Made In Mexico—Tuesday, August 23, 2022 | John Moran Auctioneers by johnmoranauctioneers

Tuesday, August 23, 2022

SINCE 1969

AUCTIONEERS & APPRAISERS

Tuesday, August 23, 2022—10am Sale 221 145 East Walnut Avenue, Monrovia, CA 91016 Previews: Friday, August 19th: 12-4pm Saturday, August 20th: 12-4pm Monday, August 22nd: 12-4pm Or by appointment

Meet the Team Maranda Moran Head of Sale, Specialist marandam@johnmoran.com

Anne Spink

Fine Art Cataloguer anne@johnmoran.com

Shannon Dailey Senior Furniture & Decorative Arts Cataloguer shannon@johnmoran.com

Sally Andrew

Jewelry, Western, and American Indian Cataloguer sally@johnmoran.com

Client Services Mario Esquivel

Ella Fountain

Office Manager mario@johnmoran.com

Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

This summer Made in Mexico sale will feature a large selection of artworks collected by Carolyn J. Adrian

of South Pasadena, California. As a student in Mexico City in the 1960s, she purchased her first piece of artwork that would inspire her collection for the next six decades. Her time spent in school sparked a love for travel and Mexican art. After working for several years in the U.S. in the international banking field, she transferred to Chase Manhattan Bank’s Representative Office in Mexico. Given the office was located in an area of the city with a concentration of fine art galleries, her collecting began in earnest. Sound advice from a prominent gallery owner to focus her collection, not try to be everything to everyone, and acquire the best affordable was central to her collection. As travel and business took her to South America, she added works from other countries along with the beginnings of a folk art collection. When Cuba opened to U.S. travel, she realized a life-long dream to visit Havana. As the Island is small many in respects, she made contact with many artists. These contacts developed into lasting friendships along with an extensive collection of contemporary Cuban art. Traveling, meeting with the artists themselves, and patronizing their studios throughout Mexico, Cuba, Central, and South America as well as those of the Los Angeles Latino community, Adrian amassed a noteworthy collection that Moran’s is proud to bring to market. From Francisco Toledo to Frank Romero, Adrian’s collection is diverse in its artists’ representations and the stories each chose to tell.

Carolyn J. Adrian

Lot 92

Ricardo Silveira Miró (b.1960, Cuban) “Tu ante nosotros, amen,” 2005

Karl Albert

(1911-2007, Alhambra, CA) Oaxaca cityscape Oil on canvas laid to Masonite Signed lower right: Karl Albert 20” H x 24” W $1,000-1,500

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Millard Owen Sheets

(1907-1989, Gualala, CA) “Ladies of Jaliaza,” 1985 Watercolor on Arches paper under glass Signed and dated lower right: Millard Sheets; signed and dated again, and titled and inscribed “Mexico”, all in another hand on the verso of the frame’s backboard Image/Sheet: 22” H x 30” W $5,000-7,000 Provenance: Sold: John Moran Auctioneers, Altadena, CA, “California and American Paintings, February 19, 2008, Lot 84 Sold: John Moran Auctioneers, Altadena, CA, October 29, 2002, Lot 685

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(1879-1939, Glendale, CA) Mexican street scene with figures Gouche on board under glass Signed lower right: F. Grayson Sayre Sight: 9.75” H x 7.5” W; Board: 10” H x 7.5” W

(1926-1999, Redlands, CA) A rugged Mexican town scene with figures Watercolor on paper under Plexiglas Signed and inscribed lower right: Robert E. Wood AN Sight: 25” H x 39” W

Fred Grayson Sayre

$2,000-3,000

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Robert Earle Wood

$600-800

NA AWS

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Andy Dagosta

(1923-2009, Glendale, CA) Two horses outside Rosa’s Cantina, 1999 Watercolor on paper under glass Signed, initialed and dated lower right: Andrew Dagosta; signed and initialed again on an artist’s information sheet affixed to the frame’s backing paper Sight: 12” H x 16” W $400-600

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Millard Sheets

(1907-1989 Gualala, CA) “Burden Bearers” Watercolor on paper under Plexiglas Signed twice and dated at the lower right: Millard Sheets; titled verso 22.5” H x 30.5” W $3,000-5,000

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Milford Zornes

(1908-2008, Claremont, CA) “Trees and Walls of Colima” Linocut on paper under glass Edition: 14/40 Signed in pencil at the lower right: Zornes Image: 20” H x 28” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Prescott Chaplin

(1897-1968, Los Angeles, CA) Five items Four plates plus the paper-covered portfolio from “Twelve Mexican Woodcuts: Twelve Reproductions in Color from the Original Prints by Prescott Chaplin,” Murray & Harris, Los Angeles, CA, 1931 Color images on paper under glass, plus the original paper-covered portfolio with the title/colophon label affixed to the inside cover Edition: 61/100 The four images unsigned and unnumbered; the tittle/colophon label signed and numbered in ink: Prescott Chaplin Image of largest: 8.25” H x 10.5” W; Sheet of one: 18” H x 13” W $300-500

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Frank Romero

(b. 1941, American) “Crossroads School” Screenprint in colors on paper Edition HC 4/6, aside from the edition of 100 Signed, titled, numbered and inscribed in pencil in the lower margin; with an unidentified blindstamp in the lower left margin corner Image: 24” H x 32” W; Sheet: 28.25” H x 36.25” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: The variant titled for this screenprint is “Crossroads School at Santa Monica Airport” Throughout his 40-year career as an artist, Frank Romero has been a dedicated member of the Los Angeles arts community. As a member of the 1970s Chicano art collective, Los Four, Romero and fellow artists Carlos Almaraz, Beto de la Rocha and Gilbert Lujan, helped to define and promote the new awareness of La Raza through murals, publications and exhibitions. Los Four’s historic 1974 exhibition at the Los Angeles County Museum of Art was the country’s first show of Chicano art at a major art institution. Since then, Romero has successfully balanced a career in both the public and private arenas. He has completed over 15 murals throughout the city, and was a key contributor to the 1984 Olympic Arts Festival with “Going to the Olympics,” a large-scale mural which adorns one of Los Angeles’ busiest freeways (Highway 101). Romero has shown extensively in the United States, Europe and Japan. Notable exhibitions include: “Chicanarte”(L.A. Municipal Gallery), “Hispanic Art in the United States” (Corcoran Gallery, Washington D.C. and national tour), “Le Demon des Anges” (Nantes, France; Barcelona,Spain; Lund Sweden and Brussels, Belgium), and “American Kaleidoscope” (National Museum of American Art, Smithsonian Institution, Washington D.C.). His work is featured in many permanent collections, including the National Museum of Art in Washington D.C., the Los Angeles County Museum of Art, and the Carnegie Museum in Oxnard, CA. Francisco Romero was a recipient of the prestigious 2001/2001 COLA Award Grant. Romero’s works can be seen at the Patricia Correia Gallery at Bergamot Station in Santa Monica and his newly created 44’ mural, The L.A. River, is currently on display at the Natural History Museum in Los Angeles’ L.A.: Light/Motion/Dreams exhibition.

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Frank Romero

(b. 1941, American) “Untitled,” circa 2007 Screenprint in colors on paper One of ten artist’s proofs aside from the edition of unknown size Signed, numbered and inscribed “8/10 AP” in pencil in the lower margin, at left: F Romero; Self Help Graphics and Art, Los Angeles, CA, prntr./pub., with their blindstamp in the lower right corner of the image; an unidentified blindstamp in the lower margin, at right Image: 24” H x 30” W; Sheet: 28” H x 34” W $700-900 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Francisco “Frank” Romero

(b. 1940, American) “Untitled,” 2007 Screenprint in colors on paper Edition 7/70 Signed and numbered at the lower left: F Romero; title and date povided by the printer/publisher, Self Help Graphics and Art, Los Angeles, CA Image/Sheet: 19.5” H x 28” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Sometimes known as “Blue Freeway” or “Turquoise Freeway,” Romero’s title for this work was simply “Untitled.”

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Los Four

(20th/21st Century, American) “Los Four” 20 Year Anniversary Print (Homage to Carlos Almaraz), 1994 Edition 94/100 Screenprint in colors on paper Signed and numbered at the center of the lower edge by the three artists living at that time: F Romero / Magu / Beto Rocha; titled as part of the image; dated by repute; with an unidentified blindstamp at the lower left Sight: 39.25” H x 29.5” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Roberto Gutierrez

(b. 1943, Mexican/American) “The Downtown LA,” 1992 Acrylic on archival gray paper Signed and dated upper right: R. Gutierrez; titled by repute Sight: 21.25 H x 31.25” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Roberto Gutierrez

(b. 1943, Mexican/American) “Los Angeles Harbor Freeway,” 1992 Gouache on paper Signed and dated lower right: Robert Gutierrez; titled lower center Sight: 24.75” H x 19” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Artemio Rodriguez

(b. 1972, Mexican) “Closing of Whittier Boulevard,” 2002, after Frank Romero Linocut on paper Edition 28/50 Signed by both artists, dated, and numbered in pencil in the lower margin: F Romero / Artemio Rodriguez; titled and dated on a label affixed to the verso of the shrink wrap; La Mano Press, Los Angeles, CA, pub., with their red ink stamp in the lower right margin corner Image: 14.25” H x 23.25” W; Sheet: 22.25” H x 29.875” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: According to the label affixed to the verso of the shrink wrap, this print is based on a Frank Romero painting of the same subject.

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Charles “Chaz” Bojorquez (b. 1949, American); and Omar Ramirez (20th/21st Century, American)

“El Dia de Los Muertos 2001: The Here and Now,” 2001 Screenprint in colors on paper Edition 73/80 Signed by each artist, dated, and numbered in pencil in the blank below the main image: Omar Ramirez / Chaz Bojorquez; Self Help Graphics, Los Angeles, CA, pub., with their blindstamp near the lower left margin corner Image: 22” H x 35.25” W; Sight: 25” H x 37” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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David Flury

(20th Century, American) Street scene, 2006 Acrylic on canvas Signed lower left: Flury; signed again and dated on the stretcher 18” H x 24” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Glugio “Gronk” Nicandro

(b. 1957, American) “Joe,” 2007 Acrylic on handmade paper mounted to panel Signed and dated verso: Gronk; titled by repute 19.5” H x 21” W $800-1,200 Provenance: Metro Gallery, Los Angeles, CA The Carolyn J. Adrian Collection, South Pasadena, CA

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Robert Quijada

(b. 1935, Mexican/American) “The Heart of Henri Matisse,” 2008 Three-dimensional painted-paper collage in artist’s frame Signed and dated lower right: R. Quijada; signed and dated again, and titled, on the frame’s backing board 12” H x 15” W x 2.5” D $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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A modern sterling silver footed bowl

Mid-20th Century Marked: Sterling / 925 / Hecho en Mexico / JL [possibly Juventino Lopez Manrique] The rectangular bowl with up-turned corners raised on a chevron foot 3.5” H x 10.25” W x 7.375” D 18.28 oz. troy approximately $500-700

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A Pesa “Nupical” sterling silver flatware service

20th Century Each marked: Sterling Pesa Mexico 925; some marked: [Eagle 18] Comprising 14 hollow-handled New French dinner knives (9.875”), 14 hollow-handled New French place knives (8.75”), 12 butter spreaders (6”), 14 place forks (7.375”), 14 luncheon forks (7.125”), 14 salad forks (6.25”), 14 dessert/oval soup spoons (7.125”), 14 teaspoons (6”), 14 five o’clock teaspoons (5.375”), 14 demitasse spoons (4.125”), 8 table/serving spoons (8.125”), 1 gravy ladle (7”), and 1 cream ladle (4.875”), 148 pieces Weighable sterling: 167.09oz. troy approximately $2,000-3,000

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Los Castillo

A sterling silver chocolate service, third-quarter 20th century Each stamped for Los Castillo; Further stamped: Handwrought / Sterling / Mexico; Tray stamped: [Eagle 9] Each floriform finial over a smooth-finish body issuing a rosewood handle, comprising a chocolate pot (6.75” H x 7.75” W x 6” D), a covered sugar bowl (4.625” H x 3” Dia.), a creamer (3.125” H x 5.75” W x 3.5” D), and a leaf-form tray (2.5” H x 13” W x 11.25” D), 4 pieces 38.405 gross oz. troy approximately $1,500-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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A pair of sterling silver candlesticks and serving bowl

Mid-20th Century Each marked: 925 / Mexico; candlesticks marked: Silver; bowl marked for Salvador de la Serna Comprising two candlesticks with lobbed feet (each: 9.75” H x 5.375” Dia.) and a scalloped serving bowl (1.375” H x 11.875” Dia.), 3 pieces 43.2 oz. troy approximately $500-700

William Spratling

(1900-1967, American) A silver and wood desk ornament, circa 1962-1964, Third Design Period; Taxco, Mexico Stamped to disc underneath for William Spratling; Further stamped: Taxco / Mexico / .92 A wedge-shaped wooden ornament with Aztec style figurative applied silver repoussé pla 5.625” H x 3.75” W (at base) x 1.375” D 410.6 grams gross $400-600

Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, H

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William Spratling

(1900-1967, American) Scalloped bowl, 1944-1946, First Design Period; Taxco, Mexico Stamped for William Spratling and sterling, tertiary sterling mark is double-struck The sterling silver quatrefoil bowl with hand-hammered interior and polished exterior 2.25” H x 6.25” W x 5” D 8.115 oz. troy approximately $500-700 Literature: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 59, fig. 2-171.

25 aque

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William Spratling

(1900-1967, American) A set of silver jewelry, circa 1940-1944, First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / Silver Comprising a link necklace and matching bracelet, each with diagonally wrapped stepped links topped with silver balls, 2 pieces Necklace: 19” L x 1.25” H; Bracelet 7” L x 1.125” H 220.4 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Sandraline Cederwall, et al., “Spratling Silver,” (San Francisco: Chronicle Books, 2000), 153.

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William Spratling

(1900-1967, American) A set of silver jewelry, circa 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Silver Comprising a heavy chain link necklace and matching bracelet, 2 pieces Necklace: 15.5” L x 0.75” H; Bracelet: 7” L x 0.75” H 250.4 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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William Spratling

(1900-1967, American) A group of silver jewelry, circa 1933-1939 and 1940-1944, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Silver / Made in Mexico / 980 Comprising a triple strand silver bead necklace and a silver ball ring, 2 pieces Necklace: 17.25” L; Ring: size 5.5 122.4 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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William Spratling

(1900-1967, American) A silver and rosewood cuff bracelet, circa 1940-1946, First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Made in Mexico / Silver A heavy cuff designed with alternating rosewood and silver crescent shapes with silver dot accents 6.5” total inner C x 1.625” H; wrist opening: 1.125” 105.1 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 97, plate 87.

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William Spratling

(1900-1967, American) A “River of Life” silver cuff bracelet, circa 1933-1939, First Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: Taxco / 980 An incised three-band cuff designed as silver waves with narrow Aztec rings 6.75” total inner C x 1.25” H; wrist opening: 1.25” 79.4 grams $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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William Spratling

(1900-1967, American) A silver and copper bracelet, circa 1940-1944, First Design Period; Taxco, Mexico Double stamped for William Spratling; Further stamped: Made in Mexico / Silver A square link bracelet designed with diagonal copper bands alternating with triple ball rows 8.5” L x 1” H 89.8 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: A similar design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 43, fig. III-30.

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Yamilys Brito Jorge

(b. 1972, Cuban) Spiderman image from “Serie: Visitantes en la Habana,” 2003 Ink and watercolor on paper under glass Initialed and dated in one of the balcony banners at right; the series title on a label affixed to the verso of the frame Image/Sheet: 15.75” H x 17.25” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: As the co-director of Cuba’s Taller Experimental de Grafica de la Habana (Experimental Graphics Workshops of Havana) Yamilys Brito Jorge uses mixed media prints to highlight Cuban national identity.

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Julio César Peña Peralta

(b. 1969, Cuban) “From Cuba,” 2006 Lithograph and mixed media on paper under glass An artist’s proof aside from the edition of unknown size Signed, titled, dated and inscribed “P/A” in pencil in the lower margin: Pena Image: 16” H x 11” W; Sheet: 22” H x 15” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Julio César Peña Peralta

(b. 1969, Cuban) “Inocencia,” 2006 Mezzotint in dark-brown on paper A printer’s proof aside from the edition of unknown size Signed, titled, dated, and inscribed “P/A / La Habana, Cuba”: Pena Plate: 22.5” H x 18” W; Sight: 24.5” H x 19.5”W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: “My work is not about death. It’s about life. It’s about seeing ourselves. It’s like seeing life through an x-ray machine. We are all the same anatomically: What makes us different is the costume imposed on us when we are born.”

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Julio César Peña Peralta (b. 1969, Cuban) Two works

“Retrato,” 2003; and “En la Ceiba,” 2003 Each: Screenprint in black and tan on smooth white wove paper under glass Edition 4/50 and 6/50, respectively Each: Signed, titled, dated and numbered in pencil in the lower margin: Pena; Taller de Serigrafia Rene Portocarrero, Havana, Cuba, with their blindstamp Image of each: 4.75” H x 4.75” W; Sheet of each: 8.5” H x 7” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: A pencil inscription on the verso of the piece we unframed, “Retrato,” indicates that “linoleographia” (linoleography) was the original technique used by the artist to create the printed image from which this second, screenprinted edition, was made.

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Julio César Peña Peralta (b. 1969, Cuban) Two works

“’The Virtuoso’ de la serie Apropiaciones,” 2008 Etching and aquatint on paper under glass An artist’s proof aside from the edition of unknown size Signed, titled, dated, and inscribed “La Habana, Cuba” in pencil in the lower margin: Pena “Trovador,” 2007 Etching and aquatint in colors on paper under glass A printer’s proof aside from the edition of unknown size Signed, titled, dated, and inscribed “La Habana, Cuba” in pencil in the lower margin: Pena Plate of larger/first: 7.125” H x 5.625” W; Sheet of larger/first: 11”H x 7” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Exhibitions: Barnsdale Park Municipal Gallery [sic], Los Angeles, CA, January 2008, according to a label affixed to the verso of the frame’s backboard

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Carlos Estevez

(b. 1969, Cuban) “lnvocaciones,” 2003 Mixed media on paper under glass Signed: Carlos Estevez, titled, dated and inscribed “Isla Itaparica Brasil,” all in pencil, along the lower sheet edge 39.75” H x 27.5” W $2,000-3,000 Provenance: Arizona State University Art Museum 2007 Gala and Auction, Tempe, AZ. Lot 331 The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 2007 Notes: This lot is accompanied by a Certificate of Authenticity signed and dated by the artist on July 1, 2007, together with copies of the original invoice from and payment to the ASU Art Museum on July 4, 2007.

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Alexander Morales

(20th Century, Cuban) “Toro,” 2003, from the “Matador” series Oil on canvas Signed lower right: A. Morales; signed again and inscribed in Spanish, verso; titled on a label affixed verso 38” H x 25” W $700-900 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Manuel Lopez Oliva

(b.1947, Cuban) “Baco,” 2003 Acrylic on paper under glass Signed and dated lower right: Lopez Oliva; signed and dated again, as well as titled and inscribed “La habana,” all in pencil on the verso 21” H x 14.5” W $1,000-1,500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Nestor Vega

(20th Century, Cuban) “Colografia VII” Collagraph in teal-green on beige paper under glass Edition 4/10 Signed, titled, indistinctly inscribed, and numbered in pencil in the lower margin Plate: 12.5” H x 10.5” W; Sheet: 17.5” H x 13.5” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: The indistinct inscription after the title might be “04” as in the year 2004.

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Nestor Vega

(20th Century, Cuban) “Calografia VII” Collagraph in dark-green on beige paper under glass Edition 5/10 Signed, titled, indistinctly inscribed, and numbered in pencil in the lower margin Plate: 12.375” H x 10.375” W; Sheet: 17.5” H x 13.5” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: The indistinct inscription after the title might be “04” as in the year 2004.

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Nestor Vega

(20th Century, Cuban) “Collagraphia,” 2001 Collagraph on paper under glass Edition 3/8 Signed, titled, dated 15-7-01, and numbered in pencil in the lower margin: Nestor Vega Plate: 14.375” H x 11” W; Sight: 15.875” H x 11.875” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Angel “Andy” Eusebio Rivero Sierra

(b. 1965, Cuban) “El faro,” 2007 Monotype in colors on paper Signed, titled, dated, and inscribed “monotipia” in pencil in the lower margin: Andy Plate: 24” H x 18.5” W; Sheet: 28” H x 22” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Angel “Andy” Eusebio Rivero Sierra is a contemporary Cuban painter and graphic designer. Graduating in 1987 from the Institute of Industrial Design of Havana, Cuba, Sierra has emerged as an important representative of the current Cuban abstract expressionism. Sierra is a founder of the prestigious Cuban artistic association “Hermanos Sa”z”. He’s also a member of the Experimental Workshop of Engraving of Havana and the Cuban National Union of Artists and Writers (UNEAC). His oil paintings, acrylic paintings, and prints have been successfully exhibited in numerous private collections and public exhibitions in Cuba, United States, Spain, Switzerland, Finland, Poland, Russia, Japan, Argentina, Brazil, Mexico, Colombia, Puerto Rico, Panama and Peru.

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Angel “Andy” Eusebio Rivero Sierra

(b. 1965, Cuban) “Dia Caliente,” 2008 Monotype in colors on paper A unique impression, there was no edition Signed, titled, dated and inscribed “monotipia” in ink in the lower margin: Andy Plate: 18.5” H x 24” W; Sheet: 21” H x 27” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Angel “Andy” Eusebio Rivero Sierra

(b. 1965, Cuban) “Sinfonia de Verano,” 2004 Monotype in colors on paper under glass A unique impression, there was no edition Signed, titled, dated and inscribed “monotipia” in pencil in the lower margin: Andy Image: 11.75” H x 9.75” W $300-500

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Angel “Andy” Eusebio Rivero Sierra

(b. 1965, Cuban) “Con el sol adentro,” 2002 Collagraph in colors on paper An artist’s proof aside from the edition of unknown size Signed, titled, dated and inscribed “P/A” in pencil in the lower margin: Andy Plate: 17” H x 21.75” W; Sight: 19” H x 24” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Angel “Andy” Eusebio Rivero Sierra

(b. 1965, Cuban) “Pensamiento para un espacio,” 2002 Collagraph in colors on paper under glass Edition 2/8 Signed, titled, dated and numbered in pencil in the lower margin: Andy Plate: 23.75” H x 17.75” W; Sheet: 26.5” H x 20.75” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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William Spratling

(1900-1967, American) A group of silver and amethyst jewelry, circa 1940-1944, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Made in Mexico / Silver / Sterling Comprising a bow brooch (2” H x 4.5” W), a ring set with an amethyst cabochon (ring size 5.25), and a pair of floral design earclips with screw-backs (each 1.25” H), 4 pieces 82.1 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 45, fig. III-33. This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 46, fig. 2-92.

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William Spratling

(1900-1967, American) A pair of silver bangle bracelets, circa 1933-1939, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Taxco / 980 Each designed with a concave profile and hammered finish, 2 pieces 7.75” and 7.25” inner C x 0.375” H 48.8 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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William Spratling

(1900-1967, American) A group of silver and gold jewelry, circa 1933-1939 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: 980 / Taxco / 925 / 18K Comprising a link necklace with incised stylized sun motif (19” L), an 18k and silver cuff bracelet (6.75” total inner C x 0.375”; wrist opening: 1”) and an incised stylized brooch (0.75” H x 2.125” W), 3 pieces 109.0 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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William Spratling

(1900-1967, American) A group of silver jewelry, circa 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Silver Comprising a sinuous flat link necklace and two matching link bracelets, 3 pieces Each: 0.875” H; Necklace: 17” L; Bracelets: 8.75” L and 7.25” L 154.0 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 57, fig. 2-164

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William Spratling

(1900-1967, American) A pair of silver link bracelets, circa 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Silver Comprising two square link bracelets designed with diagonal bands alternating with triple ball rows, 2 pieces Each: 8.25” L x 1” H 157.2 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 43, fig. III-30.

