20th Century Art + Design—Tuesday, October 27, 2020 | John Moran Auctioneers

Tuesday, October 27, 2020

Featuring Property from The Cooprider Family Collection.

Tuesday, October 27, 2020—12pm Sale 174 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Bree Hughes Co-Head of Sale Post-War and Contemporary Fine Art Specialist bree@johnmoran.com

John Simon Taylor Co-Head of Sale 20th Century Furniture and Decorative Arts Specialist jsimon@johnmoran.com

Mike Hook Cataloguer mike@johnmoran.com

Jardine Gates GIA G.G. Senior Cataloguer jardine@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

1

David Hockney

(b. 1937, British) “Red Pots in the Garden,” 2000-2017 Giclee print on Somerset Enhanced cotton rag paper with hand finished edges under Plexiglas, The Tate, pub.

Unsigned, with the Tate blindstamp in the lower right corner Image: 11.5” H x 14.5” W; Sheet: 14” H x 18” W $800-1,000

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KAWS

(b. 1974, American) “Warm Regards Bar (Chocolate),” 2008 Painted cast vinyl Signed and dated: Kaws ‘08; Further marked: Medicom Toy / OriginalFake 6.5” H x 3.625” W x 1” D $1,000-2,000

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Joan Miró

(1893-1983, Spanish) “Delire Du Couturier Jaune” Color lithograph on paper under Plexiglas, Maeght, prntr.

Edition 13/30, signed in pencil lower right: Miro, editioned in pencil lower left Sight: 48.75” H x 33” W $3,000-4,000 Provenance: Center Art Galleries, Honolulu, HI

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Dale Chihuly

(b. 1941, American) “Persian” glass bowl Striped yellow glass with red lip on acrylic base Signed and inscribed: Chihuly / PP08 8” H x 12.5” W x 9” D $1,000-2,000

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Joan Miró

(1893-1983, Spanish) “L’Astre du Marecage,” 1967 Color aquatint with carborundum on paper under glass, Maeght …diteur, Paris, pub.

Edition H.C., (an hors-commerce impression, the edition was 75), signed in pencil lower right: Miro, inscribed in pencil lower left 41” H x 28.75” W $7,000-9,000 Provenance: Upstairs Gallery, Long Beach, CA Literature: Dupin, 426

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Marc Chagall

(1887-1985, French) “Le Chevalet Aux Fleurs,” 1976 Color lithograph on cream wove paper under Plexiglas, with full margins Edition 34/50, signed in pencil lower right: Marc Chagall, editioned in pencil lower left Sheet: 29.75” H x 20” W; Image: 22.25” H x 15” W $7,000-9,000 Literature: M. Sorlier, 838

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Roberto Matta

(1911-2002, Chilean) “L’Ame du Tarot de Thèleme,” 1994 Portfolio of five aquatint etchings on Arches paper, Thomas R. Monahan, pub.

Edition 40/100, each signed in pencil lower right: Matta, each editioned in pencil lower left Each sheet: 26” H x 19.75” W; Each image: 19.25” H x 14.75” W $4,000-6,000

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9

Karel Christiaan Appel

(1921-2006, Dutch) Composition with faces, 1973 Color serigraph on paper under glass Edition 108/110, signed and dated in pencil lower right margin: Appel / 73, editioned in pencil lower left Sight: 29” H x 21.25” W; Image: 26” H x 19.25” W $800-1,200 13

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After Pablo Picasso

(1881-1973, Spanish) “Bacchanale” Etching and aquatint on paper under glass Edition 62/250, signed in pencil lower right: Picasso, editioned in pencil lower left and blindstamped for Chrommelynck, Paris, numbered verso: C-837, titled by repute Sight: 22” H x 24.75” W; Sheet: 22.75” H x 31” W $4,000-6,000 w w w. j o h n m o r a n . c o m

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Pablo Picasso

(1881-1973, Spanish) “Faun’s Head,” 1955 White earthenware clay Edition of 150, with documentation, Dated: 6/28/1955, Stamped: Empreinte originale De Picasso Madura Plein Feu 1” H x 10” W x 10” D $1,800-2,200

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Pablo Picasso

(1881-1973, Spanish) Oiseau Earthenware bowl with black glaze to underside Conceived: March 31, 1955, Marked: Madoura / Plein Feu / Empreinte Originale de Picasso 2.625� H x 6.75� Dia. $2,000-3,000

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Pablo Picasso

(1881-1973, Spanish) Bull Profile wall plaque Ceramic Impressed verso: Empreinte Originale de Picasso / Madoura Plein Feu 9.625” H x 9.75” W $4,000-6,000

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14

Robert Indiana

(1928-2018, American) “Susan B. Anthony, The Vote,” 1977 Serigraph on paper Edition 125/150, signed and dated in pencil in the lower right margin: R. Indiana / 77, numbered in pencil in the lower left margin, titled in the image 23.75” H x 19.5” W $500-700 19

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Robert Indiana

(1928-2018, American ) “Gertrude Stein,” 1977 Lithograph in colors on Arches paper under glass Edition 115/150, signed and dated in pencil lower right: R. Indiana / 77, numbered in pencil lower left Sight: 19.5” H x 15” W $500-700 w w w. j o h n m o r a n . c o m

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16

Tony DeLap

(1927-2019, American) “The Floating Chair,” 1974-78 Sculpture in acrylic display box Signed and dated on base Overall: 17.5” H x 14” W x 14” D $6,000-8,000 “While in college in the late 1980s and 1990s, professors repeatedly lectured that the artist Tony Delap (1927-2019) was the most important artist ever to come from Orange County. Over the past two decades, I’ve heard the same thing from curators, collectors, and artists. Delap’s recent retrospective at the Laguna Art Museum, curated by Peter Frank, showed the brilliance of his diverse 70-year career. Delap was a pioneer of West Coast minimalism and Op art. Along with John Coplands, Robert Irwin, Craig Kauffman, Ed Moses, David Hockney and others, Delap founded what became a revolutionary studio art department at the University of California Irvine in the 1970s. His students included Bruce Nauman, James Turrell and John McCracken.

One of the unique features of Tony Delap’s work is the inspiration of magic and illusion. Delap was a magician himself and this floating chair piece from the mid-1970s is a great example of this influence. This chair sculpture is a one-of-a-kind. Nothing else like it exists in his oeuvre. The piece is hand signed and dated. Photographs of Mr. DeLap with the sculpture are included. DeLap’s work has been exhibited at the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, the Museum of Modern Art and the Whitney Museum in New York City. His work is included in the permanent collections of major museums around the world including the Museum of Contemporary Art, San Diego, San Francisco Museum of Modern Art, Whitney Museum of American Art, the Museum of Modern Art and the Tate Gallery, London.”

- Bradford J. Salamon

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17

Tyler Shields

(b. 1982, American) “Coke,” 2017 Chromogenic print dry mounted to foamboard under glass Initialed and dated on the backing paper: T.S., titled from the artist’s website 45” H x 60” W $12,000-18,000 Provenance: Samuel Lynne Galleries, Dallas, TX With his often overtly sexual and politically incorrect pictures, Shields is considered an enfant terrible of contemporary American photography.

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Marc Chagall

(1887-1985, French) “The Magician of Paris II,” 1969-1970 Color lithograph on Arches paper under glass Edition H.C. (an hors-commerce impression, the edition was 50 plus 25 artist’s proofs in Roman numerals), signed in pencil lower right: Marc Chagall, editioned in pencil lower left Sheet: 38” H x 27.5” W; Image: 35” H x 26” W $15,000-20,000 Provenance: New River Fine Art, Ft. Lauderdale, FL Literature: Mourlot, 598

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Salvador Dali (1904-1989, Spanish)

(Two works) “Tauromachie III,” 1968 Color lithograph with embossing on Japon Nacre paper under glass Sight: 25” H x 19” W; Sheet: 30” H x 22” W, with full margins Edition XV/L, signed in pencil lower right: Dali, editioned in pencil lower left “Tauromachie V,” 1968 Color lithograph with embossing on Japon Nacre paper under glass Sight: 25” H x 19” W: Sheet: 30” H x 22” W, with full margins Edition XXIX/L, signed in pencil lower right: Dali, editioned in pencil lower left $4,000-6,000 Literature: Michler/Löpsinger 1220-1224 There was also an edition of 150 in Arabic numerals on Rives paper. Bruce Hochman O.S. has verified the authenticity of this piece.

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20

After Joan Miró

(1893-1983, Spanish) “Le Moulin a Cafe,” 1954 Etching with aquatint in colors on Rives BFK paper under glass, Maeght, Paris, pub; Visat, Paris, prntr Edition 185/300, signed and dated in pencil lower right: Miro, editioned in pencil lower left, and with the blindstamp of the publisher, Maeght, Paris, lower left, titled in pencil verso Sheet: 25” H x 29.5” W; Image: 19.25” H x 22” W $2,000-4,000 Literature: MA., 1701 Based on Miró’s same-titled oil and collage on canvas from 1918.

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Salvador Dali (1904-1989, Spanish)

(five works) “San Francisco Suite - Telegraph Hill,” 1970 Etching and drypoint with color lithography on BFK Rives paper under glass Sight: 23.5” H x 17” W; Sheet: 25.5” H x 19.5” W; Image: 20.5” H x 14.5” W Edition 107/150, signed in pencil in the margin lower right: Dali, numbered in pencil in the margin lower left “San Francisco Suite - Chinatown,” 1970 Etching and drypoint with color lithography on BFK Rives paper under glass Sight: 23.5” H x 17” W; Sheet: 25.5” H x 19.5” W; Image: 20.5” H x 14.5” W Edition 107/150, signed in pencil in the margin lower right: Dali, numbered in pencil in the margin lower left “San Francisco Suite - City Hall,” 1970 Etching and drypoint with color lithography on BFK Rives paper under glass Sight: 23.5” H x 17” W; Sheet: 25.5” H x 19.5” W; Image: 20.5” H x 14.5” W Edition 107/150, signed in pencil in the margin lower right: Dali, numbered in pencil in the margin lower left “San Francisco Suite - Golden Gate Bridge,” 1970 Etching and drypoint with color lithography on BFK Rives paper under glass Sight: 23.5” H x 17” W; Sheet: 25.5” H x 19.5” W; Image: 20.5” H x 14.5” W Edition 107/150, signed in pencil in the margin lower right: Dali, numbered in pencil in the margin lower left “San Francisco Suite - Mission Dolores,” 1970 Etching and drypoint with color lithography on BFK Rives paper under glass Sight: 23.5” H x 17” W; Sheet: 25.5” H x 19.5” W; Image: 20.5” H x 14.5” W Edition 107/150, signed in pencil in the margin lower right: Dali, numbered in pencil in the margin lower left $8,000-12,000 Lacking the original portfolio and the title and justification pages. Bruce Hochman O.S. has verified the authenticity of this piece.

