Prints & Multiples — June 9, 2021 | John Moran Auctioneers by johnmoranauctioneers

Prints & Multiples

Wednesday, June 9, 2021 Featuring property from:

The Blake Byrne Collection

Prints & Multiples Featuring property from: The Blake Byrne Collection

Wednesday, June 9, 2021—2pm Sale 190A 145 East Walnut Avenue, Monrovia CA 91016 Public Previews: Friday, June 4th - Tuesday, 8th 12-4 pm Or by appointment

Meet the Team Bree Hughes Head of Sale Post-War & Contemporary Fine Art

bree@johnmoran.com

Bobby Cullen Junior Specialist, Senior Fine Art Cataloguer bobby@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com

Ella Fountain Client Services ella@johnmoran.com

The Blake Byrne Collection A leading collector for more than 30 years, Blake Byrne acquired diverse and spirited works of art with an instinct that grew and expanded out of a tenacious passion for contemporary art. John Moran Auctioneers is pleased to present a curated selection from the late television executive, philanthropist, and Life Trustee of MOCA, Los Angeles. Included are works by Félix González-Torres, Robert Mapplethorpe, Henry Taylor, Ai Weiwei, Marlene Dumas, Tony Smith, and Tim Hawkinson; as well as artists he collected in depth including Rita McBride, Iva Gueorguieva, Alexander Kroll and Jim Shaw. As a resident of Los Angeles and Paris, Blake Byrne acquired artwork on both sides of the Atlantic and beyond. His incredible foresight and vast holdings are a testament to his collecting prowess. In his lifetime, Mr. Byrne made major donations to the Museum of Contemporary Art, Los Angeles, and the Nasher Museum of Art at Duke University. The Blake Byrne Collection was created thoughtfully and deliberately, often with the objective of provoking an authentic exchange between artists and viewers. Mr. Byrne prided himself on purchasing art that moved him emotionally and addressed universal themes such as identity, sexuality, memory, and culture. He considered himself a steward of these remarkable, sometimes confrontational objects, and championed conversation across mediums, eras, and genres. When the collection is offered at auction on June 9, 2021, new owners will have the opportunity to create a fresh dialogue. Eighty works from this unrivaled contemporary art collection will be presented in Moran’s Post War & Contemporary Art + Design sale.

Click HERE to view Post War & Contemporary works from the Blake Byrne Collection Click HERE to view Print & Multiple works from the Blake Byrne Collection

1001

Marc Chagall

(1887-1985, French) “Lovers in Grey,” 1957 Color lithograph on Arches paper under glass, Maeght Editeur, Paris, pub. Edition 7/90, signed in pencil lower right, numbered in pencil lower left, titled verso Sheet: 16” H x 12.75” W; Image: 11” H x 8.5” W $1,500-2,000 Literature: Mourlot, 194

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1002

Marc Chagall

(1887-1985, French) “L’Arbre vert aux Amoureux,” 1980 Color lithograph on Arches paper under glass, Fernand Mourlot, Paris, pub. Edition 29/50, signed in pencil lower right: Marc Chagall, numbered in pencil lower left, blindstamped for Mourlot lower left Sight: 22.25” H x 16.75” W; Image: 19.75” H x 15” W $3,000-5,000 Literature: Mourlot, 959

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1003

Marc Chagall

(1887-1985, French) Untitled (from the “Flight” portfolio), 1971 Color lithograph on paper under glass, International Rescue Committee, New York, pub., Mourlot, Paris, prntr. Edition 21/250, numbered in pencil lower left, stamped lower right: “Lithographie Originale De Marc Chagall” Sight: 23.25” H x 17.5” W; Sheet: 25.5” H x 19.75” W $2,000-4,000 Provenance: Distinguished Los Angeles Collection Notes: The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1004

Marc Chagall

(1887-1985, French) “Les Champs-ElysÈes,” 1954 Color lithograph on Arches paper under glass, Galerie Maeght, Paris, pub., Mourlot, Paris, prntr. Edition 116/200, signed in the plate lower right: Marc Chagall, signed in pencil in the margin lower right, numbered in pencil lower left, watermark for Arches right edge center Image: 23.5” H x 16.5” W $8,000-10,000

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1005

1006

(1881-1973, Spanish) “Joueur de Flûte Et Chèvre” Wall Plaque, A.R. 382, 1956, Partially glazed terre de faïence ceramic Edition of 450; signed and impressed: Madoura Plein Feu / Empreinte Originale de Picasso 10.125” H x 10.125” W

(1881-1973, Spanish) Bull profile wall plaque, A Partially glazed terre de fa Edition of 450; signed and Originale de Picasso 9.75” H x 9.875” W x .75”

Pablo Picasso

$4,000-6,000

Literature: A. Ramié, 382.

Literature: A. Ramié, 315.

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A.R. 315, 1956 aïence ceramic d impressed: Madoura Plein Feu / Empreinte

”D

1007

Pablo Picasso

(1881-1973, Spanish) “Cruchon Hibou” pitcher, A.R. 293, 1955 Partially glazed terre de faïence ceramic Edition of 500; signed and impressed: Edition Picasso / Madoura Plein Feu / Edition Picasso / Madoura 10” H x 5” W x 7” D $6,000-8,000 Literature: A. Ramié, 293.

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1008

1009

(1893-1983, Spanish) “Abstract in Blau” Color etching on Rives paper under glass Edition 29/50, signed in pencil lower right: Miro, numbered in pencil lower left, titled on a gallery label affixed to the backing board Sheet: 15” H x 11” W; Image: 8.25” H x 6.75” W

(1893-1983, Spanish) Untitled (from the “Flight” por Color lithograph on Arches pa Edition 21/250, signed in penc Sheet: 19.75” H x 25.75” W; Im

Joan Miro

$1,000-2,000 Provenance: Nassau Gallery Ltd., Baldwin, NY

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Joan Miro

$3,000-5,000

Provenance: Distinguished Los

Notes: The Flight exhibition co 1971. Based on the theme of fl of eleven original lithographs destroyed after the artist print portfolio consists of 250 signe

rtfolio) 1966, 1971 aper, International Rescue Committee, New York, pub., Mourlot, Paris, prntr. cil lower right, numbered in pencil lower left, watermark for Arches lower center mage: 13.75” H x 19.5” W

s Angeles Collection

omes from a portfolio of prints organized by Varian Fry in 1964 and completed in flight to reflect the plights of refugees and the hope of a new life, Flight is comprised and one original serigraph by twelve internationally renowned artists. All plates were ting and include a variety of illustrations from abstraction to figurative works; the ed and numbered prints.

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1010

Joan Miro

(1893-1983, Spanish) “Trace Sur La Paroi III” Color etching and aquatint with carborundum on paper under Plexiglas Edition 62/75, signed lower right: Miro, titled verso Plate: 23” H x 36.5” W; Sheet: 28.75” H x 41” W $8,000-12,000 Literature: D. 442.

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1011

Salvador Dali

(1904-1989, Spanish) “Elephant Royale” Color etching on paper under glass Edition 87/250, signed lower right: Salvador Dali Plate: 9.75” H x 7.75” W $500-700 Notes: Bruce Hochman OS has confirmed the authenticity of this lot

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The Blake Byrne Collection 1012

Andre Breton

(1896-1966, French) Untitled, 1962 Mixed media on exhibition catalogue laid to board under glass Unsigned Sheet: 5.5” H x 4.25” W $2,000-4,000 Provenance: Calmels Cohen Gallery, Paris, France The Blake Byrne Collection

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The Blake Byrne Collection 1013

André Breton

(1896-1966, French) “Où Est Carthage?,” 1958 Work on cardboard with playing card under glass Signed lower right, dated lower left: 29-10-58 5.25” H x 3.75” W $2,000-4,000 Provenance: Sale: Calmels Cohen Auctions, Paris, April 15, 2003, Lot 04242 The Blake Byrne Collection

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The Blake Byrne Collection 1014

André Breton

(1896-1966, French) “Où est Carthage?” 1958 Work on paper with playing card Signed lower right, dated lower left: 29-10-58 8.75” H x 6.5” W $2,000-4,000 Provenance: Sale: Calmels Cohen Auction, Paris, April 15, 2003, Lot 04243 The Blake Byrne Collection

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The Blake Byrne Collection 1015

