California Living — August 1, 2023 | John Moran Auctioneers

This is an interactive preview brochure . Click on any item description or hyperlink for more information. Click here to view all lots in this sale.

2001

Peter Max

(b. 1937)

“Snow White”

Screenprint in colors on paper

Edition: 340/500

Signed lower right: Max ; numbered lower left

Sight: 15.25” H x 13.5” W

$600-800

Other Notes: This lot is accompanied by a signed certificate of authenticity from The Great Dane Collection, affixed to frame’s backing paper.

2002

Peter Max (b. 1937)

“Umbrella Man”

Mixed media and acrylic on paper

Signed upper right: MAX

Image/Sheet: 32” H x 24” W

$2,000-4,000

Provenance: Property from a Distinguished Palm Springs Estate

2003

Paul Jacoulet

(1902-1960)

“Apres la Danse. ‘Celebes’,” 1940 Woodcut in colors with silver, bronze, and gold highlights on handmade mulberry paper, watermark artist’s initials

Edition: one of fewer than 275 total impressions

Signed in pencil above the artist’s red ink butterfly stamp in the image at the lower left: Paul Jacoulet; the title printed in the lower margin, at right; stamp-numbered 194/350 in red ink on the verso of the lower right margin corner; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Shunosuke Fujii, in the lower portion of the right margin

Image: 15.5” H x 11.75” W; Sheet: 18.375” H x 14.25” W

$400-600

Literature: Miles 67

Other Notes: According to Richard Miles, “...Jacoulet’s numbering system was eccentric at best....Existence of an edition does not mean that the edition was printed in full, and in most cases many fewer were pulled. It was Jacoulet’s practice to print only what he expected to sell, or had already sold, to subscribers....In addition, he tried not to duplicate numbers, and largely succeeded. Therefore, [in a hypothetical example], although a print stamped 290/350 is known to exist, there are fewer than 100 actual impressions with the edition of 350 stamp, because 200 of the earlier numbers were used up in the edition of 150 and 250. Even the edition of 150, of which number 150/150 is known, may have existed in fewer impression, because Jacoulet started printing some editions of 250 before completing the first printing....It goes without saying that many of the pre-war prints that did not leave Japan prior to 1941 are no longer in existence, and in many cases the delicate vegetable pigments have faded.”

For this particular image, Miles states that the total print run included fewer than 100 impressions numbered out of 250, and fewer than 175 numbered out of 350. He goes on to say that there are two states of this print: the first state, as with our impression, has bronze, silver, and gold metallic decoration; whereas the second omits the silver, and is thought to be later.

2004

Paul Jacoulet (1902-1960)

“Couchier de Soleil a Menado. ‘Celebes’,” 1938

Woodcut in colors with embossing on handmade mulberry paper

Edition: one of fewer than 250 total impressions

Signed in pencil above the artist’s red ink tea jar stamp in the image at the lower left: Paul Jacoulet; the title printed in the lower margin, at right; stamp-numbered 127/250 in red ink on the verso of the lower edge, at left; with the black ink stamps of both the carver, Kentaro Maeda, and the printer, Honda, Uchikawa, Fujii, Japan, in the lower portion of the right margin

Image: 15.5” H x 11.875” W; Sheet: 19” H x 14.25” W

$400-600

Literature: Miles 53

Other Notes: According to Richard Miles, “...Jacoulet’s numbering system was eccentric at best....Existence of an edition does not mean that the edition was printed in full, and in most cases many fewer were pulled. It was Jacoulet’s practice to print only what he expected to sell, or had already sold, to subscribers....In addition, he tried not to duplicate numbers, and largely succeeded. Therefore, [in a hypothetical example], although a print stamped 290/350 is known to exist, there are fewer than 100 actual impressions with the edition of 350 stamp, because 200 of the earlier numbers were used up in the edition of 150 and 250. Even the edition of 150, of which number 150/150 is known, may have existed in fewer impression, because Jacoulet started printing some editions of 250 before completing the first printing....It goes without saying that many of the pre-war prints that did not leave Japan prior to 1941 are no longer in existence, and in many cases the delicate vegetable pigments have faded.”

For this particular image, Miles states that “Several of the first impressions are marked as edition of 100. In general, the earliest printing is on slightly larger, richer-coloured paper, and only a single Maeda stamp appears on the l.r. The postwar reprints are on a whiter sheet, and the blue shadings of water are very intense. Often the blue shading near the woman’s right knee is omitted.”

2005

Paul Jacoulet (1902-1960)

“Le Mandarin aux Lunettes. Mandchoukuo,” 1950

Woodcut in colors with silver highlights on handmade mulberry paper, watermark artist initials

Edition: one of fewer than 250 total impressions

Signed in pencil above the artist’s red ink mandarin duck stamp in the image at the lower right: Paul Jacoulet; the title printed in the lower margin, at right; the stampnumber missing from the verso; with the black ink stamp of the carver, Kentaro Maeda, in the lower portion of the right margin

Image: 16” H x 11.875” W; Sheet: 16.5” H x 12.375” W

$300-500

Literature: Miles 106

Other Notes: According to Richard Miles, “...Jacoulet’s numbering system was eccentric at best....Existence of an edition does not mean that the edition was printed in full, and in most cases many fewer were pulled. It was Jacoulet’s practice to print only what he expected to sell, or had already sold, to subscribers....In addition, he tried not to duplicate numbers, and largely succeeded. Therefore, [in a hypothetical example], although a print stamped 290/350 is known to exist, there are fewer than 100 actual impressions with the edition of 350 stamp, because 200 of the earlier numbers were used up in the edition of 150 and 250. Even the edition of 150, of which number 150/150 is known, may have existed in fewer impression, because Jacoulet started printing some editions of 250 before completing the first printing”.

2006

Rick Wolfryd

(b. 1953)

After KAWS “Star Dust (Mini),” 2022

Photopolymer resin and beads

Signed, titled, dated, and inscribed to the underside: Chroma aka Rick Wolfryd / “Star Dust” (Mini) / T.P. 0002 / 2022 / 3-D Smart Labs

15.5” H x 5.75” W x 5.5” D

$600-800

2007

Rick

(b. 1953)

After KAWS “Share,” 2022 Vinyl, resin, and beads

Signed, titled, inscribed, and dated in marker to the underside: Chroma aka Rick Wolfryd / “Share.” / TP .000GB / 2022 / Alfredo

13” H x 6” W x 3.5” D

$400-600

Wolfryd

2008

A pair of George Bullio-style Lucite table lamps

Mid-20th century

Each with illegible etched signature

Two Hollywood Regency-style lamps, each with stacked disks of transparent, ripple cut acrylic surrounding a cylindrical, chromed metal core, dual sockets, ball chain pulls, and pleated silk shade, electrified, 2 pieces

Each overall: 27” H x 14” Dia.

$400-600

2009

A pair of modern rosewood cabinets

Mid-20th century

Each appears unmarked

Each two-door, low profile cabinet with hardware including corner reinforcements, rectangular ring pulls, atop an ebonized

Each: 19” H x 32” W x 18” D

$500-700

cabinets

with book-matched rosewood veneer, metal reinforcements, dual inset handles to each side, and ebonized wood plinth base, 2 pieces

2010

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

The Group Executive Chair for Herman Miller, late 20th century

Designed 1958

Appears unmarked

Cast aluminum frame with arms and brown leather upholstery cushions, set upon five-legged base with casters

33.5” H x 23.125” W x 27.5” D

$500-700

2011

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

The Group Executive Chair for Herman Miller, late 20th century

Designed 1958

Appears unmarked

Cast aluminum frame with arms and brown leather upholstery cushions, set upon five-legged base with casters

33.5” H x 23.125” W x 27.5” D

$500-700

2013

Paolo Soleri (1919-2013)

Two Cosanti wind bells, mid/late 20th century; Paradise Valley, AZ

With cast Paolo Soleri cipher

Cast bronze

2 pieces

Each: 17” H x 3.75” Dia. approximately

$500-700

2012

Joseph D’Urso (b. 1943)

Swivel Lounge Chair for Knoll Studios, 2009

Designed 2008

Metal tag to the underside: Joseph D’Urso / Knoll Studio / 2009

The barrel swivel chair upholstered with a terracotta boucle and set upon a chromed aluminum tulip base

28” H x 32” W x 24” D

$600-800

2014

Paolo Soleri (1919-2013)

Two Cosanti wind bells, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher Cast bronze and copper

2 pieces

Each: 22” H x 5” W x 3.25” D approximately

$500-700

2015

Spencer Bisby (1908-1989)

Docked boats near a bridge, 1982 Enamel on copper

Signed lower right: Spencer Bisby; dated on the artist’s copyright label affixed to the frame’s backing paper

15.625” H x 12.75” W

$300-500

$300-500

2016 Spencer Bisby (1908-1989) Farmers working Enamel on copper

Signed lower right: Bisby

14” H x 16” W

2017

Men on ladders cutting trees

Enamel on copper

$300-500

Spencer Bisby (1908-1989)

Signed lower right: Spencer Bisby © 17” H x 15” W

2018

Mary Fuller McChesney

(1922-2022)

Goddess figure, circa 1960s-1970s Concrete, vermiculite, and metal Incised signature to the underside: Fuller 18” H x 21.5” W x 9.5” D

$400-600

Other Notes: Mary Fuller McChesney moved back to the Bay Area in 1952 after a year in residency in an artist colony in Ajijic, Mexico. Settling on Sonoma Mountain with her partner, fellow artist, printmaker, and teacher Robert McChesney, where they would live for the next several decades. Fuller was largely self-taught as an artist. She casted giant totems and goddesses out of a special mixture of vermiculite, sand, cement and water, which she carved directly into with a knife and rasp. These enchanting animals and mythological women are formed in a cubist style reminiscent of the pre-Columbian sculpture and African art that profoundly influenced her aesthetic.

As well, Fuller wrote and published many short stories, poems, and articles in various prominent arts magazines including Art Digest, Artforum, Art in America, Craft Horizons, and American Craft. She was a staff writer at Currant, a researcher for the Archives of American Art, a Ford Foundation Fellow and the recipient of the 1975 NEA Art Critic’s Grant.

Mary Fuller’s sculptures can be found in many public places and private collections. Her public sculpture commissions can be seen throughout the state of California, including the Petaluma Library, the San Francisco Zoo, the San Francisco General Hospital, Portsmouth Square in San Francisco, Salinas Community Center, Andrew Hill High School in San Jose, Department of Motor Vehicles in Yuba City, and Squaw Valley.

2019

Mary Fuller McChesney

(1922-2022)

Totem figure, circa 1960s-1970s

Concrete, vermiculite, and metal Appears unsigned

30.75” H x 12” Dia.

$400-600

Other Notes: Mary Fuller McChesney moved back to the Bay Area in 1952 after a year in residency in an artist colony in Ajijic, Mexico. Settling on Sonoma Mountain with her partner, fellow artist, printmaker, and teacher Robert McChesney, where they would live for the next several decades. Fuller was largely self-taught as an artist. She casted giant totems and goddesses out of a special mixture of vermiculite, sand, cement and water, which she carved directly into with a knife and rasp. These enchanting animals and mythological women are formed in a cubist style reminiscent of the pre-Columbian sculpture and African art that profoundly influenced her aesthetic.

As well, Fuller wrote and published many short stories, poems, and articles in various prominent arts magazines including Art Digest, Artforum, Art in America, Craft Horizons, and American Craft. She was a staff writer at Currant, a researcher for the Archives of American Art, a Ford Foundation Fellow and the recipient of the 1975 NEA Art Critic’s Grant.

Mary Fuller’s sculptures can be found in many public places and private collections. Her public sculpture commissions can be seen throughout the state of California, including the Petaluma Library, the San Francisco Zoo, the San Francisco General Hospital, Portsmouth Square in San Francisco, Salinas Community Center, Andrew Hill High School in San Jose, Department of Motor Vehicles in Yuba City, and Squaw Valley.

2020

Mary Fuller McChesney (1922-2022)

Feline form, circa 1960s-1970s

Concrete and vermiculite

Incised signature to the underside: Fuller 12.5” H x 18.5” W x 7.5” D

$400-600

Other Notes: Mary Fuller McChesney moved back to the Bay Area in 1952 after a year in residency in an artist colony in Ajijic, Mexico. Settling on Sonoma Mountain with her partner, fellow artist, printmaker, and teacher Robert McChesney, where they would live for the next several decades. Fuller was largely self-taught as an artist. She casted giant totems and goddesses out of a special mixture of vermiculite, sand, cement and water, which she carved directly into with a knife and rasp. These enchanting animals and mythological women are formed in a cubist style reminiscent of the pre-Columbian sculpture and African Art that profoundly influenced her aesthetic.

As well, Fuller wrote and published many short stories, poems, and articles in various prominent arts magazines including Art Digest, Artforum, Art in America, Craft Horizons, and American Craft. She was a staff writer at Currant, a researcher for the Archives of American Art, a Ford Foundation Fellow and the recipient of the 1975 NEA Art Critic’s Grant.

Mary Fuller’s sculptures can be found in many public places and private collections. Her public sculpture commissions can be seen throughout the state of California, including the Petaluma Library, the San Francisco Zoo, the San Francisco General Hospital, Portsmouth Square in San Francisco, Salinas Community Center, Andrew Hill High School in San Jose, Department of Motor Vehicles in Yuba City, and Squaw Valley.

2021

Max DeMoss (b. 1947)

Two figures, 1983

Patinated bronze

Signed to the edge of base: Max S DeMoss / © 1983

10.25” H x 15.75” W x 15.25” D

$300-500

2022

Max DeMoss

(b. 1947)

Four Dancers, 1983

Patinated bronze

Signed to the edge of base: Max S DeMoss / © 1983

2023

Paul Fairley (1948-1991)

“Juliet,” 1983

Patinated and cold-painted bronze raised on marble plinth

Edition: 140/999

Signed to bronze

Figure: 13.5” H x 9.325” W x 2.25” D; Plinth: 3.125” H x 4” W x 4.125” D

$300-500

2024

Two modernist bronze figural statuettes by P. Hord

Mid-20th century

One figure signed: P. Hord / 71; the other marked: PH

Each modernist bronze depicting a female figure with child at play, one on bench and the other on a kinetic rocking stool, 2 pieces

Larger: 9” H x 4.25” W x 5.5” D; smaller: 5.75” H x 6.5” W x 4” D

$200-400

2025

Cement and glass

Incised signature to underside: © Rankin 1982

2.75” H x 6” W x 8.625” D

$300-500

Lou Rankin (1929-2016)

Cheshire Cat, 1982

2026

Peter Max (b. 1937)

“Dove,” 1969

Offset lithograph in colors on paper

From the edition of unknown size

Signed and dated in the lower edge, at center: Peter Mx Sight: 32.25” H x 23.25” W

$800-1,200

2027

Abstract floral still life

$400-600

Peter Max (b.1937)

Acrylic and ink on canvasboard

Signed near the left edge, at center: Max

Sight: 9.5” H x 7.5” W

Other Notes: On the frame’s backing paper is a drawing in Sharpie, presumably drawn by the artist, Peter Max.

2028

Romain (Erté) de Tirtoff (1892-1990)

“Rigoletto,” 1985

Screenprint in colors with foil stamping on black paper

Edition: CV/CL

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

Erte

Sight: 36.5” H x 29.5” W

$600-800

2029

Romain (Erté) de Tirtoff (1892-1990)

“Rain,” 1980

Screenprint in greys with silver ink and embossing on paper

Edition: XLVI/L

Signed and numbered in pencil in the lower margin: Erte; titled from a gallery label affixed to the frame’s backing paper

Sight: 7” H x 17.5” W

$200-300

Provenance: Dyansen Gallery, various locations across the United States Artwork from an Estate Gifted to Loyola Marymount University

2030

Romain (Erté) de Tirtoff (1892-1990)

“Summer,” from “The Seasons Suite,” 1975

Screenprint in colors on paper

Edition: A/P

Signed and numbered in pencil in lower margin: Erte

Sight: 16.125” H x 12.75” W

$300-500

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

2031

Romain (Erté) de Tirtoff (1892-1990)

“The Suitors,” 1980

Screenprint in colors with embossing on paper

Edition: XXVI/L

Signed and numbered in pencil in lower margin: Erte

Sight: 13.5” H x 17.25” W

$400-600

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

2032

Untitled Lithograph in colors on paper

Edition: E.A.

Signed and inscribed in pencil in the lower margin: M. Chemiakin

Image: 19.5” H x 19.75” W; Sight: 20.875” H x 21” W

$300-500

Provenance: Jonathan Art Foundation, Los Angeles, CA

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

Mihail Chemiakin (b. 1943)

2033

Mihail Chemiakin

(b. 1943)

Untitled

Lithograph in colors on paper

Edition: E.A.

Signed and inscribed in pencil in the lower margin: M. Chemiakin

Image: 16.625” H x 17.5” W; Sight: 22.5” H x 19” W

$300-500

Provenance: Jonathan Art Foundation, Los Angeles, CA

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

2034

Mihail Chemiakin (b. 1943)

“Acrobats”

Lithograph in colors on paper

Edition: E.A.

Signed and inscribed in pencil in the lower margin: M. Chemiakin

Image: 20” H x 17.5” W; Sight: 25” H x 18.5” W

$300-500

Provenance: Jonathan Art Foundation, Los Angeles, CA

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

2035

Mihail Chemiakin

(b. 1943)

Untitled

Lithograph in colors on paper

Edition: E.A.

Signed and inscribed in pencil in the lower margin: M. Chemiakin

Image: 20” H x 17.5” W; Sight: 24.25” H x 18.625” W

$300-500

Provenance: Jonathan Art Foundation, Los Angeles, CA

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

2036

Paolo Soleri (1919-2013)

Six small Cosanti wind bells, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher Cast bronze and copper

6 pieces

Largest: 8” H x 2.625” Dia.; smallest: 8” H x 2.125” Dia.

$500-700

2037

Paolo Soleri (1919-2013)

A Cosanti Wind Bell, Mid/late 20th Century; Paradise Valley, AZ With cast Paolo Soleri cipher Cast bronze and copper

$600-800

2038

Paolo Soleri (1919-2013)

Two Cosanti wind bells, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher Cast bronze and copper bells

2 pieces

Each: 22” H x 5” W x 4.75” D approximately

$600-800

2039

After Henry Darger (1892-1973)

Untitled (Pastoral scene - girls with lasso) Double-sided mixed media work on cardboard

Unsigned 22” H x 17.75” W (irreg.)

$500-700

Other Notes:

This work appears to be a copy of “Untitled (Pastoral Scene - Girls with Lasso”) currently held in the collection of the Museum of Modern Art, New York. Source: https://www.moma.org/collection/works/156815?artist_id=28600&page=1&sov_ referrer=artist

2040

Romain (Erté) de Tirtoff (1892-1990)

“Shadows of the Trees,” costume design for “In The Bag,” 1937 Gouache and ink on paper

Signed in ink lower right: Erte; signed again, titled, dated, and inscribed: The Siren, all verso

Sheet: 10.75” H x 14.75” W

$800-1,200

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

2042

Romain (Erté) de Tirtoff (1892-1990)

“La Traviata”

Gouache and ink on paper

Signed in ink lower right: Erte; signed again, titled, and dated, some of which is possibly in another hand, all verso Sheet: 14.75” H x 10.75” W

$800-1,200

Provenance: Artwork from an Estate Gifted to Loyola Marymount University

2041

Romain (Erté) de Tirtoff (1892-1990)

“Love Song,” costume design for “It’s in the Bag,” 1937 Gouache and ink on paper

Signed in ink lower right: Erte; titled, dated, and inscribed some of which is possibly in another hand, all verso Sheet: 14.625” H x 10.625” W

$800-1,200

Provenance: Artwork from an Estate Gifted to Loyola Marymount University

2043

Romain (Erté) de Tirtoff (1892-1990)

Costume design for “It’s in the Bag,” 1937 Gouache and ink on paper

Signed in ink lower right: Erte; signed again, dated and indistinctly titled, all verso Sheet: 14.75” H x 10.75” W

$800-1,200

Provenance: Artwork from an Estate Gifted to Loyola Marymount University

inscribed Jimmy Carney, University

2044

Jose Domingo Batz (1857-1936)

A polychromed carved wood folk art walking stick, 1885 Inscribed to the handle: 450 Woodcuts By J.D. Batz / 1885

The intricately carved wood walking stick with hundreds of different animal and human figures, each with a carefully painted label and polychrome decoration 37” L x 1.25” Dia.

$2,000-3,000

Other Notes: Known as “El Sereno’s cane carving master,” Jose Domingo Batz was the son of the early pioneer Jean Baptiste Batz (Juan Bautista Batz) who came to California with his wife Catalina Hegui Batz in 1850. Originally from the Basque Country in France, Juan Bautista and wife Catalina settled in what had been the Rancho Rosa de Castilla. In 1882 J.D. Batz inherited the land containing the historic adobe built in 1776 after the passing of his mother Catalina.

A sheep herder, Batz carved during the winter months in California. Once J.D. Batz realized his love of carpentry, he began to carve beautiful handmade canes. Many were entered in local fairs and wood carving competitions. His canes were frequent winners of badges, trophies, and prize money. According to the Transactions of the California State Agricultural Society, Batz exhibited his canes in 1882, 1883, and 1884, and was awarded a prize in 1882.

