Latin American Art + Design — January 13, 2026 | John Moran Auctioneers by johnmoranauctioneers

Tuesday, January 13, 2026

SINCE 1969

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

Tuesday, January 13, 2026 | 12pm PST Sale 331 145 East Walnut Avenue, Monrovia CA 91016

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Meet the Team

Maranda Moran Vice President m.moran@johnmoran.com Grant Stevens Cataloguer, Decorative Arts g.stevens@johnmoran.com

Anne Spink Senior Cataloguer, Fine Art a.spink@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 Regional style Mexican Saltillo sarape textile

Late 19th/early 20th century, Transitional period, 1875-1910; San Luis Potosi Woven with wool weft on cotton warp in a single width with variegated multicolored yarns on a brown field with multicolored border and central diamond 78.5” H x 39” W; fringe: 5” approximately $600-800 Provenance: McCormick Family Collection, Chicago, IL Literature: Katharine Drew Jenkins, “An Analysis of the Saltillo Style in Mexican Sarapes” (Chicago: McCormick Gallery, 2019), 182, plate 61.

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A Regional style Mexican Saltillo sarape textile

Late 19th/early 20th century, post-Classic period, 1890-1920; Saltillo or Teocaltiche Woven with wool weft on cotton warp in a single width, with a red field and multicolored banded ends and with elaborate fringe 85.5” H x 49.5” W; fringe: 8” approximately $500-700 Provenance: McCormick Family Collection, Chicago, IL Literature: Thomas McCormick & Mark Winter, “Saltillo Sarapes, A Survey: 1850-1920” (Chicago: McCormick Gallery, 2011), 107, plate 55.

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A Mexican Saltillo sarape textile

Late 19th century, post-Classic period, 1860-1875; San Miguel de Allende Woven with wool weft on cotton warp, in two panels seamed down the middle in blue, black, red, purple, light green and cream wool, with an aggregate style diamond center, and with banded ends, and fringing to one end 76” H x 41.5” W; fringe: 4.5” approximately $1,500-2,500 Provenance: McCormick Family Collection, Chicago, IL

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A Regional style Mexican Saltillo sarape textile

Early 20th century; Tlaxcala or Puebla Finely woven with wool weft on cotton warp in a single width featuring a striped banded blue and white field with red accents to center and to end, with wide bands of interlocking circles 77.5” H x 45” W $2,000-3,000 Provenance: McCormick Family Collection, Chicago, IL Literature: Donna McMenamin, “Popular Arts of Mexico, 1850-1950” (Atglen, PA: Schiffer Publishing, Ltd, 1996), 215, plate 12.23. Thomas McCormick & Mark Winter, “Saltillo Sarapes, A Survey: 1850-1920” (Chicago: McCormick Gallery, 2011), 104, plate 52.

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A Mexican Saltillo sarape textile

Late 19th century, post-Classic period, 1860-1875; San Miguel de Allende Woven with wool weft on cotton warp, in two panels seamed down the middle in blue, brown, red, and cream wool with serrated columns and an aggregate serrated diamond to center 77” H x 46” W $2,000-3,000 Provenance: McCormick Family Collection, Chicago, IL

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A Mexican Saltillo sarape textile

Late 19th century, post-Classic period, 1850-1875 Woven with wool weft on cotton warp in two panels seamed down the middle, with multicolored vertical serrated columns and a concentric-style diamond to center 83” H x 51” W $2,000-3,000 Provenance: McCormick Family Collection, Chicago, IL Literature: Katharine Drew Jenkins, “An Analysis of the Saltillo Style in Mexican Sarapes” (Chicago: McCormick Gallery, 2019), 161, plate 44.

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A post-Classic Mexican Saltillo sarape textile

Late 19th/ early 20th century; post-Classic period, 1875-1910; possibly San Luis Potosi Woven with wool weft on cotton warp in a single width with variegated multicolored yarns, with an allover stepped chevron field featuring an aggregate diamond variant, red border and striped end skirts 80.5” H x 40” W $600-800 Provenance: McCormick Family Collection, Chicago, IL Literature: Katharine Drew Jenkins, “An Analysis of the Saltillo Style in Mexican Sarapes” (Chicago: McCormick Gallery, 2019), 181, plate 60.

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A Regional style Mexican Saltillo sarape textile

Early 20th century; Tlaxcala or Puebla Woven with wool weft on cotton warp in two panels seamed down the middle, featuring a brown banded field with a central stepped diamond, with a bocamanga opening to center 77.75” H x 43” W; fringe: 4.5” approximately; opening: 15.75” $600-800 Provenance: McCormick Family Collection, Chicago, IL

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A Regional style Mexican Saltillo sarape textile

Late 19th/early 20th century, Transitional period, 1875-1900; Tlaxcala or Puebla Woven with wool weft on cotton warp, in two panels seamed down the middle, with cream wool field with multicolored flowers and birds and a yellow central medallion 69.5” H x 47.5” W; fringe: 4.5” approximately $700-900 Provenance: McCormick Family Collection, Chicago, IL Literature: Donna McMenamin, “Popular Arts of Mexico, 1850-1950” (Atglen, PA: Schiffer Publishing, Ltd, 1996), 213, plate 12.17. Thomas McCormick & Mark Winter, “Saltillo Sarapes, A Survey: 1850-1920” (Chicago: McCormick Gallery, 2011), 80, plate 28. Notes: The round center reflects the French Baroque architectural influence of the Maximilian period of rule in Mexico.

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A Mexican Saltillo sarape textile

Late 19th century, Maximilian period, 1865-75 Woven with wool weft on cotton warp, in two vertical panels seamed in the middle, with a cream wool field and an elaborate multicolored foliate border, banded ends and central medallion 76” H x 42” W $400-600 Provenance: McCormick Family Collection, Chicago, IL Literature: Thomas McCormick & Mark Winter, “Saltillo Sarapes, A Survey: 1850-1920” (Chicago: McCormick Gallery, 2011), 177, plate 58 Notes: The round center reflects the French Baroque architectural influence of the Maximilian period of rule in Mexico.

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A Regional style Mexican Saltillo sarape textile

Late 19th/early 20th century, Transitional period, 1875-1910; Saltillo/Teocaltiche Woven with variegated wool weft on cotton warp, in a single width with multicolored banded stripes and an aggregate-style diamond center, with elaborate knotted fringe 85.75” H x 40.75” W; fringe: 7.5” approximately $500-700 Provenance: McCormick Family Collection, Chicago, IL

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A Regional style Mexican Saltillo sarape textile

Late 19th/early 20th century, c. 1890-1920; possibly Aguascalientes Woven with wool weft on cotton warp in a single width, with variegated multicolored yarns on a black field, with a concentric-style aggregate diamond center, and a meandering rose design in the primary border and alternating rainbow striped banding, with knotted fringing to each end 81” H x 38” W; fringe: 8” approximately $500-700 Provenance: McCormick Family Collection, Chicago, IL Literature: Thomas McCormick & Mark Winter, “Saltillo Sarapes, A Survey: 1850-1920” (Chicago: McCormick Gallery, 2011), 106, plate 54.

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A Regional style Mexican Saltillo sarape textile

Early 20th century; possibly San Luis Potosi Woven with wool weft on cotton warp with woven in a single width in red, green, and white bands and a multicolored central diamond, with fringing to each end, in the so-called Banderatillo Style, modeled after the national flag of Mexico 78” H x 43” W; fringe: 5” H approximately $700-900 Provenance: McCormick Family Collection, Chicago, IL

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A Mexican sterling silver centerpiece bowl

Mid-20th century Marked: Hecho en Mexico / La Esmeralda / 925 / 26888 With scalloped rim, lobed body, and opposed handles 3.75” H x 13.375” W x 8.25” D 31.41 oz. troy approximately $700-900

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Dolores (Lola) Olinda Nucifora

(b. 1894, Argentinian) Floral still life with roses, 1931 Oil on board Signed and dated lower left: Lola Nucifora / 1931 26” H x 23.75” W $400-600

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Carlos Almaraz

(1941-1989, Mexican-American) “Still Life with Tulips,” 1989 Monotype in colors on black paper Signed and dated in white pencil in the lower margin: Almaraz 1989; with an unidentified handprint blindstamp in the center of the lower margin; titled on two typed labels affixed to the frame’s backing board Image: 31.75” H x 23.75” W; Sheet: 44.5” H x 30” W $2,000-3,000 Provenance: Collection of Mr. & Mrs. Robert McIntosh, Los Angeles, CA Jan Turner Gallery, Los Angeles, CA

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Feliciano Béjar (1920-2007, Mexican)

Feliciano Béjar enjoyed a long and interna Mexico, the United States, Europe, and A Despite this wide recognition, his path wa Michoacán, and largely self-taught, Béjar traditional materials, he turned instinctivel upcycling that became central to his creat which imagination, playfulness, and reinve

Béjar’s welded and assembled sculptures, hybrid beings that evoke creatures, mach embraced the visible histories of his mate carry traces of its former life. Working outs grounded in artisanal experimentation an ‘magiscopios’ in this auction, embody this life into objects of enduring wonder.

ationally active career, participating in more than 100 exhibitions across Australia, with his work entering dozens of museum collections worldwide. as anything but conventional. Raised in modest circumstances in Jiquilpan, developed his artistic voice outside formal institutions. Without access to ly to industrial scraps and cast-off objects, an early and intuitive form of tive identity. This resourceful beginning shaped a sculptural language in ention superseded academic pedigree.

, including his celebrated ‘magiscopios,’ transform discarded metal into hines, ritual objects, or instruments from an imagined universe. He erials - their patinas, seams, and irregular surfaces - allowing each work to side the dominant muralist tradition, he forged an alternative modernism nd material transformation. Sculptures such as the present three graduated s vision, revealing how Béjar turned the overlooked remnants of modern

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Feliciano Béjar

(1920-2007, Mexican) Magiscopio, 1981 Steel and glass With etched signature and date at glass edge: Feliciano Bejar / 81 64” H x 19.875” W x 8.125” D $3,000-5,000

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Feliciano Béjar

(1920-2007, Mexican) Magiscopio, 1981 Steel and glass With etched signature and date at glass edge: Feliciano Bejar / 81 38.25” H x 14.25” W x 5” D $2,500-3,500

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Feliciano Béjar

(1920-2007, Mexican) Magiscopio, 1981 Steel and glass With etched signature and date at glass edge: Feliciano Bejar / 81 33.75” H x 14.25” W x 5” D $2,000-3,000

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Emmy Lou Packard

(1914-1998, American) “Frida in Doorway,” 1941 Photograph on paper Edition: 11/20 Signed, dated, and numbered in pencil in the lower margin: Emmy Lou Packard / 1941; titled by repute Image: 7.625” H x 7.5” W; Sheet: 9.875” H x 8” W $1,000-1,500 Provenance: Triton Museum of Art, Santa Clara, CA

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Florence Meyer Homolka

(1911-1962, American) “Emmy Lou Packard and Her Small Dog, Hollywood,” 1941 Gelatin silver print on paper Unsigned; titled, dated, and inscribed in ink by Emmy Lou Packard: “The painting was one of her oils, photo by Mrs. Oscar Homolka” / “Neclas [sic] made by Frida Kahlo” Image: 13.375” H x 6.375” W; Sight: 14” H x 10.75” W $300-500 Notes: Wearing a necklace crafted by Frida Kahlo, Packard is shown alongside a Dachshund and one of her paintings at a Hollywood home. The painting, depicting Dachshunds in lush greenery, was painted in Diego Rivera’s studio garden in San Ángel, Mexico City. w w w. j o h n m o r a n . c o m

Kazuo Wakabayashi

(b. 1931, Brazilian/Japanese) Untitled abstract Mixed media and oil on canvas Signed lower center: Wakabayashi 45” H x 29” W $600-800

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20th Century Argentinian School

“Alejandro Rey, Hollywood,” 1968 Oil on Masonite Signed lower right: Ferrario; signed again, titled, dated, and inscribed, verso: Buenos Aires / Argentina / 1968 39.5” H x 31.5” W $600-800

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Oswaldo Guayasamin

(1919-1999, Ecuadorian) Untitled (Faces) Screenprint in colors on paper Edition: 12/20 Signed and numbered in pencil (both nearly erased) in the lower margin: Guayasamin; with the artist’s signature also printed in the image at lower right Image: 23.25” H x 28.75” W; Sight: 27.25” H x 33” W $200-400

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Jorge Luis Cuevas

(b. 1922, Mexican) “Juchiteca Woman,” 1974 Patinated bronze on wood plinth Edition: I/VI Signed, numbered, and dated in the casting: Cuevas Bronze: 14.5” H x 9.625” W x 10.125” D; Overall: 16.5” H $800-1,200 Provenance: Sold: Sotheby Parke Bernet Los Angeles, Los Angeles, CA, “Fine 19th and 20th Century Prints,” September 24 & 25, 1979, Lot 129 Private Collection, acquired from the above Notes: This lot is accompanied by a purchase receipt dated September 24, 1979.

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José Luis Cuevas

(1934-2017, Mexican) “Procures with Meat,” plate 9 from the “Charenton” portfolio, 1965 Lithograph in colors on Arches paper Edition: 11/20 (there were also three artist’s proofs) Signed, dated, and numbered in pencil in the lower sheet corners: Cuevas 65; signed (twice), dated, and titled in the stone in the lower sheet corners; Ernesto de Soto, prntr.; Tamarind Lithography Workshop, University of New Mexico, Albuquerque, NM, pub.; with the printer’s and publisher’s blindstamps lower left Image/Sheet: 22.25” H x 30.125” W $300-500 Literature: Tamarind 1607

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José Luis Cuevas

(1934-2017, Mexican) “’Music is a Higher Revelation than Philosophy’ Beethoven,” 1966 Lithograph in colors on wove paper Edition: 21/100 Signed, dated, and numbered in pencil in the lower image corners: Cuevas / 66; Ernesto de Soto, prntr.; Tamarind Lithography Workshop, University of New Mexico, Albuquerque, NM, pub., with the printer’s and publisher’s blindstamps lower left Image/Sheet: 30” H x 22” W $300-500 Literature: Tamarind 1652 Notes: This image was commissioned by the Los Angeles Orchestral Society to commemorate the 20th anniversary of the Los Angeles Music Festival. w w w. j o h n m o r a n . c o m

José Luis Cuevas

(1934-2017, Mexican) Still life with nails, 1953 Watercolor on blue paper Signed and dated in charcoal lower right: Cuevas 53 Sheet: 16.75” H x 22” W $400-600

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José Luis Cuevas

(1934-2017, Mexican) Figure study, 1953 Watercolor and ink on paper Signed, dated, inscribed in Spanish “Apunte del natural / de un cadaver, anfiteatro de medicina,” and inscribed “Febrero 19 - 1953,” all in ink, near the lower corners: Cuevas 1953; inscribed indistinctly in pencil verso Sheet: 11” H x 17.375” W $400-600

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José Luis Cuevas

(1934-2017, Mexican) Figure study, 1953 Watercolor and ink on thick paper Signed and dated in pencil upper right: Cuevas 53 Sheet: 16.75” H x 23” W $400-600

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José Luis Cuevas

(1934-2017, Mexican) “Three Mad Women,” 1965 Ink and watercolor on paper Signed and inscribed partially in Spanish, in pencil, and dated in red ink, all along the upper edge: José Luis Cuevas / 9-XII-65 “Hollywood”; signed again in pencil, lower right; titled on two gallery labels affixed to the frame’s backing board Sight: 8.25” H x 6” W $400-600 Provenance: Silvan Simone Gallery, West Los Angeles, CA Iturralde Gallery, Los Angeles, CA

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José Luis Cuevas

(1934-2017, Mexican) Untitled, 1967 Lithograph on wove paper, watermark Abriano With the printed signature in the upper right: J.L. Cuevas; dated in ink in the upper right: 30. XII. 1967 Sheet: 22.5” H x 30.75” W $300-500

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Carlos Estevez

(b. 1969, Cuban) “El Gran Gello,” 1995 Mixed media on cream wove paper Signed, titled, dated, and inscribed “La Habana” [Havana], all in ink in the lower blank portion of the sheet: Carlos Estevez Image: 29.25” H x 12.5” W; Sheet: 39.5” H x 27.5” W $1,500-2,500 Provenance: Triton Museum of Art, Santa Clara, CA

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Armando Amaya

(b. 1935, Mexican) “Mother and child,” 1985 Verdigris patinated bronze on a wood plinth Edition: II/VII Signed, dated, and numbered in the casting: Amaya / 1985; titled by repute Bronze: 14.25” H x 9.25” W x 8” D; Overall: 15.625” H x 9.375” W x 8.5” D $600-800

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A small Mexican Surrealist style bronze sculpture of a chair Late 20th century Unmarked 12.75” H x 5.25” W x 7.25” D $300-500

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Octavio Vidales (20th century, Mexican)

A Modern coffee table, mid-20th century; Mexico Unmarked The X-form gilt mahogany base with brass feet, central finial, and glass top connections Base: 14” H x 51.25” W x 51.25” D; Glass: 54.5” Dia. $1,200-1,800

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A Mexican sterling silver tray signed by ambassadors

1971 Marked to underside: MAP / 925 / Sterling / Hecho en Mexico; further marked: [Eagle 61]; inscribed: Al Excelentisimo Señor / Nathaniel Davis / Embajador de los Estados Unidos de America con la Estimacion de sus Colegas / Guatemala 19 de Agosto de 1971 Engraved with signatures of various ambassadors to Latin America, with opposed handles 23” W x 16.5” D 65.6 oz. troy approximately $1,200-1,800

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A Mexican sterling silver tray signed by ambassadors

1973 Marked to underside: Sterling 925 / [flag cipher] / Camusso / Made in Peru; further marked to applied sticker: Camusso Plata / 925/1000 / Sterling / Ind Peruana; inscribed: El Cuerpo Diplomatico Acreditado Ante el Gobierno de Chile al Excmo. Sr. Nathaniel Davis / Embajador de los Estados Unidos de America y Sra. / Santiago, Octubre 1973 Engraved with signatures of various ambassadors to Latin America, with opposed handles and shell accents to rim 18” Dia. 40.1 oz. troy approximately $800-1,200

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José Clemente Orozco (1883-1949, Mexican)

José Clemente Orozco stands as one of th helped shape alongside Diego Rivera and developed an early interest in art after mo a lasting impression. His formal training at synonymous with his name: monumental, Orozco’s art delved into human suffering a commitment to social causes.

A life-altering accident at age twenty-one career that spanned Mexico and the Unite California, Orozco created some of the m National Preparatory School in Mexico Cit dramatic compositions and profound mor the Mexican Revolution, Orozco confronte

the central figures of the Mexican Mural Renaissance, a movement he d David Alfaro Siqueiros. Born in 1883 in Zapotlán el Grande, Jalisco, he oving to Mexico City, where the engravings of José Guadalupe Posada left t the Academy of San Carlos refined a visual language that would become , expressionistic, and unflinching in its examination of human conflict. and the political struggles of peasants and workers, reflecting his deep

e cost him his left hand but did nothing to diminish his ambition. Over a ed States, including significant periods in New York and Claremont, most influential fresco cycles of the twentieth century. His murals for the ty and Pomona College remain defining achievements, marked by their ral urgency. Unlike many contemporaries who celebrated the heroism of ed its human cost, offering a sobering and deeply humanistic counterpoint.

José Clemente Orozco

(1883-1949, Mexican) “The Hanged Men” (Los Ahorcados), from “The American Scene” portfolio, circa 1933-34 Lithograph on wove paper, watermark Rives Edition: 46/300 Signed in pencil in the lower margin: J.C.Orozco; numbered in pencil, possibly in another hand, in the lower margin, at left; George C. Miller, New York, NY, prntr.; Contemporary Print Group, New York, NY, pub. Image: 12.625” H x 8.875” W; Sheet: 15.75” H x 11.375” W $1,000-1,500 Literature: Hopkins 23 Notes: Another impression of this lithograph is owned by the Metropolitan Museum of Art in New York City. Their cataloguing includes the following comments, “Orozco created this print in New York in response to a request from the National Association for the Advancement of Colored People (NAACP)—a civil rights organization—to contribute to its anti-lynching campaign. The subject resonates with Orozco’s personal beliefs, which he expressed in his autobiography, published in 1945: ‘the whole world is shaken and bloodied by racial hate.’ Adding to the graphic brutality of the lynching, the figures appear to be engulfed by flames emerging from the bottom of the image.’”

