Modern + Contemporary Fine Art

December 10, 2025

Sale 327

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145 East Walnut Avenue, Monrovia CA 91016 Meet the Team

Katherine Halligan Head of Sale, Director, Fine Art k.halligan@johnmoran.com

Anne Spink

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

Madison Ari Cataloguer, Fine Art m.ari@johnmoran.com

Mario Esquivel Office Manager m.esquivel@johnmoran.com

Lori Kassabian Cataloguer, Fine Art l.kassabian@johnmoran.com

Ella Fountain Client Services e.fountain@johnmoran.com

SINCE 1969

The Estate of Herbert and Ann Lucas

Herbert “Bill” and Ann Lucas

Los Angeles, CA

Ann and Bill Lucas lived life fully. One great expression of their love of life was their passion for the fine arts.

Bill’s mother was an amateur artist, so he grew up around and internalized the language and beauty of art. He was also insatiably curious. If you were the object of his inquiry, you learned quickly that he would spot critical issues about the topic at hand, and then he went deep. Ann was his partner every step of the way for 60 years.

Early in his professional career, Bill would take time wherever in the world he happened to be to learn about the local surroundings, people and histories. He began collecting art in his 20s and he never stopped, embarking on a nearly 80-year exploration of global art from neolithic times to the present day. For the last twenty-five years, Twentieth Century western art was the big focus of Ann and Bill’s collecting, especially British and selected American artists.

Pictured: Lots 1108 and 1109

Along the way, Bill combined his love of art, culture and history with his managerial skills, Chairing the Board of American Friends of the British Museum and serving as Director of the Los Angeles County Museum of Art, the JP Morgan Library in New York, and the American School of Classical Studies in Athens, to name a few. His deepest institutional connection was with the J. Paul Getty Trust and Museum where he served as an active and engaged trustee. In recognition of his many years of service, he was elected an Emeritus Trustee. Throughout his travels he visited hundreds of museums, libraries and other centers for the arts on six continents. When it came to art and art history his knowledge was encyclopedic. Our family has now reached the end of an era. Ann predeceased Bill by six years and he passed away late in 2024 at age 98. Ann and Bill would be so pleased for their passion to be shared with the public, and to enable the next generation to explore and appreciate the work of great artists.

The Estate of Elaine Wynn

Elaine Wynn was a pioneering force in hospitality and a devoted patron of the arts and education. Her innate artistic vision and interest in design contributed to the creation of fantastical, otherworldly hotels that define the Las Vegas Strip, earning her the title “The Queen of Las Vegas.” Her impact — from Las Vegas to Los Angeles and across the country — is reflected not only in her professional accomplishments but also in her humanitarian contributions and her roles as a mother, and a friend. Raised between New York City and Miami Beach, she eventually settled in Nevada in the late 1960s, where her active civic leadership helped shape the cultural identity of her adopted home.

Today, John Moran Auctioneers is pleased to offer selections from Ms. Wynn’s estate, honoring a collector whose legacy upholds the belief that art, design, and fashion should be an accessible and shared human experience.

1001

Takashi Murakami (b. 1962)

“Burying My Face in the Field of Flower,” 2022

Offset lithograph in colors on paper Edition: 201/300

Signed and numbered in silver ink, lower right: Takashi Murakami; with the printed title and date along the lower edge, at center; Kaikai Kiki Co., Ltd., Tokyo, Japan, pub.

Image/Sheet: 28” Dia.

$1,000-1,500

1002

Takashi Murakami (b. 1962)

“Flowerball (3D) Red Cliff,” 2010

Offset lithograph in colors on paper Edition: 208/300

Signed and numbered in silver ink, lower right: Takashi Murakami; with the printed title and date along the lower edge, at center; Kaikai Kiki Co., Ltd., Tokyo, Japan, pub.

Image/Sheet: 28” Dia.

$1,000-1,500

1003

Takashi Murakami (b. 1962)

“New Day: Self Portrait,” 2011

Screenprint in colors on wove paper Edition: 68/100

Signed, dated, and numbered in pencil in the lower margin, at right: Takashi Murakami 2011; Kaikai Kiki Co., Ltd., Tokyo, Japan, pub.

Image: 27.5” H x 27.5” W; Sheet: 31.375” H x 31.375” W

$1,500-2,500

1004

Takashi Murakami (b. 1962)

“Oval (Mr. Wink, Cosmos Ball),” 2000

Colored plastic, vinyl, and mini CD

From the edition of 3,000 published by the Peter Norton Family Christmas Project, Santa Monica, CA

Signed and dated in the molded manufacturer’s mark to underside: by Takashi Murakami / Produced by CUBE / Peter Norton Family Christmas Project

Containing a mini CD with music by artist Zakyumiko

105” H x 7.25” W x 7.25” D

$1,000-1,500

Provenance:

The Collection of Cirrus Gallery

1005

HeRsk (b. 1979)

“Something to Suck! #63” (Medium), 2019

Painted wood

Signed, dated, and titled to underside: Hersk

27.5” H x 24” W x 22.75” D

$1,000-1,500

1006

Mr. Brainwash (b. 1966)

“Balloon Heart”

Fiberglass and mixed media mounted on acrylic stand

Unsigned Balloon: 16” H x 14” W x 7.25” D; Overall: 17.25” H x 14” W x 9” D

$4,000-6,000

1007

David Shrigley

(b. 1968)

“I’m Sorry For Being Awful”

Acrylic on paper

Appears unsigned; titled in the image

Sheet: 29.75” H x 22” W

$4,000-6,000

1008

David Shrigley

(b. 1968)

“Fill the Space with Your Message,” 2018

Acrylic on paper

Initialed and dated in pencil, verso: DS 2018; titled in the image

Image/Sheet: 29.5” H x 22” W

$4,000-6,000

Provenance: Gallery Nicolai Wallner, Copenhagen, Denmark

1009

Danny Minnick (b. 1973)

“2 Nights in the Tombs,” 2015

Acrylic and mixed media on canvas With the incised signature, date, and inscription, lower right: Danny Minnick / #NYC15; titled on the certificate of authenticity

60” H x 72” W

$3,000-5,000

Provenance:

Private collection, Simi Valley, CA, acquired directly from the artist

Notes: This lot is accompanied by the artist’s certificate of authenticity, dated October 22, 2015.

1010

Danny Minnick (b. 1973)

“6 Years,” 2012

Acrylic and mixed media on canvas

Signed and dated lower right: Danny Minnick 3/1/12; titled on the certificate of authenticity

72” H x 60” W

$2,000-3,000

Provenance:

Private collection, Simi Valley, CA, acquired directly from the artist

Notes: This lot is accompanied by the artist’s certificate of authenticity, dated October 21, 2015.

1011

Aiiroh (b. 1987)

“Street’Com Explosive Rouge,” 2015

Acrylic and mixed media with paper collage, including poster and comic book collage, on aluminum Signed, dated, and inscribed, all verso: AÏROH / 2015 P.U; titled by repute 59” H x 39.5” W

$2,000-3,000

1012

Aiiroh (b. 1987)

“Explosive Cyan,” 2015

Acrylic and mixed media with paper collage, including poster and comic book collage, on aluminum

Signed, dated, and inscribed, all verso: AÏROH / 2015 P.U; titled by repute 59” H x 39.5” W

$2,000-3,000

1013

Olivia de Berardinis

(b. 1948)

“Why So Serious,” 2018

Giclée in colors, diamond dust, and mixed media on paper

Edition: 25/99 (there were also 9 artist’s proofs and 9 printer’s proofs), published in 2020

Signed and numbered in pencil, and with the artist’s signature blindstamp, all in the lower margin, at right: Olivia de Berardinis; Ozone Productions, Ltd. at The Olivia Studio and Modern Multiples, prntr., with their blindstamp in the lower margin, at left; published in collaboration with Slide Show Collectibles, with their blindstamp and copyright statement in the lower margin, at center

Image: 37” H x 25” W; Sheet: 40” H x 28.5” W

$1,000-2,000

Notes:

This lot is accompanied by an undated certificate of authenticity, signed by the artist, and issued by Ozone Productions Ltd., Malibu, CA .

1014

Michael Peters (b. 1943)

Two works:

A woman cleaning a couch, 1970

Lithograph in colors on wove paper

A bon à tirer impression, aside from the edition of unknown size

Signed, dated, and inscribed in pencil along the lower edge: Michael Peters / BAT; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner

Image/Sheet: 29.5” H x 20” W

Female motorcyclist

Mixed media on Strathmore paper

Unsigned Image/Sheet: 30” H x 20.125” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

1015

Xiong Lijun (b. 1975)

“So Happy #1,” 2006

Acrylic on canvas

Signed and dated lower left: Xiong Lijun; inscribed in Chinese lower left

39.375” H x 39.375” W

$3,000-5,000

Provenance:

Shine Art Space, Shanghai, China

Property from the Estate of Oscar and Barbara Leidenfrost

Notes: Proceeds to benefit non-profit organizations and educational institutions.

1016

Damien Hirst (b. 1965)

“Theodora,” from “The Empresses” series, 2022

Laminated giclée print and screenprinted glitter in colors on aluminum composite Edition: 264/3315

Signed in ink on the publisher’s label affixed verso: Damien Hirst, and with the printed edition number and date on the same label; Heni Editions, London, pub. Image/Aluminum composite: 39.375” H x 39.375” W

$3,000-5,000

Notes:

Heni Editions Heni Editions catalogue number: H10-3

1017

David Shrigley

(b. 1968)

“Fight Your Paranoia,” 2022

Acrylic on Fabriano paper

Initialed and dated in pencil, verso: DS 2022; titled in the image Sheet: 30” H x 22.25” W

$4,000-6,000

1018

David Shrigley

(b. 1968)

“The Sea Will Do As It Pleases...”

Acrylic on paper

Appears unsigned; titled in the image

Sheet: 29.75” H x 21.5” W

$4,000-6,000

1019

Peter Plagens (b. 1941)

“Test Canvas #1, #3, #6, and #8,” 2009

Each: Mixed media on canvas

Each: Signed, titled, and dated verso: Peter Plagens / 2009; titled again and with an alternate date of 2010 on a label affixed to each stretcher

4 pieces

Each: 14” H x 11” W

$800-1,200

Provenance: Nancy Hoffman Gallery, New York, NY

The Estate of Elaine Wynn

1020

Keiko Hara

(b. 1945)

“Space Rebirth,” 2010

Gouache, pastel, metallic pigments, and paper collage on paper

Signed and dated in pencil lower left: Keiko Hara / 2010

Sheet: 30.25” H x 22.75” W

$1,000-1,500

Provenance: The Estate of Elaine Wynn

1021

Charlemagne Palestine

(b. 1947)

“356 CcornUuoOrphanosS two,” 2018

Archival pigment print in colors on paper

A bon à tirer impression, aside from the edition of 20

Signed and inscribed in pencil in the lower margin, at left: C. Palestine / 1 BAT; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 721c-CP18, both verso Image: 34” H x 23.25” W; Sheet: 35.375” H x 24” W

$1,500-2,500

Provenance:

The Personal Collection of Jean Milant

1022

Enrique Martinez Celaya

(b. 1964)

Untitled, 2017

Screenprint in colors on wove paper

A bon à tirer impression, aside from the edition of unknown size

Signed, dated, and inscribed in pencil along the lower edge: Martinez Celaya / 2017/ B.A.T.; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions work number, 709c-EC17, in pencil, verso

Image/Sheet: 33.375” H x 24.375” W

$800-1,200

Provenance:

The Personal Collection of Jean Milant

1023

John Baldessari (1931-2020)

“Object (with Flaw),” 1988

Lithograph in colors in four parts, on three sheets of wove paper and one sheet of shaped Plexiglas

A bon à tirer impression, aside from the edition of 35 plus 15 artist’s proofs

One sheet (the image of the couple) is signed and inscribed in pencil along the lower sheet edge: Baldessari / BAT; Cirrus Editions and Multiples Inc., Los Angeles, CA, and New York, NY, pubs., with the Cirrus Editions blindstamp in the lower left corner of two sheets; with both the publisher’s ink stamp and the Cirrus Editions work number, 417c-JB88, in pencil on the verso of the lower left sheet corner of two sheets, as well as on the verso of the shaped Plexiglas

Overall: 52” H x 109” W (approx)

$4,000-6,000

Provenance:

The Personal Collection of Jean Milant

Literature: Hurowtiz 40

1024

Lari Pittman (b. 1952)

“This Landscape, Beloved and Despised, Continues Regardless,” 1989 Lithograph and screenprint in colors on wove paper

A bon à tirer impression, aside from the edition of 45

Signed, dated, and inscribed in pencil along the lower edge: Lari Pittman 1989 / B.A.T.; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions copyright ink stamp and pencil work number, 436c-LP89, both verso

Image/Sheet: 44” H x 38” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

1025

Ken Price (1935-2012)

“Kauai Crab Cup,” 1972

Lithograph in colors on thick wove paper

A bon à tirer impression, aside from the edition of 60

Signed, titled, dated, and inscribed in pencil along the lower margin edge: Price ‘72 / BAT; Cirrus Editions, Los Angeles, CA, pub., with their work number, 047cs-KP72, in pencil in the lower left margin corner, verso Image: 12” H x 10.75” W; Sheet: 24” H x 20” W

$1,000-1,500

Provenance: The Personal Collection of Jean Milant

1026

Corita (Sister Mary) Kent (1918-1986)

“Bread of Self Being,” 1965

Screenprint in colors on handmade paper

From the edition of 100

Signed in ink lower right: Sister Mary Corita

Sight: 14.25” H x 34.75” W

$800-1,200

Notes:

This lot is accompanied by a postcard featuring a printed reproduction of a work by Corita Kent; the verso is signed and inscribed in ink by the artist.

1027

Corita (Sister Mary) Kent (1918-1986)

“A Piece of Good News #1,” 1963

Screenprint in colors on paper

From the edition of unknown size

Signed in ink lower right: Sister Mary Corita

Sight: 23” H x 22.75” W

$700-900

1028

Corita (Sister Mary) Kent (1918-1986)

“Love is Here to Stay,” 1965

Screenprint in colors on paper

From the edition of unknown size

Signed in ink lower right: Sister Mary Corita

Image/Sheet: 11.5” H x 17.75” W

$500-700

1029

Corita (Sister Mary) Kent (1918-1986)

“To Understand,” 1965

Screenprint in colors on paper

From the edition of unknown size

Signed in ink lower right: Sister Mary Corita

Image/Sheet: 11.5” H x 17.25” W

$500-700

1030

“10 by 10” Guild Hall Museum portfolio, 1981

The complete portfolio, comprising the title/justification pamphlet and ten gelatin silver prints on paper; all signed by the artists, Dan Budnik, Elliot Erwitt, Ernst Haas, Horst P. Horst, Jill Krementz, Duane Michals, Inge Morath, Hans Namuth, Eva Rubinstein, and Andre Kertesz; all but the Andre Kertesz, “The Wave,” numbered 7/50 in ink in the lower margin; the Jill Krementz with their black ink copyright stamp and pencil work number, 86448-5/17, all verso; the Hans Namuth work with a black ink copyright stamp in the lower margin, at left; the Dan Budnik work is signed again, titled “William de Kooning,” dated 1967 (twice), and inscribed “The Springs, NY,” all in pencil, verso; all works are titled in the title/justification pamphlet; all sheets loose; the portfolio housed in its original brown fabric case with stamped title on the cover; Guild Hall Museum, East Hampton, NY, pub. Sheet of smallest: 8” H x 10” W; Sheet of largest: 17.25” H x 13.375” W

$3,000-5,000

Notes:

Created to celebrate Guild Hall’s 50th Anniversary in 1981, the “10 by 10” portfolio was initiated by Helen Hoie, a Guild Hall trustee, together with Jean-Yves Mallet, a collector and expert in photography. The project aimed to raise funds for Guild Hall’s Anniversary Fund and brought together ten prominent photographers, each invited to portray key figures from the East End art community.

1031

Harry Bertoia (1915-1978)

Untitled (dandelion), circa early 1960s

Monotype in colors on Japanese paper

Unsigned; inscribed verso, lower left: “section” Image: 36.5” H x 22.5” W (approx.); Sheet: 39.25” H x 24.125” W

$1,000-1,500

Provenance:

Estate of Gary Cunningham, Cathedral City, CA Private collection, Palm Springs, CA, acquired from the above

Notes:

Please note that this work has been added to the “Harry Bertoia Catalogue raisonné,” and has been assigned the following catalogue raisonné number: TD.MO.1798.

The lot is accompanied by a PDF letter from the Harry Bertoia Foundation, St. George, UT, dated October 23, 2025, confirming this information.

