Tuesday, August 30, 2022 Summer Modern & Contemporary Art AUCTIONEERS & APPRAISERS SINCE 1969
Sale 228 145 East Walnut Avenue, Monrovia CA 91016 Meet the Team Anne Spink Fine Art Clientanne@johnmoran.comCataloguerServices Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client ella@johnmoran.comServices Morgana Blackwelder Head of Sale Senior Vice President, Fine Art morgana@johnmoran.comDirector Bobby Cullen Junior Fine Art Specialist Senior Fine Art bobby@johnmoran.comCataloguer Tuesday, August 30, 2022—12pm Previews: Friday, August 26th: 12-4pm Saturday, August 27th: 12-4pm Monday, August 29th: 12-4pm Or by appointment AUCTIONEERS & APPRAISERS SINCE 1969 Hayden Hunt Post-War & Contemporary Fine Art hayden@johnmoran.comSpecialist Summer Modern & Contemporary Art
4 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 George1 Rodrigue (1944-2013, American) “We Are Marching Again,” 2006 Screenprint in colors on paper From the edition of unknown size Signed in pencil in the blank at lower right Sight: 27.5” H x 21.5” W $2,000-3,000
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6 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Edward2 Ruscha (b. 1937, American) “Other,” Lithograph2004inred on German Etching paper Edition: 159/250 Signed, dated, and numbered in pencil in the lower left and right corners: Ed Ruscha; Gemini G.E.L., Los Angeles, CA, prntr. and pub., with their blindstamps Image/Sheet: 11.25” H x 14.75” W Provenance:$2,500-3,500Sold: John Moran Auctioneers, Monrovia, CA, “Prints & Multiples,” June 9, 2021, Lot 1023 Literature: Gemini 2022
7www.johnmoran.com Nadav3 Kander (b. 1961, British) “Spanish Moss, Louisiana,” 1997 Archival pigment print in colors on Hahnemuhle photorag paper Edition 54/100, printed in 2013 Image:Unsigned16.125” H x 20.125” W; Sheet: 20” H x 23.75” W Provenance:$800-1,200 Private Collection, New York Notes: This work is accompanied by a signed letter of authenticity from Counter Editions, London, England.
8 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Philip4 Pearlstein (b.1924, American) “Two Nudes with Federal Sofa,”1981 Etching and aquatint in colors on paper A printer’s proof aside from the published edition Signed, titled, and inscribed “Printer’s Proof 2/2” in pencil along the extreme right edge: Philip Pearlstein Image/Sheet: 28.75” H x 40.5” W Provenance:$800-1,200 Property from Frances Luban Fine Art, Burbank, CA
9www.johnmoran.com Philip5 Pearlstein (b.1924, American) “Girl on Empire Sofa,” 1971 Lithograph in brown on wove paper Edition: 64/75 Signed and numbered in pencil along the lower edge, at right: Philip Pearlstein; Landfall Press, Chicago, IL, pub., with their blindstamps at the lower left, and their ink stamp and work number: PP71245 at the verso of the same corner Image/Sheet: 32.5” H x 24” W Provenance:$800-1,200 Property from Frances Luban Fine Art, Burbank, CA
10 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Philip6 Pearlstein (b.1924, American) “Nude on Striped Hammock,” 1974 Etching and aquatint in colors on Copperplate paper A printer’s proof aside from the edition of 100 Signed and inscibed “Printer’s Proof” in the lower margin; Orlando Condeso Workshop, New York, NY, prntr; Allan Frumkin Gallery, New York, NY, pub. Plate: 23.5” H x 25.75” W; Sheet: 29.75” H x 22.25” W Provenance:$700-900 Property from Frances Luban Fine Art, Burbank, CA Literature: Field 59
11www.johnmoran.com After7 Pablo Picasso (1881-1973, Spanish) “Art et Solidarité,” 1960-61 Offset lithograph in colors on Arches paper Edition: 57/200 Signed and numbered in pencil in the lower corners: Picasso; with the printed signature and date in the image; Mourlot, Paris, France, prntr.; Galerie Coard, Paris, France, pub. Sight: 26.25” H x 20.25” W Literature:$5,000-7,000Czwiklitzer 170 Notes: There was also an unsigned edition of 1000 with letters.
12 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Salvador8 Dali (1904-1989, Spanish) “St. George and the Dragon,” 1947 Etching on paper From the edition of 250 Signed in pencil in the lower margin: Salvador Dali; The Print Club of Cleveland, Cleveland, OH, pub., with their ink stamp verso, and with their original paper label afffixed to the backboard of the mat Plate: 17.625” H x 11.25” W; Sheet: 22.5” H x 15.25” W Provenance:$10,000-15,000The Print Club of Cleveland (Lugt 2049b) Property from the Estate of Joan Carl Literature: Micheler/Lopsinger 57 Notes: The Print Club of Cleveland publication no. 24.
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14 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 After9 Salvador Dal” (1904-1989, Spanish) “Hommage aux Petits Lits Blancs” Lithograph in colors on Arches paper Edition: 131/250 Signed and numbered in pencil in the lower margin in another hand: Dali; titled by repute Image: 26.25” H x 19.75” W; Sheet: 30” H x 22.5” W Literature:$800-1,200Not in Field
15www.johnmoran.com Roy10 Lichtenstein (1923-1997, American) “Aspen Winter Jazz Poster” 1967 Screenprint in colors on smooth wove paper Appears to be aside from the signed and numbered edition of 300 Chirion Press, prntr.; the artist and Leo Castelli Gallery, New York, NY, co-pubs. Sight: 39.75” H x 25.5” W Literature:$600-800 Corlett 44
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Fernand11 Leger (1881-1955, French) “Aprés le déluge,” from “Les Illuminations” by Arthur Rimbaud, 1949 Lithograph with pochoir and unique hand-coloring in gouache on cream wove paper, unidentified watermark, under Plexiglas Signed and inscribed in pencil in the lower right corner: F. Leger / bon définitif; ink stamped, as well as signed and inscribed in pencil on the verso by the publisher; Louis Grosclaude at Editions de Gaules, Lausanne, Switzerland, pub. Image/Sheet: 13” H x 9.75” W
Estate of William J. Solloway Private Collection, New York, NY, acquired from the above Literature: cf. Saphire 24-38, pp. 258-267
Provenance:$6,000-8,000The
Notes: The pencil inscription and signature by Grosclaude on the verso appears to read: Colorée par l’artiste / Bon définitif [indistinct] / Fernand Léger pour Les / Illuminations de Rimbaud / Mars 1949 / L. 395Grosclaude.examples of “Les Illuminations,” written by Arthur Rimbaud and illustrated Fernand Leger, were published in 1949, including both standard and deluxe editions.
