Modern & Contemporary Fine Art — June 6, 2026 | John Moran Auctioneers

Modern & Contemporary Fine Art

Tuesday, June 16, 2026

Friday, June 12th, 12pm – 4pm Saturday, June 13th, 12pm – 4pm

Monday, June 15th, 12pm – 4pm Tuesday, June 16th: Doors open 10am

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

Anne Spink

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

Mario

m.esquivel@johnmoran.com

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

1

Joan Miró (1893-1983)

Poster for the exhibition “Bronzes,” Hayward Gallery, London, 1972

Lithograph in colors on Arches paper

Edition: 89/150, from the edition before lettering

Signed and numbered in pencil in the lower margin: Miro; inscribed in pencil in another hand on the verso: “Affiche A[?] Londres”; Arte Adrien Maeght, Paris, France; Arts Council, London, England, pub.

Image: 31” H x 23.5” W (approx.); Sheet: 35.125” H x 24.625” W

$2,000-3,000

Provenance: Washington Irving Gallery, New York, NY

Literature: Mourlot 846

2

Pablo Picasso (1881-1973)

“Paysage,” 1953

Incised earthenware with glaze and engobe

From the edition of 200

Dated recto along the lower center: 8-12-53; impressed to underside: MADOURA PLEIN FEU / D’APRES PICASSO; inscribed underside: EDiTiON PiCASSO

12.5” H x 14.75” W x 1.625” D

$5,000-7,000

Literature: Alan Ramie 204

3

Italo Scanga (1932-2001)

Untitled head, 1987

Oil on wood on associated laminated wood pedestal

With etched signature and date on metal tag applied to base: Italo Scanga; with two gallery labels applied to pedestal underside: ARTVENTURES / FINE ARTS ADVISORS

Head: 21.25” H x 16.75” W x 6.75” D; Pedestal: 35” H x 22” W x 12” D

$1,000-1,500

Provenance:

Private collection, Los Angeles, CA

4

Zao Wou-Ki (1920-2013)

“Signes en mouvement,” 1957

Etching, aquatint, and engraving in colors on BFK Rives paper Edition: 27/60 (there were also 10 artist’s proofs)

Signed in Chinese characters, dated, and numbered in pencil in the lower margin: 57; R. Dutrou, Paris, France, prntr.; La Hune, Paris, France, pub.

Plate: 19.625” H x 15” W; Sheet: 26.25” H x 19.875” W

$3,000-5,000

Literature: Ågerup 104

5

Tomio Kinoshita (1923-2014)

“Kamen 3” (Masks 3), 1957 Woodcut in colors on paper

From the edition of unknown size (printed in various colors combined with black) Signed, titled, and inscribed in Japanese, in pencil, in the lower margin: Tomio Kinoshita Image: 22.25” H x 29.75” W; Sight: 23” H x 30.25” W

$800-1,200

Provenance:

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

Tomio Kinoshita (1923-2014)

“Kamen 4” (Mask 4), 1957 Woodcut on paper Edition: 33/50

Signed, dated, and numbered, and titled in Japanese, all in red pencil in the lower margin: Tomio Kinoshita / 1957; titled again on a typed label partially affixed to the verso of the upper margin edge

Image: 23.5” H x 31” W; Sheet: 22.25” H x 29.5” W

$800-1,200

Provenance:

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

7

Tomio Kinoshita (1923-2014)

“Five Faces,” 1960 Woodcut on creme paper Edition: 12/50

Signed, dated, numbered, and inscribed in red pencil in the lower right margin: Tomio Kinoshita, 1960; inscribed in pencil verso “No. 37”; titled by repute Image: 22” H x 30.75” W; Sheet: 23.75” H x 32.5” W

$800-1,200

Provenance:

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

Richard Diebenkorn (1922-1993)

“Reclining Woman,” 1962

Lithograph on paper

Edition: 2/20 (there were also 9 Tamarind impressions)

Signed with initials, titled “Sleeping Woman,” dated “62,” and numbered, all in pencil in the lower margin: RD; Bohuslav Horak, Los Angeles, CA, prntr; Tamarind Lithography Workshop, Inc., Los Angeles, CA, pub., with the blindstamps of both the printer and publisher in the lower margin Image: 13” H x 22.375” W; Sheet: 19” H x 28” W

$1,000-1,500

Literature: Tamarind 570

9

Willem De Kooning (1904-1997)

“Composition for Lisa,” 1984

Lithograph in colors on wove paper

Edition: 70/250

Signed and numbered in pencil in the lower margin: de Kooning; Brand X Editions, New York, NY, pub., with their blindstamp lower left; stamped in black ink, verso: © L. de K., 1984 Sheet: 18” H x 23.5” W

$1,000-2,000

Notes:

This lot was published to benefit the Los Angeles Children’s Museum.

10

Werner Drewes (1899-1985)

Two related works:

Study for “Expanding Forces,” 1971

Collage of cut and torn paper on paper mounted to board

Signed in ink lower center: Drewes; dated and with the artist’s peace cipher in ink lower right: 7 [peace symbol] 1; signed again and extensively inscribed in ink, verso: before 1972 / Coll. #94 / for bl[?]. wg[?]. w. c. print #334 / used as poster design / for Wash. Print Coll. Club - 1976 / W. Drewes

Image: 5.375” H x 4.375” W; Sheet: 5.875” H x 4.875” W; Board mount: 7.25” H x 5.75” W

“Expanding Forces,” 1974

Woodcut in colors on laid Japan paper

Edition: 18/30 (from the edition of 30 numbered in Roman numerals)

Signed, titled, dated, and inscribed/numbered in pencil in the lower margin (directly below the image as well as along the lower margin edge): Drewes - 74 - / #334 ‘Expanding Force’ - A - / Nr.18/XXX

Image: 15” H x 11.125” W; Sheet: 23” H x 19” W (irreg.)

$1,000-2,000

Provenance:

Private collection, Los Angeles, CA

Literature: Rose no.III.324

11

Werner Drewes (1899-1985)

“Abstract #1,” 1944 Oil on board

Signed and dated and with the artist’s peace cipher lower left: Drewes 4 [peace symbol] 4; titled on a gallery label affixed to the frame’s verso 16” H x 20” W

$8,000-12,000

Provenance:

Altermann Galleries, Santa Fe, NM

Werner Drewes (1899-1985)

“Abstract #2” Oil on canvasboard

Signed and with the artist’s peace cipher lower center: Drewes; titled on a label affixed verso 24” H x 18” W

$8,000-12,000

Provenance:

Altermann Galleries, Santa Fe, NM

John Saccaro (1913-1981)

Abstract composition, circa 1950s

Oil on canvas

Signed verso: Saccaro; with the artist’s indication of the hanging orientation also written in ink, verso; dated by repute 24” H x 24” W

$6,000-8,000

Notes:

The catalog images show the work in the orientation of the current framing, not in the orientation that the artist intended.

14

Clinton Adams (1918-2002)

Untitled, 1961 Oil on canvas

Signed and dated lower left: Clinton Adams ‘61

36.25” H x 48” W

$2,000-3,000

Provenance:

Sold: Clarks Fine Art & Auctioneers, Tarzana, CA, December 15, 2002, Lot 2

Private collection, Los Angeles, CA

15

Budd Hopkins (1931-2011)

“Balboa I,” 1969 Oil on canvas

Signed and dated lower right: Hopkins ‘69; titled by repute

52.25” H x 38” W

$2,000-3,000

Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

16

Frank O. Hamilton (1923-2015)

“Tahoma Six,” 1961 Oil on raw canvas

Signed and dated lower right: Hamilton ‘61; Signed and dated again, and titled, on the stretcher; inscribed verso: “D.A.82” 50” H x 60” W

$600-800

Provenance:

Private collection, Los Angeles, CA

Notes:

This lot is accompanied by documentation materials.

17

Aubrey John Robert Penny (1917-2000)

Two works: “In Harbor,” 1953; and “The R.I.,” 1953

Each: ink and tempera on paper

Each signed and dated in the lower right or lower left: Penny. / 53’ Sight of each: 9.5” H x 7.5” W (or opposite)

$500-700

Provenance: Private collection, Los Angeles, CA

Emil J. Kosa Jr. (1903-1968)

Abstract composition

Oil on canvas

Signed with estate stamp lower right; estate stamped, verso; inscribed in ink, verso: AE 17 / M.M. 54

27” H x 38” W

$2,000-3,000

19

Arthur Osver (1912-2006)

Untitled (abstract) Oil on canvas

Signed lower left: A Osver 22” H x 18” W

$2,000-3,000

20

Paul Jenkins (1923-2012)

“Phenomena Devil Punch,” 1964

Watercolor on paper

Signed in ink lower left: Paul Jenkins; signed again, titled, dated, and inscribed in ink, all verso: “New York 1964”

Sheet: 30.5” H x 22.75” W

$2,000-3,000

Provenance:

Martha Jackson Gallery, New York, NY

Private collection, Los Angeles, CA

21

Karel Appel (1921-2006)

“Ballerina,” 1956

Gouache and watercolor on wove paper

Signed and dated lower center: K. Appel ‘56; titled by repute Sheet: 25.75” H x 20” W

$10,000-15,000

Notes:

There is an unidentified paper manufacturer name blind-embossed along the entire right sheet edge (not affecting the image). It repeats the words “Dessin [*]rtra” with alternating images including a painter’s palette and a crest with the number “1713.”

Nathan Oliveira (1928-2010)

Reclining nude, 1955

Ink on cream paper

Signed and dated lower right: Oliveira 55

Sheet: 14” H x 17” W

$3,000-5,000

23

Hassel Smith (1915-2007) Untitled, 1957

Oil on paper mounted to board

Signed twice, dated, and inscribed, all on the frame’s backing board: “Hassel Smith 1957 / to Greg” Sheet: 22.25” H x 48” W; Painted mount: 23” H x 48.5” W

$1,000-2,000

Provenance:

Sold: Bonhams, California, “Modern and Contemporary Art,” October 29, 1998, Lot 6280 Private collection, Los Angeles, CA

Notes:

There is a partially legible imprint on the paper, lower right corner, “PAPER STRIP [?].”

24

Julius Wasserstein (1924-1985)

Untitled, 1975

Oil on canvas

Signed, dated, and inscribed in ink, all verso: J / Wasserstein / ‘75 / 260 59” H x 30” W

$2,000-3,000

25

Raimonds Staprans (1926-2026)

Still life with apples and pears, 1967 Oil on canvas

Signed and dated lower right: Staprans -67 22” H x 25” W

$10,000-15,000

Provenance:

Maxwell Galleries, San Francisco, CA

Private collection, Costa Mesa, CA

Notes:

Raimonds Staprans’ work is celebrated for its bold use of color, geometric forms, and a unique interplay between abstraction and representation, often depicting everyday objects and landscapes with a distinctive clarity and intensity. His contributions have firmly established him as a significant figure in the Bay Area painting movement. Throughout his career, Staprans has exhibited widely, earning acclaim for both his visual art and his literary works, which include several successful plays. His enduring impact on the art world is marked by a relentless exploration of form and color, making his pieces a testament to his innovative spirit and artistic mastery.

In the present work, Staprans’ bold brushwork and sophisticated use of color and form are on display. The background dramatically transitions from a soft, muted gray and white on the lower part of the canvas to vibrant orange and blue at the top, creating a sense of depth. This juxtaposition emphasizes the distinct characteristics of each object and enhances the harmony of the composition. Textural differences between the smooth background and texture on the organic fruit shapes work to transform an everyday scene into a compelling visual statement.

26

Konrad Cramer (1888-1963)

Still life with candle and apple Oil on canvas

Signed lower left: Konrad Cramer 22” H x 28” W

$7,000-9,000

Provenance: Private collection, San Diego, CA

Konrad Cramer (1888-1963)

Figural abstract, 1952

Gouache, watercolor, and ink on paper

Signed and dated lower right: Konrad Cramer June 1st 52

Sight: 18” H x 12” W

$800-1,200

Provenance: Jo Aarons Gallery, Rhinebeck, NY Estate of Jonas Aarons, New York

28

Lundy Siegriest (1925-1985)

“West Oakland Mansion,” circa 1950 Oil on canvas

Signed lower right: Lundy Siegriest; signed again, titled, and inscribed with the artist’s Oakland, CA address, verso; with the artist’s estate stamp on the stretcher 30” H x 40” W

$2,000-3,000

Exhibited:

California State Fair, Sacramento, CA, likely October 1950, awarded “Honorable Mention” Philadelphia, PA, The Pennsylvania Academy of the Fine Arts, “146th Annual Exhibition of American Painting and Sculpture,” January 21-February 25, 1951

29

Lundy Siegriest (1925-1985)

“Two Mummies,” circa 1955 Oil on canvas

Signed lower left: Lundy Siegriest; signed again, titled, inscribed “oil & wax” and with the artist’s Oakland, CA address, all verso

50” H x 55.25” W

$2,000-3,000

Exhibited:

Oakland, CA, Oakland Art Museum, 1957

San Francisco, CA, California Palace of the Legion of Honor, “S.F.A.A. Artist Members’ Open Exhibition,” 1958

Harold Frank (1917-1995)

Harold Frank was raised in the tenements in the army, he traveled to Paris to study and Students League, the National Academy a colleague of Richard Diebenkorn, who had Rouault, Picasso and Willem de Kooning. Switzerland, as well as throughout the United

tenements of New York and exhibited a talent for drawing at an early age. After a stint and returned to New York in the 50s. He attended the New York Art of Design, Pratt Institute, Chouinard Art Institute and UCLA where he was had a lasting influence on his work. Other influences included Matisse, He was shown internationally in London, Paris, Amsterdam and Aubonne, United States from the 1960s through the 1980s.

30

Harold Frank (1917-1995)

Portrait of a man, 1961 Tempera on board

Signed lower right: H. Frank 61

17.5” H x 22.25” W

$2,000-3,000

Provenance: Estate of the artist

K. Nathan Gallery, San Diego, CA, from the above

Jean Chevolleau (1924-1996)

“Nu Assis” (No. 40), 1960 Oil on canvas

Signed and dated lower right: J. Chevolleau / 60; titled and inscribed “No. 40” in pencil on the stretcher

39.5” H x 26” W

$800-1,200

Provenance: Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

32

Jean Chevolleau (1924-1996)

“L’Effort” (No. 177) Oil on canvas

Signed lower right: J. Chevolleau; signed again, titled, and inscribed, “chevaux et maríne halant un bateau / A / No. 177,” all in ink on the verso 25.5” H x 32” W

$700-900

Provenance:

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

Jean Chevolleau (1924-1996)

“Le Labour” (No. 32), 1962 Oil on canvas

Signed and dated lower right: J. Chevolleau / 62; signed, dated, titled, and inscribed, “No. 32,” all in paint on the verso 24” H x 29” W

$600-800

Provenance:

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

34

Robert Goodnough (1917-2010)

“Prisms C,” 1968

Acrylic on canvas

Signed and dated faintly lower right: Goodnough ‘68; titled, signed, and dated in pencil, verso: Goodnough

36” H x 24” W

$2,000-3,000

Provenance:

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

Exhibited: Artists for SEDF (Scholarship, Education, and Defense Fund for Racial Equity), no date

Notes:

An artist difficult to define but generally considered a second-generation Abstract Expressionist, Robert Goodnough’s work features kinetically calligraphic forms and loose, gestural brushwork that belies an underlying artistic discipline honed from his strong educational background studying under Amedee Ozenfant and Hans Hofmann.

35

Mihail Chemiakin (b. 1943)

“Carnival at St. Petersburg VIII” Oil on canvas

Presumably signed, verso, according to the copy of the certificate of authenticity that accompanies this lot; titled on a label affixed to the frame’s backing board 42” H x 42” W

$12,000-18,000

Provenance:

Bowles/Sorokko Galleries, San Francisco and Beverly Hills, CA

Notes:

This lot is accompanied by a certificate of authenticity, dated December 11, 1987, from the gallery mentioned above.

36

Mihail Chemiakin (b. 1943)

“Still Life: Transformation Egyptian,” 1979 Oil on canvas

Signed and dated lower left: M. Chemiakine / 79-9/r.; signed again verso; titled on a label affixed to the frame’s backing paper 35” H x 45” W

$8,000-12,000

Mihail Chemiakin

(b. 1943)

“Metaphysical Bust I,” 1991

Pastel on black paper

Signed and dated lower right: M. Chemiakine / 91; titled on a label affixed to the frame’s backing paper Sheet: 44.25” H x 30” W

$3,000-5,000

Provenance: Bowles/Sorokko Galleries, San Francisco and Beverly Hills, CA

Notes:

This lot is accompanied by a certificate of authenticity, dated March 3, 1992, from the gallery mentioned above.