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José Clemente Orozco

(1883-1949, Mexican) “Fin de Fiesta (Miseria),” 1935 Lithograph on paper Edition: 91/120 Signed and numbered in pencil in the lower margin: J.C. Orozco; dated “Sept. 1935” in the stone, lower left; titled in Spanish and English on two typed and handwritten labels affixed to the frame’s backing paper Image: 12.25” H x 15.5” W; Sight: 12.75” H x 16” W $800-1,200 Provenance: Iturralde Gallery, Los Angeles, CA Exhibited: Santa Barbara, CA, Santa Barbara Museum of Art, Loan No. L.70.17.5, n.d. Literature: Hopkins 26

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Miguel Covarrubias

(1904-1957, Mexican) “Filatelista,” cartoon for “Vanity Fair” magazine, circa 1920s Ink and ink wash on paper Signed lower left: Covarrubias; titled and with the association with “Vanity Fair” listed on a gallery label affixed to the frame’s backing board; the same information written twice more, in several different hands, on the same backing board Sight: 9.25” H x 12.25” W $800-1,200 Provenance: Iturralde Gallery, Los Angeles, CA

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Miguel Covarrubias

(1904-1957, Mexican) “Mujer Proviniciana,” 1928 Ink on cream paper Signed and dated in ink lower right: Covarrubias; titled on two labels affixed to the frame’s backing board Sight: 16.75” H x 12.5” W $500-700 Provenance: Iturralde Gallery, Los Angeles, CA Exhibited: Santa Barbara, CA, Santa Barbara Museum of Art, n.d., according to a label affixed to the frame’s backing board

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Diego Rivera

(1886-1957, Mexican) “Cargadora” Charcoal and watercolor on rice paper Signed lower right: Diego Rivera, titled by repute 15.5” H x 10.75” W $10,000-15,000 Provenance: Sold: Sotheby’s New York, “Latin American Art,” May 24-25, 2005, Lot 106 Private Collection, Pacific Palisades, CA, acquired from the above

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Rafael Canogar

(b. 1935, Spanish) “The Prisoners,” plate 5 from “La Violencia” portfolio, 1969 Lithograph on Rives paper A bon à tirer impression, aside from the edition of 20 Signed, titled, dated, and inscribed in white pencil along the lower edge: Canogar 69 / “Bon a Tirer”; Jean Milant, prntr.; Tamarind Institute, University of New Mexico, Albuquerque, NM, pub.; with the blindstamp of the printer and publisher near the center of the lower edge Image/Sheet: 22” H x 30” W $600-800 Provenance: The Personal Collection of Jean Milant Literature: Tamarind 2614

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Rafael Canogar

(b. 1935, Spanish) “El Muerto,” plate 7 from “La Violencia” portfolio, 1969 Lithograph on Rives paper An artist’s proof, aside from the edition of 20 Signed, titled, dated, and inscribed in white pencil along the lower edge: Canogar 69 / “artist’s proof”; John Sommer, prntr.; Tamarind Institute, University of New Mexico, Albuquerque, NM, pub., with their blindstamp lower right; with an unidentified blindstamp lower right Image/Sheet: 30.125” H x 22.125” W $600-800 Provenance: The Personal Collection of Jean Milant Literature: Tamarind 2600

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Guillermo Meza

(1917-1997, Mexican) “Espíritu del maguey” (Spirit of the Maguey), 1952 Lithograph on paper An artist’s proof aside from the edition of 80 Signed, dated, and inscribed “prueba de artista,” all in pencil in the lower margin: Guillermo Meza Image: 14.25” H x 10” W; Sight: 16.375” H x 11.75” W $200-300 Provenance: B. Lewin Galleries, Palm Springs, CA Notes: Maguey refers to agaves or century plants, commonly used to make alcoholic drinks such as Mezcal.

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A William Spratling sterling silver ‘Disco’ flatware service William Spratling (1900-1967) Circa 1962-1964, Third Design Period; Taxco, Mexico With factory marks; further marked: [Eagle 30] Each with silver applied discs, comprising: 7 dinner forks (7.125”) 7 salad forks (5.875”) 7 steak knives (8.875”) 7 butter spreaders (6.125”) 7 soup spoons (7.375”) 15 teaspoons (6”) 1 serving spoon (10.75”) 51 pieces Total weighable sterling: 88.3 oz. troy approximately $7,000-9,000 Provenance: The Collection of Cindy Tietze-Hodosh and Stuart Hodosh

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Two Mexican silver honorific trays 1971 Two works:

A Juventino Lopez Reyees tray with scalloped rim Marked: JLR / Made in Mexico / [Eagle 9] / Sterling / 925 / 26; with retailer’s label; inscribed: The American Club of Guatemala / To Our Friend and Fellow Member / The Honorable / Nathaniel Davis / Ambassador of the United States of America to the Republic of Guatemala Since November 17th 1968 / The Token of Our Recognition of His Outstanding Service to the Cause of American Guatemalan Friendship / August 18th 1971 10.875” Dia. A Joyas Liscutin tray with a molded arrow-form element Marked: 900 / Joyas Liscutin / Guatemala; inscribed: Al Excmo. Embajador de los E.E.U.U. / Sr. Nathaniel Davis / Con el Reconocimiento de la Cooperativa de Ahorro y Credito de Ciegos Unidos Santa Lucia R.L. / Guatemala 10 de Febrero de 1971 7” Dia. 2 pieces Total weight: 17.17 oz. troy approximately $300-400

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Francisco Toledo (1940-2019, Mexican)

Born in Juchitán, Oaxaca, in 1940, Francis As a young man, Francisco Toledo followe moved to Mexico, where he took up the t and Crafts. In 1959, after developing his c the Fort Worth Art Center in Texas. These

“Toledo’s is the art of shamanism,” Christo transformed into beasts and animals and Obrador of Mexico announced his death traditions of our people.”

While he preferred anonymity, Toledo’s se gained him national acclaim. His first onewas supported by poet Octavio Paz and t indigenous animals as symbols of Mexican

Taller Arte Papel Vista Hermosa is a paper Toledo in 1998 in a former hydroelectric p the ways of creating paper sustainably, wi bags were just some of the paper items c are used to reinvest in “reforestation, nurs Hermosa is an important space that aimed

sco Toledo spent his childhood between Juchitán and Minatitlán, Veracruz. ed his father into the jungles of Oaxaca on wild animal hunts. Later, he trade of lithography from the print workshops at the local School of Arts craft, Toledo exhibited his works at Antonio Souza’s gallery in Mexico and e early years informed the artist he would become.

opher Goodwin of “The Guardian” wrote in 2000, “in which people are may take on human characteristics.” President Andrés Manuel López on Twitter, calling Toledo “a true defender of nature, customs, and

ervice to cultural preservation and the celebration of traditional imagery -man show at 19 years old set the stage for his travels to Paris, where he the painter Rufino Tamayo. Toledo’s fascination with the metaphors of an history and mythology abounds in his art.

r mill located in San Agustin, Etla, Oaxaca. It was founded by Francisco plant. This paper workshop was a way to connect the local community with ith the use of renewable resources. Paper kites, jewelry, notebooks, and created at Taller Arte Papel Vista Hermosa. Funds raised at the workshop series, and cultural and educational programs.” Taller Arte Papel Vista d “to give back to the community and environment.”

Francisco Toledo

(1940-2019, Mexican) “La Red (cangrejo con pez),” 2012 Oil and gouache on laser-cut vellum affixed paper mounted to board, as issued Signed in blue ink, verso: Toledo; titled and dated by the artist’s estate Laser-cut vellum: 5.625” H x 8” W; Overall: 8.25” H x 10.5” W $2,500-3,500 Provenance: Acquired directly from the artist Latin American Masters Gallery, Santa Monica, CA Notes: This work has been authenticated by Trine Ellitsgaard, wife of the artist, and is Archive Number 00144. The lot is accompanied by a Certificate of Authenticity, signed by Trine Ellitsgaard and dated November 28, 2025.

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Francisco Toledo

(1940-2019, Mexican) “Octopus with Slave Ship,” 2015 Lithograph on wove paper Edition: 1/25 Signed and numbered in pencil in the lower margin: Toledo; an unidentified blindstamp in the lower right margin corner Image: 19.375” H x 27.25” W; Sheet: 26.75” H x 33.75” W $3,000-4,000 Provenance: Latin American Masters Gallery, Santa Monica, CA, acquired directly from the artist Notes: One of the most compelling examples of Toledo’s visionary graphic work is his large lithograph, “Octopus with Slave Ship” (2015). In this haunting composition, the viewer confronts the vulnerable underbelly of an immense octopus suspended in the deep dark ocean, its andromorphic face rendered with a startling, almost human expressiveness. Toledo’s lifelong engagement with animal symbolism becomes a powerful vehicle for historical critique: the creature’s tentacles encircle diagrammatic slave ships modeled after 18th-century plans, a direct reference to the brutal transport and treatment of enslaved and Indigenous peoples. Yet the octopus does not appear as a menacing sea monster; rather, its vast scale and enveloping posture suggest an act of release or protection, even as the waters around it contain floating bodies and fractured histories. This tension between menace and mercy, captivity and liberation, imbues the print with an allegorical force and a potent reminder of Toledo’s ability to fuse myth, memory, and political consciousness into a single, unforgettable image.

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Francisco Toledo

(1940-2019, Mexican) “The Fountain of Life,” 2001 Drypoint and roulette on white wove paper Edition: 13/20 Signed and numbered in pencil in the lower margin: Toledo; an unidentified blindstamp in the lower right margin corner Plate: 14.75” H x 14.75” W; Sheet: 21” H x 21” W $1,500-2,000 Provenance: Latin American Masters Gallery, Santa Monica, CA Notes: In Toledo’s “Fountain of Life,” a monumental sapo (toad) is entwined with the intimate form of a maguey plant whose petals open into unmistakably feminine anatomy. This fusion of animal and plant evokes Mother Earth as an ancient goddess rooted in Indigenous cosmology predating European contact. The maguey, a source of nourishment, healing, and ritual material for rural and Indigenous communities that carries deep ethnobotanical weight. Paired with the toad, a creature associated in Mesoamerican belief with fertility, transformation, and the generative. 80

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Francisco Toledo

(1940-2019, Mexican) “Spanish Cow,” 1970 Etching, drypoint, and aquatint in colors on wove paper, watermark BFK Rives An artist’s proof, aside from the edition of 25 Signed and inscribed in pencil in the lower margin: Toledo / “P.A.” Plate: 19.5” H x 11.75” W; Sheet: 29.75” H x 21.75” W $2,000-3,000 Provenance: Latin American Masters Gallery, Santa Monica, CA

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Francisco Toledo

(1940-2019, Mexican) “Caballero Nocturno,” circa 1969 Lithograph in colors on Arches paper Edition: LXXII/LXXV (aside from the edition of 100) Signed and numbered in Roman numerals, in pencil in the lower margin: Toledo; an unidentified blindstamp in the lower left margin corner Image: 15.5” H x 20.375” W; Sheet: 18.75” H x 25.75” W $1,000-1,500 Provenance: Latin American Masters Gallery, Santa Monica, CA

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Francisco Toledo

(1940-2019, Mexican) Abstract cat Mixed media on handmade paper Signed in pencil lower right: Toledo; with the Arte Papel Vista Hermosa label affixed to the back mat Sheet: 20” H x 25.75” W $1,000-1,500 Provenance: Arte Papel Vista Hermosa, San Augustin, Etla, Oaxaca Notes: Taller Arte Papel Vista Hermosa is a paper mill located in San Agustin, Etla, Oaxaca. It was founded by Francisco Toledo in 1998 in a former hydroelectric plant. This paper workshop was a way to connect the local community with the ways of creating paper sustainably, with the use of renewable resources. Paper kites, jewelry, notebooks, and bags were just some of the paper items created at Taller Arte Papel Vista Hermosa. Funds raised at the workshop are used to reinvest in “reforestation, nurseries, and cultural and educational programs.” Taller Arte Papel Vista Hermosa is an important space that aimed “to give back to the community and environment.” w w w. j o h n m o r a n . c o m

Francisco Toledo

(1940-2019, Mexican) “Mujer Favorida” Lithograph on wove paper An artist’s proof, aside from the edition of unknown size and date Signed and inscribed in pencil in the lower margin: Toledo / “P.A.” Image: 10.875” H x 8.375” W; Sheet: 16.875” H x 13” W $300-500

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Francisco Toledo

(1940-2019, Mexican) “Cabeza,” 1963 Watercolor and ink on thin paper Signed in ink lower right: Toledo; titled by repute; dated on a gallery label affixed to the frame’s backing board Image/Sheet: 12.625” H x 9.375” W $2,000-3,000 Provenance: Galerie Daniel Gervis, Paris, France

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Francisco Toledo

(1940-2019, Mexican) Purple abstract Watercolor on paper Signed in pencil lower right: Toledo Sheet: 10.625” H x 8.25” W $1,000-1,500 Provenance: Galerie Daniel Gervis, Paris, France

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Francisco Toledo

(1940-2019, Mexican) “El Corral,” 1969 Lithograph in colors on paper An artist’s proof, aside from the edition of unknown size Signed and inscribed in pencil in the lower margin: Toledo / “E. d’A” Image: 18.25” H x 21.75” W; Sheet: 19.625” H x 25.625” W $600-800

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Francisco Toledo

(1940-2019, Mexican) “El Que Sube,” 1964 Lithograph in colors on wove paper Edition: 20/60 Signed and numbered in pencil along the lower edge, at right: Toledo Image/Sheet: 25.625” H x 19” W $700-900

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Francisco Toledo

(1940-2019, Mexican) “Vaquero con Caballo” Lithograph in colors on wove paper, watermark Arches An artist’s proof aside from the edition of unknown size and date Signed and inscribed in pencil in the lower margin: Toledo / “EA” Image: 20.25” H x 15.5” W; Sheet: 25.75” H x 19” W $600-800

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Alfredo Ramos Martín (1871-1946, Mexican)

Alfredo Ramos Martínez is widely regarde figurative style bridged 19th-century acad shaped 20th century Mexican Modernism mature work remained deeply rooted in th vendors, campesinos, and quiet domestic poetic interpreters of the Mexican people

After relocating to Los Angeles in 1929, R necessity and artistic innovation. With limi cardboard, and especially pages of the Lo textures, became part of the emotional to take on a monumental quietude: elongate warmth. This period elevating modest ma on newspaper remain key works that illum character of his Los Angeles production.

nez

ed as the father of modern Mexican art, a pioneering figure whose lyrical demic training with the expressive, socially grounded aesthetics that m. Though educated at the Academia de San Carlos and later in Paris, his he everyday life and indigenous heritage of Mexico. His images of flower c scenes possess a solemnity and grace that make him one of the most e.

Ramos Martínez entered a distinctive phase defined by both economic ited means, he turned to humble materials like newsprint, paper bags, os Angeles Times. These surfaces, with their visible text and rough one of his work. Rendered in charcoal, gouache, and conté, his figures ed forms and simplified contours that convey spiritual endurance and aterials just as he elevated the humble subjects he depicted. His works minate both his mature Mexican figurative style and the experimental

Alfredo Ramos Martínez

(1871-1946, Mexican) Untitled, 1933 Pastel, gouache, and charcoal on a “Los Angeles Times” newspaper Signed lower left: Ramos Martínez Image: 20” H x 15.75” W (approx.); Sheet (as folded): 22.75” H x 17” W $10,000-15,000 Provenance: Sold: Sotheby’s, New York, NY, “Latin American Art,” November 20-21, 2006, Lot 227 Private Collection, Pacific Palisades, CA, acquired from the above Notes: This lot is accompanied by a copy of the sale invoice from the auction mentioned above. Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martínez Research Project as catalog #ARM0199.

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Alfredo Castañeda

(1938-2011, Mexican) “Operación Alfa,” 1982 Oil on board Signed and dated lower left: Castañeda ‘82; titled on a gallery label affixed to the frame’s backing board Sight: 9” H x 9.5” W $6,000-8,000 Provenance: Galeria De Arte Mexicano, Mexico City, Mexico

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Two Mexican polychrome pottery chargers

Late 20th/early 21st century; Guanajuato & Jalisco Gorky marked to underside: AT [Alfarería Tradicional] / GTO / Mexico; Tonalá marked: Mexico Comprising one Gorky Gonzalez (1939-2017, Mexican) charger with central floral medallion, and a Tonalá charger depicting a bird and flowers 2 pieces Gorky: 17.75” Dia. x 3” D; Tonal·: 15.75” Dia. x 1.625” D $300-500

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Gorky Gonzalez (1939-2017, Mexican)

Two pottery chargers, late 20th/early 21st century; Guanajuato, Mexico Each marked to underside: AT [Alfarería Tradicional] / GTO / Mexico Each decorated with blue floral motifs on a cream ground 2 pieces Larger: 18” Dia. x 2.625” D; Smaller: 16.5” Dia. x 3” D $300-500

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Gorky Gonzalez (1939-2017, Mexican)

Two pottery chargers, late 20th/early 21st century; Guanajuato, Mexico Each marked to underside: AT [Alfarería Tradicional] / GTO / Mexico One decorated with floral motifs, the other depicting an urn floral vessel 2 pieces $300-500

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Gorky Gonzalez (1939-2017, Mexican)

Two pottery chargers, late 20th/early 21st century; Guanajuato, Mexico Each marked to underside: AT [Alfarería Tradicional] / GTO / Mexico Comprising one decorated with a deer and foliate motifs, the other decorated with floral and foliate motifs 2 pieces $300-500

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Javier Carpintero

(b. 1967, Spanish) “Decapitacion III,” 1998 Oil on 42 pieces of wood Signed and dated in ink on the verso of the piece in the lower right corner: J. Carpintero / ‘98; titled by repute; the verso of each piece sequentially numbered “1” to “42” in ink for assembly purposes 42 Pieces, each 3.125” H x 3.125” W; Assembled: 22” H x 19” W $3,000-5,000 Provenance: Espace d’Art Yvonamor Palix, Mexico City, Mexico Notes: This 1998 work by Carpintero is based on the Italian Baroque painter Caravaggio’s (1571-1610) famous depiction of David with the head of Goliath. That striking 49” H x 40” W masterpiece was painted by Caravaggio sometime between 1605 and 1610, and is now part of the permanent collection of the Borghese Gallery in Rome.

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18th Century Spanish Colonial School

“Our Lady of the Forsaken (Nuestra Señora de los Semparadoes)” Oil on canvas Unsigned; titled by repute 52” H x 40.5” W $3,000-5,000 Provenance: Private Collection, Montecito, CA

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19th Century Cuzco School Archangel Saint Raphael Oil on canvas laid to board Appears unsigned 6.75” H x 9.25” W $700-900

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Early 20th Century Cuzco School Archangel Michael Oil on canvas laid to board Appears unsigned 27” H x 19.25” W $500-700 w w w. j o h n m o r a n . c o m 1 0 9

19th Century Mexican School

A Mexican retablo depicting Santa Librata Oil on tin Unsigned 14” H x 10” W $200-400

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19th Century Mexican School

A Mexican retablo of the Holy Family Oil on tin Appears unsigned 10” H x 7” W $300-500 Provenance: Estate of Robert Baron, Huntington Beach, CA

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Two late 19th/early 20th century Mexican retablos Two works:

“Maria Dolorosa del Monte Calvario Israel” Unsigned; titled to front edge Painted in polychrome to tin frame base, with integral hinged ornate tin frame surround designed with repoussé scrollwork motifs including the sun and two quarter moon faces, the image with hinged glass cover Image sight: 9.25” H x 7.125” W; Frame: 19” H x 13.625” W x 1” D Santo Niño de Atocha Unsigned Painted in polychrome oil on tin, within an elaborate repoussé painted tin frame with scrollwork and sunburst top Image sight: 13” H x 9” W; Frame: 23.625” H x 15.75” W x 0.375” D 2 pieces $500-700 1 1 2 L at i n A me r i c a n Ar t + D e sig n l Tu e sd ay, J an u ary 1 3 , 2 0 2 6

A Continental polychrome carved wood figure of an archangel 19th century Plinth with applied indecipherable tag verso Painted and gilt, mounted with wings and raised on a tiered plinth Figure without wings: 31.5” H x 16.75” W x 15” D; With wings: 28.5” W; Overall: 41.25” H $2,000-3,000

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A Spanish Colonial polychrome carved wood figure of St. Theresa of Avila 19th century The figure and base with gilt and painted decorations Figure: 21.25” H x 9.5” W x 11.25” D; Overall: 27.25” H x 10.25” W x 11.25” D $600-800

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A Guatemalan polychrome carved wood processional Santo

Early/mid-20th century With articulated arms and legs, set on a square base with a vertical support pole mounted to figure’s lower back Standing: 54” H x 23” W x 10” D, approximately; Base: 3” H x 16” W x 16” D $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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A Guatemalan polychrome carved wood bastidor

Early/mid-20th century Each arm marked in pencil: Juan The cage doll with articulated arms and legs Torso: 31.5” H x 18.25” W x 13.5” D, dimensions variable; Assembled standing: 68” H approximately $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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A Guatemalan polychrome carved wood Santo

Mid-19th century Raised on a wood stand Figure: 16.25” H x 6.375” W x 4.75” D; Stand: 3” H x 6.5” Dia. $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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A Guatemalan polychrome carved wood Anima Sola 19th century Depicting a pious woman in flames 12.125” H x 5.375” W x 5.75” D $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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Two Mexican religious items

Early 20th century Comprising a metal reliquary and a painted carved wood Franciscan friar figure with the Infant Jesus 2 pieces Reliquary: 10.375” H x 5” W x 5” D; Friar: 8.625” H x 3.625” Dia. $150-250

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Four Mexican carved stone molcajetes 20th century Comprising four mortars and two pestles 6 pieces Largest mortar: 5.5” H x 7.75” Dia. $200-300

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Four Guatemalan Folk Art polychrome carved wood masks

Mid-20th century Two mounted on custom enameled metal stands 4 pieces Largest: 13.25” H x 12.25” W x 4.25” D; Smallest: 8.625” H x 6.125” W x 3.5” D $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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A Spanish Colonial lower vargueno chest

18th century or later Comprising two drawers above two hinged cabinet doors, each front decorated with carved geometric motifs accented by inset bone and wrought-iron mounts, flanked by opposed side handles 30.25” H x 47” W x 17.5” D $800-1,200

A Spanish Colonial Revival oak refectory table

19th century with later elements The top with later joining elements supported on turned legs and stretchers joined by a central beam 30” H x 132.75” W x 48.25” D $1,200-1,800

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A Spanish Colonial Sillon de Frailero chair

17th/18th Century; Northern Andes Region Likely Peruvian, the friar’s chair with carved wood frame and tooled and painted leather seat and back, the back depicting a peacock within a wreath centering two soldier figures, all within a floral border 47.5” H x 21” W x 19” D $300-500

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Attributed to Manuel Jimenez Ramirez (1919-2005, Mexican)

A carved wood alebrije dog, mid/late 20th century; San Antonio Arrazola, Oaxaca Unsigned Carved copal wood 6.375” H x 10.75” W x 5.375” D $400-600

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Attributed to Manuel Jimenez Ramirez (1919-2005, Mexican)

A carved wood alebrije rabbit, mid/late 20th century; San Antonio Arrazola, Oaxaca Unsigned Painted carved copal wood 10.75” H x 14.5” W x 5” D $400-600

