20th Century Art + Design—June 9, 2020 | John Moran Auctioneers by johnmoranauctioneers

20th Century Art + Design Tuesday, June 9, 2020â&#x20AC;&#x201D;12pm Sale 160 145 East Walnut Avenue, Monrovia CA 91016 Private Previews Available By Appointment

Meet the Team Bree Hughes Co-Head of Sale, Post-War and Contemporary Fine Art Specialist bree@johnmoran.com John Simon Taylor Co-Head of Sale, 20th Century Furniture and Decorative Arts Specialist jsimon@johnmoran.com Mike Hook Fine Art Cataloguer mike@johnmoran.com Alexis Sutcliffe Furniture & Decorative Arts Cataloguer alexis@johnmoran.com

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

Pg. 110 Lot 133 Young-Il Ahn "Ships in the Morning"

Tom Holland

(b. 1936, American) “Kato,” 1980 Epoxy on alluminum Signed, titled, and dated verso: “Kato” / Holland / 80 18.375” H 13.75” W x 5.25” D $700-900

20th Century Art + Design | June 9, 2020

Joan Miró

(1893-1983, Spanish) “Le Delire Du Couterier - bleu, rouge, vert ,” 1969 (M. 645) Color lithograph on wove paper under Plexiglas, Editions Maeght, Paris, pub. Edition 15/30 (there were also 15 artist’s proofs), signed lower right: Miro, titled verso 49.5” H x 34.12” W $4,000-6,000 Provenance: Center Art Galleries, Honolulu, HI Literature: Mourlot 645

Joan Miró

(1893-1983, Spanish) “Defile de Mannequins a Istanbul,” 1969 Color lithograph on wove paper under Plexiglas, Editions Maeght, Paris, pub. Edition 62/75, signed lower right: Miro, titled verso 49.5” H x 34” W $6,000-8,000 Provenance: Center Art Galleries, Honolulu, HI Literature: Mourlot 629

20th Century Art + Design | June 9, 2020

Pablo Picasso

(1881-1973, Spanish) “Jacqueline,” 1958 Lithograph on black paper under Plexiglas, Mourlot, prntr. Edition HC (apart from an edition of 200,) signed lower right twice: Picasso Sight: 21.25” H x 14.5” W $2,000-4,000

Pablo Picasso

(1881-1973, Spanish) “Corrida,” 1953 White earthenware charger with black oxide and light green engobe Stamped: Madoura Plein Feu / Empreinte Originale de Picasso Limited number of editions 17” Dia. $6,000-8,000 Literature: Alain Ramie, “Picasso: Catalogue of the Edited Ceramic Works, 1947-1971,” No.182.

20th Century Art + Design | June 9, 2020

Pablo Picasso

(1881-1973, Spanish) Two “Black Face” service plates from the dinnerware series, 1950s Earthenware with colored engobe Each stamped underneath with Madoura Plein Feu mark; Further signed under glaze: Madoura d’apres Picasso Edition of 100 Each plate: .75” H x 9.25” Dia. $2,000-3,000

Pablo Picasso

(1881-1973, Spanish) “Picador,” 1952 Terracotta with black glaze Marked to bottom: Edition Picasso Edition of 500 5.5” H x 4.5” W x 3.5” D $900-1,200 Literature: Alain Ramie, “Picasso: Catalogue of the Edited Ceramic Works, 1947-1971,” pg. 89, No.162.

Robert Motherwell

(1915-1991, American) “Three Figures,” (WAC 489), 1989 Lithograph in colors on Somerset paper, and with the publishers blindstamp, Tyler Graphics Ltd., Mt. Kisco, NY, pub. Edition 62/80 (in addition to 20 artist’s proofs), signed and numbered lower right Sheet full bleed: 55.625” H x 40” W $15,000-20,000

20th Century Art + Design | June 9, 2020

A set of four Eero Saarinen for Knoll “Tulip” swivel armchairs

1973 Marked to underside of base: BR 50; Each cushion further marked for Knoll International: March 21, 1973 The fiberglass, aluminum, and carnelian red hopsack-linen fabric chairs with removable cushions and original upholstery tags, 4 pieces 32.5” H x 27” W x 24” D $1,200-1,800

Ellsworth Kelly

(1923-2015, American) "Blue, Yellow, Red," 1970-1973 Serigraph on Strathmore Fairfield opaque number 8 paper under Plexiglas, Harry N. Abrams, New York, pub., Maurel Studios, prntr. Edition 30/100, signed and numbered lower right Sheet: 26â&#x20AC;? H x 25.5â&#x20AC;? W $8,000-10,000 Literature: Axsom, 91

20th Century Art + Design | June 9, 2020

A Georg Jensen “Parallel” sterling silver flatware service

Post-1945 Each stamped for Georg Jensen; Further stamped: Sterling / Denmark In the “Parallel” pattern designed 1931 by Oscar Gundlach-Pedersen, comprising 12 hollowhandled knives (8.5”), 12 flat-handled butter spreaders (5.75”), 12 dinner forks (7.25”), 12 salad forks (6.25”), 12 round-bowl soup spoons (6.25”), 13 teaspoons (5.75”), 1 small fork (5.5”), 74 pieces 107.445 oz. troy approximately $4,000-6,000

20th Century Art + Design | June 9, 2020

Joe Police

(20th Century, American) #20 A kinetic wire sculpture of a man’s head Kinetic wire sculpture Apparently unsigned, paper label to base: Joe Police 27.25” H x 20.75” W x 15” D $1,500-2,000

Suong Yangchareon

(b. 1952, American) “George’s Liquor,” 1994 Oil on canvas Signed and dated lower left: Yangchareon, titled on a label affixed to the backing paper 24” H x 24” W $400-600

Suong Yangchareon 20th Century Art + Design | June 9, 2020

Suong Yangchareon

(b. 1952, American) “Burger Stop, L.A.,” 1994 Oil on canvas Signed and dated lower right: Yangchareon, signed again, titled and dated verso 18” H x 27” W $400-600

Suong Yangchareon 14

Suong Yangchareon

(b. 1952, American) “Storm Over the Hills,” 1993 Oil on canvas Signed, dated and with the copyright symbol lower left: S. Yangchareon, signed again, titled and dated verso 24” H x 30” W $400-600

20th Century Art + Design | June 9, 2020

Suong Yangchareon

(b. 1952, American) “Backyard,” 1993 Oil on canvas Signed, dated and with the copyright symbol lower left: S. Yangchareon, signed again, titled and dated verso 24” H x 36” W $400-600

Suong Yangchareon

Ron Schmidt

(20th Century, American) Brutalist starburst sculpture Welded and brazed steel nails Signed insdistinctly to center medallion 50” Dia. $500-700

A carved oak mechanical arm sculpture

Third-quarter 20th century Stamped on the underside with maker’s mark: CB M The sculptural arm in light-toned oak with dark-oak joints in three places allowing height and depth adjustment designed for wall or table mounting 28” H x 12.5” W x 21” D (extendable) $500-700

20th Century Art + Design | June 9, 2020

A Kasparian custom designed blue rectangular sofa

Third-quarter 20th Century Model No. K-112/4 The long sofa with tufted seats and loose five-pillow back in blue hopsack fabric on four octagonal aluminum legs 32” H x 140” W x 37” D $2,000-3,000

A pair of Kasparian walnut and cream cast resin cocktail tables

Third-quarter 20th Century Each with sticker: Kolum Furniture by Kasparian Each table with a geometric-design band of walnut and resin inlay to the top and sides over octagonal-shaped center pedestal columns with four modular legs, 2 pieces 14.25” H x 48” W x 24” D $1,000-1,500

A Kasparian walnut credenza with resin and walnut inlay design

Third-quarter 20th Century Apparently unmarked The credenza cabinet on hidden wheels with cream laminate top and two banded geometric designs on the push-latch bi-folding front doors enclosing one long drawer and two short drawers over three cabinet shelves 31” H x 72” W x 21” D $2,000-3,000

A Kasparian walnut and cast resin side cabinet Third-quarter 20th Century Apparently unmarked The cream resin top above a geometric-design resin and walnut sliding file drawer containing one long storage area and six removable file/record partitions 21.25” H x 24” W x 34” D $800-1,200

20th Century Art + Design | June 9, 2020

Mark Lipscomb

(20th Century, American) Untitled D86-75, 1986 (Micheltorena Avenue) Acrylic on paper under Plexiglas Signed and dated lower right: Mark Lipscomb 30.25” H x 40” W $500-700 Provenance: Hunsaker/Schlesinger Associates, Los Angeles, CA Mr. and Mrs. Gary D. Moore, Glendale, CA

Mark Lipscomb

(20th Century, American) Untitled D86-43, 1986 (Elysian Park) Acrylic on paper under Plexiglas Signed and dated lower right: M. Lipscomb 22.25” H x 30” W $600-800 Provenance: Hunsaker/Schlesinger Associates, Los Angeles, CA

R. Kenton Nelson

(b. 1954, American) “Red Top,” 2013 Watercolor on paper under glass Signed lower right: K. Nelson, signed again on the backing paper 10.25” H x 7” W $8,000-10,000 Exhibitions: Pasadena, Peter Mendenhall Gallery, “Kenton Nelson,” June 1, 2013 - July 31, 2013 Notes: From the artist regarding the naming of this painting, “I have known and loved the Betty Carter and King Pleasure “Red Top” for many years (a favorite), so I chose the name as a little inside joke.” “Red Top” is a song released by the above in 1952.

20th Century Art + Design | June 9, 2020

A 1961 Mercedes-Benz 190SL Convertible

1961, Stutgart, West Germany Body No. 121040-10-01173; Engine No. 1210181101; Chassis No. 12104010-017745; Mileage shows: 38,777 Black exterior with black leather interior, 1.9L/4 inline four-cylinder gasoline engine, together with original Mercedes-Benz service book, radio instruction manual, and catalog $70,000-90,000 Provenance: Estate of John Scott, Manhattan Beach, CA.

20th Century Art + Design | June 9, 2020

A pair of George Nakashima for Nakashima Studios “New” chairs

1961 Nakashima Studio American black walnut and hickory, each designed with a curved backrest with carved spindles over a conforming carved wood seat and raised on turned post legs, 2 pieces Each approximately: 36” H x 18.25” W x 19.5” D $3,000-4,000 Notes: Accompanied by a copy of the original work order from George Nakashima Woodworkers, New Hope, PA.

