She Made It — October 25, 2022 | John Moran Auctioneers

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1001 Claude Lalanne

(1924-2019, French)

A vermeil mimosa leaf necklace, Late 20th century Stamped: C. Lalanne; Further stamped: Artcurial / 39/100 / 925 / [maker’s mark in diamond] / [two crab hallmarks]

A vermeil necklace in the form of a realistic mimosa branch of leaves and flowers with leaf-shaped links 15” L x 2.5” H 70.4 grams

$5,000-7,000

Notes: French artist Claude Lalanne and her husband FranÁois-Xavier have been collectively known as Les Lalannes since the 1960s. Inspired by nature, Les Lalannes created furniture, sculpture, and jewelry in humorous, poetic forms, often mixing flora and fauna in surrealistic whimsical creations.

Claude was born in 1924 in Paris and studied architecture at the …cole des Beaux-Arts and the …cole Nationale des Arts Decoratifs. She met FranÁois-Xavier in 1953 at a reception for his first solo show of paintings and they worked together at his studio in Montparnasse, later moving to a second studio in the area before marrying in 1962. Their first joint show was at Galerie J in Paris from June to October 1964 and presented fourteen pieces, such as “Grand RhinocÈros I,” a life-size metal sculpture with a hidden cocktail bar within its armoured plates, a perfect example of the playful, elegant, yet functional pieces created by FranÁois-Xavier inspired by the rich and varied forms of animal life.

The thirteen further pieces by Claude, comprising sculptures, watches, and belts, embraced her love of transforming objects using various metal working techniques including imprinting, casting, and electrotyping. These pieces comprised ornamental versions of natural forms such as leaves, twigs, and found treasures from her garden transformed into wearable art by her perfected electrotyping process as well as cast versions of small animals and vegetables or combinations of these forms. The show featured the first two of many subsequent “Choupattes,” Claude’s surreal and whimsical treatment of a cast bronze head of cabbage with the considered addition of chicken legs, created after initially casting a cabbage, and then imagining how adding legs might improve its character!

Claude taught herself the nineteenth century method of galvanoplasty or electrotyping, a chemical process for making metal parts that are an exact facsimile of a non-conductive object with an irregular surface, either from a woodcut for printing purposes, or of a statue or natural object for artistic purposes. Claude continued to experiment with capturing natural forms until she perfected the process that became one of her “defining hallmarks,” and most certainly contributed to an abundance of “fossilized foliage and arboreal forms strewn about her workshop.” In 1967, the Lalannes moved south of Paris to an old farmhouse with land in Ury, near the Fontainebleau forest. The extensive gardens were a great source of inspiration: “I never stop walking in the garden, looking at what is there and using what I grow.”

Claude’s distinctive jewelry designed with “galvanized bits of nature” was initially made to adorn her friends and was later seen on couturier runways. She worked with Yves Saint Laurent in 1969, where she created a series of bronze torso body casts to be worn with sheer flowing chiffon dresses as well as some sculptural pieces of jewelry in galvanic copper. More recently, a collaboration with Maria Grazia Chiuri for her first Dior couture collection in Spring 2017 featured naturalistic jewelry of butterflies, flowers, and thorns, all frozen in time, adding to the theme invoking a woodland fairy wonderland.

In the 1970s, Claude was commissioned by Artcurial to make editions of jewelry. Much of it was made in vermeil and in larger editions. This Claude Lalanne necklace of sterling silver vermeil retains every delicate detail of the original leaf veining and stellar puffball flowers of mimosa. Composed of graceful leaves, connected at artful angles, one can imagine the branchlet naturally and irregularly arranged around a neck- a carelessly draped treasure seized with pleasure from a woodland floor.

Les Lalannes continue to be celebrated, with several noted exhibitions in the past few years, most recently at The Clark Institute in Williamstown, Massachusetts and “The Lalanne at Trianon” at the Chateau de Versailles, France, each in 2021.

FranÁois-Xavier died in 2008 and Claude continued with her creations up until her passing in 2019. “The state of her hands was proof of this!” (Louisa Guinness)

Sources:

Morris, Kathleen M. “Claude & FranÁois Lalanne: Nature Transformed.” Williamstown, MA: Clark Art Institute, 2021.

Genzlinger, Neil. “Claude Lalanne, Whimsical (and Sought-After) Sculptor, Is Dead at 93.” New York Times, April 17, 2019.

Guinness, Louisa. “Claude Lalanne: Overview.” Louisa Guinness Gallery, London, accessed October 2022 (website).

1002

Corita (Sister Mary) Kent (1918-1986, American)

“There are many persons / the brilliancy of whose minds depends /on the [heart]” Screenprint in colors on paper

From the edition of unknown but presumably small size Signed in pencil at the lower right: Corita; with the printed title in the image Image: 12” H x 9” W; Sheet: 14” H x 11.25” W

$800-1,200

Provenance: Commissioned by a Corporate Collection, and acquired from the artist Private Collection of a Corporate Executive, acquired from the above Private Collection, California, by descent from the above

1003

Corita (Sister Mary) Kent (1918-1986, American)

“What the heart has once owned and had, it shall never lose” Screenprint in colors on paper

From the edition of unknown but presumably small size Signed in pencil at the lower left: Corita; with the printed title in the image Image: 9” H x 12” W; Sheet: 11” H x 14” W $800-1,200

Provenance: Commissioned by a Corporate Collection, and acquired from the artist Private Collection of a Corporate Executive, acquired from the above Private Collection, California, by descent from the above

1004

Corita (Sister Mary) Kent (1918-1986, American)

“There is no instinct like that of the [heart]” Screenprint in colors on paper

From the edition of unknown but presumably small size Signed in pencil in the lower right corner: Corita; with the printed titled in the image Image: 9” H x 12” W; Sheet: 14” H x 11.25” W

$800-1,200

Provenance: Commissioned by a Corporate Collection, and acquired from the artist Private Collection of a Corporate Executive, acquired from the above Private Collection, California, by descent from the above

1005

Corita (Sister Mary) Kent (1918-1986, American)

“Be patient,” 1967 Screenprint in colors on paper

Signed lower right: Corita Image: 15” H x 22.125” W; Sheet: 15.25” H x 23” W

$800-1,200

Notes: For this work, Kent has quoted the Austrian poet and novelist Rainer Maria Rilke’s “Letters to a Young Poet”: Be patient toward all that is unsolved in your heart and try to love the questions themselves do not now seek the answers, that cannot be given you because you would not be able to live them and the point is, to live everything. Live the questions now. Perhaps you will gradually, without noticing it, live along some distant day into the answer.

