936) View of an oak tree Oil on canvas

Signed lower left: Irvine

24” H x 27” W

$3,000-5,000

$1,500-2,500

Provenance: Property of an Important New York Corporate Collection

6 Ben Foster (1852-1926) Hilly landscape with a cozy cottage Oil on canvas

Signed lower left: Ben Foster 25.5” H x 30.5” W

7 Henry Bispham (1841-1882) Young girl feeding cows, 1880 Oil on canvas

Signed, dated, and inscribed lower right: Bispham / Paris 1880 24” H x 36.5” W

$1,500-2,500

8 Frederick Oakes Sylvester (1869-1915)

“Mississippi River” Oil on canvas laid to board

Signed lower left: F.O. Sylvester; titled and inscribed indistinctly in pencil on a piece of brown tape affixed verso

9” H x 12” W

$2,000-4,000

9 Charles Melville Dewey (1849-1937) A farmer herding sheep Oil on panel

Signed lower right: Charles Melville Dewey 29” H x 34” W

$2,000-3,000

10

Will Vawter

(1871-1941)

“Early

Spring, Brown County”

Oil on canvas

Signed lower left: Will Vawter; titled in pencil on the stretcher

30” H x 36” W

$6,000-8,000

11

Lillian Genth

(1876-1953)

“On a Summer Morning”

Oil on canvas laid to canvas

Signed lower left: L. Genth; titled on a gallery label affixed to the frame’s backboard 30” H x 39” W

$3,000-5,000

Provenance: Arvest Galleries Inc., Essex, MA

12

Lillian Genth (1876-1953)

Oil on canvas

Signed lower left: L. Genth; inscribed indistinctly in pencil on the stretcher

29” H x 35” W

$3,000-5,000

A view of a medina

13

$3,000-5,000

Provenance: The Estate of Joan Strauss Carl, Southern California

Exhibitions: Painters and Sculptors Gallery Association, Grand Central Terminal, New York, NY, n.d.

Ivan Gregorewitch Olinsky (1878-1962)

“Virginia” Oil on canvas

Signed upper right: Ivan G. Olinsky; titled on exhibition labels affixed to the frame’s backing paper 36” H x 30” W

14

John George Brown (1831-1913)

“In the Hands of the Enemy,” circa 1901 Oil on canvas laid to waxed canvas Signed lower left: © J.G. Brown N.A.; titled in pencil on the stretcher

25” H x 20” W

$30,000-50,000

Provenance: Private Collection, California Private collection, by descent from the above, 1993 Private collection, by descent from the above, 2014 Sotheby’s, New York, Ny, “American Art,” May 19, 2021, Lot 42

15 Marie Goth (1887-1975) Floral still life Oil on canvas

Signed lower right: Marie Goth

28” H x 24.5” W

$2,000-4,000

16

Sight:

$1,500-2,500

Marie Goth (1887-1975)

Still life of pink and yellow roses

Oil on canvas laid to board

Signed lower right: Marie Goth

19.75” H x 15.75” W

17

Pal Fried (1893-1976) “Blanche” Oil on canvas

Signed lower left: Fried Pal; titled verso 24” H x 30” W

$1,000-1,500

18

Richard Whorf (1906-1966)

“Independence Day or ‘The Glorious Fourth’,” 1966

Oil on board

Signed upper left: Richard Whorf; signed again, dated, and titled, all verso 24” H x 36” W

$3,000-5,000

Provenance: Gallery IV, Los Angeles, CA

19

Ernest

(1873-1939)

“Waterfall,”

Oil

$10,000-15,000

Provenance: The Gallery of Modern Art, New York, NY Butterfield and Butterfield, California, April 1, 1992, Lot 61

Lawson

circa 1928

on canvas

Signed lower right: E. Lawson; titled and dated on a gallery label affixed to the backboard of the frame.

16.25” H x 20” W

20

Attributed to Lawton Silas Parker (1868-1954)

“Study for Preparing for the Bath III”

Oil on paperboard

Appears unsigned; titled from a gallery label affixed to the frame; framed together with an unsigned drawing on beige paper of a nude woman standing, verso Sight: 6.25” H x 8.25” W

$1,000-2,000

Provenance: Gerald Peters Gallery, Santa Fe, NM

21 John Ross Key (1837-1920) “Niagra Falls” Oil on artist board

Signed lower left: John R. Key; signed again and titled verso; indistinctly inscribed in pencil verso

Sight: 23” H x 15” W

$10,000-15,000

22

“World’s Columbian Exposition, Chicago, 1892”

Oil on artist board

$7,000-9,000

Provenance: David David, Inc., Philadelphia, PA

Sold: Christie’s, New York, NY, “American Paintings from the Collection of Mrs. George Arden, Part 1,” May 22, 1991, Lot 119

John Ross Key (1837-1920)

Signed lower left: John R Key; titled on a gallery label, as well as on a copy of Christie’s catalogue page, both affixed to the frame’s cardboard backing 13.5” H x 21” W

23

Flavio Cabral (1916-1990)

Figures among architecture

Oil on Masonite

Signed lower left: Cabral

30” H x 48” W

$1,500-2,000

24

John Joseph Enneking (1841-1916)

“Snow Scene New England” Oil on canvas laid to canvas

Signed and possibly dated indistinctly lower left: Enneking; titled on a label affixed to the frame’s backboard

18” H x 24” W

$3,000-5,000

25

John William Bentley (1880-1951)

A snowy landscape Oil on canvas

Signed lower left: John W Bentley

25.5” H x 30” W

$2,500-3,500

26

Carl Rudolph Krafft (1884-1938)

“Hillside Slide”

Oil on canvas

Signed lower left: Carl R Krafft and with the artist’s thumbprint; titled in pencil on a label affixed to the stretcher 25” H x 30” W

$2,000-3,000

27

“Road Across the Creek,” 1926

Oil on canvas

Signed lower right: Baum; titled and dated in pencil on the stretcher

30” H x 36” W

$7,000-9,000

Walter Emerson Baum (1884-1956)

28

Susan Gertrude Schell (1891-1970) “Winter in Pennsylvania” Oil on canvas

Signed lower right: S. Gertrude Schell; titled on a label affixed to the frame’s backing board 14” H x 16” W

$1,500-2,500

Provenance: Newman Galleries, Philadelphia, PA Property from a Private Southern California Estate

29

Ivan Summers (1889-1964)

Stream through a winter landscape Oil on canvas

Signed lower right: Ivan Summers

25” H x 30” W

$1,500-2,500

30

Eustace Paul Ziegler (1881-1969)

“Eskimo

Oil

Signed

9.25”

$4,000-6,000

Provenance: Edward A. Nicolaus III, San Francisco, CA

Encampment in Front of Denali (Mt. McKinley)”

on canvas laid to canvas

lower right: Ziegler; titled by repute on the collector’s label affixed to the frame’s backboard

H x 12.25” W

31

Sydney Mortimer Laurence (1865-1940)

“Mount McKinley” Oil on canvas

Signed lower right: Sydney Laurence; titled on a gallery label affixed to the frame’s backboard 20” H x 16” W

$20,000-30,000

Provenance: J. N. Bartfield Galleries, New York, NY

Notes: An old hand-written information sheet is displayed on the frame’s backboard and includes the following quote from an article, “Alaska as Seen by her Artists,” which was written in 1969 by the director of the Anchorage Historical and Fine Arts Museum. “....Essentially a landscapist, Laurence’s passion became Mount McKinley, or Denali, as the Indians called it. He painted the highest peak in North America many times. One of the canvases, and one of the largest at 71 by 95 inches, was put on display at the Smithsonian Institution in 1915 and over the years was seen by millions of Americans.”

32

Jeanne Laurence (1887-1980)

“Mount McKinley, Alaska - Lupin in Foreground,” Oil on canvas board

Signed lower left: Jeanne Laurence; titled in ink, verso 8” H x 10” W

$400-600

Provenance: Dr. and Mrs. L. E. Krotcher, according to an ink annotation, verso

33

Gunnar Widforss (1879-1934)

“Yosemite in Winter”

Watercolor on paper

Unsigned; titled by repute

Sheet: 16” H x 13” W

$7,000-9,000

Notes: There is a letter of authentication signed by the administrator of the artist’s estate, Daniel McDade, dated August 9, 1937, affixed verso.

34

Jean Mannheim (1863-1945)

Boats in a harbor

Oil on canvas laid to board

Signed lower right: J. Mannheim

20” H x 24” W

$2,000-4,000

35

Mauritz Frederik Hendrick De Haas (1831-1895)

Nocturnal with barque at full sail Oil on canvas

Signed lower left: M.F.H. De Haas

20” H x 30” W

$8,000-12,000

36

Anthony Thieme (1888-1954)

“Drying Sails”

Oil on canvas

Signed lower right: A. Thieme; titled by repute

30” H x 36” W

$7,000-9,000

Provenance: Sold: Butterfield and Butterfield, California 12/09/1992, Lot 3914

38

Karl Schmidt (1890-1962)

“Monhegan”

Oil on canvas laid to artist board

Appears unsigned; titled on a sheet of paper affixed to the backing board

30” H x 36” W

$1,200-1,800

Provenance: The Estate of Karl Schmidt Oakland Museum of California, Oakland, CA Clars Auction Gallery, Oakland, CA

Note: A letter from Clars Auction Gallery, Oakland, CA, accompanies this lot.

37

Max Kuehne

(1880-1968)

Harbor scene

Oil on canvas

Signed lower right: Kuehne

20” H x 24” W

$5,000-7,000

39

20th Century American School

“Gray New York / New York Grigio”

Oil on canvas

Indistinctly signed lower right; titled in ink in both English and Italian, and inscribed No. 23, on part of an old paper label once affixed to the verso of the canvas 22” H x 28” W

$5,000-7,000

40

Anton Otto Fischer (1882-1962)

Brawl on the beach, 1929

Oil on canvas

Signed and dated lower right: Anton Otto Fischer; inscribed indistinctly verso 24” H x 36” W

$3,000-5,000

Notes: Anton Otto Fischer was a German-born American artist widely known for his illustrations for “The Saturday Evening Post.” The painting in this lot was a piece that inspired some of his later illustrations for the magazine.

41

Norton Bush (1834-1894)

“Aspinwall Bay,” 1879 Oil on canvas laid to canvas

Signed and dated lower right: N Bush; titled on the frame plaque 12” H x 20” W

$5,000-7,000

Provenance: Butterfield and Butterfield, San Francisco, CA, December 12, 1996, Lot 3016

“Fishing Boats West Coast of France” Oil on canvas

Signed lower right: Edgar Payne; titled on the verso 24” H x 28” W

$30,000-40,000

Provenance: Wolfgang Pogzeba, Taos, NM Private Collection, Denver, CO, acquired from the above, 1982

Notes: This lot is accompanied by copies of documents related to the provenance as listed.

42

Edgar Alwin Payne (1883-1947)

43 Van Dearing Perrine (1869-1955)

“Tug Boats”

$3,000-4,000

Provenance: James Graham & Sons, New York, NY

Oil on canvas laid to canvas

Signed lower left: Van Perrine; titled on a label affixed to the frame’s backing board

22” H x 26” W

Armin Hansen (1886-1957)

44

Armin Hansen (1886-1957)

“Making Port”

Oil on canvas laid to board Signed lower right: Armin Hansen N.A.; titled in pencil verso 12” H x 16” W

$20,000-30,000

45

Sailboat in drydock, 1932 Watercolor on paper

Signed and dated lower right: Emil Kosa Jr.