Robert Irwin

(b. 1928, American) Abstract in red and yellow Mixed media on board Signed lower center: Irwin 36” H x 36” W $10,000-15,000 Provenance: Richard Esterhazy Galleries Los Angeles, CA, 1988 The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

20th Century Art + Design | June 9, 2020

A George Nakashima “Portsmouth” end table Third-quarter 20th Century The black walnut table over one smaller rectangular shelf 21.125” H x 28” W x 19.75” D $3,000-4,000

Ken Price

(1935-2012, American) “Plain of Smokes,” 1981 The complete portfolio, comprising 20 screenprints in colors or black on wove paper, Club Zebra and Tiki Motel signed in pencil, dated '81' and numbered 149/150 (there were also 10 in Roman numerals), each with the blindstamps of the publisher/printer, Arabesque Books, Santa Barbara/SOMA Fine Art Press, San Francisco, text by Harvey Mudd, with full margins, contained in paper covered portfolio and linen-covered slipcase. Signed in colophon: Harvey Mudd and Kenneth Price Number 149 of 150 numbered copies (186 copies total printed) Overall: 15.375” H x 13” W x 2” D; Folio: 15” H x 12.25” W x 2.5” D $2,000-3,000 Provenance: Collection of Dr. John Douglass, Private Collection, Glendale, CA The Estate of Michael Montfort

20th Century Art + Design | June 9, 2020

Anthony Villis

(20th Century, American) Abstract sculpture Gold-glazed stoneware atop a wood pedestal Stamped with artist’s initials and dated to base: AV / 1975 Sculpture: 8.75” H x 11” W x 6.5” D; Pedestal: 55.25” H x 10.25” Dia. $1,000-2,000

Anthony Villis

(20th Century, American) Abstract sculpture Glazed stoneware atop a wood pedestal Stamped with the artist’s initials and dated to base: AV / 1975 Sculpture: 22.25” H x 11” W x 6.5” D; Pedestal: 55.25” H x 10.25” Dia. $1,000-2,000

20th Century Art + Design | June 9, 2020

Jean-Michel Basquiat

(1960-1988, American) “Olympic,” 1982, 2017 Screenprint on paper under Plexiglas Edition 34/50 (plus 20 AP), estate stamped verso 22” H x 30” W $25,000-35,000 Notes: The estate stamp/letter of authenticity stamped verso reads, “The Estate of JeanMichel Basquiat - We, the undersigned, hereby certify this to be an authorized limited edition screenprint created from an original artwork by Jean-Michel Basquiat - Signed by Lisane Basquiat and Jeanine Heriveaux, Administrators of The Estate of Jean-Michel Basquiat, December 7, 2017 - Flatiron Editions 2017.

Jean Michel-Basquiat was born in 1960 in Brooklyn, New York to a Haitian father and a Puerto Rican mother. His early talent in art was recognized and encouraged by his parents, especially his mother, and his teachers. In 1976, Basquiat and his friend Al Diaz started exploring graffiti art, spray painting buildings in Manhattan under the name SAMO. By 1980 Basquiat was exhibiting as a solo artist and establishing a following. A friend and collaborator of Andy Warhol, Basquiat worked with him on the series Olympic Rings (1985), from which the present work relates. Here Basquiat used his trademark mix of words and image to distill his point of view.

20th Century Art + Design | June 9, 2020

James Brown

(1951-2020, American) “Internal Order (Dark Seed),” 2000 Mixed media on linen laid to a paper map, Carpe Diem Press, Oaxaca, Mex., pub. Edition 19/20, signed and dated lower right 14.5” H x 23.25” W $600-900 Notes: Published for “Art of the Palette” to benefit the Los Angeles County Museum of Art; dinner held at Villa Vallombrosa by Annie and Tim Street-Porter, September 21st, 2000.

Kelly Fearing

(1918-2011, American) “Figures on a Blue Ground,” 1950 Watercolor, ink and wax on paper under glass Signed and dated upper right: Fearing, titled on a collection label affixed to the backing board Sight: 7.5” H x 11.25” W; Sheet: 7.75” H x 11.5” W $1,000-1,500 Provenance: Betty McLean Gallery, Dallas, TX Collection of Dr. and Mrs. MacKinley Helm, Santa Barbara, CA

Israel Lund

(b. 1980, American) Untitled abstract, 2013 Acrylic on canvas Signed and dated on the tacking edge verso: Israel Lund 44” H x 34” W $5,000-7,000 Provenance: Eleven Rivington, New York, NY Bill Brady Gallery, Kansas City, MO

20th Century Art + Design | June 9, 2020

George Chann

(1913-1995, American) Abstract Oil on canvasboard Signed lower right: Geo. Chann 24” H x 18” W $12,000-15,000

20th Century Art + Design | June 9, 2020

Georges Liautaud

(1899-1991, Haitian) Waving man, 1957 Cut, pierced, and repousse oxidized metal sculpture with traces of black paint Apparently unsigned 19.25” H x 11.5” W x 6.5” D $1,500-2,000

Philomé Obin

(1892-1986, Haitian) “Quelques Joueurs du jeu de dames faisant une partie interessante” Oil on masonite Signed lower right: Ph. Obin / Cap-Haitien 24” H x 16” W $2,000-4,000

20th Century Art + Design | June 9, 2020

Francis Newton Souza 40

Francis Newton Souza

(1924-2002, Indian) “Lamani Woman,” 1965 Acrylic on canvas Signed and dated upper right: Souza / 65, signed again twice, titled, dated and numbered verso: 9999 35.25” H x 26.25” W $8,000-10,000 Notes: A letter of authenticity, signed by the artist, accompanies this lot.

Francis Newton Souza

(1924-2002, Indian) “Portrait of Martim Afonso,” 1965 Acrylic on canvas Signed and dated upper right: Souza / 65, signed again twice, titled, dated and numbered verso: 10103 31” H x 22.25” W $8,000-10,000 Notes: A letter of authenticity, signed by the artist, accompanies this lot.

Francis Newton Souza

(1924-2002, Indian) “Vision of Multiple Heads,” 1965 Acrylic on canvas Signed and dated lower center: Souza / 65, signed again twice, titled, dated and numbered verso: 10155 36” H x 36” W $10,000-15,000 Notes: A letter of authenticity, signed by the artist, accompanies this lot.

20th Century Art + Design | June 9, 2020

Edward Kienholz Raised in Washington state on a wheat farm, Edward Kienholz would settle into the avant-garde art movement in Los Angeles in the 1950s and become one of its most important figureheads. Kienholz’s background in carpentry and mechanics inspired and informed his work in mixed-media assemblages for which he is most well-known. Kienholz opened the Ferus gallery in 1957 with poet Bob Alexander and grad-student Walter Hopps. The present work was purchased from their gallery by Dennis Hopper, a then up-and-coming actor. The graphic and threedimensional build-up of the paint and other media create a transfixing affect, extending into the viewer’s space and beckoning them inside.

Edward Kienholz

(1927-1994, American) “Black With White,” 1957 Mixed media assemblage on panel Signed and dated verso: Kienholz / 57, titled on gallery labels verso 70.5” H x 34.5” W $20,000-30,000 Provenance: Ferus Gallery, Los Angeles, CA Collection of Mr. and Mrs. Dennis Hopper Tortue Gallery, Santa Monica, CA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Exhibitions: University of Nebraska Art Galleries, Lincoln, NE, “68 Annual Exhibition,” March 2 March 30, 1958 Santa Barbara Museum of Art, Santa Barbara, CA, “Three Young Collectors,” January 15 - February 26, 1967 L.A. Louver, Venice, CA, “Kienholz Before LACMA,” January 24 - March 3, 2012 Blain Southern, London, UK, “Edward Kienholz: America My Hometown.” 18 May - 14 July, 2018. Literature: Goulds, Peter, and Maurice Tuchman. “Kienholz Before LACMA,” Venice, CA: L.A. Louver Publications, 2012, p. 11 (illustrated in color). Anfam, David. “Edward Kienholz: America My Hometown,” London: Blain Southern, 2018, p. 23. 45 (illustrated) Notes: A handwritten chain of provenance appears verso.

20th Century Art + Design | June 9, 2020

George Herms

(b. 1935, American) “Love” Mixed media assemblage Inscribed verso: 30 year check up / A OK / G Herms / April 1992 25” H x 17” W x 3” D $600-900 Provenance: LA Louver, Venice, CA (No. GH89-6) The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Richard Sedivy

(b. 1948, American) “Memory and Light,” 1988 Oil on wood polymer resin Signed, titled and dated verso: Richard Sedivy 26.5” H x 36” W $300-500 Provenance: Krygier/Landau Contemporary Art, Los Angeles, CA

Eusebio Sempere

(1923-1985, Spanish) Untitled Gouache on black Canson paper Signed lower left: Sempere 25.5” H x 19.75” W $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

20th Century Art + Design | June 9, 2020

Jeremy Thomas

(b. 1973, American) Green metal sculpture Green powder coated steel Signed and dated to bottom: Jeremy Thomas, 2008 9.5” H x 30” W x 10” D $1,000-1,500

Anthony Villis

(20th Century, American) Untitled, 1977 Clay wall sculpture affixed to lavender lucite panel Stamped with artist’s initials, dated, and numbered, bottom center: AV / 1977 / 174 24” H x 23” W x 1.5” D $1,000-1,500

20th Century Art + Design | June 9, 2020

Masoud Yasami

(b. 1949, American) “Midnight Path,” 1989 Acrylic on canvas Signed and dated lower right: Yasami, signed again, dated and titled on the stretcher 48” H x 78.75” W $500-700 Provenance: Elaine Horwitch Galleries, Scottsdale, AZ, November 9, 1990 Property from a Northern Californian Estate

20th Century Art + Design | June 9, 2020

Robyn Denny

(1930-2014, British) “Everyman,” 1970 Serigraph on paper under Plexiglas Edition 84/95, signed and dated lower right: Denny, titled on a gallery label affixed to the backing board 28.5” H x 30” W $500-700 Provenance: DeVorzon Gallery, Los Angeles, CA

(1927-2009, American) Untitled abstract figure Gouache on board Appears unsigned 35.25” H x 28” W

(b. 1943, American) “Morroco #28,” 1994 Twelve connected mixed media panels on paper Signed, dated and titled verso 26.875” H x 23.875” W

Ernest Tino Trova

James Hayward

$800-1,200

$1,000-2,000

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

20th Century Art + Design | June 9, 2020

An Erik Buck for Christensens Danish modern armchair

1960s Stamped to underside: Made in Denmark / Chr. Christensens / Mobelfabrik I/S / Vamdrup / Design: Erik Buck The deep curved double-rail backrest and demilune arms over black vinyl seat and tapered legs 32” H x 21” W x 20” D $300-500

A Merton Gershun for Dillingham American walnut modern desk

1960s Original sticker and tag: Dillingham Mfg. Co., Natural Oil Walnut” The Esprit series desk with beveled lip around the writing surface above two long drawers and black laminate inset band above one deep file drawer on tapered post legs 29” H x 48” W x 23” D $500-700

A Ruth Erlich modernist verdigris bronze sculpture in the Brutalist style Circa 1970 Signed to plate at base: Ruth Erlich a mixed media sculpture on a rotating black pedestal base Overall: 25” H x 10” W x 9” D $1,000-1,500

A George Nelson-style platform sofa

1950s The green upholstered sofa bench with two back pillows and a side table Overall: 31” H x 130” W x 30” D; Sofa 31” H x 73” W $1,800-2,400

20th Century Art + Design | June 9, 2020

(1902-1960, French) “Sunset in Menado, Calebes,” 1938 Color woodblock print on paper under glass Signed lower left: Paul Jacoulet, and with the artist’s chopmark Sight: 15.25” H x 11.5” W

(1902-1960, French) “Hokkan-Mountains, Seoul Korea,” 1937 Color woodblock print on paper under glass Signed lower right: Paul Jacoulet, and with the artist’s chopmark Sight: 15” H x 11.5” W

Paul Jacoulet

$200-400

Literature: R. Miles, “The Prints of Paul Jacoulet,” London, 1982, pg. 55.

Literature: R. Miles, “The Prints of Paul Jacoulet,” London, 1982, pg. 53.

Paul Jacoulet

(1902-1960, French) “Evening Flowers. Toloas Truk,” 1941 Color woodblock print on paper under glass Signed lower right: Paul Jacoulet, and with the artist’s chop mark Sight: 15.25” H x 11.5” W $200-400 Literature: R. Miles, “The Prints of Paul Jacoulet,” London, 1982, pg. 61.