1016

(b. 1943, Canadian) “Untitled (set of 4),” 1962 Each: Carved woodblock monotype on paper under glass Each: Signed and dated lower right: David Rabinowitch, the first: inscribed lower left: 2 Red Each: Sheet: 8.5” H x 5.75” W

(1904-1971, American) “A DC-4 flying over New York City Silver gelatin print on paper unde Edition 58/250, embossed signatu the lower left margin: 58/250, cred Photography/Estate of Margaret B Sheet: 20” H x 24” W; Image: 16”

David Rabinowitch

$3,000-5,000 Provenance: The Annemarie Verna Galerie, Zurich, Switzerland The Blake Byrne Collection 20

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Margaret Bourke-White

$5,000-7,000

y,” 1939, later impression, 1997 er Plexiglas ure in the lower right margin: Margaret Bourke-White, numbered in ink in dit, title, date, copyright, and annotations in pencil and the LIFE Gallery of Bourke-White stamp verso ” H x 20” W

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1017

Sister Mary Corita Kent

(1918-1986, American) “Pigeons on the grass, alas” Color screenprint on paper under glass Signed and inscribed in ink lower right: Sister Mary Corita / HM, titled in ink lower left Sheet: 14.5” H x 11.25” W; Image: 13.75” H x 10.5” W $600-800 Provenance: Museum Mount Gallery, Los Angeles, CA

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1018

Sister Mary Corita Kent

(1918-1986, American) “Magpie in the Sky” Color screenprint on paper under Plexiglas Signed and inscribed in pencil lower right: Sister Mary Corita / HM, titled in pencil lower left Sheet: 35” H x 23.25” W; Image: 29” H x 22” W $1,000-2,000

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1019

Francisco Zúñiga

(1912-1989, Costa Rican-Mexican) “Seated Woman with Rebozo,” 1962 Patinated bronze on onyx base Signed, dated, and numbered: Zuniga / 1962 / III 10.5” H x 11” W x 7.125” D $5,000-7,000 Provenance: Sale: GalerÌa, Arte de Coleccionistas, Mexico City, Mexico, April 24, 1963 Private Collection, Los Angeles, CA, acquired from the above Literature: A. Zúñiga, “Francisco Z˙Òiga Catalogue Raisonne, Volume I, Sculpture 1923-1993,” 1999, no. 328. Notes: This lot is accompanied by a certificate of authenticity signed by the artist, a receipt of sale from GalerÌa, Arte de Coleccionistas, and a photograph of the sculpture.

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1020

Robert Rauschenberg

(1925-2008, American) “Horsefeathers Thirteen - XI,” (from Horsefeathers Thirteen Series), 1972 7-color offset lithograph, screenprint, collage, and embossing on 300-gram Arches watercolor paper, Gemini G.E.L., Los Angeles, CA, pub./prntr. Edition 49/85, signed, dated and numbered in pencil lower left: Rauschenberg / 72, blindstamped for Gemini G.E.L. lower right, blindstamped for Arches, France lower left, watermarks for Arches, France, wetstamped for Gemini G.E.L. and numbered verso: RR72-482 30” H x 22.25” W $1,200-1,800

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Edward Ruscha ( b. 1937, American)

Ed Ruscha is among the most celebrated Los Ang imagery, often with a playful perspective inspired juxtaposition of word and image. In the work of a squeezed out of a ripe, juicy orange. The fruit itse

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geles pop artists. His oeuvre incorporates cheeky text and glorifies seemingly banal d by advertising. In the present work, Ruscha employs his clever sense of humor through the art at hand, the typography spelling out ‘Made in California’ appears as though it has been elf has ready associations with the California lifestyle.

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1021

1022

(b. 1937, American) “Billy,” 1968 Exhibition catalogue with felt letters laid on sandpaper cover, machine screw and nut binding, and satin ribbon page marker, Los Angeles County Museum of Art, pub., Toyo Press, Los Angeles, CA, prntr. From an edition of 2500, unsigned 9” H x 11” W

(b. 1937, American) “Anchor in Sand,” 1991 Color lithograph on white Rive Edition 27/100, signed and da 21” H x 32” W

Edward Ruscha

$800-1,200 Literature: S. Engberg and C. Philpot, “Edward Ruscha: Editions 1959-1999 A Catalogue Raisonné,” New York: DAP, 1999, #M10. A. Roth, “The Open Book,” Gothenberg: Hasselblad Center, 2004, p. 198. Notes: Published on the occasion of the 1968 exhibition, “Billy Al Bengston,” at the Los Angeles County Museum of Art.

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Edward Ruscha

$2,000-4,000 Literature: Engberg, 213

es BFK paper under glass, Paris Review, New York, NY, pub., Hamilton Press, Venice, CA, prntr., the full sheet ated in pencil lower right: Ed Ruscha / ‘91, numbered in pencil lower left, with the blindstamp for Hamilton Press

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1023

1024

(b. 1937, American) “Other,” 2004 Color lithograph on German etching paper under Plexiglas, Gemini G.E.L., Los Angeles, CA, pub., the full sheet Edition 159/250, signed and dated in pencil lower right: Ed Ruscha, with the blindstamps for Gemini G.E.L., numbered in pencil lower left 11.75” H x 15” W

(b. 1937, American) “There and Here, State Color lithograph on pap Edition 4/40, signed an 23.5” H x 32” W

Edward Ruscha

$2,500-3,500 Literature: Gemini, 2022

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Edward Ruscha

$5,000-7,000

I,” 2007 per under Plexiglas, Hamilton Press, Venice, CA, pub., the full sheet nd dated in pencil lower right: Ed Ruscha, numbered in pencil lower left, with the blindstamp for Hamilton Press

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1025

Edward Ruscha

(b. 1937, American) “There and Here, State II,” 2007 Color lithograph on wove paper under Plexiglas, Hamilton Press, Venice, CA, pub., the full sheet Edition 4/40, signed and dated in pencil lower right: Ed Ruscha, numbered in pencil lower left, with the blindstamp for Hamilton Press 23.25” H x 32” W $5,000-7,000

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1026

Edward Ruscha

(b. 1937, American) “Made in California,” 1971 Color screenprint on Arches paper under Plexiglas, Grunewald Graphic Arts Foundation, University of California, Los Angeles, pub., Cirrus Editions, Los Angeles, CA, prntr., the full sheet Edition 66/100, initialed, dated and numbered in pencil lower left: E.R., with the blindstamp for Cirrus Editions, watermark for Arches lower edge center 20” H x 28” W $50,000-70,000

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1027

Andre Masson

(1896-1987, French) “Aeneas and His Children” (from the “Flight” portfolio), 1966 Color lithograph on paper under glass, International Rescue Committee, New York, pub., Mourlot, Paris, prntr. Edition 21/250, signed in pencil lower right: Andre Masson, numbered in pencil lower left Sheet: 25.5” H x 19.75” W $500-700 Provenance: Distinguished Los Angeles Collection Notes: The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1028

Edouard Pignon

(1905-1993, French) Untitled (from the “Flight” portfolio) 1967, 1971 Color lithograph on Arches paper, International Rescue Committee, New York, pub., Mourlot, Paris, prntr. Edition 21/250, signed and dated in pencil lower right: Pignon / 67, numbered in pencil lower left, watermark for Arches lower edge center 19.75” H x 25.5” W $400-600 Provenance: Distinguished Los Angeles Collection Notes: The original sleeve from the “Flight” portfolio accompanies this lot. The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1029

Alexander Calder

(1898-1976, American) Untitled (from the “Flight” portfolio), 1971 Color lithograph on Arches paper under glass, International Rescue Committee, New York, pub., Mourlot, Paris, prntr. Edition 21/250, signed in pencil lower right: Calder, numbered in pencil lower left, watermark for Arches right edge center Sheet: 26” H x 19.75” W $3,000-5,000 Provenance: Distinguished Los Angeles Collection Notes: The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1030

Fritz Wotruba

(1907-1975, Austrian) Untitled (from the “Flight” portfolio) 1969, 1971 Color lithograph on BFK Rives paper, International Rescue Committee, New York, pub., J.E. Wolfensberger, Zurich, prntr. Edition 21/250, signed in pencil lower right: F. Wotruba, numbered in pencil lower left, watermarks for Rives lower left and upper right 19.75” H x 25.75” W $800-1,000 Provenance: Distinguished Los Angeles Collection Notes: The original sleeve from the “Flight” portfolio accompanies this lot. The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints. w w w. j o h n m o r a n . c o m

