California & American Paintings Auction - California Art Auction

johnmoran.com

California & American Paintings Auction - California Art Auction

California & American Paintings Auction

Tuesday, February 16, 2010

c

a

t

a

l

o

g

u

e

Antique & Fine Art Auctioneers


California & american

paintings sale

Preview Opens 12:00 p.m. :: Sale Promptly at 6:30 p.m.

The Pasadena Convention Center

300 East Green Street, Pasadena, California 91101

Tuesday, February 16, 2010

We Invite You to Preview Online at

www.johnmoran.com

Bidding is Available in Person, by Phone, Absentee, or

Online via artfact.com

Inquiries welcome

626 793 1833 :: info@johnmoran.com

735 West Woodbury Road, Altadena, California 91001

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

ii


JOHN MORAN AUCTIONEERS, INC.

OFFICERS

President, Principal Auctioneer

Senior Vice President, Auctioneer

Vice President, Public Relations

Vice President, Estates and Appraisals

Assistant Vice President, Estates and Appraisals

SPECIALISTS

Fine Art Sales Director, Specialist

Decorative Arts Sales Director, Specialist

Fine Art Sales, Cataloger

CLIENT SERVICES

Office Manager, Client Accounting

Client Services

Public Relations / Books

OPERATIONS

Operations Director, Auctioneer

Art Handlers, Property Control,

& Padded Van Services

John H. Moran

Jeffrey J. Moran

Madeleine Moran

Paul Fisher

Roland Rynkiewicz

Katherine Halligan

Aileen Ward

Morgana Blackwelder

Betty Lanza

Gilbert Peralta

Annemarie Nollar

Glenn Storey

Larry Muradian

Bobby Cullen

DIGITAL DESIGN

Webmaster / Art Design

Principal Photographer

Assistant Webmaster / Art Design

Oscar Tsao

Shane Strong

Nathan Martinez

iii


CONDITIONS OF SALE

AUCTION HOUSE AS AGENT

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

therefore made between the seller and the buyer.

BEFORE THE AUCTION

(a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular

lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any

property in which they are interested.

(b) Buyer’s Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot

prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of

complaint that an item was not delivered in a condition equal to the existent condition at the auction.

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

errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are

offered as a courtesy and are typically published in Moran’s catalogue or can be made available upon request. The absence of a

condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the

absence of others.

AT THE AUCTION

(a) Admission: The auction is open to the public, though Moran’s reserves the right to refuse admission or participation to anyone at

any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording.

(b) Buyer Registration: Prospective buyers must register with Moran’s before bidding. Moran’s may require identification and

financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including

the buyer’s premium plus all applicable charges, unless Moran’s agrees in advance that the bidder is acting as agent on behalf of an

identified third party acceptable to Moran’s. In such case, Moran’s will look to the third party for payment.

(c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder’s

acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the

absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her

absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to

continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors‚ or agents

acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran’s sale record shall be

conclusive.

(d) Absentee, Telephone and Internet Bidding: Moran’s offers absentee, telephone and internet bidding as a convenience to

clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized

by Moran’s prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid

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

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

(e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below

which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran’s shall act to protect the reserve

by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller’s behalf. The

auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids

in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a

bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized.

AFTER THE AUCTION

(a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus a premium of 17.5% (of the hammer

price), together with any applicable tax. Buyers bidding via the internet agree to pay a total premium of 20.5% (includes 3% online

transaction fee). Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran’s within

the five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all

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

(b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing

material and labor are provided free of charge at the sale site during the auction. The packing of purchased lots at the auction is

undertaken by Moran’s solely as a convenience to customers. Moran’s is not liable for damage to glass or frames, except as a result of

negligence on Moran’s part, regardless of cause in connection with this courtesy service.

(c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran’s warehouse. Moran’s shall retain

possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business

day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other

remedies available by law, Moran’s reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

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

(d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran’s in our discretion and as a

courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third party shipper at the request, expense

and risk of the buyer. Moran’s assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers,

even if recommended by Moran’s. Nor does Moran’s assume any responsibility for any damage to picture frames or to the glass

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

that service fee.

iv


(e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran’s sole discretion. Refunds

requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written

statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph

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

has represented the artist’s estate or someone who represented or worked closely with the artist while they were alive and, in

any of the above instances physically handled works of the period, medium and subject matter in question during the course of

their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other

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

work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran’s in the same condition as

when sold. Moran’s does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are

no exceptions to this refund policy.

LIABILITY AND LIMITED WARRANTY

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

indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer’s damages, if any, are limited

exclusively to the original purchase price paid for the lot.

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

express or implied warranty (including merchantability and fitness) or guarantee in condition, size, provenance, medium,

signature, inscription, exhibition history, importance, rarity, country of origin, age, genuineness, historical relevance, monetary or

other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor.

No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any

Moran’s employee shall be deemed such a warranty or representation or an assumption of liability.

(c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or

any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders

who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the

transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color

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

(d) Estimates: All estimates provided are carefully considered opinions of Moran’s specialists, and are merely suggested

guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the

subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above,

within, or below estimate.

(e) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning

the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 735 West Woodbury Road, Altadena, California

91001.

ADDITIONAL MATTERS

(a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran’s for this

auction is and shall remain at all times the property of Moran’s. Moran’s and the seller make no representation or

warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot.

(b) Buyer’s Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran’s may, in addition to asserting

all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as

liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon

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

defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation

sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages and all

other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran’s shall

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

benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California.

(c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that

part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall

remain valid to the fullest extent permitted by law.

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

be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid,

telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of

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

action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the

Los Angeles Superior Court, Pasadena Branch located at 300 E. Walnut Street, Pasadena, California 91101 or the Federal Court

Central District located at 312 North Spring Street, Los Angeles, California, 90012-4793.

v


This catalogue is meant merely as a guide. The Auctioneers do

not warrant the accuracy, genuineness, authenticity, description,

weight, count or measure of any of the lots specified herein.

Buyer’s Premiums

17.5% Buyer’s Premium on final bid price

15.0% Buyer’s Premium for payment by check,

cash, or wire transfer

20.5% Buyer’s Premium for online purchase

(Includes 3% online tranaction fee)

BIDDING INCREMENTS

$100 - $950 @ $50 increments

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

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

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

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

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

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

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

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

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

or at Auctioneer's discretion.

View Illustrated Catalogue Online @

www.johnmoran.com

vi


Artist Index

Artist

Lot Number

Artist

Lot Number

Artist

Lot Number

Abril, Ben 104, 113, 130

Adams, Peter 108, 187

Alvarez, Mabel 151, 152

Backus, Jr, Standish 97

Balink, Henry C. 13

Beaumont, Arthur E. 99

Berberian, Ovanes 106

Birren, Joseph P. 14, 38

Blair, Lee 84, 87, 88

Blair, Mary 85

Blair, Preston 86

Borein, Edward 158, 189, 190, 191

Borg, Carl Oscar 101

Borglum, Elizabeth Jaynes 20, 21

Bradbury, Bennett 111, 112, 184,

185, 186

Brown, Benjamin C. 139

Budicin, John F. 105

Buff, Conrad 175, 176

Burbank, Elbridge Ayer 50, 55, 56, 57

Carter, Pruett A. 83

Clark, Alson Skinner 147

Clunie, Robert 174

Cooper, Astley David Middleton 54

Coppedge, Fern Isabel 81

Coutts, Gordon 67, 121

Cromwell, Joane 140, 172

Dahlgren, Marius 78

De Grandmaison, Nicolas 45

De Longpre, Raoul M. 146

De Ribcowsky, Richard Dey 59

De Yong, Joe 162

Dike, Phil 98

Dow, Arthur Wesley 80

Earle, Eyvind 181

Eggenhofer, Nick 161, 163, 164

Ellenshaw, Peter 180, 182

Ellsworth, Clarence 47, 48, 49

Farr, Ellen Burpee 22

Fechin, Nicolai 41

Ferguson, Henry A. 148

Forsyth, William J. 169

Frandzen, Eugene M. 34

Frost, John 170

Gamble, John M. 10, 138

Gasser, Henry M. 102

Gaul, Gilbert 51

Gay, August 8

Gifford, Robert Swain 77

Goodan, Tillman 123

Hagerup, Nels 71

Hahn, William 19

Hansen, Armin C. 62

Hansen, Herman W. 165

Harmon, Charles 66

Henry, H. Raymond 173

Higgins, Victor 155

Hills, Anna Althea 6

Hilton, John W. 179

Inness, Jr, George 79

Jackman, O. Theodore 16, 17, 18, 144, 145

Johnson, Frank Tenney 69, 120, 125, 126,

128, 129

Judson, Charles Chapel 70

Judson, Williams Lees 61

Kleitsch, Joseph 23, 24

Kosa, Jr, Emil J. 95, 134

Krafft, Carl 82

Kuehne, Max 74

Kuntz, Roger Edward 114

Lauritz, Paul 136

Laycox, Jack 100

Lee, Jake 89, 90, 91, 92, 93, 94, 115, 116,

117, 118, 119

Longchamp, Gaston 150

Lungren, Fernand 127

Mannheim, Jean 15

Mayhew, Nell Brooker 37

McGrath, W. Clarence 153

Mitchell, Alfred R. 4, 142

Moeller, Louis 149

Myers, Frank H. 72

O’Neill, Frank Jack 122

vii

Pages, Jules E. 12

Paradise, Phil 96

Paxson, Edgar Samuel 52, 159, 160

Payne, Edgar A. 33, 157

Peters, Charles Rollo 63, 64

Podchernikoff, Alexis M. 11

Procter, Burt 42, 43, 133

Raschen, Henry 53

Redmond, Granville 32

Reed, Marjorie 44

Rice, William Seltzer 188

Richter, Henry L. 35, 171

Rivera, Diego 154

Rogers, Charles A. 25

Sammons, Carl 177

Sayre, Fred Grayson 3

Shed, Charles Dyer 65

Shulz, Adolph R. 168

Siemer, Christian 73

Situ, Jason 107

Smith, Howard Everett 39, 40

Smith, Jack Wilkinson 36, 137

Sparks, Will 58

Stuber, Dedrick 60

Sumerlin, Mabel 141

Swinnerton, James 178

Symons, George Gardner 5

Taverner, William Edward 26

Ufer, Walter 46

Villa, Hernando G. 143, 156

Wallis, Kent 110

Waugh, Frederick Judd 75, 76

White, Orrin A. 1, 2, 7, 135

Whiteside, Frank Reed 68

Widforss, Gunnar 30, 31

Wieghorst, Olaf Carl 124, 131, 132,

166, 167

Wood, Robert W. 183

Wray, William 103, 109

Yard, Sydney J. 28, 29

Yuan, Si Chen 9


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

Sycamore tree landscape, possibly Tujunga Wash, signed lower right: Orrin A. White,

oil on canvas laid to artist’s board, 10.25’’ x 12.25’’, est:$2000/3000

Provenance: Mrs. Payne, student and friend of the artist (unrelated to Edgar or Elsie

Payne), acquired directly from the artist; Kenneth Payne, son of the above; Private

Collection, California, friend of the above. Visual: Generally good condition. A small,

isolated area of stable craquelure on the cloud in the upper center. Edges of the

canvas and board cut slightly uneven by the artist. Blacklight: Scattered touch-up

throughout the sky and along the right edge. Two spots of touch-up on the rock in the

lower center. Two small areas fluroesce in the lower left corner presumed to be due

to pigment. AS-IS. ALL SALES FINAL.

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

Cathedral view in Taxco, signed lower right: Orrin A. White, oil on canvas laid to

artist’s board, 10’’ x 11.75’’, est:$1500/2000

Provenance: Mrs. Payne, student and friend of the artist (unrelated to Edgar or Elsie

Payne), acquired directly from the artist; Kenneth Payne, son of the above; Private

Collection, California, friend of the above. Visual: Generally good condition. Frame

abrasion along the left edge and heavy surface dirt throughout. Blacklight: No

evidence of touch-up under blacklight. AS-IS. ALL SALES FINAL.

3 Fred Grayson Sayre (1879-1939 Glendale, CA)

‘’Mountain Bloom’’, signed lower left: F. Grayson Sayre, gouache on board under

glass, board size: 6’’ x 8’’, est:$1000/1500

Provenance: Private Collection, Northern California. Visual: Generally good

condition. Not examined out of the frame. AS-IS. ALL SALES FINAL.

4 Alfred R. Mitchell (1888-1972 San Diego, CA)

San Jacinto Mountains landscape, circa 1940s, signed lower right: Alfred R. Mitchell,

oil on board, 8’’ x 10’’, est:$2000/3000

Provenance: Private Residence, Riverside County, CA, by descent in family to the

present owner, San Diego, CA. Visual: Generally good condition. Blacklight: No

evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

5 George Gardner Symons (1863-1930 New York, NY/Laguna Beach, CA)

Stream through a winter landscape, signed lower right: Gardner Symons,

oil on board, 8’’ x 10’’, est:$2000/3000

Provenance: Private Collection, Orange County, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

1


6 Anna Althea Hills (1882-1930 Laguna Beach, CA)

‘’Dog’s Head Point’’, coastal, signed lower left A.A. Hills, signed again, titled and dated

verso: 1914, oil on canvasboard, 7’’ x 10’’, est:$3000/5000

Provenance: Nonprofit, Altadena, CA. Visual: Generally good condition. Blacklight:

No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

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

Two works: ‘’Cypress - Monterey’’ and Monterey coastal, each: signed lower right:

Orrin A. White, the first: titled verso, each: oil on board, the first: 9.25’’ x 11.75’’,

est:$3000/4000

Note: Dimensions of the second: 10’’ x 11.75’’. Provenance: Estate, Sunland, CA.

Visual: Each: Generally good condition. The second: Frame abrasion along the right

edge. Blacklight: Each: No evidence of restoration under blacklight. AS-IS. ALL

SALES FINAL.

