Prints & Multiples Sale 151 November 19, 2019—12pm 145 East Walnut Avenue, Monrovia CA 91016 Previews November 14–November 18: 12pm-4pm November 19: Doors open 10am
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Fine Art Department Bree Hughes Head of Sale Post-War and Contemporary Art Specialist bree@johnmoran.com Morgana Blackwelder Director morgana@johnmoran.com Jeff Moran President jeff@johnmoran.com Bobby Cullen Cataloguer bobby@johnmoran.com
Jonas Wood
(b. 1977 American) “Large Shelf Still Life,” 2017 Offset color lithograph Edition unknown, the artist’s name, title and date printed on the verso Sheet: 23” H x 23” W $800-1,200 Notes: With the printed exhibition information (verso): “Shio Kusaka / Jonas Wood / 30 September 2017 - 7 January 2018 / Voorlinden / museum and gardens / Wassenaar, the Netherlands.”
Tuesday, November 19, 2019 - Prints & Multiples
Phil Latimer Dike
1001
1
2
1969
2019
1002
Damien Hirst
(b. 1965 British) “M-Fluorobenzylamine,” 2018 Color woodcut on 410 gsm Somerset White textured paper under Plexiglass Edition 41/55, signed in pencil lower margin at right: Damien Hirst Sheet: 34.4” H x 45.7” W $20,000-30,000 Literature: Paragon Contemporary Editions Ltd., London, pub.
Tuesday, November 19, 2019 - Prints & Multiples
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1003
Damien Hirst
(b. 1965 British) “Gold Tears,” 2012 Color inkjet with glaze and foilblock on Hahnemuhle photo rag ultra smooth 305gsm paper; Paul Stolper and Other Criteria, London, pub. Edition 27/55 (there were also 10 artist’s proofs), signed lower right: Damien Hurst Image: 27.25” H x 21.75” W; Sheet: 34” H x 28” W $8,000-10,000 Provenance: Other Criteria, London
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1969
2019
1004
Mr. Brainwash
(b. 1966 French) “Tomato Spray,” 2008 Color screeprint and mixed media on BFK Rives paper under glass Edition 10/15, signed and dated lower right: Mr. Brainwash Image: 28.25” H x 20.5” W; Sheet: 30” H x 22.5” W $1,500-2,500
Tuesday, November 19, 2019 - Prints & Multiples
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1005
Walton Ford
(b. 1960 American) “I Don’t Like To Look At Him, Jack,” 2011 Color offset lithograph on smooth wove paper Exhibition poster Signed in black ink lower right: Walton Image: 21.5” H x 28.5” W $600-800 Provenance: Paul Kasmin Gallery Exhibitions: “Walton Ford. November 3rd - December 23rd, 2011. Paul Kasmin Gallery, New York.”
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1969
2019
1006
Shepard Fairey
(b. 1970 American) Obey Giant Triptych, 2008 (three prints) Screenprints Each signed and dated lower right: Shepard Fairey Sheet: 28.75” H x 24” W $700-900
Tuesday, November 19, 2019 - Prints & Multiples
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1007
8
1969
2019
1007
Marc Chagall
(1887-1985 French) “Le Grand Paysan,” 1968 Color lithograph Arches wove paper under glass Signed and numbered in pencil in the lower margin just below image. Edition 44/50 aside from 25 A.P. Image: 23.5” H x 17.5” W; Sheet: 29.5” H x 22.25” W $7,000-9,000 Literature: Mourlot 549
1008
Marc Chagall
(1887-1985 French) “Death of Saul,” 1958 (from the “Bible” series) Etching with handcoloring on Arches paper under glass; Tèriade, Paris, pub. Edition 2/100, signed lower right M. Ch. Plate: 11” H x 9.25” W; Sheet: 21” H x 15.5” W $2,000-3,000 Literature: Cramer 30
1009
Marc Chagall
(1887-1985 French) “Frontispiece” circa 1969 (from the “Bible” series) Color lithograph on cream wove paper; Edition Verve, Paris Edition 16/100, signed in pencil in the blank at left: Marc Chagall Image: 8.75” H x 8” W; Sheet: 9.25” H x 15.75” W
1008
$1,200-1,800 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
1009 Tuesday, November 19, 2019 - Prints & Multiples
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1010
Marc Chagall
(1887-1985 French) “Le Coq Rouge,” 1952 Color lithograph on paper under glass Edition 148/200, signed lower right: Marc Chagall Sight: 14.5” H x 21” W $2,000-4,000 Literature: Mourlot 60.
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1969
2019
1011
Eduard Wiiralt
(1898-1954 Estonian) “Pırgu (Hell),” 1930 Etching and copper engraving on Lana paper under glass Signed lower right: E. Wiiralt, inscribed lower left: d’enfer-burin et eau forte 1930 Epr. d’artiste, inscribed verso: 22 III 1948 Plate: 15.5” H x 18.5” W; Sheet: 22” H x 25.25” W $4,000-6,000
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1012
Eduard Wiiralt
(1898-1954 Estonian) “Naised Rannal (Women on the Beach),” 1934 Soft-ground etching on paper under glass Edition EA, signed lower right: E. Wiiralt, dated and inscribed lower left; inscribed verso: 23 III 1948 Plate: 15.5” H x 19.5” W; Sheet: 22.25” H x 30” W $3,000-5,000
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1969
2019
1013
Eduard Wiiralt
(1898-1954 Estonian) “Virve,” 1943 Drypoint on paper under glass Signed lower right: E. Wiiralt, dated and inscribed lower left; inscribed verso: 25 V 1951 Plate: 13.75” x 12.5” W; Sheet: 21.5” H x 19.75” W $1,200-1,800
1014
Eduard Wiiralt
(1898-1954 Estonian) “Berber girl with camel,” 1940 Soft-ground etching on paper under glass Signed lower right: E. Wiiralt, dated and inscribed lower left: Vernis mou; inscribed verso: 27 oct 1948 Plate: 19.25” H x 15.5” W; Sheet: 26.5” H x 21.5” W $1,500-2,500
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1015
After Pablo Picasso
(1881-1973 Spanish) “Portraits Imaginaire 30.1.69,” 1969 (from “Portraits Imaginaire”) Color Lithograph on Arches paper under glass; Editions Cercle d’Art, Paris, pub. Edition F 61/250 from the French edition, signed and dated in the stone upper right: Picasso Sheet/image: 25.75” H x 19.75” W $1,500-2,500
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1969
2019
1016
1017
16
1969
2019
1016
David H. Dale
(b. 1947 Nigerian) “Masquerades,” 1984 Color etching on cream wove paper Signed, titled, dated and inscribed along the lower margin: Original Deep-Etching by David H. Dale / Experimental Print (Multicolour) / Lagos, Nigeria Plate: 18.75” H x 29” W $800-1,200 Provenance: Gallery Plus Fine Arts and Collectibles, Los Angeles, CA
1017
After Romare Bearden
(1911-1988 American) “Mecklenburg Morning: Sunrise for China Lamp,” printed posthumously in 1993 Color offset lithographic reproduction on thick wove paper; American Vision Gallery Inc., Folsom, CA, pub. Edition 358/950, the printed signature in the lower right margin, numbered in pencil in the lower right margin, the publisher’s copyright logo in the lower right margin corner Image: 29” H x 37.75” W; Sheet: 35” H x 44” W $600-800 Provenance: Gallery Plus Fine Arts and Collectibles, Los Angeles, CA Notes: Informational text printed along the lower margin edge, at center: 1983 American Vision Gallery Inc. Romare Bearden “Mecklenburg Morning: Sunrise for China Lamp” Reproduced with the consent of the Estate of Romare Bearden, ACA Galleries, New York and Munch.