Sight: 19.5” H x 14.25” W; Sheet: 20” H x 14.75” W

$2,500-3,500

46

Seaside cliff; and “Once a Queen,” circa 1930 Watercolor on double-sided paper

Each work appears unsigned; artist attribution and one title from Sight of recto: 20” H x 27.5” W; Sight of verso: 20.5” H x 28.5” W

$500-700

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization charitable purpose is arts education and outreach through the acquisition exhibition of outstanding artworks that focus primarily on Southern artists and history, while also maintaining such works and books use by scholars.

Emil Kosa, Jr. (1903-1968)

Maurice Logan (1886-1997)

Verso

from the frame plaque W whose public acquisition and Southern California as a resource for

Recto

Provenance: Christie’s, Los Angeles, CA, “California Western & American Paintings Drawings & Sculpture,” October 28, 1999, Lot 124

47 Daniel Ralph Celantano (1902-1980) “Long Beach” Oil on artist board

Signed lower left: DRC; titled in pencil, verso 8” H x 10” W

$4,000-6,000

48

Arthur Beaumont (1890-1978)

“Long Beach Shipyards,” 1944

Watercolor on paper

Signed and dated right of center: Arthur Beaumont; titled on a label affixed to the frame’s backing board

Image/Sheet: 15.125” H x 19.125” W

$1,200-1,600

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

“Waterfront - Man Bending Down Near Shack,” circa 1940 Watercolor and gouache on paper

Signed lower right: Maurice Logan; titled on a label affixed to the frame’s backing paper; inscribed with pencil numbers at the lower right: 127 and 375; inscribed with a red ink number, verso: 253; also inscribed in pencil, verso: Man who worked / for my farm / with Heim Bo died

Image/Sheet: 22” H x 30” W

$1,000-1,500

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

50

“Untitled”; and a cottage on farmland Watercolor on double-sided paper Each work appears unsigned; artist

Sight of recto: 20.25” H x 28.75” W;

$800-1,200

Provenance: Jonathan Art Foundation,

Notes: The Jonathan Art Foundation through the acquisition and exhibition maintaining such works and books

49

Maurice Logan (1886-1977)

Maurice Logan (1886-1997)

Verso

farmland

attribution and one title from the frame plaque W; Sight of verso: 20.5” H x 28.5” W

Foundation, Los Angeles, CA

Foundation is a non-profit organization whose public charitable purpose is arts education and outreach exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also as a resource for use by scholars.

Recto

51 Rex Brandt (1914-2000)

“Brilliant Day,” 1963

Watercolor and mixed media on paper

Signed, titled, and dated lower right: Rex Brandt

Image/Sheet: 20” H x 26” W

$2,000-3,000

Exhibited: Newport Beach, CA, Newport Art Museum, “Nineteenth Annual Newport Harbor Art Exhibit”

52

Jack Wilkinson Smith (1873-1949)

“Drifting Fog”

Oil on canvas laid to waxed canvas

Signed lower left: Jack Wilkinson Smith; titled on a gallery label affixed verso 24” H x 30” W

$15,000-25,000

Provenance: Adamson-Duvannes Galleries, Los Angeles, CA

George Stern Fine Arts, Encino, CA Private Collection, Santa Barbara, CA, acquired from the above

53

Jack Wilkinson Smith (1873-1949)

“California Coast” Oil on canvas

Signed lower left: Jack Wilkinson Smith; titled in pencil on the stretcher 20” H x 24” W

$6,000-8,000

Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art Auction,” October 20, 2015, Lot 85 Private Collection, Rancho Palos Verde, CA, acquired from the above

54 Millard Sheets

(1907-1989)

“Austria,” 1963

Watercolor on wove paper, blindstamp Arches

Signed and dated lower right: Millard Sheets; titled from an accompanying loan agreement

Image/Sheet: 22” H x 30” W

$2,000-3,000

Provenance: Stary - Sheets Fine Art Galleries, Irvine, CA The Estate of Mr. & Mrs. Kenneth Childs, by descent

Exhibitions: Lubbock, TX, The Museum, Texas Tech University, “Millard Sheets: Six Decades of Painting,” December 4, 1983 - January 8, 1984 Monterey, CA, The Monterey Peninsula Art Museum, Monterey, CA, January 21 - March 4, 1984

Literature: Larsen, Susan C., et al. “Millard Sheets: Six Decades of Painting.” Laguna, CA: Laguna Beach Museum of Art, 1983

Notes: Kenneth Childs was the President of Home Savings and Loan - a Southern California Institution whose branches were designed by Millard Sheets Studio and adorned with rich mosaics. Childs and Sheets became close friends, often traveling and vacationing together. So close was their friendship that Millard Sheets spoke at Kenneth Child’s funeral and the two families continued to stay in contact.

According to the Los Angeles Daily News, Howard Ahmanson Sr., the owner of Home Savings bank, wrote to Sheets in 1952 saying: “Have traveled Wilshire Boulevard for twenty-five years. Know name of architect and year every building was built. Bored... Need buildings designed? I want buildings that will be exciting seventy-five years from now.” Sheets designed 120 Home Savings bank buildings in total - many of which are still standing and often admired.

This watercolor represents a rare opportunity to acquire a work with provenance so closely tied to Sheet’s legacy.

This lot is sold together with a copy of a loan agreement with the Ventura County Museum of History and Art, Ventura CA dated September 19, 1990.

55 Millard Sheets

(1907-1989)

“Sonoma Coast with Pintos,” 1981 Watercolor on paper, blindstamp Arches

Signed and dated lower right: Millard Sheets; titled from accompanying invoice

Image/Sheet: 22” H x 29.625” W

$8,000-10,000

Provenance: Kennedy Galleries, Inc., New York, NY Stary - Sheets Fine Art Galleries, Irvine, CA

The Estate of Mr. & Mrs. Kenneth Childs, by descent

Notes: Kenneth Childs was the President of Home Savings and Loan - a Southern California Institution whose branches were designed by Millard Sheets Studio and adorned with rich mosaics. Childs and Sheets became close friends, often traveling and vacationing together. So close was their friendship that Millard Sheets spoke at Kenneth Child’s funeral and the two families continued to stay in contact.

According to the Los Angeles Daily News, Howard Ahmanson Sr., the owner of Home Savings bank, wrote to Sheets in 1952 saying: “Have traveled Wilshire Boulevard for twenty-five years. Know name of architect and year every building was built. Bored... Need buildings designed? I want buildings that will be exciting seventy-five years from now.” Sheets designed 120 Home Savings bank buildings in total - many of which are still standing and often admired.

This watercolor represents a rare opportunity to acquire a work with provenance so closely tied to Sheet’s legacy.

This lot is sold together with a copy of an invoice from Stary - Sheets Fine Art Galleries, Irvine CA, dated December 5, 1990.

56

(1908-1956)

Signed lower right: Carolus Verhaeren

$2,000-3,000

Carolus Verhaeren

View of the coast

Oil on canvas

22” H x 26” W

57 Daryl Millard (20th century) “Lake Hodges” Oil on Masonite

Signed lower left: Daryl Millard; titled in pencil on the backing board 16” H x 20” W

$1,500-2,500

Provenance: K. Nathan Gallery, La Jolla, CA

58

Edgar Alwin Payne

(1883-1947)

Brittany boats in harbor

Oil on canvas

Signed lower right: Edgar Payne

20” H X 24” W

$20,000-30,000

Provenance: Sold: John Moran Auctioneers, Monrovia, CA, Lot 48

59

Dana Bartlett

(1882-1957)

A

Signed lower left: Dana Bartlett

20”

$3,000-4,000

docked boat along a river

Oil on waxed canvas

H x 24” W

60

“Little Corona” Oil on canvas

With the incised signature lower right: Bennett Bradbury; signed again and titled in ink on the stretcher 18” H x 24” W

$1,000-2,000

Bennett Bradbury (1914-1991)

(1914-1991)

“Sea

$1,500-2,000

61 Bennett Bradbury

Otter Cove”

Oil on canvas

With the incised signature lower left: Bennett Bradbury; signed again, titled, and inscribed, verso: From the Artist’s Studio; also with the artist’s copyright ink stamp, verso

24” H x 36” W

(1889-1977)

62

Sam Hyde Harris

“Calm Interval”

Oil on canvas

Signed lower right: Sam Hyde Harris; titled on the stretcher; with the estate ink stamp with signature by Maureen St. Gaudens, verso 24” H x 30” W

$4,000-6,000

63 Paul Grimm (1891-1974) “Fertile Places”

Oil on canvas laid to panel

Signed lower left: Paul Grimm; signed again and titled verso 20” H x 26” W

$800-1,200

64 Sam Hyde Harris (1889-1977) “Coast Symmetry” Oil on canvas board

Estate signed lower left: Sam Hyde Harris; titled and numbered 1063 in another hand, verso; with the estate ink stamp with signature by Maureen St. Gaudens on the verso 17.75” H X 23.75” W

$3,000-5,000

65 John Cosby (b. 1955)

Bench by the port

Oil on canvas

Signed lower left: Cosby

36” H x 48” W x 1.5” D

$800-1,200

66 Robert Wood (1889-1979) Atmospheric coastal, 1956 Oil on canvas

Signed and dated lower right: Robert Wood

20” H x 24” W

$2,000-3,000

67

Paul Grimm

(1891-1974)

“Golden Touch of Autumn,” 1969 Oil on Masonite

Signed lower right: Paul Grimm; signed again, titled, dated, and inscribed verso: High Sierras 20” H x 30” W

$2,000-4,000

68

Robert Wood (1889-1979)

“Grand Teton National Park,” circa 1970

Oil on canvas

Signed lower right: Robert Wood; signed again and titled verso; with the artist’s copyright ink stamp verso

18” H x 24” W

$2,000-3,000

Notes: There is a notation on the stretcher, in another hand, that reads, “Painted about 1970.”

