The Traditional Collector — Day 2: European Fine Art | John Moran Auctioneers
The Traditional Collector — Day 2 European Fine Art
Wednesday, February 4, 2026
Wednesday, February 4, 2026 | 10am PST
Previews:
Friday, January 30, 12 – 4pm
Saturday, January 31, 12 – 4pm
Monday, February 2, 12 – 4pm
Tuesday, February 3, 9am – 5pm Wednesday, February 4th: Doors open 9am This is an interactive catalogue. Click on any item description or hyperlink for more information.
Anne Spink
Senior Cataloguer, Fine Art a.spink@johnmoran.com
Katherine Halligan Director, Fine Art k.halligan@johnmoran.com
Madison Ari Associate Specialist, Fine Art m.ari@johnmoran.com
Mario Esquivel Office Manager m.esquivel@johnmoran.com
SINCE 1969
Lori Kassabian Cataloguer, Fine Art l.kassabian@johnmoran.com
2001
Marguerite Delorme (1876-1946)
“Les Poissons Rouges”
Oil on canvas laid to canvas
Signed lower right: Marguerite Delorme; alternatively titled on the frame plaque “The Goldfish Bowl;” titled again and with the artist’s address on the stretcher bar 32” H x 42.75” W
$1,000-1,500
Provenance: Private Estate, California
2002
20th Century French School
Figures at an outdoor cafe Oil on canvas laid to canvas
Unsigned 21” H x 26” W
$700-900
Provenance: Private Estate, California
2003
Tom Perkinson (1940-2017)
“Impression Sunset,” 1983 Oil on Masonite
Signed and dated lower right: Perkinson-’83; titled on a label affixed to the frame’s verso 21.5” H x 27.5” W
$2,000-3,000
Provenance: Private Estate, California
2004
Jules René Hervé (1887-1981)
View of Notre Dame Oil on canvas laid to board Signed lower right: Jules R. Hervé 18” H x 21.5” W
$700-900
Provenance: The Estate of Herbert and Ann Lucas
Notes: This lot is accompanied by additional documentation materials.
2005
Marcel Dyf (1899-1985)
“Le Village de Lasné” (Morbihan), 1976
Oil on canvas
Signed lower right: Dyf; the artist’s copyright ink stamp, including a partially stamped/partially hand-written number 1976, and hand-written initials F.R and SH[*] on the center stretcher; titled, directly preceded by “No. 669,” and also numbered “45965,” on a label formerly affixed to the lower stretcher but now secured to the frame’s backing board; a large, only partially legible number [6?]69 hand-written in blue pencil on the upper stretcher
The authenticity of this work has been confirmed by Madame Claudine Dyf and is registered under no. 7106.
According to Madame Claudine Dyf in an email dated September 30, 2025, “Lasné is located near Saint-Armel on the shores of the Gulf of Morbihan in southern Brittany, close to the Dyf studio in Arzon, where Dyf painted every June and July for 25 years.”
2006
Otto Pippel (1878-1960)
Trees along a cliff with boat Oil on canvas laid to canvas
Signed lower right: Otto Pippel 42” H x 38” W
$1,000-1,500
Provenance: Private Estate, California
2007
Hunter Wood (1908-1948)
“Ship ‘Tusitala’“ Oil on canvas
Signed with his anchor device, lower right: Hunter Wood; titled on a gallery label affixed to the frame’s backing board 30” H x 40” W
$600-800
Provenance:
From the lifetime collection of American Watercolor Society artists Sanford and Virginia Brooks, Cincinnati, OH
Harry F. Marks Galleries and Bookshop, New York, NY
Sold: Caza Sikes, Cincinnati, OH, “September 2021 Estates and Collections,” September 8, 2021, Lot 398 Private Estate, California
2008
Ole Ring (1902-1972)
“Fra Bandholm Havn,” 1963
Oil on canvas
Signed and dated lower left: Ole Ring 1963; dated again and titled on the stretcher
18.75” H x 21.75” W
$800-1,200
Provenance: Private Estate, California
2009
Style of Edward Alfred Cucuel (1875-1954)
Reclining nude in dappled sun Oil on canvas Unsigned 15” H x 24” W
$700-900
Provenance: Private Estate, California
2010
Willem Dooyewaard (1892-1980)
Ballerina on a red sofa Oil on canvas
Signed lower right: W. Dooyewaard; titled in Dutch, “Danseres op ronde divan,” and numbered “No. 2” on the stretcher 29” H x 39.75” W
$700-900
Provenance: Private Estate, California
2011
François Gerome (b. 1895-n.d.)
Opera night
Oil on canvas
Signed and inscribed in the lower right corner: F. Gerome Paris / l’Opera
20” H x 24” W
$300-500
Provenance: Private Estate, California
2012
DeWitt McClellan Lockman (1870-1957)
“Constance Eastman,” 1944 Oil on canvas laid to canvas With the faintly incised signature and date lower right: Dewitt Lockman / 1944; titled on the frame plaque 50” H x 40” W
$1,000-1,500
Provenance: Private Estate, California
2013
Jean Baptiste Robie (1821-1910)
Floral still life with shell goblet, 1871 Oil on panel
Signed and dated lower left: J. Robie 1871
34.5” H x 24.5” W
$4,000-6,000
Provenance: Private Estate, California
2014
Jean Baptiste Robie (1821-1910)
“Roses”
Oil on panel
Signed lower left: J. Robie; titled in ink, in another hand, on a label affixed to the frame’s verso 26” H x 20.25” W
$3,000-5,000
Provenance:
T. R. Butler, NY Private Estate, California
2015
Jean Baptiste Robie (1821-1910)
Still life with roses and case Oil on panel
Signed lower right: J. Robie
22.5” H x 16.75” W
$3,000-5,000
Provenance:
William Schaus Gallery, New York, NY
Sold: Sotheby’s, New York, NY, “19th Century European Paintings & Works of Art, Featuring An Independent Eye: Property from Jack Kilgore & Co.,” May 16, 2024, Lot 74 Private Estate, California
2016
Antoine Vollon (1833-1900)
“Floral Impression” Oil on canvas
Signed lower right: A. Vollon.; titled on a label affixed to the frame’s backing board 25.5” H x 25.5” W
$1,500-2,500
Provenance: From a Georgia Estate
Sold: Kaminski Auctions, San Diego, CA, “Estates Auction,” May 22, 2016, Lot 3174 Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, February 1-April 30, 2018
2017
Eugene Henri Cauchois (1850-1911)
“Still Life of Flowers” Oil on canvas laid to canvas
Signed lower right: E.H. Cauchois; titled on a gallery label affixed to the stretcher 21” H x 25.5” W
$800-1,200
Provenance:
Schillay & Rehs. Inc. New York, NY Private Estate, California
2019
Georges Jeannin (1841-1925)
“Bouquet de Fleurs” Oil on board
Signed lower left: G. Jeannin; titled on a gallery label affixed verso
25.5” H x 31.5” W
$1,000-1,500
Provenance:
Sold: Bonhams, Los Angeles, CA, “The Elegant Home,” November 19, 2019, (1 of 2) Lot 668 Garzoli Gallery, San Rafael, CA Private Estate, California
2018
Georges Jeannin (1841-1925)
“Rose basket” Oil on canvas
Signed lower left: G. Jeannin; titled on a label affixed to the stretcher
Signed lower left: G. Jeannin.; titled on a gallery label affixed verso
25.5” H x 31.375” W
$1,000-1,500
Provenance:
Sold: Bonhams, Los Angeles, CA, “The Elegant Home,” November 19, 2019, (1 of 2) Lot 668 Garzoli Gallery, San Rafael, CA Private Estate, California
François Pascal Simon (1770-1837)
François Pascal Simon (Baron) Gérard occupies Neoclassical discipline with a nuanced, psychologically Gérard inherited the formal clarity of his teacher
Romantic undertones. Unlike David’s figures, which dream-like elegance and individuality, appealing
Gérard’s career combined artistic versatility with length portrait of his friend and supporter, the
(Letizia Bonaparte) further solidified his position His works balance formal dignity and technical
The portrait in this lot, depicting Countess Louise idealized landscape; a setting Gérard often employed Empire-silhouette dress, delicately gathered at (presumably circa 1820) while allowing Gérard to relaxed contrapposto convey poised naturalism, controlled lighting gently brings the figure forward, space. This work demonstrates how Gérard’s grounding nuanced portraiture.
Beyond his artistic output, Gérard played a significant upon him the title of baron, recognizing both his the period. Gérard’s ability to navigate profound him to remain at the forefront of French portraiture sensibility, his work achieves a lasting harmony
Simon (Baron) Gérard
a central place in French portraiture, celebrated for his elegant depictions that blend psychologically attentive sensibility. A pupil and later assistant of Jacques-Louis David, teacher but transformed it into a style characterized by lyrical refinement and subtle which often convey ideological resolve and sculptural rigor, Gérard’s portraits convey appealing to Europe’s political and cultural elite, including Napoleon Bonaparte.
with institutional prominence. At the Salon of 1796, he achieved recognition with a fullminiaturist Jean-Baptiste Isabey, and his daughter. His 1799 portrait of Madame Mère position as a leading portraitist among France’s elite at the turn of the nineteenth century. precision with psychological nuance, rendered through a subtle, lyrical sensibility.
Louise de Montluçon, exemplifies these qualities. The sitter is posed within a softly employed to harmonize portraiture with classical and dreamlike visual elements. Her the waist and accented by a rich red shawl, reflects the fashion of that era to demonstrate his sensitive handling of drapery and color. Her calm, direct gaze and naturalism, balancing intimacy with formality. Against the darkened woodland and distant hills, forward, emphasizing both her individuality and her graceful presence within the pictorial grounding in Neoclassicism was transformed into a subtly lyrical and psychologically significant role within the official institutions of French art. In 1819, Louis XVIII conferred his social standing and the central role his work played in shaping the visual culture of profound political and social change while maintaining a distinctive artistic identity allowed portraiture for decades. Grounded in Neoclassical training yet guided by a refined personal of form, elegance, and psychological depth.
2021
François Pascal Simon (Baron) Gérard (1770-1837)
Portrait of Countess Louise de Montluçon
Oil on canvas laid to canvas
Signed faintly and indistinctly, lower left
76.75” H x 51.75” W
$70,000-100,000
Provenance: Jacques Seligmann & Cie, Paris, 1903
Exhibited:
New York, NY, The American Art Galleries, “Loan Exhibition of Portraits for the benefit of the Orthopaedic Dispensary and Hospital,” beginning November 18, 1903, no. 96, lent by Jacques Seligmann, Paris (exhibited by International Fine Arts Association)
Literature: “New York Medical Journal,” 78 (1903): 903.
2022
In the manner of Antoine Vestier (1740-1824)
Portrait of the Marquise de Mézières Oil on canvas
Unsigned; titled and with the artist attribution inscribed on a label affixed to the frame’s verso: Marquise Mezieres / Antoine Vestier / [indistinct initials], all presumably in another hand
33” H x 25.5” W
$700-900
Provenance: Private Estate, California
Notes: Eleanor Oglethorpe (1684-1775), later Marquise de Mézières, was an English Jacobite who settled in France after James II was deposed in the Glorious Revolution of 1688. She served as an agent and advisor to James III “The Old Pretender” after the death of his father in 1701. Eleanor married, in 1707, Eugène Marie de Béthisy, Marquis de Mézières, with whom she had seven children; their descendants include members of royal families throughout Europe. (source: Wikipedia)
2023
Friedrich August von Kaulbach (1851-1920)
“Society Beauty,” 1914
Oil on canvas laid to canvas
Signed and dated upper right: F.Av Kaulbach / 1914; titled on a label affixed to the stretcher 50” H x 40” W
$2,500-3,500
Provenance: Private Estate, California
2024
Juan Gomez (19th century)
Lady standing in an interior Oil on canvas laid to canvas
Signed lower right: Juan Gomez; numbered “no. 65” on the stretcher, possibly in another hand
25.5” H x 14” W
$800-1,200
Provenance: Sold: Leland Little, Hillsborough, NC, “Winter Gallery Auction,” January 25, 2020, Lot 62 Private Estate, California
2025
19th Century Continental School
Figures in a ballroom Oil on cradled panel
Signed indistinctly lower right
31” H x 23.25” W
$500-700
Provenance: Private Estate, California
2026
Jean-Louis-Ernest Meissonier (1815-1891)
Couple courting Oil on panel
Initialed lower right: M 14.125” H x 11.25” W
$1,000-1,500
Provenance: Private Estate, California
2027
Otto Erdmann (1834-1905)
“Das Arrangement,” 1872
Oil on canvas
Signed, dated, and inscribed lower left: O Erdmann. Df. 1872; titled by repute 36.5” H x 30” W
Woman with parasol and ruffled cloak standing in a sunroom Oil on panel
Signed lower right: Gotth. Kuehl
32” H x 22.25” W
$5,000-7,000
Provenance: Private Estate, California
2030
Wojciech Adalbert Kossak (1856-1942)
Wedding caravan, 1923 Oil on canvas
Signed and dated lower right: Wojciech Kossak / 1923 27” H x 39.5” W
$10,000-15,000
Provenance: Private Estate, California
2031
Klaus Richter (1887-1948)
Carriage and riders, 1923
Oil on canvas
Signed and dated lower left: Klaus Richter 1923; inscribed “A.102” lower right; signed, dated, and inscribed again, all verso 18” H x 18” W
$500-700
Provenance: Private Estate, California
2032
Igor Pantuhoff (1911-1972)
Still life with carnations and cherries Oil on canvas
Signed lower right: Igor 24” H x 20” W
$1,000-1,500
Provenance: Private Estate, California
2033
Georges Jeannin (1841-1925)
“Upset Flower Pail” Oil on canvas
Signed upper right: G. Jeannin; titled from a label affixed to the frame’s verso 25.5” H x 21.5” W
$800-1,200
Provenance: Private Estate, California
2034
Georges Jeannin (1841-1925)
Floral still life Oil on canvas
Signed and indistinctly inscribed lower right: G. Jeannin 18” H x 15” W
$800-1,200
Provenance: Sold: Kunst-Auktionshaus Wendl, Rudolstadt, Germany, “Art, Antiques, Collectibles,” June 21-23, 2018, Lot 3950 Private Estate, California
2035
Eugene Petit (1839-1933) Still life with flowers Oil on canvas laid to canvas Signed lower right: E. Petit. 36.25” H x 28.25” W
$400-600
Provenance: Sold: Leland Little Auctions, Hillsborough, NC, “Signature Summer Auction,” June 10, 2023, Lot 253 Private Estate, California
2036
Georges D’Espagnat (1870-1950)
Floral still life with tapestries Oil on canvas laid to canvas Initialed upper right: gdE 32” H x 26” W
$2,000-3,000
Provenance: Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, February 1-April 30, 2018
2037
Arthur Grunewald (1887-1943)
Floral still life in a blue and white vase Oil on canvas
Signed lower left: Grunewald 26” H x 21.5” W
$600-800
Provenance: Private Estate, California
2038
James Lynch (b. 1956)
“Swan on the Levels,” 2001 Tempera on board
Signed and dated lower right: J. Lynch / 01; signed again and titled on the frame’s backing board Sight: 36” H x 36” W
$3,000-5,000
2039
Laszlo Neogrady (1896-1962)
Farmhouse along a calm river Oil on canvas
Signed lower left: L. Neogrady 24” H x 30” W
$800-1,200
Provenance: Private Estate, California
2040
William Henry Singer Jr (1868-1943)
“Jour d’été, Norvège” Oil on canvas
Signed lower left: W.H. Singer Jr.; signed again and titled in pencil on the stretcher
32.5” H x 27.5” W
$1,000-2,000
Provenance: Private Estate, California
2041
William Henry Singer Jr (1868-1943)
“Wildflowers in June” Oil pastel on board
Signed lower right: W. H. Singer. Jr.; titled and numbered “158.” in pencil, verso, both possibly in another hand Sight: 20.25” H x 25” W
$1,000-2,000
Provenance: Private Estate, California
2042
William Henry Singer Jr (1868-1943)
“Bridge Pool,” 1933 Pastel on board
Signed and dated lower right: W.H. Singer Jr / 1933; titled and numbered “131” verso; titled again on the frame plaque 18” H x 21.625” W
$700-900
Provenance: Private Estate, California
2043
Robert Polhill Bevan (1865-1925)
“Hart’s Farm, Clayhidon, Devon,” circa 1917
Pencil and charcoal on laid paper
With the artist’s black RPB monogram ink stamp (not in Lugt) in the lower right margin corner; titled and dated on various labels affixed to the frame’s backing board
Image: 8.5” H x 10” W; Sheet: 11.625” H x 13” W
$1,500-2,000
Provenance:
Thos. Agnew & Sons, Ltd., London, England
Browse & Darby, London, England
The Estate of Herbert and Ann Lucas, acquired from the above, November 2, 2023
Exhibited:
London, Saatchi Gallery, “British Art Fair,” September 28-October 1, 2023
2044
Robert Polhill Bevan (1865-1925)
“Hawkridge,” circa 1895-97
Charcoal and pencil on a repurposed sheet of wove paper Unsigned; titled and dated from a label affixed to the verso of the mat as well as a sales invoice that accompanies the work Image/Sheet: 13.75” H x 16.125” W
$1,500-2,500
Provenance:
The artist’s family Hirschl & Adler Galleries, Inc, New York, NY Anthony d’Offay Gallery, London, England The Estate of Herbert and Ann Lucas
Literature:
Compare with Dry 22, the lithograph (in reverse) of a similar size which was done several years later and shows a very similar view of the same farmhouse.
Notes:
Robert Bevan lived in the farmhouse at Hawkridge on Exmoor (a National Park in southwest England) from 1895-1897.
There is an additional charcoal drawing of a British hunt scene, intentionally defaced with a large red “X,” on the verso of the sheet used by Bevan for the drawing offered here.
