Art + Design — September, 30, 2025 | John Moran Auctioneers by johnmoranauctioneers

Art + Design

Tuesday, September 30, 2025 SINCE 1969

AUCTIONEERS & APPRAISERS w w w. j o h n m o r a n . c o m

Art + Design

September 30, 2025 | 10am PDT Sale 319 145 East Walnut Avenue, Monrovia CA 91016

This is an interactive catalogue. Click on any item description or hyperlink for more information.

Previews:

Friday, September 26th: 12-4pm Saturday, September 27th: 12-4pm Monday, September 29th: 12-4pm Tuesday, September 30th: Doors open 9am

Meet the Team Katherine Halligan Co-Head of Sale Director, Fine Art k.halligan@johnmoran.com

Matthew Grayson Co-Head of Sale Specialist, Post-War & Contemporary Design m.grayson@johnmoran.com

Anne Spink Senior Cataloguer, Fine Art a.spink@johnmoran.com

Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com

Client Services Mario Esquivel Office Manager m.esquivel@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

A 1988 Porsche 911 Carrera

Numbered to engine block: 64105114 VIN: WP0AB0913JS121508; Plate: 2JNN171 Silver exterior, interior with black leather 105,9XX miles 3.2 liter, flat 6 engine 5-speed manual transmission, rear-wheel drive Blaupunkt radio and tape player Functional sunroof Porsche manuals included as well as a Porsche brand tire air compressor $20,000-30,000

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Ed Ruscha

(b. 1937) “Every Building on the Sunset Strip,” 1966 Softcover book in a silver Mylar-wrapped slipcase Ruscha, Edward. “Every Building on the Sunset Strip.” Los Angeles: Edward Ruscha, 1966 First Edition, Second Printing (flap not present) of 5,000 Comprising a continuous accordion-fold photolithographic panorama depicting both sides of a 1.5-mile stretch of Sunset Blvd. In slipcase: 7.375” H x 5.875” W x 0.625” D $2,000-3,000

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Ed Ruscha (b. 1937) Two works:

Ruscha, Edward. “Some Los Angeles Apartments.” Los Angeles: Anderson, Ritchie & Simon, 1970 Softcover book Second Edition of 3,000 7” H x 5.5” W x 0.25” D Ruscha, Edward. “Crackers.” Hollywood: Heavy Industry Publications, 1969 Softcover book First Edition 8.75” H x 6” W x 0.5” D 2 pieces

$700-900

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Ed Ruscha (b. 1937) Two works:

Ruscha, Edward. “Nine Swimming Pools (and a Broken Glass).” Los Angeles: Edward Ruscha, 1976 Softcover book Second Edition of 2,000 7” H x 5.5” W x 0.25” D Ruscha, Edward and Lawrence Weiner. “Hard Light.” Los Angeles: Edward Ruscha and Lawrence Weiner, 1976 Softcover book First Edition of 3,560 7” H x 5” W x 0.25” D 2 pieces

$700-900

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A box of Campbell’s dry soup mix signed by Andy Warhol (1928-1987) 1980s Signed: Andy Warhol; box with impressed date: 19 JAN 87 The box of Chicken Noodle soup housed in a custom acrylic case Box: 5” H x 4.75” W x 2” D; Case: 5.25” H x 5.125” W x 2.375” D $1,500-2,000

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After Andy Warhol

(1928-1987) “The American Indian Series” poster for Ace Gallery, 1976 Offset lithograph in colors on poster paper From the edition of unknown size Signed and inscribed “to Rich” in black marker along the right edge of the image: Andy Warhol; Ace Gallery, Paris, Vancouver, and Los Angeles, pub. Sheet: 50.25” H x 35” W $1,000-1,500 Notes: Ace Gallery published three color variants of this poster to advertise their exhibitions of works from Warhol’s 1976-77 American Indian series. In addition to the black variant shown here for their exhibition in Paris in October of 1976, a red variant was done for Ace Gallery’s exhibition in Vancouver, British Columbia, Canada in November of 1976, and a blue variant was done for the March 1977 exhibition at their gallery in Los Angeles, CA. The person depicted is Native American (Oglala Lakota) civil rights activist Russel Means (1932-2012).

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After Andy Warhol

(1928-1987) “Muhammad Ali by Andy Warhol,” 1978 Offset lithograph in colors on poster paper From the edition of unknown size Signed in black marker lower right: Andy Warhol; with the printed copyright and date lower right: 1978 Sight: 29.75” H x “ H x 23.75” W $800-1,200

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Andy Warhol (1928-1987) Two works:

“The Philosophy of Andy Warhol (From A to B and Back Again),” 1975 Hardcover book Warhol, Andy. “The Philosophy of Andy Warhol (From A to B and Back Again).” New York and London: Harcourt Brace Jovanovich, 1975 First Printing, Signed with initials to half-title page: aw 8.625” H x 5.875” W x 1.125” D “Andy Warhol’s Children’s Book,” 1983 Board book Warhol, Andy. “Andy Warhol’s Children’s Book.” Zürich: Galerie Bruno Bischofberger, 1983 First Edition, Signed illegibly to front board 7.125” H x 5.625” W x 0.375” D 2 pieces $600-800

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Andy Warhol

(1928-1987) “Andy Warhol’s Index (Book),” 1967 Hardcover book Warhol, Andy. “Andy Warhol’s Index (Book).” New York: Random House, 1967 First Printing, Signed along upper edge of front board: Andy Warhol; initialed to Velvet Underground 45rpm vinyl insert: aw 11.25” H x 8.75” W x 0.625” D $600-800

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Cy Twombly

(1928-2011) A signed partial set of the Cy Twombly paintings catalogue raisonné, 1992 Hardcover books in slipcases Bastian, Heiner. “Cy Twombly Catalogue Raisonné of the Paintings: Volume I 1948-1960, Volume II 196-1965, Volume III 1966-1971.” Munich: Schirmer-Mosel, 1992 Volume I signed by the artist in pencil to the slipcase spine: Twombly Incomplete set, comprising three of the seven volumes 3 pieces Each: 12.625” H x 11” W x 1.625” D $800-1,200

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A Giovanni Raspini hammered sterling silver Champagne bucket 1990 Marked to underside: Giovanni Raspini / [star] 132 AR / 925 With applied crocodile figures to each side 9” H x 11.5” W x 8” D 56.1 oz. troy approximately $1,200-1,800

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Jean E. Puiforcat (1887-1945)

A sterling silver letter opener, circa 1942-1945 Blade marked: [‘JP’ cipher] / Jean Puiforcat / Made in Mexico The blade set in a carved mahogany handle, the sheath with live edge segment, mounted with sterling silver dot accents Overall: 8” L x 1.625” W x 0.75” D; Blade: 4.625” L $600-800

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A sterling silver and tourmaline corn husk pendant necklace

Late 20th century Stamped to pendant verso: [star/flower cipher] / 925 A modernist-style hammered sterling silver wire collar suspending a cast silver corn husk pendant with geometric accent set with watermelon tourmaline 19.5” inner C x 5.5” H x 1.75” W 99.4 grams gross $300-500

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A sterling silver modernist-style floral chime necklace

Late 20th century With star/flower maker’s mark to ring hook terminal A sterling silver wire collar suspending four articulated stylized floriform dangles of various lengths 16.5” inner C x 10” H 248.0 grams gross $300-500

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A group of modernist-style art jewelry Mid/late 20th century Four unmarked Five works:

A large freeform brutalist-style bronze mixed metal gauntlet cuff bracelet 8.25” total inner C x 6.5” H , with a 0.875” gap A hammered bronze mixed metal bangle 8.75 inner C x 0.5” H A sterling silver mesh cuff bracelet Stamped: 925 7” total inner C x 0.5” H, with a 1” gap Two delicate freeform abstract sterling silver openwork brooches Larger: 3” H x 2.25” W; Smaller: 2.75” H x 2.25 5 pieces 235 grams gross $200-300

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Roy Schatt

(1919-2002) “Marilyn in Rain Hat,” 1955 Photographic print on paper From the edition of unknown size; printed later Signed in brown ink in the lower margin, at right: Roy Schatt; titled, and dated in ink by the artist’s wife, Elaine Schatt, on a certificate of authenticity housed in a plastic sleeve affixed to the frame’s backing board Image: 18.75” H x 12” W; Sight: 19.75” H x 13” W $500-700 Notes: This lot is accompanied by a certificate of authenticity from Roy Schatt Photography, signed by the artist’s wife and dated 8-27-03, all in ink.

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Bob Mizer

(1922-1992) “Doug Courtney,” circa 1950s Gelatin silver print on paper Edition: 2/25, reprinted from the original negative, circa 1992 Signed in ink, verso: Bob Mizer; titled and numbered in pencil in another hand, verso; stamped in black ink, verso: Bob Mizer / Athletic Model Guild / 1992 Portfolio © / Limited Edition Published by / Wessel O’Connor Gallery, New York Image: 18.875” H x 14.75” W; Sheet: 19.875” H x 15.875” W $1,000-2,000 Notes: According to the website of the publishers of the circa 1992 edition of this image of Doug Courtney, “... Athletic Model Guild [was] the 1950’s Physique photography studio run by Bob Mizer for almost 50 years out of Los Angeles. Originally conceived as a talent agency of male archetypes for the booming film industry, it would manage to survive the heavy-handed morality crusades of the 40’s and 50’s. With thousands of servicemen idle after WWII, Mizer could find plenty of models on Venice’s Muscle Beach or the streets of Hollywood. He created a one-man industry of underground photographs that could be purchased via mail-order, selected from his self-published magazine, Physique Pictorial. He started it in 1951 after his advertisements were refused by bodybuilder and health magazines of the day. Many actors and muscle men, gay and straight, got their start posing for Mizer. Joe Dallesandro, who would go on to star in Andy Warhol’s films and pose for Calvin Klein ads, was one of his models. Ed Fury and Glenn Corbett, of 77 Sunset Strip, were among some of Mizer’s other more well-known subjects. As the critic Michael Duncan has stated: ‘Mizer showed his models as young gods, worthy of respect. A homegrown classicist, he presented an idealized side of desire that the ancient Greeks would have understood.’ The history of AMG and its sociological ramifications were explored in filmmaker Thom Fitzgerald’s documentary Beefcake in 2000. Mizer would leave behind almost 1 million negatives of the men he photographed throughout the course of his career.” (https://wesseloconnor.com/exhibits/Mizer/)

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Lewis Baltz

(1945-2014) “Construction Detail, East Wall, Xerox, 1821 Dyer Road, Santa Ana” from “The New Industrial Parks near Irvine, California” portfolio, 1974 Digital print on archival paper Edition: 16/55; printed later, 2005 Signed, dated with the printing date “2005,” and numbered in ink along the lower edge, all verso Image: 5.375” H x 8” W; Sheet: 10.375” H x 11” W $800-1,200 Provenance: Private collection, Hayward, CA

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Vasa Velizar Mihich

(b. 1933) Pyramid, 2008 Acrylic With etched signature and date: Vasa 5” H x 5.625” W x 5.875” D $300-500 Notes: This lot is accompanied by a printed artist bio and care instructions from LACMA.

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A Contemporary resin sculpture of a wave Late 20th/early 21st century Signed illegibly to underside 10.625” H x 13” W x 14.75” D $500-700

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Robert Graham

(1938-2008) “MOCA Torso,” 1992 Patinated bronze Edition of 3,500 Signed to the underside: R Graham / Guardado / Carlos M. 10.875” H x 4.625” W x 4.325” D $2,000-3,000 Provenance: MOCA Store, Los Angeles, CA Private collection, Pasadena, CA, acquired from the above, 1994 Notes: This lot is accompanied by a receipt from the MOCA store, later dated by the owner in pencil, 1994.

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Wilhelm Dachauer

(1881-1951) “Secession” exhibition poster, 1919 Lithograph in colors on cream wove paper From the edition of unknown size With the printed date and inscription along the lower edge: OKT / NOV / 1919 / 9-4 UHR / K4; signed in pencil, possibly in another hand, verso: W. Dachauer; also inscribed in pencil, in another hand, verso: “BJFA / 1357;” A. Berger, Vienna, prntr. Sheet: 24.75” H x 18.625” W $700-900 w w w. j o h n m o r a n . c o m

Leonetto Cappiello

(1875-1942) “Cognac Monnet,” 1927 Lithograph in colors on paper From the edition of unknown size With the printed signature and date in the lower portion of the right edge of the image: L Cappiello / 1927; Devambez, Paris, prntr. Image: 75” H x 47” W; Sight: 77” H x 49” W $2,000-3,000

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Ludwig Hohlwein

(1874-1949) “Kitty Starling, the London Darling,” 1914 Lithograph in colors on paper From the edition of unknown size With the artist’s printed signature in the lower portion of the right edge of the image: Ludwig Hohlwein; Consée, München, prntr. Sight: 48.5” H x 34” W $1,500-2,000 Provenance: Vintage Posters International, LTD, Chicago, IL, acquired February 26, 2002

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Hans Wegner (1914-2007)

A model J16 rocking chair for FDB Mobler, mid-20th century Designed 1944 Inspired by Windsor and Shaker furniture styles, the black lacquered wood chair with spindle back and curvilinear armrests above a woven jute cording seat, the legs joined by bar stretchers and set on rockers 42.25” H x 25” W x 32” D $500-700 Provenance: John Toomey Gallery, Chicago, IL

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A Ganddal Møbelfabrik rosewood desk

Mid-20th century With sticker to underside: GM / Ganddal Møbelfabrikk A/S / Mad in Norway; stamped: 9 / 74 The desk with three drawers above wood and chromed metal trestle supports 28.75” H x 55.25” W x 26.75” D $1,200-1,800 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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Johannes Andersen (1903-1991)

A teak standing dry bar model SK 661 for Skaaning, mid-20th century Unmarked The front with a brushed steel footrest, the back with flip-top bar surface and drop-shelf work surface, opening to reveal a small glass shelf and nine bottle niches, above three cubbies and a sliding cabinet door, above a lean-out lower well with nine more bottle niches 44.5” H x 46” W x 16.25” D $1,000-2,000

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Poul Henningsen (1894-1967)

A PH5 pendant lamp for Louis Poulsen, mid-20th century With partial sticker to shade interior: Louis Poulsen & Co. / Type 1709[illegible] The aluminum shade comprising concentric concave layers joined by three rods, with powder-coated purple to outside and white to inside, electrified 10” H x 19.5” Dia. $300-400

Norman Cherner (1920-1987)

A set of three ‘Swivel Cherner’ stools for Plycraft Inc., mid-20th century One with Plycraft Inc. fabric tag applied to underside The chairs with molded plywood and original vinyl seats raised on molded plywood curved legs joined by an enameled steel box stretcher 3 pieces Each: 42” H x 17.5” W x 21” D $1,200-1,800 Provenance: John Toomey Gallery, Chicago, IL

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Franz Marc

(1880-1916) “Schlafende Hirtin,” 1912 Woodcut on tissue-thin laid Japan paper Unsigned; with the artist’s stylized “M” in the upper right corner of the block; with the authentication ink stamp “Handdruck vom Originalholzstock bestätigt” together with a pencil signature of the artist’s widow, “Maria Marc,” and the title in pencil, all along the verso of the lower margin edge Image: 7.75” H x 9.375” W; Sheet: 11.625” H x 15.5” W $7,000-9,000 Literature: Lankheit 829 Notes: The very delicate uninked horizontal line across the center of the block resulted from either a hairline scratch or a delicate surface crack in the block. It is visible in most extant impressions. In examples where it is less visible, the area has often been skillfully touched in at a later time.

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Henri Matisse

(1869-1954) “Diane,” 1938 Linocut in black and sanguine on wove paper Edition: 23/25 (there were also five artist’s proofs) Signed and numbered in pencil in the lower margin, at right: Henri Matisse Image: 9.375” H x 7.75” W; Sheet: 17.5” H x 14” W (irreg.) $8,000-12,000 Provenance: Art Angles, Orange, CA Estate of Robert Baron, Huntington Beach, CA Literature: Duthuit 713 Notes: This lot is accompanied by a sales invoice dated July 16, 1987, from the gallery mentioned above and other related documentation.

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After Pablo Picasso

(1881-1973) “Jacqueline,” 1960 Lithograph in colors on black wove paper Edition: XLII/C (aside from the edition of 100) Signed and numbered in white crayon near the lower edge: Picasso; with the printed signature lower right; Mourlot, Paris, prntr. and pub. Sheet: 21.75” H x 14.625” W $7,000-9,000 Provenance: The Graphic Encounter, Huntington Beach, CA Estate of Robert Baron, Huntington Beach, CA Notes: This lot is accompanied by a certificate of authenticity and sales invoice, both dated June 17, 1983, from the gallery mentioned above, and other related documentation. 42

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Pablo Picasso

(1881-1973) “Grosse tête, profil droit,” conceived 1965 Bisque ceramic on wood plinth Edition: 17/50 Incised inscription and edition to base: Edition Picasso / Madoura Ceramic: 11.25” H x 3.375” W x 3.25” D; Overall: 12” H x 4.375” W x 3.75” D $2,000-4,000 Literature: Alan Ramie 536

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Joan Miró

(1893-1983) “Gaudi IV,” 1979 Etching and aquatint in colors on Arches paper Edition: 20/50 (there were also 15 hors commerce impressions numbered in Roman numerals) Signed and numbered in pencil in the lower margin: Miró; Maeght Éditeur, Paris, pub. Plate: 15.75” H x 15.5” W; Sheet: 25.875” H x 19.75” W $7,000-9,000 Provenance: Estate of Robert Baron, Huntington Beach, CA Literature: Dupin 1063

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After Joan Miró

(1893-1983) “Le Sourire aux ailes flamboyantes,” 1954 Lithograph in colors on Arches paper Edition: 276/400 Signed, dated, and numbered in pencil in the lower margin: Miró 1954; Maeght Éditeur, Paris, pub.; possible framing notes in pencil, verso Image: 13.75” H x 18.125” W; Sheet: 19.125” H x 25.625” W $3,000-5,000 Literature: Maeght 1705

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Jean Arp

(1886-1966) Untitled, 1966 Screenprint in colors on Arches paper Edition: 97/150 Signed and numbered in pencil in the lower margin: Arp Image: 16.25” H x 14.75” W; Sheet: 25.5” H x 19.625” W $600-800 Provenance: University of St. Gallen, Switzerland Sold: Bendis Auctioneers, Costa Mesa, CA, R.T.C. Art Auction, July 18, 1990 Estate of Robert Baron, Huntington Beach, CA Notes: This lot is accompanied by a sales receipt and note dated July 18, 1990, and other documentation materials from the auction mentioned above.

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Marc Chagall

(1887-1985) “Le Pierrot,” 1968 Etching on Japon nacre paper Edition: 20/50 (there were also 50 with the addition of color aquatint) Signed and numbered in pencil in the lower margin: Marc Chagall; Editions Gerald Cramer, Geneva, pub. Plate: 24” H x 17.5” W; Sheet: 29.75” H x 21.875” W $3,000-5,000 Provenance: The Graphic Encounter, Huntington Beach, CA Estate of Robert Baron, Huntington Beach, CA, acquired from the above, March 1980 Literature: Cramer 34 Notes: This lot is accompanied by a certificate of authenticity signed and dated on March 24, 1980 by the director of the gallery mentioned above, as well as other documents related to its acquisition during February and March of that year. 48

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Marc Chagall

(1887-1985) “Bouquet sur la ville,” 1983 Lithograph in colors on Arches paper Edition: 30/50 Signed and numbered in pencil in the lower margin: Marc Chagall Image: 18.5” H x 12.5” W; Sheet: 25.75” H x 18.5” W $2,000-4,000 Literature: Mourlot 1009

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Salvador Dalí (1904-1989)

Salvador Dalí, the renowned Spanish Surrealist, is c beyond painting into the realm of printmaking. Thr disseminate his surrealist visions to a broader audie engravings. His prints often mirrored the dreamlike psychoanalysis. Dalí’s print work remains a significa that defined his unique vision.

celebrated for his eccentric imagination and striking visual language that extended far hroughout his prolific career, Dalí embraced printmaking as a way to explore and ence, producing hundreds of technically sophisticated etchings, lithographs, and wood e, symbolic world found in his paintings, drawing on themes of religion, mythology, and ant part of his artistic legacy, blending fine craftsmanship with the bold, bizarre imagery

Salvador Dalí

(1904-1989) “Symphony Bicyclette,” 1970 Lithograph in colors on BFK Rives paper Edition: 85/200 (plus 20 unverified proofs) Signed and numbered in pencil in the lower margin: Dalí Image: 30” H x 22” W; Sheet: 35.25” H x 25.5” W $8,000-12,000 Provenance: Private collection, Orange County, CA Literature: Field 70-4 Notes: Dalí composed “Symphony Bicyclette” in 1970, as a tribute to his friend Harpo Marx. In the surrealist composition, musicians, most prominently a harpist, play on the prow of a ship sailing into a sea of cyclists as it heads toward the sunset and a wall of dancing flames. The visual wordplay of the central “harpist” represents Marx as well as the longstanding friendship and hijinks between the two men, dating back to their 1936 meeting in Paris. Dalí first encountered Marx at a Parisian party, where the Surrealist comic was in the midst of performance art, standing naked in a garden surrounded by harps. The following Christmas, Dalí sent Marx a gift of a full-sized harp that had been wrapped in cellophane with spoons replacing tuning knobs, cutlery glued on the frame, and strings made of barbed wire. In reply, Marx sent Dalí a photo of himself playing the harp, his fingers wrapped in bandages. “Symphony Bicyclette” is at once a deeply personal reflection of friendship while also exhibiting the humorous absurdity unique to Dalí and indicative of his best work.

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Salvador Dalí

(1904-1989) “Torero Noir,” 1969 Lithograph on BFK Rives paper Edition: 126/150 (the total edition was 225 plus proofs) Signed and numbered in pencil in the lower margin: Dalí; Wolfensberger, Zürich, prntr.; Jean Schneider, Basel, pub. Image: 24.625” H x 18.75” W; Sheet: 29.5” H x 21.75” W $1,500-2,500 Provenance: Private collection, Orange County, CA Literature: Michler/Löpsinger 1257; Field 69-1

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Salvador Dalí

(1904-1989) “Pisum Sensuale,” from “Flora Dalinae (FlorDalí),” 1968 Photolithograph in colors with engraved remarques and color pochoir on Rives paper Edition: 97/200 (the total edition was 408) Signed and numbered in pencil in the lower margin: Dalí; with the signature and 1967 date printed near the center of the lower plate edge; Jean Schneider, Basel, Switzerland, and Michelle Broutta, Paris, publishers Plate: 23.125” H x 15.25” W; Sheet: 30” H x 22.375” W $1,000-1,500 Provenance: Private collection, Orange County, CA Literature: Field 68-3-I

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Laurel Fyfe (1956-2012)

An art glass desk, late 20th century Unmarked The handkerchief glass with cut out corner for a desk chair 27” H x 54” W x 41” D $800-1,200

Dale Chihuly

(b. 1941) Chinese Red Seafoam Pair, 1995 Glass Etched signature and date to underside of ball: Chihuly / PP95 [Portland Press Edition 1995] 2 pieces Overall: 6.125” H x 10.5” W x 7” D $2,500-3,500 Provenance: The Grace Family Collection, St. Helena, California

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Dale Chihuly

(b. 1941) “Blue Sky Basket Set,” 1990 Glass Smaller element signed and dated: Chihuly / 90 2 pieces Overall: 6.5” H x 15.5” W x 14.75” D $3,000-5,000

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Alexander Calder

(1898-1976) “Balles d’Air” Lithograph in colors on wove paper Edition: 73/75 Signed and numbered in pencil in the lower right and left corners, respectively: Calder Sheet: 22.5” H x 30.25” W $3,000-5,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) “L’espoir du Volubius,” 1973 Lithograph in colors on cream wove paper Edition: 69/100 (aside from the edition of 50 in Roman numerals on Japon paper) Signed and numbered in pencil in the lower right and left corners, respectively: Calder Sheet: 20.5” H x 28.25” W $2,000-3,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate Literature: Maeght Éditeur, “Eaux-Fortes et Lithographies Originales, Derriere Le Miroir Affiches, 1964-1965”

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Alexander Calder

(1898-1976) “Les Scies,” 1965 Lithograph in colors on BFK Rives paper Edition: 3/90 Signed and numbered in pencil in the lower right and left corners, respectively: Calder; Maeght, Paris, pub. Sheet: 22” H x 32” W $2,000-3,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate Literature: Maeght Éditeur , “Eaux-Fortes et Lithographies Originales, Derriere Le Miroir Affiches,” 1964-1965, Calder entry 2

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Alexander Calder

(1898-1976) “Composition aux cercles,” 1975 Lithograph in colors on wove paper Edition: 15/95 Signed and numbered in pencil in the lower right and left corners, respectively: Calder Image/Sheet: 29.5” H x 43.5” W $2,000-3,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) “Triangle et Quadrilatere,” 1973 Lithograph in colors on wove paper Edition: 50/75 Signed and numbered in pencil in the lower margin: Calder Image: 14.5” H x 11.25” W; Sheet: 15” H x 20” W $1,500-2,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) “Autres Têtards,” 1976 Lithograph in colors on wove paper, watermark Maeght Edition: 60/75 Signed and numbered in pencil in the lower right and left corners, respectively: Calder; titled, and dated in pencil verso, possibly in another hand: 1976; Maeght, Paris, pub. Sheet: 22.75” H x 30.75” W $1,000-2,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Piero Fornasetti (1913-1988) “Jerusalem” glass wall panel Printed with gilt highlights, the printed signature lower right: Fornasetti; titled by repute 23.625” H x 35.375” W x 1” D $1,000-2,000

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Walter & Mario Furlan (1931-2018 and b. 1963)

A Murano art glass sculpture from the series ‘Omaggio a Picasso,’ early 21st century Etched signature and title to base: Furlan & Furlan; further marked with applied glass studio seal The molded and cased glass sculpture with applied elements, after Picasso’s images of muse and model Marie-Thérèse Walter, designed by Walter Furlan and constructed by his son, Mario 13.5” H x 12.25” Dia. $1,000-2,000 Provenance: Bisanzio Gallery, Murano, Italy Private Collection, acquired from the above circa 2015 Notes: This lot is accompanied by a CoA from Bisanzio Gallery, dated August 30, 2015, as well as a gallery booklet titled “The Works of Art by Walter Furlan and Leone Panisson” published by Bisanzio Gallery, which includes two images of the item in this lot. Also included is a singlesheet biographical insert about Walter and Mario Furlan, all materials housed in original postal packaging with gallery letterhead.

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Gaetano Pesce (1939-2024)

A ‘Broadway Chair’ for Bernini, circa 1990s Designed 1993 Stamped to the underside: Des Gaetano Pesce / [logo] / Bernini Italy The chair with marbled resin back splat and seat on a stainless-steel frame, raised on rubberized spring feet 29.5” H x 22” W x 16.75” D $2,500-3,000 Notes: Gaetano Pesce was an Italian architect, artist, and designer renowned for his avant-garde approach to design and innovative use of materials. His profound influence on contemporary design has inspired generations of creators since his involvement with the Radical Design movement in Italy during the 1960s. This approach sought to challenge design with unconventional materials and aesthetics. Born in La Spezia, Italy, in 1939, Pesce studied architecture in Venice and traveled, worked, and lived throughout Europe. His contributions across various disciplines are countless. He once remarked, “Art is design, and design is art.” Always pushing the boundaries with materials such as resin, polyurethane foam, and rubber, his work is vibrant, tactile, and playful. Pesce had a prolific career, creating many iconic designs for brands such as Cassina, B&B Italia, and Vitra. While his roots were in Italy, he lived and worked in New York City later in life. The “Broadway Chair” produced by Bernini in the early 1990s, is crafted from polyurethane resin with bright marbled colors. The chair reflects his artistic philosophy of functional objects as works of art. Pesce passed away at the age of 84 on April 3, 2024. His work has been featured in esteemed institutions, including The Museum of Modern Art and The Metropolitan Museum of Art in New York, the Centre Pompidou in Paris, and the Victoria and Albert Museum in London, among others.

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A Seguso Vetri d’Arte art glass coffee table

Circa 1950s Appears unmarked The tubular glass frame joined by a gold-toned metal X-form bracket, surmounted by a glass top Frame: 16.75” H x 30.5” W x 19” D; Glass: 0.5” H x 44.25” W x 28” D $1,000-2,000

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Willy Rizzo (1928-2013)

A pair of table lamps for Lumica, late 20th century Each marked for Lumica, one with sticker to underside The three-light lamps, each with a chromed and gold-toned metal geometric base, surmounted by a squared fabric-lined paper shade, electrified 2 pieces Each lamp: 20.75” H x 6.25” W x 6” D; Each shade: 12” H x 16” W x 16” D $500-700

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Carlo Scarpa (1906-1978)

A suite of blown glassware for Venini, circa 1935 Each unmarked Comprising 18 highball glasses (5.5” H x 2.5” W x 2.125” D) and 3 tumblers (4.5” H x 3.125” W x 2.875” D), each with blue hexagonal rim 21 pieces $800-1,200

A set of four Gucci glass goblets

Late 20th century Each marked: GUCCI / P; box interior marked in gilt: Gucci Each with gilt rim and housed in original box with fitted interior 4 pieces Each goblet: 8.75” H x 4.5” Dia.; Box: 5.25” H x 22.75” W x 11.75” D $300-500

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Cesare Lacca (1913-1978)

A bar cart for Cassina, mid-20th century Unmarked The wood Z-form cart with shaped push bar and glass top above arms for a removeable serving tray, raised on casters 28” H x 34” W x 17.5” D $500-700

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Wayne Thiebaud (1920-2021)

“Wayne told me that once when he had set up his art school. ‘I had to admit that I hadn’t, Wayne rep that perspective thing worked out.’” - Kathan Brow

Wayne Thiebaud was a significant American Conte cakes, pies, and gumball machines, as well as dyna

While widely celebrated for his paintings, Thiebaud his artistic legacy. Beginning in the 1950s, he explo Thiebaud brought his signature use of color and at painted but experimenting with composition and t Point Press, where he first began making etchings Pop Art era.

Thiebaud approached printmaking with the same opportunities of the medium. Through printmaking vision. Many of his prints highlight his fascination w echo his love for classic American commercial imag underscoring his influence not only as a painter of

“Hill Street” features a dramatically heightened an extreme verticality of the composition capture San evoke the luminosity and light in the Bay Area.

s easel on a San Francisco street, a man stopped to watch and asked if he had been to plied. ‘You could spend just a short time in one of those places,’ the man said, ‘and get wn

emporary Pop artist renowned for his vibrant depictions of everyday objects, including amic landscape and cityscape compositions.

d was also a master printmaker whose work in this medium played a significant role in ored various printmaking techniques, including lithography, etching, and aquatint. ttention to light and shadow into his prints, often revisiting the same subjects he texture in new ways. His involvement with prominent print studios including Crown in 1964, helped elevate printmaking as a serious and expressive art form during the

meticulous care as his paintings, yet embraced the unique constraints and g, he was able to explore repetition and variation, qualities already central to his artistic with form and surface, with thick, layered lines and unexpected color juxtapositions that gery. Thiebaud’s prints are now held in major museum collections around the world, American life but also as a significant innovator in 20th-century printmaking.

nd foreshortened view of San Francisco buildings and roads. The spatial abstraction and n Francisco’s precipitous hilly terrain, while the layered color palette and atmospheric sky

Wayne Thiebaud

(1920-2021) “Hill Street,” 1987 Woodcut in colors on Echizen-Mashi Japanese paper Edition: 105/200 (there were also 20 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: Thiebaud 1987; signed with Japanese characters in pencil and with the ink stamp of the printer, Tadashi Toda at Shi-un-do Print Shop, Kyoto, Japan, in the lower margin, at left; Crown Point Press, San Francisco, CA, pub., with their blindstamp in the lower right margin corner Image: 30.125” H x 20.125” W; Sheet: 37.25” H x 24” W $20,000-30,000 Provenance: Estate of Robert Baron, Huntington Beach, CA

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Richard Diebenkorn (1922-1993)

Richard Diebenkorn, an important American artist made significant contributions to the field of printm Park” paintings, Diebenkorn began experimenting workshops of Crown Point Press and Gemini G.E.L explore etching, aquatint, and drypoint, mediums oriented approach to form, color, and spatial tensio

In printmaking, Diebenkorn maintained the same d celebrated for their rich textures, subtle tonal varia often mirrored the formal concerns of his paintings printmaking process enabled new layers of comple own artistic vocabulary but also played a key role in

associated with both the Abstract Expressionist and Bay Area Figurative movements, making throughout his career. Although he is best known for his luminous “Ocean g with printmaking as early as the 1960s. His collaborations with the esteemed L. marked a pivotal evolution in his artistic practice. These ventures allowed him to that complemented his painterly sensibility and allowed for a more intimate, processon.

disciplined yet exploratory spirit that characterized his painting. His prints are ations, and masterful balance between structure and spontaneity. The printed works s, particularly in their emphasis on geometric abstraction and spatial ambiguity, but the exity and refinement. Diebenkorn’s dedication to printmaking not only broadened his in elevating the medium’s status within the American art world of the 20th century.

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Richard Diebenkorn

(1922-1993) “Ochre,” 1983 Woodcut in colors on Mitsumata paper Edition: 38/200 (there were also 20 artist’s proofs) Initialed, dated, and numbered in pencil in the lower margin: RD 83; Tadashi Toda at Shi-un-do Print Shop, Kyoto, Japan, prntr.; Crown Point Press, Oakland, CA, pub., with their blindstamp Image: 25” H x 35.75” W; Sheet: 27.375” H x 38.125” W $20,000-30,000 Provenance: Estate of Robert Baron, Huntington Beach, CA Notes: Diebenkorn visited Kyoto, Japan for the first of two trips in 1983, as a participant in a Crown Point Press program that brought American artists to the country to work with traditional Japanese woodblock printmakers. “Ochre” was the first print he created there, based on a gouache drawing he had previously sent to the printers prior to his arrival. Diebenkorn’s reflection on Japanese woodblock compositional motifs can be seen in the print, particularly the upper right corner and in his use of broad planes of color.

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Richard Diebenkorn

(1922-1993) “Softground Splay” from “Four Softgrounds,” 1982 Etching and drypoint on BFK Rives paper Edition: 24/35 (there were also ten artist’s proofs) Initialed, dated, and numbered in pencil in the lower margin: RD 82; Crown Point Press, Oakland, pub., with their blindstamp in the lower right margin corner; titled on the publisher’s label affixed to the frame’s backing board Plate: 18” H x 24” W; Sheet: 26.375” H x 40.375” W $1,500-2,000 Provenance: Private collection, Tucson, AZ Literature: Nordland 15

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Helen Frankenthaler

(1928-2011) “Deep Sun,” 1983 Etching, engraving, aquatint, spite-bite, mezzotint, and drypoint in colors on St. Armand handmade paper Edition: 27/54 (there were also 16 artist’s proofs) Signed, dated, and numbered in pencil in the lower margin: Frankenthaler ‘83; Tyler Graphics, Ltd., Mount Kisco, New York, pub., with their blindstamp in the lower right margin corner Plate: 23.75” H x 35.75” W; Sheet: 30.125” H x 40.375” W $6,000-8,000 Provenance: The Graphic Encounter, Huntington Beach, CA Estate of Robert Baron, Huntington Beach, CA, acquired from the above Literature: Harrison 119; Tyler 201 Notes: This lot is accompanied by a certificate of authenticity and sales invoice dated January 24, 1985, from the gallery mentioned above.

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Roy Lichtenstein

(1923-1997) “Sandwich and Soda,” from “X + X (Ten Works by Ten Painters)” portfolio, 1964 Screenprint in colors on clear plastic From the edition of 500 Unsigned; Sirocco Screenprinters, New Haven, CT, under the supervision of Ives Sillman, prntr.; The Wadsworth Atheneum, Hartford, CT, pub. Image: 19” H x 23” W; Sheet: 20” H x 24” W $5,000-7,000 Literature: Bianchini 7; Corlett 35; RLCR 944

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Roy Lichtenstein

(1923-1997) “Spray Can,” from “One Cent Life” portfolio, 1963-64 Lithograph in blue on wove paper From the unsigned edition of 2000 (there was also a signed deluxe edition of 60) Unsigned; Maurice Beaudet, Paris, prntr.; E.W. Kornfeld, Bern, Switzerland, pub. Image: 12.625” H x 10.625” W; Sheet: 12.875” H x 10.875” W $1,000-1,500 Literature: Bianchini 3B; Corlett 34; RLCR 816.3

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Sam Francis

(1923-1994) “Senza Titolo III,” 1987 Etching, aquatint, and drypoint in colors on wove paper Edition: 8/76 (there were also 14 artist’s proofs) Signed and numbered in pencil in the lower margin: Sam Francis; Vigna Antoniniana, Rome, prntr.; 2RC Edizioni d’Arte, Rome, pub., with their blindstamp in the lower left margin corner Plate: 35” H x 39.25” W; Sheet: 49.125” H x 53.375” W $3,000-5,000 Provenance: Estate of Robert Baron, Huntington Beach, CA Literature: Lembark I.89; SFE-066

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Carlos Almaráz

(1941-1989) “Echo Park III,” 1990 Screenprint in colors on paper Edition: H.C. 5/5 (aside from the edition of 140) Signed by the artist’s widow, “Elsa Flores Almaráz,” and numbered in pencil in the lower margin; Aztlan Multiples, Los Angeles, CA, and with their blindstamp in the lower left margin corner Image: 37.75” H x 37.5” W; Sheet: 43” H x 41.375” W $2,000-3,000

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Charles Arnoldi

(b. 1946) Untitled, 1986 Monotype in colors on wove paper Signed, dated, and inscribed in pencil in the lower margin, at center: Arnoldi “SM” 7/13/86; dated again and inscribed on the frame’s verso: “GTW-CA-SB-04-#12- 1986” Image: 14” H x 21.25” W; Sheet: 20.25” H x 26.75” W $2,000-3,000 Provenance: Estate of Robert Baron, Huntington Beach, CA

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Lita Albuquerque (b. 1946)

In a career spanning over sixty years, Lita Albuquer be a “Californian artist.” Though she was born in S during the 1970s.

Albuquerque’s return to California occurred in the one of the most significant developments in Califo for individuals living on the West Coast to respond Pop Art, Minimalism, and Color Field painting.

The Light and Space Movement is often characteri materiality. Albuquerque tackles huge concepts lik pigment. In her original works, she applies pigmen results in a painting with a delicate but, more impo Similarly, her print work includes compositions with

Albuquerque’s work grapples with concepts of ete big ideas call for a bigger canvas, which is why ma there is an imprinting on the earth that correspond

rque has produced a body of work that defies many traditional ideas of what it means to Santa Monica, Albuquerque grew up in Tunisia and Paris before resettling in Venice, CA

years following the emergence of the Light and Space Movement, which was arguably ornia’s artistic history. For many artists, the Light and Space Movement was an opportunity d to the aesthetic styles that began prevailing in New York City during the 1960s - namely,

ized by works created with an attention to the relational aesthetic between light and ke time and space and translates them into ephemeral works of art that often utilize pure nt to the surface of the panel without a binder like oil, acrylic, or resin. This technique ortantly, a non-reflective and far more visceral surface than we see in traditional painting. h complex spatial considerations executed with saturated pigment.

ernity, the infinite expansion of outer space, and humans in relation to the cosmos. Such any of her works are large-scale installations made within the natural landscape. As a result, dingly creates visual maps that can be viewed from above.

