Art + Design — August 29, 2023 | John Moran Auctioneers

Art + Design

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Friedensreich Hundertwasser (1928-2000)

“Columbus Rainy Day in India” from the “Look at it on a Rainy Day (Regentag Portfolio),” 1972

Screenprint in colors with metallic embossing on paper

Edition: 2944/3000

Signed with the embossed silver signature, and the mechanically-stamped edition number 02944[sic], in the upper portion of the left margin; with the Schoeller Stern blindstamp in the lower right margin corner; Dietz Offizin, Lengmoos, Bavaria, in cooperation with G¸nter Dietz, prntr.; Ars Viva, Z¸rich, Switzerland, pub.

Image: 16” H x 23” W; Sheet: 19.5” H x 26.5” W

$1,000-1,500

2

Friedensreich Hundertwasser (1928-2000)

“The Houses are Hanging Underneath the Meadows” from the “Look at it on a Rainy Day (Regentag Portfolio),” 1972

Screenprint in colors with metallic embossing on paper

Edition: 2944/3000

Signed with the embossed gold signature, and the mechanically-stamped edition number 02944[sic], in the lower margin; with the Schoeller Parole blindstamp in the lower right margin corner; Dietz Offizin, Lengmoos, Bavaria, in cooperation with G¸nter Dietz, prntr.; Ars Viva, Z¸rich, Switzerland, pub.

Image: 16.25” H x 23.75” W; Sheet: 19.5” H x 26.5” W

$1,000-1,500

3

Friedensreich Hundertwasser (1928-2000)

“Regentag on Waves of Love” from the “Look at it on a Rainy Day (Regentag Portfolio),” 1972

Screenprint in colors with metallic embossing on paper

Edition: 2944/3000

Signed with the embossed gold signature, and the mechanically-stamped edition number 02944[sic], in the lower margin, at right; with the Schoeller Stern blindstamp in the lower right margin corner; Dietz Offizin, Lengmoos, Bavaria, in cooperation with G¸nter Dietz, prntr.; Ars Viva, Z¸rich, Switzerland, pub.

Image: 16” H x 23” W; Sheet: 19.5” H x 26.5” W

$1,000-1,500

4

Friedensreich Hundertwasser (1928-2000)

“Street for Survivors” from the Portfolio),” 1972

Screenprint in colors with metallic Edition: 2944/3000

Signed with the embossed gold stamped edition number 02944[sic], Lengmoos, Bavaria, in cooperation Switzerland, pub.

Image: 22.25” H x 16” W; Sheet:

$1,000-1,500

Hundertwasser

the “Look at it on a Rainy Day (Regentag metallic embossing on grey paper

gold signature, and the mechanically02944[sic], in the lower margin; Dietz Offizin, cooperation with G¸nter Dietz, prntr.; Ars Viva, Z¸rich, Sheet: 26.375” H x 19.375” W

Friedensreich Hundertwasser (1928-2000)

“Eyebalance Number Five” from the “Look at it on a Rainy Day (Regentag Portfolio),” 1972

Screenprint in colors with metallic embossing on paper

Edition: 2944/3000

Signed with the embossed gold signature, and the mechanically-stamped edition number 02944[sic], in the lower margin, at right; with the Schoeller Stern blindstamp in the lower right margin corner; Dietz Offizin, Lengmoos, Bavaria, in cooperation with G¸nter Dietz, prntr.; Ars Viva, Z¸rich, Switzerland, pub.; with the Schoeller Stern blindstamp

Image: 18.25” H x 22.625” W; Sheet: 19.5” H x 26.5” W

$1,000-1,500

6 Milo Baughman (1923-2003)

A pair of upholstered lounge chairs for Thayer Coggin, circa 1970s-80s

Each with paper tags stapled to underside: Thayer Coggin / Designs by Milo Baughman / High Point North Carolina; one further marked with a paper shipping receipt stapled to underside

Each low-slung armless chair with a seat upholstered in shaggy, sage green sheep’s hide and set upon a squared chromed metal base

2 pieces

Each: 29” H x 23” W x 27” D

$600-800

7

Laura Andreson (1902-1999)

A glazed earthenware bowl, 1948

Signed and dated to the underside: Laura Andreson / 48

With an allover sage green glaze and incised ripple pattern to the exterior

6” H x 13.5” Dia.

$500-700

8 Paul Soldner (1921-2011)

A weed vase with free-form drip glaze, circa 1950s-60s Glazed stoneware Incised signature to underside: Soldner 12.625” H x 8.5” Dia.

$600-900

9

Kai Kristiansen (b. 1929)

A teak chest of drawers for Feldballe Møbelfabrik, circa 1960s; Denmark

Appears unmarked

The diminutive dresser or console with four drawers, each with inset carved teak

“eyelid” drawer pulls, and set upon four tapered teak legs

24.75” H x 33.75” W x 12.5” D

$500-700

A Richard Barr for Laurel Brutalist steel table lamp Circa 1960s-70s

With a torch-cut steel dynamic sculptural body mounted on a patinated verdigris and black enameled copper base, electrified

37” H x 14.75” W x 12” D

$400-600

11

Robert Indiana (1928-2018)

“Picasso” from “The American Dream Portfolio,” 1997

Screenprint in colors on paper

Edition 305/395

Signed and numbered in pencil in the lower margin: R Indiana: Marco Fine Arts

Contemporary Atelier, El Segundo, CA, pub.

Image: 17.5” H x 14” W; Sheet: 19” H x 16” W

$1,200-1,800

12

Robert Indiana

(1928-2018)

“Tilt” from “The American Dream Portfolio,” 1997

Screenprint in colors on paper

Edition: 305/395

Signed and numbered in pencil in lower margin: R Indiana; Marco Fine Arts

Contemporary Atelier, El Segundo, CA, pub.

Image: 16.75” H x 14” W; Sheet: 18.75” H 16” W

$1,000-1,500

13

Robert Indiana (1928-2018)

“High Ball Red Ball Manifest” from the “The American Dream Portfolio,” 1997

Screenprint in colors on paper

Edition: 305/395

Signed and numbered in pencil in the lower margin: R Indiana; Marco Fine Arts

Contemporary Atelier, El Segundo, CA, pub.

Image: 16.75” H x 14” W; Sheet: 18.5” H x 16” W

$800-1,200

14

Robert Indiana (1928-2018)

“American Dream II, Eat, Die, Hug, Err,” 1996 Etching, drypoint, and aquatint in color on wove paper, watermark Arches

Edition: XXXXVI/L

Signed, titled, dated, and numbered in pencil in the lower margin: R Indiana

Each plate: 6” H x 12” W; Together on one Sheet: 37.5” H x 21” W

$800-1,200

15

Robert Indiana (1928-2018)

Marilyn Monroe” from “The American Dream Portfolio,” 1997

Screenprint in colors on paper

Edition: 39/90

Signed, dated ‘98, and numbered in the lower margins: R Indiana

49.5” H x 49.5” W (as wired)

$1,500-2,500

16

Robert Indiana

(1928-2018)

“One” from “The American Dream Portfolio,” 1997

Screenprint in colors on paper

Edition: 305/395

Signed and numbered in pencil in the lower margins: R Indiana; Marco Fine Arts Contemporary Atelier, El Segundo, CA, pub.

Image: 19.5” H x 19.5” W; Sheet: 22.75” H x 22.75” W (as wired)

$800-1,200

Brice Marden (b. 1938)

The 1986 publication of Brice Marden’s “Etchings exploration and gradual mastery of several new print was shifting his general aesthetic away from the minimalist, exploring the looser, more rhythmic, and gestural treatments

The title of this 25 intaglio plate series -- of which we According to Jeremy Lewison’s catalogue raisonne, for Kenneth Rexroth’s 20th century translation of poems indicated that these etchings and etchings with aquatint

During trips to his second home in Greece from the spaces around them. According to Lewison, he also during a trip to Asia in 1984. Less than a year later, visited a museum exhibition in New York City entitled, concurrent influences begin to appear in the mid-1980s

Even within the 25 black and white plates comprising “colorful” images. Like his earlier prints and paintings, of the series (i.e. our plate), Marden shows greater calligraphic, animated lines. In a few plates, the addition this print series only “really clicked” as of the fifth and his approach. Of that plate, the artist said, “This paintings.”

In addition to being some of his earliest explorations commitment to working with a new master printer, to this time, Marden had primarily traveled to California overcome certain compositional and technical challenges such as those he had drawn in his Greek sketchbooks. Melby helped him achieve similar effects by dipping one used for the impression offered here.

As the 25th plate from “Etchings to Rexroth,” the most evolved image from this pivotal series in his printed

to Rexroth” represents the realization of an ambitious series of images showing the artist’s print techniques with a new master printer and publisher. It also marks a pivotal time when Marden minimalist, monochrome, rectilinear style by which he had been known up until then, to begin treatments that continue to this day as some of the hallmarks of his mature style.

we are selling an artist proof impression of just the final image -- is somewhat misleading. raisonne, although very interested in poetry, Marden claims that these etchings are not direct illustrations poems by the 8th century Chinese poet, Tu Fu. Instead, Marden and his master printer have aquatint were influenced by various other things.

the 1970s onward, Marden often sketched the contrasting forms of the mountains, the sea, and the also became interested in collecting and studying spiral-type shells after visiting a seashell museum later, Marden was further inspired to reconsider his approach to line and space after he repeatedly entitled, “Masters of Japanese Calligraphy 8th-19th Century.” To varying degrees, traits of these mid-1980s in Marden’s paintings as well as printed works such as “Etchings to Rexroth.”

comprising this series, one can detect a gradual trend towards looser, more calligraphic, and sometimes paintings, the first few plates feel the most monochromatic, static and grid-like, whereas by the end abandon and a willingness to fill the entire image area with abutting or intersecting forms and addition of aquatint even provides a sense of color. Various authors have said that Marden believed plate, and that it wasn’t until the ninth that he began to feel more comfortable with the medium “This is the one where it started. I figured this is what I want to get in the drawings and in the explorations of a new approach to his subjects, “Etchings to Rexroth” also represents the artist’s full printer, Judith Melby, and publisher, Peter Blum Edition, both in his hometown of New York City. Prior California to create his prints with Crown Point Press. According to Lewison, Melby helped Marden challenges he was having in the mid-1980s with the translation onto copper printing plates of images sketchbooks. Knowing that one of Marden’s newer interests was drawing with assorted sticks dipped in ink, dipping sticks into a sugarlift aquatint solution for application to some of the copper plates, such as the

present Lot provides an opportunity to acquire a fine impression of Marden’s very last and therefore printed oeuvre.

17

Brice Marden (b. 1938)

Plate 25 from “Etchings to Rexroth,” 1986

Etching and aquatint on wove paper

An artist proof aside from the edition of 45

Signed, titled 25, dated, and inscribed AP in pencil along the lower margin edge: B. Marden; Judith Melby, New York, prntr.; Peter Blum Edition, New York, pub. Image 8” H x 6.75” W; Sheet: 19.625” H x 16” W

$2,000-3,000

Literature: Lewison 40.25

18

Robert Rauschenberg

(1925-2008)

“Currents” exhibition poster from “Dayton’s Gallery 12,” 1970 Offset lithograph on paper

From the deluxe pencil signed edition of 100, aside from the regular edition of 200

Signed and dated lower right: Rauschenberg

Image/Sheet: 35.25” H x 30.5” W

$1,200-1,800

Provenance: Swann Auction Galleries, New York, NY, “Contemporary Art,” May 16, 2019, Lot 162

20

Eero Saarinen (1910-1961)

Eight Knoll Executive chairs, 21st century

Designed 1950

Each with Knoll label to underside

Each upholstered in Eames small dot jacquard and set upon four chromed metal legs

8 pieces

Each: 31.5” H x 20.5” W x 17.25” D

$700-900

19

Ray and Charles Eames Eames lounge chair and Designed 1956

Each with paper label to Molded plywood and both mounts, and black leather 2 pieces

Chair: 32.5” H x 31.5” W

$2,000-4,000

Provenance: The Estate

Notes: Proceeds to benefit

Eames (1912-1988 and 1907-1978) and ottoman for Herman Miller, mid/late 20th century to the underside: Herman Miller / Zeeland, Mich. both powder-coated and brushed aluminum frame, rubber shock leather tufted upholstery

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

of Oscar and Barbara Leidenfrost benefit non-profit organizations and educational institutions.

After KAWS “Handstand Man,” 2020 Photopolymer resin and

21 Rick Wolfryd (b. 1953)

beads

Signed, titled, and dated on underside of base With base: 20.25” H x 13.325” W x 8.325” D

$400-600

23

Dale Chihuly (b. 1941)

“Yellow Persian” (with red lip wrap), 1996 Glass

Etched signature and date to the underside: Chihuly / PP99; for Portland Press, Seattle, WA

11.5” H x 12.5” W x 8.5” D

$2,500-3,500

22

Dale Chihuly (b. 1941)

“Red Blanket Cylinder,” 2000 Glass

Etched signature and date to the underside: Chihuly / PP99; for Portland Press, Seattle, WA

8” H x 5.5” Dia.

$4,000-6,000

24

Dale Chihuly (b. 1941)

“Purple Persian” (with chartreuse lip wrap), 1999 Glass

Etched signature and date to the underside: Chihuly / PP99; for Portland Press, Seattle, WA

7” H x 14.5” W x 11” D

$2,500-3,500

25

Arne Jacobsen (1902-1971)

A 3300/2 “Airport” sofa for Fritz Hansen, 1981

Designed 1956

Foil label to the underside: FH / Fritz Hansen / Made in Denmark

The two-seater sofa, upholstered in violet-colored wool, with a wrap-around chromed metal tubular frame terminating in six legs, each with a metal foot

28” H x 48.5” W x 29” D

$1,000-2,000

26

Arne Jacobsen (1902-1971)

A 3300/3 “Airport” sofa for Fritz Hansen, late 20th century

Designed 1956

Appears unmarked

The three-seater sofa, upholstered in deep purple wool, with a wrap-around chromed metal tubular frame terminating in eight legs, each with a metal foot 28” H x 70.5” W x 29” D

$1,500-2,500

27

Gianfranco Frattini (1926-2004)

Two “Megaron” floor lamps for Artemide, circa 1980s

Designed 1979

Each embossed to the underside edge: Artemide Milano / Modelo Megaron / Design Gianfranco Frattini / Made in Italy

The post-modern columnar LED torchieres with painted metal body and cast plastic base, electrified

Each: 71.5” H x 12” Dia.

$600-800

Jack Haywood (b. 20th century)

A lighted shelving unit for Modeline Lamp Co., late 20th century

Designed circa 1970s

Appears unmarked

The lacquered wood shelving unit, partitioned into two halves, one with three shelves and the other with three frosted globe lights each suspended on a chromed metal fixture, electrified

35” H x 43” W x 8” D

$500-700

29

Sol LeWitt (1928-2007)

Plate 3 from “Eight Squares with a Different Color in Each Half Square (Divided Horizontally and Vertically),” 1980

Silkscreen in colors on Arches 88 paper

Edition: 5/50 (there were also 10 artist’s proofs and 8 trial proof’s)

Signed and numbered in pencil in the lower margin, at right: Lewitt; with the printer’s very faint stamp, verso, John Campione, New York, NY, prntr.; Multiples Inc. New York, NY, pub.

Image: 14” H x 14” W; Sheet: 18” H x 18” W

$1,200-1,800

Literature: Krakow 1980.05

30

Sol LeWitt (1928-2007)

Plate 4 from “Eight Squares with a Different Horizontally and Vertically),” 1980

Silkscreen in colors on Arches 88 paper

Edition: 5/50 (there were also 10 artist’s proofs

Signed and numbered in pencil in the lower Campione, New York, NY, prntr.; Multiples Inc.

Image: 14” H x 14” W; Sheet: 18” H x 18” W

$1,200-1,800

Literature: Krakow 1980.05

Color in Each Half Square (Divided proofs and 8 trial proof’s) lower margin, at right: Lewitt; John Inc. New York, NY, pub. W

31

Sol LeWitt

(1928-2007)

Plate 7 from “Eight Squares with a Different Color in Each Half Square (Divided Horizontally and Vertically),” 1980 Silkscreen in colors on Arches 88 paper Edition: 5/50 (there were also 10 artist’s proofs and 8 trial proof’s)

Signed and numbered in pencil in the lower margin, at right: Lewitt; with the printer’s very faint stamp, verso, John Campione, New York, NY, prntr.; Multiples Inc. New York, NY, pub.

Image: 14” H x 14” W; Sheet: 18” H x 18” W

$1,200-1,800

Literature: Krakow 1980.05

32

James Nowak (b. 1956)

A studio art glass clamshell centerpiece, late 20th/early 21st century Etched to underside: Nowak / F9K12

The clam-shaped cased and iridescent glass sculpture with helial and aquatic motifs and murrine “urchin” accents

11.325” H x 24.5” W x 11.75” D

$1,500-2,000

Provenance: Property from a Distinguished Palm Springs Estate

33

Robert Wynne (b. 1959)

Three works:

A studio art glass vase, 2001

Etched signature and date to underside

The leaning conical orange glass vase with cased and sand-blasted iridized glass designs, handpainted orange rim, and fused to a purple glass base 25” H x 8” W x 9.125” D

A studio art glass vase, 2001

Etched signature and date to underside

The leaning conical olive glass vase with cased and sand-blasted iridized glass designs, handpainted orange rim, and fused to a purple glass base 19.125” H x 8” W x 7.25” D

A studio art glass vase, 2001

Etched signature and date to underside

The leaning conical purple glass vase with cased and sand-blasted iridized glass designs, handpainted orange rim, and fused to a purple glass base 14” H x 6” W x 5.25” D

3 pieces

$600-800

Provenance: Property from a Distinguished Palm Springs Estate

34

Gavin Heath (b.1961)

A “Swaz” art glass vase, circa 2001

Signed to the glass: Heath

The baluster form vase in primary shades of yellow and red glass interspersed with reverse painted transparent glass depicting black and white checkerboard and polychrome geometric motifs

23” H x 6.25” Dia.

$700-900

Provenance: Property from a Distinguished Palm Springs Estate

35

Wes Hunting (b. 1956)

A “Colorfield” glass amphora, circa 2001

Signed above the foot: W Hunting

The vessel, decorated with millefiori glass “drawings” in various shapes and hues, with an elaborate finial stopper, banded base, and convex foot

26.5” H x 6” Dia.

$1,000-1,500

Provenance: Property from a Distinguished Palm Springs Estate

Notes: This series of vessels pictured on the artist’s website: http://weshuntingglass.com/ colorfield-lidded-jars

36 Richmond Burton (b. 1960)

Untitled, 2005 Etching and aquatint in colors on paper

Signed and dated in the lower margin: R. Burton; with an unidentified blindstamp in the lower margin, at left

Plate: 23.75” H x 32.375” W; Sheet: 29.75” H x 37.5” W

$400-600

37

Lita Albuquerque (b. 1946)

“Untitled (red and black)”

Lithograph in colors on paper

Edition: 3/116

Signed and numbered in pencil in the lower margin: Lita Albuquerque; with the Muka Youth Prints blindstamp in the lower margin, at right

Image: 8” H x 14” W; Sheet: 11.25” H x 7.25” W

$300-500

38

“Untitled (blue and black)”

Lithograph in colors on paper

Edition: 6/115

Signed and numbered in pencil in the lower margin: Lita Albuquerque; with the Muka Youth Prints blindstamp in the lower margin, at right

Image: 8” H x 14” W; Sheet: 10.5” H x 7” W

$300-500

Lita Albuquerque (b. 1946)

39

A Maurice Model figural perfume bottle

Circa 1930s; Verdun, France

Marked to underside: M Model / France

The French Art Deco black molded glass bottle in the shape of a woman draped in loose cloth and holding an urn overhead 9.25” H x 2.325” Dia.

$700-900

40

A Maurice Model figural perfume bottle

Circa 1930s; Verdun, France

Marked faintly to underside: M Model / France

The French Art Deco black molded glass bottle in the shape of an elephant surmounted by a mahout rider figure stopper

6.625” H x 4.75” W x 2.325” D

$600-800

41

Sol LeWitt (1928-2007)

Plate 5 from “Eight Squares with a Different Color in Each Half Square (Divided Horizontally and Vertically),” 1980

Silkscreen in colors on Arches 88 paper

Edition: 5/50 (there were also 10 artist’s proofs and 8 trial proof’s)

Signed and numbered in pencil in the lower margin, at right: Lewitt; with the printer’s very faint stamp, verso, John Campione, New York, NY, prntr.; Multiples Inc. New York, NY, pub.

Image: 14” H x 14” W; Sheet: 18” H x 18” W

$1,200-1,800

Literature: Krakow 1980.05

42

Sol LeWitt (1928-2007)

Plate 6 from “Eight Squares with a Different Color Horizontally and Vertically),” 1980

Silkscreen in colors on Arches 88 paper

Edition: 5/50 (there were also 10 artist’s proofs

Signed and numbered in pencil in the lower margin, printer’s very faint stamp, verso, John Campione, Inc. New York, NY, pub.

Image: 14” H x 14” W; Sheet: 18” H x 18” W

$1,200-1,800

Literature: Krakow 1980.05

Color in Each Half Square (Divided proofs and 8 trial proof’s) margin, at right: Lewitt; with the Campione, New York, NY, prntr.; Multiples

43

Sol LeWitt (1928-2007)

Plate 1 from “Eight Squares with a Different Color in Each Half Square (Divided Horizontally and Vertically),” 1980 Silkscreen in colors on Arches 88 paper

Edition: 5/50 (there were also 10 artist’s proofs and 8 trial proof’s)

Signed and numbered in pencil in the lower margin, at right: Lewitt; with the printer’s very faint stamp, verso, John Campione, New York, NY, prntr.; Multiples Inc. New York, NY, pub.

Image: 14” H x 14” W; Sheet: 18” H x 18” W

$1,200-1,800

Literature: Krakow 1980.05

44 Invader (b. 1969)

“Alert (Blue),” 2020

Screenprint in colors on wove paper

Edition: 29/60

Signed and numbered in pencil in the lower margin: Invader; publisher’s verso, International Centre of Graphic Arts (MGLC), Ljubljana, Lithuania, Image: 22.25” H x 22.25” W; Sheet: 23.6” H x 23.6” W

$4,000-6,000

publisher’s stamp, Lithuania, pub.

