California & American Fine Art—November 17, 2020 | John Moran Auctioneers by johnmoranauctioneers

Tuesday, November 17, 2020

Tuesday, November 17, 2020â&#x20AC;&#x201D;2pm Sale 175 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Morgana Blackwelder Head of Sale, Senior Vice President Fine Art Director morgana@johnmoran.com

Jeff Moran President Fine Art Specialist jeff@johnmoran.com

Bobby Cullen Junior Fine Art Specialist 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

Hoofrish Patel Client Services hoofrish@johnmoran.com

Mary DeNeale Morgan

(1868-1948, Carmel, CA) House in a flowering tree landscape Oil on board Signed lower right: M. Den. Morgan, indistinctly inscribed verso 10â&#x20AC;? H x 10â&#x20AC;? W $3,000-5,000

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Mary DeNeale Morgan

(1868-1948, Carmel, CA) “Cypress trees, Carmel” Oil on canvasboard Signed lower right: M. DeNeale Morgan, signed again and titled verso 12” H x 16” W $3,000-5,000

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Anna A. Hills

(1882-1930, Laguna Beach, CA) Under the eucalyptus Oil on board Signed lower left: A.A. Hills 10” H x 8” W $3,000-5,000

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Anna A. Hills

(1882-1930, Laguna Beach, CA) “The Surging Sea,” 1921 Oil on board Signed and dated lower right: A.A. Hills, signed again, titled, numbered and inscribed verso: A3-62 / Laguna Beach at Coward’s Cove / Painted by A.A. Hills, Laguna Beach, California 10” H x 14” W $5,000-7,000 Provenance: Sale: Bonhams California, April 11, 2005, Lot 144

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Percy Gray

(1869-1952, San Francisco, CA) Waves crashing on a rocky coastline Watercolor on paper laid to card under glass Signed lower left: Percy Gray 10.5” H x 14.5” W $4,000-6,000

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Charles Partridge Adams

(1858-1942, Pasadena, CA) “17 Mile Drive near Carmel Calif. in Spring” Oil on canvas Signed lower left: Charles Partridge Adams, titled on the stretcher 12” H x 16” W $4,000-6,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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Abel George (Buck) Warshawsky (1883-1962, Monterey, CA) Coastal cliffside Oil on canvas Signed lower right: A.G. Warshawsky 26” H x 32” W $4,000-6,000

Provenance: Provenance: Mission Gallery, San Diego, CA

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Manuel Valencia

(1856-1935 Sacramento, CA) “17 Mile Ride - Monterey, California” Oil on canvas Signed lower left: M Valencia, titled on gallery labels affixed to the backing board 20” H x 30” W $7,000-9,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: La Palma, CA, La Palma Library, “California Artist’s of the 1920’s and 1930’s”, December 1, 1981 - January 31, 1982. Irvine, CA, The Irvine Museum, September 14 - November 27, 1993. Irvine, CA, The Irvine Museum, “Out of the Mist”, June 19 - November 1, 1997. Irvine, CA, The Irvine Museum, “Winds of Change”, April 6 - September, 2006. Moraga, CA, Saint Mary’s College of California - Hearst Art Gallery, “Manuel Valencia: California’s Native Son”, September 9 - October 15, 2006. Irvine, CA, The Irvine Museum, “California - This Golden Land of Promise”, January 24 - May 21, 2015. Irvine, CA, The Irvine Museum Collection at the University of California, Irvine, “Upon a Painted Ocean - An Ode to the California Coast”, November 10, 2018 - March 30, 2019.

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Arthur Hill Gilbert A.N.A

(1894-1970, Monterey, CA) “Carmel Meadows in Spring” Oil on panel Signed faintly in graphite lower right, signed again and titled verso 24” H x 30” W $15,000-20,000 Provenance: Steven Stern Fine Arts, Beverly Hills, CA Property from a Northern Californian Estate

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Manuel Valencia

(1856-1935, Sacramento, CA) “Inside the Ruins of Carmel Mission” Oil on canvas laid to waxed canvas Signed lower right: M. Valencia, titled on exhibition labels affixed to the backing board 30” H x 20” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Irvine, CA, The Irvine Museum, “Romance of the Bells, California Missions in Art,” June 21-October 14, 1995.Irvine, CA, The Irvine Museum, “California, This Golden Land of Promise,” November 10, 2001-February 16, 2002.Moraga, CA, Saint Mary’s College Hearst Art Gallery, “Manuel Valencia: California’s Native Son,” September 9-October 15, 2006.Carmel, CA, Carmel Mission Basilica Jo Mora Chapel Gallery, “Carmel Mission in Art Retrospective 1786-2008,” October 2007-April 2008. Irvine, CA, The Irvine Museum, “California, This Land of Golden Promise,” January 24-May 21, 2015. Literature: J. Stern, “Romance of the Bells: The California Missions in Art,” Irvine, CA, p. 108, (Illustrated). J. I. Smith, “California: This Golden Land of Promise,” Irvine, CA, 2001, p. 128, (Illustrated).