Paul Jacoulet

Marc Chagall

(1887-1985, French) “The Red Acrobat,” 1974 Lithograph in colors on Arches wove paper under glass Edition 49/50, signed lower right: Marc Chagall, titled on a gallery label affixed to the backing paper Sight: 30” H x 23” W; Sheet: 32.75” H x 24.75” W $15,000-20,000 Provenance: Brewster Gallery, New York, NY Literature: Mourlot, 717

20th Century Art + Design | June 9, 2020

A pair of Laurel Manufacturing “Mushroom” lamps with “Arch” bases Third-quarter 20th Century Each with maker’s sticker for Laurel Lamp Mfg. Co., Inc, and numbered: M-9622 Each squat-round frosted-glass “Mushroom” shade set on a sleek chrome “Arch-style” base, 2 pieces Overall: 14” H x 13” Dia. $600-900

A Bill Curry black and white “Stemlite”

1960s Numbered for Laurel Lamp Mfg. Co.: 72,653; Further stamped underneath with patent number: 199141 A mushroom-shaped frosted-glass shade atop the slender black tulipshaped base Overall: 12” H x 13” Dia. $300-500

Five Eric Buck for O.D. Mobler teak and vinyl barstools

Circa 1970s-1980s Each with sticker to underside: Made in Denmark / O.D. Mobler A-S Each stool with a black leather small-backed seat over four tapering legs connected by side bars and a foot rest, 5 pieces 33” H x 15.5” W x 17.75” D $800-1,200

20th Century Art + Design | June 9, 2020

Adam Schnitzer

(20th/21st Century, American) “Highway 101” Charcoal on paper under glass Unsigned, titled on an artist’s label affixed to the backing board 12” H x 40” W $300-500

Brett Weston

(1911-1993, American) “Holland Canal,” 1971 Lithograph print on paper under Plexiglas Edition 151/300, signed and editioned on the mount, printed 1988 19.25” H x 15.125” W $5,000-7,000 Provenance: Photography West Gallery, Carmel, CA Literature: Aperture Foundation, “Brett Weston: Photographs from Five Decades,” pl. 44

20th Century Art + Design | June 9, 2020

Gordon Wagner

(1915-1987, American) Figural Clock, 1965 Mixed media assemblage on wood Signed and dated verso: Wagner 65 39” H x 18” W x 6” D $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Fritz Scholder

(1937-2005, American) “Forgotten Altar #3,” 1987 Mixed m edia Signed verso 20” H x 8” W x 3.5” D $3,000-5,000 Provenance: Sena Gallery West, Santa Fe, NM The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

20th Century Art + Design | June 9, 2020

Betty Hoenshell Younger

(1932-2019, American) “Sailing with the Moon” outdoor sculpture Chromed steel curved triangular panels and disk Apparently unsigned 53.5” H x 64” W x 45.5” D $3,000-4,000

Betty Hoenshell Younger (1932-2019, American) “Albatross” outdoor sculpture Chromed steel on marble base Apparently unsigned 37.5” H x 38.5” W x 38.5” D $2,000-3,000

Betty Hoenshell Younger

(1932-2019, American) “Cobra” outdoor sculpture Chromed steel curved disks on a marble plinth Apparently unsigned Overall: 55” H x 52” W x 26” D $2,000-3,000

Betty Hoenshell Younger 20th Century Art + Design | June 9, 2020

Robin Palanker

(b. 1950, American) “Man with White Cup,” 1990 Dry pigment on paper under glass Appears unsigned, titled and dated by repute 19.5” H x 23” W $300-500

Danny Galieote

(b. 1968, American) “Investment Returns,” 2015 Oil on canvas Signed lower right: Galieote, signed again, dated and titled verso 12” Dia. $3,000-5,000 Provenance: Maxwell Alexander Gallery, Los Angeles, CA

20th Century Art + Design | June 9, 2020

Guy Diehl

(b. 1949, American) “Three Books,” 1987 Acrylic on canvas Signed, dated and titled verso: Diehl 12” H x 16” W $2,000-4,000

Pamela Carroll

(b. 1948, American) “Post It” Oil on panel Signed upper left: P. Carroll 13” H x 12” W $3,000-5,000 Provenance: Carmel Art Association Gallery, Carmel, CA Notes: Accompanied by a hand written card from the artist to the buyer of “Post It”.

20th Century Art + Design | June 9, 2020

Paul John Wonner

(1920-2008, American) Still Life with Plums, 1982 Color Lithograph on paper under glass and blindstamped Edition 36/75, signed lower right: John Wonner 30â&#x20AC;? H x 22.25â&#x20AC;? W $400-600

Robert Cottingham

(b. 1935, American) “American Hi-Fi,” 2009 Screenprint in colors on wove paper, American Images, Atelier, NY, pub. Edition PP 9/10 (aside from the edition of 100), signed and dated lower right, titled and numbered lower left Sight: 33.75” H x 33.25” W; Sheet: 38” H x 37” W $1,500-2,000

Lyn Mayer

(20th Century, American) “El Coyote - What You See,” 2001 Wax pencil on vellum under Plexiglas Signed lower right: L Mayer Sight: 10.25” H x 14.5” W $400-600

20th Century Art + Design | June 9, 2020

A Georg Jensen No. 80 tea and coffee service

1925-1930 Each stamped: Georg Jensen / Denmark / Sterling / 80; Some further stamped and lettered Designed 1915 by Georg Jensen, comprising a tipping kettle, a coffee pot, a tea pot, a cream jug, a larger cream jug, and a double-handled sugar bowl, 6 pieces Kettle with stand: 11” H x 7” W x 5.5” D 76.960 weighable oz. troy approximately $4,000-6,000

20th Century Art + Design | June 9, 2020

A pair of Georg Jensen candlesticks, No. 263

1925-1930 Each stamped: Georg Jensen / 925 / Sterling / 263 Designed by Georg Jensen, each with a stylized grape motif over a twisted stem raised on a hammered foot, 2 pieces 6” H x 3.625” Dia. 21.135 oz. troy approximately $3,000-5,000

A Georg Jensen pitcher

1933-1944 Stamped for Georg Jensen; Further stamped: Denmark / Sterling / 925 / 385A Designed 1923 by Jorgen Jensen, the smooth hammered pitcher with a hand-carved ebony handle and grape cluster beneath the handle 7” H x 6.625” W x 5” D 16.785 weighable oz. troy approximately $1,000-2,000

A Georg Jensen silver bowl, No. 584

1925-1930 Stamped: Dessin / GP / Georg Jensen / 925 / 584A Designed by Gustav Pederson, the hammered ovoid bowl with slightly inward curving rim, tapering to base, and raised on openwork stylized leaftip emerging from beading, on a spreading foot 4.5â&#x20AC;? H x 6.375â&#x20AC;? Dia. 16.495 oz. troy approximately $2,000-3,000

20th Century Art + Design | June 9, 2020

Robert Dowd

(1937-1995, American) “$5.00 Bank” Pencil, upholstery nails and mixed media on board Signed lower right, titled verso 10.75” H x 16.5” W $2,000-4,000 Provenance: From the artist, 1991. The Collection of Cindy Tietze-Hodosh and Stuart Hodosh.

Banksy

(b. 1974, British) “Di-faced Tenner,” 2004 Offset lithograph on paper under glass Edition unknown Sight: 2.75” H x 5.5” W $1,200-1,800

20th Century Art + Design | June 9, 2020

Andy Warhol

(1928-1987, American) “The Golden Slipper Show” or “Shoes shoe in America,” c. 1956 Printed gold ink on Japanese paper Unsigned 6.5” H x 20” W $6,000-8,000

Pamela Carroll

(b. 1948, American) “Homage to Claudio,” 2017 Oil on panel Signed upper right: P. Carroll, titled and dated on a gum label affixed to the backing paper 16” H x 20” W $7,000-9,000 Provenance: Winfield Gallery, Carmel, CA Notes: In her words, “My paintings are images in time, part illusion, part reality. I have attempted to capture forever a fleeting moment of history, a single line in the book of time.”

20th Century Art + Design | June 9, 2020

A group of two European pottery pieces

Second-half 20th Century Smaller stamped: Kahler / HAK Danmark; Larger signed with makers mark for Nils Thorsson A Herman Kahler small dish with teal blue together with a Nils Thorsson brown BACA pattern pot, 2 pieces Smaller: 1.5” H x 8” Dia.; Larger: 6” H x 7” Dia. $300-500

A Japanese Tsukamoto pottery charger

Third-quarter 20th Century Stamped to bottom: Tsukamoto Mashiko Pottery / made in Japan The charger in the manner of Shoji Hamada (1894-1978) in blue and brown on a stone colored field 2.25” H x 15.375” Dia. $300-500

A studio pottery weed pot and Robert Maxwell covered jar

Second-half 20th century Weed pot signed indistinctly to base The white, brown and green weed pot with narrow neck together with a Robert Maxwell speckled covered round jar with columnar pattern Larger: 8” H x 7.5” Dia.; Smaller: 7.5” H x 7.5” Dia. $300-500

A group of two garden pots

Circa 1970 Larger signed to base: Cliff Stewart; Smaller signed indistinctly to base and dated 1968 Comprising one large ribbed stoneware pot with earthtone glazes and a smaller pot with white and green glaze and decorative etching around center register Larger: 10” H x 11” Dia.; Smaller: 7.75” H x 7.5” Dia. $300-500

20th Century Art + Design | June 9, 2020

Mose Ernest Tolliver Mose Tolliver was drawn to humble materials such as house paint and wood for their “pure” qualities. His first painting was of a bird he saw from his porch, inspiring him to cultivate trees in his Montgomery Alabama yard to entice his subjects.

Mose Ernest Tolliver

(1920/1925-2006, American) Dino Dragon House paint on board Signed lower center: Mose T 23.75” H x 25” W $300-400 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Mose Ernest Tolliver

(1920/1925-2006, American) Purple Face House paint on masonite Signed lower left: Mose T 26.5â&#x20AC;? H x 13â&#x20AC;? W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

20th Century Art + Design | June 9, 2020

Mose Ernest Tolliver

(1920/1925-2006, American) Abstract structure Housepaint on board Signed lower left: Mose T 17.75â&#x20AC;? H x 34.25â&#x20AC;? W $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Purvis Young

(1943-2010, American) Figures and trailers on the street Oil on board Signed lower left: Young 28” H x 44” W $3,000-5,000

Purvis Young

(1943-2010, American) White Horses Oil on repurposed wood Signed upper right: Young 40” H x 31.5” W $2,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

20th Century Art + Design | June 9, 2020

Purvis Young

(1943-2010, American) Abstract figures and figures on horseback Oil on repurposed wood Signed upper right: Young 39” H x 13” W $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Purvis Young

(1943-2010, American) Abstract figures Oil on repurposed wood Signed upper right: Young 25.25” H x 15” W $700-900 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Notes: A possible unfinished work verso.

Purvis Young

(1943-2010, American) “Young Horses and Warriors” Oil on wood Signed upper right: Young, titled by repute 48.25” H x 19.75” W $2,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Purvis Young

(1943-2010, American) Three figures playing ball Oil on board Signed upper right: Young 25.75” H x 12.25” W $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Purvis Young 20th Century Art + Design | June 9, 2020

Purvis Young Purvis Young documented daily life in his Overtown, Miami neighborhood, blended with divine inspiration. His “Freedom Horses” were symbols of salvation and liberation and his haloed angels represent young lives lost and found. Young’s unique blend of realism and imagination is readily understood in the artist’s quote, “what’s on my mind I paint.”