38

Richard Baker (b. 1959)

Untitled, 1991

Oil on canvas

Signed, dated, and inscribed verso: “R. Baker / 1991 / 9108” 12.25” H x 11.25” W

$800-1,200

Provenance: Washburn Gallery, New York, NY

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1991

Exhibited: Washburn Gallery, New York, NY, “Richard Baker,” December 4, 1990-January 4, 1991

Jules Pascin (1885-1930)

“Deux Femmes Au Parc,” 1921

Watercolor and traces of pencil on paper

Signed lower right: Pascin; dated “1921” in ink and “21” in pencil verso; titled on gallery labels affixed to the frame’s backing paper

6.625” H x 5.25” W

$1,000-1,500

Provenance:

Makler Gallery, Philadelphia, PA

Perls Galleries, New York, NY

Private collection, Los Angeles, CA

40 Roger Bissière (1886-1964) Still life with fruit basket, 1923 Oil on board

Signed lower right: Bissière

31.5” H x 19” W

$3,000-5,000

41

Matt Wedel (b.1983)

Glazed ceramic

Signed to underside: wedel

9.625” H x 12.25” W x 11.125” D

$6,000-8,000

Provenance: Selections from the Estate of Robert and Mary Macbeth Looker

Matthew McCaslin (b. 1957)

“It’s Deja-Vu All Over Again”

Two Oriental rugs cut into seven strips and woven loosely together

Unmarked, with gallery tag

Irregular: 94” H x 94” W, approximately

$1,500-2,000

Provenance:

The artist

Daniel Weinberg Gallery, Santa Monica, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1991

Exhibitions:

Santa Monica, California, Daniel Weinberg Gallery, “Matthew McCaslin,” September 13-October 5, 1991

Notes:

This lot is accompanied by a gallery tag from the abovementioned gallery.

Martiros Sarian (1880-1972)

Martiros Sarian was a prominent Armenian established him as a defining figure in 20th-century maintained a deep connection to his Armenian at the Moscow School of Painting, Sculpture, Impressionism. He drew inspiration from European to integrate elements of Fauvism and Symbolism of color.

Sarian’s artistic inspirations extended across Iran, and Turkey. These experiences contributed work, enriching his portrayals of Armenian experimentation. His paintings reflect a profound embodying his vision of Armenia as a place

In the 1920s, Sarian relocated to Armenia, the Armenian Soviet Socialist Republic. He to large-scale projects, including theater set styles. Following his death in 1972, Sarian’s and legacy. His works continue to influence modernism, and his stylistic approach.

Armenian painter whose vibrant landscapes and depictions of Armenian life 20th-century Armenian art. Born in Nakhichevan-on-Don, Russia, Sarian Armenian heritage, which became central to his artistic vision. After studying Sculpture, and Architecture, he was influenced by Russian Symbolism and PostEuropean masters such as Paul Gauguin and Henri Matisse, which led him Symbolism into a distinctive, color-rich style emphasizing the expressive nature across cultures and movements, shaped by his travels through Armenia, Egypt, contributed to the vibrant color palettes and mystical qualities present in his Armenian landscapes and folklore with a blend of traditional motifs and modernist profound sense of national identity and spiritual connection to nature, place of deep cultural resonance.

Armenia, where he played an instrumental role in developing the visual culture of He served as the director of the National Gallery of Armenia and contributed set designs and murals, integrating Armenian traditions with contemporary Sarian’s home in Yerevan was converted into a museum, preserving his work influence Armenian artists, representing a fusion of Armenian heritage, European

43

Martiros Sarian (1880-1972)

“Flowers,” 1910 Tempera on board

Signed in Cyrillic and dated lower right: M. / Sarian / 1910; titled on the certificate of authenticity 19” H x 14.5” W

$25,000-35,000

Notes:

This lot is accompanied by a notarized certificate of authenticity dated December 23, 2025, signed by Sofya Sarian, granddaughter and expert / authenticator for the artist Martiros Sarian. This lot is also accompanied by a certification from the former director of the Saryan museum, Shahen Khachatryan, expressing his opinion that this work is authentic.

44

Babken Kolozyan (1909-1994)

“Autumnal Fruits,” 1979 Oil on canvas

Signed in Armenian and dated lower right: Kolozyan / 1979; titled from a certificate of authenticity

27.5” H x 40.25” W

$1,500-2,500

Provenance:

Private collection, Sherman Oaks, CA

Notes:

This lot is accompanied by a certificate of authenticity in Armenian.

45

Charles Garabedian (1923-2016)

Untitled (nude figure seated on a column), 1981

Watercolor, acrylic, and pencil on paper

Appears unsigned Sight: 14.5” H x 16” W

$1,000-1,500

Provenance: Hirschl & Adler Modern, New York, NY

Sold: Bonhams, Los Angeles, CA, April 21, 1994, Lot 1186

Private collection, Los Angeles, CA

Exhibited: Santa Barbara, CA, Santa Barbara Museum of Art, “Charles Garabedian: A Retrospective,” January 22-April 17, 2011

Minas Avetisyan (1928-1975)

Minas Avetisyan was born in 1928 in the village The landscape and daily rhythms of his hometown shaping the themes and identity of his art. later, his participation in the “Exhibition of original voice in Soviet Armenian art.

Avetisyan’s style was marked by wild, expressive aligned him with the spirit of Fauvism, yet manuscripts and folk art, and saw himself to capturing the Armenian soul. Avetisyan Khachaturian’s “Gayane” ballet and completing

In 1972, a fire destroyed much of his studio later. Yet, despite his short life, Avetisyan left art. His house-museum in Yerevan stands

village of Jajur, Armenia, a place that remained central to his life and art. hometown appeared throughout his paintings and played an active role in art. In 1960, he moved to Yerevan and held his first solo exhibition; two years of Five” in Yerevan brought him widespread recognition as a bold and expressive brushwork and vivid, clashing colors. His brilliant use of color yet remained rooted in Armenian tradition. He drew inspiration from medieval as a successor to Martiros Saryan, both in his palette and his devotion Avetisyan also worked in theater and public art, designing the set for Aram completing large murals in Gyumri.

studio and many of his finest works. He died tragically in 1975, just three years left behind a powerful body of work that continues to influence Armenian as a tribute to an artist whose vision remains deeply cherished.

46

Minas Avetisyan (1928-1975)

“Conversation,” 1971

Oil on canvas

Signed in Armenian and dated lower left: Minas 71; titled in Cyrillic on a certificate of authenticity

24.25” H x 32.25” 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.

47

Minas Avetisyan (1928-1975)

“Jajur,” 1973

Pastel and oil on paper

Signed in Armenian and dated in the lower corners: A. Minas / 25-1173; signed again, titled, and inscribed “25” in a circle and “[**] 8,” all in pencil, in Armenian, verso

Sheet: 13.25” H x 9.75” W

$4,000-6,000

Attributed to Minas Avetisyan (1928-1975)

Two women making bread Oil, pastel, and ink on beige paper Appears unsigned

Sight: 10.5” H x 15.25” W

$2,000-3,000

49

Minas Avetisyan (1928-1975)

Portrait, 1961

Gouache on thick paper

Signed in Armenian and dated lower right: Minas 61

Sheet: 7.75” H x 6.75” W

$1,500-2,500

Notes:

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

50

Minas Avetisyan (1928-1975)

Still life, 1961

Gouache on thick paper

Signed in Armenian and dated lower left: Minas 61

Sheet: 7.75” H x 5.125” W

$1,500-2,500

Notes:

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

51

Sarkis Hamalbashian

(b. 1956)

“Image from the Blue Coast II,” 1989 Oil on canvas

Initialed in Armenian and dated lower left: S.H. / 1989; signed and titled in Armenian, and dated, all verso: Hamalbashian Sarkis 31.75” H x 34.75” W

$2,000-3,000

Provenance: Private collection, Los Angeles, CA

52

Ardash Kakafian (1941-1999)

Entwined figures, 1996

Oil on canvas

Signed and dated lower right: Ardash / 96

63.75” H x 44.75” W

$3,000-5,000

Provenance: Private collection, Los Angeles, CA

Oscar Rabin (1928-2018)

Oscar Rabin was a Russian-born painter and Born in 1928 in Moscow, Rabin studied art from the officially approved Soviet artistic scenes, still lifes, and symbolic objects such Rabin expressed the struggles, poverty, and His bold and emotional style made him an freedom.

Rabin became internationally known after that Soviet authorities destroyed using bulldozers became a symbol of artistic resistance against over art, Rabin lost his Soviet citizenship in his work. Despite exile, he remained dedicated

and one of the leading figures of the Soviet Nonconformist Art movement. art in Riga and later in Moscow, where he developed a style that differed style known as Socialist Realism. His paintings often showed gloomy city such as passports, bread, bottles, and religious imagery. Through these works, and restrictions experienced by many people living in the Soviet Union. an important voice for independent artists who wanted greater creative

after organizing the famous Bulldozer Exhibition in 1974, an outdoor art show bulldozers and water cannons. The event drew worldwide attention and against censorship. Because of his continued criticism of government control in 1978 and moved to France, where he continued painting and exhibiting dedicated to expressing truth and individuality through art.

53

Oscar Rabin (1928-2018)

“Landscape with New Houses, Icon, Vegetables and Wolves,” 2000 Oil on canvas

Signed and dated lower center: Oscar Rabine 2000; titled in Cyrillic on the verso 28” H x 35.5” W

$20,000-30,000

Provenance:

Mimi Ferzt Gallery, New York, NY Private collection, from the above By family descent

Exhibited:

New York, NY, Mimi Ferzt Gallery, “The Art of Afterwards,” March 15 - April 1, 2001

Literature:

“Oscar Rabin” (Mimi Ferzt Gallery, New York, 2001) pp. 16-17, illustrated Yevgenia Petrova et al, “Oscar Rabin” (Palace Editions: Russian Museum, 2007) p. 224, illustrated

Notes:

The present work was exhibited and sold through Mimi Ferzt Gallery in New York, a leading dealer in Nonconformist Art.

54

Kostas Paniaras (1934-2014)

Abstract, 1963

Oil and encaustic on canvas

Signed lower right: Paniaras; signed again and dated, verso: Kostas Paniaras / 63; inscribed indistinctly in red ink, verso 39.5” H x 28.75” W

$800-1,200

Provenance:

Private collection, Los Angeles, CA

Kostas Paniaras (1934-2014)

Untitled, 1960

Oil and encaustic on linen

Signed, dated and inscribed in black paint verso: “Paniaras - 60 / - 28 -”; signed again and inscribed in ink on the stretcher: “Best souvenirs and greetings / Dec. 1964 Kostas Paniaras”

10.75” H x 13.875” W

$500-700

Provenance: Private collection, Los Angeles, CA

Yrjö Edelmann (1941-2016)

Finnish artist Yrjö Edelmann is recognized representation and illusion. Best known for and folded cardboard, Edelmann transformed

Working in a meticulous photorealist style, remarkable precision, frequently prompting compositions focus closely on these everyday creases, and nuanced surface variations.

and remains a distinctive contribution to late

recognized for his strikingly realistic paintings that blur the line between for his meticulous depictions of crumpled paper, wrapped packages, transformed ordinary materials into subjects of quiet visual intrigue.

style, Edelmann rendered texture, shadow, and surface detail with prompting viewers to question what is real and what is painted. His everyday materials, filling the picture plane with carefully observed folds, Edelmann’s work is held in major Scandinavian museum collections late 20th-century realism.

56

Yrjö Edelmann (1941-2016) Tan paper and string (untitled), 1980 Oil on canvas

Signed and dated lower right: Y. Edelmann 80 47.375” H x 47.375” W

$12,000-18,000

Provenance:

Lillian Heidenberg Gallery, New York, NY

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

57

Yrjö Edelmann (1941-2016)

“V.I.P. (Very Important Paper),” 1980 Oil on canvas

Signed and dated lower left: Y. Edelmann 80; titled in pencil on the stretcher

39.5” H x 47.25” W

$10,000-15,000

Provenance: Galería de Arte Mexicano, Mexico City, Mexico Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

Deborah Kay Butterfield (b. 1949)

American sculptor Deborah Butterfield is best known such as driftwood, scrap metal, and found objects. animals and art, interests that would later merge Master of Fine Arts degrees from the University and Manuel Neri. Butterfield’s early work explored of the horse, a subject that has come to define

Butterfield’s horses are not traditional equestrian essence of the animal rather than its literal form. straw, evoking both fragility and strength. Later, Washington, as with this sculpture, preserving the could endure the passage of time. In the 1980s,

For her cast bronzes, Butterfield’s process is to boards onto an armature that forms the gesture is then extensively photographed ensuring that examples, the patinated bronze has the appearance

Today, Butterfield’s sculptures are featured in major Smithsonian American Art Museum, and the Metropolitan Hawaii, environments that deeply influence her has redefined the boundaries of modern sculpture, our natural world. Her horse figures, often standing the human connection to animals.

Butterfield

known for her life-sized depictions of horses crafted from unconventional materials objects. Born in San Diego, California, Butterfield grew up with a fascination for both merge into her signature sculptural works. She earned her Bachelor of Fine Arts and University of California, Davis, where she studied under influential artists like William T. Wiley explored themes of identity and feminism, but she soon found her central motif in the form her artistic legacy.

equestrian statues but rather poetic, devotional abstractions that capture the spirit and form. Her early pieces were constructed from natural materials such as mud, sticks, and Later, she began casting these wooden forms in bronze at the Walla Walla Foundry, the textures and organic qualities of the original materials while creating works that 1980s, Butterfield also began building horses from found and salvaged metal.

sculpt the original by piecing and fastening found branches, sticks, planks, logs, and gesture and posture of the horse. The completed horse formed from the organic materials that the cast bronze pieces can be reconstructed into the same form. Like the present appearance of sun-bleached driftwood in form, texture and color.

major museum collections, including the Whitney Museum of American Art, the Metropolitan Museum of Art. She divides her time between studios in Montana and her creative process and material choices. Through her distinctive approach, Butterfield sculpture, using her equine forms to express resilience, grace, and the enduring bonds of standing in quiet, contemplative poses, serve as meditative reflections on nature, life, and

58

Deborah Kay Butterfield

(b. 1949)

“Palouse,” 2012

Patinated bronze

Incised date and foundry mark to underside: © [delta] WWf [Walla Walla foundry, WA] 95” H x 116.5” W x 36” D

$200,000-300,000

Provenance: L.A. Louver, Venice, CA

Property from an Important Private Collection, Los Angeles, CA, from the above

Exhibited: Venice, CA, L.A. Louver, “Deborah Butterfield: New Sculptures,” October 11 - November 12, 2012

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).

59

Gavin Turk (b. 1967)

“9” 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

$4,000-6,000

Provenance: Jay Jopling, White Cube, London Private Collection, Arcadia, CA, acquired from the above

Flora C. Mace (b. 1949) & Joey Kirkpatrick (b. 1952)

A blown glass strawberry, late 20th century Unsigned

7.375” H x 9.875” W x 7.75” D

$800-1,200

Provenance:

Private collection, Beverly Hills, CA

Sold: Los Angeles, Bonhams, “Modern Design | Art,” March 29, 2023, Lot 243

Private collection, Irvine, CA, from the above

61

Nancy Mee (b. 1951)

Untitled Column, circa 1995 Glass and metal on metal base

Appears unmarked Glass only when mounted: 63” H x 9” W x 3” D; Overall including base: 85” H x 24.5” W x 20.25” D

$1,500-2,500

Provenance: Estate, Newport Beach, CA

Mariana Telleria (b. 1979)

Mariana Telleria is an Argentine contemporary large-scale sculptural installations that transform thorns, metal structures, and religious symbols, where she studied at the National University emotional and symbolic potential of everyday spirituality, decay, and national identity.

58th Venice Biennale in 2019 with “El nombre condensed many of her recurring artistic

contemporary artist who was born in Rufino, Santa Fe. Telleria is known for her transform found objects, such as car parts, beds, branches and tree symbols, into poetic and unsettling compositions. Based in Rosario, University of Rosario, Telleria has developed a practice centered on the everyday materials, often exploring themes of memory, migration, Telleria gained major recognition after representing Argentina at the nombre de un país” (“The Name of a Country”), an installation that artistic concerns into monumental assemblages.