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Lita Albuquerque

(b. 1946) “Scarab Island,” 1990 Lithograph in colors on wove paper Edition: A.P. (an artist’s proof aside from the edition of unknown size) Signed, dated, and numbered in pencil in the lower margin: Lita Albuquerque ‘90; with an unidentified blindstamp in the lower right margin corner Image: 19.5” H x 18.75” W”; Sheet: 30” H x 22” W $800-1,200 Provenance: Pasadena Art Alliance, Pasadena, CA, May 1996 Private collection, Pasadena, CA, acquired from the above

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Willem De Kooning

(1904-1997) “Paris Review,” 1979 Offset lithograph in colors on paper A proof aside from the edition of 200 Signed in pencil in the lower margin, at right: de Kooning; The Paris Review, New York, pub. Image: 23” H x 29.25” W; Sheet: 28” H x 34.25” W $5,000-7,000

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Friedensreich Hundertwasser

(1928-2000) “Good Morning City - Bleeding Town,” 1970-71 Screenprint in colors with metallic embossing on Fabriano paper Edition: 4996/10000 Signed, dated, numbered, and indistinctly inscribed in ink in the lower margin: Friedensreich 1970; Studio Quattro, Venice, in cooperation with Lino Coin, prntr.; Dorothea Leonhart, Munich, pub.; with the blindstamp of both the printer and publisher in the lower margin, at center Sight: 33” H x 21.625” W $1,000-1,500 Provenance: The Graphic Encounter, Huntington Beach, CA Estate of Robert Baron, Huntington Beach, CA, acquired from the above Literature: Koschatzky 41 Notes: This lot is accompanied by a certificate of authenticity dated March 5, 1982, and a sales invoice dated March 9, 1982, from the gallery mentioned above. w w w. j o h n m o r a n . c o m

Friedensreich Hundertwasser

(1928-2000) “Night Train” (Variant 5), 1978 Screenprint in colors with metallic collage on Fabriano paper Edition: 257/285 (the total edition is 375, including the XC proofs and collages that are signed and numbered I-XC/XC) Signed, dated, numbered, and indistinctly inscribed in ink in the lower margin, at left: Friedensreich 1978; Claudio Barbato, and Giorgio Verrati, Venice, prntr.; Gruener Janura AG, Glarus, pub. Sheet: 22” H x 28.875” W $800-1,200 Literature: Koschatsky 72

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Friedensreich Hundertwasser

(1928-2000) “Exodus into Space,” from the “Look at it on a Rainy Day (Regentag Portfolio),” 1972 Screenprint in colors on paper Edition: 2601/3000 Signed with the embossed silver signature, and the mechanically-stamped edition number 2601/3000, in the lower margin; Dietz Offizin, Lengmoos, Bavaria, in cooperation with Günter Dietz, prntr.; Ars Viva, Zürich, pub. Image: 16.25” H x 23.25” W; Sight: 18” H x 24.75” W $800-1,200 Literature: Koschatzky 47

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Polia Pillin (1909-1992)

A glazed studio pottery vase, mid-20th century Signed to underside: Pillin Depicting dancing female figures and a bird perched in a tree 13” H x 11” Dia. $600-800 Notes: This lot is accompanied by a folded exhibition advertisement for “The Paintings, Pottery, Poetry and Genius of Polia and Bill Pillin,” at the Tamerin Gallery at the Balinese Shop in Pasadena, CA, December 7-January 25, 1968. Also included is a staple-bound pamphlet copy as well as a folded proof copy the following: Elcanaan, Zeus. “Polia Pillin - Painter and Ceramicist.” Los Angeles: Color Magic Press, 1966

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Betty Davenport Ford (b. 1924)

A glazed terra cotta cat figure, mid/late 20th century Incised signature along base: Betty Davenport Ford 10.75” H x 12.25” W x 8.75” D $1,200-1,500 Provenance: Private collection, Glendora, CA

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Dora De Larios (1933-2018)

A glazed stoneware lion effigy vessel, late 20th/early 21st century Incised to underside: Dora The lion figure with impressed pattern to body 7.25” H x 9.875” W x 6.75” D $800-1,200 Provenance: Private collection, Glendora, CA

Dora De Larios (1933-2018)

A stoneware figural wall sculpture, circa 1965 Unmarked Glazed stoneware 12.5” H x 23” W x 3.5” D $800-1,200 Provenance: Steve Aldana, San Diego, CA Sold: Los Angeles Modern Auctions, Van Nuys, CA, “Design,” November 15, 2023, Lot 153 Private collection, Glendora, CA

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Alexander Calder

(1898-1976) “Le Bateau lavoir,” 1969 Lithograph in colors on wove paper Edition: 72/75 Signed and numbered in pencil in the lower right and left corners, respectively: Calder; Maeght, Paris, pub. Image/Sheet: 21.75” H x 29.625” W $2,000-3,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) “L’Etoile Rouge,” 1976 Lithograph in colors on wove paper Edition: 35/75 Signed and numbered in pencil in the lower right and left corners, respectively: Calder; George J. Goodstadt, Inc., Ridgefield, pub., with their blindstamp lower right Sheet: 29.5” H x 41.5” W $2,000-4,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) “Chevrons Noir sur Rouge et Jaune,” 1960 Lithograph in colors on BFK Rives paper Edition: 14/90 Signed and numbered in pencil in the lower margin: Calder; titled, and dated in pencil in another hand, verso: 1960; Maeght, Paris, pub. Image: 20” H x 29” W; Sheet: 24.375” H x 35.375” W $2,000-3,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate Literature: Maeght 657

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Alexander Calder

(1898-1976) “Oriflammes,” 1969 Lithograph in colors on wove paper Edition: 35/75 Signed and numbered in pencil in the lower right and left corners, respectively: Calder; titled in pencil in another hand verso; Maeght, Paris, pub. Image/Sheet: 29.625” H x 43.25” W $1,000-2,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) “Tempête,” 1970 Lithograph in colors on wove paper Edition: E.A (aside from the edition of 80) Signed, dated, and numbered in pencil along the lower edge: Calder Image/Sheet: 29.5” H x 43” W $1,000-2,000 Provenance: Lodi Art Gallery, Pasadena, CA Property from an Orange County Estate

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Alexander Calder

(1898-1976) One plate, from “The Sacrilege of Alan Kent,” 1976 Aquatint in colors on handmade paper Edition: 13/60 (from the total edition of 200) Signed and numbered in pencil in the lower right and left corners, respectively: Calder; Maeght, Paris, pub. Sheet: 16” H x 17.5” W $1,000-1,500 Provenance: Property from an Orange County Estate

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Charles Hollis Jones (b. 1945)

A California King Lucite bed frame, late 20th century Unmarked The Lucite and chrome steel frame with fabric-lined siding and wall-mounted headboard Overall: 83.75” H x 79.75” W x 89.75” D; Box spring: 74.5” W x 83.25” D; Headboard: 35” H x 75” W x 6.5” D $5,000-7,000

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Gilbert Rohde (1894-1944)

A pair of dressers model 4140 for Herman Miller, mid-20th century Designed circa 1940s Each appears unmarked Each wood cabinet with three drawers featuring white faux leather padded fronts, raised on squared feet 2 pieces Each: 34.5” H x 44.5” W x 19” D $1,000-2,000 Literature: Leslie Piña (preface), “Herman Miller 1940 Catalogue & Supplement: Gilbert Rhode Modern Furniture Design” (Atglen, PA: Schiffer Publishing Ltd, 1998), p. 128

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Gilbert Rohde (1894-1944)

A pair of bedside tables model 4140 for Herman Miller, mid-20th century Designed circa 1940s Each with metal tag to drawer interior: Herman Miller / Furniture Co. / Zeeland...Mich. / Original Rhode Design / Gilbert Rhode / Designer Each wood cabinet with single drawer featuring white faux leather padded front, above a single shelf and raised on squared feet 2 pieces Each: 25.25” H x 18.25” W x 12.75” D $600-800 Literature: Leslie Piña (preface), “Herman Miller 1940 Catalogue & Supplement: Gilbert Rhode Modern Furniture Design” (Atglen, PA: Schiffer Publishing Ltd, 1998), p. 128

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Antonio Citterio and Paulo Nava (b. 1950 & b. 1943)

A ‘Diesis’ coffee table for B&B Italia, late 20th century Designed 1979 With sticker applied to frame: Made in Italy for U.S.A. The Carrara white marble top set on an aluminum and steel base 10.75” H x 74.75” W x 37.25” D $800-1,200

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Davood Roostaei (1959-2023)

“As ‘reality’ couldn’t speak to the complexities of t --Davood Roostaei

Davood Roostaei was a painter of profound origina perception and revelation. Over a career spanning culminating in the invention of Cryptorealism, a co participation. His paintings are not simply seen; the

Born on October 12, 1959, in Malayer, Iran, Roosta 1970s. His early promise was soon interrupted by t his dissident views, he was granted asylum in Germ painting, particularly the visceral intensity of Anselm Penck. But while these artists grappled with histori course: he sought a new visual structure altogethe

In 1986, Roostaei abandoned all conventional tool allowed him to manipulate surface and form with e critic and curator Hervé Lancelin observed that “Hi the body is the vehicle of being-in-the-world.” Lan Deleuze and Guattari,” capturing the fusion of visc

By 1990, he formally introduced Cryptorealism, de archetypes, mythological figures, and political gho observation toward a deeper visual excavation. Pe and fact, individuals and global forces into vortices displaying a similarly endless appetite for energy -

Cryptorealism is not defined by style but by philos the visible and the veiled, are held in tension. Germ “conveys at first glance the impression of being an an art form of enigmatic expression, incorporating future.”

the modern world, the brush couldn’t do what I needed it to do.”

ality whose work redefined the boundaries between abstraction and figuration, g four decades, Roostaei forged a singular path through postwar and contemporary art, omplex visual language rooted in concealment, layered meaning, and active viewer ey are deciphered.

aei began his formal artistic training at the Academy of Fine Arts in Tehran in the late the political upheaval of the Iranian Revolution. After being imprisoned for two years for many in 1984. There, he encountered the dominant postwar currents of European m Kiefer, the existential figuration of Georg Baselitz, and the symbolic systems of A.R. ical trauma through monumentality and semiotic collapse, Roostaei struck a more radical er.

ls and began applying paint exclusively with his hands. This tactile, embodied process extraordinary precision, giving rise to works of exceptional complexity. Luxembourger art His fingers became extensions of his mind, as in Merleau-Ponty’s phenomenology, where ncelin further described Roostaei’s art as if “Pollock and Bacon had a child raised by ceral energy and philosophical depth that defines his work.

erived from the Greek kryptós, meaning “hidden.” These paintings embed psychological osts within layers of abstraction. They invite the viewer to move beyond passive eter Frank, American art critic and curator, described Cryptorealism as swallowing “idea s of paint, conjuring in their density of meaning the very opposite of black holes, but and material, and time.”

sophy. It is a system of seeing, a perceptual matrix in which the known and the unknown, man art historian and critic Hanns Theodor Flemming explained that Cryptorealism n abstract-tachist painting, however at its core has a clear meaning and message. It is g realistic motifs drawn from a wide range of themes - from antiquity to the present and

Davood Roostaei, continued:

Roostaei’s compositions emerge from eccentric angles and viewpoints, often depicting form As American art historian Albert Boime noted, “His work consistently discloses disguised an optical steeplechase. Roostaei’s energetic spatial fields fairly explode with dense imagery an Pollock approach with the Old Masters and popular imagery.” This dynamic interplay create simultaneously historical, psychological, and metaphysical.

After relocating to Los Angeles in 2000, Roostaei’s work expanded in scale, luminosity, and s light, its openness, catalyzed a period of creative intensity, allowing him to further explore th Despite increasing international recognition, he remained deeply independent, working out network of collectors, scholars, and curators drawn to the integrity of his vision.

Roostaei exhibited extensively across Europe, Asia, and North America. His works are held in entered institutional dialogues on contemporary perception, post-figurative painting, and th was marked by institutional recognition, such as exhibitions at the Museum of Contemporar acquisitions by Hamburg City Hall and the Hadassah Medical Center, whose collection explo contexts. His work is also housed in the Obama Presidential Library, underscoring its endurin memory. Roostaei passed away on March 11, 2023, leaving a body of work whose significan

Roostaei’s paintings are recognized not only as feats of technical and conceptual mastery bu the mystery of perception itself. His legacy places him among the most visionary painters. Li history; like Pollock, he redefined the surface; yet he stands apart for his ability to synthesize visibility and concealment into a unified, living form.

ms that metamorphose in the twinkling of an eye. nd reversible imagery that sends the viewer on an nd spattered paint, combining a kind of Jackson es paintings that are both puzzles and portals -

spiritual depth. The Californian environment, its he interplay between form and immateriality. tside commercial trends while steadily building a

n distinguished private collections and have he metaphysical potential of visual art. His career ry Art Beijing and Schloss Reinbek, and ores the healing power of art in civic and medical ng resonance within cultural and historical nce continues to deepen.

ut as philosophical objects, quiet monuments to ike Kiefer and Richter, Roostaei grappled with e East and West, mysticism and modernism,

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Davood Roostaei

(1959-2023) “Perennial Struggles,” 2021 Acrylic on canvas Signed, dated, and with the artist’s initial and device lower left: D (or R) Davood / 2021; titled, dated again, and with the artist’s handprints, verso 36” H x 48” W $40,000-60,000 Provenance: Property from an Important West Coast Collection, acquired directly from the artist Exhibited: Los Angeles, CA, Wonzimer Gallery, “Fields of Dreams: The Paintings of Davood Roostaei,” solo exhibition curated by Peter Frank, September 22-October 2, 2023 Notes: In “Perennial Struggles,” Davood Roostaei distills a lifetime of confrontation, internal, existential, and eternal, into a single searing composition. Beneath a maelstrom of color and texture lies the shadowed theater of the soul, where the artist casts himself as a solitary matador locked in endless combat with the unseen yet ever-present forces that govern human fate. These are not mere bulls, but living symbols of memory, regret, fear, pride; ancient adversaries that return again and again in shifting forms. The painting vibrates with this cyclical violence, its layered surfaces acting as both armor and wound. Roostaei’s battle is not for triumph, but for endurance, for the ability to stand, bloodied but unbowed, in the storm of one’s own becoming. “Perennial Struggles” is more than a title, it is a condition of being. With every flick of the wrist and eruption of pigment, Roostaei renders visible the lifelong, often silent war we each wage within. The duel between who we are and who we pretend to be. Between the calling of the spirit and the seductions of comfort. Between resilience and surrender. This is a work not of abstraction, but of revelation, one that transcends aesthetics to touch something primal in the viewer. It is an invitation to sit with discomfort, to honor the unseen labor of selfhood, and to recognize beauty not in perfection, but in persistence. “Perennial Struggles” is not just a painting to behold; it is a mirror held up to the heroic quiet of every soul unwilling to yield.

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Davood Roostaei

(1959-2023) “Journeys,” 2022 Acrylic on canvas Signed, dated, and with the artist’s initial and device lower left: D (or R) Davood / 2022; dated again, titled, and with the artist’s handprints, verso 24” H x 20” W $20,000-30,000 Provenance: Property from an Important West Coast Collection, acquired directly from the artist Exhibited: Los Angeles, CA, Wonzimer Gallery, “Fields of Dreams: The Paintings of Davood Roostaei,” solo exhibition curated by Peter Frank, September 22-October 2, 2023 Literature: Eric Minh Swenson Art Film, “Davood Roostaei: Painting ‘Journey’s,’” 2022 (https://www.youtube.com/watch?v=X0yZRQDiVEg) Peter Frank, “Davood Roostaei: Hide the Picture to Show It,” Whitehot Magazine, online, January 2023, illustrated (https://whitehotmagazine.com/articles/roostaei-hide-picture-show-it/5639) Notes: In “Journeys,” Davood Roostaei offers a layered meditation on transformation, memory, and self-revelation. Before the surface erupts into color, gesture, and chaos, there lies a composed understructure: the artist rendered as monk, as seeker, as mythmaker. His face appears multiple times, sometimes serene, sometimes fractured, anchoring the painting in a visual and spiritual loop of reincarnation. At its heart lies a Venus-shaped shell cradling a luminous pearl, a powerful emblem of rebirth, feminine genesis, and the sacred emergence of the self from the sea of the unconscious. This is not simply portraiture; it is psychic cartography. Through his tactile, brushless technique, Roostaei summons a raw, gestural language that transcends representation and enters the realm of invocation. “Journeys” stands as a culmination of over forty years of spiritual evolution and artistic daring, embedded with the codes of Cryptorealism - his signature movement that fuses visible and invisible truths. Each layer conceals a deeper one; each form is a memory in motion. This is a painting that breathes, confronts, and transforms. “Journeys” is more than a singular masterwork - it is a living relic of a visionary’s inner odyssey, echoing across time, myth, and matter.

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Robert Motherwell (1915-1991)

Abstract Expressionist Robert Motherwell was k art. Born in 1915, Motherwell became a key fig one of the youngest artists associated with the automatism. His work often reflected themes o literature and philosophy. Among his most icon the late 1940s that he continued to revisit until of war, personal reflections on the fascist-led de of the human spirit.

The “Elegies to the Spanish Republic” series co career. Like the present lithograph, “Elegy Blac and vertical bars against stark white or color ba loss, violence, and mourning associated with th restrained but potent visual vocabulary to evok and prints transcend their origins, offering a uni

known for his deep intellectualism and ability to blend political themes with visual gure in post-war American art, both as a painter, printmaker, and theorist. He was New York School and brought a philosophical and literary depth to abstraction and of existentialism, human struggle, and the impact of war, influenced by his studies in nic contributions is the “Elegies to the Spanish Republic,” a body of work begun in his death in 1991. The series together forms a powerful statement on the tragedy estruction of democracy during the Spanish Civil War, and, ultimately, the endurance

onsists of over 150 paintings and editioned works created throughout Motherwell’s ck Black,” from 1983, works are visually defined by repeated motifs of black ovals ackgrounds, symbolizing Motherwell’s political and emotional response to the he Spanish Civil War. Motherwell described the elegies as “funeral songs,” using a ke grief and resistance. Despite the historical specificity of their title, the paintings niversal meditation on suffering and resilience.

Robert Motherwell

(1915-1991) “Elegy Black Black,” 1983 Lithograph in black and gray on white TGL handmade paper Edition: 74/98 (there were also 14 artist’s proofs numbered in Roman numerals) Signed and numbered in pencil lower right: Motherwell; Tyler Graphics Ltd., Bedford Village, New York, pub., with their blindstamp lower right Image/Sheet: 15.25” H x 37.75” W $12,000-18,000 Provenance: Estate of Robert Baron, Huntington Beach, CA Literature: Belknap 274; Engberg & Banach 309

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Michael Mazur

(1935-2009) Untitled, 1994 Lithograph in colors on wove paper From the edition of unknown size Initialed and dated in pencil lower right: MM 94 Image/Sheet: 22.75” H x 20” W $700-900

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Corita (Sister Mary) Kent

(1918-1986) “You Can Never Lose Me,” 1972 Screenprint in colors on paper From the edition of 260 Signed and numbered “E 260” in pencil along the lower edge: Corita Sight: 18.5” H x 30.75” W $600-800 Literature: Ian Berry, Michael Duncan, editors, “Someday is Now: The Art of Corita Kent,” (Prestel Publishing, 2013), p. 207, another example illustrated Corita Kent archive number 72-19

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Nathan Oliveira

(1928-2010) “Woman State II,” 1971 Lithograph on Arches paper Edition: Trial proof (aside from an edition of unknown size) Signed, titled, dated, and inscribed “trial proof,” all in pencil along the lower edge: N. Oliveira 71; Kenjilo Nanao, prntr., with his blindstamp lower right Image/Sheet: 30.125” H x 22.5” W $500-700 Provenance: Private collection, Tucson, AZ

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Louis Delsarte

(1944-2020) “Unity,” 1995 Offset lithograph in colors on wove paper Edition: P.P. 3/4 Signed, titled, dated “95,” and numbered in pencil along the lower edge: Louis Delsarte Image/Sheet: 29” H x 21.5” W $1,000-1,500

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Friedensreich Hundertwasser

(1928-2000) “Journey II and Travel by Rail,” 1967 Lithograph in colors on wove paper Edition: 198/267 (there were also five unsigned proofs) Signed, dated, numbered, and inscribed in ink along the lower sheet edge: Friedensreich / 1967 / “652” / “Geneve”; Michel Cassé, Paris, prntr.; Galerie Krugier & Cie, and Galerie Georges Moos, Geneva, pub. Sheet: 25.75” H x 19.75” W $800-1,200 Literature: Koschatzky 25

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Friedensreich Hundertwasser

(1928-2000) “Olympische Spiele Munchen 1972” (Olympic Games Munich poster), 1971 Screenprint in colors with embossed metal foil on paper Edition: 2569/3999 (there was also a total of approximately 230 hand-signed impressions numbered in either Arabic or Roman numerals) Unsigned; stamp-numbered in the image, lower left; titled as part of the composition; Dietz Offizin, Lengmoos, Bavaria, in cooperation with Günter Dietz Edition, prntr.; Olympia 1972 GmbH, Munich, pub. Sight: 39.875” H x 24.875” W $700-900 Provenance: The Graphic Encounter, Huntington Beach, CA Estate of Robert Baron, Huntington Beach, CA, acquired from the above, March 1980 Literature: Koschatzky 54 Notes: This lot is accompanied by a certificate of authenticity signed and dated on March 24, 1980 by the director of the gallery mentioned above, as well as other documents related to its acquisition. Hundertwasser once said in regard to this work, “An odd premonition: the drops of blood on the poster I painted before the massacre during the Olympic Games. It is based on my picture 147 The Match of the Century. In the middle of it I painted in the orthodox church which “Father Timofey,” a self-willed, self-proclaimed Russian-orthodox priest, had built in defiance of any building permit right in the middle of where the Olympic Games were to take place. However, the love of the people of Munich prevented the church from being torn down. Several times I visited him and his onion turrets, whose outside covering consisted of shiny tinfoil from chocolate wrappings. I felt my predilection for gold and silver and metal-stamping confirmed. It was a holy feeling.” (Quoted from: “Hundertwasser 1928-2000, Catalogue Raisonné, Vol. 2,” Taschen, Cologne, 2002, pp. 832-833)

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Friedensreich Hundertwasser

(1928-2000) “Good Morning City - Bleeding Town,” 1970-71 Screenprint in colors with metallic embossing on Fabriano paper Edition: 4996/10000 Signed, dated, numbered, and inscribed in ink in the lower margin: Friedensreich “6 Juli 1970, Guidecca”; Studio Quattro, Venice, in cooperation with Lino Coin, prntr.; Dorothea Leonhart, Munich, pub.; with the blindstamp of both the printer and publisher in the lower margin, at center Image: 30” H x 19.5” W (irreg.); Sight: 32.5” H x 21.5” W $600-800 Literature: Koschatsky 41

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Friedensreich Hundertwasser

(1928-2000) “Hundertwasser Homage to Schröder-Sonnenstern,” 1972 Screenprint in colors with metallic embossing on gray-brown wove paper Edition: 2377/4200 (the total edition is 4616, including a signed edition of 416 on white paper) Signed with the embossed metallic signature of the artist and Sonnenstern, and the mechanically-stamped edition number, in the lower margin; Dietz Offizin, Lengmoos, Bavaria, in cooperation with Günter Dietz, prntr.; Ars Viva, Zürich, Switzerland, pub. Image: 33.5” H x 24” W; Sight: 37” H x 26” W $600-800 Literature: Koschatzky 56b

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After Alberto Giacometti (1901-1966)

A lamp modeled after ‘Lampe modèle Ecossais,’ mid/late 20th century Unmarked Painted plaster and metal, the two-light lamp with conical paper shade Lamp: 30” H x 5.25” Dia.; Shade: 9.75” H x 16.5” Dia. $500-700

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Charles-Edouard “Le Corbusier” Jeanneret (1887-1965)

An LC3 Petit Modele sofa, late 20th century Designed 1928 by Le Corbusier, Pierre Jeanneret (1896-1967), and Charlotte Perriand (19031999) One cushion with tag: Made in Italy The three-seater sofa with tubular chrome-plated steel frame and foam cushions upholstered in black leather with cording 27” H x 71.5” W x 28” D $1,000-2,000

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Philip and Kelvin LaVerne (1907-1987 and b. 1937)

A ‘Fragonard Pierced’ coffee table from the ‘Historical Civilizations Series,’ circa 1960s Etched signature to top: Kelvin Philip LaVerne The patinated and pierced bronze table, decorated with gold and copper leaf accents over floral filigree and cloisonné enamel figures below a glass top 17.5” H x 60” W x 24” D $5,000-7,000 Literature: Evan Lobel with Kelvin LaVern, “Alchemy: The Art of Philip and Kelvin LaVerne” (New York: Pointed Leaf Press: 2024), pp. 30 and 85 Notes: The ‘Fragonard Pierced’ Coffee Table is among the most technically demanding and rare designs created by Philip and Kelvin LaVerne, the visionary father-and-son duo who defined their work as “functional art.” Made in the 1960s as part of their Historical Civilizations Series, the table features a patinated bronze and pewter surface meticulously hand-pierced by Kelvin LaVerne. This piercing process produced delicate filigree and openwork, animated with cloisonné enamel and layers of gold and copper leaf beneath an inset glass top. The composition, populated with Asian figures and animals, reveals the LaVernes’ signature blend of Eastern and Western artistic traditions, transforming a utilitarian form into a sculptural narrative. In “Alchemy: The Art of Philip and Kelvin LaVerne” (2024), Kelvin recalls the extraordinary physical toll of producing these tables - cutting each bronze sheet by hand was so arduous that his hands would often be bloodied in the process. This testament to the labor and devotion involved makes the ‘Fragonard Pierced’ design one of the most celebrated works in their oeuvre. The LaVernes pioneered experimental techniques - acid etching, layered patinas, and even burial of metals to achieve unique surface effects - but the hand-pierced works stand apart for their rarity and difficulty. Coming from the collection of Kelvin LaVerne himself, this table exemplifies the duo’s uncompromising commitment to artistry, where innovation, endurance, and vision fused into timeless, collectible design.

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A Paul Smith wool ‘Carnival’ rug

Early 21st century Marked to underside along selvage edges: The Rug Company Hand-knotted Tibetan wool 14’ L x 10’ W $2,000-3,000

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William Katavolos (1924 Ross Littell (1924-2000) &

William Katavolos (1924-2020), Ross Littell (192 1940s, drawn together by a shared belief that m After graduating, they formed a collaborative p mid 1950s.

Each partner brought a distinct voice to the stu teach for decades at Pratt, where he co-directe textiles and furniture for Knoll and Herman Mill in Paris for Raymond Loewy and later led the Lo corporate branding to the celebrated Elna Lotu

For Laverne Originals in New York, the trio desi of Modern Art, earning inclusion in the museum sculptural T-Chair (1952 - 53), now represented Institute of Chicago, Vitra, and the Victoria & Al their clarity of form and material elegance: stee topped Tinos table (model 8-M, 1953) or later r to its most architectural essence while retaining daringness that seems to defy gravity.

These designs were produced by Laverne Orig (1909-2003) and Estelle Laverne (1915-1997). F couple built a reputation for bold, forward-look including the ‘Buttercup,’ ‘Lily,’ and ‘Daffodil.’

Though often conflated, Laverne Originals/Inte Philip (1907-1987) and Kelvin LaVerne (b. 1937) brother - but each studio pursued its own path,

4-2020),

Douglas Kelley (1915-1991)

24-2000), and Douglas Kelley (b. 1928) met as students at Pratt Institute in the late modern design could redefine how people live and interact with their surroundings. practice, known as Katavolos, Littell & Kelley, or KLK from the late 1940s until the

udio. Katavolos, trained as both an architect and industrial designer, went on to ed the Center for Experimental Structures. Littell, raised in Los Angeles, developed ler before establishing his career in Europe. Kelley, also a Pratt graduate, worked ondon design consultancy Lippincott, where he oversaw projects ranging from us sewing machine.

igned furniture, textiles, and dinnerware that quickly caught the eye of the Museum m’s “Good Design” exhibitions of 1953 and 1955. Their most iconic creation is the in the permanent collections of MoMA, the Metropolitan Museum of Art, the Art Albert Museum. Alongside it, they produced a series of dining tables notable for el bases paired with marble, rosewood, or glass tops. Examples such as the marblerosewood designs (model 10-R, c. 1960s) demonstrate their ability to distill furniture g a sense of richness and refinement, celebrated for their lightness and structural

ginals, the firm founded in the late 1930s by husband-and-wife designers Erwine From their New York showroom, renamed Laverne International in the 1950s, the king design, most famously the ‘Invisible Group’ (1957), a suite of acrylic chairs

ernational was entirely separate from the bronze and pewter furniture created by ). The connection between them is purely familial- Erwine Laverne was Philip’s , aesthetic, and clientele.

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William Katavolos (1924-2020), Ross Littell (1924-2000) & Douglas Kelley (b. 1928) A dining table for Laverne Originals, mid-20th century Black granite top raised on chromed steel tubular legs 27” H x 114.5” W x 40.25” D $2,000-3,000

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William Katavolos (1924-2020), Ross Littell (1924-2000) & Douglas Kelley (b. 1928) A set of six ‘T’ chairs for Laverne Originals, mid-20th century Designed 1952 With steel frames and later replaced black leather sling seats 6 pieces Each: 32” H x 23” W x 22.5” D $2,500-3,500

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Alice Baber (1928-1982)

Alice Baber, born in Charleston, Illinois in 1928, Stable Gallery’s “New York Artists’ Sixth Annual Annual’s extensive roster, was shown alongside Elaine de Kooning. While many of the male arti Expressionist movement, Baber, who died at th market at large.

Throughout her career, Baber experimented wi often featured organic forms, flowing lines, and particularly fascinated by the interplay of light a

Speaking of Baber’s work in the San Francisco C made up of broad, lobular shapes that resembl harmonized oil colors, some full and intense, ot the sensitive touch of a pianist...The musical an crowded and compacted...but more often flow receding in depth like the currents and cross-cu

Baber was diagnosed with cancer in the late 19 Her work is held in numerous public collections Art, and the Santa Barbara Museum of Art. Tod the United States and is celebrated for her uniq

, began exhibiting her work in New York City in 1957 when she was included in the l Exhibition.” Baber, as one of the approximately twenty women included on the e Grace Hartigan, Louise Nevelson, Lee Krasner, Mary Abbott, Joan Mitchell, and ists featured in this exhibition have been recognized as key figures of the Abstract he age of fifty-four in 1982, has long been overlooked by museums and the art

ith different mediums, including oil paint, watercolor, and printmaking. Her paintings d translucent layers of color, creating a sense of depth and movement. She was and color, and this became a central theme in her artistic exploration.

Chronicle in 1976, the art critic Thomas Albright noted, “Baber’s abstractions are le rounded beach stones. These become scaffolds for applications of richly thers vaporous and transparent, unified by a softness of surface that resembles nalogy extends to the movement that these forms appear to undergo, sometimes wing and gliding in complex, swirling rhythms and counter-rhythms, advancing and urrents in a pool of water fed by a hidden spring.”

970s and continued to paint until her death on February 2, 1982, in New York City. s, including the Metropolitan Museum of Art, the San Francisco Museum of Modern day, she is recognized as an important figure in the development of abstract art in que and innovative style.

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Alice Baber

(1928-1982) “The Swing and the Bridge,” 1970 Oil on canvas Signed, titled, dated, all twice, and numbered “#359,” on the upper and lower canvas overlaps, verso 38” H x 61” W $50,000-70,000 Provenance: AM Sachs Gallery, New York, NY Private Midwest Institutional Collection

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Frederic Karoly

(1898-1987) Abstract, 1960 Oil on canvas Initialed and dated verso: FK / 8-1960 29” H x 84” W $5,000-7,000

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Billy Al Bengston

(1934-2022) Hawaiian scene, 1980 Watercolor on Arches paper Unsigned; dated in pencil along the lower right corner, verso: 3/10/80 Sheet: 28” H x 20.25” W $2,000-3,000 Provenance: James Corcoran Gallery, Los Angeles, CA Sold: Abell’s Auctions, Commerce, CA, “Abell’s 20th Century Art and Design Part I,” March 9, 2024, Lot 133 Private collection, Glendora, CA Exhibited: Los Angeles, CA, James Corcoran Gallery, “Billy Al Bengston: Current Watercolors,” March 18-May 30, 1980

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Billy Al Bengston

(1934-2022) “Puerto Escondido,” 1977 Watercolor, ink, and pencil on paper Initialed, titled, and dated in pencil lower center: B.A.B. / 1977 20” H x 15” W $1,000-1,500 Provenance: Artist Studio, Venice, CA James Corcoran Gallery, Los Angeles, CA Notes: Pencil notations on the Artist Studio label affixed to the verso of this frame’s backboard indicate that this work was once part of the James Corcoran Gallery inventory: “J.C.G.#12577 / C41.”

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Lawrence Calcagno

(1913-1993) “Edge of Morning III,” 1975 Oil on canvas Signed and dated verso: Calcagno / 1975; signed and dated again, and titled on a partial label affixed to the stretcher bar 52.25” H x 48.25” W $2,000-3,000 Provenance: Carlson Gallery

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Billy Al Bengston

(1934-2022) “Honolulu Watercolor” Watercolor on paper collage Signed, titled, and dated along the lower edge in pencil, partially obscured by the purple pigment: BAB / 1982; titled, and dated again on an artist’s label affixed to the frame’s backing board Sight: 5.125” H x 14.5” W $800-1,200 Provenance: Sold: Los Angeles Modern Auctions, Los Angeles, CA, “20|21 Art: The LA Edition,” November 20, 2024, Lot 114 Private collection, Glendora, CA

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Wolf Kahn (1927-2020)

Wolf Kahn was a German-born American painte expressive freedom of abstraction. Born in Stut studying with Hans Hofmann in New York. Hofm lifelong influence, and Kahn absorbed aspects American landscape painters such as George In mood of the Impressionists, and the bold chrom

Splitting his time between Vermont farm life an vibrant color with simplified depictions of barns boundaries of landscape painting by transform depicting leaves or trees in detail, Kahn dissolv clusters of trees, while softer greens and pinks e

His ability to merge European modernist princip widely celebrated. Today, his paintings are in th American Art, and the Museum of Fine Arts, Bo

ter whose luminous landscapes bridged the traditions of realism and the ttgart, he fled Nazi Germany in 1939 and immigrated to the United States, later mann’s emphasis on color relationships and compositional pull became a of Abstract Expressionism while also admiring the tonal subtlety of 19th-century nness. He drew inspiration from the structural clarity of Cézanne, the atmospheric matic intensity of Matisse and the Color Field painters.

nd the New York art scene, Kahn developed a signature style that combined s, trees, and fields. In “Foliage in a Lemon-Yellow Surround,” Kahn pushes the ming the natural motif of foliage into a radiant and luminous field. Instead of ves forms into hazy shapes and gestures, as violet and lilac patches suggest evoke shifting vegetation.

iples with the American landscape tradition has made his work distinctive and he collections of the Metropolitan Museum of Art, the Whitney Museum of oston, among others.

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Wolf Kahn

(1927-2020) “Foliage in a Lemon-Yellow Surround,” 2004 Oil on canvas Signed lower left: W Kahn; titled, and dated on a gallery label affixed to the frame’s backing paper 26” H x 32” W $20,000-30,000 Provenance: Gerald Melberg Gallery, Charlotte, NC Estate of Gerald L. Cafesjian Sold: Los Angeles Modern Auctions, “Modern Art & Design,” November 18, 2018, Lot 223 Property of a Rancho Mirage Collection, acquired from the above

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111

Robert Natkin

(1930-2010) Untitled, from the “Bath Apollo Series,” 1980 Acrylic on canvas Signed lower right: Natkin; title of the series and date on gallery label affixed to the frame’s backing paper Image/Sheet: 24.25” H x 36” W $2,000-4,000 Provenance: Foremost-McKesson, Inc., San Francisco, CA Ivory Kimpton Gallery, San Francisco, CA Sold: Butterfields, San Francisco, SoMa 7371F, October 10, 2002 Property of a Rancho Mirage Collection, acquired from the above

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112

Anne Grgich

(b. 1961) “Confined to the Margins,” 1993 Paint, collage, and mixed media on a repurposed library book 15 portraits, each signed and titled, most also dated and inscribed with the page number, all in ballpoint ink along the sheet edges: Anne Grgich; all images created on the original book’s bound-in pages; titled by the artist on the notebook paper; in addition to the individual portraits, the book’s original title page has been signed, dated, and enhanced with ink stamps by the artist, and the original library check-out card holder affixed to the book’s inside back cover has also been decorated by the artist with a Mickey Mouse “Dentist-/Bummer” gummed sticker; a folded loose sheet of yellow notebook paper inscribed with the artist’s name, full title of the work, date, and individual page numbers with titles, in the hand of the artist, is stored inside the abovementioned check-out card pouch; the outer covers of the repurposed library book used for this work, originally titled “Coco the Goat,” are collaged, painted, and enhanced with glitter 11 portraits each: 7” H x 4.5” W; 4 portraits each: 9” H x 7” W $1,000-1,500 Notes: The portrait pages are labeled as follows: “Stolen Oranges;” “Create Self Daily;” “Lemons;” “Unexposed to a World of Great Ideas;” “Rrose;” “Wear the Mask;” “Hide Your Eyes;” “That Which Lives After;” “My Condition;” “Understanding Cruelty;” “Thoughts of Love;” “Alarm Bell;” “Law of Memory[?];” “Precious Life;” “Life as Joke”

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113

Judy Chicago

(b. 1939) “Double Clear Handout / Handsoff” from the “Hands” series, 2006 Etching and glass paint on two multi-stage carved glass panels, plus acrylic base With the incised signature and date along the right outer edge of the front panel: Judy Chicago; with the incised title along the front of the acrylic base; the multi-stage glass carving by Ruth and Norm Dobbins, Dobbins Studio, Santa Fe, NM Each glass panel: 18” H x 24” W x 0.5” D; Overall with acrylic base: 21” H x 30” W x 12” D $10,000-15,000 Provenance: LewAllen Contemporary, Santa Fe, NM Exhibited: Santa Fe, NM, LewAllen Contemporary, “Judy Chicago: Chicago in Glass,” November 3 - December 31, 2006 Waterloo, Ontario, Canada, Canadian Clay & Glass Gallery, “Judy Chicago: Chicago in Glass,” September 9 - November 11, 2007 Literature: David Revere McFadden, Introduction, “Judy Chicago: Chicago in Glass” (Santa Fe: LewAllen Contemporary, 2006), p. 17, illustrated Wesley Pulkka, “Judy Chicago puts her hand out for all to see,” “The Albuquerque Journal,” Sunday edition, November 19, 2006, p. F5 Notes: This lot is sold together with a copy of the abovementioned exhibition catalogue, inscribed and signed in ink on the title page: “To Betsy & Richard / With great admiration, / Judy Chicago.” It also includes the gallery’s information sheet about the artist, and a copy of the exhibition review also mentioned above. Judy Chicago is a pioneering artist whose work has significantly shaped the feminist art movement. Born in 1939 in Chicago, Illinois, she became a central figure in challenging the male-dominated art world and advocating for the visibility of women in art. Her career spans decades of groundbreaking work that emphasizes gender, identity, and history, making her one of the most influential artists of the 20th and 21st centuries. Chicago’s artistic journey is deeply intertwined with her feminist ideals. In the 1970s, she and Miriam Schapiro co-founded the Feminist Art Program at California Institute of the Arts, aiming to support and empower women artists. Her best-known work, “The Dinner Party” (1974-1979), is a monumental installation that celebrates women throughout history. Featuring 39 place settings for important women, it reclaims female history and gives women a figurative ‘seat at the table’ of cultural narratives. Beyond “The Dinner Party,” Chicago continued to explore themes of gender and identity through other works, such as the “Birth Project,” which highlighted the female experience of childbirth. Her use of textiles and ceramics, traditionally associated with ‘women’s crafts,’ challenged ideas of high art and further redefined the boundaries of artistic expression. Chicago became interested in the glass medium as part of collaborative works made for the “Holocaust Project: From Darkness Into Light.” She began working with glass artisans in glass etching and casting, and, in 2003, was an Artist in Residence at the Dale Chihuly-founded Pilchuck Glass School near Seattle. In the “Hands” series, cast glass, fused glass, etching, kiln fired painting and other glass mediums are utilized to create artistic and expressive gestural views of hands and lower arms in anatomically accurate and detailed depictions of flesh and bone structure. Chicago’s advocacy for feminist art and her innovative approach to representation have left a lasting legacy. Her work has not only elevated the representation of women in art but also continues to inspire generations of artists to use art as a tool for social change.