45

After Andy Warhol (1928-1987)

“Endangered Species,” 1983

10 offsets in colors on heavy, textured, cream, wove paper

From the edition of unknown size and date, a later printing (apart from the original, earlier, signed and numbered screenprinted edition on Lenox Museum Board)

Each unsigned; with a blindstamp in the style of the original edition in the lower left corner, and with a printed version of the artist’s original ink stamp showing in red on the verso of the lower right sheet corner

Image/Sheet of each: 38” H x 38” W

$2,000-4,000

A Bozart Toys “Kaleidoscope House” model 2001

Designed by Laurie Simmons and Peter Wheelwright, the model house accompanied by thirteen accessories and figures after various designers and artists including Karim Rashid, Dakota Jackson, Jasper Morrison, and others, all in original boxes and packaging, sold together with a wooden art accessory out of box, 15 pieces

Largest in box: 24” H x 30.25” W x 9.75” D; smallest: 5” H x 2.75” W x 1.75” D

$1,000-2,000

Notes: From the artists’ website: “The Kaleidoscope House, a collaborative project with Bozart Toys which produces toys with leading contemporary artists, is an interactive creative play environment for 6 year olds and above. The 1:12 scale modernist architectural house, with sliding transparent color walls, invites children and adults to fill it with an accessory line of modern furniture from contemporary furniture designers including Dakota Jackson, Karim Rashid, Ron Arad, Keiser/ Newman and Robert Kitchen. The house features paintings, photographs and sculpture by Peter Halley, Carroll Dunham, Laurie Simmons, Cindy Sherman, Mel Kendrick, Mel Bochner and realistic “action figures” of the artist, architect and family. As the interchangeable exterior walls of the dollhouse slide open and overlap one another, their colors change in hue and value. The floor plan measures 22 x 28 x 24 inches.

The Kaleidoscope House came out of our shared interests in domesticity and in particular the changing practices of home and family. Our individual work in photography and architecture has focused on these issues, and the promptings of our respective children have often figured in our thinking. Clearly, there is a need for a new dollhouse in the family playroom. Our hope is that The Kaleidoscope House with its sliding transparencies and changing aspects will view give a colorful view into new playful possibilities.”

47

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

Model 420 storage unit for Herman Miller, circa 1960s

Designed circa 1950s

With Herman Miller label to interior of one drawer: Designed by / Charles Eames

Four-units high, with dimpled plywood sliding cabinets on top and bottom, four open compartments and three drawers in a neutral color scheme

58.5” H x 46.875” W x 16.875” D

$7,000-9,000

Provenance: By repute purchased at Herman Miller in the early 1960s; Private Collection, Whittier, CA.

48

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

Four DCW molded plywood dining chairs for Herman Miller, early 21st century

Designed 1946

Each marked to the underside with a metal plaque: Eames Office / Herman Miller

The chairs with veneered molded plywood body with and rubber shock mounts

Each: 28.75” H x 19.5” W x 21” D

$1,500-2,500

Notes: This lot is accompanied by a copy of the CoA.

49

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

Four DCW molded plywood dining chairs for Herman Miller, early 21st century Designed 1946

Each marked to the underside with a metal plaque: Eames Office / Herman Miller

The chairs with veneered molded plywood body with and rubber shock mounts

Each: 28.75” H x 19.5” W x 21” D

$1,500-2,500

Notes: This lot is accompanied by a copy of the CoA.

50

John

Nyquist (1936-2018)

A teak audio/visual unit, circa 1980

Designed 1979

Marked with the artist’s logo incised to the cabinet door

The wood cabinet with eight shelves, two brass-hinged cabinet doors, and two speaker cabinets with slatted and magnet-mounted doors, each revealing speakers, set upon a box stretcher base, electrified 74.25” H x 93” W x 25.5” D

$2,000-3,000

Provenance: The artist’s studio Private Collection, acquired from the above, 1980

Notes: This lot is accompanied by a sales receipt from John Nyquist dated September 4, 1979.

51

John Nyquist (1936-2018)

A Louro Preto credenza, Circa 1972

Designed 1971

Marked with the artist’s logo incised to the top front corner

The wood credenza with inset pulls, two drawers and five brass-hinged cabinet doors, four revealing single shelves, set upon a box stretcher base

With base: 27.875” H x 115.325” W x 21.25” D

$2,000-3,000

Provenance: The artist’s studio Private Collection, acquired from the above, 1972

Notes: This lot is accompanied by a sales receipt and design proposal from John Nyquist dated November 7, 1971.

52

John

An English Oak and Paduak wood armoire, circa 1978

Designed 1977

Marked with the artist’s logo incised to the bottom right corner

The round-topped armoire wardrobe with six recessed pull drawers and two large brasshinged cabinet doors, each revealing two shelves and two drawers, set on a plinth base

78.5” H x 47.75” W x 24.25” D

$2,000-3,000

Provenance: The artist’s studio

Private Collection, acquired from the above, 1977

Notes: This lot is accompanied by two sales receipts and a design proposal from John Nyquist dated April 25 and October 15, 1977.

Nyquist (1936-2018)

53

John Nyquist (1936-2018)

An oak and walnut dining table, circa 1990s

Designed circa 1990s

Appears unmarked

With a surfboard-style oak top set upon a sculptural carved walnut trestle base terminating in four curved feet

28” H x 96” W x 44” D

$3,000-5,000

Provenance: The artist’s studio Private Collection, acquired from the above, 1990

Notes: This lot accompanied by an invoice and proposed design for the chairs from John Nyquist dated April 20, 1990.

54

John Nyquist (1936-2018)

Six walnut ladder-back dining chairs, circa 1990s

Designed circa 1990s

Each marked with the Nyquist logo incised to the underside

Each chair with walnut curvilinear frame, three back slats, and a beige wool boucle upholstered seat

6 pieces

Each: 41.25” H x 22” W x 16.5” D

$3,000-5,000

Provenance: The artist’s studio Private Collection, acquired from the above, 1990

Notes: This lot accompanied by an invoice and proposed design for the chairs from John Nyquist dated April 20, 1990.

55

John Nyquist (1936-2018)

A teak and rosewood desk, circa 1976

Designed 1975

Marked with the artist’s logo incised to bottom right drawer

The desk with inset leather top and seven drawers, each with carved wood fronts, two with removable divider, one with removable catch-all tray, and one file cabinet drawer featuring an upper compartment and four sidefacing stationary compartments

28” H x 72” W x 33.25” D

$2,000-3,000

Provenance: The artist’s studio Private Collection, acquired from the above, 1976

Notes: This lot is accompanied by a sales receipt from John Nyquist dated October 27, 1975.

57

Tim Chilina (b. 20th century)

A cased art glass vase, 2001

Signed to the underside edge: Tim Chilina / 2001

The biomorphic glass vase in cascading shades of scarlet, deep purple, and chartreuse

19” H x 8” Dia.

$300-500

Provenance: Property from a Distinguished Palm Springs Estate

56

Tim Chilina (b. 20th century)

A cased art glass vase, 2001

Signed to the underside edge: Tim Chilina / 2001

The biomorphic glass vase in cascading shades of pale green, goldenrod, pink, and scarlet

20” H x 10” Dia.

$300-500

Provenance: Property from a Distinguished Palm Springs Estate

58

Untitled abstract Screenprint in colors on black paper

Edition: 18/22

Signed, dated, and numbered in the lower edge: Mohamedi

Image/Sheet: 24.5” H x 36.75” W

$3,000-5,000

Maysha Mohamedi (b. 1980)

59

Richard Serra (b. 1938)

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

Edition: 18/45

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

Image/Sheet: 39.5’’ H x 39.5” W

$8,000-12,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

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

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

60 Kehinde Wiley (b. 1977)

“Passing / Posing: Paintings and Faux Chapel” Portfolio, 2004

Complete portfolio with set of 18 offset lithographs in colors on smooth wove paper

Edition 372/1000

Signed and numbered in ink on the artist’s monogram label affixed to the inside of the portfolio box cover, as issued: Kehinde Wiley; with the stapled and black cord-tied printed pamphlet including colophon page, list of plates, and descriptive information about the works; and with the white cloth gloves and interleaving tissues housed together in the original black paper-covered portfolio box with gold stamped design and lettering; Earth Enterprise, Inc., New York, NY, prntr./pub.

Sheet of 17 plates: 11” H x 8.5” W; Sheet of one double-page plate: 11” H x 17” W

$1,500-2,500

61

A Chapman palm frond wall sconce

Circa 1982

With Underwriter Laboratories sticker and additional sticker to side of socket: © 1982 Chapman

The single-light brass wall sconce in the shape of a palm frond leaf with white painted verso, electrified 74” H x 15.75” W x 6” D

$400-600

62

A pair of Mastercraft-style lighted brass vitrines

Circa 1980s

Each appear unmarked

Each dual light shelving unit with brass framed upper double-doored cabinets surmounting smaller double-doored cabinets, each with inset beveled glass and rectangular brass pulls; four adjustable glass shelves to the interior with mirrored backing, electrified

Each: 84” H x 31.75” W x 15.75” D

$1,000-1,500

Notes: This lot accompanied by a receipt of purchase from Gabelman Furniture and Interior Design dated August 15, 1988.

63

Hugo de Ruiter (b. 1959)

A “DS-164” sofa bed for De Sede, early 21st century

Designed 2003

With a metal “D”-shaped tag to the leather; further marked with a metal “S”shaped tag to opposite side

The biomorphically shaped sofa bed with adjustable kinetic dual seat backs, upholstered in “Schiefer Brown” leather and set upon four chromed metal feet

31” H x 90” W x 53.5” D

$4,000-6,000

64

Two Michael Taylor for Baker Furniture dining chairs

Circa 1950s-60s

Each with metal tag to the underside: Baker Furniture

Designed by Michael Taylor (1927-1986) for Baker Furniture, each with lacquered wood frame with arms, caned seat back, and lime-colored jacquard upholstered seat cushion, 2 pieces

Each: 33” H x 22.75” W x 23” D approximately

$600-800

65

After Silas Seandel (b. 1937)

A Brutalist gold metal coffee table with beveled glass top

Circa 1960s-1970s

Appears unmarked

With a textural welded metal base and an inset sculptural flame-cut sheet metal flower, offset from center, and a thick glass top

16.5” H x 68” W x 47” D

$800-1,200

66

Halabala Jindrich (1903-1978)

A “Claustra” wall unit for Holesav Drevopodnik, circa 1950s-60s

Designed circa 1940s

With a partial paper label to the underside

The room divider and/or shelving unit with birch veneered bentwood partitions, creating both storage surfaces and geometric patterns

88.5” x 35.5” W x 6.25” D

$800-1,200

68

Charles Hollis Jones (b. 1945)

Four Lucite dining chairs, circa 1970s

Each chair with curvilinear Lucite frame, trapezoidal seat back, and set upon four chrome castors, with black Naugahyde tufted leather upholstered seat

4 pieces

Each: 29” H x 23.5” W x 20” D

$400-600

67

An Italian Murano glass chandelier

Circa 1960s; Venice, Italy

With a foil label to the metal: Murano / Made in Italy

Possibly designed by Venini for Camer, the five-light chandelier ribbed rods arranged in a descending spiral and suspended chromed metal flush mount, electrified 40” H x 12” Dia.

$400-600

chandelier with clear glass suspended via chain from a

69

A Milo Baughman-style chrome and glass dining table

Circa 1970s

Appears unmarked

The racetrack-style dining table with squared chromed metal oval frame inset with a glass top and set upon four chromed metal legs, extendable 28” H x 80” W x 38.5” D

$500-700

71

After Charles-Edouard “Le Corbusier” Jeanneret (1887-1965)

And Charlotte Perriand (1903-1999)

A Nemo “Lampe de Marseille Mini” lamp

Designed circa 1950

With Nemo tag to inside of smaller, upper cone shade

The painted white aluminum wall-mounted articulating swing arm lamp

Dimensions variable: 19.75” H x 11.75” W x 33.5” D approximately

$600-800

Notes: This lot is accompanied by original packaging and assembly instructions.

70

A pair of Milo Baughman-style sofas Circa 1968

Each appears unmarked

Each three-seat sofa with all over herringbone weave upholstery and wrap-around chromed metal frame joined by lateral stretchers, 2 pieces

Each: 27.5” H x 97” W x 33.5” D

$2,000-3,000

Provenance: Frank Bros, Long Beach, CA Private Collection, acquired from the above, 1968

Notes: This lot is accompanied by a sales receipt from Frank Bros, Long Beach, CA dated August 7, 1968.

72

Willy Rizzo (1928-2013)

An “Alveo” sideboard for Mario Sabot, circa 1970s; Italy

Appears unmarked

The dark brown lacquered wood carcass with two drawers surmounting a two-door cabinet; chromed metal hardware framing the front edges and circular, pocketed pulls

30” H x 47.25” W x 18.75” D

$1,500-2,500

73

Brian “KAWS” Donnelly (b. 1974) x Gachapin (est. 1973)

Two works:

“KACHAMUKKU (Green/Red),” 2022; “KACHAMUKKU (Black),” 2022

Each from the edition of unknown size

Each signed and titled to underside: KAWS 21 / © Gachamukku / Kachamukku / Medicon Toy / China

The painted cast vinyl, plastic, and felt figures, together with the original manufacturer’s boxes and packaging; Medicom Toy Corporation, Tokyo, Japan, pub.

2 pieces

Each figure: 12.5” H x 7.625” W x 4.5” D

$700-900

74

Brian “KAWS” Donnelly (b. 1974)

“Small Lie (Black),” 2017

Painted cast vinyl

Signed, dated, and titled in marker to the underside of left foot; further marked under right foot: Medicom Toy / China

11” H x 5” W x 4.5” D

$500-700

“Heads ver. 2,” 2022

Vinyl, PVC, and crystal glass

Appears unmarked

12” H x 4.5” W x 4.75” D

$1,000-2,000

Notes: Accompanied by Certificate of Authenticity and original artist packaging.

75 Javier Calleja (b. 1971)

76

Yayoi Kusama (b. 1929)

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

Each painted lacquer resin

Each marked to underside: © Yayoi Kusama

2 pieces

Each: 4” H x 3.25” Dia.

$600-800

77

Miriam Schapiro

(1923-2015)

“December 1974,” 1974

Screenprint in colors on paper

Initialed and dated right of center: MS; titled on letter affixed to the frame’s backing board

Image/Sheet: 8” H x 10” W

$400-600

Notes: A handwritten letter, presumably in another hand, is housed in an envelope affixed to the frame’s backing paper.

78

After Yoshitomo Nara (b. 1959)

“Banging the Drum,” 2020 Offset lithograph in colors on 80# Classic Linen Solar White Cover From an open edition

Unsigned; with the artist’s name, copyright, and Dallas Contemporary text printed in the image at lower right; Dallas Contemporary, TX, pub.

Image/Sheet: 27” H x 17” W

$800-1,200

Notes: According to the artist’s website, the original pen and colored pencil drawing on 9” H x 6” W paper, signed verso, was done in 2019.

According to the Dallas Contemporary website, this open edition of offset lithographs “...have been released in conjunction with Yoshitomo Nara’s career survey “i forgot their names and often can’t remember their faces but remember their voices well” at Dallas Contemporary.”

79

After Yoshitomo Nara (b. 1959)

“Real One,” 2021

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

From the open edition on this size paper (there was also an edition on paper measuring 25” H x 29” W)

Unsigned; with the artist’s name, copyright, and Dallas Contemporary text printed in the image at lower right; Dallas Contemporary, TX, pub.

Sheet: 15” H x 17” W

$800-1,200

Notes: According to the artist’s website, the original acrylic painting was done in 2012 on a sheet of wood measuring 66.75” H x 76.5” W x 3” D.

According to the Dallas Contemporary website, the open edition examples of this image on this size sheet of paper “...have been released in conjunction with Yoshitomo Nara’s career survey “i forgot their names and often can’t remember their faces but remember their voices well” at Dallas Contemporary.”

80

Margaret Keane (1927-2022)

Girl with mission building from the “Children of San Francisco Portfolio,” circa 1980

Lithograph in colors on paper

Edition: 60/100

Signed and numbered in the lower margin: MDH Keane

Image: 20” H x 16.75” W; Sight: 21” H x 17.375” W

$300-500

Notes: From an edition of 100 portfolios of 5 lithographs in color on Copperplate Deluxe paper.

81

LeRoy Neiman (1921-2012)

“Olga Korbut,” 1972

Screenprint in colors on paper

Edition: 6/250

Signed and numbered in pencil in the lower margin: LeRoy Neiman; titled and dated in the image

Image: 12” H x 13.25” W; Sight: 14.5” H x 18.5” W

$500-700

82

Sam Maloof (1916-2009)

A three-piece dining buffet set, mid-20th century

Designed circa 1955-59

Each with burn mark to the verso: Sam Maloof / Refinished 2008; two further marked with a Maloof logo sticker on the verso

The three-piece set constructed out of repurposed etched grain pine plywood, comprising one larger and two smaller double-door cabinets, each with push latch, opening to reveal variously sized drawers and shelving to the interior

3 pieces

Largest: 36” H x 43.5” W x 18” D; smallest: 36.25” H x 29” D x 18” D

$4,000-6,000

Notes: The set was custom made circa 1959 for a Clarmont, CA residence by Sam Maloof. As well, these pieces have been with that single family through multiple generations. This lot is accompanied by a series of photos of Sam Maloof marking the verso of these pieces after the restoration in his studio in 2008 and a Kodachrome slide image of Sam Maloof in his youth.

83

George Nakashima (1905-1990)

Four ‘New Chair’ dining chairs, 1994; New Hope, Pennsylvania

Designed in 1956

Each signed and dated to the underside in marker: Nakashima / November 29, 1994; each further marked with the client’s name A reimagining of the American Windsor chair, each “Sundra” finished chair with blonde hickory spindle back, set upon four slanted tapered legs with dual h-stretcher

4 pieces

Each: 35.5” H x 18.5” W x 16.25” D

$4,000-6,000

84

George Nakashima (1905-1990)

Three “Conoid Lounge” chairs, 1991; New Hope, Pennsylvania

Each signed and dated to the underside in marker: Nakashima / II / Sept 12, 1991

Designed circa 1980-85

Each sculptural carved walnut chair with blonde hickory spindle back, cantilevered over two legs, and set upon two horizontal, tapering feet

3 pieces

Each: 34” H x 22.5” W x 22.5” D

$8,000-12,000

85

Philip (1907-1987) and Kelvin LaVerne (b. 1937)

A “Creation of Man” coffee table, circa 1965; New York City, New York Etched signature to the tabletop: Philip-Kelvin LaVerne; further marked with indistinguishable numerals

The patinated brass over pewter and wood table with an acid-etched rendering of Michelangelo’s Sistine Chapel register to the tabletop, set upon two conformingly designed fluted columnar supports

16.5” H x 65” W x 23.5” D

$4,000-6,000

86

Aldo Tura (1909-1963)

A “Calice” bar cabinet, circa 1950s

Appears unmarked

The Italian dry bar with lacquered goat skin over a wood goblet-shaped carcass, hinged locking door opens to reveal an illuminated mirrored interior with one glass shelf, accented with metal banding to pedestal base and top of the chalice and decorated with figures on horseback, electrified 49.75” H x 18.5” Dia.

$1,000-2,000

88

Alfredo

Barbini (1912-2007)

A “Medusa” Murano glass pendant lamp, circa 1960s; Venice, Italy

Appears unmarked

The pink and lavender glass inverted dome with all over “scavo” effect, single light to the interior, and suspended via three wire cables from a chromed metal flush mount, electrified 31” H x 16” Dia.

$1,000-2,000

87

A Dunbar postmodern upholstered sectional Circa 1980s; Berne, Indiana

One marked with fabric tag to underside: Dunbar / Berne Indiana / 46711

The low-profile sectional upholstered in “Clearwater Driftwood” velour fabric by Jack Lenor Larsen comprising a two-seater loveseat and conformingly designed chair, each with a chrome plinth base Loveseat: 30” H x 62” W x 35” D chair: 30” H x 31” W x 35” D

$800-1,200

Provenance: This lot is accompanied by a receipt of purchase from Jack Lenor Larsen for the upholstery fabric dated September 1, 1981.

89

Two Pace Collection “Comfortable” armchairs

1982

One with paper tag to underside: The Pace Collection Inc. / New York, NY

Each with inverted horseshoe shaped Lucite sides and beige upholstered rounded seat back and seat cushion, 2 pieces

Each: 34.25” H x 22.25” W x 22.5” D

$800-1,200

Provenance: This lot is accompanied by a receipt of purchase from Pace Collection, Inc. dated July 1982.

90

Ernie E. Barnes (1938-2009)

Three works:

“Hustler”

Offset lithograph in colors on paper

Edition: A/P

Signed, titled, and inscribed in pencil in the lower margin: Ernie Barnes

Image: 22.75” H x 14.75” W; Sight: 23.75” H x 15.625” W

“Pool Hall”

Offset lithograph in colors on paper

Edition: 114/750

Signed, titled, and inscribed in pencil in the lower margin: Ernie Barnes

Image: 15.875” H x 31.75” W; Sight: 16.625” H x 32.5” W

Football players on the bench

Offset lithograph in colors on paper

Edition: 33/750

Signed, titled, and inscribed in pencil in the lower margin: Ernie Barnes

Image: 16.875” H x 31.875” W; Sight: 17.5” H x 32.375” W

$800-1,200

91

Todd Norsten (b. 1967)

A group of eight abstract prints

Each: Etching in colors on paper

Edition of each: A.P. 4/5

Each: Signed, dated, numbered, and inscribed A/P in pencil in the lower margin:

Todd Norsten

Plate of each: 9” H x 6” W; Sheet of each: 15” H x 11.75” W

8 pieces

$1,200-1,800

92

Paul Calle (1928-2010)

“Neil Armstrong,” 1976

Offset lithograph on paper

Edition: 416/1000

Signed in pencil by both the astronaut and the artist: Neil Armstrong / Paul Calle; and with the original printed justification/information sheet insert and embossed and printed paper folder; National Air and Space Museum, Smithsonian Institution, Washington DC, pub. Sheet: 29.125” H x 19.125” W

$2,000-4,000

Notes: This limited edition print was produced by the National Air and Space Museum in Washington D.C. for the Charles A. Lindbergh Foundation and is a reproduction of artist Paul Calle’s pencil portrait of astronaut Neil Armstrong the morning of the Apollo 11 launch on July 16, 1969. Paul Calle was selected as one of NASA’s official artists and documented many aspects of the American space program, including Project Gemini and postage stamps commemorating the first manned moon landing. Neil Armstrong began his space career as a test pilot for NASA’s Flight Research Center in California, before becoming an astronaut in 1962. Armstrong would become the first human to walk on the moon during the Apollo 11 mission in 1969.