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José Bedia

(b. 1959, Cuban) “Lampiao e seus Cabras, O Rei do Cangaco, Governador do Sertao,” 2002 Mixed media on canvas Signed and dated lower right: J Bedia / 02, titled along the width of the upper edge 33” H x 116.5” W $40,000-60,000 Provenance: Ramis Barquet Gallery New York Statement from José Bedia, Jr.: “That piece was part of a personal exhibition titled ‘Santos y Bandidos’ (Saints and Bandits), and it was about real historical figures of different Latin American countries, in many cases desperados or bandidos, but in a cultural level are revered as saints in their countries, all of them from the early 20th Century.

In this case, Lampiao was a famous bandit from the North East semi-desertic region of Brazil (Sertao).

Him and his crew (cabras or “goats”) of bandits were brutally exterminated by the Brazilian army of the time. The heads of him and his crew, including his wife, were exhibited for a while as a trophy or warning for similar bandits.

The figure in the painting represents him dead, laid to rest, as the landscape of the work. The color of the work alludes to the earthy color of the landscape of their arid region, and also of the clothes they wore, which were made of leather. The photo inlaid in the painting, shows the steps of the army headquarters with their heads on display on the day they were killed. Only one was able to escape, named Corisco, which was able to live on for a while. These so called Cangaceiros were part of a millennialism religious group that were very particular in this region.”

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23

Agustín Cárdenas

(1927-2001, Cuban) “La Torre” Patinated bronze Signed, editioned, and numbered: Cardenas / 3/6 / 8385 19” H x 4.75” Dia. $20,000-30,000 Agustín Cárdenas was a Cuban artist who spent much of his career in Paris. Born in Matanzas, Cuba, the descendant of enslaved people from Senegal and the Congo, Cárdenas studied with one of thegreatest Cuban sculptors of the century, Juan José Sicre, and began exhibiting his work in the 1940s. By 1957 he was living in Paris, a full-fledged member of the Surrealist movement. His sculptures show the influence of African sculpture and Dogon totems, acutely evident in this work. The curving, organic lines crafted with masterful precision invoke the vertical power of the totem, guiding the eye up and down the sculpture.

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Joe Bradley

(b. 1975, American) Untitled, 2009 Ink on colored paper under Plexiglas Initialed and dated verso: JB / 09 8.75� H x 4.75� W $4,000-6,000

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Joe Bradley

(b. 1975, American) “Void,” 2009 Ink on colored paper under Plexiglas Initialed and dated verso: JB / 09, titled lower center 8.75” H x 4.75” W $5,000-7,000

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Marcel Dzama 37

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Marcel Dzama

(b. 1974, Canadian) Untitled Watercolor and ink on paper under Plexiglas Signed center right: Marcel Dzama 12.5� H x 10� W $1,500-2,000 Provenance: Purchased originally by RJ Reynolds in support of young artists, 1998

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28

Christian Bérard

(1902-1949, French) “Paravent de Ballet” India Ink and gouache on paper under glass Signed lower left: Berard, titled verso Sight: 14.25” H x 10.25” W; Sheet: 14.5” H x 11” W $1,000-2,000 Provenance: Yesteryear Ltd., West Hollywood, CA Literature: B. Kochno, “Christian Berard,” New York, 1988, pg. 235, (illustrated)

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Robert Alexander Graham

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Robert Alexander Graham

(1938-2008, American) “Gabrielle” Patinated bronze Stamped to base: 97/250 Overall: 16” H x 2.375” Dia.; Sculpture: 8.125” H x 1.75” Dia. $4,000-6,000

Robert Alexander Graham

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Maurice De Vlaminck

(1876-1958, French) Paysage a la route Oil on canvas Signed lower left: Vlaminck 19.75” H x 25.5” W $40,000-60,000 Provenance: Galerie De L’Elysee, Paris Arthur Lenars & Co., Paris A letter of authenticity dated June 5, 2020 from the de Vlaminck Foundation is included with the lot, this piece will be included in the catalogue raisonne.

Maurice de Vlaminck was born in Paris in 1876 to musicalparents.

Trained in violin by his father, Vlaminck studied art as a young man with painter Henri Rigalon. At the age of 23, Vlaminck met André Derain by chance on a train, and the two struck up what would become a life long friendship. After a stint in the army, Derain and Vlaminck would rent a studio and, together with other like-minded contemporaries took part in the infamous Salon d’Automne in 1905, where critic Louis Vauxcelles decried the painters as “fauves (beasts)” thus coining the name Fauvism.

This painting, characteristic of thet own scenes of his later work, draws the eye down from the inky blue sky to the red service station at the center-right with its red and blue gas pumps and solitary attendant. Vlaminck’s quick brushstrokes create a sense in the viewer as if they are a spectator in a moving car, observing but not planning a stop in the town.

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31

R. Kenton Nelson

(b. 1954, American) Man in a Blue Suit Oil on canvas Signed lower right: R. Kenton 49” H x 21” W $10,000-15,000

Provenance: Plus One Gallery

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n Nelson

y, London

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32

Sascha Brastoff

(1918-1993, American) Two enamel panels, one “Skyward” Enamel in wood frame Each with gold sticker verso: A Special Elegance by Sascha Brastoff; “Skyward” titled to a Dalzell Hatfield Gallery label verso 11.75” H x 11.625” W and 11.625” H x 11.75” H $1,000-1,500 Provenance: Dalzell Hatfield Gallery, Beverly Hills, CA The Estate of Sascha Brastoff Purchased from the above

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Sascha arts sp fascina some o other A signific left his Brasto away in

a Brastoff was one of the best-known ceramic artists in post-war Los Angeles. His involvement in the panned display design, ballet, and costume design but it was ceramics that formed a long-lasting ation for the artist. From his factory at 11520 West Olympic Blvd., Brastoff designed and created of the most beloved works of the era. He counted among his customers major Hollywood stars and Angeleno luminaries of the day. The meteoric success of the factory took a turn in 1962 resulting in cant losses and causing a nervous breakdown in Brastoff. After a decline in his mental health, Brastoff s factory and worked on his own pieces from his home studio for much of the 1960s. In the 1970s, off began collaborating with other studios and factories on limited edition pieces. Brastoff passed n 1993 after a long battle with cancer.

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33

Marvin Lipofsky

(1938-2016, American) Heart vase Art glass vase Apparently unsigned 6” H x 5” W x 3” D $3,000-5,000

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Harrison McIntosh

(1914-2016, American) Egg Ceramic with engobe on raised wood base Labeled to base: Harrison McIntosh Overall: 9.25� H x 5.75� Dia. $1,500-2,500

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35

Claude Conover

(1907-1994, American) Vase with bulbous base and tall narrow neck Ceramic Signed and titled to base: Claude Conover / “Hootz” 11” H x 11” Dia. $2,000-3,000

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Poul Kjaerholm

(1929-1980, Danish) A pair of PK22 side chairs Chromed metal and black leather Each labeled: Fritz Hansen / Made in Denmark / 1984 Each approximately: 27.5” H x 24.5” W x 24.5” D $3,000-5,000 The Fritz Hansen PK22 Chair was an immediate commercial and critical success. In 1957, the chair was awarded the Grand Prix at the Milan Triennale, the world’s premier design fair. The prize catapulted Kjaerholm’s career and immediately he became a name on the international scene.

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Francisco Sobrino

(1932-2014, Spanish) Desk-top sculpture, 1970 Chrome-plated steel Stamped: Sobrino / DCB / 60/5000 / Editions Denise Rene 6” H x 7” W x 8.75” D $2,000-3,000

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Isamu Noguchi

(1904-1988, American) Coffee table IN50 Ebonized wood and glass Overall: 15.75” H x 50.5” W x 36” D $2,000-3,000

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Sam Maloof

(1916-2009, American) Rocking chair Teak with ebonized plugs and decorative banding Numbered, dated, signed, and inscribed underneath: No. 21, 1989 / Sam Maloof FACC / (c) / Love to Joyce from Dewey 45” H x 46” W x 26.125” D $20,000-30,000

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A 2016 Mercedes Benz S600 Maybach

Black exterior with black leather interior, V12 engine VIN: WDDUX7GB8GA237133 Mileage: 15,7XX Body style: 4DSD $80,000-90,000

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41

Mose Ernest Tolliver

(1920/1925-2006, American) Black Santa Oil on board Signed lower right: Mose T 24” H x 12” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Seiji Kunishima

(b. 1937, Japanese) Untitled 38, 1997 Mixed media on paper under Plexiglas Signed and dated lower right: S. Kunishima / 97, signed and dated again verso, signed and dated again and titled on a gum label affixed verso 5� H x 18.5� W $1,000-2,000 A brochure from the Long Beach Museum of Art listing pieces from this artist accompanies this lot.

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Seiji Kunishima

(b. 1937, Japanese) Untitled abstract, 1989 Mixed media on paper under Plexiglas Signed and dated lower right: S. Kunishima / ‘89 12.25” H x 22.25” W $1,000-2,000

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DeLoss McGraw

(b. 1945, American) “Isolation,” 1980 Colored ink and gouache on paper under Plexiglas Signed lower right: D. McGraw, titled and dated on gallery labels affixed to the backing board 22.25” H x 25” W $1,000-2,000 Provenance: Harcourts Modern and Contemporary Art, San Francisco, CA

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Ruth Norman

(1909-2010, American) Untitled Orange/Black, 1968 Collage on masonite Signed and dated right edge center: Ruth Norman / 68, signed again verso 30� H x 40� W $800-1,200 Provenance: Paideia Gallery, Los Angeles, CA

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Ruth Norman

(1909-2010, American) “Shadows Sounds” Collage on canvas Signed lightly in pencil verso: Ruth Norman, titled by repute 30” H x 40” W $800-1,200 Provenance: Paideia Gallery, Los Angeles, CA

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THE COOPRIDE FAMILY COLLECTIO 73

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It all started with an album cover. Newly married and looking to add art to their walls, Mr. and Mrs. Cooprider looked for an economical solution and found it in their record collection, specifically in their Ella Fitzgerald albums with Jean Dubuffet cover art. Their fondness for the covers led them down the path of seeking out similar artists and overtime, an art collection was born. When speaking about the breadth of their holdings, Mr. Cooprider likened it to the potato chip phenomenon: “Did you ever just try to eat one potato chip?” They couldn’t stop with just one acquisition, they had to add more and more until they had the largest collection of Antonio Diego Voci in the world and a fantastic selection of Contemporary art to go with it. The Coopriders were fortunate to live in Europe for many years where they nurtured their eye by visiting museums like the Prado and Pushkin and subsequently made acquisitions by attending European art festivals throughout the continent. Their tenacity for collecting permeated throughout the family, where art is a natural part of their surroundings and very much a part of their family vernacular. Mr. Cooprider explains “We are believers in ‘if you like it, buy it’. We want to pass on the [love of collecting] to our family.” To that, daughter Kami concludes “the love of art is in all of us.”