This lot is sold together with a copy of an invoice, dated 4 October 1989, from the Anthony d’Offay Gallery mentioned above.
2045
Robert Polhill Bevan (1865-1925)
“Hawkridge,” 1900
Lithograph on paper
From the edition of unknown but presumably small size
With the artist’s monogram in the stone in the lower left corner
Image: 13.75” H x 16” W; Sight: 14.25” H x 16.5” W
$800-1,200
Provenance:
The artist’s family
Hirschl & Adler Galleries, Inc., New York, NY
Anthony d’Offay Gallery, London, England
The Estate of Herbert and Ann Lucas
Literature:
Dry 22
Notes:
An impression of this lithograph in the collection of the National Gallery of Art, Washington, DC, is listed with the title, “A Lonely Farm [Hawkridge].” This title references a 1905 exhibition of Bevan’s works at the Baillie Gallery, London, in which an example of this lithograph (possibly this exact impression) was called “A Lonely Farm.” That exhibition’s catalogue states “eighteen impressions only” for this lithograph. Robert Bevan lived in the farmhouse at Hawkridge on Exmoor (a National Park in southwest England) from 1895-1897.
This lot is sold together with a copy of an invoice, dated 4 October 1989, from the Anthony d’Offay Gallery mentioned above.
2046
Robert Polhill Bevan (1865-1925)
“The Village”
Charcoal on cream paper
Unsigned; titled on gallery and exhibition labels affixed to the frame’s backing board Sheet: 12.5” H x 11.625” W
$1,000-1,500
Provenance:
The Fine Art Society, London, England
The Estate of Herbert and Ann Lucas
Exhibited:
New York, NY, Davis & Langdale Company, Inc., “Works on Paper,” March 1-26, 2005, no.6 illus., probably on behalf of the Fine Art Society, London.
Notes:
This lot is sold together with a copy of an invoice dated 31st May 2005 from the London gallery mentioned above.
2047
Gaylord Sangston Truesdell (1850-1899)
“Vaches sur une colline,” 1897 Oil on canvas laid to waxed canvas
Signed and dated lower right: G.S. Truesdell 1897; titled on a gallery label affixed to the frame’s backing board
27” H x 45” W
$2,000-3,000
Provenance: Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, October 6-November 31, 2017
2048
Willem Hendriks, Jr. (1888-1966)
Pastoral landscape with cows Oil on canvas
Signed lower left: W. Hendriks 10” H x 12” W
$500-700
Provenance: Private Estate, California
2049
William Henry Singer Jr (1868-1943)
“By Kampen” (Netherlands) Oil on board
Signed lower left: W.H. Singer. Jr; signed again and titled, verso 18” H x 21.5” W
$700-1,000
Provenance: Private Estate, California
2050
Frans De Bruyn (1867-1943)
Farmyard scene with shepherd and flock Oil on canvas
Signed lower left: Frans De Bruyn 17.25” H x 23.15” W
$600-800
Provenance: Private Estate, California
2051
Cornelis van Leemputten (1841-1902)
“Shepherdess with Flock” Oil on canvas
Signed lower left: C. van Leemputten; signed again and inscribed verso; titled on a label affixed to the frame’s verso 16.25” H x 22” W
$600-800
Provenance: Private Estate, California
2052
Willem Steelink (1826-1913)
Sheep grazing in a pastoral landscape
Watercolor and gouache on paper
Signed lower right: Wilm Steelink Sight: 23.75” H x 38” W
$600-800
Provenance: Private Estate, California
Notes:
A string tag attached to the hanging wire of this frame is inscribed in another hand with now-faded ink, “Presbyterian Village.”
2053
Ludwig Gustav Voltz (1825-1911)
“By the Brookside,” 1883 Oil on panel
Signed lower right: Ludwig Voltz; signed again (twice), titled, and dated, all verso: 1883
6.875” H x 10.875” W
$300-500
Provenance: Private Estate, California
2054
Adolf van der Venne (1828-1911)
Figures and horses resting along a shore Oil on canvas laid to canvas
Signed and dated on a label affixed to the inscribed on another handwritten label affixed
Munich artist Adolf van der Venne, gift in 1891
27.75” H x 43.5” W
$700-900
Provenance: Private Estate, California
the stretcher: Adolf van der Venne, 1869; affixed to the stretcher: “Painted in 1869 by 1891 to Josef Onken of Vienna”
2055
Freidrich Voltz (1817-1886)
Cows at pasture Oil on cradled panel
Signed lower right: F. Voltz 6.5” H x 8.5” W
$700-900
Provenance:
Sold: John Moran Auctioneers, Pasadena, CA, “Antique & Fine Furnishings Estate Auctions,”
July 24, 2007, Lot 1047 Private Estate, California
2056
Attributed to Johann Heinrich (1850-1941)
Cattle farm, circa 1890 Oil on canvas laid to canvas Bears signature and date partially 38” H x 72.25” W
$2,000-3,000
Provenance: Private Estate, California
partially indistinctly lower right: J Zügel 1893
Heinrich von Zügel
2057
Carl Jutz (1838-1916)
Rooster and hens Oil on panel
Signed lower left: C. Jutz
8.25” H x 10.75” W
$800-1,200
Provenance: Private Estate, California
2058
Hermanus Johannes (1852-1930)
“Plowing Time” Oil on canvas laid to
Signed lower left: H 27” H x 35” W
$800-1,200
Provenance: Private Estate, California
Johannes van der Weele to canvas
H J v d Weele; titled on a label affixed to the frame’s verso
California
2059
Toby Edward Rosenthal (1848-1917)
A young boy frightened by geese, 1877 Oil on canvas laid to canvas
Signed, dated, and inscribed lower right: Toby E. Rosenthal / Munich 1877
19.25” H x 12.25” W
$1,500-2,500
Provenance:
Sold: Mystic Fine Arts, Ltd., Mystic, CT, August 28, 2000, Lot 121
Sold: Heritage Auctions, Dallas, TX, “Fine & Decorative Arts Including Estates Decorative Art Signature Auction,” June 20-21, 2015, Lot 62776
Sold: Clars Auction Gallery, Oakland, CA, May 19, 2019, Lot 6347 Private Estate, California
2060
Daniel Ridgway Knight (1839-1924)
Two Victorian boys trying to steal eggs Gouache and watercolor on paperboard
Signed lower right: Ridgway Knight 12” H x 10” W
$2,000-3,000
Provenance: Private Estate, California
2061
Edmund Adler (1876-1965)
Mother with three young children and a dog Oil on canvas
Signed lower left: Edmund Adler; with the artist’s black ink copyright stamp verso 22.25” H x 27” W
$1,500-2,500
Provenance: Private Estate, California
2062
Evert Pieters (1856-1932)
Mother and children with chickens, 1926 Oil on canvas
Signed lower right: E. Pieters; signed again, dated 1926, and inscribed, all verso; numbered “No. 7” on the strainer, possibly in another hand 20” H x 24” W
$600-800
Provenance:
Sold: Philip Serrell Auctioneers, Worcester, England, “Fine Art & Antiques,” July 9, 2020, Lot 86 Private Estate, California
2063
Ludwig Vollmar (1842-1884)
Storytime in the farmhouse parlor Oil on canvas laid to canvas
Signed and inscribed lower left: A. Vollmar Munich
32” H x 37.5” W
$3,000-5,000
Provenance: Private Estate, California
2064
Edmund Adler (1876-1965)
Children in an interior Oil on canvas
Signed lower right: Edmund Adler 22” H x 27” W
$2,000-3,000
Provenance: Sold: Clars Auction Gallery, Oakland, CA, November 13, 2016, Lot 6192 Private Estate, California
2065
Johann Georg Meyer von Bremen (1813-1886)
Mother and children in an interior, 1839
Oil on canvas laid to canvas
Signed and dated along the right edge: Meyer von Bremen 1839
17” H x 15” W
$1,000-1,500
Provenance: Private Estate, California
2066
Albertus Neuhuys (1844-1914)
Mother and children in an interior, 1892
Watercolor and pastel on paper
Signed and dated lower right: Albert Neuhuys / 92
Sight: 27.5” H x 22.5” W
$700-900
Provenance:
Property from the Collection of Mr. Harry Conkey, Wilmette, IL
Sold: Hindman, Chicago, IL, “American and European Art,” September 29, 2016, Lot 55 Private Estate, California
2067
Frederick Waters Watts (1800-1870)
“The Canal Lock at Dedham,” 1937 Oil on canvas laid to waxed canvas
Signed lower right: F. Watts / 37; titled on a label affixed to the frame’s verso 15” H x 21” W
$800-1,200
Provenance: Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, October 6-November 31, 2017
2068
Claude E. Picault (19th century)
“Sylvan Landscape with Pond” Oil on panel
Signed lower right: C.E. Picault; titled on a gallery label affixed verso 15” H x 22” W
$500-700
Provenance: Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, October 6-November 31, 2017
2069
James McDougal Hart (1828-1901)
“A Summer Day” Oil on canvas laid to canvas
Signed lower left: James M. Hart; titled on the frame plaque
32.25” H x 23.25” W
$2,000-3,000
Provenance: Private Estate, California
2070
Robert Polhill Bevan (1865-1925)
“Poplars,” circa 1891-94 Conte crayon on tan paper
With the artist’s black ink monogram stamp, verso: RPB (not in Lugt); titled and dated on a label affixed to the frame’s backing board Image: 10” H x 14” W; Sheet: 12.875” H x 15.625” W
$800-1,200
Provenance: The Fine Art Society, London, England The Estate of Herbert and Ann Lucas
Literature: Compare Dry 5
Exhibited: London, UK, The Fine Art Society, “Robert Bevan 1865-1925: Pont-Aven to Camden Town,” March 28-April 19, 2012, no. 3, illus.
Notes:
This work is a preparatory drawing for the lithograph of the same title (compare Dry 5). This lot is accompanied by a sales invoice dated 23 March 2012, and other documentation materials from the gallery mentioned above.
2071
Robert Polhill Bevan (1865-1925)
“Landscape with Swirling Sky, Brittany,” 1894
Charcoal on paper
Studio stamped, verso, according to the gallery label affixed to the frame’s backing board; titled and dated on the same label Sight: 9.5” H x 12” W
$700-900
Provenance:
The Artist’s Studio
The Fine Art Society, London, England
The Estate of Herbert and Ann Lucas
Notes:
This lot in accompanied by a copy of an undated continuation of an invoice (presumably 2005), from the London gallery mentioned above.
2072
Robert Polhill Bevan (1865-1925)
“Landscape, Brittany,” circa 1894
Charcoal on folded cream paper
With the artist’s black ink monogram stamp (not in Lugt) in the lower right corner, verso; titled and dated on a gallery label affixed to the frame’s backing board
Sheet (folded): 11.375” H x 17.625” W; Sheet (overall): 22.625” H x 17.625” W
$700-900
Provenance: Wolseley Fine Arts, Waterstone, England
The Estate of Herbert and Ann Lucas
2073
Mary Duncan (1885-1964)
Mousehole, Cornwall, England
Oil on board
Signed lower right: M. Duncan 24” H x 20” W
$1,000-1,500
2074
Martinus Jacobus Nefkens (1866-1941)
Dutch landscape Oil on canvas
Signed lower left: Nefkens
23.5” H x 39.5” W
$600-800
Provenance: Private Estate, California
2075
17th/18th Century Dutch School
A village dance scene
Oil on canvas laid to canvas
Unsigned
30.5” H x 43.5” W
$800-1,200
Provenance: Private Estate, California
2076
In the manner of Jan Dirksz Both (1615/18-1652)
Figures on a path Oil on canvas
Appears unsigned; artist attribution from the frame plaque
28.5” H x 36” W
$1,500-2,500
Provenance: Private Estate, California
2077
Charles Leickert (1816-1907)
Figures skating on a frozen lake, 1905 Oil on canvas laid to waxed canvas
Signed and dated lower right: Ch. Leickert 33” H x 50.5” W
$3,000-5,000
Provenance:
Founders Gallery, Beverly Hills, CA, June 13, 1990
Private collection, Newport Beach, CA
2078
Hendrik Barend Koekkoek (1849-1909)
Figures in a Dutch winter scene Oil on canvas laid to Masonite Signed lower right: H.B. Koekkoek. 30” H x 25” W
$800-1,200
Provenance: Private Estate, California
2079
Nicolaas Johannes Roosenboom (1805-1880)
“View at Haarlam” Oil on panel
Signed lower right: N.J. Roosenboom; titled on a partially faded label affixed verso; alternatively titled “Haarlem in Winter” on the frame plaque
7” H x 9.875” W
$1,000-1,500
Provenance: Private Estate, California
2080
Adolf Stademann (1824-1895)
Winter village scene
Oil on canvas laid to canvas
Signed lower right: Adolf Stademann
32” H x 44.5” W
$1,000-1,500
Provenance:
Sold: Aspire Auctions, Cleveland, August 31, 2018, Lot 7 Private Estate, California
“The Collection of a Major International Corporation,”
Stademann
2081
William Henry Singer Jr (1868-1943)
“Silently Falling Snow” Oil on canvas affixed to cradled panel
Signed lower right: W. H. Singer Jr.; titled in pencil along the upper edge of the canvas overlap
31.5” H x 33.5” W
$1,000-2,000
Provenance: Private Estate, California
2082
William Henry Singer Jr (1868-1943)
“Valley Farm in Winter” Oil on canvas
Signed lower left: W.H. Singer. Jr; titled and numbered “52” on the stretcher; titled again on a label affixed to the frame’s verso 22” H x 24” W
$700-900
Provenance: Private Estate, California
2083
Anton Rasmussen (1842-1914)
Norwegian fjord with figures Oil on canvas laid to canvas
Signed lower left: A. Rasmussen 27” H x 39.5” W
$2,000-3,000
Provenance: Private Estate, California
2084
Adolph Schreyer (1828-1899)
“Wallachians in the Snow” Oil on canvas laid to canvas
Signed lower right: ad Schreyer; titled by repute 28” H x 39.75” W
$5,000-7,000
Provenance:
Sold: John Moran Auctioneers, Monrovia, CA, “Traditional Collector,” March 10, 2019, Lot 40 Private Estate, California
2085
Adolph Schreyer (1828-1899)
Wallachian horses in winter Oil on canvas laid to canvas
Signed lower right: Ad. Schreyer 18.25” H x 29” W
$3,000-5,000
Provenance: Private Estate, California
2086
Adolph Schreyer (1828-1899)
Packer on horse in winter
Oil on canvas laid to canvas
Signed lower right: ad. Schreyer
32.25” H x 26” W
$3,000-5,000
Provenance: Private Estate, California
2087
Eugen Kruger (1832-1876)
Alpine landscape with deer Oil on canvas
Signed and inscribed lower right: Eugen Kruger / Hamburg 11.5” H x 17.125” W
$800-1,200
Provenance: Private Estate, California
2088
Wladimir Jettel (1843-1910)
A wooded landscape with a deer by a stream Oil on canvas
Signed and inscribed lower right: W. Jettel / Berlin 27” H x 18.5” W
$600-800
Provenance: Sold: Bonhams, Los Angeles, CA, “Sunset Estate Auction,” May 16, 2010, Lot 7003 Private Estate, California
2089
Laszlo Neogrady (1896-1962)
Hungarian forest in winter Oil on canvas
Signed lower right: Neogrady Laszlo; a faint black ink stamp, possibly related to copyright, and a hand-written inventory number “10883,” both verso 24” H x 30” W
$700-1,000
Provenance: Private Estate, California
2090
Wilhelm Bartsch (1871-1953)
“A Mountainous Ravine” Oil on canvas
Signed lower left: W. Bartsch; titled on the frame plaque; alternatively titled “Forest Landscape with Waterfall” on a label affixed to the frame’s verso 30” H x 40” W
$800-1,200
Provenance:
Sold: Heritage, Dallas, TX, “Fine & Decorative Arts Including Estates Signature Auction,” September 21, 2018, Lot 63190 Private Estate, California
2091
George Henry Boughton (1833-1905)
Two figures in the countryside, 1877 Oil on canvas
Signed and dated lower right: G.H. Boughton / 1877 18” H x 24” W
$1,500-2,500
Provenance: The Estate of Herbert and Ann Lucas
2092
Anton Schiffer (1811-1876)
Tyrol landscape
Oil on cradled panel
Signed lower left: Anton Schiffer; inscribed faintly on a label fragment affixed to the frame’s verso
13.5” H x 16.5” W
$1,000-1,500
Provenance: Private Estate, California
2093
19th Century Continental School
A Bavarian suitor Oil on canvas laid to canvas Appears unsigned
36.25” H x 28” W
$800-1,200
Provenance: Private Estate, California
2094
Emil Rau (1858-1937)
Idyllic scene on the Alm Oil on canvas laid to canvas
Signed lower right: E. Rau 52” H x 44” W
$4,000-6,000
Provenance: Private Estate, California
2095
Emil Rau (1858-1937)
“Bavarian Girl” Oil on canvas
Signed lower right: E. Rau.; titled on a label affixed verso 29” H x 23.125” W
$1,000-1,500
Provenance: Private Estate, California
2096
Emil Rau (1858-1937)
Portrait of a seated woman strumming a zither, 1888 Oil on canvas laid to canvas
Signed and dated upper left: E. Rau / 88. 33” H x 22.5” W
$700-900
Provenance: Private Estate, California
2097
Carl Kronberger (1841-1921)
“Loading the Pipe” Oil on panel
Signed upper left: C Kronberger; titled on a label affixed to the frame’s verso
7.5” H x 5.25” W
$800-1,200
Provenance: Private Estate, California
2098
Willem Maris (1844-1910)
Portrait of a man with pipe Oil on panel
Signed lower right: Willem Maris
24.5” H x 19” W
$800-1,200
Provenance: Private Estate, California
2099
Emil Kuhlmann-Reher (1886-1957) Tavern scene Oil on canvas
Signed, dated, and inscribed lower right: E. Kuhlmann-Reher / München-Brannenburg / 1944
31.5” H x 39.5” W
$600-800
Provenance: Private Estate, California
2100
19th Century Dutch School
Tavern scene with animals
Oil on panel
Unsigned 14” H x 16.75” W
$700-900
Provenance: Private Estate, California
2101
Victor Schivert (1863-1929)
Pub genre scene Oil on panel
Signed and inscribed lower right: V. Schivert / München
17” H x 12.75” W
$500-700
Provenance: Private Estate, California
2102
19th Century English School
The frame maker
Oil on canvas laid to canvas
Unsigned
43.375” H x 33.375” W
$2,000-3,000
Provenance: Private Estate, California
2103
19th Century British School
“On a Surrey Farm” Oil on canvas laid to Masonite
Signed lower right: R. Cooper; titled on the frame plaque 28.25” H x 42.55” W
$1,500-2,500
Provenance: Private Estate, California
Notes:
This lot is accompanied by conservation documentation from late 2000 / early 2001.
