Tuesday, February 28, 2023—12pm
Tuesday, February 28, 2023—12pm
Sale 240 145 East Walnut Avenue, Monrovia CA 91016
This is an interactive brochure. Click on any image or hyperlink for more information.
Previews:
Friday, February 24th: 12-4pm
Saturday, February 25th: 12-4pm
Monday, February 27th: 12-4pm
Tuesday, February 28th: Doors open 9am
Jenny Wilson Co-Head of Sale
Fine Art Director jennifer@johnmoran.com
Mario Esquivel Office Manager mario@johnmoran.com
Jamie Holthauser Client Services jamie@johnmoran.com
Matthew Grayson Co-Head of Sale
Post-War & Contemporary Design Specialist matthew@johnmoran.com
Ella Fountain Client Services ella@johnmoran.com
Bryan Ortega Client Services bryan@johnmoran.com
SINCE 1969
AUCTIONEERS & APPRAISERS
1
Alexander Calder (1898-1976)
“Four Arches,” 1974
Lithograph in color on wove, watermark Arches
Edition: 110/150
Signed and numbered in pencil in the lower margin: Calder; Security Pacific Corporation, Los Angeles, pub.
Image/Sheet: 28” H x 22.625” W
$3,000-5,000
Other Notes: The offered lot is a representation of Calder’s 67’ x 57’ x 40’ red painted steel sculpture commissioned by the Security Pacific Corporation, Los Angeles, where it presently stands. See Larsen, Mil and Susan C., et al. “The Security Pacific Collection 1970-1985: Selected Works.” Los Angeles: Security Pacific Corporation, 1985, pp.196-7.
2
After Alexander Calder (1898-1976)
Four plates from “Flying
Each lithograph in colors
Each from the edition of Each with the initials and for Braniff International of three of the plates, and animal
Each Sheet/Image: 20”
$3,000-5,000
Calder
“Flying Colors,” 1974 colors on wove paper, without watermark of 250 and date printed in the stone at lower right: CA; published by State Street, New York Airlines; with the Flying Colors Collection 1975 blindstamp in the lower right corner and to the left of the artist’s initials and date on the plate with the image of the 20” H x 26” W (or opposite)
“Luis Miguel Dominguin” from the “Aluminum Series,” 1970
Lithograph in gray and silver on paper
Edition: 75/75
Signed, dated, and numbered in pencil in the lower right margin: F. Stella; Gemini G.E.L., Los Angeles, CA, pub., with the blindstamp
Sheet: 16” H x 22” W
$1,500-2,500
Other Notes: Proceeds from the sale of this lot will go towards the San Miguel Scholarship at La Salle College Preparatory (Pasadena, CA) which offers up to nine full tuition scholarships every year to entering students who fall below the federal government poverty level.
4
Josef Albers
(1888-1976)
“I-S, LXXI b,” 1971
Screenprint in colors on wove paper
Edition: 25/125
Signed with initials, titled, dated, and numbered in pencil, all in the lower margin: JA; IvesSillman, Inc., New Haven, CT, pub., and with their blindstamp in the lower right margin corner
Image: 15” H x 15” W; Sheet: 23” H x 23” W
$3,000-5,000
Provenance: Maximillian and Natasha Schell, Los Angeles, CA
Literature: Danilowtz 206
Jasper Johns
(b. 1950)
“Technics and Creativity: Gemini G.E.L.,” 1971
Multiple comprising the offset lithograph on paperboard with collaged watercolor pads and paintbrush, and book, together in plastic clamshell case, as issued
From the edition of 22,500
The offset lithograph, “Target 1970,” with the collaged elements and the artist’s printed signature in the image; Gemini G.E.L., Los Angeles, prntr.; The Museum of Modern Art, New York, publisher, for the sametitled exhibition; in addition to the print with its collaged elements, the 108 page soft-bound book, and the original white plastic clamshell case, this multiple also includes the original information sheet and foam rubber protective insert
Sheet: 10.5” H x 8.5” W; Overall: 10.5” H x 9” W x 1.25” D
$500-700
Literature: ULAE 89
6
Keith
Pincus-Witten, Robert, Jeffrey Deitch, and David Shapiro, “ Keith Haring: Tony Shafrazi Gallery” exhibition catalogue, 1982
Numerous black and white or color reproductions of Haring’s artworks together with assorted photographic images of him and/or his art in various New York locations, all on assorted papers
One of 5,000 copies in the Second Edition published in 1983
Unsigned; original spiral-bound volume with neon pink paper-board covers; Dan Friedman, designer; Fleetwood Press, New York, NY, prntr.; Tony Shafrazi Gallery, pub.
9” H x 9.5” W x 0.5” D
$400-600
Provenance: Collection of Howard and Barbara Wise, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Brian Eno (b. 1948), Peter Schmidt (1931-1980), and Pae White (b. 1963)
“Oblique Strategies: 100 Worthwhile Dilemmas,” (1975), Fourth Edition, 1996
100 playing cards in colors in a milled Corian box Edition: 4000 in this fourth edition revised by Eno Unsigned; with the artists’ names printed as part of the descriptive text in the accompanying title/justification card and information booklet; Typecraft, Pasadena, CA, prntr.; Peter Norton, Santa Monica, CA, pub. Each card:3” H x 4.125” W; Corian container: 5.25” H x 6.25” W x 1.5” D irreg.
$400-600
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: As stated on the title/justification card and small information booklet included in the custom box with the 100 cards for this “Fourth Again Revised and More Universal Edition,” this series was made by Brian Eno (b. 1948) and Peter Schmidt (1931-1980), and published as a first edition in 1975. The artists imagined, “When a creative problem can’t be solved directly, solutions might be found by approaching the task from an unusual direction; by using ‘Oblique Strategies’.” The fourth edition, as here, represents a revision by Eno alone, following the death of Schmidt, “selected, edited [and copyrighted] by Peter Norton, 1996.” Supporting the claim as a “More Universal Edition,” is the fact that the formerly English-only work is translated to include a combination of five additional languages for this fourth edition. The uniquely shaped Corian box of the fourth edition was designed by artist Pae White (b. 1963) and milled by Pacific Design, Pomona, CA. This edition was published by The Peter Norton Family for non-commercial distribution as Christmas / New Year gifts to their family, friends, and colleagues.
8
“Word Image: The Museum of Modern Art, New York, January 24-March 10,”
1968, two examples
Each: Screenprint in colors on poster paper
Each: From the edition of unknown size
Each: Appears unsigned
2 pieces
Each Image/Sheet: 48.75” H x 17.25” W
$400-600
“Film Festival-Lincoln Center: Philharmonic Hall, September 20-30,” 1967
Screenprint in colors on poster paper
From the edition of unknown size
Appears unsigned
Image/Sheet: 44.125” H x 24.25” W
$1,000-2,000
Roy Lichtenstein (1923-1997)
“Haystack #4,” from “Haystack Series,” 1969
Lithograph and screenprint in colors on Arjomari paper
Edition: 73/100
Signed, dated, and numbered in pencil in the printed white border below the image: R. Lichtenstein; Gemini G.E.L., Los Angeles, CA, printer and publisher, with their blindstamp at the lower right and their ink stamp and pencil numbering, RL 69-234, verso
Image/Sheet: 20.625” H x 30.75” W
$7,000-9,000
Literature: Corlett 68; Gemini 153
Other Notes: Inspired by Claude Monet’s famous series of haystacks and Rouen Cathedral paintings of the late 19th century, Lichtenstein created a series of paintings of these same subjects in 1968-9. He also explored the theme during 1969 as a print series, of which this lot is one example from an edition of 100. Lichtensten’s seven “Haystack Series” prints, like his paintings of the subject and those of his French predecessor, convey the ever-changing light effects from early morning (yellow) to late night (black with embossing).
Proceeds from the sale of this lot will go towards the San Miguel Scholarship at La Salle College Preparatory (Pasadena, CA) which offers up to nine full tuition scholarships every year to entering students who fall below the federal government poverty level.
11
Judy Chicago
(b. 1939)
“The Christmas tree is derived from the tree of life,” 1979 Screenprint in red and black on cardstock
With the printed signature and date in the image, lower left: J. Chicago
Image/Sheet: 7” H x 10.25” W
$1,000-2,000
Other Notes: The printed text, verso, reads: I am very busy right now / working on the Dinner Party needlework book, / “Embroidering Our Heritage, / to be published in late / May - if we finish on time. / To facilitate this, I have / not gone gift-shopping / this year. Instead, I owe / you a copy of the book / and wish you a happy holiday!
12
Nancy Stevenson Graves (1939-1995)
“Il Fra Mauro Region Orbiter and Apollo Landing Lithograph in colors on Edition: 44/100
Signed, dated, and numbered numbered again on a Sight: 22.5” H x 30” W
$500-700
Other Notes: Proceeds La Salle College Preparatory every year to entering
Graves
of the Moon,” from “Lithographs Based on Geographic Maps of Lunar Landing Sites,” 1972 on paper
numbered in pencil along the lower edge: Graves; titled, dated, and label affixed to the verso of the frame’s backboard W
Proceeds from the sale of this lot will go towards the San Miguel Scholarship at Preparatory (Pasadena, CA) which offers up to nine full tuition scholarships entering students who fall below the federal gover nment poverty level.
13
Steve Gianakos (b. 1938)
Cat-A-Log, 1979
Black ink and red pencil on artist’s board
Signed, dated, and inscribed “For Linda,” lower center: S. Gianakos
15” H x 20” W
$2,000-3,000
Provenance: Estate of Linda Cathcart, Montecito, CA
14
Max Hayslette (b. 1930) “Night Meadow,” 1978 Screenprint in colors
Edition: 12/250
Signed, titled, dated, certificate of authenticity Washington, prntr. Image: 23” H x 35”
$300-500
Provenance: Property Walt Disney Co., Burbank, Private Collection, Los
Other Notes: This lot signed by the artist and was printed by
1978 colors on paper
dated, and numbered in pencil in the lower margin; titled and dated again on a authenticity affixed to the verso of the frame; Olympus Graphics, Bainbridge Island,
W; Border: 30.375” H x 42.5” W; Sight: 31” H x 43” W
Property of the American Broadcasting Company, New York Burbank, CA, acquired by corporate merger with the above Los Angeles, CA, acquired from the above
lot includes a printed certificate of authenticity affixed to the verso of the frame. It is on November 9, 1978 and states that “Night Meadow” is from an edition of 250, Olympus Graphics in Bainbridge Island, Washington in 1978.
15
Mark
“Flight over Forms,” 1966
Lithograph in colors on BFK Rives paper
Edition: 58/200
Signed, dated, and numbered in pencil in the lower margin: Tobey; titled by repute; Kurt Meier Bale, prntr.
Image: 18.5” H x 26.75” W; Sheet: 24.75” H x 33” W
$1,000-1,500
16
Sigmund Laufer (1920-2007)
“Counterpoint,” circa 1970
Etching and aquatint in colors on wove paper, watermark Arches
An artist’s proof aside from the edition of unknown size and date Signed and inscribed in pencil in the lower margin: Sigmund Laufer; titled and dated by repute
Plate: 24” H x 17.75” W; Sheet: 29.875” H x 22.25” W
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
17
Sigmund Laufer (1920-2007)
“Triple Shape,” circa 1970s
Etching and aquatint in colors on paper
An artist’s proof aside from the edition of unknown size
Signed and inscribed “Artist Proof” in pencil in the lower margin: Sigmund Laufer
Plate: 24.25” H x 18.5” W; Sheet 30” H x 22.5” W
$300-500
Provenance: Property of the American Broadcasting Company, New York
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
18
(1881-1955)
“Visage aux deux mains,” 1954
glazed and painted bas-relief ceramic plaque
Edition: 79/250
Glazed initials at the lower right: F.L.; signed in what appears to be black paint, verso, by the artist’s second wife, Nadia Khodossevitch Leger: N. Leger; stamped on the verso: VISAGE AUX DEUX MAINS / Edition a 250 exemplaires d’apres la maquette originale de Fernand LEGER (exclusivite Musee National F. LEGER - BIOT) Numero [ ]/250; this example numbered 79 at the left edge of this stamped label
17.5” H x 14.75” W x 1.5” D
$3,000-5,000
19
Joan Miro“Exhibition at the Pasadena Museum,” 1969
Lithograph in colors on Arches paper
Edition: 3/100 from the edition before text
Signed and numbered in pencil in the lower margin: Miro; Mourlot, Paris, France, prntr.; Pasadena Art Museum (now the Norton Simon Museum), Pasadena, CA, pub.
Image: 25.5” H x 29.125” W; Sheet: 29.5” H x 22” W
$2,000-4,000
Literature: Mourlot 622
Other Notes: Proceeds from the sale of this lot will go towards the San Miguel Scholarship at La Salle College Preparatory (Pasadena, CA) which offers up to nine full tuition scholarships every year to entering students who fall below the federal government poverty level.
20
Karel Appel (1921-2006)
Abstract, 1960
Lithograph in colors on Japanese paper
From the edition of unknown size
Signed and dated lower right: Appel
Sight: 29.5” H x 22.75” W
$500-700
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, California, acquired from the above
21
Hans Hartung (1904-1989)
“L34,” 1957
Lithograph in colors on paper
Edition: 29/75
Signed and numbered in pencil in the lower margin: Hans Hartung; Howard Wise, pub.
Image: 19.75” H x 12.125” W; Sight: 26” H x 20” W
$800-1,200
Provenance: Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Literature: Mason 110; Schmucking L34
22
Georges Braque (1882-1963)
“Le Signe,” 1954
Lithograph in grey and metallic gold on wove paper, watermark Arches
Edition: 16/30
Signed and numbered in pencil in the lower margin: Braque; Mourlot, Paris, prntr.; Maeght, Paris, pub.
Image: 11.75” H x 7.75” W; Sheet: 19.5” H x 14.75” W
$1,000-2,000
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Literature: Vallier 92
Other Notes: There were also 30 impressions in each of the following colors: yellow and gold, yellow, and ochre.
23
Pablo Picasso (1881-1973)
“Femme et enfant,” 1923
Lithograph on wove paper
Edition: 8/50
Signed and numbered in pencil in the lower margin: Picasso
Image: 7.625” H x 11.25” W; Sheet: 11.125” H x 14.875” W
$8,000-12,000
Provenance: Sims Reed Gallery, London, England
Estate of Mrs. Leslie Ridley-Tree, Montecito, CA
Literature: Bloch 66; Baer 236
24
“Caricature,” for “Pierres,” 1958
Drypoint printed on beige paper, presumably Auvergne Gourbeyre laid
One of a small number of proofs with wide margins, apart from the book edition
Signed in pencil in the lower margin, at right: Picasso
Plate: 2.375” H x 2.25” W”; Sheet: 9” H x 6.75” W
$2,000-3,000
Literature: Bloch 864; Baer 1023; cf. Cramer books 93
25
Pablo Picasso (1881-1973)
“Nu,” from Pierre Andre Benoit, “Toute la Vie,” Ales, P.A.B., 1960 Drypoint on cream-colored paper, presumably Arches From the total edition of 50 Signed in pencil in the lower margin: Picasso; inscribed 2/10 in pencil, in another hand, in the lower margin
Plate: 5.625” H x 0.5” W approx.; Sheet: 10” H x 4.375” W
$2,000-3,000
Literature: Bloch 994; Baer 1082; cf. Cramer books 106
26
Marc Chagall
(1887-1985)
“When Abdullah Got the Net AShore...,” plate 8 from “Four Tales from the Arabian Nights” Lithograph in colors on laid paper
One of 12 progressive proofs for this plate, aside from the edition of 90 Unsigned and unnumbered, as issued
Image: 14.375” H x 11.125” W; Sheet: 17” H x 13” W
$400-600
Provenance: Collection of Howard and Barbara Wise, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Literature: Mourlot 43; cf. Cramer books 18
Other Notes: According to Cramer there are 12 progressive proofs that are unnumbered and unsigned for plate 8.
27
Salvador Dali (1904-1989)
“Tiger Lilies of the Theatre,” from the “Surrealist Flowers” suite, 1972 Offset color lithograph and drypoint on paper, watermark Arches France
Edition: 97/350
Signed and numbered in pencil along the lower margin: Dali; with the copyright ink stamp of the artist and publisher, verso: © Editions Graphiques Internationales, pub.
Plate: 23.25” H x 17.75” W; Sheet: 29.75” H x 21.75” W
$700-900
Other Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot
28
“Gladiolus cum aurium corymbo expectantium,” from the “Surrealist Flowers” suite, 1972 Offset color lithograph and drypoint on paper, watermark Arches France
Edition: 97/350
Signed and numbered in pencil along the lower margin: Dali; with the copyright ink stamp of the artist and publisher, verso: © Editions Graphiques Internationales, pub.
Plate: 21.75” H x 14.5” W; Sheet: 30” H x 21.75” W
$700-900
Other Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot
After Henri Matisse (1869-1954)
Plates V, XI, XII, XVIII from “Jazz,” 1947
Each: Color reproduction after the original pochoir editions on paper From the edition of unknown size and date, aside from the original pochoir unfolded portfolio edition of 100, the original pochoir folded edition of 250, and the original pochoir edition of 20 hors commerce Each unsigned and unnumbered
4 pieces
Each sight approximately: 14.75” H x 22.5” W
$600-800
Provenance: Property of the American Broadcasting Company, New York
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
Literature: cf. Duthuit books 22
Other Notes: The four images in this lot reproduce images from the original set of 20 pochoirs in colors on Arches paper published as the “Jazz” suite by Teriade Editions, Paris, in 1947. That total edition was comprised of 250 sets of folded examples with text, signed and numbered on the colophon page; 100 sets of unfolded examples, the so-called portfolio edition, without text; and 20 hors commerce sets.
30
A Gio Ponti for Venini art glass vase
Gio Ponti (1891-1979) and Paolo Venini (1895-1959)
2003
Signed to the underside: Venini / 2003; transparent sticker: Venini The vessel with alternating stripes of cobalt blue, emerald green, and transparent Murano glass radiating from a central point on the base 11.75” H x 7.75” Dia.
$800-1,200
Other Notes: Likely after the collaboration between Gio Ponti and Paolo Venini, resulting in this collection of art glass titled “A Canne Morandiane,” circa the 1950s.
31
A Gio Ponti for Venini art
Gio Ponti (1891-1979) and Paolo 1988
Signed to the underside: Venini Venini Murano / Made in Italy With a twisting striped patterning and transparent hues following glass 14” H x 6” Dia.
$600-800
Other Notes: Likely after the Paolo Venini, resulting in this Morandiane,” circa the 1950s.
Paolo Venini (1895-1959)
Venini / 88; transparent sticker read: Italy
patterning in cobalt blue, emerald green following the cylindrical form of the blown the collaboration between Gio Ponti and this collection of art glass titled “A Canne 1950s.
Signed and numbered to underside of base: Vernini / 2001 / 28/80; transparent sticker: Vernini Murano / Made in Italy
The “floating gold” vase with a pattern optically mimicking submerged gold flecks within the crimson glass ground 14.5” H x 7.5” Dia.
$1,000-2,000
Other Notes: In the style of Laura Diaz de Santillana for Vernini as part of her “floating gold” series.
Theo Tobiasse (1927-2012)
“Shavuot” Portfolio, 1984
Four lithographs and carborundum in colors on ecru wove paper Edition: LXXVIII/LXXXV
The complete portfolio including the four prints, each signed and numbered in pencil in the lower margin: Theo Tobiasse; plus the title/justification page on smooth translucent paper numbered in pencil, and the blue cloth-covered portfolio with gilt embossing on the outside, and blue ribbon ties; Nahan Galleries, New Orleans, LA, pub. in honor of the Simon Wiesenthal Center, Los Angeles, CA
Each sheet: 22.5” H x 30.25” W
$800-1,200
Other Notes: The paper used for the images in this lot does not appear to be watermarked. The title/justification page states that the four images are printed on ecru Arches paper. There were also 10 EA and 5 HC sets published on this ecru Arches paper, plus a combined total of another 148 sets published on white Arches paper.
34
Neal Doty (1941-2006)
‘’Astronaut’’ Lithograph in colors on paper
Edition: 96/99
Signed and numbered in pencil in the lower margin: Neal Doty
Image: 24” H x 17.5” W; Sight: 26” H x 19.5” W
$800-1,200
Robin Winters
(b. 1950)
“Scratch Music,” 1987
The set of nine woodcuts in colors on handmade paper, framed together Presumably from the edition of 5, there was also one “EXP proof” set Signed and numbered on the verso of the lower right panel, according to the label affixed to the verso of the frame; titled and dated on this same label; Experimental Workshop, pub.
