Carlos Merida
(1891-1984, Guatemalan-Mexican)
Born Carlos Santiago Ortega on December 2, 1891, Guatemala’s indigenous Mayan heritage and vibrant his father’s surname, as did his siblings later on.
Merida’s artistic talent was evident from a young into the arts was through the piano. A malformation able to host his first exhibition of art at the offices He and friend and fellow artist Carlos Valenti boarded
Between 1910 and 1914 Merida immersed himself with Piet Mondarian, Pablo Picasso, and other artists Rivera and Angel Zarraga. After exhibiting and traveling friend and companion Valenti, Merida returned appreciation for the arts in his homeland. In 1919, Diego Rivera.
As an artist, Carlos Merida can best be described exhibitions in the United States, and his quest for with the artist circles he conversed with. Like Renoir because of it. A muralist, he moved away from representational of music and dance, his work often shows inspiration one of the first Modernists to fuse the European unique voice influenced by European art but not motifs. His work coincided with the rediscovery celebrate a uniquely Guatemalan expression of
As one of the premiere Latin American artists of anything artistic, Merida’s work ranges from painting exhibitions of small works throughout Europe and to an illustrious teaching career, Merida’s unique
1891, in Guatemala, Merida grew up in a culturally rich environment, influenced by vibrant artistic traditions. Of mixed Spanish and Mayan-Quiche ancestry, Merida would take young age, but not in the visual arts. Merida’s father fostered a love of music, and his first foray malformation in his ear ended his musical training, and he pivoted to painting. While Merida was offices of the newspaper El Economista in 1910, he found the art world in Guatemala lacking. boarded a German steamship bound for Paris.
himself in the burgeoning Modernist art movements in Europe. Merida became acquainted artists from Latin America who were studying in France at the same time, including Diego traveling throughout Europe, including a retreat from artmaking after the death of to Guatemala in 1914. Feeling rejuvenated after his time in Europe, Merida found new 1919, as the Mexican Revolution was quieting, Merida moved to Mexico City to work with described as a synergist. His studies abroad in Europe, his ties to Mexican muralists, his travels and for commissions all melded into a singular artist style and voice, albeit sometimes at odds Renoir with the French Impressionists, Merida did things his own way, occasionally struggling representational deceptions to large-scale works of abstracted shapes and forms. A lover inspiration from sonic rhythms and compositions of dance movements. Merida is often hailed as European movement through a Latin American perspective. Committed to uplifting and defining a not beholden to it, Merida filled his canvas and murals with Mayan and Mexican indigenous of lost and abandoned Mayan historical sites, and he took the chance to showcase and Modernist art.
of the 20th century, Carlos Merida’s renown is widespread. Inspired and interested in almost painting and murals to printmaking, theater production, and interior design. From numerous and the Americas, to murals gracing edifices in Mexico, Guatemala, and the United States, unique artist voice continues to resonate.
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Guatemalan-Mexican)
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Carlos Merida (1891-1984, Guatemalan-Mexican)
Abstracted figures, 1952 Oil on Masonite
Signed and dated near the lower edge, at center: Carlos Merida 23.75” H x 15.5” W
$7,000-9,000
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Tuesday, April 23, 2024
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Carlos Merida
(1891-1984, Guatemalan-Mexican)
“Musical Variations,” 1976
Screenprint in colors on paper
Edition: 7/100
Signed and numbered in pencil near the lower image: Carlos Merida
Sight: 29” H x 20” W
$800-1,200
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Carlos Merida
(1891-1984, Guatemalan-Mexican)
“La Endecha,” 1978
Screenprint in colors on paper
Edition: Artist Proof
Signed and numbered in ink in the lower margin: Carlos Merida
Image: 25” H x 21” W; Sight: 26” H x 22” W
$700-900
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Signed and dated lower right: Arnal; dated again and titled on two labels affixed, verso 45.5” H x 44” W
$2,000-3,000
Provenance: The Estate of John Simpson McKaughan Jr.
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Enrique Arnal (1932-2016, Bolivian)
“Figura Oas,” 1976 Oil on canvas
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Rodolfo (Rudy) Ayoroa (1927-2003, Bolivian)
“Jane,” 1975
Screenprint in colors on paper
Edition: 10/20
Signed, titled, dated, and numbered in pencil in the lower margin: Rudy Ayoroa
Image: 17.75” H x 26.75” W; Sheet: 23” H x 29” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
Notes: The sheet is framed vertically but is intended to be displayed horizontally based on signature and inscriptions on the recto.
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Sair Garcia (b. 1975, Colombian)
Untitled, from the series “Sleeping,” 2009 Oil on canvas
Signed, dated, and inscribed verso: Sair Garcia
29” H x 40.5” W
$1,500-2,500
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Alberto De la Vega
(20th Century, Mexican)
Embracing figures, 1964
Patinated and verdigris bronze on marble base
Signed and dated in the casting: Alberto de la Vega
Set on a rotating wood plinth
Figures with marble base: 8.875” H x 7.5” W x 6.75” D; Plinth: 4” H x 7” W x 6.5” D
$700-900
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55
Signed and dated lower left: Gil 38” H x 18” W
$600-800
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Anibal Gil (b. 1932, Colombian) “Mujer con Flora Blanca,” 1961 Oil on canvas laid to canvas
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Unsigned
37” H x 27.5” W
$500-700
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Attributed to Anibal Gil (b. 1932)
“Woman searching for the Lost Drachma,” 1956 Oil on canvas laid to canvas
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Jorge Roberto Tapia (b. 1940, Argentinian)
“Metamorfosis del Jazz,” 1963 Oil on canvas
Signed and dated verso: Tapia; titled by plaques attached to the frame and stretcher 19.25” H x 37.25” W
$2,000-3,000
Provenance: Galleria Rubbers, Buenos Aires, Argentina
The Estate of John Simpson McKaughan Jr.
Notes: Collector’s plaques with information on the work is affixed to the frame and stretcher. An information label and Galleria Rubbers label are affixed to the stretcher.
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58
Jorge Paez Vilaro (1922-1998, Uruguayan) “Tema Ciudadano,” 1975
Screenprint in colors on paper
From the edition of 250
Signed lower left in pencil: J. Paez 9.5” H x 11.75” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
Notes: Information labels in Spanish are affixed to the frame’s backing board.
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Luis Alberto Solari (1918-1993, Uruguayan) “Pero con Contrapesas,” 1972
Etching in colors on paper
Edition: Artist Proof A/P
Signed, titled, and inscribed “A/P” in pencil in the lower margin: Luis A. Solari; titled and inscribed again on a label affixed to the frame’s backing board
Plate: 17.625” H x 11.75” W; Sight: 18.75” H x 13” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
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60
Signed and dated lower right: Mijares
23.5” H x 29.25” W
$1,000-2,000
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Jose Mijares Fernandez (1921-2004, Cuban) Village near a river, 2000 Oil on canvas
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“El Hombre es un Proyecto de Dios,” 2001 Mixed media on black paper
Signed, titled, dated, and inscribed in white pencil in the lower margin:
Carlos Estevez / La Habana
Image/Sheet: 44.5” H x 30” W
$3,000-5,000
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Carlos Estevez (b. 1969, Cuban)
Jose Sabogal, born on March 19, 1888, in Cajabamba, him to Europe, where he was influenced by avant-garde celebrating the country’s indigenous culture. As new generation of indigenist artists. Sabogal’s bold landscapes. Despite his passing in 1956, his legacy influence was catalyzed by a visit to Mexico in 1922, David Alfaro Siqueiros. Inspired by their dedication art globally. His leadership ushered in the era of
Jose Sabogal Dieguez (1888-1956, Peruvian)
Cajabamba, Peru, emerged as a prominent figure in Peruvian art. His artistic journey took avant-garde movements. Returning to Peru, he championed the indigenist movement, director of the Escuela Nacional de Bellas Artes in Lima from 1920, he nurtured a bold use of color and attention to subjects captured the essence of Peruvian life and legacy remains a testament to his commitment to Peruvian culture. Sabogal’s international 1922, where he met prominent muralists Diego Rivera, José Clemente Orozco, and dedication to art as a tool for social transformation, Sabogal endeavored to promote Peruvian of the ‘Peruvian School’ of painting.
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Dieguez
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“Cosco
Signed lower left: J. Sabogal; titled and dated, verso 35” H x 39” W
$6,000-8,000
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Jose Sabogal Dieguez (1888-1956, Peruvian)
Paya-Cuna (Chisme),” 1926 Oil on canvas
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Enrique Galdos Rivas (b. 1933, Peruvian)
Enrique Gerardo Galdos Rivas, born 1933 in Lima, that intricately weave together elements of Peruvian rich textures, and diverse traditions of his homeland the National Academy of Fine Arts in 1959. After scholarships to travel and work in Brazil in 1961 numerous Biennials, from Sao Paulo to Paris.
One of the defining characteristics of Galdos Rivas’ Modernist artistic techniques. Drawing inspiration feature a striking juxtaposition of ancient iconography nickname “The Magician of Color.” Galdos Rivas where cultural iconographies are processed through Galdos Rivas says: “A long time ago I painted the huacos of the little I was losing the figure, the shape of the Galdos Rivas has gained recognition both domestically His awards include the Meritorious Personality of by the Congress of the Republic of Peru, an Honorable Cordova Biennial in Argentina in 1964, among others. worldwide.
Lima, Peru, is a prominent Peruvian artist celebrated for his vivid and captivating paintings Peruvian culture, history, and mythology. Galdos Rivas was surrounded by the vibrant colors, homeland from a young age, which would influence his artistic vision upon graduating from After graduating with honors, Rivas’ renown in South America grew exponentially, receiving and Argentina in 1967. By the end of the first decade of his career, Rivas had exhibited at
Rivas’ art is his unique ability to blend traditional Peruvian motifs and symbolism with inspiration from indigenous cultures, colonial history, and modern society, his paintings often iconography with abstraction. Galdos Rivas’ use of wild and vivid colors earned him the Rivas has been noted as a progenitor of the genre of painting known as “Ancestralism,” through Modern or Abstract Expressionist sensibilities. In explaining his artistic process, the Nazca culture. First I made them as they are, then I abstracted them. Little by huaco, until there was no trace of it, only the color.” (El Comercio, May 20, 2023) domestically and internationally for his exceptional talent and contributions to the art world. of Culture from the Ministry of Culture of Peru and the Diploma of Recognition granted Honorable Mention at the Sao Paulo Biennial, Brazil in 1965 and the V Prize II at the others. His works have been featured in numerous exhibitions, galleries, and museums
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63
Oil on canvas
Signed and dated lower right: Galdos Rivas; signed again, titled, dated, and inscribed, verso 51” H x 65.5” W
$4,000-6,000
Provenance: The Estate of John Simpson McKaughan Jr
The work is framed vertically but inscriptions verso and signature/ date recto imply the piece should be hung horizontally.
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Enrique Galdos Rivas (b. 1933, Peruvian) “Pintura Marzo,” 1965
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Signed and dated lower right: Galdos Rivas; signed again, titled, and inscribed verso: Lima Peru / No. 25
52” H x 68.5” W
$4,000-6,000
Provenance: The Estate of John Simpson McKaughan Jr.
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Enrique Galdos Rivas (b. 1933, Peruvian) “Tarde de Sol,” 1963 Oil on canvas
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Signed and dated lower right: Galdos Rivas; signed and dated again, titled and inscribed, verso: Lima-Peru 51” H x 67.5” W
$4,000-6,000
Provenance: The Estate of John Simpson McKaughan Jr.
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Enrique Galdos Rivas (b. 1933, Peruvian) “Marados IV,” 1964 Oil on canvas
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Enrique Galdos Rivas (b. 1933, Peruvian)
“Ancestros,” 1965 Oil on canvas
Signed and dated lower right: Galdos Rivas; titled, dated, and inscribed, verso 33.5” H x 25.5” W
$2,000-4,000
Provenance: The Estate of John Simpson McKaughan Jr.
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Rafael Canogar
(b. 1935, Spanish)
Eight plates from the “La Violencia” portfolio, 1969 Lithographs in colors on wove paper, with the Rives and Tamarind watermarks Edition: 3/20 (there were also 9 sets reserved for the printer/publisher)
Each plate signed, titled, dated, and numbered in pencil along the lower sheet edge: Canogar; each plate also with the printer’s and publisher’s blindstamps in the lower sheet corners; the eight plates each loose, separated by individual rice paper folders; Tamarind Lithography Workshop, Inc., Los Angeles, CA, prntr./pub.
Each Image/Sheet: 30” H x 22” W (or reverse)
$1,000-1,500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
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Francisco Toledo (1940-2019, Mexican)
Born in Juchitán, Oaxaca in 1940, Francisco Toledo Francisco Toledo followed his father into the jungles trade of lithography from the engraving workshops exhibited his works at Antonio Souza’s gallery in artist he would become. “Toledo’s is the art of shamanism,” are transformed into beasts and animals and may announced the death on Twitter, calling Mr. Toledo preferred anonymity, his service to cultural preservation man show at 19 years set the stage for his travels Toledo’s fascination with the metaphors of indigenous settled definitively in Mexico in 1967.
Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. As a young man, jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo Mexico and at the Forth Worth Art Center in Texas. These early years informed the shamanism,” Christopher Goodwin of The Guardian wrote in 2000, “in which people may take on human characteristics.” President Andrés Manuel López Obrador of Mexico Toledo “a true defender of nature, customs, and traditions of our people.” While he preservation and celebration of traditional imagery gained him national acclaim. His first onetravels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. indigenous animals as symbols of Mexican history and mythology abound in his art. He
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Francisco Toledo (1940-2019, Mexican)
“Mi Hermano,” 1984
Lithograph in colors on paper Edition: 25/25, Third state
Signed, dated, and numbered in pencil in the lower margin: Toledo; Kryon, S.A., Mexico D.F., prntr., with their blindstamp in the lower margin, at right
Image: 18” H x 23.5” W; Sight: 18” H x 23.5” W
$2,000-3,000
Provenance: Latin American Masters, Beverly Hills, CA
Notes: A Latin American Masters gallery label is affixed to the frame’s backing board.
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69
AgustÍn Velázquez Chávez (b. 1910, Mexican)
Building in a forest, 1933
Drypoint on paper
Edition: 7/10
Signed, dated, and numbered in pencil in the lower margin: Augustin Velazquez Chavez Plate: 17.125” H x 12.75” W; Sheet: 18.625” H x 13.75” W
$300-500
Provenance: The Collection of Frederick W. Davis
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Francisco Toledo (1940-2019, Mexican) “Las Hojas Muertas,” 2004
Etching in colors with aquatint and drypoint on paper Edition: 20/20
Signed and numbered in pencil in the lower margin: Toledo Plate: 38.5” H x 13” W; Sight: 41.75” H x 15.5” W
$1,500-2,500
Provenance: Latin American Masters, Beverly Hills, CA
Notes: Can be hung vertically or horizontally
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Mexican)
Mixed media on paper Edition: 36/50 Signed and numbered in the lower image: Toledo Image/Sheet: 33.75” H x 43” W $400-600
71 Francisco Toledo (1940-2019,
Grasshopper
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Mexican)
“Sapos y Pantalones,” 1974
Etching in colors with aquatint and roulette on wove paper, unknown watermark
Edition: 16/25
Signed and numbered in pencil in the lower margin: Toledo Plate: 18.5” H x 14.5” W; Sheet: 31” H x 22.25” W
$1,500-2,500
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Francisco Toledo (1940-2019,
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Francisco Toledo (1940-2019, Mexican)
“Gato de Sara XIII,” 2009
Etching with drypoint and roulette on paper
Edition: 5/20
Signed and numbered in pencil in the lower margin: Toledo; with unknown blindstamp lower right margin corner
Plate: 7.75” H x 9.75” W; Sheet: 15.5” H x 16.25” W
$600-800
Exhibited: Santa Monica, CA, Latin American Masters, “Francisco Toledo: Selected Prints 1970-2018,” November 14-December 19, 2020
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Francisco Toledo (1940-2019, Mexican)
“Pasoro con Torturgo,” circa 1960 Mixed media on cardstock
Signed in pencil lower right: Toledo Sheet: 19.75” H x 25.75” W
$5,000-7,000
Notes: This lot is accompanied by a certificate of authenticity.
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75 Francisco Toledo (1940-2019, Mexican)
Untitled, abstract Gouache on paper
Signed lower right: Toledo
Sheet: 19” H x 20.75” W
$2,000-4,000
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Animals with human figure Lithograph in colors on paper Edition: P.A Signed and numbered lower right: Toledo Sight: 20.5” H x 15.5” W $500-700
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76 Francisco Toledo (1940-2019, Mexican)
77
Signed and dated lower right: Miguel Angel; titled on label affixed verso 22.5” H x 30” W
$400-600
Notes: A handwritten label in Spanish is affixed to the frame’s backing paper.
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Miguel Angel Toledo Lopez (20th Century, Mexican) “La Comunion de lost Gatos,” 1999 Mixed media on paper
12.5” H x 9.25” W
$2,000-4,000
Provenance: Galerie Daniel Gervis, Paris, France
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78 Francisco Toledo (1940-2019, Mexican) Composition with a face Watercolor on paper
Signed lower right: Toledo
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Francisco Toledo (1940-2019, Mexican)
“Muger Iguana con Pajaros,” 1976
Etching, drypoint, and aquatint in colors on paper
Edition: 50/50
Signed and numbered in pencil in the lower margin: Toledo
Plate: 7.75” H x 12.25” W; Sight: 12” H x 16.25” W
$600-800
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80 Francisco Toledo (1940-2019, Mexican)
“Muchacha con Perro,” 1981
Etching on B.F.K. Rives paper
Edition: P.A.
Signed and numbered in pencil “P.A.” in pencil in the lower margin
Plate: 10.25” H x 11.75” W; Sheet: 15” H x 22.5” W
$800-1,200
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Francisco Toledo (1940-2019, Mexican)
“Conejo,” from the “Sahagun” portfolio, 1974
Etching, aquatint, and drypoint in colors on wove paper
Edition: P.A. (there was also the edition of 100)
Signed lower left: Toledo; inscribed lower center: Para Diane
Plate: 3.5” H x 6” W; Sheet: 11.25” H x 7.75” W (folded);
Overall: 11.25” H x 15.5” W
$800-1,200
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Francisco Toledo (1940-2019, Mexican)
“El Maestro de Caligraphico”
Etching on wove paper
Edition: P.A.
Signed and numbered “P.A.” in pencil in the lower margin: Toledo
Plate: 7.5” H x 5” W; Sheet: 15” H x 11.25” W
$800-1,200
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Etching on wove paper
Edition: P.A.
signed and numbered “P.A.” in pencil in the lower margin: Toledo Plate: 7.75” H x 4” W; Sheet: 15” H x 11.25” W
$800-1,200
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Francisco Toledo (1940-2019, Mexican)
“Mujer y Piedra”
Rufino Tamayo (1899-1991, Mexican)
Rufino Tamayo is a towering figure in 20th-century Oaxaca, his exposure to Zapotecan culture shaped avant-garde aesthetics. Central to his oeuvre is mixographia, paper pulp applied to inked plates, resulting in textured, his thematic preference for highlighting his Zapotec transcends cultural boundaries, resonating universally including the UNESCO Prize at the 1958 Venice
20th-century Mexican art, famed for blending indigenous and modernist influences. Born in shaped his artistic vision, leading to a distinct style marrying Mexican folk traditions with mixographia, a technique he developed with Luis Remba in the 1970s, involving wet textured, multidimensional artworks. Tamayo’s mixographias, over 80 in total, reflect Zapotec heritage. Often depicting mythology, nature, and the human condition, his art universally while celebrating Mexico’s rich heritage. Tamayo received numerous accolades, Biennale, solidifying his legacy as a pioneering figure in printmaking.
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Rufino Tamayo (1899-1991, Mexican)
“Pajaro Liberado,” 1986
Mixografia in colors on handmade paper
Edition: 17/100 (there were also 25 artist’s proofs)
Signed and numbered in pencil at the lower image edge: R. Tamayo; Taller de Grafica Mexicana, Mexico City, prntr./pub.
Image: 37.5” H x 28” W; sheet: 41.5” H x 32” W
$3,000-5,000
Provenance: B. Lewin Galleries, Palm Springs, CA
Literature: Pereda 266
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Rufino Tamayo (1899-1991, Mexican)
“La Cirquera” from the series “Rufino Tamayo 8 Aquafuertes,” 1984
Etching in colors on Guarro paper
Edition: 62/99 (there was also an edition of 15 artist’s proofs)
Signed and numbered in black crayon at the lower right and left corners, respectively: R. Tamayo; Ediciones Poligrafa, Barcelona, Spain, prntr./ pub.
Image/Sheet: 30” H x 22” W
$2,000-3,000
Literature: Pereda 314
Notes: This lot is accompanied by a certificate of authenticity from the Lopez Quiroga Galeria de Arte, and signed by the gallery director, Ramon Lopez Quiroga, on October 9, 1986.
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Rufino Tamayo (1899-1991, Mexican)
“Hombre con Brazos Sobre La Cabeza” from the series “Rufino Tamayo 8 Aquafuertes,” 1984
Etching in colors on Guarro paper
Edition: 89/99 (there was also an edition of 15 artist’s proofs)
Signed and numbered in black crayon at the lower right and left corners, respectively:
R. Tamayo; Ediciones Poligrafa, Barcelona, Spain, prntr./pub.
30” H x 22” W
$2,000-3,000
Literature: Pereda 313
Notes: This lot is accompanied by a certificate of authenticity from the Lopez Quiroga Galeria de Arte, and signed by the gallery director, Ramon Lopez Quiroga, on October 9, 1986, and the book, “Rufino Tamayo,” by Octavio Paz and Jacques Lassaigne.
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Rufino Tamayo (1899-1991, Mexican)
“Personaje en Una Cueva” 1964
Lithograph in colors on wove paper
Edition: 13/20 (there were also two artist’s proofs)
Signed and numbered in pencil at the lower edge, right of center: R. Tamayo; signed and dated in the stone lower left
Image/Sheet: 36” H x 26” W
$2,000-3,000
Literature: Pereda 98
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Rufino Tamayo (1899-1991, Mexican)
“Cabeza en Gris,” 1979
Etching on Guarro paper
Edition: 34/99
Signed and numbered in the lower image: R. Tamayo
Image/Sheet: 29.75” H x 22” W
$2,000-4,000
Literature: Pereda 262
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Rufino Tamayo (1899-1991, Mexican)
“Mujer Temblorosa (Trembling Woman),” 1974
Lithograph in colors on Arches paper
Edition: 14/100
Signed and numbered in pencil, and with the blindstamp of the publisher/printer Taller de Gráfica Mexicana, Mexico City 29.5” H x 20.25” W
$2,000-3,000
Provenance: Galeria del Circulo, Mexico City, Mexico Santa Fe Art Auctions, Santa Fe, NM
Sold: Bonhams, Los Angeles, CA, “Prints and Multiples,” October 15, 2019, lot 96
Literature: Pereda 162
Notes: Gallery labels from Galeria del Circulo and Santa Fe Art Auctions are affixed to the frame’s backing foam board.
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Rufino Tamayo (1899-1991, Mexican)
“Figura Sobre Fondo Rosa y Verde,” 1977
Mixografia in colors on Arches paper
Edition: 37/100
Signed and numbered in pencil in the lower image: R. Tamayo; Taller de Grafica Mexicana, Mexico City, Mexico, prntr.
Image: 17.875” H x 13.125” W
$1,500-2,500
Literature: Pereda 228
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Teodulo Romulo
(b. 1943, Mexican)
Cat, 1988
Mixographia on paper
Signed, dated, numbered, and inscribed in pencil in the lower margin: Teodulo Romulo
Image: 39” H x 26.25” W; Sheet: 42.5” H x 29.5” W
$700-900
117 www.johnmoran.com
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Diego Rivera (1886-1957, Mexican)
“El Niño del Taco [Boy with Taco],” 1932 Lithograph on paper
Signed in pencil in the lower margin, at left: Geo. C. Miller (Litho); signed initialed and dated (reverse) in the stone, lower right image: D.R
Image: 16.25” H x 11.875” W; Sight: 17.5” H x 13” W
$6,000-8,000
Provenance: Gifted by the printer of the work, George C. Miller to an artist in Los Angeles, CA Private Collection, Orange County, CA, acquired from the above
Note: George C. Miller was the printer for this edition and while it is not pencil-signed and numbered from the edition of 100 by Rivera, this may have been an unofficial printer’s proof.
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Miguel Martinez (b. 1951, Mexican)
Two woman on a village street, 1986 Lithograph in colors on paper Edition: 25/125
Signed, dated, and numbered in the lower right corner: M. Martinez
Image/Sheet: 21” H x 29” W
$1,000-2,000
Provenance: El Paseo Gallery, Palm Desert, CA Private Collection, acquired from the above
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94
Francisco Cornejo (1892-1963, Mexican)
Portrait of woman
Oil on board
Monogram lower left: FC 20” H x 20” W
$2,000-3,000
Provenance: This lot is sold together with copies of various letters from the artist.
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95
Attributed to Francisco Cornejo (1892-1963, Mexican)
Woman carrying basket of fruit on her head Oil on board
Unsigned 37” H x 21.5” W
$2,000-3,000
Provenance: This lot is sold together with copies of various letters from the artist.