62

Mariana Telleria (b. 1979)

Untitled car door

Car door mounted with tree thorns

Unmarked

44” H x 47” W x 8” D approximately

$2,000-4,000

Provenance: Private collection, Brentwood, CA

63

Charles Villiers (b. 1951)

“Farm Mummy” from the “Chopwood Series,” 1983

Acrylic and sand on wood

Signed verso: Villiers; dated thrice with stencil; applied gallery label verso

93.5” H x 19.5” W x 9.25” D

$1,000-1,500

Martha Boto (1925-2004)

“Déplacements Optiques B,” 1968

Rotating acrylic in acrylic and wood case, electrified Signed, dated, titled, and inscribed verso: MARTHA BOTO / PARIS

19.125” H x 15.75” W x 9” D

$3,000-5,000

Provenance: Private collection, Brentwood, CA

65

De Wain Valentine (1936-2022)

Untitled, circa 1980s

Laminated glass

Unmarked

17.125” H x 44” W x 9” D

$4,000-6,000

Provenance: Estate, Newport Beach, CA

66

De Wain Valentine (1936-2022)

“Open Diamond Rotated Double Diagonal,” 1983

Laminated glass

Unmarked

26.5” H x 20” W x 9.25” D

$1,500-2,500

Provenance: Estate, Newport Beach, CA

67

Attributed to Shields Landon Jones (1901-1997)

“The Politician” Carved painted wood Unmarked 16.75” H x 12” W x 11.125” D

$1,500-2,500

Provenance: The Grace Family Collection, St. Helena, California

68

Karl Nicholason (20th Century)

“Nixon of Arc,” circa 1972

Oil on canvas

Signed lower right: Nicholason; titled and dated in Psychology Today by repute 48” H x 35.5” W

$2,000-3,000

Provenance:

The artist Estate, San Dimas, CA, from the above Private collection, Riverside, CA, from the above

Literature: “Psychology Today,” circa 1972, illustrated

Notes:

This lot is accompanied by the book Michael Hurshman, “Karl Nicholason: He Was An Artist,” (Colorado: Michael Hurshman and Chris Travis, 2025). This work is not illustrated in the book.

During the 1960s and 1970s, Nicholason lived in Southern California and worked as a principal illustrator for “Psychology Today.” He also did commercial illustrations for psychology, science and sociology textbooks, and created images for magazines including the “Saturday Review” and “Playboy.”

Frédéric Bruly Bouabre (1923-2014)

“Afrique et la lettre (1986),” 2006

Each: Ink, colored crayon, and pencil on heavy cardstock

Each signed and dated in ink, verso: FB Bouabre / 29-12-2006; titled and inscribed in French, in ink along each edge with the same inscription: “Afrique et la lettre (1986) dan un ciel crasons couleurs taillés avec art je desine, ici: j’ai voulu imité Victor Hugo j’ai embrassé Picasso”; 35 pieces

Each sheet: 7.875” H x 5.5” W

$1,000-2,000

Provenance: Estate of the artist

70

Frédéric Bruly Bouabre (1923-2014)

31 Figural compositions, 1989, 2005, and 2007

Each: Ink, colored crayon, and pencil on heavy cardstock

8 of the works signed in the lower right or left and dated with various dates along the sheet edges: FB Bouabre / [DD]-[MM]-1989; 13 of the works signed and dated in ink, verso: FB Bouabre / 21-6-2005; 10 of the works signed and dated with various dates in ink, verso: FB Bouabre / [DD]-[MM]-2007; inscribed with various inscriptions in French, in ink along each edge

31 pieces

Sheet of largest: 9.25” H x 6.5” W; Sheet of smallest: 6.75” H x 5.5” W

$1,000-2,000

Provenance: Estate of the artist

71

Jeffrey Vallance (b. 1955)

“Amphibian # 2,” 1981-2

Enamel on board with decals and collage in a Jim Isermann painted frame

Signed, dated, and inscribed in pencil on the verso of the frame’s backing board: Jeffrey Vallance / 1981 / 2; titled on a gallery label on the verso of the frame’s backing board

Image including purple border: 10” H x 15.25” W; Overall, with frame: 21” H x 24.5” (irreg.)

$700-900

Provenance:

The artist Rosamund Felsen Gallery, Los Angeles, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1982

Exhibitions:

Santa Barbara, CA, University of California, Santa Barbara, University Art Museum, “Jeffrey Vallance: Social Historian,” November-December 1983

Notes:

A gallery label on the verso of the frame’s backing board states that the frame was made by the artist Jim Isermann. The frame is also signed and dated in ink on the verso: Jim Iser mann 1982.

72

Carol Ann Sutherland (b. 1952)

“You Said You Were Coming,” c. 1983

Gouache, pastel, collage, and pencil on paper

Appears unsigned; titled in pencil on a piece of tape affixed to the frame’s backing board and titled again and possibly dated on a gallery label also affixed to the frame’s backing board: “October 12th 1983”

Sight: 27.75” H x 20.25” W

$500-700

Provenance: Mercury Gallery, London, England

Mr. and Mrs. V. Price, from the above, 1983

Private collection, Los Angeles, CA

73

Michael Hurson (1941-2007)

Study for “Portrait of Robert Pincus-Witten #1” Crayon on imitation vellum

Signed in pencil lower right: Michael Hurson; titled by repute Sheet: 23.75” H x 19” W

$500-700

Provenance: Paula Cooper Gallery, New York, NY

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1981

Exhibited: Santa Barbara, CA, University of California Santa Barbara, University Art Museum, “Contemporary Drawings in Search of an Image,” April-May 1981, no. 24

74

Soichiro Tomioka (1922-1994)

Untitled winter scene

Oil on canvas

Signed lower right: Soichiro / Tomioka

12.625” H x 16.25” W

$1,000-2,000

Provenance: Private collection, Los Angeles, CA

Keith Haring (1958-1990)

Keith Haring developed his uniquely animated figures like Walt Disney, Charles Schultz from his career in engineering. The two

In 1978, Haring moved to New York City Basquiat and Andy Warhol, who greatly gallery representation initially, Haring created City. He then began making stand-alone in 1988, Haring was diagnosed with AIDS

Haring’s work is defined by simple lines, about love, unity, social justice, and activism. issues such as apartheid, drug abuse, and

animated artistic style from an early fascination with cartoon art from Schultz and Dr. Seuss. His father, Allen Haring, was a hobby cartoonist apart two would spend hours drawing together during Haring’s formative years. City and connected with other emerging artists such as Jean-Michel greatly influenced his work throughout the duration of his career. With no created his works as Street Art in the subways and streets of New York stand-alone works and had his first solo exhibition by 1981. Just seven years later, AIDS and he died of AIDS-related complications two years later. lines, bright colors, and dancing figures that communicated messages activism. Throughout his career, he used his art to address important and AIDS awareness.

75

Keith Haring (1958-1990)

One plate (first state), from the “Growing” set, 1988 Screenprint on Lenox Museum Board Edition: IV/X (aside from the edition 100 plus 15 artist’s proofs, all printed in colors, presumably considered to be the “second state” impressions of this image)

Signed, dated, numbered, and with the artist’s device in pencil along the lower portion of the right margin: K. Haring; Rupert Jansen Smith, New York, NY, prntr., with his blindstamp; Martin Lawrence Limited Editions, New York, NY, pub., with their blindstamp Image: 28.5” W x 38.5” H; Sheet: 30” H x 40.125” W

$30,000-50,000

Provenance:

Martin Lawrence Limited Editions, Inc., New York, NY Estate, Los Angeles, CA, from the above

Notes:

In the “Growing” series, the expanding figures and repeating shapes symbolize development, creativity, and the continuous cycle of life. The prints also demonstrate Haring’s influence from street art and graffiti culture, as their simple yet expressive imagery communicates powerful ideas in an immediate way. The “Growing” series featured five images, the four horizontal compositions offered in this sale, plus one vertical composition.

76

Keith Haring 1958-1990)

One plate (first state), from the “Growing” set, 1988 Screenprint on Lenox Museum Board Edition: III/X (aside from the edition 100 plus 15 artist’s proofs, all printed in colors, presumably considered to be the “second state” impressions of this image)

Signed, dated, numbered, and with the artist’s device in pencil along the lower portion of the right margin: K. Haring; Rupert Jansen Smith, New York, NY, prntr., with his blindstamp; Martin Lawrence Limited Editions, New York, NY, pub., with their blindstamp Image: 28.75” H x 38.5” W; Sheet: 30” H x 40.125” W

$30,000-50,000

Provenance:

Martin Lawrence Limited Editions, Inc., New York, NY Estate, Los Angeles, CA, from the above

Notes:

In the “Growing” series, the expanding figures and repeating shapes symbolize development, creativity, and the continuous cycle of life. The prints also demonstrate Haring’s influence from street art and graffiti culture, as their simple yet expressive imagery communicates powerful ideas in an immediate way. The “Growing” series featured five images, the four horizontal compositions offered in this sale, plus one vertical composition.

77

Keith Haring (1958-1990)

One plate (first state), from the “Growing” set, 1988 Screenprint on Lenox Museum Board Edition: III/X (there was also an edition of 100 plus 15 artist’s proofs in colors) Signed, dated, and numbered with the artist’s device, all in pencil, along the lower left vertical margin: III/X K. Haring ‘88; Rupert Jansen Smith, New York, NY, prntr., with his blindstamp; Martin Lawrence Limited Editions, New York, NY, pub., with their blindstamp Image: 28.875” H x 38.75” W; Sheet: 30.125” H x 40.5” W

$30,000-50,000

Provenance:

Martin Lawrence Limited Editions, Inc., New York, NY Estate, Los Angeles, CA, from the above

Notes:

In the “Growing” series, the expanding figures and repeating shapes symbolize development, creativity, and the continuous cycle of life. The prints also demonstrate Haring’s influence from street art and graffiti culture, as their simple yet expressive imagery communicates powerful ideas in an immediate way. The “Growing” series featured five images, the four horizontal compositions offered in this sale, plus one vertical composition.

78

Keith Haring (1958-1990)

One plate (first state), from the “Growing” set, 1988 Screenprint on Lenox Museum Board Edition: III/X (there was also an edition of 100 plus 15 artist’s proofs in colors)

Signed, dated, and numbered with the artist’s device, all in pencil, along the lower left vertical margin: III/X K. Haring ‘88; Rupert Jansen Smith, New York, New York, prntr., with his blindstamp; Martin Lawrence Limited Editions, New York, New York, pub., with their blindstamp Image: 30” H x 40.375” W; Sheet: 29” H x 39.25” W

$30,000-50,000

Provenance:

Martin Lawrence Limited Editions, Inc., New York, NY Estate, Los Angeles, CA, from the above

Notes:

In the “Growing” series, the expanding figures and repeating shapes symbolize development, creativity, and the continuous cycle of life. The prints also demonstrate Haring’s influence from street art and graffiti culture, as their simple yet expressive imagery communicates powerful ideas in an immediate way. The “Growing” series featured five images, the four horizontal compositions offered in this sale, plus one vertical composition.

79

Sam Francis (1923-1994) “Untitled,” 1975 Lithograph on BFK Rives paper Edition: 3/30

Signed and numbered in pencil in the lower margin: Sam Francis; George Page, prntr.; The Litho. Shop, Santa Monica, CA, pub., with their blindstamp Image: 24” H x 31.75” W; Sheet: 27.75” H x 35.25” W

$600-800

Provenance: Private collection, Los Angeles, CA

Literature: SF - 198 Lembark L178

Jennifer Bartlett (1941-2022)

“From Rhapsody (A Suite of Three Prints),” from “The Brooklyn Academy of Music 125th Anniversary Portfolio,” 1987

The complete set of three etchings and aquatints in colors on BFK Rives paper Edition: 46/100 (there were also 20 artist’s proof sets)

The third, leftmost, sheet (“C”) signed and dated in pencil, verso: J. Bartlett 87; each sheet also numbered and sequentially inscribed “A” through “C” in pencil, verso; Branstead Studio, New York, NY, prntr.; Parasol Press, New York, NY and the Brooklyn Academy of Music, New York, NY, co-pubs.

Each Image/Sheet: 12.125” H x 12.125” W

$1,000-1,500

Provenance:

Private collection, Brentwood, CA

Literature: Orlando Museum 14

81

Charles Christopher Hill

(b. 1948)

“August 1980,” 1980

Lithography and stitching on newsprint

Appears unsigned; titled and dated on the frame’s backing board, and again on a gallery label affixed to the same backing board

Sheet: 47.5” H x 35.5” W

$600-800

Provenance:

Cirrus Editions, Los Angeles, CA

Private collection, Los Angeles, CA

Notes:

This lot includes various information about the artist.

Luisa Lambri (b. 1969)

“Untitled (Strathmore Apartments #11),” 2002

Laserchrome print mounted on Plexiglas Edition: 5/5 (aside from AP editions)

Appears unsigned; inscribed in ink verso: Marc Foxx

Sight: 34.75” H x 42.75” W

$1,800-2,200

Provenance:

Marc Foxx Gallery, Los Angeles, CA

Private collection, Santa Monica, CA

Notes:

This lot is accompanied by a bill of sale from the Marc Foxx Gallery dated February 17, 2005.

Eric Orr (1939-1998)

Double fountain

Copper

Each unmarked

Each without brackets: 108.25” H x 12” W x 7” D

$5,000-7,000

Notes:

Eric Orr created a number of fountain sculptures that merged elemental materials such as water, fire, stone, fog, and metal into meditative public artworks exploring perception and spirituality. Working within the Southern California Light and Space movement, Orr viewed fountains not simply as decorative objects but as immersive environments that reflected his fascination with transformation, ritual, and the symbolic power of natural forces. Many of his fountains combined engineering complexity with minimalist for m, often using flowing water as a metaphor for consciousness and the “void,” a recurring theme throughout his practice. His fountain works, including pieces from the Prime Matter series and large-scale public commissions, embodied his belief that sculpture could alter a viewer’s physical and psychological experience of space.

Emmanuel Fillion (b. 1966)

Emmanuel Fillion is a French-American classical craftsmanship with contemporary Descended from Renaissance artist Jean on the restoration of historic French monuments de Chambord. After moving to California in marble and bronze, with studios in Malibu often inspired by dance, femininity, and included in major private collections. Fillion of the Sculptor,” which explored the creative

sculptor who was born in Soissons, France. His work combines contemporary explorations of movement, spirituality, and the human figure. Jean Cousin, Fillion began sculpting at age fifteen while apprenticing monuments including Notre-Dame Cathedral, the Louvre, and Château California in 1994, he developed an international practice working primarily Malibu and Pietrasanta, Italy. His sculptures, like the present work, are and transformation. Fillion’s work has been exhibited internationally and is Fillion is also known for the 2005 PBS documentary “Through the Eyes creative process behind his work.

84

Emmanuel Fillion (b. 1966)

“Exaltation,” 2019

Patinated and polished bronze Edition: 2/3

Signed and numbered in the casting: Fillion

78.75” H x 60.5” W x 45” D approximately

$100,000-150,000

Provenance: Property from an Important Private Collection, Los Angeles, CA

85

Henri Cartier-Bresson (1908-2004)

“East Harlem, New York,” from “The American Scene” series, 1965

Gelatin silver print on paper

From the edition of unknown size

Stamped with the Henri-Cartier-Bresson-Magnum-Photos stamp and date “1965,” and titled in ink, all verso; stamped “5229 26” in blue ink and with various pencil notations, verso

Image/Sheet: 9.875” H x 6.5” W

$2,000-3,000

86

Henri Cartier-Bresson (1908-2004)

Untitled (family in doorway), New Orleans, circa 1965

Gelatin silver print on paper

From the edition of unknown size

Appears unsigned

Image/Sheet: 9.75” H x 6.625” W

$3,000-5,000

87

David Heath (1931-2016)

“NYC” (harmonica player), plate 7 from “A Dialogue with Solitude,” circa 1960

Gelatin silver print on paper

From the edition of unknown size; printed in 1962

Signed in ink in the lower margin, at left: Dave Heath; titled, dated, and inscribed in pencil, verso “ADWS negative / master print 1962”; with other numeric pencil notations verso

Image: 8.5” H x 6.5” W; Sheet: 10” H x 8” W

$6,000-8,000

Literature: David Heath, “A Dialogue with Solitude,” (Culpeper: Community Press, 1965) pl. 7.