8 August Gay (1890-1948 Carmel, CA)

‘’Bathers and Boats, Monterey’’, figures wading in the surf, signed and numbered

verso: Gay 14, oil on board, 10’’ x 13.25’’, est:$20,000/30,000

Note: Sand is mixed into the oil ground of the painting which presumably occurred

while Gay was painting the scene on the beach. An unfinished sketch depicting a

building in a landscape is on the verso. Provenance: Bonham’s and Butterfields, San

Francisco, CA, December 10, 2003, lot 6259 ($35,250); Private Collection, Los Angeles,

CA. Visual: Generally good condition. Blacklight: The sand fluoresces under

blacklight. No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

9 Si Chen Yuan (1911-1974 Monterey, CA)

Blooming cherry tree near houses, Monterey, CA, signed lower right: S.C. Yuan,

oil on masonite, 7.75’’ x 10’’, est:$3000/4000

Provenance: Private Collection, Pasadena, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

10 John M. Gamble (1863-1957 Santa Barbara, CA)

‘’Poppies’’, overlooking a coastal landscape, signed lower left: John M. Gamble,

signed again and titled verso, oil on canvasboard, 8’’ x 10’’, est:$8000/10,000

Provenance: Private Collection, Santa Fe, NM. Visual: Generally good condition. One

very minor spot of craquelure in the extreme upper left corner. One spot of loss on the

lower center edge. Blacklight: A few scattered spots of touch-up in the upper right

corner in the cloud, a .5’’ x .25’’ spot of touch-up in the lower left corner. One dot of

touch-up to address the paint loss on the lower center edge. Three other very minor

spots of possible touch-up in the lower right corner. AS-IS. ALL SALES FINAL.

2


11 Alexis M. Podchernikoff (1886-1933 Santa Barbara, CA)

Eucalyptus landscape, signed lower left: A.M. Podchernikoff, oil on canvas, 8’’ x 10’’,

est:$2000/3000

Provenance: Private Collection, Santa Fe, NM. Visual: Generally good condition.

Stretcher bar creases along edges. Very fine minor stable craquelure in the center of

the trees and in the center of the foreground. Blacklight: No evidence of restoration

under blacklight. AS-IS. ALL SALES FINAL.

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

‘’Anemones and the Green Vase’’, signed lower right: Jules Pages, titled on the

original board backing, oil on canvasboard, 8.75’’ x 6.5’’, est:$2000/3000

Provenance: Private Collection, Pasadena, CA. Visual: Generally good condition.

Minor frame abrasion along right edge. Blacklight: Uneven varnish along the right

edge but otherwise no evidence of touch-up under blacklight. AS-IS. ALL SALES

FINAL.

13 Henry C. Balink (1882-1963 Santa Fe, NM)

Zinnias or chrysanthemums in blue vase, signed lower right: Henry C. Balink,

oil on canvas, 16.25’’ x 15’’, est:$2000/3000

Provenance: David Cook Galleries, Denver, CO (see verso label). Visual: Craquelure

throughout with some scattered areas of instability. A few tiny specks of loss

scattered throughout. Blacklight: Scattered spots of touch-up and restoration along

the upper edge, the largest measuring 1.5’’. Restoration along the right edge with the

largest area measuring 4’’ x 1.75’’. Other scattered touch-up along the tablecloth, the

largest area measuring .75’’ x 1.75’’. Scattered touch-up along the left edge, largest a

quarter-sized area. Scattered spots of touch-up on the left side of the largest center

flower and on two neighboring flowers with a corresponding repair patch verso.

Other minor scattered spots of touch-up throughout. AS-IS. ALL SALES FINAL.

14 Joseph P. Birren (1864-1933 Chicago, IL)

‘’Eleanor Louise’’, portrait of a girl with potted flowers, signed lower left: Jos. Pierre

Birren, signed again and titled on a partial label affixed to the stretcher, oil on canvas

laid to canvas, 20’’ x 16’’, est:$2500/3500

Visual: Generally good condition with stable craquelure throughout. A tiny spot of

loss in the lower left. Blacklight: A few minor spots of touch-up in the upper left.

AS-IS. ALL SALES FINAL.

15 Jean Mannheim (1863-1945 Pasadena, CA)

‘’Happiness’’, woman reclining in a chair near a lily pond, probably the artist’s

daughter, signed lower right: J. Mannheim, titled on stretcher, oil on canvas,

34’’ x 39’’, est:$20,000/30,000

Note: This painting will be in the forthcoming biography of the artist written by

Richard Reitzell. Provenance: Private Collection, Calimesa, CA. Visual: Generally

good condition. Minor, stable craquelure throughout. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

3


16 O. Theodore Jackman (1878-1940 La Crescenta, CA)

Nude Arcadian women dancing and playing music, signed lower left: Theodore

Jackman, oil on canvas, 28’’ x 36’’, est:$4000/6000

Provenance: Estate of the artist, by descent in family, Private Collection, Montrose,

CA. Visual: Generally good condition. Heavy stable craquelure throughout with

isolated, scattered areas of unstable craquelure. A few scattered specks of paint loss

throughout. Canvas is loose on the stretchers. Blacklight: No evidence of restoration

under blacklight. AS-IS. ALL SALES FINAL.

17 O. Theodore Jackman (1878-1940 La Crescenta, CA)

Spanish dancer, signed lower right: Theodore Jackman, oil on waxed canvas,

30’’ x 25.25’’, est:$3000/5000

Provenance: Estate of the artist, by descent in family, Private Collection, Montrose,

CA. Visual: Generally good condition. Frame abrasion along edges. A pinhole-sized

puncture with paint loss to the upper portion of the man’s thigh. Blacklight: A vertical

area of restoration extending from the dancer’s left cheek to man’s left cheek,

measuring approximately 11.5’’ long. A 1.25’’ x 1.75’’ area of touch-up in the upper left

corner. Minor scattered touch-up along the right edge. A 1’’ x .25’’ area of touch-up

along the lower center edge. Other minor scattered spots of touch-up to the upper

portion of the background. AS-IS. ALL SALES FINAL.

18 O. Theodore Jackman (1878-1940 La Crescenta, CA)

‘’Spanish Matador’’, signed and dated lower right: Theodore Jackman ‘20,

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

Provenance: Permanent Memorial Collection, Laguna Beach Art Association, Laguna

Beach, CA, donated by Violet Jackman, 1950 (see label verso); Estate of the artist;

Private Collection, Montrose, CA. Visual: Generally good condition. Canvas loose on

stretcher with bulge extending from figure’s face to the center right edge. Blacklight:

No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

19 William Hahn (1829-1887 San Francisco, CA)

Bugle Calls- Postman, signed, dated and indistinctly inscribed lower right: W. Hahn

Su*** 1862, oil on canvas laid to canvas, 25.75’’ x 36.5’’, est:$15,000/20,000

Note: The present work is one of a series of eight paintings by the artist that

together create a timeline of genre scenes from morning until evening of a single

day. Locations of the other paintings from this series are unknown. The painting is

within a carved gilt wood frame, probably circa 1900, with a laurel garland-carved

edge above fluted concave sides with further molded stippled borders. Provenance:

Private Collection, Studio City, CA, acquired 1960s. Visual: Stable craquelure and

crazing throughout. Canvas is wax-lined as stated and has replaced stretcher bars.

The frame is re-gilt. Blacklight: A 4’’ x 1’’ horizontal area of touch-up and other minor

spots of touch-up in the upper left quadrant. A quarter-sized area of touch-up in the

upper center. Crack-fill on the horses and a pea-sized spot of touch-up on the dog in

the lower right corner. A 1’’ diagonal area of touch-up on the bugle player’s chest and

left arm and a few other spots of minor touch-up on his limbs. Minor crack-fill on the

heads and limbs of the woman, children and dog on the left side. Other minor spots

of touch-up in the background in the upper left, lower right and one spot in the lower

center. AS-IS. ALL SALES FINAL.

4


20 Elizabeth Jaynes Borglum (1848-1922 Los Angeles, CA)

Girl and dog in a forest interior, signed and dated lower left: Elizabeth Janes (sic)

Borglum 1892, oil on canvas, 27.5’’ x 23’’, est:$2000/3000

Provenance: Private Collection, Palos Verdes Estates, CA. Visual: Generally good,

original condition. Blacklight: Areas on the back side of the dog and the right edge of

the girl’s dress fluoresce under blacklight but these areas appear to be re-workings

by the artist. AS-IS. ALL SALES FINAL.

21 Elizabeth Jaynes Borglum (1848-1922 Los Angeles, CA)

Still life with grapes, signed, inscribed and dated lower left: Elizabeth Borglum Cal.

Nov 1904, oil on canvas laid to canvas, 24’’ x 18’’, est:$2000/3000

Provenance: Private Collection, Palos Verdes Estates, CA. Visual: Tacking edges

removed from the front painted canvas and then laid to a secondary canvas

presumably by the artist. The lower half of ‘Cal. Nov. 1904’ painted on the backing

canvas. Isolated areas of stable bubbling to the front canvas in the upper left corner

and in the right center. A few scattered small areas of stable craquelure in the

upper left and on the grapes. Blacklight: No apparent evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

22 Ellen Burpee Farr (1840-1907 Pasadena, CA)

Still Life with tamales and chili peppers, signed and dated lower left: Ellen B. Farr ‘92,

oil on canvas, 21’’ x 34.25’’, est:$2000/3000

Provenance: Private Collection, Palos Verdes Estates, CA. Visual: Generally good

condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

23 Joseph Kleitsch (1882-1931 Santa Ana, CA)

‘’Portrait of William C. Baker’’, signed and dated upper right: J. Kleitsch 1909, signed

and dated again verso, oil on canvas, 54.5’’ x 38.5’’, est:$25,000/35,000

Literature: Dr. P. Trenton, ‘’Joseph Kleitsch: A Kaleidoscope of Color’’, Irvine Museum,

Irvine, CA, 2007, pp. 57, 59, plate 20, illustrated. Note: Joseph Kleitsch met the sitter

of the present work, William Baker, on a train trip to Denver in 1904 and the two men

quickly became friends. Baker worked for the Union Pacific Railway and ‘’aspired

to be an artist’’ (Dr. P. Trenton, ‘’Joseph Kleitsch: A. Kaleidoscope of Color’’, p. 56). In

1907, at the request of Baker, Kleitsch and his wife Emma left Denver for Hutchinson,

KS. There Baker arranged for Kleitsch to work at the Hausman School of Penmanship

as an art instructor. When Kleitsch’s time in Kansas failed to reward him financially,

he and Emma traveled to Mexico City with Baker (Trenton, p. 56). In Mexico, Kleitsch

lived modestly but produced some important portraits and still lifes in an ‘’academicrealist

style,’’ including this portrait. ‘’A 1909 portrait of Baker. . . captured at his

desk in repose, with his penmanship tools spread out before him, is a grander and

more accomplished picture. Painted in an academic-realist style like Kleitsch’s other

works of this period, it is a more relaxed representation in a neutral palette with

a smooth finish. The background is elaborated with strokes of muted color and a

small picture on the wall, a treatment that appears again in Kleitsch’s later portraits’’

(Trenton, pp. 57, 59). Provenance: Property from a Private Collection, Southern

California. Visual: Fine, stable craquelure scattered throughout. Canvas appears to

have been rolled. Horizontal water damage and mold approximately one third from

the upper edge and one third from the lower edge. Blacklight: Fluorescence in the

areas of water damage under blacklight. An area of older restoration, a very clean

6’’ repair, extending diagonally up from the figure’s forehead. Possible other areas

of restoration along the edges, over the figure’s left eye, on the chair and in the

background. We recommend having a professional restorer view the painting prior to

bidding. AS-IS. ALL SALES FINAL.

5


24 Joseph Kleitsch (1882-1931 Santa Ana, CA)

Portrait of a woman seated in the Athenaeum Club Room, Chicago, signed lower right:

J. Kleitsch, oil on canvas laid to canvas, 33’’ x 25.25’’, est:$20,000/30,000

Literature: Dr. P. Trenton, ‘’Joseph Kleitsch: A Kaleidoscope of Color’’, Irvine Museum,

Irvine, CA, 2007, plate 20, pp. 79-80, illustrated. Note: This portrait of a woman seated

in a richly textured interior was executed during a period of tremendous creative

growth for Kleitsch. After spending time in various American cities and abroad in

Mexico, Kleitsch returned to Chicago in 1912. By the following year, he was an active

member of the Palette and Chisel Club located in the Athenaeum Building, where he

leased his own studio space about 1915. There he expanded his subject matter to

include interior figural works full of elaborate detail, employing dramatic, controlled

lighting in his compositions (Dr. P. Trenton, ‘’Joseph Kleitsch: A Kaleidoscope of

Color’’, pp. 71, 78). The sitter of the present portrait is likely Miss Irene Petrtyl, niece

of the 1906 Palette & Chisel Club President, August Petrtyl, who also sat for Kleitsch.

Alternatively, she may be a Lithuanian relative of the artist’s second wife Edna

whom Kleitsch married in 1914 (Trenton, pp. 72, 79). Dr. Trenton dates this painting

to circa 1915, based in part on the interior furnishings identifying it as the Club

Room of the Athenaeum Building in Chicago, and the sitter’s hair style and clothes

(ibid, pp. 79-80). ‘’The sitter’s fine jewelry indicates that she is dressed for a formal

occasion. The room’s traditional furnishings and accessories complement the elegant

formality of the rich silk crepe-de-chine dress. Tribal rugs from the Caucasus and

a Navajo blanket thrown over the piano add further exoticism to the scene’’ (ibid,

p. 80). Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Blacklight: A dime-sized spot of touch-up with some other

minor vertical touch-ups on the upper center edge with a few other minor spots in

the upper right corner. A spot of touch-up to the lower center measuring .75’’ x 1.5’’.

Minor scattered spots of touch-up along edges to address frame abrasion. AS-IS. ALL

SALES FINAL.