The French poet Arthur Rimbaud (1854-1891), who is regarded as a key member of the Symbolist movement, wrote the forty prose and two free-verse poems known as “Les Illuminations” when he was in his late teens. While the collection of poems was first published in 1886 without the author’s knowledge, “Les Illuminations” is now considered a masterpiece of Modernist poetry that firmly established Rimbaud’s reputation as one of France’s great poets. In 1949, the Swiss publisher Louis Groschaude commissioned the French artist Fernand Leger to create a series of fifteen illustrations that were to accompany a reprinting of “Les Illuminations.” This work, which accompanied the poem “Apres Le Deluge,” was one of nine illustrations that were individually hand-colored for a small deluxe edition of Groschaude’s printing of “Les Illuminations.”
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18 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 After12 Fernand Leger (1881-1955, French) Circus Lithographcouplein colors on japon nacre paper Edition: 96/150 Initialed in the stone only; numbered and indistinctly signed in pencil in the lower margin, possily by another hand Image: 16.5” H x 21” W; Sight: 18.75” H x 23.625” W Provenance:$500-700 Property of an Important New York Corporate Collection
19www.johnmoran.com Jurgen13 Peters (1936-1997, German) “Homage to Morris Louis,” 1976 Screenprint in colors on paper Edition: 122/200 Signed, titled, dated and numbered in pencil in the lower margin: J Peters Image: 36.625” H x 24.375” W; Sight: 38.75” H x 26.75” W $400-600
20 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Jurgen14 Peters (1936-1997, German) “Untitled,” 1973 Screenprint in colors on paper Edition: 1/100 Signed, dated, and numbered in pencil in the lower margin: J Peters; Editions Galerie Lahumière, Paris, France, pub., with their blindstamp in the lower right margin corner Image: 25” H x 25” W; Sheet: 28.375” H x 28.375” W $400-600
21www.johnmoran.com Jurgen15 Peters (1936-1997, German) “Homage to Morris Louis II,” 1976 Screenprint in colors on paper Edition: 91/200 Signed, titled, dated, and numbered in pencil in the lower margin Image: 36.5” H x 24.375” W; Sight: 38.75” H x 26.75” W $400-600
Although Warhol was unsuccessful in re-editioning object meant that they could not legally be defined infringement. However, in addition to re-numbering also gifted his other prints to the Wayne Family as
Summer Modern & Contemporary Art l Tuesday, August 30, 2022
Andy (1928-1987,WarholAmerican)
Andy Warhol’s “John Wayne” comes from the estate Wayne, this print was acquired from the artist under Upon his death in 1979, the rights to use John Wayne’s family, with a royalty paid to his estate and profits Liberty Valance” as the basis for his screenprint, never portfolio starting in 1986.
Out of all the portraits ever produced by the artist Wayne,” was produced by the artist about a year suite of screenprints also included portraits of other figures in the mythology surrounding the American
The artist’s son, Michael Wayne, first encountered unsuccessful, John Wayne’s children filed a lawsuit Warhol, seeking to limit his legal exposure in the that had already been purchased. These works had variations before being inscribed “Unique” at the
In Warhol’s portrait, Wayne is shown in three quarters
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artist Andy Warhol, his depiction of Hollywood celebrities are among the most memorable. “John year before his death, was originally part of a ten-print portfolio titled “Cowboys and Indians.” This other individuals - Teddy Roosevelt, Annie Oakley, George Custer, and Geronimo - who were key American West. quarters view wearing his trademark cowboy hat while brandishing a pistol. This unique version of estate of John Wayne’s daughter, Melinda Wayne Munoz. Previously owned by the Estate of John under an interesting set of circumstances that date back to the 1980s. Wayne’s name and reproduce his likeness were transferred to a partnership managed by the profits donated to charity. Warhol, who used a press shot for Wayne’s 1962 film “The Man Who Shot never sought formal approval to use the image before releasing his “Cowboys and Indians” encountered the work by chance in a New York Gallery. After negotiations to license the image were lawsuit against the artist to recover any profits obtained from his unauthorized use of the image. matter, had all remaining examples of the print recalled by The Factory - including prints had the edition number removed, and Wayne’s scarf or pistol were re-colored in one-off color the bottom right corner. re-editioning every example of his “John Wayne” print, his effort to transform each piece into a unique defined as a “product” which provided the artist with some protections against copyright re-numbering each “John Wayne” print from the “Cowboys and Indians” portfolio, the Warhol Foundation as part of a broader legal settlement.