1018
1018
Ruth Gilliam Waddy
(1909-2003 American) “What Would You Do,” 1982 Linocut and collaged lettering on Japanese paper under glass Edition 3/4, signed and dated in pencil in lower right margin: Ruth Waddy Sheet: 22” H x 18” W; Sight: 20.75” H x 16.50” W $500-700 Provenance: Gallery Plus Fine Arts and Collectibles, Los Angeles, CA
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1019
Assane N’Doye
(b. 1953 Senegalese) “The Equation,” 1991 (red) and “The Musician,” 1991 (black) (two works) Each: Color serigraph on thick, wove paper The first: Edition 103/225; the second: Edition 193/225; each: signed lower right: Assane N’Dove, titled lower center Image of first: 28.5” H x 18.75” W; Image of second: 28.75” H x 18.5” W $1,200-1,800 Provenance: Gallery Plus Fine Arts and Collectibles, Los Angeles, CA
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1969
2019
1020
John Biggers
(1924-2000 American) “Black Family (Family of Six),” 1986 Lithograph on white wove paper; Robert Blackburn Printmaking Workshop, New York, prntr. Edition 45/50, unsigned, titled in pencil in the lower left margin, with the printer’s blindstamp lower right Image: 20.5” H x 26.25” W $1,000-2,000 Provenance: Gallery Plus Fine Arts and Collectibles, Los Angeles, CA
Tuesday, November 19, 2019 - Prints & Multiples
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1021
Andy Warhol
(1928-1987 American) “Fiesta Pig,” 1979 Color screenprint on Arches wove paper under glass; Axel Springer, Verlag, Hamburg, Germany, pub.; Rupert Jasen Smith, New York, prntr. One of 10 artist’s proofs (aside from the edition of 200), signed lower right and inscribed A.P. 9/10 in pencil: the printer’s blindstamp at the lower left corner, with the Andy Warhol inkstamp verso Image/Sheet: 21.5” H x 30.5” W $8,000-12,000 Provenance: American State of the Arts Exchange Inc., New York, NY Literature: Feldman & Schellmann II.184.
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1969
2019
1022
Andy Warhol
(1928-1987 American) “Kachina Dolls,” 1986 (from “Cowboys and Indians”) Unique color screenprint on Lenox Museum Board; Gaultney-Klineman Art Inc., New York, pub.; Rupert Jasen Smith, New York, prntr. Edition TP14/36 (from the unique trial proof edition, the regular edition was 250 plus 50 artist’s proofs), signed lower right: Andy Warhol, the printer’s blindstamp in the lower left corner, the artist’s and publisher’s ink stamps verso Image/Sheet: 36” H x 36” W $40,000-60,000 Literature: Feldman & Schellmann II.381. Notes: Unique in this color combination, Kachina Dolls is a screenprint from Warhol's Cowboys and Indians series.
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1969
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1023
Andy Warhol
(1928-1987 American) “The Witch,” 1981 (from “Myths”) Color screenprint with diamond dust on Lenox Museum Board; Ronald Feldman Fine Arts Inc., New York, pub.; Rupert Jasen Smith, New York, prntr. Edition 23/200 (there were also 30 artist’s proofs), signed and numbered in pencil along the lower sheet edge at left (verso), the printer’s blindstamp at the lower left corner, the artist’s and publisher’s copyright ink stamps at the lower right sheet corner (verso) Image/Sheet: 38” H x 38” W $30,000-40,000 Literature: Feldman & Schellmann, II.261.
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1024
1025
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1969
2019
1026
1027
1024
1026
(1923-2002 American) “Double French Money,” 1965 (from “Four on Plexiglas”) Color screenprint on thick wove paper and multi-layered plexiglas; Multiples Inc., New York, pub. Edition 65/125, signed and dated in pencil lower right: Rivers Sheet/Plexiglas: 30” H x 32” W
(1925-2008 American) “Profiles on Wall,” 1983 (from “Studies for Chinese Summerhall”) C-print on glossy Kodak paper; Graphicstudio, University of South Florida, Tampa, pub. Edition XI/XXX, signed in black marker lower left: Rauschenberg, inscribed in black marker lower center: USF, with the Graphicstudio blindstamps Image: 26” H x 26” W; Sheet: 40” H x 30” W
Larry Rivers
$2,000-3,000
$2,000-4,000
Literature: (French Money) Sparks p.479.
