John Moran Auctioneers - California Art Auction

SINCE 

1969 

Antique and Fine Art 

Auctioneers & Appraisers 

California & American Fine Art Auction 

Tuesday, April 17, 2012

California & American 

Art Auction 

Tuesday 

April 17, 2012 

Preview Opens 10:00 a.m. 

Sale: 6:00 p.m. 

The Pasadena Convention Center 

300 East Green Street, Pasadena, California 91101 

Inquiries Welcome 

Email: info@johnmoran.com 

735 West Woodbury Road Altadena, California 91001 

Phone: 626.793.1833 :: Fax 626.798.2079 

735 West Woodbury Road Altadena California 91001:: www.johnmoran.com

JOHN MORAN AUCTIONEERS, INC. 

FOUNDERS 

President, Principal Auctioneer 

Senior Vice President, Auctioneer 

Vice President, Public Relations 

John H. Moran 

Jeffrey J. Moran 

Madeleine Moran 

SPECIALISTS 

Vice President - Fine Art Sales Director 

Assistant Vice President - Estates and Appraisals 

Antique & Decorative Art Specialist 

Antique Specialist, Cataloguer 

Luxury Item Specialist & Cataloguer 

jewelry Specialist - Sale Director 

Jewelry Specialist 

Katherine Halligan 

Roland Rynkiewicz 

Maranda Moran 

Annemarie Nollar 

Kellene Torry 

Mollie Burns Keith, G.G. 

Ana Wroblaski 

CLIENT SERVICES 

Office Manager, Client Accounting 

Client Services 

Betty Lanza 

Kim Jarand 

OPERATIONS 

Operations Director, Auctioneer 

Art Handlers, Property Control, 

& Padded Van Services 

Glenn Storey 

Larry Muradian 

Bobby Cullen 

DIGITAL DESIGN 

Webmaster / Art Design 

Principal Photographer 

Advertising / Digital Design 

Oscar Tsao 

Shane Strong 

Nathan Martinez

CONDITIONS OF SALE 

AUCTION HOUSE AS AGENT 

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

buyer. 

BEFORE THE AUCTION 

(a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private 

appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. 

(b) Buyer’s Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally 

required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the 

auction. 

(c) Property Sold ‘As Is’: Neither Moran’s nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental 

material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran’s catalogue or can be made available upon 

request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. 

AT THE AUCTION 

(a) Admission: The auction is open to the public, though Moran’s reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded 

(visually, aurally or otherwise) and all participants consent to such recording. 

(b) Buyer Registration: Prospective buyers must register with Moran’s before bidding. Moran’s may require identification and financial references in advance of buyer eligibility. 

Registered bidders accept personal liability to pay the purchase price, including the buyer’s premium plus all applicable charges, unless Moran’s agrees in advance that the bidder is 

acting as agent on behalf of an identified third party acceptable to Moran’s. In such case, Moran’s will look to the third party for payment. 

(c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder’s acceptance of these conditions. The highest bidder 

acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to 

advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, 

cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors’ or agents acting on their behalf, permitted to bid on their consignment. In the 

event of any dispute after the auction Moran’s sale record shall be conclusive. 

(d) Absentee, Telephone and Internet Bidding: Moran’s offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures 

to execute such bids. Absentee and telephone bids must be recognized by Moran’s prior to auction day. When identical absentee bids are submitted that become the highest bids 

at the auction, the bid first received by Moran’s shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. Internet 

bidders are subject to an additional buyer’s premium, as noted below. 

(e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any 

lot shall not exceed its published estimate. Moran’s shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing 

a bid on the seller’s behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to 

other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his 

discretion or deem the lot unsold if a bid is not recognized. 

AFTER THE AUCTION 

(a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus a premium of 20% (of the hammer price) when paying by check, cash, or wire transfer, or 

22.5% if paying by credit card, together with any applicable tax. Buyers bidding via the internet agree to pay an additional 3% online transaction fee. Buyers are strongly encouraged 

to provide full payment at the auction. Payment must be received by Moran’s within the five business days immediately following the auction. Note: Buyers from outside the 

continental United States must pay via bank wire transfer - Please contact our office for wire instructions. The buyer shall not acquire title or take possession of the lot until all 

amounts (including the hammer price, premium and applicable taxes) due to Moran’s have been paid in full. 

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the 

sale site during the auction. The packing of purchased lots at the auction is undertaken by Moran’s solely as a convenience to customers. Moran’s is not liable for damage to glass or 

frames, except as a result of negligence on Moran’s part, regardless of cause in connection with this courtesy service. 

(c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran’s shall retain possession of all purchases until full payment has 

been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge 

of $10.00. In addition to other remedies available by law, Moran’s reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the purchase price, or the 

maximum permitted by law) commencing on the sixth business day after the sale date. 

(d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran’s in our discretion and as a courtesy to buyers, can arrange to have purchased 

lots packed, insured and forwarded by a third party shipper at the request, expense and risk of the buyer. Moran’s assumes no responsibility for acts or omissions in such packing 

or shipping by other packers or carriers, even if recommended by Moran’s. Nor does Moran’s assume any responsibility for any damage to picture frames or to the glass therein. In 

circumstances where Moran’s arranges for such third party services, Moran’s may apply an administration charge of 10% of that service fee.

(e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran’s sole discretion. Refunds requested on the grounds of authenticity must 

be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or 

substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has 

represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works 

of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers 

and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist’s work, as 

specified above, in addition to their daily duties. Refunded lots must be returned to Moran’s in the same condition as when sold. Moran’s does not grant extensions to refund 

considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. 

LIABILITY AND LIMITED WARRANTY 

(a) Liability: The buyer expressly agrees that (i) neither Moran’s nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, 

without limitation, loss of profits and (ii) the buyer’s damages, if any, are limited exclusively to the original purchase price paid for the lot. 

(b) Limited Warranty: All property is sold as is. Neither Moran’s nor the consignor or our associates make any representation, express or implied warranty (including 

merchantability and fitness) or guarantee in condition, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, age, genuineness, 

historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement 

in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran’s employee shall be deemed such a warranty or 

representation or an assumption of liability. 

(c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items 

or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been 

made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be 

expected in any electronic or printed imaging, and are not grounds for the return of any lot. 

(d) Estimates: All estimates provided are carefully considered opinions of Moran’s specialists, and are merely suggested guidelines for interested buyers. Buyers must be 

aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots 

auctioned may sell at prices above, within, or below estimate. 

(e) 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, 735 West Woodbury Road, Altadena, California 91001. 

ADDITIONAL MATTERS 

(a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran’s for this auction is and shall remain at all times the property of Moran’s. 

Moran’s and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. 

(b) Buyer’s Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran’s may, in addition to asserting all remedies available by law, including the right 

to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at 

public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran’s resells the property, the original defaulting 

buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, 

reasonable attorney’s fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any 

property, Moran’s shall apply the payment received to such property that Moran’s in our sole discretion, deems appropriate. Moran’s shall have the benefit of all rights of a 

secured party under the Uniform Commercial Code adopted in the State of California. 

(c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect 

on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. 

(d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of 

the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the 

exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising 

out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, Pasadena Branch located at 300 E. 

Walnut Street, Pasadena, California 91101 or the Federal Court Central District located at 312 North Spring Street, Los Angeles, California, 90012-4793.

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 

20% (of the hammer price) when paying by check, cash or wire transfer 

22.5% if paying by credit card, together with any applicable tax 

Buyers bidding via the internet agree to pay a total premium of 

23% when paying by check, cash or wire transfer 

25.5% if paying by credit card, together with any applicable tax 

(internet buyer’s premium include 3% online transaction fee) 

BiddinG INCREMENTS 

$100 - $475 @ $25 increments 

$500 - $950 @ $50 increments 

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

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

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

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

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

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

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

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

$500,000 & above @ $50,000 increments, 

or at Auctioneer's discretion. 

View Illustrated Catalogue Online @ 

www.johnmoran.com

Artist Index 

Artist Name Lot # 

Abril, Ben 1099, 1106, 1107 

Adams, Charles Partridge 1002 

Adams, Peter 1150, 1151 

Akin, Louis B. 1080, 1081 

Albright, Ivan Le Lorraine 1135 

Allan, William R. 1048 

Backus Jr, Standish 1129 

Bartlett, Dana 1067 

Benton, Thomas Hart 1193, 1194 

Billington, John Jules 1101 

Bloser, Florence Parker 1051 

Bogg, Frank Myers 1063 

Borein, Edward 1185, 1186, 1187, 1188 

Braun, Maurice 1024, 1025, 1029, 1119, 

1121, 1173 

Brown, Benjamin Chambers 1191 

Buff, Conrad 1143, 1144 

Caldwell, Francis Atlee 1105 

Chapple, David 1092 

Clark, Alson Skinner 1064 

Clunie, Robert 1146 

Cooper, Colin Campbell 1017 

Craig, Thomas B. 1039 

Cromwell, Joane 1114 

Cropsey, Jasper Francis 1041 

Cuprien, Frank W. 1035, 1061 

Curry, John Steuart 1192 

Danner, Sara Kolb 1133 

Daraio, Innocenzo 1111 

de Longpre, Paul 1042 

De Rome, Albert Thomas 1055, 1057 

Dike, Phil Latimer 1128 

Dougherty, Paul 1058 

Dzigurski, Alexander A. 1113 

Earle, Eyvind 1090, 1091, 1140, 1141 

Ellenshaw, Peter 1108, 1109 

Englehart, Joseph John 1083 

Enneking, John Joseph 1003 

Espoy, Angel 1033, 1072 

Farrell, Vincent 1110 

Firfires, Nicholas S. 1183 

Fon, Jade 1132 

Frey, Joseph P. 1145 

Fries, Charles Arthur 1117 

Fulop, Karoly 1104 

Gile, Selden Connor 1018 


Gleason, Joe Duncan 1124, 1179, 1180 

Graham, Robert 1102 

Gray, Percy 1054 

Grimm, Paul 1147, 1163 

Hammerstad, John Olsen 1062 

Harris, Sam Hyde 1021, 1118, 1161 

Hart, William 1040 

Harting, Lloyd 1184 

Hills, Anna A. 1026 

Hinkle, Clarence K. 1019 

Hoit, Attributed to Albert Gallatin 1005 

Holdredge, Ransome Gillet 1082 

Huebner, Mentor Charles 1094 

Hughes, Daisy M. 1100 

Hunt, Esther 1053 

Hunt, Thomas L. 1011 

Jackson, Willam F. 1070 

Johnson, Frank Tenney 1079, 1084 

Kahn, Wolf 1138 

Kann, Frederick I. 1142 

Keith, William 1069 

Koerner, Henry 1136, 1139 

Kosa Jr., Emil J. 1097, 1115, 1162 

Krafft, Carl 1153 

Labaudt, Lucien 1134 

Landacre, Paul 1190 

Laurence, Sydney 1165 

Lauritz, Paul 1032, 1078, 1112 

Laycox, Jack 1130 

Leonard, Julia Ives 1043 

Lewis, Phillips F. 1071 

Lutz, Dan 1095 

Mannheim, Jean 1074, 1075, 1116, 1158, 

1164 

Marjorie J Reed& John W Hilton 1086 

McCloskey, William J. 1047 

Miller, Ralph Davidson 1059 

Mills, Wilfrid T. 1098 

Mitchell, Alfred R. 1160 

Moran, After Thomas 1189 

Morgan, Mary DeNeale 1015, 1056 

Muench, Charles 1093 

Mulhaupt, Frederick 1060 

Onderdonk, Julian 1001 

Otis, George Demont 1027, 1175, 1176, 

1177 


Pages, Jules E. 1044 

Parker, Lawton S. 1020 

Payne, Edgar Alwin 1028, 1123, 1149, 

1167, 171, 1178 

Phillips, Bert Geer 1085 

Phillips, James March 1131 

Podchernikoff, Alexis M. 1065 

Puthuff, Hanson Duvall 1034, 1120, 1148 

Redmond, Granville 1170 

Reed, Marjorie 1030, 1031, 1087, 1088, 

1181, 1182 

Richards, Lee Greene 1049, 1050 

Ritschel, William 1008, 1009, 1012, 1013, 

1037 

Robinson, Charles Dorman 1014 

Rosseau, Percival Leonard 1038 

Sammons, Carl 1125, 1166 

Sandzen, Birger 1156 

Schenck, Bill 1089 

Scott, Clyde 1157 

Sheets, Millard O. 1127 

Shields, Irion 1152 

Shrader, Edwin Roscoe 1096 

Silva, William Posey 1006, 1007, 1016 

Smith, Jack Wilkinson 1174 

Steinberg, Saul 1137 

Swinnerton, James 1159 

Sykes, John 1066 

Taggart, Richard Thompson 1172 

Tait, Arthur Fitzwilliam 1004 

von Perbandt, Carl 1068 

Wachtel, Elmer 1073, 1169 

Walker, John Edward 1168 

Ward Kimball 1103 

Warner, Nell Walker 1010 

Wendt, William 1022, 1023, 1036 

White, Edith 1045, 1046 

White, Orrin A. 1076, 1077, 1122 

Wood, Grant 1195 

Wood, Robert W. 1154, 1155 

Woolley, Virginia B. 1052 

Zornes, Milford 1126

1001 Julian Onderdonk (1882-1922 San Antonio, TX) 

‘’Twilight’’, Autumn Landscape, signed lower right: Julian 

Onderdonk, oil on board under glass, 8’’ x 10’’, est:$4000/6000 

Provenance: Collection of a Resident of Artist Alley, Champion 

Place, Alhambra, CA, circa 1930s. Visual: Generally good 

condition. Minor frame abrasion to top and bottom edges. Not 

examined out of frame. Blacklight: No evidence of restoration 

under blacklight. 