24 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Andy16 Warhol (1928-1987, American) “John Wayne” from the “Cowboys and Indians” portfolio, 1986 Screenprint in colors on Lenox Museum Board Edition HC 12/15 Signed and annotated in pencil at the lower right: UNIQUE Andy Warhol; numbered in pencil, verso; Rupert Jasen Smith, prntr., with his blindstamp in the lower left corner; Gaultney, Klineman Art, Inc., New York, pub., with their copyright ink stamp, verso Image/Sheet: 36” H x 36” W Provenance:$70,000-90,000The artist Wayne MelindaEnterprisesWayneMunoz (John Waynes Daughter), gifted from the above Literature: Feldman & Schellmann II.377
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26 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Willard17 Peter Tangen (20th Century, American) Abstraction with squares Oil on Signedcanvasonthe stretcher: Tangen 45” H x 45.25” W Provenance:$500-700 Property of an Important New York Corporate Collection
27www.johnmoran.com Josko18 Eterovic (b. 1943, Croatian) Untitled, 1975 Oil on Signed,linendated and inscribed verso: Josko Eterovic / Paris 76.75” H x 76.75” W $1,500-2,500
28 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Josko19 Eterovic (b. 1943, MixedComposition,Croatian)1984mediaandcollage on tan paper Signed and dated in pencil at the lower right: Josko Eterovic 31” H x 31” W $800-1,200
29www.johnmoran.com Josko20 Eterovic (b. 1943, Croatian) Untitled, 1986 Oil on Signedlinenand dated verso: Josko Eterovic 95” H x 10” W $800-1,200
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31www.johnmoran.com Josko21 Eterovic (b. 1943, “CompositionCroatian)Aux Croix,” 1976-1980 Oil on Signed,linendated and inscribed verso: Josko Eterovic / Paris; titled by repute 59” H x 59” W $800-1,200
32 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 John22 Kacere (1920-1999, American) “Again,” 1962 Oil on Signed,canvastitled and dated verso: Kacere 77.5” H x 57” W Provenance:$1,500-2,500Property of an Important New York Corporate Collection
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34 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Terrence23 Syverson (b. 1939, Canadian) “Target,” 1962 Oil on Signed,paperdated and inscribed: “Studio no. 6, New York, 1962” in ink along the upper sheet edge: Terrence Syverson; titled by repute 14” H x 10” W Provenance:$400-600 Property of an Important New York Corporate Collection
35www.johnmoran.com Terrence24 Syverson (b. 1939, Canadian) “Target,” 1963 Oil on Signed,paperdated and inscribed “Studio no. 6, New York” in ink along the lower sheet edge: Terrence Syverson; titled by repute 14” H x 10.125” W Provenance:$400-600 Property of an Important New York Corporate Collection
36 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Allan25 Hacklin (b. 1943, American) “Episode #2” Oil on canvas laid to Masonite Appears unsigned; titled and with the artist’s name on the verso of the stretcher, both in another hand 22.75” H x 20” W Provenance:$300-500 Property of an Important New York Corporate Collection
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38 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Allan26 Hacklin (b. 1943, American) SignedOilUntitledoncanvaslower center: Hacklin 77” H x 70.5” W Provenance:$700-900 Property of an Important New York Corporate Collection
39www.johnmoran.com John27 Kacere (1920-1999, American) Untitled, 1959 Oil on Signedcanvasanddated verso: Kacere 74” H x 64.5” W Provenance:$1,000-2,000Property of an Important New York Corporate Collection
40 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Dimitri28 Hadzi (1921-2006, American) “Mycenae,” 1976-77 Patinated bronze on marble base Edition: Engraved11/11signature and number: Hadzi 17” H x 12.5” W x 7” D Provenance:$3,000-5,000Jodi Scully Gallery, Los Angeles, CA Property of an Estate, Beverly Hills, CA Literature: Seamus Heaney, et al., “Dimitri Hadzi” (New York: Hudson Hills Press, 1996), plate 16. Notes: This lot is accompanied by a receipt of sale from Jodi Scully Gallery dated July 24, 1977.
41www.johnmoran.com Leonardo29 Nierman (b. 1932, Mexican) “Ciudad de Cristal,” 1967 Acrylic on Masonite Signed and dated lower left: Nierman; titled and dated “Febrero 22/1968” on a gallery label affixed to the verso of the 23.5”frame H x 31.5” W Provenance:$1,000-2,000Galeria Tasende, Acapulco, Mexico
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43www.johnmoran.com Hassel30 Smith (1915-2007, American) Untitled, 1949 Oil on Initialedcanvasanddated upper center: HS; signed twice and dated verso: Hassel Smith 55.25” H x 72.25” W Provenance:$8,000-12,000Andre Emmerich Gallery, New York, NY The New Arts, Houston, TX Iannetti/Lanzone Gallery, Inc, San Francisco, CA James Corcoran Gallery, Santa Monica, CA Property from Frances Luban Fine Art, Burbank, CA
Tarmo (1906-1986,PastoCalifornia)
Tarmo Pasto (1906-1986) was a renowned psychologist championed the work of so-called “Outsider Artists” works depict the Southwestern landscape through surreal, Pasto’s style stands out against the work Although Pasto exhibited his paintings regularly Crocker Art Museum in Sacramento in 1982. Many members after the artist passed away in 1986. As
Summer Modern & Contemporary Art l Tuesday, August 30, 2022
45www.johnmoran.com psychologist and professor as well as an artist. He was also an arts advocate who Artists” who worked in the San Francisco Bay Area. A prolific painter, many of Pasto’s through his own unique perspective. While his work can range from expressionistic to of many of his contemporaries. throughout his lifetime, the last major exhibition of his work was held at the Many of the artist’s most significant paintings remained in the collections of family As a result, Pasto remains unknown among many collectors and art historians alike.
46 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Tarmo31 Pasto (1906-1986, California) “Mountain Climber’s Dream,” 1963 Oil on Signedcanvasanddated lower center: Tarmo Pasto; titled verso 48” H x 56” Notes:$1,000-1,500WThiswork is sold in a frame made by the artist.
47www.johnmoran.com Andre32 Alexeyevich Jawlensky (1902-1984, SignedOil“Sommermorgen,”Russian)1958onMasonitelowerleft:Andre Jawlensky, dated lower right; signed again, twice, on the verso 19.5” H x 25.5” W $2,000-3,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA Butterfield & Butterfield, Los Angeles, CA, May 3, 1981, Lot 100 Current owner, Trust, Pasadena, CA
48 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Milton33 Avery (1885-1965, American) “West Village Model,” 1951 Pencil on paper Signed lower right: Milton Avery; dated on the gallery labels affixed to the frame’s backboard 16.75” H x 13.75” W $3,000-5,000 Provenance: Milton Avery Trust, New York, according to label affixed to the frame’s FrederickbackboardBaker Inc., Chicago, IL George Krevsky Gallery, San Francisco, CA Property from Frances Luban Fine Art, Burbank, CA Exhibitions: Frederick Baker Inc., Chicago, IL, “Milton Avery Drawings,” March 16-April 27, 2001, No. 26 Notes: The color notations written lightly in the figure’s dress indicate that this may have been a working drawing for a separate project. This lot is accompanied by a copy of a certificate of authenticity / appraisal document from George Krevsky Gallery, San Francisco, CA, dated August 13, 2004
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50 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Andre34 Lhote (1885-1962, French) “Nu,” circa 1940 Gouache over pencil on paper Signed lower right: A. Lhote; titled and dated on a gallery label affixed to the frame’s backing paper 13.75” H x 10.25” W Provenance:$2,000-3,000Soufer Gallery, New York, NY Property from Frances Luban Fine Art, Burbank, CA
51www.johnmoran.com Louis35 Michel Eilshemius (1864-1941, American) Nude female bathers under waterfall, 1921 Oil on sheet music laid to Masonite Signed lower right: Eilshemius, dated lower left 10” H x 12.75” W Provenance:$6,000-8,000Property from Frances Luban Fine Art, Burbank, CA
Sold: William Doyle Galleries, April 16, 1986, Lot 52, consigned by the above G.W. Einstein Company Inc., New York, NY, acquired from the above Property from Frances Luban Fine Art, Burbank, CA This lot is accompanied by a letter written on May 10, 1986 by a director at William Doyle Galleries to the dealer Gilbert Einstein with provenance details he requested as the purchaser of this piece in their auction the month before.