2104
19th Century Continental School
Swiss village scene
Oil on canvas laid to canvas
Signed lower left: A Moreau; titled on a label affixed to the stretcher 20” H x 32.25” W
$500-700
Provenance: Private Estate, California
2105
George G. Fryer (1832-1912)
“Morning Mist on the Scheldt,” circa 1880 Oil on canvas laid to canvas
Signed lower right: Geo. G. Fryer; titled and dated by repute 17.75” H x 25.5” W
$500-700
Provenance: Triton Museum of Art, Santa Clara, CA
2106
18th/19th Century British School
Appears unsigned 36” H x 41.75” W
$2,000-3,000
View of Gibraltar
Oil on canvas laid to canvas
2107
Peter Baumgartner (1834-1911)
Interior scene with man and woman, 1870 Oil on canvas
Signed, dated, and inscribed lower right: P. Baumgartner. München 1870. 30” H x 36.75” W
$1,200-1,800
Provenance: Private Estate, California
2108
Louis Henry Charles Moeller (1855-1930)
Couple reading in an interior Oil on canvas
Signed lower right: Louis Moeller NA 18” H x 24” W
$800-1,200
Provenance: Private Estate, California
2109
Alfons Spring (1843-1908)
“The Student” (aka “Monk Reading”)
Oil on panel
Signed and inscribed upper right: A Spring Munchen; titled “The Student” on the frame plaque (titled “Monk Reading” when sold previously)
7.5” H x 6” W
$700-1,000
Provenance:
Goupil’s, Paris, France or New York, NY location
Louise Dietz-Schullg[*], Omaha, NE
Sold: Heritage Auctions, Dallas, TX, “Fine & Decorative Arts Including Signature Auction,” September 12, 2015, Lot 63893
Sold: Heritage Auction, Dallas, TX, “Fine & Decorative Arts Including Signature Auction,” February 20-22, 2016, Lot 66533 Private Estate, California
2110
19th Century German School
Portrait of a lady, 1899
Oil on panel
Initialed and dated lower right: BS / 1899
18” H x 15.25” W
$300-500
Provenance: Private Estate, California
2111
Albert August Zimmerman (1808-1888)
Figure in a pastoral German landscape Oil on panel
Signed lower left: Albert Zimmermann 9.5” H x 19” W
$800-1,200
Provenance:
Sold: Aspire Auctions, Cleveland, OH, “Paintings,” November 2, 2017, Lot 7 Private Estate, California
2112
William Widgery (1822-1893) Figures along a river Oil on canvas
Signed lower left: W. Widgery
30” H x 60” W
$1,500-2,500
Provenance:
Founders Gallery, Beverly Hills, CA, May 20, 1990
Private collection, Newport Beach, CA
2113
Attributed to Philippe-Jacques van Bree (1786-1871)
Tropical exploration, possibly Brazil Oil on canvas laid to waxed canvas Appears unsigned
32” H x 42” W
$1,500-2,500
Provenance: Private Estate, California
2114
Ferdinand Joseph Gueldry (1858-1945)
La Guerre en Dentelles (War in Lace) Oil on canvas laid to canvas
Signed lower left: J.F. Gueldry. 59" H x 88.5" W
$10,000-15,000
Provenance: Private Estate, California
2115
Wojciech Adalbert Kossak (1856-1942)
Soldiers on horseback, 1921 Oil on canvas
Signed and dated lower left: [something effaced] Wojciech Kossak 1921 24” H x 29.5” W
$8,000-12,000
Provenance: Private Estate, California
2116
Charles Gustave Parquet (1826-1908)
“Compiègne - Fontainebleau,” 1865-66 Oil on canvas
Signed lower left: Gustave Parquet; titled, dated, and with the artist’s device lower right: 1865 [device] 1866 32” H x 25.75” W
$3,000-5,000
Provenance: Private Estate, California
2117
Ferdinand Victor Leon Roybet (1840-1920)
“A Musketeer” Oil on canvas
Signed lower left: F. Roybet; titled on a separate frame plaque 32” H x 25.75” W
$2,000-3,000
Notes:
This lot is accompanied by a frame plaque that has been separated from the previous frame.
2118
Cesare Auguste Detti (1847-1914)
“Captain of the Guard,” 1881 Oil on panel
Signed and dated lower right: C. Detti / 81’; titled on the frame plaque 24.25” H x 18” W
$800-1,200
Provenance: Private Estate, California
2119
Alphonse-Marie-Adolphe de Neuville (1835-1885)
“Cavalry Officer”
Oil on panel
Signed lower right: A de Neuville; titled on a label affixed to the frame’s verso 5” H x 3.5” W
$800-1,200
Provenance: Private Estate, California
2120
James Desvarreux-Larpenteur (1847-1937)
Napoleon on horseback Oil on canvas
Signed lower right: J. Desvarreau-Larpenteur 15” H x 18.25” W
$1,000-2,000
Provenance: Private Estate, California
2121
Cesare Auguste Detti (1847-1914)
Cavalier encampment
Watercolor and graphite on paper
Signed lower right: C. Detti
Sight: 24.5” H x 38.75” W
$300-500
Provenance: Private Estate, California
2122
François-Auguste Biard (1799-1882)
The bear hunters, 1852
Watercolor and gouache on paper
Signed and dated lower right: Françoise-Auguste Biard / 1852
Sight: 6.75” H x 7.875” W
$600-800
Provenance: Private Estate, California
2123
Alfred Theodore Joseph Bastien (1873-1955)
Lakeside view with rock wall
Oil on canvas laid to canvas
Signed lower left: A. Bastien
32.5” H x 47.5” W
$1,200-1,800
Provenance: Private Estate, California
2124 E. Baily Hilda (19th century) Tigers and a cobra Oil on panel
Signed lower right: E. Hilda 24” H x 19.25” W
$1,000-1,500
Provenance: Private Estate, California
2125 E. Baily Hilda (19th century) Tigers in a rocky cave Oil on panel
Signed lower left: E. Hilda
32.5” H x 23.5” W
$1,000-1,500
Provenance: Private Estate, California
2126
Alexander von Wagner (1838-1919)
Figures, horse and cart near a Moorish gate, possibly the Alhambra, Granada, Spain Oil on canvas
Signed with coinjoined initials lower right: AWagner 39.5” H x 27.5” W
$800-1,200
Provenance: Private Estate, California
2127
Heinrich Hermann Schafer (1815-1884)
“Burgos Cathedral - Spain”
Watercolor on paper
Signed and titled lower right: H. Schafer
Sight: 24.25” H x 17.75” W
$500-700
Provenance: Private Estate, California
2128
Francesco Fernandi (1677-1740)
Roman ruins
Oil on canvas laid to canvas
Unsigned 29” H x 50.5” W
$5,000-7,000
Provenance: Private collection, Pasadena, CA
2129
Alois Arnegger (1879-1963) Italian coastal village scene Oil on canvas
Signed lower right: A. Arnegger
35.5” H x 49” W
$2,000-3,000
Provenance: Sold: Aspire Auctions, Cleveland, OH, “Paintings,” November 2, 2017, Lot 42 Private Estate, California
2130
Alois Arnegger (1879-1963)
“Capri in Spring” Oil on canvas
Signed lower right: A. Arnegger; titled from a label affixed to the verso of the frame 27” H x 41.5” W
$2,000-3,000
Provenance:
Sold: Jackson’s International Auctioneers & Appraisers, Cedar Falls, IA, “World Treasures
Featuring a Wide Variety of Fine Art and Antiques From China, America and Europe,”
December 5-7, 2017, Lot 798
Private Estate, California
2131
Rafael Senet y Pérez (1856-1926)
Venetian canal Oil on canvas
Signed lower left: Rafael P. Senet; partially inscribed indistinctly in pencil, possibly in another hand, verso 13.75” H x 24.75” W
$2,000-3,000
Provenance: Private Estate, California
2132
Rafael Senet y Pérez (1856-1926)
“Venice”
Watercolor on paper
Signed, partially indistinctly, lower left: [*] Senet; titled on the frame plaque
Sight: 8” H x 15” W
$300-500
Provenance: Private Estate, California
2133
Alois Arnegger (1879-1963)
“Albogasio (Italy)” Oil on canvas
Signed lower right: A. Arnegger; titled and numbered “No. 45” on a typed label affixed to the stretcher 22” H x 31” W
$800-1,200
Provenance: Private Estate, California
2134
Rafael Contell (1850-n.d.)
Venice scene, 1883
Oil on canvas laid to waxed canvas
Signed, dated, and inscribed lower right: Raf. Contell / Venezia 83 25” H x 15.5” W
$800-1,200
Provenance: Private Estate, California
2135
Eugenio Gignous (1850-1906)
View of an Italian port city, likely Capri Oil on canvas
Signed lower left: E. Gignous 23.375” H x 31.5” W
$800-1,200
2136
Giuseppe Magni (1869-1956)
Feeding the doves, 1936
Oil on canvas laid to canvas
Signed and dated lower left: G. Magni / 1936
28” H x 20” W
$2,500-3,500
Provenance:
Sold: Clars Auction, Oakland, CA, “Furniture, Art & Fine Asian Auction,” December 20, 2024, Lot 7152
2137
Carlo Facchinetti (1870-1951)
Interior scene of a farmhouse Oil on canvas
Signed lower right: C. Facchinetti
27.875” H x 34.75” W
$3,000-5,000
Provenance:
Sold: Clars Auctions, Oakland, CA, “The Collectors Auction,” September 15, 2023, Lot 7028
2138
Walter MacEwen (1860-1943)
“Gossiping” Oil on canvas
Signed lower right: MacEwen; signed again and titled in ink on a label affixed to the strainer 22” H x 19.5” W
$3,000-5,000
Provenance:
Sold: Broward Auction Gallery, Dania Beach, FL, “Fine & Decorative Art,” April 4, 2021, Lot 170 Private Estate, California
Exhibited: Chicago, IL, Exposition de Chicago, n.d., no. 28
2139
Carl Hubner (1814-1879)
Figures in a garden, 1870s Oil on canvas laid to waxed canvas
Signed and partially illegibly dated lower right: Carl Hubner 187[*]
33.25” H x 42.25” W
$2,000-3,000
Provenance: Private Estate, California
2140
Carl Kahler (1855-1906)
The artist’s studio
Oil on canvas
Signed lower right: Carl Kahler
30” H x 40” W
$4,000-6,000
Provenance: Estate, Los Angeles, CA
2141
Style of Pieter van der Willigen (1634-1694)
Vanitas still life with skull, book candle, vase, violin, and arms and armor
Oil on canvas laid to canvas
Appears unsigned; inscribed in ink with the artist’s name on a sticker affixed to the stretcher 28” H x 37” W
$1,000-1,500
Provenance: Private Estate, California
2142
John Sherrin (1819-1896)
Wood pigeon in a naturalistic setting
Watercolor on paper
Signed lower right: Sherrin
Sight: 15.5” H x 11.25” W
$800-1,200
Provenance: Private collection, Beverly Hills, CA
2143
19th Century Baroque-Style School
Still life with fowl Oil on canvas
Possibly signed and dated indistinctly, upper left
37.5” H x 28” W
$800-1,200
Provenance: Private Estate, California
2144
After Johann Carl Loth (1632-1998) A Nymph and Satyr Oil on canvas laid to canvas
Unsigned 50.5” H x 41.75” W
$2,000-3,000
Provenance: Private Estate, California
2145
19th Century European School
Judith beheading Holofernes Oil on canvas laid to canvas
Unsigned
29.5” H x 24” W
$600-800
Provenance: Private Estate, California
2146
19th Century Continental School
Portrait of a lady Oil on canvas laid to Masonite
Unsigned 36” H x 28.375” W
$800-1,200
Provenance: Private Estate, California
2147
18th/19th Century Continental School
Portrait of a lady Oil on cradled panel Appears unsigned 28.75” H x 20” W
$800-1,200
Provenance: Private Estate, California
2148
Sir Godfrey Kneller (1646-1723)
Portrait of William III of Orange Oil on canvas laid to canvas
Unsigned 30” H x 25” W
$3,000-5,000
Provenance: Private collection, Pasadena, CA
2149
19th Century Continental School
Portrait of a gentleman Oil on canvas laid to canvas
Appears unsigned Oval: 29” H x 24” W; Canvas: 31” H x 25” W
$1,000-1,500
Provenance: Private Estate, California
2150
Jean-Jacques Henner (1829-1905)
“Piercing Gaze” Oil on canvas laid to canvas
Signed upper left: JJ Henner; titled on a label affixed to the frame’s verso 18” H x 13” W
$2,000-3,000
Provenance: Private Estate, California
2151
Antonio Mancini (1852-1930)
Portrait of a seated woman
Oil on canvas
Signed lower right: A. Mancini
28” H x 24” W
$1,000-1,500
Provenance: Brady Hart Gallery, Chestertown, MD
Private Estate, California
2152
Karl August Donndorf (1870-1941) Otto von Bismarck, 1894
Patinated bronze
Signed, dated, and inscribed in the casting: K Donndorf / Stuttg. F.; with date to front of base: 1890
23.25” H x 15.5” W x 18” D
$800-1,200
Provenance: Private Estate, California
2153
A cast iron bust of a Gaul 20th century
After “Departure of the Volunteers of 1792” by François Rude (1784-1855)
24” H x 13” W x 12.5” D
$800-1,200
Provenance: Private Estate, California
2154
Jean-Richard Goubie (1842-1899) Hunt scene, 1881 Oil on canvas
Signed and dated lower left: R. Goubie / 1881
26.75” H x 40” W
$6,000-8,000
Provenance: Private Estate, California
2155
Raymond Desvarreux (1876-1961)
“Le Depart pour la chasse a courre,” 1920 Oil on Masonite
Signed lower right: Raymond Desvarreux; titled and dated on a typed label taped to the frame’s verso 21.25” H x 28.75” W
$500-700
Provenance:
Sold on February 21, 1924 in Paris, France, according to typed label, verso Private collection, Ocala, FL
Sold: Hindman, Chicago, IL, “American and European Art,” May 25, 2016, Lot 317 Private Estate, California
Notes:
There is a round, faint and illegible, black ink stamp, verso (possibly a French export stamp?).
2156
Emil Adam (1843-1924)
“The Rendezvous” Oil on cradled panel
Indistinctly signed and dated in the lower left corner: Emil Adam 1879[?]; titled on the frame plaque and again on a label affixed to the frame’s verso 10.75” H x 16” W
$1,000-2,000
Provenance: Private Estate, California
2157
John Frederick Herring (Senior) (1795-1865) Horse and dog in a stable Oil on canvas
Signed lower right: J.F. Herring 20” H x 26” W
$2,000-3,000
Provenance: Private collection, California
2158
David Dalby (1794-1836)
“Young Turk,” 1826 Oil on canvas laid to canvas
Signed, titled, dated, and inscribed lower center: David Dalby 1826 / “Property of Wm. Good[***] foaled in 1806 / painted by David Dalby in 1826” 22.75” H x 30” W
$1,000-1,500
Provenance: Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, October 6-November 31, 2017
2159
Emmanuel Frémiet (1824-1910)
Jockey on horseback
Patinated bronze
Marked in the casting: E. Fremiet
Overall: 18” H x 18.75” W x 5.375” D
$700-900
2160
John Sanderson-Wells (1872-1955)
“Hyperion Derby Winner 1933” Oil on canvas laid to canvas
Signed lower right: JS Sanderson-Wells; titled on the frame plaque 12” H x 20” W
$500-700
Provenance: Private Estate, California
2161
Vojtech Preissig (1873-1944)
“Evening Bell”
Etching and aquatint in colors on paper laid to board
From the edition of unknown size and date
Signed in pencil in the lower margin: Vojtech Preissig; titled by repute
Plate: 15” H x 8.75” W; Sight: 22.5” H x 15.5” W
$500-700
2162
Robert Franz Curry (1872-1955)
“German Shorthaired Pointer” Oil on canvas
Signed lower left: R.F. Curry; titled on a gallery label affixed to the frame’s backing paper 28” H x 38” W
$800-1,200
Provenance: Private Estate, California
Exhibited: Chestertown, MD, Brady Hart Gallery, October 6-Novemeber 31, 2027
2163
Abraham Danielsz Hondius (1630/32-1691)
Three dogs beneath a window, 1690 Oil on canvas laid to canvas
With the artist’s name, date, and other information delicately incised in very small letters on the stretcher: “Abraham Hondius / Tree / House / London / Regent Str. / 1690;” possibly also with a small incised outline of a dog in the same area 11.875” H x 13.875” W
$800-1,200
Provenance: Private Estate, California
Notes:
A more recent typed label affixed to the verso of the stretcher lists the artist as George (Smith) Armfield (1808-1893).