1002 Charles Partridge Adams (1858-1942 Pasadena, CA) 

‘’In the Arkansas Valley, Vicinity of Salida Colo’’, signed lower 

left: Charles Partridge Adams, titled and numbered verso: 332, 

gouache and watercolor on board, sight size: 6.5’’ x 9.75’’, 

est:$1000/1500 

Provenance: Private Collection, Glendale, CA; by descent two 

generations to the present owners. Visual: Generally good 

condition with a spot of stain on the mountain in the upper 

center and three spots of foxing in the sky. Affixed to the front 

mat with paper tape. 

1003 John Joseph Enneking (1841-1916 Boston, MA) 

Sheep Grazing in a Landscape, signed and dated lower right: 

Enneking 91, oil on canvas, 8’’ x 12’’, est:$2000/3000 

Provenance: Private Collection, Los Angeles, CA, prior to the 

1950s; by descent in the family to the present owner. Visual: 

Frame abrasion along the edges. Blacklight: Two spots of 

touch-up to address losses on the sheep, overpaint across 

the upper edge of trees and sky extending about 1’’ into the 

painting. A 1’’ x 1’’ ‘T’ shaped area of overpaint along the lower 

right edge. 

1

1004 Arthur Fitzwilliam Tait (1819-1905 Adirondacks, 

New York) 

Sheep Resting, signed lower left: A.F. Tait 1896, oil on panel, 

6.5’’ x 9.5’’, est:$2000/3000 

Visual: Generally good condition. Blacklight: Scattered dots of 

touch-up in the sky and an area of touch-up in the upper right 

corner. Difficult to read under masking varnish. 

1005 Attributed to Albert Gallatin Hoit (1809-1856 Boston, 

MA) 

Portrait of a Young Scribe, bears incised signature verso: A.G. 

Hoit Pinx, oil on panel, 7.75’’ x 5.75’’, est:$1000/1500 

Provenance: Property of Minerva Hamilton Hoyt, South 

Pasadena, CA; by descent in the family to the present owners. 

Visual: Two spots of lifting paint along the right side. A loss 

on the red cap. Frame abrasion. The panel slightly bowed. 

Blacklight: Scattered touch-up throughout, concentrated mainly 

in the background, the largest area in the upper right near the 

cap. 

1006 William Posey Silva (1859-1948 Carmel, CA) 

‘’Old Mill - Garden of Dreams’’, Magnolia Gardens, Charleston, 

SC, signed lower right: William P. Silva, oil on canvas laid to 

artist’s board, 11’’ x 14’’, est:$2000/3000 

Provenance: Estate, Colorado. Visual: Generally good condition. 

Minor frame abrasion. Blacklight: No evidence of restoration 


2


Two Landscapes: ‘’Old Field - Ogunquit - Me.’’ and ‘’Garden of 

Dreams / Magnolia ** Ashley / near Charleston SC’’, the first: 

signed lower right: William P. Silva, titled verso and again on a 

verso label; the second: appears unsigned, titled and numbered 

verso: 6, each: oil on canvas laid to artist’s board, the first: 

8’’ x 10’’, est:$1000/2000 

Note: Sight dimensions of the second: 6’’ x 8’’. Provenance: The 

first: Abbott Silva, Carmel, CA, no. 739 (see verso affidavit label); 

Estate, Colorado. Visual: The first: Generally good condition. A 

horizontal slub across the upper third of the painting intrinsic to 

the canvas. Minor frame abrasion. The second: Generally good 

condition with minor frame abrasion and a few minor losses and 

wear along the extreme edges. Blacklight: Each: No evidence 

of restoration under blacklight. 

1008 William Ritschel (1864-1949 Carmel, CA) 

‘’Beach at Ogunquit, Maine’’, signed in graphite lower right: W. 

Ritschel, titled verso, watercolor and gouache on grey textured 

paper under glass, sight size: 7.5’’ x 10’’, est:$1000/2000 

Provenance: Property from the Collection of William Ritschel’s 

First Wife; by descent in the family to the present owners. 

Visual: Vertical water stains left of center and a few scattered 

spots of water stain in the sky and along the left edge. A pinhole 

in the lower left corner. A nibble out of the upper center edge. 

The upper left corner with a surface abrasion. Glue and paper 

remnants in the verso corners and along the upper verso edge. 

Affixed to the back mat in the upper left corner. 


Two Masted Boats near a Village, Possibly Monterey or Maine, 

signed in graphite lower right: W. Ritschel, watercolor and 

gouache on grey paper under glass, paper size: 8.25’’ x 11.25’’, 

est:$1000/2000 

Note: The paper with remnants of a Mount Washington 

Educational Center, Los Angeles, CA label verso. Provenance: 

Property from the Collection of William Ritschel’s First Wife; by 

descent in the family to the present owners. Visual: Generally 

good, original condition. A few minor scattered spots of water 

stain in the sky. Glue and paper remnants in the supper left 

verso corner. Affixed to the back mat in the upper left corner. 

3

1010 Nell Walker Warner (1891-1970 Carmel, CA) 

Docked Sailboats, signed lower left: Nell Walker Warner, oil on 

canvasboard, sight size: 7’’ x 5.75’’, est:$800/1200 

Provenance: Private Collection, Whittier, CA. Visual: Generally 

good condition. Not examined out of the frame. 

1011 Thomas L. Hunt (1882-1938 Santa Ana, CA) 

Boat Dock, signed lower right: Thos. L. Hunt, oil on paper under 

glass, 8’’ x 10’’, est:$3000/5000 

Provenance: Private Collection, Los Angeles, CA. Visual: 

Generally good condition, the paper loose, not hinged, in the 

framing. A stable tear in the upper right corner with verso 

amateur tape repair, about 1.5’’ diagonal. Blacklight: No 

evidence of restoration under blacklight. 


‘’A Morning on California Coast’’, signed lower right: W. 

Ritschel, titled verso, oil on panel, 9.75’’ x 13’’, est:$3000/5000 


First Wife; on loan to the Rosicrucian Order, AMORC (see 

verso label); by descent in the artist’s wife’s family to the 

present owners. Visual: Generally good condition with minor 

frame abrasion and surface dirt. Blacklight: No evidence of 

restoration under blacklight. 

4


Rocks and Beach Along the California Coast, appears unsigned, 

oil on canvas laid to board, 10’’ x 13.5’’, est:$1000/2000 


First Wife; by descent in the family to the present owners. 

Visual: Generally good condition. Artist’s pinholes in the four 

corners. Surface dirt. Blacklight: No evidence of restoration 


1014 Charles Dorman Robinson (1847-1933 San Francisco, 

CA) 

‘’Twilight on the Sacramento River’’, signed with conjoined 

initials lower right: CD Robinson, titled in pencil verso, oil on 

wood panel, 5.75’’ x 9.75’’, est:$3000/5000 

Provenance: With Redfern Gallery, Laguna Beach, CA (see 

verso label); Private Collection, Northern California. Visual: 

Generally good condition. Blacklight: No evidence of 


1015 Mary DeNeale Morgan (1868-1948 Carmel, CA) 

Robert Louis Stevenson House, Monterey, signed lower right: 

M. DeNeale Morgan, gouache on paper under Plexiglas, sight 

size: 4.25’’ x 5.75’’, est:$800/1200 

Visual: Generally good condition. Not examined out of the frame. 

5


‘’Bull Fight - Madrid’’, signed lower right: William P. Silva, oil on 

canvas laid to artist’s board, 6’’ x 8’’, est:$800/1200 

Provenance: Abbott Silva, Carmel, CA, no. 47 (label affixed 

verso); Estate, Colorado. Visual: Generally good condition with 

minor frame abrasion. Blacklight: No evidence of restoration 


1017 Colin Campbell Cooper N.A. (1856-1937 Santa 

Barbara, CA) 

European Hillside Village, signed lower right: Colin Campbell 

Cooper, indistinctly inscribed and dated lower left: May 12th 

1929, watercolor and graphite on paper under glass, sight size: 

9.25’’ x 13.75’’, est:$2000/3000 

Visual: Generally good condition with very mild toning. Not 

examined out of the frame. 

1018 Selden Connor Gile (1877-1947 Belvedere, CA) 

Summer Landscape, signed and dated lower right: Gile ‘25, 

watercolor on paper under Plexiglas, image size: 8.75’’ x 11.75’’, 

est:$5000/7000 

Exhibited: ‘‘A Feast for the Eyes: The Paintings of Selden Connor 

Gile: A Retrospective Exhibition’’, Civic Arts Gallery, Walnut 

Creek, CA, June 9 -July 10, 1983. Provenance: Campbell - 

Thiebaud Gallery, Los Angeles, CA, (see verso label); Private 

Collection, Ventura, CA. Visual: Generally good condition. Not 

examined out of frame. 

6

1019 Clarence K. Hinkle (1880-1960 Santa Barbara, CA) 

Figures Near a Reflecting Pond, signed lower right: C.K. Hinkle, 

oil on canvasboard, 10.5’’ x 13.5’’, est:$2000/3000 

Visual: Generally good condition with a few isolated scattered 

stable cracks in the foreground. Blacklight: Two very minor 

spots of touch-up along the pool edge in the upper center. A few 

other scattered minor spots of touch-up throughout. 

1020 Lawton S. Parker (1868-1954 Pasadena, CA) 

‘’Miss H. Ernald’’, Lady in a Garden, Possibly Santa Barbara, 

signed lower right: Lawton Parker, titled verso, oil on board, 

8’’ x 8’’, est:$3000/4000 

Provenance: Private Collection, Dana Point, CA. Visual: 

Generally good condition with some scattered tiny losses and 

areas of unstable flaking paint concentrated mainly in the sky 

and lower center. Blacklight: No evidence of restoration under 

blacklight. 

1021 Sam Hyde Harris (1889-1977 Alhambra, CA) 

‘’Majestic Mountain’’, signed lower left: Sam Hyde Harris, oil on 

board, 8’’ x 10’’, est:$1500/2000 

Provenance: With Redfern Gallery, Laguna Beach, CA (see 

verso label); Private Collection, Northern California. Visual: 



7

1022 William Wendt (1865-1946 Laguna Beach, CA) 

‘’Southern California’’, Cloud-filled Landscape with Soaring 

Birds, circa 1925, signed lower left: Wm. Wendt, oil on board, 

8’’ x 10’’, est:$4000/6000 





Verdant Summer Landscape, unsigned, oil on board, oval: 

7.5’’ x 9.25’’, est:$2000/3000 

Provenance: The artist; given to his sweetheart (later wife), 

Julia Bracken, Chicago, IL, circa 1894-1901; given to P.G. 

Napolitano, from his sculpture teacher at Otis Art Institute, Los 

Angeles, CA, Julia Bracken Wendt, circa 1924-1934; given to 

Emma Amalie Goetz-Napolitano, wife of the above, 1935. Visual: 

Generally good condition with very minor frame abrasion and 

discolored varnish. Blacklight: No evidence of restoration under 

blacklight. 

1024 Maurice Braun (1877-1941 San Diego, CA) 

Blooming Hills and Distant Mountains, California, signed lower 

right: Maurice Braun, oil on board, 6’’ x 9’’, est:$3000/4000 

Provenance: Private Collection, Northern California. Visual: 



8


‘’Grey Day’’, California Hillside Landscape, signed lower right: 

Maurice Braun, titled and numbered verso: 59, oil on canvas, 

12’’ x 14’’, est:$2500/3500 

Provenance: Private Collection, Burbank, CA. Visual: Generally 

good condition. Blacklight: No evidence of restoration under 

blacklight. 

1026 Anna A. Hills (1882-1930 Laguna Beach, CA) 

‘’Wading, Laguna Beach’’, signed lower right: A.A. Hills., signed again, titled and inscribed verso: Painted by Anna A. Hills, Laguna 

Beach, Calif; with further inscription and date verso, Anna Hills Inventory number verso: A08H, oil on board, 5’’ x 7’’, est:$6000/8000 

Note: Inscribed verso: Birthday Greetings and much love to little Audrey Janette Hills from her great aunts - Nellie and Anna Hills - 

September 24 - 1929 - . Provenance: Collection of Audrey Janette Hills, great niece of the artist, acquired directly from the artist on 

the occasion of her birthday, 1929; Private Collection, Dana Point, CA, acquired from the above. Visual: Generally good condition. 

Blacklight: Four tiny spots of touch-up scattered in the water and sand. 

9

1027 George Demont Otis (1879-1962 Kentfield, CA) 

‘’The Little Blue House’’, Laguna Beach, CA, signed lower right: Geo. Demont Otis, signed again and titled on an artist’s label affixed 

to the frame, inscribed and dated on the stretcher: Laguna Beach, Calif. 1923, titled on the original frame, oil on canvas laid to waxed 

canvas, 20’’ x 26’’, est:$4000/6000 

Exhibited: Society of American Artists, Art Institute of Chicago, Chicago, IL, 1926, won honors (see partial label affixed to the frame). 