88

David Heath (1931-2016)

“Chicago (Young Boy Laughing)”, plate 78 from “A Dialogue with Solitude,” 1956

Gelatin silver print on paper mounted to paperboard

From the edition of unknown size; printed in New York in 1959

Signed, dated, and inscribed in pencil, and with the artist’s red ink studio stamp, all on the paperboard mount, verso: Dave Heath / “Chicago 1956 / print 1959 (NYC)”

Image/Sheet: 9.875” H x 6.625” W; Mount: 14” H x 11” W

$3,000-5,000

Provenance:

Simon Lowinsky Gallery, New York, NY

Literature:

David Heath, “A Dialogue with Solitude,” (Culpeper: Community Press, 1965) pl. 78.

W.M. Hunt, “The Unseen Eye: Photographs from the Unconscious,” Aperture, New York, 2011, p. 53

89

David Heath (1931-2016)

“Christopher Street and 7th Avenue, New York City,” circa 1960

Gelatin silver print on paper

From the edition of unknown size

Signed in ink along the lower portion of the left margin: Dave Heath; titled by repute; inscribed in pencil along the verso of the lower margin edge, possibly in another hand: “Photograph NYC ca 1960 Print same;” with additional numeric pencil notations on the verso of the margin corners, presumably by several owners, dealers, or framers

Image: 9.75” H x 6.5” W; Sheet: 10” H x 8” W

$1,000-1,500

90

David Heath (1931-2016)

“7 Arts Coffee Gallery, N.Y.C.,” plate 10 from “A Dialogue with Solitude,” 1959 Gelatin silver print on paper From the edition of unknown size

According to a label affixed to the frame’s backing board, this work is “signed, dated, and inscribed ‘print exhibited Image Gallery 1961 NYC’” on the verso of the mount

Sight: 7.375” H x 9.625” W

$600-800

Provenance:

Simon Lowinsky Gallery, New York, New York

Literature:

David Heath, “A Dialogue with Solitude,” (Culpeper: Community Press, 1965) pl. 10.

91

William Klein (1928-2022)

“Office Girls & Snowman, New York,” 1955

Gelatin silver print on paper

From the edition of unknown size

Signed, titled, dated, and inscribed in pencil, all verso: “William Klein / Office girls & snowman 1955 / Exp NX ABA,” and in another hand in pencil “BK=325d PF12412”

Image: 13” H x 18” W; Sheet: 16” x 20” W

$2,000-4,000

Provenance:

Fahey Klein Gallery, Los Angeles, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1994

Notes:

This image is also alternatively titled “Office Workers & Snowman, New York” or “Office Girls Outing, New York.”

Larry Clark (b. 1943)

Untitled (dead baby in coffin), from the “Tulsa Portfolio,” 1968-71 Gelatin silver print on paper

Presumably from the edition of unknown size printed in 1980 (there was also an edition of 50 printed in 1972, each of which was apparently numbered on its verso)

Signed in ink in the lower margin, at right: Larry Clark Image: 8.5” H x 5.75” W; Sheet: 10” H x 8” W

$1,000-1,500

Provenance: Simon Lowinsky Gallery, New York, NY

93

Margaret Bourke-White (1904-1971)

“Al. Co.,” (Factory Worker, Aluminum Company of America), circa 1935

Silver gelatin print on thick paper mounted to paperboard

From an edition of unknown size

Signed in pencil on the paperboard mount lower right: Bourke / White; with the artist’s black ink stamp, “ A / Margaret Bourke-White / Photograph,” verso; inscribed in black ink, “# 1 / Parklawn,” pencil notations “M 2” and “5747,” and what appears to be possible remnants of a signature in blue ink (now mostly gone due to removal of old tape), all verso; titled by repute

Image/Sheet: 13.5” H x 9.5” W; Mount: 21” H x 14” W

$6,000-8,000

Provenance: Private collection, Santa Monica, CA

94

John Szarkowski (1925-2007)

“Screen Door, Hudson, Wisconsin,” 1950

Gelatin silver print on paper

From the edition of unknown size; possibly printed in 2005

Signed, titled, and dated in pencil, verso: John Szarkowski / 1950; inscribed “SZ.018.13,” in pencil, presumably in another hand, verso

Image: 13.25” H x 10.5” W; Sheet: 14” H x 11” W

$1,000-1,500

Provenance:

Peter Fetterman Photographic Works of Art, Santa Monica, CA Private collection, Santa Monica, CA, from the above

95

Brett Weston (1911-1993)

“Mendenhall Glacier,” 1973

Gelatin silver print on paper mounted to board

From the edition of unknown size

Signed and dated in pencil in the lower right corner of the mount: Brett Weston 1973

Image/Sheet: 7.75” H x 9.5” W; Mount: 13.375” H x 15.125” W

$3,000-5,000

Provenance: Private collection, Santa Monica, CA

Literature: Newhall 65 Cravens 93

96

Imogen Cunningham (1883-1976)

“Araujia Seed Pod,” 1940

Gelatin silver print on paper

From the edition of unknown size

Signed and dated in pencil on the mount: Imogen Cunningham / 1940; the artist’s black ink stamp, the artist’s “Green Street” label, a “Cunningham Trust” label with typed title and date, and a pencil notation “PF28184,” all on the verso of the mount

Image/Sheet: 9.625” H x 7.625” W; Mount: 14.5” H x 11.625” W

$2,000-3,000

Provenance: Simon Lowinsky Gallery, New York, NY

97

Fred Wilson (b. 1954)

Untitled Plaster

With incised signature and inscription: Sculpture House / FRED WILSON 101; signed again in pencil verso: FRED wilson; with incised figural illustration

8” H x 7” W x 3” D

$6,000-8,000

Provenance: The artist

Metro Pictures, New York

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1992

Exhibitions: New York, Metro Pictures, “Fred Wilson,” October-November 1992

98

Peter Shelton (b. 1951)

“Broadbag,” 1988-90

Cast iron and wire

With etched signature, date, title, and inscription to underside: 2DI © 1988-90 P SHELTON

56.5” H x 30” W x 15” D

$4,000-6,000

Provenance:

Sold: MOCA Auction Inc., Los Angeles, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above

Jonathan Borofsky (b. 1942)

American sculptor and installation artist creativity, movement, and social themes experience.

Borofsky grew up in Boston and studied earned a Master of Fine Arts degree. During attention for projects based on counting for monumental sculptures such as “Hammering ambition, labor, and imagination.

Borofsky uses projection and light-based By incorporating projectors, moving images, Borofsky explores ideas about human consciousness, elements reflect Borofsky’s interest in combining

artist Jonathan Borofsky’s works, often large-scale public artworks, combine themes while encouraging dialog about society, individuality and the human studied art at the Carnegie Mellon University and Yale University, where he During the 1970s, he became associated with conceptual art and gained counting numbers and repetitive imagery. Borofsky later became famous “Hammering Man” and “Walking to the Sky,” which symbolize human light-based technology to create immersive and thought-provoking experiences. images, and illuminated designs into exhibitions and installations, consciousness, communication, and modern society. These multimedia combining traditional sculpture with contemporary.

Jonathan Borofsky (b. 1942)

“Projector No. 3,214,872,” 1989-1990

Fiberglass, Celluclay, resin, projector, steel, and wood, electrified

Appears unmarked

Figure: 55” H x 14” W x 14” D; Base: 1.5” H x 20” Dia.

$10,000-15,000

Provenance:

Paula Cooper Gallery, New York

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1990

Exhibitions:

Santa Barbara, California, University of California, Santa Barbara, University Art Museum, “Pulse 2: Report on a Phenomenon,” July-October 1990

100

Jonathan Borofsky (b. 1942)

“Eggs” Cast urethane

Each unmarked

54 pieces

Each: 10.75” H x 5” Dia.

$6,000-8,000

Provenance: Paula Cooper Gallery, New York

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1990

Exhibitions:

Santa Barbara, California, University of California, Santa Barbara, University Art Museum, “Pulse 2: Report on a Phenomenon,” July-October 1990

101

Earl Enriquez (b. 1962)

“A Hold On Destiny,” 2000

Patinated bronze on stone base on wood plinth

Signed and dated in the casting of the left forearm: © Enriquez; with foundry mark: AWF Bronze: 13.5” H x 47.5” W x 21.25” D; With base: 22” D; Plinth: 27” H x 24” W x 19” D

$2,000-3,000

Provenance:

Private collection, La Jolla, CA

Notes:

Earl Enriquez was inspired to become an artist after seeing the work of Bernini, Caravaggio and Velazquez as a child growing up in the Philippines. His contemporary influences include sculptures Eugene Daub and Bruce Wolfe. Enriquez was a professor at the Academy of Art, University of San Francisco.

Chihung Yang (b. 1947)

Taiwanese American artist Chihung Yang’s with Western modernism. Born in Taipei, before immigrating to the United States spontaneity of Abstract Expressionism, gestural brushwork, calligraphic lines, and colors, and fluid forms, Yang explores themes that feel both meditative and deeply expressive.

Over the decades, Yang has gained international His works have been exhibited in major Taipei Fine Arts Museum and the Brooklyn draw inspiration from both his Taiwanese embody a sense of movement and transformation, and the evolving relationship between

Yang’s dynamic abstract paintings blend elements of Eastern philosophy Taipei, Taiwan, in 1947, Yang studied at the National Taiwan College of Art States in 1979. His early works were influenced by the energy and but he gradually developed a personal visual language that integrates and dreamlike imagery. Through his use of layered textures, shifting themes of memory, emotion, and the subconscious, creating paintings expressive.

international acclaim for his ability to bridge cultural and artistic traditions. major institutions across Asia, Europe, and North America, including the Brooklyn Museum. Living and working in New York, Yang continues to Taiwanese heritage and his experiences in the Western art world. His paintings transformation, reflecting his lifelong exploration of identity, spirituality, nature and the human psyche.

102

Chihung Yang (b. 1947)

Abstract composition, 1990 Acrylic, pastel, and watercolor on paper Signed and dated lower right: C. Yang / 90 Image/Sheet: 22.25” H x 15” W

$5,000-7,000

Provenance: Triton Museum of Art, Santa Clara, CA

103

Hoon Kwak

(b. 1941)

“Chi” (triptych), 1989

Mixed media on three sheets of paper

One is signed and dated in the lower right corner: Hoon Kwak ‘89 Sight of each: 52” H x 28.25” W

$2,500-3,500

104

Chen Chi (1912-2005)

Verdure landscape, 1968

Watercolor on paper mounted to Masonite

Signed and dated lower right: Chen Chi / 1968; with the artist’s red ink chopmark in the branches to the left of center 22” H x 22” W

$1,000-1,500

Tang Zhigang (b. 1959)

Chinese contemporary painter Tang Zhigang children wearing military uniforms like the Tang was born in Kumming, Yunnan Province the People’s Liberation Army Art Institute. recent series have explored social and political works a sense of surrealism while also suggesting Since 1996, Tang has been a professor Painters Association. His work has been

Zhigang is known for imaginary compositional settings often featuring the present work.

Province and during extended military service he studied oil painting at Institute. Tang’s early work focused on depictions of the Chinese Army. More political issues through images of children in adult settings giving the suggesting communist propaganda.

at Yunnan Arts University and serves as President of the Yunnan Oil been exhibited in Hong Kong, Beijing, Europe and the United States.

105

Tang Zhigang (b. 1959)

“Unity, Tension, Earnestness, and Liveliness,” 2014 Gouache on paper

Signed and dated lower left: 2014 Tang; titled by repute Image/Sheet: 21” H x 30.25” W

$15,000-25,000

Provenance: The Grace Family Collection, St. Helena, California

106

Slater Bradley

(b. 1975)

“Nobody Sings on All Souls’ Day,” 2001-2002

C-Print mounted to aluminum

From the edition of unknown size

Appears unsigned

48.75” H x 63.125” W

$2,000-3,000

107

Ren Hang (1987-2017) Untitled

Archival inkjet print in colors on paper

Edition: 1/10

Signed and numbered in ink on the verso: Ren Hang Image: 26.375” H x 39.375” W; Sheet: 31.75” H x 44” W

$3,000-5,000

Provenance: Private collection, Santa Monica, CA

108

Ren Hang (1987-2017)

“Untitled 13,” 2011

Archival inkjet print in colors on paper Edition: 4/10

Signed and numbered in ink on the verso: Ren Hang Image: 26.375” H x 39.375” W; Sheet: 31.875” H x 44” W

$3,000-5,000

Provenance:

Private collection, Santa Monica, CA

109

Ren Hang (1987-2017)

“Untitled 20,” 2012

Archival inkjet print in colors on paper Edition: 2/10

Signed and numbered in ink on the verso: Ren Hang Image: 26.375” H x 39.375” W; Sheet: 31.75” H x 44” W

$3,000-5,000

Provenance:

Private collection, Santa Monica, CA

110

Ren Hang (1987-2017)

“Untitled 49,” 2012

Archival inkjet print in colors on paper Edition: 2/10

Signed and numbered in ink on the verso: Ren Hang Image: 26.375” H x 39.375” W; Sheet: 31.875” H x 44” W

$3,000-5,000

Provenance:

Private collection, Santa Monica, CA

Eric Fischl (b. 1948)

“St. Tropez,” 1984

Dye transfer color print on paper Edition: 3/35; published in 1990

Signed and numbered in pencil, and with the artist’s copyright and date stamp, all verso: Eric Fischl / 1990

Image: 11.125” H x 13.875” W; Sheet: 16” H x 20” W

$500-700

Provenance: Michael Kohn Gallery, Santa Monica, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above

112

Georges Rousse (b. 1947)

“Turin,” 1999

C-print on paper mounted to aluminum as issued

From the edition of 3

Appears unsigned; titled in marker, and again on affixed gallery labels, all verso

63” H x 48.5” W

$4,000-6,000

Provenance:

Lillian & Michel Durand-Dessert, Paris, France

Springer & Winckler Galerie, Berlin, Germany

Private collection, Santa Monica, CA, from the above

113

Ryan Weideman (b. 1941)

“Self Portrait with Black and White Couple,” from “In My Taxi: New York After Hours” series, 1988 Gelatin silver print on paper Edition: 6/12

Signed, titled, dated, and inscribed with various numeric notations in pencil, partially indistinct, all verso: Ryan Weideman 1988 © / V 3 1/3 / 5.6 / 50 P*** / D-34 / B56291.1A

Image: 14” H x 18.375” W; Sheet: 16” H x 20” W

$1,000-1,500

Provenance:

Bruce Silverstein Gallery, New York, NY Private collection, Santa Monica, CA, from the above

Notes: A copy of the purchase invoice dated December 11, 2002, accompanies this lot.

114

Ryan Weideman (b. 1941)

“Self-Portrait with Vampire and Nymphet [sic],” from “In My Taxi: New York After Hours” series, 1987

Gelatin silver print on paper Edition: 4/10

Signed, titled, dated, and with numeric notations in pencil, all verso: Ryan Wiederman 1987 © / V3’5 / 5s6 / 30 / D-84 / B56291.1C

Image: 12.625” H x 18.25” W; Sheet: 16” H x 20” W

$1,000-1,500

Provenance:

Bruce Silverstein Gallery, New York, NY

Private collection, Santa Monica, CA, from the above

Notes: A copy of the purchase invoice dated December 11, 2002, accompanies this lot.

Anna Fasshauer

(b. 1975)

“Ali Mama,” 2018

Aluminum and car lacquer

Signed and dated to underside: A. Fasshauer; titled by repute

78.75” H x 59.125” W x 51.125” D

$3,000-5,000

Provenance:

Nino Mier Gallery, New York, NY

Private collection, Santa Monica, CA, from the above, June 25, 2024

Notes:

This lot is accompanied by a copy of the shipping manifest.

Rick (CHROMA) Wolfryd (b. 1953)

After Pedro Friedeberg “Hot Seat: Magic Hands Series,” 2023

Photopolymer resin and beads

Edition: AP

Signed, dated, titled, and editioned to underside: CHROMA aka Rick Wolfryd / ARTIST’S PROOF / Inspired by GREAT ARTIST PEDRO FRIEDEBERG / + CHROMA DREAMS!

32.25” H x 23.25” W x 28” D

$3,000-5,000

Notes:

This lot is accompanied by a signed Certificate of Authenticity from the artist’s studio, dated April 14, 2026.

Andy Warhol (1928-1987)

Andy Warhol’s “Pine Barrens Tree Frog” powerful Pop Art. Using bright colors, sharp beauty and fragility of wildlife while also The print was part of his “Endangered Species” by extinction. The pine barrens tree frog, becomes both a scientific subject and an combining environmental themes with nature while recognizing the impact humans

Frog” screenprint transforms a small, endangered amphibian into bold and sharp contrasts, and repeated imagery, Warhol brings attention to the also reflecting his fascination with mass production and popular culture. Species” series, created to raise awareness about animals threatened frog, known for its vivid green body and striking purple markings, an artistic icon through Warhol’s use of silkscreen techniques. By his signature modern style, Warhol encourages viewers to appreciate humans have on endangered species.