1031

Maria Helena Vieira de Silva

(1908-1992, Portuguese) Untitled (from the “Flight” portfolio) 1968, 1971 Color lithograph on paper under glass, International Rescue Committee, New York, pub., Mourlot, Paris, prntr., 1968 Edition 21/250, signed in pencil lower right: Vieira de Silva, numbered in pencil lower left Sheet: 25.5” H x 19.75” W $800-1,000 Provenance: Distinguished Los Angeles Collection Notes: The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1032

Wifredo Lam

(1902-1982, Cuban) Untitled (from the “Flight” portfolio) 1967, 1971 Color lithograph on BFK Rives paper, International Rescue Committee, New York, pub., Mathieu, Zurich, prntr. Edition 21/250, signed in pencil lower right: W. Lam, numbered in pencil lower left, watermarks for Rives lower right and upper left 25.5” H x 19.75” W $800-1,200 Provenance: Distinguished Los Angeles Collection Notes: The original sleeve from the “Flight” portfolio accompanies this lot. The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints. w w w. j o h n m o r a n . c o m

1033

Jacques Lipchitz

(1891-1973, American) Untitled (from the “Flight” portfolio), 1970 Color lithograph on paper under glass, International Rescue Committee, pub. Edition 21/250, signed in pencil lower right: J. Lipchitz, numbered in pencil lower left Sheet: 25.5” H x 20” W; Sight: 20” H x 16” W; Image: 18.5” H x 14” W $600-800 Provenance: Distinguished Los Angeles Collection Notes: The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1034

Eugene Berman

(1899-1972, American) Untitled (from the “Flight” portfolio) 1967, 1971 Color lithograph on C.M. Fabriano paper, International Rescue Committee, New York, pub., Boula, Rome, prntr. Edition 21/250, signed in pencil lower right, numbered in pencil lower left, watermark for Fabriano lower left 25.5” H x 19.75” W $600-800 Provenance: Distinguished Los Angeles Collection Notes: The original sleeve from the “Flight” portfolio accompanies this lot. The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints. w w w. j o h n m o r a n . c o m

1035

Adolph Gottlieb

(1903-1974, American) Untitled (from the “Flight” portfolio)1969, 1971 Color lithograph on Arches paper under glass, International Rescue Committee, New York, pub., Mourlot, Paris, prntr., 1971 Edition 21/250, signed and dated in pencil lower left: Adolph Gottlieb, numbered in pencil lower right Sheet: 25.75” H x 19” W $3,000-5,000 Provenance: Distinguished Los Angeles Collection Notes: The Flight exhibition comes from a portfolio of prints organized by Varian Fry in 1964 and completed in 1971. Based on the theme of flight to reflect the plights of refugees and the hope of a new life, Flight is comprised of eleven original lithographs and one original serigraph by twelve internationally renowned artists. All plates were destroyed after the artist printing and include a variety of illustrations from abstraction to figurative works; the portfolio consists of 250 signed and numbered prints.

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1036

Adolph Gottlieb

(1903-1974, American) Untitled (For the Benefit of Phoenix House), 1972 Etching and aquatint in colors on wove paper under Plexiglas, Brooke Alexander Editions, New York, pub., with full margins Edition 3/125, signed and dated in pencil lower left: Adolph Gottleib, numbered in pencil lower right Sheet: 32” H x 24” W; Plate: 23.5” H x 17.75” W $3,000-5,000

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1037

Roy Lichtenstein

(1923-1997, American) “De Denver au Montana, Départ 27 Mai (II) 1972,” 1992 Color etching and aquatint on paper under Plexiglas, Les Editions du Solstice Paris, pub., Atelier Dupont-Visat, l’Inéditeur, Paris, prntr. Edition XXXVIII/XLV, initialed in pencil in the margin lower right, numbered in pencil in the margin lower left Sight: 16” H x 12” W; Image: 14.5” H x 11” W $5,000-7,000 Provenance: Martin Lawrence Gallery Literature: Corlett, 276

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1038

Pablo Picasso

(1881-1973, Spanish) “Dove of Peace,” circa 1961 Offset lithograph on paper under glass Edition 111/150, signed lower right: Picasso Sight: 18.5” H x 14.5” W; Sheet: 20” H x 15.25” W $3,000-5,000

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The Blake Byrne Collection 1039

Niki de Saint Phalle

(1930-2002, French) “Parfum Art Reve,” circa 1984 Color screenprint on paper Edition of 500, signed in the plate lower center 28” H x 22” W $500-700 Provenance: The Blake Byrne Collection Notes: By default, an artist without formal training is categorized as an outsider, however the international recognition gained by Niki de Saint Phalle (1930-2002) proved that she was more than qualified to join the fold of established artists. Phalle was a French American visual artist whose work crossed medium thresholds seamlessly, however she is primarily known as a sculptor of curvaceous female forms who embody a spirit of liberation and pure joy. Ever vibrant in color her exuberant giant sculptures are whimsical but rooted in deeper themes of politics, feminism, diversity, and inclusivity.

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1040

Niki de Saint Phalle

(1930-2002, French/American) “Nana Gonflable,” 1968 Printed plastic Signed and dated: Nana by Niki / T.M. / Niki de Saint Phalle / 1968; Further signed in ball point pen 20” H x 20” W approximately $600-800 Notes: By default, an artist without formal training is categorized as an outsider, however the international recognition gained by Niki de Saint Phalle (1930-2002) proved that she was more than qualified to join the fold of established artists. Phalle was a French American visual artist whose work crossed medium thresholds seamlessly, however she is primarily known as a sculptor of curvaceous female forms who embody a spirit of liberation and pure joy. Ever vibrant in color her exuberant giant sculptures are whimsical but rooted in deeper themes of politics, feminism, diversity, and inclusivity.

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The Blake Byrne Collection 50

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1041

Monique Prieto

(b. 1962, American) “Wistfull III,” 1998 Color etching and aquatint on rag paper under Plexiglas Edition 14/25, signed and dated in pencil lower right: Prieto / 98, numbered in pencil lower left, titled on a gum label affixed to the backing paper 20” H x 25” W $400-600 Provenance: The Blake Byrne Collection

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1042

Ai Weiwei

(b. 1957, Chinese) “Swatter,” 2007 Gilt brass Signed and editioned: AI / Edition for Parkett 81 / No. XXI-XXV .25” H x 21.25” W x 4.375” D $12,000-18,000 Provenance: Sale: Parkett Art Editions, New York, NY, June 11, 2014 The Blake Byrne Collection Notes: Contemporary artist and activist Ai Weiwei (b. 1957, Chinese) has been referred to as Chinaís most dangerous man because of his openly controversial opinions of the Chinese government. In 2011 the police arrested Ai Weiwei on questionable charges of tax evasion. His wife and several staff members were also placed in temporary custody and the computers and hard drives in his studio were confiscated by no less than 50 officers. After 3 months of being detained and international protests made on his behalf, the artist was finally released. Ai Weiwei learned at a very early age the power of art and how it can shape new ways of thinking from his father, Ai Qing, who was a famous Chinese poet. Despite his arrest, he continues to use his practice to challenge the Chinese government and to call attention to human rights issues in his country.

The Blake Byrne Collection

Ai Weiweiís work falls into the category of Excessivism, a relatively new art movement that refers to pieces made with a deep consideration of every facet of life, often focused on a personís desire for more than what is necessary. It is also represented in the excessive use of resources in an embellished way as seen in Swatter, a fly swatter made of 14k gold.

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Robert Mapplethorpe (1946-1989, American)

Few artists have commanded the medium of blac The subjects of his nude, often homoerotic portra

Professional fitness instructor, Ken Moody, was M subjects. Their relationship was strictly profession camera.

Mapplethorpe did not aspire to be a political act The Perfect Moment. The imagery was so shockin as to whether controversial artwork should be pu composition of Robert Mapplethorpeís photogra

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ck and white photography better than Robert Mapplethorpe (1946-1989, American). aits, ranged from movie stars and musicians to the BDSM subculture scene in New York City.