52 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Louis36 Michel Eilshemius (1864-1941, American) “Leda and the Swan” Oil on board Unsigned; titled on a gallery label affixed to the backing board 30” H x 40” Provenance:$2,000-3,000WCollection of the artist Gifted to a personal friend who cared for the artist while ill, circa late 1930s
53www.johnmoran.com Andreas37 Alexeyevich Jawlensky (1902-1984, Russian) “Interieur,” 1960 Oil on SignedMasonitelowerleft: Andreas Jawlensky; inscribed and dated lower right; signed and dated again and titled verso 29” H x 21.25” W $2,000-3,000 Provenance: Dalzell Hatfield Galleries, Los Angeles, CA Butterfield & Butterfield, Los Angeles, CA, May 3, 1981, Lot 146 Private Estate, Pasadena, CA, acquired from the above
54 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Alvar38 Sunol Munoz-Ramos (b. 1935, Oil“BodegonSpanish)conSandia”oncanvas Signed lower right: Alvar; titled on a label affixed verso 28” H x 36” $1,500-2,000W
55www.johnmoran.com Pierre39 Dumont (1920-1987, French) Still life, 1970 Oil on Signedcanvasanddated lower right: Pierre Dumont 24” H x 28.75” W $4,000-6,000
56 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Ramon40 Prats (1928-2003, American ) Abstract cat, 1966 Tempera, ink, and oil on Masonite Signed and dated lower right: Prats 15.5” H x 23.25” W $500-700
57www.johnmoran.com Raoul41 Middleman (b. 1935, American) Rocky shore, 1973 Oil on SignedMasoniteanddated lower right: Middleman 24” H x 24” W Provenance:$500-700 Property of an Important New York Corporate Collection
58 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Raoul42 Middleman (b. 1935, American) Untitled, 1971 Oil on Signedcanvasanddated lower left: Middleman 51” H x 51” W Provenance:$600-800 Property of an Important New York Corporate Collection
59www.johnmoran.com Raoul43 Middleman (b. 1935, SignatureOilLandscape,American)1971oncanvasanddate incised upper right: Middleman 39.25” H x 39” W Provenance:$600-800 Property of an Important New York Corporate Collection
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61www.johnmoran.com José44 Manuel Broto (b. 1949, Spanish) “Los Tres,” 1987 Acrylic on canvas Signed, titled, dated, inscribed, and numbered verso: Broto/Paris/No. 87056 78.75” H x 78.75” W Provenance:$4,000-6,000Galerie Adrien Maeght, Paris, France Property of an Estate, Beverly Hills, CA Literature: Paris, Galerie Adrien Maeght, “Broto”, October 6, 1987, p. 5 (illustrated)
62 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Pedro45 Sanchez de Movellán (b. 1967, American) “Sail,” Mahogany,1998aluminum, and stainless steel Appears unsigned 72” H x 28” W x 10” D, dimensions variable Provenance:$6,000-8,000Maxwell Davidson Gallery, New York, NY Property of an Estate, Beverly Hills, CA Literature: Maxwell Davidson IV and Charles C. Davidson, “Pedro S. De Pedro Sanchez de Movellán Complete Works: 1990-2012” (Atglen, PA: Schiffer, 2013), 110.
63www.johnmoran.com Elizabeth46 Strong-Cuevas (b. 1929, American) “Look Around,” 1996 Stainless steel Number 4 from the edition of unknown size With engraved signature, date, and numbered: S © 4, 1996 15.5” H x 9” W x 4.25” D $10,000-15,000
64 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Alice47 v (1928-1982, American) “Swirl of Sounds - The Ghost in the Banyan Tree,” 1976 Acrylic on canvas Signed and dated: © Baber; signed and dated again, and titled, verso: Alice Baber 95.5” H x 72” W Provenance:$3,000-5,000Property of an Important New York Corporate Collection
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66 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Robert48 Goodnough (1917-2010, American) “Blue and Red-Blue,” 1968 Acrylic and oil on canvas Signed and dated lower right: Goodnough, signed and dated again and titled, twice, verso 55” H x 81” Provenance:$5,000-7,000WWatson/de Nagy & Company, Houston, TX
67www.johnmoran.com Mark49 Peiser (b. 1938, American) “Evening Still,” 1990 WithGlassengraved signature, date, and number to underside: Peiser / I3542 / 90 © 8.5” H x 15.25” W x 2.5” D Provenance:$2,500-3,500Kurland/Summers Gallery, Los Angeles, CA Notes: This lot is accompanied by a receipt of sale from Kurland/Summers Gallery dated July 3, 1991.
Ernie (1938-2009,BarnesAmerican)
Summer Modern & Contemporary Art l Tuesday, August 30, 2022
Ernie Barnes painted The Linemen in 1968, just three professional football player. Painted from a player’s Barnes experienced firsthand during his time with Linemen, which exemplifies Barnes’s ability to capture and has been held in the same family collection for
three years after an injury to his right foot ended his promising career as a player’s perspective on the field, the work captures the drama and intensity that with the Indianapolis Colts, San Diego Chargers, and the Denver Broncos. The capture the action of a sports scene, was commissioned by a friend of the artist for three generations.