117

Andy Warhol (1928-1987)

“Pine Barrens Tree Frog,” from the “Endangered Species” portfolio, 1983 Screenprint in colors on Lenox Museum Board Edition: 106/150 (there were also 30 artist proofs, 30 trial proofs, and a small number of other proofs)

Signed and numbered in pencil, lower left: Andy Warhol; Rupert Jasen Smith, New York, NY, prntr., with his blindstamp in the lower right sheet corner; Ronald Feldman Fine Arts, Inc., New York, NY, pub. Image/Sheet: 38” H x 38” W

$80,000-120,000

Provenance:

Bowles/Sorokko Galleries, San Francisco and Beverly Hills, CA Private collection, purchased from the above, June 1988

Literature:

Feldman & Schellmann II.294

Notes:

This lot is accompanied by a copy of the purchase receipt, dated June 27, 1988, from the gallery mentioned above.

Charles “Chuck” Arnoldi (b. 1946)

The American artist Charles “Chuck” Arnoldi Ventura College, the Art Center in Los Angeles, colored, were composed either in paint

For much of his career, Arnoldi worked his works are held in museum collections antithetical to the dominant theme of minimalism working in California.

Arnoldi

Arnoldi was born in Ohio in 1946 and pursued his artistic studies at Angeles, and the Chouinard Art Institute. His works, often brightly paint on canvas or with wood pieces affixed to panel.

as an outsider within the context of the California art scene. Though collections around the world, Arnoldi developed a unique style that remains minimalism that remains pervasive throughout the work of many artists

118

Charles “Chuck” Arnoldi (b. 1946)

Untitled, abstract, 1990

Acrylic and mixed media on paper

Signed and dated in pencil lower right: Arnoldi / 5/1/90 “N.Y.C.”; inscribed “CA” lower left Sheet: 50.5” H x 40.25” W

$10,000-15,000

Provenance: Estate, Newport Beach, CA

Charles “Chuck” Arnoldi

(b. 1946)

Untitled, 1992

Monotype/Monoprint in colors with deep embossing on thick handmade paper

Signed, dated, and inscribed in pencil lower left: Arnoldi / 9/19/92 / “S.B” Image: 18.25” H x 15.125” W; Sheet: 28.5” H x 24.25” W

$2,000-3,000

Provenance: Works Gallery, Long Beach, CA

Notes:

The “S.B.” inscription indicates that this work was likely printed at Atelier Richard Tullis, Santa Barbara, CA.

120

Charles “Chuck” Arnoldi

(b. 1946)

Untitled, 1990

Monoprint/Monotype in colors on paper

Signed, dated, and inscribed lower center: Arnoldi 5/1/90 NYC ©; inscribed lower left: “CA”

Image/Sheet: 49” H x 40” W

$2,000-3,000

121

Charles “Chuck” Arnoldi (b. 1946)

Untitled, 1987

Monoprint/Monotype in colors on paper

Signed, dated, and inscribed lower center: Arnoldi 7/13/87 “S.B.”

Image/Sheet: 30” H x 44” W

$1,500-2,500

Notes:

The “S.B.” inscription indicates that this work was likely printed at Atelier Richard Tullis, Santa Barbara, CA

122

Peter Max (b. 1937)

“JFK - Four Portraits,” 1989

Screenprint in colors on paper Edition: 321/495

Signed and numbered in white pencil in the lower corners: MAX; with the artist’s blindstamp dated 1989, lower left; Karl & Gail, New York, NY, prntr.; Hanson Art Galleries, San Francisco, CA, pub.

Image/Sheet: 40” H x 32” W

$1,000-1,500

123

LeRoy Neiman (1921-2012)

“Baden Baden,” 1987

Screenprint in colors on paper Edition: 363/375

Signed and numbered in pencil in the lower margin: LeRoy Neiman Image: 35.5” H x 41.5” W; Sight: 37.5” H x 43” W

$800-1,200

James Rizzi (1950-2011)

“Traffic,” 1988

Screenprint in colors on paper and three-dimensional collage

An artist’s proof, aside from the edition of 250

Signed, titled, dated, and inscribed “A/P” in pencil in the lower margin: James Rizzi / 1988

Image: 16” H x 26.25” W; Sight: 17.5” H x 27.5” W

$800-1,200

125

Shepard Fairey (b. 1970)

“Americana” portfolio, 2012

The complete set of 13 screenprints in colors on beige Speckletone paper Edition 52/200 (there were also 250 impressions of the screenprints aside from the 200 boxed sets) Each screenprint signed, dated, and numbered in pencil in the lower margin: Shepard Fairey 12; plates 1-12 each numbered 52/450; plate 13 (“Americana Lyrics”) numbered 52/200; together with the signed, dated, and numbered certificate of authenticity/title/colophon page, plus the Neil Young/ Crazy Horse “Americana” CD in the original CD sleeve, and the separate CD lyrics booklet; all contents loose, secured within the original black paper wrapper-band with printed title; housed in the original black paper-covered portfolio-box with printed title and numbering, signed and dated in gold pen along the lower edge of the front cover; Obey Giant Art, Los Angeles, CA, prntr./pub. Image of each screenprint: 22.5” H x 16.375” W; Sheet of each screenprint: 24.125” H x 17.875” W

$1,000-1,500

Provenance:

Selections from The Elliot Roberts Estate

126

Jim Isermann (b. 1955)

Untitled (0294)

Hand-pieced fabric

With applied fabric tag: JIM ISERMANN / HANDIWORK; sewn title at edge 74” H x 71” W

$4,000-6,000

Provenance: The artist

Richard Telles Fine Art, Los Angeles

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1994

Exhibitions:

New York, NY, Feature Gallery, January 1994

Los Angeles, CA, Richard Telles Fine Art, “Handiwork,” March 1994

Santa Barbara, CA, University of California, Santa Barbara, University Art Museum, “Guys Who Sew,” October-December 1994

127

Jim Isermann (b. 1955)

Untitled (Pat)

Stained glass, lead, and wood

Unmarked

Inner: 36.375” H x 35.875” W; Outer without hooks: 44.375” H x 44” W x 1” D

$3,000-5,000

Provenance:

Ray Boyd Gallery, Santa Monica, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1992

Alec Monopoly (b. 1986)

Alec Monopoly is a renowned street artist whose City, Alec’s passion for art began at an early influence from the worlds of pop culture, finance, commentary, and nostalgia.

Known for his iconic depiction of the Monopoly wealth, greed, and consumerism in modern he invites viewers to reflect on the complexities

Alec Monopoly’s rise to prominence came through Los Angeles and New York City. His distinctive enthusiasts alike, leading to collaborations with

Beyond his street art, Alec Monopoly’s portfolio boundaries of his creativity. His work has been and the Museum of Contemporary Art Los Angeles.

In addition to his artistic endeavors, Alec Monopoly awareness and support charitable initiatives

With his unmistakable aesthetic and bold storytelling, an indelible mark on the contemporary art scene.

whose distinctive style has captivated audiences worldwide. Born in New York age, inspired by the vibrant urban landscape surrounding him. Drawing finance, and contemporary street art, Alec’s work seamlessly blends satire, social Monopoly Man, Alec Monopoly uses this character as a vehicle to explore themes of society. Through his vibrant murals, playful installations, and striking canvases, complexities of capitalism and the relentless pursuit of success.

through his guerilla-style street art, which first gained attention on the walls of distinctive style and irreverent humor quickly caught the eye of collectors and art with leading brands, galleries, and celebrities around the world.

portfolio extends to sculpture, mixed media, and digital art, continually pushing the been exhibited in prestigious galleries and museums, including Art Basel Miami, Angeles.

Monopoly is a passionate advocate for social causes, using his platform to raise focused on education, homelessness, and environmental conservation.

storytelling, Alec Monopoly continues to inspire and provoke audiences, leaving scene.

128

Alec Monopoly (b. 1986)

Mr. Monopoly playing the piano, 2010

Acrylic and spray paint on canvas

Signed (twice) in the lower left and upper right: Alec; inscribed lower left: “For / Thor”; dated by repute 24” H x 36” W

$20,000-30,000

Provenance:

Private collection, Venice, CA, acquired directly from the artist

129

Alexander Ruthner (b. 1982)

Untitled, 2014 Oil and acrylic on canvas

Unsigned 74” H x 66” W

$1,000-2,000

Provenance: Private Collection

Acquired from the above, 2014

Sold: Artsy Auction: Post-War and Contemporary Art, July 2023, Lot 150 Private collection, Santa Monica, CA

130

Jannis Varelas

(b. 1977)

“Black Nose Villain/Brown,” 2012

Charcoal, oil, oil stick, graphite, spray paint, plasticine, and collage on paper

Signed verso: Jannis Varelas; titled by repute 98” H x 59” W

$3,000-5,000

Provenance: The Artist

Acquired from the above, 2013

Sold: Artsy x Thurgood Marshall College Fund: Post-War and Contemporary Art, June 2022, Lot 138 Private collection, Santa Monica, CA

Exhibited: Wein, Austria, Galerie Krinzinger, “Brown Box and the Broken Theater: Jannis Varelas,” February 8 - March 9, 2012

Gade (b. 1971)

Ronald McDonald thangka Oil on canvas

Inscribed in Tibetan lower right

39.25” H x 19.75” W

$5,000-7,000

Provenance: The Grace Family Collection, St. Helena, California

132

Li Zhenwei (b. 1987)

Untitled, 2012 Oil on canvas

Signed and dated along the lower right portion of the tacking edge: Zhenwei; signed again in Chinese and dated verso: 2012 59” H x 59.25” W

$2,000-3,000

Provenance: Private collection, Santa Monica, CA

133

Brad Durham (b. 1952)

“Mental Images V,” 1989 Oil and wax on lead and canvas

Signed and dated verso: B. Durham 89; titled on a gallery label affixed verso 20” H x 16” W

$800-1,200

Provenance: Karl Bornstein Gallery, Santa Monica, CA Private collection, Brentwood, CA

134

Tony DeLap (1927-2019)

Untitled, 2001

Gouache, ink, pencil, and collage on paper

Appears unsigned; dated and inscribed in pencil upper right: 2001 / “black- / 40x40? / wood. canvas / thin band at center”

Image/Sheet: 11.5” H x 9” W

$800-1,200

135

Loren Madsen (b. 1943)

“Broken Ring (Maquette for the Gil Garfield House),” 1977

Mixed media (painted wood, metal, and string) on board

Unsigned; titled partially by repute and partially from a gallery label affixed verso 24” H x 21” W

$800-1,200

Provenance:

L.A. Louver Gallery, Venice, CA

Sold: Bonhams California, Los Angeles, CA, November 7, 2004, Lot 75 Private collection, Los Angeles, CA

136

Romany Eveleigh (1934-2020)

Untitled; Untitled; and Untitled, 3 works purportedly from the “Febo Series,” circa 1982-84

Each: Graphite and watercolor on paper

Each appears unsigned

Each image: 7.75” H x 8” W; each sheet: 14” H x 10” W

$600-800

Provenance: The artist

Artist’s Space, New York

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1983

Exhibitions: New York, Artist’s Space, Hundreds of Drawings, 1983

137

Alfredo Antognini (1938-2016)

“The Fight of Jacob and the Angel,” 1983 Oil on canvas

Signed with initials and dated lower right: A.A. 83; titled on a provenance letter from the artist 40” H x 50” W

$1,000-1,500

Provenance:

San Diego Museum of Art, San Diego, CA Private collection

Notes:

This lot is accompanied by a handwritten provenance letter signed by the artist and dated 10-21-1996.

138

Gordon Cook (1927-1985)

“Near Lost River,” 1984 Oil on canvas

Signed and dated verso: “G. Cook / 1984”; titled on a gallery label affixed to the verso 15.125” H x 13.625” W

$3,000-5,000

Provenance: The artist

Pamela Auchincloss Gallery, Santa Barbara, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1984

Exhibited: Santa Barbara, CA, Pamela Auchincloss Gallery, December 1984

139

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.

141

R. Kenton Nelson (b. 1954)

“Over Garcia’s Wall” Oil on Masonite Signed lower right: R. Kenton Nelson; titled on the handwritten card from the artist and the sales invoice that accompanies this lot 12” H x 24” W

$5,000-7,000

Provenance: Mendenhall Gallery, Pasadena, CA Private collection, CA, purchased from the above, July 20, 1995

Exhibited: Pasadena, CA, Mendenhall Gallery, December 9, 1995-January 11, 1996

Notes:

This lot is accompanied by a handwritten card from the artist discussing the painting in depth, as well as a copy of the purchase receipt from the gallery mentioned above.

142

Lawrence Calcagno (1913-1993)

“Earth Legend II,” 1978

Acrylic on canvas

Signed, titled, and dated, all verso: Lawrence Calcagno / 1978

28” H x 34” W

$2,000-3,000

Provenance: Yares Gallery, Scottsdale, AZ

Jessica Warboys (b. 1977)

“Dunwich,” 2013

Pigment on unstretched canvas

Unsigned; titled and dated by repute

100” H x 104.5” W

$2,000-3,000

Provenance:

Galerie Gaudel de Stampa, Paris, France

Private collection, Santa Monica, CA, from the above, 2014

144

Judy Glantzman (b. 1956)

“A Group” Enamel on Plexiglas and Masonite Appears unsigned; titled by repute 33.625” H x 59.5” W (irreg.)

$800-1,200

Provenance: The artist

Civilian Warfare Gallery, New York

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1984

Exhibited:

New York, NY, Civilian Warfare Gallery, “Judy Glantzman,” March-April 1984

Santa Barabara, CA, Santa Barbara Museum of Art, “Santa Barbara Collects, Part One,” January-March 1985

145

Judy Glantzman (b. 1956)

Untitled Enamel on unstretched canvas

Unsigned

70.5” H x 89.5” W

$800-1,200

Provenance: The artist

Civilian Warfare Gallery, New York, New York

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1984

Exhibited:

Santa Barbara, CA, University of California, Santa Barbara, University Art Museum New York, New York, November-December 1984

146

Felix Ruvolo (1912-1992)

“The Watchers,” 1945 Oil on Masonite

With the incised signature lower left: Ruvolo - 45; titled on a museum label and a letter signed by Professor Karl Kasten, all affixed verso

21.5” H x 30.75” W

$3,000-5,000

Provenance: Arthur Fisher Estate

Denver Art Museum, Denver, CO, from the above, 1965 Sold: Butterfield & Butterfield, San Francisco, CA, “American, European, and Contemporary Art,” October 24, 1991, Lot 3757 Karl Kasten, November 6, 1991

147

Joe Clower (b. 1937)

Untitled (Architectural), 1983

Enamel on three tin panels nailed together

Signed and dated verso: Clower / 1983

12.5” H x 30” W

$600-800

Provenance: The artist

Irit Krygier Contemporary Art, Los Angeles, CA

Selections from the Estate of Robert and Mary Macbeth Looker, from the above, 1984

Exhibited:

Santa Barbara, CA, Santa Barbara Contemporary Art Forum, “Joe Clower: Paintings and Drawings,” June-July 1984

148

Dennis Hare (1946-2024)

Figural abstract

Oil and collage on board

With the incised signature lower left: D. Hare; inscribed in red on the frame’s verso: “V / Hare” 14” H x 11” W

$1,000-1,500

149

Alex Becerra

(b. 1989)

Untitled, 2014

Oil on canvas with twenty loose painted rubber ribbon elements

Signed and dated in ink, verso: Alex Becerra ‘14

Approximately 20” H x 15.75” W

$2,000-3,000

Provenance: Private collection, Santa Monica, CA

150

Painted particle board

Signed verso: J. Robirosa

35.5” H x 30.75” W x 0.25” D

$1,000-1,500

Provenance: Private collection, Brentwood, CA

151

Laddie John Dill (b. 1943) Untitled Mixed media on panel Unsigned on the recto 72” H x 72” W x 2.5” D

$2,500-3,500

Provenance: Estate, Newport Beach, CA

152

Laddie John Dill (b. 1943)

Untitled Mixed media on panel

Unsigned on the recto 84.25” H x 60” W x 2” D

$2,500-3,500

Provenance: Estate, Newport Beach, CA

153

Susan H. Moss (b. 1944)

“Colorsphere 18,” 2023

Oil on canvas

Signed, titled, and dated, all verso: Susan Moss / 2023 36” H x 36.25” W

$1,000-1,500

Provenance: The artist

Notes:

Susan H. Moss began the “Colorsphere” Series of oil paintings and oil on paper in 2019. This series, combining color and atmosphere, gestural and layered abstraction, conveys the artist’s love and concern about the environment. “Colorsphere 18” is a silvery, icy painting to cool the area in which it is hung, the iridescent colors swirl and layer creating movement and calm, its beauty is revealed slowly with meditative gazing.