Mapplethorpeís muse from 1983-1985 and was photographed more than any of his other nal despite Mapplethorpeís reputation for engaging in relations with his subjects beyond the

tivist, but in 1989, political controversy found him through his touring solo exhibition, ng that it triggered a national debate, from private living rooms to the Congressional floor, ublicly funded. One thing that is never in question however is the superior quality and aphy.

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1043

Robert Mapplethorpe

(1946-1989, American) “Ken Moody,” 1984, printed later Gelatin silver print Edition 1/10, titled and dated verso, dated again on the Estate of Robert Mapplethorpe stamp verso Image: 15” H x 15” W; Sheet: 19.75” H x 15.75” W $7,000-9,000 Provenance: Sean Kelly Gallery, New York, NY Mark Selwyn Fine Art, Beverly Hills, CA The Blake Byrne Collection Exhibitions: Los Angeles, CA, Los Angeles Metropolitan Medical Center, “Human Condition (organized by John Wolf),” October 1 - November 30, 2016 John Wolf Gallery, Los Angeles, CA, “Secret Gay Box,” at the Tom of Finland Foundation, October 12 - November 17, 2018

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1044

Miguel Ortiz Berrocal

(1933-2006, Spanish) “Otto y Otra,” 1987 Patinated bronze Each signed and editioned: Berrocal / 413-999 Larger: 4.875” H x 2.5” W x 2.25” D $1,000-1,500

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1045

Janet Turner

(1914-1988, American) “Yesterday’s Home” Color screenprint laid to board under glass Edition of 25, signed lower right: Janet Turner, titled lower left, numbered lower center, unidentified exhibition label attached to the backing paper Sight: 16.75” H x 11.25” W; Image: 16.25” H x 10.75” W $700-900

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1046

1047

(b. 1946, American) “Juliet,” 2002 Patinated bronze on marble base Signed, dated, and editioned: R. MacDonald / ‘02 / 30-90 20” H x 17.5” W x 9.5” D

(b. 1946, American) “The Rose,” 1995 Patinated bronze on marble base Signed, dated, and editioned: R. MacDonald / 199 18” H x 13.5” W x 7” D

Richard MacDonald

$3,000-5,000

$2,000-3,000

Provenance: Private Collection, San Mateo, CA

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95 / 149-175

1048

Richard MacDonald

(b.1946, American) “The Pillow” Patinated bronze on marble base Signed and editioned: R. MacDonald / 2-6 11” H x 14” W x 9” D $2,000-3,000 Provenance: Private Collection, San Mateo, CA

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1049

Barry Jackson

(b. 1949, South African) Crocodile Patinated bronze on wood base Signed and editioned: Barry Jackson / 5-10 9.5” H x 35” W x 16” D $3,000-4,000

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The Blake Byrne Collection 1050

Maria Simonds-Gooding

(b. 1939, Irish) “An Toileanach - Interior” Etching on paper under Plexiglas Edition 4/65, signed, titled and numbered in pencil lower margin Sight: 9” H x 12.25” W $300-500 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 1051

Kim Jones

(b. 1944, American) Untitled, 1974-2006 Photograph with touches of acrylic and ink on Kodak Royal paper Signed and dated verso: Kim Jones 18” H x 12” W $1,200-1,800 Provenance: The Blake Byrne Collection

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1052

Richard Haas

(b. 1936, American) “Donald Judd’s Building II,” 1970 Etching on wove paper under glass, with full margins, Richard Haas, pub. Edition AP (from an edition of 20), signed in pencil lower right: Richard Haas, titled and dated in pencil lower left, editioned in pencil lower center. Sheet: 20.75” H x 23.25” W; Sight: 16.75” H x 19.5” W; Image: 16” H x 19” W $1,500-2,500

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1053

Joseph Cornell

(1903-1972, American) Untitled (Derby Hat) from Prints for Phoenix House, 1972 Color heliogravure on Rives BFK paper under Plexiglas, Brooke Alexander, New York, pub., the full sheet Edition 67/125, estate ink stamp signature and estate blindstamp lower right, numbered in pencil lower left Sheet: 19.75” H x 15” W; Image: 13.25” H x 10.25” W $800-1,200

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The Blake Byrne Collection 1054

Edward Garran

(20th Century) “Baker, Bikini Atoll - A-Bomb Test (sequence),” 1946, printed later Silver gelatin print triptych under Plexiglas Appears unsigned, titled on a gallery label affixed to the back mat Each photo: 10.25” H x 19” W; Sight of each: 9” H x 17.5” W $1,000-1,500 Provenance: Galerie Daniel Blau, Munich, Germany The Blake Byrne Collection

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1055

Mark Lere

(b. 1950, American) “Untitled #2,” 1988 Cast bronze Edition 2/3, appears unsigned 111” H x 6” Dia $2,000-4,000 Provenance: Sale: Margo Leavin Gallery, West Hollywood, CA, December 21, 1988 The Blake Byrne Collection

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1056

Scott McFarland

(b. 1975, Canadian) “Yucca Filfera,” 2005 Inkjet print on paper under Plexiglas Appears unsigned, titled and dated on a gallery label affixed to the backing board Sheet: 28” H x 24” W; Image: 16.25” H x 13” W $1,000-1,500

The Blake Byrne Collection

Provenance: Regen Projects, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 1057

Martin Kippenberger

(1953-1997, German) “Vom Erzeuger Zum Verbraucher,” 1990 Printed in offset, paper, cardboard, and resin Signed, dated, and editioned: [Illegible] / 1990 / 8-34 Announcement card: 4.25” H x 5.875” W; Box: .75” H x 4.375” W x 2.625” D $1,000-2,000 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 1058

Jim Hodges

(b. 1957, American) “Four Letters,” 1994 Paper, ribbon, and stickers Signed, dated, and inscribed: Jim Hodges / 1994 / Petra Holtzman Multiples Ltd; Edition 93/250 11.375” H x 8.875” W $1,500-2,000 Provenance: The artist The Blake Byrne Collection, acquired from the above December 31, 1999

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The Blake Byrne Collection

The Blake Byrne Collection 1059

1060

(b. 1952, Italian) “Sorrow,” 1994 Photo-etching on handmade Richard de Bas paper, Parkett, Zurich, pub., Peter Kneub¸hler, Zurich, prntr. Edition 60/60, signed verso: Francesco Clemente Sheet: 11.75” H x 8.25” W

(b. 1965, French) “Stella Plage,” 1995 Color photograph on pap Edition 2/3, signed on the Sight: 7.5” H x 9.25” W

Francesco Clemente

$500-700 Provenance: The Blake Byrne Collection Literature: Parkett, 40/41.

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Frederic Lefever

$600-800

Provenance: Gabrielle Ma The Blake Byrne Collectio

per e backing board: Lefever, titled on a gallery label affixed to the backing board

aubrie Galerie, Paris, France on

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The Blake Byrne Collection 1061

Bruce Nauman

(b. 1941, American) “Verso Recto (State I),” 1998 Lithograph and screenprint on Lana Gravure paper, Gemini G.E.L. Los Angeles, pub., with full margins Edition 25/50 (there were also ten artist’s proofs), signed, dated and numbered in pencil lower right: B. Nauman / 98, and with the blindstamps for Gemini G.E.L., wetstamped for Gemini G.E.L. and numbered verso: BN98-3266A Sheet: 22.25” H x 28.5” W; Image: 18” H x 23.75” W $2,000-3,000 Provenance: The Blake Byrne Collection Literature: Gemini, 1752

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1062

Sharon Lockhart

(b. 1964, American) “Maria da ConceiÁ„o Pereira de Souza with the Fruits of the Island of Ape˙-Salvador, Par·, Brazil,” 1999 Chromogenic print on paper laid to card under glass Edition PP, signed, dated, and editioned on the backing board, cover image for the book, “Teatro Amazonas” Sheet: 14” H x 11” W; Image: 12” H x 9.5” W $2,000-4,000 Notes: A signed copy of the book, “Teatro Amazonas,” published by The Museum Boijmans Van Beuningen, Rotterdam, as well as a copy of the book, “Sharon Lockhart,” published by the Museum of Contemporary Art, Chicago, accompanies this lot.