Works from Italian/German artist Antonio Diego Voci are particularly important to the Coopriders.

One of the first artists added to their collection, the Cooprider’s initially responded to Voci through their love of the Dubuffet album covers for Ella Fitzgerald. They were drawn to the way his style seemed to be in conversation with the Dubuffet compositions. “We bought one and had to buy more” Mr. Cooprider explains. Voci’s supreme use of space and color palette are infectiously vibrant and engaging. The three works included in this auction beckon the viewer to get lost in the shifting shapes and quisitive faces. Mr. Cooprider’s infatuation with Voci’s work grew over the years and the family has been instrumental in bringing more attention to the artist.

“I have served as the Diego Voci art historian since 1974” Mr. Cooprider noted, “we decided, this guy has to be more well known.” By assembling the largest collection of Voci’s work in the world, the Cooprider’s established friendships with the Voci family as well as fellow collectors, ensuring that future generations know and appreciate his works .

Present in much of the Cooprider Family Collection are works that speak about the world today, with an urgent message for a variety of vatic themes. Art has long been a cathartic medium to explore and exercise the issues facing communities around the globe in a way few things can.

Mr. Cooprider explains “we’ve always been interested in art that’s more than a pretty picture.”

Several works in this auction bring the anxiety and unpleasantness of contemporaneous issues to the fore, confronting the viewer and shaking them into necessary discomfort.

The Coopriders did not just buy a piece of art, they often acted as modern-day patrons, fostering an artist’s work and championing them to the collecting community. While living in San Diego, the Coopriders began acquiring works from local up-and-coming artists and tirelessly worked to spread their enthusiasm for the arts to the broader public. “We didn’t know we couldn’t do it, so we did it” Mr. Cooprider explained regarding spearheading their “Collector’s Choice” events, which brought California and San Diego artists to collectors. To save the beloved San Diego Art Walk, Mr. Cooprider joined the board of the San Diego Art Institute and donated both his time and made financial contributions to keep it going. They founded and launched the Scripps Memorial Hospital Sculptural Park to bring the healing power of art to patients of the hospital.

Through all their avenues of collecting and publicizing art, their passion for the works and the artists themselves are ever-present. Mrs. Cooprider would write in the brochure for a show of her own work “art is my life.” That all-encompassing love for art is communicable and impossible not to observe in their collection.

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Sean (Pat) Sullivan

(b. 1942, American) “ECO DISASTER MARKER,” 1990 Oil and collage on canvas Signed and dated lower left: Sean Sullivan / 90, signed and dated again and titled verso: 3/90 and with the copyright symbol 48” H x 36” W $5,000-7,000 Provenance: The artist The Cooprider Family Collection, acquired from the above Literature: John Daniel Abel, “Sean Sullivan: A Retrospective,” San Diego Art Institute Press, July 21, 2001, pg. 17, plate 14.

A copy of the book “Sean Sullivan: A Retrospective” accompanies the lot Born in Pasadena, California, Sullivan, a graduate of the Chouinard Art Institute (now the California Institute of the Arts), painted this work to commemorate the 25th anniversary of Earth Day. “There are some events when the earth is suffering, that need to be painted.” - Sean (Pat) Sullivan

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THE COOPRIDER FAMILY COLLECTION 48

Sean (Pat) Sullivan

(b. 1942, American) “Curiosity Box 2,” 1998 Oil on canvas, collage and curios under Plexiglas Signed lower right: Sean Sullivan, signed again and dated verso: 98’ Canvas: 24” H x 25” W; Curio box: 4.25” H x 25” W $3,000-5,000 Provenance: The Cooprider Family Collection

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Althea Brimm

(20th Century, American) “Average American #Voter IV,” 2008 Mixed media assemblage on paper under glass Signed indistinctly lower right Sight: 21.5” H x 19” W $1,000-2,000

“The Average American Voter is in response to some of the interviews with people about why and for whom they were going to vote: He has the same name as my uncle, she is just like us, his opponent is a Muslim, she owns five Chihuahuas.

Disheartening to say the least, but a splendid opportunity for satire.” Jon Nalven, The San Diego Tribune, March 31st, 2013.

The checks included in the piece are real.

Provenance: Sale: Rotunda Gallery, La Jolla, CA The Cooprider Family Collection, acquired from the above Exhibitions: Rotunda Gallery, La Jolla, CA, “Athenaeum Brimm,” April 3-May 9, 2009 w w w. j o h n m o r a n . c o m

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Jean Amiot

(b. 1920, French) “Knights of Chess” Oil on canvas Signed lower right: J. Amiot 19.75” H x 23.75” W $1,500-3,000 Provenance: Naffouj Gallery, Landstuhl, Germany The Cooprider Family Collection

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Jean Amiot

(b. 1920, French) “La Femme aux bequilles,” (After Dali) Oil on canvas Signed lower right: J. Amiot, titled verso 21.75” H x 18” W $1,500-3,000 Provenance: Naffouj Gallery, Landstuhl, Germany The Cooprider Family Collection w w w. j o h n m o r a n . c o m

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Christopher Lee

(20th/21st Century, American) Sconce Steel, Glass and Marble 7.25” H x 26.5” W x 7” D $500-1,000 Provenance: The artist The Cooprider Family Collection, acquired from the above

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Christopher Lee

(20th/21st Century, American) Professeur Metal and Teeth, 1993 Metal, glass and ceramic Signed and dated: Lee (c) ‘93 15.5” H x 26” W x 16.5” D $5,000-7,000

Provenance: The Cooprider Family Collection 81

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Yuri Yuroz

(b. 1956, Armenian/A “The Fragrance,” 19 White ink and colore under Plexiglas Signed and dated lo on a gallery label affi inscribed verso: “NY Sight: 8.75” H x 5.5” $1,500-2,500

Provenance: Dyanse The Cooprider Fami

American) 989 ed pencil on black paper

ower left: Yuroz / 89, titled fixed to the backing paper, Y129” ” W; Sheet: 9” H x 6.25” W

en Gallery, New York, NY ily Collection

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Antonio Diego Voci

(1920-1985, Italian) “L’ Arlequin Triste,” 1974 Oil on canvas Signed lower right: Diego, signed again, titled and numbered verso: “5812/174”, dated in the literature reference 27” H x 19” W $3,000-5,000 Provenance: Susanna Talbert, Tacoma, WA (former owner Talbert’s Kleine Galerie) The Cooprider Family Collection Literature: S. Max, “Diego - Artist of a Thousand Faces,” Edmonton, Alberta Canada, 2020, page 78, (illustrated).

A copy of the book, “Diego - Artist of a Thousand Faces” will accompany this lot. “Impressionism, Cubism, Surrealism, and Fauvism all experienced the hand of Diego Voci who was fascinated by the beauty and mystery of the face and figure, whether the female body nude or in ballet, or the etched lines of life’s hardships in an old man’s face, or the grace and power of the horse. Diego’s versatility was his strength. Diego not only saw and realized human frailty, the desire and longing of the human to be something more, seeking but not to find; but also he understood man’s animal instinct to overpower, offset by the object’s instinct to resist.” - Coop Cooprider

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Antonio Di

(1920-1985, “Junges Afri Tempera and Signed lowe the backing Sight: 15.75 Card: 19.75”

$1,500-2,50

Provenance:

Literature: S Faces,” Edm (illustrated).

A copy of th Faces,” as w by the artist, “Impression all experienc fascinated b figure, wheth or the etche face, or the versatility wa realized hum human to be find; but also overpower, o Coop Coopr

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Antonio Diego Voci

(1920-1985, Italian) “Light” Oil on canvas Signed lower right: Diego, signed again, titled and inscribed verso: “Private collection Jay Naffouj” 31.5” H x 23.5” W $3,000-5,000 Provenance: The private collection of Jay Naffouj The Cooprider Family Collection

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iego Voci

Italian) ikanisches Mädchen” d gold leaf on card under glass er right: Diego, signed again and titled on board 5” H x 12.25” W; ” H x 15.75” W

00

: The Cooprider Family Collection

S. Max, “Diego-Artist of a Thousand monton, Alberta, Canada, p. 69,

he book, “Diego, Artist of a Thousand well as a Certificate of Authenticity signed , Diego Voci, accompanies this work. nism, Cubism, Surrealism, and Fauvism ced the hand of Diego Voci who was by the beauty and mystery of the face and her the female body nude or in ballet, ed lines of life’s hardships in an old man’s grace and power of the horse. Diego’s as his strength. Diego not only saw and man frailty, the desire and longing of the e something more, seeking but not to o he understood man’s animal instinct to offset by the object’s instinct to resist.” rider

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Dennis Oppenheim

(1938-2011, American) “Study for Second Generation Image Appliance Spirit #2,” 1988 Mixed media on paper under Plexiglas Signed and dated lower right edge: Dennis Oppenheim, titled across the lower edge 50” H x 38.25” W $6,000-8,000 Provenance: Scott White Contemporary Art, Inc., San Diego, CA The Cooprider Family Collection

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Dennis Oppenheim

(1938-2011, American) “Study for Black Dog in Cage,” 1992 (diptych) Mixed media on paper Signed and dated along the lower right edge: Dennis Oppenheim, titled and inscribed lower edge: “Plywood, Foam, Sheetrock - Plastic - Steel - Audio Track - Fiberglass - 12’ / h0H” Each: 38.25” H x 50” W; Overall: 76.5” H x 50” W $6,000-8,000 Provenance: Scott White Contemporary Art, Inc., San Diego, CA The Cooprider Family Collection This lot is accompanied by a Disclosure to Buyer from the consigner which states, “Installation of unframed Oppenheim diptych “Study for Black Dog in Cage” diptych was installed by small pieces of double sided tape directly to the wall. Removal from wall left evidence of adhesive at outer perimeter. Owner declined recommendation to “simply trim the outer perimeter while protecting the integrity of the artist hand.”

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David Baze

(1947-1998, American) “Chimera (Self-Portrait x 2),” 1993 Acrylic on canvas Signed lower right: David Baze, titled and dated on an artist’s label affixed to the stretcher 20” H x 16.25” W $4,000-6,000 Provenance: David Zapf Gallery, San Diego, CA The Cooprider Family Collection Duality is the theme of this self-portrait. David one is absorbed in studying his model/wife and David two is hiding from the perceived vulnerabilities of his inner self.

