Modern & Contemporary Fine Art — June 13, 2023 | John Moran Auctioneers

Modern & Contemporary Fine Art

6.13.2023

SINCE 1969

Modern & Contemporary Fine Art

6.13.2023

Previews: Friday, June 9th

Saturday, June 10th

Monday, June 12th 12pm-4pm Daily, or by appointment

This is an interactive brochure. Click on any image or hyperlink for more information.

Meet the Team

Tuesday, June 13th: Doors open 10am Hayden Hunt Co-Head of

SINCE 1969

& APPRAISERS

1

“Adam’s

$1,000-1,500

James Rizzi (1950-2011)

Rib,” 1986

3D construction relief screenprint in colors

Artist’s Proof aside from the edition of 175

Signed, titled, and dated in pencil in the lower margin: Rizzi

Image/Sheet: 4.625” H x 6.125” W

KAWS X OriginalFake

“Yellow Companion Skeleton,” 2007

Screenprint in colors on cardboard with metal fasteners, all together in the original white and yellow envelope From the edition of unknown size

Unsigned

Skeleton: 39.5” H x 38” W (irreg.)

$1,000-1,500

Notes: Produced by Original Fake, Tokyo, Japan

“Talking Heads,” 1986

Lithograph on paper

Edition: 50/85

Signed, dated, and numbered in pencil along the lower edge: Robert Longo and with an unidentified blindstamp in the upper left corner

Image/Sheet: 30.25” H x 22.125” W

$1,000-1,500

3

Robert Longo (b. 1953)

4 Yaacov Agam (b.1928)

Composition

Screenprint in colors on paper

Edition: 41/99

Signed and numbered in ink along the lower margin: Agam; titled by repute

Image: 16” H x 20.75” W; Sight: 17.25” H x 23” W

$1,000-1,500

Signed lower right:

5 Yaacov Agam (b. 1928) Untitled Agamograph in colors

Agam

Image: 13” H x 15.5” W; Sheet: 14.125” H x 16.375” W

$1,000-2,000

6

Richard Anuszkiewicz

Untitled from the “Peach Portfolio,” 1972

Screenprint in colors on paper

Edition: 89/150

Signed and numbered in pencil in the lower margin: Anuszkiewicz; with the artist’s blindstamp lower left margin

Sight: 39.25” H x 28.75” W

$800-1,200

(1930-2020)

Josef Albers (1888-1976)

Josef Albers’s “Homage to the Square” series is a print in the series features a series of squares arranged exploration of optical illusion, color theory, and the process that involved layering colors on top of each considered one of his most significant contributions

Related artists include Anni Albers, Carmen Herrera, Frank Stella.

collection of screenprints created by the German-American artist between 1962 and 1976. Each arranged within one another, with each square a different color. The series is characterized by its the relationship between form and space. The prints were created using a meticulous printing each other to achieve a precise and uniform appearance. Albers’s “Homage to the Square” series is contributions to the art world, as well as one of the most influential works of abstract art of the 20th century.

Herrera, Ellsworth Kelly, Agnes Martin, Piet Mondrian, Kenneth Noland, Ad Reinhardt, Bridget Riley, and

7

Josef Albers (1888-1976)

One plate from “Homage to the Square,” 1964

Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125

Initialed and dated in pencil lower right: A; numbered in pencil lower left

Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W

$3,000-5,000

8

Josef Albers (1888-1976)

One plate from “Homage to the Square,” 1964

Screenprint in colors on a double-size sheet of wove paper, folded as issued

Edition: 72/125

Initialed and dated in pencil lower right: A; numbered in pencil lower left

Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W

$3,000-5,000

9

Josef Albers (1888-1976)

One plate from “Homage to the Square,” 1964

Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125

Initialed and dated in pencil lower right: A; numbered in pencil lower left

Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W

$3,000-5,000

10

Josef Albers (1888-1976)

One plate from “Homage to the Square,” 1964

Screenprint in colors on a double-size sheet of wove paper, folded as issued

Edition: 72/125

Initialed and dated in pencil lower right: A; numbered in pencil lower left

Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W

$3,000-5,000

11

Barry McGee (b. 1966)

Untitled, 2006 Screenprint in colors on a large brown paper envelope Edition: 4/30

Signed, dated, numbered, and with the artist’s device, all verso Image/Sheet: 10.125” H x 13.125” W

$1,000-2,000

Provenance: Headlands Center for the Arts, Marin County, CA. Park Life Gallery, San Francisco, CA Private Collection, San Francisco, CA

Notes: This lot is accompanied by a copy of a sales invoice and receipt from Park Life, San Francisco, CA, dated July 6, 2009.

Joan Brown (1938-1990)

Joan Brown (1938-1990) was a prominent American introspective artworks, Brown played a significant of personal identity and social issues made her a highly

Joan Brown was born on February 13, 1938, in San interest in art. Brown’s artistic talent was evident from Francisco Art Institute) in 1955. There, she studied a significant role in shaping her artistic vision.

In the late 1950s and early 1960s, Brown began to gradually transitioned into a more figurative style. history. Brown’s work often featured bold and expressive

During the 1960s, Brown became associated with and Elmer Bischoff. The movement emphasized a period often depicted herself, her family, and everyday as she explored themes of identity, femininity, and

In the 1970s, Brown’s artistic style evolved further. made significant contributions to the field of printmaking exploration of printmaking techniques allowed her

In 1972 Brown began training with Hall of Fame swimming her paintings. Sava, a highly regarded swim coach quickly gained a reputation for his ability to connect swimmers have achieved remarkable success, with coaching methods have produced athletes who have Games and World Championships.

One of the printmaking techniques that Joan Brown narrative elements that were characteristic of her paintings. lithographic surface, resulting in vibrant and dynamic

Related artists include John Altoon, Robert Arneson, Lobdell, Bruce McGaw, John McLaughlin, Manuel Staprans, James Weeks, William T Wiley, Emerson

American figurative painter associated with the Bay Area Figurative Movement. Known for her vibrant and role in the revival of figurative painting in the 1960s and 1970s. Her distinctive style and exploration highly respected and influential artist.

San Francisco, California. Growing up in the vibrant art scene of the Bay Area, she developed an early from a young age, and she enrolled in the California School of Fine Arts (now known as the San studied under prominent artists such as Elmer Bischoff, Richard Diebenkorn, and Clyfford Still, who played

to gain recognition for her works. Her early paintings were influenced by abstract expressionism but She drew inspiration from a variety of sources, including personal experiences, mythology, and art expressive brushstrokes, with vibrant colors that captured the vitality and energy of her subjects.

the Bay Area Figurative Movement’s group of artists that included Richard Diebenkorn, David Park, return to figuration after the dominance of abstract expressionism. Brown’s artworks from this everyday objects. Her introspective and autobiographical approach to art resonated with many viewers, and the human experience.

She incorporated elements of pop art and experimented with collage and mixed media, and also printmaking throughout her artistic career. While she is primarily known for her paintings, Brown’s her to expand her creative practice and experiment with new forms of expression.

swimming coach Charlie Sava, who became a life-long friend and mentor, and a frequent subject of coach known for his expertise and dedication to the sport, began working with young swimmers and connect with athletes and create a positive training environment. Under Sava’s guidance, many of his with numerous national and international champions emerging from his coaching programs. His have represented their countries in prestigious swimming competitions, including the Olympic

Brown frequently utilized was lithography. Brown’s lithographs retained the same expressive quality and paintings. She skillfully translated her bold brushwork, gestural lines, and rich colors onto the dynamic prints.

Arneson, Elmer Bischoff, William Theophilus Brown, Roy Dean De Forest, Richard Diebenkorn, Frank Neri, Nathan Oliveira, David Park, Roland Petersen, John Saccaro, Hassel Smith, Raimonds Emerson Woelffer, and Paul Wonner.

12

Joan Brown (1938-1990)

“Charlie Sava,” 1974 From the edition of unknown size Lithograph on paper Signed and dated in pencil lower left: Joan Brown Image/Sheet: 30.125” H x 22.25” W

$1,000-1,500

13

Edward Ruscha

(b. 1937)

“Hollywood In The Rain,” from “Hollywood Collects,” 1970

Offset lithograph on paper

Edition: 80/220

Signed and numbered in pencil along the lower margin: Ed Ruscha; with the title, date, and copyright of the original 1969 lithograph printed in black at right; Otis Art Institute, Los Angeles, CA, pub.

Image: 8.125” H x 32.75” W; Sheet: 10.5” H x 35.125” W

$3,000-5,000

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

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

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

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

black ink directly below the image, was commissioned and published

“Hollywood Collects” featured works by lent by celebrities including Julie University of Texas.

Gaines, David Hockney, Robert Larry Rivers, Kay Rosen, James

14 Miles Davis (1926-1991)

“New York By Night”

Screenprint in colors on Stonehenge paper

Edition: 145/300

With the estate stamped signature in the lower right margin: Miles; numbered in pencil, with two blindstamp, and with the artist’s red chopmark, along the lower margin; with the estate ink stamp verso: The Estate of Miles Davis, 1998; Atelier GF, Toronto, Canada, prntr.; Bag One Arts Inc., New York, NY, pub.

Image: 34.25” H x 24.25” W; Sheet: 42” H x 30” W

$1,500-2,000

Notes: Accompanying this lot is a certificate of authenticity from the publisher, Bag One Arts Inc., New York, NY. The certificate is signed by the director, Lynne Clifford in ink. This sheet states that “Each print is signed in the plate and embossed with Miles’ signature and red chop mark. The characters on the chop were selected by Miles Davis and translate ‘Blues King; Dancing Spirit.’” Additionally, aside from the edition of 300, there are 25 artist proofs, six printer proofs, and five Hors Commerce.

The screenprint in this lot was used as the cover art for the box set of recordings by the Miles Davis Quintet, which was released in 2006 by the Concord Music Group.

15

Josh (SHAG) Agle (b. 1962)

“Shag’s Zodiac,” 2003

12 Screenprints in colors in a black folio box Edition: 96/200

Each signed and numbered in pencil in the lower margin: SHAG

Each image: 12.125” H x 14.125” W; Each sheet: 14.5” H x 16.125” W

$1,000-1,500

Notes: This lot is accompanied by a Certificate of Authenticity, signed by Josh (SHAG) Agle. This certificate also details that there are only 30 Artist proofs and ten printer proofs.

Josh Agle born on August 31, 1962, known professionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style that captures the essence of mid-century modernism and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has become an icon in the world of modern art.

Growing up in Southern California, SHAG developed a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His artistic journey began during his childhood, where he would spend countless hours drawing and immersing himself in the visual culture of the time. These early experiences would later shape his artistic vision and inspire his signature style.

In the late 1980s, SHAG attended the California State University, Fullerton, where he studied both illustration and fine art. His studies allowed him to refine his skills and experiment with different mediums, including painting, printmaking, and sculpture. During this time, he also started exhibiting his work in local galleries and art shows, slowly gaining recognition for his unique approach to art.

It was in the early 1990s that SHAG began to establish his distinct style, drawing inspiration from Palm Springs culture, mid-century modern design, Tiki culture, cocktail lounges, and vintage advertising. He created a universe of characters, often depicted in glamorous and whimsical settings, exuding an air of sophistication and mystery. With his masterful use of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic world that feels simultaneously nostalgic and contemporary.

16

(1926-2020)

“The 50th Year, The New School,” 1969

Screenprint in colors on paper

From the edition of unknown size

Unsigned; HKL Ltd., New York, NY, prntr.

Sight: 34.25” H x 24.25” W

$800-1,200

After Jack Youngman

17

“Script

Ink

$2,000-3,000

Provenance: Hanson Galleries, Los Angeles, CA Private Collection, Los Angeles, CA, acquired from the above in October 1989

Ernest Trova (1927-2009)

Picture Number 34”

on the verso of a cream-colored lithographic exhibition poster on paper

Signed lower right: Trova; titled by repute

Image of recto: 24.25” H x 19.5” W; Sheet of recto: 27.75” H x 23” W; Image of verso: 22.5” H x 19.5” W; Sheet of verso: 27.5” H x 23” W

Mary (Sister) Corita Kent (1918-1986)

“Thoreau,” 1971

Screenprint in colors on white lightweight wove paper

From the edition of unknown size

Signed in green ink lower right: Corita

Image/Sheet: 20.25” H x 13.75” W

$1,000-2,000

19

Mary (Sister) Corita Kent (1918-1986)

Four plates from: “Words of Ugo Betti: Innocence and the Process of Justification in the Late Plays of Ugo Betti,” 1965 Four screenprints in colors on wove paper

Edition: 7/275

Each signed in ink along the lower edge, at center: Sister Mary Kent; loose, as issued, presented together within the protective section of the original book with red cloth-covered boards; Immaculate Heart College Press, Los Angeles, CA, pub. Each image/sheet: 17.125” H x 13.5” W

$1,500-2,500

Notes: This is not the complete set of eight screenprints. This set comprises only four screenprints, which include: “Each of Us is the Only Person,” “Have Confidence,” “Perhaps That is His Purpose,” and “I am Sinning Still.” However, the set of four is still together inside the original special edition book “Words of Ugo Betti: Innocence and the Process of Justification in the Late Plays of Ugo Betti.” Corita Kent created these screenprints for Sister Marier Fluerette’s essay included in the special edition book.

According to the description page in the original red portfolio book, “Designed and hand-set in Bembo type by Saul & Lillian Marks 275 copies printed on specially made Curtis all-rag paper at the Plantin Press for the Immaculate Heart College Press with a suite of eight original serigraphs on 3M Art Fabric by Sister Mary Corita, I.H.M. Binding by the Schuberth Bookbindery, San Francisco... This is number 7.”

20

Sam Francis

“Untitled - SF 297,” 1987

Lithograph and screenprint in colors on paper

Edition: 4/50

Signed and numbered in pencil along the lower edge: Sam Francis; titled and dated on a label affixed to the frame’s backing

Image/Sheet: 37” H x 28.5” W

$3,000-5,000

Provenance: Jonathan Art Foundation, Los Angeles, CA

Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is to acquire and exhibit outstanding artworks which focus primarily on Southern California artists and history, and to maintain such works and books as a resource for use by scholars.

(1923-1994)

21

John Baldessari

(1931-2020)

“Visionaire 64 Art, Green Edition” 2014

The complete set of 10 screenprints with embossed color interventions on thick wove paper

Edition: 467/500

Each: Unsigned; the set numbered in black ink on the recto of the portfolio case; the set of 10 loose prints sold together with the original interleaving sheets and title page on machine-made vellum, and the black cloth-covered portfolio box with embossed lettering, numbering, and green design; Visionaire, New York, NY, pub.

Each Image/Sheet: 18” H x 12” W

$2,000-4,000

Notes: The Green edition features Gisele Bündchen, Maurizio Cattelan, Drake, Julianne Moore, Scarlett Johansson, Bill Cunningham & Antonio Lopez, Neil Patrick Harris, John Waters, Lionel Messi, and Yoko Ono.

22

Alexander Calder (1898-1976)

“Sun with Planets,” 1973

Lithograph in colors on paper, watermark Arches

Edition: E.A., aside from the edition of 125

Signed and numbered in pencil lower right and left, respectively: Calder; partial watermark in the upper right corner; Maeght, Paris, France, pub.

Image/Sheet: 20.375” H x 28” W

$3,000-5,000

Provenance: Sold: Swann Galleries, New York, NY, “Contemporary Art,” May 12, 2022, Lot 149 Private Collection, Southern California, acquired from the above

23

“La Vague (The Wave),” 1971 Lithograph in colors on paper

Edition: 91/100

Signed and numbered in pencil at the lower right and left, respectively: Calder

Image/Sheet: 29.875” H x 22.5” W

$2,500-3,500

Alexander Calder (1898-1976)

24 Alexander Calder (1898-1976)

“Spiral Nebula,” circa 1970 Lithograph in colors on wove paper Edition: 94/100

Signed and numbered in pencil at the lower right and left, respectively: Calder

Image/Sheet: 29.5” H x 43.25” W

$1,000-2,000

26

Alexander Calder (1898-1976)

“Sun and Flags,” 1972

Lithograph in colors on paper

Edition: E.A. aside from the edition of 125 Signed and inscribed in pencil along the lower edge: Calder

Image/Sheet: 25.5” H x 19.5” W

$1,500-2,000

25

Alexander Calder (1899-1976)

“Lo Oscuro Invade,” 1970 Lithograph in colors on Arches paper

Edition: 322/500

Initialed in pencil at the lower right: CA; signed by the poet and numbered in pencil lower left: Carlos Franqui

Image/Sheet: 28.25” H x 40.5” W

$1,500-2,500

“JFK - Four Portraits,” 1989

Screenprint in colors on paper

Edition: 62/495

Signed and numbered in the lower margin: Max

Image/Sheet: 40” H x 32” W

$1,000-1,500

27

Peter Max (b.1937)

“Liberty Head II,” 2006

Mixed media with acrylic paint and color lithography on paper

Signed lower right: Max

Sight: 9.5” H x 7.5” W

$2,000-3,000

28

Peter Max (b.1937)

29

Damien Hirst (b. 1965)

“Circle Spin Painting”

Acrylic on paper

With the black ink stamped signature and inscription, verso: D. Hirst / This painting was made by / to celebrate the opening / of Damien Hirst, Requiem / at the PinchukArtCentre / on April 25-26th, 2009 / © Damien Hirst, all verso; and with the artist’s blindstamp verso; titled by repute 20.5” Dia.

$3,000-5,000

Notes: This lot was created at Damien Hirst’s spin workshop.

30

Damien Hirst (b. 1965)

“Skull Spin Painting,” 2009

Acrylic on paper

With the black ink stamped signature and inscription, verso: D. Hirst / This painting was made by / to celebrate the opening / of Damien Hirst, Requiem / at the PinchukArtCentre / on April 25-26th, 2009 / © Damien Hirst, all verso; and with the artist’s blindstamp verso; titled by repute 28” H x 19.75” W (irreg.)

$3,000-5,000

Notes: This lot was created at Damien Hirst’s spin workshop.

Damien Hirst (b. 1965)

“Gold Tears,” 2012

Color inkjet with glaze and foilblock on Hahnemuhle photo rag ultra smooth 305gsm paper

Edition: 3/55

Signed and numbered in the lower margin: Damien Hirst; Paul Stolper and Other Criteria, London, England, pub.

Image: 27.25” H x 21.75” W; Sheet: 34” H x 28” W

$7,000-9,000

Notes: Aside from the edition of 55, there is also a set of 10 artist proofs.