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The Blake Byrne Collection 1063

Ken Lum

(b. 1956, Canadian) Untitled, 1995 Cibachrome and iris prints on paper under Plexiglas Edition 5/6, appears unsigned, dated on a gallery label affixed to the backing paper 36” H x 21.25” W $1,200-1,800 Provenance: Paula Cooper Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 1064

Yoshitomo Nara

(b. 1959, Japanese) Untitled (blurred dog), 1998 C-print on Kodak Endura paper Edition 3/10, signed, dated, and numbered verso 18” H x 22” W $1,000-2,000 Provenance: Blum & Poe, Tokyo, Japan The Blake Byrne Collection

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1065

Charles Aurthur Arnoldi

(b. 1946, American) Three potatoes Bronze Signed and numbered: Arnoldi / 97 55; Edition 13/97 8.5” H x 6.5” W x 4” D $1,000-1,500

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The Blake Byrne Collection 1066

Bill Jacobson

(b. 1955, American) “Song of Sentient Beings #1596,” 1995 Silver gelatin print Edition A/P, signed, titled, and dated verso: Bill Jacobson Image: 22.75” H x 18.25” W; Sheet: 23.75” H x 19.75” W $800-1,200 Provenance: Julie Saul Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 1067

Marlene Dumas

(b. 1953, South African) “Fog of War (portfolio),” 2006 The complete portfolio of four digital color prints, including text by the artist, on Hahnemuhle paper in the original heavy card folio, Marcel Kalksma, Amsterdam, pub./prntr., the full sheets Edition 41/80, each print signed, dated and titled in pencil in the lower margin Each print: 17.75” H x 13.75” W $6,000-8,000 Provenance: The artist The Blake Byrne Collection, acquired directly from the above

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The Blake Byrne Collection 1068

Marlene Dumas (b. 1953, South African) Rita McBride (b. 1960, American) “Future Risk,” 2005 Etching on paper An edition of 275, signed and titled in pencil lower margin: R. McBride / M. Dumas 11.25” H x 14.25” W $1,500-2,000 Provenance: The Blake Byrne Collection Notes: Limited edition for Mr. Blake Byrne’s birthday (Los Angeles, 2005).

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The Blake Byrne Collection 1069

Rita McBride

(b. 1960, American) “Untitled (Rattan House),” 1992 Rattan Unsigned Each: 12” H x 7.75” W x 15.125” D $500-700 Provenance: Margo Leavin Gallery, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 1070

Rita McBride (b. 1960, American) Two Works “4404 (Mini Manager),” 2004 Powder coated aluminum Edition 4/5, unsigned 5” H x 9.5” W x 1.375” D “6404 (Mini Manager),” 2004 Powder coated aluminum Unsigned 7” H x 4.25” W x 2.375” D $2,000-4,000 Provenance: Alexander & Bonin, New York, NY The Blake Byrne Collection

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1071

Rita McBride

(b. 1960, American) “Parking Structure Interior,” 1997 Bronze Edition 1/3, unsigned 24” H x 34” W x 12” D $7,000-9,000 Provenance: Alexander & Bonin, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 1072

Mona Hatoum

(b. 1952, Palestinian) “Medal of Dishonour,” 2008 Bronze Signed, dated, and editioned: MH / 2008 / 8-12 2.5” Dia. $15,000-20,000 Provenance: Sale: Galerie Max Hetzler, June 16, 2010 The Blake Byrne Collection

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The Blake Byrne Collection 1073

Daniel Joseph Martinez

(b. 1957, American) “A Little Liberty,” 2012 18-Karat gold glazed ceramic Signed, dated, and editioned: Daniel Martinez / 2012 / 22-100; titled to box 14.375” H x 6.5” W x 3.5” D $1,000-2,000 Provenance: Roberts & Tilton Gallery, Culver City, CA The Blake Byrne Collection

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The Blake Byrne Collection 1074

Kori Newkirk

(b. 1970, American) “Assumption (PF),” 2001 Color photographs and acrylic on paper under glass Appears unsigned, titled and dated on a gallery label affixed to the backing board 40” H x 26” W $2,000-4,000 Provenance: Rosamund Felsen Gallery, Santa Monica, CA The Blake Byrne Collection

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1075

John Baldessari

(1931-2020, American) “Plant and Lamp (B+Y; Y+B),” 1998 Color lithograph on Coventry Vellum paper, Cirrus Editions, Los Angeles, CA, pub./prntr. Edition 64/65, signed and dated in pencil lower right: Baldessari / 98, numbered in pencil lower left, with the blindstamp for Cirrus Editions 17” H x 32” W $2,000-3,000

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The Blake Byrne Collection 1076

(1931-2020, American) “Two Opponents (Blue and Yellow),” 2004 Color screenprint on Rives BFK paper under Plexiglas, Gemini G.E.L., Los Angeles, CA, pub., the full sheet Edition 39/165, signed, dated and numbered in pencil lower center: Baldessari, blindstamps of Gemini G.E.L. lower right 12” H x 12” W

( “ S E S

John Baldessari

$4,000-6,000 Literature: Coplan-Hurowitz, 148

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1077

Wilhelm Sasnal

(b. 1972, Polish) “Posters,” 2003, set of 6 Screenprints on paper, Raster, Warsaw, pub. Each: Edition 78/100, signed and dated (three on the verso) Sheet of largest: 39” H x 23.5” W

$500-700

Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 1078

Francis Alÿs

(b. 1959, Belgian/Mexican) “Ghetto Collector,” 2003 Tin, magnets, plastic string, and rubber wheels Signed, dated, and editioned: Francis Alˇs / 03 / 53-99 6” H x 9.5” W x 5.5” D $1,500-2,000 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 1079

Los Carpinteros

(Founded 1991, Cuban) “Sandalia,” 2004 Cast rubber Edition 53/60; signed and dated: Habana / Los Carpinteros / Grahpicstudios / GS 1402 / 2004 Each: 12.75” H x 5.75” W x 2.75” D $800-1,200 Provenance: Sale: In Situ, Paris, France, March 15, 2006 The Blake Byrne Collection Notes: The cast rubber sandals feature relief maps of Havana neighborhoods on the soles.

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The Blake Byrne Collection

The Blake Byrne Collection 1080

1081

(b. 1947, American) “87, 63, 93/2000,” 1993-2000 Cibachrome on paper Edition 158/200, signed, titled, and numbered verso: L. Lawler / 93/00 Sheet: 10” H x 8” W; Image: 5” H x 4.25” W

(b. 1969, “A count Fuji crysta Edition 1/ 34” H x 4

Louise Lawler

Gerard B

$2,000-3,000

$1,000-2,

Provenance: Metro Pictures, New York, NY The Blake Byrne Collection

Provenan The Blake

Exhibition

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Byrne

Irish) try road, a tree, evening: Cruagh, on the road between Kilakee and Tibradden, Dublin Mountains,” 2006 al archive print mounted on Dibond /5, appears unsigned 43.25” W

,000

nce: Green on Red Gallery, Dublin, Ireland e Byrne Collection

ns: Dublin, Ireland, Red on Green Gallery, “Volta show 2 Basel,” June 14-18, 2006

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The Blake Byrne Collection 1082 Paul P.