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William Spratling

(1900-1967, American) A group of silver and amethyst pill box / pendants, circa 1940-1946 and 1949-1956, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Made in Mexico / Silver / 925 / [Eagle 30] / [Eagle 63] Comprising two double-sided amethyst box pendants (largest: 2” H x 1.25” W), one amethyst box (1” H x 2” W x 1.125” D) and three silver boxes (each: 0.625” H x 1.25” W x 1” D), 6 pieces 254.6 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 37, fig. 2-40.

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William Spratling

(1900-1967, American) A group of silver and mixed-metal jewelry, circa 1940-1946, First Design Period; Taxco, Mexico Two works stamped for William Spratling; Further variously stamped: Silver / Made in Mexico; Each button stamped: Sterling / Taxco Comprising a silver and bronze oval link bracelet (8” L x 1” H), a pair of round silver and bronze screw-back earrings (1.125” Dia.) and eight silver and copper buttons of two sizes (0.875” Dia. and 0.5” Dia.), 11 pieces 104 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 56, fig. 2-157.

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William Spratling

(1900-1967, American) A set of silver and amethyst brooches, 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped; Made in Mexico / Silver Each brooch designed as a dimensional six pointed star with four cabochon amethysts, 2 pieces The first: 2.125” H x 1.875” W; The second: 1.875” H x 1.875” W 30.9 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 62, fig. IV-2.

William Spratling

(1900-1967, American) A group of “Choluteca Conch” jewelry, circa 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Made in Mexico / Silver / Sterling A group of stylized conch jewelry including a brooch (2.125” H x 2.75” W), a double-pronged clip back fastener (2.25” H x 2” W) and pair of screw-back earrings (each: 1.375” H), 4 pieces 55.4 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 40, fig. 2-56.

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Ibrahim Miranda

(b. 1969, Cuban) “Mapa VI,” 2004-2006 Mixed media on map pages under Plexiglas Signed and dated lower right: Ibrahim Miranda Sheet: 9.75” H x 77.5” W $1,000-1,500 Provenance: Couturier Gallery, Los Angeles, CA

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Eduardo Roca “Choco” Salazar

(b. 1949, Cuban) Untitled (Woman with Pineapple,) 2001 Collagraph on paper under Plexiglas Edition P/A Signed and dated lower right: Choco Plate: 43” H x 34.25” W; Sheet: 46.5” H x 37.5” W $600-800 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Eduardo Roco “Choco” Salazar was born in Santiago de Cuba, Cuba in 1949. He has a specialization in collagraphy and his use of color and line work makes his collection of works very identifiable. Famed art critic Michael Barnett writes, “His work contributes to our own understanding of ourselves as better human beings...with it we discover another path to the realm of the fantastic which we all aspire to reach-where art always leads us, this time at the hand of the great Choco.” His works have been shown in private and public collections, most notably: Museo de Bellas Artes, La Habana, Cuba; African Museum, Chicago, USA; Museo de la Estampa, Mexico City, Mexico; FundaciÓn Miró, Palma de Mallorca, Spain; Ludwing Foundation, Germany; Casa de las AmÈricas, La Habana, Cuba; and Museum of Kochi, Japan. 72

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Eduardo Roca “Choco” Salazar

(b. 1949, Cuban) Untitled, 2006 Collagraph in colors on paper Edition 1/5 Signed, numbered and dated in pencil in the lower margin Plate: 17.25” H x 14.25” W; Sight: 19.75” H x 17” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Eduardo Roca “Choco” Salazar

(b. 1949, Cuban) “El Cazador,” 2003 Collagraph in colors on paper, watermark Arches Edition II/VI Signed, dated and numbered in pencil in the lower margin: Choco; titled on a label affixed to the verso of the shrink wrap Plate: 20.5” H x 18” W; Sheet: 24.5” H x 22.5” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Eduardo Roca “Choco” Salazar

(b. 1949, Cuban) Untitled, 2004 Collagraph in colors on paper Edition 3/8 Signed, dated and numbered in pencil in the lower margin: Choco Plate: 8” H x 5.5” W; 12.75” H x 8.75” W $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Luis Enrique Camejo

(b. 1971, Cuban) “Garage,” 2004 Watercolor on paper Signed and dated lower left: L.E. Camejo; titled by repute Sheet: 22.25” H x 30.25” W $1,500-2,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Luis Enrique Camejo (born January 19, 1971 in Pinar del R”o) is a Cuban contemporary painter who won several prizes, including the First Place Prize in the V Painting Contest Nicomedes Garc”a Gomezin in 2003. Camejo currently lives and works in Havana, Cuba. Luis completed his studies in the field of Plastic Arts. From 1982 to1986, Luis Enrique Camejo attended the lessons of the Pinar del R”o School of Arts, before entering the National Art School in Havana from 1986 to 1990. He graduated from the Superior Art Institute of Havana (ISA) in 1996. Since 1996, Luis teaches Plastic Arts at the Superior Art Institute of Havana. Luis Enrique Camejo’s favorite themes are the relationship between man and his environment-especially urban environment at night. These themes are materialized by lights and color effects such as blurring or dripping in order to evoke the speed of modern times. Camejo is a member of the Cuban Artists and Writers Organization. He’s interested in the fleeting, immediate relationship of man with his environment. Although Camejo’s cities present images reminiscent of parts of Havana, they are always cosmopolitan, pluralistic places. Camejo is fascinated by capturing the movement and dynamic of the city. Cars, bicycles, buses and passers-by seem to be always on the move. His cities are always frenzied. They don’t invite us to peace and quiet but to take part in the nomadic life of the great urban jungle.

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Luis Enrique Camejo

(b. 1971, Cuban) Untitled, from “After the Rain” series, 2002 Metallic acrylic on paper under glass Signed and dated lower left: L.E. Camejo Sight: 27” H x 39” W $1,000-1,500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Luis Enrique Camejo

(b. 1971, Cuban) “Camion,” 2003 Watercolor on Arches paper Signed and dated at the lower right: L. E. Camejo; titled on a label affixed to the shrink wrap Sight: 22” H x 29.75” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Luis Enrique Camejo

(b. 1971, Cuban) Untitled, from “After the Rain” series, 2002 Watercolor on paper under glass Signed and dated lower left: L.E. Camejo Sight: 19.5” H x 28.25” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Luis Enrique Camejo

(b. 1971, Cuban) Untitled, from “After the Rain” series, 2001 Watercolor on paper under glass Appears unsigned Sight: 19.5” H x 28.5” W $600-800 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Hector Aguilar

(1905-1986, Mexican) A silver and stone set pendant necklace, circa 1940-1945 and 1948-1962; Taxco, Mexico Each stamped: HA / 940 / Taxco, pendant further stamped: [Eagle 9] Comprised of a large azurmalachite cabochon pendant / brooch with silver ball surround suspended on an elaborate incised paper-clip style chain, 2 pieces 16.5 “ L x 2” H 119.5 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A suite of silver jewelry, circa 1940-1945; Taxco, Mexico Two stamped: HA / Taxco / 940; Each earring stamped: Silver / Mexico Comprising a chunky link necklace (16” L x 0.75” H) and matching link bracelet (8.5” L x 0.75” H), each formed of silver knotted ribbon motif links, along with a matching pair of screw-back earrings (each: 0.75” H), 4 pieces 180.8 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A silver necklace, circa 1948-1955; Taxco, Mexico Stamped: HA / 940 / Taxco / [Eagle 9] Comprised of stylized incised crescent-shaped links with a hook closure 26.5” L x 1” H 178.8 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A group of silver and turquoise jewelry, circa 1943-1948 and 1948-1962; Taxco, Mexico Each stamped: HA; Further variously stamped: 940 / Taxco / [Eagle 9] / Made in Mexico / Sterling Comprised of a double-link collar stone set necklace with a green hardstone clasp (16.75” L x 0.75” H), a matching stone set double-width link bracelet with carved set stone to clasp (7.25” L x 1.25” H), a similar all-silver link bracelet (7.25” L x 0.625” H) and matching stone-set screw-back earrings (each: 0.875” H), 5 pieces 234.0 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A silver link bracelet, circa 1948-1962; Taxco, Mexico Stamped: HA / Taxco / Mexico / .940 / [Eagle 9] An incised foliate and ball-motif linked bracelet with pin closure and chain guard 7.25” L x 1.25” H 93.6 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Hector Aguilar

(1905-1986, Mexican) A silver cuff bracelet, circa 1940-1945; Taxco, Mexico Stamped: HA / Made in Mexico / Sterling A stylized cylindrical bullet-hinged bangle bracelet with safety chain and pin closure 6.5” L x 1.25” H 96.4 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A silver and amethyst bracelet, circa 1940-1945; Taxco, Mexico Stamped: HA / 940 / Taxco Comprised of ten carved amethyst panels hinged with five-ball spacers, with original safety chain and pin clasp 7.25” L x 1” H 100.2 grams gross $500-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A silver and onyx bracelet, circa 1948-1962; Taxco, Mexico Stamped: HA / Taxco / [Eagle 9] / 940 A wrapped “X” link bracelet enhanced with rows of double sided onyx trefoils 7.375” L x 1.625” H 68.2 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) Two silver and stone set link bracelets, circa 1940-1948; Taxco, Mexico Each stamped: HA / Taxco / 940 Each bracelet designed in a Modernist style with open loop links, one set with blue stone cabochons (8” L x 0.75” H) and one set with green stone cabochons (7.5” L x 1” H), 2 pieces 105.6 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) Two connecting silver necklaces, circa 1940-1945 and 1948-1962; Taxco, Mexico Each stamped: HA / Taxco / 940; One further stamped: [Eagle 9] Comprised of two incised disk link necklaces that connect to form a longer single necklace, 2 pieces 17” L and 15.5” L x 0.625” H 142.4 grams $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A silver link necklace, circa 1940-1945; Taxco, Mexico Stamped: HA / 940 / Taxco Comprised of small pierced half-oval links joined by incised bands 17” L x 0.875” H 64.3 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A braided silver cuff bracelet, circa 1948-1955; Taxco, Mexico Stamped: HA / Taxco / 980 / [Eagle 9] A cuff with a heavy rope braid overlay within a border of flattened twisted wire, finished with ball terminals 6.5” total inner C x 1” H; wrist opening: 1.125” 67.8 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Hector Aguilar

(1905-1986, Mexican) A silver link bracelet, circa 1940-1945; Taxco, Mexico Stamped: HA / Taxco / 940 Comprised of silver X-formed links spaced with scrolled links, with pin closure and original safety chain 7.25” L x 1” H 115.8 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A suite of silver jewelry, circa 1940-1945 and 1948-1955; Taxco, Mexico Each stamped for Hector Aguilar; Further variously stamped: Taxco / 990 / 940 / Silver / Mexico Comprising a two piece medallion link belt/necklace with matching ring and a near-pair of screw-back earrings, 5 pieces Belt: 32.5” L x 1” H; Necklace: 15” L x 1” H; Ring size: 5; Each earring: 0.875” H 343.7 grams $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A group of silver jewelry, circa 1940-1945; Taxco, Mexico Three stamped: HA / Taxco; Necklace further stamped: 990; Bracelets further stamped: 940; earrings unmarked Comprising a modernist domed square plaque link necklace (15” L x 0.875” H) together with two rippled-edged rectangular-link bracelets (largest: 7.5” L x 0.875” H) and a matching pair of screw-back earrings (each: 0.875” H), 5 pieces 249.2 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Antonio Pineda

(1919-2009, Mexican) A set of silver and onyx jewelry, circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; [Eagle 17]; Each variously stamped: Sterling / Mexico / Silver / 970 Comprising an articulating collar necklace and matching earclips of crossover silver bars alternating with faceted diamond-shaped onyx, 3 pieces Necklace: 16.5” L x 0.75” H; Each earring: 1.375” H 132.9 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Antonio Pineda

(1919-2009, Mexican) A group of silver and aventurine quartz jewelry, circa 1953-1979; Taxco, Mexico Two with crown mark for Antonio Pineda; Further variously stamped: Mexico / Sterling / Silver / 970 / Hecho en Mexico / [Eagle 17]; Earrings attributed to Pineda Comprising an oval aventurine quartz link necklace (16.25” L x 0.5” H) with matching pierced earrings (each 1.5” H) and an interlocking round link bracelet with claw set oval aventurine quartz cabochons (8” L x 1” H), 4 pieces 111.9 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) Two silver link bracelets, circa 1943-1948; Taxco, Mexico Each stamped: HA / Made in Mexico / Sterling Each bracelet designed with matching scroll links, one finished with a rectangular amethyst clasp (8.125” L x 0.75” H) and the other with a domed silver clasp (8.875” L x 1.25” H), 2 pieces 111.8 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) Two silver link bracelets; circa 1940-1945; Taxco, Mexico Each stamped: HA / 940 / Taxco Comprised of one bracelet with panel set onyx links and incised bar spacers (7.5” L x 1.125” H) and one bracelet with silver slab links and narrow spacers (8” L x 0.875” H), 2 pieces 138.5 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) Two Modernist link bracelets, circa 1940-1962; Taxco, Mexico Each marked for Hector Aguilar; further variously marked: Taxco / 940 / Mexico / Silver Comprising a silver link bracelet with domed crescents joined with U-formed spacers (7.5” L x 0.875” H) and an unusual silver and copper bracelet with tapering hollow tear-drop links (7.75” L x 0.625” H), 2 pieces 111.2 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A Georgia O’Keefe-style belt and bracelet, circa 1948-1962; Taxco, Mexico Buckle stamped: HA / Taxco / .940 / [Eagle 9] Smaller than one worn by Georgia O’Keefe in her studio portrait, a similar adjustable black suede leather belt with four X-form conchos spaced with sections of three concave silver studs with a narrow silver buckle (Belt: 32.5” L x 1.5” H; each concho: 1.5” H x 2.125” W), together with a complimentary three-concho bracelet (7” L x 1.75” H; each curved concho: 1.75” H x 2” W) and an additional concho link (1.875” H x 2” W), 3 pieces 243.4 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A Georgia O’Keefe-style belt, circa 1940-1945; Taxco, Mexico Buckle stamped: HA / Taxco / 940 Similar to one worn by Georgia O’Keefe in her studio portrait, an adjustable black suede leather belt with four large X-form conchos spaced with dimpled silver studs and a narrow silver belt buckle Strap fully opened: 36” L x 2” H; each concho: 2.125” H x 3.625” W 274.2 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A group of “Armadillo” silver jewelry, circa 1943-1962; Taxco, Mexico Each stamped for Hector Aguilar; Each further variously stamped: Made in Mexico / Sterling / Taxco / Mexico / 970 / [Eagle 9] Comprising an “Armadillo” cuff bracelet (7” total inner C x 2” H; wrist opening: 1.25”), two oval brooches (largest: 2.25” H x 1.75” W), a pair of oval screw-back earrings (each earring: 1” H) and a large belt buckle with a suede strap (buckle: 3” H x 6.5” W; strap: 29” L), 7 pieces 220.4 grams $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A group of concho jewelry, circa 1948-1962; Taxco, Mexico Bracelet and brooch stamped: HA / Taxco / .940 / [Eagle 9]; One earring stamped: Taller Borda Comprised of a linked bracelet, a brooch, one screw-back earring and one dangle earring, and nine conchos, all formed from incised openwork discs with an arabesque design, 13 pieces Earrings and brooch: 1.25” Dia.; Bracelet: 7” L ; Conchos: 2.25” H x 2.75” W 236.9 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Hector Aguilar

(1905-1986, Mexican) A group of silver hair combs, circa 1943-1948; Taxco, Mexico Each stamped: HA / Made in Mexico / Sterling Comprising two tapering scrolled comb caps (each 1.5” H x 4” W), a comb cap with inset onyx and a similar silver beaded comb cap (each: 1” H x 4.875” W), 4 pieces 198 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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(b.1960, Cuban) “Tu ante nosotros, amen,” 2005 Collagraph in colors on paper Edition 1/2 Signed, titled, dated and numbered in pencil along the lower edge: Silveira Image/ Sheet: 38” H x 33.25” W

(b. 20th Century, Cuban “Retrato de famila,” 20 Collagraph in colors on An artist’s proof aside fr Signed, titled, dated an Colografia” in pencil in Experimental de Grafic blindstamp in the lower Plate: 29.5” H x 20” W;

Ricardo Silveira Miró

$1,000-2,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

Ricardo Silveira Miró

$200-400

Provenance: The Caroly Pasadena, CA

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n) 003 n paper rom the edition of unknown size nd inscribed “P/A La Habana. n the lower margin: Silveira; Taller ca, Havana, Cuba, pub., with their r margin ; Sight: 31” H x 20.75” W

yn J. Adrian Collection, South

Ricardo Silveira Miró

(b. 20th Century, Cuban) “Cinco Pesitos...en fula,” 2003 Collagraph in colors on paper An artist’s proof aside from the edition of unknown size Signed, titled, dated and inscribed “P/A La Habana/Colografia” in pencil in the lower margin: Silveira; Taller Experimental de Grafica, Havana, Cuba, pub., with their blindstamp in the lower margin at left Plate: 24.75” H x 17” W; Sight: 27.5” H x 19.75” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Two ink-covered fingersprints in the upper margin appear to be intentionally added.

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Baruj Salinas

(b. 1935, Cuban) Untitled, 1982 Acrylic on paper under glass Signed lower right: Baruj Salinas 17.5” H x 25” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Kadir Lopez Nieves

(b. 1972, Cuban) “La Fabrica,” 2002 Watercolor on paper under glass Signed together with the artist’s birth year, and titled, lower right: Kdir / 1972; with a possible alternate title on a label affixed to the frame’s backboard: “Restauracion” Sight: 21.5” H x 29.25” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Kadir Lopez Nieves was born 1972 in Las Tunas, a provincial Cuban town. Lopez overlays “remaindered” 1950’s American signage with translucent images to capture, preserve and convey his take on post-1950’s historical events and anecdotes. The results are multidimensional creations bound in the context of time and influence with a unique blend of homeland relic and memory. The signs are old, battered, and on occasion even have bullet holes. Kadir then paints, draws, or prints historic images of Cuba onto the worn signs, purposely utilizing ceramic paints, resins or enamels to create transparent images that float on top, instead of concealing the image. His watercolors here, have environmental and political imagery, keeping with his motivation for his work to continue commentary on free will, adolescence, and more. Kadir Lopez Nieves currently lives and works in Cuba.

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Kadir Lopez Nieves

(b. 1972, Cuban) “Peces en Vela,” 2002 Watercolor on paper under glass Signed together with the artist’s birth year, lower right: Kdir / 1972; titled and dated on a label affixed verso Sight: 21.5” H x 29” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Kadir Lopez Nieves

(b. 1972, Cuban) “Pescador,” 2004 Watercolor on paper Signed together with the artist’s birth year at the lower right: Kdir 1972; titled and dated on a label affixed to the verso of the shrink wrap Sight: 21.5” H x 29.5” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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Kadir Lopez Nieves

(b. 1972, Cuban) “Perdiendo el Color al Sol,” 2003 Acrylic on linen Signed together with the artist’s birth year, and titled, lower right: Kdir / 1972; dated by repute 51” H x 43” W $2,000-3,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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100

Kadir Lopez Nieves

(b. 1972, Cuban) “Fishing Village,” from the “Corrales Series,” 2005 Watercolor on paper Signed together with the artist’s birth year at the lower right: Kdir 1972; titled and dated on a label affixed to the verso of the shrink wrap Sight: 22.25” H x 29.5” W $700-900 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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101

Abel Barroso

(b.1971, Cuban) “Outsourcing,” 2008 Acrylic on canvas Signed and dated lower right: Barroso 33” H x 52” W $4,000-6,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Abel Barroso, born in 1971 in Pinar del Rio, Cuba, is an exquisite young artist who has been rapidly gaining international recognition for his art which combines printmaking and sculpture in biting and humorous commentary on contemporary Cuban life. Using meticulous craftsmanship, he creates playful works that often invite the viewer to interact. The Third World Internet Cafe, Barroso’s memorable installation at the 7th Havana Biennial last November, featured computers fashioned out of wood and paper and hand-cranked by the viewer. Residents of Tampa Bay had an opportunity to see Barroso’s work in the exhibition Contemporary Art in Cuba: Survival and Irony on the Utopian Island, at the USF Contemporary Art Museum in 2001. Barroso currently lives and works in Havana, Cuba.

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102

Carlos Luna

(b. 1969, Cuban-American) “El cocodrilo,” 2000 Etching and aquatint in colors on paper under glass An artist’s proof aside from the edition of 30 Signed, titled, dated and inscribed “P/A” in pencil in the lower margin: C. Luna Plate: 5.875” H x 7.75” W; Sheet: 11” H x 11.75” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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103

Carlos Estevez

(b. 1969, Cuban) “La Sonadora,” 2009 Mixed media on handmade Korean cork paper under glass Signed, titled, dated and inscribed “Miami” along the lower edge: Carlos Estevez 24.75” H x 4.25” W $1,000-1,500 Provenance: Couturier Gallery, Los Angeles, CA The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 2009 Notes: This lot includes a copy of an invoice from Couturier Gallery, Los Angeles, CA, dated September 15, 2009, and a Certificate of Authenticity issued by the sale gallery, dated January 8, 2010.

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104

Roberto Fabela

(b. 1950, Cuban) “Gaviota,” 2007 Screenprint in colors on paper Edition 60/100 Signed, titled, dated and numbered in pencil in the lower margin: Fabela; Taller de Serigrafia Rene Portocarrero, Havana, Cuba, pub., with their blindstamp in the lower margin Image: 29.25” H x 20.75” W; Sheet: 33.5 x 24.75” $700-900 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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105

Manuel Mendive

(b. 1944, Cuban) Infant and rooster, 2002 Screenprint in colors on paper Edition: 26/100 Signed, dated and numbered in pencil in the lower left and right corners of the image; also with the blindstamp of Taller de Serigrafia Rene Portocarrero, Havana, Cuba, pub. in the lower left corner of the image Image: 11.25” H x 9” W; Sight: 11.75” H x 9.5” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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106

Margot Van Voorhies

(1896-1985, American) An assembled suite of Margot de Taxco silver and enamel jewelry, circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / 5860 [or] 5755 Comprising white, purple, teal and green enamel floral design jewelry consisting of a pendant/ brooch with detachable chain no. 5860 (21.5” L x 2” H), an additional matching brooch/pendant (2” H x 2.1.625” W), a floral link bracelet no. 5860 (7.25” L x 1” H) with matching earclips (each: 1” H) and a Quetzal bird motif brooch/pendant no. 5755 (2” H x 2.125” W), 7 pieces 161 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork,” (Atglen, PA: Schiffer, 2010), 154, pl. IX-4.

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107

Margot Van Voorhies

(1896-1985, American) A suite of Margot de Taxco silver and enamel jewelry, circa 1955-1978; Taxco, Mexico Most stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / 5547; Necklace unmarked, attributed to Margot de Taxco Designed in a Wave Circle pattern in various blues and black enamel, no. 5547, comprising two matching link bracelets (largest: 7.25” L x 0.875” H), a matching brooch (2” H x 2” W) and a narrow link necklace (15.5” L x 0.25” H), 4 pieces 175.0 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork,” (Atglen, PA: Schiffer, 2010), 151, pl. VIII-29.