1027
1025
Ed Ruscha
Robert Rauschenberg
(b. 1937 American) “Hollywood in the Rain,” 1969 (from “Hollywood Collects”) Color offset lithograph under Plexiglas Signed lower right: Ed Ruscha Sheet: 23” H x 35” W $1,500-2,500
Robert Rauschenberg
(1925-2008 American) “Pink Window,” 1983 (from “Studies for Chinese Summerhall”) C-print on glossy Kodak paper; Graphicstudio, University of South Florida, Tampa, pub. Edition XI/XXX, signed in black marker lower left: Rauschenberg, inscribed in black marker lower center: USF, with the Graphicstudio blindstamps Image: 26” H x 26” W; Sheet: 40” H x 30” W $2,000-4,000
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1028
Steve McCurry
(b. 1950 American) “Sharbat Gula, Afghan Girl, Pakistan,” 1984, printed later Fujicolor crystal archive print Signed in verso: Steve McCurry, annotated verso: AFGRL - 10001.0564 / 08.13.2019 Image: 21.25” H x 14.25” W; Sheet: 24” H x 20” W $12,000-18,000
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1969
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1029
Cindy Sherman
(b. 1954 American) “Self-Portrait as Lucille Ball,” 1975 Fujicolor crystal archive print under glass Edition printed 2001, signed and dated verso: Cindy Sherman / 1975/2001 Image: 10.25” H x 8.25” W; Sheet: 14” H x 11” W $10,000-15,000 Provenance: Metro Pictures, New York, NY Literature: The Museum of Modern Art, “Cindy Sherman: The Complete Untitled Film Stills,” fig. 1, there titled “The Lucy Photo-Booth Shoot Schor, Cindy Sherman: The Early Works 1975-1977,” pp. 37, 123.
Tuesday, November 19, 2019 - Prints & Multiples
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1030
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1969
2019
1031
1032
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1032
(1922-1985 American) “Marilyn Monroe,”1953 Gelatin silver print, printed later Signed verso: Milton Greene, with authenticity and copyright stamps Image: 13.25” H x 13.5” W; Sheet: 20” H x 16” W
(b. 1968 American/German) “Joseph Fiennes,” 1998 Digital C-print; printed 2008 Edition 1/7, signed and dated on studio label verso: Schoeller Image: 35” H x 28” W; Sheet: 43” H x 35” W
Milton H. Greene
$3,000-5,000
Martin Schoeller
$3,000-5,000 Provenance: Hasted Hunt, New York, NY
1031
Notes: This work is accompanied by a copy of “Martin Schoeller Close Up, Portraits 1998-2005,” published by teNeues, 2005.
Martin Schoeller
(b. 1968 American/German) “Meryl Streep,” 2006 Digital C-print; printed 2008 Edition 1/7, signed and dated on studio label verso: Schoeller Image: 35” H x 28” W; Sheet: 43” H x 35” W $4,000-6,000 Provenance: Hasted Hunt, New York, NY Notes: This work is accompanied by a copy of “Martin Schoeller Close Up, Portraits 1998-2005,” published by teNeues, 2005.
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1034
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1969
2019
1035
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1035
(b. 1968 German) Untitled (Beach Scene), 2005 Analog C-print hand-printed by the artist mounted to aluminum Edition 5/5, initialed and dated in black marker on the verso of the aluminum: SS, also signed in black marker on the printed paper label attached to the verso of the aluminum: Stefanie Schneider Image/Aluminum: 49.25” H x 47.75” W
(b. 1948 American) “Untitled (Handstand),” 2017 Sublimation on maylar with pins and digital pigment print on paper mounted to acid-free board Edition 5/9, signed and dated lower right: Eric Fischl Overall/Sight: 42.75” H x 53.75” W
Stefanie Schneider
$2,000-3,000
Eric Fischl
$12,000-18,000
1034
Stefanie Schneider
(b. 1968 German) Untitled (Palm Trees), 1999 Analog C-print hand-printed by the artist mounted to aluminum Edition 1/10, signed and dated in black marker on the verso of the aluminum: Stefanie Schneider Image/Aluminum: 17” H x 23” W $800-1,200
Tuesday, November 19, 2019 - Prints & Multiples
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1036
Gregory Crewdson
(b. 1962 American) Untitled documentary shot, 2004 Digital C-print Signed illegibly lower right Image: 21” H x 27” W; Sheet: 30” H x 36” W $4,000-6,000
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1969
2019
1037
Paul Cadmus
(1904-1999 American) “Jared and Margaret French, Nantucket,” 1946 Vintage gelatin silver print Signed verso: Paul Cadmus, dated, and inscribed: “Nantucket/ J&M very posed for P/ I don’t have any picture of you”, stamped in red ink “COLLECTION OF PAUL CADMUS” 6.5” H x 4.25” W $1,500-2,500 Provenance: Midtown Galleries, Inc., New York
1038
Ansel Adams
(1902-1984 American) “Storm Surf, Timber Cove, California,” 1960 Vintage silver gelatin print laid down to artists’ board, as issued Stamped with the Ansel Adams’ ‘131 24th Ave San Francisco’ black ink stamp on the verso of the artists’ board, the stamp inscribed with the negative number: 4 - CAL - [B] Image/Sheet: 10.50” H x 13.25” W; Support: 16” H x 20” W $2,000-4,000 Notes: Print date prior to 1963. The black ink studio stamp shown on the verso of this piece was only used from 1936-1944.
1037
1038 Tuesday, November 19, 2019 - Prints & Multiples
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1039
Stuart Davis
(1892-1964 American) “Anchor,” 1936 Lithograph on cream wove paper, watermark “France” Signed in the plate: Stuart Davis, collector’s stamp on the reverse: EGC in an oval. Edition of 100 Image: 8.50” H x 13” W; Sheet: 12” H x 16” W $3,000-5,000 Provenance: Nevada Art Museum, Reno, NV Collector’s stamp, black ink, on the reverse: EGC in an oval Literature: Published by American Artists School Catalouge Raisonne Cole/Myers, 19 Notes: Stamped on the reverse in black ink: First Annual Print Series / 1936 / Issued by the / American Artists School / 131 West Fourteenth Street / New York City. Sale to support the collections of the Nevada Museum of Art.