(b. 1977, Canadian) Untitled (Smoking Boy), 2006 Drypoint and chine collÈ on paper under Plexiglas Edition 5/5, appears unsigned, numbered on the backing board 7.75” H x 10.5” W $1,000-1,500 Provenance: Marc Selwyn Fine Art, Beverly Hills, CA The Blake Byrne Collection

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The Blake Byrne Collection 1083

Markus Selg

(b. 1974, German) “Delphi II,” 2007 Unique digital print on paper under glass Signed, dated and titled on the backing board 15.75” H x 13” W $700-900 Provenance: Daniel Hug Gallery, Los Angeles, CA Jack Tilton Gallery, New York, NY The Blake Byrne Collection

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108

Matt K

(b. 1976 “Kodak Color si Edition 63” H x

$1,000-

Provena The Bla

The Blake Byrne Collection 1085

Claude Closky

(b. 1963, French) “Portrait au 2 Julliet,” 2000 Lithograph on paper under glass Signed, titled, and dated on the backing board: Claude Closky 17.75” H x 24.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

Keegan

6, American) k 100,” 2007 ilkscreen on Coventry paper 3/3, signed, dated, and numbered verso: Matt K. x 46” W

-1,500

ance: Anna Helwig Gallery, Los Angeles, CA ake Byrne Collection w w w. j o h n m o r a n . c o m 1 0 3

The Blake Byrne Collection 1086

Yanai Toister

(b. 1977, Israeli) “Summer Palette #812,” 2007 Digital print on paper under Plexiglas Edition of 5, appears unsigned 47” H x 32” W $1,000-1,500 Provenance: Sandroni Rey Gallery, Los Angeles, CA Project Angel Food, Benefit Auction The Blake Byrne Collection

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The Blake Byrne Collection 1087

Charles Freger

(b. 1975, French) “Coiffe de Gouezec, Saint-Thois (1840-1900),” 2015 Inkjet print on Luster paper laid to aluminum under glass Edition 2/5, signed on an artist’s label affixed to the backing board: C. Freger 39.75” H x 30.25” W $7,000-9,000 Provenance: The Blake Byrne Collection

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1088

Doug Aitken

(b. 1968, American) “Sleepwalkers,” 2012 Books, a poster, a vinyl record, and compact discs in a box Edition 277/1000; Published and produced by Princeton Architectural Press and DFA Records 1.75” H x 12.75” W x 12.75” D $300-500 Provenance: Sale: Museum of Contemporary Art Los Angeles, January 15, 2017 The Blake Byrne Collection

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The Blake Byrne Collection 1089

Gerhard Richter

(b. 1932, German) “Flow (P-4),” 2014 Diasec-mounted chromogenic print on aluminum, Heni Productions, London, pub. Edition 408/500, appears unsigned, numbered verso, titled on an artist’s label verso 17.75” H x 17.75” W $5,000-7,000 Provenance: Fondation Beyler, Basel, Switzerland The Blake Byrne Collection

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The Blake Byrne Collection 1090

Gerhard Richter

(b. 1932, German) “Flow (P-6),” 2013 Diasec-mounted chromogenic print on aluminum, Heni Productions, London, pub. Edition 408/500, appears unsigned, numbered verso, titled on an artist’s label verso 17.75” H x 17.75” W $5,000-7,000 Provenance: Fondation Beyler, Basel, Switzerland The Blake Byrne Collection

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The Blake Byrne Collection 1091

Sherrie Levine

(b. 1947, American) “Mother of Us All,” 2007 Inkjet print on archival paper Edition 7/50, signed, dated, titled and numbered in pencil verso: Sherrie Levine 13” H x 19” W $1,000-1,500 Provenance: The Little Opera Theatre of New York The Blake Byrne Collection

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The Blake Byrne Collection 1092

Mark Wallinger

(b. 1959, English) “The White Horse,” 2011 Polyester resin and white chalk powder Edition 4/30, unsigned 7.5” H x 10.375” W x 2.5” D $3,000-5,000 Provenance: Anthony Reynolds Gallery, London, England The Blake Byrne Collection

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1093

Cristina Iglesias

(b. 1956, Spanish) “Untitled (Habitation XIII),” 2002 Silkscreen on aluminum Edition 52/200, signed, dated, and titled verso: Cristina Iglesias 14.75” H x 19.75” W $2,000-4,000

The Blake Byrne Collection

Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 1094

Mark Dion

(b. 1961, American) “Fragments of Travel, Exploration and Adventure,” 2007 Illustrated book with tipped-in and loose lithographs and digital prints in a canvas-bound hard jacket Signed and dated: M. Dion / 2007; Edition 34/36; Publisher: Christophe Daviet-Thery, Paris; Printer: Arte Print, Brussels Overall book: 12.625” H x 10.25” W x .875” D $3,000-5,000 Provenance: Sale: Galerie Christophe Daviet-Thery, Paris, France The Blake Byrne Collection Notes: This lot is accompanied by a personalized note and sticker from the publishing house.

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The Blake Byrne Collection 1095

Jeff Koons

(b. 1955, American) “Balloon Dog (Yellow),” 2015 Limoges porcelain painted in chrome Signed, dated, and numbered: Jeff Koons / Limited Edition / Fine Porcelain / Plate number 1382-2300 / ‘15 / Bernardaud; titled to verso 10.5” H x 10.5” W x 5” D $5,000-7,000 Provenance: Sale: Museum of Contemporary Art Los Angeles, November 2, 2016 The Blake Byrne Collection Notes: This lot is accompanied by a certificate and pamphlet from Bernardaud.

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1096

Jeff Koons

(b. 1955, American) “Cracked Egg (Red),” 2008 Chromed metal and paper Edition of 1000, unsigned 3.875” H x 2.375” W x 2.375” D $2,000-3,000 Provenance: The Blake Byrne Collection Notes: “Cracked Egg (Red)” was issued on behalf of the Los Angeles County Museum of Art as an invitation for the opening gala of The Broad Contemporary Art Museum on February 9, 2008.

The Blake Byrne Collection 1097

MP & MP Rosado

(b. 1971, Spanish) “Con un ojo en la puerta,” 2003 Digital print and gouache on paper under Plexiglas Signed and dated lower right: MP & MP Rosado, titled on a gallery label affixed to the backing board 24.5” H x 32.25” W $600-800 Provenance: Galeria Pepe Cobo, Seville, Spain The Blake Byrne Collection Notes: Miguel Pablo and Manuel Pedro Rosado live and work in Seville, Spain. They are twin brothers who work under the name MP & MP Rosado.

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The Blake Byrne Collection 1098

MP & MP Rosado

(b. 1971, Spanish) “Con un ojo en la puerta,” 2003 Digital print and gouache on paper under Plexiglas Signed and dated lower right: MP & MP Rosado, titled on a gallery label affixed to the backing board 24.75” H x 32.25” W $600-800 Provenance: Galeria Pepe Cobo, Seville, Spain The Blake Byrne Collection Notes: Miguel Pablo and Manuel Pedro Rosado live and work in Seville, Spain. They are twin brothers who work under the name MP & MP Rosado.

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The Blake Byrne Collection 1099

Kevin Appel

(b. 1967, American) “Garden,” 2000 Color lithograph on paper Edition 15/50, signed, titled, dated and numbered verso: Kevin Appel 16” H x 23” W $400-600 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 1100

Joan Jonas

(b. 1936, American) “Bat. 1 (Dante),” 2009 Print on watercolor paper Edition 39/130, signed and numbered in pencil verso: Joan Jonas 11.5” H x 8.25” W $500-700 Provenance: Yvon Lambert, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection

The Blake Byrne Collection 1101

1102

(b. 1969, American) Untitled (Solarization), 2010 Solorized silver gelatin photograph on paper under glass Appears unsigned Sheet: 10” H x 8” W; Sight: 6.5” H x 5” W

(b. 1972, Polish) “Tarnospin,” 2003 Silkscreen on paper la Edition 2/10, signed, d Overall: 12.25” H x 17

Anthony Pearson

Wilhelm Sasnal

$600-800

$300-500

Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection

Provenance: Galerie C The Blake Byrne Colle

1 2 2 Pr i nt s & M u l t i p l e s l We d ne sd ay, J u n e 9 , 2 0 2 1

aid to cardboard in a bi-fold folder dated and numbered on the back cover 7.75” W

Christophe Daviet-Thery, Paris, France ection

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1103

Chris Johanson

(b. 1968, American) “Sun Power,” 2001 Xerox book on paper Signed and dated in the plate inside the back cover: Chris Johanson 8.5” H x 5.5” W $200-400

The Blake Byrne Collection

Provenance: Galerie Christophe Daviet-Thery, Paris, France The Blake Byrne Collection

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Consign Today

Contemporary | September 2021 Peter Tunney (b. 1961, American) “THE TRUTH ALWAYS HAPPENS,” 2018

Price Realized: $7,150.00

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 1 2 6 P r i nt s & Mu l t i p l e s l We d ne sd ay, J u n e 9 , 2 0 2 1

Made In Mexico | August 2021

Alfredo Ramos Martinez (1871-1946, Mexican) “Jesus and Mary - The Crucifiction” Conté crayon and pastel on paper, 48.5” H x 38” W $30,000-50,000 Consignment and Auction Inquiries: marandam@johnmoran.com

bid in person - absentee - telephone - live online

Condition Reports

Consign Today

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

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Condition

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n Reports

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1001 Generally good condition. The lower edge of the paper is deckled. Hinged to the recto mat with artist’s tape along the upper and lower edges. Frame: 30.5” H x 26.5” W x 2” D 1002 Generally good condition. Not examined out of the frame. Frame: 37.5” H x 31.5” W x 1.5” D 1003 Mat burn along the four edges. The right edge of the paper is deckled. A 2” scattered scratch to the paper upper edge right. A 3” light crease lower left corner. A series of .5” indentations to the paper right edge center. Minor handling creases scattered along the lower edge and left edge center. Hinged to the recto mat with three pieces of artist’s tape along the upper edge. Frame: 32.75” H x 26.75” W x 1.25” D 1004 Generally good condition. Minor toning to the paper. A very light indentation in the paper across the entire center. The upper and right edges of the paper are deckled. Hinged to the recto mat with artist’s tape along the four edges. Frame: 36” H x 26” W x 2” D

Condition Reports

1005 Overall good condition with scattered minor scuffs, inherent firing flaws, and glaze imperfections commensurate with age. Scattered minor chips along edge, largest is .375”.