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Manuel Valencia

(1856-1935, Sacramento, CA) “The Cemetery, Mission San Luis Rey” Oil on canvas laid to waxed canvas Signed lower left: M. Valencia, titled on exhibition labels affixed to the backing board 30” H x 20” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Irvine, CA, The Irvine Museum, “Romance of the Bells, California Missions in Art,” June 21-October 14, 1995. Irvine, CA, The Irvine Museum, “California, This Golden Land of Promise,” November 10, 2001-February 16, 2002. Moraga, CA, Saint Mary’s College Hearst Art Gallery, “Manuel Valencia: California’s Native Son,” September 9-October 15, 2006. Irvine, CA, The Irvine Museum, “California: This Golden Land of Promise,” January 24-May21, 2015.

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William Barr

(1867-1933, San Francisco, CA) San Juan Capistrano Chapel Oil on canvas Signed lower left: Wm. Barr 16” H x 20” W $3,000-5,000

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Emil Kosa, Jr. NA

(1903-1968, Los Angeles, CA) “Barnsdal Ranch” Oil on masonite Signed lower right: Emil Kosa, Jr., signed again and titled on the retaining strip verso 24” H x 34” W $3,000-5,000 Provenance: Sale: Bonhams California, “California & American Paintings & Sculpture,” April 8, 2008, Lot 207 Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) “Golden Summer” Oil on canvas Signed lower right: H. Puthuff, signed again and titled verso, titled again on the stretcher 24” H x 30” W $15,000-20,000 Provenance: William Karges Fine Art, Carmel, CA Property from a Northern California Estate

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Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) “Peaceful Hills” Oil on canvas Signed lower left: H. Puthuff, titled on the frame plaque 20.25” H x 24.25” W $15,000-20,000 Provenance: Property from a Northern California Collection

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Marion Kavanagh Wachtel

(1870-1954, Pasadena, CA) “View Down the Valley” and a mountain landscape (double-sided) Each: Oil on canvas Each: Signed lower right: Marion Kavanagh Wachtel 13” H x 17” W $5,000-7,000

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Charles Arthur Fries

(1854-1940, San Diego, CA) “Run Near Dulzura, San Diego,” stream in a wooded landscape Oil on canvas laid to waxed canvas Signed lower right: C.A. Fries, titled on a card affixed to the backing board 24” H x 18” W $3,000-5,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, June 21, 2005, Lot 13 Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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Edgar Alwin Payne

(1881-1947, Los Angeles, CA) Atmospheric landscape with trees Oil on canvas under glass Signed lower left: Edgar Payne 12” H x 9” W $7,000-9,000 Notes: Painting sealed in original frame with Louis Grosse & Company, 621 N. State Street, Chicago, Illinois label affixed to verso.

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William Ritschel NA

(1864-1949, Carmel, CA) “From my Studio - Carmel by the Sea Cal.,” 1912 Oil on canvasboard Signed lower right: W. Ritschel, signed again, titled and dated verso 10” H x 8” W $7,000-9,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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Thomas Hill

(1829-1908, San Francisco, CA) Bridal Veil Falls, Yosemite, 1898 Oil on canvas Signed and dated lower right: T. Hill 30” H x 20” W $10,000-15,000

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Thomas Hill

(1829-1908, San Francisco, CA) Campfire lakeside in Yosemite Oil on canvas Signed lower right: T. Hill 20” H x 30” W $8,000-12,000 Provenance: Sale: John Moran Auctioneers, October 25, 2005, Lot 54

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Frederick Schafer (1839-1927, Oakland, CA)

(two works) Small waterfall in a Yosemite Valley landscape, 1881 Oil on canvas laid to canvas 22.75” H x 10.5” W Signed, dated and inscribed lower edge: F. Schafer / S.F. / 81 Figures in a Yosemite Valley landscape, 1881 Oil on canvas laid to canvas 22.75” H x 10.5” W Signed, dated and inscribed lower edge: F. Schafer / S.F. / 81 $3,000-5,000 32

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Ransome Gillet Holdredge

(1836-1899, San Francisco, CA) “Yosemite Valley” Oil on canvas laid to waxed canvas Signed lower left: R.G. Holdredge, titled on a card affixed to the backing board 34” H x 22” W $4,000-6,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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Edgar Alwin Payne

