California & American Fine Arts Auction Tuesday, June 14, 2011

(e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran’s sole discretion. Refunds requested on the groundsof authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (definedas a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantiallycontributed 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 artistwhile 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 oftheir 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 qualifyas authenticators of individual artists unless they have had such specific involvement with that artist’s work, as specified above, in addition to their dailyduties. Refunded lots must be returned to Moran’s in the same condition as when sold. Moran’s does not grant extensions to refund considerations basedupon 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 consequentialdamages, 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, orstatements 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. Anydescription 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 inperson, 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 conformto 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 anylot.(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 otheruncontrollable 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 writingand 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 timesthe 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 apurchased 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 bylaw, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by thebuyer, (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 orappropriate. If Moran’s resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price andany subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney’s fees, commissions, incidental damages and allother 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 receivedto 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 UniformCommercial 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 andshall 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 interpretedby 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 bedeemed 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 Districtlocated at 312 North Spring Street, Los Angeles, California, 90012-4793.iv

This catalogue is meant merely as a guide. TheAuctioneers do not warrant the accuracy,genuineness, authenticity, description, weight, countor measure of any of the lots specified herein.Buyer’s Premiums20% (of the hammer price) when paying by check, cash or wire transfer22.5% if paying by credit card, together with any applicable taxBuyers bidding via the internet agree to pay a total premium of22.5% when paying by check, cash or wire transfer25% if paying by credit card, together with any applicable tax(both include 3% online transaction 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.comv

Artist IndexArtist Lot #Abril, Ben 206Alvarez, Mabel 45Askenazy, Mischa 166Auster, Ken 204, 205Band, Max 016, 063Bartlett, Dana 085, 019Baumann, Gustave 14Beaumont, Arthur Edwaine 38Bellows, George Wesley 146Benton, Thomas Hart 147Bernstein, Theresa Ferber 55Bickerstaff, George 103Bischoff, Franz A. 124, 125, 160, 161Blenner, Carle J. 15Bloomer, Hiram R. 128Bloser, Florence Parker 126Bogg, Frank Myers 68Bongart, Sergei 169Botke, Cornelis 002, 003Botke, Jessie Arms 017, 167Brandriff, George K. 23Braun, Maurice 091, 163, 158Brown, Benjamin C. 122Bryant, Everett Lloyd 130Buff, Conrad 198Bunnell, Charles Ragland 144Burgdorff, Ferdinand 142Chittenden, Alice B. 127Clapp, William 6Clark, Alson Skinner 90Coleman, Glenn O. 76Cromwell, Joane 022, 150Cuprien, Frank W. 117Darling, William 94De Longpre, Raoul M. 28Diehl, Arthur Vidal 73Dorsey, William 203Dzigurski, Alexander 194Earle, Eyvind 191Ellenshaw, Peter 192, 193Espoy, Angel 18Feitelson, Lorser 46Flood, Daro 135Fon, Jade 039, 040, 186, 185Foster, Will 170Franquinet, Eugene 116Fries, Charles 93Fulop, Karoly 050, 051Fulton, Fitch 157Artist Lot #Gaertner, Carl 143Gamble, John Marshall 165Gauss, Eugene 53Gearhart, Frances 13Gleason, Joe Duncan 037, 190Goebel, Rod 196Gray, Percy 26Griffith, William Alexander 24Grimm, Paul 029, 030, 031, 098, 099,114, 153, 154, 155Gross, Chaim 54Hagerup, Nels 34Hansen, Armin Carl 41Harris, Sam Hyde 156Hekking, Joseph A. 75Hennings, Ernest Martin 140Hills, Anna A. 7Hobart, Clark 48Huebner, Mentor C. 43Hull, Gregory Stewart 104Hutchens, Frank T. 131Jackman, Reva 70Jackson, Everett Gee 47Jackson, Harry 134Jackson, William F. 1James, Will 136Johnson, Sargent 145Jones, Henry B. 57Judson, William Lees 080, 081, 162Kauffman, Ferdinand 008, 020Kleitsch, Joseph 67Koerner, Henry 056, 176, 177Kosa Jr, Emil J. 149Kuntz, Roger Edward 064, 065Lauritz, Paul 009, 120, 121, 180Levine, David Phillip 44Liang, Calvin 195Logan, Maurice 189Macpherson, Kevin 199, 200Mannheim, Jean 069, 107Marshall, Albert 179Mead, Ben Carlton 138Miller, Ralph Davison 97, 164Mitchell, Alfred R. 10Morgan, Mary DeNeale 27Neiman, LeRoy 058, 059, 060, 061, 062,171, 172, 173, 174, 175Artist Lot #O’Shea, John 188Otis, George Demont 25Otte, William Louis 4Owen, Robert Emmett 132Payne, Edgar A. 021, 112, 115Payne, Elsie Palmer 178Payzant, Charles 181Pleissner, Ogden M. 133Podchernikoff, Alexis M. 159Poray, Stan 96Procter, Burt 141Puthuff, Hanson Duvall 87Ray, Gary 201, 202Redmond, Granville 123Reed, Marjorie 137, 139Reid, Robert Lewis 129Reinhart, Benjamin Franklin 71Richards, Frederick DeBourg 33Richards, William Trost 032, 035, 036Rogers, Charles A. 72Salinas, Porfirio 102Sammons, Carl 011, 012, 100, 113Sandzen, Birger 077, 148Schiefer, Johannes 168Schmidt, Carl 152Schuster, Donna 49Sheets, Millard Owen 184Silva, William Posey 5Smee, Esther B. 89Smith, Attributed to Jack Wilkinson 111Smith, Charles L.A. 88Smith, Jack Wilkinson 108Solliday, Tim 207Steele, Theodore Clement 74Stuber, Dedrick Brandes 082, 083Taggart, Richard T. 066, 079, 095, 105, 119Tellander, Frederic 78Thomas, Alice Blair 84Townsend, Ernest Nathaniel 42Van Young, Oscar 118Varva, Frank 106Warner, Nell Walker 187Whitaker, Eileen Monaghan 182White, Orrin A. 086, 101Wingate, Arline 52Wood, Robert W. 109, 110, 197Zornes, Milford 151, 183vi

1 William F. Jackson (1850-1936 Sacramento, CA)‘’Haydock’’, Mt. Tamalpais with Poppies and Lupine, signed lower right: Jackson,titled lower left, titled again verso, oil on canvas, 6’’ x 9’’, est:$3000/4000Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.2 Cornelis Botke (1887-1954 Santa Paula, CA)‘’Cypress - Point Lobos’’, unsigned, titled verso, oil on board, 10’’ x 11.75’’,est:$2000/3000Provenance: Private Collection, Indiana. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.3 Cornelis Botke (1887-1954 Santa Paula, CA)‘’Carmel Valley’’, unsigned, titled verso, oil on board, 10’’ x 11.75’’, est:$2000/3000Provenance: Private Collection, Indiana. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.4 William Louis Otte (1871-1957 Santa Barbara, CA)‘’West Wind, Carmel’’, signed lower right: William Louis Otte, signed again, titled anddated verso: 1930, artist’s inscription verso: To dear Louise from Nan and Will OtteJuly 14 - 1930, oil on board, 9’’ x 12’’, est:$2000/3000Provenance: Gallery DeSilva, Santa Barbara, CA; Katherine H. Haley, Ojai, CA,acquired from the above, 1975; Christie’s Los Angeles, Rancho Mi Solar: WesternProperty from the Katherine H. Haley Trust sale, 30 October 2000, lot 82 ($7,638);acquired by the present owner from the above. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.5 William Posey Silva (1859-1948 Carmel, CA)‘’Eucalyptus Frame - Santa Monica’’, signed lower right: William P. Silva, oil oncanvas laid to artist’s board, 8’’ x 10’’, est:$2000/3000Literature: With Abbott Silva’s label affixed verso, no. 391. Provenance: PrivateCollection, Los Angeles, CA. Visual: Generally good condition. Two pinhole-sizedspots of yellow surface dirt in the right center. Blacklight: No evidence of restorationunder blacklight. AS-IS. ALL SALES FINAL.1

6 William Clapp (1879-1954 Oakland, CA)Home Under the Trees, unsigned, oil on masonite, 10’’ x 12’’, est:$2000/3000Provenance: Estate of the Artist; Laky Galleries, Carmel, CA, 1972; George Stern FineArts, Los Angeles, CA; Property from an Estate, Thousand Oaks, CA. Visual: Generallygood condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.7 Anna A. Hills (1882-1930 Laguna Beach, CA)Path Through a Wooded Landscape, signed lower left: A.A. Hills, oil on canvas laid tofoam board, 10’’ x 14’’, est:$2000/3000Provenance: Private Collection, Hawaii. Visual: Generally good condition. As stated,canvas laid to foam board with tacking edges removed. Blacklight: Scattered tinyspots of touch-up throughout the sky. AS-IS. ALL SALES FINAL.8 Ferdinand Kauffman (1864-1942 Los Angeles, CA)Lake in a California Landscape, signed lower right: F. Kaufmann, oil on board,11.75’’ x 15.75’’, est:$2000/3000Visual: Generally good condition. The four verso corners of the board reinforced witharchival materials. Blacklight: Frame abrasion with areas of touch-up along the fouredges. AS-IS. ALL SALES FINAL.9 Paul Lauritz (1889-1975 Glendale, CA)‘’Alaska’’, Trapper by a Stream, signed and dated lower left: Paul Lauritz 1919, oil oncanvas laid to artist board, 10’’ x 14’’, est:$3000/5000Provenance: Private Collection, Hawaii. Visual: Generally good condition. Blacklight:Scattered flecks of touch-up throughout the sky, and an approximate 3’’ line of touchupin the extreme upper left corner. AS-IS. ALL SALES FINAL.10 Alfred R. Mitchell (1888-1972 San Diego, CA)‘’A Summer Evening’’, Moonrise over Mt. Woodson, signed lower left: Alfred R.Mitchell, titled verso, oil on board, 8’’ x 10’’, est:$5000/7000Note: With an inscription by the artist’s wife verso: Mt. Woodson, from the West. Wewere coming home from a trip, when the full moon obligingly cross from behind Mt.Woodson just in time for us. Perhaps in the 1930s D.W.M...I climbed Mt. Woodsonwith a group of S.S. High teachers, from the Eastern side, about 1921. Furthernumbered in another hand verso: #541. Provenance: Gifted to Ron Steen, September6, 1978; Private Collection, Los Angeles, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.2

11 Carl Sammons (1883-1968 Oakland, CA)‘’Spring Time, Palm Springs Calif’’, signed lower right: C. Sammons, signed again,titled and dated verso: 1943, oil on canvas laid to artist board, 6’’ x 8’’, est:$1000/1500Provenance: J.M. Perkette, Alhambra, CA (see verso); Private Collection, Chicago,IL. Visual: Generally good condition. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.12 Carl Sammons (1883-1968 Oakland, CA)‘’Smoke Trees’’, signed lower left: C. Sammons, signed again, titled and dated verso:1943, oil on canvas laid to artist board, 6’’ x 8’’, est:$1000/1500Provenance: Private Collection, Chicago, IL. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.13 Frances Gearhart (1869-1958 Pasadena, CA)Cactus in a Desert Landscape, signed in pencil lower right: Francis H. Gearhart, colorwoodcut on paper under glass, image size: 6.5’’ x 4.5’’, est:$800/1200Provenance: Private Collection, Valencia, CA. Visual: Generally good condition withartist’s ink in lower left margin. Not examined out of the frame. AS-IS. ALL SALESFINAL.14 Gustave Baumann (1881-1971 Santa Fe, NM)‘’Morning Sun’’, signed in pencil lower right: Gustave Baumann and with the artist’shand-in-heart motif, titled in pencil lower left, numbered in pencil at the edge ofthe image lower right: II 45 125, color woodcut on paper under glass, image size:10.5’’ x 9.5’’, est:$10,000/15,000Note: The artist’s hand-in-heart paper mark center verso. Dimensions of the paper:12.75’’ x 11.5’’. Provenance: Private Collection, Long Beach, CA. Visual: Generallygood condition. Mild toning throughout. Colors strong. Paper adhered to the uppercenter edge to front mat. AS-IS. ALL SALES FINAL.15 Carle J. Blenner (1862-1952 New Haven, CT)‘’Phlox and Harbor’’, signed lower right: Carle J. Blenner, signed again, titled anddated on an exhibition label affixed verso: 1947, oil on canvasboard, 12’’ x 10’’,est:$1200/1800Exhibited: Salmagundi Club, New York, NY, n.d. (see verso label). Note: The paintingretains its original Newcomb-Macklin frame. Provenance: Private Collection, SanJoaquin County, CA. Visual: Generally good condition. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.3