130

1006 Overall good condition with scattered minor scuffs, inherent firing flaws, and glaze imperfections commensurate with age. 1007 Overall good condition with scattered minor scuffs, inherent firing flaws, and glaze imperfections commensurate with age. Mounted in an acrylic case.

1008 Generally good condition. Toning to the paper. Mat burn along the four edges. Artist’s pinholes upper center and lower center. Tiny scuff to the paper lower right. Hinged to the recto mat with tape along the upper edge. Frame: 16.5” H x 14.75” W x 1” D 1009 Generally good condition. Minor toning to the paper. Mat burn along the four edges. The paper with deckled edges. Tape remnants from a previous mounting remain along the four edges verso. The paper has skimming scattered along the perimeter verso from a previous mounting. Hinged to the mat with three pieces of artist’s tape along the upper edge. Frame: 26” H x 33” W x 1” D 1010 Generally good condition. Minor toning to the paper. A few tiny pindots of staining scattered throughout the margins. The lower edge of the paper is deckled. Hinged to the back mat with linen hinge tape in the upper corners. Frame: 37” H x 49” W x 1.5” D

1011 Generally good condition. Minor toning to the paper. Not examined out of the frame. Frame: 22” H x 18” W x 1.25” D 1012 Generally good condition. Minor toning to the paper. Minor crease to the paper in the lower right corner. Minor dirt and grime scattered throughout. The paper is mounted to the back mat. Not examined out of the glass. Unframed under glass. 1013 Generally good condition. Isolated tiny nicks and discoloration scattered along the four edges. Not examined out of the frame. Frame: 10” H x 8” W x .25” D

1014 Toning to the paper. The paper with a deckled left edge. Small spots of foxing throughout. Small creases to the paper upper right. The paper is slightly rippled along the left and right edges. Not examined out of the frame.

1021 Generally good condition. A 1” minor fold to the lower right corner.

Frame: 10” H x 8” W x .25” D

1022 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

1015 Each: Generally good condition. Framed floating and hinged to the back mat. Frame of each: 15” H x 12” W x 1.25” D 1016 Generally good condition. Mounted in the four corners with pocket corners.

Frame: 28.5” H x 39.5” W x 1” D 1023 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 16.25” H x 19.75” W x 1” D

Frame: 26.25” H x 29.75” W x 2” D 1017 Generally good condition. Minor toning to the paper. Hinged to the recto mat with artist’s tape along the upper edge.

1024 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 26” H x 34.5” W x 1.5” D

Frame: 21.5” H x 18.25” W x .75” D

Frame: 43.5” H x 30.5” W x 1.5” D 1019 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Minor imperfection to bronze on front dating to the time of manufacture. Onyx base with minor chipped abrasions along edges and paper layer to underside. With base: 11.25” H x 12.25” W x 8.75” D 1020 Generally good condition. The left edge of the paper is deckled. Frame: 30.5” H x 22.5” W x 1.5” D

1025 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 25.75” H x 34.5” W x 1.5” D 1026 Generally good condition. A few minor, unobtrusive handling creases lightly scattered throughout. The paper with deckled edges, framed floating and hinged to the back mat. Not examined out of the frame. Frame: 22.5” H x 30.5” W x 1.5” D 1027 Generally good condition. Toning to the paper. Hinged to the recto mat with three pieces of cloth tape along the upper edge. Frame: 30.25” H x 24.25” W x .75” D

Condition Reports

1018 Generally good condition. Toning to the paper. The lower edge of the paper is deckled. Two .25” scratches to the paper upper center. A 2” scratch to the paper lower right edge. Hinged to the recto mat with tape along the upper edge.

131

1028 Generally good condition. The paper has a crease .25” from the upper edge that runs the length of the paper. The left and right edges of the paper are deckled. Minor, unobtrusive handling creases lightly scattered throughout. The paper is loose, not mounted. Unframed. Portfolio sleeve: 28” H x 21” W 1029 Generally good condition. Toning to the paper. Adhesive residue and scattered skimming of the paper along the four edges verso from a previous mounting. The right edge of the paper is deckled. Hinged to the recto mat with three pieces of artist’s tape along the upper edge. Frame: 30.25” H x 23.25” W x 1” D 1030 Generally good condition. The paper with deckled edges. Minor, unobtrusive handling creases lightly scattered throughout. The paper is loose, not mounted. Unframed.

1034 Generally good condition. The paper with deckled edges. Minor, unobtrusive handling creases lightly scattered throughout. The paper is loose, not mounted. Unframed. Portofolio sleeve: 28” H x 21” W 1035 Generally good condition. Minor toning to the paper. The paper with the right edge deckled. Hinged to the recto mat with three pieces of cloth tape along the upper edge. Frame: 31.25” H x 25.25” W x .75” D 1036 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 34.75” H x 26.75” W x 1” D 1037 Generally good condition. Hinged to the recto mat with archival tape in the upper corners.

Condition Reports

Frame: 24.75” H x 20.75” W x 2.25” D

132

1031 Generally good condition. Toning to the paper. Skimming to the paper along the upper edge in three spots verso from a previous mounting. Toning visible along the four edges from a previous matting. Hinged to the recto mat with artist’s tape along the upper edge.

1038 Generally good condition. Minor toning to the paper. Mounted to the recto mat with archival tape along the left, right and upper edges. Tape remnants from a previous mounting remain along the three edges.

Frame: 30.25” H x 24.25” W x .75” D

Frame: 31” H x 27” W x 1.5” D

1032 Generally good condition. The paper is creased along the entire left edge. A 9” crease along the upper right edge. Minor, unobtrusive handling creases lightly scattered throughout. The paper with deckled edges. The paper is loose not mounted.

1039 Generally good condition. Spots of grime along the upper right edge. Handling creases scattered throughout. The paper is loose, not mounted.

Unframed. 1033 Generally good condition. A .75” light handling crease upper right edge. A .5” crescent-shaped light handling crease lower edge right. A few tiny spots of yellow staining lower left corner. Hinged to the recto mat with artist’s tape along the four edges. Frame: 28.25” H x 24.25” W x .75” D

Unframed. 1040 Overall good condition with scuffs and dust accumulation commensurate with age. Mounted in an acrylic case. Case with scattered scratches and scuffs, including a 15” scratch to front.

