California & American Paintings - California Art Auction

California & American Paintings
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Tuesday, June 24, 2008 AUCTION
Antique & Fine Art Auctioneers Inc

California & American Paintings
Auction
Pasadena Convention Center
300 East Green Street Pasadena California
Preview 12:00 noon :: Sale promptly at 6:30 pm
Tuesday, June 24, 2008
COVER front:
Lot 29 Granville Redmond
poppies and lupine in a California landscape
oil on canvas, 16”x 20”, est:$200,000/250,000
COVER back:
lot 27 Alfred Mitchell
In the Mountains Dorothea Mitchell,
wife of the artist, and her sister Carrie
sitting beneath trees near a mountain trail.
oil on board, 20”x 16”, est:$15,000/20,000
We welcome and encourage inquiries. Please contact us
regarding our auction, consignment, and appraisal services:
John Moran Auctioneers Inc.
626 793 1833 :: fax 626 798 2079
735 West Woodbury Road Altadena California 91001
email: info@johnmoran.com :: www.johnmoran.com

JOHN MORAN AUCTIONEERS INC.
OFFICERS
John H. Moran, President, Principal Auctioneer
Jeffrey J. Moran, Vice President, Auctioneer
Madeleine Moran, Vice President, Public Relations
Fine Art Sales Director, Specialist
Decorative Arts Sales Director, Specialist
Appraisal Director, Business Development
Office Manager, Client Accounting
Concierge Client Services
Operations Director
Art Handlers, Property Control,
& Padded Van Services
Advertising & Design Director
Technology Manager
Principal Photographer
Web Manager, Photographer
SPECIALISTS
CLIENT SERVICES
OPERATIONS
Katherine Halligan
Aileen Ward
Paul Fisher
Betty Lanza
Gilbert Peralta
Annemarie Nollar
Morgana Blackwelder
Glenn Storey
Larry Muradian
Bobby Cullen
DIGITAL DESIGN
Kyle Amundsen
Oscar Tsao
Shane Strong
Nathan Martinez

ARTIST INDEX
Abril, Ben 100, 249
Adam, William 30
Adams, Charles Partridge 126, 127
Alvarez, Mabel 176
Ballin, Hugo 222
Bartlett, Dana 88, 121
Baum, Walter Emerson 55
Bennett, Ruth M. 117
Benson, Ritchie A. 186
Bischoff, Franz A. 36, 105, 156
Borein, Edward 262, 263, 264, 265, 266
Botke, Jessie Arms 71
Bradbury, Bennett 254, 255
Brandien, Carl W. 253
Brandriff, George K. 21, 138, 210
Brandt, Rex 91
Braun, Maurice 11, 45
Breuer, Henry J. 73
Buff, Conrad 118, 119, 243, 244, 245
Cadenasso, Giuseppe L. 159
Carlson, John F. 16
Champlin, Ada Belle 193
Chapin, James O. 233
Chaplin, Prescott 268
Coburn, Frank 12
Cohen, Lois Green 97
Coutts, Gordon 67
Cowles, Russell 256
Craig, Tom Theodore 226
Cressey, Herbert ‘Bert’ Chester 102
Curran, Charles Courtney 57
De Longpre, Paul 82
De Ribcowsky, Richard Dey 198
Del Mue, Maurice 78
DeRome, Albert Thomas 1, 2, 6, 7, 37
Dike, Phil 90, 101, 183, 187
Dorsey, William 247, 248
Duncan, Darwin 107
Duvannes, Albert 59
Eggleston, Benjamin Osro 65
Engle, Harry L. 56
Englehart, Joseph John 209
Espoy, Angel 196
Farr, Ellen F.B. 81
Firfires, Nicholas S. 146
Fon, Jade 177, 185
Foster, Ben 232
Frame, Robert Aaron 246
Francisco, J. Bond 157
Fries, Charles A. 160, 207
Gamble, John Marshall 155, 203
Gibson, George 180, 181
Gilbert, Arthur Hill 49, 206
Girardin, Frank Joseph 42
Gleason, Joe Duncan 25, 103, 189, 190, 199
Grimm, Paul 108, 109, 162, 163, 238, 239
Harper, Frank Robert 231
Harris, Sam Hyde 110, 112, 120, 164, 236
Hays, Barton S. 224
Hills, Anna A. 23
Hilton, John W. 143
Hinkle, Clarence K. 20
Hobart, Clark 31
Hunt, Thomas L. 151
Johnson, Frank Tenney 132, 134, 213
Joullin, Amedee 223
Judson, William Lees 41
Kilpatrick, Aaron 191, 241
Kloss, Gene 259, 260, 261
Knight, Louis Aston 52
Korburg, Fred 250
Kosa Jr., Emil J. 106, 111, 161
Kosa Sr., Emil J. 114
Krafft, Carl 17
Kuntz, Roger Edward 99
Lauritz, Paul 48, 87, 113, 128, 142, 240, 242
Leader, M. Walton 131
Lee, Jake 98
Logan, Maurice 93, 188
Loveridge, Clinton 60

ARTIST INDEX
Mannheim, Jean 32, 33, 123, 124, 154, 195,
200, 201, 202, 225, 237
Mathews, Lucia K. 85
Mewhinney, Ella K. 130
Mitchell, Alfred R. 27, 34, 192
Moessel, Julius 258
Moore, Harry Humphrey 19
Mora, Francis Luis 66
Mueller, Alexander 169
Murphy, John Francis 14
Muss-Arnolt, Gustave 62
Myers, Frank H. 22
Nicholson, Lillie May 24
Otis, George Demont 39, 116, 165
Otte, William Louis 40
Parton, Ernest 15
Paxon, Edgar S. 216
Payne, Edgar A. 43, 50, 125, 158, 166, 170, 194
Peters, Charles Rollo 75, 77
Peterson, Jane 18
Phillips, James March 89
Picken, George A. 234
Podchernikoff, Alexis M. 38
Post, George 92
Post, William Merritt 58
Powell, Ace 219
Pritchard, George Thompson 133
Pushman, Hovsep 61, 221
Puthuff, Hanson 5, 44, 122
Raphael, Joseph M. 267
Redmond, Granville 10, 29, 79, 104, 197
Reed, Marjorie 144, 145, 148, 217, 218, 220
Reeves, Joseph Mason 228, 229
Rehn, Frank Knox Morton 51
Reiffel, Charles 115
Rich, John Hubbard 70, 227
Rider, Arthur Grover 171
Rollins, Warren E. 76
Sayre, Fred Grayson 47
Schreiber, Georges 257
Schuster, Donna N. 150
Sheets, Millard 174, 175, 204
Silva, William Posey 26
Smith, Charles L.A. 173
Smith, Jack Wilkinson 8, 208
Smythe, Eugene Leslie 54
Sparks, Will 74
Stetson, Charles Walter 64
Strong, Ray 251
Stuber, Dedrick Brandes 3
Swinnerton, James 141
Ullman, Eugene Paul 53
Vierra, Carlos 135, 136, 137
Von Schneidau, Christian 230
Vysekal, Edouard A. 68
Vysekal, Luvena B. 69
Wachtel, Elmer 9, 28, 168
Wachtel, Marion Kavanagh 46, 86, 172, 214,
215
Wagoner, Harry B. 211, 212
Warner, Nell Walker 94
Warshawsky, Abel G. 152
Weaver, Harold Buck 139, 140
Weir, Julian Alden 63
Wendt, William 13, 72, 205
White, Edith 80, 153
Wieghorst, Olaf Carl 147
Wood, Robert W. 129, 252
Wores, Theodore 35
Yard, Sydney J. 83
Zornes, Milford 95, 96, 149, 178, 179, 182, 184

CONDITIONS OF SALE
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2.
3.
4.
5.
6.
6A.
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8.
Lots Sold to the Highest Bidder: The highest bidder acknowledged by the auctioneer shall be the buyer. Under no circumstances are the
consignors or the consignor’s agents or persons acting on behalf of the consignors permitted to bid at the auction on their consigned
property. The auctioneer has the right to reject any bid, to advance the bidding at his or her absolute discretion and, in the event of any
dispute between bidders or any other issue with respect to the highest bidder, to determine the successful bidder, to continue the bidding
or to reoffer and resell the lot in question. In the event of any dispute after the sale, John Moran Auctioneers, Inc., a California Corporation
(hereinafter referred to as, JMA), record of final sale shall be conclusive.
Lots are Sold AS IS. ALL PROPERTY IS SOLD AS IS AND ALL IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS ARE EXCLUDED.
NEITHER WE NOR THE CONSIGNOR OR OUR ASSOCIATES MAKE ANY REPRESENTATION, EXPRESSED OR IMPLIED WARRANTY, OR
GUARANTEE IN CONDITION, SIZE, PROVENANCE, MEDIUM, SIGNATURE, INSCRIPTION, EXHIBITION (S), IMPORTANCE, RARITY, COUNTRY
OR ORIGIN, AGE, GENUINENESS, SUBJECT HISTORICAL RELEVANCE, MONETARY OR OTHER VALUE, FRAMING OR LACK THEREOF,
MOUNTING, CONSERVATION, COLOR (S), PALETTE, INSCRIPTION, EDITION, STYLE LABEL OR OTHER DESCRIPTOR. NO STATEMENT IN
THE CATALOGUE, BROCHURES OR IN THE BILL OF SALE OR INVOICE OR BIOGRAPHIC INFORMATION OR STATEMENTS MADE BY THE
AUCTIONEER DURING THE AUCTION OR ELSEWHERE SHALL BE DEEMED SUCH A WARRANTY OR REPRESENTATION OR AN ASSUMPTION
OF LIABILITY. NO EMPLOYEE OF JOHN MORAN AUCTIONEERS IS AUTHORIZED TO MAKE, ON OUR BEHALF OR THAT OF THE CONSIGNOR,
ANY REPRESENTATION OR WARRANTY, ORAL OR WRITTEN, WITH RESPECT TO ANY PROPERTY.
Buyer’s obligation to inspect each item: Buyers are strongly encouraged to view all items auctioned on display before the auction to
determine the true condition and nature of any item(s) of interest. Although there is no legal requirement that each buyer inspect lots
purchased before the auction, the failure to inspect may constitute a waiver of that buyer’s complaint that the item was not delivered in a
condition equal to the existent condition at the auction as described in section 14 of these Conditions of Sale.
All Sales Final: Notwithstanding any other terms of these conditions, any and all refunds shall be given at the sole discretion of JMA.
Refunds requested on the grounds of authenticity must be made within 10 days of the auction date, and such requests must be accompanied
by at least one supporting statement in writing from a recognized authority stating that the painting or art sold is incorrect or not the work
of the artist. A recognized authority shall be 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 artists 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. Please note that dealers
who advertise to buy a wide range of artists, appraisers and representatives of other auction firms do not qualify as authenticators of
individual artists unless they have had such specific involvement with an artists work as specified above in addition to their daily duties. Any
lot in question must be returned to JMA in the exact same condition as when sold. Please be advised that JMA does not grant extensions to
refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy.
The Right to withdraw Lots: JMA reserves the right to withdraw any lot before or at the sale.
Buyer’s Premium: The purchase price payable by a buyer shall be the sum of the final bid plus a premium of 17.5% of the final bid price.
(Effective June 1, 2008)
A 22.5% buyer’s premium shall apply on all purchases made via ebay Live.
Lots are Subject to a Reserve Price: Some lots in the auction are subject to a reserve, which is the confidential minimum price below which
the lot will not be sold (the reserve). In no event will the reserve price exceed the low estimate. JMA shall act to protect the reserve by
bidding through the auctioneer. The auctioneer may open bidding on any lot below the reserve by placing a bid on behalf of the seller. The
auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids
in response to other bidders. The estimates provided by JMA concerning a given lot, are carefully considered opinions of the cataloguer and
fine art staff. Any estimates given are merely suggestive guidelines for interested buyers. Buyers must be aware that paintings and art are
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 either above or below estimates.
Winning Bid Constitutes an Immediate Transfer of Title: Title to the offered lot shall pass to the buyer upon the fall of the auctioneer‚s
hammer and announcement by the auctioneer that the lot has been sold, subject to compliance by the buyer with all other Conditions of Sale.
The buyer shall forthwith assume full risk and responsibility for the lot and shall pay the full purchase price or such part thereof as JMA, in
its sole discretion, shall require. In addition, the buyer may be required to sign a confirmation of purchase or abide by any other financial
terms that JMA deems necessary to protect the interest of the consignors.

CONDITIONS OF SALE
9.
10.
11.
12.
13.
14.
Removal of Purchased lots: All items sold may not be removed from JMA’s premises, or the premises of the auction, until the buyer has paid
in full the purchase price therefor or has satisfied such terms, as JMA, in its sole discretion, shall require. Subject to the foregoing, all lots are
to be paid for and removed from JMA premises at the buyer’s expense no later than the third calendar day following the sale, and, if not so
removed, JMA may transfer any such lot to its warehouse at the risk and expense of the buyer. If a lot has not been collected the third calendar
day following the sale and JMA does transfer the uncollected property to its warehouse, the buyer will be liable to JMA for storage and
handling charges of $10.00 per day for each lot. In addition to other remedies available by law, JMA reserves the right to impose a late charge
of 1% per month or the maximum permitted by law on the purchase price commencing on the day following the date on which payment is due if
the buyer does not make payment in full in accordance with these Conditions of Sale.
Absent Bidders: Bids which are submitted to JMA in writing or are otherwise left with JMA prior to an auction for execution at or below
a specified price (Absentee bids), as well as telephone bids, shall be entertained and executed by JMA for the convenience of bidders not
present at auction, but JMA shall not be responsible for failing to execute such bids or for errors relating to our execution of such bids.
Bidding on any article(s), whether in person, by agent, order bid, telephone or other means, constitutes the highest bidders acceptance of
these Conditions of Sale. All absentee bids must be received by JMA prior to the day of sale. Bidders by telephone are also encouraged to
leave a cover bid in case of technical failure.
Applicable taxes: Unless exempted by California law, the buyer shall be required to pay any applicable state and local sales tax or
compensating use tax on the purchase price.
Buyer’s Breach of Conditions of Sale: If the buyer fails to comply with any of these Conditions of Sale, JMA may, in addition to asserting
all remedies available by law, including the right to hold such defaulting 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 on seven days notice
to the buyer, or (iii) take such other action as we deem necessary or appropriate. If JMA resells the property, the original defaulting buyer
shall be liable for the payments of any deficiency in the purchase price and all costs and expenses, including warehousing, the expenses of
both sales, reasonable attorneys‚ 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 or all lots purchased, JMA shall apply the payment received to such lot or lots that JMA, in our
sole discretion, deems appropriate. JMA shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in
the State of California where the auction is held.
Governing Law, Venue and Jurisdiction: The rights and obligations of the parties with respect to the Conditions of Sale and the conduct of
the auction shall be governed and interpreted by the laws of the State of California. By bidding at an auction, whether present in person or
by agent, by absentee bid, telephone or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts
of such state and the federal courts sitting in such state. Further, the buyer agrees that the venue for any action arising out of the failure to
abide by the Conditions of Sale, 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. The buyer expressly agrees that (I) neither JMA 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.
Delivery of Lots Sold: The packing and handling of purchased lots by John Moran Auctioneer’s staff at the auction is undertaken solely as a
courtesy to customers. There is no charge for packing material and labor supplied to you on the evening of the sale. In no event will JMA be
liable for damage to painting, glass or frames regardless of cause in connection with this free service.
JMA may, in our discretion and as a service to buyers, arrange to have purchased lots packed, insured and forwarded at the request,
expense and risk of the buyer. JMA assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers,
whether or not recommended by JMA. Nor does JMA assume any responsibility for any damage to picture frames or to the glass therein. In
circumstances in which JMA arranges and bills for such services via invoice or credit card, JMA will include an administration charge.
In the case of JMA personally delivering an item, if an item cannot be delivered in condition equal to the existent condition at the time of
sale, or should any item be mis delivered, stolen or lost prior to delivery, JMA‚s liability shall not exceed the amount paid by the buyer at the
auction. Buyers are strongly encouraged to view all items auctioned on display before the auction to determine the true condition of items of
interest.
15.
16.
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 JMA at 735 West Woodbury, Altadena, California 91001.
Effect of any Unenforceable Provisions: Should any of the Conditions of Sale be deemed unenforceable by a competent court having
jurisdiction, such unenforceable provision shall have no effect on the enforcability of the remaining provisions contained in the Conditions of
Sale.