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114

After Robert Motherwell (1915-1991)

A ‘Beige Figuration’ woven wool tapestry from Modern Masters Tapestries, Inc., circa 1975 From the edition of unknown size Woven signature to upper margin verso: R. M.; with tag applied verso: Premgal / 100% Wool Pile / Hand Made in India / Mothproofed 8’ 9” H x 6’ 1” W $4,000-6,000 Notes: The wall-hanging tapestry is based on Motherwell’s “Untitled” lithograph contribution to a portfolio titled “Flight,” published by the International Rescue Committee, 1971. This tapestry is woven with rod pockets to upper and lower edges. As such, it can be hung in either orientation according to taste.

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115

Otto Natzler (1908-2007)

A glazed earthenware cylindrical vase form, 1990 Signed and dated to underside: Otto Natzler; with impressed artist’s cipher and inscribed: VIII; archive number: X575 The Copper Crater reduction fired glaze with iridescence 8.5” H x 5.5” Dia. $1,000-2,000 Provenance: Treadway Gallery, Cincinnati, OH Private collection Sold: Wright, Chicago, IL, “Design,” October 24, 2024, Lot 178 Private collection, Glendora, CA

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116

Otto Heino (1915-2009)

A glazed studio pottery vessel, 2003 Incised to underside: Otto / [artist’s cipher] / 03 With oatmeal glaze and slip 9.5” H x 10.625” Dia $300-500 Notes: This lot is accompanied by a business card from Vivika and Otto Heino’s Ojai studio.

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117

John Follis (1923-1994)

An Architectural Pottery bisque earthenware bowl model S-20, mid-20th century Unmarked The footed bowl with flat rim 4.875” H x 10.5” Dia. $1,000-2,000

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118

John Follis (1923-1994)

An Architectural Pottery bisque earthenware planter, circa 1955 Unmarked The ceramic bowl set in a metal tripod base Planter: 8” H x 15.75” Dia.; Stand: 9.5” H x 17” Dia. $700-900 Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA

119

Malcolm Leland (1924-2019)

A ‘Bird’s Mouth’ bisque ceramic vase, mid-20th century Incised to underside: LELAND The vase with conical body tapering to a shaped rim 20.5” H x 4.25” Dia. $700-900

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120

Beatrice “Beato” Wood (1893-1998)

A glazed earthenware vase, mid-20th century Signed to underside: BEATO The globular body with long tapered neck 14.25” H x 10.375” Dia. $3,000-5,000

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Harrison McIntosh (1914-2016)

A Harrison McIntosh stoneware expression is in his studio in Claremont, CA, McIntosh threw a h appreciation for natural forms, spanning a caree

Born In Vallejo, CA to artistically supportive par ceramics class at University of Southern Californ he returned to Los Angeles, where he honed hi School from 1948-1952. This time was meaning summer workshop led by his future wife Margu prove to be his greatest champion and support

Aside from Marguerite, McIntosh also drew a p Japanese potter Shoji Hamada toured the Unit demonstrating the mingei techniques and philo many of his peers, McIntosh took to heart the “ mingei process. McIntosh applied this approac elegant simplicity and subtle perfectionism to e

By the mid-1950s, his ceramics had become sy had grown into a design obsession marketed n such as “House Beautiful” and “Art and Archite George Nelson, and friend Sam Maloof. Locally such venues as the Los Angeles County Fair, Ca Pacific Auditorium including the “California Livi

Throughout his career, his work has been shown Museum, Louis Newman Galleries, and Frank L world including LACMA, the American Craft Mu

nstantly recognizable and timeless, although distinctly Southern Californian. From harmonious aesthetic of clean lines and geometric symmetry together with an er of over 60 years.

rents, the family later moved to Los Angeles, where Harrison took his first nia under instructor Glenn Lukens. After serving in the Army during World War II, his craft under Al King in 1947 and Richard Peterson at the Claremont Graduate gfully punctuated by a Bernard Leach seminar at Mills College in 1950 and a uerite Wildenhain at Pond Farm in Guerneville, CA in 1953. Marguerite would ter, and her love of nature and design was a primary inspiration for his life’s work.

profound inspiration from Japanese mingei ceramics. In the early 1950s, treasured ted States accompanied by Bernard Leach and philosopher Soetsu Yanagi, osophies that date back to the Momoyama period (late 16th century). Like “selflessness” and “spontaneity” that Hamada espoused as core tenets to the ch, removing his ego and the intention of artfulness from his focus, allowing for an emerge.

ynonymous with the California aesthetic, which during the post-World War II era nationwide. His pottery vessels were featured in nationally distributed magazines ecture” alongside international designers like Isamu Noguchi, Peter Voulkos, y, his work was staged in room vignettes that showcased the Modern aesthetic at alifornia Design Shows at the Pasadena Art Museum, and shows held at the Pan ing” show held in 1957, curated in tandem by McIntosh and Maloof.

wn at Los Angeles institutions such as Bullocks Wilshire, Craft and Folk Art Lloyd Gallery. Today, collections of his work can be found in museums around the Museum in New York, the Museum of Fine Arts in Boston, and The Louvre in Paris.

121

Harrison McIntosh

(1914-2016) Egg Form, circa 1982 Glazed stoneware on chromed steel base Stamped with artist’s chop mark on underside of egg: HM, further marked with paper label: Handthrown Stoneware / Harrison McIntosh / Claremont / California; studio sticker numbered: 7434 Egg: 6.5” H x 6.5” W x 6.5” D; Overall: 6.75” H x 8.125” W x 8.125” D $1,200-1,800 Provenance: Sale: Bonhams, Los Angeles, CA, “Modern Design and Art,” July 25, 2024, Lot 198 Private collection, Glendora, CA Literature: c.f. Christy Johnson et al., “Harrison McIntosh: A Timeless Legacy” (Pomona, CA: American Museum of Ceramic Art, 2009), p. 83

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122

Harrison McIntosh (1914-2016)

A glazed stoneware footed bowl, mid-20th century Marked to the underside with potter’s chop mark: HM; further marked with paper label to the underside: Handthrown Stoneware / Harrison McIntosh / Claremont / California With cerulean blue glaze and mishima circles 4.75” H x 5” Dia. $1,000-1,500

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123

A Pre-War Gibson Mastertone banjo

1926 Serial number: 8357-1; with manufacturer’s sticker: Gibson Mastertone Guarantee / Gibson Inc. / Kalamazoo, Mich. The four-string banjo with gilt-metal pot, armrest, and other components, mother of pearl inlay to fretboard and headstock with mother of pearl tuning pegs, and marquetry bordering to resonator 34.5” H x 13.75” W x 4.5” D $1,000-2,000

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Wharton Esherick (1887-1970)

Wharton Esherick is widely regarded as the ‘de movement. Originally trained as a painter and p material but as a medium for artistic expression individuality of materials and the organic poten Esherick laid the groundwork for generations o the organic modernism of Isamu Noguchi.

Among Esherick’s most iconic contributions in d Ingeniously assembled from salvaged hickory to handle locked into grooves with precision, prod refining and producing alternate versions of thi construction into the early 1950s.

Esherick’s connection with the Hedgerow Theat theater in the 1930s, as many of his family mem furniture, and woodcut prints. His work there w Chairs,’ and two spiral staircases. The theatre p decades to come.

Adding a personal dimension to its history, the Hedgerow Theatre. According to family traditio credited the artist as both mentor and inspiratio the piece but also underscores the communal, his workshop into the lives and creative pursuits

Wharton Esherick’s legacy is preserved at the W National Historic Landmark, and his work is held Museum of Art, and the Museum of Fine Arts, B American Modern” (Philadelphia Museum of A foundation of American studio craft.

ean of American studio furniture’ and a pioneering figure in the studio craft printmaker, he turned to wood in the 1920s, treating it not merely as a utilitarian n. His sculptural furniture broke from machine-driven aesthetics, celebrating the ntial of form. With works that seamlessly bridged fine art and functional design, of studio furniture makers, influencing the hand-carved elegance of Sam Maloof and

design are the ‘Hammer Handle Chairs,’ which he crafted between 1938 and 1952. tool handles, the chairs embody both resourcefulness and sculptural rhythm, each ducing a sturdy yet playful form, eventually incorporating woven seats. He continued is chair, reworking the design with variations in the types of wood, form, and overall

ater in Rose Valley, PA, was a key moment in his career. He began working with the mbers and friends were actors and creatives with the company. He created props, were both functional and sculptural such as the ‘Thunder Table.’ The ‘Hammer Handle provided Esherick with a collaborative environment that influenced his work for

present example offered here is reputedly tied directly to Esherick’s circle at on, the chair was given by Esherick to a close friend and actor at the theatre, who on for his later career in homebuilding. This provenance not only enriches the story of generative spirit that defined Esherick’s practice, his influence extending far beyond s of those around him.

Wharton Esherick Museum in Paoli, PA, his former home and studio, now designated a d by major institutions including the Metropolitan Museum of Art, the Philadelphia Boston. Celebrated in exhibitions such as “Wharton Esherick and the Birth of the Art, 2011), his oeuvre affirms a lasting impact as both artist and innovator at the very

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124

Wharton Esherick (1887-1970)

A ‘Hammer Handle’ chair, circa 1938-1952 Unmarked The wood frame with later faux leather seat banding and updated rope cording 32” H x 17.5” W x 19” D $3,000-5,000 Provenance: Gifted by the artist by repute to Christian Karl Flanders Inherited by descent to Annie Flanders Inherited by descent to current owner

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125

Harold Greene (b. 1953)

A Contemporary cantilevered floor lamp, 2014 The lacewood standard issuing a cantilevered arm with hammered copper hardware, one end featuring a handkerchief mottled glass shade over a single light, the other with a stone counterweight, all set in a stone base, electrified Dimensions variable: 55.75” H x 57.5” W x 15” D $600-800 Notes: This lot is accompanied by a copy of a CoA signed by Greene, dated August 26, 2025. https://www.latimes.com/lifestyle/story/2025-08-21/la-harold-greene-soulful-custom-handcrafted-furniture

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126

Harold Greene (b. 1953)

A pair of Contemporary walnut side tables, 2014 The Japanese-style California tables, each with a single drawer and top with a live front edge 2 pieces Each: 15.5” H x 24” W x 16” D $800-1,200 Notes: This lot is accompanied by a copy of a CoA signed by Greene, dated August 26, 2025. https://www.latimes.com/lifestyle/story/2025-08-21/la-harold-greene-soulful-custom-handcraftedfurniture

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127

Harold Greene (b. 1953)

A Contemporary music cabinet, 2017 The Douglas fir cabinet with walnut top and glass doors constructed of two panes sandwiching mulberry paper, each front featuring mounted carved carob wood notes representing the blues song “CC Ryder,” made famous by Big Bill Broonzy, opening to reveal eight Finnish birch plywood sliding drawers, each fitted with adjustable slanted dividers for storing 12” vinyl records 58.75” H x 35.5” W x 27” D $800-1,200 Notes: This lot is accompanied by a copy of a CoA signed by Greene, dated August 26, 2025. https://www.latimes.com/lifestyle/story/2025-08-21/la-harold-greene-soulful-custom-handcrafted-furniture

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128

Harold Greene (b. 1953)

A Contemporary music cabinet, 2017 The Douglas fir cabinet with walnut top and glass doors constructed of two panes sandwiching mulberry paper, each front featuring mounted carved carob wood notes representing the blues song “CC Ryder,” made famous by Big Bill Broonzy, opening to reveal nine Finnish birch plywood sliding drawers, each fitted with adjustable slanted dividers for storing 12” vinyl records 45.5” H x 51” W x 26.75” D $600-800 Notes: This lot is accompanied by a copy of a CoA signed by Greene, dated August 26, 2025. https://www.latimes.com/lifestyle/story/2025-08-21/la-harold-greene-soulful-custom-handcrafted-furniture

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129

Harold Greene (b. 1953)

A Contemporary music cabinet, 2017 The Douglas fir cabinet with walnut top and glass doors constructed of two panes sandwiching mulberry paper, each front featuring mounted carved carob wood notes representing the blues song “CC Ryder,” made famous by Big Bill Broonzy, opening to reveal six Finnish birch plywood sliding drawers, each fitted with adjustable slanted dividers for storing 12”, 7”, and 78 rpm vinyl records 32.375” H x 50.75” W x 25.75” D $600-800 Notes: This lot is accompanied by a copy of a CoA signed by Greene, dated August 26, 2025. https://www.latimes.com/lifestyle/story/2025-08-21/la-harold-greene-soulful-custom-handcrafted-furniture

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130

Larry Bell

(b. 1939) “Ellipse,” 1964 Vaporized aluminum on black Arches paper Signed and dated in pencil along the center of the lower edge: LBell 64 Sheet: 29.5” H x 24” W $4,000-6,000 Provenance: Estate of Robert Baron, Huntington Beach, CA

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131

Ned Evans

(b. 1950) “Dirge,” 1979 Acrylic on canvas Signed, titled, and dated verso: N Evans 1979 48” H x 43” W $800-1,200 Provenance: James Corcoran Gallery, Los Angeles, CA Sold: Butterfield & Butterfield, Los Angeles, CA, “Los Angeles Contemporary Paintings (6543U),” April 24, 1997, Lot 5706 Property of a Rancho Mirage collection, acquired from the above

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132

Karl Albert Kasten

(1916-2010) “Printemps,” 1960 Oil on canvas With the incised signature and date lower right: Kasten / 60; initialed, dated again, and titled, all verso 30” H x 34” W $2,500-3,500

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133

Karl Albert Kasten

(1916-2010) “California Live Oak,” 1967 Oil on canvas Signed, titled, and dated, all verso: Karl Kasten 67 52” H x 48” W $2,000-3,000 Provenance: Estate of Gerald Sauer (the artist’s former dealer)

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134

Robert Watson

(1923-2004) “The Parting,” 1964 Oil on canvas Signed and dated lower right: R Watson 64; titled on a gallery label affixed to the stretcher bar 18” H x 26” W $600-800 Provenance: Maxwell Galleries, San Francisco, CA The Estate of a Prominent San Francisco Family

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135

Adrian Heath

(1920-1992) “Untitled,” 1962 Ink and gouache on paper Signed and dated in pencil lower right: Heath 62; titled on the frame plaque; inscribed in other hands “23/62” in red pencil [followed by a small question mark in graphite] and “Box 8” in pencil, all on the verso of the right sheet corners Image/Sheet: 30” H x 22” W $3,000-5,000

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136

Hamilton Wolf

(1883-1967) “Hunter,” 1944 Oil on Masonite Signed lower right: Wolf; titled in pencil verso; dated by repute 48” H x 35.75” W $3,000-5,000

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137

Rico Lebrun

(1900-1964) Abstract Oil on board Unsigned 24” H x 20” W $2,000-3,000

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Paul Edmund Soldner (1921-2011)

Paul Edmund Soldner was one of the most influen transforming raku into a distinctly American art form unexpected.

Born on April 24, 1921, in Summerfield, Illinois, So before being drafted into the Army during World W and present at the liberation of the Mauthausen co his interest shifted from medicine to the arts. He ea Administration from the University of Colorado, wh Soldner decided to become a potter.

In 1954, he enrolled at the Los Angeles County Art ceramics. Under Voulkos’s mentorship, Soldner ear equipment, developed new pottery wheels, and la producing functional ceramics, but also created mo pottery. After graduation, Soldner accepted a temporary te career at Scripps and the Claremont Graduate Sch showing students that mistakes could lead to new to do it.”

Soldner’s most significant artistic achievement was Leach’s “A Potter’s Book,” he began experimenting the glaze - opened new possibilities. Soldner grad intuitive approach that valued spontaneity and surp expanding the aesthetic vocabulary of clay.

In addition to raku, Soldner pioneered low-temper worldwide, including the Victoria and Albert Muse influential texts such as “Kilns and Their Constructi a vibrant artistic hub.

Soldner’s creativity extended into his personal life. the same sense of adventure that defined his art. H Medal. Paul Soldner’s legacy lies in his fearless pursuit of d students to embrace accidents as opportunities, he courage, and the willingness to play with fire.

ntial ceramicists of the twentieth century, celebrated for his inventive spirit and for m. His life and career embodied curiosity, risk-taking, and a willingness to embrace the

oldner did not initially plan to be an artist. He studied pre-med at Bluffton College in Ohio War II, serving three and a half years as a medic. He was wounded at the Battle of the Bulge oncentration camp, experiences that profoundly shaped his outlook. After the war, arned a bachelo’s degree in Art Education at Bluffton, followed by a master’s in Arts here he was introduced to ceramics by visiting lecturer Katie Horseman. At age thirty-three,

rt Institute and became the first student of Peter Voulkos, a revolutionary force in American rned his MFA in 1956 and began a lifelong commitment to innovation. He modified studio aunched “Soldner Pottery Equipment.” Unlike many of Voulkos’s students, he continued onumental “floor pots” that rose to eight or nine feet tall, merging painting, sculpture, and

eaching role at Scripps College in Claremont, California, which grew into a thirty-seven-year hool. He became known as an inspiring teacher who encouraged experimentation, often discoveries. “The most difficult thing to teach is curiosity,” he said, “the next is the courage

s his transformation of the Japanese firing technique raku. Initially inspired by Bernard ng in 1960. A fortunate accident - dropping a hot vessel into leaves that ignited and smoked dually redefined raku, shifting it away from the Japanese tea ceremony and toward a playful, rprise. His “American Raku” emphasized risk, discovery, and the beauty of chance, greatly

rature salt firing and sculptural pedestal pieces. His works entered major collections eum, the Los Angeles County Museum of Art, and the Smithsonian Institution. He wrote ion” (1965), and helped found the Anderson Ranch Arts Center in Colorado, which remains

He built homes and hot tubs, crafted jewelry, cultivated bonsai, and made wine, living with His contributions earned him numerous honors, including the Aileen Osborn Webb Gold

discovery. By transforming raku into an American tradition and teaching generations of e reshaped modern ceramics. His life reminds us that true creativity comes from curiosity,

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138

Paul Edmund Soldner

(1921-2011) Untitled Pedestal Piece, 1998 Woodfired stoneware Impressed near the base with artist’s chopmark 20.75” H x 25.5” W x 18.75” D $3,000-5,000 Provenance: Frank Lloyd Gallery, Santa Monica, CA Private Collection, acquired from the above, March 18, 2000 Exhibited: Santa Monica, CA, Frank Lloyd Gallery, March 2000 Pomona, CA, American Museum of Ceramic Art, “Inferno: The Ceramic Art of Paul Soldner,” September 11-December 11, 2004 Notes: This lot is accompanied by a photographic copy of the purchase receipt from Frank Lloyd Gallery as well as the loan documents from American Museum of Ceramic Art.

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139

Paul Edmund Soldner

(1921-2011) Untitled Pedestal Piece, 1985 Earthenware on iron base Unmarked Ceramic: 22.125” H x 24.75” W x 6.75” D; Overall: 23.75” H $3,000-5,000 Provenance: Frank Lloyd Gallery, Santa Monica, CA Private Collection, acquired from the above, March 18, 2000 Exhibited: Santa Monica, CA, Frank Lloyd Gallery, March 2000 Pomona, CA, American Museum of Ceramic Art, “Inferno: The Ceramic Art of Paul Soldner,” September 11-December 11, 2004 Notes: This lot is accompanied by a photographic copy of the purchase receipt from Frank Lloyd Gallery as well as the loan documents from American Museum of Ceramic Art.

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Peter Volkous (1924-2022)

Peter Voulkos was an American artist and sculpt with abstract expressionism, fundamentally resh Montana State University and later earned an M Greek heritage and the rugged landscapes of M

In the 1950s, Voulkos emerged as a key figure in an expressive art form. He developed a unique ways that defied traditional techniques. He work evoked the energy of abstract expressionist pain in the mid-20th-century avant-garde movement

Voulkos founded influential ceramics programs University of California, Berkeley, where he inspi fellowships from the Guggenheim Foundation a collections around the world, recognized for the continues to shape contemporary ceramics, insp

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tor, renowned for his revolutionary work in ceramics that fused elements of traditional pottery haping the field. Born in Bozeman, Montana, Voulkos initially studied painting and ceramics at MFA in ceramics from the California College of the Arts. His early influences were shaped by his Montana, which inspired his bold approach to texture and form.

n the West Coast art scene, pioneering a shift from ceramics as functional ware to ceramics as style that combined spontaneity and aggression, often tearing, gouging, and layering clay in ked with large-scale forms, often stacking, cutting, and perforating his pieces in a way that nting. This approach broke the norms of the ceramic medium, making him a celebrated figure t.

at the Los Angeles County Art Institute (now Otis College of Art and Design) and later at the ired generations of artists. His contributions earned him numerous accolades, including and the National Endowment for the Arts. Today, Voulkos’s works are held in major museum eir raw energy and their challenge to the boundaries between art and craft. His legacy piring artists to push the limits of materials and process.

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140

Peter Voulkos

(1924-2002) Untitled tea bowl, (CR703.5-G), 1973 Glazed stoneware Signed and dated on the underside: Voulkos 73 5.5” H x 8” W x 7.5” D $2,000-4,000 Provenance: Composer and art dealer Robert Aichele, gifted by the artist Sold: Clars Auctions, Oakland, CA, “Summer Modern + Contemporary Art + Design Auction,” June 15, 2023, Lot 5006 Private collection, Glendora, CA Exhibited: Sacramento, CA, University Library Gallery, California State University, “CA Clay,” September 2-November 12, 2005, Brochure featuring the collection of Bob Aichele Pomona, CA, American Museum of Ceramic Art, “Peter Voulkos: Echoes of the Japanese Aesthetic,” November 12, 2005-February 4, 2006 Pleasant Hill, CA, Diablo Valley College, “Voulkos 101: A Survey Exhibition,” January 26-March 19, 2009 Petaluma, CA,, Petaluma Arts Center, “Clay (&c): Featuring the Art of Peter Voulkos and the California Clay Movement,” February 15-March 22, 2020

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141

Rudy Autio (1926-2007)

A glazed stoneware vessel, 1979 With incised signature and date: Autio / 79 11.25” H x 12.75” W x 9.25” D $1,000-1,500 Provenance: The Artist Greenwich House Pottery, New York, NY Sale: Rago, Lambertville, NJ, “Post War and Contemporary Ceramics,” February 19, 2025, Lot 119 Private collection, Glendora, CA

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142

Rudy Autio (1926-2007)

A slab stoneware vessel, late 20th century Unsigned 12” H x 9” W x 7” D $1,000-1,500 Provenance: Estate of Northwest potter Bill Sage, gifted from the artist Sale: MBA Seattle Auction, Seattle, WA, “Holiday Luxuries & Fine Arts from the Northwest,” December 5, 2024, Lot 212 Private collection, Glendora, CA

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Ara Tevkantz (1956-2021)

Ara Tevkantz was a prominent avant-garde artist of Armeni artistic genius blossomed in the first decades of the twenty

Tevkantz was born in 1956 in Yerevan into a family of intelle was a famous dynasty of prominent educators, church lead

Tevkantz belonged to the generation of young Armenian a official ideological control of the so-called “Social Realism” As a result of this upheaval, a young generation of talented artists had the freedom to choose their creative path, and T

He was intoxicated by the freedom to create and to experi that every human is the manifestation of the Higher Creato convey the higher Truth of human eternal unity within the d

This was the artist’s fundamental existential belief system, o and projection of the images of my soul. And it is the only w

Young and talented, Tevkantz was in search of his own way His call was to express through visual art, the idea of Cosm His manifesto was too radical for some in cultural establishm avant-garde masters of the West. Tevkantz was highly influe and acknowledged them as his teachers.

In early 1990s Tevkantz immigrated to the US to have a full master his artistic genius. He was able to make his innovativ an audience willing to share the vital energy of his art and e

Living in the US, Tevkantz was able to freely experiment an human existence. He succeeded in mastering his quest to p

Tevkantz participated in several collective and private exhib collections throughout the country. Tevkantz passed away i

We are grateful to Dr. Mariam Gregory for her contribution

ian origin. He was one of the pioneers of the avant-garde movement in Armenia in the 1980s, although his y-first century in the US.

ectuals, and he received his higher education in visual art at the Yerevan State Academy of Art. His family ders, and writers. That fact has undoubtedly left a noticeable imprint on his artistic personality.

artists of the 1970s and 80s who made cultural upheaval in Armenian art possible, which overthrew the ” art movement imposed by the Soviets for more than half a century. d artists appeared on the scene, creating a new artistic landscape open to diverse movements. Young Tevkantz was one of them.

iment, to break boundaries, to express his spiritual and existential philosophy. For him, the basic truth was or, the Divine Universe. Tevkantz believed that the artist had the responsibility and the mission to freely divine Universe.

operating both in his personal life and his creative work. He wrote in his diary: “My art is the adaptation to way for the human existence, because the life itself is THE ART.”

ys of expressing the avant-garde movement to establish himself in this new artistic landscape of Armenia. mic Eternal Unity with all that exists in the world, which reveals itself through human Higher Self-Creativity. ment of Armenia, and his search for means of diverse expression led him to broader explorations of the enced by Joan Miró and Willem de Kooning, and later in his career, he paid tribute to their great legacy

l creative freedom to express his spiritual quest through his art. In the US, the prolific artist was able to ive ideas attainable. Passionate energy of Enlightened Love energy transmuted into his canvas, attracting enabling them to be part of the Ultimate Union with Love and Light of the Universe through his artworks.

nd not be rejected. In the US he had full freedoms to express his ideas about the higher mission of art in prove that the visual art can be the Way of coming closer with the Eternal Unity Here on earth.

bitions in private galleries including in Miami, Los Angeles, Detroit, and Boston. His works are in private in 2021 in Los Angeles.

n of this essay.

143

Ara Tevkantz

(1956-2021) “Golden Rain” Oil on canvas Signed lower right: A. Tevkantz; titled by repute 33” H x 41.25” W $2,000-3,000 Provenance: Estate of the artist

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144

Ara Tevkantz

(1956-2021) “Guest,” 2009 Acrylic, gouache, and metallic pigments on thick cardstock paper Signed lower right: A. Tevkantz; dated and inscribed “gold silv./ univ.” in pencil verso: ‘09; titled by repute Sheet: 22” H x 28.25” W $1,200-1,800 Provenance: Estate of the artist

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145

Astor Milan Salcedo

(b. 1969) “Two Sides of the Story - Part 6” (Diptych) Two oils on canvas (framed together) With the artist’s incised “X” device in the lower right corner of the right canvas; titled by repute Each canvas: 43.25” H x 19.5” W; Overall: 43.25” H x 39.5” W $800-1,200

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146

Astor Milan Salcedo

(b. 1969) “Herakles and Nemea” Oil on canvas With the artist’s “X” device lower right; signed again and titled, verso 47.25” H x 47.25” W $800-1,200

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147

Purvis Young

(1943-2010) City Scene with figures and vehicles Oil on canvas laid to panel Signed lower left: Young 45.5” H x 55.5” W $2,000-3,000

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148

Michael Young

(b. 1952) Abstract composition, 1987 Ink, sand, and earth on black paper Appears unsigned; titled twice on gallery labels affixed to the frame’s backing board Sight: 71” H x 65” W $1,000-1,500 Provenance: Blum Helman Gallery Inc., Los Angeles, CA Private collection, Malibu, CA

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149

Alec Monopoly

(b. 1986) Nude figure with butterfly wings Acrylic on linen Signed lower left: Alec 73.5” H x 119.5” W $3,000-5,000 Notes: It is possible that this lot is either a study for or is based upon the artist’s undated, 56” H x 72” W, multicolored acrylic on canvas known as “Angel.”

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150

Alec Monopoly

(b. 1986) Crash Acrylic and newspaper collage on canvas Unsigned 20” H x 16” W $2,000-3,000

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152

Charles Sherman

(b. 1947) “Mobius Ring - Love Is a Verb” Pigmented ceramic Unmarked 17.75” H x 18” W x 4.5” D $600-800

151

Ricky Maldonado (b. 1953)

Four dot-glaze adorned pottery vessels, early 21st century Larger vase with impressed signature: Rick A. Maldonado; smaller vase signed: Maldonado, charger signed and dated: Maldonado / 2003; cup signed: RAM Comprising a vase from the ‘Kaleidoscope Series’ with bulbous body and flared neck, a vase with a tapered neck, a handled cup, and a charger 4 pieces Larger vase: 15.75” H x 10” Dia.; Charger: 16” Dia.; Cup: 3.5” H x 6.875” W x 5.125” D $1,000-2,000

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153

Patrick Shia Crabb

(b. 1947) Totem Pigmented and glazed ceramic and cement Signed and inscribed to underside: P Crabb / #1305 3 pieces Overall: 67.5” H x 9” W x 8” D; Largest segment (torso): 37.7” H $500-800

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Wang Guangyi (b. 1957)

Wang Guangyi is a prominent contemporary Chine 1980s when China was undergoing vast political, s

Wang was born in 1957 in Harbin, China, into a wo influenced by Western philosophy and Classicism. promoted the concept of “Rational Painting,” an a emotion. In contrast to the expressive styles of man Pole” and “Post-Classical,” are austere depictions latter series’ imagery.

His 1989 series of five paintings, “Mao Zedong: Re images of Mao superimposed with English letters o decades-long exploration of socialist iconography

The artist’s iconic “Great Criticism” series further p Pop Art and consumer brand logos and icons. Ofte 1980s), Wang’s compositions create visual collision 1990s and early 2000s, the series juxtaposes propa global brands like Coca-Cola, Nike, and Pepsi. In t suggesting that both rely on simplified messages a on the rapid transformation of Chinese society in th mirrored, by the forces of globalization and capital

Throughout his career, Wang has maintained a crit on how meaning is constructed through repetition the mechanisms of control and persuasion behind contemporary art scene, representing a generation

ese artist best known for his role in the Political Pop art movement that emerged in the late social, and cultural changes.

orking-class family, and trained at the Zhejiang Academy of Fine Arts, where he was deeply . After graduating in 1984, Wang was a founding member of the Northern Art Group that analytical approach to artmaking known for a geometric visual language stripped of human any of his contemporary painters, Wang’s series from this period, including “Frozen North of geometric compositions, with Western Classical masterpieces appropriated into the

ed Grid,” was the first time Wang received international acclaim. Appropriating iconic on a red grid, this series is considered Wang’s first Political Pop artworks and began a set against consumer culture.

politicized his imagery with juxtapositions of Chinese Communist propaganda with Western en compared to Andy Warhol or Robert Rauschenberg (both artists visited China in the ns between Communist ideologies and Capitalism and Globalization. Created in the aganda-style figures, often modeled after Cultural Revolution-era posters, with logos of these works, Wang exposes the parallels between political propaganda and advertising, and emotional manipulation to exert control. The series serves as a powerful commentary the post-Mao era, reflecting on how ideological fervor has been replaced, or perhaps lism.

tical stance on the use of imagery and mass communication. His art invites viewers to reflect n and symbolism. By appropriating familiar visuals and altering their contexts, Wang exposes both state and corporate messaging. Today, he remains a vital voice in the global n of Chinese artists who challenge and redefine cultural narratives.

154

Wang Guangyi

(b. 1957) “Warhol” Oil on canvas Signed and dated on a poster affixed to the frame’s backing paper: Wang Guang Yi / 2011; also variously inscribed in Chinese characters, presumably including the artist’s name, and with sketches of wine bottles, all on the same poster as already mentioned; titled as part of the image 26” H x 22” W $20,000-30,000 Provenance: The artist The Grace Family Collection, St. Helena, California

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155

Wang Guangyi

(b. 1957) “Grace Family,” 2004 Oil on canvas Signed and dated, verso: 2004 / Wang Guang Yi; also inscribed in Chinese characters, presumably the artist’s name, verso; titled as part of the image 29.75” H x 39.75” W $20,000-30,000 Provenance: The artist The Grace Family Collection, St. Helena, California Notes: A photograph of the artist dining with the consignor is attached to the stretcher.

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156 Gade

(b. 1971) Modern thangka, 2009 Acrylic and metallic pigment on paper Signed in Tibetan, dated, and with the artist’s fingerprint in pigment, lower right: Gade 2009 Sheet: 9” H x 31.25” W $2,000-3,000 Provenance: The artist The Grace Family Collection, St. Helena, California

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157 Gade

(b. 1971) Skeleton and animals riding a tiger’s back Acrylic and metallic pigment on canvas Signed in Tibetan lower right: Gade 14.875” H x 12” W $1,000-1,500 Provenance: The artist The Grace Family Collection, St. Helena, California

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158 Jin Li

(b. 1958) “Summer Scene” Watercolor and ink on cream Japan paper laid to tissue-thin laid Japan paper Signed with Chinese characters in ink along the left edge: Jin Li; with the artist’s red ink chopmark lower right; titled with Chinese characters in ink along the upper edge; three unidentified red ink chopmarks along the left edge Image/Sheet: 13.75” H x 23.125” W; Support Sheet: 15” H x 24.5” W $2,000-3,000 Provenance: The artist The Grace Family Collection, St. Helena, California

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159 Jin Li

(b. 1958) “Spring comes to New York, looking back at Manhattan” Watercolor and ink on laid Japan paper laid to tissue-thin laid Japan paper Signed and titled with Chinese characters in ink and with the artist’s red ink chopmark, lower right: Jin Li Image/Sheet: 14.75” H x 17” W; Support sheet: 16.75” H x 19” W $2,000-3,000 Provenance: The artist The Grace Family Collection, St. Helena, California

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160 Jin Li

(b. 1958) Two seated figures Watercolor and ink on laid paper laid to foamcore Signed with Chinese characters in ink near the center of the right edge: Li; also with a red ink chopmark in the same area; inscribed with Chinese characters in ink along the upper edge Sheet: 14.875” H x 17” W $2,000-3,000 Provenance: The artist The Grace Family Collection, St. Helena, California

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161

Wanxin Zhang

(b. 1961) “Seeking Battle Companions,” 2010 Glazed sculpted ceramic and pigment Impressed signature and date verso: ZHANG; incised titled and signature to front torso; incised verso: Here are my best comrade-in-arms friends; further inscribed with Chinese characters throughout 26.25” H x 10.25” W x 9” D $1,500-2,500 Provenance: The artist The Grace Family Collection, St. Helena, California

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162

Charles and Ray Eames (1907-1978 and 1912-1988)

A pair of ebonized DCW molded plywood side chairs for Herman Miller, 2nd generation (1951-1957) Designed 1946 One with foil label to underside: Charles Eames design / Herman Miller-zeeland-michigan; the other with sticker ghost and each incised: DCW Each with molded veneered plywood body with rubber shock mounts, set on two U-form legs with aluminum glides/feet, the underside screws in 5-2-4 formation 2 pieces Each: 28.75” H x 19.5” W x 21.25” D $700-900

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Charles and Ray Eame (1907-1978 and 1912-1988)

During the early years of WWII, Charles Eames (19 already beginning to experiment with the molded to follow. In their own studio, they built the Kazam! them to manipulate the form. These methods wou commercial designers.

Before the splint’s redesign, medical officers in the discomfort, sometimes even worsening the casualt Navy Reserves, recognized the problem and set ab the Eameses to apply their techniques with molde

Having secured a contract, the Plyformed Wood C prototype on Charles’s own leg, but quickly realize they teamed up with Evans Products, who absorbe meet the demands of the contract. Together, they

The splint’s brilliant design was remarkably lightwe on either leg without extra padding, and there wer wood grains alternated at right angles meant that would allow Charles and Ray to turn their playful id

“The details are details. They make the product. Th give the product its life.” - Charles Eames

After the war, Charles and Ray shifted their focus a But the Eames splint will always stand as a symbol working with Evans and the access they then had t distributed to a new post-war generation.

907-1978) was designing sets at MGM studios, but he and his wife Ray (1912-1988) were plywood processes that would become a signature of their furniture design in the decades m! machine, which applied heat and pressure to stacks of glued wood veneer, allowing uld eventually be used to help save lives on the battlefield and to launch their careers as

e field were using metal splints that proved problematic, clunky, and added to the patient’s ties sustained in combat. Wendell G. Scott, who was a Lieutenant Commander in the US bout finding someone who could design a better model. So, in 1942, Scott commissioned ed plywood and deliver a solution.

Company was founded by Charles and others including Harry Bertoia. They based the first ed they didn’t have access to enough materials or labor to produce the splints at scale. So, ed the Plyformed Wood Company and provided the workforce and wood necessary to were able to produce an estimated 150,000 splints during the war.

eight and easy to transport because they stacked neatly into each other. They could be used re slots for bandages to secure the leg. Additionally, stacking the wood plies so that the they would not warp. It is this level of meticulousness in process and construction that deas into sturdy, practical, and lasting pieces of furniture.