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Billy Al Bengston

(b. 1934, American) “Honolulu,” 1992 Watercolor on paper under Plexiglas Signed, titled and dated in pencil lower center: BAB / Dec 1992, and with the copyright symbol 7.25” H x 9.25” W $7,000-8,000 Provenance: Billy’s Studio, Venice, CA Notes: Framed by the artist

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Malcolm Poynter

(b. 1946, British) Untitled, 1982 Crayon and ink on paper laid to masonite under glass Signed and dated lower right: M. Poynter / ‘82 45.5” H x 59.5” W $3,000-5,000 Provenance: Nicholas Treadwell Gallery, United Kingdom The Cooprider Family Collection

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Gonzalo Cienfuegos

(b. 1949, Chilean) Figurative reclining couple with dog, 1990 Watercolor and ink on Schoellershammer card under glass Signed and dated lower right: G. Cienfuegos / 90 and with the blindstamp for Schoellershammer Sight: 19.5” H x 28.25” W; Sheet: 20” H x 29” W $5,000-7,000 Provenance: Aberbach Fine Art at FIAC, Paris, 1990 The Cooprider Family Collection

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Gonzalo Cienfuegos

(b. 1949, Chilean) “Uncle Albert’s Studio,” 1990 Oil on canvas Signed and dated lower right: g. cienfuegos / 90, and with the artist’s device 63” H x 71” W $30,000-50,000 Provenance: Sale: Aberbach Fine Art, 9 Place Vauban, France, October 26, 1990, $45,000 The Cooprider Family Collection, acquired from the above Exhibitions: Painting Exhibition at Aberbach Fine Art, “FIAC 90,” Paris, France, 1990 A 1990 FIAC catalogue signed by the artist accompanies the lot “Uncle Albert is the artist. His wife is in black. The mother-in-law in red.

The model is Uncle Albert’s extra-curricular fascination. The mother-inlaw suspected hanky-panky and hired a private detective on the left, who discovered Uncle Albert and his model were secretly running away together, financed by the diamond hidden in the watermelon. The Bishop, was there to receive Uncle Albert’s confession.” - Gonzalo Cienfuegos Gonzalo Cienfuegos studied architecture at the Escuela de Arquitectura y Arte in Santiago where he was born in 1949. He later left for Mexico and studied graphic design, painting and sculpture at the Escuela La Esmeralda in Mexico City. He returned to Chile in 1975 and is currently a professor of art at the Universidad Catolica in Chile.

Cienfuegos’ art displays conversance with the gamut of Western painting, with obvious quotes from the old and new masters: Jan Van Eyck, Rubens, Velasquez, Goya, Giorgio de Chirico and Balthus, among others. The individuals in Cienfuegos’ work are usually expressionless and introspective, occupying a strange world of their own.

Cienfuegos exhibited at the Sao Paulo Brazil Biennial in 1989, where he received the Art Critics Circle Award, and has continuously exhibited in Chile, Argentina, at the 1990 FIAC in Paris-France, Mexico and the US. His solo exhibits include Museo Nacional de Bellas Artes, Santiago, Chile; Art Miami, Galleria Tomas Andreu and Museum of Latin American Art, Long Beach, United States.

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Robin Bright

(b. 1935, American) “Hector Vex 201,” 1988 Painted steel, wood, and plaster under glass Signed and dated: R. Bright ‘88 Framed: 40.875” H x 20.875” W x 2.5” D; Piece: 31.75” H x 10” W $3,000-4,000 Provenance: Thomas Babeor Gallery, La Jolla, CA The Cooprider Family Collection

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Jeffery Laudenslager

(20th/21st Century, American) “Logic is Ephemeral-Illusion is Concrete” Glass, iron, and concrete sculpture Labeled to back: Philosphy 39.5” H x 18” W x 15.25” D $5,000-7,000 Provenance: The artist The Cooprider Family Collection, acquired from the above “The magic of this Laudenslager piece is testing your thinking about what you see.

At first look, you see two pieces of enjoined reflective glass sitting on four triangles.

The front triangle has words embossed ‘Logic is Ephemeral.’ The back triangle is filled with concrete, with words ‘Illusion is Concrete.’”

The illusion begins as you look straight into the glass pieces, ‘Logic is Ephemeral’ suddenly appears in the two outside triangles, in reality there is nothing there. Then, if you are lucky, the ultimate is catching the right light and position, still looking into the glass pieces, will appear the impossible: Floating beneath the concrete will appear the words “Logic is Ephemeral” under the words ìIllusion is Concrete.”

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Willy Heeks

(b. 1951, American) “Marker,” 1993 Oil and acrylic on paper under glass Signed and dated lower right: Willy Heeks, titled lower edge center, blindstamped upper left 29.5” H x 22.25” W $3,000-4,000 Provenance: Scott White Contemporary Art, Inc., San Diego, CA The Cooprider Family Collection 1 0 1 20t h C en t u r y Ar t + D e s ig n l Tu e sd ay, O c tob e r 2 7 , 2 0 2 0

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Martin Bradley

(b. 1931, British) “Anno VaVions Past & Prospective Dreams,” 1990 Gouache on paper under glass Signed and dated in pencil lower right: Martin Bradley, titled in pencil lower left, blindstamped along the left and right edges Sight: 29.75” H x 21.5” W $3,000-5,000 Provenance: Galerie Samy Kinge, Paris, France The Cooprider Family Collection w w w. j o h n m o r a n . c o m 1 0 2

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Forrest Solis

(b. 1979, American) “Looking-Glass Self (Tattletale Grey)” Oil on canvas Unsigned, titled from the artist’s website 52” H x 43.75” W $2,000-4,000 Provenance: The Cooprider Family Collection

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Graham Ibbeson

(b. 1951, British) Mother scolding son, 1989 Fiberglass relief wall sculpture Initialed and dated lower right 39.5” H x 26.5” W x 4” D $1,500-2,000 Provenance: Nicholas Treadwell Gallery, United Kingdom The Cooprider Family Collection One of a series of works featuring the artist’s wife and children.

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Mario Uribe

(b. 1943, Mexican/American) Friendly Fire US flag in construction piece Signed and dated verso: M. Uribe / ‘91; Inscribed to underside: He was my only son...He was a part of me. I loved him and I miss him so much. February 1991 30” H x 25” W x 25” D $2,000-3,000 Provenance: The Cooprider Family Collection

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Mario Uribe

(b. 1943, Mexican/American) “Toll Road (Immigration Control),” 1992 (quadriptych) Acrylic on masonite Each: signed dated and numbered (1-4) verso: M. Uribe / 92 Each panel: 20” H x 27” W x .5” D $4,000-6,000 Provenance: The artist The Cooprider Family Collection, acquired from the above “In the 1970s, 80s and 90s, hundreds of illegal immigrants coming into the US from Mexico died crossing freeways in Southern California, unfamiliar with the speed that vehicles were traveling. The heavy toll prompted Cal Trans to create a freeway sign warning motorists of crossing illegal aliens, like we have for deer or cattle. I wasn’t sure if the purpose of the signs was to protect the immigrants or the motorists.

My perspective has changed in the last 28 years however, and now, when I contemplate that work I remember what my feelings were about the sign - not exactly positive. I feel the same about the sign, but now foremost in my mind and heart are the people who sacrifice so much in order to better themselves, and I am filled with admiration and respect for them. I’ll never know what it’s like to cross a border illegally or run across a freeway with my family in tow, and hope I never do.” Mario Uribe

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Theo Tobiasse

(1927-2012, French) “St Paul de Vence” Acrylic on canvas Signed upper left: tobiasse 7.5” H x 9.5” W $2,000-3,000 Provenance: Galerie FERRERO, Nice, France The Cooprider Family Collection Notes: In a custom Karl Wissing frame commissioned by the Coopriders to compliment the artwork. Signed by the frame artist in October, 1991, verso.

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AndrĂŠs Nagel

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Andrés Nagel

(b. 1947, Spanish) Kaixo Mataos III (Large Arch), 1993 Polyester, fiberglass, zinc Apparently unsigned 90” H x 107” W x 29” D $8,000-10,000 Provenance: The Artist Tasende Gallery, La Jolla, CA, August 18, 1993, acquired from the above The Cooprider Family Collection Exhibitions: Tasende Gallery, La Jolla, CA, “Public Sculpture,” 1993 A certificate of authenticity signed by Andrés Nagel accompanies the lot.

A copy of “Andrés Nagel,” by Edward Lucie-Smith included with this lot.

Andrés Nagel

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Hugo Crosthwaite

(b. 1971, Mexican) “Janus,” 1997 Graphite on Mylar moun Signed and dated lower 97, titled in the center, si again and inscribed verso 24.5” H x 18.25” W $6,000-8,000

Provenance: Van Cleve F Noel-Baza Fine Art, San D The Cooprider Family Co

Exhibitions: Armando Go Playas de Rosarito, Mexic Fine Art, San Diego, CA, Years of Drawings,” 2010

A Certificate of Authentic 2010, with note signed b accompanies the lot.

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Robin Bright

(b. 1935, American) “#6 Untitled,” 1989 Pastel on colored paper under Plexiglas Signed and dated lower center: R. Bright / 89, titled on the backing board Sight: 12.5” H x 9” W; Sheet: 14” H x 10” W $1,000-1,500 Provenance: Quint Gallery, San Diego, CA The Cooprider Family Collection

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nted on wood panel left: H. Crosthwaite / igned, titled and dated o: HC-97-JAN053

Fine Art, San Diego, CA Diego, CA ollection

onzalez Galeria del Mar, co, 1997 Noel-Baza , “Dark Dreams - Twelve 0

city dated March 20,

by Hugo Crosthwaite

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Gilbert Portanier

(b. 1926, French) Untitled (After Picasso) Terracotta Signed to base: Portanier 14.75” H x 10.5” W x 8.25” D $2,000-4,000 Provenance: Naffouj Gallery, Landstuhl, Germany The Cooprider Family Collection

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Alfredo Jaar

(b. 1956, Chilean) “La Nube,” 2000 C-print on paper under glass Edition 27/75, signed and dated lower right, editioned lower left Sight: 12.75” H x 8.5” W; Image: 12” H x 8” W $800-1,200 Provenance: inSITE2000 The Cooprider Family Collection

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Jim Bess

(20th Century, American) “Life Moves at the Speed of Willingness,” 1988 Watercolor, ink and collage on Arches paper Signed and dated upper right: J. Bess / ‘88, titled across the upper edge, (the title is a quote from Kyle King c. 1982,) numbered verso: JB-8802-WC, blindstamped for Arches 22.75” H x 30” W $800-1,200 Provenance: The artist The Cooprider Family Collection, acquired from the above “I believe that everything consists of energy or life-force and it’s through this mysterious energy force that we are connected.” - Jim Bess

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Jim Bess

(20th Century, American) Wooden sculpture Wood and steel Apparently unsigned 79” H x 11.25” W x 11.25” D $2,000-4,000 Provenance: The artist The Cooprider Family Collection, acquired from the above “I believe that everything consists of energy or life-force and it’s through this mysterious energy force that we are all connected” - Jim Bess

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Jim Bess

(20th Century, American) “Male on Black,” 1989 Charcoal on Arches paper Signed and dated lower left: J. Bess / ‘89, titled by repute, alternately titled verso: “Cool Man,” blindstamped for Arches 30” H x 22” W $800-1,200 Provenance: The artist The Cooprider Family Collection, acquired from the above “I believe that everything consists of energy or life-force and it’s through this mysterious energy force that we are all connected” - Jim Bess 1 2 1 20t h C en t u r y Ar t + D e s ig n l Tu e sd ay, O c tob e r 2 7 , 2 0 2 0

82

Jim Bess

(20th Century, American) “Hooded Orange Man on Head,” 1989 Gouache and ink on paper Signed and dated lower right: J. Bess / ‘89, titled by repute 30” H x 22.25” W $800-1,200 Provenance: The artist The Cooprider Family Collection, acquired from the above “I believe that everything consists of energy or life-force and it’s through this mysterious energy force that we are all connected” - Jim Bess.