Note: The painting retains the original frame hand carved by the artist. Included with the lot are two publications: ‘’The California 

Collection: George Demont Otis (1879-1962) American Impressionist’’, Sonoma County Museum, Santa Rosa, CA, July - September 

1998, p. 41, illustrated, exhibition catalogue and ‘’The Golden Gate Collection of Paintings by George Demont Otis (1879-1962), Painter 

of American’’, Golden Gate National Recreation Area Headquarters at Fort Mason, San Francisco, CA, 1977, exhibition brochure. 

Provenance: Art Institute of Chicago, Chicago, IL, Municipal Collection, 1926 - deaccessioned 1978; The Grace Van Tine Hartley Trust, 

acquired through The Otis Gallery from the above, 1978. Visual: The canvas slightly rippled from the lining. Minor surface drips in the 

lower left. With graphite inscriptions in Grace Van Tine Hartley’s hand in the lower left and right corners. Blacklight: A 2’’ x 4’’ area of 

touch-up in the right center on the tree and hill. A spot of touch-up in the upper center, a few minor spots of touch-up in the lower left. 

1028 Edgar Alwin Payne (1883-1947 Hollywood, CA) 

Eucalyptus Landscape, signed lower right: Edgar Payne, oil on 

canvas laid to artist’s board, 15’’ x 19’’, est:$12,000/16,000 

Provenance: Private Collection, Laguna Beach, CA. Visual: 

Generally good condition with surface dirt and drips. Blacklight: 

A 2’’ area of overpaint in the sky in the right center and a few 

other spots of overpaint scattered in the sky. 

10


Trees in a California Landscape, signed lower right: Maurice 

Braun, oil on canvas, 18’’ x 24’’, est:$9000/12,000 

Provenance: Private Collection, Altadena, CA. Visual: Generally 

good condition with scattered stable craquelure and frame 

abrasion. Blacklight: A dime-sized spot of touch-up in the upper 

center. 

1030 Marjorie Reed (1915-1996 Vallecito, CA) 

‘’St. Elizabeth Parish - Julian’’, Mining Town Nestled in a 

Mountain Landscape, signed lower right Marjorie Reed, titled 

and signed again on label verso, oil on canvas, 18.24’’ x 24’’, 

est:$2000/3000 

Provenance: Private Collection, Albany, NY; by descent in the 

family from a personal friend of the artist. Visual: Generally 


blacklight. 


‘’Madonna Shrine’’, Shrine Beside a Tree in a Mountain 

Landscape, Julian, CA, signed lower right: Marjorie Reed, oil on 

canvas, 20’’ x 18’’, est:$1000/1500 




blacklight. 

11

1032 Paul Lauritz (1889-1975 Glendale, CA) 

‘’Through the Trees, California’’, signed lower left: Paul Lauritz, 

signed again and titled verso, oil on canvas, 33.5’’ x 40.5’’, 

est:$8000/12,000 

Provenance: Private Collection, Yucca Valley, CA, acquired prior 

to the 1950s. Visual: Generally good condition. Blacklight: No 


1033 Angel Espoy (1879-1963 Seal Beach, CA) 

Springtime Landscape, signed lower right: A. Espoy, oil on 

canvas, 20’’ x 30’’, est:$1500/2000 

Provenance: Private Collection, Corona, CA, by descent. Visual: 

Craquelure to upper sky with scattered lifting areas. Varnish 

bloom throughout. Blacklight: A 2’’ x 2’’ area of possible touchup 

in the right center clouds. 

1034 Hanson Duvall Puthuff (1875-1972 Corona Del Mar, 

CA) 

‘’Approaching Storm - Verdugo’’, signed and dated lower right: 

H. Puthuff, 06 titled in pencil on the stretcher, oil on canvas, 

24.25’’ x 36’’, est:$20,000/30,000 


Generally good condition. Blacklight: A few minor spots of 

touch-up in the sky, including a 1’’ vertical line of touch-up that 

extends slightly into the hills at left center. 

12

1035 Frank W. Cuprien (1871-1948 Laguna Beach, CA) 

‘’A Sunny Morning’’, signed lower right: F.W. Cuprien, 

monogrammed and titled verso, oil on canvas, 20’’ x 36’’, 

est:$4000/6000 





Landscape with Hay Bale, signed lower right: Wm. Wendt, oil on 

canvas laid to waxed canvas, 16’’ x 20.25’’, est:$10,000/15,000 


Generally good condition. Wax lined as stated. Blacklight: 

Apparently no evidence of touch-up under blacklight. 


Hunter in a Bavarian Landscape, signed lower right: Wm. 

Ritschel, oil on canvas laid to canvas, 45’’ x 30’’, est:$4000/6000 


Generally good condition. Lined as stated and with tacking 

edges removed. New keys added for stability. Blacklight: Areas 

of restoration throughout, most concentrated near the edges: a 

4’’ x 3’’ area of touch-up and an adjacent ‘G’-shaped area in the 

lower center, six dime-size areas of touch-up in the lower right, 

scattered touch-up to address frame abrasion along the right 

side, a 3’’ inverted ‘U’-shaped area of touch-up in the tall tree, a 

12’’ line of touch-up in left center, a 3’’ area of touch-up on the 

upper left white cloud and tiny spots of touch-up through much 

of the sky. A spot of touch-up at the end of but not effecting 

the signature. A few other spots of minor touch-up scattered 

throughout. 

13

1038 Percival Leonard Rosseau (1859-1937 Fayetteville, NC) 

‘’Denwood Joe and Kirk’s Masters Boy’’, Two Setters Pointing, signed and dated lower left: Rosseau 1920, oil on canvas, 25.5’’ x 32.5’’, 

est:$20,000/30,000 

Provenance: Property of Minerva Hamilton Hoyt, South Pasadena, CA; by descent in the family to the present owners. Visual: Generally 

good condition. Four tiny spots of loss lower right. Blacklight: No evidence of restoration under blacklight. 

14

1039 Thomas B. Craig (1849-1924 Rutherford, NJ) 

‘’Going to Pasture’’, signed lower left: Thos. B. Craig, signed 

again, titled and dated verso: 1895, oil on canvas, 18’’ x 25.75’’, 

est:$2000/3000 

Provenance: Dwaine Galleries, Tustin, CA (see label verso); 

Private Collection, Orange County, CA. Visual: Generally 


blacklight. 

1040 William Hart (1823-1894 Mount Vernon, NY) 

Cows Watering, signed and dated lower left: Wm. Hart. 1882, oil 

on canvas laid to panel, 16.75’’ x 13.5’’, est:$1500/2000 

Provenance: Private Collection, Orange County, CA. Visual: 



1041 Jasper Francis Cropsey (1823-1900 Hastings-on- 

Hudson, NY) 

Autumn in the Hudson Valley, signed and indistinctly dated 

lower right: J.F. Cropsey 18**, oil on canvas laid to canvas, 

12’’ x 10’’, est:$20,000/30,000 

Note: Presented in an American gilt carved wood frame. This 

painting will be included in the forthcoming catalogue raisonne 

of the artist’s work to be published by the Newington-Cropsey 

Foundation 

Provenance: Private Collection, Pasadena, CA. Visual: Minor 

frame abrasion. Blacklight: Scattered tiny specks of touch-up 

throughout. 

15

1042 Paul de Longpre (1855-1911 Hollywood, CA) 

A Basket of Tumbling Red Roses with Four Bumblebees, 

signed lower right: Paul de Longpre, oil on board, 18.5’’ x 24.5’’, 

est:$8000/10,000 

Visual: Craquelure in isolated areas of the upper left and upper 

center. A small bulge to left center. Blacklight: Restorations 

to the background concentrated in upper left to address 

craquelure, in the upper center and a couple of small areas at 

the basket’s edge. 

1043 Julia Ives Leonard (1847-1933 Santa Monica, CA) 

Pink Roses on a Tabletop, signed lower right: Julia Leonard, oil 

on canvas, 16’’ x 30’’, est:$2000/3000 

Provenance: Private Collection, Santa Monica, CA. Visual: 



1044 Jules E. Pages (1867-1946 San Francisco, CA) 

Floral Still Life, signed upper left: Jules Pages, oil on 

canvasboard, 13.25’’ x 10.5’’, est:$3000/5000 

Visual: Minor frame abrasion. Blacklight: A 2’’ wide horizontal 

band of touch-up and overpaint across the center to address 

a repair with corresponding verso support panel and cradling 

supports. 

16

1045 Edith White (1855-1946 Pasadena, CA) 

Still Life with a Vase of Roses, signed and dated lower right: Edith White 1880, oil on canvas, 20’’ x 24’’, est:$3000/5000 

Provenance: Private Collection, Santa Monica, CA. Visual: Generally good condition. Blacklight: Scattered tiny dots of touch-up in the 

left center quadrant and concentrated mainly in the darkest brown pigments above and to the right of the flowers. 

1046 Edith White (1855-1946 Pasadena, CA) 

Pink Oleander Blossoms in a Green Vase, signed lower left: 

Edith White, oil on canvas, 18’’ x 24’’, est:$1000/1500 

Provenance: Private Collection, Santa Monica, CA. Visual: 

Generally good condition. The signature intact but faint. 

Blacklight: No evidence of touch-up under blacklight. 

17

1047 William J. McCloskey (1859-1941 Orange, CA) 

Apples on a Table, signed and dated lower right: William J. McCloskey 1896, oil on canvas, 11’’ x 24’’, est:$80,000/120,000 

Note: Painted with typical exacting and exquisite detail, the present still life is a fresh to market example of the artist’s trompe l’oeil 

painting style. McCloskey and his wife Alberta Binford McCloskey (1863-1911) both focused on table top still life as a main subject of 

their work and utilized compositions that included ‘’well lit fruit in a triangular arrangement, resting on a highly-reflective mahogany 

table top, and backed by a darkly obscure plush or velvet drape. Many of the works have an extended horizontal format . . . The 

frequency of this theme for the artists must prove that it was a popular seller, and indeed the uniqueness of the subject, the striking 

color combinations . . . must have been very appealing’’ (N.D.W. Moure, ‘’Partners in Illusion: Alberta Binford and William J. McCloskey, 

Santa Ana, CA, 1996, p. 19). 

According to the ‘Catalogue of Known Artworks’ listing in Moure’s book, McCloskey executed two other still lifes in 1896 utlizing the 

same type and amount of apples. Each example from this series features subtle differences in the way the artist carefully arranged the 

fruit on the dark mahogany surface. 

Provenance: Private Collection, Sacramento, CA; by descent in the family. Visual: Generally good condition. New keys added for 

stability. Blacklight: A nickel-sized area of touch-up on the apple second from the left to address a small repaired tear. A spot of touchup 

on the left apple and a spot of touch-up on the right apple. 

18

1048 William R. Allan (late 19th-early 20th century 

American) 

Portrait of a Woman in White, signed lower right: Wm. R. Allan, 

oil on canvas laid to canvas, 20’’ x 16’’, est:$2000/3000 

Provenance: Private Collection, San Diego County. Visual: Some 

scattered very fine stable craquelure. Blacklight: Scattered 

touch-up on the figure’s face concentrated mainly around her 

eye and nose. Scattered touch-up in the background. 

1049 Lee Greene Richards (1878-1950 Salt Lake City, UT) 

Seated Nanny Holding a Baby in an Interior Dressed in Finery, 

signed and dated upper right: Lee Greene Richards 1911, oil on 

canvas, 24.75’’ x 30.5’’, est:$2000/3000 

Provenance: By descent to present owner, Private Collection, 

Los Angeles, CA. Visual: Generally good condition. Blacklight: 

No evidence of restoration under blacklight. 

1050 Lee Greene Richards (1878-1950 Salt Lake City, UT) 

Nanny and Child in a Garden, signed and dated lower left: Lee 

Greene Richards 1912, oil on canvas, 30’’ x 25’’, est:$1800/2500 

Provenance: By descent to present owner, Private Collection, 

Los Angeles, CA. Visual: Generally good condition. Paint loss to 

gray skirt and sleeve in several areas. A .25’’ horseshoe-shaped 

puncture to center top. Blacklight: No evidence of restoration 


19

1051 Florence Parker Bloser (1889-1935 Los Angeles, CA) 

Still Life with Zinnias in a Vase, signed lower right: Florence 

Parker Bloser, oil on canvas, 25’’ x 30’’, est:$1000/1500 

Provenance: Estate of Domingo Amestoy; by descent in the 

family to the present owner. Visual: Generally good condition. 

Blacklight: No evidence of restoration under blacklight. 

1052 Virginia B. Woolley (1884-1971 Laguna Beach, CA) 

‘’Petunias’’, signed lower right: Virginia Woolley, titled on the 

artist’s studio label affixed verso, oil on canvas laid to artist’s 

board, 18’’ x 14.25’’, est:$800/1200 

Visual: Generally good condition. Blacklight: No evidence of 


1053 Esther Hunt (1875-1951 San Francisco, CA) 

Chinese Girl in Costume, signed lower right: Esther Hunt, 

copyright lower left, watercolor on paper under glass, 

21.25’’ x 13.25’’, est:$2500/3500 

Note: The painting retains a carved Asian-style frame. 

Provenance: Private Collection, Ventura, CA. Visual: Generally 


20

1054 Percy Gray (1869-1952 San Francisco, CA) 

Eucalypti and Wildflowers in a California Landscape, signed and 

dated lower right: Percy Gray 1927, watercolor on paper under 

glass, sight size: 13.25’’ x 19.5’’, est:$8000/12,000 


Generally good condition. Not examined out of frame. 