The connections, the connections, the connections. It will in the end be these details that

and poured their boundless creativity into designing the furniture we now know them for. of their ingenuity, creative problem solving, and perfectionism. The whole experience of to materials certainly provided a solid jumping off point for their designs to be widely

163

Charles and Ray Eames (1907-1978 and 1912-1988)

A pair of Molded Plywood Leg Splints by Evans Products Company with box, 1943 Designed 1941-1942 Each marked to original sticker: 1 Splint / Leg . Plywood / For Transportation / Stock No. S2-1790 / [Evans logo] / Manufactured by Evan Products Company / Molded Plywood Division / Los Angeles . California; box marked with matching stock number The molded plywood splints, each wrapped in original paper packaging and with original box 2 pieces Each: 42” L x 8” W x 4” D; Box: 42.75” L x 8.5” W x 8.5” D $600-800 Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA

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164

Charles and Ray Eames (1907-1978 and 1912-1988)

A DTW-4 table for Herman Miller, 1950-1957 Designed 1950 With an ash plywood and birch top, tapered lacquered wood legs, and aluminum joints 29” H x 34” W x 34” D $600-800 Provenance: Sold: Wright Auctions, Chicago, IL, “Eames Design: the JF Chen Collection,” September 10, 2015, lot 154 Literature: John Neuhart, Marilyn Neuhart, and Ray Eames, “Eames Design: The Work of the Office of Charles and Ray Eames,” (London: Thames & Hudson, 1989), p. 147 The Herman Miller Collection, manufacturer’s catalog, 1952, p. 111

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165

Charles and Ray Eames (1907-1978 and 1912-1988)

Two ‘Shell Armchairs’ for Herman Miller, 4th generation (1959-1993) Designed 1948 Each unmarked Each elephant grey fiberglass chair shell raised on two enameled tubular steel U-form legs joined in an H-stretcher with rubber shock mounts and plastic feet 2 pieces Each: 31.5” H x 24.75” W x 23.75” D $600-800 Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA

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Josh Agle (aka SHAG) (b. 1962)

Josh Agle, born on August 31, 1962, known pr distinctive style that captures the essence of mi and playful characters, SHAG has become an ic

Growing up in Southern California, SHAG deve 1960s. His artistic journey began during his chil visual culture of the time. These early experienc

In the late 1980s, SHAG attended the California studies allowed him to refine his skills and expe During this time, he also started exhibiting his w approach to art.

It was in the early 1990s that SHAG began to e modern design, Tiki culture, cocktail lounges, a glamorous and whimsical settings, exuding an a SHAG’s art transports viewers into a retro-futuri

)

rofessionally as Shag (stylized as SHAG), is a contemporary artist widely known for his id-century modernism and retro pop culture. With his vibrant colors, bold designs, con in the world of modern art.

eloped a deep appreciation for the architecture, design, and fashion of the 1950s and ldhood, where he would spend countless hours drawing and immersing himself in the ces would later shape his artistic vision and inspire his signature style.

a State University, Fullerton, where he studied both illustration and fine art. His eriment with different mediums, including painting, printmaking, and sculpture. work in local galleries and art shows, slowly gaining recognition for his unique

establish his distinct style, drawing inspiration from Palm Springs culture, mid-century and vintage advertising. He created a universe of characters, often depicted in air of sophistication and mystery. With his masterful use of flat colors and sharp lines, istic world that feels simultaneously nostalgic and contemporary.

166

Josh Agle (aka SHAG)

(b. 1962) “Doctor Scorpio’s Lair” Acrylic on panel Signed lower right: SHAG; titled on a gallery label affixed to the frame’s backing paper 19” H x 48” W $8,000-12,000

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167

Josh Agle (aka SHAG)

(b. 1962) “The Wages of Sin” Acrylic on board Signed lower right: SHAG; titled in pencil on the frame’s backing paper 20” H x 33” W $6,000-8,000

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168

Josh Agle (aka SHAG)

(b. 1962) “The Old Crow” Acrylic on panel Signed lower right: SHAG; titled by repute 15” H x 24” W $5,000-7,000

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169

Tim Biskup

(b. 1967) “Super-Giant Helper,” 2006 Acrylic on fiberglass Edition: 6/23 Overall: 90” H; Main body without arms: 73.5” H x 31” Dia.; Each leg: 41” H x 19” W x 8.5” D $2,000-3,000 Provenance: Mendenhall Sobieski Gallery, Pasadena, CA Private Collection, acquired from the above, July 26, 2005

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170

Florence Knoll (1917-2019)

A teak triple-chest dresser, mid-20th century Appears unmarked Comprising three 3-drawer consoles, each console upper drawer with five partitions, middle drawer with two partitions, and lower drawer open, set on a chromed steel base Overall: 28.75” H x 109.5” W x 19.5” D; Each console: 23.25” H x 36.75” W $2,500-3,500

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171

Ib Kofod-Larsen (1921-2003)

A pair of ‘Picket Back’ lounge chairs for Selig, circa 1960s Each with inset tag: Made and Finished / in Denmark / Imported by Selig The walnut frames with four-slatted backs and canvas webbing seats, each with later fabric upholstered foam seat and tufted seatback cushions 2 pieces Each: 32” H x 30” W x 30” D $1,000-2,000

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172

A Daniel Gluck Brutalist metal coffee table

Circa 1970s Appears unmarked With glass top Base: 14.5” H x 53.5” W x 27.25” D; Glass: 0.625” H x 59.75” W x 36” D $1,000-2,000

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173

Eero Saarinen (1910-1916)

A pair of ‘Womb’ chairs and an ottoman for Knoll, Circa 1990s Designed 1948 Each unmarked The scoop back chairs with flared armrests, cushioned at the seat and seatback, set on a chromed steel rod frame, en suite with conforming ottoman 3 pieces Each chair: 35.5” H x 41” W x 37” D; Ottoman: 15.75” H x 24.5” W x 21” D $1,000-1,500

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Warren Platner (1919-2006)

Known primarily for his iconic 1960s modern would find his way into the world of interior University, he went on to work under I.M. Pe Foundation headquarters to critical acclaim. Tower Place mall in Chicago (1976), the inter renovation of the Pan Am building (1986).

The furniture he designed for Knoll, howeve Recognized for their sleek and simple silhou engineering feat of functional comfort. Relea ways they did their welding. Today, they live

nist contribution to the Knoll furniture collection, Warren Platner (1919-2006) design by way of architecture. Born in Baltimore and graduating from Cornell ei, Eero Saarinen, and Kevin Roche, where he designed the interior of the Ford . Later projects include the Georg Jensen Design Center (1968), the Water rior of the Windows on the World restaurant in New York (1976), and a later

er, would be his most enduring entry into the canon of modern design. uettes, his pieces embody a quiet exuberance, both aesthetically versatile and an ased in 1966, his nickel-plated steel wire designs forced Knoll to change the e on as true modernist classics that work seamlessly in almost any interior.

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174

Warren Platner (1919-2006)

A coffee table for Knoll, late 20th/early 21st century Designed 1966 The flared steel wire base surmounted by a circular beveled glass top Base: 15” H x 29.75” Dia.; Glass: 36” Dia. $500-700

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Edith Baumann-Hudso (b. 1948)

Santa Monica based American abstract pain abstractions with layered textures that create imperfection.

Baumann-Hudson was born in Ames, Iowa a completed her M.F.A. in painting at the Univ

Baumann-Hudson creates richly layered grou hand-ground raw pigments, Baumann-Huds ethereal lines to finish the composition. Toge black outlining that speak visually to notions human gesture.

Baumann-Hudson has had numerous solo ex Modernism galleries, San Francisco (late 198 Angeles (2018, 2020), and Franklin Parrasch and museum exhibitions, including at the La

nter Edith Baumann-Hudson’s work is characterized by vibrant geometric e a meditative precision and exploration into the balance of structure and subtle

and earned her B.F.A. in 1975 from the University of California, Los Angeles. She versity of Southern California in 1985.

und and finely applied pigment through a rigorous process. Beginning with son then applies multiple thin layers of color, and overlays delicate, almost ether these components create a dynamic tension between bold color and s of control and spontaneity, stillness and motion, and rigorous formality versus

exhibitions including at Newspace, Los Angeles (1987, 1988), Rena Bransten and 80s - 1990s), Beatrix Wilhelm Gallery, Stuttgart (1993), Parrasch Heijnen, Los Gallery in New York (2021, 2023). She has also been featured in group gallery aguna Art Museum and Martin Museum of Art at Baylor University.

175

Edith Baumann-Hudson

(b. 1948) Yellow circle composition, 1991 Acrylic on canvas Signed and dated verso: Edith Baumann-Hudson / 1991 52” H x 52” W $4,000-6,000 Provenance: Private collection, Malibu, CA

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176

Edith Baumann-Hudson

(b. 1948) “Pale Gray #6, 1986,” 1986 Acrylic on canvas Signed on the stretcher bar: Edith; titled, and dated on a gallery label affixed to the stretcher bar 73.5” H x 60” W $4,000-6,000 Provenance: Newspace, Los Angeles, CA Private collection, Malibu, CA Exhibited: Los Angeles, CA, Newspace, “Solo Exhibition,” 1987

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177

Edith Baumann-Hudson

(b. 1948) “Black/2 Red #3, 1988,” 1988 Acrylic on canvas Signed and dated in pencil verso: Edith Baumann-Hudson / 1988; titled on a gallery label affixed to the stretcher bar 75” H x 75” W $4,000-6,000 Provenance: Newspace, Los Angeles, CA Private collection, Malibu, CA Exhibited: Santa Barbara, CA, University of California, Santa Barbara, “Abstraction in Focus,” 1988

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178

Dale Chihuly

(b. 1941) Venetian vases Acrylic on wove paper Signed along the lower edge: Chihuly Image/Sheet: 30” H x 22.25” W $2,500-3,500

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179

Dale Chihuly

(b. 1941) Japanese flowers Acrylic and glitter on paper Signed along the lower edge: Chihuly Image/Sheet: 21.75” H x 14” W $2,500-3,500

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180

Dorr Bothwell

(1902-2000) “Love,” 1988 Acrylic and collage on canvasboard Signed and dated lower right: Bothwell ‘88; titled, and dated “1965” in another hand in blue ink on a label affixed verso 18” H x 14.125” W $1,000-1,500 Provenance: Petaluma Collection

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181

Mary Ann Corse

(b. 1945) Untitled tile, 1979 Gunmetal glazed ceramic and fiberglass Signed and dated verso: Mary Corse 16.75” H x 16.75” W x 1” D $4,000-6,000 Provenance: Private collection, Malibu, CA

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182

Mary Ann Corse

(b. 1945) Untitled tile Glazed ceramic and fiberglass Unsigned 16.375” H x 16.375” W x 1” D $3,000-5,000 Provenance: Private collection, Malibu, CA

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183

Raymond Pettibon

(b. 1957) “Goddamn Hippies” Ink and graphite on paper, and acrylic with Xerox paper mounted to paper Signed lower right: Pettibon, titled in the composition Sheet: 24” H x 18” W $2,000-3,000 Notes: The two Xerox sheets and acrylic additions on the verso likely added by artist Eric Wesley.

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184

Ena Swansea

(b. 1966) “Garry Hill,” 2005 Oil and graphite on linen Signed, titled, dated, and inscribed, all verso: Ena Swansea / 2005 / “for Chara” 92” H x 76” W $2,000-4,000 Provenance: The Chara Schreyer Collection Notes: This lot is accompanied by a Plexiglas box-frame cover and wood backing to frame the work.

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Babak Emanuel (b. 1966)

Babak Emanuel has always believed that art mo that are visually immediate and rationally inexp cognizant of art history, remained faithful to tho limitations of “Being” for him as an artist.

Babak begins his work with “concrete visions” a guides him through recondite and mysterious p synchronize in a cohesive expression. Emanuel scrutinized by adherence to a standard. He aim

Babak also wants the viewer to take these stran desires and experiences. Just as the artist’s own social, historical and cultural narratives. Yet thro reasoning.

Fascinated by the interplay of accidents and rea Always, entropy stands face to face with cohere

Emanuel is deeply engaged with techniques an Photography, print-making, painting, sculpture purpose of “Being.”

oves beyond the narrow confines of language and explores indescribable dimensions plicable. In response to the conceptual demands of today’s art, Emanuel has, while ose visions and morphologies that emotionally have defined the purpose and

and yet does not work with an end in sight. The emotional language of his vision pathways. He works on several paintings at once and allows for multiple impulses to makes forms for form’s sake and chooses not to have his works understood or to be ms for them to be seen for their own power, awaken senses, and envision new vistas.

nds and create their own personal narratives. Art is often interwoven with the viewer’s n aesthetic preferences are determined by their feelings formed in the crucible of ough all of this, Emanuel is guided by the unconscious forces that often lie beyond

ason, Babak Emanuel’s art pits rules and order against chaos and the unexpected. ent arrangements and their confrontations, though tragic, are meaningful.

nd media. They are vehicles of his emotional yearnings and explorations. and digital technology all facilitate his desires and the quest for meaning and the

185

Babak Emanuel

(b. 1966) “Point of Passage (I, II, and III)” (triptych) Each: Plaster, collage, ink on canvas Each signed and titled in pencil with the respective roman numeral of each section, all verso: Babak Emanuel First and third section each: 22” H x 22” W; Second section: 22” H x 59.5” W; Overall: 22” H x 103.5” W $2,000-3,000 Provenance: The artist Notes: While considering history, the life and passage of Don Quixote crossing paths with William Shakespeare unveils contrast in their vantage points and contests. While cognizant of the paths they took, what they share is their passing at their Point of Passage. In the present work, the two symbolic images of William Shakespeare and Don Quixote are re-connected by their combined date of death (23/4/1616), marked on a central tombstone.

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186

Babak Emanuel

(b. 1966) “Becoming” Mixed media on canvas Signed verso: Babak Emanuel; titled by repute 64” H x 57” W $3,000-5,000 Provenance: The artist

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187

Babak Emanuel

(b. 1966) Untitled I, from the “Concrete Series” Wax and candle wick on wood panel Signed verso: B Emanuel 50” H x 42” W x 3.5” D $2,000-3,000 Provenance: The artist Notes: The “Concrete” series reflects on the art era that was introduced and created by Robert Rauschenberg which depicted on raw and neutral state and finish of the work.

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188

Babak Emanuel

(b. 1966) Untitled II, from the “Concrete Series” Encaustic and mixed media on wood panel Signed verso: B Emanuel 50” H x 42” W $2,000-3,000 Provenance: The artist Notes: The “Concrete” series reflects on the art era that was introduced and created by Robert Rauschenberg which depicted on raw and neutral state and finish of the work.

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189

Mark Verabioff

(b. 1963) Untitled, 2007 Mixed media on lined notebook paper Signed and dated in red ink verso: Mark 2007 Image/Sheet: 9.75” H x 7.25” W $500-700

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190

Mark Verabioff

(b. 1963) Untitled, 2007 Mixed media on lined notebook paper Signed and dated in red ink verso: Mark 2007 Image/Sheet: 9.75” H x 7.25” W $500-700

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191

Lawrence Weiner

(1942-2021) “How It Went,” 1988 Pencil and ink on thin paper Initialed and dated in pencil lower left: L.W. 88; dated again and titled on a gallery label affixed to the frame’s backing board Sheet: 16.5” H x 23.5” W $1,200-1,800 Provenance: The artist Burnett Miller Gallery, Los Angeles, CA, acquired from the above, late 1990 Exhibited: Los Angeles, CA, Burnett Miller Gallery, circa 1990s

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192

Lawrence Weiner

(1942-2021) “Small,” 1988 Pencil and ink on thin paper Initialed, dated, and indistinctly inscribed in ink lower right: L.W. / 88; dated again and titled on a gallery label affixed to the frame’s backing board Sheet: 16.5” H x 23.375” W $1,200-1,800 Provenance: The artist Burnett Miller Gallery, Los Angeles, CA, acquired from the above, late 1990 Exhibited: Los Angeles, CA, Burnett Miller Gallery, circa 1990s

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193

Cindy Sherman

(b.1954) “Untitled (for Parkett 29),” 1991 Printed silk, padded, in gilded wood frame, as issued Edition: 97/100 (there were also 20 numbered in Roman numerals) Signed in blue ballpoint ink and numbered in black felt-tip ink on the artist’s label affixed to the frame’s backing paper: Cindy Sherman; Parkett Publishers, Zürich and New York, pub. 8.25” H x 6.75” W $1,000-1,500 Literature: Bice Curiger, ed., “Parkett No. 29, Collaboration: John Baldessari and Cindy Sherman” (Zürich: Parkett-Verlag, 1991), another example illustrated Notes: This lot is sold together with a Parkett publications postcard reproducing the image, a note handwritten by the previous owner relating to its purchase, and a later gray board storage box with ink notations, presumably by the same owner. 2 9 0 A r t + D e s i g n l Tu e s d a y, Se p te mb e r 3 0 , 2 0 2 5

194

Minoru and Echiko Ohira (b. 1950 and b. 1949)

Box of nails, 2004 Copper, wood cigar box, and mixed media Signed and dated to underside: Minoru Echiko Ohira; dated and with the artists’ names on the mounted plate: MINORU OHIRA / EG[sic]HIKO OHIRA 2.125” H x 11” W x 9” D $300-500

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Rebecca Horn (1944-2024)

Rebecca Horn was a German artist whose body and drawing. Horn’s work often aligned with Bo Surrealism, and Romanticism. Her practice is ro

Emerging in the early 1970s, she became prom transformed the human form into a site of poet experience: after a period of illness and isolatio perception, and environment. Her breakthroug into space, turning movement into drawing, se performance artists like Marina Abramovic and

By the 1980s, Horn transitioned into creating co Anarchy” (1990), a grand piano suspended ups objects with a haunting theatricality. Similarly, “ a simple thermometer to poetically measure em gesture.

“Thermomètre d’Amour,” or “Love Thermome thermometer, crafted from glass and filled with causes the liquid to rise within the glass tube. T between the human body and mechanical obje between emotional and physical states. The us and vitality, reinforcing the theme of love and e

Throughout her career, she has exhibited widel Documenta, and major institutions such as the the prestigious Kaiserring award in Germany.

y of work spanned many fields including performance, sculpture, installation, film, ody Art, Kinetic Art, and Conceptual Art, and incorporates elements of Dada, ooted in an engagement with the body: its limits, vulnerabilities, and extensions.

minent through a series of visceral body-sculptures and performances that tic, often mechanical, transformation. Horn’s early work was born out of personal on in her twenties, she began to explore the body’s relationship to confinement, gh works, such as “Finger Gloves” (1972) or “Pencil Mask” (1972), extended the body ensation into choreography. These early pieces placed her in close dialogue with Bruce Nauman, though Horn’s approach remained uniquely lyrical and metaphorical.

omplex kinetic sculptures and immersive installations. Works like “Concert for side down that periodically explodes into chaos, showcase her ability to animate “Thermomètre d’Amour” (1985), created for the Luna Luna art amusement park, uses motional temperature, fusing science, sensuality, and interactivity in a deeply human

eter” (as it is named in current exhibitions of Luna, Luna), resembles a traditional h a vivid blood-red liquid. When a participant holds the thermometer, their body heat This limited-edition sculpture exemplifies Horn’s fascination with the interplay ects. By requiring physical contact, the artwork emphasizes the intimate connection se of red liquid not only mimics the appearance of blood but also symbolizes passion emotional intensity.

ly, including at the Venice Biennale (where she represented Germany in 1980), Tate, MoMA, and Centre Pompidou. In 1992, she became the first woman to receive

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Rebecca Horn

(1944-2024) “Thermomètre d’Amour,” 1985 Glass and fluid in lined leather case Edition: 9/20 Signed, dated, and numbered to case interior: Rebecca Horn; embossed title to case exterior Glass: 30” L x 2” Dia.; Case: 31.5” L x 3” Dia. $1,000-1,500 Provenance: Private collection, Pasadena, CA

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196

Antonio Citterio (b. 1950)

A ‘Grand Relax’ lounge chair and ottoman for Vitra, 2019 Each with Vitra label to base underside The leather reclining swivel chair set on a polished cast aluminum four-legged base, with conforming ottoman 2 pieces Chair: 39.5” H x 27.25” W x 33” D; Ottoman: 15” H x 24” W x 24” D $1,500-2,000

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197

Antonio Citterio (b. 1950)

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198

199

A table after the ‘Barcelona’ table for Knoll Studio, late 20th/early 21st century Designed 1929 Unmarked Stainless steel X-form table with square glass top Frame: 15.25” H x 27.5” W x 27.5” D; Glass: 1” H x 42” W x 42” D

Late 20th ce Each unmark Each with bl the ottoman so desired 2 pieces Bench: 15.5

After Ludwig Mies van der Rohe (1886-1969)

$300-500

A Georges

$600-800

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s Adrien Tigien bench and ottoman set

entury ked lack lacquered wood frame with synthetic cording and patchwork leather cushions, n with small locking mechanism that can be implemented to tether to the bench if

5” H x 54.5” W x 27” D; Ottoman: 15.5” H 18.5” W x 27” D

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200

Lisa Johansson-Pape (1907-1989)

A ‘Mushroom’ glass table lamp for Orno Oy, circa 1960s With sticker applied to base: Hand blown glass / Made in Italy The frosted glass lamp with single light, electrified 17” H x 10” Dia. $400-600 Literature: Charlotte and Peter Fiell. “1000 Lights.” (Cologne, Germany: Taschen, 2005), pg. 302

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201

Loet Vanderveen

(1921-2015) “African Rhino” Patinated and polished bronze Edition: 163/500 Incised signature and number to underside: Loet © 5.5” H x 10.625” W x 3.75” D $500-700 Notes: This lot is accompanied by a CoA from Coda Gallery, Palm Desert , CA, dated January 9, 2006.

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202

A glazed studio pottery soup crock and bowls

Mid-20th century Each impressed with yet to be known artist’s chop mark Comprising a soup pot with pour spout and opposed lug handles, and four individual soup cups with handles 6 pieces Crock: 6.75” H x 14.75” W x 11.75” D; Each cup: 2.625” H x 5.125” W x 4.625” D approximately $300-500

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203

Stig Lindberg (1916-1982)

Two studio pottery vases, mid-20th century Each incised with artists cipher and signed: Stig L Comprising an ovular cylinder form with two ribs and blue glaze, and a brown-glazed form with flared rim 2 pieces Taller: 7” H x 4.375” W x 3.625” D; Shorter: 5.5” H x 6.125” W x 4” D $400-600

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204

Gábor Török

(b. 1952) “Cosi Fan Tutte,” 2017 Patinated bronze on steel base Edition: 1/9 Numbered to base, with foundry mark Bronze: 29.25” H x 15” W x 14” D; Overall: 29.875” H $800-1,200

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205

Elijah David Herschler

(b. 1940) Ribbon sculpture Chromed metal Signed: © Elijah David Herschler 41.75” H x 6” Dia. approximately $400-600

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206

Giuseppe Palumbo

(b. 1958) “The Edge,” 2011 Patinated bronze Edition: 6/50 Signed, dated, and numbered to one side: Giuseppe 14.375” H x 8.625” W x 3.125” D $3,000-5,000 Provenance: The artist The Grace Family Collection, St. Helena, California

207

David Pryor Adickes

(1927-2025) Flowing scarf Patinated bronze on wood plinth Signed in the casting: Adickes Bronze: 23.75” H x 7.75” W x 4.5” D; Overall: 25.75” H x 9.375” W x 8” D $800-1,200

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208

Stanton Segner

(1966-1997) Ghostrider motorcycle sculpture, 1991 Welded nickel, motorcycle chain, headlight, and mixed metal media, electrified Signed and dated in solder to one side: S Segner 10-1-91 78” H x 150” W x 36” D $2,000-4,000 Provenance: Sold: Abell Auction, Commerce, CA, “Celebrity Collector’s Auction,” December 3, 2011, Lot 109

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James Michalopoulos (b. 1951)

James Michalopoulos is celebrated for his vibra seemingly pulse with energy and movement. B and moved to New Orleans.

While primarily considered self-taught, Michalo Academy of Fine Arts and also observed other paintings in the French Quarter evolved into a s exaggerated perspectives, and fluid, textured b art has become iconic, reflecting the charm, my

Known best for his architectural and street scen of jazz musicians and cultural icons, which celeb official artist of the New Orleans Jazz & Heritag In addition to painting, Michalopoulos has expl France. Yet, it is his artistic contribution to New and a historical record of one of America’s most

ant, expressionistic portrayals of New Orleans architecture, culture, and music that Born in Pittsburgh, Pennsylvania, Michalopoulos graduated from Bowdoin College

opoulos attended art classes at the University of New Orleans and the New Orleans local artists working in Jackson Square. His early work as a street artist selling successful career marked by a distinctive style, characterized by bold colors, brushwork, that captures the soul and energy of New Orleans. Over the decades, his ystery, and resilience of the city he calls home.

nes, Michalopoulos has also gained recognition for his dynamic still lifes and portraits brate the spirit of New Orleans through sound and motion. He has served as the ge Festival six times, and his works have been featured in galleries around the world. lored sculpture and even ventured into winemaking with his estate in Burgundy, Orleans that remains most enduring - his canvases serve as both a visual love letter st historic cities.

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209

James Michalopoulos

(b. 1951) Garden District cottage, New Orleans, 1998 Oil on canvas Signed lower right: Michalopoulos; signed again and dated “1998” verso; with the artist’s label affixed verso 40” H x 30” W $6,000-8,000

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210

Willem Wim van Aken

(1933-2015) “Metropool,” 2003 Oil on canvas Signed and dated lower right: W. van Aken. 03; titled from the literature reference mentioned below 35.5” H x 24” W $1,500-2,000 Literature: C. Denninger, “Wim van Aken: Schilder Van Klassieke Schoonheid,” (Uitgeverij Thoth: Bussum, Netherlands, 2008) p. 123, illustrated Notes: This lot is accompanied by a copy of the book mentioned above.

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211

James Michalopoulos

(b. 1951) Still life with fruit and wine, 1998 Oil on canvas Signed lower left: Michalopoulos; signed again and dated “1998” verso; with the artist’s label affixed verso 48” H x 36” W $6,000-8,000

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Tarmo Pasto (1906-1986)

Tarmo Pasto, a noted psychologist and art prof lifetime. Born in Estonia in 1906, Pasto immigra Sacramento State College.

As an artist, Pasto’s paintings are known for the that understanding the psychological aspects o reflect his dual fascination with the human psyc working in and around the Sacramento area du Mel Ramos, Wayne Thiebaud, and Jack Ogden Sacramento, CA, which holds examples of Past

In psychology, Pasto is best known for his role i Ramirez. Ramirez was a self-taught Mexican arti institutions. Pasto recognized the unique value attention. This advocacy not only highlighted th emphasized the therapeutic and communicativ

In 1986, four years after a retrospective at the C remained unseen by subsequent generations o psychology. His dual impact on these fields con demonstrates that the boundaries between dis

fessor, was also a prolific painter who frequently exhibited his paintings during his ated to the United States, where he pursued his education and became a professor at

eir expressionistic style, marked by bold colors and dramatic forms. Pasto believed of perception and mental states could deepen the artistic process. Many of his pieces che and visual expression. Furthermore, Pasto was a key figure in a circle of artists uring the post-war period. This loose coalition of artists, which includes figures such as n, is known for exhibiting their work at institutions such as the Crocker Art Museum, to’s work in its permanent collection.

in discovering and promoting the work of the so-called “Outsider” artist Martin ist who created intricate and mesmerizing works while confined in mental health of Ramirez’s art, advocating for its display and helping to bring it to the art world’s he creative potential of those considered “Outsiders” in traditional art circles but also ve potential of art for those experiencing mental illness.

Crocker Art Museum, Tarmo Pasto died and left behind a large body of work that has of viewers. Pasto’s legacy endures as an advocate for the intersection of art and ntinues to influence artists, psychologists, and educators alike, as his work sciplines can be both fluid and enriching.

212

Tarmo Pasto

(1906-1986) Sunflower still life, 1973 Oil on canvas Signed and dated lower right: Tarmo Pasto 73 40” H x 30” W $1,500-2,500 Provenance: Estate of the artist Notes: This work is in a frame hand-painted by the artist. The number 55 is written in ink on a label affixed to the stretcher.

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213

Tarmo Pasto

(1906-1986) “Morning,” 1973 Oil on canvas Signed and dated lower right: Tarmo Pasto 73; titled by repute 53” H x 70” W $1,500-2,500 Provenance: Estate of the artist Notes: This work is in a frame hand-painted by the artist. The number 290 is written in ink on a label affixed to the stretcher.

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214

Tarmo Pasto

(1906-1986) “Evening Sea,” 1972 Oil on canvas Signed and dated lower right: Tarmo 72; titled in pencil on the frame’s verso 30” H x 48” W $1,500-2,500 Provenance: Estate of the artist Notes: This work is in a frame hand-painted by the artist. The number 236 is written in ink on a label affixed to the stretcher.

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215

Hank Pitcher

(b. 1949) “Montecito Cliffs,” 1985 Oil on canvas Signed lower right: H. Pitcher; signed again and dated along the canvas overlap: 1985; titled on a gallery label affixed to the stretcher bar 40” H x 50” W $4,000-6,000 Provenance: A Private Montecito Estate

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216

Victor Czerkas

(1914-2003) “505 Clay St.” (Los Angeles) Oil on canvas Signed along the lower edge, right of center: Czerkas; signed again and titled, possibly in another hand, in pencil on a piece of tape affixed to the stretcher bar, verso 20” H x 30” W $1,000-2,000

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217

Roger Kuntz

(1926-1975) Shoreline Oil on canvas Signed lower right: Kuntz 12” H x 16” W $600-800

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218

Paul Blaine Henrie

(1932-1999) Hawaiian landscape Oil on canvas With the incised signature lower right: Paul Blaine Henrie 24” H x 18” W $400-600

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219

Anthony Redmile (1940-2016)

A pair of ostrich egg boxes, circa 1980s Each marked to the interior liner and finial: redmile London Each silver-plated round box mounted with ostrich egg shards to the side, the ostrich half egg lid mounted with silver-plated trimmings and a malachite finial 2 pieces Each: 6.75” H x 7.25” Dia. $700-900

221

Anthony Redmile (1940-2016)

A pair of ostrich egg goblets, circa 1980s Each marked to the base: redmile London Each egg with metal lining, set on a silver-plated metal bird foot-form base 2 pieces Each: 7.75” H x 6” W x 5.5” D approximately $500-700

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220

Anthony Redmile (1940-2016)

An ostrich egg frog-form trinket box, circa 1980s Unmarked The egg mounted with gilt metal legs, head, and a fitted interior with gold wash, the lid with a malachite finial 7.75” H x 7.625” W x 8.625” D $600-800

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222

In the manner of Anthony Redmile (1940-2016)

A shell-encrusted console table, late 20th century Unmarked The wood table clad in sand and various seashells, the stretcher adorned with faux coral and larger shells 35.5” H x 64.5” W x 22” D $2,000-4,000

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223

A Laneventure ‘Excursion’ armchair

Late 20th/early 21st century With manufacturer’s tag to underside The chair with coral-form open back above red fabric upholstered armrests and seat, raised on fluted tapered legs 38.75” H x 22.75” W x 24.5” D $300-500

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224

A Piero Figura pewter seafood tray for Atena

Late 20th century Impressed to underside: Figura Piero / Per Atena / [sun cipher] / ETAIN 95% The seafood/caviar tray mounted with a mermaid figure depicted reclined on a pile of seashells and coral, raised on scallop shell-form feet 4.625” H x 21.5” W x 15.5” D $300-500

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225

Claude Victor Boeltz (b. 1937)

A gold-plated nickel vide poche, late 20th century Marked in the casting to underside: Made in France / Boeltz / Paris The two-compartment trinket dish featuring a coral-form center mounted with quartz crystals and issuing opposed scallop shell-form dishes 5.125” H x 11.875” W x 4.875” D $200-400

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226

A set of three R & Y Augousti ‘Peacock’ nesting tables

Early 21st Century Each with metal tag to underside: R & Y Augousti / Paris The wood tables in graduated sizes, raised on three tapered legs, comprising two with stingray shagreen top and one snakeskin top 3 pieces Tallest: 23.27” H x 15.25” W x 12” D; Shortest: 19.625” H x 15.75” W x 11.5” D $1,500-2,500

228

Phyllis Morris (1925-1988)

A tassel coffee table, late 20th century Unmarked The glass top supported on gilt-bronze tassel-form legs 17.5” H x 72” W x 36” D $700-900

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227

A Dessin Fournir ‘Camrose’ Side Table

Early 21st century With metal tag applied to underside: DessinFournir / Los Angeles The bamboo-form, hand-wrought, and gilt iron X-frame below an antiqued black lacquered wood oval top decorated with gilt and silvered foliate motifs 27.75” H x 20” W x 10.25”D $1,200-1,800

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229

Joan Savo

(1918-1992) Abstract landscape Oil on canvas Signed lower right: J. Savo; signed again verso 45” H x 43” W $4,000-6,000

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230

Joan Savo

(1918-1992) “Elliptical Painting #24,” circa late 1960s Oil on canvas Signed lower right: J. Savo; signed again (twice) and titled in ink on two exhibition labels affixed verso 37” H x 36.25” W $3,000-5,000 Exhibited: San Francisco, CA, San Francisco Museum of Art Rental Gallery, 1970 Monterey, CA, Monterey Peninsula Museum of Art, 1971

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Gordon Cook (1927-1985)

An active painter, printmaker and educator i Illinois Wesleyan University, earning a B.F.A. and took graduate courses under intaglio pr

At the beginning of his career, Cook focused subjects of singular objects such as a flower, defined by expressive impasto paint applica paint the landscape, particularly solitary build work also included floral still life, nudes, port

in the Bay Area art scene, Gordon Cook was born in Chicago and attended in 1950. He continued his studies at The American Academy of Art in Chicago rintmaker Mauricio Lasansky at the State University of Iowa.

d on printmaking. Moving to the painted medium, early works featured still-life , wheel or box. While small in size and in muted colors, these works were ation. After the 1970s and his marriage to artist Joan Brown, Cook began to dings in the delta area of the Sacramento River such as the present works. His traits and cityscapes.

231

Gordon Cook

(1927-1985) “Delta Early Eve” (Sacramento River) Oil on canvas Signed and titled verso: G. Cook 14” H x 15” W $3,000-5,000

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232

Gordon Cook

(1927-1985) “Delta - Skiff - Pink Sky” (Sacramento River) Oil on canvas Signed and titled verso: G. Cook 11” H x 11” W $3,000-5,000 Provenance: Pamela Auchincloss Gallery, Santa Barbara, CA

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233

Gordon Cook

(1927-1985) “Off False River” (Sacramento), 1984 Oil on canvas Signed verso: G. Cook; inscribed “#517” in red ink on the stretcher bar; titled on a label affixed to the stretcher bar 10” H x 11” W $3,000-5,000

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234

Gordon Cook

1927-1985 “Large Delta Tree” (Sacramento), 1982 Oil on canvas Signed verso: G. Cook; titled in pencil on the stretcher bar; titled again and dated on two labels affixed verso 19.5” H x 18” W $2,000-3,000 Provenance: Charles Campbell Gallery, San Francisco, CA Exhibited: Los Angeles, CA, Asher Faure, “Gordon Cook: Paintings,” November 23-December 18, 1982

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235

Gordon Cook

(1927-1985) “Hat Form,” 1979 Watercolor on paper Initialed and titled in pencil along the lower edge: GC; titled twice, dated “1979,” and numbered “#273” on labels affixed to the frame’s backing paper Image: 10” H x 10” W; Sight: 10.75” H x 10.75” W $700-900 Provenance: Charles Campbell Gallery, San Francisco, CA

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236

Norman Zammitt

(1931-2007) Blue flower, 1969 Colored pencil on paper Signed and dated in pencil lower left: N. Zammitt 1969 Sight: 13.625” H x 21.625” W $500-700

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237

Paolo Soleri (1919-2013)

A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher The cast bronze bell with clapper and sheet copper fin Overall: 23.5” H; Bell: 7.5” H x 3.75” Dia.; Fin: 5.25” H x 4.75” W $400-600

238

Paolo Soleri (1919-2013)

A Cosanti wind bell, mid/late 20th century; Paradise Valley, AZ With cast Paolo Soleri cipher The cast bronze bell with clapper and sheet copper fin Overall: 21.5” H; Bell: 6.25” H x 4” Dia.; Fin: 5.5” H x 5.25” W $400-600

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239

Ib Kofod-Larsen (1921-2003)

A ‘Penguin’ side chair for Selig, mid-20th century Designed 1953 Appears unmarked The dining chair with enameled metal frame, featuring a plywood scoop back above a grey leather upholstered seat cushion 33” H x 21.75” W x 23” D $600-800 Provenance: The Collection of Andrew and Lydia Sussman, Studio City, CA

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240

Børge Mogensen (1914-1972)

A pair of model 248 wood ottomans for Fredericia Stolefabrik, circa 1950s Each stamped to underside: Made in Denmark / Aktieselskabet / Fredericia Stolefabrik / Model No 248 Each with slatted top and without cushion 2 pieces Each: 12.5” H x 22.25” W x 18” D $500-700

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241

A Danish Modern rosewood highboy chest

Mid-20th century Marked verso: Made in Denmark / [unknown cipher] / 104 The rosewood veneer chest, one side with six drawers with inset pulls, the other with a locking hinged cabinet door revealing six open sliding drawers 46.5” H x 45.5” W x 18” D $500-700 This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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242

Nicola Simbari

(1927-2012) Interior view with flowers and a woman sitting on a bed Acrylic on canvas Signed lower right: Simbari 28” H x 40” W $6,000-8,000

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243

Jerald Silva

(b. 1936) Seated figure, 1972 Watercolor, acrylic, and traces of graphite on paper Signed and dated near the center of the upper edge: Silva Sight: 42” H x 47.5” W $600-800 Provenance: Silvan Simone Gallery, Los Angeles, CA

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244

Geoffrey Holder

(1930-2014) Portrait of a West Indies woman, 1952 Oil on board Signed and dated lower right: G. Holder / 1952 17.875” H x 16” W $1,500-2,000 Notes: A small magazine image of Holder and his wife, Carmen de Lavallade, is taped to the frame’s backing paper.

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245

Margaret Keane

(1927-2022) Nude figure study, 1958 Ink on paper Signed and dated in ink lower right: Keane / ‘58 Sheet: 16.5” H x 14.75” W $1,000-1,500 Notes: The verso of the sheet appears to have an early, unfinished sketch of a nude figure, presumably in the hand of the artist.

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246

Erle Loran

(1905-1999) “Topless Madonna,” 1966 Acrylic on canvas Signed and dated lower right: Loran ‘66; signed again, titled, and inscribed, all verso: “10 Kenilworth Ct., Berkeley” 60” H x 52” W $2,000-3,000

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247

Erle Loran

(1905-1999) “Road Through the Tunnel,” 1980 Oil on canvas Signed and dated lower right: Loran ‘80; signed again and titled in ink on a label affixed to the upper stretcher; with the estate ink stamp signed by the artist’s widow, Ruth Page Loran, verso 52” H x 60” W $2,000-3,000

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248

Erle Loran

(1905-1999) “Haven,” 1972 Oil on canvas Signed and dated lower right: Loran ‘72; signed and dated again, and titled, all on the stretcher 72” H x 52” W $2,000-3,000

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249

Erle Loran

(1905-1999) “Mountain Top,” circa 1980s Oil on canvas Signed lower right: Loran; titled, and dated on a label affixed to the frame’s backing board 40” H x 52” W $1,500-2,500

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Peter Shire (b. 1947)

Peter Shire was born and raised in the Echo style blends the structural simplicity of Bauha adolescence, Shire worked in his father’s furn lessons inherent in the manufacturing proces Eventually, his art caught the eye of Milan-ba Memphis design group, for which he design armchair (1982). Additionally, Shire collabora Los Angeles Olympic Games, creating publi

His work can be found in several museum co Museum of Arts and Design in New York, the https://petershirestudio.com/about/ https://memphis.it/en/authors/peter-shire/

Park neighborhood of Los Angeles, where he opened his studio in 1972. His aus and Art Deco with the playfulness of Art Nouveau forms. During niture shop, where he learned an appreciation for craftsmanship and practical ss. He later went on to study at Chouinard Art Institute in Los Angeles. ased designer Ettore Sottsass (1917-2007), who invited him to join the ned two of their most iconic products: the Brazil table (1981) and the Bel Air ated with the design team of the American Institute of Architects for the 1984 ic sculptures in Los Angeles and around California to celebrate the games.

ollections, including the San Francisco Museum of Modern Art, the MAD e Stedelijk Museum in Amsterdam and the Museum of Fine Arts in Houston.