69

Robert Wood (1889-1979)

“Desert Wash,” 1969

Oil

$1,500-2,000

on canvas

Signed lower right: Robert White; signed again in ink and with the artist’s thumbprint, verso; titled and dated in ink on the stretcher; with the artist’s copyright ink stamp 20” H x 24” W

71

Anna Althea Hills

(1882-1930)

“Mission San Juan Capistrano”

Oil on canvas laid to a synthetic fabric support

Signed lower right: A. A. Hills; titled on a gallery label affixed to the stretcher

20” H x 24” W

$5,000-7,000

Provenance: William A. Karges Fine Art, Carmel, CA

73

Thomas Hill (1829-1908)

Deer in a landscape, 1872 Oil on canvas

Signed and dated lower left: T. Hill; inscribed indistinctly, possibly in another hand, on a label affixed to the verso of the frame: [***bridge] 36” H x 29” W

$20,000-30,000

Notes: A piece of masking tape is affixed to the verso with an ink inscription in another hand that reads: GC LT ANT / t.h. x Frame / 8336

74

Hanson Duvall Puthuff

1875-1972

“Grove in Autumn”

Oil on Masonite

Signed lower right: H. Puthuff; titled in ink verso 8” H x 10” W

$2,500-3,500

Provenance: K. Nathan Gallery, La Jolla, CA

Sold: John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” March 27, 2018, Lot 114

Exhibitions: Palm Springs Desert Museum, Palm Springs, CA, “American Arts and Crafts from the Collection of Alexandra & Sidney Sheldon”, February 16 to June 6, 1993

75

Hanson Duvall Puthuff (1875-1972)

“Clear Morning,” 1916 Oil on artist board

Signed lower left: H. Puthuff; signed again and titled in ink, and with the incised date verso

12” H x 16” W

$2,000-3,000

76 Thomas Hill (1829-1908)

“Crescent Lake - Yosemite Valley” Oil on canvas

Signed lower right: T. Hill; titled in pencil verso

20” H x 30” W

$20,000-30,000

77 Frank Coburn (1862-1938) “Vaquero” Oil on canvas laid to Masonite

Signed lower right: Frank Coburn; titled by repute 24” H x 20” W $2,000-4,000

78

Frank Coburn

(1862-1938)

“Still Life with Corn,” circa 1910-15

Oil on artist board

Signed lower right: Frank Coburn; titled and dated on a gallery label affixed to the backboard of the frame

16” H x 20” W

$1,500-2,500

Provenance: Orr’s Gallery, San Diego, CA Private Collection, Los Angeles, CA

Sold: John Moran Auctioneers, Monrovia, CA, June 17, 2003, Lot 120C

$800-1,200

Provenance: Coast Gallery, Pebble Beach, CA

79

Jerry Van Megert (b. 1938)

“Carmel Mission”

Oil on Masonite

Signed along the lower right edge: Van Megert; titled on a label affixed to the frame, verso

26.5” H x 36.5” W

80 John William Bentley (1880-1951) Mission courtyard with flowers Oil on canvas

Signed lower right: John W Bentley

24” H x 30” W

$2,000-3,000

81

Charlotte

$600-800

Provenance: CaliforniaView Fine Arts, Los Gatos, CA

Elizabeth Bodwell Morgan (1867-1947)

“Downtown Carmel” Oil on canvas

Signed lower right: Charlotte E. Morgan; titled on a gallery label affixed verso; inscribed indistinctly on the stretcher 18” H x 24” W

82

Angel Espoy

(1879-1963)

“Monterey Coast,” circa 1930

Oil on canvas

Signed lower right: A. Espoy; titled and dated on a label affixed to the frame’s backing board; titled again on the frame plaque 30” H x 40” W

$4,000-6,000

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

83 Orrin A. White (1883-1969) View of a church Oil on canvas board Signed lower right: Orrin A. White 16” H x 20” W $2,000-3,000

84 Thomas Oxley (1854-1909) “Phrosine Meliodore,” Oil on canvas Signed and dated plaque 43” H x 72.5” W $2,000-4,000

Miller

Meliodore,” 1888

dated in the lower right corner: Oxley Miller; titled on the frame

85 Alexis Podchernikoff (1912-1987) “Eucalyptus”

Oil on canvas

Signed lower right: Podchernikoff; titled in ink on a label affixed to the stretcher 28” H x 22.25” W $2,500-3,500

86

Ransome

(1836-1899)

“Along the Creek,” 1891

Oil on canvas laid to a synthetic fabric support

Signed and dated lower left: R.G. Holdredge

36” H x 22” W

$2,000-3,000

Provenance: Bonhams, California, December 8, 2004, Lot 206

Gillet Holdredge

87

John Marshall Gamble (1863-1957) Cottage in the woods Oil on artist board

Signed lower left: John M Gamble

12.5” H x 7” W

$3,000-4,000

88

DeWitt Parshall

(1864-1956)

“Sunny Pastures”

Oil on artist board

Signed lower

Parshall;

$2,000-3,000

left: DeWitt

initialed verso: D.W.P; titled in ink on a brown label affixed verso; titled again on a gallery label affixed verso 24” H x 28” W

90 John Marshall Gamble (1863-1957) Wildflowers in a landscape Oil on canvas laid to artist board

Signed lower right: J.M. Gamble

14” H x 10” W

$6,000-8,000

91

John Marshall Gamble (1863-1957)

“Wild Lilac - Santa Barbara” Oil on canvas

Signed lower left: John M. Gamble; signed again and titled, verso 20” H x 30” W

$20,000-30,000

Provenance: Sold: Christie’s, Los Angeles, CA, “The Los Angeles Sale of California, Western and American Paintings, Drawings and Sculpture,” November 4, 1998, Lot 23 Private Collection, Santa Barbara, CA, acquired from the above

92 Arthur Hill Gilbert (1894-1970) Landscape Oil on canvas

Signed lower left: Arthur Hill Gilbert

16” H x 20” W

$4,000-6,000

93

Clarence Hinkle (1880-1960)

Portrait of a woman in a floral dress Oil on artist board

Signed lower right: Hinkle

30” H x 26” W

$3,000-5,000

Notes: The name “Stendhal,” for the Stendhal Gallery in Los Angeles, CA, is handwritten twice on the verso of the frame.

94 Angel Espoy (1879-1963)

Landscape with wildflower meadow

Oil on canvas

Signed lower right: A. Espoy 30” H x 40” W

$5,000-7,000

95 William Wendt (1865-1946)

Landscape with a rural house Oil on canvas

Signed lower right: W. Wendt

15” H x 22” W

$6,000-8,000

96

Hanson Duvall Puthuff (1875-1972)

“Northern California Landscape” Oil on Masonite

Signed lower right: H Puthuff; titled on a gallery label affixed to the frame; titled again and inscribed verso:

Purchased 4-57

8” H x 10” W

$2,500-3,500

Provenance: William Karges Fine Art, Carmel, CA

Property from a Northern Californian Estate

Sold: John Moran Auctioneers, Monrovia, CA, “Art of the American West,” September 29, 2020, Lot 64

97

Hanson Duvall Puthuff (1875-1972)

“Sunlit Hills,” 1914

Oil on canvas laid to artist board

Signed lower left: H. Puthuff; signed again, titled, and dated in ink verso

8” H x 11” W

$1,000-1,500

Notes: In a Mayen Olsen frame.

98

“Landscape”

Oil

Appears unsigned; titled on a frame plaque, currently affixed verso 25” H x 30” W

$800-1,200

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

Edward Butler (1853-1928)

on canvas

99

Marion Kavanagh Wachtel (1876-1954)

“By the Sea”

Oil on canvas

Signed lower left: Marion Kavanagh Wachtel; titled and inscribed J.J., in another hand, on the stretcher 26” H x 30” W

$20,000-30,000

Provenance: Sold: John Moran Auctioneers, Monrovia, CA

Elmer Wachtel (1864-1929)

100

Elmer Wachtel

(1864-1929)

“View of Ocean Near Santa Barbara,” circa 1910 Oil on Masonite

With the stamped signature and artist device at the lower right: Wachtel; titled and dated on a label affixed verso; with the ink estate stamp verso; also inscribed in ink verso: This painting bears an / estate stamped signature for Elmer Wachtel / applied Sept. 2006 by / Michael Kelley / Kelley Gallery / Pasadena / representative of the Wachtel estate

14” H x 17” W

$5,000-7,000

Provenance: The Estate of Elmer and Marion Wachtel

Kelley Gallery, Pasadena, CA

George and Janice LaMoree, Los Angeles, CA

Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

This painting is in a Mayen Olsen frame.

101

Carl Oscar Borg (1879-1947)

Wooded landscape with lake

Oil on canvas

Signed lower left: Carl Oscar Borg; estate number verso: 1*-198

9” H x 12” W

$1,000-2,000

Provenance: The Estate of George David Sturges

102

Elbridge Ayer Burbank (1858-1949)

“The American Beauty”

Oil on canvas laid to panel

Signed lower right: E.A. Burbank; titled on a label affixed verso

10” H x 8” W $3,000-5,000

103

Carl Oscar Borg (1879-1947)

“Hopi Rain Dance”

Oil on canvas laid to canvas

Signed lower left: Carl Oscar Borg 30” H x 30” W

$20,000-30,000

Provenance: Goldfield Galleries, Los Angeles, CA

William A. Karges Fine Art, Carmel, CA

Mitchell Brown Fine Art INC., Scottsdale, AZ

George Stern Fine Arts, West Hollywood, CA

Zaplin Lampert Gallery, Santa Fe, NM

The Owings Gallery, Santa Fe, NM

Private collection, North Carolina

Sold: Altermann Galleries & Auctioneers, Santa Fe, NM, December 6, 2008, Lot 35

Sold: Bonhams, Los Angeles, CA, “California & Western Paintings & Sculpture,” April 28, 2015, Lot 109

10”

$1,500-2,500

Provenance:

104 Fred Grayson Sayre (1879-1939)

“Gila Mountain”

Gouache on artist board

Signed and inscribed lower right: F. Grayson Sayer / Arizona; titled in pencil on the frame’s backboard

H x 14.75” W

Sold: John Moran Auctioneers, Monrovia, CA, October 24, 1995, Lot 27A

Property from a Private Southern California Estate, acquired from the above

105

Robert William Wood (1889-1979)

“Desert in Bloom,” 1966 Oil on canvas board

With the incised signature lower left: Robert Wood; titled, dated, and inscribed in ink, verso: Robert Wood / Painted this Picture / for me near Palm Springs / Mauille Benord

16” H x 20” W

$2,500-3,500

106

Emil J. Kosa Jr. (1903-1968)

“Sparkling Taxco”

Watercolor on paper

Signed lower left: Emil J. Kosa Jr.; titled on the frame’s cardboard backing

Image: 20.75” H x 28.75” W; Sheet: 22” H x 30” W $3,000-5,000

107 Paul Lauritz (1889-1975)

“The First Snow Mt. San Jacinto” Oil on canvas

Signed lower left: Paul Lauritz; titled in pencil on the stretcher

25” H x 30” W

$1,000-2,000

108 Maurice Braun (1877-1941)

“The Valley”

20”

$4,000-6,000

Provenance: Lawrence J. Cantor and Co., Los Angeles, CA

Private Collection, Southern California

Sold: Bonhams, Los Angeles, CA, April 11, 2017, Lot 109

Private Collection, San Francisco, CA, acquired from the above

Oil on canvas

Signed lower left: Maurice Braun; titled on the frame plaque

H x 24” W

109

Lockwood De Forest (1850-1932)

“Andreas Canyon, Palm Springs, Calif.,” 1914

Oil on canvas

Signed and dated lower left: L de Forest; signed again and titled in pencil on the stretcher

24” H x 34” W

$7,000-9,000

110

William Alexander Griffith

(1866-1940)

“Greasewood Ranch”

Oil pastel on linen laid to artist board

Signed lower right: W.A. Griffith; titled and inscribed indistinctly, verso; inscribed on a small sheet of brown paper affixed affixed to the frame’s foam backing: Greasewood or Creosole /Griffith / Laguna Beach, CA

Image/Sheet: 16” H x 20” W

$2,000-3,000

111

Paul Grimm

(1891-1974)

“Sunny Smoke Trees,” 1970

Oil on canvas

Signed lower left: Paul Grimm; signed again, titled, and dated verso; with the copyright ink stamp of the artist verso

26” H x 40” W

$3,000-5,000

112

$5,000-7,000

Provenance:

Arthur Hill Gilbert (1894-1970)

“Evening Glow, Tujunga Canyon” Oil on canvasboard

Signed lower right: Arthur Hill Gilbert; titled on two separate labels affixed to the frame’s backing board: Evening Glow hand-written on one label, and the longer title, as listed here, typed on the other label 20” H x 24” W

Stendahl Galleries, Los Angeles, CA

113

Franz Arthur Bischoff (1864-1929)

Still life of fruit, 1890

Watercolor on paper mounted to artist board Signed and dated lower left: Franz A Bischoff

Image/Sheet: 21.75” H x 30.5” W

$2,000-3,000

114 Si Chen Yuan (1911-1974)

“Merry Peach,” circa 1960 Oil on canvas

Signed lower right: S.C. Yuan; titled on the upper stretcher bar, verso

18” H x 24” W

$3,000-5,000

115

Attributed to Si Chen Yuan (1911-1974)

Still life with oranges and pears

Oil on canvas

Appears unsigned

24” H x 24” W

$4,000-6,000

Notes: Compare John Moran Auctioneers, Monrovia, CA, “California and American Fine Art,” November 15, 2022, Lot 2046 for a nearly identical subject by the artist, also unsigned. The comparison work was included in an exhibition of the artist’s work at the Carmel Art Association, Carmel, CA, August-September, 1994 and illustrated as no. 98 on page 119 of that exhibition’s catalogue.