25 Charles A. Rogers (1848-1918 San Francisco, CA)

Figure in a Chinatown alley, signed and dated lower left: Chas. A. Rogers 1912,

oil on board, 8’’ x 5’’, est:$1000/1500

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Frame abrasion along edges. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

26 William Edward Taverner (1864-1906 San Francisco, CA)

California mission, signed and dated lower left: W.E. Taverner 1903, watercolor on

paper under glass, sight size: 9.5’’ x 13.5’’, est:$2000/3000

Provenance: Private Collection, Reno, NV. Visual: Generally good condition with

minor toning to the paper. Not examined out of the frame. AS-IS. ALL SALES FINAL.

27 No Lot

6


28 Sydney J. Yard (1855-1909 Monterey, CA)

California landscape with poppies and lupine, signed lower left: Sydney J. Yard,

watercolor on paper under glass, sight size: 13.25’’ x 19.25’’, est:$1500/2000

Visual: Generally good condition with toning to the paper primarily evident in the sky.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

29 Sydney J. Yard (1855-1909 Monterey, CA)

Eucalyptus trees in a coastal landscape, signed lower right: Sydney J. Yard,

watercolor on paper, sight size: 9.75’’ x 13.75’’, est:$1000/1500

Visual: Generally good condition. Not examined out of the frame. AS-IS. ALL SALES

FINAL.

30 Gunnar Widforss (1879-1934 Grand Canyon, AZ)

California redwood grove, signed and dated lower left: Widforss 1925, watercolor on

paper under glass, 22.5’’ x 18’’, est:$10,000/15,000

Provenance: The Drury Estate, Whittier, CA. Visual: Generally good condition. Not

examined out of frame. AS-IS. ALL SALES FINAL.

31 Gunnar Widforss (1879-1934 Grand Canyon, AZ)

Grand Canyon, signed and dated lower right: Widforss -2*, watercolor on paperboard

under glass, board size: 7’’ x 5’’, est:$6000/8000

Provenance: Private Collection, Palm Springs, CA. Visual: Generally good condition

with minor toning throughout and mat burn along the extreme edges. The last letter

of the artist’s last name and the last number of the date are cut off indicating that

perhaps the paper was slightly cut down. Affixed to the front mat with old tape. AS-

IS. ALL SALES FINAL.

32 Granville Redmond (1871-1935 Los Angeles, CA)

California landscape with eucalyptus trees and poppies, signed lower left: Granville

Redmond, oil on canvas, 12’’ x 16’’, est:$30,000/40,000

Note: A page from a Kanst Art Gallery exhibition brochure showing the artist’s

biography is affixed to the stretcher and the frame. Provenance: L.G. Scovern

Sr., Glendale, CA. Visual: Generally good condition. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

7


33 Edgar A. Payne (1883-1947 Los Angeles, CA)

‘’Snowy Slopes’’, signed lower left: Edgar Payne, titled on artist label affixed verso,

oil on canvas laid to board, 11.5’’ x 15.5’’, est:$9000/12,000

Provenance: Private Collection, Orange County, CA. Visual: Generally good condition.

Blacklight: Scattered minor spots of touch-up in the sky. AS-IS. ALL SALES FINAL.

34 Eugene M. Frandzen (1893-1972 Pasadena, CA)

‘’Mr. Smith’s South Fifty’’, signed lower left: Eugene M. Frandzen, titled on an

exhibition label affixed to the frame, oil on canvas, 18’’ x 24.25’’, est:$1500/2000

Exhibited: Laguna Beach Art Association Membership Exhibition, Laguna Beach,

CA, n.d. (see verso label). Provenance: Property from a Private Collection, Southern

California. Visual: Generally good condition. Slight bulging to canvas along upper

right corner edges. Two pinhole-sized spots of paint loss on upper edge. Blacklight:

No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

35 Henry L. Richter (1870-1960 Rolling Hills, CA)

‘’Snowmass Peak, Rocky Mountains near Aspen, Colo.’’, signed lower left: Henry L.

Richter, titled on the stretcher, oil on canvas, 23.75’’ x 30.25’’, est:$2000/3000

Note: An original black and white photograph is included with the lot which shows

the painting hanging in the original owner’s home. Provenance: Private Collection,

Laguna Beach, CA. Visual: Generally good condition. Moderate stable craquelure

throughout with some areas of unstable craquelure in the upper left and right center

edge. One minor spot of paint loss along the right center right. Minor frame abrasion

along edges. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL

SALES FINAL.

36 Jack Wilkinson Smith (1873-1949 Alhambra, CA)

‘’Bow River Valley’’, mountain landscape, signed lower right: Jack Wilkinson Smith,

titled on the stretcher, oil on canvas, 20’’ x 24’’, est:$3000/5000

Provenance: Kievits Gallery, Pasadena, CA (see label verso); Estate, La Canada, CA.

Visual: Canvas is loose on the stretcher. Moderate stable craquelure throughout with

isolated areas of unstable craquelure. A few very minor scattered spots of loss in

sky and in the lower right and left quadrants. Blacklight: No evidence of restoration

under blacklight. AS-IS. ALL SALES FINAL.

37 Nell Brooker Mayhew (1875-1940 Los Angeles, CA)

Sycamores in a mountain landscape, 1926, signed lower center: N. Brooker Mayhew,

oil on canvas, 32’’ x 40’’, est:$3000/4000

Provenance: Private Residence, Florida. Visual: Generally good condition. Some

very minor diagonal rippling to the canvas. A few very minor spots of paint loss in

the upper left corner and along the lower center edge. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

8


38 Joseph P. Birren (1864-1933 Chicago, IL)

‘’Santa Ana Range’’, signed lower right: Joseph P. Birren, signed again, titled and

numbered verso: 34, oil on masonite, 20’’ x 24’’, est:$2000/3000

Visual: Generally good condition. Blacklight: Minor spots of crack-fill on the trees in

the center and right. AS-IS. ALL SALES FINAL.

39 Howard Everett Smith A.N.A. (1885-1970 Carmel, CA)

‘’Horses Under Trees, Carmel Valley’’, signed lower right: Howard E. Smith, signed

again and titled verso and on the stretcher, oil on canvas, 25’’ x 30’’, est:$5000/7000

Exhibited: National Academy, New York, NY; Guild of Boston Artists, Boston, MA;

Stanford (sic) Art Museum, Stamford, CT; Exhibit of Western artists, Santa Ana Elks

Club, Santa Ana, CA, 1969; Santa Ana Womens’ Club, Santa Ana, CA, 1969 (see

inscription verso). Provenance: Mrs. M.F. Tillitson, Anaheim, CA; Property from a

Private Collection, Southern California. Visual: Generally good condition. Very slight

vertical rippling along the left half of the upper edge, would benefit from cleaning.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

40 Howard Everett Smith A.N.A. (1885-1970 Carmel, CA)

‘’Muriel Vanderbilt Horses, Carmel Valley’’, signed lower left: Howard E. Smith, signed

again and titled verso, oil on canvas, 20’’ x 24.25’’, est:$3000/5000

Note: Muriel Vanderbilt (1902-1982), great-granddaughter of railroad magnate

William Henry Vanderbilt (1821-1885), was a socialite and thoroughbred racehorse

breeder. In the 1930s she owned a ranch in Carmel Valley where the present work

was executed. Provenance: Property from a Private Collection, Southern California.

Visual: Generally good condition. Canvas was re-stretched to a larger dimension,

presumably by the artist, leaving two stretcher bar creases extending along the

upper edge with artist tacking holes between the creases. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

41 Nicolai Fechin (1881-1955 Taos, NM)

‘’The (Sycamore) Tree’’, signed and dated twice lower left and right: N. Fechin ‘25,

titled on a gallery label affixed to the board backing, oil on canvas laid to canvas,

30’’ x 26’’, est:$250,000/350,000

Provenance: Fenn Galleries, Santa Fe New Mexico (see label verso); Private

Collection, Pasadena, CA, acquired directly from the above. Visual: Generally good

condition. Very minor scattered specks of paint loss throughout with some very minor

stable craquelure in the lower half and upper right. Blacklight: No evidence of touchup

under blacklight. AS-IS. ALL SALES FINAL.

42 Burt Procter (1901-1980 Palm Springs, CA)

‘’Watching’’, Indian figures with horse, signed lower center: Burt Procter, titled on

paper label affixed verso, oil on masonite, 20’’ x 30’’, est:$3000/4000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. One minor spot of paint loss in the upper right quadrant.

Blacklight: Possible artist retouches to area above Indian’s head. AS-IS. ALL SALES

FINAL.

9


43 Burt Procter (1901-1980 Palm Springs, CA)

‘’Desert Shadows’’, signed lower right: Burt Procter, signed again verso, titled on the

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

Provenance: Mrs. M. F. Tillitson, Anaheim, CA; Property from a Private Collection,

Southern California. Visual: Generally good condition. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

44 Marjorie Reed (1915-1996 Vallecito, CA)

Figures in a mission scene, signed lower right: Marjorie Reed, oil on canvas,

20’’ x 24’’, est:$2000/3000

Provenance: Estate, Fallbrook, CA. Visual: Generally good condition. Blacklight: No

evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

45 Nicolas De Grandmaison (1892-1978 Canadian)

‘’John Hunter’’, Indian portrait, signed lower left: N. Grandmaison, titled lower right,

pastel on tan paper under glass, sight size: 19.25’’ x 14’’, est:$4000/6000

Exhibited: Bowers Museum, Santa Ana, CA, n.d. Provenance: Property from a Private

Collection, Southern California. Visual: Generally good condition. Not examined out

of frame. AS-IS. ALL SALES FINAL.

46 Walter Ufer (1876-1936 Taos, NM)

‘’Taos Medicine Man’’, signed lower right: W. Ufer, oil on canvas laid to canvas,

18’’ x 15.25’’, est:$40,000/60,000

Literature: Jim Fowler’s Period Gallery West, Scottsdale, AZ, Spring and Summer

Catalog, 1979, p. 31, illustrated, as ‘Taos Shaman’. Provenance: Private Collection,

Texas; Jim Fowler’s Period Gallery West, Scottsdale, AZ; Private collection, Beverly

Hills, CA. Visual: Generally good condition. Frame abrasion along edges. Fine stable

craquelure throughout. Blacklight: Minor crack-fill and spots of touch-up in the

upper and left portion of the face with minor spots of touch-up in the lower and right

portion of hat. One minor spot of touch-up on the center lower edge. AS-IS. ALL

SALES FINAL.

47 Clarence Ellsworth (1885-1961 Los Angeles, CA)

‘’Signal of Buffalo Sighting (Sioux Indians)’’, signed and dated lower right: Clarence

Ellsworth 1929, oil on waxed canvas, 13’’ x 19’’, est:$3000/5000

Exhibited: Bowers Museum, Santa Ana, CA, n.d. Provenance: Property from a

Private Collection, Southern California. Visual: Generally good condition. Frame

abrasion along edges. Blacklight: Touch-up along edges to address frame abrasion.

A .25’’ x 1.75’’ line of touch-up along the center right edge. AS-IS. ALL SALES FINAL.

10


48 Clarence Ellsworth (1885-1961 Los Angeles, CA)

Standing Indian chief in full length headdress, signed and dated lower right: Clarence

Ellsworth 1929, oil on waxed canvas, 19’’ x 13’’, est:$3000/5000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

49 Clarence Ellsworth (1885-1961 Los Angeles, CA)

‘’Chief Oglala’’, Indian portrait, signed and dated upper left: Clarence Ellsworth 1934,

titled on the stretcher, oil on canvas, 12’’ x 10’’, est:$1000/2000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Stretcher bar creases along edges. A few very minor

scattered pinhole-sized spots of loss in the background. A 1’’ vertical line of unstable

craquelure with very minor pinhole-sized spots of loss. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

50 Elbridge Ayer Burbank (1858-1949 San Francisco, CA)

‘’Chief Gall, Sioux’’, Indian portrait, signed lower left: E.A. Burbank, titled upper left,

oil on canvas, 10.25’’ x 8’’, est:$2000/3000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. A few minor pinhole-sized spots of loss above the head

and one spot in the upper portion of the hair. Slight bulging in the center and upper

portion of the canvas. Would benefit from cleaning and restoration. Blacklight: No

evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

51 Gilbert Gaul (1855-1919 New York, NY)

Sioux Camp, signed lower left: Gilbert Gaul, oil on waxed canvas, 18.25’’ x 24.25’’,

est:$4000/6000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Frame abrasion along edges. Blacklight: Scattered touchup

along edges to address frame abrasion. AS-IS. ALL SALES FINAL.

52 Edgar Samuel Paxson (1852-1919 Missoula, MT)

‘’After the Shower in the Land of Crows’’, signed, titled and numbered on an artist’s

gum label affixed to the stretcher: no. 4, titled again in pencil on an artist’s studio label

affixed to the stretcher, oil on canvas, 22’’ x 36’’, est:$40,000/60,000

Provenance: William Edgar Paxson, grandson of the artist, Whittier, CA; Property

from a Private Collection, Southern California, acquired directly from the above,

1963. Visual: Generally good condition. Minor scattered sections of stable craquelure

throughout the sky. Blacklight: No evidence of restoration under blacklight. AS-IS.

ALL SALES FINAL.

11


53 Henry Raschen (1854-1937 San Francisco, CA)

‘’Apache on Horseback Returning Home’’, signed lower right: H. Raschen, titled on

printed exhibition label affixed to the stretcher, oil on canvas laid to canvas, 26’’ x 46’’,

est:$9000/12,000

Exhibited: Bowers Museum, Santa Ana, CA, n.d. Provenance: Property from a Private

Collection, Southern California. Visual: Tacking edges of the original canvas removed

when lined. Frame abrasion along edges. Stable fine craquelure throughout with an

area of instability in the upper right. Painted surface affected by cleaning and lining.

Blacklight: Extensive areas of touch-up on the clouds and sky in the upper left and

upper center. Other minor scattered spots of touch-up on the landscape. AS-IS. ALL

SALES FINAL.