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1969
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1040
James Rosenquist
(1933-2017 American) “Black Tie,” 1977 Color lithograph on paper Edition 15/100, signed and dated lower right: James Rosenquist, titled lower left, with the printer’s blindstamp lower right Sheet: 36.5” H x 73.75” W $2,000-3,000
Tuesday, November 19, 2019 - Prints & Multiples
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1041
Jeremy Blake
(1971-2007 American) “Winchester: Lord Jimson’s Flat,” 2003 Digital c-print on photographic paper under Plexiglas Edition of 6 Image: 34.5” H x 95.25” W; Sight: 39.5” H x 101.25” W $6,000-8,000 Provenance: Gift from the artist to the present owner
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J
eremy Blake chose as inspiration the haunted life and mysterious home of socialite Sarah Winchester, who continuously added to her sprawling mansion in San Jose to ward off the ghosts of those killed by Winchester rifles. Blake took a sympathetic view of Sarah in his seminal tryptic Winchester shown at the SFMoMa in 2005, a delirious blend of video, still image, and music that worked together to create a hypnotic experience. The mix of the abstract with the figural, still with moving pictures, play of color and stark black and white is a hallmark of Blake’s work and give even his photographs a sort of motion, every bit as haunting as Sarah’s mystery house. Tragically, Blake would take his life at the young age of thirty-six, leaving in his wake a body of work that would ripple through the art world and inspire many artists working today.
Tuesday, November 19, 2019 - Prints & Multiples
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1042 Banksy
(b. 1974 British) “Di-Faced Tenner” and “Rude Snowman Christmas Card,” both circa 2005 Two color offset lithographs on paper, the “Di-Faced Tenner”double-sided, the “Rude Snowman Christmas Card” sheet folded over (as issued) Edition sizes unknown, the “Rude Snowman Christmas Card” with a printed signature showing on the reverse “Di-Faced Tenner” sight: 2.75” H x 5.75” W; “Rude Snowman” sight: 5.25” H x 6.25” W $1,000-2,000
1043 Banksy
(b. 1974 British) “Di-Faced Tenner” and “Di-Faced Tenner,” circa 2005 Two examples of the same double-sided offset lithograph in colors on paper Edition size unknown Sight of each: 2.75” H x 5.5” W $1,200-1,800
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1044 KAWS
(b. 1974 American) “Holiday Hong Kong Plush,” 2019 (set of three) Polyester plush Limited Edition 1283/2000 18.5” H x 10” W x 4.5” D $800-1,200
Tuesday, November 19, 2019 - Prints & Multiples
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1045
Richard Diebenkorn
(1922-1993 American) “Folsom Street Variation III,” 1986 Color aquatint and drypoint on Rives wove paper under Plexiglas; Crown Point Press, San Francisco, pub. Edition 57/60, initialed and dated in pencil lower right: RD, with Crown Point Press blindstamp in the lower right corner Plate: 12” H x 26” W; Sheet: 26.25” H x 40” W $20,000-30,000
D
iebenkorn made prints regularly with Crown Point Press from 1962 until his death, he would layer the processes until he got the result he was looking for sometimes making his notes with crayon. “My freedom consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings” Richard Diebenkorn.
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1046
Sol LeWitt
(1928-2007 American) “Double Stars,” 1983 Etching and color aquatint on Arches paper under glass; Crown Point Press, Oakland, pub. Edition 17/25, signed lower right: Lewitt Plate 12” H x 24” W; Sheet: 15” H x 27” W $1,200-1,800
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1047
Attributed to Alexander Calder
(1898-1976 American) “Homage to the Sun,” 1973 Color lithograph on thick wove paper Edition Artist’s Proof aside from the edition of 125. Signed lower right Calder Image/Sheet: 26.5” H x 38.5” W $2,000-3,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
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1969
2019
1048
1048
Alexander Calder
(1898-1976 American) “Les Vagues,” circa 1970 Color lithograph Edition XXXIX/L, signed lower left: Calder Image/Sheet: 19.75” H x 12.75” W $2,000-4,000
1049
Alexander Calder
(1898-1976 American) “Puppet Man,” 1960 Color lithograph on Arches paper under glass Edition 35/75, signed lower right: Calder Image/Sheet: 40.75” H x 17.25” W $3,000-5,000
1049
Tuesday, November 19, 2019 - Prints & Multiples
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1050
1051
1050
1051
(1901-1985 French) “Le Surintendant,” 1972 Color screenprint on Bristol paper; Jeanne Bucher, Paris and Pace Editions, Inc., New York, pub. Edition 90/120, initialed and dated lower right: J.D. Image/Sheet: 20” H x 12.25” H
(1901-1985 French) “Scenario Bref,” 1979 Silkscreen on paper under glass Edition HC II/V, initialed and dated lower right: J.D. Image: 20” H x 13.75” W; Sheet: 25.5” H x 18.5” W
Jean Dubuffet
$2,500-3,500
Jean Dubuffet
$2,000-3,000 Provenance: The Pace Gallery, New York, NY
Literature: Webel 1098.
1052
Raymond Pettibon
(b. 1957 American) “Untitled (You’re Showing, I’m Telling),” n.d. Screenprint on white wove paper Edition of unknown but presumably small size, signed lower right: Raymond Pettibon Image/Sheet: 24” H x 18” W $5,000-7,000 Provenance: Brooke Alexander Gallery, New York, NY
44
1969
2019
1052
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1053
Fritz Scholder
(1937-2005 American) “Posing Cat” Monotype on paper under glass Signed lower right: Fritz Scholder, titled lower left Plate: 36.5” H x 27.5” W; Sheet: 41.5” H x 29.25” W $600-800
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1969
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1054
Janet Turner
(1914-1988 American) “Yesterday’s Home” Color screenprint laid to board under glass Edition of 25, signed lower right: Janet Turner, titled lower left, unidentified exhibition label attached verso Image: 16.25” H x 10.75” W $700-900
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1055
James Rosenquist
(1933-2017 American) “Derriere L’etoile,” 1977 Colored lithograph on paper Edition 15/100, signed and dated lower right: James Rosenquist, titled in the center 36.5” H x 74” W $2,000-3,000
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1056 Jim Dine
(b. 1935 American) “Swaying in the Florida Night,” 1983 Etching, aquatint and drypoint on Arches wove paper; Pace Editions, New York, pub.; R. E. Townsend, Inc., Boston, prntr. Edition AP (the edition was 65), signed and dated lower right: Jim Dine Plate of each: 42.75” H x 34” W; Sheet: 47” H x 71” W $2,000-4,000 Literature: D’Oench/Feinberg 143.