Purvis Young

(1943-2010, American) Abstract horses on a pink background Oil on repurposed wood Signed upper right: Young 28.25” H x 13.5” W $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

100

Purvis Young

(1943-2010, American) Portrait of a baby with halo Mixed media on window pane and other found wood Signed top center: Young 37â&#x20AC;? H x 19.25â&#x20AC;? W $2,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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101

Three haircut signs

Late 20th Century African School Oil on panel Unsigned Largest: 22.5” H x 17.75” W $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

102

J.C. Burris

(1928-1988, American) “Mr. Jack,” 1967 and “Mrs. Mary Lee,” 1987 Painted wood marionettes Titled, signed, and dated: Mr. Jack / (c) 6-18-68 / By J.C. Burris; Mary Lee / (c) 8-13-1987 / By J.C. Burris Mr. Jack: 27” H x 7.5” W x .875” D; Mary Lee: 18.5” H x 7” W x 1” D $800-1,200

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103

Gordon Newell

(1905-1998, American) Untitled Copper-toned bronze Signed: Gordon Newell; Further dated and numbered: ‘80 / 3/12 8.5” H x 15” W x 13” D $1,000-2,000

104

Gordon Newell

(1905-1998, American) Nautilus shell White lacquer over bronze/cast metal Etched: Gordon Newell 11.25” H x 13.5” W x 6.5” D $1,000-2,000

105

Gordon Newell

(1905-1998, American) Abstract face White powder coated steel attached to black marble base on silver matte lacquer-coated composite pedestal Inscribed verso: Gordon Newell 1/6 Overall: 63.5” H x 19.25” W x 17.5” D; Sculpture: 22” H x 19.5” W x 12” D $2,000-3,000

20th Century Art + Design | June 9, 2020

106

Gordon Newell

(1905-1998, American) “Unique” White powder coated steel on Lucite base Signed and dated to base: Gordon Newell, Unique, 1983 With base: 19.625” H x 10.75” W x 18.625” D $1,000-2,000

107

Five Charles and Ray Eames leg splints

USA, 1943 Each splint stamped with the stock number: S2 - 1790; Packaging signed with printed manufacturer’s label: [1 Splint Leg Plywood For Transportation Stock No: S2-1790 Manufactured by Evans Products Company Molded Plywood Division Los Angeles California]; Further signed with impressed manufacturer’s mark to reverse: [S2-1790] The molded mahogany plywood splints manufactured by Evans Products Co., Los Angeles, CA and sold with original packaging, 5 pieces Each splint: 42” H x 7.75” W x 4” D $1,800-2,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Literature: Eames Design: The Work of the Office of Charles and Ray Eames, Neuhart, Neuhart and Eames, ppg. 32-33 Notes: In 1942, medical officers serving in World War II combat zones reported the need for emergency transport splints. The metal ones they had used up to that point were causing wounded serviceman further injury while they were carried out of combat. The reason was that the metal amplified any vibrations from the stretcher bearers. Upon hearing this, Charles and Ray began experimenting with a new type of device to transfer war patients with injuries to their lower extremities. The Eameses created their splints from wood veneers, which they bonded together with a resin glue and shaped into compound curves using a process involving heat and pressure. The slats between the wood allowed medical workers to pass cloth through the split and secure the patientís leg.

20th Century Art + Design | June 9, 2020

108

Dick Jemison

(b. 1942, American) “Dreamwork V,” 1988 Mixed media and sand on canvas Signed lower right, signed again, titled and dated verso 108” H x 84” W $3,000-5,000 Provenance: Elaine Horwitch Galleries, Scottsdale, AZ, November 9, 1990 Property from a Northern Californian Estate

109

Sara Berman Beach

(1890-1978, American) Modern still life Oil on board Signed lower left: S. Berman Beach 17.5” H x 40.25” W $1,000-1,500 Provenance: From the artist’s estate by descent to the current owner

110

Sara Berman Beach

(1890-1978, American) “An evening of music” Oil on board Signed lower right: S. Berman Beach, signed again on the stretcher, titled verso 21.5” H x 15.25” W $1,000-1,500 Provenance: From the artist’s estate by descent to the current owner

111

Sara Berman Beach

(1890-1978, American) “Open House” Oil on board Signed lower right: Sara Berman Beach, signed again and titled verso 24” H x 20” W $1,000-1,500 Provenance: From the artist’s estate by descent to the current owner

Sara Berman Beach 20th Century Art + Design | June 9, 2020

Sara Berman Beach

112

Sara Berman Beach

(1890-1978, American) “A Street in New York” Oil on masonite Signed lower right: S. Berman Beach, titled on an artist’s lable affixed to the frame 27.75” H x 19.5” W $1,500-2,500 Provenance: From the artist’s estate by descent to the current owner

113

Sara Berman Beach

(1890-1978, American) Circus scene Oil on canvas laid to board Signed lower right: S. Berman Beach 19” H x 21” W $1,500-2,500 Provenance: From the artist’s estate by descent to the current owner

20th Century Art + Design | June 9, 2020

114

Loredano Rosin

(1936-1991, Italian) Two figures Murano glass Signed lower left: Loredano Rosin 22” H x 13.25” W x 5.25” D $500-700

115

A Paul McCobb for Irwin Collection small chest 1950s Labeled inside: Calvin / Grand Rapids / The Irwin Collection / Designed by Paul Mc Cobb The small chest with four long drawers each with a brass pull 12.375” H x 29” W x 13” D $400-600

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116

A RCA 44BX ribbon velocity microphone

1932-1955 A high fidelity, bi-directional broadcast ribbon microphone with 44CNE motor, mounted on a wooden stand, including modern case, 2 pieces 14” H x 6.25” W x 7.5” D $1,000-2,000

117

An Eames for Herman Miller turned wood stool

Second-half 20th Century The walnut stool/side table with concave top and bottom based on the original 1959 Eames designs for the Time-Life lobby at Rockefeller Center 15” H x 13.25” Dia. $600-900

118

A Salin Mobler Danish modern teak and leather magazine rack Second-half 20th Century The polished teak frame with two leather sling compartments suspended between I-shaped side stretchers 15.875” H x 20.5” W x 13” D $300-500

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119

John Baldassari

(1931-2020, American) “Raised Eyebrows/Furrowed Foreheads,” 2008 Serigraph on paper under Plexiglas, blindstamped for Gemini G.E.L, Los Angeles, pub., and with the inkstamp for Gemini Publishing verso Edition 72/150, signed, numbered and dated in pencil along lower edge 12” H x 14” W $1,500-2,000

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120

Chuck Close

(b. 1940, American) “Phil (detail),” 2007 Serigraph on wove paper under Plexiglas, Pace Editions, Inc., New York, pub., with the blindstamp of the printer Brand X Editions Edition 94/100, signed, dated and numbered in the lower margin Image: 10” H x 10” W; Sheet: 16” H x 15” W $5,000-7,000

20th Century Art + Design | June 9, 2020

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121

A Los Castillos silver-plated champagne bucket on tripod stand

Third-quarter 20th Century; Taxco, Mexico Stamped to tripod for Los Castillo, Taxco; Further stamped: Plateado / Hecho en Mexico / 10 The silver-plated champagne cooler in the form of a nautilus shell supported by faux-bamboo cross tripod legs Overall: 38” H x 11” W x 7” D; Bucket: 10.5” H x 11” W x 7” D $1,000-1,500

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122

A William Kage for Gustavsberg art pottery bowl

Third-quarter 20th Century Signed: Gustavsberg / Kage / 927 / II / Swedish Produce / K.G.N. The wide-rimmed, fluted teal bowl with applied silver designs centering a mermaid with trident and fish on a pedestal base 4.875” H x 11” Dia. $600-900

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An abstract bronze sculpture

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124

A pair of Kasparian blue modern armless settees

Second-half 20th Century Model No. KM/24-48 and KM/24-72 Each reupholstered in light blue hopsack fabric with button tufted seats with a thin rectangular metal frame, 2 pieces Larger: 31” H x 74” W x 26” D; Smaller: 31” H x 50” W x 26” D $1,000-1,500

125

A John Keal for Brown Saltman modern style walnut and textured vinyl slide-top cocktail table Third-quarter 20th Century The double-slide top panel surface atop a textured black vinyl surface and twin pedestal bases Closed: 15” H x 66” W x 24” D; Extended: 15” H x 95.5” W x 24” D $600-900

127

A Kaspa

Second-ha Each chair The teal an four horse 5 pieces Table: 26.3

$1,000-1,5

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126

A Danish modern bent walnut and Lucite hanging light fixture

Third-quarter 20th Century Marked to stamp on base: (c) 1960 Frederick Raymond Enterprises U.S.A. The one-light opaque cylindrical shade/diffuser in the center with brass settings surrounded by bent walnut decorative elements in a spherical atomic shape 16” H x 27.5” Dia. $600-900

arian blue cast resin games table and chairs

alf 20th Century r bearing tag to underside: X-Alum / Furniture by Kasparians nd coffee-colored cast resin table with inlaid chessboard on an X-footed pedestal base together with eshoe-back, button-tufted armchairs in blue hopsack fabric on X-footed pedestal bases with rollers,

375” H x 44” Dia.; Each chair: 29.75” H x 25” W x 26” D

500

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129

(b. 1947, American) “Emika #32-B,” 1982 Oil with pastel on paper under glass Signed and dated lower right: Byrd, signed again, titled and dated verso 30” H x 24” W

(b. 1974, American) “36 Club,” 2005 Watercolor on paper under Plexiglas Signed lower left: Robert Townsend, titled and dated by repute Sight: 21” H x 21” W

Jerry Byrd

$400-600 Provenance: Mr. and Mrs. Gary D. Moore

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Robert Townsend

$400-600

130

Yaacov (Gibstein) Agam

(b. 1928, Israeli) Geometric abstract on a blue background Serigraph on paper under glass Edition 12/99, signed right center: Agam 24.75â&#x20AC;? H x 19.15â&#x20AC;? W $600-900

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131

James McGarrell

(b. 1930, American) “Two figures in landscape,” 1956 Oil on canvas Signed and dated lower center: James McGarrell, titled on a gallery label affixed verso 38” H x 42.75” W $1,000-1,500 Provenance: Frank Perls Gallery, Beverly Hills, CA

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132

Clarice Dreyer

(b. 1946, American) Untitled nature box Cast aluminum sculpture Unsigned 14.75” H x 11” W x 8.5” D $600-800 Provenance: The collection of the artist Anne Reed Gallery, Ketchum, ID The Collection of Cindy Tietze-Hodosh and Stuart Hodosh, 1990 Notes: Has images, an invoice and provenance documents.

20th Century Art + Design | June 9, 2020

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Young-Il Ahn

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Young-Il Ahn

(b. 1934, Korean / American) “Ships in the Morning,” 1968 Oil on canvas Signed lower left: Ahn Youngil, titled and dated on a gallery label affixed to the stretcher 22” H x 33” W $3,000-5,000 Provenance: The Zachary Waller Gallery, Los Angeles, CA

Young-Il Ahn was born into a family of artists in Gaesong, Korea. His mother, a musician and his father a painter, recognized their son’s artistic talent at an early age. After leaving Korea in the 1960s, Ahn settled in Los Angeles where he drew inspiration from his new surroundings, with the ocean taking on particular importance. After a neardeath experience in the Pacific Ocean in 1983, Ahn’s work shifted from nearly abstract, as seen in the present work, to total abstraction. Ships in the Morning, painted soon after his arrival in Los Angeles, is rendered in his early semiabstract style. A gathering of abstracted moored boats to the right, with a hint of what is likely the Santa Monica mountains in the background, is offset but the bright orange sun painted high in the sky .