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Provenance:$40,000-60,000Fred Jones, commissioned from the artist, 1968 Alan Jones, gifted from the above, his father, 1987 By descent through the family to the present owner
Ernie50 Barnes (1938-2009, American) “The Linemen,” 1968 Oil on Signedcanvaslower right: Ernie Barnes; signed, dated, and inscribed, verso; titled by the artist by repute 19.75” H x 23.75” W
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The inscriptions, verso, read: “Painted on commission / for Fred Jones, 1968 / Ernie Barnes” and in another hand: “To my youngest son, Alan / Jan. 1987, with all my love, / for your son, one day.” Ernie Barnes played professional football for the Indianapolis Colts, San Diego Chargers, and the Denver Broncos. The present work was created from his perspective as a player on the field.
72 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Phillip51 Sherrod (b. 1935, American) “Sin City” Oil on Signedcanvasandtitled near the lower left corner: Sherrod 26” H x 32” W Provenance:$500-700 Property of an Important New York Corporate Collection
73www.johnmoran.com Joyce52 Treiman (1922-1991, American) “Hercules and the Nemean Lion,” 1982 Oil on canvas Signed and dated lower right: Treiman; titled and dated 1983[sic] on a gallery label affixed verso 70” H x 42” Provenance:$1,000-1,500WTortue Gallery, Santa Monica, CA Property from Frances Luban Fine Art, Burbank, CA, acquired from the above, 1984 Notes: This lot is accompanied by copies of several payment receipts from early 1984, and an appraisal document dated August 15, 1985, all from Tortue Gallery, Santa Monica, CA.
74 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Jack53 Zajac (b. 1929, American) Bound goat, circa 1973 Patinated bronze on marble base Edition: 2/12 Signed and numbered in the casting: Zajac © 16.5” H x 17” W x 15” D Provenance:$3,000-5,000Property of an Estate, Beverly Hills, CA
75www.johnmoran.com Jack54 Zajac (b. 1929, American) “Horn and Skull,” circa 1976 Patinated bronze lacquered wood base Appears unsigned Overall: 13.25” H x 26” W x 11” D Provenance:$2,000-3,000Property of an Estate, Beverly Hills, CA
76 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Jay55Milder (b. 1934, Oil“Signature,”American)1961oncanvas Initialed and dated upper right: JM; titled on a gallery label affixed verso 44.25” H x 40.5” W Provenance:$600-800 Allan Stone Gallery, New York, NY Property of an Important New York Corporate Collection
77www.johnmoran.com Jay56Milder (b. 1934, American) “Day Dreams” Oil on Signedcanvaslower right: J. Milder; titled, inscribed and numbered verso: #46 58” H x 58” Provenance:$1,000-1,500WAaron Berman Gallery, New York, NY Property from Frances Luban Fine Art, Burbank, CA
78 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Jay57Milder (b. 1934, American) SignedOilUntitledoncanvaslower right: J. Milder 59” H x 53” Provenance:$1,000-1,500WProperty from Frances Luban Fine Art, Burbank, CA
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80 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Jay58Milder (b. 1934, American) SignedOilUntitledoncanvaslower left: J. Milder 50.25” H x 53” W Provenance:$1,500-2,000Property from Frances Luban Fine Art, Burbank, CA
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83www.johnmoran.com Fletcher59 Benton (1931-2019, American) Untitled, Patinated1995steel Engraved signature and date: Fletcher Benton / [inscribed illegibly is script] / 1995 26” H x 16” W x 13” D Provenance:$1,500-2,000Property of an Estate, Beverly Hills, CA
84 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Andrew60 Salgado (b. 1982, Canadian) “I Want To Know What It Feels Like To Want Something Passionately,” 2009 Oil on Signedcanvasandtitled verso: Andrew Salgado; dated on an accompanying sales 58.25”invoice H x 68.25” W Provenance:$5,000-7,000Beers Contemporary, London, England Notes: This lot is accompanied by a copy of a sales invoice from Beers Contemporary, London, England, dated January 21, 2015. The invoice lists an alternate title, “Orchid Thief.”
85www.johnmoran.com Andrew61 Salgado (b. 1982, Canadian) “I Remember It Was That Wednesday,” 2009 Oil on canvas Signed and titled on a label affixed verso: Andrew Salgado; dated on an accompanying sales invoice 64.5” H x 85” W Provenance:$5,000-7,000Beers Contemporary, London, England Exhibited: BP Portrait Award, National Portait Gallery, London, 2010. Notes: This lot is accompanied by a copy of the original sales invoice from Beers Contemporary, London, dated January 19, 2015. The invoice lists an alternate title, “Wednesday.”
86 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 George62 Deem (1932-2008, American) “American Express,” 1990 Oil on Signed,paneltitled, dated and indistinctly inscribed verso: George Deem Oval: 10” H x 8” W $700-900
87www.johnmoran.com George63 Deem (1932-2008, American) Standing male nude, 1998 Graphite and colored pencil on paper Signed and dated lower right: Deem Sight: 12.25” H x 8” W $600-800
88 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 George64 Deem (1932-2008, “Tourtolotte,American)Birthday,” 1982 Mixed media, including fabric collage, on paper Signed, titled, and dated along the lower edge: George Deem Sight: 13” H x 10.5” W $600-800
89www.johnmoran.com Louis65 Michel Eilshemius (1864-1941, American) Standing nude Ink and watercolor on paper with the artist’s letterhead Signed lower center: Eilshemius Sight: 10” H x 8” W Provenance:$300-500 G. W. Einstein Company, Inc., New York, NY Property from Frances Luban Fine Art, Burbank, CA, acquired from the above, 1988 Notes: This lot is accompanied by a copy of the original invoice from G. W. Einstein Company, Inc., New York, NY, dated November 29, 1988.