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Attributed to Manuel Jimenez Ramirez (1919-2005, Mexican)

An early carved wood alebrije oxen group, mid-20th century; San Antonio Arrazola, Oaxaca Unsigned Carved copal wood and string Overall: 12.5” H x 17” W x 10” D approx.; Each figure: 9.25” H x 12” W x 3.125” D approx. $400-600

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Two Latin American carved wood creche figures of sheep 20th century; Central America 2 pieces Each: 5.75” H x 7.125” W x 5.25” D approximately $400-600 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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A Folk Art carved wood bird figural group

19th/20th century Unmarked The painted group depicting a mother feeding her chicks with her own blood, mounted on a natural wood base wrapped in natural wood twigs to form a nest 11.625” H x 14” W x 9.5” D $500-700 Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

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Two Latin American pottery cookware vessels

20th century Comprising a tall lidded teapot vessel with handle, with brownish glaze and scattered faint black motifs to body and black interior, together with a wide burnished black pottery lidded dish, the bowl with integral handles with mask motifs, and the lid with a rounded finial 2 pieces Teapot: 9.75” H x 8.5” W x 7” D; Dish: 7” H x 13” W x 11” D $100-200

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Three Tonalá pottery bowls

Mid-20th century; Jalisco, Mexico One twice impressed to underside: MEXICO Comprising one larger bowl with blue foliate motifs, one footed bowl decorated with bird motifs, and a small bowl with scalloped rim and foliate decoration 3 pieces Largest: 6.75” H x 13.75” Dia.; Smallest: 2.125” H x 8.5” Dia. $200-300

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A group of Mexican pottery table items

Mid-20th century Pitcher incised: OAXACA Comprising a handled serving bowl, a handled greenware bowl with piecrust rim, a greenware pitcher, and an oval bowl with piecrust rim 4 pieces Largest bowl: 3.625 H x 12.5” W x 11.25” D; Pitcher: 6.375” H x 5.375” W x 4.25” D $200-300

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A group of Mexican Tlaquepaque pottery table items

Mid-20th century; Jalisco Each impressed or marked to underside: Mexico Comprising a large serving bowl, three medium plates, four side plates, and two handled cups 10 pieces Bowl: 5” H x 10.625” Dia.; Smaller cup: 2.375” H; Larger plates: 8.75” Dia. approximately $300-500

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Fernando Olivera

(b. 1962, Mexican) “Para Mi Corazon Bastu tu Pecha,” 2005 Woodcut on wove paper Edition: 22/30 Signed, titled, dated, and numbered in pencil in the lower margin: F. Olivera Image: 12.5” H x 15.25” W; Sheet: 21.75” H x 23.75” W $200-300

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Federico Cantú

(1907-1989, Mexican) Untitled (Harlequins), 1937 Mixed media on paper Signed and dated lower center: Federico Cantú / 37Sight: 10.5” H x 9.625” W $300-500 Provenance: Sold: Clars Auction Gallery, Oakland, CA, May 18, 2019, Lot 4720

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Wilfredo Lam

(1902-1982, Cuban) “La Réunion,” 1973 Etching and aquatint in colors on Magnani Pescia paper, watermark of a stylized mitre One of 15 hors commerce impressions aside from the edition of 100 Signed and numbered “4/15 / H.C.” in pencil in the lower margin: WiLm; titled and dated on a label affixed to the frame’s backing board; Giorgio Upiglio, Graphica Uno, Milan, prntr.; Art et Gravures, Geneva, pub. Printed by Giorgio Upiglio, Graphica Uno, Milan; Published by Art et Gravures, Geneva. Plate: 14.25” H x 25.5” W; Sheet: 21.25” H x 31.25” W $1,500-2,500 Provenance: Latin American Masters Gallery, Santa Monica, CA Literature: Tonneau-Ryckelynck 281

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Felipe Orlando

(1911-2001, Cuban) “Figure in White” Acrylic on paper Signed lower right: Orlando.F; titled on a gallery label affixed verso Image: 18.75” H x 13.375” W; Sheet: 25.75” H x 20.75” W $600-800 Provenance: B. Lewin Galleries, Beverly Hills and Palm Springs, CA

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Fernando de Szyszlo (1925-2017, Peruvian)

Fernando de Szyszlo stands as one of the the development of Latin American abstra drew early inspiration from pre-Columbian the Moche and Chavín civilizations. This d language became the defining axis of his

After studying at the Escuela Nacional de engaged with European modernism and gestural, atmospheric abstractions built fro These works, often titled with references t described as a “profoundly American” mo

Over the course of his long career, de Szy exhibiting widely across the Americas and biennials in São Paulo and Venice, earning of Arts and Letters. His achievements help resolutely contemporary and deeply conn

e most influential figures in modern Peruvian art and a leading voice in action. Born in Lima to a Polish father and Peruvian mother, de Szyszlo n cultures - particularly the mythic imagery and spatial sensibilities of dialogue between ancient Andean symbolism and contemporary artistic career.

e Bellas Artes in Lima, de Szyszlo spent formative years in Paris, where he the international avant-garde. His mature style emerged in the 1950s: rom layered pigments, sharp tonal contrasts, and sculptural surfaces. to Andean ritual and cosmology that embody his pursuit of what he odernism, one rooted not in imitation but in cultural memory.

yszlo became a central figure in Peru’s artistic and intellectual circles, d Europe. He held more than 100 solo shows and participated in major g numerous honors, including France’s Knight’s Cross of the Order ped define a distinctly Latin American abstraction, one that was both nected to ancestral heritage.

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Fernando de Szyszlo

(1925-2017, Peruvian) “Estudio No. 3,” 1974 Gouache on wove paper Signed lower right: Szyszlo; titled and dated on a label affixed to the overmat’s previous backing board that accompanies the work Image/Sheet: 22.25” H x 30” W $5,000-7,000

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100

Fernando de Szyszlo

(1925-2017, Peruvian) “Paisaje,” 2014 Watercolor and charcoal on paperboard Signed in ink lower right: Szyszlo; titled and dated by repute Paperboard: 20” H x 28.625” W $4,000-6,000 Provenance: Latin American Masters Gallery, Santa Monica, CA, acquired directly from the artist

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101

Rodolfo Nieto (1936-1985, Mexican) Four works:

Untitled, circus scene (dark brown) Woodcut in brown ink on BFK Rives paper Edition: 70/125 Signed and numbered in pencil in the lower margin: Nieto Image: 9.375” H x 9.375” W; Sheet: 10” H x 9.75” W Untitled, circus scene (indigo) Woodcut in indigo ink on BFK Rives paper Edition: 27/125 Signed and numbered in pencil in the lower margin: Nieto Image: 9.5” H x 9.5” W; Sheet: 9.75” H x 10” W Untitled, circus scene (green) Woodcut in green ink on BFK Rives paper Edition: 31/125 Signed and numbered in pencil in the lower margin, at left: Nieto Image: 9.375” H x 9.375” W; Sheet: 10” H x 9.75” W Untitled, circus scene (red) Woodcut in red ink on BFK Rives paper Edition: 55/125 Signed and numbered in pencil in the lower margin, at left: Nieto Image: 9.5” H x 9.5” W; Sheet: 10” H x 9.75” W $1,000-1,500

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Carlos Mérida

(1891-1984, Guatemalan)

While Carlos Mérida’s earliest works were figural, the b graphic works, murals, stage design, and tapestry. Mér with ancient Mayan and Mexican cultural imagery.

Mérida was born in Guatemala City to parents of Span due to an issue with his ear at age 15 that caused parti studied art at two Guatemala City trade schools: the In

From this early period, Mérida integrated into the rich innovative painter. From 1910 to 1914, Mérida was ba garde including artists Kees Van Dongen, Amedeo Mo working and studying in Europe, such as Diego Rivera, Anglade y Camarosa and Van Dongen and exhibited a

Mérida returned to Guatemala in 1914. His experience folkloric history, which he began to incorporate into his important exhibition at the Rosenthal Building in Guate

In 1919, Mérida moved to Mexico and participated in exhibit at the Escuela Nacional de Bellas Artes, and tha York. Beginning in this early 1920s period and through throughout the world including: Independent Artists E Guatemala and the Valentin Dudesing Gallery in New and Posada Gallery, Mexico City, 1931; the Stendhal G Exhibition, Mexico City. His work was also included in i Institute of Chicago, the Dallas Museum of Fine Arts, a

While successfully working as an artist, Mérida was also from 1932 to 1934, and he taught drawing at North Te

While Carlos Mérida’s earliest works were figural, the b graphic works, murals, stage design, and tapestry. Mér with ancient Mayan and Mexican cultural imagery.

bulk of his career focused on non-figurative, geometric, abstract composition in painting, rida’s work is celebrated today for the unique visual fusion of elements of European modernism

nish and Maya-Quiche heritage. From a young age, Mérida was interested in art and music, but tial deafness, he refocused his attentions solely on art. After completing middle school, Mérida nstituto de Artes y Oficios and the Instituto de Ciencias y Letras.

cultural life of artists and intellectuals in Guatemala, while he established himself as an ased in Paris and travelled throughout Europe. There, he was exposed to the European avant odigliani, Pablo Picasso, and Piet Mondrian, as well as other Latin American artists who were a, Jorge Enciso, Angel Zarrage, and Dr. Atl. In Paris, Mérida studied under Hermengildo at the Salon Indépendant and the Giroux Gallery.

es in Europe altered the artist’s perceptions of his native country, particularly the diverse Mayan s work, notably in his use of barkwood paper and geometric symbolism. Mérida had an temala City in 1915, a show that ushered in the modern painting movement in the country.

Muralism led by Diego Rivera and Rufino Tamayo. In 1920, Mérida had his inaugural Mexican hat same year, he exhibited in the United States for the first time at the Hispanic Society of New h the artist’s career, Mérida exhibited in more than 50 group and individual exhibitions Exhibition, New York,1922; solo shows in 1926 at the Academia Nacional de Bellas Artes in York; with Rufino Tamayo at the Art Center, New York, 1930; at the Mexican Writers Club Gallery, Los Angeles; East West Gallery, San Francisco; and the 1940 International Surrealist institutional shows throughout the US, such as at Harvard and Berkeley Art Museums, the Art and the Museum of Fine Arts in Santa Fe.

o an educator. He was the director of a school in Mexico City dedicated to Indigenous peoples exas State Teachers College from 1941 to 1943.

bulk of his career focused on non-figurative, geometric, abstract composition in painting, rida’s work is celebrated today for the unique visual fusion of elements of European modernism

102

Carlos Mérida

(1891-1984, Guatemalan) “Boceto” Pigment and graphite on paper Signed in pencil upper left: Carlos Mérida; titled in ink on a gallery label affixed to the frame’s backing board Image: 4.25” H x 3” W; Sheet: 5.625” H x 3.5” W $1,000-1,500 Provenance: GalerÌa Avril, Mexico City, Mexico

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103

Carlos Mérida

(1891-1984, Guatemalan) “Figures with Pipes,” plate 9 from the series “Un Canto al Libro Sagrado,” 1978 Screenprint in colors on wove paper Edition: 34/50 Signed and numbered in pencil in the lower margin: Carlos Merida; signed again and dated 1978 in the image, lower right; with the printed plate number in roman numerals, verso; Taller de Ediciones Multiarte, prntr.; Galería Avril, Mexico City, pub. Image: 15.875” H x 11.625” W; Sheet: 28.375” H x 22” W $800-1,200

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104

Carlos Mérida

(1891-1984, Guatemalan) Untitled, from the “Cielos Luminicos” portfolio, 1941 Screenprint in colors on wove paper Edition: 78/100 Signed and numbered in pencil in the lower margin, directly below the image: Carlos Merida; with the printed signature and date in the image lower right: 1941; Taller de Ediciones Multiarte, Mexico City, prntr. Image: 15” H x 11.75” W; Sheet: 30” H x 22” W $700-900

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105

Carlos Mérida

(1891-1984, Guatemalan) Plate 10, from the “Cielos Luminicos” portfolio, 1941 Screenprint in colors on wove paper An artist’s proof aside from the edition of 100 Signed and inscribed “P/A IV” in pencil in the lower margin: Carlos Merida; signed again and dated in the image lower right: 1941; with the printed plate number “10,” verso; Taller de Ediciones Multiarte, prntr.; Galería Arvil, Mexico City, pub.; with an unidentified blindstamp in the lower margin, at left Image: 15” H x 11.75” W; Sheet: 30” H x 22” W $700-900

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106

Carlos Mérida

(1891-1984, Guatemalan) “Danza de las Malinches,” circa 1937-39 Lithograph in colors on paper From the edition of unknown size With the printed signature lower right: Carlos Mérida; F.A.R. Publishers Ltd., New York, pub. Sight: 13.5” H x 10.625” W $100-200

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Jean Charlot

(1898-1979, Mexican-American) One plate from the “Kei Viti (Melanesian Images)” portfolio, 1978 Lithograph in colors on wove paper Edition: 66/150 Signed and numbered in pencil in the lower margin: Jean Charlot; Lynton Kistler, prntr., Los Angeles, CA, with his blindstamp in the lower margin, at left Image: 20.25” H x 16.25” W; Sheet: 26” H x 19.875” W $200-300 Notes: “Kei Viti” roughly translates to mean “Of Figi” in English. Melanesians are the predominant and Indigenous inhabitants of Melanesia, an area stretching from New Guinea to the Fiji Islands. The Melanesian countries are Fiji, Papua New Guinea, the Solomon Islands, and Vanuatu (formerly known as the New Hebrides). The Metropolitan Museum of Art, New York, NY, owns a complete “Kei Viti (Melanesian Images)” portfolio. Their website explains that the portfolio’s five lithographs in colors “...depict subjects relating to Fiji, where, in 1962, Charlot had been invited to decorate in fresco the interior of a mission church dedicated to Saint Peter Chanel. The portfolio has an Introduction written by Charlot that explains the genesis of the series and the title, and the significance of each print. ‘Kei Viti’ also reflects Charlot’s lifelong interest in indigenous art and culture. The bold colors and striking forms very much reflect his earlier lithographs, many of which relate to similar subjects from a Mexican context.”

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Jean Charlot

(1898-1979, Mexican-American) One plate from the “Kei Viti (Melanesian Images)” portfolio, 1978 Lithograph in colors on wove paper Edition: 68/150 Signed and numbered in pencil in the lower margin: Jean Charlot; Lynton Kistler, prntr., Los Angeles, CA, with his blindstamp in the lower margin, at left Image: 16.5” H x 20.75” W; Sheet: 20” H x 25.75” W $200-300 Notes: “Kei Viti” roughly translates to mean “Of Figi” in English. Melanesians are the predominant and Indigenous inhabitants of Melanesia, an area stretching from New Guinea to the Fiji Islands. The Melanesian countries are Fiji, Papua New Guinea, the Solomon Islands, and Vanuatu (formerly known as the New Hebrides). The Metropolitan Museum of Art, New York, NY, owns a complete “Kei Viti (Melanesian Images)” portfolio. Their website explains that the portfolio’s five lithographs in colors “...depict subjects relating to Fiji, where, in 1962, Charlot had been invited to decorate in fresco the interior of a mission church dedicated to Saint Peter Chanel. The portfolio has an Introduction written by Charlot that explains the genesis of the series and the title, and the significance of each print. ‘Kei Viti’ also reflects Charlot’s lifelong interest in indigenous art and culture. The bold colors and striking forms very much reflect his earlier lithographs, many of which relate to similar subjects from a Mexican context.”

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Roberto Montenegro (1885-1968, Mexican)

Roberto Montenegro was one of the mos muralist, illustrator, printmaker, scenograp studied at the Academia de San Carlos be Symbolism, Art Nouveau, and the emergi one of the first artists commissioned by Jo “El árbol de la vida” (1922) is recognized Montenegro’s mature style blends Europe both a decorative sensibility and a deep e

st versatile figures of early 20th-century Mexican art, working as a painter, pher, and early advocate for Mexican folk art. Born in Guadalajara, he efore spending more than a decade in Europe, where he absorbed ing avant-garde. Returning to Mexico after the Revolution, he became osé Vasconcelos for the new cultural projects of the 1920s. His fresco as one of the earliest works of the modern Mexican mural movement. ean modernism with Mexican popular and pre-Hispanic motifs, reflecting engagement with national identity.

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Roberto Montenegro

(1885-1968, Mexican) “Portrait of Olga Tamayo,” 1961 Oil on canvas Signed right of center: Montenegro; signed again on the verso; titled and dated on an exhibition label affixed to the stretcher 35” H x 31” W $15,000-25,000 Provenance: Private collection, acquired circa 1975 Sold: Christie’s, New York, NY, “Latin American Art,” November 21, 2019, Lot 148 Property from an Important Private collection, Laguna Niguel, CA, acquired from the above Exhibited: Mexico City, Mexico, Museo Nacional de Arte Moderno, “30 Años del Taller de la Gráfica,” 1966 Milwaukee, Wisconsin, Milwaukee Art Museum, extended loan, n.d. Notes: There is an unfinished portrait on the verso of the canvas. This portrait of Olga Tamayo (born Taide Olga Flores Rivas, 1914-1991) captures the poised, early presence of one of the most influential figures in Mexico’s cultural life. A trained pianist who would later become Rufino Tamayo’s lifelong collaborator and advocate, Olga was a familiar presence within the artistic circles Montenegro frequented. Here, he portrays her with quiet strength and elegance, offering a rare early likeness predating the many portraits Rufino Tamayo would create over the following decades. Seen in this context, Montenegro’s depiction not only exemplifies his refined portraiture but also affirms Olga’s enduring role as muse, collaborator, and one of the decisive architects of modern Mexican art.

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Roberto Montenegro

(1885-1968, Mexican) Abstract figures, 1965 Oil on thick paper laid to Masonite Signed and dated lower right: Montenegro; signed again lower left 18” H x 13.5” W $4,000-6,000 Provenance: B. Lewin Galleries, Beverly Hills, CA Sold: Andrew Jones Auctions, Los Angeles, CA, “Design for the Home and Garden featuring the Collection of Fritz & Lucy Jewett, Day 2,” March 27, 2024, Lot 586

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Rufino Tamayo (1899-1991, Mexican)

Rufino Tamayo is one of the central figure language that fused international avant-g Born in Oaxaca and trained in Mexico Cit of the Mexican muralists, instead pursuing universal emotional resonance.

Throughout his long career in Mexico, Ne equally from pre-Hispanic symbolism, folk texture led to one of his major technical in Remba in the 1970s. By embedding wet p prints of more than 80 in total, that extend

Tamayo’s art, whether on canvas or in prin humanistic spirit. Themes of music, comp work, reaffirming his belief in art’s universa UNESCO Prize at the 1958 Venice Bienna important cultural institutions such as the

es of 20th-century Latin American art, celebrated for forging a modernist garde ideas with the cultural depth of his Oaxacan and Zapotec heritage. ty, Tamayo charted an independent course away from the overt politics g a highly personal style grounded in radiant color, distilled form, and a

ew York, and Paris, Tamayo developed a visual vocabulary that drew kloric traditions, and European modernism. His interest in surface and nnovations: mixografía, a printmaking process he developed with Luis paper pulp into inked plates, Tamayo achieved richly tactile, dimensional ded the expressive language of his paintings into new material territory.

nt, is characterized by its lyrical abstraction, mythic imagery, and panionship, celestial forces, and Indigenous identity course through his al power. Over his lifetime he received numerous honors, including the ale, and with his wife and collaborator, Olga Tamayo, helped establish Museo Tamayo in Mexico City.

