Post-War & Contemporary Art + Design — June 9, 2021 | John Moran Auctioneers by johnmoranauctioneers

Post-War & Contemporary Art + Design | Wednesday, June 9, 2021 Featuring property from:

The Blake Byrne Collection, The Collection of Dharam Damama’s

Post-War & Contemporary Art + Design Featuring property from: The Blake Byrne Collection, The Collection of Dharam Damama’s

Wednesday, June 9, 2021—10am Sale 190 145 East Walnut Avenue, Monrovia CA 91016 Public Previews: Friday, June 4th - Tuesday, 8th 12-4 pm Or by appointment

Meet the Team Bree Hughes Co-Head of Sale

John Simon Taylor Co-Head of Sale

Post-War & Contemporary Fine Art

20th Century Furniture and Decorative Art

bree@johnmoran.com

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

jsimon@johnmoran.com

Shannon Dailey Decorative Arts Cataloguer shannon@johnmoran.com

Client Services Mario Esquivel Office Manager mario@johnmoran.com Cover: Pg. 232, Lot# 170 Serban Savu (b. 1978, Romanian) “Inner Life,” 2010 Facing Image: Pg. 213, Lot# 156 Francesca Gabbiani (b. 1965, American) “Girly Fear,” 2001

Ella Fountain Client Services ella@johnmoran.com

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

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

Blake Byrne in his Los Angeles residence 2014 Pictured with: John Sonsini, Blake, 2005 Photo: Alan Shaffer

(1890-1967, French/Russian) “Embracing Figures” Ballpoint pen on paper Initialed in ink lower center, signed in pencil lower right: O. Zadkine, numbered in pencil verso: 7840 G, titled by repute 9.5” H x 8” W

(1895-1975, French) “The Orchestra” Gouache on paper und Signed lower right: Gen Sight: 19.75” H x 25” W

Ossip Zadkine

$2,000-3,000 Provenance: Sale: Sotheby’s Arcade, “ Modern and Contemporary Paintings, Drawings and Sculpture,” June 12, 1992, Lot 44 Property of a Rancho Mirage Collection

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Gen Paul

$1,000-1,500

Provenance: Property o

der glass n Paul, titled by repute W; Sheet: 20.5” H x 25.5” W

of a Rancho Mirage Collection

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Eugene Berman

(1899-1972, American) “Mareus,” 1943 Watercolor on paper under glass Initialed, dated and inscribed lower center: E.B., Quo Vadis, titled upper right, initialed, dated, titled and inscribed again on the backing board: Costume sketch for Quo Vadis Sheet: 11.25” H x 9.25” W $1,000-1,500 Notes: “Quo Vadis” was a motion picture released in 1951 by MGM. It won two golden globes for best supporting actor and best cinematography.

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George Grosz

(1893-1959, German) Bustling New York City street scene Watercolor on Michallet paper under glass Signed lower right: Grosz, numbered verso: (10), watermark for Michallet lower right corner 23.25” H x 18.25” W $18,000-25,000 Provenance: Sale: Butterfield & Butterfield, San Francisco/Los Angeles, October 26, 1995, Lot 2429 Property of a Rancho Mirage Collection Notes: German-born artist George Grosz (1893-1959) would also be considered an activist by today’s standards due to his politically-charged satirical cartoons that were critical of the Weimar German government and its aristocratic society. In 1924 and 1928 he was prosecuted by the authorities for making work that was deemed pornographic and blasphemous. His outspokenness made life difficult for Grosz in his native country. Eventually, he began to receive threats from his own studio assistants! Grosz’s figurative style of elevated caricature is what he is most known for even though he had exceptional drawing skills that may have helped land him a teaching job at Art Students League in New York. In 1932, and without hesitation, he accepted the position and relocation in order to protect his family. Subsequently, he ended his public criticism of society and politics. Although a quote made later in life suggests that he had not entirely given up on his strong political opinions: “My motto was now to give offence to none and be pleasing to all… Anyone who plans to get ahead and make money would do well to have no character at all. The second rule for fitting in is to think everything beautiful!? Everything, that is to say, including things that are not beautiful in reality.”

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Milton Avery

(1885-1965, American) “Dunes and Sea #9,” 1956 Pen and ink on paper under Plexiglas Signed lower right: Milton Avery, signed again, dated and titled verso Sheet: 11” H x 8.5” W; Sight: 10.75” H x 8.25” W $3,000-5,000 Provenance: Grace Borgenicht Gallery, New York, NY Notes: This lot is accompanied by a letter from the Milton and Sally Avery Arts Foundation, New York.

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Milton Avery

(1885-1965, American)

Avery began creating portraits in the last four yea color. His portraits offer a transformative quality b individuality of their sitter, or by contrast, decons specificities of his subject and thereby shedding color through freeform application, removing the blue eyes, bold cheeks, and charming bonnet wi and quickly applied background, juxtaposing dar it is possible this is his daughter, March Avery, wh

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ars of his life. The Girl with Rosy Cheeks is animated by Avery’s use of texture and contrasting by removing the confines of traditional portraiture. A painter might choose to emphasize structing the intention of portraiture. Avery offers a whimsical approach, underscoring the light on the intrinsic beauty and personality. In the present work, Avery employs texture and e confines of realism to allow the viewer to see the young girl’s personality. With her vivid ith caplet, Avery draws attention to the joy of youth. These features are set against a striking rker pigments that provide depth to the face. The identity of the sitter is unknown; however, hom the artist often painted.

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Milton Avery

(1885-1965, American) “Girl with Rosy Cheeks,” 1964 Oil on canvasboard Signed lower left: Milton Avery 12” H x 9” W $10,000-15,000 Provenance: Rudolph Galleries, Woodstock, NY Notes: This lot is accompanied by a letter from the Milton and Sally Avery Arts Foundation, New York.

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(1913-1986, Spanish/Puerto Rican) Abstract figural Oil on board Signed lower right: Botello Sight: 13.25” H x 12.25” W; Board: 14.5” H x 13.5” W

(1913-1986, Spanish/Puerto Rican) Abstract figural with orange background Oil on board Signed lower right: Botello, numbered upper left: 29 Board: 13” H x 12.25” W

Angel Botello

$4,000-6,000

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Angel Botello

$4,000-6,000

Carl Holty

(1900-1973, German/American) Untitled Watercolor and pastel on paper under glass Signed and numbered in pencil lower left: Carl Holty / No 838 24” H x 27” W $3,000-5,000 Provenance: Sale: Sotheby’s NYC Arcade Sale, June 12, 1992, Lot 235 Property of a Rancho Mirage Collection

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Claude Lacaze

(b. 1938, French) Abstract Cubist woman Oil on masonite Signed lower left: C. Lacaze, indistinctly titled verso 21.75” H x 16.25” W $1,200-1,800

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Claude Lacaze

(b. 1938, French) Abstract Cubist figures Oil on canvas Signed lower right: C. Lacaze 15” H x 18” W $1,200-1,800

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Duilio (Dubè) Barnabé

(1914-1961, Italian) Man seated with pipe Oil on canvas Signed lower right: BarnabÈ 45.5” H x 35” W $6,000-8,000 Provenance: Sale: Butterfield & Butterfield, San Francisco/Los Angeles, October 26, 1994, Lot 632 Property of a Rancho Mirage Collection Notes: This artist also produced works under the name Dubè.

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The Blake Byrne Collection 13

Jacques Vaché

(1895-1919, French) “Ces Messieurs” Color pencil, pencil, and ink on paper laid to Arches paper under glass Signed in the margin lower left: Jacques Vache, titled center 12.25” H x 8” W $15,000-20,000 Provenance: Sale: Calmels Cohen Auction, Paris, France, April 14, 2003, Lot 04029 André Breton, Paris, No 4029 The Blake Byrne Collection

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Moses Soyer

(1899-1974, American) “Dancers Against Window” Oil on canvas Signed lower right: M. Soyer, titled on an artist’s label affixed to the stretcher 18” H x 14” W $2,000-3,000 Notes: Presented in a Mayen Olson frame.

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Roger Kuntz

(1926-1975, American)

Roger Kuntz’s background as a realism painter, pa experimentation. He strived to find new ways to p process, Susan M. Anderson of the Laguna Art M the experimentation, fragmentation, and paradox

Kuntz spent many years painting urban California industrialization of the built environment. Winnin take a leave of absence from teaching at Scripps

Parallel to his cityscapes, he painted domestic sc of works. Later in Kuntz’s’ life, he returned to pain life drawing skills. He employs a triangular compo with a laissez-faire expression. In many of Kuntz’s the visage is uniquely highlighted.

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aired with his found love of abstract expressionism created a springboard for artistic portray shape and texture and to convey traditional subject matter in innovative ways. Of his Museum explains: “Kuntz’s work of the late 1950s and early 1960s quintessentially embodied x in American culture of the time.”

a scenes, creating abstraction out of iconic cityscapes and portraying the solitude and ng the John Simon Guggenheim Memorial Foundation grant for painting allowed Kuntz to Colleague to focus on his artwork.

cenes of his living room or bathtubs; both subjects ultimately inspired Kuntz to create series nting figuratively. The present example, Model Posing, shows the artist’s academically trained osition often utilized in the history of art and features a bold and unabashed female sitter s figurative works, he blurs the face to emphasize color and form, however in this instance,

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Roger Kuntz

(1926-1975, American) “Model posing” Oil on canvas Signed lower left: Kuntz, titled on the stretcher 40” H x 30” W $8,000-10,000

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Attributed to Donal Hord (1902-1966, American)

Two works Life drawing of seated man, circa 1940 Pencil on paper under glass Sight: 7.75” H x 6.5” W Appears unsigned, inscribed across the lower edge: “Original life drawing by Donal Hord, N.A. (1902-1966) -ca. 1940” Life drawing of seated man, circa 1940 Pencil on paper under glass Sight: 6.25” H x 9.5” W Appears unsigned, inscribed across the lower edge: “Original life drawing by Donal Hord, N.A. (1902-1966) -ca. 1940” $1,000-2,000 Provenance: San Diego Historical Society, San Diego, CA

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The Blake Byrne Collection 17

Andre Breton

(1896-1966, French) “Vingt et un mos Interpretes,” 1956 Ink on envelope laid to board under glass Signed lower center: Breton 5.5” H x 4.25” W $2,000-4,000 Provenance: Calmels Cohen Gallery, Paris, France The Blake Byrne Collection

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Bela Kadar

(1877-1966, Hungarian) “The Bride” Gouache on brown board under glass Signed lower right: Kadar Bela 17.75” H x 12.25” W $3,000-5,000 Provenance: Laszlo Barlok, Munich, Germany Sale: Christie’s East, New York, NY, May 9, 1989, Lot 74 Property of a Rancho Mirage Collection

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Georges Rouault

(1871-1958, French) “Jeune clown pensif” Oil on paper laid to canvas Unsigned, titled on the stretcher 8.75” H x 6.25” W $15,000-20,000 Provenance: Estate of the artist Private Collection, France Sale: Sothebyís, Paris, “Art Impressionniste et Moderne,” December 10, 2015, lot 94 Sale: Christie’s New York, Rockefeller Center, “Impressionist & Modern Art Day Sale,” May 16, 2017, Lot 318 The Blake Byrne Collection Notes: With atelier stamp verso. The Fondation Georges Rouault has confirmed the authenticity of this work. w w w. j o h n m o r a n . c o m

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William Scott

(1913-1989, British) “Spatial Displacement, Series (a),” 1964 Black chalk and pastel on paper under glass Signed and numbered verso: Von William Skott / 8 14.25” H x 13.25” W $2,000-4,000 Provenance: Bernard Jacobson Gallery, London, England The Blake Byrne Collection

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Piet Hein

(1905-1996, Danish) “Ursa Major” candelabrum, circa 1950 Enameled steel and brass 26.75” H x 22” W x 5” D $1,000-2,000

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Livio Seguso

(b. 1930, Italian) Square Glass on acrylic base Signed and dated: Livio Seguso / 91 12” H x 13.25” W x 2.75” D $800-1,200

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Jean Luce

(1895-1964, French) Vase, circa 1930 Acid-cut glass and gilt Signed with artist’s cipher to underside 6.5” H x 5.5” Dia. $2,000-3,000

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A pair of Steuben crystal Pineapple Luminors

Second-quarter 20th Century Each signed: Steuben No. 6971, with controlled bubbles and interior tear drop, 2 pieces Each: 7.5” H x 4.25” Dia. $800-1,200

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A LaG

Circa 1 Marked The wh 20.5” H

$600-9

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Gardo Tackett Architectural Pottery planter

1960 d: Architectural Pottery hite bisque ceramic hourglass planter with opposed open circle motif H x 10.5” Dia.

900

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John Charles Haley

(1905-1991, American) Untitled #385, circa 1971 Hardwood Signed and numbered: Haley / #385 37” H x 10.75” W x 7” D $600-900

Provenance: George Krevsky Gallery, S

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The Blake Byrne Collection 27

Jorge Caceres

(1922-1949, Peruvian) Untitled Photograph collage on paper laid to board under glass Unsigned Sheet: 6.75” H x 5.5” W $1,000-2,000 Provenance: Calmels Cohen Gallery, Paris, France The Blake Byrne Collection

San Francisco, CA

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Charles Levier

(1920-2003, French) “Milly La Foret” Oil on canvas Signed lower center: Levier, signed again and titled verso 20” H x 50” W $2,000-4,000 Provenance: Van Diemen-Lilienfeld Galleries, New York, NY Distinguished Los Angeles Collection Notes: Milly-la-ForÍt is a commune in the Essonne department in Œle-de-France in northern France. This lot is accompanied by a booklet about the artist with nine works, titled “Levier”.