2045

Two studio pottery vessels

Two works:

A glazed earthenware jar, 20th century

Signed to the underside (indecipherable)

The eight-sided vessel with dual dynamic handles and all-over earth-toned drip glaze

17” H x 15” Dia.

An Anne Stewart perforated glazed porcelain vessel, early 21st century

Signed to the underside: Anne

The ovoid vessel with all-over blue, green, and brown glazing and variously sized perforations grouped in one area beneath the rim

7” H x 4.75” Dia.

2 pieces

$200-400

2046

A set of oval Shaker-style bentwood nesting boxes

Mid-20th century

Made by Tom Mariner for the Carpenter’s Shop, comprising four boxes in graduated sizes with cherry walls, pine tops and bottoms, and copper-nailed fingers, 4 pieces

Largest: 5.75” H x 13.25” W x 9.75” D; smallest: 2.125” H x 6.325” W x 4.325” D

$500-700

Other Notes: This lot is accompanied by a small paper sheet with information about the item’s substance and its maker.

2047

Robert Mouat

(1920-2007)

“Mark Twain Remembrance”

Mixed media including painted wood, paper, and string set in a wood and plate glass case Titled, attributed, and marked to plaque: Mississippi River steamboat: Robert E. Lee c. 1880’s / 3.32” Scale; further marked on plaque: The American Marine Model Gallery / Salem, Mass.

15.75” H x 38.625” W x 16.625” D

$1,000-1,500

2048

Two English oak postal boxes

Late 19th century

Each with brass signage reading “Letters,” a front slot for the letter depository, and a hinged front door with locking mechanism and glazing, 2 pieces

Larger: 11” H x 8.5” W x 6” D; smaller: 10” H x 8.25” W x 6.75” D

$300-500

2049

Carole Jo Cooke

(b. 1949)

“Yosemite Winter”

Oil on canvas

Signed lower right: Carole Cooke; signed again and titled on the stretcher

24” H x 24” W

$1,000-1,500

Other Notes: In a Mayen Olsen frame 2001.

2050 Early 20th Century American School

View of Yosemite Valley

Oil on canvas laid to waxed canvas

Signed faintly and indistinctly in the lower right corner

30” H x 46” W

$1,000-1,500

2051

Karl Dempwolf

(b.1939)

“Paradise Cove,” 2005 Oil on canvas

Signed lower left: K Dempwolf; signed again, titled, and dated on a label affixed to the frame’s backing board

11” H x 14.25” W

$500-700

Other Notes: Artist biography label and artist statement affixed to the frame’s backing board.

2052

Karl Dempwolf (b. 1939)

“The Gorge of the Yellowstone,” 2002 Oil on canvas

Signed lower right: K. Dempwolf; signed again, titled, dated, and with the ©, all on the stretcher 14” H x 18” W

$600-800

$700-900

2053

Joseph Henry Riley (1868-1940) Yosemite Valley with figures on trail Oil on board

Signed lower right: J.H. Riley

16” H x 19.5” W

2054

Irving Kraut Manoir (1891-1982)

“Lake George, the High Sierras, Near Mammouth Lakes” Oil on board

Signed lower right: Manoir; signed again, possibly in another hand, verso; titled verso

16” H x 20” W

$500-700

2055

Tom Talbot

(1936-2009)

Rocky landscape with rolling hills and trees

Oil on canvas

Signed lower left: Tom Talbot

30” H x 36” W

$400-600

Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave

2056

Jean LeGassick (b. 1950)

“Mt. Tallac Backlight,” 1998 Oil on canvas laid to board

Signed lower right: LeGassick; signed again, titled, dated, and inscribed verso: Painted on / location / Sierra Nevada / Mtn., CA / July 1998

10” H x 8” W

$300-500

Provenance: Waterhouse Gallery, Santa Barbara, CA

2057

Franz Arthur Bischoff (1864-1929)

Mountain scene

Oil on canvas laid to board

Signed lower right: F.A. Bischoff

8.25” H x 11” W

$1,000-2,000

2058

Conrad Buff (1886-1975)

“Mount Jacinto”

Oil on artist board

Signed

20” H x 30” W

$3,000-5,000

lower right: Conrad Buff; titled on label affixed to the frame’s backing board

2059 Conrad Buff (1886-1975)

Lake Mead Oil on Masonite

Signed lower left: Conrad Buff

19.5” H x 25” W

$2,000-4,000

2060

Leland Curtis (1897-1989)

“Through the Pass,” 1939-1940 Oil on canvasboard

Signed, dated, and inscribed lower right: Leland Curtis / U.S. Antarctic Expedition; titled verso 12” H x 16” W

$1,000-2,000

2061

Jack Wisby (1869-1940)

“Redwoods, Cal. Oak,” 1919

Oil on canvasboard

Signed lower left: J. Wisby; titled and dated in another hand on an information sheet affixed to the frame’s backboard

11” H x 19.75” W

$600-800

2062

A Gustav Stickley United Crafts oak armchair, no. 324 Circa 1901-1903; Eastwood, NY

With Stickley shop mark [joiner’s compass]; with Cobb Eastman Co. retailer’s paper label

The quarter-sawn oak ladder back armchair with corbeled and slatted arms over a brown corduroy upholstered drop-in seat and back cushions atop four square legs joined by a box rail 13.5” H x 28.5” W x 31” D

$600-800

Literature: Stephen Gray and Robert Edwards, ed., “Collected Works of Gustav Stickley” (New York, NY: Turn of the Century Editions, 1981), p. 164, fig. 324.

2064

An L. & J.G. Stickley oak rocking chair, no. 817 Circa 1900-1916; Fayetteville, NY

Signed with burn mark: The work of L. & J.G. Stickley

The fumed quarter-sawn oak slat back armchair with six slats and corbeled arms over a tan leather drop-in seat atop four square legs joined by a box stretcher raised on rockers 39” H x 27.25” W x 29” D

$500-800

Literature: Stephen Gray, ed., “The Mission Furniture of L. & J.G. Stickley” (New York, NY: Turn of the Century Editions, 1989), p. 118, fig. 817.

2063

A set of Gustav Stickley oak chairs, no. 350 Circa 1901-1916; Eastwood, NY

Three marks partially legible from wear with Stickley shop mark [joiner’s compass] Each fumed quarter-sawn oak slat back chair with three slats over oxblood leather upholstered seats with nail head accents raised on four straight legs on a box stretcher, 6 pieces

Each: 39.5” H x 17.325” W x 20” D approximately

$1,500-2,500

Literature: Stephen Gray, “Gustav Stickley After 1909” (Philmont, NY: Turn of the Century Editions, 1995), p. 44, fig. 350.

2065

Circa 1903-1916; Grand Rapids, MI

$800-1,200

A Stickley Brothers “Quaint” oak settee

Metal tag: Stickley Bros. Co. / “Quaint” Furniture

The quarter-sawn fumed oak slat back settee with three concaved back panels over a light brown leather upholstered seat atop four square legs joined by a box seat rail 37” H x 74.25” W x 27.5” D

2066

A Limbert oak rocking chair, no. 864

Circa 1906-1920; Michigan

Burned mark: Limbert’s Arts and Crafts Furniture / Made in Grand Rapids and Holland

The quarter-sawn oak slat back armchair with three slats over a tan leather drop-in seat atop a box seat rail and four square legs raised on rockers

32.75” H x 27.5” W x 31” D

$500-800

Literature: Stephen Gray, ed., “Charles P. Limbert Company: Cabinet Makers” (New York, NY: Turn of the Century Editions, 1990), p. 120, fig. 864.

2067

A Japanese bronze urn table lamp

Mid/late 20th century

With all-over repoussÉ cranes, a wood base, and a beige linen shade, electrified 38.25” H x 28” Dia.

$300-500

2068

A group of ceramic spongeware

19th century/late 20th century

One bowl incised: R.R.P. Co. / U.S.A. / Roseville. O.; one plate back-stamped: Burford Bros; one plate incised: [inside heart shape] M #5 / 83

Each glazed stoneware and porcelain kitchenware item with blue sponged and spattered decoration, comprising three pitchers, three plates, one butter crock, one fruit bowl, one utensil crock, and one bowl with flared and scalloped rim, 10 pieces

Largest: 3.125” H x 11.75” Dia.; smallest: 4.325” H x 5.25” Dia.

$400-600

2069

A group of ceramic spongeware

19th century/late 20th century

One crock incised: R.R.P. Co. / Roseville, Ohio / U.S.A / 2qt High jar

Each glazed stoneware and porcelain kitchenware item with blue sponged and spattered decoration, comprising three pitchers, two butter crocks, two utensil crocks, and two butter trays, 9 pieces

Largest: 5.75” H x 9.375” Dia.; smallest: 1.75” H x 8.25” W x 5.75” D

$400-600

2070

Geoffrey Holt (1882-1977)

Wildflower landscape with eucalyptus trees

Oil on board

Signed lower right: Geoffrey Holt

14” H x 18” W

$400-600

2071

Sam Hyde Harris (1889-1977)

“Verdugo Hills”

Oil on canvas board

Signed with the estate stamp lower left: Sam Hyde Harris; with the black ink estate stamp hand-signed by Mrs. Sam Hyde Harris, verso; titled on a gallery label affixed verso 12” H x 16” W

$2,000-3,000

Provenance: David and Sons Fine Arts, Laguna Beach

Sold: John Moran Auctioneers, Monrovia, CA, “Studio Fine Art,” January 13, 2019, lot 2001

Private Collection, acquired from the above

Other Notes: The verso of this work shows various numbers, the most prominent of which reads A5028. The name, John Powell, inscribed verso, might be that of the California-based artist born in 1930.

2072

Sam Hyde Harris (1889-1977)

“Arcadia Morn”

Oil on canvas laid to artist board

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

16” H x 20” W

$2,000-3,000

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “Studio Art,” March 12, 2018, lot 2157 Private Collection, acquired from the above

2073

William Dorsey

(1942-2019)

“California Wildflowers along the Coast” Oil on canvas

Signed lower right: Wm Dorsey

36” H x 48” W

$3,000-5,000

Provenance: Sold: Bonhams, San Francisco, CA, “California and American Paintings and Sculpture,” December 10, 2007, Lot 280

Private Collection Oak View, CA, acquired from the above

2074

Donald “Putt” Putnam (1926-2007)

Landscape with flower fields on the coast

Oil on canvas

Signed lower right: Putt

22” H x 30” W

$400-600

2075

Karl Dempwolf (b.1939)

“Mustard and Sage,” 1996 Oil on canvas

Signed

$600-800

Other Notes: Two

lower right: K. Dempwolf ©; signed again and titled on the stretcher 14” H x 18” W

artist biography labels affixed to the frame’s backing board.

2076

Karl Dempwolf (b. 1939)

“Sunset Symphony”

Oil on canvas

Signed lower left: K Dempwolf; signed again and titled in ink on the stretcher; titled again on two labels affixed to frame, verso 22” H x 28.25” W

$800-1,200

Other Notes: Two artist biography labels affixed to the frame’s backing board.

2077

John Anthony Conner (1892-1971)

Stream through a landscape

Oil on canvas

With the incised signature lower left: John A Conner

18” H x 36” W

$400-600

Provenance: Sold: John Moran Auctioneers, Pasadena, CA, “Californian & American Paintings,” September 28, 1993, Lot 214

2078

Franz Arthur Bischoff

(1864-1929)

Cows in a pasture

Oil on canvas laid to board

Signed lower right: F.A. Bischoff

6” H x 8” W

$1,200-1,600

2079

Jacob Howard Euston (1892-1965)

“Tulip Tree”

Oil on canvas

Signed lower right: J.H. Euston; titled in pen on a label affixed to the stretcher

16” H x 20” W x 0.875” D

$500-700

2080

Paul Lauritz (1889-1975) California landscape Oil on board

Signed lower left: Paul Lauritz 11.75” H x 14.75” W

$800-1,200

$1,000-1,500

2081

Rodolfo Rivademar (b. 1957)

“Old Veteran”

Oil on panel

Signed lower left: R. Rivademar; titled and inscribed, verso: Point Lobos

16” H x 24” W

2082

Paul Sample (1896-1974)

Snowy mountain landscape with house and figures

Watercolor on paper

Signed lower left: Paul Sample

15.25” H x 22.5” W

$2,000-3,000

Other Notes: Sold: Christie’s East, New York, NY, n.d., according to sticker affixed verso

$600-800

2083 George Post (1906-1997)

“Mountain Lake,” circa 1930

Watercolor on paper

Signed in the lower edge, at center: Geo Post; titled and dated on two separate labels affixed to the frame’s backing paper

Sight: 22.5” H x 15.75” W

2084

William Henry Clapp (1879-1954)

House in hillside with tree Oil on Masonite

Signed lower right: Clapp

7.5” H x 9” W

$600-800

Provenance: Clapp Estate / Laky Galleries / Carmel, Ca - 1972, according to an information sheet affixed to the frame’s backing paper

2085

Attributed to William Henry Clapp (1879-1954)

Landscape with house and grove of trees

Oil on Masonite

Unsigned

10” H x 12” W

$600-800

Landscape

Unsigned; inscribed in ink, possibly in the hand of the artist, verso: Laky Gallery / Carmel, CA

$600-800

Provenance: Clapp Estate / Laky Galleries / Carmel, Ca - 1972, according to an information sheet affixed to the frame’s backing paper

2086

William Henry Clapp (1879-1954)

with trees and hills Oil on Masonite

10” H x 12” W

2087

William Henry Clapp (1879-1954)

Road leading to a house Oil on Masonite

Unsigned 18” H x 15” W

$800-1,200

Provenance: Clapp Estate / Laky Galleries - Carmel, Ca - 1972, according to an information sheet affixed to the frame’s backing paper

2088

A Chinese ceramic roof tile sculpture

20th Century

The polychromed glazed ceramic and cement sculpture depicting a warrior figure atop a blue dragon

16.25” H x 16.5” W x 3.325” D

$500-700

Provenance: Property from a Distinguished Palm Springs Estate

2089

A Chinese monumental ceramic vase 20th century

The Shiwan-style blue-green drip-glazed ceramic vase with opposed scrolled handles 40.25” H x 16.5” W x 16” D

$300-500

Provenance: The Jolie Gabor Estate Property from a Distinguished Palm Springs Estate, acquired from the above

2090

A Chinese monumental ceramic vase 20th century

The Shiwan-style blue-green drip-glazed ceramic vase with opposed scrolled handles 40.25” H x 16.5” W x 16” D

$300-500

Provenance: The Jolie Gabor Estate Property from a Distinguished Palm Springs Estate, acquired from the above

2091

A group of Yixing Zisha ceramic teapots

20th century; Jiangsu Province, China

Each signed to underside

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

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

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

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

2092

Three Japanese ikebana baskets

Mid-20th Century

Comprising three woven brown finished bamboo baskets with carrying handles in various shapes and sizes, one with small mounted metal ring, 3 pieces

Largest: 21.5” H x 6.875” W x 6.125” D; smallest: 17.5” H x 7.5” W x 7.625” D

$300-500

2093

A group of Japanese ikebana baskets

Mid-20th Century

Comprising five brown-finished woven bamboo and wood baskets of various shapes and sizes including one cornucopia-shaped and three with carrying handles, 5 pieces

Largest: 15.75” H x 10.5” W x 10” D; smallest: 5.25” H x 11” W x 8.5” D

$300-500

2094

A Japanese six-panel boyobu screen

Late Edo Period (1603-1868)/early Meiji Period (1868-1912)

Colophon marking for the cyclical kicho year date (possibly equivalent to the winter of 1829 or 1889); further marked with seals and signatures of the unidentified artist

The paper screen decorated with a seaside scene, rendered in ink, depicting dynamic waves, smatterings of seafoam in the form of raised dots of pigment, and cranes, both aloft and perched amongst pine trees, across six panels, the edges of which are framed by two styles of metallic brocade fabric and wood 5’ 7.5” H x 12’ 5” W

$1,000-1,500

2095

A Dehua-style porcelain thousand-armed Avaloketishavara Republic Period (1912-1949); China

The high gloss glazed porcelain Bodhisattva of Compassion or Chinese deity Guanyin, depicted cross-legged, emerging from a lotus flower, with eighteen arms and an attribute in most hands; an Amitabha crown chakra above her head

13.5” H x 9” W x 4” D

$300-500

Provenance: Property from a Distinguished Palm Springs Estate

2096

Shuji

Pottery tray with incised lobster

Anagama fired ceramic

Signed and dated to back with stand; further marked to front 18.5” Dia.

$200-300

Ikeda (b. 1956)

2097

A Japanese tansu cabinet

Early 20th century

The tansu cabinet featuring three sliding compartments and five drawers with iron 67.75” H x 36.75” W x 16.325” D

$700-900

2098

A Japanese tansu chest

Early 20th century

The wood cabinet featuring central sliding door compartment and six drawers, two with locking mechanism concealed behind locking door, with black enamel coated wrought iron hardware and opposed handles

32.25” H x 59.75” W x 23.75” D

$400-600

door hardware

2099

A small Korean bandaji

Mid-20th century

The possibly elm wood blanket chest with a single drop-down door revealing an open interior and three small drawers, with brass opposed handles, hardware, and lock accompanied by associated key strung onto a tassel and carved nephrite medallion, atop carved wood apron and four carved wood legs joined by two stretchers

20.5” H x 19.325” W x 13” D

$300-500

2100

Two small Japanese tansu chests

Early/mid-20th century

The wood chests with iron drawer pulls comprising one box with opposed recessed handles and one sewing box with hinged top Larger: 12.325” H x 15.5” W x 11.875” D; smaller: 9.625” H x 12.75” W x 7.125” D

$500-700

2101

A Japanese funa tansu

Late Edo Period (1615-1868)

Marked with kanji characters to underside

The kiri and keyaki wood ship chest with wrought iron hardware and top handle, with locking cabinet door, reinforced with robust iron hinges, revealing five drawers, two with locking mechanisms

18” H x 16” W x 20” D

$600-800

Other Notes: This lot is accompanied by informational paperwork from a prior sale including notes on possible translations of markings.

2102

A Japanese tansu chest

Late 19th/early 20th century

The wood tansu chest featuring seven drawers, two inset with locking bar mechanism, and one cabinet door revealing two small drawers, with wrought iron hardware and opposed handles

34” H x 56” W x 19.5” D

$800-1,200

2103

A Japanese Nanban inlaid lacquerware cabinet

Edo Period (1615-1868) or later

Likely produced for the export Portuguese and/or Dutch market, the lacquered wood cabinet with gilt-painted hiramaki-e figural registers to each side, top, and verso and edges decorated with mother of pearl inlay in meandering, honeycomb, and foliate motifs as well as opposed lacquered brass handles and hardware; carved openwork cabinet doors with a polychromed and gilt avian motif, revealing seven internal drawers of various shapes and sizes, each profusely decorated with mother of pearl inlay, woven wire fronts, and lacquered interiors, one with locking mechanism

15.5” H x 18.325” W x 13” D

$400-600

Other Notes: Japanese lacquer made for Western markets was known as Nanban (Southern Barbarian) lacquer, a reference to the epithet given to foreigners from Spain, Portugal, and the Netherlands. Many of these export lacquers were made in Kyoto. Crafted in Kyoto’s lacquer workshops alongside aesthetically different wares intended for elite Japanese clients, cabinets decorated in gold hiramaki-e and inlaid shell were among the earliest Japanese artefacts to reach Asian and European markets, starting two or three decades after the first landfall by Portuguese adventurers in the mid-sixteenth century.