116

Emil Kosa Jr. (1903-1968) “Reflected Gold” Oil on Masonite

Signed lower right: Emil Kosa Jr.; signed again and titled on two yellow pieces of tape affixed to the verso

$1,000-1,500

24” H x 32” W

117

Maurice Braun (1877-1941) “Eucalyptus” Oil on

$10,000-15,000

Provenance: Sold: Bonhams & Butterfields, Los Angeles, CA, “September California”

canvas

Signed lower right: Maurice Braun; titled in pencil on the stretcher 25” H x 30” W

118 Emil Kosa Jr. (1903-1968) “Sentimental Journey” Oil on Masonite

Singed lower left: Emil Kosa Jr.; signed again and titled verso 28” H x 38” W

$4,000-6,000

119

“Palisade Glacier”

Oil on canvas

Signed lower left: Paul Grimm; titled in pencil on the stretcher

24” H x 30” W

$2,000-3,000

Paul Grimm (1891-1974)

120

Edgar Alwin Payne (1883-1947)

Rider on horseback with pack mules in a mountainous landscape Oil on canvas laid to canvas

Signed lower left: Edgar Payne

20” H x 24” W

$40,000-60,000

Provenance: Private Collection, Fox Island, WA.

Notes: Recognized as one of California’s leading landscape artists, Edgar Payne earned the respect of his peers and art critics for his Impressionistic landscapes painted in the plein-air style. Possessing a reverence for nature, he especially loved the mountains. Frequently he took pack horses in the Sierra Nevada Mountain Range to the upper lakes to paint, where he glorified the areas majestic peaks and cobalt blue lakes. He would spend several weeks in remote locations, living with his family in large, elaborate campsites in order to create his remarkable compositions. This work, having been in private hands for decades in Washington State, is a perfect example of Payne’s ability to capture the magnificent beauty of the great Sierra Mountain range. Edgar Payne’s work can be found in the collections of the Art Institute of Chicago, Bancroft Library, University of California, Berkeley,; Indianapolis Museum, Indiana; Irvine Museum, California, National Academy of Design, New York, Oakland Museum of California; Orange County Museum of Art, the Laguna Art Museum, and the Pasadena Art Institute, amongst others.

George Demont Otis (1879-1962)

121 George Demont Otis (1879-1962)

“Mt. Lassen” Oil on canvas

Signed lower right: Geo. Demont Otis; titled in ink on the stretcher; with the estate ink stamp verso 24” H x 30” W

$4,000-6,000

Provenance: The artist’s studio Grace Vantine Hartley, niece of George Demont Otis, by descent Frank G. Hartley Special Needs Trust, acquired from the above

122 Angel Espoy (1879-1963) Mountainous landscape Oil on canvas

Signed lower right: A. Espoy

12” H x 14” W

$1,000-2,000

123 Paul Grimm (1891-1974)

“Sierras Autumn” Oil on canvas

Signed lower right: Paul Grimm; 24” H x 30” W $3,000-5,000

Grimm; signed again and titled verso

124

Orrin A. White (1883-1969)

Eastern Sierra landscape with snow-capped peaks Oil on canvas

Signed lower right: Orrin A. White

16” H x 20” W

$2,500-3,500

126

James Swinnerton (1875-1974)

“Mountain Road,” 1915 Oil on panel

Signed lower right: Swinnerton; titled and dated by repute 16” H x 14” W

$1,800-2,400

Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California Living,” May 17, 2022, Lot 1066

125

William Ballantine Dorsey (1942-2019)

Yosemite Valley, Bridalveil Fall, El Capitan, and Half Dome Oil on canvas

Signed lower right: Will Dorsey 20” H x 24” W

$3,000-4,000

127 Sam Hyde Harris (1889-1977)

“Carlsbad Veteran #2” Oil on Masonite

Signed lower left: Sam Hyde Harris; titled in pencil verso

18” H x 24” W

$2,000-3,000

Provenance: Private Collection, Westlake Village, CA

Sold: John Moran Auctioneers, Monrovia, CA, “California and American Paintings

Sale,” October 21, 2008, Lot 18

128

A.D. Greer (1904-1998)

Lakeside landscape

Oil on canvas

Signed lower right: A.D. Greer

22” H x 34” W

$2,000-3,000

129 Clara Jane Stephens (1877-1952)

Houses and street glimpsed through dense trees Oil on canvas laid to canvas

Signed lower right: Clara Jane Stephens

25.5” H x 36” W

$1,000-1,500

Charles Reiffel

(1862-1942)

“Landscape,” circa 1925

Oil on canvas laid to canvas

Signed lower right: Charles Reiffel; titled on the frame plaque; titled again and dated on a label affixed to the frame’s backing board 24” H x 28” W

$15,000-20,000

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

Hitting the auction block for the very first time, “Landscape,” is a quintessential painting by Charles Reiffel in the way the artist creates a playful composition of vibrant trees and quaint houses peeking out from the hillside. The color combination in this work is highly expressionist and lively, showing off Reiffel’s artistic mastery that has gained momentum in the public’s eye since the 2013 retrospective of his work at the San Diego Museum of Art and San Diego History Center. The show of over 50 Reiffel works created such excitement about the artists oeuvre that Los Angeles Times Art Critic, Christopher Knight wrote that “in the history of American art, Charles Reiffel is probably the best early Modernist painter you’ve never heard of.” While Reiffel did fall into obscurity following his death in 1942, connoisseurs of great American art know that Reiffel, the amazingly selftaught artist, stands head and shoulders above being just described as a plein-air artist by creating box-sized landscapes with endlessly expressionist force. His vibrant hues and quaint houses peeking out from the hillside in “Landscape,” create a composition that is entirely Reiffel’s ownógiving way to comparisons to such Impressionist and Post-Impressionist luminaries as Claude Monet, Childe Hassam, and even Van Gogh. With a multitude of colors dancing along the hillside, Reiffel’s “Landscape,” will certainly heighten the contents of any important American art collection that’s lucky enough to win it.

131

Ray Strong (1905-2006)

Cows under a shade tree

Oil on canvas laid to artist board

Signed lower right: Ray Strong

18” H x 24” W

$2,000-3,000

132 Ray Strong (1905-2006) Barn on a green hillside Oil on canvas laid to board

Signed lower right: Ray Strong

18” H x 24” W

$2,000-3,000

133 Sam Hyde Harris (1889-1977)

“Arrowhead”

Oil on canvas board

Signed lower left: Sam Hyde Harris; signed again and titled; the estate ink stamp with signature by Maureen St. Gaudens on the verso of the canvas board 20” H x 24” W $3,000-5,000

134

Toucan

Oil on waxed canvas

Appears unsigned

8” H x 14” W

$1,000-2,000

Provenance: DeRu’s Fine Arts, Laguna Beach, CA

Estate of DeWitt C. McCall, Laguna Beach, CA

Notes: According to an information label affixed verso, “This painting was formerly a portion of a mural removed from the Oaks Hotels in Ojai, CA.”

Jessie Arms Botke (1883-1971)

135

Tarmo Pasto (1906-1986)

Sunset behind the hills Oil on canvas

Signed near the center of the lower edge: Tarmo Pasto

42” H x 52” W

$2,000-3,000

Notes: This lot is being offered in a frame hand-painted by the artist. There is a number 257 written in ink on the stretcher, twice, verso.

Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. 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, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pasto’s 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.

136

Tarmo Pasto (1906-1986)

“Rolling Dry Hills,” 1965 Oil on canvas

Signed and dated lower right: Tarmo Pasto; titled and numbered in pencil on the stretcher bar: 179

44” H x 44” W

$2,000-3,000

Notes: This lot is being offered in a frame hand-painted by the artist. There is a number 179 written in ink on the stretcher, twice, verso.

137

Ray Strong (1905-2006)

House and a barn in a hilly landscape Oil on Masonite

Signed lower left: Ray Strong

26” H x 34” W

$3,000-4,000

138 Ray Strong (1905-2006) Barn in a hilly landscape Oil on canvas

Signed lower left: Ray Strong

20” H x 24” W

$2,000-3,000

139 Millard Sheets

(1907-1989)

Theatrical scene from “Solome”

Watercolor on heavy wove paper

Signed lower right: Millard Sheets; titled by repute

Image/Sheet: 16.5” H x 20.375-20.5” W

$800-1,200

Provenance: Stary - Sheets Fine Art Galleries, Irvine CA

The Estate of Mr. & Mrs. Kenneth Childs, by descent

Notes: Kenneth Childs was the President of Home Savings and Loan - a Southern California Institution whose branches were designed by Millard Sheets Studio and adorned with rich mosaics. Childs and Sheets became close friends, often traveling and vacationing together. So close was their friendship that Millard Sheets spoke at Kenneth Child’s funeral and the two families continued to stay in contact.

According to the Los Angeles Daily News, Howard Ahmanson Sr., the owner of Home Savings bank, wrote to Sheets in 1952 saying: “Have traveled Wilshire Boulevard for twenty-five years. Know name of architect and year every building was built. Bored... Need buildings designed? I want buildings that will be exciting seventy-five years from now.” Sheets designed 120 Home Savings bank buildings in total - many of which arestill standing and often admired.

This watercolor represents a rare opportunity to acquire a work with provenance so closely tied to Sheet’s legacy.

140 Frank Myers (1899-1956)

“The Traveling circus” Oil on canvas

30” H x 36” W

$1,500-2,500

Signed lower left: Frank Myers; signed again and titled in ink on the stretcher; numbered verso: 2020

141

Richard

“Rain,” 2009

Cold-painted bronze on stone base

Signed in the casting: R. MacDonald; signed again and dated to base: R. MacDonald / 2009

15.5” H x 6” W x 9.5” D

$1,500-2,500

Notes: This sculpture appears in the accompanying catalogue “The Art of Richard MacDonald,” presented by Cirque de Soleil, with inscription in pen by the artist, dated 2009. Also included are “Fall/Winter 2013,” “Spring/Summer 2013,” and a “Holiday” pamphlet from Atelier Richard MacDonald as well as a bi-fold and postcard.