1032

Theo Wujcik (1936-2014)

“Billboards” suite, 1970

The set of eight lithographs in colors on wove paper without watermark Edition: 6/15 (there were also a few artist’s proofs and color trial proofs) Each work signed, numbered, and titled in pencil in the lower margin: Theo Wujcik, together with the pencil numbered colophon page and (presumably) the original interleaving tissues and gray paper folder/wrapper; all loose; Hollywood Annex, Detroit, MI, prntr. and pub., with their blindstamp in the lower margin of each of the eight image sheets

Image of each: 17” H x 14” W; Sheet of each: 19” H x 16” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

Notes:

According to the suite’s colophon page, the edition is printed on BFK Rives paper. The artists represented in the suite (with their last names used as the title for each individual image) are John Altoon, Larry Bell, Bill Al Bengston, Robert Irwin, Craig Kauffman, Ed Moses, Kenneth Price, and Edward Ruscha.

1033

Yaacov Agam (b. 1928)

“Good Times”

Agamograph in colors on acrylic Edition: 33/99

Signed in blue ink and numbered in black ink in the lower margin: Agam; titled on a label affixed to the frame’s backing board Image: 12.75” H x 15.5” W; Sight: 13.5” H x 15.75” W

$800-1,200

1034

After Andy Warhol (1928-1987)

“The American Indian Series” poster for Ace Gallery, 1976 Offset lithograph in colors on paper mounted to paperboard

From the edition of unknown size

Signed in black marker just outside the lower right edge of the image: Andy Warhol; additionally signed by Russell Means in black marker in the lower left image corner: R. Means Sheet: 49” H x 34” W

$3,000-5,000

Notes:

Ace Gallery published three color variants of this poster to advertise their exhibitions of works from Warhol’s 1976-77 American Indian series. In addition to the blue variant shown here for the exhibition at their gallery in Los Angeles, CA in March 1977, a red variant was done for Ace Gallery’s exhibition in Vancouver, British Columbia, Canada in November of 1976, and a black variant was done for their exhibition in Paris in October of 1976. The person depicted is Native American (Oglala Lakota) civil rights activist Russel Means (1932-2012), who has also signed the poster.

1035

Bridget Riley (b. 1931)

“Print for Chicago 8,” from “Conspiracy: The Artist as Witness” portfolio, 1971 Screenprint in “three” colors on Arches paper Edition: 102/150 (there were also 15 artist proofs)

Signed, dated, and numbered in pencil in the lower margin, at left: Bridget Riley ‘71; Kelpra Studio, London, prntr., and with their ink stamp, verso; David R. Godine Publishers and the Center for Constitutional Rights, New York, pub. Image: 20.375” H x 15” W; Sheet: 24” H x 18” W

$8,000-12,000

Literature: Schubert 15; Tommasini and Gubay 16

Notes:

The “Conspiracy: The Artist as Witness” portfolio was a collaborative project created by various artists and published to help raise defense funds for the Chicago Eight, activists charged in connection with the antiwar demonstrations during the August 1968 Democratic National Convention.

Alice Baber (1928-1982)

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

Throughout her career, Baber experimented with paintings often featured organic forms, flowing She was particularly fascinated by the interplay

Speaking of Baber’s work in the San Francisco Chronicle made up of broad, lobular shapes that resemble harmonized oil colors, some full and intense, others the sensitive touch of a pianist....The musical analogy crowded and compacted... but more often flowing and receding in depth like the currents and cross-currents

Baber was diagnosed with cancer in the late 1970s Her work is held in numerous public collections, Modern Art, and the Santa Barbara Museum of abstract art in the United States and is celebrated

1928, began exhibiting her work in New York City in 1957 when she was included in Annual Exhibition.” Baber, as one of the approximately twenty women included on alongside Grace Hartigan, Louise Nevelson, Lee Krasner, Mary Abbott, Joan Mitchell, male artists featured in this exhibition have been recognized as key figures of the died at the age of fifty-four in 1982, has long been overlooked by museums and with different mediums, including oil paint, watercolor, and printmaking. Her flowing lines, and translucent layers of color, creating a sense of depth and movement. of light and color, and this became a central theme in her artistic exploration.

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

1970s and continued to paint until her death on February 2, 1982, in New York City. collections, including the Metropolitan Museum of Art, the San Francisco Museum of of Art. Today, she is recognized as an important figure in the development of celebrated for her unique and innovative style.

1036

Alice Baber (1928-1982)

“The Royal Court of the Jaguars,” 1979 Oil on canvas Signed, titled, and dated on the canvas overlap: Alice Baber 1979; numbered “#135” on the upper portion of the stretcher

36” H x 72” W

$50,000-70,000

Provenance: Private Midwest Institutional Collection

1037

Alice Baber (1928-1982)

“Red Knight,” 1965 Oil on canvas

Signed lower left: Baber; signed again, titled, dated, and inscribed on the upper and lower stretchers: Alice Baber New York 1965 14” H x 10” W

$15,000-25,000

Provenance:

The artist Arnold Scaasi, fashion designer and Baber collector, New York, NY Mitzi Gaynor, gifted from the above Private collection, Palm Desert, CA, from the above

1038

Geoffrey Clarke (1924-2014)

“Warrior II,” 1956

Etching and aquatint in colors on sturdy wove paper

From the edition of unknown but presumably very small size

Unsigned; indistinctly inscribed in pencil in the lower left corner of the plate, possibly “2/ST” [as in 2nd state?]; titled and inscribed “D1 / 19364” in pencil on the verso of the upper right margin corner; alternatively titled “Warrior II (blue)” and dated on the gallery label affixed to the frame’s backing board

Plate: 38.75” H x 24” W; Sheet: 42” H x 30” W

$1,000-1,500

Provenance:

The Fine Art Society, London, England

The Estate of Herbert and Ann ‘s

Literature:

Compare Legrove 182

Frances Carey and Antony Griffiths, “Avant-garde British Printmaking 1914-1960,” (London: British Museum Publications, 1990), no. 205

Peter Black, “Geoffrey Clarke: Sculpture, Constructions and Works on Paper, 1949-2000,” (London: The Fine Art Society, 2000), compare no. 107 (a different color variant)

Notes:

This lot is accompanied by a copy of a sales invoice dated March 14, 2008, from the gallery mentioned above.

To celebrate the bequest of a large group of medals, prints, sketches, and artist’s notes from the studio of the Royal Academician Geoffrey Clarke, London’s British Museum mounted an exhibition devoted to his works in late 2020 and 2021, and wrote, “Trained in Lancaster and London in the aftermath of the Second World War, Clarke is recognised as an important sculptor of the post-war era, having worked on some of the most prestigious artistic projects of the age, including Coventry Cathedral and the Festival of Britain. No less significant was his activity as a medallist and a printmaker.... [The bequested materials]...offered a unique opportunity to witness the artist’s creative process in action. In particular, it showed the ways ideas and motifs were translated from bronze to paper and vice versa—and how sculptors such as Clarke approached prints not as flat objects, but as three-dimensional works of art.”

The British Museum owns two other impressions of the same large intaglio work as we are offering in our auction. “Warrior II” depicts a figure seen through the open observation hatch of an army tank. All three impressions are strikingly different in appearance. Whereas our impression is printed in a variegated midnight blue and black, the British Museum owns one example printed in black and white (1990.0303.37) and a second one printed in multiple colors (2001.0520.1). The cataloguing for the British Museum’s two impressions includes facts quoted from Frances Carey and Antony Griffiths’ book, “Avant-Garde British Printmaking 1914-1960,” (London: British Museum Publications, 1990), no. 205, “When shown at the Venice Biennale in 1960, the stated edition size was 25. But a typed note initialed by the artist on the back of the frame [of one impression] states: ‘An edition has never been printed. The plate was mislaid soon after proofing by Frelaut in Paris [at the Atelier Lacourière] in 1956.’ The contrast of the vulnerable organic head and the plate armour links the ideas of insecurity and aggression, and is not dissimilar in concept to Henry Moore’s ‘Helmet Head’ sculptures of 1950.’” The museum’s description goes on to say, “This print was made in August 1956 …. In September … [it was] taken to Paris where [it was] proofed by Jacques Frélaut at the Atelier Lacourière. [It] was pulled in black, ... but two colour proofs of this image were also made, with additions in gouache on several impressions … A colour impression of this print has since been acquired by the Department, see 2001,0520.1.” Could it be that the rich blue impression in our auction is the other “color proof” mentioned by the renowned print scholars Carey and Griffiths?

1039

Antoni Tàpies (1923-2012)

“Cinta Negra”

Carborundum engraving in colors on Guarro paper

An hors commerce impression aside from the edition of 82

Signed and inscribed: “H.C.” in pencil in the lower margin: Tàpies; Ediciones Polígrafa, Barcelona, Spain, pub.

Plate: 13.5” H x 20.5” W; Sheet: 22” H x 28.75” W

$1,000-1,500

Vaclav Vytlacil (1892-1984)

Vaclav Vytlacil was born to Czechoslovakian parents the School of the Art Institute of Chicago in 1906 scholarship from 1913 to 1916 and studied under

After finishing his art studies at the League, Vytlacil from 1916 to 1921. The position enabled him to Cezanne, and in Munich, Dresden, Prague, and

After visiting relatives in Prague, Vytlacil settled other American artists, Ernst Thurn and Worth Ryder. Hofmann, and the two art students left the Academy to do so. Vytlacil studied and worked as a teaching organized the Hofmann summer school on Capri

Vytlacil returned briefly to the US in 1928, where and became a member of the Art Students League remain until 1935. In his six years back on the continent, Dufy, while also successfully persuading Hofmann

Back in the US, Vytlacil co-founded the American as Queens College in New York, Black Mountain He divided his time between homes in New York Sculpin Group, and he taught at the Martha’s Vineyard

parents in New York City in 1892. He grew up in Chicago and initially studied art at 1906 before returning to New York. There, he attended the Art Students League on under portrait painter John C. Johansen and Anders Zorn.

Vytlacil took a teaching position at the Minneapolis School of Art, where he worked to travel extensively throughout Europe. In Paris, he studied the art of Paul and Berlin, he sought exposure to Old Master Painters.

settled in Munich and enrolled in Munich’s Royal Academy of Art. There he met two Ryder. Thurn introduced Vytlacil to the work of important abstractionist Hans Academy to study with Hofmann, becoming some of the earliest American artists teaching assistant to Hofmann from about 1922 to 1926, and together with Thurn, Capri beginning in 1924.

where he lectured at the University of California, Berkeley, on modern European art, League faculty. The following year, Vytlacil returned to Europe, where he would continent, the artist studied the works of Henri Matisse, Pablo Picasso, and Jean Hofmann to teach at the Art Students League.

American Abstract Artists group in 1936 while continuing to teach at the League as well Mountain College in North Carolina, and the College of Arts and Crafts in Oakland, CA. York and Chilmark, Massachusetts, where he was associated with the area’s Old Vineyard Art Association beginning in 1941.

1040

Vaclav Vytlacil (1892-1984)

Cubist musical composition, circa 1930s

Oil on canvasboard

Signed lower right: Vaclav Vytlacil

16” H x 20” W

$3,000-5,000

Notes:

In paintings like the present work, Vytlacil’s modernist style, particularly an understanding of the work of Cubist painters like Picasso that he had studied in Europe in the 1930s, is evident. Vytlacil plays with the notion of sound in a two-dimensional format of this musical composition as instruments and sheet music seemingly dance and move. The Cubist spatial fragmentation and reduction break from traditional perspectives to create a dynamic and expressively cohesive music-themed composition.

1041

Charles Houghton Howard (1899-1978)

Untitled abstract

Charcoal on illustration boad

Signed lower right: Howard Image/Sheet: 24” H x 19” W

$2,500-3,500

1042

Vanessa Bell (1879-1961)

“Design for Hogarth Press ‘The Foreigner in the Family’,” 1929

Watercolor and pencil on paper

Estate stamped lower right; titled and dated verso Sheet: 10.5” H x 8” W

$1,000-2,000

Provenance: The artist’s family

Anthony d’Offay, London

The Estate of Herbert and Ann Lucas

1043

Margaret Israel (1929-1987)

Untitled, nudes on vivid ground, circa 1960 Gouache, ink, and watercolor on paper Appears unsigned Sheet: 18” H x 12” W

$700-900

Provenance: Perimeter Gallery, Chicago, IL The Estate of Elaine Wynn

Tobias Musicant (1921-2004)

A modernist painter of the 20th, and into the many years. His work was exhibited at the Pennsylvania Museum of Art in New York, and others. He Contemporary Arts Gallery in New York.

Both he and his sister Alice, an artist in her own members for many years. They also collaborated also made silver jewelry and created enamel

Tobias Musicant was a creative visual artist. Born year and of the same generation are Ludwik Balanya Moix.

Tobias Musicant was born in 1921 and grew New York City became the focus for modernism travelled to the city during the Second World talent and ideas. Influential Europeans such American artists whilst in New York, and influenced

the 21st Century, Tobias (Ted) Musicant lived in Plainsboro, New Jersey for Pennsylvania Academy, the Philadelphia Print Club, the Metropolitan had solo shows at Heffers Gallery in Cambridge, England, and the own right, exhibited at the Arts Council of Princeton, where they were collaborated on a children’s book, titled “The Night Vegetable Eaters.” Musicant enamel work. He also served in England during World War II.

Born in 1921, Tobias Musicant passed away in 2004. Artists born in the same Ludwik Dutkiewicz, Carlos Franqui, Pierre André Benoit, Eugène Arc, and Ismael up during the 1950s and was influenced by the artistic culture of the time. modernism on an international scale during the Post-War period. Many artists had World War, fleeing in exile from Europe. This led to a substantial pooling of as Piet Mondrian, Josef Albers and Hans Hoffmann provided inspiration for influenced cultural growth in the United States for many decades to come.

1044

Tobias Musicant (1921-2004)

“The Flame,” circa 1945-50 Oil on Masonite

Signed upper right: Musicant; titled and dated on a gallery label affixed verso 24” H x 20” W

$3,000-5,000

Provenance:

Island Weiss Gallery, New York, NY

The Estate of Robert J. Bergelson

Sold: Pook & Pook, Downingtown, PA, “Americana & International - Session Two,” January 20, 2023, Lot 941

Notes:

We are grateful to Jody Klotz Fine Art for their assistance in cataloging this lot.

Sandro Chia (b.

1946)

Italian painter and sculptor Sandro Chia was “Transavanguardia,” or “beyond the avant-garde.” Belle Arti in Florence, where he developed a and India, he began to challenge the conceptual instead toward expressive figuration and vibrant imagery, reflecting both his Italian heritage and

By the late 1970s and early 1980s, Chia had artists Francesco Clemente, Enzo Cucchi, Nicola return to painterly techniques, symbolism, and depict heroic or whimsical figures rendered painting. His style blends irony, romanticism, deeply personal and culturally resonant. Chia and in addition to painting, Chia explored printmaking

Throughout his career, Chia has exhibited widely, held in prestigious collections such as the Museum Stedelijk Museum in Amsterdam. Dividing his celebrates the vitality of painting in his distinctive human themes.

a leading figure in the international art movement known as avant-garde.” Born in Florence, Italy, in 1946, Chia studied at the Accademia di a strong foundation in classical art traditions. After traveling through Europe conceptual and minimalist trends that dominated the 1970s art world, turning vibrant color. His early works combined mythological, historical, and personal and a desire to reintroduce emotion and narrative into contemporary art.

gained international recognition alongside fellow “Transavanguardia” Nicola De Maria, and Mimmo Paladino. Their work was characterized by a and the use of the human figure as a central subject. Chia’s paintings often in bold, gestural brushstrokes and luminous, saturated hues, like the present romanticism, and a sense of mythic storytelling, creating a visual language that is both Chia also experimented with avant garde mixtures of mediums and materials, printmaking and sculpture, further expanding his expressive range.

widely, with major shows in Europe, the United States, and Asia. His works are Museum of Modern Art in New York, the Tate Gallery in London, and the his time between Italy and New York, Chia continues to produce art that distinctive synthesis of tradition and innovation, while engaging with timeless

1045

Sandro Chia (b. 1946)

“The Boy Painter,” 1982 Oil, collage, cardboard, paint tube, and mixed media on board

Signed lower right: Chia; signed again, titled, and dated 1982, all verso Sight: 38.5” H x 45” W

$25,000-35,000

Provenance:

Private collection, purchased in New York, NY, 1980s By family descent

1046

Gloria Kisch (1941-2014)

“Non-Projection #40,” 1981

Sand and acrylic on wood

Signed, dated, and partially titled verso: 81 / Kisch / #40

44.75” H x 5” W x 1.6245” D

$1,000-1,500

Provenance:

The Collection of Cirrus Gallery

1047

Stanley William Hayter (1901-1988)

Abstract, 1985

Watercolor and collage on paper

Appears unsigned; dated and numbered “20 / 21/5/85” in pencil, lower right

Sheet: 25.5” H x 36” W

$2,000-3,000

Provenance:

Martin Summers collection

Sold: New Jersey Estate Liquidators, January 20, 2016, Lot 218

Dolan Maxwell Gallery, Philadelphia, PA

1048

Sungwoo Chun (b. 1935)

“The Story of Ancients #1,” 1960 Oil on canvas

Signed and dated verso: Sungwoo Chun / 1960; titled on handwritten and printed labels affixed verso

24” H x 18” W

$1,000-1,500

Provenance: Long & Co, The Houston Galleries, Houston, TX

Charles Green Shaw (1892-1974)

Born in New York City, Charles Green Shaw became clarity of form and architectural construction. In the “wealthy man-about-town, poet and minor novelist”

Shaw’s parents died when he was young, and he was New York family, he graduated from Yale in1914 and journalism, writing articles on the city nightlife for ”The taking classes at the Art Students League with Thomas portraiture, still life and landscapes.