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Francois Ravello

(1926-2011, French) “Te Pahi,” 1968 Oil on panel Signed, dated, and inscribed lower right: Ravello / “Tahiti”, titled and numbered verso: No 308 9.5” H x 29.5” W $1,000-1,500

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Two Japanese Haniwa terracotta figures

Circa 3rd-6th Century or later Comprising a male and female terracotta figure executed in the “wazumi” coil-built method, 2 pieces Male: 29.25” H x 10.5” W x 6.5” D; Female: 30” H x 8.5” W x 7.5” D $15,000-20,000 Provenance: Arts d’Extrême-Orient, Paris, France The Blake Byrne Collection, purchased from the above, November 19, 1998

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The Blake Byrne Collection

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(1926-2018, American) “Proprietor,” 1968 Graphite and yellow pencil on Strathmore paper under glass Appears unsigned, titled and dated on a gallery tag affixed verso, blindstamped for Strathmore upper left 13” H x 8” W

(1926-2018, American) “OCD Series #3,” 1967 Graphite on paper under glass Initialed and dated lower right: E. / 67, titled o 21.5” H x 17.5” W

Ed Moses

$4,000-6,000 Provenance: Nyehaus, New York, NY The Blake Byrne Collection

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Ed Moses

$4,000-6,000 Provenance: The Blake Byrne Collection

on a gallery tag affixed to the backing board

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Ed Moses

(1926-2018, American) “Loom,” 1961 Graphite and yellow pencil on Strathmore paper under Plexiglas Initialed lower right, titled and dated on a card affixed to the frame verso, blindstamped for Strathmore lower right 29” H x 23” W $4,000-6,000 Provenance: The Blake Byrne Collection

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Doris Lee

(1905-1983, American) Abstract beach scene Gouache on paper laid to board under glass Signed lower right: Doris Lee Sheet: 19” H x 25” W $1,200-1,800

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Norman Zammitt

(1931-2007, Canadian/American) “Black to White 34,” circa 1974-80 Acrylic on canvasboard Unsigned, titled on an estate label signed by Marilyn Zammitt (The artist’s wife) verso 16” H x 12” W $4,000-6,000 Provenance: Estate of the Artist Private Collection, acquired from the above by the present owner 52

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Norman Zammitt

(b. 1931, Canadian/American) “Yellow Burning,” 1981 Acrylic on canvasboard Appears unsigned, titled and dated verso: May 81 9” H x 12” W $3,000-5,000

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A Venini

Mid-Cent Signed: V Designed white, an 10” H x 1

$800-1,20

A Steven Spiro cocktail table

2007 Signed and dated: Spiro / 2007 With a carved hardwood base of various woods in organic and free-form shapes inlaid with mother-of-pearl, a nautilus shell, and moon phase and compass motif marquetry, fitted with two small drawers, surmounted by a conformingly shaped glass top, and accompanied by individual carved accessory elements 20.5” H x 56” W x 33” D $2,000-3,000

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i “Fazzoletto” Murano glass vase

tury Venini / Murano / Italia d 1948 by Fulvio Bianconi, the handkerchief vase in clear, nd lime green glass with lattice and helical ribbon motifs 10.75” W x 11.5” D

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A pair of Charles Hollis Jones “Metric” Lucite and painted side cabinets

Circa 1970 Each a yellow two-door hinged cabinet with clear Lucite and chrome side brackets supporting an inset beveled clear glass to Each: 24.125” H x 33.25” W x 18” D $2,000-3,000

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op, 2 pieces

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An Edward Fields modern area rug

2001 Signed, dated, and numbered: Edward Fields / 10-2001 / 17193 The rectangular wool rug with black border centering a two-tone green rectangle bisected by a red and pink free-form band and scattered yellow squares 145” L x 59” W $800-1,200

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Tony Smith

(1912-1980, American) “New Piece #10,” 1975-1979 Painted bristol board Unsigned, titled to underside 5” H x 10” W x 10” D $15,000-20,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection, purchased from the above on May 8, 1990 Notes: Maquette for work of the same title, New Piece #10. Considered the father of American Minimalist sculpture, Smith spent his early adolescence sequestered in a one-room structure behind his parents’ house recovering from tuberculosis. His illness and the associated solitude were formative influences on his eventual artistic career. In particular, the cardboard boxes that contained his medications became some of his earliest building materials, shaping the development of his sculptural practice. After completing his schooling, Smith joined the Frank Lloyd Wright team of architects, eventually rising to Chief-of-the-Works. Interestingly, in the 1940s, Tennessee Williams was a witness to his marriage. Other luminaries like Mark Rothko, Barnett Newman, and Jackson Pollock were also among Smith’s closest friends. Working in their orbit influenced both Smith’s minimalist compositions and three-dimensional works. In 1998 when the Museum of Modern Art held a retrospective of Smith’s career in New York, the show was entitled “Tony Smith: Architect, Painter, Sculptor,” as a testament to his facility and artistic authority across media.

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Hannelore Baron

(1926-1987, German/American) “Untitled (Box Assemblage #B83015),” 1983 Mixed media assemblage Signed, dated, and titled: Hannelore Baron / 1983 / B83015 11.875” H x 15.375” W x 2.5” D $2,000-4,000 Provenance: Sale: Gallery Schlesinger, New York, NY, January 12, 1989 The Blake Byrne Collection

Exhibitions: Gallery Schlesinger, New York, NY, “Hannelore Baron: Bird Imagery,” October 1988

(b “L M Si 70

Pr Th Sa Se Th

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The Blake Byrne Collection

Mel Kendrick

b. 1949, American) Large Mahogany with Holes,” 1985 Mahogany wood igned and dated: Mel Kendrick / 1985 0.5” H x 23.5” W x 19” D

15,000-20,000

rovenance: Margo Leavin Gallery, Los Angeles, CA he Collection of Eugene Stevens ale: Christie’s, New York, NY, “Post-War and Contemporary Art,” eptember 23, 2005, Lot 106 he Blake Byrne Collection

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Mel Kendrick

(b. 1949, American) Untitled, 1987 Black patinated bronze on black painted wood base Signed, dated, and numbered: Mel Kendrick / 1987 / 2-2 Overall: 67.5” H x 22.5” W x 33” D $25,000-35,000

The Blake Byrne Collection

Provenance: The Estate of Fred Howard, New York, NY Sale: Sotheby’s, New York, NY, “Contemporary Art,” September 27, 2010, Lot 136 The Blake Byrne Collection

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The Blake Byrne Collection

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Alan Johnston

The Blake Byrne Collection

(b. 1945, Scottish) Untitled, 1988 Gesso and charcoal on linen Signed, initialed and dated verso: Alan Johnston / A.J. / 88 42” H x 33” W $1,500-2,500 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection

Marie-Jo Lafontaine

(b. 1950, Belgian) “La Lumiere de la Vie Est L’ombre de la Mort,” 1989 Mixed media on wood Signed, dated and titled in pencil verso: Marie-Jo Lafontaine 42” H x 134.75” W $8,000-10,000 Provenance: The Jack Shainman Gallery, New York, NY The Blake Byrne Collection

The Blake Byrne Collection

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Joan Brown

(1938-1990, American) “Nude with Plaid Blanket,” 1975 Acrylic and graphite on paper under Plexiglas Signed, dated, and titled lower center: Joan Brown 24” H x 36” W $7,000-10,000 Provenance: Sale: Butterfield & Butterfield, San Francisco/Los Angeles, October 26, 1995, Lot 2505 Property of a Rancho Mirage Collection Exhibitions: Palm Springs, CA, Palm Springs Museum of Art, “Bay Area Works on Paper,” May 28 - October 23, 2005.

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The Blake Byrne Collection 48

Marlene Dumas

(b. 1953, South African) “Pampers Baby,” 1989 Watercolor, pencil, and collage on paper under glass Signed, dated, and titled lower right: M. Dumas 12.25” H x 17.5” W $7,000-9,000 Provenance: Galerie Paul Andiesse, Amsterdam Sale: Sotheby’s Amsterdam, “Modern and Contemporary Art, incl. Belgian,” December 7, 2005, Lot 166 David Zwirner Gallery, New York, NY The Blake Byrne Collection Exhibitions: Paris, Centre Pompidou, Musee National d’art Moderne, Galerie d’art graphique,”Marlene Dumas,” October 11 - December 31, 2001, No. 32

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The Blake Byrne Collection 49

Marlene Dumas

(b. 1953, South African) “Helena Sleeping,” 1989 Ink wash on paper under Plexiglas Appears unsigned, titled and dated in pencil lower right: “Helena Sleeps 1989” 14” H x 11” W $7,000-9,000 Provenance: Galerie Paul Andriesse, Amsterdam The Blake Byrne Collection Exhibitions: Los Angeles, CA, Los Angeles Metropolitan Medical Center, “Human Condition (organized by John Wolf),” October 1 - November 30, 2016. Notes: “There is the image you start with and the image you end up with, and they are not the same. I wanted to give more attention to what the painting does to the image, not only to what the image does to the painting” —Marlene Dumas w w w. j o h n m o r a n . c o m

The Blake Byrne Collection 50

Luc Tuymans

(b. 1958, Belgian) Untitled, 1995 Watercolor on paper under Plexiglas Signed and dated in pencil lower right: Luc Tuymans / ‘95 7.5” H x 6” W $2,000-4,000 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection

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The Blake Byrne Collection 51

Luc Tuymans

(b. 1958, Belgian) Untitled (7), 1989 Watercolor on paper under glass Signed and dated in pencil lower right: Luc Tuymans / ‘89 8.25” H x 6” W $2,000-4,000 Provenance: David Zwirner Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 52

(b. 1958, Belgian) Untitled, 1988 Watercolor on paper under Plexiglas Signed and dated lower right: Luc Tuymans / ‘88 10.75” H x 8.25” W

(b. 19 Untitl Steel Unsig 55” H

Luc Tuymans

Crist

$3,000-5,000

$8,00

Provenance: David Zwirner Gallery, New York, NY The Blake Byrne Collection

Prove Athen The B

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The Blake Byrne Collection

tina Iglesias

956, Spanish) led, 1988 l and cement gned H x 32” W x 14” D

00-10,000

enance: Sale: Jean Bernier Gallery, ns, Greece, October 14, 1988 Blake Byrne Collection

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Donald Sultan

(b. 1951, American) “Black Lemon,” 1984 Charcoal on paper under Plexiglas Initialed, dated, and titled along the right edge: D.S. / June 26, 1984 50” H x 38” W $6,000-8,000 Provenance: Sale: Butterfield & Butterfield, San Francisco, CA, October 14, 2002, Lot 2093 Blum Helman Gallery, New York, NY Janie C. Lee Master Drawings, New York, NY Property of a Rancho Mirage Collection

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Edward Biberman

(1904-1986, American) “Palm Tree,” 1981 Oil on masonite Signed lower right: Biberman, titled and dated on a gum label affixed to the frame verso 27” H x 6” W $1,000-1,500

Robert Natkin

(1930-2010, American) “Festival #2” Acrylic on canvas Signed, titled, and numbered on the stretcher: Natkin / C 524 60” H x 48” W $8,000-10,000 Provenance: Meredith Long & Company, Houston, TX The Watson Gallery, Houston, TX Sale: Sotheby’s Arcade Auctions, June 12, 1992, Lot 235 Property of a Rancho Mirage Collection

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Hisao Domoto

(1928-2013, Japanese)

Hisao Domoto felt stifled by the traditional Japan felt freer to experiment with texture, color, form, Europe through representation at Stadler Gallery use of primary colors accentuate the complexity a earlier loose and expressive style, where he uses shapes and a year later, his work relied heavily up Domoto’s career transformed when his atelier clo was a place for thinking. New York was a place to

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nese painting of his upbringing. He made his way to Paris to study art after World War II. He and constructivism. After winning several prestigious awards, he garnered recognition in y in Paris. His paintings in the mid-1960s employ pattern evocative of tire tracks. Domoto’s and division between physicality and composition. The present work contrasts from his muted tones and a free-flowing hand. In 1966 Domoto began employing more geometric pon circular forms. These shapes became a crucial building block within his work. In 1967 osed in Paris and he returned to his homeland in Tokyo. Domoto would say, “For me, Paris o work. Tokyo was a place to have a good time.”

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Hisao Domoto

(1928-2013, Japanese) Untitled blue and red abstract, 1967 Oil on canvas Signed in English and Japanese, dated and inscribed verso: Domoto / NY 30” H x 58” W $30,000-50,000 Provenance: Nantenshi Gallery, Tokyo, Japan Sale: Sotheby’s Hong Kong, “EYE / EAST,” May 22, 2020, lot 5009 Private Collection, purchased from the above by the current owner

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Po s t -War & C o n t e m p o r a r y A rt + De sig n l We d n e sd ay, J u n e 9, 2021

An Allan Adler “Modern Georgian” sterling silver flatware service

Third-quarter 20th Century Each marked: Allan Adler / Handhammered / Sterling Comprising 14 hollow-handled New French dinner knives (9.5”), 14 butter spreaders (6.25”), 14 place forks (7.75”), 14 salad forks (6.5”), 16 teaspoons (6”), 14 cream soup spoons (6.5”), 2 vegetable serving forks (9.125”), 3 vegetable serving spoons (9.125”), 1 bouillon ladle (8.5”), 1 cheese server (7.75”), 1 buffet fork (10.125”), and 1 dressing spoon (10.125”), 95 pieces Weighable sterling: 157.29 oz. troy approximately $7,000-9,000 Provenance: From the collection of singer Kay Starr

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A Georg Jensen “Ornamental” sterling silver serving set

Circa 1933-1944 Each marked for Georg Jensen [GJ] / Sterling / Denmark Each with pierced details and an openwork crisscrossed handle terminating in a stylized flower, comprising a serving spoon and a serving fork, 2 pieces Larger: 9.75” L x 3.5” W 8.805 oz. troy approximately $600-800

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A modern Mexican sterling silver teapot

Mid-20th Century Marked: Febres / M6-150 / Mex.925; Further marked with unidentified maker’s marks The ovoid teapot with stirrup handle raised on three feet 9.5” H x 7.5” W x 7.25” D 33.775 oz. troy approximately $1,000-1,500

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John Sonsini

(b. 1950, American) “Louie Perez,” 2001 Oil on canvas Signed, dated, and titled verso: J. Sonsini / May 2001 24” H x 18” W $3,000-5,000 Provenance: Marc Selwyn Fine Art, Los Angeles, CA Notes: John Sonsini offers a historic spotlight on Latinx farmworkers through his notable portraits. Having had more than 30 recent solo and group exhibitions, the art world has taken note. Many renowned museums have acquired Sonsini’s works, including the Whitney Museum, The Broad Foundation, The UCLA Hammer Museum, MOCA Los Angeles, and many others. He was formally trained and received his Bachelor of Arts in 1975. After taking an almost decade-long hiatus from painting, he found his artistic voice. Sonsini offers a distinct portrayal of the country’s migrant workers, the backbone of the nation’s agricultural economy. He uses vivid colors, confident brushstrokes and focuses on his subjects, bringing his sitters’ personalities to life through his canvases. Sonsini’s informal approach to his subject matter makes his work approachable. The artist has been compared to a modern-day Diego Rivera, however Sonsini denies the political undertone of his work. Sonsini says, “I definitely am not trying to make statements.”

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The Blake Byrne Collection 62

Jack Youngerman

(1926-2020, American) “Mama Bronze Wave,” 1990 Patinated bronze Signed and dated: JY / 1990 12.25” H x 13” W x 3” D $15,000-20,000 Provenance: Washburn Gallery, New York, NY The Blake Byrne Collection

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Matthew Antezzo

(b. 1962, American) “Vanity Fair-Tint Drawer, summer 1995,” 1999 Pencil and graphite on paper under Plexiglas Appears unsigned, inscribed lower margin: “Foire des femmes, 1973. Au poing leve phallo, les feministes opposent le triangle de la feminitude.” Titled and dated on a gallery label affixed to the backing board 14” H x 16.5” W $1,000-2,000 Provenance: Martin Klosterfelde Galerie, Berlin, Germany Private Collection, Pasadena, CA, purchased from the above December 12, 2002 Notes: An invoice from the Martin Klosterfelde Galerie accompanies this lot.