Sheet of each: 8.5” H x 6.5” W
$400-600
Provenance: Experimental Workshop, San Francisco, CA
Triton Museum of Art, Santa Clara, CA
“River House,” 1982
Monotype in colors on paper
Signed, titled, and dated in pencil in the lower margin: G. Kondos
$700-900
38
Gregory Kondos
(1923-2021)
“Sacramento River,” 1981
Lithograph in colors on paper
A color trial proof aside from the numbered edition of 50 Signed, titled and dated in pencil in the lower margin: Gregory Kondos
Image: 20” H x 30” W; Sight: 22” H x 32” W
$500-700
39
David Ligare
(b. 1945)
“Sand Drawing #24,” 1973
Lithograph in silver-gray, silver, and black on paper
Copyright proof, aside from the edition of unknown size
Signed, titled, dated, and inscribed in pencil in the lower edge of the image: D. Ligare
Image: 20.125” H x 15.125” W; Sheet: 30.125” H x 25” W
$1,000-2,000
Joe
“Four Part Blue Torn Clouds,”
The set of four lithographs in colors on Arches paper, framed separately Presumably from the edition of 60 Appears unsigned and unnumbered; Cirrus Editions Ltd., Los Angeles, CA, pub. Each: Image/Sheet: 22.5” H x 30.125” W
$500-700
Provenance: Hansaker/Schlesinger and Associates, Los Angeles, CA
Other Notes: Proceeds from the sale of this lot will go towards the San Miguel Scholarship at La Salle College Preparatory (Pasadena, CA) which offers up to nine full tuition scholarships every year to entering students who fall below the federal government poverty level.
Peter Sedgley (b. 1930)
Green and blue ring
Screenprint in colors on paper
Edition: Artist Proof 3/10, aside from the edition of unknown size and date
Signed and inscribed in yellow pencil along the lower edge: Peter Sedgley
Sight: 19.25” H x 19.25” W
Red ring
Screenprint in colors on paper
Edition: Artist Proof 7/10, aside from the edition of unknown size and date
Signed and inscribed in pencil along the lower edge at center: Peter Sedgley
Sight: 19.25” H x 19.25” W
2 pieces
$500-700
Provenance: Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
42
“Harvard Target #4,” circa 1960 Screenprint in colors on paper Edition: The edition was 100 Unsigned and unnumbered Sight: 18” H x 18” W
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
43
Ceri Richards (1903-1971)
“Cathedrale Engloutie III,” From “The Hammerklavier Theme,” 1959 Lithograph in colors on paper
Edition: 28/50
Signed, dated, and numbered in pencil in the lower margin: Ceri Richards
Image: 17.75” H x 25.25” W; Sight: 21” H x 28.25” W
$400-600
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, California, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
“Aerial,” Abstracted aerial view of Cambridge University Library 1958
Aquatint in colors on paper
Edition: 63/70
Signed, dated 6/58, and numbered in pencil in the lower margin: Clarke; Cambridge Art Trust, Cambridge, England, pub.
Plate: 14.625” H x 20.625” W; Sight: 16” H x 22” W
$300-500
Provenance: Property of the American Broadcasting Companies, New York, NY
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
Note: Another example of this print, inscribed “Artists[sic] own copy” and titled “Aerial,” is in the collection of the British Museum, London, England. There, the aquatint is described as an “abstracted aerial view of Cambridge University Library, May 1958.”
45
Jennifer
(b. 1936)
“Les Premiers Astres,” 1965
Etching and aquatint in colors on paper
Edition: 16/50
Signed, titled, dated, and numbered in pencil in the lower margin: Jennifer Dickson
Each plate: 13.5” H x 13.5” W; Sight: 29” H x 15” W
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
46
Iva
(b. 1974)
“Old Knight,” 2015
Etching, soapground, drypoint, and aquatint on fabric and epoxy with handpainting on welded steel frame with steel panels
Signed and dated to underside: I.G. / 2015
20.5” H x 10” W x 11” D
$2,000-3,000
Provenance: ACME Gallery, Los Angeles, CA
The Blake Byrne Collection, acquired from the above
47
Tadek Beutlich (1922-2011)
“Burning Desert”
Screenprint in colors on paper
Edition: 2/50
Signed, titled, and numbered in the lower margin: Tadek Beutlich
Image: 23.5” H x 34.5” W; Sight: 25” H x 35.5” W
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
48
“Wellfleet,” 1978
Screenprint in colors on paper
Signed, titled, dated, numbered, and inscribed indistinctly in pencil along the lower margin: Xavier Gonzalez / Mark Sher[**]
Image: 24” H x 18.125” W; Sight: 26.25” H x 19.5” W
$300-500
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
“The Taro News”
Serigraph in colors on paper
Edition: 29/100
Signed and numbered in pencil in the lower margin: Pedro Friedeberg; titled by repute
Image: 20.5” H x 20.5” W; Sheet: 21.75” H x 21.75” W
$800-1,200
(b. 1936)
“Loteria Canina”
Serigraph in colors on paper in artist’s frame
Edition: 39/80
Signed and numbered in pencil in the lower edge: Pedro Friedeberg; titled by repute
Sight: 25” H x 25” W
$800-1,200
(b. 1936)
“El Siglo de Pericles,” 2018
Serigraph in colors on paper in artist’s frame Edition: 7/42
Signed and numbered in pencil in the lower margin: Pedro Friedeberg; with the artist’s authentication stamp in the lower margin; titled and dated by repute
Image: 11.5” H x 15.75” W; Sight: 15” H x 19.25” W
$800-1,200
(b. 1936)
“Avionetas Mozartianas II”
Serigraph in colors on paper in artist’s frame
Edition: 49/100
Signed and numbered in pencil in the lower edge: Pedro Friedeberg; titled by repute
Sight: 22.5” H x 22.5” W
$800-1,200
Pedro
(b. 1936)
“Nariz de Cleopatra”
Serigraph in colors on paper in artist’s frame
Edition: XLVI/L
Signed and numbered in pencil in the lower margin: Pedro Friedeberg; with the artist’s authentication stamp in the lower margin; titled by repute
Image: 19” H x 19” W; Sight: 21” H x 21” W
$800-1,200
“My Cat Santos had a Nightmare,” 2010
Etching and aquatint in grays and blush, with hand-coloring, on Revere Suede Warm White paper
Edition: one of eight artist’s proofs aside from the edition of 28
Signed, dated, and inscribed A.P. 1/8 in pencil in the lower margin: Enrique Chagoya; with the blindstamp of the publisher ULAE, Bay Shore, NY in the lower left margin corner
Image: 13.75” H x 16.75” W; Sheet: 20” H x 21.875” W
$400-600
Provenance: Triton Museum of Art, Santa Clara, CA
“Emerald Altar,” from the “Songs of Veda” suite, 1980 Etching and aquatint in colors on paper
Edition: 40/75
Signed and numbered in pencil in the lower margin: Arun Bose; titled and dated on printed paper affixed to the frame’s backboard verso
Plate of image: 11.75” H x 8.75” W; Plate of border: 20.75”
H x 17.75” W; Sight: 22.75” H x 19.75” W
“Serene Impassivity,” from the “Songs of Veda” suite, 1980 Etching and aquatint in colors on paper
Edition: 40/75
Signed and numbered in pencil in the lower margin: Arun Bose; titled and dated on printed paper affixed verso
Plate of image: 11.5” H x 8.5” W; Plate of border: 20.75” H x 17.75” W; Sight: 23” H x 19.75” W
“Spirit of Avatar,” from the “Songs of Veda” suite Etching and aquatint in colors on paper
Edition: 40/75
Signed and numbered in pencil in the lower margin: Arun Bose; titled and dated on printed paper affixed verso
Plate of image: 11.75” H x 9” W; Plate of border: 21” H x 18” W; Sight: 23” H x 19.75” W
“Bird of Passage,” from the “Songs of Veda” suite Etching and aquatint in colors on paper
Edition: 40/75
Signed and numbered in pencil in the lower margin: Arun Bose; titled and dated on printed paper affixed verso
Plate of image: 11.75” H x 8.75” W; Plate of border: 20.875” H x 17.875” W; Sight: 23” H x 17.75” W
“Prelude to Creation,” from the “Songs of Veda” suite Etching and aquatint in colors on paper
Edition: 40/75
Signed and numbered in pencil in the lower margin: Arun Bose; titled by repute
Plate of image: 11.75” H x 8.75” W; Plate of border: 20.75” H x 17.75” W; Sight: 22.75” H x 19.75” W
5 pieces
$400-600
Provenance: Property of the American Broadcasting Company, New York
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
Other Notes: The sixth image of this suite, not included in this lot, is titled, “Primordial Force,” from an edition of 75.
This lot includes printed letters of authenticity for “Emerald Altar,” “Serene Impassivity,” “Spirit of Avatar,” and “Bird of Passage.” Each letter is signed by Hugh McKay, the President of HMK Fine Arts Inc., on December 2, 1980. Stating that each example is from an edition of 75, and each edition was printed in New York, 1980.
“Butterfly”
Etching and aquatint in colors on paper
Edition: 69/75
Signed indistinctly and numbered in the lower margin: Arun Bose; titled by repute
Plate: 19.5” H x 15.5” W; Sight: 22” H x 17.5” W
“Tree”
Etching and aquatint in colors on paper
Edition: 69/75
Signed indistinctly and numbered in the lower margin: Arun Bose; titled by repute
Plate: 23.5” H x 17.5” W; Sight: 25.5” H x 19.5” W
“Worship”
Etching and aquatint in colors on paper
Edition: 69/75
Signed indistinctly and numbered in the lower margin: Arun Bose; titled by repute
Plate: 17.5” H x 17.5” W; Sight: 19.5” H x 19.5” W
3 pieces
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
Poul Volther (1923-2001)
Corona Swivel Lounge Chair, 1998
Designed 1961
Illegible remnants of a paper label and paper label: 22 Okt 1998
Chromed metal base with lime green wool upholstery
38” H x 34” W x 21” D
$800-1,200
58
Three Left Twist Cubes, Designed 2004
Each with Heller mark, Twist Cube / Model 1016 Polyethylene
3 pieces
Each: 17” H x 20” W x
$400-600
Cubes, for Heller, 21st century
reading: The Frank Gehry Furniture Collection / Left 1016 / Design Patent Pending / Made in USA / 2004 17” D
Coconut Chair for Herman Miller, mid-20th century
Designed 1956
Metal plate label to the underside: George Nelson / Herman Miller / Zeeland, Mich.
Chrome-plated steel base, Masonite back, and crimson wool upholstery
32” H x 41” W x 37” D
$2,500-3,500
60
Marshmallow
Designed 1954
Appears unmarked Black
$500-700
61 Yaacov Agam (b. 1928)
“Geo 1-2,” 2007
Agamograph in colors
Edition: LXXXVII / XC
Signed and numbered along the lower margin: Agam
Image: 12” H x 12” W; Sight: 14” H x 14” W
$1,000-1,500
62
Yaacov Agam
(b. 1928)
“Happy Mood Yesterday,” 2014 Agamograph in colors
Edition: 18/180
Signed and numbered along the lower edge: Agam
Overall sight: 7.375” H x 14.75” W
$1,000-1,500
63
After Norman Rockwell (1894-1978)
“Whitewashing the Fence” Lithograph in colors on paper Edition: 104/200
Signed and numbered in pencil in the lower margin, possibly in another hand: Norman Rockwell Sight: 21.5” H x 17” W
$800-1,200
64
Patrick Nagel (1945-1984)
“Gray Lady”
Screenprint in colors on paper
Edition: 13/90 Signed and numbered in pencil in the lower margin: Nagel
Image: 27.25” H x 44” W; Sight: 31” H x 47” W
$700-900
Provenance: Galerie Michael, Beverly Hills, CA
Other Notes: This lot is sold together with a Certificate of Authenticity issued by Galerie Michael, Beverly Hills, CA
Screenprint in colors on paper
Edition: 29/90
Signed and numbered in pencil in the lower margin: Nagel; with the © Mirage Editions 1982 blindstamp in the lower left margin corner
Image: 29.75” H x 39.5” W; Sheet: 36.25” H x 45.375” W
$700-900
66
“Spring Fashions are here!,” 1929
Lithograph in colors on paper laid to canvas
From the edition of unknown size and date Signed and dated in the stone, below the image, at right; Tolmer, Paris, prntr.
Image: 42” H x 29.25” W; Sheet: 43.875” H x 31” W
$2,000-3,000
Provenance: Maria Domont Collection, West Hollywood, CA
(1882-1964)
“Arnold Constable,” 1928
Lithograph in colors on paper laid to canvas
From the edition of unknown size and date
Signed and dated in the stone at the lower right; Tolmer, Paris, prntr.
Image: 42.5” H x 28” W; Sheet: 44.5” H x 29.5” W
$2,000-4,000
Provenance: Maria Domont Collection, West Hollywood, CA
68 Jean Dupas (1882-1964)
“XVme Salon des Artistes Decorateurs,” 1924
Lithograph in colors on paper laid to canvas
From the edition of unknown size and date
Signed and dated in the stone at the lower left; Henri Chachoin, Paris, prntr.
Image: 22” H x 14” W; Sheet: 23.625” H x 15.25” W
$3,000-5,000
Provenance: Maria Domont Collection, West Hollywood, CA
69
A Nakashima-style lounge chair 21st century
The walnut lounge chair with free-form arm 46.5” H x 32” W x 32” D
$800-1,200
70
A Nakashima-style lounge chair
21st century
The walnut lounge chair with carved seat
44.25” H x 24” W x 22” D
$500-700
Philip (1907-1987) and Kelvin LaVerne (b. 1937)
Etruscan Center Table, circa 1960s
Signed in script to base: Philip + Kelvin LaVerne
Bronze and pewter circular pedestal table with acid-etched design on top and cut sheet metal accents soldered to the base
27” H x 47” Dia.
$10,000-15,000
Other Notes: The father-son team behind Philip and Kelvin LaVerne started working together in 1960 after Kelvin, the younger LaVerne, finished studying art history, metal sculpting, and furniture design. The duo opened a studio in New York City, where they created stunning, functional art pieces (chief among them, coffee tables) in patinated bronze, pewter, and silver. Their designs were made using a unique technique that took around six years to perfect.
1965 Iron
Signed and dated: Hassrick / 1965
68.25” H x 30” W x 18” D
$3,000-5,000
73
Hans Burkhardt (1904-1994)
Abstract harbor scene, 1975 Lithograph on Arches paper Edition: 10/10
Signed, numbered and dated in pencil in the lower margin: H. Burkhardt; with the artist’s blindstamp lower right Image: 18.5” H x 23.75” W; Sheet: 22.25” H x 30” W
$1,000-1,500
74
Hans Burkhardt (1904-1994)
A group of 13 abstract images
Woodcuts in color or black and white on various papers
Each signed and dated in pencil in the lower margin; seven woodcuts numbered in pencil in the lower margin; three woodcuts inscribed artist proof in pencil in the lower margin; 11 woodcuts with the blindstamp
13 pieces Largest: 15” H x 22.25” W; Smallest: 11.25” H x 7.625” W
$1,000-1,500
75
Hans Burkhardt (1904-1994)
A group of 12 abstract images
Woodcuts in color or black and white on various papers
Each signed and dated in pencil in the lower margin; six woodblocks numbered in pencil in the lower margin; two woodblocks inscribed artist’s proof in pencil in the lower margin; nine woodblocks with the blindstamp of the artist’s initials
12 pieces
Largest: 15.5” H x 21.125” W; Smallest: 7.625” H x 11.25” W
$1,000-1,500
76
Hans Burkhardt
(1904 - 1994)
Abstract figural, 1930
Charcoal on tan paper laid to mat board
Appears unsigned; dated lower right; with the blindstamp of the artist’s initials
lower right
Image/Sheet: 24” H x 18” W
$500-700
77
Hans Burkhardt
(1904-1994)
Figural nude, 1940
Pastel on tan paper laid to mat board
Signed and dated in pencil lower right: H. Burkhardt; with the blindstamp of the artist’s initials lower left
Image/Sheet: 24.125” H x 13.625” W
$600-800
78
Hans Burkhardt (1904-1994)
Abstract, 1960
Pastel on paper
Signed and dated lower right: H. Burkhardt; inscribed lower left: To my friends Lori & Arnold, from Hans Sight: 17.75” H x 23” W
$700-900
79
Hans Burkhardt (1904-1994)
Three abstract female figures, 1968 Pastel on taupe paper
Signed and dated lower right: H. Burkhardt Sight: 26” H x 20” W
$800-1,200
80 Hans Burkhardt (1904-1994)
“Wilted Flowers,” 1969 Oil on canvas
Signed and dated lower center: H. Burkhardt; titled by repute 42” H x 32” W
$10,000-15,000
81
Stanton MacDonald Wright (1890-1973)
Untitled, 1964
Mixed media on thick Japanese paper
Signed, dated, and inscribed in pencil at the lower center: Stanton / Ginko-Kyoto; also indistinctly inscribed in pencil in the same area: [**/7]
Image/Sheet: 25.375” H x 25.375” W
$1,000-1,500
Stanton Macdonald-Wright (1890-1973)
“The sound of a cracked temple bell is also hot under a summer moon,” one plate from the “Haiga Portfolio,” 1966-67
Woodcut in colors on mulberry paper
An artist’s proof aside from the edition of unknown size
Signed, titled in Japanese, dated, numbered No 20 - A. P., and variously inscribed in ink in the lower margin: Hokushi - Stanton; titled again, in English, along the lower edge, verso; Clifton Karhu, Kyoto, Japan, prntr.
Image: 16” H x 20” W; Sheet: 19” H x 23.5” W
$3,000-5,000
Other Notes: The “Haiga Portfolio” was Macdonald-Wright’s last prominent series before his death roughly six years later. It celebrates the Japanese traditions of both color woodblock printing and the haiku style of poetry. Hokushi (aka Tachibana Hokushi) was a Japanese haiku poet who lived from1665-1718.
83
Arnold Chanin (b. 1934)
Abstract, 1970 Oil on canvas
Signed and dated lower right; A. Chanin.; signed again on the frame, verso 34” H x 50” W
$2,000-3,000
84
Arnold Chanin
(b. 1934)
Untitled abstract, 1971
Oil on canvas
Signed and dated lower right: A. Chanin.
36” H x 50” W
$2,000-3,000
85
Attributed to John Altoon (1925-1969)
Still life with radiating line red/black
Mixed media on paper laid to thick artist’s board
Unsigned
Image/Sheet: 29.5” H x 39.5” W
$3,000-5,000
87
Laurent Proneur (b. 1969)
Abstract reclining figure
Oil on canvas
Signed lower right: LoneRoc
30” H x 40” W
$3,000-5,000
Provenance: Maria Domont Collection, West Hollywood, CA
Other Notes: Laurent Proneur, is also known as LoneRoc and is an influential street artist and painter.
88
(b. 1969)
Abstract figure
Oil on canvas
Signed lower left: Laurent Proneur
40” H x 30” W
$3,000-5,000
Provenance: Maria Domont Collection, West Hollywood, CA
89
Laurent Proneur (b. 1969)
Abstract
Oil on canvas
Signed lower left: Laurent Proneur
30” H x 40” W
$3,000-5,000
Provenance: Maria Domont Collection, West Hollywood, CA
(b. 1969)
Abstract figure
Oil on canvas
Signed lower left: L. Proneur
36” H x 24” W
$3,000-5,000
Provenance: Maria Domont Collection, West Hollywood, CA
91
Joan Savo (1918-1992)
“Untitled #2,” 1959
Oil on Masonite
Signed and dated lower right: Joan Savo; titled on a label affixed to the verso
46.75” H x 46.75” W
$1,000-2,000
Provenance: Triton Museum of Art, Santa Clara, CA
Other Notes: The paper label affixed to the verso also includes “120.”
92
John M Saccaro
(1913-1981)
“Towards Emotional Reality,” 1953
Oil on canvas
Signed upper right: Saccaro; signed again, titled, and dated verso 46” H x 58” W approx.