2104

James Earl Disrud (1952-1994) Pottery still life Oil on canvas

Signed in Latin near the upper edge, at center: Iacobus Disrud 18” H x 24” W

$300-500

2105

After Tamara De Lempicka (1898-1980)

“Andromeda,” 1929

Oil on canvas Bears signature upper right: De

$600-800

Lempicka

2106

Irving Amen (1918-2011)

Musicians with violin and accordion Oil on canvas

Signed lower right: Amen

23.5” H x 35.5” W

$400-600

“New Born”

Mixed media on Arches paper

Signed lower right: Art Riley; titled verso

Image/Sheet: 22.25” H x 30.25” W

$1,000-2,000

2107

Art Riley (1911-1998)

2108

A contemporary fused art glass panel 2001

Signed illegibly, dated, and titled to lower right corner: Coastal Dreams Depicting an abstract underwater landscape with cased layers and intercalaire metallic foil 11” H x 32.625” W x 0.75” D

$400-600

Provenance: Artwork from an Estate Gifted to Loyola Marymount University

2109

Four Herman Miller Aside chairs

2006

Each with Herman Miller labels and design details molded into plastic of undersides

Comprising four stackable cast aluminum and steel framed armchairs with seats upholstered in Eames white on brown small dot patterned fabric, 4 pieces

Each: 31.5” H x 22.125” W x 20.75” D

$600-800

2110

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

Four “Aluminum Group” side chairs for Herman Miller, late 20th century

Designed 1958

Each with embossed Herman Miller logo to the frame

Each with taupe leather sling-style upholstery, glossy “graphite” painted aluminum frame, and set upon five legs with metal feet

4 pieces

Each: 33” H x 20” W x 20” D

$1,000-2,000

2111

Four Herman Miller Aside chairs

2006

Each with Herman Miller labels and design details molded into plastic of undersides

Comprising four stackable cast aluminum and steel framed armchairs with seats upholstered in Eames black on brown small dot patterned fabric, 4 pieces

Each: 31.5” H x 22.125” W x 20.75” D

$600-800

2113

A set of Eames-style Modernica shell chairs

21st century; Los Angeles, CA

Each with molded mark for Modernica to underside

Each black fiberglass seat set on black enameled metal Eiffel Tower base, 6 pieces

Each: 32” H x 18.5” W x 22” D

$400-600

2112

A set of Eames-style Modernica shell chairs

21st century; Los Angeles, CA

Each with molded mark for Modernica to underside

Each blue fiberglass seat set on black enameled metal Eiffel

Tower base, 6 pieces

Each: 32” H x 18.5” W x 22” D

$400-600

2114

Jef Diederen

(1920-2009)

Untitled color abstract, 1991

Watercolor on paper

Signed and dated lower right: J. Diederen

Image/Sheet: 21.75” H x 30” W

$100-200

Provenance: Galerie Nouvelles Images, Rijswijk, Netherlands

The Estate of Oscar and Barbara Leidenfrost

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

2115

Josh Agle (aka SHAG)

(b. 1962)

“An Excellent Tailor,” 2004

Acrylic and vinyl paint on panel

Signed lower left: SHAG; titled and dated from Earl McGrath Gallery label affixed to panel, verso

23.75” H x 17.875” W

$4,000-6,000

Provenance: Property from a Distinguished Palm Springs Estate

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

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

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

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

2116

Josh Agle (aka SHAG) (b. 1962)

“Red Wahine,” 2004

Acrylic and vinyl paint on panel Signed lower left: SHAG

16” H x 9.5” W

$3,000-5,000

Provenance: Property from a Distinguished Palm Springs Estate

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

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

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

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

2117

20th Century American School Man with a black bow tie, 1973

Signed indistinctly and dated lower right Oil on Masonite

24” H x 18” W

$400-600

2118

Pal Fried

(1893-1976)

Nude woman with green towel

Oil on canvas

Signed lower left: Fried Pal

30.25” H x 24” W

$2,000-3,000

Other Notes: P·l Fried was born in Budapest in 1893. He received his art education at the AcadÉmie hongroise des arts (Hungarian Academy of Arts) where he was a pupil of Hugo Pohl who became one of his major influences. While under Pohl’s direction, he executed many portraits of female nudes and Orientalist works. Later he studied in Paris at the AcadÉmie Julian, where he was the pupil of Claude Monet and Lucien Simone. In Paris, he was greatly influenced by the French Impressionists, especially Pierre-Auguste Renoir and Edgar Degas. This inspired him to prepare many paintings of ballerinas, dancers and circus performers.

Fried emigrated to the United States in 1946 after World War II, where he taught at the New York Academy of Art. He prepared portraits of American celebrities such as Marilyn Monroe. Through his work in portraiture, he gained considerable financial success.

He became a U.S. citizen in 1953. He lived in Los Angeles and New York City and died on 6 March, 1976 in New York, NY.

2119

Gordon Coutts

(1868-1937)

Desert landscape

Oil on canvas

Signed lower right: Gordon Coutts

21.25” H x 31” W

$600-800

Provenance: Sold: Bonhams, San Francisco, CA, “Soma Estate Auction,” July 17, 2011, Lot 5046

Private Collection, Northern California, acquired from the above

Other Notes: This lot is accompanied by material related to the artist, Gordon Coutts.

2120

Levent Deparis (b. 1962)

Landscape with poppies Oil on canvas laid to panel

Signed lower right: Levent

8” H x 10” W

$200-400

2121

Pere Colldecarrera (b. 1932)

“La Moixino-olot”

Oil on canvas

Signed lower left: P. Colldecarrera; signed again, titled, and inscribed verso: Olot 19.5” H x 24” W

$500-700

2122

Julius Milford Ellison (1909-1993)

Three Works:

“Old Globe Theatre in Balboa Park,” 1966

Watercolor on paper

Signed and dated lower right: J. Milford Ellison

Sight: 21.5” H x 28.5” W

“El Paseo, Balboa Park,” 1961

Watercolor on paper

Signed at dated lower left: J. Milford Ellison; titled on a label affixed to the frame’s cardboard backing

Sight: 21.5” H x 28.5” W

“Old Town San Diego,” 1957

Watercolor on paper

Signed and dated lower right: J. Milford Ellison; titled on a label affixed to the frame’s cardboard backing

Sight: 21.5” H x 28.5” W

$500-700

Provenance: Jonathan Art Foundation, Los Angeles, CA

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

2123

Sergio Bustamante (b. 1949)

Rooster, 1982

Papier-mâché and paint

Edition: 11/100

Signed and numbered: Sergio Bustamante 22” H x 25” W x 9” D

$500-700

Notes: This lot is accompanied by a Certificate of Authenticity dated June 30, 1982.

2125

A Berkshire Bitters glass pig bottle

Circa 1870s-1880s

Marked in the casting: Berkshire. Bitters / Amann & Co / Cincinnati O

The cast glass figural bottle in the shape of a pig in a recumbent position

4” H x 9.75” W x 3.325” D

$500-700

2124

A Kay Bojesen-style elephant toy

Mid/late 20th century

With burned mark: Denmark

The carved wood elephant with articulating legs, head, and trunk in the manner of Kay Bojesen’s 1953 design

5” H x 4” W x 6.5” D

$150-250

2126

Late 20th century Appears unmarked

The secretary with two drawers centering a clock, surmounting the hinged, drop-down writing surface which opens to reveal four storage compartments and one smaller drawer, all decoratively hand-painted with stylized female visages as well as mask handles to each side; all set atop a conformingly design four-legged painted wood base, 2 pieces 49.5” H x 36” W x 11.25” D

$400-600

Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave

A Daniel M. Hale folk art carved wood secretary

2127

A Daniel M. Hale architectural folk art flag

2003

Signed and dated to verso

The painted wood slatted panel in the manner of the American flag featuring baseballs strung onto and suspended by twisted metal wire 36” H x 48” W x 4” D

$100-200

Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave

2129

John Martineau (1948-1995)

“Viracoche #5,” 1989

Cotton fiber, paper, paint, metal, and rubber in five pieces Signed to the recto of largest panel: Martineau / 89

Largest: 50” H x 22” W x 6” D approx.; smallest: 36” H x 22” W x 6” D approx.

$600-800

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

Other Notes: A five piece wall sculpture, purchased on August 23, 1989, with abstract tonal motifs, each piece formed of spray-painted paper under an angled metal grate frame, each frame with rubber pegs to the top and variously colored cloth string fibers hanging from each metal grate. The fibers of the two end pieces (numbered 1 and 5) are colored in ombré tones of purple paint (each: 33” H x 34.25” W x 4.5” D) and those of the two interior end pieces (numbered 2 and 4) are colored with blue and purple paint (34” H x 16” W x 4.5” D). The center piece fibers (numbered 3) are colored with purple and white paint (38” H x 26” W x 4.5” D). Total arranged width: 126.5” W.

2128

Olga Fisch (1901-1990)

Wall tapestry

Wool, metal, and wood

Embroidered signature to lower edge: O. Fisch

48” H x 30” W approximately

$600-800

2130

(1901-1990)

Abstract wall tapestry Wool and wood

Embroidered signature to lower right: O. Fisch

59” H x 36” W

$600-800

Olga Fisch

90”

$100-200

2131

A James Pringle Scottish wool blanket Mid-20th century

With cloth label applied to underside: Comfydown / Pure Shetland Wool / A James Pringle Product

The wool blanket with allover green, turquoise, yellow, and white geometric motifs

L x 64.25” W

2132

A Japanese Obi

Mid/late 20th century

The silk mix brocade fabric obi belt with allover green, grey, black and gold ginko leaf, crane, and chrysanthemum motifs

153” L x 13” W

$200-400

2133

A Japanese-style silk bedspread

Mid-20th century; San Francisco, CA

Cloth label affixed to underside edge: Custom created specially for you by: S. Beressi Custom Bedspread Co.

The silk fabric bedspread with centered gold and red peacock and peony motifs on a blue field

110” L x 82” W

$400-600

2134

A Peruvian pictorial folk textile

Late 20th century; Peru

Stitched signature: Ia GuneÒa Enriqueta

A handstitched textile depicting a village scene with multiple figures in a landscape with trees, fields and animals in multicolored fabric appliquÉ and embroidery

27.5” H x 19.375” W

$300-500

Provenance: Property from a Distinguished Palm Springs Estate

2135

A Chinese Export porcelain bowl and jar

20th Century; Hong Kong

Marked in blue underglaze to porcelain and stamped to stands for United Wilson

Porcelain Factory, 1897

The blue and white glazed porcelain bowl with mounted gold-toned bronze rim and conformingly glazed and decorated bronze-lidded jar, each set upon bronze stands, one with lion paw feet, one with acanthus feet, 2 pieces Bowl with stand: 10.326” H x 16.75” Dia.; jar with stand: 19.75” H x 11.5” Dia.

$600-800

Provenance: Property from a Distinguished Palm Springs Estate

2136

A wrought iron table with marble top 20th century

The polychrome enameled wrought iron table with undulating and banded scroll frame and four legs wrapped in a leaf motif over a scrolled x-stretcher centering a group of roses, surmounted by a red beveled marble top 30.75” H x 31” W x 31” D

$600-800

2137

Two faux bois tree trunk planters

Mid/late 20th century

Each footed planter with four legs and molded in the shape of a knotted tree trunk with drainage hole, 2 pieces

Larger: 15.325” H x 14” W x 14” D; smaller: 15” H x 14.25” W x 13.625” D

$200-400

2138

A Bushere & Son Spanish Revival wall plaque

21st century

With six hand-painted tiles depicting a man on horseback doffing his hat towards a woman on a balcony, set in a hand-wrought iron scrolled frame 30.25”

$800-1,200

H x 16.875” W x 1.25” D

2139

A wrought iron wall-mounted figural doorbell

Early 20th century

Appears unmarked

The Spanish Colonial-style wall-mount with decorative scrollwork to the mounting bar, a dragon mask accenting the crossbar, and a kinetic pulling mechanism connected via chain to the articulated arm of the figure for ringing the bell

21” H x 7” W x 10” D

$500-700

2140

A pair of Egyptian Revival-style carved wood ram sculptures 20th century

The possibly North-African carved and painted wood rams in the manner of temple guardians for the Egyptian deity Amun-Ra, depicted sitting in a recumbent position, one male and one female, 2 pieces

Each: 23” H x 28” W x 10” D approximately

$400-600

2141

A pair of Egyptian Revival-style carved wood ram sculptures

20th century

The possibly North-African carved and painted wood rams in the manner of temple guardians for the Egyptian deity Amun-Ra, depicted sitting in a recumbent position, one male and one female, 2 pieces

Each: 23” H x 28” W x 10” D approximately

$400-600

2142

A Lifesize Colonial Sculpture Mid-20th century

The carved and lacquered wood sculpture of a nude female figure wearing sandals, assembled from multiple pieces of wood mounted together 65” H x 20.5” W x 18.5” D

$500-700

2143

A Baccarat crystal decanter

20th century

With etched Baccarat mark

The lead glass bottle with thumb cuts and a panel-cut stopper

9.5” H x 3.75” W x 3.75” D

$200-300

Other Notes: This lot is accompanied by a certificate from Saks Fifth Avenue.

2144

An Erhard & Söhne-style gilt-bronze jewelry casket

Late 19th century

Likely German, with all-over Art Nouveau cast decoration of iris and poppy motifs on the sides of the box and a scene depicting court musicians on the hinged lid, which opens to reveal the red velvet-lined interior

4.5” H x 9.25” W x 5” D

$500-700

2145

A group of four Palekh Russian lacquerware boxes

Circa 1980s

Each variously marked for artist and date

Comprising one large square box with a hinged lid and three smaller lidded boxes, each all-over lacquered and depicting hand-painted scenes from Russian fairytales, 4 pieces

Largest: 1.5” H x 6.75” W x 5.5” D; smallest: 1” H x 2” Dia.

$300-500

2146

Yves Jacotin

(b. 20th century) Lidded box

Cedar wood, acrylic paint, and acrylic plastic

Signed: Y. Jacotin

16.5” H x 16” W x 16” D

$300-500

2147

Five leaves of painted Persian manuscripts

Late 18th/Early 19th century

Each: Gouache and gold with three on cream-colored paper with red thinlyoutlined margins, one on dark brown-colored paper, and one on a white thin fabric, with lines of text, in Farsi, on the recto and verso, on each piece

5 pieces

Sheet of smallest: 7.5” H x 5.75” W; Sheet of largest: 9.5” H x 6” W

$400-600

Provenance: Property from a Distinguished Palm Springs Estate

2148

An Egyptian Revival-style Bastet cat sculpture

Circa 1970s

With etched signature: A. Tiot

The patinated bronze figure of the Egyptian cat deity in seated position, wearing a floral collar centering a flower medallion

24.325” H x 9” W x 18.5” D

$700-900

2149

A Chinese-style metal and stone pipe

Mid/late 20th century

The reproduction decorative pipe, in the style of a 19th century Chinese pipe, with red stone body and cast metal figural decoration

$600-800

4” H x 2” W x 4.25” D

2150

A group of iron spear points Possibly Classical Antiquity or later Likely ancient or reproduction of ancient design; various spear tips, each slightly different form, with age-appropriate oxidation and accumulated deposits; three per later added stands, 2 pieces

Each with stand: 17” H x 4.5” W x 4” D approximately

$600-800

2151

An Ashanti “Akuaba” wood fertility doll

Early/mid-20th century; Ashanti Peoples, Ghana, Africa

The carved wood stylized female figure with beaded decoration at the neck and base; with later added stand

16”

$300-500

H x 5” W x 4” D

Signature

18.5” H x 12” W x 11.5” D

$600-800

2152

Michael Bayne (b. 1959)

Floral vessel, late 20th century

Glazed stoneware

and inscription incised on the right side: Bayne / Maker / S.C.

2154

June Xie

(20th century)

“The Monkey King Subdues the White Bone Spirit” Watercolor on silk with silk border With the Chinese characters and presumably artist’s red chopmark in the upper edge, at left; titled by repute Sight: 22.5” H x 42.25” W

$500-700

Provenance: Property from a Distinguished Palm Springs Estate

2153

19th Century Mogul School

Three Mogul portraits

Mixed media on paper

Appears unsigned

Sight of each: 6.625” H x 5.625” W

$200-300

Provenance: The Estate of Oscar and Barbara Leidenfrost

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

2155

Xu Riheng (20th century)

Riverbank scene I, 1992

Watercolor on Japon paper

With Chinese characters and presumably the artist’s red chopmark in the upper edge, at left Sight: 20” H x 13” W

$500-700

Provenance: Property from a Distinguished Palm Springs Estate

2156

Xu Riheng (20th century)

Riverbank scene II, 1992

Watercolor on Japon paper

With Chinese characters and presumably the artist’s red chopmark in the upper edge, at left Sight: 20” H x 13” W

$500-700

Provenance: Property from a Distinguished Palm Springs Estate

2157

Boats docked in a marina Watercolor on paper

Signed lower left: Maurice Logan

Sight: 13” H x 19” W

$500-700

Maurice Logan (1886-1977)

2158 Edgar Keller (1868-1932) Boatyard

Oil on Masonite

Signed lower right: Edgar Keller

24” H x 30” W

$1,000-1,500

2159

Jean Mannheim (1863-1945)

Boats in a harbor

Oil on canvas laid to board

Signed lower right: J. Mannheim

20” H x 24” W

$1,000-1,500

2160

Paul Sample (1896-1974)

“Hawaii,” 1943 Watercolor on illustration board Signed, titled, and dated lower left: 15” H x 20” W

$2,500-3,500

“Tandem Surfing #2,” 1987 Oil on canvas

Signed and dated lower right: Hank Pitcher ©; signed again, titled, and dated, verso 80” H x 48” W

$6,000-8,000

2161

Hank Pitcher (b.1949)

2162

Hank Pitcher (b.1949)

“Wayne Rich, Nightmare,” 2016 Oil on canvas Signed lower right: Hank Pitcher; signed again, titled, and dated, verso 60” H x 40” W $4,000-6,000

“Tim’s

Signed

36” H x 24” W

$4,000-6,000

Provenance: Sullivan Goss, Santa Barbara and Montecito, CA

2163

Hank Pitcher (b. 1949)

Yellow Board,” 2006 Oil on canvas laid to artist board

and dated lower left: Hank Pitcher; titled on a gallery label affixed verso

2164

Hank Pitcher (b. 1949)

“Wilderness, Gaviota Coast,” 2016 Oil on canvas over panel

Signed lower right: Hank Pitcher; titled verso; dated on a gallery label affixed verso 48” H x 36” W

$4,000-6,000

Provenance: Sullivan Goss Gallery, Santa Barbara, CA

Exhibited: Santa Barbara, CA, Sullivan Goss Gallery, “Hank Pitcher: Look Out 2017,” March 3 - April 30, 2017

2165

Burt Proctor (1901-1980)

“Sand, Sun and Sea”

Oil on canvas

Signed lower left: Burt Procter; titled on the stretcher

16” H x 20” W

$700-900

Provenance: Sold: Bonhams, San Francisco, CA:, “California and American Paintings and Sculpture,” December 10, 2007, Lot 49 Private Collection, Vista, CA, acquired from the above

2166

19th Century American School California coastal scene

Oil on artist board

Signed lower right: Ila Chin[indistinct] 7” H x 24.375” W

$300-500

2167

Joshua Meador (1911-1965)

Four works:

“One Rainy Night”

Oil on canvasboard

Signed lower right: Josh Meador; titled on a label affixed to the frame’s backing paper

Sight: 6” H x 8” W

Boats

Oil on canvasboard

Signed lower right: Josh Meador

6” H x 8” W

Fall landscape

Oil on canvasboard

Signed lower right: Josh Meador

Sight: 6” H x 8” W

Paris

Oil on canvasboard

Signed lower right: Josh Meador

Sight: 6” H x 8” W

4 pieces

$500-700

Other Notes: Joshua Meador worked as an animator for the Walt Disney Company from 1937 through the 1960s. He began as an animator on “Snow White and the Seven Dwarfs” and “Pinocchio.” He later moved into the special effects department for “Fantasia,” where he worked on the effects for the “Rite of Spring” and “A Night on Bald Mountain” segments. Meador would continue to work on special effects animation at Disney for animated feature films like “Alice in Wonderland” and “Cinderella,” live-action films such as “20,000 Leagues Under the Sea,” and the “True-Life Adventure” documentaries. In 1956 Meador was loaned to MGM by Disney to create the “Monster from the Id” for the science-fiction epic “Forbidden Planet.”

2168

Joshua Meador (1911-1965)

“Ruffing Up”

Oil on canvas

Signed lower right: Joshua Meador; signed again, titled, and inscribed 1467, all verso and possibly in another hand 22” H x 30” W

$400-600

Provenance: Sold: Bonhams and Butterfields, Los Angeles, CA, “Sunset Estate Auction” February 13, 2005, Lot 7059

Other Notes: Joshua Meador worked as an animator for the Walt Disney Company from 1937 through the 1960s. He began as an animator on “Snow White and the Seven Dwarfs” and “Pinocchio.” He later moved into the special effects department for “Fantasia,” where he worked on the effects for the “Rite of Spring” and “A Night on Bald Mountain” segments. Meador would continue to work on special effects animation at Disney for animated feature films like “Alice in Wonderland” and “Cinderella,” live-action films such as “20,000 Leagues Under the Sea,” and the “True-Life Adventure” documentaries. In 1956 Meador was loaned to MGM by Disney to create the “Monster from the Id” for the science-fiction epic “Forbidden Planet.”

Initialed lower left: B.B.; signed, titled, dated, and inscribed, verso: Brian Blood / St. Martins France

10” H x 8” W

$500-700

2169

Brian Blood (b.1962)

“Sunset Sail,” 2002 Oil on panel

2170

Brian Blood

(b. 1962)

“Lookout Point”

Oil on canvas

Initialed lower left: BB; initiated again, titled, and dated on the stretcher

12” H x 16” W

$500-700

Provenance: Pitzer’s of Carmel, Carmel, CA

2171

Marie Kendall (1885-1953)

Crashing waves at the shore Oil on canvasboard

Signed lower right: M. Kendall; Inscribed in pen on the frame’s backing paper, presumably in another hand: Property of / Marion Gray / Gift from the artist / Marie B. Kendall / June 30 / Long Beach / Calif.