1006

Theresa Wolf (20th Century, American)

Serigraph on BFK Rives paper Edition: 3/10

Signed lower right: Theresa Wolf; titled lower left Image: 23.25”

x 18”

Sheet:

x 22.25”

1007

Theresa Wolf (20th Century, American)

“Space Model”

Serigraph on BFK Rives paper Edition: 4/18

Signed lower right: Theresa Wolf; titled lower left Image: 18” H x 15.25” W; Sheet: 22” H x 30” W

$200-400

1008

Martha Mayer Erlebacher (1937-2013, New York, NY)

Two Still-life Pieces; “Still Life with Eggplant #1” and “Apples, Bananas and Eggs” Each: Lithograph on paper

First: Edition 18/50

Signed lower right: M. Mayer Erlebacher; with a blindstamp in the lower right corner Second: Edition 30/50

Signed lower right: M. Mayer Erlebacher; with a blindstamp in the lower right corner Sheet of each: 22” H x 30” W

$300-500

Provenance: Property from Frances Luban Fine Art, Burbank, CA

1009

Dorothy Dehner (1901-1994, American)

“Lunar Series #6,” 1971 Lithograph on Arches paper Edition: 2/20

Signed and dated in pencil lower Sheet: 24” H x 36” W

$1,000-1,500

Provenance: Property from Frances

lower center: D. Dehner; titled lower left

Luban Fine Art, Burbank, CA

1010

Joan Strauss Carl (1926-2021, American)

Gallery, 1998 Wood, decoupaged paper, and metal wire Signed and dated: Joan Carl © 1998 17” H x 8” W x 6.5” D

$300-500

Provenance: The Estate of Joan Strauss Carl, Southern California

1011

Jess von der Ahe (b. 1966, American)

“Untitled (aka “Harem”),” 1999 Blood, gold leaf and epoxy resin on panel Signed, titled, dated, all verso: von der Ahe; signed again [indistinct] and dated again on the gallery label affixed verso 14” H x 11” W

$1,200-1,800

Provenance: Jay Grimm, New York, NY

Notes: New York-based artist Jess von der Ahe has made her name in the art world by using an unorthodox (and what some consider to be taboo) medium for her paintings: her menstrual blood, combined with gold leaf and covered with resin, which ensures that the blood does not decay or crack.

While von der Ahe’s use of this medium may be nontraditional, her working method is a form of personal expression that is intensely autobiographical. The compositions of her blood paintings often resemble a cell-like structure, resulting in a style that highlights the connection between menstrual blood and the essential elements of life. Von der Ahe’s blood paintings also seek to make the discussion of reproductive health less taboo. While conceptually intense, von der Ahe’s abstract paintings offer a captivating juxtaposition between the “wasteful”ù nature of the menses and the coveted and finite element of gold.

1012

Jess von der Ahe (b. 1966, American) “Untitled (aka “Cumberband”),” 1999 Blood, gold leaf and epoxy resin on panel Signed, titled, dated, and inscribed “NYC,” all verso: von der Ahe; signed again [indistinct] and annotated “NYC” again on the gallery label affixed verso 14” H x 11” W

$1,200-1,800

Provenance: Jay Grimm, New York, NY

1013

Judy Chicago (b. 1939, American)

“Peeling Back,” after the “Rejection Quintet” series, 1974 Offset lithograph in colors on paper Edition: 29/95

Signed, titled, dated, numbered, and inscribed in pencil in the lower margin: Judy Chicago Sight: 28.5” H x 21.75” W

$2,000-3,000

Notes: The pencil inscription by Chicago on this work reads: “For Debbie - With regards & sisterhood”

There appear to be a several different editions of this offset lithograph, which is based on the original drawing (with different text) entitled “Female Rejection Drawing,” now in the permanent collection of the San Francisco Museum of Art. For example, in addition to seeing other numbered impressions from this edition of 95, we have also seen listings for an edition numbered out of 250.

1014 Judy Chicago

(b. 1939, American)

“The Christmas tree is derived from the tree of life,” 1979 Screenprint in red and black on cardstock paper

With the printed signature and date in the image, lower left: J. Chicago Image/Sheet: 7” H x 10.25” W

$1,500-2,500

Notes: The printed text, verso, reads: I am very busy right now / working on the Dinner Party needlework book, / “Embroidering Our Heritage, / to be published in late / May - if we finish on time. / To facilitate this, I have / not gone gift-shopping / this year. Instead, I owe / you a copy of the book / and wish you a happy holiday!