32

“Clown Violoncelliste,” 1969

Lithograph in colors on paper

Edition: 112/120

Signed and numbered in pencil in the lower margin: Bernard Buffet Image: 27” H x 18.5” W; Sheet: 28.375” H x 20.125” W

$800-1,200

Bernard Buffet (1928-1999)

33 Georges Braque (1882-1963)

“Oiseau Vert Sur Fond Brun,” from “Si Je Mourais La-bas,” 1962

Woodcut in colors on Japon paper Edition: 43/70

Signed and numbered in charcoal along the lower edge: G. Braque; Fequet and Baudier, Paris, France, prntr., Louis Broder, Paris, France, pub. Image/Sheet: 19” H x 15.5” W

$1,000-2,000

Provenance: Sotheby Parke Bernet, New York, NY, Lot 207

Literature: cf. Vallier 181

Notes: A yellow lot sticker from Sotheby Parke Bernet is affixed on the frame’s cardboard backing, with lot number 207. As well as a green inscription of the lot number, verso: LA 207

35

Georges Braque

(1882-1963)

“L’Oiseau bleu,” (Invitation exposition Louis Broder pour le livre de Braque), circa 1960 Etching and aquatint in blue on paper, watermark BFK Rives

Edition: V/X

Signed and numbered in the lower margin: G. Braque; Atelier Crommelynck, Paris, pub. Plate: 7.625” H x 15.375” W; Sheet: 13” H x 19.875” W

$3,000-5,000

Provenance: Sotheby Parke Bernet , New York, NY, Lot 206

Notes: A white sticker from Sotheby’s Parke-Bernet is affixed on the frame’s cardboard backing and a green inscription of the lot number: LA 206.

34

Georges Braque

(1882-1963)

“L’Oiseaux Noirs,” 1958 Lithograph in colors on paper Edition: 15/200

Signed in the plate lower right: G Braque; signed again and numbered in pencil along the lower margin: G Braque; with the Maeght, Paris, pub., blindstamp in the lower left margin

Image:13.75” H x 19” W; Sheet: 15.75” H x 21.75” W

$2,500-3,500

Provenance: Europex Auctions

Literature: Vallier 294

36

Marc Chagall (1887-1985)

Two works:

Plate 5 from “La Feerie et le Royaume,” 1972

Lithograph in colors on Arches paper

Edition: 40/180

Signed and numbered in pencil along the lower margin: Marc Chagall

Image/Sheet: 11.875” H x 8.5” W

Plate 3 from “La Feerie et le Royaume,” 1972

Lithograph in colors on Arches paper

Edition: 82/180

Signed and numbered in pencil along the lower margin: Marc Chagall

Image/Sheet: 11.875” H x 8.5” W

$1,500-2,500

37

Marc Chagall (1887-1985)

“Couple sur Fond Noir II,” 1973

Lithograph in colors on Japon nacre paper

Edition: 38/50

Signed and numbered in pencil in the lower margin: Marc Chagall; Maeght, Paris, pub.

Image: 13” H x 10” W; Sheet: 21.75” H x 16.75” W

$2,500-3,500

Literature: Mourlot 707a

38

Marc Chagall (1887-1985)

“Un Jardin Perdu,” 1969

Lithograph in colors on wove paper

Edition: IV/XXV artist’s proof, aside from the edition of 50

Signed and numbered in pencil along the lower margin: Marc Chagall

Image: 23.75” H x 15.75” W; Sheet: 30” H x 21.5” W

$6,000-8,000

Literature: Mourlot 592

39

Joan Miró (1893-1983)

“Homenatge a Joan Prats” 1972

Lithograph in colors on wove paper

Edition: 120/150

Signed and numbered in pencil in the lower right and left sheet corners, respectively: Miró; Poligrafa, Barcelona, prntr; Berggruen, Paris, pub.

Image/Sheet: 29.5” H x 22.75” W

$2,500-3,500

Literature: Mourlot 852

Notes: This lot is sold together with a “Notice of Registration” issued by Paintings of the World Inc. (no location listed), certifying that the work is a “signed lithograph” by the artist.

40

Joan Miró (1893-1983)

“The Taciturn Majorcan,” 1969

Lithograph in colors on wove paper, watermark BFK Rives

Edition: 10/75

Signed and numbered in pencil at the lower right and left corners, respectively: Miró; Maeght, Paris, pub.

Image/Sheet: 33.375” H x 23.75” W

$3,000-5,000

Literature: Mourlot 595

41

“La Sorciere,” 1969

Etching and aquatint in colors with carborundum on Arches paper Edition: 17/75

Signed and numbered in pencil along the lower edge: Miró; Maeght, Paris, France, pub.

Plate: 39” H x 23.5” W; Sheet: 41.5” H x 27.75” W

$12,000-18,000

Provenance: Russeck Gallery, Palm Beach, FL

Literature: Dupin 519

Joan Miró (1893-1983)

42

Joan Miró

1893-1983

“Centennaire de l’Imprimerie Mourlot,” 1953 Lithograph in colors on wove paper, watermark Arches

One of 30 artist’s proofs aside from the numbered edition of 75 Signed in pencil, lower right: Miró; inscribed in pencil, lower left: e.a. [epreuve d’artiste]; Mourlot, Paris, prntr./pub.

Image/Sheet: 19.875” H x 25.875” W”

$15,000-25,000

Literature: Mourlot 190

Provenance: Russeck Gallery, San Francisco, CA Private Collector, San Francisco, CA, acquired from the above

43

Joan Miró (1893-1983)

“La Meneuse de Lune,” 1975

Lithograph in colors on Arches paper

Edition: 15/30

Signed in pencil lower right: Miró; numbered lower left; Maeght Editeur, Paris, France, pub., Paris, France

Image: 89” H x 42.5” W; Sight: 91.5” H x 47.75” W

$30,000-50,000

Literature: Mourlot 1029

Other Notes:

In “La Meneuse de Lune,” Miró explores his distinctive artistic style and combines it with a mystical theme often associated with the moon, creating a captivating and dreamlike composition. The print showcases a fantastical scene that invites viewers into a world of imagination and whimsy.

The central focus of the print is the Moon’s Leader herself, depicted in Miró’s signature abstract manner. The figure of the Moon’s Leader is often represented as a female figure with flowing lines and organic shapes, merging human and celestial characteristics. Miró’s use of curvilinear forms and playful shapes conveys a sense of movement and energy, as if the Moon’s Leader is dancing or leading a mystical ritual.

The moon itself plays a prominent role in the composition, occupying a significant portion of the print. Miró captures the essence of the moon with circular and crescent shapes, sometimes filled with intricate patterns or textures. The moon’s presence imbues the artwork with an ethereal quality, evoking a sense of mystery, tranquility, and magic.

Miró’s use of bold colors adds vibrancy and intensity to “La Meneuse de Lune.” He employs a rich palette of blues, oranges, reds, and greens, creating a harmonious interplay of hues. The juxtaposition of warm and cool colors enhances the dreamlike quality of the artwork, evoking emotions and a sense of wonder.

Through “La Meneuse de Lune,” Joan Miró invites viewers to explore their own imaginative realms and engage with the magical world he has created. The print serves as a larger-than-life visual poem, inviting contemplation, and encouraging viewers to embrace the whimsical and surreal aspects of life.

44

Friedenreich Hundertwasser

(1928-2000)

“Look at it on a Rainy Day (Regentag Portfolio),” 1970-72

10 Screenprints in colors with metallic embossing on various papers

Edition: 2044/3000

Signed and numbered in blue pencil on the inside lid of the original wooden portfolio case: Hundertwasser; each image signed again with the embossed gold signature, and the ink-stamped edition number 02044[sic], in either the lower or left margin; six of the images with the Schoeller Stern blindstamp, and one with the Schoeller Parole blindstamp, in the lower right margin corner, the three images on colored papers without blindstamps; Dietz Offizin, Lengmoos, Bavaria, in cooperation with Günter Dietz, prntr.; Ars Viva, Zürich, Switzerland, pub.; loose as issued; together with original, hinged, black wooden box with color-embossed cover embellished with miniature images and list of plates

Sheet for nine images: 16” H x 23” W; Sheet for image #5: 18.75” H x 26.25” W

$8,000-12,000

Notes: This lot is sold together with the original, custom-fitted, cardboard outer packaging box with the artist’s name and edition number written in ink at one end.

Literature: Koschatzky 44-53

45

Joseph Beuys

(1921-1986)

“Initiation Gauloise,” 1974

Lithograph in colors on wove paper

Edition: 47/185

Signed, titled, dated, and numbered in pencil lower right: Joseph Beuys and with artist’s rubber stamp addition; Matthieu Studio, Zürich/Dielsdorf, Germany, prntr.; Edition Schellmann & Klüser, Munich, Germany, pub.

Image/Sheet: 21.625” H x 30” W

$800-1,200

46

Kathe Kollwitz (1867-1945)

“Deutschlands Kinder Hungert (Germany’s Children are Starving),” 1923 Lithograph on on wove paper Signed in pencil near the lower edge, at center; Plate: 17” H x 11.5” W; Sheet: 19.75” H x 14.75” W

$1,000-2,000

Provenance: Sold: Bonhams, New York, NY, “Modern & Contemporary Prints & Multiples,” November 17, 2015, Lot 13

Literature: Klipstein 190

Knesebeck 202

Notes: This lot is accompanied and sold together by a sales invoice from Bonhams, New York, NY, dated November 19, 2015, and other related materials.

47

Kathe Kollwitz (1867-1945)

“Losbruch (Outbreak),” from “Bauernkrieg (Peasants’ War),” 1902 Etching, aquatint, and softground on paper , in brown ink

From the edition of unknown size

Signed in pencil in the lower margin, at left: Kathe Kollwitz

Plate: 19.75” H x 23.125” W; Sheet: 23.5” H x 27” W

$1,000-2,000

Provenance: Sold: Galerie Bassenge, Berlin, Germany, “Modern Art Part I,” May 28, 2011, Lot 08149

Literature: Klipstein 66 VIII (of XI)

Knesebeck 70 VIIIb (of XII)

Notes: This lot is sold together with a sales invoice from Galerie Bassenge, Berlin, Germany, dated May 30, 2011. As well as the catalog entry of this lot from Galerie Bassenge, and other related materials.

48

Kathe Kollwitz (1867-1945)

“Selbsbildnis (Self-portrait),” 1919 Lithograph on Japon paper

From the edition of unknown size

Signed and dated in pencil lower margin, at right: Kathe Kollwitz; numbered in pencil in the lower edge, at center: 2878

Image: 13.375” H x 11.125” W; Sheet: 24.25” H x 17.25” W

$1,500-2,500

Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, “American & European Prints,” April 21, 1999, 1887

Literature: Klipstein 133 Knesebeck 143

Notes: This lot is accompanied by a sales invoice from Butterfield & Butterfield, San Francisco, CA, on April 30, 1999, and other related material for this lot.

49

Kathe Kollwitz (1867-1945)

“Die Pfluger (The Plowman),” from “Bauernkrieg Series (Peasants’ War),” 1906 Etching, drypoint, and soft ground in brown ink on laid paper

From the edition of unknown size

Signed in pencil in the lower right margin: Kathe Kollwitz

Plate: 12.5” H x 18” W; Sheet: 17.5” H x 24” W

$2,000-4,000

Provenance: Sold: Bonhams & Butterfields, San Francisco, CA, “Prints,” October 26, 2010, Lot 89

Literature: Klipstein 94

Knesebeck 99 VII (of XIII)

Notes: This lot is sold together with a sales invoice from Bonhams, New York, NY, dated November 19, 2015, and a printed copy of catalog raisonne by Alexandra von dem Knesebeck (99).

50

“Brustbild einer Arbeiterfrau mit blauem Tuchor (Working Woman with Blue Shawl),” 1903 Lithograph in colors on thick wove paper

$3,000-5,000

Provenance: Sold: Bonhams, London, England, “Prints Featuring Andy Warhol and the Rise of Pop,” November 19, 2013, Lot 16

Literature: Klipstein 68

Knesebeck 75

Notes: This lot is accompanied by a sales invoice from Bonhams, London, England, dated November 19, 2013, and other related materials for this lot.

Kathe Kollwitz (1867-1945)

From the edition of unknown size

Signed in pencil in the lower margin, at right: Kathe Kollwitz Image: 13.875” H x 9.5” W; Sheet: 19.25” H x 14.375” W

51

Marino Marini (1901-1980)

“Idea del Cavaliere,” 1971

Lithograph in colors on Arches paper

Edition: 44/50

Signed and numbered in pencil in the lower margin: Marino; Mourlot, Paris, prntr.; Societe Internationale d’Art XXe Siecle, Paris, pub.

Image: 21.25” H x 16” W; Sheet: 27.25” H x 20” W

$1,000-2,000

Provenance: Catchpenny Gallery, Santa Monica, CA

Literature: Guastalla 103

“Nu

Etching and aquatint in colors on paper

Edition: 1/100

Signed and numbered in pencil in the lower margin: Foujita

Plate: 23” H x 15.375” W; Sheet: 26.75” H x 18.625” W

$800-1,200

Leonard Tsuguharu Foujita (1886-1968)

Assis,” from “Femmes,” 1930

“Banging the Drum,” 2020

Offset lithograph in colors on wove paper

From the edition of unknown size

Unsigned; Dallas Contemporary, Texas, pub.

Image/Sheet: 27” H x 17” W

$800-1,200

53

Yoshitomo Nara (b. 1959)

“Real One,” 2019

Offset lithograph in colors on #80 Classic Linen Solar White Cover

Unsigned Sheet: 15” H x 17” W

$800-1,200

54

Yoshitomo Nara (b. 1959)

55

Mayumi Oda (b. 1941)

“Rainbow” from “Goddesses,” 1976

Woodcut in colors on handmade paper

Edition: 56/75

Signed, dated, and numbered in pencil in the lower margin: Mayumi Oda

Image: 29.75” H x 22.75” W

$1,500-2,500

56

Yayoi Kusama

(b. 1929)

“Pumpkin” (yellow); and “Pumpkin” (red), 2016

Each painted lacquer resin

Each marked on bottom: © Yayoi Kusama

2 pieces

Each: 4” H x 3.25” Dia.

$800-1,200

“Bird of Paradise” from “Hawaii-California Suite,” 1973

Lithograph in colors on paper

Edition: 217/300

Signed and numbered in pencil in the lower margin: Dali Sight: 24.5” H x 17” W

$800-1,200

Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot.

57 Salvador Dali (1904-1989)

58 Pablo Picasso (1881-1973)

“La Danse du Berger,” 1959 Lithograph on paper From the edition of unknown size With the printed signature and date upper left: Picasso Sight: 22.5” H x 16.5” W

$800-1,200

59

Pablo Picasso (1881-1973)

“Le Viol, IV,” Plate 29 from “La Suite Vollard,” 1933

Etching and drypoint on Montval paper, watermark Vollard

From the edition of 260, aside from the edition of 50 with wider margins

Signed in pencil lower right margin: Picasso

Plate: 17.875 x 11” W; Sheet: 13.5” H x 17.75” W

$4,000-6,000

Literature: Bloch 181

“Tete d’ Homme Barbu,” 1966

Lithograph on paper, watermark Arches

Edition: 17/100

Signed and numbered in pencil in the lower margin: Picasso

Image: 15.25” H x 10.75” W; Sheet: 22.375” H x 15.125” W

$4,000-6,000

60 Pablo Picasso (1881-1973)

61

Henri Matisse (1869-1954)

“Figure devant tapa africain,” 1929

Lithograph on Japan imperial paper

Edition: 35/50

Signed and numbered in pencil in the lower right margin: Henri Matisse

Image: 21.25” H x 17.25” W; Sheet: 25.5” H x 19.625” W

$4,000-6,000

Provenance: Mekler Gallery, Los Angeles, CA

Property of an Estate, Beverly Hills, CA, acquired from the above

Literature: Duthuit 515

“Picasso, Matisse, and Giacometti: A Graphic View of the Human Form,” Fresno Arts Center, March 15 - April 28, 1983, and The Art Museum of Santa Cruz County, May 15 - June 26, 1983, fig 35, illustrated.

Notes: A copy of the 1983 exhibition booklet accompanies this lot

62

Henri Matisse (1869-1954)

“Formes,” Plate IX from “Jazz,” 1947 Pochoir in colors on Arches

From the folded edition of 250 (there was also an unfolded, portfolio edition of 100)

Unsigned, as issued; Edmond Vairel, Paris, France, prntr.; Teriade for Editions Verve, Paris, France, pub.

Sheet: 16.5” H x 25.5” W

$5,000-7,000

Literature: cf. Duthuit 22

63

Pierre-Auguste Renoir (1841-1919)

“Portrait of Rosita Mauri,” circa 1876 Charcoal on paper Usigned; titled and dated on a label affixed to the verso of the back mat Image/Sheet: 18.875” H x 12” W

$18,000-22,000

Provenance: Paul Rosenberg & Co., New York, NY

The Estate of Mrs. Henry B. Hyde, acquired from the above Acquired from the above by the family of the late owner, June 1973

Sold: Christie’s, New York, NY, “Impressionist Modern,” September 21, 2010, Lot 28

64

Claude Pissarro (b. 1935)

“Jardine de Monte-Carlo,” 1993

Pastel on paper

Signed lower left: H. Claude Pissarro; titled and dated on a label affixed to the frame’s wiring

Image/Sheet: 8.75” H x 10.75” W

$1,500-2,500

65

Francisco De Goya (1746-1828)

“Fiero Monstruo,” Plate 81 from “The Disasters of the War,” 1959 Drypoint and etching on Arches paper Unsigned; with the Calcografia Nacional embossed stamp lower left Plate: 7” H x 8.5” W; Sheet: 10” H x 13” W

$1,000-2,000

Literature: Harris 201

66

Rufino Tamayo (1899-1991)

“Femme en Mauve,” from “Mujer en Lila” [Woman in Lilac] ,” 1969

Lithograph in colors on BFK Rives paper

Edition: 91/150

Signed and numbered in pencil in the lower margin: R. Tamayo; Touchstone Publishers, New York, NY, pub.

Image: 27” H x 20.75” W; Sheet: 30” H x 22.5” W

$1,500-2,500

Provenance: Catchpenny, Santa Monica, CA

Literature: Turner 113

67 Pedro Friedeberg (b. 1936) “Perros” Screenprint in colors on canvas

Edition: IX/XII

Signed and numbered in the lower margin at the right and left, respectively: Pedro Friedeberg; titled by repute Image/Canvas: 46.75” H x 46.875” W

$1,000-2,000

Howard Wise

Howard Wise (1903-1989) was an important American art patron and gallerist who left an indelible mark on the American art scene.