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83

Sam Maloof

(1916-2009, American) Dining table, 1967 Walnut Signed and inscribed: Table made in the 60s / refinished April 2008 / Sam Maloof Table: 29.5” H x 86” W x 49.5” D $5,000-7,000

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84

Robert Lewis

(fl. 20th/21st Century, American) Four armchair frames Copper Each approximately: 33.5” H x 19” W x 24” D $1,000-2,000

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85

Michael Todd

(b. 1935, American) Untitled, abstract Bronze assemblage Apparently unsigned 82” H x 74” W x 29” D $2,000-3,000

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86

Mario Bellini

(b. 1935, Italian) “413 Cab” armchairs, 2 pieces Leather with steel frame Designed for Cassina Each approximately: 30.5” H x 20.5” W x 20” D $1,000-1,500

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87

Young Il Ahn

(b. 1935, Korean/American) “Jar,” 1969 Oil on canvas Signed lower left: Young-Il Ahn, titled and dated on a gallery label affixed to the stretcher 25” H x 30” W $5,000-7,000 Provenance: The Zachary Waller Gallery, Los Angeles, CA

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88

Harrison McIntosh

(1914-2016, American) Tall cylindrical vase Ceramic with blue engobe With impressed insignia and paper label to base: HM / Handthrown stoneware Harrison McIntosh, Claremont, California 8� H x 5.5� Dia. $1,000-1,500

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89

Harrison McIntosh

(1914-2016, American) Shallow center bowl Ceramic with off-white engobe With impressed insignia and paper label to base: HM / Handthrown stoneware Harrison McIntosh, Claremont, California 4� H x 14.5� Dia. $1,500-2,500

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90

Harrison McIntosh

(1914-2016, American) Two low bowls and one vase, 3 pieces Ceramic with blue engobe Vase: 7” H x 3.75” W x 3.5” D; Larger Bowl: 2.625” H x 5.75” W x 5.5” D $800-1,200

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91

Felix Ruvolo

(1912-1992, American) “The Meeting,” 1949/1950 Oil on canvas Signed and dated lower left: Ruvolo / 49-50, titled on an exhibition label affixed to the stretcher 46” H x 49.75” W $1,500-2,500 Exhibitions: San Francisco, San Francisco Museum of Art, “70th Annual,” January 23rd, 1951, No. 964.51.

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92

Claude Venard

(1913-1999, French) Abstract harbor scene Oil on paper laid to canvas Signed lower right: C. Venard 18” H x 21.5” W $2,000-3,000

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94

Ach

(b. 1 Rea Oil o Sign Drou 35”

$4,0

95

Ach

(b. 1 Rea Oil o Sign A. D 59”

93

Achilleas Droungas

(b. 1940, Greek) Realistic still life with fruit in a window, 1976 Oil on canvas Signed, dated and inscribed lower right: A. Droungas / L.A. 34” H x 34” W $2,000-3,000

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$6,0

4

hilleas Droungas

1940, Greek) alistic still life of a game bird, 1986 on canvas ned and dated lower center: ungas / ‘86 H x 47” W

000-6,000

5

hilleas Droungas

1940, Greek) alistic still life of table setting, 1979 on canvas ned and dated vertically lower right: Droungas H x 59” W

000-8,000

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96

Beatrice Wood

(1893-1998, American) Figural vase Glazed ceramic with applied iridescent figures Signed: Beato 10.5� H $5,000-7,000

Photographs of Beatrice Wood holding the pot, as well as a letter, dated February 3rd, 1991 accompanies the lot. The letter reads: All I can say about the blue vase with the gold figures is that I love it and I think it one of the nicest things I have made.

There is no esoteric meaning around the figures, it was just a decorative idea. Hoping you enjoy it as much as I did making it.

Sincerely, Beatrice Wood

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97

Sascha Brastoff

(1918-1993, American) Freeform sculpture Mixed media on wood base Overall: 30” H x 20.5” W x 12” D; Sculpture: 24” H x 20.5” W x 12” D $1,200-1,800 Provenance: The Estate of Sascha Brastoff Purchased from the above

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98

Sam Maloof

(1916-2009, American) Game table and low-back chairs, 5 pieces Walnut and black leather Table stamped: Design Made / Maloof / California; Each chair with upholsterer’s label Table: 29.625” H x 35.125” W x 35.125” D; Each chair: 30.125” H x 21.5” W x 19” D $8,000-12,000

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99

Poul Kjaerholm

(1929-1980, Danish) A high back PK20 lounge chair and a low back PK20 lounge chair, 2 pieces Chromed metal and sienna brown leather Larger: 35” H x 31” W x 27” D; Smaller: 27.75” H x 31” W x 27.25” D $3,000-5,000

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100

Poul Kjaerholm

(1929-1980, Danish) PK91 folding footstool Chromed metal and sienna brown leather Stamped for Poul Kjaerholm; Further stamped: Denmark 14.325” H x 23.75” W x 17.75” D $1,000-2,000

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101

Kurt Østervig

(1912-1986, Danish) Bar unit Teak, leather, green felt, electrified Signed: Made in Denmark / KP Mobler / Designed by Kurt Ostervig 43.25” H x 43.25” W x 15.75” D $1,000-1,500

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102

Sascha Brastoff

(1918-1993, American) Freeform sculpture Mixed media on wood base Labeled to base: Sascha Brastoff Overall: 13.75” H x 13” W x 8.5” D; Sculpture: 13” H x 11.5” W x 7.5” D $600-800 Provenance: The Estate of Sascha Brastoff Purchased from the above

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103

Sascha Brastoff

(1918-1993, American) A “Shangri-la” pattern chess set on marble and wood base Bronzed and gilt-colored metal, marble, wood Signed to figures: Sascha Table: 16” H x 21” W x 21” D; Largest figure: 3.75” H $600-900 Provenance: The Estate of Sascha Brastoff Purchased from the above

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105

Jim Kaneko

(1923-1999, American) Low center bowl, 1973 Glazed ceramic Signed, dated, and stamped for maker to base: Kaneko ‘73 3” H x 7.75” Dia. $800-1,200

104

A walnut veneer rocking chair

Contemporary The curved back issuing curved arms over a square seat on rockers 25.125” H x 22” W x 27.25” D $800-1,200

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106

Harrison McIntosh

(1914-2016, American) Vase with shouldered and rimmed body Ceramic with blue ribbed engobe Signed to base: McIntosh 5.25” H x 3.125” Dia. $1,000-1,500

107

Harrison McIntosh

(1914-2016, American) Gourd-shaped vase Ceramic with mottled green engobe Signed to bottom with incised HM and paper studio label 15” H x 13.5” Dia. $1,000-2,000

108

Sascha Brastoff

(1918-1993, American) Untitled freeform Mixed media on wood base Labeled to plaque: Sascha Brastoff Overall 12.5” H x 9.75” W x 10.5” D $600-800 Provenance: The Estate of Sascha Brastoff Purchased from the above

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109

Anthony Villis

(20th Century, American) Untitled, 1977 Clay wall sculpture affixed to lavender Lucite panel Stamped with artist’s initials, dated, and numbered, bottom center: AV / 1977 / 174 24” H x 23” W x 1.5” D $1,000-1,500

110

Sascha Brastoff

(1918-1993, American) Untitled freeform Mixed media on wood base Labeled on plaque to base: Sascha Brastoff Overall: 12” H x 11.25” W x 9.5” D $500-700 Provenance: The Estate of Sascha Brastoff Purchased from the above

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111

Karl Springer

(1931-1991, German/American) A pair of spiral Lucite table lamps Rectangular pleated brown linen shade on a clear, frosted and black spiral lucite base Manufactured by Art Services, 2 pieces Overall: 28.25” H x 19.125” W x 19.125” D $2,000-3,000

112

John Scott

(fl. late 20th/early 21st Century, American) Custom designed low table in dark walnut and textured black vinyl with Bang & Olufsen Beomaster 4500 stereo system Walnut and laminate 15.25” H x 72” W x 27” D $1,000-1,500

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Penelope Krebs

113

Penelope Krebs (b. 1954, American)

(three works) “Untitled 90-12” (green, turquoise, black, green) Oil on canvas stretched around panel 44” H x 44” W Signed verso: P. Krebs “Untitled 90-15” (yellow, purple, yellow, green) Oil on canvas stretched around panel 44” H x 44” W Signed verso: P. Krebs “Untitled 90-6” (turquoise, black, pink, yellow) Oil on canvas stretched around panel 44” H x 44” W Signed verso: P. Krebs $5,000-7,000 Provenance: Thomas Babeor & Co., La Jolla, CA Property from a Corporate Collection, San Diego, CA Acquired from the above, April 1994 1 5 7 20t h C en t u r y Ar t + D e s ig n l Tu e sd ay, O c tob e r 2 7 , 2 0 2 0

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114

Dick Jemison

(b. 1942, American) “Dreamwork V,” 1988 Mixed media and sand on canvas Signed lower right: Jemison, signed again, titled and dated verso 108” H x 84” W $3,000-5,000 Provenance: Elaine Horwitch Galleries, Scottsdale, AZ, November 9th, 1990 Property from a Northern Californian Estate

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115

Sara Berman Beach

(1890-1978, American) Outdoor still life Oil on masonite Signed lower right: Sarah Berman Beach 25.5” H x 38.5” W $1,000-1,500 Provenance: From the artist’s estate by descent to the current owner

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116

Sara Berman Beach

(1890-1978, American) “Stop the War in Vietnam” Oil on canvasboard Signed lower right: S. Berman Beach, titled right center 11” H x 47.25” W $1,000-1,500 Provenance: From the artist’s estate by descent to the current owner

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117

118

(1935-2019, American) “A Question Arose,” 1984 Oil on canvas Signed and dated on the stretcher: Thomas Akawie / June 84, signed and dated again and titled verso: 6/84 24” H x 18” W

(b. 1927, Spanish) “No. 49,” 1960 Mixed media on board Signed, titled, dated and inscribed verso 24” H x 19.5” W