$2,000-4,000
Exhibition: San Francisco Art Association, “75th Annual Painting and Sculpture Exhibit,” March 29 - May 6, 1956, San Francisco, CA
93 John Saccaro (1913-1981)
“Roses and Crown,” 1952 Oil on canvas
Signed lower left: Saccaro; Signed again, titled, and dated verso 51.5” H x 63.5” W
$2,000-4,000
Provenance: Triton Museum of Art, Santa Clara, CA
Ray and Charles Eames (1912-1988 and 1907-1978)
Two early Zenith fiberglass shell chairs for Herman Miller, circa 1950-1954
Designed 1950
“Parchment” chair with Zenith full checkerboard label to underside: The shell / is molded by / Zenith Plastics Co. / Gardena / California
Each Zenith-era lounge chair with rope edge, comprising one in parchment and one in elephant hide grey fiberglass
2 pieces
Each: 27.75” H x 24.75” W x 21” D
$1,000-2,000
95
Frank Gehry (b. 1929)
Hat Trick chairs for Knoll, 2000
Designed 1990
Each with burned Gehry/Knoll mark and date
Bent-laminated maple and upholstered cushion
4 pieces
Each: 33.5” H x 28” W x 26.5” D
$2,000-4,000
96
Ray and Charles Eames (1912-1988 and 1907-1978)
A molded plywood folding screen, mid-20th/21st century
Designed 1946
Constructed of six molded plywood sections with light ash veneer held together by polypropylene mesh joints
68” H x 60” W x 2.25” D
$800-1,200
(1915-2009 and 1910-1995)
Glazed
$700-900
98
A Dino Martens for Venini art glass vase
Dino Martens (1894-1970) and Venini (founded 1921)
1981
Signed to underside of base: Venini / Italia / 81; transparent sticker reads: Vetri / Venini / Murano / Made in Italy
With a twisting striped patterning in ochre and transparent hues following the cylindrical form of the blown glass
14” H x 6” Dia.
$800-1,200
99
Heidi Hornberger (20th/21st century)
“Passion”
Suar tropical hardwood on granite base
Appears unsigned
19” Dia. x 4.5” D
$800-1,200
Provenance: Gallery of Great Things, Kamuela, HI
Notes: This lot is accompanied by a receipt of sale from Gallery of Great Things dated January 16, 2008.
“Heart, Bone, Blood, Smoke,” 1984
Acrylic on canvas
Appears unsigned; titled and dated by repute 67” H x 95” W
$400-600
Provenance: Triton Museum of Art, Santa Clara, CA
101
Carlos Loarca (1937ñ2021)
“The Space Carriers,” 1985
Acrylic on joined canvas
Signed, titled, dated “Nov 20, 1985,” and inscribed “San Francisco, CAL.,” verso: Loarca 73” H x 96” W
$400-600
Provenance: Triton Museum of Art, Santa Clara, CA
Exhibition: Oakland, CA, Oakland Museum, “Mano a Mano: Abstraction/ Figuration,”
March 4-April 30, 1989
Tom Lieber (b. 1949)
“Untitled #3,” 2007
Watercolor on paper
Signed and dated in pencil lower center: Tom Lieber; titled in pencil, verso; titled again on a typed label affixed to the frame’s backing paper
Sheet: 14” H x 10.25” W
“Untitled #7,” 2007
Watercolor on paper
Signed and dated in pencil lower center: Tom Lieber; titled on a typed label affixed to the frame’s backing paper
Sheet: 10.25” H x 14” W
2 pieces
$500-700
103
Tom Lieber (b. 1949)
“Untitled #10,” 2007
Watercolor on paper
Signed and dated in pencil lower center: Tom Lieber; titled verso
Sheet: 14” H x 10.25” W
“Watercolor #9,” 2007
Watercolor on paper
Titled and dated in pencil lower center; titled verso
Sheet: 16” H x 12.25” W
2 pieces
$500-700
104 Richard Irving Bowman (1918-2001)
“Dynamorph 42,” 1969
Collage and fluorescent acrylic on Masonite Signed, titled, dated 11-69, and inscribed with a description of the medium, verso: R. Bowman 48” H x 55” W
$1,000-2,000
Provenance: Triton Museum of Art, Santa Clara, CA San Francisco Museum of Art, San Francisco, CA
Other Notes: The small portion of a label still affixed to the verso of the frame includes a typed “Reg. No. 52.70.” It is unclear whether this is a former museum accession or exhibition number.
105 Roy De Forest (1930-2007)
“Untitled,” 1958
Mixed media on paper
Appears unsigned; titled and dated on a label affixed verso
Sheet: 22” H x 29” W
$1,500-2,500
106 Kate Delos (b. 1945)
“Bedizened,” 1984
Acrylic on canvas
Signed, titled, and dated, twice, verso: Delos; titled and dated again and with provenance details, all on a label affixed to the stretcher, verso
48” H x 60” W
$500-700
Provenance: Bob Tomlinson
Triton Museum of Art, Santa Clara, CA, gifted from the above
Other Notes: In addition to a typed label stating that this painting was a “Gift of Bob Tomlinson,” notations on the verso of the canvas, the stretcher, and the typed label indicate that this painting was Triton Museum of Art number: TM.85.1.06.
21st century
The three-piece sectional upholstered in textured beige fabric with loose cushions, 3 pieces
One larger: 25” H x 108” W x 40” D; two smaller: 25” H x 70” W x 40” D
$4,000-6,000
Provenance: Private Collection, Bel Air, CA
Notes: The design company Minotti, established in 1948, was founded by Alberto Minotti. Its corporate reputation was cemented over time as the company became known for creating genuine Italian-made contemporary furniture and decorative objects with a high-quality manufacturing process.
During Alberto Minotti’s beginning years of Minotti, and for the next fifty years, the production of its furniture was essentially an artisanal process. After Rodolfo Dorini became the company’s Art Director, he sought to build upon Minotti’s vision by broadening its focus to incorporate more architecture and interior design influences into its products. As a long-lasting family-owned company with a history that today spans three generations, Minotti continues to be known for its authentic designs created in collaboration with world-renowned designers.
108
ICF Pelle chair
Designed 1985
With ICF Group paper label; further labeled: Made in Italy
Black leather, chrome-plated steel, and leather cord
8 pieces
Each: 30.75” H x 16 “ W x18” D
$1,000-2,000
109
110
Mid-20th century, Italy
Marked to the underside: Made in Italy
The
$2,000-3,000
111
Alejandro Rubio
(21st century)
“Patchwork Land VI”
Acrylic on canvas
Signed and titled verso: A. Rubio
20” H x 20” W
$400-600
112
Darren Waterston
(b. 1965)
“Vista (Tondo),” 2010
Oil on canvas
Signed, titled, and dated verso: Darren Waterston; titled and dated again on a gallery label affixed, verso 12” Dia.
$1,000-2,000
Provenance: Inman Gallery, Houston, TX Triton Museum, Santa Clara, CA
Handmade greeting card, 1949
Collage and mixed media on paper tipped to paper Signed, dated, and inscribed in pen inside the folded paper card: Best Wishes 1949, Rosalind & Byron Browne; dated and inscribed again on a gallery label affixed verso
Overall: 9.375” H x 6.5” W
$400-600
Provenance: Martin Diamond Fine Arts Inc., New York, NY
115
Irving Burnell Petlin (1934-2018)
“I’ Shtetl,” 1978
Oil on canvas
Signed and dated verso: I. Petlin; titled and inscribed indistinctly on the stretcher bar: For Iv[**] and Joan 20” H x 25.75” W
$1,000-1,500
118
Knoll Executive chair, 21st century
Designed 1950
Each with Knoll label to underside
Chromed metal and jacquard upholstery
8 pieces
Each: 31.5” H x 20.5” W x 17.25” D
$800-1,000
Modern marble coffee table for Herman Miller, circa 1960s
Appears unmarked
With a circular Carrara marble top, cast aluminum base, and small metal feet
16” H x 29.5” Dia.
$500-700
120
A
Mid-20th
$600-800
121
Abram Schlemowitz (1910-1998)
Abstract
Bronze sculpture
Signed on base: Schlemowitz
19” H x 16” W x 8” D
$400-600
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
122
Ernest Briggs (1923-1984)
Untitled abstract, 1959
Watercolor on thick textured paper
Signed and dated in pencil in the lower right: E. Briggs; dated again on a gallery label affixed verso
Image/Sheet: 14.75” H x 22.125” W
$800-1,200
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
123
Hugo Weber (1918-1971)
“Moony Greenery,” 1963 Oil on canvas
Signed and dated lower right: Hugo H.W.; signed, titled, dated, and inscribed dated again on a gallery label affixed 32” H x 48” W
$2,000-4,000
Provenance: Howard Wise Gallery, New David Wise and Audry Taylor, Los Angeles,
Weber; initialed and dated again lower right: inscribed verso: Les Verdure de la Lune; titled and affixed to the verso of the frame New York, NY Angeles, CA, by descent from the above
124
Hugo Weber (1918-1971)
“The Rhine is My River,” 1961 Oil on canvas
Initialed and dated lower right: H.W.; Signed, titled, dated, and inscribed verso; titled and dated again on a gallery label affixed to the verso of the stretcher 42” H x 138” W
$3,000-5,000
Provenance: Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Note: The horizontal stretcher bars are comprised of two sections allowing the work to be folded for transport, if absolutely necessary. (The overall folded dimension would be approximately 42” H x 69.5” W x 4” D).
126
Walasse Ting (1929-2010)
Ink
$3,000-5,000
Provenance: artdealermiami, Miami, FL
127
Wucius Wong
(b. 1936)
“Landscape,” 1963
Watercolor and ink on Japanese paper laid to board, as issued Signed in ink and with a series of Chinese characters along the left edge: Wong; titled in pencil on the verso of the support board, possibly in the hand of the artist, and titled again on a gallery label affixed to the verso of the frame’s backing paper
Image/Sheet: 16.125” H x 37.5” W
$6,000-8,000
Provenance: Willard Gallery, New York, NY
128
Tadashi Sato (1923-2005)
Untitled, 1958
Watercolor and ink on paper
Signed and dated in pen near the lower edge right of center: Tadashi Sato
Image/Sheet: 14.5” H x 19.5” W
$800-1,200
129
Jules Pascin (1885-1930)
Signed lower right: Pascin; titled on a label affixed verso
Sight: 11.5” H x 12” W
$500-700
130
Sculptural landscape Patinated bronze
Appears unsigned
48” H x 22” W x 25” D
$3,000-5,000
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
131
John Richen
(b. 20th century)
Night Wings, 1988
Stainless steel and bronze
Edition: 6/20
Signed, dated, and numbered: John Richen ©; titled by repute
50.25” H x 21” W x 13” D
$500-700
Other Notes: Sold by order of the court pursuant to the Mark Abbey Slotkin legal case and subject to our bankruptcy terms. ‘As-Is’ all sales final.
132
$600-800
133
A pair of Koch and Lowy-style chrome adjustable floor lamps
Circa 1970s-1980s
Appear unmarked
Two metal reading lamps with adjustable necks and square bases, in the postmodern style of designers Koch and Lowy, electrified, 2 pieces
$600-800
134
Adrian Murphy (20th Century)
“Telespective CXXXIII,” 1972
Oil on canvas
Signed, titled, and dated verso: Adrian Murphy
30” H x 40” W
$3,000-5,000
Provenance: Kendall Art Gallery, Wellfleet, MA Howard Wise Gallery, New York, NY
Signed and dated lower left: Pace; titled and dated again on a gallery label affixed verso
17.625” H x 24.25” W
$1,500-2,500
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
136
Stephen Pace (1918-2010)
“White Nude,” 1962 Oil on canvas
Signed and dated lower right: Pace; signed and dated again, verso; dated and titled on a gallery label affixed to the stretcher, verso
24” H x 32” W
$3,000-5,000
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
137 William Dole (1917-1983)
“Freedom,” 1979 Collage and mixed media on paper
Signed and dated at the lower edge of the image, right of center; titled in the image
Image: 8.25” H x 8.625” W; Sheet: 10.5” H x 10.5” W
$1,000-1,500
138 Kenneth Callahan (1905-1986)
Figures in an abstract landscape, 1963 Tempera on paper laid to board Signed and dated lower right 11.625” H x 17.375” W
$1,000-2,000
Alice Baber, who was born in Charleston, Illinois in Exhibition of New York artists. Baber, as one of the Nevelson, Lee Krasner, Mary Abbott, Joan Mitchell, figures of the Abstract Expressionist movement, Baber
Painted in 1966, The Axe in the Grove was included was Baber’s second one-person show with A.M. Sachs,
After the exhibition opened on Tuesday, November the review, wrote the following passage about Axe
Disks and puffs of pure bright color drift lyrically over most successful work is large in scale, as ìAxe in the areas of white, and the greater the loss of focus.
Alice Baber spent her earliest years in a region of eastern that were having a detrimental effect on her and her much of her childhood. Yet, when one looks at the irradiance of the Florida sunlight and the deep, rich
On November 29, 1966, just five days before the exhibition early 1980s, when a move into a smaller home prompted
Alice Baber’s work has been exhibited alongside many Mary Abbott, William Baziotes, Norman Bluhm, Louise Michael Goldberg, Adolph Gottlieb, Grace Hartigan, Morris Louis, Joan Mitchell, Robert Motherwell, Robert Pollock, Richard Pousette-Dart, Ad Reinhardt, Milton
Select Museum Collections:
Metropolitan Museum of Art, New York, NY Museum of Modern Art, New York, NY
San Francisco Museum of Modern Art, San Francisco, Santa Barbara Museum of Art, Santa Barbara, CA
Solomon R Guggenheim Museum, New York, NY Whitney Museum of American Art, New York, NY
For additional information on the historical context conjunction with Yale University Press, 2016.
1928, began exhibiting her work in New York City in 1957 when she was included in the Stable Gallery’s Sixth Annual the approximately twenty women included on the Annual’s extensive roster, was shown alongside Grace Hartigan, Louise Mitchell, and Elaine de Kooning. While many of the male artists featured in this exhibition have been recognized as key Baber ñ who died at the age of fifty-four in 1982 ñ has long been overlooked by museums and the art market at large. included in Alice Baber’s second exhibition at A.M. Sachs Gallery, which was located at 822 Madison Ave. and 67th Street. It Sachs, and only the fifth in her career.
November 15th, it was reviewed in the New York Times later that week. The noted arts journalist Grace Glueck, who authored Axe in the Grove and its place within the exhibition overall:
over a white field toward a gentle vortex, bumping one another like colored balloons at a children’s party. Miss Baber’s the Groove [sic],î where the white in the canvas is almost completely suppressed. The smaller the canvas, the larger the
eastern Illinois known for its prairie land, before her parents relocated the family to Florida to escape the harsh winters her mother’s health. The title of this painting, The Axe in the Grove, likely refers to the region of Florida where spent paintings that Baber created across all periods of her career, it is possible to find parallels between both the glowing rich tones of her earthy Illinois homeland ó often, within a single painting.
exhibition closed, a couple from Long Island purchased “The Axe in the Grove.” The work hung in their home until the prompted them to gift the work to the present owner.
many key members of the Abstract Expressionist movement, including (but not limited to):
Louise Bourgeoise, Friedel Dzubas, Perle Fine, Sam Francis, Helen Frankenthaler, Dorothy Gillespie, Sam Gilliam, Hartigan, Hans Hofmann, Paul Jenkins, Ray Johnson, Franz Kline, Elaine de Kooning, Willem de Kooning, Lee Krasner, Robert Natkin, Louise Nevelson, Kenneth Noland, Jules Olitski, Charlotte Park, Ray Parker, Betty Parsons, Jackson Milton Resnick, David Smith, Theodoros Stamos, Alma Woodsey Thomas, Bob Thompson, Jack Tworkov, Esteban Vicente Francisco, CA
context of this painting, please see Joan Marter, Women of Abstract Expressionism, published by the Denver Art Museum in
Alice Baber (1928-1982)
“Axe in the Grove,” 1966 Oil on canvas
Signed near the lower edge, left of center: Baber; titled on the stretcher, verso; dated and inscribed on the stretcher, verso: Paris [partially crossed out] 1966 New York 48” H x 64” W
$50,000-70,000
Provenance: A.M. Sachs Gallery, New York City Private Collection, Long Island, New York (acquired from the above on November 29, 1966) Gift from the above to the present owner, c. 1980
Exhibited: A.M. Sachs Gallery, New York City, November 15 ñ December 3, 1966
Literature: Grace Glueck, ìArt: A Many-Sided Bernini | Alice Baber,î New York Times, November 19, 1966, https://timesmachine. nytimes.com/timesmachine/1966/11/19/issue.html.
This work is accompanied by a copy of the original invoice from A.M. Sachs Gallery, New York City, dated November 29, 1966.
140 John Grillo (1917-2014)
“Inky the Lion,” 1956
Oil on canvas
Appears unsigned; titled and dated on a gallery label affixed verso; titled by repute
36” H x 24” W
$3,000-5,000
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
141
William Pellicone (1915-2004)
“White Sail,” 1967
Acrylic on canvas
Signed: Wm Pellicone; signed again, titled, dated, and inscribed LQTX./12 x 14, all verso
14” H x 12” W
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
Otto and Vivika Heino (1915-2009 and 1910-1995)
Large bowl
Glazed stoneware
Signed and dated to base: Vivika + Otto / ‘95
8” H x 11” Dia.
$500-700
144
Rodger Allen Mack (1938-2002)
Untitled
Polished and patinated bronze on a steel base Incised signature near the bottom of the sculpture: R. Mack
Sculpture: 36.5” H x 9” W x 11” D; base: 10.5” H x 10.5” W x 10.5” D
$1,000-2,000
Provenance: Property of an Important New York Corporate Collection
145
A group of Mario Bellini for Cassina Circa 1970s-1980s; Italy
Three marked for Cassina
A collection of six cowhide chairs comprising mahogany “Cab 412,” two sienna “Cab and two similarly-styled ochre cowhide Bellini, 6 pieces
Largest: 31” H x 26” W x 18” D; smallest: $1,000-1,500
comprising three “Cab” side chairs, one “Cab 413,” one “Cab 415” lounge chair, cowhide lounge chairs not designed by
smallest: 33” H x 18.5” W x 16” D
ICF Pelle chair
Designed 1985
With ICF Group paper label; further labeled: Made in Italy
Red leather, chrome-plated steel, and leather cord
8 pieces
Each: 30.75” H x 16 “ W x18” D
$1,000-2,000
147
A
Mid-20th century
Appears unmarked
In the style of Milo Baughman, the low-profile walnut sideboard with two sliding tambour doors and a fitted interior with two drawers, two shelves, and record compartments
25.25” H x 65” W x 17.25” D
$1,000-2,000
148
Three John Kapel for Glenn of California modern walnut bar cabinets
Circa 1960s
Each walnut cabinet with a sculpted handle revealing a fitted interior, one with a single shelf and one with a pull out surface and door rack, 3 pieces
Each: 24.25” H x 28” W x 20” D
$800-1,200
149 Jan de Swart (1908-1987)
“Architectural Sculpture,” 20th century Cast polymer resin
Appears unmarked; titled by repute 25” H x 11.5” W x 8.25” D
$2,500-3,500
American)
$700-900
Provenance: Margo Leavin Gallery, West Hollywood, CA The Blake Byrne Collection, acquired from the above
151
Alexander Leydenfrost (1888-1961)
Surrealist plane landing Mixed media on paper
Signed lower left: A. Leydenfrost
Sight: 16.125” H x 20.25” W
$800-1,200
“The
Signed, titled, and dated (twice), verso: Helen Miranda Wilson; also inscribed, verso, “NYC / painted the day after my 30th birthday
2.75” H x 11.25” W
$1,000-2,000
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Circa 1960s: Norway
The floating chest on a dark-finish plinth base with rosewood handle 40” H x 36” W x 18” D
$800-1,200
chest of drawers by Westnofa with six long drawers, each with a slim
155
Abram Schlemowitz (1910-1998)
Untitled
Copper brutalist sculpture on a iron base
From the edition of unknown size and date
Signed in the casting: Abram Schlemowitz
16” H x 20.5” W x 6” D; with the base: 18.5” H x 20.5” W x 6” D
$300-500
Provenance: Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
153
Rudolph Schelling Webermann (founded 2005)
Two RSW for Hem pocket chairs
Each with burned mark: hem / design by / RSW
Vegetable-tanned Italian leather and oak
2 pieces
Each: 30.5” H x 23.5” W x 20” D
$600-800
156
Claude Weisbuch (1927-2014)
“La Chute” Oil on canvas Signed lower right: Weisbuch; signed again and titled, verso 64” H x 51.25” W
$3,000-5,000
157
Herman Braun-Vega (1933-2019)
“1∞ Serie del ‘Le Bain Turc,’” 1972
Acrylic on canvas
Signed twice, titled, dated, and inscribed verso: H Braun New York; titled and dated again on a gallery label affixed to the stretcher 30” H x 30” W
$1,500-2,500
Provenance: Lerner-Heller Gallery, New York, NY
Other Notes: Braun-Vega’s title references the 1862 painting by Jean Auguste
Dominique Ingres, “Le bain turc,” in the Louvre Museum, Paris.