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111

Rufino Tamayo

(1899-1991, Mexican) “Femme Couchee” Lithograph in colors on wove paper, watermark BFK Rives Edition: V/VI Signed and numbered in Roman numerals in pencil in the lower margin: R. Tamayo Image: 21.25” H x 27.375” W; Sheet: 23.25” H x 29.875” W $2,000-3,000

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112

Rufino Tamayo

(1899-1991, Mexican) “Estela,” 1977 Mixografia in colors on Arches paper Edition: 20/100 Signed and numbered in white crayon along the lower edge: R Tamayo; an unidentified blindstamp, lower left; Taller de Gráfica Mexicana, Mexico City, prntr./pub. Image/Sheet: 29.25” H x 22.375” W $3,000-5,000 Literature: Pereda 239

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113

Rufino Tamayo

(1899-1991, Mexican) “Mujer con Sandía,” 1950 Lithograph in four colors on Arches paper mounted to board Edition: 118/ 200 (there were also 60 in Roman numerals and 17 artist’s proofs) Signed and numbered in pencil in the lower margin: R. Tamayo; Guilde Internationale de l’Amateur de Gravures, Paris, prntr., with their blindstamp in the lower left margin corner Image: 21.5” H x 16.75” W; Sheet: 25.75” H x 19.75” W $700-900 Literature: Pereda 33

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114

Pedro Coronel

(1922-1985, Mexican) Abstract dove Lithograph in colors on wove paper Edition: 85/100 Signed and numbered in colored pencil along the lower edge: Pedro Coronel Image/Sheet: 29.75” H x 22” W $700-900

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115

Pedro Coronel

(1922-1985, Mexican) Abstract dove Lithograph in colors on wove paper Edition: 85/100 Signed and numbered in pencil and colored pencil along the lower edge: Pedro Coronel Image/Sheet: 30” H x 22” W $700-900

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116

A Los Castillo silver-plated toucan pitcher

Mid-20th century; Taxco, Mexico Marked to underside: Los Castillo Taxco / Hecho en Mexico / Plateado / TA-01 / 315 With inlaid green hardstone accents to eyes and handle 12” H x 11.25” W x 4.5” D $1,000-1,500

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117

A Los Castillo silver-plated lidded tureen

Mid-20th century; Taxco, Mexico Marked to underside: Los Castillo Taxco / Plateado Hecho en Mexico / TA-01 With green hardstone-inlaid opposed handles and lid finial 7.625” H x 17.375” W x 8.5” D $600-800

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118

A Los Castillo silver-plated cream and sugar set

Mid-20th century; Taxco, Mexico Each marked to underside: Los Castillo Taxco / Mexico / Plateado / 401 Each with green hardstone inlaid elements, comprising an apple-form lidded creamer and lidded sugar with spoon, all set on a rectangular tray with leaf-form handles 4 pieces Creamer: 3.625” H x 6.375” W x 3.375” D; Tray: 1” H x 10.5” W x 6.75” D $200-400

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119

Rick (CHROMA) Wolfryd

(b. 1953, American) After Pedro Friedeberg “Hot Seat: Magic Hands Series,” 2022 Photopolymer resin and beads Edition: AP Signed, dated, titled, and inscribed to underside: Chroma aka Rick Wolfryd / Artist’s Proof / Inspired By Great Artist Pedro Friedeberg / +Chroma Dreams! 32.25” H x 23.25” W x 28” D $3,000-4,000

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120

Gustavo Olguín

(20th century, Mexican) “La Reina” Mixed media on canvas Signed lower left: G. Olguin; signed again and titled verso 31.5” H x 39.375” W x 0.75” D $600-800

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121

Byron Galvez

(1941-2009, Mexican) Watermelons Mixed media on black paper Signed lower left: Byron Image: 17.75” H x 23.75” W; Sheet: 19.625” H x 25.5” W $500-700

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122

Byron Galvez

(1941-2009, Mexican) Watermelons Mixed media on dark green paper Signed lower right: Byron Image/Sheet: 17.75” H x 23.5” W $500-700

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123

Byron Galvez

(1941-2009, Mexican) Abstract nude figure Mixed media on red paper Signed lower right: Byron Image/Sheet: 23.5” H x 17.5” W $500-700

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124

Byron Galvez

(1941-2009, Mexican) Abstract figural Mixed media on blue paper Signed lower right: Byron Image/Sheet: 23.5” H x 17.625” W $500-700

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125

Byron Galvez

(1941-2009, Mexican) Abstract composition Mixed media on purple paper Signed lower right: Byron Image/Sheet: 18.625” H x 12.625” W $500-700

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126

Byron Galvez

(1941-2009, Mexican) Untitled abstract Mixed media on tan paper Signed lower right: Byron Image/Sheet: 19.25” H x 13.875” W $500-700

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127

Byron Galvez

(1941-2009, Mexican) Abstract figural Mixed media on dark red paper Signed lower right: Byron Image/Sheet: 23.5” H x 17.625” W $500-700

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128

Byron Galvez

(1941-2009, Mexican) Untitled Mixed media on dark green paper Signed lower right: Byron Image: 23.75” H x 17.75” W; Sheet: 25.625” H x 19.625” W $500-700

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129

Byron Galvez

(1941-2009, Mexican) Untitled Mixed media on paper Signed lower right: Byron Image: 23.625” H x 17.75” W; Sheet: 25.625” H x 19.625” W $500-700

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130

Xavier Cugat

(1900-1990, Spanish-American) A man and woman in a field of flowers, 1970 Oil on canvas Signed lower right: X. Cugat; signed again (twice), dated 1970, and with personal inscriptions in pencil and ink, all verso 30” H x 24” W $800-1,200 Provenance: Private collection, Chatsworth, CA

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131

132

Mid/late 20th century Stamped: FV / Mexico / Sterling / 925 A large vermeil sterling silver pendant brooch depicting a masked figure with an elaborate headdress 3” H x 2.125” W 39.1 grams gross

Circa 800 CE; Colombia The ceramic figure with perforated and incised gold alloy nose piece with repoussé dotted bo 11.875” H x 7” W x 4.25” D

A Mexican silver Pre-Columbian style pendant/brooch

$200-400

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A Pre-Columbian Quimbaya pottery sla

$500-700

ab figure

d accents, featuring a hand-wrought order

133

A Pre-Columbian Capulí pottery coquero figure

Circa 900 CE; Narino-Carchi, Colombia/Ecuador The ceramic figure of a male dignitary chewing coca-leaf, depicted seated on a stool and adorned with face paint and a diagonal sash with geometric motifs 7” H x 4.125” W x 4.375” D $300-500

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134

A Pre-Columbian pottery masked figure

600-800 CE; Guatemala/Venezuela Possibly Veracruz or Mayan, the Mesoamerican ceramic warrior figure with separate zoomorphic mask with incised features, set on a custom enameled metal stand 3 pieces Figure: 5.875” H x 4.625” W x 3.625” D; Mask: 3.5” H x 2” W x 2.375” D $500-700

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135

A Pre-Columbian style stirrup effigy vessel

20th century or earlier With spout to one side and jaguar figure to the other, slip-painted with figural motifs and geometric patterns 7.5” H x 6.5” W x 2.875” D $200-400

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136

A group of Aztec/Mayan style pottery whistles

20th century Three incised to underside: Mexico Each with high-relief masks, one in the form of a bird 5 pieces Longest: 6.375” H x 11.125” W x 3.625” D; Shortest: 3.375” H x 5.75” W x 2.5” D $100-200

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137

A group of Aztec/Mayan style polychrome pottery whistles

20th century Comprising four human figures, a bird, a dog, and an armadillo 7 pieces Tallest: 8.875” H x 3.75” W x 2.75” D; Shortest: 4.125” H x 6.5” W x 3.125” D $100-200

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138

A group of Pre-Columbian style figural pottery

20th century Owl impressed: Art [illegible] Replica Comprising an owl effigy stirrup pot, a seated figural group, and a figural stirrup effigy vessel with ring accents 3 pieces Group: 8” H x 6.25” W x 4.75” D; Owl: 7.625” H x 6.5” W x 4.25” D $100-200

139

Three Pre-Columbian style pottery figures

20th century Comprising a barro negro figural vessel, possibly a censer, a barro negro mammalian figure, and a polychrome dinosaur 3 pieces Tallest: 8.625” H x 4.25” W x 3.625” D; Dinosaur: 3.375” H x 8” W x 3.375” D $200-400

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140

Armando & Elena Rodriguez (20th/21st century, Mexican)

Two Mata Ortiz Pre-Columbian style polychrome pottery figural vessels, late 20th/ early 21st century Larger incised: Armando Rodriguez; smaller incised: Elena Rodriguez 2 pieces Larger: 6.875” H x 5” W x 5.5” D; Smaller: 5” H x 3.75” W x 4.125” D $100-200

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141

A Mexican sterling silver coffee and tea service

Circa 1940s Each marked to underside: Jiménez / Sterling / 925 / [Eagle 1] Comprising: Coffee pot (10.125” H x 6’’ W x 4” D) Teapot (5.5” H x 10.625” W x 6.625” D) Covered sugar (4.125” H x 4’’ Dia.) Cream jug (4.25” H x 7.875” W x 4” D) Total weight: 73.1 gross oz. troy approximately $2,500-3,500

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142

A Sanborns sterling silver footed pitcher

Mid-20th century; Mexico City, Mexico Marked to underside: [Three owls] / Sanborns Mexico / Sterling / [Eagle 22] 6.25” H x 4.75” W x 4.625” D 12.4 oz. troy approximately $500-700

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143

Manuel Pailós

(1918-2005, Uruguayan) Cathedral, 1962 Oil and mixed media on paper laid to artist’s board laid to board Signed upper left: Pailós; dated lower right: 62 21” H x 17” W $1,000-1,500 Provenance: Del Cardal Centro de Arte, Montevideo, Uruguay

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144

Manuel Pailós

(1918-2005, Uruguayan) “Serie Escarlata,” 1981 Oil on paper laid to Masonite Signed upper left: Pailós; titled and dated, verso: 1981; also numbered “#74” in red on the verso, possibly in another hand 9.875” H x 9.875” W $1,000-1,500 Provenance: Del Cardal Centro de Arte, Montevideo, Uruguay

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145

Jorge Marín

(b. 1963, Mexican) “Hombre Pendulo” Patinated bronze and iron, mounted on wood frame and plinth Edition: 2/7 Etched signature and edition to verso of figure’s left shoulder: Jorge Marin Bronze: 28.25” H x 16” W x 6.25” D; Plinth with frame: 74” H x 24.75” W x 10.25” D $2,000-3,000

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146

Pedro Friedeberg

(b. 1936, Mexican) “Almanaque o 365 Sueñitos Surrealistas” Giclée in colors on paper in artist’s frame Edition: LIII/LXV Signed and numbered in Roman numerals in silver ink in the lower margin: Pedro Friedeberg Image: 27” H x 27” W; Sight: 28.75” H x 28.75” W $600-800 Provenance: Corsica GAleria De Arte, Puerto Vallarta, Mexico Private collection, Palm Springs, CA, acquired from the above, 2006

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147

Pedro Friedeberg

(b. 1936, Mexican) “Loteria Canina” Giclée in colors on paper in artist’s frame Edition: 20/80 Signed and numbered in pencil in the lower margin: Pedro Friedeberg Image: 24” H x 24” W; Sight: 25.25” H x 25.25” W $600-800

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148

Pedro Friedeberg

(b. 1936, Mexican) “Sillas” Screenprint in colors on GVA RRO paper Edition: 52/120 Signed and numbered in pencil along the lower image edge: Pedro Friedeberg Sight: 23.5” H x 23.5” W $600-800

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149

Pedro Friedeberg

(b. 1936, Mexican) “Schloss Struwwelpeter” Giclée in colors on paper in artist’s frame Edition: 22/50 Signed and numbered in ink along the lower edge: Pedro Friedeberg; with the printed artist’s authentication stamp in the lower left image Sight: 27” H x 29.5” W $600-800

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150

Pedro Friedeberg

(b. 1936, Mexican) “Códice Miguelito III” Giclée in colors on paper in artist’s frame Edition: 24/30 Signed and numbered in pencil in the lower margin: Pedro Friedeberg Image: 26.25” H x 26” W; Sight: 27.5” H x 27.5” W $600-800

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Sergio Bustamante (b. 1949, Mexican)

Sergio Bustamante is celebrated for his im showcasing children with radiant sun face uniquely his own. Born in Sinaloa and train decisively toward the visual arts early in hi earliest sculptures, crafted in paper mâché character that have defined his career.

In the late 1960s and early 1970s, Bustam Amsterdam and traveling throughout the European surrealism and decorative mod reshaped his visual vocabulary. Though hi volumes, and gently humorous character artists like Fernando Botero and other glo enriched the imaginative universes he wo works.

As his practice expanded, Bustamante ex increasingly ambitious and technically refi practice in artisanal furniture and jewelry, o anthropomorphic elements that animate h elongated proportions, and dreamlike sto

Bustamante’s work continues to enjoy stro humor, and mythic imagination that perm

maginative sculptures that blend folklore, fantasy, and surreal whimsy es, hybrid creatures, and dreamlike elongated figures drawn from a world ned in architecture at the University of Guadalajara, Bustamante turned is career, debuting his first works in a Mexico City gallery in 1966. His é, already displayed the expressive forms, narrative charm, and playful

mante lived for several years in Europe, spending time in cities such as region. Exposure to international artistic movements ranging from dernism to the stylized figuration popular among contemporary sculptors is style remains distinctly his own, his exaggerated forms, rounded studies show an affinity with the figural whimsy found in the work of obal practitioners of expressive, narrative sculpture. These influences ould later construct in bronze, mixed metals, and monumental outdoor

xplored wood, bronze, and mixed-metal construction, producing fined sculptures. By the late 20th century he had established a parallel often echoing the same animal motifs, celestial symbols, and his sculpture. Across all media, his distinctive lexicon of expressive faces, orytelling remains instantly recognizable.

ong international demand. Collectors are drawn to the craftsmanship, meate his oeuvre, from intimate jewelry pieces to monumental bronzes.

151

Sergio Bustamante

(b. 1949, Mexican) Elephant Painted papier-mâché Edition: 17/100 Signed and numbered along back: Sergio Bustamante 46” H x 59” W x 22” D $1,000-1,500

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152

Sergio Bustamante

(b. 1949, Mexican) Giraffe Painted papier-mâché Edition: 13/100 Signed and numbered along neck: Sergio Bustamante 71.25” H x 50” W x 15” D $1,000-1,500

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153

Sergio Bustamante

(b. 1949, Mexican) Ram Boy Painted ceramic Signed: Sergio Bustamante 14.75” H x 28.25” W x 14.25” D $1,000-2,000

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154

Sergio Bustamante

(b. 1949, Mexican) Twin bird face Painted ceramic Edition: 8/100 Signed and numbered: Sergio Bustamante 32.75” H x 18.5” W x 7.25” D $600-800

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155

Sergio Bustamante

(b. 1949, Mexican) Moon boat Painted ceramic Edition: 35/50 Signed and numbered: Sergio Bustamante 26.5” H x 30” W x 10.5” W $600-800

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156

Sergio Bustamante

(b. 1949, Mexican) Boy on bicycle Painted ceramic and enameled metal on a painted wood plinth Edition: 1/25 Signed and numbered to figure’s shoulder: Sergio Bustamante Without plinth: 60” H x 65.5” W x 22” D approximately; Plinth: 6.5” H x 67.5” W x 23.75” D $1,000-1,500

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157

Sergio Bustamante

(b. 1949, Mexican) Lion mask Painted papier-mâché Edition: 81/100 Signed and numbered: Sergio Bustamante 30.75” H x 24.5” W x 11.5” D $600-800

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158

Sergio Bustamante

(b. 1949, Mexican) Horse Brass and glass Appears unsigned, attributed by repute 52.5” H x 53” W x 17.5” D $1,500-2,500

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159

Gustavo Montoya

(1905-2003, Mexican) “Viejas con Niño,” 1970 Oil and collaged textile on canvas Signed lower right: gustavo montoya 28” H x 36” W $6,000-8,000 Provenance: Collection of Bernard Lewin, Palm Springs, CA B. Lewin Galleries, Palm Springs, CA Literature: “Montoya,” 1981, p. 222, No. 144, illustrated Notes: This work is accompanied by a certificate of authenticity signed by Bernard Lewin and dated October 1, 1985, as well as the book mentioned above, and other B. Lewin Galleries catalogues and postcards.

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160

Gustavo Montoya

(1905-2003, Mexican) “Niño en Amarillo,” 1964 Oil on canvas Signed lower right: Gustavo Montoya; signed again, dated, and inscribed verso: Mexico 1964; titled on a partial gallery label affixed verso 21.75” H x 18” W $5,000-7,000 Provenance: Galeria, Arte De Mexico, Art Collectors’ Gallery, Mexico City, Mexico, no. 1522

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161

Gustavo Montoya

(1905-2003, Mexican) “Niña en Rosa,” circa 1985 Lithograph in colors on wove paper, watermark Creysee France Edition: 87/100 Signed, dated ‘85,’ and numbered in pencil in the lower right corner: Gustavo Montoya; titled by repute; with a black ink stamp reading “GM265-100” on the lower right sheet corner, verso; Kyron, Mexico City, Mexico, prntr., with their blindstamp in the lower right corner; B. Lewin Galleries, Palm Springs, CA, pub. Image/Sheet: 30.25” H x 22.5” W $400-600

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162

Gustavo Montoya

(1905-2003, Mexican) “Algondonero,” 1985 Lithograph in colors on wove paper, watermark Creysee France Edition: 96/100 Signed, dated, and numbered in pencil along the lower edge: Gustavo Montoya / 85; Kyron, Mexico, pub., with their blindstamp lower right; inscribed “GM270-100” in ink, in another hand, on the verso of the right corner Image/Sheet: 30” H x 22.5” W $400-600

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163

Gustavo Montoya

(1905-2003, Mexican) “La Gallinita Ciega,” 1985 Lithograph in colors on wove paper, watermark Creysse France Edition: 43/100 Signed, dated, and numbered in pencil, lower right: Gustavo Montoya 85; Kyron SA, Mexico, prntr. and pub., with their blindstamp lower right and inscribed with their work number, GM256-100, in pencil on the verso of the lower left corner Image/Sheet: 22.375” H x 29.75” W $500-700

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164

Gustavo Montoya

(1905-2003, Mexican) “Merenguero,” 1984 Lithograph in colors on BFK Rives paper Edition: 40/100 Signed, dated ‘84,’ and numbered in pencil in the lower right quadrant: Gustavo Montoya; with the black ink stamp, ‘GM249-100,’ on the verso of the lower left sheet corner; Kyron, Mexico City, Mexico, prntr. /pub., with their blindstamp in the lower right sheet corner Image/Sheet: 30” H x 22” W $400-600

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165

Guillermo Meza

(1917-1997, Mexican) Two figures, 1994 Oil on canvas Signed, dated, and with the artist’s device lower left: Guillermo Meza a. / 1994 31.75” H x 23.75” W $3,000-5,000

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Francisco Zúñiga (1912-1998, Mexican)

Artist Francisco Zúñiga received his first sculptor in San Jose, Costa Rica. He bec twenties, he moved to Mexico City. The the tutelage of some of the most promi there for over three decades.

Celebrated for his explorations of prima including onyx, alabaster, and bronze sc Zúñiga created his first lithograph at age life.

During the course of his career, Zúñiga’s international awards. In 1992, his body o award, and today his work can be found

t lessons in sculpture in the workshop of his father, a religious came interested in pre-Hispanic work at an early age, and in his ere, he studied during the 1930s at La Esmeralda Art Institute under inent artists of Mexico’s rich artistic culture. He would later teach

arily the female form, Zúñiga worked in a variety of mediums, culpture, oil and watercolor painting, drawing, and lithography. ge sixty and worked prolifically in the medium for the remainder of his

s 35 public sculptures, along with his other works, garnered of work earned the Premio Nacional, Mexico’s highest cultural d in museums worldwide.

166

Francisco Zúñiga

(1912-1998, Mexican) “Three Seated Women,” 1972 Watercolor and charcoal on paper Signed, dated, and numbered in pencil in the outer portions of the lower right and left quadrants, respectively: Zuniga; Wolfensberger, Zurich, Switzerland, prntr; Gallery Börjeson, Malmö, Sweden, pub. $2,000-3,000 Notes: This work is listed as number 4480A (1972) in the online catalogue raisonné of Francisco Zúñiga, published by the Fundación Zúñiga Laborde A.C. According to Mr. Ariel Zúñiga, the figures in the scene are from the state of Oaxaca but are not Tehuanas.

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167

Francisco Zúñiga

(1912-1998, Mexican) “Mujer con Olla,” 1983 Lithograph in colors on wove paper without watermark Edition: 28/100 (there were also 10 AP and 10 HC impressions on this paper, as well as 33 impressions on Japon nacre) Signed, dated, and numbered in pencil in the outer portions of the lower right and left quadrants, respectively: Zuniga; Wolfensberger, Zurich, Switzerland, prntr; Gallery Börjeson, Malmö, Malmˆ, Sweden, pub. Image/Sheet: 22.375” H x 29.75” W $700-900 Literature: Brewster 90 Notes: No watermark is visible on the wove paper of this particular impression, however, Brewster states that the impressions numbered out of 100, as well as 10 artist’s proofs and 10 hors commerce impressions, were all printed on BFK Rives wove paper. This lithograph was commissioned by Gallery Börjeson, Malmö, Sweden, to commemorate the awarding of the Nobel Peace Prize to Alfonso García Robles, a Mexican citizen, in 1982. w w w. j o h n m o r a n . c o m 2 3 7

168

José Luis Cuevas

(1934-2017, Mexican) “La Mascara,” from the “Homage to Quevedo” portfolio, 1969 Lithograph in colors with lithographed mylar collage on wove paper Edition: 67/100 Signed and numbered in white pencil in the lower sheet corners: Cuevas; Collectors Press, San Francisco, CA, pub. Image/Sheet: 30” H x 22.5” W $600-800

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169

Fernando Olivera

(b. 1962, Mexican) “Al Caer la Tarde,” 2004 Etching in colors on wove paper A trial proof aside from the edition of unknown size Signed, titled, dated, and inscribed in pencil in the lower margin: F. Olivera 04 / “P/T”; with an unidentified blindstamp and watermark in the lower right margin corner Plate: 3.875” H x 7.75” W; Sheet: 10.25” H x 12.625” W $200-300

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170

Fernando Olivera

(b. 1962, Mexican) “Tres Angeles,” 2008 Etching in colors on wove paper, watermark GVA-RRO Edition: 33/40 Signed, dated, and numbered in pencil in the lower margin: F. Olivera Plate: 13” H x 19.5” W; Sheet: 22.25” H x 27.5” W $500-700

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171

Juan Quezada (1940-2022, Mexican)

A Mata Ortiz polychrome pottery jar, late 20th/early 21st century Incised to underside: Juan Quezada With red and black geometric motifs on a cream slip ground 7” H x 9.25” Dia. $600-900 Provenance: Acquired from Spencer Heath McCallum, San Pedro, CA by the current owner Albuquerque, NM

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172

Juan Quezada (1940-2022, Mexican)

A Mata Ortiz polychrome pottery effigy jar, late 20th/early 21st century Incised to underside: Juan Quezada With red and black geometric motifs on a cream slip ground 7.5” H x 11.5” W x 7.625” D $600-900 Provenance: Acquired from Spencer Heath McCallum, San Pedro, CA by the current owner Albuquerque, NM

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173

Taurina Baca (20th century, Mexican)

A Mata Ortiz polychrome pottery jar, late 20th/early 21st century Incised to underside: Taurina Baca The three-color jar with red and black fine-line and geometric motifs on a cream slip ground 10.5” H x 10.5” Dia. $200-300 Provenance: Private collection, Judsonia, Arkansas

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174

Sacha Tebo

(1934-2004, Haitian) “Haiti,” 1962 Oil on canvas With the incised signature, title, and date upper left: Tebo / IX 62; numbered “472” in pencil, verso 30” H x 50” W $800-1,200

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175

Esperanza Perez Martinez

(1934-1998, Mexican) Mexican pueblo scene Oil on canvas Signed lower center: Esperanza © 24” H x 36” W $800-1,200

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176

Ignacio Habrika

(b. 1953, Mexican) “Senal Magica,” 1984 Oil on canvas Signed and dated lower right: Habrika 84; signed and dated again, and titled, all verso 40” H x 48” W $800-1,200

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177

Sergio Zenteno

(b. 1955, Mexican-American) “Oro” Oil on panel Signed lower right: Zenteno; titled lower left 16” H x 36” W $500-700 Notes: Zenteno is a Chicano artist from Tijuana living in Los Angeles. Zenteno has exhibited both pictorial work and video art with success in Southern California and Mexico and can be found in the permanent collections of museums, including the Blanton Museum of Art at the University of Texas, Austin.