1015

Alice Baber (1928-1982, American)

“Swirl of Sounds - Wind, Rock and Sun,” 1975 Oil on canvas

Signed and dated lower right: Baber; signed and dated again and titled verso 103” H x 71.75” W (edge of the upper frame missing)

$30,000-50,000

Provenance: Property of an Important New York Corporate Collection

1016

Alice Baber (1928-1982, American)

Untitled Serigraph on wove paper Edition:

Signed and

Image:

$1,000-2,000

Provenance:

1017

Alice Baber (1928-1982, American)

“Blue X,” 1970 Serigraph on Arches Edition: 44/100

Signed, dated, and numbered in pencil lower left: Alice Baber; titled on gallery label affixed to board backing Image/Sheet: 28” H x 22” W

$1,000-2,000

Provenance: Property from Frances Luban Fine Art, Burbank, CA

1018

Myriam Bat-Yosef (German, b. 1931)

Untitled, 1973

Lithograph in colors with embossing on Arches paper Edition: Printers Proof II, aside from the edition of unknown size Signed and dated in pencil lower right: Bat-Yosef; with blindstamps in the lower corners Sheet: 15.75” H x 23.75” W

$200-400

Provenance: Property from Frances Luban Fine Art, Burbank, CA

1019

Eileen Gray (1878-1976)

“Brick” screen, circa 1970s Designed 1923 Lacquered wood, steel, and brass 68” H x 60” W x 1” D

$2,000-3,000

1020

Joan Strauss Carl (1926-2021, American)

Two seated figures, 2012 patinated bronze on wood base Signed and dated: Joan Carl © 2012 AC 18” H x 25.5” W x 20” D

$500-700

Provenance: The Estate of Joan Strauss Carl, Southern California

1021

Joan Strauss Carl (1926-2021, American)

Mother and child Patinated bronze on marble base Edition: 5/10

Signed, numbered, and inscribed: © JS Carl / [illegible] bronze 13.5” H x 9” W x 7” D $500-700

Provenance: The Estate of Joan Strauss Carl, Southern California

1023

Estrella Rodriguez Lorenzo (20th/21st Century, Colombian)

Untitled Ink and watercolor on paper under glass

Signed indistinctly

$300-500

Provenance:

lower

Estrella Sight:

Carolyn

1024 Natalia Dumitresco (1915-1997, Romanian)

“Abstract No. 15,” 1960 Gouache and ink on oatmeal-color paper Signed and dated lower left: Natalia Dumitresco; inscribed with the artist’s name and Parisian address, verso, possibly in another hand; titled by repute Image: 12.5” H x 18.5” W; Sheet: 16.125” H x 22.875” W

Provenance: Galleria Hybler (Copenhagen, Denmark) Private Collection, acquired from the above in 1968 Private Collection, by descent from the above

Notes: Natalia Dumitresco was born in Bucharest, Romania. However, she spent most of her life in Paris, where she moved with her husband, Alexandre Istrati, in 1947. While in Paris, the couple became very close with the artist Constantin Brancusi, who they lived with until he died in 1957. She and Istrati were the driving force behind the restoration of the Brancusi workshop in 1977, in addition to helping his work gain the institutional attention that it has today.

As an artist, Dumitresco gained recognition for her austere style of geometric abstraction that aligned her with the Salon des Reaites Nouvelles during her career. This artist organization, which cited Wassily Kandinsky as a significant influence, was dedicated to producing abstract art by its membersì a roster that included Jean Arp and Sonia Delaunay. Dumitresco was the recipient of the Kandinsky prize in 1955, and she lived and worked in Paris until she died in 1997. She and her husband Alexandre Istrati are buried with Constantin Brancusi at the Cimetiere du Montparnasse in Paris.

1025

Beatrice Stuart (1917-2003, American)

“Tina at Twelve”

Mixed media on paper Signed lower right: Stuart; titled on a label affixed verso Sight: 27.5” H x 37.25” W

$300-500

1028

Elizabeth Strong-Cuevas (b. 1929, American)

“Galactic Lens Year 2000”

Aluminum and copper Edition: 1/6

Base signed, dated, and numbered: [artist’s cipher] © 2000

12.75” H x 36.25” Dia.

$15,000-20,000

1030 Jay Milder

(b. 1934, New York, NY)

Abstract

Oil on canvas Signed lower right: J. Milder 70” H x 68” W

$1,200-1,800

Provenance: Property from Frances Luban Fine Art, Burbank, CA

1029

Estelle Goodman (20th Century, New York) “Escape,” 1964 Patinated bronze

Signed and dated

$300-500

Provenance: Property

1033

Lila Katzen (1925-1998, American)

Untitled, 1989 Patinated bronze on lacquered base Signed: Lila Katzen; further inscribed illegibly 11.25” H x 4.5” W x 6.5” D

$500-700

Provenance: Private Collection, New York, NY, acquired from the artist Michelle Rosenfeld Gallery, New York, NY Property of an Estate, Beverly Hills, CA

Notes: This lot is accompanied by undated paperwork from Michelle Rosenfeld Gallery.

1035

Jody Pinto

(b. 1942, New York, NY)

“Tall Chair Waiting,” 1976 Mixed media on paper

Signed, titled, and dated verso: Judy Pinto; titled again upper left Sheet: 36” H x 24” W $1,000-1,500

1036

Henrietta Berk (1919-1990, Oakland, CA)

Floral still life

Oil on canvas

Signed lower left: H. Berk 16” H x 16” W

$3,000-4,000

1037

Ynez Johnston (1920-2019, American) Untitled, 1980 Oil on canvas

Signed and dated verso: Ynez Johnston 54” H x 40” W $4,000-6,000

Provenance: Property of an Estate, Beverly Hills, CA

Exhibitions: Fresno Art Museum, Fresno, CA, “Ynez Johnston Retrospective,” June 5 - August 16, 1992.

1038

Ynez Johnston (1920-2019, American)

Untitled, 1977

Watercolor and ink on an upcycled sheet of Japanese paper, one of the artist’s color lithographs printed verso, under Plexiglas

Signed and dated lower right: Ynez Johnston 30.5” H x 22.5” W

$3,000-5,000

Provenance: Property of an Estate, Beverly Hills, CA

Literature: https://nmwa.org/blog/nmwa-exhibitions/ynez-johnstons-lively-and-evocativecompositions/

Notes: Johnston did this piece in 1977 on the verso of a sheet on which she printed the following lithograph some 11 years earlier:

Untitled, Plate V from “The Black Pagoda” series, 1966 Lithograph in browns on Japanese paper under Plexiglas

Signed in pencil in the image at lower right: Ynez Johnston; inscribed in pencil in the image at lower left: artist’s proof; Tamarind Lithography Workshop, Los Angeles, CA, prntr./pub.