Shaw served in World War I, and in the late 1920s Berlin, Vienna, Budapest, Florence, and Rome, visiting drawing classes, all while staying abreast of American Corbusier in Paris, and with the artists Georges Braque, Hepworth and John Ferren. This continuous and diverse a special and original combination of American and

Upon his return to the U.S. in 1933, Shaw began to Manhattan skyscrapers appearing in his compositions influence on his art was likely furthered as he undertook on historical sites that became the book”New York-Oddly abstraction as well as friendship, Shaw, along with became known as the “Park Avenue Cubists,” a sophisticated

As a key figure in early American abstraction, Charles career that resulted in a significant and beautiful body be awarded two solo exhibitions during his lifetime a founding member of the American Abstract Artists abstract art. Shaw’s works can be found in many public Art, the Guggenheim Museum, the Art Institute of

became a significant figure in the history of American abstract art. His work was noted for its the later part of his life, he turned to Abstract Expressionism. Shaw was described as a novelist” before he began to paint seriously when he was in his 30s.

was raised by an uncle. He took a circuitous journey to life as an artist. From a wealthy and completed a year of architectural studies at Columbia. In the 1920s he pursued ”The New Yorker,””Vanity Fair,”and”The Smart Set.” Then in 1927, he began drawing, Thomas Hart Benton and George Luks of the Ash Can School, delving into the tradition of

and early 1930s, he took a long trip to Europe, living in Paris and London, traveling to visiting museums, spending time with artists, reading about various genres of art, taking American trends. He met with fellow abstractionists Jean Hélion, Joan MiróÛ and Le Braque, Constantin Brancusi, Wolfgang Paalen, Man Ray, Ben Nicholson, Barbara diverse exposure enriched Shaw’s development as an artist and allowed him to become and European aesthetics.

to depict abstracted versions of cityscapes, with the distinctly American imagery of the compositions in various degrees of abstraction. His immersion into the city and its resulting undertook photography of New York and Brooklyn, used alongside his 1936 article York-Oddly Enough”in 1938. Sharing similar artistic pursuits and ideals in American the artists George L. K. Morris, Suzy Frelinghuysen, and Albert Eugene Gallatin, sophisticated group who pursued their own art and promoted the art of others.

Charles Green Shaw was a unique amalgamation of a multifaceted life, education and body of art. Shaw holds the special recognition of being the only American-born artist to lifetime at Solomon Guggenheim’s Museum of Non-Objective Painting. He was also was Artists group, established in 1936 in New York City to champion the understanding of public collections, including the Metropolitan Museum of Art, the Museum of Modern Chicago, the Whitney Museum of American Art, and the Smithsonian.

1049

Charles Green Shaw (1892-1974)

“Red and Black,” 1960 Oil on canvasboard

Signed lower right: Shaw; titled and dated on two labels affixed to the frame’s backing paper

15.875” H x 11.875” W

$3,000-5,000

Provenance:

Sold: Sotheby’s, New York, NY, 2002

Sold: Ripley’s, Indianapolis, IN, “Estate Art Deco, Machine Age and Modern Design Auction,” February 25, 2023, Lot 209

Notes:

We are grateful to Jody Klotz Fine Art for their assistance in cataloging this lot.

James Brooks (1906-1992)

James Brooks was a renowned Abstract Expressionist who employed staining as a painting technique. Born Dallas, TX. In 1922, he graduated from Oak Cliff High Art Institute and took private art lessons from Martha Simkins.

Brooks moved to New York in 1926, where he worked Robinson. He supported his studies through his work as completing important murals all over the country. One “Flight” was painted 235 feet along the Marine Air Terminal’s symbol of left-wing ideas, was taken down, but restored

Brooks murals had made such an impact that he was recommended East. In 1945, Brooks returned to New York and developed Matisse. He worked on a series of stained canvases in work was in the group exhibition, 9th Street Exhibition,

“The Irascibles” were a group of influential American abstract This collective included prominent figures such as James the direction of modern art. The term “Irascibles” was frustration with the art establishment. They were vocal innovative techniques and bold expressions. Their work

James Brooks contributed significantly to this movement between abstraction and figuration. Jackson Pollock became to canvas. Together, “The Irascibles” not only defined boundaries in creative expression.

Throughout his career, Brooks experimented with various both European modernism and American culture, which on color relationships, inviting viewers to engage with

Brooks’s impact on the art world extends beyond his own exhibitions that promoted Abstract Expressionism. He University in New York. Today, his works are celebrated American art history.

painter. He was considered to be among the first generation of American Abstract Expressionists in St. Louis, MO, Brooks lived in a number of cities and states before his family finally settled in School, and he later studied art at the Southern Methodist University. He also attended the Dallas Simkins.

as a commercial artist while attending night classes at the Art Students League under Boardman as a letterer and display artist. In the late 1930s, Brooks won commissions for several key projects, One of his most famous murals titled “Flight” (1942) was a testimony to his ambition and talent. Terminal’s rotunda at LaGuardia Airport in New York. The mural, which was considered to be a restored in 1980 after protests by artists, historians, and curators.

recommended to be a combat artist during World War II. He was stationed in Egypt and the Near developed a new style of abstract painting based on the synthetic Cubist ideas of Pablo Picasso and the abstract expressionist style, alongside fellow artists Jackson Pollock and Lee Krasner. Brooks Exhibition, in 1951 amongst the most important American artists during that time.

abstract expressionist artists who emerged in the mid-20th century, particularly during the 1950s. James Brooks, Willem de Kooning, and Jackson Pollock, all of whom played pivotal roles in shaping coined after a famous photograph taken in 1951 that captured these artists expressing their critics of the conservative art world and sought to challenge traditional norms through their work often featured dynamic brushstrokes, vibrant colors, and an emphasis on spontaneity.

movement with his unique approach to color and form, while Willem de Kooning’s work blurred the lines became renowned for his drip painting technique, which revolutionized how paint could be applied an era but also laid the groundwork for future generations of artists seeking to explore new

various techniques and materials, pushing the boundaries of traditional painting. He was influenced by which helped shape his artistic vision. His pieces are marked by bold brushstrokes and an emphasis the artwork on a visceral level.

own creations; he also played a vital role in mentoring younger artists and participating in was remembered as a great art teacher at the University of Philadelphia and at Columbia celebrated in major museums across the United States, solidifying his legacy as an influential figure in

1050

James Brooks (1906-1992)

“Blow,” 1968

Oil on canvas

Signed and dated lower right: J. Brooks ‘68; titled and later dated “1982” verso 50” H x 49” W

$25,000-35,000

Provenance:

Louise Himelfarb Gallery, New York, NY

Estate of Charles B. Slackman, New York, NY

Private collection, acquired from the above Vallarino Fine Art, New York, NY

Sold: Phillips, New York, NY, “Modern & Contemporary Art Day Sale, Morning Session,” May 24, 2024, Lot 198

Notes:

We are grateful to Jody Klotz Fine Art for the assistance in cataloging this lot.

Joel Shapiro (1941-2025)

Joel Elias Shapiro is an American sculptor known for his Born in New York City in 1941, Shapiro grew up in an environment his Bachelor of Arts and Master of Arts degrees from New century. After serving in the Peace Corps in India from United States and began developing the minimalist vocabulary

Shapiro first gained critical attention in the 1970s, during that movement, such as the use of simple forms and industrial and its expressive potential. By assembling rectangular to walk, leap, fall, or twist, capturing a sense of motion abstraction and figurative representation, positioning him

His large-scale outdoor installations like the present work, central to his legacy. Shapiro continues to work in New abstraction and his ability to evoke emotion and narrative in the modern sculpture sphere. His work is in the permanent the Whitney Museum of American Art, and the Los Angeles

his dynamic, abstract forms that often suggest the human figure through simple geometric shapes. environment rich with culture and art, which influenced his early creative interests. He earned both New York University, where he was exposed to the artistic currents that shaped the late 20th 1965 to 1967, a formative experience that broadened his worldview, Shapiro returned to the vocabulary that would characterize his early work.

during a period when Minimalism dominated the American art scene. While he embraced aspects of industrial materials, his work gradually diverged through its increasing allusions to the human body rectangular wooden or metal elements at unexpected angles, Shapiro created sculptures that appear motion within static forms. This distinctive approach enabled him to bridge the gap between pure him as a major contributor to the evolution of contemporary sculpture.

work, which often energize public spaces with their sense of movement and balance, have become New York, exploring new possibilities in material, scale, and form. Through his innovative approach to narrative through spare geometric structures, Joel Shapiro is considered a major practitioner working permanent collections of many museums throughout the world including the Museum of Modern Art, Angeles County Museum of Art, and he has exhibited extensively throughout his career.

1051

Joel Shapiro (1941-2025) Untitled, 1996 Bronze Edition: 4/4

With incised signature to metal plaque affixed to interior of base: Joel Shapiro; inked to mounting stand: JS

82” H x 100” W x 32” D

$200,000-300,000

Provenance: The Estate of Herbert and Ann Lucas

1052

Hans Burkhardt (1904-1994)

Architectural composition, 1951 Oil on canvas

Signed and dated lower right: H. Burkhardt 51 38” H x 26” W

$5,000-7,000

1053

Hans Burkhardt (1904-1994)

Industrial scene, 1948

Oil on canvas

Signed and dated lower right: H. Burkhardt 48 20.25” H x 11.75” W

$1,000-2,000

1054

Alex Vilumsons (1911-1995)

“Tractor” Oil on canvas

Signed lower right: A Vilumsons; titled in ink on the artist’s business card affixed verso 17” H x 22.75” W

$1,000-1,500

1055

Erle Loran (1905-1999)

“Interlacing,” 1954 Oil on canvas

Signed and dated lower right: Loran ‘54; frame’s verso 34” H x 52” W

$1,500-2,500

Provenance: Miller Fine Art, Moss Landing, CA

titled on a gallery label affixed to the

‘54;

1056

Mher Abeghyan (1909-1994)

“Morning” (Byurakan), 1977 Oil on canvas

Signed in Armenian and dated lower left: M. Abeghyan. 1977; signed and dated again, and titled in Cyrillic, all verso 27.5” H x 35.5” W

$4,000-6,000

1057

Mher Abeghyan (1909-1994)

“Green Mountains,” 1969

Oil on canvas

Signed in Armenian and dated lower left: M. Abeghyan 1969; signed and dated again, and titled, all in Cyrillic, verso

32.5” H x 24.25” W

$3,000-5,000

Minas Avetisyan (1928-1975)

Minas Avetisyan was born in 1928 in the village landscape and daily rhythms of his hometown themes and identity of his art. In 1960, he moved participation in the “Exhibition of Five” in Yerevan Soviet Armenian art.

Avetisyan’s style was marked by wild, expressive with the spirit of Fauvism, yet remained rooted folk art, and saw himself as a successor to Martiros soul. Avetisyan also worked in theater and public completing large murals in Gyumri.

In 1972, a fire destroyed much of his studio Yet, despite his short life, Avetisyan left behind museum in Yerevan stands as a tribute to an

village of Jajur, Armenia, a place that remained central to his life and art. The hometown appeared throughout his paintings and played an active role in shaping the moved to Yerevan and held his first solo exhibition; two years later, his Yerevan brought him widespread recognition as a bold and original voice in expressive brushwork and vivid, clashing colors. His brilliant use of color aligned him rooted in Armenian tradition. He drew inspiration from medieval manuscripts and Martiros Saryan, both in his palette and his devotion to capturing the Armenian public art, designing the set for Aram Khachaturian’s “Gayane” ballet and

and many of his finest works. He died tragically in 1975, just three years later. behind a powerful body of work that continues to influence Armenian art. His houseartist whose vision remains deeply cherished.

1058

Minas Avetisyan (1928-1975)

“Autumnal Jajur,” 1973 Oil on canvas

Signed in Armenian and dated lower left: Minas 73; signed and dated again, and titled, all in Armenian, verso 23.75” H x 31.5” W

$8,000-12,000

Notes:

This lot is accompanied by a certificate of authenticity in Russian signed by Gayane Avetisyan-Mamajanyan and Arman Avetisyan.

1059

Minas Avetisyan (1928-1975)

“Beating Butter,” 1972 Oil on canvas

Signed in Armenian and dated lower left: Minas 72; titled in Cyrillic on the certificate of authenticity

20” H x 39.5” W

$7,000-9,000

Notes:

This lot is accompanied by a certificate of authenticity in Russian signed by Gayane Avetisyan-Mamajanyan and Arman Avetisyan.

1060

Cristina Cordova (b. 1976)

“Fruta Roja” Ceramic Unmarked

20.25” H x 8.25” W x 5.75” D

$1,500-2,500

Provenance: The Estate of Elaine Wynn

1061

Cristina Cordova (b. 1976)

“Fruta Azul,” 2010 Ceramic Unmarked 17.5” H x 7” W x 6.5” D

$1,500-2,500

Provenance: The Estate of Elaine Wynn

Gavin Turk (b. 1967)

Internationally celebrated British artist Gavin issues of authorship, authenticity and identity. that harkens back to Marcel Duchamp’s ready-mades. work’s paint roller subject or rubbish bags ‘myth’ of the artist and ontological ideas that

Turk said about his own work in a 2022 interview art that questions notions of reality and perception, psychological states. I have been especially you bring to an object that you’re engaging meaning” (www.gavinturk.com/about/essays/2022/interview-gavin-turk-conversation-louisa-buck).

Gavin Turk is a pioneering contemporary sculptor whose work addresses identity. His provocative subjects continue a century-long avant-garde debate ready-mades. In repurposing common household objects like the present bags rendered in a classic art historical medium of bronze, Turk takes on the that question the concept and nature of being.

interview with Louisa Buck, “I have always engaged with Surrealism and with perception, which in turn are informed by dreams, the psyche, and especially interested in the idea that there is a whole load of mental baggage engaging with, which informs the way you understand that ‘thing’ and give it (www.gavinturk.com/about/essays/2022/interview-gavin-turk-conversation-louisa-buck).

1062

Gavin Turk (b. 1967)

Roller in Bronze,” 1995

Paint roller, bronze powder, glue, and paint in a wood and glass display cabinet From the edition of 3

Roller: 2.375” H x 10.375” W x 14.375” D; Plinth: 33.25” H x 26.5” W x 17.75” D; Glass: 17.75” H

$8,000-12,000

Provenance:

Jay Jopling, White Cube, London

Private Collection, Arcadia, CA, acquired from the above

“9”

1063

Clayton George Bailey (1939-2020)

Dog

Metal and found objects, electrified

Unmarked

21.5” H x 27” W x 36” D

$2,500-3,500

Notes:

This sculpture was featured in the window of Bailey’s “Wonders of the World Museum,” Crockett CA. When plugged in, the eyes light up.