54 Astley David Middleton Cooper (1856-1924 San Jose, CA)

Portrait of an Indian with headdress, signed lower left: A.D.M. Cooper, dated lower

right: 1907, oil on canvas laid to waxed canvas, 14’’ x 12’’, est:$1500/2500

Note: Original tacking edges have been removed. Provenance: Property from a

Private Collection, Southern California. Visual: Generally good condition. Very fine

minor stable craquelure throughout. As stated, original tacking edges have been

removed. Blacklight: A 1.25’’ line of touch-up extending from bottom right edge. A

few very minor scattered spots of touch-up along the lower right edge. A 4’’ x 3’’ area

on the neck fluoresces, possibly older restoration. Other possible scattered spots

of touch-up in the background, difficult to read under blacklight. AS-IS. ALL SALES

FINAL.

55 Elbridge Ayer Burbank (1858-1949 San Francisco, CA)

‘’Tonte Ta, Navajo’’, portrait of an Indian in profile, signed lower left: E.A. Burbank,

titled upper left, oil on canvas, 10’’ x 8’’, est:$3000/4000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

56 Elbridge Ayer Burbank (1858-1949 San Francisco, CA)

‘’Hopi Building’’, titled, inscribed, and signed on paper label affixed verso,

oil on board, 8’’ x 10’’, est:$3000/5000

Note: Inscribed verso: Hopi building village at Polacca, Arizona. 90 miles in land

(sic) from the desert town near Holbrook, Arizona where the Santa Fe R.R. is - E.A.

Burbank. Provenance: Estate, Bellflower, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

57 Elbridge Ayer Burbank (1858-1949 San Francisco, CA)

‘’Indian Ruins in Arizona’’, signed lower left: E. A. Burbank, dated lower right:

1946, signed again and titled verso, oil on canvas laid to paper board, 4’’ x 6’’,

est:$1000/2000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Frame abrasion along edges with paint loss to lower right

and left corners and upper left corner. Would benefit from cleaning. Blacklight: No

evidence of touch-up under blacklight. AS-IS. ALL SALES FINAL.

12


58 Will Sparks (1862-1937 San Francisco, CA)

‘’Winter Evening- Arizona’’, signed lower left: Will Sparks, signed again and titled on a

label affixed verso, dated verso: April 10 - 25, oil on panel, 8’’ x 10’’, est:$3000/4000

Note: Inscribed and numbered in pencil in another hand on the label affixed verso:

Cassa (sic) Grande no. 75. Provenance: Bohemian Club, San Francisco, CA; Private

Collection, Palm Springs, CA. Visual: Generally good condition. A horizontal surface

crack across the painting 2’’ up from the lower edge. A tiny spot of loss in the upper

right corner. Blacklight: Very fine crack-fill throughout the sky and on the adobe.

Touch-up on the tree along the right center edge. AS-IS. ALL SALES FINAL.

59 Richard Dey De Ribcowsky (1880-1936 Los Angeles, CA)

‘’California Redwood Giants’’, redwoods in Mariposa National Park with a Yosemite

Indian encampment, signed lower left: D. De Ribcowsky, oil on canvas, 30.25’’ x 40’’,

est:$15,000/20,000

Note: A bound artist biography circa 1930 and an original letter dated May 12, 1934

from Richard Dey De Ribcowsky to purchaser John A. McCormick accompany the

lot: My Dear Mr. McCormick- The history of the three paintings which you bought are

as follows: ‘California Redwood Giants’ at Mariposa National Park are not far from

Redwood City, Cal and very near the Yosemite Valley. Here yet you see a small Indian

Reservation under the protection of the federal government. Some of these trees

are over two hundred feet in height and over eight hundred years old, many of these

trees were famous during the gold rush. Provenance: John A. McCormick, Chicago,

IL, purchased directly from the artist for $400, 1934 (see original letters); by descent

in the family to the present owners. Visual: Generally good condition with stable

craquelure throughout. Two spots of white paint on the painted surface above the

teepees. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

60 Dedrick Stuber (1878-1954 Los Angeles, CA)

‘’Shipyards’’, signed lower middle left: Dedrick B. Stuber, oil on board, 15.75’’ x 20’’,

est:$4000/6000

Provenance: Private Collection, Orange County, CA. Visual: Generally good condition.

A few very minor spots of loss in the upper left and right corners, one spot of loss on

the center left edge. One spot of loss in the far right building. Minor stable horizontal

craquelure throughout the center with one spot of unable craquelure near the right

upper edge. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL

SALES FINAL.

61 Williams Lees Judson (1842-1928 Los Angeles, CA)

Figures and boats on the California coast, signed lower left: W.L. Judson,

oil on canvas laid to masonite, 20’’ x 33.75’’, est:$4000/6000

Visual: Frame abrasion along left edge. Discolored varnish and surface dirt

throughout. One very minor spot of paint loss at the lower right corner of the base

on the rock formation. Blacklight: A few very minor scattered spots of touch-up

throughout the rock formation. A quarter-sized spot of older touch-up and a few other

scattered smaller areas in the upper left corner. A few scattered spots of touch-up to

the skiffs in the lower center. Other small spots of older and newer touch-up between

the figures and on that area of the beach. Possible older areas of touch-up in the sky

along the right edge. AS-IS. ALL SALES FINAL.

13


62 Armin C. Hansen (1886-1957 Monterey, CA)

‘’Under the Wharf’’, signed lower right: Armin Hansen, titled verso, oil on board,

9.75’’ x 14’’, est:$20,000/30,000

Provenance: Maxwell Galleries Ltd, San Francisco, CA; Private Collection, Los

Angeles, CA. Visual: Generally good condition. Moderate crazing throughout. Minor

frame abrasion along edges. Blacklight: Very minor spots of touch-up on the lower

left edge, other very minor scattered spots of touch-up throughout. AS-IS. ALL SALES

FINAL.

63 Charles Rollo Peters (1862-1928 Monterey, CA)

Belvedere, 1905, signed lower left: Charles Rollo Peters, oil on canvas laid to canvas,

22.5’’ x 17’’, est:$20,000/30,000

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

Minor frame abrasion along edges, with paint loss in the upper left corner. Very fine

craquelure throughout. Blacklight: A few very minor spots of touch-up in the upper

left corner. AS-IS. ALL SALES FINAL.

64 Charles Rollo Peters (1862-1928 Monterey, CA)

Casa Alvarado, signed lower right: Charles Rollo Peters, oil on canvas, 16’’ x 24’’,

est:$12,000/18,000

Provenance: Estate, Portland, OR; Private Collection, Portland, OR, acquired from the

above, 1990s. Visual: Artist pinholes in the upper corners and along the upper center

and lower center edges. Areas of minor stable craquelure and a few specks of loss

in the upper right quadrant. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

65 Charles Dyer Shed (1818-1893 Alameda, CA)

‘’Marin’’, figure on a lake in a mountain landscape, signed lower left: C.D. Shed,

oil on waxed canvas, 17.5’’ x 29.25’’, est:$3000/4000

Provenance: Private Collection, Palm Springs, CA. Visual: Generally good condition.

Blacklight: One minor dime-sized spot of touch-up in the lower right corner. Older

crack-fill along the lower edge. AS-IS. ALL SALES FINAL.

66 Charles Harmon (1859-1936 San Jose, CA)

Mission San Diego de Alcala, signed lower right: C.H. Harmon, oil on canvasboard,

18’’ x 13.75’’, est:$3000/4000

Provenance: Private Collection, Palm Springs, CA. Visual: Generally good condition.

One spot of loss on the upper edge. A horizontal line of surface abrasion above the

tiled roof measuring 1’’. Frame abrasion along edges. Surface residue along right

edge and throughout the sky. Would benefit from cleaning. Blacklight: No evidence

of restoration under blacklight. AS-IS. ALL SALES FINAL.

14


67 Gordon Coutts (1868-1937 Palm Springs, CA)

Mission San Juan Capistrano, signed and dated lower right: Gordon Coutts 1906,

oil on board laid to board, 12.25’’ x 18.25’’, est:$2500/3500

Provenance: Private Collection, Reno, NV. Visual: Generally good condition. Paint

loss to extreme upper left corner with four artist pinholes in corners, not visible in

frame. Would benefit from cleaning. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

68 Frank Reed Whiteside (1866-1929 Philadelphia, PA)

View of San Gabriel Mission bell tower, signed and dated lower right: Frank Reed

Whiteside Mar ‘90, oil on waxed canvas, 12.25’’ x 9’’, est:$1500/2500

Provenance: David David Gallery, Philadelphia, PA (see label verso); Private

Collection, Palm Springs, CA. Visual: Generally good condition. Blacklight: A few

very minor scattered spots of touch-up in the tree. AS-IS. ALL SALES FINAL.

69 Frank Tenney Johnson A.N.A. (1874-1939 Los Angeles, CA)

‘’Old Mission Santa Barbara’’, unsigned, oil on board, 5.75’’ x 8’’, est:$2000/3000

Note: A label affixed verso states ‘This picture I authenticate as having been painted

by F. Tenney Johnson, N.A.’ and is signed by W.P. Krehm and Frank Panter. A printed

number is affixed verso: 703. Provenance: Property from a Private Collection,

Southern California. Visual: Generally good condition. A 1.25’’ line of paint loss

extending upward from the center right edge with other minor scattered spots of loss

surrounding it. Would benefit from cleaning and restoration. Blacklight: No evidence

of restoration under blacklight. AS-IS. ALL SALES FINAL.

70 Charles Chapel Judson (1864-1946 Monterey, CA)

Coastal dunes, signed lower right: C. Chapel Judson, oil on canvas, 17’’ x 32’’,

est:$4000/6000

Provenance: Private Collection, Reno, NV. Visual: Generally good condition. Minor

frame abrasion and stable, minor craquelure in the center. An area of surface dirt in

the upper center in the sky. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

71 Nels Hagerup (1864-1922 San Francisco, CA)

‘’The Pulse of the Pacific’’, signed lower left: N. Hagerup, oil on canvas,

16.25’’ x 28.25’’, est:$2000/3000

Provenance: Private Collection, Palm Springs, CA. Visual: Generally good condition.

A pinhole-sized puncture in the extreme lower left corner. Minor frame abrasion

along the right and bottom edges. Blacklight: Possible touch-up in the lower right

corner. AS-IS. ALL SALES FINAL.

15


72 Frank H. Myers (1899-1956 Pacific Grove, CA)

‘’Prancing Waves’’, signed lower left: Frank H. Myers, signed again and titled verso,

oil on canvasboard, 17.75’’ x 24’’, est:$3000/5000

Visual: Generally good condition. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

73 Christian Siemer (1874-1940 Los Angeles, CA)

Lighthouse on Anacapa Island, signed lower left: Chris Siemer, oil on canvas,

24’’ x 36’’, est:$6000/8000

Note: The light house depicted was built in 1932 and is located on Anacapa Island,

one of the Channel Islands off the coast of Santa Barbara, CA. Provenance: Private

Collection, Orange County, CA. Visual: Generally good condition. A section of minor

stable craquelure to the right of the foliage on the beach. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

74 Max Kuehne (1880-1968 New York, NY)

Chioggia boats, signed lower right: Kuehne, oil on canvas, 16’’ x 20’’, est:$2000/3000

Provenance: Private Collection, Beverly Hills, CA. Visual: Frame abrasion along

edges. Canvas loose on the stretcher with stretcher bar creases along edges.

Minor isolated scattered spots of craquelure throughout. Canvas mounted to new

stretcher bars. Four artist pinholes in each extreme corner. Blacklight: No evidence

of restoration under blacklight. AS-IS. ALL SALES FINAL.

75 Frederick Judd Waugh (1861-1940 Provincetown, MA)

‘’Marine’’, crashing waves on a rocky coast, signed lower right: Waugh, signed,

titled and numbered on paper label affixed to verso: 53, oil on wood panel, 36’’ x 48’’,

est:$15,000/20,000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Two pinhole-sized spots of loss to center. White surface

residue in lower left corner and along the center left edge. Uneven discolored varnish

drips to center. A shallow vertical scattered surface scratch in the lower center.

Blacklight: Touch-up to address a horizontal 1.5’’ surface scratch on the rocks in

the lower right. Spots fluoresce in the lower center on the water and a few spots

fluoresce on the rocks in the lower right corner that may be older touch-up. AS-IS.

ALL SALES FINAL.

76 Frederick Judd Waugh (1861-1940 Provincetown, MA)

‘’Marine’’, crashing waves, signed lower right: Waugh, titled on museum label,

oil on canvas, 25.25’’ x 30’’, est:$3000/5000

Exhibited: Los Angeles County Museum of Art, Los Angeles, CA, ‘’Pertaining to

the Sea’’, March 23 - May 2, 1976, No. ex.76.485. Provenance: Grand Central Art

Galleries, New York, NY, No. 1742 (see label verso); Hans Duddenhaus, Hollywood,

CA, 1965 (see label verso); Property from a Private Collection, Southern California.

Visual: Generally good condition. Slight crazing to lower right and left rock

formations. Frame abrasion in lower right corner. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

16


77 Robert Swain Gifford (1840-1905 New York, NY)

Two works: fisherman on the coast and Indian encampment, the first: signed and

dated lower left: Swain Gifford ‘71, the second: signed and dated lower right: Swain

Gifford ‘71, each: oil on canvas, each: 12’’ x 20’’, est:$2000/3000

Provenance: Estate, Pasadena, CA. Visual: Each: Generally good condition. Frame

abrasion along the edges. The second: Generally good condition. Fine minor stable

craquelure throughout the sky. Blacklight: The first: Minor scattered spots of touchup

in the upper right and left corners. The second: No evidence of restoration under

blacklight. Uneven varnish. AS-IS. ALL SALES FINAL.