(1883-1947, Hollywood, CA) “San Juan Capistrano” circa 1922 Oil on canvas laid to waxed canvas Signed lower left: Edgar Payne, titled on the frame plaque 28” H x 34” W $20,000-30,000 Provenance: Sale: Bonhams California, November 19, 2002, Lot 8220

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George Demont Otis

(1879-1962, Kentfield, CA) “Bayou Near Houston - Baytown Texas,” 1908 Oil on canvas laid to canvas Signed lower right: Geo. Demont Otis, titled and dated on the tacking edge 24” H x 30” W $5,000-7,000

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Orrin A. White

(1883-1969, Pasadena, CA) “Arroyo Seco, Pasadena, CA” Oil on canvas Signed lower left: Orrin A. White, titled by repute 16” H x 20” W $3,000-5,000

Orrin A. White

(1883-1969, Pasadena, CA) Stream through a mountain landscape Oil on canvas laid to masonite Signed lower right: O.A. White 14.25” H x 18.25” W $2,500-3,500

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Orrin A. White

(1883-1969, Pasadena, CA) “Edge of the Desert” Oil on canvas Signed lower right: Orrin A. White, titled on a gallery label affixed to the stretcher 25” H x 30” W $4,000-6,000 Provenance: Grand Central Art Galleries, New York, NY

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Robert William Wood

(1889-1979, Bishop, CA) “Mt. San Jacinto” Oil on canvas Signed lower left: Robert Wood, titled verso, and with the artist’s “Reproduction Rights Reserved” stamp 24” H x 36” W $5,000-7,000 Provenance: Sale: Heritage Auctions, Dallas, TX, “Texas Art,” May 18, 2019, Lot 75016

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Hanson Duvall Puthuff

(1875-1972, Corona Del Mar, CA) “Friendly Slopes” Oil on canvas laid to board Signed lower right: H. Puthuff, titled verso 16” H x 20” W $5,000-7,000 Provenance: George Stern Fine Arts, West Hollywood / Carmel, CA Sale: Bonhams California, “California and Western Paintings & Sculpture,” April 20, 2010, Lot 121 Property from a Northern California Estate

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William Alexander Griffith

(1866-1940, Laguna Beach, CA) “Twin Palms,” 1930 Oil on canvas laid to board Signed and dated lower right: William A. Griffith, titled on a gum label affixed to the backing board 16” H x 20” W $4,000-6,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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Curt Walters

(b. 1950, Sedona, AZ) “The Place...Sipap” Acrylic on canvas Signed lower right: Curt Walters 48” H x 48” W $10,000-15,000 Provenance: Trailside Galleries, Scottsdale, AZ Property from a Northern California Estate Exhibitions: Scottsdale, Trailside Galleries, “Land of the Anasazi,” 1992 Notes: The artist states, “I painted it entirely plein air at the trailhead of the Kaibab trail on the south rim of the Grand Canyon. Featured in the center of the canvas is the Great Temple of Isis.”

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Leland Curtis

(1897-1989, Carson City, NV) “Cyclamen Lake” Oil on canvas Signed lower left: Leland Curtis, signed again, titled and inscribed on the stretcher: Los Angeles 25” H x 30.25” W $5,000-7,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: Cyclamen Lake is inside of Sequoia National Park, California.

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Conrad Buff

(1886-1975, Laguna Beach, CA) “Mount Jacinto” Oil on board Signed lower right: Conrad Buff, titled on a card affixed to the backing board 20” H x 30” W $4,000-6,000

Conrad Buff

(1886-1975, Laguna Hills, CA) “Sierra, Owens River” Oil on board Estate signed lower right: Conrad Buff, titled on a card attached to the backing board 16” H x 24” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Literature: George Stern Fine Arts, “The Art & Life of Conrad Buff,” West Hollywood, CA, 2000, p. 152, #0371, (Illustrated)

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Susan Hertel

(1930-1992, Glendora, CA) “The Red Road” Oil on canvas Signed on the stretcher: Susan Hertel, titled on a gallery label affixed to the stretcher 39.5” H x 59” W $15,000-20,000 Provenance: Ankrum Gallery, Los Angeles, CA

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Birger Sandzén

(1871-1954, Lindsborg, KS) “Mountain Landscape” Oil on canvas Signed lower right: Birger Sandzen, titled on gallery labels affixed to the backing board 24” H x 36” W $60,000-80,000 Provenance: Sale: Sotheby’s New York, March 15, 2000, Lot 127 California Paintings, Beverly Hills, CA Del Monte Fine Art, Carmel, CA Property from a Northern California Estate

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Guy Carleton Wiggins NA

(1883-1962, New York, NY) “French Riviera,” 1925 Oil on canvas Signed lower right: Guy Wiggins, signed again, dated and titled verso 12.25” H x 16.25” W $10,000-15,000