The figure, titled “Rain” is meant to represent “the gentle humor of the mime.”

MacDonald (b. 1946)

142

Mentor Huebner (1917-2001)

Figures seated at a table

Acrylic on board laid to board

Signed lower right: Mentor Huebner

Figures in a library

Acrylic on board laid to board

Signed lower right: Mentor Huebner

16.5” H x 36” W

2 pieces

$1,500-2,500

143

Paul Landacre (1893-1963)

“Sultry Days,” 1937

Wood engraving on cream-colored paper

From the edition of 200, aside from the signed edition of 60

With the printed signature and date in the image, lower left: © P. Landacre; titled in ink on a label affixed to

Image: 8.125” H x 6.125” W; Sheet: 17.75” H x 13.125” W

“Forest Girl,” 1936

Wood engraving on cream-colored paper

From the edition of 225, aside from the signed edition of 60

With the printed signature and date in the image, lower center: © P. Landacre; titled in ink on a label affixed

Image: 8.625” H x 6.125” W; Sheet: 17.875” H x 13.125” W

“Rima,” 1936

Wood engraving on cream-colored paper

From the edition of 225, aside from the signed edition of 60

With the printed signature and date in the image, along the lower edge: © P. Landacre; titled in ink on a label

Image: 8.625” H x 6.125” W; Sheet: 17.875” H x 13.125” W

3 pieces

$1,500-2,500

the frame’s backing paper; American Artists Group, New York, NY, pub. affixed to the frame’s backing paper; American Artists Group, New York, NY, pub. label affixed to the frame’s backing paper; American Artists Group, New York, NY, pub.

144

“Barn

Oil on linen

Signed lower right: Gary Ernest Smith; signed again and titled on the stretcher: © Gary Ernest Smith

40” H x 60” W

$8,000-12,000

Provenance: Overland Gallery of Fine Art, Scottsdale, AZ

Gary Ernest Smith

(b. 1942)

in Low Light”

145

Conrad Buff (1886-1975)

Canyonlands

Oil on artist board laid to wood panel

Estate signed lower right: Conrad Buff; the estate ink stamp with signature by Mary Elizabeth Buff on the verso of the original thin board 16” H x 20” W

$5,000-7,000

Provenance: The Estate of Conrad Buff George Stern Fine Art, Los Angeles, CA DeRu’s Fine Art, Laguna Beach, CA Private Collection, Los Angeles, CA.

Notes: The verso of the original thin board also includes a hand-written number: GSFA / CB458 / 03450007 / #4

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

146

Edward Arnold Reep (1918-2013)

“Los Angeles Shoeshine,” 1948

Oil on canvas

Signed lower left: Reep; titled on a frame plaque; dated by repute 30” H x 20” W

$1,000-2,000

147

Conrad Buff (1886-1975)

Desert butte

Oil on thin board laid to Masonite

Estate signed lower right: Conrad Buff; the estate ink stamp with signature by Mary Elizabeth Buff on the verso of the original thin board 16” H x 24” W

$2,000-3,000

Provenance: Sold: John Moran Auctioneers, Pasadena, CA, “California and American Fine Art,” October 19, 2010, Lot 214

Notes: The verso of the original thin board also includes a hand-written number: GSFA / CB422

$2,000-3,000

Notes:

148 Conrad Buff (1886-1975) Snow-capped mountains in a lakeside landscape Oil on artist board

Estate signed lower right: Conrad Buff; the estate ink stamp with signature by Mary Elizabeth Buff on the verso of the original thin board 16” H x 24” W

The verso of the original thin board also includes a hand-written number: GSFA / CB606

149

Edward Reep

(1918-2013)

“Building the Hollywood Freeway,” 1955

Watercolor on heavy wove paper

Signed lower left: Reep; titled in ink, verso; dated by repute 21.625” H x 29.75” W

$2,000-3,000

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is arts education and outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern California artists and history, while also maintaining such works and books as a resource for use by scholars.

150

June Felter

(1919-2019)

View of Oakland (two views)

Watercolor on double-sided paper

Signed in pencil at the lower left on both sides of the paper: June Felter; titled on the frame plaque, Sight of recto: 22” H x 30” W; Sight of verso: 28” H x 20.75” W

$800-1,200

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is outreach through the acquisition and exhibition of outstanding artworks that focus primarily on Southern history, while also maintaining such works and books as a resource for use by scholars.

Recto

Verso

plaque, recto side of the frame arts education and Southern California artists and

151 Margaret Keane (1927-2022)

“Girl of the Island,” 1965 Oil on Masonite Signed and dated upper right: © MDH / Margaret / Keane; titled on a label affixed verso 12” H x 6” W

$3,000-5,000

152 Margaret Keane (1927-2022)

Portrait of a lady in red Oil on Masonite

Signed upper left: © MDH Keane

9” H x 7.75” W

$3,000-5,000

Condition Reports

Visual: Overall good condition. Delicate craquelure scattered throughout. Minor frame abrasion along the lower edge, mostly at left. A pea-sized area of paint loss under the figure, at left. Very minor wear to the pigment in the upper left quadrant. The canvas has been strip-lined.

Blacklight: Areas of touch-up throughout.

Frame: 24.625” H x 20.625” W x 1.75” D

2

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: Pinhead-sized or smaller areas of touchup throughout the sky.

Frame: 16.125” H x 24” W x 1.75” D

3

Visual: Overall good condition. A few small spots of fine craquelure scattered throughout. The canvas is slightly loose and rippled. A small line and a small spot of paint loss in the upper left corner.

Blacklight: A pea-sized spot and a 0.5” area of touch-up in the upper right corner. ‘

Frame: 34.25” H x 31” W x 2.75” D

4

Visual: Overall good condition. Occasional specks of grime, mostly in the upper portion of the painting, commensurate with age. Two 2” horizontal surface scratches near the upper edge, at right, with attendant unobtrusive delicate pigment losses.

Blacklight: No evidence of restoration.

Frame: 16.75” H x 20.75” W x 1.5” D

5

Visual: Overall good condition. Occasional specks of grime and minor varnish discoloration commensurate with age. Soft stretcher bar creases along each of the four sides. Craquelure is scattered throughout, including some unstable areas with attendant flecks of pigment loss.

Blacklight: Areas of touch-up scattered throughout.

Frame: 33.5” H x 36.5” W x 2” D

6

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very fine craquelure scattered throughout. Light stretcher bar creases along all four sides.

Blacklight: A dime-sized spot of touch-up upper right with a corresponding patch verso.

Frame: 33.75” H x 38.75” W x 2.5” D

7

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

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

Frame: 32” H x 44” W x 3” D

8

Visual: Overall good condition. Dust accumulation, specks of occasional grime, dirt, and varnish discoloration. Frame abrasion along the lower left edge. A pinhead-sized unobtrusive area of pigment loss near the lower edge, at right.

Blacklight: Areas of touch-up scattered throughout.

Frame: 12.625” H x 15.5” W x 1.25” D

9

Visual: Overall good condition. Occasional specks of grime and dirt commensurate with age. Craquelure scattered throughout. Pea-sized or smaller areas of pigment loss along the extreme upper edge.

Blacklight: Areas of touch-up throughout, mostly in the foreground.

Frame: 37.5” H x 42.625” W x 3” D

10

Visual: Overall good condition. Dust accumulation commensurate with age. A pea-sized area of unobtrusive pigment loss in the impasto, left of center, and in the magenta pigment. Very minor frame abrasion along the lower edge, at right.

Blacklight: Areas of touch-up throughout the center and outer edges.

Frame: 35” H x 41” W x 2.5” D

Visual: Overall good condition. Craquelure scattered throughout. Minor frame abrasion along the right edge, mostly at center. A pinhead-size area of pigment loss in the extreme upper left corner. The canvas has been relined.

Blacklight: Areas of touch-up throughout.

Frame: 35.25” H x 44.25” W x 1.75” D

12

Visual: Overall good condition. Dust accumulation and occasional specks of grime. Fine craquelure scattered throughout.

Blacklight: Areas of touch-up throughout, the largest measuring 4” H x 3” W near the lower edge, left of center, with an attendant patch verso.

Frame: 32.75” H x 39” W x 2” D

13

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Tiny flecks of paint loss in the center and in the lower right and left.

Blacklight: A 1.75” line of touch-up in the upper edge, at right. A pea-sized spot of touch-up in the woman’s temple. Certain other pigments fluoresce under blacklight but these appear to be in the hand of the artist.

Frame: 44” H x 38” W x 2.25” D

14

Visual: Overall good condition. Very minor dust accumulation commensurate with age.

Blacklight: A 1.5” vertical area of touch-up in between the shoes of the central figure.

Frame: 31” H x 26” W x 2” D

15

Visual: Overall good condition. Occasional specks of grime commensurate with age. Artist pinholes at each of the four extreme corners.

Blacklight: No evidence of restoration.

Frame: 33” H x 29.25” W x 1.75” D

16

Visual: Overall good condition. Dust accumulation and occasional specks of grime, mostly in the lower portion of the painting, commensurate with age.

Blacklight: No evidence of restoration.

Frame: 27” H x 23” W x 2.25” D

17

Visual: Overall good condition. Occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 33” H x 39” W x 3.5” D

18

Visual: Overall good condition. Dust accumulation and very minor grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 34” H x 45.5” W x 2” D

19

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Occasional scattered craquelure.

Blacklight: No evidence of restoration.

Frame: 25.5” H x 29” W x 3” D

20

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 14.25” H x 12.25” W x 2” D

21

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age.

Blacklight: Areas of touch-up throughout.

Frame: 29.25” H x 20.75” W x 2” D

Visual: Overall good condition. Minor frame abrasion along the lower right edge, with attendant flecks of unobtrusive pigment loss. An unobtrusive fleck of pigment loss near the center of the left edge. A 0.75” horizontal soft scratch to the pigment along the upper edge, left of center.

Blacklight: Areas of touch-up throughout, the largest measuring 14” along the path that the figures are walking on.

Frame: 19.25” H x 26.625” W x 1.5” D

23

Visual: Dust accumulation, dirt, and occasional specks of grime commensurate with age. Frame abrasion along the upper and right edges, with attendant pinhead-sized or smaller areas of pigment losses. A 2.5” vertical thin scratch along the upper left edge, near the corner. Five linear surface abrasions near the lower edge, at left, the longest measuring approximately 2.5” W, attendant with some of the Masonite support exposed. A pea-sized area where the Masonite has split, most likely due to a nail, in the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 37.75” H x 55.75” W x 3.25” W

24

Visual: Dust accumulation and grime commensurate with age. Craquelure throughout, with some areas of unstable craquelure, with attendant specks of pigment loss, mostly near the lower edge. Frame abrasion along the upper edge. A 3.5” H x 2” W area of pink pigment near the upper edge, at left, possibly in the hand of the artist. The canvas appears to have been relined and then later strip-lined.

Blacklight: Areas of touch-up throughout, mostly throughout the lower edge.

Frame: 29.125” H x 35” W x 2.5” D

25

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Stretcher bar creases along each of the four sides. Craquelure scattered throughout.