78 Marius Dahlgren (1844-1920 Tucson, AZ)

‘’Deer Stream’’, signed lower right: Maurice Dahlgren, oil on waxed canvas, 20’’ x 24’’,

est:$3000/5000

Exhibited: The Oakland Museum, Oakland, CA, no. 12 (see label verso). Provenance:

Collection of William and Zelma Bowser (see inscription on stretcher); Private

Collection, Palm Springs, CA. Visual: Generally good condition. Frame abrasion along

edges. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

79 George Inness, Jr (1854-1926 New York, NY)

Shepherd and sheep in an atmospheric landscape, signed lower left: Inness Jr,

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

Provenance: Private Collection, Pasadena, CA. Visual: Generally good condition. A

very minor surface abrasion to the center in the sky. Blacklight: A few very minor

scattered spots of touch-up in the foreground. Other touch-up to the upper left

corner on the edges. A vertical line of touch-up extending from the upper right edge

measuring 1.75’’ x .5’’. Touch-up to address the surface abrasion. AS-IS. ALL SALES

FINAL.

80 Arthur Wesley Dow (1857-1922 New York, NY)

Cows resting on a hillside, signed and dated lower right: Arthur W. Dow 1890,

oil on masonite, 13.5’’ x 19.5’’, est:$10,000/15,000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor stable craquelure throughout. Blacklight: Heavy

restoration to the upper right and left portions of the sky. Other touch-up along the left

edge. AS-IS. ALL SALES FINAL.

81 Fern Isabel Coppedge (1883-1951 New Hope, PA)

‘’Summer’’, the Delaware and Raritan Canal, near Lumberville, signed lower left:

Fern I. Coppedge, titled on artist label affixed to frame, oil on canvas, 18.25’’ x 20’’,

est:$25,000/35,000

Note: A nearly identical composition, lacking barge, is illustrated in J. Alterman,

‘’New Hope for American Art’’. Lambertville, New Jersey: Jim’s of Lambertville, 2005,

p.103. Provenance: Elizabeth Landan, PA, by descent to the Estate of Mary Jane

Patch, Alhambra, CA. Visual: Generally good condition. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

17


82 Carl Krafft (1884-1938 Oak Park, IL)

‘’The Outing’’, figures picnicking by a lake, signed lower right: Carl R. Krafft, titled on

an artist’s label verso, oil on board, 18’’ x 20’’, est:$15,000/20,000

Provenance: Private Collection, Pasadena, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

83 Pruett A. Carter (1891-1955 Los Angeles, CA)

Artist at his easel in a wooded landscape, signed lower left: Pruett Carter, signed

again and inscribed verso: Sketch, oil on canvas, 24’’ x 28.25’’, est:$2000/3000

Visual: A 1’’ horizontal area of loss along the upper edge and minor stretcher bar

creases. Blacklight: A scattered area of touch-up in the green pigments in the lower

right corner. Touch-up to address a loss in the upper right quadrant and a few dots

of touch-up to address pinhole-sized losses in the lower left quadrant. A few other

minor spots of touch-up in the upper half of the canvas. AS-IS. ALL SALES FINAL.

We are delighted to offer the following selection of paintings by three members of the

Blair family: Lee Blair, his wife Mary Blair and his brother Preston Blair (lots 84-88).

The paintings come directly from descendants of the artists and offer a rare opportunity

to obtain their early work. While each artist had successful commercial careers

in animation and film production at important studios such as Disney and MGM, the

present works reveal the artists’ personal non-commercial expressions of early California

painted in the mediums of oil and watercolor.

84 Lee Blair AWS (1911-1993 Los Angeles, CA)

Self-portrait of the artist wearing a red sweater on his shoulders standing before a

mirror, signed lower right: Blair, oil on canvas, 40.25’’ x 30.25’’, est:$2000/4000

Exhibited: Museum of Contemporary Art, Tokyo, Japan, ‘’The Colors of Mary Blair’’,

July-October 2009. Literature: J. Canemaker et al, ‘’The Colors of Mary Blair’’, Tokyo,

2009, p. 28, illustrated. Provenance: Estate of the artist; by descent in the artist’s

family to the present owners. Visual: Generally good condition. Minor frame abrasion

along right and lower edges. Blacklight: Two very minor spots of touch-up on the

lower center and left edge. A few very minor scattered spots of touch-up throughout

the lower portion of the figure’s shirt and sweater. Two small areas of touch-up on the

left shoulder and a nickel-sized area of touch-up above the right shoulder. Two areas

of touch-up along the left center edge, each measuring 2’’ x .75’’. A few scattered,

small areas of touch-up and restoration to the mirror, the largest approximately 3’’ x

.75’’. Two dime-sized spots of touch-up on the left side of figure’s forehead. Scattered

touch-up along the upper left edge, the largest thin line measuring 2.5’’ x .5’’. AS-IS.

ALL SALES FINAL.

18


85 Mary Blair (1911-1978 Soquel, CA)

‘’San Francisco Night’’, 1933, signed lower right: Mary Blair, watercolor on Arches

paper under glass, sight size: 19.5’’ x 13.5’’, est:$1000/2000

Exhibited: Laguna Art Museum, Laguna Beach, CA, ‘’Dream and Perspective: The

American Scene in Southern California 1930-1945’’, August 23, 1991 - November

3, 1991; Museum of Contemporary Art, Tokyo, Japan, ‘’The Colors of Mary Blair’’,

July-October 2009. Literature: J. Canemaker et al, ‘’The Colors of Mary Blair’’, Tokyo,

2009, p. 34, illustrated. Note: According to the artist’s niece, ‘San Francisco Night’

was painted in the mid 1930s shortly after Mary married her fellow Chouinard Art

Institute student Lee Blair and the couple moved briefly to San Francisco. According

to John Canemaker in his essay ‘’The Colors of Mary Blair’’, Mary was a diligent

and determined student at Chouinard and intended to become an illustrator (p. 15).

‘’Lee’s focus on the fine arts influenced Mary, and the couple idealistically promised

to dedicate themselves to a life together as serious, non-commercial painters. They

became key participants in an art movement known as the California School of

watercolor. . . [But] fiscal realities soon intruded on the Blairs’ dream of a shared

dedication to l’art pour l’art’’ and the artists went to work for the Hollywood animation

studios. (J. Canemaker, p. 15). ‘’San Francisco Night’’ reveals the artist’s dexterity

in the medium of watercolor, her strong sense of color and in particular her use of

light and shadow, and her ability to create a complex and dramatic composition.

Provenance: Estate of the artist; by descent in the artist’s family to the present

owners. Visual: Generally good condition. Scattered artist pinholes along the upper

edge and an artist pinhole in the lower left corner. AS-IS. ALL SALES FINAL.

86 Preston Blair (1908-1995 Carmel, CA)

Night scene with cable car, probably Bunker Hill, Los Angeles, CA, signed lower right:

Preston Blair, unframed watercolor with gouache highlights on paper, 21.5’’ x 30’’,

est:$1000/2000

Exhibited: Museum of Contemporary Art, Tokyo, Japan, ‘’The Colors of Mary Blair’’,

July-October 2009. Literature: J. Canemaker et al, ‘’The Colors of Mary Blair’’, Tokyo,

2009, p. 39, illustrated. Provenance: Estate of the artist; by descent in the artist’s

family to the present owners. Visual: Generally good condition. Colors strong. Paper

loose in archival protector. AS-IS. ALL SALES FINAL.

87 Lee Blair AWS (1911-1993 Los Angeles, CA)

Deep sea fishing, unsigned, watercolor on paper under glass, paper size: 10.5’’ x 15’’,

est:$1000/2000

Exhibited: Museum of Contemporary Art, Tokyo, Japan, ‘’The Colors of Mary Blair’’,

July-October 2009. Literature: J. Canemaker et al, ‘’The Colors of Mary Blair’’, Tokyo,

2009, p. 38, illustrated. Provenance: Estate of the artist; by descent in the artist’s

family to the present owners. Visual: Generally good condition with a light, 7’’ vertical

crease in the center. Artist pinhole in the upper right corner. Hinged with archival

tape along the upper and lower center edges and in the upper corners. AS-IS. ALL

SALES FINAL.

88 Lee Blair AWS (1911-1993 Los Angeles, CA)

‘’Redwood Stumps’’, signed lower right: Blair, signed again and titled on the original

board backing, watercolor on paper under glass, sight size: 17’’ x 21’’, est:$1000/2000

Exhibited: Museum of Contemporary Art, Tokyo, Japan, ‘’The Colors of Mary Blair’’,

July-October 2009. Literature: J. Canemaker et al, ‘’The Colors of Mary Blair’’, Tokyo,

2009, p. 37, illustrated, as ‘Redwood Slashings’. Provenance: Estate of the artist; by

descent in the artist’s family to the present owners. Visual: Generally good condition

with minor vertical rippling along the upper edge and a center vertical crease. A tiny

hole along the upper right edge. AS-IS. ALL SALES FINAL.

19


89 Jake Lee (1915-1991 Los Angeles, CA)

New Year’s dragon dance- downtown Chinatown, signed lower right: Jake Lee,

watercolor on paper under glass, paper size: 41’’ x 31’’, est:$3000/5000

Note: We are pleased to offer eleven important watercolors by Jake Lee chronicling

the history of Chinese Americans in California through the depiction of commerce

and cultural events (lots 89-94 and 115-119). The paintings were commissioned by the

original owner of a Chinese restaurant on Grant Avenue in San Francisco to educate

his customers about Chinese culture and the contributions of the Chinese people to

California. Full of figures, bright colors and fine details, these large-scale watercolors

are exceptional examples of the artist’s work. Provenance: Acquired directly from

the artist, San Francisco, CA; Private Collection, San Francisco, CA, acquired from

the above, 1980s; by descent in the family to the present owner, Private Collection,

Los Angeles, CA. Visual: Generally good condition with spots of surface mildew

throughout. Not examined out of the frame. AS-IS. ALL SALES FINAL.

90 Jake Lee (1915-1991 Los Angeles, CA)

Day at the theatre- Chinatown, signed lower left: Jake Lee, watercolor on paper

under glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

91 Jake Lee (1915-1991 Los Angeles, CA)

Cigar shop- Chinatown, signed lower center: Jake Lee, watercolor on paper under

glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

92 Jake Lee (1915-1991 Los Angeles, CA)

Pig farm, signed lower left: Jake Lee, watercolor on paper under glass, paper size:

41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

93 Jake Lee (1915-1991 Los Angeles, CA)

Chinese people unloading dry goods, San Francisco, signed lower center: Jake Lee,

watercolor on paper under glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition

with spots of surface mildew throughout. Not examined out of the frame. AS-IS. ALL

SALES FINAL.

20


94 Jake Lee (1915-1991 Los Angeles, CA)

Building the Intercontinental Railroad through the Sierra Nevada Range, signed lower

right: Jake Lee, watercolor on paper under glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition

with spots of surface mildew throughout. Not examined out of the frame. AS-IS. ALL

SALES FINAL.

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

‘’Oil Pond’’, signed lower left: Emil J. Kosa Jr, titled on the frame, watercolor on

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

Provenance: Acquired directly from the artist; by descent in the family to the present

owner, CA. Visual: Generally good condition. Hinged along the upper and lower

edges to the front mat. AS-IS. ALL SALES FINAL.

96 Phil Paradise (1905-1997 Santa Barbara, CA)

Boats in a town harbor, signed lower right: Phil Paradise, gouache and ink on paper

under glass, sight size: 9.25’’ x 13’’, est:$1000/1500

Provenance: Private Residence, Sherman Oaks, CA. Visual: Generally good

condition. Toning throughout. Not examined out of the frame. AS-IS. ALL SALES

FINAL.

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

‘’Point Conception, California’’, signed and dated lower left: Standish Backus Jr

July ‘72, signed again in the mat liner lower right, titled in the mat liner lower left,

unframed watercolor on paper, paper size: 15.5’’ x 22.75’’, est:$3000/5000

Note: An unfinished watercolor of horses in a landscape verso. Provenance: Private

Residence, Massachusetts. Visual: Generally good condition. Horizontal bulging

extending the width of the paper in the center. Hinged along edges to front mat with

old tape. AS-IS. ALL SALES FINAL.

98 Phil Dike (1906-1990 Claremont, CA)

‘’Window on the Sea #2’’, signed and dated lower right: Phil Dike ‘72, titled and

numbered on a poem affixed to a secondary board backing, watercolor and gouache

on paperboard mounted to foamboard under glass, sight size: 21.25’’ x 14.25’’,

est:$2000/3000

Note: This was probably a study for a larger version, ‘’Window on the Sea #3’’. An

image of this larger painting and a typed poem about the ocean written by the artist

are affixed to secondary board backing. Provenance: Private Collection, La Quinta,

CA. Visual: Generally good condition. AS-IS. ALL SALES FINAL.

21


99 Arthur E. Beaumont (1890-1978 Los Angeles, CA)

Clipper ship at full sail, signed lower right: Arthur Beaumont, watercolor on paper laid

to board under glass, paper size: 19’’ x 26’’, est:$2500/3500

Provenance: Private Collection, Lancaster, CA; by descent in the family to the present

owner. Visual: Generally good condition. Slight toning throughout. Minor mat burning

to edges. AS-IS. ALL SALES FINAL.

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

View of the New York Central Building on Park Avenue, signed lower right: Jack

Laycox, watercolor on paper under glass, sight size: 21.25’’ x 29.5’’, est:$2000/3000

Note: The New York Central building, now the Helmsley building, was originally the

headquarters for the New York Central Rail Road Companies. Provenance: Private

Residence, New York, NY. Visual: Generally good condition. Colors strong. Slight

vertical bulging to upper third of paper. Not examined out of frame. AS-IS. ALL SALES

FINAL.

101 Carl Oscar Borg A.N.A (1879-1947 Santa Barbara, CA)

‘’Waterfall in Lone Pine Creek in the High Sierras, California’’, signed lower left: Carl

Oscar Borg, signed again and titled on artist label affixed verso, watercolor on paper

mounted on board under glass, paper size: 13.75’’ x 18.5’’, est:$2000/3000

Provenance: Private Collection, Sweden. Visual: Generally good condition. Mounted

in corners to board backing. Two very minor, soft horizontal ripples in paper. AS-IS.

ALL SALES FINAL.