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Arthur Grover Rider

(1886-1975, Pasadena, CA) Figures in a Mexican town Watercolor on Arches paper under Plexiglas Signed lower right: A.G. Rider Sight: 21.75” H x 17” W; Sheet: 22.75” H x 17.75” W $4,000-6,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA

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August Gay

(1890-1948, Carmel, CA) Self-portrait Oil on board Signed lower right: A.F. Gay 24” H x 20” W $15,000-20,000

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Charles Arthur Fries

(1854-1940, San Diego, CA) “Co-operation,” 1889 Oil on canvas laid to waxed canvas Signed and dated lower left: C.A. Fries, titled on a gum label verso 28.75” H x 14.5” W $4,000-6,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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Granville Redmond

(1871-1935, Los Angeles, CA) Landscape with poppies and lupine Oil on canvas Signed lower left: Granvillle Redmond 20” H x 18” W $80,000-120,000

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David Chapple

(b. 1947, California) “Timeless” Oil on linenboard Signed lower right: David Chapple, titled verso 22” H x 28” W $4,000-6,000

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David Chapple

(b. 1947, California) “Spring Vista” Oil on linen board Signed lower left: David Chapple, titled verso 15” H x 30” W $3,000-5,000

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Phil Dike

(1906-1990, Claremont, CA) “Drying Chili Peppers, North San Diego,” 1937 Oil on canvas Signed lower right: Phil Dike 18” H x 22” W $10,000-15,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, “California & American Paintings,” June 19, 2007, Lot 93A Estate of Dewitt McCall III, Los Alamitos, CA

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Nell Walker Warner

(1891-1970, Carmel, CA) “Mirror of Autumn,” floral still life Oil on canvas Signed lower left: Nell Walker Warner, signed again and titled on the stretcher 30” H x 36” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Notes: In a Richard Tobey frame.

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Paul De Longpre

(1855-1911, Hollywood, CA) “Fresh from the Garden,” 1898 Watercolor on paper laid to board under Plexiglas Signed and dated lower right: Paul de Longpre, titled on a gallery label affixed to the backing paper Sight: 22” H x 15” W; Sheet: 23.25” H x 16” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Irvine, CA, The Irvine Museum, “Joyous Spring,” January 25 - June 14, 1997.

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Abbott Fuller Graves

(1859-1936, Kennebunkport, ME) Man reading to a group of children Oil on canvas under glass Signed upper left: Abbott Graves 20â&#x20AC;? H x 24â&#x20AC;? W $3,000-5,000

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Edward Redfield

(1869-1965, Bridgeville, DE) Trees in a winter landscape Oil on canvas Signed lower right: E.W. Redfield 16.25” H x 19.25” W $20,000-30,000 Provenance: Estate of Richard Fahrney, Southern California

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William Ritschel NA

(1864-1949, Carmel, CA) “Sunday Winter Morning Engadin” Oil on canvas Signed lower right: W. Ritschel, signed again and titled verso 25” H x 30” W $6,000-8,000 Provenance: Property from a Northern California Estate Notes: The Engadin or Engadine is a long high Alpine valley region in the eastern Swiss Alps in the canton of Graubünden in southeasternmost Switzerland with about 25,000 inhabitants.

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Aldro Thompson Hibbard

(1886-1972, Rockport, MA) “Open Brook” Oil on canvas laid to board Signed lower left: A.T. Hibbard, titled on an exhibition label affixed to the backing board 18” H x 26” W $3,000-5,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Boston, The Guild of Boston Artists, Solo Exhibition, 1919, 1922, 1924, 1926, 1928, 1953, 1965.

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Louis Aston Knight

(1873-1948, New York/France) “Solitude” Oil on canvas Signed and inscribed lower left: Aston Knight / Paris, titled on gum labels affixed to the stretcher 25.75” H x 60” W $15,000-20,000 Provenance: Sale: John Moran Auctioneers, Monrovia, CA, June 19, 2001, Lot 111

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Donald Teague

(1897-1991, Carmel, CA) Figures on fishing boats, Hong Kong Watercolor on paper under glass Signed lower right: Donald Teague Sight:16.5” H x 23.5” W; Sheet: 17.25” H x 23.75” W $10,000-15,000

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Emil Carlsen

(1853-1932, New York, NY) “On the Kattegatt” Oil on canvas laid to waxed canvas Signed lower left: S. Emil Carlsen, titled on an artist’s label affixed to the stretcher 26” H x 42.25” W $15,000-20,000

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(1883-1947, Hollywood, CA) Fishing boats in a harbor Oil on canvas laid to waxed canvas Signed lower right: Edgar Payne 16” H x 13” W

(1883-1947, Hollywo “French Fisherman” Oil on canvas laid to Signed lower right: E 7.5” H x 9” W

Edgar Alwin Payne

$8,000-12,000

Edgar Alwin Payn

$3,000-5,000

Provenance: Estate o

Notes: In a Richard T

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ood, CA)

o board Edgar Payne, titled on a gum label affixed to the backing board

of Dewitt McCall III, Los Alamitos, CA

Tobey frame.

