California & American Fine Art auction | John Moran Auctioneers by johnmoranauctioneers

California & American Fine Art Sale 159 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Morgana Blackwelder Head of Sale, Senior Vice President morgana@johnmoran.com Jeff Moran President jeff@johnmoran.com Bobby Cullen Junior Specialist, Senior Cataloguer bobby@johnmoran.com Mike Hook Fine Art Cataloguer mike@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com Ella Fountain Client Services ella@johnmoran.com

Pg.53 Lot 66 Selden Connor Gile “Gile’s Table and Chair,” 1940

Jessie Arms Botke

(1883-1971 Santa Paula, CA) White cockatoos in an avocado tree Oil and gold leaf on canvasboard Signed lower right: Jesse Arms Botke 16” H x 20” W $8,000-12,000

California & American Fine Art

(1883-1971 Santa Paula, CA) Cockatoos in a flowering tree Oil and gold leaf on board Signed lower right: Jesse Arms Botke 16” H x 20” W

(1883-1971 Santa Paula, CA) Pelicans with assorted waterfowl near a pond Oil on masonite Signed lower right: Jessie Arms Botke 20” H x 24” W

Jessie Arms Botke

$8,000-12,000

Jessie Arms Botke

$5,000-7,000

(1886-1933 Pasadena, CA) “Pleasant Valley” Oil on canvas Signed lower left: A.M. Podchernikoff, titled on a gum label affixed to the backing board 16.25” H x 20.25” W

(1870-1954 Pasadena, CA) “Walpi, On The First Mesa” Oil on canvas laid to board Signed lower left: Marion Kavanagh Wachtel, titled on gallery labels affixed to the frame verso 16” H x 20” W

Alexis M. Podchernikoff

Marion Kavanagh Wachtel

$4,000-6,000

$3,000-5,000

Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

Provenance: Maxwell Galleries, San Francisco, CA Kral Fine Arts, Oakland, CA

Notes: In a Richard Tobey frame.

California & American Fine Art

Millard Owen Sheets NA

(1907-1989 Gualala, CA) “Christos - Good Friday,” 1983 Watercolor on Arches paper under Plexiglas Signed and dated lower right: Millard Sheets, signed and dated again, titled and inscribed on the backing board: Tzin Tzun Tsan (sic) Mexico Sight: 21.25” H x 29.25” W; Sheet: 22” H x 30” W $4,000-6,000 Provenance: Fireside Gallery of Carmel, Carmel, CA

Bert Geer Phillips

(1868-1956 Taos, NM) “A Moonlit Taos Night” Oil on canvas Signed lower right: Bert Phillips, signed again, titled and inscribed verso: Taos, N.M. 18” H x 14” W $15,000-20,000

California & American Fine Art

Grace Carpenter Hudson

(1865-1937 Ukiah, CA) “The Quail Hunter” Oil on canvas laid to canvas laid to board backed by canvas Signed lower left: G. Hudson 27.5” H x 19.5” W $30,000-40,000 Provenance: Willits J. Hole, Los Angeles, CA Agnes M. Rindge (Hole), Riverside, CA Ramona Rindge Williamson, Riverside, CA Thence by descent to the present owner Literature: Searles R. Boynton D.D.S., “The Painter Lady: Grace Carpenter Hudson”, Sun House Guild, Ukiah, 1978, pp. 45-46, illustrated. This painting depicts Thomas Mitchell, a Pomo Indian and lifelong friend of Grace Carpenter Hudson. According to Boynton’s narrative, the painting “The Quail Hunter” introduced Thomas Mitchell to the Hudson gallery. Like many of her other subjects, a lifetime friendship developed between the artist and the Mitchells. Tom, his wives, his children and even his grandchildren became the subjects for more than 100 other Hudson paintings, easily the most numerous representation of any Indian family.

Nicolai Fechin

(1881-1955 Taos, NM) Road through a desert landscape, likely Taos, NM Oil on canvas laid to canvas Signed and indistinctly dated lower left: N. Fechin 20â&#x20AC;? H x 24â&#x20AC;? W $150,000-200,000

California & American Fine Art

(1891-1974 Palm Springs, CA) “Etchings of the Elements” Oil on canvas Signed lower right: Paul Grimm, signed again and titled verso 38” H x 50” W

(1886-1975 Laguna Hills, CA) Owens River, Sierras Oil on board laid to board Signed lower right: Conrad Buff 18” H x 24” W

Paul Grimm

$10,000-15,000

$4,000-6,000

Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

Exhibitions: Newport Beach, Orange County Museum of Art/ South Coast Plaza Gallery, “Canyons & Deserts - Picturing the Western Landscape,” January 16 - April 25, 1999, EX. 1999.003.002.

Conrad Buff

Hanson Duvall Puthuff

(1875-1972 Corona Del Mar, CA) “Towering Butte” Oil on canvas Signed lower right: H. Puthuff, signed again and titled verso 26” H x 30” W $8,000-12,000 Exhibition: Pasadena, CA, Pasadena Museum of California Art, "Hanson Puthuff 1975-1972: California Colors," 2006. Literature: Pasadena Museum of California Art, "Hanson Puthuff 1875-1972: California Colors," Pasadena, CA, 2006, p. 34, illustrated

California & American Fine Art

Emil J. Kosa Jr. NA

(1903-1968 Los Angeles, CA) “Santa Ynez” Oil on canvas Signed lower right: Emil J. Kosa Jr., titled by repute 36.25” H x 42.25” W $6,000-8,000

Frank Tenney Johnson NA

(1874-1939 Los Angeles, CA) “Cowboy Race,” field study for “Dust Stained Riders” Oil on canvas backed with masonite Unsigned, titled on the stretcher 25” H x 30” W $60,000-80,000 Literature: H. McCracken, “The Frank Tenney Johnson Book: A Master Painter of the Old West,” Doubleday and Co., New York, NY, 1974, p. 171, no. 719, as oil study for ‘Dust Stained Riders’. A label affixed to the stretcher states, ‘This picture I authenticate as having been painted by F. Tenney Johnson, N.A.’ signed by W.P. Krehm and Frank Panter. William P. Krehm worked as a framer for the Biltmore Art Salon in the Ambassdor Hotel, Los Angeles, of which Johnson was a founding member, in the 1930’s. He continued his friendship with Mrs. Johnson after Johnson died in 1939 and in the 1940’s he helped her clean out the artist’s studio and repair and restore the paintings and their frames. In partial payment for services, Mrs. Johnson gave Krehm 72 field sketches by the artist including the present work. Copies of a letter from Krehm describing his relationship with the Johnsons dated April 26, 1963 and another statement dated April 23, 1968 signed by Frank Panter accompany the lot. In addition, a copy of a letter dated August 12, 1963 from the artist James Swinnerton to William Riffle, one of the purchasers of the sketches from Krehm, accompanies the lot. Swinnerton writes: I am sincerely pleased to find that you have become the owner of these original field sketches of Frank Tenney Johnson’s. Frank and myself used to agree that the field sketches had the quality of ‘’feeling’’ of the subject that was somewhat missing in the following finished painting which followed it or them -- I knew of these sketches of his that ‘’Vinnie’’ (Frank’s wife) had turned over to Bill Krehm and wondered what he was going to do with them and now, I find you have obtained them -- They should be shown especially now in the way art is gathering interest of so many persons. Again - I congratulate you on unveiling them. Sincerely your friend, Jim Swinnerton.

California & American Fine Art

(1879-1939 Glendale, CA) “Desert Verbenas,” 1928 Oil on canvas Signed lower right: F. Grayson Sayre, signed again and titled verso, signed and titled again, dated and inscribed on the stretcher: May 10, 1928 / Desert Studio, Indio 24” H x 30” W

(1865-1942 Pasadena, CA) “Wild Verbenas Palm Springs Calif” Oil on canvas Signed lower left: Benjamin C. Brown, titled on the stretcher 16” H x 20” W

Fred Grayson Sayre

$3,000-5,000

Benjamin Chambers Brown

$6,000-8,000

George K. Brandriff

(1890-1936 Laguna Beach, CA) “Sun, Wind & Sky” Oil on canvas Signed lower right: Geo. K. Brandriff, signed again and titled verso 30” H x 36” W $15,000-20,000 Exhibitions: Laguna Beach, CA, Laguna Beach Art Museum, 1975. Laguna Beach, CA, Laguna Art Museum, “The Allegorical Still-Lifes of George Kennedy Brandriff,” November 30, 1989 - February 18, 1990.