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250

Peter Shire (b. 1947)

A Memphis glazed ceramic teapot, 1990s Dated and marked to underside: EXP [Echo Park] / 9[1 or 7]; possibly numbered: 15 The footed teapot with exaggerated lug handle and elaborate sculptural lid 2 pieces Overall: 13.25” H x 14” W x 6.5” D $1,000-1,500

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251

Peter Shire (b. 1947)

A Pre-Memphis glazed ceramic charger, 1979 Dated and marked to underside: EXP [Echo Park] The footed plate with lavender glaze 1.5” H x 12.75” Dia. $300-400

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252

Ralph Bacerra (1938-2008)

A glazed ceramic charger, 1996 Impressed to underside: Gaetano Pottery / 4013 / USA; stamped date and inscription: Created by: Ralph Bacerra for the Art Museum Council, LACMA / 1996 With gold, black, blue, and yellow glazes 1.75” H x 13.5” Dia. $600-800

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253

Peter Max

(b. 1937) “Brown Lady III,” 1988 Acrylic on canvas Signed upper center: Max; titled and dated on the certificate of authenticity 60” H x 48” W $15,000-20,000 Provenance: Hanson Art Galleries, Beverly Hills, CA Notes: This lot is accompanied by a copy of a sales invoice (no date) and a certificate of authenticity dated July 10, 1988, all from the gallery mentioned above.

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254

Peter Max

(b.1937) “Dega Man 85,” 1985 Acrylic on canvas Signed and dated upper right: Max / 85; signed again, dated “1987,” and with the copyright symbol and inscribed “#3601,” all verso; titled on stretcher and the sales invoice 24” H x 30” W $3,000-5,000 Provenance: Hanson Art Galleries, Beverly Hills, CA Notes: This lot is accompanied by a copy of a sales invoice (no date) and a certificate of authenticiy dated July 10, 1988, all from the gallery mentioned above.

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255

Peter Max

(b.1937) “Profile and Yellow Umbrella Man’” 1987 Acrylic, ink, and crayon on paper Signed and dated upper center: 1987 Max; inscribed “Max #3848,” in ink, in another hand, on the frame’s backing paper; titled on the sales invoice Sheet: 6.125” H x 10.5” W $800-1,200 Provenance: Hanson Art Galleries, Beverly Hills, CA Other Notes: This lot is accompanied by a copy of a sales invoice dated April 28, 1988, and a certificate of authenticity dated July 10, 1988, all from the gallery mentioned above.

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256

Peter Max

(b.1937) “Hidden Man,” 1988 Pastel on paper Signed and dated upper right: Max / 1988; titled and indistinctly inscribed in blue ink, in another hand, on a label affixed to the frame’s backing paper Sheet: 6” H x 4.75” W $500-700 Provenance: Hanson Art Galleries, Beverly Hills, CA Notes: This lot is accompanied by a copy of a sales invoice dated April 28, 1988, and a certificate of authenticity dated July 10, 1988, all from the gallery mentioned above.

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257

Vladimir Kagan (1927-2016)

A pair of swivel chairs, late 20th century Each with tag applied to underside: Vladimir Kagan Designs Inc. The barrel-style lounge chairs, each with tan textured boucle fabric upholstery, raised on a swiveling round wood base with polished metal siding, raised on casters 2 pieces Each: 30.75” H x 35.5” Dia. $2,000-4,000 Provenance: From a Steve Chase-designed residence, Century City, CA

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258

Steve Chase (1941-1994)

A travertine-top drum table, late 20th century Underside of top with handwritten sticker: No. 5655 / From: Douglas Bickle / To: Steve Chase Assoc. / c/o Custom Delivery Service The wood base with chromed metal exterior, surmounted by a travertine top Overall: 17” H x 48” Dia. $500-700 Provenance: From a Steve Chase-designed residence, Century City, CA

260

Steve Chase (1941-1994)

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259

Vladimir Kagan (1927-2016)

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261

Steve Chase (1941-1994)

A Modern glass coffee table, late 20th century Unmarked The glass X-form base with chromed metal upper and lower edges, surmounted by a crackled glass top with chromed metal rim Base: 18.25” H x 33” W x 33” D; Glass: 1” H x 54.25” Dia. $1,000-1,500 Provenance: From a Steve Chase-designed residence, Century City, CA

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262

Steve Chase (1941-1994)

A Modern suede upholstered slipper chair, late 20th century Unmarked On a swivel base 29” H x 31” W x 36” D $300-500 Provenance: From a Steve Chase-designed residence, Century City, CA

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263

Max Todd

(b. 1959) “Surfer’s Paradise” Acrylic on canvas Unsigned; titled by repute 35.5” H x 59” W $800-1,200

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264

Max Todd

(b. 1959) “Moving On” Acrylic on canvas Unsigned; titled by repute 35.5” H x 59” W $800-1,200

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265

Masoud Yasami

(b. 1949) “An Artist’s Palette,” 1985 Acrylic on canvas Signed and dated lower right: Yasami 85 ©; titled by repute 48” H x 60” W $1,000-1,500 Provenance: Elaine Horwitch Galleries, Palm Springs, CA Larry Benson, Marlborough Development, acquired from the above, December 1985 Private collection, Los Angeles, CA

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266

Richard Carter

(b. 1946) “Requiem for a Juggler III,” 1991 Acrylic on canvas Signed, titled, dated (three times), and inscribed “#22,” all along the canvas overlaps: R. Carter ‘91 40” H x 36” W $600-800

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267

Martyn Jones

(b. 1955) “Carmine Crush,” 2018 Oil on canvas Signed, titled, and dated in pencil, all verso: Martyn Jones 39.25” H x 47.125” W $500-700

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268

Martyn Jones

(b. 1955) “Warschauer Straße, Berlin,” 2019 Oil on canvas Signed, titled, and dated in pencil, all verso: Martyn Jones / 2019 39.25” H x 47.125” W $500-700

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269

21st Century Contemporary School “Fuck To All” (triptych) Three frames, each with ink drawn on three sheets of stacked, sheer, glassine paper Appears unsigned; titled by repute One frame with stacked sheets: 24” H x 36” W; Two frames with sight of sheets: 23.75” H x 35.5” $600-800

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270

Michael Kalish

(b. 1973) NSEW USA, 2009 Scrap metal from vintage truck bodies mounted on wood Signed illegibly to California; further signed and dated verso: 09 Map: 38” H x 61” W x 1.5” D; Letters: 12.5” H x 11” W approx. $2,000-3,000

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271

Gloria Heilman-C

(b. 1961) “Self-Portrait: Long Tall Sally” (pentaptych), 1995 Each: Acrylic and mixed media on canvas Signed, titled, and dated, on verso of the first canvas: Heilman-C 1995 Each: 11” H x 14” W x 2” D; Overall: 55” H x 14” W x 2” D (approx.) $500-700

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272

Robert Baron (1925-2014)

A pair of walnut side tables for Glenn of California, late 20th century Each with manufacturer’s label to interior of top drawer: Glenn / Carson / California Each console with two drawers with inset metal handles and case accents 2 pieces Each: 20” H x 27” W x 18” D $400-600 Provenance: Estate of Robert Baron, Huntington Beach, CA

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273

Robert Baron (1925-2014)

A rosewood tall dresser for Glenn of California, late 20th century With manufacturer’s label to interior of top drawer: Glenn / Carson / California The rosewood veneer eight-drawer dresser with chromed metal accents and later added Lucite siding 63.25” H x 23.5” W x 18” D $500-700 Provenance: Estate of Robert Baron, Huntington Beach, CA This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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274

Robert Baron (1925-2014)

A walnut low dresser for Glenn of California, late 20th century Lacking manufacturer’s label to interior of top drawer The six-drawer dresser with inset metal handles and case accents 28.25” H x 84.25” W x 20” D $700-900 Provenance: Estate of Robert Baron, Huntington Beach, CA

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275

Robert Baron (1925-2014)

A rosewood wardrobe for Glenn of California, late 20th century With manufacturer’s label to interior of top drawer: Glenn / Carson / California; further marked with manufacturer’s metal tag aside mirror The rosewood veneer wardrobe with two cabinet doors, each with metal inset pulls, the left mounted with a mirror, opening to reveal a retractable hanging rack above side pegs for shelves not extant, and four drawers 76.25” H 36” W x 20” D $800-1,200 Provenance: Estate of Robert Baron, Huntington Beach, CA This lot may require a CITES permit if being shipped outside California. Please contact your preferred shipping company for information.

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276

Robert Baron (1925-2014)

A wood headboard for Glenn of California, late 20th century Unmarked The king-sized wood headboard with metal trim accents 38.5” H x 80” W x 1.75” D $400-600 Provenance: Estate of Robert Baron, Huntington Beach, CA

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277

Robert Bonfils

(b. 1922) “Death’s Loving Arms,” circa 1966 Gouache and ink on artist’s board Signed lower left: R. Bonfils Sold together with a copy of the paperback book for which it served as the cover art; 2 works Image: 16.5” H x 10” W; Artist’s board: 18.5” H x 14” W; Paperback book: 7” H x 4.25” W x 0.5” D $600-800 Notes: This lot is accompanied by a copy of the paperback book for which it served as the cover: John Hamlin, ed., “Death’s Loving Arms & Other Terror Tales,” (San Diego: Corinth Publications, Inc., 1966), cover illustration. The other “terror tales” in the book, by other authors, are “Vampire Meat,” “Blood Magic,” From Out [of] the Shadows,” and “Village of the Dead.”

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278

Robert Bonfils

(b. 1922) “The Sin Veldt,” circa 1966 Gouache on artist’s board Signed lower right: R Bonfils; inscribed on the blank artist’s board at left: “LB1152 The Sin Veldt,” possibly in another hand; also inscribed on the verso of the artist’s board: “AD Harry Bremner / Artist Bob Bonfils,” also in another hand Sight: 14.625” H x 8.75” W; Board: 18.25” H x 15” W $600-800 Notes: Bonfils painted this image as the cover art for the Leisure Book series (LB1152) paperback by John Dexter, “The Sin Veldt” Leisure Books LB1152 (Chicago: Greenleaf Classics, Inc., 1966), cover illustration. https:// greenleaf-classics-books.com/vintage/book/lb1152 According to the Greenleaf Classics website, “Greenleaf Classics Publishing was the leading publisher of sex novels in the last half of the 20th century [1959-1990]. They published thousands of titles with huge print runs, and had nationwide distribution, yet few of the books exist today.... The Greenleaf Publishing company started in 1959 and experienced fast growth and tough challenges as they published sex novels through the 60’s. This was a time of massive change in the culture’s attitudes toward sexual expression. This explained the many legal fights to successfully defend First Amendment rights to publish such books, and the approach to sell the books by putting striking cover art on them. The packaging of the books in the Vintage period had strong cover art and exotic titles that promised much more than they delivered.” Robert Bonfils was a staff artist at Greenleaf Classics from 1962 until 1973. Because his work was so highly regarded, the website states that “...freelance artists wanting to sell to Greenleaf were directed to copy the ‘Bonfils look.’ This is why some covers not painted by Robert Bonfils may resemble his work.” https:// greenleaf-classics-books.com/vintage/

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279

Robert Bonfils

(b. 1922) “Blonde Danger,” circa 1960 Gouache on artist’s board Signed (twice) in the lower right quadrant: once on the ground to the right of the cactus, and once in the lower right corner of the image; titled, dated “1962,” and inscribed “35¢,” all possibly in another hand, in the lower right corner of the artist’s board Image: 14” H x 10.5” W; Artist’s board: 20” H x 15” W $600-800 Notes: Bonfils created this painting as cover art for the Newsstand Library series (522) paperback by Bill Lauren “Blonde Danger” (Chicago: Newsstand Library Inc.,1960), cover illustration.

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280

Robert Bonfils

(b. 1922) Mind games Gouache on artist’s board Signed lower right: R Bonfils Sight: 14.625” H x 8.625” W; Artist’s board: 18.625” H x 13.375” W $600-800

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281

Robert Bonfils

(b. 1922) “Swapping with Satan,” circa 1970 Gouache on red paperboard Signed lower right: R Bonfils Sight: 14” H x 8.75” W; Paperboard: 20” H x 15” W $600-800 Notes: Bonfils painted this image as the cover art for the Companion Book series (CB690) paperback by Grant Evans, “Swapping with Satan,” (Chicago: Greenleaf Classics, 1970), cover illustration. https://greenleaf-classics-books.com/vintage/book/cb690 According to the Greenleaf Classics website, “Greenleaf Classics Publishing was the leading publisher of sex novels in the last half of the 20th century [1959-1990]. They published thousands of titles with huge print runs, and had nationwide distribution, yet few of the books exist today.... The Greenleaf Publishing company started in 1959 and experienced fast growth and tough challenges as they published sex novels through the 60’s. This was a time of massive change in the culture’s attitudes toward sexual expression. This explained the many legal fights to successfully defend First Amendment rights to publish such books, and the approach to sell the books by putting striking cover art on them. The packaging of the books in the Vintage period had strong cover art and exotic titles that promised much more than they delivered.” Robert Bonfils was a staff artist at Greenleaf Classics from 1962 until 1973. Because his work was so highly regarded, the website states that “...freelance artists wanting to sell to Greenleaf were directed to copy the ‘Bonfils look.’ This is why some covers not painted by Robert Bonfils may resemble his work.” https://greenleaf-classics-books.com/vintage/

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282

Robert Bonfils

(b. 1922) Outside Canyon City Hotel Gouache and traces of graphite on board Signed in pencil lower right: Robert Bonfils Sight: 15” H x 10” W $600-800

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283

Robert Bonfils

(b. 1922) “Creature of Sin,” circa 1960 Gouache on artist’s board Signed lower center: R. Bonfils; inscribed in the lower right corner of the artist’s board: “Creature of Sin / 50¢ / B52; with the artist’s business card affixed in the lower left corner of the artist’s board. Sight: 12.75” H x 8.375” W; Artist’s board: 20” H x 15.125” W $600-800 Notes: Bonfils created this painting as cover art for the Newsstand Library series (145) paperback by Alfred B. Glaser “Creature of Sin” (Chicago: Newsstand Library Inc.,1960), cover illustration.

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The Estate of Mario Armond Zamparelli

Mario Armon Artist • Designer •

Mario Zamparelli’s ca in the mid-20th cent establishing himself industry quickly won

From 1958 until Hug exclusive contract. A for Hughes operation included one of the wall coverings.

Zamparelli’s influence Bank, Universal Pictu others. He also contr technology entering

A consummate creat Brubeck. His fine art with numerous hono featured his life and

The present auction furniture and design Hughes Airwest, lugg Hughes airplane wal uniform studies, and the GE Threshold Ho

Zamparelli’s private a Among them are one master Venetian glas travels.

“My father was more his creative mind, be The present collectio art, and architectural glamour, and the rom in American design h 4 0 0 Art + De sig n l Tu e sd ay, S e p te mb e r 30, 2025

nd Zamparelli (1921–2012) Visionary

areer spanned fine art, design, illustration, music, and teaching, leaving an indelible mark on American visual culture tury. Born in New York City, he began as an illustrator for Cosmopolitan, Vogue, Esquire, and Harper’s Bazaar, quickly as a draftsman of elegance and flair. Zamparelli’s striking posters for RKO Radio Pictures and work in the magazine n acclaim and led Howard Hughes to personally select him as his personal artist.

ghes’ death in 1976, Zamparelli served as Chief Executive Designer for the vast Hughes industrial empire, under an Across eighteen years he created logos, branding campaigns, movie posters, casino environments, and airplane interiors ns including Trans World Airlines, Hughes Airwest, Hughes Helicopters, and RKO Studios. His design for Hughes Airwest most comprehensive corporate identities in aviation history, extending from uniforms and luggage to seat fabrics and

e, however, reached far beyond Hughes. He developed iconic corporate identities for Datsun, Capitol Records, Union ures, Hunts, Kimberly-Clark, Mattel, Southern California Gas Company, and the Norton Simon Corporation, among many ributed to landmark projects such as Disney’s Home of the Future and GE’s Threshold Home of the Future, envisioning g domestic life through innovations like an interactive cylindrical household robot.

tive, Zamparelli was also a painter, writer, poet, photographer, and musician—having once played with jazz legend Dave practice ran in tandem with his commercial work, as did his passion for collecting and teaching art. He was recognized ors, including a Golden Globe Award for “Best Documentary” for a BBC production on Hollywood’s golden years, which career.

offers an unprecedented opportunity to experience the full breadth of Zamparelli’s vision. Featured are his mid-century objects, alongside fine art oil paintings and graphite sketches. The sale includes stewardess uniform prototypes for gage and branding concepts showing the evolution from initial sketches to final realization, and uncut reams of custom ll coverings and seat fabrics. Original drawings for RKO film posters, 1950s TWA advertisement illustrations, astronaut d rocket launch renderings are also represented, as well as the full set of architectural drawings and concept boards for ome of the Future.

artistic creations, kept hidden during his lifetime, also emerge here for the first time, twelve years after his passing. e-of-a-kind prototype furniture pieces, handblown glassware created exclusively for Howard Hughes in collaboration with ssmaker Venini, and selections from his personal collection of ancient and decorative artworks gathered during his global

e than a designer; he was a storyteller,” said daughter Marisa Zamparelli. “This collection offers an intimate glimpse into eyond the world of corporate identity and branding he helped to define globally.” on offers an unparalleled look into Zamparelli’s multi-faceted career including paintings, design prototypes, advertising l concepts, documenting not only his artistic evolution, but also the cultural story of postwar modernity, Hollywood mance of flight. His work remains a testament to the imagination and flair that defined one of the most dynamic periods history. w w w. j o h n m o r a n . c o m 4 0 1

284

Mario Armond Zamparelli

(1921-2012) Astronaut Colored pencil, gouache, and mixed media on artist’s board Unsigned; estate stamped verso Image: 14.5” H x 11” W; Artist’s board: 21.75” H x 15” W $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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285

286

(1921-2012) Rocket launch Colored pencil, gouache, and mixed media on artist’s board Unsigned; estate stamped verso Image: 14” H x 10.75” W; Artist’s board: 21.75” H x 15” W

Two works:

Mario Armond Zamparelli

$600-800 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

Mario Armond Zamparelli (1921-20

Untitled (energy equations) Gouache, colored pencil, and mixed med Unsigned; estate stamped verso Image: 13.75” H x 10.5” W; Artist’s board

“Galileo Galiley” [sic] Gouache, colored pencil, and mixed med Unsigned; ; estate stamped verso, titled Image: 14.5” H x 10.75” W; Artist’s board $600-900 Provenance: The Estate of Mario Armond Zamparelli,

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012), Science

dia on artist’s board

d: 19.75” H x 13.75” W

dia on artist’s board in the image d: 21.75” H x 15” W

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287

Mario Armond Zamparelli (1921-2012), Astronaut/ space

Three astronaut/space-themed mixed media works on artist’s board, together with a spiral sketchbook of primarily astronaut-related and other sketches 4 pieces Smallest work on artist’s board: 20” H x 15” W; Largest work on artist’s board: 22” H x 15” W; Sketchbook: 20.25” H x 15.25” W $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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290

Vivika and Otto Heino (1910-1995 and 1915-2009)

A glazed ceramic seed vase, 1994 Incised to underside: Vivika / Otto / 94 The footed vase with burnt red and black glaze in a calligraphy motif 4.75” H x 6.125” Dia. $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

289

Gertrud and Otto Natzler (1908-1971 and 1908-2007)

A green lava glazed bowl, mid-20th century Signed to underside: Natzler The footed bowl with light green glaze and a biomorphic shaped rim 2.75” H x 7.125” W x 6” D $600-800 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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288

Gertrud and Otto Natzler (1908-1971 and 1908-2007)

A ‘Volcanic’ glazed jar, late 20th century Signed to underside: Natzler; lacking original inventory number tag With artist’s signature yellow and green textured and porous glaze 6.875” H x 6.25” Dia. $4,000-6,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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291

Pablo Picasso

(1881-1973) “Vallauris,” 1953 Glazed earthenware From the edition of 400 Stamped to underside: Madoura Plein Feu / Empreinte Originale de Picasso 0.875” H x 8.125” Dia. $4,000-6,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Literature: Alan Ramie 179

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292

Auguste Rodin

(1840-1917) “Protection,” 1916 Patinated bronze mounted to wood plaque Signed: Rodin; presumably with inscription to bronze verso; titled, and dated by repute Bronze: 3.875” H x 1.625” W $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Literature: Antoinette Le Normand-Romain, “The Bronzes of Rodin: Catalogue of the Works in the Musée Rodin” (Paris, 2007) Volume 2, pg. 618, another example illustrated

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293

Mario Armond Zamparelli

(1921-2012) Reclining nude in green kimono Oil on canvas Unsigned; inscribed with the artist’s name in ink in another hand on a label affixed to the upper stretcher 52” H x 76” W $4,000-6,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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294

Mario Armond Zamparelli (1921-2012) Seated nude Oil on canvas Unsigned 78” H x 80” W $4,000-6,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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295

Mario Armond Zamparelli

(1921-2012) “Blue Kimono: reclining figure,” 1980 Oil on linen Initialed and dated upper right: Z 80; signed again, titled, and dated on a label affixed to the stretcher bar: 1980 13” H x 25.5” H $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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296

Mario Armond Zamparelli

(1921-2012) Portrait of nude woman Oil on canvas With the artist’s blue ink stamp on the stretcher bar; signed in pencil and again in ink, possibly in another hand, on the stretcher bar and on a label affixed to the stretcher bar 19” H x 17.5” W $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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297

Mario Armond Zamparelli

(1921-2012) Untitled, 1977 Screenprint in colors on wove paper Edition: 1/1 Signed, dated, numbered, and inscribed in pencil in the lower margin: Zamparelli 77 / 4 Image/Sheet: 9.875” H x 9.875” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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298

Mario Armond Zamparelli

(1921-2012) Portrait of a woman, 1999 Mixed media on paper Signed and dated in pencil lower right: Mario Zamparelli ‘99 Sight: 14.75” H x 10.75” W $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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299

Mario Armond Zamparelli

(1921-2012) Man on stage Gouache, colored pencil, and mixed media on artist’s board Unsigned; estate stamped verso Image: 12” H x 16.75” W; Artist’s board: 15” H x 21.75” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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300

Arne Jacobsen (1902-1971)

A stainless steel flatware service for Anton Michelsen, 1960s Each marked: A. Michelsen / Stainless / Denmark / [‘A’ cipher] Comprising 8 dinner forks (8”), 8 luncheon forks (7.375”), 8 oval soup spoons (8”), 8 bouillon soup spoons (6.5”), 8 teaspoons (6.25”), 8 dinner knives (7.875”), and 1 butter spreader (6.875”), 49 pieces $1,000-1,500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: This lot is accompanied by a staple-bound catalogue from Illum, featuring the flatware service.

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301

Finn Juhl (1912-1989)

A ‘Japan’ sofa for France & Daverkosen retailed by John Stuart, late 1950s Designed 1957 With gilt-filled impressed mark to frame: fd / Made in Denmark; also with applied foil label: John Stuart Inc. / New York / Grand Rapids The three-seater sofa with teak wood frame and brown cotton upholstery 28” H x 71” W x 29” D $1,000-2,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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302

Mario Armond Zamparelli (1921-2012) Portrait of a nude woman Oil on canvas Unsigned 20” H x 24” W $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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303

Charles and Ray Eames (1907-1978 and 1912-1988)

An Eames lounge chair and ottoman for Herman Miller, late 20th century Designed 1956 The ottoman with Herman Miller tag applied to underside The chair with molded plywood and powder-coated and brushed aluminum frame, rubber shock mounts, and black leather tufted upholstery, en suite with matching ottoman 2 pieces Chair: 33.5” H x 34” W x 34” D; Ottoman: 17” H x 25.75” W x 22” D $2,000-3,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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304

Mario Armond Zamparelli (1921-2012)

Two postmodern lacquered wood chairs, circa 1980s Each unmarked Each lounge chair of squared angular form, comprising one red and one black 2 pieces Black: 38.5” H x 24.25” W x 29.5” D; Red: 36” H x 23.75” W x 30” D $1,000-1,500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: This lot is accompanied by original sketched designed for a similar chair, a photograph of the actual chairs presented in this lot, a note about its inspiration, and lacquer swatches from Mario Zamparelli and Company. Marketing notes describing the chair: “The Howard Hughes chair came out of an inspiration based on the work Zamparelli & Co. did on Hughes Airwest and TWA. It first became an exercise in simplicity, much like the sitting notion of a stone which is located nearby and takes on the requirements of a veiling sitting apparatus. In composition it is made of only these parts - its dynamics are really - by the spine that holds it all together. It was designed in 1988 as a private venture and Hughes was never aware of its existence. It was never marketed or produced in any quantity until now. It echoes an obtuse modernism and a gothic sense very much like Hughes. Lacquered in Vermilion. Jet black and Verde green.”

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305

Hans Wegner (1914-2007)

Four ‘Wishbone’ armchairs model CH 24 for Carl Hansen & Son, mid-20th century; Denmark Each impressed: Made in Denmark / By Carl Hansen & Son / Odense, Denmark Each chair with Y-form back and woven natural cord seat, comprising two with black painted frames and two with red painted frames 4 pieces Each: 28.5” H x 21” W x 20.5” D $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Literature: Jens Bernsen, “Hans J Wegner” (Copenhagen: Danish Design Center, 2001), pp. 28-29

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306

Mario Armond Zamparelli

(1921-2012) Portrait of the artist’s wife and daughter Oil on canvas Unsigned 25.25” H x 34.25” W $1,000-1,500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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307

Mario Armond Zamparelli

(1921-2012) “I dreamt of Gauginesca” Watercolor, gouache, and pencil on artist’s board Initialed in the lower right corner: Z; faintly titled and inscribed “tropical”’ in pencil in the blank portion of the board at right; estate stamped verso Image: 13.5” H x 18.375” W; Artist’s board: 18.25” H x 27” W $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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308

Mario Armond Zamparelli

(1921-2012) “There is a danger in Yellow” Mixed media on paper Appears unsigned; inscribed in pencil across the upper part of the image, including both the red and yellow elements Image: 17.25” H x 12.25” W; Sight: 19.625” H x 14.75” W $700-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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309

Enzo Mari

(1932-2020) “Deformazione ottico-dinamica - cubo, serie a punti E” for Danese Milano, 1959-1963 Acrylic on composite base Edition: 7/50 Signed by designer, dated, numbered, and titled to manufacturer’s paper label: Enzo Mari / Cubo / Serie a punti E / cinquanta copie munerate e firmate copia n. 7 / Enzo Mari [in designer’s hand] / edizioni Danese Milano Acrylic: 4” cubed; Base: 0.375” H x 7.875” W x 7.875” D $1,000-1,500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Literature: Cat. Danese Milano 1976, no. 59; Casciani, From Project to Product, Cagliari 1988, pg. 82 w w w. j o h n m o r a n . c o m 4 3 9

310

Enzo Mari

(1932-2020) “Relazione di Quattro” for Danese Milano, 1959 Mixed media and resin, housed in original box Titled, attriubted, dated, and inscribed to box: Edizioni Danese Milano 4 pieces Each: 1.625” cubed; Box: 1.75” H x 6.625” W x 1.875” D $1,000-1,500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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311

Enzo Mari (1932-2020)

A group of ‘Cubo’ paperweights for Danese Milano, 1959-1963 Each unmarked Comprising four resin cubes, three with variously colored balls, the other with op art linear motif 4 pieces Largest: 3.125” cubed; Smallest: 1.625” cubed $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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312

Mario Armond Zamparelli

(1921-2012) Cubist figures in motion Graphite with a few touches of colored pencil on paper Appears unsigned; indistinctly annotated in the left and lower margins Sight: 11.25” H x 8.5” W $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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313

Mario Armond Zamparelli (1921-2012), Pin Ups Two works:

Woman in a pink chiffon dress Gouache, watercolor, and colored pencil on artist’s board Unsigned; estate stamped verso Artist’s board: 18.5” H x 26” W Winged woman Gouache, watercolor, and colored pencil on artist’s board Unsigned; estate stamped verso Artist’s board: 21.75” H x 30” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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314

Mario Armond Zamparelli (1921-2012)

Two works, likely a commercial illustration; One shows a seated woman in a white nightdress staring toward the legs of a man partially visible at right; the other shows a woman collapsed face-down on the ground in a state of distress; Each work features a rectangular white pigmented area, presumably intended as a placeholder for advertising text or a publication caption Each: Gouache, watercolor, colored pencil, and mixed media; one work on artist’s board and the other on paper mounted to artist’s board The work of the seated woman is signed “Zamparelli” and dated “42” in ink, just below the rectangular white pigmented area, at right; the other unsigned; estate stamped verso Artist’s board: 17.25” H x 23.5” W; Sheet of mounted work: 15” H x 22.875” W (artist’s board: 19.5” H x 27.5” W) $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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315

Mario Armond Zamparelli (1921-2012), Trans World Airlines (TWA) mock-ups A group of seven Trans World Airlines (TWA) advertisement mock-ups Each: Gouache, colored pencil, and mixed media on artist’s board One work is signed “Zamparelli” and numbered “38” in ink along the lower blank edge, at right, and is additionally signed (partially) and inscribed with the artist’s address in ink on the verso; four other works are similarly signed and inscribed on their versos Smallest artist’s board: 17.5” H x 25.875” W; Largest artist’s board: 18.75” H x 28” W $1,500-2,500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: Mario Armond Zamparelli played a pivotal role in shaping the visual identity of Trans World Airlines (TWA) during the golden age of commercial aviation. As the longtime Chief Executive Designer and confidant of Howard Hughes, Zamparelli was responsible for crafting the sleek, modern aesthetic that came to define TWA’s advertising, branding, and in-flight experience throughout the 1950s and ‘60s. His visionary work combined glamour, innovation, and jet-age optimism, helping to position TWA as an emblem of luxury air travel. Zamparelli’s designs remain iconic within the history of mid-century American commercial art.

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316

Mario Armond Zamparelli (1921-2012)

Five illustrations, each depicting women in various activities Each: Gouache, watercolor, colored pencil, and mixed media on artist’s board Each: Unsigned; estate stamped verso Smallest artist’s board: 21.75” H x 19.375” W; Largest artist’s board: 30” H x 20” W $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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317

Mario Armond Zamparelli (1921-2012)

A group of six watercolor, gouache, and colored pencil illustrations on board Comprising three illustrations executed directly on one board and three illustrations executed directly on another board; subjects include figural portraits in profile, a woman in an urban streetscape, and other figural studies depicting women; one board is signed “Zamparelli” and dated “45” in pencil near the lower right corner: others unsigned; estate stamped verso Smallest image: 15.5” H x 3” W; Largest image: 16” H x 9.75” W; Smallest artist’s board: 18.25” H x 23” W; Largest artist’s board: 19” H x 24.75” W $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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318

Giancarlo Mattioli (1933-1985)

A ‘Nessino’ table lamp for Artemide, 1960s Designed 1964-67 Marked to underside in the mold: S. P. A. Artemide Milano / Modello Nesso / Design GR.ARCH.URB.CITTA NUOVA The four-light lamp with fiberglass-reinforced polyester resin base and resin shade, electrified Base: 10.25” H x 8.375” Dia.; Shade: 5.75” H x 21” Dia. $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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319

A canvas ‘Butterfly’ chair

20th century With tubular iron frame and canvas sling seat 36.75” H x 32” W x 31.75” D $200-300 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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320

In the manner of Verner Panton (1926-1998)

An op-art-style bubble mirror, late 20th century Appears unmarked The silvered acrylic mirror in the form of bubble wrap Framed: 37.5” x 37.5” W x 2” D $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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321

A Modern molded glass head hat display Late 20th century Unmarked In the manner of Piero Fornasetti (1913-1988) 9.75” H x 6.25” W x 8” D $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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322

An Etruscan terra cotta votive head of a woman

Circa 350 BCE Marked to underside of wood base: Zamparelli Bust: 13.5” H x 9” W x 9.5” D; Overall: 16.75” H x 10.5” W x 10.5” D $800-1,200 Provenance: Museo Nazionale Preistorico Etnografico “Luigi Pigorini,” Rome, Number 6741 Stendahl Galleries, Hollywood, CA The Estate of Mario Armond Zamparelli, La Cañada, CA Exhibited: Los Angeles, CA, “The Taste of Angels: The Artist in Industry Collects,” March 24-May 8, 1966 Literature: Mario Zamparelli, et al., “The Taste of Angels: The Artist in Industry Collects” (Los Angeles: The Otis Art Institute, 1966), fig. 279 Notes: This lot is accompanied by a copy of a letter from Alfred Stendahl of Stendahl Galleries. This lot additionally accompanied by an exhibition poster from “The Taste of Angels: The Artist in Industry Collects,” Otis Art Institute, Los Angeles, March 24-May 8, 1966.

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323

Bruno Calvani (1904-1985)

A classical-style ceramic bust of a woman, mid/late 20th century With incised signature to base of neck: B Calvani; inscribed in pencil to underside: Maureen Zamparelli Set on a tiered wood base Bust: 9” H x 7.5” W x 8.5” D; With base overall: 14.75” H x 11” W x 11” D $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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324

A Japanese terracotta Haniwa horse head

Kofun Period (300-538 CE) or later Set on a custom wood base Head: 14.5” H x 24” W x 8.75” D; Overall: 15.75” H $1,000-2,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Exhibited: Los Angeles, CA, “The Taste of Angels: The Artist in Industry Collects,” March 24-May 8, 1966 Literature: Mario Zamparelli, et al., “The Taste of Angels: The Artist in Industry Collects” (Los Angeles: The Otis Art Institute, 1966), fig. 278 Notes: This lot accompanied by an exhibition poster from “The Taste of Angels: The Artist in Industry Collects,” Otis Art Institute, Los Angeles, March 24-May 8, 1966.

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325

An Indian carved stone figural stele

19th century or earlier Likely depicting Shiva hoisting a trident in one hand and a serpent, possibly Vasuki, in the other, set into a wood base Stone: 11” H x 8” W x 3.75” D; Overall: 12.5” H x 8.25” W x 4.75” D $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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326

A group of classical-style terra cotta figures

20th century or earlier Comprising a female bust mounted on a wood base, another torso of a female surrounded by harvest motifs mounted on a wood base, and a fragment of a face 3 pieces Bust: 5.25” H x 4.5” W x 3” D; Fragment: 3.5” H x 4.25” W x 2.25” D $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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327

An Etruscan bronze hand mirror

800-300 BCE or later With obscured figural representation within a geometric border, mounted on a wood and metal stand Mirror: 11.75” H x 6.125” W x 0.375” D; Overall: 13” H x 6” W x 6” D $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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328

A Persian bronze ceremonial bull’s head mace

19th century Qajar steel ceremonial mace, set in a wood block stand Mace: 28.25” H x 4.25” W x 4.25” D; Overall: 30.75” H x 3.625” W x 3.625” D $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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329

A Japanese carved stone seated deity figure 20th century or earlier Possibly depicting Ebisu, likely a garden ornament 21.5” H x 13.5” W x 10.5” D $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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330

A group of Classical iridescent glass vessels

Circa 100-500 CE Comprising a cup, two footed vessels, a vase, and a small thimble-sized vessel 5 pieces Tallest: 6.875” H x 2.25” Dia.; Smallest: 1” H x 1.125” Dia. $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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331

A bronze figural torso and horse head

20th/early 21st century Torso inscribed to underside: B [within a circle] 2 pieces Torso: 5” H x 3.5” W x 2.75” D; Horse: 1.5” H x 2.25” W x 0.625” D $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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332

A Spanish Colonial carved wood Madonna and child figure 19th century or earlier The polychromed figure depicting the Mother Mary holding the Christ child, set on a wood plinth Figure: 34.75” H x 10.75” W x 9” D; Overall: 39.75” H $1,000-2,000 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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333

A group of four Indian miniatures (including a Sanskrit manuscript leaf) and one Persian miniature Includes four Indian miniatures, among them a manuscript leaf with Sanskrit text, as well as figural scenes depicting deities and courtly figures; the Persian miniature depicts an outdoor courtly gathering with attendants and a mounted figure on a horse, and on the verso of the sheet is Farsi text Each: Ink, gouache, and watercolor on paper Smallest: 3.25” H x 5.375” W; Largest: 9” H x 6” W $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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334

Mario Armond Zamparelli (1921-2012)

A diner stop after badminton Watercolor, gouache, and colored pencil on artist’s board Unsigned; estate stamped verso Artist’s board: 20” H x 15.875” W $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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335

Mario Armond Zamparelli

(1921-2012) Woman beside a staircase Mixed media on artist’s board Unsigned; estate stamped verso Image: 18.5” H x 13.75” W; Artist’s board: 22” H x 18.75” W $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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336

337

(1921-2012) Portrait of a woman Mixed media on paper Unsigned Sight: 9.375” H x 5.125” W

A group of three illustrations, one depicting another, presumably unfinished work of var dress next to a piano Each: Watercolor, gouache, colored pencil, Each: Unsigned; estate stamped verso Smallest artist’s board: 17” H x 12.75” W; L

Mario Armond Zamparelli

$400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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Mario Armond Zamparelli (1921-2012

$700-900

Provenance: The Estate of Mario Armond Zamparelli, La

g a woman in a long pink dress in her living room; rious women; and the third, a woman in a dark blue

, and mixed media on artist’s board

Largest artist’s board: 18.5” H x 12.75” W

a Cañada, CA

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338

Mario Armond Zamparelli (1921-2012)

Ten watercolor and gouache illustrations on paper for Jean Giono’s (1895-1970) publication “Harvest,” 1983; most sheets with light green interleaving paper; all sheets (illustrations and interleaving) coil bound and with clear plastic protective sheets on the front and back of the book Book: 13.25” H x 9.5” W x 0.5” D $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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339

Mario Armond Zamparelli (1921-2012)

Portrait of a woman in fauvist colors Watercolor and colored pencil on artist’s board Unsigned; estate stamped verso Image: 15.75” H x 19.75” W; Artist’s board: 18.5” H x 24.5” W $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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340

A group of Venini Murano glassware items for Hughes Airwest

1973-1983 All but four etched: Venini / Italia; of those, thirteen are dated and personalized: 73; the rest dated: 83; some with original Venini sticker applied; the remaining four unmarked The assembled group comprising 15 tall glasses, 11 tumblers, and 4 associated glasses in conforming style, two with a varied colorway, commissioned by Mario Armond Zamparelli and Company 30 pieces Taller: 5.625” H x 2.75” Dia.; Shorter: 2.875” H x 2.875” Dia.; Forms: 4.75” H x 12.5” W x 14.75” D $500-700 Provenance: For thirteen of the glasses: The Estate of Howard Hughes The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: According to an article discussing Mario Armond Zamparelli’s extensive interest in high-quality design for various products: “His design and choice of quality and color for the translucent crystal glasses of soft mauve and ultramarine blue, display another [facet] of his wide range of creativity. These elegant glasses were designed by Zamparelli as a gift for Howard Hughes’s corporate executives.” (Winston Denio, “Design Master Mario A. Zamparelli,” “Los Angeles Home and Garden Magazine,” November 1980, 34-36 +) This lot is accompanied by two Styrofoam storage forms, which house the thirteen glasses that come from the Howard Hughes estate, each form marked in felt pen: Howard Hughes / Murano. The glasses included in the collection comprise five of the taller and seven of the shorter. This lot is additionally accompanied by promotional photographs of the glassware and original design drawings from Mario Armond Zamparelli and Company.