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Frederick Judd Waugh

(1861-1940, Provincetown, MA) “Laguna Beach, California” Oil on board Signed lower right: Waugh, titled on a gum label affixed to the backing board 25” H x 30” W $5,000-7,000 Provenance: Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Irvine, CA, The Irvine Museum Collection at the University of California, Irvine, “Upon a Painted Ocean - An Ode to the California Coast,” November 10, 2018 - March 30, 2019.

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Jack Wilkinson Smith

(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 $7,000-9,000

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Frank Cuprien

(1871-1948, Laguna Beach, CA) “The Dreamship” Oil on canvas Signed lower right: F.W. Cuprien, signed again, titled and inscribed on the stretcher: Laguna Beach, Cal. 20” H x 30” W $8,000-10,000 Provenance: The Redfern Gallery, Laguna Beach, CA Sale: Bonhams California, “California and American Paintings and Sculpture,” April 6, 2011, Lot 1104 Estate of Dewitt McCall III, Los Alamitos, CA Exhibitions: Los Angeles, California, Los Angeles County Museum, “First Annual Exhibition of Artists of Los Angeles and Vicinity,” 1940 Santa Monica, California, The California Heritage Museum, “Behold, the Pacific! California Coastal Views,” September 23, 2005 through February 26, 2006. Irvine, California, The Irvine Museum, “El Camino de Oro, Journey Through Early California,” February 23 - June 5, 2010.

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Condition Reports

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1 Visual: Generally good condition. Isolated areas of very fine craquelure scattered throughout the lower portion of the painting.

10 Visual: Generally good condition. Fine craquelure scattered throughout.

Blacklight: Small spots and dots of touch-up lightly scattered throughout.

Blacklight: Small dots of touch-up lower right, upper left, along the upper edge right and in the center.

Frame: 16.75” H x 16.75” W x 1.75” D

Frame: 31.25” H x 37.25” W x 2.5” D

2 Visual: Generally good condition. A few isolated lines of fine craquelure in the sky upper center and in the water lower center. Minor surface dirt throughout.

11 Visual: Small pinholes scattered along the extreme perimeter of the canvas. A line of fine craquelure running along most of the width of the upper edge. Isolated areas of fine craquelure scattered throughout.

Blacklight: No evidence of restoration under blacklight. Frame: 16.5” H x 20.5” W x 1.5” D 3 Visual: Generally good condition. A 1” x 1” scattered area of very fine craquelure in the center. A 1” shallow indentation line in the center. Blacklight: No evidence of restoration under blacklight. Frame: 15.75” H x 13.75” W x 1.75” D 4 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 16.25” H x 20.5” W x 2.25” D

12 Visual: Generally good condition. Tiny pinholes scattered along the left and upper edges. Stretcher bar creases along the left, right and upper edges. A tiny fleck of paint loss upper center. Isolated areas of fine craquelure scattered throughout. A 3” x 1”, “L”-shaped visible repair right center. A small scrap of paper adhered to the varnish in the lower left corner. Blacklight: The aforementioned repair is visible under blacklight, as well as a dime-sized spot lower left. Difficult to read under varnish. Frame: 37.5” H x 27.5” W x 2.25” D 13 Visual: Generally good condition. A tiny fleck of paint loss upper center. Fine, stable craquelure scattered thoughout the lower left corner. Minor surface dirt scattered throughout.

Frame: 20.75” H x 25” W x 1.5” D

Blacklight: No evidence of restoration under blacklight.

Blacklight: A dime-sized area of touch up in the upper left corner. Frame: 16.5” H x 20.5” W x 2” D

Condition Reports

Frame: 37.5” H x 27.5” W x 2” D

5 Small spots of yellow staining throughout. The lower right corner of the paper is slightly crinkled. The paper is laid down, as stated.

7 Visual: Generally good condition. Small areas of fine craquelure scattered throughout the tree trunk. Minor surface dirt and grime.

Blacklight: Touch-up scattered throughout. Difficult to read under varnish.

Frame: 22.25” H x 25.75” W x 2.5” D 14 Visual: Generally good condition. Blacklight: A series of small dots of touch-up center right. Frame: 33.25” H x 43.25” W x 2.25” D

8 Visual: Generally good condition. The canvas is slightly rippled in the upper corners. Minor frame abrasion left edge center. Craquelure throughout the upper three inches of the canvas with a 1” section with tiny flecks of paint loss to the left.