102 Henry Martin Gasser (1909-1981 Orange, NJ)

Abandoned house in winter, signed lower right: H. Gasser, gouache and watercolor

on paper under glass, sight size: 18.75’’ x 23’’, est:$4000/6000

Provenance: Private collection, Los Angeles, CA. Visual: Generally good condition.

Minor vertical rippling to upper edge. Colors strong. Not examined out of frame.

AS-IS. ALL SALES FINAL.

103 William Wray (1956-* California)

‘’Engine, Los Angeles’’, diesel in a rail yard, 2008, signed lower right: W.M. Wray,

oil on panel, 24’’ x 32’’, est:$3000/4000

Provenance: Private Collection, Los Angeles. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

22


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

‘’Angels Flight Railway, Los Angeles, Calif., 1932’’, signed lower right: Ben Abril,

signed again verso, titled on the stretcher, oil on canvas, 24’’ x 30’’, est:$5000/7000

Provenance: Private collection, Chico, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

105 John F. Budicin (1944-* San Bernardino, CA)

View of Pasadena City Hall, signed lower right: Budicin, oil on canvasboard,

20’’ x 16’’, est:$2000/3000

Provenance: Private Collection, Northern California. Visual: Generally good

condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

106 Ovanes Berberian (1951-* Idaho/California)

View of the San Gabriel Mountains from Pasadena, signed and dated lower right:

Ovanes Berberian ‘84, oil on board, 12’’ x 16’’, est:$1500/2000

Visual: Generally good condition. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

107 Jason Situ (1949-* Los Angeles, CA)

Wash and mountain canyon, signed lower left: J. Situ, signed again in Chinese

characters verso, oil on canvas, 16’’ x 20’’, est:$2000/3000

Provenance: Private Collection, Northern California. Visual: Generally good

condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

108 Peter Adams (1950-* Los Angeles, CA)

Canyon oaks, signed lower right: Peter Adams, oil on board, 17.75’’ x 23.75’’,

est:$2500/3500

Provenance: Private Collection, Northern California. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

23


109 William Wray (1956-* California)

‘’White Chair, Monrovia Field’’, 2007, signed lower right: W.M. Wray, oil on board,

12’’ x 16’’, est:$1500/2000

Provenance: Private Collection, Los Angeles. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

110 Kent Wallis (1945-* Logan, UT)

‘’Garden Plush’’, signed lower left: Kent Wallis, signed again and titled verso,

oil on canvas, 24’’ x 30’’, est:$2500/3500

Provenance: Private Residence, New Jersey. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

111 Bennett Bradbury (1914-1991 Laguna Beach, CA)

‘’Spindrift Cove, Carmel Highlands’’, signed lower left: Bennett Bradbury, signed again

and titled on the stretcher, numbered on the stretcher: 695, oil on canvas, 30’’ x 60’’,

est:$3000/4000

Note: Artist’s copyright stamp on stretcher. Provenance: Property from the C.L.

Pearson Revocable Trust, Laguna Beach, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

112 Bennett Bradbury (1914-1991 Laguna Beach, CA)

‘’50 Degrees No. Latitude’’, signed lower left: Bennett Bradbury, signed again and

titled on the stretcher, oil on canvas, 30’’ x 60’’, est:$3000/5000

Note: Artist’s copyright stamp on stretcher. Provenance: Property from the C.L.

Pearson Revocable Trust, Laguna Beach, CA. Visual: Generally good condition with

slightly yellowed varnish in the sky. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

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

‘’Fisherman’s Shack at Moss Landing’’, signed lower left: Ben Abril, titled and

dated and inscribed on the stretcher: Field Sketch - 1978, oil on canvas, 24’’ x 30’’,

est:$2000/3000

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

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

24


114 Roger Edward Kuntz (1926-1975 Laguna Beach, CA)

‘’Victorian Remnant’’, seaside houses, signed lower left: Kuntz, titled on label affixed

verso, oil on canvas, 30’’ x 40.25’’, est:$5000/7000

Exhibited: ‘Roger Kuntz Memorial Retrospective’’, Laguna Beach Museum of Art,

Laguna Beach, CA, May 3, 1977. Provenance: Private Collection, Vermont. Visual:

Generally good condition. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

115 Jake Lee (1915-1991 Los Angeles, CA)

The lantern shop - Chinatown, signed lower center: Jake Lee, watercolor on paper

under glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition

with spots of surface mildew throughout. Not examined out of the frame. AS-IS. ALL

SALES FINAL.

116 Jake Lee (1915-1991 Los Angeles, CA)

Shoe shop- Chinatown, signed lower left: Jake Lee, watercolor on paper under glass,

paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

117 Jake Lee (1915-1991 Los Angeles, CA)

Shrimp camp, signed lower left: Jake Lee, watercolor on paper under glass, paper

size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

118 Jake Lee (1915-1991 Los Angeles, CA)

Workers mining for gold, signed lower right: Jake Lee, watercolor on paper under

glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition.

Not examined out of the frame. AS-IS. ALL SALES FINAL.

25


119 Jake Lee (1915-1991 Los Angeles, CA)

Winemaking in Napa Valley, signed lower right: Jake Lee, watercolor on paper under

glass, paper size: 41’’ x 31’’, est:$3000/5000

Provenance: Acquired directly from the artist, San Francisco, CA; Private Collection,

San Francisco, CA, acquired from the above, 1980s; by descent in the family to the

present owner, Private Collection, Los Angeles, CA. Visual: Generally good condition

with spots of surface mildew throughout. Not examined out of the frame. AS-IS. ALL

SALES FINAL.

120 Frank Tenney Johnson A.N.A. (1874-1939 Los Angeles, CA)

Cowboy on horseback, bears signature lower left: F. Tenney Johnson, oil on board,

11.75’’ x 15’’, est:$40,000/60,000

Note: A label affixed to the stretcher states ‘This picture I authenticate as having

been painted by F. Tenney Johnson, N.A.’ and is signed by W.P. Krehm and Frank

Panter. A printed number is affixed verso: 723. Provenance: Property from a Private

Collection, Southern California. Visual: Generally good condition. Blacklight: Minor

scattered spots of touch-up throughout the sky. AS-IS. ALL SALES FINAL.

121 Gordon Coutts (1868-1937 Palm Springs, CA)

Cowboy with two mules riding across the desert, signed lower right Gordon Coutts,

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

Provenance: Estate, Fallbrook, CA. Visual: Generally good condition. Stretcher bar

creases along the edges and fine minor stable craquelure throughout. Some minor

black surface residue next to the figure and scattered throughout. Blacklight: A

1.75’’ x .75’’ area of touch-up next to the tallest mountain peak in the sky with a

corresponding patch verso. AS-IS. ALL SALES FINAL.

122 Frank Jack O’Neill (-early 20th Century American)

‘’The Bay Outlaw’’, signed and dated lower left: F.J. O’Neill 1946, oil on canvas,

34’’ x 20’’, est:$1500/2000

Note: Titled on a printed paper label affixed to frame. Provenance: Property from

a Private Collection, Southern California. Visual: Two abrasions with punctures

measuring 1’’ each in the upper center and right center. Frame abrasion along the

edges, drips in the lower center and heavy surface dirt and discolored varnish

throughout. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL

SALES FINAL.

123 Tillman Goodan (1896-1958 Los Angeles, CA)

Bucking bronco, signed lower right: Till Goodan, oil on plywood, 23’’ x 14’’,

est:$1500/2000

Provenance: Private Residence, Los Angeles, CA. Visual: A 2’’ x .5’’ area of loss in

the lower right corner. Two spots of surface abrasion with minor losses to the right

and left of the figure’s head and minor surface rubbing along the upper edge and in

the lower left corner. Stable, shallow horizontal cracking to the board throughout and

heavy surface dirt. Blacklight: No evidence of restoration under blacklight. AS-IS.

ALL SALES FINAL.

26


124 Olaf Carl Wieghorst (1899-1988 El Cajon, CA)

‘’Steer Roper’’, signed lower right: O. Wieghorst, signed again and titled on the

stretcher, oil on canvas, 30’’ x 24’’, est:$20,000/30,000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Frame abrasion along edges with stretcher bar creases.

Two artist pinholes in upper left and right corners. Spots of discolored varnish

throughout, would benefit from cleaning. Blacklight: No evidence of restoration

under blacklight. AS-IS. ALL SALES FINAL.

125 Frank Tenney Johnson A.N.A. (1874-1939 Los Angeles, CA)

Two riders and packhorses, unsigned, oil on masonite, 12’’ x 15.75’’, est:$10,000/15,000

Note: A label affixed verso states ‘This picture I authenticate as having been painted

by F. Tenney Johnson, N.A.’ and is signed by W.P. Krehm and Frank Panter. A printed

number is affixed verso: 726. Provenance: Property from a Private Collection,

Southern California. Visual: Generally good condition. Would benefit from cleaning.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

126 Frank Tenney Johnson A.N.A. (1874-1939 Los Angeles, CA)

‘’Trout Peak’’, signed and dated lower left: F. Tenney Johnson A.N.A 1933, titled verso,

oil on masonite, 12’’ x 15.75’’, est:$7000/10,000

Note: A label affixed verso states ‘This picture I authenticate as having been painted

by F. Tenney Johnson, N.A.’ and is signed by W.P. Krehm and Frank Panter. A printed

number is affixed verso: 722. Provenance: Property from a Private Collection,

Southern California. Visual: Generally good condition. A minor pinhole-sized spot

of loss in the upper right quadrant. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

127 Fernand Lungren (1857-1932 Santa Barbara, CA)

Sunrise on canyon walls, signed lower left: Lungren, oil on canvas, 36’’ x 24’’,

est:$3000/5000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Two .5’’ x .25’’ spots of paint loss in the lower center and

the lower left corner below the signature. Minor diagonal craquelure throughout and

stretcher bar creases along the edges. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

128 Frank Tenney Johnson A.N.A. (1874-1939 Los Angeles, CA)

‘’North Fork Study’’, landscape, signed lower left: F. Tenney Johnson A.N.A,

oil on canvasboard, 16’’ x 20’’, est:$8000/10,000

Exhibited: Buffalo Bill Historical Center, Cody, WY, ‘’Rendezvous to Roundup: The

First One Hundred Years of Art in Wyoming’’, April 16 - October 12, 1990. Note: A

label affixed to the stretcher states ‘This picture I authenticate as having been

painted by F. Tenney Johnson, N.A.’ and is signed by W.P. Krehm and Frank Panter. A

printed number is affixed verso: 764. Provenance: Property from a Private Collection,

Southern California. Visual: Generally good condition. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

27


129 Frank Tenney Johnson A.N.A. (1874-1939 Los Angeles, CA)

Wyoming sand brush, unsigned, oil on masonite, 18’’ x 23.75’’, est:$4000/6000

Note: A label affixed to the stretcher states: ‘This picture I authenticate as having

been painted by F. Tenney Johnson, N.A.’ and is signed by W.P. Krehm and Frank

Panter. A printed number is affixed verso: 721. Provenance: Property from a Private

Collection, Southern California. Visual: Generally good condition. A few very minor

pinhole-sized spots of loss throughout. One spot of unstable craquelure on the

left side of the dark mountain range. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

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

‘’Capitol Reef National Park, Utah’’, signed lower left: Ben Abril, signed again, titled

and dated verso, October 1977, oil on canvas, 30’’ x 48’’, est:$2000/3000

Provenance: Collection of Ben and Miriam Romero, Las Vegas, NV; by descent in

the family to the present owner, Minnesota. Visual: Generally good condition. Minor

frame abrasion along the left lower edge. Blacklight: No evidence of restoration

under blacklight. AS-IS. ALL SALES FINAL.

131 Olaf Carl Wieghorst (1899-1988 El Cajon, CA)

‘’Detour’’, cowboys on horseback fending off a bear, signed lower left and with the

artist’s brand device: O. Wieghorst 2C, titled and signed again verso and on the

stretcher, oil on canvas, 30’’ x 36’’, est:$40,000/60,000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor frame abrasion along edges. Fine stable craquelure

in the lower half. A .25’’ spot of paint loss in the center of the upper right quadrant.

Canvas would benefit from cleaning. Blacklight: Two very minor pinhole-sized spots

of touch-up in the far lower left corner, one in the center and one directly below the

bear, all to address paint loss. AS-IS. ALL SALES FINAL.

132 Olaf Carl Wieghorst (1899-1988 El Cajon, CA)

‘’Trouble on the Trail’’, signed lower left and with the artist’s brand device: O.

Wieghorst 2C, titled and signed again on the stretcher, oil on canvas, 28.5’’ x 38’’,

est:$30,000/50,000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor frame abrasion along edges. A few very minor

scattered spots of loss in the hillside on the right, largest measures .25’’ x .25’’. One

other very minor spot of loss in the tethered horse’s saddle. Canvas would benefit

from cleaning. Blacklight: A few minor spots of touch-up in the lower left and lower

right quadrants. AS-IS. ALL SALES FINAL.

133 Burt Procter (1901-1980 Palm Springs, CA)

Seated cowboys with horses, signed lower left: Burt Procter, oil on masonite,

20’’ x 24.25’’, est:$5000/7000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

28


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

‘’The Joy of Living’’, California farm scene, signed lower left: Emil Kosa, Jr, signed

again and titled on the stretcher, oil on canvas, 24’’ x 34.25’’, est:$5000/7000

Provenance: Private collection, Los Angeles, CA. Visual: Generally good condition.

Canvas has some vertical rippling and minor bulging in the upper half. Minor stable

craquelure in the upper left corner. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

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

Arroyo Seco, Pasadena, CA, signed lower left: Orrin A. White, oil on canvas,

16’’ x 20’’, est:$2500/3500

Visual: Generally good condition. A quarter-sized indent to canvas in on the upper

center edge. Small spots of fine stable craquelure in the center. Blacklight: No

evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

136 Paul Lauritz (1889-1975 Glendale, CA)

California landscape in summer, signed lower left: Paul Lauritz, oil on canvas,

27.75’’ x 30’’, est:$9000/12,000

Visual: Minor, stable craquelure throughout. Blacklight: No evidence of restoration

under blacklight. AS-IS. ALL SALES FINAL.