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108

Margot Van Voorhies

(1896-1985, American) A group of Margot de Taxco silver and amethyst jewelry, circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Comprising a heavy crossover floral design hinged bracelet no. 5316 (6” inner C x 3” H) with a matching set-amethyst pendant necklace (18” L x 2.25” H) and earclips (each: 1.5” H) as well as a narrow bow link bracelet no. 5330 (7.75” L), 5 pieces 215.1 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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109

Margot Van Voorhies

(1896-1985, American) A group of Margot de Taxco silver and enamel jewelry, circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [Design number] Comprising a green and black melange enamel knotwork design bib necklace no. 5391A (15” L x 1.25” H) with matching earclips no. 5391 (each: 1” H) as well as a similar detachable bib necklace / brooch no. 5845 (16.5” L x 1” H) with a pair of similar earclips no. 5761 (1.25” H), 7 pieces 135.7 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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110

Margot Van Voorhies

(1896-1985, American) A group of Margot de Taxco silver and enamel jewelry, circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16]; Further variously stamped: 5587 / 5907 / 5583 / 5381 Comprising a blue and black leaf motif bib necklace no. 5587 (16.25” L x 1.25” H), a purple, white, teal, and black pinwheel pendant/brooch with detachable chain no. 5907 (21.75” L x 2.5” H), a black and white circular knotwork brooch/pendant with detachable chain no. 5583 (21.75” L x2.25” H), and a pair of earclips no. 5381 (each: 1.125” H), 7 pieces 216.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill, “Margot Van Voorhies: The Art of Mexican Enamelwork,” (Atglen, PA: Schiffer, 2010), 122 and 145, pl. VII-17 and pl. VIII-49.

112

Margot Van Voorhies

(1896-1985, American) A group of Margot de Taxco silver and enamel jewelry, circa 1955-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [indistinct] Eag 5583 [or] 5618 Comprising a group of blue, black and white jewelry including a foliate design bib collar no. 5583 (15.5” L x 0.875” H) with a matching plaque link bracelet no. 5583 (6.5” L x 1.25 and an additional bib style necklace no. 5618 (17” L x 1.25” H), 3 pieces 184.5 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Literature: This design illustrated: Penny C. Morrill, “Margot Van Voorhies: The Art of Mex Enamelwork,” (Atglen, PA: Schiffer, 2010), 18, pl. 4.

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111

Margot Van Voorhies

(1896-1985, American) A group of Margot de Taxco silver and enamel jewelry, circa 1948-1978; Taxco, Mexico Each stamped: Margot de Taxco / Sterling / Made in Mexico / [Eagle 16] / [design number]; Aztec necklace further stamped: A Comprising a suite of melange enamel swirl jewelry including a bib necklace (17” L x 1.625” H), a link bracelet (7.5” L x 0.875” H), and earclips (1”H), all no. 5357, as well as an Aztec style pendant in black and melange enamel with link chain, no. 5414 (16.5” L x 2.25’ H), 5 pieces 179.3 grams gross $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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necklace 5” H),

xican

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113

Antonieta Figueroa

(20th Century, Mexican) “La Primavera,” 1978 Oil pastel on Masonite Signed and dated lower left: A. Figueroa; titled on a gallery label affixed verso Sight: 23.5” H x 23.5” W $800-1,200 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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114

Gunther Gerzso

(1915-2000, Mexican) “Del Arbol Florido,” 1980 Screenprint in colors on paper under glass Edition 36/100 Signed, dated and numbered in pencil in the lower margin: Gerzso; an unidentified blindstamp near the lower margin edge, at left Image: 12.25” H x 13.5” W; Sheet: 26.75” H x 22” W $1,000-2,000 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 2003 Notes: This lot is accompanied by a Certificate of Authenticity as well as a copy of the original invoice, both issued by Galeria Arvil, Mexico City, Mexico, September 24, 2003 and September 29, 2003, respectively. Gerazo’s work represents a new direction in Mexican painting at the mid-twentieth century. A pioneering form of abstraction, it provides that Surrealism in exile in Mexico was as crucial to the development of Gerzo’s painting as it was for the New York Abstract Expressionists. His paintings exemplify the shift inward among international vanguard artists like Gottlieb, Jackson Pollock, Barnett Newman, and Mark Rothko to a new focus on the self and on myth, psychoanalysis, and indigenous art of the Americas.” Curator Diana du Pont, Santa Barbara Museum of Art, LA Times interview, 2003

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115

Rufino Tamayo

(1899-1991, Mexican) “Personaje, Luna y Estrella,” 1975 Etching and aquatint in colors on Guarro paper under glass Edition: 6/75 Signed in pencil in the lower right corner: R. Tamayo; Ediciones Poligrafa, Barcelona, prntr./pub. Image/Sheet: 22” H x 30” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Literature: Pereda 181

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116

Rufino Tamayo

(1899-1991, Mexican) “Sol,” 1976 Mixografia in colors on Arches paper under glass Edition XVII/XXXV Signed in pencil in the lower right corner: R. Tamayo; Taller de Grafica Mexicana, Mexico City, prntr.; Transworld Art, New York, pub. Image/Sheet: 22.75” H x 29.75” W $1,000-1,500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Literature: Pereda 221

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117

Gabriel Ramirez Aznar

(b. 1938, Mexican) “Espejo de Agua,” 1974 Oil on canvas Signed and dated lower right: Ramirez; titled on the stretcher 23.75” H x 31.5” W $500-700 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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118

Gabriel Ramirez Aznar

(b. 1938, Mexican) “Marinado,” 1975 Crayon on paper laid to Masonite Signed and dated lower left: Ramirez; titled on a label affixed verso Sight: 9.5” H x 18.25” W $400-600 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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119

A large Mata Ortiz pottery vessel, by Ismael Flores

2003; Mata Ortiz, Mexico With incised signature: Ismael Flores The large vase with polychrome geometric and abstract figural motifs on a burnished buff slip glaze 17” H x 12” Dia. $1,000-1,500 Notes: This lot is accompanied by a photograph of the artist with the vessel.

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120

A Mata Ortiz pottery vessel, by Nena Quezada

2003; Mata Ortiz, Mexico With incised signature: Nena Quezada The large vase with polychrome geometric patterning on a buff slip glaze 11.5” H x 12” Dia. $300-500

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121

Two Mata Ortiz pottery vessels, by César Dominguez

Late 20th/Early 21st Century; Mata Ortiz, Mexico Each with incised signature: César Dominguez Each vase with polychrome zoomorphic motifs on a burnished buff slip glaze, 2 pieces Larger: 7.75” H x 6.5” Dia.; Smaller: 7.25” H x 6” Dia. $300-500

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122

A Mata Ortiz pottery vessel, by Taurina Baca

Late 20th/Early 21st Century; Mata Ortiz, Mexico With incised signature: Taurina Baca The ovoid vase with polychrome avian motifs on a burnished buff slip glaze 9” H x 8” Dia. $200-400

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123

Four Mata Ortiz pottery vessels Four works:

An Anastacia Villa blackware vase 2004; Mata Ortiz, Mexico With incised signature and date: Anastacia Villa / 12/11/04 The wide-waisted vase with burnished black slip glaze 3.75” H x 4.75” Dia. A Jesus Martinez seed pot 2004; Mata Ortiz, Mexico With incised signature: Jesus Martinez The wide-shouldered vase with polychrome avian motifs on a burnished buff slip glaze 3.5” H x 7.25” Dia. A Bianca Quezada seed pot Late 20th/Early 21st Century; Mata Ortiz, Mexico With incised signature: Bianca Quezada The wide-shouldered vase with polychrome fineline and crisscrossing “elastic” designs on a burnished buff slip glaze 2” H x 4.625” Dia. A Jorge Corona vase Late 20th/Early 21st Century; Mata Ortiz, Mexico With incised signature: Jorge Corona The tall-neck vase with polychrome motifs on a burnished buff slip glaze 4.5” H x 5.5” Dia. $400-600

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Detail View

124

Three Mata Ortiz pottery vessels, by Octavio Gonzalez

Late 20th/Early 21st Century; Mata Ortiz, Mexico Each with incised signature: Octavio Gonzalez Each with geometric motifs and sawtooth rim on burnished buff slip glaze, comprising a large bowl with polychrome interior and outer band (4.75” H x 13.5” Dia.), a medium bowl with black and white interior (4.75” H x 13” Dia.), and a low bowl with polychrome interior (1.75” H x 11” Dia.), 3 pieces $300-500

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125

A large Mata Ortiz pottery olla, by Lucy Mora

2004; Mata Ortiz, Mexico With incised signature: Lucy Mora The large redware vessel with polychrome Avanyu serpents on a burnished red slip glaze and a buff rim with incised neck 9.5” H x 13” Dia. $400-600

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126

A large Mata Ortiz pottery vessel, by Taurina Baca

Late 20th/Early 21st Century; Mata Ortiz, Mexico With incised signature: Taurina Baca The large redware pot with black avian motifs on a burnished red slip glaze 13” H x 12” Dia. $400-600 Notes: Taurina Baca was one of Juan Quezada’s first students outside of his family in 1973-1974. Her Paquime inspired motifs are found adorning the walls of a variety of large forms.

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127

Four Mata Ortiz pottery vessels

Late 20th/Early 21st Century; Mata Ortiz, Mexico Two groupings: Three Humberto and Blanca Ponce vessels Each with incised signature for Humberto or Blanca Ponce Comprising two mottled buff slip glaze vases with polychrome zoomorphic motifs and a buff slip glaze vase with white zoomorphic motifs, 3 pieces Larger: 9” H x 7” Dia.; Smaller: 7” H x 7” Dia. A Lupe Rodriguez low bowl With incised signature: Lupe Rodriguez [further inscription partially obscured] The vessel with polychrome zoomorphic motifs on mottled buff slip glaze 2” H x 10.375” Dia. 4 pieces $700-900

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128

Two Mata Ortiz sgraffito pottery vessels

Late 20th/Early 21st Century; Mata Ortiz, Mexico Two works: A Leonel Lopez Seanz Sr. vase With incised signature: Leonel Lopez Seanz The flared-neck vase with black slip glaze cut to red with lizards on an imbricated ground 5.5” H x 5.75” Dia. A Leonel Lopez Jr. vase With incised signature: Leonel Lopez The spherical vase with red slip glaze cut to buff with all-over keyed pattern and birds to the foot 5.75” H x 5.5” Dia. 2 pieces $200-400

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129

A Mata Ortiz blackware pottery vessel, by Hector Ortega Late 20th/Early 21st Century; Mata Ortiz, Mexico With incised signature: Hector Ortega The vase in burnished black slip glaze with tapering spiral design 11.5” H x 10” Dia. $400-600

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130

A large Mata Ortiz pottery vessel, by Tina Esperanza

Late 20th/Early 21st Century, Mata Ortiz, Mexico With faint incised signature: Esperanza / [illegible] The large blackware pot with black zoomorphic motifs on a burnished black slip glaze 13.5” H x 14” Dia. $400-600

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131

A Mata Ortiz blackware pottery vessel, by Lydia Quezada 21st Century; Mata Ortiz, Mexico With incised signature: Lydia Quezada The black-on-black vase stylized neck and burnished geometric motifs on a matte slip glaze 11.25” H x 7” Dia. $300-500

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132

A Mata Ortiz blackware pottery vessel

21st Century; Mata Ortiz, Mexico With incised signature: [possibly G] Lucero The egg-shaped vessel with brown slip painted geometric motifs on a burnished black slip glaze 5.75” H x 4.5” Dia. $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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133

A Mata Ortiz pottery vessel, by Consolacion Quezada de Corona

20th Century; Mata Ortiz, Mexico With faint incised signature: Consolacion Quezada The blackware vessel with a melon style body and burnished black slip glaze 9.5” H x 11” Dia. $200-400

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134

Matilde Poulat and Ricardo Salas

(d. 1960 and d. 2006, Mexican) A Nuestra Señora de la Asunción in Tonaya sterling silver santos figure, circa 19802006; Mexico City, Mexico Marked: Matl / Ricardo Salas / Matl / M. Regis / 14-2093 / Mexico 925 / MS-12 Designed by Matilde Poulat for Matl under the directorship of Ricardo Salas, set with amethyst, turquoise, and coral cabochons 6.375” H x 4.5” W x 2” D 167.5 grams $2,000-4,000

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135

Matilde Poulat

(c. 1900-d. 1960, Mexican) A Matl silver and gem-set dove and basket necklace, circa 1934-1948; Mexico City, Mexico Stamped twice: Matl The necklace with central panel designed with two doves flanking a coral set basket, and with scrolled links set with coral and turquoise 15” L x 3” H 106.2 grams gross $2,500-3,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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136

Matilde Poulat

(c. 1900-d. 1960, Mexican) A Matl sterling silver and gem-set bracelet, circa 1934 -1948; Mexico City, Mexico Stamped: Matl; Further stamped: Hecho en Mexico / 0.925 An ornate cuff bracelet featuring doves centering a rectangular amethyst surrounded by turquoise, with linked coral-set terminals 7.25” L x 2.375” H 74.8 grams gross $1,500-2,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

138

Matilde Poulat

(c. 1900-d. 1960, Mexican) A Matl turquoise and coral dove brooch, circa 1934-1948; Mexico City, Mexico Stamped: Matl / Hecho en Mexico / 0.925 A two-part articulated dove motif brooch with central set stone and turquoise set fringe 3.625” H x 3.125” W 45.8 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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137

Matilde Poulat

(c. 1900-d. 1960, Mexican) A Matl silver rose and dove motif necklace, circa 1934-1948; Mexico City, Mexico Signed: Matl The cast silver link necklace with central doves and floral motif links 19.25” L x 2” H 193.9 grams $1,500-2,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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141

Matilde Poul

139

Matilde Poulat

(c. 1900-d. 1960, Mexican) A Matl silver, turquoise and coral brooch, circa 1934-1948; Mexico City, Mexico Stamped: Matl; Further stamped: Hecho en Mexico / 0.925 A four-part articulated dove and basket motif brooch with turquoise set fringe 2.625” H x 2” W 26.2 grams gross

(c. 1900-d. 196 A Matl silver sc Stamped: Matl Designed with closure 7.25” L x 1.5” 68.5 grams $500-700

Provenance: Th

$500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

140

Matilde Poulat

(c. 1900-d. 1960, Mexican) Four Matl silver and stone set aquatic-themed brooches, circa 1934-1948; Mexico City, Mexico Each stamped for Matl, one further marked: 950 Comprising a stylized angel fish (1.75” H), a swordfish (2.375” H), a seahorse (2.5” H) and a two-part brooch featuring a sea snail and nautilus shell (each 1” H), 4 pieces 61.1 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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lat

60, Mexican) croll-link bracelet, circa 1934-1948; Mexico City, Mexico l h repoussé scroll links joined by handmade rings with a pin H

he Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Ricardo Martinez de Hoyos (1918-2009, Mexican)

icardo Martínez de Hoyos was a Mexican painter born to a large family in Mexico City comprising of 16 siblings, five of whom would pursue a career in fields related to the fine arts. From a very young age, he had to earn an income by painting to help his family. His knowledge of painting was self-taught. He learned from research books, of which Max Doerner’s “The Materials of the Artist” stands out. His 1934 English language edition of the book revealed him the secrets of the technique. Ricardo Martínez de Hoyos then had the support of Federico Cantú, who took him to InÈs Amor’s Gallery of Mexican Art, where he was allowed to sell his paintings and learn new techniques and styles by 1940. His first works were still-life paintings, followed by non-narrative monumental figures related to Pre-Colombian sculpture. He had his first art exhibit in Guadalajara, Jalisco in 1942. His works were among the “Master Works of Mexican Art” exhibit sent to several European countries and the United States between 1961 and 1963. At the end of the 1960s, Martínez created surreal atmospheres in his works by using light and shadow. In 1971, he received the Moinho Santista Award at the Sao Paulo Art Biennial. Among his most important art exhibits, his work was displayed at the Museum of Modern Art in Mexico City in 1969 and 1974, and at the Museum of the Palace of Fine Arts in Mexico City in 1984 and 1994. Martínez passed away in January 2009 in Mexico City, Mexico.

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142

Ricardo Martinez de Hoyos

(1918-2009, Mexican) Woman in veil, 1969 Oil on canvas Signed lower right: Ricardo Martinez 16” H x 12” W $8,000-12,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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143

Francisco Toledo

(1940-2019, Mexican) “Demetrio Vallejo, Nino,” 1984 Woodcut in colors with gold leaf on paper under glass Edition: 49/50 Signed and numbered in pencil in the lower margin: Toledo Image: 10.5” H x 14.5” W; Sheet: 15.25” H x 22.5” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Born in Juchitán, Oaxaca in 1940, Francisco Toledo spent his childhood between Juchitán and Minatitl·n, Veracruz. As a young man, Francisco Toledo followed his father into the jungles of Oaxaca on wild animal hunts. Later, he moved to Mexico where he took up the trade of lithography from the engraving workshops at the local School of Arts and Crafts. In 1959, after developing his craft, Toledo exhibited his works at Antonio Souza’s gallery in Mexico and at the Forth Worth Art Center in Texas. These early years informed the artist he would become. “Toledo is the art of shamanism,” Christopher Goodwin of The Guardian wrote in 2000, “in which people are transformed into beasts and animals and may take on human characteristics.” President Andrés Manuel López Obrador of Mexico announced the death on Twitter, calling Mr. Toledo “a true defender of nature, customs, and traditions of our people.” While he preferred anonymity, his service to cultural preservation and celebration of traditional imagery gained him national acclaim. His first one-man show at 19 years set the stage for his travels to Paris where he was supported by poet Octavio Paz and the painter Rufino Tamayo. Toledo’s fascination with the metaphors of indigenous animals as symbols of Mexican history and mythology abound in his art. He settled definitively in Mexico in 1967.

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144

Francisco Toledo

(1940-2019, Mexican) “Sapos y Chapulines,” 1977 Etching, roulette and soft-ground in colors on paper under glass Edition: 12/30 Signed and numbered in pencil in the lower margin: Toledo; titled and dated on a gallery label affixed to the frame’s backing paper Plate: 8” H x 11.5” W; Sheet: 13.75” H x 22.25” W $1,000-1,500 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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145

Francisco Toledo

(1940-2019, Mexican) “Iguana Rehilete,” 1976 Etching and aquatint in colors on BFK Rives paper under glass Edition XXVII/L Signed and numbered in pencil in the lower margin: Toledo Plate: 15.5” H x 15.25” W; Sight: 26.5” H x 18.75” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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146

Francisco Toledo

(1940-2019, Mexican) “Animales” Lithograph in colors on paper under glass Appears to be an artist’s proof aside from the edition of unknown size Signed and indistinctly inscribed, possibly “prueba de artista,” in pencil in the lower margin: Toledo; titled on a label affixed to the backboard of the frame Image: 23” H x 17” W; Sight: 24.5” H x 17.875” W $300-500 Provenance: Jack Misrachi Gallery, NY, NY Acquired from the above in the 1970s Thence by descent through the family to the present owner

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147

Francisco Toledo

(1940-2019, Mexican) “Untitled” Etching on paper under glass An artist’s proof aside from the edition of unknown size Signed and inscribed in pencil in the lower margin: Toledo; titled from a gallery label affixed to the frame’s backboard Plate: 7.625” H x 9.75” W; Sight: 8.25” H x 10.25” W $400-600 Provenance: Jack Misrachi Gallery, New York, NY

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148

Francisco Toledo

(1940-2019, Mexican) “Conejo,” 1974 Etching and aquatint in colors on paper under glass Edition A/P (aside from the edition of unknown size) Signed and inscribed in pencil in the lower margin: Toledo; titled and dated on the gallery label affixed to the frame’s backboard Plate: 3.25” H x 5.75” W $400-600 Provenance: Casa de la Cultura de Sonora, Hermosillo, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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149

Francisco Toledo

(1940-2019, Mexican) “Laguna Verde,” 1985 Aquatint in colors on paper under glass An artist’s proof aside from the edition of unknown size Signed and inscribed “P. A.” in pencil in the lower margin: Toledo Plate: 5.75” H x 7” W; Sight: 21.75” H x 14.5” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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150

Jesus Mariano Leuus

(b. 1948, Mexican) “Maternidad,” 1963 Acrylic on Masonite Signed, dated, and inscribed lower right: Jesus Leuus / Mexico; titled on a gallery label affixed verso 23.75” H x 11.75” W $500-700 Provenance: Galerie de Arte Mendelsohn, Mexico

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151

Jesus Mariano Leuus

(b. 1948, Mexican) Seated woman in white dress, 1963 Oil on Masonite Signed, dated and inscribed “Mexico” in the lower right corner: Jesus Leuus 17.75” H x 12.5” W $500-700

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152

Jesus Mariano Leuus

(b. 1948, Mexican) Figures seated in a doorway, 1968 Oil with sand on Masonite Signed, dated and inscribed “Mexico. VI. 68” in the lower right corner: Jesus Leuus 18.75” H x 19” W $600-800

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153

Juan Alcazar Mendez

(1955-2013, Mexican) “Los gatos de Justina,” 1996 Etching and aquatint in colors on paper Edition: 44/50 Signed, titled, dated and numbered in pencil in the lower margin: Alcazar Plate: 13.5” H X 19.25” W; Sight:15.5” H X 21.5” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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154

Juan Alcazar Mendez

(b. 1955, Mexican) “Por la calle de Juchitan,” 1996 Etching and aquatint in colors on paper An artist’s proof numbered 3/10, aside from the edition of unknown size Signed, titled, dated, numbered and inscribed “PA 3/10” in pencil in the lower margin: Alcazar Plate: 13.75” H X 19.75” W; Sight: 21.75” H X 29.25” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: The artist’s full name is Juan Alcazar Mendez.