1039

Ynez Johnston (1920-2019, American)

“A Byzantine Winter,” 1971 Acrylic on canvas

Signed and dated verso; titled and inscribed on the stretcher bar, and again on a self-stick label affixed to the same stretcher, possibly in another hand 16” H x 20” W

$3,000-5,000

Provenance: Mr. and Mrs. Adam Mekler, according to notations on the work’s stretcher bar Private Collection, Beverly Hills, CA

1040

Ynez Johnston (1920-2019, American) “Guardian of the pyramid” Etching on paper Edition: 5/30

Signed, titled and numbered in pencil in the lower margin Plate: 8.75” H x 7.375” W

$300-500

Provenance: Private Collection, Beverly Hills, CA

1041

Janet Munro

(b. 1949, Cape Cod, MA) “ ‘The First Snow’ Cooperstown, N. Y.,” 1987 Mixed media on Masonite

Signed and dated lower left: J. Munro; signed again, and titled, inscribed and numbered #551, all verso 16” H x 48” W

$1,000-2,000

Provenance: Private Collection, Beverly Hills, CA

1042

Janet Munro

(b. 1949, Cape Cod, MA)

“Christmas in Colorado,” 1979 OIl and tempera on canvas board

Signed and dated lower left: Mrs. Munro; signed again, titled, inscribed: egg tempera, all on a partial label affixed verso 16” H x 20” W

$800-1,200

Provenance: Private Collection, Beverly Hills, CA

dated and

1043

Joan Strauss Carl (1926-2021, American)

Two works:

Plaque with abstract figures, 1986

Patinated bronze on marble base Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1986 6.75” H x 15.5” W x 3” D

Plaque with standing figures, 1988

Patinated bronze on marble base Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1988 6.75” H x 15.5” W x 3” D

2 pieces

Estimate: $800 - $1,200

1044

Joan Strauss Carl (1926-2021, American)

Plaque with abstract figure, 1985

Patinated bronze on marble base Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1985 6.75” H x 15.5” W x 3” D

Estimate: $400 - $600

1045

Joan Strauss Carl (1926-2021, American)

Two works:

Plaque with two seated figures, 1985

Patinated bronze on marble base Edition: 2/7

Signed, dated, and numbered: © Joan Carl / 1985 6.75” H x 15.5” W x 3” D

Plaque with standing figure, 1987

Patinated bronze on marble base Edition: 1/7

Signed, dated, and numbered: © Joan Carl / 1987 6.75” H x 15.5” W x 3” D

Provenance: The Estate of Joan Strauss Carl, Southern California

1046

Corda Eby (b. 1934, California/Italy)

“A Lighted Face Toward Earth,” 1979 Oil on canvas

Signed and dated lower right: Corda Eby; titled by hand on a self-adhesive label affixed to the stretcher 23.5” H x 31.5” W

$1,000-1,500

Provenance: Private Collection, Beverly Hills, CA

1047

Elen Feinberg (20th Century, American) “Tempest,” 1989 Oil on canvas Signed and dated lower left: Feinberg; signed and dated again, and titled, verso 36” H x 48” W

$3,000-5,000

Provenance: Property of an Estate, Beverly Hills, CA

1050

Joan Strauss Carl (1926-2021, American)

A square mid-century modern tile-top coffee table, circa 1960s-70s

Studio made table with inset polychrome terracotta tiles in a wood box frame and raised on wood slab legs 12.75” H x 33.125” W x 33.125” D

$200-400

Provenance: The Estate of Joan Strauss Carl, Southern California

1052

Joan Strauss Carl (1926-2021, American)

A rectangular mid-century modern tile-top coffee table, circa 1960s-70s Studio made table with inset polychrome terracotta tiles in a wood box frame and raised on wood slab legs 12.75” H x 73” W x 19.25” D

$200-400

Provenance: The Estate of Joan Strauss Carl, Southern California

1051

Joan Strauss Carl (1926-2021, American)

A rectangular mid-century modern tile-top coffee table, circa 1960s-70s Studio made table with inset polychrome terracotta tiles in a wood box frame and raised on wood slab legs 12.75” H x 59.125” W x 23.125” D

$200-400

Provenance: The Estate of Joan Strauss Carl, Southern California

1053

Toko Shinoda (1913-2021, Japanese)

“Anniversary”

Lithograph in colors on paper Edition: 5/25

Signed, titled and numbered in pencil in the lower margin: Toko Shinoda Image: 25” H x 18” W; Sheet: 27.625” H x 21.25” W

$1,000-1,500

Provenance: Property from the Private Collection of Gregory Sierra

1055

Deborah Williams Remington (1930-2010, American)

Abstract Edition: V/VII

Color lithograph on paper; Tamarind Institute, Albuquerque, NM, prntr. and pub.

Signed lower right: Remington; with the Tamarind Institute blindstamp lower left and another blindstamp lower right Sheet: 28.75” H x 26.5” W

$500-700

Provenance: Private Collection, Beverly Hills, CA

1056

Deborah Williams Remington (1930-2010, American)

“Kent,” 1973

Edition: V/VII

Color lithograph on paper; Tamarind Institute, pub.

Signed lower right: Remington; with the Tamarind left and another blindstamp lower right Sheet: 27.75” H x 21.25” W

$500-700

Provenance: Private Collection, Beverly Hills,

Institute, Albuquerque, NM, prntr. and Tamarind Institute blindstamp lower Hills, CA

1057

Deborah Williams Remington (1930-2010, American)

“Ealing,” 1973 Edition: V/VII

Color lithograph on paper; Tamarind Institute, Albuquerque, NM, prntr. and pub. Signed and numbered in pencil along the lower edge; with the blindstamp of the Tamarind Institute, Albuquerque, NM in the lower left corner Image/Sheet: 28” H x 26.5” W

$400-600

Provenance: Private Collection, Beverly Hills, CA

1058

Elsa Tennhardt (1899-1980)

Cocktail shaker, 1928 Silver-plated brass Impressed manufacturer’s mark to underside: E. & J.B. [E. and J. Bass Company] / 9164 / U.S Patent #75939 12” H x 5” W x 5” D

$3,000-5,000

Literature: John Stuart Gordon, “A Modern World: American Design from the Yale University Art Gallery, 1920-1950” (New Haven, CT: Yale University Press, 2011), 67, no. 44.