90 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Rick66 Wolfryd (b. 1953, American) “In the Beginning,” 2022 Acrylic and beads Signed, dated, and titled in pen to underside: Chroma aka Rick Wolfryd / “In the Beginning” / T.P. .0001 2022 18.5” H x 18.5” W x 11” D $1,500-2,500
91www.johnmoran.com
In “Painting of a dog in front of a print of a dog in viewer with his own clever take on trompe l’oeil painting, term means “trick of the eye” in French, uses realistic to deceive the viewer about the reality of the subject
The dramatic shift in Mason’s style occurred in response After contracting HIV at the height of the AIDS crisis, became the focus of his art. Occasionally, Mason landscape that is drawn in the style which, earlier style exemplifies how Mason, in his later work, bridges
During his lifetime, the Santa Fe based artist Dick beauty of the New Mexico landscape; later in his a new style and aesthetic that remains highly prized
Summer Modern & Contemporary Art l Tuesday, August 30, 2022
Dick (1951-1993,MasonAmerican)
93www.johnmoran.com
Dick Mason (1951-1993) was primarily known for his paintings that captured the career, however, Mason’s approach to painting took a dramatic shift towards prized by collector’s today. in front of a painting of a dog in front of a print. #1,” Mason presents the painting, a centuries-old technique reinterpreted for the modern age. This realistic imagery to create the optical illusion of depth with such verisimilitude as subject matter. response to difficult circumstances that the artist faced in his personal life. crisis, Mason adopted a pair of Dalmatians to keep him company that quickly depicts the dogs seated in front of a drawing or painting of the New Mexico earlier in his career, he was best known. The trompe l’oeil painting featured in this bridges the gap between the “real” world and the worlds we imagine.
94 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Dick67 Mason (1951-1993, American) “Painting of a dog in front of a print of a dog in front of a painting of a dog in front of a print. #1,” 1991 Acrylic and graphite on canvas Signed and dated right of center: Mason; signed and dated again, and titled, verso: © Dick Mason 82.25” H x 60” W Provenance:$8,000-12,000Elaine Horwitch Galleries, Scottsale and Santa Fe, AZ
95www.johnmoran.com
96 Summer Modern & Contemporary Art l Tuesday, August 30, 2022
97www.johnmoran.com Richard68 Carter (b. 1946, Signed,Acrylic“ApparatusAmerican)III,”1994onpaneltitled,dated“7.35.94” and inscribed “Emma, Colo” on the verso: Richard Carter 14” H x 12 “ W Provenance:$300-500 Propety of an Estate, Beverly Hills, CA
98 Summer Modern & Contemporary Art l Tuesday, August 30, 2022 Diego69 Groisman (20th-21st Century, Argentinian) “Tori’s Duet,” 2017 Watercolor on paper Signed lower right: Diego; titled by repute; signed again and dated verso 14.25” H x 18” W Provenance:$500-700 0.0 L.A. Gallery, Los Angeles, CA Private Collection, New York, NY, acquired from the above
Judy Chicago (b. 1939, American) Transformation Painting Estimate TBD Art + Design | November 1, 2022 Consignment and Auction Inquiries: 145hayden@johnmoran.comEastWalnutAve, Monrovia, CA 91016 | www.johnmoran.com info@johnmoran.com (626) 793-1833 bid in person - absentee - telephone - live online Consign Today
Condition Reports
Good1 condition. Not examined out of the frame. Framed under Plexiglas: 29.5” H x 23.25” W x 0.75” 2D Good condition. The full sheet. Framed floating and mounted to the back mat. Framed under Plexiglas: 16.25” H x 19.75” W x 1” D Very3 good condition. The sheet is loose and Very4Unframedunmounted.goodcondition. The full sheet with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 38” H x 32.25” W x 1.5” D Excellent,8 original condition. A rich impression with carefully directed plate tone. Full margins with deckled edges. Slight cockling in the vertical margin edges. A small “13” written in pencil near the edge of the lower margin. The palest and very minor mat staining showing only slightly in the margins and on the reverse. A small loss to the tip of the upper right margin corner. Hinged to the overmat in three places with white paper tape at the extreme upper margin Framededge.
Plexiglas: 34.75” H x 26” W x 1.5” D
under glass: 26” H x 18.5” W x 0.5” D
Framed under Plexiglas: 36” H x 42” W x 2” D
Good5 condition. The full sheet with deckled edges. Time staining along the extreme sheet edges. Pale mat staining verso. Slight remains of two old hinges at the verso of the lower sheet corners, one of which partially obscures the Landfall Press ink stamp. Framed floating, hinged to the back mat at the verso of the upper sheet corners and center of the upper sheet Framededge.under
Good11 condition. The sheet with deckled edges on two sides. Appears to be very slightly trimmed along the left edge. Pale toning and slight mat staining, both recto and verso. Scattered small and generally unobtrusive spots of reverse staining in the face at right. Small remains of clear tape from previous mounting at the upper sheet corners, verso. The sheet is loose, secured to the overmat with small pocket corners.
Good6 condition. Full margins with deckled edges. Occasional very unobtrusive pinpoint-size foxmarks, one of which is just inside the platemark at lower right, and the remainder confined to the margins. A diagonal crease across the tip of the lower left margin corner. Slight surface rubbing in one small area of the lower margin, at right, not affecting the image. Several short, soft, and very minor creases along the extreme upper sheet edge. Framed floating and mounted to the back mat at the verso of the upper margin corners. Not examined out of the Framedframe. under Plexiglas: 32.25” H x 34.5” W x 2” D
Good7 condition. Full margins. Pale toning throughout, recto, and mat staining, verso. An occasional soft handling crease showing mostly near the lower edge. Time staining at the extreme margin edges. Occasional damp staining in places at the lower margin edge, not affecting the image. Taped to the overmat with thin paper tape along the upper and right margin edges, verso.
Good10Unframedcondition. The colors fresh. The sheet softly rippled inside the frame. Not examined out of the Framedframe. under glass: 40.375” H x 26” W x 1.25” D
Good9 condition. Wide margins, deckled at right. Minor toning to the paper, showing more noticeably near the outer edges of the margins. The paper is loose, not mounted.
Frame: 25” H x 21” W x 1.25” D
ReportsCondition102
Visual:21UnframedGood condition. Minor surface dirt and grime. Blacklight: No evidence of restoration.
Framed under glass: 39.25” H x 27.5” W x 1.25” D
Framed under glass: 29” H x 29” W x 1.75” D
Framed under Plexiglas: 46.5” H x 46.75” W x 1.25” D
Blacklight: Six spots of restoration with corresponding patches verso in the center, left center and upper right.
Visual:18 Good condition. Minor surface dirt and grime. Blacklight: No evidence of restoration.
ReportsCondition103
Framed under Plexiglas: 36.5” x 36.5” W x 3” D
Good13 condition. The paper very slightly toned. A few short and fairly unobtrusive scratches in the upper portion of the image, the longest approximately 0.75.” Not examined out of the frame.