1064

Eric Orr (1939-1998)

“Gold Door,” 1979

Embossed lead relief with gold leaf on wood backing

A trial proof, aside from the edition of 25

With the incised signature, date, and inscribed “Trial Proof” in the lower right and left corners: Orr ‘79; Cirrus Editions, Los Angeles, CA, pub., with their work number, 257CM-EO79, in pencil, verso 24” H x 17” W

$1,000-1,500

Provenance: The Collection of Cirrus Gallery

1065

Eric Orr (1939-1998)

“Zero Mass: The Art of Eric Orr,” 1990

Artist’s book with blue steel boards and spine and clay ball housed in Styrofoam box

Orr, Eric, “Zero Mass: The Art of Eric Orr, “ Text by Thomas McEvilley, Lund, Sweden: AB Propexus, 1990

From the edition of 1,000

Together with “The Sphere of Generosity,” a multiple in fired clay by James Lee Byars (1932-1997)

Art critic Thomas McEvilley (1939-2013) has contributed a series of texts, and the “Skull Page” paper was handmade by Yoshio Ikezaki (b. 1953) using kozo fibers and a powdered mummy skull

Book: 9.375” H x 7” W x 1.25” D; Ball: 2.625” Dia.; Overall: 11.25” H x 11.625” W x 3.5” D

$1,000-1,500

Provenance: The Collection of Cirrus Gallery

1066

Allen Jones

(b. 1937)

Untitled, back to back dancers maquette, 1986

Patinated bronze Edition: 6/8

Possibly signed illegibly in the casting to base; incised edition to underside 16.25” H x 11.625” W x 11.375” D

$1,000-1,500

Provenance: The Artist

Waddington Galleries, Ltd., London, UK

The Estate of Herbert and Ann Lucas, acquired from the above, March 8, 1988

1067

Allen Jones (b. 1937)

Untitled, maquette, 1996

Patinated bronze Edition: 2/10

Initialed, numbered, and dated in the casting: AJ / ‘96

5.625” H x 16.25” W x 6.25” D

$700-900

Provenance: The Estate of Herbert and Ann Lucas

1068

Mattia Biagi (b. 1974)

Black tar ram’s head

Black tar and mixed media mounted in acrylic case

Appears unmarked

Ram’s head: 16.25” H x 21.25” W x 8.25” D; Case: 36” H x 36” W x 10.5” D

$500-700

1069

Ramón Conde (b. 1951)

Male figure, 2003

Patinated bronze on a copper base

Signed and dated to base: Ramon / P.U.

Overall: 67” H x 21.5” W x 20.75” D

$3,000-5,000

Provenance: The Estate of Elaine Wynn

Chihung Yang (b. 1947)

Taiwanese American artist Chihung Yang’s Western modernism. Born in Taipei, Taiwan, immigrating to the United States in 1979.

Abstract Expressionism, but he gradually calligraphic lines, and dreamlike imagery. explores themes of memory, emotion, and deeply expressive.

Over the decades, Yang has gained international works have been exhibited in major institutions Arts Museum and the Brooklyn Museum. from both his Taiwanese heritage and his movement and transformation, reflecting between nature and the human psyche.

Yang’s dynamic abstract paintings blend elements of Eastern philosophy with Taiwan, in 1947, Yang studied at the National Taiwan College of Art before His early works were influenced by the energy and spontaneity of developed a personal visual language that integrates gestural brushwork, Through his use of layered textures, shifting colors, and fluid forms, Yang and the subconscious, creating paintings that feel both meditative and international acclaim for his ability to bridge cultural and artistic traditions. His institutions across Asia, Europe, and North America, including the Taipei Fine Living and working in New York, Yang continues to draw inspiration experiences in the Western art world. His paintings embody a sense of his lifelong exploration of identity, spirituality, and the evolving relationship

1070

Chihung Yang (b. 1947)

Abstract composition, 1990

Acrylic, pastel, and watercolor on paper

Signed and dated lower right: C. Yang / 90 Sheet: 22.25” H x 15” W

$10,000-15,000

Provenance: Triton Museum of Art, Santa Clara, CA

1071

Heeseung Chung (b. 1974)

Untitled #03, from the series “Reading,” 2010

Archival pigment print in colors

Edition: 2/3

Illegibly signed and dated 5/10/2012 in ink on a printed label affixed to the frame’s aluminum backing board; with the typed title, 2010 date, and edition number on the same printed label 53” H x 71” W

$1,000-2,000

Provenance: The Estate of Elaine Wynn

Notes: This lot is accompanied by the artist’s certificate of authenticity.

1072

Guy de Cointet (1934-1983)

“A Page From My Intimate Journal (Part I),” 1974 Screenprint on wove paper, watermark Arches

A bon à tirer impression, aside from the edition of 50 Signed, dated, and inscribed in pencil in the lower margin: Guy de Cointet 74 / BAT; titled in pencil in the upper margin; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions work number, 77cs-GC74, in pencil, verso Image: 26.125” H x 19.5” W; Sheet: 30” H x 22.375” W

$1,000-1,500

Provenance: The Personal Collection of Jean Milant

1073

Ed Ruscha (b. 1937)

“Motor,” 2021

Lithograph in colors on wove paper

An artist proof, aside from the edition of 50 Signed, dated, and inscribed in pencil in the lower margin: Ed Ruscha 2021 / AP 12; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 745c-ER21, both verso Image: 12.375” H x 21.875” W; Sheet: 16.75” H x 26” W

$7,000-9,000

Provenance:

The Collection of Cirrus Gallery

Notes:

This work was part of the Cirrus Editions’ 50th Anniversary Project, which included new publications by artists such as Judy Chicago, Barbara Smith, Ed Ruscha, and Lita Albuquerque, with whom they had collaborated over the years, and an exhibition at the Los Angeles County Museum of Art in 2020 entitled “Celebrating Cirrus: The Renowned L.A. Print Shop Turns 50.”

1074

Ed Ruscha (b. 1937)

“Dish,” 1973

Lithograph on wove paper

Edition: 29/250 (there were also 20 artist’s proofs)

Signed, titled, dated, and numbered in pencil in the lower margin: Edward Ruscha 1973; Ed Hamilton, prntr.; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner Image: 3.5” H x 7.875” W; Sheet: 10” H x 13.5” W

$2,000-3,000

Literature: Engberg 67

1075

Lita Albuquerque (b. 1946)

“100 Breaths,” 1998

Lithographic monoprint in colors on wove paper

Number 79 from the edition of 111 unique impressions

Signed, dated, and numbered in Roman numerals in pencil in the lower margin: Lita Albuquerque ‘98; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 434c-LA89-98, both verso

Image: 45” H x 13” W; Sheet: 51” H x 19” W

$1,500-2,500

Provenance:

The Collection of Cirrus Gallery

1076

Lita Albuquerque (b. 1946)

“She Whispered in our Ear: Surrender into Diamonds!,” 2021 Archival pigment print in colors on wove paper

A bon à tirer impression, aside from the edition of 50

Signed, dated, and inscribed B.A.T. in pencil in the lower margin: Lita Albuquerque 2021; Cirrus Editions Ltd., Los Angeles, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 738c-LA21, both verso Image: 40” H x 30” W; Sheet: 44” H x 34” W

$1,500-2,500

Provenance:

The Personal Collection of Jean Milant

Notes:

This work was part of the Cirrus Editions’ 50th Anniversary Project, which included new publications by artists such as Judy Chicago, Barbara Smith, Ed Ruscha, and Lita Albuquerque, with whom the print studio had collaborated over the years, and an exhibition at the Los Angeles County Museum of Art in 2020 titled “Celebrating Cirrus: The Renowned L.A. Print Shop Turns 50.”

1077

Lita Albuquerque (b. 1946)

“Island Universes II,” 2002 Lithograph in colors on thick wove paper A bon à tirer impression, aside from the edition of 55 Signed, dated, and inscribed in pencil in the lower margin: Lita Albuquerque 2002 / BAT; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 622c-LA02, in pencil, both verso Image: 19” H x 35.25” W (irreg.); Sheet: 27.5” H x 42.25” W

$800-1,200

Provenance: The Personal Collection of Jean Milant

1078

Despina Stokou (b. 1978)

“George B.I,” 2016

Lithograph and archival inkjet print in colors on wove paper

A bon à tirer impression, aside from the edition of 40

Signed, titled, dated, and inscribed in pencil along the lower edge: Stokou 2016 / BAT; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner, with the Cirrus Editions copyright ink stamp and pencil work number, 703c-DS16, both verso Image/Sheet: 38” H x 28.5” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

1079

Despina Stokou (b. 1978)

“George B.III,” 2016

Lithograph and archival inkjet print in colors on wove paper

A bon à tirer impression, aside from the edition of 40

Signed, titled, dated, and inscribed in pencil along the lower edge: Stokou 2016 / BAT I; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions copyright ink stamp and pencil work number, 702c-DS16, both verso

Image/Sheet: 38” H x 28.5” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

1080

Robert Arneson (1930-1992)

“Pic,” 1980

Lithograph in colors on wove paper Edition: 34/35

Signed, dated, and numbered in pencil along the lower edge: Arneson 1980; Landfall Press, Chicago, pub. with their blindstamp lower left; inscribed “RA 79-759” in pencil, and with the publisher’s black ink stamp, both verso Image/Sheet: 40.25” H x 30.125” W

$1,500-2,500

Provenance: James W. Hyams Print Collection Sold: Rago, Lambertville, NJ, “Prints + Multiples,” February 26, 2020, Lot 166

Exhibited: Martinsville, Virginia, Piedmont Arts, “Collecting Prints: Selections from the Collection of James W. Hyams,” 2016

Literature: Landfall Press RA 79-759

1081

John Baldessari (1931-2020)

“Engravings with Sounds: Sniffle,” 2015

Archival inkjet print in colors on ultra smooth fine art paper

Edition: 44/50

Signed, dated, and numbered in pencil along the lower edge: Baldessari 15; Cirrus Editions, Los Angeles, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions copyright ink stamp and pencil work number, 698c-JB15, both verso

Image/Sheet: 44” H x 70.5” W

$4,000-6,000

Provenance: The Collection of Cirrus Gallery

1082

John Baldessari (1931-2020)

“Engravings with Sounds: Arg,” 2015 Archival inkjet print in colors on ultra smooth fine art paper Edition: 44/50

Signed, dated, and numbered in pencil along the lower edge: Baldessari 15; Cirrus Editions, Los Angeles, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions pencil work number, 700c-JB15, verso Image/Sheet: 43” H x 59.25” W

$3,000-5,000

Provenance:

The Collection of Cirrus Gallery

1083

John Baldessari (1931-2020)

“Engravings with Sounds: Snigger,” 2015

Archival inkjet print in colors on ultra smooth fine art paper Edition: 47/50

$2,000-3,000

Provenance:

The Collection of Cirrus Gallery

1084

Jonas Wood (b. 1977)

“Speaker Still Life,” 2019

Lithograph and screenprint in colors on Coventry Rag paper Edition: 14/80 (there were also 20 artist’s proofs)

Signed, dated, and numbered in white pencil in the lower left and right corners: JBRW 2019; Cirrus Editions and WKS Editions, Los Angeles, CA, co-publishers, with their blindstamp in the lower left corner; with the Cirrus Editions copyright ink stamp and pencil work number, 719CJW19, verso

Image/Sheet: 39.625” H x 29.625” W

$12,000-18,000

Provenance: The Collection of Cirrus Gallery

1085

Jonas Wood (b. 1977)

“Shelf Still Life,” 2018

Lithograph and screenprint in colors on thick wove paper Edition: 4/80 (there were also 20 artist’s proofs)

Signed, dated, and numbered in reddish-brown pencil in the lower edge, at left: JBRW 2018; Cirrus Editions and WKS Editions, Los Angeles, CA, co-publishers, with the Cirrus Editions blindstamp in the lower left sheet corner; with the Cirrus Editions copyright ink stamp and pencil work number, 718c-JW18, both verso Image/Sheet: 32” H x 26” W

$7,000-9,000

Provenance: The Collection of Cirrus Gallery

1086

Jonas Wood (b. 1977)

Untitled, 2010

Lithographic monoprint on wove paper

Number XV from a series of 15 unique monoprints

Signed, dated, and numbered in Roman numerals, all in pencil and in the lower margin: JBRW 2010 / XV; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 662c-JW10, both verso

Image: 40” H x 32” W (irreg.); Sheet: 44” H x 35” W

$7,000-9,000

Provenance:

The Collection of Cirrus Gallery

1087

Matthew Brannon (b. 1971)

“Untitled (Red),” 2007

Lithograph and screenprint in colors on wove paper

A bon à tirer impression (aside from the edition of 50)

Signed, dated, and inscribed in pencil along the lower portion of the right sheet edge: B.A.T. Matthew Brannon 2008; Cirrus Editions Ltd., Los Angeles, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions copyright ink stamp and pencil work number, 648c-MB07, verso

Image/Sheet: 44” H x 35” W

$1,000-1,500

Provenance: The Personal Collection of Jean Milant

1088

Matthew Brannon (b. 1971)

“Untitled (Blue),” 2007

Lithograph and screenprint in colors on wove paper

A bon à tirer impression (aside from the edition of 50)

Image/Sheet: 44” H x 35” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

1089

Barbara T. Smith

(b. 1948)

“Signifier 1,” 2016

Archival inkjet print on thick wove paper

A bon à tirer impression, aside from the edition of 35

Signed, dated, and inscribed in pencil in the lower margin: Barbara T. Smith ‘16 / B.A.T.; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 705c-BS16, both verso

Image: 35” H x 25.5” W; Sheet: 41.625” H x 30.5” W

$1,500-2,500

Provenance: The Personal Collection of Jean Milant

1090

Barbara T. Smith

(b. 1948)

“Signifier 2,” 2016

Archival inkjet print on thick wove paper

A bon à tirer impression, aside from the edition of 35

Signed, dated, and inscribed in pencil in the lower margin: Barbara T. Smith ‘16 / B.A.T; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 704c-BS16, both verso

Image: 35.125” H x 25.5” W; Sheet: 41.625” H x 30.5” W

$1,500-2,500

Provenance: The Personal Collection of Jean Milant

1091

Barbara T. Smith

(b. 1948)

“Signifier 3,” 2016

Archival inkjet print on thick wove paper

A bon à tirer impression, aside from the edition of 35

Signed, dated, and inscribed in pencil in the lower margin: Barbara T. Smith ‘16 / BAT; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 706c-BS16, both verso Image: 35” H x 25.5” W; Sheet: 41.625” H x 30.5” W

$1,500-2,500

Provenance:

The Personal Collection of Jean Milant

1092

Barbara T. Smith

(b. 1948)

“Signifier 4,” 2016

Archival inkjet print on thick wove paper

A bon à tirer impression, aside from the edition of 35

Image: 35” H x 25.5” W; Sheet: 41.625” H x 30.5” W

$1,500-2,500

Provenance:

The Personal Collection of Jean Milant

1093

Barbara T. Smith (b. 1948)

“Rocks, Weeds, Dirt,” 2020

Archival pigment print on thick wove paper

A bon à tirer impression, aside from the edition of 50

Signed, titled, dated, and inscribed in pencil in the lower margin: Barbara T. Smith 2020 / B.A.T.; Cirrus Editions, Los Angeles, CA, pub., and with their blindstamp in the lower left and upper right margin corners; with the Cirrus Editions copyright ink stamp and pencil work number, 736c-BTS19, both verso

Each image: 15” H x 11” W; Sheet: 18.5” H x 38.5” W

$1,000-1,500

Provenance: The Personal Collection of Jean Milant

Notes:

1094

Billy Al Bengston (1934-2022)

Untitled, 1990

Lithograph and screenprint in colors on wove paper, watermark Arches

A bon à tirer impression, aside from the edition of 250

Initialed, dated, and inscribed in pencil in the lower margin: B.A.B / 1990 / B.A.T.; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions work number, 449c-BAB90, in pencil, verso Image: 19.625” H x 25.75” W; Sheet: 24” H x 30” W

$800-1,200

Provenance: The Personal Collection of Jean Milant

1095

Banksy (b. 1974)

“Trolleys,” 2006

Screenprint in colors on Arches wove paper Edition: 267/500

Unsigned; numbered in pencil in the lower right margin corner; Pictures on Walls Printmaking, London, pub., with their blindstamp in the lower right margin corner; two unidentified blindstamps in the lower left margin corner (one circular and the other more figurative)

Image: 11” H x 26” W (irreg); Sheet: 22.5” H x 30” W

$7,000-10,000

Notes:

This lot is accompanied by a certificate of authenticity, dated 30/09/2025, issued and signed by The Office of Pest Control.