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The Blake Byrne Collection 64

Martin Mull

(b. 1934, American) Untitled, 1992 Acrylic on paper laid to board Initialed and dated lower right: M.M. / 92 10.25” H x 7.5” W $1,000-2,000 Provenance: The artist The Blake Byrne Collection, acquired directly from the above

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The Blake Byrne Collection 92

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Joseph Havel

(b. 1954, American) “Week,” 1997 Painted bronze on wood base Unsigned 28” H x 6.5” Dia. $6,000-8,000

Provenance: Sale: Galerie Gabrielle Maubrie, Paris, Franc November 20, 1997 The Blake Byrne Collection

The Blake Byrne Collection

ce,

Carolein Smit

(b. 1960, Dutch) “Baby 7,” 1997 Glazed ceramic Signed and dated: Carolein Smit / 1997; Titled to verso 4.5” H x 23” W x 14.25” D $2,000-4,000 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 67

Bruce Helander

(b. 1947, American) “Popeye-Eight,” 1997 Paper collage on board under Plexiglas Signed upper center Sight: 7.5” H x 9.25” W $500-700 Provenance: Helander Gallery, Palm Beach, FL The Blake Byrne Collection Exhibitions: Durham, NC, Nasher Museum of Art at Duke University, “Open This End: Contemporary Art from the Collection of Blake Byrne,” February 9-July 12, 2015. Columbus, OH, The Ohio State University Urban Arts Space, “Open This End: Contemporary Art from the Collection of Blake Byrne,” August 25-November 7, 2015. New York, NY, Miriam and Ira D. Wallach Art Gallery, Columbia University, “Open This End: Contemporary Art from the Collection of Blake Byrne,” January 20-March 12, 2016 Portland, OR, Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis and Clark College, “ Open This End: Contemporary Art from the Collection of Blake Byrne,” September 8-December 11, 2013

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The Blake Byrne Collection 68

Bruce Helander

(b. 1947, American) “Popeye-Four,” 1997 Paper collage on board under Plexiglas Signed lower left Sight: 7.75” H x 10” W $500-700 Provenance: Helander Gallery, Palm Beach, FL The Blake Byrne Collection Exhibitions: Durham, NC, Nasher Museum of Art at Duke University, “Open This End: Contemporary Art from the Collection of Blake Byrne,” February 9-July 12, 2015. Columbus, OH, The Ohio State University Urban Arts Space, “Open This End: Contemporary Art from the Collection of Blake Byrne,” August 25-November 7, 2015. New York, NY, Miriam and Ira D. Wallach Art Gallery, Columbia University, “Open This End: Contemporary Art from the Collection of Blake Byrne,” January 20-March 12, 2016 Portland, OR, Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis and Clark College, “ Open This End: Contemporary Art from the Collection of Blake Byrne,” September 8-December 11, 2013

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The Blake Byrne Collection 69

Bruce Helander

(b. 1947, American) “Cliffside Clipper,” 1995 Collage on paper under Plexiglas Appears unsigned, titled on a gallery label affixed to the backing paper 20.5” H x 18.5” W $700-900 Provenance: Marisa del Re Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 70

Bruce Helander

(b. 1947, American) “Luminary Still Life (From a Holey Book),” 2009 Paper collage laid to museum board Signed and dated lower right: B. Helander, titled on an artist’s label affixed to the backing board 12” H x 12” W $1,000-2,000 Provenance: Helander Gallery, Palm Beach, FL Don O’Melveny Gallery, Los Angeles, CA The Blake Byrne Collection Exhibitions: Los Angeles, CA, Don O’Melveny Gallery, “Five Easy Pieces,” 2009

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Joseph Havel

(b. 1954, American) “Table Cloth,” 1999 Bronze Unsigned 78” H x 12” W x 12” D approximately $7,000-9,000

The Blake Byrne Collection

Provenance: Sale: Galerie Gabrielle Maubrie, Paris, France, May 25, 2000 The Blake Byrne Collection

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Six Ludwig Mies van der Rohe armchairs for Stendig

Mid-20th Century Each cantilevered armchair with woven rattan seat, back, and arms on a tubular steel frame, 6 pieces Each: 31” H x 22.5” W x 36” D $3,000-5,000

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A Milo Baughman-style chrome and burlwood executive desk Mid-20th Century The rectangular burlwood top fitted with four frieze drawers over a chromed metal base with four legs joined by a stretcher 29” H x 72.25” W x 30” D $2,000-3,000

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Jim Shaw

(b. 1952, American)

Shaw’s versatile oeuvre includes drawings, sculpt influence from Pop Art, Neo-Expressionism and S incorporation of outsider influences. His aesthetic vast collection of salvaged amateur art, comic bo can be perceived by the drawings on offer from t references and allusions to dreamscapes and his fascination with the subconscious informs his artw telling you something by not just lecturing you d similar but not exactly the same.”

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tures, prints, and photographs that often blur traditional categorization. He derives Surrealism while likewise dismantling traditional notions of high and low art through the c has been described as “an artistic flea market,” as Shaw draws further inspiration from his ooks, posters, and pulp novels. At once political, comedic and alarming, Shaw’s sensibilities the Byrne collection. The artist inserts text from his everyday life, alongside pop culture O-ism religion, all unified by his mastery of pencil on paper. When asked to describe how his work, Shaw explains: “I’ve figured out that the core of dream logic is that it’s an occult way of directly, but by showing you in a satirical way or a symbolic way with things that are formally

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Jim Shaw

(b. 1952, American) “Dream Object, Part A ...” Gouache on paper under Plexiglas Appears unsigned, titled on a gallery invoice attached to the frame verso 9” H x 14” W $2,000-4,000 Provenance: Pasadena Art Alliance, Pasadena, CA Private Collection, Pasadena, CA, purchased from the above May 8, 2004 Notes: An invoice from the Pasadena Art Alliance accompanies this lot.

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Jim Shaw

(b. 1952, American) “Dream Object (Nearby in a car-seat a tech guy from work was asking about daydream drawings...),” 1997 Gouache on board Signed and dated in pencil verso: Jim Shaw / 97 7.5” H x 6” W $3,000-5,000

The Blake Byrne Collection

Provenance: Patrick Painter Gallery, Santa Monica, CA The Blake Byrne Collection

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Jim Shaw

(b. 1952, American) Two works - Diptych “Dream Drawing” (In Russia next to an old age home...), 1993 Pencil on paper under Plexiglas 12” H x 9” W Signed, dated, titled, and numbered in pencil verso: Jim Shaw / ‘93 / JS94 104A “Dream Drawing” (Then I’m waiting in line in a hardware store...), 1993 Pencil on paper under Plexiglas 12” H x 9” W Signed, dated, titled, and numbered in pencil verso, Jim Shaw / ‘93 / JS94 104B $4,000-6,000 Provenance: Patrick Painter Gallery, Los Angeles, CA The Blake Byrne Collection

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Jim Shaw

(b. 1952, American) “Dream Object” (Marnie, Laura & I were going to a choral concert. We lost Laura & Marnie kept cutting in line. At the head woman wore odd linen outfits & bagpipes passed, one played an unusual coffin bellows tambourine pipe...),” 2004 Mixed media Unsigned 36.5” H x 26.5” W x 6.25” D $10,000-15,000 Provenance: Patrick Painter Gallery, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection

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(1933-2008, American) “Untitled, April 26, 1998,” 1998 Pen and ink on Strathmore Bristol paper under Plexiglas Initialed and dated lower center: BC, signed, dated, numbered, and with the copyright symbol verso: Bruce Conner / April 26, 1998 / 98-1B #9 BC, titled on a gallery label affixed to the backing paper Sheet: 16” H x 13” W; Sight: 13” H x 9.5” W

(b. 1961, English) “Every Other Verse,” 2000 Silicone Unsigned 2.5” H x 12.25” W x 4” D

Bruce Conner

$2,000-4,000 Provenance: Michael Kohn Gallery, Los Angeles, CA Private Collection, Pasadena, CA, purchased from the above December 10, 2002 Notes: A sales receipt from the Michael Kohn Gallery accompanies this lot.

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Jonathan Callan

$1,000-2,000

Provenance: Grant Selwyn F Private Collection, Pasaden

Notes: This lot is accompan

Silvia Bachli

(b. 1956, Swiss) Untitled, 1999 Gouache on paper under Plexiglas Initialed, dated, and numbered verso: S.B. / 99 / SB02 103 12.25” H x 8.75” W $1,000-2,000

Fine Art, New York, NY na, CA, purchased from the above, February 27, 2003

Provenance: Galerie Nelson, Paris, France Private Collection, Pasadena, CA, purchased from the above in 2003

nied by a copy of the original invoice from Grant Selwyn.

Notes: A copy of the original invoice from Galerie Nelson as well as an small booklet about the artist produced by Peter Freeman Gallery, New York in 2008, accompany this lot.

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A Triennale-style chrome floor lamp attributed to Angelo Lelii Mid-20th Century Marked: Made in Italy The floor lamp with chromed steel, white enamel cone shades, leather grips, and marble base, electrified 69” H x 43” W x 42” D $2,000-3,000

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Vasa Velizar Mihich

(b. 1933, American) Four mini triangles, 1991 Laminated acrylic One signed and dated: Vasa / 1991 Each: 2.5” H x 5” W x 1.75” D $1,000-2,000

Vasa Velizar Mihich (b. 1933, American) Two works Irregular triangle, 1993 Laminated acrylic Signed and dated: Vasa / 1993 3” H x 11.625” W x 1.875” D Rhomboid, 2001 Laminated acrylic Signed and dated: Vasa / 2001 9.125” H x 4.375” W x 2.5” D $500-700

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Vasa Velizar Mihich

(b. 1933, American) Four columns, 1972 Laminated acrylic One signed, dated, and numbered: Vasa / 1972 / #379 Each: 35” H x 4” W x 3.875” D $5,000-7,000

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A Hans Jørgensen Wagner AT-33 sewing table

Circa 1960 Signed: Frabrikat: Andr. Tuck / Arkitekt: Hans J. Wegner / Denmark / Made in Denmark The teak and oak table with rectangular top and drop-leaf sides over a single drawer atop a pull-out inset basket Closed: 23.75” H x 26.25” W x 22.25” D; Open: 23.75” H x 46.5”W x 22.25” D $1,000-1,500

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Mathieu Mercier

(b. 1970, French) “Mask,” 2003 Plastic cable ties and metal Unsigned 26” H x 24” W x 11” D $2,000-4,000

The Blake Byrne Collection

Provenance: Galerie Chez Valentin, Paris, France The Blake Byrne Collection

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Margherita Manzelli

(b. 1968, Italian) Untitled (one work in five parts), 2001 Watercolor on Arches paper under glass Appears unsigned, the watermark for Arches paper lower left Overall: 7.5” H x 30” W; Each panel: 7.5” H x 5.5” W $10,000-15,000 Provenance: Studio Guenzani, Milan, Italy Private Collection, Pasadena, CA, purchased from the above February 12, 2002 Notes: A commercial Invoice from Studio Guenzani accompanies this lot.

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(b. 1963, American) “Bodies in Field #2,” 2001 Watercolor on Saunders Waterford paper under Plexiglas Appears unsigned, titled on a gallery label affixed to the backing board, blindstamp for Saunders Waterford lower left, inscribed in mirror writing lower right: “Green Hills - Battle Field - Garden of Eden” 15” H x 22” W

(b. 1974, “Sons of Watercol Initialed 14.5” H

Katy Schimert

$1,000-2,000 Provenance: David Zwirner Gallery, New York, NY 1301PE Projects and Editions, Los Angeles, CA Private Collection, Pasadena, CA, purchased from the above August 25, 2001 Notes: A sales receipt from 1301PE accompanies this lot.

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Aaron M

$1,000-2

Provenan Private C

Exhibitio

Notes: A

Morse

, American) f Liberty,” 2002 lor, gouache, and pencil on rag paper under Plexiglas lower right: AM, titled and dated on an exhibition label affixed to the backing board x 26.5” W

2,000

nce: ACME Art Gallery, Los Angeles, CA Collection, Pasadena, CA, purchased from the above October 12, 2002

ons: Los Angeles, CA, UCLA Hammer Museum, “International Paper,” January 25 - April 27, 2003

A sales receipt from ACME as well as a loan agreement from UCLA Hammer Museum accompany this lot.

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Amy Sillman

(b. 1955, American) Untitled, 2001 Watercolor and gouache on Arches paper under Plexiglas Initialed and dated lower right: AS / 01, blindstamp and watermark for Arches upper left 19.25” H x 30” W $5,000-7,000 Provenance: Susanne Vielmetter Los Angeles Projects, Los Angeles, CA Private Collection, Pasadena, CA, purchased from the above on November 24, 2003 Notes: A sales receipt from Susanne Vielmetter Los Angeles Projects accompanies this lot.

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Alessandro Pessoli

(b. 1963, Italian/American) Untitled, 2000 Ink and watercolor on paper under glass Appears unsigned 11.75” H x 15.75” W $1,000-2,000 Provenance: Studio Guenzani, Milan, Italy Private Collection, Pasadena, CA, purchased from the above February 12, 2002 Notes: A commercial invoice from Studio Guenzani accompanies this lot.

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Rod Kagan

(1940-2010, American) “55,” 1997 Patinated bronze on iron stand Signed, dated, and editioned: Rod Kagan / 1997 / 2-6; titled to underside 38.5” H x 18.125” W x 12.125” D $1,500-2,000 Provenance: Sale: North Fork Ironworks, Ketchum, ID, April 15, 1997 Notes: This lot is accompanied by a receipt of sale from North Fork Ironworks and a copy of the exhibition catalogue “Idaho Years: A 23 Year Retrospective 1973-1996” signed by the artist.

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A custom modern dining room table

Second-half 20th Century With flip-top extension leaves raised on eight post legs Closed: 30” H x 44” W x 39” D; Open: 29.25” H x 143” W x 39” D $800-1,200

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Four Grand Ledge Chair Co. teak and leather bar stools

Mid-20th Century Each with Grand Ledge manufacturer’s label Each with teak frame, red leather upholstered seat, and nail head trim raised on four legs, 4 pieces Each: 40.25” H x 16.25” W x 17” D $700-900

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Rod Kagan (1940-2010, American) Two works

“Boulders,” 1996 Patinated bronze One signed, dated, and editioned: Rod Kagan / 1996 / 1-100; titled to underside Each: 12.375” H x 6” W x 6” D Planter, 1997 Patinated bronze Signed and dated: Rod Kagan / 1997 5.625” H x 24” W x 12” D 3 pieces total $1,000-1,500 Provenance: “Boulders:” Sale: Sun Valley Center for the Arts and Humanities, Ketchum, ID, August, 22, 1996 Planter: Sale: North Fork Ironworks, Ketchum, ID, January, 7, 1997 Notes: This lot is accompanied with receipts of sale from Sun Valley Center for the Arts and Humanities and North Fork Ironworks.