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155

Juan Alcazar Mendez

(1955-2013, Mexican) “Descanso,” 1996 Etching and aquatint in colors on paper under glass One of 10 artist’s proofs aside from the edition of unknown size Signed, titled, dated and inscribed “PA 7/10” in pencil in the lower margin: Alcazar Plate: 12.5” H x 11.5”W; Sheet: 20.5” H x 19.75” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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156

Los Castillo

A silver collar necklace and bracelet, circa 1940-1965; Taxco, Mexico Each stamped: Los Castillo / Taxco / Sterling / Made in Mexico; Necklace further stamped: 368; Cuff further stamped: [Eagle 15] / 250 Comprising a bib collar necklace with repoussé motifs and dot accents and a hinged cuff bracelet with swirl and dot motif, 2 pieces Necklace: 15” L x 1.25” H; Cuff: 6.75” inner C x 2” H 155.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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157

Los Castillo

A silver link necklace and cuff bracelet, circa 1940-1945 and 1948-1960; Taxco, Mexico Each stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [design number]; cuff further stamped: [Eagle 15] Comprising a necklace with a central fan-shaped plaque and winged links (no. 551; 17” L x 2.125” H) and a cuff bracelet with incised scrollwork (no. 583; 7” total inner C x 1.75” H; wrist opening: 1,5”), 2 pieces 161.5 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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158

Los Castillo

A silver necklace and bracelet set, circa 1940-1945; Taxco, Mexico Each stamped: Los Castillo / Taxco / Sterling / Made in Mexico / 674 Comprising an incised silver link necklace suspending a central plaque of a double knot motif, together with a matching incised silver cuff bracelet, 2 pieces Necklace: 15.5” L x 2.25” H; Cuff: 7” total inner C x 2.375” H; wrist opening: 1.5” 209.8 grams $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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159

Los Castillo

A silver necklace and earrings, circa 1940-1945; Taxco, Mexico Each stamped: Los Castillo / Taxco; Necklace further stamped: Sterling / Mexico / 110M; One earring further stamped: 110 Comprising a necklace formed of incised silver looped ribbon links, with a pair of matching clip earrings, 3 pieces Necklace: 17” L x 2.5” H; Each earring: 1.75” H x 0.875” W 108.0 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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160

Los Castillo

A suite of silver jewelry, circa 1940-1945; Taxco, Mexico Each stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [design number] Comprising a necklace and bracelet (each no. 267) of linked silver Aztec seated figures with a pair of matching earrings (no. 263), 4 pieces Each: 1.75” H; Necklace: 18” L; Bracelet; 7” L 239.4 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Los

Ag Eac Com (no 219

$80

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161

Los Castillo

A “Mosaico Azteca” hardstone bracelet, circa 1950-1965; Taxco, Mexico Stamped: Los Castillo / Taxco / [Eagle 15] / Mosaico Azteca / 925 / 245 A chunky scroll-shaped hinged bracelet with inlaid hardstone in blues and greens to scroll top and edges, with clasp closure 6.25” inner C x 1.625” H 119.8 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

s Castillo

group of silver bracelets, circa 1940 -1965; Taxco, Mexico ch stamped: Los Castillo / Taxco / Sterling / Made in Mexico; variously further stamped: [Eagle 15] / [design number] mprising an openwork cuff bracelet (no. 461; 6.75” total inner C x 1.375” H; wrist opening: 1.375”), a hinged double swirl and dot bracelet o. 508; 7.25” inner C x 2.75” H) and a hinged bracelet with feather design (no. 238; 6.5” inner C x 2.25” H), 3 pieces 9.6 grams

00-1,200

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163

Los Castillo

A silver Aztec warrior bracelet, circa 1948-1965; Taxco, Mexico Stamped: Los Castillo / Taxco / Sterling / Made in Mexico / [Eagle 15] / 276 The hinged cuff bracelet with incised plumed warriors to each terminal 7.5” inner C x 3.5” H 94.4 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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164

Los Castillo

A set of “Onix Negro” silver and stone jewelry, circa 1959-1965; Taxco, Mexico Each stamped: Los Castillo / Taxco / Hecho en Mexico / [Eagle 15] / 58; Bracelet further stamped: Onix Negro Comprising an inlaid silver and onyx panther paw bracelet and matching pendant earrings, 3 pieces Bracelet: 7.25” L x 0.75” H; Each earring: 1.625” H 60.8 grams gross $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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165

Los Castillo

A group of “Onix Negro” tie pins, circa 1959-1965; Taxco, Mexico Each stamped: Los Castillo; Each further variously stamped: Taxco / [Eagle 15] / Hecho en Mexico / Onix Negro / [various design numbers] Comprised of mixed-metal and hardstone modernist tie pins of various shapes designed in silver, copper, turquoise, and black stone inlay, 14 pieces Largest: 0.625” Dia. 51.5 grams gross $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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166

Fred Davis

(1880-1961, American) A group of silver and amethyst jewelry, pre-1948, Mexico City, Mexico Each stamped: FD / Silver; Each further stamped for Mexico Comprising a necklace of round cabochon amethyst segments alternating with a stylized shield shape panel (15.75” L x 1” H) together with a matching bracelet (7.75” L x 1” H) and screw-back earrings (1.125” H), 4 pieces 126.7 grams gross $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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167

Fred Davis

(1880-1961, American) A set of silver and amethyst jewelry, pre-1948; Mexico City, Mexico Each stamped: FD / Mexico; Further variously stamped: Silver / Sterling Comprising a collar necklace and matching link bracelet formed of rectangular clusters of silver half spheres and amethyst cabochons alternating with silver rod segments, 2 pieces Necklace: 17” L x 1.25’ H; Bracelet: 8” L x 1.25” H 187.4 grams gross $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 25, fig. II-5.

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168

Fred Davis

(1880-1961, American) A group of silver and amethyst jewelry, pre-1948; Mexico City, Mexico Each stamped: FD / Silver / Mexico; Necklace further stamped: [Eagle 22] Comprised of a necklace formed of round cabochon amethysts set on top of silver half sphere cluster segments, together with three link bracelets of similar design, 4 pieces Necklace: 14.75” L x 0.5” H; Largest bracelet: 8” L x 1.125” H 193.5 grams gross $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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169

Fred Davis

(1880-1961, American) A group of silver and amethyst jewelry, pre-1948; Mexico City, Mexico Each stamped: FD / Silver; Further variously stamped: Mexico / Made in Mexico Comprising a stylized fringe link necklace with set amethyst cabochons (17” L x 1.25” H), a silver and amethyst bracelet 7.5” L x 1” H) and an stone set amethyst ring (ring size: 6.5), 3 pieces 169.4 grams gross $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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170

Fred Davis

(1880-1961, American) A suite of silver jewelry, pre-1948; Mexico City, Mexico Two stamped: FD / Silver / Mexico; One bracelet stamped: Silver / Made in Mexico; Earrings attributed to Davis, unmarked Comprised of a collar necklace of stylized chevron links (16.5” L x 1” H) together with two matching chevron link bracelets (each 7.5” L x 1.125” H) and a pair of screw-back chevron earrings (each: 1.25” H), 5 pieces 195.7 grams $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 27, fig. II-9.

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171

Fred Davis

(1880-1961, American) A group of Fred Davis and Sanborns silver jewelry, pre-1948, Mexico City, Mexico Two stamped: FD / Made in Mexico / Silver; One bracelet stamped: Sanborns / Mexico / Sterling; Earrings attributed to Davis; each unmarked Comprising a fluted scalloped link necklace 1(6” L x 0.75” H) with two matching bracelets (largest: 8” L x 0.75” H) and a pair of screw-back earrings (each 0.75” H), 5 pieces 152. 8 grams $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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172

Fred Davis

(1880-1961, American) A pair of mixed-metal and amethyst brooches, 1948 or later; Mexico City, Mexico Silver stamped: FD; Each further stamped: Silver / Mexico / [Eagle 22]; Vermeil brooch attributed to Davis Comprising two matching Aztec motif brooches each with a set amethyst cabochon, one in silver and one in vermeil, 2 pieces Silver: 2.25” Dia.; Vermeil: 2.125” Dia. 67.7 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

174

A Fred Davis-style

Second-Quarter 20th Stamped: Mexico / S The necklace with silv carved figure 15.5” L x 2.375” H 106.3 grams gross $800-1,200

Literature: A similar p Modernist Antonio Pi

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173

Fred Davis

(1880-1961, American) A group of silver and onyx jewelry, pre-1948, Mexico City, Mexico Stamped: FD / Silver / Mexico Comprising two wide cluster half sphere silver bracelets (Largest: 8” L x 2” H) and a matching brooch with three onyx cabochons (1.25” H x 2” W), 3 pieces 205 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 25, fig. II-5.

e stone set necklace

h Century or Later Sterling / [illegible mark, crown or snake head] ver link chains suspending carved green stone sections with faces and central

piece illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican ineda” (Los Angeles: Fowler Museum at UCLA, 2008), 84, plate 61.

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175

Fred Davis

(1880-1961, American) Two silver and amethyst bracelets, pre-1948; Mexico City, Mexico Each stamped conjoined FD for Fred Davis; Further stamped: Silver / Mexico Comprising a bracelet of alternating small silver half-sphere links and five cushion-shaped cabochon amethyst links (6.5” L x 1” H) and a chevron link bracelet centering a cushion shaped cabochon amethyst (6.75” L x 1” H), 2 pieces 135.7 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 25, fig. 11-5.

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177

Fred Davis

(1880-1961, American) A group of silver and amethyst brooches, pre-1948; Mexico City, Mexico Each stamped: FD; Further variously stamped: Silver / Mexico / Made in Mexico Comprising three stylized floral and botanical brooches each set with amethyst, 3 pieces Largest: 2” H x 4” W 100 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

176

Fred Davis

(1880-1961, American) Two silver and amethyst bracelets, pre-1948; Mexico City, Mexico Each stamped: FD / Mexico / Silver Comprising a circular cluster set amethyst link bracelet (7.75” L x 1” H) and an amethyst and graduated silver sphere halo link bracelet (7.25” L x 1.25” H), 2 pieces 118.3 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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178

Fred Davis

(1880-1961, American) A group of silver and green hardstone brooches, pre-1948; Mexico City, Mexico Each stamped: FD; Further variously stamped: Silver / Mexico / Made in Mexico / Sterling Comprising three silver dimensional flower brooches (Largest: 4.5” H x 2.5” W), a green hardstone flower brooch (3.5” H x 2.25” W) and a bird brooch with turquoise set eyes (3.5” H x 1.25” W), 5 pieces 158.2 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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179

Fred Davis

(1880-1961, American) A group of silver and amethyst brooches, pre-1948; Mexico City, Mexico Each stamped: FD; Further variously stamped: Silver / Mexico / Made in Mexico Comprising four stylized and geometric brooches with set amethysts, 4 pieces Largest: 1.75” L x 4” W 105.3 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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180

A South American polychrome rocking horse

20th Century The carved wood rocking horse painted red and with designs in hues of yellow and green 25” H x 6” W x 26” D $400-600

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181

Sergio Bustamante

(b. 1949, Mexican) Standing lion Patinated bronze on marble base Edition: 31/100 Signed and numbered: Sergio Bustamante © Overall: 4” H x 7” W x 2.5” D $200-300

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182

Attributed to Sergio Bustamante (b. 1949, Mexican) Seated giraffe Copper and brass Appears unsigned 47.5” H x 31” W x 46” D $1,000-1,500

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183

Attributed to Sergio Bustamante (b. 1949, Mexican) Lion Copper and brass Appears unsigned 32” H x 45” W x 17” D $800-1,200

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184

Attributed to Sergio Bustamante (b. 1949, Mexican) Sun face Copper and brass Appears unsigned 50” Dia. x 6” D $1,000-1,500

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185

Attributed to Sergio Bustamante (b. 1949, Mexican) Frog Copper and brass Appears unsigned 8” H x 9.75” W x 10” D $300-500

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186

Attributed to Sergio Bustamante (b. 1949, Mexican) Frog Copper and brass Appears unsigned 11” H x 16” W x 20” D $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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188

Attributed to Sergio Bustamante (b. 1949, Mexican) Hanging parrot Copper and brass Appears unsigned 25” H x 6.75” W x 8” D $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

187

Attributed to Sergio Bustamante (b. 1949, Mexican) Two perched parrots Copper and brass Appears unsigned 22” H x 42” W x 11” D approximately $700-900

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189

A Brazilian silver penca de balangandan amulet

20th Century Marked: 900MM BAHIA The religious amulet consisting of various charms strung from a central fastener and presented in an acrylic case Overall: 15.25” H x 8.25” W x 5.25” D 14.345 gross oz. troy approximately $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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190

Carlos Merida

(1895-1984, Guatemalan) “La Endecha,” 1978 Screenprint in colors on paper under glass Edition 100/100 Signed and numbered in the lower margin: Carlos Merida Image: 24.875” H x 21” W; Sight: 26.75” H x 22.75” W $600-800 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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191

Carlos Merida

(1895-1984, Guatemalan) “El Hijo de Venado,” 1981 Screenprint in colors on Amate paper under glass Edition: 72/100 Signed lower right: Carlos Merida Sheet: 23.75” H x 16” W $700-900 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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192

Carlos Merida

(1895-1984, Guatemalan) “La Dama de la Esmeralda I,” 1979 Screenprint in colors on Amate paper under Plexiglas Edition: 6/100 Signed lower right: Carlos Merida; signed in the plate and dated lower center Sight: 40” H x 29” W $800-1,200 Provenance: Galerie Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above, 1979 Notes: A different impression of this screenprint was reproduced as one of the frontispieces for the catalogue issued in conjunction with the traveling exhibition, “Carlos Merida: Graphic Work 1915-1981.” The exhibition was organized by the Center for Inter-American Relations, New York, and was mounted in six separate cities between April 28, 1981 and May 23, 1982.

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193

Enrique Tabara

(1930-2021, Equador) “Paseantes en la Calle,” 1983-84 Oil on prepared canvas Signed and dated lower left: Tabara ‘83; signed and dated again: E. Tabara ‘84, and titled, verso 43” H x 43” W $1,000-2,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: The thick, distinct forms depicted across the surface of this painting suggest that Tabara may have used an encaustic technique to create it. Tabara studied at the Escuela Artes in Guayaquil from 1946-1951 where he studied with Luis Martinez Serrano. In 1955 he received a grant to go to Spain, where he lived until 1964. He first used Expressionism as a reaction against Indigenism. He started the Equadorian artist group VAN against the influence of Indigenism. Tabara’s work was central to the Latin American movement, which began to abandon social realism in the 1950’s. In his early work he painted characters on the margins of society in a hard and grotesque manner. Tabara first exhibited in the United States at the OAS in 1954. From 1953 he started to experiment with abstraction, and in the 1960’s he constructed a language of magical and mythical connotations derived from Pre-Columbian calligraphy and Surrealism. His work from this period is rich in texture, combining elements glued to the canvas, serial calligraphy and telluric forms. In 1969 he began to search for new signs, notably feet and legs (his pata-pata motif) and from 1985 he revitalized his use of color and added leafy vegetation to the feet and legs in his quest to create morphologies compatible with the mythical culture of American man. Tabara has exhibited worldwide.- Carolyn Adrian

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194

A South American silver and copper bowl

18th/19th Century The bowl in hand-wrought silver over copper with alternating figural and stylized butterfly motifs 4.25” H x 9.25” Dia. 36.975 gross oz. troy approximately $500-700

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195

Three sterling silver and rosewood salad serving sets Mid-20th Century Three works:

A Saul serving set Marked: Saul / 0.925 / Hecho en Mexico Each with rose bough design to the handle, 2 pieces Spoon: 11.5”; Fork: 11.25” A J. Sotelo serving set Marked: Taxco / 925 / [JS] / Sterling Each with incised bands to the neck, 2 pieces Spoon: 12.25”; Fork: 12” An “AEM” serving set Marked: Hecho en Mexico / [A with wings] / 0.925 / Sterling / [AE with heart-shaped M] / [Eagle 23] Each with three applied balls to the neck and an inlaid band of silver to the handle, 2 pieces Spoon: 11.125”; Fork: 11” 6 pieces 16.245 gross oz. troy approximately $500-700 Notes: This lot may require a CITES permit if being shipped outside the United States. Please contact your preferred shipping company for information.

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196

A group of sterling silver table items

Mid-20th Century; Mexico Each marked for Mexican sterling and with various maker’s marks Comprising a set of twelve openwork napkin rings (each: 1.625” Dia.), a pair of salt and pepper shakers with openwork silver overlay on glass (each: 2” H x 1.375” Dia.), a pair of weighted ball candlesticks (each: 2” H x 2.25” Dia.), an openwork pie server with rosewood handle (9.5”), a salad serving set (each: 9”), a gravy ladle (6.5”), and a large punch ladle (13”), 21 pieces 26.235 gross oz. troy approximately $400-600 Notes: This lot may require a CITES permit if being shipped outside the United States. Please contact your preferred shipping company for information.

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197

A group of Pre-Columbian-style tumbaga figural pendants

20th Century or Earlier Possibly in the style of the Tairona people, each small figure cast in yellow-toned metal mounted on an acrylic base, comprising a seated figure, an abstract standing figure, a bird, and a fish, 4 pieces Larger: 1.75” H x 3.75” W x 2.125” D; Smaller: 3” H x 1.5” W $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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198

An Árbol de la Vida tree of life pottery sculpture

Late 20th/Early 21st Century With incised signature verso: DLM The ceramic sculpture with a mermaid surrounded by fish, birds, the sun and moon, and abundant flowers on wire supports 23” H x 18” W x 4.5” D $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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199

An Árbol de la Vida tree of life pottery candelabrum

20th Century The three-light ceramic candelabrum centering figures of St. Francis and an angel surrounded by abundant flowers on wire supports 23.75” H x 19” W x 6” D $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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200

Two Metepec pottery Árbol de la Vida candelabra Two works:

A Dia de los Muertos candelabrum Late 20th/Early 21st Century Signed: Martin H.S. Centering a Catrina-style calavera surrounded by flowers, birds, and calaveras in hats presented in an acrylic case 6.25” H x 5.5” W x 3.25” D; case: 8.5” H x 8.25” W x 6.25” D An Árbol de la Vida candelabrum 2002 With incised signature, date, and inscription verso: Adrian L.G. / Metepec / Mexico / 2002 With abundant birds and flowers presented in an acrylic case 7.25” H x 9.75” W x 2.5” D; case: 9.5” H x 12.25” W x 6” D 2 pieces $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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201

Two Árbol de la Vida tree of life pottery sculptures

Late 20th/Early 21st Century Each ceramic tree of life sculpture with a peacock on a central trunk issuing abundant flowers, leaves, and birds on wire supports with a swirled background and raised on a flared foot, 2 pieces Larger: 23.75” H x 19” W x 8” D; Smaller: 16.25” H x 12” W x 6.5” D $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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202

Jose Luis Serrano

(b. 1947, Mexican) “Alfabeto Roto No. 1,” 1976 Silicografia on canvas Signed and dated lower right: Serrano; titled on a gallery label affixed verso 27.5” H x 35” W $200-300 Provenance: Galeria Juan Martin, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Born Jose Luis Ramirez Garcia on March 20th, 1947 in Guadalajara Jalisco. Serrano studied art at the prestigious “La Esmeralda” Academy in Mexico City from 1963 until 1968. Since 1970 he’s showcased his work in numerous solo exhibitions in Mexico City, Michoacan, Guadalajara, La Paz, Oaxaca, Cancun and Monterrey in Mexico as well as Tucson, AZ and San Francisco, CA in the United States and Vancouver BC in Canada. He developed a print technique that he calls Silicografia that gives his work layers of texture along with colors. Between 1975 and 1976 he became a professor at his alma mater, La Esmeralda Academy.

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203

Jose Luis Serrano

(b.1947, Mexican) “Alfabeto Roto No. 2,” 1976 Silicografia on canvas Signed and dated lower right: Serrano; titled on a gallery label affixed verso 27.5” H x 35” W $200-300 Provenance: Galeria Juan Martin, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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204

Jose Luis Serrano

(b. 1947, Mexican) “Buscando el Tiempo,” 1981 Silicografia on canvas Signed and dated lower right: Serrano; titled by repute 33.5” H x 29.5” W $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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205

Jose Luis Serrano

(b. 1947, Mexican) “Meditaciones,” 1978 Silicografia on board Signed and dated lower right: Serrano 26.5” H x 26.5” W $200-300 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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206

207

(1883-1949, Mexican) “Mujer Gravida,” 1929 Lithograph on paper under glass Presumably from the edition of 100 Signed lower right: Jose Clemente Orozco Image: 15.75” H x 10” W

(1912-1998, Mexican) “Mujer con Pescados,” 1980 Lithograph in colors on paper under Edition 59/135 Signed, dated and numbered in pen France, prntr., with their blindstamp Image/Sheet: 21.75” H x 29.5” W

Jose Clemente Orozco

$1,200-1,800 Literature: Orozco 10.

Francisco Zúñiga

$1,000-1,500

Provenance: The Carolyn J. Adrian C

Literature: Brewster 58 (and featured

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r glass

ncil in the lower left corner; Mourlot Atelier, Paris, p; Brewster Editions, New York, NY, pub.

Collection, South Pasadena, CA

d as cover illustration)

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208

Francisco Zúñiga

(1912-1998, Mexican) “Mujer con Naranja,” 1974 Screenprint in colors on paper Edition: 102/300 Signed, dated and numbered in pencil in the lower corners: Zga; Kyron, S. A. Mexico City, prntr./pub., with their blindstamp at the lower right Image/Sheet: 26.875” H x 19.125” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Literature: Brewester 19

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209

Francisco Zúñiga

(1912-1998, Mexican) “La Novia,” 1978 Lithograph in colors on paper under glass Edition H.C. III/IV, aside from the edition of 70 Signed, dated, and numbered in pencil at the lower left: Zuniga; Kyron, S.A., Mexico City, prntr., with their blindstamp Image/Sheet: 17.5” H x 23.5” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Literature: Brewster 44

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210

Francisco Zúñiga

(1912-1998, Mexican) “El Canasto,” 1981 Lithograph in colors on paper under glass Edition 43/135 Signed, dated and numbered in pencil at the lower left: Zuniga; Mourlot Atelier, Paris, France, prntr., with their blindstamp in the lower right corner; Brewster Editions, New York, NY, pub. Image/Sheet: 30” H x 22.5” W $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Literature: Brewster 62

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211

David Alfaro Siqueiros

(1896-1974, Mexican) “Dos Ninos,” 1956 Lithograph on paper under glass Edition E/E Signed lower right: David Siqueiros Image: 30” H x 23” W $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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212

David Alfaro Siqueiros

(1896-1974, Mexican) “Desnudo Acostado” Lithograph on paper Edition 8/35 Signed lower right: A. Siqueiros; signed and titled in another hand along the lower margin Image: 16.5” H x 22.75” W; Sheet: 23” H x 30” W $800-1,200

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213

David Alfaro Siqueiros

(1896-1974, Mexican) “#4,” 1964 Ink on paper laid to Masonite Signed, inscribed and dated at the lower right: Siqueiros / C. P. 2. 64: Siqueiros; titled on a portion of a gallery label partially affixed verso 13.5” H x 8.5” W $2,000-3,000 Provenance: Provenance: Alberto Misrachi (Central de Publicaciones, S. A.), Mexico City Private Collection, acquired from the above in 1966 Notes: The label affixed to the verso of the Masonite indicates that the work was done in ink, however, hand-written collector’s notes on paperwork included with the lot state, “Siqueros was in jail when he painted this. He had no paint. He used shoe polish.” This lot is sold together with a copy of an invoice and shipping document from Misrachi (Central de Publicaciones, S. A.), Mexico, dated Januray 11,1966, and an annotated copy of a 1964 press release issued by New Art Center Gallery, New York, NY. w w w. j o h n m o r a n . c o m 2 3 9

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214

José Luis Cuevas

(1934-2017, Mexican/American) “Marquis de Sade, NiÑo,” 1964 Oil on canvas Signed, dated, and numbered in the upper right corner: Cuevas / #25; titled on the stretcher 54.75” H x 55” W $2,500-3,500 Provenance: Silvan Simone Gallery, Los Angeles, CA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Exhibitions: Santa Ana, The Modern Museum of Art, “José Luis Cuevas, Paintings and Drawings,” April 22-June 18, 1989

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215

Jose Clemente Orozco

(1883-1949, Mexican) “Dos mujeres,” 1944 Drypoint on paper, watermark C. M. Fabriano, under glass Presumably from the edition of 75 Signed in the lower margin, at right: Clemente Orozco [illegible]; stamped “Original de Jose Clemente Orozco” in ink, verso Plate: 7.375” H x 9.875” W: Sheet: 22” H x 15” W $600-800 Exhibitions: Palm Springs Desert Museum, Palm Springs, CA, “Mexican Graphics,” April 3, 1979 - June 3, 1979

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216

Rita Reyes

(b. 20th Century, Mexican) Rita Reyes in labor and the Virgin of Guadalupe, 1990 Polychrome Ex Voto on tin Signed and dated as part of the inscription: Rita Reyes 13.375” H x 9” W $300-500 Notes: The work is inscribed: “Rita Reyes le agradece a la virgencita por el favor que me iso de que mi embarazo salicya todo con bien.” Roughly translated, this says “Rita Reyes thanks the little virgin for the favor she gave me that my pregnancy went well.”