Proceeds to benefit New Village Arts, a professional theatre and arts organization in North County, San Diego

1096

Allan McCollum (b. 1944)

Untitled, 1974

Screenprint in colors with glitter on nine pieces of joined sheets of spiral-edged wove paper laid to a single wove paper support sheet

A bon à tirer impression, aside from the edition of 50

Signed, dated, and inscribed in pencil along the lower edge: Allan McCollum 74 / B.A.T.; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions work number, 77cs-AM73, in pencil, verso Overall: 6” H x 33.5” W

$1,000-1,500

Provenance: The Personal Collection of Jean Milant

1097

Roland Reiss (1929-2020)

“The Dancing Lessons: Simple Awareness,” 1977

Mixed media tableaux in Plexiglas case, set on a painted wood plinth

Signed and titled in pencil to base: Roland Reiss

Overall: 14” H x 24.25” W x 24.25” D; Plinth: 33.5” H x 24.25” W x 24.25” D

$2,000-3,000

Provenance:

The Collection of Cirrus Gallery

Exhibited:

Los Angeles, CA, Los Angeles County Museum of Art (LACMA), “The Dancing Lessons: 12 Sculptures,” 1977

Los Angeles, CA, Los Angeles Municipal Art Gallery, “A Seventeen Year Survey,” November 19, 1991-January 19, 1992

Tucson, AZ, University of Arizona Museum of Art, “A Seventeen Year Survey,” February 16, 1992-March 29, 1992

Purchase, NY, The Newberger Museum of Art at SUNY, “A Seventeen Year Survey,” June 21, 1992-September 13, 1992

Palm Springs, CA, Palm Springs Desert Museum, “A Seventeen Year Survey,” November 6, 1992-January 3, 1993

1098

Attributed to Charles Simmons (1939-2020) Untitled Marble and concrete Unmarked Overall: 25.5” H x 18” W x 18” D; Top: 14.25” H x 14.25” W x 8.25” D $700-900

Provenance: The Estate of Herbert and Ann Lucas

1099

Attributed to Charles Simmons (1939-2020)

Untitled, perspective, 1999

Concrete and copper in two parts

Unmarked

Foreground component: 39” H x 33.5” W x 6.25” D; Background pedestal: 52.5” H x 17.25” W x 15.625” D; Circle: 20.25” Dia. x 1.75” D

$800-1,200

Provenance: The Estate of Herbert and Ann Lucas

1100

Jane Rosen (1950-2025)

“White Bird with Space,” 2008

Carved white limestone

Each piece initialed, titled, and dated: JR

Overall: 56.25” H x 10” W x 14” D; Bird: 16.75” H x 6” W x 11” D

$3,000-5,000

Provenance: The Estate of Elaine Wynn

Notes:

Some components are dated “2008,” others “08,” and variously titled ‘White bird,” or “White Bird Space.” Each section is numbered in order of stacking, with directional indicators.

1101

David Worthington (b. 1962)

Untitled

Carved marble on stone plinth

Unmarked Twist: 37” H x 5.5” Dia.; Base: 26” H x 20.5” W x 12” D

$1,000-1,500

Provenance: The Estate of Herbert and Ann Lucas

1102

Polia Pillin (1909-1992)

A figurative pottery plaque, mid-20th century

Signed at lower right: Polia Pillin

The glazed polychrome ceramic plaque depicting three figures

Sight: 14.25” H x 10.25” W

$3,000-5,000

1103

Aristide Maillol (1861-1944)

Standing nude

Graphite on laid paper, without watermark, laid to paper

Monogrammed in graphite, lower right

Sheet: 12.75” H x 8.875” W; Support sheet: 18” H x 13.75” W

$800-1,200

Provenance:

Private collection, Beverly Hills, CA, acquired while living in Southern France, circa 1950s-60s

By family descent

1104

Käthe Kollwitz (1867-1945)

“Tod mit Frau im Schoss” (Death with a Woman in His Lap), 1921 Woodcut on wove paper

Edition: 130/150

Signed by the artist and printer and numbered in pencil in the lower margin: Kathe Kollwitz / F. Voigt

Image: 9.375” H x 11.25” W; Sheet: 12.875” H x 18” W

$2,500-3,500

Literature: Klipstein 15 vi/vi (a); Knesebeck 165

Notes:

Proceeds to benefit New Village Arts, a professional theatre and arts organization in North County, San Diego

1105

Rockwell Kent (1882-1971)

“The Lovers,” 1928

Wood engraving on light-tan imitation Japan paper

From the edition of 100 (there was also a posthumous edition printed in blue on white Arches paper)

Signed in pencil in the lower margin, at right, directly below the image: Rockwell Kent; titled and inscribed in pencil, presumably in another hand, at the center of the lower margin edge: “Kent The Lovers”; E. Weyhe, Inc., New York, NY, pub.

Image: 6.5” H x 10” W; Sheet: 12.125” H x 15” W

$1,500-2,000

Literature: Burne Jones 23

Notes:

According to Burne Jones, there was a posthumous edition of 100 impressions printed in 1973 via photo silkscreen in blue ink on heavy white Arches paper.

“The Lovers” is a striking example of Rockwell Kent’s ability to combine emotional intimacy with natural settings. In this intimate composition, two nude figures recline against a stark black background, their pale bodies rendered in smooth, sculptural forms. One figure lies peacefully with eyes closed, head cradled in the arm of the other, who gazes outward with a serene expression. The scene is framed by a few stylized ferns, adding a natural, Edenic touch to the otherwise barren space.

Typical of Kent’s printmaking style, Kent’s use of light and shadow is central to the emotional power of the image. The high contrast between the luminous bodies and the surrounding darkness creates a dramatic, almost theatrical effect. The figures are idealized, almost sculptural, recalling classical forms while also embodying Kent’s modernist leanings. Despite the simplicity of the setting, the wood engraving conveys a deep sense of intimacy and tranquility.

1106

Peter Lanyon 1918-1964

“Church Town, Zennor,” 1948

Screenprint and gouache on wove paper

Edition: 1/7

Signed, dated, and numbered in ink directly below the image, in the lower margin, at right: Lanyon 48; signed, dated, and numbered again, and titled, all in ink on the verso Image: 12.25” H x 10.25” W; Sheet: 14.875” H x 10.5” W

$1,200-1,800

Provenance:

Reba and Dave Williams

The Fine Art Society, London, England

The Estate of Herbert and Ann Lucas

Exhibited:

London, England, The Fine Art Society, “The Twentieth Century,” 2005

Literature:

Frances Carey and Antony Griffiths, “Avant-Garde British Printmaking: 1914-1960” (London: Trustees of the British Museum by British Museum Publications, 1990), 180.

Notes:

This lot is accompanied by a copy of an invoice dated October 13, 2005, from the gallery mentioned above.

1107

Peter Lanyon (1918-1964)

“In the Trees,” 1951 Screenprint in colors on paper Edition: 5/8

Signed, dated, and numbered in pencil, lower left: Peter Lanyon 51 Image/Sheet: 10” H x 9.5” W

$1,200-1,800

Provenance:

The Fine Art Society, London, UK

The Estate of Herbert and Ann Lucas

Literature:

“The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982-84,” Tate Gallery, London, 1988, p. 404, another example illustrated

Notes:

This lot is accompanied by a copy of a sales invoice dated April 28, 2008, from the gallery mentioned above.

Deborah Kay Butterfield (b. 1949)

American sculptor Deborah Butterfield is best materials such as driftwood, scrap metal, and fascination for both animals and art, interests Bachelor of Fine Arts and Master of Fine Arts influential artists like William T. Wiley and Manuel but she soon found her central motif in the form

Butterfield’s horses are not traditional equestrian and essence of the animal rather than its literal sticks, and straw, evoking both fragility and strength. Walla Foundry, Washington, like the two sculptures materials while creating works that could endure from found and salvaged metal.

For her cast bronzes, Butterfield’s process is logs, and boards onto an armature that forms organic materials is then extensively photographed form. Like the present examples, the patinated color.

Today, Butterfield’s sculptures are featured in the Smithsonian American Art Museum, and Montana and Hawaii, environments that deeply approach, Butterfield has redefined the boundaries grace, and the enduring bonds of our natural as meditative reflections on nature, life, and

Butterfield

best known for her life-sized depictions of horses crafted from unconventional and found objects. Born in San Diego, California, Butterfield grew up with a interests that would later merge into her signature sculptural works. She earned her Arts degrees from the University of California, Davis, where she studied under Manuel Neri. Butterfield’s early work explored themes of identity and feminism, form of the horse, a subject that has come to define her artistic legacy. equestrian statues but rather poetic, devotional abstractions that capture the spirit literal form. Her early pieces were constructed from natural materials such as mud, strength. Later, she began casting these wooden forms in bronze at the Walla sculptures in this sale, preserving the textures and organic qualities of the original endure the passage of time. In the 1980s, Butterfield also began building horses

to sculpt the original by piecing and fastening found branches, sticks, planks, forms the gesture and posture of the horse. The completed horse formed from the photographed ensuring that the cast bronze pieces can be reconstructed into the same patinated bronze has the appearance of sun-bleached driftwood in form, texture and in major museum collections, including the Whitney Museum of American Art, and the Metropolitan Museum of Art. She divides her time between studios in deeply influence her creative process and material choices. Through her distinctive boundaries of modern sculpture, using her equine forms to express resilience, natural world. Her horse figures, often standing in quiet, contemplative poses, serve the human connection to animals.

1108

Deborah Kay Butterfield (b. 1949)

Untitled, (Large Horse), 2013

Bronze

Incised date and foundry mark to underside: © [delta] WWf [Walla Walla foundry, WA]

83” H x 99.5” W x 39.5” D

$150,000-250,000

Provenance: LA Louver, Venice, CA

The Estate of Herbert and Ann Lucas, acquired from the above, November 30, 2012, Inventory # DBut12-14

Notes: This lot is accompanied by a purchase invoice from the abovementioned gallery.

1109

Deborah Kay Butterfield

(b. 1949)

Untitled, (Foal), 2015

Bronze

Incised date an foundry mark to underside: © [delta] WWf [Walla Walla foundry, WA]

66” H x 71” W x 25” D

$80,000-120,000

Provenance:

LA Louver, Venice, CA

The Estate of Herbert and Ann Lucas, acquired from the above, November 30, 2012, Inventory # DBut14-4

Notes:

This lot is accompanied by a purchase invoice from the abovementioned gallery.

1110

Gwynn Murrill (b. 1942)

Standing tiger #3, 2002

Patinated bronze

Signed, numbered, and dated in the casting: GMurrill / 02

46.5” H x 90” W x 19” D

$7,000-9,000

Provenance: The Estate of Herbert and Ann Lucas

1111

Gwynn Murrill

(b. 1942)

Recumbent tiger

Patinated bronze

Appears unmarked

Figure: 32.75” H x 101” W x 24.5” D

$7,000-9,000

Provenance: The Estate of Herbert and Ann Lucas

1112

Theodore Waddell (b. 1941)

Portrait of Bauhaus, 1984

Oil and crayon on cream paper

Signed and dated in pencil, lower right: T. Waddell 84

Sheet: 26” H x 19.75” W

$2,000-3,000

Provenance:

The Personal Collection of Jean Milant

Notes:

This is a portrait of Jean Milant’s Great Dane “Bauhaus.” Jean Milant was the founder of Cirrus Gallery and Cirrus Editions.

1113

Theodore Waddell (b. 1941)

Portrait of Bauhaus standing, 1984

Oil and crayon on cream paper

Signed and dated in pencil, lower right: T Waddell 84

Sheet: 20” H x 26” W

$2,000-3,000

Notes:

This is a portrait of Jean Milant’s Great Dane, “Bauhaus.” Jean Milant was the founder of Cirrus Gallery and Cirrus Editions.

R. Kenton Nelson (b. 1954)

R. Kenton Nelson is a contemporary American California. His work blends nostalgia with narrative inspiration from WPA-era mural artists.

The Mexican artist and muralist Roberto Montenegro, artist’s early work. One of the first artists to be Revolution, Montenegro was a contemporary Long Beach, and the Otis College of Art and two decades as a graphic designer and illustrator, compositions.

Nelson’s paintings are characterized by their each with their own unique balance of light and Mexican muralists, while also reflecting the influence as “idolizing the ordinary” aiming to present

Throughout his career, Nelson has exhibited renowned venues including Peter Mendenhall New York, and Galerie Nikolaus Ruzicska in Austria.

Still actively painting in Southern California, into a world of refined beauty and timeless elegance.

American painter renowned for his stylized depictions of mid-century life in Southern narrative realism, drawing from American Scene painting, Regionalism, and Montenegro, Nelson’s great-uncle, in particular, had a profound impact on the be involved in the Mexican muralist movement following the Mexican contemporary of Diego Rivera and Frida Kahlo. Nelson studied at California State University, and Design. Before transitioning to fine art in the 1990s, Nelson spent nearly illustrator, experiences that continue to inform his precise line work and bold

their idealized portrayals of everyday Americana figures, architecture, and objects and shadow. His style evokes the aesthetics of 1930s American Regionalists and influence of advertising and cinema from the 1950s. He describes his approach present the world as he envisions it.

exhibited extensively both in the United States and internationally, with shows at Mendenhall Gallery, the Pasadena Museum of California Art, Gerald Peters Gallery in Austria. Nelson remains dedicated to his craft, producing paintings that invite viewers elegance.

1114

R. Kenton Nelson (b. 1954)

Man on a street corner Oil on Masonite

Signed lower left: R. Kenton Nelson 24.50” H x 12” W

$4,000-6,000

1115

R. Kenton Nelson (b. 1954) “A Message” Oil on Masonite

Signed lower left: R.K. Nelson; titled on a gallery label affixed to the frame’s backing paper 24” H x 12” W

$4,000-6,000

Provenance: Eleanor Ettinger Inc., New York, NY

Josh Agle (aka SHAG) (b. 1962)

Josh Agle, born on August 31, 1962, known known for his distinctive style that captures the colors, bold designs, and playful characters,

Growing up in Southern California, SHAG developed 1950s and 1960s. His artistic journey began immersing himself in the visual culture of the his signature style.

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

It was in the early 1990s that SHAG began to mid-century modern design, Tiki culture, cocktail often depicted in glamorous and whimsical of flat colors and sharp lines, SHAG’s art transports and contemporary.

known professionally as Shag (stylized as SHAG), is a contemporary artist widely the essence of mid-century modernism and retro pop culture. With his vibrant SHAG has become an icon in the world of modern art.

developed a deep appreciation for the architecture, design, and fashion of the during his childhood, where he would spend countless hours drawing and the time. These early experiences would later shape his artistic vision and inspire California State University, Fullerton, where he studied both illustration and fine art. and experiment with different mediums, including painting, printmaking, and exhibiting his work in local galleries and art shows, slowly gaining recognition

to establish his distinct style, drawing inspiration from Palm Springs culture, cocktail lounges, and vintage advertising. He created a universe of characters, settings, exuding an air of sophistication and mystery. With his masterful use transports viewers into a retro-futuristic world that feels simultaneously nostalgic

1116

Josh Agle (aka SHAG) (b. 1962)

“Into His Dark Heart,” 2003 Acrylic and vinyl paint on board

Signed lower right: SHAG; signed again, titled, dated, and with the artist’s copyright, all in pencil, verso: © 2003 Josh Angle / SHAG; titled again, “Into His Heart,” on a label affixed to the frame’s backing paper 24” H x 38” W

$6,000-8,000

Provenance:

Sold: John Moran Auctioneers, Monrovia, CA, “Art + Design,” August 13, 2024, Lot 153

Seth Randal (b. 1957)

Seth Randal is best known as a contemporary mediums including oil paint. Dynamic designs use of contrasting colors and a repeated, A graduate of Parsons School of Design, Randal decades. Early in his career, he was a product Daum Cristal. Exploring themes of power, Abstracted and Dialogues. Randal’s work Montreal Museum of Fine Arts, and the Seattle

contemporary glass artist and sculptor, but also works as a designer in various designs like the present floral composition reflect the artist’s sophisticated bold composition.

Randal has worked in studio glass and metal for more than three product designer, collaborating with luxury brands such as Tiffany & Co. and power, nature and narrative, he created three distinct series: Adorned, Nature is held in over 20 major museums worldwide, including LACMA, the Seattle Art Museum.

Seth Randal (b. 1957)

Abstract composition with purple and yellow, 2009

Oil on canvas

Signed with initials in red lower left: SR; dated by repute

36” H x 35.75” W

$2,000-3,000

1118

Franklin Evans (b. 1967)

Multi-color abstract

Offset lithograph in colors with heavy mixed media embellishments on paper Appears unsigned; with a typed letter signed in pencil by the artist attached to the frame’s backing paper

Image/Sheet: 17” H x 13.5” W (or reverse)

$600-800

Provenance: The Estate of Elaine Wynn

Exhibited: Reno, NV, Nevada Museum of Art, “Timepaths,” October 5, 2013-April 20, 2014

Notes:

The work is currently wired for display either vertically or horizontally.

1119

Ruprecht von Kaufmann (b. 1974)

Untitled, Elephant (six panels)

Each: Oil on panel

Unsigned; each work is numbered on the verso to correspond with the intended order of the panels

Each panel: 58.625” H x 58.625” W; Overall: 117.25” H x 175.875” W (approx.)