16 Max Band (1900-1974 Hollywood, CA)‘’Still Life with Cherries’’, signed lower right: Max Band, titled on a gallery affixed tothe frame, oil on canvas, 9.75’’ x 12’’, est:$1000/1500Provenance: James Vigeveno Galleries, Westwood Hills, CA (see verso label); PrivateCollection, Pasadena, CA. Visual: Generally good condition. Frame abrasion withpaint loss along edges, a few minor lines of surface abrasion in the upper center.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.17 Jessie Arms Botke (1883-1971 Santa Paula, CA)‘’Herons’’, signed lower right: Jessie Arms Botke, signed again and titled verso, oiland gold leaf on board, 16’’ x 13.5’’, est:$25,000/35,000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.An isolated area of crazing in the lower right and left corners. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.18 Angel Espoy (1879-1963 Seal Beach, CA)An Evening Visitor, signed lower left: A. Espoy, oil on masonite, 11.5’’ x 9’’,est:$1000/1500Visual: Generally good condition. Blacklight: A minor spot of touch-up in the extremeupper right corner. A .25’’ x 1.5’’ spot fluoresces in the lower center presumably in thehand of the artist. AS-IS. ALL SALES FINAL.19 Dana Bartlett (1882-1957 Los Angeles, CA)‘’Garden of Allah’’, Nocturnal Landscape Depicting Russian Actress Alla Nazimova inthe Hollywood Hills, signed lower right: Dana Bartlett, signed again and titled verso,numbered and inscribed verso: C-126 / 5 See Record Book, oil on board, 10’’ x 10’’,est:$3000/4000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.Minor frame abrasion with a few scattered minor losses along the extreme left andright edges. Blacklight: No evidence of restoration under blacklight. Uneven varnish.AS-IS. ALL SALES FINAL.20 Ferdinand Kauffman (1864-1942 Los Angeles, CA)Ship in Los Angeles Harbor, signed lower right: F. Kaufmann., oil on board,11.75’’ x 15.75’’, est:$2500/3500Visual: Generally good condition. The four verso corners of the board reinforced witharchival materials. Blacklight: A scattered area of tiny spots of touch-up on the darkpigments at the bow of the boat. A few other tiny spots of touch-up in the same darkpigments in the lower portion of the painting. AS-IS. ALL SALES FINAL.4

21 Edgar A. Payne (1883-1947 Hollywood, CA)‘’Boats at Chioggia’’, signed lower right: Edgar Payne, oil on canvas laid to artistboard, 10.75’’ x 13’’, est:$10,000/15,000Provenance: Private Collection, Washington. Visual: Generally good condition,artist pinholes in the extreme edges. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.22 Joane Cromwell (1895-1969 Laguna Beach, CA)‘’Low Tide’’, signed lower right: Joane Cromwell, titled verso, oil on canvasboard,12’’ x 16’’, est:$2000/3000Provenance: Private Collection, California, acquired directly from the artist, circa late1940s/early 1950s; by descent in the family to the present owner. Visual: Generallygood condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.23 George K. Brandriff (1890-1936 Laguna Beach, CA)‘’The Clearing Mist’’, signed lower right: Geo. K. Brandriff, signed again and titledverso, oil on canvas, 25’’ x 30’’, est:$5000/7000Visual: Generally good condition. Scattered areas of stable craquelure throughout.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.24 William Alexander Griffith (1866-1940 Laguna Beach, CA)Sun Bathers, likely Diver’s Cove, Laguna Beach, signed and dated lower left: W.A.Griffith 1927, pastel on linen stretched to artist’s board, 15.75’’ x 20’’, est:$30,000/40,000Provenance: Private Collection, Pennsylvania. Visual: Generally good condition.Linen showing some minor wear in the corners of the board. Minor spots ofdiscoloration to the linen in the lower right corner and along the lower edge. Colorsstrong. AS-IS. ALL SALES FINAL.25 George Demont Otis (1879-1962 Kentfield, CA)‘’Trees’’, Marsh Alders, Marin, 1940, signed in graphite lower right: Geo. Demont Otis,titled verso, pastel on board, board size: 16.25’’ x 22’’, est:$2000/3000Note: According to a statement from the artist’s estate affixed verso: Marsh Aldersmade a tree subject Otis liked. The light colored bark showed well against the foliage.They were tall enough that the sky could be a background for lacey leaves. Treeswere Otis’ favorite subject, the ‘Mother Figure’ in dreams. He came from the prairiestates in days when trees were still rare. Eucalyptus seemed to be the favoritetree of painters of California and Otis did his share of them. He found alders nearMarin’s creeks and marshes. Provenance: Estate of the Artist, George Demont OtisFoundation, San Francisco, CA (see verso stamp); The Grace Van Tine Hartley Trust.Visual: Generally good condition. Affixed with archival paper tape along the fouredges to the front mat. AS-IS. ALL SALES FINAL.5

26 Percy Gray (1869-1952 San Francisco, CA)Marin Landscape with a Village in the Foreground, signed lower left: Percy Gray,watercolor on arches paper under glass, image size: 12’’ x 16.75’’, est:$7000/10,000Provenance: Private Collection, New Mexico. Visual: Generally good condition.Arches paper stamp in the lower left corner, toning throughout. Each corner issecured in a corner mount which is adhered to the back matting. AS-IS. ALL SALESFINAL.27 Mary DeNeale Morgan (1868-1948 Carmel, CA)‘’Poppy Fields’’, Most Likely Carmel Bay, CA, signed lower right: M. DeNealeMorgan, titled verso, watercolor and gouache on paper under Plexiglas, site size:8’’ x 10.5’’, est:$1500/2000Visual: Generally good condition, toning throughout. Not examined out of frame. AS-IS. ALL SALES FINAL.28 Raoul M. De Longpre (1855-1911 French)Still life with Roses and Lilacs, signed lower right: Raoul M. De Longpre fils,watercolor and gouache on brown paperboard under glass, paper size:24.5 ‘’ x 18.25’’, est:$1000/2000Visual: A minor spot of stain in the upper left quadrant and two horizontal .75’’ scuffsto the paper above the lilacs. AS-IS. ALL SALES FINAL.29 Paul Grimm (1891-1974 Palm Springs, CA)Portrait of a Little Girl Wearing a Blue Hair Bow, signed and dated lower right: PaulGrimm - 12, graphite and colored pencil on cream paper under glass, sight size:15.5’’ x 11’’, est:$1000/2000Visual: Generally good condition with some scattered minor soiling in thebackground. A small spot of stain on the figure’s chest. Not examined out of theframe. AS-IS. ALL SALES FINAL.30 Paul Grimm (1891-1974 Palm Springs, CA)Portrait of a Young Woman in Pink, signed and dated lower right: Paul Grimm ‘12,graphite and pastel on paper under glass, sight size: 12.75’’ x 8.75’’, est:$1000/2000Visual: Generally good condition with slight toning throughout. Not examined out offrame. AS-IS. ALL SALES FINAL.6

31 Paul Grimm (1891-1974 Palm Springs, CA)‘’Our Dog Cholla ‘’, a group of 21 drawings of the Grimm family dog, some includedepictions of Paul Grimm together with Cholla, each signed: Paul Grimm, each:unframed graphite or ink on paper, each: 17.75’’ x 15’’, est:$1500/2000Note: A booklet ‘’Our Dog Cholla (Choya) by Paul Grimm is included with the lot. Thebooklet includes reproductions of 22 drawings and two paintings of Cholla and threepoems circa 1948 by Paul Grimm about his beloved dog. According to a statement inthe booklet, ‘’Cholla was an active, important member of the household of Mr. andMrs. Paul Grimm for 19 years’’. Visual: Each drawing loss, not framed or matted. Eachwith minor toning and some soiling and handling creases. A few with heavier toningand scattered stains, or minor extreme corner tears from staples or pinholes. Werecommend viewing firsthand. AS-IS. ALL SALES FINAL.32 William Trost Richards (1833-1905 Newport, RI)New Jersey Coastline, Seascape with Rolling Waves, signed lower right: W.T.Richards, oil on canvas, 18’’ x 36.25’’, est:$50,000/70,000Provenance: Property from a Private Collection, Santa Barbara, CA. Visual: Generallygood condition. Minor frame abrasion and very minor stable craquelure. Blacklight:A possible 3’’ diameter scattered area of older touch-up to the sky in the uppercenter. An area fluoresces unevenly under blacklight on the ‘W.T. R’ of the signaturebut this appears to be old varnish left untouched during a recent cleaning. AS-IS. ALLSALES FINAL.33 Frederick DeBourg (De Berg) Richards N.A. (1822-1903 Philadelphia, PA)‘’Shipwreck at Anglesea, NJ’’, circa 1844, signed lower right: F. De B. Richards, oil oncanvas, 17’’ x 24.25’’, est:$1000/2000Provenance: Estate, Los Angeles, CA. Visual: A tiny surface abrasion in the leftcenter and a few specks of loss scattered throughout. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.34 Nels Hagerup (1864-1922 San Francisco, CA)Storm Clouds Over Crashing Waves, signed lower left: N. Hagerup, oil on canvas,14.25’’ x 24.25’’, est:$1000/2000Provenance: Private Collection, Ventura, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.35 William Trost Richards (1833-1905 Newport, RI)‘’Brigantine Shoals’’, signed lower left: Wm. T. Richards, oil on canvas, 28’’ x 21’’,est:$25,000/35,000Note: Together with the original M. Knoedler & Co. bill of sale dated February 28, 1905.Provenance: M. Knoedler & Co., New York, NY; George B. Boswell, Pittsburgh, PA,acquired from the above, 1905; by descent in the family to the present owner. Visual:Scattered crazing with areas of instability and tiny scattered losses, concentratedmainly in the lower half. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.7

36 William Trost Richards (1833-1905 Newport, RI)Crashing Waves in a Coastal Seascape, signed and dated lower left: Wm. T. Richards.99., watercolor on paperboard under glass, board size: 17’’ x 25’’, est:$6000/8000Exhibited: Santa Barbara Museum of Art, Santa Barbara, CA, ‘’Santa BarbaraCollects’’, 1984 (see verso label). Provenance: Private Collection, Santa Barbara, July1955; by descent in the family to the present owner. Visual: Generally good conditionwith minor toning, particularly along the edges. The board affixed with paper tape inthe upper center to the frame. Remnants of older paper tape along the four edges.Abrasions, scattered glue residue and toning to the verso. AS-IS. ALL SALES FINAL.37 Joe Duncan Gleason (1881-1959 Glendale, CA)Spanish Galleons Offloading in a Lagoon, signed lower right: Duncan Gleason,inscribed lower left: To Mrs. Hegeman, colored pencil highlighted with gouache ontan paper laid to board under glass, sight size: 11.5’’ x 28’’, est:$3000/5000Visual: Generally good condition. Paper appears to be laid to board only along theedges. Minor toning. Colors strong. AS-IS. ALL SALES FINAL.38 Arthur Edwaine Beaumont (1890-1978 Los Angeles, CA)Two Tugs with a Large Ship, likely Los Angeles harbor, signed and dated lower right:Arthur Beaumont 1931, watercolor on paper under glass, paper size: 15.25’’ x 19.25’’,est:$2500/3500Visual: Generally good condition with very minor toning along the edges. Hinged witharchival tape along the upper edge. AS-IS. ALL SALES FINAL.39 Jade Fon A.W.S. (1911-1983 Bakersfield, CA)View of Fisherman’s Wharf and Alcatraz, San Francisco, signed lower left: Jade FonA.W.S., watercolor on paper under glass, paper size: 15’’ x 22’’, est:$6000/8000Provenance: Private Collection, Roseville, CA. Visual: Generally good condition,colors strong. Hinged in the upper left and right corners to the back mat. AS-IS. ALLSALES FINAL.40 Jade Fon A.W.S. (1911-1983 Bakersfield, CA)San Francisco Ferry Building, signed lower left: Jade Fon, unframed watercolor onpaper, 22’’ x 29’’, est:$2500/3500Visual: Generally good condition. Colors strong, unframed. A few minor creases alonglower edge. AS-IS. ALL SALES FINAL.8