Moss has been a full-time studio artist since 1971, following her studies at Otis Art Institute. Her collector’s number 600 including 6 major museums and she has shown her work in Santa Monica, San Francisco, New York, Chicago, Florida, Germany and Italy. A new movie, “The Invite” starring Penelope Cruz and Ed Norton, will feature two of her works on paper in the living room. It will be released July 26. Moss is also the author of five books. www.susanhmoss.com

154

Leif Ritchey (b. 1975)

“Four Doors,” 2014

Acrylic on canvas

Signed, titled, and dated, all verso: Leif Ritchey / 2014

89.25” H x 85.5” W

$1,000-1,500

Provenance: Private collection, Santa Monica, CA

155

Signed lower right: Jessica Rice

30.125” H x 30.125” W

$800-1,200

156

Jessica Rice (1941-2016)

A profile portrait of a woman with a fan Oil on canvas

Signed lower right: Jessica Rice

30” H x 30” W

$1,500-2,500

157

Italo Scanga (1932-2001)

“Tree on a Mountain,” 1993

Acrylic on paper

Signed and dated lower center: Italo Scanga / 6.6.93; titled on a handwritten label, and again on two typed labels, all affixed to the frame’s backing board Sheet: 30” H x 22.25” W

$500-700

Provenance:

Heller Ehrman Art Collection, LLP, San Francisco, CA

Sold: Bonhams, California, “Made in California,” November 17, 2009, Lot 2126 Private collection, Los Angeles, CA

158

Susanna Bergtold (20th/21st Century)

“Promenade,” 1979

Mixed media, including gouache and ink, on paper

Appears unsigned; titled and dated on a gallery label affixed to the frame’s backing board Image: 5.75” H x 5.25” W; Sheet: 6” H x 5.75” W

$400-600

Provenance:

Edward Thorp Gallery, New York, NY

Selections from the Estate of Robert and Mary Macbeth Looker, from the above

159

Seah Kim Joo (b. 1939)

“China Town,” 1971 Batik on fabric

Signed lower right: Seah Kim Joo; titled and dated on a gallery label affixed to the frame’s backing paper

Sight: 36” H x 23.75” W

$800-1,200

Provenance:

Seah Gallery, Singapore

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

160

Seah Kim Joo (b. 1939)

“Street Scene,” 1971

Batik on fabric

Signed lower left: Seah Kim Joo; titled and dated on a gallery label affixed to the frame’s backing board

Sight: 24” H x 18” W

$500-700

Provenance:

Seah Gallery, Singapore

Property from the Anni & Arthur Lipper III Collection, Del Mar, CA

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

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Sold at John Moran Auctioneers: Deborah Kay Butterfield (b. 1949), Untitled, (Large Horse), 2013 & Untitled, (Foal), 2015

Price Realized: (Large Horse) $285,750 & (Foal) $203,200

Condition Reports

1

Overall generally good appearance. The full sheet. Pale light, mat, and time staining showing primarily along the outermost edges and verso. An approximately 2” diagonal, flattened crease through the small green sphere near the center of the image’s left edge, primarily visible in raking light. The sheet is hinged to the overmat with two small pieces of linen tape at the verso of the upper sheet edge.

Framed under glass: 41.75” H x 32” W x 1.75” D

2

Overall good condition with shelf wear, scattered minor scuffs and scratches, and inherent firing flaws commensurate with age. Scuffs and scratches concentrated to front.

3

Overall good condition with dust accumulation and minor wear commensurate with age. Pedestal with a few minor nicks at edges.

4

Overall generally good appearance. Full margins with deckled edges. Slight overall toning to the sheet, as well as pale light-staining to the area exposed through the window opening of the mat. Scattered foxing and minor surface soiling (or printer’s ink) in places in the margins. The sheet is hinged in places to the back mat from the verso of the margin edges.

Unframed

5

Overall good appearance. With margins. The paper slightly toned and with an occasional pale foxmark confined to the margins. The extreme upper and lower edges of the block appear to have been slightly unevenly inked. Not examined out of the frame.

Framed under glass: 30.25” H x 37.75” W x 2” D

6

Overall good appearance. A few scattered creases along the left portion of the upper margin. A peasized surface stain on the verso of the right portion of the upper margin. Stray printer’s ink in the verso of the right margin. The paper every so slightly cockled. The sheet is taped to the overmat in places along the verso of the margin edges and corners.

Framed under glass: 27.5” H x 34.75” W x 1” D

7

Overall good appearance. With margins. A barely visible 6” long horizontal printer’s crease in the upper right quadrant. Slight paper cockling. Framing instructions in pencil lower center of the margin recto. Newsprint has been used as a buffer between the sheet and the backing board, causing a light toning of the paper’s verso. Stay printer’s ink verso, not affecting the image. Taped to the front mat from the sheet’s verso in places with masking tape.

Framed under glass: 27.5” H x 34.75” W x 0.75” D

8

Overall good appearance. Full margins with deckled edges. A few soft scattered handling marks in the vertical margins, seemingly not affecting the image. Pale time staining along the deckle of the margin edges. The sheet is framed floating, hinged or tipped to the back mat from the verso of the margin corners. Not examined out of the frame.

Framed under Plexiglas: 20.75” H x 29.75” W x 1.5”

9

Overall good appearance. Full margins with deckled edges. Handling creases in places along the left and right margin edges. A fair amount of paper cockling. A smaller than pea-sized area of roughness to the paper, possibly as issued, just below the lowest figure’s raised foot. Hinged to the backmat from the verso of the upper margin corners.

Framed under Plexiglas: 20.5” H x 26” W x 2” D

10

Each overall good appearance. The full board / full margins with deckled edges.

The collage: As a working study for the woodcut edition shown here (and/or the Washington Print Collectors Club woodcut poster), has some small spots of stray glue and a few rice-sized (or smaller) spots of pale staining or surface soiling. Minor time staining along the extreme edges and verso of the board mount. Remains of old, dried-up adhesive along the verso of the mount’s edges. The work is hinged to the overmat from the board mount’s upper edge, verso.

The woodcut: With a very soft diagonal handling mark across the lower left margin corner (just into the “A” at the end of the pencil inscription/title). The slightest hint of mat staining in the uppermost portion of the upper margin. The sheet is hinged to the back mat along the upper margin edge.

Each framed under glass: 16” H x 15” W x 1.25” D; and 28.5” H x 24” W x 1” D, respectively

Visual: Overall good appearance. Minor grime. A very soft, blue, 2.5” long, horizontal, possible surface scuff in the lower left quadrant.

Blacklight: A 1” H x 1” W area with a few scattered small flecks of touch-up in the upper right quadrant. A pea-sized touch-up at the center of the extreme left edge. A few minor flecks of touch-up scattered along the upper edge.

Frame: 22.75” H x 26.75” W x 1.5” D

12

Visual: Overall good appearance. A few areas where the canvas has bubbled along the upper edge, the largest 1” H x 2” W, with possible related damp staining on the verso.

Blacklight: A few scattered areas of touch-up in the upper half, including along the upper edge, the largest measuring 2.5” H x 1” W, and a few smaller, thin lines of touch-up in the center of the lower half

Frame: 30.5” H x 24.5” W x 2” D

13

Visual: Overall good appearance. Soft stretcher bar creases along each edge, primarily visible in raking light. Scattered areas of fine craquelure. An extremely soft pea-sized pressure mark in the upper left quadrant near the left edge, primarily visible in raking light.

Blacklight: Thin bands along the edges of each corner fluoresce under blacklight, possibly due to touch-up or uneven varnish.

Frame: 25.5” H x 25.75” W x 2.25” D

14

Visual: Overall generally good appearance. There are a series of light vertical abrasions on the left side (12” H x 0.75” W overall), along with a 1” H x 0.125” W horizontal abrasion in the same area. Scattered, occasional craquelure. Minor stretcher bar creases and some wear at the very outer edges.

Blacklight: A 1” H x 0.5” W spot of touch-up at the center of the upper edge. In the upper right quadrant, there are two hairline, diagonal, surface abrasions about 10” long which join further horizontal surface scratches (6” and then 9” long) all with lines and dots of scattered touch-up. Within this there is also a spot of touch-up that is 3” H x 0.25” W.

Frame: 37.5” H x 49.25” W x 1.75” D

15

Visual: Overall good appearance. Scattered fine craquelure, the largest being an 8” H x 8” W circular area of craquelure in the center. A pea-sized pigment loss in the left portion of the lower edge.

Blacklight: No evidence of restoration.

Frame: 53.25” H x 39.25” W x 1.5” D

16

Visual: The oil from the paint has leeched into the raw canvas, causing halo stains in areas, as expected. Horizontal areas of slight canvas buckling on the left side. A few scattered damp stains, the largest, at lower right, measures 2.5” H X 8” W. An area of slight surface abrasion in the upper left, (2” H x 1.5” W overall), with an additional hairline abrasion 8” in length. A 10” horizontal, dark, hairline mark (pencil?) in the upper left quadrant. A small reverse pressure mark in the upper left, and an area of pressure marks with abrasions (3.5” H x 2” W overall) in the upper right.

Blacklight: No evidence of restoration.

Frame: 50.75” H x 60.75” W x 2” D

17

Each: Overall good appearance. Possible slight toning to the paper. Each not examined out of the frame.

Each framed under glass: 16” H x 14” W x 2” D (or opposite)

18

Visual: Overall good appearance. Scattered areas of craquelure. Scattered tiny flecks of pigment loss, primarily in the upper left quadrant and in the left portion of the upper edge.

Blacklight: No evidence of restoration.

Frame: 29.25” H x 40.5” W x 1.5” D

19

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 28.75” H x 24.625” W x 1.75” D

20

Overall good appearance. The paper very slightly toned. Some minor cockling near the center of the left sheet edge. The sheet is framed floating, tipped to the back mat from the verso of the upper sheet corners.

Framed under glass: 32.875” H x 24.875” W x 1.25” D

21

Overall good appearance. There is a light horizontal hairline surface abrasion that measures 12” through the center of the sheet. The paper appears somewhat toned, with a lighter pea-sized spot near the center of the upper edge. Slight craquelure in places where there is heavy pigment application, particularly in the red areas. The work is taped to a (likely acidic) overmat with brown paper tape along the verso of the sheet edges. Occasional stray pigment or small pale stains, verso, not affecting the recto.

Framed under glass: 31.5” H x 25.25” W x 1.25” D

22

Overall generally good appearance. The paper is somewhat toned from exposure through the window opening of the overmat. Hinged to the backmat from the upper and lower portions of the vertical sheet edges, verso.

Framed under glass: 21” H x 23.375” W x 0.75” D

23

Visual: Overall good appearance. Two pea-sized possible pigment losses, with a few associated pinhead-sized losses in the upper right quadrant, possibly as issued. The upper corners have evidence of the artist’s tack marks, with the upper left corner slightly torn and mounted askew (as issued). There is a 1” near-circular stain, upper left corner edge, likely as issued. The sheet is adhered to a painted mount, as issued.

Blacklight: No evidence of restoration.

Framed under glass: 24.25” H x 49.75” W x 1.25” D

24

Visual: Overall good appearance. Delicate hairline surface abrasions visible within the black area in the lower half (the largest about 7” long). Light wear around the outer edges of the canvas and minor surface dirt.

Blacklight: No evidence of restoration.

Unframed

25

Visual: Overall generally good appearance. Scattered areas of craquelure, primarily in the red and blue pigments. A pea-sized pressure mark in the upper portion of the white square at left, and two additional softer pressure marks a few inches below it, all with attendant flecks of pigment loss, and one with a thin 1” vertical surface scuff. A rice-sized pigment loss along the upper portion of the extreme right edge. Stretcher bar creases along each edge. Minor wear and surface grime along the outer edges.

Blacklight: A 3” H x 8” W rectangular touch-up in the lower portion of the white square at left. A 1.5” H x 11.5” W band of touch-up in the left half of the lower edge.

Frame: 23.25” H x 26.25” W x 1.5” D

26

Visual: Overall generally good appearance. Scattered specks of grime throughout. Minor scattered areas of fine craquelure, primarily in the white pigments of the tablecloth. A 3” horizontal repaired tear in the background of the upper left quadrant, with a related patch, verso. Soft stretcher bar creases along each side, primarily visible in raking light. A small, extremely soft reverse pressure mark in the background of the upper left quadrant, primarily visible in raking light. Scattered rice-sized spots of mold staining, verso.

Blacklight: A 0.125” H x 3” W band of touch-up in the background of the upper left quadrant attendant with the repaired tear mentioned above.

Frame: 29.75” H x 35.75” W x 1.5” D

27

Overall good appearance. Pale light-staining. A few very soft horizontal creases, the largest 2” W, along the center and right portions of the extreme upper sight edge. Not examined out of the frame.

Framed under glass: 27.25” H x 21.25” W x 2.25” D

Visual: Overall good appearance. Scattered areas of craquelure throughout. A few scattered pigment losses along the outer edges, the largest measuring 0.25” H x 0.75” W in the left portion of the lower edge. A few tiny specks of possible stray pigment scattered in the lower right quadrant. Very soft stretcher bar creases along each side, primarily visible in raking light.

Blacklight: Long thin bands of fluorescence along the outer edges, possibly due to touch-up or uneven varnish application.

Unframed

29

Visual: Overall generally good appearance. Scattered areas of craquelure, primarily in the thicker impasto, with a few areas of slightly unstable craquelure with attendant pigment losses primarily in the maroon pigments to the left of center near the upper edge, and in the lower portion of the leftmost figure. A peasized hole in the canvas near the lower right corner. A horizontal surface scuff extending 5” from the upper portion of the right edge. Other scattered areas of pigment loss, presumably inherent in the creative process.

Blacklight: No evidence of restoration.

Frame: 50.75” H x 56.25” W x 2” D

30

Visual: Overall generally good appearance. Small scattered areas of craquelure, some with attendant flecks of pigment loss. A few 1” H x 0.25” W (or smaller) pigment losses in the center of the right half. Minor grime. Minor scattered surface scuffs. The surface of the board is slightly uneven.

Blacklight: No evidence of restoration.

Frame: 25.75” H x 30.25” W x 2” D

31

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 42” H x 28.5” W x 2” D

32

Visual: Overall good appearance. A soft 2.5” vertical surface scuff along the upper portion of the left edge, and a few others, smaller, scattered occasionally in the outer edges.

Blacklight: No evidence of restoration.

Frame: 31.25” H x 37.5” W x 2.5” D

33

Visual: Overall generally good appearance. There is an irregular-shaped area of paint loss in the lower right corner measuring 6” H x 0.125” to 1.5” W. Surface dirt.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 37.125” W x 3” D

34

Visual: Overall good appearance. Some surface grime. It is possible that some of the pigments are attenuated. Foxmarks and quite a bit of dust accumulation, verso.

Blacklight: While certain pigments, especially the white, fluoresce, there is no evidence of restoration.

Frame: 37.25” H x 25” W x 2.5” D

35

Blacklight: Overall good appearance. A very unobtrusive pinhead-sized pigment loss in the lower portion of the extreme left edge.

Blacklight: No evidence of restoration.

Frame: 46.5” H x 46.5” W x 3” D

36

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 43.5” H x 53.5” W x 2.25” D

37

Overall good appearance. Artist pinholes in each corner. The sheet is framed floating, hinged to the back mat in places along the verso sheet edges. Not examined out of the frame.

Framed under Plexiglas: 58.5” H x 44.5” W x 2.5” D

38

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

Overall generally good appearance. The paper is toned and the edges are time-stained, predominantly under the mat. The pigments are possibly somewhat attenuated. There is a cluster of foxmarks near the center of the upper edge, within the green of the tree, with an occasional scattered foxmark in other places. The sheet is taped to an (acidic) overmat in places with a combination of old masking tape, as well as a piece of white paper tape, from the verso of the sheet edges.