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1057
Lawrence Schiller
(b. 1936 American) “Marilyn Platinums No. 21,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 19” H x 23.5” W $1,000-2,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
1058
Lawrence Schiller
(b. 1936 American) “Marilyn Platinums No. 33,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 24” H x 16” W $2,000-4,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
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1060
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1060
(b. 1936 American) “Marilyn Platinums No. 25,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 16” H x 24” W
(b. 1936 American) “Marilyn Platinums No. 23,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 16” H x 24” W
Lawrence Schiller
$2,000-4,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
Lawrence Schiller
$2,000-4,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
Tuesday, November 19, 2019 - Prints & Multiples
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1062
(1933-2014 Swiss) “Sao Paulo, Brazil,” 1960 Gelatin silver print under glass; printed 2001 Signed, titled and dated verso: René Burri Image: 11” H x 16.5” W; Sheet: 15.75” H x 19.75” W
(1906-1999 German/American) “Mainbocher Corset, Paris,” 1939 Gelatin silver print on paper under glass Later edition, signed, titled, dated and inscribed verso: Horst / S.G.P. Image 17.75 “ H x 13.5” W; Sheet: 20” H x 16” W
Horst P. Horst
René Burri
$6,000-8,000
$12,000-18,000
Provenance: Peter Fetterman Gallery, Santa Monica, CA
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Provenance: Peter Fetterman Gallery, Santa Monica, CA
1969
2019
1062
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Sharon Core
(b. 1965 American) “Dark Candy Apples,” 2003 (from the “Thiebauds” series) C-Print mounted to diasec mounted to aluminum, as issued Edition 3/5, signed, dated and numbered verso: Sharon Core Image/Aluminum: 12” H x 13” W $5,000-7,000 Provenance: Purchased from the Bellwether Gallery, Brooklyn, NY
A
fter viewing the Wayne Thiebaud retrospective at the Whitney Museum of American Art in 2001, Core created her breakout “Thiebauds” series in which she utilized her experiences as a pastry chef to recreate the California artist’s painted confections. Core’s Candy Apples were labored over in the kitchen whereas Thiebaud’s labored in ink.
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1064
Lita Albuquerque
(b. 1946 American) “Volcanic Equinox,” 1991 Color screenprint on paper under Plexiglas Edition 18/100, signed and dated lower right: Lita Albuquerque Image: 15.5” H x 46” W $600-800
L
ita Albuquerque was a part of the 1970’s Light and Space movement and gained attention for her pigment pieces created for desert sites. Volcanic Equinox utilizes Albuquerque Lapis blue, she feels that undiluted pigments are symbols of the earth being that they are mined deep within the ground. The Volcano in the center panel is another symbol from deep within the ground a symbol of transformation and is a cooperation of all the elements as it encompasses the power of Earth, Air, Water and Fire.
Tuesday, November 19, 2019 - Prints & Multiples
55
1065
Michael Mazur
(1935-2009 American) “Pond Edge 6 - Reflections II,” 2007 Color etching, aquatint, woodblock, and screenprint on heavy wove paper Edition TP, signed, titled, dated and annotated verso: Mazur / Dark #1 Sheet/Image: 31.75” H x 36.75” H $1,500-2,500
56
1969
2019
1066
Lajos Kassak
(1887-1967 Hungarian) Untitled (MA) Color silkscreen on paper Edition 141/200, signed lower right: Kassak Image: 20” H x 14.25” W; Sheet: 26.5” H x 20” W $500-700
1067
Lajos Kassak
(1887-1967 Hungarian) Untitled (Abstract) Color silkscreen on wove paper Edition 147/200, signed lower right: Kass·k Image: 19.5” H x 13.75” W; Sheet: 26.5” H x 19.75” W $500-700
58
1969
2019
1068
1069
(1887-1967 Hungarian) Untitled (geometric shapes in color) Color silkscreen on paper Edition 141/200, signed lower right: Kassak Image: 19” H x 14.5” W; Sheet: 26.25” H x 19.5” W
(1887-1967 Hungarian) Untitled (tower of color) Color silkscreen on paper Edition 121/200; signed lower right: Kassak Image: 19.75” H x 14.5” W; Sheet: 26.5” H x 19.75” W
Lajos Kassak
$500-700
Lajos Kassak
$500-700
Tuesday, November 19, 2019 - Prints & Multiples
59
1070
1071
1070
1071
(b. 1936 American) “Marilyn Platinums No. 35,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 15.75” H x 24” W
(b. 1936 American) “Marilyn Platinums No. 37,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 16” H x 24” W
Lawrence Schiller
60
Lawrence Schiller
$1,500-2,500
$2,000-4,000
Provenance: Nevada Museum of Art, Reno, NV
Provenance: Nevada Museum of Art, Reno, NV
Notes: Sale to support the collections of the Nevada Museum of Art.
Notes: Sale to support the collections of the Nevada Museum of Art.
1969
2019
1072
1073
1072
1073
(b. 1936 American) “Marilyn Platinums No. 17,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 16.5” H x 24” W
(b. 1936 American) “Marilyn Platinums No. 27,” 1962 Platinum print under glass Edition 7/15, signed in pencil in the lower right margin: Schiller, with the Schiller Studio blindstamp in the lower right margin Image: 16” H x 24” W
Lawrence Schiller
$2,000-4,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
Lawrence Schiller
$2,000-4,000 Provenance: Nevada Museum of Art, Reno, NV Notes: Sale to support the collections of the Nevada Museum of Art.