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96
Oil on canvas laid to canvas
Signed illegibly and dated lower right
26.5” H x 23.75” W
$400-600
Notes: Inscribed verso: Muchera / Azalacha [?] / 44
123 www.johnmoran.com
Pedro Azabache (1918-2012, Peruvian) “Mochera,” 1944
97
Signed and dated lower right:
20” H x 16” W
$1,000-1,500
124 Latin American Art + Design l Tuesday, April 23, 2024
Jose Vela Zanetti (1913-1999, Spanish) Portrait of a woman, 1961 Oil on Masonite
Vela Zanetti
98
Raul Anguiano (1915-2006, Mexican)
Woman with moon figure
Screenprint in colors on paper
Edition: 14/100
Signed and numbered in pencil in the lower margin: R. Anguiano
Image: 36” H x 27” W; Sight: 39.5” H x 29.5” W
$300-500
125 www.johnmoran.com
100
Raul Anguiano (1915-2006, Mexican)
“Mujer con vasija,” 1974
Charcoal and crayon on paper, blindstamp Fabriano
Signed and dated in pencil lower right: R. Anguiano Sheet: 19.5” H x 27.5” W
$700-900
101
Isabel Villasenor 1909-1953
Young girl in a chair Woodcut on laid paper
Signed in ink in the lower margin, at right: Isabel Villasenor; initialed in the block lower right
Image: 8.25” H x 6.5” W; Sheet: 12.5” H x 8.625” W
$300-500
126 Latin American Art + Design l Tuesday, April 23, 2024
99
Raul Anguiano (1915-2006, Mexican)
“La Nina de la Blusa Verde,” 1966
Oil on board
Signed and dated lower right: R. Anguiano; signed and dated again, and titled, verso
25.5” H x 19.25: W
$3,000-5,000
Notes: A Hindman Auctions tag is tied to the hanging wire and a B Lewin Galleries label is affixed to the frame’s backing board.
127 www.johnmoran.com
102
20th Century Mexican School
A group of 3 works of men working, 1945
Each: Woodcut on paper
Each: Signed illegibly and dated lower right
Largest Image: 7.75” H x 6.125” W; Largest Sheet: 12.75” H x 9.5” W; Smallest Image: 5” H x 6.5” W; Smallest Sheet: 7” H x 9.25” W
$300-500
Provenance: The Collection of Frederick W. Davis
128 Latin American Art + Design l Tuesday, April 23, 2024
129 www.johnmoran.com
130 Latin American Art + Design l Tuesday, April 23, 2024
103
Felipe Castañeda (b. 1933, Mexican)
Seated woman, 1994
Patinated bronze
Edition: 1/7
Signed, numbered, and dated to top of base: F. Castañeda I/VII; further marked to base verso: Fundicion / Carlos Rojas A / Mexico 95 25” H x 17.5” W x 16” D
$3,000-5,000
131 www.johnmoran.com
105
Carlos Marin (20th century)
Woman with bird, 1960
Oil on canvas
Signed and dated at the lower edge, left of center: Carlos Marin 40” H x 29.5” W
$500-700
104
Francisco Corzas (1936-1983, Mexican)
Untitled, 1963
Mixed media on wove paper
Signed and dated lower right: Francisco Corzas
Image/Sheet: 12.625” H x 16.875” W
$1,000-1,500
132 Latin American Art + Design l Tuesday, April 23, 2024
133 www.johnmoran.com center:
106
Francisco Zúñiga (1912-1998, Mexican) Townswomen, 1965
Mixed media on paper
Signed and dated lower right: Zúñiga; inscribed indistinctly in ink, verso 19.75” H x 25.625” W
$3,000-5,000
Notes: This work as been authenticated by Ariel Zúñiga. It will be included in a forthcoming update to the catalogue raisonne.
134 Latin American Art + Design l Tuesday, April 23, 2024
135 www.johnmoran.com
107
Francisco Zúñiga (1912-1998, Mexican)
Seated nude, 1964
Pencil and pastel on paper
Signed and dated in pencil lower left: Zúñiga
Sheet: 18” H x 24” W
$1,500-2,000
Provenance: Catchpenny Gallery, Santa Monica, CA
136 Latin American Art + Design l Tuesday, April 23, 2024
108
Francisco Zúñiga (1912-1998, Mexican)
“La Espera,” 1973
Lithograph in colors on Arches paper
Edition: 43/100 (there were also 20 artist’s proofs)
Signed, dated, and numbered in pencil at the lower edge: Zúñiga; Editions Press, San Francisco, CA, pub./prntr.; and with their blindstamp lower left
Sight: 22” H x 29.5” W
$400-600
137 www.johnmoran.com
109
Francisco Zúñiga (1912-1998, Mexican)
“Soledad Acostada” from the “Mexican Masters Suite,” 1973 Lithograph in colors on German Etching paper
Edition: V/XXX
Signed, dated, and numbered in the lower right corner: Zúñiga
Sight: 22” H x 29.5” W
$500-700
Literature: Brewster 6
Notes: According to Jerry Brewster, the “Mexican Masters Suite” consisted of eight lithographs by Tamayo, Siqueiros, Cuevas, and two (including this work) by Zúñiga.
138 Latin American Art + Design l Tuesday, April 23, 2024
110
Francisco Zúñiga (1912-1998, Mexican)
“El Nino y la Vela,” 1979/1980
Lithograph in colors on handmade Twin Rocker paper
Edition 29/125
Signed, dated, and numbered in pencil in the lower left corner: Zúñiga; Kryon, S.A., Mexico City, Mexico, prntr., Brewster Editions, New York, NY, pub., with the printer’s blindstamp lower right corner
19.25” H x 23.375” W
$400-600
Provenance: Toby C. Moss Gallery, Los Angeles, CA. December 13,1991
Literature: Brewster 50
139 www.johnmoran.com
111
Francisco Zúñiga (1912-1998, Mexican)
“El Rebozo,” 1982
Lithograph in colors on paper
Edition: P.A. 14/15
Signed and dated in pencil lower left: Zúñiga; Mourlot Atelier, Paris, France, prntr., Brewster Editions, New York, NY, pub.
Sight: 21.5” H x 29.5” W
$500-700
Provenance: Museum of Latin American Art, Long Beach, CA, “Auction Exhibition
2007: Contemporary Latin American Art,” lot 303
Literature: Brewster 72
Notes: This lot is accompanied by the registration form for the Museum of Latin American Art auction, which is taped to the frame’s backing paper.
140 Latin American Art + Design l Tuesday, April 23, 2024
112
Raul Anguiano (1915-2006, Mexican)
“Alfarera de Oaxaca,” 1970 Sanguine and charcoal on paper
Signed and dated in pencil lower right: R. Anguiano; titled in pencil, verso
Sheet: 20” H x 26” W
$1,000-2,000
Provenance: Stern Fine Art, Huntington Beach, CA
141 www.johnmoran.com
113
Elizabeth Catlett (1915-2012, American)
“Cabeza Indigena,” circa 1954
Lithograph on wove paper
Edition: 43/50
Signed and numbered in pencil in the lower margin: E. Catlett
Image: 12.125” H x 10.5” W; Sheet: 21.875” H x 16.875” W
$1,000-2,000
Notes: A handwritten notation in the lower margin reads: “To Gloria - Sincerely - “
142 Latin American Art + Design l Tuesday, April 23, 2024
114
Jean Charlot (1898-1979, American)
“Weaving Mats” from the “Kei Viti Suite,” 1978
Lithograph in colors on paper
Edition: 82/150
Signed and numbered in pencil in the lower margin: Jean Charlot; Lynton R. Kistler, prntr.; with an unidentified blindstamp in the lower margin, at left
Image: 20” H x 16” W; Sight: 25” H x 19” W
$600-800
Provenance: Stern Fine Art, Huntington Beach, CA
Museum of Latin American Art, Long Beach, CA, “Auction 2008: Contemporary Latin American Art,” 2008, lot 171
143 www.johnmoran.com
115
Jean Charlot (1898-1979, American)
“Kei Viti: Melanesian Images” portfolio, 1978
The complete set of five lithographs in colors on wove paper, watermark Arches Edition: 72/150
Each plate signed and numbered in pencil along the lower sheet edge: Jean Charlot; each sheet signed and dated in the stone; each plate also with the printer’s blindstamps in the lower sheet corners; the five plate each loose, separated by individual rice paper sheets; the justification sheet printed on verso of the front cover of portfolio; Lynton Kistler, prntr./pub.
Each image: 20.25” H x 16” W (or reverse); Each sheet: 26” H x 20” W (or reverse)
$1,000-2,000
144 Latin American Art + Design l Tuesday, April 23, 2024
145 www.johnmoran.com
116
Victor Gutierrez (b. 1950, Mexican)
Seated woman, 1987
Patinated bronze
Edition: 7/10
Signed, dated, and numbered in the casting: Victor Gutierrez / VII-X / 87
32” H x 27” W x 15.25” D
$1,000-2,000
146 Latin American Art + Design l Tuesday, April 23, 2024
117
Juan O’Gorman (1905-1982, Mexican)
Portrait of Jose Maria Morelos y Pavon Lithograph on paper
Edition: 5/ 25
Signed and numbered in pencil in the lower margin: Juan O’Gorman Image: 15.5” H x 11.5” W; Sight: 17.25” H x 12.125” W
$300-500
147 www.johnmoran.com
118
Esperanza Martinez (1934-1998, Mexican)
Indigenous women, circa 1968
Pastel on paper
Signed lower right: Esperanza
18” H x 24” W
$600-800
Notes: An artist biography is taped to the back of the frame. Inscribed on the frame’s backing board: To Herb / Best Wishes / Esperanza / July 1968
148 Latin American Art + Design l Tuesday, April 23, 2024
119
Mexican)
“Lo Feo de Este Mundo III” from the “Homage to Quevedo Portfolio,” 1969 Lithograph in colors on wove paper
Edition: 39/100
Signed and numbered in the lower image: Cuevas; with the Collectors Press and unidentified blindstamp lower left corner, Collectors Press, pub.
Image: 21.25” H x 27.25” W; Sheet: 22.5” H x 28.25” W
$400-600
Provenance: Stern Fine Art, Huntington Beach, CA
149 www.johnmoran.com
Jose Luis Cuevas (1934-2017,
120
Figures resting Oil on Masonite
Signed and inscribed lower right: D.O. Ulloa 18” H x 24” W
$3,000-5,000
150 Latin American Art + Design l Tuesday, April 23, 2024
Domingo Ulloa (1919-1997, Mexican-American)
121
Two angel figures
Oil on Masonite
Signed upper left: Jose Ma de Servin
16” H x 12” W
$500-700
151 www.johnmoran.com
Jose Maria de Servin (1917-1983, Mexican)
152 Latin American Art + Design l Tuesday, April 23, 2024
122
Jesus Leuus (1948-2008, Mexican)
Two works (framed together):
Figure with watermelon, 1962
Oil on panel
Signed, dated, and inscribed upper right: Jesus Leuus / Mexico Sight: 15.375” H x 10.125” W
Mother and child, 1962
Oil on panel
Signed, dated, and inscribed lower right: Jesus Leuus / Mexico Sight: 17.375” H x 11.5” W
$400-600
153 www.johnmoran.com
123
Fernando Olivera (1962-2008, Mexican)
“Una Noche de Mayo,” 2010
Etching in colors on paper
Edition: P/T
Signed, titled, dated, and numbered in pencil in the lower margin: F. Olivera; Taller Fernando Sandoval, Oaxaca, Mexico, pub.
Plate: 11.75” H x 19.75” W; Sight: 13.5” H x 21” W
$500-700
Provenance: Stern Fine Arts, Huntington Beach, CA
154 Latin American Art + Design l Tuesday, April 23, 2024
124
(b. 1950, Mexican)
Acrylic on linen
Signed and dated lower left: J. Ochoa; titled, signed and dated again, verso 24” H x 30” W
$400-600
155 www.johnmoran.com
Jorge Ochoa
“Tianguis Azul,” 1998
125
Donald “Putt” Putman
American) “Mexican Dance”
Acrylic on wove paper laid to Masonite
Signed lower right: Putt; signed again and titled, verso 19.75” H x 25.5” W
$300-500
126
1997 Oil on canvas
Signed and dated lower right: J. Ochoa 19.5” H x 16” W
$300-500
156 Latin American Art + Design l Tuesday, April 23, 2024
(1926-2007,
Jorge Ochoa (b. 1950, Mexican) Young girl in shawl,
127
Jesus (Chucho) Reyes Ferreira (1882-1977, Mexican)
“Esqueleto Comiendo Sandia (Skeleton Eating Watermelon)”
Aniline on tissue paper
Signed lower right: J. Reyes Ferreira
30” H x 20” W
$1,000-2,000
Provenance: Stern Fine Art, Huntington Beach, CA, “Modern Mexican Masters,” August 11-18, 2023, lot 18
Exhibited: Oxnard, CA, Carnegie Art Museum, “The Art of Mexican Master Chucho Reyes,” July 10 - October 3, 1993 Los Angeles, CA, Instituto Cultural Mexicano, “Jalisco, Plastica del Siglo XX....Tres Generaciones: From the Lodi Art Galleries Collection,” April 6 - 30, 1994
Pasadena, CA, “Caballos, Calaveras, & Divinidades,” May 4 - June 15, 1994
Notes: A Stern Fine art gallery label, as well as the labels from the above-mentioned exhibitions, are affixed to the frame’s backing board.
157 www.johnmoran.com
128
Pedro Friedeberg (b. 1936, Mexican)
Standing figure
Acrylic on wood
Signed on underside of base: Pedro Friedeberg
16.75” H x 9.875” W x 2.5” W
$1,000-1,500
Provenance: Heritage Auctions, Design Signature Auction, Lot #67145, February 2, 2023
Private Collector, acquired from the above
158 Latin American Art + Design l Tuesday, April 23, 2024
130
Rick Wolfryd (b. 1953, American)
After KAWS “Passing Through,” 2023 Photopolymer resin and beads
Signed, titled, and dated to the underside: Chroma aka Rick Wolfryd / T.P. 0029
11” H x 6.25” W x 7.5” D
$600-800
129
Rick Wolfryd (b. 1953, American)
After KAWS “Dissected Man,” 2023 Photopolymer resin and beads
Signed, titled, and dated to the underside: Chroma aka Rick Wolfryd / “Dissected Man” / T.P. 0053
14.625” H x 6.25” W x 3.5” D
$600-800
159 www.johnmoran.com
160 Latin American Art + Design l Tuesday, April 23, 2024
131
Luis Lopez Loza (b. 1939, Mexican)
Untitled Woven wool tapestry Edition: 4/12
Signed in the weaving: Luis Lopez Loza; embroidered edition at bottom verso; further attributed and numbered to fabric tag verso
72” H x 64.5” W
$500-700
132
Tavo Silveira (20th century; Mata Ortiz, Mexico)
A broad-shouldered blackware pot, mid-20th century
Signed on the underside: Tavo Silveira
The black on black pot with near-mirrored radiating feather motifs to shoulder and body
7.5” H x 12.75” Dia.
$200-400
161 www.johnmoran.com
+ Design l Tuesday, April 23, 2024
www.johnmoran.com
134
Sergio Bustamante (b. 1949, Mexican)
Parrot
Painted Papier-mâché set on brass stand
Edition: 48/100
Signed and numbered: Sergio Bustamante
Bird: 13.5” H x 34” W x 17.75” D; Stand: 33” H x 16.375” W
$500-700
164 Latin American Art + Design l Tuesday, April 23, 2024
133
A Venezuelan polychrome pottery mask
21st century
Incised to mask interior: Ceramic / Quibor / Lara / Venezuela
The terracotta mask with pronounced eyebrows and protruding tongue, decorated with black geometric motifs on a white and terracotta slip
6.625” H x 6” W x 2.325” D
$200-400
135
Sergio Bustamante
(b. 1949, Mexican)
Triangle thinker
Polychromed resin
Edition: 46/150
Signed and numbered to top of base:
Sergio Bustamante ©
17.25” H x 8.75” W x 8.125” D
$800-1,200
165 www.johnmoran.com
136
A Mexican/Santa Fe painted wood wall shelf 20th century
Unmarked
The blue painted rustic wood wall unit comprising four shelves with scalloped gallery and a slatted back raised on four legs with incised accents to front
69.25” H x 37.5” W x 9.25” D
$500-700
166 Latin American Art + Design l Tuesday, April 23, 2024
137
A Latin American figure of a man in Purgatory 20th century Unmarked
The carved wood and polychrome figure depicted in a lake of fire with arms raised to the heavens, bound by a metal chain
9” H x 10.5” W x 8.125” D
$400-600
Provenance: From the collection of Stephen Cohen
167 www.johnmoran.com
138
Gustavo Montoya (1905-2003, Mexican)
“Girl on a Chair”
Oil on canvas
Signed lower right: Gustavo Montoya; titled on a certificate of authenticity
24” H x 18” W
$8,000-12,000
Notes: This lot is accompanied by a certificate of authenticity from the Wolfryd Collection, and signed by Rick Wolfryd and Blanca Montoya.
168 Latin American Art + Design l Tuesday, April 23, 2024
139
“Las Gemelas” Oil on canvas
Signed lower right: Gustavo Montoya
22” H x 20” W
$5,000-7,000
Notes: The inventory number, GM-89-404, is written on the upper portion of the stretcher.
169 www.johnmoran.com
Gustavo Montoya (1905-2003, Mexican)
Pablo O’Higgins (1904-1983, Mexican)
Paul Higgins Stevenson was born on March 1, 1904, childhood was marked by his family’s frequent moves engineer. While studying art in San Diego, O’Higgins in 1922. In 1924, O’Higgins enrolled at the San Mexican muralist Diego Rivera.
Inspired by Rivera’s politically charged murals and social and political activism. He joined the Mexican the famous murals at the National Preparatory School using his art as a tool for social change and advocating
Throughout his career, O’Higgins remained committed His style was characterized by bold lines, dynamic O’Higgins was also a skilled printmaker, producing O’Higgins co-founded the Taller de Grafica Popular inspire and transform.
Pablo O’Higgins’s contributions to Mexican art and public buildings and institutions throughout Mexico, power of art to effect change. O’Higgins’s work in Mexican art.
In his later years, O’Higgins continued to paint and Mexico City, leaving behind a rich artistic legacy
1904, in Salt Lake City, Utah, to an Irish-American father and a Mexican mother. His moves between the United States and Mexico due to his father’s work as a railway O’Higgins grew impatient with academic instruction and permanently moved to Mexico City Carlos Academy of Fine Arts, where he studied under and befriended the renowned and the burgeoning Mexican muralist movement, O’Higgins became deeply involved in Mexican Communist Party and collaborated with Rivera on several mural projects, including School in Mexico City. O’Higgins played a significant role in the Mexican labor movement, advocating for the rights of workers and peasants.
committed to creating art that reflected the struggles and aspirations of the Mexican people. dynamic compositions, and a focus on the human figure. In addition to his mural work, producing numerous linocuts and woodcuts that depicted scenes of everyday life in Mexico. Popular workshop in 1937, blending his political activism with a belief in the power of art to and activism are widely recognized and celebrated. His murals can still be seen in various Mexico, serving as enduring reminders of his dedication to social justice and his belief in the continues to inspire artists and activists alike, cementing his legacy as an important figure and remained active in political and social causes. He passed away on July 17, 1983, in legacy that continues to resonate with audiences around the world.
171 www.johnmoran.com
140
“A Young Girl”
Oil on canvas
Signed lower right: P. O’Higgins; titled on a label affixed to the lower portion of the frame, verso 23.5” H x 18.5” W
$6,000-8,000
172 Latin American Art + Design l Tuesday, April 23, 2024
Pablo O’Higgins (1904-1983, Mexican)
173 www.johnmoran.com
174 Latin American Art + Design l Tuesday, April 23, 2024
141
Each Tempura on panel
Each unsigned
Each panel: 71.5” H x 28” W
$4,000-6,000
175 www.johnmoran.com
Frederico Cantu (1907-1989, Mexican)
“Quinteto Angeles M˙sicos,” 1942
Francisco Masseria (1927-2002, Argentinian)
Italian-born Francisco Masseria immigrated to Argentina Realist style of painting quickly grew a following. labeled an Anti-Peronist, and went into hiding, beginning
Argentina sometime before the 1960s. Settling in Buenos Aries, Masseria’s following. However, by 1964 Masseria drew the ire of the Peronist government, was beginning to sign his work under the alias “I. Devini.”
177 www.johnmoran.com
142
Francisco Masseria
(1927-2002, Argentinian)
“Nino con Taza,” 1963
Oil on canvas
Signed upper right: I. Devini; titled on a label affixed to the frame’s backing paper
20” H x 27.5” W
$2,000-3,000
Provenance: The Estate of John Simpson McKaughan Jr.
178 Latin American Art + Design l Tuesday, April 23, 2024
179 www.johnmoran.com
143
Francisco Masseria (1927-2002, Argentinian)
“Street Urchin,” 1963 Oil on canvas
Signed lower right: I. Devini; titled on a label and plaques affixed to the stretcher and frame, verso
20” H x 16” W
$1,500-2,000
Provenance: The Estate of John Simpson McKaughan Jr.
180 Latin American Art + Design l Tuesday, April 23, 2024
144
Francisco Masseria (1927-2002, Argentinian)
“Chinito”
Oil on canvas
Signed lower right: I. Devini; titled on a label affixed to the frame’s backing paper
28” H x 20” W
$2,000-3,000
Provenance: The Estate of John Simpson McKaughan Jr.
181 www.johnmoran.com
145
20th Century Ecuadorian School
Family Gathering
Oil on canvas laid to masonite
Unsigned
40” H x 42.5” W
$2,000-3,000
Provenance: Charles Adams, Lubbock, TX
The Estate of John Simpson McKaughan Jr.
182 Latin American Art + Design l Tuesday, April 23, 2024
146
Signed, titled, and dated lower right:
22” H x 17.25” W
$700-900
183 www.johnmoran.com
Jose Antonio Velasquez (1906-1983, Honduran) “Honduras,” 1963 Oil on canvas
Jose Antonio Velasquez
184 Latin American Art + Design l Tuesday, April 23, 2024
147
Signed lower right: Kuntz 30” H x 40” W
$4,000-6,000
185 www.johnmoran.com
Roger Edward Kuntz (1926-1975, American) Village square (Puerto Vallerta) Oil on canvas
148
$3,000-5,000
186 Latin American Art + Design l Tuesday, April 23, 2024
Roger Edward Kuntz (1926-1975, American) “Mitla, Mexico” Oil on canvas
Signed lower right: Kuntz; titled verso 30” H x 40” W
187 www.johnmoran.com
Tuesday, April 23, 2024
190 Latin American Art + Design l Tuesday, April 23, 2024
149
A near pair of Mexican chapel sanctuary doors
19th century with 20th century elements
Each wood door with three carved scenes in high relief, one featuring Saint Luke depicted with book and oxen, above Saint Isaac depicted in hermit’s clothing with sacrificial lamb underfoot, above Saint Mark with book and lion; the other featuring Saint John depicted with book and eagle, above Saint Christopher depicted with child in one arm and a staff in the other, above Saint Matthew with book and angel, each set on custom steel stands, 4 pieces
Each: 88” H x 23” W x 11” D; Each stand: 67” H x 38” W x 16.25” D
$2,000-3,000
Provenance: The Estate of John Simpson McKaughan Jr.
Notes: This lot is accompanied by a copy of an appraisal dated December 1988.
191 www.johnmoran.com
150
A pair of pricket stick lamps
18th/19th century
Each carved silvered and giltwood pricket stick on threefooted base later converted to a single-light lamp with custom single-sided embroidered velour sconce shade with gimp trim and braided cording, electrified, 2 pieces
Each: 40” H x 11” W x 10” D
$1,000-2,000
192 Latin American Art + Design l Tuesday, April 23, 2024
151
Each carved, polychromed, and giltwood child figure swathed in fabric with clasped hands in prayer, mounted to a carved giltwood base with scrolled feet
Overall: 13.25” H x 12.75” W x 5.5” D
$800-1,000
193 www.johnmoran.com
Two Latin American carved wood putti 18th/19th century
152
A Spanish Colonial carved wood trestle table
Late 18th/early 19th century
The carved fruitwood table with ornate floral friezes to each side and reed and bead edges, raised on baluster legs joined by an H-stretcher 29.5” H x 48.75” W x 26.25” D
$800-1,200
194 Latin American Art + Design l Tuesday, April 23, 2024
153
A Spanish Colonial trestle console table 18th century
The wood table with rough edge timber top and undershelf
34” H x 83.5” W x 20” D
$2,000-3,000
195 www.johnmoran.com
154
A Spanish Baroque fratino wood table 19th century
The table with carved wood hinged legs possibly previously capable of folded storage action, joined by two wrought iron curvilinear stretchers 29.5” H x 53.75” W x 33.5” D
$1,500-2,000
196 Latin American Art + Design l Tuesday, April 23, 2024
155
A Spanish Colonial carved wood stool 18th/19th century
The wood stool with mortise and tenon joints and single felt-lined drawer and apron, each with carved wood designs, set on four turned wood legs
16.25” H x 21.25” W x 15” D
$400-600
197 www.johnmoran.com
156
A Spanish tabletop vargueño
Late 18th century
The desk with opposed iron handles, featuring a locking drop front with iron hinges, side-latches, and upper locking mechanism, revealing eleven drawers, the central drawer with columnar architectural front and a panel depicting Santa Apolonia
20.125” H x 34.5” W x 17.5” D
$2,500-3,500
198 Latin American Art + Design l Tuesday, April 23, 2024
157
A Peruvian Spanish Colonial petit vargueño
18th century; Peru
The travelling tabletop desk with opposed iron handles, featuring a locking drop front with iron hinges and latch upper locking mechanism, revealing twelve drawers, each later gilt-painted with scrolled motif and the drop front later gilt and painted pastoral scene depicting Lady Justice atop a lion
19.25” H x 29” W x 14.25” D
$2,000-3,000
199 www.johnmoran.com
158
The wood trunk fully wrapped in tooled leather with scalloped edges depicting various flora and fauna motifs, scrollwork, and religious figures, featuring iron hardware, latch locking mechanism, and opposed twisted handles
21” H x 40.75” W x 22” D
$2,000-3,000
200 Latin American Art + Design l Tuesday, April 23, 2024
A Spanish Colonial tooled leather trunk 18th century
159
A carved wood and tin candle mold
Early 19th century
The candle mold with sloped upper tray and twenty-four forms housed in a small wood stand with turned supports 14” H x 15” W x 10” D
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
201 www.johnmoran.com
160
A Spanish Colonial wood cupboard 18th/19th century
The wood cabinet with two lattice-front doors mounted on iron hinges with vertical bar locking mechanism, revealing an interior with two shelves, above a carved wood apron
46.5” H x 33.25” W x 11.25” D
$1,500-2,500
202 Latin American Art + Design l Tuesday, April 23, 2024
161
A Latin American wood cupboard 19th/20th century
The wood cabinet with iron hardware and opposed handles to sides, two lattice-front hinged doors revealing three shelves of cut found wood, and four bun-style feet
72.25” H x 41” W x 24” D
$1,000-2,000
203 www.johnmoran.com
162
A Latin American wood cupboard 19th century
The pine cabinet with iron hardware and two hinged lattice-front doors revealing three shelves and a latch locking mechanism
58.5” H x 37.75” W x 18” D
$1,000-1,500
204 Latin American Art + Design l Tuesday, April 23, 2024
163
A Spanish Colonial wood and leather chair
Late 19th century
The wood chair with tooled leather applied to back splat featuring scrolled foliate motifs and brass fittings, surmounted by a carved wood panel and brass finials, all above a leather seat and set on turned wood legs joined by turned wood stretchers and a carved wood apron 45” H x 27” W x 23.5” D
$700-900
205 www.johnmoran.com
164
18th Century Spanish Colonial School
“Santa Rosa de Lima with the Infant Christ”
Oil on waxed canvas Appears unsigned
50” H x 34” W
$4,000-6,000
Provenance: The Collection of Antonio Roig-Ferre, Puerto Rico
Sold: Jacksons International Auctions, “World Treasures, Important Russian, European, Asian & American Works,” November 17-18, 2015, Lot 486
Exhibited: San Francisco, CA, University of San Francisco, “Sacramental Light,” January 22-April 22, 2007
Literature: Images of Devotion in Spanish Colonial America, Exhibition Catalogue, National Printing & Packing, Denver, CO, p.10.