41 Armin Carl Hansen N.A. (1886-1957 Monterey, CA)Elephants Putting up the Big Top, likely Monterey, signed lower right: ArminHansen A.N.A., watercolor on paper laid to artist board under Plexiglas, sight size:14.25’’ x 18’’, est:$5000/7000Provenance: Estate, New Jersey. Visual: Generally good condition. A cluster ofsurface abrasions in the lower center, toning throughout. Board hinged in the upperleft and right corners. AS-IS. ALL SALES FINAL.42 Ernest Nathaniel Townsend (1893-1945 New York)‘’Circus in (Town) Maine’’, Men Setting up Circus Tents, signed lower right: ErnestTownsend, signed again and titled on exhibition labels affixed to the stretcher, oil oncanvas, 24.25’’ x 30.25’’, est:$3000/4000Exhibited: Salmagundi Club, New York, NY, n.d. (see verso label); Bethel Inn Exhibition,Bethel, ME, 1945 (see verso label). Provenance: Private Collection, Ventura, CA.Visual: Generally good condition. Minor canvas rippling along upper edge. Blacklight:No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.43 Mentor C. Huebner (1917-2001 Los Angeles, CA)‘’Love Affair’’, signed and dated lower center: Mentor 1952, signed again and titledverso, oil on masonite, 30’’ x 40’’, est:$3000/5000Provenance: Private Collection, San Joaquin County, CA. Visual: Generally goodcondition. Craquelure and crazing throughout. A spot of paint loss on center figure’scuff. A chip to the board on the upper center with a minor paint loss. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.44 David Phillip Levine (1910-2005 Newport Beach, CA)‘’The Stranger’’, A Man Walking Through a Modernist Town, 1936, signed lower left:David Levine, titled verso (partially obscured by a label), oil on masonite, 30’’ x 25’’,est:$3000/5000Provenance: with Tobey C. Moss Gallery, Los Angeles, CA (see verso label). Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.45 Mabel Alvarez (1891-1985 Los Angeles, CA)‘’The Blue Madonna’’, circa 1960s, estate signed lower right: M. Alvarez, oil onmasonite, 60’’ x 24’’, est:$20,000/30,000Exhibited: Mission San Juan Capistrano, California, 19 November 2000 - 4 January2001. Provenance: Estate of the artist, no. 68 (see accompanying letter from GlennBassett); Alfred J. Kramer (see verso inscription); Private Collection, Los Angeles,CA. Visual: Generally good condition. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.9

46 Lorser Feitelson (1898-1978 Los Angeles, CA)Bathers, signed and dated lower left: Feitelson ‘20, oil on canvas laid to canvas,40.25’’ x 45.25’’, est:$20,000/30,000Exhibited: The Oakland Museum, Oakland, CA, ‘’A Time and Place: From the RiesCollection of California Painting’’, December 1990 - March 1991 (see verso label).Provenance: Private Collection, Los Angeles, CA. Visual: Minor scattered craquelurethroughout. Minor frame abrasion. Blacklight: Scattered touch-up along the edges,concentrated mainly along the upper right, upper and left edges. Scattered touch-upon the figures’ legs and a few other spots of touch-up scattered throughout. AS-IS.ALL SALES FINAL.47 Everett Gee Jackson (1900-1995 San Diego, CA)Garden Setting by Lake Chapala, Mexico, 1926, signed lower left: Everett GeeJackson, oil on panel, 18.5’’ x 15’’, est:$10,000/15,000Exhibited: San Diego Museum of Art, San Diego, CA, ‘’Everett Gee Jackson, SanDiego Modern, 1920-1955’’ November 3, 2007 - February 10, 2008, Georgia Museum ofArt July 19 - October 27, 2008 (see label affixed to frame). Literature: D.S. Atkinson,‘’Everett Gee Jackson, San Diego Modern, 1920-1955’’, San Diego Museum of Art,San Diego, CA, 2007, Plate 8, pp. 13 and 65, illustrated. Note: In 1926 Jackson rentedEl Manglar in Chapala, Mexico where he and his new wife Eileen spent a fewmonths of an extended honeymoon. There Jackson’s work focused on ‘’Öthe lake,its shore, fishermen, and boats’’ (D.S. Atkinson, ‘’Everett Gee Jackson, San DiegoModern, 1920-1955’’, p. 25). According to Atkinson, ‘’One untitled painting, referredto as ‘Garden Setting by Lake Chapala’, closely corresponds to a description pennedby [D.H.] Lawrence: ‘Above the willow trees a square white sail was standing, asif erected on the land’...Jackson’s view to the lake through twin tree trunks andstretching to the mountains beyond created ‘Garden Setting by Lake Chapala’s’dense and complex linear composition. Each leaf of the lush green foliage crowdingthe foreground appears to be individually drawn. The two lithe tree trunks form aprominent ‘V’ in the composition, and behind the left branch is a vertical mast toppedby a horizontal boom; from this structure hangs the ‘square white sail’. Due to theobstruction created by the dense foliage and small shack, the sail appears to riseout of the vegetation, in Lawrence’s words, ‘as if erected on the land.’ The sinuouslines of the tree are analogous to the limbs of a living being: the bulging shapes ofJackson’s new method produced another landscape with an inner vitality’’ (Atkinson,pp. 25-26). A copy of D.S. Atkinson’s book ‘’Everett Gee Jackson, San Diego Modern,1920-1955’’ accompanies the lot. Provenance: Private Collection, Los Angeles,CA. Visual: Generally good condition. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.48 Clark Hobart (1868-1948 Napa, CA)Road Through Orchards, signed lower right: Clark Hobart, oil on canvas, 20’’ x 24’’,est:$12,000/18,000Note: Florence Rachel Hughes (1891-1962) was a concert pianist and met ClarkHobart in her circle of friends that developed around music and art. She acquired anumber of works by the artist including the present painting. Provenance: FlorenceRachel Hughes, San Francisco, CA, acquired directly from the artist, a personalfriend; by descent to granddaughter Mary Kennedy; Private Collection, Los Angeles,CA. Visual: Generally good condition. Blacklight: A scattered 9.5’’ line of touch-upalong the left edge, a dime spot of touch-up in the lower left corner with other touchupalong the upper right edge. AS-IS. ALL SALES FINAL.10

49 Donna Schuster (1883-1953 Los Angeles, CA)‘’Los Feliz Overlooking the Lake’’, signed lower left: Donna Schuster, oil on canvas,21’’ x 21’’, est:$5000/7000Exhibited: Von Karlsuld Galleries, Los Angeles, CA. Provenance: Estate of the artist,1954; Alexander Studor Collection, North Hollywood, CA; Private Collection, LosAngeles, CA; Gallery 170, Los Angeles, CA; Private Collection, Palm Springs, CA.Visual: Generally good condition with stretcher bar creases. Blacklight: Touch-upto address the upper stretcher bar crease scattered throughout the sky. AS-IS. ALLSALES FINAL.50 Karoly Fulop (1893-1963 Los Angeles, CA)‘’Assumption of the Virgin’’, appears unsigned, carved wood , 23.75’’ x 12’’,est:$6000/8000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good conditionwith minor scuffs and scratches commensurate with age. A small nick in the woodnear the figure’s left leg. Heavier scuffs, scratches and residue on the underside. AS-IS. ALL SALES FINAL.51 Karoly Fulop (1893-1963 Los Angeles, CA)Figures Ascending above Flowers and Hands, incised with signature lower right: K.Fulop, polychrome on ceramic plaque, 22’’ x 19.5’’, est:$3000/5000Note: This framed plaque appeared in the 1946 black and white film noir ‘Gilda’starring Rita Hayworth and Glenn Ford. The plaque hangs in Johnny Farrell’s (GlennFord) office and is visible in scenes featuring both actors. Provenance: ColumbiaPictures Prop Department, Los Angeles, CA; Private Collection, Beverly Hills, CA.Visual: A 22’’ diagonal stable crack across the width of the panel extending fromthe upper right corner to the left center edge. A crack at the screw in the upperleft corner. Chipping and a crack near the lower left corner. The lower right cornerrepaired and replaced around the screw. The glaze with minor losses scattered alongthe edges. With green background paint applied over the glaze causing scattereddiscoloration. Stable scattered craquelure. AS-IS. ALL SALES FINAL .52 Arline Wingate (1906- New York, NY)Female Nude Torso, carved signature lower rear: A. Wingate, marble on integratedmarble base, 23’’ x 5.5’’, est:$2000/3000Provenance: Private Collection, Los Angeles, CA. Visual: Some minor scatteredpitting and scratches on neck, chest and rear end of the figure. Carving marks onthe base in the artist’s hand. Surface dirt accumulation. With felt pads affixed to theunderside. AS-IS. ALL SALES FINAL.53 Eugene Gauss (1905-1988 New Jersey)Seated Nude, incised with signature and date lower left rear: 1962 Eugen Gauss,carved marble , 15.25’’ x 9’’, est:$1000/2000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good conditionwith very minor soiling on the figure’s left arm. AS-IS. ALL SALES FINAL.11

54 Chaim Gross (1904-1991 New York/Massachusetts/Austria)Kneeling Nude Women, incised with signature and artist’s cipher lower verso: ChaimGross, stamped with number lower verso: 6, bronze with medium brown-green patinaon green marble base, 17’’ x 4’’, est:$2500/4500Provenance: Property from a Private Los Angeles Collection. Visual: Generallygood condition with a nick on the figure’s left heel. Not removed from the base forexamination. AS-IS. ALL SALES FINAL.55 Theresa Ferber Bernstein (1890-2002 New York, NY)Paris Street Scene, signed lower right: Bernstein, oil on canvas, 24’’ x 30’’,est:$2000/3000Provenance: Private Collection, New Jersey. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.56 Henry Koerner (1915-1991 Pittsburgh, PA)‘’Under the Overpass’’, unsigned, oil on masonite, 30’’ x 38’’, est:$100,000/150,000Note: American/Austrian Realist painter Henry Koerner (1915 -1991) created ‘’Underthe Overpass’’ during the period in which he enjoyed his greatest critical and popularsuccess. It most likely dates from the years 1948 - 1949. Born in Vienna in 1915 toJewish parents, Koerner immigrated to the US after the Anschluss to escape Nazipersecution, leaving his parents and brother behind. They stayed because they lovedVienna and friends told them ‘’everything would be all right later on.’’ Returning toVienna for a visit in 1946, Koerner learned that his parents had been taken to anextermination camp and killed. The following year in Berlin, Koerner had his first onemanshow. This debut show was a stunning success, establishing his internationalreputation. Shortly after his return to America in 1947, he received furtherenthusiastic reviews for a one-man show in New York, at the Midtown Galleries.Under the Overpass, Koerner’s son Joseph writes, is ‘’A great painting, veryimportant...the big red trolley is a key image in his work. It refers both to the trolleythat passed before his childhood home, the Number 5 trolley; and it has a sort ofarchetypal meaning as the coming and going of people into life and out again, indeath, a meaning I believe is compounded by the fact of his parents being deportedto the extermination camp by train.... The actual setting for the painting is, I imagine,a combination of two things: some train somewhere in NYC, perhaps in Brooklyn,where my father lived; and an overpass cutting over the great boulevard of treescalled the Hauptallee, in the Prater.’’ Bridges are another recurring motif in Koerneríswork, another symbol of the (coming and going) between life and death which hereferred to as a visual ‘’umbilical cord.’’ They fascinated him, he said, because ‘’youare not on one side or another but on a different level of existence.’’ The uniformedfigure at the front of the train is one of many authority figures in Koernerís workthat are sometimes assigned on God-like powers here conducting the others on themomentous journey between life and death. The woman holding the handkerchiefto her face is presumably Koernerís mother, as is the female passenger on the train,and the woman with her back is perhaps one of the friends who told them that‘’everything would be all right later on.’’ As Joseph Koerner writes: ‘’the beauty of thepainting, and its public significance, far transcends the personal story it contains,however painful and resonant that story itself may be.’’ (For the full essay, pleasevisit johnmoran.com). Provenance: With Midtown Galleries, New York, NY (seeverso frame labels); Private Collection Los Angeles CA, acquired directly from theartist. Visual: Generally good, original condition. A spot of loss in the lower left nearthe edge. A few surface scratches on and near the baby in the blue stroller. Somescattered minor surface drips and minor frame abrasion. Original frame with minorscratches and losses. Blacklight: No evidence of restoration under blacklight. AS-IS.ALL SALES FINAL.12