6.25” H x 6.25” W

$200-400

2172

Arthur Hill Gilbert (1894-1970)

Coastal rocks with waves Oil on board

Signed lower left: Arthur Hill Gilbert Ana

9.5” H x 11.25” W

$1,000-1,500

2173

Farris Wheeler

(1882-1968)

“Beach Corona Del Mar,” 1958

Oil on canvasboard

Signed lower left: Farris Wheeler; signed again, titled, dated, and inscribed in pen, verso: Calif

12” H x 16” W

$200-300

2174

Angel Espoy (1879-1963)

Crashing waves

Oil on canvas

Signed lower left: A. Espoy

30” H x 40” W

$1,000-2,000

2175

Sam Hyde Harris (1889-1977) “Becalmed” Oil on canvasboard

Estate signed lower right: Sam Hyde Harris; titled and numbered #836, and with the estate ink stamp signed by Maureen St. Gaudens, all verso

19.75” H X 16.75” W

$2,000-3,000

2176

Sam Hyde Harris (1889-1977)

“Sea Power”

Oil on canvasboard

Estate signed lower left: Sam Hyde Harris; titled and numbered #1061, and with the estate ink stamp signed by Maureen St. Gaudens, all verso

18” H x 24” W

$3,000-4,000

2177

Sam

“Sea

Oil

Estate

18”

$1,500-2,500

Hyde Harris (1889-1977)

Sentinels”

on canvasboard

signed lower right: Sam Hyde Harris; signed again, titled, and numbered #512, all verso

H x 24” W

2178

John Dominique (1893-1994)

“Coast Near Goleta - Henry’s Beach,” 1946

Oil on canvas

Signed and dated lower right: Dominique

20” H x 24” W

$600-800

2179

William Dorsey (1942-2019) “La Jolla Cove” Oil on Masonite Signed lower right: Wm. Dorsey; titled on a label affixed verso 10” H x 8” W

$400-600

2180

After Adrien Jean Le Mayeur de Merpres (1880-1958)

Women surrounding a lotus pond Oil on canvas

Signed lower right: J. Le Mayeur

27.5” H x 35.5” W

$500-700

2181

After Adrien Jean Le Mayeur de Merpres (1880-1958)

Women weaving

Oil on canvas

Signed lower right: J. Le Mayeur

27.5” H x 33.5” W

$500-700

2182

Wu Yiming (b. 1966)

Untitled, 2003

Watercolor and ink on paper

Signed and dated lower right: Yiming

71” H x 38” W

$3,000-4,000

Provenance: The Estate of Oscar and Barbara Leidenfrost

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

2183

Lundy Siegriest (1925-1985)

“Sierra Story” Oil on Masonite

Signed lower right: Lundy Siegriest; signed again, titled, and inscribed verso: 5203 Miles Ave, / Oakland Calif. 14” H x 12” W

$700-900

2184

Louis Siegriest (1899-1989)

“Morena Range,” 1969 Oil and sand on panel

Signed, titled, and dated, verso: Siegriest; inscribed, possibly in another hand, verso: “Louis Siegriest Retrospective Catalog” + “Society of Six” 18” H x 18” W

$500-700

2185

Louis Siegriest (1899-1989)

“Distant Mesas” Oil and sand on panel

Signed lower left: Siegriest; signed again and titled, verso; titled again on a label affixed verso

11.5” H x 12.5” W

$400-600

Provenance: Bohemian Club, San Francisco, CA

Other Notes: Louis Siegriest was an early member of the exclusive Bohemian Club in San Francisco, California. The club was founded in 1876 by a group of influential artists, musicians, and journalists with an interest in the arts and the avantgarde bohemian lifestyle, and soon expanded to military leaders stationed in San Francisco, as well as some university presidents. The club is still active today, and includes CEOs and businessmen from large corporations all over the world. Other members of the club included Maynard Dixon, Arthur Putnam, and William Keith. The club motto is the line “Weaving Spiders Come Not Here” from William Shakespeare’s “A Midsummer Night’s Dream.”

2186

Lundy Siegriest (1925-1985)

“Tom Mountain,” 1965 Oil on Masonite

Signed lower right: Lundy Siegriest; signed again, titled, dated, and inscribed, verso: Oakland, CA

7” H x 7.75” W

$400-600

Provenance: Sold: Harvey Clar’s Estate Auction Gallery, Oakland, CA, April 20, 1981, Lot 122

Other Notes: This lot is sold together with a copy of the sales invoice for the purchase of this artwork from Harvey Clar’s Estate Auction Gallery, Oakland, CA at the above-mentioned auction.

2187

Jeffery Downs (20th century)

“Just Prior to Jazz,” 1999 Acrylic on canvas

Signed lower left: DOWNS; signed, dated, and inscribed, verso: A.F.T.L.O.M.S.

36” H x 36” W

$500-700

Provenance: Property from a Distinguished Palm Springs Estate

2188

Aung Aung Taik (b. 1948)

Untitled, 1982

Watercolor, acrylic, and graphite on paper

Signed and dated lower right: Aung A. Taik

Image/Sheet: 16.25” H x 22” W

$500-700

2189

Gary S. Bowling

(b. 20th century)

Untitled, 1991

Acrylic on canvas

Signed and dated lower right: Gary S. Bowling

22.25” H x 33.5” W

$800-1,200

“Off His Horse,” 1983

Mixed media on paper laid to panel

Signed and dated upper left: R Lee White, and with the artist’s device

Image/Sheet: 30” H x 40” W

$300-500

Provenance: The Estate of Oscar and Barbara Leidenfrost

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

2190

Randy Lee White (b. 1951)

2191

David Schirm

(b. 1945)

“Reaching for Edges,” 1976

Mixed media on canvas

Signed and dated in ink, verso; titled on stretcher bar verso 67.75” H x 39.5” W

$500-700

2192

Mose Tolliver (1925-2006)

A group of four abstract watermelons

Each: Acrylic on board

Three signed lower left: Mose T; one signed lower right: Mose T

Smallest: 10.75” H x 14.375” W; Largest: 13.75” H x 17.375” W

4 pieces

$1,000-2,000

“Red” from the “Mini Birds Series”

Mixed media on board

Signed lower right: Guyton; titled on a label affixed verso

Sight: 9.5” H x 7.5” W

$200-400

2193

Patrick Guyton (b. 1964)

2194

Howard Warshaw (1920-1977)

“More Evolved Calf,” 1958

Mixed media on paper

Signed and dated in pencil lower left: Warshaw

Sight: 13” H x 15” W

$500-700

Provenance: Sullivan Goss Gallery, Santa Barabara and Montecito, CA Private Collection, acquired from the above

Exhibited: Santa Barbara and Montecito, CA, Sulivan Goss Gallery, “Howard Warshaw: New Forms,” 2012

Signed upper right: A.D. Greer 30.25” H x 25.25” W

$1,000-1,500

2195

A. D. Greer (1904-1998)

Still life of lavender flowers in green vase Oil on canvas

“Turtle,” 2013

Watercolor on paper, blindstamp Arches

Signed and dated lower left: Wyland ©

Image/Sheet: 15.25” H x 23” W

$700-900

Other Notes: This lot is accompanied by a sales invoice and a certificate of authenticity from Qart.com.

2196

Robert Wyland

(b. 1956)

2197

Itzchak Tarkay (1935-2012)

Ladies during tea time

Mixed media and watercolor on wove paper

Signed lower right: Tarkay

Sight: 13.5” H x 22” W

$500-700

2198

Ricardo Maya (b. 1969)

Three works:

Abstract portrait

Mixed media on paper laid to foamboard

Signed lower left: Ricardo Maya

Sight: 8.5” H x 7” W

Blue and purple abstract portrait

Mixed media on paper laid to foamboard

Signed lower right: Ricardo Maya

Sight: 9” H x 7” W

Blue and orange abstract portrait

Mixed media on paper laid to foamboard

Signed lower right: Ricardo Maya

Sight: 9” H x 7.375” W

$300-500

2199

Ricardo Maya (b. 1969)

Three works:

Blue and green abstract portrait

Mixed media on paper laid to foamboard

Signed lower right: Ricardo Maya

Sight: 8.5” H x 7” W

Blue and yellow abstract portrait

Mixed media on paper laid to foamboard

Signed lower right: Ricardo Maya

Sight: 9” H x 7” W

Purple abstract portrait

Mixed media on paper laid to foamboard

Signed lower right: Ricardo Maya

Sight: 9” H x 7” W

$300-500

2200

(1887-1978)

Portrait of a woman on a bench Oil on board

Unsigned 15” H x 12” W

$800-1,200

Attributed to George Laurence Nelson

“Confucius”

Giclee in colors on paper

Edition: 77/150

Signed and numbered in pencil in the lower margin: Pedro Friedeberg

Image: 25.75” H x 18” W; Sheet: 27” H x 19.5” W

$800-1,200

2201 Pedro Friedeberg

(b. 1936)

2202

Max Beckmann (1884-1950)

Two works:

Two plates from “Der Mensch ist kein Haustier,” 1937

Each lithograph on wove paper

Presumably from edition of 100 examples on wove paper, watermark Van Gelder, none of which were supposed to have been hand-signed or numbered by the artist on the individual plates (there were also 20 examples on Japan paper)

Each bears pencil signature and number in the lower margin; Desjobert, Paris, prntr.; Editions Cosmopolites, Paris, pub.

Each Sight: 7.5” H x 5” W

$500-700

2203

After Pablo Picasso (1881-1973)

“Chevalier Picador dans L’Arene,” circa 1979-1982

Lithograph on paper, watermark arches

Edition: 413/500

Estate signed and numbered in pencil in the lower margin: Collection Marina Picasso; with the embossed estate and chromist’s blindstamp seal and an unidentified blindstamp in the lower margin: After a Work by Pablo Picasso; with the estate black ink stamp, verso, and the publisher’s name and date of the lithograph’s publication black ink stamp, verso: Approved by the Heir of Pablo Picasso; Laurent Marcel Salinas, prntr.; Paul Sloan, 1979, pub.

Plate: 16.5” H x 21.5” W; Sheet: 22” H x 29.75” W

$400-600

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

Other Notes: The lithograph in this lot, “Chevalier Picador dans L’Arene,” is after Pablo Picasso’s original India ink drawing created in 1951.

2204

After Pablo Picasso (1881-1973)

“Nature Morte au Citron et a la Cruche,” circa 1979-1982 Lithograph in colors on paper, watermark Arches

Edition: 78/500

Estate signed and numbered in pencil in the lower margin: Collection Marina Picasso; with the embossed estate and chromist’s blindstamp seal and an unidentified blindstamp in the lower margin: After a Work by Pablo Picasso; with the estate black ink stamp, verso, and the publisher’s name and date of the lithograph’s publication black ink stamp, verso: Approved by the Heir of Pablo Picasso; Paul Sloan, 1982, pub.

Image: 16.25” H x 21.25” W; Sheet: 21.75” H x 28.5” W

$400-600

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

Other Notes: The lithograph in this lot, “Nature Morte au Citron et a la Cruche,” is after Pablo Picasso’s original oil on canvas created in 1936.

2205

Richard Perri

(b. 1944)

“Red’s Java House,” 1996

Offset in colors on paper

Edition: An artist’s proof, aside from the edition of unknown size and date

Signed, titled, and dated in pencil in the lower margin: Richard L. Perri

Image: 32” H x 40” W; Sight: 35.5” H x 43.5” W

$300-500

Provenance: Private collection of the grandson of Andrew Saks, founder of Saks 5th Ave., New York

“Two Female Figures,” 2001

Ink jet giclee in colors on thick wove paper

Edition: 9 of 10 artist’s proofs

Signed, numbered, and inscribed A P 9/10 in pencil in the lower margin, at right: J.Giegerich; titled and dated by repute; an unidentified blindstamp in the lower left margin corner

Image: 19.5” H x 23.375” W: Sheet: 22.75” H x 27” W

$400-600

2206 Jill Giegerich (b. 1952)

“Building Wrapped in Knitting”

Screenprint in colors on paper

Edition: 6/70

Signed and numbered in pencil in the lower margin: Granger; titled on a gallery label affixed to the frame’s backboard

Image: 29.5” H x 21.25” W; Sight: 36.25” H x 25.5” W

$100-200

Provenance: DeVorzon Gallery, Los Angeles, CA

2207

Michael Granger (b. 1924)

2208

After Andy Warhol (1928-1987)

“Mick Jagger,” from the “Mick Jagger” portfolio, 1975 Offset in colors on thick white wove paper, without watermark From the edition of unknown size and date, printed later Unsigned; bears the offset signatures of Warhol and Jagger printed in the lower portion of the image; bears pencil notation AP 11/50, in another hand, in the lower left sheet corner; with Seabird Editions copyright information printed, rather than ink-stamped, verso

Image/Sheet: 43.625” H x 28.75” W

$600-800

Literature: cf. Feldman & Schellmann 139

2210

Hank Pitcher (b.1949)

“Winter Solstice Point Conception,” 2008 Oil on canvas laid to board Signed and dated lower right: Hank Pitcher; signed again, titled, and dated, verso 36” H x 48” W

$3,000-4,000

2211

Hank Pitcher (b.1949)

“Christmas

Signed

45.5”

$4,000-6,000

Exhibited: Santa Barbara, CA, Sullivan Goss Gallery, “Hank Pitcher: Tidal Force,” 2011

Eve,” 2011 Oil on canvas laid to board

and dated lower right: Hank Pitcher; titled on a label affixed to the frame’s backing board

H x 68” W

2212

Hank Pitcher (b. 1949)

“Revelers,” 2006

Oil on board

Signed and dated lower left: Hank Pitcher

8” H x 16” W

$800-1,200

Provenance: Sullivan Goss Gallery, Santa Barbara and Montecito, CA

Exhibited: Santa Barbara and Montecito, CA, Sullivan Goss, “Hank Pitcher: Montecito Beaches 1978-2008,” July 3-August 31, 2008

2213

James Carroll Beckwith (1852-1917)

Palace of Fine Arts, San Francisco Oil on board

Signed lower left: Carroll Beckwith

17.25” H x 11.25” W

$300-500

2214

Millard Sheets

(1907-1989)

Park with figures, 1935

Watercolor on paper

Signed and dated lower left: Millard Sheets

Sight: 12.5” H x 19.5” W

$1,500-2,000

2215

Clarkson Dye (1869-1955)

Evening dinner party with musicians

Oil on Masonite

Signed lower left: Clarkson Dye 17.75” H x 18” W

$800-1,200

Other Notes: A copy of a handwritten note detailing the inspiration behind the painting, in which Dye states, “...was composed from a description given me (about 1918) by Senator Phelan, of an evening social and dinner..” is in a clear sleeve affixed to the frame’s backing paper.

2216

linen

Signed lower right: Chidlaw

14” H x 20” W

$700-900

Patricia Childlaw (b. 1952) “Showgirls” Oil on

2217

“Butterfly

Each: Toned gelatin silver print on paper mounted to foamboard, as issued

Each: Appears unsigned; titled on a label affixed to the verso of the frame

Image of each: 22” H x 17.5” W (or opposite); Sheet of each: 24” H x 20” W (or opposite)

$400-600

2218

$500-700

Joel Glassman (b. 1946)

Wings I”

Joel Glassman (b. 1946)

“Hornbeetle” triptych, Toned gelatin silver From the edition of Appears unsigned Each: Image: 22.25”

triptych, #8 from “Little Monster” series, circa 1995 silver prints on paper mounted to three boards, as issued of unknown size

22.25” H x 17.5” W; Sheet: 24” H x 20” W

2219

Joel Glassman (b. 1946)

“Untitled,” #5 from the “Little Monsters” series, circa 1995 Gelatin silver print on paper mounted to foamboard, as issued

Appears unsigned; titled in pen on the frame’s backing paper; titled again on a label affixed to the frame’s backing paper

Image: 22.5” H x 17.5” W; Sheet: 24” H x 20” W

$300-500

2220

Joel Glassman (b. 1946)

“Insect” diptych, #11 from “Little Monster” series, Toned gelatin silver prints on paper mounted to

From the edition of unknown size

Appears unsigned

Each: Image: 22.5” H x 17.75” W; Sheet: 24” H

$400-600

series, circa 1995 to two boards, as issued

H x 20” W

2221

“Unititled,” #2 from the “Little Monsters” series, circa 1995 Gelatin silver print on paper mounted to foamboard, as issued Appears unsigned; titled in pen on the frame’s backing paper; titled again on a label affixed to the frame’s backing paper

$300-500

Joel Glassman (b. 1946)

Image: 17.5” H x 22.5” W; Sheet: 20” H x 23.75” W

Untitled, from “Morning Becomes Electra,” 1996

Sepia and toned gelatin silver print on paper

Edition: 3/20

Signed, dated, and numbered in pencil, verso: J. Glassman, and with the artist’s

copyright ink stamp

Image: 18.5” H x 14.5” W; Sheet: 20” H x 16” W

$300-500

Provenance: Couturier Gallery, Los Angeles, CA

2222

Joel Glassman

(b. 1946)

2223

Gustavo Monroy (b. 1959) and Diego Marcial Rios (20th century)

Five woodcuts from “Corpus,” 1992

Each: Woodcut on paper, watermark Arches

Edition of each: 60/60 (the justification page calls for an edition of 75)

Each signed indistinctly and numbered in pencil in the lower margin; the five prints sold together with the original title and justification pages; Ar mory Center for the Arts, Pasadena, CA, pub.

7 pieces

Image of each: 24” H x 17” W; Sheet of each: 26” H x 18” W

$300-500

2224

Dorothy Sklar (1906-1996)

Figures at an outdoor market Oil on Masonite

Signed lower left: Dorothy Sklar

36” H x 48” W

$1,000-2,000

2225 Dorothy Sklar (1906-1996)

“Daisy Chain,” 1955 Oil on Masonite

Signed and dated lower right: Dorothy Sklar ©; titled verso 20” H x 24” W

$800-1,200

2226 Dorothy Sklar (1906-1996) “Ventura Street” Oil on artist board

Signed lower right: Dorothy Sklar; signed again and titled on the frame’s cardboard backing 25” H x 30” W

$800-1,200

2227

Dorothy Sklar

(1906-1996)

“The Morn”

Oil on canvasboard

Signed lower right: Dorothy Sklar; signed again and titled verso 30” H x 40” W

$1,500-2,500

Provenance: Sold: Bonhams, San Francisco, CA, “California, American Paintings & Sculpture,” August 8, 2005, Lot 234

2228

Dorothy Sklar (1906-1996)

Rocky cliffside

Watercolor

$400-600

on paper

Signed and dated lower right: © Dorothy Sklar; indistinctly inscribed in pen on a label affixed to the frame’s cardboard backing

Sight: 18.25” H x 24.5” W

2229

“Le

Oil on canvas

Signed lower left: G. Borelli; signed again, twice, titled, dated 30 3 79, and with the ©, all verso

24” H x 30” W

$500-700

Provenance: Grace Fine Art, Austin, TX

Other Notes: This lot is sold together with a certificate of authenticity prepared by Grace Fine Art, Austin, TX, dated 6-23-2009.

Guido Borelli

(b. 1952)

Colline Toscane,” 1979

2230

$500-700

Carole Cooke (b. 1949)

“California Poppies”

Oil on canvas

Signed lower left: Carole Cooke; signed again and titled on the stretcher 24” H x 24” W

Other Notes: Label from artist’s studio affixed to stretcher.

2231

Galen Rowell (1940-2002)

Near base camp

Ink jet print on paper

Edition: 69/300

Signed and numbered in purple ink in the lower margin, at right: Galen Rowell

Image: 11” H x 15” W; Sight: 12.25” H x 16.25” W

$400-600

Sunset sky

Ink jet print on paper

Edition: 152/300

Signed, dated, and numbered in pencil on the mat, near the lower edge, at left: Galen Rowell Sight: 13” H x 9” W

$300-500

Untitled, 2000 C-print on paper laid to Gator board, as Edition: 3/5

Signed, dated, and numbered in blue

Image/Sheet: 20” H x 30” W

$3,000-5,000

2232

Galen Rowell (1940-2002)

2233 Shannon Kennedy (b. 1967)

as issued

pen, verso: Shannon Kennedy

“Leaving the Cottage Garden,” 2001

Oil on canvas

Signed lower right: Singley; titled verso; titled again and dated on a label affixed to the stretcher

40” H x 30” W

$800-1,200

Provenance: Artwork from an Estate Gifted to Loyola Marymount University.

2234

Greg Singley (b.1950)

2235

Stanley Maxwell Brice (b. 1936) “Day Break” Oil on canvas

Signed lower right: Stanley Maxwell Brice ©; titled in pen on the stretcher 9” H x 12” W

$1,000-2,000

2236

Mary Louise Snowden

(b.1952)

“Moments,” 1990

Watercolor on paper

Signed, titled, and dated in pencil in the lower margin: Mary Snowden

Image: 32.5” H x 40.75” W; Sight: 34” H x 41.5” W

$1,000-2,000

Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave

2237

Gerald Stinski (1929-2015)

Still life of sewing tools

Oil on Masonite

Signed upper left: Stinski

8” H x 10” W

$800-1,200

2238

Joshua Meador (1911-1965)

Three works:

Waves crashing Oil on canvasboard

Signed lower right: Joshua Meador

Sight: 5.5” H x 7.5” W

Fall landscape Oil on canvasboard

Signed lower right: Joshua Meador

Sight: 5.5” H x 7.5” W

House behind trees Oil on panel

Signed lower left: Joshua Meador

16” H x 12” W

$500-700

Other Notes: Joshua Meador worked as an animator for the Walt Disney Company from 1937 through the 1960s. He began as an animator on “Snow White and the Seven Dwarfs” and “Pinocchio.” He later moved into the special effects department for “Fantasia,” where he worked on the effects for the “Rite of Spring” and “A Night on Bald Mountain” segments. Meador would continue to work on special effects animation at Disney for animated feature films like “Alice in Wonderland” and “Cinderella,” live-action films such as “20,000 Leagues Under the Sea,” and the “True-Life Adventure” documentaries. In 1956 Meador was loaned to MGM by Disney to create the “Monster from the Id” for the sciencefiction epic “Forbidden Planet.”