93

Two plates from “Way Cool!: Exit Art” portfolio, 1995

Two works:

Nicole Eisenman (b. 1965)

“Untitled,” 1995

Screenprint in colors with watercolor, ink stamping, and graphite on heavy wove paper

Edition 46/75 (there were also 10 artist’s proofs)

Signed and dated in ink in the lower margin, at right: Nicole Eisenman; numbered in graphite at upper center within the text lines; Exit Art/The First World, New York, NY, pub.

Sheet: 13.375” H x 8” W

Fred Tomaselli (b. 1956)

“Untitled,” 1995

Screenprint in colors with collage of multi-colored stickers

Edition 43/75 (there were also 8 artist’s proofs)

Signed and numbered in pencil in the lower margin: Tomaselli; numbered again in pencil at upper center within the text lines, Exit Art/The First World, New York, NY, pub. Sheet: 13.375” H x 8” W

$1,000-1,500

Provenance: Exit Art/ The First World benefit, New York, NY Private collection, acquired from the above, 1995

Sold: Sotheby’s, New York, NY, “A Life in Art: The Mallin Collection,” June 21, 2023, Lot 179

94

Francesco Clemente (b. 1952)

“Traditional Self Portrait” from “Art Pro Choice II Portfolio,” 1991

Lithograph in grey ink on cream Japon paper

Edition: 67/125

Signed and numbered in pencil lower left: Francesco Clemente

Sheet: 20” H x 16” W

$400-600

95

“Templos de la Amistad,” 2014

Giclee in colors on paper

Edition: XXXII/LV

Signed, numbered, and with the artist’s authentication ink stamp in the lower margin: Pedro Friedeberg

Sight: 26.5” H x 26.5” W

$400-600

Pedro Friedeberg (b. 1936)

96

Pedro Friedeberg

(b. 1936)

“Cada quien su Estacionamiento”

Giclee in colors on paper

Edition: P/A 1/10

Signed, numbered, and inscribed P/A in blue in the lower margin: Pedro

Friedeberg

Image: 22.5” H x 22.5” W; Sight: 25” H x 25” W

$400-600

“Asi es,” 2005

Giclee in colors on paper

Edition: XV/ XL

Signed and numbered in pencil, and with the artist’s authentication ink stamp, all in the lower margin: Pedro Friedeberg

Sight: 23.25” H x 23.25” W

$400-600

97 Pedro Friedeberg (b. 1936)

98

“Piramides,” 2019

Giclee in colors on paper

Edition: 40/55

Signed and numbered in the lower edge: Pedro Friedeberg; with the artist’s

authentication ink stamp lower left Sight: 29” H x 28.5” W

$400-600

Pedro Friedeberg

(b. 1936)

99

Salvador Dali (1904-1989)

“Cyclopean Make-up” from “Imaginations and Objects of the Future,” 1975-76

Lithograph and etching in colors with collage on Arches paper

Edition: 137/250 (there was also an edition of 50 as well as 25 artist’s proofs, all numbered in Roman numerals)

Signed and numbered in pencil below the image: Dali; Merrill Chase Publishing Association, Chicago, IL, pub.

Plate: 27.25” H x 20” W; Sheet: 30.25” H x 22” W

$700-900

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

100

Salvador Dali (1904-1989)

Menorah

Gold-toned pewter and cast stone

Edition: 69/100

Stamped signature and edition number the metal verso

14.5” H x 9.5” W x 4” D

$2,000-4,000

Notes: This lot is accompanied by a signed certificate of authenticity from Dali Universal Inc.

“Mentor”

Screenprint with hand embellishments on wove paper

Edition: m.p. 2/3

Signed at the lower left edge: Orlando; numbered and inscribed [m.p.] at lower right; titled on a label affixed to the overmat, lower left

Image/Sheet: 60” H x 36” W

$1,000-2,000

101 Orlando Botero

(b. 1946)

102

Paul McCobb (1917-1969)

Dining table for H. Saks and Sons Connoisseur Collection, circa 1960s

Marked with a paper label to the interior: Connoisseur Collection by Paul McCobb / H. Saks and Sons / Brookline, Mass.

The racetrack-style lacquered mahogany table with six tapered legs, brass banding and h-stretchers, and six leaf inserts

7 pieces

Sans leaves: 29.25” H x 62” W x 42.25” D; extended: 29.25” H x 128.5” W x 41.25” D

$3,000-5,000

103

Six Planner Group 1533 “Shovel” chairs for Winchedon Furniture Company, circa

1950-59

Designed 1950

Each appears unmarked

Each with black lacquered maple seat and spindle ladder backrest, wrought iron frame, and four rubber feet

6 pieces

Each: 33.75” H x 18.25” x 18” D

$3,000-5,000

Paul McCobb (1917-1969)

104

Paul McCobb (1917-1969)

A cocktail table with two ottomans, mid-20th century

Appears unmarked

The

3 pieces

cocktail table with a later added rectangular white quartz top raised on four brass legs joined by an H-stretcher, accompanied by two matching ottomans with white vinyl covered cushions on conformingly styled brass legs

Table: 15” H x 72” W x 24” D; each ottoman: 15.75” H x 20.25” W x 20.25” D

$2,000-3,000

105 Charlotte Perriand (1903-1999)

A group of CP1 multicolor metal sconces, mid/late 20th century; France

Designed circa 1960s

Each marked with sticker to the interior: SCE / E14 / Made in France

Twelve enameled metal, single light sconces comprising three black, five yellow, and four red, each with a kinetic shade and white and black enameled metal wall mount, electrified

12 pieces

Each: 5” H x 6.25” W x 2.75” D

$5,000-7,000

“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: Miro; inscribed in pencil, lower left: e.a. [epreuve d’artiste]; Mourlot, Paris, prntr./pub.

Image/Sheet: 19.875” H x 25.875” W”

$8,000-12,000

Literature: Mourlot 190

Provenance: Russeck Gallery, San Francisco, CA

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

106

Joan Miro (1893-1983)

107

An Art Deco reverse-painted glass plate

Circa 1920s

Appears unmarked

The translucent, clear glass plate with etched floral motifs and black and yellow reverse-painted rim

1” H x 10” Dia.

$500-700

108

Adrian Pearsall (1925-2011)

A Brutalist credenza for Craft Associates, circa 1970s

Appears unmarked

After Paul Evan’s ‘Goop’ cabinet design, the four-door credenza with wood carcass, applied bronze-colored, faux patinated resin slathered onto the wood surface, layered up and incised to create various Brutalist geometric designs, and adjustable shelving to the interior; set upon a patinated metal plinth base, 2 pieces

On base: 32” H x 84” W x 21.75” D

$2,000-4,000

109

Vladimir Kagan (1927-2016)

Eight upholstered dining chairs, circa 1960s

Designed 1946

Each appears unmarked

Each with L-shaped seat upholstered in silver faux-shagreen vinyl and set upon four walnut tapered legs

8 pieces

Each: 37.5” H x 18.75” W x 19.5” D

$2,000-4,000

110

Vladimir

A “Model 201” mahogany round extension dining table, mid-20th century Designed 1955

Partial burn mark to the underside: A Vladimir Kagan [indecipherable]

The circular expandable dining table with a rounded edge seamlessly conjoined with the four tapered legs, with two conformingly designed leaf inserts

3 pieces

Sans leaves: 28.5” H x 47” W x 47.5” D; fully extended: 28.5” H x 95.25” W x 47.5” D

$1,500-2,500

Kagan (1927-2016)

111

Thomas

“After the Blow”, 1946

Lithograph on pape

From the edition of 250 r

Signed in pencil in the lower margin, at right: Benton; Associated American Artists, New York, pub.

Image: 9.875” H x 14” W; Sheet: 12” H x 15.25” W

$3,000-5,000

Provenance: Collection of the artist

Private Collection, Massachusetts

Associated American Artists (purchase), New York, NY

Private Collection, by descent, to the daughter

Private Collection, Santa Barbara, CA

The Owings Gallery, Santa Fe, NM

Chase Collection, Snowmass, CO

Literature: Fath 70

Hart Benton (1889-1975)

112

Thomas Hart Benton (1889-1975)

“Aaron,” 1941

Lithograph on paper

From the edition of 250

Signed in pencil in the lower margin, at right: Benton

Image: 12.875” H x 9.625” W; Sheet: 14.25” H x 10.875” W

$1,000-2,000

Literature: Fath 42

113

John Steuart Curry (1897-1946)

“The Plainsman,” 1945 Lithograph on paper

From the edition of 250

Signed

Image:

$1,000-2,000

Literature: Cole 40

Notes: The original Associated American Artists information labels are affixed to the frame’s backing paper.

in pencil in the lower margin, at right: John Steuart Curry; titled on a label affixed to the frame’s backing paper; Associated American Artists, New York, pub.

15.75” H x 9.625” W; Sheet: 18” H x 12” W

114

Franco Lapini (b. 1936-2017)

A silver-plated owl wine cooler, circa 1970s; Florence, Italy

Signed to the underside: Franco Lapini; further marked: Made in Italy

The life-sized cast owl, realistically rendered with molded feathers and yellow glass eyes with articulating pupils; hinged at the neck and fitted with a plastic liner to the hollow interior

19” H x 7” W x 10.5” D

$1,000-2,000

115

A

$1,000-2,000

Richard Etts (b. 1945)

cast plaster Surrealist table lamp, 1974

Signed along the base: © 1974 / Richard Etts

The single light lamp constructed from a casting of the artist’s hands, holding a bowl, inside of which is the socket, electrified 16” H x 7.25” Dia.

$400-600

An Evelyn Ackerman for ERA industries hydrostone figure Circa 1960s; Los Angeles, CA

Marked to the underside: © ERA Industries, Inc.

Designed by Evelyn Ackerman (1924-2012) for she and husband Jerome (Jerry) Ackerman’s (1920-2019) company ERA Industries (est. 1956), the cast and painted female figure cloaked in multi-patterned garments

3” H x 3.25” W x 2.5” D

117

After Kathe Kollwitz (1867-1945)

“Hamburger Kneipe (Tavern In Hamburg),” 1901 Soft-ground etching on thick cream wove paper Printed posthumously

Bears signature in pencil in the lower right corner of the plate: Kollwitz; von der Becke, prntr./pub., with their blindstamp along the lower edge of the platemark, at left Plate: 7.5” H x 9.5” W; Sheet: 12.25” H x 14.75” W

$500-700

Provenance: Sold: Butterflied & Butterfield, San Francisco and Los Angeles, CA, “American and European Prints,” April 20, 1994, Lot 160

Literature: Klipstein 58

Notes: This lot is sold together with a copy of the payment document from the above-mentioned auction.

118

Käthe Kollwitz (1867-1945)

“Verbruderung (Brotherhood),” 1924

Lithograph on thin ivory wove paper

From an edition of 400

Signed in pencil in the lower margin, at right: Kollwitz

Image: 9.25” H x 6.75” W; Sight: 11.5” H x 8.5” W

$700-900

Provenance: Galerie St. Etienne, New York, NY

Literature: Klipstein 199

Knesebeck 204

Notes: This lot is sold together with a sales invoice from Galerie St. Etienne, New York, NY, dated November 18, 1986, and an envelope with a small descriptive label from the gallery to affix to the back of the frame.

119

Kathe Kollwitz (1867-1945)

“Brot! (Bread!),” from the portfolio “Hunger,” 1924 Lithograph on paper

Signed in pencil, lower right: Kollwitz; titled in the stone along the lower edge, at center Image: 14” H x 11” W; Sheet: 15” H x 11.75” W

$800-1,200

Provenance: Sold: Bonhams, New York, NY, “Modern & Contemporary Prints & Multiples,” November 17, 2015, lot 14

Literature: Klipstein 1196

Knesebeck 208

Notes: This lot is sold together with two identical copies of a sale invoice from Bonhams, New York, NY, dated November 17, 2015.

According to the Kathe Kollwitz Museum Koln (Cologne), “The lithograph ‘Brot!’ is one of Kathe Kollwitz’s best-known works from the 1920s. It was published in 1924, on the 10th anniversary of the outbreak of the First World War in the portfolio ‘Hunger,’ published by the Internationale Arbeiterhilfe (IAH), with seven original lithographs, e.g. by Otto Dix, George Grosz, and Heinrich Zille.” Kathe Kollwitz’s name is closely associated with the visual nature of creating highly emotional works that portrayed poverty and the sufferings of the working class, the effects of the war, etc. The museum articulates the visual workings of this image by saying, “...she [the mother] has only a piece of bread with which she cannot feed her children. The girl has already bitten off and desperately demands more, while the mother hands the other half behind her back to the boy. The lithograph inscription ‘Brot!’ gives an impressive voice to the silent scene.”

120

Francisco de Goya (1746-1828)

Plate 51, “Se repulen,” from “Los Caprichos,” circa 1799 Etching and aquatint in brownish-black ink on cream paper From the edition of unknown size and date, printed later Unsigned; with the printed plate number and title at the upper right corner and lower center portion of the plate, respectively

Plate: 8.5” H x 5.75” W; Sight: 9” H x 6.375” W

$400-600

Notes: The exact number of editions of the “Los Caprichos,” printed between the first in 1799 and the last in 1937, is not known. At least 12 separate editions have been identified. Today, the original plates are preserved in the National Engraving Museum of the San Fernando Royal Academy of Fine Arts in Madrid.

121

After Pablo Picasso (1881-1973)

“Bacchanale,” c. 1955

Etching and aquatint on paper

Edition: 113/250

Signed and numbered in pencil, possibly in another hand, in the lower margin: Picasso; Atelier Crommelynck, Paris, prntr./pub.

Plate: 18.75” H x 22.125” W; Sheet: 22” H x 31” W

$5,000-7,000

Notes: This lot is sold together with a certificate of authenticity issued on June 21, 1972 by The Upstairs Gallery, Long Beach, CA

122

Marc Chagall (1887-1985)

“La Fenetre de L’Atelier,” 1980 Etching on wove paper

Edition: 8/30

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

Plate: 12.5” H x 10.875” W; Sheet: 23.25” H x 17.25” W

$1,000-1,500

Literature: Cramer 108

123

Marc Chagall (1887-1985)

Four plates from Jean de La Fontaine’s “Fables,” 1952

Each: Etching on paper

From the edition of 200

Each: Appears unsigned, but with the signature printed in the plate; Teriade

Editeur, Paris, pub.

Plate: 11.5” H x 9.625” W; Sheet: 15.75” H x 12”; Plate of one print: 11.75” H x 9.5” W; Sight of one print: 13.125” H x 11” W

$500-700

Literature: Cramer Books 22

124

Malcolm Leland (1922-2019)

A pair of “Mo. #14 Candlesticks”, circa 1950s

Each appears unsigned

Each matte glazed ceramic modernist candlestick with a tripod base

2 pieces

Each: 5.5” H x 4” Dia.

$400-600

Provenance: From the estate of Mary Jane Leland

125

Malcolm Leland (1922-2019)

A “Mo. #12 Centerpiece”, circa 1951

Signed to the underside: Leland

The matte glazed ceramic centerpiece of biomorphic form

8.75” H x 9” Dia.

$400-600

Provenance: From the estate of Mary Jane Leland

Notes: This centerpiece, labeled as model number 12, appears in a scanned image on Leland’s website: http://malcolmleland.com/ceramic.php

127

Malcolm Leland (1922-2019)

A “Bird’s Mouth” vase, circa 1957-58

Signed to the underside of the base: Leland

The matte glazed cylindrical ceramic bud vase with attenuated neck

13” H x 3” Dia.

$500-700

Provenance: From the estate of Mary Jane Leland

126

Malcolm Leland (1922-2019)

A “Mo. #13 Compote” and smaller compote, circa 1960-1969

Each appears unsigned

Comprising two matte glazed ceramic compotes, each with a small platter atop an inversely tapered cylindrical base

2 pieces

Larger: 9.5” H x 5.5” Dia.; smaller: 4.25” H x 6.75” Dia.

$700-900

Provenance: From the estate of Mary Jane Leland

Notes: The larger compote, model number 13, appears in a scanned image on Leland’s website: http://malcolmleland.com/ceramic.php

128

Malcolm

Wall sculpture, mid-20th century Cement, metal, fabric, and wood

Appears unsigned

14” H x 11.5” W x 4.5” D

$400-600

Provenance: From the estate of Mary Jane Leland

Leland (1922-2019)

129

Edward Clark (1911-2000)

“C.P.O. Graham Jackson, Warm Springs, Georgia, mourning the death of FDR,” 1945 Gelatin silver print on paper

From the edition of unknown size (there was an edition of 10 that were signed by Edward Clark and Graham Jackson); printed later

Signed in ink in the lower margin, at right: Edward Clark; titled and annotated in pencil, in another hand, verso: Print made in the Time-Life Photolab / © Time Inc. All rights reserved; with the printing authorization ink stamp from the LIFE Gallery of Photography, New York, NY, verso; Time-LIFE Photo Lab, New York, NY, prntr.

Image: 8” H x 12” W; Sheet: 11.25” H x 14” W

$1,200-1,800

Notes: This image was published in Life magazine on April 17, 1945.

130

Jan Saudek (b. 1935)

“Milan, 1975”

Sepia and toned gelatin silver print on paper

From the edition of unknown size

Signed in ink lower right: Jan Saudek

$1,000-2,000

Image: 12.625” H x 10.125” W; Sheet: 16” H x 12” W; Mat: 20” H x 16” W

131

Peter Basch (1921-2004)

Brigitte Bardot

Gelatin Silver Print

From the edition of unknown size

Signed and inscribed in white ink at the lower edge: Peter Basch / To Igor - a Master of the Craft / with thanks / Brigitte Bardot - Spain / 1957-1987

$1,000-2,000

Image: 13” H x 10” W; Sheet: 14” H x 11” W

132

Philippe Halsman (1906-1979)

“Einstein,” 1947

Gelatin silver print on paper

From the edition of unknown size; printed later, circa 1970

Signed in pencil, verso: Philippe Halsman; with the artist’s copyright ink stamp, and annotated in pencil, most likely in another hand, verso: Einstein, neg: 1947 / print: c. 1970

Image: 13.625” H x 10.375” W; Sheet: 13.875” H x 10.875” W

$800-1,200

133

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 verso; the Strathmore brand mat board with the manufacturer’s blindstamp in the lower left corner

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

$500-700

Provenance: 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 small 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.

“Bound Woman”

Gelatin silver print on paper

From the edition of unknown size and date

Signed, dated, and inscribed indistinctly in pencil, verso: Joel Peter

$1,200-1,800

134

Joel Peter Witkin (b. 1939)

Witkin Image: 7” H x 10.5” W; Sheet: 11” H x 14” W

Gelatin silver print on paper

From the edition of unknown size and date

Unsigned

$1,000-1,500

135

Joel Peter Witkin (b. 1939)

“Dominatrix (II)”

Image: 10” H x 10” W; Sheet: 14” H x 11” W

From

Unsigned Sheet: 11” H x 9.25” W

$600-800

136

Joel Peter Witkin (b. 1939)

Photo proof contact sheet

Gelatin silver print on paper

the edition of unknown size and date

137

O. Winston Link (1914-2001)

“Hot Shot, East Bound, Iaeger, West Virginia,” circa 1955-56

Gelatin silver print on paper

From the edition of unknown size; printed later

Signed and dated in pencil, annotated [NW1103 / PFMXG / 3-97] in pencil, and with the copyright credit reproduction limitation stamp, all verso: O Winston Link

Image: 15.5” H x 19.5” W; Sheet: 16” H x 20” W

$5,000-7,000

Provenance: Andrew Smith Gallery, Santa Fe, NM

138

Morley Baer

1916-1995

“Farm Knoll, Capay Valley’’ 1975

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

From the edition of unknown size; printed later, circa 1985

Titled and dated in pencil, on the mount, verso; the photographer’s and estate ink stamp with the authentication signature by Frances M. Baer, dated March 30, 1999, and the photography numbering 83937, in pencil, all on the mount verso

Image/Sheet: 7.5” H x 9.25” W; Mat board: 14” H x 16” W

$300-500

139

Morley Baer

(1916-1995)

“Round Valley and Mount Tom, Eastern Sierra,” 1974

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

From the edition of unknown size; printed later

Titled and dated in pencil, on the mount, verso; the photographer’s and estate ink stamp with the authentication signature by Frances M. Baer, dated 9-15-2000, and the copyright numbering 83782-2, in pencil, and all on the mount, verso

Image/Sheet: 10.5” H x 13.375” W; Mat board: 16” H x 20” W

$300-500

140

Lake at dusk, 1968

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

From the edition of unknown size; printed later

Signed and dated in pencil in the lower right corner of the mat board

Image/Sheet: 15.125” H x 19” W; Mat board: 22” H x 25” W

$5,000-7,000

Exhibited: Walnut Creek, CA, Bedford Gallery of the Lesher Center for the Arts, “Brett Weston

1950 - 1980 Land, Figure, and Abstract,” December 8, 2011 - February 19, 2012

Brett Weston (1911-1993)

141

Botanical leaves, 1975

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

From the edition of unknown size; printed later

Signed and dated in pencil in the lower right of the mat board

Image/Sheet: 15.125” H x 19” W; Mat board: 22” H x 25” W

$2,000-4,000

Brett Weston (1911-1993)

142

Brett Weston (1911-1993)

“Mendenhall Glacier,” 1973

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

From the edition of unknown size; printed later

Signed and dated in pencil in the lower right of the mat board: Brett Weston

Image/Sheet: 7.75” H x 9” W; Mat board: 13.25” H x 15” W

$2,000-3,000

Literature: Newhall 65

Cravens 93

143

Brett Weston

1911-1993

“Dunes, Baja,” 1968

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

From the edition of unknown size; printed later

Signed and dated in pencil in the lower right of the mat board: Brett Weston

Image/Sheet: 7.625” H x 9.625” W; Mat board: 13.25” H x 15” W

$2,000-3,000

144

Brett Weston (1911-1993)

“Ice,” 1973

Gelatin silver print on paper mounted to mat board, as issued From the edition of unknown size; printed later Signed and dated in pencil in the lower right of the mat board: Brett Weston

Image/Sheet: 9.625” H x 7.75” W; Mat board: 15” H x 13.25” W

$800-1,200

145

Ansel Adams (1902-1984)

“Bulto and Retablo, Las Trampas Church, New Mexico,” circa 1958 Gelatin silver print on paper mounted to mat board, as issued From the edition of unknown size; printed later circa1963-1973

Signed in pencil in the lower right of the mat board; titled in ink and with the photographer’s Carmel credit stamp, verso

Image/Sheet: 19.375” H x 14.75” W; Mat board: 28” H x 22” W

$1,000-2,000

Notes: This lot is sold together with a copy of index pages from the Ansel Adams photography collection from the Center for Creative Photography, University of Arizona, Tucson, AZ. With the accession number, title, date, and dimensions for the print in this lot.