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178

Richmond Irwin Kelsey

(1905-1987, American) “The Market Place” Oil on canvas Indistinctly signed lower left; titled and with artist’s name, likely in another hand, on the stretcher 16” H x 24” W $500-700

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179

Hajime Okuda

(1906-1992, American) “At San Miguel De Alente, Mexico” 1974 Oil on canvas Signed and dated lower left: H. Okuda ‘74; signed again, titled, and dated “May 1974,” all verso 20” H x 16” W $1,000-1,500

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180

Early 20th Century Mexican School

Figure in an archway, 1915 Oil on canvas Signed indistinctly, dated, and inscribed lower left: J.M. P**buo / Mex. 1915 12.75” H x 16.75” W $400-600

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181

Everardo Ramírez

(1906-1992, Mexican) “Mujer con niño,” 1943 Linocut on thin tan paper From the edition of unknown size Signed and dated in pencil in the lower margin: Everardo Ramirez; signed again in pencil, verso: E. Ramirez; titled by repute Image: 5.25” H x 4.125” W; Sheet: 15.5” H x 11.5” W $150-250 Notes: The Blanton Museum of Art at the University of Texas, Austin, owns another impression of this work. The title listed is taken from the cataloguing of their example. Their example appears to be on the same type of paper as ours, except that our example has larger margins. Additionally, whereas we have described the technique as linocut, the Blanton has catalogued theirs as a woodcut. Over the course of his printmaking career, Ramirez created woodcuts, linocuts, and also lithographs. w w w. j o h n m o r a n . c o m 2 5 1

182

Two Mata Ortiz blackware pottery jars Two works:

Octavia Andrew (b. 1970, Mexican) A flat-shouldered low jar, late 20th/early 21st century Incised to underside: Octavio Andrew With black on black feather and parrot motifs 3.75” H x 5.875” Dia. Ruben Lozano Lucero (20th/21st century, Mexican) A low pottery jar, late 20th/early 21st century Incised to underside: R Lucero With black on black foliate motifs 4.25” H x 5.875” Dia. 2 pieces $100-200 Provenance: Private collection, Judsonia, Arkansas

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183

A Tarahumara blackware pottery olla 16th/17th century or later With round bottom and flared rim 9.5” H x 10.5” Dia. $200-400

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184

Three Mata Ortiz pottery vessels Three works:

Eleuterio Pina (20th/21st century, Mexican) A polychrome sgraffito pottery jar, late 20th/early 21st century Incised to underside: Eleuterio Pina A Decorated in red and black on cream, with banded geometric motifs to rim and shoulder, the body depicting repeated bird motifs 7” H x 6” Dia. Jose Villa (20th/21st century, Mexican) A redware pottery jar, late 20th/early 21st century Incised to underside: Jose Villa With black lizards on red slip ground 4.625” H x 5” Dia. Jesus Martinez (b. 20th century, Mexican) A polychrome pottery seed jar, late 20th/early 21st century Incised to underside: Jesus Martinez With red and black feather and geometric motifs to wide shoulder on a cream slip ground 3.375” H x 7.25” Dia. 3 pieces $200-400 Provenance: Private collection, Judsonia, Arkansas

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185

Four Mata Ortiz pottery jars Four works:

Gerardo Mora Tena (20th/21st century, Mexican) A polychrome pottery jar, late 20th/early 21st century Incised to underside: Gerardo Mora Tena With red and white fine-line geometric motifs on cream slip ground 5.875” H x 5” Dia. Norma Lopez Saenz (20th/21st century, Mexican) A polychrome pottery jar, late 20th/early 21st century Signed in slip to underside: Norma Lopez Saenz With red and black bands of stacked arrows on cream slip ground 5.25” H x 5.75” Dia. Yoly Ledezma (b. 20th century, Mexican) A low pottery jar, late 20th/early 21st century Incised to underside: Yoly Ledezma With black checkered motif to shoulder on a red slip ground and a squared rim 3.25” H x 4.5” Dia. Elsa Ledezma & Jorge Ponce (b. 20th century, Mexican) A polychrome pottery wedding jar, late 20th/early 21st century Incised to underside: Elsa Ledezma / Jorge Ponce With black and white geometric repeated motifs on red slip ground 5.5” H x 4.625” Dia. 4 pieces $200-400 Provenance: Private collection, Judsonia, Arkansas

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186

Four Mata Ortiz pottery jars Four works:

Ines Olivos (20th/21st century, Mexican) A polychrome pottery jar, late 20th/early 21st century Incised to underside: Ines Olivos With red and black banded feather and repeating checkered motif on cream slip ground 5.625” H x 5.625” Dia. Ismael Flores (b. 1966, Mexican) A polychrome pottery wedding jar, late 20th/early 21st century Incised to underside: Ismael Flores The double-spouted vessel with red and black geometric and fine-line motifs on white slip ground 7.25” H x 5.375” Dia. Nicolas Quezada (b. 20th century, Mexican) A polychrome pottery jar, late 20th/early 21st century Incised to underside: Nicolas Quezada With red and black fine-line and geometric motifs on an antiqued cream slip ground 5.125” H x 4.375” Dia. Isidra Hernandez (20th/21st century, Mexican) A fine-line pottery jar, late 20th/early 21st century Incised to underside: Isidra Hernandez With black repeating geometric motifs on a cream slip ground 3.375” H x 3.25” Dia. 4 pieces $200-400 Provenance: Private collection, Judsonia, Arkansas

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187

A group of Mata Ortiz and Pueblo style pottery miniatures

Late 20th/early 21st century; Chihuahua, Mexico Each with incised signature to base Comprising a Mirna Hernandez tall polychrome jar with detailed geometric and curvilinear motifs, a Paty Quezada black low bowl with incised geometric designs, two Norma Aguilar miniature olla-form jars with black and green painted slip motifs, and four miniature polychrome seed pots by artists Julio Mora, Carmen Veloz, Jose Villa, and a lidded pot by Rosa Mora, each with various motifs including stepped checkered motifs, turtles, birds, and antelope 8 pieces Largest: 5” H x 3.5” Dia.; Smallest: 1.125” H x 1.375” Dia. $200-400

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188

A Los Castillo Mayan/Aztec style metal and hardstone wall panel

Mid/late 20th century Unmarked The hand-wrought mixed metal figures depicted seated by a fire, with inlaid azuritemalachite accents, mounted to a painted wood backing Image: 20.75” H x 28.5” W; Framed: 24.5” H x 36” W x 2.25” D $300-500

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189

A Los Castillo Mayan/Aztec style copper and hardstone wall panel Mid/late 20th/early 21st century Unmarked The hand-wrought copper and brass figure depicted spearing a fish, with inlaid green hardstone accents, mounted to a painted wood backing Figure: 16.25” H x 12.25” W; Framed: 20.625” H x 14.25” W x 1.75” D $200-400

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190

Salvador Terán (1920-1974, Mexican)

A glass mosaic inset brass coffee service, mid-20th century Each marked to underside: Handwrought / Hecho en Mexico / Salvador / 408 Comprising a lidded coffee pot, a creamer, and a lidded sugar with spoon, all set on a tray with depressions for each vessel 4 pieces Coffee: 8.75” H x 7.75” W x 4.375” D; Tray: 1” H x 16” W x 13.375” D $200-400

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191

A Sergio Bustamante style brass and copper parrot

Mid-20th century Mounted on a brass perch 2 pieces Parrot: 23” H x 21” W x 7.5” D approximately; Perch: 20.125” H x 16.75” W $200-400

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192

A Juventino Lopez Reyes sterling silver pictorial tray

Mid-20th century; Mexico Marked to underside for Juventino Lopez Reyes and: Hecho en Mexico / Sterling / 925 / [Eagle 9]; inscribed in the mold: Cultura Maya The molded image depicting a Mayan pok-ta-pok player on a stone court 11.375” W x 11.375” D 27.5 oz. troy approximately $300-500

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193

A Juventino Lopez Reyes sterling silver tray

Mid-20th century; Mexico Marked to underside for Juventino Lopez Reyes and: Hecho en Mexico / Sterling / 925 / [Eagle 9] / 15 With opposed lug handles, monogrammed 21.5” W x 12.625” D 35.3 oz. troy approximately $400-600

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194

A group of Mexican silver and set stone jewelry

Mid-20th century Each marked: Mexico / Silver Five works comprising a sterling silver William Spratling-style owl brooch with set amethyst eyes (2.5” H x 2” W), a sterling silver sunflower brooch with central set amethyst (2.625” Dia.), a leaping deer brooch with set turquoise eye (2.25” H x 3” W), and a two-piece pelican motif chatelaine brooch, each bird with set green stone (2” H x 2” W), as well as a sterling silver link bracelet with set amethyst (6.625” L x 1” H) 5 pieces 163.1 grams gross $800-1,200 Provenance: Property from the Estate of Mary and Al Scott Mary (Wagner) and Al Scott met on Christmas Eve in 1945 at the iconic Smoke Tree Ranch in Palm Springs, California, where they were instantly drawn to each other. With their families present, alongside even Walt Disney, it was a night full of magic, and after just four weeks of dating, they eloped in Yuma, Arizona on February 11, 1946. Their love story spanned 47 years, filled with deep affection, playful nicknames, Momo and Rou, and a rich family life raising five children in Claremont, California. Many pieces in this jewelry collection were from her love Al as well as many pieces from her brother, actor Robert Wagner, which are engraved with heartfelt inscriptions marking anniversaries, holidays, and milestones.

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195

A group of Mexican silver and green stone jewelry

Early/mid-20th century Variously marked: Mexico / Silver / Made in Mexico Comprising a chunky silver link bracelet with five large variegated green stone oval cabochon links, as well as a sculptural oval brooch with a set variegated green stone cabochon and silver overlay curls and dangles 2 pieces Bracelet: 7.25” L x 1.5” H; Brooch: 2.25” H x 2.5” W 137.5 grams gross $400-600

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196

A Mexican silver and hardstone butterfly bracelet

Mid-20th century Stamped: Silver / Mexico A chunky sterling silver chain link bracelet featuring a central three-piece carved greenstone butterfly and dark green cabochon clasp 6.5” to 7” L x 2.325” H 106.0 grams gross $300-500

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197

A Matl Mexican silver and gem set cross pendant/brooch

Matilde Poulat and Ricardo Salas (c. 1900-d. 1960 & d. 2006) Circa 1980-2006; Mexico City, Mexico Stamped: Matl / Mexico / 925 / MS-12 Designed by Matilde Poulat for Matl under the directorship of Ricardo Salas, the articulated sterling silver pendant/brooch with central set amethyst and set coral and turquoise accents, with filigree wire overlay 3” H x 2.375” W 26.0 grams gross $300-500

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198

A set of Mexican silver and hardstone jewelry

Mid/late 20th century Each variously marked: Mexico / Sterling / Silver Comprising a sterling silver necklace with large central quatrefoil floral link suspended by fourteen smaller links either side, each with set green stone cabochon, together with a matching ring and pair of earrings 4 pieces Necklace: 19.5” L x 1.125” H; Earrings: 0.625” H; Ring size: 6 56.6 grams gross $200-300

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199

A group of Mexican silver and green glass jewelry

Mid/late 20th century Variously stamped: FARFAN / 925 / Sterling / Hecho en Mexico / DF / Mexico Comprising a set carved green glass mask necklace with set stone oval links and a similar design brooch, as well as an openwork filigree link bracelet with set carved green masks 3 pieces Necklace: 21.5” L x 1.625” H; Bracelet: 7.25” L x 1.75” H; Brooch: 1.25” H x 2.25” W 140.2 grams gross $200-400

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A set of Mexican sterling silver jewelry

Mid/late 20th century Two stamped: FARFAN / 925 / Sterling / Hecho en Mexico / FSZE; [necklace double-struck, obscured] Comprising a wide herringbone mesh link choker necklace, together with a matching bracelet and a pair of earrings 4 pieces Necklace: 15.75” L x 0.875” H; Bracelet: 7.5” L x 0.875” H; Earrings: 0.625” H 135.1 grams $200-400

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201

A set of Mexican sterling silver jewelry

Mid/late 20th century Each stamped: FARFAN / 925 / Hecho en Mexico / [necklace mark obscured] Comprising a wide double chain-and-ball choker necklace, together with a matching bracelet 2 pieces Necklace: 15.75” L x 1” H; Bracelet: 7.75” L x 1” H 154 grams $200-400

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202

A group of Mexican silver jewelry including Carmen Beckmann Mid/late 20th century Five works:

Carmen Beckmann (b. 20th century) A sterling silver stone-set bangle bracelet, late 20th century, San Miguel de Allende Stamped: Beckmann / Sterling / Mexico A narrow band with three set green stone cabochons and silver wire overlay accents 7.875” inner C x 0.25” H A group of Mexican silver jewelry Each variously marked: Sterling / Mexico / Silver / RHC / Taxco / Hecho en Mexico DF / MFR / 900 Four works comprising an elaborate silver swirl repoussé link bracelet with set pyramidal obsidian, and a set onyx and silver link bracelet, as well as a silver brooch with set blue glass cabochon, and a pair of round sterling earrings with silver ball accents 5 pieces Bracelets: 7.5” L x 2.375” H & 7.75” L x 0.875” H; Brooch: 2.125” H x 2.5” W; Earrings: 2” H x 1.5” Dia. 6 pieces total 169.8 grams gross $300-500

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203

A Hector Aguilar Mexican silver brooch

Hector Aguilar (1905-1986) Circa 1953-1962; Taxco, Mexico Stamped: HA [conjoined] / .940 / Taxco / [Eagle 9] A sterling silver double-V motif brooch with silver ball accents 1.25” H x 1.875” W 15.6 grams $200-400 Literature: This design illustrated: Penny C. Morrill, “Silver Masters of Mexico: Hector Aguilar and the Taller Borda” (Atglen, PA: Schiffer, 1996), 97, fig. III-2.

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204

Two Mexican silver and set amethyst brooches

Mid-20th century Variously marked: Taxco / 980 / 101 / Silver / Made in Mexico Comprising a fanciful chased repoussé sterling silver feather brooch with set amethyst, and an oval filigree brooch with central set amethyst oval cabochon 2 pieces Feather: 2.75” H x 3.75” W; Filigree: 2” H x 3.625” W 73.6 grams gross $300-500

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205

A group of William Spratling Mexican silver jewelry

William Spratling (1900-1967) Circa 1944-1946, First Design Period; Taxco, Mexico Each stamped for William Spratling; further variously stamped: Spratling Silver / Made in Mexico Comprising a sterling silver swirl ribbon brooch with copper circle accent, together with a pair of matching sterling silver ribbon band screw-post earrings 3 pieces Brooch: 3” H x 3” W; Earrings: 1.25” H 61.5 grams gross $400-600 Literature: A similar design illustrated: Phyllis M. Goddard, “Spratling Silver: A Field Guide: Recognizing a William Spratling Treasure” (Altadena, CA: Keenan Tyler Paine, 2003), 46, fig. 2-90.

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206

A group of Mexican silver and amethyst jewelry

Mid-20th century; Taxco, Mexico Each marked: Taxco / 980 Two works comprising a chunky sterling silver repoussé hinged bangle bracelet with concentric swirl designs and set amethyst cabochons, with channel pin closure, as well as a fanciful sterling silver repoussé brooch with large set amethyst cabochon 2 pieces Bracelet: 7.5” inner C x 2” H; Brooch: 3” H x 3.5” W 181.4 grams gross $500-700

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207

A group of Mexican silver jewelry

Mid-20th century Variously marked: JE / Hecho en Mexico / 925 / Taxco / 980 / Sterling / Mexico / JC / Silver Six works comprising three sterling silver brooches including a calla lily, a seahorse and a round filigree stylized floral pin, as well as three pairs of silver earrings including feathers, openwork shadowbox discs, and set amethyst rectangles 9 pieces Largest brooch: 3.125” H x 2” W; Smallest: 2.125” Dia.; Earrings: 1.625” H to 0.625” H 90.9 grams gross $200-400

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208

A group of Mexican silver hair and dress accessories

Mid-20th century Four variously marked: Silver / Mexico Six works comprising two pairs of silver hair combs, one in leaf motifs, a smaller silver swirl comb, and a silver leaf hair clip barrette, as well as an arabesque motif silver tie clip and a diminutive sterling silver scent bottle with amethyst cabochon finial 8 pieces Largest: 1.75” H x 4” W; Smallest: 0.875” H x 2.125” W 75.1 grams gross $200-400

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209

Pablo O’Higgins

(1904-1983, Mexican-American) “Cuautla Market,” from the “Mexican People” portfolio, 1946 Lithograph in colors on wove paper From the edition of 250 Signed in pencil in the lower margin, at right: Pablo O’Higgins; Taller de Gráfica Popular, Mexico City, prntr.; Associated American Artists, New York, pub. Image: 11.25” H x 14” W; Sight: 12.5” H x 15” W $100-200

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210

Jose Maria de Servin

(1917-1983, Mexican) Girl with birds Gouache and watercolor on thin paper laid to board Signed in the upper right corner: Jose Maria de Servin Image/Sheet: 19.5” H x 14.75” W $300-500

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211

Francisco Corzas

(1936-1983, Mexican) Untitled, from the “Umbrìo por la peña” portfolio, 1973 Lithograph in colors on paper An hors commerce impression aside from the edition of 130 Signed and dated in pencil, lower right: Francisco Corzas / 73’; inscribed “HC/F” in pencil, lower left; Giorgio Upiglio, Milan, prntr.; Cerastico Editore, Milan, pub. Image/Sheet: 20.625” H x 16.5” W $300-500 Provenance: Arte de Mexico, Mexico City, Mexico

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212

Raúl Anguiano

(1915-2006, Mexican) “Sonrisa Maya,” 1967 Lithograph in brown on paper Edition: 18/60 Signed, dated, and inscribed upper right: R. Anguiano / “Paris 1967”; further initialed and inscribed in pencil: “a la familia Rosenbaum,” / R.A. numbered in pencil near the lower edge, at center; titled by repute Sight: 29.5” H x 21.5” W $200-300

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213

Vladimir Cora

(b. 1951, Mexican) “Desnudo,” 1976 Pastel on paper Signed and dated in pencil lower left: Vladimir Cora 76; titled by repute Sheet: 6” H x 9.375” W $300-500

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214

Felipe Orlando

(1911-2001, Cuban) Untitled Acrylic on wove paper, watermark GVA-RRO Signed in ink lower right: Orlando. F Image: 18.75” H x 13.5” W; Sheet: 25.625” H x 20.625” W $300-500

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215

Jesús Guerrero Galván

(1910-1973, Mexican) “Niño,” 1962 Charcoal on Arches paper Signed and dated lower right: J. Guerrero Galván / 1962; titled by repute Sheet: 30” H x 22” W $500-700

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216

Jorge Ochoa

(b. 1950, Mexican) Figures dancing under a full moon, 2001 Acrylic on canvas Signed and dated lower right: J. Ochoa / 2001 30” H x 24” W $200-400

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217

Jorge Ochoa

(b. 1950, Mexican) Figures emerging from calla lilies, 2007 Acrylic on canvas Signed and dated lower right: J. Ochoa ‘07 24” H x 18” W $200-400

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218

Frank Romero

(b. 1941, Mexican-American) Untitled Lithograph in colors on wove paper Edition: 24/50 Signed and numbered in pencil along the lower edge: Fero; Aztlán Multiples, Los Angeles, pub., with their blindstamp lower left Image/Sheet: 21” H x 30” W $200-300

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Graciela Nardi

(1946-2020, Argentinian)

The Latino Art Museum, Pomona, CA, f cultural anchor in Southern California’s a elevate the diverse artistic voices of Lati space where community, creativity, and philanthropist and passionate advocate cultures. Under her leadership, the mus established artists, and offered an acces

During its years of activity, the museum respected contributor to the broader So artists have long played a defining role. local institutions, it championed artists w cultural fabric and inspiring generations

With the closure of the institution follow collectors a rare opportunity to acquire testament to Nardi’s vision and to the m

founded by the late Graciela Nardi, stood for decades as a vibrant art landscape. Established with a mission to celebrate, preserve, and in America and the diaspora, the museum served as a welcoming cultural heritage converged. Nardi, an Argentinian-born e for Latin American art believed deeply in the power of art to bridge seum fostered cross-cultural dialogue, supported emerging and ssible platform for storytelling through visual expression.

became an essential part of Pomona’s creative ecosystem and a outhern California art scene, where Latin American and Chicano . Through exhibitions, educational programs, and partnerships with whose voices might otherwise remain unheard, enriching the region’s s of visitors.

wing Graciela Nardi’s passing, the release of these artworks offers pieces that were selected with great intention and care and are a museum’s profound impact on the community it served.