California & American Fine Art

George K. Brandriff

(1890-1936 Laguna Beach, CA) “Butte - New Mexico,” 1933 Oil on canvas Signed lower right: George K. Brandriff, titled and dated verso 36” H x 40” W $15,000-20,000

George K. Brandriff

(1890-1936 Laguna Beach, CA) “Batatakin [sic]” Oil on canvas Signed lower right: Geo K Brandriff, titled verso 24.75” H x 29.75” W $8,000-12,000 Notes: Betatakin, part of Navajo National Monument, occupies a large cave in the north wall of an unnamed south fork of Laguna Canyon, Arizona.

California & American Fine Art

W. Herbert Dunton

(1878-1936 Taos, NM) Mexican Vaqueros Roping Brown Bears Oil on canvas laid to board Signed and inscribed lower right: W. Herbert Dunton, Hacienda San Jose de Babicora, Mexico 34” H x 50.5” W $300,000-500,000 Literature: Charles Scribner’s Sons New York, “Scribner’s Magazine”, Volume L1 January-June, 1912, p. 179, fig. 173A, illustrated.

aos founder William Herbert “Buck” Dunton’s early masterwork featuring Mexican vaquero brothers on horseback in the midst of roping two Mexican grizzly bears (now an extinct species), showcases the artist’s lifelong parallel interests in animals and hunting, and his skill and talent at capturing Western action in painting. Foremost Dunton scholar Michael R. Grauer writes in a March 2019 letter about the artist’s early interest in the painting’s subject, “Dunton began hunting and fishing with his grandfather while still a youngster in the Maine woods, often carrying a sketchpad along with his rod or rifle. He practiced amateur taxidermy and skinned animals whose pelts he hung on the wall of his “den”. He wrote and illustrated hunting articles for The Amateur Sportsman, American Rifleman, and National Sportsman magazines, and three unpublished stories on hunting and wildlifeÖDuring his first trip west in 1896, he hunted for nearly two yeas supplying meat for ranches” (Grauer, p. 1). That 1896 trip to Montana occurred when Dunton was just 18 years old, and Dunton continued to make a number of trips West between 1896 and 1911, including a first visit to northern Mexico in 1909 and the Chihuahua, Mexico trip in 1910 to Phoebe Apperson Hearst’s Babicora Ranch during which the present work was executed. According to Grauer, the execution and style of the vaquero painting shows clear influences of important Western artists Frederic Remington and Charles Marion Russell. Grauer notes, “Remington depicted Mexican vaqueros as early as 1890. Russell painted a number of scenes of cowboys roping grizzly bears. Moreover, Russell and his close friend painter Philip R. Goodwin often created ‘predicament paintings’ in which the outcome remains uncertain for the scene depicted. Their mutual friend Dunton also shared their delight in ‘predicament paintings’” as seen in the present work (Grauer, p. 1). Dunton explored the subject of vaqueros a number of times in addition to the present painting, even before actually visiting Mexico, and his vaquero subjects appeared on the covers of The Cavalier magazine in March 1909, The Popular Magazine in March 1911, and Collier’s Magazine in May 1911 (Grauer, 2). In a 1916 New York Herald article by Gustav Kobbe titled “Down by the Rio Grande - Types of Vaqueros, Peons, Indians, and Sheep Herders as Seen and Painted by American Artists in Mexico,” Dunton is quoted describing vaqueros as “marvelously proficient as ropers and riders” (as quoted in J. Schimmel, The Art and Life of W. Herbert Dunton, 1878-1936, University of Texas Press, 1984, p. 23). The present painting was illustrated in color in the February 1912 issue of Scribner’s Magazine in F. Warner Robinson’s article The New Cattle Country, p. 181, and was captioned, “Fernando roped one of the bears and his brother caught another” (Schimmel, p. 195). Set in high desert country in the Northern Mexican state of Chihuahua, the hazy and muted, painterly background focuses the viewer’s attention fully on the central action. Two vaquero brothers demonstrate their significant roping skill as each work to lasso two grizzly bears. The background rider’s arm is raised in mid-swing about to rope one grizzly, while the central foreground rider has just successfully heeled his grizzly. The figures’ dress and the horse tack and blanket are historically accurate. “[The foreground figure’s] saddle shows typical Northern Mexico tapaderos and the same vaquero sports Chihuahua spurs, with their distinctive thick heel band and large, multi-toothed rowel. Both vaqueros wear fairly typical sombreros and the foremost vaquero wears Mexican-style shotgun chaperreras” (Grauer, p. 2). Additionally, the positions and gestures of the foreground figure and his mount emphasize the artist’s keen awareness of how a mounted figure might actually heel a bear. “[T]he vaquero on the bay horse has dallied his reata around his saddle horn, thus allowing him to ‘play’ the rope and now allow him and his horse to be pulled down by the grizzly” (Grauer, p. 2). The forward leaning figure and his rearing horse work in tandem to pull the bear off balance onto his back. This exceptionally rare museum-quality painting, with its ambitious size and forceful subject, has remained in the family of Texas General Homer I. Lewis for many years. It was, by repute, likely purchased directly from the estate of Phoebe Apperson Hearst.

(1889-1979 Bishop, CA) “High Sierra,” circa 1920 Oil on canvas laid to waxed canvas Signed lower left: Robt. Wood, titled and dated on a gum label affixed to the backing board 25” H x 30” W

(1883-1969 Pasadena, CA) “Trout Stream in the Sierras” Oil on canvas laid to waxed canvas Signed lower right: Orrin A. White, signed again and titled on an artist’s label affixed to the backing board 22” H x 26.25” W

Robert W. Wood

Orrin A. White

$4,000-6,000

Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Huntington Beach, CA, The Huntington Beach Art Center, May 2 - July 4, 2015.

Edgar Alwin Payne

(1883-1947 Hollywood, CA) “Alpine View” Oil on canvas Signed lower right: Edgar Payne, titled on the stretcher 24” H x 28” W $20,000-30,000

California & American Fine Art

(1897-1989 Carson City, NV) “Near Dragon Lake” Oil on masonite Signed lower right: Leland Curtis, titled verso 16” H x 20” W

(1875-1972 Corona Del Mar, CA) California landscape Oil on canvas laid to waxed canvas Signed lower left: H. Puthuff 28” H x 36” W

Leland Curtis

Hanson Duvall Puthuff

$3,000-5,000

$6,000-9,000

Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

Provenance: David & Sons Fine Arts, Laguna Beach, CA

Hanson Duvall Puthuff

(1875-1972 Corona Del Mar, CA) “Bishop” Oil on board Signed lower left: H. Puthuff, titled on an exhibition label affixed to the backing board 12” H x 16” W $7,000-9,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Huntington Beach, CA, The Huntington Beach Art Center, May 2 - July 4, 2015.

California & American Fine Art

(1850-1932 Santa Barbara, CA) “Niagara Falls,” circa 1877 Oil on paper laid to canvas Signed lower left: L de F 11.25” H x 14.25” W

(1854-1926 Cragsmoor, NY) “Our Farm in Winter” Oil on canvas Signed lower left: Inness Jr., titled on the stretcher, with alternate title written in another hand on the stretcher: The First Snow 29” H x 36.25” W

Lockwood de Forest

$3,000-5,000 Exhibitions: Richard York Gallery, New York, NY, “Lockwood de Forest: Plein-Air Oil Sketches,” May 17-July 27, 2001.

George Inness, Jr.

$4,000-6,000

Sanford Robinson Gifford NA

(1823-1880 New York, NY) “Mountain Brook” Oil on canvas Signed lower left: S.R. Gifford, titled on the frame plaque 15” H x 11” W $20,000-30,000

Hermann Herzog

(1832-1932 Philadelphia, PA) Triptych with a buck in a landscape Oil on canvas Signed lower right panel: H. Herzog 38” H x 47.5” W $8,000-12,000

California & American Fine Art

Grant Wood

(1891-1942 Cedar Rapids, IA) Road through a forest interior Oil on board Signed lower left: Grant Wood 12.5” H x 12” W $8,000-12,000

Thomas Hill

(1829-1908 Raymond, CA) Mountain landscape with waterfall, lake and figures Oil on canvas Signed lower left: T. Hill 20” H x 14” W $5,000-7,000

George Caleb Bingham

(1811-1879 Kansas City, MO) “Portrait of Robert Harris Stone,” 1844 Oil on canvas laid to aluminum backed by waxed canvas Unsigned, titled and dated on an artist’s label affixed to the backing board 24” H x 30” W $8,000-10,000 Provenance: The family of Robert Harris Stone and Elizabeth Rodes Stone, thence by descent to the present owner Literature: E. Maurice Bloch, “The Paintings of George Caleb Bingham, A Catalogue Raisonne” University of Missouri Press, Columbia, MO, 1986, p. 60, no. 140, illustrated. Notes: Typed note on a gum label affixed verso: “This portrait passed onto Elizabeth Pelly and then to Caleb Stone Pelly. October 1968.” These portraits of Robert and Elizabeth stone were completed the year of their marriage on May 1, 1844 in Madison County, Kentucky. Bingham worked partly in Washington D.C. at this time and may have been commissioned to paint these portraits in Kentucky while en route to Missouri.