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134

Albert Alcalay

(1917-2008, American) “The Growing City,” 1959 Oil on canvas Signed and dated lower right: Alcalay, signed again twice, titled and dated verso 34” H x 63.5” W $2,000-4,000 Provenance: Krasner Gallery, 1061 Madison Ave. Property from a Northern Californian Estate

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135

A group of Georg Jensen “Blossom” items

1925-1930 and post-1945 Each stamped: Georg Jensen / Denmark / Sterling / 77 or 84 Comprising a Georg Jensen “Blossom” tea strainer with holder, No. 77 and 84, and a cake server No. 84, 3 pieces Cake server: 1” H x 8.75” W x 1.875” D 7.225 oz. troy approximately $800-1,200

136

A group of Georg Jensen silver items

1910-1925 and post-1945 Each stamped: Georg Jensen / Sterling / Denmark; Further numbered Comprising a three-foot blossom sugar bowl, a wine goblet No. 296, and “Acanthus” sugar tong, a table bell No. 80, and a pair of salt cellars No. 180 with “Lovures”-style bases, 6 pieces Sugar bowl: 2.24” H x 3.75” Dia. 12.875 oz. troy approximately $1,500-2,000

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137

A Georg Jensen “Blossom” tray, No. 2

1925-1930 Stamped: Georg Jensen / 925 / Denmark / Sterling / 2I The tray with a soft hammered surface and openwork blossom handles 1” H x 23.5” W x 14” D 68.420 oz. troy approximately $3,000-5,000

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138

A pair of Karl Springer spiral Lucite table lamps

Second-half 20th Century Each lamp with a rectangluar pleated brown linen shade on a clear, frosted and black spiral lucite base manufactured by Art Services, 2 pieces Overall: 28.25” H x 19.125” W x 19.125” D $2,000-3,000

139

A Danish modern armless settee

Third-quarter 20th Century Apparently unmarked The armless settee with orange wool upholstery and a 2” deep storage compartment beneath the seat 30” H x 74” W x 28” D $1,000-2,000

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140

A Preban Dahl “ Symfoni” white rhomboid pendant light fixture

Circa 1960 Apparently unmarked The white pinecone-shaped folded metal design comprised of various diamond shapes with a black band around the middle 19” H x 20” Dia. $600-900

141

A John Scott custom designed low table in dark walnut and textured black vinyl with Bang & Olufsen stereo system Circa 1970 The walnut and laminate stereo table with raised edges and one recessed end together with a Bang & Olufsen Beomaster 4500 stereo 15.25” H x 72” W x 27” D $2,000-3,000

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142

José Luis Cuevas

(1934-2017, Mexican/American) “Torturer” Ink and watercolor on paper under glass Signed lower right: Cuevas, numbered and inscribed lower center: #10, 22 oct., titled by repute 13” H x 10.75” W $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

By the 1950s, the Mexican Muralist aesthetic was still dominating the visual landscape in Mexico. Artists like Diego Rivera, David Alfaro Siqueiros, and newer artists Olga Costa and Raúl Anguiano were carrying the mantel of the movement into its third decade; enter José Luis Cuevas. Cuevas was one of the first artists to vocally reject the Muralists in favor of a style less fixed in time and place. Often cited as one of the earliest members of the Generació de la Reptura, Cuevas was not shy about declaring the muralists and their government supporters the “nopal cactus curtain” and decrying their opposition to new artists and ideas. His figures, many inspired by his time working in an asylum, lack a precise setting, possess few defining features and have an almost grotesqueness and Goya-esque nod to the absurd. They belong solely to themselves, singular and everywhere.

José Luis Cuevas 118

143

José Luis Cuevas

(1934-2017, Mexican/American) “Personajes celebre en el asillo de Charenton,” 1963 Ink and watercolor on paper Signed, dated and titled lower right: Cuevas 26” H x 39.5” W $1,200-1,800 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

144

José Luis Cuevas

(1934-2017, Mexican/American) “Rembrandt and his family in the asilum of Charenton,” 1964 Ink on paper laid to board with metal fasteners Signed upper right: Cuevas, and inscribed indistinctly around the perimeter, titled on a gallery label affixed to the backing paper 8” H x 8.25” W $1,500-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

20th Century Art + Design | June 9, 2020

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145

José Luis Cuevas

(1934-2017, Mexican/American) “The Unholy Three,” 1960 Ink and watercolor on paper under Plexiglas Signed and titled lower left: Cuevas 18” H x 22.75” W $1,200-1,800 Provenance: Michael Dunev Gallery, San Francisco, CA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

146

José Luis Cuevas

(1934-2017, Mexican/American) “La Pintora,” 1959 Ink and watercolor on paper laid to board under glass Signed, titled, dated and indistinctly inscribed lower left: Cuevas Sight: 25.25” H x 38.5” W; Board: 26” H x 39” W $2,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Exhibitions: San Pablo, San Pablo Museum of Modern Art, “V Bienal del Museo de Arte Moderna de San Pablo,” September-December, 1959

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147

José Luis Cuevas

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

José Luis Cuevas 20th Century Art + Design | June 9, 2020

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148

José Luis Cuevas

(1934-2017, Mexican/American) “Crime by Cuevas,” 1968 (A portfolio of twelve original lithographs, nine in color) Lithographs on handmade BFK Rives paper, Touchstone Publishers Ltd., New York, NY, pub. Edition 30/100, (Twenty suites, signed “Artist Proof” were pulled,) location of signature, date and number vary in location Each: 30” H x 22” W or 22” H x 30” W (depending on orientation) $800-1,200 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Notes: These suites are boxed in special cases bound in linen buckram. The list of titles was handwritten by Cuevas on a lithographic stone and pulled by Alelier Mourlot. This series of lithographs was pulled with the collaboration of Henri Deschamps, at the Atelier Mourlot Ltd., New York, and completed in June, 1968. Design and typography by George Goodstadt. Copyright 1968, Touchstone Publishers Ltd., New York.

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Rafael Canogar 149

Rafael Canogar

(b. 1935, Spanish) “The Earth,” 1975 (Portfolio of 15 works in box) Color lithographs on paper “The Earth,” edition, 21/75, each signed and dated in various locations 22” H x 30” W or 30” H x 22” W (depending on orientation) $1,000-2,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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150

Rafael Canogar

(b. 1935, Spanish) “ComposiciÛn No. 4,” 1975 Mixed media on card Signed and dated lower left: Canogar / 75, signed again, dated and titled verso 25.75” H x 19.5” W $1,000-1,500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

151

Rafael Canogar

(b. 1935, Spanish) “El Canceleno,” 1969 and “El Paseo,” 1969 (two works) Lithographs on Rives BFK paper, blind stamped Each Edition 3/20, signed, dated and titled along the lower edge: Canogar 30” H x 22” W $500-700 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

124

Rafael Canogar

152

Rafael Canogar

(b. 1935, Spanish) “El Soldado Caido,” 1967 Mixed media on canvas Signed lower right: signed, titled, dated, and inscribed verso: Painting for corners 19.25” H x 23.25” W x 31” D $3,000-4,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

Born in Toledo, Spain in 1935, Rafael Canogar is known for his use of abstraction and monochromatic palette. A personal friend to collectors Cindy Tietze-Hodosh and Stuart Hodosh, from whom the works presented here are consigned, Canogar’s aesthetic is on full display in the selections included in this sale. The monochrome threedimensional figures create a vignette-like experience for the viewer, grounded in realistic subject matter, a welcome contrast to the pop art so dominant the latter-half of the 20th century.

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153

Rafael Canogar

(b. 1935, Spanish) “ComposiciÛn No. 10,” 1974 Mixed media on board Signed and dated center left: Canogar / 74, signed again, dated and titled verso 32” H x 40” W $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

154

Rafael Canogar

(b. 1935, Spanish) “El Prisionero,” 1968 Mixed media on canvas Signed lower right: signed and dated again verso 33” H x 32” W $2,000-3,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh Notes: One more signature than appraisal stated

156

Rafael Ca

(b. 1935, Sp “The Blindfo Mixed medi Signed lowe verso 38.5” H x 57

$4,000-5,00

Provenance: 1975 The Collecti Hodosh

Literature: Il page 3, Los

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155

Rafael Canogar

(b. 1935, Spanish) “Libertad Encarcelada II” Mixed media on canvas Signed and dated lower right: Canogar ‘73; Further signed, dated, and titled verso 31” H x 44” W x 17” D $4,000-6,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

anogar

panish) old,” 1974 ia on canvas er right: Canogar, signed and dated again

7.5” W x 7” D

: Silvan Simone Gallery, Los Angeles,CA,

ion of Cindy Tietze-Hodosh and Stuart

llustrated Silvan Simone Gallery Brochure Angeles California 1975.

Rafael Canogar 20th Century Art + Design | June 9, 2020

127

157

Lynn Christopher

(20th Century, American) Study of Russia Bronze Sculpture on marble base Signed to base: LC (c) 35.75” H x 9” W x 12.5” D $2,000-3,000

158

A set of four contemporary bar stools Third quarter 20th Century Each in green leather on wood bases, 4 pieces Each: 44” H x 23” W x 21.75” D $1,000-2,000

128

159

Al Farrow

(b. 1943, American) “Cammy Stretching at Barre,” 1980 Bronze Signed, titled, numbered, and dated underneath: 1/3 / (c) / Al Farrow 14” H x 24” W x 15” D $2,000-4,000

160

A John Van Koert for Drexel colored Formica extension table with matching lazy susan 1950s Party Table Model No. K48; Stamped to underside: No-K481 / Profile by Drexel / 12-58 The circular cream-colored formica table with walnut base and legs, matching lazy susan and three additional matching leaves, 2 pieces Overall: 32” H x 48” Dia.; Circular table: 29.75” H x 48” Dia. $1,000-2,000

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129

161

Matthew Leeds

(20th Century, American) Multi-color pottery vase Glazed ceramic Signed and dated to foot of vase: Mattie Leeds / 2001 59” H x 21” Dia. $1,500-2,000 Provenance: Property from a Northern Californian Estate

163

Frederick Hart

(1943-1999, American) “Herself Acrylic Sculpture,” 1984 Acrylic Signed lower right base: Hart 14.5” H x 19” W x 8.5” D $1,200-1,800

130

162

Frederick Hart

(1943-1999, American) “Family,”1999 Bronze Signed and dated to the back: Hart ‘69; Further signed, dated and numbered to the base 106/375 (c) F. Hart Sculpture: 6.75” H x 5” W x 4” D $1,500-2,000

164

Bernard Cathelin

(1919-2004, French) “Entrance of Picadors,” circa 1986 Tapestry (together with a framed signed print of the same scene) Signed lower left: Cathelin; Further marked indistinctly lower right 84” H x 84” W $5,000-7,000 Provenance: Sale: the artist Danis-Stinton Gallery, Palm Desert, CA Property from a Northern Californian Estate

165

Bernard Cathelin

(1919-2004, French) “Les Iris sur fond bleu,” 1994 Tapestry Numbered 2/6 118” H x 115” W $5,000-7,000 Provenance: Sale: the artist Property from a Northern Californian Estate