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Graciela Nardi

(1946-2020, Argentinian) Untitled abstract, 2017 Acrylic including metallic pigments on canvas Signed and dated verso: G Nardi / 9-3-17 20” H x 20” W $300-500 Provenance: Latino Art Museum, Pomona, CA

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Graciela Nardi

(1946-2020, Argentinian) Untitled abstract, 2017 Acrylic on canvas Signed and dated verso: G Nardi / 10.17.17 30” H x 24” W $300-500 Provenance: Latino Art Museum, Pomona, CA

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Latino Art Museum, Pomona, CA

221

Angie K. Culasso

(20th century, American) Untitled triptych Each: Mixed media on wove paper Signed in pencil in the lower center of the second sheet: Angie K. Culasso; signed “Angie” again in pencil in the lower right of the first sheet 3 pieces Smallest Image/Sheet: 22.25” H x 14.75” W; Largest Image/Sheet: 23” H x 15.25” W $700-900 Provenance: Latino Art Museum, Pomona, CA

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222

Baldomero Moreiras

(b. 1979, Spanish) “Nocturno No. 3,” 2010 Acrylic on canvas With the incised signature and date lower right: Moreiras / 2010; signed and dated again, titled, and inscribed “Pintado en Golpellas,” all on the stretcher; with an alternative title, “Home Compeixe O Pescador,” on a typed label affixed to the stretcher 25.5” H x 29” W $300-500 Provenance: Latino Art Museum, Pomona, CA

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(Active 21st century, American) “Injustice of Justice,” 2013 Acrylic and mixed media collage including bullets on panel in artist’s frame Signed and dated lower right: Mati Russo / 13’; titled verso Overall: 17” H x 17” W x 4” D (approx.)

(Active 21st century, Amer “Border Injustice 2” from Acrylic and mixed media c Signed lower center: Mati 30” H x 40” W

Mati Russo

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Mati Russo

$300-500

$700-900

Provenance: Latino Art Museum, Pomona, CA

Provenance: Latino Art Museum, Pomo

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rican) the “Border Injustice” series collage including bullets on canvas i Russo; titled by repute

ona, CA

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225

Mati Russo

(Active 21st century, American) Untitled (We Have to Stop), 2012 Acrylic and mixed media collage including bullets on canvas Signed and dated lower right: M Russo 12 48” H x 30” W $700-900 Provenance: Latino Art Museum, Pomona, CA

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Frank Romero

(b. 1941, Mexican-American)

A foundational figure of the Chicano ar chronicling the visual, political, and em Four, the pioneering collective that hel became one of the most recognizable His style is vibrant, rhythmic, and infuse color with folkloric symbolism, urban ic barrio streets, community rituals, and p palette that makes even the hardest his

rt movement, Frank Romero has spent more than five decades motional landscape of East Los Angeles. A founding member of Los lped bring Chicano art into major American museums, Romero interpreters of Southern California’s Mexican American experience. ed with a deep sense of cultural memory that blends Pop-inflected conography, and a sharp awareness of social struggle. Cars, freeways, political flashpoints all enter his vocabulary, transformed through a istories glow with life.

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226

Frank Romero

(b. 1941, Mexican-American) “The Closing of Whittier Boulevard,” 1990 Screenprint in colors on paper Edition: [?]8/99 Signed and numbered in white pencil lower left: FERomero; Modern Multiples Richard Duardo, prntr., and with their blindstamp in the lower right corner of the image Sight: 33” H x 54” W $3,000-5,000 Notes: “The Closing of Whittier Boulevard”, inspired by the Chicano Moratorium of August 29, 1970, reflects one of Los Angeles’ defining civil-rights flashpoints. What began as a peaceful protest against the disproportionate loss of Mexican American soldiers in Vietnam erupted into chaos, marked by what many accounts describe as an overly aggressive, militarized response from law enforcement. Tear gas, barricades, and mass detentions quickly turned the demonstration into a moment of lasting collective trauma. Rather than depict the event literally, Romero renders it through theatrical metaphor. Dramatic, stage-like lighting isolates officers, vehicles, and barricaded streets in sharp, stylized forms. His intense palette and spotlight effects highlight how a community’s lived reality became a spectacle of state power. The cars are one of Romero’s enduring cultural symbols, serving as protagonists caught between movement and control, turning the scene into a powerful emotional study of how policing, protest, and identity collided in East L.A. Provenance: Latino Art Museum, Pomona, CA

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Frank Romero

(b. 1941, Mexican-American) Untitled (Car) Monoprint in colors on paper Signed and with the artist’s device in pencil, lower left: FE Romero Image: 24.5” H x 47” W; Sight: 39” H x 59” W $1,000-1,500 Provenance: Latino Art Museum, Pomona, CA

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228

Frank Romero

(b. 1941, Mexican-American) Untitled (Car) Monoprint in colors on paper Signed and with the artist’s device in pencil, lower left: FE Romero Image: 23” H x 47” W; Sight: 38.75” H x 59” W $700-900 Provenance: Latino Art Museum, Pomona, CA

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Latino Art Museum, Pomona, CA

229

Gersony Silva

(b. 1960, Brazilian) Untitled Glazed ceramic and brass With incised signature verso 13” H x 12” W x 3.25” D $300-500 Provenance: Latino Art Museum, Pomona, CA

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230

Gersony Silva

(b. 1960, Brazilian) Untitled Glazed ceramic With incised signature verso 13.75” H x 14.5” W x 2.5” D $300-500 Provenance: Latino Art Museum, Pomona, CA

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231

Julio Cotrina

(Active 21st century, American) Untitled, 2016 Acrylic on canvas Signed and dated verso: Julio Cotrina 19.75” H x 23.75” W $300-500 Provenance: Latino Art Museum, Pomona, CA

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232

D. Hilario

(20th century, Peruvian) “Personaje” Oil on canvas Signed lower left: D. Hilario; titled faintly on an old label taped verso 19.5” H x 19.5” W $200-400 Provenance: Latino Art Museum, Pomona, CA

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Latino Art Museum, Pomona, CA

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Luis Miguel Portilla Tuesta (b. 1986, Peruvian) Portrait of a woman Oil on canvas Signed lower right: Portilla 23.75” H x 19.75” W $300-500 Provenance: Latino Art Museum, Pomona, CA

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234

Manual Eduardo Vásquez Niño

(20th century, Peruvian) “Ludus” Oil on canvas Signed lower right: Niño; signed again and titled verso: Manuel Eduardo Vásquez Niño 23.75” H x 19.75” W $200-400 Provenance: Latino Art Museum, Pomona, CA

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Jesus Toro Martinez

(b. 1966, American) “Protest Girl,” 1991 Charcoal on wove paper Signed and dated in pencil lower left: J. Toro Martinez; titled in ink, possibly in another hand, on an artist’s biography sheet affixed to the frame’s backing paper Image/Sheet: 11” H x 14.875” W $200-400 Provenance: Latino Art Museum, Pomona, CA

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Akira Chinen

(b. 1982, Japanese/Peruvian) Portrait with a green hat Acrylic and graphite on canvas Signed in pencil, verso: Akira Chinen 19.5” H x 23.5” W $200-400 Provenance: Latino Art Museum, Pomona, CA

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Latino Art Museum, Pomona, CA

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Andre Desjardins

(b. 1964, Canadian) “Juan” Oil and pigment on canvas Appears unsigned; titled on a gallery label affixed to the frame’s backing paper 18” H x 23.75” W $300-500 Provenance: Latino Art Museum, Pomona, CA

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Guadalupe Victorica

(20th century, Mexican) “La Frontera,” 2007 Mixed media on vinyl Signed, dated, and inscribed lower right: Victorica / “Lamadrid” / 07; titled on a label affixed to the stretcher 35.25” H x 25” W $200-400 Provenance: Latino Art Museum, Pomona, CA

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20th/21st Century Contemporary School

“Vogue 4” Acrylic on canvas Signed lower right: Bosco; signed again and titled verso 42” H x 54.5” W $700-900 Provenance: Latino Art Museum, Pomona, CA

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Felipe Delfinger (20th century, Mexican)

An art glass ceiling lamp for Feders, circa 1970s Appears unmarked With single light and shade constructed from fused bubble glass nodes 8.5” H x 12.25” Dia., irregular $300-500

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A large giltwood mirror

19th/20th century Carved with outer scrolled foliate motifs and inner red fillet 66.25” H x 54.5” W x 3.5” D $300-500

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A stone columnar pedestal

20th century The octagonal pedestal with floral motifs to each side 18.25” H x 13.25” W x 12.5” D $100-200

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A Mexican weaving

Mid/late 20th century Woven in grey, white, black, and brown wool with a central column of stacked stepped diamonds with black banding to each end 55.5” H x 45” W $400-600 Provenance: The Schultheis Estate, WA

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A Mexican textile

Late 20th century Woven in cream, pink, black, and yellow with multiple zigzag bands 69” H x 50” W $300-500 Provenance: Mary and Stanley Wadsworth, Durango, CO

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A vintage Latin American weaving

Mid/late 20th century The narrow plain weave textile woven in ochre, brown, red, blue, and grey wool, with a central stylized monkey figure and sections of zigzag banding and stylized hooked floral motifs to either end 58” H x 27” W $200-300

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A Mexican wrought iron ‘Cruce de Casa’ ornamental cross

Late 20th/early 21st century In the manner of Guadalupe Hermosillo Escobar (b. 1961), decorated with celestial and farmhouse figural elements 31.5” H x 17.25” W x 3.75” D $200-300

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A group of Mexican alebrijes

Late 20th/early 21st century; Oaxaca, Mexico Six marked for maker and/or Mexico; further variously marked: Fabrijes / Oaxaxo / R.A.O; three unmarked Nine polychrome carved wood figures comprising a large rabbit/hare by Armando Carrillo Arrazola, a small green coyote by Oscar Carrillo Arrazola, a red coyote with thin tail, a fantasy winged demon creature, a purple porcupine/armadillo by Zeny Fuentes, a lizard/ salamander by P__Sosa Hernandez, and a purple and green hanging hummingbird in flight 9 pieces Largest: 8.5” H x 9.25” W x 3.5” D; Smallest: 2.75” H x 1” W x 3” D $200-400

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A large group of Tonalá Bruñido pottery animals

20th Century; Tonal·, Mexico Each variously marked for Mexico or Tonalá Sixteen works in various colors each with polychrome painted “Flor de Tonalá” floral and figural motifs comprising nine pottery birds in various colors including doves, an owl, and a toucan, as well as other animals including a large painted dog, a squirrel, a fish, a frog, and a horse 16 pieces Largest: 5.25” H x 3” W x 9.5” D; Smallest: 1.625” H x 1.25” W x 2.875” D $300-500

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A group of coffee table books covering Latin American subjects

Mid-20th century Titles include: “Pre-Columbian Art of Mexico” “Aztecs of Mexico” “Encyclopedia Grafica: La Civilizacion Maya” “Mexico From the Olmecs to the Aztecs” “The Mighty Aztecs” “The Incredible Incas and Their Timeless Land” “Celebrate!: The Story of the Museum of International Folk Art” “Aztec: The World of Moctezuma” “Discovery of Lost Worlds” “Great Museums of the World: National Museum of Anthropology Mexico City” “Ancient Ecuador: Culture, Clay and Creativity 3000-300 B.C.” “Prehistoric and Primitive Man” “Oro del Peru” “México Artesano” “Mexico: A History in Art” “Mysteries of the Mexican Pyramids” “Gold of the Americas, Metropolitan Museum of Art” “The Conquest of the Incas” “The Conquest of Mexico” “Mexico: The Wonderland of the South” “Walt Disney’s Living Desert” “A Forest of Kings: The Untold Story of the Ancient Maya” “Ancient Mexico: An Introduction to the Pre-Hispanic Cultures” “Feathered Serpent and Smoking Mirror” “Gods of Sun and Sacrifice: Aztec and Maya Myth” “Reader’s Digest: The World’s Last Mysteries” “Discovering the Colca Valley” “Horizon Volume Six, Number 3, Summer 1964” “Horizon Volume Eight, Number 4, Autumn 1971” “The Desert Kingdoms of Peru” “National Museum of Anthropology: The Official Guide” “Artists and Craftsmen in Ancient Central America” “Ancient Mexico: History and Culture of the Mayas, Aztecs and Other PreColumbian Populations” 33 pieces Largest: 15.25” H x 12.25” W x 1” D $150-250

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Consign Today

Art + Design | March 24, 2026

Deborah Kay Butterfield Untitled, (Large Horse), 2013

Price Realized: $285,570

Consignment and Auction Inquiries: fineart@johnmoran.com 3 3 2 L at i n A m e r ic a n Ar t + D e s ig n l Tu e sd ay, J an u ary 1 3 , 2 0 2 6

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

Jorge Noceda Sanchez Surrealist landscape, 1964

Price Realized: $38,100 SINCE 1969

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Condition Reports 3 3 4 L at i n A m e r ic a n Ar t + D e s ig n l Tu e sd ay, J an u ary 1 3 , 2 0 2 6

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1 With dust accumulation and wear commensurate with age and use. Slight fading to Side A. Scattered small areas overall of wear and thinning to weave, with small holes. A larger area of loose weave and stitch loss near one side edge, and another large area of loose weave and loss near one corner, 2” x 4”. Wear and losses to fringe at each end. With applied twill tape verso for hanging.

8 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to Side B. Scattered small stains and marks to each side, with darker marks to cream edges. A few loose stitches to center seam. A small hole and small area of minor wear to weave near one corner. Minor raveling to some fringe strands. With applied twill tape verso for hanging.

2 Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered faint spots and marks to each side. A few scattered tiny holes to weave. Light wear and a few losses to fringe. With applied twill tape verso for hanging.

9 Overall good condition with dust accumulation and wear commensurate with age and use. Slight fading to one edge of Side B. Each side with scattered small spots and faint stains. A small hole with iron-on patch repair to one side. An area of loose weave and stitch loss to top hanging edge, 0.5” H x 1.5” W. Wear and losses to fringe at each end. With applied twill tape to Side B for hanging.

3 Overall good condition with dust accumulation and wear commensurate with age and use. Top edge with dark marks to one corner. Scattered small areas of thinning to weave, one area with sympathetic patched repair verso. Top end with previous sympathetic repairs to areas with wear and breaks to weave. 4 Overall good condition with dust accumulation and wear commensurate with age and use. A few small areas of minor loss and thinning to weave. Wear to one edge with areas of loss and fraying. A few scattered small faint spots to side B. With applied twill tape to side B for hanging.

Condition Reports

5 Overall good condition with dust accumulation and wear commensurate with age and use. Scattered small areas of loose and thinning weave, some areas with sympathetic patched repairs in black linen verso. An area of minor ravelling to one side edge, 4.5”. Each end with applied fabric sleeve strips verso for hanging.

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6 Overall good condition with dust accumulation and wear commensurate with age and use. A few small areas of minor thinning to weave, near center diamond. With applied twill tape verso for hanging. 7 With dust accumulation and wear commensurate with age and use. Each side with scattered small spots and marks. Scattered small areas of wear and thinning to weave, with a few small holes. A few areas of heavier wear and losses to weave, with a couple of large holes near center diamond, 2” x 3.5” and 1” x 1.75”. A small repair near one end. With applied twill tape verso for hanging.

10 With dust accumulation and wear commensurate with age and use. Each side with scattered patchy spots and stains overall. Scattered areas of red dye transfer. Loose stitching to center seam. Scattered small areas overall of wear, loss, and thinning to weave, with multiple small holes and wear to edges and corners. A large area of loose weave and stitch losses near one side edge with various repair stitches, 3” H x 13” W, with a couple of smaller areas of loss with additional repair stitching. With applied fabric pole sleeve verso for hanging. 11 Overall good condition with dust accumulation and wear commensurate with age and use. Each side with scattered faint spots, and scattered areas of light wear to weave including minor insect grazing. Side B with slight fading overall, and with applied fabric sleeve for hanging. Wear and losses to fringe at each end. 12 Overall good condition with dust accumulation and wear commensurate with age and use. Side A with scattered faint stains/marks to cream areas of rose banding. Side B with a few scattered small spots of likely wax, and with applied twill tape for hanging. 13 Overall good condition with dust accumulation and typical signs of wear commensurate with age and use. Slight fading to side A. Scattered small areas of minor thinning to the weave in the central area. Light wear to fringing. With applied twill tape verso for hanging. 14 Overall good condition with tarnishing and light scratches commensurate with age. 15

Blacklight: No evidence of restoration. Frame: 30” H x 28” W x 2.25” D 16 Overall good appearance. Full margins with deckled edges. The sheet is framed floating, hinged to the back mat from the verso of the margin edges. Framed under Plexiglas: 46.75” H x 32.25” W x 2” D 17 Overall good condition with minor wear, scuffs and scratches, and oxidation commensurate with age. 18 Overall good condition with minor wear, scuffs and scratches, and oxidation commensurate with age. 19 Overall good condition with minor wear, scuffs and scratches, and oxidation commensurate with age. 20 Overall good appearance. With margins. A soft 1” diagonal crease in the lower right margin corner, a few even smaller, softer, less than 0.25” creases in the same location. The verso with a small rectangular area of clear glue remnants and surface skinning at the center of the upper margin edge. The sheet is hinged to the overmat with two pieces of white tape from the verso of the upper margin edge. Framed under glass: 14.5” H x 11.5” W x 1” D 21 Overall good appearance. With margins. A few small creases scattered in the margins. Two small areas of surface soiling slightly affecting the ink inscription along the lower margin. Not examined out of the frame. Framed under glass: 21.25” H x 14.125” W x 1.125” D 22 Visual: Overall generally good appearance. Scattered areas of craquelure throughout. Blacklight: No evidence of restoration. Frame: 47” H x 30.25” W x 1.75” D

23 Visual: Overall good appearance. Dust accumulation and scattered specks of grime. Blacklight: No evidence of restoration. Frame: 47.375” H x 39.5” W x 2.5” D 24 Overall generally good appearance. With wide margins. A generally unobtrusive, horizontal line of sporadic creasing spanning the middle section of the work, in places, from the left margin edge to the right margin edge, primarily visible in raking light. A narrow, approximately 3” diagonal line of surface scuffing in the black background, to the right of center, near the upper edge of the image. Some scattered pale and generally unobtrusive stains in the margins, including damp staining in places along the lower margin edge, not affecting the image. Not examined out of the frame. Framed under Plexiglas: 30” H x 35.5” W x 1.5” D 25 With scattered minor scuffs, soiling, dust accumulation, and darkening/oxidation to bronze commensurate with age. Scattered verdigris throughout. 26 Overall good appearance. The full sheet with deckled edges. Slight toning showing through from the verso. Two 0.5” H x 0.5” W areas of surface skinning at the upper corners, verso, presumably from prior hinging. The sheet is slightly curled along the left and right sides, possibly from having been stored rolled. The sheet is loose, not matted. Unframed 27 Overall good appearance. The full sheet with deckled edges. A minor handling mark in the lower portion of the right edge, primarily visible in raking light. The lower left sheet corner slightly dog-eared. The sheet is framed floating, affixed to the back mat from the verso. Not examined out of the frame. Framed under glass: 40.75” H x 28.75” W x 1.5” D 28 Overall good appearance. A 1” vertical edge tear extending into the image from the center of the lower sheet edge. Soft handling marks and a few minor creases scattered primarily along the outer sheet edges. The sheet is framed floating, tipped to the back mat from the verso of the sheet edges. Not examined out of the frame.

Condition Reports

Visual: A few small, deep gouges in the board with attendant pigment losses, the largest measuring 4.5” H along the lower portion of the left edge, and two other, smaller areas in the lower left quadrant and near the center of the right edge. A few other peasized or smaller pigment losses scattered primarily in the lower half.

Framed under glass: 25.25” H x 31” W x 2.25” D 337

29 Overall generally good appearance. Handling marks, cockling, and soft creasing throughout, the largest crease 10” long in the upper right quadrant. A few tiny, pale foxmarks scattered in the upper half. Minor wear and staining along the sheet edges, including a 0.125” edge tear in the upper portion of the right edge. The sheet is loose, not matted. Unframed 30 Overall generally good appearance. Pale, uneven light-staining. Occasional pinhead-sized (or smaller) clusters of either insect damage or surface abrasion scattered in places along the left and right sheet edges. A 0.75” horizontal repaired tear near the center of the left edge. Minor surface skinning at the center of the left, upper, and right sheet edges. Minor surface soiling and glue residue scattered near the upper and lower edges. Soft handling creases scattered in the edges and corners. The verso with glue residue, remnants of black paper, and surface skinning in places along the sheet edges. The sheet is loose, not matted. Unframed 31 Overall good appearance. Pale light-staining. Time staining along the edges. A few very minor foxmarks scattered in the upper half. Not examined out of the frame.