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217

Delfino Garcia

(b. 1917, Mexican) Seated woman, 1938 Gouache on tan paper Signed, dated Oct. 31 de 1938, and indistinctly inscribed in the lower right corner: D. Garcia Image/Sheet: 17” H x 12.5” W $400-600

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218

Gustavo Montoya

(1905-2003, Mexican) Two works, from “Los Ninos Mexicanos” series, 1993-95 Two boys fishing on the beach Screenprint in colors on wove paper Edition: 222/250 Signed and numbered in pencil in the lower margin: g montoya; inscribed in pencil in the lower margin: “To my friends / B Montoya”; with an unidentified blindstamp in the lower margin at left; Enrique Cattaneo prntr. Image: 23.5” H x 17.5” W; Sheet: 27.25” H x 21.25” W Boy with guitar and girl with violin Screenprint in colors on wove paper Edition: 220/250 Signed and numbered in pencil in the lower margin: g montoya; inscribed in pencil in the lower margin: “To my friends / B Montoya”; with an unidentified blindstamp in the lower margin at left; Enrique Cattaneo prntr. Image: 23.5” H x 17.5” W; Sheet: 27.25” H x 21.25” W $500-700

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219

Gustavo Montoya

(1905-2003, Mexican) Two works, from “Los Ninos Mexicanos” series, 1993-95 Boy in blue with pot Screenprint in colors on wove paper Edition: 184/250 Signed and numbered in pencil in the lower margin: g montoya; inscribed in pencil in the lower margin: “To my friends / B Montoya”; with an unidentified blindstamp in the lower margin at left; Enrique Cattaneo prntr. Image: 23.5” H x 17.5” W; Sheet: 27.25” H x 21.25” W Girl with parrot Edition: 85/250P Screenprint in colors on wove paper Signed and numbered in pencil in the lower margin: g montoya; inscribed in pencil in the lower margin: “To my friends / B Montoya”; with an unidentified blindstamp in the lower margin at left; Enrique Cattaneo prntr. Image: 23.5” H x 17.5” W; Sheet: 27.25” H x 21.25” W $500-700

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220

Jesús Guerrero Santos

(b. 1939, Mexican) A Virgen de Guadalupe holy water font, 1995 and 2002 Ceramic, iron, and brass Signed and dated to the ceramic: [JGS monogram] / 1995 / 2002 79” H x 30” W x 17” D $1,500-2,000

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221

A carved wood crucifix

20th Century Signed: Gallardo [possibly Ramon Gallardo Lozano] The polychromed wood devotional figure with gilt highlights 30” H x 19.5” W x 3.5” D $800-1,200 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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222

Jesús Guerrero Santos

(b. 1939, Mexican) A Maria Santisima holy water font, 2003 Silver and ceramic Signed and dated to the ceramic: [JGS monogram] / 03; signed again with monogram to the silver verso 10.25” H x 5.75” W x 2.5” D $400-600

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223

Jesús Guerrero Santos

(b. 1939, Mexican) A pair of iron candelabra Appear unsigned Each two-light iron candlestick with scrolls centering applied blue glazed ceramic putti masks with matching blue ceramic cabochons and florettes, 2 pieces Each: 15.5” H x 11.25” W x 4.125” D $700-900

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225

A pair of santos figures

19th Century The polychromed carved wood santos figures likely depicting Saint Joseph and the Virgin Mary with glass eyes Each: 10” H x 5” W x 2” D approximately $300-500

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226

A chased metal and wood box

First-Quarter 20th Century The wood box with latched lid, side handles, and chased metal accents with nail head trim 7.375” H x 15” W x 10.5” D $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

224

A Mexican Tramp Art wall nicho

Fourth-Quarter 19th Century The folk art hanging wall niche with chip carved front and single shelf interior lined in floral paper and surmounted by three crosses 32.25” H x 16” W x 8.5” D $300-500

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227

Antonio Pineda

(1919-2009, Mexican) A suite of silver jewelry, circa 1962-1963 and 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Necklace further stamped: Taxco / Mexico / [Eagle 121] / CM / 970; Bracelet further stamped: Los Castillo Soc Coop Scl Sec 2 / Eagle 58 / 970 / Hecho en Mexico / ZZ645; Earclips: 970 / Eagle 17 Comprising a heavy collar necklace, a hinged link bracelet and a pair of matching earclips, each in a stylized chevron motif, 4 pieces Necklace: 14.75” L x 1.5” H; Bracelet: 7” L x 1.5” H; Each earring: 1” H 324.4 grams $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 137, plate 164A-B.

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228

Antonio Pineda

(1919-2009, Mexican) A set of silver “Birdcage” jewelry, circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; [Eagle 17]; Each further variously stamped: Hecho en Mexico / Silver / 970 / ZZ679 Comprising a collar necklace and bracelet in a stylized birdcage motif, 2 pieces Necklace: 14.5” L x 1.875” H; Bracelet: 6.5” L x 1.5” H 327.9 grams $2,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: These designs illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 126, plate 147A-B.

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229

Antonio Pineda

(1919 - 2009, Mexican) An assembled set of silver and moonstone jewelry, circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Further marked for silver and Mexico; Each variously stamped: [Eagle 17] / [Eagle 1] Comprising a swirl link necklace with oval cabochon moonstones and matching swirl dangle screw-post earrings, along with another pair of moonstone earrings, 4 pieces Necklace: 16” L x 0.75” H; earrings: 0.875” H and 1.5” H 140.0 grams gross $1,500-2,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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230

Antonio Pineda

(1919-2009, Mexican) A silver and amethyst necklace, circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda / Further stamped: [Eagle 17] / Silver / 970 / Hecho en Mexico Comprised of narrow rectangular links alternating with set carved amethyst links 17.25” L x 0.625” H 134.4 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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233

Antonio Pineda

(1919-2009, Mexica A silver bracelet, ci Stamped with crow Mexico / 970 / ZZ7 A heavy link bracel 8” L x 1” H 96.9 grams $500-700

Provenance: The C

231

Antonio Pineda

(1919-2009, Mexican) A silver and amethyst bracelet, circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; Further stamped: [Eagle 17] / Hecho en Mexico / Silver / 970 Comprising a swirl link bracelet set with oval cabochon amethysts 6.5” L x 1” H 102.6 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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an) irca 1953-1979; Taxco, Mexico wn mark for Antonio Pineda; Further stamped: Hecho en 728 / [Eagle 17] let designed with apostrophe-shaped links

Collection of Cindy Tietze-Hodosh and Stuart Hodosh

232

Antonio Pineda

(1919-2009, Mexican) Two silver and amethyst bracelets, circa 1941-1948 and 1953-1979; Taxco, Mexico Each stamped for Antonio Pineda; Further variously stamped: Mexico / Hecho en Mexico / Silver / [Eagle 17] / Z587 Comprising a silver flower bud link bracelet (8.5” L x 1” H) and a carved rectangular amethyst link bracelet (7.75” L x 1” H), 2 pieces 99.4 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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235

Antonio Pineda

(1919-2009, Mexican) A set of silver jewelry, circa Each with crown mark for [Eagle 17] / 970 / Silver / H Comprising a chunky colla geometric links, 2 pieces Necklace: 18.25” L x 0.62 254.2 grams $1,200-1,800

Provenance: The Collectio

234

Antonio Pineda

(1919-2009, Mexican) A mixed set of silver, onyx and obsidian jewelry; 1953-1979; Taxco, Mexico Each stamped with crown mark for Antonio Pineda; Further stamped: Taxco / Mexico / 970 / CM / [Eagle 121] Comprising a bracelet of crossed silver curved bars alternating with teardrop onyx cabochons with matching obsidian earrings, 3 pieces Bracelet: 8” L x 1.75” H; Each earring: 1.5” H 141.0 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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a 1953-1979; Taxco, Mexico Antonio Pineda; Each further variously stamped: Hecho en Mexico / ZZ612 / [partial] YY ar necklace and bracelet each designed with

25” H; Bracelet: 7.25” L x 0.875” H

on of Cindy Tietze-Hodosh and Stuart Hodosh

236

Antonio Pineda

(1919-2009, Mexican) A silver and amethyst bracelet, circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Further stamped: Hecho en Mexico / Silver / 970 / ZZ750 / [Eagle 17] Comprising an architectural hinged bangle bracelet with carved set amethyst clasp closure 6.5” inner C x 1.375” H 82.7 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 139, plate 167.

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237

Antonio Pineda

(1919-2009, Mexican) A silver bracelet, circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Further stamped: JVL / Taxc Sterling / 970 / [Eagle 208] A heavy hinged rectangular concave link bracelet with clasp 6.75” L x 1.25” H 133.2 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

238

Antonio Pineda

(1919-2009, Mexican) Two silver jewelry items, circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Each further variously stamped: Silver / Hecho en Mexico / 970 / ZZ777 / [Eagle 17] Comprising a stylized leaf link necklace and a chunky double wave link bracelet, 2 pieces Necklace: 17.5” L x 0.75” H; Bracelet: 7.5” L x 1” H 195.8 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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co /

239

Antonio Pineda

(1919-2009, Mexican) A set of silver and onyx jewelry, circa 1953-1979; Taxco, Mexico Each stamped with crown mark for Antonio Pineda; Further variously stamped: Hecho en Mexico / ZZ515 / 970 / Silver / [Eagle 3] / [Eagle 17] Comprising a heavy link bracelet and matching pair of earclips in a wave link design set with round carved onyx, 3 pieces Bracelet: 7.25” L x 1.5” H; Each earring: 1.25” H 157.5 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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240

Antonio Pineda

(1919-2009, Mexican) Two silver and turquoise bracelets, circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Further variously stamped: [Eagle 17] / Hecho en Mexico / 970 Comprising a rectangular-cut bracelet set with pyramidal shaped turquoise (6.5” L x 1” H) and an oval link bracelet alternating with rectangular dot links and set with oval cabochon turquoise (6.75” L x 0.75” H), 2 pieces 163.6 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

242

Antonio Pineda

(1919-2009, Mexican) Two silver cuff bracelets Each stamped with crow Comprising a silver cuff The first: 6.5” total inne 206.7 grams gross $1,000-1,500

Provenance: The Collec

Literature: The first piec Fowler Museum at UCL

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241

Antonio Pineda

(1919-2009, Mexican) Two silver and hardstone bracelets, circa 1949-1953 and 1953-1979; Taxco, Mexico The first stamped: Jewels by Antonio / Taxco / Silver / Mexico; The second: [crown for Antonio Pineda] / [Eagle 17] / Hecho en Mexico / 970 Comprising an onyx hinged bracelet (6.5” L x 0.75” H) and a hinged bracelet with tiger’s eye cabochons (7” L x 0.75” H), 2 pieces 124.0 grams gross $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

s, circa 1953-1979 and Post-1979; Taxco, Mexico wn mark for Antonio Pineda; Further variously stamped: Hecho en Mexico / 970 / Silver / OMD / ZZ751 / [Eagle 17] f with diamond-shaped onyx inlay and a wave style cuff with silver ball accents, 2 pieces er C x 1.375” H; wrist opening: 1.25”; The second: 6.375” total inner C x 1” H; wrist opening: 1.25”

ction of Cindy Tietze-Hodosh and Stuart Hodosh

ce illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: LA, 2008), 145, plate 185.

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243

Hubert Harmon

(1913-2004, American) A silver onyx and obsidian necklace and bracelet set, circa 1944-1948; Taxco, Mexico Each stamped: Hubert Harmon / Sterling / Made in Mexico The necklace and bracelet formed of incised floral links, each with set onyx cabochons, the necklace with one obsidian cabochon Necklace: 14.5” L x 1” H; Bracelet: 6.625” L x 1.25” H 112.1 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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244

Hubert Harmon

(1913-2004, American) A set of brass and amethyst jewelry, circa 1944-1948; Taxco, Mexico Each stamped: Hubert Harmon; each further stamped for Mexico Comprising a double fish necklace with amethyst cabochon central drop and a matching fish brooch, all with faceted amethyst tails and cabochon eyes, 2 pieces Necklace: 16.5” L x 1.5” H; Brooch: 2” H x 2.75” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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245

Hubert Harmon

(1913-2004, American) A group of brass “Sputnik” design jewelry, circa 1942-1948; Taxco, Mexico Four works stamped: Hubert Harmon / Mexico; Belt stamped with elephant pictograph mark; Further stamped: Jorille [?] / Made in Mexico Comprising four works by Hubert Harmon, including a copper finish bow brooch with dangle bombs (4.25” H x 2.75” W), a hair comb with a dangle bomb (5.5” L), a pair of earrings (each: 0.75” Dia.), and a group of six buttons (each: 0.5” Dia.), as well as an associated bomb belt / necklace with original leather strap (41.5” L), 11 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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246

Hubert Harmon

(1913-2004, American) A group of silver jewelry items, circa 1942-1948; Taxco, Mexico Each stamped for Hubert Harmon and for Mexico; Further variously stamped: Hubertus / Sterling / Taxco / Handmade Comprising a fish and hook two-part belt buckle with amethyst set cabochon eye (2.25” H x 6.75” W), two fish key chains with onyx set eyes (Largest: 4.5” L x 1.25” H); a sword brooch with onyx set top (4” H x 1.5” W), and a serpent-headed partial belt buckle with stone set accents (1.125” H x 2.5” W), 6 pieces 138.0 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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247

Hubert Harmon

(1913-2004, American) A group of brass jewelry items, circa 1942-1948; Taxco, Mexico Each stamped: Hubert Harmon / Mexico Comprising an armadillo link bracelet with copper accents (8” L x 2.25” H), a wide brass cuff bracelet set with four orange stone cabochons (6.75” total inner C x 2.75” H; wrist opening: 1.375) and a foot shaped belt buckle (3.375” H x 5.5” W), 3 pieces $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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248

José Ramón Lapayese Del Rio

(1928-1994, Spanish) Mother and child Patinated bronze Signed in the casting: R. Lapayese; Foundry mark: I.A. Gonzalez / Fundidor / Madrid 35” H x 10” W x 14” D $800-1,200

Notes: Artnet lists Lapayese’s death date as 2000, but the artist’s personal website lists it as 1994

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249

Irma García Blanco

(b. 1959, Mexican) Floral muñeca figure Ceramic With incised signature verso: Irma G. Banco 31” H x 15” W x 6” D $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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250

Felipe Castañeda

(b. 1933, Mexico) “Seated lady,” 1984 Bronze on acrylic base Signed and dated to base: F Castañeda 1984 P/A 26.5” H x 25.25” W x 17.75” D $3,000-5,000

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251

Max Kerlow

(b. 20th Century, Mexican) A polychromed blackware pottery kneeling mother and child Ceramic With incised signature: Max Kerlow 15” H x 9.5” W x 11” D $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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252

20th Century American School

Reclining South American male with hat and grapes Oil on Masonite Illegibly signed lower right 36” H x 42” W $2,000-3,000

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253

Salvador Terán

(c. 1920-d. 1974, Mexican) “Tecaztlipoca,” 1963 Glass and brass mosaic on wood Signed, dated, and titled: Salvador ‘63 / Tecaztlipoca Overall: 43.5” H x 31.5” W $2,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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254

Salvador Terán

(c. 1920-d. 1974, Mexican) Two mosaic and brass pepper plates, circa 1952-70 One marked: Handwrought / Salvador / Mexico / 409 Each pepper-shaped brass tray with a polychrome glass mosaic center panel depicting a modernist-style human figure, 2 pieces Larger: 22.25” H x 7.5” W x 1.875” D; Smaller: 21.25” H x 7.75” W x 1” D $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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255

Salvador Terán

(c. 1920-d. 1974, Mexican) Two mosaic and brass trays, circa 1952-70 The first marked: Handwrought / Salvador / Hecho en Mexico / 409; The second marked: Handwrought / Salvador / Mexico / 420 Each brass tray with a polychrome glass mosaic center panel, comprising a pepper plate with a red and orange human figure on a blue ground (23” H x 7.75” W x 1.75” D) and an asymmetrical tray with a red, black, and yellow figure on a white ground (17” H x 11” W x 1” D), 2 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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256

Salvador Terán

(c. 1920-d. 1974, Mexican) A group of mosaic and brass table items, circa 1952-70 Each variously marked: Handwrought / Salvador / Hecho en Mexico; variously numbered Each with polychrome glass mosaic on brass depicting abstract figural motifs, comprising a pitcher (9.25” H x 7” W x 4.5” D) and three trays (each: 1.75” H x 12.5” W x 5.75”D approximately), 4 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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257

A group of metal table items

Two groupings: Salvador Terán (c. 1920-d. 1974, Mexican) Three mosaic and brass dishes, circa 1952-70 Each variously marked: Handwrought / Salvador / Hecho en Mexico; variously numbered Each with polychrome glass mosaic on brass, comprising two ashtrays (larger: 2.375” H x 7” Dia.) and a footed dish (1.75” H x 7” Dia.), 3 pieces Ana María Nuñez de Brilanti (c.1910-d.1999, Mexican) A footed bowl, circa 1958-75 Marked: marked: Victoria / Mexico / Taxco / Copper / 221 With inlaid silver-toned geometric designs and ball feet 3” H x 6.75” Dia. 4 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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258

Salvador Terán

(c. 1920-d. 1974, Mexican) A mosaic and brass beverage set, circa 1952-70 Each variously marked: Handwrought / Salvador / Hecho en Mexico; variously numbered Each with polychrome glass mosaic on brass depicting figural motifs, comprising a pitcher (7.5” H x 8” W x 5.5” D) and eight tumblers (each: 5” H x 3” Dia. approximately), 9 pieces $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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259

Salvador Terán

(c. 1920-d. 1974, Mexican) A mosaic and brass coffee service, circa 1952-70 Coffee pot and tray marked: Handwrought / Hecho en Mexico / 85 The coffee service with dark green and brown glass mosaic tiles on brass, comprising a fitted tray (16.75” W x 13.75” D), a coffee pot (8.5” H x 7.5” W x 4.25” D), a creamer (4.25” H x 5.5” W x 3.375” D), and a sugar bowl (3” H x 5.25” W x 3.25” D), 4 pieces $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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260

Salvador Terán

(c. 1920-d. 1974, Mexican) A group of mosaic and brass table items, circa 1952-70 Each variously marked: Handwrought / Hecho en Mexico / Mexico / Salvador; variously numbered Each with polychrome glass mosaic on brass, comprising a pitcher (7.5” H x 8.25” W x 5.5” D), three plates (each: 6.75” W x 6.75” D approximately), and six nut trays (each: 4” W x 4.25” D approximately), 10 pieces $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart

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Hodosh

261

Los Castillo

A group of inlaid table items, third-quarter 20th century Each marked for Los Castillo / Taxco; further variously marked: Hecho a Mano / Mexico / Plateado; variously numbered Each with inlaid blue and green stone, comprising a silver-plate footed square tray, a silverplate leaf tray, a silver-plate ashtray, and three pierced copper cup holders, 6 pieces Larger: 1.625” H x 10.5” W x 10.5” D; Smaller: 0.5” H x 4.75” W x 5” D $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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262

Salvador Terán

(c. 1920 - d. 1974, Mexican) A group of silver pendants, circa 1955-1970 Each stamped: Salvador / Sterling / Mexico; Each further variously stamped: [Eagle 36] / [design number] Comprising four silver abstract figural pendants, including two brooc pendants, one with figure holding an obsidian stone (nos. 103 and 12 an articulated modernist pendant (no. 136), and one bird motif pend with attached silver-tipped black velvet neck cord (no. 128), 4 pieces Largest: 2.75” H; Cord: 26” L 94.4 grams gross $800-1,200

Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodo

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264

A Salvador Teran-style silver and stone set bolo tie

Mid-20th Century or Later Stamped: 3M / Sterling / Taxco / Mexico [in circle] / [Eagle 1] Silver bolo with a set green stone cabochon suspended from a brown braided leather strap and further enhanced with silver ferrules and tips Bolo: 1.5” H x 1.75 “ W; Strap with points: 43” L 62.3 grams gross

ch/ 23), dant s

$300-500 Notes: The hallmark “3M” is consistently associated with Salvador Teran designs.

osh

263

Salvador Terán

(c. 1920 - d. 1974, Mexican) A group of silver jewelry, circa 1955-1970 Each stamped: Salvador / Sterling / Mexico; Each further variously stamped: [obscured Eagle / Eagle 36 / design number] Comprising a shadowbox collar necklace and matching cuff bracelet, no. 165, along with a second stone-set cross-over collar necklace, no. 111, 3 pieces First necklace: 14” L x 0.75” H; Cuff: 6” total inner C x 0.875” H; wrist opening: 1.125”; Second necklace: 14.75” L x 1.5” H 171.3 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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265

A Huichol yarn painting

20th Century; Huichol people, Mexico In polychrome yarn depicting figures, animals, flowers, and houses Sight: 47.75” H x 48” W $600-800

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266

A Huichol yarn painting

20th Century; Huichol people, Mexico In polychrome yarn depicting figures, animals, and the sun Sight: 39.25” H x 39.25” W $600-800

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267

A Huichol yarn painting

20th Century; Huichol people, Mexico In polychrome yarn depicting figures, animals, and flowers Sight: 23.5” H x 23.5” W $400-600

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268

269

20th Century; Huichol people, Mexico Titled on a label verso In polychrome yarn depicting figures, animals, and houses on a dark purple ground Sight: 27.25” H x 27.25” W

20th Century; Huichol people In polychrome yarn depicting shaman Sight: 22.5” H x 23” W

A Huichol “Antes de la Inundación” yarn painting

$400-600

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A Huichol yarn painting

$400-600

e, Mexico g the soul of a Mara’akame

270

A Panamanian mola textile

Circa 1980; Kuna people, San Blas Island, Panama The polychrome textile panel depicting a woman in a flowing dress Sight: 12” H x 15” W $200-300

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271

Guillermo Bert

(b.1959, Chilean) “The Price of Heaven,” 2006, from the “Bar Code Series” Mixed media/laser cutter on wood panel with gold leaf under plexiglas Signed and dated on the back mat lower left: Guillermo Bert Panel: 47.5” H x 16” W $3,000-5,000 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: This lot is accompanied by a Certificate of Authenticity issued by the artist on September 20, 2008. Guillermo Bert’s work has been exhibited in the United States as well as South America and is included in the collections of numerous museums. He is the recipient of many awards and grants and has been commissioned to create several public artworks. Recently Bert participated in several important exhibitions at the Museum of Latin American Art in Long Beach, CA, the San Diego Museum of Art in San Diego, CA, the Fowler Museum at UCLA, the Museum of Tolerance, and the Architectural Design Museum both in Los Angeles. In the last few years, he has also had solo exhibitions at Peter Blake Gallery in Laguna Beach, CA, 415 Gallery in San Francisco, and the Fremont Gallery in South Pasadena. Bert is involved with an ongoing series called “Bar-codes,” which is based on the Universal Bar-Code symbols. This series has evolved from a commentary on consumerism to a commentary on the issues of identity in today’s global culture. This notion of identity has led to the current series of textile pieces in which the indigenous stories from the Americas are encrypted on bar codes and then woven by various native artisans from the same communities using their traditional loom techniques. These were to be exhibited at the Pasadena Museum of California Art in Pasadena California in 2012.