After beginning his career as an industrialist, Wise sold off his family business to pursue his interests in the arts. He opened his first gallery in his hometown of Cleveland, Ohio in 1957, where he exhibited works by prominent contemporary European artists that proved to be unpopular with his Midwestern audience. In 1960, Wise made the decision to relocate his business to New York City and opened his gallery on 57th Street to great acclaim. Over the next several decades, the Howard Wise Gallery became a hub for the international avant-garde art scene.

Milton Resnick, Ernest Briggs, John Grillo, Edward Dugmore, Lee Krasner, and Piero Dorazio all had exhibitions at the gallery during its early years, but it was Wise’s growing interest in technology, computers, sound, and video that cemented his historical role in the art world. Wise foresaw the future of art as being intersected with technology, and Wise supported its use as a tool for artists to use in the creative process.

In 1964, Wise organized a survey of Kinetic Art titled “On the Move,” featuring works by Yaacov Agam, Julio Le Parc, and Vassilakis Takis among other notable contemporary artists. This exhibition was followed by a number of other pivotal exhibitions, including “TV as a Creative Medium” -- the first-ever gallery exhibition devoted to video art as an art form, featuring works by Earl Reiback, Thomas Tadlock, and Nam June Paik.

Barbara Wise (1929-2011), Howard’s second wife, played a huge part in the gallery’s success, as she helped cultivate the growing social scene at the gallery and was a strong advocate for many actors and artists throughout her life. Although the gallery was a for-profit business, Howard and Barbara Wise ran the gallery more as a museum exhibition space than as a business and wanted it to be used as an experimental showcase. After the gallery closed in 1971, the W ises established a foundation known as the Electronic Arts Intermix (EAI), which provided assistance to artists and organizations working within the emerging video art movement.

In 2013, an exhibition at Moeller Fine Art in New York City paid tribute to the legacy of the Howard Wise by featuring works by Group Zero, as well as kinetic and video artists he championed, including Billy Apple, Christo, Carlos Cruz-Diez, Piero Dorazio, Edward Dugmore, Heinz Mack, Charlotte Moorman, Nam June Paik, Otto Piene, George Rickey, Peter Sedgley, Eric Siegel, and Takis.

John Moran Auctioneers is pleased to bring works from the collection of the late Howard and Barbara Wise to auction for the very first time.

68 Ernest Briggs (1923-1984)

Untitled (#222), 1959 Oil on Canvas

Signed and dated verso; dated again and titled on a gallery label affixed verso 50” H x 34.5” W

$25,000-30,000

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

Exhibited: Cleveland, OH, Howard Wise Gallery, “Group Show: Briggs, Dugmore, Grillo, Krasner, McNeil, Mitchell, Pace, Resnick,” October 4-29, 1959

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

69 Ivan Picelj (1924-2011)

“Mithos I,” 1960 Oil on canvas

Signed in the lower edge, at center: Picelj; signed again on the stretcher, verso: Picelj Ivan; titled and dated on a label affixed to the stretcher, verso

41.25” H x 31.5” W

$3,000-5,000

Works from the collection of the late Howard and Barbara Wise

70

Ivan

“Kyan,” 1965

Metal, wood and paint

Signed, titled, and dated, verso: Picelj Ivan; also with the artist’s name, title and date on a typed label affixed verso

27.5” H x 27.5” W x 2” D

$10,000-15,000

Provenance: Howard Wise Gallery, New York, NY

David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

Picelj (1924-2011)

71

Laszlo Moholy-Nagy

(1896-1962)

Untitled, circa 1923

Collage with mixed media on grayish paper

Signed and dated in pencil by Sibyl Moholy-Nagy, the artist’s widow, at the lower left corner: Moholy-Nagy

10.25” H x 15” W

$10,000-15,000

Provenance: Sibyl Moholy-Nagy, the artist’s widow

Collection of Howard and Barbara Wise, New York, NY, acquired as a gift from Claudia and Hattula Mohloy-Nagy, daughters of Laszlo and his wife Sibyl, upon the death of their mother in 1971

David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

Notes: According to our communications with one of Moholy-Nagy’s daughters, the 1923 date added to this lot together with the signature, by the artist’s widow, may only be approximate.

The authenticity of this work has been confirmed by Hattula Moholy-Nagy. Howard Wise had presented an exhibition of Moholy-Nagy works in his New York gallery in 1970. Moholy-Nagy’s daughters, Hattula and Claudia were very grateful for Wise’s support when their mother, Sibyl, died in January, 1971, and gave him this collage, which they found among the works on paper in Sibyl’s apartment. This work is believed to be an experimental work that Moholy put aside. The lower, clustered elements are from one of his linoleum cuts of c. 1922-1925.

Charmion Von Wiegand (1896-1983)

Born on October 10, 1896, in Chicago, Illinois, Charmion development of abstract art and the promotion of Charmion’s life journey was marked by a deep exploration developed a keen interest in literature and the arts. journalist, working for several publications including artists, writers, and intellectuals, which allowed her

In the late 1920s, Charmion’s passion for art took a would greatly influence her artistic journey. She became spiritual dimensions in art. This encounter marked expression.

Painted in 1960, “The Lotuses” dates to a period in artistic landscape. She moved away from strict geometric reflected the broader artistic movements of the time, new approaches to the expressive potential of color

In addition to her artistic pursuits, Charmion von Wiegand solo and group shows, gaining recognition for her she was regarded as an important figure bridging

Works by Charmion von Wiegand can be found in Museum of Fine Arts Boston, and the Smithsonian

Related artists include: Ilya Bolotowsky, Nassos Daphnis, Joseph Meierhans, Piet Mondrian, Irene Rice Pereira,

Wiegand

Charmion von Wiegand was an American artist and journalist who played a significant role in the spiritual philosophies in the 20th century.

exploration of art, metaphysics, and the human condition. In her early years, Charmion von Wiegand arts. She studied journalism at Columbia University in New York City and began her career as a including the New York American and the New York World. During this time, she interviewed numerous her to immerse herself in the vibrant cultural scene of the 1920s and 1930s.

a new direction when she encountered the works of Piet Mondrian, a Dutch abstract artist who became deeply inspired by Mondrian’s use of geometric forms, primary colors, and his exploration of a turning point in Charmion’s life, leading her to embrace abstract art as her own creative

in the artist’s career when Charmion von Wiegand found herself immersed in a rapidly changing geometric abstraction and began incorporating more organic and fluid forms into her work. This shift time, such as Abstract Expressionism and the Color Field movement, with Charmion embracing these color and gesture in her paintings.

Wiegand remained an active participant in the art community. She continued to exhibit her work in unique style and philosophical approach. Her contributions to the art world were celebrated, and the gap between the abstract art movement and spiritual exploration.

the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the American Art Museum.

Daphnis, Burgoyne A. Diller, Werner Drewes, John Ferren, John Wesley Greene, Raymond Jonson, Pereira, Harvey Quaytman, Hilla Rebay, Charles Green Shaw, Esphyr Slobodkina, and Jean Xceron.

72 Charmion Von Wiegand

(1896-1983)

“The Lotuses,” 1960 Oil on canvas

Unsigned; titled and dated on a gallery label affixed verso 60” H x 12” W

$30,000-50,000

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

Exhibited: Springfield, MA, Museum of Fine Art, “Three American Purists: Mason, Miles, Von Weigand,” May 11-July 12, 1975

73

Nam June Paik

(1932-2006)

“TV with Sea-Bird,” 1975 Oil on canvas

Signed lower right: Paik; signed again, titled, dated, and inscribed verso: for Howard and Barbara / Happy New Year / 76 20” H x 24” W

$3,000-5,000

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

Panayiotis “Takis” Vassilakis

(1925-2019)

Panayiotis Vassilakis born in 1925, known professionally fields of kinetic art and sculpture. Throughout his career, science, and technology. His innovative works, characterized international art scene.

Growing up in Athens, Takis developed a deep fascination engineering at the University of Athens before moving “Takis” as his artistic identity.

In the 1950s and 1960s, Takis began creating his pioneering materials, but it was his use of magnetism that became movement and interaction between the objects and

Takis’ sculptures, often referred to as “Signals,” consisted works demonstrated a harmonious integration of technology into the energy of the universe and create a bridge

Takis gained international recognition for his innovative worldwide. He participated in significant art movements, such as Jean Tinguely, Yves Klein, and Alexander Calder.

Takis’ influence on the art world extended beyond served as a platform for interdisciplinary collaborations today, promoting artistic innovation and education.

Throughout his long and prolific career, Takis received His artworks can be found in major museum collections, the Centre Pompidou in Paris. Takis passed away on on the field of kinetic art.

Vassilakis

professionally as “Takis”, was a prominent Greek artist known for his groundbreaking contributions to the career, Takis challenged conventional artistic practices and explored the relationship between art, characterized by their use of magnetism and motion, established him as a leading figure in the

fascination with science and technology from a young age. He pursued studies in physics and moving to Paris in the early 1950s to pursue a career in art. It was there that he adopted the name

pioneering works of art that combined art with scientific principles. He experimented with various became his signature. Takis incorporated magnets and electromagnets into his sculptures, allowing for and their environment.

consisted of suspended objects, metal rods, and wires activated by magnetic forces. The resulting technology and art, inviting viewers to engage with the invisible forces at play. His art aimed to tap bridge between the material and the immaterial.

innovative approach to art, and his works were exhibited in prestigious galleries and museums movements, including Nouveau RÉalisme and the Kinetic Art movement, alongside renowned artists Calder.

his own creations. He founded the “Research Center of the Arts and Sciences” in 1986, which collaborations and exploration of the relationship between art and science. The center continues to operate education.

received numerous accolades and honors, including the International Prize at the 1964 Venice Biennale. collections, including the Museum of Modern Art (MoMA) in New York, the Tate Modern in London, and on August 9, 2019, in Athens, leaving behind a legacy of artistic innovation and a profound impact

74

Panayiotis “Takis” Vassilakis

(1925-2019)

“Signal,” circa 1967-1971 Steel and found objects, electrified Signed and inscribed in marker to the underside: Takis 113” H x 10” W x 10.125” D

$15,000-20,000

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

75 Panayiotis “Takis” Vassilakis (1925-2019)

“Red Signal,” circa 1967-1971

Steel and found objects, electrified No. 26

Signed, titled, numbered, and inscribed in marker to the underside: Takis 73” H x 7” Dia.

$12,000-18,000

Provenance: Howard Wise Gallery, New York, NY

David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

76

Panayiotis “Takis” Vassilakis (1925-2019)

“Blue Signal,” 1968 Steel and found objects, electrified No. 24

Signed, titled, dated, numbered, and inscribed in marker to the underside: Takis 72.25” H x 7” Dia.

$12,000-16,000

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

77

Panayiotis “Takis” Vassilakis (1925-2019)

“Purple Dial,” also known as “The Purple Subway Drive,” circa 1969 Steel and found objects, electrified No. 9

Unsigned; titled by repute; hand-numbered in marker on tape affixed to the underside 30” H x 9” W x 12” D

$6,000-8,000

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

Exhibitions: New York, Howard Wise Gallery, “Art: Whirring and Quivering Aplenty,” February 1969

Literature: Glueck, Grace. “Art: Whirring and Quivering Aplenty.” The New York Times, February 8, 1969.

78

“Barbara Backstage in Ruth Ruth at the Pyramid” Gelatin silver print on paper

Signed, titled, and inscribed, verso: Peter / For Barbara, From Peter Image: 16.5” H x 12.5” W; Sheet: 20” H x 16” W

$4,000-6,000

Provenance: Howard Wise Gallery, New York, NY

David Wise and Audry Taylor, Los Angeles, CA, by descent from the above

Note: Previous to this work coming to auction, the Peter Hujar Archive only knew of 2 of these images to be in existence. This piece now makes 3.

Peter Hujar (1934-1987)

79

Arnold Newman (1919-2006)

Three Works

Portrait of the Wise Family

Gelatin silver print on photographic paper laid to mat board

From the edition of unknown size and date

Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner

Image/Sheet: 6.375” H x 9.75” W; Original paper wrapper: 17.125” H x 14.125” W

Portrait of Howard Wise

Gelatin silver print on photographic paper laid to mat board

From the edition of unknown size and date

Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner

Image/Sheet: 9.375” H 7.875” W; Original paper wrapper: 17.25” H x 14.25” W

Portrait of Howard Wise

Gelatin silver print on photographic paper laid to mat board

From the edition of unknown size and date

Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner

Image/Sheet: 9.75” H x 7.625” W; Original paper wrapper: 17.25” H x 14.25” W

3 pieces

$800-1,200

Gelatin silver print on paper

Unsigned Image/Sheet: 11” H x 10” W

$800-1,200

Provenance: Private Collection, California, acquired from the artist Private Collection, Los Angeles, CA, acquired from the above

80 Joel Peter Witkin

(b. 1939)

Photo proof contact sheet

81

“Woman in a Wheelchair,” 1977 Gelatin silver print on paper Signed, titled, and dated in pencil, verso: © Joel Peter Witkin

Image/Sheet: 14.125” H x 11” W

$1,500-2,500

Provenance: Private Collection, California, acquired from the artist Private Collection, Los Angeles, CA, acquired from the above

Joel Peter Witkin (b. 1939)

82

Imogen Cunningham (1883-1976)

“Rock at Big Sur,” 1964

Gelatin silver print on paper laid to mat board, as issued

From the edition of unknown size

Signed and dated in pencil on the mat board, directly below the image: Imogen Cunningham; dated again and titled on the artist’s studio label affixed to the verso of the mat board; the Strathmore brand mat board with the manufacturer’s blindstamp in the lower left corner

Image/Sheet: 11.25” H x 10.75” W; Original mat board support: 20” H x 15” W

$1,000-2,000

Provenance: The artist

Private collection, gift from the artist

Estate of the above, by descent to the present owner

Notes: According to the present owner, this photograph was gifted by the artist to her late husband. The latter apparently carried Cunningham down a rocky slope at Big Sur in the 1960s so that she could shoot this image. Additionally, there is a xmall S. F. M. A. (presumably San Francisco Museum of Art) paper label affixed to the verso of the mat board that includes a hand-written number 5-65-5 under the “Reg. No.” heading.

83 Judy Dater (b. 1941)

“Imogen and Twinka at Yosemite,” 1974

Gelatin silver print on paper laid to mat board, as issued

From the edition of unknown size

Signed and dated in pencil on the mat board, directly below the image, at right: Judy Dater; the artist’s black ink copyright stamp on the verso of the mat board

Image/Sheet: 9.375” H x 7.375” W

$2,000-3,000

84

Herb Ritts (1952-2002)

“Richard Gere,” 1982

Gelatin silver print on paper

Edition: Artist Proof

Appears unsigned; titled, dated, and inscribed in pencil verso: To John / “Merry Christmas” / Hawaii ‘82 / ... you are with me / as we are together - / today

12/25/82; with the artist’s copyright ink stamp verso

Image: 13.75” H x 9.25” W; Sheet: 14” H x 19.5” W

$5,000-7,000

Provenance: The Artist Private Collection, Washington D.C., a gift from the above

85

Peter Fischli (b. 1952) and David Weiss (b. 1946)

Untitled (“The Way Things Go”), 1985-1987

Chromogenic print on paper

Edition: 4/12

Signed and numbered in ink verso: F. + W.; titled and dated on a label affixed verso

Image/Sheet: 9.75” H x 13.875” W

$6,000-8,000

Provenance: Galerie D’art Art & Public, Geneva, Switzerland

86

Helen Levitt (1918-2009)

“New York 1980 (spider girl),” 1980 Chromogenic print on paper

Signed, titled, and dated on a label affixed verso

Image: 9.625” H x 14.25” W; Sheet: 14.25” H x 17.875” W

$5,000-7,000

Provenance: Galerie Anne De Villepoix, Paris, France

87

Massimo Vitali (b. 1944)

“Knokke (from A Portfolio of Landscapes and Figures),” triptych, 2006 Offset lithographs in colors on paper

Figures at a beach

Edition: 10/20; each respectively numbered: 41, 42, 43

Each: With artist’s studio stamp, edition, and numbered verso

Each: 33.8” H x 27.5” W

$2,000-4,000

88

Eliot Porter (1901-1990 American)

“Portfolio II: Iceland,” twelve plates, 1972

The set of 12 dye-transfer photographs mounted to mat board, as issued Edition 62/110, of which only 100 were intended for sale

Each photographs’ mat board mount with Porter’s “Portfolio II: Iceland” black ink stamp, together with the plate [1-12] and set number [62] hand-written in red ink, verso. Printed in 1972, the series was published by the artist, Santa Fe, NM, in 1975

Image/Sheet: 10.5” H x 8” W (or opposite); Artist board support: 20” H x 15” W (or opposite)

$6,000-8,000

Notes: This lot is comprised of the set of 12 individually framed photographs. It does not include the signed and numbered colophon page or the blue clothcovered portfolio case in which the works were originally issued.

89

Slim Aarons (1916-2006)

“Poolside Gossip,” 1970

C-print on paper

Edition: 56/150

With the embossed estate-stamped signature and numbered in ink in the lower margin; with the Getty Images Archive blindstamp in the lower margin, at right; Getty Images Gallery, Los Angles, CA, pub.

Image: 38” H x 56.375” W; Sheet: 40” H x 60” W

$8,000-12,000

Literature: Aarons, Once Upon a Time, pp. 116-117

Notes: This lot is accompanied and sold together with a certificate of authenticity, with the artist’s printed signature, the stamped date, April 13, 2023, and an information sheet from, Gettyimage Gallery.

According to the information sheet from Gettyimages Gallery, this photograph depicts a desert house in Palm Springs designed by Richard Neutra for Edgar Kaufman. Lita Baron approaches on the right Neida Linsk, wife of art dealer Joseph Linsk who is talking to a friend, Helen Dzo Dzo.

Josh (SHAG) Agle (b.

1962)

Josh Agle born on August 31, 1962, known professionally that captures the essence of mid-century modernism become an icon in the world of modern art.

Growing up in Southern California, SHAG developed artistic journey began during his childhood, where These early experiences would later shape his artistic

In the late 1980s, SHAG attended the California State refine his skills and experiment with different mediums, work in local galleries and art shows, slowly gaining

It was in the early 1990s that SHAG began to establish Tiki culture, cocktail lounges, and vintage advertising. exuding an air of sophistication and mystery. With world that feels simultaneously nostalgic and contemporary.

professionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style modernism and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has developed a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His where he would spend countless hours drawing and immersing himself in the visual culture of the time. artistic vision and inspire his signature style.