Pat Kirkham, “Woman Designers in the USA 1900-2000: Diversity and Difference” (New Haven, CT: Yale University Press, 2000), 233.

Notes: This rare, silver-plated brass cocktail shaker from 1929 exemplifies the prominent Art Deco influence in Elsa Tennhardt’s work. Tennhardt (1899-1980, American), an artist and designer during the mid-20th century, was influenced by the sleek lines and shiny surfaces of the Art Deco period. Designers during this time prized the modern look of smooth lines, geometric figures, and symmetrical details defined by the Art Deco style. The mirrored and shiny surfaces of the silver-plated brass material found in Tennhardt’s cocktail shaker can also be seen in her cocktail glasses, salt and pepper shakers, and ice buckets. Her work is currently in the permanent collection of Decorative Art of the Brooklyn Museum and their exhibit “The City and the Rise of the Modern Woman, 1900–1945.”

1060

Robin Reider Knight

20th Century, American)

Mesas,” circa 1990 Wool tapestry

$500-700

Provenance:

Grande Weavers

Notes: This lot is accompanied

receipt

from Rio Grande Weavers Supply dated June 16, 1990.

1063

Margaret Hermann

Signed

Provenance:

1065

Karen Benjamin (b. 20th Century, American) “Illusions,” 2003 Wool tapestry Attributed, dated, and titled to fabric tag verso: Illusions / © 2003 / By Karen Benjamin 48” H x 35” W

$500-700

Provenance: Weaving Southwest, Taos, NM

Notes: This lot is accompanied by a receipt of sale from Weaving Southwest dated January 13, 2004.

1067 Jennifer Worsley

(active, 20th Century, Salt Lake City, UT)

Looking over a valley at sunset Oil pastel on paper

Appears unsigned; with artist’s address label affixed to the frame’s backing paper Sight: 8.5” H x 9.75” W

$300-500

Provenance: The Estate of George David Sturges

1071

Linda Glover Gooch (b. 1956, American)

Moab”

on canvas laid to panel

Signed and inscribed lower right: L. Glover Gooch / OPA, AWA; signed again, titled and inscribed verso: RMPAP, GCT

Provenance:

Estate of George David Sturges

1072

Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA)

“Rocky Arroyo” (double-sided): First side: Dry wash with sycamore trees; Second side: Oak trees atop boulders Oil on canvas

Signed and with the artist’s device on each side, at the lower right on the first side, and at the lower left on the second side: Marion Kavanagh Wachtel; titled on a gallery sticker affixed to verso of the frame 13” H x 17” W

$4,000-6,000

Provenance: Joan Irvine Smith Fine Arts, Irvine CA (#F0219)

Butterfield and Butterfiled, San Francisco, CA, December 9, 1999, Lot 5425

The Estate of Geogre David Sturges, Park City, UT, acquired from the above

Notes: This double-sided work is displayed in a Mayen Olson frame dated 1998.

1073

Jennifer Worsley

(b. 20th Century,

“Foothills,”

on

Appears

Lake City,

and

of

1075

Donna Neithammer

(Active, 20th Century, Media, PA)

“Embedded;” and “North Face Light”

Each: Oil pastel on paper

Each: Signed lower right: D. Neithammer; titled on a gallery label affixed to the frame’s backing paper

Largest: 12” H x 15” W

$300-500

Provenance: Taminah Gallery, Park City, UT

The Estate of George David Sturges, acquired from the above, 2005

Notes: The artist is also known as Donna Neithammer-Cusano as well as Donna Cusano. The label on the backing paper of each frame offers additional details as to the location depicted. “Embedded” is a view “...looking South on Ridge Avenue in Park City, UT,” whereas “North Face Light” is a view “...near Lowell and 8th Avenues in Park City, UT.”

1076

Carmen Beckmann (b. 20th century, Mexican)

A group of Mexican silver jewelry, circa 1960-1980; San Miguel de Allende, Mexico

Each stamped: Beckmann / Sterling / Mexico

Comprising a mixed metal overlay three-panel bracelet, each panel with a stylized copper mask and set turquoise accent (6.5” inner C x 1.125” H), an abstract silver overlay round brooch (2” Dia.), an elaborate silver star pendant with central dome and eight amethyst cabochons (2.125” Dia.), and a narrow silver bangle with amethyst charm (7.75” inner C; charm: 1” Dia.), 4 pieces

127.9 grams gross

$400-600

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

Literature: Two designs illustrated: Penny C. Morrill and Carole A. Berk, “Mexican Silver: Modern Hand-Wrought Jewelry & Metalwork” 4th Edition (Atglen, PA: Schiffer, 2007), 233, Pl. XXV-10 and 234, Pl. XXV-11.

1077

Carmen Beckmann

(b. 20th century, Mexican)

A group of Mexican silver and amethyst frog jewelry, circa 1960-1980; San Miguel de Allende, Mexico

Each stamped: Beckmann / Sterling / Mexico

Comprising a mixed-metal overlay six-link bracelet featuring carved amethyst frogs (6.375” inner C x 1.25” H), a matching single silver and carved amethyst frog pendant (0.875” H x 0.75” W), and a pair of matching clip earrings (Each: 1” H), 4 pieces

100.2 grams gross

$400-600

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

1083

Alice B. Chittenden

Francisco,

Still life with

1084

Beatrice Stuart (1917-2003, Illinois/California)

“Still Life with Squash” Oil on canvas

Signed and inscribed lower right: Stuart / NWS CAC; titled on the frame’s backing paper as well as on an exhbition label affixed to the same paper 24” H x 30” W

$300-500

Exhibitions: Luckman Fine Arts Complex, Cal State University, Los Angeles, “California Art Club’s 89th Annual Gold Medal Exhibition,” July 11- August 29, 1998

Notes: Stuart was a Signature Member of both the National Watercolor Society (NWS) and the California Art Club (CAC).