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272

Carmen Aldunate

(b.1940, Chilean) Untitled, 1985 Oil pastel on paper under glass Unsigned Sheet: 27.25” H x 20.75” W $1,000-2,000 Provenance: Galeria Epoca, Santiago, Chile The Carolyn J. Adrian Collection, South Pasadena, CA, acquired from the above in 1987 Notes: This lot is accompanied by a Certificate of Authenticity prepared by Lily Lanz, Director of Galeria Epoca, Santiago, Chile, dated April 2, 1987. Carmen Aldunate, painter, illustrator and draftsman, born in Viña del Mar in 1940, began studies at the Facultad de Arte de la Pontificia Universidad Católica de Chile and later at the Facultad de Artes de la Universidad de Chile. She later served as an assistant in the Art Department at the University of California. Aldunate belongs to a group of artists gravitating towards New Figuration (nueva Figuracion), an art that embraces figuration while making it unpredictable, whimsical and imaginary. The artist works primarily with oils on canvas and wood panel, and has also been known to use graphite and collage. With these techniques, she has developed a theme that focuses primarily on the female form. The representation of women in her work is achieved through a rationally controlled design, with a perfect balance of painting, reminiscent of Flemish art of the fifteenth century. Carmen Aldunate precisely recovers the aesthetic canons that once defined classical beauty. In her work, the faces of her subjects take the appearance of masks. With this, the painter means to symbolize the whole human being, in essence, never “show his/her true face” and instead lives day to day by using different facades. The use of a dark color harmony accentuates the poignancy of these images. Among other accolades the artist received the 1962 First Prize for Painting at the art fair in Santiago, First Prize for Drawing at the official Salon of Santiago in 1974 and the following year, the First Prize for Drawing at the Biennale of Valparaiso in 1978, the First Prize at the Biennale in Punta del Este, Uruguay and ‘81, First Prize Drawing Biennale de Cali, Colombia. She has had solo exhibitions in the Central Gallery of Santiago in 1963, in Belmonte Art Gallery in Sacramento, CA in 1964 and the University of California ‘69; in Gallery Lima, Peru in 1977, and in 1981 held an exhibition entitled “Ten Years of Painting Aldunate Carmen” at the National Museum of Fine Arts in Santiago. In 1984 she exhibited at Contemporary Art Center, Pereira, Colombia. During 1997, the show “Sins and Virtues” was featured in Valparaiso, Valdivia and Puerto Montt. Several of her paintings have been acquired by the Museum of Fine Arts and the Museum of Contemporary Art. She has also illustrated books like “Don Quixote de la Mancha” and “Alice in Wonderland”

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273

Oswaldo Guayasamin

(1919-1999, Ecuadorian) Pre-Colombian symbols, 1980 Lithograph in colors on paper under glass An artist’s proof aside from the edition of unknown size Signed and inscribed “E. A.” in the lower margin: Guayasamin Image: 16.5” H x 23” W; Sight: 18.5” H x 26.5” W $700-900 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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274

Oswaldo Guayasamin

(1919-1999, Ecuadorian) “Flores Fondo Negro,” 1981 Lithograph in colors on paper under glass Edition: 140/175 Signed and numbered in pencil at lower left: Guayasamin Sight: 28” H x 20” W $500-700 Provenance: Galeria Arvil, Mexico City, Mexico The Carolyn J. Adrian Collection, South Pasadena, CA

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275

276

(b. 1929, Colombian) “Sedentes,” 1980 Mixed media on paper under glass Signed, titled and dated in the image at the lower right: Delgado Sight: 9.75” H x 6.75” W

(b. 1934, Colombian) “Hipotecados, Tlaltelolco. C Gelatin silver print on pape Edition of unknown size and Signed, titled, and dated ve Image: 14.37” H x 19” W; S

Estrada Delgado

$300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: Manuel Estrada Delgado is a well-known Tuquerreño painter who, like few others, has managed to maintain a characteristic style for decades. His style which exudes an exquisite drawing technique and unique use of colors to characterize ironic and humorous images.

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Rodrigo Moya

$800-1,200

C. de Mexico,” 1965 er under glass d date erso Sheet: 16” H x 20” W

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277

Antonio Pineda

(1919-2009, Mexican) A set of silver and pearl jewelry, circa 1953-1979; Taxco, Mexico Each with crown mark for Antonio Pineda; Further variously stamped: [Eagle 3] / [Eagle 17] / 970 / Hecho en Mexico / Taxco / MPC / ZZ872 Comprised of two bracelets each formed of pear-shaped links centering a pearl (each: 7.5” L) along with a pair of matching earclips (each 1.125” H), 4 pieces 114.5 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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278

Antonio Pineda

(1919-2009, Mexican) A set of silver and onyx jewelry, circa 1953-1979; Taxco, Mexico Crown mark for Antonio Pineda; [Eagle 17]; Further variously stamped: 970 / Hecho en Mexico / Sterling / Silver Comprising a stylized horse bit link bracelet alternating with round onyx segments and a similar pair of earclips, 3 pieces Bracelet: 7” L x 0.75” H; Each earring: 1” H 89.7 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

279

Antonio Pineda

(1919-2009, Mexican) A group of silver and turquoise brooches, circa 1941-1948 and 1953-1979; Taxco, Mexico Each stamped for Antonio Pineda; Each further variously stamped: Taxco / 980 / Silver / Made in Mexico / [Eagle 17] / PR519 Comprising two “winking” owl brooches with turquoise set eyes (each 1.5” H) and a circular Aztec serpent brooch (2.25” Dia.), 3 pieces 55.6 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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280

Antonio Pineda

(1919-2009, Mexican) A group of mixed-metal and hardstone jewelry, circa 1953 and later; Taxco, Mexico Each with crown mark for Antonio Pineda; Each further variously stamped: [Eagle 17] / 970 / Silver / Hecho en Mexico / Mexico Comprising a pair of azurmalachite cufflinks and a tie clip, a pair of onyx cufflinks, a pair of malachite cufflinks and a pair of brass and enamel cufflinks, 9 pieces Largest: 1.375” H 122.5 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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281

Antonio Pineda

(1919-2009, Mexican) A silver, aventurine quartz and pearl pendant, circa 1953-1979; Taxco, Mexico Stamped with crown mark for Antonio Pineda; Further stamped: Hecho en Mexico / 970 / YY716 / [Eagle 17] Comprising a modernist cross style pendant set with an oval cabochon aventurine quartz and three pearls on a black velvet cord with silver endcaps 27” L x 3” H 40.5 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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282

A group of Latin American effigy pottery vessels 20th Century Three works:

A revival Chilean/Argentinian Diaguita-style duck jar With incised signature: Paty With polychrome designs on buff slip glaze 4.5” H x 6” W x 4.5” D A Mata Ortiz revival vase In the form of a seated figure with polychrome geometric motifs on buff slip glaze 8.375” H x 6” W x 9” D A Peruvian-style footed water pitcher With polychrome floral and figural motifs centering a face 9.25” H x 5” W x 5” D $200-300

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283

A Chulucanas pottery figure

1993; Chulucanas, Peru With incised signature and date: Segindo / 93 The slip painted red clay figural group with a central tree figure standing over a woman and three vessels 13.5” H x 12.5” W x 9” D $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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284

Two Chulucanas pottery figures

1991 and 1992; Chulucanas, Peru The first with incised signature and date: Cerasimo / 91; The second with incised signature and date: Amable / 92 Each slip painted red clay, comprising a woman with three children (9.25” H x 6” W x 10.5” D) and a woman with one child holding a banana (10” H x 9.5” W x 5.25” D), 2 pieces $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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285

A group of Tzeltal jaguar pottery items

20th Century; Chiapas, Mexico Each with black painted designs on buff ceramic, comprising a handled olla with high-relief jaguars and sunflowers (11” H x 11” Dia.) and three jaguar figures (larger: 5.25” H x 8.5” W x 4.5” D; smaller: 3.25” H x 4.5” W x 2.5” D), 4 pieces $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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286

Manuel Jiménez Ram”rez

(1919-2005, Mexican) A Oaxacan alebrije giraffe, 1987 Carved wood and paint Signed and dated to underside: Autor / Manuel Jimenez / Angelico Jimenez / Isaias Jimenez / 87 33.25” H x 5.5” W x 25” D $500-700

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287

David Max Alvarez (b. 1953, American) Two works:

Armadillo, 1986 Carved wood and paint Signed and dated in pencil to underside: Max Alvarez / ‘86 9.5” H x 37” W x 11” D Porcupine Carved wood, paint, and fibers Appears unsigned 17” H x 30” W x 14” D $400-600

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288

A group of Oaxacan alebrije wood figures

Late 20th/Early 21st Century; Oaxaca, Mexico Most variously signed, dated, and inscribed Each carved wood figure painted in bright polychrome designs, comprising a snake, six cats, a lizard, and an elephant, 9 pieces Larger: 1” H x 13.5” W x 4.375” D; Smaller: 1.5” H x 3.5” W x 2.5” D $400-600 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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289

Rick Wolfryd

(b. 1953, American) “Dancer” (from “Dance” series), 2022 Photopolymer resin and beads Signed, dated, titled, and inscribed in pen to bottom edge: Chroma aka Rick Wolfryd / Dancer from Dance Series / Female Figure / .0003 T.P. 2022 / Florencio [illegible] 24.5” H x 14” W x 10” D $1,500-2,500

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290

Rick Wolfryd

(b. 1953, American) After KAWS “Share” (Grey), 2022 Vinyl and beads Signed, titled, and dated: Chroma aka / Rick Wolfryd / “Share” / .002 TP / 2022 / Eliza (beader Eliza); further marked: KAWS ..20 / Share / Medicom Toy / China 12” H x 5.5” W x 3.5” D $1,000-1,500

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291

A group of Tonalá Bruñido pottery items 20th Century; Tonal·, Mexico Four groupings: A large water jar with avian motifs Signed: P. Mateos / Mexico 9.75” H x 7” Dia. A cat figure Signed: R.Q. / Mexico 4.5” H x 6” W x 3.5” D Four Jimón items Each signed: Jimón; Three signed: Mexico Comprising a vase (9” H x 3.2” Dia.), a small water jar (5.75” H x 3.5” Dia.), a water pitcher (6.125” H x 3.5” Dia.), and a lidded box (2.25” H x 3.5” W x 3.5” D) with floral and deer motifs A small water pitcher with animal motifs Unsigned 6” H x 4” Dia. 7 pieces $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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292

A group of pottery bird figures

20th Century; Mexico Four variously signed and inscribed Comprising five Tonalá Bruñido ceramic doves with polychrome floral designs on blue or green grounds and three Oaxacan blackware birds, 8 pieces Larger: 5” H x 3.25” W x 6.5” D; Smaller: 4.75” H x 2.25” W x 6” D $200-300 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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293

A group of folk art wooden fish

20th Century; Mexico Each carved wood fish with polychrome painted designs, 7 pieces Larger: 8” H x 23” W x 4” D; Smaller: 6.25” H x 14” W x 2.375” D $300-500 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA

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294

Hector Aguilar

(1905-1986, Mexican) A group of silver and amethyst brooches, circa 1940-1945; Taxco, Mexico Each stamped for Hector Aguilar; Further variously stamped: Made in Mexico / Sterling / Taxco / 940 Comprising an amethyst flower brooch, a feather brooch and a stylized floral brooch, 3 pieces Largest: 1.5” H x 4.5” W 80.4 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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295

Hector Aguilar

(1905-1986, Mexican) A group of silver floral brooches, circa 1940-1945 and 1943-1948; Taxco, Mexico Each variously stamped: HA / Taxco / 940 / Made in Mexico / Sterling Comprising brooches of various sizes and floral designs, 5 pieces Largest: 2.5” H x 2.75” W 121.3 grams $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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296

A group of Hector Aguilar floral brooches

Circa 1940ñ1948; Taxco, Mexico Each stamped: HA; Further variously stamped: Taxco / 940 / Made in Mexico / Sterling Comprising a group of sterling silver floral brooches, including two orchids, two rose sprigs and a sprig of buds, 5 pieces Largest: 4.25” H x 2.5” W 114.9 grams $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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297

A Mexican Saltillo serape textile

Mid-20th Century Woven in red, black, purple, green, yellow, and cream wool with central serrated diamond flanked by alternating stripes 78” H x 64” W $400-600

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298

A Mexican serape textile

20th Century Woven in brown, green, cream, black, red, grey, and blue wool with central floral motif surrounded by a geometric border and stripes 77” H x 57” W $200-300 Provenance: The James M. Cole Collection, Visalia, CA

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299

A Peruvian serpent blanket

First Half 20th Century Woven in blue, lavender, and grey with double headed serpents on a cream field 86” H x 73” W $100-200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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300

William Spratling

(1900-1967, American) A group of silver and onyx jewelry, circa 1940-1946 and 1964-1967, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Further stamped: Sterling / [Eagle 30] Comprising a tapering cuff bracelet with small cabochon onyx terminals and a cabochon onyx abstract swirl brooch, 2 pieces Cuff: 7” total inner C x 1.5” H; wrist opening: 1.125”; Brooch: 1.75” H x 1.75” W 86.0 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

301

William Spratling

(1900-1967, American) An 18k yellow gold and rosewood ring, circa 1951-1967, Third Design Period; Taxco, Mexico Stamped for William Spratling; Further stamped: 18K Designed as a bombé style ring centering a gold line set between a rosewood surround Ring size: 7.5 5.6 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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302

William Spratling

(1900-1967, American) A group of silver and amethyst brooches, circa 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Made in Mexico / Silver / 980 Comprising two bird brooches with stone set amethyst cabochons and a silver animal brooch, 3 pieces Largest: 1.5” H x 2.75” W 73.0 grams gross $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 41 and 46, fig. 2-66 and 2-87. This design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 44, fig. III-32.

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303

William Spratling

(1900-1967, American) A group of silver and amethyst brooches, circa 1933-1939 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Made in Mexico / Silver / Taxco / 980 Comprising a round Aztec style brooch with set amethyst (2.25” H x 2.625” W), an eagle and serpent brooch (2” H x 2.25” W) and Aztec figural brooch (0.875” H x 2.125” W), 3 pieces 75.8 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: This design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide; Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 22, fig. 2-4.

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304

William Spratling

(1900-1967, American) A group of silver and obsidian jewelry, circa 1940-1946, 1949-1956 and 1964-1967, First and Third Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: [Eagle 30] / Mexico Comprising three pairs of obsidian set silver screw-back earrings in various geometric designs including a dangle pair with onyx cabochons and an obsidian set silver ring, 7 pieces Largest earring: 1.5” H; Ring: size: 7.5 54.0 grams gross $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: One similar piece illustrated: Gobi Stromberg et al., “Silver Seduction: The Art of Mexican Modernist Antonio Pineda” (Los Angeles: Fowler Museum at UCLA, 2008), 157, plate 224.

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305

William Spratling

(1900-1967, American) A group of silver jewelry, circa 1933-1939 and 1944 -1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Each further variously stamped: 980 / Taxco / Made in Mexico / Silver Comprising an openwork figural pendant suspended on a chain (22” L x 1.875” H), a heavy incised silver cuff bracelet (6.25” total inner C x 0.5” H; wrist opening: 1.125”), an incised silver brooch of eagle and snake (1.75” H), a silver cross pendant (1.75” H), and a ring with three silver balls (ring size 6), 5 pieces 135.2 grams $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: The eagle brooch design illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: 20th Century Handwrought Jewelry & Metalwork,” (Atglen, PA: Schiffer, 1994), 55, fig. III-56.

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306

William Spratling

(1900-1967, American) A group of silver jewelry, circa 1933-1939 and 1940-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; Further variously stamped: Taxco / 980 / 925 / Made in Mexico / Silver Comprising three pairs of square cufflinks and two pairs of square earrings/earclips, each with an incised geometric design, 10 pieces Largest: 1” H 71.0 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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307

Sigi Pineda

(1929-2018, Mexican) A group of silver jewelry, circa 1952 and later; Taxco, Mexico Each stamped: Sigi / Tasco; Further variously stamped: Hecho en Mexico / Sterling / [Eagle 3] / [Eagle 36] / [Design number] Comprising a hinged cross-over collar necklace (no. 256; 14.5” inner C x 1” H), a hinged cross-over bangle bracelet (no. 238; 6.75” inner C x 1.5” H), a hinged bangle with set obsidian tip (no. 306; 6.5” inner C x 0.75” H), a pair of matching X-motif obsidian set screw-back earrings (no. 306; Each: 1” H), and an abstract silver brooch (no. 349; 1” H x 2.875” W), 6 pieces 230.7 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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308

Felipe Martínez

(b. 20th Century, Mexican) A group of Piedra y Plata silver jewelry, 1950 or later Each stamped: Piedra Y Plata / Martinez / Taxco / Sterling / [Eagle 3] / [Design number] Comprising a channel set narrow link necklace (no. 306; 15” L x 0.5” H), two stone set belt buckles (nos. 234 & 235; largest: 1.375” H x 1.75” W), a scroll and feather stone set brooch (no. 244; 2.75” H x 1.25” W), and a heavy link bracelet with fish motif stone pieced inlay (no. 269; 6.75” L x 1” W) with matching cufflinks (each: 0.875” H), 7 pieces 135.6 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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309

A group of Parra silver jewelry

Circa 1940-1955; Mexico Each marked: Parra / Mexico; Further variously marked: Sterling / Silver / 925 / [Eagle 34] Comprising a dragonfly brooch set with amethyst cabochons (2.25” H x 3.5” W), a silver and onyx duck brooch with attached baby duck (2” H x 2” W) and four pairs of screw-back earrings in various styles, including a pair with amethyst cabochons (Largest: 1.75” H), 10 pieces 65.2 grams gross $200-300 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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310

A group of mixed-metal Mexican jewelry Second Half 20th Century Four works:

Ana María Nuñez de Brilanti (c.1910-d.1999, Mexican) A Victoria/Cony mixed-metal shooting star pendant/brooch and matching earrings, circa 1958-75; Taxco, Mexico Each stamped: Victoria / Mexico / Taxco / Cony / 353; Further variously stamped: Sterling / [Eagle 12] / Metales Brooch: 2” H x 2.5” W; Each earring: 1.75” H A mixed-metal banded hinged bangle bracelet by Metales Casados Stamped: Metales Casados / Hecho en Mexico 6.5” inner C x 1.25” H A Los Castillo angel fish brooch and a pair of matching earrings Each stamped: Hecho en Mexico / 207; Brooch further stamped: Los Castillo / Taxco Brooch: 2.5” H x 2” W; Each earring: 1.25” H x 1” W A silver and brass link bracelet in a scale design Stamped: Taxco / Mexico / 925 / [Eagle 9] 7” L x 1” H 8 pieces 199.0 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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311

A group of Mexican silver jewelry Two groupings:

A set of Los Castillo jewelry, circa 1948-1960; Taxco, Mexico Each stamped: Los Castillo / Taxco / Hecho en Mexico / [indistinct Eagle 15] / [design number] Comprising a spade-shaped pendant with figural silver overlay on a linked necklace (no. 110; 15.25” L x 3.125” H) together with similar style earrings (no. 135; Each: 2.125” H), 3 pieces A Salvador Teran bracelet, circa 1955-1970 (c. 1920-d. 1974, Mexican) Stamped: Salvador / Sterling / Mexico / [indistinct Eagle] / 159 A tapered shadowbox figural panel chunky link bracelet 7” L x 1.125” H 4 pieces 175.0 grams $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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312

A silver pendant necklace and cuff with amethysts

Second-Quarter 20th Century or Later Necklace stamped: Silver / Mexico; Cuff stamped: Made in Mexico / Sterling Each featuring silver hands holding carved amethyst flowers, the necklace with central stone set pendant and silver links and the cuff with bone-shaped terminals Necklace: 17” L x 2.25” H; Cuff: 6.125 total inner C x 2.375” H; wrist opening: 1” 175.7 grams gross $800-1,200

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313

A Mexican silver collar necklace

20th Century Stamped: REH / TE-06 / Mexico / 925 A wide chain style collar necklace formed of narrow interlocked links with a wide silver clasp 16.25” L x 1.75” H 373.4 grams $400-600

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314

A group of Mexican silver bracelets

Mid-20th Century and later Most marked for silver and Mexico; Variously marked: CJB / TM-140 [?]; One unmarked Comprising six link and hinged bracelets in various designs, four with stone set accents including carved onyx faces and multiple stone cabochon links, 6 pieces Largest: 8” L x 1.375” H 265.4 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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315

A group of Mexican silver jewelry Second-Quarter 20th Century or Later Three works:

A Parra brooch Circa 1945-1948 Stamped: Parra [offset script] / Taxco / 925 A silver brooch of a vase with three carved stone flowers 2.125” H x 1.5” W A Parra bracelet Circa 1945-1948 Stamped: Parra / Silver / Mexico A three-panel hinged bracelet with green hardstone cabochons, silver balls and incised foliate designs 7.5” L x 1.5” H A six-link bracelet with green hardstone cabochons flanked by silver balls Stamped: J.P. / Silver / Mexico 7.25” L x 1.5” H 3 pieces 211.6 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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316

A group of Mexican silver link bracelets

Second Quarter 20th Century and Later Four works : Two Miguel Garcia Martinez openwork link bracelets with ball stud accents, circa 1956-1985 Each stamped: Miguel [script] / Sterling / Taxco; Further variously stamped: 925 / JLF / JINT / CVE / Rancho Alegre / 1035 / 1065 / [Eagle 1] 7” L x 1.25” H and 7.5” L x 1.375” H A Raphael Melendez foliate scroll link bracelet, circa 1939-1942 (1911-1980, Mexican) Stamped: RM / Sterling / Taxco 7.25” L x 1.125” H A Rafael Dominguez silver link bracelet (1911-1980, Mexican) Stamped: RD / Taxco / 980 7.25” L x 1.5” H A silver square hinged panel bracelet with geometric overlay design Stamped: RM / Hecho en Mexico / Sterling / Mexico / D.F. / 0925 7.5” L x 0.875” H 5 pieces 342.9 grams $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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317

A group of Mexican silver jewelry 20th Century Two groupings:

A group of Hector Aguilar jewelry Circa 1948-1955; Taxco, Mexico Each stamped for Hector Aguilar; Further stamped: [Eagle 9] / Taxco / .940 Comprising a ribbed hinged bangle tipped with cabochon turquoise (7.125” inner C x 1” H), two pairs of ear clips of similar design (Larger: 1.5” H x 0.75” W; Smaller: 0.875” H x 1” W), and a bracelet with spiral-and-dot links (7.5” L x 1” H), 6 pieces A set of Los Castillo jewelry with concentric circle motifs Circa 1940-1945; Taxco, Mexico Each stamped: Los Castillo / Taxco / Sterling / Made in Mexico / 653 Comprising a cuff bracelet (7” total inner C x 1” H; wrist opening: 1”) and an articulated link necklace (17.25” L x 1” H), 2 pieces 8 pieces 317 grams $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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318

A group of Mexican donkey brooches

20th Century Each but one marked for Mexico and for silver; one stamped with tropical bird hallmark Comprising a large group of brooches of various sizes, including one with set carved hard green stone donkey, as well as one small deer brooch, 13 pieces Largest: 3.25” H x 2.25’ W 129.3 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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319

A group of Mexican silver brooches Two groupings:

A group of Hector Aguilar brooches, circa 1940-1945; Taxco, Mexico (1905-1986, Mexican) Each stamped: HA; Further variously stamped: Taxco / 940 / 990 / Made in Mexico / Sterling Comprising four figural brooches including a large parrot brooch, a small stylized fish brooch with a large onyx cabochon and two additional stylized fish brooches (Largest: 2.5” H x 4.375” W), 4 pieces A Salvador Teran brooch, circa 1955-1970 (c. 1920-d. 1974, Mexican) A silver stylized seahorse brooch with applied wire details Stamped: Salvador / Mexico / Sterling / 139 3.125” H x 1.5” W 5 pieces 115.1 grams gross $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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320

A mixed group of Mexican silver jewelry

Second Half 20th Century Each marked for silver; each but three marked for Mexico; each variously further stamped Comprised of six pairs of silver earrings, including a swirl design pair by Sigi Pineda (stamped: Sigi / Taxco; 1” H), three pairs by José Luis Flores with various incised silver and dot designs (stamped: JLF / Taxco; largest: 1.5” H), and two round silver pairs (largest: stamped: TV-02; 1.5” Dia.), as well as two round link toggle clasp bracelets (each: 7.5” L; stamped: 925) and a silver bangle with a three-ball charm (2.5” Dia.), 15 pieces 207.9 grams $200-300

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321

A Mexican silver bracelet and ring with amethysts

Second-Quarter 20th Century or Later Bracelet stamped: 925 / TA-08 / Mexico; Ring stamped: Hecho en Mexico / Sterling / 925 Comprising a Matl-style link bracelet with set stones and a similar style ring, 2 pieces Bracelet: 7.5” L x 1” H; Ring: size: 5.5; 1.25” H 80.0 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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322

A mixed group of Mexican and South American silver jewelry

20th Century Each but one stamped variously for Mexico; further variously stamped: Silver / Sterling / 925 / Taxco / [Eagle 1] / [Eagle 5] / [Eagle 28] / GRO / BETO / RFC / AB / JJ / GE Twelve works, comprising four brooches with ornate designs including one with stone-set turquoise, one with onyx and silver overlay, one with repoussé designs and dangles, and one with silver overlay faces (largest: 3” H x 3” W); three pendant/ brooches, including a large round overlay pendant with multiple figures, an openwork brooch with dangles, and a chased silver inlay portrait brooch (largest: 3” Dia.); a round figural pendant (stamped: 0900; 2” Dia.); three pairs of earrings, including a double teardrop-shaped pair with shadowbox llama design (stamped: 13K; 2.25” H); and a chased and stamped silver belt buckle (stamped: Plata de Jalisco / Guad. / Mex. / 925 / V.H.L.C. / [Eagle 50]; 2” H x 3.375” W), 15 pieces 238.6 grams $200-300 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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323