132

166

Vivian Thierfelder

(b. 1949, Canadian ) “Prime Time,” 1990 Watercolor on paper under Plexiglas Signed and dated lower right: Vivian Thierfelder, and with the copyright symbol, titled by repute 60” H x 40” W $3,000-5,000 Provenance: Elaine Horwitch Galleries, Scottsdale, AZ, November 9, 1990 Property from a Northern Californian Estate

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167

A bronze sculpture of a figure playing accordion

20th Century Inscribed to base: TF The bronze depicting a seated monk with an accordion 14.25” H x 8” W x 8.5” D $500-700

168

A pair of Leon Frost for Lion In Frost lucite bar stools

1970s Each signed to lower back leg: Lion in Frost The set of two bar stools with purple suede-cloth cushions on lucite swivel seats and tripod bases with a chromed steel footrest and hardware, 2 pieces 40” H x 19” W x 20” D $1,000-1,500

134

169

Dino Rosin

(b. 1948*, Italian) “Relax” Murano glass on an ebony lacquered base Signed lower center: Dino Rosin Overall: 28.625” H x 9.5” W x 6” D; Glass: 22.25” H x 9.5” W x 2.25” D $800-1,200

170

A John Scott custom designed Lucite, walnut, and white marble end table Circa 1965 The table with open central laminate compartment on a “T” frame lucite base 16” H x 33.75” W x 23.75” D $1,000-2,000

20th Century Art + Design | June 9, 2020

135

171

Leonard Edmondson

(1916-2002, American) Untitled abstract, 1953 Watercolor, ink and pencil on paper under glass Signed and dated lower left: Edmondson Sight: 9” H x 20” W; Sheet: 9.25” H x 20.25” W $1,000-2,000

172

Laddie John Dill

(b. 1943, Long Beach, CA) Untitled, 1981 Cement, glass, polymer and wood Signed and dated verso: Laddie John Dill 36” H x 40” W $200-400 Provenance: Hunsaker/Schlesinger Fine Art, Santa Monica, CA

136

173

Noel Rockmore

(1928-1995, American) “Rembrandt No. 2,” 1963 Mixed media on paper under glass Signed, dated and titled lower right: Rockmore Sight: 14” H x 22.75” W; Sheet 14.5” H x 23.5” W $2,000-4,000 Provenance: From the Vincent Price Collection

174

Nikos Kessanlis

(1930-2004, Greek) “Composizione No. 40,” 1957 Oil on canvas Signed and dated lower right: Nikos, signed and dated again and titled verso 33” H x 43” W $4,000-6,000

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137

175

A Noguchi-style cocktail table

Mid-20th century Unmarked The classic IN-50 style low table in natural wood with a rounded-triangular glass top 15” H x 30” W x 30.5” D $400-600

176

Two Isamu Noguchi-style side table bases

Mid-20th Century Both impressed: 1940; One further impressed: Isamu Noguchi Both black veneered side tables in the IN-50 style, 2 pieces Each base: 29.5” H x 21.5” W x 22” D $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

138

177

A Danish modern armless settee with two extension side tables

Third-quarter 20th Century The settee with burnt orange wool seat cushion and two back pillows raised on tapered cylindrical legs, extension tables slide out from either side Settee: 30.5” H x 63” W x 29” D; Extended: 30.5” H x 88” W x 29” D $1,000-2,000

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139

178

Mark Tobey

(1890-1976, American) Untitled, 1965 Monotype on paper under glass Signed, dated and indistinctly inscribed lower right: Tobey, signed again on the backing board, indistinctly inscribed verso. Sight: 16.5” H x 12.25” W: Sheet: 18.5” H x 12.75”W $500-700 Provenance: Ruth S. Schaffner Gallery, Santa Barbara, CA The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

140

179

A modern found-art sculpture of a bottle

Fourth-quarter 20th century The bottle-shaped sculpture with a gold surface comprised of miscellaneous small items including: light bulbs, screws, lug nuts, keys, gears and coins 11.625” H x 4.5” W x 4.5” D $300-500 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

180

Sonia Gold

(b. 1959, American) “You Know I’am No Good” Oil and Acrylic on board Signed lower right: Sonia Gold, signed again and titled verso 30” H x 24” W $1,000-1,500

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141

181

Francisco Rebajes

(1905-1990, American/Dominican) Female Mask Copper Stamped: Rebajes 14.375” H x 10.5” W x 1.25” D $400-600 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

182

A boomerang-style enamel dish

Third-quarter 20th Century Labeled underneath: Handcrafted by Bovano of Cheshire, Conn. The boomerang shaped metal dish with multi-color and gilt enamel decoration .5” H x 14.375” W x 8.75” D $200-300

183

A poppy trail shallow center bowl with fish design Third-quarter 20th Century Apparently unmarked The circular white center bowl with large blue striped fish design and three small feet 3” H x 16” Dia. $200-400

142

184

John Millei

(b. 1958, American) “Peace / Fear of Emptiness,” 1987-1988 Mixed media on canvas Initialed, titled and dated verso: JM 111” H x 103” W $3,000-5,000

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143

185

Lucien Gibert

(1904-1988, French) Reclining female nude Cast plaster Signed to base: L. Gibert 19.5” H x 23” W x 9” D $400-600

144

186

1932 Olympic Poster, Orsi

1932 Olympic Games in Paris Offset Lithograph on paper backed by linen under glass Signed and stamped for Orsi right center, inscribed lower right verso French version 49.25” H x 33.75” W $1,000-2,000

187

1936 Olympic Poster, Franz Wurbel

1936 Olympic Games in Berlin Offset Lithograph on paper backed by linen under glass Stamped for designer Franz Wurbel lower left French version 39.75” H x 25.25” W $1,000-2,000 Notes: Summer Olympic Games poster for the 1936 Olympic Games held in Berlin from 1-16 August, published by the German Railways Head Office for Tourist Traffic and the Propaganda Committee for the Olympic Games. Stunning classicalinfluenced design by Franz Wurbel (b. 1897) featuring the image of man in gold wearing a green laurel leaf headpiece below the five Olympic rings dominated by the triumphant Brandenburg Gate Quadriga (the four horses leading an ancient chariot sculpted by Johann Gottfried Schadow; 1764-1850) in the foreground with the stylised text below.

20th Century Art + Design | June 9, 2020

145

Condition Reports

1 Overall good condition with minor scuffs and scratches commensurate with age. 2 Generally good condition. The full sheet. Minor toning to the paper. Mat staining to the four edges verso from a previous mounting. Minor handling creases to the four corners. Frame: 49.75” H x 34.25” W x 2” D 3 Generally good condition. The full sheet. Small losses and tears to the paper scattered along the left, right and upper edges. Mat staining along all four edges verso from a previous mounting. Minor handling creases to the upper right and lower left corners. Frame: 49.75” H x 34.25” W x 2” D

Blacklight: No evidence of restoration under blacklight. Frame: 25.75” H x 25.75” W x 2” D 14 Visual: Generally good condition. A 4” x .25 scattered area of tiny flecks of paint loss along the lower right edge. Blacklight: No evidence of restoration under blacklight. Frame: 19.75” H x 28.75” W x 2” D 15 Visual: Generally good condition. Very fine crazing in some of the darker pigments scattered throughout.

Frame: 39.5” H x 32.5” W x 3” D

Blacklight: No evidence of restoration under blacklight.

6 Each in overall good condition with rubbed wear and light scratches commensurate with age. 7 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. 8 Visual: Generally good condition. Hinged to the back mat. Frame: 64.5” H x 49” W x 2” D

Condition Reports

13 Visual: Generally good condition.

4 Visual: Generally good condition. A scattered 10” line of pigment transfer along the top edge. Two tiny pinholes upper center and lower center.

5 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

148

12 Overall good condition with darkening to wire and dust accumulation. Mechanic functioning. Separation and shrinkage cracks to the wood base. Dimensions include wood base.

9 Each chair shell and base in overall good condition with minor scuffs, scratches, usage marks, and dust accumulation commensurate with age and use. One chair base with surface scratches to one side. Fabric and cushions in overall fair condition with pilling, flattening, and dust accumulation commensurate with age and use. Seat covers removable and attached to chair with velcro. Need new foam; original foam deteriorated. 10 Generally good condition. The full sheet. Framed floating and mounted to the back mat. 4" of scattered pigment transfer verso. A diagonal 3/16th" tear to the upper layer of paper along the upper edge right. 11 Each in overall good condition with tarnishing and light scratches commensurate with age.

Frame: 24.5” H x 30.5” W x 1.75” D 16 Visual: Generally good condition. Very fine crazing in some of the darker pigments scattered throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 24.5” H x 36.5” W x 1.75” D 17 Overall good condition with scattered scuffs, light scratches, oxidation, and dust accumulation commensurate with age. 18 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Fixed for wall mounting. 19 Overall good condition with wear to fabric and dust accumulation commensurate with age and use. 20 Each in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered scuffs to the laminate surfaces. 21 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One front door sticks. A half-circle scuff to laminate top: approximately 9” Dia. Some shallow scratches to laminate and wood top surface.

22 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Several small nicks to the laminate surface. The sliding drawer sticks. Missing one file partition. Previously used for record storage. 23 Generally good condition. Artist’s pinholes in the four corners. The paper is rippled. Two minor handling creases to the upper right corner. The upper and lower edges are deckled. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 36” H x 45.75” W x 1.75” D 24 Generally good condition. Artist’s pinholes in the four corners. The paper is rippled. Drips of white paint in the lower right corner possibly in the hand of the artist. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 28” H x 35.75” W x 1.5” D

32 Overall good condition with minor scuffs and scratches commensurate with age. 33 Generally good condition. Small unobtrusive fold to the lower left corner. The edges are deckled. Framed floating and mounted to the back mat. Frame: 28.5” H x 36.5” W x 2” D 34 Scattered losses to the linen in the creased areas. Two 1” lines of loss lower right. A .25” loss upper edge right. Dark staining with scattered spots of darker staining throughout. Frame: 18” H x 26.75” W x .5” D 35 Generally good condition. The paper is slightly rippled. The paper with deckled edges. The paper is glued to the back mat. Mat burn to the four edges. Two .25” tears to the paper along the left edge. Frame: 13” H x 16.75” W x 1” D

25 Visual: Generally good condition. Frame: 17” H x 13.5” W x 2” D

36 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

27 Each in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Some shallow gouges to the chairs. 28 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: Touch-up scattered throughout. Spots of grime in the lower right corner fluoresce under blacklight. Frame: 36.75” H x 36.75” W x 2” D 29 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One scratch to the outside wall: approximately 1”. 30 Overall good condition with very minor discoloration to the pages. Minor dust accumulation and shelfwear commensurate with age. Includes a note on the printing as well as a note on text and images from the publisher.

Unframed 37 Visual: Generally good condition. Very fine craquelure lightly scattered thoughout the red pigment. Blacklight: No evidence of restoration under blacklight. Frame: 26.5” H x 20.5” W x 1” D 38 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. 39 Visual: Stable paint shrinkage throughout. Blacklight: Touch-up and crackfill scattered throughout. The largest, a quarter-sized spot along the upper left edge. Frame: 27.75” H x 20” W x .5” D 40 Visual: Craquelure with tiny flecks of paint loss scattered throughout. Scattered areas of instability. A dime-sized spot of paint loss in the center. Blacklight: No evidence of restoration under blacklight. Unframed

31 Overall good condition with minor scuffs and scratches commensurate with age.

Condition Reports

26 Overall driver presentable condition. Nicks, scratches, scuffs, and minor wear to the exterior. Interior has been re-upholstered. Odometer has been rolled over.