2164
Abraham “Bram” Segaar, Jr. (1888-1962)
Still life with a jug and red apples Oil on canvas laid to board
Signed lower right: A. Segaar. Jr.
9.25” H x 13” W
$400-600
Provenance: Private Estate, California
2165
Johannes Rosierse (1818-1901)
“The Lesson” Oil on panel
Signed lower left: J Rosierse; titled on the frame plaque 13.75” H x 11.25” W
$1,000-1,500
Provenance: Private Estate, California
2166
Schaefer (19th century)
“Fisherman and his Baby,” 1888 Oil on cradled panel
Signed, dated, and inscribed lower right: Schaefer 1888 / “Berlin”; titled on a label affixed to the frame’s verso 29” H x 22” W
$800-1,200
Provenance: Private Estate, California
2167
Philip Villamil (1814-1878)
Figures with a guitar and town view Oil on canvas laid to canvas
Signed lower right: P Vallamil
Oval: 48” H x 44” W; Stretcher: 50” H x 46” W
$3,000-5,000
Provenance: Private Estate, California
2168
Andreas Hunaeus (1814-1866)
Three Danish children, 1852
Oil on canvas laid to canvas
Signed and dated upper right: A Hunæus, 1852
41” H x 32” W
$1,500-2,500
Provenance: Private Estate, California
2169
Nicolas Neufchatel (1527-1590)
Portrait of a noblewoman, 1567
Oil on canvas laid to canvas
Unsigned; Inscribed and dated in Latin upper right: AID**L.1567 / ETATIS.SVA.28.
35.235” H x 29.75” W
$8,000-12,000
Provenance: Private Estate, California
2170
18th Century Dutch School
Portrait of a woman
Oil on panel
Unsigned; with a crest upper right
26.75” H x 21.75” W
$800-1,200
Provenance: Private Estate, California
2172
19th Century Continental School
Reclining nude, possibly Danaë Oil on canvas laid to panel
Signed indistinctly and dated lower left: 1865
16.25” H x 10” W
$600-800
Provenance: Private Estate, California
2171
Peter Hardimé (1677-1758)
Floral still life
Oil on canvas laid to canvas
Unsigned 28.75” H x 23.25” W
$800-1,200
Provenance: Private Estate, California
2173
In the manner of Raffaello Sanzio da Urbino Raphael (1483-1520)
“Design for ‘The Transfiguration’ “ Oil on canvas laid to canvas
Unsigned; titled in another hand on the stretcher 39” H x 27.5” W
$4,000-6,000
Provenance:
Bobby and Cathy Gregory Collection
Notes:
This lot is accompanied by a metal frame plaque.
2174
In the manner of Raffaello Sanzio da Urbino Raphael (1483-1520)
Fragment from “The Expulsion of Heliodorus from the Temple” Oil on canvas Unsigned 85” H x 67” W
$3,000-5,000
Provenance: Private Estate, California
Notes:
Italian Renaissance artist Raphael painted the fresco “The Expulsion of Heliodorus from the Temple” between 1511 and 1512. The scene illustrates a biblical episode from 2 Maccabees (3:21-28), where Heliodorus, sent by the Syrian king to seize the Temple’s treasure, is expelled by a divine horseman and two youths sent by God in response to the priest’s prayers. The present work’s vignette is a fragment of the scene located to the left of center showing the emotional reactions of the crowd as they observe the expulsion. The original fresco is located in the Room of Heliodorus (Stanza di Eliodoro) in the Vatican’s Apostolic Palace.
2175
19th Century Continental School
Portrait of the Virgin Mary with the Infant Jesus Oil on canvas laid to canvas
Unsigned
25.5” H x 21” W
$800-1,200
Provenance: Possibly Paul de Boulongne[sic], according to an old printed calling card tacked to the frame’s verso. Private Estate, California
2176
After Andrea del Sarto (1486-1530)
The Virgin and Child with the Infant St. John Oil on canvas laid to canvas
Unsigned
40.5” H x 30” W
$2,000-3,000
Provenance: Private Estate, California
2177
After Gaspare Diziani (1689-1767)
Abraham and the Angels Oil on canvas
Unsigned 35” H x 47” W
$1,500-2,500
Provenance: Private Estate, California
2178
After Jusepe de Ribera (1591-1652)
Martyrdom of Saint Bartholomew Oil on canvas laid to canvas Appears unsigned 58” H x 40” W
$1,000-1,500
Provenance: Private Estate, California
2179
Johannes Wierix (1549-circa 1618)
“Saint Simon,” after Albrecht Dürer
Engraving on laid paper, watermark [?]partial fleurs-de-lys
From the edition of unknown size and date, a later printing
With the artist’s engraved signature in the plate at lower left: IH.W.AE.17, and with a copy of Dürer’s initials and the original date of the work engraved in the plate at lower right: AD/1523
Image/Sheet: 4.5” H x 2.875” W
$400-600
Provenance: Private Estate, California
Notes:
The artist is also called “Jan” or “Hans” Wierix.
2180
Albrecht Dürer (1471-1528)
“The Visitation,” from “The Life of the Virgin,” circa 1503-04 Woodcut on laid paper with a small indistinct watermark, possibly initials ML A Meder c-d (or later) impression, printed sometime after the 1511 Latin text edition Signed with the artist’s monograph in the block at lower center: AD Image: 11.75” H x 8.375” W; Sheet: 13.875” H x 10” W
Proceeds to benefit New Village Arts, a professional theatre and arts organization in North County, San Diego
2181
Nikifor Krynicki (1895-1968) The Last Super Mixed media on paper Appears unsigned; inscribed in Polish throughout Image/Sheet: 11.5” H x 8.5” W
$1,000-1,500
2182
Nikifor Krynicki (1895-1968)
Orthodox church
Watercolor and gouache on paper
Signed and inscribed along the lower image/sheet edge: Nikloor [sic]/ “STARYPCMIARSWIETY”
Image/Sheet: 7.5” H x 5.75” W
$500-700
2183
In the manner of Michelangelo Buonarroti (1475-1564)
“Christ with the Samaritan Woman Receiving the ‘Living Water’ “ Oil on slate Bears incised signature verso: Michel Ange Buonarroti; titled on the frame plaque and again on a label affixed to the frame’s backing board
18.5” H x 28” W
$800-1,200
Provenance: Bobby and Cathy Gregory Collection
2184
Attributed to Claude Lorraine (1600-1682)
Jesus praying in the Garden of Gethsemane Oil on canvas laid to canvas
Unsigned 19.75” H x 26.25” W
$1,500-2,500
Provenance: The Hathaway Collection
2185
In the manner of Peter Paul Rubens (1577-1640)
Madonna and Child (Isabella Brant and Albert, wife and son of Rubens, as models), circa 1615 Oil on cradled wood panel
Appears unsigned 31” H x 24.75” W
$4,000-6,000
Provenance: Bobby and Cathy Gregory Collection
2186
18th/19th Century Continental School
Madonna and Child Oil on canvas
Unsigned
43” H x 32.5” W
$800-1,200
2187
After Francesco Guarino (1611-1654)
“Saint Agatha” Oil on canvas laid to canvas
Unsigned 32.5” H x 27.5” W
$1,000-1,500
Provenance: Private Estate, California
Notes:
Saint Agatha was a noblewoman in Sicily, Italy, during the 3rd century AD. She was tortured for her Christian beliefs by having her breasts cut off, after which she was miraculously healed. Guarino depicts Saint Agatha as an earthly woman, lacking a halo to connote her divine nature, in the moments after her mutilation. She gazes steadfast, holding a swathe of white fabric over her breasts with only glimpses of the bloody act on view. Influenced by Michelangelo Merisi da Caravaggio (1571-160), Guarino utilizes the light effects of “chiaroscuro” to add drama to the scene. The original painting by Francisco Guarino is in the collection of the Museo di San Martino, Naples, Italy.
2188
Late 19th/ Early 20th Century Continental School
Madonna Oil on canvas
Unsigned
33.75" H x 24.5" W
$700-900
Provenance: Private Estate, California
2189
Gabriele Castagnola (1828-1883)
Praying nun, 1870 Oil on panel
Signed and dated along the center of the right edge: G. Castagnola 14” H x 10.5” W
$800-1,200
Provenance: Private Estate, California
2190
18th/19th Century Continental School
Man reading, possibly Saint Jerome Oil on canvas
Unsigned 31” H x 24.75” W
$800-1,200
Provenance: Barbara and William Hyland Collection
2191
19th Century Continental School
St. Jerome holding a book Oil on canvas laid to canvas
Unsigned
33.5” H x 30.25” W
$700-1,000
Provenance: Barbara and William Hyland Collection
2192
Richard Linderum (1851-1926)
“Ave Maria” Oil on canvas
Signed and inscribed lower right: Rich. Linderum. München; signed again (twice), and titled (twice), once on the stretcher, and once on a paper label affixed to the verso of the frame 28.25” H x 43.5” W
$1,000-1,500
Provenance:
Collection of a German Noble House Sold: Christie’s Amsterdam, “Art and Antiques from German Noble Houses...,” March 24, 1999, Lot 557
Private Collection, Oregon, acquired from the above Sold: Freeman’s | Hindman, “The International Sale,” October 2, 2019, Lot 480 Private Estate, California
2193
19th Century Italian School
“Holding Court with the Cardinal” Oil on canvas laid to canvas
Signed lower left: Luini; titled on a label affixed to a portion of the frame’s backing paper
15.75” H x 23.625” W
$700-900
Provenance: Private Estate, California
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Condition Reports
2001
Visual: Overall generally good appearance. Dust accumulation, grime, craquelure and areas of minor varnish discoloration throughout, as well as very soft stretcher bar creases, all commensurate with age. A very faint scratch along the upper edge, at left, only visible in raking light. Wear to the pigment in the lower left corner. As mentioned, the canvas has been relined.
Blacklight: Touch-ups throughout, one of the larger areas measuring 2.5” H x 3” W just above the figure’s head, another area measuring 0.25” H x 5” W in the lower right quadrant, and two areas measuring 5” H x 1” W and 3.5” H x 1” in the fishbowl. Other large clusters of smaller touch-ups throughout.
Frame: 39.375” H x 50.25” W x 3” D
2002
Visual: Overall good appearance. Fine craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 30.625” H x 37” W x 5” D
2003
Visual: Overall good appearance.
Blacklight: No evidence of restoration.
Frame: 30.5” H x 36” W x 2.5” D
2004
Visual: Overall good appearance. As mentioned, the canvas has been laid to board.
Blacklight: No evidence of restoration.
Frame: 25.5” H x 29.25” W x 2.75” D
2005
Visual: Overall good appearance. Scattered craquelure concentrated primarily in the clouds in the upper portion of the sky.
Blacklight: An approximately 0.25” H x 0.75” W touch-up, and another approximately pea-sized, both in the sky near the upper right corner. A few pinhead-sized flecks of crack-fill in the sky of the upper left quadrant and also in places along the upper portion of the extreme left edge.
Frame: 33” H x 39” W x 4” D
2006
Visual: Overall good appearance. Slight varnish discoloration. As mentioned, the canvas has been relined.
Blacklight: Flecks of old touch-up scattered primarily throughout the sky, the largest approximately quartersized near the center, between the tree trunks.
Frame: 47” H x 43.25” W x 2.5” D
2007
Visual: Overall generally good appearance. Dust accumulation, specks of grime, varnish discoloration, craquelure throughout, and stretcher bar creases along each side, all commensurate with age.
Blacklight: No evidence of restoration.
Frame: 35” H x 44.5” W x 2.25” D
2008
Visual: Overall good appearance. Minor grime, a soft stretcher bar crease along the left edge, primarily visible in raking light, and a few scattered areas of fine craquelure. A pinhead-sized reverse pressure mark in the sky of the upper left quadrant, primarily visible in raking light. An unobtrusive pinhead-sized pressure mark near the lower edge, at left. Scattered frame abrasion with rice-sized (or smaller) areas of attendant pigment loss along the extreme lower edge, at left, not affecting the signature.
Blacklight: No evidence of restoration.
Frame: 25.625” H x 28” W x 2.5” D
2009
Visual: Overall good appearance. The canvas is very slightly loose from the stretcher.
Blacklight: No evidence of restoration.
Frame: 27” H x 36.25” W x 4” D
2010
Visual: Overall good appearance. The canvas is very slightly loose from the stretcher.
Blacklight: No evidence of restoration.
Frame: 42” H x 52” W x 5.5” D
2011
Visual: Overall generally good appearance. The canvas is loose on its stretcher, with attendant soft wrinkles throughout, primarily visible in raking light and on the verso. Minor dust accumulation.
Blacklight: No evidence of restoration.
Frame: 33” H x 37” W x 3” D
2012
Visual: Overall good appearance. As mentioned, the canvas has been relined.
Blacklight: Scattered touch-ups primarily concentrated in the lower left quadrant and the extreme outer edges, the largest measuring 8” H x 4” W.
Frame: 58” H x 48” W x 3.75” D
2013
Visual: Overall good appearance. A thin vertical area of either craquelure to the pigment or a crack in the panel, near the center of the upper edge, slightly extending into the floral arrangement. A small area of frame abrasion scattered in the upper portion of the extreme left edge. An approximately pinheadsized area of unobtrusive grime adhered to the surface near the lower right corner.
Blacklight: No evidence of restoration. Difficult to read under uneven varnish.
Frame: 46” H x 37” W x 5” D
2014
Visual: Overall good appearance.
Blacklight: Scattered small touch-ups throughout the background, concentrated primarily in the upper portion of the background and in places near the left edge.
Frame: 32” H x 27.5” W x 3” D
2015
Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, and minor varnish discoloration, all commensurate with age. A vertical 0.75” surface abrasion with attendant pigment loss in the lower left corner, and a smaller, circular area of loss near the lower right corner, not affecting the signature. Minor wear and slight abrasion scattered along the extreme edges, possibly from a frame.
Blacklight: Scattered bands of touch-up in places along the edges of the work.
Unframed
2016
Visual: Overall good appearance. Very fine scattered paint shrinkage in the darker pigments in the floral arrangement, primarily visible in raking light.
Blacklight: No evidence of restoration.
Frame: 31.25” H x 31.25” W x 2.5” D
2017
Visual: Overall generally good appearance. Fine scattered craquelure. A 3” H x 0.75” W area of scattered tears to the original canvas affecting the floral arrangement and background near the center of the right edge, and a smaller scattered area closer to the right edge. Minor frame abrasion scattered along the extreme upper edge. As mentioned, the canvas has been relined.
Blacklight: Small occasional areas of touch-up scattered in the flowers.
Frame: 27.25” H x 31.5” W x 3.5” D
2018
Visual: Overall generally good appearance. A 0.5” H x 0.25” W surface loss along the extreme left edge, to the left of (and not affecting) the artist’s signature. Slight surface grime and occasional scattered craquelure. Stretcher bar creases showing primarily along the vertical edges.
Blacklight: Occasional small touch-ups in places along the extreme edges, likely attendant with old frame abrasions. Two very delicate horizontal lines of touch-up in the background at upper center, the longest approximately 3.75,” likely attendant with old stretcher bar creases. Occasional other mostly pinhead-sized flecks of touch-up concentrated primarily in the background.
Frame: 29” H x 34” W x 2” D
2019
Visual: Overall good appearance. Fine scattered craquelure. Frame abrasion scattered primarily along the left, right, and upper edges.
Blacklight: Two areas of possible old touch-up in the background of the upper left quadrant, the largest measuring 2.5” H x 2”, difficult to read under heavy varnish application.
Frame: 37” H x 42.5” W x 3.75” D
2020
Visual: Overall good appearance. Fine craquelure throughout. Occasional specks of old, dark varnish. Occasional flecks of pigment loss, primarily in the outer edges, with the most “noticeable” area being a small unobtrusive cluster at the center of the upper edge. A few very thin scratches/scuff marks in the background of the upper right quadrant, primarily visible in raking light.
Blacklight: No evidence of restoration. A thick and uneven varnish layer has been applied.
Frame: 37” H x 42.5” W x 3.25” D
2021
Visual: Overall good appearance. Slight varnish discoloration and grime. Craquelure throughout, mostly stable, however, a few areas of instability with occasional, attendant pinpoint-sized pigment losses. A few clusters of splattered stray pigment, the most prominent is to the left of the figure, near her hand, and the other is near the upper portion of the right edge.
Blacklight: A 0.5” H x 0.75” W touch-up near the lower left corner. Other flecks of possible old touchup throughout, difficult to read under heavy varnish application.
Frame: 88” H x 63” W x 6.5” D
2022
Visual: Overall good appearance. Varnish discoloration and surface grime. Slight paint shrinkage and scattered, mostly stable, craquelure. A 1” curved surface scuff in the lower left corner. A few rice-sized (or smaller) pigment losses in the background near the left edge. Several unobtrusive specks of unrelated paint in the background to the right of center.
Blacklight: Scattered touch-ups throughout, including throughout the woman’s face and a few spots in her chest.
Frame: 41” H x 33.5” W x 3” D
2023
Visual: Overall good appearance. The canvas has been relined, as mentioned, and has a newer stretcher and keys.
Blacklight: Occasional scattered flecks of touch-up, concentrated in the lower right quadrant, the largest measuring 1” H x 2” W with an attendant patch verso. A heavy layer of varnish has been applied.
Frame: 57.5” H x 47.25” W x 5” D
2024
Visual: Overall good appearance. Dust accumulation and occasional specks of grime, commensurate with age. A pea-sized area of pigment loss in the upper right corner. Minor frame abrasion scattered along the right edge with a few attendant rice-sized (or smaller) pigment losses. As mentioned, the canvas has been relined.
Blacklight: Two pea-sized touch-ups at the center of the left edge.