146

Ansel Adams (1902-1984)

“Gottardo Piazzoni in His Studio, San Francisco,” circa 1932 Gelatin silver print on paper mounted to mat board, blindstamp Strathmore, as issued From the edition of unknown size; printed later Signed in pencil in the lower right of the mat board; titled in ink and with the photographer’s Carmel credit stamp, verso

Image: 15.75” H x 19.5” W; Mat board: 22” H x 28” W

$1,500-2,500

Notes: This lot is sold together with a copy of index pages from the Ansel Adams photography collection from the Center for Creative Photography, University of Arizona, Tucson, AZ. With the accession number, title, date, and dimensions for the print in this lot.

147

Ansel Adams (1902-1984

“Fern Spring, Dusk, Yosemite Valley, California,” circa 1961 Gelatin silver print on paper mounted to mat board, as issued From the edition of unknown size; printed later Signed in pencil in the lower right of the mat board

Image/Sheet: 12.25” H x 9” W; Mat board: 16.5” H x 13.5” W

$1,500-2,500

148

as issued Signed

pencil

$1,000-2,000

to the original

Doris Ulmann (1882-1934) “N.C. Farmer”

Gelatin silver print on paper hinged

mount,

in

on the mount, lower right: Doris Ulmann; numbered in pencil on the recto and verso of the mount: 29; titled in pencil in another hand on the back mat Image: 8” H x 5.875” W; Mount: 14.375” H x 11.375” W

149

Twelve plates from “Portfolio II: Iceland,” 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 of each: 10.5” H x 8” W (or opposite); Mat board of each: 20” H x 15” W (or opposite)

$3,000-5,000

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 cloth-covered portfolio case in which the works were originally issued.

Eliot Porter (1901-1990)

150 Miranda Lichtenstein (b. 1969)

“Evergreen,” 2003

C-print on paper

Appears unsigned; titled and dated on label affixed to frame’s backing board

Image/Sheet: 35.5” H x 28” W

$600-800

151

David

An Architectural Pottery planter, circa 1960s

Appears unsigned

The flame-glazed stoneware vessel with all-over earth toned glazing

7.625” H x 15” Dia.

$2,500-3,500

Cressey (1916-2013)

152

A Mexican modernist lounge chair, mid-20th century

Designed circa 1940s

Appears unmarked

The low-slung chair with a geometric oak frame, metal reinforcements, and woven seagrass seat back, the seat reinforced with a sandwiched piece of green leather 30” H x 26.25” W x 35” D

$500-700

Michael Van Bueren (1911-2004)

153

A Danish Trioh-Mobler rosewood tile top coffee table

Mid-20th century

Stamped to the underside: Made in Denmark / Trioh; ceramic tile further marked: OX-ART

The square rosewood veneer framed tabletop inset with sixteen hand painted ceramic tiles, glazed with abstracted foliate and geometric motifs, set upon four squared legs

16.5” H x 27.5” W x 27.5” D

$500-700

154

Paul Revere Williams (1894-1980)

Architectural drawing and two blueprints for an unrealized renovation of a private residence, Newport Beach, California, Mid-late 20th Century

Each graphite and colored pencil on thin beige wove paper

Signed in pencil along the right sheet edge on the first-floor blueprint: Paul Williams, the other two sheets unsigned; all three sheets with the name of the architect and architectural firm in pencil, incorporated as part of the overall rendering: Paul R. Williams F.A.I.A & Associates Architects

Smallest sheet: 18” H x 24” W; Largest sheet: 24” H x 36” W

$1,500-2,500

Notes: This proposal was for the Newport Beach residence of Mr. and Mrs. Howard B. Lawson.

155

Paul Revere Williams (1894-1980)

Architectural drawing and three blueprints for an unrealized renovation of a private residence, Newport Beach, CA, Mid-late 20th Century

Each graphite and colored pencil on thin beige wove paper

Each unsigned, with the name of the architect and architectural firm in pencil, incorporated as part of the overall rendering: Paul R. Williams F.A.I.A & Associates Architects

Each sheet: 18” H x 24” W (or opposite)

$1,500-2,500

Notes: This proposal was for the Newport Beach residence of Mr. and Mrs. Howard B. Lawson.

156

Paul Revere Williams (1894-1980)

Architectural drawing and two blueprints for an unrealized renovation of a private residence, Newport Beach, CA, Mid-late 20th Century

Each graphite and colored pencil on thin beige wove paper

Each unsigned, with the name of the architect and architectural firm in pencil, incorporated as part of the overall rendering: Paul R. Williams F.A.I.A & Associates

Architects

Smallest sheet: 14” H x 22.5” W; Largest sheet: 18” H x 24” W

$1,500-2,500

Notes: This proposal was for the Newport Beach residence of Mr. and Mrs. Howard B. Lawson.

157

Signed in black pen: Frank Lloyd Wright

The Farmers Bank check labeled No. 151 and inscribed for Pay to the Order of: “Cash” on May, 4, 1956; signed “Frank Lloyd Wright” as President of the Frank Lloyd Wright Foundation, Taliesin, Spring Green, Wisconsin

6” L x 2.625” W

$300-500

A Frank Lloyd Wright canceled check 1956; Taliesin, Spring Green, WI

158

A group of legal and personal documents belonging to Frank Lloyd Wright 1927; New York City, NY

The divorce proceedings legal documentation of the Supreme Court of the State of New York for the dissolution of the marriage of Frank Lloyd Wright and Mariam Noel Wright, filed December 23, 1927 comprising twenty-one typed pages signed by the named parties, along with one page of a handwritten letter from Frank Lloyd Wright to Miriam Wright on a sheet of Imperial Hotel Tokyo letterhead 20” L x 8.25” W approximately

$3,000-4,000

Notes: This lot is accompanied by a receipt of purchase from Steven S. Raab Autographs dated January 2, 2001.

159 Elizabeth Nyumi Nungurrayi (B. 1947)

“Bush Bean”

Oil on canvas

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

$400-600

160

Selina Trieff (1934-2015)

“Daughter,” 1979

Oil and gold leaf on canvas

Signed and dated, verso: Trieff; titled on an exhibition label stored behind the stretcher

12” H x 12” W

$700-900

Exhibited: Provincetown, MA, “The Provincetown Group,” n.d., no. 2449

Le Pho (1907-2001)

Le Pho was born in Hanoi, Vietnam in 1907. Growing education. During his teenage years and early education, precursor to his future success. Le Pho continued his to study under Stephane Fernand Brecq, Antoine Ponchin, Le Pho would experiment with symbolism, color, different

After graduating, Le Pho went to Europe to broaden technical art classes. During his time in Europe, it was continue to create through such a complex fulfillment. elongated figures of Vietnamese women, scenery of Vietnam,

After his time in Paris, Le Pho returned to Vietnam for teaching he returned to Paris in 1937 and never left, until “Les Tulipes Rouges et Blanches,” is a beautiful example style, while complimenting his Vietnamese roots, a gentle an exquisite example of one of the artists’ still lives from

up in a Vietnamese elite family, he was able to receive both Chinese literary and a French education, he excelled with various mediums of art. His early schooling would be an important studies at the prestigious Ecole des Beaux-Arts of Hanoi between 1925 and 1930. He would go Ponchin, Paul-Emile Legouez, and the most notable, Victor Tardieu. During this informative period, different brushtrokes, and themes of melancholy, nostalgia, and stylization of landscapes. his artistic skills and worldly knowledge. When first arriving in Paris he would take art history and was a learning experience, but also a realization of the distinction of self and how he would fulfillment. Therefore, delivering what the world best knows him for, which was, themes of surrealism with Vietnam, landscapes, flowers with rich color, etc.

for the last time, and was a professor at Ecole des Beaux Arts de L’Indochine. However, after until his passing at the age of 94 in 2001. example of the rich color, thick brushstrokes, the unique and complex themes of a French painting gentle reflection on the still life painting genre. Originally sold by the Wally Findlay Galleries, it is from the Findlay periods.

161

Le Pho (1907-2001)

“Les Tulipes Rouges et Blanches” Oil on canvas

Signed lower right: Le Pho; titled on the frame plaque

40” H x 26” W

$60,000-80,000

Provenance: Wally Findlay Gallery, Chicago, IL Estate of Margaret “Pat” Breen, Houston, TX, acquired from the above Sold: New Orleans Auction Galleries, Inc., New Orleans, LA, “March Major Estates Sale,” March 23, 2019, Lot 908 Private collection, Los Angeles, CA, acquired from the above

Notes: This lot is sold together with a certificate of authenticity from the Findlay Institute, New York, NY. In addition, the work in this lot, “Les Tulipes Rouges et Blanches,” will be included in the Le Pho catalogue raisonne being prepared by the Findlay Institute.

162

Leonardo Nierman (1932-2023)

“Fishing Nets”

Watercolor and oil on paper

Signed lower left: Nierman; titled by repute

Sight: 13.25” H x 9.375” W

$400-600

Provenance: La KAE Galleries of Fine Art, Palm Desert, CA

163

Leonardo

“Flight”

Watercolor and oil on paper

Signed lower left: Nierman; titled by repute

Sight: 13.5” H x 10.5” W

$400-600

Provenance: La KAE Galleries of Fine Art, Palm Desert, CA

Nierman (1932-2023)

164

Max Finkelstein (1915-2016)

Abstract, 1964

Hammered and welded copper

Signed and dated to the metal: M Finkelstein / 64

29” H x 20.5” Dia.

$600-800

165

A patinated bronze settee

Early/mid-20th century

Appears unmarked

In the manner of a Thonet bentwood model, the undulating tubular metal settee with an ovoid seat cushion upholstered with leopard print fabric, set upon four curved legs, each with a metal foot 37” H x 45.5” W x 20” D

$800-1,200

166

After

Appears unmarked

Jean Royere (1902-1981)

A “Bekin” Wall Console, circa 1950s

The gilt wrought wall-mounted “floating” iron frame and glass top 24” H x 36” L x 15” D

$1,200-1,800

167

A pair of contemporary upholstered slipper chairs

20th century

Each appears unmarked

Two low-profile slipper chairs, each with rounded seatback and cushion custom upholstered in red sateen fabric with red and cream chenille piping, 2 pieces

Each: 33” H x 34” W x 35” D

$600-800

Josh Agle (aka SHAG)

(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, during which time. These early experiences would later shape his artistic

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

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 his world that feels simultaneously nostalgic and contemporary.

professionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has

a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His which he would spend countless hours drawing and immersing himself in the visual culture of the artistic vision and inspire his signature style.

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 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.

168

Josh Agle (aka SHAG) (b. 1962)

“Rib Eye,” 2007 Acrylic and vinyl paint on panel Signed lower right: SHAG; signed, dated, and titled, verso 24” H x 30” W

$4,000-6,000

Provenance: Property from a Distinguished Palm Springs Estate

169

Colin Christian (b. 1964)

“Snackcake’s Big Sci-Fi Head”

Fiberglass, acrylic, and paint

Edition: 6/6

Signed, titled, and numbered in marker on the verso

41” H x 29” W x 9.5” D

$2,000-3,000

Provenance: Property from a Distinguished Palm Springs Estate

170

Dennis K. Mullen (b. circa 1950s)

Five glass bowls, 2001

Each with etched signature and date: Dennis K Mullen / 2001

The bowls in varying marbled hues of blue, green, red, orange, and yellow

5 pieces

Largest: 6” H x 25” W x 17” D; smallest: 6.5” x 20.625 W x 18.75” D, approx.

$800-1,200

Provenance: Property from a Distinguished Palm Springs Estate

171

“Sir James I,” from “George’s Series,” 1987

Acrylic and canvas collage on paper mounted to plywood panel

Initialed lower right: HF; signed, titled, and dated, verso; titled again on a gallery label, affixed verso 24” H x 18” W

$1,500-2,500

Provenance: Adams-Middleton Gallery, Dallas, TX

Sold: Christie’s, New York, NY, “Christie’s Interiors,” March 2, 2011, lot 33

Sold: Doyle, New York, NY, “Doyle + Design,” June 10, 2015, Lot 40

Exhibited: Dallas, TX, Adams-Middleton Gallery, “Herbert Ferber Paintings, Drawings and Sculpture,” January 22-March 5, 1993

Herbert Ferber (1906-1991)

172

Keith Haring (1958-1990)

“Untitled,” 1984

Ink on yelllow wove paper

Signed and dated in ink in the lower portion of the right margin: K. Haring; the title / certificate of authenticity / artist’s estate black ink stamp, handsigned and dated 5/2/93 by Julia Gruen, Executor for the Keith Haring Estate, verso

11.625” H x 16.375” W

$15,000-20,000

173

A Maurice Bailey for Monteverdi-Young dining table

Circa 1960s

Appears unmarked

The lacquered mahogany sculptural table set upon four tapered legs and an extended X-stretcher, expandable with two leaf inserts

3 pieces

Sans leaves: 30.25” x 84.25” W x 54” D; extended: 30.25” H x 128” W x 54” D

$1,500-2,500

174

Mario Bellini (b. 1935)

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

Designed 1977

Each embossed to underside: Cassina

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

4 pieces

Each: 32” H x 18.5” W x 15.5” D

$3,000-5,000

175

Mario Bellini (b. 1935)

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

Designed 1977

Each embossed to the underside: Cassina

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

2 pieces

Each: 32” H x 22.5” W x 17.25” D

$1,200-1,800

176

Leonard Baskin (1922-2000)

“Hanged Man”, 1956 Bronze

From the edition of unknown size

Marked to right shoulder verso: B; further marked under right foot: W

7” H x 2.25” W x 1.25” D

$400-600

Notes: Likely purchased from an unknown number of editions of maquettes from R. Michelson Galleries: https://www.rmichelson.com/artists/leonardbaskin/sculpture/hanged-man-web-back/

Louise Nevelson

(1899-1988)

Louise Nevelson was a prominent American sculptor, known and discarded objects with most of it being wood, through Born in Pereyaslav, Russia, a Poltava Governorate province her family emigrated to Rockland, Maine in 1905. Nevelson York City. The early half of the 20th century would be a League, New York, NY. Studying under Hans Hofmann paintings for the New Workers School and learning about However, in the 1950s her commercial success arose, with 1950s, she flourished in the art world for decades, evoking

In 1981, “Sun-Set” was created during the latter half of varied materials like plastic/Plexiglas, Cor-Ten steel, and assemblages, especially black. Nevelson even goes on It was an acceptance. Because black encompasses all thing.” “Sun-Set,” captures her intricate use of blending imperfections to help create a relationship among the

Louise Nevelson died on April 17, 1988, in New York. away from the confinements of life, through her artistic American Art, flawlessly articulated the impact of Nevelson most determined, the most forceful, the most difficult. could take, that route.”

Louise Nevelson’s work has been exhibited alongside

Alice Baber, William Baziotes, Norman Bluhm, Louise Sam Gilliam, Michael Goldberg, Adolph Gottlieb, Grace de Kooning, Lee Krasner, Morris Louis, Joan Mitchell, Park, Ray Parker, Betty Parsons, Jackson Pollock, Richard Thomas, Jack Tworkov

Select Museum Collections:

Brooklyn Museum, New York, NY

Museum of Modern Art, New York, NY

Smithsonian American Art Museum, Washington, D.C. Tate Modern, London, England

Whitney Museum of American Art, New York, NY

known for her various abstract cubist forms, large installations assemblages made from found through a poetic and personal lens.

province in Imperial Russia (now Kyiv, Ukraine) in 1899, to an Orthodox Jewish family. Nevelson and Nevelson had a blossoming passion for her high school art classes and a dream to study art in New a foundational key to her future success. From 1928 to 1930 she studied at the Art Students Hofmann at the School for Modern Art, Munich, Germany, in 1931, assisting Diego Rivera in 1933 with about pre-Columbian art, and having her first solo exhibition in 1941 at the Nierendorf Gallery. with the sole use of color used on her large wood assemblages from found objects. After the evoking imagery of visual unity with contrasting elements.

of her career, as she continued using found and discarded wood, she also started implementing and aluminum. However, she remained consistent with the monochromatic color scheme of her on to say, “When I fell in love with black, it contained all colors. It was not a negation of color. colors. Black is the most aristocratic color of all. You can be quiet, and it contains the whole blending “incompatible” found objects into a creative masterpiece of harmony by capturing “their parts.” (MoMA (Museum of Modern Art)).

She was ahead of her time and represented the idea of female independence and breaking artistic expression and passion. Don Bacigalupi, the former director of the Crystal Bridges Museum of Nevelson by saying, “In Nevelson’s case, she was the most ferocious artist there was. She was the difficult. She just forced her way in. And so that was one way to do it, but not all women chose to, or

many key members of the Abstract Expressionist movement, including (but not limited to):

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 Robert Motherwell, Robert Natkin, Barnett Newman, Kenneth Noland, Jules Olitski, Charlotte Richard Pousette-Dart, Ad Reinhardt, Milton Resnick, Mark Rothko, Clyfford Still, Alma Woodsey

177

Louise Nevelson (1899-1988)

“Sun-Set,” 1981

Black polyester resin

Edition: 38/125 (there were also 25 artist’s proofs)

With the incised signature and numbering on the title/publisher plaque affixed verso: Louise Nevelson; Pace Editions, Inc., New York, NY, pub.

12.5” H x 18” W x 2.5” D

$7,000-9,000

178 Peter Rostovsky (b. 1970) “Man in Fog,” 2010 Oil on panel

Unsigned 48.25” H x 64” W

$5,000-7,000

Notes: This title and date comes from the artist’s website,

179 James Siena (b. 1957) Untitled, 1999 India ink and graphite on paper Appears unsigned Sheet: 60” H x 40” W $10,000-15,000

“Horizon with Stars,” 1991

Pencil on paper

Unsigned; titled and dated on a gallery label affixed to the frame’s backboard

Image: 10.125” H x 9.375” W; Sheet: 14” H x 10.875” W

$2,000-3,000

Provenance: Richard Kuhlenschmidt Gallery, Santa Monica, CA

Notes: There is a very small piece of paper tipped near the upper edge, verso, with the following written slightly illegibly in ink: Rene Rooselot / solo

180 Jack Pierson (b. 1960)

181

Jack Pierson (b. 1960)

“So You Look Around the Tiny Room and You Wonder Where the Hell You Are,” 1991 Graphite on paper

Unsigned; titled and dated on a gallery label affixed to the frame’s backing board

Sheet: 12” H x 9” W

$1,500-2,500

Provenance: Simon Watson, New York, NY

182

“Untitled

Initialed and dated in the lower right corner: R.J.; signed with the artist’s full name, titled, and dated on the frame’s backboard

9.75” H x 13” W

$1,000-2,000

Robert C. Jones (1930-2019)

Drawing,” 1990 Ink and acrylic on paper

183

Louise LeBourgeois (20th/21st century)

“Lake (#269),” 2003

Oil on panel

Signed, titled, dated, and inscribed verso: © Louise LeBourgeois / February

11” H x 17” W x 1.75” D

$300-500

184

Helen Allois (20th century)

“Becky Royal Squirrel,” 2019 Oil on wood Signed and dated in the lower edge, at center: Allois; titled along the right edge 10.125” H x 8.125” W $1,000-2,000

185

A “Pony” chair in the style of Eero Aarnio

Late 20th century

In the manner of Eero Aario’s (b. 1932) “Pony” chair designed 1973, the Space Age fiberglass chair with the trademark molded body, lacking ears, set upon later added carved walnut piano legs 33.5” H x 20” W x 42” D

$400-600

Notes: The “Pony” chair appears to have been produced only in upholstered molded foam. This chair is possibly a repurposed polymer or fiberglass mold used in the production process to create the molded foam upper body. The possible mold has been augmented with later added wood legs to create a new decorative object.