Notes: This lot is accompanied by a sales invoice from the above-mentioned auction.
206 Latin American Art + Design l Tuesday, April 23, 2024
207 www.johnmoran.com
208 Latin American Art + Design l Tuesday, April 23, 2024
165
18th Century Spanish Colonial School
Saint Louis (Louis IX)
Oil on canvas laid to waxed canvas
Appears unsigned
41” H x 30” W
$2,500-3,500
Provenance: Sold: Leland Little, Hillsborough, NC, “Session VI: Fine & Decorative Arts,” March 11, 2016, Lot 264
209 www.johnmoran.com
166
A Spanish Colonial carved wood blanket chest 19th century or earlier
The wood chest comprising heavy thick-plank construction with hinged top opening to reveal a small inner compartment with hinged top, featuring a carved front panel, wrought iron hardware, and front locking mechanism 29” H x 58” W x 23” D
$800-1,200
210 Latin American Art + Design l Tuesday, April 23, 2024
168
A Spanish Colonial wood trunk
Late 18th century
The wood trunk with barrel top, wrought iron banding, and opposed lug handles, set on a later added steel stand, 2 pieces
Trunk: 21.75” H x 36” W x 19.5” D; Stand: 13” H x 34.5” W x 18.5” D
$500-700
167
A Spanish Colonial wood trunk
Late 18th century
Provenance: The Estate of John Simpson McKaughan Jr.
The wood trunk wrapped on four sides in leather with brass tacking, wrought iron banding and opposed lug handles, adorned at the front with four period padlocks, all set on a later added steel stand, 2 pieces
Trunk: 20.5” H x 37.75” W x 21” D; Stand: 13.75” H x 37.5” W x 19.75” D
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
211 www.johnmoran.com
212 Latin American Art + Design l Tuesday, April 23, 2024
169
A group of late 19th century Mexican retablos Three works:
Figures with stigmata hand Oil on tin
Unsigned 10” H x 7” W
“Mary Magdalene” Oil on tin; titled upper right corner
Unsigned 5.25” H x 4” W
“La Anima Sola de la Catedral de Guadalajara” Oil on tin
Unsigned 9.75” H x 7” W
$600-800
Provenance: From the collection of Stephen Cohen
Notes: “La Anima Sola...” includes a sheet with a hand-written description of the saint and information on Mexican devotional works, all housed in a plastic sleeve and affixed to the frame’s backing.
213 www.johnmoran.com
170
Early 19th century Spanish Colonial Francisco de Asis Oil on canvas with a polychrome painted hand carved frame
Unsigned 31” H x 25” W
$800-1,200
214 Latin American Art + Design l Tuesday, April 23, 2024
215 www.johnmoran.com
216 Latin American Art + Design l Tuesday, April 23, 2024
171
A group of late 19th century Mexican retablos
Three Works:
“El Nino de Atocha”
Oil on tin
Unsigned; titled on a label affixed verso
4.625” H x 3.5” W
“San Miguel”
Oil on tin
Unsigned; titled on a label affixed to the backing of the frame
13.625” H x 10” W
“San Ysidro Labrador”
Oil on tin
Unsigned; titled on a label affixed to the backing of the frame 10” H x 7” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
Notes: Each with labels attesting to patronage of the religious figures depicted, as well as related iconography.
217 www.johnmoran.com
172
A group of early 19th century retablos
Five works:
“Our Lady of Refuge and Sinners”
Oil on tin
Unsigned; titled on a label affixed to the backing of the frame
Sight: 10” H x 7” W
“The Trinity - Father - Son - Holy Ghost”
Oil on tin
Unsigned; titled on a label affixed to the backing of the frame
10” H x 6.875” W
Madonna and Christ Child Oil on tin
Unsigned
Sight: 13.75” H x 9.75” W
“El Christo sobre Crucifijo”
Oil on tin
Unsigned; titled on a label affixed to the backing of the frame
10.5” H x 8.25” W
Child saint Oil on tin
Unsigned
14” H x 10” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
Notes: Some with labels attesting to patronage of the religious figures depicted, as well as related iconography.
218 Latin American Art + Design l Tuesday, April 23, 2024
219 www.johnmoran.com
173
A group of Latin American religious sculptures 18th/19th century
The carved wood figures comprising a gilt and polychrome Mary figure holding baby Jesus, a crucifix housed in a small tabernacle with placed ribbon and mixed media, a pious monk depicted with prayer hands, and a polychrome partial Christo figure, 4 pieces
Largest: 17.75” H x 9” W x 4.625” D; Smallest: 12.625” H x 3.75” W x 2.75” D
$500-700
Provenance: From the collection of Stephen Cohen
220 Latin American Art + Design l Tuesday, April 23, 2024
174
Three Mexican folk art nichos 19th/20th century
Comprising a polychromed wood nicho depicting a female religious plaster figure holding a book and model church, with applied and placed faux flowers, paper ribbon, and plaster miniature Mother Mary figurine; a polychrome wood nicho depicting Mary, Joseph and baby Jesus in the manger; a polychrome tin nicho featuring two religious with an offering box to one side, 3 pieces
Largest: 12” H x 7.25” W x 5.375” D; Smallest: 10” H x 6” W x 4.125” D
$400-600
221 www.johnmoran.com
175
A Spanish Colonial santos cage doll 18th century
Possibly Saint Adelaide, the life-sized polychromed carved wood and plaster female mannequin with detached articulated arms, adorned with a burlap dress, a beaded shell necklace, and a gilt metal crown studded with cut glass gems 60” H x 25” W x 17” D
$3,000-5,000
222 Latin American Art + Design l Tuesday, April 23, 2024
176
A Spanish Colonial santos cage doll
18th century
Halo marked: 925
The life-sized polychromed carved wood and plaster male mannequin with articulated wood arms and plaster feet, adorned with a sterling silver repoussé halo
60.5” H x 21.5” W x 16” D
Halo: 1.1 gross oz. troy approximately
$3,000-5,000
223 www.johnmoran.com
177
Two Paraguayan santos cage dolls 20th century
The tabletop carved wood mannequins, each with articulated wood arms, one adorned with silver saint medals, one with painted red heart and adorned with a multi-strand necklace and various silver religious pendants, 2 pieces
Larger: 17.25” H x 7” W x 7” D; Smaller: 16.75” H x 7” W x 7” D
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
226 Latin American Art + Design l Tuesday, April 23, 2024
178
A Mexican carved wood santo bulto figure
Late 19th century
The large Spanish Colonial carved wood saint figure assembled in six sections with a flat back, set on a custom steel stand, 2 pieces
Figure: 40.5” H x 23” W x 8.25” D;
Stand: 34.5” H x 15” W x 14.25” D
$800-1,200
Provenance: Michael Vidargas, San Miguel de Allende, Guanajuato, Mexico
Sloan Simpson O’Dwyer, acquired from the above The Estate of John Simpson McKaughan Jr., acquired from the above
Notes: This lot is accompanied by a laminated description of the provenance as accounted by the previous owner’s repute.
227 www.johnmoran.com
179
A Latin American santo bulto figure
19th century
The carved wood and polychrome robed saint figure depicted right hand outstretched and right foot above a blue ball with stars, mounted on a hexagonal base
19.5” H x 8.75” W x 8” D
$1,000-1,500
Provenance: The Estate of John Simpson McKaughan Jr.
228 Latin American Art + Design l Tuesday, April 23, 2024
180
Two Latin American santos figures
Late 19th century
The polychrome and gilt carved wood figures comprising a Mexican robed male with arms outstretched and a Brazilian figural youth in front of a cross and mounted on a tiered base, 2 pieces
Larger: 15.75” H x 9.5” W x 4” D; Smaller: 15.5” H x 7.25” W x 5.625” D
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
229 www.johnmoran.com
181
A Latin American santo bulto figure
Late 19th century
Possibly Saint Thomas Aquinas, the gilt and polychrome carved wood saint figure depicted in robes holding a bible and right hand ostensibly raised in blessing, set on a wooden cube plinth
Figure: 19.375” H x 7.5” W x 5.75” D; Plinth: 7” H x 7” W x 7” D
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
230 Latin American Art + Design l Tuesday, April 23, 2024
182
A Latin American wood and silver altar crucifix
Late 19th century
The ebonized wood cross with repoussé gilt silver flourishes at the terminuses, one bearing the Titulus Crucis, centering the mounted polychromed plaster Jesus figure, all mounted on a half-turned footed base
27.5” H x 14” W x 3.5” D
$800-1,200
Provenance: The Estate of John Simpson McKaughan Jr.
231 www.johnmoran.com
183
A Latin American wood and silver altar crucifix
Late 19th century
The wood cross with repoussé silver flourishes at the terminuses, one bearing the Titulus Crucis and one with mounted glass or stone accent centering a holy light medallion, above the mounted polychromed plaster Jesus figure, all mounted on a half-turned ebonized wood base
28.25” H x 13” W x 3” D
$800-1,200
Provenance: The Estate of John Simpson McKaughan Jr.
184
A Latin American wood and silver altar crucifix
Late 19th century
The ebonized wood cross with repoussé silver flourishes at the terminuses, one bearing the Titulus Crucis and one with mounted glass or stone accent centering a holy light medallion, above the mounted polychromed plaster Jesus figure, all mounted on a half-turned footed base
23” H x 14” W x 3.25” D
$800-1,200
Provenance: The Estate of John Simpson McKaughan Jr.
232 Latin American Art + Design l Tuesday, April 23, 2024
185
A Latin American wood and silver altar crucifix
Late 19th century
The wood cross with repoussé silver flourishes at the terminuses, one bearing the Titulus Crucis and one with mounted glass or stone accent centering a holy light medallion, above the mounted polychromed plaster Jesus figure, all mounted on a half-turned footed base
25.75” H x 14” W x 4” D
$800-1,200
Provenance: The Estate of John Simpson McKaughan Jr.
233 www.johnmoran.com
186
A New Mexican tabernacle crucifix statuary
Early 19th century
The carved and painted wood crucifix later adorned with various silvered metal and felt jewelry items, mounted to a custom cruciform pinewood and linen frame
Crucifix: 31.5” H x 22” W x 5” D; Frame: 36.5” H x 28.625” W x 1.5” D
$800-1,200
Provenance: The Estate of John Simpson McKaughan Jr.
234 Latin American Art + Design l Tuesday, April 23, 2024
187
A New Mexican carved wood Cristo
Late 19th century
Possibly by Santero Juan Miguel Herrera (1835-1905), the polychromed carved Jesus figure mounted to an ebonized wood cross above a turned wood base 27.75” H x 14” W x 7” D
$3,000-5,000
235 www.johnmoran.com
188
A group of Latin American Cristos figures 18th/19th century
The Spanish Colonial group of Cristos comprising a possibly Peruvian altar screen of painted green wood and yellow tin embellishments, a later painted pink carved wood Jesus of Nazareth, a carved wood darker figure on yellow cross, a green painted wood cross with repoussé silver flourishes at the terminuses and figure adorned with embroidered fabric and lace, and an earlier carved figure on an ebonized cross, 5 pieces
Largest: 23.25” H x 12.25” W x 5” D; Smallest: 16.25” H x 7.375” x 4.5” D
$1,000-1,500
236 Latin American Art + Design l Tuesday, April 23, 2024
189
A group of Latin American santos figures 19th/20th century
The carved wood and polychrome figures, some with gilt accents, applied metal, or fabric elements, comprising Our Lady of Guadalupe, three Saint Anthony of Padua figures, Saint Francis, one possibly Saint Roche, and a figure of a man in chains within a lake of fire in Purgatory, 7 pieces
Tallest: 16.5” H; Shortest: 9.5; Purgatory: 6.75” H x 5.375” W x 4.25” D
$1,000-1,500
237 www.johnmoran.com
238 Latin American Art + Design l Tuesday, April 23, 2024
190
A group of Latin American santos bultos figures 19th/20th century century
The carved wood and polychrome figures comprising Madonna of the Immaculate Conception, Saint Anthony of Padua, and three other saints, two with gilt accents to robes, 5 pieces
Tallest: 9.5” H; Smallest: 8.375” H
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
239 www.johnmoran.com
191
A group of Latin American santos bultos figures 19th/20th century
The carved wood and polychrome figures comprising Our Lady of Guadalupe, two figures of Saint Anthony of Padua depicted holding a book, Saint John with a lamb, and two others, some with gilt accents to robes, 6 pieces
Tallest: 11.125” H; Shortest: 8.5” H
$700-900
Provenance: The Estate of John Simpson McKaughan Jr.
240 Latin American Art + Design l Tuesday, April 23, 2024
192
A group of Latin American santos bultos figures 19th/20th century
The carved wood and polychrome comprising Madonna of the Immaculate Conception, Saint Anthony of Padua, Our Lady of Guadalupe, and four others, some with gilt accents to robes, 7 pieces
Tallest: 11” H x 8” H
$700-900
Provenance: The Estate of John Simpson McKaughan Jr.
241 www.johnmoran.com
193
A group of Latin American santos bultos figures 19th/20th century
The carved wood and polychrome figures comprising Our Lady of Guadalupe, Madonna of the Immaculate Conception, Saint Anthony of Padua, and three others, some with gilt accents to robes, 6 pieces
Tallest:12.25” H; Shortest: 10.5” H
$700-900
Provenance: The Estate of John Simpson McKaughan Jr.
242 Latin American Art + Design l Tuesday, April 23, 2024
194
A group of Mexican carved wood masks
19th/early 20th century; Oaxaca, Mexico
Each unmarked
Comprising six carved wood masks, four with polychrome and one with applied leather and horse hair, each set on custom metal display stands, 6 pieces
Largest: 9.5” H x 6.125” W x 4.5” D; Smallest: 7.5” H x 5.25” W x 3.625” D
$500-700
243 www.johnmoran.com
195
Three Bolivian Tinku cowhide montera helmets
Late 19th century
Modeled after Spanish conquistador helmets and traditionally wor n by male dancers in Festive Tinku rituals, each helmet constructed from thick cowhide in four quadrants, with cotton canvas strap to the crown, set on custom wood and metal stands, 3 pieces
Largest helmet: 11” H x 10” W x 16.5” D; Each stand: 15” H x 6” Dia.
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
244 Latin American Art + Design l Tuesday, April 23, 2024
196
Two Peruvian shawl pins
Pre-Columbian (15th century) or later
Likely of Paracas/Nazca origin, each pin with hammered metal figural panel, one featuring feline figures and adorned with birds, the other featuring serpentine figures and adorned with a mask medallion, each set in a custom leather fitted frame, 2 pieces
Each pin: 10.25” H x 4.5” W approx.; Each case: 16.25” H x 10.25” W x 1” D
$800-1,200
Provenance: Oscar and Edith Landmann, Sao Paulo, Brazil
The Estate of John Simpson McKaughan Jr., gifted from the above between 1961-1968
Notes: This lot is accompanied by a description of the provenance and items by repute of the previous owner.
245 www.johnmoran.com
197
Two Panamanian framed mola textiles
Early/mid-20th century
Comprising one black on white appliqué depicting three birds, the other in polychrome appliqué depicting a reptilian figure, 2 pieces
Larger: 15.5” H x 21” W; Smaller sight: 11.5” H x 15.375” W
$200-300
246 Latin American Art + Design l Tuesday, April 23, 2024
247 www.johnmoran.com
248 Latin American Art + Design l Tuesday, April 23, 2024
198
A group of Panamanian mola textiles
Early/mid-20th century
The vibrantly embroidered fabric panels with appliqué elements, each depicting various avian, serpentine, or geometric motifs, 12 pieces
Largest: 16.5” H x 19” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
249 www.johnmoran.com
199
A group of Panamanian mola textiles
Early/mid-20th century
One with fabric tag stitched to corner: Authentic San Blas Indian Mola / Handmade in Panama; one with lettering: Robles Conlacampana / Partido Liberal Nacional / Democracia / Justicia / Libertad; some with other lettering
The vibrantly embroidered fabric panels with appliqué elements, each depicting various avian, serpentine, figural, or geometric motifs, 14 pieces
Largest: 21” H x 29.5” W
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
250 Latin American Art + Design l Tuesday, April 23, 2024
251 www.johnmoran.com
200
Four Panamanian mola shirts
Mid-20th century
One reading: Pedro Infante / Originales
The cotton and polyester shirts constructed from vibrantly embroidered fabric panels featuring appliqué designs depicting various anthropomorphic creatures or figures, three with draw string collar and one with quarter zipper to front, 4 pieces
Each: 20” H x 27.5” W approximately
$200-300
Provenance: The Estate of John Simpson McKaughan Jr.
252 Latin American Art + Design l Tuesday, April 23, 2024
201
Four Panamanian mola shirts
Mid-20th century
The cotton and polyester shirts constructed from vibrantly embroidered fabric panels featuring appliqué designs depicting various anthropomorphic creatures or figures, one with large numbers, one with lettering, three with draw string collar, and one with quarter zipper to front, 4 pieces
Each: 23” H x 27” W approximately
$200-300
Provenance: The Estate of John Simpson McKaughan Jr.
253 www.johnmoran.com
202
Five Panamanian mola shirts
Mid-20th century
The cotton and polyester shirts constructed from vibrantly embroidered fabric panels featuring appliqué designs depicting various flora, fauna, and geometric motifs, each with draw string collar, 5 pieces
Each: 21” H x 30” W approximately
$200-300
Provenance: The Estate of John Simpson McKaughan Jr.
254 Latin American Art + Design l Tuesday, April 23, 2024
203
A group of Guatemalan woven sashes and belts
1940s-1960s, Mam, Cachiquel, and Quiché
Comprising various vibrantly woven cotton, silk, or blended fabric sashes and belts, some with fringes, frills, or tassels at the edges, 19 pieces
Largest sash: 134” L x 8.5” W; Longest belt: 96” L x 4” W
$600-800
Provenance: The Estate of John Simpson McKaughan Jr.
Notes: This lot is accompanied by a series of laminated informational cards detailing peoples, geographic origin, and age of these pieces.
255 www.johnmoran.com
204
Two Bolivian embroidered felt bowler hats
Early/mid-20th century
The wool felt hats with stiff crowns, each brightly embroidered in banded wool and cotton with applied pompom flourish to one side, 2 pieces
Each: 5.75” H x 10.5” W x 11” D; Inner brim: 6.25” W x 6.75” D
$200-400
Provenance: The Estate of John Simpson McKaughan Jr.
256 Latin American Art + Design l Tuesday, April 23, 2024
205
A group of Latin American wrought iron single spurs
Early 20th century
One heel marked: FD
The assembled group of unmatched spurs, all but one wrought iron, three with silver inlay, each of various style of heel, shank, and rowel, 16 pieces
Largest Inner heel: 3.5” W; Largest rowel: 5” Dia.
$1,000-1,500
Provenance: The Estate of John Simpson McKaughan Jr.
257 www.johnmoran.com
206
A pair of Mexican silver inlaid charro spurs
Circa 1920
The wrought iron spurs with silver inlaid to outer heel band, shanks, and outer strap buttons, each with circular shank issuing six and eight-point rowels, 2 pieces
Each inner heel band: 3” W ; Each heel depth: 2.75” D; Each rowel: 3.125” Dia.
$200-400
Provenance: The Estate of John Simpson McKaughan Jr.
258 Latin American Art + Design l Tuesday, April 23, 2024
207
A pair of South American carved wood stirrups
19th century; Chile/Argentina
After Spanish Colonial design, the wood stirrups with blunt tips, various carved motifs, and cast iron oxbow straps, 2 pieces
Each: 7.5” H x 5.5” W x 7.75” D approximately
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
259 www.johnmoran.com
208
A pair of South American carved wood stirrups 19th century; Chile/Argentina
After Spanish Colonial design, the wood stirrups with blunt tips, various carved motifs, and cast iron oxbow straps, 2 pieces
Each: 7.625” H x 6.125” W x 8.75” D approximately
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
260 Latin American Art + Design l Tuesday, April 23, 2024
209
A pair of South American carved wood stirrups 19th century; Chile/Argentina
After Spanish Colonial design, the wood stirrups with pointed tips, various carved motifs, and cast iron oxbow straps, 2 pieces
Each: 7.5” H x 5.75” W x 8.75” D approximately
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
261 www.johnmoran.com
210
Three pairs of South American stirrups 19th century; Chile/Argentina
Comprising one Mapuche-style pair of carved wood, another Huaso-style carved wood pair with silver inlaid cast iron oxbow straps, and a pair of tooled leather and wood, 6 pieces
Largest: 7” H x 6.75” W x 7.25” D; Leather: 5.5” H x 6.5” W x 7” D
$300-500
Provenance: The Estate of John Simpson McKaughan Jr.
262 Latin American Art + Design l Tuesday, April 23, 2024
211
A group of South American carved wood stirrups 19th century; Chile/Argentina
After Spanish Colonial design, the wood stirrups with blunt or rounded tips, various carved motifs, and cast iron oxbow straps featuring silver inlay, 5 pieces
Largest: 7.875” H x 6.25” W x 8.25” D; Smallest: 6.5” H x 5.75” W x 7.75” D
$500-700
Provenance: The Estate of John Simpson McKaughan Jr.
263 www.johnmoran.com
212
A group of South American carved wood stirrups 19th century; Chile/Argentina
After Spanish Colonial design, the wood stirrups with blunt or rounded tips, various carved motifs, and cast iron oxbow straps, three featuring silver inlay, 5 pieces
Largest: 7.125” H x 5.875” W x 9” D; Smallest: 6.5” H x 5.75” W x 7.5” D
$400-600
Provenance: The Estate of John Simpson McKaughan Jr.
264 Latin American Art + Design l Tuesday, April 23, 2024
213
A pair of Spanish Colonial brass stirrups
18th/19th century; Peru
One marked: FF 50; the other marked: FF 55
The conquistador stirrups with incised designs and squared toe, 2 pieces
Each: 5” H x 10.5” W x 4.625” D
$100-200
Provenance: The Estate of John Simpson McKaughan Jr.
265 www.johnmoran.com
266 Latin American Art + Design l Tuesday, April 23, 2024
214
A Mexican sterling silver coffee and tea service Mid-20th century
Each stamped: CLS / Sterling 925 / Hecho en Mexico / [Eagle 141]
Comprising a coffee pot (9.25” H x 10” W x 5.75” D), a tea pot (9” H x 9.625” W x 5.875” D), a hot water kettle with chafing stand (15.125” H x 8.625” W x 7.325” D), a waste bowl (2.5” H x 4.25” Dia.), a lidded sugar bowl with opposed handles (6.625” H x 6” W x 4” D), and a creamer (4.75” H x 5.25” W x 4” D), all set on a tray (1.875” H x 27.5” W x 18” D), 8 pieces
255.1 gross oz. troy approximately
$3,000-5,000
267 www.johnmoran.com
American Art + Design l Tuesday, April 23, 2024
www.johnmoran.com
215
A Juvento Lopez Reyes sterling silver footed centerpiece
Mid-20th Century
Stamped for sterling and for Juvento Lopez Reyes, with indecipherable eagle assay mark
The oval bowl with lobed interior and opposed handles
7.875” H x 26.25” W x 12.5” D
80.3 oz. troy approximately
$1,200-1,800
270 Latin American Art + Design l Tuesday, April 23, 2024
216
An Alfredo Ortega and Sons sterling silver tray
Mid-20th century
Stamped to underside: Sterling / 925 / Ortega / Mexico / [logo] / 13999
The Colonial-style Mexican sterling silver tray with opposed concave handles
1.325” H x 21.325” W x 13.875” D
60.2 oz. troy approximately
$400-600
271 www.johnmoran.com
217
A Platería Victoria copper and silver table centerpiece
Ana María Nuñez De Brilantii (1910-1999)
Mid-20th century; Taxco, Mexico
Stamped: Victoria / Mexico / Taxco
The “metales casado,” or “married metals” sloped footed bowl with silvered interior and sheet copper openwork flourish to one side with with applied silver floral elements
7.625” H x 11.5” W x 6.75” D
$300-500
272 Latin American Art + Design l Tuesday, April 23, 2024
218
A Los Castillo silver-plated creamer and sugar set Mid-20th century
Each marked to underside: Los Castillo Taxco / Hecho en Mexico / TA-01 / Plateado / 383; sugar further marked: 15 Comprising a creamer featuring a mounted hardstone inlaid bird handle with vermeil metal beak, a lidded sugar with two opposing conformingly inlaid birds mounted, the body with two additional mid-relief birds, one inlaid, and a spoon conformingly inlaid and with a floral element to handle, 3 pieces
Creamer: 5.5” H x 3.375” W x 2.875” D; Sugar: 5.625” H x 6” W x 4.25” D; Spoon: 5.875” L
$200-400
273 www.johnmoran.com
219
A Pepe Mendoza fish ashtray
1950s
Marked to underside: [sic] endo [sic] / Hecho en Mexico / T No 59443 / Y07-58
The fish-form brass ashtray inlaid with turquoise ceramic
1” H x 7” W x 2.25” D
$400-600
274 Latin American Art + Design l Tuesday, April 23, 2024
220
A William Spratling Mexican silver cuff bracelet
William Spratling (1900-1967)
Circa 1940-1944, First Design Period; Taxco, Mexico
Stamped for William Spratling; further stamped: Mexico / Silver
A chased sterling silver cuff with interlaced Aztec-style motif and repoussé accents to edges
6.5” total inner C x 1.25” H, with a 1” gap
73.3 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 22, fig. 2-5.
Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 39, fig. III-18.
275 www.johnmoran.com
221
A group of William Spratling Mexican silver and amethyst brooches
William Spratling (1900-1967)
Circa 1933-1939 and 1940-1946, First Design Period; Taxco, Mexico
Each stamped for William Spratling; further variously stamped: 980 / Taxco / Mexico / Made in Mexico / Spratling / Silver
Four works comprising an abstract openwork brooch (1.625” H x 2.375” W), as well as a chased silver eagle with snake brooch (1.75” H x 2.375” W), a round fanged serpent overlay design brooch/pendant (2.25” Dia.), and an oval brooch with a set amethyst cabochon flanked by chased silver figures (2.25” H x 2.5” W), 4 pieces 110.6 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Two designs illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 34, fig. III-5a, and 43, fig. III-30.
One design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 42, plate 34.
276 Latin American Art + Design l Tuesday, April 23, 2024
222
A William Spratling Mexican silver brooch
William Spratling (1900-1967)
Circa 1939, First Design Period; Taxco, Mexico
Stamped for William Spratling; further stamped: 980 / Taxco
A large brooch with interlaced V-motifs and repoussé accents
2.625” H x 3.125” W
35.5 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
277 www.johnmoran.com
223
A group of William Spratling silver and amethyst brooches
William Spratling (1900-1967)
Circa 1940-1944 and 1944-1946, First Design Period; Taxco, Mexico
Each stamped for William Spratling; further stamped; Made in Mexico / Silver
Three works comprising an elongated feather brooch with pronged clasp, a silver parrot pin, and a silver eagle pin, each with a set amethyst cabochon, 3 pieces
Largest: 2.125” H x 3.125” W; Smallest: 1.5” H x 1” W
85.1 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: One design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field
Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 46, fig. 2-87.
278 Latin American Art + Design l Tuesday, April 23, 2024
224
A group of William Spratling silver and amethyst jewelry
William Spratling (1900-1967)
Circa 1940-1946, First Design Period; Taxco, Mexico
Each stamped for William Spratling; further variously stamped: Made in Mexico / Silver / Sterling
Five works in sterling silver comprising a graduated silver bead necklace (15” L), a repoussé stylized scale three-row link bracelet (7.5” L x 1” H), a double tulip brooch with silver and carved amethyst flowers (1” H x 2.25” W), a domed silver ring (Ring size: 6.25), and a pair of domed silver earclips (Each: 0.625” Dia.), 6 pieces 132.8 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
279 www.johnmoran.com
225
A group of William Spratling silver and amethyst jewelry
William Spratling (1900-1967)
Circa 1933-1939, 1940-1946,1951-1956; First and Third Design Periods; Taxco, Mexico
Each stamped for William Spratling; further variously stamped: Made in Mexico / Silver / Taxco / 980 / 925 / Eagle 30
Five works comprising an amethyst-set bow brooch (2” H x 4.5” H), a silver ring with amethyst cabochon (Ring size: 5.75), a rectangular “crowned pyramid” silver ring with rolled fringe edges (Ring size: 5), and two silver and abalone fish pins, oriented face-to-face (1.375” H and 1” H), 5 pieces 77.9 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Some designs illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 42, fig. 2-69; 46, fig. 2-92; 99, fig. 2-314.
280 Latin American Art + Design l Tuesday, April 23, 2024
226
An Antonio Pineda Mexican silver necklace
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Stamped with crown mark for Antonio Pineda; further stamped: [Eagle 17] / Hecho en Mexico / Silver / 970 / YY510
Comprising a chunky raised curvilinear leaf-form link necklace
16.5” L x 0.75” H
106.0 grams
$1,000-1,500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
281 www.johnmoran.com
227
An Antonio Pineda Mexican silver necklace
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Stamped with crown mark for Antonio Pineda; further stamped: Hecho en Mexico / 970
Comprising a sterling silver chunky wave-form curved link necklace
14” L x 0.5” H
82.2 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
282 Latin American Art + Design l Tuesday, April 23, 2024
228
An Antonio Pineda Mexican silver necklace
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Crown for Antonio Pineda; Further stamped: 970 / Hecho en Mexico / [Eagle 17]
A sterling silver link necklace with delicate openwork festoon links
15.5” L x 0.625” H
73.4 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
283 www.johnmoran.com
229
Two Hector Aguilar Mexican silver necklaces
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Stamped: HA [conjoined] / .940 / Taxco / [Eagle 9]
Two single necklaces with narrow scrolled wave-and-ball links, or joined forming a single longer necklace
16” L and 14.25” L x 0.5” H 140.5 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
284 Latin American Art + Design l Tuesday, April 23, 2024
230
A set of Antonio Pineda Mexican silver link jewelry
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Each stamped with crown mark for Antonio Pineda; further stamped: Silver / Made in Mexico / [Eagle 17]
Two works in sterling silver comprising a necklace and matching bracelet, each with curved repoussé foliate links, 2 pieces
Necklace: 15.5” L x 0.5” H; Bracelet: 6.5” L x 0.5” H 114.8 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
285 www.johnmoran.com
231
A group of Antonio Pineda Mexican silver and amethyst jewelry
Antonio Pineda (1919-2009)
Circa 1948-1953,1953-1979; Taxco, Mexico
Two stamped with crown mark for Antonio Pineda and Eagle 17; further stamped: Hecho en Mexico / 970 / PR527; Leaf stamped: Silver by Tono / Mexico
Three works in sterling silver comprising a bow brooch suspending trumpet-style silver drops tipped with amethyst (4.5” H x2” W), with a pair of amethyst drop screw-back earrings (Each: 1.75” H), as well as a stylized leaf brooch with set amethyst cabochons (3” H x1.5” W), 4 pieces
85.0 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
286 Latin American Art + Design l Tuesday, April 23, 2024
232
A group of Antonio Pineda Mexican silver jewelry
Antonio Pineda (1919-2009)
Circa 1941-1948, 1953-1979; Taxco, Mexico
Three stamped: AP; three with crown mark for Antonio Pineda; further variously stamped: 980 / Taxco / Sterling / Mexico / 970 / Hecho en Mexico / Silver / [Eagle 17]; earrings attributed to Pineda
Seven works comprising four flower motif brooches, one with a pair of matching earrings (Largest: 2.5” H x 2.25” W; Smallest: 2” H x 1.5” W; Each earring: 1” Dia.), as well as an abalone inlay thin silver bangle (7.75” inner C x 0.25” H) and an abalone locket keychain (4.5” H with chain x 0.75” W), 8 pieces 130.1 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
287 www.johnmoran.com
233
A group of Antonio Pineda Lascaux-motif silver jewelry
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Each with crown mark for Antonio Pineda; further variously stamped: 970 / [Eagle 17] / Hecho en Mexico / Silver / [design number] / [Eagle 3] / VJ / Taxco / Mexico
Four works in sterling silver comprising a mixed-metal buckle with a flock-of-birds motif on a black leather belt (2” H x 5” L; belt: 31” L), a large shadowbox Lascaux-motif oval belt buckle on a black leather belt (No. PZ148; 2.375” H x 5.75” W; belt: 32” L), a shadowbox Lascaux-motif rectangular buckle (No. PZ155; 1.125” H x 2.25” W), and a pair of oval Lascaux-motif cufflinks (Each: 1” H x 1.5” W), 5 pieces
424.3 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Similar designs illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 141, plate 172, 173, 174.
288 Latin American Art + Design l Tuesday, April 23, 2024
234
A pair of Fred Davis Mexican silver and amethyst bracelets
Frederick W Davis (1880-1961)
Circa pre-1948; Mexico City, Mexico
Each stamped: FD [conjoined] / Silver / Mexico
Comprising two link bracelets each with “caviar” links of silver sphere clusters centering one round cabochon amethyst, 2 pieces
Larger: 7.5” L x 1.25” H; Smaller: 7.375” L x 1.125” H
123.1 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
289 www.johnmoran.com
235
A group of Fred Davis Mexican silver and turquoise jewelry
Frederick W Davis (1880-1961)
Circa pre-1948; Mexico City, Mexico
Each stamped: FD / Mexico / Silver
Three works with set turquoise cabochons comprising a stylized repoussé “caviar” link necklace (15.5” L x 0.875” H), together with a hinged silver ball bangle bracelet (6.5” inner C x 0.75” H), and a circle brooch (2” Dia.), 3 pieces 111.2 grams gross
$1,000-1,500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
290 Latin American Art + Design l Tuesday, April 23, 2024
236
A group of Fred Davis Mexican silver jewelry
Frederick W Davis (1880-1961)
Circa pre-1948; Mexico City, Mexico
Each stamped: FD; further variously stamped: Made in Mexico / Silver
Five works comprising a ornamental “Lyre” link bracelet (7” L x 1.25” H), a trapezoidal panel link necklace (14” L x 0.5” H), and an incised spiral double-dome belt buckle with leather belt (1.375” Dia. x 2.75” W; belt: 31.5” L x 0.875” H), together with a similar design spiral dome ring (Ring size: 7), and a crown-style section from a hair ornament (1.125” H x 5” W), 5 pieces
164.1 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: One design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern HandWrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007)27, fig. II-9.
291 www.johnmoran.com
237
A group of Fred Davis Mexican silver and stone set jewelry Frederick W Davis (1880-1961)
Circa pre-1948; Mexico City, Mexico
Each stamped FD; further variously stamped: Made in Mexico / Silver / Mexico; earrings attributed to Davis
Six works comprising a silver mask link necklace (17.25” L x 0.625” H), a silver and set carved obsidian mask link necklace (15.25” L x 0.625” H) with a matching link bracelet (7.25” L x 0.625” H), a mask brooch (1.5” H x 2.25” W) and a mask ring (Ring size: 6.75; 1” H), as well as a pair of carved amethyst mask screw back earrings (Each: 0.75” H), 7 pieces 215.9 grams gross
$1,000-1,500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
292 Latin American Art + Design l Tuesday, April 23, 2024
238
A group of Fred Davis Mexican silver and amethyst brooches
Frederick W Davis (1880-1961)
Circa pre-1948; Mexico City, Mexico
Each stamped: FD; further variously stamped: Silver / Mexico / 925 / Made in Mexico
Five brooches in stylized floral and foliate motifs including one brooch with carved amethyst flowers and one with set amethyst cabochons, 5 pieces
Largest: 2.75” H x 3.5” W; Smallest: 1.25” H x 2.5” W
106.3 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
293 www.johnmoran.com
239
Two Sanborns Mexican silver and turquoise bracelets
Mid-20th century, Mexico City, Mexico
Each stamped: Sanborns / Mexico / Sterling / [Eagle 22]
Comprising two curved trapezoidal link bracelets, each with row set turquoise, 2 pieces
Each: 7” L x 0.75” H
127.2 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
294 Latin American Art + Design l Tuesday, April 23, 2024
240
An Antonio Pineda Mexican silver “Wave” brooch
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Stamped with crown for Antonio Pineda; further stamped: Sterling / Mexico / Silver / 970 / PR562 / [Eagle 17]
A chunky round brooch with swirled raised wave motifs
1.75” Dia. x 0.75” H
40.6 grams
$400-600
295 www.johnmoran.com
296 Latin American Art + Design l Tuesday, April 23, 2024
241
A Carmen Beckmann Mexican silver and opal cuff bracelet
Carmen Beckmann (b. 20th century)
Circa 1960-1980; San Miguel de Allende, Mexico
Stamped: Bekmann / Mexico / Sterling
A chunky sterling silver hinged cuff with multiple bezel-set fire opal cabochons, with silver balls and rope wire accents
6.5” inner C x 2.625” H 134.8 grams gross
$800-1,200
297 www.johnmoran.com
242
A William Spratling “River of Life” silver cuff bracelet
William Spratling (1900-1967)
Circa 1944-1946, First Design Period; Taxco, Mexico
Stamped for William Spratling; further stamped: Made in Mexico / Silver
Designed as incised silver waves with applied narrow Aztec rings
6.5” total inner C x 1.375” H, with a 1” gap
102.6 grams
$800-1,200
298 Latin American Art + Design l Tuesday, April 23, 2024
244
An Antonio Pineda Mexican silver and onyx link bracelet
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
With crown mark for Antonio Pineda; further stamped: Mexico / Sterling Silver / 970 / [Design number] ZZ 767 / [Eagle 17]
A sterling silver and curved set onyx link bracelet with stacked silver balls
7” L x 1” H
68.3 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
243
An Antonio Pineda Mexican silver and set stone bracelet
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Crown mark for Antonio Pineda; further stamped: 970 / JVL / Taxco / Sterling / [Eagle 208]
Comprising a sterling silver link bracelet, each square link with a set faceted blue stone to one corner
6.75” L x 0.75” H
100.8 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
299 www.johnmoran.com
245
An Antonio Pineda Mexican silver and stone-set bracelet
Antonio Pineda (1919-2009)
Circa 1948-1953; Taxco, Mexico
Stamped: Silver By Tono [within circle] / Taxco
A chunky Silver by Tono link bracelet with various rectangular set stones including agate
6.5” L x 1.25” H
101.4 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
246
A Bernice Goodspeed Mexican silver floral cuff bracelet
Bernice Goodspeed (d. 1971)
Mid-20th century; Taxco, Mexico
Stamped: B / Sterling / Taxco / [Eagle 28]
A sterling silver hinged cuff with incised and repoussé foliate and floral motifs with silver ball accents
7” inner C x 2.5” H
61.5 grams
$200-400
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
300 Latin American Art + Design l Tuesday, April 23, 2024
247
A Hector Aguilar Mexican silver “Maguey” link bracelet
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / 940 / Taxco
A sterling silver incised link bracelet with stylized leafs alter nating with stacked silver balls
7” L x 1.25” H
103.6 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 100, fig. VII-2 and 107, fig. VII-24
301 www.johnmoran.com
248
A Hector Aguilar Mexican silver link bracelet
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / Taxco / 940
A chunky sterling silver link bracelet with pyramidal and silver ball links
7” L x 1” H
86.1 grams
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 65, fig. I-113.
302 Latin American Art + Design l Tuesday, April 23, 2024
250
Two Hector Aguilar Mexican silver bracelets
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Each stamped: HA [conjoined] / Taxco / 990
A pair of chunky sterling silver link bracelets, each with incised silver X-form scrolled links, 2 pieces
Larger: 7.5” L x 1.125” H; Smaller: 6.25” L x 1” H
216.0 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-23.
249
A Hector Aguilar Mexican silver cuff bracelet
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / Made in Mexico / Sterling
A chunky sterling silver cuff with interlaced fine wire motif and silver ball terminals 6.5” total inner C x 1.25” H, with a 1.125” gap
58.9 grams
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 89, fig. II-39.
303 www.johnmoran.com
251
Three Hector Aguilar Mexican silver bracelets
Hector Aguilar (1905-1986)
Circa 1940-1945, 1943- 1948, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: .940 / Taxco / Mexico / [Eagle 9] / Sterling / Made in Mexico
Three works in sterling silver comprising a chunky incised silver link bracelet with stacked silver balls (6.5” L x 0.875” H), a bracelet with openwork circle links with silver ball edging (7” L x 1” H), and a diminutive chain bracelet with set turquoise-colored stones (7.25” L x 0.5” H), 3 pieces 151.2 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
304 Latin American Art + Design l Tuesday, April 23, 2024
252
A Hector Aguilar “Georgia O’Keefe” concho belt
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Buckle stamped: HA / Taxco / 940
Comprising four “X” shaped conchos alternating with 5 large fixed silver rivets on a wide black suede belt, with detachable buckle piece, 2 pieces
Each concho: 2.25” H x 3.75” W; Belt: 35.5” L x 2” H 253.0 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 107, fig. III-24; 108, fig. III-26.
305 www.johnmoran.com
253
A Hector Aguilar Mexican silver necklace
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / Sterling / Made in Mexico
A delicate sterling silver “Lyre” necklace designed with alternating spade and point links with raised linework, strung on thin rope wire with a hook clasp 17” L x 1” H
105.1 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 31, fig. I-28.
306 Latin American Art + Design l Tuesday, April 23, 2024
254
A Hector Aguilar Mexican silver link belt
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Stamped: HA [conjoined] / .940 / Taxco / Mexico / [Eagle 9]
A chunky sterling silver belt or necklace with incised openwork “half-moon” crescent links
32.5” L x 1.125” H
257.6 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
307 www.johnmoran.com
255
A set of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Each stamped: HA [conjoined] / 940 / Taxco
Two works comprising a chunky twisted ribbon link motif necklace with a matching link bracelet, 2 pieces
Necklace: 16.5” L x 0.75” H; Bracelet: 8.25” L x 0.75” H
172.8 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 98, fig. III-3.
308 Latin American Art + Design l Tuesday, April 23, 2024
256
A group of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: 940 / Taxco / Made in Mexico / Sterling / TB [conjoined]
Three works in sterling silver with pre-Colombian-style incised flared links comprising a chunky double-link necklace or belt (27.5” L x 1” H), as well as two matching smaller link bracelets, together forming a small collar necklace (7.75” L and 7.25” L x 0.875” H; joined: 14.75” L), 3 pieces
214.3 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 37, fig. I-46.
309 www.johnmoran.com
257
A Hector Aguilar Mexican silver link necklace
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / 940 / Taxco
A chunky necklace of incised clipped “coin” links with raised hook elements
16.5” L x 0.625” H
75.8 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 102, fig. III-12.
310 Latin American Art + Design l Tuesday, April 23, 2024
258
A Hector Aguilar Taller Borda silver link necklace
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Stamped: HA [conjoined]; Taller Borda / .940 / Taxco / Mexico / [Eagle 9]
An abstract sterling silver necklace with oval links and raised silver overlay and ball accents
16.25” L x 0.75” H
92.5 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
311 www.johnmoran.com
259
Two Hector Aguilar Mexican silver bracelets
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: Made in Mexico / Sterling / .940 / Taxco / Mexico / [Eagle 9]
Two sterling silver link bracelets, each with circular links with silver ball accents, 2 pieces Larger: 7.75” L x 1” H; Smaller: 7.25” L x 1” H 120.4 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 63, fig. I-107.
312 Latin American Art + Design l Tuesday, April 23, 2024
260
A group of Hector Aguilar Mexican silver and mixed metal bracelets
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962, 1953; Taxco, Mexico
Stamped: HA [conjoined] / 940 / Taxco; further variously stamped: [Eagle 9]
Four works in sterling silver comprising three chunky link bracelets with copper accents, and a silver bracelet with three chain link strands fixed to a chunky clasp, 4 pieces
Largest: 7.5” L x 1.125” H; Smallest: 7” L x 0.75” H
275.4 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
313 www.johnmoran.com
261
A group of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: 940 / Taxco / .940 / Mexico / [Eagle 9]
Three works in sterling silver comprising an openwork oval and dot link necklace (15.75” L x 0.625” H) with a matching link bracelet (7.5” L x 0.625” H), as well as a chunky bracelet with overlapping open convex links (7.5” L x 1” H), 3 pieces 150.7 grams
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
314 Latin American Art + Design l Tuesday, April 23, 2024
262
A group of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined] / .940 / Taxco / [Eagle 9]
Three works in sterling silver comprising a chunky hook-and-dot link necklace (15” L x 0.625” H) together with a matching link bracelet (8” L x 0.625” H), as well as a “Lyre” motif link bracelet with stacked silver balls (7.5” L x 0.5” H), 3 pieces 156.5 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 30, fig. I-26; I-27.
315 www.johnmoran.com
263
A group of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined] / 940 / Taxco / [Eagle 9] / Taller Borda / Sterling
Five works in sterling silver comprising a dotted oval link necklace (16.5” L x 0.625” H) with a matching bracelet (7.375” L x 0.625” H), together with two further silver oval link bracelets (Each: 7” L), as well as a pair of similar design silver ball earclips (Each: 1.25” H), 6 pieces 172.4 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
316 Latin American Art + Design l Tuesday, April 23, 2024
264
A group of Hector Aguilar Mexican silver brooches
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948; Taxco, Mexico
Three stamped: HA [conjoined]; further variously stamped: 940 / Taxco / Made in Mexico / Sterling / TB [conjoined]
Five sterling silver brooches in various incised silver geometric motifs and interlaced designs including a double-V rectangular pin, and a three-domes pin, 5 pieces
Largest: 1.75” H x 2.5” W; Smallest: 0.5” H x 1.75” W
104.1 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 62, fig. I-103; 97, fig. III-2.
317 www.johnmoran.com
265
A group of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: .940 / Taxco / Mexico / [Eagle 9] / [Eagle 3]
Three works in sterling silver comprising a chunky “Book and Three Beads” link bracelet with scroll-end square links and stacked silver balls (6.5” L x 0.75” H) and a delicate “Lyre” link bracelet with stacked balls and curved overlay (6.375” L x 0.625” H), as well as a pair of similar design silver earrings (Each: 1.25” H), 4 pieces 153.5 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: These designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 30, fig. I-27; 32, pl. I-32.
318 Latin American Art + Design l Tuesday, April 23, 2024
266
A group of Hector Aguilar Mexican silver figural jewelry
Hector Aguilar (1905-1986)
Circa 1940-1945, 1943-1945, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: 940 / Made in Mexico / Taxco / 990 / .940 / Natl. Silver Co. / [Eagle 9] / Taller Borda
Eight works in sterling silver comprising five brooches in various figural designs including fish, a grasshopper, a floral sprig, a mask and a WWII military flight wing brooch for the National Silver Company, as well as three tie clips in various motifs such as herringbone, scrollwork, and an arrow point , 8 pieces
Largest: 2” H x 4.25” W; Smallest: 0.5” H x 2.5” L 113.8 grams
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature:
One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 18, fig. I-3.
319 www.johnmoran.com
267
A group of Hector Aguilar Mexican silver floral brooches
Hector Aguilar (1905-1986)
Circa 1940-1945, 1943-1948, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined] / 940 / Taxco; further variously marked: Made in Mexico / Sterling / [Eagle 9]
Six sterling silver brooches in floriform or foliate motifs in various styles including orchids, 6 pieces
Largest: 2.25” H x 5.25” W; Smallest: 1.75” H x 2.375” W
136.4 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 94, fig. II-54.
320 Latin American Art + Design l Tuesday, April 23, 2024
268
A group of Hector Aguilar Mexican silver and amethyst brooches
Hector Aguilar (1905-1986)
Circa 1940-1945, 1943-1948, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined] / 940 / Taxco; further variously marked: .940 / Mexico / [Eagle 9]
Four works in sterling silver comprising a stylized parrot brooch with set amethyst cabochon head (3” H x 1.5” W), a leaf brooch with carved amethyst leaf accents (1.5” H x 3” W), and two further curved foliate motif brooches (Each: 1.25” H; 3.5” W and 3.25” W), 4 pieces 91.1 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
321 www.johnmoran.com
269
A group of Hector Aguilar Mexican silver floral brooches
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Each variously stamped: HA [conjoined] / 940 / Taxco / 990
Six sterling silver brooches in various floriform and foliate designs including acorns and pointsettia, 6 pieces
Largest: 3.125” H x 2.5” W; Smallest: 2” H x 2.25” W 138.4 grams
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 62, figs. I-105, 106.
322 Latin American Art + Design l Tuesday, April 23, 2024
270
A large group of Hector Aguilar Mexican silver conchos
Hector Aguilar (1905-1986)
Mid-20th century; Taxco, Mexico
Each unmarked; original marks found on clasp
Eighteen sterling silver belt conchos, each formed from incised openwork discs with an arabesque design, 9 pieces
Each: 2.375” H x 2.75 “ W approximately 153.4 grams
$200-400
323 www.johnmoran.com
271
A group of Carmen Beckmann silver and hardstone jewelry
Carmen Beckmann (b. 20th century)
Circa 1960-1980; San Miguel de Allende, Mexico
Each stamped: Beckmann [or Bekmann] / Sterling / Mexico
Five works in sterling silver comprising a silver and set amethyst “caviar” link bracelet (6.5” L x 1.375” H), two stone-set brooches, including a round brooch/pendant (Larger: 2.25” H x 1.25” W; Smaller: 1.625” Dia.), as well as a silver leaf brooch with set carved amethyst frog (2.75” H x 2” W), and a silver domed ring with silver ball cluster detail (Ring size: 4.5; 1” Dia.), 5 pieces
130.3 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
324 Latin American Art + Design l Tuesday, April 23, 2024
272
A Los Castillo Mexican silver necklace
Circa 1940-1945; Taxco, Mexico
Stamped: Los Castillo / Taxco / Sterling / Made in Mexico [double-stamped]
An elaborate scrolled line-and-dot wave sterling silver link necklace
17” L x 1.25” W
91.6 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 108, pl. VI-22.