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Eight Mid-Century patinated iron armchairs

Mid-20th Century Possibly by Woodard, each in a Greco-Roman style with opposed demi-circle motif back and slat seat on X-form legs, 8 pieces Each: 32.25” H x 23.125” W x 20.5” D $800-1,200

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A Florence Knoll rosewood partner’s desk

Circa 1965 With manufacturer’s label to underside The partner’s desk with rectangular rosewood veneered top fitted with four drawers over an X-form chromed steel base 28.375” H x 78” W x 38” D $2,000-3,000

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A lighted wall-mounted chrome and glass shelving system

Circa 1970 With tubular supports, two glass shelves, and recessed lighting capacity, electrified 72.125” H x 42.25” W x 12.5” D $2,000-3,000

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The Blake Byrne Collection 99

Rebecca Purdum

(b. 1959, American) “Ripton Drawing (Steps),” 2000 Oil on paper under Plexiglas Signed, dated, titled, and inscribed verso: Rebecca Purdum / 11-2000 / to Blake, April 2003 19” H x 12” W $1,000-2,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 100

Chris Vasell

(b.1974, American) “Frontwards,” 2005 Acrylic on canvas Signed, tilted, dated, and numbered verso: Chris Vasell, 0305, 2005, B+p 90” H x 76” W $2,000-4,000 Provenance: Blum & Poe, Los Angeles, CA, number CV 4604 The Blake Byrne Collection

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The Blake Byrne Collection 101

Aaron Curry

(b. 1972, American) “Untitled (Bricklayer),” 2008 Acrylic with gouache and collage on board under Plexiglas Unsigned, titled on a gallery label affixed to the backing board 26.25” H x 21” W $5,000-7,000 Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection

Exhibitions: Los Angeles, CA, David Kordansky Gallery, “Aaron Curry, Richard Hawkins, Peter Saul,” September 26 - Novem

Notes: Aaron Curry’s works combine sculpture, drawing, installation, collage, and a painterly sensibility. He often imbues his unexpected playfulness and makes reference to art historical precedent.

Born in Texas in 1972 and educated at ArtCenter College of Design in Pasadena, Curry has had a thriving studio practice in since completing his MFA. His work is held in museum collections around the world, inclusive of The Museum of Modern Ar the Los Angeles County Museum of Art, the Chicago Museum of Contemporary Art, the San Francisco Museum of Art, the L for the Performing Arts, the Musée d’art contemporain de Bordeaux.

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The Blake Byrne Collection 102

Matthew Monahan

(b. 1972, American) “Untitled (Red Mask),” 2003 Plastic-coated paper Signed and dated: Matthew Monahan / 2003 19” H x 9” W x 6.5” D $3,000-5,000 Provenance: Anton Kern Gallery, New York, NY The Blake Byrne Collection

mber 8, 2008.

s pieces with an

Los Angeles rt in New York, Lincoln Center

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103

Matthew Monahan

(b. 1972, American) “Sanitarium Artaud,” 2005 Sheetrock, glass, charcoal on paper on canvas, charcoal on muslin on panel, wax, floral foam, pigment, and matches Unsigned 76.5” H x 19” W x 19” D $2,000-4,000 Provenance: Anton Kern Gallery, New York, NY The Blake Byrne Collection

The Blake Byrne Collection

Exhibitions: Durham, NC, Nasher Museum of Art at Duke University, “Open This End: Contemporary Art from the Collection of Blake Byrne,” February 9-July 12, 2015. Columbus, OH, The Ohio State University Urban Arts Space, “Open This End: Contemporary Art from the Collection of Blake Byrne,” August 25-November 7, 2015. New York, NY, Miriam and Ira D. Wallach Art Gallery, Columbia University, “Open This End: Contemporary Art from the Collection of Blake Byrne,” January 20-March 12, 2016 Portland, OR, Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis and Clark College, “ Open This End: Contemporary Art from the Collection of Blake Byrne,” September 8-December 11, 2013

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The Blake Byrne Collection 104

William Dwyer

20th/21st Century “Untitled,” 2003 Welded aluminum with clear coat Signed and dated: W [N] Dwyer / ‘03 27.5” H x 24” W $1,500-2,500 Provenance: Sale: Kiyo Higashi Gallery, West Hollywood, CA, April 8, 2003 The Blake Byrne Collection

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The Blake Byrne Collection 105

Tom Allen

(b. 1975, American) “Putto with Mirror,” 2006 Oil on canvas Signed with the artist’s device and dated lower right, titled on the stretcher 56” H x 47” W $3,000-5,000 Provenance: Richard Telles Fine Art, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 106

Christian Holstad

(b. 1972, American) “Luggage Set,” 2005 Upholstery fabric, vinyl, nylon, buckles, zippers, foam, webbing fiberfill, tennis racket, cotten briefs, and tin can Each signed: A Treasure Forever By / Christian Holstad 5 pieces Dimensions vary; Largest: 29” H x 23” W $6,000-7,000 Provenance: Sale: Daniel Reich Gallery, New York, NY, March 31, 2006 The Blake Byrne Collection Notes: Christian Holstad has been described as a “one-artist collective, equally at ease with knitting, quilting, collage, drawing and sculpture.” While his work is disparate in medium, it is often united by concept, questioning notions of identity, culture, and sexuality in a manner that combines high and low art. Holstad’s art often employs craft techniques such as quilting and sewing, as seen in the present work. In “Luggage Set,” Holstad fabricates a backpack, replete with zippers, straps and unlikely fabric choices. His work often addresses gay culture, the AIDS crisis and employs fetishistic materials and themes. Born in Anaheim California in 1972, Holstad made his career in New York, where he continues his studio practice.

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The Blake Byrne Collection 107

Amy Bessone

(b. 1970, American) “Having Hawaii,” 2005 Acrylic on canvas Initialed, signed, numbered and dated lower right verso: A.B., Amy Besoone, AB, 2005_02PTG 96” H x 64” W $5,000-7,000 Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection Exhibitions: Los Angeles, CA, Art Movement Gallery, “Indulge (presented by John Wolf),” March 17 - April 28, 2018

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The Blake Byrne Collection 108

Amy Bessone

(b. 1970, American) “No. 202 (Cosmetology),” 2007 Acrylic on canvas Signed and dated lower right verso: Amy Bessone, 2007, titled and numbered by repute 96” H x 70” W $5,000-7,000 Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection Exhibitions: Los Angeles, CA, Art Movement Gallery, “Indulge (presented by John Wolf),” March 17 - April 28, 2018

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The Collect Dharam D

John Moran Auctioneers is proud to offer several w The internationally acclaimed dealer/collector duo w presence. Dharam Damama Singh Khalsawas (1942-2 architect to the stars, Paul Revere Williams. Dharam D native, and the couple would divide their time betw from one venue to another. Their omnipresence was a color they wore at all times in alignmen

The Damama’s made memorable spaces at Mod California regional shows. Impeccable taste played dynamic sculpted forms, and one-of-a-kind furniture approach, they would place a rustic college studen artist, giving equal stature to both. The strong prog only by the couples’ wa

The Damama’s were a truly dynamic duo, and the l lives on in the aesthetics of the art and

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tion of the Damamas

works from The Collection of the Dharam Damama’s.  were known for their phenomenal eye and captivating 2016) was raised in a Beverly Hills home designed by Damama Kaur Khalsa (1946-2020) was a Philadelphia ween the two coasts and Europe, cross-pollinating s only enhanced by the glow of their white clothing, nt with their religious practice of Sikhism.

dernism shows across the country and important a principal role in their presentation of modern art, and decorative objects. Adopting a non-hierarchical nt sculpture next to a painting created by a notable gramming in their curated booths was counter-acted arm and engaging aura.

loss of their presence is felt, but their unique spirit d objects that they so carefully chose.

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The Collection of the Dharam Damamas

109

Dharam Damama

(1942-2016, American) A hand-painted three-panel folding screen Oil on board Unsigned 68.25” H x 52.75” W x .875” D $1,000-2,000 Provenance: From the Collection of the Dharam Damama’s Notes: From the artist’s studio of Dharam Damama.

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The Collection of the Dharam Damamas

110

A lounge chair designed by Russel Wright for Conant-Ball

Circa 1935 Appears unmarked The armchair with streamline asymmetrical wooden frame with rounded arms and fitted with beige upholstered seat and back cushions 31” H x 35” W x 35” D $2,000-3,000 Provenance: From the Collection of the Dharam Damama’s

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112

A free-form carved wood sculpture Second-half 20th Century Unsigned On wood base 59.5” H x 14” W x 6” D $800-1,200 Provenance: From the Collection of the Dharam Damama’s

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The Collection of the Dharam Damama’s

111

A Jet Age-style aluminum and acrylic desk set

Mid-20th Century The asymmetrical polygonal reverse-painted acrylic base with green and red designs fitted with aluminum inserts 6” H x 12.875” W x 6.75” D $500-700 Provenance: From the Collection of the Dharam Damama’s

113

A free-form natural wood and iron cocktail table

Circa 1960 The free-form table with natural wood top raised on three joined iron hairpin-style legs 17.25” H x 36” W x 31” D $800-1,200 Provenance: From the Collection of the Dharam Damama’s

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The Collection of the Dharam Damamas

114

115

(20th Century, American) Abstract figural landscape Oil on canvas With the artist’s cipher lower right 24” H x 28” W

(20th Century, American) Eve in the garden, 1924 Oil on canvas Signed, dated, and inscribed verso: Er 38” H x 34” W

Ernest G.H. Schrank

$1,000-1,500

$1,500-2,500

Provenance: From the Collection of the Dharam Damama’s

Provenance: From the Collection of th

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rnest G.H. Schrank / “Hollywood”

he Dharam Damama’s

116

Ernest G.H. Schrank

(20th Century, American) Abstract figural, 1923 Oil on canvas Signed and dated verso: Schrank, with the artist’s cipher lower right 24” H x 28” W $1,000-1,500 Provenance: From the Collection of the Dharam Damama’s

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The Collection of the Dharam Damamas

117

Robert Rasely (1950-2005, American) Two works

Untitled surrealist interior, 1990 Pencil on paper under glass 6” H x 7.25” W Signed in pencil lower left: Rasely, dated in pencil lower right Untitled surrealist landscape, 1991 Pencil on paper under glass 5.75” H x 7.75” W Signed in pencil lower left: Rasely, dated in pencil lower right: ‘91 $1,000-1,500 Provenance: From the Collection of the Dharam Damama’s

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The Blake Byrne Collection 118

Cornelius Quabeck

(b. 1974, German) “John,” 2006 Charcoal and fabric paint on nettle Signed, titled, and dated verso 90.5” H x 74.75” W $2,000-4,000 Provenance: Stephen Freidman Gallery, London, England The Blake Byrne Collection

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The Blake Byrne Collection 119

Cornelius Quabeck

(b. 1974, German) “o.t. (ehrengast),” 2006 Airbrush and acrylic on canvas Signed, dated, and titled on the upper tacking edge: C. Quabeck / 06 66.75” H x 53.25” W $2,000-4,000 Provenance: Galerie Christian Nagel, Cologne, Germany The Blake Byrne Collection

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120

Andre Thomkins

(1930-1985, Swiss) “Personnes Commensurables,” 1964 Watercolor on paper under glass Initialed and dated lower right: A.T., titled lower left, inscribed in French verso Sight: 4.5” H x 4” W; Sheet: 8.5” H x 6.25” W $4,000-6,000 Provenance: Galerie Hauser & Wirth, Zurich, Switzerland The Blake Byrne Collection Exhibitions: Akademie der Kunste, Berlin, September 24 - December 3, 1989

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121

Dirk Bell

(b. 1969, German) “Past Perfect,” 2004-2005 Mixed media on paper under Plexiglas Unsigned Paper size: 59” H x 79.5” W $5,000-7,000

The Blake Byrne Collection

Provenance: Botnagel and Quirmbach, Cologne, Germany The Blake Byrne Collection

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122

A Peter Hvidt for France and Sons/John Stuart three-section sofa

Mid-20th Century Marked: John Stuart Inc. / New York / Grand Rapids Each with woven cane in a teak frame and variously upholstered cushions, 3 pieces Largest: 32” H x 79” W x 28.5” D; Second sofa: 32” H x 79” W x 27” D; Settee: 32” H x 64” W x 31” D $1,000-1,500

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124

A Kartell “EROS” c

Late 20th/early 21st C Marked: EROS by Kar Designed by Phillipe S egg-shaped acrylic se 31.25” H x 24.5” W x $800-1,200

123

A Milo Baughman-style chrome and glass cocktail table Second-half 20th Century With square X-form chromed metal base surmounted by a rectangular glass top 18.75” H x 41.75” W x 41.75” D $1,500-2,000

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chair by Phillipe Starck

Century rtell / with Starck / Made in Italy Starck, the swivel armchair with an eat atop a rotating aluminum base 24” D

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125

An Aldo Tura goatskin trolly bar cart

Mid-20th Century The lacquered goatskin frame with two glass shelves over a glass undertray and finished with brass hardware 26.5” H x 20.125” W x 45” D $800-1,200

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The Blake Byrne Collection 126

Alex Mueller

(Active 21st Century, German) “o.T. “(Series: Der erste Sekretar im zweiten Park/The first secretary in the second park), 2006 Acrylic, gold ink, and pigment on canvas in a white wood cabinet with white wood chair Unsigned Overall: 72.25” H x 40.75” W x 10” D; Chair: 34” H x 21.25” W x 19” D; Canvas size: 39.25” H x 39” W $3,000-5,000 Provenance: Galerie Vera Gliem, Cologne, Germany The Blake Byrne Collection

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The Blake Byrne Collection 127

Nathan Hylden

(b. 1978, American) Untitled, 2007 Enamel on polished aluminum Unsigned 36” H x 36” W x 36” D $8,000-10,000 Provenance: Sale: Richard Telles Fine Art, Los Angeles, CA, March 2, 2007 The Blake Byrne Collection

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128

Nathan Hylden

(b. 1978, American) Untitled, 2007 Acrylic on linen Signed and dated verso: Nathan Hylden 94” H x 67.5” W $15,000-20,000

The Blake Byrne Collection

Provenance: Richard Telles Fine Art, Los Angeles, CA The Blake Byrne Collection

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129

Rafal Bujnowski

(b. 1974, Polish) “Broniewski,” 2005 Chalk drawing on blackboard set in a wooden easel Signed, dated, and titled: Bujnowski / 2005 / Broniewski 22” H x 21.25” W $10,000-15,000 Provenance: Sale: Raster, April 27, 2006 The Blake Byrne Collection

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130

Mathias Bengtsson

(b. 1971, Danish) “Spun Chaise Lounge,” 2003 Carbon fiber Edition of 20; signed: Mathias Bengtsson 33.5” H x 88.5” W x 31.5” D $20,000-30,000

The Blake Byrne Collection

Provenance: Sale: Galerie Maria Wettergren, November 8, 2010 The Blake Byrne Collection

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131

An Eames for Herman Miller lounge chair with ottoman, no. 670 and 671

2009 or later Each with Eames for Herman Miller oblong label Designed in 1956 by Charles and Ray Eames, the newly-issued swivel lounge chair and ottoman with black leather upholstery in molded palisander veneered shells with die-cast aluminum back brace and bases, 2 pieces Chair: 31” H x 32.5” W x 39” D; Ottoman: 17.5” H x 26” W x 21” D $3,000-4,000

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132

John Dickinson

(1920-1982, American) Draped side table Galvanized steel and brass Signed: John Dickinson / XXIX 24” H x 26” W x 27” D $10,000-15,000

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The Blake Byrne Collection 133

Marina De Caro

(b. 1961, Argentinian) “Retratos (series of 10),” 2009 Each: Ink wash on paper under glass Each: Appears unsigned, titled by repute Each: 12” H x 9” W $4,000-6,000 Provenance: Ruth Benzacar Galeria de Arte, Buenos Aires, Argentina The Blake Byrne Collection

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134

Bardayal (Lofty) Nadjamerrek

(1926-2010, Australian) “Sugar Bag Dreaming,” 2006 Natural ochres on Arches paper Appears unsigned, titled and dated on a galley flyer with a photo of the artist holding the piece 30” H x 22.5” W $1,000-1,500 Provenance: Aboriginal Fine Arts Gallery, Darwin NT, Australia Notes: In this painting, Lofty has depicted a Sugar Bag woman without her legs walking around looking for “sugar bag”, she is carrying a tightly woven dilly bag to store the honey and a digging stick. This lot is accompanied by a three-page flyer about the artist and the piece in addition to a photo of the artist holding the piece.