Tuesday, November 19, 2019 - Prints & Multiples
61
1074
Salvador Dali
(1904-1989 Spanish) “Peace Menorah (Bronze),” circa 1981 Bronze Edition 2/250; Base stamped: Jerusalum stone Sculpture: 17” H x 12.75” W x 2.25” D $1,500-2,500
62
1969
2019
1075
Salvador Dali
(1904-1989 Spanish) “Peace Menorah (Silver),” circa 1981 Silver gilt bronze Edition HC; Base stamped: Jerusalem stone Sculpture: 17” H x 12.75” W x 2.25” D $2,000-4,000
Tuesday, November 19, 2019 - Prints & Multiples
63
1076
Pablo Picasso
(1881-1973 Spanish) Femme (A.R. 301) Partially glazed and engraved ceramic pitcher Edition 109/200; Stamped, marked, and numbered: Edition Picasso / Madoura Plein Feu / Edition Picasso 12” H x 5” W x 3.75” D $10,000-15,000
64
1969
2019
What did you do on your summer vacation? Pablo
Picasso spent his summers between 1948 and 1971 designing and painting ceramics at the Madoura workshop near his home in the south of France. What began as a relaxing break from his paintings grew into a fruitful artistic collaboration between himself and Suzanne and Georges RamiÊ, the owners of Madoura. Later works like this pitcher show Picasso’s unique play of space and form, using the curves of the vessel and handle to realize their full spacial potential.
side view
Tuesday, November 19, 2019 - Prints & Multiples
65
1077
Pablo Picasso
(1881-1973 Spanish) “Têtes,” 1956 White earthenware ceramic pitcher with glaze Edition of 500; Signed: Edition Picasso; Further stamped: Madoura / Edition Picasso 5.25” H x 5.875” W x 5” D $2,500-4,500 Literature: Ramie 367
verso
66
1969
2019
1078
Pablo Picasso
(1881-1973 Spanish) “Tête de chèvre de profil,” 1952 White earthenware ceramic plate with colored engobe and glaze Edition of 250, stamped: Madoura Plein Feu / Empreinte Originale de Picasso 12.75” H x 20.5” W x 1.5” D $8,000-12,000 Literature: A. Ramie 146
Tuesday, November 19, 2019 - Prints & Multiples
67
1079
Pablo Picasso
(1881-1973 Spanish) “Quatre visages,” 1959 Ceramic pitcher with colored engobe and glaze with original box Edition 166/300; Signed: Edition Picasso Madoura 9.25” H x 7.5” W x 4.75” D $7,000-9,000 Literature: Ramie 436
verso
68
1969
2019
Condition Reports
1001 Generally good condition. Very slight handling creases. Unframed 1002 Generally good condition. The full sheet, deckled on all sides. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 39.5” H x 51” W x 2” D 1003 Generally good condition. Slight flaking of the foil in the uppermost quandrant of the image. The full sheet. Framed floating and mounted to the back mat. Frame: 37” H x 31” W x 2” D
1004 Generally good condition. A .5” x .75” pale stain in upper center margin, not affecting image. Light toning verso from paint drip recto. Some light smudges verso. Loose in frame. Frame: 35.25” H x 29.25” W x 1” D
1014 Generally good condition. Toning to paper. Pindot areas of discoloration along the left edge. Faint creasing in lower margin. Brown paper tape along all four edges verso. Toning and smudging to sheet verso with scattered pindots of foxing. Frame: 27.75” H x 22.5” W x .5” D
1005 Generally good condition. Sheet: 26.5” H x 33.25” W; Unframed 1006 Generally good condition. Each framed floating and mounted to the back mat. Each with light handling creases to the sheet. Not examined out of frame. Frame of each: 33” H x 28” W x 2” D
1016 Generally good condition. Full margins, deckled on all sides. Minor surface soiling, occasional unobtrusive stains, short nicks and scattered creases, all showing mostly in the margins and on the reverse. Sheet: 22.75” H x 31” W; Unframed
1007 Light toning to paper appearing in window. Mat burn in margins along four edges. Light smudge in lower left margin not visible when print is framed. Light toning to verso from backing board. Sheet deckled along lower and right edges consistent with technique. Hinged along upper edge to overmat with white tape. Frame: 40.5” H x 33” W x 1.75” D
1017 Generally good condition. With full margins. One very small patch of surface soiling at the left margin edge. Unframed
1009 Generally good condition. Very minor surface skinning in places on the verso. The usual ink offsetting showing through from the recto. Unframed
Condition Reports
1013 Generally good condition. Toning to paper. Scattered faint pindot foxing in margins. 1” horizontal handling crease in upper right margin. Brown paper tape long all four edges verso. Light toning and smudging verso. Frame: 23” H x 21.25” W x .75” D
1015 Generally good condition. Slight dogear in upper right corner. Hinged to mat in upper left, upper right, and lower left corners. Tape residue from prior mounting verso. Frame: 36.25” H x 30.5” W x 1.5” D
1008 Generally good condition. Light toning to margin from prior overmat. Faint horizontal crease along lower edge margin. Two pindots of foxing in lower margin. Three pindots of foxing in left margin. Framed floating and mounted to the back mat in one spot on left and right edges and three spots along upper edge with white linen tape. Frame: 33.75” H x 28” W x 1.5” D
70
1012 Generally good condition. Toning to sheet. Mat burn along upper, right, and lower edge of sheet. Light losses to paper along upper edge. Dime sized area of faint discoloration to left of image. Faint area of discoloration above image along upper edge. Brown paper tape along all four edges verso. Light smudging and discoloration to verso not affecting recto image. Frame: 24.75” H x 32” W x 1.25” D
1010 Generally good condition. Toning to the paper, with two faint white spots in upper left and right corners, likely from hinging tape. Hinged to backing piece of paperboard in upper right and left corners with white cloth tape. Paperboard mounted to recto mat along all four edges with brown paper tape. Frame: 25.5” H x 31.25” W x 1.25” D 1011 Generally good condition. Toning to the paper commensurate with age and display. Three pea-sized areas of discoloration in the upper center margin. Two areas of discoloration in the lower left margin, the largest 1” x .5”. Scattered pindot areas of discoloration along left margin edge. Brown paper tape along the four verso edges. Toning to verso. The paper with deckled edges. Frame: 23” H x 26.5” W x .5” D
1969