George Caleb Bingham

(1811-1879 Kansas City, MO) “Portrait of Elizabeth Rodes Stone,” 1844 Oil on canvas laid to aluminum backed by waxed canvas Unsigned, titled and dated on an artist’s label affixed to the backing board 30” H x 25” W $8,000-10,000 Provenance: The family of Robert Harris Stone and Elizabeth Rodes Stone, thence by descent to the present owner Literature: E. Maurice Bloch, “The Paintings of George Caleb Bingham, A Catalogue Raisonne” University of Missouri Press, Columbia, Missouri, 1986, p. 60, no. 141, illustrated. Notes: Typed note on a gum label affixed to the backing board: “Passed on to my daughter, her great-granddaughter, Elizabeth Stone Pelly. October 1968.”

California & American Fine Art

(1860-1925 New York, NY) “The USS Cyane Taking Possession Of San Diego, 1846” Oil on canvas laid to canvas under Plexiglas Signed lower left: Carlton T. Chapman, titled by repute 20.25” H x 24.25” W

(1849-1936 Sausalito, CA) “The Matson Brigantine ‘Lurline’,” 1913 Oil on canvas Signed lower right: W.A. Coulter, signed again, dated and inscribed on the stretcher: A Trader in the Tropics 16” H x 24” W

Carlton Theodore Chapman

$5,000-7,000 Provenance: Sold: John Moran Auctioneers, Pasadena, CA, June 15, 2004, Lot 53B Property from The Kelton Collection

William A. Coulter

$3,000-5,000 Provenance: Property from The Kelton Collection

William A. Coulter

(1849-1936 Sausalito, CA) Ships heading out to sea Oil on board Signed lower left: W.A. Coulter 39.5” H x 51.25” W $5,000-7,000

California & American Fine Art

Albert E. Backus

(1906-1990 Fort Pierce, FL) Everglades with birds, 1989 Oil on canvas Signed and dated lower right: A.E. Backus 24” H x 30” W $15,000-25,000 Notes: This lot is accompanied by a signed copy of the book, “A.E. Backus-Florida Artist.” Pub. 1984, Fort Pierce, FL.

Walter E. Schofield NA

(1867-1944 Philadelphia, PA) “Notes of Spring,” circa 1930’s Oil on canvas Signed lower left: Schofield, titled on the stretcher, signed and titled again and inscribed on a label affixed to the stretcher: For California 26” H x 30” W $15,000-25,000

California & American Fine Art

Stanley Laurence Reckless

(1892-1956 Pennsylvania/California) “Lumberville Penna” Oil on canvas Signed lower right: Reckless, signed again, titled, indistinctly dated and inscribed verso: Stan Z. Reckless / 19** / “To Rev. H. Vernon Harris of St. Lukes of the Mountains La Crescenta from Martha B & Stan Z. Reckless Aug.1-1950 La Crescenta Calif. 25” H x 30” W $7,000-9,000

Leon Kroll

(1884-1974 New York, NY) “Dennison Road (Girl with guitar),” 1961 Oil on panel Signed and dated lower right: Leon Kroll, titled in the artist’s hand on a gum label affixed verso 30” H x 25” W $4,000-6,000 Provenance: Sold: Skinner Inc, Marlborough, MA, May 12, 1989, Lot 208

Stanley Laurence Reckless

(1892-1955 Pennsylvania/California) “New Hope, Penna.” Oil on canvas Signed lower right: S.L. Reckless, signed again and titled verso 25” H x 30” W $8,000-12,000

California & American Fine Art

Allen Dean Cochran

(1888-1971 American) “Foothills of the Catskills,” 1915 Oil on canvas Signed and dated lower right: Allen D. Cochran, titled on the frame plaque 24” H x 30” W $3,000-5,000

Granville Redmond

(1871-1935 Los Angeles, CA) “Evening,” 1915 Oil on cedar wood panel under glass Signed lower right: G. Redmond, signed again, dated, titled and indistinctly inscribed verso 7” H x 12.75” W $8,000-12,000 Notes: This work is painted on a vintage Manuel Garcia Alonso “Habana” cigar box top.

California & American Fine Art

Granville Redmond

(1871-1935 Los Angeles, CA) Wildflower landscape with poppies and lupine Oil on canvas Signed lower left: Granville Redmond 26â&#x20AC;? H x 40â&#x20AC;? W $150,000-250,000 Provenance: Abbey Picture Framing, Hollywood, California, acquired directly from the artist in exchange for framing services, circa 1930 Henry Ruff and Josephine Brownson Ruff, acquired from the above in exchange for rental payments by Abbey Picture Framing, at 7857 Melrose Avenue, Los Angeles, circa 1930 By descent in the family to Virginia Ruff Troeger, daughter of the above By descent in the family to Mary Jo Troeger Shields, daughter of above, December 1992 By the descent in the family to the present owners, the Shields Family Trust, 2017

ranville Redmond is widely accepted as California's foremost early Impressionist and is considered a master at capturing the native natural landscape phenomena. Redmond was drawn to the Southern California landscape, light and climate, and in 1898, settled in Los Angeles after extensive study at the California School of Design, and various art schools in Paris. Deafened by scarlet fever in early childhood, Redmond's ability to channel, absorb and convey the majesty of nature in his canvases is what set him apart from other artists. Even in his lifetime, Redmond was celebrated for his faithful and resplendent depictions of the local flora, such as the present painting. His friend, collaborator and patron, Charlie Chaplin wrote about these blooming landscapes: "There's such a wonderful joyousness about them all. Look at the gladness in that sky, the riot of color in those flowers. Sometimes I think that the silence in which he lives has developed in him some sense, some great capacity for happiness in which we others are lacking." Grace Hortense Tower notes that, "no visitor to California feels his visit complete till he has sought the foothills or the mesas and reveled in the joy of wading into the yellow sea of bloom to his heart's content." Early travelers wrote letters home attempting to describe the overwhelming natural fireworks display, while artists set up easels realizing they could sell paintings to awestruck clients, and gallerists in New York, Chicago, and in the burgeoning Los Angeles art scene encouraged them. Redmond painted with a heightened sense of the unique light and atmosphere of California, often compared by artists of the period to the Mediterranean. Punctuating the present works' sweeping landscape with a scattering of oak trees, are a blanket of bold orange and blue blooms of the native poppies and lupine. Truly a masterwork by the artist, the present painting showcases Redmond's ability to articulate precise and painterly brushwork, and his skill at conveying distance and atmosphere. This wildflower landscape has a clear history of ownership extending back to the artist that ties into the rich history of bartering paintings for services and rent during the Depression. Redmond used Abbey Picture Framing of Hollywood, and the present painting was used to pay for framing services. Abbey Picture Framing in turn rented their Hollywood storefront from their landlord Henry Ruff, and shortly after acquiring the present work, Abbey exchanged it for six months of rental payments. The landscape remained in the family from that time, passing down three generations to the present owner. The present work is accompanied by a frame that retains the Abbey Picture Framing of Hollywood stamp.

Marion Kavanagh Wachtel

(1870-1954 Pasadena, CA) Houses in a foothill landscape Oil on canvas laid to board Signed lower left: Marion Kavanagh Wachtel 16” H x 20” W $15,000-20,000

Elmer Wachtel

(1864-1929 Pasadena, CA) “Winter,” circa 1919 Oil on canvas laid to waxed canvas Signed lower left: Wachtel, and with the artist’s device, titled and dated on a gallery label affixed to the backing board 20” H x 16” W $15,000-20,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Irvine, CA, The Irvine Museum, November 15, 1994 - February 17, 1995. Huntington Beach, CA, The Huntington Beach Art Center, May 2 - July 4, 2015.

California & American Fine Art

Alice B. Chittenden

(1859-1944 San Francisco, CA) “California Springtime,” circa 1920 Oil on canvas laid to board Signed lower left: A.B. Chittenden, titled and dated on an exhibition label affixed to the backing board 10” H x 14” W $4,000-6,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Irvine, CA, The Irvine Museum, “Out of the Mist,” June 19 - November 1, 1997. Bakersfield, CA, Bakersfield Museum of Art, “Paradise Found; California Impressionism,” September 14 - November 19, 2000. Los Olivos, CA, Wildling Art Museum, “Women Portray the West (1890-1940),” March 14 - May 30, 2004.