325 www.johnmoran.com
273
A mixed group of Los Castillo hardstone inlay jewelry
Circa 1950-1965; Taxco, Mexico
Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15]
/ Mosaico Azteca / Onix Negro
Four works with green and blue stone inlay comprising, a sterling silver Los Castillo “J” inlay link necklace (No. 203; 23” L x 0.75” H), a pair of sterling silver Mosaico Azteca inlay brooches (Each: No. 208; 0.75” H x 1.25 and 1.375” H), and a mixed metal Onix Negro triangular pendant (No. 01OP; 3” H x 2.625” W), 4 pieces
159.8 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
326 Latin American Art + Design l Tuesday, April 23, 2024
274
Two Los Castillo Mexican silver link necklaces
Circa 1940-1945 and1948-1962; Taxco, Mexico
Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / Hecho en Mexico / [Eagle 15] / [Design number]
Two works in sterling silver including a stylized scrolled wave pattern necklace (No. 392; 16” L x 0.75” H) and a necklace with rounded scroll and silver dot links (No. 122; 15.5” L x 0.75” H), 2 pieces 210.1 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
327 www.johnmoran.com
275
Two Los Castillo silver and hardstone inlay necklaces
Circa 1950-1965; Taxco, Mexico
Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15]; one further marked: COCO
Two works with green and blue stone inlay comprising a Justo Castillo sterling silver collar necklace with rectangular links (No. 81; 15” L x 0.75” H) and a Mosaico Azteca necklace with stylized heart links (No. 208; 16” L x 0.75” H), 2 pieces 146.0 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
328 Latin American Art + Design l Tuesday, April 23, 2024
276
A group of Margot de Taxco Mexican silver and enamel jewelry
Margot Van Voorhies (1896-1985)
Circa 1955-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Three works in sterling silver and black enamel designed by Margot Van Voorhies comprising a “Circular Spiral” link necklace (No. 5357; 16.25” L x 1.625” H) and a matching link bracelet (7.25” L x 0.875” H), together with a spiral music note brooch (No. 5599; 1.875” H x 1.25” W), 3 pieces 122.2 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 132, pl. VII-37.
329 www.johnmoran.com
277
A group of Margot de Taxco Mexican silver jewelry
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Six works designed by Margot Van Voorhies in sterling silver comprising a “Furls and Circle” openwork scroll link necklace (No. 5306; 15.5” L x 0.75” H), with a matching link bracelet (7.5” L x 0.75” H) and a pair of earclips (Each: 0.75” H), as well as a long link necklace with elaborate scroll and ball links (No. 5270; 19.5” L x 0.75” H), a smaller scroll and ball link necklace (No. 5210; 14.75” L x 0.75” H), and a narrow dotted link bracelet with charm loops (No. 5672; 7.375” L x 0.5” H), 7 pieces 264.7 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Similar designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 68, pl. II-6; 110, pl. VI-26.
330 Latin American Art + Design l Tuesday, April 23, 2024
278
A group of Margot de Taxco Mexican silver jewelry
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Three works in sterling silver designed by Margot Van Voorhies comprising a long link necklace or belt with scrolled heart motif links (No. 5241; 27” L x 0.875” H) together with a matching collar link necklace (No. 5107; 16.5” L x 0.875” H) and a cuff bracelet (No. 5308; 6.875” total inner C x 1.25” H, with a 0.875” gap), 3 pieces 278.7 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
331 www.johnmoran.com
279
A group of Margot de Taxco Mexican silver jewelry
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Four works in sterling silver designed by Margot Van Voorhies comprising an elaborate “Swan” collar necklace with feather links (No. 5320; 16” L x 2.5” H), together with a matching hinged bangle bracelet (6.25” inner C x 1.5” H) and a pair of earclips (Each: 1.25” H), as well as a swan brooch (No. 5144; 3” H x 1.875” W), 5 pieces 211.7 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: This design illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 52, pl. I-4.
332 Latin American Art + Design l Tuesday, April 23, 2024
280
A group of Margot de Taxco silver and enamel figural jewelry
Margot Van Voorhies (1896-1985)
Circa 1955-1978; Taxco, Mexico
Four stamped: Margot de Taxco / Sterling; three further stamped: Made in Mexico / [Eagle 16] / [Design number]
Five figural brooches in sterling silver and multicolored enamel designed by Margot Van Voorhies, comprising a red, yellow, and blue enamel matador/bullfighter bolo tie with black braided cord and enamel tips (No. 5492; 2.125” H x 1.75” W; cord: 48” L), a flower seller brooch with cart and donkey (No. 5806; 1.625” H x 2.25” W), a standing man in white with yellow hat and green sash (No. 5419; 1.75” H x 1.125” W), and two gaucho cowboy figures with wire lariats and spurs (No. 5538; Each: 2.75” H x 1.5” W), 5 pieces 91.7 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Three designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 157, pl. IX-10; 173; 182.
One design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007)179, fig. XVI-31.
333 www.johnmoran.com
281
A group of Margot de Taxco Mexican silver jewelry
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Six works in sterling silver designed by Margot Van Voorhies comprising a dot and silver ball hinged collar necklace (No. 5436; 13.5” L x 0.625” H), a dotted silver link necklace with a nine-drop fringe (No. 5672; 17.5” L x 1.5” H), a large dotted swirl oval pendant on a chain (No. 5356; 16.5” L x 2.25” H x 1.375” W), as well as a crossover hinged bangle bracelet (No. 5410; 6” inner C x 2.375” H), and a “Triple Drop” brooch with dot accents (No. 5740; 1.75” H x 1.75” W) with a matching pair of earclips (Each: 1.125” H), 7 pieces 228.0 grams
$1,000-1,500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
334 Latin American Art + Design l Tuesday, April 23, 2024
282
A group of Margot de Taxco Mexican silver jewelry
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Twelve works in sterling silver designed by Margot Van Voorhies comprising a chunky chain link necklace (No. 5370; 15.5” L x 0.625” H), two matching chain link bracelets (7.75” L and 7.5” L) as well as eight square shank buttons each with raised concentric motif (No. 5135; each: 1” x 1”) and a pair of scroll motif cufflinks (No. 5260; each: 0.625” H), 13 pieces
280.7 grams
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
335 www.johnmoran.com
283
A group of Margot de Taxco Mexican silver and enamel jewelry
Margot Van Voorhies (1896-1985)
Circa 1955-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Four works in black enamel designed by Margot Van Voorhies, comprising a black enamel intertwined lines link bracelet (No. 5397; 6.25” L x 1.25” H) with a pair of matching screwback earrings (Each: 1.75” H), a black dog brooch (No. 5888; 2.25” H x 1.125” W), and a “Roman Patrician” cameo-style brooch/pendant (No. 5826; 3” H x 2.25” W), 5 pieces 159.0 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: These designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 143, pl. VIII-16; 157, pl. IX-10.
336 Latin American Art + Design l Tuesday, April 23, 2024
284
A set of Salvador Teran Mexican silver jewelry
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Each stamped: Salvador; bracelet further stamped: Sterling / Mexico / 161
Comprising a sterling silver articulated “V” collar necklace together with a similar style three-wire hinged cuff bracelet, 2 pieces
Necklace: 17” L x 0.5” H; Bracelet: 7.25” L x 2” H 116.4 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
337 www.johnmoran.com
285
A group of Mexican silver bracelets
Four works:
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Each stamped: Salvador / Sterling / Mexico; further variously stamped: Silver / 970 / [Indistinct Eagle] / [Design number]
Comprising a hinged tapered silver cuff with geometric overlay (No. 475; 6.625” inner C x 0.75 “ H), and two shadowbox hinged rectangular link bracelets with geometric overlay motifs (No. 164; each: 6.625” L x 0.625” H), 3 pieces
A Taller Taxco Mexican silver bracelet
Mid-20th century; Taxco, Mexico
Stamped: Taller Taxco / Sterling / Mexico / 157
A modernist-style three-wire hinged bracelet with central figural plaque
6” inner C x 1.5” H
4 pieces total
181.1 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
338 Latin American Art + Design l Tuesday, April 23, 2024
286
A group of Salvador Teran Mexican silver jewelry
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Each stamped: Salvador / Sterling / Mexico / [Design number] / [Eagle 36]
Five works in sterling silver in shadowbox silver overlay comprising two stylized bird pendant/ brooches (Larger: No. 175; 3.25” H x 1.5” W; Smaller: No. 171; 1.75” H x 1.75” W), as well as three pairs of earclips in various motifs including a moon and star (No. 125; 1.375” H), an abstract figure (No. 162; 1” H), and an insect (No. 167; 1” H), 8 pieces 97.3 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
339 www.johnmoran.com
287
A set of Salvador Teran Mexican silver shadowbox jewelry
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Each stamped: Salvador / Sterling / Mexico / 165
An articulated silver link collar necklace with geometric overlay and a matching tapered cuff bracelet, 2 pieces
Necklace: 15.5” L x 1” H; Cuff: 6.25” total inner C x 0.875” H, with a 1.5” gap 117.6 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
340 Latin American Art + Design l Tuesday, April 23, 2024
288
A group of Salvador Teran Mexican silver jewelry
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Each variously stamped: Salvador / Sterling / Silver / Mexico / [Eagle 36] / [Design number]
Three works in sterling silver, two with hardstone inlay comprising an articulated hinged crossover collar necklace with stylized hand motifs (No. 111; 17” L x 1.5” H) and a pair of matching earclips (Each: 1.25” H), as well as a three-wire link cuff bracelet with central shadowbox figure (No. 171; 6.5” inner C x 1.5” H), 4 pieces 115.6 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
341 www.johnmoran.com
289
A group of Chato Castillo Mexican silver jewelry
Jorge “Chato” Castillo (b. 20th century)
Circa 1950-1960; Taxco, Mexico
Each stamped: [parrot motif] / Chato Castillo / Taxco / Mexico / 925 / [Design number]
Three abstract modernist works in sterling silver comprising a stylized bird brooch/pendant with green set stones and pearls (No. 4; 2.25” H x 2.75” W) and a pair of matching screwback earrings (Each: 1.5” H x 1” W), as well as a pair of earrings in a similar design with pearls, and green and orange set stones (No. 6; each: 1.375” H x 0.875” W), 5 pieces 51.4 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
342 Latin American Art + Design l Tuesday, April 23, 2024
290
A group of Rafael Melendez Mexican silver jewelry
Rafael Melendez (1911-1980)
Circa 1939-1942 and post-1942; Taxco, Mexico
Each stamped: RM [conjoined; one indistinct]; further variously stamped: Taxco / Sterling / 980 / Mexico
Six works in sterling silver comprising an incised silver openwork foliate link bracelet (7.25” L x 1” H), a silver cuff bracelet with a matching applied foliate motif (6.5” inner C x 1.375” H, with a 0.875” gap), as well as three incised silver brooches with elaborate foliate motifs (Largest: 1.25” H x 2.5” W; Smallest: 1” H x 2” W), and a silver belt buckle (1.25” H x 1.75” W), 6 pieces 194.5 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
343 www.johnmoran.com
291
A group of Bernice Goodspeed Mexican silver jewelry
Bernice Goodspeed (d. 1971)
Mid-20th century; Taxco, Mexico
Each variously marked: B / Taxco / Mexico / Sterling / 925 / [Eagle 2] / [Eagle 3] / [Eagle 28]
Ten works in sterling silver with set stones or stone inlay comprising an incised overlay pendant/brooch with central carved stone mask on a silver chain (20.5” L x 2.125” H x 1.75” W) with a pair of matching earrings (Each: 1” H), together with a large stylized floral motif pendant/brooch with stone inlay (2.75” H x 2.75” W), and four further brooches in various motifs including a modernist star, a round shell motif brooch, and two ram’s head brooches with blue stone inlay (Largest: 2” Dia.; Smallest: 1” H x 1.625” W) as well as two metal money clips each with an applied silver ram’s head motif (2.5” H and 2.25” H x 1.5” W), and a pair of floral earclips with stone cabochons (Each: 0.875” H), 12 pieces 208.2 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
344 Latin American Art + Design l Tuesday, April 23, 2024
292
A group of Enrique Ledesma Mexican silver and obsidian jewelry
Enrique Ledesma (d. 1979)
Circa 1955-1979; Taxco, Mexico
Each stamped: Ledesma / Taxco / 925 / Hecho en Mexico; further variously stamped: [Design number] / Plateria Cortes / [Eagle 3] / [Eagle 6]
Three works in sterling silver with obsidian inlay comprising a narrow link necklace with trapezoidal links (No. 505; 13.5” L x 0.5” H), a chunky bracelet with angled square links and central stone inlay (No. 233; 7” L x 1.125” H), and a link bracelet with domed oval links and striped inlay (6.5” L x 0.75” H), 3 pieces
151.7 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Notes:
Enrique Ledesma sold many of his pieces through Plateria Cortes and Plateria Margarita, each of which used various Eagle marks including Eagle 3, Eagle 60, and Eagle 6.
345 www.johnmoran.com
293
A group of Enrique Ledesma Mexican silver and hardstone jewelry
Enrique Ledesma (d. 1979)
Circa 1955-1979; Taxco, Mexico
Each stamped: Ledesma / Taxco / 925 / Hecho en Mexico; further variously stamped: [Eagle 3] / [Design number] / Plateria Cortes
Seven works in sterling silver and stone inlay in green and blue comprising a narrow link necklace (16” L x 0.5” H), two chunky link bracelets with diagonal inlay (Larger: 7.25” L x 0.75” H; Smaller: 6.5” L X 1” H), as well as two pairs of earrings (Larger: No. 212; each: 2” H; Smaller: each: 1.25” H), a tie pin or collar brooch (1.875” H x 1.25” W) and a domed ring with diagonal inlay (Ring size: 7.5), 9 pieces
212.6 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
346 Latin American Art + Design l Tuesday, April 23, 2024
294
A group of Los Castillo Mosaico Azteca jewelry
Circa 1950-1965; Taxco, Mexico
Four stamped: Los Castillo; further variously stamped: Taxco / Sterling / Made in Mexico / [Eagle 15] / Hecho en Mexico / Mosaico Azteca / 122 / 146 / 180; Brooch unmarked
Five works in sterling silver and hardstone inlay comprising two link necklaces (Larger: 15.875” L x 0.25” H; Smaller: 15” L x 0.875” H), a rectangular link bracelet (6.625” L x 0.25” H, as well a geometric brooch with interlocking circles (0.875” H x 1.5” W), and a pair of matching earrings (each: 0.875” H), 6 pieces 257.0 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
347 www.johnmoran.com
295
A group of Margot de Taxco silver and enamel jewelry
Margot Van Voorhies (1896-1985) (Margot de Taxco)
Circa 1955-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Nine works in sterling silver and light blue enamel designed by Margot Van Voorhies comprising a “Leaf Curls” blue and white enamel bib necklace (No. 5583; 14” L x 0.75” H) as well as four link bracelets including a “Music Scroll” bracelet (No. 5567A; 7.5” L x 0.75” H), a “Parallel Lines” bracelet (No. 5397A; 7.25” L x 0.5” H), an “Enfolded Bead” bracelet (No. 5463; 7.25” L x 0.75” H), and an intertwined lines link bracelet (No. 5397; 6.5” L x 1.25” H), together with a “Leaf & Scroll” brooch (No. 5389; 1.375” H x 2.125” W) and a pair of matching earclips (Each: 1.125” H), as well as a pair of “Crossed Curve” earclips (No. 5372; Each: 1.25” H), and a pair of “Featherly Leaf” earclips (No. 5559; Each: 1.25” H), 12 pieces 263.0 grams gross
$1,000-1,500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Several designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 16, pl. 1; 18, pl. 4.
348 Latin American Art + Design l Tuesday, April 23, 2024
296
A group of Margot de Taxco Mexican silver and enamel jewelry
Margot Van Voorhies (1896-1985)
Circa 1955-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Five works in sterling silver and multicolored enamel designed by Margot Van Voorhies, comprising an “Open Bow” link necklace (No. 5651A [or 5751]; 16” L x 1” H) with a matching “Gathered Swirls” bracelet (No. 5651A; 6” L x 1” H), as well as a large “Scrolls in Circle” pendant/brooch (No. 5583; 2.375” Dia.), and a leaf-form “Scallop-edge” pendant/brooch in green and brown enamel (No. 5666; 2.25” H x 1.25” W) with a pair of matching ear clips (Each: 1.5” H), 6 pieces 143.3 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: These designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 18; 40, pl. 26; 177.
349 www.johnmoran.com
297
A group of Margot de Taxco Mexican silver and enamel jewelry
Margot Van Voorhies (1896-1985)
Circa 1955-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Six works in sterling silver and blue enamel designed by Margot Van Voorhies, comprising a “Flower with Tassel” pendant/brooch necklace with detachable two-piece link chain (Nos. 5769 and 5669; 14” L x 2.375” H) and a matching link bracelet with tassel charm (7” L x 0.5” H), together with a three-color dot and square fan swirl link bracelet (No. 5698; 7” L x 1.25” H), and a pair of two-color “Pointed Face” circular screwback earclips (No. 5414; 0.875” Dia.) as well as a “Two-Color Dot and Square Scroll” brooch/pendant (No. 5601; 2.25” H x 2” W), with a matching pair of screwback earclips (Each: 1.375” H), 10 pieces 183.4 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Some designs illustrated: Penny C Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork” (Atglen, PA: Schiffer, 2010), 22, pl. 8; 70, pl. II-9.
350 Latin American Art + Design l Tuesday, April 23, 2024
298
A large group of Antonio Pineda Mexican silver jewelry
Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Each with crown mark for Antonio Pineda; further variously stamped: Hecho en Mexico / 970 / Silver / Sterling / 925 / PZ155 / PZ117 / PZ121 / PZ148 / PZ155 / [Eagle 17] / [indistinct eagle]
Nine works in sterling silver comprising three chunky belt buckles depicting Lascaux-inspired hunting scenes (largest: 2.375” H x 5.75” W; smallest: 1.125” H x 2.25” W), as well as two pairs of cufflinks, one with hunting scenes (Each: 1.125” H x 1.5” W) and one with pre-Colombian motifs (Each: 1.5” Dia.), together with four further silver buckles with geometric designs, one with black enamel detail (Largest: 1.5” H x 2.375” W; Smallest: 1.125” H x 2.125” W), 11 pieces 509.1 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Similar designs illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 141, plate 172, 173, 174.
351 www.johnmoran.com
299
A group of Antonio Pineda Mexican silver and onyx jewelry Antonio Pineda (1919-2009)
Circa 1953-1979; Taxco, Mexico
Each with crown mark for Antonio Pineda; further variously stamped: Hecho en Mexico / Silver / 970 / Sterling / Mexico / Los Castillo / Soc Coop Scl Sec 2 / [Eagle 17] / [Eagle 3]
Seven works in sterling silver comprising three pairs of silver overlay cufflinks in various motifs including a fanged serpent, an eagle head, and an abstract motif (1.125” H and 0.75” H), a further pair of concave silver cufflinks (Each: 0.75” H) with a matching tie clip (1.25” H), as well as a silver and onyx inlay tie clip (1.625” H) and a silver money clip (2.25” H), 11 pieces 109.5 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
352 Latin American Art + Design l Tuesday, April 23, 2024
300
A group of William Spratling Mexican silver jewelry
William Spratling (1900-1967)
Circa 1933-1939 and 1940-1946, First Design Period; Taxco, Mexico
Each stamped for William Spratling; further variously stamped: Made in Mexico / Silver / 980 / Taxco
Four works comprising a two-piece incised silver belt buckle (1.5” H x 3” W clasped), a rectangular buckle (1” H x 2.5” W), one pair of silver knot cufflinks (Each: 0.5” Dia.), and an incised silver eagle money clip (0.875” H x 2.25” W), 6 pieces 69.4 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
353 www.johnmoran.com
301
A group of William Spratling Mexican silver jewelry
William Spratling (1900-1967) Taxco, Mexico
Circa 1933-1939, 1940-1946, 1964-1967; First and Third Design Periods; Taxco, Mexico
Four stamped for William Spratling; further variously stamped: 925 / Made in Mexico / Taxco / 980 / [Eagle 30]; disc buckle attributed to Spratling
Five works in sterling silver comprising three single belt buckles in various styles (Largest: 1.75” H x 1.75” W; Smallest: 1.625” H x 1.5” W) as well a two-piece double disc buckle with incised scroll motifs (1.5” H x 3” W), as well a pair of “wrought silver shell” cufflinks (Each: 1.125” H x 0.5” W), 7 pieces 131.2 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
354 Latin American Art + Design l Tuesday, April 23, 2024
302
A group of William Spratling Mexican silver jewelry
William Spratling (1900-1967)
Circa 1933-1939, 1940-1946, 1949-1956; First and Third Design Periods; Taxco, Mexico
Each stamped for William Spratling; further variously stamped: Taxco / 980 / Made in Mexico / Silver / 925
Five works in sterling silver comprising a chunky stylized scale motif three-row link bracelet (8” L x 1.125” H), a swirl ribbon brooch set with an azurmalachite cabochon (3” H x 4.25” W), an Aztec lyre motif pin with twoprong clip (1.25” H x 1.5” W), as well as a pair of oval silver ball earclips (Each: 1.5” H) and a pair of gold wash “S” motif earclips (Each: 1.25” H), 7 pieces 182.4 grams gross
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Brooch design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 46, fig. 2-90.
Notes: The round earrings “design was included in Montgomery Ward’s 1943 Christmas catalog. Their catalog description read “Dangling silver earrings with large ball inside plain wide circle. $2.50.””
355 www.johnmoran.com
303
A group of William Spratling Mexican silver jewelry
William Spratling (1900-1967)
Circa 1933-1938 and 1940-1946; First Design Period; Taxco, Mexico
Each stamped for William Spratling; Others variously stamped: Made in Mexico / Silver / Taxco / 980; Cuff links marked: N.L.C. 12778
Nine works comprising a rare right “hand” brooch with a carved amethyst-set tulip (1.25” H x 2.25” W), a “Chupamirto Azteca” silver brooch (1.5” H x 1.5” W) and an Aztec-style figural pin (1.5” H x 2” W) as well as a pair of “hand” silver screwback earrings (Each: 1.375” H), and a set of “Continental Solidarity” linked hands silver and gilded silver accessories including two pairs of cuff links or collar stays and a matching lapel pin (Each: 1” H x 0.75” W),10 pieces 90.4 grams gross
$600-800
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
356 Latin American Art + Design l Tuesday, April 23, 2024
304
A group of Los Castillo Mexican silver Zodiac jewelry
Circa 1950-1965; Taxco, Mexico
Each stamped: Los Castillo; further variously stamped: Taxco / Tasco / Sterling / Made in Mexico / [Eagle 15] / Silver / Mosaico Azteca / 114 / Onix Negro
Seven works comprising five Mosaico Azteca disc pendant/brooches with green and blue hardstone inlay depicting various Zodiac symbols including Pisces, Leo, Sagittarius, Scorpio, and Gemini (Each: 1.75” H x 1.625” Dia.), as well as a Leo pendant on an associated fine chain (1.625” H x 1.5” Dia.; chain: 16” L) and an Onix Negro Scorpio ring with black stone inlay (Ring size 10; 1” H), 8 pieces 136.1 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
357 www.johnmoran.com
305
A group of Los Castillo silver and hardstone inlay jewelry
Circa 1950-1965; Taxco, Mexico
Each stamped: Los Castillo; further variously stamped: Taxco / Sterling / / 925 / Made in Mexico / [Eagle 15] / [Eagle 1] / Silver / Mosaico Azteca / 133 / 114 / 232 / 122
Ten Mosaico Azteca works in sterling silver with green and blue hardstone inlay comprising two link bracelets, each with a round monogrammed charm in K and S (6.5” L x 1.75” H; 6.375” L x 1.625” H), as well as three pairs of round earclips with monogram letters and Zodiac symbols (Largest: 0.75” Dia.; Smallest: 0.625” Dia.), four round charms with various monogram letters J, W, F, M, one with an attached chain (Each: 1.125” Dia.), and a single cufflink with monogram letter N (0.625” Dia.), 13 pieces 159.7 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
358 Latin American Art + Design l Tuesday, April 23, 2024
306
A group of Mexican jewelry including Matl
Four works:
Matilde Poulat and Ricardo Salas (d. 1960 and d. 2006)
Circa 1980-2006; Mexico City, Mexico
Each stamped to plaque: Matl [script] / M. Regis / 14-2093 / Mexico / 925 / MS-12
A pair of reticulated sterling silver pierced earrings designed by Matilde Poulat for Matl under the directorship of Ricardo Salas, each with set amethysts, coral, and turquoise with filigree edges, 2 pieces
Each: 1.75” H x 1.25” W
A group of stone-set jewelry
Mid/late 20th century, Mexico
Bracelet stamped: TL-113 / Mexico / 925; one earring stamped: 925
Three works comprising a three-row chain link bracelet with set pyramid-cut amethysts (1.875” H x 8” L) and two pairs of filigree earrings, the larger clip pair with turquoise beads (Each: 3” H x 1.25” W) and the smaller pierced pair with coral beads (Each: 2.5” H x 1.25” W), 5 pieces
7 pieces total
161.1 grams gross
$500-700
359 www.johnmoran.com
307
A set of silver filigree and seed pearl jewelry
Mid-20th century
Appears unmarked
Four works comprising an elaborate silver filigree and seed pearl medallion link necklace with a bow motif pendant (26” L x 5” H), together with a matching link bracelet (9.375” L x 1.625” H), a medallion ring (Ring size: 7.75; 1.375” Dia.) and a pair of clip dangle earrings with bows (Each: 3” H x 1.375” W), 5 pieces 263.0 grams gross
$600-900
360 Latin American Art + Design l Tuesday, April 23, 2024
308
A group of Mexican silver jewelry including Hector Aguilar
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962; Taxco, Mexico
Three variously stamped: HA [conjoined] / Taxco / Made in Mexico / Sterling / .940 / [Eagle 9]; necklace stamped: Sterling / Made in Mexico
Four works comprising three Hector Aguilar sterling silver link bracelets, each with round or spherical links (Each: 7.5” L ;1.125” and 0.875” Dia.), together with a chunky Mexican silver graduated link necklace with openwork disc links (18” L x 1.375” to 1” Dia.), 4 pieces 274.2 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: One design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 63, fig. I-107.