Thomas Akawie

$800-1,200

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Francisco Farreras

$1,000-1,500

Provenance: Joachim Gallery, Chicago, IL The Collection of Cindy Tietze-Hodosh a

o: Febrero 1960 / Madrid

L and Stuart Hodosh

119

Sara Berman Beach

(1890-1978, American) Boat yard with smoke stack Oil on canvas Signed lower right: S. Berman Beach 26” H x 16” W $800-1,200 Provenance: From the artist’s estate by descent to the current owner

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120

Margaret de Patta

(1903-1964, American) Abstract brooch Sterling silver Stamped for Margaret de Patta; Further stamped: Sterling 1.75� H x 3� W $1,200-1,800

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121

Peter Macchiarini

(1909-2011, American) Abstract brooch Sterling silver Signed: Macchiarini 2.5� H x 3� W $500-700

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122

Two Enrique Ledesma silver cuff bracelets

Circa 1950; Taxco, Mexico Each stamped for Enrique Ledesma; Further stamped: Hecho en Mexico / 925; One stamped: Eagle 3 Comprising a hinged bangle bracelet set with two synthetic color-change sapphires (6” C x .875” H) and a hinged two-tone silver bangle bracelet (6.5” C x 1.125” H), 2 pieces 91.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

123

Four Sigi Pineda sterling silver brooches

Third-quarter 20th Century; Taxco, Mexico Each stamped: Sigi / Sterling / Tasco [sic] Each with fold and cut-work design, 4 pieces Largest (asterisk): 1.625” H x 2.125” W; Smallest (zig-zag): 1.875” W x 1.5” H) 60.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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124

A Sigi Pineda silver brooch

Third-quarter 20th Century; Taxco, Mexico Stamped: Sigi / Tasco [sic] / Mexico / 164 / Eagle 3 Converted from a buckle, the meandering design set with two obsidian cabochons 2.25� H x 4.75� W 110.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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125

Two Sigi Pineda sterling silver bangle bracelets

Third-quarter 20th Century; Taxco, Mexico Each stamped for Sigi Pineda; Further stamped: Eagle 9 / Tasco [sic] / Sterling / Made in Mexico Comprising an abstract hinged bangle bracelet set with an onyx cabochon (6.75” C x 1.5” H) and a two-tone hinged bangle bracelet (6.75” C x 1.125” H), 2 pieces 142.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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126

An Antonio Pineda silver and onyx bracelet

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Further stamped: Hecho en Mexico / Silver / 970 / ZZ783 The architectural bracelet set with a large rectangular onyx tablet 6.5� C x 1.625� H 153.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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127

An Antonio Pineda silver and obsidian bracelet

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Further stamped: Hecho en Mexico / 970 / Silver Designed with interlocking silver panels tipped with obsidian cones 7.5” L x 1.75” H 149.5 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This bracelet illustrated: Stuart Hodosh, et al. “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” Fowler Museum at UCLA, 2008, pg. 138, plate 166.

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128

An Antonio Pineda silver and onyx bracelet

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Further stamped: Hecho en Mexico / 970 / ZZ620 Designed with alternating silver and onyx wave links 6.5” L x 2” H 173.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This bracelet illustrated: Stuart Hodosh, et al. “Silver Seduction: the Art of Mexican Modernist Antonio Pineda; from the Collection of Cindy Tietze and Stuart Hodosh,” Fowler Museum at UCLA, 2008, pg. 131, plate 157A.

129

An Antonio Pineda silver, amazonite and pearl neckla

1953-1979; Taxco, Mexico Neck chain stamped: Crown mark for Antonio Pineda; Eagle 1 stamped: 970 / Hecho en Mexico The abstract pendant featuring a pear-shaped cabochon amaz with a cultured pearl suspended on an attached chain 2.5” H x .875” W x 17” L 47.0 grams $500-700

Provenance: The Collection of Cindy Tietze-Hodosh and Stuar

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ace

17; Further

zonite accented

rt Hodosh

130

Three Hubert Harmon brooches

Circa 1940s; Taxco, Mexico Each stamped with feet mark for Hubert Harmon; Further stamped: Sterling / Hubert Harmon / Made in Mexico Comprising a hand and wing brooch suspending an amethyst-set heart pendant (3.75” H x 2.5” W), A stylized mermaid brooch with amethyst face (2.625” H x 2.75” W), and a spiral brooch (1.125” Dia.), 3 pieces 79.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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131

A Matl Aztec-motif silver necklace

1934-1948; Taxco, Mexico Stamped: Matl Designed with Aztec-style panels joined by handmade rings 14� L x 1.125� H 132.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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132

Two Antonio Pineda silver necklaces

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Each variously stamped: Silver / 970 / Hecho en Mexico / YY512 / YY491 Comprising a collar necklace of a graduated pointed ray motif (15” L x 1.75” H) and a concave geometric link necklace (14.25” L x .5” H), 2 pieces 302.0 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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133

An assembled set of Antonio Pineda silver and obsidian jewel

1953-1979 and 1962-1963; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Necklace stamped: Hecho en Mexico / 970; Bracelet stamped: Los Castillo Taxco / Silver / Made in Mexico / 539 Comprising a necklace designed with alternating silver and onyx panel li (16” L x 1.125” H) together with a silver and onyx bracelet (6.5” L x 1” H pieces 283.0 grams $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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lry

134

Two Antonio Pineda silver bracelets

1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Eagle 17; Eagle 208; Each variously stamped: Hecho en Mexico / JVL Taxco / 970 / ZZ571 Each designed with concave geometric links, 2 pieces Larger: 6.75” L x .875” H; Smaller: 7” L x .75” H 222.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

135

Three Antonio Pineda silver and gem-set rings

Post-1953; Taxco, Mexico Crown mark for Antonio Pineda: Eagle 58; Eagle 208; Each variously stamped: 925 / Hecho en Mexico / 970 / Partial initals with Taxco Comprising smokey quartz (7), citrine (6.75), and obsidian (5.5) rings, 3 pieces 47.5 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

inks H), 2

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136

A set of William Spratling

1956-1962; Third Design Per Each stamped for William Sp indistinct eagle The matching necklace (17” L (7.5” L x .625” H) designed w 2 pieces 87.5 grams $800-1,200

Provenance: The Collection o

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g sterling silver jewelry

riod; Taxco, Mexico pratling; Both stamped: 925 / Taxco Mexico /

L x .625” H) and bracelet with tubular links framed by silver spheres,

of Cindy Tietze-Hodosh and Stuart Hodosh

137

A Mexican gem-set silver pendant necklace

1948-1962; Taxco, Mexico Pendant stamped for Hector Aguilar, further stamped: 925 / Mexico / Eagle 9; Necklace stamped: Sterling / JB / Made in Mexico The pendant/brooch centering an aggregate stone in an Art Deco-style setting suspended from a later-added neck chain, 2 pieces Pendant: 1.875” H x 1.25” W; Neck chain: 15” L x .625” W 109.5 grams $600-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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140

A Modernist sterling

Third-quarter 20th Cent Stamped indistinctly for Eagle 22 / 925 / Mexico Designed with quadrilat spacers 16.5” L x .75” H 114.0 grams $400-600

Provenance: The Collect and Stuart Hodosh

138

A suite of Hector Aguilar 940 silver jewelry

Circa 1950; Taxco, Mexico Each stamped for Hector Aguilar; Further stamped: 940 / Taxco / Eagle 9 Comprising a necklace (15.75” L x .5” H) and a bracelet (7.125” L x .5” H) with a pair of screw-back earrings en suite (1.625” H x .5” W), 4 pieces 119.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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g silver necklace

tury; Mexico maker; Further stamped: o teral drops between bead

tion of Cindy Tietze-Hodosh

139

Three Enrique Ledesma sterling silver and obsidian bracelets

Circa 1950; Taxco, Mexico Each stamped for Enrique Ledesma; Further stamped: Sterling or 925 / Mexico; Two stamped with Eagle 3 Comprising a bracelet with rectangular obsidian cabochons (6.25” C x 1.25” H), a bracelet with rounded obsidan tubes (6.5” C x.875” H), and a bracelet with obsidian inlay (6.5” C x .875”), 3 pieces 247.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Condition Reports

w w w. j o h n m o r a n . c o m 1 8 6

1 Generally good condition. Framed floating and hinged to the back mat. The paper with deckled edges. Not examined out of the frame.

Frame: 18.25” H x 22” W x 1.25” D 2 Overall good condition with minor scuffs and scratches. In original packaging (opened). Some bends and rips to package.

3 Lot Withdrawn.

4 Generally good condition. Not examined out of the frame.

Frame: 60” H x 43.75” W x 2” D 5 Overall good condition with minor dust accumulation.

Acrylic base: 2.25” H x 12.5” W x 12.5” D

Condition Reports

13 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

14 Generally good condition. Minor toning to the paper. The paper is loose, not mounted.

Unframed 15 Generally good condition. Not examined out of the frame.

Frame: 29.25” H x 24.5” W x 1” D 16 Overall good condition with minor dust accumulation commensurate with age.

6 Generally good condition. Minor toning to the paper. The paper is slightly rippled. The right edge of the paper is deckled. Framed floating and hinged to the back mat.

17 Generally good condition. Three small divots in the foamcore upper edge left caused by the method of framing.

Frame: 47.5” H x 35.25” W x 1.75” D

Frame: 46.5” H x 61.5” W x 2.25” D

7 Generally good condition. Toning to the paper. The paper is slightly wavy in its mounts. The time-stains from a previous mounting are faintly visible in the margins recto. Hinged to the recto mat with six small pieces of artist’s tape along the upper, right and left edges.

18 Generally good condition. Minor toning to the paper. The right and lower edges of the paper are deckled. Mat burn along the four edges. Hinged to the back mat with two pieces of linen tape in the upper corners.

Frame: 36” H x 27.25” W x 1.25” D

187

12 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Raised decoration apparently intact.

Frame: 50” H x 40.5” W x 1.5” D

8 Generally good condition. The paper with deckled edges.

19 Generally good condition. Light unobtrusive toning to the paper.

Tauromachie V not examined out of the frame.

Portfolio: 26.5” H x 20.5” W x .5” D

Frame of each: 34” H x 27.75” W x 1” D

9 Generally good condition. A dime-sized area of scattered minor scuffing in the yellow upper left. Two small light-yellow spots of staining lower left margin. A 3”, semi-circular light handling crease lower edge center. Not examined out of the frame.

20 Minor toning to the paper. The upper and lower edges of the paper are deckled. Two, .5” creases left edge center. Light handling creases scattered around the perimeter. Light yellow water stains along the lower edge center. Yellow staining to the extreme perimeter edge.

Frame: 36.25” H x 28.5” W x 1.5” D 10 Generally good condition. Minor toning to the paper. The paper with deckled edges. Hinged to the recto mat with paper tape along the upper and lower edges. The glass is cracked in the lower left corner.

Frame: 29” H x 32” W x 1” D 11 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Scattered drops of soiling to the front, scattered drops of transfer oils to the back. Raised decoration apparently intact.