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.
Effective June 1, 2008
Buyer’s Premiums
17.5% Buyer’s Premium on final bid price
15% Buyer’s Premium for payment by check,
cash, or wire transfer
22.5% Buyer’s Premium for online purchase
NOW ACCEPTING CREDIT CARD PURCHASES
UP TO $100,000 PER BUYER
BIDDING 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

1 Albert Thomas DeRome (1885-1959 Carmel, CA)
“Beach Study Near Bird Rock, Monterey Bay”, signed lower left: A.
DeRome, titled and dated verso: Aug 47, numbered verso: 1527, oil on
unstretched canvas, 6”x 8”, est:$3000/4000
Visual: Generally good condition with artist’s pin holes in lower left and
upper right corners. Blacklight: No evidence of restoration under blacklight.
2 Albert Thomas DeRome (1885-1959 Carmel, CA)
“Mouth of Carmel River”, signed lower left: A. DeRome, titled and dated
verso: Sept 1937, numbered verso: 1539, oil on unstretched canvas, 6”x 8”,
est:$3000/4000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
3 Dedrick Brandes Stuber (1878-1954 Los Angeles, CA)
Bonnie Brae Street, Los Angeles, looking forward near Greek Theatre,
signed lower right: D.B. Stuber, oil on board, 12.75”x 9.75”, est:$3000/4000
Note: There is an unfinished landscape and cloud study on the verso.
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
4 no lot
5 Hanson Puthuff (1875-1972 Corona del Mar, CA)
“Arcadian Hills”, signed lower left: H. Puthuff, signed again and titled on
label verso, oil on canvas laid to board, 9.25”x 13”, est:$5000/7000
Exhibited: San Francisco Art Association, San Francisco, CA, Spring
Exhibition, 1910 (see label verso). Visual: Generally good condition.
Blacklight: A few small spots of touch-up in the lower left quadrant.
1

6 Albert Thomas DeRome (1885-1959 Carmel, CA)
“Looking East from Mt. Medona Park, Hecker Pass Road”, signed lower
left: A. DeRome, titled and dated verso: 10-25-42, oil on unstretched canvas,
6”x 8”, est:$3000/4000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
7 Albert Thomas DeRome (1885-1959 Carmel, CA)
“Hastings Wild Life Reserve, Carmel Valley”, signed lower right: A.
DeRome, titled and dated verso: May 20 1939, oil on unstretched canvas,
6”x 8”, est:$3000/4000
Visual: Generally good condition with an artist’s pin hole in the lower right
corner. Blacklight: No evidence of restoration under blacklight.
8 Jack Wilkinson Smith (1873-1949 Alhambra, CA)
lake in a mountain landscape, signed lower left: Jack Wilkinson Smith, oil
on unstretched canvas, sight size: 5”x 5.5”, est:$2000/3000
Note: Canvas size: 6.25” x 6.5”. Visual: Generally good condition. Hinged
along left edge and glued along lower edge. Blacklight: No evidence of
restoration under blacklight.
9 Elmer Wachtel (1864-1929 Pasadena, CA)
California landscape, signed lower right: Wachtel and with artist’s device,
oil on canvas laid to board, 9.5”x 11”, est:$8000/12,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Paper tape along the four edges and vertically across center.
Blacklight: A dime-sized spot with some tiny scattered dots of touch-up in
upper center on the distant mountains.
10 Granville Redmond (1871-1935 Los Angeles, CA)
Monterey Moonlight, signed indistinctly lower left: G. Redmond, oil on
canvas laid to board, 8”x 10”, est:$20,000/25,000
Provenance: Goldfield Galleries, Los Angeles, CA; Private Collection,
Carlsbad, CA, acquired from the above, 1977. Visual: Generally good
condition. Blacklight: A few tiny scattered spots of touch-up throughout
concentrated mainly to left of moon.
2

11 Maurice Braun (1877-1941 San Diego, CA)
autumn trees in a landscape, signed lower right: Maurice Braun, oil on
canvasboard, 10”x 14”, est:$8000/10,000
Provenance: Private Collection, Massachusetts. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
12 Frank Coburn (1862-1938 Santa Ana, CA)
autumn landscape, signed lower right: Frank Coburn, oil on board,
7.5”x 9.5”, est:$2500/3500
Provenance: George Stern Fine Arts, West Hollywood, CA; Private
Collection, Los Angeles, CA. Visual: Generally good condition. Blacklight:
No evidence of restoration under blacklight.
13 William Wendt (1865-1946 Laguna Beach, CA)
ranch structure and road, Chicago, IL, signed lower left: W. Wendt, oil on
canvas, 10”x 14”, est:$10,000/15,000
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Minor stretcher bar crease along upper center edge. Blacklight:
A quarter-sized area of touch-up to right of wood pile.
14 John Francis Murphy (1852-1921 New York, NY)
“Autumn”tonalist landscape, signed lower left: J. Francis Murphy, signed
again, titled and dated verso: 1876, oil on canvas laid to board, 6.5”x 10.5”,
est:$2000/4000
Visual: Very fine craquelure throughout and a few tiny dots of loss in center
and along lower right edge. Blacklight: Scattered touch-up along the four
edges, particularly in lower left quadrant not effecting signature. Touch-up
on tree and in right center quadrant. Red bushes fluoresce under blacklight.
15 Ernest Parton (1845-1933 New York, NY)
“On The Housatonic River, Connecticut”, signed lower left: Ernest Parton,
oil on canvasboard, 9.75”x 13.75”, est:$2000/3000
Visual: Generally good condition. Blacklight: Horizontal scattered lines and
other scattered spots of touch-up in the sky in upper right quadrant.
3

16 John F. Carlson (1874-1945 New York, NY)
“Limpid Brook”, signed lower left: John F. Carlson, signed again twice
and titled verso, dated verso: May 21st 1928, oil on board, 8”x 10”,
est:$2000/3000
Exhibited: Salmagundi Club, New York, NY, “Thumb-box Exhibition”, no. 310,
n.d., possibly (see label verso). Provenance: Private Collection, Long Island,
NY. Visual: Generally good condition with minor frame abrasion. Blacklight:
No evidence of restoration under blacklight.
17 Carl Krafft (1884-1938 Oak Park, IL)
autumn landscape, signed lower right: Carl R. Krafft, oil on canvas laid to
foam core, 8”x 10”, est:$1000/1500
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition with minor frame abrasion. Blacklight: Minor touch-up along the
left and right edges and in the corners.
18 Jane Peterson (1876-1965 New York, NY)
figures on a beach, signed lower right: Jane Peterson, oil on canvas laid to
artist’s board, 10”x 13.75”, est:$10,000/15,000
Provenance: Esther Robles Gallery, Los Angeles, CA; acquired from the
above by the present owner, 1954. Visual: Generally good condition.
Blacklight: Very minor spots of touch-up in the corners and along upper
center edge due to frame abrasion.
19 Harry Humphrey Moore (1844-1926 San Francisco, CA/France)
Spanish Dancer with Tambourine, signed and inscribed lower left: H.H.
Moore Malaga, oil on panel, 7.75”x 5”, est:$2500/4000
Exhibited: Hollis Taggart Galleries, New York, NY, “American Artists and
the Spanish Experience”, November 1998-January 1999 (see label verso).
Visual: Generally good condition with very minor frame abrasion. Blacklight:
No evidence of restoration under blacklight.
20 Clarence K. Hinkle (1800-1960 Santa Barbara, CA)
“Menton, Italy”, signed lower left: Hinkle, oil on panel, 10.5”x 13.75”,
est:$4000/6000
Provenance: Dalzell Hatfield Galleries, Los Angeles, CA; George Stern Fine
Arts, West Hollywood, CA; Private Collection, Los Angeles, CA. Visual:
Generally good condition with a tiny spot of loss to the right of the steeple.
Blacklight: No evidence of restoration under blacklight.
4

21 George K. Brandriff (1890-1936 Laguna Beach, CA)
“Treboul, France”1929, unsigned, oil on canvas laid to board, 11”x 14”,
est:$4000/6000
Note: There is an authentication statement verso signed by Mrs. George
K. Brandriff. Provenance: Private Collection, Los Angeles, CA. Visual:
Generally good condition with artist’s pin holes in the corners. Blacklight:
A quarter-sized area of touch-up in sky in upper center quadrant and a
diagonal repaired tear with touch-up in lower left corner.
22 Frank H. Myers (1899-1956 Pacific Grove, CA)
“Afternoon in the Harbor”, signed lower right: Frank Myers, signed
again, numbered, titled and dated verso: #540, 1951, oil on board, 9”x 12”,
est:$2500/3500
Provenance: Cincinnati Art Galleries, Cincinnati, OH, “Panorama of
Cincinnati Art XXII”, n.d.; Private Collection, Orange County. Visual:
Generally good condition. Blacklight: No evidence of restoration under
blacklight.
23 Anna A. Hills (1882-1930 Laguna Beach, CA)
“Windy Weather - from Fisherman’s Cove, Laguna”, signed and dated lower
left: A.A. Hills 1923, signed again and titled verso, numbered verso: A3-104,
oil on board, 9.75”x 14”, est:$15,000/20,000
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
24 Lillie May Nicholson (1884-1964 Oakland, CA)
“Mt. Talac, Lake Tahoe”, signed lower right: L.M. Nicholson, titled verso, oil
on canvasboard, 12”x 16”, est:$3000/5000
Literature: W.A. Nelson-Rees, “Lillie May Nicholson 1884-1964: An Artist
Rediscovered”, Oakland, CA, 1981, pp. 24 and 71, no. 32. Provenance: Estate
of the artist; Walter A. Nelson-Rees, Oakland, CA; James L. Coran, Oakland,
CA; Private Collection, New Jersey. Visual: Generally good condition.
Blacklight: A few minor spots of older touch-up in sky along the upper edge.
25 Joe Duncan Gleason (1881-1959 Glendale, CA)
“Summertime”two boys swimming, signed lower right: Duncan Gleason,
titled on an artist’s label affixed verso, oil on canvasboard, 12”x 15.75”,
est:$25,000/35,000
Provenance: The Book Stall and Gift Shop, Patio Art Gallery, Balboa Island,
CA; Private Collection, Los Angeles, CA, acquired from the above, 1957; by
descent in the family to the present owner, Montana. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
5

26 William Posey Silva (1859-1948 Carmel, CA)
“Low Tide - Point Lobos”, signed lower right: William Silva, signed again
and titled verso, oil on canvasboard, 12”x 16”, est:$5000/7000
Provenance: B.E. Gillis; Private Collection, Orange County. Visual: Generally
good condition. Blacklight: No evidence of restoration under blacklight.
27 Alfred R. Mitchell (1888-1972 San Diego, CA)
“In the Mountains”Dorothea Mitchell, wife of the artist, and her sister
Carrie sitting beneath trees near a mountain trail, signed lower right:
Alfred Mitchell, signed again and titled verso, oil on board, 20”x 16”,
est:$15,000/20,000
Note: 100% of the net proceeds on the sale of this painting will be donated
to Maryvale Residence for Girls (ages 6-18). Maryvale’s mission statement
is to help each child achieve fulfillment, dignity and self-esteem in an
environment of stability, love and respect. Maryvale 7600 East Graves
Avenue, Rosemead, CA 91770. Provenance: Estate of the artist; Private
Collection, Los Angeles, CA, acquired from the above, circa early 1980s.
Visual: Generally good condition with small spot of remnants of an old
label affixed to the face of the painting in lower left corner. Blacklight: No
evidence of restoration under blacklight.
28 Elmer Wachtel (1864-1929 Pasadena, CA)
San Gabriel Valley view, signed lower right: Wachtel and with artist’s
device, oil on canvas, 12”x 20”, est:$15,000/20,000
Provenance: Private Collection, Los Angeles, CA, by inheritance. Visual:
Generally good condition. Blacklight: Three small areas of touch-up with
corresponding verso patches: a quarter-sized area in the upper right
quadrant, a 1”x 1/2”vertical area with a few spots on the trees in the center
quadrant and 1.5”x 3/4”L-shaped area in the lower center quadrant. A few
other scattered dots of touch-up in the landscape.
29 Granville Redmond (1871-1935 Los Angeles, CA)
poppies and lupine in a California landscape, signed lower left: Granville
Redmond, oil on canvas, 16”x 20”, est:$200,000/250,000
Provenance: Julia Steelman Nichols, Glendale, CA, patron of the artist;
Estate of Mrs. Anita Fuhr, Azusa, CA; Private Collection, Azusa, CA,
inherited from the above, late 1960s; by descent in the family to the present
owner. Visual: Generally good condition. Blacklight: A few scattered dots of
touch-up in the upper right quadrant, mainly in the corner, a few scattered
dots of touch-up along the upper edge, in the upper left corner and along
the right center edge.
6

30 William Adam (1846-1931 Pacific Grove, CA)
California coastal with cypress trees and flowers, signed lower left: Wm.
Adam, oil on canvas laid to artist’s board, 12”x 16”, est:$2000/3000
Provenance: Private Collection, Whittier, CA. Visual: Generally good
condition. Blacklight: Minor scattered spots of touch-up in the sky and on
the trees, concentrated mainly in the upper right quadrant.
31 Clark Hobart (1868-1948 Napa, CA)
Monterey Coast, signed lower left: Clark Hobart, oil on canvas, 16”x 24”,
est:$30,000/40,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Blacklight: Very minor scattered spots of touch-up throughout
concentrated mainly in the upper right quadrant.
32 Jean Mannheim (1863-1945 Pasadena, CA)
“Sunset”Laguna seascape, signed lower left: J. Mannheim, titled
on an original label affixed to the stretcher, oil on canvas, 20”x 24”,
est:$10,000/15,000
Exhibited: The Irvine Museum, Irvine, CA, “Majestic California”, September
2006-January 2007 (see label verso). Visual: Generally good condition.
Blacklight: Spots fluoresce on the rocks in the center of the canvas that
appear to be later retouching by the artist over the varnish layer. No
evidence of touch-up under blacklight.
33 Jean Mannheim (1863-1945 Pasadena, CA)
trees in a Carmel coastal view, signed lower left: J. Mannheim, oil on
canvas, 20”x 24”, est:$5000/7000
Provenance: Harriet Crawford Mannheim, second wife of the artist;
by descent in the family to the present owner. Visual: Lines of vertical
craquelure on the right side of the canvas and in the lower left quadrant.
The canvas is slightly rippled and areas of the varnish are oxidized.
Blacklight: No evidence of restoration under blacklight.
34 Alfred R. Mitchell (1888-1972 San Diego, CA)
“At Torrey Pines”, signed lower right: Alfred R. Mitchell, signed again and
titled verso, oil on board, 16”x 20”, est:$20,000/30,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition with a brown surface spot on the rock in the lower center
quadrant. Blacklight: No evidence of restoration under blacklight.
7

35 Theodore Wores (1859-1939 San Francisco, CA)
Carmel coastal, signed lower left: Theodore Wores, signed again on the
stretcher, oil on canvas, 15”x 21”, est:$15,000/20,000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally
good condition with minor, stable craquelure. Blacklight: No evidence of
restoration under blacklight.
36 Franz A. Bischoff (1864-1929 Pasadena, CA)
“Victores Primeval (Monterey Cypresses)”, signed lower left: Franz
A. Bischoff, signed again and titled verso, oil on canvas, 30”x 40”,
est:$90,000/120,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Would benefit from a light cleaning and new varnish. Blacklight:
No evidence of restoration under blacklight.
37 Albert Thomas DeRome (1885-1959 Carmel, CA)
“Evening, Spanish Bay Dunes, Monterey Bay”, signed lower left: Albert
DeRome, titled and dated verso: 1955, numbered on a label verso: 1775, oil
on masonite, 18”x 24”, est:$7000/9000
Visual: Generally good condition with a small spot of loss in the upper
center quadrant in the sky and some minor frame abrasion along right
edge. Blacklight: No evidence of restoration under blacklight.
38 Alexis M. Podchernikoff (1886-1933 Pasadena, CA)
sand dunes with blooming verbena, signed lower right: A. M. Podchernikoff,
oil on canvas, 16”x 20”, est:$2500/3500
Provenance: Private Collection, Rancho Palos Verdes, CA. Visual: Generally
good condition. Blacklight: No evidence of restoration under blacklight.
39 George Demont Otis (1879-1962 Kentfield, CA)
“Verbenas”desert landscape, signed and dated lower right: Geo. Demont
Otis 31, titled verso, oil on canvas, 22”x 27”, est:$6000/8000
Provenance: Private Collection, Northern California. Visual: Generally good
condition. Blacklight: Some minor spots of touch-up in the landscape and
scattered across upper edge.
8

40 William Louis Otte (1871-1957 Santa Barbara, CA)
blooming dunes, signed: Wm. Louis Otte, oil on canvasboard, 12”x 16”,
est:$3000/5000
Note: Inscribed verso: For Inez, Christmas 1933. Provenance: Private
Collection, San Diego, CA. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
41 William Lees Judson (1842-1928 Los Angeles, CA)
“Mountain Canyon”circa 1915, signed lower left: W.L. Judson, titled on the
stretcher, oil on canvas, 18.25”x 15”, est:$3000/5000
Provenance: Orr’s Gallery, San Diego, CA; Private Collection, Rancho
Murieta, CA. Visual: Craquelure throughout with some cupping and a spot
of paint loss on the rock in lower left quadrant. Blacklight: Tiny minor spots
of touch-up scattered in the sky and mountains in upper right quadrant in
the water in right center quadrant.
42 Frank Joseph Girardin (1856-1945 Redondo Beach, CA)
“Mountain Road”, signed and monogrammed lower right: F.J. Girardin FJG,
signed again and titled verso, oil on board, 20”x 16”, est:$1000/1500
Provenance: Descendant of Lloyd Lockhart, Kinneloa Ranch, CA. Visual:
Generally good condition. Blacklight: A pin hole-sized spot of paint loss in
center right quadrant. A small area in lower center quadrant fluoresces
under blacklight but this appears to be in the hand of the artist.
43 Edgar A. Payne (1883-1947 Los Angeles, CA)
spring California landscape with trees, signed lower right: Edgar Payne,
signed again verso, oil on board, 12”x 16”, est:$20,000/30,000
Provenance: Sotheby’s Salon, Los Angeles, CA; G. Breitweiser, Studio 2,
Santa Barbara, CA; Private Collection, Laguna Beach, CA. Visual: Generally
good condition. Blacklight: No evidence of restoration under blacklight.
44 Hanson Puthuff (1875-1972 Corona del Mar, CA)
“Slender Twigs”, signed lower right: H. Puthuff, signed again and titled
verso, oil on board, 14”x 18”, est:$6000/8000
Provenance: Private Collection, Nipomo, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
9