149

41 Visual: Isolated areas of craquelure. Small chips and flecks of paint loss scattered throughout, the largest a quarter-sized spot along the upper edge left. Scattered areas of instability.

50 Generally good condition. Minor handling creases along the upper portion of the right edge and upper center. A minor 1” indentation to the paper left center.

Blacklight: No evidence of restoration under blacklight.

Frame: 28.75” H x 30.25” W x 1.5” D

Unframed

Blacklight: No evidence of restoration under blacklight.

51 Visual: A 6” x 2” area of scattered unstable craquelure with scattered paint loss upper left. Tiny chips of paint loss to the impasto lower center. A 1.75” x 1” area of scattered chips of paint loss right center. Scattered frame abrasion along the four edges with associated paint loss. The lower right corner of the board has begun to delaminate causing a .75” x .75” area of scattered paint loss. Artist’s pinholes in the four corners.

Unframed

Blacklight: No evidence of restoration under blacklight.

42 Visual: Craquelure scattered throughout. Spots and chips of paint loss scattered throughout, concentrated mainly around the perimeter. Areas of instability scattered throughout.

43 Generally good condition. The panel is slightly bowed. A series of hairline cracks in the white pigment right center. Very fine layer of dust concentrated in the cracks and joints. Blacklight: No evidence of restoration under blacklight. Frame: 72” H x 36” W x 2” D

44 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age. Scattered nicks and paint loss to the frame edges. 45 Generally good condition. A .5” separation with a small chip of the resin layer in the upper right corner. Small chip to the resin along the left edge center. Frame: 26.5” H x 36” W x 1.5” D 46 Generally good condition. Tape residue in the four corners verso from a previous mounting. A .25” tear to the paper along the lower edge right. Unobtrusive handling creases scattered throughout. Minor surface dirt and grime.

Condition Reports

Unframed

150

Frame: 36” H x 28.25” W x 1.5” D 52 Generally good condition. Artist’s pinholes in the four corners. .5” scuff lower right. Unframed 53 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered scratches to the legs. 54 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Chips to the veneer on two right corners. One darkened spot to veneer of file drawer. 55 Overall good condition with scattered scuffs, scratches, dust accumulation, and oxidation commensurate with age. Some visible glue reside to the rope elements. 56 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Sun-fading to cushions, and slight scratches to table-top surface.

47 Overall good condition with scattered scuffs, light scratches, and shelf wear commensurate with age. One small area of surface scratches to the bottom.

57 Generally good condition. Minor toning to the paper. Small spots of staining scattered throughout, concentrated mostly in the lighter pigments. A .75” handling crease along the bottom edge right. Not examined out of the frame.

48 Overall good condition with minor scuffs and scratches commensurate with age.

Frame: 23.75” H x 19” W x 1” D

49 Visual: Scattered nicks and chips of paint loss along the left edge and left center of the orb. Scattered rubbed wear along the four edges. A 10” x 10” “L-shaped” scuff with small vertical scuffs in the upper right corner. Blacklight: No evidence of restoration under blacklight. Unframed

58 Generally good condition. Minor toning to the paper. Small spots of staining scattered throughout the man’s robes. Tiny dots of staining lightly scattered throughout the sky. Not examined out of the frame. Frame: 23” H x 18.5” W x 1” D

Frame: 23” H x 18.5” W x 1” D 60 Generally good condition. Toning to the paper. Mat burn along the four edges. Very light handling creases scattered throughout, concentrated mostly in the margins. A small unobtrusive fold to the upper left corner. A .5” long light stain along the right edge center. The bottom edge is deckled. Mounted to the back mat with plastic corners. Frame: 41” H x 33.75” W x 1.5” D 61 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Each base: 8.75” H x 7.375” W x 4.75” D Each shade: 7” H x 13” Dia. 62 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Two cracks to the base of the glass shade around the socket area, approximately: 1.125” and 1”. Wiring should be checked by a qualified electrician prior to use. Lamp base: 6.5” H x 7” Dia. Shade: 7” H x 13” Dia. 63 Each in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Seats in good condition.

69 Overall good condition with scattered scuffs, light scratches, and oxidation primarily to the base. No evidence of pitting. 70 Overall good condition with scattered scuffs, light scratches, and oxidation primarily to the base. No evidence of pitting. 71 Generally good condition. Framed floating and mounted to the back mat. Not examined out of the frame. Frame: 27.5” H x 31.5” W x 1.5” D 72 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 18” Dia. x 1.5” D 73 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19.75” H x 23.75” W x 2” D 74 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 14.75” H x 13.75” W x 1” D

64 Generally good condition. Minor toning to the paper. Artist’s pinholes in the four corners. A .5” tear along the upper edge in the left corner. The adhesive from the mounting tape has bled through from the verso. Framed floating and mounted to the back mat with duct tape. A 3” x .5” area of scuffing appears in each of the upper corners where the tape from a previous mounting was removed.

75 Generally good condition. Minor toning to the paper. The edges are deckled. Framed floating and mounted to the back mat. Not examined out of the frame.

Frame: 17.75” H x 45.5” W x 1.75” D

76 Generally good condition. The full sheet. The edges are deckled. Mounted to the recto mat with artist’s tape along the left and right edges.

65 Generally good condition. Drymounted to board. Frame: 28.75” H x 23.75” W x 1.5” D 66 Overall good condition with minor scuffs and scratches commensurate with age. 67 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age. One chip to the lower right: approximately .5”. 68 Overall good condition with scattered scuffs, light scratches, and oxidation primarily to the base. No evidence of pitting.

Frame: 37.75” H x 29.75” W x .75” D

Frame: 44.25” H x 43.75” W x 1.25” D 77 Generally good condition. The paper is rippled. Not examined out of the frame. Frame: 16.75” H x 20.5” W x 1.5” D 78 Each in overall good condition with tarnishing and light scratches commensurate with age. Three dents around the base of the kettle, largest: 1” x 1”. Kettle handle detached but retained. Kettle without stand: 7.5” H x 7” W x 5.5” D Coffee pot: 7” H x 7.25” W x 5” D Teapot: 5.75” H x 9” W x 7” D Large cream jug: 3.625” H x 6.25” W x 3.5” D Sugar bowl: 2.375” H x 4.875” W x 3.5” D

Condition Reports

59 Visual: Generally good condition. Minor toning to the paper. Not examined out of the frame.

151

79 Each in overall good condition with tarnishing and light scratches commensurate with age. One candlestick with small dents to the bobeche. 80 Overall good condition with tarnishing and light scratches commensurate with age. 81 Overall good condition with tarnishing and light scratches commensurate with age. One small dent to body 82 Visual: Generally good condition. Rust from several of the upholstery nails has stained the board. Two small chips of paint loss to the edge of the lower right portion of the “door”. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Unframed 83 Generally good condition.

90 Visual: Generally good condition. Small chips of paint loss scattered along the four edges. A horizontal split runs the entire width of the board in the center. Surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Unframed 91 Visual: A .5” x .25” gouge to the board with paint loss along the bottom edge center. A 2.25” x .75” area of tape residue lower right. Rubbed wear to all four corners. A series of black scuffs across the center. A 9” long scattered area of scratches running vertically down the right edge. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Unframed 92 Visual: Generally good condition. Various nicks, chips and scratches scattered throughout, the largest being a pea-sized chip along the left center edge. Several horizontal splits to the board scattered throughout. Blacklight: No evidence of restoration under blacklight.

Frame: 13.25” H x 12.25” W x 1” D

Unframed

84 Toning throughout with mat burn along three edges. Spots of staining throughout with five vertical creases extending the length of the paper. A 2” tear from the upper edge center. A 1” tear in the far right crease. Losses along all four edges with scattered losses concentrated mainly in the far left and lower center.

93 Visual: A 3” long dent to the lower edge left. A 2.5” tear to the upper edge right. Scattered nicks, dents, tears and folds to all four edges. Handling creases scattered throughout. Minor surface dirt and grime. Framed floating and mounted to the back mat.

Unframed

Blacklight: No evidence of restoration under blacklight. Frame: 33.25” H x 49.25” W x 2.25” D

85 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19.5” H x 23.5” W x 1.5” D

94 Visual: The attachment of the various pieces of wood is unstable. A 2” gouge to the upper edge center. A 10” crack in the wood of the lower left frame section. Blacklight: No evidence of restoration under blacklight.

86 Each in overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Unframed

Condition Reports

95 Visual: Generally good condition.

152

87 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Blacklight: No evidence of restoration under blacklight.

88 Each in overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

96 Visual: Generally good condition. Two .25” scratches lower left. Two small spots of loss to the impasto in the center.

89 Each in overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age.

Unframed

Blacklight: No evidence of restoration under blacklight. Frame: 25.25” H x 15” W x 2.5” D

97 Visual: Generally good condition. Bottom image lacking upper and lower frame pieces, not retained. Scuffing to the frame along the lower edge and lower right corner.

107 Overall good condition with scattered scuffs, scratches, nicks, and wear commensurate with age.

Blacklight: No evidence of restoration under blacklight.

108 Generally good condition. Small scuffs to the upper edge and to the upper and lower right corners. Minor dust accumulation.

Frame: 51.25” H x 22.25” W x 1.5” D 98 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 30.5” H x 17” W x .75” D 99 Visual: Generally good condition. The plywood medium is delaminating. Blacklight: No evidence of restoration under blacklight. Unframed 100 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

Unframed 109 Visual: Generally good condition. Fine craquelure scattered throughout. A number of tiny flecks of paint loss scattered throughout, the largest in the center. Blacklight: No evidence of restoration under blacklight. Frame: 18” H x 41” W x 1.25” D 110 Visual: Generally good condition. Two tiny flecks of paint loss upper center. A tiny fleck of paint loss right center and lower left. Two lines of stable fine craquelure in the stage area. Fine crazing in the blue pigment in the upper right corner. Blacklight: Touch-up scattered throughout. Frame: 27.25” H x 21” W x 2” D

Unframed 101 Visual: Each board has losses to its perimeter as well as to its face. Each has scattered scuffs, scratches, nicks, shrinkage cracks, and paint loss commensurate with age. Blacklight: No evidence of restoration under blacklight.

111 Visual: Generally good condition. Very fine crazing scattered throughout, mostly in the darker pigments. Small flecks of paint loss scattered throughout. Blacklight: Touch-up scattered throughout. Frame: 27.75” H x 23.75” W x 1” D

Unframed 102 Each in overall good condition with minor scuffs and scratches commensurate with age. Mary Lee: one arm detached but retained.

112 Visual: Generally good condition. Minor frame abrasion along the four edges. Small brush strokes of gold frame paint on the board along the upper edge, mostly in the center. Small chip of paint loss lower right. Small fleck of paint loss lower left. Blacklight: No evidence of restoration under blacklight.

104 Overall good condition with scattered minor scuffs and scratches commensurate with age. 105 Overall good condition with scattered scuffs, light scratches, and dust accumulation commensurate with age. Scattered surface scratches to the silver laquered pedestal. 106 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Rust-colored oxidation along one edge of the base and to the underneath.