1085

Colleen K. Howe (b. 1953, Dillon, MT)

“Landscape Harmony #1,” 2010 Oil on Masonite

Signed lower right: Howe; signed again: Colleen K. Howe, titled, dated, numbered 340610, and with the ©, all verso 12” H x 12” W

$200-300

Provenance: The Estate of George David Sturges

Notes: In addition to the title written of the verso of the Masonite, there is a card, apparently written and signed by the artist, with the variant title “English Trees,” affixed verso.

1086

Nellie Ziegler (1874-1948, Pasadena, CA) “Street in Rockport, Mass.” Oil on canvas Signed lower left: Nellie Ziegler; titled on the frame plaque 25” H x 30” W

1088

Jeanette Maxfield Lewis (1894-1982, Monterey,

“San Germaine”

Oil on canvas laid

Signed lower

$800-1,200

1089

Colleen K. Howe (b. 1953, Dillon, MT)

“WY Tree Group,” 2009 Pastel on paperboard

Signed lower left: C. K. Howe psa; signed again, titled, dated and with the © on the frame’s backing paper Sight: 9” H x 12” W

$200-300

Provenance: The artist

The Estate of George David Sturges, acquired from the above

Notes: The work is numbered #150809 on the frame’s backing paper, possibly in another hand. The artist’s use of “psa” after her signature indicates her membership in PSA, the Pastel Society of America. She is also a member of AWA, the American Watercolor Association.

Condition Reports

1001

Overall good condition with minor light scratches and scattered oxidation marks commensurate with age and use. Scattered areas of light wear, including slight wear to some leaf tips and to link attachments.

1002

Fair to good condition. With wide margins. Very pale light staining. Residue from an approximately 3” horizontal piece of cellophane tape in the upper margin, recto. An approximately 1.25” semi-circular tear near the bottom of the left margin edge, not affecting the image. A nickel-size skinned area attendant with the tear just mentioned, verso. Remains of old cellophane tape, glue, and former backing paper in places along the margin edges, verso. The sheet is loose, not mounted.

Unframed: 14” H x 11.25” W

1003

Good condition. With wide margins. Pale light staining. Residue from an approximately 4” long horizontal piece of cellophane tape in the upper margin, recto. Remains of old cellophane tape, glue, and former backing paper in places along the margin edges, verso. The sheet is loose, not mounted.

Unframed 1004

Good condition. With wide margins and vibrant colors. Very pale light staining. Residue from an approximately 6” long horizontal piece of cellophane tape in the upper margin, recto. Remains of old cellophane tape and glue in places along the margin edges, verso. The sheet is loose, not mounted.

Unframed 1005

Overall toning. Some scattered and unobtrusive surface skinning and creasing showing in the margins. Not examined out of the frame.

Framed under Plexiglas: 15.75” H x 23.5” W x 1.5” D

1006

Good condition. Very minor toning to the paper. Small spots of light staining to the paper scattered along the margins. A minor crease in the upper right corner. The left, upper and lower edges are deckled. The paper is loose, not mounted.

Unframed

1007

Good condition. Very minor toning to the paper. The paper with deckled edges. The paper is loose, not mounted.

Unframed

1008

Each: Good condition. Minor toning to the paper with heavier toning along the extreme edges. The full sheet with deckled edges. Not examined out of the frame.

Framed under Plexiglas: 23.75” H x 31.25” W x 1.5”

D 1009

Good condition. Minor toning to the paper. Two handling creases upper center. The full sheet with deckled edges. The paper is loose, not mounted.

Unframed 1010

Overall good condition with minor scuffs and scratches commensurate with age. The decoupaged papers with inherent bubbling and lifting typical for the medium.

1011

Very good condition. Unframed.

Overall: 14” H x 11” W x 1” D

1012

Very good condition. Unframed.

Overall: 14” H x 11” W x 0.875” D

1013

Good condition. Some scattered foxing showing mostly in the right margin, not affecting the image. An occasional short handling crease in the lower portion of the right margin. Not examined out of the frame.

Framed under Plexiglas: 30.25” H x 24.25” W x 1” D

1014

Good condition. Mat staining, verso. Residue from former mounting with eight small adhesive stickers, verso. The sheet is loose, secured now to the back mat with clear archival corners.

Framed under Plexiglas: 11.25” H x 14.25” W x 1.5” D

1015

Visual: Good condition. Scuff marks scattered throughout.

Blacklight: No evidence of restoration.

Frame: 104.25” H x 73” W x 1.5” D

1016

Overall very good condition. Full margins with deckeled edges. Minor handling marks along the edges.

Unframed.

1017

Overall very good condition. Full margins with deckled edges. A quarter-sized tape burn mark in the left verso corner.

Unframed.

1018

Good condition. Minor toning to the paper. The full sheet with deckled edges. The paper is loose, not mounted.

Unframed

1019

Overall good condition with scattered scuffs and scratches commensurate with age. Lacking eight brass feet causing the screen the stand unsteadily.

1020

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

With base: 21.5” H x 25.5” W x 20” D

1021

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

1022

The sheet is toned and with time staining along the outermost edges. A few pinhead-sized stains in the image. Other very pale stains showing in the margins. Pinholes in the margin corners. Not examined out of the frame.

Framed under Plexiglas: 30.25” H x 34.25” W x 1” D

1023

Good condition. Not examined out of the frame.

Frame: 14.25” H x 16.25” W x 0.5” D

1024

Good condition. A few very pale and unobtrusive yellow stains in the margins, the largest being peasized. The margins slightly unevenly trimmed on all sides. The work is hinged to the back mat with linen tape from the recto of the upper sheet edge.