Walter Barron Currier

(1879-1934 Santa Monica, CA) “Moonrise,” 1928 Oil on canvas Signed and dated lower right: Walter Barron Currier, signed again, titled and inscribed verso: San Gabriel Valley 30” H x 20” W $3,000-5,000

Orrin A. White

(1883-1969 Pasadena, CA) “Above Laguna Beach” Oil on canvas Signed lower right: Orrin A. White, titled on a gum label affixed to the backing board 25” H x 30” W $12,000-18,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

John Marshall Gamble

(1863-1957 Santa Barbara, CA) “Summer Wild Flowers, Ojai Valley (Wild Buckwheat & Turkish Rugging)” Oil on canvas Signed lower left: John M. Gamble, signed again, titled and inscribed verso: Santa Barbara Cal 24” H x 36” W $40,000-60,000 Exhibitions: Santa Barbara, CA, Santa Barbara Museum of Art, 1929.

California & American Fine Art

(1871-1937 Los Angeles, CA) “California Sunset,” 1930 Oil on canvas Signed and dated lower left: Chas. L.A. Smith, titled by repute 39” H x 46” W

(1865-1942 Pasadena, CA) “Mountain Vista” Oil on canvas Signed and inscribed lower right: Benjamin C. Brown / California, titled on the stretcher, with an alternate title on a gum label affixed to the backing board: Mt. Baldy near San Dimas 10” H x 14” W

Charles L.A. Smith

$3,000-5,000

Benjamin Chambers Brown

$6,000-8,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

Benjamin Chambers Brown

(1865-1942 Pasadena, CA) “Evening Shadows” Oil on canvas laid to board Signed and inscribed lower right: Benjamin C. Brown / California, signed again, titled and inscribed verso: Sold to Mrs. Josephine Everitt Cleveland Ohio 27” H x 22” W $10,000-15,000

California & American Fine Art

William Wendt ANA

(1865-1946 Laguna Beach, CA) “This is My Own, My Native Land,” 1932 Oil on canvas laid to canvas Signed and dated lower left: William Wendt, signed again and inscribed verso: Laguna Beach, Cal. / “G.G.I.E.,” titled on an exhibition label affixed to the backing board 40” H x 50” W $250,000-350,000 Provenance: Stendahl Galleries, Los Angeles, CA Exhibitions: Chicago, IL, The Art Institure of Chicago, “45th Annual Exhibition of American Paintings & Sculpture,” October 27, 1931 - January 2, 1932. San Diego, CA, Fine Arts Gallery of San Diego, “The Seventh Annual Exhibition of Southern California Art,” June 2 - September 4, 1933, no. 86. Cincinatti, OH, Cincinatti Art Museum, “49th Annual,” March 1945, no. 108. Laguna Beach, CA, Laguna Beach Museum of Art, “William Wendt Retrospective,” February 1977. Literature: J. Walker, “Documents on the Life and Art of William Wendt 1865-1946,” Big Pine, CA, 1992, p. 193, no. 710.

The following work was inspired and titled after the following poem by Sir Walter Scott.

"I Breathes there the man, with soul so dead, Who never to himself hath said, This is my own, my native land! Whose heart hath ne’er within him burn’d, As home his footsteps he hath turn’d, From wandering on a foreign strand! If such there breathe, go, mark him well; For him no Minstrel raptures swell; High though his titles, proud his name, Boundless his wealth as wish can claim; Despite those titles, power, and pelf, The wretch, concentred all in self, Living, shall forfeit fair renown, And, doubly dying, shall go down To the vile dust, from whence he sprung, Unwept, unhonour’d, and unsung. II O Caledonia! stern and wild, Meet nurse for a poetic child! Land of brown heath and shaggy wood, Land of the mountain and the flood, Land of my sires! what mortal hand Can e’er untie the filial band, That knits me to thy rugged strand! Still as I view each well-known scene, Think what is now, and what hath been, Seems as, to me of all bereft, Sole friends thy woods and streams were left; And thus I love them better still, Even in extremity of ill. By Yarrow’s streams still let me stray, Though none should guide my feeble way; Still feel the breeze down Ettrick break, Although it chill my wither’d cheek; Still lay my head by Teviot Stone, Though there, forgotten and alone, The Bard may draw his parting groan."

California & American Fine Art

(1859-1948 Carmel, CA) “Drifting Fog - California Coast” Oil on canvas laid to panel Signed lower left: William P. Silva, signed again and titled verso 20” H x 24” W

(1859-1948 Carmel, CA) “Road Thru Park - Sacramento” Oil on canvasboard Signed lower right: William Silva, titled and numbered on an artist’s label affixed verso: No. 1585 12” H x 15” W

William Posey Silva

$3,000-5,000

William Posey Silva

$4,000-6,000 Provenance: Sold: Bonham’s, Los Angeles, CA, December 12, 2005, Lot 228 Kennedy Galleries, Inc., New York, NY

Arthur Hill Gilbert

(1894-1970 Monterey, CA) Monterey Cypress, California Oil on canvas Signed lower left: Arthur Hill Gilbert 25.5” H x 30” W $5,000-7,000

California & American Fine Art

Harriett Frishmuth

(1880-1980 Connecticut) “Crest of the Wave” Patinated bronze on black marble plinth Signed and dated: Harriet W Fishmuth (c) 1925 / Roman Bronze Works Inc. N.Y. Sculpture: 21” H x 4.625” W x 6” D $8,000-12,000 Literature: Charles N. Aronson, “Sculptured Hyacinths,” New York, 1973, pp. 158-162, another example illustrated. Janis Conner, Frank Hohmann, Leah Rosenblatt Lehmbeck and Thayer Tolles, “Captured Motion: The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works,” New York, 2006, no. 1925:5, pp. 27, 48, 79-80, 85-6, 90-1, 97, 102-03, 277, another example illustrated pp. 178-79, 250 Michael Forrest, “Art Bronzes”, Schiffer Publications Ltd., Pennsylvania, 1988, another example illustrated: p. 300, fig. 6.12; p. 310.

John Hubbard Rich

Jean Mannheim

(1876-1954 Los Angeles, CA) “The Fan” Oil on canvasboard Signed upper right: John Hubbard Rich, titled on a gallery label affixed to the backing board 13” H x 11” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

(1863-1945 Pasadena, CA) “Springtime,” circa 1925, standing female nude Oil on canvas Signed lower left: Jean Mannheim, titled on a gum label affixed to the stretcher, dated on a gallery label affixed to the stretcher 56” H x 33” W $7,000-9,000 Provenance: Estate of the artist, Pasadena, CA With, Bowater Gallery, Los Angeles, CA Private Collection, Hollywood, CA, acquired from the above in 1974. Exhibitions: Bowater Gallery, Los Angeles, CA, “An Exhibition of Works by Jean Mannheim, from a Private Collection”, 1974

California & American Fine Art

Joseph Kleitsch

(1882-1931 Laguna Beach, CA) Woman sewing Oil on canvas laid to canvas Signed and inscribed lower right: Joseph Kleitch, Paris 22â&#x20AC;? H x 18.25â&#x20AC;? W $20,000-30,000 Provenance: Trotter Galleries, Carmel, CA Literature: P. Trenton, "Joseph Kleitsch: A Kaleidoscope of Color," Irvine, 2007, p. 171, plate 170, illustrated.

Henrietta Shore

(1880-1963 Carmel, CA) Woman in a boat with a parasol, 1905 Oil on canvas Signed and dated center right: H.M. Shore / ‘05 32.5” H x 20.5” W $5,000-7,000

California & American Fine Art

Francis De Erdely

(1904-1959 Los Angeles, CA) Figural of standing nude, 1934 Oil on canvas laid to canvas Signed and dated upper right: erdely 54.25” H x 42.5” W $7,000-9,000

Arthur Grover Rider

(1886-1975 Pasadena, CA) Floral still life Oil on canvasboard Estate signed lower left: A.G. Rider, estate stamped verso 16” H x 11” W $3,000-5,000 Notes: With the estate stamp authenticated by Robert M. Bethea on the backing board.

Selden Connor Gile

(1877-1947 Belvedere, CA) “Gile’s Table and Chair,” 1940 Oil on canvas Signed and dated lower right: Gile / 40, titled on a letter of authenticity affixed to the backing paper 30” H x 28” W $40,000-60,000 A letter of authenticity is affixed to the backing paper that states, “I guarantee that this painting: 'Gile's Table and Chair' 30” x 28”, Oil on canvas, Signed lower right and dated ‘40, is the work of Selden Connor Gile (1877-1947), the leader of The Society of Six, and that it was acquired by me from the bulk of his estate on March 10, 1955 in Belvedere, California.” Signed: Elizabeth C. Hall (Mrs. Wallace W. Hall) 19328 Ranfre - Saratoga, Calif.