Frame: 39.5” H x 27.75” W x 4” D
2025
Visual: Overall good appearance. Specks of grime, fine craquelure throughout, and minor varnish discoloration. A 1.5” vertical split into the panel at the center of the upper edge, possibly inherent in the natural surface of the panel.
Blacklight: Crack fill scattered in the figures’ bodies and the painting hanging in the upper half of the work. Three pea-sized touch-ups scattered along the upper edge.
Frame: 39.25” H x 32.25” W x 3.5” D
2026
Visual: Overall good appearance. Dust accumulation. Scattered frame abrasion along the extreme upper edge, with attendant white scuff marks and a few very small pigment losses.
Blacklight: A 2” vertical line of touch-up extending upwards from the lower edge, at right. Occasional rice-sized (or smaller) touch-ups scattered in the figures faces and bodies, as well as some in the background of the work.
Frame: 20.25” H x 17.375” W x 2.5” D
2027
Visual: Overall good appearance.
Blacklight: Large areas of old touch-up scattered primarily around the figures in the lower left quadrant, a 9” H x 0.5” W band of touch-up in the framed artwork on the wall in the upper right quadrant, and other smaller scattered flecks of touch-up throughout.
Frame: 44” H x 38” W x 4” D
2028
Visual: Overall good appearance. A few very small unobtrusive lines of paint shrinkage scattered throughout, primarily visible in raking light. A faint, rice-sized scuff in the background, to the left of the chair belonging to the leftmost figure, at the left foot.
Blacklight: A 1.5” H x 1” W rectangular area of old touch-up just above the female figure, and other bands of old touch-up scattered along the extreme edges.
Frame: 19” H x 21” W x 4.5” D
2029
Visual: Overall good appearance. Varnish discoloration, dust accumulation, occasional grime, and scattered stable craquelure, all commensurate with age. A few short areas of minor frame abrasion in places along the lower, the lower left, and the lower right extreme edges.
Blacklight: A few clusters of delicate, tiny touchups, attendant with the vertical grain of the panel, concentrated primarily near the left edge.
Frame: 44” H x 33” W x 4.5” D
2030
Visual: Overall good appearance. Dust accumulation and occasional specks of grime. Minor frame abrasion scattered along the extreme edges.
Blacklight: An irregularly shaped 2” H x 2” W area of touch-up in the lower left corner, a 1.5” H x 2” W touch-up in the upper portion of the left edge, and a smaller one above the one just mentioned. Other small flecks of touch-up scattered in the sky.
Frame: 35.75” H x 47.375” W x 3.25” D
2031
Visual: Overall good appearance. A few very fine areas of craquelure, primarily visible in raking light. Small areas of pigment loss at each of the four corners. The work with newer stretcher and keys.
Blacklight: No evidence of restoration.
Frame: 27.25” H x 27.25” W x 4” D
2032
Visual: Overall generally good appearance. A stretcher bar crease along the upper edge, at left. A puncture to the left of the pink flower in the upper left quadrant. Specks of old varnish or grime scattered throughout, primarily concentrated in the lower left quadrant. A small square-shaped scuff mark near the center of the left edge.
Blacklight: Two dime-sized touch-ups to the left of the pink flowers in the upper left quadrant.
Frame: 28.75” H x 24.75” W x 2.5” D
2033
Visual: Overall generally good appearance. Dust accumulation, varnish discoloration, and scattered occasional craquelure. An approximately quartersized area of print shrinkage in the lower right corner. Frame abrasion scattered in places along the extreme edges, occasionally with an attendant, pinhead-sized, pigment loss.
Blacklight: A few scattered touch-ups, generally pea-sized (or smaller), confined primarily to the background. One small grouping of tiny touchups is located just to the right of the underside of the “upset pail.” A heavy layer of varnish has been applied.
Frame: 36.5” H x 31.5” W x 4” D
2034
Visual: Overall good appearance. Scattered craquelure and stretcher bar creases along each edge, primarily visible in raking light.. A pinheadsized pigment loss in the yellow flower at the right of center in the upper half.
Blacklight: Possible old scattered touch-up, difficult to read under heavy varnish application.
Frame: 28.5” H x 24.75” W x 4” D
2035
Visual: Overall good appearance. Scattered craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 48.5” H x 41.5” W x 6” D
2036
Visual: Overall good appearance. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 44.5” H x 38.5” W x 5” D
2037
Visual: Overall good appearance. Scattered areas of fine craquelure, primarily in the areas of thicker impasto.
Blacklight: No evidence of restoration.
Frame: 33.25” H x 28.5” W x 3.25” D
2038
Visual: Overall good appearance. Not examined out of the frame.
Blacklight: No evidence of restoration.
Framed under glass: 41.25” H x 41.25” W x 3” D
2039
Visual: Overall good appearance. Occasional specks of grime. A small area of very fine craquelure in the water in the lower right quadrant. The canvas is currently not secured to the frame, however, it is being held by pieces of blue painter’s tape.
Blacklight: No evidence of restoration.
Frame: 31.5” H x 37.5” W x 3.25” D
2040
Visual: Overall good appearance. Scattered fine craquelure.
Blacklight: No evidence of restoration.
Frame: 42” H x 36.5” W x 4” D
2041
Overall good appearance. Not examined out of the frame.
Framed under glass: 32” H x 36” W x 4” D
2042
Overall good appearance. Not examined out of the frame.
Framed under glass: 28” H x 31.5” W x 3.5” D
2043
Overall good appearance. The upper margin edge is deckled. Pale light-staining showing only on the portion of the sheet exposed through the overmat’s window opening. Two diagonal creases, measuring 3” and 1.5”, running parallel near the upper right margin corner, the larger one slightly affecting the image. Scattered, faint handling marks in the outer margin edges, primarily visible in raking light. Small clusters of artist pinholes near each of the margin corners. The verso sheet with minor surface soiling. The sheet is hinged to the back mat with two pieces of white hinging tape from the verso of the upper margin edge.
Framed under glass: 17.125” H x 18.25” W x 1.5” D
2044
Overall good appearance. A few soft horizontal handling marks near the upper edge of the sheet, occasional minor smudging, and a series of pinholes in each of the sheet corners, all related to it being a study for the artist’s lithograph of the same name. As mentioned, the artist repurposed a sheet of paper with a defaced drawing of a British hunting scene, for this drawing of Hawkridge. The work is hinged to the back mat in two places at the extreme upper sheet edge and again at the center of the lower sheet edge.
Displayed under glass in a double-sided frame: 23” H x 24.5” W x 1.25” D
2045
Overall good appearance. With margins. Very pale light-staining. Not examined out of the frame.
Framed under glass: 23” H x 25” W x 1.375” D
2046
Overall generally good appearance. Pale toning throughout, scattered surface soiling, and very occasional flecks of unobtrusive foxing, all primarily in the outer edges of the sheet. A few scattered handling marks in the blank and in the image. Two rectangular areas of staining along the upper edge, attendant with the two pieces of tape on the verso. A pinhole at the center of the right edge. A rectangular area of significant toning on the verso. The sheet is loose, secured to the back mat with four clear archival corners.
Framed under Plexiglas: 15.875” H x 15.875” W x 1.25” D
2047
Visual: Overall good appearance. Fine craquelure throughout. The canvas has been relined, as mentioned, and has a newer stretcher and keys.
Blacklight: A 5” H x 10” W area of touch-up in the sky of the upper right quadrant. Other smaller touch-ups scattered throughout.
Frame: 39.5” H x 57” W x 6” D
2048
Visual: Overall good appearance. Minor varnish discoloration. Soft stretcher bar creases along the upper and lower edges, primarily visible in raking light. Slight rippling to the canvas.
Blacklight: No evidence of restoration.
Frame: 16.25” H x 18.125” W x 3” D
2049
Visual: Overall good appearance. Minor varnish discoloration. Two very faint, small and unobtrusive hairline scratches in the upper portion of the left edge, only visible in raking light.
Blacklight: No evidence of restoration.
Frame: 27.75” H x 31.25” W x 4.5” D
2050
Visual: Overall good appearance. Minor scattered craquelure. Stretcher bar creases along each edge.
Blacklight: A 5” H x 0.75” W repaired tear in the center of the left half with an attendant patch verso.
Frame: 26” H x 32.25” W x 5” D
2051
Visual: Overall generally good appearance. Occasional specks of grime and fine, stable craquelure throughout, all commensurate with age. A minor quarter-sized reverse pressure mark in the upper left corner, primarily visible in raking light. Frame abrasion along the extreme left edge, and a small area along the extreme upper edge, at left.
Blacklight: Crackfill throughout and a few other scattered pinhead-sized (or smaller) areas of touch-up.
Frame: 28.75” H x 34.625” W x 4” D
2052
Visual: Overall good appearance. Slight toning to the paper. Two adjoining rice-sized dark spots in the sky at upper left, possibly an old insect carcass, are adhered only to the inside surface of the glass, not affecting the paper. Not examined out of the frame.
Framed under glass: 35” H x 48” W x 2.75” D
2053
Visual: Overall good appearance. Fine scattered craquelure.
Blacklight: No evidence of restoration.
Frame: 19” H x 15” W x 2.75” D
2054
Visual: Overall good appearance. Slight varnish discoloration. Stable craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: A 13” H x 6” W area of scattered flecks of touch-up in the upper left quadrant, and other smaller flecks of touch-up throughout.
Frame: 41.25” H x 55” W x 6” D
2055
Visual: Overall good appearance. Minor scattered fine craquelure.
Blacklight: A few scattered thin bands of touch-up in the sky in the upper left quadrant, the two longest measuring 0.5”, extending in vertically from the upper edge.
Frame: 15” H x 17” W x 3.5” D
2056
Visual: Overall good appearance. Slight varnish discoloration. Scattered fine craquelure.
Blacklight: No evidence of restoration.
Frame: 51” H x 85” W x 2.5” D
2057
Visual: Overall good appearance. Dust accumulation, occasional specks of grime, and varnish discoloration, all commensurate with age.
Blacklight: No evidence of restoration.
Frame: 14” H x 17” W x 2.25” D
2058
Visual: Overall good appearance. Varnish discoloration, grime, and some scattered areas of craquelure. In addition to the general grime, a few pinhead-size spots in the sky are either concentrated deposits of grime, or foxmarks showing through in a few places from the more generalized foxing on the verso. As mentioned, the canvas has been relined.
Blacklight: A 0.25” H x 2.25” W horizontal touchup in the sky directly above the hindquarters of the cows. A pea-sized touch-up in the lower portion of the plow.
Frame: 33” H x 40.5” W x 2.5” D
2059
Visual: Overall generally good appearance. Dust accumulation, craquelure throughout, and soft stretcher bar creases along each side, all commensurate with age. A soft, unobtrusive ricesized abrasion in the background of the upper left quadrant, primarily visible in raking light. As mentioned, the canvas has been relined.
Blacklight: A 2” H x 0.5” W area of touch-up in the background of the lower right quadrant. A few other dime-sized, pea-sized, or smaller touch-ups scattered throughout.
Frame: 24.25” H x 17” W x 3” D
2060
Overall good appearance. Pale light-staining and the colors slightly attenuated. A thin 0.25” diagonal scratch on the right side of the rightmost figure’s straw hat. The work is framed floating, affixed to the back mat. Not examined out of the frame.
Framed under glass: 20.75” H x 18.75” W x 3” D
2061
Visual: Overall good appearance. Fine craquelure throughout. Stretcher bar creases along each edge. Very minor frame abrasion along the lower portion of the right edge.
Blacklight: A 1” H x 3” W touch-up over a repaired tear in the center of the upper edge, with an attendant patch verso. Other rice-sized flecks of touch-up scattered throughout.
Frame: 29.5” H x 34.5” W x 3.5” D
2062
Visual: Overall good appearance. Dust accumulation and minor varnish discoloration. Scattered frame abrasion with areas of attendant pigment loss in places along the extreme edges.
Blacklight: Pea-sized (or smaller) areas of touch-up in the background or in the figures clothing, the most prominent area just being above the lap of the leftmost figure. Bands of touch-up along the extreme edges, the longest areas being along the lower and right edges.
Frame: 25.5” H x 29.5” W x 3.5” D
2063
Visual: Overall good appearance. As mentioned, the canvas has been relined.
Blacklight: Possible flecks of old touch-up, difficult to read under heavy varnish application.
Frame: 44” H x 49.75” W x 4.25” D
2064
Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, fine craquelure and paint shrinkage, and minor varnish discoloration, all commensurate with age. A dimesized reverse pressure mark in the upper edge, at left. The canvas is slightly rippled in places along the outer edges. Scattered areas of frame abrasion along the extreme upper and left edges.
Blacklight: A 1” H x 4” W band of touch-up running just above the boys head, slightly affecting the feather attached to the hat, a 2” H x 1” W area of touch-up to the right of the boy and in the background, and a 1” H x 0.75” W area at the center of the boys chest. A few other smaller areas of touchup in the upper half of the work.
Frame: 28.75” H x 34” W x 2.5” D
2065
Visual: Overall good appearance. Varnish discoloration and scattered delicate craquelure and paint shrinkage throughout. Minor frame abrasion along the upper edge and in the upper and lower left corners. As mentioned, the canvas has been relined.
Blacklight: Occasional touch-ups throughout, most of which are pea-sized (or smaller) and do not affect the faces of the figures. Two larger, approximately quarter-sized touch-ups in the torso of the young girl with her back to the viewer.
Frame: 20.75” H x 18.75” W x 2.75” D
2066
Overall good appearance. Pale light-staining. A minor paper fold measuring approximately 1.75” along the extreme upper edge, at left. A few clusters of artist pinhole’s in and near the corners. Not examined out of the frame.
Framed under glass: 34.5” H x 29.375” W x 3.5” D
2067
Visual: Overall good appearance. Specks of grime, minor varnish discoloration, and occasional areas of fine craquelure, primarily visible in raking light, all commensurate with age. A pinhead-sized pigment loss near the upper edge, at left. Minor rippling along the lower edge, mostly at left, presumably attendant with how the canvas was laid down. Minor frame abrasion along the extreme edges. As mentioned, the canvas has been relined.
Blacklight: Bands of touch-up along each of the extreme edges, and a few other rice-sized (or smaller) touch-ups scattered in the work.
Frame: 21.625” H x 28” W x 2.75” D
2068
Visual: Overall good appearance. Slight varnish discoloration.
Blacklight: Small flecks of touch-up scattered primarily in the trees.
Frame: 22” H x 29” W x 3” D
2069
Visual: Overall good appearance. Slight varnish discoloration. Craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: A few areas of touch-up in the upper right quadrant, the largest 2.5” H x 1.5” W. A 3.5” H x 0.5” W diagonal band of touch-up in the lower right quadrant, a 0.75” H x 1.5” W touch-up in the base of the tree in the lower left quadrant, and other smaller touch-ups scattered in the lower half.
Frame: 45” H x 36” W x 5” D
2070
Overall good appearance. Pale time staining and occasional very pale scattered foxmarks. The black ink of the artist’s monogram stamp slightly showing through from the verso in the lower right corner. A framing note in pencil in the lower left sheet corner. An extremely tiny, unobtrusive edge tear in the upper portion of the extreme left sheet edge. Soft handling marks throughout with a soft 1.5” diagonal crease extending in from the lower portion of the right edge, not affecting the image. The upper right and lower left corners are dog-eared. Slight cockling along the left and right edges. The sheet is hinged to the back mat from the verso of the upper corners.
Framed under glass: 18.5” H x 21.75” W x 2” D
2071
Overall good appearance. Not examined out of the frame.
Framed under glass: 20.125” H x 22” W x 1.125” D
2072
Overall generally good appearance. Occasional specks of pale, unobtrusive foxing scattered throughout. A 3” diagonal crease along the lower left sheet corner (when folded). The sheet with other smaller, fainter, handling marks and minor surface soiling scattered throughout. A few very minute edge tears. Artist pinholes at each sheet corner, and a few others scattered in the blanks. As mentioned, The sheet is folded, as mentioned, and hinged to the back mat with two pieces of white hinging tape from the verso of the upper sheet corners.
Framed under glass: 16.25” H x 19.75” W x 1.25” D
2073
Visual: Overall good appearance. Occasional areas of fine scattered craquelure. A few areas of scattered abrasions with attendant pinpoint-sized (or smaller) pigment losses.
Blacklight: No evidence of restoration.
Frame: 32.5” H x 28.5” W x 2.5” D
2074
Visual: Overall good appearance. Dust accumulation, minor varnish discoloration, craquelure, and soft stretcher bar creases along each side, all commensurate with age. A 1.5” horizontal band of pigment loss along the extreme upper edge, at right, presumably from frame abrasion.
Blacklight: No evidence of restoration.
Frame: 36.5” H x 52.25” W x 5” D
2075
Visual: Overall generally good appearance. Dust accumulation, specks of grime, craquelure, and varnish discoloration, all commensurate with age. A 1.5” horizontal scuff mark at the top of the tree near the upper edge, at right. A few other smaller scuff marks with an attendant dime-sized pressure mark near the lower edge, at right. Frame abrasion with small attendant pigment losses scattered along the extreme edges. As mentioned, the canvas has been relined.
Blacklight: A 1” H x 2” W area of touch-up at the top of the tree closest to the left edge in the upper left quadrant, and other smaller areas of touch-up scattered in the trees, figures, and background.
Frame: 39.875” H x 53” W x 3” D
2076
Visual: Overall generally good appearance. Varnish discoloration, grime, dust accumulation, and scattered stable craquelure commensurate with age. An occasional dime-sized (or smaller) very unobtrusive area of scattered white residue or stray unrelated white pigment. The canvas bowing outwards in the lower left quadrant. Scattered frame abrasion particularly along the left edge.
Blacklight: A 1.5” H x 0.25” W area of touch-up attendant with frame abrasion along the lower portion of the right edge. A heavy layer of varnish has been applied.