Good23Unframedcondition. Dust accumulation and slight toning at the extreme edges commensurate with age. Occasional scattered and very unobtrusive pale stains near the sheet edges. Framed floating and hinged to the back mat along the verso of the upper sheet Framededge.under glass: 19.75” H x 15.75” W x 1.25” D
Good19Unframedcondition. Very soft and unobtrusive cockling near the edges, visible mostly in a raking light. Not examined out of the frame.
Visual:20 Good condition. Dust accumulation and scattered grime commensurate with age. A pinheadsize pigment loss in one of the green squares near the lower Blacklight:edge.Noevidence of restoration.
Framed under glass: 32.5” H x 32.5” W x 2” D
Good15 condition. The paper very slightly toned. Not examined out of the frame. Framed under glass: 39.25” H x 27.5” W x 1.25” D Very16 good condition. The full sheet and the colors very fresh. An unobtrusive, pinpoint-size foxmark in the blank near the upper edge, left of center. An approximately 0.125” H x 2.5” W line of the slightest surface abrasion, to the right of center along the extreme lower sheet edge, most likely from the inside seam of the Plexiglas box. The sheet is loose, never mounted or hinged.
Good12 condition. Not examined out of the frame. Framed under Plexiglas: 23.75” H x 28.5” W x 1” D
Visual:22UnframedGood condition. Scratches with minor paint loss along the right edge, lower left edge and upper left. Surface dirt and grime. Blacklight: No evidence of restoration.
Visual:17 Good condition. A few areas of craquelure and paint shrinkage scattered throughout, concentrated mainly along the edges. The canvas is slightly loose and rippled lower center.
Good14 condition. The paper very slightly cockled, showing mostly in a raking light. Several very delicate and unobtrusive surface scuffs or scratches, showing only in a raking light. A scattered narrow line of slight surface soiling, offset from the frame, along the extreme left margin edge, not affecting the image. Framed floating, hinged to the back mat at the verso of the margin corners.
Blacklight: No evidence of restoration.
ReportsCondition104
Frame: 79” H x 72.5’ W x 3” D
Visual:31 Good condition. A light, scattered scuff mark along the left edge. Blacklight: No evidence of restoration. Frame: 55” H x 63” W x 2” D
Visual:32 Good condition. Blacklight: No evidence of restoration. Frame: 26.5” H x 32.5” W x 2” D
Visual:29 Good condition. Dust accumulation commensurate with age. A few approximately pinhead-sized ruptured air bubbles inherent in the artist’s working method. Some minor scattered scuffs or delicate scratches in the work’s glossy surface. Small frame abrasions in places at the outermost edges. Blacklight: No evidence of restoration. Difficult to read under thick, high gloss varnish.
Good33 condition. Slight surface soiling, occasional handling creases, and time staining commensurate with age and use. A few small stains near the left edge. Diagonal creasing across the tip of the lower left corner. Framed floating and mounted to the back mat at the verso of the sheet corners. Framed under glass: 25” H x 22” W x 1” D
Visual:25 Fair condition. Dust accumulation and grime commensurate with age. A 1” H x 0.375” W puncture extending through the Masonite backing, with attendant pigment, canvas and Masonite loss, upper left. A dime-size surface gouge with attendant pigment loss, canvas loss and distortion, and partial exposure of the Masonite layer’s inner core, lower left. A rice-size pigment loss near the upper edge at right. A 1.25” long hair-line surface scrape near the lower left corner. Occasional craquelure.
Frame: 31.25” H x 39” W x 2” D
Visual:27 Fair to good condition. Craquelure and paint shrinkage scattered throughout. A few spots of scattered paint loss , the largest appproximately dime-sized. An occasional soft pressure mark, the largest approximately 2” x 2,” generally showing only in raking Blacklight:light.No evidence of restoration. Frame: 74.75” H x 65.5” W x 1.75” D Overall28 good condition with minor scuffs and oxidation to bronze commensurate with age. With base: 19” H x 13.5” W x 10.25” D
Framed under glass: 19.75” H x 15.75” W x 1.25” D
Frame: 24” H x 21” W x 1.5” D
Good24 condition. Dust accumulation and the palest toning along the extreme sheet edges commensurate with age. A narrow, 0.5” long, unobtrusive stain at the center of the extreme left sheet edge. Framed floating and hinged to the back mat at the verso of the upper sheet corners.
Blacklight: Touch-up scattered throughout the lower portion of the painting, with ten corresponding verso patches. The largest a 8” x 6” area left center.
Visual:26 Craquelure scattered throughout. Stretcher bar creases along the edges. Spots of paint loss and flaking scattered throughout, the largest a 2.75” x .75” area right center. Ripples to the canvas throughout. Minor surface dirt and grime.
Visual:30 Good condition. Craquelure and paint shrinkage throughout. Paint loss, flaking and instability scattered throughout, the largest a 3” x 3.5” area lower center. Surface dirt and grime. Blacklight: No evidence of restoration. Frame: 57.25” H x 73.25” W x 2” D
Visual:42 Good condition. Stretcher bar creases along the edges. A 1” tear in the canvas with paint loss and two scratches with minor paint loss left center. Blacklight: No evidence of restoration. Frame: 52” H x 52” W x 1.5” D
Blacklight: Touch-ups throughout. Frame: 33.75” H x 43.75” W x 1.5” D
Blacklight: No evidence of restoration. Frame: 32.5” H x 37.75” W x 3.5” D Visual:40 Good condition. Dust accumulation and grime commensurate with age. Blacklight: No evidence of restoration. Frame: 16.25” H x 24.25” W x 1” D
Visual:43 Good condition. Craquelure scattered throughout. Stretcher bar creases along the edges. A 3” tear in the canvas in the center. Blacklight: No evidence of restoration. Frame: 39.75” H x 40” W x 1.5” D Visual:44 Good condition. Small scratches with minor paint loss in the four corners. Blacklight: No evidence of restoration. Unframed ReportsCondition105
Visual:37 Good condition. Surface dirt and grime.