15 Visual: Generally good condition. Light stretcher bar creases along the upper and left edges with associated scattered fine craquelure.

Blacklight: No evidence of restoration under blacklight.

Frame: 33.25” H x 39.5” W x 2.25” D

Frame: 34.5” H x 40.5” W x 3” D

9 Visual: Generally good condition. Very fine craquelure lightly scattered throughout. A tiny pinhole upper left. A 4” line of craquelure with scattered paint loss along the left edge center. Frame abrasion with scattered paint loss along the left and lower edges. Blacklight: Small spots of touch-up scattered throughout the sky. A 1” x .5” scattered area of restoration along the right edge. A .5” line of restoration along the upper edge center. Frame: 27.5” H x 37.5” W x 2.75” D

16 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 28” H x 32” W x 2.5” D

17 Each: Visual: Generally good condition. Each: Blacklight: No evidence of restoration under blacklight. Frame: 19” H x 23” W x 1.75” D

24 Visual: Generally good condition. Fine craquelure throughout. The canvas is ridged across the center. A 3” x 3” scattered area of small chips of paint loss upper center. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame: 43.25” H x 31.25” W x 3.75” D

Blacklight: No evidence of restoration under blacklight.

25 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt.

Frame: 32.5” H x 26.5” W x 2.5” D

Blacklight: Spots, dots and areas of touch-up scattered throughout. The largest concentration along the lower edge.

19 Visual: Generally good condition. Small piece of fiber attached to the impasto right center. A small chip of paint loss lower center above the “E” in Payne. A small scratch/crease to the lower right corner.

Frame: 38” H x 44” W x 2.5” D

Blacklight: No evidence of restoration under blacklight. Frame: 16.25” H x 13.25” W x 1.75” D 20 Visual: Generally good condition. Blacklight: A few small spots of touch-up in the sky upper right. Frame: 14.5” H x 12.5” W x 1.25” D 21 Visual: Generally good condition. Fine craquelure scattered throughout. A 4” x 5” area of heavier craquelure lower center. Blacklight: No evidence of restoration under blacklight. Frame: 35.5” H x 25.5” W x .75” D

26 Visual: The previous tacking edge crease is exposed across the upper edge. Minor frame abrasion to the four edges. Fine stable craquelure scattered throughout. Tiny flecks of paint loss lightly scattered throughout. Blacklight: Small spots, dots and lines of touch-up scattered throughout. Frame: 31.75” H x 37.75” W x 1.75” D 27 Visual: Generally good condition. Fine, stable craquelure scattered throughout. Minor surface dirt scattered throughout. Blacklight: No evidence of restoration under blacklight. Frame: 22.5” H x 26.5” W x 1.5” D 28 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout the lower portion of the painting. A .25” bubble in the paint right center. Minor surface dirt.

22 Visual: Generally good condition. Fine craquelure throughout. Small chip of paint loss upper center. Minor surface dirt and grime.

Blacklight: A series of small spots of touch-up along the upper edge with one spot left edge center.

Blacklight: No evidence of restoration under blacklight.

Frame: 20.75” H x 24.75” W x 1.75” D

Frame: 27.5” H x 39.5” W x 3.25” D 23 Visual: Each: Generally good condition. The first: Frame abrasion scattered along the left and right edges. Craquelure scattered throughout. A .75” light scratch lower edge center. The second: Frame abrasion scattered along the left and right edges. Craquelure scattered throughout. Blacklight: Apparently no restoration under blacklight. Difficult to read under varnish. Frame of each: 29” H x 17” W x 2” D

29 Visual: Generally good condition. The canvas is loose and slightly rippled in the upper right corner. Fine craquelure scattered throughout. Blacklight: Certain pigments fluoresce under blacklight, possibly in the hand of the artist. Frame: 32” H x 37” W x 3.25” D 30 Visual: Generally good condition. A few isolated areas of fine craquelure. Blacklight: A few tiny dots of touch-up across the sky. Frame: 30.25” H x 42” W x 2.5” D

Condition Reports

18 Visual: Generally good condition. Stable craquelure throughout. A small chip of paint loss upper left edge.

31 Visual: Generally good condition. Blacklight: Three small spots of touch-up upper right. A small dot of touch up in the center. A small dot of touch up lower left.

Frame: 33” H x 45” W x 3” D

32 Visual: Generally good condition. A small fleck of paint loss upper center. Frame abrasion with paint loss along the extreme lower edge center.

39 Visual: Generally good condition. Isolated areas of fine craquelure lightly scattered throughout. A tiny fleck of paint loss lower center.