186

Henry Schwartz (1927-2009)

“Ruby Green,” 1958

Glazed ceramic, plaster, and wood

Signed, dated, and titled to the verso: Henry Schwartz

16.75” H x 13” W x 1” D

$600-800

187

William Baziotes (1912-1963)

Untitled, circa 1961-1962

Watercolor and graphite on thin board

Signed in graphite lower right: Baziotes; with a copy of the estate ink stamp that is on the reverse of the thin board, affixed to the frame’s foamboard backing

Sight: 6.125” H x 8.5” W

$5,000-7,000

Provenance: Estate of the artist, New York, NY

Fine Arts of Philadelphia, Philadelphia, PA, 1982

Private collection, Philadelphia, PA, acquired from the above

Sold: Barridoff Galleries, Portland, ME, “International Fine Art Auction,” April 30, 2014, lot 146

Private Collection, acquired from the above

Sold: Christie’s (Online), “First Open | Post War & Contemporary Art,” December 7-14, 2017, Lot 32

Private Collection, CA, acquired from the above

Henrietta Berk (1919-1990)

The story of the career of Henrietta Berk is of triumph ignited. Born in 1919 in Wichita, Kansas, Berk lived the Abandoned by her father and left at an orphanage by independent identity, Berk turned to artmaking during a college degree. She married Dr. Morris Berk in 1939, husband.

Berk could not resist panting. She began executing small press in 1957. She was urged by a friend to take art classes 1961, often the oldest student in the classroom. She studied forever. From her studies at CCAC and visiting the surrounding Movement. Her participation in a group show, Painted attention, but it was her solo exhibition at Lucien Labaudt group exhibitions throughout the next decade, often painting and the movement of abstract expressionism

Her creative output only diminished with her health. Diagnosed blind by the middle of the 1970s. Unfettered by her lack colors) until her death in 1990.

The work “Piper Island Ferry” demonstrates Berk’s classic each section of the landscape composition. Bold, saturated 1959: “With rich, thick color often applied with the expressive something of the turning of the earth, the life forces of within their own expressive, vivid color application, separating

Henrietta Berk’s artistic achievements inspire, and her Solon proclaims, “Berk defied the odds. She had every history-any one of these obstacles could have derailed effacing. Although gratified by the critical recognition delight she experienced through making her art.” Henrietta exhibition at The Hilbert Museum in Orange, California, Berk.

Berk’s work is in many prestigious private collections, California and The Hilbert Museum of California Art in Theophilus Brown, Elmer Bischoff, Wayne Thiebaud, Gregory

triumph and creative explosion, one that proves that it is never too late for artistic genius to become the life of a traditional American woman in the middle of the 20th century. Until she didn’t. by her mother, Berk’s early childhood is clouded and tragic. To heal her trauma and forge an during her time at the orphanage. Berk graduated from high school in 1936 but did not complete 1939, living the life of an American housewife, her personal artmaking a mild annoyance to her small interior projects for neighbors in Oakland, California, receiving some recognition in the classes and enrolled on and off at CCAC (California College of Arts and Crafts) from 1957 to studied under Richard Diebenkorn in the summer of 1957, which would alter her artistic career surrounding contemporary art scene, Berk’s work would become linked to the Bay Area Figurative Painted Flower, at the Oakland Art Museum (now the Oakland Museum of California Art) gained some Labaudt Art Gallery that propelled her career as an artist. Berk participated in numerous solo and the only woman on the roster. Berk blurred the line between realism in landscape and figurative expressionism gripping the West Coast art world.

Diagnosed with diabetes in the late 1960s, it steadily worsened her eyesight until she was nearly lack of vision, Berk continued to paint (on large canvases so she could make out shapes and classic techniques. The painting is developed through broad, thick applications of paint, building saturated colors emanate from the canvas, recalling art critic Miriam Dungan Cross’s review from expressive energy of Van Gogh, [Berk] transmits her sensitive vision of landscapes...There is of nature in her landscapes...” The trees, ferry, and lines of the sky and horizon are all created separating each area by both color and technique, coalescing into a unified, energetic piece. her work is coming into its own in American art history. As professor and art historian Deborah every reason not to succeed. Age, gender, lack of full-time training, and a complicated personal derailed her career. But when she painted, all those hurdles evaporated. Berk was circumspect and selfrecognition and grateful for the financial success, her true focus was the personal freedom, joy, and creative Henrietta Berk’s life work is experiencing a rediscovery, and was the center of a retrospective California, in 2021 in conjunction with the publishing of In Living Color: The Art and Life of Henrietta

and a part of the collections of institutions such as the Crocker Art Museum in Sacramento, in Orange, California. Related artists include Richard Diebenkorn, Paul Wonner, William Gregory Kondos, Roland Peterson, and Raimonds Staprans.

188

Henrietta Berk (1919-1990)

“Piper Island Ferry”

Oil on canvas

Signed lower right: H. Berk; titled on a label housed in a plastic sleeve affixed to the frame’s backing board

60” H x 48” W

$10,000-15,000

Provenance: Private Collection, Colorado

Steven Stern Fine Art, Santa Monica, CA, acquired from the above

Notes: A torn label is housed in a plastic sleeve affixed to the frame’s backing board.

Raimond Staprans (b. 1926)

Raimond Staprans, born in Latvia in 1926, immigrated Archipenko and Mark Tobey before moving to the San professors, Hans Hofmann and Karl Karsten, proved influential in the Bay Area painting movement.

Painted in 1995, “A Study of Down-Rolling Oranges with appear in the artist’s work, along with titles that personify Restless Oranges” (2005). The humble orange appears artist’s more recurring subjects.

This painting, which was shown at the Mendenhall Gallery The work has not been exhibited at any times since that it.

immigrated to the United States in 1947. He studied art at the University of Washington under Alexander San Francisco Bay Area to study at the University of California, Berkeley. His influential to the young artist’s working methods which helped Staprans become an iconic figure

with a Staid Neon Apple” exemplifies Staprans’s mastery of the still life genre. Oranges often personify them — in titles such as “Four Windswept Oversize Oranges” (2000) or “Some More appears frequently enough in the artist’s work that it could accurately be described as one of the

Gallery in Pasadena in 1996, was acquired by a private collector shortly after the exhibition closed. that initial exhibition. It comes to market from the same private collector who originally acquired

189 Raimond Staprans

(b. 1926)

“A Study of Down-Rolling Oranges with a Staid Neon Apple,” 1995 Oil on canvas

Signed and dated lower right: Staprans; titled verso 42” H x 46.75” H

$40,000-60,000

Provenance: Mendenhall Gallery, Pasadena, CA Private Collector, Pasadena, CA, acquired from the above, 1996

Notes: This lot is sold together with a copy of the 1996 sales invoice from Mendenhall Gallery and a variety of Staprans exhibition flyers for solo shows hosted by this gallery.

190

Arne Jacobsen (1902-1971)

An “Egg Chair” for Fritz Hansen, circa 1960s

Designed 1958

Metal foil sticker to the aluminum base: FH by Fritz Hansen / 1269 / Danish Furniture Makers Control

With a biomorphic orange wool upholstered seat set on an aluminum star-shaped base with four supports

41.5” H x 32” W x 30” D

$1,000-1,500

191

Four Vladimir Kagan-style barrel swivel chairs

Mid-20th century

Each appears unmarked

Each barrel swivel chair upholstered with a terracotta boucle and set upon a Lucite horseshoe base, 4 pieces

Each: 25.25” H x 29.75” W x 28” D approximately

$1,500-2,500

192

Lawrence Laske (b. 1963)

A “Saguaro Cactus” side table for Knoll Studio, circa 1990-1999 Designed 1993

Metal tag to the underside: Lawrence Laske / Saguaro Cactus Table / Knoll Studio / 1993

The postmodern circular side table with an inverted “cactus”shaped pedestal and legs

20” H x 20” Dia.

$500-700

193

A T.H. Robsjohn-Gibbings

Circa 1950s; Grand Rapids, With cloth tag to the top marked with retailer’s Designed by T.H. Robsjohn-Gibbings sideboard with applied of two drawers behind left and three additional 31.5” H x 72” W x 21.75”

$1,500-2,500

Robsjohn-Gibbings for Widdicomb modernist sideboard Rapids, MI

top right drawer interior: Widdicomb / designed by T.H. Robsjohn-Gibbings; further metal label: Huffman-Boyle / Fine Furniture / HB

Robsjohn-Gibbings (1905-1976) for Widdicomb Furniture Co., the sculptural maple wood applied rounded projections to the front of each cabinet door which flank a concealed set behind a hinged dropdown front; cabinet doors open to reveal adjustable shelving to the additional interior drawers to the right, all set upon four tapered brass legs 21.75” D

194

A modernist Edward Wormley-style periodical console

Mid-20th century

Appears unmarked

The three-tiered walnut framed shelving unit with two inset black Formica shelf surfaces surmounted by an inset black Formica lectern-style slanted reading surface, and a curved, slatted dowel rail to the front edge; set upon four squared legs, each with a brass foot cap

53” H x 36.25” W x 19.25” D

$600-800

195

A pair of Mazzega Murano glass wall sconces

Circa 1960s-1970s; Venice, Italy

Each appears unmarked

Each two-light sconce with six amber and clear glass panels, bolted together, and a metal panel with two holes for wall-mounting verso, electrified, 2 pieces

Each: 12” H x 7” W x 7.5” D

$400-600

196

Tarmo Pasto (1906-1986)

“Golconda II”

Oil on canvas

Signed near the center of the lower edge: Tarmo Pasto; titled in pencil on the stretcher bar, verso 38” H x 60” W

$2,000-3,000

Notes: This lot is being offered in a frame hand-painted by the artist. The number 281 is written twice on the stretcher bar in ink, verso.

Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures Wayne Thiebaud, and Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum, which holds examples 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 remained unseen by subsequent generations of viewers. John Moran Auctioneers is pleased to offer this work for sale for the very first

verso. lifetime. Though he is a key figure in a circle figures such as Mel Ramos, examples of Pasto’s work work that has largely first time.

197

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

$1,000-2,000

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

198

Toti Scialoja (1914-1998)

Nude standing figure, 1952

Mixed media on paper laid to board

Signed and dated lower right: Toti

Image/Sheet: 19.75” H x 13” W

$1,000-2,000

199

Max Klinger

(1857-1920)

Female nude, 1909

Pencil and gouache on beige paper

Signed and dated lower right: M. Klinger / Jul 1909

Sheet: 27.625” H x 15” W

$8,000-12,000

Provenance: Shepherd Gallery, New York, NY

200 Reginald Marsh (1898-1954)

“Walking Girl with Sleeping Tramp in a Doorway” Brown ink and inkwash on oatmeal-colored wove paper

Unsigned 12.25” H x 15.5” W

$1,000-2,000

Provenance: Sold (with another): Sotheby’s New York, “American Paintings, Drawings and Sculpture,” April 11, 2013, Lot 94

201

Jean Jansem (1920-2013)

“La Coiffure”

Oil on canvas

Signed lower left: Jansem; titled on the frame plaque

23.5” H x 28.5” W

$3,000-5,000

Provenance: Mr. Bram Goldsmith, Beverly Hills, CA

Untitled, 1968

Oil on canvas

Signed and dated lower right: B. Eastman ©

52” H x 82” W

$700-900

202 Betty Eastman (20th century)

203 Lamar Briggs (1935-2015)

“Vedra/Ibiza No. 33”

Acrylic on canvas

Signed and titled, verso: Lamar Briggs © 68” H x 68” W

$1,000-1,500

204

Delos Van Earl (b. 1951)

Abstract wall sculptures, 2004

Steel and paint (six examples)

Each signed and dated to verso

Each: 12.25” H x 12.25” W x 5.5” D approximately

$400-600

Provenance: Property from a Distinguished Palm Springs Estate

205

Delos Van Earl

(b. 1951)

Abstract wall sculpture, 2004

Steel and paint

Unsigned; dated by repute

16” H x 16” W x 5” D

$300-500

Provenance: Property from a Distinguished Palm Springs Estate

206

Theo Tobiasse

(1927-2012)

“Le Cafe de La Place, St. Paul de Vence” Oil on canvas

Signed upper right: Tobiasse; titled in the image at center; inscribed “To Tom and Rita Cisco Théo Tobiasse X-90,” verso 23.5” H x 32.25” W

$15,000-20,000

207 Theo Tobiasse (1927-2012)

“Nature morte dans un miroir”

Oil on canvas

Signed near the right edge, at center: Tobiasse; titled upper left quadrant

23.5” H x 28.5” W

$10,000-15,000

208

Francesca Ceccarelli

(b. 1980)

“Thanatos,” 2005

Oil on canvas

Signed, initialed, titled, and dated, all verso: Francesca Ceccarelli / FC / Dicembre

39.5” H x 47” W

$600-800

209 Francesca Ceccarelli (b. 1980)

“Secret Doors: Porte Segrete,” 2002 Oil on canvas

Signed, titled, and dated, verso: Francesca Ceccarelli

59” H x 39.5” W

$700-900

Alice Baber (1928-1982)

Alice Baber, who was born in Charleston, Illinois in 1928, New York artists. Baber, as one of the approximately Mary Abbott, Joan Mitchell, and Elaine de Kooning. While movement, Baber - who died at the age of fifty-four in

Throughout her career, Baber experimented with different translucent layers of color, creating a sense of depth and exploration.

Speaking of Baber’s work in the San Francisco Chronicle rounded beach stones. These become scaffolds for applications that resembles the sensitive touch of a pianist...“The often flowing and gliding in complex, swirling rhythms spring.”

Baber was diagnosed with cancer in the late 1970s and including the Metropolitan Museum of Art, the San Francisco development of abstract art in the United States and

Alice Baber’s work has been exhibited alongside many Mary Abbott, William Baziotes, Norman Bluhm, Louise Adolph Gottlieb, Grace Hartigan, Hans Hofmann, Paul Motherwell, Robert Natkin, Louise Nevelson, Kenneth Resnick, David Smith, Theodoros Stamos, Alma Woodsey

Select Museum Collections: Metropolitan Museum of Art, New York, NY Museum Barbara, CA Solomon R Guggenheim Museum, New

For additional information on the historical context of with Yale University Press, 2016.

1928, began exhibiting her work in New York City in 1957 when she was included in the Stable Gallery’s Sixth Annual Exhibition of twenty women included on the Annual’s extensive roster, was shown alongside Grace Hartigan, Louise Nevelson, Lee Krasner, While many of the male artists featured in this exhibition have been recognized as key figures of the Abstract Expressionist in 1982 - has long been overlooked by museums and the art market at large.

different mediums, including oil paint, watercolor, and printmaking. Her paintings often featured organic forms, flowing lines, and and movement. She was particularly fascinated by the interplay of light and color, and this became a central theme in her artistic

Chronicle in 1976, the art critic Thomas Albright noted: “Baber’s abstractions are made up of broad, lobular shapes that resemble applications of richly harmonized oil colors, some full and intense, others vaporous and transparent, unified by a softness of surface musical analogy extends to the movement that these forms appear to undergo, sometimes crowded and compacted... but more rhythms and counter-rhythms, advancing and receding in depth like the currents and cross-currents in a pool of water fed by a hidden

and continued to paint until her death on February 2, 1982, in New York City. Her work is held in numerous public collections, Francisco Museum of Modern Art, and the Santa Barbara Museum of Art. Today, she is recognized as an important figure in the is celebrated for her unique and innovative style.

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, Sam Gilliam, Michael Goldberg,

Paul Jenkins, Ray Johnson, Franz Kline, Elaine de Kooning, Willem de Kooning, Lee Krasner, Morris Louis, Joan Mitchell, Robert

Kenneth Noland, Jules Olitski, Charlotte Park, Ray Parker, Betty Parsons, Jackson Pollock, Richard Pousette-Dart, Ad Reinhardt, Milton

Woodsey Thomas, Bob Thompson, Jack Tworkov, Esteban Vicente

of Modern Art, New York, NY San Francisco Museum of Modern Art, San Francisco, CA Santa Barbara Museum of Art, Santa York, NY Whitney Museum of American Art, New York, NY

of this painting, please see Joan Marter, Women of Abstract Expressionism, published by the Denver Art Museum in conjunction

210

Alice Baber (1928-1982)

“The Door to the Gate to the Bridge,” 1975 Oil on canvas

Signed in white pigment that is visible under blacklight: Baber; signed again, titled, and dated, verso

34” H x 54” W

$50,000-70,000

211

Alice Baber (1928-1982)

“Blue Leaf to Shell” from the “Tragedy of Color Series,” 1975 Watercolor on paper, watermark Arches

Signed, titled, and dated, verso: Alice Baber; various notations in other hands and artist’s death notice on a card affixed, verso

Image/Sheet: 30” H x 22.25” W

$4,000-6,000

212 Alice Baber (1928-1982)

“Red + Blue Deluge” Watercolor on paper Signed lower left: Baber; titled verso Image/Sheet: 14.25” H x 11.125” W

$3,000-5,000

213

Daniel Lotton (b. 1963)

A crystal vase, 2004

Incised date and signature to underside: Daniel Lotton / 2004 The clear crystal vase with intercalaire purple anthurium flowers

8.875”

$600-800

H x 8.5” Dia.

A glazed stoneware lidded jar, late 20th century Marked to the underside with potter’s stamp: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California

With an all-over cerulean glaze decorated with mishima circles

10.5” H x 10” Dia.

$3,000-5,000

214

Harrison McIntosh (1914-2016)

215

Harrison McIntosh (1914-2016)

An “Utamaro Lady” glazed stoneware vessel, late 20th century Marked to the underside with potter’s stamp: HM; further marked with paper label: Handthrown Stoneware / Harrison McIntosh / Claremont / California

The ceramic vessel with a lid decorated with a portrait of a woman in the manner of Japanese woodblock artist Utamaro Kitagawa and the bowl with blue glazed exterior decorated with parallel sgraffito lines

3.75” H x 11” Dia.

$3,000-4,000

Literature: A similar design titled “Utamaro Beauty” appears in: Christy Johnson et al., “Harrison McIntosh: A Timeless Legacy” (Pomona, CA: American Museum of Ceramic Art, 2009), 48.

216

Harrison McIntosh (1914-2016)

A sgraffito glazed stoneware bottle vase, late 20th century Marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California

With an all-over speckled sage green glaze, dark brown glazed bands at the neck and base, and incised radial linear decoration

9.75” H x 5” Dia.

$2,000-3,000

217

Harrison McIntosh (1914-2016)

A sgraffito glazed stoneware bowl, late 20th century

Marked to the underside with potter’s stamp: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California

The wide, low bowl with an all-over speckled sage green glaze and incised radial lines decorating the exterior

4” H x 12.5” Dia.

$1,500-2,000

218

Harrison McIntosh (1914-2016)

A sgraffito glazed stoneware footed bowl, circa 1960s Marked to the underside with potter’s stamp: HM With an all-over cerulean glaze and incised radial linear decoration 5.25” H x 5.75” Dia.

$1,500-2,000

Literature: A similar design appears in: Christy Johnson et al., “Harrison McIntosh: A Timeless Legacy” (Pomona, CA: American Museum of Ceramic Art, 2009), 59.

219

Harrison McIntosh (1914-2016)

A sgraffito glazed stoneware bud vase, late 20th century Marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California

With an all-over speckled sage green glaze, dark brown glazed bands at the neck and base, and incised radial linear decoration

9” H x 4.75” Dia.

$1,500-2,000

220 Mary Louise Snowden

Two figures reaching

Patinated bronze and stone

Edition: 2/100

Incised signature: M.L. Snowden; further stamped: Eberhard Snowden Rodin Marque de Fondeur

With base: 53” H x 14.5” W x 13” D

$3,000-5,000

(b.1952)

221

John Decker

(1895-1947)

“Homage to Van Gogh,” circa 1941 Oil on board

Signed lower right: Decker; inscribed, verso: Death of Van Gogh

29.5” H x 36” W

$2,000-4,000

Provenance: Private Collection, California

Exhibited: Los Angeles, CA, Los Angeles County Museum, 1942 Hollywood, CA, Frank Perls Gallery, February 22, 1942

Literature: Los Angeles Evening Citizen News, February 14, 1942, 10 (illustrated)

The Los Angeles Times, February 15, 1942, 52 (not illustrated)

The Los Angeles Times, February 22, 1942, 48 (not illustrated)

The Los Angeles Times, March 1, 1942, 54 (not illustrated)

The Ogen Standard-Examiner, March 23, 1942, 9 (not illustrated)

Notes:

This work was pictured in the Los Angeles Evening Citizen News where Herman Reuter remarked: “In much the same technique that Van Gogh himself might have used, John Decker has transferred to canvas his conception of the scene wherein the painter lay in his coffin atop the billiard table that formed the central motif in one of his pictures. Surrounding the coffin are a group of Van Gogh’s friends, including Pere Tanguy, the art dealer whose support of the unfortunate painter never faltered. The canvas is drama in paint. Sadness pervades it. To have seen it once is to remember it. The paint has been put on with the same boldness and decision that characterized everything that Van Gogh painted. The canvas, which is now at the Los Angeles County Museum, will be included in Decker’s one-man show, to open at the Frank Perls Gallery, 8634 Sunset Blvd, Feb. 22.”

222 Vidal

(b. 20th century)

“The Races” Oil on canvas

Signed lower right: Vidal 18.25” H x 21.5” W

$1,000-1,500

224

Nassos Daphnis (1914-2010)

“W-34-65”

Epoxy wood construction on Masonite

Signed and titled, verso: Nassos Daphnis

18” H x 14” W

$2,000-3,000

Still life with coffee pot

Oil on double-sided panel

Initialed in the upper left corner: W F; signed again near the lower edge, verso: W.

Freed

7” H x 11.5” W

$500-700

225 William Freed (1902-1984)

“Games

Watercolor,

Signed

Image/Sheet:

$1,000-2,000

226 Leonard Edmondson (1916-2002)

with Lights”

ink, and collage on thick paper

in ink lower right: Edmondson; titled in pencil verso

15” H x 20” W

$1,000-2,000

227 Abbas Moayeri (1939-2020)

“Femme a cheval,” 1984 Oil on canvas Signed and dated lower right: Abbas Moayeri; titled verso Image: 39” H x 19.5” W; Canvas: 41” H x 22” W

228

Matthias Reinmuth

(b. 1974)

“You Could Have Been Number One,” 2007

Acrylic on canvas

Signed, titled, and dated, all verso: Reinmuth

51” H x 59” W

$500-700

Untitled, 2012

Mixed media and wood assemblage

Signed and dated verso: Phil Wagner

54” H x 36” W x 6” D (irreg.)