45 Maurice Braun (1877-1941 San Diego, CA)
“Sycamores in Autumn”, signed lower right: Maurice Braun, titled on the
stretcher, oil on canvas, 20”x 24”, est:$30,000/40,000
Visual: Generally good condition with an area of craquelure in center of
canvas. Blacklight: Two 2”x 3”scattered areas of dots and spots of touchup
in the center quadrant and along the left center edge. A minor scattered
area of touch-up in the lower right corner.
46 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA)
pine tree in a Sierra landscape, signed lower left: Marion Kavanagh
Wachtel, numbered verso: 856, oil on canvas laid to board, 17.5”x 13.5”,
est:$7000/9000
Provenance: Private Collection, Los Angeles, CA, by inheritance. Visual:
Losses due to frame abrasion along the edges and other surface scrapes
with losses in the lower third of the canvas. A natural slub in the canvas
in right center quadrant. Would benefit from cleaning and varnishing.
Blacklight: No evidence of restoration under blacklight.
47 Fred Grayson Sayre (1879-1939 Glendale, CA)
“The Jade Pool”pool in a mountain and eucalyptus landscape, signed
lower right: F. Grayson Sayre, signed again and titled verso, oil on canvas,
30”x 36”, est:$5000/7000
Provenance: Private Collection, Altadena, CA. Visual: Stable craquelure
throughout. Blacklight: A few minor spots of touch-up scattered throughout.
48 Paul Lauritz (1889-1975 Glendale, CA)
“In the Ohai (sic) Valley”, signed lower left: Paul Lauritz, titled verso, oil on
canvas, 16”x 20”, est:$4000/6000
Provenance: Bowater Gallery, Los Angeles, CA (see verso label). Visual:
Generally good condition. Blacklight: No evidence of restoration under
blacklight.
49 Arthur Hill Gilbert (1894-1970 Stockton, CA)
“California Oaks”c.1945, signed lower left: Arthur Hill Gilbert, oil on canvas
laid to canvas, 20”x 24”, est:$10,000/15,000
Provenance: Trotter Galleries, Carmel, CA; Private Collection, Orange
County. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
10

50 Edgar A. Payne (1883-1947 Los Angeles, CA)
Brittany boats in a harbor, signed lower left: Edgar Payne, oil on canvas laid
to canvas, 29”x 29”, est:$70,000/90,000
Provenance: Private Collection, Florida, acquired from an estate, circa
1950s; Private Collection, Florida, acquired from the above. Blacklight:
All interested bidders should refer to the professional condition report
prepared by Fine Art Conservation Labs.
51 Frank Knox Morton Rehn (1848-1914 New York, NY)
sunset seascape, signed lower left: F.K.M. Rehn, oil on canvas laid to foam
core, 32”x 44”, est:$2500/3500
Provenance: An Important Private Collection, New York, NY. Visual: The
surface of the paint has been effected by the lining. Stable craquelure and
paint shrinkage throughout. Frame abrasion along the edges. Blacklight:
Areas of crack fill and touch-up in the center and upper center quadrants
with a few other scattered spots of touch-up throughout.
52 Louis Aston Knight (1873-1948 Paris, France)
“A Garden on the Riviera (Cap Ferrat)”, signed and inscribed lower
right: Aston Knight Paris, titled on the stretcher, oil on canvas, 26”x 32”,
est:$30,000/40,000
Provenance: Schillay & Rehs, Inc., New York, NY (see label verso);
Corporate Collection, Kona, HI; Private Collection, Carlsbad, CA. Visual:
Generally good condition. Blacklight: No evidence of restoration under
blacklight.
53 Eugene Paul Ullman (1877-1953 Paris, France)
in the garden, signed lower right: Eugene Paul Ullman, oil on canvas laid to
canvas, 32”x 25.5”, est:$8000/10,000
Visual: Generally good condition. Blacklight: Scattered dots of touch-up
on the umbrella, with the largest area in the whitest panel. Other minor
scattered dots of touch-up on the figure’s leg and along the upper edge. A
few other minor scattered dots of touch-up throughout.
54 Eugene Leslie Smythe (1857-1932 Townshend, VT)
“Early Fall”full moon over a rural New England village, signed lower right:
E.L. Smythe, signed again and titled verso, titled again on the stretcher, oil
on canvas, 24”x 30”, est:$2000/3000
Note: The painting retains its period hand carved giltwood frame.
Provenance: Private Collection, Wilson, WY. Visual: Generally good
condition with paint surface oxidized or varnish layer yellowed. Blacklight:
No evidence of restoration under blacklight.
11

55 Walter Emerson Baum (1884-1956 Sellersville, PA)
“Milford Square”winter village scene, signed lower left: Baum, titled verso,
oil on canvas, 16”x 20”, est:$6000/8000
Provenance: Estate, Los Angeles, CA. Visual: Generally good condition.
Surface dirt. Blacklight: No evidence of restoration under blacklight.
56 Harry L. Engle (1870-1968 Chicago, IL)
Illinois landscape, signed and dated lower right: H.L. Engle ‘19, oil on board,
21.75”x 25.5”, est:$2000/3000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
57 Charles Courtney Curran N.A. (1861-1942 New York, NY)
“The Rivals”, signed and titled lower left: Charles C. Curran N.A., signed
and titled again verso, inscribed verso: Record No. 238-22, oil on masonite,
24”x 36”, est:$10,000/15,000
Note: This painting will be included in Kaycee Benton’s forthcoming
catalogue raisonne of the artist’s work. Provenance: The Estate of George
Thompson, Pine Bush, NY; Kaycee Benton, Cragsmoor, NY; Private
Collection, California; Private Collection, Los Angeles, CA. Visual: Generally
good condition. Blacklight: A few very minor dots of touch-up in scattered
in sky with a quarter-sized scattered area in left center quadrant.
58 William Merritt Post A.N.A. (1856-1935 Bantum, CT/ New York, NY)
wooded landscape, signed lower left: W. Merritt Post, oil on canvas,
22”x 28”, est:$2000/3000
Visual: Scattered craquelure throughout with areas of instability and
some tiny losses. Blacklight: One spot of touch-up in the sky in upper right
quadrant to address a loss.
59 Albert Duvannes (1881-1962 New York, NY/Naples, Italy)
tree with cows in a landscape, signed lower left: A. Duvannes, oil on
canvas, 31.5”x 22”, est:$2500/3500
Provenance: Private Collection, Portland, OR. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
12

60 Clinton Loveridge (1824-1915 Brooklyn, NY)
two cows watering, signed lower right: C. Loveridge, oil on canvas,
12”x 18”, est:$2000/3000
Visual: Generally good condition with discolored varnish. Minor frame
abrasion and a few minor losses scattered throughout. A 0.25”repair in
left center quadrant near edge. Blacklight: Possible evidence of a few
scattered spots of older touch-up. Difficult to read under blacklight.
61 Hovsep Pushman (1877-1966 New York, NY)
“Girl In White, No. 807”, signed lower right: Pushman, oil on canvas laid to
canvas, 13.5”x 16.5”, est:$10,000/15,000
Visual: Generally good condition. The background is thinly painted.
Blacklight: A few minor spots of touch-up along the right edge.
62 Gustave Muss-Arnolt (1858-1927 New York, NY)
Spaniel puppy, signed, inscribed and dated upper left: G. Muss-Arnolt NY
81, oil on canvas, 10”x 8”, est:$2000/3000
Provenance: Private Collection, Tustin, CA. Visual: Very yellowed varnish.
Frame abrasion with minor losses along the edges. Surface scrapes with
losses in the upper right quadrant and a few dots of loss near dog’s left
eye. Blacklight: Some evidence of spots of older touch-up under blacklight.
Difficult to read under varnish.
63 Julian Alden Weir (1852-1919 New York, NY)
young maid reading a postcard, signed lower right: J. Alden Weir, oil on
canvas laid to canvas, 18”x 14.5”, est:$30,000/40,000
Provenance: Private Collection, Orange County, CA. Visual: Stable
craquelure throughout. Blacklight: Scattered spots of touch-up along the
upper edge and in the upper left and right quadrants and a few minor dots
of touch-up on the copper pot and in the lower left corner.
64 Charles Walter Stetson (1858-1911 Pasadena, CA/Rome, Italy)
“Evening - Mother & Child”, signed and dated lower right: Charles
Stetson 1887, signed, titled and dated verso: 1886-7, oil on panel, 17”x 14”,
est:$2000/3000
Visual: Frame abrasion with minor losses along the edges. Blacklight: Three
vertical repaired cracks in the panel with touch-up, one extending the
length of the painting, and two 8”and 5”extending from the upper edge.
13

65 Benjamin Osro Eggleston (1867-1937 Brooklyn, NY)
Thoughts, signed lower right: Benjamin Eggleston, oil on canvas laid to
canvas, 30”x 25”, est:$5000/7000
Visual: Scattered craquelure and paint shrinkage throughout. Blacklight:
Masking varnish, difficult to read under blacklight.
66 F. Luis Mora (1874-1940 New York, NY)
Outdoor Party in Spain, possibly depicting members of the artist’s
family c. 1909, signed lower right: F. Luis Mora, oil on board, 18”x 22”,
est:$10,000/15,000
Provenance: Estate of Jo Mora Jr., Carmel, CA; Private Collection, Los
Angeles, CA. Note: Assistance cataloging this lot was provided by Lynne
Pauls Baron, author of ‘‘F. Luis Mora: America’s First Hispanic Master’’,
who will include it in the forthcoming catalogue raisonne of Mora’s painted
works. Visual: Generally good condition with some very minor craquelure.
Blacklight: No evidence of touch-up under blacklight.
67 Gordon Coutts (1868-1937 Palm Springs, CA)
Spanish woman, signed lower right: Gordon Coutts, signed again and
inscribed indistinctly on an artist’s label affixed to the stretcher, numbered
verso: 214 and No. 4, oil on canvas, 28”x 24”, est:$7000/9000
Provenance: Private Collection, Pasadena, CA. Visual: Generally good
condition with minor frame abrasion along the edges. Blacklight: Scattered
spots and areas of touch-up in the background with very minor spots of
touch-up on the figure’s face and hair.
68 Edouard A. Vysekal (1890-1939 Los Angeles, CA)
“Elizabeth Dances”, signed with initials lower left: EA, signed again verso,
signed again and titled on an original artist’s paper label affixed verso, oil
on board, 11.75”x 10”, est:$3000/4000
Exhibited: The Irvine Museum, Irvine, CA, “Painting Partners”, June-
September 1998 (see label verso). Provenance: DeRu’s Fine Arts, Laguna
Beach, CA; Private Collection, Los Angeles, CA. Visual: Generally good
condition. Blacklight: Touch-up to address repaired areas of the board in
the upper left and right corners.
69 Luvena B. Vysekal (1873-1954 Los Angeles, CA)
“Sunflowers (Dusty Road Blooms)”, signed lower left: Luvena B. Vysekal,
signed again and titled verso, oil on board, 16”x 15”, est:$3000/4000
Exhibited: The Irvine Museum, Irvine, CA, “Painting Partners”, June-
September 1998 (see label verso). Provenance: DeRu’s Fine Arts, Laguna
Beach, CA; Private Collection, Los Angeles, CA. Visual: Minor frame
abrasion along the edges. A spot of loss to the board along the upper
center edge. Blacklight: Touch-up scattered throughout the black
background in the upper center quadrant and other minor scattered spots
of touch-up on the blooms, the vase and a few other spots throughout.
14

70 John Hubbard Rich (1876-1954 Los Angeles, CA)
still life with fruit, signed upper right: John Hubbard Rich, oil on canvas,
17”x 21”, est:$3000/5000
Provenance: Brother of the artist, Washington; by descent in his wife’s
family to the present owner. Visual: Generally good, original condition with
minor scattered spots of paint loss scattered throughout. Blacklight: No
evidence of restoration under blacklight.
71 Jessie Arms Botke (1883-1971 Santa Paula, CA)
“Herons in Flight”, signed lower right: Jessie Arms Botke, signed again and
titled verso, signed and titled again on labels affixed verso, oil and gold leaf
on board, 24”x 16”, est:$30,000/40,000
Exhibited: California Art Club, “Eighteenth Annual Exhibition, November-
1927-January 1928, no. 12, as “Herons”, probably (see partial exhibition
label verso); The Santa Maria Valley Art Festival Exhibition, May 25-26,
circa 1930s (see see partial exhibition label verso). Provenance: Gump
Galleries, San Francisco, CA (see partial label verso); Private Collection,
Los Angeles, CA. Visual: Generally good condition. Blacklight: No evidence
of restoration under blacklight.
72 William Wendt (1865-1946 Laguna Beach, CA)
sycamores, signed lower right: William Wendt, oil on canvas, 28”x 36”,
est:$80,000/100,000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
73 Henry J. Breuer (1860-1932 San Francisco, CA)
twilight landscape, signed and dated lower left: H.J. Breuer 1916, oil on
canvas, 30”x 26”, est:$6000/8000
Visual: Generally good condition with minor stretcher bar creases.
Blacklight: A spot of touch-up in the lower left quadrant and a few other
dots of touch-up scattered throughout.
15

74 Will Sparks (1862-1937 San Francisco, CA)
“Colonnade, Palace of Fine Arts”Pan-Pacific International Exhibition, San
Francisco, CA, 1915, signed lower right: Will Sparks, oil on canvas, 24”x 20”,
est:$30,000/40,000
Exhibited: Oakland Museum, Oakland, CA, and Laguna Art Museum,
Laguna, CA, “Twilight and Reverie: California Tonalist Painting 1890-1930”,
February-October 1995, no. 59. Literature: H. Jones, “Twilight and Reverie:
California Tonalist Painting 1890-1930”, Oakland Museum, Oakland, CA,
1995, p. 63, no. 59, illustrated. Note: Together with the book “Twilight
and Reverie: California Tonalist Painting 1890-1930”and twelve original
postcards from the Crocker Printing Company. “Colonnade, Palace of Fine
Arts”is an important example from the artist’s series of works produced
during the 1915 Panama-Pacific International Exposition (PPIE) in San
Francisco and showcases the artist’s ability to capture dramatic lighting
in a nocturnal setting. “Sparks’s paintings reveal his particular fascination
with twilight scenes that combine the effects of both natural and artificial
sources of light”(H. Jones, “Twilight and Reverie”, Oakland Museum, 1995,
p. 10). “Shortly prior to the opening of the Panama-Pacific International
Exposition in San Francisco in 1915, Will Sparks was chosen as Secretary
of an organization known as ‘The Artists of California.’ During the Exposition
Sparks reproduced in oils many of the artistic structures which housed the
world’s treasures. His work was considered of such excellence that the
Crocker Printing Company of San Francisco reproduced them on post-cards
which carried his work in miniature to every part of the world”(G. Hailey,
ed., Abstract from the California Art Research W.P.A. project, no. 2874,
chapter: ‘Panama-Pacific International Exposition Art Work’, Vol. XI). The
present painting is the only known example from Spark’s PPIE series that
was not made into a postcard or owned by the Crocker Printing Company.
The other dozen paintings remain together in the permanent collection of
the Crocker Art Museum in Sacramento. Provenance: Trotter Galleries,
Carmel, CA; acquired by the present owner from the above. Visual: Stable
paint shrinkage and very fine craquelure throughout, particularly on the
building and in the foreground. Blacklight: No evidence of restoration under
blacklight.
75 Charles Rollo Peters (1862-1928 Monterey, CA)
The Sherman Rose Adobe, circa 1910, signed lower right: Charles Rollo
Peters, oil on canvas, 10.75”x 13.5”, est:$10,000/15,000
Provenance: Trotter Galleries, Carmel, CA (see label verso); Private
Collection, Los Angeles, CA. Visual: Generally good condition with minor,
stable craquelure and a few tiny spots of loss in the sky. Blacklight: No
evidence of restoration under blacklight.
76 Warren E. Rollins (1861-1962 Winslow, AZ)
Old Customs House, Monterey, California, signed lower right: W.E. Rollins,
oil on canvas, 14”x 22”, est:$4000/6000
Note: This painting was likely painted by Rollins during the period 1900-
1917, while he was a resident of Pasadena, CA. Provenance: Estate,
Pasadena, CA. Visual: Generally good condition. Thinly painted in areas on
the adobe. A diagonal surface scratch in the upper right quadrant, probably
in the artist’s hand. Blacklight: Tiny scattered dots of touch-up in the sky
and on the ground.
16