1018 Generally good condition. Scattered, soft handling creases typical of this paper. One small and unobtrusive stain in the blank at left. A price sticker and a small paper loss near the lower right margin corner. Hinged to the overmat with brown tape from the reverse of the upper margin edge. Frame: 27.5” H x 23.25” W x .75” D 1019 Each: Generally good condition, some very unobtrusive surface scuffs in the image and minor surface soiling in the margins and on the reverse. The first with soft creasing at the lower left margin corner and again near the center of the top margin edge. The second with a soft crease in the image at top right as well as creasing in each of the margin corners, a .5” long stray red mark in the right margin. Sheet of first: 33.5” H x 22.75” W; Sheet of second: 33.5” H x 22.5” W; Unframed 1020 Generally good condition. A few surface nicks in the blank at upper left. Attached to the overmat with double-sided tape along the margin edges. Sight: 22” H x 27” W; Matted but unframed 1021 Generally good condition. The full sheet, deckled on three sides. Minor surface scuffs in the lower left quadrant, the longest 1.5” (to the right of the large yellow plate). Familiar offsetting from pigments on the recto showing through to the verso. One .75” vertical accretion in upper right corner. Framed floating and hinged to the back mat. Frame: 24.5” H x 33.5” W x 1.5” D 1022 Generally good condition. Framed floating and hinged to the back mat. Frame: 42” H x 42” W x 2.5” D
2019
1023 Generally good condition. Occasional handling smudges showing in the purple background. Unobtrusive, soft creasing at the tip of the top right sheet corner. Occasional scattered diamond dust. A white cloth hinge partially obscuring the publisher’s ink stamp at the verso of the lower right sheet corner. Framed floating and hinged to the black velvet-covered mat. Frame: 49.5” H x 49.5” W x 2.25” D
1036 Generally good condition. Two 5” crescent shape creases, one along right edge and one along left edge of image, visible in raking late. Crescent handling creases along left margin. A .25” H x 2” pale discoloration along left upper edge, likely from prior mounting. Framed floating and hinged to the back mat. Frame: 31.5” H x 37.5” W x 1.5” D
1024 Generally good condition. The screenprinted, multi-layered plexiglas with minor surface scuffs and dust, all fairly typical for a piece of this age and medium. The color screenprinted paper toned and with occasional pale stains at the sheet edges. Soft diagonal creasing near the lower left sheet corner. Remains of old clear tape along top sheet edge verso. Frame: 32.5” H x 30.25” W x 1.25” D
1037 Generally good condition. Hinged to back mat along upper edge with white linen tape. Frame: 13” H x 10.75” W x 1.5” D
1026 Generally good condition. The paper toned. A few very small, irregular spots in the lower section of the image. Occasional unobrusive surface scuffs, soiling, and handling creases showing mostly in the margins. A .5” soft crease near the lower left sheet corner. Unframed 1027 Generally good condition. Overall toning, showing mostly along the sheet edges, remains of two old linen hinges at the top sheet edge verso, and with attendant minor rippling showing recto Unframed 1028 Generally good condition. Unframed 1029 Generally good condition. A very unobtrusive handing crease in the glove and a small surface spot in the background at upper right, both of which are visible only in raking light. Mat: 17” H x 13.75” W; Frame: 21” H x 17.75” W x 1” D 1030 Generally good condition. Light rippling to the sheet. A .5” crescent handling crease in lower center margin. Miniscule dogears to corners of sheet. Unframed 1031 Generally good condition. Not examined out of frame. Frame: 44” H x 36” W x 2” D 1032 Generally good condition. Not examined out of frame. Frame: 44” H x 36” W x 2” D 1033 Generally good condition. Mounted to aluminum with UV matte protection. A wood brace attached to the verso. Overall: 49.25” H x 47.75” W x 1” D 1034 Generally good condition. Mounted to aluminum with UV matte protection. A wood brace attached to the verso. Overall: 17” H x 23” W x .75” D 1035 Generally good condition. Not examined out of the frame. Frame: 44.75” H x 55.75” W x 2” D
1039 Generally good condition. Full margins, deckled on all sides. Faint surface soiling and toning. Small, pale stain to the left of the signature. Old paper hinges in three place on the reverse. Framed: 18” H x 22” W x 1.25” D 1040 Generally good condition. Minor toning to the paper. The paper with deckled edges. The paper is loose, not mounted. Unframed 1041 Generally good condition. Not examined out of the frame. Frame: 41.5” H x 103” W x 2.5” D 1042 Generally good condition. Both works taped to the overmat from the reverse of the sheet edges with brown tape. Displayed together in one double-sided frame. Frame: 14” H x 10.5” W x 1” D 1043 Generally good condition. Both examples taped to the overmat from the reverse of the upper sheet edges with brown tape. Displayed together in one double-sided frame. Frame: 11.25” H x 10.25” W x 1” D 1044 Overall good condition, box and tissue paper intact. Passed aunthentication verification. 1045 Generally good condition. The sheet with full margins. Occasional extremely pale and unobtrusive discoloration showing mostly on the reverse. Framed floating and mounted to the back mat. Framed: 29” H x 42.5” W x 1.5” D 1046 Generally good condition. Float mounted. Not examined out of frame. Frame: 17.75” H x 29.75” W x 1” D 1047 Generally good condition. The full sheet, deckled on all sides. A few very unobtrusive handling creases. A slight surface irregularity in the black mountain at right. Floated and mounted to the back mat. Unframed 1048 Generally good condition. Framed floating and mounted to the back mat. Not examined out of frame. Frame: 22.5” H x 15.5” W x 1.5” D
Tuesday, November 19, 2019 - Prints & Multiples
Condition Reports
1025 Generally good condition. Faint toning to verso in corresponding area of recto image. Frame: 24.25” H x 36.25” W x 1.25” D
1038 Generally good condition. An occasional, very unobtrusive surface scuff visible only in a raking light. The original artists’ board toned and soiled from age, and with a tiny foxmark below the image at right. Framed: 18” H x 22” W x 1.25” D
71
1049 Generally good condition. Light toning to the sheet. Framed floating and mounted to the back mat. Not examined out of frame. Frame: 49” H x 25” W x 2” D 1050 Generally good condition. Framed floating and mounted to the back mat. Not examined out of frame. Frame: 22.5” H x 15.5” W x 1.5” D 1051 Generally good condition. Very faint toning. Hinged to mat in upper left and right corners with white paper tape. Frame: 29.5” H x 23” W x 1.5” D 1052 Generally good condition. Soft creasing in places near the top and bottom of the left sheet edge. Unframed 1053 Generally good condition. Framed floating and mounted to the back mat. Not examined out of frame. Frame: 46.5” H x 34.75” W x 1.5” D 1054 Generally good condtion. Laid to board as stated. Toning to sheet. Losses to left margin, likely from adhesive of prior framing, not affecting image. Board adhered to recto mat along all four edges with masking tape. Frame: 24” H x 18.25” W x 1.25” D 1055 Generally good condition. Minor toning to the paper. With handling creases along the left edge. The paper with deckled edges. The paper is loose, not mounted. Unframed 1056 Generally good condition. The sheet with full margins, deckled on all sides. A small spot of printer’s ink at the lower left margin edge, showing only on the verso. Unframed 1057 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D