Frame: 23” H x 27.75” W x 2” D 1042 Overall good condition with light tarnishing commensurate with age. Includes storage box. 1043 Generally good condition. Mounted to the board with pocket corners. Frame: 24.25” H x 22.25” W x 1.5” D 1044 Each overall good condition with minor scuffs, rubbed wear, and oxidation to bronze commensurate with age. 1045 Generally good condition. Laid to board as stated. Toning to sheet. Losses to left margin, likely from adhesive of prior framing, not affecting image. Board adhered to recto mat along all four edges with masking tape. Frame: 24” H x 18.25” W x 1.25” D 1046 Overall good condition with minor scuffs and darkening to bronze commensurate with age. With base: 23.75” H x 19” W x 9.5” D 1047 Overall good condition with minor scuffs and darkening to bronze commensurate with age. With base:19.5” H x 15” W x 8” D 1048 Overall good condition with minor scuffs and darkening to bronze commensurate with age. Marble base with a .5” chip to back right corner and a .375” chip to front left corner. With base: 13.5” H x 17.5” W x 10.5” D

1049 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Wood base with scattered scuffs, scratches, and felt pad to underside. 1050 Generally good condition. A tiny dot of light yellow staining left margin center. Not examined out of the frame. Frame: 17.5” H x 21” W x 1.5” D 1051 Generally good condition. Unframed. 1052 Generally good condition. Minor toning to the paper. Two spots of skimming upper center and lower center from a previous mounting. Hinged to the mat with paper tape along the upper edge. Frame: 23” H x 25.75” W x 1” D 1053 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 20.75” H x 16” W x 1.5” D 1054 Generally good condition. The first with a 1.5” crease upper right. The third with a 6” crease upper right and a 1” crease upper center. Isolated light handling creases scattered throughout. Hinged to the back mat with plastic pocket corners. Frame: 15” H x 61.75” W x 1.25” D 1055 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 1056 Generally good condition. Frame: 29.25” H x 25.25” W x 1.5” D

Condition Reports

1041 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

133

1057 Overall good condition with minor signs of handling and light bending to corners of paper commensurate with age. 1058 Overall good condition with very minimal wear to corners of papers commensurate with age.

1065 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 1066 Generally good condition. The paper is gently rippled along the upper and lower edges. Framed floating and hinged to the back mat. Frame: 29.25” H x 25.25” W x 1.75” D

1059 Generally good condition. Minor toning to the paper. A few small spots of staining lower right and upper center. The paper with deckled edges. The paper is loose, not mounted.

1067 Each: Generally good condition. The paper with deckled edges. The prints are loose, not mounted.

Unframed

Portfolio: 14.5” H x 18.5” W x .5” D

1060 Generally good condition. Not examined out of the frame.

1068 Generally good condition. The paper with deckled edges. Minor handling crease left edge center. The paper is loose, not mounted.

Frame: 17.25” H x 21.25” W x 1.75” D 1061 Visual: Generally good condition. The paper with deckled edges. Minor indentations to the paper along the upper edge corresponding with the hinges verso. Framed floating and hinged to the back mat with artist’s tape in three places along the upper edge. Frame: 24.5” H x 31.25” W x 1.75” D 1062 Generally good condition. A 1” dark mark in the margin lower left, not visible behind the matting. The paper is laid down as stated.

Unframed. 1069 Each overall good condition with dust accumulation commensurate with age. 1070 Each overall good condition with minor surface scratches commensurate with age. “6404 (Mini Manager)” with two minor imperfections in coating at mid-right dating to the time of manufacture. 1071 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

Condition Reports

Frame: 17.5” H x 15” W x 1.5” D

134

1063 Generally good condition. Light surface scratches to the three images. Not examined out of the frame. Frame: 37.25” H x 22.75” W x 1.5” D 1064 Generally good condition. Minor, unobtrusive handling creases scattered throughout. The paper is loose, not mounted. Unframed.

1072 Overall good condition with minor scuffs, scratches, and oxidation to bronze commensurate with age. With acrylic stand. 1073 Overall good condition with scattered minor surface scuffs and areas of darkening to gold commensurate with age. Includes original box.

Frame: 43.25” H x 29.5” W x 2” D 1075 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 19.25” H x 34” W x 1.5” D 1076 Generally good condition. Tiny crease to the lower left corner. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 15.25” H x 15.25” W x .75” D 1077 Each: Generally good condition. The paper is loose, not mounted. Some with very minor handling creases. The nude figures with damage to the paper lower center. Each: Unframed. 1078 Overall good condition with dust accumulation commensurate with age. Measurement does not include string length. 1079 Each overall good condition with dust accumulation commensurate with age. Scattered minor imperfections in rubber along Y-straps. 1080 Generally good condition. A small, unobtrusive handling crease upper center. The paper is loose, not mounted. Unframed.

1082 Generally good condition. A 1.5” thin ridge in the paper upper center. A .5” thin ridge in the paper lower center. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 15.5” H x 17.75” W x 1.25” D 1083 Generally good condition. Tiny bend to the lower left corner. Framed floating and hinged to the back mat with two pieces of linen tape along the upper edge. Frame: 18.5” H x 15.75” W x 1.25” D 1084 Generally good condition. Secured to the back mat with plastic pocket corners. Frame: 65.25” H x 48” W x .75” D 1085 Generally good condition. Not examined out of the frame. Frame: 18.25” H x 25” W x 1” D 1086 Generally good condition. Not examined out of the frame. Frame: 48.5” H x 32.5” W x 2” D 1087 Generally good condition. A series of tiny gouges to the paper along the lower edge and four along the right edge. Frame: 40.5” H x 31.25” W x 1.5” D 1088 Overall good condition with minor signs of wear/ handling commensurate with age, including: surface indentations, light creasing, minor bent corners, and scattered areas of scuffing to paper items; one flipbook with light wear to upper edge; minimal signs of scratches on compact discs and record; dust accumulation; and light scuffing to exterior box underside.

1081 Generally good condition. A 3” scattered light surface abrasion upper right.

1089 Generally good condition.

Unframed.

Condition Reports

1074 Generally good condition. The left and right edges of the paper are deckled. A .5” light yellow stain upper right. A tiny dot of light yellow staining upper left. Minor handling creases lightly scattered throughout. Framed floating and hinged to the back mat. Not examined out of the frame.

135

1090 Generally good condition. Unframed.

1098 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 34” H x 41.75” W x 1.75” D

1091 Generally good condition. Minor unobtrusive handling creases lightly scattered throughout. Indented in the paper in the upper right margin is the artist’s name, title, date and edition number transferred from the writing on the protective wrapping.

1099 Generally good condition. The paper with deckled edges. The upper right corner is creased. A series of light creases along the right edge. The paper is loose, not mounted.

Unframed.

1092 Overall good condition with light scuffs and dust accumulation commensurate with age.

1100 Visual: Generally good condition. The paper with deckled edges. The paper is loose, not mounted. Unframed.

1093 Generally good condition. Light surface scratches scattered throughout. Unframed.

1101 Generally good condition. Hinged to the recto mat with artist’s tape along the four corners. Frame: 17.5” H x 13.25” W x .75” D

1094 Overall good condition with minor areas of rippling to pages commensurate with age. Intentional deckling to various pages. Minor scuffs to canvasbound front cover upper right and to upper spine.

Condition Reports

1095 Overall good condition with dust accumulation and inherent firing flaws commensurate with age. Minor inherent pinhole in glaze to side of rear glaze likely dating to time of manufacture. Includes original packaging from Bernardaud.

136

1096 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Minor areas of flaking to red glaze along edges of lid. 1097 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 34” H x 41.75” W x 1.75” D

1102 Generally good condition. Unframed. 1103 Visual: Generally good condition. Unframed.

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

SPECIALISTS

Head of Sale, Post War & Contemporary Fine Art Specialist 20th Century Furniture and Decorative Arts Specialist Senior Vice President, Fine Art Director Junior Specialist / Senior Fine Art Cataloguer Vice President, Furniture & Decorative Arts Director Furniture & Decorative Arts Cataloguer

Bree Hughes John Simon Taylor Morgana Blackwelder AAA Bobby Cullen Roland Rynkiewicz Shannon Dailey

Western, American Indian Specialist Maranda Moran Jewelry Director Mollie Burns Keith, G.J.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 Consignment Coordinator Julia Hamilton Operations Coordinator Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez Graphic Designer Brian Olivas

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Angela Bryant

FOUNDERS

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

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

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

BIDDING INCREMENTS:

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

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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 Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

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Do you need a formal appraisal for insurance scheduling, estate tax ﬁling, gift or charitable donation? Moran’s team of USPAP compliant appraisers is here to meet your needs. • USPAP

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers: Antonio Nicolo Gasparo Jacobsen (1850-1921 West Hoboken, NJ) The tugboat "E Heipershausen" on open waters, 1891 Price Realized: $46,875

145 East Walnut Avenue, Monrovia, CA 91016 | www.johnmoran.com · trustsandestates@johnmoran.com · (626) 793-1833

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

City:

Couture / Luxury Goods

State:

Postal Code:

European Art

Country:

Jewelry & Timepieces

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

Telephone (primary):

Native American Objects Prints & Multiples

Telephone (secondary):

Rugs & Carpets Silver

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

State:

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

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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