Frame: 36” H x 43” W x 3” D
2077
Visual: Overall generally good appearance. Dust accumulation, specks of grime, very fine craquelure throughout, and minor varnish discoloration. A few 3” or smaller semi-circular abrasions with attendant pigment loss along the lower edge, at right, and slightly affecting the signature, a few other smaller areas scattered around the edges. An 18” vertical band of white pigment along the left edge, and a 1.5” H x 1” W area of white pigment in the sky of the upper right quadrant, presumably associated with touch-ups. A few areas of unstable pigment with attendant flecks of pigment loss. As mentioned, the canvas has been relined.
Blacklight: Crackfill scattered throughout the sky. The white pigment areas mentioned above fluoresce under blacklight, presumably because they have been touched-in.
Frame: 41.625” H x 59.25” W x 5” D
2078
Visual: Overall good appearance. Specks of grime and minor varnish discoloration. A few very thin and small lines of craquelure, primarily visible in raking light. As mentioned, the canvas is laid to Masonite.
Blacklight: No evidence of restoration.
Frame: 36” H x 31” W x 2.25” D
2079
Visual: Overall good appearance. Minor varnish discoloration and fine craquelure. A handful of unobtrusive pinpoint-sized surface abrasions in the upper left corner.
Blacklight: A couple of pea-sized (or smaller) touchups along the edges of the upper right corner.
Frame: 18.5” H x 20.75” W x 3.5” D
2080
Visual: Overall good appearance. Minor varnish discoloration. Two thin repaired tears in the upper right quadrant, the largest measuring 2” W. Frame abrasion with an occasional attendant pea-sized pigment loss along the upper edge. As mentioned, the canvas has been relined.
Blacklight: A few 1” H x 1.5” W (or smaller) areas of touch-up scattered primarily in the sky, including in the repaired tear mentioned above.
Frame: 38” H x 50.75” W x 3.5” D
2081
Visual: Overall good appearance. Dust accumulation and slight varnish discoloration.
Blacklight: No evidence of restoration.
Frame: 39” H x 40.5” W x 3” D
2082
Visual: Overall good appearance. Very fine, stable craquelure scattered throughout, primarily visible in raking light.
Blacklight: No evidence of restoration.
Frame: 29.5” H x 31.5” W x 2.25” D
2083
Visual: Overall good appearance. Minor scattered frame abrasion with an occasional attendant fleck of pigment loss. As mentioned, the canvas has been relined.
Blacklight: A 2.5” H x 4.5” W area of touch-up in the water in the lower right quadrant, and other smaller flecks of touch-up and crackfill scattered throughout.
Frame: 43.5” H x 56” W x 7.5” D
2084
Visual: Overall good appearance. Scattered stable craquelure. Two unobtrusive flecks of pigment loss in the mouth of the second horse from the right. As mentioned, the canvas has been relined.
Blacklight: A 3” H x 5” W area of touch-up in the upper left quadrant. A few small scattered flecks of touch-up throughout. A heavy layer of varnish has been applied.
Frame: 39.75” H x 51.75” W x 6” D
2085
Visual: Overall good appearance. Specks of grime and minor varnish discoloration. A band of discoloration along the upper edge, possibly attendant with the relining of the work. Scattered frame abrasion along the upper portion of the extreme upper edge. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 32” H x 42.375” W x 5” D
2086
Visual: Overall good appearance. Fine craquelure throughout. The stretchers with metal spring keys. As mentioned, the canvas has been relined.
Blacklight: A 6.5” H x 10” W triangular area of touchup in the upper left corner. Other smaller flecks of touch-up scattered occasionally throughout the figure and the background.
Frame: 48.75” H x 43” W x 6” D
2087
Visual: Overall good appearance. Very fine craquelure throughout, primarily visible in raking light. A raised line along the left edge, consistent with and visible as a line of touch-up. The work with a newer stretcher and keys.
Blacklight: A band of touch-up along the above mentioned raised line along the left edge, and another band along the right edge. Other smaller specks of touch-up scattered in places along the outer parts of the work.
Frame: 16.25” H x 22.125” W x 3” D
2088
Visual: Overall good appearance. Slight varnish discoloration. Minor frame abrasion with an attendant pinhead-sized pigment loss in the lower portion of the left edge. A very soft approximately 1” diagonal pressure mark in the upper left corner, primarily visible in raking light.
Blacklight: A 0.75” H x 0.25” W touch-up in the grass in the lower right quadrant with an attendant patch verso, rice-sized flecks of touch-up scattered throughout the sky, and occasionally in the grass and trees, and a 2.75” H x 0.25” W band of touch-up along the upper portion of the extreme left edge.
Frame: 37” H x 28.5” W x 4.75” D
2089
Visual: Overall generally good appearance. Varnish discoloration and grime throughout.
Blacklight: No evidence of restoration.
Frame: 30.5” H x 36.25” W x 2” D
2090
Visual: Overall good appearance. Slight varnish discoloration. A thin 3.5” diagonal surface scratch going across the rightmost cloud and into the trees in the upper right quadrant. Minor frame abrasion primarily along the upper edge.
Blacklight: No evidence of restoration.
Frame: 35.75” H x 45.5” W x 3.5” D
2091
Visual: Overall good appearance. Dust accumulation, grime, and minor varnish discoloration. Very fine craquelure, primarily visible in raking light.
Blacklight: A 2.5” H x 0.5” W scattered area of touchup in the grassy area of the lower left quadrant, and a 0.5” H x 3” W scattered area of touch-up near the center of the upper sky. Other smaller (mostly peasized or smaller) touch-ups, primarily scattered in places along the outer edges.
Frame: 26.125” H x 32.25” W x 3” D
2092
Visual: Overall good appearance. Fine craquelure throughout and minor varnish discoloration.
Blacklight: A 2.5” and a 1.5” diagonal area of thin crackfill in the sky in the upper portion of the right edge.
Frame: 20.25” H x 23.25” W x 3.5” D
2093
Visual: Significant craquelure throughout. A quartersized gouge in the canvas, with attendant pigment loss, in the upper branches of the trees at left. A series of smaller surface abrasions with attendant pigment losses, each approximately pea-sized, of which one is in the upper right corner, and four are scattered near the left edge of the canvas. As mentioned, the canvas has been relined.
Blacklight: An approximately 0.5” H x 0.5” W touchup in the seated woman’s bonnet, with an attendant patch verso, and another touch-up in the roots of the tree in the upper left quadrant measuring approximately 0.75” H x 0.75” W, also with an attendant patch verso. A 1.5” H x 0.25” W touch-up in the left calf of the seated gentleman. A few other, even smaller touch-ups in places, including in the sole of the gentleman’s right shoe.
Frame: 40” H x 31.5” W x 1” D
2094
Visual: Overall good appearance. Dust accumulation, scattered specks of grime, minor varnish discoloration, occasional areas of fine craquelure, all commensurate with age. Scattered areas of frame abrasion in places along the extreme left and right edges. As mentioned, the canvas has been relined.
Blacklight: Small bands and rice-sized touch-ups scattered in the figures in the foreground, and other occasional pinhead-sized (or smaller) areas of touchup scattered in the outer edges of the work.
Frame: 62.25” H x 53.25” W x 4” D
2095
Visual: Overall good appearance. Dust accumulation and slight grime showing in the lighter pigments. Minor frame abrasion showing along the center portion of the extreme right edge.
Blacklight: A 2.5” horizontal line of touch-up along the top of the figure’s left hand, attendant with a repaired tear and its related patch, verso. A 1” horizontal line of touch-up in the dark portion of the wall to the left of the figure’s chin. Two pinhead-sized touch-ups in the left portion of the figure’s face. Other occasional smaller dots and delicate lines of touch-up concentrated primarily in the lower right corner, not affecting the signature. An uneven layer of varnish has been applied.
Frame: 37” H x 32” W x 3” D
2096
Visual: Overall good appearance. Scattered areas of craquelure and stretcher bar creases along each edge. As mentioned, the canvas has been relined.
Blacklight: Scattered bands of old touch-up primarily along the outer edges, difficult to read due to heavy varnish application.
Frame: 46” H x 36” W x 5.5” D
2097
Visual: Overall good appearance. Scattered frame abrasion along the extreme lower and right edges.
Blacklight: No evidence of restoration.
Frame: 17.125” H x 15.375” W x 4” D
2098
Visual: Overall good appearance. Very fine scattered areas of craquelure, primarily visible in raking light. Scattered areas of frame abrasion along the upper and lower portions of the extreme right edge, with attendant rice-sized (or smaller) pigment losses that have been touched-in.
Blacklight: A scattered 6.5” H x 0.125” W band of touch-ups extending from the upper portion of the figure’s hand to the lower edge, and other smaller quarter-sized (or smaller) scattered touch-ups.
Frame: 32.75” H x 27.25” W x 4” D
2099
Visual: Overall good appearance. A 0.5” horizontal tear with attendant pigment loss in the leg of the left-most figure. A pinhead-sized reverse pressure mark with attendant pigment loss on the wall, just above the framed painting near the upper edge. Scattered minor frame abrasion and soft stretcher bar creases along each edge. A cluster of thin 0.5” long (or smaller) surface scuffs in the left portion of the upper edge, and a few more scattered primarily along the outer edges.
Blacklight: No evidence of restoration.
Frame: 37.75” H x 45.5” W x 3” D
2100
Visual: Overall generally good appearance. Dust accumulation, specks of grime, and fine scattered craquelure, all commensurate with age. A 1.5” diagonal surface scratch along the painted text in the upper right quadrant. Other smaller, scattered surface scratches and nicks to the pigment and panel. A few small areas of stray black residue or pigment scattered in the right half. Frame abrasion along each extreme edge
Blacklight: No evidence of restoration. Small possible areas of old touch-up; however, difficult to read under a heavy varnish application.
Frame: 27.75” H x 31.25” W x 4.5” D
2101
Visual: Overall good appearance. Dust accumulation and fine scattered craquelure, commensurate with age. A 1.5” H x 0.125” W scuffmark in the lower portion of the right edge. A thin 2” scattered line of frame abrasion with attendant pigment loss in the upper portion of the right edge.
Blacklight: Crackfill throughout the work and a few smaller, scattered areas of older touch-ups.
Frame: 28” H x 24” W x 3.5” D
2102
Visual: Overall good appearance. Fine craquelure throughout. A 2” H x 4” W area of fine surface scratches on the lower body of the center figure with the hat. Scattered frame abrasion along each edge. The canvas has been relined, as mentioned, and the tacking edges have been removed.
Blacklight: A 10” H x 2” W area of touch-up along the lower portion of the right edge. Other smaller touch-ups and crackfill scattered throughout.
Frame: 45” H x 55” W x 6” D
2103
Visual: Overall good appearance. Scattered stable craquelure.
Blacklight: A few small scattered flecks of touch-up, primarily in the lower half, and some in the right portion of the upper edge.
Frame: 35.75” H x 49.75” W x 3.75” D
2104
Visual: Overall generally good appearance. Scattered stable craquelure throughout, showing mostly in the sky, particularly along a delicate horizontal line located 1.125” below the upper edge where previously stretched to show less sky. Varnish discoloration showing primarily in the clouds. Possible slight wear to the canvas’ surface in the foreground near the lower left corner, visible primarily under blacklight. As mentioned, the canvas has been relined.
Blacklight: Delicate scattered lines of touch-up and/ or crackfill along the old horizontal stretcher bar crease in the sky as mentioned above, as well as in its immediate vicinity. A few 1” (or shorter) lines of crackfill in the sky. One small 0.75” H x 0.125” W line of touch-up in the thin dark tree between the two distant buildings. Other areas of touch-up concentrated along the extreme outer edges. A heavy layer of varnish has been applied.
Frame: 27.5” H x 39” W x 2.5” D
2105
Visual: Overall good appearance. Slight varnish discoloration, craquelure, and stretcher bar creases along each edge, primarily visible in raking light. Frame abrasion visible primarily along the left edge.
Blacklight: A 1” H x 1.5” W touch-up in the left portion of the lower edge, and a rice-sized touch-up in the sky of the lower right quadrant.
Frame: 31.5” H x 38.5” W x 5.5” D
2106
Visual: Overall generally good appearance. Areas of touch-up of varying sizes partially visible in the sky in natural lighting, including in the upper left corner (approximately 3” H x 9” W), upper center (approximately 5” H x 4” W), and in a nickelsized area near the upper right corner. Varnish discoloration, grime, and craquelure throughout. Occasional scattered and unobtrusive pinheadsize pigment losses attendant with the craquelure showing mostly in the sky. Slight stretcher bar creases visible primarily in raking light. As mentioned the canvas has been relined.
Blacklight: Touch-ups dating to different time periods scattered throughout, primarily in the sky, including but not limited to the areas already described under standard lighting. A heavy layer of varnish has been applied.
Frame: 41” H x 47” W x 3.25” D
2107
Visual: Overall generally good appearance. Dust accumulation, grime, and minor scattered craquelure throughout. Occasional surface abrasions with attendant pigment loss in the upper and lower left corners, and in the lower right quadrant to the right of the woman’s feet. The more noticeable of these linear abrasions is the latter, which is roughly the shape of the letter “h,” with its linear sections measuring 2.5” H x 1.5” W. Scattered framed abrasions in places along all four edges.
Blacklight: Occasional small dots of touch-up throughout the background of the composition, most of which are concentrated along the extreme outer edges.
Unframed
2108
Visual: Overall generally good appearance. Dust accumulation, craquelure throughout, and soft stretcher bar creases along each side, all commensurate with age. A rice-sized pressure mark and scratch, accompanied by several smaller scratch marks, forming a cluster near the lower edge at left. A fleck of pigment loss just above the signature.
Blacklight: Two pinhead-sized touch-ups at the top of the male figure’s head, and a rice-sized touch-up in the upper center of the white cloth on the table. Two 1” horizontal touch-ups at the center of the right edge, and a pea-sized area of touch-up near the center of the left edge.
Frame: 29.125” H x 35.125” W x 4.5” D
2109
Visual: Overall good appearance. Slight surface grime. Not examined out of the glass-covered frame.
Blacklight: Extensive areas within the monk’s brown robe and chair fluoresce, however, nothing appears to fluoresce in the monk’s face or the wall behind him.
Framed under glass: 20.25” H x 17.75” W x 3.5” D
2110
Visual: Overall good appearance. Scattered craquelure. A thin 3” vertical surface scratch extending in to the figure’s left temple from the center of the upper edge.
Blacklight: Scattered patches of touch-up, the largest approximately 4” H x 1” W, scattered throughout, primarily on the figure’s torso, as well as a thin band of touch-up in the 3” surface scratch mentioned above.
Frame: 20.5” H x 18” W x 1.75” D
2111
Visual: Overall good appearance. Very slight varnish discoloration.
Blacklight: A few scattered pea-sized (or smaller) touch-ups along the left edge and the upper right corner, and an occasional pinhead-sized (or smaller) touch-up scattered in the sky.
Frame: 20.5” H x 30.25” W x 3.5” D
2112
Visual: Overall generally good appearance. Dust accumulation, specks of grime, and minor varnish discoloration. Craquelure throughout. Stretcher bar creases along each side and vertically through the center. Minor frame abrasion scattered along the extreme lower and right edges.
Blacklight: Scattered areas of touch-up. Difficult to read under heavy varnish application.
Frame: 42.25” H x 72.25” W x 5” D
2113
Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, minor varnish discoloration, and craquelure throughout, all commensurate with age. Two unobtrusive thin scuff marks at the center of the boat, primarily visible in raking light. A band of pigment, usually hidden as framed, is currently apparent along the extreme upper edge. Minor frame abrasion scattered along the left edge. As mentioned, the canvas has been relined.
Blacklight: A 2” H x 1” W area of touch-up in the upper left corner, a pea-sized touch-up on the forehead of the center figure, and a few other areas of touch-up scattered in the outer edges.
Frame: 40” h x 49.25” W x 3.5” D
2114
Visual: Overall generally good appearance. Scattered grime, slight varnish discoloration, craquelure, and dust accumulation commensurate with age. Numerous pea-sized lumps, presumably from a series of tacks on the verso of the stretcher, showing primarily in the sky along the upper edge as well as the upper portion of the left edge. Two areas of unobtrusive white residue (and/or very slight surface abrasion) in the sky of the upper right quadrant, one measuring approximately 4” H x 11” W and the other approximately 7” H x 5” W x 5. Slight stretcher bar creases along all four sides as well as vertically through the center of the canvas, primarily showing in the sky. A 2” H x 1.5” W patch on the verso of the lower left corner with no visible relationship to any feature on the recto. The canvas has been relined, as mentioned, and the taking edges appear to have been removed, at least along the extreme edges of the upper left corner. Other lesser defects.
Blacklight: Scattered areas of touch-up from various time periods showing throughout the sky, concentrated primarily along the outer edges of that section of the painting..
77” H x 106” W x 8” D
2115
Visual: Overall good appearance. Surface grime, varnish discoloration, and scattered areas of craquelure. Occasional slight frame abrasion, including in the lower portion of the left edge.
Blacklight: No evidence of restoration.
Frame: 31” H x 36.5” W x 2.5” D
2116
Visual: Overall good appearance. Dust accumulation, specks of grime, minor varnish discoloration, very fine craquelure, and stretcher bar creases along the left and upper edge. Minor frame abrasion scattered along the extreme left edge.
Blacklight: A scattered line of touch-up along the left stretcher bar crease, and a smaller area in the upper stretcher bar, at left. A 1” H x 1.5” W area of touchup in the upper left corner. A few other flecks of touch-up scattered in the outer edges.