State University, Fullerton, where he studied both illustration and fine art. His studies allowed him to mediums, including painting, printmaking, and sculpture. During this time, he also started exhibiting his gaining recognition for his unique approach to art.

establish his distinct style, drawing inspiration from Palm Springs culture, mid-century modern design, advertising. He created a universe of characters, often depicted in glamorous and whimsical settings, his masterful use of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic contemporary.

90 Josh (SHAG) Agle (b. 1962)

“L.A. Modern (Day),” 2005 Acrylic and vinyl paint on panel Signed lower left: SHAG; signed again, titled, and dated verso: Josh Agle / SHAG

37” H x 48” W

$5,000-7,000

91 Josh (SHAG) Agle (b. 1962)

“The

$5,000-7,000

Bird Watcher,” 2005 Acrylic and vinyl paint on panel Signed lower right: SHAG

24” H x 48” W

92

$2,500-3,500

(SHAG) Agle (b. 1962)

93

“Star,” 1997

Mixed media on paperboard

Signed lower right: Romero Britto; Signed again twice, titled, dated, and with the artist’s device,

$2,000-4,000

Romero Britto (b. 1963)

verso

Image/Sheet: 27” H x 20” W

94 Romero Britto (b. 1963)

Abstract portrait Mixed media on paperboard

Signed lower right: R. Britto

Image/Sheet: 27.125” H x 20.125” W

$2,000-4,000

95 Romero Britto (b.1937)

“Memory,” 2018

Acrylic, glitter, and ink on canvas

Signed lower right: R. Britto; titled and dated on a label affixed verso

20” H x 20” W

$2,000-4,000

96

Peter Max (b.1937)

“Better World,” 2002

Acrylic on canvas

Signed lower right: Max; signed again, inscribed 4 Richard love Max 2009, and with a small drawing of a face, all in ink, verso; the artist’s 2002 copyright ink stamp and number 80464, verso 40” H x 30” W

$3,000-5,000

Notes: This lot is sold together with an undated certificate of authenticity issued and hand-signed by N. Isen, Philadelphia, PA.

Provenance: Private Collection, Long Beach, CA Private Collection, by descent from the above

97

“Faciliti-Link Flowers,” 1998

Mixed media and acrylic in colors on paper Signed lower left: Max; titled in ink, dated, and with

Image/Sheet: 24.125” H x 18” W

$5,000-7,000

Notes: On the verso of this lot is an ink copyright This Peter Max Art Work Entitled / Faciliti-Link: ‘Flowers’ (and brushstrokes) from his original artworks of the

98

Peter

“Umbrella Man,” 2005

Mixed media and acrylic in colors on paper mounted to foamboard, in a mount with portions designed by the artist Signed upper right: Max; dated by repute

Image/Sheet: 32.75” H x 24.375” W; Colored inner mount: 36.5” H x 28” W

$5,000-7,000

Peter Max (b.1937)

Max (b.1937)

with the copyright ink stamp, all verso copyright stamp that reads: “ © Peter Max 1998 / ‘Flowers’ / is a variation color combination the same title on paper.”

99 Peter Max (b.1937)

“Statue of Liberty,” 2018 Acrylic and paint

From the edition of unknown size

Signed: Max; signed again, dated, and numbered in pen: © Peter Max 2018 / 395780; engraved number: 828968 17” H x 9.5” W x 4.5” D

$4,000-6,000

100

Margaret Keane (1927-2022)

Face, 1969

Oil on canvas

Signed and dated upper right: © MDH Keane

24” H x 18” W

$5,000-7,000

Provenance: Zantman Art Galleries circa 1970

Beatrice Sharon Winkel (formerly Beatrice Sharon Cuthbertson)

By descent to current owner, Newport Beach, CA, 2002

Others Notes:

Peggy Doris Hawkins born in 1927, professionally and widely known as Margaret Keane, was an American artist known for her distinctive paintings featuring subjects with large, expressive eyes. Her unique style and prolific body of work garnered both popular acclaim and commercial success, but her journey as an artist was not without challenges and controversy.

Keane was born in Nashville, Tennessee, and displayed artistic talent from a young age. She honed her skills through formal art education and began her career as a freelance artist, creating illustrations and portraits. In the 1950s, she married Walter Keane, a fellow artist, and they embarked on a journey together that would significantly impact Margaret’s artistic trajectory.

In the early years of their marriage, the Keane couple moved to San Francisco, where Margaret’s art caught the attention of art enthusiasts and collectors. Her distinct style, characterized by subjects with large, haunting eyes, resonated with many viewers and gained a considerable following. However, it was the subsequent events that would shape Margaret’s career and personal life in profound ways.

In a controversial turn of events, it was revealed that Walter Keane had been fraudulently claiming credit for Margaret’s artwork. He had been promoting himself as the artist behind the “Keane paintings,” which had gained widespread popularity. Margaret’s actual role as the true creator of the iconic artworks had been hidden from the public eye for years. The revelation led to a highly publicized legal battle and a court-ordered “paint-off” to determine the true artist. In 1986, Margaret took to the stand and produced a painting in front of the court, proving beyond a doubt that she was the genuine talent behind the famous Keane paintings.

The exposure of the truth marked a turning point in Margaret’s life. She reclaimed her artistic identity and embarked on a journey of personal and creative liberation, and Keane’s work began to receive proper recognition, and her unique style found new appreciation among art collectors and enthusiasts.

Margaret Keane’s paintings, with their distinctive eyes and emotive qualities, continue to captivate audiences around the world. Her artwork has been exhibited in galleries and museums, and her influence on popular culture can be seen in films, books, and other artistic mediums. Keane died on June 26, 2022 at the age of 94.

101 Margaret Keane (1927-2022)

“Girl with Hibiscus” Oil on canvas

Signed lower left: © MDH Keane; titled in pencil on a label affixed to the frame’s foam backing

18” H x 12” W

$3,000-5,000

Provenance: Zantman Art Galleries, Carmel, CA, circa 1970

Beatrice Sharon Winkel (formerly Beatrice Sharon Cuthbertson)

By descent to current owner, Newport Beach, CA, 2002

102 Margaret Keane (1927-2022)

Portrait of a young boy and girl Oil on canvas

Signed lower right: Keane

22” H x 14” W

$3,000-5,000

103 Margaret Keane (1927-2022)

Boy in a blue shirt

Oil on canvas

Signed lower right: Keane

8” H x 22” W

$3,000-5,000

Henri Hecht Maik (1922-1993)

Henri Maik, born on March 27, 1922, in Paris, was painter rather than a naÏf painter. Maik’s artworks portrayed birds, and jungle creatures. His paintings created a

In addition to painting, Maik showcased his talents limited-edition fine jewelry, and authored and illustrated

Maik’s artistic career was preceded by his involvement captured and imprisoned. After his release, he worked pursued acting in theater and French films before exhibition in Paris.

Throughout his career, Maik held successful exhibitions des Arts. He received critical acclaim for his work exhibited de la Culture d’Argenteuil. Maik’s paintings were featured artworks can be found in notable collections such and the MusÉe d’Art Naif de l’Ile-de-France in Vicq.

Related artists include Jean Dufy, Marcel Dyf, Pal Fried, Rousseau, and Claude Venard.

an artist known for his paradoxical and dreamlike paintings. He identified himself as a Primitive portrayed familiar yet strange landscapes filled with vibrant colors, simple flowers, exotic trees, rare a sense of harmony and invited viewers to join the community of creatures depicted.

talents in various other artistic fields. He designed tapestries in collaboration with Aubusson, created illustrated popular children’s books.

involvement in the French Navy during World War II, where he served as a medical corpsman and was later worked as a lumberman in Normandy until the Liberation of France. Upon returning to Paris, Maik turning to painting in 1956. His artistic breakthrough came in 1960 when he had his first solo exhibitions in prestigious venues such as the MusÉe de l’Art Moderne in Paris and the CitÉ Internationale exhibited at various galleries and museums, including the Abbey of Salins-les-Bains and the Maison featured in renowned art salons, including the Salon d’Automne and the Salon de Bollène, and his as the National Museum of Budapest, the Center of Contemporary and Experimental Art in Israel, Vicq.

Fried, Andre Hambourg, Michel Henry, Jean Jamsen, Constantin Kluge, Charles Levier, Henri

105

Henri Hecht Maik (1922-1993)

Wildlife in a flourishing landscape, 1977 Oil on canvas

Signed and dated lower right: Maik

18” H x 22” W

$5,000-7,000

106 Henri Hecht Maik (1922-1993) A lounging cheetah, 1980 Oil on canvas

Signed and dated lower right: Maik Sight: 9” H x 12.75” W

$3,000-5,000

107

Henri Hecht Maik (1922-1993)

A lion surrounded by flowers, 1980 Oil on canvas

Signed and dated lower left: Maik; signed again verso

9.5” H x 13” W

$3,000-5,000

108 Henri Hecht Maik (1922-1993) A lion and tiger, 1977 Oil on canvas Signed and dated lower right: Maik 9” H x 11.5” W

$2,000-3,000

109 Jean Jules Louis Cavailles (1901-1977)

“Les Petroliers a Lavera” Oil on canvas

Signed lower right: Cavailles; signed again and titled in red verso; titled again in blue pencil on the stretcher: No. 6, Lei Petroliers Lavera 36.25” H x 23.5” W

$5,000-7,000

Provenance: Sold: Butterfields, San Francisco, CA, “Modern, Contemporary & Latin American Art,”

Thursday, October 23, 1997, Lot 05079

Property

of a Rancho Mirage Collection, acquired from the above

Andre Lhote (1885-1962)

André Lhote (1885-1962) was a French painter, sculptor, 20th century. He was associated with various artistic own artistic practice, as he also had a profound influence

Born on July 5, 1885, in Bordeaux, France, Lhote initially led him to abandon his studies and move to Paris under various notable artists, including Eugène Carrière

During his early years in Paris, Lhote was exposed experimented with different styles and techniques, his work. Lhote’s style evolved further when he encountered synthesize the structural elements of Cubism with of Volume.”

In addition to his own artistic pursuits, Lhote became 1922, where he taught numerous students, including on the importance of composition, structure, and Lhote’s teachings were not limited to his academy Landscape Painting” (1927) and “Figure Painting”

Throughout his career, Lhote participated in various showcased in major galleries and museums, including Lhote passed away on January 24, 1962, in Paris, leaving Related artists include Maurice de Vlaminck, Raoul Pissarro, Paul Signac, Maurice Utrilo, and Louis Valtat.

sculptor, and art theorist who played a significant role in the development of modern art in the early artistic movements, including Cubism, Fauvism, and Purism. Lhote’s contributions extended beyond his influence as an art teacher and writer.

initially pursued an academic education in philosophy and literature. However, his passion for art in 1902 to pursue a career as an artist. He enrolled in the École des Beaux-Arts and began studying Carrière and Fernand Cormon.

to the vibrant art scene and the revolutionary ideas that were transforming the art world. He techniques, embracing the vibrant color palette of Fauvism while also incorporating elements of Cubism into encountered the principles of Cézanne’s art, which had a lasting impact on his approach. He sought to a more formal and classical sense of composition, resulting in a unique style that he called “Cubism

became a highly influential art teacher. He opened his own academy, the Académie Montparnasse, in including many who would go on to become significant artists in their own right. Lhote’s teaching focused form, emphasizing the need to balance creativity with a solid foundation in artistic principles. but also extended to his writings on art theory. He published several books, including “Treatise on (1932), which outlined his ideas on artistic principles and techniques.

various art exhibitions and received recognition for his contributions to the art world. His works were including the Salon d’Automne, Salon des Indépendants, and the Musée d’Art Moderne in Paris. André leaving behind a rich artistic legacy.

Raoul Dufy, Marcel Dyf, Gustave Loiseau, Maximilien Luce, Henri Manguin, Jean Metzinger, Camille Valtat.

110 Andre Lhote (1885-1962)

“Portrait de Femme” Oil on canvas

Signed lower right: A. Lhote; titled on the frame plaque 18” H x 15” W

$15,000-25,000

Provenance: Reyn Gallery, New York, NY

Sold: Sotheby’s, New York, NY, February 21, 1985, lot 99 Private Collection, Los Angeles, CA, acquired from the above

111

Henri (Bournet Didonna) Didonet (b. 1932)

“O Krishna,” 1988 Oil on canvas

Signed lower right: Didonna; titled, dated, and inscribed on the stretcher: Paris

39.5” H x 39.5” W $2,000-3,000

113

Maurice Louis Savin (1894-1973)

“Le Quai aux Fleurs,” 1958 Oil on canvas

Signed lower right: Savin; signed again, titled, and dated verso 28.5” H x 23.5” W

$1,000-1,500

Exhibited: Musee Galliera, Paris, France, “Les Peintres Temoins De Leur Temps: Les Parisiennes,” 1958

112

Jean-Pierre Yvaral (1934-2002)

Untitled

Acrylic on artist board

Signed at the center of the lower edge: Yvaral Sight: 15.75” H x 15.75” W

$3,000-5,000

114

Abbas Moayeri (1939-2020)

Abstract seated figure

Ink, gouache, and gold on paper

Signed, dated, and inscribed in ink lower left: Abbas Moayeri / Paris

Image: 21.5” H x 15.25” W; Sheet: 25.625” H x 19.75” W

$1,000-2,000

115

Woman with a fawn, 1984

Ink, gouache, and gold on paper

Signed,

$1,000-2,000

Abbas Moayeri (1939-2020)

dated, and inscribed lower right: Abbas Moayeri / Paris

Image: 20.5” H x 15.25” W; Sheet: 25.625” H x 19.75” W

116

Gabriel Godard (b. 1933)

Abstract, 1958

Oil on board

Signed and dated lower right: G. Godard; inscribed in various other hands verso 14” H x 10.75” W

$800-1,200

117

Jacques Lipchitz (1891-1973)

“Melancholia,” 1971

Patinated bronze

Edition: 0/0 (Artist’s Proof)

Signed and numbered to base: J. Lipchitz; further marked for the artist’s foundry: Fonderia

Luigi Tomassi, Pietrasanta

15.75” H x 13.25” W x 15.5” D

$15,000-20,000

Provenance: Acquired directly from the artist 1971, Private Collection, Santa Barbara, CA

118

Frédéric Bruly Bouabré (1923-2014)

Embracing figures, 2007

Ink, colored crayon, and pencil on card

Each: Signed and dated verso: 25-6-2007; each inscribed in French in ink along the edges with the same inscription, except on each card one-word changes along the lower edge, at left to represent the nationality of the figures: La Maturite ici, une divine / tache de Peinture figures l’embrassade / d’un charitable couple Jamaicain [interchangeable nationality] / art divin releve sur orange jaunie par

24 pieces

Each Image/Sheet: 7.5” H x 6” W

$4,000-6,000

119

Frédéric Bruly Bouabré 1923-2014

Figure in a suit, 2009

Ink, colored crayon, and pencil on card

Each: Signed and dated verso: 11-6-2009; each inscribed in French in ink along the edges with the same inscription, except on each card one-word changes along the lower edge, at left to represent the nationality of the figures: Arte de publicite pris sur emballlage De papier biscuit / M’inspira ici, l’idee d’un chari / table millionaire offrant des biscuits aux / enfants tanzaniens

40 pieces

Each: 6.75” H x 5” W

$3,000-5,000

120

Yankel Ginzburg

(b. 1945)

“Haifa Harbor,” 1971 Oil on canvas

Signed and dated lower right: Yankel Ginzburg; signed again and titled verso

24” H x 20” W

$800-1,200

121

Giuseppe Gambino (1928-1997)

$1,500-2,000

“Natura Morta con Violino,” 1959

Oil on canvas

Signed, dated, and inscribed lower right: Gambino / Venezia; signed and dated again, titled and inscribed verso: To Mr. and Mrs. Montgomery - Venice - Nov. 1959

27” H x 39” W

122

Bruno Romeda (1933-2017)

Untitled #13 (Circle Sculpture), 1986

Bronze

Signed and dated to the base: Romeda / 86; titled by repute

46” H x 44” W x 10” D

$12,000-18,000

Provenance: Kouros Gallery, New York Private Collection, Southern California

123

Lucio Pozzi (b. 1935)

“Long Interference,” 1971

Acrylic on cotton

Signed, titled, and dated verso: Pozzi

7” H x 119.25” W

$800-1,200

Provenance: Judith Selkowitz Art Advisory, New York, NY Private Collection, Southern California

125

Gunter Umberg (b. 1942)

Untitled, 1988

Pigment, dammer, and poliment on aluminum

Signed verso: G Umberg

13.875” H x 14.25” W x 1” D

$4,000-6,000

Provenance: Gilbert Brownstone & Cie, Paris, France Private Collection, Southern California

Tolla Inbar

(b. 1958)

“Circle of Life,” 2000

Patinated bronze

Edition: 12/12

Signed, dated, and numbered in the casting: Tolla / ‘00; titled by repute

36” H x 33” W x 7.5” D

$5,000-7,000

127

Francisco Farreras (1934-2017)

Abstract, 1965

Mixed media and collage on panel

Signed, dated, and inscribed verso: F. Farreras / N.Y.

60” H x 70” W

$2,000-4,000

Provenance: Albert White Galleries, Toronto, Canada

The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

128

“Autorretrato,” 1966 Oil on canvas

Unsigned; titled on gallery labels affixed verso 47.25” H x 39.5” W

$2,000-3,000

Provenance: Galeria Juan Martin, Mexico City, Mexico

Exhibited: Museo de Arte Moderno, Mexico City, Mexico, n.d.

Fernando Garcia Ponce (1933-1987)

Enrique “Sebastian” Carbajal (b. 1947)

Abstract (compacto), 1988

Enameled iron

Signed and dated on the recto center: Sebastian / © 1988

17.5” H x 42” W x 14.5” L

$6,000-8,000

Provenance: Rettig y Martinez Gallery, Santa Fe

The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Notes: The artist’s full name is Enrique Carbajal Gonz·lez Santiv·n, but his working name is “Sebastian.”

130 Carlos Merida (1891-1984)

Untitled, 1971 Acrylic on Amate paper

Signed and dated lower left: Carlos Merida

Image/Sheet: 23.125” H x 15.5” W

$8,000-12,000

This

Notes:

lot is accompanied by a certificate of authenticity signed by Alma Merida.