57 Henry B. Jones (1889-1973 Pennsylvania)‘’Pittsburg (sic)’’, Train Going Through Downtown, signed lower left: Henry B. Jones,titled and dated on the stretcher: 1916, oil on canvas laid to canvas, 34.25’’ x 24.25’’,est:$4000/6000Provenance: Private Collection, Little Rock, AR. Visual: Generally good condition.Blacklight: A horizontal 6’’ line of touch-up in the upper center, touch-up along theupper edge and other very minor scattered touch-up along the left and right edges.AS-IS. ALL SALES FINAL.58 LeRoy Neiman (1921-* New York, NY)Woman in White Standing, signed and dated lower left: LeRoy Neiman ‘69, acrylic onboard, sight size: 20.75’’ x 8.5’’, est:$8000/12,000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition with a very minor surface abrasionand tiny scratch in the right center near the edge. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.59 LeRoy Neiman (1921-* New York, NY)Standing Woman Twisting at the Waist, signed and dated lower right: LeRoy Neiman69, acrylic on board, sight size: 20.75’’ x 8.5’’, est:$7000/10,000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.60 LeRoy Neiman (1921-* New York, NY)Boxer, signed, dated and inscribed indistinctly lower left: LeRoy Neiman ‘69, acrylicon board, 8’’ x 4.5’’, est:$3000/5000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.61 LeRoy Neiman (1921-* New York, NY)Portrait of Nat King Cole, signed in graphite, inscribed and dated lower left: LeRoyNeiman, Chez Parree 8-12-57, further inscribed and signed by Nat King Cole: BestWishes, Nat King Cole, ink with gouache highlights on paper laid to board underglass, 24’’ x 19’’, est:$6000/8000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition. As stated, paper laid to backmatting. It appears that a front mat was glued to the edges of the paper and was laterremoved. Slight paper tears along the left and lower edge. AS-IS. ALL SALES FINAL.13

62 LeRoy Neiman (1921-* New York, NY)Men Seated in Conversation, Jazz band in the Background, signed and dated ingraphite lower right: LeRoy Neiman ‘59, ink and gouache en grisaille on paper underglass, paper size: 19’’ x 24’’, est:$3000/5000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Minor toning and soiling throughout. Remnants of tape alongthe upper and lower edges. The upper right extreme edge with a small tear. Hingedwith archival tape in the upper left and right corners. The paper rippled due to thepaint. AS-IS. ALL SALES FINAL.63 Max Band (1900-1974 Hollywood, CA)Portrait of a Man Wearing a Yarmulke, signed lower right: Max Band, oil on canvas,15.75’’ x 13’’, est:$800/1200Provenance: Private Collection, Pasadena, CA. Visual: Generally good condition.Stretcher bar creases along the left and right edges. Original tacking holes withflecks of paint loss visible along the four edges presumably because the canvassize was reduced in the past and tacked to the stretchers. The canvas is currentlyreinstated to its full size. A few minor spots of paint drips along the lower edge.Blacklight: No evidence of restoration under blacklight. Uneven varnish layer. AS-IS.ALL SALES FINAL.64 Roger Edward Kuntz (1926-1975 Laguna Beach, CA)‘’Girl and Windows I’’, Young Girl Lounging by a Window, signed lower left: Kuntz,titled on the stretcher, oil on canvas, 12’’ x 14’’, est:$1000/1500Provenance: Private Collection, Madison, WI. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.65 Roger Edward Kuntz (1926-1975 Laguna Beach, CA)‘’Girl and Tub II’’, Nude Seated on a Bathtub, signed lower left: Kuntz, titled on thestretcher, oil on canvas, 16’’ x 15’’, est:$800/1200Provenance: Private Collection, Madison, WI. Visual: Generally good condition. A1’’ line of surface abrasion with a fleck of paint loss in the lower left. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.66 Richard T. Taggart (1904-1989 Altadena, CA)‘’Herma Reach’’, Portrait of a Woman in Stripes, signed upper right: Richard T.Taggart, dated upper left: Dec. 23, 1933, signed again and titled on artist’s labelsaffixed to the stretcher and frame, oil on canvas, 30’’ x 30’’, est:$3000/4000Provenance: Estate of the artist. Visual: Generally good condition with minor, stablecraquelure concentrated mainly in the lower quadrant. Blacklight: No evidence ofrestoration under blacklight. Uneven varnish. AS-IS. ALL SALES FINAL.14

67 Joseph Kleitsch (1882-1931 Santa Ana, CA)Portrait of a French Woman, 1927, signed lower right: J. Kleitsch, oil on canvas laid tocanvas, 21’’ x 18.25’’, est:$10,000/15,000Exhibited: The Oakland Museum, Oakland, CA, ‘’A Time and Place: From the RiesCollection of California Painting’’, December 1990 - March 1991 (see verso label).Note: Kleitsch began an extended two year tour of Europe in 1926 where heexecuted a wide variety of subjects including city scenes, landscapes, still life andnotably several portraits of local French women. ‘’Kleitsch’s French women remainanonymous, since his (or Stendahl’s) titles specifically avoided naming them. Onewonders whether they were artist’s models, cafe acquaintances, or companions fora lone artist’’ (Dr. P. Trenton, ‘’Joseph Kleitsch: A Kaleidoscope of Color’’, The IrvineMuseum, Irvine, CA, 2007, pp. 169, 171). In the present portrait of a woman in profile,the sitter’s luminescent skin dramatically contrasts with her raven chignon, blackshirt and the deep blue background. The sitter may be the same woman depicted in‘’Blue Thread’’, 1927, in the collection of the Orange County Museum of Art (Trenton,p. 169, illustrated). We are grateful to Dr. Trenton for her assistance in catalogingthis lot. Provenance: Private Collection, Los Angeles, CA. Visual: Generally goodcondition. Blacklight: A quarter-sized spot of touch-up in the upper left and a quartersizedspot of touch-up on the figure’s hair. Difficult to read under blacklight. AS-IS.ALL SALES FINAL.68 Frank Myers Bogg (1855-1926 Springfield, OH/France)French Village and Canal, signed lower left: Boggs, oil on canvas laid to canvas,20’’ x 26’’, est:$3000/5000Provenance: Charles Hudson Bull, New York, NY, prior to 1936; by descent in thefamily to the present owner, Private Collection, Pasadena, CA. Visual: Minorframe abrasion. Blacklight: A repaired tear with very thin touch-up in the center,approximately 7’’ horizontal with two vertical related lines of touch-up 2’’ and 3’’. AS-IS. ALL SALES FINAL.69 Jean Mannheim (1863-1945 Pasadena, CA)Boat on Lake Lausanne, Switzerland, 1907, unsigned, oil on canvas laid to masonite,15.5’’ x 23.5’’, est:$1000/1500Literature: R.W. Reitzell, ‘’From a Versatile Brush: The Life and Art of JeanMannheim’’, Moorpark, CA, 2011, p. 48, illustrated. Note: Mannheim and his familytraveled to Europe in March 1907 and settled initially in Switzerland where theyrented a house on Lake Lucerne. ‘’During the spring of 1907, [Mannheim’s wife anddaughters] enjoyed the beautiful lakeside setting, and Mannheim traveled throughoutthe art centers of Europe, looking for a place to settle permanently’’ (R.W. Reitzell,‘’From a Versatile Brush: The Life and Art of Jean Mannheim’’, p. 47). They eventuallymoved in London where they lived until the summer of 1908 but not before Mannheimcaptured the present view of Lake Lausanne. The painting is inscribed verso with anauthentication by Jeanne Mannheim Reitzell (eldest daughter of the artist), datedNovember 5, 1981. Provenance: Bowater Gallery, Los Angeles, CA, acquired fromthe Estate of the Artist; John and Marian Bowater Collection; by descent in the familyto the present owner. Visual: Generally good condition. Blacklight: A few spots ofpossible older touch-up throughout. Difficult to read under blacklight. AS-IS. ALLSALES FINAL.15

70 Reva Jackman (1892-1966 Skokie, IL)‘’Pont Royal, Paris’’, Canal Scene with Tugboat, signed lower left: Reva Jackman,titled verso, oil on canvas, 21.25’’ x 25.5’’, est:$1000/1500Provenance: Private Collection, Minnesota. Visual: Generally good condition. Afew very minor scattered spots of paint loss throughout. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.71 Benjamin Franklin Reinhart (1829-1885 New York, NY)‘’Gossip of Ye Olden Time,’’, Groups of Men and Women Conversing in a Landscape,signed lower left: B.F. Reinhart, oil on canvas, 14’’ x 18’’, est:$3000/5000Provenance: Estate, Los Angeles, CA. Visual: Craquelure throughout. A surfaceabrasion with minor paint loss in the upper left corner. Minor losses in the lowerleft and right corners. Frame abrasion on the upper and lower edges with minorscattered losses. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.72 Charles A. Rogers (1848-1918 Alameda, CA)‘’Fish Alley, Old Chinatown, S.F.’’, signed and dated lower left: C.A. Rogers 1905, titledverso, oil on canvas, 18’’ x 12’’, est:$1000/1500Note: The present work belonged to Harry D. La Motte who came to San Franciscoin 1849. He and his brother Robert Smith La Motte were instrumental in laying outthe streets south of Market Street when the area was just sand dunes. The La Mottebrothers, along with a few other men, chartered a schooner and sailed north to findan inland water way or port to service the gold discoveries on the Trinity River. Theirgroup, called the ‘Laura Virginia Association’, discovered Humboldt Bay, naming itafter Alexander von Humboldt. Their stories, written on letters to their parents, weregiven to Bancroft Library at UC Berkeley where they remain. Provenance: Harry D. LaMotte, San Francisco, CA, by descent in the family three generations to the presentowner. Visual: Generally good, original condition. Splattered tiny dots of white housepaint scattered throughout. A .25’’ partial puncture with minor loss in the uppercenter and a small area of loss in the upper left. An isolated area of craquelure lowerleft. Heavy surface dirt and the canvas is loose on the stretchers. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.73 Arthur Vidal Diehl (1870-1929 Fall River, MA)Moroccan Market Square, signed and dated lower left: Arthur V. Diehl 1914, oil oncanvas laid to waxed canvas, 20’’ x 39.5’’, est:$3000/5000Provenance: Property from a Private Los Angeles Collection. Visual: A surfaceabrasion with minor flecks of paint loss in the upper right in the sky. Mounted to newstabilizing stretchers. Blacklight: A 3’’ horizontal line of touch-up in the left centerand a .25’’ thin line of touch-up in the upper center. AS-IS. ALL SALES FINAL.16

74 Theodore Clement Steele (1847-1926 Brown County, IN)Woodcutters Working with Horses in an Autumn Forest, signed and dated lower left:T.C. Steele 1909, oil on canvas laid to canvas, 20’’ x 28’’, est:$10,000/15,000Provenance: Estate, Pasadena, CA. Visual: Generally good, original condition.Stable craquelure through with some losses, the largest a .25’’ spot along the lowerright edge and a small area on the trees in the upper left quadrant. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.75 Joseph A. Hekking (1830-1903 New York)River Landscape in Autumn, signed lower left: JA Hekking, oil on canvas, 12’’ x 20’’,est:$1200/1500Provenance: Estate, Pasadena, CA. Visual: Generally good, original condition.Surface dirt. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.76 Glenn O. Coleman (1887-1932 New York, NY)‘’Pleasant Lake’’, Adirondacks, signed lower center Glenn O. Coleman, signed againand titled verso, oil on masonite, 18’’ x 24’’, est:$1000/2000Provenance: Estate, Los Angeles, CA. Visual: Generally good condition. Blacklight:No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.77 Birger Sandzen (1871-1954 Lindsborg, KS)‘’Night Poplars in Moonlight’’, circa 1919, signed lower right: Birger Sandzen, signedagain and titled on the stretcher, oil on canvas, 24’’ x 32.25’’, est:$50,000/70,000Exhibited: The Dixon Gallery and Gardens, Memphis, TN, ‘’Regional Dialect: AmericanScene Painting from the John and Susan Horseman Collection’’, April-June 2009(the exhibition also travelled to: Cedarhurst Center for the Arts, Mt. Vernon, IL; St.Louis Mercantile Library, St. Louis, MO; Dixon Gallery and Gardens, Memphis, TN;Zanesville Art Center, Zanesville, OH; Mennello Museum of American Art, Orlando,FL; Morris Museum of Art, Augusta, GA; Springfield Museum of Art, Springfield, OH)(see verso label). Provenance: Edenhurst Gallery, Palm Desert, CA (see verso label);Private Collection, OH. Visual: Generally good condition. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.78 Frederic Tellander (1878-1968 Chicago, IL/France)Boys Playing in the Surf, likely Lake Michigan, signed and dated lower right: FredericTellander ‘57, oil on canvas, 20’’ x 24’’, est:$1000/2000Provenance: Estate, San Dimas, CA; Private Collection, San Dimas, CA. Visual:Stretcher bar creases along edges. The canvas with uneven bulging. Spots of paintloss in the upper left corner and in the center. Blacklight: No evidence of restorationunder blacklight. AS-IS. ALL SALES FINAL.17