158
Signed and dated lower right: H. Braun
Image: 8.75” Dia.; Scraperboard: 14” H x 11” W
$700-900
Provenance: Lerner-Heller Gallery, New York, NY
Other Notes: According to an ink stamp, verso, the Essdee brand of scraperboard used for this work was made in England and distributed in New York and Los Angeles by The Morilla Company.
159
Herman Braun-Vega (1933-2019)
Female nude group with vase, 1972
Drawing on scraperboard
Signed and dated lower right: H. Braun
Image: 10” H x 8.75” W; Scraperboard: 13.875” H x 11” W
$700-900
Provenance: Lerner-Heller Gallery, New York, NY
Other Notes: According to an ink stamp, verso, the Essdee brand of scraperboard used for this work was made in England and distributed in New York and Los Angeles by The Morilla Company.
160
Ray and Charles Eames (1912-1988 and 1907-1978)
Two aluminum group executive chairs for Herman Miller, circa 1960s-1970s
Designed 1958
Each with Herman Miller label
Each with cast aluminum frame with arms and Kelly green upholstered seats, one in leather and one in wool, on a four-legged base, one with casters
2 pieces
Each: 34” H x 22.25” W x 20” D
$600-800
161
$600-800
162
Ivan Mosca (1915-2005)
Landscape with a gray sky, 1954 Oil on canvas
Signed and dated along the lower edge: Ivan Mosca
19.75” H x 27.25” W
$400-600
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
163
Benny Andrews (1930-2006)
“Shopper,” 1971
Mixed media and collage on paper
Signed and dated lower right: Benny Andrews / July 3, 1971; signed again and titled, possibly in another hand, verso; signed, titled and dated again, all in ink, on the frame’s former backing paper, possibly in another hand; titled again on a typed paper label affixed to the frame’s former backing paper.
Sheet: 18” H x 12-12.25” W
$1,200-1,800
Other Notes: This lot is sold together with a old, hand-written consignment document relating to an unknown gallery or individual. There is also an article clipped from the November 4, 1988 issue of “The New York Times.” The latter is a review by Michael Brenson for the exhibition “The Collages of Benny Andrews” (September 18, 1988 - February 26, 1989) at The Studio Museum in Harlem, New York. https://www.nytimes.com/1988/11/04/arts/ review-art-the-collages-of-benny-andrews.html
“Subway - N.Y. City”
Conte crayon, oil pastel, and pencil on paper
Signed very faintly at the lower left: Edw. T. Deutsch; titled lower right; signed “E. T. Deutsch” and titled again “N. Y. Subway,” both possibly in another hand, verso
Image/Sheet: 7.75 “ H x 9.5” W
$2,000-3,000
165
$800-1,200
167
$800-1,200
Provenance: Private Collection, Bel Air, CA
168
A Richard Barr for Laurel brutalist steel table lamp
Circa 1960s-70s
With a torch-cut steel dynamic sculptural body mounted on a patinated verdigris and black enameled copper base, electrified
39” H x 15” W x 10” D
$600-800
169
Knoll Executive chair, 21st century
Designed 1950
Each with Knoll label to underside
Chromed metal and blue boucle upholstery
8 pieces
Each: 31.5” H x 25” W x 17.25” D
$800-1,200
170 Gordon Wagner (1915-1987)
“Metamorphosis in a Keyhole,” circa 1970s Assemblage framed under glass, as issued Paper label affixed to the verso: Southern Illinois University /
Title: Metamorphosis in a Keyhole / Media: bone, egg, rubber, & plastic, wood, acrylic, glass, pearls, gold, mesh / Artist: Gordon Wagner
23” H x 13” W x 5” D
$800-1,200
(1915-1987)
“Fire Queen,” 1979
Assemblage framed under glass, as issued Signed: Wagner / 79 / ‘Fire Queen’ 12” H x 11” W x 3” D
$600-800
Other Notes: In 1966 Wagner joined artists Noah Purifoy and Judson Powell as a participant in their exhibition ‘66 Signs of Neon’, conceived as a collaborative project in the wake of the Watts uprising of 1965. They gathered artist-friends who went out into the streets and picked up pieces of still-smoldering rubble to use in assemblages. According to Purifoy, “We wanted to tell people that if something goes up in flames it doesn’t mean its life is over.”#66 Signs of Neon traveled to various California state universities as well as abroad. The charred doll head in this assemblage could be a remnant of the pieces collected during this endeavor.
172
Ad Reinhardt (1913-1967)
Man wooing woman with flowers and chocolates, 1946
India ink and gouache on paper collage
Signed near the center of the lower edge: Reinhardt; inscribed and dated verso: original / Drawing / for / Newspaper / PM /1946
Image: 3” H x 2.75” W ; Support: 6” H x 3.75” W
$500-700
173 Ethel Edwards (1915-1999)
“Flight”
Oil on canvas
Signed lower right: Ethel Edwards 44.25” H x 34.5” W
$500-700
Provenance: Midtown Gallery, Cleveland, OH Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
174
Ethel Edwards (1915-1999)
Untitled
Mix media on paper
Signed lower right: Ethel Edwards
Sheet: 19” H x 26.5” W
$300-500
Provenance: Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
175 Jody Pinto (b. 1942) “Tall Chair Waiting,” 1976
Mixed media on paper
Signed, titled, and dated verso: Judy Pinto; titled again upper left Sheet: 36” H x 24” W
$800-1,200
176 Rico Lebrun (1900-1964)
“Fall of Samurai,” 1957 Black ink and wash on paperboard
Signed and dated lower right: Rico Lebrun; signed and dated again, and titled upper left 36.25” H x 23.875” W
$800-1,200
Provenance: Dorothy Cameron Gallery Ltd, Toronto, Canada
177
Edwin Dickinson (20th century)
“Au Revoir Monsieur Jean Paul”
Pencil on paper
Signed in pencil on the right edge: E W Dickinson; titled, inscribed, and numbered lower right: 194 Av Michel / 161; titled on a gallery label affixed verso
Image/Sheet: 8.125” H x 5” W
$800-1,200
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
178
A pair of Ello-style lighted brass and glass vitrine display cases
Circa 1980s
Two glass cases with four delineated shelves, mirrored top and bottom on the interior, and brass framing on the exterior, electrified, 2 pieces
$800-1,200
179
Circa 1980s
With two delineated shelves, mirrored top and bottom on the interior, and brass framing on the exterior, electrified
$400-600
180
Sujarit Hirankul (1946-1982)
“Siam,” 1979
Oil on canvas
Signed and dated lower right: Sujarit; signed and dated again on the verso; inscribed indistinctly on the verso
24” H x 28” W
$800-1,200
181
Claude Assian
(b. 20th century)
“Quiet Village II,” 1967
Oil and collage on canvas
Signed, titled, dated verso: Assian; titled and dated again on a label affixed verso 34” H x 34” W
$300-500
Provenance: Allan Stone Gallery, New York, NY
Provenance: Property of the American Broadcasting Company, New York, acquired from the above
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
(b. 1946)
“Lands Beneath the Sea”
Acrylic on canvas
Signed lower right: Margaret Smith; signed again and titled on the stretcher 37.25” H x 46.25” W
$300-500
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
183
Anders Aldrin (1889-1970)
“Jackson Lake,” 1941
Pastel on paper
Appears unsigned; titled and dated in pen on the verso Sight: 7.5” H x 11.5” W
$400-600
Provenance: Triton Museum of Art, Santa Clara, CA
Other Notes: (T.M.84.1.06), written in pen on the upper frame, verso
184
Tim Nordin (20th century)
Untitled
Painted laminate on Plexiglas
Appears unsigned
Sight: 24” H x 36” W
$600-900
Other Notes: Proceeds from the sale of this lot will go towards the San Miguel Scholarship at La Salle College Preparatory (Pasadena, CA) which offers up to nine full tuition scholarships every year to entering students who fall below the federal government poverty level.
Untitled, 2007
Collage and mixed media on thick paper
Appears unsigned; dated on the verso
Image/Sheet: 24.125” H x 18.125” W
$2,000-4,000
Provenance: David Kordansky Gallery, Los Angeles, CA
186
Frederick Spratt (1927-2008)
“Orange Wall,” 1978
Acrylic lacquer, tooling, and Coricone on seven aluminum panels Incised with the signature, title, and date on the verso of the fourth panel: Spratt; each of the panels inscribed in black marker 1 of 7 - 7 of 7, respectively, along with markings to indicate up/down and left/right orientations, all verso
71” H x 262.5” W x 0.375” D
$1,000-2,000
Provenance: Triton Museum of Art, Santa Clara, CA
Exhibited: Santa Clara, CA, Triton Museum of Art, “Frederick Spratt: Trooping the Colors,” March 6 - June 6, 2004
Frederick Spratt (1927-2008)
“White Wall,” 1978
Acrylic lacquer, tooling, and Coricone on nine aluminum panels
Incised with the signature, title, and date on the verso of the sixth panel: Spratt; each of the panels inscribed in black marker 1 of 9 - 9 of 9, respectively, along with markings to indicate up/down and left/right orientations, all verso
Overall: 71” H x 375” W x 0.375” D
$1,000-2,000
Provenance: Triton Museum of Art, Santa Clara, CA
Exhibited: Santa Clara, CA, Triton Museum of Art, “Frederick Spratt: Trooping the Colors,” March 6 - June 6, 2004
188
Loredano Rosin (1936-1992)
Two Seated Figures
Murano glass
Signed to base: Loredano Rosin; glass seal on base marked: La Fontanina Venezia and [winged lion of San Marco]
12.25” H x 12” W x 5” D
$600-800
189
2004
With manufacturer’s sticker and signed to the underside: Venini
$1,000-2,000
Centerpiece Vessel, mid-20th century Glass with bronze mounts
Signed to underside of base: Cenedese Paper Label: Murano Glass Vetri / 4/84/100/9 / Made in Italy
12” H x 27.5” L x 19” D
$1,200-1,800
Other Notes: This vessel has the “scavo” finish. “Scavo” means “excavated” in Italian. This special glass finishing technique is used to make the surface look old, as if it were weathered or buried for a long period of time.
192
Yves Klein (1928-1962)
“Table Monogold,” designed 1961/1963 Gold leaf, glass, Plexiglass, wood, and steel With signed placard of authenticity affixed to the underside; serial no. CCV-GFRE
14.25” H x 49.25” W x 39.25” D
$12,000-18,000
Provenance: Private Collection, Hidden Hills, CA
Notes: On April 28, 1928, Yves Klein was born to parents who were notable abstract painters in Paris. From 1942 to 1946, Klein studied at the Ecole Nationale de la Marine Marchande, and the Ecole Nationale des Langues Orientales. He would become a pioneer in the development of performance art and a prominent visual artist whose work bridged the gaps between Minimalism, Pop Art, and the Nouveau Realism movement.
Klein’s techniques and use of raw pigments in paintings, performances, and furniture design are highly regarded within the art and design industry. Arguably, his most avant-garde performances were those in which he arranged for naked women covered in pigment to roll their bodies over canvases in public settings. He also coated sponges in raw pigments that he then affixed to canvases and panels. In 1963, Klein began producing clear Plexi-glass tables filled with powdered pigment piles in shades of light pink and his trademarked International Klein Blue (IKB), a deep shade of ultramarine as seen in the following lot. His use of pure pigment as a viable medium challenged long-held beliefs on art’s relationship to both color and material in ways that continue to influence visual artists, performance artists, and interior designers working today.
Gilded Tanks, Planes, and Helicopters, 2015 LED lights and mixed media, electrified
Initialed and dated on the verso of the frame’s upper edge: PG + 15; initialed again on the underside of the frame’s lower edge 48” Dia. x 3.25” D
$8,000-12,000
194
Willy Weber (1933-1998)
“Travel With Me”
Sculpted chrome sheet
Signed on the verso in marker: Willy Weber [with accompanying Willy Weber sticker]; inscribed on the verso in marker: “Travel With Me”
29.5” H x 23.75” W x 3” D
$1,500-2,500
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
195
Wen-Ying Tsai (1928-2013)
“Multi-Chromatic #1,” 1970 Metal and iridescent disks
From the edition of 100
Appears unsigned; titled on a gallery label affixed verso; dated by repute
24” H x 24” W
$3,000-5,000
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
196
Bruno Munari (1907-1998) “Environnement”
Aluminum, plastic filament, and painted wood kenitic sculpture Appears unsigned; titled and inscribed on a typed paper affixed to the underside: Environnement / element du Continued Mobille
28.75 H x 7.875” W x 2.25” D
$3,000-5,000
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
197
Attributed to Bruno Munari (1907-1998)
Modern chess game, circa 1960
Hand-painted wood with Plexiglas, hand-painted wood pieces, and foosballs
Appears unsigned; marked for frame-builder Robert Moore Kulicke on the side
Overall: 31.” H x 39.5” W x 27.75” D; Kulicke frame: 27.75” H x 39.5” W x 4.625”
$700-900
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
198
Bruno Munari (1907-1998)“Original Xerographs,” 1966
The complete set of 10 xerographs on copier paper tipped to gray wove paper support sheets blindstamped Canson, as issued
Each image signed, dated and inscribed in ink along the lower edge: original xerograph Munari N.Y. 66; the ten works together in the original gray Canson paper folder with the printed name of the artist, title and date, recto
Image/Sheet: 11” H x 8.5” W (or opposite); Gray support sheets: 19.75” H x 12.75” W (or opposite)
$4,000-6,000
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: In a book titled “Original Xerographies,” first published in 1977 by Zanichelli, Bologna, Italy, Munari provides a lengthy description of the technique he used to create the images in this portfolio. A portion of that description reads as follows: “Original Xerographies are the result of methodical studies performed on an electrostatic copier. The title Xerography comes from the name of the copier used for the experiments. The terminology “Original Xerographies” is used to show that these are not common copies, but originals obtained thanks to a procedure whereby all of the copier’s functions are employed. Hence it not only reproduces but produces images as well....Reproducing a ready-made reproduction and continuing to reproduce from the reproduction of the reproduction you get a texturization of the sign that is visually interesting.... This is where the experimenter wonders: and what happens if I move this original on the plate of glass? And after a few attempts you discover that you get a great many effects depending on whether you move it jerkily, if you drag it along or if you rotate it, and so on.”
199
Panayiotis “Takis” Vassilakis (1925-2019)
“Anti-Poluted Transportation,” 1970
Black ink marker and pencil on paper, watermark GVA RRO
Signed, inscribed and dated lower right:Takis / Spain; titled in the image at the upper left
18.375” H x 26.75” W
$600-800
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: Better known as Takis, the artist’s full name is Panayiotis Vassilakis.
Rosangela Renno (b. 1962)
“Usar algumas palavras que ainda nao tenham idioma (Group R) da Serie Materia de Poesia (Para Manoel de Barros),” 2013
The set of six inkjet prints in colors on Canson Rag Photographique paper laid to aluminum panels, as issued
The first image signed and numbered 1/6 in ink on the label affixed to the frame’s backboard: Renno Rosangela; each of the other images initialed and numbered 2/6-6/6, respectively, in ink on the label affixed to the frame’s backboard
Sight of each: 29” H x 42.5” W
$20,000-30,000
Provenance: Galeria Vermelho, San Paolo, Brazil
Other Notes: Rosangela Renno Gomes was born in 1962 in Belo Horizonte, Minas Gerais, Brazil. She is a prominent Brazilian artist currently working in Rio de Janeiro. In 1986, Renno received a bachelor’s degree in architecture, and in 1987 she received a degree in Fine Arts from the Guignard School. In addition, she authored a thesis for her doctorate in 1997 about the reproduction of photographic negatives from the archives of the Sao Paulo Penitentiary Museum (Fafich, 2017). With the experience of her doctorate thesis, it would be a turning point in her career, where archival photos she found would be a dominant part of her work. Gomes’ “work consists of photographic images from public and private archives that question the nature of an image and its symbolic value” (Renno & Takahashi, 1998).
Renno creates a space where interest arises in the viewer. Most notable is a quote from Renno herself about the purpose of these types of work, “the little stories of the downtrodden and the vanquished” (Renno, 2004). Vilem Flusser, a Czech photo theorist, and Andreas Muller Pohle, a German photographer, and theorist, were the two figures that influenced Renno’s decision to recycle photographs. Renno’s use of archival media and creating new images “introduces another sphere of connections and reinterpretations as she recontextualizes them, offering us the vision of yet another imaginary universe” (Silverio, 1).
The current photographs are six digital prints from a more extensive collection of 42 images. The name of this collection is Materia de Poesia. These images are created by the overlay of multiple old slides and influenced by Manoel de Barros, an influential poet in Brazil. With the discovery of these old slides were visual “records of travels, views of cities, people from another time” (Molina, 2010). Renno’s development when creating these new images for Materia de Poesia is to use “juxtaposing photographs that would be “garbage” - or, referring to Barros’ poetry, Rosangela makes verses from what would be an insignificant element of nature, tiny details,” (Molina, 2010).
Renno’s present work is a unique display of archival photography, especially with many different images to create an overlaying product. In addition, the current images were printed in a limited color palette; for instance, some are saturated in red with black shadows to contrast, while some pieces are blue and have a black shadow as a visual contrast. In more detail, the first image’s most prominent details are that the background looks like a cathedral, with the pointed arches of the building itself. An intriguing part of this piece is the foreground from a different image used as the overlay: a female wearing a bathing suit. The second image has a background archival photo of the cityscape, the more prominent features being a couple of taller buildings on the left of the image. However, the overlay image looks like a scene inside a building. The third image is a background photograph of the inside of what looks to be an ancient amphitheater, and the foreground overlay is of an ornate gold emblem directly in the middle. The fourth image has a background of a marina with buildings and the main headsail peeking out at the top. Looking at the overlay image, a man on a horse is shown directly in the center of the image itself. When looking at the bottom of the image, there are multiple horse hooves and legs, but the viewer cannot see the bodies of the horse because of the shadow. Renno’s fifth image has a background from an elevated perspective of a town filled with buildings with Spanish-style roofing. Looking closer, a lady in the very center overlaps the photograph. The overlay of these two images is fascinating; the city landscape juxtaposes the living beings presented. Lastly, the six images have an industrial scene in the background, an oil rig at the center of the background, and even old oil glass streetlamps are shown. The overlay image is a seated figure smiling inside a kitchen.
Renno and her body of works have been shown not only widely in Brazil but also on an international scale. From Tate Modern, the Museum of Modern Art in New York, the Guggenheim Museum, Museo Nacional Centro de Arte Reina Sofia, and many more. The present images juxtapose the image’s relationship with the environment. Deciphering what is happening in these images might not be clear, but “there is a precise sense of where they are heading: out of the frame, into a space beyond the surface where they are supported, into perception itself” (Biennale de Sao Paulo, 1994). Renno’s execution of these images allows her audience to reflect on the living world, have a glimpse of the past, and divulge into our instinct of being curious individuals.