131

Alexander Morales Nunes (b. 1973)

“Salto I Jump,” 2007

Acrylic on canvas

Signed and dated along the lower right edge: Morales; titled on a label affixed to the frame’s backing paper

58” H x 47” W

$1,000-2,000

Provenance: The Artist Private Collection, a gift from the above

Sold: MOLAA, Long Beach, CA, “Auction Exhibition 07: Contemporary Latin American Art,” July 19, 2020, Lot 139

Private Collection, Los Angeles, CA, acquired from the above

132

Massoud Arabshahi (1935-2019)

Abstract, 1986

Mixed media on paper

Signed and dated in orange in the lower margin, at left:

$3,000-5,000

Massoud Arabshahi

Image: 22” H x 17” W; Sheet: 24” H x 19.25” W

133 Aharon Kahana (1905-1967) Abstract, 1962 Oil on canvas

Signed and dated lower right: Kahana; signed and dated again verso 32” H x 40” W

$1,500-2,500

134 Yumiko Kayukawa (b. 1970) “Shadow,” 2006 Acrylic and ink on canvas

Signed in Japanese and dated lower right; titled in pencil on the overlap of the canvas, verso 26” H x 48” W

$800-1,200

135

George Joji Miyasaki (1935-2013)

Abstract, 1960

Oil and collage on canvas

Signed lower right: Miyasaki; signed again and dated verso

46” H x 46” W

$4,000-6,000

“Foggy,” 1969 Oil on canvas

Signed and dated lower right: Miyasaki; signed and dated again and titled verso

36.25” H x 27.25” W

$2,000-4,000

136 George Joji Miyasaki (1935-2013)

137

John Gillen

(b. 20th century)

“Preaching to the Converted,” 1987 Wood, joint compound and acrylic Signed, titled, and dated in pen on the verso: John Gillen / 1987; further inscribed: wood, plaster, acrylic 65.5” H x 12” W x 6.5” L

$800-1,200

Provenance: Burnett Miller Gallery, Los Angeles Private Collection, Southern California, acquired from the above

138

John Gillen (b. 20th century)

“False Idol (BM-JG #10),” 1987 Wood, joint compound and acrylic Signed, titled, and dated in pen on the verso: John Gillen / 1987; further inscribed: wood, plaster, acrylic 65.5” H x 11.5” W x 7” L

$800-1,200

Provenance: Burnett Miller Gallery, Los Angeles Private Collection, Southern California, acquired from the above

139

John Charles Haley (1905-1991)

Untitled abstract Oil on canvas

Signed lower left: Haley

59.75” H x 49.75” W

$2,000-4,000

140 John Charles Haley (1905-1991)

Abstract Oil on canvas

Signed lower left: Haley

50” H x 60” W

$1,500-2,500

141

Mary Lovelace O’Neal (b. 1942)

“Art While Silver” from the “Lampblack Series,” circa 1974 Mixed media on paper

Unsigned; titled in pencil verso Image: 15.5” H x 21.75” W; Sheet: 18” H x 24” W

$6,000-8,000

Notes: A check written to Mary Lovelace O’Neal for this artwork is affixed to the backing board, dated July 8, 1974

Alice Baber (1928-1982)

Alice Baber, who was born in Charleston, Illinois in Gallery’s Sixth Annual Exhibition of New York artists. shown alongside Grace Hartigan, Louise Nevelson, featured in this exhibition have been recognized as 1982 ñ has long been overlooked by museums and Painted in 1976, “The Sound of the Summer Hermit” contemporaneous article for “Art in America,” Al Brunelle

“Her paintings are romantic and lyrics - but they are overall structures. Transparent spectrum color is applied are generally more transparent in their centers, which into rather casual clusters that seem almost accidental handling, and which floods the entire work with a

Baber was diagnosed with cancer in the late 1970s numerous public collections, including the Metropolitan of Art. Today, she is recognized as an important figure innovative style.

Alice Baber’s work has been exhibited alongside many

Mary Abbott, William Baziotes, Norman Bluhm, Louise Sam Gilliam, Michael Goldberg, Adolph Gottlieb, de Kooning, Lee Krasner, Morris Louis, Joan Mitchell, Park, Ray Parker, Betty Parsons, Jackson Pollock, Richard Woodsey Thomas, Bob Thompson, Jack Tworkov,

Select Museum Collections:

Metropolitan Museum of Art, New York, NY

Museum of Modern Art, New York, NY

San Francisco Museum of Modern Art, San Francisco, Santa Barbara Museum of Art, Santa Barbara, CA

Solomon R Guggenheim Museum, New York, NY

Whitney Museum of American Art, New York, NY

For additional information on the historical context

Denver Art Museum in conjunction with Yale University

in 1928, began exhibiting her work in New York City in 1957 when she was included in the Stable artists. Baber, as one of the approximately twenty women included on the Annual’s extensive roster, was Nevelson, Lee Krasner, Mary Abbott, Joan Mitchell, and Elaine de Kooning. While many of the male artists as key figures of the Abstract Expressionist movement, Baber ñ who died at the age of fifty-four in and the art market at large.

Hermit” dates to a period in the artist’s career when her works became more minimal. In a Brunelle wrote the following about Baber’s work:

are also reductive and systematic; she regulates the component elements in each work but not the applied over a luminous white ground, to form irregular elliptical shapes of roughly similar size. They which gives them an effect of buoyancy. They tend to draw together, with considerable overlapping, accidental or naive... [E]ach painting is experienced as a single phenomenon largely because of the paint pulse of unified feeling.”

1970s and continued to paint until her death on February 2, 1982, in New York City. Her work is held in Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Santa Barbara Museum figure in the development of abstract art in the United States and is celebrated for her unique and many key members of the Abstract Expressionist movement, including (but not limited to):

Louise Bourgeoise, Friedel Dzubas, Perle Fine, Sam Francis, Helen Frankenthaler, Dorothy Gillespie, Grace Hartigan, Hans Hofmann, Paul Jenkins, Ray Johnson, Franz Kline, Elaine de Kooning, Willem Mitchell, Robert Motherwell, Robert Natkin, Louise Nevelson, Kenneth Noland, Jules Olitski, Charlotte Richard Pousette-Dart, Ad Reinhardt, Milton Resnick, David Smith, Theodoros Stamos, Alma Esteban Vicente

Francisco, CA context of this painting, please see Joan Marter, Women of Abstract Expressionism, published by the University

142

Alice Baber

(1928-1982)

“The Sound of the Summer Hermit” and “The Key of Sound and Light,” 1976 Oil on canvas

Signed lower left: Baber; signed again, titled, and dated on the stretcher

72” H x 102” W

$50,000-70,000

Provenance: Property of an Important New York Corporate Collection

143

Alice Baber

(1928-1982)

“Light Ladder,” 1966 Oil on canvas

Signed lower right: Baber

31.5” H x 39” W

$20,000-30,000

Provenance: Private Collection, New York, NY

Sold: Sotheby’s, New York, NY, “Contemporary Art Online,” March 7, 2019, Lot 455 Private Collection, California, acquired from the above

Alice Baber, who was born in Charleston, Illinois in 1928, began exhibiting her work in New York City in 1957 when she was included in the Stable Gallery’s Sixth Annual Exhibition of New York artists. Baber, as one of the approximately twenty women included on the Annual’s extensive roster, was shown alongside Grace Hartigan, Louise Nevelson, Lee Krasner, Mary Abbott, Joan Mitchell, and Elaine de Kooning. While many of the male artists featured in this exhibition have been recognized as key figures of the Abstract Expressionist movement, Baber – who died at the age of fifty-four in 1982 – has long been overlooked by museums and the art market at large.

Throughout her career, Baber experimented with different mediums, including oil paint, watercolor, and printmaking. Her paintings often featured organic forms, flowing lines, and translucent layers of color, creating a sense of depth and movement. She was particularly fascinated by the interplay of light and color, and this became a central theme in her artistic exploration.

Baber’s art evolved over time, and by the 1960s, she had fully embraced abstraction. “Light Ladder,” painted in 1966, is executed in Baber’s signature style which involved pouring diluted paint onto the canvas and manipulating it with brushes and other tools. This technique allowed her to create luminous, ethereal compositions that seemed to radiate with inner light. In this work, she employed a restrained color palette, favoring subtle tones and delicate hues. Through her use of color, Baber conveyed a sense of tranquility and harmony, inviting viewers to engage with the contemplative qualities of her art.

Baber was diagnosed with cancer in the late 1970s and continued to paint until her death on February 2, 1982, in New York City. Her work is held in numerous public collections, including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Santa Barbara Museum of Art. Today, she is recognized as an important figure in the development of abstract art in the United States and is celebrated for her unique and innovative style.

144 Henrietta Berk (1919-1990)

“Moraga No. 1” Oil on canvas

Signed lower right: H. Berk; titled verso 30” H x 30” W

$7,000-9,000

145

A postmodern steel sculpture

Circa 1990s-2000s

Appears unsigned

Welded steel in two parts with embedded found objects

Element one: 84” H x 9.5” W x 16” L; Element two: 86.5” H x 13” W x 69” L

$1,000-1,500

146

Hans Burkhardt (1904-1994)

“Lovers on the Bridge”

Oil on linen canvas

Signed and dated lower left: H. Burkhardt; titled on a gallery label affixed verso

32” H x 42” W

$10,000-15,000

Provenance: Lorraine Gallery, Encino, CA

147

Hans Burkhardt (1904-1994)

“Aasgaardstrand,” 1968

Oil on linen canvas

Signed and dated lower center: H. Burkhardt; titled on a gallery label affixed verso 32” H x 42” W

$10,000-15,000

Provenance: Lorraine Gallery, Encino, CA

148

Hans Burkhardt (1904-1994)

‘Spring in the Canyon,” 1970

Oil on linen canvas

Signed

$10,000-15,000

Provenance: Lorraine Gallery, Encino, CA

and dated lower right: H. Burkhardt; titled on a gallery label affixed verso, along with alternate title on label affixed to the stretcher: “Blue Canyon” 32” H x 42” W

149

Hans Burkhardt (1904-1994)

“Journey to the Unknown,” 1969 Oil on canvas

Signed and dated lower right: H. Burkhardt; titled on a label affixed to the stretcher

16” H x 20” W

$3,000-5,000

Provenance: Gift to Jill Chanin, June 9, 2000

150 David Oliver Green, Jr. (1908-2000)

“Dual Monument”

Cast aluminum on wood base Paper label to the underside: David Green / “Dual Monument” / Cast Aluminum 18” H x 6” W x 4” D

$1,200-1,800

151

Jan

(1908-1987)

“Architectural Sculpture,” 20th century Rosewood and cast polymer resin Appears unmarked; titled by repute 25” H x 11.5” W x 8.25” D

$2,500-3,500

de Swart

“Dakota,” 1987

Patinated bronze

Signed, dated, and titled in pen verso: Cath Lee / 1987 / DAKOTA; inscribed in pen: 2 / 2 / TOP 8” H x 9.375” W x 2.5” D

$1,000-1,500

Provenance: Maloney Fine Art, Los Angeles, CA Private Collection, Southern California

152 Catherine Lee (b. 1950)

153 James Grant (1924-1997)

Untitled, multi-color abstract Oil on canvas

Signed verso: Grant

36” H x 48” W

$800-1,200

154 Harold Christopher Davies (1891-1976)

“Inverness Series #43,” 1971

Acrylic on canvas

Signed, titled, and dated verso: H.C. Davies

40” H x 50” W

$3,000-5,000

Provenance: Sold: Bonhams, San Francisco, CA, “Modern, Contemporary & Latin American Art,” November 6, 2005, Lot 170 Private Collection, CA, acquired from the above by the current owner Property of a Rancho Mirage Collection

Karl Benjamin (1925-2012)

Karl Benjamin, born on December 29, 1925, was an Southern California. He is best known for his vibrant, work garnered critical acclaim and cemented his place

Born in Chicago, Illinois, Benjamin showed an early degree in biology. However, his passion for art led

Following his graduation, Benjamin moved to Southern 1960s, the art scene in Los Angeles was dominated path. Inspired by artists like Piet Mondrian and Wassily precise compositions.

Benjamin’s FS series, which stands for “Free Style,” works. In these paintings, Benjamin explored a looser create dynamic and lyrical compositions. The FS series beyond.

Throughout his career, Benjamin’s artwork was exhibited collections, including the Los Angeles County Museum

Related artists include Josef Albers, Peter Alexander, Lundeberg, John McLaughlin, Leon Polk Smith, and

an American abstract artist who played a significant role in the development of abstract art in vibrant, geometric paintings that combined color, form, and composition in unique ways. Benjamin’s place as a prominent figure in the abstract art movement.

early interest and aptitude for art. He attended Northwestern University, where he initially pursued a led him to switch his focus, and he graduated with a Bachelor of Fine Arts in 1949.

Southern California, where he became part of the vibrant art scene in Los Angeles. In the 1950s and dominated by the influence of abstract expressionism. However, Benjamin’s artistic vision took a different Wassily Kandinsky, he developed his own style, characterized by geometric shapes, vibrant colors, and

Style,” was created in the 1950s and 1960s and marked a departure from his earlier more structured looser and more improvisational approach to composition, using vibrant colors and irregular shapes to series is considered a significant contribution to the development of abstract art in California and exhibited extensively, both nationally and internationally. His paintings can be found in prestigious Museum of Art, the Whitney Museum of American Art, and the Museum of Modern Art in New York. Alexander, Billy Al Bengston, Mary Corse, Lorser Feitelson, Frederick Hammersley, Ellsworth Kelly, Helen and Frank Stella.

155

Karl Benjamin (1925-2012)

“FS #8,” 1962

Acrylic on canvas

Signed and dated lower left: KB; titled in Sharpie on the stretcher, possibly in the hand of the artist; titled again on a gallery label affixed to the stretcher

50” H x 40” W

$20,000-30,000

Provenance: Property from the Estate of Tevis and Jean Jacobs, San Francisco, CA

Hollis Galleries, New York, NY, 1965

Esther Robles Gallery, Los Angeles, CA

Property from a Distinguished Palm Springs Estate

Notes: Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Beth Benjamin and Louis Stern Fine Art, West Hollywood, CA.

156 Gary Apotheker (1946-2011)

Light sculpture

Resin, acrylic, and lightbulbs, electrified

Unsigned

22” H x 25” W x 4.5” D

$1,500-2,500

Provenance: Purchased from the artist by the ART LOVERS CLUB, Oakland, CA, May 12, 1972

Studio 111, Cathedral City, CA

Property of a Rancho Mirage Collection, acquired from the above

157 David Smith

(Active 20th Century)

“Dinner is Served,” 1998

Acrylic on canvas

Signed lower left: D.R. Smith; signed again and dated verso: © D.R. Smith; titled on an artist label affixed to the stretcher 36” H x 48” W

$800-1,200

158 David Smith (Active 20th Century) Abstract, 1999 Oil on canvas

Signed lower left: D.R. Smith; signed again and dated verso: © D.R. Smith 48” H x 36” W $800-1,200

“Dimosys I B From RE,” 1967

Mixed media on paper

Signed, titled, and dated in pencil lower right: Matt Glavin; signed, titled, and dated again and inscribed in pen verso: 1709 Chestnut St / Beverly, Calif. 94702 / 526 0277

Sight: 29.625” H x 29.625” W

$800-1,200

159 Matt Glavin (b. 1926)

160

$1,500-2,500

Provenance: The Sam Francis Estate, 2001, #SFC-340 Private Collection, CA, acquired from the above

Shirley Goldfarb (1925-1980) Untitled Oil on canvas

Signed on the stretcher: Shirley Goldfarb; with a Sam Francis Estate stamp verso 8.75” H x 6.25” W

161

David Schirm

(b. 1945)

“Reaching for Edges,” 1976

Mixed media on canvas

Signed and dated in ink on the canvas, verso; titled on stretcher bar verso

67.75” H x 39.5” W

$1,000-2,000

162

Don Eldon Sorensen (1927-1994)

Untitled, 1984

Mixed media on canvas

Signed, dated, and numbered in pencil verso: Don Sorensen / #984

57.125” H x 96” W

$1,500-2,500

Provenance: Sold: Los Angeles Modern Auction, Van Nuys, CA, “Online Only,” May 10, 2020, Lot 17

Private Collection, CA, acquired from the above by the current owner

Property of a Rancho Mirage Collection

163

Peter Ambrose

(b. 1953)

Untitled (Hips), 1988

Cast iron and steel

Unsigned

101” H x 15” W x 20” L

$800-1,200

Provenance: Rosa Esma, New York, NY Private Collection, Southern California

164

Mose Tolliver (1925-2006)

A pair of abstract blue and red watermelons

Each: Acrylic on artist board

Each: Signed along the lower edge: Mose T

Each: 16” H x 17” W

$1,000-2,000

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

165

Mose Tolliver (1925-2006)

A pair of abstract blue and purple watermelons

Each: Acrylic on artist board

Each: Signed along the lower edge: Mose T

Each: 16” H x 17” W

$1,000-2,000

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

166

Mose Tolliver (1925-2006)

A pair of abstract watermelons

Each: Acrylic on artist board

Each: Signed lower left: Mose T

Smallest: 15” H x 16.75” W; Largest: 16” H x 17” W

$1,000-2,000

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

167 Purvis Young (1943-2010)

Untitled Mixed media on cloth

Signed upper right: Young

56” H x 28” W

$1,000-2,000

Provenance: Sold: Bonhams, San Francisco, CA, “Modern, Contemporary & Latin American Art,” November 6, 2005, Lot 124

Private Collection, CA, acquired from the above by the current owner Property of a Rancho Mirage Collection

Signed and dated on the interior: RP / 1985; further marked for the foundry 23” H x 14” W x 12” L

$2,000-3,000

Provenance: Zabriske, New York Exhibition (TBC), Summer of 1987, Zabriske, New York

168

Rona Pondick (b. 1952)

Self-Portrait, 1984-85 Bronze

“Long Bay”

Mixed media on paper

Signed and dated in pencil along the lower right edge: Havard; titled in pencil upper edge, at left

Image/Sheet: 40” H x 32.25” W

$1,500-2,500

Provenance: Jan Turner Gallery, Los Angeles, CA

Property of a Rancho Mirage Collection

169

James Pinkney Havard (1937-2020)

170 Jeffrey Downs (20th century)

“Trinity,” 1998

Mixed media on canvas

Signed along the lower right edge: Downs; signed again, dated, and inscribed verso: A.F.T.L.O.M.S

60” H x 48” W

$800-1,200

Susan Moss

(b. 1944)

Susan Moss (b. 1944) was born in Chicago, Illinois

After teaching Art at Cerro Cosa College, she entered her own Art Studio in 1971 and began showing her Art Center with Martha Alf, Gloria Kisch, Gwen Murrell,

Moss’s first exhibition in New York took place in 1977 Earthslide drawings sold out, except for one painting. and Richard Hecht who died of starvation and Typhus British troops. The series was shown in 1979 at Lonny was a sensation, garnering reviews in Arts magazine

In 1980 San Francisco Museum of Modern Art gave showing, renting, and selling her Art. That year she switched her painting medium to oil in 1980 but continued now numer over 500, including five Museums: LACMA, Museum at the University of Nevada. Recent shows

and graduated from the University of Nevada with Honors in Art and Psychology.

entered the Otis Art Institute in the field of Painting and Printmaking for three years. Moss established her large spray paintings in 1973 at Gallery 707 on La Cienega and a group show at the Brand Library Murrell, Diana Hobson, and Virginia Gray, establishing life-long friendships with these women artists.