Framed under glass: 12.5” H x 10.125” W x 0.75” D

40

Visual: Overall good appearance. Slight varnish discoloration. A hairline surface scratch extending 1” diagonally from the center of the upper edge. The edges and the verso have been taped and painted, presumably in the restoration process.

Blacklight: An approximately 9” H x 11” W area of possible touch-up in the center of the upper half. A 0.5” wide band of touch-up scattered along the majority of the outer edges. A few scattered spots of touchup in the window pane of the upper left quadrant, the largest measuring 2” H x 0.5” W. Other small flecks of touch-up scattered occasionally throughout.

Frame: 37.25” H x 24.5” W x 2.25” D

41

One pea-sized chipped loss to a lower leaf tip. Crazing to the glaze throughout. Scattered inherent glaze slips throughout. Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. No evidence of restorations or repairs under UV light.

42

Minor soiling and dust accumulation, particularly in the fringe. The strips slightly roughly cut with fraying fibers. Each rug cut in seven pieces and loosely woven in a basketweave pattern together. Not adhered or mounted.

43

Visual: Overall good appearance. A 2” H x 1” W curved crack in the board near the center of the extreme right edge, with a few attendant tiny flecks of pigment loss. A few minor pea-sized (or smaller) spots and drips of damp staining scattered throughout, primarily in the left half and upper edge, as well as a 5” H x 12” W area of showing on the verso of the upper half. Artist pinholes and slight wear in each corner, not visible as framed. The board is very slightly concave.

Blacklight: No evidence of restoration.

Frame: 27.5” H x 23” W x 3.75” D

44

Visual: Overall good appearance. Minor scattered grime primarily in the upper left quadrant.

Blacklight: No evidence of restoration.

Unframed

45

Overall good appearance. A few minor flattened creases in the lower portion of the left edge, the longest measuring 1.5,” and a few other minor handling marks (or cockling) scattered throughout. Not examined out of the frame.

Framed under glass: 22.25” H x 23.25” W x 1.5” D

46

Visual: Overall good appearance. Very minor varnish discoloration.

Blacklight: No evidence of restoration.

Unframed

47

Overall generally good appearance. Pale light- and time staining. Very fine craquelure in some of the areas of light blue oil paint, and occasional very tiny specks of pigment loss. A 0.5” paper loss at the tip of the lower left corner. Artist pinholes and flattened dog-eared creases in each of the remaining corners. A very tiny edge tear at the center of the right sheet edge, and a soft curved crease at the center of the left sheet edge. Tape remnants, staining, and surface skinning in various places along the verso sheet edges and corners. The sheet is loose, secured to the back mat with four clear archival corners.

Framed under glass: 19.25” H x 15.75” W x 1” D

48

Overall good appearance. Minor surface grime showing in the thicker areas of white pigment. The sheet is sealed within the matting.

Framed under glass: 22.75” H x 27.5” W x 2” D

49

Overall good appearance. Pale light-staining. Very minor wear at the extreme tips of the upper and lower right sheet corners. The sheet is framed floating, mounted to an invisible foamcore backing from the center, verso, of the sheet.

Framed under glass: 17.25” H x 16.25” W x 2” D

Overall good appearance. Pale light-staining. The sheet is framed floating, mounted to an invisible foamcore backing from the center verso.

Framed under glass: 16.25” H x 13.5” W x 1.75” D

51

Visual: Overall good appearance. A few minor areas of scattered craquelure, primarily in the areas of thicker impasto.

Blacklight: No evidence of restoration.

Frame: 35.125” H x 38.75” W x 2.25” D

52

Visual: Overall good appearance. A 3” irregular band of scattered surface grime in the forehead of the face in the lower half.

Blacklight: No evidence of restoration.

Unframed

53

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 31.5” H x 39.125” W x 1.5” D

54

Visual: Overall good appearance. Scattered areas of craquelure including a 4” H x 4” W circular area of craquelure in the upper right quadrant.

Blacklight: No evidence of restoration.

Frame: 40.25” H x 29.5” W x 2” D

55

Visual: Overall generally good appearance. Deep craquelure in places where there are thick layers of paint. Many areas of paint shrinkage, seemingly limited to the upper layers of the think paint. Considerable surface grime.

Blacklight: No evidence of restoration.

Frame: 11.15” H x 14.5” W x 1.25” D

56

Visual: Overall good appearance. Minor wear in places to the very outer edges (for instance, a 0.5” H hairline abrasion on the very outer edge, upper right).

Blacklight: No evidence of restoration. Only shows paint shrinkage in the shadows of the brown painted paper, which is not visible in regular light.

Unframed

57

Visual: Overall good appearance. A very fine 1.5” vertical hairline streak of surface grime to the left of center of the trompe l’oeil paper. A few small, unobtrusive areas of minor surface grime along the outer edges of the background. A soft stretcher bar crease along the extreme right edge, primarily visible in raking light.

Blacklight: No evidence of restoration.

Unframed

58

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. Scattered areas of verdigris to upper surfaces. The hooves and legs with a few scuffs transportation braces.

59

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

60

Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Some adhesive residue.

61

With chipped loss to one side where the glass meets the top of the base rim. Otherwise overall good condition with minor handling wear commensurate with age.

62

Missing at least one thorn, with several likely reattached/glued. With inherent wear to the door. Minor handling and shelf wear.

63

Overall good condition with dust accumulation and minor handling wear commensurate with age. Some abrasions and wear along edges to bottom 1.5 feet elements.

64

The acrylic rotates slowly when plugged in, possibly rewired. Overall good condition with shelf wear and scattered scuffs and scratches commensurate with age.

65

With several fleabite chips at corners of glass panels, concentrated at extremities. With shelf wear, dust accumulation, and scattered minor scuffs and scratches commensurate with age.

66

With breaks to two glass elements with attendant losses. With shelf wear, dust accumulation, and scattered minor scuffs and scratches commensurate with age.

67

With splits and cracks in the wood throughout, one vertical with more separation at right side proper with lower older repair or possibly inherent. With shelf wear, minor soiling, rubbed wear to paint, and scuffs and scratches commensurate with age.

68

Visual: Overall good appearance. Minor scattered grime. An unobtrusive 1.25” diagonal surface scratch in the lower left quadrant. Four unobtrusive 1.5” H x 1.5” W L-shaped surface scuffs along each corner edge.

Blacklight: No evidence of restoration.

Frame: 48.5” H x 36.25” W x 1.25” D

69

Overall good appearance. Light scuffing, abrasion, and folding to the corners of each card commensurate with age and handling. Slight transfer of crayon to the verso of each card. Each sheet is loose, not matted.

Each unframed

70

Each overall good or generally good appearance. Light scuffing, abrasion, and folding to the corners of each card commensurate with age and handling. The works from 1989 with more wear in the corners and edges and possible pale toning. Slight transfer of crayon to the verso of each card. Each sheet is loose, not matted.

Each unframed

71

Visual: Overall good appearance. The frame has an occasional rice-sized abrasion and a considerable amount of dust accumulated in its crevices. Not examined out of the frame.

Blacklight: No evidence of restoration.

Framed under glass: 21” H x 24.5” W x 2” D (irreg.)

72

Overall good appearance. There is some slight cockling to the paper and the edges of the collage are curling off of the page in places, both possibly as issued. Not examined out of the frame.

Framed under glass: 30.5” H x 23” W x 1.75” D

73

Overall good appearance. Slight toning and time-staining to the sheet. The lower right corner is slightly dog-eared. The sheet is framed floating, hinged to the backmat from the verso of the upper sheet corners.

Framed under glass: 27” H x 22” W x 2.25” D

74

Overall good appearance. Craquelure throughout. Surface grime.

Blacklight: No evidence of restoration.

Frame: 16.625” H x 20.25” W x 2” D

75

Overall good appearance. Full margins. A few extremely unobtrusive (nearly invisible), pale, pinpoint-size foxmarks scattered in the blank. The sheet is tipped to the backboard in places from the verso of the margin edges.

Framed under Plexiglas: 31” H x 41.25” W x 2.25” D

76

Overall good appearance. Full margins. The sheet is tipped to the backboard in places from the verso of the margin edges.

Framed under Plexiglas: 31” H x 41.25” W x 2.25” D

77

Overall good appearance. The full sheet with margins. An occasional, extremely unobtrusive, pale, pinpointsized foxmark scattered in the blank. Tipped to an invisible backing board in places from the verso of the margin edges.

Framed under Plexiglas: 31” H x 41.25” W x 2.25” D

78

Overall good appearance. The full sheet with margins. An occasional, extremely unobtrusive, pale, pinpointsized foxmark scattered in the blank. Tipped to an invisible backing board in places from the verso of the margin edges.

Framed under Plexiglas: 31” H x 41.25” W x 2.25” D

79

Overall good appearance. Full margins with deckled edges. Slight handling marks at the center of the upper margin edge. Very slight cockling due to hinges. Hinged to the backmat in places from the verso of the margin edges.

Framed under Plexiglas: 30.875” H x 38.5” W x 1.625” D

80

Each overall good or generally good appearance. The full sheets with deckled edges. “A” with uneven light-staining, especially within the upper half of the sheet. A pea-sized foxmark in the lower left quadrant, and with additional foxmarks confined to the verso. “B” with foxmarks verso, not affecting the recto. “C” with cockling in the upper right quadrant of the sheet likely related to some old damp staining to the nearby, rightmost, portion of the back mat. While the slight cockling to this sheet is likely related to this once-damp environment, the latter does not appear to have directly caused any staining to nearby sheet “C” (or to the other two sheets, “A” or “B,” either). Each sheet is framed floating, hinged to the back mat from the verso of the upper sheet corners.

Framed together under Plexiglas: 15” H x 40.25” W x 2” D

81

Overall good appearance. Not examined out of the frame.

Framed under plexiglass: 49.625” H x 37.5: W x 1.5” D

82

Overall good appearance. Not examined out of the frame.

Frame: 45” H x 52.5” W x 2” D

83

Lacking plumbing connections, with sawed off end of pipes. Lacking one ground-mounting bracket. Each with heavy soiling, oxidation, verdigris, staining, and dirt/dust accumulation. Each with scuffs, scratches, and small nicks at edges commensurate with age and use.

With brackets: 108.25” H x 17” W x 8.25” D and 108.25” H x 14” W x 8.75” D

84

With minor soiling, dirt, and dust accumulation from outdoor use. With scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age. Localized areas of oxidation, concentrated to horizontal surfaces including the upper edge, each of figure’s legs, and the base. The base with scattered abrasions, indentations, and small losses, including one corner with a 1” long indentation, another corner area with 3” long loss along bottom edge, and more concentrated wear to lower edges where the base makes contact with the ground.

85

Overall generally good appearance. Reverse pressure marks showing through from the pencil and ink notations on the verso. A pea-sized surface scuff in the lower portion of the coat of the figure closest to the foreground, primarily visible in raking light. A few scattered handling marks. Minor surface scratches throughout, primarily visible in raking light. An edge tear extending 0.5” vertically from the left portion of the lower edge. Each sheet corner slightly dog-eared and with minor abrasions. Old tape remnants on the verso of the right portion of the lower edge. The sheet is very slightly curled inwards from the upper and lower edges. The sheet is hinged to the overmat with two pieces of hinging tape from the verso of the upper sheet edge.

Framed under glass: 15.25” H x 12.25” W x 0.75” D

86

Overall good appearance. Very minor abrasions in the sheet corners. Extremely fine surface scuffs or scratches scattered throughout, primarily visible in raking light. The sheet is framed floating, hinged to the back mat from the verso of the upper and lower sheet edges.

Framed under glass: 19” H x 15.75” W x 1” D

87

Overall generally good appearance. With margins. A 2” diagonal hairline reverse pressure mark in the upper left quadrant of the image. Soft handling marks throughout. A few scattered flattened creases, primarily in the lower margin and the lower portion of the left margin, the longest measuring 3”. Cockling along the lower margin edge. The sheet is loose, secured to the back mat with three clear archival corners.

Framed under Plexiglas: 21.625” H x 17.5” W x 1” D

88

Overall good appearance. A few very tiny abrasions in the lower half, as well as in the background of the upper left quadrant of the image. The paperboard mount with slight toning and with wear in the corners and the verso edges, not affecting the image. The sheet is mounted to paperboard, as mentioned, presumably as issued.

Framed under Plexiglas: 21.75” H x 17.75” W x 1” D

89

Overall generally good appearance. The sheet with narrow upper and lower margins, and wider left and right margins, presumably as issued. A 4” vertical/ diagonal crease along the upper portion of the left margin edge, and another much smaller, approximately 0.5” long, crease across the tip of the lower right margin corner, neither of which affect the image. A very narrow band of cockling along the upper and lower margin edges, just slightly affecting the outermost edges of the image, but visible primarily in raking light, and presumably attendant with the printing process. The sheet is loose, secured to the back mat with four clear archival corners.

Framed under glass: 21.5” H x 17.5” W x 0.75” D

90

Overall good appearance. Not examined out of the frame.

Framed under Plexiglas: 21.75” H x 17.75” W x 1” D

91

Overall generally good appearance. With wide margins. The lower left edge and the upper mid-left edge of the image each have a cluster of several pinhead-sized (and smaller) surface abrasions. There is a handling crease in the lower left margin. There is some scattered slight surface soiling in the margins, not affecting the image. The margin edges and corners are a bit worn and slightly dog eared. The sheet is secured to the backmat with handmade corners.

Framed under Plexiglas: 21.75” H x 27” x 1.25” D

92

Overall good appearance. With margins. The lower left margin corner slightly dog-eared. Very minor abrasions in the margin corners. A very tiny area where the glossy paper coating has peeled in the center of the extreme edge of the upper margin. Very pale time staining and a few pale foxmarks showing only on the verso. The sheet is loose, secured to the back mat with three paper corners.

Framed under Plexiglas: 18.25” H x 15.25” W x 1” D

The photograph and its mount are generally good appearance. Photograph: Tipped to the original paperboard mount, likely acidic, in places along the verso of the sheet edges. There are a few dime-sized spots of mild silvering at the edges which may correspond to the tipping just mentioned. A smattering of occasional possible touch-ups (rice-sized or smaller), as well as one similar pea-sized spot, all visible mostly in raking light. Two of these areas appear to be covering small scuffs, one is under the left arm of the figure and the other is along the center of the sheet’s right edge. There is an ever-so-slight cockle to the paper. The very outer edges of the corners have slight wear, and there is a pinhead-sized abrasion along the right portion of the lower sheet edge. Mount: The paperboard mount was embossed, as issued, leaving a window in which to place the photograph. This mount is toned overall, however the embossed area is a bit lighter than the rest of the mount. There is a 1.5” H band of time-staining along the upper edge of the mount and a 2” band of the same sort along the lower edge of the mount. The corners of the mount are slightly dog-eared but appear stable. The verso of the mount has a few scattered rice-sized stains of unknown origin, as well as some minor scattered dirt and scuffs. White linen and paper tape remnants and/or slight surface skinning in places along the upper edge, and upper portion of the vertical edges, verso. None of the mount issues either on the recto or verso affect the photograph. The paperboard mount (together with the tipped photo) is secured to a piece of Foamcore with two hand-made paper corners at the lower corners only.

Framed under glass: 25.5” H x 21.5” W x 1.25” D

94

Overall good appearance. With margins. Soft scattered handling marks. Extremely fine surface scuffs or scratches scattered throughout, primarily visible in raking light. Very minor abrasions scattered in places along the margin edges and corners. A few very tiny areas where the glossy paper coating has peeled in places along the extreme edges of the margin. The sheet is loose, secured to the back mat with three paper corners.

95

Overall good appearance. The full sheet. There is one rice-sized spot with a matte sheen to the right of center, visible in raking light. The sheet is affixed to the mount, as issued. The mount is secured to a backing board with clear archival corners.

Framed under Plexiglas: 20.75” H x 16.75” W x 2” D

96

The photograph with brownish-yellow uneven toning scattered throughout. Slight silvering at the very outer edges. Scattered dark spots. Slight curling of the paper at the edges, where the mounting is failing. The photograph appears to be tipped to the mount in places along the verso of the sheet edges. The mount is hinged from its verso to a back mat with linen tape. The lower corners of the mount are secured to this same back mat with clear archival corners.

Framed under Plexigas: 21.25” H x 17.25” W x 1.75”

97

Overall good condition with shelf wear and scattered scratches and scuffs commensurate with age. Wall-mounting hardware verso.

98

With oxidation/rust throughout, heavier oxidation concentrated to underside, with some moisture damage/staining and rust buildup obtrusive to marks. Large scuffs and scratches throughout, possibly inherent.