2239

Joshua Meador

(1911-1965)

“Country Town”

Oil on canvas

Signed lower right: Joshua Meador; signed again and titled, verso; titled again on a gallery label affixed, verso 22” H x 30” W

$500-700

Provenance: Ruthermore Galleries, San Francisco, CA

Other Notes: Joshua Meador worked as an animator for the Walt Disney Company from 1937 through the 1960s. He began as an animator on Snow White and the Seven Dwarfs and Pinocchio, moving into the special effects department for Fantasia, where we worked on the effects for the Rite of Spring and A Night on Bald Mountain segments. Meador would continue to work on special effects animation at Disney for animated feature films like Alice in Wonderland and Cinderella, live action films such as 20,000 Leagues Under the Sea, and the True-Life Adventure documentaries. In 1956 Meador was loaned to MGM by Disney to create the “Monster from the Id” for science-fiction epic Forbidden Planet.

2240

Franz Arthur Bischoff (1864-1929)

A house in a flourishing landscape Oil on canvas laid to board

Signed lower right: F.A. Bischoff

8” H x 10” W

$400-600

2242

Mark Workman (b. 1960)

“Refuge,” 1996 Acrylic on paper

Signed and dated in pencil in the lower margin, at right: Mark Workman; initialed and dated in the lower right corner of the image

17” H x 60” W

$600-800

Provenance: Fischbach Gallery, New York, NY

2241

William Keith (1838-1911)

“Near San Francisco Bay,” 1888

Watercolor on paper

Signed and dated lower right: W. Keith, titled by repute

11” H x 17.75” W

$2,000-4,000

Provenance: Sold: Bonhams, Los Angeles and San Francisco, CA, “Californian and Western Paintings,” November 25, 2013, Lot 5 Private collection, San Francisco, CA, acquired from the above

2243 Donald Putman (1926-2007) Monterey harbor Oil on canvas

Signed lower left: Putt ©

24” H x 30” W

$400-600

2244

Kerry Hallam

(b.1937)

Lombard Street with view of San Francisco

Oil on canvas

Signed lower left: Kerry Hallam; initialed verso, possibly in another hand

36” H x 47.5” W

$800-1,200

Provenance:

Artwork from an Estate Gifted to Loyola Marymount University

2245

Nick Veasey (b. 1962)

“Tulip Head,” 2014

C-type print on paper

Edition: 11/150

Signed and numbered in ink in the lower right and left sheet corners, respectively: Nick Veasey; titled and dated on a certificate of authenticity

Sight: 46.5” H x 46.5” W

$800-1,200

Other Notes: This lot is accompanied by a certificate of authenticity from Nick Veasey’s Studio, signed and dated by Nick Veasey. The certificate of authenticity also states that this print is “From an original x-ray image by Nick Veasey.”

2246

Untitled, from “Morning Becomes Electra,” 1996

Sepia and toned gelatin silver print on paper

Edition: 1/20

Signed, dated, and numbered in pencil, verso: J. Glassman, and with the artist’s copyright ink stamp

Image: 18.25” H x 14.25” W; Sheet: 20” H x 16” W

$300-500

Provenance: Couturier Gallery, Los Angeles, CA

Joel Glassman

(b. 1946)

2247

Untitled, from “Morning Becomes Electra,” 1996

Sepia and toned gelatin silver print on paper

Edition: A/P

Signed, dated, and inscribed in pencil, verso: J. Glassman / A.P.

Image: 14.25” H x 18.25” W; Sheet: 16” H x 20” W

$300-500

Provenance: Couturier Gallery, Los Angeles, CA

Joel Glassman (b. 1946)

2248

Untitled, from “Morning Becomes Electra,” 1996

Sepia and toned gelatin silver print on paper

Edition: A/P

Signed, dated twice, and inscribed in pencil, verso: J. Glassman

Image: 14.25” H x 18.25” W; Sheet: 16” H x 20” W

$300-500

Provenance: Couturier Gallery, Los Angeles, CA

Joel Glassman (b. 1946)

Untitled, from “Morning Becomes Electra,” 1996

Sepia and toned gelatin silver print on paper

Edition: 1/20 / A/P

Signed, dated, numbered, and inscribed in pencil, verso: J. Glassman / A.P., and with the artist’s copyright ink stamp

Image: 18.25” H x 14.25” W; Sheet: 20” H x 16” W

$300-500

Provenance: Couturier Gallery, Los Angeles, CA

2249

Joel Glassman (b. 1946)

Untitled, from “Morning Becomes Electra,” 1996

Sepia and toned gelatin silver print on paper

Edition: 1/20

Signed, dated, and numbered in pencil, verso: J. Glassman, and with the artist’s copyright ink stamp

Image: 18.25” H x 14.25” W; Sheet: 16” H x 20” W

$300-500

Provenance: Couturier Gallery, Los Angeles, CA

2250

Joel Glassman (b. 1946)

Gelatin silver print on paper

Edition: 1/15, printing date unknown

Signed and numbered in ink in the lower margin: Murray Garrett

Image: 34” H x 34” W; Sight: 35” H x 34.5” W

$800-1,200

Other Notes: There also appears to be an edition of 75 measuring 14” H x 14” W.

2251 Murray Garrett (b. 1926)

“Marilyn Monroe”

Louis Kronberg

(1872-1965)

“Ballet Dancer in Yellow” Oil on waxed canvas

Signed lower right: L. Kronberg; titled in pencil on the stretcher

21.75” H x 15” W

$1,000-1,500

Provenance: Sold: Bonhams Skinner, Marlborough, MA, May 11, 1990, Lot 184

2252

2253

A Caucasian runner

Early/mid-20th century

A wool on wool possibly Shirvan or Kazak rug with allover polychrome geometric and figural motifs on blue ground 13’ 5” L x 3’ 7” W

$500-700

Early/mid-20th century

The wool on wool rug with geometric repeating medallions on a bordeaux ground 11’

$400-600

2254

A Turkish Kilim rug

4” L x 8’ 3” W

2255

An Armenian area rug

Early/mid-20th century

Appears signed in the weaving to one corner

The wool on cotton rug with polychrome double medallion floral motif on navy blue ground and border with geometric motif

7’ L x 4’ 2” W

$500-700

2256

Three Turkish rugs

Three works:

A Turkish runner, late 20th century

Appears unmarked

Wool on cotton with central repeating polychrome medallion motif on beige ground

14’ 1” L x 2’ 7” W

A small Turkish rug, late 20th century

Appears unmarked

The wool on cotton rug with central medallion and polychrome foliate motifs on an ivory ground

4’ 5.5” L x 2’ 7”

A small Turkish runner, late 20th century

With label to underside: Made in Turkey / Kayseri

The wool on cotton rug with allover foliate motifs in neutral hues on ivory ground

7’ 7” L x 2’ 1” W

3 pieces

$200-300

2257

A Khotan-style area rug

Early/mid-20th century

Likely produced in the Uygur autonomous region of Xinjiang province in China, the wool on cotton rug with repeating medallion motif on a pink ground 4’

$300-500

8.25” L x 2’ 11.5” W

2258

Late 20th century

Label to underside: Made in Turkey

The wool on cotton rug with allover polychromed floral decoration on pale pink ground

5’ 10” L x 3’ 11.5” W

$300-500

A Turkish Hereke rug

2259

A group of Angela Lansbury “Mame” ephemera Two works:

Lansbury, Angela. “Fryer, Carr & Harris Present Angela Lansbury as Mame.” KOS-3000. New York: Columbia Masterworks, 1969

Inscribed: Mr. Weaver [sic] / With good wishes / from Angela Lansbury

The long play vinyl record housed in original jacket depicting Lansbury in costume, together with associated staple-bound folio insert featuring photos and bios of the cast 12.325” H x 12.325” W x 0.25” D

A playbill from the original production of Lansbury’s “Mame”

Volume 3, Number 10; October, 1966

The staple-bound glossy paper magazine folio featuring articles about the production 9” H x 6” W x 0.125” D

2 pieces

$200-300

2261

A Grateful Dead Rhodes MK-80 Circa 1990’s

Marked to verso: Serial No. ZA93630

The 88 weighted key synthesizer with in, out, and through ports, and two clavichord simulations, and effects including foamed by Calzone Case Co. and decorated Keyboard: 5.75” H x 54” W x 21.5”

$2,000-3,000

Other Notes: This keyboard was used “Infrared Roses.” Welnick also used Bralove, on their 1996 self-titled album,

MK-80 electronic synthesizer keyboard

ZA93630 / Roland Corp. / Made in Japan with LCD display, four control sliders, modulation wheel, two stereo outputs, discrete MIDI expression pedal inputs, featuring Rhodes patches for acoustic piano, vibraphone, and including chorus and phase shifting, sold together with blue travel case, custom fitted and decorated with two Grateful Dead “Steal Your Face” stickers, electrified D; case: 9.325” H x 58.25” W x 24.5” D

used by Vince Welnick onstage and in studio while recording the 1991 Grateful Dead album used this keyboard with the group Second Sight, founded by Grateful Dead associate, Bob album, which also featured Jerry Garcia and Bob Weir playing on a couple of tracks.

2260

A Grateful Dead Wersi Zone Masterboard MIDI keyboard

Circa 1990

Marked to verso: SER. NR. Z 91

The 88 key keyboard with LCD display, two modulation wheels, four stereo outputs, four control sliders, three discrete MIDI ins and outs each, two expression pedal inputs, and one PCMCIA card slot, housed in a black metal chassis, then housed and affixed into a black custom travel case, electrified

Case: 5.625” H x 56” W x 13.25” D

$1,500-2,500

Other Notes: This keyboard was the principal MIDI keyboard used by Vince Welnick during his time with the Grateful Dead in the 1990s.

2262

A group of Kingsley Bate outdoor teak furniture

21st century; Fairfax, VA

Four marked with plaque: Kingsley Bate / Genuine teak furniture

Comprising two Evanston square dining tables with bullnose edges and beveled slats, two round-backed Hampton dining armchairs, and a Derby Garden bench with canvas upholstered seat cushion, 5 pieces

Each table: 28.75” H x 36” W x 36” D approx.; each chair: 40.25” H x 24.75” W x 28” D; bench: 39.5” H x 55.5” W x 24” D

$800-1,200

2263

Christian von Schneidau (1893-1976)

“Delighted”

Oil on canvas laid to waxed canvas

Signed lower left: C.von Schneidau; titled on a label affixed to the frame’s foamboard backing, and an old photograph of the verso of the canvas taken prior to the relining, now affixed to the frame’s foamboard backing

44” H x 52” W

$2,000-4,000

Provenance: Sold: John Moran Auctioneers, Monrovia, CA, “California & American Fine Art Auction,” October 25, 2016, Lot 149 Jonathan Art Foundation, Los Angeles, CA, acquired from the above

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

Exhibited: Pasadena, CA, California Art Club, n.d.

A Hillside Pottery-style tiled terracotta

Mid-20th century Appears unmarked

With an all-over emerald green glaze and inset dark brown glazed tiles

9.25” H x 15” Dia.

$300-500

2264

jardiniere

2265

A ceramic elephant side table 20th century

The glazed ceramic hollow-bodied elephant figure draped with raised foliate motif, atop a base with incised geometric motif, surmounted by a “howdah” saddle tabletop surface with a pierced circular design

24” H x 12.5” W x 24.25” D

$300-500

2266

A Pakistani monumental terracotta storage jar

19th century or later

Appears unmarked

The large, handled ceramic vessel, likely an olive jar, with incised banding motifs and an all-over weathered white slip glaze finish

37” H x 27.75” Dia.

$600-800

Provenance: Property from a Distinguished Palm Springs Estate

2267

Two wool blankets

Mid-20th century

One with two cloth labels: A’OO homespun pure new wool / Made in Scotland; second label: Authentic Tartans and Original Scottish Tweed by Moffat Handloom Weavers / Moffat, Scotland / and Kilmahog Woolen Mills / Callander, Scotland

Comprising one Scottish tartan plaid woven wool blanket with fringe edge, in green and brown to one side and various blues to the underside, and one wool blanket with polychrome stripes and selvedge edge, 2 pieces

Larger: 69” L x 69” W; smaller: 57” L x 48” W

$200-300

2268

Donald “Putt” Putnam (1926-2007)

Swans

Acrylic on paper laid to board

Signed in lower left: Putt

30” H x 40” W

$1,000-2,000

$400-600

2269

Donald “Putt” Putnam (1926-2007)

Descanso Gardens, La Canada

Oil on canvas

Signed lower left: Putt © 24” H x 36” W

2270

Matsumi Kanemitsu (1922-1992)

“Homage to Henry Seldis III,” 1978

Lithograph in color on black wove paper

Edition: 17/18

Signed, dated, inscribed State III, and numbered in pencil near the lower edge, at left: Kanemitsu; with an unidentified blindstamp in the lower right corner

Image/Sheet: 22” H x 25” W

$500-700

Other Notes: The work is annotated in pencil on the verso of the lower right corner: HK 31.11 and 78-5.

2271

Matsumi Kanemitsu (1922-1992)

“Homage to Henry Seldis II,” 1978

Lithograph in colors on white wove paper

Edition: 17/18

Signed, dated, inscribed State II, and numbered in pencil near the lower edge, at center: Kanemitsu; with an unidentified blindstamp in the lower right corner

Image/Sheet: 21.5” H x 29” W

$500-700

Other Notes: The work is annotated in pencil on the verso of the lower right corner: HK 31.10 and 78-5.

2272

Robert Natkin (1930-2010)

Untitled from the “Field Mouse Series” Lithograph in colors on wove paper

From the edition of unknown size and date

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

Image/Sheet: 29” H x 25” W

$600-800

2273

“Kanani Hawaii”

Etching and drypoint on paper

Signed, titled, and inscribed in pencil in the lower margin: John Kelly / No 29, and with the artist’s blindstamp in the lower margin, right of center

Plate: 11.5” H x 9” W; Sheet: 18.25” H x 14.5” W

$800-1,200

John Melville Kelly (1879-1962)

2274

Helen Hyde

(1868-1919)

“The Bath,” 1905

Woodcut in colors on Japanese paper

Signed and numbered in pencil at the lower right and left edge, respecctively, of the image: Helen Hyde / 160; with the artist’s printed copyright and date in the plate, upper right

Image: 16.25” H x 10.25” W; Sight: 16.75” H x 10.75” W

$500-700

2275

Ando (Utagawa) Hiroshige (1797-1858)

“Mariko” from the “Reisho Tokaido Series,” circa 1840 Woodcut in colors on paper

From the edition of unknown size

Signed in the image with Japanese characters: Hiroshige ga; Marusei of Maruya

Seijiro seal, Edo, Japan, pub.; Mera and Watanabe censor’s seals, Japan

Sight: 8.75” H x 13.5” W

$800-1,200

2276

Ando (Utagawa) Hiroshige (1797-1858)

“Nihonbashi Birdge in Snow” from the “Famous Places in the Eastern Capital Series,” circa 1840 Woodcut in colors on paper

From edition of unknown size

Signed in the image with Japanese characters: Hiroshige ga; with the publisher’s seal near the upper left edge, Kawaguchiya Shozo, Japan, pub.

Sight: 8.75” H x 14.25” W

$300-500

2277

Tsukioka Yoshitoshi (1839-1892)

“Kanasugi Bridge in Shiabura” from the series “Famous Places Along the Tokaido,” 1863 Woodcut in colors on paper

From the edition of unknown size

Signed in the image with Japanese characters

Sight: 12.5” H x 8.5” W

$300-500

2278

A pair of Phase Technology PC 80 Mark II speakers

Circa 1980s/90s

Each with sticker to verso: Ser. No. 01119

Comprising two wood-cased and oak veneered two-way speakers featuring 1” cloth-domed tweeters, each set upon detached and conformingly designed risers

Each speaker: 15.5” H x 9.5” W x 11” D; each riser: 16.875” H x 10.75” W x 10.75” D

$500-700

2279

A Grateful Dead Alesis QS8 electronic controller synthesizer keyboard

1997

Marked with sticker to verso: Alesis Quality Control by Jose V. / Mfr. date 3-3-97; appears to have no serial number present The 88 weighted key, 64-voice polyphonic synthesizer with LCD display, pitch and modulation wheels, four stereo outputs, four control sliders, discrete MIDI in, out, and through ports, three expression pedal inputs, an ADAT optical digital output, a 48kHz clock input, and two PCMCIA expansion card slots, with 16MB of ROM, housed in a metal chassis with painted black oak end pieces, electrified 4.874” H x 50.125” W x 14.125” D

$500-700

Other Notes: This keyboard was used by Vince Welnick both onstage and in the studio with the group Missing Man Formation along with other bands from the 1990s-2000s.

2280

A group of Lynn Fontanne and Alfred Lunt ephemera

Two works:

A photograph of Fontanne and Lunt posing onstage before a bow

Signed: Lynn Fontanne / Alfred Lunt

The photograph laid to mat board and set inside a gold-toned metal frame with easel backing

Sight: 5.5” x 3.875” W

Fontanne, Lynn and Alfred Lunt. “Pipe Night at The Players to honor Alfred Lunt and Lynn Fontanne.” PC-1000. The Players, 1963

The double long play vinyl record housed in gatefold jacket, revealing photos of the performers from the evening’s recording, with original inner paper sleeves

12.325” H x 12.325” W x 0.25” D

2 pieces

$200-300

2281

A Celestron Nexstar telescope

Circa 2002

Serial number: 73815

The finished metal and plastic telescope with articulating scope and extendable legs, featuring a 1250mm focal length and f/10 focal ratio, including two remotes, one with LCD screen, and a foam-lined metal case housing 2x magnification lens, 4mm, 6mm, 9mm, 15mm, and 32mm Plössl eyepieces, seven tinted filters, and various tools and hardware, electrified, 3 pieces

Dimensions variable: 45.25” H x 24” W x 24” D approximately

$600-800

Other Notes: This lot is accompanied by a staple-bound accessories catalogue, an instruction manual for a “Star Pointer” (not included), and a pamphlet from the International Star Registry.

2282

Three Japanese woodcut prints

Three works:

Ando (Utagawa) Hiroshige (1797-1858)

“Evening Snow at Uchikawa,” circa 1836

Woodcut in colors on paper

From the edition of unknown size

Signed in the image with Japanese characters: Hiroshige ga; with the publisher’s seal near the upper left edge, Ichiryusai, Japan, pub.

Sight: 8.875” H x 14” W

Ando (Utagawa) Hiroshige (1797-1858)

“King Fisher and Hydrangea,” circa 1830

Woodcut in colors on paper

From the edition of unknown size

Signed in the image with Japanese characters: Hiroshige hitsu; with the publisher’s seal near the upper left edge, Wakasaya Yoichi, Japan, pub.

Sight: 14.5” H x 6.5” W

Utagawa Kunisada (Toyokuni III) (1786-1865)

Geisha in an interior

From the edition of unknown size Woodcut in colors on paper

Signed in the image with Japanese characters: Kunisada giga, other various Japanese characters in the image

Sight: 14” H x 9.75” W

$400-600

2283

Stanton MacDonald-Wright (1890-1973)

“Wild Sea and the Milky Way Athwart the Island of Sado,” from “Haiga Portfolio” Woodcut in colors on paper

Edition: 5/50

Signed, dated, numbered, and inscribed in ink in the lower margin, at left: No. 4 - 5/50

Basho - Stanton - Kyoto - 1966-’67

Image: 20” H x 16” W; Sight: 21” H x 17” W

$300-500

Provenance: La Tortue Gallery, Los Angeles, CA

Other Notes: The title of this lot is from Matsuo Basho, a Japanese Edo period poet, famously known for his haikus.

2284

Gene Kloss (1903-1996)

“The Wheat Field,” 1943 Etching and drypoint on laid paper

From the edition of 75

Signed and titled in pencil in the lower margin: Gene Kloss

Plate: 8” H x 11” W; Sheet: 10” H x 13.5” W (approx.)

$300-500

2285

Grant Wood (1891-1942)

“Approaching Storm,” 1940 Lithograph on wove paper

From the edition of 250

Signed in pencil in the lower margin, at right: Grant Wood; Associated American Artist’s, New York, NY, pub.

Image: 12” H x 9” W; Sheet: 16” H x 12” W

$5,000-7,000

Provenance: Sold: Doyle, New York, NY, “Prints & Multiples,” April 25, 2016, Lot 290

Literature: Cole 19

Other Notes: This lot is sold together with a sales invoice for the purchase of this artwork from Doyle, New York, NY, at the above-mentioned auction, dated 4/25/2016.