Frame: 31.75” H x 24” W x 1.25” D 113 Visual: Generally good condition. Very fine craquelure lightly scattered throughout. Minor surface dirt and grime. Blacklight: Small spots of touch-up scattered throughout. Frame: 25.5” H x 27.5” W x 2.75” D 114 Overall good condition with minor shelf wear commensurate with age. 115 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

Condition Reports

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

153

116 Overall good condition with wear and rubbing commensurate with age and use. Wiring should be checked by a qualified electrician prior to use. 117 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One scuff to the base: approximately 3.5”. 118 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Leather in good condition. 119 Generally good condition. The full sheet. Framed floating and hinged to the back mat. Frame: 18.25” H x 20.25” W x 2” D 120 Generally good condition. The edges are deckled. Framed floating and hinged to the back mat. Frame: 18.75” H x 17.75” W x 1.25” D 121 Overall good condition with tarnishing and light scratches commensurate with age. 122 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Slight rubbing and tarnishing to silver details. 123 Overall good condition with minor scuffs and darkening to bronze commensurate with age. 124 Each in overall good condition with scattered scuffs, scratches, dust accumulation, and wear to fabric commensurate with age.

Condition Reports

125 Overall fair condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Wear and loss to the finish throughout.

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126 Overall good condition with minor scuffs, scratches, and nicks commensurate with age and use. Hanging wire is cut at 62”. Wiring should be checked by a qualified electrician prior to use. 127 Table in overall good condition with scuffs, scratches, nicks, and abrasions commensurate with age and use. Each chair in overall good condition with scuffs, scratches, wear to fabric, slight soiling, and dust accumulation commensurate with age and use.

128 Generally good condition. Hinged to the back mat with artist’s tape in the upper corners. Frame: 32” H x 26” W x 1.5” D 129 Generally good condition. The back mat and the recto mat are taped together. Frame: 33.5” H x 33.5” W x 2” D 130 Generally good condition. The paper is horizontally rippled. Minor handling creases scattered throughout. Frame: 25” H x 19.5” W x 1.5” D 131 Visual: Generally good condition. Fine craquelure scattered throughout. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 38.75” H x 43.75” W x 1.75” D 132 Overall good condition with minor scuffs and scratches commensurate with age. 133 Visual: Generally good condition. Fine craquelure scattered throughout. Blacklight: Spots and lines of touch-up scattered throughout. Unframed 134 Visual: Generally good condition. A few tiny flecks of paint loss in the lower left corner and lower left. Scattered line of fine craquelure along the upper edge. A 10” line of horizontal fine craquelure upper right. Minor surface dirt and grime. Blacklight: No evidence of restoration under blacklight. Frame: 35.5” H x 65.25” W x 1.75” D 135 Each in overall good condition with tarnishing and light scratches commensurate with age. Tea strainer: .75” H x 4.5” W x 2.875” D Strainer holder: 1.75” H x 2.75” Dia.

136 Each in overall good condition with tarnishing and light scratches commensurate with age. Dinner bell: 3.5” H x 1.875” Dia. Sugar tongs: 3.875” H x 1.75” W Acanthus goblet: 2.75” H x 1.875” Dia. Salt cellars: 1.5” H x 2.25” Dia. (each)

138 Each in overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age. Oxidation to each harp. Scattered small tears to interior lamp liners. Each lamp: 28.25” H x 8” W x 8” D Each shade: 11” H x 19.125” W x 19.125” D

139 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Even sun-fading to the wool upholstery. 140 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Missing two of five brackets which attach the bulb and wiring to the metal form. 16.5” electrical wire attached to the fixture. Wiring should be checked by a qualified electrician prior to use. 141 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One minor ripple to black laminate edge. 142 5.5” x 1.5” of the left corner is stained and discolored with multiple handling creases and small tears to the edges. The lower right and upper left corners are creased. There are two small tears along the right edge. Small nicks, scuffs and scratches to the surface scattered throughout. Frame: 23.25” H x 20.25” W x 1” D 143 Visual: Generally good condition. Toning to the paper. The paper is rippled along the edges. The edges are deckled. Hinged to the back mat with linen tape in the upper corners. Frame: 34” H x 46.75” W x 2” D 144 Generally good condition. Toning to the paper. The bottom edge of the paper has scattered small areas of loss. Framed floating and mounted to the back mat. The paper is laid down, as stated. Frame: 14.25” H x 14.25” W x .75” D 145 Toning to the paper. The paper is rippled. The upper and lower edges are deckled. Tiny spots of staining scattered throughout. Handling creases to the lower right corner and the lower edge right. Mat burn to all four edges from a previous mounting. Framed floating and mounted to the back mat. Frame: 31.25” H x 35.75” W x 1.25” D

146 Toning to the paper. A 16” x 3” area of horizontal rippling across the right center. A .75” tear to the paper lower left edge. Minor losses to the paper along the edges in the lower left corner. Scattered tiny spots of staining right center. Mat burn to the four edges from a previous mounting. Frame: 30.25” H x 43.25” W x 2.5” D 147 Visual: Generally good condition. Minor surface dirt and grime. Blacklight: Certain pigments fluoresce under blacklight but these appear to be in the hand of the artist. Frame: 55.75” H x 55.25” W x 1” D 148 Generally good condition. Minor toning to the paper. The cover page has tiny dots of staining scattered throughout. The right edge of each work, concentrated mainly in the upper right corner, is curled due to being stored upright and not flat. Most works are lightly stained verso. 149 Generally good condition. Minor toning to the paper. Staining verso to some works due to transfer from adjacent works. 150 Generally good condition. Tiny indentation to the card edge upper left. Both upper corners are slightly creased. Unframed 151 Generally good condition. The first with minor toning to the paper and deckled edges. A set of light fingerprints upper right edge. Small dots of staining lower left corner. Tape residue in the upper corners verso. The second with minor toning to the paper and deckled edges. Small dots of yellow staining in the lower left quadrant. Tape residue in the upper corners verso. Each unframed 152 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age. 153 Toning to the board. A .5” tear with a 6” fold to the upper left corner. The board is bowed across the lower center. Scattered dents, paint chips and losses to all four edges. A 1.5” area along the upper right edge where the paper is lifting. A pea-sized scuff left center. Unframed 154 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age. 155 Overall good condition with minor scuffs, scratches, and dust accumulation commensurate with age.

Condition Reports

137 Overall good condition with tarnishing and light scratches commensurate with age.

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156 Overall good condition with minor scuffs and scratches commensurate with age.

169 Overall good condition with minor shelf wear commensurate with age.

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

170

158 Each in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered losses and chips, primarily to the legs. 159 Overall good condition with minor scuffs and scratches commensurate with age. 160 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Extended table (3 leaves): 29.75” H x 83.375” W x 48” D Lazy Susan: 2.25” H x 19.75” Dia. 161 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. 162 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Overall: 8.75” H x 6” W x 5” D 163 Overall good condition with crazing throughout base surface. Craquelure to the left clear side of sculpture. 164 Tapestry in overall good condition. Three screws through top of tapestry with corresponding slits to foundation due to mounting bracket. Print in overall good condition. Not examined out of frame. Frame: 30.75” H x 29” W

Condition Reports

165 Two fringe edges sewn under, burlap strip attached to top

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166 Generally good condition. The left and right edges are deckled. Not examined out of the frame. Frame: 72” H x 52” W x 2” D 167 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Hash-mark scratches to the rear of the figure, possibly dating to time of manufacture. 168 Overall good condition with scattered scuffs, scratches, nicks, and wear to upholstery commensurate with age.

171 Generally good condition. Minor toning to the paper. Frame: 15.75” H x 26.5” W x 2” D 172 Overall good condition with minor scuffs and scratches commensurate with age. 173 Generally good condition. Minor toning to the paper. The paper is slightly rippled across the top. Artist’s pinholes in the four corners. A .25” v-shaped loss to the edge of the paper in the upper left corner. The bottom edge is deckled. The paper is loose, not mounted. Frame: 17.75” H x 26.5” W x 1” D 174 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 34” H x 44” W x 1.5” D 175 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. 176 One in overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One in fair condition with a section of loss to the black veneer: approximately 2.5” x 3” on each side of one end. Each table lacking glass top. 177 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Even sun-fading to the upholstery. 178 Toning to the paper with rippling throughout. Mat burn to all four edges. A 1.75” dark stain to the extreme right edge center not visible behind the recto mat. Hinged to the recto mat with paper tape in the upper corners. Frame: 23.25” H x 18.5” W x 1.5” D 179 Overall good condition with minor scuffs, scratches, and loss to the gold paint commensurate with age.

180 Visual: Generally good condition. The board is slightly cupped. Blacklight: No evidence of restoration under blacklight. Frame: 36.5” H x 30.5” W x 1” D 181 Overall good condition with minor scuffs commensurate with age.

182 Overall good condition with minor scuffs and scratches commensurate with age. 183 Overall good condition with rubbed wear and light scratches commensurate with age. Feet drilled for wall-mounting. 184 Visual: Generally good condition. Craquelure and paint shrinkage scattered thoughout, concentrated mainly in the center. Blacklight: No evidence of restoration under blacklight. Unframed 185 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Scrape to one back corner edge. 186 Toning to the paper. Vertical and horizontal folds in the paper. Two pea-sized scuff marks on the left and right side on the uppermost horizontal fold. Hinged to the recto mat with artist’s tape along the upper edge. Fading to the lettering along the top edge. Small scuffs and smudges scattered throughout. Frame: 53.75” H x 37.25” W x 1” D 187 Restoration to tears and losses scattered throughout. Fading and staining scattered throughout. Mounted to the recto mat with artist’s tape along the four edges.

Condition Reports

Frame: 48.5” H x 33.25” W x 1” D

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Consign Today Summer Modern + Contemporary July 2020 Banksy (b. 1974 British) LAUGH NOW," 2004

Price Realized: $93,750.00 Consignment and Auction Inquiries: bree@johnmoran.com

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

Consign Today 20th Century Art + Design October 2020 Alexander Calder (1898-1976 American) Untitled, 1968

Price Realized: $81,250.00

Consignment and Auction Inquiries: bree@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 20th Century Art + Design | June 9, 2020

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

SPECIALISTS

Co-Head of sale, Post-War and Contemporary Fine Art Specialist Bree Hughes Co-Head of sale, 20th Century Furniture and Decorative Arts Specialist John Simon Taylor Senior Vice President, Fine Art Director Morgana Blackwelder Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Furniture & Decorative Arts Cataloguer Alexis Sutcliffe Fine Art Cataloguer Mike Hook Specialist Maranda Moran Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Jewelry Director Mollie Burns Keith, G.J.G. Junior Specialist / Senior Cataloguer: Luxury, Furniture, Decorative Arts 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 Property Manager Emmett Clements Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

ADVERTISING, MARKETING, DIGITAL DESIGN

Advertising & Marketing Director, Art Design Photographer

Nathan Martinez Jaqi Brown

TRUSTS & ESTATES

Department Manager Noelle Valentino

FOUNDERS

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

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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.

View Illustrated Catalogue Online @ www.johnmoran.com

Download Moran Mobile today at the App Store and Google Play!

20th Century Art + Design | June 9, 2020

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a 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

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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. 20th Century Art + Design | June 9, 2020

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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 $500,000 $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.

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:

First Name:

Paddle number

Sale number

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.

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

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Couture / Luxury Goods

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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.

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

How did you hear about our services?

Sellers permit info: Contact office for verification Permit #

Modern & Contemporary Art

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Turn of the Century Design / Arts + Crafts Western Art Have a specific type of item you are interested in, let us know:

Exp:

I agree that I have read Moran’s Conditions of Sale and shall be bound by them. This affects my legal rights. Signature:

Date:

rev. 7/2018

20th Century Art + Design | June 9, 2020

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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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