201
Susan
“Woven Copper Chain Dress Sculpture”
Copper wire, glass beads, resin, and clear metal powder
Appears unmarked
48” H x 10” W x 2” D
$600-800
Other Notes: A very similar, if not identical, work appears on the artist’s website under the “sold works” section. Titled by repute. https://www.susanfredastudios.com/collections/wire-dresses/ products/filum-auro-gold-thread
Provenance: Private
Signed twice, titled, and dated, verso: Alex Weinstein and with the artist’s device 48” H x 60” W
$7,000-9,000
Provenance: Leslie Sacks Fine Art, Los Angeles, CA
Signed twice, titled and dated verso: Alex Weinstein and with the artist’s device
48” H x 60” W
$7,000-9,000
Provenance: Leslie Sacks Fine Art, Los Angeles, CA
(b. 1953)
“In the Beginning,” 2022
Photopolymer resin and beads
Signed, titled, and dated on underside of base: Chroma aka Rick Wolfryd / T.P. 0002 2022
18.5” H x 19” W x 17” D
$1,500-2,000
206
Mark Lere
(b. 1950)
“Untitled #2,” 1988
Patinated 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
208
Pablo Vargas Lugo
(b. 1968)
“Cell,” 2003
Colored paper cutout mounted to sage green paperboard, as issued
Signed, titled, and dated in ink on the verso of the paperboard: Pablo Vargas Lugo
Image/Sheet: 23.5” H x 23.5” W
$1,000-1,500
Provenance: Massimo Audiello Gallery, New York, NY 2004
Private Collection acquired from the above
209 Tarmo Pasto (1906-1986)
“Storm Approaching,” 1968 Oil on canvas
Signed and dated lower edge, right of center: Tarmo Pasto; titled on the stretcher, verso 46” H x 50” W
$1,500-2,000
Private Collection, California
Other Notes: This lot is being offered in a frame hand-painted by the artist. There is a number 258 written on the stretcher as well as on two adhesive stickers affixed to the stretcher, verso.
Tarmo Pasto, a noted psychologist and art professor, was also a prolific painter who frequently exhibited his paintings during his lifetime. Though he is perhaps best known for bringing attention to the work of one of his patients, the so-called Outsider artist Martin Ramirez, Pasto was a key figure in a circle of artists working in and around the Sacramento area during the post-war period. This loose coalition of artists, which includes figures such as Mel Ramos, Wayne Thiebaud, Jack Ogden, is known for exhibiting their work at institutions such as the Crocker Art Museum which holds examples of Pasto’s work in its permanent collection.
In 1986, four years after a retrospective was held at the Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has largely remained unseen by subsequent generations of viewers. John Moran Auctioneers is pleased to offer this work for sale for the very first time.
211
Flavio Cabral (1916-1990)
“Dialogue”
Oil on Masonite
Signed lower left: Flavio Cabral
24.25” H x 36.25” W
$1,000-2,000
Provenance: Heritage Gallery, Los Angeles, CA
Private Collection, CA
Private Collection, CA, by descent from the above
Other Notes: Flavio Cabral, an American-born artist of Portuguese parents from Trinidad, settled in the Los Angeles area in 1936 at the age of twenty. After participating in the Federal Arts Project, which paid artists to produce work as part of FDR’s New Deal, Cabral continued his studies in both fine art and fine art education.
After earning a Master of Arts Degree from the State University at Los Angeles, Cabral became a professor of painting and history for over thirty years at Los Angeles Valley College. This painting is one of a small trove of works by Cabral that will be featured in sales across Moran’s spring 2023 auction calendar. Collected by a Los Angeles area collector, the works demonstrate the breadth of Cabral’s artistic practice while also showing his tendency to return to an apparently beloved motif -- the depiction of several women, similar in appearance, within a single composition.
212
Flavio Cabral (1916-1990)
Purple poppies
Oil on Masonite
Signed lower left: Cabral 23.75” H x 36” W
$800-1,200
Provenance: Private Collection, California Private Collection, California, by descent from the above
G. Allan Wright (1927-1982)
“Brooding Bird,” 1965 Patinated bronze Edition: 2/3
Engraved signature, date, and number to the underside: G. Allan Wright / # 2 of 5” H x 4” W x 8.5” D
$300-500
Provenance: Property of the American Broadcasting Company, New York; Walt Disney Co., Burbank, California, acquired by corporate merger with the above; Private Collection, Los Angeles, California, acquired from the above
Other Notes: Wright created many small sculptures best described in an article written by Alfred Frankenstein of the San Francisco Chronicle on April 6, 1967: “Wright is distinguished virtuoso in most of his work, the shapes of animals and birds beautifully simplified, with a fine instinct for the essential, characteristic gesture of each creation.”
215
A Milo Baughman-style glass and chrome cocktail table
20th century
With rectangular glass top with chromed metal box-style legs
17.5” H x 60” W x 25.5” D
$800-1,200
David Oliver Green, Jr. (1908-2000)
“Dual Monument,” 20th century Cast aluminum on wood base Paper label to the underside: David Green / “Dual Monument” / Cast Aluminum
18” H x 6” W x 4” D
$1,200-1,800
216
Earl Kerkam (1891-1965)
Still life with a vase and fruit Oil on board
Signed lower left: Kerkam
12” H x 17.25” W
$300-500
Provenance: Property of the American Broadcasting Company, New York
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
217 George Inness NA (1825-1894)
“A Summer Landscape,” c. 1880 Oil on canvas
Signed lower left: G. Inness; titled verso; titled secondarily on letter of authenticity
12” H x 16” W
$10,000-15,000
Provenance: Sold: Susanin’s Auctioneers & Appraisers, Chicago, IL, September 20, 2019, Lot 6247 Private Collection, Los Angeles, CA
Other Notes: This lot is accompanied by a letter from Michael Quick, dated, August 10, 2022, confirming the authenticity and the inclusion of the present work in the forthcoming supplemental catalogue raisonnÈ of the artist’s works.
Excerpt from letter of authenticity:
“ A Summer Landscape, c. 1880 can be described as follows. A stream may flow from the left middle ground to what may be a stream bed in the left and center foreground. Beyond it appears to be a grassy area at center. The rest of the foreground and middle ground are filled with lush vegetation of many small and large bushes. Just beyond the immediate foreground rises a tall tree in full leaf, with another tree behind it. Further back at the far right is a full, lower tree. In the middle ground at the left are two or more large trees. In the distance, left of center, three or four houses stand among tall trees. There is a suggestion of a far distant hill or ridge. Clouds tinged with color float in the slightly hazy sky.
“Having had the opportunity to carefully examine and study A Summer Landscape it is my expert opinion that it is the work of George Inness. I would date it to around 1880 or slightly later, a period when Inness was committed to painting from nature. Although the landscape has a strong composition, I recognize in it the attempt to record the random multiplicity of nature. Hence the many forms of vegetation, bushes, and small trees surrounding the large trees. It was painted in a range of greens and touches of unexpected colors. It gives the impression of having been painted quickly, but with the expert paint handling of Inness, who could represent forms with almost abstract stokes of shaped paint. An unexpected technique is the way that Inness pulled a very thin white or gray paint over some of the outer branches of the large trees, which must represent their actual appearance against the strong light of the sky.
“I plan to include A Summer Landscape in the supplement to my catalogue raisonnÈ of the works of George Inness.”
220 Fred Mitchell (1923-2013)
“Harbor Voyage,” 1979 Watercolor on paper
Signed, titled, dated, and inscribed in blue pen along the lower margin: Fred Mitchell / On the Ferry - 18th of February 79 Sight: 11.625” H x 15.5” W
$300-500
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
221
Martine (20th century) “Gouache Study”
Mix media on paper
Signed lower right: Martine; titled on a gallery label affixed verso Sight: 19.625” H x 25.625” W
$300-500
Provenance: Howard Wise Gallery, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
222
LeRoy Neiman
(1921-2012)
“Voila! The Pierruese,” 1994
Mixed media with collage on wove paper, watermark Arches
Signed, titled, and dated, twice, at the lower edge, right of center: LeRoy Neiman
Image/Sheet: 22.75” H x 20” W
$3,000-5,000
223 Theo Hios (1910-1998)
Abstract, 1961
Pastel on paper
Signed and dated lower right: Hios Sight: 21.75” H x 28.75” W
$400-600
Provenance: Property of the American Broadcasting Company, New York Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
224 Theo Hios (1910-1998)
Abstract landscape, Pastel on paper
Signed and dated lower Sight: 17” H x 25.5”
Abstract still life Pastel on paper Appears unsigned Sight: 24.75” H x 17”
$500-700
Provenance: Property Walt Disney Co., Burbank, Private Collection, Los
lower right: Hios
Property of the American Broadcasting Company, New York Burbank, CA, acquired by corporate merger with the above Los Angeles, CA, acquired from the above
225
Michael Baum (1933-2021)
Untitled Mix media on paper
Signed in pencil lower right: Michael Baum
Sight: 9.75” H x 13.5” W
Abstract
Mix media on paper
Signed in pencil lower left: Michael Baum
Sight: 9.75” H x 13.75” W
Untitled abstract
Mix media on paper
Signed in pencil near the lower left: Michael Baum
Sight: 9.125” H x 13.25” W
3 pieces
$400-600
Provenance: Property of the American Broadcasting Company, New York
Walt Disney Co., Burbank, CA, acquired by corporate merger with the above Private Collection, Los Angeles, CA, acquired from the above
227
Mid-20th century
With numbered label verso
With four drawers with pocket handles and raised on tapered pole legs
29.25” H x 31.5” W x 18.25” D
$500-700
228
Lowell Nesbitt (1933-1993)
Spiral staircase in a house, 1960
Graphite on paper
Signed and dated at the lower right corner: L. Nesbitt
Image/Sheet: 59.25” H x 30.125” W
$800-1,200
Provenance: Howard Wise Gallery, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Initialed lower right edge: DP; titled and dated on a tag affixed verso Sight: 23.5” H x 22.5” W
$300-500
230
“The Lookout,” 2010 Oil and gesso on Arches Aquarelle paper Incised with the signature and dated lower right: A. Gonzales; titled on a gallery label affixed verso Sheet: 22.5” H x 30.25” W
$300-500
231
Cornelius Quabeck (b. 1974)
“1745 L’Garcon Sauvage,” 2004 Charcoal and spray paint on canvas Signed, titled, and dated verso: C. Quabeck
90.5” H x 75” W
$2,000-4,000
Provenance: Galerie Christian Nagel, Cologne, Germany The Blake Byrne Collection, acquired from the above
233
Margaret Keane (1927-2022)
“Perspective Reflected,” 1964 Oil and gold leaf on canvas Signed, initialed, and dated lower right: © MDH Margaret Keane 60” H x 30” W
$5,000-7,000
Provenance: Triton Museum of Art, Santa Clara, CA
(1927-2022)
Signed and dated upper right: © Margaret Keane; signed and dated verso; titled by repute 30” H x 14” W
$4,000-6,000
Provenance: Triton Museum of Art, Santa Clara, CA
Signed and dated lower left edge: © Margaret Keane; titled by repute 24” H x 18” W
$4,000-6,000
Provenance: Triton Museum of Art, Santa Clara, CA
236
Peter Max
(b.1937)
“Friends”
Mix media on paper
Edition: 186/350
Signed and numbered in pencil along the lower margin: Max; with the artist’s copyright blindstamp, in the lower left corner
Image: 11.25” H x 15.25” W; Sight: 14” H x 18” W
$400-600
Note: Proceeds from this sale will benefit Goodwill of San Francisco Bay.
$8,000-12,000
Note: Proceeds from this sale will benefit Goodwill of San Francisco Bay.
239
A contemporary postmodern molded plastic “hand” chair
Late 20th century
Marked to the base: RMI-I made in the USA
The molded black plastic contemporary chair, in the manner of surrealist designer Pedro Friedeberg who first designed the “hand” chair in 1960
34”H x 28” W x 20” D
$500-700
240
Blown glass in gradient orange to yellow with a mushroom-shaped stopper 14” H x
$600-800
Provenance: Maria Domont Collection, West Hollywood, CA
John
Abstract, 1978
Enamel wall sculpture
Signed and dated in the orange element: Killmaster
Overall: 85” H x 83” W x 5” D approximately
$800-1,200
242
20th century
“Low Kentia Vase,” 21st century
Saggar-fired earthenware, desiccated Kentia Palm, twine
Signed: Adcock
6” H x 14” Dia.
$200-400
Circa 1960s
With label: Vejle Stole- og M¯belfabrik
Comprising three rosewood tables with straight legs, 3 pieces
Largest: 18” H x 24.25” W x 15.75” D; smallest: 15.25” H x 19.25” W x 15.75” D
$400-600
A pair of modern Thonet teak lounge chairs
Mid-20th century
Tag on the underside reads: Thonet
Each with carved teak wood frame and black vinyl upholstered arms and seats, 2 pieces
Each: 31” H x 23” W x 23” D
$500-700
Other Notes: Sold by order of the court pursuant to the Mark Abbey Slotkin legal case and subject to our bankruptcy terms. ‘As-Is’ all sales final.
Circa 1960s
The circular wood coffee table with an inset glass top, designed as part of the “Astro” line for G-Plan
18” H x 33” Dia.
$400-600
246
A modern Lane “Staccato” brutalist bedroom set
Circa 1970s; Altavista, Virginia
The two-piece, walnut storage set comprising a highboy dresser and nightstand, each with a blocky brutalist design inspired by Paul Evans, 2 pieces
Dresser: 55” H x 38” W x 19” D; nightstand: 22.5” H x 28” W x 16” D
$1,000-1,500
247
Erwin Eisch
(1927-2022)
“Picasso Head - Sunlight,” 1992
Molded glass and paint
Signed and dated to verso: E. Eisch / 92; titled by repute
20.75” H x 13” W x 10” D
$1,500-2,500
248
Richard Misrach (b. 1949)
“IPS #2521 (Someday),” 2011 Archival pigment print on Epson paper Edition: 3/7
Signed, titled, dated and numbered in black ink along the verso of the margin edge
Image: 10.75” H x 14.375” W”; Sheet: 11.625” H x 16.5” W
$1,200-1,800
Provenance: Marc Selwyn Fine Art, Beverly Hills, CA
249
Joshua White (b. 1942)
“Lightwork,” 1997
The complete set of 120 color slides and diagrammatic installation materials
Edition: Presumably unique
Signed, titled, dated, and inscribed in marker on labels affixed to the recto and verso of the accordion portfolio: Joshua White / Commissioned 1997 by Barbara White; the slides in their 12 original clear plastic viewing sleeves, and brown paper folders with individualized handwritten installation instructions, all encased in the original black paper accordion portfolio secured with elastic bands, with installation photographs affixed with clear packing tape
Each slide: 2” H x 2” W; Accordion portfolio: 10.5” H x 12.125” W
$400-600
Provenance: Collection of Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
250
Joel Meyerowitz(b. 1938)
“Hopper’s Window,” 1995
Archival pigment print on Kodak paper
Edition: 161/300
Signed, titled, dated and numbered in ink in the lower margin: Joel Meyerowtiz; sold together with a hardback copy of Lyons, Deborah and Adam Weinberg, “Edward Hopper and the American Imagination,” New York: Whitney Museum of American Art, 1995 and assorted original documentation and folders relating to print, the book, and the Whitney Museum’s concurrent Hopper exhibition, all housed within the original tan, linen-covered, contoured, portfolio box with ribbon ties
Image: 9.875” H x 8.125” W; Sheet: 14” H x 11” W
$1,000-2,000
Other Notes: According to one of the original documents included with this lot, “The Truro Conservation Trust gratefully acknowledges The Whitney Museum of American Art and Joel Meyerowtiz and the purchase of the Special Limited Edition for their assistance in the preservation of The Hopper Landscape in the high dines of South Truro.”
251
Joel
(b. 1938)
“Storm Over Corn Hill, Truro, Cape Cod,” 1976
Photograph in colors on paper
From the edition of unknown size and date
Appears unsigned; titled and dated on a gallery label affixed to the backboard of the frame
Sight: 18.25” H x 23.25” W
$600-800
Provenance: Hell’s Kitchen Gallery, Provincetown, MA
Collection of Barbara Wise, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
252
“Arte,” 2015
Digital photo print mounted on Diasec
Edition: 3/5, printing date unknown
Appears unsigned; titled, dated and numbered by repute
48” H x 99” W x 1.25” D
$4,000-6,000
Provenance: Axiom Contemporary Fine Art, Scottsdale, AZ
Other Notes: According to the company’s website, Diasec is a worldwide trademark registered technique originally developed in Switzerland in 1969. It is a face-mounting process that allows photographs to be bonded directly and permanently to acrylic.
253
Giovanni Lunardi
(b. 20th century)
“Balloons,” 2007
Archival color print on paper, polychrome carved wood balloons, and waxed cotton twine, encased in a lacquered wood shadow box frame under Plexiglas
Signed and dated lower right: Giovanni Lunardi
Overall: 31.5” H x 18.5” W x 3.5” D
$500-700
(b. 1983)
“Giant Steps,” 2016
Archival pigment inkjet print on paper
Edition: 1/3, printing date unknown
Signed on artist label verso: Katie Shapiro
Image/Sheet: 74” H x 46.5” W
$3,000-5,000
Provenance: Kopeikin Gallery, Los Angeles, CA
255
A Danish modern walnut wall unit
Mid-20th century
With metal tag: Furniture Makers / Danish / Control
Comprising nine staggered shelves and a central two-door cabinet
47” H x 119” W x 17.25” D
$1,000-1,500
256
A John Kapel for Glenn of California modern walnut credenza Circa 1960s
With Glenn of California metal tag to drawer
The low-profile walnut buffet with two cabinets with sculpted handles revealing a fitted interior of shelves and drawers
30.25” H x 80” W x 20” D
$1,500-2,500
A
In the manner of Milo Baughman, with a bookended patchwork burl veneer top and tubular chrome base
29” H x 72” W x 36” D
$1,000-2,000
258
Lounge
Designed 1963
With Kill International sticker label to underside
36.5” H x 28.5” W x 36” D
$1,500-2,500
259
Slim Aarons (1916-2006)
“Palm Springs Party,” 1970
C-print on paper
From the edition of unknown size and date
Unsigned; with the Getty Images Archive blindstamp in the lower margin, at right
Image: 25.25” H x 38” W; Sheet: 30” H x 40” W
$1,500-2,500
Other Notes: This lot is accompanied and sold together with a certificate of authenticity, with the artist’s printed signature, dated October 10, 2022, in pencil, and an information sheet from, Gettyimage Gallery.
According to the information sheet from the Gettyimages Gallery, this photograph depicts a poolside party at a desert house, designed by Richard Neutra for Edgar J. Kaufman, in Palm Springs, January 1970. Featured in the group are: industrial designer Raymond Loewy (1893-1986, center, standing), Nelda Linsk (in yellow), wife of art dealer Joesph Linsk, and Helen Dzo Dzo (second from right).
(1916-2006)
C-print on paper
From the edition of unknown size and date
Unsigned; with the Getty Images Archive blindstamp in the lower margin, at right Image: 25.5” H x 38” W; Sheet: 30” H x 40” W
$1,500-2,500
Other Notes: This lot is accompanied and sold together with a certificate of authenticity, with the artist’s printed signature, dated October 10, 2022, in pencil, and an information sheet from, Gettyimage Gallery.
According to the information sheet from Gettyimages Gallery, this photograph depicts a desert house in Palm Springs designed by Richard Neutra for Edgar Kaufman. Lita Baron approaches on the right Neida Linsk, wife of art dealer Joseph Linsk who is talking to a friend, Helen Dzo Dzo.
261
John Stezaker
(b. 1949)
“Mask CXLVI,” 2009
Photomontage
Signed in pencil on the verso of the matboard: J. Stezaker; titled and dated on a label affixed to the verso of the matboard
Image/Sheet:10.125” H x 8” W
$3,000-5,000
Provenance: Frederich Petzel Gallery, New York, NY
Other Notes: Information on the label affixed to the verso of the matboard indicates that this piece is either work or inventory number JST 13/001, or that this inscription is on the verso of the actual artwork.
“Pair XX,” 2010
Photomontage
Signed and dated in pencil on the verso of the matboard: J. Stezaker; titled and dated on a label affixed to the verso of the matboard
Image/Sheet: 9.125” H x 7.5” W
$3,000-5,000
Provenance: Frederich Petzel Gallery, New York, NY
Other Notes: Information on the label affixed to the verso of the matboard indicates that this piece is either work or inventory number JST 13/006, or that this inscription is on the verso of the actual artwork.
“Crisis in Capitol,” 1978, from the “Hollywood Moguls” series, 1976-1979
Offset of a photographic collage on paper, laid to Masonite as issued
From the edition of unknown size
Appears unsigned
Irregular as issued: 48”-39” H x 43”-44” W
$800-1,200
Other Notes: According to the artist’s website: Punning on her own last name, “Hollywood Moguls,” is a series of photo collages (1976-1979) about literally breaking into and/or breaking open Hollywood: the Hollywood sign, Capitol Records, and the historic Pantages Theater.