California & American Fine Art

Paul De Longpre

(1855-1911 Hollywood, CA) Still life with hollyhocks and bumblebees Oil on canvas Signed lower center: Paul de Longpre 38” H x 17” W $15,000-20,000

Paul De Longpre

(1855-1911 Hollywood, CA) Still life with Chrysanthemums Oil on canvas Signed lower right: Paul de Longpre 38” H x 17” W $10,000-15,000

California & American Fine Art

(1843-1923 American) Cliff House at Point Lobos, San Francisco, 1870 Oil on canvas under Plexiglas Signed and dated lower left: E. Hill 12” H x 16” W

(1859-1936 San Jose, CA) “Golden Gate” Oil on canvas laid to board under Plexiglas Unsigned, titled in another hand verso 36” H x 50” W

Edward Hill

$3,000-5,000

$2,000-3,000

Provenance: Property from The Kelton Collection

Notes: In a Richard Tobey frame.

Attributed to Charles Henry Harmon

(1830-1886 San Francisco, CA) “Three Masted Bark off Angel Island San Francisco” Canvas laid to canvas under Plexiglas Signed lower left: G J Denny, and with the artist’s anchor mark, titled by repute 19.75” H x 36” W

(1849-1936 Sausalito, CA) “Fort Point with Topsail Schooner” Oil on canvas under Plexiglas Signed and indistinctly dated lower right: W. A. Coulter, titled in another hand on a gum label affixed verso 16” H x 28” W

Gideon Jaques Denny

William A. Coulter

$6,000-8,000

$7,000-9,000

Provenance: Kerwin Galleries, Burlingame, CA Sold: Christie’s, New York Rockefeller Center, January 31, 2007, Lot 294 Property from The Kelton Collection

Provenance: Property from The Kelton Collection

California & American Fine Art

Jules Pages

(1867-1946 San Francisco, CA) “San Francisco” Oil on canvas Signed lower right: Jules Pages, signed again and titled on the stretcher 8.75” H x 10.75” W $3,000-5,000

Paul Starrett Sample NA

(1896-1974 Hanover, NH) “Fishing Boats,” 1930 Oil on canvas Signed and dated lower right: Paul Starrett Sample / 30, titled on the frame plaque 24” H x 30” W $15,000-20,000 Notes: The boats depicted in this Monterey, CA scene are known as “double enders.” Built in the 1920’s and used primarily for salmon trolling, they featured a pointed bow and stern, making them very friendly in heavy following seas.

Armin Carl Hansen NA

(1886-1957 Monterey, CA) “Towboat Longside” Oil on board Signed lower right: Armin Hansen N.A., signed again, titled and inscribed verso: Monterey - Cal 18.25” H x 22.25” W $50,000-70,000 Provenance: Trotter Galleries, Carmel, CA

California & American Fine Art

Edgar Alwin Payne

(1883-1947 Hollywood, CA) “Adriatic Harbor” Oil on canvas laid to canvas Signed lower right: Edgar Payne, titled on an artist’s business card affixed verso 25.25” H x 30.25” W $20,000-30,000

(1911-1974 Monterey, CA) “Monterey Wharf” Oil on masonite Signed lower left: S.C. Yuan, signed again and titled on a gum label affixed verso 6.75” H x 16.25” W

(1911-1974 Monterey, CA) Fishing trawler at anchor Oil on masonite Signed lower right: S.C. Yuan 9.25” H x 21.25” W

Si Chen Yuan

$8,000-10,000

Si Chen Yuan

$8,000-10,000

Provenance: Sold: John Moran Auctioneers, Feb. 15, 2011, Lot 15

California & American Fine Art

(1911-1974 Monterey, CA) “Monterey Bay Fishing Boats” Oil on masonite Signed lower right: S.C. Yuan, titled on a gum label affixed verso 16” H x 20” W

(1911-1974 Monterey, CA) “South Coast” Oil on masonite Estate signed lower left: S.C. Yuan, titled on an estate label affixed verso 10” H x 13.75” W

Si Chen Yuan

$15,000-20,000 Provenance: James J. Rieser Fine Art, Carmel, CA

Si Chen Yuan

$3,000-4,000 Notes: With the estate label signed by the artist’s daughter, Rae Yuan, and estate number: C-1 affixed verso.

(1873-1949 Alhambra, CA) “Wood’s Cove-Laguna Beach” Oil on canvas laid to waxed canvas Signed lower right: Jack Wilkinson Smith, titled on a gallery label affixed to the backing board 18” H x 24” W

(1888-1972 San Diego, CA) “Brisk Day” Oil on board Signed lower left: Alfred R. Mitchell, signed again and titled verso 16” H x 20” W

Jack Wilkinson Smith

$7,000-9,000

Alfred R. Mitchell

$6,000-8,000

California & American Fine Art

Alfred R. Mitchell

(1888-1972 San Diego, CA) “Sea Caves” Oil on board Signed upper right (obscured by the frame): Alfred R. Mitchell, signed again, titled and inscribed in another hand verso: La Jolla 16” H x 20” W $20,000-25,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

George K. Brandriff

(1890-1936 Laguna Beach, CA) “Comero’s Shack,” (Boat Canyon, Laguna Beach) circa 1928 Oil on canvas Signed lower left: Geo. K. Brandriff, titled in pencil on the stretcher, title reinforced in ink in another hand and inscribed by the artist’s wife verso: Painted by George K. Brandriff, Mrs. G.K. Brandriff (widow) 20” H x 24” W $10,000-15,000 Exhibitions: Laguna Beach, CA, Laguna Art Museum, “Laguna Beach Impressionism, 19101930,” June 21 - September 28, 1997. Newport Beach, CA, Orange County Museum of Art, “Continuity and Change: Southern California’s Evolving Landscape,” July 7 - September 30, 2001.

California & American Fine Art

Franz A. Bischoff

(1864-1929 Pasadena, CA) “A Deep Cove - Balboa Rocks” Oil on canvas Signed lower left: Franz A. Bischoff, titled verso 18” H x 22” W $20,000-30,000 Exhibitions: Laguna Beach, CA, Laguna Beach Museum of Art, “Southern California Impressionism Reviewed,” December 6, 1984 - February 3, 1985.

William Ritschel NA

(1864-1949 Carmel, CA) Rocky coastal with crashing waves Oil on canvas laid to canvas Signed lower right: W. Ritschel N.A. 30” H x 40” W $12,000-18,000

California & American Fine Art

(1871-1948 Laguna Beach, CA) “A Laguna Sunset,” looking towards Catalina Oil on board Signed lower left: F.W. Cuprien, signed again, titled and inscribed verso: Laguna Beach, Cal. 8” H x 10” W

(1847-1926 American) Wave crashing on a sandy coastline, 1896 Oil on canvas Signed, dated and inscribed lower right: F. A. Bridgman / To Dear Greta 1896-8 12.75” H x 21.75” W

Frank W. Cuprien

$5,000-7,000

Frederic Bridgman

$3,000-5,000

Joe Duncan Gleason

(1881-1959 Glendale, CA) “The Beautiful Bay of Avalon” Oil on canvas laid to board Signed lower right: Duncan Gleason, titled on an artist’s label affixed to the backing paper 9” H x 12” W $12,000-18,000

California & American Fine Art

Joe Duncan Gleason

(1881-1959 Glendale, CA) “Outward Bound - The Jessie Rolph” Oil on canvas Signed lower right: Duncan Gleason, titled on an artist’s label affixed verso 20” H x 16” W $6,000-9,000 Provenance: DeRu’s Fine Arts, Laguna Beach, CA Property from The Kelton Collection

Joe Duncan Gleason

(1881-1959 Glendale, CA) “U.S.C.G. Cutter - Bear” Oil on canvas Signed lower right: Duncan Gleason, titled on an artist’s label affixed verso 25.25” H x 30” W $4,000-6,000

Joe Duncan Gleason

(1881-1959 Glendale, CA) “American Line-of-Battle Ship U.S.S. Ohio Leaving San Pedro,” 1849 Oil on canvas under Plexiglas Signed lower right: Duncan Gleason, titled by repute 34.25” H x 40.25” W $20,000-30,000 Provenance: Property from The Kelton Collection

California & American Fine Art

(1955-2003 California) “Schooner C.A. Thayer towing out of Hoquiam, Washington,” 1995 Oil on canvas under Plexiglas Signed and dated lower right: D. Thimgan / 95 20” H x 36” W