79 Richard T. Taggart (1904-1989 Altadena, CA)‘’Sleepy Afternoon, July’’, Balboa, signed and titled on an exhibition label affixedverso, oil on masonite, 12’’ x 16’’, est:$2000/3000Exhibited: National Academy of Design, New York, NY, n.d. (see verso label). Note:The artist’s family had a home in Balboa. Provenance: Estate of the artist. Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALE FINAL.80 William Lees Judson (1842-1928 Los Angeles, CA)‘’Old San Pedro’’, signed lower right: W.L. Judson, inscribed, titled and dated verso: 4Judson Studios .27., oil on canvas, 24’’ x 30’’, est:$10,000/15,000Provenance: Private Collection, Colorado. Visual: Generally good condition. Minorstable craquelure throughout the sky and isolated areas in the left. The painting wasrecently cleaned and the restorer replaced the stretcher bars to add stability to thepainting. Blacklight: Minor spots of touch-up throughout, concentrated mainly in thesky. AS-IS. ALL SALES FINAL.81 William Lees Judson (1842-1928 Los Angeles, CA)‘’Sycamores’’, signed lower right: W.L. Judson, inscribed, titled, numbered anddated verso: 28 The Judson Studios 387, titled again on the stretcher, oil on canvas,20.25’’ x 30’’, est:$4000/6000Provenance: Private Collection, Colorado. Visual: Generally good condition. A minorindentation with minor paint loss in the upper left corner. Blacklight: Two verticallines of touch-up along the right edge, largest measures 15’’, a few other minorscattered spots in the upper right and lower center. The touch-up does not effect thesignature. AS-IS. ALL SALES FINAL.82 Dedrick Brandes Stuber (1878-1954 Los Angeles, CA)‘’Silvery Day’’, signed lower right: Dedrick B. Stuber, double sided oil on canvas,20’’ x 24’’, est:$5000/7000Note: There is a finished, signed Autumn Mountain Landscape verso. The paintingretains its original Stanford White-style frame. Provenance: Private Collection,Glendale, CA, acquired from Mr. Walker, an art collector neighbor and possiblefriend of the artist, circa 1950s; by descent two generations to the present owner.Visual: Each side: Generally good condition with very minor frame abrasion and afew scattered minor losses. Blacklight: Each side: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.83 Dedrick Brandes Stuber (1878-1954 Los Angeles, CA)Path Through a Eucalyptus Landscape, signed lower left: Stuber, oil on canvas,16’’ x 20.25’’, est:$2000/3000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.Stretcher bar creases along the edges. Scattered stable craquelure throughout withsome isolated areas of unstable craquelure and minor spots of paint loss. Blacklight:No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.18

84 Alice Blair Thomas (1857-1945 Los Angeles, CA)‘’Elm Trees’’, signed and dated lower left: Alice Blair Thomas 1909, signed again andtitled verso, oil on board, 22’’ x 16’’, est:$1500/2000Provenance: Private Collection, Orange County, CA. Visual: A few minor spots ofcraquelure scattered throughout. Minor frame abrasion. Blacklight: No evidence ofrestoration under blacklight. Pigments fluoresce unevenly under blacklight, presumedto be in the hand of the artist. AS-IS. ALL SALES FINAL.85 Dana Bartlett (1882-1957 Los Angeles, CA)‘’Peaceful Valley’’, signed lower left: Dana Bartlett, titled and numbered on thestretcher: No. 354, oil on canvas, 25’’ x 30’’, est:$4000/6000Visual: Generally good condition. Blacklight: A few minor scattered spots of touch-upin the sky. AS-IS. ALL SALES FINAL.86 Orrin A. White (1883-1969 Pasadena, CA)‘’Springtime, Eaton Canyon’’, signed lower right: Orrin A. White, oil on waxed canvas,25’’ x 30’’, est:$9000/12,000Provenance: Deru’s Fine Arts, Laguna Beach, CA (see verso label); CorporateCollection, Orange County, CA. Visual: Generally good condition. Blacklight: A fewspots of minor touch-up in the upper right corner. AS-IS. ALL SALES FINAL.87 Hanson Duvall Puthuff (1875-1972 Corona Del Mar, CA)‘’Spring’s Tenderness’’, signed lower left: H. Puthuff, signed again and titled verso, oilon canvas, 30’’ x 40’’, est:$120,000/180,000Provenance: Private Collection, Glendale, CA, acquired directly from the artist whowas their neighbor and landlord; it has remained in the family until the presenttime. Visual: Generally good condition with minor, stable craquelure. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.88 Charles L.A. Smith (1871-1937 Los Angeles, CA)San Juan Capistrano Mission Gardens, signed lower right: Chas. L.A. Smith, oil oncanvas, 25’’ x 30’’, est:$2000/3000Provenance: Collection of a Physician, Hollywood, CA, acquired directly from theartist in exchange for services circa 1933; by descent in the family to the presentowner. Visual: Generally good condition. Canvas loose on the stretchers, surface dirt.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL .19

89 Esther B. Smee (1917-* Long Beach, CA)‘’San Juan Capistrano Mission’’, signed lower right: Esther Smee, titled on thestretcher, oil on canvas, 20’’ x 24’’, est:$1000/1500Visual: Generally good condition. Scattered spots of paint loss throughout the lowerhalf. Blacklight: Minor spots of touch-up in the lower left corner and along the loweredge. Other scattered touch-up in the upper right corner.90 Alson Skinner Clark (1876-1949 Pasadena, CA)‘’Ruined Basilica - San Juan Capistrano ‘’, signed and dated in graphite lower right:Alson Clark ‘19, oil on board, 18’’ x 15’’, est:$10,000/15,000Provenance: George Stern Fine Arts, Encino, CA (see verso label); Private Collection,Los Angeles, CA. Visual: Frame abrasion along the edges with some losses.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.91 Maurice Braun (1877-1941 San Diego, CA)‘’Eucalyptus’’, Southern California Landscape, signed lower right: Maurice Braun,titled verso, oil on canvas, 25’’ x 30’’, est:$30,000/50,000Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition with minor, stable craquelure and stretcher bar creases. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.92 No Lot93 Charles Fries (1854-1940 San Diego, CA)‘’Cajon Mtn. from Alpine’’, signed lower right: C.A. Fries, titled and numbered verso:#316, oil on canvas, 20’’ x 30’’, est:$8000/12,000Literature: ed. B.F. Dixon, ‘’Too Late: The Picture and the Artist: A Tribute to the Dean’’,San Diego, CA, 1969, p. 71, no. 316. Provenance: Mrs. Rogers; Private Collection,Hawaii. Visual: Stable craquelure throughout and a minor loss along the right center.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.20

94 William Darling (1882-1963 Laguna Beach, CA)‘’The Victim’’, Desert Landscape, signed lower left: Wm. Darling, signed again andtitled on artist label affixed verso, oil on canvas laid to artist masonite, 23.75’’ x 34’’,est:$2000/3000Provenance: Bluebird Gallery, Laguna Beach, CA (see verso label); CorporateCollection, Orange County, CA. Visual: Generally good condition. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.95 Richard T. Taggart (1904-1989 Altadena, CA)‘’San Jacinto from Cathedral City’’, signed and dated lower right: Richard TaggartMarch 14, 1936, signed again and titled twice on the stretcher, oil on canvas,20’’ x 24’’, est:$2500/3500Provenance: Estate of the artist. Visual: Generally good condition. A few areas ofdiscolored varnish, stretcher bar creases along the left and upper edge. Blacklight:No evidence of restoration under blacklight. AS-IS. ALL SALE FINAL.96 Stan Poray (1888-1948 Los Angeles, CA)House in a High Desert Landscape, signed lower left: Stan Poray, signed againon the stretcher, signed again and numbered verso: 2, oil on canvas, 25.75’’ x 30’’,est:$1000/1500Provenance: Private Collection, Pasadena, CA, by descent in the family. Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL .97 Ralph Davison Miller (1858-1945 Los Angeles, CA)Sunrise on the Mojave Desert, signed and dated lower right: Ralph Davison Miller1918, signed again and titled verso, oil on canvas, 24’’ x 36’’, est:$2000/3000Provenance: Private Collection, Ventura, CA. Visual: Generally good condition. Stablecraquelure throughout. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.98 Paul Grimm (1891-1974 Palm Springs, CA)‘’Front Yard of San Jacinto’’, signed lower right, signed again and titled verso, datedon the stretcher: 1960, oil on canvas, 24’’ x 36’’, est:$3000/4000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.21

99 Paul Grimm (1891-1974 Palm Springs, CA)‘’Spring on the Desert’’, signed lower right: Paul Grimm, signed again and titled verso,oil on masonite, 20’’ x 24’’, est:$2500/3500Provenance: Private Collection, Ventura, CA. Visual: Generally good condition,surface dirt throughout. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.100 Carl Sammons (1883-1968 Oakland, CA)Road Through a Blooming Desert, signed lower right: Carl Sammons, oil on canvas,20’’ x 26’’, est:$4000/6000Provenance: Property from a Private Santa Barbara Collection. Visual: Generallygood condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.101 Orrin A. White (1883-1969 Pasadena, CA)Cuernavaca, Mexico, signed lower right: Orrin A. White, oil on canvas laid tomasonite and with support stretchers, 26’’ x 34’’, est:$12,000/18,000Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Minor scattered,stable craquelure with a few minor scattered losses. Blacklight: Scattered dotsof touch-up in the upper left and upper center in the sky. Touch-up to address ahorizontal 2’’ surface scratch in the left center. A few other spots of touch-up on theleft side. AS-IS. ALL SALES FINAL.102 Porfirio Salinas (1910-1973 San Antonio, TX)Blooming Yucca on a Hillside, signed lower left: Porfirio Salinas, oil on canvas,24’’ x 20’’, est:$8000/10,000Provenance: Acquired in the 1950’s; by descent to the present owner, PrivateCollection, Calabasas, CA. Visual: Generally good condition. Blacklight: No evidenceof restoration under blacklight. AS-IS. ALL SALES FINAL.103 George Bickerstaff (1893-1954 Ukiah, CA)Superstition Mountain, Arizona, signed lower right: Bickerstaff, oil on canvas,25’’ x 30’’, est:$3000/5000Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition with stable craquelure throughout. Blacklight: No evidence of restorationunder blacklight. AS-IS. ALL SALES FINAL.22

104 Gregory Stewart Hull (1950-* Sedona, AZ)‘’South Lake’’, signed lower right: Hull, signed and titled on the stretcher, oil oncanvas, 36’’ x 48’’, est:$3000/4000Provenance: Corporate Collection, Orange County, CA. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.105 Richard T. Taggart (1904-1989 Altadena, CA)Aspens in Fall, signed and dated lower right: Richard Taggart, Oct. 20, 1936, oil onmasonite, 16’’ x 12’’, est:$2000/3000Provenance: Estate of the artist. Visual: Generally good condition. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALE FINAL.106 Frank Varva (1892-1967 Denver, CO)‘’March Day, Looking from Wide Acres Toward Boulder’’, signed, dated and inscribedlower right: Frank Varva Colo 1927, titled and dated again on the stretcher: 1928, oil oncanvas, 22’’ x 29’’, est:$3000/4000Provenance: Neal R. Smith Fine Art Denver, CO (see verso label); CorporateCollection, Orange County, CA. Visual: Generally good condition with minor, stablevertical craquelure. Blacklight: A few very minor scattered dots of touch-up in thesky and on the snow in the lower left. AS-IS. ALL SALES FINAL.107 Jean Mannheim (1863-1945 Pasadena, CA)‘’The Hatchery, Colorado’’, Trout Hatchery, signed lower left: J. Mannheim, titled onthe stretcher, titled again and numbered on an artist’s label affixed to the stretcher:44, oil on canvas, 20’’ x 24’’, est:$3000/5000Literature: R.W. Reitzell, ‘’From a Versatile Brush: The Life and Art of JeanMannheim’’, Moorpark, CA, 2011, p. 47, illustrated. Note: Mannheim married hiswife Eunice in August 1902 and the couple moved shortly thereafter to Denver,CO where the artist achieved much professional success and recognition forboth important portrait commissions and his personal work, including the presentpainting. ‘’Mannheim...remained in Denver for five years [1902-1907], teaching at theDenver Art School and the Woman’s Club as well as painting portraits in the winter,while in the summer months going into the mountains on sketching expeditions.’’(R.W. Reitzell, ‘’From a Versatile Brush: The Life and Art of Jean Mannheim’’, p. 47).Provenance: Bowater Gallery, Los Angeles, CA; John and Marian Bowater Collection,Los Angeles, CA; by descent in the family to the present owner. Visual: Generallygood condition with minor frame abrasion along the right edge. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.23