Frame: 26.25” H x 30.5” W x .75” D 21 Each: Generally good condition. Minor toning to the paper. The paper with deckled edges. Slight mat burn to the four edges.

Hinged to the back mat with linen tape in the upper corners. Only “Telegraph Hill” examined out of the frame.

Frame of each: 30.25” H x 24.25” W x 1.75” D 22 Generally good condition. The canvas has been removed from the stretcher. The upper and lower edges have been strip lined with linen. The perimeter of the canvas has nail holes and small losses from previous mounting which would not be visible if restretched.

Unframed and rolled

23 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age.

34 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

24 Lot Withdrawn.

35 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Green felt residue to base with additional felt pads.

Frame: 14” H x 10” W x 1” D 26 Generally good condition. Very light crease to the upper left corner. Framed floating and hinged to the back mat.

Frame: 14” H x 10” W x 1” D 27 Generally good condition. A light crease runs along the upper edge. A very small scuff to the paper left edge center. Framed floating and hinged to the back mat.

Frame: 15.5” H x 13” W x .75” D 28 Generally good condition. Tiny dots of yellow staining lightly scattered throughout. Surface dirt. Hinged to the recto mat with artist’s tape along the four edges.

Frame: 21.25” H x 17” W x .75” D 29 Overall good condition with minor scuffs and darkening to bronze commensurate with age.

30 Visual: Generally good condition. A 2” line of fine craquelure left center, with a corresponding indentation verso. A very fine line of scattered craquelure down the center. A series of tiny flecks of paint loss in the upper left corner.

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

Frame: 28” H x 34” W x 2.5” D 31 Visual: Generally good condition.

36 Each in overall good condition with scattered scuffs, scratches, wear and oxidation to the chrome, and rubbed wear, scuffs, creases, and minor surface losses to the leather commensurate with age. Minor pitting to the chrome frames. Larger with red oxidation to the chrome.

37 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age.

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

Scattered shallow surface scratches throughout glass top. Wear to ends and scattered small chips to edges of wood base.

Glass: .75” H x 50.5” W x 36” D Base slightly extended: 15” H x 30” W x 22” D 39 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

Small chip to one end of rocking rail. Minor shrinkage warping to one area of articulated carved seat.

40 Driver-ready condition. Starts, runs, idles, drives, and stops as expected. Minor abrasions to the body. Rear bumper with scattered minor damage to the paint, needs paint repair.

Passenger side front and rear wheel covers with abrasions and scraps. Registration will need to be renewed by the new owner.

Free and clear California title. Owner’s manual and brochures as well as service record included.

41 Visual: Generally good condition. A dime-sized area of scattered paint loss upper left. A small chip to the board lower edge center.

A light surface scratch across the lower right corner. Minor surface dirt.

Blacklight: No evidence of restoration under blacklight.

Unframed

Blacklight: No evidence of restoration under blacklight.

Frame: 52” H x 24.25” W x 2.75” D 32 Each in overall good condition with minor crazing likly dating to time of manufacture.

Frames: 18” H x 18.5” W and 18.325” H x 18” W 33 Overall good condition with minor shelf wear commensurate with age.

42 Generally good condition. A .25” indention to the paper lower left. Hinged to the board with artist’s tape in three places along the upper edge.

Frame: 5.75” H x 19.25” W x 1” D 43 Generally good condition. The paper is slightly rippled. Framed floating and hinged to the back mat with artist’s tape in the upper corners.

Frame: 13.5” H x 23.25” W x 1.75” D

Condition Reports

25 Generally good condition. Very minor crease to the upper left corner. Framed floating and hinged to the back mat.

188

44 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat.

Frame: 25.25” H x 28.25” W x 1” D 45 Generally good condition. The masonite is separating from the back support in the upper left corner. Visible nails/nailholes scattered around the perimeter. A small loss to the board upper left corner.

52 Overall good condition with minor shelf wear, scuffs, light scratches, and oxidation commensurate with age. One broken glass section to underneath of base, approximately 2”, visible when turned over. Break to surrounding metal and marble sections also visible from the back. Additional chip to bottom of glass.

53 Overall good condition with minor scuffs and scratches commensurate with age.

Frame: 31.25” H x 41.25” W x 1.75” D

54 Generally good condition.

46 Generally good condition. Small spots and smudges of a white substance is scattered throughout the surface of the piece.

Frame: 18.25” H x 15.25” W x 1” D

Frame: 31.25” H x 41.25” W x 1.5” D 47 Visual: Generally good condition.

55 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 30.75” H x 22.5” W x 2” D

Blacklight: No evidence of restoration under blacklight.

Frame: 48.25” H x 36.25” W x 1.75” D 48 Visual: Generally good condition. Light stretcher bar creases scattered along the four edges. A 3” x 3” area of fine craquelure upper center.

Blacklight: A 3” line of scattered dots of touch-up upper edge right. Certain pigments fluoresce under blacklight, likely in the hand of the artist.

Frame: 30” H x 26” W x 2.5” D

56 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout, concentrated along the right edge. Small spots of varnish discoloration scattered throughout.

Blacklight: No evidence of restoration under blacklight.

Frame: 34.75” H x 27” W x 1.25” D 57 Generally good condition. Artist’s pinholes in the four corners. The recto mat is glued to the card in three places along the top edge.

Frame: 22.25” H x 18.25” W x 1” D

49 Generally good condition. The paper is slightly rippled. The recto mat, back mat, backing board and front glass are sealed as one unit. Not examined out of the frame.

Frame: 28.75” H x 25.25” W x 1.5” D

58 Generally good condition. The paper is slightly rippled. The upper left corner is creased. Framed floating and hinged to the back mat.

Frame: 53.25” H x 41.5” W x 2” D

Condition Reports

50 Visual: A ripple in the canvas in the upper left corner. Two dimesized areas of craquelure with instability upper left. Very fine craquelure in the eye and face of the red horse and in the red squares of the chess board. A 2” x 1” area of craquelure with instability left center.

189

Blacklight: No evidence of restoration under blacklight.

59 Two quarter-sized losses to the paper along the lower left edge and to the upper edge left of the lower panel. Two small holes in the paper in the lower left corner and along the upper edge left of the lower panel. A .5” tear to the lower edge center. Each panel has slight rippling to the paper. Remnants of double sided tape remain along the perimeter edges of both panels verso.

Frame: 21.5” H x 25.75” W x 2” D

Unframed

51 Visual: Generally good condition. Fine craquelure on the egg supports and scattered throughout the water. Minor surface dirt, concentrated in the upper right corner.

60 Visual: Generally good condition. Two small scuffs right edge center.

Blacklight: No evidence of restoration under blacklight.

Frame: 27.75” H x 24.25” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

Frame: 21.5” H x 17.5” W x 2.25” D

Frame: 12” H x 14.25” W x 1.25” D 62 Generally good condition. Minor toning to the paper. Two .25” holes in the paper upper edge left and upper edge right. A thin vertical line of mat staining running the full height of the right side.

Minor handling creases scattered around the perimeter. Minor surface dirt throughout. The paper is laid down, as stated.

Frame: 48.25” H x 62.5” W x 1” D 63 Generally good condition. A 2” fold to the lower right corner. Three small dots of dark staining around the blindstamp lower right. A 7” very light vertical line along the right edge. Hinged to the back mat with linen tape along the four edges.

Frame: 26.25” H x 35” W x 1.5” D 64 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 64” H x 72” W x 2” D 65 Overall good condition with minor scuffs and scratches commensurate with age.

66 Overall good condition with scattered scuffs, light scratches, and oxidation to metal commensurate with age.

67 Generally good condition. The paper is slightly rippled. The paper with deckled edges. Artist’s pinholes in the four corners. Isolated areas of craquelure across the center. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 33.75” H x 26.25” W x 1.75” D

71 Overall good condition with minor scuffs and scratches commensurate with age.

72 Generally good condition. Small dark surface marks lightly scattered throughout all panels, the largest a 1” line near the man’s face.

Unframed 73 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Frame: 17.5” H x 20” W x 1.75” D 74 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age.

75 Toning to the paper. Mat burn to the four edges. The paper is diagonally creased from the upper right corner and horizontally from the lower right edge. Yellow staining scattered throughout, concentrated mainly lower center and along the lower edge. Dry mounted to the back mat.

Frame: 18.75” H x 15.25” W x 1.5” D 76 Generally good condition.

Unframed 77 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Firing cracks to support at base dating to time of manufacture.

78 Generally good condition. The mat has very lightly marked the paper along the lower edge right and the lower right edge. Not examined out of the frame.

68 Generally good condition. Not examined out of the frame.

Frame: 21” H x 16.75” W x 1.5” D

Frame: 38” H x 29.25” W x 1” D

79 Generally good condition. The paper with deckled edges.

69 Visual: Generally good condition. A series of diagonal lines of craquelure scattered throughout, concentrated in the upper right and lower left corners.

Unframed

Blacklight: No evidence of restoration under blacklight.

Frame: 54” H x 46” W x 3.5 “ D 70 Overall good condition with minor dust accumulation commensurate with age.

80 Overall good condition commensurate with material and method of carving.

81 Generally good condition. The paper with deckled edges. Artist’s pinholes in the upper corners. Minor “smudging” scattered throughout the white areas. A few tiny spots of light yellow staining along the right edge center and one along the lower edge center.

Unframed

Condition Reports

61 Generally good condition. The left edge is deckled. Framed floating and hinged to the back mat.

190

82 Generally good condition. The paper is gently rippled. The paper with deckled edges. A .25” tear to the lower edge center.

92 Visual: Generally good condition. Stable craquelure throughout.

Small spot of paint loss lower left. Minor surface dirt.

Unframed

Blacklight: No evidence of restoration under blacklight.

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

Surface in good condition with very minor scuffs and scratches.

84 Each in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Restored.

Lacking seat and back cording. One with exaggerated angle to legs.

Each seat frame approximately: 18.75” H x 17.5” W x 2” D

Blacklight: No evidence of restoration under blacklight.

Frame: 35.25” H x 35.25” W x 1.25” D 94 Visual: Generally good condition. Tiny fleck of paint loss right edge center and center right.

Blacklight: No evidence of restoration under blacklight.

86 Each in overall good condition with scattered scuffs, scratches, nicks, and wear to leather commensurate with age and use. Usage wear to the seams, legs, and arms.

95 Visual: A .5” hole in the canvas upper edge left. Stretcher bar creases across the middle and down the center. Stable craquelure scattered throughout, concentrated mostly, but not limited to, the upper half. A 1” x 2” area of rubbed wear lower edge right. A 1.5” surface scratch lower left.

Blacklight: Aforementioned spots of grime flouresce under blacklight.

Frame: 35.75” H x 47.5” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

Unframed

Frame: 28.75” H x 33.75” W x 1.75” D

96 Overall good condition with minor scuffs and firing flaws commensurate with age.

88 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

97 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age.