264
Fernand Fonssagrives
(1910-2003)
“La Guetteuse,” 1936
Gelatin silver print on paper
Edition: 19/50, printing date unknown
Signed, titled, numbered and inscribed 7[in a circle]H in pencil, verso: F Fonssagrives, possibly in another hand; also numbered 10660-FF in pencil along the lower margin edge, verso
Image/Sheet: 14” H x 11” W
$2,000-4,000
Provenance: Michael Hoppen, London, UK
Other Notes: We have also seen this image listed with the title “Joie de l’Ardeche, France.”
265
Arnold Newman (1918-2006)
Portrait of the Wise family
Gelatin silver print on photographic paper laid to mat board
From the edition of unknown size and date
Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner
Image/Sheet: 6.375” H x 9.75” W; Original paper wrapper: 17.125” H x 14.125” W
$700-900
Provenance: Collection of Howard and Barbara Wise, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: Written number in pencil together with the ink stamp mentioned on the verso, 4982-11.
266
Arnold Newman (1918-2006)
Portrait of Howard Wise
Gelatin silver print on photographic paper laid to mat board
From the edition of unknown size and date
Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner
Image/Sheet: 9.375” H 7.875” W; Original paper wrapper: 17.25” H x 14.25” W
$700-900
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: Written number in pencil together with the ink stamp mentioned on the verso, 4982-12.
267
Arnold Newman (1918-2006)
Portrait of Howard Wise
Gelatin silver print on photographic paper laid to mat board
From the edition of unknown size and date
Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner
Image/Sheet: 9.75” H x 7.625” W; Original paper wrapper: 17.25” H x 14.25” W
$700-900
Provenance: Collection of Howard and Barbara Wise, New York, NY
David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: Written number in pencil together with the ink stamp mentioned on the verso, 4982-4.
Portrait of Howard and Barbara Wise
Gelatin silver print on photographic paper laid to mat board
From the edition of unknown size and date
Signed in pencil on the mat board just below the image, at right: Arnold Newman; the Arnold Newman ink address stamp on the verso; in the original paper wrapper with the artist’s blind embossed name in the lower right corner
Image/Sheet: 4.625” H x 11.25” W; Original paper wrapper: 14.25” H x 17.125” W
$700-900
Provenance: Collection of Howard and Barbara Wise, New York, NY David Wise and Audry Taylor, Los Angeles, CA, by descent from the above
Other Notes: Written number in pencil together with the ink stamp mentioned on the verso, 4982-17.
269
Philippe Halsman (1906-1979)
“Judge Learned Hand,” 1957 Silver gelatin print on paper
Signed, titled, and dated in pencil, verso: Philippe Halsman / negative date: c. 1970; the Philippe Halsman ink copyright stamp on the verso; sold together with a typed letter to two individuals from Kenyon College, signed by Judge Learned Hand in ink, dated December 4, 1947, and with the original envelope all framed together
Sight of the silver gelatin print: 13” H x 10.25” W; Overall sight: 19” H x 23.5” W
$500-700
Provenance: Maria Domont Collection, West Hollywood, CA
Overall good condition. Full sheet with deckled edges. A 1” soft diagonal crease across the lower right margin corner. The sheet is loose, not matted.
Unframed
2
Each overall good condition. Full sheet. The sheet is very slightly toned, showing mostly on the verso. The sheet is loose, not matted.
Unframed
3
Overall good condition. Full margins. Two small stains near the center of the lower margin edge, the largest measuring 0.5” H x 2.5” W. The sheet is loose, not mounted.
4
Overall good condition. An approximately 1” long, very delicate and unobtrusive, hairline-type, uninked line to the right of center in the second smallest red square. Slight overall toning to the paper, commensurate with age. Pale backboard staining, verso. The sheet is loose, not mounted.
Framed under glass: 24.25” H x 24.25” W x 1” D
5
Overall good condition. The lithograph tipped down to the inside of the plastic clamshell case, as issued. The bound exhibition catalogue with text and 364 illustrations in black and white or color in original, essentially unused condition. The information sheet with slight creasing along the extreme lower edge. The thin foam rubber protective insert with pale time-staining as well as offsetting from the three watercolor pads. Very minor dust accumulation and scuffing to the white plastic clamshell case commensurate with age.
Unframed
6
Overall good condition. Occasional minor staining, soiling, surface scuffing and edge wear, all commensurate with age and use. A small white adhesive price sticker affixed to the upper left corner, verso
Unframed
Overall good condition. The title/justification card with a curved handling crease near one edge. The Corian container with minor surface scuffs, scratches and dust accumulation commensurate with age and handling.
Unframed
8
Each overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Minor handling creases scattered throughout. A few unobtrusive surface scuffs showing mostly at the outer edges. The first with a 0.5” vertical tear at the center of the upper edge and with a few surface nicks along the lower right edge and corner. The second with a 0.375” horizontal tear near the upper left corner. Each poster is loose, not mounted.
Unframed
9
The sheet is cut along the lower edge, resulting in the loss of the copyright line. Minor toning to the paper and the colors slightly attenuated. Pea-sized or smaller foxmarks scattered throughout but mostly showing in the outer edges, the blank, and the verso. A few unobtrusive surface scuffs showing mostly at the outer edges. A few scattered and unobtrusive surface nicks. Minor handling creases scattered throughout. The tip of the upper right corner slightly dog-eared. The sheet is loose, not mounted.
Unframed
10
Overall generally good condition. Occasional minor surface soiling and unobtrusive small scuffs in the blank outside the image. Soft creasing or rippling in places at the outermost edges showing mostly at the upper left corner of the printed white border. The sheet is loose, not mounted.
Framed under Plexiglas: 21” H x 31” W x 1” D
11
Overall good condition. Mat staining, verso. Very unobtrusive surface nicks to the extreme left and right edges. Residue from former mounting with eight small adhesive stickers, verso. The sheet is loose, secured to the back mat with clear archival corners.
Framed under Plexiglas: 11.25” H x 14.25” W x 1.5”
Overall good condition. The upper and lower edges are deckled. Very minor toning to the paper and the colors are slightly attenuated. Minor creasing along the upper and lower extreme edge. Not examined out of the frame.
Framed under Plexiglas: 23” H x 30.375” W x 1.625”
13
Overall good condition. The artist’s board very slightly time stained along the edges, commensurate with age. Minor creasing to the extreme tips of the upper and lower right corners. Framed floating, mounted to the back mat.
Framed under Plexiglas: 21” H x 29.5” W x 1.5” D
14
Overall good condition. Very minor dust accumulation and occasional specks of grime commensurate with age. Not examined out of the frame.
Framed under glass: 32” H x 44.25” W x 1.5” D
15
Overall good condition. Full margins and deckled edges. Very minor toning to the paper. Mat burn along the edges. A 1” unobtrusive crease near the center of the lower margin. Hinged to the over mat in three places at the recto of the upper margin edge.
Framed under glass: 26.375” H x 34.5” W x 1” D
16
Overall good condition. Full margins with deckled edges. The paper somewhat toned. Two unobtrusive pinholes in each of the lower margin corners. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 32” H x 23.5” W x 1.25” D
17
Overall good condition. The sheet with wide margins. Deckled on all four sides. Minor toning to the paper with colors slightly attenuated. Slight rippling along the upper margin. Staple holes along the upper extreme corners. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 31.65” H x 23.5” H x 1.25” D
18
Dust accumulation and grime commensurate with age, both recto and verso. Two approximately 7” long, diagonal, hairline stress fractures in the surface at the upper right and lower left corners. Minor scattered paint wear. A horizontal wooden brace, glued verso, obscures a portion of both the stamped label and the N. Leger signature.
Framed: 20.5” H x 18” W x 2.5” D
19
Overall good condition. Full margins with deckled edges. The paper slightly toned overall. Narrow bands of minor surface skinning along the verso of the margin edges from previous matting. The sheet is framed floating and hinged to the back mat at the verso of the upper margin corners.
Framed under glass: 35.75” H x 27.75” W x 1.75” D
20
Dust accumulation and specks of grime commensurate with age. The colors are slightly attenuated. A 1.5” vertical crease at the upper center edge at left. A 3.5” vertical crease at the center of the upper sheet edge, at right. Handling creases scattered throughout, the largest measuring at 7” and running from the upper right edge diagonally through the center of the image. Not examined out of the frame.
Framed under glass: 36.5” H x 29” W x 1” D
21
Overall good condition. Wide margins with deckled edges with wide margins. Specks of grime in the upper margin. Minor toning to the paper and the colors slightly attenuated. Minor handling creases scattered throughout the margins. The tip of the upper and lower left margin corner is slightly dogeared. A 0.75” horizontal tear to the upper right extreme margin edge. A 1” tear to the paper with some loss at the upper center margin edge, at left. A quarter-sized pale stain at the upper margin edge, at right. Not examined out of the frame.
Framed under glass: 33.5” H x 27.5” W x 0.5” D
Overall good condition. The sheet retains its wide, possibly full, margins. Minor toning to the paper and mat burn along all four extreme margin edges. Handling creases scattered throughout the image, the largest measuring at 3.25” running mostly through the left upper margin and slightly in the image. Horizontal rippling showing in the vertical margin edges, not affecting the image. A 0.75” horizontal tear along the lower right margin edge. All four margin corners are slightly dog-eared. Hinged to the back mat with archival tape in two places from the verso.
Framed under glass: 20.75” H x 16.25” W x 1.5” D
23
Overall good condition. Full margins, deckled on three sides. Pale light staining. Two tiny and unobtrusive tan fibers in the paper, one in the left margin and the other in the blank at the upper right. A few very pale and unobtrusive pinpoint-sized foxmarks near the margin edges. Surface soiling and scattered pinhead-sized specks of grime showing only on the verso. The sheet is framed floating, attached to the back mat with tissue-thin Japan hinges at the verso of the upper margin corners.
Framed under glass: 18” H x 21.5” W x 1” D
24
Overall good condition. The margins appear to be full on three sides, and slightly unevenly trimmed along the left edge. Two vertical bands of cockling, showing mostly in the margins, appear to be inherent in the original printing. We have seen at least one other example with this same feature in the same location on what appears to be the same type of paper. Very slight time-staining at the extreme margin edges. Framed floating and mounted to the back mat at the verso of the margin corners. Framed under glass: 15.75” H x 13.375” W x 1.5” D
25
Overall good condition. A narrow horizontal line of reverse staining along the extreme upper margin edge. Framed floating and mounted to the back mat at the verso of the margin corners.
Framed under glass: 16.75” H x 11” W x 1.5” D
26
Overall good condition. With full margins. Very minor occasional specks of grime along the margin edges. Extremely pale light staining; pale mat staining to the verso. Hinged to back mat from the verso of the upper margin corners with brown paper tape.
Unframed
Overall good condition. Full margins with deckled edges. Dust accumulation and occasional specks of grime commensurate with age. Stray and light pencil marks along the left and lower margin edges. Mounted to the back board with double-sided linen tape in multiple places.
Frame: 39.125” H x 31.125” W x 1.25” D
28
Overall good condition. Full margins with deckled edges. Dust accumulation and occasional specks of grime commensurate with age. Two 3” diagonal stray and light green marks near the upper center of the image. A light pencil mark near the right edge of the image. The upper right extreme margin corner is slightly dog-eared. Two pea-sized or smaller extremely pale stains in the upper margin at left. Mounted to the back board with double-sided linen tape in multiple places.
Frame: 39.125” H x 31.125” W x 1.25” D
29
Each in generally good condition. Not examined out of the frame.
Each framed under glass: 25” H x 33.5” W x 1.5” D
30
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.
31
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.
32
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.
33
Overall very good condition. Each sheet with full margins and the colors fresh. One sheet with several soft creases in the upper left margin corner, not affecting the image. The sheets all loose, not mounted. The outside of the portfolio with minor dust accumulation.
Portfolio overall: 24”H x 31.5” W x 0.5” D
Overall good condition. Minor toning to the paper. The colors are slightly attenuated. Not examined out of the frame.
Framed under glass: 32.75” H x 26.25” W x 1.5” D
35
Each overall good condition. Full sheet with deckled edges. Dust accumulation and occasional specks of grime commensurate with age. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed together under Plexiglas: 34.5” H x 29” W x 2” D
36
Overall good condition. A minor and unobtrusive 0.75” crease in the lower right corner. Not examined out of the frame.
Framed under glass: 36.375” H x 27.375” W x 1.5” D
37
Overall good condition. The paper is slightly toned. Not examined out of the frame.
Framed under glass: 36.75” H x 29.625” W x 1.5” D
38
Overall good condition. Dust accumulation and specks of grime commensurate with age. Unobtrusive pale foxing scattered throughout. A few creases throughout, the largest is 4” and runs through the center of the image. Not examined out of the frame.
Framed under Plexiglas: 31.75” H x 41.75” W x 2” D
39
Overall good condition. Full margins with deckled edges. Minor handling creases scattered near the margin edges, not affecting the image. Hinged to the back mat from the verso of the four margin corners. The extreme margin corners are slightly dog-eared.
Framed under glass: 35.25” H x 30.125” W x 1.375”
Each: Dust accumulation and specks of grime commensurate with age. The first with three horizontal creases along the lower right edge, the largest measuring at 4”. A 1.25” diagonal crease at the lower edge at right. The second overall good condition. Four unobtrusive diagonal soft surface scratches along the right edge. Not examined out of the frames.
Each framed under glass: 19.75” H x 19.75” W x 0.75” D 42
Overall good condition. Dust accumulation and specks of scattered grime commensurate with age. Minor discoloration in the margins. Hinged to the overmat with archival tape in two places from the verso of the upper margin.
Framed under glass: 24.5” H x 24.75” W x 1.375” D
43
Overall good condition. Minor toning to the paper. Minor handling creases along the upper and lower margin edges, the largest measuring 2” in the lower left margin. Pinhead-sized or smaller areas of pale staining in the center lower margin. Not examined out of the frame.
Framed under glass: 28” H x 35.25” W x 1.75” D
44
Overall good condition. Dust accumulation and grime commensurate with age. Minor toning to the margin edges, with the colors slightly attenuated. Not examined out of the frame.
Framed under Plexiglas: 22.25” H x 28.25” W x 1.25”
45
Overall good condition. Minor toning throughout the paper. Not examined out of the frame.
Framed under glass: 39” H x 25” W x 1.75” D
46
Each overall good condition. The full sheet with deckled edges. Very minor toning to the paper and the colors are slightly attenuated. Framed floating and mounted to the back mat. Not examined out of the frame.
Each framed under Plexiglas: 23” H x 30.75” W x 1.5”
Overall good condition with dust accumulation commensurate with age. One corner with a 1” hole, likely inherent to the time of manufacture.
47
Overall good condition. Minor toning to the paper. Handling creases throughout the margins, predominantly in the lower margin, the largest measuring 1.25” near the center of the lower margin, at left. Not examined out of the frame.
Framed under glass: 31.75” H x 42.25” W x 1.5” D
Overall good condition. Dust accumulation and grime commensurate with age. Toning throughout. Pale staining along the lower margin edge and corners, the largest measuring 1.25” H x 1” W. Minor handling creases scattered throughout, the largest measuring 2” near the upper left edge, and slightly affecting the blue background of the image. A 1.5” vertical tear in the lower margin edge at right. Not examined out of the frame.
Framed under glass: 34.25” H x 27.25” W X 0.875” D
49
Overall good condition. Full sheet. A 0.75” horizontal unobtrusive crease in the left margin at center, not affecting the image. The upper left extreme corner and lower left edge of the margin is slightly bent.
Unframed
50
Overall good condition. Very minor dust accumulation commensurate with age. Not examined out of the frame.
Framed under Plexiglas: 30.5” H x 30.75” W x 1.75”
51
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 20.75” H x 24.75” W x 1.75”
52
Overall good condition. Very slight handling creases along the extreme lower edge. Not examined out of the frame.
Framed under Plexiglas: 27.75” H x 27.75” W x 1.75”
53
Overall good condition. A few spots of grime along the upper and right margin edges. Not examined out of the frame.
Framed under Plexiglas: 26.75” H x 26.75” W x 1.75”
Overall good condition. A very good impression with full margins. Soft creasing across the lower left margin corner, and an even softer horizontal crease near the lower edge of the right margin corner, neither of which affect the image. Remains of old hinges in places around the verso of the margin edges. The sheet is loose, currently secured to the back mat with clear archival corners.
Framed under Plexiglas: 22.5” H x 24.5” W x 1.5” D
55
Each overall good condition. Very slight fading to the image. Not examined out of the frame.
Each framed under glass: 35” H x 28.75” W x 1.625”
56
Each: Overall good condition. The first examined out of the frame. The first with full margins and deckled edges. Hinged to the overmat from the recto of the upper margin. The second and third with specks of grime scattered along the margin edges. Each framed under glass: 25” H x 28.5” W x 1.5” D
57
Overall good condition with scattered scuffs and light scratches commensurate with age and use. Surface grime and scattered scuffing to the chrome surface of the base. Upholstery in overall good condition with several small areas of discoloration.
58
Each overall good condition with scattered scuffs, scratches, and weathering commensurate with age and use.
59
Overall good condition with scattered scuffs and light scratches commensurate with age. Scattered areas of rusting to the chromed metal base. Upholstery in overall good condition with no holes or tears, but several areas of staining in the center of the seat.
60
Frame in overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Upholstery likewise in good condition with no major scuffs or tears to the vinyl cushions.
61 Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 26” H x 26” W x 1” D
62
Overall good condition. Not examined out of the frame.
Overall good condition. Very minor toning to the paper. Not examined out of the framed.
Framed under Plexiglas: 29.5” H x 24.5” W x 1.25” D
64
Overall good condition. With wide margins. Pale light and mat staining. Not examined out of the frame.
Framed under Plexiglas: 40.25” H x 55.75” W x 0.75” D
65
Overall good condition. Pale light staining showing mostly in the margins, with several separate lines of demarcation indicative of different mat openings over the years. One very pale and unobtrusive pea-sized stain in the gray shadow behind the figure’s left arm. A few unobtrusive pinpoint-size foxmarks, the largest near the figure’s left eyebrow. The large sheet, hinged to the back mat in three places at the upper margin edge, has slipped slightly within the mat. As a result, the artist’s signature is partially obscured by the front mat.
Framed under Plexiglas: 41 x 49.5 x 1.25” D
66
Overall good condition. The sheet is laid down as described. With wide margins, trimmed slightly along the left, right and lower edges. As a result, the line of text identifying the printer, Tolmer, is missing from the lower margin, at right. Slight traces of old, unobtrusive mat staining along the left and upper margin edges. A 1.75” H x 0.75” W pale old damp stain in the lower left margin corner. A few minor foxmarks, the largest approximately pinhead-sized, just to the right of the first word in the title.
Framed under Plexiglas: 48” H x 33” W x 0.75” H
67
Overall good condition. The sheet is laid down as described. The margins are slightly trimmed and as a result the text line listing the name of the printer is missing at the lower left. A minor and unobtrusive 1” vertical crease in the blank just above the text, visible mostly in raking light.
Framed under Plexiglas: 48” H x 33” W x 0.75” D
68
Overall good condition. The sheet is laid down as described. A central vertical and three horizontal flattened and skillfully touched-in creases through the image, visible mostly in raking light. Occasional small and skillfully touched-in edge tears and repairs near the margin edges. Paper postage stamps affixed directly to the left and right of the first line of text appear to have ink cancellation marks relating to the printer, H. Chachoin and the opening date of the Salon.
Framed under Plexiglas: 31” H x 22.5” W x 1” D
69
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Likely refinished. The original pen inscriptions to underside likely removed during the refinishing process.
70
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Likely refinished with evidence of restoration at joints and later-added plastic casters. The original pen inscriptions to underside likely removed during the refinishing process.
71
Overall good condition with scattered scuffs and light scratches commensurate with age. The oxidation and general aging of the metal is an intentional aesthetic choice by the makers in order to mimic items of antiquity.
72
Overall good condition with minor scuffs, dust, and oxidation/rust commensurate with age.
73
Overall good condition. Minor toning to the paper. Tiny spots of grime upper left and in the center. The paper is loose, not mounted.
Frame under glass: 23” H x 30.75” W x 1” D
74
Each overall good condition. Full sheet with deckled edges. Dust accumulation and grime commensurate with age. Minor toning throughout. Very light, unobtrusive, and scattered handling creases. Some works on paper have light purple marks scattered and not affecting the image. The sheet is loose, not matted.