Frame: 41.75” H x 36” W x 3.25” D
2117
Visual: Overall generally good appearance. Craquelure throughout with slightly unstable pigment in the extreme outer edges resulting in a few scattered pigment losses, the largest measuring 1” H in the lower portion of the right edge, as well as a pinhead-sized area of fraying in the canvas in the upper portion of the right edge. Two pea-sized pigment losses in the figure’s ruffled collar and pink waist wrap.
Blacklight: Two pea-sized touch-ups in the areas of pigment loss in the figure’s clothing mentioned above. A heavy layer of varnish has been applied.
Unframed
2118
Visual: Overall good appearance. Dust accumulation, specks of grime, minor varnish discoloration, and fine craquelure scattered throughout, all commensurate with age. A small area of frame abrasion along the upper portion of the left edge.
Blacklight: Older areas of touch-up in the sky of the upper right quadrant, the largest measuring 3” H x 1” W. Other specks of newer touch-ups scattered in the sky.
Frame: 34.5” H x 28.75” W x 4” D
2119
Visual: Overall good appearance. Very minor frame abrasion scattered along the extreme edges.
Blacklight: No evidence of restoration.
Frame: 13.25” H x 11.625” W x 3.25” D
Frame:
2120
Visual: Overall good appearance. A few faint 1” scuff marks and minor frame abrasion in the upper left corner.
Blacklight: A few pinhead-sized touch-ups scattered in the upper left quadrant, primarily along the upper edge.
Frame: 26.5” H x 29.5” W x 5.5” D
2121
Specks of grime and mold residue adhering to the surface, light-staining, uneven toning throughout, the colors slightly attenuated, foxing, and a few small flattened tears primarily in the outer edges, mostly visible in raking light, all commensurate with age. A few bug carcasses are in between the work and the glass either on the work itself or on the overmat. Other lesser defects. Not examined out of the frame.
Framed under glass: 38.25” H x 52” W x 4.5” D
2122
Overall good appearance. Light-staining and the colors slightly attenuated. Not examined out of the frame.
Framed under glass: 15” H x 17” W x 1.625” D
2123
Visual: Overall generally good appearance. Dust accumulation, specks of grime, varnish discoloration, and fine craquelure scattered throughout, all commensurate with age. Two 2” horizontal scattered scratches each in the lower quadrants. A dimesized cluster of smaller abrasions in the extreme lower edge, left of center. Frame abrasion scattered along the left, right, and lower extreme edges. As mentioned, the canvas has been relined.
Blacklight: A few approximately dime-sized (or smaller) touch-ups primarily scattered in the lower half. Difficult to read under heavy varnish.
Frame: 40.375” H x 55.375” W x 4” D
2124
Visual: Overall good appearance. Specks of grime and minor varnish discoloration. A few scattered areas of frame abrasion along the extreme edges. The work is slightly loose within the frame.
Blacklight: A 0.25” H x 3” W band of touch-up along the upper edge, at left, and other small scattered areas of touch-up.
Frame: 33.5” H x 29” W x 4” D
2125
Visual: Overall generally good appearance. A delicate, approximately 27” crack in the panel extending vertically, to the right of center, from the lower edge up through all but the upper-most section of the work. A 0.5” H x 0.5” W t-shaped intersecting surface crack in the dark wall to the left of center.
Blacklight: Scattered small areas of touch-up throughout, generally 1” H x 1” W (or less). A very delicate line of touch-up extending 11” vertically from the lower edge, right of center, up through the back legs of the reclining tiger and up into the walls surrounding the cave opening. A heavy layer of varnish has been applied.
Frame: 41” H x 31” W x 3.5” D
2126
Visual: Overall good appearance. Craquelure throughout.
Blacklight: Small flecks of touch-up and crack-fill throughout.
Frame: 54” H x 42.25” W x 6.25” D
2127
Overall good appearance. Not examined out of the frame.
Framed under glass: 32.75” H x 26.75” W x 2.75” D
2128
Visual: Overall good appearance. Slight varnish discoloration. Stable craquelure throughout. Minor frame abrasion scattered primarily along the right edge. As mentioned, the canvas has been relined.
Blacklight: Old touch-ups throughout, difficult to read under heavy varnish application.
Frame: 36” H x 57.75” W x 4” D
2129
Visual: Overall good appearance. Slight varnish discoloration, minor scattered craquelure, and stretcher bar creases along each edge.
Blacklight: A 1.5” H x 1” W touch-up in the lower right quadrant with an attendant patch verso. Other smaller scattered touch-ups and another repair patch on the verso of the lower left quadrant that doesn’t seem to coincide with any major repairs.
Frame: 44” H x 57.5” W x 2” D
2130
Visual: Overall good appearance. Minor grime and frame abrasion along the lower edge. An unobtrusive pinhole in the center of the lower edge.
Blacklight: Scattered touch-ups throughout the sky, the largest measuring 2” H x 1” W in the center of the sky, and other smaller flecks of touch-up scattered throughout, primarily in the trees of the upper right quadrant.
Frame: 40” H x 54.5” W x 5” D
2131
Visual: Overall good appearance. Fine craquelure and stretcher bar creases along each edge, primarily visible in raking light.
Blacklight: Small scattered flecks of touch-up, primarily along the upper edge.
Frame: 19.5” H x 30” W x 3.75” D
2132
Overall good appearance. Pale light-staining. A few specks of pale foxing in the clouds. Not examined out of the frame.
Framed under glass: 23.625” H x 30.75” W x 3.25” D
2133
Visual: Overall generally good appearance. Varnish discoloration, slight grime, and scattered craquelure throughout. Stretcher bar creases showing along all four edges, including one pinhead-sized, attendant, pigment loss in the water below the more prominent sailboat. In some areas along the stretcher bar creases just described, the craquelure is starting to become unstable. A small, 0.125” H x 0.25” W, diagonal pigment loss in the sky at the extreme left edge.
Blacklight: A 7” H x 2.5” W area of touch-up in the sky along the left edge.
Frame: 27.5” H x 35.5” W x 1” D
2134
Visual: Overall good appearance. Occasional specks of grime, minor varnish discoloration, and fine scattered craquelure, all commensurate with age. Frame abrasion along the extreme edges, with small attendant pigment losses, mostly along the extreme left edge. As mentioned, the canvas has been relined.
Blacklight: An approximately 3” H ◊ 9” W area of touch-up along the lower edge in the water, with additional smaller but significant touch-ups primarily in the outer areas.
Frame: 35.125” H x 25.75” W x 4.25” D
2135
Visual: Overall good appearance. Minor varnish discoloration and specks of grime. A few small clusters with scattered thin craquelure, primarily visible in raking light. One 1.5” diagonal loss and pea-sized loss, all visibly touched-in, in the frontmost boat of the lower right quadrant. Two unobtrusive pinpoint-sized losses, one each in the upper and lower right quadrants.
Blacklight: A 2” H x 2” W area of touch-up in the area mentioned above in the frontmost boat of the lower right quadrant. A few smaller, approximately 0.5” areas of touch-up scattered in the sky of the upper left quadrant.
Frame: 28.5” H x 36.25” W x 1.25” D
2136
Visual: Overall good appearance. Pinhead-sized (or smaller) specks of grime scattered throughout. Fine scattered craquelure. Stretcher bar creases along each edge, primarily visible in raking light. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration. A heavy layer of varnish has been applied.
Frame: 35.25” H x 27.25” W x 3.5” D
2137
Visual: Overall good appearance. Artist’s pinholes scattered along the upper edge.
Blacklight: A 0.25” H x 1” W touch-up to the right of the older woman’s face, and slightly extending into her cheekbone. Other specks of touch-up scattered in the lower half of the work, primarily in the figures.
Frame: 35.625” H x 42.5” W x 3.5” D
2138
Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, and scattered areas of small, fine areas of craquelure primarily at the center of the work, all commensurate with age. Faint bands of scuffing or wear along the lower portion of the left and right edges, and a few areas along the lower edge, mostly at left. A few areas of stray white pigment. The frame is larger than the canvas, leaving visible spacing around the work.
Blacklight: No evidence of restoration.
Frame: 29” H x 26” W x 2” D
2139
Visual: Overall good appearance. A 2” H area of partially unstable pigment along the center of the left edge. As mentioned, the canvas has been relined.
Blacklight: A few thin bands of touch-up, the largest measuring 0.25” H x 6” W through the hand of the figure holding the bucket in the lower left quadrant. 2” H x 0.5” W band of touch-up in the area of unstable pigment along the center of the left edge. Other smaller flecks of touch-up scattered throughout, primarily along the lower edge.
Frame: 44.75” H x 53.5” W x 4.5” D
2140
Visual: Overall good appearance. Dust accumulation and specks of grime. A stretcher bar crease along the upper edge. Minor frame abrasion with thin paperlike remnants scattered along the extreme upper edge.
Blacklight: No evidence of restoration.
Frame: 37.625” H x 47.5” W x 3.25” D
2141
Visual: Overall generally good appearance. Two short vertical splits in the background near the left edge, the larger of which is approximately 1.75” long and is just to the left of the end of the violin’s neck. Two areas of touch-up are slightly visible in the background near the upper left corner, the larger of which measures 1.5” H x 2.5” W. Varnish discoloration, dust accumulation, and scattered stable craquelure commensurate with age. A few small areas of frame abrasion along the upper edge, at left. The canvas has been relined, as mentioned, and has a newer stretcher and keys.
Blacklight: Old touch-ups in the two areas of the upper left corner already described. A newer touchup measuring approximately 2.5” H x 2” W, and another approximately quarter-sized, both of which are in the draped fabric near the lower left corner. A heavy layer of varnish has been applied.
Frame: 33.5” H x 42” W x 1.5” D
2142
Overall good appearance. Two areas of dust-like remnants adhered to the surface of the pigment, one approximately pea-sized area on the tail of the pigeon, and two smaller areas directly next to one another in the brown shrubbery of the upper right quadrant. Not examined out of the frame.
Framed under glass: 24.125” H x 19.75” W x 2.25” D
2143
Visual: Overall generally good appearance. Dust accumulation, craquelure throughout, and soft stretcher bar creases, all commensurate with age. Scattered areas of frame abrasion along the extreme edges, with a pinhead-sized pigment loss in the upper portion of the right edge.
Blacklight: An upside-down L-shaped touch-up along the lower right corner, and a few other touchups in the lower right quadrant. Smaller touch-ups scattered primarily in the outer edges.
Frame: 48” H x 39” W x 5” D
2144
Visual: Overall generally good appearance. Dust accumulation, grime, fine craquelure, varnish discoloration, and areas of wear to the pigment, all commensurate with age. A few small, occasional scuff marks in the outer edges. Scattered dime-sized (or smaller) raised circular areas of dark pigment in the upper left quadrant. As mentioned, the canvas has been relined.
Blacklight: Touch-ups throughout, smaller areas scattered throughout the figures, and bands of touch-up in the background.
Frame: 61” H x 52” W x 4” D
2145
Visual: Overall generally good appearance. Dust accumulation, specks of grime, varnish discoloration, minor darkening to the pigment, very fine scattered craquelure, primarily visible in raking light, and areas of wear to the pigment, all commensurate with age. Scattered areas of minor frame abrasion in places along the extreme edges. As mentioned, the canvas has been relined.
Blacklight: A 1” H x 1.5” W touch-up near the lower right corner and a 1” horizontal band of touch-up near the upper edge, right of center. Other smaller, mostly rice-sized areas of touch-up throughout, primarily in the figures faces and bodies.
Frame: 38.5” H x 33.25” W x 2.5” D
2146
Visual: Overall good appearance. Craquelure throughout. Scattered frame abrasion along each edge. As mentioned, the canvas has been laid to Masonite.
Blacklight: A 2” H x 2” W area of touch-up on the figure’s forehead. Other smaller scattered areas of touch-up throughout.
Frame: 43.75” H x 35.75” W x 3.25” D
2147
Visual: Overall good appearance. A few scattered fine fractures in the surface of the panel, the longest measuring 8” and extending diagonally from the left portion of the upper edge partially into the figure’s face. Scattered frame abrasion along each edge, with attendant scattered thin bands of pigment loss (2” or shorter) in places along the vertical edges.
Blacklight: An 11” H x 2.5” W area of touch-up in the upper left quadrant, over the longest surface fracture mentioned above. Other smaller areas of touch-up scattered primarily throughout the figure’s hair and torso.
38.75” H x 29” W x 3.5” D
2148
Visual: Overall good appearance. Craquelure throughout. Minor frame abrasion showing primarily along the lower portion of the left edge. As mentioned, the canvas has been relined.
Blacklight: Large areas of touch-up throughout, primarily in the figure’s face, hair, and background.
Frame: 36” H x 32” W x 2.75” D
2149
Visual: Overall generally good appearance. Varnish discoloration, delicate paint shrinkage, and stable craquelure throughout. The canvas appears to have scattered “dimpling” visible in raking light in the area of the figure’s right shoulder and part of the background beyond that shoulder. Frame abrasion in places along the upper and lower right portions of the oval frame opening. As mentioned, the canvas has been relined. Other lesser defects.
Blacklight: Scattered areas of touch-up throughout, none of which appear to affect the figure’s face. The largest touch-up measures approximately 9” H x 6” W in the “dimpled” area of the canvas mentioned above. One very delicate, scattered line of touchup, measuring approximately 0.25” H x 1” W, is located directly below the figure’s chin. A heavy layer of varnish has been unevenly applied, and some of this, particularly in the lower third of the canvas, may obscure other touch-ups.
Frame: 39” H x 32.5” W x 3.75” D
2150
Visual: Overall generally good appearance. Dust accumulation, occasional specks of grime, varnish discoloration, minor darkening to the pigment, and fine scattered craquelure in the lower left quadrant, all commensurate with age. Minor frame abrasion scattered along the extreme upper edge. As mentioned, the canvas has been relined.
Blacklight: A dime-sized area of touch-up on the figure’s lower left cheek, and other smaller specks of scattered touch-up in the face and clothing. A band of old touch-up along the upper edge and other older areas of touch-up in the background, however, difficult to read under the thick varnish layer.
Frame: 26.5” H x 22” W x 4” D
2151
Visual: Overall good appearance. Minor varnish discoloration and craquelure.
Blacklight: Possible old touch-ups scattered throughout. Difficult to read under heavy varnish application.
Frame: 35” H x 30.75” W x 3.75” D
2152
Areas of base with separation from weighted interior. Baseplate loose. With dust accumulation, scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age. Rubbed wear and loss to top of figure’s head, with some at shoulders and scattered other edges.
2153
This item is sold as-is. With heavy rust, rusted losses, and degradation. With a large crack and separation under figure’s neck, measuring 12” long.
2154
Visual: Overall good appearance. Fine scattered craquelure. A 1” vertical tear and pressure mark on a tree in the upper left quadrant. Stretcher bar creases along each edge, primarily visible in raking light.
Blacklight: A repaired 4” vertical tear along the center of the work with an attendant patch verso. Other small flecks of scattered touch-up, primarily in the sky.
Frame: 37” H x 50.25” W x 4.75” D
Frame:
2155
Visual: Overall good appearance. Minor scattered frame abrasion along each edge, and slight varnish discoloration showing primarily along the left portion of the upper edge.
Blacklight: No evidence of restoration.
Frame: 30” H x 37.5” W x 4” D
2156
Visual: Overall good appearance. Delicate paint shrinkage scattered throughout.
Blacklight: Occasional scattered small dots or lines of touch-up, the largest measuring 0.25” H x 1” W to the left of the rider’s right hip. A heavy layer of varnish has been applied.
Frame: 20” H x 26” W x 3” D
2157
Visual: Craquelure throughout. A 5” H jagged tear in the canvas in the upper left quadrant, with attendant patches verso. A few pinhead-sized (or smaller) holes in the canvas with attendant pigment loss, one of which is in the tail of the horse, and another is just below the artist’s middle initial. Stretcher bar creases along each edge.The canvas is slightly loose and rippled, primarily along the left and upper edges, with two 0.5” W (or smaller) bands of pigment loss in the left edge, and other smaller flecks of pigment loss scattered occasionally throughout.
Blacklight: Pea-sized or smaller flecks of touch-up scattered primarily in the body of the horse, along the right stretcher bar crease, and in the lower left quadrant.
Frame: 29” H x 35” W x 2.5” D
2158
Visual: Overall good appearance. Minor varnish discoloration. Stable craquelure and stretcher bar creases.
Blacklight: A quarter-sized touch-up in the sky above the horse’s neck. A 2.5” curved repaired tear in the sky above the horse’s tail. Other smaller occasional flecks of touch-up scattered primarily in the outer edges.
Frame: 27.25” H x 34.25” W x 2.5” D
2159
Figure lacking hand-held crop element. With dust accumulation, scattered scuffs and scratches, and darkening/oxidation to bronze commensurate with age. Rubbed wear to patina throughout.
2160
Visual: Overall good appearance. Slight varnish discoloration. As mentioned, the canvas has been relined.
Blacklight: Scattered small specks of touch-up in the sky.
Frame: 19.5” H x 26.75” W x 3” D
2161
The sheet with margins. Heaving light-staining and uneven toning. A few pea-sized (or smaller) abrasions scattered in the image. A cluster of rice-sized indentations in the paper in the upper left margin corner. A 1” horizontal flattened crease extending into the margin from the upper portion of the left sight edge. Other lesser defects. As mentioned, the sheet has been laid to board.
Frame: 26.75” H x 18.75” W x 1.75” D
2162
Visual: Overall good appearance. Slight varnish discoloration. A very soft, approximately quartersized reverse pressure in the grass to the right of the dog’s rear legs.
Blacklight: A few 2.5” H x 3” W areas of touch-up in the sky and long bands of touch-up along the edges of the upper half.
Frame: 36.75” H x 46.75” W x 2.75” D
2163
Visual: Dust accumulation, varnish discoloration, and stable craquelure stable scattered throughout. A 1.5” H x 1” W U-shaped repair in the background of the upper left quadrant. A small area of white surface residue near the lower left corner The tacking edges have been removed and, as mentioned above, the canvas has been relined. Other minor defects.