89 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

98 Overall good condition with minor scuffs and light scratches commensurate with age. Scattered wear to finish. The table with scattered shrinkage cracks to the top including a series of three running down the center. A condensation ring to the top.

One chair with a 3”-long filled crack to the back support with corresponding 1.5”-long hairline crack to backsplat.

90 Each in overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Condition Reports

93 Visual: Generally good condition.

85 Overall fair condition with heavy oxidation throughout, soiling, and scattered minor dents.

87 Visual: Generally good condition. A .75” x .75” “L-shaped” tear lower left with corresponding clear tape verso. Spots of surface dirt and grime upper left.

191

Frame: 19.25” H x 22.5” W x 1.75” D

91 Visual: Generally good condition. A pea-sized hole in the canvas along the upper edge center with small tears and scuffs along the upper edge. The canvas is slightly rippled and bulging along the perimeter. Isolated areas of fine craquelure scattered throughout.

Minor surface dirt and grime.

Blacklight: Spots of grime fluoresce along the lower edge under blacklight.

Frame: 47” H x 51” W x 1.75” D

99 Each in overall good condition with scattered scuffs, scratches, wear and oxidation to the chrome, and rubbed wear, scuffs, creases, and minor surface losses to the leather commensurate with age. Minor pitting to the chrome frames. Larger with red oxidation to the support under the seat.

100 Overall good condition with scattered scuffs, scratches, pitting to the metal, oxidation, and light creasing to the leather commensurate with age.

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

Missing one glass shelf to interior. Undershelf sticks. Top with some condensation rings and localized sun-fading. Wiring should be checked by a qualified electrician prior to use.

102 Overall good condition with scattered scuffs, light scratches, oxidation, and dust accumulation commensurate with age.

103 Overall good condition with oxidation to the metal and light scratches to the marble top commensurate with age. Wood base with minor nicks, scratches, and separation to joints.

104 Overall good condition with scattered scuffs, gouges, losses to veneers, and separation at joints commensurate with age. Lateradded felt pads to the bottom.

105 Overall good condition with minor shelf wear and inherent firing flaws commensurate with age.

106 Overall good condition with minor shelf wear and inherent firing flaws commensurate with age.

113 Each: Generally good condition. Visual: The first: Light surface scratches throughout. Lines of craquelure in the upper corners.

A few flecks of paint loss along the lower left edge. The second: Light surface scratches scattered throughout, the largest an 8” scratch in the center of the purple band. The third: Light surface scratches and scuff marks scattered throughout. Two tiny spots of white paint in the teal and black band. A 2.5” area of discoloration along the length of the yellow edge.

Blacklight: The first: No evidence of restoration under blacklight.

The second: A 2” line of touch-up lower right. The third: The area of discoloration fluoresces under blacklight.

Each: Unframed 114 Generally good condition. Small scuffs to the upper edge and to the upper and lower right corners. Minor dust accumulation.

Unframed 115 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout. A small chip of paint loss upper left. A tiny fleck of paint loss right center. The lower right corner of the board is chipped. Small chips to the board scattered along the lower edge and lower right edge.

Blacklight: No evidence of restoration under blacklight.

Frame: 28” H x 41” W x 1.75” D

107 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. One small area of scattered spots of loss to glaze to underside.

116 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

108 Overall good condition with scattered scuffs, light scratches, oxidation, and dust accumulation commensurate with age. Areas of scratches and loss, some small areas of housepaint.

Frame: 15.5” H x 50.5” W x 1.25” D

109 Overall good condition with minor scuffs and scratches commensurate with age.

Frame: 24.5” H x 18.5” W x 1.75” D

111 Each in overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age. Oxidation to each harp. Scattered small tears to interior lamp liners.

Each lamp: 28.25” H x 8” W x 8” D Each shade: 11” H x 19.125” W x 19.125” D

118 Visual: Generally good condition. Crazing throughout the black pigment.

Blacklight: No evidence of restoration under blacklight.

Frame: 25.25” H x 21” W x 1.5” D

119 Visual: Generally good condition. The canvas is slightly cupped along the upper edge. Small indentations in the canvas verso causing small bumps right center and lower right. A tiny fleck of paint loss left center.

Blacklight: No evidence of restoration under blacklight.

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

One minor ripple to black laminate edge.

Frame: 31.25” H x 21” W x 2.5” D 120 Overall good condition with tarnishing and light scratches commensurate with age.

Condition Reports

110 Overall good condition with scattered scuffs, light scratches, tarnishing, dust accumulation, and oxidation commensurate with age. Remnants of glue residue to base.

Sculpture: 10.5” H x 11.25” W x 9.5” D

117 Generally good condition.

192

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

122 Each in overall good condition with tarnishing and light scratches commensurate with age. The clasp of the first bracelet does not close securely. Stones with minor abrasions and nicks and slightly loose in the setting.

First wrist opening: 2” Second wrist opening: 1” 123 Each in overall good condition with tarnishing and light scratches commensurate with age. Minor bends to the prongs at the fold.

124 Overall good condition with tarnishing and light scratches commensurate with age. Converted, as stated. One side may be slightly pushed in.

125 Each in overall good condition with tarnishing and light scratches commensurate with age. The first bracelet missing the safety chain.

126 Overall good condition with tarnishing and light scratches commensurate with age. Scattered minor nicks and light dents to the silver.

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

Wrist opening: 1.25” 128 Overall good condition with tarnishing and light scratches commensurate with age. Approximately two silver links with dents.

129 Overall good condition with tarnishing and light scratches commensurate with age. The pendant is apparently unmarked.

Condition Reports

130 Each in overall good condition with tarnishing and light scratches commensurate with age. Each amethyst with surface abrasions.

The mermaid brooch with an impact and corresponding fractures and repairs to the amethyst covering about half the stone.

193

131 Overall good condition with tarnishing and light scratches commensurate with age. One panel with a .5” L-shaped tear.

132 Each in overall good condition with tarnishing and light scratches commensurate with age. Each joined by double-chains. Each necklace with one link that has visible solder, possibly covering a repair.

133 Each in overall good condition with tarnishing and light scratches commensurate with age. The clasp on the necklace does not close snugly. The bracelet with scattered nicks to the obsidian. The clasp of the bracelet has been converted to a push clasp from a pin clasp.

134 Each in overall good condition with tarnishing and light scratches commensurate with age. Each with a later-added safety chain.

135 Each in overall good condition with tarnishing and light scratches commensurate with age. The smoky quartz and citrine with minor abrasions. The obsidian with scratches to the surface, may need repolishing.

136 Each in overall good condition with tarnishing and light scratches commensurate with age. The necklace does not lay flat easily and has been restrung with plastic string. The bracelet appears to have the original silver chain links. Scattered spheres with dents.

137 Each in overall good condition with tarnishing and light scratches commensurate with age. Scattered cracks to the stone with white residue to the crevasses.

138 Each in overall good condition with tarnishing and light scratches commensurate with age.

139 Each in overall good condition with tarnishing and light scratches commensurate with age. Each wrist opening is over 2”. The first bracelet with minor nicks to the silver and minor abrasions to the obsidian. The second bracelet with scattered dents to the silver and chips/breaks to some obsidian tubes (one break appears to have been polished down). Third with minor surface abrasions to the obsidian, one obsidian with a small chip and one with a small crack to one corner. The third with minor dents to the silver.

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

Consign Today

Winter Modern + Contemporary February 2021

Joan Miró (1893-1983, Spanish) Defile de Mannequins a Istanbul, 1969 Price Realized: $10,000

Consignment and Auction Inquiries: bree@johnmoran.com 145 East Walnut Ave, Monrovia, CA 91016 www.johnmoran.com · info@johnmoran.com · (626) 793-1833

w w w. j o h n m o r a n . c o m 1 9 4

California & American Fine Art November 17, 2020 Charles Arthur Fries (1854-1940, San Diego, CA) Co-operation, 1889 $4,000-6,000

Consignment and Auction Inquiries: morgana@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833 1 9 5 20t h C en t u r y Ar t + D e s ig n l Tu e sd ay, O c tob e r 2 7 , 2 0 2 0

w w w. j o h n m o r a n . c o m 1 9 5

Consign Today

Fine Jewelry & Timepieces December 2020

A Buccellati peridot and diamond ring Price Realized: $6.875

Consignment and Auction Inquiries: mollie@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833 w w w. j o h n m o r a n . c o m 1 9 6

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Co-Head of Sale, Post War & Contemporary Fine Art Co-Head of Sale, 20th Century Furniture and Decorative Arts Specialist

Bree Hughes John Simon Taylor

Senior Vice President, Fine Art Director Vice President, Furniture & Decorative Arts Director

Morgana Blackwelder Roland Rynkiewicz

Fine & Decorative Art Specialist Maranda Moran Junior Specialist / Senior Cataloguer: Furniture & Decorative Arts Jardine Gates, GIA G.G. Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Mike Hook Jewelry Director Mollie Burns Keith, G.J.G.

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Office Manager

Mario Esquivel Client Services Ella Fountain

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Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director

Maha Darwish Consignment Coordinator

Jean Rapagna Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

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Advertising & Marketing Director, Art Design Nathan Martinez Photographer Madison Torres Photographer Keith Berson Graphic Designer Brian Olivas

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Department Manager Noelle Valentino

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Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide.

The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee.

This fee is not more than the cost of accepting these cards.

Buyers outside of the United States must submit payment via wire transfer.

Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received

by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016.

ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

Registration Form (Attendee / Absentee / Telephone Bidding) [For office use only]

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the nal bid, plus uyer s Premium on the nal bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided.

Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid.

New bidders will be asked to provide financ al accoun nforma on as a reference All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance.

UYER S PRE IU : P s calcula ed a on e firs $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

uyers 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

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and re uested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank.

Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In e e en of a e b d e e s ra on Form rece ed firs ll be reco n ed as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

No

How did you hear about our services?

Sellers permit info: Contact of ce for veri cation State: I agree that I have read Signature:

Native American Objects Prints & Multiples

Telephone (secondary):

Permit #

Modern & Contemporary Art

Turn of the Century Design / Arts + Crafts Western Art a e a s ec fic y e of em you are n eres ed n let us know:

Exp: oran s Conditions of Sale and shall be bound by them This affects my legal rights Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

Paddle number [For office use only] FOR OFFICE USE ONLY

General Bid Increments $200-475.................................$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...................$1000 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 the Auctioneer’s discretion

Telephone Agent Name: Bidder Name: Primary Phone Number: Secondary Phone Number: Email Address:

Absentee & Telephone Bidding Lot Number

Lot Description

***Absentee bids must be at least half of the low estimate*** Maximum Bid

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

PLEASE NOTE: In the event of any discrepancy, lot number and not lot description will govern proxy bid

Received By:

Date:

rev. 7/2018

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