361 www.johnmoran.com
309
A group of Mexican silver jewelry
Mid-20th century
Two stamped: [Eagle 6]; one stamped: Made in Mexico / Sterling
Three works in sterling silver comprising a repoussé floral link necklace (15” L x 0.875” H) with a matching link bracelet (7.5” L x 0.875” H), together with a chunky knot motif necklace with trefoil silver links on a silver chain (18” L x 1.375” H), 3 pieces 173.5 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
362 Latin American Art + Design l Tuesday, April 23, 2024
310
A group of Mexican silver jewelry
Six works:
Reveriano Castillo (b. 20th century)
Circa 1952-1980, Taxco, Mexico
Each variously stamped: RC [conjoined] / Sterling / Taxco / Mexico / [Eagle 3] / [Design number]
Two works in sterling silver comprising a silver link bracelet with geometric shadowbox motif links with silver ball accents (No. 50; 6.75” L x 0.625” H) together with a pair of matching screwback earrings (No. 69; each: 1” H), 3 pieces
A group of Los Castillo silver jewelry
Circa 1940-1945, 1948-1940; Taxco, Mexico
Each variously stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / Mexico / 268
Comprising four sterling silver link bracelets in various designs including a chunky chain link bracelet and an incised silver link bracelet with curvilinear motifs, 4 pieces
Largest: 8” L x 0.5” H; Smallest: 6.5” L x 0.5” H
7 pieces total
227.6 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
363 www.johnmoran.com
311
A mixed group of silver jewelry
Mid/late 20th century
Most variously marked for maker and for Sterling; further variously marked: Los Castillo / Taxco / Mexico / TV-41 / 950 / JH / GRO / [Eagle 3] / Jondell / Spain / Bara / SS
Ten works comprising three Mexican sterling silver necklaces including a collar necklace (12.5” L), an incised silver link necklace (14.5” L), and an abstract necklace with set simulated alexandrite purple stones (17” L x 2.25” H) with a pair of matching pierced earrings (Each: 1.125” H), as well as a sterling silver ridged dome ring (Ring size: 6.5), a pair of floriform Los Castillo dress/sweater clips with hook attachment (Each: 4.5” H x 0.75” W), a pair of Mexican silver large square earclips (Each: 2” H), a pair of Bara cast silver dangle earrings (Each: 3” H), a pair of stone set triangular earclips (Each 1.5” H) and a pair of Jondell Spanish silver earrings (Each: 1” Dia.), 16 pieces 354.4 grams gross
$400-600
364 Latin American Art + Design l Tuesday, April 23, 2024
312
A group of Antonio Pineda mixed-metal and hardstone jewelry Antonio Pineda (1919-2009)
Circa 1953 and later; Taxco, Mexico
Each with crown mark for Antonio Pineda; further variously stamped: [Eagle 17] / 970 / 925 / Silver / Hecho en Mexico / Mexico
Five works comprising a pair of silver and azurmalachite inlay cufflinks (1.25” H) and a similar style tie clip (1.5” H), a pair of onyx inlay cufflinks (1.25” H), a pair of malachite cufflinks (1” H) and a pair of sterling silver and brass cufflinks with hardstone inlay (1.375” H), 9 pieces 122.4 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
365 www.johnmoran.com
313
A group of Mexican silver and mixed metal cufflinks
Six works:
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Stamped: Salvador / Sterling / Mexico / [Eagle 36] / 140
A pair of sterling silver overlay cufflinks with masked figural motif, 2 pieces
Each: 1.375” H x 0.875” W
A group of Los Castillo silver and inlay cufflinks
Circa 1950-1965; Taxco, Mexico
Each stamped: Los Castillo; further variously stamped: Taxco / Sterling / Made in Mexico / [Eagle 15] / Hecho en Mexico / Metales Castillo / 61 / 893 / 63 / Onix Negro
Five pairs of cufflinks in sterling silver and stone or mixed metal inlay in various figural and abstract motifs, 10 pieces
Largest: each: 0.875” H; Smallest: each: 0.625” H
12 pieces total
94.5 grams gross
$200-400
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
366 Latin American Art + Design l Tuesday, April 23, 2024
314
A large group of Mexican silver belt buckles
Eleven works:
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined] / Taxco; further variously marked: 940 / Sterling / .940 / [Eagle 9]
Nine sterling silver buckles in various designs and sizes including a two-piece box buckle with rivet accents, 10 pieces
Largest: 1.125” H x 4.125” W (latched); Smallest: 1.125” H x 1.625” W
Two Avila de la Borda silver belt buckles
Mid-20th century, Mexico City, Mexico
Each stamped: CA [conjoined] / Sterling / Mexico
Comprising an elaborately incised buckle, together with a smaller tapered silver buckle, 2 pieces
Larger: 1.875” H x 2.25” W; Smaller: 1.375” H x 1.75” W
12 pieces total 310.9 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Some designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 28, fig. I-22.
367 www.johnmoran.com
315
Two Mexican silver bird brooches including Hector Aguilar
Two works:
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / 940 / Taxco
A large elaborate repoussé sterling silver parrot brooch
2.5” H x 4.25” W
A large silver peacock brooch
Mid-20th century
Appears unmarked
With fanciful scrolled feathers with set greenstone cabochon accents
3.75” H x 3.25” W
2 pieces
68.4 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
368 Latin American Art + Design l Tuesday, April 23, 2024
316
A large group of Mexican silver earrings
Mid/late 20th century
Each variously stamped for maker, for sterling, and for Mexico; further variously marked: [Eagle 17] / [Eagle 9]
Nineteen pairs of earrings in sterling silver in a variety of styles, shapes, and sizes, some with set stones, by various makers including seven pairs by Antonio Pineda, and others by Los Castillo, Metales Casados, and Miguel Melendez, 38 pieces
Largest: each: 2” H; Smallest: each: 0.5” H 233.7 grams gross
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
369 www.johnmoran.com
317
A group of Mexican silver earrings
Mid/late 20th century
Variously marked for Sterling and for Mexico; further variously marked: HA [conjoined] / Silver by Tono / [crown for Antonio Pineda] / [Eagle 17] / [Eagle 9] / [Eagle 3] / RAC / H. Santana
Comprising nine pairs of screwback earrings in sterling silver, four with set stones, all in various geometric, curvilinear, and figural designs, including four pairs of Hector Aguilar earrings, three pairs of Antonio Pineda earrings, and two further pairs, 18 pieces
Largest: each: 1.75” H; Smallest: each: 0.75” Dia.
103.2 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
370 Latin American Art + Design l Tuesday, April 23, 2024
318
A group of Hector Aguilar Mexican silver jewelry
Hector Aguilar (1905-1986)
Circa 1948-1962; Taxco, Mexico
Most stamped: HA [conjoined] / 940 / Taxco; further variously stamped: [Eagle 9] / Silver / Mexico / Taller Borda; one unmarked
Comprising nine pairs of screwback earrings in sterling silver and mixed metal in various geometric and curvilinear styles and sizes, 18 pieces
Largest: 2.25” H x 1” W; Smallest: 0.875” H x 0.5” W
91.1 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
371 www.johnmoran.com
319
A large group of Mexican silver rings
Mid-20th century
Most variously stamped for maker, for sterling, and for Mexico; further variously marked: [Eagle 3] / [Eagle 39] / A Cazares / PMS / AEG / RJP / del fino / RCA / CP / IC / EDP / CBS / LS
Twenty-two rings by various makers, most in incised silver in elaborate motifs and including crossover styles as well as bands, two with set stones, 22 pieces
Largest ring size: 9.5; Smallest ring size: 6 156.9 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
372 Latin American Art + Design l Tuesday, April 23, 2024
320
Two Mexican silver modernist jewelry items
Two works:
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / 5491
Designed by Margot Van Voorhies, a hinged tapered crossover bangle bracelet
6” inner C x 1.5” H
Hector Aguilar (1905-1986)
Circa 1940-1945; Taxco, Mexico
Stamped: HA [conjoined] / 940 / Taxco
A collar necklace with trapezoidal links
15.5” H x 0.875” H
2 pieces
160.3 grams
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
373 www.johnmoran.com
321
A mixed group of Mexican silver jewelry
Two works:
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Stamped: Salvador / Sterling / Mexico / [Eagle 36] / 178
A modernist-style sterling silver collar necklace with stylized leaf forms
15” L x 1” H
A Los Castillo sterling silver cuff bracelet
Circa 1940-1945; Taxco, Mexico
Stamped: Los Castillo / Taxco / Sterling / Mexico / [Illegible design number]
A hinged crossover cuff bracelet with feather motif
7” inner C x 2.5” H
2 pieces
169.6 grams
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
374 Latin American Art + Design l Tuesday, April 23, 2024
322
A group of Mexican silver jewelry
Three works:
Salvador Teran (c. 1920-1974)
Circa 1955-1970; Mexico City, Mexico
Each stamped: Salvador / Sterling / Mexico / [Design number] / [Eagle 36]
Two small modernist-style sterling silver brooches, each with set hardstone accent, 2 pieces
Larger: No. 149; 0.625” H x 1.75” W; Smaller: No. 135; 0.75” H x 1.25” W
A fanciful silver fishing pole brooch
Mid-20th century
Appears unmarked
With set amethyst details and chain fishing line with large hook
0.625” H x 5” W; chain: 8.5” L
3 pieces total
42.5 grams gross
$200-400
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
375 www.johnmoran.com
323
A group of Mexican silver bangle bracelets
Eleven works:
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined]; further variously stamped: 990 / Taxco / TB [conjoined, for Taller Borda] / Sterling / [Eagle 9]
Four bangles in sterling silver, two with silver ball accents, and two with X-motif accents, 4 pieces
Largest: 8” inner C x 0.75” H; Smallest: 7.75” inner C x 0,125” H
Isidro Garcia Piña (b. 20th century)
Circa 1943-1980: Taxco, Mexico
Each stamped: Maricela / Sterling / 925; further variously marked: Hecho en Mexico / Tasco [sic] / [Eagle 3]
Four bangles in sterling silver, two in a twisted chain link design, and two in a geometric flat link design, 4 pieces
Each: 8” inner C x 0.25” H
Three Mexican silver bracelets including Tiffany & Co.
Circa 1965-1980
Two stamped: MCE / Taxco / Hecho en Mexico / Sterling / 925; one marked: Tiffany & Co. / 925 / Mexico
Three bangles in sterling silver, each with a twisted motif design, 3 pieces
Largest: 8” inner C x 0.25” H; Smallest: 7.5” inner C x 0.125” H
11 pieces total
223.7 grams
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: Two designs illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 141, fig. III-114.
376 Latin American Art + Design l Tuesday, April 23, 2024
324
A large group of Mexican silver figural jewelry
Mid-20th century
Each variously stamped for maker, for Sterling, and Mexico; further variously stamped: Taxco / Cony / [Eagle 12] / [Design number]
Seven works comprising a chunky Sigi Pineda sterling silver pig bell pendant with associated chain (30 “ L x 2.25” H x 1” W), a large Los Castillo insect brooch with set amethyst cabochons (No. 697; 2.75” H x 2.875” W) as well as a Los Castillo insect pendant (No. 598; 20” L x 2.25” H x 2.5” W), together with a stone set fly brooch (2.125” H x 1.375” W), two Victoria floral brooches (No. 301; 1.5” H and 1” H), and an articulated fish charm (2” H), 8 pieces 194.4 grams gross
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
377 www.johnmoran.com
325
A group of Mexican brass jewelry
Five works:
Hubert Harmon (1913-2004)
Circa 1942-1948
Three variously stamped: Hubert Harmon / Made in Mexico / [winged feet]; one unmarked
Four works in brass and copper comprising a repoussé brass sea serpent tapered cuff (6.75” inner C x 2.625” H, with a 1.375” gap), a two-piece openwork sea serpent belt buckle (2.25” H x 3.5” W), an oval sea serpent brass and copper buckle with set stone eye (2.625” H x 4.125” W), and a large two-piece rectangular brass and copper buckle with various sea creatures with set stone accents (3.25” H x 4.5” W), 6 pieces
A DR Betancourt brass cuff bracelet
Mid-20th century, Mexico
Stamped: DR Betancourt / Hecho en Mexico
An “armadillo” style cuff with graduated overlapping plaques in brass and copper
6.5” total inner C x 2 “ H, with a 1” gap
7 pieces total
$400-600
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
378 Latin American Art + Design l Tuesday, April 23, 2024
326
A group of Mexican silver jewelry
Five works:
Hector Aguilar (1905-1986)
Circa 1940-1945, 1948-1962; Taxco, Mexico
Each stamped: HA [conjoined] / Taxco; further variously stamped: 940 / 990 / .940 / Mexico / / [Eagle 9] / Taller Borda
Three sterling silver link bracelets in various styles and sizes, two with silver ball accents and one with elaborately incised square links, 3 pieces
Largest: 7.25” L x 0.875 “H; Smallest: 7” L x 0.5” H
Carmen Beckmann (b. 20th century)
Mid-20th century; San Miguel de Allende
Bracelet stamped: Beckmann / Sterling / Mexico; earrings unmarked
Two works comprising a foliate scroll-and-ball motif link bracelet (7.5” L x 0.875” H) with a pair of similar design earrings (Each: 1.5” H), 3 pieces
6 pieces total 242.9 grams
$800-1,200
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
379 www.johnmoran.com
327
A mixed group of Mexican silver and hardstone jewelry
Seven works:
Reveriano Castillo (b. 20th century)
Circa 1952-1980; Taxco, Mexico
Each variously stamped: R [in a circle] / RC / Sterling / Taxco / Mexico / [Eagle 3] / [Design number]
Six works in sterling silver comprising a twisted silver chain link necklace (No. 36; 32” L) with a pair of similar design earrings (No. 52; each: 0.75” H), as well as three further delicate silver narrow link bracelets in various styles (Nos. 95, 118, 222; largest: 7” L; smallest: 6.75” L), and a caterpillar brooch with set onyx cabochon and graduated silver sphere link tail (No. 238; 1.25” H x 6” W), 7 pieces
Frederick W Davis (1880-1961)
Circa pre-1948; Mexico City, Mexico
Stamped: FD / Silver / Mexico
A round silver link bracelet with set onyx cabochons and silver ball accents
7.5” L x 0.75” H
8 pieces total
178.9 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
Literature: The caterpillar design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 167, fig. IV-27.
380 Latin American Art + Design l Tuesday, April 23, 2024
328
A group of Mexican silver and hardstone jewelry
Mid/late 20th century; Taxco, Mexico
Five variously marked for maker, Sterling, and Mexico; further variously marked: Taxco / JVE / MR / TMP / SA / Cena [?]; one unmarked
Seven works comprising six link bracelets by various makers, most with set stones, including two Miguel Melendez bracelets, one with set obsidian, and one with set greenstone cabochons, as well as a Miguel Garcia Martinez/Rancho Alegre modernist link bracelet with silver ball accents, a Talleres Los Ballesteros chunky link bracelet with set cut purple stones, a narrow Cena bracelet with green cabochons, and an unmarked bracelet with chunky scroll and ball links, together with a pair of Melesio Rodriguez sterling silver and set amethyst round earrings, 8 pieces
Largest: 7.5” L x 0.875” H; Smallest: 6.5” L x 0.5” H; Each earring: 1” Dia. 320.0 grams gross
$500-700
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
381 www.johnmoran.com
329
A mixed group of Mexican silver jewelry
Mid-20th century
Each variously marked for maker, Sterling, Mexico, and design number
Six silver brooches in sterling silver including two Los Castillo brooches with floral and scroll motifs and set amethyst (Largest: No. 456P; 3” H x 3.5” W; Smallest: No. 700; 1.5” H x 1.125” W), a Los Castillo calla lily brooch (No. 610c; 4.5” H x 2.5” W), a Hector Aguilar floral spray brooch with amethyst accents (2.5” H x 3.5” W), and a Taller Borda repoussé silver flower brooch (3.875” H x 2.875” W), as well as a Victoria sculptural orchid brooch (3.25” H x 3.125” W) and a pair of Victoria silver floral earrings (Each: 1” Dia.), 8 pieces 230.1 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
382 Latin American Art + Design l Tuesday, April 23, 2024
330
A group of Mexican silver animal-themed jewelry
Mid-20th century
Each variously stamped for sterling and Mexico; further variously stamped: Parra / [Eagle 34] / J.P.
A large group of Horatio Parra sterling silver animal brooches and a key holder including multiple dogs, cats, birds and fish, some with set stones, together with two J.P. stone set brooches including a dragonfly brooch with set onyx and a leaping fish brooch with set amethyst eye, 13 pieces
Largest: 2.375” H x 3.5” W; Smallest: 0.5” H x 1.375” W 77.7 grams gross
$200-400
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
383 www.johnmoran.com
331
A large group of Mexican silver accessory items
Mid-20th century
Each variously marked for maker, for sterling, and for Mexico; further variously marked: [Eagle 28] / [Eagle 40] / [Eagle 2] / [Eagle 3] / [Eagle 126]; large clip stamped: Napier / Silver Plate / Pat. Pend.
Comprising twenty works by various makers including a Victoria/Ana Maria Nuñez de Brilanti incised copper travel sewing kit, with a silver thimble within a cylinder (No. 246), as well as two silver boxes, one an oval locket (No.76), and an abstract motif box (No. 70), together with a Fred Davis stone set silver box, a Bernice Goodspeed silver matchbook holder, a Reveriano Castillo letter opener, an Emma Melendez tie clip, and various other items including three key holders, three silver boxes, a tie clip and a money clip, a second matchbook holder, a silver scoop and a perfume bottle, 20 pieces
Largest: 0.75” H x 2.375” W x 1.625” D; Smallest: 1.125” H x 1.25” W
Weighable silver: 381.9 grams gross
$300-500
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
384 Latin American Art + Design l Tuesday, April 23, 2024
332
A mixed group of Mexican silver jewelry
Five works:
Margot Van Voorhies (1896-1985)
Circa 1948-1978; Taxco, Mexico
Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number]
Three works in sterling silver designed by Margot Van Voorhies comprising a raised edge silver overlay “knot” brooch/pendant (no. 5417; 1.875” H x 2.75” H) with a pair of matching earclips (Each: 0.75” H) and a similar design link necklace (19” L x 1.5” H), 4 pieces
Pedro Castillo (b. 20th century)
Circa 1948-1980; Taxco, Mexico
Each variously stamped: PC [conjoined] / Taxco / Hecho en Mexico / Sterling / 101 / 925 / [Eagle 3]
Two works comprising a sterling silver necklace with shield-form geometric links (No. 101; 16” L x 0.625” H) and a chain link necklace with ridged and hourglass links (28” L x 0.25” Dia.), 2 pieces
6 pieces total 197.5 grams
$700-900
Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
385 www.johnmoran.com
386 Latin American Art + Design l Tuesday, April 23, 2024
333
A large group of assorted jewelry
Mid/late 20th century
Most appear unmarked; some variously stamped: Italy / Made in Germany
Ten works comprising six devotional crucifix pendants in various sizes and materials including silvertoned metal, wood, and carved mother of pearl, some on later chains (Largest: 5.5” H x 2.75” W;
Smallest: 1.5” H x 0.875” W), as well as an assembled cluster of fifteen crosses suspended by fine chains from a curved metal bar (10” H x 4.25” W), and three chunky silver-toned metal chains (74” L; 68” L; 53” L), 10 pieces
$500-600
Provenance: The Estate of John Simpson McKaughan Jr.
387 www.johnmoran.com
Consignment and Auction Inquiries: marandam@johnmoran.com Consign Today Latin American Art + Design October 22, 2024 AUCTIONEERS & APPRAISERS SINCE 1969 Years 55 1969 Est. AUCTIONEERS & APPRAISERS SINCE 1969
Do you need a formal appraisal for insurance scheduling, estate tax filing, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs. Is
• USPAP Compliant • Quick Turnaround art - jewelry - decorative objects - furnishings and more
Price Realized: $9,375
Est.
your collection protected?
Sold at John Moran Auctioneers: Arnold Belkin “ ‘Patzcuaro’ / (Del Ballet Tarasco ‘Los Pescadores,’)” 1951
AUCTIONEERS
APPRAISERS SINCE
Years 55 1969
AUCTIONEERS & APPRAISERS SINCE 1969
&
1969
Condition Reports
Latin American Art + Design l Tuesday, April 23, 2024
www.johnmoran.com
Overall generally good condition. Occasional and soft creases near the center of the work, and with a vertical folding crease through the center of the sheet. Not examined out of the frame.
Framed under glass: 5.5” H x 19.5” W x 1” D
2
Overall good condition. With margins. Not examined out of the frame.
Framed under Plexiglas: 22.75” H x 24.25” W x 1” D
3
Overall good condition. With margins. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 15.5” H x 13.75” W x 0.75” D
4
Occasional horizontal creases throughout, primarily showing in the outer edges. Not examined out of the frame.
Framed under Plexiglas:50.25” H x 35.25” W x 1.75” D
5
Overall good condition. Presumably the full sheet with deckled edges. Faint light-staining and time staining along the extreme margin edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 23.25” H x 33.25” W x 1” D
6
Overall generally good condition. A few occasional, scattered areas of small foxing throughout. A very soft 3” diagonal crease in the upper left sheet corner. The sheet is loose, not matted.
Unframed
7
Overall good condition. Full margins with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 33.25” H x 23.25” W x 1” D
8
Overall good condition. A rice-sized hole in the upper left corner, possibly in the hand of the artist. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 21.25” H x 18.25” W x 0.75” D
9
Overall generally good condition. Staining to the vintage newsprint and stray pigment marks commensurate with the artistic process. The sheet is affixed to the backmat in three places by black pieces of tape at the left and lower edges.
Framed under Plexiglas: 20.25” H x 16.25” W x 1.5” D
10
Overall good condition. The sheet is hinged to the overmat with pieces of white sticker labels at each extreme corner and the center of the lower edge, verso.
Framed under Plexiglas: 20.25” H x 16.25” W x 1.5” D
11
Each overall generally good condition. Small handling creases, pinhead-sized abrasions with surface loss, and some corners softly dog-eared throughout. Each sheet is framed floating.
Each framed under glass: 18.25” H x 20.25” W x 0.75” D
12
Visual: Overall good condition. A small 1” H x 0.325” W area of pinhead-sized spots of stray pigment in the upper right corner.
Blacklight: No evidence of restoration.
Frame: 30.5” H x 26.5” W x 2.25” D
13
Visual: Overall good condition. A very faint 2” H vertical scuff with attendant pigment loss in the lower right quadrant, through the signature.
Blacklight: No evidence of restoration.
Frame: 26.5” H x 30.5” W x 2” D
14
Overall generally good condition. With margins. Light staining throughout. Pale flecks of foxing scattered in the margin edges. Not examined out of the frame.
Framed under glass: 20.5” H x 18.25” W x 0.75” D
392 Latin American Art + Design l Tuesday, April 23, 2024 1
15
Visual: Overall generally good condition. A few occasional scattered pinhead-sized spots of grime. A rice-sized surface abrasion in the lower left corner above the signature. A 17” shallow and faint, diagonal surface scratch from the upper right edge towards the center of the work.
Blacklight: No evidence of restoration.
Frame: 51.5” H x 44” W x 1.75” D
16
Visual: Overall good condition. A 0.75” horizontal line and a pea-sized area of pigment loss in the upper left quadrant. A very soft stretcher bar crease in the upper portion of the left edge.
Blacklight: No evidence of restoration.
Frame: 52.5” H x 44.5” W x 2” D
17
Visual: Overall generally good condition. A 2” area of fine and stable craquelure in the figure’s hair of the upper left quadrant. A few pea-sized areas of stray white pigment in the lower left and right corners. The canvas is slightly loose in the upper left and lower right corners.
Blacklight: No evidence of restoration.
Frame: 37” H x 29.75” W x 1.75” D
18
Visual: Overall generally good condition. Scattered specks of grime throughout. A stretcher bar crease with an attendant split in the canvas at the lower portion of the right edge. A 2” vertical scratch with attendant pigment loss in the black pigment of the mother’s hair in the lower right quadrant. The canvas is slightly loose from the stretcher in the upper left corner.
Blacklight: No evidence of restoration.
Frame: 37” H x 29.75” W x 1.5” D
19
Overall good condition. Pale light staining to the sheet. Not examined out of the frame.
Framed under Plexiglas: 27” H x 33.5” W x 1.25” D
20
With margins. Heavy rippling throughout. Occasional very faint foxing showing in the outer margins. Faint pea-sized or smaller spots of staining in the lower margin, with the largest measuring 0.5” H in the lower right corner. Not examined out of the frame.
Framed under Plexiglas: 26.25” H x 20.25” W x 1” D
21
Overall generally good condition. Rippling and stray ink marks throughout. Not examined out of the frame.
Framed under glass: 18” H x 23.75” W x 1.25” D
22
With margins. Soft handling creases throughout, with heavier areas showing primarily in each margin corner. A 1” tear in the lower left margin corner. A soft 9” vertical band of surface soiling in the lower right margin edge.
Framed under Plexiglas: 40.25” H x 28” W x 1” D
23
Overall generally good condition. Soft rippling throughout. A 1.5” crease in the lower left corner. Some pea-sized or smaller spots of surface soiling showing primarily in the upper half of the work, near the upper edge. Not examined out of the frame.
Framed under Plexiglas: 40.25” H x 27.25” W x 0.75” D
24
Overall generally good condition. Rippling and soft handling creases throughout, commensurate with the material used. A 1.5” tear in the left margin, at center, and 0.75” vertical tear near the upper right corner, both not affecting the image. A rice-sized abrasion along the lower margin edge, at left. Three approximately 1” H x 1” W pieces of clear tape at the upper and lower left corners of the sheet, possibly from previous mounting. Not examined out of the frame.
Framed under Plexiglas: 33.25” H x 23.25” W x 0.75” D
25
With margins. Rippling throughout, primarily in the margins. Occasional, small stray ink marks throughout. Not examined out of the frame.