1055 Albert Thomas De Rome (1885-1959 Carmel, CA) 

Mountain Landscape with Blooming Flowers, signed lower 

left: A. De Rome, watercolor on paper under glass, sight size: 

7.5’’ x 10.5’’, est:$1000/1500 



1056 Mary DeNeale Morgan (1868-1948 Carmel, CA) 

Poppies and Lupine, signed lower right: M. DeNeale Morgan, oil 

on masonite, 30’’ x 40’’, est:$15,000/20,000 

Provenance: Abbott Silva, Carmel, CA, no. 82 (see verso label), 

Estate, Colorado. Visual: Generally good condition. Two tiny 

surface drips upper left. Blacklight: No evidence of restoration 


21

1057 Albert Thomas De Rome (1885-1959 Carmel, CA) 

‘’Rising Tide’’, Monterey Coastal, signed lower right: Albert 

De Rome, titled on the canvas edge verso, signed again and 

inscribed on the lower canvas edge verso: 1st Prize Monterey 

County Fair, Sept. 1939 and with artist’s Pacific Grove address, 

numbered verso: 177, oil on canvas laid to artist’s masonite, 

18’’ x 24’’, est:$3000/5000 

Exhibited: Monterey County Fair, Monterey, CA, September 

1939, first prize; ‘’Albert Thomas De Rome, 1885-1959, A Pacific 

Grove Artist Remembered’’, Museum of Natural History, Pacific 

Grove, CA, July 1 - July 31, 1988, no. 258 (see verso labels). 


Generally good condition. Blacklight: Apparently no evidence 

of restoration under blacklight. Fluoresces unevenly, difficult to 

read under blacklight. 

1058 Paul Dougherty N.A. (1877-1947 Monterey, CA) 

Off the Maine Coast, estate signed lower right: Paul Dougherty, 

oil on panel, 12’’ x 16’’, est:$1500/2000 

Provenance: Estate of the artist; Mills & Lang Fine Art, April 

1990, no. 230, acquired from the above; Private Collection, 

Whittier, CA. Visual: Generally good condition. Blacklight: A 

spot of touch-up in the sky in the upper left and a few minor 

spots of touch-up in the upper right quadrant and along the right 

edge. 

1059 Ralph Davidson Miller (1858-1945 Los Angeles, CA) 

Monterey Pines Coastal, signed and dated lower right: Ralph 

Davidson Miller 1918, oil on canvas, 40’’ x 30’’, est:$2000/3000 

Note: The present work was originally commissioned in 1918 

by the Santa Fe Railroad for display in a California depot. 

Provenance: Commissioned by Santa Fe Railroad, 1918; 

California Security - Loan, purchased from the above for their 

315 East Colorado Street, Pasadena location; gifted to Clarence 

Seares, Board of Directors, California Security - Loan when 

the company closed, circa early 1940s; by descent in the family 

to the present owner, Private Collection, Eastvale, CA. Visual: 

Craquelure throughout, concentrated in upper half. Two 1’’ 

tears in the center on the foliage. Blacklight: No evidence of 


22

1060 Frederick Mulhaupt (1871-1938 Gloucester, MA) 

Coastal Rocks, signed lower left: Mulhaupt, oil on canvas, 

18’’ x 22’’, est:$3000/5000 


Generally good condition with stable craquelure throughout. 

Blacklight: Scattered spots of touch-up along the upper left and 

right edges and in the center sky. 

1061 Frank W. Cuprien (1871-1948 Laguna Beach, CA) 

‘’A Summer Day, The Mediterranean’’, Coastal Rocks in a Calm 

Sea, signed lower left: F.W. Cuprien, titled verso, oil on canvas, 

20’’ x 28’’, est:$2000/3000 


good condition. A 1.5’’ scuff to paint in the lower right. Thin 

paint in the rock shadow. Blacklight: No evidence of restoration 


1062 John Olsen Hammerstad (1842-1925 Norwegian / 

Chicago, IL) 

Harbor Outlet with Boats and Rocks, signed lower left: J. 

Hammerstad, oil on canvas, 12’’ x 16.75’’, est:$1000/1500 

Provenance: Private Collection, Valencia, CA. Visual: Generally 

good condition with minor frame abrasion. Blacklight: To minor 

spots of touch-up along the upper right edge. A few letters of 

the middle of signature with a few tiny spots of enhancement. 

23

1063 Frank Myers Bogg (1855-1926 Springfield, OH/ 

France) 

French Village and Canal, signed lower left: Boggs, oil on 

canvas laid to canvas, 20’’ x 26’’, est:$2000/3000 

Provenance: Charles Hudson Bull, New York, NY, prior to 

1936; by descent in the family to the present owner, Private 

Collection, Pasadena, CA. Visual: Minor frame abrasion. 

Blacklight: A repaired tear with very thin touch-up in the center, 

approximately 7’’ horizontal with two vertical related lines of 

touch-up 2’’ and 3’’. 

1064 Alson Skinner Clark (1876-1949 Pasadena, CA) 

Figures in a Courtyard, signed lower left: Alson Clark, oil on 

canvas, 21.5’’ x 25.5’’, est:$7000/10,000 

Provenance: Private Collection, Newport Beach, CA. Visual: 



1065 Alexis M. Podchernikoff (1886-1933 Pasadena, CA) 

‘’Mission San Juan Capistrano’’, signed and dated lower left: 

Alexis M. Podchernikoff, 1915 (?), titled verso, oil on canvas, 

22’’ x 28’’, est:$1500/2000 

Provenance: Private Collection, San Diego County. Visual: 

Upper left corner has two 1’’ vertical losses, canvas is rippled 

in same area. Canvas is loose and with an upper stretcher bar 

crease. Blacklight: No evidence of restoration under blacklight. 

24

1066 John Sykes (1859-1934 Santa Barbara, CA) 

Two California Mission Views: ‘’San Buenaventura Mission - 

1782’’ and Mission Santa Barbara, the first: signed lower left: 

John Sykes, titled lower right, signed again and dated verso: 

1901, the second: appears unsigned, each: oil on canvas, the 

first: 15’’ x 30’’, est:$2000/3000 

Note: Dimensions of the second: 10’’ x 16’’. Provenance: Private 

Collection, Los Olivos, CA. Visual: The first: Minor very fine, 

stable craquelure and an upper stretcher bar crease. Surface 

dirt. The second: Surface dirt and a few drips scattered in the 

sky and in the upper right. An isolated area of craquelure with 

lifting in the left center of the sky. Blacklight: The first: Three 

quarter-sized areas of overpaint to address losses, one with a 

corresponding verso patch, in the sky to the left and right of the 

tallest tree. A spot of overpaint in the upper left extreme corner. 

The second: No evidence of restoration under blacklight. 

1067 Dana Bartlett (1882-1957 Los Angeles, CA) 

‘’San Buenaventura Mission, Founded 1782’’, signed lower 

left: Dana Bartlett, ink on paperboard under glass image size: 

10.5’’ x 14’’, est:$800/1200 

Note: The present work is the original drawing made for a 

lithographic edition. Provenance: Private Collection, Los 

Angeles, CA. Visual: Generally good condition with minor toning 

and staining. A spot of foxing along the lower center margin 

edge. Two spots of stain in the center. Hinged to the front mat 

along the upper, left and right edges with paper tape. 

1068 Carl von Perbandt (1832-1911 San Francisco, CA) 

Cows Watering in a Landscape, Likely California, circa 1880, 

signed lower right: C. v. Perbandt, oil on canvas, 24’’ x 16’’, 

est:$1500/2000 


Generally good condition with some scattered minor 

craquelure. Blacklight: A spot of touch-up in the upper center 

of the sky. A few minor spots of touch-up along the upper edge. 

25

1069 William Keith (1838-1911 Berkeley, CA) 

Tonalist Landscape with Figures and Hay Cart, signed and 

inscribed lower right: W. Keith S.F., oil on canvas laid to canvas, 

18’’ x 28’’, est:$3000/5000 


Generally good condition. Blacklight: A 5’’ line of scattered 

vertical touch-up just above center figures. Two possible 2’’ 

areas of older touch-up in the lower right. Uneven and heavy 

varnish - difficult to read under blacklight. 

1070 Willam F. Jackson (1850-1936 Sacramento, CA) 

Trees and White Flowers in a Summer Landscape, signed lower 

left: W.F. Jackson, oil on canvas, 12’’ x 18’’, est:$2000/3000 


touch-up under blacklight. 

1071 Phillips F. Lewis (1892-1930 Oakland, CA) 

Sunset in the Estuary, signed lower right: Phillips Lewis, oil on 

canvas, 22’’ x 26.25’’, est:$2000/3000 


Generally good condition with some minor craquelure scattered 

throughout and stretcher bar creases. Blacklight: A 2’’ x 1’’ area 

with scattered spots in the left center with corresponding verso 

patch. 

26

1072 Angel Espoy (1879-1963 Seal Beach, CA) 

‘’A Sketching Trip, So. Cal.’’, Two Artists Working in a Eucalyptus 

Landscape, signed lower left: A. Espoy, signed again and 

titled on the stretcher, oil on canvas laid to canvas, 30’’ x 24’’, 

est:$5000/7000 

Provenance: With California View Fine Arts, Los Gatos, CA 

(see verso label); with Sullivan Goss An American Gallery, 

Santa Barbara, CA, ‘’Curator’s Choice: Peace and Quiet’’, 2007 

(see verso label). Visual: Fine stable craquelure throughout. A 

horizontal slub intrinsic to the canvas across the lower center. 

Blacklight: Fine scattered crack-fill throughout the sky. A few 

other minor spots of touch-up in the landscape. 

1073 Elmer Wachtel (1864-1929 Los Angeles, CA) 

Foothill Landscape with Poppies, signed lower left: E. Wachtel, 

oil on canvas, 12.5’’ x 20.5’’, est:$3000/5000 

Provenance: Property of the Women’s Twentieth Century Club, 

Eagle Rock, CA. Visual: Minor frame abrasion. Blacklight: 

Touch-up throughout the distant mountains. Scattered touch-up 

in the right center including 3 quarter-sized areas. 

1074 Jean Mannheim (1863-1945 Pasadena, CA) 

‘’Chapman Ranch’’, signed lower left: J. Mannheim, titled verso, 

oil on canvas, 20’’ x 24’’, est:$2500/3500 

Provenance: Property from the Family of the Artist. Visual: 



27


Car on an Arroyo Bridge, signed with initials lower left: JM, oil 

on masonite, 12’’ x 16’’, est:$1000/1500 




1076 Orrin A. White (1883-1969 Pasadena, CA) 

‘’Above the Bridge’’, signed lower left: Orrin A. White, titled 

verso, oil on board, 20’’ x 24’’, est:$3000/5000 

Provenance: Estate, Pennsylvania. Visual: Minor surface 

dirt and some scattered vertical drips on the left side. A 6’’ 

stable crack in the board in the lower center with scant tiny 

losses. Two horizontal surface cracks to the board in the upper 

left quadrant. Blacklight: No evidence of restoration under 

blacklight. 

1077 Orrin A. White (1883-1969 Pasadena, CA) 

‘’Autumn Color’’, unsigned, gouache on board, 14’’ x 18’’, 

est:$1500/2000 

Note: The present work comes out of the same estate as the 

previous lot and bears an inscription on the verso backing 

paper indicating that this is also the work of Orrin White (though 

unsigned as stated). Provenance: Estate, Pennsylvania. 



28


Desert Mountains and Cacti, signed lower left: Paul Lauritz, oil 

on canvas, 28’’ x 32’’, est:$4000/6000 

Provenance: Private Collection, Yucca Valley, CA, acquired prior 

to the 1950s. Visual: Generally good condition. Blacklight: No 


1079 Frank Tenney Johnson (1874-1939 Los Angeles, CA) 

‘’Banks of the Little Colorado, Near Cameron, Ariz.’’, signed and 

dated lower left: F. Tenney Johnson A.N.A. 1933, oil on board, 

12’’ x 15.75’’, est:$5000/7000 

Note: With an authentication label affixed verso signed by 

Mrs. F. Tenney Johnson. Visual: Generally good condition. 


1080 Louis B. Akin (1868-1913 Flagstaff, AZ) 

Landscape, Flagstaff, Arizona, unsigned, oil on canvas, 

20’’ x 14’’, est:$2500/3500 

Provenance: With O’Brien Art Galleries, Chicago, IL (see verso 

label); John G. Verkamp, Executor of the Louis Benton Akin 

estate, no. 56; M.T. or Richard Riordan, acquired from the above, 

27 February 1914 ($3.50) (see verso inscriptions and a copy of a 

typed memo affixed to the original paper backing of ‘Pinnacle 

Rock in Canyon de Chelly’). Visual: Generally good condition. 

Surface dirt. Blacklight: No evidence of restoration under 

blacklight. 

29

1081 Louis B. Akin (1868-1913 Flagstaff, AZ) 

‘’Pinnacle Rock in Canyon de Chelly’’, unsigned, oil on canvas 

laid to board, 14.5’’ x 5.75’’, est:$2000/3000 

Provenance: With O’Brien Art Galleries, Chicago, IL (see verso 

label); John G. Verkamp, Executor of the Louis Benton Akin 

estate, no. 33; Richard Riordan, acquired from the above, 27 

February 1914 ($10) (see typed memo affixed to the original 

paper backing). Visual: Generally good condition with minor 

frame abrasion and some scattered edge losses. A dot of loss in 

the upper right in the sky. Blacklight: No evidence of restoration 


1082 Ransome Gillet Holdredge 

(1836-1899 San Francisco, CA) 

Indians in Yosemite Valley, signed lower right: R.G. Holdredge, 

oil on canvas laid to waxed canvas, 32’’ x 56’’, est:$8000/12,000 

Provenance: Private Collection, Los Angeles, CA. Visual: Some 

scattered stable craquelure. Wax lined as stated and mounted 

on newer supporting stretchers. The canvas slightly rippled 

from the lining. Blacklight: Tiny spots of touch-up scattered in 

the sky and in parts of the landscape. A concentrated area of 

scattered dots of touch-up on the distant mountains in the left 

center approximately 4’’ x 2’’. A vertical 1.5’’ line and another .5’’ 

spot of touch-up in the upper center. 