$1,500-2,000

1120

John Virtue (b. 1947)

“Landscape No. 596” (triptych), 1999

Acrylic and ink on three joined, stretched canvases

Signed, titled, and dated on the verso of each canvas: John Virtue / 1999; the verso of each canvas also inscribed with an indication of its placement in the triptych

Overall: 20” H x 60” W

$2,500-3,500

Provenance: LA Louver, Venice, CA

The Estate of Herbert and Ann Lucas

Notes:

This lot is accompanied by additional documentation materials related to the artwork.

Babak Emanuel (b. 1966)

Babak Emanuel has always believed that art dimensions that are visually immediate and rationally In response to the conceptual demands of today’s those visions and morphologies that emotionally

Babak begins his work with “concrete visions” vision guides him through recondite and mysterious multiple impulses to synchronize in a cohesive his works understood or to be scrutinized by awaken senses, and envision new vistas.

Babak also wants the viewer to take these strands the viewer’s desires and experiences. Just as in the crucible of social, historical and cultural forces that often lie beyond reasoning.

Fascinated by the interplay of accidents and unexpected. Always, entropy stands face to meaningful.

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

moves beyond the narrow confines of language and explores indescribable rationally inexplicable. today’s art, Emanuel has, while cognizant of art history, remained faithful to emotionally have defined the purpose and limitations of “Being” for him as an artist. visions” and yet does not work with an end in sight. The emotional language of his mysterious pathways. He works on several paintings at once and allows for cohesive expression. Emanuel makes forms for form’s sake and chooses not to have by adherence to a standard. He aims for them to be seen for their own power, strands and create their own personal narratives. Art is often interwoven with as the artist’s own aesthetic preferences are determined by their feelings formed cultural narratives. Yet through all of this, Emanuel is guided by the unconscious and reason, Babak Emanuel’s art pits rules and order against chaos and the face with coherent arrangements and their confrontations, though tragic, are techniques and media. They are vehicles of his emotional yearnings and explorations. sculpture and digital technology all facilitate his desires and the quest for meaning

1121

Babak Emanuel (b. 1966)

“Disharmonized Succession I, II, and III” (triptych)

Each: Embossed lead sheeting over panel

Each: Signed and titled in pencil, verso: B. Emanuel

46.5” H x 22.75” W x 3” D

$1,500-2,000

1122

Emanuel (b. 1966)

“Energies of the Cosmos...” (diptych)

Each: Embossed lead sheeting over panel

Each unsigned; titled by repute

Largest: 36.25” H x 36.125” W x 4.25” D; Smallest: 25.625” H x 25.625” W x 4.25” D

$1,000-1,500

Babak

1123

Phil Wagner (b. 1974)

Untitled, 2013

Steel and spray paint

Signed and dated, verso: Phil Wagner 2013

48.75” H x 43.5” W x 6” D (irreg.)

$1,000-2,000

1124

Joe Goode

(b. 1937)

Untitled, 1978

Lithograph in grey and silver ink with razor blade impression by artist on black wove paper

A bon à tirer impression, aside from the edition of 30

Signed, dated, and inscribed in pencil along the lower edge: Joe Goode 1978 / B.A.T; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left sheet corner; with the Cirrus Editions work number, 245c-JG78, in pencil, verso Image/Sheet: 28” H x 40” W

$2,000-3,000

Provenance: The Personal Collection of Jean Milant

1125

Santiago Taccetti (b. 1974)

Untitled (EINSATZBEREICH INNEN – AUßEN), 2014

Pre-primed white canvas and acrylic in an artist’s-made, CNC engraved, aluminum frame

Initialed and dated in pencil, verso: ST 14’

72” H x 56” W

$1,000-1,500

1126

Samuel Stabler (b. 1984)

Two-tone Arches paper cut-out

Signed and dated in pencil, verso: Stabler 2014

Sheet: 26” H x 40.25” W

$800-1,200

1127

Guy Robinson (b. 1949)

“Sacred Grove 7,” 2020 Oil on linen

Signed, titled, and dated lower center: g. Robinson / 3.7.’20 ©; titled again on a label affixed to the stretcher 26” H x 24” W

$1,000-1,500

Provenance: Spalding Nix Fine Art, Atlanta, GA

1128

Guy Robinson (b. 1949)

“Reflection 3,” 2021 Oil on canvas

Signed and dated lower center: g. Robinson / 12.14.21 ©; titled upper center 26” H x 24” W

$1,000-1,500

Provenance: Spalding Nix Fine Art, Atlanta, GA

1129

Douglas Riseborough (b. 1924)

Figures on a beach Oil on unstretched canvas

Signed lower right: Riseborough 80” H x 75” W

$1,000-1,500

1130

Dennis Leon (1933-1998)

“Urbanstones #6,” 1988

Pastel and collage on paper

Signed, titled, and dated in pencil, lower left: Leon ‘88

Sheet: 44.5” H x 60” W

$2,000-3,000

1131

Babak Emanuel (b. 1966)

“Spilling Open I (Tree of Life)”

Acrylic, ink, and paraffin on canvas

Signed and titled in pencil, verso: Babak Emanuel

75” H x 52” W

$3,000-5,000

1132

Babak Emanuel (b. 1966)

“Spilling Open II (Tree of Life)”

Acrylic, ink, and paraffin on canvas

Signed and titled in pencil, verso: Babak Emanuel 75” H x 52” W

$3,000-5,000

1133

Peter Max

(b. 1937)

“Sage with Umbrella and Cane,” 2007

Offset lithograph in colors on paper with acrylic embellishments, mounted to acrylic on board, as issued Signed lower center: Max; signed again, dated, inscribed “H [inside a heart] & Holly / Love / Max / 2007, and with an ink drawing of a woman’s head, all on the frame’s backing paper; titled on a gallery label affixed to the frame’s backing paper

Sheet: 10.25” H x 10.5” W; Sight: 19.25” H x 15.25” W

$2,000-3,000

Provenance: Wentworth Gallery, Miami, FL

1134

Peter Max

(b. 1937)

“Image of an Era: Sage ver. IV,” 2018

Acrylic on canvas

Signed upper right: Max; stamped with the artist’s copyright and date, and with various hand-written numbers, all verso; titled on a label affixed verso 21” H x 17” W

$1,500-2,500

1135

David Lamelas (b. 1946)

“Woman Running in Twelve Sections,” 2018

Archival pigment print with aluminum chine-collé on paper

A bon à tirer impression, aside from the edition of 40

Signed, dated, and inscribed in pencil, all verso: David Lamelas 2018 / B.A.T.; Cirrus Editions, Los Angeles, CA, pub., with their copyright ink stamp and pencil work number, 717c-DL18, in the lower left sheet corner, verso Image/Sheet: 30” H x 40” W (irreg.)

$1,500-2,500

Provenance:

The Personal Collection of Jean Milant

1136

Joe Goode (b. 1937)

Untitled (triptych), 1983

Lithograph in colors on A bon à tirer impression, Signed, dated, and inscribed sheets: Joe Goode / 1983 blindstamp in the lower number, 340c-JG83, on ink stamp on the verso Overall: 41.125” H x 73”

$3,000-5,000

Provenance: The Personal Collection

three sheets of wove paper, watermark Arches impression, aside from the edition of 25 inscribed in pencil along the lower edge of the three adjoining 1983 / BAT; Cirrus Editions, Los Angeles, CA, pub., with their lower left corner of the leftmost sheet, and with the pencil work on the verso of that same sheet; the Cirrus Editions copyright of the lower left sheet corner of the rightmost sheet 73” W

Collection of Jean Milant

Joe Goode (b. 1937)

Untitled, from the “Environmental Impact” series, 1981

Pastel with gunshot impressions by the artist on Strathmore wove paper

Signed and dated in pencil in the lower margin, at center: Joe Goode Sheet: 14.5” H x 11.5” W

$1,500-2,500

Provenance:

The Personal Collection of Jean Milant

1138

Guy Williams (1932-2004)

“Ida Cox Guy Williams” and “Blind Blake Guy Williams” (a group of two), 1972

Each: Screenprint in colors on Roll Rives paper

Each A bon à tirer impression, aside from the edition of 20

Each: Signed and inscribed BAT in pencil, verso: Ida Cox Guy Williams; and Blind Blake Guy Williams; Cirrus Editions Ltd., Los Angeles, CA, pub., with their ink stamp and pencil work number, 66cs-GW72, and ,59cs-GW72, all verso

Image/Sheet of each: 23.75” H x 35.25” W

$1,200-1,800

Provenance:

The Personal Collection of Jean Milant

1139

Joe Goode

(b. 1937)

Untitled, 1983

Lithograph in colors on wove paper, watermark Arches

A bon à tirer impression, aside from the edition of 40

Signed, dated, and inscribed in pencil in the lower margin: Joe Goode 1983 / B.A.T; Cirrus Editions, Los Angeles, CA, pub., with their blindstamp in the lower left margin corner; with the Cirrus Editions copyright ink stamp and pencil work number, 339c-JG83, at the lower right and left margin corners, respectively, and both verso Image: 22” H x 35” W; Sheet: 29” H x 41.125” W

$1,000-1,500

Provenance: The Personal Collection of Jean Milant

1140

Joe Goode (b. 1937)

Untitled (Forest Fires), 1984

Lithograph in colors on wove paper

A proof aside from the edition of 15

Unsigned; Cirrus Editions, Los Angeles, CA, with their blindstamp in the lower left margin corner, and their work number, 366c-JG84, in pencil, verso

Image: 8” H x 20” W; Sheet: 14.5” H x 26” W

$1,000-1,500

Provenance:

The Personal Collection of Jean Milant

1141

Sven Braun (b. 1968)

“Shrank,” 2011 Oil on canvas

Signed and dated lower right: S. Braun / 2011; titled on a gallery label affixed to the stretcher 59.5” H x 78.75” W

$1,500-2,000

Provenance: Galerie Eigen + Art, Berlin and Leipzig, Germany

1142

Matty Byloos (b. 1974)

“Hancock Park #7,” 2005

Acrylic and enamel on mahogany panel

66” H x 82” W

$1,200-1,800

Provenance:

Solway Jones Gallery, Los Angeles, CA

Exhibited:

Palm Desert, CA, Heather James Fine Art, “Evocatecture,” 2011

1143

Faris McReynolds (b. 1977)

“Guest Speaker,” 2006

Oil on canvas

Signed, titled, and dated on the canvas overlap: Faris 2006 52” H x 68” W

$1,500-2,000

1144

Michael Kalki

(b. 1969)

Untitled, 2006

Oil on canvas

Signed and dated, verso: Kalki 2006; inscribed with the gallery’s work number, in another hand, on the stretcher: MK/M 70

98.5” H x 78.5” W

$1,500-2,000

Provenance: Galerie Jan Wentrup, Berlin, Germany

1145

Davis Birks

(b. 1957)

“Home for Dinner and a Night of TV,” 1987

Acrylic on canvas

Signed along the center of the lower edge: Davis Birks; signed again (twice), titled, and dated “May 1987,” all verso

68” H x 50” W

$1,500-2,000

1146

Davis Birks

(b. 1957)

“Now What?”

Acrylic on canvas

Signed twice, titled, and dated, all verso: Davis © / Davis R. Birks / 10/31/86

63.5” H x 49.5” W

$1,500-2,000

1147

Davis Birks (b. 1957)

“U.F.O.,” 1987

Pastel and monotype in colors on wove paper

Signed lower left: Davis R. Birks; signed again (twice), titled, and dated “Summer 1987,” all in pencil on the verso

Plate: 13.75” H x 10.75” W; Sheet: 18.75” H x 14.75” W

$700-900

1148

Jesse Garbe (b. 1979)

“Reflection (II),” 2004 Oil on canvas

Signed twice, titled, dated, and inscribed, all verso: Jesse Garbe / 2004 © / “Age 25” 28” H x 28” W

$1,000-1,500

1149

Babak Emanuel (b. 1966)

“Celestial Leap I”

Ink, paraffin, graphite drawing, and collage on canvas

Signed, titled, and inscribed “EMAABY5383 I,” all verso: Babak Emanuel 63” H x 53” W

$3,000-5,000

1150

Babak Emanuel

(b. 1966)

“Celestial Leap II”

Ink, paraffin, graphite drawing, and collage on canvas

Signed, titled, and inscribed “#EMAABY5363 II,” all verso: Babak Emanuel 63” H x 53” W

$3,000-5,000

1151

Babak Emanuel (b. 1966)

“Corporeal I: The Dance”

Ink, paraffin, oil, graphite, and collage on canvas

Signed, titled, and inscribed, all verso: Babak Emanuel / Corporeal I / The Dance / #EMACOR4260I

60.5” H x 42” W

$1,500-2,000

1152

Babak Emanuel (b. 1966)

“Corporeal II: The Dance”

Ink, paraffin, oil, graphite, and collage on canvas

Signed, titled, and inscribed, all verso: Babak Emanuel / Corporeal II / The Dance / #EMACOR4260II

60.25” H x 42” W

$1,500-2,000

1153

Babak Emanuel (b. 1966)

“Esto no es un molino de viento (This is Not a Windmill),” 2023

Ink, paraffin, graphite, and collage on canvas

Signed, titled in English, and dated, all verso: Babak Emanuel / This is Not a Windmill / 2023; titled in Spanish, recto

74.5” H x 62” W

$2,000-3,000

Notes:

In response to Don Quixote’s delusional perspective, this piece is a depiction of his state of mind in two-dimensional spaces, inhibited by surrounding lines.

1154

James Gobel

(b. 1972)

“Branch,” 2002

Acrylic and felt on panel

Signed twice, titled, and dated, all verso: James Gobel / 02

21” H x 24.5” W

$800-1,200

Provenance: Collection of Claudia and Peter Bartlett, Los Angeles, CA

Art + Design

March 24, 2025

Magdalena Abakanowicz

“Atoris,” 2005

Price Realized: $82,550

Consignment and Auction Inquiries: fineart@johnmoran.com Consign Today

SINCE 1969

Condition Reports

1001

Overall good appearance. The full sheet and the colors good. A small scattered area of clear gluelike residue and two small attendant areas of surface skinning with attendant pigment loss, at the center of the lower edge, slightly affecting the printed title. A few minor handling marks, primarily visible from the verso. The sheet is loose, not matted.

Unframed

1002

Overall good appearance. The full sheet and the colors good. A 3.5” diagonal crease along the lower edge, at right, just below (and not affecting) the signature and numbering. Other smaller, softer, handling marks showing mostly showing on the verso. The sheet is loose, not matted.

Unframed

1003

Overall generally good appearance. With margins and the colors fresh. A very unobtrusive 0.5” vertical area of thin craquelure in the blue pigment of the flower at the center of the left edge, primarily visible in raking light. A 3.5” crease extending diagonally from the lower portion of the left margin, slightly affecting the image. Other smaller handling creases scattered in places along the margin edges and corners. Small areas of scattered surface soiling in the margins, and a few flecks of grime residue adhered to the surface in the lower margin, at right. The sheet is loose, not matted.

Unframed

1004

Some soiling and surface grime throughout, with shelf wear and scattered minor scuffs and scratches commensurate with age. The CD with a few scratches, not tested. Moran’s does not guarantee the working condition of the compact disc.

1005

Overall good condition with minor shelf and handling wear. Popsicle stick possibly out of original position. The base with scattered nicks and small losses in the paint, as well as some surface grime/ residue and a 1.5” long crack in the paint.

1006

Overall good condition with minor shelf and handling wear.

1007

Overall good appearance. An occasional thin band of surface skinning or scratch, the longest measuring 0.5”, all in the blank of the lower half. Two pinheadsized (or smaller) reverse indentations in the paper in the lower right corner. The sheet is framed floating, tipped to the back mat from the verso sheet corners. Not examined out of the frame.

Framed under glass: 32.75” H x 24.75” W x 1.5” D

1008

Overall good appearance. The sheet is framed floating, tipped to the back mat from the verso sheet corners. Not examined out of the frame.

Framed under Plexiglas: 34.75” H x 26.75” W x 2.25” D

1009

Visual: Overall good appearance. Craquelure throughout, with large areas of unstable craquelure and large attendant pigment losses, some of which are revealing the underlying pigment, while some others are likely intrinsic to the creation of the piece.

Blacklight: No evidence of restoration.

Frame: 61” H x 73” W x 2.25” D

1010

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1011

Visual: Overall good appearance. Small remnants of various old brown and silver tapes, verso

Blacklight: No evidence of restoration.