A group of Pre-Colombian-style jewelry

20th Century Brooch stamped: The Metropolitan Museum of Art / © Comprising a gold colored figural pendant (2” H x 1.625” W), a narrow gold metal brooch (2.25” H x 1” W) and a carved green stone pendant bead necklace (26.5” L x 2.5” H), 3 pieces $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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324

A group of Mexican silver collar necklaces

Mid-20th Century or Later Each marked: 925; further variously marked: Mexico / Taxco / Sterling / CCI / TC32 / TR-57 Comprising a silver stylized heart link necklace (17.5” L x 0.75” H), a wide flat collar (13” L; opening: 2.625”) and two narrow collar necklaces, including a “V” shaped textured pliable collar (15” L) and a thick twisted wire collar (13” L; opening: 2.5”), 4 pieces 362.0 grams $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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325

A group of Mexican silver jewelry Four works:

Sergio Bustamante (b.1949, Mexican) Two silver pendants Each signed: Sergio Bustamonte; Each further stamped: Mex / 925 / GA39 / c Comprising a pendant of an open hand with sun motif (2” H) and a stylized face pendant (1.875” H), 2 pieces Emilia Castillo (b. 20th Century, Mexican) A jaguar ring Stamped: Emilia Castillo Ring size: 6.25 A collar necklace with attached jaguar pendant with green gem-set eyes Collar stamped: House of Gold / C / STR; Jaguar stamped: 999 12” L x 2” H A narrow hammered silver collar Stamped: 925 12.5” L 5 pieces 164.5 grams $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI w w w. j o h n m o r a n . c o m 3 5 7

326

A group of Mexican silver jewelry

Mid-20th Century Each stamped for silver and Mexico; Further variously stamped: TR-95 / Taxco Comprising a silver curved link necklace with applied wire swirl design (16.5” L x 0.75” H) and matching bracelet (7.5” L x 0.75” H) along with two further silver necklaces including a chunky chain with ball links (17.5” L x 0.75” H) and a collar necklace with rectangular ball sections suspended from flat links (18” L x 1.625” H), 4 pieces 346.4 grams $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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327

A mixed group of Mexican silver jewelry

20th Century Each marked for Mexico and Silver; Further variously stamped: AST / Taxco / TM / AAR / TR-41 / Emilia Castillo / TO-85 Two groupings: A large group of jewelry including a stone inlay bib pendant necklace (17” L x 1.25” H), a heavy silver rectangular link bracelet (7.75” L x 1.75” H), five brooches of various styles including a stone set obsidian brooch (2.25” H x 2.75” W) and a carved onyx mask brooch (3.5” H x 2.5’ W) and two silver flower hair accessories by Emilia Castillo (each 2.75” Dia.), 9 pieces Margot Van Voorhies (1896-1985, American) A set of Margot de Taxco “Egyptian Scroll” enamel jewelry, circa 1955-1978 Each stamped: Margot de Taxco / Sterling / Made in Mexico / Eagle 16 / 5758 Comprising a brooch and an identical pendant/brooch (Each: 1.5” H x 2” W) as well as a pair of earrings (Each: 1.5” H) all in yellow, green and black enamel, 4 pieces 13 pieces 388.7 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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328

A large mixed group of Mexican silver jewelry

20th Century Each variously stamped for Mexico and for Silver; Further variously stamped: TR-142 / Zevahc / [Eagle 16] Three groupings: A group of Mexican silver jewelry including a pierced bird design rectangular pendant (22” L x 1.875” H); two articulated fish brooches (each: 4.25” L); a Frida Kahlo protrait brooch (2.5” H x 1.75” W); a Modernist Zevahc obsidian set pendant (2” H x1.5” W) and matching earrings (each: 1.25” H) and a silver and wood brooch with silver agave overlay (2.5” H x 1.875” W), 8 pieces A group of silver earrings, including an AM/PM pair of earclips (1” H) and two pairs of silver earrings with green set stones (largest: 1.25” H), 6 pieces A “Two Hands” brooch/fastener by William Spratling, circa 1944-1946, First Design Period, Taxco (1900-1967, American) Stamped for William Spratling; Further stamped: Made in Mexico / Spratling SIlver / REC.12778 1.625” H x 1.25” W 15 pieces 221.1 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI Notes: The “Two Hands brooch/fastener by William Spratling depicts clasped hands over the North and South American continents. Spratling referred to this design as “Continental Solidarity.” 3 6 0 M ade i n M e x ic o l Tu e s d a y, A u g u st 2 3 , 2 0 2 2

329

A large group of silver and inlay jewelry

20th Century Each stamped for Mexico and Silver; Further variously stamped: Taxco / AQV / RAG / RPG / RG / FG / AAB / [Eagle 3] / [artists cipher] Comprising a hardstone inlay pendant/brooch by Miguel Melendez (Stamped with artists cipher; 2.25” Dia.), a geometric hardstone brooch by Enrique Ledesma (Stamped: Ledesma / 127; 2.25 H x 1.125” W), an inlaid figurative link necklace (17” L x 1” H), a hinged cuff bracelet with carved green stone face to terminal (6.25” Inner C x 1.125” H) and various brooches, four with stone inlay, five with Aztec-style mixed-metal inlay, and two repoussé mask brooches with set stone details (Largest: 2.625” H x 2.125” W), 15 pieces 336.1 grams gross $300-500 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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330

A mixed group of Mexican silver earrings

Second-Quarter 20th Century and Later Each variously marked for silver and Mexico; Eagle 1; [Eagle 3]; Further variously marked for each maker, Taxco Comprising ten pairs of various silver and stone-set earrings including works by Antonio Pineda, Hector Aguilar, William Spratling (Sucesores), and E. Martinez, 20 pieces Largest: 1.5” H 130.6 grams gross $400-600 Provenance: The Goodenough Estate, benefiting St. James Episcopal Church, Waimea, HI

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331

Abraham Paz

(b. 20th Century, Mexican) A group of silver, onyx and obsidian jewelry, circa mid-20th century Each stamped: AP / Sterling / Mexico; Further variously stamped: [Eagle 22] / FD [conjoined] Comprising a large pendant necklace set with a large obsidian mask and elaborate headdress suspended from an intricate chain (18.5” L x 3” H), an obsidian masked pendant with silver tassels and a linked chain (16” L x 3’ H), an obsidian pendant of a masked woman with large jewelry with elaborate chain (19.5” L x 2.25” H), and a heavy onyx pendant/brooch with carved mask and silver setting (Stamped: FD; 2” H x 1.125” W), 4 pieces 240.6 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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332

Two figurative stone set brooches

Second-Quarter 20th Century or Later Each stamped: J.P. / Silver / Mexico Comprised of two hard stone brooches, one with a carved amethyst face and cabochons (4.75” H x 1.375” W) and one with a carved greenstone face and plumed turban (4.125” h x 2” W), 2 pieces 69.6 grams gross $200-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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333

Maria Belén

(b. 20th Century) A group of silver jewelry, late 20th/21st century; Taxco, Mexico Each stamped for Maria Belén; further stamped: Mexico / 925 Comprising an incised hinged cuff bracelet (7” inner C x 1.75” H), a silver ribbon brooch with heart and eye milagro style charms (2” H x 3” W) and a set of winged bird motif jewelry including a set-stone necklace (16” L x 1.75” H), a brooch (1” H x 2.25” W), and a pair of earrings (each: 2” H), 6 pieces 130.4 grams gross $200-300

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334

Valent”n Vidaurreta

(1902-1955, Mexican) A group of silver jewelry, circa 1948-1955; Taxco, Mexico Each stamped: Valentin / [Eagle 9]; Further variously stamped: Taxco / Mexico / .940; Earring further stamped: Taller Borda / HA [for Hector Aguilar] Comprising a linked silver and azurmalachite collar necklace (16.25” L x 0.5” H), a silver pierced pennant link necklace (15.5” L x 0.5” H) with matching earrings (each: 1” H), an openwork silver interlinking necklace (16” L x 1” H), and a floriform linked bracelet (6.5” L x 0.75” H), 6 pieces 306.5 grams gross $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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335

Ana María Nuñez de Brilanti

(c.1910-d.1999, Mexican) A Victoria set of jewelry, circa 1940-1945 and 1948-1958; Taxco, Mexico Each stamped: Victoria / Taxco / Mexico / 62; Further variously stamped: Sterling / Silver / [Eagle 12] Comprising a silver geometric overlay link necklace (14.5” L x 0.75” H) with two matching link bracelets (7” L and 7.5” L x 0.75” H) and a pair of wire-back earrings (each 1” H), 5 pieces 181.4 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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336

Ana María Nuñez de Brilanti

(c.1910-d.1999, Mexican) A set of Victoria shadowbox silver jewelry, circa 1948-1958; Taxco, Mexico Each stamped: Victoria / Taxco / Mexico / [Eagle 12] / Sterling / 53 Comprising a link necklace and matching bracelet, each in an openwork shadowbox design joined by sphere-set links, 2 pieces Necklace: 15.25” L x 0.625’ H; bracelet: 8” L x 0.625” H 150.6 grams $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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337

Enrique Ledesma

(d. 1979, Mexican) Three silver and stone set bracelets, circa 1955-1979; Taxco, Mexico Each stamped: Ledesma / Taxco / Hecho en Mexico / 925 / [Eagle 3]; Further variously stamped: Plateria Cortes / [Design number] Comprising a five-panel concave silver hinged bracelet set with carved tubular hard stones (6.5” L x 0.875” H), a ten-panel “Plateria Cortes” chunky silver bracelet with central hard stone inlay (no. 400; 6.75” L x 1” H), and a seven-panel domed link hinged bracelet with triangle hardstone inlay (no. 219; 6.5” L x 1” H), 3 pieces 273.4 grams gross $600-800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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338

Enrique Ledesma

(d. 1979, Mexican) A set of silver and mixed-stone-set jewelry, circa 1955-1979; Taxco, Mexico Each stamped: Ledesma / Taxco / Hecho en Mexico / 925 / [Eagle 3]; Two further stamped with design number Comprising an obsidian and onyx carved inlay geometric link necklace (no. 500; 16.75” L x 0.875” H) with matching clip earrings (no. 503; each: 1.625” H) and a chunky link cuff with carved obsidian inlay in a similar design (cuff: 6.75” L x 1.25” H), 4 pieces 166.8 grams gross $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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339

Guillermo Bert

(b. 1959, Chilean) “ ‘The Price of Health’ (Bar-code portrait of Carrie Adrian),” 2009 Gold paint over resin on board Unsigned; titled and dated on a certificate from the artist 24” H x 19” W $500-700 Provenance: The Carolyn J. Adrian Collection, South Pasadena, CA Notes: This lot is accompanied by a Certificate of Authenticity issued by the artist on May 10, 2010.

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Condition Reports

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1 Visual: Good condition. Spots of what appears to be mold scattered throughout, concentrated mainly in the sky. Blacklight: No evidence of restoration. Frame: 27.5” H x 31.5” W x 2” D 2 Very good condition. The colors vibrant. The sheet is loose, not mounted. Frame: 31.75” H x 39.75” W x 2” D 3 Good condition. Mounted to the backing board with glue along the four edges. Frame: 21.25” H x 19” W x 1.5” D 4 Good condition. Not examined out of the frame. Frame: 33” H x 47” W x 1.5” D 5

Good condition. Not examined out of the frame.

Frame: 18.25” H x 22.25” W x 1” D 6 Good condition. Very slight time staining showing in the deckle of the extreme sheet edges. Pale backboard staining, verso. Remains of old brown paper tape and newer white hinging tape in places along the verso of the sheet edges.

Condition Reports

Frame: 41.5” H x 33” W x 2” D

374

7 Good condition. Not examined out of the frame. Frame: 27.5” H x 35.5” W x .75” D 8

Each: Good condition. One of the plates examined out of the frame, showing slight toning to the cream-colored paper, and the loose, not mounted.

The portfolio showing general dust accumulation and shelf wear, particularly at the edges. Four frames: 19” H x 14” W x 0.5” D Portfolio: 19” H x 13.25” W x 0.375” D

9 Good condition. The sheet retains its full margins with deckled edges. An unobtrusive, rice-sized, reverse pressure mark at lower right, showing mostly from the verso. Some surface soiling and occasional handling marks showing very slightly in the margins and on the reverse. Occasional stray ink offsetting from another impression, verso. The sheet is loose, not mounted. Unframed 10 Good condition. With full margins, deckled all around. The sheet is loose, not mounted. Unframed 11 Good condition. Displayed floating and attached to foam board. Not examined out of the shrink wrap. Unframed 12 Good condition. Not examined out of the mat and shrink wrap. Unframed 13 Good condition. Displayed floating and attached to foam board. Not examined out of the mat and shrink wrap. Matted but unframed 14 Good condition. Displayed floating and attached to foam board. Not examined out of the mat and shrink wrap. Matted but unframed 15 Good condition. Full margins with deckled edges. Displayed floating and attached to foam board. Not examined out of the shrink wrap. Unframed

16 Good condition. Not examined out of the mat and shrink wrap. Unframed 17 Visual: Good condition.

25 Overall good condition with light tarnishing and scratches commensurate with age and use. Wood with rubbed wear, scattered light marks and shrinkage cracks. 26 Each in overall good condition with tarnishing and light scratches commensurate with age.

Blacklight: No evidence of restoration. Unframed

18 Visual: Good condition. Blacklight: No evidence of restoration.

27 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 28 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Ring with one missing silver dot to terminal.

Frame: 21” H x 22.5” W x 1.5” D

Frame: 12” H x 15” W x 2.5” D 20 Overall good condition with tarnishing and light scratches commensurate with age. 21 Overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items. 22 Each in overall good condition with tarnishing, dents, and light scratches commensurate with age. 23 Overall good condition with tarnishing and light scratches commensurate with age. The bowl with a minor 1” indentation to rim. 24 Overall good condition with tarnishing and light scratches commensurate with age. Scattered unobtrusive indentations to the sides and the lobes slightly out-of-round.

29 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered dents and multiple scratches to top silver element. Scattered minor losses to tips of each rosewood element. 30 Overall good condition with light tarnishing and scratches commensurate with age and use. 31 Overall good condition with tarnishing and scratches commensurate with age and use. 32 Good condition. The sheet is mounted to a fauxleather back mat. Not examined out of the frame. Frame: 25” H x 27.5” W x 1” D 33 Good condition. Minor handling creases to the upper right and lower left corners. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 28.25” H x 21.25” W x 1” D

Condition Reports

19 Good condition. Not examined out of the frame. The artist’s frame with slight dust accumulation, a few tiny scrapes, and with the edges of a few of the collaged elements slightly torn or curling from normal handling.

375

34 Good condition. A rich, velvety impression. Very minor surface soiling in the margins. Two pale and unobtrusive stray pencil marks in the margins, not affecting the image. Not examined out of the mat and shrink wrap.

41 Good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

Unframed

42 Good condition. Not examined out of the frame.

35 Each: Good condition. Framed floating and mounted to the back mat at the verso of the upper sheet edge. One examined out of the frame.

Frame: 23” H x 19” W x 0.75” D

Frame of each: 12.5” H x 11” W x 1.75” D 36 Condition of each: Good condition. Framed floating and hinged to the back mat. Not examined out of the frame. Frame of larger/first: 17” H x 13.5” W x 0.5” D 37 Very good condition. A few tiny, very minor and unobtrusive handling marks at the extreme sheet edges. Framed floating and hinged to the back mat.

Condition Reports

43 Good condition. With full margins, deckled at right. Displayed floating and attached to foam board. Not examined out of the shrink wrap. Unframed 44 Good condition. The sheet retains its wide margins, deckled at left and right. A pea-sized pressure mark in the image near the center of the right edge which appears to be inherent in the original printing. The sheet is loose, not matted. Unframed

Frame: 47.5” H x 38.5” W x 1.25” D

45 Good condition. Not examined out of the frame.

38 Visual: Good condition.

Frame: 20.75” H x 18.5” W x 1” D

Blacklight: No evidence of restoration.

46 Fair to good condition. Dust accumulation and scattered mostly-soft creasing in the margins, particularly in the upper right margin, not affecting the image. A stray ballpoint ink mark in the right margin, also not affecting the image. Not examined out of the mat and shrink wrap.

Unframed

376

Frame: 23.5” H x 19.5” W x 0.75” D

39 Good condition. Occasional soft horizontal creases showing only in a raking light. Slight surface soiling, verso. Framed floating and hinged to the back mat in various places along the verso of the sheet edges Frame: 29.5” H x 23” W x 1” D 40 Good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 23.5” H x 19.5” W x 0.75” D

Matted but unframed 47 Good condition. Full margins with deckled edges. A small, 0.125” horizontal tear near the bottom of the right sheet edge, not affecting the image. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 29.5” H x 23.5” W x 1.75” D

49 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 50 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 51 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 52 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 53 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Stones with scattered abrasions and a few minor chips. 54 Each in overall good condition with light tarnishing and scratches commensurate with age and use. A few scattered minor dents to the bracelet links. 55 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. 56 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 57 Good condition. Slight wear to the corners and along the edges. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 11” H x 79” W x 2” D

58 Good condition. The paper with pinholes in the four corners. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 49.5” H x 40.5” W x 2.25” D

59 Good condition. Not examined out of the mat and shrink wrap. Unframed 60 Good condition. The sheet retains its full margins with deckled edges. Scattered very pale foxing showing primarily in the vertical margins. Some soft and small handling creases near the outer edges of the upper and lower margins, not affecting the image. Displayed floating and hinged to the back mat. Not examined out of the shrink wrap. Unframed 61 Good condition. The printed area bowing outward, attendant with the medium used, together possibly with the matting and shrinkwrap. Not examined out of the mat and shrink wrap. Unframed. 62 Good condition. Displayed floating and attached to foam board. Not examined out of the shrink wrap. Unframed

63 Visual: Good condition. Handling creases scattered throughout. Not examined out of the frame. Blacklight: No evidence of restoration. Frame: 37.5” H x 49.25” W x 1” D

64 Good condition. Not examined out of the mat and shrink wrap. Unframed

Condition Reports

48 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Scattered stones with light abrasions and a few fleabites.

377

65 Good condition. Not examined out of the frame. Frame: 26” H x 34.75” W x 1” D 66 Good condition. Not examined out of the frame. Frame: 27.25” H x 36” W x 1.5” D 67 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions and surface reaching fractures. 68 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 69 Overall good condition with light tarnishing and scratches commensurate with age and use. 70 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and a few scattered minor chips.

Condition Reports

71 Overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Stones with scattered abrasions. Scattered fleabites to stone edges.

378

72 Overall good condition with light tarnishing and scratches commensurate with age and use. 73 Overall good condition with light tarnishing and scratches commensurate with age and use. 74 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.

75 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. 76 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 77 Overall good condition with light tarnishing and scratches commensurate with age and use. 78 Overall good condition with light tarnishing and scratches commensurate with age and use. Slight distortion to shape from repeated use. 79 Overall good condition with light tarnishing and scratches commensurate with age and use. 80 Overall good condition with tarnishing and light scratches commensurate with age and use. Scattered minor dents and bends to the silver. 81 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 82 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. One stone on necklace with hairline scratch to one face. One earring stone with a few tiny fleabites to edge. 83 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One stone of necklace with hairline fracture. 84 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethyst with scattered light abrasions, eye-visible inclusions and surface-reaching fractures. A couple of minor dents to domed clasp.

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

94 Good condition. Wide margins. The sheet appears to have slipped inside the mat and as a result there are a few tiny tears near the center of the extreme right margin edge, the largest approximately 0.25” W, not affecting the image. Not examined out of the mat and shrink wrap. Matted but unframed

87 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Light wear to leather.

95 Visual: Good condition. Framed floating and mounted to the back mat. Not examined out of the frame.

88 Overall good condition with light tarnishing and scratches commensurate with age and use. Light wear to leather. A minor split to leather near buckle 0.25” L. Belt buckle fixed with adhered velcro strips.

Frame: 26.25” H x 33” W x 1.5” D

89 Each in overall good condition with tarnishing and scratches commensurate with age and use. Two deep scratches to the bracelet. 90 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Earrings are unmatched, one is screw-back, one is suspended from screw-back. Conchos lacking belt. 91 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Silver bead cap missing one bead. Onyx cap with polish residue. 92 Good condition. The full sheet with deckled edges. Framed floating and hinged to the back mat. Not examined out of the mat and shrink wrap. Matted but unframed 93 Good condition. Not examined out of the mat and shrink wrap. Matted but unframed

Blacklight: No evidence of restoration.

96 Good condition. Not examined out of the frame. Frame: 28” H x 35.5” W x 1” D 97 Good condition. Not examined out of the frame. Frame: 28” H x 35.5” W x 1” D 98 Good condition. Not examined out of the mat and shrink wrap. Unframed 99 Visual: Good condition. Blacklight: No evidence of restoration. Frame: 52.25” H x 44.25” W x 1.25” D 100 Good condition. Not examined out of the mat and shrink wrap. Unframed 101 Visual: Good condition. Blacklight: No evidence of restoration. Frame: 34.25” H x 53.25” W x 2” D

Condition Reports

85 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.

379

102 Good condition. The sheet retains its wide margins. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 19.75 x 20.5 x 1” D 103 Good condition. Occasional soft and unobtrusive, horizontal creases near the upper edge. Framed floating and hinged to the back mat. Not examined out of the frame.

110 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with abrasions. Blue leaf necklace with scattered enamel panels with hairline fractures and enamel loss to panels in some link sections. 111 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with scattered light abrasions. Front left link of swirl necklace with scattered light crazing to enamel and a few tiny chips.

Frame: 30.25” H x 9.25” W x 1.25” D 104 Good condition. The sheet retains its wide margins. An unobtrusive, soft crease across the tip of the lower left margin corner. One tiny and nearly invisible nick at the extreme edge of the left vertical margin. Displayed floating and attached to foam board. Not examined out of the shrinkwrap. Unframed

112 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with abrasions. Scattered enamel panels with hairline fractures to the two necklaces. Foliate necklace with losses to enamel. 113 Good condition. Frame: 30.25” H x 30.25” W x 1.75” D

105 Good condition. One tiny and unobtrusive foxmark in the background near the right edge. Not examined out of the mat and shrink wrap. Unframed

Condition Reports

106 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with abrasions. Scattered minute hairline fractures to enamel in places, especially areas of the bird brooch.

380

114 Good condition. The full sheet with deckled edges. Occasional very soft handling creases, primarily at the upper right margin corner and near the bottom of the extreme left margin edge, none of which affect the image. Framed floating and hinged to the back mat. Frame: 29.5” H x 24.75” W x 1.5” D 115 Good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

107 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered enamel panels with tiny chips and minor losses. One bracelet with detached chain guard.

Frame: 27.25” H x 35.25” W x 1.25” D

108

Frame: 29” H x 36” W x 1.25” D

109 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Enamel with light abrasions. . One earring with minor chip near one edge.