1083 Joseph John Englehart (1867-1915 Oakland, CA) 

‘’Yosemite Valley’’, signed lower left: J.J. Englehart, titled verso, 


Provenance: Corporate Collection, Pomona, CA. Visual: 

Generally good condition. Two minor spots of paint loss, one in 

the direct center and one in the lower left corner. Surface dirt. 


30

1084 Frank Tenney Johnson (1874-1939 Los Angeles, CA) 

‘’Navajo Night Riders’’, unsigned, oil on masonite, 30’’ x 20’’, 

est:$10,000/20,000 

Provenance: Altermann Galleries, Santa Fe, NM; Private 

Collection, Bakersfield, CA, acquired from the above, circa 1998. 

Visual: Generally good condition with minor frame abrasion 

and a few minor losses along the upper and lower edges. 


1085 Bert Geer Phillips (1868-1956 San Diego, CA) 

A Native American Family in an Orchard, circa 1935, signed 

lower right: Phillips, oil on masonite, 14’’ x 14’’, est:$10,000/15,000 

Provenance: Private Collection, Glendale, CA; by descent two 

generations to the present owners. Visual: Generally good 

condition with surface dirt and a few minor surface drips. Two 

dots of loss and a minor scratch in the right center near the 

edge. Blacklight: A blue pigment fluoresces in the sky primarily 

along the upper edge but this appears to be in the hand of the 

artist. 

1086 Marjorie Jane Reed (1915-1996 Vallecito, CA) and 

John W. Hilton (1904-1983 Indio, CA) 

‘Come and Get It’’, signed and dated lower right: Marjorie 

Reed - & J.W. Hilton 1952, titled on the stretcher, oil on canvas, 

20’’ H x 30’’ W, est:$4000/6000 

Note: The present work is a rare and possibly unique painting 

jointly executed by Reed, who painted the figures and wagon, 

and Hilton, who painted the landscape and atmosphere. 

Provenance: Private Collection, Long Beach, CA, possibly 

acquired directly from the family of Hilton. Condition: Visual: 

Generally good condition. Blacklight: No evidence of restoration 

under blacklight 

31


Stagecoach on a Narrow Canyon Trail, signed lower left: 

Marjorie Reed, oil on canvasboard, 16’’ x 24’’, est:$2000/3000 




blacklight. 


Stagecoach, signed lower right: Marjorie Reed, oil on 

canvasboard, image size: 8’’ x 10’’, est:$1000/1500 

Provenance: Collection of a Resident of Artist Alley, Champion 

Place, Alhambra, CA, prior to the 1960s. Visual: Generally good 

condition with surface dirt and grime. The full canvasboard 

dimensions are 13’’ x 15’’ and the artist added a decorative 

border to the painting’s edges, using the remaining board as a 

mat. Blacklight: No evidence of restoration under blacklight. 

1089 Bill Schenck (1947-* Scottsdale, AZ) 

‘’Zuni’’, signed, dated and titled verso: Schenck Dec 85, oil on 

canvas, 60.5’’ x 70.5’’, est:$5000/7000 

Provenance: Estate, Malibu, CA. Visual: Generally good 

condition with two concentric circles of cracking in the upper 

left. Blacklight: No evidence of restoration under blacklight. 

32

1090 Eyvind Earle (1916-2000 Carmel, CA) 

‘’White House,’’, Abstracted Native American Cliff Dwellings, 

signed lower left: Eyvind Earle, titled verso, oil on canvas, 

40’’ x 30’’, est:$2000/3000 





‘’Santa Ynez Hills’’, signed and dated lower right: Eyvind Earle 

11.6.75, dated again on the artist’s frame, oil on panel, 22’’ x 28’’, 

est:$5000/7000 

Note: With the artist’s reproduction rights reserved stamps 

verso and on frame verso. Provenance: Estate, Brentwood, CA. 



1092 David Chapple (1947-* California) 

‘’April Color’’, California Poppies and Oak Trees in a California 

Landscape, signed lower left: David Chapple, titled verso, oil on 

masonite, 30’’ x 40’’, est:$3000/5000 

Provenance: DeRu’s Fine Arts, Laguna Beach, CA (see verso 

label and artist biography); Private Collection, Los Angeles, CA. 



33

1093 Charles Muench (1966-* California) 

‘’Spring Morning in Eaton Canyon’’, signed lower right: Charles Muench, signed again, titled and inscribed verso: Charles Muench / 

#1120 / Mary, One of my favorite places to paint! Charles, oil on canvas, 22’’ x 28’’, est:$2000/3000 

Provenance: Private Collection, Northern California. Visual: Generally good condition. Blacklight: No evidence of restoration under 

blacklight. 

1094 Mentor Charles Huebner (1917-2001 Los Angeles, 

CA) 

‘’The Old Ones’’, View of Palm Trees in MacArthur Park, Los 

Angeles, signed and dated lower right: Mentor ‘56, signed 

and dated again and titled verso, oil on masonite, 26’’ x 32’’, 

est:$2500/3500 

Provenance: Private Collection, Solana Beach, CA, acquired 

directly from the artist; Sold to Benefit a Local Scholarship Fund. 

Visual: Generally good condition. Five spots of paint loss in the 

tree trunk area. One dime-sized area of loss to upper center 

area. Blacklight: No evidence of restoration under blacklight. 

34

1095 Dan Lutz (1906-1978 Los Angeles, CA) 

‘’Boogie Woogie’’, Pine Top Playing the Piano, signed lower right: Dan Lutz, oil on canvas, 24’’ x 30’’, est:$7000/9000 

Literature: J. Stern, ‘’American Scene Painting: California, 1930s and 1940s’’, Newport Beach, CA, p. 107. Note: Little remembered 

today, Clarence ‘Pine Top’ Smith recorded only eight songs during his brief career and short life, but he is credited for igniting the 

boogie woogie dance craze -- the upbeat, rhythmic style of piano blues which would influence swing music and ultimately evolve into 

rock n’ roll. 

Born in 1904 and raised in Birmingham, Alabama, Smith joined the Great Migration of southern blacks to the industrial north, working as 

an entertainer and touring on the T.O.B.A. vaudeville circuit before settling in Chicago, where he made his career playing his raucous 

piano songs at rent parties and taverns. In the closing weeks of 1928, at age twenty-four, Smith played his first session for Vocalion 

Records, which produced the now classic ‘race record’ ‘‘Pine Top’s Boogie Woogie’’. It was an immediate sensation and became a 

commercial hit. 

‘Pine Top’ only enjoyed a few months of fame, before he was killed by a stray bullet while at the piano during a barroom brawl. His 

‘‘Boogie Woogie’’ soon spread to inspire both black and white audiences nationwide, and by the early 1940s nearly every big band, 

including Artie Shaw’s, had recorded their own ‘boogie woogie’. The style even found its way in to the titles of paintings such as 

Piet Mondrian’s highly influential ‘‘Broadway Boogie Woogie’’, 1943, which incorporated the concept of musical rhythms into visual 

composition. Tommy Dorsey’s updated version of Pine Top’s recording, made ten years after the original, became the second best seller 

of the swing era, behind only Glenn Miller’s ‘‘In the Mood.’’ 

According to Jean Stern in his essay about Dan Lutz published in ‘’American Scene Painting: California, 1930s and 1940s’’, ‘’Following 

his Spirituals period, Lutz ventured into a ‘Jazz’ period, where he used harsher color cadences coupled with explosive bursts of rich 

pigments. Titles from this brief period include ‘Virtuoso’ and ‘Boogie Woogie’, a painting which shows Pine Top Smith at the piano and 

which was purchased by Artie Shaw (J. Stern, ‘’American Scene Painting: California, 1930s and 1940s’’, p. 107).. Provenance: Dalzell 

Hatfield Galleries, Los Angeles, CA (see label verso); Tangible Property from the Estate of Artie Shaw; sold John Moran Auctioneers, 

Inc. September 2008, lot 1033 ($8,625); Private Collection, Ventura, CA, acquired from the above. Visual: Generally good condition with a 

small area of instability to the right of the figure. Blacklight: No evidence of restoration under blacklight. Uneven varnish. 

35

1096 Edwin Roscoe Shrader (1878-1960 La Canada, CA) 

Figures in a Tree-filled Park, signed lower right: E. Roscoe 

Shrader, oil on canvasboard, 18’’ x 24’’, est:$2000/3000 



1097 Emil J. Kosa Jr. (1903-1968 Los Angeles, CA) 

‘’Griffith Park in Los Angeles’’, signed and numbered on the 

stretchers: Emil Kosa #6, oil on canvas, 22’’ x 30’’, est:$4000/6000 

Provenance: Private Collection, Orange, CA. Visual: Generally 

good condition with minor frame abrasion. Blacklight: Two 

quarter-sized areas of touch-up in the upper center and a spot 

of touch-up in the upper left. 

1098 Wilfrid T. Mills (1912-1988 Los Angeles, CA) 

Los Angeles Street Car, signed lower right: W. Mills, oil on 

canvas, 16’’ x 20’’, est:$1500/2000 

Provenance: Private Collection, Mission Viejo, CA, acquired 

early 1990s; sold John Moran Auctioneers, Inc., June 2010, lot 

113 ($7,475); Private Collection, Northern California, acquired 

from the above. Visual: Generally good condition. A vertical 

scratch to surface just below street car, 1’’. Blacklight: No 


36

1099 Ben Abril (1923-1995 Los Angeles, CA) 

‘’Angel’s Flight Railway - Los Angeles’’, signed lower left: 

Ben Abril, titled on the stretcher, oil on canvas, 24’’ x 36’’, 

est:$3000/5000 




1100 Daisy M. Hughes (1882-1968 Los Angeles, CA) 

Merry-Go-Round at a Circus, signed lower left: D.M. Hughes, oil 

on masonite, 15.75’’ x 19.75’’, est:$2000/3000 

Provenance: Private Collection, La Jolla, CA. Visual: Generally 

good condition with a minor shallow surface scratch in the 

lower right. Blacklight: No evidence of restoration under 

blacklight. 

1101 John Jules Billington (1900-1972 Whittier, CA) 

‘’Hollywood Series, No. 2’’, ‘Sunset Strip’’, signed and dated 

lower right: J. Billington 40, signed again and with artist’s 

address verso, signed again and titled on labels affixed verso 

and to the frame, gouache and watercolor on masonite under 

glass, 15’’ x 36’’, est:$2500/3500 

Exhibited: 21st Annual California Water Color Society Show, 

Los Angeles, CA, n.d. (see verso label). Provenance: Private 

Collection, Victorville, CA. Visual: Generally good condition. 

37

1102 Robert Graham N.A. (1938-2008 Los Angeles, CA) 

‘’Toro’’, Modernist Depiction of a Bull, signed and titled on 

verso label: Robert Graham, mixed media collage on cardboard, 

12’’ x 18’’, est:$800/1200 

Note: The present work is a rare and early student work by the 

artist and retains an undated partial student artwork exhibition 

tag affixed verso. Provenance: Private Collection, San Dimas, 

CA. Visual: Generally good condition. Minor craquelure in the 

painted areas, one collage element slightly bent in the right 

center. Blacklight: No evidence of restoration under blacklight. 

1103 Ward Kimball (1914-2002 Arcadia, CA) 

A Glazed Ceramic Platter Depicting an Abstract Mickey Mouse, 

signed and numbered verso: Ward Kimball AP 1/30, with Disney 

copyright, 17.25 Dia., est:$800/1200 

Note: A Disney animator and one of a group known as Disney’s 

Nine Old Men, Ward Kimball created the character of Jiminy 

Cricket from ‘Pinocchio’, characters from ‘Alice in Wonderland’, 

the famous musical number from ‘Three Caballeros’’ and much 

more. Kimball was awarded the Academy Award for Best 

Short Subject in 1970 for the educational animated cartoon ‘It’s 

Tough to Be a Bird’’. Provenance: Private Collection, Tracy, CA. 

Condition: Generally good condition 

1104 Karoly Fulop (1891-1963 Los Angeles, CA) 

‘’The Beggars’’, Two Men: One Playing a Bass and the Other 

Holding a Violin and Bowl, Circa 1930s, unsigned, carved wood, 

17’’ x 16’’, est:$3000/5000 

Provenance: Property of the Women’s Twentieth Century Club, 

Eagle Rock, CA. Visual: Generally good condition with scattered 

marks and scratches primarily on the base. General dust 

accumulation commensurate with age. A repaired crack on the 

base across the right foot of the Bass Player. 