(1955-2003 California) “Lumber Schooner C.H. Merithew Under the Apron, South Wharf, Westport, California” Oil on masonite under Plexiglas Signed lower left: D. Thimgan and with the copyright symbol, titled verso 16” H x 24” W

David Thimgan

$5,000-7,000

$2,000-3,000

Provenance: Property from The Kelton Collection

Provenance: Mystic Maritime Gallery, Mystic, CT Property from The Kelton Collection

Condition Reports

1 Visual: Generally good condition. A .5” x .75” scattered area of tiny flecks of paint loss lower right above the signature. Blacklight: No evidence of restoration under blacklight. Frame: 24.5” H x 28.75” W x 1” D 2 Visual: Generally good condition. Minor frame abrasion along the four edges. Fine craquelure scattered throughout, concentrated mainly in the right bird’s wing. A small fleck of paint loss left center. Blacklight: No evidence of restoration under blacklight. Frame: 24.5” H x 28.75” W x 1” D 3 Visual: Generally good condition. A tiny fleck of paint loss in the center. A small area of very fine craquelure in the center. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 28.75” H x 32.75” W x 1.25” D 4 Visual: Generally good condition. Stretcher bar creases along the four edges with associated craquelure. Very fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 23.75” H x 27.75” W x 2.75” D

Condition Reports

5 Visual: Generally good condition. A small area of paint loss, instability and fine craquelure in the upper left corner. A tiny fleck of paint loss above the ladder upper left. A tiny fleck of paint loss in the sky upper center. A small area of canvas lifting from the board upper right. Blacklight: Small spots of touch-up throughout the sky. A 3” x 3” area of touch up in the sky upper center. A 1.5” x 3.5” scattered area of touch-up in the structure upper left. Frame: 21” H x 25.5” W x 1.5” D

11 Visual: Generally good condition. A 1.25” line of scattered flecks of paint loss upper center. Blacklight: Small spots of touch-up scattered throughout. Difficult to read under uneven varnish. Frame: 24.5” H x 30.25” W x 2.75” D 12 Visual: Generally good condition. Small tear with indentation to the canvas upper right. Craquelure scattered throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 33” H x 37.25” W x 2.5” D 13 Visual: Craquelure throughout the upper left quadrant. Small areas of instability upper left, left center and in the center. Areas of crazing and paint shrinkage in some of the darker green pigments. Stretcher bar creases along the four edges and down the center. Blacklight: A 9.25” x 11.5” area of restoration upper right with corresponding patch verso. Touch-up throughout the sky to address spots of paint loss, the largest a 3.5” x 4.5” area in the center. Frame: 43” H x 49.25” W x 2.5” D 14 Visual: Generally good condition. Craquelure scattered throughout. Paint shrinkage scattered throughout the lower portion of the painting. Very minor surface dirt and grime. Blacklight: Spots of touch-up scattered throughout, the largest a 1.5” x 2” scattered area left center. Frame: 33” H x 39” W x 2.5” D 15 Visual: Generally good condition. Small flecks of paint loss right center, lower center and lower left. Minor surface dirt and grime. Blacklight: A small spot of touch up lower left. A pea-sized spot of touch-up left center. A 1” x 3” scattered area of touch-up in the center. Frame: 28.5” H x 34.5” W x 2” D

6 Generally good condition. Minor toning to the paper. The paper is loose, not mounted. Frame: 31.5” H x 39.5” W x 2.5” D

16 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 20.75” H x 24.75” W x 2.25” D

7 Visual: Generally good condition. Stretcher bar creases with associated craquelure scattered along the four edges. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame: 23” H x 19” W x 2.25” D

17 Visual: Generally good condition. Stretcher bar creases along the four edges. Craquelure scattered throughout, concentrated mainly in the upper half. Blacklight: Touch-up scattered throughout. Scattered crack-fill upper left. Frame: 37.25” H x 43.25” W x 2.25” D

8 Visual: Generally good condition. Blacklight: Touch-up scattered throughout. The largest a 1.5” x 3.5” scattered area lower left center and a 1” x 1” 'L'-shaped spot right center. Frame: 34” H x 26.25” W x 4.25” D

18 Visual: Generally good condition. Stretcher bar creases along the four edges with associated craquelure. Craquelure scattered throughout. A tiny hole in the canvas lower left. A tiny fleck of paint loss center right. Blacklight: A small spot of touch-up upper left. Difficult to read under varnish. Frame: 43.25” H x 47.25” W x 2.75” D

9 Visual: Generally good condition. Craquelure scattered throughout. Small spots of paint loss along the upper edge mainly concentrated in the sky. The tacking edges have been removed. Blacklight: No evidence of restoration under blacklight. Frame: 27” H x 31” W x 2.75” D 10 Visual: Generally good condition. A 1” scratch with scattered paint loss lower right. Two tiny flecks of paint loss lower right. A small spot of very fine craquelure to the impasto in the center. A horizontal “ridge” runs the entire width of the canvas in the center, this is a flaw in the original canvas. Blacklight: A dime-sized spot of touch-up lower right. Frame: 47.75” H x 59.75” W x 2.5” D

19 Visual: Generally good condition. Slight rippling to the canvas upper right. Slight stretcher bar creases with associated craquelure upper right and lower left. Minor surface dirt and grime. Blacklight: Small spots of touch-up scattered throughout. A 16.5” long area of touch-up along the lower edge left. Frame: 33.25” H x 38.5” W x 1.75” D

21 Visual: Generally good condition. Very fine craquelure scattered throughout, with tiny flecks of paint loss. Blacklight: Touch-up scattered throughout, concentrated mainly in the sky, difficult to read under uneven varnish. Frame: 32.75” H x 37.75” W x 2” D 22 Visual: Generally good condition. A group of flecks of paint loss scattered across the upper center with several tiny flecks of paint loss in the lower right quadrant. Blacklight: Small spots of touch-up scattered throughout the upper portion of the canvas. Frame: 30” H x 34” W x 2.5” D 23 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar creases along the four edges. A very small area of instability in the sky upper right. Blacklight: A quarter-sized spot of touch-up upper right. Small spots of touch-up upper right, in the center, lower center and lower left. Frame: 31.5” H x 35.5” W x 2.25” D 24 Visual: Generally good condition. Very fine craquelure scattered throughout the lower half of the painting. Blacklight: A number of spots of touch-up scattered throughout the lower center, the largest is dime-sized. Frame: 23.25” H x 27.25” W x 2.5” D 25 Visual: Generally good condition. Craquelure scattered throughout, concentrated mainly in the sky. Stretcher bar creases along the four edges. Blacklight: Touch-up and crack-fill scattered throughout the sky. A few spots of touch-up in the trees and bushes in the right portion of the painting. Frame: 37.5” H x 45.5” W x 3” D 26 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 18.25” H x 22.25” W x 2” D 27 Visual: Generally good condition. Blacklight: A 1” x .5” 'U'-shaped area of touch-up due to paper repair left center. Touch-up in the four corners. Small spots of touch-up in the waterfall left center and right center. Small spots of touch-up in the rock lower left. Small spots of touch-up scattered along the lower edge. Small spots of touch-up in the sky upper center. Frame: 17.5” H x 20.5” W x 1.5” D 28 Visual: Generally good condition. A 1” scratch to the canvas in the lower left corner. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 38” H x 45” W x 3.5” D 29 Visual: Generally good condition. Small scratches with minor paint loss upper left, upper center and lower left. Spots of instability lower center and lower right. Varnish discoloration throughout. The canvas is slightly loose. Blacklight: 2” and .75” lines and small spots of touch-up lower right. Difficult to read under varnish. Frame: 25.5” H x 21.5” W x 3.25” D

30 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: Touch-up throughout the left and center panels, including in the body of the buck and a 4.25” x 5” area upper left. Difficult to read under varnish. Frame: 44.5” H x 54” W x 2” D 31 Visual: Generally good condition. Fine craquelure throughout. Blacklight: No evidence of restoration under blacklight. Frame: 18.5” H x 18.5” W x 2.25” D 32 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame: 27” H x 21” W x 3” D 33 Visual: Generally good condition. Craquelure throughout. Blacklight: Touch-up scattered throughout. Difficult to read under heavy varnish. Frame: 37.75” H x 32.75” W x 4” D 34 Visual: Generally good condition. Craquelure throughout. Blacklight: Touch-up scattered throughout, concentrated mainly in the background. Difficult to read under heavy varnish. Frame: 37.75” H x 32.75” W x 4” D 35 Visual: Generally good condition. Craquelure throughout. Frame abrasion with scattered paint loss along all four edges. Blacklight: Touch-up scattered throughout. Frame: 27” H x 31” W x 3” D 36 Visual: Generally good condition. Stretcher bar creases with associated craquelure along the four edges. Craquelure scattered throughout. A tiny fleck of paint loss upper center. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 26.75” H x 34.75” W x 4.5” D 37 Visual: Generally good condition. Lines of craquelure scattered throughout. Minor frame abrasion along the four edges. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 43.75” H x 55.5” W x 2” D 38 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 31.25” H x 37.25” W x 2.25” D 39 Visual: Generally good condition. Craquelure scattered throughout. A small fleck of paint loss to the impasto in the center. A tiny fleck of paint loss left center. Blacklight: No evidence of restoration under blacklight. Frame: 32.5” H x 36.5” W x 2.25” D 40 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Pindots of grime scattered throughout the sky. Frame: 30.5” H x 35.25” W x 3” D