77 Charles Rollo Peters (1862-1928 Monterey, CA)
nocturne - a village road, signed lower left: Charles Rollo Peters, oil on
canvas, 11”x 14”, est:$4000/6000
Provenance: Private Collection, Glendale, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
78 Maurice Del Mue (1875-1955 Kentfield, CA)
“Mountain Moonlight”, signed and titled on an original label affixed verso,
oil on canvas, 24”x 20”, est:$4000/6000
Exhibited: Memorial Museum, San Francisco, CA, n.d. (see label verso);
M.H. de Young Memorial Museum, San Francisco, CA, n.d. (see label verso).
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition. Blacklight: A 2”L-shaped repaired tear in lower right quadrant
with touch-up and corresponding verso patch.
79 Granville Redmond (1871-1935 Los Angeles, CA)
“San Mateo”poppies in a misty landscape, signed lower left: Granville
Redmond, oil on canvas, 8.75”x 15.75”, est:$70,000/90,000
Note: With partial exhibition labels on the back, one with a partial typed
title: San Mateo. Provenance: Mrs. Lester R. Brooks, bequest to an
unknown museum (see partial label verso). Visual: Generally good condition
with an isolated area of vertical craquelure in upper center and minor
frame abrasion in lower right corner. Blacklight: No evidence of restoration
under blacklight.
80 Edith White (1855-1946 Berkeley, CA)
still life with roses, signed lower right: Edith White, oil on canvas laid to
canvas, 24”x 18”, est:$7000/9000
Provenance: Trotter Galleries, Pacific Grove, CA (see label verso). Visual:
A pin sized-hole in the original canvas in left center quadrant. Wax lined.
Blacklight: A dime-sized area of touch-up in upper right quadrant and some
other minor scattered touch-up in background and on table.
17

81 Ellen F.B. Farr (1840-1907 Pasadena, CA)
a blossoming pepper tree, signed and inscribed lower center: Ellen B. Farr
Pasadena Cal., oil on canvas, 32”x 44”, est:$12,000/18,000
Exhibited: Pasadena Museum of History, Pasadena, CA, “Nature’s Palette”,
Busch Gardens Exhibition, April-June 2005 (see label verso). Note: Farr was
an important early member of the art community in Pasadena beginning in
the late 19th century and the present work is an outstanding example of her
best known subject: the pepper tree. She painted “. . . many versions of the
lacy foliage and vivid red berries of the exotic pepper tree. . . . The pepper
tree, or ‘Peru’, was an early import to Southern California from Peru and a
fascination for tourists.”(P. Trenton, “Independent Spirits: Women Painters
of the American West 1890-1945”, Autry Museum of Western Heritage, Los
Angeles, CA, 1995, p. 44). The painting retains its period American frame.
Visual: Generally good condition. Blacklight: Some minor spots of touch-up
scattered throughout with a quarter-sized area of touch-up along the upper
left edge and a 7”horizontal scattered area along lower left edge.
82 Paul De Longpre (1855-1911 Los Angeles, CA)
roses and bumblebees, signed, inscribed and dated lower left: Paul De
Longpre Los Angeles 1899, watercolor on paper laid down to board under
glass, sight size: 20”x 15.5”, est:$20,000/30,000
Provenance: Property from the Sisters of Social Service, Los Angeles, CA,
since at least the 1940s; Collection, Los Angeles, CA. Visual: Generally good
condition with mild toning to the paper and one spot of stain in lower left
quadrant. Colors strong. Not examined out of the frame.
83 Sydney J. Yard (1855-1909 Carmel, CA)
landscape with rolling hills, signed lower left: Sydney J. Yard, watercolor on
paper under glass, sight size: 10.5”x 14.25”, est:$1500/2000
Visual: Generally good condition with mild toning throughout and mat burn
along the edges. Not examined out of the frame.
84 no lot
85 Lucia K. Mathews (1870-1955 Los Angeles, CA)
portrait of a young girl seated in a meadow, signed lower right: Lucia
K. Mathews, watercolor on paper laid to board under glass, paper size:
14.25”x 11.25”, est:$25,000/35,000
Provenance: Mr. John Zeile (furniture shop co-owner); Mr. Leon Lowell
McClelland (furniture shop accountant) and Mrs. Lilla Elizabeth [Roe]
McClelland, gifted from the above to furnish their home shortly after their
marriage in 1914; by descent in the family to Private Collection, Saratoga,
CA; Private Collection, Los Angeles, CA. Visual: Generally good condition
with some minor staining.
18

86 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA)
“The Wasatch Mountains”, signed lower left: Marion Kavanaugh and with
artist’s device, titled verso, watercolor on paper under glass, sight size:
14.25”x 19.25”, est:$7000/9000
Note: Paper size: 15.75”x 19.5”. Provenance: Private Collection, Orange
County, CA. Visual: Generally good condition with mild toning to the paper.
Hinged along the upper edge of the front mat.
87 Paul Lauritz (1889-1975 Glendale, CA)
eucalyptus landscape, signed lower right: Paul Lauritz, watercolor on paper
under glass, sight size: 14”x 10”, est:$2000/3000
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition. Not examined out of the frame.
88 Dana Bartlett (1882-1957 Los Angeles, CA)
trees in a landscape, signed and dated lower left: Dana Bartlett 1938,
watercolor on paper under glass, sight size: 12”x 12”, est:$1500/2500
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition with mild toning to the paper. Not examined out of the frame.
89 James March Phillips (1913-1981 San Francisco, CA)
“San Francisco Impressions”, signed lower left: James March Phillips,
signed again and titled on the original paper backing, watercolor on paper
under glass, sight size: 19”x 28”, est:$3000/5000
Visual: Generally good condition. Colors strong. Not examined out of the
original frame.
90 Phil Dike N.A. (1906-1990 Claremont, CA)
“Highway #1 Through Harmony”, signed and dated lower left: Phil Dike ‘76,
watercolor on paper under glass, paper size: 22”x 30”, est:$7000/9000
Provenance: Challis Galleries, Laguna Beach, CA; Private Collection,
Orange County, CA. Visual: Generally good condition. Not examined out of
the frame.
19

91 Rex Brandt N.A. (1914-2000 Corona del Mar, CA)
“Beached Boat”, signed, titled and dated lower center: Rex Brandt 6-21-71,
watercolor on paper under glass, sight size: 13.5”x 20”, est:$6000/8000
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Not examined out of the frame.
92 George Post A.W.S. (1906-1997 San Francisco, CA)
“Pt. Reyes”, signed lower center: George Post, titled and numbered
verso: #10, watercolor on paper under glass, paper size: 14.75”x 21.75”,
est:$1500/2500
Provenance: Private Collection, Orange County, CA. Visual: Generally
good condition. Colors strong. Hinged in the upper left and right corners.
Remnants of glue along the lower recto edge.
93 Maurice Logan (1886-1977 Orinda, CA)
dock scene, signed lower left: Maurice Logan, watercolor on paper laid to
board under glass, sight size: 19.75”x 27.25”, est:$4000/6000
Visual: Generally good condition. Hinged to the front mat along the edges.
94 Nell Walker Warner (1891-1970 Carmel, CA)
“Old Laguna”, signed lower right: Nell Walker Warner, signed again and
titled on the original board backing, watercolor on paper under glass, sight
size: 18.75”x 22.75”, est:$3000/5000
Visual: Generally good condition. Colors strong. Very mild toning to the
paper and three spots of stain in the sky. Not examined out of the frame.
95 Milford Zornes N.A. (1908-2008 Claremont, CA)
“Shore at Pismo”beach with figures, signed and dated lower left: Zornes 70,
watercolor on paper under glass, image size: 28.5”x 21.5”, est:$3000/4000
Note: Paper size: 30” x 22.5”. Provenance: The Sweeney Estate. Visual:
Generally good condition with minor soiling in the margins. Paper floating in
the frame with four deckled edges. Not examined out of the frame.
20

96 Milford Zornes N.A. (1908-2008 Claremont, CA)
“Laguna Cliffs”, signed and dated lower left: Zornes ‘73, signed again and
titled on the original backing, watercolor on paper under glass, sight size:
21”x 29”, est:$3000/5000
Provenance: Private Collection, Fullerton, CA. Visual: Generally good
condition with a minor crease to the paper in the far upper right corner and
very minor toning to the paper. Not examined out of the frame.
97 Lois Green Cohen (1919-* Los Angeles, CA)
“Malibu Beach”, signed on each side lower right: Lois Green Cohen,
titled on verso, watercolor on paper under glass, paper size: 22”x 30”,
est:$2500/3500
Note: The verso depicts houses in the hills, probably Malibu, CA. Visual:
Generally good condition with four deckled edges. Minor soiling along the
edges and a stain in the lower left corner. Remnants of paper tape along
the left and right center edges. Mounted in archival corners to a foam core
backing.
98 Jake Lee (1915-1991 Los Angeles, CA)
California pier, signed lower right: Jake Lee, watercolor on paper under
glass, sight size: 13.5”x 20.5”, est:$3000/5000
Visual: Generally good condition with spots of stain in the lower left and
lower right corners and tiny dots of stain in the lower left quadrant. Not
examined out of the frame.
99 Roger Edward Kuntz (1926-1975 San Antonio, TX)
“Beach Houses, Laguna”, signed lower right: Kuntz, titled, dated and
numbered on the stretcher: 1972 #95, oil on canvas, 24”x 30”, est:$4000/6000
Provenance: Challis Galleries, Laguna Beach, CA; Private Collection,
Orange County, CA. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
100 Ben Abril (1923-1995 Los Angeles, CA)
“York Boulevard Street Car, Los Angeles Railway”, signed lower left: Ben
Abril, titled on the stretcher, oil on canvas, 11”x 14”, est:$2000/3000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
21

101 Phil Dike N.A. (1906-1990 Claremont, CA)
“Down the Beach”, signed lower left: Phil Dike, signed again and titled on
the stretcher, oil on canvas, 18”x 22”, est:$40,000/60,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Blacklight: A few very minor spots of touch-up in the upper right
corner.
102 Herbert ‘Bert’ Chester Cressey (1883-1944 Compton, CA)
“Happy Days, Calif. (Point Fermin, Palos Verdes)”1916, signed lower left: B.
Cressey, signed again and titled on an original label affixed to the backing,
oil on canvas laid on canvas, 36”x 40”, est:$12,000/18,000
Exhibited: California Art Club, “Eight Annual Exhibition”, October 1917,
no. 25 (see exhibition label verso). Literature: W. South et al., “A Seed of
Modernism: The Art Students League of Los Angeles, 1906-1953”, Pasadena
Museum of California Art, Pasadena, CA, 2008, p. 59, plate 7, illustrated;
M. Yoshiki-Kovinick and J. Armstrong-Totten, “The Art Students League of
Los Angeles, 1906-1953”, American Art Review, Vol. XX, No. 2, April 2008, p.
128, illustrated. Note: Together with the book “A Seed of Modernism: The
Art Students League of Los Angeles”. Visual: Generally good condition.
Blacklight: Scattered spots of touch-up throughout concentrated mainly in
the sky and in the right center quadrant.
103 Joe Duncan Gleason (1881-1959 Glendale, CA)
“Outward Bound (Whaling Bark Charles W. Morgan)”, signed lower right:
J. Duncan Gleason, titled on an original artist’s label affixed verso, oil on
canvas, 24”x 20”, est:$30,000/40,000
Provenance: Private Collection, Beverly Hills, CA. Visual: Stable craquelure
throughout. Blacklight: Some minor spots of touch-up on the water.
104 Granville Redmond (1871-1935 Los Angeles, CA)
cliffs at Catalina, signed lower left: Granville Redmond, signed again and
dated verso: 1919, signed again on the stretcher bar, oil on canvas,
12”x 16”, est:$50,000/70,000
Visual: Generally good condition with two verso patches. Blacklight: A few
minor spots of touch-up in the upper left quadrant.
22

105 Franz A. Bischoff (1864-1929 Pasadena, CA)
crashing waves in a rocky coastal view, signed lower right: Franz A.
Bischoff, oil on canvasboard, 14”x 18”, est:$12,000/16,000
Provenance: Private Collection, Santa Barbara. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
106 Emil J. Kosa Jr. (1903-1968 Los Angeles, CA)
“Hills and Rills”, signed lower right: Emil J. Kosa Jr., signed again and titled
on the stretcher, oil on canvas, 24”x 34”, est:$10,000/15,000
Exhibited: John Wayne Airport, Vi Smith Concourse Gallery, “Plein Air
Paintings from the Irvine Museum”, May-September 2005 (see label verso).
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
107 Darwin Duncan (1905-2002 Ramona, CA)
house in a rural landscape, signed lower left: Darwin Duncan, oil on
canvas, 20.5”x 24.5”, est:$3000/5000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
108 Paul Grimm (1891-1974 Palm Springs, CA)
“California”eucalyptus landscape, signed lower right: Paul Grimm, titled
verso, oil on linen canvas, 36”x 48”, est:$8000/10,000
Provenance: Newcomb Macklin Galleries, Chicago, IL (see label affixed
verso). Visual: Generally good condition. Tacking edges re-lined. Blacklight:
No evidence of restoration under blacklight.
109 Paul Grimm (1891-1974 Palm Springs, CA)
“Pleasant Retreat”, signed lower left: Paul Grimm, titled verso, oil on
canvas, 24”x 30”, est:$4000/6000
Provenance: George Stern Fine Arts, West Hollywood, CA. Visual: Generally
good condition. Blacklight: No evidence of restoration under blacklight.
23

110 Sam Hyde Harris (1889-1977 Alhambra, CA)
“Bonal’s Barn”, signed lower left: Sam Hyde Harris, titled and numbered
verso: 131, oil on masonite, 18”x 24”, est:$9000/12,000
Provenance: Arlington Gallery, Santa Barbara, CA (see label verso). Visual:
Generally good condition. Blacklight: No evidence of restoration under
blacklight.
111 Emil J. Kosa Jr. (1903-1968 Los Angeles, CA)
“Farm Scene”, signed lower left: E. J. Kosa Jr., signed again and titled on
the stretcher, oil on canvas, 28”x 32”, est:$10,000/15,000
Note: With three unfinished sketches verso. Visual: Generally good
condition. Blacklight: Minor, scattered spots of touch-up along the edges, a
scattered area in the sky in the upper center and a scattered dots of touchup
in the left center quadrant.
112 Sam Hyde Harris (1889-1977 Alhambra, CA)
“Against the Wind”, signed lower left: Sam Hyde Harris, titled and
numbered verso: #693, oil on canvasboard, 16”x 20”, est:$5000/7000
Note: With a small sketch of a cabin verso. Provenance: G. Breitweiser,
Studio 2, Santa Barbara, CA. Visual: Generally good condition. Blacklight:
No evidence of restoration under blacklight.
113 Paul Lauritz (1889-1975 Glendale, CA)
“California Hills at Malibu”, signed lower left: Paul Lauritz, titled on the
stretcher, oil on canvas, 24”x 34”, est:$7000/10,000
Provenance: Private Collection, Tarzana, CA, acquired directly from the
artist, 1970s. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
114 Emil J. Kosa Sr. (1876-1955 Los Angeles, CA)
“Chatsworth Manor”circa 1940, signed lower right: Emil J. Kosa Sr., titled
on an original label affixed verso, oil on masonite, 30”x 36”, est:$7000/9000
Exhibited: Los Angeles County Fair, Pomona, CA, 1940, won the Popularity
Prize (see label verso and inscription). Provenance: Stary-Sheets Art
Gallery, Irvine, CA; Overland Gallery, Scottsdale, AZ; Private Collection,
Santa Barbara, CA. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
24

115 Charles Reiffel (1862-1942 San Diego, CA)
“Building a Dam, Silvermine, CT”, signed lower right: Charles Reiffel, oil on
canvas laid to canvas, 31”x 37”, est:$50,000/70,000
Provenance: William A. Karges Fine Art, Los Angeles; Private Collection,
Los Angeles, CA, acquired from the above. Visual: Generally good condition.
Blacklight: Spots and areas of touch-up along the four edges possibly
to due to restretching the canvas to its original size. Touch-up scattered
throughout the sky and a few other minor scattered spots of touch-up in the
landscape.
116 George Demont Otis (1879-1962 Kentfield, CA)
“Autumn Day, Calabasas”, signed lower right: Geo. Demont Otis, titled on
the stretcher, oil on canvas, 24”x 30”, est:$8000/10,000
Provenance: Private Collection, Santa Barbara, CA. Visual: Scattered
craquelure throughout. Blacklight: Scattered touch-up along the four edges
with the three largest areas, approximately 2” x 1” and two quarter-sized
scattered areas, along the upper right edge.
117 Ruth M. Bennett (1899-1960 Los Angeles, CA)
“Riverside Drive”California, signed lower right: Ruth M. Bennett, signed
again twice and titled verso, oil on canvasboard, 16”x 20”, est:$2500/3500
Provenance: Goldfield Galleries, Los Angeles, CA; Private Collection,
Carlsbad, CA, acquired from the above, 1977. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
118 Conrad Buff (1886-1975 Laguna Hills, CA)
landscape, estate signed lower right: Conrad Buff, oil on board,
16.5”x 24.25”, est:$4000/6000
Literature: L. Buff and G. Stern, “The Art & Life of Conrad Buff”, George
Stern Fine Arts, West Hollywood, CA, 2000, p. 114, no. 0504A, illustrated.
Note: There is an estate stamp signed by Mary Elizabeth Buff on the verso.
Provenance: George Stern Fine Art, West Hollywood, CA; Private Collection,
Glendale, CA. Visual: Generally good condition with stable craquelure and
paint shrinkage throughout. Blacklight: No evidence of touch-up under
blacklight.
119 Conrad Buff (1886-1975 Laguna Hills, CA)
trees, estate signed lower right: Conrad Buff, oil on paper laid to board,
16.25”x 24.25”, est:$4000/6000
Note: There is an estate stamp signed by Mary Elizabeth Buff on the verso.
Provenance: George Stern Fine Art, West Hollywood, CA; Private Collection,
Glendale, CA. Visual: Generally good condition. Blacklight: Spots and areas
of touch-up throughout the blue sky concentrated mainly in a scattered
area in the center quadrant approximately 4”x 2”.
25