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Lara Schnitger

(b. 1969, Dutch/American)

Living and working between her native Amsterda Atlantic. Her work has been widely exhibited in v Museum of Contemporary art in Los Angeles, and materials in the fabrication of largescale, engagin a playful and sensory manner.

“Fun Bags,” is exemplary of her cheeky, if irrever evocative of something one might encounter at a fetishistic components such as lycra stockings and pet.

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am and Los Angeles, Lara Schnitger has developed a thriving career on both sides of the venues inclusive of the UCLA Hammer, PS1 in New York, The Royal Academy in London, the d the Museum of Modern Art in New York. Schnitger’s work frequently employs everyday ng works of art. She combines feminist, sex-positive messaging with sculptural installation in

rent style. A largescale form that vaguely recalls the silhouette of a woman, and yet is a carnival funhouse, awaits animation and participation from the viewer. Exploratory and d faux fur elements reference the female body as a plaything to be touched, explored and

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Lara Schnitger

(b. 1969, Dutch/American) “Fun Bags,” 2005 Cotton, lycra, fur, woods, and pins Appears unsigned 96.5” H x 45” W x 21.5” D $6,000-8,000 Provenance: Anton Kern Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection

135

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The Blake Byrne Collection 136

Lara Schnitger

(b. 1969, Dutch/American) “Guilty Pleasure,” 2006 Fabric over wood stretcher Signed and dated on the stretcher: L. Schnitger, titled by repute 34” H x 30” W $5,000-7,000 Provenance: Anton Kern Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 137

Marnie Weber

(b. 1959, American) “Behind the Circus Tent,” 2007 Collage on light jet print on paper on Plexiglas Signed, dated, and titled verso: Marnie Weber Sight: 47.5” H x 59.5” W $1,000-2,000 Provenance: Patrick Painter Inc., Santa Monica, CA The Blake Byrne Collection

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138

Sudarshan Shetty

(b. 1961, Indian) Untitled, 2007 Oil and acrylic on canvas Signed and dated verso: Sudarshan Shetty 48” H x 72” W $20,000-30,000

The Blake Byrne Collection

Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection

139

Abraham Cruzvillegas

(b. 1968, Mexican) “Los Colorines,” 2003 Beans, fishing line, and metal rings Unsigned Dimensions variable $1,000-2,000 Provenance: Sale: Roberts & Tilton, Culver City, CA, August 2, 2003 The Blake Byrne Collection

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The Blake Byrne Collection

140

Abraham Cruzvillegas

(b. 1968, Mexican) “La Regia,” 2004 Goose feathers and billiard ball Unsigned 30” H x 30” W $4,000-6,000 Provenance: Sale: Kurimanzutto, Mexico City, Mexico, April 27, 2004 The Blake Byrne Collection

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141

Cheyney Thompson

(b. 1971, American) Untitled, from the “Raft of Madusa” installation, 2003 Ink on paper under Plexiglas Unsigned 11” H x 14” W $1,000-2,000 Provenance: Andrew Kreps Gallery, New York, NY Private Collection, Pasadena, CA, purchased from the above in 2004 Notes: Part of a drawing of trash from a much bigger trash pile.

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142

A framed repoussé silver panel by Brandimarte

Circa 1970 Signed: [illegible] / Brandimarte Florence label to verso Centering a single stylized figure in abstract format with various patinations 27.25” H x 21.5” W x 2” D $1,200-1,800

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143

Tony Berlant

(b. 1941, American) Untitled (House) Found metal on plywood with steel brads Unsigned 8.25” H x 8.375” W x 7” D $3,000-5,000

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144

David Schwarz

(b. 1952, American) “Z.A.O.F. 2-25-96,” 1996 Blown, etched, and ground glass Signed and date: Dave Schwarz / 2-25-96; titled by repute 8.75” H x 12.25” Dia. $1,000-1,500 Notes: This lot is accompanied with the artist’s CV from Kavesh Gallery.

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145

A pair of Cumberland chromed lamp tables

1966 Each with Cumberland label Each with square chromed steel base and black Pyrenees marble tops, 2 pieces Each: 20.5” H x 30” W x 30” D $600-800

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146

Rudolph Turnbull

(1909-1976, American) Pair of kinetic bird sculptures Patinated metal on wood base Signed: Turnbull Each: 46.5” H x 5” W x 7” D $1,000-2,000

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The Blake Byrne Collection 147 Paul P.

(b. 1977, Canadian) Untitled, 2006 Oil on canvas Unsigned 9.5” H x 6.5” W $2,000-4,000 Provenance: Sale: Marc Selwyn Fine Art, September 13, 2006 The Blake Byrne Collection

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The Blake Byrne Collection 148 Paul P.

(b. 1977, Canadian) Untitled, 2007 Graphite on paper under Plexiglas Unsigned, dated on a gallery label affixed to the backing board 14” H x 17” W $2,000-4,000 Provenance: Galerie Thaddaeus Ropac, Paris, France The Blake Byrne Collection

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The Blake Byrne Collection 149

Kelly McLane

(b. 1968, American) “No One’s Ark,” 2004 Oil and graphite on canvas mounted to panel Signed, titled, and dated verso: Kelly McLane 84” H x 108” W $5,000-7,000 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection Exhibitions: Cleveland, OH, The Cleveland Museum of Art, “Kelly McLane, My Blue-Green Algae,” May 2 - August 22, 2004

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The Blake Byrne Collection 150

Matthias Weischer

(b. 1973, German) “o.T,” 2007 Watercolor on paper under glass Appears unsigned, titled and dated on a gallery label affixed to the backing board, blindstamped lower right 10” H x 13.25” W $1,000-2,000 Provenance: Galerie Eigen + Art, Leipzig/Berlin, Germany The Blake Byrne Collection

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151

Fourteen Edward Wormley for Dunbar dining chairs

Mid-20th Century Each marked: Dunbar / Berne, Indiana Each with white leather back and black leather seat in a wood frame raised on four legs with an H-stretcher, comprising two armchairs and twelve side chairs, 14 pieces Arm chairs: 32” H x 22” W x 21” D; Side chairs: 32” H x 17.75” W x 21” D $2,000-3,000

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152

An Edward Wormley for Dunbar dining room table

Mid-20th Century With Dunbar Furniture label to underside Model no. 5460A, color no. 36, with curved rectangular top over two tapered slab legs and accompanied by three matching leaves Closed: 29.125” H x 71.75” W x 41.75” D; Open: 29.125” H x 151” W x 41.75” D $4,000-6,000

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The Blake Byrne Collection 153

Anne-Laure Sacriste

(1970, French) “Le rivage des morts 2,” 2006 Oil on wood Signed lower right verso, titled and dated on a gallery label verso 44.75” H x 63.5” W $2,000-4,000 Provenance: Art Concept, Paris, France The Blake Byrne Collection

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The Blake Byrne Collection 154

Jan De Maesschalck

(b. 1958, Belgian) Untitled, 2007 Oil on panel under Plexiglas Appears unsigned Sight: 11.5” H x 7.5” W $1,000-2,000 Provenance: The Blake Byrne Collection

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155

156

(b. 1972, American) Drawing of a figure in a window, 2004 Graphite on rag paper under Plexiglas Appears unsigned 12.25” H x 12.75” W

(b. 1965, Americ “Girly Fear,” 20 Colored paper c Appears unsign 15.75” H x 23.7

Jennifer Guidi

Francesca Gab

$1,000-2,000

Provenance: ACME Art Gallery, Los Angeles, CA Private Collection, Pasadena, CA, purchased from the above in 2004

Provenance: Kar Private Collectio

Notes: The subject is possibly the ex-husband of the artist.

Notes: Inspired A copy of the or

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bbiani

can) 001 collage on paper under Plexiglas ned, titled on the backing board 75” W

ryn Lovegrove Gallery, Los Angeles, CA on, Pasadena, CA, purchased from the above December 1, 2001

by Stanley Kubrick’s 1980 horror film, “The Shining.” riginal invoice from Karyn Lovegrove accompanies this lot.

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157

He Sen

(b. 1968, Chinese) “Pretty Dudu and Pretty Toy,” 2008 Acrylic and oil on linen Signed and dated lower right: He Sen 2008, signed, titled, and dated again in English and Chinese: He Sen 98.5” H x 78.75” W $20,000-30,000 Provenance: Jack Tilton Gallery, New York, NY The Blake Byrne Collection

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158

Christian Holstad

(b. 1972, American) “Burning scented bridges in order 2(x)ist,” 2005-06 (four panels) Collage on paper under Plexiglas Unsigned Each: 18.25” H x 12.5” W $5,000-7,000

The Blake Byrne Collection

Provenance: Daniel Reich Gallery, New York, NY The Blake Byrne Collection

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159

Henry Taylor

(b. 1958, American) “Armani,” 2004 Acrylic and paper collage on canvas Unsigned, titled on auction labels affixed to the stretcher 26.25” H x 14.75” W $20,000-30,000 Provenance: Daniel Reich Gallery, New York, NY Private Collection (acquired from the above in 2005) Sale: Phillips London, “20th Century & Contemporary Art Day Sale,” June, 26, 2018, Lot 201 The Blake Byrne Collection

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The Blake Byrne Collection 160

161

(b. 1974, Bulgarian/American) “Kneel,” 2018 Acrylic, collage, and oil on canvas Signed and dated verso: Iva Gueorguieva, titled by repute 20” H x 20” W

(b. 1974, Bulg “Shelter,” 201 Woodcut, litho hand-painting Appears unsig 90” H x 42.5”

Iva Gueorguieva

$3,000-5,000 Provenance: Fredric Snitzer Gallery, Miami, FL The Blake Byrne Collection

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Iva Gueorgu

$5,000-7,000

Provenance: S The Blake Byr

The Blake Byrne Collection

uieva

garian/American) 12 ography and mono-printed fabric and paper, and g on welded steel frame with steel panels gned ” W x 25” D

Sale: ACME, Los Angeles, CA, September 12, 2013 rne Collection

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162

Iva Gueorguieva

(b. 1974, Bulgarian/American) “Still November,” 2004 Acrylic on canvas Signed and dated verso: Iva Gueorguieva, titled by repute 80” H x 88.5” W $5,000-7,000 Provenance: Carl Berg Gallery, Los Angeles, CA The Blake Byrne Collection

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163

Tim Berresheim

(b. 1975, German) Two Works - Diptich “Rot Blau IA,” 2007 Print on wood Signed illegibly, titled and dated verso 78.75” H x 71” “Rot Blau IB,” 2007 Print on Wood Signed illegibly, titled and dated verso 78.75” H x 71” Overall: 157.5” H x 142” W $10,000-15,000

The Blake Byrne Collection

Provenance: Patrick Painter, Inc., Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 164

Rita McBride

(b. 1960, American) “Chair (smoked),” 2003 Murano glass and plastic wrap Unsigned 35” H x 15.375” W x 17” D $7,000-9,000 Provenance: Verna & Mai 36 Project, Zurich, Switzerland The Blake Byrne Collection

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166

Rico Eastman

(b. 1952, American) Carbon Steel “Rocker” Chairs, 1993 Carbon steel Signed and dated: Eastman / 1993; further numbered: U26 and U27 Each: 32.75” H x 33.25” W x 27” D $1,000-1,500

165

A clear and white acrylic lighted console table

Circa 1970/1980 The rectangular table with lighted white body, lower stretcher, and slab sides with inset glass top, electrifed 27” H x 48.5” W x 14.25” D $1,800-2,200

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167

Two Fornasetti “Tema e Variazioni” vases

Late 20th/early 21st Century Each marked: Fornasetti / Made in Italy / Bitossi Ceramiche; Further numbered: 259/499 and 76/499 Each hand-painted lidded vase from the Tema e Variazioni series featuring reinterpretations of notable opera singer Lina Cavalieri’s face, comprising a “Capitello” vase and a “Burlone” vase, 2 pieces plus one Fornasetti box $2,000-3,000 Notes: This lot is accompanied by a certificate of guarantee from Fornasetti.

