Josh (SHAG) Agle (b.

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

Panayiotis “Takis” Vassilakis

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 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. 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.

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.

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.

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

$2,500-3,500

“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

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

“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

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 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

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 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.

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.

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

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” 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.

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.

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

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

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

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.

Enrique “Sebastian” Carbajal (b. 1947)

Abstract (compacto), 1988

Enameled iron

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

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

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

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

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.

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

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

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

“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

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

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

“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

160

$1,500-2,500

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

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

“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

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

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

$800-1,200

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

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

$800-1,200

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.

“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

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.

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

Photopolymer resin and beads

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

$800-1,200

“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.

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

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

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.