120 Sam Hyde Harris (1889-1977 Alhambra, CA)
“South Pasadena Hillside”circa 1948, signed lower left: Sam Hyde Harris,
oil on canvas, 18”x 24”, est:$7000/10,000
Provenance: G. Breitweiser, Studio 2, Santa Barbara, CA; Private Collection,
Santa Barbara, CA. Visual: Generally good condition with a spot of paint
loss in the lower center quadrant. Blacklight: No evidence of restoration
under blacklight.
121 Dana Bartlett (1882-1957 Los Angeles, CA)
eucalyptus landscape, signed lower left: D. Bartlett, oil on canvas, 20”x 24”,
est:$6000/8000
Provenance: Private Collection, Santa Barbara, CA. Visual: Craquelure
throughout. Blacklight: Scattered spots of touch-up to address craquelure
throughout the sky and there is a concentrated area of scattered touch-up
on the distant darker trees to the left of the central bush.
122 Hanson Puthuff (1875-1972 Corona del Mar, CA)
landscape with purple mountains, signed lower right: H. Puthuff, oil on
canvas laid to board, 14”x 16”, est:$10,000/15,000
Visual: Generally good condition. Blacklight: Two scattered dime-sized
spots of touch-up in the sky in the upper right quadrant, a scattered dimesized
spot of touch-up on the mountains in the upper center quadrant and a
few other scattered dots of touch-up.
123 Jean Mannheim (1863-1945 Pasadena, CA)
“Colorado Rock Formations”, signed lower left: J. Mannheim, titled on
the stretcher, titled again and numbered on an artist’s label affixed to the
stretcher: #34, oil on canvas, 20”x 24”, est:$3000/5000
Note: Harry Nelson Tillcock (1882-1872 Los Angeles) painted with Jean
Mannheim in the 1930s and 1940s. Provenance: Harry Nelson Tillcock,
acquired directly from the artist, early 1940s; by descent in the family to the
present owner. Visual: Craquelure and paint losses throughout. Blacklight:
No evidence of restoration under blacklight.
124 Jean Mannheim (1863-1945 Pasadena, CA)
“Wagon Wheel Gap, Colorado”, signed lower left: J. Mannheim, titled and
numbered on an artist’s label affixed to the stretcher: #129, unframed oil on
canvasboard, 12”x 15.5”, est:$2000/4000
Provenance: Harry Nelson Tillcock, acquired directly from the artist, early
1940s; by descent in the family to the present owner. Visual: Generally
good condition with very minor abrasions along the edges. Blacklight: No
evidence of restoration under blacklight.
26

125 Edgar A. Payne (1883-1947 Los Angeles, CA)
Azure Lake, signed lower right: Edgar Payne, oil on board, 16”x 12”,
est:$20,000/25,000
Provenance: Private Collection, Palm Desert, CA. Visual: Generally good
condition. Blacklight: Some scattered spots of touch-up on the mountains
in the upper center quadrant and there are a few dots of touch-up in the
lower left corner.
126 Charles Partridge Adams (1858-1942 Pasadena, CA)
“Tornado Peak, Ten Mile Range - Leadville District, from near Dillon
Colo.”mountain landscape, signed lower left: Charles Partridge Adams,
titled on the stretcher, oil on canvas, 10”x 15”, est:$5000/7000
Note: Written in ink, lower stretcher bar: “Bought in Denver, Jan 1905”.
Provenance: Estate, Pasadena, CA. Visual: Generally good condition.
Blacklight: Minor scattered spots of touch-up mainly in the sky. A 0.25”spot
of touch-up on the mountain in the left center quadrant with corresponding
verso patch.
127 Charles Partridge Adams (1858-1942 Pasadena, CA)
“Mt. Princeton, Collegiate Range, Colo.”, signed lower left: Chas. Partridge
Adams, oil on canvas laid to masonite, 11.5”x 15”, est:$3000/5000
Provenance: Private Collection, CA. Visual: Generally good condition.
Blacklight: Two tiny dots of touch-up in the sky and a small scattered area
of dots of touch-up on the water in the lower center quadrant.
128 Paul Lauritz (1889-1975 Glendale, CA)
“Eklutna Glacier”Alaska, signed and dated lower right: Paul Lauritz 1919,
titled, inscribed indistinctly and dated again verso: Sep. 1st 1919, oil on
canvas, 14”x 18”, est:$5000/7000
Provenance: Private Collection, Beverly Hills, CA. Visual: Generally good
condition with a dot of paint loss in the lower left corner. Blacklight: No
evidence of restoration under blacklight.
129 Robert W. Wood (1889-1979 Bishop, CA)
Texas bluebonnets, signed and dated lower left: Robert Wood 56, oil on
board, 12”x 16”, est:$9000/12,000
Provenance: Private Collection, San Clemente, CA. Visual: Generally good
condition with a small scattered area of paint loss on the tree in the left
center quadrant. Blacklight: No evidence of restoration under blacklight.
27

130 Ella K. Mewhinney (1891-1962 Holland, TX)
“Texas Bluebonnets and Mesquites”, signed lower left: Ella K. Mewhinney,
oil on canvas, 18”x 20”, est:$2500/3500
Provenance: Descendant of Lloyd Lockhart, Kinneloa Ranch, CA. Visual:
Generally good condition. Blacklight: A spot of touch-up in the upper right
quadrant.
131 M. Walton Leader (1877-1966 Austin, TX)
Texas landscape with bluebonnets, signed and inscribed verso: Painted by
M. Walton Leader, Austin, Texas, oil on canvas, 10”x 12”, est:$2000/3000
Provenance: Private Collection, Orange County. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
132 Frank Tenney Johnson N.A. (1874-1939 Los Angeles, CA)
“Cowboy Race”field study for ‘Dust Stained Riders’, unsigned, titled on the
stretcher, oil on canvas backed with masonite, 24”x 30”, est:$50,000/70,000
Literature: H. McCracken, “The Frank Tenney Johnson Book: A Master
Painter of the Old West”, Doubleday and Co., New York, NY, 1974, p. 171, no.
719, as oil study for ‘Dust Stained Riders’. Note: There is a label affixed to
the stretcher stating ‘This picture I authenticate as having been painted by
F. Tenney Johnson, N.A.’ signed by W.P. Krehm and Frank Panter. William
P. Krehm worked as a framer for the Biltmore Art Salon in the Ambassdor
Hotel, Los Angeles, of which Johnson was a founding member, in the 1930s.
He continued his friendship with Mrs. Johnson after Johnson died in 1939
and in the 1940s he helped her clean out the artist’s studio and repair and
restore the paintings and their frames. In partial payment for services, Mrs.
Johnson gave Krehm 72 field sketches by the artist including the present
work. Copies of a letter from Krehm describing his relationship with the
Johnsons dated April 26, 1963 and another statement dated April 23, 1968
signed by Frank Panter accompany the lot. In addition, a copy of a letter
dated August 12, 1963 from the artist James Swinnerton to William Riffle,
one of the purchasers of the sketches from Krehm, accompanies the lot.
Swinnerton writes: I am sincerely pleased to find that you have become
the owner of these original field sketches of Frank Tenney Johnson’s.
Frank and myself used to agree that the field sketches had the quality of
“feeling”of the subject that was somewhat missing in the following finished
painting which followed it or them -- I knew of these sketches of his that
“Vinnie”(Frank’s wife) had turned over to Bill Krehm and wondered what he
was going to do with them and now, I find you have obtained them -- They
should be shown especially now in the way art is gathering interest of so
many persons. Again - I congratulate you on unveiling them. Sincerely your
friend, Jim Swinnerton. Provenance: Private Collection, Orange County, CA.
Visual: Paint losses in the right center quadrant, upper left quadrant and on
the horses. Areas of unstable craquelure with some losses in the lower left
quadrant and on the figure in the center. Blacklight: A few spots of touchup
to address losses in the lower left quadrant.
28

133 George Thompson Pritchard (1878-1962 Reseda, CA)
“The Pioneers”covered wagon and riders in a Western landscape, signed
lower right: G. Thompson Pritchard, signed again and titled on the stretcher,
oil on canvas, 30”x 40”, est:$2000/3000
Provenance: Private Collection, Corona del Mar, CA. Visual: Stretcher
bar creases and scattered craquelure. Bubbling and losses due to heat
throughout the lower half of the canvas. Yellowed varnish and dirty.
Blacklight: No evidence of restoration under blacklight.
134 Frank Tenney Johnson N.A. (1874-1939 Los Angeles, CA)
“Desert Mountains”, signed lower left: F. Tenney Johnson A.N.A., oil on
board, 12”x 16”, est:$10,000/15,000
Exhibited: Allied Artists of America, New York, NY, “Sixteenth Annual
Exhibition”, 1929 (see label verso). Provenance: Estate, Glenn County,
Northern CA. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
135 Carlos Vierra (1876-1937 Santa Fe, NM)
“Santa Fe, NM”figure and horse near an adobe in an autumn hillside
landscape, signed lower right: Carlos Vierra, signed again and titled verso
and on an original label affixed verso, numbered verso: 1-334, oil on board,
18”x 24”, est:$10,000/15,000
Provenance: Estate of Dr. John Simons, Orange, CA, by family descent.
Visual: Generally good condition. Dirty. Blacklight: No evidence of
restoration under blacklight.
136 Carlos Vierra (1876-1937 Santa Fe, NM)
“Autumn”New Mexico - hills in an autumn landscape, signed lower left:
Carlos Vierra, signed again, titled and numbered on an original label affixed
verso: 1-313, oil on board, 16”x 20”, est:$5000/7000
Provenance: Estate of Dr. John Simons, Orange, CA, by family descent.
Visual: Generally good condition with artist pin holes in the four corners
and along the left center edge. Dirty. Blacklight: No evidence of restoration
under blacklight.
137 Carlos Vierra (1876-1937 Santa Fe, NM)
“New Mexico”autumn landscape, signed lower center: Carlos Vierra,
signed again, titled and numbered on an original artist’s label affixed verso:
1-237, oil on board, 16”x 20”, est:$5000/7000
Provenance: Estate of Dr. John Simons, Orange, CA, by family descent.
Visual: Generally good, original condition. Dirty. Blacklight: No evidence of
touch-up under blacklight. Overpaint evident in the upper left corner.
29

138 George K. Brandriff (1890-1936 Laguna Beach, CA)
“Sand Wash”New Mexico desert, 1934, unsigned, oil on canvas, 25”x 30”,
est:$3000/5000
Note: There is an authentication statement verso signed by Mrs. George
K. Brandriff. Provenance: Sold for the benefit of the Laguna Art Museum
Collections Fund. Visual: Generally good condition with some scattered
minor craquelure and frame abrasion. Blacklight: No evidence of
restoration under blacklight.
139 Harold Buck Weaver (1889-1961 Los Angeles, CA)
“Near Gallup, N. Mex.”, signed lower right: Weaver and with artist’s device,
signed again, titled and dated verso: 1932, oil on canvas laid to board under
glass, 8”x 10”, est:$3000/5000
Note: The painting retains its original frame made by the artist. Visual:
Generally good condition with very minor frame abrasion. Blacklight: A few
tiny dots of touch-up in the sky.
140 Harold Buck Weaver (1889-1961 Los Angeles, CA)
“Canyon de Chelley (sic), Arizona”, signed and dated lower right: Weaver
26 and with artist’s device, signed and dated again and titled verso, oil on
canvas laid to board under glass, 8.75”x 10.75”, est:$3000/5000
Note: The painting retains its original frame made by the artist. Visual:
Generally good condition with very minor frame abrasion. Blacklight: A few
tiny dots of touch-up in the sky.
141 James Swinnerton (1875-1974 Palm Springs, CA)
“The Arroyo”Arizona landscape, signed lower right: Swinnerton, signed
again and titled verso, oil on canvas laid to board, 14”x 18”, est:$3000/5000
Provenance: Othaman Stevens, Los Angeles, circa 1930s; by descent in the
family to the present owner. Visual: Generally good, original condition. Dirty.
Blacklight: A few spots of apparent older overpaint in the sky.
142 Paul Lauritz (1889-1975 Glendale, CA)
Ruins of the State Station, signed lower left: Paul Lauritz, oil on canvas,
18”x 26”, est:$2000/3000
Provenance: Laky Gallery, Carmel, CA; Private Collection, Tarzana, CA,
acquired from the above, 1970s. Visual: Generally good condition with one
minor spot of paint loss in the upper left quadrant. Blacklight: Two spots of
touch-up in the upper right hand corner.
30

143 John W. Hilton (1904-1983 Twenty-nine Palms, CA)
“Royal Robes of Sundown”, signed lower right: John W. Hilton, titled and
dated verso: 65-7-6, oil on board, 20”x 33.75”, est:$2500/3000
Provenance: Private Collection, Tustin, CA. Visual: Generally good condition
with minor frame abrasion and a few losses along the edges. A surface
spot on the hill in the left center quadrant. Blacklight: No evidence of
restoration under blacklight.
144 Marjorie Reed (1915-1996 Vallecito, CA)
riders and pack horse approaching a homestead, signed lower left: Harvey
Day, oil on canvas, 32”x 36”, est:$7000/9000
Note: Marjorie Reed painted under the pseudonym “Harvey Day”, the name
of her second husband, during the 1950s. Provenance: Private Collection,
Irvine, CA. Visual: A 1.5”horizontal tear in the upper left quadrant, there
is a surface scratch with paint loss on the mountain in the upper center
and there is a 0.5” C-shaped tear with paint loss in the sky in the upper left
quadrant. The canvas is rippled across the sky. Blacklight: No evidence of
restoration under blacklight.
145 Marjorie Reed (1915-1996 Vallecito, CA)
“Autumn in the Canyon”, signed lower right: Marjorie Reed, signed again
and titled on an artist’s label affixed verso, oil on canvasboard, 12”x 9”,
est:$2500/4000
Provenance: Fenn Galleries, Inc., Santa Fe, NM (see label verso); Private
Collection, Irvine, CA. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
146 Nicholas S. Firfires (1917-1990 Santa Barbara, CA)
“Three Bar R Cowboys”, signed and dated lower left: Nicholas S.
Firfires 1960, titled and numbered verso: C8119, oil on canvas, 16”x 20”,
est:$2500/3500
Provenance: Sold for the benefit of the Laguna Art Museum Collections
Fund. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
147 Olaf Carl Wieghorst (1899-1988 El Cajon, CA)
“A Top Ride”, signed lower left: O. Wieghorst and with artist’s brand device,
signed again and titled verso, ink and watercolor on board, sight size:
10”x 8”, est:$4000/6000
Note: Board size: 12” x 10”. Provenance: Private Collection, Orange County,
CA. Visual: Generally good condition with minor mat burn along the edges.
Affixed with paper tape along the edges to the front mat.
31

148 Marjorie Reed (1915-1996 Vallecito, CA)
“Butterfield Stage Near Dragoon Springs”, signed lower right: Marjorie
Reed, signed again and titled on an artist’s label affixed verso, oil on
canvasboard, 8”x 10”, est:$2000/3000
Provenance: Private Collection, Irvine, CA. Visual: Generally good condition.
Blacklight: No evidence of restoration under blacklight.
149 Milford Zornes N.A. (1908-2008 Claremont, CA)
Repair Under the Trees, signed and dated lower right: Milford Zornes 1940,
oil on canvas, 24”x 36”, est:$20,000/30,000
Provenance: Stendahl Galleries, Los Angeles, CA, no. 10 (see partial verso
label); The Sweeney Estate. Visual: Generally good, original condition with
a few spots of craquelure. Some minor abrasions (not completely through)
the canvas with some paint loss scattered throughout, most notably: six
small spots on the trees a few inches from the right edge and two threeinch
vertical lines immediately to the right of the figures, a small vertical
area in the trees in the upper center and three small spots near the leftmost
figure on the ground. A 2”vertical area of apparent gold frame paint
on the paint surface in the upper right corner. Minor frame abrasion along
the edges and an artist’s pin hole in the lower right corner. Not examined
out of the frame. Blacklight: No evidence of restoration under blacklight.
150 Donna N. Schuster (1883-1953 Los Angeles, CA)
pigs and horses in a farm scene, signed lower left: Donna Schuster, oil on
canvas, 25”x 30”, est:$5000/7000
Visual: Generally good condition. Blacklight: A quarter-sized area of touchup
in the upper left quadrant in the sky with scattered tiny dots of touch-up
throughout the sky, a few dots on the barn, a few dots on the right-most pig,
and a few other scattered dots throughout.
151 Thomas L. Hunt (1882-1938 Santa Ana, CA)
houses in a winter landscape, signed lower right: Thos. L. Hunt, oil on
board, 20”x 24”, est:$30,000/40,000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
32