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341

A group of four Hughes Airwest travel posters, designed by Mario Armond Zamparelli (1921-2012) and Company, Los Angeles “Seattle,” “Yosemite National Park,” “San Diego,” and “Portland” Each: Screenprint in colors on paper Each: From the edition of unknown size and date Each: Unsigned; with the printed title along the upper edge 4 pieces Image/Sheet: 34.5” H x 22.5” W $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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342

A group of four Hughes Airwest travel posters, designed by Mario Armond Zamparelli (1921-2012) and Company, Los Angeles “Tucson,” “Grand Canyon,” “La Paz,” and “Phoenix” Each: Screenprint in colors on paper Each: From the edition of unknown size and date Each: Unsigned; with the printed title along the upper edge 4 pieces Each Image/Sheet: 34.5” H x 22.5” W $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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343

A group of four Hughes Airwest travel posters, designed by Mario Armond Zamparelli (1921-2012) and Company, Los Angeles “Canada,” “Monterey,” “San Francisco,” and “Ski Reno Tahoe” Each: Screenprint in colors on paper Each: From the edition of unknown size and date Each: Unsigned; with the printed title along the upper edge 4 pieces Each Image/Sheet: 34.5” H x 22.5” W $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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344

A group of four Hughes Airwest travel posters, designed by Mario Armond Zamparelli (1921-2012) and Company, Los Angeles “Salt Lake City,” “Las Vegas,” “Palm Springs,” and “Los Angeles” Each: Screenprint in colors on paper Each: From the edition of unknown size and date Each: Unsigned; with the printed title along the upper edge 4 pieces Three works Image/Sheet: 34.5” H x 22.5” W; “Palm Springs” Image/Sheet: 34.25” H x 22.5” W $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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345

A group of seven Hughes Airwest travel posters

“Canadian Rockies,” “Grand Canyon,” “Phoenix,” “Salt Lake City,” “San Francisco,” “Southern California,” and an untitled image of a downhill skier Each: Photographic offset in colors on thick poster paper Each: From the edition of unknown size and date Each: Unsigned; six with the printed title along the lower edge Image/Sheet of smallest: 34.5” H x 23.125” W; Image/Sheet of largest: 35” H x 23” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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276

Robert Baron (1925-2014)

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346

A Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototype ensemble

Circa 1970s Scarf signed and dated in the weave; label: Echo / Made in Japan Comprising a long Sundance Yellow V-neck hostess coat with Universe Blue trim, fully lined, with in-seam pockets, bound buttonholes and rounded brass buttons, together with a Universe Blue A-line panel skirt with elasticated back waist and back zip, and a Zamparelli multicolored silk scarf, 1975 3 pieces Coat: center back: 36.5”; bust front: 19”; waist: 18”; back shoulders: 16”; sleeve: 23” Skirt: waist front: 13.5”; hips front: 19.5”; CB: 21” Scarf: 27” x 27” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: A similar design illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102. Mario Armond Zamparelli (1921ñ2012) Prototype Hughes Airwest Stewardess Uniforms, ca. 1972 In the early 1970s, Howard Hughes’s airline, Hughes Airwest, unveiled one of the most distinctive stewardess wardrobes in aviation history - designed by Mario Armond Zamparelli, longtime artistic director to Hughes. Described in the airline’s own ‘Sundancer” magazine as “revved up with a classic boldness in beautiful shapes streaming like light over the body,” the prototypes capture the optimism and theatrical flair of Jet Age travel. The layered ensembles centered on the vivid “Sundance Yellow” knit dress, paired with streamlined jackets and outerwear trimmed in “Universe Blue.” Accessories ranged from narrow-brimmed hats to sweeping hooded capes, creating a futuristic silhouette intended to “catch every eye as she shimmers across the airline terminal.” For different routes and climates, Zamparelli designed practical variations including an orange cotton service smock. These rare prototypes embody the intersection of fashion, branding, and aeronautical design in Hughes’s empire, a testament to Zamparelli’s vision of the airline stewardess as both modern, professional, and stylish.

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347

A Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototype ensemble

Circa 1970s Scarf signed and dated in the weave; label: Echo / Made in Japan Comprising a hostess suit in Universe Blue and Sundance Yellow, including a blue and yellow short polyester jacket, with contrast butterfly collar and cuffs, with matching blue high-waisted pants, a Sundance Yellow synthetic knit popover placket blouse with round collar and tonal buttons, and a Zamparelli multicolored geometric print polyester scarf, 1977 4 pieces Jacket: center back: 24.5”; front bust: 17”; front waist: 16”; back shoulders: 15”; sleeve: 23” Pants: waist front: 15”; hips back: 19.5”; inseam: 31.5”; front rise” 12”; back rise: 14” Blouse: Center back: 22”; bust front: 19”; waist: 16.5”; sleeve: 23” Scarf: 51.5” x 13.5” $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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348

A Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototype ensemble

Circa 1970s Scarf signed and dated in the weave; label: Echo / Made in Japan Comprising a hostess suit in Universe Blue and Sundance Yellow polyester, including a blue and yellow short polyester jacket, with contrast butterfly collar and cuffs, with matching Universe Blue polyester A-line panel skirt with elasticated back waist and back zip, together with a Sundance Yellow synthetic knit popover placket blouse with round collar and tonal buttons, and a Zamparelli multicolored geometric print polyester scarf, 1977 4 pieces Jacket: center back: 24”; front bust: 17”; front waist: 16”; back shoulders: 15”; sleeve: 22.5” Skirt: waist front: 13”; hip back: 19”; center back: 19.5” Blouse: center back: 22”; bust front: 19”; waist: 16.5”; sleeve: 22.5” Scarf: 51.5” x 13” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA w w w. j o h n m o r a n . c o m 4 8 9

349

A Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototype ensemble

Circa 1970s Scarf signed and dated in the weave; label: Echo / Made in Japan Comprising a Sundance Yellow high-waisted V-neck polyester jacket, partially lined, with brass buttons, together with a sleeveless Sundance Yellow polyester double knit princess seamed dress, with side front on-seam pockets, fully lined and with a back zipper, and a Zamparelli multicolored geometric print polyester scarf, 1977 4 pieces Dress: center back: 35.5”; bust front: 17”; waist front: 16”; back shoulders: 15” Jacket: center back: 23.5”; bust front: 19”; high waist front: 17.5”; back shoulders: 16.5”; sleeve: 23” Scarf: 51.5” x 13” Belt: 30” x 2” $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA 4 9 0 A r t + D e s i g n l Tu e s d a y, Se p te mb e r 3 0 , 2 0 2 5

350

A Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototype ensemble

Circa 1970s Jacket and dress each with label: Designed for Hughes Airwest by Mario Armond Zamparelli and Company Los Angeles / Manufactured by Portrait Clothes division of Barco of California; further labeled for size and material; Scarf signed and dated in the weave; label: Echo / Made in Japan Comprising a Sundance Yellow polyester double knit short sleeved princess dress with inverted pleats to skirt, fully lined and with a back zipper, together with a matching contoured fully lined zippered jacket, each size 8, and a Zamparelli multicolored geometric print polyester scarf, 1977 3 pieces Dress: center back: 35.5”; bust front: 16.5”; waist front: 14..5”; back shoulders: 13.5”; sleeve: 8” Jacket: center back: 21”; bust front: 17”; waist front: 16.5”; back shoulders: 15”; sleeve: 22.5” Scarf: 51.5” x 13.25” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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351

A Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototype ensemble

Circa 1970s Scarf signed and dated in the weave; label: Echo / Made in Japan Comprising a Sundance Yellow polyester double knit short sleeved princess dress with inverted pleats to skirt, partially lined and with a back zipper, together with a matching contoured fully lined zippered jacket, and a Zamparelli multicolored geometric print polyester scarf, 1977 3 pieces Dress: center back: 33.75”; bust front: 17”; waist: 15.5”; back shoulders: 14”; sleeve: 8” Jacket: center back: 21.5”; bust front: 19”; waist front: 17”; back shoulders: 15.5”; sleeve: 22.5” Scarf: 51” x 13” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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352

A group of Mario Armond Zamparelli and Company for Hughes Airwest scarves

Circa 1970s Each signed and two dated to weave; two with label: Echo / Made in Japan Three works with various geometric designs comprising a multicolored square silk scarf, 1975 (26.5” x 26.5”), a long narrow polyester scarf in blues, tan, and yellow, 1977 (51.5” x 13”), and a long narrow polyester scarf with a blue, yellow, and orange multistripe design (48” x 12”) 3 pieces $100-200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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353

A group of Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform ensemble prototypes

Circa 1970s Scarf signed and dated to weave; with label: Echo / Made in Japan Comprising an orange and pink cotton hostess pinafore smock with left top strap button closure and button tabs to waist, together with a Sundance Yellow synthetic knit popover placket blouse with round collar and tonal buttons, and a Zamparelli multicolored square silk scarf, 1975 3 pieces Smock: CB: 30”; waist front at tabs: 17.25” Blouse: CB: 27”; bust front: 19”; waist front: 17.5”; sleeves: 23” Scarf: 26.5” x 26.5” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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354

A group of Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform prototypes

Circa 1970s Scarf signed and dated to weave; with label: Echo / Made in Japan Comprising an orange and pink cotton hostess pinafore smock with left top strap button closure and button tabs to waist, together with a Sundance Yellow synthetic knit popover placket blouse with round collar and tonal buttons, and a Zamparelli multicolored square silk scarf, 1975 3 pieces Smock: CB: 29.5”; waist front at tabs: 17.25” Blouse: CB: 27”; bust front: 19”; waist front: 17.5”; sleeves: 23” Scarf: 26.5” x 26.5” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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355

A group of Mario Armond Zamparelli and Company for Hughes Airwest hostess uniform ensemble prototypes

Circa 1970s Scarf signed and dated to weave; with label: Echo / Made in Japan Comprising an orange and pink cotton hostess pinafore smock with left top strap button closure and button tabs to waist, together with a fitted orange rayon blouse with pointed collar and tonal buttons, and a Zamparelli signed multicolored square silk scarf, 1975 3 pieces Smock: CB: 30”; waist front at tabs: 17.5” Blouse: CB: 22.5”; bust front: 17.5”; waist front: 15.5”; sleeves: 24” Scarf: 26.5” x 26.5” approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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356

A group of Mario Armond Zamparelli and Company for Hughes Airwest hostess scarves

Circa 1970s Each signed and two dated to weave; two with label: Echo / Made in Japan Three works with various geometric designs comprising a multicolored square silk scarf (26.5” x 26.5”), a long narrow polyester scarf in blues, tan, and yellow (51.5” x 13”), and a long narrow polyester scarf with a blue, yellow, and orange multistripe design (48” x 12”) 3 pieces $100-200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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357

A group of Mario Armond Zamparelli and Company for Hughes Airwest hostess scarves and ribbon

Circa 1970s Each scarf signed and two dated to weave; two with label: Echo / Made in Japan Five works comprising four scarves with various geometric designs including two multicolored square silk scarves, 1975 (each: 26.5” x 26.5”), and two long narrow polyester scarves with a blue, yellow, and orange multistripe design (49” & 48.5” x 12”), as well as a 50-yard roll of multicolored five-stripe grosgrain acetate ribbon trim, for 1972 uniform hats (7” Dia. approximately x 1.5” H) 5 pieces $100-200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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358

A group of Mario Armond Zamparelli and Company for Hughes Airwest accessories

Circa 1970s Each scarf signed and two dated to weave; two with label: Echo / Made in Japan; Tie with label: Career Cravats Five works comprising three scarves with various geometric designs including a multicolored square silk scarf, 1975 (26.5” x 26.5”), a long narrow polyester scarf in blues, tan, and yellow, 1977 (51.5” x 13”), and a long narrow polyester scarf with a blue, yellow, and orange multistripe design (49” x 12”), as well as a 50-yard roll of multicolored five-stripe grosgrain acetate ribbon trim, for 1972 uniforms (7” Dia. approximately x 1.5” H), a multicolored tie featuring Hughes Airwest “triple fuselage” branded fabric (56” x 4”), and a group of three promotional photographs featuring the silk scarves 8 pieces $150-250 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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359

A group of Mario Armond Zamparelli and Company for Hughes Airwest pilot’s/ men’s uniform prototypes and accessories

Circa 1970s Most with various manufacturer’s and size labels Comprising a Universe Blue men’s Hamilton customer service agent tailored wool-mix jacket/ blazer with “triple fuselage” and Hughes Airwest branded monogram in Sundance Yellow (size 40 R), together with a light yellow captain’s Sear’s “Perma Prest” cotton/poly mix shirt (size 16 1/2), and a navy blue wool-mix “Tarpy Tailors” tie, as well as four blue and yellow short sleeved button front poly-cotton poplin shirts, two with cropped waist (size M), and two with shirttail hems (size L), together with two pairs of associated pants, (sizes 28/34 & 29/37, unhemmed), all by various makers including Mardac, “Super Two-Fiftys”, VIP, American, and Martin’s Uniforms, and including two sections of a pair of unfinished sample pants, three pairs of unused acrylic/ nylon mix socks, and a pair of Solar Shield sunglasses 15 pieces Jacket: Center back: 29.5”; chest front: 21”; back across shoulders: 17.5”; sleeve: 24.5” $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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360

A group of Mario Armond Zamparelli and Company Hughes Airwest and Hughes Helicopters prototype clothing and accessories Circa 1970s-1980s** Seven works:

Two above-the-knee double knit short sleeved princess dresses, each with inverted pleats to skirt and zip back including a russet/burnt orange mélange wool-mix knit dress with a matching lined contoured jacket, as well as a pale peach/tan woolmix knit dress with lined bodice Dresses: center back: 35.5”; bust front: 17.5-17”; waist: 15.5-15”; back shoulders: 14.5”; sleeve: 8” Jacket: center back: 21.75”; back shoulders: 16”; back at underarms: 19”; sleeve: 22.5” 3 pieces A burnt orange silk shawl collar jacket with sculptural shoulder pads and weighted hem Center back: 25.5”; bust front: 18”; waist: 15.5”; back shoulders: 15”; sleeve: 24.75” A purple silk pilot-style epaulette long sleeved shirt/blouse with flap pockets and small shoulder pads Center back: 26”; bust front: 17.5”; waist: 17”; back shoulders: 15”; sleeve: 24.5” Two Mario Armond Zamparelli for Hughes Airwest long polyester scarves in multicolored geometric prints including a polyester sample scarf in blues, tan, and purple, 1977 Each signed and dated in the weave, and each with care label 53” & 52” x 13.5” 2 pieces 7 pieces total $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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361

A Mario Armond Zamparelli and Company Hughes Airwest hostess cape prototype and luxury “Spiderweb” scarves

Late 20th century Cape unlabeled; scarves with manufacturer’s sample label: Sample A & Sample B A black/deep navy worsted wool twill zip-front multi-panel swing sample uniform cape, together with two Mario Armond Zamparelli and Company luxury Japanese “Spiderweb” openwork silk lace knit sample scarves, in light blue, and in dark blue, circa 1990s 3 pieces Cape: center back: 39.5”; total hem circumference: 200”; Each scarf: 48” H x 65” W approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: Similar designs illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102, 104.

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362

A group of Mario Armond Zamparelli and Company for Hughes Airwest prototype luggage

Circa 1970s Three works designed in Hughes Airwest “Universe Blue” and “Sundance Yellow” corporate color scheme, with pale Universe Blue or navy blue canvas with yellow trim and “triple fuselage” logos, including a navy blue flight bag with mock-up adhesive logos (12” H x 18” W x 8” D), a small Universe Blue duffle bag (8.5” Dia. x 20.5” W), and a Universe Blue zip-up foldable garment bag (47” H x 18.5” W x 3.5” D; closed: 23.5” H) 3 pieces $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: Similar designs illustrated: SFO Museum, “Fashion in Flight: A History of Airline Uniform Design” (San Francisco: SFO Museum: 2020), 102.

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A group of Mario Armond Zamparelli and Company for Hughes Airwest Boeing 727-200 graphic designs and associated materials Circa 1970s/1980s/1990s* An extensive group of items related to Mario Armond Zamparelli for Hughes Airwest design and planning Comprising:

Interior and uniform fashion fabrics with related materials, including a 3-ring binder with twelve named samples of interior fabrics for Mario Armond Zamparelli and Company, woven by Collins-AIkman, as well as thirteen interior fabric swatches in various designs and colors, two labeled for Collins and Aikman, with a presentation board of the same fabrics, plus a thread shade card, a two-piece sample airline seat cover in likely Orinoka Mills fabric, three wool-mix carpet samples from various projects, and four lengths of uniform fabrics, including three polyester-mix in Sundance Yellow and Universe blue, and one in orange cotton, together with five yellow quilted fabric sample remnants, three packs of yellow Lidz Brothers buttons, two 50-yard rolls of multicolored striped grosgrain acetate ribbon trim, used for flight uniform accents, and a set of multi-piece original paper pattern blocks for two hostess clothing items featuring a Ticket Agent coat and a Hostess coat Printed and graphic design materials including a Boeing Advanced 727-200 Dedication and First Flight promotional packet, dated May 27, 1976, including press kit and promotional booklet, and other related ephemera, such as various brochures, and other branded stationery items including boarding passes, napkins, and peanut bags, plus promotional mock-ups promoting Hughes Airwest Mexico service, and numerous additional items include multiple drawings, conceptual plans and planning notes, with some related photos, including photos and process/color mixing notes from the planning and implementation of painting a plane, and conceptual drawings showing the evolution of the Hughes Airwest logo 44 + pieces (numerous single paper pages and photos) Largest flat item: 24” H x 18.5” W (portfolio pages); fabric bolt: 31.5” H x 8” W; Largest carpet: 35” x 35” $800-1,200 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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364

A group of Mario Armond Zamparelli and Company for Hughes Airwest Boeing 727-200 interior fabrics

Circa 1970s Five samples with Orinoka Mills paper labels; one with multiple Collins and Aikman Transportation Fabrics labels indicating each color variation; four without labels A selection of Mario Armond Zamparelli and Company designs for Hughes Airwest commercial upholstery sample fabric yardage in various sizes, colors, and weave designs, including seven Orinoka Mills wool-mix woven geometric design sample lengths in bright blue, purple, red, and orange tones, together with a single sample length of Collins and Aikman Transportation Fabrics in a geometric design, “Ethnix B”, incorporating various woven patchwork sample colorways in red, orange, and gold tones, as well as two further fabric lengths in reds and in multicolored stripes, a 50-yard roll of multicolored striped grosgrain acetate ribbon trim, used for flight uniform accents, and three associated promotional photographs 14 pieces Largest: 60” H x 137” W; Smallest: 52.5” H x 26.5” W; Ribbon roll: 1.5” H x 7” Dia. $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: Zamparelli, discussing the rebrand and design: “What does this mean to you, the passenger? You become a part of the Hughes Airwest corporate image Zamparelli explains, “One’s association with a bank ends at the balustrade. Involvement with an airline is total. It picks you up and carries you in the belly of the aircraft. You are a part of the corporate structure.” Sundancer, the inflight magazine of the inaugural flight states: “In order to make the place where the “you” part meets the “corporate” part more comfortable, Zamparelli will cover the seats with a fabric that not only resists flames, stains, and snags, and is guaranteed never to sag, fade or wear out-but also is soft and smooth, a nice place to be-whether you’re wearing hot pants or a business suit.”

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365

A group of Mario Armond Zamparelli and Company for Hughes Airwest Boeing 727-200 interior fabrics

Circa 1970s/1980s Five lengths with multiple Collins and Aikman Transportation Fabrics labels indicating each color variation; two lengths with Somerset Mills labels A selection of Mario Armond Zamparelli designs for Hughes Airwest commercial upholstery sample fabric yardage in various sizes, colors, and weave designs, comprising five wool/nylon woven lengths in beiges, purples, browns, greys, and other muted earth tones, each fabric length of a specific design and each incorporating various patchwork sample colorways, including “Solstice B”, “Circuit”, “Oceanica”, and “Plumage” weave designs, together with two sample lengths of Somerset Mills upholstery fabric, each in geometric designs in multiple multicolored colorways, one bright and one muted, as well as four promotional photographs 11 pieces Largest: 63” H x 128” W; Smallest: 53” H x 52” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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366

A group of Mario Armond Zamparelli and Company for Hughes Airwest Boeing 727-200 interior fabrics

Circa 1970s/1980s Five with multiple Collins and Aikman Transportation Fabrics labels indicating each color variation A selection of Mario Armond Zamparelli designs for Hughes Airwest commercial upholstery sample fabric yardage in various sizes, colors, and weave designs, comprising five wool/nylon woven lengths in jewel-tone blues and greens, purples, and muted multicolors, each fabric length of a specific design and each design incorporating various patchwork sample colorways, including “Facets”, “Solarflare”, “Ethnix A”, and Hughes Airwest “softee” “triple fuselage” weave designs, together with a sample swatch of Orinoka Mills pink and blue upholstery fabric, as well as five associated promotional photographs 11 pieces Largest: 63” H x 135” W; Smallest: 27” H x 26” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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367

A group of Mario Armond Zamparelli and Company for Hughes Airwest Boeing 727-200 interior fabrics

Circa 1970s/1980s Each with multiple Collins and Aikman Transportation Fabrics labels indicating each color variation A selection of Mario Armond Zamparelli designs for Hughes Airwest commercial upholstery sample fabric yardage in various sizes, colors, and weave designs, comprising four wool/nylon woven lengths in blues and greens, purples, and muted multicolors, each fabric length of a specific design and each incorporating various patchwork sample colorways, including “Ethnix B”, “Oceanica” and “Plumage” weave designs, as well as a related promotional photograph 5 pieces Largest: 63” H x 140” W; Smallest: 63.5” H x 106” W $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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368

A group of Mario Armond Zamparelli and Company for Hughes Helicopters graphic designs and promotional materials

Circa 1980s/1990s A large group of promotional materials related to Hughes Helicopters, including five working drawings of proposed exterior color renderings, five promotional brochures, approximately thirty promotional photographs on paper, and assorted additional promotional ephemera/ materials; larger pieces estate stamped verso Each drawing (approx.): 30” H x 17.75” W $400-600 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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369

Mario Armond Zamparelli (1921-2012), Military aeronautical

A group of 29 works of military aircraft 25 works with graphite, charcoal, and/or colored pencil on tracing paper, and four works with gouache, colored pencil, and mixed media on artist’s board One of the works on artist’s board with a possibly indistinct signature along the lower edge, at right; all other works unsigned Each tracing sheet: 16.75” H x 13.75” W; Smallest artist’s board: 14.75” H x 19.75” W; Largest artist’s board: 15” H x 22” W (or reverse) $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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370

Mario Armond Zamparelli (1921-2012), Science, Industry

A group of six industrial and/or scientific illustrations Each: Graphite, gouache, colored pencil, and mixed media on artist’s board One of the works signed and dated in red ink along the lower edge, at right: Zamparelli 81; all other works unsigned; estate stamped verso Smallest artist’s board: 20” H x 14.875” W; Largest artist’s board: 20” H x 21.25” W $600-900 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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371

A group of Mario Armond Zamparelli and Company Hughes Helicopters and luxury clothing prototypes

Circa 1970s-1990s Comprising a 1970s ladies long russet burnt orange bouclé wool mélange swing-style coat with raglan sleeves, front darts and princess seaming with in-seam pockets, plus shoulder pads, and full tonal silk lining, together with a Mario Armond Zamparelli and Company 1990s Japanese abstract silk lace knit sample scarf in pale grey, as well as a House of Zamparelli Designs sample luxury tricot knit alpaca pullover sweater in burnt orange and grey stripes, with a matching long woven alpaca scarf with fringing 4 pieces Coat: center back: 45.5”; across back at shoulders: 14”; sleeve: 23” Lace scarf: 43” H x 84” W Sweater: center back: 25”; chest front: 20.5”; sleeves: 22.5” (all unstretched) Scarf: 10” H x 66” W (including fringe) $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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372

A group of Alpaca wool tricot sweaters size S and a luxury “Spiderweb” scarf

Circa 1990s Each sweater marked to label for alpaca; four labeled: Casa / Handmade in Bolivia / Mens S; one labeled: Made in Peru / S; scarf labeled: Sample D A group of sample designs for House of Zamparelli Designs comprising four Casa alpaca knit sweaters in various colors including a V-neck in blue and turquoise stripes, as well as three crew necks, in purple and grey stripes, purple and taupe stripes, and one in purple, blue, and pink mélange, together with a navy and grey striped crew neck sweater, and a dark grey Japanese “Spiderweb” openwork silk lace knit sample scarf 6 pieces Largest: center back: 24”; chest front: 23”; sleeve: 22” ; Smallest: center back: 24”; chest front: 19.5”; sleeve: 19” Scarf: 48” H x 65” W approximately $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: House of Zamparelli Designs 1990 promotional text for the alpaca sweaters: “Arriving at the threshold of a new millennium, a wonderful new collection of natural fibre accessories anticipating with quickening pulse the sure yet adventurous classics of high luxury. Tricots in Virgin Andes Alpaca from Ancient Peru. Designer collection: Mario Armond Zamparelli exclusively and only in natural organic fibres. Aconcagua; the tallest mountain in the western hemisphere rises at 22,835 feet part of the Andes range, a geologic protrusion that marks the face of Peru in the glorious architectural culmination at Machu Pichu. The llama’s habitat is here, from which the soft luster alpaca yarn is derived. The enduring beauty, texture, and resilience of natural fibres are the only materials to enhance the House of Zamparelli Designs. The breathability and comfort of natural fibres is consistent with contemporary awareness; to reappraise fundamentals in human attire. Alpaca, wool, cotton, silk, and linen have always had an exquisite tactile response to human form. In your very personal collection, Zamparelli is only natural.”

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373

A group of Alpaca wool tricot sweaters size M

Circa 1990s Each marked to label for alpaca; two labeled: Casa / Handmade in Bolivia / Mens M; two labeled: Made in Peru / M A group of sample designs for House of Zamparelli Designs comprising two Casa crew neck alpaca knit sweaters, one in tonal bright blue stripes and one in tonal purple stripes, as well as two further alpaca crew necks, one in vibrant purple stripes, and one in brown and grey stripes 4 pieces Largest: center back: 26”; chest front: 22.5”; sleeve: 24”; Smallest: center back: 25.5”; chest front: 21”; sleeve: 19.5” $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: House of Zamparelli Designs 1990 promotional text for the alpaca sweaters: “Arriving at the threshold of a new millennium, a wonderful new collection of natural fibre accessories anticipating with quickening pulse the sure yet adventurous classics of high luxury.

Tricots in Virgin Andes Alpaca from Ancient Peru. Designer collection: Mario Armond Zamparelli exclusively and only in natural organic fibres. Aconcagua; the tallest mountain in the western hemisphere rises at 22,835 feet part of the Andes range, a geologic protrusion that marks the face of Peru in the glorious architectural culmination at Machu Pichu. The llama’s habitat is here, from which the soft luster alpaca yarn is derived. The enduring beauty, texture, and resilience of natural fibres are the only materials to enhance the House of Zamparelli Designs. The breathability and comfort of natural fibres is consistent with contemporary awareness; to reappraise fundamentals in human attire. Alpaca, wool, cotton, silk, and linen have always had an exquisite tactile response to human form. In your very personal collection, Zamparelli is only natural.”

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374

A group of Alpaca wool tricot sweaters size M

Circa 1990s Each marked to label for alpaca; two labeled: Casa / Handmade in Bolivia / Mens M; two labeled: Made in Peru / M A group of sample designs for House of Zamparelli Designs comprising two Casa crew neck alpaca knit sweaters, one in dark blue and purple stripes and one in tonal brown stripes, as well as two further alpaca sweaters, one a crew neck in charcoal grey with brown, purple, and pale grey stripes, and one a V-neck in vibrant blue and brown stripes 4 pieces Largest: center back: 27.5”; chest front: 22.5”; sleeve: 23” ; Smallest: center back: 24.5”; chest front: 19.5”; sleeve: 20.5” $300-500 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: House of Zamparelli Designs 1990 promotional text for the alpaca sweaters: “Arriving at the threshold of a new millennium, a wonderful new collection of natural fibre accessories anticipating with quickening pulse the sure yet adventurous classics of high luxury.

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A group of Alpaca wool tricot sweaters size L and a luxury “Spiderweb” scarf

Circa 1990s Each labeled: Casa / 100% Alpaca Wool / Handmade in Bolivia / Mens L; scarf labeled: Sample C A group of sample designs for House of Zamparelli Designs comprising three Casa alpaca knit sweaters in various colors including a V-neck in turquoise and green stripes, and two crew necks, one in blue and light brown stripes, and one in pale purple mélange, as well as a pale grey Japanese “Spiderweb” openwork silk lace knit sample scarf 4 pieces Each: center back: 27”; chest front: 24”; sleeve: 23” approximately Scarf: 49” H x 57” W approximately $200-400 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA Notes: House of Zamparelli Designs 1990 promotional text for the alpaca sweaters: “Arriving at the threshold of a new millennium, a wonderful new collection of natural fibre accessories anticipating with quickening pulse the sure yet adventurous classics of high luxury. Tricots in Virgin Andes Alpaca from Ancient Peru. Designer collection: Mario Armond Zamparelli exclusively and only in natural organic fibres. Aconcagua; the tallest mountain in the western hemisphere rises at 22,835 feet part of the Andes range, a geologic protrusion that marks the face of Peru in the glorious architectural culmination at Machu Pichu. The llama’s habitat is here, from which the soft luster alpaca yarn is derived. The enduring beauty, texture, and resilience of natural fibres are the only materials to enhance the House of Zamparelli Designs. The breathability and comfort of natural fibres is consistent with contemporary awareness; to reappraise fundamentals in human attire. Alpaca, wool, cotton, silk, and linen have always had an exquisite tactile response to human form. In your very personal collection, Zamparelli is only natural.”

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376

A Mario Armond Zamparelli and Company luxury pointelle knit sleeping “onesie” jumpsuit prototype

Late 20th century Unlabeled; unknown fiber, possibly cotton/wool mix A turquoise green and grey striped openwork knit all-in-one jumpsuit with a tall turtleneck or cowl neck collar, shoulder pads, elasticated cuffs, and an extra-long back zipper Chest: 39” (lightly stretched); waist: 28” (fixed); hips: 42” (lightly stretched); sleeves: 28”; across back at shoulders: 16”; collar: 22” H x 34” Dia.; inseam: 32”; center back collar to crotch: 29”; underarm to cuff: 52” $50-75 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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377

A large group of Mario Armond Zamparelli (1921-2012) developmental design materials for EPCOT Center / GE “Home of the Future - Threshold 2000”

Circa 1980s A large group comprising over 100 items related to the developmental design of EPCOT Center, General Electric’s (GE) “Home of the Future” pavilion. The group includes renderings, blueprints, conceptual drawings, tracings, mockups, large presentation boards, and other various materials documenting multiple stages of design, working development, and presentation. Most items are paper-based, encompassing a range of mixed media such as graphite, ink, marker, gouache, and photographic prints, etc. Largest: 34” H x 22” W $500-700 Provenance: The Estate of Mario Armond Zamparelli, La Cañada, CA

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Consign Today

Modern & Contemporary Fine Art December 10, 2025 Magdalena Abakanowicz “Atoris,” 2005

Price Realized: $82,550 Consignment and Auction Inquiries: fineart@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS 5 3 6 A r t + D e s i g n l Tu e s d a y, Se p te mb e r 3 0 , 2 0 2 5

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

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art - jewelry - decorative objects - furnishings and more Sold at John Moran Auctioneers:

Agnes Pelton (1881-1961) “Sleep,” 1928

Price Realized:$508,000 Inquiries: appraisals@johnmoran.com

SINCE 1969

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Condition Reports 5 3 8 A r t + D e s i g n l Tu e s d a y, Se p te mb e r 3 0 , 2 0 2 5

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1 Carfax report available upon request. New battery. The strut supports for hood and trunk need to be replaced. Exterior in good condition with a few localized areas of paint loss including a 4” x 5” area of lower edge of passenger’s side in front of the wheel well, as well as a small indentation and another 1.5” long scratch, the front bumper underside area with scattered scuffs and small indentation, and front surfaces of side mirrors with small flecks of paint loss. Two 0.5” long scratches to driver’s side near headlight. The hood with two small bubbles in the paint. Rear driver’s side tail light cover with a large scuff and possible repair. Interior in good condition with normal wear to weather and mats, the driver’s seat back with a 2.5” long tear in the leather. Moran’s does not guarantee the proper mechanical working condition of the vehicle. 2 Overall good condition. Soft spine with creasing, and adjacent adhesive transfer from slipcase long front and back edges. Slipcase with lifting to foiling along front edge where it was pasted down. As well, with small surface tears along front opening edges. 3 Each overall good condition with minor shelf wear, some bumping at corners and spine ends, and mild tanning to dust jackets commensurate with age. ‘Apartments’ glassine with a pea-sized loss at front right corner, one small tear at lower spine end, and very small tears along upper edges. ‘Crackers’ jacket with tears along upper front edge, the longest measuring 1” long, a few other scattered small tears along edges, and a 1” long dog ear to back flap. 4 Each overall good condition with minimal shelf wear, minor scuffs and scratches to wrappers, and minor bumping at corners, spine ends, and edges. 5 Fading to box commensurate with age, which includes fading to signature. With shelf wear and bumping at corners. Case with panels loose and starting to separate.

Condition Reports

6 Overall generally good appearance. The full sheet. Occasional, scattered, soft, handling marks visible primarily in raking light. Some harder creases in a few places at the extreme sheet edges and corners of the black border. The sheet is loose, not matted.

540

Unframed 7 Overall good appearance. The colors attenuated, primarily in the reds. Damp staining along the lower edge. Minor surface abrasions with attendant pigment loss scattered primarily in the outer edges. Not examined out of the frame. Framed under glass: 30.75” H x 24.75” W x 1.75” D

8 Each overall good condition with minor shelf wear. ‘Philosophy’ with bumping to corners and spine ends, the dust jacket with a few small tears along edges, and two 1.5” long pieces of tape along front and back as well as to upper corners of flaps. ‘Children’s’ with 1.5” x 1” area of deeper scratches verso. 9 Lacking original balloon and airplane insert. With shelf and handling wear, bumping and tears to corners, and boards with minor soiling, scratches and some denting to edges. Foxing to lower edge of front board. Cockling to pages. 10 Each overall good condition with shelf wear, mild bumping at corners and edges, and minor soiling to dust jackets commensurate with age. Each slipcase with a 5.5” x 3” area of moisture staining to bottom corner of open and lower edges, as well as tears along top edges starting from open end. Volume I with cockling to pages of first half. Volume III pages with cockling throughout. 11 Overall good condition with tarnishing and light scratches commensurate with age. 12 With losses to beaded accents. The blade with scuffs, scratches, and tarnishing commensurate with age. The handle and sheath wood with wear to finish and general wear to edges. 13 Overall good condition with tarnishing and scratches commensurate with age and use. Stone with scattered light abrasions and visible inclusions. 14 Overall good condition with light tarnishing and scratches commensurate with age and use. Tests for sterling with XRF. 15 Each in overall good condition with light tarnishing, oxidation, and scratches commensurate with age and use. Smaller brooch with break and loss to one lower element. Silver brooches and cuff test for sterling with XRF. 16 Overall good appearance. With margins. Not examined out of the frame. Framed under glass: 29” H x 25” W x 1.375” D 17 Overall generally good appearance. With margins. Occasional, unobtrusive, minute, surface abrasions (some of which have been skillfully touched-in) scattered throughout the upper half of the background. Scattered soft handling marks showing mostly on the verso. The sheet is loose, secured to the back mat with three archival corners. Framed under glass: 27” H x 23” W x 1” D

Framed under glass: 13.5” H x 16.125” W x 1.375” D 19 Overall good condition with shelf wear and scattered scuffs and scratches commensurate with age. 20 Overall good condition with shelf wear and scattered minor scuffs and scratches commensurate with age. 21 Overall good condition with scuffs and darkening/ oxidation to bronze commensurate with age. Felt applied to underside. 22 Overall good appearance. With full margins and the colors fresh. At least six horizontal and one vertical crease, presumably from original mailing. Some scattered handling marks showing mostly in the outer edges of the margins. Three very small and unobtrusive stains in the lower margin, rice-sized or smaller, some of which could be part of the original paper manufacture. A 0.125” horizontal edge tear near the bottom of the right margin edge. The sheet is loose, not matted. Unframed 23 Overall good appearance. With margins. The colors good. A few flattened creases scattered in the image and margins, primarily visible in raking light. Not examined out of the frame. Framed under Plexiglas: 82” H x 54.5” W x 2.25” D 24 Overall good appearance. With margins. Very minor, small, flattened creases scattered in the blank of the image, primarily visible in raking light. Not examined out of the frame. Framed under Plexiglas: 53.625” H x 39” W x 2” D 25 Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. The cording in good condition with dust accumulation and minor soiling. The frame with rubbed losses to black paint along armrests. 26 With scattered scuffs, scratches, nicks, and indentations commensurate with age. The drawers with soiling to interiors. As well, some soiling and surface grime to supports. The top with some wear to the finish, concentrated to front edge. Pitting to chrome finish throughout.

27 Overall good condition with scattered scuffs, scratches, nicks, and interior soiling commensurate with age and use. Soiling and staining to upper and lower wells. Footrest with a dent and soiling and staining. The lean-out drawer pull with a 1.5” long chipped loss. An area of slight separation to veneer near ends of footrest. Glass shelf with a 5” long hairline crack issuing from the support. 28 One chair with losses to top layer of plies to underside of seat and cracking to the bend in the seatback. Each overall good condition with scattered scuffs, scratches, nicks, and soiling commensurate with age. Each with some staining to seat plywood and losses to enameling of metal stretcher with attendant oxidation. Cushions in good condition with minor wear. 29 Some elements are off-balance with the others. Overall good condition with scattered scuffs and scratches commensurate with age. Outer shade with three small dents at rim. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 30 Overall generally good appearance. With wide (possibly) full margins. A 0.5” H x 0.125” W tear with an attendant small paper loss near the lower right margin corner, the latter of which slightly affects the estate ink stamp, verso. A small and unobtrusive area of surface skinning in the lower margin near the lower left margin corner, which is dogeared. The sheet is hinged to the back mat with two pieces of masking tape from the upper margin corners. Framed under glass: 17.625” H x 18.75” W x 2” D 31 With wide margins. The margins lacking approximately 6” in height and 1.75” in width. Traces of pale light-staining showing within the window opening of the mat. The sanguine color completely attenuated. Pale foxing showing primarily along the upper margin. Very slight surface skinning showing mostly along the margin edges, verso. The sheet is hinged to the back mat with two pieces of linen hinging tape from the verso of the upper margin corners. Framed under Plexiglas: 23” H x 19.75” W x 2” D 32 Overall good appearance. With margins. The sheet is taped to the overmat from the verso of the upper margin corners and the upper portion of the left and right margin edges. Framed under Plexiglas: 33.25” H x 25.625” W x 2” D 33 With a repaired break to middle of torso. Ceramic base with what appears to be a touch-up material similar to the base material. With a few fleabite chips to figure at edges, as well as scattered scuffs and scratches.