$400-600

Provenance: Armory Center for the Arts, Pasadena, CS

229 Phil Wagner (b. 1974)

230 Laurent Proneur (b. 1969) Blue face Oil on canvas

Signed lower left: Laurent Proneur

40” H x 30” W

$2,000-3,000

“Michael Rago October 10, 1997,” 1997

Watercolor on paper

Signed lower right: Bachardy; titled in ink upper right

Sheet: 30” H x 22.25” W

$1,500-2,000

Provenance: Sold: Clark’s Fine Art & Auctioneers Inc., Van Nuys, CA, “19th-20th

Century Art,” July 25th, 2020, lot 10

Notes: A newspaper and magazine cutout, related to the artist, are both affixed to the frame’s backing paper and secured in a plastic sleeve.

231 Don Bachardy (b. 1934)

Unsigned

$600-800

232 Janet Todd Young (1908-1993)

Untitled Collage on thick paper

(Even though it’s stated on a label affixed to the frame’s backboard that it’s “signed on the back”)

Sheet: 8.625” H x 12.125” W

Untitled

Watercolor,

Signed in pencil lower right: I. Rice Pereira

12” H x 6.5” W

$1,000-1,500

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

$500-700

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

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

233

Irene Rice Pereira (1902-1971)

gouache, and ink on black paper

234 Dan Lutz (1906-1978)

“Minstrel Band” Oil on canvas

235

Denny Dent (1948-2004)

Pat Benetar, 1982

Acrylic on paper

Signed lower center: Dent ©

Sight: 46.5” H x 34.5” W

$1,000-1,500

236 Dean “D*Face” Stockton (b. 1978)

Wing stencil

Stencil, spray paint, and tape mounted to blue artist Appears unsigned

Stencil: 47.25” H x 81” W (irreg.)

$1,000-2,000

artist board

237

Sigrid Hjerten (1885-1948) Burning building

Watercolor on paper

Signed lower right: Hjerten

Image/Sheet: 20” H x 15” W

$3,000-5,000

238 Robert Byerley (1941-2019)

“Equestrian”

Oil on board

Signed lower right: Byerley; titled on label affixed verso 15.125” H x 22” W

$1,000-2,000

Provenance: Galerie de Tours, Carmel, CA

Notes: This lot

Carmel, CA, 1974.

is accompanied by a copy of the original gallery receipt from Galerie de Tours,

Signed lower right: Michael Bedard; titled by repute 51.25”

$1,000-2,000

Provenance: Private Collection, gift from the artist 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.

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

H x 51.75” W

Signed, titled, and dated, verso: Josh Reames; titled and dated again on a gallery label affixed to the stretcher

24” H x 20” W

$1,000-2,000

240 Josh Reames (b.1985)

“Xperience,” 2015

Acrylic on canvas

241

Enoc Perez (b.1967)

Tulips

Graphite on paper

Unsigned Sheet: 30” H x 22.125” W

$1,200-1,800

242

Adele Plotkin (1931-2013)

“Roman Shadows,” 1958

Oil on canvas

Signed lower right: A. Plotkin; signed again and titled in pencil, possibly in another hand, on the stretcher; dated and inscribed, verso: No 11; titled again on an exhibition label affixed to the stretcher

27.5” H x 35.5” W

$500-700

Exhibited: 46th Annual City of Venice Group Exhibition, Bevilacqua La Masa, Venice, Italy

243

Adele Plotkin (1931-2013)

“Winter in Venice,” 1959

Oil on canvas

$500-700

Signed lower right: A Plotkin; signed again and titled in pencil, possibly in another hand, on the stretcher; dated and numbered, verso: 9 36” H x 28” W

244

A Baccarat crystal “Architecture” vase

20th Century

Etched: Baccarat / France; further marked with red Baccarat sticker

The crystal vase with a square, open beam body

9.5” H x 5.125” W x 5.125” D

$500-700

A Kittinger “Mandarin Collection” highboy Circa 1950s; Buffalo, NY

With burn mark to top drawer interior: Kittinger / Buffalo / 1866

Designed in 1947, the chinoiserie five-drawer dresser with two-tone lacquered grey carcass and three-dimensional meandering motif pulls

48.25” H x 36” W x 21” D

$500-700

A pair of Kittinger “Mandarin Collection” dressers

Circa 1950s; Buffalo, NY

Each with burn mark to top drawer interior: Kittinger / Buffalo / 1866

Designed in 1947, each chinoiserie three-drawer dresser with two-tone lacquered grey carcass and three-dimensional meandering motif pulls, 2 pieces

Each: 33” H x 39” W x 21” D

$600-800

247

Harvey Probber (1922-2003)

Six “Gazelle” dining chairs, circa 1960s

Designed 1956

Each appears unmarked

Each with an ebonized carved wood frame, caned backrest, and seat cushion

upholstered in a geometric motif fabric

6 pieces

Each: 39.25” H x 17.5” W x 17.25” D

$1,200-1,800

248

A neon and acrylic cube sculpture

1990

Signed, numbered, dated, and titled in marker along the underside edge: “Polycube #10” / © 1990 / VCK / 1/5

The smoked Plexiglass and metal three-dimensional table-top sculpture in boxform with three neon tubes to the interior, two of which illuminate pink and the other purple, electrified

19” H x 11” W x 10” D

$1,200-1,800

249 Manuel Neri (1930-2021)

“Axe Rust Series No. 2,” 1989

Charcoal, dry pigment, oil paint stick on wove paper, watermark BFK Rives

Signed and dated in pencil lower right: Neri; titled on two labels affixed to the frame’s backing paper

Sheet: 41.5” H x 29.5” W

$3,000-5,000

Provenance: Charles Cowles Gallery, Inc., New York, NY

Signed

Octagon:

$500-700

250

Fanny Hillsmith (1911-2007)

“Girl in Chair,” 1945 Oil on an octagon panel mounted to panel

and dated: F Hillsmith; titled in pencil, verso

10” H x 8” W; Panel: 11” H x 11” W

251

Karl Benjamin (1925-2012)

“Yellow and Blue Roses,” 1953 Oil on canvas

Signed and dated lower right: Benjamin; signed again and titled on the stretcher 24.25” H x 12.25” W

$2,000-3,000

Provenance: Private Collection, acquired directly from the artist’s studio, circa 1970 Private collection, acquired from the above Steven Stern Fine Arts, Santa Monica, CA Sold: Bonhams, Los Angeles, CA, “Made in California Contemporary Art,” April 12, 2023, Lot 87

Notes: Per Bonhams: “Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.”

252 Frederick Hammersley (1919-2009)

“The Dancer,” 1984 Oil on panel

With the incised signature and date near the upper edge, at right: F. Hammersley; dated again and titled on a label affixed verso 16” H x 12” W

$6,000-8,000

Provenance: Gifted from the artist to Carla F. O’Sullivan, Palm Beach, FL Hammer and Block Auctioneers, Miami, FL, April 13, 2012 Lot 112 Purchased from above by Art Dealer Miami Gallery, Miami, FL Purchased from above in 2020 by Private Collector, Miami, FL

There is no known record of this painting in Hammersley’s “painting books;” however, it is similar in composition and technique to several paintings from 1984 of which are recorded, and which are known as Hammersley’s “organic” paintings (in contrast to his “geometric” paintings for which he is best known). Hammersley numbered and recorded the finished paintings he produced in any given year, and since this work is not recorded and does not have a number, it is likely that it was a gift as indicated by the works provenance papers. Hammersley was known to gift works with which he was not entirely satisfied to family and friends, but the fact that “The Dancer,” is signed suggests that he considered it finished.

Peter Max (b. 1937)

Peter Max was born in Germany in 1937, and he immigrated York City, Max began attending the Art Students League

In the early 1960s, Max began winning awards for book counterculture zeitgeist that spread throughout the United flying angel, and other visual elements that are characteristic This work, which has remained in a private collection market.

immigrated to the United States with his family in 1953. Drawing inspiration from the marvels of New League & School of Visual Arts in 1956 under the tutelage of the noted realist artist Frank Reilly.

book cover illustrations and graphic designs. “Right Now,” painted in 1970, epitomizes the hippy United States during the previous decade. In the work, we see an abstracted shape of a head, a characteristic of Max’s oeuvre during this era.

since 1971, is among the largest examples of Peter Max’s early oil paintings to have ever come to

253

Peter Max (b.1937)

“Right Now,” 1970 Screenprint in colors and acrylic on canvas Signed and dated lower left: Peter Max; titled by repute 65” H x 73” H

$25,000-35,000

Provenance: Private Collection: Newport Beach, CA.

254

Peter Max (b.1937)

“Umbrella Man,” 2018

Acrylic and paint

From the edition of unknown size

Signed: Max; signed again, dated, and numbered in pen: © Peter Max 2018 / 396083; engraved number: 834000

14” H x 8.5” W x 4.5” D

$3,000-5,000

255

Karel Appel

(1921-2006)

Abstract Architecture

Oil on coarse canvas, circa 1970, Signed lower left: K. Appel

18” H x 21.25” W

$20,000-30,000

Provenance: Purchased in Europe by the owner of Modern Art Gallery, Jaffa, Israel, 1972

Modern Art Gallery, Jaffa, Israel, 1972

Gifted from the above to present owner, 1972

256

Arthur Fleischmann (1896-1990)

Female figure

Perspex and wood, electrified Incised signature to verso: A Fleischmann

Figure: 31.125” x 10.25” W x 6.125” D; base: 3.125” H x 14.125” W x 9.5” D

$800-1,200

257

A Canadian modernist JA Wood-craft wall unit Circa 1970s; Montreal, Quebec, Canada

Foil label to the verso of cabinet: Manufactured by JA Wood-craft Ltd. / Montreal / Quebec, Canada

The modular walnut storage unit with one central threedoor cabinet with glazing surmounting a floating twodrawer unit and lower shelf and flanked by a cabinet to each side, the left above a three-drawer unit and the right beneath a floating shelf, all adjustable on four wall-mounted brackets, 11 pieces

70” H x 97” W x 17” D

$2,500-3,000

258

A Kipp Stewart-style media console

Mid-20th century

Appears unmarked

The possibly Kipp Stewart/Stuart MacDougall for Drexel walnut veneer media console with double surfboard design featuring two shelves and one pull-out shelf, set upon four opposingly tapered pole supports

32.5” H x 72.5” W x 20” D

$600-800

Torso

Wood and granite

Incised signature to verso: C. Lockwood ©

With base: 27” H x 16.5” W x 12.125” D

$800-1,200

259 Crystal Lockwood (b. 1963)

$300-500

260 Olivia Guzman

(b. 1944)

Rebeldia Masculino, 2001 Bronze and stone

Signed illegibly and dated to the right foot; titled by repute

11” H x 9” Dia.

261

A Murano glass sculpture in the manner of Livio Seguso 1979; Italy

Signed and dated on the underside of base: E. Squarcina / Murano / 1979

Possibly produced by a glass master working in Seguso studios, the figural pale grey blown glass sculpture of a partial male form on a cylindrical base 22” H x 10” W x 9” D

$600-800

(1938-2008)

“MOCA Torso,” 1992

Patinated bronze

Signed to underside: R Graham / Valentino / Carlos M.

From the edition of 3500

10.875” H x 4.625” W x 4.325” D

$2,000-4,000

Notes: This lot is accompanied by a magazine article about the studio production of the piece.

262

Robert Graham

263

Two works

“Improvisation #2,” 1962

Oil on paper laid to paper, as issued

Signed in pencil in the lower right corner: Sievan; signed again, titled, and dated on the frame’s backboard

Image/Sheet: 5” H x 3” W

Untitled, 1962

Oil on paper tipped to paper, as issued

Signed in pencil in the lower right corner: Sievan; signed again, titled, and dated on the frame’s backboard

Image/Sheet: 5.5” H x 5” W

$600-800

Provenance for the first: Albert Landry Galleries, Ltd., New York, NY

Maurice Sievan (1898-1981)

$1,000-2,000

264

John Whitmore (b. 1948)

Untitled, 1969

Charcoal and graphite on paper

Signed in pencil lower right: J. Whitmore; inscribed in another hand on the frame’s backing board: John Whitmore (Age 21?) / Wat’s Workshop / Los Angeles, 1969 / (now on a scholarship to Chouinard ? 22” H x 14.5” W

265

“Primitive Rhythms #4,” 1950

Watercolor on paper

Signed twice and dated in pencil in the lower edge, at center: Hilda Levy; signed, titled, and inscribed on a label stored in a plastic sleeve affixed to the frame’s backing paper: exhibited at Wooden House / Gallery - Laguna Beach / 1965

Sight: 16.875” H x 21” W

$1,000-2,000

Exhibited: Laguna Beach, CA, Wooden House Gallery, 1965

Notes: Two labels, one in the hand of the artist, and one artist brochure housed in sleeves affixed to the frame’s backing paper.

Hilda Levy (1908-n.d.)

266

Eligio Pichardo

(1929-1984)

Abstracted figure, 1958

Mixed media on paper

Signed and dated lower right: Eligio Pichardo

Sheet: 18” H x 12” W

$1,000-2,000

267

Hendrik Van Keppel (1914-1987) and Taylor Green (1914-1990)

Six “Terrace” side chairs, late 20th century

Designed 1939

Each appears unmarked

Produced by Brown Jordan for VKG, each with enameled steel frame set upon four legs and cotton flagline tension roped seats

6 pieces

Each: 32” H x 19” W x 18” D

$500-700

268

A pair of Hall Bradley for Brown Jordan “Atrium” chairs and side tables

Circa 1965

One chair marked with metal label to verso: Brown-Jordan

Each with verdigris-patinated aluminum frames, four legs with lateral stretchers, and woven vinyl strapping, comprising two chairs with reticulated backs and two conformingly designed side tables, 4 pieces

Each chair: 29.5” H x 24.25” W x 27” D; each table: 13.625” H x 21” W x 21” D

$600-800

Literature: Robert Ellis, “California Design / Nine” (Pasadena, CA: Pasadena Art Museum, 1965), 102.

269

A Hall Bradley for Brown Jordan “Atrium” settee Circa 1965

One chair marked with metal label to verso: Brown-Jordan

Each chair with verdigris-patinated aluminum frames, four legs with lateral stretchers, and woven vinyl strapping, 2 pieces

Each: 29.5” H x 22.75” W x 27” D

$400-600

Literature: Robert Ellis, “California Design / Nine” (Pasadena, CA: Pasadena Art Museum, 1965), 102.

270

Andy “Socrates” Marquez (b. 20th century)

An “Alexander the Great” bench, early 21st century

Signed and dated to verso: Socrates 2023

The cantilevered bench with wood carcass covered in riveted patchwork aluminum finish and painted and stained wood seat with geometric motif 34” H x 62.25” W x 43.5” D

$3,000-5,000

271

A set of three Fritz Hansen-style nesting tables

Mid-20th century

Each appears unmarked

The circular wood tables, each with a white Formica top and set atop three wrought iron legs with rubber feet, in graduated sizes, 3 pieces

Largest: 19” H x 15.25” W x 15.5” D; smallest: 11” H x 15.25” W x 15” D

$300-500

Provenance: From the estate of Mary Jane Leland

272 George Lavroff (1895-1991)

Two polar bears, circa 1930s Silvered bronze and marble Signed and model numbered verso: G. Lavroff / 8169

12” H x 12.5” W x 6.5” D

$3,000-5,000

273

After Mies van der Rohe (1886-1969)

Two chairs in the manner of “Barcelona” Chairs, late 20th/early 21st century Designed 1929

With cloth hang tag: Chris Boyce Associates / Orange California

Each with tufted black faux leather upholstery, black leather strapping, and chrome-plated frame

2 pieces

Each: 29” H x 30” W x 28” D

$2,000-3,000

274

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

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

Designed 1946

Metal tag to the underside: Eames for Herman Miller

Molded plywood body with Santos Palisander veneer and rubber shock mounts

27" H x 22" W x 22" D

Estimate: $400 - $600

Condition Reports

Overall good condition. Full margins. The colors fresh. The slightest time staining along the margin edges. The sheet is loose, not matted.

Framed under glass: 20.25” H x 27.25” W x 0.75” D

2

Overall good condition. Full margins. The colors fresh. The slightest time staining at the margin edges. A few unobtrusive pale stains, pinhead-sized or smaller, in the upper and right margins. The sheet is loose, not matted.

Framed under glass: 20.25” H x 27.25” W x 0.75” D

3

Overall good condition. Full margins. The slightest time staining at the margin edges. Very minor and unobtrusive surface abrasion along the extreme upper and lower margin edges. The sheet is loose, not matted.

Framed under glass: 20.25” H x 27.25” W x 0.75” D

4

Overall good condition. Full margins. Pale light staining. The sheet is loose, not matted.

Framed under glass: 27” H x 21” W x 0.75” D

5

Overall good condition. With margins. Time staining along the extreme margin edges. The sheet is loose, not matted.

Framed under glass: 20.25” H x 27.25” W x 0.75” D

6

Overall good condition with minor scuffs and oxidation to metal commensurate with age. Upholstery in overall good condition for each. One chair with a single hole approximately 1” in diameter and a similar circular bald spot on the seat back’s upholstery. Likewise, there is some matting to the sheep’s fur shag on each seat cushion.

7

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Mounting putty to the underside.

8

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With possibly ink mark to underside: 20.

9

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. There is sun fading and water rings to the top. As well, there is scattered ink and grease staining to the interiors of most drawers.

10

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. As well, the finial appears to be missing. Wiring should be checked by a qualified electrician prior to use.

11

Overall good condition. With full margins. The sheet is framed floating and mounted to the back mat at the verso of each of the margin corners.

Framed under glass: 24” H x 21” W x 2” D

12

Overall good condition. With full margins. The sheet is framed floating and mounted to the back mat at the verso of each of the margin corners.

Framed under glass: 24” H x 21” W x 1.5” D

13

Overall good condition. With full margins. The sheet is framed floating and mounted to the back mat at the verso of each of the margin corners.

Framed under glass: 24” H x 21” W x 2” D

14

Overall good condition. Full margins with deckled edges. The colors fresh. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 39.5” H x 23” W 1.5” D

15

Overall good condition. With deckled edges. The colors fresh. The sheet is framed floating with each corner affixed to the frame’s backing board. Not examined outside of the frame.

Framed under glass: 56.5” H x 56.5” W x 2.25” D (as wired)

16

Overall good condition. With full margins. A 0.25” stray graphite mark near the signature in the margin, not affecting the image. Framed floating and mounted to the back mat at the verso of each of the margin corners.

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

Overall good condition. With full margins. The tips of the upper left and lower right margin corners ever so slightly dog-eared. The sheet is framed floating and hinged to the back mat in various places at the verso of the margin edges and corners.

Framed under Plexiglas: 22.25” H x 18.5” W x 1.75”

18

Overall good condition. The full sheet. A minor 1.5” diagonal crease in the upper right corner. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 41” H x 36.5” W x 2” D

19

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

20

Each overall good condition with scattered scuffs and scratches to the metal bases commensurate with age. Upholstery in overall good condition with minor wear throughout. One with about 6 smalls stains to bottom area of back cushion recto. Each with applied barcode sticker to underside “Walt Disney Company.”

21

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

22

Overall good condition with minor scuffs and light scratches commensurate with age. Surface grime present throughout.

23

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

24

Overall good condition with minor scuffs and light scratches commensurate with age. Mounting putty residue and surface grime present throughout.

25

Overall good condition with minor scuffs and oxidation to the frame commensurate with age. The upholstery in overall good condition with no rips or tears, but surface dust, grime, scattered minor staining, and sun fading throughout.

26

Overall good condition with minor scuffs and oxidation to the frame commensurate with age. The upholstery in overall good condition with no rips or tears, but surface dust, grime, scattered minor staining, and sun fading throughout.

27

Each overall good condition with scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

28

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered crazing and losses to the lacquered surface throughout. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronics. Felt pads applied to the underside.

29

Overall good condition. Full margins. The colors fresh. The slightest time staining in the extreme margin edges, not affecting the image. A slight handling crease in the pale pink pigment, at center. Pale staining in the lower margin, at left, attendant with the printer’s stamp, verso. A pea-sized foxmark in the lower margin, at right. Minor mat staining, verso. The sheet is hinged to the back mat with archival tape at the verso of the upper margin corners.

Framed under Lucite: 19” H x 19” W x 1.75” D

30

Overall good condition. Full margins. The colors fresh. The slightest time staining in the extreme margin edges, not affecting the image. A minor handling crease in the upper margin edge, at center, not affecting the image. A speck of foxing in the lower margin edge, at center, verso. Minor mat staining, verso. The sheet is hinged to the back mat with archival tape at the verso of the upper margin corners.

Framed under Lucite: 19” H x 19” W x 1.75” D

31

Overall good condition. Full margins. The colors fresh. The slightest time staining in the extreme margin edges, not affecting the image. A speck of foxing in the left margin edge, at center. Minor mat staining, verso. The sheet is hinged to the back mat with archival tape at the verso of the upper margin corners.

Framed under Lucite: 19” H x 19” W x 1.75” D

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

33

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Each with a few scattered fleabite chips and mounting residue to undersides.

34

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Titled by repute.

35

Overall good condition with minor scuffs and light scratches commensurate with age. Several fleabite knicks along the upper edge of the foot.

36

Overall good condition. With full margins and deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 42” H x 50” W x 2.25” D

37

Overall good condition. With margins. Very minor surface skinning in the extreme upper margin edge. Two 1” diagonal handling creases in the upper margin, at left, mostly visible in raking light. The sheet is loose, not matted.

Unframed

38

Overall good condition. With margins. The sheet is loose, not matted.

Unframed

39

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With fleabites to juncture and some chipping to bottom of stopper. Mounting putty to underside.

40

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. The rider figure missing its head, with another conchoidal chip loss to stopper underside. Mounting putty to the juncture.

41

Overall good condition. Full margins. The colors fresh. The slightest hint of staining and wear to each of the extreme margin edges, possibly from previous framing. A speck of pale foxing in the lower margin edge, at left. Minor mat staining, verso. The sheet is hinged to the back mat with archival tape at the verso of the upper margin corners.