1977 at the David Findlay Gallery on Madison Avenue. The show of early Rhoplex paintings and early painting. This was followed by the “Black Forest” series which she painted for her Grandparents, Edith Typhus in the Concentration Camp Bergen-Belsen just two weeks before the camp was liberated by Lonny Gans Gallery in Nicholas Wilder’s gallery space when he decamped for New York. The show magazine by David S. Rubin, and was collected by the esteemed collector Robert A. Rowan gave her a show in their new Artist’s Gallery in Fort Mason, the start of a 31- year relationship of she also had a show of 30 crayon drawings at Albright-Knox Gallery in Buffalo, New York. Moss continued her Earthslide drawings. Moss has now 50 painting years under her belt, her Collectors LACMA, Skirball, Laguna Art Museum, Buck Collection of California Art at UC Irvine, and the Lilley shows include galleries in Florida and Tuscany, Italy.

171 Susan Moss (b. 1944) “Aqua Peace,” 1994-2007 Oil on linen

Signed, titled, dated, and inscribed verso: Susan Moss / For Bett Moss / War and Peace

72.25” H x 60.25” W

$2,000-4,000

172

Susan Moss (b. 1944)

“Blood Orange Peace (Study),” 2011 Oil on paper

Signed, titled, and dated in pencil along the lower margin: Susan Moss

Image: 29.25” H x 42” W; Sheet: 38.25” H x 50” W

$1,000-2,000

173

Susan Moss (b. 1944)

“Tsunami Peace (Study),” 2011 Oil on paper

Signed, titled, and dated in pencil along the lower margin: Susan Moss Image: 40” H x 30.5” W; Sheet: 50” H x 38” W

$1,000-2,000

174 Susan Moss (b. 1944)

“Flame Pond Peace (For Japan),” 2011 Oil on paper

Signed, titled, and dated in pencil along the lower margin: Susan Moss Image: 39” H x 28.25” W; Sheet: 50” H x 38” W

$1,000-2,000

175

Burgoyne Diller

(1906-1965)

Abstract geometric, 1950

Gouache on paper

Signed and dated lower right: diller

Image/Sheet: 14” H x 8.375” W

$1,200-1,800

“The Eyeball” Ink on paper Signed in ink lower left: D. Hood; titled by repute Sight: 25.75” H x 19.875” W

$3,000-5,000

176

Eric

“MU-9,” 1982

Lead, gold leaf, and mixed media on linen laid to panel

Unsigned; titled and dated on a gallery label affixed verso

30” H x 24” W

$3,000-5,000

Provenance: Neil G. Ovsey Gallery, Los Angeles, CA

Orr (1939-1998)

177 Dorothy Hood (1919-2000)

178

Peter Alexander (1939-2020)

“Mola,” from “Catalina Series 10,” 1984 Mixed media on velvet

Signed, titled, dated, and inscribed in pen to verso: Technical Production by Cat’s Paw, Clytie Alexander, and Susan Lawrence. 47” H x 51” W

$3,000-5,000

179

Peter Alexander (1939-2020)

“Sleeper,” from “Catalina Series 12,” 1984 Mixed media on velvet

Signed, titled, dated, and inscribed in pen to verso: Technical Production by Cat’s Paw, Clytie Alexander, and Susan Lawrence. 46.5” H X 51” W

$3,000-5,000

180 A postmodern steel and cement sculpture

1991

Signed and dated: DVE / 91

Oxidized steel on a cement base

85” H x 58” W x 15” L

$800-1,200

181

Gerald Jackson (b. 1936)

Untitled abstract, 1964 Oil on canvas

Signed, titled, and dated verso: Gerald Jackson

49” H x 57.25” W

$1,000-1,500

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

182 Raymond Pettibon (b. 1957)

Untitled (Well, I said), 2015

Collage, ink, watercolor, pen and graphite on paper

Signed and dated verso: Raymond Pettibone

26.125” H x 39.875” W

$20,000-30,000

Provenance: Courtesy of the artist, Regen Projects, Los Angeles, CA, and David Zwirner, New York, NY

Sold: Sotheby’s, New York, NY, May 15, 2015, Lot 435

Private Collection, Los Angeles, CA, acquired from the above

183

Bradford J. Salamon (b. 1963)

“The Letter,” 2016

Oil on canvas

Signed lower right: Bradford; signed again, titled, dated, and inscribed verso: Bradford. J. Salamon / Monrovia, CA / Studio

30” H x 45” W

$5,000-7,000

Exhibited: Hilbert Museum of California Art, Orange, CA

184

Grace Hartigan (1922-2008)

Abstract portrait

Mixed media on paper

Signed lower right: Hartigan

Image/Sheet: 11.25” H x 8.625” W

$2,000-3,000

Provenance: Private Collection, Colorado

185 Francois Gall (1912-1987)

Woman at her bureau Oil on canvas

Signed lower left: F. gall

14” H x 10.5” W

$2,000-3,000

$800-1,200

186 Style of Joan Brown (1938-1990)

Portrait of a woman Acrylic on thick paper Unsigned

187

Lola Erhart

(b. 1989)

“N II,” 2014 Oil on canvas

Unsigned; titled and dated on a label affixed to the stretcher

51” H x 51” W

$800-1,200

Provenance: Courtesy of the artist and Sofia Zermoglio

Sold: MOLAA, “MOLAA At Twenty Gala,” Los Angeles, CA, July 19, 2020, Lot 20 Private Collection, Los Angeles, CA, acquired from the above

188 Philip Stein (1919-2009)

Portrait of a nude woman Oil on Masonite Signed lower right: Stein

42” H x 32” W

$1,000-2,000

189

Artis Lane

(b. 1927)

“Release,” 1982

Patinated bronze

Edition: AP (artist proof)

Signed to the base: Artis Lane

26” H x 21” W x 18” D

$3,000-5,000

Grauman’s Chinese theater, 1999 Oil on artist board

Signed and dated lower right: R. Forbes

Sight: 35.75” H x 31.75” W

$1,000-2,000

191

Jungle scenes with animals Oil on artist board

Signed lower left: Dusso © 23” H x 71” W

$800-1,200

190 Robert Forbes (b. 1948)

Leon D’Usseau Jr. (1918-1991)

192

Vaclav Vytlacil (1892-1984)

“Wood Interior,” 1946

Oil and tempera on board

Signed and dated lower right: Vaclav Vytlacil; signed again, titled, dated, and numbered on artist label verso: Sparkill No. 4

35” H x 46” W

$6,000-8,000

Provenance: Feigl Gallery, New York, NY

Montclair Art Museum, Montclair, NY (Museum purchase: Blanche R. Pleasants Fund, 1948.72)

Sold: Christie’s, New York, February 4, 2020, Lot 146

Private Collection, California, acquired from the above

$1,000-1,500

Provenance: Dalzell Hatfield Galleries, Los Angeles, CA Private Collection, Los Angeles, CA

Exhibited: M.H. de Young Memorial Museum, San Francisco, CA, n.d.

193

Dan Lutz (1906-1978) “Minstrel Band” Oil on canvas

Signed lower right: Dan Lutz; titled on a gallery label affixed verso 17.75” H x 36” W

“Movie Stars Never Grow Old” Oil on Masonite

Signed lower right: Fred Yates; signed again, titled, numbered, and inscribed verso: 2 / Fowey - Cornwall

36” H x 32.25” W

$1,000-2,000

194

Fred Yates (1922-2008)

195 Fred Yates (1922-2008)

Ladies at tea-time Oil on Masonite

Signed lower left: Fred Yates

48” H x 44” W

$1,000-2,000

196 Fred Yates (1922-2008)

“By A Waterfall” Oil on Masonite

Signed lower right: Fred Yates; titled upper right

37” H x 47” W

$1,000-2,000

197 Damian Elwes (b. 1960)

“At the Black Bass,” 1990 Oil on canvas

Signed, titled, and dated verso: Damian Elwes

54” H x 50” W

$3,000-5,000

198 Greg Parma Smith

1983)

199

$2,000-3,000

Provenance: The Artist Private Collection, gift from the above Private Collection, CA, acquired from the above

Notes: This image was used by the band Severance for the cover of their 1976 self-titled album.

Michael Bedard (b. 1949) “Spider” Oil on canvas

Signed lower right: Michael Bedard; titled by repute 51.25” H x 51.75” W

Signed lower right: Michael Bedard

24” H x 18” W

$1,500-2,500

Provenance: The Artist Private Collection, gift from the above Private Collection, CA, acquired from the above

200 Michael Bedard (b. 1949) Three-star general Oil on canvas

Photopolymer resin and beads

Signed, titled, and inscribed in marker to the underside: Rick Wolfryd / T.P. / 0017 /

$800-1,200

201 Rick Wolfryd (b. 1953)

“X Man,” 2022

H4H / X Man

15” H x 7.5” W x 10.25” D

“Open Mind-Open Heart,” 2022, after Keith Haring Black and white screenprint on board with glass bead application

Edition: 1/10

Signed, titled, dated, and numbered verso: Chroma aka Rick Wolfryd

35.75” H x 26” W x .25” D

$1,000-2,000

Notes: This work is number one from the edition of 10, each of which is a unique variant.

202 Rick Wolfryd (b. 1953)

203

Richard

“Round Trip #13299,” 1988

Two panels: Acrylic on fiberglass screen with aluminum framing

Each: Signed and dated along the stretcher bar: Richard Milani; titled by repute

Smallest panel: 28.25” H x 65.5” W; Largest panel: 48” H x 66” W

$800-1,200

Provenance: Margo Leavin Gallery, Los Angeles, CA Private Collection, Southern California

Milani (b. 1952)

204 Robert Dowd (1936-1996)

Ulysses S. Grant 50 dollar bill Oil on canvas

Signed lower right: Dowd; signed again and dated in pencil, verso

42” H x 58” W

$3,000-5,000

205

2 cent James A. McNeill Whistler stamp, 1968

Signed lower right: Dowd; signed again and dated in pencil, verso

61” H x 54.5” W

$3,000-5,000

Robert Dowd (1936-1996)

Oil on canvas

206

Robert Dowd (1936-1996)

United States 6-cent stamp, 1968 Oil on canvas

Signed lower right: Dowd; signed again twice and dated in pencil, verso

56” H x 48” W

$2,000-3,000

207

Tarmo Pasto (1906-1986)

“The Sky Looks Down”

Oil on canvas

Signed lower right: Tarmo Pasto; titled in pen on the stretcher; titled again on a label affixed verso 50” H x 56” W

$2,000-3,000

Notes: This lot is being offered in a frame hand-painted by the artist. There is a number 282 written on the stretcher, twice, and again on two adhesive stickers affixed to the frame, 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.

208 Scott Musgrove (b. 1966)

“The Inevitability of Gradualness,” 2010 Oil on artist board Signed lower right: Scott Musgrove; titled on the frame plaque 32” H x 22” W

$2,000-4,000

Provenance: Private Collection Collection of the Sequoyah School, Pasadena, CA, gift from the above

209 James Brown (1915-2020)

Untitled, 1985 Stain and graphite on paper Signed and dated lower right: to the frame’s backing board 40” H x 59.5” W

$3,000-5,000

Provenance: Maloney Fine Private Collection, Southern

paper right: James Brown; dated again on a gallery label affixed board Art, Los Angeles, CA Southern California

210 Elizabeth Nungeray (Active 20th Century)

“Bush Bean”

Oil on canvas

Appears unsigned; titled on a label affixed verso 25” H x 34” W

$1,000-2,000

Condition Reports

Overall good condition. Frame floating and mounted to the back mat.

Framed under Plexiglas: 12” H x 13.25” W x 1.5” D

2

Overall good condition. Scattered and unobtrusive scratches, primarily visible in raking light.

Unframed

3

Overall good condition. The full sheet with deckled edges. Two specks of pale foxing in the extreme upper left corner. Frame floating and mounted to the back mat.

Framed under Plexiglas: 38.125” H x 29.625” W x 1.625” D

Overall very good condition. With full margins. Very slight time staining at the extreme sheet edges, and the usual offsetting showing verso, all commensurate with age. The sheet is loose, not mounted.

Framed under Plexiglas: 19.75” H x 15.75” W x 1.5”

9

Overall very good condition. With full margins. Very slight time staining at the extreme sheet edges, and the usual offsetting showing verso, all commensurate with age. The sheet is loose, not mounted.

Framed under Plexiglas: 19.75” H x 15.75” W x 1.5”

10

Overall very good condition. With full margins. Very slight time staining at the extreme sheet edges, and the usual offsetting showing verso, all commensurate with age. The sheet is loose, not mounted.

4

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 25.25” H x 31” W x 1.25” D

5

Overall good condition. A pea-sized area of grime in the upper left edge of the image. Very minor and unobtrusive surface scratches, primarily visible in raking light. The sheet is loose not mounted.

Frame: 21.75” H x 25.25” W x 1.25” D

6

Overall good condition. Not examined out of the frame.

Framed under glass: 40.75” H x 30.25” W x 2” D

7

Overall very good condition. With full margins. The usual slight offsetting showing verso, all commensurate with age. A 2” long horizontal hairline stain in the upper left corner of the verso of the folded sheet. Framed floating, hinged to the back mat at the verso of the folded sheet with two tiny linen hinges.

Framed under Plexiglas: 19.25” H x 15.5” W x 0.75”

Framed under Plexiglas: 19.75” H x 15.75” W x 1.5”

11

Overall good condition. The full sheet. Framed floating and mounted to the back mat with four pieces of archival tape.

Framed under Plexiglas: 13” H x 16” W x 1.5” D

12

Overall good condition. Full sheet with deckled edges. Pea-sized or smaller areas of pale staining scattered primarily throughout the main figure’s face and in the swimming figures in the background. Pinhead-sized or smaller areas of occasional grime scattered throughout.

Unframed but mounted to a back mat.

13

Overall fair condition. The sheet is trimmed down along the upper and lower edge from the original full sheet of 23” H x 35” W. A speck of unobtrusive grime near the upper right margin edge. The sheet, is loose not mounted.

Framed under glass: 11” H x 35.75 W x 1” D

14

Overall good condition. With wide margins. Hinged to the back mat with two pieces of tape along the upper edge, verso.

Framed under glass: 44.25” H x 32.125” W x 1” D

Each overall good condition. With margins. The colors fresh. Loose as issued. The original black folio box with metallic silver embossing in good condition.

Black folio box: 15” H x 16.575” W x 0.75” D

16

Overall good condition. A 0.5” vertical crease in the upper left section of the yellow pigment. Specks of occasional grime scattered throughout. Not examined out of the frame.

Framed under glass: 33.25” H x 25.25” W x 0.75” D

17

Overall good condition. Full margins. Very minor toning to the sheet. A pea-sized area of extremely pale staining along the upper right margin edge. A 1” horizontal tear along the left edge, at center. Scattered handling creases throughout the margin edges. The verso with flecks of scattered and stray black ink in the right margin edge. Unobtrusive surface scratches scattered in the image, primarily visible in raking light. Hinged to the back mat with white linen tape along the upper sheet edge, verso.

Framed under glass: 37” H x 32” W x 2” D

18

Overall good condition. The colors slightly attenuated near the lower edge. The sheet is tipped to a speckled cream-colored paper support sheet at the verso of the lower sheet corners.

Framed under glass: 28.625” H x 22.625” W x 2” D

19

Note that this lot is lacking four screenprints from the original set of eight. Each of the four screenprints are in overall good condition. The full sheet, loose, as issued. The pages of the book with occasional soft creasing and handling marks, primarily at the outer edges and corners, and the original red fabric covering of the book’s outer boards slightly discolored and/or worn, all commensurate with age and use.

Four loose screenprints housed within the book

measuring:17.5” H x 14” W x 0.25” D

20

Overall good condition. A 2.5” horizontal crease along the upper edge, at left. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 49” H x 40.5” W x 1.5” D

Overall good condition. The contents are loose, as issued. The original black cloth-covered portfolio box also in good condition.

Black portfolio box: 18.75” H x 12.75” W x 1.875” D 22

Overall good condition. The full sheet and the colors fresh. A large “L” shaped, dark stain in the blue sphere. Evidence of previous hinging along the upper and lower margins, verso.

Unframed

23

Overall good condition. The full sheet. Minor handling creases scattered primarily throughout the outer edges. Specks of occasional and unobtrusive grime commensurate with age. Hinged to the overmat with clear tape along all four edges.

Framed under Plexiglas: 36.875” H x 29.625” W x 1.5” D

24

Overall generally good condition. The full sheet with deckled edges along two sides. Slight toning throughout. A few very small scattered spots and specks of gold pigment, the largest approximately pea-sized, in the red and black near the center of the upper edge. A rice-sized reverse pressure mark in the red at upper right. An unobtrusive faint reverse stain, approximately 1.25” H x 0.5” W, in the blank at the lower right. Remnants of black adhesive tape on verso in eight spots.

Framed under glass: 34” H x 48” W x 1.5” D 25

Overall fair to good condition. This sheet has been trimmed from the original full sheet of 28.25” H x 41.375” W, along the left edge, deckled edges are still apparent on the right and bottom edges. The sheet with minor toning, and 0.5” stripes of light staining around the upper, lower, and right margins of the sheet. Two vertical bands of light staining along the left edge of the sheet stretching the full width of the sheet, each measuring approximately 1.5” in width. The sheet it loose, not mounted.

Frame: 35” H x 44.25” W x 1.5” D 26

Overall good condition. Minor toning throughout the sheet. Framed floating and mounted to the back mat.

Framed under glass: 36.25” H x 30.25” W x 1.5” D

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

Framed under Plexiglas: 55” H x 47” W x 1.5” D

28

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 23.5” H x 21.5” W x 2” D

29

Overall good condition. Artist pinholes along the outer edges from the spinning process used by the artist. Framed floating and mounted to the back mat with clear tape, verso.

Framed under glass: 25.75” H x 25.75” W x 1” D

30

Overall good condition. Artist pinholes along the outer edges from the spinning process used by the artist. Framed floating and mounted to the back mat with clear tape on the outer edges of the verso.