Unframed
Each overall good condition. Full sheet with deckled edges. Dust accumulation and grime commensurate with age. Very minor toning throughout. One of the numbered examples with an 11” diagonal crease along the upper margin, and with an unobtrusive 0.25” tear along the lower margin at right. Scattered handling creases throughout. The sheet is loose, not matted.
Unframed
76
Dust accumulation and occasional specks of grime commensurate with age. A 0.5” H x 1.5” W loss of paper along the upper edge at left. A 1” H x 2.5” W loss of paper along the upper edge at right. Small paper losses of the extreme lower left and upper right corners. Pinhead-sized paper loss and tear along the left and right edges. Two pinhead-sized holes in the paper near the upper left corner. Minor handling creases scattered throughout. A 10” soft diagonal crease near the right edge. Three pinholes at the lower right extreme corner. A 1” tear along the right edge at center.
Unframed
77
Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very minor toning to the paper. A 0.75” diagonal loss of paper near the upper left corner. A pinhead-sized paper loss at the extreme upper right corner. Artist pinholes at the lower left corner and the upper edge at center.
Unframed
78
Overall good condition. Minor toning to the paper. Minor handling creases scattered throughout. Not examined out of the frame.
Frame under glass: 24.25” H x 29.5” W x 1” D
79
Overall good condition. Dust accumulation and occasional grime commensurate with age. Minor toning throughout the paper. A 1” vertical, soft, handling crease near the upper left edge. Not examined out of the frame.
Framed under Plexiglas: 26.375” H x 20.375” W x 1.5” D
80
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age.
Blacklight: No evidence of restoration.
Frame: 43” H x 33” W x 1.25” D
81
Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Minor toning to the paper and the colors slightly attenuated. Minor handling creases scattered throughout, predominately along the edges and corners. A 4.5” diagonal crease near the upper left edge, slightly affecting the image. Three small binding holes along the left edge. Pinhead-sized or smaller foxmarks scattered throughout. The sheet is loose, not mounted
Framed under glass: 27” H x 27” W x 1” D
82
Overall good condition. With wide margins. Pale light and mat staining showing slightly in the margins. An unobtrusive, pea-sized skinned patch just outside the image in the upper margin, showing mostly on the verso. Remains of old masking tape along the extreme upper, left and right margin edges as well as in one small place at the center of the lower margin edge. Partially hinged to the overmat with old masking tape from the verso of the upper margin edge. The sheet is also supported by two clear archival corners at the lower margin corners.
Framed under glass: 23” H x 27” W x 1” D
83
Visual: Overall good condition. Dust accumulation and grime commensurate with age.
Blacklight: No evidence of restoration.
Frame: 34.75” H x 50.5” W x 1.625” D
84
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. A pinhead-sized unobtrusive area of paint loss near the center of the right edge.
Blacklight: No evidence of restoration.
Frame: 37.75” H x 50.5” W x 1.625” D
Overall fair to good condition. Dust accumulation and specks of grime commensurate with age. Minor toning throughout the paper and the colors slightly attenuated. With a noticeable central vertical scattered crease.
Framed under Plexiglas: 30.25” H x 40.25” W x 1.25”
86
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Felt pads applied in the corners of the underside of base.
87
Visual: Overall very good condition. Very minor scattered areas of surface grime.
Blacklight: No evidence of restoration.
Unframed
88
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age.
Blacklight: No evidence of restoration.
Unframed
89
Visual: Overall good condition. Dust accumulation and grime commensurate with age.
Blacklight: No evidence of restoration.
Unframed
90
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Very minor surface abrasion along the upper left extreme edge.
Blacklight: No evidence of restoration.
Unframed
91
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Three unobtrusive flecks of what appear to be unrelated pigment near the lower section of the left edge.
Blacklight: No evidence of restoration.
Frame: 50.5” H x 50.5” W x 1.5” D
92
Visual: Overall good condition. Dust accumulation commensurate with age. Fine craquelure scattered throughout. Minor frame abrasion along the lower edge. Two pea-sized unobtrusive areas of paint loss, the first near the upper center edge at right and the second at the extreme upper right edge.
Blacklight: No evidence of restoration.
Frame: 47” H x 59” W x 2” D
93
Visual: Overall good condition. Dust accumulation and grime commensurate with age. A small area of unstable craquelure near the upper edge right of center with an attendant pea-sized paint loss.
Blacklight: No evidence of restoration.
Frame: 53.5” H x 65.25” H x 2” D
94
Each overall good condition commensurate with age and use. The parchment chair with slight toning to the adhesive around rubber mounts and underside of fiberglass, the seat bottom with small spots of brownish discoloration, and with later-added rubber feet. Each with oxidation and slight rusting to aluminum legs.
95
Each overall moderate to good condition with scattered scuffs, scratches, and light wear commensurate with age.
96
Overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. More concentrated scuffing near the base of the plywood scuffing, likely from vacuuming.
97
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.
98
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.
99
Overall good condition with scattered scuffs and scratches commensurate with age. A small surface chip to one relief element toward top.
With base: 25” H x 19” W x 9.25” D
Visual: Overall good condition. Slight dust accumulation and grime commensurate with age.
Blacklight: No evidence of restoration.
Unframed
101
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Occasional minor surface scuffs showing mostly near the edges.
Blacklight: No evidence of restoration.
Frame: 74” H x 97” W x 2” D
102
Each: Overall good condition. The paper very slightly rippled, attendant with the materials used. Occasional pale and scattered pinhead-sized or smaller foxmarks. Framed floating and mounted to the back mat. In the case of “Watercolor #3,” temporarily attached to the back mat with clear archival corners. Only “Watercolor #3” examined out of the frame.
Each framed under glass: 17.25” H x 21” W x 2” D
103
Each: Overall good condition. Pinhead-sized or smaller unobtrusive pale stains scattered throughout. Dust accumulation and specks of grime commensurate with age. Rippling throughout the paper. Framed floating and mounted to the back mat. The second has minor handling creases along the lower right edge and lower left corner. Not examined out of the frame.
Each framed under glass: Largest: 22.75” H x 19” W x 2” D
104
Visual: Overall good condition. Dust accumulation and grime commensurate with age.
Blacklight: No evidence of restoration.
Frame: 48.5” H x 55.5” W
105
Overall good condition. Dust accumulation and grime commensurate with age. Minor toning to the paper. The paper is slightly rippled. Handling creases throughout the paper. Diagonal creases at the tips of each corner. The paper is bent and slightly torn in two places near the lower portion of the right extreme edge. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed under glass: 29.875” H x 35.875” W x 2” D
106
Visual: A 1” H x 1.75” W T-shaped split in the canvas at the center of the right edge, with corresponding white tape, verso.
Blacklight: No evidence of restoration.
Unframed
107
Overall good condition with light wear and scuffs to the frame commensurate with age.
108
Each overall good condition with scattered scuffs, scratches, and wear commensurate with age. Each with localized areas of heavier surface scratches with loss to the finish of the leather, leather with overall drying, and small areas of stitch loss/fraying.
109
Overall good condition with scattered scuffs, scratches, nicks, and wear commensurate with age and use.
110
Overall good condition with scuffs and light scratches commensurate with age. Areas of slight fraying to stitching on leather. Localized area of white residue on column. Column wobbles slightly on base. One shade with minor indentation to rim. Wiring should be checked by a qualified electrician prior to use.
111
Visual: Overall good condition. Minor paint shrinkage in the blue patch, near the lower left.
Blacklight: No evidence of restoration.
Frame: 22” H x 22” W x 2.125” D
112
Visual: Overall good condition. Minor dust accumulation and occasional specks of grime.
Blacklight: No evidence of restoration.
Unframed
113
Visual: Overall good condition. Minor dust accumulation commensurate with age. Fine paint shrinkage and craquelure throughout.
Blacklight: No evidence of restoration.
Unframed
Overall good condition. With deckled edges. Dust accumulation, occasional specks of grime, and toning commensurate with age, and with the colors slightly attenuated. Pea-sized or smaller foxmarks and minor handling creases scattered throughout, predominantly visible in the folded paper support. Some of the corners of the folded paper support are somewhat dog-eared. The paper is tipped in multiple places to the folded paper support, as issued.
Unframed
115
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age.
Blacklight: No evidence of restoration.
Frame: 22.25” H x 28.25” W x 1.5” D
116
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Stretcher bar creases showing mostly along the lower edge. Occasional craquelure showing mostly in the lower portion of the canvas. A series of soft pressure marks at the lower left and right, the largest approximately quarter-sized. The canvas is slightly puckered in the upper right corner.
Blacklight: No evidence of restoration.
Frame: 49.5” H x 53.5” W x 1.5” D
117
Overall good condition with scattered scuffs and wear commensurate with age. The left arm with a small black scuff.
118
Each overall good condition with scattered scuffs and scratches to the metal bases commensurate with age. Upholstery for each in overall good condition with minor wear throughout.
119
Overall good condition with wear and scratches and scuffs commensurate with age and use. The marble top is scratched throughout and has several areas of acid etching.
120
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.
121
Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age.
122
Overall good condition. Dust accumulation and occasional specks of grime. Very minor toning to the paper. Slight rippling throughout the paper, mostly along the edges. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 18.75” H x 26.25” W x 1.5”
123
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Areas of craquelure scattered mostly throughout the center. A 1.5” unobtrusive scratch to the paint at the right edge at center. Slight abrasion to the upper and lower left extreme corners.
Blacklight: No evidence of restoration.
Frame: 34.25” H x 50” H x 2” D
124
Visual: Overall fair to good condition. Issues include, but are not limited to: Dirt, staining, and grime commensurate with age. A central vertical crease extending from the upper to the lower edge, with attendant pigment loss and additional soiling. Stretcher bar creases along the four edges. Scattered craquelure, some of which is unstable, with attendant pea-sized pigment losses. A 0.375” H x 0.75” W pigment loss in the orange at lower left. Occasional nailhead-sized punctures at the outer edges of the canvas.
Blacklight: No evidence of restoration.
Unframed
125
Visual: Dust accumulation and grime commensurate with age. Stretcher bar creases along the edges and center. Scattered areas of unstable craquelure throughout the background. A quarter-sized and pea-sized, very soft reverse pressure marks at center, and above the figure’s head.
Blacklight: Touch-ups scattered throughout the background. The largest measuring at 9” H x 7” W, concentrated in the upper left edge, and with an attendant patch verso. Possibly with attendant yellowing of the paint.
Frame: 44.25” H x 34.25” W x 1.5” D
Overall good condition. Slight rippling near the edges as is common in papers of this type. A 1.25” tear across the tip of the upper left sheet corner. The tissue-thin sheet is mounted to a sheet of white wove paper at the verso of the upper right, lower left, and lower right sheet corners. At the upper left sheet corner, the mounting is very slightly to the right of that area.
Framed under Plexiglas: 37” H x 25” W x 0.75” D
127
Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age. Slight time staining showing mostly along the outer edges of the support board.
Framed under glass: 17.5” H x 39.25” W x 1.5” D
128
Overall good condition. Minor toning to the paper. Spots of staining along the extreme margin edges. Minor handling creases throughout the margin edges. The lower left extreme corner is slightly dogeared. Framed floating and hinged to the back mat. Not examined out of the frame.
Framed under Plexiglas: 16.75” H x 21.75” W x 1.24” D
129
Dust accumulation and specks of grime commensurate with age. Uneven toning throughout and with the colors somewhat attenuated. Pea-sized or smaller foxmarks, minor rippling, and handling creases scattered throughout, predominately at the extreme corners and edges. The largest crease measures approximately 4” on a diagonal near the center. Not examined out of the frame.
Framed under glass: 19.5” H x 19.5” W x 0.625” D
130
Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The applied upper bronze element is slightly loose.
131
Overall good condition commensurate with age.
132
Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age and use. Several dings and dents to the hollow metal frame throughout. Chrome finish of the metal frame has some rust at the junctures. One glass shelf, the second from the bottom, is missing.
133
Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Some pitting and scratching to the chrome finish of each. Wiring should be checked by a qualified electrician prior to use.
134
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. A few pinhead-sized pressure marks scattered along the outer edges. The canvas is slightly puckered in the four corners. Very slight stretcher bar creases along the left and upper edges. A 1” H x 0.5” W area of gray house paint near the lower left edge.
Blacklight: No evidence of restoration.
Frame: 31.25” H x 41.5” W x 1.5” D
135
Dust accumulation and grime commensurate with age. Very soft stretcher bar creases along the four edges. Fine paint shrinkage scattered throughout the figure. Abrasion along the lower edge. Very pale stains scattered throughout the background, predominantly along the edges.
Blacklight: No evidence of restoration.
Unframed
136
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Scattered craquelure, showing primarily in the figure.
Blacklight: No evidence of restoration.
Unframed
137
Overall good condition. Pale light staining showing in the margins. An uneven pea-sized paper loss near the upper left corner appears to be part of the artist’s working process. Hinged to the back mat at the verso of the upper sheet corners. Surface soiling and slight skinning at the extreme upper sheet edge, not affecting the image.
Framed under glass: 17.25” H x 16.25” W x 0.5” D
138
Overall good condition. Dust accumulation commensurate with age. A small and unobtrusive stain, approximately rice-sized, left of center. A few specks of faint blue pigment in the upper section, left of center, which appear to be in the hand of the artist.
Frame: 17.75” H x 24.5” W x 2” D
Visual: Overall good condition. An approximately quarter-sized pressure mark in the peach color at the lower right. Some very unobtrusive, scattered specks of grime, pinhead-sized or smaller. A small series of approximately pea-sized spots of grime in the lower right corner. Dust accumulation, verso, commensurate with age.
Blacklight: No evidence of restoration.
Frame: 48.5” H x 64.5” W x 2” D
140
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Craquelure scattered throughout. An approximately pea-sized area of paint loss on the red streak of paint near the upper center at left. A 0.5” vertical line of paint loss and a few pinhead-sized areas of paint loss at the upper edge at center.
Blacklight: No evidence of restoration. Certain pigments fluoresce slightly, but these appear to be in the hand of the artist.
Frame: 36.75” H x 24.75” W x 1.5” D
141
Visual: Overall good condition. Dust accumulation commensurate with age. Scattered grime concentrated mostly in the lower right quadrant, one spot of which measures approximately 0.25” H x 0.125” W.
Blacklight: No evidence of restoration under blacklight.
Frame: 15.25” H x 13.375” W x 1.625” D
142
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.
143
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. No evidence of repairs or restorations under blacklight.
144
Overall good condition with scattered minor surface scratches, scuffs, and dust accumulation commensurate with age. The sculpture wobbles very slightly on its base.
145
Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Structurally sound with serveral aesthetic condition issues of note including: heavier scuffing and staining on the seats of several chairs and the leather is splitting and pulling away from the frame on the corners of several chairs.
146
Each overall good condition with scattered scuffs, scratches, and wear commensurate with age. Each with localized areas of heavier surface scratches with loss to the finish of the leather, leather with overall drying, and small areas of stitch loss/fraying.
147
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Possibly previously refinished and the interior painted, with subsequent moisture damage to the top. The shelved lacking support pegs.
148
Each overall fair to good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Each with moisture damage and wear to the top, one with three nickel-sized dried drips of glue to the top. Each are slightly wobbly.
149
Overall good condition with scattered scuffs, scratches, nicks, dust accumulation, and grime commensurate with age.
150
Overall good condition with scattered scuffs and oxidation commensurate with age.
151
Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Scattered surface scuffs throughout, the largest measuring 3.5” near the upper right edge. Pea-sized or smaller losses of pigment scattered throughout the center section. A dime-sized very pale stain near the center, at left.
Frame: 24.5” H x 28.25” W x 1” D
152
Visual: Dust accumulation and grime commensurate with age.
Blacklight: No evidence of restoration.
Unframed
Each overall good condition with scattered scuffs and wear commensurate with age. Some small moisture spots to the leather seats.
154
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The top of the dresser with multiple surface stains and watermarks, as well as lifting/bubbling veneer. One sizable abrasion to the finish on the front, left edge, about 1” in diameter. Note: All drawers slide easily.
155
Overall fair to good condition with minor scuffs, darkening, and verdigris oxidation to the copper commensurate with age. Surface dust accumulation and grime commensurate with age. The iron base with rust and pitting likely from weathering.
156
Visual: Overall good condition. Craquelure scattered throughout.
Blacklight: No evidence of restoration.
Frame: 71.5” H x 58.5” W x 2.5” D
157
Visual: Overall good condition. Small scratches with very minor paint loss at the upper and lower left corners. A very slight and unobtrusive pressure mark in the table, lower center.
Blacklight: No evidence of restoration.
Frame: 30.75” H x 30.75” W x 1.5” D
158
Overall good condition. A few spots of green residue in the blank, lower right corner of the scraperboard, under the mat and not affecting the image. Very minor surface dirt along the upper edge of the scraperboard. Older hinge tape in places along the verso of the scraperboard’s edges.
Framed under glass: 15” H x 15” W x 1” D
159
Overall good condition. Artist pinholes near the center of the scraperboard’s upper and lower edges, not affecting the image. A 0.75” delicate scratch, as well as a faint, pea-sized spot of black touch-up, likely by the hand of the artist, in the blank upper right portion of the board, neither of which affect the image. Taped in places to the overmat from the verso of the scaperboard’s edges.
Framed under glass: 17.75” H x 15.75” W x 1” D
160
Overall good condition with scattered scuffs, scratches, nicks, and indentation commensurate with age and use. Some patination of and scratching to the aluminum frames of each. Upholstery is in good condition with no rips, major scuffs, or tears on each.
161
Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Scattered losses to the black finish for each. Wiring should be checked by a qualified electrician prior to use.
162
Visual: Dust accumulation and specks of grime commensurate with age. Frame abrasion along all four extreme edges and corners. Pea-sized or smaller areas of paint loss are scattered throughout the lower section. A pea-sized pressure mark near the right edge at center, with an attendant hole, verso.
Blacklight: No evidence of restoration.
Frame: 20.125” H x 27.75” W x 0.75” D
163
Overall good condition. The paper is light-stained recto, mat stained verso, and has some slight rippling attendant with the materials used. Slight remains of old glue from previous hinging along the upper sheet edge, verso. The sheet is loose, secured to the overmat with clear archival corners.
Framed under glass: 24.75” H x 17.75” W x 1” D
164
Overall good condition. Slight surface skinning and attendant pigment losses in places along the sheet edges, all of which appear to be related to the prior removal of old tape, possibly by the artist himself. Two pieces of old cellophane tape at the verso of the left corner. Minor time staining and dust accumulation commensurate with age. The sheet is loose, not mounted.
Framed under glass: 13” H x 14.75” W x 1” D
165
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear to corners. The inset top was likely originally intended to be glass.
166
Overall good condition with scattered scuffs, scratches, nicks, and separation at joints commensurate with age and use. Some white paint scuffs on throughout.
167
Overall good condition with scuffs and light scratches commensurate with age. Scattered minor surface chip/fleabites to edges and a 1” chipped loss to back edge top at holes for wall mounting bracket.
168
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use.
169
Each overall good condition with scattered scuffs and scratches to the metal bases commensurate with age. Upholstery for each in overall good condition with minor wear and small discolorations/staining throughout.
170
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some dust and debris trapped under the glazing.
171
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some trapped dust and debris under the glazing.
172
Overall good condition. Dust accumulation commensurate with age. Mounted to a decorative brown overmat, presumably as issued, with the mounting then reinforced on the verso, presumably at a later date, with black tape. The brown overmat with a few minor surface scuffs and small creases at the lower corners.
Framed but unglazed: 7.5” H x 5.5” W x 1” D
173
Visual: Overall good condition. Minor dust accumulation and specks of grime commensurate with age. Very soft stretcher bar creases along all four edges.
Blacklight: No evidence of restoration.
Frame: 44.75” H x 35.25” W x 1.125” D
174
Overall good condition. The full sheet with deckled edges. Minor handling creases scattered throughout the paper. A 0.75” horizontal unobtrusive tear in the paper near the upper right edge. Not examined out of the frame.
Framed under Plexiglas: 33.25” H x 25.75” W x 1.5” D
175
Overall good condition. Toning to the paper, heavier toning at the extreme edges. Spots of foxing, minor handling creases and rippling to the paper scattered throughout. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 38” H x 26” W x 1.5” D
176
Overall good condition. Very pale light staining. Glue/tape residue at the corners and along the center of the left edge, the longest measuring 4.5” H x 0.125” W. Slight frame abrasions and mat staining along the edges. Taped to the overmat from the verso of the paperboard edges.