108 Jack Wilkinson Smith (1873-1949 Alhambra, CA)‘’Winter Solitude - High Sierras’’, signed lower left: Jack Wilkinson Smith, signedagain, titled and with the artist’s Alhambra, California address verso, oil on canvas,24’’ x 30’’, est:$20,000/30,000Visual: Generally good condition with minor stable craquelure. Stretcher barsreplaced. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.109 Robert W. Wood (1889-1979 Bishop, CA)Wild Irises and Snow-Capped Mountains near Bishop, signed lower right: RobertWood, with artist’s copyright stamps verso, oil on canvas, 14’’ x 18’’, est:$3000/5000Note: Accompanied by an original letter, dated 24 October 1967, from Robert Wood tohis friend: ‘’Hello Helen, You asked for a green picture with snow capped mountains,well here it is. Now I am wondering if this will suit you, I tried my darndest to createa subject acceptable to your taste, if it does not fill the bill send it back for anothertry. The flowers are the wild iris that grow around the Bishop area. In fact the subjectis an actual shot. Best wishes for good painting, Robert’’. Provenance: Property of aLaguna Beach Artist, acquired directly from the artist, 1967; by descent in the familyto the present owner. Visual: Generally good condition with a minor crease in theextreme lower right corner. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.110 Robert W. Wood (1889-1979 Bishop, CA)Autumn Landscape, signed lower right: Robert Wood, with artist’s copyright stampsverso, oil on canvas, 14’’ x 18’’, est:$3000/5000Provenance: Property of a Laguna Beach Artist, acquired directly from the artist,1960s; by descent in the family to the present owner. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.111 Attributed to Jack Wilkinson Smith (1873-1949 Monterey Park, CA)Landscape with Foothill Mountains, unsigned, oil on masonite, 12’’ x 16’’,est:$1500/2500Provenance: Residence, Alhambra, CA, near the artist’s studio; Private Collection,Los Angeles, CA. Visual: A few scattered spots of touch-up in the sky. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.112 Edgar A. Payne (1883-1947 Hollywood, CA)Fifth Lake, High Sierras, signed lower right: Edgar Payne, oil on canvas, 25’’ x 30’’,est:$30,000/50,000Provenance: with George Stern Fine Art, Los Angeles, CA; with Maureen Murphy FineArts, Montecito, CA (see verso labels); Property from an Estate, Thousand Oaks, CA.Visual: Generally good condition with minor scattered stable craquelure. Blacklight:Scattered tiny dots of touch-up throughout with areas in the upper center, lower leftand center right. AS-IS. ALL SALES FINAL.24

113 Carl Sammons (1883-1968 Oakland, CA)‘’Silver Lake, Carson Peak, High Sierra’’, signed lower left: Carl Sammons, titled on thestretcher, oil on canvas, 24’’ x 30’’, est:$6000/8000Provenance: Mrs. Maurice Faulkner, 1972 (see label affixed to the frame); Propertyfrom a Private Santa Barbara Collection. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.114 Paul Grimm (1891-1974 Palm Springs, CA)‘’Golden Sierras’’, signed lower right: Paul Grimm, signed again and titled verso, oil oncanvas, 30’’ x 40’’, est:$3000/5000Provenance: Estate, Long Beach, CA. Visual: Generally good condition. Blacklight:No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.115 Edgar A. Payne (1883-1947 Hollywood, CA)‘’Palisades Glacier - Calif. Sierras’’, signed lower right: Edgar Payne, titled onan Elsie Palmer Payne label affixed verso, oil on canvas laid to board, 16’’ x 12’’,est:$15,000/25,000Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.116 Eugene Franquinet (1875-1940 La Crescenta, CA)‘’Crags, Black Rock Looking North From Cliff Creek Canyon’’, High Sierras, signedlower right: E. Franquinet, signed again and titled verso, oil on masonite, 12’’ x 16’’,est:$1000/1500Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition,surface dirt. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.117 Frank W. Cuprien (1871-1948 Laguna Beach, CA)‘’In Upper Regions - The Alps’’, Snow-Capped Mountain Crest, signed lower left: F.W.Cuprien, signed again and titled verso, inscribed verso: Painted on Canvas Mountedon Board., oil on canvas laid to artist’s board, 25.5’’ x 25’’, est:$1500/2000Note: The painting retains the artist’s hand-carved original frame. Provenance:Private Collection, San Pedro, CA. Visual: Scattered stable bubbles in the canvaswhere it is separating from the board in the lower third. Bowing to the board.Blacklight: Three scattered line of touch-up in the center, each approximately 2-3’’.A few other scattered spots of touch-up throughout. AS-IS. ALL SALES FINAL.25

118 Oscar Van Young (1906-1991 Los Angeles, CA)‘’Spring Landscape’’, Rooftops in an Alpine Landscape, signed lower right: Van Young,signed again, titled and dated verso: 1950, oil on masonite, 16’’ x 20’’, est:$1000/1500Provenance: Private Collection, Whittier, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.119 Richard T. Taggart (1904-1989 Altadena, CA)‘’Tree-Tops’’, signed lower left: Richard Taggart, signed again and titled twice on thestretchers, oil on canvas, 30’’ x 25’’, est:$3000/4000Provenance: Estate of the artist. Visual: Generally good, original condition. Anindentation on the tree in the upper center. A 14’’ vertical surface scratch in theupper right. A 1’’ stable tear in the right center. Surface dirt and some very minorscattered losses. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALE FINAL.120 Paul Lauritz (1889-1975 Glendale, CA)House in a San Gabriel Mountains Landscape, signed lower left: Paul Lauritz, oil oncanvas, 28’’ x 32.25’’, est:$12,000/16,000Visual: Generally good condition. Blacklight: A few very minor spots of touch-up inthe upper center. AS-IS. ALL SALES FINAL.121 Paul Lauritz (1889-1975 Glendale, CA)Winter Landscape, signed lower left: Paul Lauritz, oil on canvas, 30’’ x 36’’,est:$2500/3500Provenance: Private Collection, Huntington Beach, CA; by descent in the family.Visual: Generally good condition, varnish has yellowed. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.122 Benjamin C. Brown (1865-1942 Pasadena, CA)Sunset Over a Wooded Marsh, signed lower right: Benjamin C. Brown, oil on canvas,16’’ x 20’’, est:$6000/8000Provenance: Private Collection, Hawaii. Visual: Generally good condition. Minorcraquelure in the upper half with paint loss along the upper and right edges.Blacklight: Touch-up along the upper and right edges with minor flecks of scatteredtouch-up throughout the sky. AS-IS. ALL SALES FINAL.26

123 Granville Redmond (1871-1935 Los Angeles, CA)Stream Through a Moonlit Landscape, signed lower left: Granville Redmond, oil oncanvas, 12’’ x 18’’, est:$10,000/15,000Provenance: Private Collection, Hawaii. Visual: Generally good condition. Blacklight:Touch-up in the upper right quadrant, the largest section approximately 3’’ x 2.5’’, withcorresponding verso repair patch, and another nickel-sized spot of touch-up on thelower center edge. AS-IS. ALL SALES FINAL.124 Franz A. Bischoff (1864-1929 Pasadena, CA)A hand painted and glazed Belleek porcelain narrow-necked vase decorated with agreen background and old-fashioned pink roses, signed and dated near the bottom:Franz A. Bischoff 1906, 14.5’’ H x 9.5 Dia., est:$10,000/15,000Provenance: Private Collection, Seattle, WA. Condition: Generally good conditionwith one minor chip along the bottom and some minor scuffs and wear on theunderside. A few very minor surface scratches north of the signature and on thegreen background. AS-IS. ALL SALES FINAL125 Franz A. Bischoff (1864-1929 Pasadena, CA)A hand painted and glazed Belleek porcelain vase with a tan background andwhite roses, signed on the vase’s shoulder: Franz A. Bischoff, 11’’ H x 8 Dia.,est:$8000/10,000Provenance: Private Collection, Seattle, WA. Condition: Generally good conditionwith one minor chip along the bottom and some minor scuffs and wear on theunderside. AS-IS. ALL SALES FINAL126 Florence Parker Bloser (1889-1935 Los Angeles, CA)Still Life with Zinnias in a Vase, signed lower right: Florence Parker Bloser, oil oncanvas, 25’’ x 30’’, est:$1500/2000Provenance: Estate of Domingo Amestoy, by descent in the family to the presentowner. Visual: Generally good condition. Blacklight: No evidence of restorationunder blacklight. AS-IS. ALL SALES FINAL.127 Alice B. Chittenden (1859-1944 San Francisco, CA)Still Life with Pink and Yellow Roses, signed lower left: Alice B. Chittenden, oil oncanvasboard, 14’’ x 17.25’’, est:$3000/5000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.27

128 Hiram R. Bloomer (1845-1911 Sausalito, CA)Pastoral Landscape with Cows, signed lower left: H.R. Bloomer, oil on canvas,14’’ x 22.25’’, est:$1500/2000Visual: Generally good condition with minor frame abrasion along the edges andsurface dirt. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.129 Robert Lewis Reid (1862-1929 New York, NY)Portrait of a Young Girl in a Garden, signed and dated lower right: Robert Reid 1912,oil on board, 20’’ x 15.75’’, est:$5000/7000Provenance: By descent to present owner, Private Collection Massachusetts. Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.130 Everett Lloyd Bryant (1864-1945 Los Angeles, CA)Summer Reflections, signed lower right: E.L. Bryant, oil on canvas laid to canvas,30’’ x 36’’, est:$2500/3500Provenance: Property from a Private Collection, Newport Beach, CA.131 Frank T. Hutchens (1869-1937 Palm Beach, FL)Figure Walking Along a Tree-Lined Street, signed lower left: F.T. Hutchens, titledagain on a partial gallery label affixed to the frame, oil on canvas, 27.25’’ x 30’’,est:$10,000/15,000Exhibited: William Macbeth, New York, NY (see partial label affixed to frame). Note:The painting retains its original frame. Provenance: Private Collection, OrangeCounty, CA. Visual: Generally good condition. Stretcher bar creases along the edgeswith minor stable craquelure. Other scattered isolated areas of stable craquelurethroughout. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.132 Robert Emmett Owen (1878-1957 New Rochelle, NY)River View Through the Trees, signed lower right: R. Emmett Owen, oil on canvas,30’’ x 40’’, est:$5000/7000Visual: Generally good condition with a few minor scattered losses along the loweredge. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.28

133 Ogden M. Pleissner (1905-1983 New York, NY)‘’Cheater’s Pool, Matapedia’’, Three Figures in a Canoe Fishing on a River inQuebec, signed lower left: Pleissner, oil on canvas laid to canvas, 20.25’’ x 30.25’’,est:$50,000/70,000Visual: Generally good condition. Original tacking edges have been removed.Blacklight: No evidence of touch-up under blacklight. AS-IS. ALL SALES FINAL.134 Harry Jackson (1924-2011 Sheridan, WY)‘’Cowboy Meditation’’, incised with signature, dated and numbered on the base:Harry Jackson 64 20, bronze with brown patina on black marble base, 23’’ x ‘’,est:$5000/7000Note: With a signed letter from Harry Jackson to the original owner, Mr. ElmoreNelson, dated August 7, 1972: I certify that the edition of the bronze sculpture entitled‘’Cowboy’s Meditation’’ is limited to 40 numbered patinated bronze casts of whichthis is no. 20, and that this is an original work created by me and cast under my directpersonal supervision in my private studio-workshop, Wyoming Foundry Studios,Camaiore, Italy. Provenance: The artist; with Main Trail Galleries, Scottsdale, AZ(see original correspondence with the purchaser and the gallery’s original Certificateof Authenticity); Mr. Elmore Nelson, acquired from the above, 1972; Property froma Camarillo, CA Estate. Visual: Generally good condition with minor surface dirtaccumulation. AS-IS. ALL SALES FINAL.135 Daro Flood (1954-* Arizona)‘’Cowman’’, incised with signature, copyright symbol and number on the base: Daro16/30, bronze with brown patina on rotating wooden base, 30’’ x ‘’, est:$2500/3500Provenance: Property from a Camarillo, CA Estate. Visual: Generally good conditionwith minor surface dirt accumulation. AS-IS. ALL SALES FINAL.136 Will James (1892-1942 Billings, MT)Protecting the Herd, signed and dated lower left: Will James ‘27, charcoal onpaperboard under glass, sight size: 13.25’’ x 13.25’’, est:$3000/5000Provenance: Private Collection, New York, acquired mid-1970s. Visual: Generallygood condition. A minor surface abrasion in the upper left. Not examined out of theframe. AS-IS. ALL SALES FINAL.137 Marjorie Reed (1915-1996 Vallecito, CA)‘’Bull Dogging (sic)’’, signed lower right: Marjorie Reed, titled on the lower stretcher,oil on canvas, 16’’ x 20’’, est:$3000/4000Provenance: Private Collection, Westlake Village, CA. Visual: Generally goodcondition, varnish has yellowed. Blacklight: No evidence of touch-up throughout.AS-IS. ALL SALES FINAL.29