137 Jack Wilkinson Smith (1873-1949 Alhambra, CA)

River flowing through a forest, signed lower right: Jack Wilkinson Smith,

oil on canvasboard, 15.75’’ x 19.75’’, est:$3000/5000

Provenance: Estate, La Canada, CA. Visual: Generally good condition. Minor paint

loss in the far upper right corner with other paint loss along the bank. Blacklight: One

pinhole-sized spot of touch-up in the far lower left corner. AS-IS. ALL SALES FINAL.

138 John M. Gamble (1863-1957 Santa Barbara, CA)

‘’Yellow Lupine’’, signed lower left: John M. Gamble, signed again and titled verso,

oil on masonite, 18’’ x 24’’, est:$20,000/30,000

Provenance: Private Collection, Santa Fe, NM. Visual: Generally good condition.

Frame abrasion along left edge. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

29


139 Benjamin C. Brown (1865-1942 Pasadena, CA)

‘’Montecito Valley, near Santa Barbara’’, signed lower right: Benjamin C. Brown, titled

verso, oil on canvas laid to canvas, 16’’ x 20.25’’, est:$10,000/15,000

Provenance: Private Collection, Orange County, CA. Visual: Generally good condition.

Minor stable craquelure throughout. Minor frame abrasion along upper and right

edges. Blacklight: Minor scattered spots of touch-up throughout the sky. Crack-fill in

the lower left corner with other crack-fill in the lower third. AS-IS. ALL SALES FINAL.

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

Path through a sycamore and eucalyptus landscape, signed lower left: Joane

Cromwell, oil on canvas, 24.25’’ x 30.25’’, est:$3000/4000

Provenance: Private Collection, Dana Point, CA. Visual: Generally good condition.

Minor stable craquelure in the clouds and in the lower center. Blacklight: Two dimesized

spots of touch-up with corresponding verso patch above the clouds. AS-IS.

ALL SALES FINAL.

141 Mabel Sumerlin (1879-1956 San Diego, CA)

Eucalyptus landscape - view of Balboa Park, signed lower right: M. Sumerlin,

oil on canvas, 16’’ x 12’’, est:$2000/3000

Provenance: Estate, Chicago, IL. Visual: Generally good condition. Frame abrasion

along edges. A few dime-sized spots of bulging in the center with a 1.5’’ x 1.5’’

bulging in the lower right quadrant. A few very minor scattered spots of fine stable

craquelure throughout. Blacklight: A few very minor lines of touch-up along the left

edge to address the frame abrasion. AS-IS. ALL SALES FINAL.

142 Alfred R. Mitchell (1888-1972 San Diego, CA)

Lake near San Diego, CA, signed lower right: Alfred R. Mitchell, oil on board,

12’’ x 15.75’’, est:$4000/6000

Visual: Generally good condition with minor frame abrasion along the right edge.

Blacklight: A few minor scattered spots of touch-up along the upper right edge.

AS-IS. ALL SALES FINAL.

143 Hernando G. Villa (1881-1952 Los Angeles, CA)

Woman reading in a courtyard- dog & cat nearby, signed and dated lower left:

Hernando Villa ‘40, oil on canvasboard, 16’’ x 20’’, est:$3000/4000

Provenance: Estate, Phoenix, AZ. Visual: Generally good condition. Pinhole-sized

spots of loss in the upper left corner with a few other pinhole spots of loss on and

around the figure. Blacklight: No evidence of restoration under blacklight. AS-IS.

ALL SALES FINAL.

30


144 O. Theodore Jackman (1878-1940 La Crescenta, CA)

A courtesan and woman sitting in a courtyard, signed lower left: Theodore Jackman,

oil on canvas, 25’’ x 30’’, est:$3000/5000

Provenance: Estate of the artist, by descent in family, Private Collection, Montrose,

CA. Visual: Generally good condition. Canvas loose on the stretchers and frame

abrasion along the right edge. Blacklight: Two quarter-sized areas of touch-up and

a spot on the woman’s skirt. A small area of touch-up on the courtsan’s elbow and a

3’’ x 1.5’’ area of touch-up to address a surface scratch in the upper right quadrant.

AS-IS. ALL SALES FINAL.

145 O. Theodore Jackman (1878-1940 La Crescenta, CA)

Mrs. Violet Rhodes (Jackman) at her desk in Paris, signed lower right: O.T. Jackman,

oil on canvas laid to board, 25.5’’ x 17.25’’, est:$3000/4000

Provenance: Estate of the artist, by descent in family, Private Collection, Montrose,

CA. Visual: Stable craquelure and crazing throughout. A diagonal surface abrasion

across the figure’s skirt approximately 6’’ long. A spot of loss in the extreme upper

left corner. Blacklight: A few scattered spots of touch-up on the secretary, a spot of

touch-up on the figure’s hair, a few other spots of touch-up in the lower left. AS-IS.

ALL SALES FINAL.

146 Raoul M. De Longpre (1859-1911 French)

Still life with pink roses and lilacs, signed lower right: Raoul M. De Longpre fils,

gouache and pastel on paper under glass, sight size: 28.25’’ x 36.25’’, est:$5000/7500

Note: The painting retains its original carved frame. Visual: Generally good condition.

Not examined of the frame. AS-IS. ALL SALES FINAL.

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

‘’Ile de la Cite, Paris’’, 1900, signed lower left: A. S. Clark, oil on waxed canvas,

19.25’’ x 23.25’’, est:$20,000/30,000

Literature: J. Stern, ‘’Alson Skinner Clark’’, Petersen Publishing Co, Los Angeles, CA,

p. 61, plate 1, illustrated. Provenance: Private Collection, Orange County, CA. Visual:

Generally good condition. Minor to moderate craquelure throughout the sky and the

lower third of the canvas. Canvas mounted to new stretcher bars. Blacklight: No

evidence of touch-up under blacklight. AS-IS. ALL SALES FINAL.

148 Henry A. Ferguson (1845-1911 New York, NY)

View of Gold Street in lower Manhattan, circa 1880s, signed lower right: Henry A.

Ferguson, oil on canvas laid to canvas, 27’’ x 44’’, est:$7000/10,000

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

Frame abrasion along edges. Blacklight: A 1’’ x 2’’ spot of touch-up in the center of

the sky, another spot of touch-up to the right measuring 1.5’’ x 1.75’’. One other very

minor spot of touch-up and a bulge to the canvas in the upper left portion of the sky.

AS-IS. ALL SALES FINAL.

31


149 Louis Moeller N.A. (1855-1930 New York, NY)

‘’Sweet Adeline’’, four men laughing and drinking, signed lower right: Louis Moeller

N.A., oil on board, 24’’ x 18’’, est:$15,000/20,000

Provenance: Private Collection, Beverly Hills, CA. Visual: Generally good condition.

Edges have been taped. Very fine minor stable craquelure throughout. Blacklight: A

few minor scattered spots of touch-up in the lower left corner in the red table cloth.

Scattered spots of possible touch-up on the figures and in the background, with much

of the fluorescence likely due to artist’s pigments. Difficult to read under blacklight

due to uneven and masking varnish, particularly heavy in the upper third of the

painting. AS-IS. ALL SALES FINAL.

150 Gaston Longchamp (1894-1986 New York, NY)

At the opera, signed lower left: Gaston Longchamp, mixed media on paper under

glass, sight size: 19.75’’ x 15.75’’, est:$2500/3500

Visual: Generally good condition with possible minor toning to the paper. Not

examined out of frame. AS-IS. ALL SALES FINAL.

151 Mabel Alvarez (1891-1985 Los Angeles, CA)

Portrait of a young girl in pink, signed lower right: Alvarez, oil on paper board,

24’’ x 14’’, est:$3000/5000

Note: Unfinished sketch of the same image verso. Provenance: Private Collection,

Orange County, CA. Visual: Generally good condition. A minor speck of paint loss

to the left of the left eye with two minor spots of loss to the right arm and dress at

the sleeve. Two spots of loss to the center of left bicep. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

152 Attributed to Mabel Alvarez (1891-1985 Los Angeles, CA)

‘’Nude’’, unsigned, titled verso, oil on board, 9.75’’ x 13.75’’, est:$2500/3500

Note: An unfinished oil sketch of a man holding a violin on the verso. Provenance:

Kramer Gallery, Los Angeles, CA. Visual: Generally good condition. Minor paint loss

in the extreme upper right corner, along the lower edge and a few spots scattered on

the figure. Three minor horizontal surface abrasions, the largest approximately 1.5’’

in left center and lower left. Blacklight: No evidence of restoration under blacklight.

AS-IS. ALL SALES FINAL.

153 W. Clarence McGrath (1938-2007 Southern California/Mexico)

Portrait of young boy wearing two hats, signed lower left McGrath, oil on board,

14’’ x 18’’, est:$2000/3000

Provenance: Private Collection, San Clemente, CA. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

32


154 Diego Rivera (1886-1957 Mexican)

Mexican family, signed and dated lower right: Diego Rivera 35, watercolor on rice

paper mounted to board, paper size: 11’’ x 15.5’’, est:$25,000/35,000

Provenance: Property from a Private Collection, Santa Monica, CA. Visual: Generally

good condition. Paper laid to board as stated. Minor toning throughout. Minor soiling

in the upper right corner. AS-IS. ALL SALES FINAL.

155 Victor Higgins N.A. (1884-1949 Taos, NM)

Pueblo, signed lower right: Victor Higgins, watercolor on paper under glass, paper

size: 14.75’’ x 21.25’’, est:$15,000/20,000

Provenance: Private Collection, Northern California. Visual: Artist pinholes in the

upper corners. Mat burn along the edges and minor toning throughout. Old paper

tape along the edges. Paper floating in the frame with archival backing. AS-IS. ALL

SALES FINAL.

156 Hernando G. Villa (1881-1952 Los Angeles, CA)

Apache Indians overlooking a valley and mountains, signed, dated and indistinctly

inscribed lower left: Hernando G. Villa 1-26 and with artist’s device, watercolor and

gouache on paper under glass, sight size: 20’’ x 18.25’’, est:$3000/4000

Provenance: Estate, Arlington, TX. Visual: Toning throughout. Handling creases and

minor abrasions in the four corners. A stable 1’’ vertical tear extending up from the

lower center edge. A 1.25’’ vertical surface abrasion and a few other tiny scratches

in the upper center. Apparent water damage extending 19’’ diagonally down from the

upper right corner into the right center. AS-IS. ALL SALES FINAL.

157 Edgar A. Payne (1883-1947 Los Angeles, CA)

Indian Riders, signed lower right: Edgar Payne, graphite on paper under glass, sight

size: 8’’ x 11.5’’, est:$2000/3000

Provenance: Property from a Private Collection, Southern California. Visual: Toning

throughout. A dot of stain in the upper left corner. A 1’’ x 1’’ area of the paper along

the right center edge with no toning but with scattered stable tears. Minor handling

creases in the upper half of the paper. AS-IS. ALL SALES FINAL.

158 Edward Borein (1872-1945 Santa Barbara, CA)

Indian chief on horseback, signed in pencil lower right: Edward Borein, watercolor

and gouache on paper under glass, sight size: 6.25’’ x 5.75’’, est:$6000/8000

Note: An original signed authentication by Harold G. Davidson, dated October 25,

1978, is affixed to the verso. Provenance: Copenhagen Gallery, Solvang, CA; Private

Collection, Minnesota. Visual: Generally good condition. Minor toning throughout.

Not examined out of frame. AS-IS. ALL SALES FINAL.

33


159 Edgar Samuel Paxson (1852-1919 Missoula, MT)

‘’Ghost Riders’’, unsigned, watercolor, gouache and graphite on paper under glass,

sight size: 13.5’’ x 17.25’’, est:$2500/3500

Exhibited: Bowers Museum, Santa Ana, CA, n.d. Provenance: William Edgar Paxson,

grandson of the artist, Whittier, CA; Property from a Private Collection, Southern

California, acquired directly from the above, 1963. Visual: The watercolor paper is

glued into the mat and is likely laid down to the backing board. A water stain in the

lower right corner, a red stain in the upper left corner and staining in the sky and in

the right center. Paper is slightly bubbled in the upper right corner. Two spots of stain

in the right center with a tiny stable tear. Minor soiling throughout. Not examined out

of the mat. AS-IS. ALL SALES FINAL.

160 Edgar Samuel Paxson (1852-1919 Missoula, MT)

‘’Robbie’’, portrait of a seated Indian, signed, titled and dated upper right: Mch 8, 1902

E.S. Paxson, graphite on paper, paper size: 7’’ x 9.25’’, est:$1500/2000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Slight rippling to lower left quadrant. Minor water damage

to matting and bottom edge margin. A 1.25’’ tear to extreme upper right corner under

matting. Slight toning throughout with mat burn. Hinged with tape along verso left.

AS-IS. ALL SALES FINAL.

161 Nick Eggenhofer (1897-1985 Cody, WY)

Group of Indians on horseback moving camp, signed lower left: N. Eggenhofer,

mixed media on paperboard under glass, 12.75’’ x 18’’, est:$3000/4000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Slight toning throughout. Not examined out of frame. AS-IS.

ALL SALES FINAL.

162 Joe De Yong (1894-1975 Los Angeles, CA)

Indian riding a pinto, signed lower left: Joe De Yong and with artist’s device,

watercolor and graphite on paper under glass, sight size: 12.25’’ x 18.25’’,

est:$1000/1500

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor spots staining to background and left edge. Minor

handling creases to lower right quadrant with toning throughout. Not examined out of

the frame. AS-IS. ALL SALES FINAL.

163 Nick Eggenhofer (1897-1985 Cody, WY)

‘’Welcome to Bushwack (sic) City’’, signed lower right: N. Eggenhofer, titled verso,

ink and graphite on paper under glass, 12’’ x 20’’, est:$2500/3500

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Not examined out of frame. Frame liner needs to be

replaced. AS-IS. ALL SALES FINAL.