Blacklight: Areas of scattered touch-up, the largest measuring 2” H x 2” W, with an attendant patch verso.

Frame: 31.5” H x 36.5” W x 1.5” D

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. A very soft and unobtrusive stretcher bar crease along the lower edge, mostly visible in raking light.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 36.5” W x 2.5” D

27

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age. Stretcher bar creases along the four sides. Craquelure scattered throughout. The canvas is slightly puckered in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 39.625” H x 45.5” W x 2” D

28

Visual: Overall good condition. Minor dust accumulation commensurate with age. Craquelure and paint shrinkage scattered throughout.

Blacklight: No evidence of restoration.

Frame: 20” H x 22” W x 1.5” D

29

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. A tiny fleck of paint loss lower left. Spots of what appears to be mold and mildew throughout the verso.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 36.5” W x 1.75” D

30

Visual: Overall good condition. The canvas laid to canvas. Dust accumulation and grime commensurate with age. A dime-sized area of craquelure near the lower right corner.

Blacklight: Some scattered small touch-ups, most of which are approximately pea-sized.

Frame: 12” H x 15” W x 1.75” D

31

Visual: Overall good condition. Dust accumulation commensurate with age. Scattered delicate craquelure throughout.

Blacklight: No evidence of restoration.

Visual: Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 15.5” W x 1.5” D

33

Overall good condition. Minor toning to the paper. Delicate foxing scattered throughout. Hinged to the overmat with archival tape in the upper corners.

Framed under glass: 23.75” H x 20.5” W x 1” D

34

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Very fine craquelure throughout. Frame abrasion along the left edge.

Blacklight: Touch-up scattered throughout, the largest a 1” H x 1.25” W area in the center.

Frame: 28.25” H x 32” W x 3” D

35

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very fine craquelure scattered throughout. Stretcher bar creases along all four sides.

Blacklight: Small spots of touch-up scattered throughout, concentrated mainly in the water. Touchup on the left side of the top two sails.

Frame: 28.5” H x 38.5” W x 2.5” D

36

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure scattered throughout. Frame abrasion with attendant pinhead-sized or smaller areas of pigment loss along the four edges.

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

Frame: 38.375” H x 44.5” W x 2.5” D

Visual: Dust accumulation, dirt, grime, and scattered craquelure commensurate with age. A pea-sized area of unstable craquelure in the upper left corner. A peasized area of paint wear in the upper edge, at center. The canvas is puckered in the four corners.

Blacklight: Possible areas of touch-ups. Difficult to read under heavy varnish.

Frame: 28” H x 32” W x 1.5” D

38

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Delicate craquelure scattered throughout. An unobtrusive surface scratch near the center.

Blacklight: Possible areas of touch-up. Difficult to read under heavy varnish.

Frame: 33.25” H x 40.25” W x 2” D

39

Visual: Overall good condition. Scattered craquelure, dust accumulation, and varnish discoloration commensurate with age. A rice-sized pigment loss in the lower section near the left edge.

Blacklight: Scattered small touch-ups, approximately pea-sized or smaller, showing mostly in the brown pigments of the foreground pier.

Frame: 29.5” H x 35.5” W x 2.5” D

40

Visual: Overall good condition. Dust accumulation, grime, and varnish discoloration commensurate with age. A soft stretcher bar crease along the upper edge. Minor frame abrasion along the upper edge, mostly at center. Specks of unobtrusive pigment loss scattered throughout.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 41.5” W x 1.25” D

41 Visual: Overall good condition.

Blacklight: A pea-sized touch-up in the sky at upper left attendant with a tiny and very skillful repair, and another touch-up of similar size in the upper portion of the extreme left edge. Difficult to read under varnish.

19” H x 27.5” W x 4” D

42

Visual: Overall good condition. Slight dust accumulation commensurate with age. Stretcher bar creases along all four sides.

Blacklight: No evidence of restoration.

Frame: 32” H x 36” W x 3” D

Visual: Overall good condition. Dust accumulation commensurate with age. Delicate craquelure scattered throughout, and an area of unstable craquelure with attendant pinhead-sized or smaller areas of pigment losses in the upper edge, at left.

Blacklight: A 4.5” vertical area of touch-up along the left edge, at center.

Frame: 30.375” H x 34.5” W x 2.5” D

44

Visual: Overall good condition. Dust accumulation, occasional specks of grime, and varnish discoloration commensurate with age. Minor frame abrasion along the left and lower edges. Flecks of unobtrusive pigment loss along the upper edge.

Blacklight: Touch-up throughout.

Frame: 19” H x 23” W x 2.5” D

45

Overall good condition. Minor toning to the paper. A crease in the paper in the upper left corner.

Framed under Plexiglas: 27.5” H x 22.5” W x 1.5” D

46

Overall good condition. Not examined out of the frame.

Framed under double-sided Plexiglas: 32” H x 40” W x 2.25” D

47

Visual: Overall good condition. Occasional specks of grime mostly throughout the outer edges, commensurate with age. Frame abrasion along the left and lower edges, with attendant pea-sized or smaller areas of pigment loss. Rubbing to the pigment near the left edge. A 9” diagonal crease in the board in the lower portion of the painting, most likely from a repair.

Blacklight: Scattered areas of touch-up throughout, the largest measuring 5” diagonally along the lower portion of the painting.

Frame: 15.625” H x 17.625” W x 1.5” D

48

Overall good condition. Very minor toning to the paper. Artist pinholes at the center of the upper and lower edges. Old brown tape affixed in multiple places, and with areas of old tape residue along the upper and lower edges, all verso. Hinged to the back mat from the upper edge, recto, with two pieces of white linen tape.

Framed under glass: 22.75” H x 26.75” W x 1” D

49

Overall good condition. Full sheet with deckled edges. Artist pinholes at each of the four corners. Occasional specks of grime commensurate with age. Scattered pale foxing along the upper edge. A 3” H vertical pale stain and three pinhead-sized or smaller areas of surface abrasions along the upper left edge. A reverse pressure mark and scratch to the sheet near the lower edge, at right, with an attendant scratch verso. Hinged in two places with linen tape to the overmat from the verso of the upper edge.

Framed under glass: 33.25” H x 44” W x 2.25” D

50

Overall good condition. Not examined out of the frame.

Framed under double-sided Plexiglas: 32” H x 39.625” W x 2.25” D

51

Overall good condition. Very minor and unobtrusive rippling throughout the center. A speck of pigment loss near the upper edge, at left. A possible 2.5” H paper repair along the lower right edge, near the corner. Mounted to the back mat.

Framed under glass: 29.5” H x 35.375” W x 1.625” D

52

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very fine craquelure scattered throughout. Stretcher bar crease along the upper edge. Minor frame abrasion along all four edges.

Blacklight: A dime-sized spot of touch-up upper center.

Frame: 33.5” H x 39.5” W x 2.25” D

53

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Stretcher bar creases along all four sides. Craquelure scattered throughout. A 0.50” area of unstable craquelure and horizontal pressure marks, in the upper quadrant, at center.

Blacklight: No evidence of restoration.

Frame: 26.75” H x 30.75” W x 2” D

Overall good condition. With deckled edges. The colors vibrant. Old brown tape residue along the lower edge, verso. Hinged to the overmat with brown paper tape along the upper, left, and right sheet edges.

Framed under Plexiglas: 31.75” H x 39.75” W x 1” D

55

Overall very good condition, the full sheet with deckled edges, and the colors fresh. A few tiny artist pinholes at the tip of each of the sheet corners. Very slight remains of old tape residue along the center of both the left and right sheet edges, verso. The sheet is loose, secured to the back mat with archival paper corners.

Framed under glass: 13” H 37.75” W x 1” D

56

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Stretcher bar creases along the upper and left edges. Minor frame abrasion along the lower edge. A dime-sized pressure mark, as well as a 2” horizontal pressure mark with attendant pigment loss, both near the upper edge, at right. Scattered areas of rubbing to the pigment, mostly visible in a raking light.

Blacklight: No evidence of restoration.

Frame: 23” H x 27” W x 1.625” D

57 Visual: Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 23.625” H x 27.625” W x 2.5” D

58

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Very fine scattered craquelure. Minor frame abrasion along the lower edge. Scattered areas of rubbing with attendant paint loss, mostly near the center.

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

Frame: 30.75” H x 34.75” W x 2.25” D

59

Visual: Dust accumulation and occasional specks of grime commensurate with age. The tacking edges have been removed.

Blacklight: Areas of touch-up throughout, the largest measuring 3” H x 2” W near the lower edge, left of center.

Frame: 24.25” H x 28.5” W x 1.75” D

60

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Minor frame abrasion along the lower edge. Flecks of unobtrusive pigment loss, mostly in the upper portion of the painting.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 34.25” W x 3” D

61

Visual: Overall good condition. Dust accumulation and occasional specks of grime. Delicate craquelure scattered throughout. A soft and unobtrusive stretcher bar crease along the right edge, mostly visible in a raking light.

Blacklight: No evidence of restoration.

Frame: 33” H x 45” W x 2.5” D

62

Visual: Overall good condition. Craquelure scattered throughout. A small puncture in the canvas lower right. A pea-sized reverse pressure mark right of center. Glue residue from a sticker in the lower right corner.

Blacklight: A 2” H x 5” W area of touch-up left of center with corresponding patch verso.

Frame: 30.75” H x 36.75” W x 2.25” D

63

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Paint shrinkage in the leaves of the tree in the upper left portion of the painting. Three pea-sized areas of pigment loss near the lower right quadrant, mostly in the trees of the background. A 1” H x 3” W area of rubbing to the pigment in the lower right corner.

Blacklight: No evidence of restoration.

Frame: 25.125” H x 31” W x 2” D

Visual: Overall good condition. A few scattered flecks of grime. Two pinhead-sized frame abrasions at the left edge

Blacklight: No evidence of restoration.

Frame: 23.5” H x 29.5” W x 1.5” D

65

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 46” H x 57.625” W x 2” D

66

Visual: Overall good condition. Dust accumulation and craquelure commensurate with age.

Blacklight: No evidence of restoration.

Frame: 26” H x 30” W x 2.5” D

67

Visual: Overall good condition. Occasional specks of grime commensurate with age. Fine paint shrinkage throughout the trees on the right-most portion of the painting.

Blacklight: No evidence of restoration.

Frame: 26.375” H x 36.5” W x 2.25” D

68

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. A pea-sized area of stray white paint near the upper edge, left of center, possibly in the hand of the artist.

Blacklight: No evidence of restoration.

Frame: 27.875” H x 33.75” W x 4” D

69

Visual: Overall good condition. Dust accumulation, grime, and varnish discoloration commensurate with age. An area of delicate craquelure near the right edge, at center.

Blacklight: Possible areas of touch-up.

Frame: 30.75” H x 34.75” W x 4.25” D

Visual: Overall good condition. Dust accumulation, dirt, specks of grime, and varnish discoloration commensurate with age. A pea-sized area of pigment loss in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 23” H x 19” W x 3” D

71

Visual: Overall good condition. Occasional specks of grime commensurate with age. Craquelure scattered throughout. Two pinhead-sized unobtrusive holes in the extreme upper left and lower right corners. The canvas appears to have first been relined and then later strip-lined and laid to a synthetic fabric support.