Blacklight: A number of narrow lines of touch-up, some of which (like the U-shaped area already mentioned) are likely attendant with old repairs to the canvas. In addition to the area already described in the upper left quadrant, the other sizeable touchups include a 0.25” H x 3.5” W area in the window at upper center, and a 0.5” H x 1.75” W area in the background of the upper right quadrant. A heavy layer of varnish has been applied.
Frame: 17.5” H x 16” W x 1.5” D
2164
Visual: Overall good appearance. Dust accumulation, minor varnish discoloration, slight darkening to the pigment, and fine craquelure scattered throughout, all commensurate with age. A raised pinhead-sized area to the canvas, presumably attendant to the canvas having been laid down over a small foreign object on the support board. The work is slightly smaller than the frame it’s currently housed in. As mentioned, the canvas is laid to board.
Blacklight: Possible large areas of old touch-up in the background, or an uneven varnish layer.
Frame: 15.75” H x 19.375” W x 2” D
2165
Visual: Overall good appearance. Delicate crazing throughout the varnished surface. A speck of grime and a 1.25” diagonal slight surface scuff, both of which are primarily visible in raking light.
Blacklight: Touch-up in places along the extreme edges. A heavy layer of varnish has been applied.
Frame: 23.5” H x 20.75” W x 3.25” D
2166
Visual: Overall generally good appearance. Dust accumulation and fine craquelure scattered throughout. A few thin surface scuff marks scattered in the outer edges. Frame abrasion with a few areas of attendant pigment losses along the extreme edges of the work.
Blacklight: Touch-ups throughout, the largest areas measuring 4” H x 3” W near the center of the left edge, A 7” H x 6” W area of touch-up in the upper left quadrant, and another area being a band of touch-up along the upper edge. Other smaller areas of touch-up scattered throughout.
Frame: 40.75” H x 33.75” W x 5” D
2167
Visual: Overall good appearance. Slight varnish discoloration and stable craquelure throughout. An unobtrusive, approximately 10” H x 1.25” W area in the brown pigment, near the lower left edge, where the canvas texture is slightly visible as a patterned band. As mentioned, the canvas has been relined.
Blacklight: Two pea-sized touch-ups in the cheek of the male figure, as well as one irregularly shaped, approximately 1” H x 1” W touch-up in his neck. Two additional touch-ups of approximately the same size and irregular outlines, one in the male’s left shoulder, and one in the lower ruffles of the woman’s dress. A line of touch-up following the contour of the woman’s left sleeve. Occasional scattered small dots of touch-up, most of which are rice-sized (or smaller). Touch-ups in places along the oval opening of the frame.
Frame: 63.5” H x 59” W x 5” D
2168
Visual: Overall good appearance. Stable craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: Flecks of touch-up throughout, concentrated on the figures.
Frame: 54.75” H x 46” W x 4” D
2169
Visual: Overall good appearance. Very fine craquelure scattered primarily on the figure’s face and hands. As mentioned, the canvas has been relined.
Blacklight: Extensive touch-up throughout, heavily concentrated in the upper half, including in the figure’s face, the largest area measuring approximately 11” H x 8” W in the background of the upper right quadrant.
Frame: 44.75” H x 39.5” W x 5” D
2170
Visual: Dust accumulation, grime, varnish discoloration, darkening to the pigment, fine craquelure, and scattered areas of minor oxidation to areas of the pigment, all commensurate with age. Scattered bands of white scuff marks, primarily along the edges, however, one measuring 2” H x 0.125” W that runs along the top part of the crest, and a longer band extending upwards along the figure’s clothing in the lower right quadrant. Although the panels are affixed together, there is a small loss to the left side of the panel at the lower portion of the split. Additionally, the split along the left side of the panel is more apparent. Other lesser defects.
Blacklight: Bands of touch-up along the outer edges, a 5” H x 0.75” W touch-up at the center of the above-mentioned split, and a 0.5” H x 1” W area of touch-up at the very top of the figure’s forehead along with other smaller, various, and mostly ricesized touch-ups scattered throughout the figure’s face. Other touch-ups scattered in the background.
Unframed
2171
Visual: Overall good appearance. Craquelure throughout. Minor scattered frame abrasion along the edges. As mentioned, the canvas has been relined.
Blacklight: Scattered touch-ups throughout, primarily in the leaves and the background.
Frame: 37” H x 32” W x 3.75” D
2172
Visual: Overall generally good appearance. Dust accumulation, specks of grime, varnish discoloration, fine craquelure throughout, minor darkening to the pigment, and areas of slight wear to parts of the pigment, all commensurate with age. Scattered frame abrasion in places along the extreme left, right, and lower edges, with a few attendant approximately ricesized scuff marks.
Blacklight: An upside-down ‘L-shaped’ touch-up along the upper left corner and a few other pinheadsized touch-ups scattered in the outer edges. Difficult to read under the heavy varnish application.
Frame: 28.25” H x 22.25” W x 5” D
2173
Visual: Overall generally good appearance. Heavy craquelure that has been stabilized, with quartersized (or smaller) pigment losses scattered throughout, a majority of it concentrated in the upper right quadrant. Old stretcher bar creases along each edge. As mentioned, the canvas has been relined.
Blacklight: Scattered touch-ups throughout, difficult to read under heavy varnish application.
Frame: 46.75” H x 34.75” W x 4.5” D
2174
Visual: Dust accumulation, grime, craquelure and areas of unstable pigment with attendant pigment loss, stretcher bar creases, varnish discoloration, pigment darkening, large areas of wear to the pigment, scattered pressure marks, parts of the canvas are rippled, presumably attendant with it being slightly loose to the stretcher, all commensurate with age. Various scuff marks and scratches with attendant pigment losses. A 7” thin, vertical band of presumably oxidation to the varnish layer running along the left most figure’s shoulder, near the center of the left edge, and a few other smaller, scattered areas. A large band of irregularity along the upper edge of the canvas. Frame abrasion along each of the extreme edges. Other minor defects.
Blacklight: Presumably touch-ups throughout, however difficult to read under the heavy varnish application.
Frame: 93” H x 74” W x 4” D
2175
Visual: At some point previously, this work was presented as an oval canvas, based on the long, curved line of craquelure in each of the four corners and the very slight difference in the paint tones between the oval of the subject and the rectangular corners as presented in its current frame. An approximately 9” diagonal, delicate, surface scuff starting to the left of the Virgin’s crown and extending down through her cheek and chin to end in the.space between her neck and the head of Jesus. Occasional frame abrasion showing mostly along the right edge. Varnish discoloration, dust accumulation, and scattered stable craquelure commensurate with age. As mentioned, the canvas is laid to canvas.
Blacklight: Scattered touch-ups, both large and small, as well as crack fill, throughout the work, including in the faces of both figures.
Frame: 36” H x 31.5” W x 4” D
2176
Visual: Overall generally good appearance. Dust accumulation, grime, varnish discoloration, fine craquelure throughout, and soft stretcher bar creases (primarily visible in raking light), all commensurate with age. As mentioned, the canvas has been relined.
Blacklight: Large touch-ups throughout the work, primarily in the background; however, significant areas in the figure’s faces.
Frame: 53.125” H x 43.375” W x 4” D
2177
Visual: Dust accumulation, grime, minor varnish discoloration, a few areas of very fine craquelure scattered throughout, and stretcher bar creases along each side, all commensurate with age. A few mostly rice-sized (and also some larger) areas of white surface scuffs scattered primarily in the outer edges, however, there are a few scattered in the figures. A 2” H x 1” W scattered area of surface abrasion with attendant pigment losses in the upper portion of the right edge. Frame abrasion scattered along the extreme edges, primarily on the upper and left edges, some with attendant pigment and surface losses. Other lesser defects.
Blacklight: Large areas of touch-up throughout, and one with a related 6” H x 6” W patch in the upper right, verso.
Frame. 44.125” H x 56.375” W x 4.5” D
2178
Visual: Overall good appearance. Slight varnish discoloration and grime. Stable craquelure throughout, with occasional pinhead-sized (or smaller) flecks of pigment loss scattered throughout. Stretcher bar creases along each edge. Frame abrasion visible along the left edge. As mentioned, the canvas has been relined.
Blacklight: A vertical band of touch-up, measuring approximately 12” H x 1.5” W, above and below the saint’s knee in the lower right quadrant. Another band of touch-up, in this case measuring 1.5” H x 12” W, stretching horizontally across the right half of the background hillside.Both of these bands of touch-up with related patches, verso. Other smaller scattered areas of touch-up throughout.
Frame: 63.5” H x 48” W x 3.5” W
2179
The sheet trimmed to or just inside the platemark along all edges. Pale semi-circular stains affecting the blank of the upper image corners where the sheet has been glued to the back mat. Slight surface soiling and toning to the entire sheet. Backboard staining on the sheet’s verso. The sheet is framed floating, tipped to the back mat from the verso of the upper sheet corners.
Framed under glass: 13.75” H x 9.875” W x 0.5” D
2180
Overall good appearance. A good, evenly printed impression on a sheet with wide margins (roughly 0.75” or larger on each side). A few soft, horizontal creases through the center of the image, therefore slightly affecting the faces of the two central women, but mostly visible in raking light. Very pale lightstaining to the portion of the sheet exposed through the window opening of the mat. A flattened diagonal crease across the lower right margin corner, not affecting the image, with an attendant rice-size paper loss in the lower portion of the extreme right margin edge. A few soft horizontal edge creases confined to the vertical margins, along with two additional ricesized (or smaller) paper losses in the upper portion of the extreme right margin edge. Other lesser defects, including various dealer or framer pencil notations along the recto and verso of the lower margin edge. The sheet is hinged to the back mat with three small old glassine hinges from the verso of the upper margin edge.
Framed under glass: 19.5” H x 15.5” W x 0.75” D
2181
Light-staining and toning throughout. Two 2” horizontal tears at the center of both the left and right edges that have seemingly been backed, and other even smaller edge tears scattered throughout. A few small paper losses scattered along the edges, primarily the upper edge. Surface soiling, damp staining, foxing, and handling marks, all scattered throughout. Other lesser defects. The sheet is framed floating, affixed to the back mat.
Framed under Plexiglas: 18.375” H x 15.25” W x 1.5”
2182
Overall good appearance. A 0.25” horizontal tear in the upper portion of the left edge. Very minor wear to the pigment in some of the corners and edges of the sheet. The sheet is framed floating, affixed to the back mat.
Framed under glass: 16.25” H x 14.25” W x 2.5” D
2183
Visual: Craquelure throughout. A repaired crack in the slate running vertically through the entire work, right of center, and another (smaller) across the upper left corner, each with attendant pigment losses. Minor, natural imperfections scattered throughout the surface of the slate.
Blacklight: Touch-ups along the cracks mentioned above. Scattered touch-ups throughout the sky and some of the figures.
Frame: 34.5” H x 44.25” W x 4.5” D
2184
Visual: Overall good appearance. Craquelure throughout. As mentioned, the canvas has been relined.
Blacklight: A few 3” (or smaller) horizontal bands of touch-up in the sky. Small flecks of touch-up scattered throughout, primarily on and surrounding the figure and the tree in the left half.
Frame: 30.75” H x 35.5” W x 3.5” D
2185
Visual: Craquelure throughout. An irregular vertical repaired crack spanning the length of the work, including the Child’s face. A few areas of repaired pigment losses primarily in the the upper right quadrant, the largest measuring 3” H x 1” W. A few pea-sized (or smaller) abrasions with attendant pigment loss, the two largest in the upper portion of the right edge and the right portion of the lower edge.
Blacklight: Scattered flecks of touch-up primarily in the child’s legs, the mother’s face, and in the repaired crack and pigment losses mentioned above.
Frame: 45.25” H x 33.25” W x 3.25” D
2186
Visual: Overall generally good appearance. Dust accumulation and fine craquelure throughout. Stretcher bar creases along each side and horizontally across the center. An approximately pea-sized area of visible touch-up to the right of the figure’s face and in her veil. Scattered areas of darkening to the pigment, primarily in the outer edges of the work.
Blacklight: Bands of touch-up along the upper edge. A few other areas of touch-up scattered in the outer edges of the background, the largest measuring 3” H x 1” near the center of the left edge.
Frame: 51.25” H x 41.25” W x 3.25” D
2187
Visual: Overall generally good appearance. Dust accumulation, fine craquelure throughout, and minor varnish discoloration, all commensurate with age.
A 0.5” H x 1” W pigment loss, and two other peasized losses in the background of the upper left quadrant. Scattered areas of minor frame abrasion with occasional attendant pigment loss scattered along the extreme edges. As mentioned, the canvas has been relined.
Blacklight: A 25” H x 3” W upside-down L-shaped touch-up extending from the figure’s right side of the cheek and along the right side of her body. Other larger areas scattered in the figure’s right hand and body, as well as the background.
Frame: 44.375” H x 39.125” W x 4” D
2188
Visual: Overall generally good appearance. A 1” wide vertical restoration along the entire right edge, primarily visible in raking light. A narrow 2” crease at the right edge, likely attendant with an old repair, extending horizontally into the red drapery of the Virgin’s upper left arm, and visible mostly in raking light. Varnish discoloration and dust accumulation commensurate with age.
Blacklight: Scattered touch-ups throughout, some of which are likely attendant with old repairs, primarily near the outer edges of the background, except for an approximately 5” H x 1.5” W touch-up in the Virgin’s left temple, a few smaller areas in the folds of her drapery, and some scattered rice-sized (or smaller) touch-ups in her face, neck, and hands. A narrow, 6” vertical touch-up in the blue drapery of the Virgin’s right elbow.
Frame: 41” H x 32” W x 2.5” D
2189
Visual: Overall good appearance. Dust accumulation. A 1” H x 0.125” W scuff mark along the center of the left edge.
Blacklight: Small thin lines and pea-sized (or smaller) touch-ups scattered in the figure. Other small bands of touch-up in the outer edges and corners.
Frame: 22.5” H x 19.5” W x 3.25” D
2190
Visual: Dust accumulation, grime, craquelure, varnish discoloration, darkening to the pigment, and stretcher bar creases along each side, all commensurate with age. Scattered areas of unstable pigment with attendant flecks of pigment loss. Minor oxidation to the varnish layer along the lower edge. Frame abrasion along the upper and left edges, with attendant white scuff marks and pigment losses.
Blacklight: A 4” H x 2” W area of smaller touch-ups in the lower right corner, and other smaller occasional areas of touch-up scattered throughout. A thick varnish has been applied.
Frame: 39.25” H x 33” W x 3.5” D
2191
Visual: Overall good appearance. Fine craquelure throughout. A crease running horizontally across the width of the canvas along the upper edge with attendant craquelure.
A 5” H x 3.5” W touch-up in the upper left corner. A 4” H x 0.25” W diagonal band of touch-up in the upper right quadrant with an attendant patch verso. A 2.5” H x 1.5” W touch-up on the figure’s temple, and other smaller touch-ups scattered throughout his face and body.
Frame: 40.75” H x 37.5” W x 3.5” D
2192
Visual: Overall good appearance. Slight varnish discoloration and dust accumulation commensurate with age. Short areas of delicate frame abrasion in places along the lower, left, and right extreme edges.
Blacklight: Occasional areas of touch-up in the robes of the two foreground figures at left, as well as in one of their beards. Touch-ups also in the face and robe of the figure standing in the background at right. A very narrow, 9” vertical band of touch-up at the extreme left edge, attendant with the frame abrasions already mentioned.
Frame: 38” H x 52” W x 2.5” D
2193
Visual: Overall good appearance. Fine craquelure scattered throughout. Minor varnish discoloration. As mentioned, the canvas has been relined.
Blacklight: No evidence of restoration.
Frame: 25.5” H x 32.5” W x 4” D
John Moran Auctioneers, Inc
SPECIALISTS
Head of Sale, Director, Fine Art
President, Auctioneer
Vice President, Specialist
Associate Specialist, Fine Art
Associate Specialist, Fine Art
Senior Cataloguer, Fine Art
Cataloguer, Fine Art
Department Administrator, Fine Art
Director, Furniture and Decorative Arts
Senior Specialist, Furniture & Decorative Art
Post-War & Contemporary Design Specialist
Department Administrator, Furniture & Decorative Arts /Jewelry
Cataloguer, Furniture & Decorative Arts
Cataloguer, Silver, Western and American Indian
Director, Jewelry & Watches
Senior Specialist, Jewelry & Watches
TRUSTS & ESTATES
Senior Vice President, Director Trusts & Estates
Director, Appraisals
Associate Appraiser
Department Administrator, Trusts and Estates
CLIENT SERVICES
Office/HR Manager
Client Services
Finance Administrator
Accounts Receivable / Customer Service
OPERATIONS
Vice President, Business Director, Auctioneer
Controller
Consignment Coordinator
Warehouse Supervisor, Senior Art Handler
Transport Supervisor, Senior Art Handler
Art Handler
MARKETING
Director, Advertising & Marketing
Manager, PR/Social Media
Graphic Designer
PHOTOGRAPHY
Senior Photographer, Head of Photography
Photographer
Photographer
Photographer
FOUNDERS
Founder
Co-Founder
Katherine Halligan, AAA
Jeffrey J. Moran
Maranda Moran
Bobby Cullen
Madison Ari
Anne Spink
Lori Kassabian
Jacob Baer
Jen Kurtz
Angela Past
Matthew Grayson
Jessica Crosbie
Grant Stevens
Sally Andrew
Tom Burstein
Kelly Sitek
Morgana Blackwelder, ISA AM
Mariam Whitten, ISA AM
Shannon Dailey
Julia Kelley
Mario Esquivel
Ella Fountain
Jamie Holthauser
Tiffany Hansen
Stephen Swan
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.
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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.