138 Ben Carlton Mead (1902-1986 Amarillo, TX)‘’The Mission Santa Ynez, CA 1870, Before Restoration’’, 1984, signed lower left: BenCarlton Mead, oil on canvas, 36’’ x 54’’, est:$4000/6000Visual: Generally good condition. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.139 Marjorie Reed (1915-1996 Vallecito, CA)‘’Full Moon at TEEC NOS POS Trading Post, Northern Arizona’’, signed lower right:Marjorie Reed, signed again and titled on the artistís label affixed to the stretcher, oilon canvas, 30’’ x 40’’, est:$5000/7000Note: This painting is part of a series that Reed was commissioned to execute in theearly 1970s by Drs. Oscar Thoeny and Caldwell in order to ‘’preserve the atmosphereof the Old Posts so that future generations could enjoy part of this lost Americana”(G. Fillmore, ‘’All Aboard: The Life and Work of Marjorie Reed’’, Schiffer Books,Atglen, PA, p. 134). Visual: Generally good condition. Blacklight: No evidence oftouch-up throughout. AS-IS. ALL SALES FINAL.140 Ernest Martin Hennings (1886-1956 Taos, NM)Taos Nocturne, signed lower right: E. Martin Hennings, oil on canvas laid to canvas,25.25’’ x 33.25’’, est:$30,000/50,000Visual: Generally good condition. Canvas has been restretched to new stretcher bars.Blacklight: A few minor scattered spots of touch-up throughout the sky and buildings,a quarter sized spot of touch-up on the upper left edge and the largest line of touchupmeasuring 2’’ in the center. AS-IS. ALL SALES FINAL.141 Burt Procter (1901-1980 Palm Springs, CA)Figures in a Marketplace with Distant Church, Pueblo of Isleta, New Mexico, signedlower left: Burt Procter, oil on masonite, 32’’ x 36’’, est:$8000/10,000Note: St. Augustine Church in the Pueblo of Isleta is one of the oldest missionchurches in the United States, originally established in 1613 and then rebuilt in 1716following the Pueblo Indian Revolt. In the present work, Procter anchors the historicadobe church in the distance and focuses foreground attention on figures shoppingin a vibrant marketplace. Visual: Generally good condition, one minor fleck of paintloss in the lower center on the edge. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.142 Ferdinand Burgdorff (1881-1975 Pebble Beach, CA)‘’Navajos Homeward Bound’’, signed and dated lower left: Ferdinand Burgdorff1955, titled and with artist’s address on an artist’s label affixed to the reverse, oil onmasonite, 24’’ x 30’’, est:$3000/4000Exhibited: Bohemian Club Exhibition, San Francisco, CA, n.d. (see verso label); CarmelArt Association, Carmel, CA, ‘’Ferdinand Burgdorff 1881-1975’’, August-September1990, no. 19. Provenance: The artist; Estate of Sophie Burgdorff, Pacific Grove,California; Carmel Art Association, Carmel, CA and Church of the Wayfarer, Carmel,CA, bequeathed from the above, 1990; Property from an Estate, Thousand Oaks, CA.Visual: Generally good condition with minor frame abrasion. Blacklight: No evidenceof restoration under blacklight. AS-IS. ALL SALES FINAL.30

143 Carl Gaertner (1898-1952 Cleveland, OH)‘’Where Man Walks In’’, Western Town, signed and dated lower right: Carl Gaertner1940, oil on masonite, 18’’ x 30’’, est:$3000/5000Provenance: Mrs. Douglas K. Bruce, Willoughby, OH; Private Collection, Los Angeles,CA. Visual: Generally good condition. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.144 Charles Ragland Bunnell (1897-1968 Colorado Springs, CO)‘’March Snow’’, signed and dated lower right: Bunnell 1940, signed again, titled andnumbered verso: #716, oil on canvas, 18’’ x 22’’, est:$5000/7000Provenance: WPA Art Project (see plaque affixed to the frame); Estate, San Dimas,CA; Private Collection, San Dimas, CA. Visual: Generally good condition. A very minorpuncture with paint loss in the upper center, surface dirt throughout. Blacklight: Noevidence of touch-up throughout. AS-IS. ALL SALES FINAL.145 Sargent Johnson (1888-1967 San Francisco, CA)‘’Singing Saints’’, signed in pencil lower right: Sargent Johnson, initialed in the platelower right: JS, titled and numbered in pencil lower left: 91/150, lithograph on paper,image size: 12’’ x 9.25’’, est:$5000/7000Note: Dimensions of the paper: 19 x 12 inches. Provenance: Estate, NorthernCalifornia. Visual: A minor spot of stain in the lower margin and few tiny dots of stainin the upper margin. Very minor toning and some handling creases. AS-IS. ALL SALESFINAL.146 George Wesley Bellows (1882-1925 New York, NY)Prayer Meeting, signed posthumously by the artist’s widow Emma S. Bellows ingraphite lower right: Geo. Bellows ESB, numbered lower margin: No. 34, lithograph onpaper under glass, plate size: 18.25’’ x 22.25’’, est:$1000/2000Provenance: Private Collection, Los Angeles, CA. Visual: Mild toning throughout.A spot of stain in the upper center. Glue residue or soiling in the upper right margincorner. Handling creases and paper rippling throughout with a heavier crease in theupper left. Not examined out of the frame. AS-IS. ALL SALES FINAL.147 Thomas Hart Benton (1889-1975 Kansas City, MO)‘’Morning Train (Soldier’s Farewell)’’, signed in pencil lower right: Benton, unframedlithograph on paper, image size: 9.25’’ x 13.5’’, est:$2000/3000Literature: Publisher: AAA, New York. Note: Dimensions of the paper: 11’’ x 15.5’’.Provenance: Estate of Ward and Betty Kimball, San Gabriel, CA. Visual: Generallygood condition. Each corner is secured in a corner mount which is adhered to theback matting with tape. Colors strong. AS-IS. ALL SALES FINAL.31

148 Birger Sandzen (1871-1954 Lindsborg, KS)‘’Summer, Lindsborg, Kansas’’, Two Trees in an Atmospheric Landscape, signed lowerright: Birger Sandzen, signed again, titled and dated verso: 1938, oil on masonite,20’’ x 24’’, est:$40,000/60,000Provenance: Sullivan Goss Art Gallery, Santa Barbara, CA (see verso label); PrivateCollection, Newport Beach, CA. Visual: Generally good condition. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.149 Emil J. Kosa Jr (1903-1968 Los Angeles, CA)‘’The Great West’’, Horses Grazing in a Sweeping California Landscape, signed lowerright: Emil J. Kosa Jr., signed again and titled verso, oil and gouache on board underglass, site size: 17.5’’ x 23.25’’, est:$3000/5000Note: Dimensions of the board: 23’’ x 29’’. Visual: Generally good condition. Theartist’s painted black border around the painted image. Blacklight: No evidence oftouch-up throughout. AS-IS. ALL SALES FINAL.150 Joane Cromwell (1895-1969 Laguna Beach, CA)‘’The Prospector’s Trail, La Quinta Canyon’’, Desert Landscape, signed lower left:Joane Cromwell, titled on artist label affixed to the stretcher, oil on canvas, 16’’ x 20’’,est:$2500/3500Note: Artist’s reproduction stamp verso and on the stretcher. Visual: Generally goodcondition. Stable craquelure throughout, mainly concentrated in the sky, stretcherbar creases along the left and right edges. Blacklight: No evidence of restorationunder blacklight. AS-IS. ALL SALES FINAL.151 Milford Zornes N.A (1908-2008 Claremont, CA)‘’The Santa Clara Near Saugus’’, signed and dated twice lower right: Zornes 41,signed and dated again and titled verso, oil on Arches paper laid to artist’s board,21.5’’ x 29.5’’, est:$1000/2000Exhibited: Foundation of Western Art, Los Angeles, CA, n.d. (see verso label).Provenance: Private Collection, North Carolina, acquired circa 1960s; by descent inthe family to the present owner. Visual: A small area of tiny scattered losses in thelower left and a few other scattered spots of loss in the center. Discolored varnish.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.152 Carl Schmidt (1885-1969 San Bernardino, CA)Desert Wash, signed lower right: Carl Schmidt, oil on waxed canvas, 18’’ x 26’’,est:$1000/1500Provenance: Private Collection, Santa Monica, CA. Visual: Generally good condition.Blacklight: Apparently older scattered quarter and nickel-sized areas of touch-upscattered on the upper mountains and along the lower edge. Difficult to read underblacklight. AS-IS. ALL SALES FINAL.32

153 Paul Grimm (1891-1974 Palm Springs, CA)‘’Sandwaves (sic)’’, signed lower left: Paul Grimm, signed again, titled and datedverso: 1972, oil on canvas, 24.25’’ x 29’’, est:$2500/3500Provenance: Private Collection, Garland, TX. Visual: Generally good condition,surface dirt. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.154 Paul Grimm (1891-1974 Palm Springs, CA)‘’Colorful Growths’’, Blooming Desert Landscape, signed lower left: Paul Grimm,signed again and titled verso, oil on masonite, 16’’ x 20’’, est:$2000/3000Provenance: Private Collection, Ventura, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.155 Paul Grimm (1891-1974 Palm Springs, CA)‘’Among the Smoke Trees’’, signed lower left: Paul Grimm, signed again, titled anddated verso: March 1968, inscribed verso: To Sweet Betty, oil on canvas, 24’’ x 29.75’’,est:$2500/3500Provenance: Private Collection, Garland, TX. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.156 Sam Hyde Harris (1889-1977 Los Angeles, CA)Path Through a Mountain Landscape, signed lower right: Sam Hyde Harris, oil oncanvasboard, 12’’ x 15.75’’, est:$3000/4000Provenance: Desert-Southwest Art Gallery, Palm Desert, CA (see verso label);Property from an Estate, Thousand Oaks, CA. Visual: Generally good condition, minorframe abrasion along the lower edge. Blacklight: No evidence of restoration underblacklight. AS-IS. SALES FINAL.157 Fitch Fulton (1879-1955 Glendale, CA)Big Tujunga Canyon, signed lower left: Fitch Fulton, oil on canvas, 24’’ x 28’’,est:$1500/2000Provenance: Private Collection, Glendale, CA; by descent in the family to thepresent owner. Visual: Generally good condition with scattered losses throughoutconcentrated mainly in the lower left quadrant. Craquelure throughout with someareas of instability. Blacklight: No evidence of restoration under blacklight. AS-IS.ALL SALES FINAL.33

158 Maurice Braun (1877-1941 San Diego, CA)‘’Lake Hodges, California’’, signed lower right: Maurice Braun, oil on canvas,20’’ x 24’’, est:$15,000/25,000Provenance: Private Collection, New York. Visual: Discolored varnish. Blacklight: A3’’ x 4’’ scattered area of touch-up with other spots of touch-up in the same area onthe mountains in the upper center. A 2’’ diameter area of touch-up in the lower right,two 1.5’’ diameter areas with other scattered touch-up along the upper left edge.Touch-up in the upper right corner and possible areas of touch-up on the trees in thelower right. Other scattered dots of touch-up in the sky. AS-IS. ALL SALES FINAL.159 Alexis M. Podchernikoff (1886-1933 Pasadena, CA)River Running Through a Mountain Landscape, signed lower left: A.M. Podchernikoff,oil on canvasboard, 14’’ x 10’’, est:$800/1200Provenance: Private Collection, Beverly Hills, CA. Visual: Generally good condition.Spots of paint loss in the upper right corner, varnish has yellowed. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.160 Franz A. Bischoff (1864-1929 Arroyo Seco, CA)Sunlit Mountains and California Landscape, signed lower right: Franz Bischoff, oil oncanvas, 13.25’’ x 17.75’’, est:$8000/12,000Provenance: Private Collection, Palm Desert, CA. Visual: Generally good condition.Canvas is loose on the stretchers. Artist pinholes in the four corners. Mounted onnew stretcher bars. Blacklight: No evidence of restoration under blacklight. AS-IS.ALL SALES FINAL.161 Franz A. Bischoff (1864-1929 Arroyo Seco, CA)‘’Aroyo Secco (sic)’’, Verdant Landscape, signed, dated and titled lower right: F.A.Bischoff 1918, oil on canvasboard, 12’’ x 16.25’’, est:$5000/7000Provenance: Private Collection, Palm Desert, CA. Visual: Generally good condition.The board is slightly uneven. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.162 William Lees Judson (1842-1928 Los Angeles, CA)‘’Cloud 351’’, California Landscape, signed lower right: W.L. Judson, titled verso, oil oncanvas, 20.25’’ x 30’’, est:$2500/3500Provenance: Private Collection, Arizona, acquired in Pasadena in 1975. Visual:Moderate craquelure throughout with frame abrasion and some minor scatteredpaint losses. A stretcher bar crease along the upper edge. A few other very minorspots of paint loss throughout and a small puncture on the lower right edge.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.34