Condition Reports

Framed under glass: 18” H x 15.25” W x 1.5” D

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32 Overall generally good appearance. Presumably the full sheet with deckled edges. Handing marks and a few areas of pale staining and surface soiling scattered throughout the blank. Two approximately 1” diagonal creases along the upper left and right sheet corners. A few small, occasional edge tears. The verso sheet with white hinge and clear tape remnants, along with bands of glue residue along the edges and corners, with some attendant areas showing on the recto sheet edges. A larger, irregular stray ink mark on the verso sheet, possibly in the hand of the artist. The sheet is loose, not matted. Unframed

33 Overall good appearance. Slight cockling throughout the sheet, attendant with the materials used. Three pea-sized (or smaller) pale brown stains in the blank near the left sheet edge, and a small, 0.5” H x 0.125” W, area of stray artist’s pigment at the top of the left sheet edge. Very pale and unobtrusive time staining throughout the blank of both the sheet’s upper and lower edges. The tips of the sheet corners slightly dog-eared. Minor surface soiling, verso. The sheet is loose, not matted Unframed 34 Overall good condition with scattered minor scuffs and darkening/oxidation to bronze commensurate with age. 35 Seatback and seat with remnants of possible patination, with attendant staining. With shelf and handling wear, scattered scuffs and scratches, and oxidation commensurate with age. 36 Scattered chipped losses to the gilding. With rubbed wear to gilding, scattered scuffs and scratches, and oxidation to brass components commensurate with age. Glass with scattered scuffs and scratches. 37 Overall good condition with tarnishing and scratches commensurate with age. 38 Overall good condition with tarnishing and scratches commensurate with age. 39 Overall good appearance. Full margins with deckled edges. A pinpoint-sized pale foxmark in the lower margin, at left. Two very soft, unobtrusive handling creases in the upper margin corners. The sheet is loose, not matted. Unframed 40 Overall good appearance. With margins. Very pale light-staining. Not examined out of the frame. Framed under glass: 20.25” H x 22.75” W x 1.75” D

Framed under glass: 14.75” H x 17.75” W x 0.5” D 42 Overall good appearance. Time staining along the edges. Specks of scattered cluster bands of foxing/ surface soiling along the left and right sheet edges. A few very soft handling creases scattered in the outer edges. Not examined out of the frame. Framed under glass: 24.75” H x 19.75” W x 1” D 43 Overall generally good appearance. Occasional very soft horizontal creases and handling marks concentrated primarily in the lower half of the sheet, a few of which extend from one vertical edge to the other, however all of these are primiarily visible in raking light or on the verso. An unobtrusive, 1” horizontal split in the paper, likely inherent in the original manufacture, along the lower sheet edge, at left. An approximately pea-sized very pale stain in the upper left, upper right, and lower left sheet corners, all presumably from former matting. The sheet is hinged to the back mat with Japanese tissue hinges from the verso of the upper sheet corners Framed under glass: 23.75” H x 19” W x 1.25” D 44 Overall good appearance. The full sheet with deckled edges. A few very soft, small handling marks showing only on the verso. The sheet is loose, not matted. Unframed 45 Overall good appearance. The full sheet with deckled edges. A few very soft, small handling marks showing only on the verso. The sheet is loose, not matted. Unframed 46 Overall good appearance. With wide margins. Two unobtrusive, pinhead-sized pressure marks below the date in the lower margin, and three more in the upper margin, all of which are primarily visible in raking light. Not examined out of the frame. Framed under Plexiglas: 25” H x 19.5” W x 1.5” D

47 Each overall good condition with tarnishing and light scratches commensurate with age. Some spoons and forks slightly bent out of original shape. Weight does not include steak knives with stainless blades. 48 Each overall good condition with tarnishing, soiling, and scratches commensurate with age. 49 Overall good appearance. The work is framed floating, mounted to a linen-covered back mat. Not examined out of the frame. Framed under Plexiglas: 13.125” H x 15.375” W x 1.25” D 50 Overall good appearance. With margins and deckled edges. Soft handling marks in the margins, primarily along the lower margin edge, and a 1.5” horizontal crease in the left portion of the lower margin edge. The sheet is framed floating, hinged to the backmat from the verso of the outer margin edges. Not examined out of the frame. Framed under Plexiglas: 29.75” H x 36.75” W x 1.75” D 51 Overall good appearance. Full margins with deckled edges. A very good impression with rich contrasts and velvety burr still on the drypoint. Very slight cockling at the margin corners, not affecting the plate and visible primarily in raking light, likely attendant with the mounting. The work is mounted from the verso of the margins to an invisible piece of foamboard which is then affixed to the back mat. Framed under Plexiglas: 24.75” H x 24.75” W x 1.25” D 52 Overall good appearance. Full margins with deckled edges. A good impression. A few small scattered areas of minor surface skinning in places along the verso margin edges, presumably attendant with prior hinging. The sheet is taped to the overmat with two bands of white hinging tape from the verso of the upper and lower margin edges. Framed under Plexiglas: 36” H x 26.625” W x 1.375” D

Condition Reports

41 Overall good appearance. The sheet somewhat toned throughout. Two parallel, diagonal creases, each approximately 1” long, in the blank background above the figure’s hat, not affecting the image. A few other softer handling marks in the background concentrated primarily near the outer edges, visible mostly in raking light. Not examined out of the frame.

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53 Overall generally good appearance. Full margins with deckled edges. The colors (particularly the reddish tones) somewhat attenuated. Toning throughout the recto and verso, with one 6” H x 1” W area of uneven toning in the lower portion of the right margin. Staining from remnants of former hinging adhesive in two places near the upper edge of the image, verso, each approximately 1.25” H x 1” W, and one of which shows through to the upper right corner of the image, recto. The work is loose, currently secured to the back mat with four narrow strips of clear archival mylar at the margins edges. Framed under glass: 24.25” H x 28.25” W x 1” D 54 Overall good appearance. The full sheet with deckled edges. A few horizontal bands of yellow pigment or residue scattered in places along the right half of the work, possibly in the hand of the artist. The sheet is framed floating, tipped to the back mat from the verso corners and edges. Framed under glass: 31.125” H x 39” W x 2” D 55 Overall generally good appearance. Presumably full margins with deckled edges. Pale time staining in the margins, presumably from an old overmat window. Handling creases, minor surface soiling, and a few stray printer ink marks scattered throughout the margins. The lower margin with a horizontal impression, presumably from the lithographic stone during the printing process. A few small edge tears occasionally along the extreme margin edges. The verso sheet with a few bands of glue from tape remnants scattered along the edges and at the center. The sheet is loose, not matted.

Condition Reports

Unframed

340

56 Overall good appearance. Cockling throughout, attendant to the materials used. The sheet is framed floating, hinged to the back mat from the verso of the outer sheet edges. Framed under glass: 20.5” H x 16.5” W x 1” D 57 Overall good appearance. A few soft handling marks and small areas of surface soiling scattered in the blank of the sheet. The verso sheet with brown paper tape along the sheet edges and small scattered square remnants of the same tape. The sheet is loose, inside a clear protective plastic that is taped to an overmat. Unframed

58 Overall good appearance. With margins, deckled along the right edge. The colors good. A few soft handling marks scattered in the margins. A soft 1” horizontal crease at the center of the image, showing primarily on the verso. The sheet is loose, not matted. Unframed 59 Overall good appearance. Presumably the full sheet with deckled edges. The colors good. A very soft 1” diagonal crease along the upper left corner, only showing on the verso. The sheet is loose, not matted. Unframed 60 Overall good appearance. With margins, the lower margin edge deckled. The colors good. A very pale area of offset staining measuring approximately 13” H x 0.5” W along the right margin, just to the right of the image. Two rectangular creases along the upper portion of the left margin edge. A few very unobtrusive flecks of stray pigment scattered in the left and right margins. The sheet is loose, not matted. Unframed 61 Overall generally good appearance. Toning throughout the newspaper. The sheet with small edge tears with a few attendant losses along each edge; however, most appearing along the right edges. The outer newspaper with minor handling creases, scattered surface soiling, and a few areas of pinholes and small circular paper losses, most not affecting the image. A 0.75” H x 1.5” W area of staining on the front sheet of the folded newspaper, at the center of the lower edge, and just slightly affecting the image. Other lesser defects. The work is loose, not matted. Framed under glass: 29.25” H x 23.375” W x 1” D 62 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 19” H x 19.5” W x 2.5” D 63 Each with wall-hanging hardware verso. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 64 Each with wall-hanging hardware verso. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

66 Each with wall-hanging hardware verso. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 67 Overall good appearance. At least four of the pieces with tiny surface chips, rice-sized (or smaller), in places along the edges and/or corners, revealing the blonde wood below. Some of the pieces with occasional unobtrusive rice-sized (or smaller) losses to just the thin varnish layer, visible only in raking light. The piece numbered “42” with a 0.25” H x 2.5” W area of white paint(?) along its lower side edge, not visible from the recto or verso. Each of the pieces with a small patch of museum wax, verso, from previous display Unframed 68 Visual: Overall generally good appearance. Dust accumulation, specks of grime, minor varnish discoloration, darkening, small areas of thin scattered abrasions, fine craquelure throughout, stretcher bar creases along each side, and scattered areas of minor wear to the pigment, all commensurate with age. A few areas of unstable pigment with attendant flecks of pigment loss. Blacklight: Clusters of scattered touch-ups throughout and with attendant patches verso. Frame: 55.25” H x 44.125” W x 2.5” D 69 Visual: Overall good appearance. Varnish discoloration and grime. As mentioned, the canvas has been laid to board. Blacklight: No evidence of restoration. Frame: 13.5” H x 11” W x 1.75” D 70 Visual: Overall good appearance. Stable craquelure throughout with a few attendant small flecks of pigment loss, the largest rice-sized in the lower portion of the lapel of the figure’s garment. As mentioned, the canvas has been laid to board. Blacklight: Small flecks of old touch-up scattered primarily along the outer edges. Frame: 32” H x 23.25” W x 1.75” D

71 Overall generally good appearance. Varnish discoloration and grime commensurate with age. Minor scattered abrasions and scratches with a few attendant rice-sized pigment losses. Slight rippling of the tin, primarily at the corners. Tack holes in each corner and along the upper edge. The work is framed floating, affixed to the frame’s backing board. Other lesser defects. Not examined out of the frame. Framed in an acrylic box: 20.75” H x 16.75” W x 1.5” D 72 Overall generally good appearance. Varnish discoloration and grime commensurate with age. Scattered areas of pigment loss throughout. Abrasions along the extreme edges and corners, with a rice-sized loss to the tin in the lower portion of the left edge. Slight rippling of the tin. Tack holes in the center of the upper and lower edges. Other lesser defects. The work is framed floating, affixed to the backing board. Not examined out of the frame. Framed in an acrylic box: 16.5” H x 13.5” W x 1.5” D 73 Each generally good condition with dust accumulation, minor abrasions, and scattered scratches commensurate with age and use. The larger with scattered areas of further pigment loss and rubbed wear to paint surface, as well as areas of minor pitting near the top edge. The frames with oxidation overall to each side. Each frame with areas of distortion and slight bending to edges. The larger frame with detached seam to top sunburst element, approximately 5” L. The smaller frame with scattered minor spots of pigment/paint to the front. 74 Left wing missing a mounting peg and possibly not mounted in original position. Loss to finger of left hand, two other fingers with repaired breaks. Scattered chipped losses to the polychrome. Rubbed wear to gilt and polychrome throughout, with some soiling commensurate with age. The base with two shallow cracks. 75 The front of robe with a 3.5” long older repair, possibly with other scattered repairs. Scattered hairline cracks in the wood, with a larger 10” long vertical split to figure verso. Rubbed wear and losses to polychrome throughout, with older chipped losses throughout. Soiling, scratches, and scuffs commensurate with age.

Condition Reports

65 Each with wall-hanging hardware verso. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

341

76 The figure has mounting screws in its back and one foot. Chipped losses to wood throughout, including one finger. Torso not attached to legs, and right calf proper not fully mounted. This lot has not been assembled and may require additional hardware. Repairs to at least one finger and one toe. With soiling, scattered losses to paint, and handling wear commensurate with age. 77 Chipped losses to wood throughout, including most fingers. This lot has not been assembled and may require additional hardware to stand. As such, the overall height listed is an approximation. Repairs to at least one finger, one toe, and figure’s nose. With soiling, scattered losses to paint, and handling wear commensurate with age. Staining to torso, with large stain to middle of stomach. 78 Figure missing forearms and possibly other elements. Scattered chipped losses, soiling, and rubbed wear to polychrome throughout. 79 Likely lacking previously mounted chains, with two spots of mounting substance at torso. Scattered chipped losses, soiling, and rubbed wear to polychrome throughout. 80 Each with scuffs, scratches, rubbed wear, and soiling commensurate with age. Jesus figure missing an arm. Reliquary with oxidation and indentations, as well as small losses around lid juncture.

Condition Reports

81 Each with losses and degradation from use. One with large losses to feet. Each with soiling, scratches, and dust accumulation commensurate with age.

342

82 Each overall good condition with rubbed wear and losses to polychrome, scuffs and scratches, and soiling commensurate with age. 83 Older chipped losses throughout. The top with more heavy wear to finish, staining, and cracks in the wood, the rest of the top with staining, wear to finish, and cracks. Each leg with splits in the wood, but the table not shaken. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age.

84 Gilt remnants to iron components. Evidence of older wood worm. The top with a crack through horizontally. Verso with updated wood components/ restoration. With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Small older losses throughout. 85 With scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Older losses to wood throughout. Heavy wear, losses, and tears to leather, with stiffening and darkening. 86 Overall good condition with minor shelf and handling wear commensurate with age. Scattered areas of soiling. Underside with penciled or inked mark: 517. Left ear with very small chipped loss at the end. 87 Overall good condition with minor shelf and handling wear commensurate with age. Small scuff to figure’s nose. 88 Two ears with breaks and unmounted, retained with the lot. Yolk and implement both detached, and strings are loose. One figure with inherent cracks in the wood. With handling wear, scuffs and scratches, and dust accumulation commensurate with age. 89 Repaired breaks to at least two legs and one ear, another lacking one ear. With shelf and handling wear, soiling, and rubbed wear to paint commensurate with age. 90 With scattered small older chipped losses, soiling, and scattered scuffs and scratches commensurate with age. The wings with older cracks and possibly repaired breaks, with attendant shakiness. 91 Each overall good condition with shelf wear, scattered scuffs, scratches, and inherent firing flaws commensurate with age. Each with scattered minor surface chips/abrasions. 92 The largest and footed each with scattered small chips to rim. Footed with rubbed wear and soiling to the bowl interior and chips to feet. Each with shelf wear, soiling, scattered minor scuffs, and inherent firing flaws commensurate with age.

94 The bowl with a 1” diameter chipped loss to rim with attendant vertical crack. One cup with repaired handle. One smaller plate with two pea-sized chips to rim. Each with rubbed wear and losses to the painted decorations. Each with shelf wear, scattered scuffs, and inherent firing flaws commensurate with age.

99 Overall good appearance. The full sheet with deckled edges. A pea-sized area of pigment loss in the extreme lower edge, right of center. Minor toning to the pigment. A small cluster of a few specks of wear to the pigment at the center of the right edge. The sheet is taped to the overmat with a long piece of brown paper tape along the verso of the extreme upper edge. Unframed

95 Overall good appearance. A good impression. The left and lower margin edges have been folded upwards. The sheet is hinged to the back mat from the verso in two places of the upper margin edge and one at the center of the lower margin edge.

100 Overall good appearance. A small cluster of scattered surface skinning in the lower edge, at left, only visible in raking light. Very minor, unobtrusive wear to the extreme tips of the paperboard corners. Two artist pinholes in places along the upper edge. The paperboard is hinged to the back mat in various places on the verso edges and corners.

Unframed

Framed under Plexiglas: 30.5” H x 39.125” W x 2.5” D

96 Overall generally good appearance. Pale light-staining. A 2.25” vertical gouge in the paper in the lower right quadrant. Scattered areas of damp staining, the largest measuring 4” H x 1” W along the right sight edge. Not examined out of the frame.

101 Each overall good appearance. With margins. The red and green ink woodcuts with some of the margin corners very slightly dog-eared. Each sheet is loose, not matted.

Framed without glazing: 17.25” H x 16” W x 1.25” D 97 Overall good appearance. Full margins. Several very unobtrusive, pinpoint-sized foxmarks confined to the upper and lower margins. A few scattered, very soft handling marks in the lower margin, as well as one in the blank at upper left, primarily visible in raking light. The slightest trace of mat staining in the outer portion of the margins and on the verso. Minor surface soiling, verso. The sheet is hinged to the overmat in two places from the verso of the upper margin edge. Framed under Plexiglas: 28” H x 38.25” W x 1.5” D 98 Overall good appearance. A few pale foxmarks scattered around the margins, primarily in the lower right. Soft handling marks along the outer sheet edges. The upper right sheet corner slightly dog-eared. Three approximately 0.75” H x 1” W (or smaller) white stickers with handwritten or typed numerical notations adhered to the sheet in the lower margin corners. Artist pinholes in each corner. Uneven toning and a few ricesized flecks of stray green pigment on the verso. Old tape remnants and residue in places along the verso of the sheet edges, and another white sticker, as well as a gallery label adhered to the verso of the sheet in the upper center. The sheet is loose, not matted. Unframed

Each unframed 102 Overall good appearance. Minor colored pencil and graphite residue in the margins, primarily in the upper left. The sheet is tipped to the back mat from the verso of the upper and right edges. Framed under glass: 14.75” H x 12.75” W x 1.25” D 103 With margins and the upper, left, and right edges deckled. The lower margin edge is trimmed slightly unevenly. Uneven light-staining from a previous overmat window. A 5” H broken band of surface soiling in the lower margin, at right. Three pieces of paper tape remnants adhered to the verso of the upper margin edge. An occasional pale, tiny foxmark showing on the verso. The sheet is loose, not matted. Unframed 104 Overall good appearance. With margins. Pale, scattered staining along the lower margin edge. Soft handling marks in the outer margin edges, mostly visible in raking light. The sheet is framed floating, tipped to the back mat in places along the verso edges and corners. Not examined out of the frame. Framed under Plexiglas: 40” H x 32” W x 1.5” D

Condition Reports

93 Each bowl with chips to rim. Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

343

105 Overall good appearance. Full margins with deckled edges. Soft handling marks scattered in the outer margins. The upper left margin corner slightly dogeared. An occasional tiny foxmark scattered in the margins. A faint pinhead-sized reverse pressure mark in the lower right margin corner. Uneven toning and two pea-sized areas of surface staining on the verso. The sheet is loose, not matted.

109 Visual: Overall good appearance. Occasional areas of rice-sized (or smaller) pigment losses, revealing the underpaint, scattered primarily in the upper left quadrant, outer edges, and two small areas on the figure’s nose. Minor rippling to the canvas throughout. A few areas of very fine, unobtrusive lines of craquelure, primarily visible in raking light. The canvas has been striplined and with newer stretcher bars.

Unframed

Blacklight: A 2” H x 14” W scattered band of touch-up in the lower right quadrant. A 4” H x 3” W scattered upside-down L-shaped touch-up in the right half of the figure’s face. Other smaller touch-ups in the figure’s face, body, and background.

106 Overall good appearance. A pale pinhead-sized stain in the blank, upper right. Not examined out of the frame. Framed under Plexiglas: 22.625” H x 18.75” W x 1.125” D 107 Overall generally good appearance. With full margins and the colors good. A 3.25” H x 0.125” W scattered band of pale brown speckled staining originating in the lower margin and extending, unobtrusively, up through the lower edge of the image, at left. Two areas of very pale old staining in the lower margin, the largest 1” H x 1” W, not affecting the image. Slight surface soiling showing mostly in the margins and on the verso. The sheet is loose, not matted. Unframed 108 Overall generally good appearance. With full margins, deckled along the lower edge, and the colors good. Two pale brown stains in the left margin, not affecting the image, the largest measuring approximately 1.375” H x 1.375” W, both of which are showing through from what appears to have once been squares of tape in those places on the verso. The sheet is loose, not matted.

Condition Reports

Unframed

Frame: 41” H x 37.125” W x 2.5” D 110 Overall good appearance. A faint 3” diagonal scuff going across the upper left corner. Slight wear and minor paper loss to the extreme corners and in places along the extreme edges, and a 1.25” diagonal flattened crease across the upper right corner, none of which are visible as framed. As mentioned, the paper has been laid to Masonite. Framed without glazing: 20.5” H x 15.75” W x 1.75” D 111 Overall good appearance. With margins. The colors good. A few very soft handling marks scattered in the margins. The verso sheet with small, minor areas of surface soiling and stray printer’s ink. The sheet is loose, not matted. Unframed 112 Overall good appearance. The full sheet with deckle edges. The colors good. A soft, unobtrusive 2” diagonal crease in the upper right sheet corner. The sheet is loose, not matted. Framed under thick mylar: 36.25” H x 24.25” W x 0.375” D 113 Full margins with deckled edges. Pale light-staining showing in the image and margins from exposure through the overmat’s window. The colors attenuated. The margins with a few paper losses, the largest measuring 1.5” H x 0.5” W near the center of the left margin. The margins with bands of scattered surface skinning and areas of glue residue, none of which affect the image. A 1.75” H x 0.75” W band of white tape affixed to the lower portion of the right margin. The sheet dry mounted to the back mat. Framed under glass: 31.375” H x 27” W x 1.75” D

344

Unframed 115 Overall good appearance. The full sheet with deckled edges. The colors good. An approximately pinheadsized surface abrasion at the extreme lower left sheet corner. The sheet is tipped to the back mat from the verso sheet corners. Unframed 116 Overall good condition with shelf wear, scattered scuffs and scratches, and minor indentations commensurate with age.

122 Overall good appearance. A 1” horizontal crease along the upper edge, at right, primarily visible on the verso. The sheet is loose, not matted. Unframed 123 Overall good appearance. A few very soft handling marks only showing on the verso and in raking light. The sheet is loose, not matted. Unframed 124 Overall good appearance. A 1.5” diagonal crease along the lower left corner, and a smaller, softer one near the upper left corner. The sheet is loose, not matted. Unframed

117 Overall good condition with tarnishing, shelf wear, and light scratches commensurate with age. Soiling and oxidation to interior. Underside with two small spots of rubbed wear to plating, revealing base metal.

125 Overall good appearance. The sheet is loose, not matted.

118 Each overall good condition with tarnishing, shelf wear, and scratches commensurate with age.

126 Overall good appearance. The sheet is loose, not matted.

119 Overall good condition with light scuffs commensurate with age. Possibly with minor scattered areas of loss to beadwork.

Unframed

120 Overall good appearance. A few small areas of very minor wear to the gold pigment in places along the overlap of the canvas. Unframed 121 Overall generally good appearance. A crease extending along the upper half of the work. Smaller creases and small abrasions along the extreme sheet corners and edges. The verso sheet with a few small areas of scattered surface abrasion. The sheet is loose, not matted. Unframed

Unframed

127 Overall good appearance. The lower portion of the extreme left edge is trimmed slightly unevenly. The sheet is loose, not matted. Unframed 128 Overall generally good appearance. A 12.5” diagonal crease along the lower left quadrant. Other smaller creases scattered in the outer blank corners and edges, and some in the image. The sheet is loose, not matted. Unframed

Condition Reports

114 Overall good appearance. The full sheet with deckled edges. The colors good. The sheet is tipped to the back mat in various places along the verso sheet corners and edges.