Unframed

1012

Visual: Overall good appearance. Certain areas of the collaged paper surrounding the soup can are slightly lifting, but appear to be stable. A small metal hanging rail taped to the verso with two strips of sturdy, silver-colored tape.

Blacklight: No evidence of restoration.

Unframed

1013

Overall good appearance. With full margins and deckled edges. The sheet is framed floating, attached to an invisible foamcore backing from the verso. Not examined out of the frame.

Framed under Plexiglas: 47” H x 35.5” W x 2.5” D

1014

Each overall good appearance. The image of the female motorcyclist with scattered faint pigment and minor surface soiling in the outer sheet edges. The lower portion of the extreme left edge is trimmed slightly unevenly, presumably in the hand of the artist. Each sheet is loose, not matted.

Each unframed

1015

Visual: Overall good condition. Specks of occasional grime commensurate with age.

Blacklight: No evidence of restoration.

Frame: 41.5” H x 41.5” W x 2.5” D

1016

Overall good appearance.

Unframed other than what is presumably the original square aluminum framework affixed verso

1017

Overall good appearance. Old tape remnants in various places along the verso edges and corners. The sheet is hinged to the overmat with white hinging tape from the verso of the upper sheet corners and the right edge.

Framed under glass: 36.75” H x 28.75” W x 1.75” D

1018

Overall good appearance. The sheet is framed floating, tipped to the back mat from the verso sheet corners. Not examined out of the frame.

Framed under Plexiglas: 32.5” H x 24.5” W x 1.5” D

1019

Visual of each: Overall good appearance.

Blacklight of each: No evidence of restoration. In each case, certain details fluoresce under blacklight, however, these appear to be in the hand of the artist.

Frame of each: 15.25” H x 12.25” W x 2.25” D

1020

Overall good appearance. Areas of surface skinning and a couple of rice-sized abrasions to the edges of two of the circular collaged pieces of paper in the upper half, all of which are intrinsic to the creation of the work. The sheet is framed floating, tipped to the back mat in places from the verso of the left, right, and upper edges.

Framed under Plexiglas: 35.25” H x 27.75” W x 1.75” D

1021

Overall good appearance. Full margins and the colors good. The sheet is loose, not matted.

Unframed

1022

Overall good appearance. The full sheet with deckled edges. The colors fresh. The sheet is loose, not matted.

Unframed

1023

Overall good appearance. The full sheets. The colors good. The shaped Plexiglas with an irregular 1.5” H x 2” W surface scratch on the right foot of the bear, primarily visible in raking light, and the verso with slight surface soiling. The longer rectangular sheet with a small, unobtrusive abrasion along the upper portion of the extreme left edge. The rectangular sheet with the image of the couple with two small hinging remnants at the verso of the upper sheet corners. Each part of the work is loose, not matted, as issued.

Each unframed, as issued.

1024

Overall good appearance. The full sheet and the colors fresh. The tip of the lower right sheet corner is slightly dog-eared. The verso with pale staining, uneven toning along the right sheet edge, and minor surface soiling. The sheet is loose, not matted.

Unframed

1025

Overall generally good appearance. Full margins and the colors fresh. Cockling present along the upper, left, and lower margin edges; the left edge appears affected by old damp staining and with related pale stains, all not affecting the image. The sheet is loose, not matted.

Unframed

1026

Overall good appearance. Presumably the full sheet. The colors good. Soft, occasional areas of cockling, primarily visible in raking light. Not examined out of the frame.

Framed under glass: 15.375” H x 35.875” W x 2” D

1027

Overall good appearance. Presumably the full sheet. Pale light-staining primarily visible in the blanks of the sheet. A scattered band of pale staining along the lower portion of the left edge. Scattered, soft handling marks and minor surface soiling. Not examined out of the frame.

Framed under glass: 25” H x 25” W x 1” D

1028

Overall generally good appearance. The full sheet. Pale light-staining and the colors slightly attenuated. A few specks of surface soiling near the upper left corner. Minor abrasion to the tips of each sheet corner. Uneven toning and another small area with specks of surface soiling near the upper left corner, all on the verso. The sheet is loose, not matted.

Unframed

1029

Overall generally good appearance. Pale lightstaining and the colors sightly attenuated. A band of time staining along the upper sheet edge. A few soft, small diagonal creases along the upper left sheet corner, and minor abrasion to the tips of the upper left and lower left and right sheet corners. The verso sheet with uneven toning and small scattered areas of surface soiling. The sheet is loose, not matted.

Unframed

1030

Each overall good appearance. With margins. One of the works with damp staining, with attendant pale staining in the margins. Another work with very pale, uneven minor staining on the margins of the recto and on the verso, as well as scattered surface soiling on the matboard. Each work is loose, secured to a back mat with white paper archival corners. The title/ justification pamphlet with minor staining and surface soiling. All housed within the original brown fabriccovered case. The case with minor surface soiling and wear, as well as a few scuff marks, all commensurate with age.

fabric-covered case: 21” H x 17” W x 1.5” D

1031

Overall good appearance. Full margins with deckled edges and the colors fresh. Occasional soft handling marks, confined primarily to the left, upper, and lower margins, visible mostly in raking light. Several pale and unobtrusive foxmarks, including one in the image at left. Some unobtrusive soft horizontal creases along the upper and lower margin edges. Two small paper losses at the extreme upper margin edge, presumably from prior hinging, and at the tip of the lower right margin corner. An irregular, 0.5” vertical tear at the lower margin edge, not affecting the image. The sheet is framed floating, tipped to the back mat in a few places from the verso of the upper and lower margin edges.

Framed under glass: 44” H x 29” W x 1.5” D

1032

Each with full margins and the colors fresh. Each with one or more approximately 12” long, diagonal, soft creases across the upper margin corners, not affecting the lower half of the sheets. All sheets loose, together with interleaving tissues, in the gray paper folder/wrapper. The interleaving tissues with assorted creases and handling marks at the edges, commensurate with age and use. The folder/wrapper with time staining, soft creasing, and general shelf wear.

Folder/Wrapper: 19.5” H x 16.25” W x 0.25” D

1033

Overall generally good appearance. With margins. The colors slightly attenuated. Specks of grime and thin bands of residue scattered throughout.

Frame: 22.5” H x 24.75” W x 0.75” D

1034

Overall good appearance. The sheet’s height has been reduced by one inch. Very pale, slightly uneven reverse staining in places along the blue border. Wear to the pigment at each sheet corner. A few stray, unobtrusive flecks of white pigment scattered in the blue border. As mentioned, the sheet is laid to paperboard, however, it is not matted.

Unframed

Brown

1035

Overall good appearance. Full margins. The colors good. The palest light-staining showing in the margins from exposure through the overmat’s window opening. An occasional (mostly unobtrusive) foxmark on the recto and verso, the only truly noticeable instance being in the blank near the lower left corner of the image. A few soft handling marks scattered in the image and margins, primarily visible in raking light. The extreme edges of the right and lower margins very slightly dog-eared. The sheet is hinged to the back mat with two pieces of white hinging tape from the verso of the upper margin edge.

Framed under glass: 29.25” H x 23.75” W x 1.5” D

1036

Visual: Overall good appearance. Specks of grime scattered throughout. Two very fine scuff marks in the upper right quadrant, the largest measuring 5”, and a 0.25” H x 0.5” W scuff mark in the extreme upper left corner.

Blacklight: No evidence of restoration.

Frame: 37” H x 72.75” W x 2” D

1037

Visual: Overall good appearance. Small occasional areas of surface grime. A pinhead-sized area of stray white pigment, right of center.

Blacklight: No evidence of restoration. Specks of grime fluoresce under blacklight.

Frame: 14.875” H x 10.75” W x 1.625” D

1038

Overall good appearance. Full margins with deckled edges. A very rich impression with selectively-wiped inking. Slight cockling and an occasional minor printing crease in the plate and margins, attendant with the medium and scale of the plate. An few pea-sized (or smaller) horizontal paper splits in the lower left plate corner, in one case with slight lifting of the paper surface, all likely inherent in the printing process. Scattered foxing in the margins and verso of the sheet, as well time staining along the extreme margin edges and some backboard staining, verso. A few tiny, 0.125,” horizontal, edge tears and abrasions or short creases in places along the extreme margin edges. Other lesser defects. The sheet is hinged to the back mat in two places from the verso of the upper margin edge (with attendant slight reverse staining in those two places, recto).

Framed under Plexiglas: 49.5” H x 34” W x 2.25” D

1039

Overall good appearance. Full margins with deckled edges. Occasional pale and unobtrusive foxing scattered primarily in the left and lower margins. A few very soft handling marks primarily in places near the outer margin edges. The lower left margin corner slightly dog-eared. The sheet is framed floating, hinged to the back mat from the verso of the margin edges. Not examined out of the frame.

Framed under glass: 29.25” H x 36” W x 2” D

1040

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 19.5” H x 23.375” W x 2” D

1041

Overall good appearance. Pale time staining along the extreme edges. A 4” diagonal crease starting from the center of the lower edge and extending along the lower edge, at left. A pale and unobtrusive foxmark at the center of the lower edge. A few specks of surface loss scattered in the upper corners. Very minor wear to the pigment along the left and right edges. Artist pinholes along the upper edge and corners.

Framed under glass: 27.5” H x 22.5” W x

1042

Overall good appearance. The sheet is perforated along the left edge. Pale overmat staining. A few pale scattered foxmarks primarily in the upper half. The sheet is taped to the back mat from each sheet corner.

Framed under Plexiglas: 14.75” H x 14” W x 0.75” D

1043

Overall good appearance. The sheet is framed floating, hinged to the back mat from the verso of the upper edge. Not examined out of the frame.

Framed under Plexiglas: 25.75” H x 19.75” W x 1.75” D

1044

Visual: Overall good appearance. An unobtrusive ricesized area of surface loss at the center of the upper edge.

Blacklight: No evidence of restoration.

Frame: 36.5” H x 32.625” W x 2.25” D

1045

Overall good appearance. A few fine, minor, scattered areas of craquelure within the impasto. Not examined out of the frame.

Framed under Plexiglas: 44.625” H x 50.75” W x 3” D

1046

Overall good condition with mild dust accumulation. The bottom corner with abrasions, chips, and small losses.

1047

Overall good appearance. A couple of pea-sized abrasions with attendant surface skinning at the edges or corners of the collaged paper, primarily in the center and in the lower right quadrant. The sheet is framed floating, hinged to the back mat from the verso corners. Not examined out of the frame.

Framed under Plexiglas: 35.25” H x 415.75” W x 1.75” D

1048

Visual: Overall good appearance. The upper left and lower right corners very slightly puckered.

Blacklight: No evidence of restoration.

Frame: 28.75” H x 23” W x 1.75” D

1049

Visual: Overall good appearance. Slight varnish discoloraion and surface soiling showing primarily at the outermost edges. Occasional very minor frame abrasion along the wrapped edges of the canvasboard.

Blacklight: No evidence of restoration.

Frame: 18.125” H x 14.125” W x 1.5” D

1050

Visual: Overall good appearance. Occasional specks of grime. Two very small, unobtrusive, fine areas of craquelure in the dark blue pigment in the lower left quadrant, and another area in the white pigment in the lower right quadrant. A 0.5” H x 0.5” W area of wear and minor loss to the pigment in the extreme lower left corner.

Blacklight: No evidence of restoration.

Frame: 52.125” H x 51” W x 2.125” D

1051

Overall good condition with scattered scuffs, scratches, small nicks, weathering, and minor soiling commensurate with age and outdoor use. Some fading and wear to patina.

1052

Visual: Overall good appearance. Small scattered areas of very fine craquelure.

Blacklight: A cluster of scattered touch-ups spanning the height of the work, near the left edge. Occasional quarter-sized (or smaller) touch-ups scattered throughout.

Frame: 51.25” H x 39.25” W x 3.5” D

1053

Visual: Overall good appearance. Scattered areas of craquelure.

Blacklight: A 1.5” H x 0.5” W touch-up in the sky at the center of the upper half, and other dime-sized (or smaller) touch-ups scattered primarily in the upper half, with two of them in the lower left quadrant. A repair-type patch near the center of the upper edge, verso, that doesn’t seem to related to any touch-ups on the recto.

Frame: 25.25” H x 16.5” W x 2.25” D

1054

Visual: Overall good appearance. Stable craquelure scattered throughout.

Blacklight: No evidence of restoration.

Frame: 23.375” H x 28.875” W x 4.5” D

1055

Visual: Overall good appearance. Small scattered areas of fine craquelure.

Blacklight: No evidence of restoration.

Frame: 35.75” H x 53.75” W x 2.25” D

1056

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 39.25” H x 46.75” W x 3.75” D

1057

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 38.5” H x 30.25” W x 2.5” D

1058

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 30.25” H x 38.25” W x 2.25” D

1059

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 30” H x 49.5” W x 3” D

1060

Overall good condition with minor handling wear and dust accumulation commensurate with age. Possibly with scattered small losses at extremities.

1061

Overall good condition with minor handling wear and dust accumulation commensurate with age. Possibly with scattered small losses at extremities.

1062

Roller overall good condition. Plinth with scattered stains and scuffs; glass with scattered scratches.

1063

Overall good condition with oxidation and scattered scuffs and scratches commensurate with age. Areas of verdigris, concentrated at feet. Plugs in and eyes light up. Moran’s does not guarantee the working condition of electronic equipment.

1064

A 14” curved scratch in the right half of the work. Other smaller scratches and scuffs scattered throughout. Minor bending to the upper left and lower right corners. Scattered areas of oxidation, primarily in the upper half. Other lesser defects.

Unframed

1065

Some oxidation/rust to steel boards and spine. Carboard wrappers with minor shelf wear commensurate with age and some moisture staining at lower spine corners.

1066

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some wear to patina and verdigris throughout.

1067

Overall good condition with dust accumulation, scattered minor scuffs, and darkening/oxidation to bronze commensurate with age. Some wear to patina and verdigris throughout, with scattered wax stains.

1068

Not inspected out of case. Case with scattered scuffs and scratches and handling wear commensurate with age.

1069

With oxidation, scattered scuffs, scratches, and indentations, weathering, and soiling/staining throughout commensurate with age and outdoor use. The base with heavier oxidation. A 2” long crack to figure’s right shoulder verso.

1070

Overall good appearance. The sheet is framed floating, tipped to the back mat from the verso sheet corners. Not examined out of the frame.

Framed under glass: 29.25” H x 23.25” W x 1.75” D

1071

Overall good appearance. Not examined out of the frame.

Framed under Plexiglas: 54.25” H x 72” W x 1.75” D

1072

Overall generally good appearance. Full margins with deckled edges. A pale band of either light- or time staining along the upper margin edge. A handling crease extending along the upper margin, affecting the pencil title. Uneven toning along the margin edges, and a few dime-sized pale stains near the center, all on the verso. The sheet is loose, not matted.

Unframed

1073

Overall good appearance. Full margins with deckled edges. The sheet is loose, not matted.

Unframed

1074

Overall good appearance. Full margins with deckled edges. The sheet is framed floating, hinged to a hidden foamcore support board with pieces of white fabric tape in places from the verso margin edges and corners, and that foamcore support board is subsequently affixed to the back mat.

Framed under Plexiglas: 16.125” H x 19.625” W x 1.5” D

1075

Overall good appearance. Full margins with deckled edges. Two very soft, small and unobtrusive handling marks at the center of the right margin, only visible in raking light. Minor surface skinning at the verso of each margin corner, presumably attendant with prior hinging or tipping. The sheet is loose, not matted.

Framed under Plexiglas: 52.5” H x 20.625” W x 1” D

1076

Overall good appearance. Full margins with deckled edges. The colors fresh. The sheet is loose, not matted.

Unframed

1077

Overall good appearance. Full margins with deckled edges. A few diagonal handling creases along the lower right margin corner, the largest 5” long. The sheet is loose, not matted.

Unframed

1078

Overall good appearance. The full sheet with deckled edges. The colors fresh. The sheet is loose, not matted.

Unframed

1079

Overall good appearance. The full sheet with deckled edges. The colors fresh. An unobtrusive, soft 2” vertical handling mark near the lower left corner, slightly affecting the pencil inscription, and primarily visible in raking light. The sheet is loose, not matted.

Unframed

Overall good appearance. The full sheet with the left and lower edges deckled. An 11.5” horizontal crease along the left portion of the extreme lower sheet edge, and a softer, smaller, and partially flattened crease along the lower portion of the extreme right sheet edge. A dime-sized area of surface skinning and two hinging tape remnants along the verso of the upper sheet edge. Extremely pale time staining along the verso of the right sheet edge. The sheet is loose and has been removed from the frame, but is sold together with the frame.