116 Good condition. Framed floating and hinged to the back mat.

117 Visual: Good condition. Very minor surface dirt and grime. Blacklight: No evidence of restoration. Frame: 24.5” H x 32.25” W x 1” D

Frame: 16” H x 24.75” W x 1” D 119 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 120 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A minor spot of rubbed surface wear to the foot where the pot sits. 121 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 122 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 123 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The blackware vase with rubbed wear/surface abrasions to the rim and at a 1” area on the side with attendant pinhole-sized spots, where the glaze has been rubbed thin and exposes the earthenware. The Martinez seed pot with scattered minor surface chips/flakes to slip glaze. Two with adhesive sticker labels to underside. 124 Each overall fair to good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The black and white bowl with a previously repaired Y-shaped break running through the vessel, as is. The low owl with two heavier scratches to the sawtooth rim. Each with adhesive sticker labels to underside. 125 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

126 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 127 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Each with light rubbed wear to slip glaze. Three with adhesive sticker labels to underside. The Rodriguez low bowl with sticker glue residue and attendant discoloration to the underside, glue is partially obscuring the full signature. 128 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 129 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Three minor pinhole-sized surface chips to the slip glaze on the side. 130 Overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. A ring of scuffing with white marks running around the diameter of the waist. Scattered minor surface abrasions/chips to the rim. 131 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A pinhole-sized white mark to the neck and a pinhole-sized surface chip/flake to the slip glaze on the interior neck. 132 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. More localized surface scratches to the rim. The underside with heavy rubbing that partially obscures the signature. 133 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.

Condition Reports

118 Good condition.

381

134 Overall good condition with tarnishing and light scratches commensurate with age. Light abrasions to stones. The foot with a slight indentation. With a possible replacement green stone to the center line of turquoise.

143 Good condition. Full margins with deckled edges. Framed floating and mounted to the back mat with archival clear corners.

135 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and a few surface-reaching fractures.

144 Good condition. Uneven toning to the paper. Hinged to the overmat with archival tape in the upper corners.

136 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with minor scattered abrasions and surface reaching fractures. 137 Overall good condition with light tarnishing and scratches commensurate with age and use. 138 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Missing three coral stones and one turquoise stone. 139 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Coral stone with a fleabite.

Condition Reports

140 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and a few hairline surface reaching fractures.

382

141 Overall good condition with tarnishing and light scratches commensurate with age and use. Scattered dents to some links. The top of one scroll with a soldered repair. 142 Visual: Good condition. Lines of craquelure scattered throughout. Very minor surface dirt and grime.

Frame: 22.25” H x 29.75” W x 1.25” D

Frame: 17.5” H x 23.25” W x 1” D 145 Visual: Good condition. A few minor handling creases scattered throughout. Not examined out of the frame. Frame: 33” H x 25” W x 1.75” D 146 Good condition. Overall toning to the paper. Not examined out of the frame. Frame: 31” H x 24.75” W x 1.25” D 147 Good condition. The paper appears to be slightly toned. A delicate and fairly unobtrusive 0.25” diagonal surface scratch in the black background at the upper left. Not examined out of the frame. Frame: 13.5” H x 15.5” W x 1” D 148 Good condition. Slight mat staining visible along the lower edge of the mat’s window opening. Not examined out of the frame. Frame: 17.5 “ H x 13.75” W x 0.75” D 149 Good condition. Some very minor handling creases in the margins. Not examined out of the frame. Frame: 32.75” H x 24.75” W x 1” D 150 Visual: Good condition. Very minor surface dirt and grime.

Blacklight: No evidence of restoration.

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

Frame: 21.75” H x 17.75” W x 1.75” D

Frame: 31.5” H x 19.5” W x 1.5” D

151 Visual: Good condition. Dust accumulation and grime commensurate with age. A few short surface scuffs and small surface nicks, primarily in the background at left. A 0.125” horizontal gouge in the lower portion of the extreme left edge. Blacklight: No evidence of restoration. Frame: 18.75” H x 13.75” W x 1.5” D 152 Visual: Good condition. Dust accumulation commensurate with age. Scattered specks of grime, primarily in upper portion of the archway at left. An unobtrusive speck of stray paint in the arched window at right. A few faint surface scuffs in the textured areas, the longest approximately 7 inches, near the right edge.

159 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 160 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 161 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. A few scattered minor chips and tiny losses to the inlay. 162 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

Blacklight: No evidence of restoration.

153 Good condition. Not examined out of the mat and shrink wrap. Unframed 154 Good condition. The sheet retains its wide margins. Not examined out of the mat and shrink wrap. Unframed 155 Good condition. The sheet retains what appear to be full margins. Hinged to the back mat from the verso of the upper margin corners. Frame: 23” H x 22” W x 1” D 156 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 157 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 158 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

163 Overall good condition with light tarnishing and scratches commensurate with age and use. 164 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone elements with scattered abrasions and a few fleabites to edges. 165 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Design numbers include: P90, 01P, 020A, 024P, 026P (x3), 028P, 039P, 050P 166 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. 167 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Stones with scattered abrasions.

Condition Reports

Frame: 19.5” H x 19.75” W x 1.5” D

383

168 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. One cabochon on one bracelet replaced with faceted stone. 169 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures.

177 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Sprig brooch with minor chip to amethyst flower.

170 Each in overall good condition with light tarnishing and scratches commensurate with age and use. One bracelet lacking chain guard.

178 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.

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

179 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Minor dent to bow brooch tip.

172 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. Silver amethyst with minor shallow chip near edge.

Condition Reports

173 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and one minor chip to edge. Brooch with scattered minor dents to silver balls.

384

176 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures.

174 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with eye-visible inclusions, surface-reaching fractures and scattered abrasions. Small chip to one side segment. 175 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions, surface-reaching fractures and visible inclusions.

180 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With scattered areas of surface abrasions and losses to paint. 181 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 182 Overall good condition with scattered scuffs, scratches, indentations, and oxidation commensurate with age. Some bending to the metal fringe and eye lashes. One panel near the front left leg and the bottom of the fringe with slight lifting. A resoldered area to the underside base. A repair to one ear. 183 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered indentations and bending throughout. Some soldered seams with slight separation.

185 Overall good condition with scattered scuffs, light scratches, and oxidation with slight rust/pitting commensurate with age. Scattered minor surface indentations throughout. 186 Overall good condition with scattered scuffs, light scratches, and oxidation with slight rust/pitting commensurate with age. Scattered minor surface indentations throughout. 187 Overall fair to good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered indentations and bending throughout. The right segment of the perch with separation and in need of resoldering, currently can not support the weight of the right bird. 188 Overall fair to good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered minor surface indentations throughout. Areas of possible resoldering to the wing feathers. Lacking the rod on the hanging ring so the bird can not sit.

191 Good condition. The paper with deckled edges. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 31.25” H x 23.25” W x 1.75” D 192 Good condition. Very minor toning to the paper. Not examined out of the frame. Frame: 50.75” H x 40.25” W x 1.75” D

193 Visual: Good condition. Dust accumulation commensurate with age. Occasional craquelure. Blacklight: A very small, 0.125” H x 0.24” W, possible old touch-up in the gray background at center. Two additional touch-ups, each approximately nickelsized, near the center of the extreme left edge. Difficult to read under slightly uneven varnish. Frame: 44” H x 44” W x 2” D 194 Overall good condition with tarnishing, indentations, and light scratches commensurate with age. Silver purity unknown. 195 Each overall good condition with tarnishing and light scratches commensurate with age. The Sotelo spoon bowl out of round with bending.

189 Overall good condition with tarnishing and light scratches commensurate with age. Silver purity is undetermined and can not be confirmed. Case with surface scratches.

196 Each overall good condition with tarnishing, light scratches, indentations, and lifting with overlay commensurate with age. Weight does not include weighted items.

190 Fair to good condition. The sheet retains wide margins. An approximately 9” soft and generally unobtrusive diagonal crease throughout the image at the upper left. Not examined out of the frame.

197 Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. Each with traces with red clay. The fish with some oxidized loss to the tail. The seated figure and the fish with previously added cut openings to allow for mounting. Figures did not test for gold in acid test.

Frame: 35” H x 31” W x 1” D

Condition Reports

184 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered indentations and bending throughout. A large portion of the rays along the right edge have come detached from the body and are in need of resoldering.

385

198 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered small chips, one fish laacking a tail. 199 Overall fair to good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered chips and various repairs to the arms. 200 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: scattered small chips, the Dia de los Muertos candelabrum missing one bird on the lower right. 201 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Issues and repairs include, but are not limited to: each with scattered small chips, the larger with a repaired break to the central candle holder. 202 Visual: Good condition. Indentations from reverse side protruding on canvas upper left, lower left and lower right. Scuff marks to the canvas lower left and upper left. Blacklight: No evidence of restoration.

Condition Reports

Frame: 28” H x 35.75” W x 1.75” D 203 Visual: Good condition. Two indentations in canvas from reverse side lower right. Scuff marks upper left and lower right. Blacklight: No evidence of restoration. Frame: 28” H x 35.75” W x 1.75” D 204 Visual: Good condition. Cracking in background appears to be intrinsic to the artist’s vision. Blacklight: No evidence of restoration. Frame: 37” H x 33.25” W x 1.75” D 386

205 Visual: Good condition. Blacklight: No evidence of restoration. Frame: 27.25” H x 27.25” W x 1.75” D 206 Good condition. Minor toning to the paper with slightly heavier toning along the edges. The recto and back mats are glued together. Frame: 25.75” H x 19.75” W x 1” D 207 Good condition. The full sheet with deckled edges. A very unobtrusive, 0.125” linear series of pinheadsize pressure marks in the background near the upper edge at right, visible only in a raking light. Two unobtrusive specks of stray printer’s ink in the upper portion of the background. A tiny crease at the tip of the upper left corner. Minor surface burnishing at the upper right corner, visible only in a raking light. Framed floating and hinged to the back mat. Frame: 29.5” H x 37” W x 1.5” D 208 Fair to good condition. The full sheet. The colors attenuated. Scattered very soft handling creases, with attendant pigment loss, showing slightly in the background. Taped to the overmat from the verso of the sheet edges. Not examined out of the mat. Unframed 209 Good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 24.5” H x 30.5” W x 1” D 210 Good condition. The full sheet with deckled edges. Hinged to the overmat from the verso of the upper sheet edge Frame: 38” H x 30” W x 1.25” D 211 Good condition. Minor toning to the paper. Not examined out of the frame. Frame: 43.5” H x 34.5” W x 2” D

212 Good condition. Toning to the paper. The edges and corners with nicks, losses, creases and tears to the paper. Spots of staining to the paper along the left center and upper right margins. Minor spots of grime scattered throughout.

218 Each: Good condition. Full margins with deckled edges. Soft creasing at the tips of some of the margin corners, not affecting the image. The sheet is loose, not mounted. Each: Unframed

Matted but unframed 213 Fair to good condition. The sheet is laid down as described and shows some vertical cockling in the upper half. Scattered surface soiling and staining commensurate with age.

219 Each: Good condition. Full margins with deckled edges. Soft creasing near some of the margin corners, not affecting the image. The sheet is loose, not mounted. Each: Unframed

Unframed 214 Visual: Good condition. Minor surface dirt and grime. Blacklight: Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist.

220 Overall good condition with scattered scuffs, scratches, tarnishing/oxidation, and inherent firing flaws commensurate with age. Glazed ceramic with typical, inherent crazing. The font with a chipped loss to underside foot and the cemtral applied flower lacking one petal. The water dish is a possible marriage with the main structure.

Frame: 55.75” H x 55.25” W x 1” D

Frame: 23” H x 15.75” W x 0.75” D 216 Fair condition. Scattered surface nicks, scratches and small dents, with attendant paint losses, dust accumulation and grime, all commensurate with age and use. A tack hole at the center of the upper edge. Unframed 217 Good condition. Occasional scattered surface scuffs and dust accumulation commensurate with age. Remains of old glue and paper tape in places at the verso of the sheet edges. The sheet is loose Unframed

221 Overall good condition with scattered scuffs, scratches, nicks, and shrinkage cracks commensurate with age. Some rubbed wear to painted surface. 222 Overall good condition with scattered minor scuffs, scratches, tarnishing, and inherent firing flaws commensurate with age. Glazed ceramic with typical, inherent crazing. 223 Each overall good condition with minor scuffs, oxidation, and inherent firing flaws commensurate with age. The iron with some scattered surface scratches. Each putti possibly reattached at some point with visible glue. 224 Overall fair condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavy wear to floral paper lining throughout, with staining, lifting, and losses. The wood frame with areas of prominent lifting, separation, and chipped losses. Oxidation to metal hardware. Scattered areas of regluing and repairs.

Condition Reports

215 Good condition. A rich impression with velvety burr. Full margins, deckled along three edges and with traces of stitch holes at the extreme left margin edge. Pale toning in the margins and on the verso. A small and unobtrusive paper loss along at the lower left margin corner. The sheet is loose, not matted.

387

225 Each overall fair to good condition with wear, grime, scuffs, scratches, and shrinkage cracks commensurate with age. Wear to painted surface with areas of chipping/flaking and stains throughout. The Mary figure with traces of hair fibers. Each with possible repairs to the arms. 226 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 227 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 228

229 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. 230 Overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Stones with scattered light abrasions and a few fleabites to stone edges.

Condition Reports

231 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and eye-visible inclusions. A couple of tiny fleabites.

388

232 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Stones with scattered light abrasions and a few tiny chips to cut stone edges. 233 Overall good condition with light tarnishing and scratches commensurate with age and use.

234 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. One earring missing pierced post. 235 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 236 Overall good condition with light tarnishing and scratches commensurate with age and use. The amethyst with eye-visible inclusions and surfacereaching fractures. Stone with light scattered abrasions and a fleabite to one cut edge. 237 Overall good condition with light tarnishing and scratches commensurate with age and use. 238 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 239 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. A couple of tiny fleabites to onyx. 240 Each in overall good condition with light tarnishing and scratches commensurate with age. Scattered stones with abrasions. 241 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One tiger’s eye cabochon with reddish tint. 242 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone inlay with scattered abrasions and scattered tiny hairline fractures.

243 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.

252 Visual: Good condition. Two small flecks of paint loss upper center. Tiny specks of white paint scattered throughout. Oxidation to the varnish layer in the lower right quadrant.

244 Each in overall good condition with oxidation, rubbed wear, and scratches commensurate with age and use. The amethysts with eye-visible inclusions and surface-reaching fractures. Scattered stones with light abrasions. The tails with a few minor fleabites to edges and corners.

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

246 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. A tiny faint chip to stone of sword brooch. 247 Each in overall good condition with oxidation, rubbed wear, and scratches commensurate with age and use. 248 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 249 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Scattered small chips along foot. 250 The bronze in overall good condition. The base with scratches, nicks, abrasions, and scuffs primarily to top and bottom. Plinth: 31.25” H x 28” W x 18.75” D 251 Overall good condition with shelf wear, scattered scuffs, heavy scratches, and inherent firing flaws commensurate with age.

253 Overall good condition with minor scuffs, scratches, and paint loss to board commensurate with age. Mosaic: 36.5” H x 24.25” W 254 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. One with heavier oxidation. The blue plate with a possible regluing of one tile on the figure’s arm that fluoresces under blacklight. Each with scattered bending to edges 255 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. The pepper plate with scattered bending to edges. The asymmetrical tray with minor indentations to edges. Each with possible regluing of tiles that fluoresce under blacklight. 256 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. 257 Each overall good condition with scattered scuffs, light scratches, indentations, and oxidation commensurate with age. The Brilanti bowl with a slight indentation at rim. 258 Each overall good condition with scattered scuffs, light scratches, minor indentations, and oxidation commensurate with age. 259 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Sugar bowl lacking lid and spoon.

Condition Reports

245 Each in overall good condition with oxidation, rubbed wear, and scratches commensurate with age and use. Wear and light cracking to leather strap.

Frame: 42.5” H x 48.5” W x 2” D

389

260 Each overall good condition with scattered scuffs, light scratches, indentations, and oxidation commensurate with age. The pitcher with an inherent imperfection to one of the figures, the head area is recessed father back in the casting. Some tiles with possible regluing that fluoresces under blacklight. 261 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Two cups with small indentations to foot. 262 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions. 263 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Inlay stones with scattered abrasions, a few surface reaching fractures and minor small chips. One finger with resin infill. 264

265 Visual: Overall good condition. Not examined out of frame. Frame: 49.25” H x 49.75” W x 1.25” D

269 Visual: Overall good condition. Not examined out of frame. Frame: 26” H x 26” W x 1.75” D 270 Visual: Overall good condition. Not examined out of frame. Frame: 17.25” H x 20.5” W x 1.25” D 271 Good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 57.25” H x 25.25” W x 2” D

272 Good condition. Framed floating and hinged to the back mat. Frame: 37.5” H x 31” W x 1.75” D

273 Good condition. Not examined out of the frame. Frame: 27.5” H x 35.5” W x 1” D 274 Good condition. Not examined out of the frame. Frame: 38.25” H x 29.25” W x 2” D

266 Visual: Overall good condition. Not examined out of frame.

Condition Reports

Frame: 41” H x 40.75” W x 1.25” D

390

267 Visual: Overall good condition. Not examined out of frame. Frame: 28” H x 28” W x 2” D

275 Good condition. Not examined out of the frame. Frame: 20.5” H x 16” W x 1.25” D 276 Generally good condition. Very slight cockling along the sheet edges presumably attendant with the original drying process. Frame: 27” H x 32” W x 1.5” D

268 Visual: Overall good condition. Not examined out of frame. Frame: 28.75” H x 28.5” W x 1.75” D

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

278 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and a few scattered minor fleabites to some edges.

286 Overall good condition with scattered scuffs, scratches, nicks, and shrinkage cracks, commensurate with age. A repaired break to one ear and ossicone. Possible woodworm visible to top of the back.

279 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions.

287 Each overall good condition with scattered scuffs, rubbed wear to paint, scratches, nicks, and inherent shrinkage cracks commensurate with age. The porcupine with dust accumulation and some losses and bending to fiber quills.

281 Overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. 282 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The duck jar with dark surface scuffing and scattered small surface abrasions with flaking to the slip gaze. The water pitcher with scattered surface cracking and attendant flaked chips to the slip glaze, and a 1” area of chipping to the rim. The Mata Ortiz vessel with scattered areas of light brown speckling to the slip glaze and adhesive sticker labels to underside. 283 Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. 284 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The first with a 3.5” inherent firing crack running up the back of the woman. The second with a repair to the water jar where it meets the head. 285 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. The vessel with two minor spots of fire clouding.

288 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Snake with a repair to the tongue and body. The elephant lacking one tusk. 289 Overall good condition commensurate with age. Minor scattered areas of loss to beadwork. 290 Overall fair to good condition with shelf wear commensurate with age. Minor scattered areas of loss to beadwork and a break where the pink toy meets the hand. 291 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Each with scattered minor surface chips/abrasions to slip. The vase with an inherent 2” firing crack to the rim running down. 292 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. Issues include, but are not limited to: each with scattered minor surface chips/ abrasions, one blackware bird with loss to the beak.

293 Each overall fair to good condition with scattered scuffs, scratches, nicks, and shrinkage cracks commensurate with age. Each with wear to painted surface, small chips, scattered areas of loss to paint, and one with a small repair to the fin.

Condition Reports

280 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. One malachite cuff link with missing swivel tab.

391

294 Overall good condition with tarnishing and light scratches commensurate with age. Minor abrasions to the amethyst. Scattered dents to the hollow back of one silver brooch. 295 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 296 Each in overall good condition with light tarnishing and scratches commensurate with age and use. One rose brooch with bent pin and loose clasp. 297 Overall good condition with dust accumulation and wear commensurate with age and use. Issues include, but not limited to: Side A with typical staining/soiling and discoloration, wear to the fringe edge with areas of slight fraying and loss to fringe, abrash, pulled stitches, and a 3” area of restitching to central seam. 298 Overall good condition with dust accumulation and wear commensurate with age and use. Issues include, but not limited to: very light typical dust and soiling, light wear to the fringe, dye migration to fringe, abrash, and scattered areas of moth damage with attendant small holes.

Condition Reports

299 Overall good condition with wear commensurate with age and use. Slight scattered soiling to side A.

392

300 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Brooch stone with minor chip near one edge. 301 Overall good condition with light scratches commensurate with age and use. 302 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures.

303 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Amethyst with eye-visible inclusions and surfacereaching fractures as well as scattered light abrasions and a minor chip to surface. 304 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Scattered fleabites to some obsidian edges. Small chip to one onyx cabochon. 305 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 306 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 307 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. 308 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions and surface reaching fractures. A couple of very faint hairlines to necklace inlay. One buckle with minor fracture to inlay. A few tiny minor chips to cuff inlay at edges. 309 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions. The amethysts with eye-visible inclusions and surface-reaching fractures. 310 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 311 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

312 Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with eye-visible inclusions, surface-reaching fractures and scattered light abrasions. Stones slightly loose in settings.

321 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. The amethysts with eye-visible inclusions. Ring with minor dent to one corner.

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

322 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Onyx brooch with slightly bent elements and a missing dangle. Set turquoise brooch with slightly bent end scroll piece. Portrait brooch with loose pin.

315 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Brooch with a few scattered tiny fleabites. J.P. bracelet stones with eyevisible inclusions and surface-reaching fractures.

323 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Minor fleabites to pendant edges. 324 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

316 Each in overall good condition with light tarnishing and scratches commensurate with age and use. One bracelet lacking chain guard.

325 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions.

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

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

318 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered abrasions. A few with loose or slightly distorted pins.

327 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones and enamel with scattered abrasions. Necklace with a few missing areas of inlay. Obsidian brooch with a few slightly bent edges. One hair flower lacking elastic band.

319 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions. 320 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

328 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. 329 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Scattered areas of minor loss to inlay. One repoussé mask brooch missing an earring.

Condition Reports

314 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. Green stones with surface reaching fractures. Mask bracelet with missing small onyx cabochon.

393

330 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions and two with minor small chips. Six pairs with screw-back fastenings, three pairs with pierced fastenings and one pair with clip backs. 331 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. 332 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Amethysts with eyevisible inclusions and surface-reaching fractures. 333 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 334 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions. 335 Each in overall good condition with light tarnishing and scratches commensurate with age and use. One bracelet with detached chain guard.

Condition Reports

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

394

337 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered abrasions and surface reaching fractures. Each bracelet with a few scattered tiny chips and minor losses to the inlay. Tubular stone with small chips to two edges. Two with detached chain guards. 338 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. A few tiny chips to necklace side links, as well as one hairline crack to one link.

339 Visual: Good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Blacklight: No evidence of restoration. Frame: 32” H x 27” W x 2” D

395

Condition Reports

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

SPECIALISTS

Head of Sale, Western, American Indian Specialist Maranda Moran Senior Vice President, Fine Art Director Morgana Blackwelder AAA Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Post-War & Contemporary Fine Art Specialist Hayden Hunt Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Furniture & Decorative Arts Department Manager / Junior Specialist Danielle Kim Senior Furniture & Decorative Arts Cataloguer Shannon Dailey Fine Art Cataloguer Anne Spink Fine Art Department Administrator/Junior Cataloger Ian Anderson Western and American Indian Cataloguer Sally Andrew Jewelry Director Mollie Burns Keith, G.J.G Arizona Regional Representative Deborah Davis

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Finance Administrator Julia Hamilton Senior Art Handler Joe Miranda Senior Art Handler Richard Corral Art Handler Jacob Baer Art Handler Angel Sanchez

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez PR Manager Brenda Smith Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Associate Director Noelle Valentino AAA Department Administrator Melissa Brownell

FOUNDERS

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.

View Illustrated Catalogue Online @ www.johnmoran.com

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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.

Bid Now

Summer Modern & Contemporary August 30, 2022

Andy Warhol (1928-1987, American) “John Wayne” from “Cowboys and Indians,” 1986 $70,000 - $90,000 Consignment and Auction Inquiries: hayden@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 4 0 0

Consign Today Made In Mexico October 25, 2022

Roberto Gil de Montes ((b. 1950, Mexican) Man with blue face, 2003; and “New Penitente”[sic], 2005

Price Realized: $11,250 Consignment and Auction Inquiries: marandam@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 4 0 1

SINCE 1969

AUCTIONEERS & APPRAISERS

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