Blacklight: Areas of touch-up throughout.

Frame: 28.875” H x 32.75” W x 3.25” D

72

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age. Stretcher bar creases along the four sides. Craquelure throughout, one area of unstable craquelure with an attendant fleck of pigment loss in the upper edge, right of center. Very minor frame abrasion in the upper edge, at right. A pinhead-sized unobtrusive pressure mark in the upper edge, left of center.

Blacklight: Areas of touch-up throughout, mostly in the foreground.

Frame: 29.75” H x 44.75” W x 2” D

73

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. A pinhead-sized area of pigment loss along the lower edge, at center. The canvas is slightly puckered along the lower edge.

Blacklight: Areas of touch-up throughout, mostly in the tree in the foreground.

Frame: 36.5” H x 39.75” W x 4.5” D

74

Visual: Overall good condition. Minor paint shrinkage scattered throughout the outer edges. Specks of unobtrusive pigment loss scattered throughout the upper portion of the painting.

Blacklight: No evidence of restoration.

Frame: 13.375” H x 15.375” W x 2.625” D

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age. Frame abrasion along the upper right edge. Areas of rubbing to the pigment throughout the sky.

Blacklight: A dime-sized area of touch-up in the upper left edge.

Frame: 15.75” H x 19.75” W x 1” D

76

Visual: Overall good condition. Occasional specks of grime commensurate with age. Craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 29” H x 39” W x 2.5” D

77

Visual: Good condition. Dust accumulation and occasional specks of grime. Very fine craquelure throughout.

Blacklight: Touch-ups scattered throughout.

Frame: 32” H x 28” W x 2.5” D

78

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

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

Frame: 21.75” H x 26” W x 1.5” D

79

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 37.375” H x 47.375” W x 2.5” D

80

Visual: Dust accumulation and occasional specks of grime commensurate with age. Stretcher bar creases along each of the four sides. Craquelure scattered throughout.

Blacklight: A pea-sized area of touch-up near the upper edge, at left.

Frame: 31.375” H x 37.375” W x 3.5” D

81

Visual: Overall good condition. Occasional specks of grime commensurate with age. Stretcher bar creases along the four sides. Very fine craquelure scattered throughout the upper quadrant. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 24” H x 40” W x 1.625” D

82

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Delicate craquelure scattered throughout. Stretcher bar creases along the four sides. Frame abrasion along the upper edge, mostly at right.

Blacklight: A pea-sized area of touch-up, left of center.

Frame: 37.75” H x 47.75” W x 2.5” W

83

Visual: overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Minor frame abrasion along the lower left edge.

Blacklight: Areas of touch-up throughout, concentrated in the church,

Frame: 21.875” H x 25.875” W x 2” D

84

Visual: Dust accumulation, grime, craquelure, paint shrinkage, and varnish discoloration commensurate with age. Other condition issues include but are not limited to: some scattered pea-sized pressure marks and surface scuffs, the longest of the latter measuring approximately 5 feet, horizontally, near the upper edge, just affecting the elbow of the male figure’s right arm. Scattered areas of paint loss in the background including: a 1.75”H x 2.2” W area upper right; a quarter-sized area in the upper portion, to the right of center; and a 0.5” H x 1” W T-shaped crack in the pigment with attendant pea-sized paint loss at the upper right.

Blacklight: Scattered small touch-ups. Other touchups in the areas of three skillful repairs to the canvas, each of which includes a canvas patch on the verso: an approximately 5.5” horizontal repair in the upper half, to the right of center; an approximately 2” vertical repair near the lower portion of the right edge; and a pea-sized repaired puncture in the lower portion of the left edge.

Frame: 56” H x 88” W x 4.5” D

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craquelure scattered throughout. Stretcher bar creases along the four sides. Very minor frame abrasion in the upper right corner.

Blacklight: Areas of touch-up throughout.

Frame: 35.75” H x 29.5” W x 2.25” D

86

Visual: Overall good condition. As mentioned, the canvas is laid to synthetic fabric. Dust accumulation and varnish discoloration commensurate with age.

Blacklight: Apparently no touch-ups, difficult to read under varnish. .

Frame: 44.5” H x 30.5” W x 5” D

87

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age.

Blacklight: Pea-sized or smaller areas of touch-up, mostly throughout the sky.

Frame: 19.375” H x 14.125” W x 2” D

88

Visual: Overall good condition. Minor dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 28.625” H x 32.75” W x 2” D

89

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Delicate craquelure scattered throughout, mostly in the poppies.

Blacklight: A 1.25” H x 1” W area of touch-up near the lower left corner.

Frame: 18.5” H x 16.5” W x 3” D

90

Visual: Overall good condition. A horizontal crease in the artist board, along the lower edge. Frame abrasion along the left and right edges, with attendant flecks of pigment loss in the upper left and right corners.

Blacklight: Areas of touch-up throughout, the largest measuring 9.75” horizontally along the lower edge.

Frame: 20.75” H x 17” W x 1.5” D

91

Visual: Overall good condition. Heavy craquelure throughout the sky. Tiny flecks of paint loss scattered throughout.

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

Frame: 26.5” H x 36.5” W x 1.5” D

92 Visual: Overall good condition. Occasional specks of grime and dirt commensurate with age. Soft and unobtrusive stretcher bar creases along the left and right sides, mostly visible in a raking light.

Blacklight: No evidence of restoration.

Frame: 19.25” H x 23.25” W x 1” D

93

Visual: Overall good condition. Minor frame abrasion along the upper edge. A 2” vertical area of the artist’s board broken off with attendant pigment loss in the lower right edge. A pea-sized area of pigment loss in the lower right edge.

Blacklight: No evidence of restoration.

Frame: 36.75” H x 33” W x 2” D

94

Visual: Overall good condition. An approximately 1.5” H x 0.125” W scattered line of pigment loss near the upper edge, to the left of center. Small and unobtrusive scattered areas of blank canvas showing through, rice-sized or smaller, which appear to be in the hand of the artist. Dust accumulation and grime commensurate with age.

Blacklight: An approximately 1” H x 4.5” W touchup at the extreme upper edge, to the left of center. Apparently no other touch-ups, difficult to read under varnish.

Frame: 38” H x 48” W x 3” D

95

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Scattered pink pigment in the upper edge, at left, possibly in the hand of the artist. A 0.5” area of unobtrusive pigment loss in the lower left corner. The canvas is strip-lined.

Blacklight: Touch-up throughout the sky, the largest measuring 1” H x 3” W in the upper right corner.

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 13.25” H x 15.5” W x 1.375” D

97

Visual: Overall good condition. Dust accumulation, dirt, and specks of grime commensurate with age.

Blacklight: A 1” horizontal area of touch-up near the upper edge, at center. Possibly some areas of touchup in the trees, difficult to read under heavy varnish.

Frame: 12.75” H x 15.5” W x 1.625” D

98

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Frame abrasion along the upper and right edges. Some areas of unobtrusive rubbing and wear to the pigment, mostly in the lower section of the painting.

Blacklight: No evidence of restoration.

Frame: 36.25” H x 41.25” W x 1.75” D

99

Visual: Overall good condition. Dust accumulation commensurate with age. Soft stretcher bar crease along the left side.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 36.25” x 3” D

100

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age.

Blacklight: Pea-sized or smaller areas of scattered touch-ups throughout the sky.

Frame: 18.75” H x 22.5” W x 2” D

101

Visual: Overall good condition. Minor dust accumulation commensurate with age. Fine craquelure scattered throughout. A 1” line of scattered paint loss in the lower right corner.

Blacklight: Small spots of touch-up scattered throughout the sky. A 1” line of touch-up to the left of center.

Frame: 16” H x 19” W x 2.75” D

102

Visual: Overall good condition. Pinhead-sized or smaller areas of pigment loss along the extreme edges and corners. A 3” diagonal crease in the surface of the thin panel, in the upper left corner.

Blacklight: Touch-up throughout, the largest measuring 7” H x 3” W in the form of an upside down L-shaped touch-up in the upper portion of the left edge.

Unframed

103

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Stretcher bar crease along the right edge.

Blacklight: Areas of touch-up throughout, mostly along the lower edge.

Frame: 39” H x 39” W x 2.25” D

104

Overall good condition. Slight rubbing and wear along the extreme edges of the board. The verso of the board with scattered minor scuffing, wear, random markings, and occasional minor stains. Hinged to the overmat from the verso of the upper edge with two short pieces of linen hinging tape.

Frame: 20.75” H x 25.5” W x 1.75” D

105

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age. A pinhead-sized area of unobtrusive pigment loss in the lower left corner.

Blacklight: No evidence of restoration.

Frame: 20.5” H x 24.75” W x 1.75” D

106

Overall good condition. Minor toning to the paper. Mounted to the overmat with brown paper tape and clear tape along the edges.

Framed under glass: 31.75” H x 39.75” W x 1” D

107

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Stretcher bar creases along the four sides. Delicate craquelure scattered throughout. Abrasion along the four extreme edges, with pinhead-sized or smaller areas of pigment loss.

Blacklight: No evidence of restoration.

Unframed

Visual: Overall good condition. Dust accumulation, dirt, and occasional specks of grime commensurate with age. Very fine craquelure throughout.

Blacklight: Pinhead-sized areas of touch-up throughout the sky. A 1” H x 3.5” W scattered area of touch-up in the center.

Frame: 27.25” H x 31.25” W x 2” D

109

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Stretcher bar creases along each of the four sides. Craquelure scattered throughout. Pea-sized or smaller areas of scattered foxing throughout the verso.

Blacklight: A dime-sized area of touch-up in the upper center section, at right, and three pea-sized areas of touch-up in the upper right corner.

Frame: 28” H x 37.75” W x 1.375” D

110

Overall good condition. Occasional specks of grime commensurate with age. A pea-sized area of pale foxing in the lower edge, at right. The older artist board is in-between more modern mats.

Framed under Plexiglas: 24.75” H x 28.75” W x 1” D

111

Visual: Overall good condition. Minor dust accumulation commensurate with age. An unobtrusive, pinhead-sized hole in the upper edge, left of center.

Blacklight: No evidence of restoration.

Frame: 32.625” H x 46.75” W x 2” D

112

Visual: Overall good condition. Soft clumps of dust adhered to the surface commensurate with age, mostly in the left section of the painting. Minor frame abrasion along the right edge. A pinhead-sized area of pigment loss near the lower edge, at left.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 31.5” W x 2.5” D

113

Overall good condition. With deckled edges. Occasional specks of grime commensurate with age. Very minor and unobtrusive abrasions and pigment wear along the extreme edges. A pea-sized unobtrusive pressure mark in the upper left edge. An irregular, 10” horizontal area of faint black pigment, possibly in the hand of the artist, shows at the center of the extreme lower edge. Mounted to artist board.

Framed under glass: 26.5” H x 35.25” W x 2.25” D

114

Visual: Overall good condition. Minor dust accumulation and grime commensurate with age.

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

Frame: 21.75” H x 27.75” W x 2” D

115

Visual: Overall good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 31.5” W x 2” D

116

Visual: Overall good condition. Dust accumulation commensurate with age. A 0.5” horizontal area of pigment loss along the lower edge, at center, only visible when unframed.

Blacklight: No evidence of restoration.