152 Abel G. Warshawsky (1883-1962 Monterey, CA)
“The River at Carmel Valley”, signed and titled verso: A. Warshawsky, oil on
board, 20”x 24”, est:$4000/6000
Visual: Generally good condition. Blacklight: One tiny spot of touch-up
along the upper center edge.
153 Edith White (1855-1946 Berkeley, CA)
chrysanthemums, signed lower left: Edith White, oil on canvas, 28.25”x 20”,
est:$7000/9000
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition. Blacklight: A few concentrated areas of tiny scattered spots of
touch-up in green pigments in the center, right center and to the right of the
signature.
154 Jean Mannheim (1863-1945 Pasadena, CA)
“L.A. Roses”floral still life, estate signed verso: J. Mannheim, titled verso,
oil on board, 24”x 20”, est:$4000/6000
Visual: Generally good condition. Blacklight: Scattered touch-up due to
frame abrasion along the four edges and there are a few spots of touch-up
in the scene concentrated mainly in the lower center quadrant.
155 John Marshall Gamble (1863-1957 Santa Barbara CA)
wildflowers on a hillside, estate signed lower right: John M. Gamble, oil on
masonite affixed to stretcher bars, 20”x 26”, est:$60,000/80,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Blacklight: Scattered spots of touch-up along the upper and right
edges due to frame abrasion. Minor small spots of touch-up scattered in
the landscape.
156 Franz A. Bischoff (1864-1929 Pasadena, CA)
flowering garden, signed lower right: Franz A. Bischoff, oil on board,
20”x 14.75”, est:$9000/12,000
Provenance: Private Collection, Mission Viejo, CA. Visual: Generally good
condition. Blacklight: A few spots of touch-up in the left center quadrant
and lower right corner.
33

157 J. Bond Francisco (1863-1931 Los Angeles, CA)
Sierra Nevada landscape, signed lower right: J. Bond Francisco, oil on
canvas, 10”x 16”, est:$3000/4000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Stretcher bars line visible, far left edge. Light crazing evident.
Blacklight: No evidence of restoration under blacklight.
158 Edgar A. Payne (1883-1947 Los Angeles, CA)
“Long Lake, Bishop Creek, High Sierras”, signed lower right: Edgar Payne,
signed again and titled verso, oil on canvas, 30”x 36”, est:$40,000/60,000
Provenance: Private Collection, Oakland, CA, circa 1930s, acquired directly
from the artist; by descent in the family to the present owner. Visual:
Generally good condition with scattered, stable craquelure throughout.
Blacklight: No evidence of restoration under blacklight.
159 Giuseppe L. Cadenasso (1858-1918 San Francisco, CA)
“Golden Hills”, signed lower left: G. Cadenasso, oil on canvas, 19”x 13”,
est:$5000/7000
Provenance: Private Collection, Santa Barbara, CA. Visual: Minor
craquelure scattered throughout. Blacklight: Scattered spots of touch-up in
the sky and in the lower center quadrant.
160 Charles A. Fries (1854-1940 San Diego, CA)
“Camp Near Descanso”, signed lower right: C.A. Fries, titled and numbered
on the stretcher and again verso, oil on canvas, 20”x 13”, est:$4000/6000
Literature: B.F. Dixon, “Too Late: The Picture and the Artist: A Tribute to
the Dean”, p. 68, no. 178. Provenance: Arlene Kessler Art Gallery, San
Diego, CA; Private Collection, Carlsbad CA, acquired from the above, 1972.
Visual: A repaired hole with corresponding verso patch in the lower center
quadrant. Blacklight: No evidence of touch-up under blacklight.
161 Emil J. Kosa Jr. (1903-1968 Los Angeles, CA)
California hills, signed lower right: Emil J. Kosa Jr., signed again twice
verso, oil on canvas laid to masonite, 25”x 36”, est:$10,000/15,000
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
34

162 Paul Grimm (1891-1974 Palm Springs, CA)
“Pleasant Retreat”, signed lower left: Paul Grimm, signed again and titled
verso, oil on canvasboard, 20”x 24”, est:$4000/6000
Provenance: George Stern Fine Art, West Hollywood, CA; Private Collection,
Santa Barbara, CA. Visual: Generally good condition. Blacklight: Scattered
spots of touch-up in the sky and along the upper and upper left and right
edges. A spot of touch-up on the bush in the right center quadrant.
163 Paul Grimm (1891-1974 Palm Springs, CA)
mountain landscape with lake, signed lower left: Paul Grimm, oil on
canvasboard, 20”x 30”, est:$3000/5000
Provenance: George Stern Fine Art, West Hollywood, CA; Private Collection,
Santa Barbara, CA. Visual: Generally good condition. The board is warped
but stable. Blacklight: No evidence of restoration under blacklight.
164 Sam Hyde Harris (1889-1977 Alhambra, CA)
rolling hills, estate signed lower left: Sam Hyde Harris, oil on board,
12”x 16”, est:$4000/6000
Note: There is an estate stamp signed by Maureen St. Gaudens on the
verso. Provenance: Estate of the artist; Private Collection, Glendale, CA.
Visual: Generally good condition. Blacklight: Touch-up along the upper edge
and in the upper corners of the sky.
165 George Demont Otis (1879-1962 Kentfield, CA)
“Rattlesnake Creek”near Santa Barbara, signed lower right: Geo. Demont
Otis, titled verso, oil on canvas, 18”x 22”, est:$3000/5000
Provenance: Private Collection, Northern California. Visual: Generally good
condition with craquelure and a few tiny dots of loss scattered throughout.
Blacklight: No evidence of restoration under blacklight.
35

166 Edgar A. Payne (1883-1947 Los Angeles, CA)
“Patriarch of the Canyon“ , signed lower right: Edgar Payne, numbered
on an old label affixed verso: A973, oil on canvas laid to canvas, 30”x 40”,
est:$50,000/70,000
Exhibited: Chicago Artists, Chicago, IL, “Sixteenth Annual Exhibition”, 1912
(see partial label affixed verso). Provenance: Garzoli Gallery, San Rafael,
CA. Visual: Generally good condition. Blacklight: A quarter-sized area and
a dot of touch-up in the lower left quadrant, a quarter-sized area, a peasized
area and a dot of touch-up in the lower right quadrant, some minor
scattered horizontal touch-up along the lower center edge and two dots of
touch-up in the center.
167 no lot
168 Elmer Wachtel (1864-1929 Pasadena, CA)
“Alysian Hills”, signed lower left: Elmer Wachtel, signed again and titled
verso, oil on board affixed to stretchers, 14”x 22”, est:$15,000/20,000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition with scattered areas of minor, stable craquelure. Blacklight:
Apparently no evidence of restoration under blacklight - difficult to read.
169 Alexander Mueller (1872-1935 San Marino, CA)
“Lily Pond”, signed and dated lower right: Alexander Mueller 1927, signed
and dated again and titled and numbered on an original label affixed to the
stretcher: No. 39, oil on canvas, 20”x 25”, est:$4000/6000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition with a small hole with paint loss and two other small spots of loss
in the upper center quadrant. Blacklight: No evidence of restoration under
blacklight.
170 Edgar A. Payne (1883-1947 Los Angeles, CA)
“The Castle Montrochard (sic), France”a view of Chateau de Montresor,
signed lower right: Edgar Payne, titled on the stretcher, titled on the original
title plate affixed to the frame: Castles in France, oil on canvas laid to
canvas, 20”x 24”, est:$40,000/60,000
Note: Chateau de Montresor is located in the village of Montresor in
France’s Loire Valley. The chateau began as a medieval castle and in the
15th century, a Renaissance mansion was built in the grounds. During
his extended trip to Europe in the early 1920s, Payne was particularly
taken by Chateau de Montresor. The artist made a model of the structure
and produced at least two important oils including the present work and
another example illustrated in the 1926 Stendahl Galleries catalogue, no.
1. Provenance: Estate, Julian, CA, by descent; Collection, Los Angeles, CA.
Visual: Generally good condition. Blacklight: Two small spots of touch-up in
the right center quadrant.
36

171 Arthur Grover Rider (1886-1975 Pasadena, CA)
“The Fountain - Capistrano”, signed lower right: A. G. Rider, titled on the
stretcher, oil on canvas, 17.5”x 21.5”, est:$40,000/60,000
Provenance: Private Collection, Chicago, Illinois, acquired directly from
the artist, by 1940s; by descent in the family; Collection, Los Angeles, CA.
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
172 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA)
“Corner of Monk’s Garden, San Juan Capistrano”, signed lower left: Marion
Kavanagh Wachtel, signed again and titled on original verso backing paper,
oil on canvas laid to board, 16”x 20”, est:$12,000/18,000
Provenance: Private Collection, Los Angeles, CA, by inheritance. Visual:
Artist’s pin holes upper left, lower left and lower right corners. A tiny hole
and a pin hole in the upper center quadrant. Dirty. Blacklight: No evidence
of restoration under blacklight.
173 Charles L.A. Smith (1871-1937 Los Angeles, CA)
San Juan Capistrano Mission, signed and dated lower right: Chas L.A.
Smith 1931, inscribed on the stretcher: Mission, oil on canvas, 25”x 30”,
est:$3000/5000
Provenance: DeRu’s Fine Art, Laguna Beach, CA. Visual: Generally
good condition. Wax lined. Blacklight: No evidence of restoration under
blacklight.
174 Millard Sheets (1907-1989 Gualala, CA)
figures walking in a Mexican village, signed and dated lower left: 1963
Millard Sheets, watercolor on paper under glass, paper size: 22”x 30”,
est:$7000/10,000
Visual: Generally good condition. Colors strong. Taped along the four edges
with hinge tape.
175 Millard Sheets (1907-1989 Gualala, CA)
“Mission San Jose de Tumacacori”, signed lower left: Millard Sheets,
signed again and titled on verso backing, watercolor on paper under glass,
paper size: 22.5”x 30”, est:$7000/9000
Provenance: Desert Gallery of Kathal Wales, Tucson, AZ; Dalzell Hatfield
Galleries, Los Angeles, CA; Private Collection, Ligonier, PA. Visual:
Generally good condition with fading throughout. Not examined out of the
frame.
37

176 Mabel Alvarez (1891-1985 Los Angeles, CA)
Two works: “Summer Cottage”and “La Parroquia Church, San Miguel De
Allende, Mexico”, one signed lower right: Alvarez, one signed lower right:
M. Alvarez, each: pastel and graphite on paper under glass, the larger:
10”x 12.5”, est:$1000/2000
Note: “La Parroquia Church, San Miguel De Allende, Mexico”executed
circa 1955. Provenance: Estate of the artist. Visual: Each: generally good
condition. Not examined out of the frames.
177 Jade Fon A.W.S. (1911-1983 Bakersfield, CA)
“Banyon (sic) Tree, Kapiolani Park, Oahu, Hawaii”, signed lower right: Jade
Fon A.W.S., titled and dated verso: 1980, watercolor on paper under glass,
paper size: 22.5”x 30.5”, est:$9000/12,000
Provenance: Private Collection, Los Angeles, CA. Visual: Generally good
condition. Colors strong. Hinged along the upper edge.
178 Milford Zornes N.A. (1908-2008 Claremont, CA)
“Pineapple Fields of Kanakaki”, signed and dated lower right: Zornes 73,
signed again, titled, inscribed and dated verso: Molakai, April 19th 1973,
watercolor on paper under glass, paper size: 22”x 30”, est:$3000/5000
Provenance: Private Collection, Idaho Falls, ID, acquired in California upon
their return from a vacation in Hawaii directly from the artist, mid-1970s;
Private Collection, Idaho Falls, ID, acquired from the above, 1990s. Visual:
Generally good condition. Colors strong. Hinged along the upper edge and
lightly affixed along the verso edges.
179 Milford Zornes N.A. (1908-2008 Claremont, CA)
“Farm At Nipomo”, signed and dated lower right: Zornes 1942, signed again
and titled on the paper backing, watercolor on paper under glass, sight
size: 10”x 14.5”, est:$2500/3500
Provenance: The Sweeney Estate. Visual: Generally good condition. Colors
strong. Not examined out of the frame.
180 George Gibson A.N.A. A.W.S. (1904-2001 California)
“Black Horse along the 101”, signed lower left: George Gibson, titled verso,
watercolor on paper under glass, sight size: 19”x 24”, est:$2000/3000
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition. Colors strong. Not examined out of the frame.
38

181 George Gibson A.N.A. A.W.S. (1904-2001 California)
horses at a ranch with distant mountains, signed lower right: George
Gibson A.N.A. A.W.S., watercolor on paper under glass, sight size:
13.75”x 21”, est:$1500/2500
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition. Colors strong. Not examined out of the frame.
182 Milford Zornes N.A. (1908-2008 Claremont, CA)
double-sided watercolor: hay harvest and a house beneath trees, signed
and dated lower right: Milford Zornes 1930, verso signed lower right:
Milford Zornes, watercolor on paper under glass, paper size: 15”x 22.5”,
est:$2000/3000
Provenance: The Sweeney Estate. Visual: Colors strong. Soiling throughout.
Creased and torn in the upper left and lower left and right corners. Brown
pigments that appear as stains along the lower edge on both sides. Taped
in the corners and in the center of the four edges to the front mat.
183 Phil Dike N.A. (1906-1990 Claremont, CA)
women at Taxco, signed lower right: Phil Dike, signed again verso, ink and
watercolor on board, image size: 13”x 11”, est:$2000/3000
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Hinged along the left and right center edges.
184 Milford Zornes N.A. (1908-2008 Claremont, CA)
trees near a lake, signed and dated lower left: Zornes ‘86, watercolor on
paper under glass, sight size: 21.25”x 29.25”, est:$2500/3500
Note: All of the proceeds from the sale of this watercolor will benefit the
Pasadena Museum of California Art (PMCA). PMCA is grateful to Bill
Anderson of Anderson Art Gallery for this donation. Provenance: Anderson
Art Gallery, Sunset Beach, CA. Visual: Generally good condition. Colors
strong. Not examined out of the frame.
185 Jade Fon A.W.S. (1911-1983 Bakersfield, CA)
sailboats, signed lower left: Jade Fon A.W.S., watercolor on paper under
glass, sight size: 15”x 22.5”, est:$2500/3500
Note: There is an abstract composition in watercolor on the verso. Visual:
Generally good condition. Colors strong. Hinged along the upper edge.
39

186 Ritchie A. Benson A.W.S. (1941-1996 California)
“Orion II, San Felipe”, signed lower right: R.A. Benson A.W.S., watercolor
on paper under glass, image size: 16.5”x 23”, est:$1000/2000
Provenance: Estate, Seattle, WA. Visual: Generally good condition. Colors
strong. Not examined out of the frame.
187 Phil Dike N.A. (1906-1990 Claremont, CA)
“Beach Figures”, signed lower center: Phil Dike, signed again and titled
verso, signed and titled again and dated and numbered on the original
paper backing: 1957 #909 and #1209, oil on masonite, 20.25”x 10.5”,
est:$6000/8000
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
188 Maurice Logan (1886-1977 Orinda, CA)
figures playing water sports on a mountain lake, signed lower right:
Maurice Logan, oil on canvas laid to board, 22.5”x 17.5”, est:$15,000/20,000
Provenance: Estate, San Francisco, CA. Visual: Generally good condition.
Blacklight: A scattered 7”horizontal line and other spots of touch-up in the
upper right corner.
189 Joe Duncan Gleason (1881-1959 Glendale, CA)
“The Wanderer, Whaling Bark, lost off Cuttyhunk Island, August 1924”,
signed lower center: Duncan Gleason, signed again and titled verso, oil on
board, 16.75”x 13.25”, est:$15,000/25,000
Provenance: Private Collection, Colorado. Visual: Generally good, original
condition. Significant surface dirt and drips. Blacklight: No evidence of
restoration under blacklight.
190 Joe Duncan Gleason (1881-1959 Glendale, CA)
“Star of Shetland from forecastle of Star of Finland”, signed lower left:
Duncan Gleason, titled verso, graphite on board under glass, sight size:
9.5”x 13.5”, est:$1500/2000
Visual: Generally good condition with artist’s black ink boarder along the
four edges. Affixed to the front mat with paper tape.
40

191 Aaron Kilpatrick (1872-1953 Eagle Rock, CA)
Two works: “California Coast”and “Breaking Waves”, each signed lower
right: Aaron Kilpatrick, each: oil on canvas, each: 14”x 18”, est:$3000/4000
Provenance: An Important Private Collection, New York, NY. Visual:
‘California Coast”: Minor frame abrasion with some tiny dots of loss in the
lower corners and there are a few dots of paint loss on the rocks in the
upper right quadrant. “Breaking Waves”: Minor craquelure and stretcher
bar creases. Canvas is slightly warped. Some tiny dots of paint loss
scattered on the rocks. Blacklight: ‘California Coast”: Overpaint in the upper
right corner and scattered spots of overpaint to address paint losses in the
sky and in the center. “Breaking Waves”: No evidence of restoration under
blacklight.
192 Alfred R. Mitchell (1888-1972 San Diego, CA)
“Cuyamaca Lake”near Julian, CA, signed lower right: Alfred R. Mitchell,
signed again and titled verso, numbered verso: 309, oil on board, 16”x 20”,
est:$10,000/15,000
Provenance: Anna J. Webster, circa 1950s; Private Collection, San Diego,
CA. Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
193 Ada Belle Champlin (1875-1950 Pasadena, CA)
California coastal, signed with initials lower left: A.B.C., signed again and
titled indistinctly on a partial artist’s label affixed verso: The Old ****jo
Road, oil on canvas, 20”x 24”, est:$2000/3000
Provenance: Private Collection, Whittier, CA. Visual: Generally good
condition with some minor scattered spots of paint loss along the lower left
edge. Blacklight: A 2”x 3”area and two spots of touch-up in the sky. A few
other spots that fluoresce on the yellowish/peach pigment the dunes in the
center and on the path in the left center quadrant that appear to be in the
hand of the artist.
194 Edgar A. Payne (1883-1947 Los Angeles, CA)
“French Fishing Boats”, signed lower right: Edgar Payne, signed again and
titled verso, oil on canvas, 20”x 24”, est:$30,000/50,000
Provenance: Private Collection, Oakland, CA, circa 1930s, acquired directly
from the artist; by descent in the family to the present owner. Visual:
Generally good, original condition. Minor horizontal craquelure in the upper
third of the canvas. Blacklight: No evidence of restoration under blacklight.
41