Frame: 22.5” H x 26.75” W x 1.75” D 33 Visual: Generally good condition. Blacklight: A 1” area of touch-up along the upper edge left. Frame: 60” H x 60” W x 4” D 34 Visual: A quarter-sized, pea-sized and small spot of paint loss upper right with additional instability in this area. Visible signs of restoration scattered throughout with associated craquelure. Small flecks of paint loss scattered throughout. Blacklight: Spots of restoration scattered throughout fluoresce under blacklight. Frame: 30” H x 35” W x 2” D 35 Visual: Generally good condition. A series of fine lines of craquelure upper center. A 1.5” light surface scuff line left center. A 5” light surface scuff line in the center. Blacklight: No evidence of restoration under blacklight. Difficult to read under varnish.

Condition Reports

Blacklight: No evidence of restoration under blacklight.

Frame: 22.75” H x 27” W x 2.5” D

Blacklight: Small spots of touch-up scattered throughout the sky. A 6” x 2.5” scattered area of touch up in the upper right corner. A 3” line of touch up in the upper left corner. A 3.25” line of touch up in the lower right corner.

38 Visual: Generally good condition. Craquelure throughout. Minor surface dirt and grime.

Blacklight: A small spot of touch-up in the sky upper center. Frame: 16” H x 20” W x 1.75” D 40 Generally good condition. Minor toning to the paper. The upper, lower and right edges are deckled. The left edge appears to have been trimmed. Hinged to the recto mat with linen tape at four points along the upper edge. Frame: 29.75” H x 25.25” W x 2.75” D 41 Visual: Generally good condition. The board is slightly bowed to the center and rippled along the left edge. Minor frame abrasion scattered along the four edges. Minor surface dirt and grime. Blacklight: Small spots and dots of touch-up scattered throughout. Frame: 31” H x 27” W x 2.5” D 42 Visual: Generally good condition. Minor frame abrasion along the four edges. Minor crazing with tiny flecks of paint loss across the center, mostly visible in the darker pigments. Minor surface dirt across the lower edge. Blacklight: Small spots of touch-up scattered throughout the lower portion of the painting. Difficult to read under varnish. Frame: 38” H x 24” W x 3” D

Frame: 25.75” H x 35.75” W x 2” D

43 Visual: Generally good condition. Very fine craquelure scattered throughout.

36 Visual: Generally good condition.

Blacklight: A pea-sized spot of touch-up in the upper right corner.

Blacklight: Small spots of touch-up scattered throughout. The largest a 2” line along the upper right edge. Frame: 24.75” H x 32.75” W x 3” D 37 Visual: Generally good condition. A group of small scuffs and marks in the upper right corner.

Frame: 27.75” H x 25.5” W x 2” D 44 Visual: Generally good condition. A 2.5” light scattered line of gold frame paint transfer upper edge right. Blacklight: No evidence of restoration under blacklight. Frame: 29.75” H x 35.75” W x 1.5” D

Blacklight: No evidence of restoration under blacklight. Frame: 41” H x 60.5” W x 1” D

45 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 22.5” H x 37.5” W x 1.25” D

Frame: 21.75” H x 25.75” W x 2.5” D 47 Visual: Generally good condition. Isolated areas of very minor fine craquelure and crazing scattered throughout.

54 Generally good condition. Hinged to the recto mat with artist’s tape along the four edges. Frame: 28.5” H x 35.5” W x 1” D 55 Visual: Generally good condition. Minor frame abrasion scattered along the four edges. Stable craquelure throughout. Minor surface dirt and grime.

Blacklight: No evidence of restoration under blacklight.

Blacklight: Spots and areas of touch-up scattered throughout the sky, the largest a 4” x 8” scattered area upper center.

Frame: 40.25” H x 46” W x 2.5” D

Frame: 30.75” H x 47” W x 2.75” D

48 Visual: Generally good condition. Minor toning to the paper. The paper is laid down, as stated. The backing board is affixed to the backmat with cloth tape along the left, right and upper edges.

56 Visual: Generally good condition. Craquelure throughout. Minor surface dirt.

Frame: 32.75” H x 26” W x 1.75” D 49 Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. Frame: 21” H x 18” W x 2.25” D

Blacklight: No evidence of restoration under blacklight.

57 Visual: Generally good condition. A .5” scratch with scattered paint loss along the lower edge center.

Frame: 31.75” H x 35.75” W x 4” D

Blacklight: No evidence of restoration under blacklight.

50 Visual: Generally good condition. Stable craquelure throughout. A small chip and tiny fleck of paint loss upper left. The lower left corner has slight damage and loss. Blacklight: Certain pigments fluoresce under blacklight, possibly in the hand of the artist.

Frame: 14.75” H x 16” W x 2.5” D 58 Visual: Generally good condition. Very fine stable craquelure scattered throughout the upper half of the painting. Blacklight: No evidence of restoration under blacklight.