2286

Thomas Hart Benton (1889-1975)

“Aaron,” 1941 Lithograph on paper Edition of 250

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

Image: 12.875” H x 9.5” W; Sheet: 19” H x 12.5” W

$800-1,200

Literature: Fath 42

2287

Three collections of modern plays

Each octavo bound in full leather with gilt lettering and embellishment and gilt page edges

Three works:

Williams, Tennessee. “Selected Plays.” Franklin Center: The Franklin Library, 1980

Hardcover book

Signed Limited Edition

9.325” H x 6.625” W x 1.25” D

Miller, Arthur. “Collected Plays.” Franklin Center: The Franklin Library, 1980

Hardcover book

Signed Limited Edition

9.5” H x 6.325” W x 1.75” D

Sartre, Jean-Paul. “Five Plays.” Franklin Center: The Franklin Library, 1978

Hardcover book

Signed Limited Edition

With accompanying pamphlet “Notes from the Editors”

8.875” H x 6” W x 1.5” D

3 pieces

$200-300

2288

A group of biographies and social commentary

Each octavo bound in full leather with gilt lettering and embellishment and gilt page edges

Four works:

Simone, De Beauvoir. “The Second Sex.” Franklin Center: The Franklin Library, 1979

Hardcover book

Signed Limited Edition

With accompanying pamphlet “Notes from the Editors”

9.5” H x 7” W x 1.875” D

Stone, Irving. “Lust for Life.” Franklin Center: The Franklin Library, 1981

Hardcover book

Signed Limited Edition

9.25” H x 6.625” W x 1.75” D

Fraser, Antonia. “Mary Queen of Scots.” Franklin Center: The Franklin Library, 1981

Hardcover book

Signed Limited Edition

9.325” H x 6.5” W x 1.875” D

Lash, Joseph P. “Eleanor and Franklin.” Franklin Center: The Franklin Library, 1981

Hardcover book

Signed Limited Edition

9.5” H x 6.75” W x 2.325” D

4 pieces

$400-600

2289

Five works of modern fiction

Each octavo bound in full leather with gilt lettering and embellishment and gilt page edges

Five works:

Baldwin, James. “Go Tell It on the Mountain.” Franklin Center: The Franklin Library, 1979

Hardcover book

Signed Limited Edition

With accompanying pamphlet “Notes from the Editors”

9.625” H x 6.5” W x 1.25” D

Ellison, Ralph. “Invisible Man.” Franklin Center: The Franklin Library, 1980

Hardcover book

Signed Limited Edition

With accompanying pamphlet “Notes from the Editors”

9.50” H x 6.625” W x 1.625” D

Dickey, James. “Deliverance.” Franklin Center: The Franklin Library, 1981

Hardcover book

Signed Limited Edition

8.5” H x 6.125” W x 1.125” D

Walker, Percy. “The Moviegoer.” Franklin Center: The Franklin Library, 1980

Hardcover book

Signed Limited Edition

8.875” H x 6.25” W x 1” D

Vidal, Gore “Julian.” Franklin Center: The Franklin Library, 1981

Hardcover book

Signed Limited Edition

9.5” H x 6.75” W x 1.5” D

5 pieces

$500-700

2290

Richard Francis Burton (translator) (1821-1890)

“The Book of the Thousand Nights and a Night,” 1994 Burton, Richard (translator). “The Book of the Thousand Nights and a Night.” Norwalk, Easton Press, 1994 Hardcover books Collector’s Edition

The hardcover octavos bound in full leather with gilt lettering and embellishments and gilt edges, containing near-facsimile of Burton’s introduction from 1885 17 volumes

Each volume approx.: 9.5” H x 6.25” W x 1.625” D

$500-700

2291

“The Famous Horses”

Each octavo bound in embellishment and gilt

Six works:

Sewell, Anna. “Black Beauty.” Hardcover book Collector’s edition

Bagnold, Enid. “National Hardcover book Collector’s edition

O’Hara, Mary. “My Friend Hardcover book Collector’s edition

Henry, Marguerite. “Misty Press, 1995 Hardcover book Collector’s edition

Farley, Walter. “The Black Hardcover book Collector’s edition

Steinbeck, John. “The Hardcover book Collector’s edition

6 volumes

Each volume approx.: $500-700

Horses” novel series full leather with gilt lettering and gilt page edges

2292

Five works of modern fiction

Each octavo bound in full leather with gilt lettering and embellishment and gilt page edges

Five works:

Beauty.” Norwalk: Easton Press, 1986

“National Velvet.” Norwalk: Easton Press, 1995

Friend Flicka.” Norwalk: Easton Press, 1995

“Misty of Chincoteague.” Norwalk: Easton Black Stallion.” Norwalk: Easton Press, 1995

“The Red Pony.” Norwalk: Easton Press, 1995

Heller, Joseph. “Catch-22.” Franklin Center: The Franklin Library, 1978

Hardcover book

Signed Limited Edition

9.625” H x 6.5” W x 2” D

Capote, Truman. “Other Voices, Other Rooms.” Franklin Center: The Franklin Library, 1979

Hardcover book

Signed Limited Edition

With accompanying pamphlet “Notes from the Editors”

8.875” H x 6” W x 1.25” D

Vonnegut, Kurt. “Slaughterhouse-Five.” Franklin Center: The Franklin Library, 1978

Hardcover book

Signed Limited Edition

With accompanying pamphlet “Notes from the Editors”

9” H x 6.625” W x 1” D

Vonnegut, Kurt. “Galapagos.” Franklin Center: The Franklin Library, 1985

Hardcover book

Signed First Edition

9.125” H x 6.125” W x 1.5” D

Fowles, John. “The Collector.” Franklin Center: The Franklin Library, 1982

Hardcover book

9.625” H x 7” W x 1.5” D

Signed Limited Edition

8.875” H x 6.25” W x 1.125” D

5 pieces

$400-600

2293

Untitled, 1988

Lithograph in colors on paper

Edition: 34/40

Signed, dated, and numbered in pencil in the lower margin: Bruce Cohen; Cirrus

Editions, Los Angeles, CA, prntr.

Image: 30” H x 30” W; Sheet: 38” H x 38” W

$400-600

Provenance: Gift of Drs. Don and Sonia Thomas to the current owner

Bruce Cohen (b. 1953)

2294

Max Kuehne (1880-1968) Harbor scene

Oil on canvas

Signed lower right: Kuehne

20” H x 24” W

$3,000-5,000

Signed lower right: Layla

48” H x 36” W

$3,000-5,000

Provenance: Private collection of the grandson of Andrew Saks, Founder of Saks 5th Ave

2295

Layla Fanucci (b.1957)

Venetian canal scene Oil on canvas

2296

Ben Shahn (1898-1969)

“In Rooms Withdrawn and Quiet,” from the Rainer Maria Rilke’s portfolio “For the Sake of a Single Verse,” circa 1968 Lithograph in colors on paper

From the total edition of 950

With the printed signature in the stone at lower right: Ben Shahn; numbered in pen, presumably in another hand, on the frame’s backing board; with the copyright ink stamp on the frame’s backing board: © Ben Shahn Trust; Atelier Mourlot, Ltd., New York, with The Collector’s Guild, Ltd., pub.

Sight: 20.375” H x 16.5” W

$400-600

Literature: (Prescott 127)

Other Notes: The number written in another hand, as already mentioned, on the frame’s backboard, is 471/950. A label from The Societe de Verification de la Nouvelle Gravure Internationale of New York and Paris is affixed to the frame’s backing board, stating that they certify the authenticity of this print.

Condition Reports

2001

Overall good condition. Not examined out of the frame.

2002

Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under glass: 47.5” H x 39.25” W x 2” D

2003

Overall good condition. The colors fresh and the sheet with full margins and deckled edges. Some very soft handling creases in the image at right, visible primarily in raking light. A few unobtrusive, pinpoint-sized foxmarks. The usual rectangular notch out of the lower right margin corner for the alignment of the various colored blocks. The slightest hint of light staining showing in the margins. Hinged to the back mat in two places from the verso of the upper margin corners.

Framed under Plexiglas: 21” H x 17” W x 1.5” D

2004

Overall good condition. The colors fresh and the sheet with full margins and deckled edges. Mat staining throughout the verso, primarily in the outer edges and the figure with the hat. The slightest hint of light staining showing in the margins. A 0.75” H x 7.5” W band of old glue residue in the lower margin edge, at center, showing on the reverse. A pinpointsized hole in the sheet in the lower left margin edge. The usual rectangular notch out of the lower right margin corner for the alignment of the various colored blocks. Hinged to the back mat in two places from the verso of the upper margin corners.

Framed under Plexiglas: 21” H x 17” W x 1.5” D

2005

The sheet with small margins on all sides, presumably trimmed, and therefore lacking both the black ink stamp of the printer, and the red ink stamped numbering. A 1”stray diagonal pencil line in the figure’s sleeve at lower right. Hinged to the overmat at the verso of the upper margin corners.

Framed under Plexiglas: 21” H x 17” W x 1.5” D

2006

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

2007

Overall good condition commensurate with age. With some small scattered areas of loss to beadwork on the ears and feet.

2008

Each lamp in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One lamp is missing its finial. Each shade in fair condition with multiple tears to the silk fabric. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2009

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One cabinet with sun fading, heat marks, and other mars to the finish of the rosewood veneer. The same cabinet has lifting of the veneer on the right side. Lastly, there is staining and discoloration to the interior floor of one cabinet.

2010

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Some loss to metal finish of and scratching to the aluminum frame. Upholstery in good condition with minor scratches, rubbed wear, and scuffs, predominantly around corner areas.

2011

Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age and use. Some loss to finish of and scratching to the aluminum frame. Upholstery in good condition with minor scratches, rubbed wear, and scuffs, predominantly around corner areas, with more concentrated scuffing to the leather of the seat near the front edge.

2012

Overall good condition with scuffing, scratching, and oxidation to the metal base commensurate with age and use. The upholstery in overall good condition with no rips, tears, or stains, but scattered thread pulls and pilling throughout.

2013

Each overall fair to good condition with oxidation and heavy verdigris to bronze and copper commensurate with age. Both lacking fins, one with 1” leftover from the fin still attached. The other bell with 2” x 0.5” loss from corrosion.

2014

Each overall good condition with scuffs and darkening/oxidation and heavy verdigris to bronze and copper commensurate with age. One with detached copper fin, lacking connecting chain links, and with two losses to the copper. Each fin with some bending.

2015

Overall good condition.

Frame: 17.25” H x 14.24” W x 1.25” D

2016

Overall good condition.

Frame: 15.75” H x 18” W x 1” D

2017

Overall good condition. A dime-sized unobtrusive pressure mark near the upper edge, at right.

Frame: 19” H x 16.75” W x 1.25” D

2018

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age and outdoor storage. There is weathering, soil accumulation, and algae growth as this was displayed in a garden.

2019

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age and outdoor storage. There is weathering, soil accumulation, and algae growth as this was displayed in a garden. This piece has heavier moss and algae growth throughout. As well, the metal with oxidation and rust accumulation due to outdoor display.

2020

Overall good condition with wear, dust accumulation, and minor scuffs commensurate with age and outdoor storage. There is weathering, soil accumulation, and algae growth as this was displayed in a garden.

2021

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

2022

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. Scattered heavier scratching to the top of the base. One figure loose on its mounting and freely spinning.

2023

Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Scattered areas of rubbed wear and losses to the patina. The plinth with residue to underside and minor scratching throughout, with more scratches near mounting juncture.

2024

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

2025

Overall good condition with rubbed wear, dust accumulation, and minor scuffs commensurate with age. Tops of ears with some rubbed wear. Minor scattered dots of staining to underside.

2026

Overall good condition. Scattered creases to the sheet, the largest measuring 10” horizontally in the lower left. Not examined out of the frame.

Framed under glass: 33” H x 24” W x 1.25” D

2027

Overall good condition. Not examined out of the frame.

Framed under glass: 17.375” H x 14.375” W x 1” D

2028

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 47” H x 40” W x 2” D

2029

Overall good condition. Not examined outside of frame.

Framed under Plexiglas: 18.75” H x 29.25” W x 1.25” D

2030

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 24.25” H x 20.75” W x 1.5” D

2031

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 25.25” H x 28.75” W x 1” D

2032

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

Framed under glass: 25.25” H x 25.25” W x 1” D

2033

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

Framed under glass: 28” H x 25.25” W x 1” D

2034

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

Framed under glass: 35.125” H x 28.625” W x 0.75” D

2035

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

Framed under glass: 33.75” H x 28” W x 0.75” D

2036

Each overall fair to good condition with oxidation and heavy verdigris to bronze and copper commensurate with age. Each with slight bending to the fins. One lacking original hanging chain.

2037

Overall good condition with oxidation and heavy verdigris to bronze commensurate with age. The fin with slight bending.

2038

Each overall good condition with oxidation and heavy verdigris to bronze and copper commensurate with age. The fins with slight bending, one with 0.75” loss to bottom corner.

2039

Overall good condition. Surface grime and general wear to the cardboard commensurate with age and handling.

Unframed

2040

Overall good condition. Staining in upper right sheet corner, not affecting the image. Pinhead to rice-sized flecks of grime in each corner. Slight surface soiling commensurate with age. Hinged to the back mat at the verso of the upper sheet corners.

Framed under Plexiglas: 26.5” H x 23” W x 1.5” D

2041

Overall good condition. A tiny loss to the tip of the top right sheet corner. A 0.5” diagonal crease across the lower right sheet corner. Slight surface soiling commensurate with age. Hinged to the back mat at the verso of the upper sheet corners.

Framed under Plexiglas: 26.5” H x 23” W x 1.5” D

2042

Overall good condition. A tiny loss to the tip of the lower left sheet corner. Slight surface soiling commensurate with age. Hinged to the back mat at the verso of the upper sheet corners.

Framed under Plexiglas: 26.5” H x 23” W x 1.5” D

2043

Overall good condition. Rice-sized areas of grime in upper half, near full figure’s head and on either side of full figure’s dress, at center. A tiny tear at the top right of the sheet edge, not affecting the image. Slight surface soiling commensurate with age. Hinged to the back mat at the verso of the upper sheet corners.

Framed under Plexiglas: 26.5” H x 23” W x 1.5” D

2044

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age and use. Some rubbed wear to the polychrome decoration throughout.

2045

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

2046

Each overall good condition with scattered scuffs, scratches, nicks, and rubbed wear commensurate with age. Three with applied stickers for “Museum of Fine Art reproductions” to underside. The largest with scattered areas of rubbed wear to the finish, and one with 0.5” nick to top edge of lid.

2047

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The model with scattered areas of grime and dust accumulation. Case is loose and separated at top right corner. Note: The painted background is not by Robert Mouat.

2048

Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The smaller box is lacking the base trim on the left side. As well, the smaller box with two corners chipped. Each lacking key.

2049

Visual: Overall good condition. Two pea-sized areas of grime in the clouds, of the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 30.5” W x 2” D

2050

Visual: Overall good condition. Dust accumulation, grime, scattered delicate craquelure, and slight varnish discoloration commensurate with age.

Blacklight: Occasional scattered touch-ups, including an approximately 1.5” diameter area in the sky near the center of the upper edge. A thin, approximately 4.5” horizontal scattered line of touch-up near the upper edge, at right. A dime-sized touch-up in the upper right quadrant.

Frame: 40” H x 55” W x 4” D

2051

Visual: Overall good condition. A small area of dust accumulation and grime commensurate with age, in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 15.5” H x 18.5” W x 2” D

2052

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 20.5” H x 24.5” W x 2” D

2053

Visual: Overall good condition. Varnish discoloration throughout. A 1” area of instability in the paint, in the lower left quadrant. Minor surface scratches and small scuff marks with minor pigment loss scattered throughout. A small area of paint shrinkage in the green pigment, at center.

Blacklight: A 5” H x 2.75” W scattered area of touchup and restoration in the upper left corner. Small spots of touch-up in the center, at left. A pea-sized spot of touch-up, in the lower right quadrant.

Frame: 24” H x 28” W x 2” D

2054

Visual: Overall good condition. Some dust accumulation and grime commensurate with age. Fine craquelure primarily throughout the lake and trees, in the lower half of the painting. Three pinheadsized areas of paint loss in the lake of the lower left quadrant.

Blacklight: A small 0.5” x 0.5” area of touchup in the upper left corner.

Frame: 20” H x 24” W x 1.75” D

2055

Visual: Overall good condition. Occasional specks of grime in the sky in the upper left quadrant. An unobtrusive rice-sized fleck of white pigment near the edge in the lower right quadrant.

Blacklight: An approximately 2” H x 3” W scattered area of touch-up in the upper left corner.

Frame: 37.75” H x 43.75” W x 2” D

2056

Visual: Overall good condition. Very minor frame abrasion along the lower edge.

Blacklight: No evidence of restoration.

Frame: 16” H x 14” W x 2” D

2057

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Very minor and unobtrusive paint shrinkage, primarily in the impasto.

Blacklight: No evidence of restoration.

Frame: 9.375” H x 12” W x 1” D

2058

Visual: Overall good condition. Minor dust accumulation and grime, primarily in the foreground, at center, and the upper right quadrant.

Blacklight: Touch-ups throughout the upper right quadrant.

Frame: 25” H x 35” W x 1.5” D

2059

Visual: Overall good condition. A dime-sized area of grime near the right edge, at center. Frame abrasion along the right edge. A fleck of pigment loss in the upper left quadrant.

Blacklight: Occasional and scattered pea-sized or smaller areas of touch-ups, the largest measuring 2” vertically in the mountain, in the upper left quadrant.

Frame: 24.5” H x 30.5” W x 2” D

2060

Visual: Overall good condition. Dust accumulation, grime, and varnish discoloration commensurate with age. Frame abrasion along each of the edges, most prominent along the left and lower edges. A 5” area of uneven varnish, above the signature.

Blacklight: No evidence of restoration. Painting could benefit from a cleaning.

Frame: 20.5” H x 24.5” W x 2” D

2061

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

Blacklight: Scattered touch-ups, the largest area measuring approximately 1” H x 6” W in the sky of the upper right quadrant.

Frame: 15” H x 23” W x 2” D

2062

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Seat and back cushions reupholstered and with new cotton cord webbing. With allover staining, soiling, and dust accumulation, the arms with rubbed wear. More prominent scratch to left side seat rail.

2063

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Wood possibly refinished. Seats reupholstered with subsequent scraping and scuffs. Most edges with chipped abrasions and splintering along the wood.

2064

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, allover dust accumulation, and separation at joints commensurate with age. Arms with fading, the right arm with two areas of staining. The edges of the wood are worn with some splintering. Seat cushion has been reupholstered with tan leather, with subsequent surface wear and scratches. Arms slightly loose with separation around the peg joint. With very minor white paint splatter visible to the seat back.

2065

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Seat support slats with bowing, minor cracking, mold, and evidence of moisture damage visible to underside. With scattered scuffs and scratches, mostly to arms and legs. The right section’s top rail with a 3” vertical crack and possible prior restoration and a crack to the rightmost stile. The leather with fading, drying, and scratches commensurate with use. Possible woodworm visible to the seat rail.

2066

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With minor white scuffing and scratches. Chair is slightly wobbly.

2067

Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. This appears to be an older Japanese bronze that was retrofitted as a lamp. There is an extension of the bronze at the base with a visible welding seam. As well, there is a repair to the base wall that is reinforced with a bolt. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2068

Each overall good condition with minor shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age and use. Some pieces with crazing, small chips or rubbing to underside. Butter crock missing lid.

2069

Each overall fair to good condition with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age and use. Some pieces with crazing, chips and rubbing to underside or rim, and discoloration or staining to glaze. Both butter crocks missing tops.

2070

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

Blacklight: No evidence of restoration.

Frame: 19.5” H x 23.25” W x 2.25” D

2071

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

Blacklight: No evidence of restoration.

Frame: 16.5” H x 20.5” W x 1.5” D

2072

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Minor frame abrasion in the upper edge, at center. A rice-sized area of pigment loss in the lower right corner. A 0.75” long indentation in the upper right quadrant, near the edge.

Blacklight: No evidence of restoration.

Frame: 23” H x 27” W x 2.5” D

2073

Visual: Overall good condition. Very minor and unobtrusive frame abrasion along the extreme upper right edge.

Blacklight: No evidence of restoration.

Frame: 42.75” H x 55.875” W x 2.5” D

2074

Visual: Overall good condition. Pinhead-sized flecks of black pigment in the sky of the upper left quadrant. Vertical half-inch area of striated grime in the upper left quadrant.

Blacklight: No evidence of touchups. Some pigments fluoresce under blacklight. 1” x 0.5” area of grime near the tree trunk in the upper right quadrant.

Frame: 29.5” H x 37.25” W x 1.25” D

2075

Visual: Overall good condition. Very minor varnish discoloration commensurate with age.

Blacklight: No evidence of restoration.

Frame: 14” H x 18” W x 2” D

2076

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 29.5” H x 35” W x 1.5” D

2077

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

Blacklight: Scattered areas of touch-up, the largest measuring approximately 8” H x 0.125” W through the center of the painting.

Frame: 21.25” H x 39.25” W x 1” D

2078

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

Blacklight: Scattered areas of touch-up throughout the foreground.