195 Jean Mannheim (1863-1945 Pasadena, CA)
California seascape, signed lower left: J. Mannheim, oil on canvas,
28”x 36”, est:$5000/7000
Provenance: Private Collection, Altadena, CA, by descent in the family
to the present owner. Visual: Stable craquelure scattered throughout.
Blacklight: Evidence of a few spots of old touch-up on the rocks and in the
water.
196 Angel Espoy (1879-1963 Seal Beach, CA)
crashing waves on rocks, signed lower right: A. Espoy, oil on canvas,
24”x 30”, est:$3000/5000
Provenance: George Stern Fine Art, West Hollywood, CA; Private Collection,
Washington. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
197 Granville Redmond (1871-1935 Los Angeles, CA)
Catalina Cliffs, signed lower right: Granville Redmond, signed again verso,
oil on board, 11”x 14”, est:$20,000/25,000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition. Blacklight: There are scattered spots of touch-up in the left
section of clouds.
198 Richard Dey De Ribcowsky (1880-1936 Los Angeles, CA)
sunset coastal, signed lower right: D. De Ribcowsky, oil on waxed canvas,
26.5”x 33.5”, est:$3000/5000
Provenance: Private Collection, Los Angeles, CA. Visual: Craquelure
throughout with unstable areas in the lower left quadrant and upper right
quadrant. Blacklight: Scattered spots of touch-up and crack fill throughout
the upper left quadrant.
199 Joe Duncan Gleason (1881-1959 Glendale, CA)
“Whaling Schooner - John R. Manta”, signed lower right: J. Duncan
Gleason, oil on canvas, 20”x 16”, est:$10,000/15,000
Note: Artist’s typed paper label verso reads: Whaling Schooner - John R.
Manta: Formerly a Gloucester fishing boat; now used for summer whaling
cruises off Hatteras. Provenance: Owen Churchill Collection, Los Angeles,
CA, by descent to family to the present owner, Woodland Hills, CA. Visual:
Generally good condition. Blacklight: No evidence of restoration under
blacklight.
42

200 Jean Mannheim (1863-1945 Pasadena, CA)
“Tawny”cypress tree near a cove, signed lower left: J. Mannheim, titled
verso, oil on board, 12”x 18”, est:$2500/3500
Provenance: Harriet Crawford Mannheim, second wife of the artist; by
descent in the family to the present owner. Visual: Generally good, original
condition with minor frame abrasion. Would benefit from cleaning and
revarnishing. Blacklight: No evidence of restoration under blacklight.
201 Jean Mannheim (1863-1945 Pasadena, CA)
“Storm Clouds”, signed lower left: J. Mannheim, titled verso and again on
verso backing, oil on board, 12”x 15.5”, est:$2000/3000
Note: Titled on the original backing: A March Morning. Provenance: Harriet
Crawford Mannheim, second wife of the artist; by descent in the family
to the present owner. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
202 Jean Mannheim (1863-1945 Pasadena, CA)
view of the ocean through cypress trees, unsigned, oil on board, 11”x 14”,
est:$2000/3000
Provenance: Harriet Crawford Mannheim, second wife of the artist; by
descent in the family to the present owner. Visual: Generally good, original
condition. Minor frame abrasion with some losses along the edges. The
board is slightly warped. Blacklight: No evidence of restoration under
blacklight.
203 John Marshall Gamble (1863-1957 Santa Barbara, CA)
stream in sunset landscape, unsigned, oil on canvas, 16”x 12”,
est:$15,000/20,000
Provenance: G. Breitweiser, Studio 2, Santa Barbara, CA. Visual: Generally
good condition with very minor craquelure in the sky. Blacklight: No
evidence of restoration under blacklight.
204 Millard Sheets (1907-1989 Gualala, CA)
trees in sunlight, circa 1929, signed lower right: Millard Sheets, oil on
canvas laid to canvas, 14”x 18”, est:$5000/7000
Provenance: Acquired from the artist. Visual: Generally good condition.
Blacklight: A few minor dots of touch-up in the lower left quadrant.
43

205 William Wendt (1865-1946 Laguna Beach, CA)
valley view through eucalyptus trees, signed lower right: William Wendt, oil
on canvas, 20”x 16”, est:$25,000/35,000
Provenance: Private Collection, Pasadena, CA. Visual: Generally good
condition with minor, stable craquelure. Blacklight: A small scattered area
of tiny dots of touch-up in the upper center quadrant.
206 Arthur Hill Gilbert (1894-1970 Stockton, CA)
“The Pasture”, signed lower right: Arthur Hill Gilbert, signed again and titled
on a label affixed verso, oil on canvas laid to board, 12”x 16”, est:$3000/5000
Provenance: Private Collection, Orange County, CA. Visual: Generally good
condition. Blacklight: Minor scattered tiny dots of touch-up throughout.
207 Charles A. Fries (1854-1940 San Diego, CA)
“A Southern California Homestead”, signed lower right: C.A. Fries, titled,
dated and numbered verso: #1524 Feb. 1933, oil on canvas, 16”x 20”,
est:$3000/3500
Literature: B.F. Dixon, “Too Late: The Picture and the Artist: A Tribute to
the Dean”, p. 102, no. 1524. Provenance: Carl Skinner, January 8, 1942;
Arlene Kessler Art Gallery, San Diego, CA; Private Collection, Carlsbad,
CA, acquired from the above, 1977. Visual: Generally good condition with
minor craquelure in the upper right quadrant. Blacklight: No evidence of
restoration under blacklight.
208 Jack Wilkinson Smith (1873-1949 Alhambra, CA)
“Oregon’s Grey Coast”, signed lower left: Jack Wilkinson Smith, signed
again and titled on the verso of the original canvas, oil on canvas laid to
canvas, 28”x 36”, est:$30,000/40,000
Provenance: Private Collection, Pasadena, CA. Visual: Craquelure
throughout. Wax lined. Blacklight: No evidence of touch-up under
blacklight.
209 Joseph John Englehart (1867-1915 Alameda, CA)
“River in Roger Ranch, Oregon”, signed lower right: J. Englehart, titled
verso, oil on canvas, 20”x 38”, est:$2000/3000
Provenance: Private Collection, Corona del Mar, CA. Visual: Generally good
condition with fine, stable craquelure throughout. Blacklight: A 3”x 2”area
of touch-up with a corresponding verso patch in the upper left quadrant. A
small scattered area of touch-up in the sky in the upper right quadrant.
44

210 George K. Brandriff (1890-1936 Laguna Beach, CA)
“Betatakin”Navajo National Monument, Arizona, signed lower right: Geo. K.
Brandriff, titled on the stretcher, oil on canvas, 25”x 30”, est:$6000/8000
Note: Betatakin is one of three large cliff dwellings in Navajo National
Monument, Arizona. Provenance: Estate, El Cajon, CA; Private Collection,
Carlsbad, CA, acquired from the above, 1978. Visual: Generally good
condition. Blacklight: No evidence of touch-up under blacklight.
211 Harry B. Wagoner (1889-1950 Phoenix, AZ)
“Rose Purple Miles”, signed lower left: H.B. Wagoner, oil on canvas,
18”x 26”, est:$2000/3000
Provenance: Descendant of Lloyd Lockhart, Kinneloa Ranch, CA. Visual:
Generally good condition. Blacklight: Minor spots of touch-up scattered in
the sky.
212 Harry B. Wagoner (1889-1950 Phoenix, AZ)
“And the Desert Shall Blossom”, signed lower left: H.B. Wagoner, titled on
the stretcher, oil on canvas laid to board, 18”x 26”, est:$2000/3000
Provenance: Descendant of Lloyd Lockhart, Kinneloa Ranch, CA. Visual:
Stable craquelure throughout. The canvas was cut from the tacking edges
and mounted to foam core. The painting’s original stretchers with the
canvas tacking edges still affixed back the board. Blacklight: Touch-up
and overpaint on the majority of the sky and a few dots of touch-up in the
landscape.
213 Frank Tenney Johnson N.A. (1874-1939 Los Angeles, CA)
cowboy on horseback on a mountain trail, signed and dated lower right:
Frank Tenney Johnson 1917, watercolor on paper under glass, paper size:
14”x 11”, est:$30,000/40,000
Provenance: Estate, Northern California. Visual: Generally good condition.
Hinged along the upper left and right edges to the back mat.
214 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA)
portrait of a young Indian girl, signed lower left: Marion Kavanaugh and
with artist’s device, watercolor on paper under glass, paper size: 13”x 9”,
est:$2500/3500
Provenance: Private Collection, Los Angeles, CA, by inheritance. Visual:
Hinged to the front mat along the four edges. Minor surface abrasions in
the left center and upper right quadrants. Minor toning throughout and
staining along the left edge.
45

215 Marion Kavanagh Wachtel (1870-1954 Pasadena, CA)
portrait of a mustachioed man, signed and dated lower left: Marion
Kavanaugh 1898, watercolor on paper laid to board under glass, paper size:
13.25”x 10.25”, est:$2000/3000
Provenance: Private Collection, Los Angeles, CA, by inheritance. Visual:
Toning and some staining throughout and mat burn along the upper and
lower right edges.
216 Edgar S. Paxon (1852-1919 Missoula, MT)
portrait of a Nez Perce Indian, signed and dated lower left: E.S. Paxon 1902,
inscribed lower left margin: Nez Perce, watercolor on paper laid to board
under glass, oval, sight size: 10.5”x 7”, est:$2500/3500
Note: Paper size: 13.5” x 10.25”. Provenance: Private Collection, Orange
County, CA. Visual: Mild toning to the sight area and darker toning and
staining to the paper margins. Remnants of paper, rips and holes in the
paper margins.
217 Marjorie Reed (1915-1996 Vallecito, CA)
“The Arrival of the Mountain Men at Second Mesa”, ”Sketch for Hopi Mesa
Series”, signed lower left: Marjorie Reed, signed again, titled and dated
verso: 1975, oil on canvasboard, 12”x 16”, est:$3000/5000
Provenance: Private Collection, Irvine, CA. Visual: Generally good condition.
Blacklight: No evidence of restoration under blacklight.
218 Marjorie Reed (1915-1996 Vallecito, CA)
“Comanche Springs, Fort Stockton”, “Sketch for New Mexico-Texas
Butterfield Trail Series”, signed and titled verso: Marjorie Reed, oil on
canvasboard, 9”x 12”, est:$2500/4000
Provenance: Arlene Kessler Art Gallery, San Diego, CA; Private Collection,
Irvine, CA. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
219 Ace Powell (1912-1978 Kalispell, MT)
Indians in moonlight, circa 1950, signed lower left: Powell and with artist’s
ace playing card device, numbered on the stretcher: 0565, oil on canvas,
20”x 24”, est:$4000/6000
Provenance: Sold for the benefit of the Laguna Art Museum Collections
Fund. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
46

220 Marjorie Reed (1915-1996 Vallecito, CA)
“Beautiful Palestine, Jerusalem”, signed lower right: Marjorie Reed, signed
again and titled on an artist’s label affixed to the stretcher, oil on canvas,
24”x 48”, est:$4000/6000
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
221 Hovsep Pushman (1877-1966 New York, NY)
“Madonna, No. 34”, signed lower left: Pushman, oil on masonite affixed to
stretchers, 21.5”x 16.75”, est:$10,000/15,000
Provenance: Grand Central Art Galleries, Inc., New York, NY (see label
verso). Visual: Generally good condition. Blacklight: Very heavy masking
varnish - difficult to read under blacklight.
222 Hugo Ballin (1879-1856 Santa Monica, CA)
“The Four Seasons”, signed and dated lower right: Hugo Ballin ‘51, oil
highlighted with pastel on canvas, 48”x 65”, est:$3000/5000
Provenance: Property of a non-profit organization, Beverly Hills, CA. Visual:
Canvas is loose on the stretchers. Scattered spots of unstable craquelure
with some losses throughout. Blacklight: No evidence of restoration under
blacklight.
223 Amedee Joullin (1862-1917 San Francisco, CA)
“Cherry Time, Brittany”, signed, inscribed and dated lower left: A. Joullin
Paris 09, titled on verso labels, oil on canvas, 26”x 20”, est:$2000/3000
Note: The painting retains its original J. Bohne, New York frame.
Provenance: Memorial Museum, San Francisco, CA, retired November 30,
1917 (see labels verso). Visual: Craquelure and paint shrinkage throughout.
Blacklight: Extensive touch-up in the background and on the figure in the
upper half of the painting and other scattered areas of touch-up in the
lower half.
224 Barton S. Hays (1826-1914 Minneapolis, MN)
still life with grapes and apples, signed lower right: B.S. Hays, oil on canvas
laid to canvas, 16”x 20”, est:$2500/3500
Provenance: Private Collection, Port Jefferson, NY. Visual: Generally good
condition. Blacklight: Areas and spots of touch-up scattered throughout,
particularly a 3”x 4”area on the fruit and table in the lower left quadrant, 2
quarter-sized areas on the fruit in the center, a quarter-sized and a dimesized
area in the upper left quadrant.
47

225 Jean Mannheim (1863-1945 Pasadena, CA)
The Coppermaker, signed lower left: Jean Mannheim, oil on canvas laid to
canvas, 26”x 30”, est:$6000/8000
Note: The present work may date from circa 1904-1908 when Mannheim
was in Denver, Colorado exhibiting and teaching portraiture, primarily for
women students. We are grateful to Dr. Patricia Trenton for her assistance
in cataloging this lot. Provenance: Private Collection, Los Angeles, CA.
Visual: Generally good condition. Blacklight: Spots of touch-up scattered
throughout. Other possible areas of older restoration - difficult to read
under varnish.
226 Tom Theodore Craig (1909-1969 Upland, CA)
portrait of a young girl holding daisies, signed lower left: T. Craig, oil on
canvas, 30”x 22”, est:$3500/5500
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition with some scattered tiny dots of loss in the upper portion of the
painting. Blacklight: Scattered spots of touch-up throughout the face. The
figure’s left eye is entirely touched up. Some other scattered spots of touchup
on the left arm and in the left center and lower left quadrants.
227 John Hubbard Rich (1876-1954 Los Angeles, CA)
portrait of a boy holding fruit before a window, signed lower right: John
Hubbard Rich, oil on canvas, 25”x 30”, est:$4000/6000
Provenance: Brother of the artist, Washington; by descent in his wife’s
family to the present owner. Visual: Generally good condition. A few minor
spots of touch-up scattered throughout.
228 Joseph Mason Reeves (1898-1973 Los Angeles, CA)
portrait of a women in a fur coat, signed upper left: J. Mason Reeves, oil on
canvas, 28”x 23”, est:$2500/3500
Provenance: Estate of the artist; by descent in the artist’s family; Private
Collection, Pasadena, CA. Visual: Generally good, original condition with
a few spots of paint loss, minor frame abrasion. Blacklight: No evidence
of restoration under blacklight. Horizontal surface drips throughout visible
under blacklight.
229 Joseph Mason Reeves (1898-1973 Los Angeles, CA)
portrait of a woman in a red shawl, signed upper left: J. Mason Reeves, oil
on canvas, 28”x 23”, est:$2500/3500
Provenance: Estate of the artist; by descent in the artist’s family; Private
Collection, Pasadena, CA. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
48

230 Christian Von Schneidau (1893-1976 Los Angeles, CA)
“Mood Orientale”the artist’s second wife, Signe, in a Kimono seated
before a mirror in an Asian-inspired interior, 1938, signed lower left: C. von
Schneidau, oil on canvas laid to canvas, 64”x 38”, est:$10,000/15,000
Exhibited: Sullivan Goss: An American Gallery, Santa Barbara, CA, “The Art
of Living Well”, 2007 (see label verso). Literature: J.B. Dominik, “Christian
von Schneidau”, Los Angeles, CA, 1986, no. 10, pp. 33, 35. Note: “Mood
Orientale”was one of 77 paintings selected from the von Schneidau estate
for display and sale by Peterson Galleries in 1986. The artist kept what he
considered his best paintings in his personal collection and the present
work was one of his favorites. We are grateful to Dr. Patricia Trenton for her
assistance in cataloging this lot. Provenance: Paul Chevalier; acquired by
the present owner from the above, 1996. Visual: Generally good condition.
Blacklight: Minor scattered dots of touch-up in the background, on the
mirror and on the ground.
231 Frank Robert Harper (1876-1948 Illinois)
mother and daughter sitting before a fire, signed lower right: F.R. Harper, oil
on canvas, 30”x 24”, est:$2000/3000
Provenance: Private Collection, Illinois. Visual: Two holes with horizontal
abrasions in the lower right quadrant, one 1”long and one 0.5”long and
there is a spot of loss on the fire in the left center quadrant. Canvas is loose
on the stretcher bars and there are stretcher bar creases. Dirty. Blacklight:
No evidence of restoration under blacklight.
232 Ben Foster (1852-1926 New York, NY)
“Frosty Morning”man working a field in the early morning, signed lower
right: Ben Foster, signed again and titled on verso label, oil on canvas,
24”x 18”, est:$3000/5000
Exhibited: Milwaukee Art Society, Milwaukee, WI, n.d. (see label verso).
Provenance: Private Collection, Altadena, CA. Visual: Generally good
condition with two small holes in the right center quadrant. Blacklight: No
evidence of restoration under blacklight.
233 James O. Chapin (1887-1975 New York, NY)
feed lot, Marvin Farm, NJ, signed and dated lower right: James Chapin
1924, oil on canvas laid to canvas, 20”x 26”, est:$3000/5000
Note: In 1924, Chapin left New York City and went to live in a rented cabin
in the hills of Northern New Jersey owned by the Marvins, a farming family.
Chapin’s exposure to the Marvins and their life on the farm resulted in a
dramatic change in the artist’s style, from the heavy influence of Cezanne
to a regionalist view of the United States. The present work is an early and
important example of the paintings the artist produced during the five years
he lived at the Marvin farm before returning to Manhattan. Provenance:
Estate of the artist; D. Wigmore Fine Art, Inc., New York, NY; Tomlin
Fine Arts, Santa Monica, CA; Edisto Isle Corporation, Irvine, CA. Visual:
Craquelure throughout the sky. Blacklight: Scattered spots of touch-up
throughout the sky and along the left edge. A few scattered spots of touchup
on the barn.
49