Framed under Lucite: 19” H x 19” W x 1.75” D

42

Overall good condition. Full margins. Colors fresh. The slightest time staining in the extreme margin edges, not affecting the image. Minor mat staining, verso. The sheet is hinged to the back mat with archival tape at the verso of the upper margin corners.

Framed under Lucite: 19” H x 19” W x 1.75” D

43

Overall good condition. Full margins. The colors fresh. The slightest time staining in the extreme margin edges, not affecting the image. A minute imperfection in the upper right of the green pigment. A very unobtrusive handling crease in the lighter blue pigment, at center. Minor mat staining, verso. The sheet is hinged to the back mat with archival tape at the verso of the upper margin corners.

Framed under Lucite: 19” H x 19” W x 1.75” D

44

Overall good condition. With margins. Small 0.5” creases on each corner of the sheet. A soft, unobtrusive horizontal bend through the center of the sheet, visible mostly in raking light. The sheet is loose, not matted.

Unframed

45

Each overall generally good condition. The full sheets and the colors fresh. The corners of most of the sheets are slightly bent and/or softly creased, and the tips of some of the corners are also slightly dog-eared. Loose, not matted.

10 pieces

Each unframed

46

Each overall good condition. The boxes with scattered shelf wear, scratches, scuffs, and indentations commensurate with age and storage. Figures not inspected outside of packaging.

Overall good condition with scattered scuffs, scratches and abrasions commensurate with age. Legs very slightly bowed. One right side panel with an approximately 2”-long stress crack. Some localized dimpling to one upper slide door; second door with horizontal scratches. Lower door panels with scattered scratches. Three scattered nicks to drawer faces. Delamination to corners of two sliding door panels.

48

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with varying degrees of rubbed wear and scattered scratches commensurate with age and use, more concentrated on the seats.

49

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with varying degrees of rubbed wear and scattered scratches commensurate with age and use, more concentrated on the seats.

50

Overall good condition with scattered minor scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The minor scuffs and scratches concentrated on shelves and most used surfaces. Some dust accumulation throughout. A 6” shallow scratch to left side. Working condition of speakers unknown. Moran’s does not guarantee the working condition of electronic equipment.

51

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Minor soiling to interior of drawers with dust accumulation throughout. More concentrated minor scratches to top surface, including three 6” unobtrusive scuffs. One drink ring to front top right corner.

52

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age and use. Minor soiling to bottom verso. Drawer pulls with rubbed wear to finish. One shelf missing three support pegs.

53

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, there is some heavier nicking to the feet.

54

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each upholstered wool seat with minor thread pulls and slight yellowing.

55

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scratches more prominent to top surface and some scratching and minor soiling to leather. One 2” long scratch to the bottom left of right side. One deep 2.5” long scratch/loss to wood, possibly inherent in the original construction. The catch-all tray with minor soiling, staining, and scuffing from use. The file cabinet is missing the two pieces that would have set in to support hanging file folders.

56

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

57

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

58

Overall good condition. With deckled edges. The sheet is loose, not matted.

Unframed

59

Overall very good condition. The full sheet, laid down to the back mat. Very slight dust accumulation commensurate with age and the lack of glazing common with Serra’s etchings of this type.

Framed without glazing: 44.5” H x 44.5” W x 2” D

60

Overall very good condition. The colophon page within the information packet with a pea-sized area of darker fibers inherent in the manufacture of the paper. Some of the original interleaving tissues with occasional soft creases at the edges. Loose as issued.

Portfolio box: 12.25” H x 9.375” W x 1.25” D

61

Overall good condition with scuffs and minor oxidation to bronze commensurate with age. Palm frond verso with some losses to white paint from rubbing. Heat guard and palm frond verso with minor grey marks from heat of bulbs from use. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

Overall good condition with minor scuffs and darkening/oxidation to metal commensurate with age. Scattered scratching to the brass exterior throughout each. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

63

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. As well, the leather upholstery in overall good condition with no rips, stains, or tears. Scattered minor abrasions to the leather throughout.

64

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Overall staining and soiling to upholstery, one with fraying, subsequently exposing the cotton padding. With rubbed wear and scratches to the lacquer finish throughout each chair, concentrated on the tops of the arm rests, and one chair with left rear leg with heavy wear and losses to the lacquer finish.

65

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The glass top with scattered minor scratches throughout.

66

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Slight discoloration to the veneered surface on several shelves.

67

Overall good condition with minor wear, scuffs, and light scratches commensurate with age. Scattered minor chips to several of the glass rods. One of the interior chromed metal tubes connecting the socket to the metal framing is dented, but not visible when fully assembled. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

68

Each overall good condition with scattered scuffs, scratches, nicks, stress cracks, and indentations commensurate with age. Allover crazing and stress cracks to Lucite backs. Upholstery in overall good condition with no rips, stains, or tears. Two chairs with a loss of a tufting button. Each has been reupholstered. One chair with dust cover falling off on the underside, exposing the cotton batting and stitching.

Overall good condition with minor scuffs and oxidation to metal commensurate with age. As well, there is scattered pitting and rust to the chrome finish throughout the base.

70

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. With scattered pitting to the chrome surfaces. The upholstery in overall good condition with scattered minor stains, light soiling, and scattered pulled threads, concentrated at arms and verso. Possibly reupholstered.

71

Overall good condition with scattered minor scuffs, scratches, and nicks commensurate with age. Appears to be lacking wall-mounting hardware.

72

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, there is rubbed wear and scattered nicks to the lacquered surface throughout.

73

Overall good visual condition with minimal signs of wear commensurate with age. The box with minor shelf wear and minor scuffs.

Manufacturer’s packaging each: 15” H x 10.5” W x 7.25” D

74

Overall good visual condition with minimal signs of wear commensurate with age. The figure is still within the molded plastic packaging and was not removed for inspection.

75

Overall good visual condition with minimal signs of wear commensurate with age. In original artists’ packaging. The box with minor scratches and scuffs.

76

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

77

Overall good condition. The colors fresh. Two unobtrusive pinhead-sized flecks of grime in the lower right corner of the image. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 16.375” H x 18.125” W x 1.125” D

Overall good condition. The full sheet. The sheet is loose and not matted.

Unframed

79

Overall good condition. The full sheet. The sheet is loose and not matted.

Unframed

80

Overall good condition. With margins. Not examined out of the frame.

Framed under Plexiglas: 31” H x 27” W x 2” D

81

Overall good condition. With margins. Slightly uneven toning, mostly affecting the outer margin edges. Not examined out of the frame.

Frame: 21” H x 25.25” W x 0.75” D

82

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each piece was refinished in the artist’s studio in 2008. There is a repair to the interior of one of the left-side cabinet doors on one of the smaller storage units. As well, there is water damage to the interior of the cabinet doors of one of the smaller storage units.

83

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. There are two different styles of later added feet, some of which are missing on each chair. As well, there is heavier wear the bottoms of the legs of each chair with fading, heavier nicking and scratching, and possible minor water damage.

84

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, several chair seats with heavier scratching.

85

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

86

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With an overall craquelure to goat skin with several areas of retouching. The interior with several loose mirrored panels and loss of silvering to several panels. Interior glass shelf with multiple nicks, chips, and scratches. Possible missing chair rail to top. Key is present. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

87

Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. The upholstery fabric in overall good condition with no rips, tears, or stains.

88

Overall good condition with minor wear, scuffs, and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

89

Each overall good condition with scattered scuffs and light scratches commensurate with age and use. Possibly reupholstered. Scattered loose fibers and wear to edges of seat cushions of each. Upholstery overall good condition with no rips, tears, or significant stains.

90

Each overall good condition. Not examined out of the frame.

Each framed under Plexiglas: Largest: 22.75” H x 37.75” W x 1” D

91

Each overall good condition. Full margins with deckled edges. Two with a pinhead-sized area of minor paper loss in the upper margin edge, at center. Two with pale foxing in the upper left and right margin corners, attendant with the hinging tape, verso. Hinged to the back mat in two places with archival tape at the verso of the upper margin corners.

Each framed under Plexiglas: 18” H x 14.75” W x 1.5”

Overall good condition. With full margins. A 2” soft crease in the lower right margin corner and a 1” crease at the top left margin corner, neither of which affect the image. The original printed paper folder with soft creases at the outermost corners, corresponding with the soft creases to the inner sheet as already described. The sheet is loose, not matted.

Unframed

93

Each overall good condition. With full margins. The Tomaselli with an unobtrusive, minute crease at the tip of the lower left margin corner, not affecting the image. The sheet is loose, not matted.

Each unframed

94

Overall good condition.

Framed under Plexiglas: 22.25” H x 18.25” W x 1.5”

D

95

Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 28” H x 28” W x 1” D

96

Overall good condition. With margins. Stray specks of white pigment adhered to the sheet surface, mostly in the left and upper edges of the image. Not examined out of the frame.

Framed under glass: 26.5” H x 26.5” W x 1” D

97

Overall good condition. With margins. Not examined out of the frame.

Framed under glass: 25” H x 25” W x 1” D

98

Overall good condition. A 2.5” diagonal surface scratch, with attendant pigment loss, near the center, at right. Not examined out of the frame.

Framed under glass: 30.5” H x 30.5” W x 1” D

99

Overall good condition. Full margins with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under 43.5” H x 35” W x 1.5” D

100

Overall good condition with minor scuffs and oxidation to metal commensurate with age.

101

Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.

Framed under glass: 70” H x 45” W x 3.5” D

102

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered nicking and losses to the lacquered finish throughout.

103

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with scattered chips to the lacquered finish, primarily concentrated along the edges.

104

Each overall good condition with minor wear, scuffs, and light scratches commensurate with age. Brass with light oxidation. Each ottoman with minimal scuffs and spots of soiling from use, each with lost stiches to side seams, one with 3” split to underside dust cover.

105

Each overall good condition with minor scuffs, scratches, and nicks as well as oxidation to the metal commensurate with age. One red sconce with a loss of enamel in the corner approximately 0.75” long, exposing the metal beneath. As well, one black sconce with a rice-sized loss to the enamel, exposing the metal beneath. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

106

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 both the left and right sheet edges.

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

107

Overall good condition with minor shelf wear, scuffs, and scratches commensurate with age. The top with heavier scratching from use. Some moderate rubbed wear to the reverse painting. The foot’s rim with a small chip.

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rubbed wear to the highpoints of the decoration throughout, concentrated on the underside. As well, the cabinet doors are slow to open. Drilling to the verso indicates this cabinet may have been wall-mounted previously and the metal base may be a later addition.

109

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each chair with later added plastic feet to each leg. Upholstery for each in overall good condition with no rips, stains, or tears.

110

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

111

Overall good condition. With margins. Trimmed approximately 0.5” at the left and right margin edges. Slight remnants of old adhesive at the verso of the upper margin corners. The sheet is loose, and secured with four clear archival corners to the back mat.

Framed under glass: 18.75” H x 22.25” W x 1.5” D

112

Overall good condition. Pale light staining in the margins. Trimmed on the left and right margins 0.25” each and on the upper and lower margins 0.375” each. Hinged to the back mat by three pieces of archival tape affixed to the verso of the sheet.

Framed under glass: 23.5” H x 19.75” W x 1.25” D

113

With margins. Light staining throughout. Mat burn in the margins, just right outside of the image edges, and at the opening of the mat. Slight rippling at the upper and lower edges of the sheet. Taped to the overmat with strips of brown tape along the verso of each sheet edge.

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

114

Overall good condition with tarnishing and light scratches commensurate with age. Scattered inherent casting holes at the edges of the rim of the body. Likewise, there are several small knicks to the silver finish throughout. As well, two of the tips of the talons are flattened.

115

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age. One crack in the plaster on the interior of the ‘shade,’ behind the socket. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

116

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Adhesive felt pads to underside.

117

Overall good condition. The sheet is loose, attached to the back mat with clear archival corners.

Framed under Plexiglas: 16.5” H x 17.5” W x 1” D

118

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 20.75” H x 17.5” W x 1” D

119

Overall good condition. The softest 2” diagonal crease in the upper left corner. Not examined out of the frame.

Framed under glass: 25” H x 21.25” W x 1.25” D

120

Overall good condition. A few pale foxmarks showing primarily in the background. Mat staining showing slightly in the margins. Not examined out of the frame.

Framed under Plexiglas: 23” H x 15.5” W x 1” D

121

Overall good condition. Full margins with deckled edges. Light stained throughout. The right margin edge is folded under 0.375” for framing. Hinged to the overmat with two pieces of Japanese tissue from the verso of the upper margin edge.

Unframed

122

Overall good condition. Full margins with deckled edges. Hinged to the back mat in various places at the verso of the margin edges.

Framed under glass: 32.25” H x 30.5” W x 2” D

Each overall good condition. A rich impression. Full margins with deckled edges. Light staining commensurate with age. Three of the sheets are framed floating, with one under an overmat. Pale mat burning on the print framed under an overmat. Not examined outside of the frame.

Each framed under glass: Largest: 25.5” H x 29” W x 1.5” D

124

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

125

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. As well, there are several hairline cracks radiating from the center that may be inherent to the firing process. Lastly, there is a small, circular spot of yellow on the underside, possibly glaze that darkened during firing, approximately 0.25” wide.

126

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Each with black felt applied to the underside of the foot.

127

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

128

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Surface dust and grime throughout. Found objects with wear inherent to the fabrication process.

129

Overall good condition. With margins. The sheet is loose and secured to the back mat with four clear archival corners.

Framed under Plexiglas: 18.5” H x 22” W x 1.5” D

130

Overall good condition. Hinged to the back mat by two pieces of archival tape affixed to the verso of the sheet.

Unframed

131

Overall good condition. With margins. A faint 5” horizontal surface scratch in the lower half of the image through the glass on the table and the figure’s feet, mostly visible in raking light. The sheet is loose, not matted.

Unframed

132

Overall good condition. With margins. Occasional very minor rippling at the margin edges. Hinged to the back mat at the verso of the upper margin corners.

Framed under glass: 23.5” H x 19.5” W x 0.75” D

133

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

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

134

Overall good condition. With wide margins. Specks of occasional grime in the lower extreme margin edge. Minor handling creases and rippling along the outer margin edges. The lower left margin corner is slightly dog-eared. Two pieces of clear tape remnants in the upper left and right margin corners, and the right with attendant surface abrasion. The sheet is loose, not matted.

Unframed

135

Overall good condition. With margins. Minor handling creases, scattered mostly through the outer margin edges and corners. Two pieces of old clear tape remnants at the lower left and right margin corners. Specks of grime, verso, not affecting the image. The sheet is loose, not matted.

Unframed

136

Overall good condition. Rippling scattered mostly along the left edge. Minor handling creases scattered mostly throughout the outer edges and corners. The right edge is trimmed unevenly. The sheet is loose, not matted.

Unframed

Overall good condition. With margins. The faintest abrasion along the extreme lower margin sheet edge, not affecting the image. The sheet is loose and secured to the back mat with four clear archival corners.

Framed under glass: 25” H x 28” W x 1” D

138

Overall good condition. The full sheet. Framed floating and mounted to the back mat, as issued.

Unframed

139

Overall good condition. Presumably the full sheet. Framed floating and mounted to the back mat, as issued.

Unframed

140

Overall good condition. Two unobtrusive handling marks in the upper right and lower right corners, primarily visible in raking light.

Framed under Plexiglas: 24.25” H x 28.25” W x 1.5”

141

Overall good condition. A minute loss to the printed surface at the tip of the lower right corner of the image. The work is loose, and secured to the back mat with archival corners.

Framed under Plexiglas: 24.25” H x 28.25” W x 1.5”

142

Overall good condition. The full sheet. The mat board with minor time staining along the extreme edges. The faintest hairline of stray pigment in the lower left corner of the mat board, not affecting the image. Framed floating and mounted to the back board, as issued.

Unframed

143

Overall good condition. The full sheet. The mat board with minor time staining, primarily along the extreme edges, and two pinpoint-sized extremely pale foxmarks in the left edge, at center, and in the lower right edge, of the mat board. Framed floating and mounted to the back mat, as issued.

Unframed

144

Overall good condition. The full sheet. Minor time staining and a pinpoint-sized foxmark near the upper edge of the mat board, left of center, not affecting the image. Framed floating and mounted to the back mat, as issued.

Unframed

145

Overall good condition. The full sheet. A very unobtrusive speck adhered to the surface, on the upper left of the veiled figure, near the shoulder. The tips of the back mat’s corners are slightly dog-eared. Framed floating and mounted to the back mat, as issued.

Unframed

146

Overall good condition. The full sheet. The tips of the upper and lower right corners of the back mat are slightly dog-eared. Framed floating and mounted to the back mat, as issued.

Unframed

147

Overall good condition. The full sheet. Framed floating and mounted to the back mat, as issued.

Unframed

148

Overall good condition. Specks of pale foxing scattered mostly in the outer edges of the mount. Scattered areas of insect damage along the right edge of the mount. Two remnants of brown hinging at the upper edge of the mount, and with attendant surface skinning to the upper edge, verso, of the mount. The sheet is loose and secured to the back mat with three archival corners.

Unframed

149

Overall good condition. Very slight time staining along 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” H x 15.25” W x 1” D

150

Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 37” H x 29.5” W x 1.5” D

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With minor soiling and dust accumulation from age and use.

152 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Patination to the seagrass throughout with scattered minor breaks to the weaving.

153

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. As well, there is sun fading to the rosewood veneer along the edges that are framing the inset tiles. Two legs with water damage and losses to the Rosewood veneer, the largest loss approximately 6” long.

154

Each overall good condition. Handling creases and minor staining, scattered mostly throughout the outer edges. Each sheet is curled and with slightly uneven toning, attendant with previous rolling and storage. The first-floor plan with two 3” vertical bands of pale staining, possibly attendant with old tape. Each sheet is loose, not matted.

Each unframed

155

Each overall good condition. Two with colored pencil and graphite, and two with only graphite. Scattered soft handling creases and minor reverse staining and slight foxing, mostly throughout the outer edges, the largest measuring with a 13” vertical band of scattered reverse staining. Each sheet is curled and with slightly uneven toning, attendant with previous rolling and storage. Two out of the four stapled together along the right sheet edge. Each sheet is loose, not matted.

Each unframed

156

Each overall good condition. Scattered soft handling creases and areas of minor pale staining, showing mostly throughout the outer edges. Each sheet is curled and with slightly uneven toning, attendant with previous rolling and storage. The first sheet with pale darkening, attendant with the colored pencils used. Each sheet is loose, not matted.

Each unframed

157

Overall good condition with wear commensurate with age. Minor accretions throughout. Partial red plastic tape remnant along the upper edge, obscuring the “Fran” of “Frank”. The “paid” punctures indicating the check was cashed do not obscure the signature. Inscribed verso: “Deposit 5002107” with some bleeding of the ink appearing on the recto.

158

Each overall fair to good condition with wear commensurate with age. Issues include, but not limited to: creasing/folds, toning, tears, accretions, and multiple tape repairs throughout. As well, there are several small pieces of the blue enclosure document that have fully separated and are retained with the lot. The letter with deckling and several minor tears to the upper edge, as well as overall toning. As well, there is one tape repair to a tear radiating from the upper edge through the lion logo of the letterhead, which is also repaired with tape. Lastly, the letter was once folded into quarters and the creases of these folds remain.

159

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 28.25” H x 37.25” W x 1.25” D

160

Visual: Occasional craquelure showing primarily in the lower right quadrant. A scattered horizontal abrasion across the figure’s hair in the upper right quadrant, exposing the underlying gold leaf. A 0.5” diagonal hairline scratch in the gold background near the lower left corner, exposing the underlying gesso.

Blacklight: No evidence of restoration.

Frame: 12.5” H x 12.5” W x 1.5” D

161

Condition: Overall good condition. A few small areas of craquelure and paint shrinkage in the white pigments along the right edge and in the center of the vase.

Blacklight: No evidence of restoration.

Frame: 48.5” H x 38.5” W x 2.25” D

162

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 25.5” H x 21.5” W x 1.5” D

163

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 23.5” H x 20.5” W x 1.5” D

164

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Surface grime present throughout.

165

Overall good condition with scattered scuffs, scratches, indentations, and separation at joints commensurate with age. The upholstery in overall good condition with no rips, tears, or stains. Some scattered pulls to the fabric throughout.

166

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Some losses to the gilt finish exposing the red bole priming layer beneath.

167

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. As well, the upholstery for each in overall good condition with no rips, tears, or stains. Scattered minor pulls throughout the fabric on each.

168

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 36.5” W x 2” D

169

Overall good condition with shelf wear, scattered minor scuffs, and scratches flaws commensurate with age. With one area of helmet edge near eyebrow loose.

170

Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Dimensions vary by piece.

171

Visual: Overall good condition. Dust accumulation commensurate with age. Artist pinholes at each of the four corners.

Blacklight: No evidence of restoration.

Frame: 19.5” H x 25.5” W x 2.5” D

172

Overall very good condition. The yellow paper still vibrant. Two extremely soft and unobtrusive handling-type bends in the paper near the left edge of the image, each approximately 2” H, visible primarily in raking light. Taped to the overmat with white archival tape along the extreme edge of the left margin, verso.

Framed under glass: 17.375” H x 22.375” W x 1.375” D

173

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Several larger scuffs and scratches to the legs, the largest of which is approx. 2.5” L. Tabletop with scattered small losses to veneer.

174

Each in overall good condition with scattered scuffs, scratches, nicks, and wear to leather commensurate with age and use. Usage wear to the seams and legs. Heavier scratching to the seats of some.

175

Each overall good condition with typical signs of wear, scattered scuffs, and scratches commensurate with age. Each with heavier scratching to the backrest.

176

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Gallery issued editions of this sculpture include a noose fashioned out of wire from which the bronze figure is suspended, but this sculpture lacks that component.

177

Overall good condition with light dust accumulation commensurate with age.

Frame: 19” H x 24.5” W x 2.875” D

178

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. Scattered surface scratches, primarily along the edge of the lower left quadrant, and mostly visible in raking light.

Blacklight: No evidence of restoration.

Unframed

Overall good condition. Artist pinholes at each of the four corners. The sheet is framed floating and mounted to the back mat. Not examined out of the framed.