Frame: 10.75” H x 12.75” W x 2.5” D

2079

Visual: Overall good condition. Fine paint shrinkage scattered primarily in the impasto. A rice-sized surface abrasion in the lower right quadrant. Various artist’s pinholes at each of the corners. A very slight and unobtrusive pressure mark, at center.

Blacklight: No evidence of restoration.

Unframed

2080

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Framed under glass: 21” H x 24” W x 1” D

2081

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 16” H x 24” W x 2” D

2082

Overall good condition. An old auction house sticker affixed to the verso of the sheet. Masking tape and related glue residue along the verso of the sheet edges. Taped to the overmat with artist’s tape in various places at the verso of the sheet corners and edges.

Framed under glass: 23.5” H x 31” W x 1” D

2083

Overall good condition. Very minor toning primarily in the blank. Not examined out of the frame.

Framed under glass: 31.5” H x 25” W x 1.5” D

2084

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 11.25” H x 12.75” W x 1.5” D

2085

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 14” H x 16” W x 2” D

2086

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 14” H x 16” W x 1.5” D

2087

Visual: Overall good condition. Occasional specks of grime commensurate with age. A minor and unobtrusive pinpoint-sized surface abrasion in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 19” H x 22” W x 1.5” D

2088

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With heavy allover soiling, surface grime, and crazing to the glaze from outdoor use and weathering. Verso with allover cement from previous mounting and with metal wire wall-hanging loop.

2089

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Issues and repairs include, but are not limited to: three repairs to cracks at top of vase, one 4” and two 2.5” long. The body of vase with scattered repairs including one 5” long and two 1.25” diameter. With scattered all-over pinholing and oxidation to the glaze.

2090

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With some warping to body of vase below the handles. Issues and repairs include, but are not limited to: a 1.5” diameter repair to body of vase, a 2” area of repair near the base, and scattered cracks to upper interior of the vase including one 8” long and one 3” long crack. With scattered all-over pinholing and oxidation to the glaze.

2091

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The tallest pot with a small chip to the spout rim.

2092

Each overall good condition with scattered scuffs, scratches, and fraying to fibers commensurate with age. Each with overall dust accumulation and mild soiling from use and age.

2093

Each overall good condition with scattered scuffs, scratches, and fraying to fibers commensurate with age. Each with overall dust accumulation and mild soiling from use and age. The largest with 2” stain to exterior. Sold together with three pieces of wood supports.

2094

Overall fair to good condition with wear commensurate with age. Issues include, but not limited to: accretions, skinning, evidence of silverfish grazing, flaking of the pigments, and evidence of repairs and retouching, primarily in the waves of the two left-most panels. As well, there are punctures and water damage to the verso. Lastly, the silk border fabric with scattered loss of fibers and areas of degradation throughout.

2095

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. One break to the middle and ring finger of one of the hands on the left side. No evidence of repairs or restorations under blacklight.

2096

Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The stand in overall good condition with minor shelf wear and discoloration/rubbed wear from pottery at mounting points. Cork feet applied to underside of tray.

2097

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With possible restorations to recto wood and later added plate glass doors. Middle compartment with dust rings and possible evidence of moisture damage. The verso with more heavily, unrestored wear and chipped losses with evidence of wood worm.

2098

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The front with heavy areas of scratching throughout. The hardware with some oxidation and losses to enamel coating. With scattered restorations including updated bottom to bottommost drawer. Moisture damage visible to the verso with chipped losses and evidence of woodworm. Lacking key.

2099

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Recto wood with refinishing. Some oxidation and soiling to brass components. With felt feet applied to underside. Allover instances of chipping to the wood, mostly to the bottom areas.

2100

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with drink rings to top, dust accumulation, and minor staining, particularly to the tops. The larger with 10” L crack to right side of the wood. Each with felt feet applied to undersides.

2101

Overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The iron components with heavy corrosion and oxidation. A 16” possible restoration to wood of right side. The wood with significant weathering, chipping along edges, and general wear from age and use. Some staining to interiors of drawers, one with ink stains likely from writing ink. Locking latch not exactly aligned at the junction. Lacking key.

2102

Overall fair to good condition with scattered scuffs, scratches, nicks, chipped losses to the wood, shrinkage cracks, indentations, and separation at joints commensurate with age. The wood has been re-lacquered, and the iron hardware has been painted black. There are some losses to the paint and oxidation/corrosion to hardware. The drawers have been lined with lining paper. The right-side cabinet door hinges are loose, with one detached. The front locking bar is detached from the front and cannot be reaffixed without the key. Lacking key.

2103

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some losses to mother of pearl inlay. Fading and rubbed wear to allover gilt-painted scenes and lacquer finish. Allover crazing to the lacquer and scattered instances of oxidation to iron hardware. Bottom drawer with warping to caned front. Upper left hinge is loose on the cabinet door and hinges appear to have been replaced. Similarly, the hardware appears to have been lacquered at a later date as part of a ‘restoration.’ Front latch at the bottom of cabinet doors is missing a pin. Lacking key.

2104

Visual: Overall good condition. Occasional specks of grime commensurate with age. A pinhead-sized hole in the canvas near the center, at right. Flecks of pigment loss along the upper left edge.

Blacklight: No evidence of restoration.

Frame: 18.5” H x 24.5” W x 1.5” D

2105

Visual: Overall good condition. Occasional specks of grime, primarily in the lower quadrant, commensurate with age.

Blacklight: No evidence of restoration.

Frame: 60” H x 42” W x 2” D

2106

Visual: Overall good condition. Specks of grime scattered in the white pigment along each of the outer edges. Scattered areas of craquelure, mostly near the upper edge, at center. Pinhead-sized area of paint loss in the upper right corner.

Blacklight: No evidence of restoration. Certain pigments fluoresce under blacklight.

Frame: 31.25” H x 43.25” x 2.25” D

2107

Overall good condition. Hinged to the recto mat with archival tape along the upper edge.

Framed under glass: 30.75” H x 39” W x 1” D

2108

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

2109

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Scattered areas of rubbed wear, mostly to areas of legs from stacking. The upholstery with very minor soiling throughout with scattered small stains. Each with barcode sticker applied to back left leg recto reading “Walt Disney Company.”

2110

Each overall good condition with minor scuffs, scratches, and oxidation to the metal frame commensurate with age and use. As well, each with minor abrasions and scuffs to the leather upholstery, primarily concentrated along the edges.

2111

Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Scattered areas of rubbed wear, mostly to recto and verso areas of legs from stacking. The upholstery with very minor soiling throughout with scattered small stains. Each with barcode sticker applied to back left leg recto reading “Walt Disney Company.”

2112

Each overall good condition with scattered scuffs and scratches and rubbing wear near edges commensurate with age, with more common evidence of scratches near edges and to seat area.

2113

Each overall good condition with scattered scuffs and scratches and rubbing wear near edges commensurate with age, with more common evidence of scratches near edges and to seat area.

2114

Overall good condition. The full sheet with deckled edges. Scattered and unobtrusive handling creases, primarily in the outer edges. Very soft rippling to the upper and lower edges, most likely due to the mounting process. The sheet is framed floating and mounted to the back mat.

Framed under glass: 23.375” H x 31.25” W x 1” D

2115

Visual: Overall good condition. Pinhead-sized fleck of white house paint in lower left edge.

Blacklight: No evidence of restoration.

Frame: 30” H x 23.75” W x 2.25” D

2116

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 21.5” H x 15” W x 1” D

2117

Visual: Overall good condition. Dust accumulation and grime commensurate with age. A rice-sized area of pigment loss in the figure’s mouth, at left.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 25.5” W x 3” D

2118

A pea-sized puncture in the lower left quadrant. A pea-sized pressure mark in upper right quadrant. A faint 0.75” H x 2.25” W area of scattered white pigment across the figure’s left arm in the upper right quadrant. Stretcher bar creases along the upper, right, and lower edges.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 30.5” W x 1.5” D

2119

Visual: Overall good condition. Grime and varnish discoloration commensurate with age. Stretcher bar creases along each of the four sides. Craquelure scattered in the lower left and upper right quadrants. Pea-sized or smaller areas of darker pigment along the left and right edges.

Blacklight: Scattered touch-ups throughout, the largest measuring 4” W in the upper right quadrant. Could benefit from a cleaning.

Frame: 26” H x 36” W x 2” D

2120

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 10.75” H x 12.5” W x 1.25” D

2121

Visual: Overall good condition. Slight puckering of the canvas at the upper left and right corners.

Blacklight: No evidence of restoration.

Frame: 30” H x 34.25” W x 3” D

2122

Each overall good condition. The third with slight rippling at the upper and lower edges, both at right, inherent with the materials used. Not examined out of the frame.

Each framed under glass: 30” H x 37” W x 1” D

2123

Overall fair to good condition with wear, scattered scuffs, and scratches commensurate with age. The painted surface with craquelure and scattered chips. A repaired break to the top comb and to one foot and toe.

2124

Overall good condition with scattered scuffs, scratches, and nicks commensurate with age and use. Some moisture/staining to front of face, with minor soiling and dust accumulation throughout.

2125

Overall fair to good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The snout has been repaired and has two 0.5” losses. Allover minor soiling and scratches mostly concentrated near bottom of figure. Mounting putty applied to underside.

2126

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered chips and scratches to the painted surfaces throughout. The rotating latch intended to secure the drop-down desk surface has fallen off and is retained in an interior drawer. It is unclear if the clock is functional.

2127

Overall good condition with scattered scuffs, scratches, nicks, and rubbed wear commensurate with age. The baseballs intentionally aged with allover wear, soiling, and fraying and separation at the seams, ostensibly from use.

2128

Overall good condition with signs of wear commensurate with age. Issues include, but not limited to: fraying to and tangling of the tassels, stress wear to the weaving from hanging, and scattered minor soiling.

2129

Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Minor wear, tangling, and fraying to the fibers.

2130

Overall good condition with signs of wear commensurate with age. Issues include, but not limited to: scattered pilling throughout, minor soiling to the tassel edges, and general wear to the tassels.

2131

Overall good condition with signs of wear commensurate with age. Scattered instances of loose stitching to fringe edges and pulled threads at selvedge edges.

2132

Overall good condition with signs of wear commensurate with age and use. Issues include, but not limited to: a few scattered pulled stitches, a 4” x 2” stain darkening the fabric to one side, and four pulled threads to edge near one end.

2133

Overall good condition with signs of wear commensurate with age. Issues include, but not limited to: scattered instances of loose stitching near edges and corners, allover creasing, and a 24” x 15” area of fading to the topside. A few scattered small stains and soiling throughout, mostly to the underside. The bedspread is slightly out-of-square.

2134

Overall good condition with very light dust accumulation commensurate with age.

Framed floating and attached to the back mat. Not examined out of frame.

Framed under Plexiglas: 38.625” H x 28.875” W x 1.5” D

2135

Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The bowl with felt feet applied to underside, each with maker’s original stickers to undersides. The bronze components in overall good condition with pitting inherent in the casting and additionally, scuffs and darkening/ oxidation commensurate with age.

2136

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. With allover scattered losses to the enamel and subsequent oxidation from age and presumably outdoor use. Some bending to leaf edges on the legs. The marble top with general wear, minor scuffs, and scratches.

2137

Each overall good condition with soiling, weathering, corrosion wear, and moss and algae growth commensurate with age and outdoor use.

2138

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One tile with 0.25” chip to the corner.

2139

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. As well, there is rust and minor corrosion throughout.

2140

Each overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation and cracked wood at joints commensurate with age. With allover significant losses to the paint, scattered chips and losses to the wood, one figure missing a front hoof. As well, both figures with head unmounted and separate from the body.

2141

Each overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation and cracked wood at joints commensurate with age. With allover significant losses to the paint, scattered chips and losses to the wood, one figure missing two front hooves. The other missing one front hoof. As well, both figures with head unmounted and separate from the body.

2142

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Two cracks in the wood at torso and chest of figure, one 18” L and one 13” L. One 9” crack to right side of figure’s head. Large loss to finger of left hand. Scattered instances of crazing to the lacquer, with several possible touch-ups or repairs.

2143

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

2144

Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Some areas of wear to the gilt surface exposing the red ground. Minor loss to the pile of the velvet on the interior with scattered areas of darkening of the red color. Some areas of heavier verdigris, primarily concentrated in the crevasses of the decoration. Lacking key.

2145

Overall fair to good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age. The largest box with buckling, lifting, and losses to the lacquer throughout, but especially to the underside of the lid.

2146

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and wear to painted surface commensurate with age.

2147

Each: Overall generally good condition with wear commensurate with age. Each leaf was presumably, previously attached to a full [various] manuscript, and each sheet is now secured, hinged, or mounted inside a white archival folio. Issues include, but are not limited to: Occasional pinhead-sized foxing, each with toning, and minor handling creases. The largest with a 1” vertical tear in the lower margin, right of center. Pieces of the sheet along the edges were torn away, from the process of tearing it from a book, mostly along the left edge. Three hinged to the back of the archival folio along the upper edge, verso. One mounted to the back of the archival folio. One with the sheet loose, and secured with four clear archival corners.

Each unframed

2148

Overall good condition with minor scuffs, scratches, and darkening/oxidation to bronze commensurate with age. Minor unobtrusive discoloration to underside of sculpture.

2149

Overall good condition with tarnishing and light scratches commensurate with age.

2150

Overall good condition with minor scuffs and darkening/oxidation to the metal commensurate with age. Accumulated deposits and degradation to the metal appropriate to an archeological find.

2151

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age and use. One string of beads at the base has detached due to degradation of the fiber and is retained in a bag accompanying this lot.

2152

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. With bubbling, crazing, and textural variations in the glazed surface inherent to the artist’s process.

2153

Overall good condition. The first and second portraits with slight rippling. Scattered and unobtrusive extremely pale foxmarks. Not examined out of the frame.

Framed under Plexiglas: 12” H x 25” W x 0.75” D

2154

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 33” H x 52.75” W x 1.5” D

2155

Overall good condition. Scattered handling creases, the largest measuring 13” horizontal near the upper edge. Not examined out of the frame.

Framed under glass: 27.25” H x 20.25” W x 0.5” D

2156

Overall good condition: Scattered handling creases, the largest measuring 13.5” horizontal crease through the upper half of the image. Not examined out of the frame.

Framed under glass: 27.25” H x 20.25” W x 0.5” D

2157

Overall good condition. Not examined outside of frame.

Framed under glass: 21.5” H x 17.5” W x 1.5” D

2158

Visual: Overall good condition. Dust accumulation, dirt, and grime commensurate with age. Frame abrasion along the four edges, with two pea-sized attendant areas of pigment loss in the upper edge.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 32.5” W x 1.75” D

2159

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

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

Frame: 28.25” H x 32” W x 3” D

2160

Overall good condition. A small and unobtrusive area of unstable pigment measuring approximately 0.25” H x 1.25” W near the lower left corner.

Framed under glass: 23” H x 28” W x 1” D

2161

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Flecks of pinhead to rice-sized flecks of white pigment throughout the upper left and right quadrants. A pea-sized fleck of black pigment in the right edge, at center. A small 1” H x 0.5” W area of stray beige pigment. Abrasion along the lower right edge and the left edge, at center. Slight surface abrasion with attendant paint loss on all corners.

Blacklight: No evidence of restoration.

Unframed

2162

Visual: Overall good condition. Areas of scuff marks with attendant pigment loss on upper corners and along right edge. Rice-sized flecks of white pigment in the mountains, of the lower right quadrant. A small 1.5” hairline surface scratch with attendant pigment loss in the upper edge, at center. A pea-sized area of pigment loss near the surfboard’s shadow, of the lower right quadrant.

Blacklight: No evidence of restoration.

Unframed

2163

Visual: Overall good condition. Occasional specks of grime commensurate with age. Minor frame abrasion along the upper edge.

Blacklight: No evidence of restoration.

Frame: 38” H x 26” W x 2.25” D

2164

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

Blacklight: No evidence of restoration.

Frame: 50.5” H x 39.5” W x 2” D

2165

Visual: Overall good condition. Craquelure throughout. Minor surface dirt and grime. A peasized spot of paint loss upper left.

Blacklight: No evidence of restoration.

Frame: 24” H x 28” W x 1.5” D

2166

Visual: Scattered craquelure, dust accumulation, and grime commensurate with age. The board is slightly bowed horizontally throughout, and also has a narrow vertical crease along the extreme left edge.

Blacklight: Touchups scattered throughout, primarily in the sky, the largest area measuring approximately 4” H x 4” W at the far right edge of the sky. The other large area comprising most of the middledistance rocks at the far left edge.

Frame: 9” H x 26” W x 1” D

2167

Visual of each: Overall good condition. Slight dust accumulation and grime commensurate with age.

Blacklight of each: No evidence of restoration.

Frame of largest: 12.5” H x 15 x 1” D

2168

Visual: Scattered occasional craquelure, some of which is unstable, such as in the lower portion of the right quadrant where there are some pinheadsized pigment losses. A pea-sized pigment loss with an attendant 2” long delicate surface scrape in the upper edge, at left. An approximately 6.5” vertical delicate surface scratch in the rocks of the upper left quadrant, visible only in raking light. Slight varnish discoloration showing in some of the lighter areas.

Blacklight: An occasional scattered pea-sized or smaller touch-up.

Frame: 27.5” H x 35.5” W x 2” D

2169

Visual: Overall good condition. Occasional specks of grime in the upper portion of the painting.

Blacklight: No evidence of restoration.

Frame: 17” H x 15 “ W x 2” D

2170

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 18” H x 22” W x 2” D

2171

Visual: Overall good condition. Dust accumulation and specks of occasional grime commensurate with age. A fleck of pigment loss near the upper edge, at center.

Blacklight: No evidence of restoration.

Frame: 9.625” H x 9.625” W x 1.5” D

2172

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

Blacklight: No evidence of restoration.

Frame: 13.5” H x 15.75” W x 1.75” D

2173

Visual: Overall good condition. Craquelure throughout. A reverse ‘L-shaped’ surface scratch, with attendant pigment loss, in the upper right quadrant, and a 1.5” vertical surface scratch along the right edge, at center. Unobtrusive and occasional pinpoint-sized pigment losses in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 12.75” H x 16.75” W x 0.75” D

2174

Visual: Overall good condition. Craquelure throughout. Stretcher bar creases along the four sides.

Blacklight: A 2” H x 3.5” W area and a 2” H x 2.5” W scattered area of touch-up in the center, each with a corresponding patch verso.

Frame: 38.75” H x 48.75” W x 2.5” D

2175

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 26.5” W x 1.75” D

2176

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 29.5” W x 1.5” D

2177

Visual: Overall good condition. Dust accumulation commensurate with age. A small dime-sized white sticker, with the number 18, in the lower left corner.

Blacklight: No evidence of restoration.

Frame: 23.5” H x 29.5” W x 1.5” D

2178

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

Blacklight: Occasional touch-ups, the largest measuring approximately 1.5” H x 6” W to the left of center. A 3” diagonal hair-line of touch-up in the upper right quadrant.

Frame: 25.5” H x 29.5” W x 2” D

2179

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 15.25” H x 13.25” W x 2.375” D

2180

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Flecks of scattered pigment loss, mostly in the areas of the impasto.

Blacklight: No evidence of restoration.

Frame: 36.25” H x 44.25” W x 1.5” D

2181

Visual: Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Frame abrasion along the right edge. Flecks of scattered pigment loss, mostly in the areas of the impasto.

Blacklight: No evidence of restoration.

Frame: 36.25” H x 44.25” W x 1.5” D

2182

Overall good condition. Soft rippling throughout the four extreme edges. A 4” vertical pencil mark along the lower edge, at left.

Frame: 72.25” H x 39.75” W x 1.875” D

2183

Visual: Overall good condition. Occasional specks of grime commensurate with age. Pant shrinkage primarily in the impasto.

Blacklight: No evidence of restoration.

Frame: 14.75” H x 12.75” W x 1.25” D

2184

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 26” H x 26” W x 1.5” D

2185

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 13” H x 12.875” W x 1.5” D

2186

Visual: Overall good condition. Occasional craquelure.

Blacklight: No evidence of restoration.

Frame: 14” H x 15” W x 1.25” D

2187

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Unframed

2188

Overall good condition. Toning throughout the verso of the sheet. Hinged to the overmat with white hinging tape along the upper edge, verso.

Unframed but matted

2189

Visual: Overall good condition. The work is mounted to foamboard which is then mounted to the backboard.

Blacklight: No evidence of restoration.

Unframed

2190

Visual: Overall good condition. A pea-sized paper loss at the tip of the upper left corner. The sheet is framed floating and mounted to panel. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 32.5” H x 42.75” W x 1.375” D

2191

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

Blacklight: No evidence of restoration.

Frame: 68.125” H x 40.25” W x 1.75” D

2192

Visual of each: Overall good condition. Unobtrusive scattered surface scratches commensurate with age and wear. The smallest with occasional paper residue in the outer edges. A hole in the upper edge, at center, from a nail, verso, in the hand of the artist.

Blacklight: No evidence of restoration.