Unframed; Frame (separate): 44.75” H x 34.25” W x 2” D

1081

Overall good appearance. The full sheet and the colors good. A few soft handling marks scattered in the blank of the lower edge, primarily visible in raking light. The sheet is loose, not matted.

Unframed

1082

Overall good appearance. The full sheet and the colors good. The sheet is loose, not matted.

Unframed

1083

Overall good appearance. The full sheet and the colors good. The sheet is loose, not matted.

Unframed

1084

Overall good appearance. The full sheet and the colors fresh. The sheet is loose, not matted.

Unframed

1085

Overall good appearance. The full sheet and the colors fresh. The sheet is loose, not matted.

Unframed

1086

Overall good appearance. Full margins. A speck of either foxing or stray ink in the blank, near the lower left margin corner. A few small areas of surface soiling, approximately rice-sized, one near the center of the right margin edge, and the others at the center of the extreme upper and right margin edges. The surface of the margin edges and corners is slightly uneven, attendant with tape on the verso. The sheet is framed floating, taped to the back mat with loops of tape in various places from the verso of the margin edges and corners.

Framed under Plexiglas: 47.25” H x 38.25” W x 2” D

1087

Overall good appearance. The full sheet with deckled edges, and the colors fresh. The sheet is loose, not matted.

Unframed

1088

Overall good condition. The full sheet with deckled edges, and the colors fresh. The sheet is loose, not matted.

Unframed

1089

Overall good appearance. Full margins. The colors good. The sheet is loose, not matted.

Unframed

1090

Overall good appearance. Full margins. The colors good. A very small, soft, unobtrusive handling mark in the lower portion of the left margin, only visible in raking light. The sheet is loose, not matted.

Unframed

1091

Overall good appearance. Full margins. The colors good. The sheet is loose, not matted.

Unframed

1092

Overall good appearance. Full margins. The colors good. The sheet is loose, not matted.

Unframed

1093

Overall good appearance. Full margins. The colors good. The sheet is loose, not matted.

Unframed

1094

Overall good appearance. Full margins with deckled edges. The colors fresh. The sheet is loose, not matted.

Unframed

1095

Full margins with deckled edges. A variety of irregular creases and handling marks confined to an approximately 4” W section spanning the full height of the paper, at right, in the area of the upright figure. An area of the slightest surface skinning, measuring 0.25” H x 0.75” W, to the left of center at the upper margin edge, visible primarily in raking light. A scattered, hairline, vertical line of very minor surface soiling in places along the right margin edge. The sheet is loose, currently secured against the back mat with four, clear, archival corners.

Framed under glass: 25.75” H x 37.5” W x 1” D

1096

The full sheet. Uneven pale toning throughout. The eighth sheet is completely detached from the wove backing paper and has a vertical crease extending from top to bottom, and the verso with minor surface skinning, as well as paper remnants. Additionally, some of the glitter is gone in places on the eighth sheet. The joined sheets with the spiral perforations along the horizontal edges of the wove paper are still intact, as issued. The work is loose, not matted.

Unframed

1097

Overall good condition with shelf wear and scattered scuffs and scratches to Plexiglass case. The plinth with nicks and small paint losses to edges and corners.

1098

Marble top with chipped losses at corners and edges, with staining throughout. Middle mounting and square base each with chipped losses, concentrated along edges and corners. Each with soiling, weathering, and staining commensurate with age and outdoor use.

1099

The foreground component will require an elevating element, not included with the lot. Each piece with weathering, soiling, and staining commensurate with age and outdoor use. The foreground concrete with small chipped losses at base. The circle with oxidation and staining. Background pedestal also with scattered losses, possibly inherent.

1100

Overall good condition with likely inherent losses and discoloration.

1101

Overall good condition with wear, weathering, and minor scuffs commensurate with age. The twist with a 1.5” long shallow loss and pea-sized shallow loss, each along natural lines of striation inherent in the stone. The base with some soiling, green stains, and possible small losses from outdoor use. The twist can easily be removed from the base or spun to reveal a different side.

1102

Overall good condition with scattered scuffs and scratches commensurate with age. Not inspected outside of frame.

Framed: 17.5” H x 13.625” W x 1” D

1103

Pale light-staining showing on the sheet and the support sheet, presumably from the exposure through a previous frame’s overmat window. Pale foxing, surface soiling, and creases throughout, the most significant crease running horizontally along the upper half of the work. The support sheet with old glue and paper remnants, surface skinning, a few edge tears, and framer notes in pencil. A pinhole at the center of the upper edge of the support sheet. As mentioned, the sheet is laid to a support sheet. Other minor defects. The sheet is loose, not matted.

Unframed

1104

With wide margins. Very pale light-staining in the margins from the exposure through the overmat’s window. Uneven toning throughout, primarily in the margins. A flattened diagonal crease extending through the center of the work and another vertical crease extending along the left half, both affecting the image and margins, and other smaller creases scattered in the margins. Two areas of surface skinning in the lower margin corners, the largest measuring 1” H x 0.375” W. Minor surface soiling in the margins. A few tiny edge tears scattered in the upper and lower margin edges. The upper margin corners with masking tape remnants. The sheet is mounted to the back mat, with attendant areas of puckering and uneven surfaces scattered in the margins.

under glass: 20.25” H x 20.875” W x 1.25” D

1105

With wide (possibly full) margins. Pale light-staining showing in the margins from exposure through the overmat’s window opening. Minor surface soiling and a few pale foxmarks scattered in the margins. A 10” diagonal crease extending from the upper portion of the left margin edge to the center of the upper margin edge, not affecting the image. Other smaller and softer creases scattered primarily in the margins, including one very soft 1” crease in the background of the image, near the center of the image’s right edge, only visible in raking light. Two pinhead-sized areas of surface skinning at the center of the lower margin, directly below the image. A small edge tear in the upper margin edge, at left. Two white hinging remnants on the verso of the upper margin edge. Other lesser defects. The sheet is taped to the back mat with a strip of masking tape from the center of the upper margin edge.

Framed under glass: 14.875” H x 17.875” W x 1.5” D

1106

Overall good appearance. With margins. Pale lightstaining in the blanks of the image and margins from exposure through the overmat’s window opening. Pale foxing, very soft handling marks, and a few areas of faint surface soiling scattered in the outer margins. The verso sheet with pale foxing and uneven staining in some places. The sheet is hinged to the back mat with two pieces of white hinging tape from the verso of the left margin edge.

Framed under glass: 20.75” H x 18.75” W x 1.375” D

1107

Overall good appearance. The sheet is tipped to the back mat from the verso corners. Not examined out of the frame.

Framed under glass: 15.25” H x 14.25” W x 1.5” D

1108

Overall good condition with scattered scuffs, scratches, small nicks, weathering, and minor soiling commensurate with age and outdoor use. Some fading and wear to patina.

1109

Overall good condition with scattered scuffs, scratches, small nicks, weathering, and minor soiling commensurate with age and outdoor use. Some fading and wear to patina.

1110

Overall good condition with dust accumulation, soiling, weathering, scattered scuffs and scratches, oxidation to bronze, and wear to patina commensurate with age and outdoor use. The figure’s back with more degradation to patina.

Framed

1111

Overall good condition with dust accumulation, soiling, weathering, scattered scuffs and scratches, oxidation to bronze, and wear to patina commensurate with age and outdoor use.

1112

Overall good appearance. Pale “bleeding” along the edges of the oil pigment. Soft cockling throughout the image and margins, attendant with the materials used. Artist pinholes in the upper sheet corners. The sheet is framed floating, tipped to the back mat from the verso corners. Not examined out of the frame.

Framed under Plexiglas: 29.5” H x 23” W x 1.75” D

1113

Overall good appearance. Pale “bleeding” along the edges of the oil pigment. A few pale, pea-sized (or smaller) areas of surface soiling, the two most prominent areas in the blank on either side of the dog’s body. Very soft, occasional handling marks. The sheet is framed floating, tipped to the back mat from the verso corners. Not examined out of the frame.

Framed under Plexiglas: 24.75” H x 30.5” W x 1.5” D

1114

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 27.75” H x 16” W x 1.75” D

1115

Visual: Overall good appearance. Slight frame abrasion along the left and lower edges. A pinheadsized speck of stray white pigment on the building, below the traffic light in the upper left quadrant. A very unobtrusive 1.25” horizontal hairline surface scratch in the shadow of the building along the upper portion of the right edge.

Blacklight: No evidence of restoration.

Frame: 27.75” H x 15.75” W x 1.75” D

1116

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 30.5” H x 44” W x 2” D

1117

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1118

Overall good appearance. Minor creases in the hinging tape surrounding the outer edges, intrinsic to the creation of the work. The sheet is framed floating, affixed to an “invisible” foamcore backing from the verso. Not examined out of the frame.

Framed under glass: 22.5” H x 19” W x 2.25” D (or reverse)

1119

Visual of each: Overall good appearance. The extreme edges with wear and attendant pigment losses. Some panels with mostly pea-sized (or smaller) scattered pigment losses, minor paint shrinkage, and occasional scuff marks. The sixth panel with scattered surface residue.

Blacklight of each: No evidence of restoration.

Unframed

1120

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 21.25” H x 91.5” W x 1.75” D

1121

Each: Overall generally good appearance. Occasional unobtrusive, delicate scratches, small scattered smudges, scuffs, and/or surface pitting, most of which are inherent in the original lead sheeting. A few surface smudges in places along the work’s outer edges, likely caused by handling and therefore part of the artist’s working process.

Each unframed; Overall as triptych: 46.5” H x 22.75” W x 3” D

1122

Each: Overall generally good appearance. The lower right corner of the sheet metal in the smaller work slightly lifting, likely in the hand of the artist. Occasional unobtrusive, delicate scratches, small scattered smudges, scuffs, and/or surface pitting, most of which are inherent in the original lead sheeting. A few surface smudges in places along the work’s outer edges, likely caused by handling and therefore part of the artist’s working process.

Each unframed

1123

Overall good appearance. Dust accumulation. Occasional, faint, surface scratches scattered throughout.

Rear support: 48” H x 36” W x 1” D

1124

Overall good appearance. The full sheet with deckled edges. A very soft, unobtrusive horizontal crease extending past and slightly larger along the upper left sheet corner, primarily visible in raking light. The sheet is loose, not matted.

Unframed

1125

Overall good appearance. The edges with scattered surface soiling and a few faint surface scuffs. An unobtrusive, approximately pinhead-sized pale area of staining near the center of the right edge. Craquelure scattered throughout the verso, however, this is inherent in the artist’s creative process.

Frame: 73” H x 56.5” W x 2” D

1126

Overall good appearance. The sheet is framed floating, sandwiched between two pieces of Plexiglas and hinged to the back Plexiglas with eight pieces of hinging tape from the verso of the outer edges and corners. Not examined out of the frame.

Framed under Plexiglas: 29.25” H x 43.25” W x 1.75” D

1127

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 24.5” W x 1.5” D

1128

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 26.5” H x 24.5” W x 1.5” D

1129

Scattered grime and varnish discoloration. Large areas of craquelure, creasing, and pigment losses, concentrated in the lower right quadrant and outer edges, attendant with the canvas being stored rolled. A few large holes and tears along the upper and lower edges, some of which are extend into the work from the edges, the largest tear measuring 3.5” H at the center of the lower edge, and another 5” H tear that has been loosely stitched together with thread extending in from the left portion of the lower edge. Other lesser defects.

Unframed

1130

Overall good appearance. The sheet with deckled edges. Artist pinholes in places along the outer sheet edges and corners. Slight cockling at the left and right sheet edges due to hinging. The sheet is framed floating, hinged to the back mat from the verso of the outer edges. Not examined out of the frame.

Framed under Plexiglas: 48.75” H x 64.5” W x 2.25” D

1131

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1132

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1133

Overall good appearance. The edges of the mounted sheet slightly lifting from the corners. Not examined out of the frame.

Framed under Plexiglas: 32.25” H x 28.25” W x 2” D

1134

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 33.5” H x 29.25” W x 3.25” D

1135

Overall good appearance. The full sheet and the colors good. A few flecks of surface loss scattered in the aluminum chine-collÈ. The upper edge, at left, is slightly creased, primarily visible in raking light. The slightest edge wear along the extreme left sheet edge. The sheet is loose, not matted.

Unframed

1136

Overall good appearance. The full sheets with deckled edges. The colors fresh. Each sheet is loose, not matted.

Unframed

1137

Overall good appearance. Pale scattered time staining along the extreme margin edges. Artist pinholes at the upper margin corners. The sheet is taped to the back mat with white tape from the verso of the upper sheet, at the corners, and at the center of the lower sheet edge.

Unframed

1138

Each: Overall generally good appearance. The full sheets and the colors good. The extreme tip of the lower left sheet corner very slightly dog-eared on both works. “Ida Cox Guy Williams” with a very soft and unobtrusive, 4” long, diagonal handling mark along the uppermost portion of the extreme right sheet edge, visible primarily on the verso. Each sheet with very slight surface skinning at the verso of each sheet corners from removal of old hinging. Each sheet is loose, not matted.

Each: Unframed

1139

Overall good appearance. Full margins with deckled edges. The colors fresh. The upper and lower left margin corners are slightly creased, primarily visible in raking light. A few traces of printer’s ink scattered in the left and right margin edges. The sheet is loose, not matted.

Unframed

1140

Overall good appearance. Full margins and deckled edges. The color fresh. Two small handling marks near the upper left margin corner, and one at the center of the left margin. A few faint areas of stray printer’s ink in the margins and on the verso. The sheet is loose, not matted.

Unframed

1141

Visual: Overall generally good appearance. A 3” H x 1.5” W pressure mark near the lower portion of the left edge, and another smaller area, approximately quarter-sized, at the center of the lower edge. A minor stretcher bar crease along the left edge. A very faint, irregular, 1” surface scratch near the upper right corner, primarily visible in raking light.

Blacklight: No evidence of restoration.

Unframed

1142

Visual: Overall good appearance. Occasional specks of scattered grime. A 3” vertical surface scratch along the roof of the building near the upper right corner. A 1” H x 0.125” W area of pigment loss near the lower right corner. Other occasional, unobtrusive, small surface scuffs.

Blacklight: No evidence of restoration.

Unframed

1143

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1144

Visual: Overall good appearance. Small areas of scattered grime. A few very faint surface scuffs and minor abrasions scattered along the outer edges.

Blacklight: No evidence of restoration.

Unframed

1145

Visual: Overall good appearance. A very unobtrusive, thin, 1.5” diagonal indent line at the center of the left edge. A few small, faint, surface scuffs scattered in the outer edges, and a few areas of edge wear scattered in places along the extreme edges.

Blacklight: No evidence of restoration.

Unframed

1146

Visual: Overall good appearance. A small cluster of scattered pigment losses at the center of the extreme upper edge. A soft stretcher bar crease along the lower portion of the right edge.

Blacklight: No evidence of restoration.

Unframed

1147

Overall good appearance. Full margins with deckled edges. A 0.25” H x 3” W area of surface skinning at the center of the upper margin edge. Pieces of glue residue from prior tape along the verso margin edges, and some areas of the glue showing faintly on the extreme margin edges of the recto. The sheet is loose, secured to the cardboard backing with four clear archival corners.

Framed under Plexiglas: 23.5” H x 18” W x 1.625” D

1148

Visual: Overall good appearance. Craquelure primarily in the lighter pigments of the figure. A very faint 9” horizontal surface scuff across the center of the right half, primarily affecting the background, slightly extending into the figure’s face, and two smaller scuffs in the background of the lower left quadrant, just above the figure’s shoulder.

Blacklight: No evidence of restoration.

Unframed

1149

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1150

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1151

Visual: Overall good appearance. A pea-sized, very slight pressure mark in the upper left corner.

Blacklight: No evidence of restoration.

Unframed

1152

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1153

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

1154

Overall good appearance. The surface of the felt with a few scattered areas of minor pilling. A 3” slightly curved, horizontal indentation in the surface of the felt near the center of the upper edge. A 2.5” W area of scattered pinhead-sized surface grime near the center of the lower edge, partially affecting the branch.

Blacklight: No evidence of restoration.

Unframed

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John H. Moran (1942-2017)

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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.

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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.

(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.

AUCTION HOUSE AS AGENT

Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

BEFORE THE AUCTION

(a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested.

(b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction.

(c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others.

AT THE AUCTION

(a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording.

(b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment.

(c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive.

(d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure.

(e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

(a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full.

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service

(c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date.

(d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee.

(e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

(a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot.

(b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability.

(c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot.

(d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate.

(e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase.

ADDITIONAL MATTERS

(a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

(b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California.

(c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law.

(d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.