Condition Reports

18 Overall good appearance. With margins. Two small squares of what appears to be old hinging tape on the verso, near the upper margin corners. The sheet is loose, secured to the back mat with four clear archival corners.

541

34 Overall good appearance. Full margins with deckled edges. A few soft handling marks scattered in the lower margin, mostly visible in raking light. Small areas of slight surface skinning near the upper left margin corner. The sheet is framed floating, tipped to the back mat from the verso of the upper margin edge and corners. Framed under glass: 35.5” H x 28.125” W x 1.5” D 35 With full margins, deckled on two sides. Light-staining throughout and the colors slightly attenuated. An unobtrusive 0.25” curved surface scratch in the upper right quadrant of the image, primarily visible in raking light. Two very soft 1” (or smaller) handling marks in the center of the lower margin, primarily visible in raking light, as well as a few soft handling marks, primarily in the outer margins, and one in the center of the work, primarily visible from the verso. The lower right sheet corner dog-eared and a 0.25” edge tear in the right portion of the lower edge. Splattered staining in the upper right quadrant margin, showing primarily from the verso, not affecting the image. An occasional 1.25” long (or smaller) thin band of damp staining showing in places on the verso along the extreme upper and left edges. Backboard staining and scattered foxing verso. A 1” H x 1” W (or smaller) area of surface skinning on the verso of each sheet corner. Other lesser defects. The sheet is taped to the overmat from the verso with eight pieces of hinging tape. Framed under glass: 23” H x 27.125” W x 2” D 36 Overall good appearance. With margins. Very pale lightstaining. Soft handling creases in the extreme margin edges. The upper right margin corner very slightly dogeared. A 0.25” vertical scuff in the background of the upper left quadrant of the image. The sheet is framed floating. Not examined out of the frame.

Condition Reports

Framed under glass: 39.25” H x 31.25” W x 1.125” D

542

37 Overall generally good appearance. Full margins with deckled edges. Very pale mat staining and soft cockling showing slightly in the outer portion of the margins. Three pinhead-sized areas of insect damage in the lower left margin corner along with a 1.5” diagonal handling crease across the tip of the same margin corner. A pinpoint-sized foxmark in the lower margin, just below the signature, and two more foxmarks in the deckle of the upper margin edge. Slight surface rubbing throughout the margins, visible only in raking light. The sheet is hinged to the back mat from the verso of the margin corners. Unframed

38 Overall good appearance. With full margins and the right edge deckled. An extremely pale rice-sized surface stain near the signature. Remains of hinging tape in places along the verso margin edges. The sheet is framed floating, hinged to an invisible back board from the verso of the upper margin corners, and that mat board is subsequently affixed to the back mat. Framed under Plexiglas: 40” H x 33” W x 1” D 39 Overall good appearance. Full margins with deckled edges. Small areas of surface skinning (from removal of previous overmat) scattered across the upper margin and in the upper portion of the left and right margins, visible primarily when the sheet is backlit. Traces of old lightstaining showing mostly in the upper margin, just outside the upper edge and upper corners of the image, again visible primarily when the sheet is backlit. A few numeric pencil notations in various hands, verso. The sheet is loose, not matted Unframed 40 Overall good condition. Full margins with deckled edges. A few numeric pencil notations in various hands, verso. The sheet is loose, not matted Unframed 41 Overall good appearance. Full margins with deckled edges. The slightest hint of toning near the upper portion of the left margin. The colors somewhat attenuated. A few numeric pencil notations in various hands, verso. The sheet is loose, not matted. Unframed 42 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One deeper scratch to interior measuring 2” long. Scattered areas of surface grime. 43 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. With about three small dark linear inclusions. 44 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 45 Overall good appearance. The full sheet with deckled edges. A small, less than 0.25” horizontal tear near the lower right sheet corner. A few minor handling creases in the lower left sheet corners. The sheet is framed floating, tipped to the back mat from the verso of each sheet corner, however, the lower right sheet corner is no longer tipped to the back mat. Not examined out of the frame. Framed under Plexiglas: 30” H x 37.75” W x 2.125” D

Unframed 47 Overall good appearance. The full sheet with deckled edges. The colors good. A few soft, unobtrusive handling marks in places along the blank of the left and right sheet edges, primarily visible in raking light. A small area of surface skinning on the verso of the upper edge, at right. The sheet is framed floating, tipped to the back mat in places on the verso sheet edges and corners, however, the sheet is no longer tipped along the lower edge, at right, the right edge, and part of the upper edge, at right. Framed under Plexiglas: 29.75” H x 39.75” W x 1.75” D 48 Overall good appearance. Scattered small areas of possible trimming are visible along the extreme upper edge. Three small squares of very pale staining, presumably attendant with the tape or glue used on the verso, all primarily visible in raking light. The sheet is framed floating, tipped to the back mat in places from the verso sheet edges and corners. Not examined out of the frame. Framed under Plexiglas: 31.75” H x 45.75” W x 2” D 49 Overall good appearance. With full margins and deckled edges. The sheet is framed floating, hinged to the back mat from the verso edges. Not examined out of the frame. Framed under Plexiglas: 29.75” H x 27.75” W x 1.5” D 50 Overall good appearance. The full sheet with deckled edges. The sheet is hinged to the foam-core backing with two pieces of hinging tape from the verso of the upper sheet corners. Unframed 51 Overall good appearance. Minor specks of grime and unobtrusive surface scratches. The work has aluminum hanging hinges on the verso. 52 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Original postal packaging housing the provenance paperwork is torn. 53 Overall good condition with scattered scuffs and scratches commensurate with age.

54 Repair to one support at the center juncture. Overall good condition with scattered scuffs and scratches commensurate with age. More concentrated and deeper scratches to areas where tubular frame meets glass top and at the feet. 55 Each overall good condition with shelf wear, scuffs and scratches, and pitting to the chrome and gold-toned finishes commensurate with age. Each shade overall good condition and minor soiling, one upper corner with staining and a 2” long shallow tear at middle. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 56 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 57 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Each with minor soiling. Box with shelf wear. 58 Lacking serving tray. With scattered scuffs, nicks, abrasions, and indentations commensurate with age. The handle and upper edges with heavy scuffing, as well as to scattered areas of the sides, with attendant losses to finish. Glass in good condition with some scratching throughout. 59 Overall good appearance. Full margins with a deckled lower edge. The palest light-staining showing only slightly in the margins. An occasional scattered and very unobtrusive pinpoint-sized foxmark showing mostly near the outer margin edges, plus three pinhead-sized pale foxmarks in the lower right margin corner or deckled edge. A soft handling mark and some minor rippling in the outer portion of the left margin. A few flecks of stray printer’s ink showing only on the verso. The sheet hinged to the back mat with three small Japanese paper hinges from the verso of the upper margin edge. Unframed 60 Overall generally good appearance. With full margins. The colors somewhat attenuated. Two pale side-by-side stains in the lowest orchre section, one approximately dime-sized and the other approximately pea-sized. Two significantly smaller, unobtrusive stains at lower center, one being a pinpoint-sized black speck, and the other a 0.125” H very pale u-shaped hairline stain a few inches above the former. Scattered tiny surface abrasions likely due to insects, some with attendant pinhead-sized pigment losses in places near the upper edge of the image and in the upper margin. A rice-sized hole in the upper margin, not affecting the image. A few scattered foxmarks in the upper margin and on the verso. Other lesser defects. The sheet is hinged to the overmat with three linen hinges from the verso of the upper margin edge. Unframed

Condition Reports

46 Overall good appearance. The full sheet with deckled edges. A minor 2” vertical crease along the upper portion of the left edge, and a 0.75” crease near the lower left corner. Small square patches of surface skinning scattered along the verso sheet edges. The sheet is hinged to a foamcore backing from the verso of the upper sheet corners.

543

61 Overall good appearance. With full margins and deckled edges. Soft handling creases in the outer margins, primarily visible in raking light. A very soft 0.5” diagonal crease across the tip of the lower right margin corner. The paper surface of the outer margins slightly uneven in places due to small hinges on the verso, four of which are no longer attached to the back mat along the lower margin edge, all only visible in raking light. The sheet is hinged to the back mat in six places from the verso of the upper, left, and right margin edges. Framed under glass: 29.25” H x 43.125” W x 1.5” D 62 Overall good appearance. Full margins with deckled edges. A delicate, 1” vertical crease in the upper margin edge, visible primarily in raking light, not affecting the image. A few short and unobtrusive, horizontal creases confined to the deckle of the upper margin edge. An unobtrusive, 0.25” H, surface abrasion near the upper left margin corner. A short diagonal crease across the tip of each of the lower margin corners. A few specks of pale, unobtrusive foxing scattered primarily in the lower margin. An unobtrusive “fingerprint” of surface soiling near the center of the lower margin, primarily visible in raking light. The sheet is framed floating, hinged to the back mat in various places along the verso of the margin edges and corners. Framed under glass: 36.125” H x 47” W x 2” D 63 Overall generally good appearance. Full margins. The colors good. Minor scratches, scuffs, and slight creasing to the surface of the plastic, affecting both the image and margins; the more “significant” creases appearing in the outer margin edges and corners. A small loss of the clear plastic at the tip of the lower right margin corner. The sheet is loose, not matted.

Condition Reports

Framed under Plexiglas: 20.5” H x 24.375” W x 1.75” D

544

64 Overall generally good appearance. With narrow margins, the sheet trimmed, unevenly at right, with an attendant, approximately 7” H cut affecting part of the image border, and backed with archival/fabric tape on the verso. Pale, uneven light-staining. Minor creasing along the extreme left margin edge. Minor surface skinning and attendant glue residue from prior tape on the verso of the upper margin corners and the lower left corner. The sheet is loose, secured to the back mat with four clear archival corners. Framed under glass: 21” H x 17” W x 1” D 65 Overall good appearance. Full margins with deckled edges. Occasional specks of pale foxing and a few soft handling marks scattered in the outer margin edges. The sheet is framed floating, hinged to the back mat in places from the verso of the margin edges and corners (and affecting the recto paper surface very slightly in those areas). Not examined out of the frame. Framed under Plexiglas: 54.75” H x 59” W x 2” D

66 Overall good appearance. With margins. The colors good. A very soft 0.75” diagonal crease in the lower portion of the right margin, primarily visible in raking light. The sheet is framed floating, tipped down in places along the verso margin edges and corners. Not examined out of the frame. Framed under Plexiglas: 52.125” H x 50.625” W x 1.75” D 67 Overall good appearance. Full margins with deckled edges. The sheet is framed floating, hinged to the back mat with various pieces of hinging tape from the verso of the margin edges and corners. Framed under Plexiglas: 24.75” H x 32.25” W x 2.125” D 68 Overall good appearance. With full margins and deckled edges. Soft handling marks primarily in the lower margin. The sheet is framed floating, hinged to the back mat from the verso. Framed under Plexiglas: 31.75” H x 23.75” W x 2” D 69 Overall good appearance. With full margins. The palest light-staining, confined to the portion of the margins exposed through the overmat window. A pale cluster of small “splatter-like” stains near the lower margin edge, at left. A very small indentation at the center of the extreme upper margin edge. Small, pale, unobtrusive areas of occasional surface soiling and three small rectangular areas of surface skinning (presumably from prior hinging), all on the verso. The sheet is loose, secured to the back mat with four clear archival corners. Framed under Plexiglas: 32.375” H x 38.25” W x 1.625” D 70 Overall good appearance. The colors good. A thin 1” vertical area of craquelure in the silver metallic embossing near the upper right corner. Not examined out of the frame. Framed under glass: 41” H x 29.5” W x 2.25” D 71 Overall good appearance. The full sheet. Pale lightstaining. The sheet is frame floating, hinged to the back mat. Not examined out of the frame. Framed under glass: 34” H x 41” W x 2” D 72 Overall good appearance. With margins. Pale lightstaining. Unobtrusive, pale flecks of occasional foxing scattered in the margins, primarily visible in raking light. Not examined out of the frame. Framed under glass: 29.75” H x 36.25” W x 1.25” D 73 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Crazing to the glaze throughout.

75 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 76 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 77 Overall good appearance. The full sheet with deckled edges. An unobtrusive, less than 0.5” handling mark in the upper half of the yellow pigment in the lower left quadrant of the sheet, primarily visible in raking light. The sheet is tipped to an “invisible” back mat in places from the verso sheet edges and corners, and that mat board is subsequently tipped to a foam-core board from the verso corners. 78 Overall good appearance. The full sheet with deckled edges. Pale time-staining. Soft cockling and handling creases primarily in the outer edges. A few scattered, pale, pea-sized (or smaller) surface stains in the upper left corner. A small bug carcass in the blank of the lower right corner, just above the numbering, and another on the left of center of the extreme upper sheet edge. The sheet is framed floating, tipped to the back mat from the verso sheet edges. Not examined out of the frame. Framed under Plexiglas: 36.25” H x 48.375” W x 2” D 79 Overall good appearance. With margins. Very pale time staining. A soft 4” vertical crease along the lower portion of the extreme left margin edge, other occasional minor handling marks scattered in the margin edges. An extremely pale 5” horizontal red surface scuff along the center of the extreme upper margin edge. The lower right margin corner slightly dog-eared. The sheet is hinged to a foam-core backing in two places on the verso of the upper margin edge. Unframed 80 Overall good appearance. The full sheet with deckled edges. A small series of rice-sized (or smaller) pressure marks scattered throughout, including in the tip of the red banner, each only visible in raking light. Some soft creasing and occasional handling marks, confined primarily to the upper and lower sheet edges, primarily visible in raking light. Occasional minute areas of slight surface skinning in places at the verso of the sheet edges where previously tipped to the back mat. The sheet is framed floating, hinged to the back mat in two places from the verso of the upper sheet edge. The sheet is also supported at the lower corners with two clear archival corners. Framed under Plexiglas: 41.25” H x 54.375” W x 2” D

81 Overall good appearance. The full sheet with deckled edges. The colors good. An unobtrusive, less than 0.25” vertical tear in the extreme upper sheet edge, left of center. The sheet is framed floating, tipped in places from the verso of the sheet edges and corners. Not examined out of the frame. Framed under Plexiglas: 31.5” H x 45.375” W x 1.75” D 82 Overall generally good appearance. The full sheet with deckled edges. Soft, scattered handling marks in the upper edge. Scattered areas of pale surface staining and foxing. Minor flattened creases in upper left corner edges, primarily visible in raking light. The surface of the outer edges uneven due to hinges attached to the verso. The sheet is framed floating, hinged to the back mat in places from the verso edges. Not examined out of the frame. Framed under Plexiglas: 30.375” H x 32.25” W x 2.5” D 83 Overall good condition with scattered scuffs, scratches, nicks, and minor soiling commensurate with age. Pitting to the chrome finish with attendant oxidation. Front top left crossbar beam with a pea-sized loss at juncture. With missing hardware. 84 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each top with some wear to the finish and concentrated scratches. Each foot with chipped losses. One with a 10” long deeper gouge to the side. Each has been refinished with some dripping of finish verso. Scattered smudges and soiling to faux leather fronts. The drawer interiors with an odor. 85 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each top with some wear to the finish. Small chipped losses to veneer at edges and corners. Wear to faux leather pads at corners. Backsides with moisture staining. Scattered smudges and soiling to faux leather fronts. 86 Overall good condition with scattered scuffs and scratches and minor oxidation commensurate with age. The top with two 17” long scratches and several roughly quarter-sized slightly yellow stains to middle. 87 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 37.5” H x 49.5” W x 2.25” D 88 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 25.5” H x 21.5” W x 2.25” D

Condition Reports

74 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Felt applied to underside.

545

89 Overall good appearance. The full sheet with deckled edges. An unobtrusive, pea-sized area of possible surface grime in one of the black elements to the left of center. The sheet is hinged in places from its verso to an invisible backboard which is mounted to the back mat. Framed under Plexiglas: 22.75” H x 45.25” W x 1.5” D 90 Overall good appearance. With three deckled edges. Very minor wear to the upper and lower deckled edges. The sheet is framed floating, hinged to the back mat from the verso of the sheet edges. Not examined out of the frame. Framed under Plexiglas: 31.25” H x 27.5” W x 2.25” D 91 Overall good appearance. Pale light-staining throughout, and time staining along the edges of the sheet. Scattered surface soiling and a few insect carcasses in places along the lower edge, at left. Not examined out of the frame. Framed under Plexiglas: 19” H x 31.25” W x 1.5” D 92 Overall good appearance. The full sheet with deckled edges. A few minor handling marks in the outer edges, primarily visible in raking light. An extremely pale, unobtrusive 1” H x 0.5” W area of surface staining in the lower portion of the extreme right edge. The sheet is framed floating, secured to the back mat from the verso. Not examined out of frame. Framed under Plexiglas: 35.25” H x 27.75” W x 1.25” D 93 Overall good appearance. The full sheet with deckled edges. The colors good. The sheet is framed floating, taped to the back mat in various places from the verso edges.

Condition Reports

Framed under Plexiglas: 39.25” H x 31” W x 1.75” D 94 Overall good appearance. Full sheet with deckled edges. Pale light-staining, primarily visible in the blank of the lower third of the sheet. A small, pale, rectangular stain in the upper right corner, presumably attendant with the tape used on the verso. The sheet is framed floating, tipped to the back mat from the verso sheet corners. Not examined out of the frame. Framed under glass: 40” H x 34” W x 2” D 95 Overall good appearance. The colors fresh. A soft and unobtrusive, 14” diagonal crease in the upper left quadrant, and another of the same type, measuring 2.5” in the lower left quadrant, both of which are only visible in raking light. Not examined out of the frame. Framed under glass: 48.5” H x 33.5” W x 1.5” D

96 Overall good appearance. With margins. The colors good. Not examined out of the frame. Framed under glass: 44.75” H x 33.75” W x 1.25” D 97 Overall good appearance. With margins. The colors good. A minor 1.5” diagonal crease at the center of the left margin, and extnding slightly into the image. Not examined out of the frame. Framed under glass: 45.75” H x 34.25” W x 1.25” D 98 The standard with multiple cracks in the plaster, concentrated to figure’s head region. With scattered small losses to paint, scattered scuffs and scratches, and soiling commensurate with age. Scattered scuffs and small stains to shade. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 99 Overall good condition with scattered scuffs, scratches, and pitting to the chrome finish commensurate with age. The leather with some creasing and minor soiling. 100 Overall good condition with minor scattered scuffs and scratches and oxidation/darkening to the bronze commensurate with age. The top with scattered losses to finer openwork details. The top with a few dime-sized verdigris spots along one edge and a 2” x 2.5” area of moisture staining with attendant verdigris at one corner. Verdigris to legs near the feet. The glass top with scattered scratches. 101 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered small evidence of moth grazing, scattered stains, and mild soiling throughout. 102 Each overall good condition with pitting to chrome finish and attendant oxidation, with minor scattered scuffs and scratches to the top. 103 Each overall good condition with pitting to chrome finish and attendant oxidation, with scuffs and scratches to the leather. Some cracking to rubber pads that cushion the metal glides. 104 Visual: Grime throughout, primarily in the center of the work. Stretcher bar creases scattered along the upper and lower sides. A few pinholes with attendant traces of graphite, scattered mostly in the outer edges, and one in the lower left quadrant. A few scattered scuffs, scratches, and abrasions, some with attendant pigment loss, concentrated in the outer edges and corners. Blacklight: No evidence of restoration. Unframed

546

Blacklight: No evidence of restoration. Unframed 106 Overall good appearance. A few small, unobtrusive areas of surface soiling near the lower left corner. Two small square remnants of old hinging tape on the verso of the lower sheet corners. The sheet is framed floating, hinged to the back mat from the verso of the upper sheet corners. Framed without glazing: 31.125” H x 23.125” W x 1.625” D 107 Overall good appearance. A very pale, rice-sized foxmark in the blank of the upper right quadrant. The paper is buckling very slightly, recto, from the hinge on the verso of the upper right sheet corner. Not examined out of the frame. Framed under glass: 27” H x 22” W x 1” D 108 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 8.125” H x 22.75” W x 1.375” W 109 Visual: Overall good appearance. Minor varnish discoloration. Small scattered areas of fine craquelure. Some wear and grime along the edges and corners. Blacklight: No evidence of restoration. Unframed 110 Visual: Overall good appearance. A very minor, unobtrusive 0.5” W pressure mark in the extreme upper left corner, primarily affecting the upper tacking edge. Blacklight: No evidence of restoration. Frame: 28” H x 33.875” W x 3.75” D 111 Overall good appearance. The work is framed floating, taped to the back mat with various pieces of white tape in places on the verso sheet edges and corners. Not examined out of the frame. Framed under glass: 29.375” H x 41” W x 2” D 112 Overall good appearance. Overall: 7.25” H x 5” W x 1” D

113 Overall good appearance. Minor scattered surface scuffs and scratches. Overall with acrylic base: 21” H x 30” W x 12” D 114 Overall good condition with mild even pile-wear, minor soiling, and typical signs of wear commensurate with age. 115 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 116 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 117 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Soiling to the bowl throughout, with staining to rim interior and foot. 118 With shelf wear, scattered scuffs and scratches, soiling, and inherent firing flaws commensurate with age. The stand with oxidation/rust, which has transferred to exterior of the planter. 119 With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Scattered soiling and stains, with a 4” x 6” area of orange discoloration near base. The middle with a 2” long deeper scratch. Felt applied to underside. 120 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. The underside with mounting putty. 121 Overall good condition. Studio stickers with shelf wear and soiling, obtrusive to text. Scattered minor scuffs to base. 122 Overall good condition with minor shelf wear and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. 123 Overall good condition with dust accumulation, scuffs, scratches, nicks, and abrasions commensurate with age. The neck with scattered repaired nicks. The resonator missing one of its mounting screws. Arm rest with rubbed wear to gilding. Soiling to head. Proper working condition unknown. Moran’s does not guarantee the working condition of musical instruments.

Condition Reports

105 Visual: Overall generally good appearance. Dust accumulation, specks of occasional grime, and minor surface soiling. Occasional areas of fine craquelure and minor wear to the pigment in places. Scattered abrasion along the extreme left and right edges, with attendant areas of pigment loss. A circular sticker adhered to the upper canvas overlap.

547

124 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. One leg with a 4” long wood filler repaired crack, vertically from foot. Rear bar of seat with a 1.75” x 0.75” older chipped loss, with scattered other small losses or crack at slat ends. Some joints with repaired junctures, with small losses. Uneven fading to finish throughout. Chair slightly shaken.

133 Visual: Overall generally good appearance. Web-like craquelure in the upper portion of the left edge and near the lower left corner, as well as other smaller and finer areas of craquelure. Stretcher bar creases along each side.

125 Multiple repaired breaks to the glass shade. Otherwise overall good condition with scattered minor scuffs, scratches, nicks, and abrasions commensurate with age.

134 Visual: Overall good appearance. Two quarter-sized (or smaller) reverse pressure marks in the boat and the water just below it in the lower left quadrant, as well as two dime-sized pressure marks near the center of the upper half, all primarily visible in raking light. Scattered areas of craquelure. A 0.25” H thin abrasion with attendant pigment loss in the left portion of the lower edge, and a few more unobtrusive, hairline surface scratches, primarily in the lower right quadrant.

126 Each overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age. One drawer front with a dime-sized moisture stain to top edge. 127 Overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age. One note reglued. 128 Overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age, concentrated to top. One note reglued. 129 Overall good condition with scattered minor scuffs, scratches, nicks, and indentations commensurate with age. The top with a 5” x 5” area of moisture staining to the finish. 130 Overall good appearance. With wide (presumably full) margins. The sheet is framed floating, tipped to the back mat in places from the verso margin edges and corners. Framed under Plexiglas: 32.25” H x 26.625” W x 2.125” D

Condition Reports

131 Visual: Overall good appearance. A 2.5” W scattered surface abrasion with a few attendant pinhead-sized (or smaller) pigment losses along the upper edge of the upper right corner. A few soft, surface scuffs scattered primarily in the lower half.

548

Blacklight: No evidence of restoration. Frame: 48.75” H x 43.75” W x 2.75” D 132 Visual: Overall good appearance. Scattered areas of fine craquelure and paint shrinkage, primarily in the thicker application of pigment. A small cluster of a few areas of unstable, lifted craquelure, with an unobtrusive, pinpointsized area of attendant pigment loss, in the lower left quadrant. A pinhead-sized area of dust residue adhered to the surface along the lower edge, at left. Blacklight: No evidence of restoration. Frame: 36” H x 40” W x 3.25” D

Blacklight: No evidence of restoration. Unframed

Blacklight: No evidence of restoration. Frame: 26.75” H x 34.5” W x 2.5” D 135 Overall good appearance. A cluster of scattered, ricesized, surface abrasions in the upper right quadrant, however these appear to be in the hand of the artist. Occasional handling marks showing mostly in the right half of the work in raking light and on the verso. A 2.5” vertical crease in the lower right corner showing only in raking light. Some pale and very unobtrusive foxing scattered in the blanks of the sheet’s lower corners. A 0.25” H x 6” W area of pale staining, offset from the verso of the overmat, along the lower edge, at left. Artist pinholes in each of the sheet corners. The sheet is hinged to the overmat from the verso of the upper sheet edge. Framed under glass: 40” H x 31.5” W x 1.5” D 136 Visual: Overall good appearance. Two unobtrusive pinhead-sized (or smaller) pigment losses to the left of center of the lower edge. Blacklight: No evidence of restoration. Frame: 56.5” H x 44.25” W x 3” D 137 Visual: Overall good appearance. An 11” horizontal, scattered, hairline scratch in the lower right quadrant. Blacklight: A 0.75” horizontal band of touch-up in the right portion of the hairline scratch mentioned above. Frame: 31” H x 27” W x 2.5” D 138 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

140 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 141 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 142 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 143 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed 144 Overall good appearance. Scattered creases and handling marks, primarily in the outer edges and primarily visible in raking light or from the verso, the longest 6.5” going horizontally along the left portion of the upper edge. A possible 5.5” horizontal surface scuff in the blue of the upper left quadrant. Old tape remnants along the verso of each edge with an attendant 0.25” H x 5” W band surfaces skinning from the old tape being removed in the right portion of the lower edge, as well as a 1” H x 1” W tape residue in the verso of the upper left quadrant. The sheet is taped to the overmat with 8 pieces of hinging tape from the verso sheet edges. Framed under glass: 29.5” H x 35.5” W x 0.75” D 145 Visual: Overall good appearance. The two canvases are displayed together within a single frame. Blacklight: No evidence of restoration. Frame: 45” H x 41.25” W x 2.5” D 146 Visual: Overall good appearance. Scattered craquelure in the thick brown pigment near the center of the upper edge. Blacklight: No evidence of restoration. Frame: 49.75” H x 49.5” W x 3” D 147 Visual: Overall good appearance. Minor dust accumulation adhered to the surface. A thin 13” horizontal area of canvas loss, possibly in the hand of the artist, and trimming of the canvas before laying it to the panel. The lower left corner of the canvas is slightly lifting away from the panel.

148 Overall generally good appearance. Specks of grime, dust accumulation, a few small areas of paper loss scattered in the outer edges and corners, surface soiling, and minor “bloom” on the inner surface of the glass. Cockling along the outer edges. Framed under glass: 74.5” H x 69” W x 3” D 149 Visual: The canvas is slightly loose on the stretcher and has two tears (12” H and 10” H) along the right and left edges. Scattered pea-sized (or smaller) punctures, primarily along the lower edge. Stretcher bar creases along the upper and lower edges. Blacklight: No evidence of restoration. Unframed 150 Visual: Overall good appearance. Occasional, minor lifting at the edges of the newspaper fragments, the most prominent in the upper right quadrant, and the rest primarily along the outer edges of the work. Blacklight: No evidence of restoration. Unframed 151 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Charger with wall-mounting hardware with oxidation. Larger vase with mounting putty residue to underside. 152 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 153 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 154 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 27.5” H x 23.5” W x 1.75” D 155 Visual: Overall good appearance. A few very unobtrusive flecks of red pigment at lower center, however, these appear to be in the hand of the artist. Blacklight: No evidence of restoration. Frame: 32” H x 42” W x 2” D

Blacklight: No evidence of restoration.

156 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, sandwiched between two pieces of Plexiglas.

Unframed

Framed under Plexiglas: 11.625” H x 34.125” W x 0.75” D

Condition Reports

139 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

549

157 Visual: Overall good appearance. Two pinpoint-sized specks of grime in the left portion of the lower edge.

165 Each overall good condition with scattered scuffs, scratched, and nicks commensurate with age.

Blacklight: No evidence of restoration.

166 Visual: Overall good appearance.

Frame: 16” H x 13.125” W x 2.5” D 158 Overall good appearance. The full sheet with deckled edges. Two horizontal irregular creases (the longest 6.5” W) across the head of the male figure, and a few more, smaller and softer, scattered in the left half of the work. A pinhead-sized surface scratch on the back of the male figure. Pale damp staining near the upper right corner of the support sheet, not affecting the sheet with the image. As mentioned, the sheet is laid to a tissue-thin laid Japan paper support sheet. The work is hinged to a green back mat in places from the verso of the support sheet’s edges. Framed under glass: 18” H x 27.25” W x 1” D 159 Overall good appearance. The sheet with deckled edges. The upper right corner is slightly (and cleanly) lifted from the support sheet to which it was laid. Small unobtrusive paper losses in the lower left corner and a few scattered areas along the upper edge. As mentioned, the sheet is laid to tissue-thin laid Japan paper. The work is loose, secured to the back mat with four clear archival corners.

Condition Reports

Frame: 25.25” H x 53.625” W x 1.125” D 167 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 25.25” H x 38.5” W x 1.5” D 168 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 20.625” H x 29.625” W x 1” D

Framed under glass: 23.625” H x 28.75” W x 1.75” D

169 Overall good condition with scattered scuffs and scratches commensurate with age. The arms with more concentrated scuffing. One support beam of leg is loose at its mounting and currently held together with tape, but the figure stands on its own. Verso with a 2” area of cracks at base of main body.

160 Overall good appearance. Two unobtrusive pinhead-sized losses in the upper left corner and a smaller area near the upper right corner. As mentioned, the sheet is laid to foamcore, subsequently mounted to a back mat and framed floating.

170 Overall good condition with scattered scuffs, scratches, and minor fading to finish commensurate with age. The top with more concentrated scratches, one top with drink rings. One drawer with staining to interior. Minor pitting to chrome finish.

Framed under glass: 20.25” H x 22.25” W x 1” D

171 Each overall good condition with scattered scuffs, scratches, minor nicks, and wear to finish commensurate with age. Some slats are slightly separated from the crest rail joinery. Armrests with more fading to finish. One seatback cushion with some staining near bottom of verso and a concentrated area of pilling and wear to lower right corner.

161 The skull element broken off from its mounting and retained with the lot. With shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Left foot with a pea-sized chipped loss verso as well as one recto. Mounting putty and felt pads applied to underside.

550

Blacklight: No evidence of restoration.

162 One chair detached from two of the rubber shock mounts. The other with loose splits in the shock mounts, each with attendant shakiness to seats. Each with scattered scuffs, scratches, nicks, and indentations commensurate with age. Each with rubbed losses to black paint, possibly repainted at some point. Possibly with other restorations. 163 Neither examined out of paper wrapping. Each overall good condition. The box with wear, indentations, losses at edges, soiling, moisture and mold staining, and shelf wear. 164 Overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Corners and edges of top with more concentrated rubbed wear, with small losses.

172 With scuffs, scratches, oxidation, and heavy soiling and dust accumulation commensurate with age. 173 Each with soiling, disintegrated foam, and heavy wear to upholstery. One chair with multiple tears verso, to upper seat edge and middle. The ottoman with tears in the fabric at corners. These items are sold as-is. 174 Overall good condition with mild general wear. The glass with scattered minor scratches and a few fleabite chipped losses to edge.

Blacklight: No evidence of restoration. Unframed 176 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed 177 Visual: Overall good appearance. One rice-sized and two soft 1” hairline surface scuffs in the lower portion of the right edge. Blacklight: No evidence of restoration. Unframed 178 Visual: Overall good appearance. The full sheet with deckled edges. A pinhead-sized area of paper-like residue adhered to the bright red pigment on the top of the smaller vase, near the lower portion of the right edge. Artist’s pinholes at each of the four corners. The sheet is taped to the back mat from the verso at the center of the upper and lower edges.

183 Overall generally good appearance. Soft handling marks throughout the sheet and the upper and lower right sheet corners slightly dog-eared. The sheet has been folded horizontally down the center. A small square of blue painter’s tape in the upper left corner. Two acrylic on paper works have been mounted to the verso. The sheet is loose, not matted. Unframed 184 The surface of the work is very sticky, with bug carcasses adhered to the surface, dust accumulation, and grime, all attendant with the work having a sticky surface. Peasized (or smaller) areas of what seem to be raised “reverse pressure marks,” possibly in the hand of the artist or attendant with the materials used. Occasional surface scratches scattered throughout. Unframed; Plexiglas frame cover that accompanies the lot: 79.5” H x 95” W x 5.25” D 185 Visual of each: Overall good appearance. Blacklight of each: No evidence of restoration. Each unframed 186 Overall good appearance. A few scattered areas of very fine craquelure, primarily visible in raking light.

Framed under Plexiglas: 40.25” H x 33” W x 3” D

Unframed

179 Overall good appearance. The sheet appears to have been laminated throughout, in either the artist’s or another person’s hand. Two small areas of dust adhered to the surface of the dark blue pigment (and sealed within the lamination) in one of the abstract flowers near the lower portion of the left edge. The sheet is taped to the back mat from the verso at the center of the upper and lower edges.

187 Overall good appearance. Small, occasional losses scattered in places along the extreme edges, intrinsic to creation. A few surface scratches scattered throughout intrinsic to creation.

Framed under glass: 35.75” H x 28” W x 2” D 180 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 22.625” H x 18.625” W x 2.25” D 181 Overall good condition. The edges with a few pinheadsized areas where the glaze does not cover the ceramic, likely inherent in the firing process. Minimal scattered scuffs and scratches and handling wear. Wall-mounting hardware included. 182 Overall good condition. Two pea-sized chipped losses at corners and two other smaller chipped losses at corners. Minimal scattered scuffs and scratches and handling wear. Wall-mounting hardware included, but with oxidation/rust.

Unframed 188 Overall good appearance. A few very minor rice-sized or smaller areas of surface abrasions intrinsic to creation, scattered in places primarily along the extreme edges. Unframed 189 Overall good appearance. Two hinge remnants on the verso of the upper sheet corners, presumably painted and attached by the artist. The sheet is loose, not matted. Unframed 190 Overall good appearance. Two hinge remnants on the verso of the upper sheet corners, presumably painted and attached by the artist. The sheet is loose, not matted. Unframed

Condition Reports

175 Visual: Overall good appearance. A fleck of unobtrusive grime near the lower edge, at right. Pale scattered foxing in the lower portion of the canvas, verso.

551

191 Overall good appearance. Pale time-staining along the extreme sheet edges. Horizontal and vertical folding creases and handling marks, inherent in the artist’s process. The sheet is framed floating, tipped to the back mat from the verso of the upper corners. Framed under Plexiglas: 21” H x 27.625” W x 1.25” D 192 Overall good appearance. Very pale time staining along the extreme sheet edges. Two pale, square-shaped stains showing through to the recto from glue on the verso of the upper sheet corners. Horizontal and vertical folding creases and handling marks, inherent in the artist’s process. The sheet is framed floating, tipped to the back mat from the verso of the upper corners. Framed under Plexiglas: 21” H x 27.625” W x 1.25” D 193 Overall good appearance. Stored in a later gray board storage box with a previous owner’s ink notations on the box’s lid. Overall: 8.25” H x 6.75” W x 0.875” D; Later gray board storage box: 10” H x 8.5” W x 2.25” D 194 Overall good condition with minor shelf wear and oxidation commensurate with age. 195 Overall good condition. The case with some shelf wear and scattered minor scuffs and scratches, concentrated at ends. Signature, date, and numbering with heavy bleed, limiting legibility. One hinge of case detached. 196 Each overall good condition wit scattered minor scuffs and scratches commensurate with age. The leather in good condition with some creasing to cushions.

Condition Reports

197 Each overall good condition wit scattered minor scuffs and scratches commensurate with age. The leather in good condition with some creasing to cushions.

552

198 Overall good condition with scattered scuffs and scratches and mild pitting to the chrome finish commensurate with age. The glass top with a 3.5” long repaired break to corner. 199 Each overall good condition with scattered scuffs, scratches, and small nicks commensurate with age. The leather with scuffs, creasing, and areas of uneven loss or fading to the black pigmentation, possibly inherent. 200 Overall good condition with shelf wear, dust accumulation, and scattered scuffs and scratches commensurate with age. The underside with torn felt applied. This item has been re-wired. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment.

201 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Small deeper scratch under figure’s chin. 202 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 203 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 204 Overall good condition with minimal general wear commensurate with age. 205 Overall good condition with scattered minor scratches and scuffs. Hanging wire to one end. 206 Overall good condition with dust accumulation, minor shelf wear, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 207 Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Wear to plinth. 208 Overall good condition with scuffs, scratches, and oxidation commensurate with age. Scattered areas of rust. Lacking headlight glass. 209 Visual: Overall good appearance. A few very unobtrusive areas of fine craquelure scattered in the impasto, primarily visible in raking light. Blacklight: No evidence of restoration. Frame: 44.5” H x 34.5” W x 2.25” D 210 Visual: Overall good appearance. Very minor scattered gold leaf transfer primarily along the extreme upper and right edges. Blacklight: No evidence of restoration. Frame: 41” H x 29” W x 2.25” D 211 Visual: Overall good appearance. Occasional and unobtrusive areas of fine craquelure scattered in the impasto, primarily visible in raking light. Blacklight: No evidence of restoration. Frame: 56.75” H x 45” W x 2.25” D

Blacklight: No evidence of restoration. Frame: 46.75” H x 36.75” W x 2” D 213 Visual: Overall good appearance. Minor frame abrasion scattered in places along the left and lower extreme edges. Blacklight: No evidence of restoration. Frame: 60” H x 78” W x 2.5” D 214 Visual: Overall good appearance.

220 Missing one eye. Overall good condition with oxidation and light scattered scuffs and scratches commensurate with age. Heavy rubbed wear and losses to gold plating throughout. 221 Each overall good condition with tarnishing and light scratches commensurate with age. One possibly reattached to base. Soiling and wear to plating. 222 Lacking glass top. Possibly with some scattered losses. The coral with cracking throughout. Overall good condition with dust accumulation and minor soiling commensurate with age. 223 Overall good condition with scattered scuffs, scratches, soiling, and minor nicks commensurate with age. The wood intentionally antiqued. The upholstery with fading and a 2” x 2” area of staining to edge of seat.

Frame: 36.5” H x 54.375” W x 1.75” D

224 Overall good condition with scattered scuffs, scratches, nicks, and minor soiling commensurate with age. Sticker ghost to underside.

215 Visual: Overall good appearance. Very minor specks of surface grime throughout. A rice-sized spot of stray pigment in the upper left quadrant.

225 Overall good condition with minor shelf wear and scattered minor scuffs and scratches commensurate with age.

Blacklight: No evidence of restoration.