38

1105 Francis Atlee Caldwell (1911-1996 Los Angeles, CA) 

‘’Beach Car’’, Figures Waiting for the Beach Train, signed 

and dated lower right: Francis Caldwell -37, titled on a partial 

exhibition label affixed verso, oil on canvas laid to canvas, 

22.5’’ x 28’’, est:$2000/3000 


Generally good condition. Tacking edges removed when relined, 

as stated. A diagonal line of heavier impasto across the scene, 

that does not fluoresce under blacklight. Frame is slightly larger 

than the canvas and trimmed edges of original canvas are 

visible top and bottom. Blacklight: No evidence of restoration 



Cottages in a California Coastal View, signed lower right: Ben 

Abril, oil on canvas, 24’’ x 48’’, est:$2000/3000 

Provenance: Private Collection, Encino, CA. Visual: Generally 


blacklight. 


‘’United States Coast Guard - Lighthouse, Coast of Maine’’, 

signed lower left: Ben Abril, titled and inscribed on the 

stretcher, oil on canvas, 20’’ x 24’’, est:$800/1200 

Note: Further inscribed on the stretcher: Portland Head Light 

- Built in 1791 on orders from George Washington - Oldest 

Lighthouse in Maine. Provenance: Private Collection, Whittier, 

CA. Visual: Generally good condition. Blacklight: No evidence 

of restoration under blacklight. 

39

1108 Peter Ellenshaw (1913-2007 Santa Barbara, CA) 

Waves on a Rocky Shore, signed and dated lower left: Peter 

Ellenshaw 65, oil on canvas, 16’’ x 24’’, est:$2000/3000 

Provenance: Private Collection, Riverside, CA. Visual: Generally 


blacklight. 

1109 Peter Ellenshaw (1913-2007 Santa Barbara, CA) 

California Seascape, signed lower left: Peter Ellenshaw, artist’s 

copyright stamp and stamped numbers on the stretcher and 

verso: 1408, oil on canvas, 16’’ x 24’’, est:$2000/3000 

Provenance: With Hammer Galleries, New York, NY, no. 21398 

(see stamps on stretcher and frame); Conacher Gallery, San 

Francisco, CA, no. 772; acquired by the present owner from the 

above, 1978. Visual: Generally good condition. Blacklight: No 


1110 Vincent Farrell (1928-2008 Laguna Beach, CA) 

Still Life on a Balcony, Likely the Salt Creek Area of Laguna 

Beach, signed lower left: Vincent Farrell, oil on canvas, 

30’’ x 36’’, est:$800/1200 

Provenance: Private Collection, Santa Ana, CA. Visual: 

Generally good condition with minor frame abrasion. Blacklight: 


40

1111 Innocenzo Daraio (1903-1993 Palm Springs, CA) 

Pebble Beach Coastal, signed lower left: By Innocenzo Daraio, 

oil on canvasboard, 24’’ x 30’’, est:$2000/3000 

Provenance: With Peregrine Galleries, Santa Barbara, CA (see 

verso label); Private Collection, Las Vegas, NV. Visual: Generally 

good condition with a very minor 2’’ vertical shallow surface 

scratch in the left center. Blacklight: No evidence of restoration 



‘’Rocks and Sea, Carmel’’, signed lower left: Paul Lauritz, titled 

verso, oil on panel, 15.75’’ x 19.75’’, est:$1000/1500 

Provenance: Private Collection, Santa Barbara, CA, by descent 

in the family to the present owners. Visual: Generally good 

condition. Blacklight: No evidence of restoration under 

blacklight. 

1113 Alexander A. Dzigurski (1911-1995 Los Angeles, CA) 

Seascape, signed lower right: A. Dzigurski, oil on canvas, 

24’’ x 30’’, est:$1000/1500 

Provenance: With Bresler Galleries, Milwaukee, WI (see verso 

label); Private Collection, Glendora, CA, possibly acquired from 

the above, 1950s. Visual: Generally good condition. Blacklight: 


41

1114 Joane Cromwell (1895-1969 Laguna Beach, CA) 

‘’Low Tide’’, signed lower right: Joane Cromwell, titled verso, oil 

on canvasboard, 12’’ x 16’’, est:$1500/2000 

Provenance: Private Collection, California, acquired directly 

from the artist, circa late 1940s / early 1950s; by descent in the 




Seascape, signed and dated lower left: E.J. Kosa Jr 1935, oil on 

canvas, 25’’ x 30’’, est:$2000/3000 


Generally good condition. Minor stable craquelure throughout 

the center. A .25’’ x 1.25’’ ‘L’-shaped tear and a small puncture in 

the upper right quadrant. Blacklight: No evidence of restoration 



‘’Laguna Coast’’, Rocky Cove, signed lower left: J. Mannheim, 

titled on the stretcher, oil on canvas, 24’’ x 36’’, est:$5000/7000 




42

1117 Charles Arthur Fries (1854-1940 San Diego, CA) 

‘’Rocks at La Jolla’’, Figures on Rocky Coast, 1930, signed lower 

left: C.A. Fries, signed again, titled, numbered and with the 

artist’s price code verso: #1429, oil on canvas, 14.25’’ x 20.25’’, 

est:$4000/6000 

Literature: ed. B.F. Dixon, ‘’Too Late: The Picture and the Artist: 

A Tribute to the Dean’’, San Diego, CA, 1969, p. 99, no. 1429. 


Generally good condition. Blacklight: Two tiny spots of touch-up 

in the upper right. 


‘’Bay and Shore’’, Boats at Rest in the Back Bay of Newport 

Harbor, estate signed lower right: Sam Hyde Harris, titled and 

numbered verso: 232, oil on canvas laid to board, 20’’ x 24’’, 

est:$5000/7000 

Note: With an authentication stamp signed by Mrs. Sam Hyde 

Harris verso. Provenance: The estate of the artist; Petersen 

Gallery, Beverly Hills, no. A 5012 (see verso label); Private 

Collection, Los Angeles, CA. Visual: Generally good condition 

with two very minor surface scratches in the right center. 

Blacklight: A few minor scattered spots of touch-up in the upper 

left. 


‘’Lake Cuyamaca’’, signed lower right: Maurice Braun, titled 

verso, oil on canvas, 20’’ x 24’’, est:$15,000/20,000 

Provenance: With H. Lieber Co., Indianapolis, IN; Private 

Collection, Florida, acquired circa 1980s; by descent in the 



43


CA) 

‘’Many Paths’’, California Foothills Landscape, signed 

lower right: H. Puthuff, titled verso, oil on canvas, 18’’ x 24’’, 

est:$15,000/20,000 

Note: With an inscription on the stretcher that may relate 

to another painting: Hillside Farms. Provenance: Private 

Collection, Altadena, CA. Visual: Generally good condition with 

minor frame abrasion. Blacklight: No evidence of restoration 



‘’Eucalyptus & Hills’’, signed lower left: Maurice Braun, titled on 

the stretcher, oil on waxed canvas, 12’’ x 16’’, est:$6000/8000 


Generally good condition with some minor scattered 

craquelure. A few specks of paint loss located primarily in the 

background in the left center and right center between the 

eucalypti. Blacklight: Apparently no evidence of touch-up under 

blacklight. 

1122 Orrin A White (1883-1969 Pasadena, CA) 

Eucalyptus Landscape, signed lower right: Orrin A. White, oil on 

canvas, 20’’ x 16’’, est:$3000/4000 




44


‘’Hills of California’’, Landscape with Wildflowers and Hills, 

signed lower left: Edgar Payne, oil on canvas laid to canvas, 

17’’ x 22’’, est:$12,000/18,000 


good condition with scattered stable craquelure. Blacklight: No 

evidence of touch-up under blacklight. 

1124 Joe Duncan Gleason (1881-1959 Glendale, CA) 

‘’Carmel Highlands’’, signed lower right: Duncan Gleason, titled 

on the artist’s label affixed verso, oil on canvasboard, 12’’ x 16’’, 

est:$7000/10,000 

Provenance: Private Collection, Rim Forest, CA. Visual: 



1125 Carl Sammons (1883-1968 Oakland, CA) 

‘’Wild Lilacs and Poppies, Carmel, CA’’, signed lower right: Carl 

Sammons, titled on the original frame’s paper backing, oil on 

canvasboard, 16’’ x 20’’, est:$4000/6000 

Provenance: Private Collection, Colorado, acquired directly from 

the artist, 1953; by descent in the family to the present owner. 



45

1126 Milford Zornes N.A. (1908-2008 Claremont, CA) 

‘’The Sheep Camp’’, signed and dated lower right: Milford 

Zornes 1936, titled and numbered and with artist’s ink 

stamp verso: No. 26, watercolor on paper under glass, 

paper size: 15.5’’ x 22.75’’, est:$1500/2000 

Provenance: Private Collection, Ontario, Canada. Visual: 

Generally good condition. Taped along the four edges with 

hinge tape. The paper slightly rippled. 

1127 Millard O. Sheets N.A. (1907-1989 Gualala, CA) 

‘’Kona, Hawaii’’, Lava Cliffs Near City of Refuge, Hawaii, signed 

and titled lower left: Millard Sheets, watercolor on paper under 

glass, paper size: 22’’ x 30’’, est:$10,000/15,000 

Exhibited: Pasadena Art Institute, Pasadena, CA, n.d. (see 

verso label). Provenance: Dalzell Hatfield Gallery, Los Angeles, 

CA (see verso label); Private Collection, La Jolla, CA. Visual: 

Approximately a dozen spots of foxing in the clouds most likely 

from the original backing. Not examined out of frame. 

1128 Phil Latimer Dike N.A. (1906-1990 Claremont, CA) 

‘’The Sunday Boats’’, signed, titled and dated on the original 

backing paper: Phil Dike w.c. 1950, signed again and titled on an 

exhibition label affixed verso, and with artist’s Claremont, Cal. 

Address, numbered verso: C1903, watercolor on paper under 

glass, paper size: 19’’ x 26’’, est:$5000/7000 

Exhibited: American Water Color Society, New York, NY, 1951 

(see verso label). Provenance: With Cowie Galleries, Los 

Angeles, CA; with Budworth Gallery, New York (see verso 

inscriptions); Estate, Claremont, CA. Visual: Generally good 

condition, colors strong. Not examined out of the frame. 

46

1129 Standish Backus Jr (1910-1989 Santa Barbara, CA) 

‘’Montecito’’, Coastal with Rocks and a Cottage, signed lower 

left: Backus, signed again and titled verso, watercolor on paper 

under glass, paper size: 15’’ x 22.5’’, est:$2000/3000 

Provenance: Private Collection, Toledo, OH. Visual: Generally 

good condition. The paper loose and mounted into archival 

mounting corners to the back mat. 

1130 Jack Laycox (1921-1984 San Francisco, CA) 

Under the Bay Bridge, signed lower right: Jack Laycox, 

watercolor on paper under glass, 21’’ x 28.5’’, est:$3000/5000 



1131 James March Phillips (1913-1981 San Francisco, 

CA) 

‘’Grey Day, Union Street View’’, San Francisco, signed lower 

left: James March Phillips, titled on the original board backing 

affixed verso, watercolor on paper under glass, sight size: 

11.5’’ x 22.75’’, est:$2000/3000 


Generally good condition. Not examined out of the archival 

frame. 

47

1132 Jade Fon A.W.S. (1911-1983 Bakersfield, CA) 

Fisherman’s Wharf and Alcatraz, San Francisco, signed lower 

left: Jade Fon A.W.S., watercolor on paper under glass, paper 

size: 15’’ x 22’’, est:$3000/5000 

Provenance: Private Collection, Roseville, CA. Visual: Generally 

good condition, colors strong. Hinged in the upper left and right 

corners to the back mat. 

1133 Sara Kolb Danner (1894-1969 Santa Barbara, CA) 

Figures on a California Street, signed lower right: Sara Kolb 

Danner, oil on waxed canvas, 20’’ x 24’’, est:$1500/2500 


Generally good condition. Blacklight: Scattered touch-up along 

the left edge. 

1134 Lucien Labaudt (1880-1943 San Francisco, CA) 

Lakeside Bathers, signed lower left: Labaudt, oil on board, 

21.5’’ x 17.25’’, est:$800/1200 

Visual: Scattered stable craquelure. Blacklight: Scattered 

touch-up throughout the center and upper quadrant including 

two areas approximately 2’’ diameter each. Scattered touch-up 

on the standing central figure. A few other scattered spots of 

touch-up throughout the figures. 

48

1135 Ivan Le Lorraine Albright (1897-1983 Chicago, IL) 

Harbor Scene, signed and dated lower right: Ivan Le Lorraine 

Albright 1940, gouache and watercolor on paperboard under 

glass, sight size: 11.5’’ x 17.25’’, est:$800/1200 

Provenance: Private Collection, Whittier, CA. Visual: Generally 


1136 Henry Koerner (1915-1991 Pittsburgh, PA) 

Figure at a Typewriter, signed and dated lower right: Koe 50, 

tempera on board, 12’’ x 15.25’’, est:$10,000/15,000 

Note: The sitter in the present work was in a relationship with 

Koerner in the 1950s. She was a journalism student, a writer 

and worked in an art gallery during this period. Koerner depicts 

a pause in the creative process and paints the sitter as she 

sits in concentration with her hands poised on the typewriter 

keys. Provenance: Private Collection, Los Angeles CA, acquired 

directly from the artist. Visual: Generally good condition. 


1137 Saul Steinberg (1914-1999 New York, NY) 

Original Illustration for the Noilly Prat Vermouth Advertising 

Campaign ‘’Don’t Stir Without Noilly Prat’’, circa 1955, signed 

upper left: Steinberg, with verso board inscription and number: 

#14 Noilly Prat Art, ink on paper hinged to artist board under 

glass, sight size: 13.5’’ x 10.75’’, est:$4000/6000 

Provenance: Private Collection, Oregon. Visual: Generally good 

condition with a central horizontal crease, a very minor crease 

in the upper right corner, two pinholes upper center and a small 

stain right center. 