Condition Reports

20 Visual: The canvas is laid to board as stated. The board is bowed out from the center. Craquelure scattered throughout. Minor surface dirt and grime. The canvas is bubbling from the board upper right, upper left, left center and lower left. Small spots of loss to the impasto lower left. Several flat spots to the impasto scattered throughout the lower portion of the painting. A small puncture to the canvas with paint loss lower center. A 12.75” scattered scratch right center. A small speck of paint loss in the center. A scattered 1.5” line of paint loss due to rubbing upper center. Frame abrasion along the four edges. The tacking edges were removed. Blacklight: A 3” x 2.75” area of touch-up in the left bear’s head and neck, with scattered touch-up throughout it’s body. Frame: 39.25” H x 56.25” W x 2” D

41 Visual: Generally good condition. Light horizontal shrinkage cracks to the board throughout, the largest a 24.5” crack across the entire center. Small loss to the lower right corner of the board. Small spot of loss to the board lower left edge. A small fleck of paint loss upper left corner. Scattered tiny pinholes along the edges. A 2” x 3” scattered area of tiny flecks of paint loss lower left. Blacklight: No evidence of restoration under blacklight. Frame: 37.5” H x 33” W x 2.75” D 42 Visual: Generally good condition. Stretcher bar creases with cracks to the paint along the left and right edges center. A 1.25” scratch with minor paint loss lower center. A small spot of paint loss lower left. Tiny flecks of paint loss lower center. Minor surface dirt and grime. Blacklight: Two 1.5” x .25” areas, a pea-sized spot and a small spot of touch up right center. Frame: 29.25” H x 34.25” W x 1.75” D 43 Visual: Generally good condition. Craquelure scattered throughout. Minor stretcher bar creases along the four edges. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 28.5” H x 34.5” W x 2.25” D 44 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 8.75” H x 14.5” W x 1.5” D

Condition Reports

52 Visual: Generally good condition. Craquelure throughout. Stretcher bar creases along the four edges. Minor surface dirt and grime. Blacklight: A .5” x 2” area of touch-up upper right. A 1” line of touch-up upper center. Three small spots of touch-up right center, the largest dimesized. Frame: 46.5” H x 53.25” W x 3” D 53 Visual: Generally good condition. Very fine craquelure scattered throughout. Blacklight: A few small spots of touch-up upper center. Frame: 16” H x 20” W x 2” D 54 Visual: Generally good condition. Fine craquelure scattered throughout. A small loss to the canvas in the lower right corner. The canvas is exposed in the upper right corner where the tacking edge was removed. Blacklight: A 13.5” scattered horizontal line of touch-up running from upper center to the upper right edge. Frame: 33.75” H x 28.75” W x 2.75” D

45 Visual: Generally good condition. Blacklight: A 1” x 3” area of touch up lower center with corresponding patch verso. Frame: 33.25” H x 47.75” W x 3” D

55 Visual: Generally good condition. Craquelure throughout. Blacklight: Small spots of touch-up scattered throughout. Touch-up scattered along the right and upper edges. Scattered crack-fill left center. Certain pigments in the sky fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 45.25” H x 55.25” W x 3” D

46 Visual: Generally good condition. A 2.5” area of canvas is lifting from the board along the lower center edge. A 1” long, very minor, dark scuff mark left center. Blacklight: Touch-up scattered throughout. Frame: 22.5” H x 26.5” W x 1.75” D

56 Visual: Generally good condition. Several shrinkage cracks to the panel down the center with associated craquelure, the largest is 3.5” long. A tiny fleck of paint loss in the center. Blacklight: A 1” line of touch-up in the center. Frame: 25.75” H x 29.75” W x 1.25” D

47 Visual: Generally good condition. Fine craquelure scattered throughout. Frame abrasion to the four edges. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame: 28” H x 24” W x 2.5” D

57 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19” H x 22” W x 1.5” D

48 Visual: Generally good condition. Minor frame abrasion along the four edges. Blacklight: No evidence of restoration under blacklight. Frame: 17.25” H x 21.25” W x 2.25” D

51 Visual: Generally good condition. Craquelure scattered throughout the sky and along the bottom edge. Minor surface dirt and grime. Blacklight: A pea-sized spot of restoration upper center with a corresponding patch verso. Frame: 27” H x 39” W x 1.5” D

49 Visual: Generally good condition. A small spot of paint loss upper center. A pea-sized spot and two small spots of paint loss to the impasto upper right. Two small flecks of paint loss in the center. Three small scuff marks with minor paint loss in the upper left and right corners. A small area of scattered flecks of paint loss in the upper left corner. Blacklight: No evidence of restoration under blacklight. Frame: 36.75” H x 27” W x 2” D 50 Visual: Generally good condition. Fine craquelure scattered throughout. Tiny fleck of paint loss upper left. Blacklight: Apparently no restoration under blacklight. Pindots of grime fluoresce under blacklight throughout. Frame: 33.5” H x 38.75” W x 2.5” D

58 Visual: Generally good condition. An indentation to the canvas with minor paint loss upper right. Small flecks of paint loss lower center and lower right. A 3” scratch with minor paint loss lower right. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 31.5” H x 37” W x 2” D 59 Overall good condition with patination commensurate with age. 60 Visual: Generally good condition. Small spot of gold frame paint in the upper left corner. Small dent to the board left center. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame: 18.5” H x 16.5” W x 2” D 61 Visual: Generally good condition. Craquelure throughout the upper portion of the painting and the woman’s body. Areas of paint shrinkage scattered throughout the green pigments. A small fleck of paint loss upper center near the woman’s head. Blacklight: Possible restoration scattered throughout. Difficult to read under uneven varnish. Frame: 61” H x 37.5” W x 2.5” D.

63 Visual: Generally good condition. Craquelure throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 41.75” H x 29” W x 2.5” D 64 Visual: Generally good condition. A small area of canvas lifting from lining canvas upper left. Stretcher bar crease along the upper edge. Blacklight: A 6” line of touch-up right center. Small spots of touch-up upper left and left center, the largest dime-sized. Other possible restoration scattered throughout. Difficult to read under varnish. Frame: 65” H x 53” W x 4” D 65 Visual: Generally good condition. Tiny flecks of paint loss upper left and left center. Very fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 24.25” H x 20.5” W x 2” D 66 Visual: Generally good condition. Stretcher bar creases along the four edges with associated scattered craquelure. Pea-sized indentations to the canvas with paint loss in the upper left quadrant and in the center. A small area of craquelure upper right. A small area of paint shrinkage left center. Blacklight: No evidence of restoration under blacklight. Difficult to read under varnish. Frame: 36” H x 34” W x 2.25” D 67 Visual: Generally good condition. Craquelure throughout. A .25” scratch with paint loss upper left edge. A few minor flecks of paint loss throughout. A scattered area of dark paint along the upper right edge migrating into the canvas by .25”. Minor surface dirt and grime. Blacklight: Touch-up scattered throughout the lower half of the painting. Difficult to read under uneven varnish. Frame: 48” H x 27” W x 1.75” D 68 Visual: Generally good condition. Craquelure throughout. Area of instability with associated flecks of paint loss in the lower right corner. Frame abrasion along the left and lower edge. Two pinholes along the upper edge center. Two tiny flecks of paint loss lower left. Minor surface dirt and grime. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish. Frame: 48” H x 27.25” W x 1.75” D