Framed under glass: 31” H x 29” W x 0.75” D

31

Overall good condition. With full margins. Framed floating and mounted to the back mat.

Frame: 37” H x 31” W x 2” D

32

Overall good condition. With margins. Very minor handling creases in the upper and left margin edges, primarily visible in raking light. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 34.125” H x 25.625” W x 1.625”

Overall good condition. The sheet retains its wide, possibly full margins. Toning throughout the recto and verso, and mat burn along all four extreme margin edges. Artist pinholes at each of the four extreme margin corners. A speck of grime in the upper right margin edge, not affecting the image. Hinged to the overmat in multiple places from the edges of the verso with tape.

Framed under glass: 24.875” H x 30.625” W x 1.25”

35

Overall good condition. Full margins with deckled edges. Extremely pale matt staining on the verso. Two 0.50” horizontal areas of surface skinning from old tape residue, verso. The sheet is loose, and secured to the back mat with clear archival corners.

Framed under glass: 18.625” H x 25.375” W x 1.5” D

36

Each overall good condition. Full sheet with deckled edges. The second with minor toning, primarily throughout the outer edges. The upper left and right extreme corners are slightly and unobtrusively dogeared. Hinged to the back mat with two pieces of archival tape along the upper edge, verso.

Framed under glass: 21” H x 17.75” W x 1.5” D

37

Overall good condition. Full margins with deckled edges. Three small areas of remnants of old hinging along the upper margin edge, verso. The sheet is loose not mounted.

Framed under glass: 26.625” H x 23.25” H x 1.375” D

38

Overall good condition. Full margins with deckled edges. Pale mat staining throughout the margins, and the colors slightly attenuated. Mounted to the back mat.

Overall good condition. Full sheet with deckled edges. Two small pieces of old brown tape affixed to the upper left and right corners, verso. The sheet is loose, and secured to the back mat with clear archival corners.

Framed under glass: 25.25” H x 20.625” W x 1.5” D

Framed under glass: 39.5” H x 29.75” W x 2” D

39

Overall good condition. The full sheet. A very soft, horizontal, approximately 1.5” long handling crease near the lower left corner, showing mostly on the verso. Three unobtrusive, pea-sized areas of offwhite pigment near the outer edges, verso, showing only on the verso. Small remains of old glassine hinges in places on the verso. The paper slightly toned, commensurate with age. The sheet is loose, secured to the back mat with clear, archival corners.

Framed under glass: 42.5” H x 32.5” W x 1.5” D

Overall good condition. The full sheet and the colors fresh. An unobtrusive soft handling crease near the upper edge, at right, visible only in raking light. The sheet is framed floating, hinged to the back mat in various places around the verso of the sheet edges.

Framed under glass: 38.75” H x 29.25” W x 1.375” D

41

Overall good condition. The full sheet with deckled edges. Minor toning to the sheet, primarily throughout the outer margin edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 62” H x 46.25” W x 4” D

42

Overall good condition. The full sheet with deckled edges. A soft and very unobtrusive handling crease at left, visible only in raking light. Framed floating and hinged to the back mat at the verso of the sheet corners and in one place at the verso of the left and right sheet edges.

Framed under Plexiglas: 30” H x 36” W x 1” D

43

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 92.25” H x 48.5” W x 1.5” D

44

Overall good condition. The colors fresh. At least nine of the images with full margins. Image #2, on blue paper, with a few very minor handling creases at the margin edges. Images #3 and #4 with some scattered and unobtrusive pinpoint-sized foxing showing slightly in the margins and on the verso. Image #3 with two small patches of blue printer’s ink offset on the verso. Image #5, on smooth black paper, with scattered pinhead-sized slight surface abrasions in the margins, visible mostly in raking light (this same condition showing on some of the other examples we have seen of this particular image). Image #7 with some scattered pale stains at the verso of the upper and lower left margin corners, some of which shows through to the recto very slightly and unobtrusively in the upper left margin corner. Loose as issued. The original hinged black wooden portfolio box with color-embossed cover embellished with miniature images and list of plates in good condition.

Wooden portfolio box: 21.5” H x 28.5” W x 2” D

45

Overall good condition. With full margins. Framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 32” H x 40” W x 1.5” D

46

Overall good condition. With full margins. Minor toning to the sheet and mat burn along all four margin edges. Specks of pale foxing and minor handling creases scattered primarily throughout the outer edges. Hinged to the back mat with white linen tape in two places at the verso of the upper margin edge and secured with clear archival corners at each of the lower corners.

Framed under glass: 27.75” H x 23.75” W x 1.625” D

47

Overall good condition. With full margins. Minor toning to the paper and mat burn along all four margin edges. Pea-sized or smaller areas of foxing and reverse staining scattered throughout the margin edges. Hinged to the back mat in two places of the upper margin edge, verso, and secured with clear archival corners at each of the four margin corners.

Framed under Plexiglas: 34.625” H x 36.625” W x 1.25” D

48

Overall good condition. With full margins. A good impression. Specks of grime and unobtrusive foxing scattered throughout the outer margin edges. Minor handling creases and rippling along the outer margin edges. The lower right corner slightly dog-eared. Hinged to the back mat with white linen tape in two places along the verso of the upper edge.

Framed under Plexiglas: 28” H x 25.625” W x 1” D

49

Overall good condition. With full margins. Minor toning to the paper and mat burn along all four margin edges. Pinhead-sized or smaller areas of foxing throughout the margin edges. Scattered handling creases scattered throughout the outer margin edges, primarily in the corners, the largest measuring 1.25” diagonally along the lower right corner. An unobtrusive pinhead-sized area of paper loss at the tip of the lower right corner. Hinged to the back mat with white archival tape in three places at the verso of the upper margin edge and secured with clear archival corners at each of the lower corners.

Framed under Plexiglas: 27.25” H x 32” W x 1” D

Overall good condition. With full margins. Minor toning to the paper and mat burn along all four margin edges. Pinhead-sized or smaller areas of foxing scattered throughout the margin edges and verso. Old tape remnants from previous hinging along the upper edge, verso. Hinged to the back mat from the verso of the upper margin corners with white archival tape.

Framed under Plexiglas: 30.24” H x 24.625” W x 1”

51

Overall good condition. Full sheet with deckled edges. Minor toning to the sheet margins and mat burn along the four sides. A 1” horizontal area of surface skinning from old hinging tape. The sheet is hinged to the overmat with white archival tape in two places from the upper edge, verso.

Unframed

52

With full margins. Toning throughout and pea-sized or smaller foxmarks scattered throughout the margin edges. The colors attenuated. Handling creases scattered throughout, the largest measuring 7.5” diagonally in the upper left quadrant of the image and partially running through the figure’s upper chest. Two pale stains on the figure’s body, the largest measuring 2.625” H x 5.625” W and along the right-side of the figure’s chest. Two areas of brown residue in the upper left and right margin corners, the largest measuring 2” H x 1” W. A 0.375” vertical tear in the upper edge, at right. An artist pinhole in the platemark of the upper edge, at center. The sheet is loose, and secured with four clear archival corners to the back mat.

Unframed

53

Overall good condition. The full sheet. A pinheadsized unobtrusive crease along the left edge, at center.

Unframed

54

Overall good condition.

Unframed

55

Overall good condition. With margins. Minor toning throughout the sheet. A 1.375” H x 10.25” W area of pale staining along the lower edge, at left, and a 1” H x 2.75” W of pale staining in the upper edge, right of center. Handling creases scattered throughout, the largest measuring 7” along the figure’s chest, mostly visible in raking light. A 0.5” horizontal tear in the lower edge, at left. Hinged to the back mat with clear archival corners.

Unframed

56

Each overall good condition. Both include original foam core packaging and box.

57

Overall good condition. Not examined out of the frame.

Framed under glass: 28.5” H x 22.5” W x 1.25” D

58

Overall good condition. Minor toning throughout. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 23.25” W x 1.5”

59

Overall good condition. Full margins with deckled edges. Minor toning and pale mat staining and specks of foxing throughout the margins. Two small pieces of old hinging tape along the upper edge, verso. The sheet is loose and secured with four clear archival corners.

Framed under Plexiglas: 23.5” H x 27.5” W x 1.25” D

60

Overall good condition. The sheet retains its wide, possibly full margins, with deckled edges. Toning to the recto and verso, and mat burn along all four extreme margin edges. Very minor handling creases scattered throughout the margin edges. 1” H x 1” W pale staining along the left and right margin edges, from the white hinging tape verso. Hinged to the overmat with various pieces of tape along the edges, verso.

Framed under glass: 33” H x 28” W x 2.25” D

Overall good condition. Full margins. Slight toning throughout. An occasional pale and very unobtrusive, pinhead-size foxmark. Scattered minor handling creases, and slight rippling at the margin edges, mostly visible in raking light. Hinged to the back mat along the verso of the upper margin edge.

Framed under glass: 35” H x 29” W x 2” D

62

Overall very good condition. With full margins deckled all around, and the usual central vertical crease. The colors fresh. Minor time staining along the extreme margin edges. Framed floating and hinged to the back mat.

Framed under Plexiglas: 27.5” H x 36.75” W x 2.25” D

63

Overall good condition. Minor toning and pale mat staining throughout. Pinhead-sized or smaller extremely pale foxmarks scattered throughout the outer edges. A 0.75” vertical tear in the upper edge, at right. A line of thin pale staining along the left edge, most likely from the matting underneath. The sheet is completely mounted to the back mat.

Framed under glass: 24.75” H x 20.75” W x 1.5” D

64

Overall good condition. The sheet with deckled edges. Artist pinholes at each of the four corners. Framed floating and mounted to the back mat.

Framed under glass: 23.75” H x 25.25” W x 2.5” D

65

Overall good condition. Toning to the paper. Hinged to the recto mat with archival tape in the upper corners.

Matted but unframed

66

Overall good condition. The full sheet with deckled edges. Minor toning throughout the verso and pale mat staining to the margin edges. Flecks of extremely pale foxing throughout the four margin edges. The sheet is hinged to the overmat with white linen tape along each of the four sheet edges, verso.

67

Overall good condition. The work is loose, not mounted

Unframed

68

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure scattered throughout. Stretcher bar creases along all four edges.

Blacklight: No evidence of blacklight:

Frame: 30.75” H x 36” W x 1.625” D

69

Visual: Specks of occasional grime commensurate with age. Scattered craquelure in the white circle and square.

Blacklight: A dime-sized area of touch-up near the right edge, at center.

Frame: 42” H x 32.125” W x 1.25” D

70

Visual: Overall good condition. Dust accumulation and grime. Several very unobtrusive, rice-sized or smaller, areas of paint loss in the orange-painted wood. One of which is near the upper left corner, and the other shows as a delicate, scattered, horizontal series near the center of the right edge. Occasional slight scuffs or tiny chips at the extreme outer edges of the orange-painted wood, commensurate with age.

Blacklight: No evidence of restoration.

Unframed

71

Overall good condition. Very slightly uneven toning along the right sheet edge, visible mostly in raking light. A 0.25” skillfully backed tear near the bottom of the extreme right edge. Framed floating and hinged to the back mat in places at the verso of the sheet edges.

Framed under glass: 19” H x 23.25” W x 1” D

72 Condition: A detailed conservation report from Kamila Korbela of L.A. Art Labs is available upon request.

Frame: 61” H x 13.5” W x 2” D

73

Visual: Overall good condition. Dust accumulation commensurate with age. An area of paint shrinkage left center. Small areas of paint loss right center. An area of instability lower center. Stretcher bar creases along the left and right edges.

Blacklight: No evidence of restoration.

Unframed

Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches, and wear. The wood and Masonite base with a 2” chip to corner. The cord with heavy wear and losses to plastic housing, does not appear to be operational. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

75

Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches and wear. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

76

Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches and wear. Does not appear to be operational. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

77

Overall good condition commensurate with age. Dust accumulation and oxidation to metal hardware. The paint with scattered chipping, cracking, scratches and wear, the largest paint chip approximately 2.25” H x 1.75” W. Several chipped areas touched-up with newer paint. Possibly with missing screws of various sizes. The electrical cord with exposed wires and cracking to the plastic housing. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

78

Overall good condition. With wide margins. Specks of occasional grime in the margin edges, commensurate with age. Minor and unobtrusive surface scratches scattered throughout the image. Minor rippling along the upper and lower margin edges. Hinged to the back mat with two pieces of white linen tape along the upper edge, verso.

Framed under Plexiglas: 23.25” H x 19.25” W x 1.25”

Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age on both the gelatin silver print and the original paper wrapper. Minor handling creases throughout the paper wrapper. The first with the mat board slightly bent along the lower edge, at center. Mounted to the mat board as issued.

Unframed

80

Handling creases and rippling scattered throughout, primarily along the outer edges. Various 0.5” or smaller tears along the edges. Various surface scratches scattered throughout. Various handwritten notes, most likely from the hand of the artist. Each of the extreme corners are slightly dog-eared. Surface skinning and a dime-sized piece of old brown hinging tape along the upper edge, at right, verso. The sheet is loose, not matted.

Unframed

81

Overall good condition. Minor handling marks and rippling throughout the sheet, primarily along the outer edges. All four extreme corners are slightly dog-eared. The sheet is loose, not matted.

Unframed

82

Overall good condition. Minor surface soiling edge wear and soiling, together with toning throughout, all to the mat board support, and commensurate with age.

Framed under glass: 23.5” H x 18.25” W x 1” D

83

Overall good condition. An occasional small piece of clear tape in places along the edges of the mat board, verso. The work is loose, not hinged to the decorative mat.

Framed under glass:16.25” H x 14.25” W x 1” D

84

Overall good condition. The sheet with at least 0.25” margins on all sides. Very minor surface scratches and handling creases, the largest measuring 2” horizontally along the lower edge, at right, affecting both the image and margin, primarily visible in raking light. The sheet is loose, not mounted.

Unframed

Overall good condition. The upper and lower right extreme corners are slightly creased. Hinged to the overmat with two pieces of clear tape along the upper edge, verso.

Framed under glass: 18.25” H x 22.25” W x 1” D

93

Overall good condition. Areas of fine paint shrinkage scattered throughout the black acrylic outlining. Framed floating and hinged to the back mat with white archival tape in two places along the upper edge, verso.

Framed under glass: 34.25” H x 27” W x 1” D

94

86

Overall good condition. Mounted to the backmat and hinged to the overmat with multiple pieces of linen tape along the upper and lower edges, verso of the back mat.

Framed under glass: 16.75” H x 20.75” W x 1” D

87

Each: Overall good condition.

88

Overall good condition. Very slight time staining around the extreme edges of the original mat board supports, commensurate with age. Remains of old, dry, masking tape residue around the edges of the original mat board supports, verso

Each framed under glass: 20.5 x 15.25 x 1” D

89

Overall good condition. Very minor creasing along the upper and lower margin edges, primarily visible in raking light. The sheet is loose, not matted.

Unframed

90

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 38.625” H x 55.625” W x 2” D

91

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.625” H x 55.625” W x 2” D

92

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 19.375” H x 17” W x 2” D

Overall good condition. Hinged to the back mat with white archival tape in two places from the upper edge, verso.

Framed under Plexiglas: 36” H x 28.75” W 1.625” D

95

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.625” H x 30.625” W x 1.25” D

96

Visual: Overall good condition. An occasional tiny frame abrasion at the extreme edges.

Blacklight: No evidence of restoration.

Frame: 48.5” H x 39” W x 3” D

97

Overall good condition. Minor frame abrasion along the left and right edges, with attendant flecks of unobtrusive pigment loss. The sheet is mounted to the back mat with tape at each of the corners, verso.

Framed under Plexiglas: 38.5” H x 32.5” W x 1.125”

98

Overall good condition. The sheet is mounted to foamboard.

Framed under Plexiglas: 47.25” H x 38.5” W x 1.5” D

99

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Three pin-sized losses to paint verso. Adhesive rubber feet to underside.

100

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. A 1.75” horizontal unobtrusive surface scuff along the bridge of the figure’s nose.

Blacklight: No evidence of restoration.

Frame: 31” H x 25” W x 1” D

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

Blacklight: No evidence of restoration.

Frame: 25” H x 19” W x 1” D

102

Visual: Overall good condition. Occasional specks of grime commensurate with age. A pea-sized reverse pressure mark with attendant pigment loss, on the young girl’s pink cuff. A 1” stray black pigment near the lower left edge. Rubbing to the pigment in the lower right corner of where the signature is. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 29.75” H x 21.75” W x 3.5” D

103

Visual: Overall good condition. A stretcher bar crease along the upper edge, primarily visible in raking light. An unobtrusive pea-sized reverse pressure mark on the left side of the figure’s hair.

Blacklight: No evidence of restoration.

Frame: 15.25” H x 29.5” W x 2.5” D

104

Visual: Overall good condition. Minor frame abrasion along the upper and lower edges.

Blacklight: No evidence of restoration.

Frame: 39.5” H x 33.5” W x 3.5” D

105

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 26” H x 29.375” W x 3” D

106

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 17.25” H x 20.75” W x 2” D

107

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame” 17.25” H x 20.75” W x 2.5” D

108

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

Blacklight: No evidence of restoration.

Frame: 16.625” H x 18.5” W x 2” D

109

Visual: Overall good condition. Specks of grime commensurate with age. Stretcher bar creases along each of the four sides. A 2” horizontal mark along the lower edge, at left, and a 1” horizontal mark along the lower edge, at right. Very minor frame abrasion along the four extreme edges.

Blacklight: No evidence of restoration.

Frame: 46” H x 33” W x 3.5” D

110

Visual: Overall good condition. Minor dust accumulation and specks of grime commensurate with age. A 0.75” scuff mark lower left. A tiny fleck of pigment loss lower right.

Blacklight: No evidence of restoration.

Frame: 26.75” H x 23.75” W x 2” D

111

Visual: Overall good condition. Specks of grime commensurate with age. A pinhead-sized pressure mark near the upper right edge. Three areas of scattered black scuffs, the largest measuring 16” horizontally along the lower edge.

Blacklight: No evidence of restoration.

Frame: 47.5” H x 47.5” W x 2” D

112

Overall good condition. An unobtrusive speck of grime at lower center. It is unclear whether the very thin paper overmat, 2” W on each side, affixed beyond the sight size as listed, is in the hand of the artist or was done by a framer at a later date.

Frame: 20” H x 20” W x 1” D

113

Visual: Overall good condition. Occasional specks of grime commensurate with age. Frame abrasion along the upper and lower edges. A pinhead-sized reverse pressure mark near the lower edge, at right.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 31.5” W x 2.5” D

Overall good condition. With wide margins. Toning throughout the paper. Scattered handling creases throughout, primarily in the lower left and upper right corner, and the largest measuring 3.5” diagonally in the lower left corner. Scattered peasized or smaller foxmarks, primarily along the outer edges. A pinhead-sized pinhole along the right edge, at center.