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The Blake Byrne Collection 168

Peter Wu

(b. 1976, Canadian) “Skeleton Skeleton Kissed Kissed To To The The Steel Steel Rail Rail,” 2005 Ink, watercolor, and ultraviolet varnish on paper mounted to wood Signed, dated, and titled verso 48” H x 48” W $2,000-4,000 Provenance: Patrick Painter, Inc., Santa Monica, CA The Blake Byrne Collection

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The Blake Byrne Collection 169

Théo Mercier

(b. 1984, French) “La danse macabre autour d’une carotte,” 2011 Plastic, acrylic paint, and gold on wood base 68” H x 38” W x 26” D approximately $8,000-10,000 Provenance: The Blake Byrne Collection

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170

Serban Savu

(b. 1978, Romanian) “Inner Life,” 2010 Oil on canvas Signed and dated verso: Serban Savu, titled on a gallery label affixed to the stretcher 63” H x 86.5” W $20,000-30,000

The Blake Byrne Collection

Provenance: Gallery Éric Hussenot, Paris, France The Blake Byrne Collection

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The Blake Byrne Collection 171

Scott Treleaven

(b. 1972, Canadian) “Cimitero Drawing 11,” 2010 Gouache, wax pastel, and collage on Artistico Fabriano paper under Plexiglas Appears unsigned, titled and dated on a gallery label affixed to the backing board, marked for Artistico Fabriano along the upper edge. 29.5” H x 21.75” W $2,000-4,000 Provenance: Marc Selwyn Fine Art, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 172

Jan De Maesschalck

(b. 1958, Belgian) Untitled, 2013 Acrylic on paper under Plexiglas Signed and dated verso: Jan De Maesschalck 11” H x 14.5” W $2,000-4,000 Provenance: Zeno X Gallery, Antwerp, Belgium The Blake Byrne Collection

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173

Tom Allen

(b. 1975, American) “Summerlands (#2),” 2010 Oil on canvas Signed with the artist’s device and dated lower left, titled on the stretcher 32” H x 29” W $2,000-4,000 Provenance: Richard Telles Fine Art, Los Angeles, CA The Blake Byrne Collection

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174

A pair of chrome console tables attributed to Milo Baughman from Thayer Coggin Mid-20th Century Each with chrome tubing frame and inset glass top, 2 pieces Each: 28” H x 60” W x 19” D $600-800

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175

Four Marcel Breuer for Knoll “Cesca” armchairs

20th Century Two marked: Made in Italy Designed 1928, each cantilevered armchair with a woven cane seat and back in a beech frame on tubular steel supports, 4 pieces Each: 30” H x 23” W x 21” D $600-800

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The Blake Byrne Collection

verso

176

D.E. May

(1952-2019, American) Untitled (boat drawing), 2016 Graphite, colored pencil, and ink on found stereograph card Signed verso: D.E. May 3.5” H x 7” W $1,000-2,000 Provenance: PDX Contemporary Art, Portland, OR The Blake Byrne Collection

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The Blake Byrne Collection

verso

177

D.E. May

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The Blake Byrne Collection 178

Matthew Chambers

(b. 1982, American) “What Have I Done To Deserve This,” 2016 Acrylic, enamel based adhesive, and nylon flocking on canvas Signed, dated, and titled verso 71.75” H x 42” W $4,000-6,000 Provenance: Rema Hort Mann Foundation, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection 179

Kristian Touborg

(b. 1987, Danish) “Emotional Detox 6,” 2016 Ink, pigment, wax, acrylic, coal, fixative on cotton, woven polyester, polyester thread, and digital print on polyester Signed and dated verso: Kristian Touborg, titled by repute 70.75” H x 47.25” W $4,000-6,000 Provenance: John Wolf Fine Art, Los Angeles, CA The Blake Byrne Collection Exhibitions: Los Angeles, CA, Los Angeles Metropolitan Medical Center, “Human Condition (organized by John Wolf),” October 1 - November 30, 2016

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The Blake Byrne Collection 180

Ryan Sluggett

(b. 1981, Canadian) “Lucky Eyes,” 2011 Acrylic, fabric dye, tempera, and oil paint on colored fabric Signed, dated, and titled verso: Ryan Sluggett 112” H x 62” W $2,000-4,000 Provenance: Richard Telles Fine Art, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 181

Steve Roden

(b. 1964, American) “Fourth Stone,” 2010 Oil and acrylic on linen Signed, dated, and titled on the stretcher: Steve Roden 40” H x 20” W $6,000-8,000 Provenance: Susanne Vielmetter Los Angeles Projects The Blake Byrne Collection

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182

David Buckingham

(b. 1958, American) “Frosting #4,” 2011 Welded found metal and paint Signed, titled, and dated: Buckingham Studio / Frosting #4 / Downtown Los Angeles / 2011 / Ruok 20.125” H x 10.125” W x 4.5” D $1,000-2,000

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183

Bradford Salamon

(b. 1963, American) “Mr. Zerak,” 2021 Oil on canvas Signed lower left: Bradford, signed again and dated verso 36” H x 24” W $2,000-3,000

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The Blake Byrne Collection 184

Dave Muller

(b. 1964, American) “Glories of a Youth Misspent (in record stores) #2,” 2018 Acrylic on gessoed linen Signed and dated on a Muller Studio wetstamp verso, titled on the tacking edge 14” H x 20” W $2,000-4,000 Provenance: Blum & Poe, Tokyo, Japan The Blake Byrne Collection

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The Blake Byrne Collection 185

Dave Muller

(b. 1964, American) “Glories of a Youth Misspent (in Record Stores) #1,” 2018 Acrylic on gessoed linen Signed and dated on a Muller Studio wetstamp verso, titled on the tacking edge 14” H x 20” W $4,000-6,000 Provenance: Blum & Poe, Tokyo, Japan The Blake Byrne Collection

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The Blake Byrne Collection 186

Théo Mercier

(b. 1984, French) “Le Somnambule,” 2012 Resin and acrylic paint Unsigned 43.5” H x 11” W x 13.5” D $10,000-15,000 Provenance: Galerie Gabrielle Maubrie, Paris, France The Blake Byrne Collection Exhibitions: Los Angeles, CA, Los Angeles Metropolitan Medical Center, “Human Condition (organized by John Wolf),” October 1 - November 30, 2016

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187

Kirsten Everberg

(b. 1965, American) “Captiva,” 2013 Oil and enamel on Arches paper under Plexiglas Unsigned, titled by repute, blindstamp for Arches lower right Sheet: 23” H x 30.25” W $4,000-6,000 Provenance: Sale: Project Angel Food, “AngelArt Auction,” Los Angeles, CA, 2013 Notes: A copy of a letter from AngelArt to the buyer of “Captiva” thanking them for their charitable purchase accompanies this lot.

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188

Jon Pylypchuk

(b. 1972, Canadian/American) Untitled, 2014 Enamel and spray paint on canvas on panel Signed, dated, numbered, and inscribed verso: JMP.2014.0013 / “For delia Brown with love” 24” H x 24” W $1,000-2,000 Provenance: Paddle8 Auctions, New York, NY Private Collection, Pasadena, CA, purchased from the above Notes: A purchase receipt from Paddle8 accompanies this lot.

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The Blake Byrne Collection 189

Analia Saban

(b. 1980, Argentinian/American) “Dish Towel,” 2011 Acrylic on canvas Unsigned 18.125” H x 14” W x 1.375” D $6,000-8,000 Provenance: Praz-Delavallade, Paris, France Acquired from the above by a private collector in 2011 The Blake Byrne Collection Exhibitions: Paris, Praz-Delavallade, “Dig,” November-December 2011

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The Blake Byrne Collection 190

Sayre Gomez

(b. 1982, American) “Untitled,” 2013 Acrylic on canvas mounted to panel Signed and dated verso: GZ 72” H x 60” W $7,000-9,000 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 191

Andy Woll

(b. 1984, American) “Mt. Wilson (Passage IV),” 2018 Oil on linen Signed on the right tacking edge: Andy Woll, signed again, dated, titled and numbered on the upper tacking edge: #18.13 96” H x 66” W $10,000-15,000 Provenance: Night Gallery, Los Angeles, CA The Blake Byrne Collection

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192

Jeni Spota

(b. 1982, American) “Carnie Stars,” 2016 Oil on canvas Signed, dated, and titled verso: Jeni Spota C. 13” H x 16” W $2,000-4,000

193

Martin Kersels

(b. 1960, American) “Throne (Yellow),” 2014 Wood and rattan Unsigned 33.5” H x 22.625” W x 28” D $5,000-7,000 Provenance: Galerie George-Phillipe et Nathalie Vallois, Paris, France The Blake Byrne Collection

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The Blake Byrne Collection

Provenance: Brennan & Griffin, New York, NY Private Collection, Pasadena, CA, purchased from the above by the current owner

The Blake Byrne Collection 194

Alexander Kroll

(b. 1981, American) “The Winter Ceiling,” 2014 Acrylic on canvas Signed and dated verso: Alexander Kroll / April 2014, titled on the artist’s website 60” H x 50” W $7,000-9,000 Provenance: The Blake Byrne Collection

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The Blake Byrne Collection 195

Alexander Kroll

(b. 1981, American) “The Ringing,” 2012 Oil and spray paint on linen Signed, dated and titled verso: A. Kroll 60” H x 50” W $4,000-6,000 Provenance: CB1 Gallery, LLC, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 196

Alexander Kroll

(b. 1981, American) “The Amjadia Hotel,” 2013 Oil on canvas Signed, dated and titled verso: A. Kroll 76” H x 67” W $7,000-9,000 Provenance: Frederic Snitzer Gallery, Miami, FL The Blake Byrne Collection

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The Blake Byrne Collection 197

Guy Yanai

(b. 1977, Israeli) “Berck Sur Mer on TV (Barbarian in the Garden),” 2017 Oil on linen Signed and stamped on the tacking edge verso: Guy Yanai, titled and dated by repute 14.75” H x 11.75” W $2,000-4,000 Provenance: Praz-Delavallade Gallery, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 198

Guy Yanai

(b. 1977, Israeli) “Two Sailors (Barbarians in the Garden),” 2017 Oil on linen Signed and stamped on the tacking strip verso: Guy Yanai, titled and dated by repute 14.75” H x 12” W $2,000-4,000 Provenance: Praz-Delavallade Gallery, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection

verso

199

D.E. May

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The Blake Byrne Collection

verso

200

D.E. May

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201

A Guido Gambone polychrome ceramic figure

Mid-20th Century Signed: Gambone / Italy The glazed ceramic seated figure holding a bowl and decorated in shades of green and turquoise on a white ground 6.375” H x 4.125” W x 6” D $800-1,200

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202

A pair of frosted Salviati-style glass candlesticks

Circa 1960 Each Murano glass candlestick with bulbous capital and tapered body, 2 pieces Each: 11” H x 2.375” Dia. $600-900

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203

A pair of lavender Murano glass table lamps by Marbro

Mid-20th Century Each with ribbed bulbous body in an opalescent lavender glass atop a silvered wood pedestal base with silvered metal hardware and pull chains, each topped with original cylindrical silk shade by Marbro with matching lavender piping, electrified, 2 pieces Each overall: 47” H x 18” Dia. $1,800-2,200

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204

Rod Kagan

(1940-2010, American) “Lady 3” Patinated bronze Unsigned 25” H x 14.25” W x 7” D $1,200-1,800 Provenance: Gail Severn Gallery, Ketchum, ID

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205

A Nordmende Spectra Futura tabletop console radio

Circa 1968 Design attributed to Raymond Lowey, the 110V-220V radio with color scaled radio panel and chrome dials concealed within orange and red acrylic front panels 7.75” H x 33.375” W x 8” D $600-900

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206

Attributed to Michael Graham

(b. 1943, American) A free-form metal wall sculpture, 2000 Metal and paint Signed, dated, and editioned: M. Graham / 00 / 1-10 47” H x 25” W x 8.25” D $800-1,200

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The Blake Byrne Collection

207

Sui Jianguo

(b. 1956, Chinese) “Planting Trace - Meteor Garden 3,” 2018 Galvanized photosensitive resin on brushed aluminum base Unsigned 7” H x 9.875” W x 4” D $8,000-10,000 Provenance: Sale: LA Louver, Los Angeles, CA, October 15, 2018 The Blake Byrne Collection

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The Blake Byrne Collection 208

David Noonan

(b. 1969, Australian) Untitled, 2010 Screenprint on linen Signed and dated on the backing board: David Noonan, and with the artist’s device 79” H x 56” W $6,000-8,000 Provenance: David Kordansky Gallery, Los Angeles, CA The Blake Byrne Collection

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The Blake Byrne Collection 209

Justin Mortimer

(b. 1970, United Kingdom) “Hex,” 2012 Oil on board Signed and dated verso: Justin Mortimer / Dec 2012, titled by repute Overall: 15.75” H x 12” W x 1.5” D $4,000-6,000 Provenance: Haunch of Venison Gallery, New York, NY The Blake Byrne Collection

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The Blake Byrne Collection

The Blake Byrne Collection 210

211

(b. 1972, Canadian) “Cimitero Drawing 16,” 2010 Flashe and collage on paper under Plexiglas Appears unsigned, titled and dated on a gallery label affixed to the backing board 27” H x 17” W

(b. 1972, Canadian) “Cimitero Drawing 1,” 2010 Wax pastel, flashe, and collage on Arti Appears unsigned, titled and dated on board, watermark for Artistico Fabriano 29” H x 21.25” W

Scott Treleaven

$2,000-4,000

Provenance: Marc Selwyn Fine Art, Los Angeles, CA The Blake Byrne Collection

Provenance: Marc Selwyn Fine Art, Los The Blake Byrne Collection

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istico Fabriano paper under Plexiglas n a gallery label affixed to the backing o along the lower edge

s Angeles, CA

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Masami Teraoka

(b. 1936, Japanese/American) “The Cloisters Last Supper/Pink Smoke Conclave Riot (Fuji),” 2013 Pencil on card Signed, dated, and titled verso: Masami Teraoka 10” H x 8” W $2,000-4,000 Provenance: Santa Monica Museum of Art, 2014 The Blake Byrne Collection Exhibitions: Santa Monica, CA, The Santa Monica Museum of Art, “Incognito Art Exhibition and Sale,” May 11, 2013, Ref # 574

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Tim Hawkinson (b. 1960, American)

Hawkinson’s artistic practice explores the intersec Suspended upside-down, the present work transf strung together to form the anatomy of this quirk improbable, serpentine pose evocative of the ‘ha new perspective, and growth. Emblematic of Haw

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ction of sculptural form, sound, the body, and temporality through whimsical installation. forms found materials into an evocative human-like presence. Flexible air ductwork is ky, headless being. Clad in blue jeans and contemporary attire, he is further animated by an anged man’ tarot card. The reference to the clairvoyant suggests inevitability, uncertainty, wkinson’s oeuvre, the sculpture is both playful and poignant.

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213

Tim Hawkinson

(b. 1960, American) Untitled, 2010 Clothing and steel wire Signed and dated: Tim Hawkinson / 2010 72” H x 24” W x 20” D $20,000-30,000

The Blake Byrne Collection

Provenance: Sale: Blum & Poe, Los Angeles, CA, July 7, 2010 The Blake Byrne Collection

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214

Mid-20th Century In a fitted acrylic case Overall in case: 16” H x 56.375” W x 12.25” D

La Ea Ea Ea

A model of a LNG natural gas carrier tank ship

$600-900

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215

our Jeff Covey “Model Six” stools

ate 20th/early 21st Century ach marked: Jeff Covey Design / Pat. Pend. U.S.A. ach with a telescopic molded aluminum seat atop rolled steel legs ach: 24.25” H x 13.5” Dia.

1,000-1,500

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216

A large chromed steel cocktail table attributed to Milo Baughman from Thayer Coggin 20th Century With square chromed steel base and clear glass top 16.75” H x 48” L x 48” D $600-800

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217

Donald Lipski

(b. 1947, American) “Water Lilies with Two Red Glasses,” 1997 Glass, water, preservative, and red dye Unsigned; stamped for Corning Glass Works to the steel strap 25” H x 8” W x 8” D $1,000-1,500 Provenance: The Cooprider Family Collection Notes: Water Lilies is the collective name of a group of works Lipski made around 1990 using glass acid waste line tubing and preservative solutions. This lot is being offered without reserve.

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Consign Today

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

Price Realized: $7,150.00

Consignment and Auction Inquiries: bree@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 2 8 6 P o s t -War & C o n t e m p o r a r y A rt + De sig n l We d n e sd ay, J u n e 9, 2021

Made In Mexico | August 2021

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

bid in person - absentee - telephone - live online

Condition Reports

Consign Today

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

287

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Condition Reports

1 Artist’s pinhole upper center. Minor handling creases scattered throughout. Linear indentations scattered throughout. Tape remnants from a previous mounting remain along the upper edge. Framed floating and hinged to the back mat in the upper corners. Frame: 19.75” H x 18” W x 1” D 2 Generally good condition. Minor toning to the paper. Minor ripples and creases along the edges. Hinged to the back mat with linen hinge tape at three spots along the upper edge. Frame: 32.25” H x 37.5” W x 1” D 3 Generally good condition. Toning to the paper. A .25” surface scratch by the figures head upper center. The paper is loose, not mounted. Glue remnants from a previous mounting remain verso. Frame: 16.25” H x 14.25” W x 2” D 4 Generally good condition. Toning to the paper. The paper is rippled along the left edge. A .25” tear lower left. Tape remnants from a previous mounting remain along the four edges verso. Hinged to the back mat with two pieces of paper tape along the upper edge.