Framed under Pelxiglas: 39.25” H x 20.25” W x 1” D
26
With margins. Rippling and stray black ink marks throughout. Small spots of surface soiling scattered throughout the outer margin edges. Not examined out of the frame.
Framed under Plexiglas: 20” H x 35.5” W x 1” D
393 www.johnmoran.com
Each: Overall good condition. With margins. Occasional, scattered, faint stray pigment marks in the outer margins of each. Occasional, scattered, pinhead-sized holes in the sheet throughout each. Occasional soft handling creases throughout each, commensurate with material, with a soft vertical crease from the upper to lower edge in the right half of the multi-colored woodcut. Not examined outside of frames.
Each: Framed under Plexiglas: 19.25” H x 15.25” W (or reverse)
28
Overall generally good condition. With margins. Light staining, handling creases, and pea-sized or smaller imperfections inherent in the paper, all throughout. A few stray flecks of orange pigment in the upper half, in the upper margin edge. Not examined out of the frame.
Framed under Plexiglas: 37.25” H x 29.75” W x 1” D
29
Overall generally good condition. Soft handling creases throughout, the largest being a soft 7.5” diagonal crease in the upper left quadrant, not affecting the image, and a 4.5” crease near the center of the upper edge and into the image. Not examined out of the frame.
Framed under glass: 40.25” H x 28.75” W x 0.75” D
30
With marings. Light staining throughout. Soft handling creases throughout, with heavier creases running down the right edge. Imperfections in the paper throughout. Slight rippling through the paper showing primarily along the lower half of the work. Not examined out of the frame.
Framed under Plexiglas: 37.25” H x 30.25” W x 1” D
31
Handling creases throughout. Imperfections in the paper throughout.
Framed under Plexiglas: 22.25” H x 42.75” W x 1” D
32
Overall generally good condition. With margins. Occasional, scattered, soft handling creases throughout. Not examined out of the frame.
Framed under Plexiglas: 23.25” H x 32.25” W x 1” D
33
With margins. Approximately 0.5” x 0.75” square and triangular tears in various areas along the extreme margin edges and corners, not affecting the image. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 20.5” H x 20.5” x 0.75” D
34
Overall generally good condition. A few small tears in the upper left and right margin corners. Two approximately 5” soft vertical creases in the left margin, not affecting the image. Artist pinholes at each margin corner. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 20.25” H x 20.25” W x 0.75” D
35
Overall generally good condition. Two 0.5” squares of staining in the upper left and right margin corners, attendant with the adhesive used on the verso. Faint, black stray ink marks occasionally appearing in the margin edges. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 21.25” H x 18.25” W x 0.75” D
36
Overall generally good condition. Occaisional ricesized paper loss along the edges and corners. A 2.5” diagonal tear and 0.5” horizontal tear at the edge of the sheet in the lower left quadrant. An approximately 1” damp stain in the extreme lower right corner. Not examined out of the frame.
Framed under Plexiglas: 31” H x 45.25” W x 1” D
37
Overall good condition. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 21.25” H x 18.25” W x 0.75” D
38
Each overall good condition. With margins. Soft ribbling and handling creases, and stray black printing marks throughout. Not examined out of the frames.
Framed under glass: 17.75” H x 13.25” W x 1.25” D
394 Latin American Art + Design l Tuesday, April 23, 2024
27
39
Each overall good condition. With margins. Soft rippling and small, faint stray black printer marks scattered throughout. Not examined out of the frames.
Each framed under glass: 13.25” H x 17.75” W x 1” D
40
Each overall good condition. Soft rippling, creases, and small, occasional stray printing marks scattered throughout. Not examined out of the frames.
Each framed under Plexiglas: 17.75” H x 13.25” W (or reverse)
41
Overall good condition. Full margins with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 24.25” H x 20.25” W x 1” D
42
Visual: Overall generally good condition. Occasional pinhead-sized scuff marks throughout, primarily in the lighter purple pigments in the upper half, with a few occasionally borken lines of scuff marks going from the left to right edges in the upper third of the work. A few pinhead-sized spots of grime in lower right quadrant.
Blacklight: No evidence of restoration.
Frame: 48” H x 40.25” W x 2” D
43
Overall good condition. Very few, occasional, scattered pinhead-sized spots of grime throughout. Not examined out of the frame.
Framed under Plexiglas: 43.75” H x 30.5” W x 1” D
44
Overall good condition. Some with minor stray marks and pinhead-sized holes on the sheet. Not examined out of the frame.
Each framed sheet: 20.75” H x 26.25” W x 1.5” D
45
Visual: Overall generally good condition. Occasional, scattered, pea-sized, or smaller scuff marks showing in the upper right and lower quadrants. A rice-sized spot of shallow surface abrasions, with attendant pigment loss in the lower right quadrant beneath the white pigment.
Blacklight: No evidence of restoration.
Frame: 66.5” H x 22” W x 1.5” D
46
Visual: Overall good condition. Dust accumulation commensurate with age. A 4” L-shaped soft scratch near the left edge, at center. A stretcher bar crease in the lower horizontal stretcher, and at right.
Blacklight: No evidence of restoration.
Frame: 50” W x 74” W x 2.25” D
47
Overall good condition. Occaisional faint small areas of grime in the outer margins, with a 0.75” stray pigment mark in the lower right margin, all possibly in the hand of the artist. Not examined out of the frame.
Framed under Plexiglas: 31.25” H x 26.5” W x 1.5” D
48
Visual: Overall good condition. Occasional, scattered, pale pinhead-sized spots of foxing. A rice-sized abrasion with attendant pigment loss in the upper left quadrant, near the upper left edge.
Blacklight: No evidence of restoration.
Frame: 25” H x 17” W x 1.75” D
49
Overall good condition. With margins. The colors fresh. Slight rippling at the lower margin edge. A few pea-sized or smaller spots of staining from the verso of the sheet appearing on the recto in the upper right quadrant. Not examined out of the frame.
Framed under Plexiglas: 38.75” H x 29.75” W x 1.5” D
50
Overall good condition. With margins. The colors fresh. Not examined out of the frame.
Framed under Plexiglas: 33.25” H x 29.25” W x 1.25” D
51
Visual: Overall good condition. Dust accumulation commensurate with age. Scattered and unobtrusive pinhead-sized pressure marks or abrasions with attendant pigment loss.
Blacklight: No evidence of restoration.
Frame: 46.5” H x 44.5” W x 2” D
395 www.johnmoran.com
52
Overall good condition. With margins. A rice-sized spot of surface skinning at the upper right edge of the image. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 28.25” H x 40.25” W x 0.75” D
53
Visual: Overall good condition. Frame abrasion along the upper left edge.
Blacklight: No evidence of restoration.
Frame: 28.75” H x 40.5” W x 1.25” D
54
Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Plinth with some rubbed wear to the wood finish.
55
Visual: Overall good condition. The canvas has been relined.
Blacklight: Occasional areas of touch-up throughout, the largest measuring 7” H x 3” W to the left of the figure’s face.
Frame: 39” H x 18.5” W x 1.25” D
56
Visual: Fine and stable craquelure throughout. A soft stretcher bar crease along the upper edge. The canvas has been relined.
Blacklight: Two rice-sized spots of touch-up near the upper edge, at center.
Frame: 38.5” H x 26.5” W x 1” D
57
Visual: Overall generally good condition. Occasional pinhead-sized spots of pigment loss in the upper half. A 1.75” H x 0.25” and 1.25” H x 0.25” area of surface abrasion with attendant pigment loss and the middle and lower left extreme edge. A few rice- to pinheadsized spots of surface abrasion with attendant pigment loss in the lower right and lower edge.
Blacklight: No evidence of restoration.
Frame: 38” H x 20” W x 1.5” D
58
Overall good condition. Not examined out of the frame.
Framed under glass: 11.25” H x 14.25” W x 0.75” D
59
Overall good condition. With margins. The colors fresh. Not examined out of the frame.
Framed under Plexiglas: 27.25” H x 21.25” W x 1.5” D
60
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38.5 x 44.25” W x 2” D
61
Overall good condition. The full sheet with deckled edges. A soft 6” handling crease in the upper right edge. The sheet is framed floating and tipped to the back mat from the verso of each sheet corner. Not examined out of the frame.
Framed under Plexiglas: 51.75” H x 37.25” W x 1.5” D
62
Visual: Craquelure throughout, with some areas of unstable craquelure primarily scattered throughout the green and yellow pigment of the center figure, and with attendant areas of pigment loss and flaking throughout, the largest being a 2.5” H x 1” W area with clusters of pigment loss in the yellow pigment. Pigment losses scattered at the extreme edges of the canvas, primarily in the upper and left extreme edges. The canvas with minor rippling throughout, commensurate with the canvas being slightly loose from the stretcher.
Blacklight: No evidence of restoration. Some specks of grime in the upper left quadrant fluoresce under blacklight.
Frame: 40.5” H x 36.5” W x 1” D
63
Visual: Overall generally good condition. Faint stretcher bar creases showing primarily along the upper and right edges. Occasional, scattered, peasized or smaller shallow scuff marks in the right half of the work. The canvas is slightly loose from the stretcher.
Blacklight: No evidence of restoration.
Frame: 52” H x 68.75” W x 2.5” D
396 Latin American Art + Design l Tuesday, April 23, 2024
64
Visual: Overall good condition. Soft stretcher bar creases along the left and lower edges. Two nickelsized soft pressure marks in the upper portion of the left edge. A pea-sized, unobtrusive puncture to the canvas in the extreme lower edge, at left.
Blacklight: No evidence of restoration.
Frame: 52.5” H x 69” W x 2” D
65
Visual: Overall good condition. Dust accumulation scattered in the lower portion of the work. Paint shrinkage in the dark purple pigment near the center, at right.
Blacklight: No evidence of restoration.
Frame: 53” H x 69” W x 2” D
66
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 34.25” H x 26.5” W x 2” D
67
Each of the eight plates in very good condition. The full sheet with deckled edges. Each sheet is loose and not matted.
Each lithograph: Unframed
68
Overall good condition. With margins. The colors fresh. Not examined out of the frame.
Framed under Plexiglas: 28.5” H x 33.25” W x 2.25” D
69
Overall generally good condition. With margins. Minor and uneven trimming along the upper margin edge. Small, stray printer’s ink scattered in each margin. The sheet is loose, not matted.
Unframed
70
Overall good condition. With margins. The colors fresh. Not examined out of the frame.
Framed under Plexiglas: 54.5” H x 27.5” W x 1.25” D
71
Overall good condition. Not examined out of the frame.
Framed under glass: 34” H x 43.5” W x 1.25” D
72
Overall good condition. Full margins with deckled edges. The sheet is hinged to the overmat in two places by pieces of white tape affixed to the verso of the upper edge.
Framed under glass:
73
Overall good condition. With margins. The sheet is framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 21” H x 21.25” W x 1” D
74
Overall generally good condition. Damp staining showing along the left sheet edge. A 0.5” vertical tear near the lower portion of the left edge. The sheet is hinged to the overmat with brown tape from the verso of each sheet edge.
Unframed
75
Overall generally good condition. Minor and pale foxing, and a few very soft handling creases scattered throughout. A 0.75” tear near the edge of the lower left quadrant. The sheet is hinged to the overmat with tape from the verso of each edge.
Framed under glass: 25.5” H x 26.75” W x 1.25” D
76
Overall good condition. Not examined out of the frame.
Framed under glass: 25.25” H x 20.25” W x 1.5” D
77
Overall good condition. The full sheet with deckled edges. The sheet is framed floating and tipped to the back mat from the verso of each sheet corner. Not examined out of the frame.
Framed under glass: 28” H x 35.5” W x 1.25” D
78
Overall good condition. Cockling to the sheet commensurate with the medium and material used. The sheet is framed floating and tipped from the verso of each sheet corner.
Framed under glass: 20.5” H x 16.75” W x 1” D
397 www.johnmoran.com
79
Overall good condition. With margins. The colors fresh. Not examined out of the frame.
Framed under Plexiglass: 24.75” H x 29” W x 2” D
80
Overall good condition. The full sheet with deckled edges. Handling creases scattered throughout the outer margin edges. The sheet is loose and secured to the back mat with four archival corners.
Unframed
81
Overall good condition. The full sheet with deckled edges. The sheet is folded, as issued. The sheet is loose, not matted.
Unframed
82
Overall good condition. The full sheet with deckled edges. The palest pea-sized foxmark in the directly above the platemark in the upper margin, right of center. The sheet is loose, not matted.
Unframed
83
Overall good condition. The full sheet with deckled edges. Occasional and soft handling creases in the lower right margin. The two hinges on the verso are slightly appearing on the upper margin edge, recto. The sheet is hinged to the back mat with two pieces of hinging tape from the verso of the upper edge.
Unframed
84
Overall good condition. Full margins with deckled edges. The sheet is framed floating and mounted to the back mat.
Framed under Plexiglas: 44.5” H x 35.25” W x 7” D
85
Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat with small pieces of square tape in various places at the verso of each sheet edge and corner.
Framed under Plexiglas: 39” H x 31.25” W x 1” D
86
Overall good condition. The full sheet with deckled edges. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 39” H x 31.5” W x 1.25” D
87
Overall good condition. The full sheet with deckled edges. The sheet is loose, not matted.
Framed under glass: 37.25” H x 27.25” W x 1.75” D
88
Overall good condition. The sheet is tipped to the back mat.
Framed under glass: 39” H x 30.25” W x 1.25” D
89
Overall good condition. The full sheet with deckled edges. The sheet is mounted to the backing foam board approximately 3” in from each sheet edge.
Framed under glass: 35.75” H x 27.25” W x 1.75” D
90
Overall good condition. The full sheet with deckled edges. The sheet is framed floating and mounted to the back mat from the verso of the upper half of the sheet.
Framed under glass: 23.5” H x 19” W x 2” D
91
Overall good condition. Full margins with deckled edges. Artist pinholes in the upper left and right margin corners. The sheet is framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 48” H x 35.5” W x 2” D
92
Visual: Overall generally good condition. Light staining throughout. Not examined out of the frame.
Frame: 25” H x 20.25” W x 1.5” D
93
Overall generally good condition. The full sheet with deckled edges. A few 0.75” H x 2” W faint areas of discoloration across the upper sheet edge and middle of lower edge, from the mounting technique on the verso. The sheet is mounted to the backmat along each edge of the sheet.
Framed under glass: 31.25” H x 39.25” W x 1.75” D
398 Latin American Art + Design l Tuesday, April 23, 2024
94
Visual: Overall generally good condition. Discoloration along the lower edge. Pea-sized or smaller surface abrasions with attendant pigment loss along the extreme upper and left edges.
Blacklight: Two pea-sized spots of touch-up in the figure’s eyes.
Frame: 21.5” H x 21.25” W x 1” D
95
Visual: Oxidization throughout. A rice-sized spot of surface abrasion with attendant pigment loss in the lower left quadrant, under an agave leaf. A few pinhead-sized spots of pigment loss in the upper right quadrant in the tree leaves.
Blacklight: No evidence of restoration.
Frame: 40.5” H x 25” W x 2” D
96
Visual: Overall generally good condition. Soft stretcher bar creases showing along the upper and left edges. Very fine craquelure throughout the darker pigments, and areas of unstable craquelure with attendant pinhead-sized pigment losses in the lower left quadrant. The canvas is rippled, possibly attendant with the canvas relining process.
Blacklight: Scattered areas of pinhead-sized spots of touch-up throughout, primarily showing along the left and lower edges, with a 1.5” H x 1” W area at the top of the figure’s head.
Frame: 29.75” H x 26.5” W x 1.5” D
97
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 27” H x 23” W x 2” D
98
Overall good condition. With margins. Not examined out of the frame.
Framed under Plexiglas: 49” H x 39” W x 1.75” D
99
Visual: Overall good condition. A faint, hairline, white scuff mark in the upper left quadrant.
Blacklight: No evidence of restoration.
Frame: 35.25” H x 29.5” W x 1.5” D
100
Overall generally good condition. Pale light staining to the sheet. The sheet is mounted to the overmat with pieces of archival linen tape at each sheet corner and center upper and lower edge.
Framed under glass: 30” H x 37.5” w x 2” D
101
Overall generally good condition. With margins. Light staining throughout the image and sheet, and primarily showing on the exposed window of folio. The sheet is affixed to the back of the folio from the upper left and right corners, and with attendant staining from the adhesive showing on the upper left and right corners of the recto sheet. Unframed
102
Each: Overall generally good condition. Pale light staining throughout. Uneven trimming along some of the extreme margin edges. The smallest work with a 0.5” triangular damp stain in the lower right margin corner. Two works with pale and uneven staining, verso. Each sheet is loose, not matted.
Each: Unframed
103
Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. With 1.75” scratch to upper back.
104
Overall good condition. The sheet is framed floating and tipped from the verso of the upper left and right sheet corners.
Framed under glass: 19” H x 23” W x 1” D
105
Visual: Overall good condition.
Blacklight: Two pea-sized areas of touch-up in the upper right quadrant, with attendant patches, verso.
Frame: 46” H x 37” W x 3” D
106
Overall generally good condition. Mat burn at the extreme sheet edges. Artist pinholes at each extreme corner. The sheet is hinged to the backmat in three pieces of tape along the recto of the upper sheet edge and upper left and right edges.
Framed under glass:
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107
Overall good condition. A small 0.75” horizontal handling crease in the upper left quadrant. A thin area of pale time staining along the extreme left edge.
Framed under glass: 24.25” H x 30.25” W x 1.75” D
108
Overall good condition. The sheet is sealed in the mat.
Framed under glass: 31.5” H x 39.5” W x 2.5” D
109
Overall good condition. Not examined out of the frame.
Framed under glass: 28.5” H x 36” W x 1.5” D
110
Overall good condition. Not examined out of the frame.
Framed under glass: 31.5” H x 35.75” W x 1.5” D
111
Overall good condition. Not examined out of the frame.
Framed under glass: 30.25” H x 38” W x 1.25” D
112
Overall generally good condition. Pale light staining to the sheet. Mat burn along the opening edges of the mat window. Staining from old adhesive on the verso occasionally along the extreme sheet edges of the recto sheet. The sheet is hinged to the overma in three places with pieces of linen tape from the verso sheet.
Framed under glass: 30” H x 36” W x 2” D
113
Mat and light staining showing primarily in the margins. Slight cockling to the margins. Shallow scattered insect damage showing primarily on the figure’s ear and at the edges of the image. The sheet is hinged to the overmat with pieces of white tape from the verso of the sheet.
Framed under glass: 23.5” H x 18.25” W x 1.25” D
114
Overall good condition. With margins. The colors fresh. Two pinhead-sized spots of grime in the upper left margin. Not examined out of the frame.
Framed under glass: 32.25” H x 26.25” W x 1.25” D
115
Overall good condition. The colors fresh. Each sheet with three deckled edges. Each sheet with very few, occasional, scattered pinhead-sized spots of grime in the margins, not affecting the images. The portfolio cover with few, soft handling creases throughout, with a faint 1” dark scuff mark in the lower sheet edge, at right. Each sheet is loose and not matted. The extra sheets each with multiple 1.25” square areas of staining, possibly from previous adhesive. Edition 66 of “Tagane Dauravuravu: Ancient Warrior” with pale light staining throughout, deckled edges trimmed off, and a 3” H x 0.25” W area of pinheadsized grime splatter from the lower margin, at right, into the the image.
Unframed
116
Overall good condition with minor scuffs and verdigris oxidation to bronze commensurate with age. With scattered areas of small surface chipping to finish.
117
Overall generally good condition. Pale and small areas of foxing scattered throughout. Not examined out of the frame.
Framed under glass: 23.5” H x 18.25” W x 0.75” D
118
Overall good condition. Not examined out of the frame.
Framed under glass: 30” H x 36” W x 3” D
119
Overall good condition. The full sheet with deckled edges. The sheet is tipped to the back mat. Not examined out of the frame.
Framed under glass: 33” H x 39” W x 1.25” D
120
Visual: Occasional scattered areas of pigment loss, the largest measuring 0.75” H x 0.75” W in the upper right corner. A pea-sized spot of grime in the lower right quadrant in the blanket. Occasional scattered pea-sized or smaller surface abrasions with commensurate pigment loss primarily along the edges.
Frame: 21” H x 27” W x 1.25” D
400 Latin American Art + Design l Tuesday, April 23, 2024
121
Visual: Mostly pea-sized or smaller areas of pigment loss throughout the two figures and background, and the largest area measuring as a 3” small band of loss on the left figure’s arm. Small and soft surface scratches scattered primarily in the outer edges.
Frame abrasion along the extreme left edge.
Blacklight: Areas of touch-up scattered primarily in the outer edges, the largest measuring approximately 5” along the extreme upper edge, at center.
Frame: 21.5” H x 17.5” W x 2.5” D
122
Visual of each: Overall good condition. Minor surface scratches, soft areas of wear to the pigment, and specks of grime, all scattered throughout. The figure holding the watermelon with two pinhead-sized holes in the upper and lower right quadrants.
Blacklight of each: No evidence of restoration.
Frame: 53.5” H x 25.5” W x 2” D
123
Overall good condition. With margins. The colors fresh. Not examined out of the frame.
Frame: 27.5” H x 36” W x 2.25” D
124
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
125
Visual: Overall good condition. Minor abrasion along the extreme edges of the wove paper, with some scattered areas of small paper losses.
Blacklight: No evidence of restoration.
Unframed
126
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 28.5” H x 24.5” W x 2.5” D
127
Overall good condition. Rippling and creases throughout commensurate with material and medium. The sheet is affixed to the backmat by loops of tape occaisionally along the verso of each sheet edge.
Framed under Plexiglas: 43.25” H x 33” W x 1.25” D
128
Overall good condition with minor shelf wear. This piece has been restored since the last time offered at auction. Paint losses recto have been touched up and the entire verso and sides have been repainted a darker grey. Please refer to Heritage Auction records provided in the provenance for previous condition. With previous lot tag taped to underside.
129
Overall good condition commensurate with age. Possibly with minor scattered areas of loss to beadwork.
130
Overall good condition with light scuffs commensurate with age. Minor scattered areas of loss to beadwork.
131
With mild soiling, dust accumulation, ruckling, and stiffness commensurate with storage and age. A 9” long stain to upper left corner.
132
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. More concentrated scuffing and white residue to underside.
133
Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a rice-sized inclusion to proper right eyebrow. As well, a rice-sized scuff to nose. Electrical wire woven through side holes for wall mounting. Mild dust accumulation throughout.
134
Overall good condition with scattered minor scuffs and scratches. Scattered craquelure to the glossy finish throughout, with more concentrated at the head and eyes. Oxidation to the brass stand.
135
Overall good condition with scuffs, scratches, and shelf wear commensurate with age. A 1” long scuff to verso of hand. Felt applied to underside.
401 www.johnmoran.com
136
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Mild soiling throughout.
137
Overall good condition with scattered rubbed wear to the polychrome and a few scattered rice-sized losses to polychrome. Chipped loss to figure’s middle finger of left hand proper. The back of figure’s head with hairline craquelure in the polychrome. With cracks in the polychrome/gesso at the junction of figure and base. Tape applied to underside.
138
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 32.5” W x 4” D
139
Visual: Overall good condition. A few scattered pale specks of grime in the lower left quadrant.
Blacklight: No evidence of restoration.
Frame: 29” H x 27” W x 2” D
140
Visual: Craquelure throughout, including areas of unstable craquelure, with attendant pigment losses, peeling and flaking to the pigment, and certain areas of dry bubbling to the pigment, all primarily in the outer edges of the background. A pinheadsized area of pigment loss in the upper left portion of the figure’s blue shirt, with an attendant peasized reverse pressure mark. A dime-sized pressure mark to the right of the figure’s cheek and in the background. A stretcher bar crease along the lower edge. The canvas with minor ripples, presumably commensurate with the canvas slightly being loose from the stretcher.
Blacklight: Areas of restoration throughout the left and right side of the figure’s head, and in the background.
Frame: 31” H x 26” W x 3” D
141
Visual of each: Overall generally good condition. Areas of pigment loss scattered primarily throughout the edges and corners. Scattered areas of loss to the extreme edges of the board. Two out of the five panels (Violin and Bass players) with water damage in the lower portion of the works.
Blacklight of each: No evidence of restoration. Each unframed
142
Visual: Overall generally good condition. Fine, stable craquelure throughout the darker pigments of the background.
Blacklight: No evidence of restoration.
Frame: 29.75” H x 37.75” W x 2.25” D
143
Visual: Overall good condition. Some frame abrasion along the extreme right edge. A 0.5” soft scuff mark near the right edge of the upper right quadrant.
Blacklight: No evidence of restoration.
Frame: 27.75” H x 23.5” W x 2” D
144
Visual: Overall generally good condition. A few small areas of fine, stable craquelure in the black and brown pigments in the lower half of the work. A few occasional, scattered soft scuff marks in the upper left quadrant and lower left and right corners.
Blacklight: No evidence of restoration.
Frame: 38” H x 30” W x 2.25” D
145
Visual: Fine stable craquelure throughout. A vertical split in the canvas from the upper edge to the lower edge to the right of center.
Blacklight: Areas of touch-up throughout. Large areas of touch-up over areas of heavier craquelure in the roof of the building in the upper right quadrant and through the chicken, tree, and figure’s robes in the lower left quadrant. Smaller spots of touch-up throughout each figure’s face.
Frame: 46.5” H x 49.5” W x 1.75” D
146
Visual: Overall generally good condition. Specks of grime, varnish discoloration, and areas of fine craquelure throughout. Small, pinhead-sized abrasions at the upper left and lower right corners with attendant pigment loss.
Blacklight: No evidence of restoration.
Frame: 18.25” H x 23” W x 1.25” D
147
Visual: Overall good condition. Drip lines in the right half of the work.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 48.5” W x 2” D
402 Latin American Art + Design l Tuesday, April 23, 2024
148
Visual: Overall generally good condition. A few areas of very fine stable craquelure showing in the lower half. A few rice-sized spots of pigment loss along the extreme right edge. A 4” H line of white residue near the lower left edge.