Framed under Plexiglas: 66.5” H x 46.5” W x 1.5” D

180

Overall good condition. Very slight surface soiling along the extreme sheet edges. Hinged to the back mat at the verso of the upper sheet corners.

Framed under Plexiglas: 15.5” H x 12.5” W x 2” D

181

Overall good condition. Scattered smearing of the graphite in the lettering and images, in the hand of the artist. Very unobtrusive surface skinning in the lower right corner, verso, from previous mounting. Mounted in two places, along the upper sheet edge and the lower left corner.

Framed under Plexiglas: 13.75” H x 10.75” W x 2” D

182

Overall good condition. The sheet retains its original perforations along the upper edge. Taped to the back mat with three small pieces of masking tape at the upper edge.

Framed under glass: 13.5” H x 16.5” W x 1.25” D

183

Visual: Overall good condition. Occasional specks of grime, scattered surface scratches, mostly visible in raking light, and minor abrasion along the extreme edges, all commensurate with age.

Blacklight: No evidence of restoration.

Unframed

184

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 15.25” H x 13.25” W

185

Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. Minor scuffing to the finish of the fiberglass throughout. Please note: Plastic glides on the wood legs have been faux finished to match the surrounding walnut. Some faux finishing is flaking from the plastic.

186

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered hairline cracks throughout the plaster ground.

187

Overall good condition. The work is affixed in between three mat windows and a foamboard backing.

Framed under Plexiglas: 16” H x 17.5” W x 1.5” D

188

Visual: Overall good condition. Light and unobtrusive areas of craquelure throughout, primarily showing in the orange band of pigment in the upper half of the work.

Blacklight: Scattered areas of touchups throughout, the largest being a 3” H x 0.75” W area in the dark green pigment in the lower right quadrant.

Frame: 49.5” H x 61.25” W x 2.25” D

189

Visual: Overall good condition. A 0.25” hairline reverse pressure mark along the right edge, at center. An area of fine and unobtrusive craquelure near the lower right corner, underneath the furthest orange, and underneath the orange left of center.

Blacklight: No evidence of restoration.

Frame: 43.625” H x 48.625” W x 2.375” D

190

Overall good condition with scattered scuffs, scratches, soiling, and general wear commensurate with age. Upholstery in poor to fair condition with soiling, staining, separation at the seams, and degradation of the supporting foam. The base with scattered scuffs and oxidation commensurate with age and use.

191

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Three with fading to upholstery, each with minor rubbed wear and soiling to upholstery concentrated at armrests and the front of the seats. Some scuffing to Lucite bases.

192

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered knicks to the tabletop.

Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. There are multiple repairs and restorations to the top and right-side cabinet door. As well, the finish on the top surface is uneven, varying between highly reflective to dull. Lastly, the left-side hinge in the central dropdown panel is bent and preventing the top drawer from fully opening.

194

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered scratching to the Formica surfaces throughout.

195

Each overall good condition with scattered chips, scuffs, and light scratches commensurate with age. Visible linear cracks in several glass tiles of each sconce. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

196

Visual: Overall good condition. Dust accumulation and a few specks of grime commensurate with age. Occasional craquelure showing primarily in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 45.5” H x 67.5” W x 2” D

197

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

Blacklight: No evidence of restoration.

Frame: 39.25” H x 29.25” W x 1” D

198

Overall good condition. Unobtrusive and small paper losses in the extreme lower and right sheet edges. The sheet is laid to board, as mentioned, and sealed in the mat.

Framed under glass: 26.75” H x 19.25” W x 1.25” W

199

Overall good condition, particularly for a sheet of this size and date. Two pinhead-sized pressure marks with attendant pale staining at the figure’s chin line. Occasional very pale staining showing mostly in the lower blank to the left of the figure, the largest approximately 0.375” H x 1” W. A 2.25” diagonal crease with an attendant partial tear across the lower left corner, and a 0.75” horizontal tear near the bottom of the right edge, neither of which affecting the image, both reinforced on the verso with clear tape. A soft horizontal crease 0.5” above the lower sheet edge. Slight remains of paper and old glue residue in places along the verso of the sheet edges. The sheet is hinged to the back mat with three pieces of white paper tape at the verso of the upper sheet edge.

Framed under Plexiglas: 35.5” H x 23’ x 2” D

200

Overall generally good condition. Pale mat and time staining, recto and verso. Scattered foxing showing primarily in the background at right. The tip of the upper left sheet corner dog-eared. Backboard staining, verso. The sheet is loose, and secured to the back mat with clear archival corners.

Framed under glass: 17” H x 20” W x 1” D

201

Visual: Overall good condition. Dust accumulation and grime commensurate with age. An unobtrusive, 6.5” vertical hairline surface scratch extending down from the upper edge in the background to the right of center. Areas of tiny frame abrasion near the upper right corner, and another at the lower right corner.

Blacklight: No evidence of restoration.

Frame: 32” H x 37” W x 2.5” D

202

Visual: Specks of occasional grime commensurate with age. Stretcher bar creases along all four sides. Craquelure throughout, some of which is unstable with attendant pigment losses, the largest area measuring approximately 3” H x 2” W near the upper edge of the upper right quadrant. Areas of pigment loss scattered throughout, the largest measuring 1.5” H x 5” W in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 53” H x 83” W x 1.5” D

Visual: Overall good condition. Occasional specks of grime commensurate with age. A stretcher bar crease along the extreme upper edge. The faintest area of craquelure along the extreme right edge, and a minor 1.5” horizontal surface scuff, all in the upper right quadrant.

Blacklight: No evidence of restoration.

Unframed

204

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Rust and oxidation to the metal, possibly intentional. Each with allover dust and dirt, possibly from outdoor storage.

205

Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. With allover dust and dirt accumulation and rust buildup. Uncertain if patina is intentional or due to storage and weathering. With felt feet applied to verso for wall mounting.

206

Visual: Overall good condition. A few pinhead-sized flecks of white pigment scattered in the lower right corner, by the head of the figure on the right, and towards the center.

Blacklight: No evidence of restoration. Some pigments fluoresce under blacklight.

Frame:

207

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

Blacklight: No evidence of restoration.

Frame: 28.5”

208

Visual: Overall good condition. Specks of occasional grime commensurate with age. Craquelure scattered primarily throughout the black pigment.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 48.5” W x 1.5” D

209

Visual: Overall good condition. Occasional specks of grime commensurate with age. Two stray pinheadsized specks of black pigment near the extreme left edge, at center.

Blacklight: A 2.75” horizontal area of touch-up in the lower right quadrant, with an attendant patch, verso.

Unframed

210

Overall good condition. Areas of craquelure throughout. Pinhead-sized flecks of grime in the upper right quadrant towards the center, in the middle of the lower left quadrant, and in the upper left quadrant in the yellow pigment. Three small scuff marks, one towards the center at the upper edge and two in the upper right quadrant. A hairline 6” horizontal split in the canvas with attendant pigment loss towards the middle of the lower edge, in the blue pigment area.

Blacklight: No evidence of restoration.

Frame: 35” H x 55” W x 1.5” D

211

Overall good condition. The sheet is loose, not matted.

Unframed

212

Overall good condition. A vertical 14” crease with attendant pigment loss running through the work. The sheet is framed floating and hinged to the back mat.

Framed under glass: 16.25” H x 12.25” x 0.75” D

213

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age, primarily concentrated to the underside.

214

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Lid is affixed to the body with mounting putty. Visual inspection of the piece relegated to the exterior. With mounting putty to the underside.

215

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Mounting putty present on the underside.

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Mounting putty to the underside.

217

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. With mounting putty to the underside.

218

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Mounting putty to the underside.

219

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Mounting putty present on the underside.

220

Overall good condition with scuffs, dust accumulation, and darkening/oxidation to bronze commensurate with age. The stone base with minor scuffs and scratches.

221

Condition: Overall good condition. Dust accumulation, grime, and light discoloration commensurate with age.

Blacklight: No evidence of restoration.

Frame: 32” H x 38” W x 1” D

222

Visual: Overall good condition. Areas of fine craquelure throughout. A small pinhead-sized fleck of white pigment by the artist’s signature in the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 30” W x 2.5” D

223

Visual: A 1” H x 2” W L-shaped split in the canvas to the right of center. Occasional paint shrinkage showing mostly in the two yellow forms at top. Stretcher bar creases showing along all four sides. Dust accumulation commensurate with age.

Blacklight: Occasional small dots and lines of touchup, the largest measuring approximately 2” H x 0.5” W along the uppermost portion of the extreme right edge, and another measuring approximately 0.5” H x 1” W in the green background of the lower left quadrant.

Frame: 19.5” H x 17.5” W x 2” D

224

Overall generally good condition. Dust accumulation, occasional specks of grime, and light surface scratches commensurate with age. Scattered areas of surface abrasions along the extreme edges of each of the wood construction pieces. Minor lifting at the upper right corner of the blue and the lower black wood construction pieces. Very fine craquelure scattered throughout the background of the white-painted Masonite.

Frame: 19.75” H x 14.75” W x 1.5” D

225

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Occasional scattered craquelure with attendant pigment losses, rice-sized or smaller, primarily near the center.

Blacklight: Apparently no restoration, difficult to read under uneven varnish.

Frame: 7.5” H x 12” W x 1.5” D

226

Overall good condition. Artist pinholes near the upper left and right corners. Four remnants of old hinging tape along the upper and lower edges. The sheet is loose, not matted.

Framed under plastic: 17.25” H x 21.25” W x 1” D

227

Condition: Overall good condition. A thin 1” horizontal scratch with attendant paint loss near the center of the left edge. The canvas is loose, not on a stretcher.

Blacklight: Areas of touch-up on the white bird, and on the face and neck of the figure in the upper right quadrant, the largest being 1.75” H x 1.75” W..

Unframed

Visual: Overall good condition. Dust accumulation and grime commensurate with age. A 5.5” horizontal surface scratch with attendant pigment loss in the lower right quadrant. A small area of craquelure in the white pigment in the lower portion of the upper left quadrant, and in the multi-colored circle, at center.

Blacklight: No evidence of restoration.

Unframed

229

Surface scuffs, scratches, small pieces of wood and pigment loss, surface peeling, scattered pea-sized or smaller holes in the lighter purple pigment, and scattered craquelure in the lighter blue and purple pigments, all commensurate with age and wear.

Unframed

230

Condition: Overall good condition. Minor surface abrasion with attendant pigment loss at each corner.

Blacklight: No evidence of restoration

Unframed

231

Overall good condition. The full sheet with deckled edges. The colors fresh. Scattered and very unobtrusive handling creases, primarily in the outer edges and corners, and mostly visible in raking light. The upper left corner is slightly dog-eared. The sheet is framed floating and hinged to a back mat with hinging tape in various places, near the edges, and the back mat is mounted to a larger back mat.

Framed under glass: 34.5” H x 26.5” W x 1.5” D

232

Two 1.5” H x 2” W areas of tearing, lifting, and paper loss in the upper left and right corners. Glue residue appears on the recto of the blue and white collage pieces in the upper half section of the work. The collage pieces of the pearls lifting and ever-soslightly affixed completely to the sheet. Abrasion, small tears, and old glue scattered in the outer edges. Skinning to the lower right corner, verso. A band of old white artist’s tape along the left edge, verso. Hinged to the back mat with white hinging tape along the upper edge, verso.

Framed under glass: 19.5” H x 23” W x 1.5” D

233

Overall good condition. Hinged to a black support sheet with linen hinges from the verso of the upper sheet corners.

Framed under glass: 16.25” H x 10.75” W x 1” D

234

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 stray paint in the upper left quadrant. 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

235

Overall good condition. Slight rippling and creases throughout, the largest crease measuring 12,” horizontally, near the figure’s right eye. The sheet is loose, not matted.

Framed under glass: 47.25” H x 35.25” W x 1” D

236

Overall good condition. Very minor and unobtrusive handling creases, hairline tears, and flecks of black pigment loss of the spray paint to the stencil, commensurate with wear and use during the artist’s creative process.

Framed under Plexiglass: 51” H x 85” W x 1.5” D

237

Overall good condition. Pinpoint-sized foxmarks scattered throughout the lower half of the sheet. A 1” diagonal crease in the upper left corner. Minor toning and scattered pinhead-sized or smaller foxmarks, verso. Mounted to the overmat with pieces of white tape at the center and corners of the upper sheet edge, verso..

Unframed but matted

238

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20.5” H x 27.25” W x 1.75” D

239

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

Blacklight: No evidence of restoration.

Unframed

240 Condition: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

241

Overall good condition. The sheet is framed floating, and hinged to the back mat in various places at the verso of the sheet edges.

Framed under Plexiglas: 34.5” H x 26.5” W x 1.5” D

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

Blacklight: No evidence of restoration.

Frame: 28.25” H x 36” W x 1.125” D

243 Condition: Overall good condition. Dust accumulation and grime commensurate with age. A pea-sized puncture hole in the teal pigment near the lower edge, at center. A 1” surface abrasion line with attendant pigment loss in the upper edge, at right.

Blacklight: No evidence of restoration

Frame: 36” H x 28” W x 1.25” D

244

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

245

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Drawer pulls with rubbed wear to lacquer and soiling from use. Allover scuffs and scratches and chips to lacquer, concentrated at edges and corners. Lastly, there is one large loss to the lacquered wood at the left lower rear corner.

246

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Drawer pulls with rubbed wear to lacquer and soiling from use. Allover scuffs, scratches, and chips to lacquer, concentrated at edges and corners. One with added material/residue and possible repair to back, as well missing some nails to back panel.

247

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Several chairs with heavier nicking to the edges of the frame, exposing the raw wood beneath. As well, there are scattered minor breaks to the caning on the backrests of each. Lastly, the upholstery for each in overall good condition with minor thread pulls and loss to the pile.

248

Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. This item has been tested and does not turn on when plugged in. As such, it is sold as-is. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronics.

249

Overall good condition. The full sheet with deckled edges. Very minor and unobtrusive handling marks scattered mostly in the outer edges. Minor rippling along the lower left edge, attendant with its hinging. The sheet is framed floating and hinged to the back mat.

Framed under Plexiglas: 54.5” H x 41” W x 2” D

250

Visual: Overall good condition. Dust accumulation and dirt commensurate with age. Minor abrasion to the white pigment along the extreme edges of the octagon panel.

Blacklight: No evidence of restoration.

Frame: 12.5” H x 12.5” W x 1.75” D

251

Condition: Overall good condition. Light dust accumulation and grime commensurate with age. Fine craquelure throughout. Frame abrasion across the upper and upper left edges.

Blacklight: Small pinhead-sized areas of touchup along the left edge, the largest measuring 0.25” H x 0.75” W 0.75” in the upper left corner.

Frame: 28.25” H x 16.25” W x 1.5” D

252

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very minor and unobtrusive frame abrasion along the edge of the lower right quadrant.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 19.25” W x 0.75” D

253

Visual: Overall good condition. Dust accumulation and grime commensurate with age, primarily visible in the blue pigments. Fading to the darker purple outlining throughout. Stretcher bar crease in the upper left quadrant. Areas of craquelure in the upper left quadrant and in the magenta pigment, near the center. A small 0.25” H x 0.125” W area of pigment loss extending from the upper right edge.

Blacklight: Scattered areas of touchups through the upper left and right quadrants of the work, the largest measuring 0.5” H x 0.75” W.

Frame: 66” H x 74” W x 1.25” D

254

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Approximately two areas of pin-sized losses to the paint on the front signature. Adhesive rubber feet to underside.

255

Visual: Overall good condition. Dust, grime, and varnish discoloration commensurate with age. Occasional craquelure showing mostly in the upper quadrant and primarily in conjunction with the upper stretcher bar. The canvas is irregularly exposed around the outermost edges, which may indicate a combination of the artist’s own working methods and possible tiny pigment losses over time.

Blacklight: No evidence of restoration.

Frame: 18.75” H x 22.25” W x 1” D

256

Overall good condition with shelf wear, scuffs, and scratches commensurate with age. Scattered small chips and flea bites to edges with pitting throughout. The base in good condition with scattered scuffs, scratches, and nicks commensurate with age. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

257

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. There is heavier scratching to the undersides of several of the modular units and one with localized circular area of what appears to be water damage. The verso of the two-door cabinet with a tear-out to the particleboard backing. Likewise, there is some tear-out to the mounting holes on the brackets. Lastly, the black painted backing of the interior of the glazed cabinet with several breaks and chips.

258

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. More concentrated scratches, scuffs, and drink rings to upper surface. One 0.75” loss to bottom of back right leg. Bottom right surface with some speckled residue at the edge, possibly paint flecks.

259

Overall good condition with scattered scuffs and scratches commensurate with age. The base with wear, dust accumulation, and minor scuffs commensurate with age. With a taped piece of paper to underside of base.

260

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The polished stone base with minor scratching scuffing.

261

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. As well, there is white adhesive residue and surface grime throughout.

262

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

263

Each overall generally good condition. Dust accumulation and grime commensurate with age.

Frame of larger under glass: 14.75” H x 12.5” W x 1” D

264

Light staining, surface soiling, and occasional foxing throughout. A 4” horizontal tear in the image at the center of the left edge, with attendant tape staining showing through from the verso. Hinged to the overmat by a long strip of masking tape at the verso along the upper sheet edge, with attendant staining.

Framed under glass: 25” H x 19” W x 1.25” D

265

Overall good condition. Sealed in the mat.

Framed under glass: 23.25” H x 29.25” W x 1.25” D

266

Overall good condition. Pale light staining throughout. Hinged to the overmat with three pieces of brown paper tape at the verso of the upper, left, and right sheet edges.

Unframed

267

Each overall good condition with minor scuffs and darkening/oxidation to metal frames commensurate with age. As well, each roped seat with staining. grime, and wear. Most with loosening to the rope seats.

268

Each overall good condition with scattered scuffs, scratches, and oxidation commensurate with age and outdoor use. Each with allover weathering and losses to the charcoal finish. The vinyl straps in good condition with some stiffness from outdoor use. The metal label is partially attached, bent, and faded from weathering.

269

Each overall good condition with scattered scuffs, scratches, and oxidation commensurate with age and outdoor use. Each with allover weathering and losses to the charcoal finish. The vinyl straps in good condition with some stiffness from outdoor use. The metal label is faded and weathered.

270

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Rubbed wear to the seat of the bench commensurate with use.

271

Each overall good condition with scattered scuffs, scratches, nicks to edges, shrinkage cracks, indentations, and separation at joints commensurate with age. The middle table with a 3” x 2” faded stain, with smaller similar stains to the smallest piece. The middle with two 2” dia. patches of craquelure to enamel from moisture damage. Mild oxidation to wrought iron legs.

272

Overall good condition with tarnishing and light scratches commensurate with age. Marble base with scattered scuffs and minor fleabite chips. As well, there is surface grime and dirt present throughout the marble base.

273

Each overall good condition with oxidation, localized rust, and light scratches commensurate with age. Scattered nicks to and surface grime on the upholstery of each.

John Moran Auctioneers, Inc

SPECIALISTS

President, Auctioneer

Co-Head of Sale, Director, Fine Art

Co-Head of Sale, Specialist, Post-War & Contemporary Design

Senior Vice President, Director Trusts & Estates

Vice President, Specialist, Silver, Western, and American Indian

Associate Specialist, Fine Art

Senior Specialist, Furniture & Decorative Arts

Department Administrator, Fine Art

Department Administrator, Furniture & Decorative Arts

Silver, Western and American Indian Cataloguer

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Furniture & Decorative Arts

Cataloguer, Furniture & Decorative Arts

Director, Jewelry & Watches

Senior Specialist, Jewelryc& Watches

Regional Representative, Arizona

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

Director, Advertising & Marketing

Brenda Smith

Graphic Designer

PHOTOGRAPHY

Photographer

Photographer

Photographer

Photography Assistant

TRUSTS & ESTATES

Director, Appraisals

Administrator, Appraisals

Administrator, Trusts & Estates

FOUNDERS

Founder

Co-Founder

Jeffrey J. Moran

Jenny W ilson

Matthew Grayson

Morgana Blackwelder, ISA AM

Maranda Moran

Bobby Cullen

Angela Past

Ian Anderson

Alek Ellis

Sally Andrew

Anne Spink

Madison Ari

Clark Silva

Sarah Beaver

Grant Stevens

Tom Burstein

Peggy Gottlieb

Deborah Davis

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Romero Corral

Nathan Martinez

PR Manager/Social Media

Brian Olivas

Keith Berson

Madison Torres

Michael Mizerowski

Jacob Baer

Mariam Whitten, ISA AM

Shannon Dailey

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.

Conditions of Sale

These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.

1. AUCTION HOUSE AS AGENT. Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.

2. BEFORE THE AUCTION

a. Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran.com or by dialing 626-793-1833. 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 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 in Section 5 below. All property IS sold “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, 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 reference to particular defects imply the absence of others.

3. AT THE AUCTION

a. Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.

b. Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment.

c. Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or inter net, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.

d. Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

e. Reserves. Unless Moran expressly indicates 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 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 their discretion or deem the lot unsold if a bid is not recognized.

4. 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. The Buyer’s Premium will be calculated as follows: 25% on the first $1,000,000 of the hammer price, plus 20% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.

Successful bidders using Live Auctioneers or Bidsquare platforms will be charged a Buyer’s Premium calculated as follows: 30% on the first $1,000,000 of the hammer price, plus 25% on any amount between $1,000,001 and $5,000,000, and 20% on any amount above $5,000,000 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 within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran 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 lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.

c. Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran 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 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. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a thirdparty, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

d. Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.

e. Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.

f. All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 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; or 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 foregoing 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 in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

5. LIABILITY AND LIMITED WARRANTY

a. Liability. The buyer expressly agrees that (i) neither Moran 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 the seller nor Moran or its 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, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or 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. Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@ johnmoran.com.

6. ADDITIONAL MATTERS

a. Copyright. The copyright on all images, illustrations, and written material produced by or for Moran for its auction is and will remain at all times the property of Moran. Moran 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 Terms, Moran 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 Moran deems necessary or appropriate. If Moran 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, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.

c. Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.

d. Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.

e. Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms 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.