Condition Reports

Frame: 38.25” H x 32.75” W x 1.5” D

290

5 Generally good condition. Minor toning to the paper. Slight yellowing to the perimeter edge. A tiny paper loss lower edge left. A tiny fold to the upper left corner. Small ink smudge lower right edge. Hinged to the back mat with two pieces of hinge tape along the upper edge. Frame: 17.5” H x 14.75” W x 1” D 6 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 19.25” H x 16.5” W x 1.75” D

7 Visual: Generally good condition. Two small indentations to the board with minor paint loss left center and one right center. Mounted to the recto mat with artist’s tape along the four edges. Tape from a previous mounting remains along the edges. Blacklight: No evidence of restoration under blacklight. Frame: 25.5” H x 21.5” W x 1” D 8 Visual: Generally good condition. Small spots of paint loss in the center, lower left and left center. Mounted to the back mat with glue along the edges. Blacklight: No evidence of restoration under blacklight. Frame: 25.25” H x 21” W x 1” D 9 Artist’s pinholes in the four corners and scattered along the four edges. A .25” “U”-shaped puncture to the paper lower right. A small crease to the paper lower left corner. The paper is loose, not mounted. Frame: 31.75” H x 34.75” W x 1.25” D 10 Visual: Generally good condition. A few tiny flecks of paint loss upper left. Varnish discoloration throughout. Minor surface dirt and grime throughout. Blacklight: Spots of uneven varnish or grime fluoresce under blacklight lower center. Frame: 25.5” H x 20” W x 1” D 11 Visual: Generally good condition. An inpainted chip of paint loss upper left. Minor surface dirt throughout. Blacklight: No evidence of restoration under blacklight. Frame: 19” H x 21” W x 1.5” D

Blacklight: No evidence of restoration under blacklight. Frame: 54.25” H x 43.75” W x 2.75” D 13 Artist’s pinholes in the four corners with associated tiny paper losses. The paper is creased down the center and across the middle. Handling creases scattered throughout. The paper is laid down, as stated. Frame: 22.75” H x 17.75” W x .75” D 14 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout. A small chip of paint loss behind the right dancer’s head. Blacklight: Certain pigments fluoresce under blacklight, likely in the hand of the artist. Frame: 25.5” H x 21.25” W x 2.25” D 15 Visual: Generally good condition.

18 Generally good condition. Frame: 24.25” H x 18.75” W x 1.25” D 19 Visual: Generally good condition. Craquelure scattered throughout, most notably, a 1” line of craquelure above the subject’s left eye. The paper has an exposed jagged edge along the lower edge. Blacklight: No evidence of restoration under blacklight. Frame: 16.5” H x 15” W x 2.5” D 20 Generally good condition. Framed floating and hinged to the back mat in the upper corners. Frame: 18.75” H x 19.5” W x 1.25” D 21 Overall good condition with minor scuffs and oxidation to metal commensurate with age. With wax residue commensurate with use. One branch slightly off-center.

Blacklight: No evidence of restoration under blacklight.

22 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Sculpture and base with bumpers to underside.

Frame: 41.25” H x 31” W x 1.5” D

With base: 13.125” H x 15” W x 6” D

16 Each: Generally good condition. Toning to the paper Minor spots of scuffing to the paper scattered throughout. The first: Two small losses to the paper upper left edge.

23 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One minor chip and scattered fleabites to lower rim, scattered minor chipping to acid-cut edges throughout, light rubbed wear to gilt, and surface imperfections to underside and interior dating to the time of manufacture. No evidence of restoration or hairlines under illumination.

Frame of first: 17” H x 14” W x 1.5” D Frame of second: 13.25” H x 16.25” W x 1.25” D 17 Generally good condition. Toning to the paper. Handling creases scattered throughout. Not examined out of the glass. Unframed under glass.

24 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One with two pitted abrasions to near the point. One with minor fleabites to the base rim.

Condition Reports

12 Visual: Generally good condition. A series of small dark smudges scattered across the upper edge.

291

25 Overall good condition with scattered scuffs, signs of weathering, and inherent firing flaws commensurate with age. A .75” chip along top rim. 26 Overall good condition with scuffs and minor nicks to wood commensurate with age. With adhesive pads to underside. With gallery label to underside. 27 Generally good condition. Scattered ripples to the paper from the laying down process. Unframed under glass.

28 Visual: Generally good condition. Craquelure along the extreme upper edge with chips of paint loss scattered across. Isolated areas of craquelure lightly scattered throughout. A pea-sized chip of paint loss upper left. Blacklight: Two pea-sized spots of touch-up upper left. Frame: 26.75” H x 56.5” W x 2.5” D 29 Visual: Generally good condition. Fine craquelure scattered throughout inherent to the medium. Minor varnish discoloration throughout. Blacklight: No evidence of restoration under blacklight.

Condition Reports

Frame: 18” H x 38” W x 1.5” D 30 Each overall good condition with scattered scuffs, weathering, areas of cracking, chips, and inherent firing flaws commensurate with age. Issues and repairs include, but are not limited to: male figure with visible repairs to torso and neck. 31 Generally good condition. Minor toning to the paper. Artist’s pinholes in the upper left corner. Areas of light discoloration scattered along the perimeter from a previous mounting bleeding through the paper. Framed floating and hinged to the back mat in the upper corners. Frame: 19.25” H x 13.25” W x 1” D 292

32 Generally good condition. The paper is loose, not mounted. Frame: 21.75” H x 17.75” W x 1.75” D 33 Generally good condition. Artist’s pinholes in the four corners. A small yellow stain right edge center. A light handling crease left edge center. A series of small light marks upper left edge. The paper is loose, not mounted. Frame: 31.25” H x 25.25” W x 1” D 34 Generally good condition. Minor toning to the paper. Minor mat burn along the four edges. Two small gouges to the paper upper edge center and lower edge center. Above mentioned items not visible under the matting. Frame: 25.5” H x 31.5” W x 1” D 35 Visual: Generally good condition. Tiny tear upper left corner edge. Tiny chip of paint loss upper edge left. Light scuffs along the upper edge. A series of tiny white marks upper right. Fine craquelure along the lower edge left and right. Blacklight: No evidence of restoration under blacklight. Unframed. 36 Visual: Generally good condition. Small scuff upper left corner. A 1” light scuff upper right. Tiny minor surface abrasions lightly scattered throughout. Blacklight: No evidence of restoration under blacklight. Unframed. 37 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. No evidence of restoration or hairlines under illumination.

39 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each with scattered chips along the front top and door edges and scratches and crazing to the laminate surface. One with missing interior shelf. 40 Overall good condition with even pile-wear and typical signs of wear commensurate with age and use. Issues include, but not limited to: dust accumulation and scattered minor pulled stitches to red and yellow elements. 41 Overall fair to good condition with scuffs, dust accumulation, and chipping to painted surface commensurate with age. 42 Overall good condition with light scuffs and dust accumulation commensurate with age. With Gallery Schlesinger label to verso. 43 Overall good condition with light scuffs, weathering, and dust accumulation commensurate with age. 44 Overall good condition with minor scuffs, weathering, dust accumulation, and oxidation to bronze commensurate with age. Scattered areas of verdigris to bronze. Wood base with scattered shrinkage cracks and separation at joints. 45 Generally good condition. The linen is slightly loose. Unframed on stretcher. 46 Overall good condition with minor scuffs, scratches, and inherent surface imperfections commensurate with age. Unframed.

47 Generally good condition. Artist’s pinholes in the four corners. Handling creases lightly scattered throughout, the largest, a 6” vertical crease in the paper upper center. Two tiny scuffs to the paper with paint loss lower left corner. Minor dust accumulation scattered throughout. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 39” H x 51” W x 1.75” D 48 Generally good condition. The paper is rippled. Minor handling creases scattered throughout. Framed floating and hinged to the back mat. Frame: 15.75” H x 20.75” W x 1.25” D 49 The lower four inches of the right corner are folded under. The lower edge of the paper is trimmed and torn. A .25” tear to the paper upper edge center. Handling creases throughout. Framed floating and hinged to the back mat in three corners. Frame: 22” H x 17.5” W x 1.5” D 50 Generally good condition. Minor toning to the paper. A series of .25” indentations to the paper lower center. Minor handling creases throughout. Frame: 18.25” H x 16.25” W x 1.5” D 51 Generally good condition. The paper with a torn left edge. Minor handling creases scattered throughout. Tiny paper loss to the lower right corner. Framed floating and hinged to the back mat with tape in the upper corners. Frame: 19” H x 15.25” W x 1” D 52 The paper is creased across the center. A 2” crease to the lower left corner. Minor handling creases scattered throughout. Framed floating and hinged to the back mat in the upper corners. Frame: 19” H x 15.25” W x 1.5” D 53 Overall good condition with light scuffs, scratches, and oxidation to metal commensurate with age.

Condition Reports

38 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One carved element with more prominent shrinkage cracks.

293

54 Generally good condition. Artist’s pinholes in the four corners. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 53.75” H x 42” W x 1.5” D 55 Visual: Generally good condition. Frame abrasion scattered along the four edges. Blacklight: No evidence of restoration under blacklight. Frame: 35.5” H x 14.75” W x 3” D 56 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Frame: 61” H x 49” W x 2.5” D 57 Visual: Generally good condition. A 5” diameter circle of light craquelure lower right. A 2” surface scratch left edge center. Minor dust accumulation to the impasto. A series of light surface smudges lower right. Blacklight: No evidence of restoration under blacklight.

Condition Reports

Frame: 31” H x 59.25” W x 2.25” D

294

58 Overall good condition with tarnishing and light scratches commensurate with age. One dinner knife with maceration to blade tip. One vegetable serving spoon personalized. Weight does not include hollowhandled items. 59 Each overall good condition with tarnishing and light scratches commensurate with age. 60 Overall good condition with tarnishing and light scratches commensurate with age.

61 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed. 62 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 63 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 21” H x 23.5” W x 1.5” D 64 Visual: Generally good condition. The paper is wrinkled upper right edge. Minor surface dirt throughout. Blacklight: No evidence of restoration under blacklight. Frame: 11.75” H x 8.75” W x 1.75” D 65 Overall good condition with dust accumulation and oxidation to bronze commensurate with age. Base with scattered scuffs and nicks. With base: 62.25” H x 10.625” W x 8.25” D 66 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age. 67 Generally good condition. Not examined out of the frame. Frame: 17” H x 21” W x 1.25” D 68 Generally good condition. A pea-sized loss to the paper lower left corner. Not examined out of the frame. Frame: 16.75” H x 21” W x 1.25” D

Frame: 32” H x 30.25” W x 1” D 70 Generally good condition. Frame: 18” H x 16.75” W x 1” D 71 Overall good condition with minor scuffs, weathering, and oxidation to bronze commensurate with age. 72 Each overall good condition with scattered scuffs, scratches, and nicks commensurate with age. Two chairs with lost stitches to weaving. Each with bumpers to feet. 73 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered areas of chipping, buckling, and lifting to veneer, primarily to drawers. Lacking key. 74 Generally good condition. Two small spots of white pigment lower left, likely in the hand of the artist. Not examined out of the frame. Frame: 9.5” H x 14.5” W x 1.5” D 75 Generally good condition. The board is loose, not mounted. Unframed. 76 Each: Generally good condition. Tiny nicks and dents to the paper’s edge scattered throughout. Framed floating and hinged to the back mat with tape in the upper corners. The first: Artist’s pinholes in the four corners. Frame of each: 19.75” H x 16.75” W x 1.75” D 77 Overall good condition with light scuffs and dust accumulation commensurate with age.

78 Generally good condition. A 1” crease to the lower left corner. Minor, unobtrusive handling creases scattered throughout. Mounted to the back mat with plastic corners in the four corners. Frame: 21.25” H x 17.25” W x 1.25” D 79 Overall good condition. In acrylic case. 80 Generally good condition. Frame: 12.5” H x 9” W x .25” D 81 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. 82 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One with a .25” abrasion to center point. One with nick to one corner. 83 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Minor nicks/pitting along edges. 84 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One with crack to upper corner. One with abrasions to upper side. 85 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Areas of staining, discoloration, and moisture rings to top commensurate with use. Basket with scattered lost stitches. 86 Overall good condition with light scuffs and dust accumulation commensurate with age.

Condition Reports

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

295

87 Generally good condition. Artist’s pinholes in the four corners of each panel. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

94 Each overall good condition with light scuffs and dust accumulation commensurate with age. Each with rubbed wear to top rails and heavier wear to feet and stretchers. Three wobble slightly. Light fading to leather.

Frame: 11.5” H x 34” W x 1.5” D 88 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 17.5” H x 23.5” W x 1.5” D 89 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 17.25” H x 29” W x 1.5” D 90 Generally good condition. Artist’s pinholes in the upper corners. The paper with deckled edges. A 10” light crease to the paper down the right center. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 22.5” H x 33.25” W x 1.5” D 91 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Condition Reports

Frame: 13.75” H x 17.75” W x 1.5” D 92 Overall good condition with weathering, minor scuffs, and oxidation to bronze commensurate with age. Scattered areas of rust.

95 Each overall good condition with minor scuffs, scratches, and oxidation to bronze commensurate with age. Each with adhesive felt pads to underside. “Boulders” each with verdigris to the tops. 96 Each overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Each with losses to patinated finish and scattered areas of rusting throughout. 97 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. With scattered areas of raised grain and buckling/lifting to veneer, surface abrasions, indentations, and possible moisture spots to top. Possibly has been refinished. One corner with a 1.25” chip to the top and bottom corners. 98 Overall good condition with scattered scuffs and scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. 99 Visual: Generally good condition. Framed floating and hinged to the back mat. Blacklight: No evidence of restoration under blacklight. Frame: 22” H x 14.5” W x 1.5” D

With base: 69” H x 20.25” W x 14.375” D

100 Visual: Generally good condition.

93 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Heavier wear and indentations to legs.

Blacklight: No evidence of restoration under blacklight. 101 Generally good condition. Artist’s pinholes along the upper edge. Minor handling creases scattered throughout. Not examined out of the frame. Frame: 28.75” H x 24” W x 1.5” D

296

103 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age. Wax present on oil painting inherent to time of manufacture.

110 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered minor indentations, wear to finish, and moisture spots throughout. Wooden side panel with heavier fading to finish and feet with heavier chips and abrasions. Top rail verso with white paint transfer. Upholstery with light soiling commensurate with use, likely has been previously reupholstered.

104 Overall good condition with dust accumulation commensurate with age.

111 Overall good condition with shelf wear, scuffs, and light scratches commensurate with age.

105 Visual: Generally good condition. Minor abrasion to the lower left corner. Tiny chip of paint loss upper edge left.

112 Overall good condition with scattered scuffs, scratches, shrinkage cracks, and dust accumulation commensurate with age.