Frame: 22.5” H x 25.5” W x 2.25” D

Frame: 31.75” H x 37” W x 3.25” D

51 Visual: Generally good condition. Stable craquelure throughout. Small varnish drip left center.

59 Visual: Generally good condition. Very fine craquelure scattered throughout. Minor surface dirt and grime.

Blacklight: A 1” line of touch-up in the upper right corner.

Blacklight: Small spots and lines of touch-up scattered throughout the sky. The largest a .75” x 2” scattered area in the center.

Frame: 33.5” H x 38.25” W x 3” D 52 Visual: Generally good condition. A 4” x .5” area where the canvas is lifting and buckled along the left edge center with some evidence of frame abrasion along the extreme canvas edge. A 2” scattered line of gold frame paint transfer along the upper edge right. Blacklight: No evidence of restoration under blacklight. Frame: 24.5” H x 32.5” W x 2” D 53 Visual: Generally good condition. Craquelure throughout. Blacklight: Small spots of touch-up and extensive crackfill scattered throughout. Difficult to read under varnish. Frame: 34.75” H x 68.5” W x 2” D

Frame: 33.25” H x 38” W x 2.25” D 60 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, possibly in the hand of the artist. Frame: 24” H x 30” W x 1.5” D 61 Visual: Generally good condition. Very fine craquelure in the small area of lighter pigments lower left. Blacklight: A 1” x 2” scattered area of touch-up upper left. A 1” x 4” area of tiny dots of touch-up center right. Frame: 28” H x 37.75” W x 3” D

Condition Reports

46 Visual: Generally good condition. A .5” x 2” area of fine craquelure upper center. A small chip of paint loss in the center. A small indentation to the canvas left center. Blacklight: No evidence of restoration under blacklight.

Consign Today

California & American Fine Art April 2021

Jessie Arms Botke (1883-1971 Santa Paula, CA) White cockatoos in an avocado tree

Price Realized: $87,500

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 86

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Consign Today

Fine Jewelry & Timepieces December 15, 2020

An Art Deco sapphire and diamond pendant necklace Circa 1920, approximately 22.0 cts. Estimate available upon request

Consignment and Auction Inquiries: mollie@johnmoran.com (626) 628-9333

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 w w w. j o h n m o r a n . c o m

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

SPECIALISTS

Head of Sale, Senior Vice President, Fine Art Director

Morgana Blackwelder

Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Fine Art Cataloguer Mike Hook Junior Specialist / Senior Cataloguer: Furniture & Decorative Arts Jardine Gates, GIA G.G. 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Post War & Contemporary Fine Art Bree Hughes American Indian Specialist Maranda Moran Head of Sale Jewelry Director

Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain Client Services Hoofrish Patel

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

ADVERTISING, MARKETING, DIGITAL DESIGN

Advertising & Marketing Director, Art Design Nathan Martinez Photographer Madison Torres Photographer Keith Berson Graphic Designer Brian Olivas

TRUSTS & ESTATES

Department Manager Noelle Valentino

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

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.

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. 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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. 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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. 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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.

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 nal bid, plus uyer s Premium on the nal 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 financ al accoun nforma on 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. UYER S PRE IU : P s calcula ed a on e firs $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

uyers outside of the United States must submit payment via wire transfer Credit cards are not an accepted form of payment for buyers outside of the United States

Title:

First Name:

Paddle number

Sale number

Please email or fax the completed Registration Form and re uested 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 e e en of a e b d e e s ra on Form rece ed firs ll be reco n ed as the winning bid.

Please list lots for absentee bidding on reverse

In order to better serve you, please mark the checkbox’s below for your auction interests.

Last Name: Driver’s License number:

18th & 19th Century Furniture & Decorative Art

Company Name:

20th Century / Modern Design

Address 1:

American Art

Address 2:

Asian Art & Objects

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

Email: *By providing your email address, you authorize Moran’s to send you sale announcements. Moran’s does not sell, share or trade any client information.

Telephone (primary):

Rugs & Carpets Silver

Fax: Have you registered with Moran’s before? Yes

How did you hear about our services?

Sellers permit info: Contact of ce for veri cation State: I agree that I have read Signature:

Native American Objects Prints & Multiples

Telephone (secondary):

Permit #

Modern & Contemporary Art

Turn of the Century Design / Arts + Crafts Western Art a e a s ec fic y e of em you are n eres ed n let us know:

Exp: oran s Conditions of Sale and shall be bound by them This affects my legal rights Date:

rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

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

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

Absentee & Telephone Bidding Lot Number

Lot Description

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

(Excludes Buyer’s Premium) Absentee only

FOR OFFICE USE ONLY

Y/N

Last Bid $

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

Received By:

Date:

rev. 7/2018

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