Blacklight: No evidence of restoration.
Unframed
149
Each with scattered scuffs, scratches, soiling, weathering, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age and outdoor use. Please note: the Saint Isaac and Christopher sculptures were later added in the 20th century. Two upper figures and one lower missing fingers, the other lower missing hand. Each with termite damage throughout, with scattered older chipped losses and extensive rubbed wear to the paint. Oxidation and scratches to each stand.
150
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered areas of chipped losses to the silvering/ gilding. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.
151
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, surface grime, and separation at joints commensurate with age. Rubbed wear to the gilt and polychrome with scattered chipped losses to paint and wood. One foot loose and rotating from base. Each figure loose in its mounting with holes drilled into shoulders.
152
Overall good condition with scattered scuffs, extensive scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of wood worm throughout. Older chipped losses throughout, concentrated at legs and stretcher. Lacking one bead at edge.
153
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered soiling and staining, concentrated to legs.
154
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Oxidation to iron components. Scattered chipped losses to legs and table top corners. Table top in two segments joined together and cracking to the wood finish.
155
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Refinished unevenly, particularly to the front. The top with a 3” and 6” crack, each filled/repaired. A few joints later filled with wedges.
156
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Evidence of inactive wood worm to back and left side. Oxidation to iron components. Scattered cracks in the wood, concentrated at the top, with more rubbed wear to the top as well. Left latch not matched with the groove. Staining and soiling to drawer interiors, one with chipped loss to knob pull. Lacking key.
157
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Oxidation to iron components. The interior with rubbed wear to the gilt and soiling/darkening to painted scene. The locking mechanism is difficult with possible repair/re-soldering to latch. Includes key.
158
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered losses to the leather at edges, concentrated at corners, the largest area measuring 7” long. Scattered starting/splitting to seams of leather at edges and corners. Oxidation to iron components. The interior with splits in the wood. One hinge loose. The underside missing 3/4 of its leather from rubbed wear. Lacking key.
159
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older chipped losses to feet and a few others scattered throughout. With previous owner’s collection sticker label to underside.
403 www.johnmoran.com
160
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Several cracks/splits in the wood, concentrated at the back and lower door hinge. Cabinet top slightly loose. All-over evidence of wood worm (inactive). Previous retailer has marked “68” to interior top shelf. Oxidation to iron components.
161
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered localized areas with evidence of woodworm, appears inactive. Shelves and parts of the molding possibly not original to the piece and later updated/restored. Interior shelves are not perfectly cut to size and some are painted white to undersides. Oxidation to iron components.
162
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Remnants of green stripped paint to interior and scattered areas to lattice. Scattered chipped losses to wood.
163
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The leather with scattered splits, raising, cracking, scratches, and wear commensurate with age. Some oxidation to brass components with each brass finial loose. Front right leg with a vertical crack running through to arm support.
164
Visual: Overall good condition. Specks of grime, minor varnish discoloration, and fine craquelure throughout, all commensurate with age. Touch-ups and repairs of the canvas are visible throughout without blacklight, showing primarily along the edges and in the darker pigment of the woman’s clothing.
Blacklight: Areas of spots and strokes of touch-up throughout, the largest area measuring 3.25” H x 1.25” W in the dress of the standing figure.
Frame: 57.5” H x 42” W x 1.75” D
165
Visual: Dust accumulation, grime, areas of significant wear in the lower left and right quadrants, and varnish discoloration, all commensurate with age. A vertical hairline split to the canvas along the left half of the work. Uneven and rough surface texture in the upper right quadrant. Slight rippling to the canvas commensurate with attendant stretching and relining of the canvas. Frame abrasion along the upper edge, at right.
Blacklight: Large areas of touch-up throughout, primarily in the outer edges.
Frame: 52” H x 41” W x 4” D
166
With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older chipped losses throughout. The top with 6” long crack to proper left side. Inner compartment with two drilled holes in the lid. Oxidation to iron components. Evidence of wood worm throughout. Lacking key. Function of lock unknown.
167
With scattered scuffs, scratches, nicks, shrinkage cracks, older chipped losses, indentations, and separation at joints commensurate with age. Inner bottom panel recently replaced. Oxidation to iron components. Leather components are stiff with extensive rubbed wear and curling at edges. Rear leather strip with lifting/separation affecting the brass tacks. Original lock has been removed with chipped losses to area, replaced by ornamental padlocks, three including keys.
168
With scattered scuffs, scratches, nicks, shrinkage cracks, older chipped losses, indentations, and separation at joints commensurate with age. Oxidation to iron components. The back with 12” older loss to bottom wood panel. Other back corner with applied tape repair. Lacking key, lock not in functioning order.
169
Visual: Each overall good condition. Very minor scuff marks, craquelure, flecks of grime, and varnish discoloration commensurate with age and use.
Largest framed under glass: 17.5” H x 14.5” W x 1.5” D; Smallest framed under glass: 13” H x 11.5” W x 1.5” D
404 Latin American Art + Design l Tuesday, April 23, 2024
170
Heavy unstable craquelure throughout. Large areas of pigment loss throughout commensurate with craquelure. The canvas is slightly loose. Occasional, scattered pinhead-sized holes in the canvas, with a 1” vertical tear in the canvas above the figure’s head.
Blacklight: No evidence of restoration.
Frame: 35.5” H x 29” W x 1.75” D
171
Overall generally good condition. Some minor abrasions, discoloration, pigment loss, and grime, all commensurate with age and use.
Two framed under Plexiglas: 17.25” H x 13” W x 1.25” D
172
Visual: Each with various small surface abrasions, discoloration, pigment loss, dust accumulation, and grime, all commensurate with age.
Blacklight: No evidence of restoration.
Frame of largest: 14.5” H x 12” W x 1” W; Frame of smallest: 13.75” H x 10.75” W x 1.75’ D; One unframed
173
Each with scattered scuffs, scratches, nicks, indentations, stress fractures, and separations at joints commensurate with age. The Mary figure with most of her polychrome and gilt rubbed off. The other figures with scattered losses to polychrome and small older chipped losses to wood. Back panel of tabernacle is loose and unmounted.
174
Each with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, scattered small losses, and separation at joints commensurate with age. Two with repairs to top of box. One with loose hinges. Scattered losses to plaster figurines. The tin nicho with localized aread of oxidation to the metal, bent components, and paint losses. The smaller nicho with more soiling and moisture damage to the wood.
175
Overall good condition with scattered scuffs, scratches, nicks, degradation to wood, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered areas of chipped losses to the wood, concentrated at joints and mounting of arms, as well as cracks, the largest measuring 10” from right shoulder to neck. Areas of peeling and losses to the paint, the largest measuring 1.25” Dia. Allover evidence of wood worm. The crown with oxidation, localized areas of rust, and soiling.
176
Overall good condition with scattered scuffs, scratches, nicks, degradation to wood and plaster, shrinkage cracks, indentations, and separation at joints commensurate with age. Figure is lacking hands. Scattered areas of chipped losses to the wood, concentrated at joints and mounting of arms, as well as cracks, the largest measuring 5” from figure’s torso. Areas of peeling and losses to the paint, the largest measuring 3” x 1.5” at the face. A few minor areas with evidence of wood worm. Halo with losses at edges, tarnishing, and bending, with repair to mounting.
177
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with minor rubbed wear to the polychrome finish, concentrated at arms. Each with penciled notes to underside and associated leather pads accompanying the lot.
178
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Figure has been stripped of polychrome and gesso, with scattered artifacts from the gesso. As well, figure lacking head, hand, one arm, and section of the base, with older chipped losses throughout. Evidence of wood worm and termite tracks throughout. Rubbed wear, scratches, and scattered oxidation to steel stand.
179
With rubbed wear and chipped losses to the polychrome throughout, scattered scuffs, scratches, nicks, and small older losses commensurate with age. Figure lacking left arm and with chipped losses to right fingers. With a 1” x 1” area of base separated from the rest of the base.
180
Each with rubbed wear and chipped losses to the polychrome throughout, scattered scuffs, scratches, nicks, and small older losses commensurate with age. The male figure missing a hand and chipped losses to fingers of proper right hand. As well, with a crack and repair to the neck. The girl 1.5” long deeper scratch to polychrome of face and cross with craquelure.
181
With rubbed wear to the polychrome and gilt throughout, scattered scuffs, scratches, nicks, and small older losses commensurate with age. Figure lacking right hand proper. Older losses to figure’s back shoulder area.
405 www.johnmoran.com
182
Overall good condition with scattered scuffs, scratches, indentations, and nicks commensurate with age. The wood with multiple errant holes drilled for mounting the figure. Cross loose from its mounting with the base. The figure with chipped losses throughout. Silver mounts with areas of slight bending and tarnishing, with rubbed wear to the gilt finish. With previous dealer’s sticker applied verso.
183
Overall good condition with scattered scuffs, scratches, indentations, and nicks commensurate with age. The figure with small chipped losses throughout. Silver mounts with areas of slight bending and tarnishing. With previous dealer’s sticker applied verso.
184
Overall good condition with scattered scuffs, scratches, indentations, and nicks commensurate with age. Cross loose from its mounting with the base as well as a few silver mounts. The figure with chipped losses throughout. Silver mounts with areas of slight bending and tarnishing. With previous dealer’s sticker applied verso.
185
Overall good condition with scattered scuffs, scratches, indentations, and nicks commensurate with age. The wood with a few errant holes drilled for mounting the figure. Cross loose from its mounting with the base. The figure with chipped losses throughout. Silver mounts with areas of slight bending and tarnishing. With previous dealer’s sticker applied verso.
186
Overall good condition with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. The figure with losses to fingers and scattered rubbed loss to paint. Figure separated from its mounting at the feet. The crucifix with evidence of wood worm. Frame in good condition. Lot includes two older associated swatches of cloth.
187
Overall good condition with scattered scuffs, scratches, indentations, and nicks commensurate with age. The figure with chipped losses to the polychrome, cracks in the proper right hand, losses to two fingers of proper left, and a crack at the knee. The base with 2” area of small losses in the wood, rubbed wear to the wood, and pressure cracks throughout.
188
Each with scattered scuffs, scratches, indentations, nicks, and rubbed losses to the paint commensurate with age. The tin and silver elements with oxidation/ tarnishing and some elements slightly bent. Each with varying degrees of scattered chipped losses to the wood and polychrome, concentrated at bases. Each with a slight lean.
189
Each with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each with varying degrees of scattered losses to polychrome, gilt, and chipping to gesso. The cross of Francis with lost upper portion. Some figures possibly with other lost elements.
190
Each with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each with varying degrees of scattered losses to polychrome, gilt, and chipping to gesso. Three figures with loss to arms. One figure with possibly lost element. Each figure with previous owner’s collection tag/sticker to underside.
191
Each with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each with varying degrees of scattered losses to polychrome, gilt, and chipping to gesso. One figure missing both arms, one Padua missing right hand proper. Two figures possibly with other lost elements. Each figure with previous owner’s collection tag/ sticker to underside.
192
Each with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each with varying degrees of scattered losses to polychrome, gilt, and chipping to gesso. Two figures with losses to both wrists/arms. Some figures with possibly lost elements. Each figure with previous owner’s collection tag/sticker to underside.
193
Each with scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. Each with varying degrees of scattered losses to polychrome, gilt, and chipping to gesso. Four figures with losses to wrists/arms. Some figures with possibly lost elements.
194
Each with scattered scuffs, scratches, indentations, older losses, soiling, and rubbed wear to polychrome commensurate with age. The mask with horse hair lacking applied hair to one side and lifting to applied leather. One with chipped losses to nose and nail to forehead with remnants of a gift bow.
406 Latin American Art + Design l Tuesday, April 23, 2024
195
Each overall good condition with scattered soiling, rubbed wear, and fading commensurate with age. Scattered loose threads to the canvas bands. A few applied leather components with slight curling or lifting. Each with losses to the fur throughout.
196
Each with tarnishing/oxidation, indentations, and bending to the material commensurate with age. Each with possible repair to pin spike at the joint. One side of two birds with break at the mounting. Scattered scratches and minor soiling to frames.
197
Each overall good condition, some with scattered fraying or loose threads to edges and minor fading. Each not inspected out of frame.
Larger framed: 20.5” H x 26” W
Smaller framed: 16.75” H x 20.5” W
198
Each overall good condition, some with scattered fraying or loose threads to edges and minor soiling. Some with fading to the colors commensurate with age. Two with remnants of previous paper backing verso.
199
Each overall good condition, some with scattered fraying or loose threads to edges and minor soiling. Some with fading to the colors commensurate with age. The largest with paper tag sewn into upper corner verso.
200
Each overall good condition, some with scattered fraying or loose threads, minor soiling, or fading to the colors commensurate with age. Some with scattered pea-sized stains.
201
Each overall good condition, some with scattered fraying or loose threads, minor soiling, or fading to the colors commensurate with age. Some with scattered pea-sized stains.
202
Each overall good condition, some with scattered fraying or loose threads, minor soiling, or fading to the colors commensurate with age. Some with scattered pea-sized stains. One older with more staining and fading.
203
Each overall good condition with general wear commensurate with age and minor soiling, some with fraying or loose threads to fringe edges.
204
Each overall good condition with mild soiling, dust accumulation, and general wear commensurate with age. The embroidery with scattered loose threads. One with thread colors slightly faded.
205
Each with scattered older flaws and imperfections, scuffs, scratches, indentations, inclusions, oxidation, and losses or raising to inlay commensurate with age and use. All but one lacking a leather strap.
206
Each with scattered older flaws and imperfections, scuffs, scratches, indentations, inclusions, oxidation, and losses or raising to inlay commensurate with age and use. Each lacking a leather strap.
207
Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Each with old losses and scattered cracks. Heavy oxidation to iron hardware. One with newer leather applied to underside.
208
Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Each with old losses and scattered cracks. One with applied leather repair to heel. Each with cracks in the blunt ends. Heavy oxidation to iron hardware.
209
Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Each with old losses and scattered cracks. One with loose bit of the wood where chipped losses have occurred. Heavy oxidation to iron hardware. One with older applied Chilean coin reinforcing the hardware.
210
Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Each with old losses and scattered cracks. One Huaso with more separation at a crack to the side. One leather with crack through the wood heel. Heavy oxidation to iron hardware and scattered losses or raising to inlay.
211
Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Each with old losses and scattered cracks. One with old applied leather repair to heel. Heavy oxidation to iron hardware with scattered losses or lifting to inlay.
407 www.johnmoran.com
212
Each with scattered scuffs, scratches, nicks, shrinkage cracks, and indentations commensurate with age. Each with old losses and scattered cracks. One with old applied leather repair to heel. Heavy oxidation to iron hardware with scattered losses or lifting to inlay.
213
Each overall good condition with scattered scuffs, scratches, indentations, oxidation, and verdigris commensurate with age and use. One with a riveted repair to heel. One with loss to mounting bar.
214
Each overall good condition with tarnishing and light scratches commensurate with age. The chafing stand with detached snuffer and kettle with detached lid. As well, the other hinges with some deterioration. Weight includes non-silver components.
215
Overall good condition with tarnishing and light scratches commensurate with age. A few scattered pea-sized dents.
216
Overall good condition with tarnishing and light scratches commensurate with age. Felt feet applied to underside. As well, a previous dealer’s sticker and unrelated sticker ghost.
217
Overall good condition with tarnishing, light scratches, a indentations commensurate with age. A few leaf elements of handle slightly bent, one disconnected from its welding juncture.
218
Each overall good condition with tarnishing and scratches commensurate with age. The lid with small dent in at edge. One parrot with losses to inlay at the head, some losses retained with the lot. The spoon with significant losses to inlay.
219
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Largest central diamond of ceramic with cracks around edges and possible very small losses.
220
Overall good condition with light tarnishing and scratches commensurate with age and use.
221
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions, surface reaching fractures and visible inclusions.
222
Overall good condition with light tarnishing and wear commensurate with age and use.
223
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions, surface reaching fractures, and visible inclusions.
224
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.
225
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.
226
Overall good condition with light tarnishing and scratches commensurate with age and use.
227
Overall good condition with light tarnishing and scratches commensurate with age and use.
228
Overall good condition with light tarnishing and scratches commensurate with age and use.
229
Overall good condition with light tarnishing and scratches commensurate with age and use.
230
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
231
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Amethysts with scattered abrasions, surface reaching fractures, and visible inclusions. Bow brooch with a couple of minor nicks to one trumpet stone.
232
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Inlay with scattered abrasions and surface reaching fractures. Bangle with one inlay piece slightly raised from surface. Locket with minor hairline to abalone on one side.
408 Latin American Art + Design l Tuesday, April 23, 2024
233
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Large Lascaux buckle with a few small vertical scratches and a minor indentation to the center. Bird buckle with minor spot of red residue to hook portion edge. Each leather belt with light wear from use and one with an unfinished end.
234
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, visible inclusions, and surface reaching fractures. Scattered stones with a few minor chips.
235
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few stones with a single minor chip.
236
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Light wear to leather belt. Crown ornament with scattered minor indentations to lower edges, and lacking one anchor pin.
237
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions. The ring with heavier wear and scratches to stone.
238
Each in overall good condition with tarnishing and light scratches commensurate with age. Amethysts with scattered abrasions, surface reaching fractures, and visible inclusions.
239
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Scattered stones with minor chips to top surface. Scattered subtle replacements to stones, with one black stone.
240
Overall good condition with light tarnishing and scratches commensurate with age and use.
241
Overall good condition with light tarnishing and faint scratches commensurate with age and use. Scattered stones with light abrasions.
242
Overall good condition with light tarnishing and scratches commensurate with age and use.
243
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.
244
Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions.
245
Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and visible inclusions. A few scattered fleabite nicks to some edges. A couple of minor chips.
246
Overall good condition with light tarnishing and scratches commensurate with age and use.
247
Overall good condition with light tarnishing and scratches commensurate with age and use.
248
Overall good condition with light tarnishing and scratches commensurate with age and use.
249
Overall good condition with light tarnishing and scratches commensurate with age and use.
250
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
251
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Round link and chain link bracelets each with replacement chain guard.
252
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Buckle lacking corresponding latch piece. Belt with unfinished ends and light wear to leather.
253
Overall good condition with light tarnishing and scratches commensurate with age and use.
409 www.johnmoran.com
254
Overall good condition with tarnishing and scratches commensurate with age and use.
255
Overall good condition with light tarnishing and scratches commensurate with age and use.
256
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
257
Overall good condition with light tarnishing and scratches commensurate with age and use.
258
Overall good condition with light tarnishing and scratches commensurate with age and use.
259
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
260
Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use.
261
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
262
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
263
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
264
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Smallest brooch lacking swivel lock to pin.
265
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
266
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
267
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Clip brooch with faint residue to base of one flower bud.
268
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Amethysts with scattered abrasions, surface reaching fractures, and visible inclusions. Parrot stone with a few minor nicks to surface.
269
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
270
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling. Original maker’s marks would have been found on original clasp.
271
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures and visible inclusions.
272
Overall good condition with light tarnishing and scratches commensurate with age and use.
273
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions and surface reaching fractures. Pendant with break and loss to repaired brass tip at top, near bail. Tip retained.
274
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
275
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions and surface-reaching fractures.
276
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions. Brooch with a minor area of subtle crazing to one note.
277
Each in overall good condition with light tarnishing and scratches commensurate with age and use. No. 5306 necklace and bracelet may combine to form larger necklace. Narrow dot bracelet lacking drops or charms.
278
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Cuff with slight indentation to center.
410 Latin American Art + Design l Tuesday, April 23, 2024
279
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
280
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions. Donkey with minor loss of enamel to one leg. One cowboy with a couple of subtle hairline fractures to enamel.
281
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
282
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
283
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions. Bracelet and earrings with minor hairlines and small chips to enamel. Roman brooch with a few scattered minor chips.
284
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
285
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
286
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Each brooch lacking swivel closure element to pin.
287
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
288
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions.
289
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.
290
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
291
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
292
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered light abrasions.
293
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
294
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Necklaces with a few scattered minor subtle losses to inlay.
295
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions. A few pieces with minor hairlines and small areas of crazing to the enamel. Necklace and two bracelets with a couple of areas of slight discoloration to blue enamel. One bracelet with added jump ring extensions.
296
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions.
297
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions. Three color link bracelet with slight discoloration to some white panels. Dot and square pendant with minor loss to smallest dot; one dot and square ear clip with minor chip to edge of one dot.
298
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions.
299
Each in overall good condition with light wear and scratches commensurate with age and use. Stone inlay with scattered abrasions.
300
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
411 www.johnmoran.com
301
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
302
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
303
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions, surface reaching fractures, visible inclusions, and with chip to center ridge edge.
304
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures.
305
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Each bracelet with a minor loss to inlay at one end.
306
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.
307
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Pearls with scattered light abrasions. Tests for sterling.
308
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
309
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
310
Each in overall good condition with light tarnishing and scratches commensurate with age and use. A couple of bracelets with small loops for charm attachment.
311
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. One pierced earring lacking post back.
312
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One malachite cuff link with missing swivel tab.
313
Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Stones with scattered abrasions.
314
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
315
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Peacock tests for sterling.
316
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Most with screw back fittings; two with clip fittings, one with posts. One earring lacking post back screw.
317
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. One Pineda pair with replacement post.
318
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
319
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.
320
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Bangle with detachable guard chain.
321
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
412 Latin American Art + Design l Tuesday, April 23, 2024
322
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.
323
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
324
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Amethysts with scattered abrasions, surface reaching fractures, and visible inclusions.
325
Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Scattered stones with abrasions.
326
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
327
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.
328
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface reaching fractures, and visible inclusions.
329
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Amethysts with scattered abrasions, surface reaching fractures, and visible inclusions. Victoria orchid brooch pin with loose clasp.
330
Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.
331
Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Stones with scattered abrasions. One matchbook holder with black residue under the cover.
332
Each in overall good condition with light tarnishing and scratches commensurate with age and use.
333
Each in overall good condition with light wear, oxidation, and scratches commensurate with age and use. Shell with scattered light abrasions.
413 www.johnmoran.com
John Moran Auctioneers, Inc
SPECIALISTS
President, Auctioneer
Head of Sale, Vice President, Specialist
Senior Specialist, Fur niture & Decorative Art
Director, Fine Art
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Post-War & Contemporary Design Specialist
Department Administrator, Fine Art
Department Administrator, Furniture & Decorative Arts
Silver, Western and American Indian Cataloguer
Cataloguer, Furniture & Decorative Arts
Cataloguer, Fine Art
Cataloguer, Fine Art
Cataloguer, Fine Art
Director, Jewelry & Watches
Department Administrator, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Administrator, Appraisals
Administrator, Trusts & Estates
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Finance
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
PR Manager/Social Media
Graphic Designer
PHOTOGRAPHY
Photographer
Photographer
Photographer
Photography Assistant
FOUNDERS
Founder
Co-Founder
Jeffrey J. Moran
Maranda Moran
Angela Past
Jenny W ilson
Bobby Cullen
Ian Anderson
Matthew Grayson
Lori Kassabian
Alek Ellis
Sally Andrew
Grant Stevens
Anne Spink
Madison Ari
Clark Silva
Tom Burstein
Nikita Mehta
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Melissa Brownell
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Joseph Scott
Maha Darwish
Jean Rapagna
Richard Corral
Joe Miranda
Joseph Corcoran
Romero Corral
Nathan Martinez
Brenda Smith
Brian Olivas
Keith Berson
Madison Torres
Matthew Mizerowski
Jacob Baer
John H. Moran (1942-2017)
Madeleine Moran
414 Latin American Art + Design l Tuesday, April 23, 2024
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 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.
Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards.
Buyers outside 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.
View Illustrated Catalogue Online @ www.johnmoran.com
Download Moran Mobile today at the App Store and Google Play!
415 www.johnmoran.com
Conditions of Sale
These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran.
AUCTION HOUSE AS AGENT
Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer.
BEFORE THE AUCTION
(a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.
(b) Buyer’s Responsibility. Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.
(c) Property Sold “As Is”: Neither Moran nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material, apart from the Limited Warranty stated in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others.
AT THE AUCTION
(a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording.
(b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment.
(c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid.
(d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.
(e) Reserves. Unless Moran expressly indicates otherwise, lots may be offered subject to a reserve,
416 Latin American Art + Design l Tuesday, April 23, 2024
which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backward at their 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. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer.
Credit card payments made directly to Moran will be subject to an additional 3% 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 card payments made directly to Moran are not an accepted form of payment for buyers outside the United States.
Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full.
Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax.
(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause.
(c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.
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Conditions
(d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period.
(e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein.
(f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist; a person who has curated, organized, or substantially contributed to a solo exhibition on the artist; or a person who has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the foregoing instances, physically handled works of the period, medium, and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers, and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran in the same condition as when sold. Moran does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.
LIABILITY AND LIMITED WARRANTY
(a) Liability. The buyer expressly agrees that (i) neither Moran nor the seller shall be liable, in whole or in part, for any special, indirect, or consequential damages, including, without limitation, loss of profits, and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot.
(b) Limited Warranty. ALL PROPERTY IS SOLD AS IS. Neither the seller nor Moran or its associates make any representation, express or implied, warranty (including merchantability and fitness), or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label, or other descriptor. No statement in the catalogue, brochures, website, bill of sale, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or assumption of liability.
(c) Descriptions. No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.
(d) Estimates. All estimates provided are carefully considered opinions of Moran’s specialists and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.
(e) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.
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of Sale Cont’d
(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 for its auction is and will remain at all times the property of Moran. Moran and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.
(b) Buyer’s Breach of Conditions. If a buyer fails to comply with any of these Terms, Moran may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer; (ii) resell the property without reserve at public auction or privately upon notice to the buyer; or (iii) take such other action as Moran deems necessary or appropriate. If Moran resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages, and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall apply the payment received to such property that Moran, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California.
(c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California.
(d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration.
(e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.
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AUCTIONEERS & APPRAISERS Years 55 196 9 Est. www.johnmoran.com · info@johnmoran.com · (626) 793-1833