Unframed

115

Overall good condition. With wide margins. Toning throughout the paper. Scattered handling creases throughout, the largest measuring 5” vertically along the upper left margin edge. A dime-sized pale stain along the lower margin edge, at center. The tips of the upper and lower right extreme corners are very slightly dog-eared. Small and unobtrusive tears at the lower left edge and the lower edge, at center.

Unframed

116

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

Blacklight: No evidence of restoration.

Frame: 21.5” H x 18.25” W x 1.75” D

117

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

118

Each: Overall good condition. Slight handling marks, commensurate with age and material.

Unframed

119

Each: Overall good condition. Slight handling marks, commensurate with age and material.

Unframed

120

Visual: Overall good condition. Dust accumulation and grime commensurate with age. A 1” x .5” area of paint loss and instability in the center. The canvas is bowed out upper center.

Blacklight: No evidence of restoration.

Frame: 27” H x 31” W x 2.25” D

121

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

Blacklight: Apparently no evidence of restoration.

Frame: 28.25” H x 40.25” W x 1.5” D

122

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

123

Visual: Overall good condition. Pinhead-sized or smaller areas of grime commensurate with age. A dime-sized pressure mark near the upper center, primarily visible in raking light. Scattered black surface scuffs.

Blacklight: No evidence of restoration.

Unframed

124

Overall good condition commensurate with age.

125

Overall good condition. A pinhead-sized area of pigment loss in the upper edge, right of center. Minor and unobtrusive surface scratches scattered throughout, primarily visible in a raking light. A dimesized area of gathered black pigment near the upper left edge. Very minor abrasion along the upper and lower edges.

Unframed

126

Overall good condition with scattered minor scuffs to the patinated finish commensurate with age.

127

Overall good condition. Dust accumulation commensurate with age. A 1” horizontal tear in the lower right edge. Pea-sized black dots along the edges and center, from the nails along the stretcher, verso. Soft surface scratches scattered throughout the outer edges.

Frame: 60.75” H x 70.75” x 1.25” D

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure in the lower right quadrant, upper left corner, and the man’s right cheek. Spots of paint loss in the man’s hair, beard, and right cheek. Paint shrinkage and areas of instability in the man’s hair, beard, and mustache.

Blacklight: A 1.5” x 2.25” area of restoration upper left.

Frame: 48” H x 40.25” W x 1.25” D

129

Overall good condition with scattered scuffs and light scratches commensurate with age. Asa well, there are several knicks to the enamel finish along the edges throughout.

130

Overall good condition. Specks of occasional grime commensurate with age. Pea-sized or smaller areas of foxing and minor handling creases scattered throughout. Scattered dime-sized or smaller pieces of old black tape and white tissue paper adhered to the verso. A 1” diagonal line of stray red pigment along the right edge, at center. The sheet is loose, not mounted.

Unframed

131

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

Blacklight: No evidence of restoration.

Frame: 59.5” H x 48.5” W x 1.25” D

132

Overall good condition. Scattered handling creases, primarily in the outer margin edges. Old tape residue along the extreme upper edge. Pale staining throughout the center of the verso, not affecting the recto. Three pieces of white linen tape, verso.

Framed under Plexiglas: 35.75” H x 30.75” W x 2.25” D

133

Visual: Overall good condition. Dust accumulation commensurate with age. Very fine paint shrinkage scattered in the impasto. A dime-sized pressure mark near the lower edge, right of center. Pea-sized areas of brown paper-like residue on the surface of the canvas, scattered in the center.

Blacklight: No evidence of restoration.

Frame: 38” H x 45.5” W x 2” D

134

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

135

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Stretcher bar creases along the left and right side. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 47.25” H x 47.25” W x 1.5” D

136

Visual: Overall good condition. Craquelure scattered throughout. A small area of varnish discoloration right of center.

Blacklight: No evidence of restoration.

Frame: 37” H x 28” W x 1.5” D

137

Overall good condition with minor scattered scuffs, scratches, and indentations to the painted wood surface commensurate with age. One area of loss to the wood on the verso, radiating from the hanging hole, approximately 0.5” in length

138

Overall good condition with minor scattered scuffs, scratches, and indentations to the painted wood surface commensurate with age. One area of loss to the wood on the verso, radiating from the hanging hole, approximately 0.75” in length. As well, there is one significant white scuff approximately 1.5” in length on the lower third of the recto.

139

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 60.5” H x 50.5” W x 1.375” D

140

Visual: Overall good condition. A 0.75” vertical area of pigment loss near the center, at left. Unobtrusive and soft scattered surface scratches, primarily visible in raking light.

Blacklight: No evidence of restoration.

Frame: 50.5” H x 60.75” W x 1.375” D

141

Overall good condition. Toning to the paper. The right edge of the paper is perforated. Mounted to the recto mat with masking tape along four edges of the verso.

Frame: 20.75” H x 26.75” W x 1.5” D

142 Condition report available upon request.

143 Condition report available upon request.

144

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

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

Frame: 31.25” H x 31.25” W x 1.5” D

145

Overall good condition with oxidation and corrosion commensurate with age and weathering.

146

Visual: Overall good condition. Minor dust accumulation in some of the impasto.

Blacklight: No evidence of restoration.

Frame: 32.5” H x 42.5” W x 1.5” D

147

Visual: Overall good condition. Minor crazing scattered through some of the lighter pigments. A small area of paint loss and instability in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 33” H x 43” W x 1.25” D

148

Visual: Overall good condition. Minor dust accumulation in some of the impasto and grime commensurate with age. Dust accumulation in some of the impasto. A small line of craquelure lower center.

Blacklight: No evidence of restoration.

Frame: 33” H x 43” W x 1.5” D

149

Visual: Overall good condition. Scattered flecks of pigment loss throughout.

Blacklight: No evidence of restoration.

Frame: 17.25” H x 21.25” W x 2.25” D

150

Overall good condition with minor scuffs and darkening/oxidation to aluminum commensurate with age. One of the cast towers is loose at the mount and moves left to right on the dowel. Light scuffing and scratching to the wood base.

151

Overall good condition with scattered scuffs, scratches, nicks and dust accumulation commensurate with age.

152

Overall good condition with minor scuffs, scratches, and darkening/oxidation to bronze commensurate with age. Velcro pads and mounting putty adhered to interior verso.

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Craquelure throughout. Stretcher bar creases along each of the four sides. Scattered pinhead-sized or smaller areas of pigment loss, primarily in the impasto.

Blacklight: A 8” H x 3” W area of touch-up near the left edge, at center, and with an attendant patch verso.

Frame: 36.75” H x 48.75” W x 1.625” D

154

Visual: Overall good condition. Specks of dirt and grime commensurate with age. A pea-sized pressure mark near the upper edge, at center. A stretcher bar crease along the left edge.

Blacklight: No evidence of restoration.

Frame: 45.375” H x 55.625” W x 2.25” D

155

Visual: Overall good condition. Occasional specks of grime commensurate with age. Craquelure scattered throughout. Fine paint shrinkage scattered primarily throughout the outer edges. Stretcher bar crease along the lower edge. An 11” soft and unobtrusive surface scratch along the upper edge, at center. A pinhead-sized reverse pressure mark in the lower edge, at center, from a nail protruding from the verso.

Blacklight: No evidence of restoration.

Frame: 51” H x 43” W x 1.625” D

156

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Moran’s does not guarantee the working condition of electronic items.

157

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

158

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

159

Overall good condition. Approximately 1.5” H x 0.5” W area of surface skinning in each of the four corners. Specks of scattered foxing, primarily throughout the outer edges. Artist thumbtacks at each corner. Two dime-sized areas of pale staining in the upper left and right corners. Not examined out of the frame.

Framed under glass: 30.25” H x 30.25” W x 0.75” D

160

Condition: Overall good condition. Paint shrinkage scattered throughout. Lines of craquelure in the center.

Blacklight: No evidence of restoration.

Frame: 9.75” H x 7.25” W x 1.25” D

161

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Minor stretcher bar creases along the four sides, primarily visible in raking light. Old glue residue scattered throughout the collaged pieces.

Blacklight: No evidence of restoration.

Frame: 68.125” H x 40.25” W x 1.75” D

162

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

Blacklight: No evidence of restoration.

Unframed

163

Overall good condition with oxidation and corrosion commensurate with age and weathering.

164

Visual of each: Overall good condition. Specks of occasional grime commensurate with age. Minor and unobtrusive surface scratches, with flecks of pigment loss scattered throughout. A hole in the upper edge, at center, from a nail, verso. The first with a rice-sized yellow residue adhered to the surface near the upper edge, right of center. The second with the board cracking along the upper edge.

Blacklight of each: No evidence of restoration.

Unframed

Visual of each: Overall good condition. Specks of occasional grime commensurate with age. A hole in the upper edge, at center, from a nail, verso. Minor surface scratches scattered throughout, the largest measuring 5” diagonally in the second work, near the upper left edge.

Blacklight of each: No evidence of restoration.

Unframed

166

Visual of each: Overall good condition. Specks of occasional grime commensurate with age. Minor and unobtrusive surface scratches scattered throughout. A hole in the upper edge, at center, from a nail, verso. The smallest with old paper and tape residue scattered throughout the outer edges.

Blacklight of each: No evidence of restoration.

Unframed

167

Visual: Overall good condition. The cloth is not uniform and there are areas where it has been cut on the sides, in the hand of the artist, and intended for the look of the work.

Blacklight: The lower edge, at left of the cloth, fluoresces when viewed under blacklight, measuring approximately 7” H x 5” W.

Framed under Plexiglas: 61” H x 31.75” W x 2” D

168

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Scattered areas of rust throughout. Green felt applied to the underside.

169

Overall good condition. A 0.25” unobtrusive tear in the lower edge, at right. Artist pinholes at the upper left and right corners. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 51.375” H x 43.625” W x 2.5” D

170

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

171

Visual: Overall good condition. Dust accumulation commensurate with age. Craquelure scattered throughout.

Blacklight: No evidence of restoration.

Unframed

172

Overall good condition. With margins. Specks of stray pigment scattered in the margin edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 40.125” H x 52.125” W x 2.” D

173

Overall good condition. With margins. Specks of stray pigment scattered in the margin edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 52.125” H x 40.125” W x 2”

174

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

Framed under Plexiglas: 52.125” H x 40.125” W x 2”

175

Overall good condition. Minor toning throughout the sheet. An 8.375” horizontal crease with attendant and extremely pale staining along the center, slightly affecting the image. Two pea-sized pressure marks along the center of the image, at right. A 1.75” vertical pale stain along the upper right edge. Handling marks and rippling, primarily throughout the outer edges and corners, the largest measuring 2.25” vertically along the lower right corner. The sheet is loose, not mounted.

Unframed

176

Visual: Overall good condition. Surface dirt and grime commensurate with age. Scuff marks scattered throughout, the largest a 6” line upper left and a 5.5” line right center. A very small indentation in the canvas upper left.

Blacklight: No evidence of restoration.

Frame: 30” H x 24” W x 1.5” D

Overall good condition. Very minor toning to the paper. Specks of unobtrusive foxing scattered in the lower quadrant. Handling creases scattered throughout. A dime-sized area of pale staining in the lower right corner. Not examined out of the frame.

Framed under glass: 31.75” H x 25.5” W x 1.375” D

178

Overall good condition commensurate with age. The verso with very faint soiling/flood lines, likely from moisture.

179

Overall good condition commensurate with age. The verso with a 2” soiling spot, likely from moisture, and two small spots of stray dye in the lower corners.

180

Overall fair to good condition with oxidation/ corrosion to steel and dust accumulation commensurate with age and weathering from outdoor installation.

181

Visual: Dust accumulation and specks of occasional grime commensurate with age. Three holes in the canvas in the outer edges, the largest measuring 2” H x 9.25” W along the upper edge, at right. A 1.25” vertical surface scratch with attendant and unobtrusive pigment loss.

Blacklight: Two areas of restoration in the center, the largest measuring 2” H x 5” W with an attendant patch verso, left of center.

Frame: 49.75” H x 58” W x 1.5” D

182

Overall very good condition. Artist’s pinholes in the corners. Some handling creases throughout, likely intrinsic to the creation of the artwork.

Framed under Plexiglas: 28.75” H x 42.75” W x 2” D

183

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.25” H x 46.25” W x 2” D

184

Overall good condition. Minor handling creases, mostly visible in raking light, and primarily scattered along the outer edges. A 0.25” horizontal tear in the upper left edge. Hinged to the overmat with two long pieces of white linen tape along the upper and lower edges, verso.

Framed under glass: 21.5” H x 22.25” W x 1.75” D

185

Visual: Overall good condition. A small line of craquelure right center. Two spots of white paint in the upper left corner.

Blacklight: No evidence of restoration.

Frame: 21.25” H x 18” W x 2” D

186

Visual: Overall good condition. Minor toning to the paper, primarily along the outer edges. Handling creases scattered throughout, mostly visible in raking light. Pea-sized or smaller foxmarks scattered throughout the verso. Artist pinholes at each of the four corners. The sheet is loose, not mounted.

Blacklight: No evidence of restoration.

Framed under glass: 29” H x 23” W x 0.75” D

187

Visual: Overall good condition. Minor dirt and specks of grime scattered along the outer edges, commensurate with age. A pea-sized area of unobtrusive pigment loss in the blue pigment, right of center.

Blacklight: No evidence of restoration.

Unframed

188

Visual: Overall good condition. A pea-sized area of unobtrusive pigment loss in the upper left corner. Two pinhead-sized holes from old nails along the upper edge.

Blacklight: No evidence of restoration.

Frame: 43.25” H x 33.625” W x 1.375” D

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

190

Visual: Overall good condition. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 46.25” H x 42.25” W x 1.5”

191

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 24.25” H x 72.25” W x 2.5” D

192

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 36.75” H x 47.75” W x 2” D

193

Visual: Dust accumulation and grime commensurate with age. Craquelure throughout. A 1.75” H x 1” W area of paint loss in the trombone and a small spot of paint loss upper left. The canvas is loose and bowed out across the center.

Blacklight: No evidence of restoration.

Frame: 27.25” H x 45.25” W x 2.5” D

194

Visual: Overall good condition. Dust accumulation, dirt, and specks of grime commensurate with age. Pinhead-sized or smaller areas of pigment loss in the lower center.

Blacklight: No evidence of restoration.

Frame: 40.25” H x 37” W x 1.75” D

195

Visual: Overall good condition. Dust accumulation commensurate with age. Paint shrinkage scattered primarily throughout the impasto. Frame abrasion along the left edge. The left edge with cracking and pieces of the Masonite broken off. Flecks of unobtrusive pigment loss scattered throughout the impasto.

Blacklight: No evidence of restoration.

Frame: 51.25” H x 47.5” W x 1.125” D

196

Visual: Overall good condition. Dust accumulation commensurate with age. Frame abrasion with attendant specks of pigment loss along the upper edge. Scattered flecks of unobtrusive pigment loss in the impasto.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 52” W x 1.5” D

197

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

198

Visual: Overall good condition. Scattered areas of fine craquelure primarily throughout the outer edges. Surface abrasion with attendant flecks of unobtrusive pigment loss in the upper left and lower left and right extreme corners.

Blacklight: No evidence or restoration.

Unframed

199

Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. Various surface scuffs scattered throughout the outer edges, the largest measuring 9” upper left.

Blacklight: No evidence of restoration.

Unframed

200

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

Blacklight: No evidence of restoration.

Frame: 24.75” H x 18.75” W x 1.625” D

Overall good condition commensurate with age. Minor scattered areas of loss to beadwork.

202

Overall good condition commensurate with age.

203

Overall good condition.

Unframed

204

Visual: Overall good condition. Occasional specks of grime commensurate with age. The border of the canvas wrapped in duct tape, not affecting the painting.

Blacklight: No evidence of restoration.

Unframed

205

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

206

Visual: Overall good condition. Occasional specks of grime commensurate with age. Two 1” vertical surface scuffs along the upper left edge.

Blacklight: No evidence of restoration.

Unframed

207

Visual: Overall good condition. Dust accumulation commensurate with age. Craquelure showing mostly at the corners. Several small and unobtrusive touches of paint appear to have accidentally transferred onto the canvas along the right edge when the artist painted the wood frame.

Blacklight: No evidence of restoration.

Frame: 58” H x 64” W x 1” D

208

Visual: Overall good condition. Craquelure and crazing throughout. A few small areas of varnish discoloration scattered throughout the horse.

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

Frame: 39.25” H x 29.25” W x 1” D

209

Overall good condition. A 1” horizontal tear in the upper left edge and a 0.25” vertical tear in the lower edge, right of center. Handling creases scattered primarily throughout the outer edges. Three artist pinholes along the upper edge. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 69” H x 49” W x 1.75” D

210

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 37.25” W x 1.25” D

John Moran Auctioneers, Inc

SPECIALISTS

President, Auctioneer

Co-Head of Sale, Fine Art Director

Co-Head of Sale, Post-War & Contemporary Fine Art Specialist

Senior Vice President

Vice President, Furniture & Decorative Arts Director

Vice President, Silver, Western, and American Indian Specialist

Post-War & Contemporary Design Specialist

Fine Art Department Administrator Operations Coordinator

Fur niture & Decorative Arts Department Administrator

Junior Specialist / Senior Fine Art Cataloguer

Fine Art Cataloguer

Fine Art Cataloguer

Senior Fur niture & Decorative Arts Cataloguer

Fur niture & Decorative Arts Cataloguer

Jewelry Director

Silver, Western and American Indian Cataloguer

CLIENT SERVICES

Office Manager

Client Services

Finance Administrator

Client Services

OPERATIONS

Vice President, Business Director, Auctioneer

Finance & Human Resources Director

Consignment Coordinator

Warehouse Supervisor, Senior Art Handler

Transport Supervisor, Senior Art Handler

Art Handler

Art Handler

MARKETING

Advertising & Marketing Director, Art Design

Brenda Smith

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

TRUSTS & ESTATES

Appraisals Director

Department Administrator

FOUNDERS

Founder

Co-Founder

Jeffrey J. Moran

Jenny Wilson

Hayden Hunt

Morgana Blackwelder, AAA

Roland Rynkiewicz

Maranda Moran

Matthew Grayson

Ian Anderson

Alek Ellis

Bobby Cullen

Anne Spink

Madison Ari

Shannon Dailey

Sarah Beaver

Mollie Burns Keith, G.J.G

Sally Andrew

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

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.