Condition Reports
1058 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 27.75” H x 24” W; Frame: 32.75” H x 25” W x 1.5” D
72
1059 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D 1060 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D 1061 Generally good condition. Light rippling to the sheet. Several pindot scuffs in center, visible only in raking light. Frame: 21” H x 25” W x 1.5” D 1062 Generally good condition. Two small, extremely unobtrusive smudges in the blank wall at top, visible only in a raking light. Mat: 24” H x 20” W; Framed: 26” H x 22” W x 1” D
1969
1063 Generally good condition. Scattered faint surface scuffs visible in a raking light. An aluminum brace and a gallery label attached to the verso of the aluminum. Overall: 12” H x 13” W x 1” D 1064 Generally good condition. Not examined out of frame: Frame: 25.25” H x 54.75” W x 1.5” D 1065 Generally good condition. Occasional surface skinning and minor soiling, pencil marks and pale stains showing only on the verso (all attendant with use as a trial proof). Unframed 1066 Generally good condition. Faint toning to sheet. Faint handling crease in upper center margin visible in raking light. Unframed 1067 Generally good condition. Faint toning to sheet, concentrated along edges. Light dogear in upper right corner of sheet. Unframed 1068 Generally good condition. Faint toning to sheet. Unframed 1069 Generally good condition. Light smudge in upper center margin. Faint toning to sheet. Unframed 1070 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D 1071 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D 1072 Generally good condition. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D 1073 Generally good condition. A small handling crease in the lower center margin. Hinged to the back mat with archival tape in the upper corners. Sheet: 24” H x 27.75” W; Frame: 25” H x 32.75” W x 1.5” D 1074 Overall good condition with minor dust accumulation. Base: 4” H x 9” W x 5” D 1075 Overall good condition with minor dust accumulation. Base: 4” H x 9” W x 5” D 1076 Overall good condition with minor scuffs commensurate with age. A hairline crack of 1” extending to bottom of handle. 1077 Overall good condition with scattered scuffs commensurate with age. 0.75” hairline crack possibly dating from time of manufacture from the spout.
2019
1078 Overall good condition with scattered minor scuffs and drops of house paint commensurate with age. Possible restoration through the center of the platter, the back has been re-glazed; Difficult to determine restoration.
Condition Reports
1079 Overall good condition with minor inherant firing flaws.
20th Century Art + Design
Featuring selections from The Collection of Cindy Tietze-Hodosh and Stuart Hodosh
November 19, 2019—2pm Inquiries marandam@johnmoran.com
1969
2019
bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833
20th Century Art + Design November 19, 2019—2pm` Julian Stanczak (1928-2017 Polish/American) Accompanying Warm Oil on canvas, 32" H x 32" W $30,000-50,000 Inquiries bree@johnmoran.com
1969
2019
bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833
Consign Today
Fine Jewelry & Timepieces December 10, 2019 An Art Deco diamond and rock crystal brooch $30,000-50,000
Inquiries jewelry@johnmoran.com
1969
2019
bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com ¡ info@johnmoran.com ¡ (626) 793-1833
Consign Today Luxury, Couture & Accessories December 10, 2019 An Hermès 35cm Birkin bag $5,000-7,000
Inquiries jardine@johnmoran.com
1969
2019
bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833
John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran
SPECIALISTS
Vice President, Fine Art Director Morgana Blackwelder Post War & Contemporary Fine Art Bree Hughes Fine Art Cataloguer Bobby Cullen Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Estate Specialist John Simon Taylor Jewelry Director Mollie Burns Keith, G.G. Furniture, Decorative Arts & Jewelry Cataloguer Jardine Gates, GIA G.G
CLIENT SERVICES
Finance & Human Resources Director Maha Darwish Client Services, Consignment Administration Jean Rapagna Client Services Rose Ford
OPERATIONS
Business Director, Auctioneer Stephen Swan Special Projects Maranda Moran Property Manager Mike Hook Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford
DIGITAL DESIGN
Advertising & Marketing Director, Art Design Nathan Martinez Photographer Mido Lee
FOUNDERS
Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran
78
1969
2019
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 $500,000 - $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 3.5% buyer’s premium. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.
BIDDING INCREMENTS:
$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.
View Illustrated Catalogue Online @ www.johnmoran.com
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Tuesday, November 19, 2019 - Prints & Multiples
79
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
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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) 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.
Tuesday, November 19, 2019 - Prints & Multiples
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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 final bid, plus Buyer’s Premium on the final 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 financial account information 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. BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $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.
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.
Title:
First Name:
Paddle number
Sale number
Please email or fax the completed Registration Form and requested 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 the event of a tie bid, the Registration Form received first will be recognized 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):
Native American Objects Prints & Multiples
Telephone (secondary):
Rugs & Carpets Silver
Fax: Have you registered with Moran’s before? Yes
No
How did you hear about our services?
Sellers permit info: Contact office for verification Permit #
Modern & Contemporary Art
State:
Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:
Exp:
I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights. Signature:
Date:
rev. 7/2018
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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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