49

1138 Wolf Kahn (1927-* New York, NY) 

‘’The Meadow’s Edge’’, signed lower right: W. Kahn, numbered, 

dated and titled verso: #46 1983, oil on canvas, 28’’ x 38’’, 

est:$4000/6000 

Provenance: Stemmel Galleries, Reno, NV (see verso label); 

Corporate Collection, Glendale, CA. Visual: Generally good 

condition. Blacklight: No evidence of restoration under 

blacklight. 

1139 Henry Koerner (1915-1991 Pittsburgh, PA) 

‘’Birth of a Book’’, signed and dated lower left: Koe 84, oil on 

canvas backed by masonite, 32’’ x 50’’, est:$15,000/20,000 

Note: This painting was commissioned by the present owner 

to commemorate his experience writing a book. Koerner, with 

his usual humor, uses a birthing motif to depict the event. 

Provenance: Private Collection, Los Angeles, CA, acquired 

directly from the artist. Visual: Generally good condition. 



‘’Hills and Fields’’, signed and dated lower right: Eyvind Earle 

6-30-1991, dated again and titled verso, oil on masonite, 

22’’ x 28’’, est:$2500/3500 




50


‘’Cattle Country’’, signed and dated lower right: Eyvind Earle 4.29 

1975 and with copyright symbol, dated again on the panel edge 

and on artist’s frame, oil on panel, 8.75’’ x 14’’, est:$1500/2000 

Note: With the artist’s reproduction rights reserved stamps 

verso and on frame verso. Provenance: Estate, Brentwood, CA. 



1142 Frederick I. Kann (1886-1965 Los Angeles, CA) 

Abstract Color Field Composition, signed lower right: F. Kann, 

with an exhibition number previously affixed to the framing 

paper: #45, oil on board, 10.5’’ x 13.25’’, est:$1500/2000 

Note: With an unfinished painting depicting a garden door 

verso. Provenance: Private Collection, Washington; by 

descent in the family to the present owner. Visual: Generally 


blacklight. 

1143 Conrad Buff (1886-1975 Laguna Hills, CA) 

Alpine Lake below Mt. Ritter and Mt. Banner - Sierra Nevada, 

CA, signed lower left: Conrad Buff, oil on board, 19.25’’ x 25.75’’, 

est:$3000/5000 


Generally good condition. Small spot of loss in the upper center 

sky. Blacklight: No evidence of restoration under blacklight. 

51

1144 Conrad Buff (1886-1975 Laguna Hills, CA) 

‘’Agatha - Near Ketehta in Monument Valley, Utah’’, Agatha 

Monument, estate stamped lower right: Conrad Buff, with estate 

authentication verso signed by Mrs. Mary Elizabeth Buff, oil on 

board, 14.75’’ x 19.5’’, est:$1500/2500 

Provenance: Estate of the artist; George Stern Fine Art, Los 

Angeles, CA, no. CB044, acquired from the above; Private 

Collection, Newport Beach, CA. Visual: Generally good 

condition. Blacklight: Two small spots of touch-up in the upper 

left sky. 

1145 Joseph P. Frey (1892-1977 Hawthorne, CA) 

View of Mount Ritter and the Thousand Island Lakes Basin 

Looking East, signed lower left: Joseph P. Frey, oil on canvas, 

25’’ x 30’’, est:$1500/2000 

Provenance: Private Collection, Tehachapi, CA. Visual: 

Generally good condition with some minor, scattered 

craquelure. Blacklight: No evidence of restoration under 

blacklight. 

1146 Robert Clunie F.I.B.A. (1895-1984 Bishop, CA) 

‘’Fourth Lake and Temple Crags, North Palisades Region’’, 

signed lower left: Robert Clunie, signed again, dated and titled 

verso: August 1941, oil on canvas, 26’’ x 30’’, est:$3000/5000 

Provenance: Private Collection, Santa Paula, CA; by descent in 

the family to the present owner, Private Collection, Woodland 

Hills, CA, early 1980s. Visual: Generally good condition. Very 

minor frame abrasion with a small loss along the lower center 

edge. Scattered brown spots of discoloration on the rocks in 

the lower left that appear to be rubbing. Restoration performed 

by Clunie protege Richard Coons of Coons Gallery, Bishop, CA 

after the 1994 earthquake (see verso label). Blacklight: Possible 

minor touch-up in the lower left with corresponding verso patch 

and small vertical touch-up in the upper right quadrant. 

52

1147 Paul Grimm (1891-1974 Palm Springs, CA) 

‘’Sierra Heights’’, Snow-capped Mountain and Lake, signed 

lower right: Paul Grimm, signed again, titled and dated 

verso: 1960, oil on canvas laid to artist’s board, 16’’ x 20’’, 

est:$2000/3000 

Provenance: Private Collection, Escondido, CA. Visual: 

Generally good condition. Discolored varnish throughout with 

an uneven area in the upper right. Blacklight: No evidence of 



CA) 

‘’Fragment - Superstition Mt.’’, signed lower right: H. Puthuff, 

signed again and titled verso, oil on canvas laid to board, 

12’’ x 16’’, est:$2500/3500 

Note: Estate Certificate of Authenticity stamped verso. 

Provenance: With Redfern Gallery, Laguna Beach, CA; 

Private Collection, Northern California. Visual: Generally 


blacklight. 


Mountain Scene over a Lake, High Sierras, signed lower 

left: Edgar Payne, oil on canvas laid to board, 11.25’’ x 14’’, 

est:$5000/7000 

Provenance: Goldfield Galleries, Los Angeles, CA, no. EP-142, 

1978 (see verso labels); Private Collection, Los Angeles, CA. 

Visual: Generally good condition with minor frame abrasion. 

Blacklight: Apparently no evidence of restoration under 

blacklight, the signature with some possible enhancement. 

53

1150 Peter Adams (1950-* Los Angeles, CA) 

Winter Landscape, signed lower right: Peter Adams, oil on 

masonite, 17.75’’ x 14’’, est:$1000/2000 




1151 Peter Adams (1950-* Los Angeles, CA) 

‘’Winter on Lake Maine, Mammoth’’, signed lower left: Peter 

Adams, titled on a label affixed verso, oil on masonite, 12’’ x 16’’, 

est:$1000/2000 




1152 Irion Shields (1895-1983 Sacramento, CA) 

‘’From Manzanita Inn’’, Oregon Landscape, signed lower right: 

Irion Shields, signed again and titled verso, oil on canvas laid to 

artist’s board, 22’’ x 28’’, est:$1500/2500 

Provenance: Private Collection, Victorville, CA. Visual: 

Generally good condition with nail holes in the four corners. 


54

1153 Carl Krafft (1884-1938 Oak Park, IL) 

Winter Landscape, signed lower right: Carl R. Krafft and with the 

artist’s thumb print, oil on canvas, 24.25’’ x 27’’, est:$1000/1500 


Generally good condition. One spot of paint loss in the 

lower center. Stretcher bar creases in the upper left corner. 


1154 Robert W. Wood (1889-1979 Bishop, CA) 

Stream Through a Mountainous Western Landscape, signed 

and dated lower right: Robert Wood ‘45, oil on canvas laid to 

canvas, 25’’ x 30’’, est:$5000/7000 

Provenance: Private Collection, Los Angeles, CA, prior to the 

1950s; by descent in the family to the present owner. Visual: 

Generally good condition. Mounted on new stretchers and lined, 

as stated. Blacklight: A 1.5’’ x 1.5’’ ‘L’-shaped repaired tear with 

minor touch-up in the right center. A copy of the conservation 

report from Conservation of Art LLC dated January 2010 is 

included with the lot. 

1155 Robert W. Wood (1889-1979 Bishop, CA) 

‘’Sunshine and Shadow’’, Road Through a Spring Landscape, 

signed lower right: Robert Wood, artist’s stamp and titled verso, 

oil on canvas board, 16’’ x 20’’, est:$2000/4000 

Provenance: Private Collection, Las Vegas NV. Visual: Generally 


blacklight. 

55

1156 Birger Sandzen (1871-1954 Lindsborg, KS) 

‘’Wild Horse Creek’’, Kansas, bears pencil signature, title and 

inscription verso: B. Sandzen Sketch 3, oil on canvas laid to 

board, 24’’ x 9.75’’, est:$10,000/15,000 


Generally good condition . Blacklight: No evidence of 


1157 Clyde Scott (1884-1959 Los Angeles, CA) 

Atmospheric Desert Landscape, signed lower left: Clyde Scott, 


Provenance: Estate, Salem, OR. Visual: Generally good 

condition with some minor stable scattered craquelure. 

Blacklight: Spots of inpainting scattered along the upper edge 

and in the sky and clouds. Some are possibly later re-workings 

by the artist over the varnish layer. 


‘’Solitude in the Desert’’, signed lower left: J. Mannheim, titled 

verso and on an original typed gum label affixed verso, oil on 

board, 12’’ x 15.25’’, est:$1500/2000 

Provenance: Private Collection, San Diego, CA. Visual: 

Generally good condition. Blacklight: A few scattered spots of 

touch-up in the left center of the sky. A small touch-up in the 

lower right corner. 

56

1159 James Swinnerton (1875-1974 Palm Springs, CA) 

Mojave Valley Landscape, signed lower right: Swinnerton, oil on 

canvas, 30’’ x 15’’, est:$3000/4000 

Provenance: Private Collection, Las Vegas, NV. Visual: 

Generally good condition with very minor, stable scattered 

craquelure. Blacklight: A scattered 1’’ area of touch-up in 

the upper center and a 1.5’’ vertical line of touch-up in the left 

center . 

1160 Alfred R. Mitchell (1888-1972 San Diego, CA) 

‘’On the Desert’’, signed lower left: Alfred R. Mitchell, signed 

again and titled on the stretcher, oil on canvas, 24’’ x 30’’, 

est:$8000/12,000 

Visual: Generally good condition with very minor stable 

scattered craquelure. Blacklight: No evidence of restoration 



Desert Landscape, estate signed lower right: Sam Hyde Harris, 

oil on canvasboard, 12’’ x 16’’, est:$3000/5000 

Exhibited: ‘‘Desertscapes: Early California Desert Painters’’, 

Walter N. Marks Center for the Arts, College of the Desert, Palm 

Desert, CA, April 5 - 22, 2010 (see verso label). Note: With an 

authentication stamp signed by Maureen St. Gaudens verso. 

Provenance: Kevin & Diane Stewart, Palm Springs, CA; Private 

Collection, California. Visual: Generally good condition with a 

tiny loss in the upper left corner. Blacklight: One spot of touchup 

along the upper left edge. 

57


‘’Old Frazer’’, Road Through an Autumn Landscape, signed 

lower right: Emil Kosa Jr., signed again and titled on the 

stretcher , oil on canvas, 27’’ x 38’’, est:$5000/8000 

Provenance: Private Collection, Oregon. Visual: Generally 

good condition. A spot of paint loss on the center tree trunk. 

Blacklight: A few scattered spots of touch-up in the upper 

center sky and on the mountains in the upper left. 

1163 Paul Grimm (1891-1974 Palm Springs, CA) 

‘’Peace & Quiet’’, Eucalyptus Tree in a Foothill Landscape, 

signed lower right: Paul Grimm, signed again and titled verso, oil 

on canvas, 24’’ x 30’’, est:$2500/3500 

Provenance: Private Collection, Los Feliz, CA. Visual: Generally 


blacklight. 


Eucalyptus Landscape, appears unsigned, oil on canvas laid to 

masonite, 50’’ x 40’’, est:$2000/3000 

Provenance: Estate, San Marino, CA. Visual: Generally good 

condition with some minor stable scattered craquelure. Blacklight: 


58

1165 Sydney Laurence (1865-1940 Anchorage, AK) 

Snowy Peaks Above the Tokositna River, Alaska, signed, dated and inscribed lower left: Sydney Laurence Alaska 1918, oil on canvas, 

40’’ x 30’’, est:$30,000/50,000 

Provenance: Property of Minerva Hamilton Hoyt, South Pasadena, CA; by descent in the family to the present owners. Visual: Generally 

good condition. Blacklight: A dime-sized scattered spot of touch-up in the lower center with corresponding verso patch. 

59

1166 Carl Sammons (1883-1968 Oakland, CA) 

Redwood Trees in a Landscape, signed lower left: Sammons, 

pastel on board under glass, 24’’ x 20’’, est:$1500/2500 

Visual: Generally good condition. Artist’s board is unmounted. 



Evergreens in a Sierra Landscape, signed lower right: 

Edgar Payne, oil on canvas laid to artist’s board, 12’’ x 16’’, 

est:$8000/12,000 


directly from the artist. Visual: Generally good condition. The 

canvas edges unevenly cut presumably in the hand of the artist. 


1168 John Edward Walker (1880-1940 Berkeley, CA) 

Figures in the Arroyo Seco, signed lower right: J. Edward 

Walker, numbered on the stretcher: #7, oil on canvas, 12’’ x 16’’, 

est:$1000/1500 



blacklight. 

60

1169 Elmer Wachtel (1864-1929 Los Angeles, CA) 

‘’In Eaton Canyon’’, San Gabriel Foothill Landscape, bears 

signature lower left: Wachtel, oil on canvas laid to masonite, 

18’’ x 14’’, est:$4000/6000 

Provenance: Bonnie Margaret, daughter of California artist 

William Swift Daniel, gifted directly from the artist, 1920s; 

Private Collection, Malibu, CA. Visual: Recently cleaned and 

restored. Blacklight: Extensive areas and dots of touch-up 

throughout. 