99

Overall good condition, not tested or opened from the back, internal condition not inspected. With darkening to areas around the edges of rear panel. Moran’s does not guarantee the working condition of this item.

100

Each overall good condition with scuffs, scratches, and inherent indentations commensurate with age.

101

Overall good condition with dust accumulation, scattered minor scuffs, and mild darkening/oxidation to bronze commensurate with age. The base with very minor abrasions at corners, the plinth top surface with a chipped loss issued from top edge.

102

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

103

Overall good appearance. There are slight undulations and creases within the paper, presumably as issued. Not examined out of the frames.

Each framed separately under Plexiglas: 58.125” H x 34.125” W x 1” D

104

Pale light-staining, pale scattered foxmarks, and possible damp staining showing primarily in the sky. Very fine flattened creases scattered primarily in the upper half. The Masonite is taped to the overmat from the verso of the left, right, and upper edges.

Framed under glass: 23.75” H x 25.75” W x 1.5” D

105

Overall good appearance. A vertical edge tear extending 0.375” from the upper sheet edge (to the right of center). A very tiny and unobtrusive surface abrasion to the left of center of the upper sheet edge. Minor flattened creases in each sheet corner. The sheet is framed floating, hinged to the back mat from the verso of the sheet corners.

Framed under glass:24.5” H x 33.375” W x 2.25” D

106

Overall good appearance. Mounted to aluminum with an apparent Plexiglas overlay. This overlay has a diagonal hairline surface scratch approximately 1” long in the upper right quadrant.

Unframed

107

Overall generally good appearance. With wide (presumably full) margins. Occasional short horizontal/ diagonal creases in places along the extreme lower margin edge, each measuring between approximately 0.5” and 1.75” long. The sheet is loose, not matted.

Unframed

108

Overall good appearance. With wide (presumably full) margins. The sheet is loose, not matted.

Unframed

109

Overall generally good appearance. With wide (presumably full) margins. A few short and unobtrusive handling marks in the image, showing only in raking light. A small series of short horizontal/diagonal creases in places along the extreme lower margin edge, at far right, each measuring between approximately 0.25” and 1.75” long. The sheet is loose, not matted.

Unframed

110

Overall good appearance. With wide (presumably full) margins. An extremely minor, narrow, 1” surface smudge in the sky near the right edge, visible only in raking light. The sheet is loose, not matted.

Unframed

111

Overall good appearance. With margins. Two very soft 0.5” (or smaller) hairline pressure marks in the lower left image corner, primarily visible in raking light. A very faint 0.5” vertical pink surface scuff near the center of the right margin edge. Very soft, minor handling creases and a few fingerprints scattered along the margin edges, primarily visible in raking light. The sheet is loose, secured to the back mat with four handmade paper corners, and with very soft attendant pressure marks across each margin corner.

Framed under Plexiglas: 19.375” H x 21.375” W x 1.5” D

112

Overall good appearance. A rice-sized (or smaller) loss in the lower left, and another in the extreme upper edge of the upper left corner.

Unframed

113

Overall good condition. With full margins. A light handling crease with ever-so-slight dog-earing in the upper right corner margin corner, and very slight cockling along the lower portion of the left margin edge. The sheet is loose, not matted.

Unframed

114

Overall good appearance. With full margins. The sheet is loose, not matted.

Unframed

115

Overall good condition, with soiling and dust accumulation near base. Scattered scuffs and scratches, with small areas of paint loss.

116

Overall good condition with light scuffs commensurate with age. With small scattered areas of loss to beadwork. Heavy wear and scratches to underside.

117

Overall very good appearance. The full sheet and the colors vibrant. A very narrow, burnished-type, diagonal line of superficial surface scuffing extending 7” from the center of the upper sheet edge down into the red area between the frog’s eyes, visible only in raking light. A nearly invisible, superficial, dusty-seeming line extending 5” vertically/diagonally across the dark blue of the frog’s throat, visible only in raking light. A few other, very short (approximately 1” long or less) burnished-type delicate surface scuffs in a few places at the extreme sheet edges, visible only in raking light. The sheet is framed floating, tipped (or possibly hinged) in places to the back mat from the verso of the sheet edges.

Framed under Plexiglas: 42.5” H x 42.25” W x 3” D

118

Overall good appearance. A few areas of surface skinning with attendant paper loss, the largest measuring 1.5” H x 1” W in the lower right quadrant, above the signature, and a few others, smaller, in the center of the lower half and in the upper right quadrant, possibly attendant with the creation of the work. The sheet is hinged to the back mat from the verso sheet edges and corners. Not examined out of the frame.

Framed under Plexiglas: 63.5” H x 53.5” W x 3” D

119

Overall good appearance. Full margins with deckled edges. Artist pinholes in the upper margin corners. The sheet is framed floating, hinged to the back mat from the verso of the margin edges and corners.

Framed under Plexiglas: 35.5” H x 31.5” W x 2” D

120

Overall good appearance. The paper is very slightly cockled, possibly attendant with the materials and techniques used. Appears hinged to the backmat in places from the verso of the sheet edges. Not examined out of the frame.

Frame: 61.125” H x 51.125” W x 3.5” D

121

Overall good appearance. The full sheet with deckled edges. A slight cockle in the paper likely attendant with the materials and techniques used. Appears to be hinged to the back mat in places from the verso of the sheet edges. Not examined out of the frame.

Framed under plexiglass: 37” H x 50.25” W x 1.5” D

Overall good appearance. The full sheet. The sheet is framed floating, hinged to the back mat in places along the verso edges. Not examined out of the frame.

Framed under Plexiglas: 50.25” H x 42.25” W x 3.5” D

123

Overall good appearance. With margins. Not examined out of the frame.

Framed under Plexiglas: 48” H x 53” W x 2” D

124

Overall good appearance. With margins. The sheet very slightly cockled in the lower right quadrant. Not examined out of the frame.

Framed under Plexiglas: 23.75” H x 33.75” W x 1.5” D

125

The screenprints and other original contents overall good appearance. The tips of the extreme margins corners on a few of the screenprints are very slightly dog-eared. The original black paper- covered portfolio-box with usual shelf wear and fingerprints.

Black portfolio-box: 24.5” H x 18.5” W x 1” D

126

Overall good condition, with hanging loops at top edge. One faint pea-sized stain at one edge.

127

Overall good condition with minimal wear to edges of frame. Two hanging hooks at top edge.

128

Visual: Overall generally good appearance. An unobtrusive, extremely soft, superficial fold extending from the upper to the lower edge, through the left side of the figure’s face, visible primarily in raking light. Some minor scattered craquelure. Occasional short, scattered, surface scuffs and/or grime, some of which affects the figure’s hat as well as the inscription. Minor wear along the edges and corners.

Blacklight: No evidence of restoration.

Unframed

129

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

130

Overall good appearance. There is mild cockling to the paper in places, likely as issued. Tipped or hinged to the back mat in places from the verso of the sheet edges. Not examined out of the frame.

Framed under Plexiglas: 103.5” H x 65.25” W x 3” D

131

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Frame: 40.5” H x 21” W x 2” D

132

Visual: Overall good appearance. Surface dust on the impasto.

Blacklight: No evidence of restoration.

Unframed

133

Visual: Overall generally good appearance. A 6.5” wavy horizontal surface scratch in the center of the lower half. A 3” diagonal scratch in the center of the lower portion of the circle. A 4” H x 3” W area of surface scuffing with a 2” vertical scratch in the lower left quadrant. Other smaller scratches and scuffs scattered throughout. Wear along the extreme outer edges. Other lesser defects.

Blacklight: No evidence of restoration.

Frame: 22.5” H x 18.25” W x 3.5” D

134

Overall good appearance. Very soft handling marks primarily in the background. Artist pinholes in each corner and the lower sheet edge. A few very tiny abrasions scattered occasionally in the extreme right, left, and lower edges. The sheet is framed floating, secured from the verso to an invisible foamcore backing. Not examined out of the frame.

Framed under glass: 18.75” H x 16.25” W x 2.5” D

135

Overall generally good appearance. Pale scattered foxmarks on the board. A pea-sized spot of dripped grime on the top ledge of the lower rectangular section of the wood. The tension in the lower vertical strings appears to have loosened over time. The surface of the wood slightly uneven. Minor surface dust.

Framed under Plexiglas: 24.5” H x 21.5” W x 2.5” D

136

Each: Overall generally good appearance. Each piece is attached to the back mat via a thumbtack in the upper right and left corners. The central sheet’s lower edge is slightly frayed from cutting, likely as issued. The right sheet has a pea-sized hole with light brown staining around it in the lower margin, not affecting the image. Not examined out of the frame.

Framed together under Plexiglas: 19” H x 37.25” W x 1.75” D

137

Visual: Overall good appearance. A 2” horizontal surface scuff along the right portion of the lower edge, and another more unobtrusive and faint horizontal surface scuff further to the right, part of it below the signature.

Blacklight: No evidence of restoration.

Unframed

138

Visual: Overall good appearance. The vertical and upper edges of the canvas are visible in places (not covered by the frame), as issued. Surface dirt.

Blacklight: No evidence of restoration.

Frame: 15.75” H x 14.25” W x 1.25” D

139

Visual: Overall good appearance. There are a few occasional pinhead-sized spots of what appears to be either paint loss or possibly white house paint splatter.

Blacklight: No evidence of restoration.

Frame: 22.25” H x 27.75” W x 2” D

140

Visual: Overall good appearance. A hairline 0.75” horizontal scuff along the outermost edge of the lower right corner.

Blacklight: No evidence of restoration.

Frame: 11.5” H x 9.375” W x 2.5” D

141

Visual: Overall good appearance. Two tiny specks of possible grime or stray pigment on the wall of the house in the lower left quadrant.

Blacklight: No evidence of restoration.

Frame: 15.75” H x 27.875” W x 1.75” D

142

Visual: Overall good appearance. Minor grime. An irregular 1” hairline surface scuff in the upper portion of the left edge.

Blacklight: No evidence of restoration.

Frame: 29.75” H x 35.75” W x 1.75” D

143

Visual: Overall good appearance. Creasing, wrinkling, and fraying consistent with materials and artist’s practice. Raw canvas, with the pigments visible verso, as issued.

Blacklight: No evidence of restoration.

Unstretched and unframed, as the artist intended.

144

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

145

Visual: Severe vertical rolling creases throughout. Craquelure throughout, heavy in areas, with attendant occasional paint losses, the largest is about 2” H x 0.5” W. Some surface dirt.

Blacklight: No evidence of restoration.

Unframed

146

Visual: Overall generally good appearance. A 1” H x 1” W area of scattered rice-sized (or smaller) pigment losses, and other smaller scattered pigment losses, primarily in the green and black pigments. Nails in various places along the outer edges, each with surrounding pigment losses. Two 0.5” H (or smaller) surface scratches in the left portion of the upper edge. Wear and thin, long scattered bands of pigment losses along the outer edges and corners.

Blacklight: Thin, long bands fluorescence under blacklight, possibly due to touch-up or uneven varnish application.

Unframed

147

Visual: Overall good appearance. Minor scattered surface scuffs, scratches, and occasional fingerprints. Scattered specks of white grime primarily in the lower left quadrant.

Blacklight: No evidence of restoration.

Unframed

148

Visual: Overall good appearance. Minor dust accumulation on the thick impasto.

Blacklight: No evidence of restoration.

Frame: 20.25” H x 17.25” W x 2.25” D

149

Visual: Overall good appearance. The rubber ribbons are slightly stiff and cracking in places.

Blacklight: No evidence of restoration.

Unframed

150

Overall good condition with shelf and handling wear commensurate with age. With some bumping at extremities and edges, with scattered small losses. Mounted with hanging hardware.

151

Overall good appearance. There are a few, occasional, rice-sized (or smaller) spots of what appears to be house paint splatter. Dusty. The verso was not examined.

Unframed

152

Overall good appearance. The verso was not examined.

Unframed

153

Visual: Overall good appearance.

Blacklight: No evidence of restoration.

Unframed

154

Visual: Overall good appearance. A few minor scattered areas of fine craquelure in some of the thicker impasto.

Blacklight: No evidence of restoration.

Unframed

155

Visual: Overall generally good appearance. There are several pea-sized (or smaller) areas of paint loss and a few hairline scratches, all in the lower right quadrant. Spots of paint shrinkage in places. Stretcher bar creases in places. In raking light, it appears that this is painted over a different composition (not a condition issue).

Blacklight: No evidence of restoration. Has an older, yellowed varnish layer.

Frame: 32” H x 32.25” W x 2” D

156

Visual: Overall good appearance. An old varnish layer with surface grime. Stretcher bar creases. A small area of diagonal abrasion measuring 0.25” H x 0.5” W near the lower left edge.

Blacklight: No evidence of restoration.

Frame: 32.25” H x 32.25” W x 2” D

157

Overall generally good appearance. The full sheet with deckled edges. Substantial soft paper cockling. The back mat has a considerable amount of mold. The sheet is framed floating and appears to be hinged in places to the back mat in places from the sheet’s verso. The back mat is taped to the frame’s verso, but the tape is no longer holding it in well. Not examined out of the frame.

Framed under Plexiglas: 36.75” H x 29” W x 1.5” D

158

Overall good appearance. The sheet may have some very minor toning. The sheet is framed floating, tipped (or possibly hinged) to the back mat from the verso of the upper sheet corners. Not examined out of the frame.

Framed under glass: 17.125” H x 14.5” W x 2” D

159

Overall good appearance. Not examined out of the frame.

Framed under glass: 43” H x 31” W x 2” D

160

Overall good appearance. Not examined out of the frame.

Framed under glass: 30.25” H x 24.25” W x 2.25” D

John Moran Auctioneers, Inc

SPECIALISTS

Head of Sale, Director, Fine Art

President, Auctioneer

Director, Furniture and Decorative Arts

Director, Senior Specialist, Furniture & Decorative Art

Kim Jarand

Vice President, Specialist

Specialist, Post-War & Contemporary Design

Associate Specialist, Fine Art

Associate Specialist, Fine Art

Senior Cataloguer, Fine Art

Cataloguer, Fine Art

Cataloguer, Fine Art

Department Administrator, Fine Art

Department Administrator, Furniture & Decorative Arts /Jewelry

Cataloguer, Furniture & Decorative Arts

Cataloguer, Jewelry, Luxury & Decorative Arts

Director, Jewelry & Watches

Senior Specialist, Jewelry & Watches

TRUSTS

& ESTATES

Senior Vice President, Director Trusts & Estates

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Department Administrator, Trusts and Estates

CLIENT SERVICES

Office Supervisor

Client Services

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OPERATIONS

Vice President, Business Director, Auctioneer

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Art Handler

MARKETING

Director, Advertising & Marketing

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PHOTOGRAPHY

Senior Photographer, Head of Photography

Photographer

Photographer

Photographer

FOUNDERS

Founder

Co-Founder

Katherine Halligan, AA

Jeffrey J. Moran

Jen Kurtz

Angela Past

Director, Native American Art

Maranda Moran

Matthew Grayson

Bobby Cullen

Madison Ari

Anne Spink

Lori Kassabian

Christine Weir

Jacob Baer

Jessica Crosbie

Grant Stevens

Sally Andrew

Tom Burstein

Kelly Sitek

Morgana Blackwelder, ISA AM

Mariam Whitten, ISA AM

Shannon Dailey

Julia Kelley

Joseph Fields

Ella Fountain

Jamie Holthauser

Stephen Swan

Mario Esquivel

Joseph Scott

Jean Rapagna

Richard Corral

Joe Miranda

Romero Corral

Nathan Martinez

Brenda Smith

Brian Olivas

Keith Berson

Madison Torres

Wyatt Beserra

Chloe Daniels

John H. Moran (1942-2017)

Madeleine Moran

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

BUYER’S PREMIUMS:

BUYER’S PREMIUM is calculated at 27% on the first $1,000,000 of the hammer price, plus 21% on any amount between $1,000,001 - $5,000,000, and 15% on any amount above $5,000,000 when paying by cash, check or wire transfer.

Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments

$500 - $950 @ $50 increments

$1,000 - $1,900 @ $100 increments

$2,000 - $4,750 @ $250 increments

$5,000 - $9,500 @ $500 increments

$10,000 - $19,000 @ $1,000 increments

$20,000 - $47,500 @ $2,500 increments

$50,000 - $95,000 @ $5,000 increments

$100,000 - $190,000 @ $10,000 increments

$200,000 - $480,000 @ $20,000 increments

$500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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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.