34


164 Nick Eggenhofer (1897-1985 Cody, WY)

Two horses tethered to a corral, signed lower right: N. Eggenhofer, mixed media on

paper under glass, paper size: 10.5’’ x 8.75’’, est:$1500/2000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor horizontal rippling to the center extending the width

of the paper. Vertical toning lines to lower third with minor toning throughout. The

paper is loose (not hinged) in the frame. AS-IS. ALL SALES FINAL.

165 Herman Wendelborg Hansen (1854-1924 Alameda, CA)

‘’Last of the Herd’’, signed lower right: H.W. Hansen, titled verso, watercolor on

paperboard under glass, 17.75’’ x 23.75’’, est:$5000/7000

Exhibited: Bowers Museum, Santa Ana, CA, n.d. Provenance: Property from a Private

Collection, Southern California. Visual: Generally good condition with minor toning

throughout and burn along the extreme edges. Some minor surface abrasions on the

horses’ hooves. AS-IS. ALL SALES FINAL.

166 Olaf Carl Wieghorst (1899-1988 El Cajon, CA)

Cowboy riding horseback through a blizzard, signed in ink lower left: O. Wieghorst,

watercolor and gouache on paperboard under glass, sight size: 11’’ x 9’’,

est:$7000/9000

Provenance: Private Collection, Minnesota. Visual: Generally good condition. Not

examined out of frame. AS-IS. ALL SALES FINAL.

167 Olaf Carl Wieghorst (1899-1988 El Cajon, CA)

‘’Contest Rider’’, signed lower left: O. Wieghorst 2C, signed again and titled verso,

ink on paperboard under glass, board size: 14.25’’ x 11’’, est:$2500/3500

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor toning throughout. Taped to front matting along

edges. AS-IS. ALL SALES FINAL.

168 Adolph R. Shulz (1869-1963 Brown County, IN)

Winter landscape in Indiana, signed lower left: A.R. Shulz, oil on board, 22’’ x 28’’,

est:$8000/12,000

Provenance: Estate, Fallbrook, CA. Visual: Generally good condition. Blacklight: No

evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

35


169 William J. Forsyth (1854-1935 Indianapolis, IN)

‘‘Early in the Morning’’, Barn and haystack in autumn , signed lower right: W. Forsyth,

signed again and titled on three exhibition lables affixed verson, oil on masonite,

24’’ x 28’’, est:$5000/7000

Exhibited: City Art Museum of St. Louis, St. Louis, MO, Eleventh Annual Exhibition,

1916 (see label verso); Cincinnati Museum Association, Cincinnati, OH, Twenty-Fourth

Annual Exhibition, 1917 (see label verso); John Herron Art Institute, Indianapolis,

Indiana, Twelfth Indiana Artist. Exhibition, 1919 (see label verso). Provenance:

Private Collection, North San Diego, CA. Visual: Generally good condition. A spot

of loss along the lower center edge and frame abrasion along the right edge and in

the upper right corner. Surface dirt. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

170 John Frost (1890-1937 Pasadena, CA)

‘’Mystic Morning’’, signed and dated lower right: John Frost ‘35, dated again verso:

March, 29 ‘35, oil on board, 19’’ x 23’’, est:$30,000/40,000

Note: This painting will be included in Phil Kovinick’s forthcoming book, ‘’John Frost:

A Forgotten American Impressionist’’, published by the Irvine Museum, Irvine, CA.

Provenance: Private Collection, Oakland, CA. Visual: Generally good condition. Four

minor specks of paint loss to left tree. Blacklight: A few minor scattered spots of

touch-up along the upper edge and throughout the sky. Other minor touch-up along

the lower edge. One spot of minor touch-up to the center of the pond with a few

dime-sized spots of touch-up in the lower right corner. A few minor spots of touch-up

in the upper portion of the far right tree trunk. AS-IS. ALL SALES FINAL.

171 Henry L. Richter (1870-1960 Rolling Hills, CA)

Eucalyptus trees in a coastal landscape, signed lower right: H. Richter, oil on canvas,

20’’ x 22’’, est:$3000/4000

Provenance: Private Collection, Reno, NV. Visual: Generally good condition. The

painting was re-stretched onto slightly narrower stretcher bars and there are older

stretcher bar creases from the original stretchers along the left and right edges.

Minor gold residue from the frame along the upper edge. Blacklight: No evidence of

restoration under blacklight. AS-IS. ALL SALES FINAL.

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

‘’Nature’s Symphony’’, signed lower right: Joane Cromwell, signed again and titled on

the artist’s original label affixed verso, oil on canvas, 24’’ x 26’’, est:$3000/5000

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

Blacklight: A dime-sized spot of touch-up in the upper left corner with a few minor

spots of touch-up directly above the far left tree. A .75’’ spot of touch-up in the lower

center in the clouds. A few very minor spots in the upper right quadrant and one

dime-sized spot if touch-up in the lower right corner above the signature. AS-IS. ALL

SALES FINAL.

173 H. Raymond Henry (1882-1971 Beverly Hills, CA)

Santa Monica Canyon, signed lower left: H. Raymond Henry, oil on canvas, 16’’ x 20’’,

est:$3000/4000

Visual: Generally good condition. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

36


174 Robert Clunie (1895-1984 Bishop, CA)

‘’Spring in Santa Paula Canyon’’, signed lower right: Robert Clunie, signed again and

titled on an exhibition label affixed to the frame, oil on board, 15’’ x 22’’, est:$2000/3000

Exhibited: Tenth Annual Art Exhibit, Santa Paula, CA, n.d. (see verso label).

Provenance: Private Residence, Phoenix, AZ. Visual: Generally good condition with a

spot of loss on the waterfall in the lower center. Blacklight: Spots of touch-up along

the upper edge to address frame abrasion and dots of touch-up scattered throughout

the upper right corner of the sky. AS-IS. ALL SALES FINAL.

175 Conrad Buff (1886-1975 Los Angeles, CA)

Cacti in a desert landscape, estate stamped lower right: Conrad Buff, oil on board,

24’’ x 36’’, est:$5000/7000

Note: Estate stamp verification verso: This painting is by Conrad Buff and had been

stamped with the official estate signature, Mary Elizabeth Buff. Visual: Generally

good condition. Blacklight: Scattered spots of touch-up throughout the sky and in the

upper right corner. Two horizontal lines of touch-up in the upper left quadrant, largest

measures 4’’. AS-IS. ALL SALES FINAL.

176 Conrad Buff (1886-1975 Los Angeles, CA)

Southwest landscape with river, signed lower right: Conrad Buff, oil on board,

24’’ x 45.25’’, est:$3000/5000

Provenance: Estate, Pasadena, CA. Visual: Generally good condition. Moderate

crazing to center mountain range and light crazing to bottom foreground. Spots of dirt

and surface residue throughout the sky. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

177 Carl Sammons (1883-1968 Oakland, CA)

Springtime in the desert near Palm Springs, signed lower right: Carl Sammons,

oil on canvas, 20’’ x 29.25’’, est:$3000/4000

Visual: Generally good condition with stretcher bar creases. Canvas loose on the

stretchers. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

178 James Swinnerton (1875-1974 Palm Springs, CA)

‘’Palo Verde Tree at the Salton Sea’’, signed lower right: Swinnerton, oil on canvas,

24’’ x 40’’, est:$4000/6000

Provenance: George Stern Fine Arts, West Hollywood, CA (see label verso); Private

Collection, Beverly Hills, CA. Visual: Generally good condition. A 1’’ diagonal surface

abrasion with paint loss in the upper left quadrant. Blacklight: Possible very minor

touch-up on the upper right edge. AS-IS. ALL SALES FINAL.

37


179 John W. Hilton (1904-1983 Twentynine Palms, CA)

‘’Peace’’, signed lower right: John W. Hilton, titled verso, oil on masonite, 15.75’’ x 20’’,

est:$2000/3000

Provenance: Private Collection, Northern California. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

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

Boulders in a desert landscape, signed lower left: Peter Ellenshaw, oil on canvas,

24’’ x 36’’, est:$3000/5000

Provenance: Private Collection, Minnesota. Visual: Generally good condition.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

181 Eyvind Earle (1916-2000 Los Angeles, CA)

‘’Gray Coastline’’, signed and dated lower center: Eyvind Earle 2.7.1988, titled and

dated again on paper affixed verso, tempera on masonite, 24’’ x 36’’, est:$3000/5000

Provenance: Private Collection, Northern California. Visual: Generally good

condition. Discolored varnish and surface dirt. A spot of loss in the upper left corner.

Blacklight: A 1’’ x 3’’ area of touch-up in the lower left corner and minor scattered

dots of touch-up in the lower left and lower center. A 2’’ diagonal area of touch-up

in the upper left with a few other scattered dots of touch-up on the bushes. A 2’’ x 3’’

area fluoresces on the bushes in the center but this appears to be uneven varnish.

AS-IS. ALL SALES FINAL.

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

‘’Timeless Sea’’, low tide at the beach, signed and dated lower left: Peter Ellenshaw

61, titled on gallery label affixed to the stretcher, oil on canvas, 20.25’’ x 50’’,

est:$3000/5000

Provenance: Manhattan Galleries, Inc., Pasadena, CA, no. MO1655 (see gallery label).

Visual: Generally good condition with a few specks of paint loss in the waves. Frame

abrasion and a quarter-sized surface abrasion along the right side of the lower edge.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

183 Robert W. Wood (1889-1979 Bishop, CA)

‘’Twilight Sea’’, signed lower right: Robert Wood, titled on the stretcher, oil on canvas,

16’’ x 20’’, est:$3000/4000

Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition. Minor stable craquelure in the upper left quadrant.

Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

38


184 Bennett Bradbury (1914-1991 Laguna Beach, CA)

‘’Hurricane Point, Big Sur’’, signed lower left Bennett Bradbury, signed again, titled

and inscribed verso: To Lee with very best personal regards B.B. (itís the martinis!),

oil on canvas, 24’’ x 36’’, est:$1500/2000

Note: Artist’s copyright stamp on stretcher. Provenance: Property from the C.L.

Pearson Revocable Trust, Laguna Beach, CA. Visual: Generally good condition.

Stretcher bar creases along edges. Some discolored varnish throughout. Blacklight:

No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

185 Bennett Bradbury (1914-1991 Laguna Beach, CA)

‘’Sunset at Mariposa’’, coastal scene, signed lower left: Bennett Bradbury, signed

again and titled verso, oil on canvas, 24’’ x 36’’, est:$1000/1500

Note: Artist’s copyright stamp on stretcher. Provenance: Property from the C.L.

Pearson Revocable Trust, Laguna Beach, CA. Visual: Stretcher bar creases along

edges. Scattered pinhole-sized spots of paint loss along the left and lower edges.

Two vertical spots of loss, largest measuring 1’’ in the lower rock formation with

slight crazing throughout. Other pinhole-sized spot of loss throughout. Blacklight: No

evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.

186 Bennett Bradbury (1914-1991 Laguna Beach, CA)

Waves crashing on rocks, signed lower right: Bennett Bradbury, oil on canvas,

24’’ x 36’’, est:$1000/1500

Note: Artist’s copyright stamp on stretcher. Provenance: Property from the C.L.

Pearson Revocable Trust, Laguna Beach, CA. Visual: Generally good condition with

minor discolored varnish in the upper right. Some scattered specks of paint loss on

the waves in the lower right quadrant. Blacklight: No evidence of restoration under

blacklight. AS-IS. ALL SALES FINAL.

187 Peter Adams (1950-* Los Angeles, CA)

‘’Batiquitos Lagoon, Carlsbad, CA’’, signed lower right: Peter Adams, signed again,

titled and inscribed on verso backing paper: To Mary, with all my love and best

wishes. To a great art lover, oil on board, sight size: 8’’ x 10’’, est:$1000/2000

Provenance: Private Collection, Northern California. Visual: Generally good

condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES

FINAL.

188 William Seltzer Rice (1873-1963 Oakland, CA)

‘’Marsh Moon’’, circa 1925, signed in pencil lower right: W.S. Rice, titled in

pencil lower left, unframed woodcut in colors on rice paper, image size: 7’’ x 9’’,

est:$1000/2000

Literature: Acton, 102. Note: Paper size: 8.75’’ x 11.25’’. Provenance: Private

Collection, Arkansas. Visual: Generally good condition. Hinged in the upper right and

left corners. AS-IS. ALL SALES FINAL.

39


189 Edward Borein (1872-1945 Santa Barbara, CA)

‘’Cow Talk’’, signed in plate: Edward Borein, etching on paper under glass, plate size:

7.5’’ x 10’’, est:$1500/2500

Literature: Davidson, no. 289. Note: Together with the original copper etching

plate. Provenance: Property from a Private Collection, Southern California. Visual:

Generally good condition with toning to the paper and mat burn evident. Not

examined out of the frame. The plate in generally good condition. Not examined out of

the frame. AS-IS. ALL SALES FINAL.

190 Edward Borein (1872-1945 Santa Barbara, CA)

‘’Who Wins?’’, bucking horse, signed in pencil and in the plate lower right: Edward

Borein, etching on paper under glass, plate size: 4.75’’ x 3.75’’, est:$700/900

Literature: Davidson, no. 63. Provenance: Property from a Private Collection,

Southern California. Visual: Toning throughout and a spot of stain along the upper

plate edge. A few scattered tiny dots of foxing throughout. Not examined out of the

frame. AS-IS. ALL SALES FINAL.

191 Edward Borein (1872-1945 Santa Barbara, CA)

‘’A Steep Grade’’, stagecoach, signed in pencil lower right: Edward Borein, etching

on paper, plate size: 4.75’’ x 6.75’’, est:$700/900

Literature: Davidson, no. 143. Provenance: Property from a Private Collection,

Southern California. Visual: Toning throughout and a spot of stain along the upper

right plate edge. Some scattered tiny dots of foxing throughout. Not examined out of

the frame. AS-IS. ALL SALES FINAL.

40

More magazines by this user
Similar magazines