Blacklight: No evidence of restoration. Frame: 35” H x 27.25” W x 1” D Visual:38 Good condition. Craquelure scattered throughout. The canvas is slightly loose in the upper Blacklight:corners. No evidence of restoration. Frame: 35.25” H x 42.5” W x 2” D
Visual:39 Good condition. A few areas of craquelure and paint shrinkage scattered throughout. A canvas is slightly loose and rippled along the upper edge.
Visual:35 Good condition. Minor suface dirt and grime. The printed notes of the sheet music show through slightly in the lighter pigments of the background. The painting appears to have been reduced along the vertical Blacklight:edges.No evidence of restoration. Frame: 16.75” H x 19.5” W x 2” D Visual:36 Good condition. Frame abrasion along the edges. A 1” scratch with minor paint loss upper center. A minor crack in the board along the lower left edge. Surface dirt and grime.
Fair34 to good condition. A diagonal soft crease, edge to edge, across the lower section of the image. A 0.875” horizontal repaired tear near the center of the right edge, visible mostly on the verso. An approximately 0.625” H x 1.625” W section of the upper left corner skillfully made-up and retouched, visible mostly on the verso. Hinged to the overmat with two pieces of linen tape at the verso of the upper sheet Framedcorners.under glass: 22” H x 17.5” W x 1” D
Visual:41 Good condition. Blacklight: No evidence of restoration. Frame: 25.25” H x 25.25” W x 1.5” D
Overall45 good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Approximately two fins slightly out of round with very minor bending. Overall46 good condition with scattered scuffs and light scratches commensurate with age. A small dime-sized area of shiny scuffing to black steel.
Visual:47 Good condition. Dust accumulation and grime commensurate with age and handling. Blacklight: No evidence of restoration.
Visual:48 Good condition. Minor dirt and grime scattered throughout. Scuff marks scattered throughout, including an 8” mark left center.
Visual:57 Good condition. Stretcher bar crease along the upper edge. Blacklight: No evidence of restoration. Frame: 60.75” H x 54.75” W x 1.75” D
Overall54 good condition with minor scuffs and oxidation to bronze commensurate with age.
Frame: 57” H x 83” W x 1.5” D
Frame: 73.25” H x 96.75” W x 3” D
Visual:52 Good condition. A 10” light scuff mark right Blacklight:center. No evidence of restoration. Frame: 71.5” H x 43.5” W x 2.5” D
Overall49 good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One small fleabite to the top edge.
Frame: 25” H x 29” W x 2” D
Visual:50 Good condition. Blacklight: No evidence of restoration.
Blacklight: A 1.5” line of touch-up lower right.
Overall53 good condition with minor scuffs and oxidation to bronze commensurate with age. With base: 18” H x 17” W x 15” D
Visual:58 Good condition. Blacklight: No evidence of restoration. Frame: 52.5” H x 55” w x 2” D
ReportsCondition106
Visual:55 Good condition. Craquelure and paint shrinkage Blacklight:throughout.Noevidence of restoration. Frame: 46” H x 41.75” W x 1.5” D
Visual:56 Good condition. Craquelure scattered throughout the white pigments of the background. Paint shrinkage in the pink elements upper left and in the center. Small flecks of paint loss upper left and along the upper left edge. Blacklight: No evidence of restoration. Frame: 60” H x 60” W x 2” D
Visual:51 Good condition. Surface dirt and grime commensurate with age. Occasional paint shrinkage and craquelure. A few very unobtrusive paint losses at the tips of the impasto strokes, the largest approximately pea-size near the center of the upper edge. Stretcher bar creasing showing mostly along the upper edge. Blacklight: No evidence of restoration. Tiny remnants of old wrapping tissue adherring to the tips of a few impasto strokes near the lower left corner fluoresce under Frame:blacklight.27”Hx32.5” W x 1.5” D
Visual:60 Good condition. Blacklight: No evidence of restoration.
Overall59 good condition with scattered scuffs, light scratches, and oxidation commensurate with age.
Good69 condition. The sheet is loose and unmounted. Unframed ReportsCondition107
Visual:62UnframedGood condition. Blacklight: No evidence of restoration. Frame: 12.5” H x 10.5” W x 1.25” D Good63 condition. Not examined out of the frame. Framed under glass: 17” H x 13” W x 1.25” D
Good64 condition. The collaged fabric element appears to be lifting very slightly in the lower section. Not examined out of the frame. Framed under glass: 18.75” H x 16.125” W x 0.75” D
Overall66 good condition commensurate with age. Minor scattered areas of loss to beadwork.
Fair65 to good condition. Uneven toning to the paper. Not examined out of the frame. Framed under Plexiglas: 17.5” H x 15” W x 1” D
Blacklight: No evidence of restoration. Frame: 83.25” H x 61” W x 2” D
Visual:68 Good condition. Blacklight: No evidence of restoration. Frame: 15” H x 13” W x 1.5” D
Visual:67 Good condition. Slight dust accumulation and occasional grime. An unobtrusive fleck of stray dark paint in the white border at the upper right. Very unobtrusive stray flecks of white paint near the vertical right edge. A pale, 3” long diagonal line on the back of the foreground dog, possibly graphite of the original underdrawing. A tiny, rice-sized paint loss in one of the foreground dog’s ears.
Visual:61UnframedGood condition. A few minor scuff marks scattered throughout. A reverse indentation in the canvas upper center. Blacklight: No evidence of restoration.
John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran SPECIALISTS Senior Vice President, Fine Art Director Morgana Blackwelder AAA Post-War & Contemporary Fine Art Specialist Hayden Hunt Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Anne Spink Fine Art Department Administrator/Junior Cataloger Ian Anderson Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Western, American Indian Specialist Maranda Moran Furniture & Decorative Arts Department Manager / Junior Specialist Danielle Kim Senior Fur niture & Decorative Arts Cataloguer Shannon Dailey 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
View Illustrated Catalogue Online @ www.johnmoran.com 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. 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. 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. Download Moran Mobile today at the App Store and Google Play!
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(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.
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AT THE AUCTION
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(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.
LIMITED WARRANTY
(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 LIABILITYpolicy.AND
(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.
(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.
ADDITIONAL MATTERS
(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.
purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date.
(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.
(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.
(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.
(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.
www.johnmoran.com · info@johnmoran.com · (626) 793-1833 AUCTIONEERS & APPRAISERS SINCE 1969