Blacklight: No evidence of restoration under blacklight.

With base: 71” H x 14” W x 14” D

Unframed.

113 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Wood top with craquelure to finish and radiating shrinkage cracks to edges. Legs with scattered areas of losses to finish on iron legs.

106 Overall good condition with scuffs and dust accumulation commensurate with age. 107 Visual: Generally good condition. Three vertical stains along the lower edge, largerst 6” L. Blacklight: No evidence of restoration under blacklight. 108 Visual: Generally good condition. On aluminum stretcher. Inherent paint splatter to purple background mid torso Blacklight: No evidence of restoration under blacklight. 109 Overall fair condition with scattered scuffs and scratches commensurate with age. Evidence of moisture damage to lower portion of panels, visible on verso. Verso with lifting and peeling to paper surface and areas of losses. Painting with surface dirt and grime throughout. Areas of small losses and abrasions throughout, largest a 9” scratch to upperright panel.

114 Visual: Craquelure throughout. Surface dirt and grime throughout. Blacklight: No evidence of restoration under blacklight. Frame: 30” H x 34” W x 1.25” D 115 Visual: The canvas is loose and rippled. Craquelure throughout. Frame abrasion along the four edges. Two small vertical tears to the canvas with corresponding patches verso. Apparent water damage to the lower portion of the canvas. Surface dirt throughout. Blacklight: Spots and lines of touch-up scattered throughout. Frame: 40.75” H x 36.5” W x 1.25” D

Condition Reports

102 Overall good condition with minor scuffs and dust accumulation commensurate with age.

297

116 Visual: Craquelure throughout. Surface dirt and grime throughout. Blacklight: No evidence of restoration under blacklight. Frame: 30” H x 34” W x 1.25” D 117 Each: Generally good condition. The paper with torn edges. Minor toning to the paper. Framed floating and hinged to the back mat. The first: Skimming to the paper lower right corner. A .25” yellow mark to the upper edge right. The second: A crease runs the width of the lower part of the paper. A few tiny dots of light-yellow staining lower center. Frame of each: 10.5” H x 12.5” W x .75” D 118 Visual: Generally good condition. Two faint water stains. One in the center measuring 1.75” H x 3.5” W, the other right center 5.25” H x 4.75” W that wraps around the edge, possibly done in the artist hand. 119 Generally good condition. Unframed. 120 Generally good condition. Minor toning to the paper. Mounted to the recto mat with glue in the four corners.

Condition Reports

Frame: 12.5” H x 10.5” W x 1” D

298

121 Visual: Artist tape residue with pin-holes in the four corners and scattered tape along the upper edge. Handling creases along both right and left edges and all four extreme edges. A 5” diagonal tear along the right edge that appears to be a part of the artists’ process. Not examined out of frame. Frame: 62.5” H x 83” W x 2” D

122 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each with heavier rubbed wear to finish on arms, dust accumulation, and sun fading and soiling/staining to the upholstery. One sofa lacking one spring to underside. Upholstery dating to 1980s-1990s.

123 Overall good condition with scattered scuffs and scratches commensurate with age. 124 Overall good condition with scattered scuffs and scratches commensurate with age. Scattered minor nicks in acrylic along edges. Seat wobbles slightly. 125 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Scattered areas of chipping to lacquered finish. Lacking two bolts on undertray and one support loose. Loosening of lower trim on upper tray underside. 126 Overall: Generally good condition. Quarter-sized spot of discoloration to right front leg. Canvas: Generally good condition. Canvas Blacklight: No evidence of restoration under blacklight. 127 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age. 128 Visual: Generally good condition. Unframed. 129 Overall good condition with minor scuffs and light scratches commensurate with age. Wooden easel frame with heavier scuffs and nicks to feet. Overall easel: 46” H x 24.5” W x 17.5” D

130 Overall good condition with light scuffs and dust accumulation commensurate with age. Areas of pulled fibers.

138 Visual: Generally good condition. Spots of grime in the upper and lower left corners and scattered along the left edge. Two visible small spots of touch-up right edge center.

131 Each overall good condition with scattered scuffs, scratches, nicks, indentations, shrinkage cracks, and separation at joints commensurate with age. Heavier indentations and scratches to chair back and ottoman veneer.

Blacklight: No evidence of restoration under blacklight.

133 Each: Generally good condition. Artist’s pinholes in the upper corners. Framed floating and hinged to the back mat along the upper edge. One work examined out of the frame. Frame of each: 14.25” H x 11.25” W x 1” D 134 Generally good condition. The paper with deckled edges. Unframed. 135 Overall good condition with dust accumulation and minor loose stitches commensurate with age. 136 Generally good condition. Light stretcher bar creases along the four edges. Unframed. 137 Generally good condition. Not examined out of the frame. Frame: 49” H x 61” W x 3” D

139 Overall good condition with dust accumulation commensurate with age. 140 Overall good condition commensurate with age. 141 Generally good condition. Tiny creases to three of the four corners. Light, unobtrusive handling creases lightly scattered throughout. Framed floating and hinged to the back mat along the upper edge. Not examined out of the frame. Frame: 14.75” H x 17.75” W x 1.5” D 142 Overall good condition with light scuffs and scratches commensurate with age. Scattered minor nicks to frame along edges. A 9” tear in frame’s backing paper. 143 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Label sticker to underside. 144 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Slight putty residue to underside. 145 Each overall good condition with scuffs and light scratches commensurate with age. Each marble top with scattered minor chips to the edges.

Condition Reports

132 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age.

Unframed on stretcher.

299

146 Each overall good condition with minor scuffs and oxidation to bronze commensurate with age. Wood bases with minor scuffs and scratches. Adhesive felt pads to undersides.

153 Visual: Generally good condition. A series of small nail holes along the four edges and lightly scattered throughout the field. A few drips of surface grime lower left.

With base: 48” H x 6.5” W x 7” D

Blacklight: No evidence of restoration under blacklight.

147 Visual: Generally good condition. Lines of paint shrinkage scattered throughout.

Unframed.

Blacklight: No evidence of restoration under blacklight.

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

Frame: 10.75” H x 7.5” W x 1.5” D

Frame: 22.5” H x 18.25” W x 1.75” D

148 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

155 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Frame: 21.75” H x 24.75” W x 1” D

Frame: 14.5” H x 15.25” W x 1.5” D

149 Visual: Generally good condition. With wood supports and panel backing.

156 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

Unframed. 150 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Not examined out of the frame.

Condition Reports

Frame: 12.5” H x 15.75” W x 1” D

300

151 Each overall good condition with scattered scuffs, scratches, nicks, indentations, shrinkage cracks, and separation at joints commensurate with age. Each with light soiling and signs of wear to the leather, rubbed wear to top rail and arms, and heavier wear to feet. Each armchair with extensive repairs to the arms. 152 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. With scattered areas of raised grain and buckling/lifting to veneer, surface abrasions, indentations, and evidence of moisture damage to underside. Oxidation and rust to hardware. Heavier signs of wear to feet.

Frame: 21” H x 29” W x 1.25” D 157 Visual: Generally good condition. Blacklight: Not evidence of restoration under blacklight. Unframed. 158 Generally good condition. Artist’s pinholes scattered throughout. Not examined out of the frames. Frame of each: 22.5” H x 16.5” W x 1.5” D 159 Visual: Generally good condition. Craquelure scattered along the lower right edge. A 3.5” line of fine craquelure left center above the subject’s right shoulder. Blacklight: No evidence of restoration under blacklight. Unframed.

160 Generally good condition. Unframed. 161 Overall good condition with light scuffs and dust accumulation commensurate with age. 162 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed on stretcher. 163 Visual: Generally good condition. A few minor nicks to board. 164 Overall good condition with light scuffs, scratches, and dust accumulation commensurate with age.

169 Overall good condition with light scuffs and dust accumulation commensurate with age. With base: 85.75” H x 38” W x 26” D 170 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed on stretcher. 171 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 33.5” H x 25.5” W x 1.75” D 172 Generally good condition. The paper with deckled edges. Hinged to the recto mat with artist’s tape along the upper edge. Frame: 14.25” H x 16.5” W x 1.5” D

166 Each overall good condition with scattered scuffs, light scratches, weathering, and oxidation commensurate with age and use. 167 Each overall good condition with rubbed wear and light scratches commensurate with age. One lid’s flange with minor imperfection likely dating to the time of manufacture. Includes one original box with a Barney’s New York retail label. 168 Generally good condition. Unframed.

173 Visual: Generally good condition. Small chip of paint loss upper left corner. Blacklight: No evidence of restoration under blacklight. Unframed. 174 Each overall good condition with scuffs and light scratches commensurate with age. 175 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Each with light rubbed wear to arms. 176 Generally good condition. Discoloration and stains to the card commensurate with age and materials used. Unframed.

Condition Reports

165 Overall good condition with scuffs and light scratches commensurate with age. Glass top with a 2.25” area of chipping to one corner. Wiring should be checked by a qualified electrician prior to use.

301

177 Generally good condition. Discoloration and stains to the card commensurate with age and materials used. Unframed. 178 Generally good condition. Frame: 73” H x 43.25” W x 2” D 179 Generally good condition. Unframed on stretcher. 180 Visual: Generally good condition. Frame: 113.25” H x 63.25” W 181 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed. 182 Overall good condition with minor shelf wear commensurate with age.

Condition Reports

183 Visual: Generally good condition.

302

185 Visual: Generally good condition. Isolated areas of fine craquelure scattered throughout, concentrated mostly along the perimeter and in the dark pigment lower right. Small chip of paint loss lower right corner. Blacklight: No evidence of restoration under blacklight. Unframed. 186 Overall good condition with light scuffs and dust accumulation commensurate with age. Scattered areas of paint cracking due to shrinkage throughout, with heavier cracking and losses to shoulder. 187 Generally good condition. The paper with deckled edges. Framed floating and hinged to the back mat. Frame: 25.75” H x 33” W x 2” D 188 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed on stretcher. 189 Overall good condition with dust accumulation commensurate with age. A minor black scuff to surface upper right. With Sotheby’s New York label to verso.

Blacklight: No evidence of restoration under blacklight.

190 Visual: Generally good condition.

Frame: 37.25” H x 25.25” W x 2” D

Unframed.

184 Generally good condition. Craquelure scattered along the perimeter edge and in isolated areas throughout the field.

191 Visual: Generally good condition.

Unframed.

Blacklight: No evidence of restoration under blacklight. Unframed on stretcher.

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

199 Generally good condition. Discoloration and stains to the card commensurate with age and materials used. Unframed.

Frame: 13.75” H x 16.75” W x 1.5” D 193 Overall good condition with dust accumulation commensurate with age.

200 Generally good condition. Discoloration and stains to the card commensurate with age and materials used. Unframed.

Blacklight: No evidence of restoration under blacklight. Unframed on stretcher. 195 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed on stretcher. 196 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed on stretcher. 197 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight.

201 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Scattered ruptured air bubbles and imperfections in glaze dating to the time of manufacture. No evidence of repairs or restorations under blacklight. 202 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Wax residue commensurate with use. 203 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Wood bases with scattered chips and flaking to surface finish. Shades with light scuffing, one with loose piping and detachment of one arm from the frame. One lamp has been rewired. Wiring should be checked by a qualified electrician prior to use. Base: 47” H x 10.5” Dia. Shade: 21” H x 18” Dia. 204 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. With Gail Severn Gallery label to underside.

Unframed on stretcher. 198 Visual: Generally good condition. Blacklight: No evidence of restoration under blacklight. Unframed on stretcher.

205 Overall fair to good condition with scattered scuffs, scratches, nicks, and dust accumulation commensurate with age and use. Scattered areas of wear and chipping to painted surface. Minor losses along top edge of metal mesh speaker cover on right. Working condition unknown. Wiring should be checked by a qualified electrician prior to use.

Condition Reports

194 Visual: Generally good condition.

303

206 Overall good condition with scattered scuffs and light scratches commensurate with age. A .375” scratch to center-top, a 1.5” area of nicked abrasions to upper left side, and two nicks to the lower right side near signature. Mounted on verso for hanging. 207 Overall good condition with dust accumulation commensurate with age. Base with minor scuffs and indentations. With base: 8” H x 20” W x 16” D 208 Generally good condition. Frame: 80” H x 57.25” W x 2.5” D 209 Visual: Generally good condition. Minor surface dirt scattered throughout. Blacklight: No evidence of restoration under blacklight. Unframed. 210 Generally good condition. The paper is gently rippled. Isolated minor handling creases lightly scattered throughout. Framed floating and hinged to the back mat. Not examined out of the frame. Frame: 31” H x 21” W x 1.75” D

Condition Reports

211 Generally good condition. Framed floating and hinged to the back mat. Not examined out of the frame.

304

Frame: 32.75” H x 25” W x 1.75” D 212 Visual: Generally good condition. The card is loose, not mounted. Unframed. 213 Overall good condition with dust accumulation commensurate with age.

214 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 215 Overall good condition with scattered scuffs and light scratches commensurate with age. Three stools with scattered pitting in seat surface. Height measurement reflects lowest seat position. 216 Overall good condition with scuffs and light scratches commensurate with age. 217 Overall good condition with minor scuffs commensurate with age. Minor sediment to the liquid at the bottom.

Pg. 176, Lot# 128 Nathan Hylden (b. 1978, American) Untitled, 2007

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

SPECIALISTS

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

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

Western, American Indian Specialist Maranda Moran Jewelry Director Mollie Burns Keith, G.J.G.

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Consignment Coordinator Julia Hamilton Operations Coordinator Ian Anderson Art Handler Joe Miranda Art Handler Richard Corral Art Handler Mars Ford

MARKETING

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

Photography

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA Department Administrator Angela Bryant

FOUNDERS

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

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

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

BIDDING INCREMENTS:

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

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

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

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

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

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

General Notice: This Auction will be conducted in accordance with John Moran Auctioneers’ Conditions of Sale (COS). Bidding and buying at the sale will be governed by such terms and conditions. Please read the COS in conjuction with our policies relating to this sale and other published notices and terms relating to bidding. Winning bidders are responsible for the sum of the final bid, plus Buyer’s Premium on the final bid price and California State Tax for all items purchased, unless exempt in California or shipping documents showing an out-of-state destination are provided. Notice to First-Time Bidders: New clients are required to present a current form of I.D. in order to register and bid. New bidders will be asked to provide financial account information as a reference. All bidders: Please submit a completed bid form with lot details at least 24 hours prior to the auction to ensure acceptance. BUYER’S PREMIUM: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,000 $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 2% buyer’s premium.

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

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rev. 7/2018

Registration Form (Attendee / Absentee / Telephone Bidding)

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

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

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

Received By:

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rev. 7/2018

Back Cover: Pg. 19, Lot# 84 Vasa Velizar Mihich (b. 1933, American) Four columns, 1972 This Page: Pg. 263, Lot# 200 D.E. May (1952-2019, American) Untitled w w w . j o(boat h n m odrawing), r a n . c o m2016 313

w w w. j o h n m o r a n . c o m · i n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3