345

129 Overall generally good appearance. A diagonal crease extending along the right half of the work, affecting the image and blank outer edges. Other smaller creases scattered in the blank outer edges, with a few areas in the image. Scattered areas of minor surface soiling in the outer right and lower edges. Soiling and grime along the diagonal crease on the verso sheet, and a small irregular surface indentation on the verso, near the upper right sheet corner. The sheet is loose, not matted.

137 Each with intentional antiquing and rubbed wear to polychrome. One figure with repaired break to neck, another with repaired break to one arm. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Unframed

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

130 Visual: Overall good appearance. Occasional specks of grime. Blacklight: No evidence of restoration. Frame: 38” H x 32” W x 2.5” D 131 Overall good condition with light tarnishing and scratches commensurate with age and use. 132 With shelf wear, soiling and patination, scattered scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy crazing throughout ceramic and inherent indentations to gold piece.

Condition Reports

133 With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: rubbed wear to the painted decorations and a possible accession sticker to underside.

346

134 The mask is separate and sits in the figure’s head. Figure with detached left leg. With shelf wear, soiling and patination, scattered minor scuffs, small losses and inherent firing flaws commensurate with age. Issues including but not limited to: heavy chipped losses throughout, including to backs of shoulder mounts and item carried in left hand proper. 135 With a 0.5” diameter chipped loss to rim of spout. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 136 Each with intentional antiquing and rubbed wear to polychrome when present. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

138 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Each with intentional antiquing.

140 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 141 Denting to coffee pot spout, creamer foot, and sugar lid, with a larger 1” x 0.5” shallow dent to teapot. Each with other small dents, scattered scuffs and scratches, and tarnishing commensurate with age. Each with soiling to interior. Wood elements with fading and wear to finish. Weight includes non-silver elements. 142 With a slight lean and scattered indentations. With tarnishing and scratches commensurate with age. 143 Visual: Overall good appearance. Minor bumps and creases throughout, attendant with the paper having been laid to board. Blacklight: No evidence of restoration. Frame: 27.75” H x 23.75” W x 1.5” D 144 Overall good appearance. Minor scattered areas of white residue, primarily in the outer edges. Fine scattered creasing throughout, attendant with the sheet being laid to Masonite. Framed under glass: 15” H x 15” W x 1.5” D 145 Apparent degradation to patina, soiling, and oxidation throughout, possibly inherent in the construction. Scattered scuffs and scratches.

Framed under Plexiglas: 34.625” H x 34.625” W x 1.75” D 147 Overall good appearance. With margins. The colors good. Not examined out of the frame. Framed under Plexiglas: 31.125” H x 31.125” W x 1.625” D 148 Overall good appearance. The colors good. With margins. A very small bug carcass inside the glass at the center of the upper image edge. A speck of grime adhered to the surface near the center of the lower edge. Not examined out of the frame. Framed under glass: 30.25” H x 30.125” W x 1.625” D 149 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 33” H x 35.25” W x 1.75” D 150 Overall good appearance. With margins. Not examined out of the frame. Framed under Plexiglas: 33.5” H x 33.5” W x 1.75” D 151 With a 5” long crack along back of figure’s neck. A crack to the right tusk and right side of trunk, with possible restoration. Toes with chipped losses, concentrated to back feet, the front left foot with a 1.5 x 1” chipped loss. Craquelure to lacquer throughout. Possibly with other flaws, possibly inherent in the construction. With minor soiling and rubbed wear throughout. 152 Repair to tail. With a 1.5” long crack to underbelly and a long shallow crack to figure’s back, likely only affecting the lacquer. Craquelure to lacquer throughout. Possibly with other flaws, possibly inherent in the construction. With minor soiling and rubbed wear throughout. 153 Repaired break to right leg proper. Otherwise good condition with shelf wear and scattered scuffs and scratches commensurate with age.

154 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Wall-mounting wire verso. 155 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. With a dime-sized scuff and paint loss to one side. 156 One hand with repaired breaks to fingers. Bicycle slightly loose from its mounting with the plinth, with attendant cracking to paint at the junctures. Offsetting from the paint of bicycle seat to figure’s crotch and legs. The bicycle with scattered areas of paint loss, with attendant oxidation/rust, concentrated to seat and handle bars. Otherwise overall good condition with scattered scuffs and scratches and dust accumulation commensurate with age. 157 Overall good condition with scattered scuffs, scratches, and handling wear commensurate with age. Wear concentrated along edges, the bottom edge with some chipped losses. Left side proper edge with a 2.5” long split between the backing and mask. Craquelure cracks throughout. Wall-hanging hook verso. 158 Scattered larger and smaller indentations throughout. Tail detached and retained with the lot. With oxidation, soiling, dust accumulation, and scattered scuffs and scratches commensurate with age. 159 Visual: Overall good appearance. An unobtrusive fleck of pigment loss in the brown pigment of the background in the upper right quadrant. Blacklight: A few pea-sized areas of touch-up scattered in the background of the upper half. Frame: 35.625” H x 43.125” W x 2.25” D 160 Visual: Overall good appearance. Scattered specks of minor grime. Blacklight: No evidence of restoration. Frame: 31.5” H x 27.5” W x 1.5” D

Condition Reports

146 Overall good appearance. With margins. Very faint, unobtrusive traces of white scattered pigment or residue scattered along the upper margin, only visible in raking light. Not examined out of the frame.

347

161 Overall generally good appearance. The full sheet with deckled edges. A small series of scattered pinhead-sized pressure marks in both the upper left and upper right sheet corners, visible primarily on the verso. Unobtrusive, possible, pinhead-size foxing or specks of mildew scattered in places in the upper half of the sheet, primarily in the background. A few soft handling marks scattered throughout, primarily visible on the verso. Pale backboard staining, verso. A tiny red paper sticker, reading “Hecho en Mexico,” is affixed in the lower right sheet corner, verso. The sheet is loose, currently secured to a back mat with four clear archival corners. Unframed 162 Overall good appearance. The full sheet with deckled edges. The colors good. A 2” diagonal crease in the lower left sheet corner, slightly affecting the white pencil numbering, and another smaller, more unobtrusive area at the center of the lower sheet edge. Two very small, unobtrusive edge tears along the extreme lower sheet edge, at left. The verso with very pale, unobtrusive flecks of scattered foxing. A tiny red paper sticker reading, “Hecho en Mexico,” is affixed in the lower right sheet corner, verso. The sheet is loose, not matted. Unframed 163 Overall good appearance. The full sheet with deckled edges. A few very soft, minor handling marks scattered primarily along the sheet edges, visible primarily in raking light. A few pinholes at the center of the left and right sheet edges. Very pale, tiny scattered foxmarks showing only on the verso. The sheet is loose, not matted.

Condition Reports

Unframed

348

164 Overall good appearance. The full sheet, with deckled edges, and the colors fresh. Three very soft handling marks, each extending 2.5” horizontally from the right sheet edge into the background of the image, visible primarily in raking light or on the verso. Occasional other, smaller, scattered, handling marks visible primarily on the verso. A 2” diagonal crease across the tip of the upper right margin corner, visible primarily in raking light or on the verso. The sheet is loose, not matted Unframed

165 Visual: Overall good appearance. A soft stretcher bar crease along the left edge. A small area of very fine craquelure in the lower left quadrant. Blacklight: No evidence of restoration. Unframed 166 Overall good appearance. Pale light-staining. A few pale, mostly pinpoint-sized scattered foxing, the most apparent area being in the background and in-between the two ladies at left. Pale, uneven backboard staining on the verso. Artist pinholes at each sheet corner. The sheet is loose, secured to the back mat with four clear archival corners. Framed under glass: 26.375” H x 32.5” W x 1.5” D 167 Overall good appearance. The full sheet on all sides except where it appears to have been trimmed very slightly (approximately 0.25”) along the lower sheet edge. The colors good. A few soft handling marks scattered near the upper and lower right sheet corners, showing primarily on the verso. The sheet is loose, not matted. Unframed 168 Overall generally good appearance. The full sheet with deckled edges. The colors good. The figure’s mask of the lithographed mylar collage is fully detached from the bottom “latch,” and the top “latch” is hanging very loosely. The collage piece is also creased and with areas of slight abrasion. Very slight scattered surface soiling, primarily visible in raking light. A few very small edge tears scattered along the extreme upper edge. The sheet is loose, not matted. Unframed 169 Overall good appearance. With margins. The colors fresh. Handling creases scattered throughout the margins. The sheet is loose, not matted. Unframed 170 Overall good appearance. Full margins with deckled edges. The colors good. A few scattered handling creases in the margin edges, most are visible in raking light. The sheet is loose, not matted. Unframed

172 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 173 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Mounting putty residue to underside. 174 Visual: Stretcher bar creases along each side. Craquelure throughout, and a few areas of instability with attendant pigment loss, the largest measuring 0.25” H x 0.5” W in the figure’s head near the upper edge, at right. The upper edge of the canvas is slightly loose from the frame opening and is visible in its current framing. Damp staining scattered in places on the verso. The work with a newer stretcher and keys. Blacklight: A few approximately quarter-sized areas of touch-up in some of the figure’s faces and a few other smaller areas scattered along the outer edges. Frame: 39.75” H x 59.625” W x 3” D 175 Visual: Overall good appearance. Minor dust accumulation and specks of grime scattered throughout. Fine scattered paint shrinkage in the burnt orange pigment in the upper right quadrant. Three vertical bands of surface scuffing, each approximately 3” long, to the left of the female figure, with some scuffing extending onto the figure’s face in the upper left quadrant. A very minor 11” diagonal scattered surface scratch near the upper edge, at left, primarily visible in raking light. Blacklight: Touch-ups in the three above-mentioned surface scuffs in the upper left quadrant. Frame: 32.5” H x 44.5” W x 2.5” D 176 Visual: Overall good appearance. A few areas of fine craquelure scattered in places along the upper half of the work. Very soft, unobtrusive, scattered areas of stretcher bar creases, primarily visible in raking light. Bands of abrasion with attendant pigment loss along the extreme upper edge, and a few smaller, occasional areas of abrasion scattered in places along the extreme lower edge. Blacklight: No evidence of restoration.

177 Visual: Overall good appearance. The panel is very slightly convex. Blacklight: No evidence of restoration. Frame: 19.5” H x 39.5” W x 1” D 178 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 23.5” H x 31.625” W x 2.5” D 179 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 27.75” H x 23.75” W x 2.25” D 180 Visual: Overall good appearance. Slight grime and varnish discoloration. Very minor craquelure primarily in the darker pigments of the right half. Two very soft dime-sized pressure marks in the center of the work. Blacklight: No evidence of restoration. Frame: 15.5” H x 19.75” W x 1.75” D 181 Overall generally good appearance. With wide (possibly full) margins. The thin paper with scattered soft handling marks throughout. Some diagonal creases, most of them soft, concentrated in the lower margin, not affecting the image. A quarter-sized stain in both the upper left and upper right margin corners, apparently related to the removal of old hinging tape, verso. The sheet is loose, not matted. Unframed 182 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 183 Degradation to underside and spalling throughout. With shelf wear, scuffs, and inherent firing flaws commensurate with age. 184 Martinez jar with sticker ghost to underside. Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

Condition Reports

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

Frame: 42.125” H x 50” W x 1.75” D 349

185 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

196 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Tests for sterling with XRF.

186 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

197 Overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions, surface reaching fractures, and visible inclusions.

187 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 188 Each figure with scuffs and scratches and loss to patination. Overall good condition with minor oxidation commensurate with age. The backing with a few minor scuffs and scratches.

Condition Reports

189 Overall good condition with minor oxidation commensurate with age. The backing with a few minor scuffs and scratches.

350

198 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. Tests for sterling with XRF. 199 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions. 200 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Bracelet with bail loop to one edge.

190 Each overall good condition with shelf wear, scattered scuffs and scratches, and oxidation/darkening to brass commensurate with age.

201 Each in overall good condition with light tarnishing and scratches commensurate with age and use.

191 Overall good condition with scattered scuffs, scratches, indentations, and oxidation commensurate with age. A few areas of separation between pieces of metal around area of tail feather mounting, possibly inherent in the construction.

202 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Stones with scattered light abrasions. The obsidian with a few fleabites and minor chips to edges and points.

192 Overall good condition with tarnishing and light scratches commensurate with age. Hoop with an area of heavy tarnishing.

203 Overall good condition with light tarnishing and scratches commensurate with age and use.

193 Overall good condition with tarnishing and scratches commensurate with age. Monogrammed ‘HA’. 194 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with light abrasions, surface reaching fractures, and visible inclusions. Three test for sterling with XRF. 195 Each in overall good condition with tarnishing and light scratches commensurate with age and use. Scattered stones with abrasions. Does not test for sterling.

204 Each in overall good condition with tarnishing and light scratches commensurate with age and use. The amethysts with light abrasions, eye-visible inclusions and surface-reaching fractures. 205 Each in overall good condition with light tarnishing and scratches commensurate with age and use. 206 Each in overall good condition with tarnishing and light scratches commensurate with age and use. The amethysts with eye-visible inclusions and surfacereaching fractures. Scattered stones with abrasions. Bracelet chain guard detached at one end.

208 Each in overall good condition with tarnishing and light scratches commensurate with age and use. Stone with scattered light abrasions and a tiny chip. One hair comb with a couple of missing teeth to one end. Three items test for sterling. 209 Overall good appearance. With margins. The colors slightly attenuated. Not examined out of the frame. Framed under glass: 19.5” H x 21.75” W x 1.5” D 210 Overall good appearance. Very delicate crinkling/ cockling throughout the paper, attendant with the materials used, and primarily visible in raking light. Several unobtrusive, rice-sized (or smaller) paper losses or v-shaped, accordion-type, surface splits in the background. The tip of the upper left sheet corner lifting away from the support board. Other lesser defects. Not examined out of the frame. Framed under glass: 26.25” H x 21.25” W x 1.75” D 211 Overall good appearance. The full sheet with deckled edges. The sheet is framed floating, tipped to the back mat from the verso sheet corners. Not examined out of the frame. Framed under glass: 24.25” H x 19.75” W x 1.25” D

214 Overall good appearance. Pale light-staining and slightly uneven staining showing primarily at the outer edges, not affecting the image. Surface soiling and stray pale black pigment along the outer edges of the upper and right edges, and a small area of glue residue near the upper right sheet corner, none of which affect the image. Handling creases scattered in the outer edges and cockling along the right edge. Other lesser defects. The sheet is loose, not matted. Unframed 215 Overall good appearance. The full sheet with deckled edges. Pale light-staining. Very pale time staining along the extreme edges. A pinhead-sized pressure mark near the upper portion of the right edge. Minor handling creases scattered along the outer edges. A stray pinkish pigment mark near the upper edge, at left, and other stray pigment marks scattered throughout the verso sheet, all presumably in the hand of the artist. Toning to the verso sheet. Small bands of glue residue at the center of each of the sheet edges, verso. The sheet is loose, not matted. Unframed 216 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 33.5” H x 37.5” W x 2.25” D 217 Visual: Overall good appearance.

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

Blacklight: No evidence of restoration.

Framed under glass: 35” H x 26.75” W x 1.75” D

218 Overall good appearance. The full sheet with the upper and lower edges deckled. A soft 1.5” curved crease in the lower portion of the left sheet edge, and another, smaller, in the upper portion of the right sheet edge. The surface of the sheet is slightly uneven along the left and right edges due to tipping. The sheet is tipped to the backmat from the verso of the sheet edges. Not examined out of the frame.

213 Overall good appearance. A soft, unobtrusive 1” diagonal crease across the figure’s extended elbow, primarily visible in raking light and on the verso. A pinpoint-sized, unobtrusive speck of residue near the center of the upper sheet edge. The sheet is loose, secured to the back mat with four clear archival corners. Unframed

Frame: 25.75” H x 19.5” W x 1.5” D

Framed under glass: 28.75” H x 37.75” W x 2” D 219 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 21.25” H x 21.25” W x 2.25” D

Condition Reports

207 Each in overall good condition with light tarnishing and scratches commensurate with age and use. Scattered stones with abrasions.

351

220 Visual: Overall good appearance. Blacklight: No evidence of restoration. Unframed 221 Each overall good appearance. The full sheets with deckled edges. The sheets are framed floating, affixed to the back mat. Not examined out of the frame.

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

Blacklight: No evidence of restoration.

Frame: 28.5” H x 31.5” W x 2” D

Unframed

223 Visual: Overall good appearance.

232 Visual: Overall good appearance. Occasional specks of grime. Artist pinholes scattered along the upper and lower edges. A few areas of minor wear to the pigment scattered along the extreme edges. Damp staining on the lower half of the verso.

Blacklight: No evidence of restoration. 224 Visual: Overall good appearance. Presumably a missing red bullet casing in the upper right corner, attendant with remnants of glue. Blacklight: No evidence of restoration. Frame: 30.5” H x 40.75” W x 2.625” D 225 Visual: Overall good appearance.

Blacklight: No evidence of restoration. Unframed 233 Visual: Overall good appearance. Dust accumulation and specks of grime scattered throughout. Blacklight: No evidence of restoration.

Blacklight: No evidence of restoration.

Unframed

Frame: 48.75” H x 30.75” W x 2.75” D

234 Visual: Overall good appearance. Specks of grime scattered throughout. A band of white residue scattered along the lower edge. The canvas with rippling throughout, presumably attendant with the canvas not being stretched fully on the stretcher.

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

Condition Reports

230 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 231 Visual: Overall good appearance. A 0.5” curved tear in the left of center near the lower edge. Minor frame abrasion along each edge with occasional attendant wear and pigment loss in the extreme edges. Damp staining on the verso of the upper half.

Framed under glass: 28.25” H x 53.25” W x 2” D

Framed under Plexiglas: 45” H x 65.5” W x 2.5” D 227 Overall good appearance. Not examined out of the frame. Framed under Plexiglas: 47” H x 67” W x 2.25” D 228 Overall generally good appearance. The sheet with margins. A 3.5” H x 6.5” W irregular area of damp staining in the lower left sight corner, extending on the overmat. Not examined out of the frame. Framed under Plexiglas: 47” H x 67” W x 2.25” D

352

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

Blacklight: No evidence of restoration. Unframed 235 Overall good appearance. The full sheet with deckled edges. A 0.5” diagonal tear in the lower left sheet corner. The sheet is framed floating, affixed to the back mat. Not examined out of the frame. Framed under glass: 21.625” H x 27.625” W x 1.125” D

Blacklight: No evidence of restoration. Unframed 237 Visual: Overall good appearance. Blacklight: No evidence of restoration. Frame: 24.5” H x 30.5” W x 2.25” D 238 Overall good appearance. Scattered specks of grime and minor surface soiling. A few pinholes scattered in the left half of the work, and one in the lower right quadrant. A 1.5” vertical surface scratch with attendant pigment loss along the upper portion of the left edge, and two rice-sized areas near the extreme upper right corner. Unframed 239 Overall good appearance. Slight varnish discoloration and grime. Stretcher bar creases along each edge. Frame: 42.75” H x 55” W x 1.75” D 240 At least six glass inserts are cracked, and a few are loose. Shade is malleable and has been bent out of original form. Otherwise good condition with scuffs, scratches, oxidation, and dust accumulation commensurate with age. 241 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered losses to gilding and painted surfaces. 242 With wear, dust accumulation, soiling, and scuffs and scratches commensurate with age. With a 3.5” x 1” chipped loss to bottom edge and a 2.5” x 1.5” chipped loss to underside. 243 Overall good condition with dust accumulation and wear commensurate with age and use. Fluffiness to weave overall. A couple of faint spots to each side. Areas of minor dye transfer to one side.

244 Overall good condition with dust accumulation and wear commensurate with age and use. A few scattered minor spots. Loose stitches to some edges and ends. 245 Overall good condition with dust accumulation, light soiling, and light wear commensurate with age and use. A few scattered areas of loose warps, with minor loose threads and a couple of discreet holes. Top and bottom edges with stitch applied narrow woven tape, likely for hanging. 246 One hanging element with a missing chain and replacement wire. Oxidation/rust throughout. Possibly with some elements slightly bent out of original orientation. 247 Each overall good condition with light shelf wear and a few scattered minor scuffs and scratches commensurate with age. Several with loose and or removable elements such as tails and wings, easily placed in position. Hummingbird with break to hanging line, and with break to tip of one feather, remaining in body. Lizard with minor loss to tip of tail. 248 Each overall good condition with shelf wear, scattered minor scuffs, scratches, and inherent firing flaws commensurate with age. A few with scattered minor surface chips/abrasions to slip. 249 ‘Wonderland with broken front hinge. Each otherwise good condition with shelf wear, bumping to corners and edges, and scuffs and scratches commensurate with age.

Condition Reports

236 Visual: Overall good appearance.

353

John Moran Auctioneers, Inc SPECIALISTS

Head of Sale, Vice President, Specialist Maranda Moran President, Auctioneer Jeffrey J. Moran Director, Fine Art Katherine Halligan, AAA Associate Specialist, Fine Art Bobby Cullen Associate Specialist, Fine Art Madison Ari Senior Cataloguer, Fine Art Anne Spink Cataloguer, Fine Art Lori Kassabian Department Administrator, Fine Art Jacob Baer Director, Furniture and Decorative Arts Jen Kurtz Senior Specialist, Furniture & Decorative Art Angela Past Post-War & Contemporary Design Specialist Matthew Grayson Department Administrator, Furniture & Decorative Arts /Jewelry Jessica Crosbie Cataloguer, Furniture & Decorative Arts Grant Stevens Cataloguer, Silver, Western and American Indian Sally Andrew Director, Jewelry & Watches Senior Specialist, Jewelry & Watches

Tom Burstein 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 Accounts Receivable / Client Services Tiffany Hansen

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 Photographer

FOUNDERS

Nathan Martinez Brenda Smith Brian Olivas Keith Berson Madison Torres Wyatt Beserra Chloe Daniels

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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