Each unframed

2193

Frame: 18.25” H x 16.25” W x 1.25” D

2194

Overall good condition. Creases scattered throughout, the largest measuring 7” diagonally in the lower left quadrant. Not examined out of the frame.

Framed under glass: 19.5” H x 21.5” W x 1.5” W

2195

Visual: Overall good condition. Varnish discoloration throughout. Pea-sized area of paint loss in lower right quadrant. Stretcher marks along all edges.

Blacklight: No evidence of restoration.

Frame: 35.75” H x 30.75” W x 2.75” D

2196

Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 26.5” H x 34.25” W x 1” D

2197

Overall good condition. Not examined out of the frame.

Framed under glass: 20” H x 28” W x 2” D

2198

Each overall good condition. The blue and orange abstract portrait, with stray black pigment, at center. Not examined out of the frame.

Frame of largest: 13.75” H x 12” W x 0.75” D

2199

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

Frame of largest: 13.75” H x 11.75” W x 0.75” D

2200

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 21” H x 17.25” W x 2.5” D

2201

Overall good condition. Small 0.75” horizontal crease on the tip of the lower left corner.

Unframed

2202

Each overall good condition. Slight mat staining showing along the window opening of the mat. Not examined out of the frame.

Each framed under glass: 13.75” H x 11.5” W x 0.75” D

2203

Overall good condition. The full sheet. Minor light staining. A pinhead-sized foxmark in the lower margin, at center, and a pea-sized foxmark in the lower right margin corner, verso. Hinged to the overmat in three places along the upper edge, verso.

Framed under Plexiglas: 27.25” H x 32.5” W x 1.5” D

2204

Overall good condition. The full sheet. Minor light staining. A pinhead-sized foxmark in the lower right margin. Hinged to the overmat in three places along the upper edge, verso.

Framed under Plexiglas: 27.25” H x 32.5” W x 1.5” D

2205

Overall good condition. Not examined out of the frame.

Framed under glass: 41” H x 49” W x 1.75” D

2206

Overall good condition. With wide margins. Unobtrusive surface skinning along the extreme lower margin edge, visible mostly in raking light and not affecting the image. Very slight creasing at the extreme tips of the margin corners. The sheet is loose, not matted.

Unframed

2207

Overall good condition. Not examined out of the frame.

Framed under glass: 31.25” H x 26.5” W x 1.25” D

2208

Overall good condition. Occasional very soft creasing or minor surface soiling at the extreme tips of the sheet corners. The sheet is loose, not matted.

Unframed

2209

Overall good condition. Not examined out of the frame.

Framed under glass: 29.75” H x 35.75” W x 1.5” D

2210

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Pigment loss in the lower right corner. Hairline surface scratches throughout the lower left quadrant. A 3” area with flecks of pigment loss in the upper right corner.

Blacklight: No evidence of restoration.

Frame: 42.25” H x 54.25” W x 2.5” D

2211

Visual: Overall good condition. Scattered pinheadsized areas of white pigment throughout the trees in the foreground, of the lower right quadrant. Framed floating and mounted to the back mat.

Blacklight: No evidence of restoration.

Frame: 58.75” H x 81” W x 2” D

2212

Visual: Overall good condition. Occasional tiny specks of grime, primarily in the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 21.5” W x 1” D

2213

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

Blacklight: A few touch-ups, primarily in the upper right quadrant. One measures approximately 1.5” H x 0.125” W in the sky above the treetops; another measures approximately 1” across the upper right corner; there are also scattered touch-ups along the center of the extreme upper and right edges.

Frame: 22.5” H x 1” W x 2” D

2214

Overall good condition. Three pinpoint-sized foxmarks, near the upper edge, at center. The sheet is mounted in-between the recto and verso mats.

Framed under glass: 26” H x 32” W x 1.5” D

2215

Visual: Overall good condition. Dust accumulation and grime commensurate with age. Fine craquelure throughout. A 3.5” vertical hairline surface scratch in the lower left quadrant. A 1.25” horizontal hairline surface scratch by the window of the upper right quadrant.

Blacklight: Areas of touch-up along the left and lower edges.

Frame: 22.75” H x 23” W x 1.75” D

2216

Visual: Overall good condition. Occasional specks of grime commensurate with age.. A few flecks of white house paint scattered throughout.

Blacklight: No evidence of restoration.

Frame: 15.75” H x 21.75” W x 1.5” D

2217

Overall good condition. With margins. The two sections are framed floating and mounted to foamboard, as issued. Not examined out of the frame.

Framed under Plexiglas: 49.25” H x 29” W x 2” D

2218

Overall good condition. With margins. The three sections are framed floating, mounted to a single back mat. Not examined out of the frame.

Framed together under Plexiglas: 28.5” H x 65” W x 2” D

2219

Overall good condition. With margins. Framed floating and mounted to foamboard, as issued. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 25” W x 2” D

2220

Overall good condition. With margins. A few small and unobtrusive slight pressure marks or dents at the outermost edges, visible only in raking light. The two sections are framed floating, mounted to a single back mat. Not examined out of the frame.

Framed together under Plexiglas: 52.5” H x 24.5” W x 2” D

2221

Overall good condition. With margins. Framed floating and mounted to foamboard, as issued. Not examined out of the frame.

Framed under Plexiglas: 24” H x 28” W x 2.25” D

2222

Overall good condition. With margins. The softest handling crease near the upper edge of image, at center. A 2” vertical unobtrusive surface scratch near the lower edge, at right. Minor cockling along the left and red margin edges. The sheet is loose, not matted.

Unframed

2223

Each overall good condition. With full margins and deckled edges. The sheet is loose, not mounted.

Each unframed

2224

Visual: Overall generally good condition. Dust accumulation and grime commensurate with age. Occasional small surface abrasions with attendant paint loss, pea-sized or smaller, primarily near the left, right, and lower edges and corners.

Blacklight: No evidence of restoration.

Frame: 37” H x 49” W x 2” D

2225

Visual: Overall good condition. Very fine craquelure primarily concentrated in the impasto, at center.

Blacklight: No evidence of restoration.

Frame: 27” H x 31” W x 2.25” D

2226

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Framed under glass: 36” H x 41” W x 1” D

2227

Visual: Overall good condition, unobtrusive surface scratches primarily visible in raking light, the largest measuring 5” horizontally, with attendant pigment loss, in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 38.5” H x 48.5” W x 1.75” D

2228

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 22.25” H x 28.5” W x 1” D

2229

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

Blacklight: No evidence of restoration.

Frame: 32” H x 38” W x 2” D

2230

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 31.125” H x 31” W x 1.75” D

2231

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 16.5” H x 20.5” W x 1.5” D

2232

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 20.5” H x 16.5” W x 1.5” D

2233

Overall good condition. The lower left and right extreme corners slightly dog-eared. Very minor frame abrasion along the extreme edges. The sheet is laid to Gator board, as issued.

Framed under glass: 21” H x 31” W x 2” D

2234

Visual: Overall good condition

Blacklight: No evidence of restoration under blacklight.

Frame: 47” H x 37” W x 3.5” D

2235

Visual: Overall good condition.

Blacklight: No evidence of restoration.

Frame: 17.5” H x 20.5” W x 2” D

2236

Overall good condition. Occasional pinhead-sized stray watercolor pigments in the upper right margins, in the hand of the artist.

Framed under Plexiglas: 41” H x 48.5” W x 2” D

2237

Visual: Overall good condition. Delicate craquelure scattered throughout.

Blacklight: Pinhead-sized areas of touch-up scattered along the right edge.

Frame: 14.75” H x 14.75” W x 2” D

2240

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

Blacklight: No evidence of restoration.

Frame: 10.25” H x 12.25” W x 2” D

2241

Overall good condition. Pinpoint-sized stray ink marks in the lower foreground, at right. Very slight light-staining. Hinged to the back mat in three places at the verso of the upper sheet edge.

Framed under Plexiglas: 20.75” H x 27” W x 1.5” D

2242

Overall good condition. Not examined out of the frame.

Framed under Plexiglas: 27.5” H x 69.5” W x 2” D

2243

Visual: Overall good condition. Two horizontal 1” areas of fine craquelure in the upper edge, at center. A 3” unobtrusive surface scratch on the brown pillar of the harbor, at center.

Blacklight: A 6” H x 8” W area of touch-up in the upper right quadrant, with an attendant patch verso.

Unframed

2244

Visual: Overall good condition.

Blacklight: No evidence of restoration.

2238

Each overall good condition.

Blacklight: No evidence of restoration.

Frame: Largest: 21.25” H x 17.5” W x 1.25” D

2239

Visual: Overall good condition. Varnish discoloration and specks of grime accumulation commensurate with age. A penny-sized area of craquelure in the trees, of the upper left quadrant.

Blacklight: No evidence of restoration.

Frame: 25” H x 32” W x 1.25” D

Frame: 44 x 55.5 x 2.5” D

2245

Overall good condition. Not examined out of the frame.

Framed under glass: 48.5” H x 48.5” W x 2” D

2246

Overall good condition. With margins. The softest handling crease near the upper edge, at center. The sheet is loose, not matted.

Unframed

2247

Overall good condition. With margins. Minor cockling along the upper and lower margin edges. Artist pinholes at each of the margin corners. The sheet is loose, not matted.

Unframed

2248

Overall good condition. With margins. The softest handling crease near the upper edge of image, at center. Minor cockling along the left and right margin edges. The sheet is loose, not matted.

Unframed

2249

Overall good condition. With margins. Artist pinholes at each of the margin corners. Two dime-sized pieces of remnants of old hinging tape, near the upper edge, verso. The sheet is loose, not matted.

Unframed

2250

Overall good condition. With margins. Minor cockling along the right margin edge. The sheet is loose, not matted.

Unframed

2251

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

Framed under Plexiglas: 46.5” H x 46” W x 1.5” D

2252

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

Blacklight: Scattered pea-sized areas of touch-up in the upper left quadrant, and a 1.25” vertical touchup in the lower portion, near the edge, of the lower right quadrant.

Frame: 25.25” H x 18.375” W x 2” D

2253

Overall good condition with even pile-wear, fading, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: heavy wear to fringes, which have been cut, wear to selvedge edges, large sections of abrash, a few scattered small repairs, and the shape is slightly outof-square at the ends.

2254

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: wear to selvedge and fringe edges, unravelling and tears to one fringe edge, the largest approximately 3” in length, dye migration, and scattered abrash. Repair to one corner.

2255

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: wear to fringe edges, possibly cut down. One nickel-sized repair at center.

2256

Each overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: Each runner with soiling, the longer with heavier soiling and staining and heavy wear to fringe edges, which have been cut on one side. The small rug with heavy wear to fringes, including losses and heavy wear to one selvedge edge.

2257

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: light wear to fringe edge, some wear to selvedge edges, and scattered very small areas of moth grazing. One localized, superficial area of soiling approximately 2 inches long.

2258

Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use.

2259

The record in overall good condition with scratches to the vinyl and signs of wear commensurate with age. Mild bumping to corners and spine of jacket. Missing paper inner sleeve. The playbill in overall good condition with minor shelf wear and scratches commensurate with age. 0.625” dia. area of scuffing to recto.

2260

Overall good condition with wear, nicks, scratches, and scuffs commensurate with age and use. The keys with allover grime and dust accumulation. The chassis with some grime, scattered and scattered minor scratches. The case with various applied stickers and sticker residue, oxidation to metal components, and overall grime and dust accumulation commensurate with age. Missing AC power cord. Some of the keys have plastic label tape labels to signify patches and other notes for playing, presumably applied by Vince Welnick keyboard tech Bob Bralove. Working condition unknown. Moran’s does not guarantee the working condition of musical instruments.

2261

Overall good condition with wear, nicks, scratches, and scuffs commensurate with age and use. The keys with some grime and dust accumulation and one stuck key. The control panel with some moisturerelated grime and staining/oxidation to metal strip. The cassis with some grime, scattered stains, moisture residue, and minor scratches. The case with allover dust accumulation, grime, sticker residue, and oxidation to metal components commensurate with age and use. Missing AC power cord. Working condition unknown. Moran’s does not guarantee the working condition of musical instruments.

2262

Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, separation at joints, soiling, and weathering commensurate with age and outdoor use. The bench upholstery with allover grime, fading, and staining from outdoor storage and use.

2263

Visual: Overall good condition. Scattered craquelure. A fleck of stray beige paint in the draped bedding, lower left quadrant.

Blacklight: Scattered touch-ups. An approximately 17” H x 17.5” W area of older touch-up at center, on the figure’s lower torso and the background. A peasized spot of newer touch-up to the right of center. A pea-sized and two 2.5” vertical lines of newer touchup in the upper center. Two rectangular areas of touch-up, each approximately 4.5” H x 1” W (or the opposite) along the edges of the lower left corner, not affecting the signature.

Frame: 52.5” H x 60.5” W x 2.5” D

2264

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Mineral deposits present on the interior.

2265

Overall good condition with shelf wear, scattered minor scuffs, inherent firing flaws, and crazing to the glaze commensurate with age. With allover minor soiling and dust accumulation. Scattered minor chips, predominantly to the base and top, one measuring 1” x 0.5”.

2266

Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The jar was used as a functional item for years and has subsequently been stored outdoors. It therefore has the signs of weathering and patination associated with this type of functional ceramic.

2267

Each overall good condition with signs of wear commensurate with age. Each with scattered minor pulled threads to selvedge edges. The Scottish blanket with a 3” area of fraying to loose stitching at selvedge edge. The other slightly out-of-square.

2268

Visual: Dust accumulation and grime commensurate with age. Occasional faint scattered surface scuffs, showing primarily near the outer edges. A 1” diagonal surface scrape with attendant pigment loss in the lower right quadrant, near the swans. Scattered unobtrusive flecks of unrelated off-white pigment showing slightly near the lower left and right corners. The lower right corner of the support board is slightly warped, with attendant puckering and lifting of the paper. Scattered pinhead-sized holes along the extreme edges of all four sides, with attendant tiny paper tears or pigment losses in a few places.

Blacklight: No evidence of restorations.

Unframed

2269

Visual: Overall good condition. A 1” diagonal scratch with attendant pigment loss near the lower right corner.

Blacklight: No evidence of restoration.

Unframed

2270

An unobtrusive, skillfully-backed 1” horizontal tear in the lower portion of the right sheet edge. Scattered soft creasing showing mostly on the verso. The sheet is loose, not matted.

Unframed

2271

Overall good condition. The slightest surface soiling showing verso. Pieces of two old white paper hinges at the verso of the upper sheet edge. The sheet is loose, not matted.

Unframed

2272

Overall good condition. A 2” unobtrusive horizontal crease along the lower left corner. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 31.5” H x 27.375” W x 1.375” D

2273

Overall good condition. With wide margins. Unobtrusive stray ink marks in the lower margin, at right. A 1” diagonal crease along the lower left and upper right margin corners. Three pieces of old hinging tape remnants on the recto of the upper margin edge. The sheet is loose, and secured to the back mat with clear archival corners.

Unframed

2274

Overall good condition. A 0.75” horizontal tear in the paper partially affecting the image along the lower left edge. Occasional minor handling marks scattered throughout. Not examined out of the frame.

Framed under glass: 19.75” H x 14.75” W x 0.75” D

2275

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

Framed under glass: 13.5” H x 19.25” W x 0.75” D

2276

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

Framed under glass: 13.5” H x 19.25” W x 0.75” D

2277

Overall good condition. Not examined out of the frame.

Framed under glass: 19.5” H x 13.5” W x 1” D

2278

Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. One with mild bumping damage to upper corner verso. One with faint drink ring/stain to top. Working condition unknown. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

2279

Overall good condition with wear, nicks, scratches, and scuffs commensurate with age and use. The keys with allover grime and heavy dust accumulation. The chassis with some grime, scattered stains, and minor scratches. The wood with scattered small chips, and one 1.75” chip to left side. The lot does not include a keyboard case. Missing AC power cord. Working condition unknown. Moran’s does not guarantee the working condition of musical instruments.

2280

The record in overall good condition with minor light scratches to vinyl commensurate with age. The jacket with scuffs, shelf wear, and bumping/rubbed wear to spine and corners commensurate with age. The photograph in good condition; the signatures with two blue inked marks through each last name.

Photo frame: 8.25” H x 6.25” W x 0.75” D

2281

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Metal case with scattered scratches to outside. Moran’s does not guarantee the working condition of electronic equipment. Lenses and telescope functionality have not been inspected and the item is sold as-is. Lacking power adapter.

2282

Each overall good condition. The third with minor handling creases, the largest measuring 4” horizontally, upper left. Not examined outside of the frame.

First framed under glass: 13.5” W x 19.25” W x 0.5” D; Second framed under Plexiglas: 21.5” H x 10.25” W x 0.75” D; Third framed under Plexiglas: 18.75” H x 13” W x 0.75” D

2283

Overall good condition. With margins. Minor time staining in each of the margin edges. A pinheadsized and pinpoint-sized surface abrasion near the upper edge, at center, of the image.

Frame: 25.5” H x 21.5” W x 1.25” D

2284

Overall good condition. With wide margins, unevenly trimmed. A good impression, still with some burr showing on the drypoint. A 6” diagonal crease across the upper left sheet corner, just slightly affecting the top left corner of the image. Pale light staining showing in the margins. Pale mat staining, verso. Taped to the back mat with packing tape across the upper margin corners.

Matted but unframed

2285

Full margins with deckled edges. Remains of old tape staining in the margins, not affecting the image. A 1” repaired tear in the right margin, with attendant tiny paper losses in the margin edge, not affecting the image. A pea-sized hole near the lower right margin corner backed with tissue Japon. Hinged to the back mat in two places with white hinging tape at the verso of the upper edge.

Framed under glass: 20” H x 16.5” W x 1” D

2286

Overall good condition. Full margins with deckled edges. Hinged to the back mat with archival tape at the verso of the upper margin corners.

Matted but unframed

2287

Each overall good condition with minor wear commensurate with age. Each with some tanning to spines.

2288

Each overall good condition with minor wear commensurate with age. The Fraser volume with slightly cocked spine. The Lash volume with long indentation running along spine.

2289

Overall good condition with minor wear commensurate with age. The Ellison with some tanning/sun fading to spine.

2290

Each overall good condition with minor shelf wear and bumping to corners commensurate with age. Volume one with warped and wavy pages. Volume two with slightly cocked spine.

2291

Each overall good condition with minor wear commensurate with age. Each moire free endpaper with previous owner’s bookplate and stamped with gift inscription.

2292

Each overall good condition with minor wear commensurate with age. The Heller with minor rubbing to bottom corner of page edge gilt

2293

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

Framed under Plexiglas: 41.25” H x 41.25” W x 2” D

2294

Visual: Dust accumulation, grime, and craquelure commensurate with age. A pea-sized area of unstable craquelure in the upper left quadrant. Frame abrasion along the upper edge, primarily, at center. The canvas is puckered in the four corners.

Blacklight: No evidence of restoration.

Frame: 28” H x 32” W x 1.5” D

2295

Visual: Overall good condition. Minor scuffs with attendant paint loss at all corners.

Blacklight: No evidence of restoration.

Unframed

2296

Overall good condition. With margins. Pale toning throughout, but showing more distinctly along the outer edges. Not examined out of the frame.

Framed under glass: 25.25” H x 21.25” W x 1” D

SPECIALISTS

President, Auctioneer

John Moran Auctioneers, Inc

Head of Sale, Associate Specialist, Fine Art

Director, Fine Art

Senior Specialist, Furniture & Decorative Arts

Specialist, Post-War & Contemporary Design

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Furniture & Decorative Arts

Cataloguer, Furniture & Decorative Arts

Senior Vice President, Director Trusts & Estates

Vice President, Specialist, Silver, Western, and American Indian

Director, Jewelry & Watches

Senior Specialist, Jewelryc& Watches

Department Administrator, Fine Art

Department Administrator, Furniture & Decorative Arts

Silver, Western and American Indian Cataloguer

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

TRUSTS & ESTATES

Director, Appraisals

Administrator, Appraisals

Department Administrator

FOUNDERS

Jeffrey J. Moran

Bobby Cullen

Jenny W ilson

Angela Past

Matthew Grayson

Anne Spink

Madison Ari

Clark Silva

Sarah Beaver

Grant Stevens

Morgana Blackwelder, ISA AM

Maranda Moran

Tom Burstein

Peggy Gottlieb

Ian Anderson

Alek Ellis

Sally Andrew

Deborah Davis

Mario Esquivel

Ella Fountain

Jamie Holthauser

Bryan Ortega

Stephen Swan

Maha Darwish

Jean Rapagna

Richard Corral

Joe Miranda

Joseph Corcoran

Jacob Baer

Nathan Martinez

PR Manager/Social Media

Brian Olivas

Keith Berson

Madison Torres

Michael Mizerowski

Mariam Whitten, ISA AM

Shannon Dailey

Melissa Brownell

Founder John H. Moran (1942-2017)

Co-Founder

Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

AUCTION HOUSE AS AGENT

Conditions of Sale

Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION

(a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.

(b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.

(c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION

(a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording.

(b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment.

(c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive.

(d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

(a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service

(c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date.

(d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee.

(e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

(a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot.

(b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability.

(c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.

(d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.

(e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase.

(f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS

(a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

(b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California.

(c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

(d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.