Frame: 31.25” H x 39.25” W x 1” D

117

Visual: Overall good condition. Dust accumulation commensurate with age. Stretcher bar crease along the upper edge. Very fine craquelure, mostly showing in the impasto.

Blacklight: No evidence of restoration.

Frame: 30” H x 35” W x 1.5” D

Visual: Overall good condition. Very minor frame abrasion along the upper edge, mostly at left. Scattered small and unobtrusive pits in the paint attendant with the material used, most likely due to the artist’s choice of the rough side of the Masonite, possibly sanded down or primed with something like gesso prior to painting.

Blacklight: Possible areas of touch-up. Difficult to read under heavy varnish.

Frame: 36.125” H x 46.125” W x 2” D

119

Visual: Overall good condition. A pinhead-sized unobtrusive reverse pressure mark from an attendant nail protruding from the stretcher, along the extreme lower left edge.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 37.625” W x 1.75” D

120

Visual: Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age. Craquelure scattered throughout. A pinhead-sized area of unobtrusive pigment loss in the extreme lower left edge. The canvas has been strip-lined.

Blacklight: Areas of touch-up throughout, concentrated mostly in the background mountains and sky.

Frame: 28” H x 32” W x 2” D

121

Visual: Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age. Soft stretcher bar creases along each of the four sides. Very minor frame abrasion along the upper edge.

Blacklight: Areas of touch-up throughout. Difficult to read under heavy and uneven varnish.

Frame: 32.25” H x 38.25” W x 3” D

122

Visual: Overall good condition. Minor specks of grime commensurate with age. Very delicate and unobtrusive craquelure mostly in the upper portion of the painting. A soft stretcher bar crease along the upper edge.

Blacklight: No evidence of restoration.

Frame: 18.5” H x 20.5” W x 2.375” D

123

Visual: Overall good condition. Pinhead-sized or smaller areas of pigment loss along the upper edge. A 1” horizontal area of unstable craquelure with attendant specks of pigment loss. Unobtrusive 1” scratches near the lower left corner.

Blacklight: No evidence of restoration.

Frame: 32” H x 38” W x 3” D

124

Visual: Overall good condition. Craquelure scattered throughout, including an unstable area in the upper center with attendant flaking and minor paint loss.

Blacklight: Touch-ups scattered throughout the sky, the largest a quarter-sized area at the upper left.

Frame: 23.75” H x 27.75” W x 2” D

125

Visual: Overall good condition. Dust accumulation and occasional specks of grime. Minor frame abrasion along the upper edge. A pinhead-sized area of unobtrusive pigment loss in the lower edge, at center.

Blacklight: A 1” vertical area of touch-up in the upper edge, at center.

Frame: 29.75” H x 33.75” W x 2.5” D

126

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Frame abrasion along the upper and lower edges.

Blacklight: Touch-ups throughout the sky, the largest measuring 4” horizontally along the upper edge, at left.

Frame: 21.5” H x 19.5” W x 1.25” D

127

Visual: Overall good condition. Minor dust accumulation commensurate with age. A pinheadsized area of unobtrusive pigment loss near the upper edge, at right.

Blacklight: No evidence of blacklight.

Frame: 24” H x 30” W x 2.5” D

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Fine craquelure mostly scattered throughout the center. A soft and unobtrusive stretcher bar crease along the upper edge, mostly visible in a raking light. Unobtrusive flecks of stray house paint scattered mostly throughout the lower portion of the painting.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 40.25” W x 3” D

129

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Delicate craquelure scattered throughout, mostly in the impasto. Frame abrasion along the left and lower edges, with attendant pea-sized or smaller areas of pigment loss. The canvas has been relined.

Blacklight: A 3.5” H x 2” W area of touch-up near the upper edge, at left.

Frame: 35.25” H x 46” W x 3.5” D

130

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craquelure scattered throughout. A pea-sized area of pigment loss in the upper edge, at center.

Blacklight: Touch-up throughout, the largest area throughout the clouds in the sky.

Frame: 30.125” H x 34.25” W x 2.25” D

131

Visual: Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age. A pinhead-sized area of unobtrusive pigment loss in the extreme upper right edge.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 27.5” W x 1.5” D

132

Visual: Overall good condition. Dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 27.5” W x 1.5” D

133

Visual: Overall good condition. A dime-sized area of scattered paint loss with a pinhole in the canvas board dead center. Small tear to the canvas in the upper right corner. Slight damage to the canvas in the lower corners.

Blacklight: No evidence of restoration.

Unframed

134

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Stretcher bar creases along each of the four sides. Delicate craquelure throughout the toucan. Flecks of unobtrusive pigment loss mostly in the left portion of the painting.

Blacklight: Areas of touch-up throughout, the largest measuring 13.5” horizontally along the lower edge.

Frame: 12.125” H x 18.125” W x 1.125” D

135

Visual: Overall good condition. A few very unobtrusive hairline surface scuffs, the longest approximately 2.25” W, with attendant scattered flecks of pigment loss, at center. A rice-sized slight pressure mark near the upper right corner, visible only in raking light. Dust accumulation commensurate with age.

Blacklight: Apparently no touch-ups.

Frame: 49” H x 59” W x 2” D

136

Visual: Overall good condition. Delicate craquelure in the upper left corner, mostly visible in raking light. A slightly raised thread in the canvas runs horizontally across the center and appears to be inherent to the original manufacture of the canvas.

Blacklight: Apparently no evidence of restoration.

Frame: 51.25” H x 51.25” W x 2.25” D

137

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Frame abrasion with attendant pea-sized or smaller areas of pigment loss along the upper edge.

Blacklight: Scattered areas of touch-up throughout the sky, the largest measuring 4” H x 2” W in the group of clouds along the upper right edge.

Frame: 28.625” H x 38.875” W x 2” D

Visual: Overall good condition. Occasional specks of grime commensurate with age. Stretcher bar crease along the upper edge. Two flecks of pigment loss in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 24.75” H x 29” W x 2” D

139

Overall good condition. The sheet trimmed slightly unevenly along the left edge. Hinged to the backmat at the verso of the upper sheet edge.

Framed under glass 23.5” H x 27” W x 1” D

140

Visual: Dust accumulation and grime commensurate with age. White chalk-like lines of pigment scattered throughout, mostly in the lower section of the painting, the largest measuring 9” horizontally near the lower edge, at center. A 4” horizontal scratch and pressure mark, with an attendant hole verso, near the upper edge, at center. A pea-sized unobtrusive pressure mark near the upper left edge. A 1.5” H x 1” W area of pigment loss in the upper right corner. Scattered pinhead-sized or smaller areas of pigment loss throughout.

Blacklight: Areas of touch-up throughout, the largest measuring 3” H x 2” W near the lower edge, at left.

Frame: 35.25” H x 41.5” W x 2.5” D

141

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

142

Visua of each: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. The first with a 3” crack in the board right of center and a few small flecks of paint loss scattered throughout. The second with a few tiny flecks of paint loss lower right.

Blacklight of each: No evidence of restoration.

Frame of largest: 16.75” H x 36.25” W x 1” D

143

Each overall good condition. The sheet with full margins. Very minor toning, recto and verso. Mat staining along the mat’s window opening showing slightly in the margins. Unobtrusive foxing scattered on the verso. The first with pale fingerprint marks, from the verso of the upper margin edge.

Each framed under glass: 19.25” H x 15.25” W x 0.75” D

144

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Occasional scattered rice-sized and very minor surface scratches, the longest approximately 2.5”.

Blacklight: No evidence of restoration.

Frame: 50” H x 70.5” W x 2.5” D

145

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Frame abrasion along each of the four edges. Pea-sized areas of rubbing with attendant pigment losses, mostly in the upper and central parts of the painting, with attendant flecks of unobtrusive pigment loss.

Blacklight: A 3” horizontal area of touch-up along the extreme upper edge, at left, and a 10.5” vertical area of touch-up along the left extreme edge.

Frame: 25.625” H x 29.625” W x 1” D

146

Visual: Overall good condition. Dust accumulation commensurate with age. Craquelure scattered throughout, some of which is unstable and with attendant pea-sized or smaller areas of pigment loss, mostly in the center and near the lower edge, at right. Minor frame abrasion along the lower edge.

Blacklight: A dime-sized area of touch-up in the pinky finger nail of the figure’s right hand

Frame: 38.125” H x 28.125” W x 2.5” D

147

Visual: Various curved or diagonal creases in the surface of the original thin board, showing mostly in the lower quadrant in raking light. Small areas of wear with attendant pigment losses in places at the extreme edges.

Blacklight: Small irregular lines and areas of touch-up near the outer edges, the largest approximately 1.5” H. x 0.5” W near the lower left corner.

Frame: 19.5” H x 27.5” W x 1.5” D

Visual: Overall good condition. Frame abrasion along the upper and left edges. A pinhead-sized area of unobtrusive pigment loss in the extreme upper left edge. Very minor paint shrinkage in the dark purple pigment in the lower left quadrant, mostly visible in raking light.

Blacklight: A 3” horizontal area of touch-up in the upper edge, at center. Possible scattered areas of touch-up near the lower edge.

Frame: 23.375” H x 31.25” W x 1.75” D

149

Overall good condition. The full sheet with deckled edges. Very minor surface soiling on the verso. Numerous old staple holes along the four sheet edges. The work is hinged to the overmat in three places at the verso of the upper sheet edge.

Framed under glass: 30.75” H x 39” W x 2” D

150

Overall good condition. Not examined out of the frame.

Framed under double-sided Plexiglas: 29.5” H x 36.5” W x 1” D

151

Visual: Overall good condition. Dust accumulation commensurate with age. Very minor and unobtrusive paint shrinkage throughout the background.

Blacklight: Areas of touch-up throughout, the largest measuring 6” vertically throughout the left side of the figure’s hair.

Frame: 19” H x 12.75” W x 2” D

152

Visual: Overall good condition. Dust accumulation commensurate with age. A fleck of pigment loss in the bangs of the figure, at right. Very minor surface scratches to the red paint along the left edge.

Blacklight: A possible area of restoration in the red pigment along the left edge.

Frame: 12.625” H x 11.375” W x 2” D

SPECIALISTS

Fine Art Director

President, Auctioneer

John Moran Auctioneers, Inc

Junior Specialist / Senior Fine Art Cataloguer

Fine Art Department Administrator Operations Coordinator

Fine Art Cataloguer

Fine Art Cataloguer

Vice President, Furniture & Decorative Arts Director

Senior Vice President

Vice President, Silver, Western, and American Indian Specialist

Senior Furniture & Decorative Arts Cataloguer

Furniture & Decorative Arts Cataloguer

Furniture & Decorative Arts Cataloguer

Furniture & Decorative Arts Department Administrator

Silver, Western, & American Indian Cataloguer

Post-War & Contemporary Design Specialist

Post-War & Contemporary Fine Art Specialist

Jewelry Director

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

Jenny Wilson

Jeffrey J. Moran

Bobby Cullen

Ian Anderson

Anne Spink

Madison Ari

Roland R ynkiewicz

Morgana Blackwelder, AAA

Maranda Moran

Shannon Dailey

Grant Stevens

Sarah Beaver

Alek Ellis

Sally Andrew

Matthew Grayson

Hayden Hunt

Mollie Burns Keith, G.J.G

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.