Framed under glass: 41” H x 29” W x 2” D
177
Overall good condition. Toning to the paper. Handling creases scattered throughout the paper. The left edge is unevenly cut. Frame floating and mounted to the back mat. Not examined out of the frame. Framed under glass: 14.75” H x 10.75” W x 1.25” D
178
Overall good condition with scattered scuffs and light scratches throughout commensurate with age and use. Several more significant scratches to the glass shelves on the interior. One case has a crack to the mirrored surface of the interior floor in the bottom right corner. Wiring should be checked by a qualified electrician prior to use.
179
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Several areas of loss to the silvering of the mirrored surfaces throughout. Scattered minor chips to the glass. Lastly, several areas of water damage to the brass along the back edge of the top. Wiring should be checked by a qualified electrician prior to use.
180
Visual: Overall good condition. Dust accumulation and grime commensurate with age. A few areas of fine and unobtrusive craquelure in the impasto, mostly near the right edge.
Blacklight: No evidence of restoration.
Frame: 33.25” H x 37” W x 1.5” D
Visual: Overall good condition. Dust accumulation and grime commensurate with age. Areas of stable craquelure scattered throughout. Stretcher bar crease along the lower edge. A pea-sized paint loss at the extreme right edge at center. Small areas of loss in both of the collage pieces of the man and woman.
Blacklight: A 0.5” vertical area of touch-up at the lower edge at center.
Frame: 34.75” H x 34.75” W x 0.75” D
182
Visual: Overall good condition. Dust accumulation and grime commensurate with age. A pressure mark near the upper center edge at right.
Blacklight: No evidence of restoration.
Frame: 38.5” H x 47.5” W x 1.5” D
183
Overall good condition. Very minor dust accumulation and grime commensurate with age. Not examined out of the frame.
Framed under glass: 13.5” H x 17.5” W x 1” D
184
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 24.375” H x 36.275” W x 1” D
185
Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Pinhead-sized areas of bent paper scattered along the upper edge. Very minor handling creases scattered throughout. A few small touches of paint scattered throughout. Hinged to the back mat at the verso upper margin with tape in two places.
Framed under 23.375” H x 22.25” W x 1.75” D
186
Overall good condition. Slight dust accumulation and occasional minor and unobtrusive surface grime commensurate with age. Panel 2 with a small number of rice-sized or smaller surface scrapes with attendant paint loss scattered horizontally across the center section. Panel 2 also with a pinhead-sized pressure mark near the center of the right edge. Panel 6 with a very unobtrusive 0.5” vertical pressure mark visible mostly in raking light. Panels 2, 3, 4, and 6 each with occasional pea-sized or smaller paint losses at or near the extreme edges or corners. Most panels with slight abrasions along the extreme edges, attendant with installation as abutting components.
Seven pieces
Unframed
187
Overall good condition. Slight dust accumulation and occasional minor and unobtrusive surface grime commensurate with age. Panel 6 and 8 each with a very small and unobtrusive pressure mark visible mostly in raking light, the former near the upper edge at right, the latter near the center of the lower quadrant. Panel 4 with a 3.5” horizontal band of delicate blind-stippling, visible mostly in raking light. Panels 2 and 4 with an occasional pea-sized paint loss at or near the extreme edges or corners. Most panels with very minor abrasions along the extreme edges, attendant with installation as abutting components.
Nine pieces
Unframed
188
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination. In existing images of this style of sculpture from this artist, the figures are seated backto-back. There is evidence of epoxy residue on the base, indicating these figures may have been turned and readhered in the current position. The female figure is also partially obscuring the surname of the signature. Some irregularities on the surface of the base that appear to be a result of the production process.
189
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One sizable, contained crack in the body beneath one of the rolled tubes, approximately 2.25” in length. No evidence of restoration or hairlines under illumination.
Glass in overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One sizable chip to the rim of the glass vessel, which is hidden by the bronze mount. One additional nick and deeper scratch to the body about 1.5” long. Bronze mount overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Felt applied to the underside of the bronze base.
191
Overall good condition with scattered scuffs and scratches commensurate with age. The leather with slight scratching from use.
192
Overall good condition with dust accumulation commensurate with age and use. Small chips to the corners of the glass.
193
Overall good condition with scattered scuffs, surface scratches, and dust commensurate with age. Some of the interior objects with lifting and small flaked losses to gold paint. Wiring should be checked by a qualified electrician prior to use.
194
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Surface grime throughout. Mounting bar welded to the verso.
195
Overall good condition. Scattered minor surface scuffs, smudges, scratches, dust accumulation, and grime, recto, and verso, commensurate with age. Dust accumulation and grime on the recto and verso commensurate with age. Scattered areas of surface smudging on the recto and verso. Epoxy smudging on the verso, most likely in the hand of the artist. A small chip to one of the iridescent disks near the lower right. Some of the iridescent disks are bent, primarily near the left section. Unframed
196
Overall good condition. Dust accumulation, occasional specks of grime, unobtrusive surface scratches and slight oxidation, all commensurate with age.
197
Overall good condition. With scattered scuffs, scratches, nicks, and minor chips commensurate with age. Surface dust accumulation and grime inside and outside. Scratches to the Plexiglas commensurate with use. Possible moisture damage to the upper left corner under the Plexiglas. Scattered losses and nicking to the painted surface of the plywood of the base. A few scattered chips to the wood and slight losses to the paint of the wooden game pieces.
198
Each of the image sheets in overall very good condition, and tipped to a gray support sheet at the verso of two corners, as issued. Occasional soft rippling or creases at the tips of a few of the gray support sheet corners. The original gray paper folder with a round yellow sticker affixed to the lower right corner, a 5.25” diagonal crease across the upper right corner, and some very minor scuffing and wear at the edges, commensurate with age. The 10 support sheets are all loose within the folder, as issued.
Unframed
199
Overall good condition. Slight surface soiling and occasional soft rippling and small handling marks commensurate with age. A tiny paper sticker affixed to the verso of the upper right sheet corner bears a blue ballpoint ink number #4442. The sheet is loose, not mounted.
Unframed
200
Each: Overall good condition. Framed floating in the frame.
Each framed under glass: 31” H x 44.5” W x 2.75” D
201
Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. The woen nature of the sculpture is very fragile and therefore has a rather amporphous patterning. Most variations in design are believed to be a result of the contruction process.
202
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Frame: 43” H x 61” W x 1.25” D
203
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
204
Visual: Overall good condition.
Blacklight: No evidence of restoration.
Unframed
205
Overall good condition commensurate with age. Minor scattered areas of loss to beadwork. A peasized area of grime at the top of the figure’s head.
206
Overall good condition with minor scuffs and oxidation to bronze commensurate with age.
207
Visual: Overall good condition. Dust accumulation and grime commensurate with age. An unobtrusive pinhead-sized area of stray brown paint, near the upper edge at center.
Blacklight: No evidence of restoration.
Frame: 17.625” H x 21.625” W x 2.125” D
208
Overall good condition.
Framed under Plexiglas: 25.5” H x 25.5” W x 1.75” D
209
Visual: Overall good condition. Dust accumulation and grime commensurate with age. A 6” horizontal hairline scattered scratch with attendant paint loss near the lower left corner and an unobtrusive, ricesized scuff nearby. A small area of delicate craquelure near the center of the right edge. Slight frame abrasion in places around the edges, showing mostly at right.
Blacklight: No evidence of restoration.
Frame: 53” H x 57” W x 1” D
210
Visual: Overall good condition. Dust accumulation and grime commensurate with age. There appear to be a few small surface losses to the left of center, each approximately pea-sized.
211
Overall good condition. Dust accumulation and grime commensurate with age.
Frame: 33” H x 44.5” W x 2.25” D
212
Visual: Overall good condition. Dust accumulation commensurate with age. Frame abrasions in places along the edges.
Blacklight: No evidence of restoration.
Frame: 27.25” H x 39.25” W x 1.5” D
213
Overall good condition with minor scuffs and darkening/oxidation to bronze commensurate with age. The tip of the beak and last toe of the right foot both appear to be slight bent upwards, perhaps a result of a fall. in addition, there is some minot whitecolored scuffing on the rounded part of the back.
214
Overall good condition with minor scuffs and darkening/oxidation to aluminum commensurate with age. One of the cast towers is loose at the mount and moves left to right on the dowel. Light scuffing and scratching to the wood base.
215
Overall good condition with scuffs, scratches, and oxidation commensurate with age.
216
Visual: Dust accumulation and grime commensurate with age. Scattered slight paint shrinkage and craquelure throughout. Frame abrasion along the upper and right edge, mostly concentrated in the upper edge at right. A few pinhead-sized or smaller areas of paint loss near the upper edge at right. Three pinhead-sized or smaller holes in the board near the upper edge at center. A 0.5” H x 0.25” W area of paint loss near the right of the vase at center.
Blacklight: Possible touch-ups scattered throughout. Difficult to read under varnish.
Frame: 20.75” H x 26” W x 2.5” D
217
A formal conservation report from The Conservation Center, dated March 19, 2020, is available upon request.
Frame: 18” H x 22” W x 2” D
Blacklight: No evidence of restoration.
Unframed
218
Visual: Overall good condition. Dust accumulation and grime commensurate with age. A very soft and unobtrusive scratch to the paint near the upper edge, left of center.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 41.5” W x 2.25” D
219
Visual: Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age. Very pale staining to the blank of the outer edges.
Blacklight: No evidence of restoration.
Framed under glass: 45.75” H x 37.75” W x 0.75” D
220
Overall good condition. Dust accumulation and occasional specks of grime. Not examined out of the frame.
Framed under Plexiglas: 16.625” H x 20.125” W x 0.625” D
221
Overall good condition. Dust accumulation and specks of grime commensurate with age. Minor handling creases scattered throughout the paper. A 3” diagonal crease in the upper right corner. Not examined out of the frame.
Framed under glass: 32.25” H x 26.25” W x 1.375 D
222
A fairly unobtrusive diagonal tear extending 5” into the image at the lower left corner, with a related strip of masking tape, verso. A very faint and mostly illegible short inscription at the extreme lower right corner. Taped to the overmat with masking tape along all of the sheet edges, verso.
223
Overall good condition. Very minor toning to the paper. Not examined out of the frame.
Framed under glass: 29.25” H x 35” W 1” D
224
Each: Overall good condition. Toning overall, minor time staining at the extreme margin edges. Not examined out of the frame. The first with rippling throughout the paper. Minor handling creases, mostly visible in raking light scattered throughout, the largest measuring 4” and diagonal near the center at right. The second with very minor and unobtrusive handling creases.
Each framed in glass: 24.25” H x 32” W x 1” D (or opposite)
225
Each: Overall good condition. Dust accumulation and specks of grime commensurate with age. The second with toning to the paper. A 0.75” diagonal crease in the upper right corner. The third with slight handling creases scattered throughout. Not examined out of the frames.
Each framed under glass: 15” H x 19.5” W x 1.625” D
226
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Likely refinished.
227
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Moisture rings to the top.
228
Overall good condition. Framed floating and mounted to the back mat. Not examined out of the frame.
Framed under Plexiglas: 63” H x 32.75” W x 1.5” D
229
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. An unobtrusive pinhead-sized hole at the upper and lower left extreme edge. A pinhead-sized area of paint loss at the left edge, near the upper left corner. Not examined out of the frame.
Blacklight: No evidence of restoration.
Framed under glass: 32.5” H x 30.5” W x 1.625” D
Overall good condition. Deckled edges along the upper and lower edges. Dust accumulation and specks of grime commensurate with age. Various artists pinholes at each of the four corners. The upper right extreme corner is slightly bent towards the verso. Not examined out of the frame.
Framed under glass: 32” H x 39.625” W x 0.75” D
231
Overall good condition. Dust accumulation and grime commensurate with age.
Unframed
232
Visual: Overall good condition. Dust accumulation and grime commensurate with age. An unobtrusive, 6.5” vertical hairline surface scratch extending down from the upper edge in the background to the right of center. Areas of tiny frame abrasion near the upper right corner, and another at the lower right corner.
Blacklight: No evidence of restoration. Difficult to read under varnish.
Frame: 32” H x 37” W x 2.5” D
233
Visual: Overall good condition. Dust accumulation and occasional grime commensurate with age. Very slight stretcher bar creasing near the lower left corner. An approximately 1” long diagonal line of paint loss, just to the left of the figure’s right eye. A pinhead-sized loss to the gold leaf, just above the artist’s initials.
Blacklight: No evidence of restoration.
Unframed
234
Visual: Overall good condition. Very fine craquelure on the left side of the figure’s head. A 2” diagonal graphite mark near the center, below the figure’s white collar with an attendant pressure mark, verso. Two pinhead-sized areas of paint loss near the lower left.
Blacklight: No evidence of restoration.
Unframed
235
Visual: Overall good condition. Minor dust accumulation commensurate with age. Very fine craquelure near the lower left of the figure’s white pants.
Blacklight: No evidence of restoration.
Frame: 28.625” H x 22.625” W 0.875” D
236
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 26.5” H x 30.375” W x 1.5” D
237
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age. A 3.25” diagonal line of stray red paint at the lower right edge. Slight frame abrasion at the upper left extreme edge.
Blacklight: No evidence of restoration.
Frame: 42.25” H x 30.25” W x 3.25” D
238
Visual: Overall good condition. Dust accumulation and specks of grime commensurate with age.
Blacklight: No evidence of restoration.
Frame: 42.5” H x 30.25” W x 3.25” D
239
Overall good condition with scattered scuffs and indentations commensurate with age and use. There is scratching and scuffing to the plastic surface throughout. As well, there are white mineral deposits along the bottom edge.
240
Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.
241
Overall good condition. With dust and wear commensurate with age.
242
Overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age.
243
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Possibly refinished.
244
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age and use. Upholstery on each likewise has scattered scuffs throughout.
245
Overall good condition with scattered scuffs, scratches, nicks, indentations, and separation at joints commensurate with age and use. Scattered water markings to the finish of the walnut edge of the top. Heavy scratching all-over the glass insert.
246
Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some knicks to the corners of the applied wood squares on each. Drawers glide well without sticking.
247
Overall good condition with minor shelf wear and scuffs commensurate with age. Adhesive felt pads to the underside.
248
Overall good condition. The sheet is loose, mounted to the back mat with clear, archival corners.
Framed under Plexiglas: 19” H x 22.625” W x 1.75” D
249
Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Very minor scattered scuffs and scratches on the color slides. The brown folder with top left installation instructions for one of the slide sets, has a cracked color slide in the second row, third slide.
Unframed
250
The Meyerowitz print, which is loose, the hardback Hopper exhibition catalogue, and the various original announcement and information sheets included with this lot are all in very good condition. Both the wove paper folder protecting the Meyerowitz print, and the outer portion of the original linen-covered portfolio box show occasional minor stains and surface grime commensurate with age.
Portfolio box: 15.25” H x 13.25” W x 1.75” D
251
Overall good condition. Minor dust accumulation. Not examined out of the frame.
Framed under Plexiglas: 26.5” H x 31.375” W x 1.375” D
252
Overall good condition.
Unframed
253
Overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Dust accumulation and specks of grime scattered both inside and outside of the Plexiglas, commensurate with age.
254
Overall good condition. Not examined out of the frame.
Framed under Plexiglas: 74.75” H x 48” W x 2” D
255
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. The bottom left shelf with tape residue and a previouslyapplied translucent resin square.
256
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Some moisture rings and scratching to the top.
257
Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age and use. There is scotch tape and adhesive residue to the underside of the wood top. Areas of scuffing, loss to the finish, and discoloration to the chrome finish on the base. Lastly, the feet are uneven, causing the table to wobble.
258
Overall good condition with scattered scuffs and light scratches commensurate with age and use. Leather upholstery in overall good condition with minor scuffing and scratching throughout.
259
Overall good condition. The sheet is loose, not matted.
Unframed
Overall good condition. The sheet is loose, not matted.
Unframed
261
Overall good condition. Scattered very soft handling creases throughout, visible only in a raking light. Other creases showing mostly along the edges and corners of both of the photographs used for this collage, all possibly attendant with the artist’s original choice of materials. A 0.25” W edge tear near the bottom of the right edge. Framed floating, mounted to the back mat.
Framed under Plexiglas: 21” H x 16.5” W x 1.75” D
262
Overall good condition. Scattered very soft handling creases throughout, visible only in a raking light. Other creases showing mostly along the edges and corners of both of the photographs used for this collage, the largest approximately 4.375” showing diagonally across the lower left corner, all possibly attendant with the artist’s original choice of materials. A 0.25” H edge tear near the right corner of the upper edge. Framed floating, mounted to the back mat.
Framed under Plexiglas: 21” H x 16.5” W x 1.75” D
263
Overall good condition. A few specks of unobtrusive grime, showing mostly at the lower left.
Unframed
264
Overall good condition. The sheet is loose, and attached to the back mat using removable, clear, archival corners.
Framed under Plexiglas: 20.5” H x 16.5” W x 1.5” D
265
Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age on both the gelatin silver print and the original paper wrapper. A small cluster of specks of dark grime on the verso of the paper wrapper. The mat board is slightly bent along the lower edge at center. Minor handling creases throughout the paper wrapper. Mounted to the mat board as issued.
Unframed
266
Overall good condition. Very minor dust accumulation and occasional specks of grime commensurate with age on both the gelatin silver print and the original paper wrapper. The original paper wrapper with slight handling creases and the upper left extreme corner is slightly bent. Very minor toning to the original paper wrapper. Mounted to the mat board as issued.
Unframed
267
Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age on both the gelatin silver print and the original paper wrapper. Minor handling creases throughout the paper wrapper. Mounted to the mat board as issued.
Unframed
268
Overall good condition. Minor dust accumulation and occasional specks of grime commensurate with age on both the gelatin silver print and the original paper wrapper. 1.5” H x 1” W very pale stain on the recto of the original paper wrapper near the left edge of center. Very minor handling creases scattered throughout. A pinhead-sized tear to the mat board along the left edge at center. Mounted to the mat board as issued.
Unframed
269
Overall good condition. Dust accumulation and occasional specks of grime commensurate with age. Minor toning to the typed letter and original envelope. A horizontal folding crease along the center of the typed letter. Not examined out of the frame.
Framed under Plexiglas: 24.5” H x 28.75” W x 2” D
John Moran Auctioneers, Inc
SPECIALISTS
President, Auctioneer
Co-Head of Sale, Fine Art Director
Co-Head of Sale, Post-War & Contemporary Design Specialist
Post-War & Contemporary Fine Art Specialist
Vice President, Furniture & Decorative Arts Director
Junior Specialist / Senior Fine Art Cataloguer
Fine Art Cataloguer
Fine Art Cataloguer
Senior Furniture & Decorative Arts Cataloguer
Furniture & Decorative Arts Cataloguer
Senior Vice President
Vice President, Silver, Western, and American Indian Specialist
Jewelry Director
Fine Art Department Administrator Operations Coordinator
Furniture & Decorative Arts Department Administrator
Silver, Western and American Indian Cataloguer
CLIENT SERVICES
Office Manager
Client Services
Finance Administrator
Client Services
OPERATIONS
Vice President, Business Director, Auctioneer
Finance & Human Resources Director
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
Art Handler
Art Handler
MARKETING
Advertising & Marketing Director, Art Design
Brenda Smith
Graphic Designer
PHOTOGRAPHY
Photographer
Photographer
Photographer
TRUSTS & ESTATES
Appraisals Director
Department Administrator
FOUNDERS
Founder
Co-Founder
Jeffrey J. Moran
Jenny W ilson
Matthew Grayson
Hayden Hunt
Roland R ynkiewicz
Bobby Cullen
Anne Spink
Madison Ari
Shannon Dailey
Sarah Beaver
Morgana Blackwelder, AAA
Maranda Moran
Mollie Bur ns Keith, G.J.G
Ian Anderson
Alek Ellis
Sally Andrew
Mario Esquivel
Ella Fountain
Jamie Holthauser
Bryan Ortega
Stephen Swan
Maha Darwish
Jean Rapagna
Richard Corral
Joe Miranda
Joseph Corcoran
Jervey Inglesby
Jacob Baer
Nathan Martinez
PR Manager/Social Media
Brian Olivas
Keith Berson
Madison Torres
Michael Mizerowski
Mariam Whitten, ISA AM
Melissa Brownell
John H. Moran (1942-2017)
Madeleine Moran
This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.
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.
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.
(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.
(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.
(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.
(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.
(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.