72 Visual: Generally good condition. Craquelure throughout the white pigments. A tiny fleck of paint loss right center. A tiny fleck of paint loss along the lower edge left. Minor frame abrasions to the four edges. Stretcher bar creases along the left, right and upper edges. Blacklight: A tiny spot of touch-up right center. Other pigments in the sky and hills fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 23.25” H x 35” W x 2” D 73 Visual: Generally good condition. Tiny flecks of paint loss lightly scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 12.5” H x 14.75” W x 2.25” D 74 Visual: Generally good condition. Fine craquelure scattered throughout. A small indentation to the canvas with minor damage and paint loss right center. Light stretcher bar creases to the four edges. Blacklight: No evidence of restoration under blacklight. Frame: 33.5” H x 39.5” W x 2.5” D 75 Visual: Generally good condition. Very light scratches affecting the varnish layer only scattered throughout. Blacklight: No evidence of restoration under blacklight. Losses to varnish layer fluoresce under blacklight. Frame: 27.25” H x 31.25” W x 2” D 76 Visual: Generally good condition. Craquelure throughout. A small pinhole in the upper right corner. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Difficult to read under varnish. Frame: 36.25” H x 41.5” W x 4.5” D 77 Visual: Generally good condition. Frame abrasion along the upper edge. Tiny flecks of paint loss along the lower edge center. Blacklight: No evidence of restoration under blacklight. Frame: 13.5” H x 23.25” W x 2” D 78 Visual: Generally good condition. A .75” minor surface scratch upper left. Blacklight: No evidence of restoration under blacklight. Frame: 14” H x 26.25” W x 1.5” D 79 Visual: Generally good condition. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 24” H x 28” W x 2.25” D

69 Visual: Generally good condition. Fine craquelure scattered throughout. Frame abrasion to the four edges. Blacklight: A dime-sized spot of touch-up in the center with a corresponding patch verso. Small spots of touch-up scattered throughout concentrated mainly in the sky. Frame: 18.5” H x 22.5” W x 2.5” D

80 Visual: Generally good condition. A small spot of paint loss lower center. A tiny fleck of paint loss upper right. Blacklight: A quarter-sized area of touch-up lower right. Frame: 15” H x 18.5” W x 1.5” D

70 Visual: Generally good condition. Craquelure scattered throughout. Stretcher bar crease down the center. Blacklight: Touch-up scattered throughout. Frame: 42” H x 56” W x 2.5” D

81 Visual: Generally good condition. Craquelure scattered throughout. Tiny flecks of paint loss scattered throughout. Very minor surface dirt and grime. The tacking edges were removed. Blacklight: No evidence of restoration under blacklight. Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 24” H x 30” W x 1.5” D

71 Visual: Generally good condition. Very fine craquelure scattered throughout. The tacking edges were removed. Blacklight: Touch-up throughout, including along all four edges. Frame: 28” H x 44” W x 3.25” D

82 Visual: Generally good condition. A tiny fleck of paint loss upper right. Small spots of minor surface grime lower center and lower right. Blacklight: A 1.5” x 1” area of touch-up upper left. Frame: 24.75” H x 28.75” W x 1.75” D

Condition Reports

62 Visual: Generally good condition. Very fine craquelure scattered throughout. A stretcher bar crease along the upper edge with associated craquelure. Blacklight: Tiny spots of touch-up scattered throughout concentrated mainly in the woman’s hands. Frame: 30” H x 26.5” W x 3.5” D

83 Visual: Generally good condition. Frame abrasion with scattered paint loss to the four edges. Blacklight: No evidence of restoration under blacklight. Frame: 23.75” H x 27.75” W x 2.5” D 84 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt and grime. Blacklight: Small spots of touch-up scattered throughout Frame: 23.25” H x 27.25” W x 1.5” D 85 Visual: Generally good condition. Artist’s pinholes in all four corners. Craquelure throughout. Small areas of instability scattered throughout. A small spot of surface grime lower right. Blacklight: No evidence of restoration under blacklight. Frame: 24” H x 28” W x 2” D 86 Visual: Generally good condition. Stable craquelure throughout the sky and waves. Stretcher bar creases along the four edges. Blacklight: A 2.75” x 2.25” area of touch-up lower right. Small spots of touch-up scattered throughout. Frame: 38.25” H x 48.25” W x 2.25” D 87 Visual: Generally good condition. Frame abrasion along the entire left edge. A 3” line of craquelure left center and a 2” line of craquelure lower center. A pea-sized spot of paint loss in the upper right corner. Uneven varnish discoloration throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 13.5” H x 15.5” W x 2.5” D 88 Visual: Generally good condition. Frame abrasion to the four edges. A tiny hole in the canvas backed by a corresponding patch verso. Three tiny scuffs with paint loss lower left. An indentation to the canvas right center with corresponding patch verso. Blacklight: A 1.5” x 7” area of restoration right center with corresponding patch verso. Frame: 19.5” H x 28.5” W x 2.5” D 89 Visual: Generally good condition. A few tiny spots of grime in the center. Would benefit from cleaning. Blacklight: No evidence of restoration under blacklight. Frame: 14.25” H x 17.25” W x 1” D

Condition Reports

90 Visual: Generally good condition. Craquelure throughout the jib and fine craquelure scattered throughout the other sails. Stretcher bar crease along the upper edge. Blacklight: Apparently no restoration under blacklight. Difficult to read under uneven varnish. Frame: 27.5” H x 23.5” W x 2” D

91 Visual: Generally good condition. Craquelure scattered throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 33” H x 38” W x 2” D 92 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: Touch-up scattered throughout. Frame: 43.5” H x 49.5” W x 4” D 93 Visual: Generally good condition. Craquelure scattered throughout the sky. Blacklight: No evidence of restoration under blacklight. Frame: 27.5” H x 43.5” W x 3.25” D

94 Visual: Generally good condition. Very minor frame abrasion along the four edges. Blacklight: No evidence of restoration under blacklight. Frame: 25.25” H x 33.25” W x 2.5” D

California Living

Please visit www.johnmoran.com for auction details A Gustav Stickley sideboard $2,000-3,000

Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com Âˇ info@johnmoran.com Âˇ (626) 793-1833

Consign Today

Fine Jewelry, Timepieces & Luxury An Art Deco Tiffany & Co. diamond and emerald bracelet $30,000-50,000

Consignment and Auction Inquiries: mollie@johnmoran.com

bid in person - absentee - telephone - liv e online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com Âˇ info@johnmoran.com Âˇ (626) 793-1833 82

Consign Today

California & American Fine Art November 2020 William Ritschel NA (1864-1949 Carmel, CA) From my Studio - Carmel by the Sea Cal., 1912 Oil on canvasboard 10" H x 8" W $7,000-9,000 Consignment and Auction Inquiries: morgana@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com Âˇ info@johnmoran.com Âˇ (626) 793-1833 California & American Fine Art

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director Post War & Contemporary Fine Art Junior Specialist / Senior Fine Art Cataloguer Fine Art Cataloguer

Morgana Blackwelder Bree Hughes Bobby Cullen Mike Hook

Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Special Projects Maranda Moran 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Jewelry Director Junior Specialist / Senior Cataloguer: Luxury, Furniture, Decorative Arts

Mollie Burns Keith, G.J.G. Jardine Gates, GIA G.G.

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

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TRUSTS & ESTATES

Department Manager

FOUNDERS

Founder Co-Founder

Nathan Martinez Mido Lee

Noelle Valentino

John H. Moran (1942-2017) 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.

BUYERâ&#x20AC;&#x2122;S PREMIUMS: BUYERâ&#x20AC;&#x2122;S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

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California & American Fine Art

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 Buyerâ&#x20AC;&#x2122;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 "â&#x2014;&#x160;" 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 buyerâ&#x20AC;&#x2122;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. California & American Fine Art

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

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided. Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid. New bidders will be asked to provide financial account information as a reference. All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance. BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $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.

Title:

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Please email or fax the completed Registration Form and requested information to: Fax: 1.626.798.2079 email: info@johnmoran.com Tel: 1.626.793.1833 Payment by personal or business check will delay release of purchase(s) until funds clear our bank. Checks must be drawn on a U.S. bank. Notice to Absentee Bidders: Bids will be rounded down to the nearest increment if your bid increment is incorrect. Moran’s will endeavor to execute these bids on your behalf but will not be liable for any errors or non-executed bids. In the event of a tie bid, the Registration Form received first will be recognized as the winning bid.

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rev. 3/2020

California & American Fine Art

Registration Form (Attendee / Absentee / Telephone Bidding)

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

General Bid Increments $200-475.................................$25 increments $500-950.................................$50 increments $1,000-1,900.........................$100 increments $2,000-4,750.........................$250 increments $5,000-9,500.........................$500 increments $10,000-19,000...................$1000 increments $20,000-47,500..................$2,500 increments $50,000-95,000..................$5,000 increments $100,000-190,000............$10,000 increments $200,000-480,000............$20,000 increments $500,000 & Above...........$50,000 increments or at the Auctioneer’s discretion

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

Absentee & Telephone Bidding Lot Number

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

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

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rev. 3/2020