Unframed

1025

Visual: Good condition. Scratches with paint loss lower left and lower right. A spot of grime lower center.

Blacklight: No evidence of restoration.

Framed under Plexiglas: 33.25” H x 43” W x 2” D

1026

Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight.

Unframed

1027

Generally good condition. Surface dirt and grime.

Unframed

1028

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

1029

Overall good condition with oxidation to bronze commensurate with age. With a possible repair to the birds and the figures wrist.

1030

Visual: Good condition. A few lines of craquelure scattered throughout. Dust accumulation in the impasto commensurate with age. Spots of paint loss in the black element upper right. A few small spots of paint loss in the purple element upper left.

Blacklight: No evidence of restoration.

Frame: 71.25” H x 69” W x 2” D

1031

Visual: Good condition.

Blacklight: No evidence of restoration.

Frame: 56.25” H x 54.25” W x 1.75” D

1032

Visual: Good condition. Craquelure throughout. A verso indentation to the canvas upper right.

Blacklight: No evidence of restoration.

Frame: 40.25” H x 42.75” W x 1.75” D

1033

Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Base with light scratches.

With base: 12.75” H x 9” W x 5.75” D

1034

Visual: Good condition.

Blacklight: No evidence of restoration.

Frame: 74.25” H x 74.25” W x 3” D

1035

Good condition. Toning to the paper, heavier toning at the extreme edges. Spots of foxing, minor handling creases and rippling to the paper scattered throughout. Framed floating and mounted to the back mat. Not examined out of the frame.

Framed under Plexiglas: 38” H x 26” W x 1.5” D

1036

Visual: Good condition. Dust accumulation and grime commensurate with age. Occasional scattered craquelure, sometimes with an attendant small and unobtrusive pigment loss, generally rice-sized or smaller, one of which slightly affects the “r” in the artist’s signature. A pinhead-size nick with attendant pigment loss at the left corner of the upper edge.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 18.25” W x 1.75” D

1037

Visual: Generally good condition.

Blacklight: No evidence of restoration.

Frame: 55” H x 41” W x 1.5” D

1038

Good condition. An irregular, dime-sized abrasion near the lower right corner with traces of color from the watercolor, recto, showing through. Framed floating and hinged to the mat in various places along the extreme sheet edges. Not examined out of the double-sided frame.

Frame: 36.5” H x 29” W x 1.75” D

1039

Visual: Good condition. Dust accumulation and grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 16.25” H x 20.25” W x 1.5” D

1040

Good condition. A rich impression with carefully directed platetone. Not examined out of the frame.

17.25” H x 14.75” W x 0.75” D

1041

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: A 2.5” H x 2” W touch-up in the sky at the upper right corner.

Frame: 19.25” H x 51.5” W x 1.75” D

1042

Visual: Good condition. Dust accumulation and grime commensurate with age. An unobtrusive, 1.5” long, diagonal hairline surface scuff with some scattered pigment loss at the lower left, visible mostly in raking light. A pinhead-size pigment loss nearby, abutting the fallen tree limb.

Blacklight: Apparently no restoration. Certain areas of the cloudy sky fluoresce, however, these appear to be in the in the hand of the artist.

Frame: 19” H x 23.5” W x 1.5” D

1043

Each overall good condition with minor scuffs and oxidation to bronze commensurate with age. Each with minor abrasions and wear to stone.

1044

Overall good condition with minor scuffs and oxidation to bronze commensurate with age. With minor abrasions and wear to stone. The back panel is loose.

1045

Each overall good condition with minor scuffs and oxidation to bronze commensurate with age. Each with minor abrasions and wear to stone. The standing figure plaque’s back panel is loose.

1046

Visual: Good condition.

Blacklight: Two small spots of grime fluoresce at the lower right.

Frame: 25” H x 32.75” W x 1.5” D

1047

Visual: Good condition. A 1” line of paint loss along the lower left edge.

Blacklight: No evidence of restoration.

Unframed

1048

Visual: Good condition.

Blacklight: No evidence of restoration.

Frame: 16” H x 19” W x 2” D

1049

Visual: Overall very good condition.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 15.5” W x 1” D

1050

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The square with approximately three cracked tiles.

1051

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With fading and moisture spots. With approximately one cracked tile.

1052

Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. With fading and moisture spots. With approximately one cracked tile.

1053

Good condition. Full margins, deckled along the left edge. An occasional foxmark showing mostly in the margin. Framed floating and mounted to the back mat.

Framed under glass: 29.5” H x 23.5” W x 1.25” D

1054

Overall good condition with scattered scuffs, scratches, and spots of oxidation commensurate with age. A 1” scratch to enamel surface at upper left corner.

1055

Good condition. Framed floating and attached to the back mat with clear, removable tabs. Not examined out of the frame.

Framed under glass: 31” H x 28.75” W x 1” D

1056

Good condition. Framed floating and attached to the back mat with clear, removable tabs. The paper with deckled edges. Not examined out of the frame.

Framed under glass: 30” H x 23.5” W x 1” D

1057

Good condition. Framed floating and attached to the back mat with clear, removable tabs. Not examined out of the frame.

Framed under glass: 30.25” H x 28.75” W x 1” D

1058

Overall good condition with tarnishing commensurate with age. Scattered moderate scratching throughout with localized areas of heavier scratches and surface wear revealing the base metal, pitting, and very small surface dents.

1059

Overall good condition commensurate with age. With two weighted rods.

1060

Overall good condition commensurate with age.

1061

Visual: Good condition.

Blacklight: No evidence of restoration. Unframed

1062

Visual: Good condition. Tape remnants from a previous mounting remain on the recto lower left, lower right and lower center.

Blacklight: No evidence of restoration.

Unframed

1063

Overall good condition commensurate with age. Slight soiling/discoloration to the lining at top verso. With one weight rod.

1064

Overall good condition commensurate with age. With one weighted rod.