226 Each with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Each with cracks in the veneer throughout, with areas starting to lift slightly. The largest and smallest each with a dime-sized deeper abrasion.

Blacklight: No evidence of restoration.

Frame: 40.75” H x 50.75” W x 2” D 216 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 26.25” H x 36.25” W x 2.5” D 217 Visual: Overall good appearance. Blacklight: No evidence of restoration. Framed in a Munn frame: 17.5” H x 21.5” W x 2.5” D 218 Visual: Overall good appearance. Fine craquelure scattered primarily in the upper half. Blacklight: No evidence of restoration. Frame: 33.5” H x 27.5” W x 3” D 219 Each overall good condition with tarnishing and light scratches commensurate with age. Each lid with cracks in the egg along the rim.

227 Overall good condition with scattered scuffs, scratches, and minor nicks commensurate with age. The frame with scattered small areas of loss to gilding with attendant minor oxidation. The top with dust accumulation and minor soiling. 228 Overall good condition with scattered scuffs and scratches and oxidation to metal commensurate with age. 229 Visual: Overall good appearance. A few scattered areas of fine craquelure. Blacklight: No evidence of restoration. Frame: 46.375” H x 44.375” W x 2.625” D 230 Visual: Overall good appearance. Minor dust accumulation. Small scattered areas of fine craquelure, primarily in the upper half. An approximately 5” H scattered area of minor frame abrasion along the center of the left edge. Blacklight: No evidence of restoration. Frame: 38.5” H x 37.5” W x 2.25” D

Condition Reports

212 Visual: Overall good appearance. A 1” band of unstable craquelure with attendant, scattered, pinhead-sized pigment losses in the background of the lower right quadrant. A 1.25” diagonal surface scuff in the background, partially extending into the curved flower stem in the upper right quadrant.

553

231 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 15.75” H x 16.75” W x 1.5” D 232 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 14.75” H x 14.75” W x 2” D 233 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 13.25” H x 14” W x 1.75” D 234 Visual: Overall good appearance. Fine paint shrinkage scattered in the black pigment at the center of the work. Blacklight: No evidence of restoration. Frame: 25.25” H x 23.625” W x 3” D 235 Overall good appearance. A very unobtrusive, pale speck of foxing in the background of the upper right quadrant, and another area in the upper right edge. A thin 1” vertical indentation/scratch, or an irregularity inherent in the paper manufacture, in the background of the upper left quadrant, only visible in raking light. Not examined out of the frame. Framed under glass: 23” H x 18” W x 1.25” D 236 Overall generally good appearance. Soft handling marks throughout. Scattered pea-sized (or smaller) spots of damp staining. Not examined out of the frame. Framed under glass: 14.25” H x 22.25” W x 1” D

Condition Reports

237 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age.

554

238 Overall good condition with scuffs, scratches, oxidation, and verdigris to bronze commensurate with age. 239 With scattered scuffs, scratches, nicks, and indentations commensurate with age. The wood with deeper scratches and small losses throughout. The metal frame with losses to enameling and attendant oxidation/rust. Disc feet possibly later replaced. Upholstery with staining, discoloration, and uneven darkening to leather, with losses to underside dust cover. 240 Each overall good condition with scattered scuffs, scratches, nicks, and minor abrasions commensurate with age. One with a 1” x 1” stain to one side.

241 Overall good condition with scattered scuffs, scratches, nicks, and minor soiling commensurate with age. Includes key. 242 Visual: Overall good appearance. A small area of craquelure in the triangular area to the right of the figure’s back. Two pinhead-sized (or smaller) specks of grime in the white pigment of the upper left quadrant. Blacklight: No evidence of restoration. Frame: 34” H x 46” W x 3.5” D 243 Overall generally good appearance. Pale light-staining. Scattered specks of grime, pale staining, minor surface soiling, occasional areas of surface skinning, and occasional fine crazing in the dark green pigment. An unobtrusive rice-sized tear and paper loss near the center of the left edge. Not examined out of the frame. Framed under glass: 43” H x 48.5” W x 2.25” D 244 Visual: Overall generally good appearance. A few tiny holes in the board, rice sized or smaller, concentrated in the upper right quadrant, and a few other areas of pigment loss, pinhead-sized or smaller, concentrated in the lower portion of the figure’s neck, all most likely due to insects. Scattered delicate craquelure concentrated primarily in the background. Blacklight: No evidence of restoration. Frame: 21.75” H x 19.75” W x 1” D 245 Overall generally good appearance. Pale light-staining. Specks of pale foxing scattered throughout the recto and verso. Minor cockling along the outer edges of the sheet. The sheet is taped to the overmat with various pieces of masking tape from the verso sheet edges and corners. Framed under glass: 20.875” H x 16.875” W x 0.875” D 246 Visual: Overall good appearance. Occasional specks of grime in the lower left corner. Possible scattered minor wear in the black pigment or in the hand of the artist. Blacklight: No evidence of restoration. Frame: 61” H x 53” W x 1.75” D 247 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 55” H x 63” W x 2.125” D

248 Visual: Overall good appearance. Minor wear along the extreme edges. A 14” unobtrusive band of grime dripped vertically along the lower portion of the extreme left edge. Dust adhered to the surface, primarily in the lower half.

257 Each overall good condition with minor soiling, dust accumulation, and scattered scratches to the base commensurate with age. One chair with a pulled thread to front of seat cushion.

Blacklight: No evidence of restoration.

258 Overall good condition with scattered scuffs, scratches, and minor soiling commensurate with age. The travertine top with scuffing along the side.

249 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 42.5” H x 54.5” W x 2.25” D 250 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. The handle with a pin-sized shallow surface chip to the glaze and two rice-sized smudges. Areas of crazing to the glaze throughout, concentrated to foot and lower portion of lid. 251 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 252 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light. Crazing to the glaze throughout. Underside with a quarter-sized sticker remnant. 253 Visual: Overall good appearance.

259 Each overall good condition with minor soiling, dust accumulation, and scattered scratches to the base commensurate with age. 260 Overall good condition with scattered scuffs, scratches, and minor soiling commensurate with age. The travertine top with scuffing along the side. 261 Overall good condition with scattered scuffs and scratches and pitting to chrome finish, with attendant oxidation to base commensurate with age. 262 Overall good condition with minor soiling and a few minor scratches commensurate with age. The side of seat with small slightly hardened stains. 263 Visual: Overall good appearance. Fine craquelure in some of the thicker impasto. Soft stretcher bar creases in the upper edge and upper portions of the left and right edges, primarily visible in raking light. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Unframed

Frame: 66.25” H x 54.25” W x 4” D

264 Visual: Overall good appearance. Minor dust accumulation and very occasional specks of grime. A few areas of pigment loss in the impasto. Two very small, thin lines of unobtrusive craquelure near the upper edge, mostly at right.

254 Visual: Overall good appearance. A few pinhead-sized (or smaller) pigment losses at the top of the figures head in the upper half. A faint, diagonal 2.25” hairline surface scratch in the lower right corner. Blacklight: No evidence of restoration. Frame: 34.25” H x 40.125” W x 2.75” D 255 Overall good appearance. The sheet corners slightly dogeared. The upper sheet edge trimmed slightly unevenly. The sheet is framed floating, secured to the back mat from the verso. Not examined out of the frame. Framed under Plexiglas: 21.5” H x 26” W x 2.25” D 256 Overall good appearance. The sheet is framed floating, secured to the back mat from the verso. Not examined out of the frame. Framed under Plexiglas: 21.25” H x 20.125” W x 2.25” D

Blacklight: No evidence of restoration. Unframed 265 Visual: Overall good appearance. Specks of grime scattered throughout. Two clusters of dime-sized pressure marks scattered near the lower edge, a pressure mark to the right of center, and a penny-sized pressure mark in the upper right corner. A minor pinhead-sized abrasion, with attendant pigment loss, in the upper portion of the extreme left edge. Blacklight: No evidence of restoration. Unframed

Condition Reports

Unframed

555

266 Visual: Overall good appearance. A 0.25” H x 0.125” W pigment loss in the rectangular border in the lower right quadrant. Blacklight: No evidence of restoration. Unframed

Frame: 41” H x 49” W x 2.375” D

275 Overall good condition with scattered scuffs, scratches, and minor nicks commensurate with age. Fading and wear to wood veneer. The back right edge with a 16” long area of losses to the wood and particle board. As well, some losses and lifting to veneer to backside at lower corners.

268 Visual: Overall good appearance. An approximately pinpoint-sized area of very unobtrusive abrasion near the center of the extreme right edge.

276 The lower beam with a split/crack in the wood at one end and separating at the other. Uneven fading to wood finish. The edges with more wear, scattered nicks, and one deeper scratch to top edge measuring about 1.5” long.

267 Visual: Overall good appearance. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration. Unframed 269 Each overall good appearance. One frame with the three stacked sheets all taped to the overmat with three pieces of hinging tape from the verso of the rearmost sheet’s edges. Two frames not opened, but with their contents presumably taped to their overmats in the same manner as the one frame that we did open. Each framed under Plexiglas: 30” H x 42” W x 2” D 270 Overall good condition with minor wear commensurate with age. 271 Visual of each: Minor grime and dust accumulation. Minor wear scattered along the edges or in certain areas on the raised material. Blacklight of each: No evidence of restoration.

Condition Reports

Each unframed

556

274 Fading to wood finish. With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. The drawer interiors with soiling. The edges with losses, concentrated to backside edges and lower edges. The top with staining, two quarter-sized losses to the finish, scattered areas of rippling to the veneer, and uneven fading. The drawer fronts with some surface grime.

272 With scattered scuffs, scratches, nicks, indentations, and soiling commensurate with age. The drawer interiors with soiling. Fading to wood finish. Each top and sides with staining and surface grim, one top with a deeply worn drink ring. Scattered small chipped losses to edges. 273 Overall good condition with scattered scuffs, scratches, nicks, and minor soiling commensurate with age. Minor soiling to drawer interiors. Some pitting to chromed finish, concentrated to Lucite fasteners.

277 Overall good appearance. Faint pencil ruled lines, as well as occasional minor surface soiling, and small pencil sketches in the margins, all attendant with the work’s intended use for publication. Unframed (plus the paperback book) 278 Overall good appearance. With ruled pencil lines in the corners of the image, presumably by the artist to indicate the cropping for publication. Slight surface soiling and time staining at the extreme edges of the artist’s board. Unframed 279 Overall good appearance. Surface soiling and occasional small stains and time staining in the blank edges of the artist’s board. Delicate ruled ink lines at the four corners of the image to indicate cropping for publication. Unframed 280 Overall good appearance. Delicate ruled pencil lines, presumably in the hand of the artist, to indicate cropping for publication. Minor surface soiling, staining, and a small square of old masking tape at the edges of the artist’s board. Unframed 281 Overall good appearance. A stray fleck of pale gouache in the blank of the upper left quadrant, presumably in the hand of the artist. Four ruled pencil lines outside the image, presumably in the hand of the artist to indicate the cropping for publication. Unframed

Framed under glass: 23” H x 19” W x 2” D

291 Overall good condition with minor soiling, shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

283 Overall good appearance. Surface soiling, minor scuffing, and time staining in the blank edges of the artist’s board. Ruled ink lines at the four corners of the image to indicate cropping for publication.

292 Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. Wear to patination throughout. Shelf wear, scuffs, soiling, and scattered dark marks to plaque.

Unframed

293 Overall good appearance. Specks of grime. A pea-sized abrasion/hole near the center of the extreme upper edge, not affecting the image. The canvas is slightly loose from the stretchers.

284 Overall good appearance. Minor surface soiling, small pale stains, and creasing at each corner in the blank edges of the artist’s board. The work is loose, not matted. Unframed 285 Overall good appearance. With surface soiling, pale timestaining, a few thin streaks of residue (including glue), all scattered in the blank edges of the artist’s board. The work is loose, not matted.

Unframed 294 Visual: Overall good appearance. Minor dust accumulation. A soft, scattered, stretcher bar crease along the upper edge. Blacklight: No evidence of restoration.

Unframed

Frame: 79.5” H x 81.5” W x 3” D

286 Each overall good appearance. Minor surface soiling and uneven, pale time-staining along the edges. Untitled (energy equations) with pencil and ink notations/lines, as well as glue remnants and stickers at the blank edges of the artist’s board, all commensurate with this being a working study. Each work is loose, not matted.

295 Visual: Overall good appearance. Soft stretcher bar creases along the upper and lower edges. A minor rice-sized abrasion with attendant pigment loss near the center of the upper edge.

Each unframed

Frame: 13.125” H x 25.125” W x 2.5” D

287 Each overall good appearance. The three works on artist’s board with minor surface soiling in the blank edges. One of the works with pale toning, slight time-staining along the edges, and minor creasing in the corners, all in the blank edges of the artist’s board. The three works loose, not matted. The sketchbook with pale time-staining and some page edges, minor surface soiling, and soft creasing to the upper edge of the sketchbook cover. Unsigned; estate stamped verso.

296 Visual: Overall good appearance.

Each unframed 288 Overall good condition with minor shelf wear commensurate with age. 289 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a rice-sized chipped loss at rim. 290 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration. Frame: 20.25” H x 19” W x 1.75” D 297 Overall good appearance. The full sheet. Framed floating, tipped to the back mat from the verso of the sheet corners. Not examined out of the frame. Framed under glass: 14.75” H x 14.75” W x 0.75” D 298 Overall good appearance. An unobtrusive 0.5” horizontal, hairline scratch near the center of the left edge. Not examined out of the frame. Framed without glazing: 21.25” H x 17.25” W x 2.375” D 299 Overall good appearance. With minor surface soiling, a few black ink marks (presumably in the hand of the artist), glue residue, and the upper edge, at left, with a slight abrasion, all scattered in the blank of the artist’s board. The work is loose, not matted. Unframed

Condition Reports

282 Overall good appearance. Not examined out of the frame.

557

300 Each overall good condition with scratches, oxidation, and minor soiling commensurate with age and use. 301 Front leg with a 3” long abrasion, one rear leg with a 2” long chipped loss. With scattered scuffs, scratches, nicks, abrasions, and indentations commensurate with age. With a 5” long area of paint staining to front rail. Upholstery with soiling and scattered staining. 302 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed 303 Each overall good condition with scattered scuffs, scratches, soiling, dust accumulation, and small edge nicks commensurate with age. The headpiece verso with some moisture staining to one side. Edges of ottoman wood underside with some staining. Aluminum with some oxidation and the supports with some surface grime. Leather in good condition with some creasing and soiling, one armrest with a few small stains. 304 Each overall good condition with scattered scuffs, scratches, nicks, and abrasions commensurate with age. Red with a 3” long area of grime. Black with more concentrated scratches to seat right side proper. Each with scattered small losses to lacquer at edges. 305 Each overall good condition with scattered scuffs, scratches, nicks, and indentations commensurate with age. One chair with a break in the cording. Another with staining to seat cording. Each with fading and rubbed wear to armrests and some scuffing to legs and armrests. 306 Visual: Overall good appearance. Three pinhead-sized spots of grime near the center of the lower edge. Blacklight: No evidence of restoration.

Condition Reports

Frame: 25.75” H x 34.75” W x 1.5” D

558

307 Overall good appearance. Very slight surface soiling and some of the artist’s pencil ruled lines in the blank border of the artist’s board. Remains of old masking tape in places along the verso edges. Unframed 308 Overall good appearance. Slight toning and minor surface soiling apparent in the margins. Not examined out of the frame. Framed under glass: 20.25” H x 16.25” W x 0.75” D

309 With a pea-sized chip to one corner, a rice-sized chip to another, and a few fleabites at edges. The cube with scratches and shelf wear throughout. Base with scratches, scuffing, some soiling to top edge, shelf wear, and mounting putty to underside. 310 Each cube with shelf wear and scratches commensurate with age. Box with two torn edges to one short side of bottom portion, and general shelf wear. 311 Blue cube with rice-sized chip and a fleabite at corners. The others with a fleabite at edges or corners. Each overall good condition with shelf wear, scratches, and scuffs commensurate with age. 312 Overall good appearance. Not examined out of the frame. Framed under glass: 23” H x 19.25” W x 1.75” D 313 Each overall good appearance. The woman in a pink chiffon dress with pale time-staining and minor surface soiling in the blank edges of the artist’s board. Winged woman with pale time staining, surface soiling, small occasional paper losses to the first layer of the board, and scattered creasing in some areas of the corners and edges, all confined to the blank edges of the artist’s board. Bands of masking tape along the four edges of the image to indicate cropping. Each work is loose, not matted. Each unframed 314 Each overall good/generally good appearance. The work of the seated woman, with rippling to the board, attendant with damp staining and mold scattered on the board’s verso. Various staples (or just staple holes) at the edges of the board and the four extreme corners slightly dogeared. Glue staining all on the verso. The work is loose, not matted. The work of the woman lying face down with just glue staining on the artist’s board support, not affecting the mounted sheet. Each unframed 315 Each overall generally good appearance. The three works without overmatting: with surface soiling, specks of grime, minor rippling, small pale stains, damp staining (presumably attendant with prior water damage), glue and tape remnants, and other lesser defects, mostly in places along the blank edges of the artist’s board. The four works with overmatting: with occasional, unobtrusive surface soiling. Four works with overmatting, three works are loose, not matted. Each unframed

Each unframed 317 Each overall good appearance. With surface soiling, very pale time-staining, minor abrasions along the extreme edges, and some areas of scattered residue, all scattered in the blank of the artist’s board. One of the boards with artist’s pinholes in the upper corners of the blank. The works are loose, not matted. Each unframed 318 Overall good condition with shelf wear, grime and dust accumulation, and scattered scuffs and scratches commensurate with age. One light fixture loose. Shade removeable, the juncture with remnants of adhesive. Wiring should be checked by a qualified electrician prior to use. Moran’s does not guarantee the working condition of electronic equipment. 319 Oxidation/rust to frame, with minor soiling and pilling to canvas commensurate with age. The canvas edge stitching with scattered loose threads. 320 With scattered scuffs and scratches and minor surface grime commensurate with age. 321 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 322 With older losses and cracks throughout, dust accumulation, and scattered scuffs and scratches commensurate with age. With possible restoration to chin and neck area. 323 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 324 With shelf wear, scattered scuffs, and inherent firing flaws commensurate with age. With an older repair/restoration to 6” x 3” area near end of muzzle, possibly with other repairs. Some older losses throughout. 325 With older losses throughout, soiling, and scattered scuffs and scratches commensurate with age. Firmly set into base with hardened adhesive material.

326 Each with older losses, soiling, dust accumulation, and scattered scuffs and scratches commensurate with age. One fragment with a red number inscribed to base verso. 327 With heavy oxidation, verdigris, losses, and some degradation commensurate with age. 328 Overall good condition with oxidation and soiling commensurate with age. The rod with multiple indentations. 329 With weathering, soiling, and older losses throughout commensurate with outdoor use. 330 Each with degradation and soiling commensurate with age. The cup broken and reassembled, with some losses. 331 Each overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. 332 With darkening, rubbed wear, scattered losses to polychrome, multiple cracks in the wood, soiling, and older chipped losses commensurate with age. 333 Each overall good/generally good appearance. Minor wear, unobtrusive handling marks, surface soiling, occasional tiny paper losses to the extreme edges and corners, and other lesser defects. Each sheet is hinged to the back paper mat with two pieces of hinging tape from the upper sheet corners. Each unframed 334 Overall generally good appearance. An unobtrusive, slightly curved 0.75” thin surface scratch in the blank, just above the figure in the upper right quadrant. Surface soiling, bands of glue residue, occasional pinholes (presumably in the hand of the artist), a few pinpointsized unobtrusive surface losses in the extreme edges, all confined to the blank edges of the artist’s board. Ruled pencil lines at the four corners and edges just outside of the image to indicate cropping. The work is housed in a back mat. Unframed 335 Overall good appearance. Minor surface soiling and pale staining in the blank portion of the board, outside the image. A short crease across the tip of the lower left corner of the board. Not affecting the image. Unframed

Condition Reports

316 Each overall good appearance. Two of the works are loose, not matted, and the three other works are taped from the verso edges to an overmat. The two works without an overmat, with surface soiling, pale time staining along the blank edges, and some of the corners creased. One of the works with peeling in the upper left corner and tape remnants in the upper blank edge. The three overmatted works with some creases and small losses to the overmat, however, seemingly not affecting the works within.

559

336 Overall good appearance. Not examined out of the frame. Framed under glass: 16.125” H x 12” W x 2.375” D 337 Each overall good appearance. The work of the woman in the pink dress with pale light-staining in the exposed left and right blank edges. Each work is overmatted, taped to the overmat with masking tape along the verso edges. The overmats with creasing, staining, toning, small losses, and other lesser defects, however, seemingly not affecting the works within. Each unframed 338 Overall good appearance. Pale time staining along the edges and minor areas of surface soiling on the illustration sheets. A few sheets with occasional flecks of pale foxing scattered primarily in the blank of the illustration sheets. Some of the light green interleaving papers are missing, some are off the coil binding, and/or creased. The book itself with minor toning.

339 Overall good appearance. Parts of the blank board edges and corners are creased, presumably attendant with the patches of pale old damp staining. The upper extreme edge, at right, slightly trimmed unevenly. Bands of masking tape on the verso edges and losses to parts of the board’s paper surface in the lower left quadrant, all verso and not affecting the recto. The work is loose, not matted. Unframed

Condition Reports

340 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Each with grime and soiling. Each Styrofoam form with soiling and scattered losses. 341 Each overall generally good appearance. The full sheets. Occasional handling creases scattered throughout, primarily in the outer edges and corners, some of the creases are more distinct on some sheets. A few minor, unobtrusive surface scratches visible in the black pigment, primarily visible in raking light. “Seattle” and “Yosemite National Park” with a few small tears in the extreme edges. Each sheet is loose, not matted. Each unframed 342 Each overall good appearance. The full sheets. Soft, scattered handling marks. A few minor, unobtrusive surface scratches visible in the black pigment, primarily visible in raking light. “La Paz” with a 2.5” diagonal crease in the upper right corner, and a 4” diagonal crease in the lower right corner. A few minor abrasions scattered in the left and lower extreme sheet edges. “Grand Canyon,” with minor abrasions in places along the extreme right sheet edge. Each sheet is loose, not matted. Each unframed 560

343 Each overall generally good appearance. The full sheets. Occasional handling creases scattered throughout, primarily in the outer edges and corners, some of the creases are more distinct on some sheets, like “Canada,” with a 9.5” diagonal crease in the upper edge, at right. A few minor, unobtrusive surface scratches visible in the black pigment, primarily visible in raking light. “San Francisco” and “Canada” with a 0.25” vertical tear in the upper sheet edge. “Ski Reno Tahoe” with minor surface soiling scattered throughout the blank of the sheet. Other lesser defects. Each sheet is loose, not matted. Each unframed 344 Each overall good appearance. At least three of the examples the full sheets. Soft, scattered handling marks. A few minor, unobtrusive surface scratches visible in the black pigment, primarily visible in raking light. A few minor, unobtrusive surface scratches in the black pigment, primarily visible in raking light, and “Salt Lake City” with a 4” surface scuff running vertically in part of the white pigment in the lower right quadrant. “Palm Springs” with a few scattered edge tears in places along each side, the largest 1” in the upper edge above the letter “m.” “Los Angeles” and “Salt Lake City” with the upper right corner slightly dog-eared. “Las Vegas” and “Salt Lake City” with minor abrasions in places in the extreme sheet edges. Each sheet is loose, not matted. Each unframed 345 Each overall good/generally good appearance. The full sheets. Minor handling creases scattered throughout, some of the creases are more distinct on some sheets. Some sheets with tears, abrasions to the surface, and minor wear, all primarily confined to the outer or extreme edges. Each sheet is loose, not matted. Each unframed 346 Each overall good condition with light dust accumulation, creasing, and minor wear commensurate with age and use. Coat and skirt with a few scattered minor dark marks. Scarf with a couple of minor faint marks. 347 Each overall good condition with light dust accumulation, minor creasing, and minimal wear commensurate with age and use. Faint dusty soiling to pant hems edges. 348 Each overall good condition with light dust accumulation, minor creasing, and minimal wear commensurate with age and use. Jacket lining with minor pull to seam at right center side back. Skirt with scattered faint marks/light soiling to waistband. Blouse with a couple of small stains/minor marks to lower front.

349 Each overall good condition with light dust accumulation, minor creasing and minimal wear commensurate with age and use. A couple of faint marks to jacket, one to sleeve, and one to front. A couple of tiny pulls to the weave. The belt with a few deep creases.

359 Each overall good condition with dust accumulation, creasing, and minor wear commensurate with age and use/ storage. Jacket with faint stain to center front, and scattered smaller minor marks to exterior and interior. Jacket pockets uncut. Captain’s shirt with scattered dark marks to front.

350 Each overall good condition with light dust accumulation, minor creasing and minimal wear commensurate with age and use. A couple of tiny faint marks to dress front.

360 Each overall good condition with light dust accumulation, minor creasing and minimal wear commensurate with age and use. Orange silk jacket with a few faint scattered marks. The sample scarf with unfinished, taped edges.

352 Each in overall good unused condition with minor, original creasing commensurate with age. The striped scarf with a few scattered minor marks inherent from printing. 353 Each overall good condition with dust accumulation, storage creasing, and light wear commensurate with age and use. A few scattered minor marks to smock. Scarf with a minor mark/pin spot and very small pull to fabric. 354 Each overall good condition with dust accumulation, storage creasing, and light wear commensurate with age and use. Scattered faint marks to smock. Shirt with a couple of minor pulls to fabric. 355 Each overall good condition with dust accumulation, storage creasing, and light wear commensurate with age and use. Scattered faint marks to smock. Blouse with scattered areas of color variation and light staining from wear to armholes and to side back seam. The smock with attached handwritten note discussing stewardess trial of sample design. 356 Each in overall good unused condition with minor, original creasing commensurate with age. The striped scarf with a few scattered minor marks inherent from printing. 357 Each in overall good unused condition with minor, original creasing commensurate with age. The striped scarf with scattered marks inherent from printing. One silk scarf with a couple of minor faint marks. The roll of ribbon slightly out of round. 358 Each in overall good unused condition with minor, original creasing commensurate with age. The striped scarf with scattered minor marks inherent from printing. The roll of ribbon slightly out of round.

361 Each overall good condition with dust accumulation, minor creasing, and light wear commensurate with age and use. A couple of scattered discreet small holes. Cape is unlined. Cape with fabric manufacturer’s stamp scattered verso. 362 Each overall good condition with dust accumulation, oxidation to hardware, and light wear commensurate with age and use. Each with scattered areas of faint soiling and minor spots. Flight bag with heavy oxidation to zipper, and some delamination of applied logo, with partial loss to one logo. 363 Each item with dust accumulation, some creasing, and light wear commensurate with age and use/storage. Some paper items with singed and burnt edges, and general soiling to some surfaces, with various scattered marks, and minor tattered edges. 364 Each in overall good condition with dust accumulation, creasing, and ravelled edges commensurate with age and use. Some paper labels with creases and faint yellowing. Light oxidation to some staples. C & A fabric with more extensive dust accumulation. 365 Each in overall good condition with dust accumulation and light wear to edges commensurate with age and use. Some paper labels with creases. The two Somerset Mills lengths with scattered areas of square cut-out holes. 366 Each in overall good condition with dust accumulation and light wear to edges commensurate with age and use. Some paper labels with creases. Some lengths with adhesive tape labels. Two photographs are duplicates. 367 Each in overall good condition with dust accumulation and light wear to edges commensurate with age and use. Some paper labels with creases. Some lengths with adhesive tape labels.

Condition Reports

351 Each overall good condition with light dust accumulation, minor creasing and minimal wear commensurate with age and use. Jacket with a few minor marks to right sleeve near elbow.

561

368 Overall good/generally good condition. The five working drawings with creasing, minor staining, scattered surface soiling, occasional small tears, and other lesser defects. Additionally, these were working materials with condition issues commensurate with the process of production and handling. Some of the other material in this lot with wear, surface skinning, toning, small tears and losses, and other lesser defects. 369 Each overall good/generally good appearance. The 15 works on tracing paper with pale toning, small, occasional tears and paper losses in the extreme corners, some sheets with small staining and/or pale time-staining along the extreme edges, minor creasing, all commensurate with these being a working study. The four works on artist’s board with minor surface soiling and the corners slightly dog-eared on some of the examples, all concentrated along the blank edges of the artist’s board. Each work is loose, not matted. Works on board: unsigned; estate stamped verso Each unframed 370 Each overall good appearance. Five of the works are taped to their overmats with various pieces of tape from the verso edges and corners. One work is loose, not matted. The loose work with minor surface soiling, occasional soft creasing, abrasions to the upper and lower right corners, minor staining, and the edges unevenly trimmed. Each unframed 371 Each overall good condition with slight dust accumulation, light creasing, and minimal wear commensurate with age and use. The coat with a few scattered minor pulls/minor pilling to bouclé. The sleeves with minor puckering at cuffs, from hanging. The sweater with a few scattered minor discreet darnable single holes from insect damage.

Condition Reports

372 Each overall good condition with light dust accumulation, minor creasing, and light wear commensurate with age and use. Some sweaters with a couple of discreet, minor single pulls to yarn. Purple mélange sweater with a discreet small moth hole to waistband.

562

373 Each overall good condition with light dust accumulation, minor creasing, and light wear commensurate with age and use. Some sweaters with a couple of discreet, minor single pulls to yarn. Bright purple sweater with minor spot and small run in knit to front. 374 Each overall good condition with light dust accumulation, minor creasing, and light wear commensurate with age and use. Some sweaters with a couple of discreet, minor single pulls to yarn. Each Casa sweater with a few scattered single moth holes to front. Blue and brown striped sweater with a few scattered single moth holes, and insect damage to label.

375 Each overall good condition with light dust accumulation, minor creasing, and light wear commensurate with age and use. Some sweaters with a couple of discreet, minor single pulls to yarn. Each with a single or a couple of small discreet moth holes, mainly to cuff or waist ribbing or near a seam. 376 Overall good condition with dust accumulation, light creasing and wear commensurate with age and use. A few minor pulls to knit. Perished elastic at cuffs. 377 Overall generally good appearance. With expected studio and working wear, including minor creases, losses and tears (mostly small), pale toning, occasional pinholes, and minor surface scuffs and scratches, and other lesser defects. All loose, not matted. Each unframed

563

Condition Reports

John Moran Auctioneers, Inc SPECIALISTS

Co-Head of Sale, Director, Fine Art Katherine Halligan, AAA Co-Head of Sale, Post-War & Contemporary Design Specialist Matthew Grayson President, Auctioneer Jeffrey J. Moran Vice President, Specialist, Silver, Western & American Indian Art Maranda Moran Director,, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Associate Specialist, Fine Art Bobby Cullen Department Administrator, Fine Art Jacob Baer Anne Spink Senior Cataloguer, Fine Art Cataloguer, Fine Art Madison Ari Cataloguer, Fine Art

Lori Kassabian

Cataloguer, Silver, Luxury and Decorative Arts

Sally Andrew

Cataloguer, Furniture & Decorative Arts

Grant Stevens

Director, Jewelry & Watches Tom Burstein Senior Specialist, Jewelry & Watches Kelly Sitek

TRUSTS & ESTATES

Senior Vice President, Director Trusts & Estates

Morgana Blackwelder, ISA AM

Director, Appraisals Mariam Whitten, ISA AM Associate Appraiser Shannon Dailey Department Administrator, Trusts and Estates Julia Kelley

CLIENT SERVICES

Office/HR Manager Mario Esquivel Client Services Ella Fountain Finance Administrator Jamie Holthauser Bryan Ortega Client Services

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Controller Joseph Scott Consignment Coordinator Jean Rapagna Warehouse Supervisor, Senior Art Handler Richard Corral Transport Supervisor, Senior Art Handler Joe Miranda Art Handler Romero Corral

MARKETING

Director, Advertising & Marketing Manager, PR/Social Media Graphic Designer

PHOTOGRAPHY

Senior Photographer, Head of Photography Photographer Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas

Keith Berson Madison Torres Wyatt Beserra

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 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

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

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale These Terms and Conditions of Sale (“Terms“) set out the terms by which the sale or purchase of property at auction through John Moran Auctioneers, Inc. (“Moran”) will be governed. These Terms constitute a legal and binding agreement between You and Moran. AUCTION HOUSE AS AGENT Except as otherwise expressly stated in writing, Moran acts as an agent for the seller. Thus, any contract for the sale of property through Moran is made between the respective seller and buyer. BEFORE THE AUCTION (a) Public Preview. All property is available for inspection by public or private preview according to the auction information posted online and in the catalogue. In many cases, particular lots can be examined in advance by private appointment by contacting a customer service representative at info@johnmoran. com or by dialing 626-793-1833. 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 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 in Section 5 below. ALL PROPERTY IS SOLD “AS IS.” Condition reports are offered as a courtesy and are typically published in Moran’s catalogue, or online, or can be made available upon request. The absence of a condition report does not imply that an item is free from defects or restoration, nor does reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission. Moran’s auction is open to the public, although Moran reserves the right to, in its sole discretion, refuse admission or participation to anyone at any time. The auction may be recorded (visually, aurally, or otherwise) and all participants or attendees at the auction consent to such recording. (b) Buyer Registration. Prospective buyers must register with Moran before bidding. Moran may, in its sole discretion, require identification, financial references, or a deposit in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the Buyer’s Premium, as described in Section 4(a) below, plus all applicable charges, unless Moran agrees in advance that the bidder is acting as agent on behalf of an identified third party that Moran, in its sole discretion, deems acceptable. In such case, Moran will look to the third party for payment. Successful bidders may be required to further verify their identity before property is released. (c) Bidding Guidelines. Bidding, whether in person or by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these Terms. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid; withdraw, pass, or divide any lots; combine multiple lots; advance the bidding at their absolute discretion; and—in the case of error or dispute, whether during or after the sale—determine the successful bidder; continue the bidding; cancel the sale; or re-offer and sell the lot in question. Under no circumstances are sellers, or agents acting on their behalf, permitted to bid on their own property. In the event of any dispute after the auction, Moran’s sale record shall be conclusive as to the successful bidder and the price of the successful bid. (d) Absentee, Telephone, and Internet Bidding. Moran offers absentee, telephone, and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute bids. Absentee and telephone bids must be recognized by Moran prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves. Unless Moran expressly indicates 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 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 backward at their 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. The Buyer’s Premium will be calculated as follows: 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 and $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Successful bidders using Live Auctioneers or Invaluable platforms will be charged a Buyer’s Premium calculated as follows: 32% on the first $1,000,000 of the hammer price, plus 26% on any amount between $1,00,001 and $5,000,000, and 20% on any amount above $5,000,000 when paying by cash, check, or wire transfer. Credit card payments made directly to Moran will be subject to an additional 3% acceptance fee. This fee is not more than the cost of accepting these cards. The name and address associated with the credit card must match the name and address of the successful bidder. 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 within five business days immediately following the auction. The buyer does not acquire title to and may not take possession of the lot until all amounts (including the hammer price, premium, and applicable taxes) due to Moran have been paid in full. Unless alternate payment arrangements are made immediately following the auction, successful Live Auctioneers bidders will be automatically charged via Live Auctioneers’ LivePayments 24 hours after the auction. Payments made through Live Auctioneers LivePayments are subject to an additional processing fee and any applicable state sales tax. (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 lots is undertaken by Moran solely as a convenience to customers. If a buyer opts to use this courtesy packing and handling service, Moran is not liable for damage to property, regardless of cause. (c) Storage and Abandonment. Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran 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 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. If a buyer fails to retrieve a purchased lot within thirty (30) days after the date of sale (the “Retrieval Period”), Moran may, without further notice, (a) continue to store the lot in Moran’s warehouse, or at the warehouse of a third-party, subject to the storage charge described above; (b) deliver the lot to the buyer at the buyer’s expense; or (c) sell the lot at auction without reserve at a place and time determined by Moran in its sole discretion.

Conditions of Sale Cont’d (d) Consequences of Late Pick-Up/Abandoned Property. Notwithstanding the foregoing, Moran has no duty to store any lot indefinitely. Any purchased lot that remains in Moran’s possession sixty (60) days after the Retrieval Period (collectively, ninety (90) days) will be deemed abandoned (“Abandoned Property”) and title to it will pass to Moran. Moran may, in its sole discretion, discard or sell any Abandoned Property and may keep any proceeds from any such sale. Moran may not be held liable for any claims related to Abandoned Property. Moran is not responsible for damage or loss that occurs to Abandoned Property and Moran is not responsible for insuring Abandoned Property after the Retrieval Period. (e) Shipping. As a courtesy to buyers, Moran provides a list of preferred shippers who are in the business of transporting antiques and works of art. Buyers are responsible for arranging their own shipping estimates and deliveries. Moran, in its sole discretion and as a courtesy to buyers, may arrange to have purchased lots packed, insured, and forwarded by a third-party shipper at the request, expense, and risk of the buyer. In circumstances where Moran arranges for such third-party services, Moran may apply an administration charge of 15% of that service fee. Moran assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran. Moran also assumes no responsibility for any damage to picture frames or to the glass therein. (f) All Sales Final. Notwithstanding other terms mentioned herein, refunds may be given in Moran’s sole discretion. Refunds requested on the grounds of authenticity must be made within 180 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; or 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 foregoing 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 in the same condition as when sold. Moran 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 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 the seller nor Moran or its 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, invoice, any supplementary material, or statements by any Moran employee shall be deemed a warranty, representation or 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) Notices, Demands, and Refunds. Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be made (1) in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016 or (2) via email at info@johnmoran.com.

(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 for its auction is and will remain at all times the property of Moran. Moran 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 Terms, Moran 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 Moran deems necessary or appropriate. If Moran 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, in its sole discretion, deems appropriate. Moran shall have the benefit of all rights of a secured party under the Uniform Commercial Code as adopted in the State of California. (c) Governing Law. The rights and obligations of the parties with respect to these Terms and the conduct of the auction shall be governed and interpreted by the laws of the State of California. (d) Arbitration. Any dispute, claim, or controversy arising out of or relating to these Terms or the breach, termination, enforcement, interpretation, or validity thereof, including the determination of the scope or applicability of this agreement to arbitrate, shall be determined by private arbitration before an arbitrator. The arbitration shall be administered by JAMS pursuant to its Comprehensive Arbitration Rules and Procedures. Judgment on the award may be entered in any court having jurisdiction. This clause does not preclude the parties from seeking provisional remedies in aid of arbitration from a court of appropriate jurisdiction. The parties shall maintain the confidential nature of the arbitration proceeding and the award, including the hearing, except as may be necessary to prepare for or conduct the arbitration hearing on the merits, or except as may be necessary in connection with a court application for a preliminary remedy, a judicial challenge to an award or its enforcement, or unless otherwise required by law or judicial decision. In any arbitration arising out of or related to these Terms, the arbitrator shall award to the prevailing party, if any, the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. If the arbitrator determines a Party to be the prevailing party under circumstances where the prevailing party won on some but not all of the claims and counterclaims, the arbitrator may award the prevailing party an appropriate percentage of the costs and attorneys’ fees reasonably incurred by the prevailing party in connection with the arbitration. (e) Severability. Should any of these conditions be deemed unenforceable, invalid, or illegal in any court having jurisdiction, that part shall be severed from these Terms 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.

SINCE 1969

AUCTIONEERS & APPRAISERS

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