234 George A. Picken (1898-1971 New York, NY)
“Cape Cod Landscape”Marconi Station, Wellfleet, MA, signed and dated
lower right: Picken 39, signed again and titled on the stretcher, oil on
canvas laid to canvas, 30”x 24”, est:$2500/3500
Note: Marconi Station was the site of the first two-way transoceanic
communication and the first wireless telegram between the United States
and Europe. On January 18, 1903, President Theodore Roosevelt sent the
first transoceanic telegram to King Edward VII of England. Provenance:
Estate of the artist; D. Wigmore Fine Art, Inc., New York, NY; Edisto Isle
Corporation, Irvine, CA. Visual: Generally good condition. Blacklight: Touchup
along the left and right edges, a small area of scattered dots of touch-up
on the building on the right side and a few other minor spots of touch-up
scattered throughout.
235 no lot
236 Sam Hyde Harris (1889-1977 Alhambra, CA)
“Smoke Tree Retreat”, signed lower left: Sam Hyde Harris, signed and titled
verso, oil on canvas, 22”x 28”, est:$4000/6000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition, one spot of very minor paint loss in the lower center quadrant.
Blacklight: No evidence of restoration under blacklight.
237 Jean Mannheim (1863-1945 Pasadena, CA)
“Desert”road through a desert landscape, signed lower left: J. Mannheim,
inscribed verso: Unfinished Desert, oil on board, 20”x 24”, est:$4000/6000
Provenance: Harriet Crawford Mannheim, second wife of the artist;
by descent in the family to the present owner. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
238 Paul Grimm (1891-1974 Palm Springs, CA)
“Lonely Road”, signed lower left: Paul Grimm, signed again and titled verso,
oil on board, 9”x 12”, est:$2000/3000
Provenance: Private Collection, Fairfield, IA. Visual: Generally good
condition. Blacklight: A .5”x 1.5”area of touch-up in the left center quadrant,
a spot of touch-up on the mountains and a few other scattered spots of
touch-up on the ground.
50

239 Paul Grimm (1891-1974 Palm Springs, CA)
“Smoke Trees, Palm Springs”, signed lower left: Paul Grimm, signed again
and titled verso, oil on board, 9”x 12”, est:$2000/3000
Provenance: Private Collection, Fairfield, IA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
240 Paul Lauritz (1889-1975 Glendale, CA)
“Evening, Oak Creek Canyon”, signed lower right: Paul Lauritz, signed again
and titled verso, oil on canvas laid to wood, 18”x 27”, est:$2000/3000
Provenance: Laky Gallery, Carmel, CA; Private Collection, Tarzana,
CA, acquired from the above, 1970s. Visual: Generally good condition.
Blacklight: No evidence of restoration under blacklight.
241 Aaron Kilpatrick (1872-1953 Eagle Rock, CA)
mountain landscape, signed lower right: Aaron Kilpatrick, numbered verso:
594, oil on canvas, 20”x 24”, est:$2500/3500
Visual: Tiny pin-head-sized spots of paint loss scattered throughout
concentrated mainly in the lower right quadrant. Blacklight: A scattered
quarter-sized area of touch-up in the sky in the upper right quadrant and a
dime-sized spot of touch-up in the left center quadrant.
242 Paul Lauritz (1889-1975 Glendale, CA)
“Alaska Winter”, signed lower left: Paul Lauritz, titled, inscribed and dated
on the stretcher: Painted at Cal. Art Club Dec. 21, 51, oil on canvas laid to
canvas, 24”x 34”, est:$2500/3500
Provenance: Private Collection, Santa Barbara, CA. Visual: Fine craquelure
throughout. Varnish is yellowed. Blacklight: Areas of touch-up throughout
with the largest areas in the sky.
243 Conrad Buff (1886-1975 Laguna Hills, CA)
“The Desert at Night”, estate signed lower right: Conrad Buff, oil on board,
16”x 24”, est:$3000/5000
Provenance: Private Collection, San Diego, CA. Visual: Generally good
condition with some tiny dots of paint loss scattered. Not examined out of
the frame. Blacklight: Minor touch-up along the upper edge and a spot of
touch-up in the left center near the edge.
51

244 Conrad Buff (1886-1975 Laguna Hills, CA)
forest scene, estate signed lower right: Conrad Buff, oil on board, 12”x 16”,
est:$3000/5000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally
good condition. Not examined out of the frame. Blacklight: No evidence of
restoration under blacklight.
245 Conrad Buff (1886-1975 Laguna Hills, CA)
yellow bushes, signed lower right: C. Buff, oil on board, 11.25”x 15.25”,
est:$1500/2000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition with a few tiny spots of loss scattered throughout and in the
lower right corner. Blacklight: No evidence of restoration under blacklight.
246 Robert Aaron Frame (1924-1999 Santa Barbara, CA)
“Morning Window”, signed lower left: R. Frame, signed again and titled
verso, oil on canvas, 40”x 34”, est:$3000/4000
Provenance: Challis Galleries, Laguna Beach, CA; Private Collection,
Orange County, CA. Visual: Generally good condition. Blacklight: No
evidence of restoration under blacklight.
247 William Dorsey (1942-* Santa Barbara, CA)
poppies in a California landscape, signed lower right: Wm. Dorsey, oil on
panel, 24”x 30”, est:$2500/3500
Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
248 William Dorsey (1942-* Santa Barbara, CA)
hillside with blooming flowers and coastal view, signed lower right: Wm.
Dorsey, oil on canvas, 18”x 24”, est:$1500/2000
Provenance: Private Collection, Santa Barbara, CA. Visual: Generally good
condition. Blacklight: Scattered touch-up along the upper edge and a
nickel-sized area of touch-up in the sky in the upper center quadrant.
52

249 Ben Abril (1923-1995 Los Angeles, CA)
“Oak Glen, Yucaipa Country”, signed lower left: Ben Abril, titled on the
stretcher, oil on canvas, 24”x 36”, est:$1500/2000
Provenance: Private Collection, Tarzana, CA, acquired directly from the
artist, 1970s. Visual: Generally good condition. Blacklight: No evidence of
restoration under blacklight.
250 Fred Korburg (1896-1986 San Mateo, CA)
“Robert L. Stevenson House, Monterey”Monterey scene with figure,
signed and dated lower right: Fred Korburg ‘65, oil on masonite, 18”x 24”,
est:$2000/3000
Provenance: With Los Robles Art Leasing Gallery, Palo Alto, CA, “Price
$125, Lease per month $5.00” (see documents verso). Visual: Generally
good condition. Blacklight: No evidence of restoration under blacklight.
251 Ray Strong (1905-2006 Santa Barbara, CA)
“Bishop Ranch”California landscape with oak trees, signed lower right: Ray
Strong, oil on masonite, 24”x 30”, est:$4000/6000
Provenance: Santa Barbara Savings Collection, Santa Barbara, CA; G.
Breitweiser, Studio 2, Santa Barbara, CA; Private Collection, Santa Barbara,
CA. Visual: Generally good condition. Blacklight: No evidence of restoration
under blacklight.
252 Robert W. Wood (1889-1979 Bishop, CA)
autumn landscape, signed lower right: Robert Wood, oil on canvas,
24”x 36”, est:$6000/8000
Provenance: Private Collection, Riverside, CA. Visual: Generally good
condition. Blacklight: No evidence of restoration under blacklight.
253 Carl W. Brandien (1886-1965 New York, NY)
“Diamond Head, Honolulu”, signed, inscribed and dated lower left: Carl
Brandien Honolulu 38-, signed and dated again verso, titled and inscribed
verso: The Vagabond Artist, oil on canvas laid to artist’s board, 17”x 13.75”,
est:$2000/4000
Visual: Some surface abrasions with losses along the left edge. Very dirty.
Blacklight: A 7”horizontal surface abrasion with overpaint and touch-up
across the palm tree in the upper center.
53

254 Bennett Bradbury (1914-1991 Carmel, CA)
“Storm Approaching (Coast of Mexico)”, signed lower right: Bennett
Bradbury, titled on the stretcher, oil on canvas, 24”x 36”, est:$2000/3000
Visual: Scattered paint loss throughout, concentrated mainly on the rocks.
Blacklight: No evidence of restoration under blacklight.
255 Bennett Bradbury (1914-1991 Carmel, CA)
“Meridian”, signed lower right: Bennett Bradbury, signed again and titled
verso, oil on canvas, 24”x 36”, est:$1500/2500
Provenance: Private Collection, Denmark; by descent in the family to the
present owner. Visual: Generally good condition, minor spots of paint loss
in the lower left quadrant. Blacklight: No evidence of restoration under
blacklight.
256 Russell Cowles (1887-1979 New York, NY)
“Summer Wind”, signed lower right: Cowles, signed again, titled and
numbered on the canvas edge: #652, oil on canvas, 40”x 36”, est:$3000/5000
Provenance: Dalzell Hatfield Galleries, Los Angeles, CA (see label verso);
Mrs. H.G. Smits; Private Collection, Santa Barbara, CA. Visual: Generally
good condition. Blacklight: No evidence of restoration under blacklight.
257 Georges Schreiber (1904-1977 New York, NY)
“Midair 2”figure falling, signed and dated lower left: Schreiber 48, signed
again and titled on the stretcher, oil on canvas laid to canvas, 36”x 24”,
est:$3000/5000
Provenance: Estate of the artist; Associated American Artists, New York,
NY (see partial label verso); Edisto Isle Corporation, Irvine, CA. Visual:
Generally good condition. Blacklight: Dots of precise touch-up throughout
the background.
258 Julius Moessel (1872-1960 Chicago, IL)
birds in a landscape, signed and dated lower right: Moessel 1949, mixed
media on board, sight size: 28”x 22”, est:$3500/4500
Visual: Generally good condition. Lower left and right corners slightly bent.
Not examined out of the frame.
54

259 Gene Kloss (1903-1996 Taos, NM)
“Blessings on San Felipe Day”1975, signed in pencil lower right: Gene
Kloss, titled and inscribed in pencil lower left: Artist’s Proof, intaglio on
paper, plate size: 17.75”x 13”, est:$1500/2000
Note: An inscription in the artist’s hand is affixed to the original paper
folder: At San Felipe Pueblo, Feb 2 annually, young mothers bring their
babies during the dance for blessings by the Cacique. Paper size: 21.25”
x 15.25”. Provenance: Gallery A, Taos, NM; acquired from the above by
the present owner, Tarzana, CA, circa 1970-80s. Visual: Generally good
condition with a remnant of paper tape in upper right margin corner. Print is
loose in an archival paper folder.
260 Gene Kloss (1903-1996 Taos, NM)
“Prelude to the Gift Dance”, signed in pencil lower right: Gene Kloss, titled
and numbered in pencil lower left: 4/50, etching and drypoint on paper, plate
size: 11”x 14”, est:$1500/2000
Note: An inscription in the artist’s hand is affixed to the original paper mat:
Indians from Oklahoma visiting Taos Pueblo are entertained under the big
trees just beyond the pueblo. Women and children bring gifts, their new
dancers and singers perform. Paper size: 14” x 18”. Provenance: Gallery
A, Taos, NM; acquired from the above by the present owner, Tarzana, CA,
circa 1970-80s. Visual: Generally good condition. Hinged to paper mat in
the upper left and right margin edges. A tiny spot of stain along right center
margin edge.
261 Gene Kloss (1903-1996 Taos, NM)
“Riders at Sunset”, signed in pencil lower right: Gene Kloss, titled and
inscribed in pencil lower left: Artist’s Proof, drypoint and aquatint on paper,
plate size: 8.25”x 12”, est:$1500/2000
Note: Paper size: 13” x 17.5”. Provenance: Gallery A, Taos, NM; acquired
from the above by the present owner, Tarzana, CA, circa 1970-80s. Visual:
Generally good condition. Hinged to paper mat in the upper left and right
margin edges.
262 Edward Borein (1872-1945 Santa Barbara, CA)
“Canyon of Death”three riders in a canyon with a vertical rock formation,
signed in pencil lower right: Edward Borein, titled in pencil in the lower left
margin corner, etching and drypoint on paper under glass, plate size:
12”x 8”, est:$1500/2500
Literature: Davidson, 202. Provenance: Property belonging to the Burnham
Family Trust, acquired directly from the artist’s widow. Visual: Paper is
toned throughout and plate area is further light-struck. Soiling and minor
handling creases in the margins and a few spots of stain. Approximately
2”of upper and lower margin edges of paper are folded.
55

263 Edward Borein (1872-1945 Santa Barbara, CA)
“Hopi Boys”two Hopi figures resting near their horse in a desert landscape,
unsigned, etching and drypoint on paper under glass, plate size: 5.75”x 7”,
est:$2000/3000
Edition: II/II. Literature: Davidson,187. Provenance: Property belonging to
the Burnham Family Trust, acquired directly from the artist’s widow. Visual:
Toning to the paper with a spot of stain in the sky. Not examined out of the
frame.
264 Edward Borein (1872-1945 Santa Barbara, CA)
“Mission Santa Ines, No. 2”the mission with an oxcart in the foreground,
signed in pencil lower right: Edward Borein, etching and drypoint on paper
under glass, plate size: 8”x 17.25”, est:$2000/3000
Literature: Davidson, 253. Provenance: Property belonging to the Burnham
Family Trust, acquired directly from the artist’s widow. Visual: Significant
toning throughout and mat burn in the margins. Not examined out of the
frame.
265 Edward Borein (1872-1945 Santa Barbara, CA)
“The Overland Mail”stagecoach at full gallop, signed in pencil lower
right: Edward Borein, signed again and dated in the plate lower right:
1922, etching and drypoint on paper under glass, plate size: 4.5”x 10”,
est:$2000/3000
Edition: II/II. Literature: Davidson, 140. Provenance: Property belonging to
the Burnham Family Trust, acquired directly from the artist’s widow. Visual:
Paper is hinged in upper left and right corner margins. Minor toning to
paper and minor mat burn and a few dots of stain in margins.
266 Edward Borein (1872-1945 Santa Barbara, CA)
“Little Bucking Horse”rider holding his hat on a bucking horse, signed in
pencil and in the plate lower right: Edward Borein, etching and drypoint on
paper under glass, plate size: 5”x 4”, est:$1500/2500
Literature: Davidson, 64. Provenance: Property belonging to the Burnham
Family Trust, acquired directly from the artist’s widow. Visual: Generally
good condition with spots of stain on the plate and in margins. Apparently
mat burned in margins. Not examined out of the frame.
56

267 Joseph M. Raphael (1869-1950 San Francisco, CA)
“California and Stockton”view of San Francisco, circa 1945, signed
and titled in pencil right center: Joe Raphael, stamped with the artist’s
monogram lower right: JR, color woodcut with hand coloration on mulberry
paper under glass, sight size: 16.5”x 15.5”, est:$4000/6000
Literature: W.H. Gerdts, “Joseph Raphael: An Artistic Journey”,
Spanierman Gallery, New York, NY, 2003, p. 127, no. 73, another example
from the Fleischer Collection illustrated. Note: Together with the book
“Joseph Raphael: An Artistic Journey”. Provenance: Private Collection,
Los Angeles, CA. Visual: Generally good condition with very mild toning to
paper. Not examined out of the mat.
268 Prescott Chaplin (1897-1968 Los Angeles, CA)
‘Twelve Mexican Woodcuts in colors”: ‘Water Vendor’, ‘The Mask’, ‘Peons’,
‘The Weaver’, ‘Market Place’, ‘Mexican Fisherman’, ‘Street Singers’,
‘Pottery Makers’, ‘The Gamblers’, ‘Sombreros’, ‘Market Day - Mexico’ and
‘Bread’, 1931, signed and numbered on the portfolio label: Prescott Chaplin,
portfolio of 15 color woodcuts on paper, various, the largest: 8.25”x 10.75”,
est:$3000/5000
Edition: 29 out of 100. Literature: Published by Murray & Harris, Los Angeles,
CA, first edition, 1931. Note: The present lot includes the complete portfolio
plus three additional duplicate woodcuts: “Peons”, “Market Place”and
“Pottery Makers”. “The Gamblers”appears to be a different style of print,
using different paper and with a printed title and printed artist name in
the lower margin. Provenance: Private Collection, Pasadena, CA. Visual:
Generally good condition with minor toning to paper, concentrated along
the edges, and some spots of stain. Colors strong. Portfolio with some wear
to edges and to the ‘X’ of Mexican on the cover label.
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