1065

Overall good condition commensurate with age. With velcro mounting strip verso.

1066

Visual: Good condition. Occasional specks of grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 18” H x 30” W x 2” D

1067

Good condition. Not examined out of the frame.

Framed under glass: 14.75 x 17.5 x 0.75” D

1068

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: A delicate, 0.25” diagonal line of touchup in the mountains near the left edge.

Frame: 12” H x 15.5” W x 1” D

1069

Visual: Good condition.

Blacklight: No evidence of restoration.

Frame: 9.25” H x 11.25” W x 2.25” D

1070

Visual: Good condition. Fine craquelure scattered throughout. Uneven varnish discoloration throughout. A few small scratches with minor losses to the varnish layer.

Blacklight: A 1.5” x .5” area of touch-up lower right.

Frame: 26.5” H x 36.5” W x 1.75” D

1071

Visual: Good condition.

Blacklight: No evidence of restoration.

Frame: 13.5” H x 15.5” W x 1.5” D

1072

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: A few scattered dots or small areas of touch-up on each side, primarily in the sky, the largest approximately pea-sized.

Framed under Plexiglas on the second side: 18.75” H x 22.75” W x 2” D

1073

Good condition. Not examined out of the frame.

Framed under glass: 12.5” H x 17” W x 1” D

1074

Visual: Good condition.

Blacklight: No evidence of restoration.

Frame: 18.25” H x 21.5” W x 1.5” D

1075

Each: Good condition. Not examined out of the frame.

Each framed under glass: 18.5” H x 22” W x 1.75” D

1076

Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. Tiny chip to one turquoise stone. The amethysts with eye-visible inclusions and surface-reaching fractures. A couple of minor dents to bangle. Chain guard of bracelet lacking attachment ring on one side.

1079

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 15.5” H x 18.5” W x 1.5” D

1080

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 14” H x 16.75” W x 1.5” D

1081

Visual: Good condition. Small spots of paint loss upper center, lower left and in the center. A small hole in the canvas in the girl’s arm right center. The canvas is slightly loose and rippled.

Blacklight: No evidence of restoration under blacklight.

Frame: 35” H x 31” W x 3” D

1082

Overall good condition with minor scuffs and oxidation to bronze commensurate with age. The stone base with small chips to corners.

With base: 24” H x 9.25” W x 6” D

1083

Visual: Good condition. The canvas is laid to canvas as described and is also strip-lined (the tacking edges removed).

1077

Each in overall good condition with light tarnishing and scratches commensurate with age and use. The amethysts with light abrasions, eye-visible inclusions and surface-reaching fractures. Small chip to back leg of one frog on bracelet.

1078

Visual: Good condition.

Blacklight: Unobtrusive touch-ups in the upper right corner attendant with a few tiny pinhead-size surface abrasions

Frame: 10.75” H x 16.5” W x 1” D

Blacklight: Possibly old areas of touch-up. Difficult to read under heavy varnish.

Frame: 23” H x 27” W x 1.5” D

1084

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 30” H x 36” W x 2” D

1085

Visual: An unobtrusive, 1” horizontal surface scuff w/ an attendant pinhead-size pigment loss in the upper section, left of center. Occasional specks of surface grime commensurate with age.

Blacklight: A very delicate, scattered, 1” horizontal line of touch-up in the upper section of the left edge.

Frame: 18.25” H x 18.25” W x 2.5” D

1086

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: Touch-ups scattered throughout the sky. The largest area approximately 1.25” H x 3” W at center, just above the distant treetops. Difficult to read under varnish.

Frame: 29.5” H x 34.5” W x 2” D

1087

Visual: Good condition. Craquelure scattered throughout. Small flecks of paint loss scattered throughout the sky. Minor surface dirt and grime.

Blacklight: No evidence of restoration.

Frame: 30.75” H x 36.75” W x 2” D

1088

Good condition. Dust accumulation and grime commensurate with age. An unobtrusive, rice-size, pigment loss in the sky to the left of the steeple, and another, smaller loss nearby. The “L” in the signature has been scratched in.

Blacklight: No evidence of restoration under blacklight.

Frame: 14.75” H x 16.75” W x 1.75” D

1089

Good condition. Not examined out of the frame.

Framed under glass: 15.5” H x 18.5” W x 2” D

1090

Visual: Good condition. Dust accumulation commensurate with age.

Blacklight: No evidence of restoration.

Frame: 13” H x 15” W x 1.75” D

1091

Visual: Good condition. An unobtrusive, delicate, arched surface scuff near the top of the right edge.

Blacklight: No evidence of restoration.

Frame: 14.75” H x 16.75” W x 1.25” D

1092

Good condition. Minor toning to the paper. A minor handling crease in the upper right corner. Not examined out of the frame.

Framed under glass: 23” H x 27.5” W x 1” D

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Senior Vice President

Morgana Blackwelder AAA Fine Art Director Jenny W ilson

Vice President, Furniture & Decorative Arts Director Roland R ynkiewicz President, Auctioneer Jeffrey J. Moran

SIlver, Western, and American Indian Specialist Maranda Moran Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Post-War & Contemporary Fine Art Specialist Hayden Hunt

20th Century Design Specialist Matthew Grayson Silver, Western and American Indian Cataloguer Sally Andrew Fine Art Cataloguer Anne Spink Fine Art Cataloguer Madison Ari Senior Furniture & Decorative Arts Cataloguer Shannon Dailey Furniture & Decorative Arts Cataloguer Sarah Beaver Jewelry Director Mollie Bur ns Keith, G.J.G

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Operations Coordinator Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Angel Sanchez Art Handler Jacob Baer Art Handler Alek Ellis

MARKETING

Advertising & Marketing Director, Art Design

Nathan Martinez Brenda Smith PR Manager/Social Media Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson

Photographer Madison Torres

Photographer Michael Mizerowski

TRUSTS & ESTATES

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.

Online @ www.johnmoran.com

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.