1170 Granville Redmond (1871-1935 Los Angeles, CA) 

Nocturnal Landscape with Full Moon, signed lower right: G. Redmond, signed again on the stretcher, oil on canvas, 12’’ x 14’’, 

est:$15,000/20,000 

Provenance: Private Collection, New York. Visual: Generally good condition. Blacklight: A spot of touch-up on the tree trunk on the 

right center. 

61


Clouds and Landscape, signed lower right: Edgar Payne, oil on 

canvas laid to artist’s board, 11.5’’ x 15’’, est:$7000/10,000 





1172 Richard Thompson Taggart (1904-1989 Altadena, CA) 

‘’Tujunga Wash’’, Wash and Foothills, signed and dated lower 

right: Richard Taggart Dec. 6, 1938, signed again, titled and with 

the artist’s Altadena address verso, signed again and titled 

on an exhibition label affixed to the frame, oil on masonite, 

16’’ x 20’’, est:$2000/3000 

Exhibited: Pasadena Society of Artists Exhibition, Pasadena, 

CA, March 13, 1945 (see verso label). Provenance: Estate 

of the artist; by descent in the family to the present owner. 

Visual: Generally good condition with surface dirt throughout 

and vertical varnish drips along the left side. Blacklight: No 



‘’Mountains’’, Houses Nestled in a California Valley, signed 

lower left: Maurice Braun, titled and numbered verso: 

#46, oil on canvas mounted to artist’s masonite, 30’’ x 40’’, 

est:$10,000/15,000 

Provenance: Private Collection, Los Angeles, CA, acquired early 

1970s. Visual: Generally good condition. Approximately three 

horizontal rectangular areas on the mountains in the center that 

appear intrinsic to the board when the canvas was laid to the 

artist’s masonite. Blacklight: A few very minor scattered dot of 

touch-up along the upper edge and a spot of touch-up in the 

upper right. A copy of James L. Greaves Conservation Services 

report, dated 11 April 1986, accompanies the lot. 

62

1174 Jack Wilkinson Smith (1873-1949 Alhambra, CA) 

‘’Tranquility’’, Foothill Landscape, signed lower right: Jack 

Wilkinson Smith, signed again and titled on the stretcher, oil on 

canvas, 20’’ x 30.25’’, est:$15,000/20,000 

Visual: Generally good condition. Blacklight: Scattered very 

minor tiny dots of touch-up across the mountains concentrated 

mainly near the right edge and a few scattered along the upper 

edge. 


‘’Morning on the Meadow’’, signed lower right: Geo. Demont 

Otis, titled verso, oil on canvas, 20’’ x 24’’, est:$2000/3000 

Exhibited: Laguna Beach Museum, Laguna Beach, CA, circa 

1974. Provenance: Estate of the Artist; Grace V. Hartley, George 

Demont Otis Foundation, San Francisco (see verso labels and 

stamps); Private Collection, Los Altos, CA. Visual: Generally 

good condition. Blacklight: Scattered spots and tiny dots of 

touch-up throughout the sky and into the distant landscape. 


‘’The Clearance’’, Foothill Landscape, signed lower right: 

Geo. Demont Otis, titled verso, oil on canvasboard, 16’’ x 12’’, 

est:$1500/2000 

Provenance: Private Collection, Los Altos, CA. Visual: Minor 

surface dirt. Blacklight: Scattered touch-up in the four corners, 

and spots of touch-up scattered throughout, particularly in the 

sky. A few areas of touch-up on the upper part of the tallest 

tree. 

63


‘’San Bernardino Mountains’’, Autumn Mountain Landscape, 

signed lower right: Geo. Demont Otis, titled verso, oil on board, 

11.75’’ x 15.75’’, est:$1000/1500 

Provenance: Private Collection, Los Altos, CA. Visual: Generally 


blacklight. 


Foothill Houses and San Gabriel Mountains, unsigned, oil on 

canvas laid to artist’s board, 12.5’’ x 15.5’’, est:$5000/7000 






‘’Devils Gate’’, Arroyo Seco, CA, signed lower right: Duncan 

Gleason, oil on canvasboard, 12’’ x 16’’, est:$4000/6000 

Note: With a typed title on the artist’s label verso. Provenance: 

Private Collection, Santa Fe, NM, acquired directly from the 

artist. Visual: Generally good condition. Blacklight: Very minor 

touch-up along the lower edge. 

64


‘’Painted Canyon’’, signed lower right: Duncan Gleason, with 

typed title on the artist’s label affixed verso, oil on canvas, 

12’’ x 16’’, est:$3000/5000 

Provenance: Private Collection, Santa Fe, NM, acquired directly 

from the artist. Visual: Generally good condition. A very minor 

surface abrasion near the lower edge. Blacklight: Minor touchup 

along the lower edge and in the upper left corner to address 

frame abrasion. 


‘’The Broken Wheel (Sketch for Butterfield Exhibit)’’, signed 

lower right: Marjorie Reed, signed again and titled on the 

artist’s label affixed verso , oil on canvasboard, 16’’ x 20’’, 

est:$2000/3000 




‘’Santa Barbara Mission in Happier Days’’, signed lower right: 

Marjorie Reed, signed again and titled on an artist’s label affixed 

verso, oil on canvasboard, 16’’ x 20’’, est:$1500/2000 

Provenance: Private Collection, Irvine, CA. Visual: Generally 


blacklight. 

65

1183 Nicholas S. Firfires (1917-1990 Santa Barbara, CA) 

‘’The Round-Up’’, signed and dated lower left: Nicholas S. 

Firfires 1962 and with artist’s copyright symbol, oil on canvas, 

24’’ x 40’’, est:$2000/3000 

Literature: ‘‘Nicholas S. Firfires: Views from His Saddle’’, Santa 

Barbara Historical Museum, Santa Barbara, CA, 2009, p. 15, 

illustrated. Note: Together with the book ‘’Nicholas S. Firfires: 

Views from His Saddle’’, Santa Barbara Historical Museum, 

Santa Barbara, CA, 2009. Provenance: Private Collection, 

Carlsbad, CA, acquired directly from the artist. Visual: Generally 

good condition. Blacklight: A quarter-sized spot of possible 

touch-up to address a loss in the lower left above the signature 

and a quarter-sized area of touch-up in the lower right corner. 

1184 Lloyd Harting (1901-1974 Orange County, CA) 

Stagecoach in the Snow, signed lower right: Lloyd Harting, 

watercolor heightened with white gouache on paperboard, 

9’’ x 12’’, est:$800/1200 

Provenance: Private Collection, Carlsbad, CA. Visual: Generally 

good condition with some minor scattered spots of stain 

throughout. 

1185 Edward Borein (1872-1945 Santa Barbara, CA) 

Lone Cowboy on Horseback, signed lower right: Edward 

Borein, watercolor on paper under glass, sight size: 6.5’’ x 9.25’’, 

est:$3000/4000 

Provenance: Estate, Alhambra, CA. Visual: Generally good 

condition with minor toning. Not examined out of the frame. 

66


‘’Trail Herd No. 2’’, signed in pencil lower right: Edward Borein, 

with a horse and rider Remarque in pencil lower left margin, 

etching and drypoint on paper under glass, plate size: 7’’ x 12.5’’, 

est:$3000/4000 

Literature: Galvin, 101. Visual: Generally good condition with 

minor toning to the paper. Not examined out of the frame. 


‘’Robes & Meat’’, signed in pencil lower right: Edward Borein, 

with a horse and rider Remarque in pencil lower left margin, 

etching and drypoint on paper under glass, plate size: 6’’ x 9.5’’, 

est:$1000/2000 

Literature: Galvin, 178. Provenance: Collection of a Resident of 

Artist Alley, Champion Place, Alhambra, CA, prior to the 1960s. 

Visual: Toning to paper throughout and significant mat burn. Not 



‘’Trail Boss’’, signed in pencil lower right: Edward Borein, signed 

in the plate lower right: Edward Borein, etching and drypoint on 

paper under glass, plate size: 7.75’’ x 8.25’’, est:$1000/1500 

Literature: Galvin, 85. Note: First state. Provenance: Collection 

of a Resident of Artist Alley, Champion Place, Alhambra, CA, 

prior to the 1960s. Visual: Generally good condition with toning 

throughout and mat burn. Not examined out of the frame. 

67

1189 After Thomas Moran (1837-1926 Santa Barbara, CA) 

‘’Grand Canyon of the Yellowstone River’’, Printed title in the 

lower margin, with printed inscription in the upper margin: U.S. 

Geological Survey / Plate B, chromolithograph on paper, image 

size: 4.5’’ x 7.5’’, est:$800/1200 

Provenance: Private Collection, Jackson Hole, WY. Visual: 

Generally good condition with a crease in the lower margin. Not 


1190 Paul Landacre N.A. (1893-1963 Los Angeles, CA) 

‘’Laguna Cove’’, December 1941, signed in pencil lower right: 

Paul Landacre, titled in pencil lower left, unframed wood 

engraving on Japan paper, image size: 5.25’’ x 7’’, est:$800/1200 

Edition: edition of 200. Literature: Pub: The Woodcut Society, 

Kansas City, MO. Note: The print is mounted in the original 

presentation paper folio. Provenance: Private Collection, 

Pasadena, CA. Visual: Generally good condition. Hinged along 

the upper edge. Mounted in the original folio as stated. The folio 

with scattered liquid stains on the recto, not effecting the wood 

engraving. 

1191 Benjamin Chambers Brown (1865-1942 Pasadena, 

CA) 

Two Works: ‘’Sails of Venice’’ and ‘’Venice’, each: signed in 

pencil lower right: Benjamin C. Brown, each: titled and inscribed 

in pencil lower left: softground etching in color, the second: 

with artist’s monogram in graphite in the lower right corner of 

the plate: B, signed again and titled lower left in the plate, each: 

softground etching with aquatint on paper, the first plate size: 

6.75’’ x 8.75’’, est:$800/1200 

Exhibited: by repute, Panama Pacific International Exposition, 

San Francisco, CA, 1915. Note: Plate dimensions of the second: 

8.5 x 9.75 inches. Provenance: Collection of a Resident of Artist 

Alley, Champion Place, Alhambra, CA, circa 1930s, acquired 

directly from the brother of Benjamin C. Brown. Visual: The first: 

With very minor toning and dots of stain in the margins. Affixed 

to the front mat in the center of the four edges and with old 

stickers affixed to the upper left and right corners. The paper 

slightly rippled. The second: The paper laid to board. The edges 

slightly uneven. Pinholes in the upper and lower left corners. 

The margins with toning and scattered staining. 

68

1192 John Steuart Curry N.A. (1897-1946 Madison, WI) 

Two Works: ‘’The Missed Leap’’ and ‘’Elephants’’, the first: signed and dated in pencil lower right: John Steuart 1934, signed again in 

the plate lower left: Curry, titled and numbered in pencil lower left: 16/100; the second: signed in pencil lower right: John Steuart Curry, 

initialed again in the plate lower right: JSC, titled and dated in pencil lower left: 1936, each: unframed lithographs on paper, the first 

image size: 16.75 ‘’ x 9.75’’, est:$1000/1500 

Edition: each: edition of 250. Literature: Each Pub.: Associated American Artists, New York. Note: Image dimensions of the second: 

9’’ x 12.75’’. Provenance: Private Collection, Pasadena, CA. Visual: The first: Hinged to the back mat in the upper left and right corners. 

Toning in the sight area. The second: Hinged to the back mat in three place along the upper edge. Soiling in the margins, particularly 

the lower margin. 

69

1193 Thomas Hart Benton (1889-1975 Kansas City, MO) 

‘’Ozark Farm, ‘’, Missouri Farmyard, signed in pencil and in the 

plate lower right: Benton, titled in pencil lower left, lithograph on 

paper under glass, 13’’ x 18’’, est:$1000/1500 

Edition: ed. 250. Literature: Fath, 10. AAA, pub. Provenance: 

Private Collection, Northern California. Visual: Generally good 

condition with minor staining to the paper and mild handling 

creases. Framed archivally floating with the four corners 

hinged to the back mat. Not examined out of the frame. 

1194 Thomas Hart Benton (1889-1975 Kansas City, MO) 

‘’Goin Home’’, signed in pencil and in the plate lower right: 

Benton, unframed lithograph on paper, image size: 9.5’’ x 11.75’’, 

est:$1000/1500 

Literature: AAA, pub. Note: The lithograph retains the original 

Associated American Artists, New York label affixed to 

the original mat verso. Dimensions of the paper: 12’’ x 16’’. 


good condition. Affixed with tape in the upper left and right 

margin corners to the back mat. A few tiny spots of stain in the 

upper margin. 

1195 Grant Wood (1891-1942 Iowa City, IA) 

‘’Tree Planting Group’’, signed and dated in pencil lower right: 

Grant Wood - 1937, unframed lithograph on paper, image size: 

8.5’’ x 10.75’’, est:$2000/3000 

Literature: AAA, pub. Note: The lithograph retains the original 

Associated American Artists, New York label affixed to 

the original mat verso. Dimensions of the paper: 12’’ x 16’’. 


good condition. Affixed with tape in the upper left and right 

margin corners to the back mat. A few tiny spots of stain in the 

margins. 

70

End of California & American Session

John Moran Auctioneers - California Art Auction

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