163 Maurice Braun (1877-1941 San Diego, CA)‘’Mountains’’, Houses Nestled in a California Valley, signed lower left: Maurice Braun,titled and numbered on the lower stretcher: #46, oil on canvas mounted to artist’smasonite and with support stretchers, 30’’ x 40’’, est:$25,000/35,000Provenance: Private Collection, Los Angeles, CA, acquired early 1970s. Visual:Generally good condition. Approximately three horizontal rectangular surfacebands intrinsic to the board on the mountains in the center. Blacklight: A few veryminor scattered dot of touch-up along the upper edge and a spot of touch-up in theupper right. A copy of James L. Greaves Conservation Services, dated 11 April 1986,accompanies the lot. AS-IS. ALL SALES FINAL.164 Ralph Davison Miller (1858-1945 Los Angeles, CA)Stream Through a Spring Landscape, signed and dated lower right: Ralph DavidsonMiller 17, oil on canvas, 30’’ x 40’’, est:$2000/3000Visual: Generally good condition. Blacklight: A quarter-sized spot of touch-up in theupper left corner with corresponding verso patch. AS-IS. ALL SALES FINAL.165 John Marshall Gamble (1863-1957 Santa Barbara, CA)‘’A March Morning, Santa Barbara (Wild Lilac and Poppies)’’, signed lower left: JohnM. Gamble, signed again and titled verso, oil on canvas, 20’’ x 30’’, est:$70,000/90,000Provenance: with George Stern Fine Arts, Los Angeles, CA; with Maureen MurphyFine Arts, Montecito, CA (see verso labels); Property from an Estate, Thousand Oaks,CA. Visual: Generally good condition. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.166 Mischa Askenazy (1888-1961 Montecito, CA)Figures Near a Gate in a Landscape, signed lower left: M. Askenazy, oil on canvaslaid to board, 18’’ x 23.75’’, est:$3000/4000Provenance: Private Collection, Ventura, CA. Visual: Generally good condition.Original tacking edges have been removed. Stable craquelure in the upper leftquadrant. Blacklight: A few very minor scattered spots of touch-up throughout. Anisolated area of crack-fill in the left center. AS-IS. ALL SALES FINAL.167 Jessie Arms Botke (1883-1971 Santa Paula, CA)White Peacock with Pink Flamingos, signed and dated lower right: Jessie Arms Botke1924, oil on canvas laid to canvas, 25.75’’ x 32’’, est:$20,000/30,000Provenance: Private Collection, Westminster, CA. Visual: Generally good condition.Spots of paint flaking throughout the flamingos’ bodies and a minor fleck of paintloss in the center of the peacock. Other minor scattered spots of loss throughoutthe background and frame abrasion along the edges. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.35

168 Johannes Schiefer (1896-1979 New York)‘’Bouquet’’, Gerber Daisy Still Life, signed lower right: Johannes Schiefer, titled on agallery label affixed to frame, oil on canvas, 20’’ x 16’’, est:$1500/2000Provenance: James Vigeveno Galleries (see label affixed to frame); PrivateCollection, Pasadena, CA. Visual: Generally good condition. Blacklight: No evidenceof restoration under blacklight. AS-IS. ALL SALES FINAL.169 Sergei Bongart (1918-1985 Santa Monica, CA)Still Life with Fruit, signed lower left: S. Bongart, oil on board, 16.5’’ x 23’’,est:$1500/2000Provenance: Private Collection, Laguna Beach, CA. Visual: Generally good condition.An isolated area of crazing in the center. Heavy surface dirt. Blacklight: No evidenceof restoration under blacklight. AS-IS. ALL SALES FINAL.170 Will Foster A.N.A. (1883-1953 New York, NY)Portrait of a Nude Women Seated and Holding Flowers, signed and datedlower center: Will Foster A.N.A., oil on canvas laid to waxed canvas, 27’’ x 22’’,est:$2000/3000Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition, frame abrasion along upper edge. Blacklight: No evidence of restorationunder blacklight. AS-IS. SALES FINAL.171 LeRoy Neiman (1921-* New York, NY)Playboy Bunny ‘Linda’ Entertaining Men, signed in graphite lower right: LeRoyNeiman, graphite and watercolor on paper under glass, paper size: 17.25’’ x 20.75’’,est:$3000/5000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition with minor toning and mat burn.Minor handling creases. A small surface abrasion upper left above the figure’s head.Hinged along the upper edge. AS-IS. ALL SALES FINAL.172 LeRoy Neiman (1921-* New York, NY)‘’Gas Light Club, Paris’’, signed, dated and titled lower right: LeRoy Neiman ‘61,graphite, charcoal and gouache on paper under glass, paper size: 14.25’’ x 21.25’’,est:$2000/3000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition with minor toning. Hinged witharchival tape in the upper left and right corners and in the lower center. AS-IS. ALLSALES FINAL.36

173 LeRoy Neiman (1921-* New York, NY)‘’Monte Carlo Le Casino’’, signed, titled and dated in white chalk lower right: LeRoyNeiman ‘60, chalk on black paper under glass, paper size: 19’’ x 20’’, est:$2000/3000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Minor toning to the paper. A .25’’ vertical tear along the lowercenter edge. Hinged with archival tape in the upper left and right corners and in thelower center. AS-IS. ALL SALES FINAL.174 LeRoy Neiman (1921-* New York, NY)‘’Thomas at Becket Gym, Old Kent Road, London’’, Boxer, signed in chalk lowercenter: LeRoy Neiman, signed again, titled and dated lower right: 2-25-62, gouache,ink and colored chalk highlights on black paper under glass, paper size: 14.5’’ x 9.75’’,est:$1500/2000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition. Hinged in the upper left and rightcorners. AS-IS. ALL SALES FINAL.175 LeRoy Neiman (1921-* New York, NY)Behind the Bar, signed and dated lower right: LeRoy Neiman ‘57, ink on paper underglass, 22’’ x 26.5’’, est:$1500/2000Provenance: The artist; Estate of Dr. Spinner, Arizona, a patron of the artist, acquiredfrom the above. Visual: Generally good condition with minor toning. A 1.5’’ stable tearin the upper center with verso tape repair. Hinged in the upper left and right cornersand in the lower center. AS-IS. ALL SALES FINAL.176 Henry Koerner (1915-1991 Pittsburgh, PA)Winter Landscape with Reclining Nude and Raven, appears unsigned, watercolor onpaper under glass, paper size: 17.75’’ x 24’’, est:$800/1200Provenance: Private Collection Los Angeles CA, acquired directly from the artist.Visual: Generally good condition. The paper laid to the back mat and framed floatingwith the edges visible. Not examined out of the frame. AS-IS. ALL SALES FINAL.177 Henry Koerner (1915-1991 Pittsburgh, PA)‘’Dashstein, Austria’’, Alpine landscape, signed and dated lower right: Koe 88,watercolor on paper under glass, sight size: 17.5’’ x 23.5’’, est:$600/800Provenance: Private Collection Los Angeles CA, acquired directly from the artist.Visual: Generally good condition with minor mat burn along the extreme edges. Thepaper laid down to the backing board. AS-IS. ALL SALES FINAL.37

178 Elsie Palmer Payne (1884-1971 Los Angeles, CA)Clouds in an Atmospheric Landscape, signed lower left: Elsie Palmer Payne,watercolor and gouache on paper under glass, sight size: 11.5’’ x 12.5’’, est:$2000/3000Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.A 1.5’’ vertical stable tear extending from the upper left edge and a 2’’ vertical stableknife cut extending from the lower left edge. An isolated area of craquelure onthe clouds in the right center. Two very minor surface scuffs near, but not on, thesignature. Not examined out of the frame. AS-IS. ALL SALES FINAL.179 Albert Marshall (1891-1970 Three Rivers, CA)Two works: Sierra Landscapes with Snow-Capped Mountains, each signed: AlbertMarshall, each: watercolor on paper under glass, each sight size: 9.75’’ x 11.75’’,est:$800/1200Provenance: Private Collection, Tulare County, CA. Visual: Each: Generally goodcondition. Not examined out of the frames. AS-IS. ALL SALES FINAL.180 Paul Lauritz (1889-1975 Glendale, CA)Laguna Coast, signed lower right: Paul Lauritz, watercolor on paper under glass, sightsize: 16.5’’ x 19.5’’, est:$1000/1500Visual: Generally good condition. Not examined out of the frame. AS-IS. ALL SALESFINAL.181 Charles Payzant (1898-1980 Los Angeles, CA)‘’Point Lobos’’, Two Boys on Sand Dunes Near a Coastal Inlet, signed lower left:Charles Payzant, unframed watercolor on paper under glass, sight size: 17.75’’ x 23.5’’,est:$1000/2000Note: There is an unfinished watercolor sketch with a similar inlet composition verso.Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition with toning to the paper and a horizontal line of yellowing across the upperthird of the paper. Affixed with paper tape along the four edges to the front mat. Otherpaper tape remnants along the edges. AS-IS. ALL SALES FINAL.182 Eileen Monaghan Whitaker N.A. (1911-2005 La Jolla, CA)‘’Mission Bay from La Jolla’’, 1982, signed lower right: Eileen Monaghan WhitakerN.A., watercolor on Arches paper under glass, paper size: 22’’ x 30’’, est:$800/1200Exhibited: The Frederic Whitaker and Eileen Monaghan Whitaker Foundation website,Eileen’s Book Illustration page, illustrated. Provenance: Private Collection, LosAngeles, CA. Visual: Generally good condition. Not examined out of the frame. AS-IS.ALL SALES FINAL.38

183 Milford Zornes N.A. (1908-2008 Claremont, CA)‘’Gold and Grey’’, signed and dated lower right: Zornes 68, signed again, titled andwith artist’s Mt. Carmel, UT address on the original cardboard backing, watercolor onpaper under glass, paper size: 22’’ x 30’’, est:$1000/2000Provenance: Property of an Artist, Los Angeles, CA, acquired directly from Zornes;by descent in the family to the present owner. Visual: Generally good condition withvery minor toning to the paper. Not examined out of the frame. AS-IS. ALL SALESFINAL.184 Millard Owen Sheets N.A. (1907-1989 Gualala, CA)‘’Fishermen’s Camp’’, signed and dated lower left: Millard Sheets 1948, signed againand titled verso, watercolor on arches paper under glass, 22’’ x 30’’, est:$3000/5000Visual: Generally good condition, colors strong. Hinged twice in the upper center.AS-IS. ALL SALES FINAL.185 Jade Fon A.W.S. (1911-1983 Bakersfield, CA)Chinatown, San Francisco, California, estate stamped lower right: Jade Fon A.W.S.,watercolor on paper under glass, site size: 21.5’’ x 29.5’’, est:$3000/5000Note: Estate stamped and with an authentication statement signed by Pamela Della,Executor, verso. Visual: Generally good condition, colors strong. Not examined out offrame. AS-IS. ALL SALES FINAL.186 Jade Fon A.W.S. (1911-1983 Bakersfield, CA)Old Monterey Piers, signed lower right: Jade Fon, unframed watercolor on paper,22’’ x 30’’, est:$2500/3500Visual: Generally good condition. A few minor surface marks on the lower right andalong the right edges, possibly from previous frame. Colors strong. Unframed. AS-IS.ALL SALES FINAL.187 Nell Walker Warner (1891-1970 Carmel, CA)‘’Carmel Coast’’, Crashing Waves, signed lower left: Nell Walker Warner, titled on thestretcher, oil on canvas, 20’’ x 24’’, est:$1000/1500Provenance: Private Collection, Florida, acquired in Carmel, 1970. Visual: Generallygood condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.39

188 John O’Shea (1876-1956 Carmel, CA)‘’Tahiti Sketch’’, unsigned, oil on canvas laid to board and mounted to stretchers,16’’ x 20’’, est:$2000/3000Exhibited: The Carmel Art Association, Carmel, CA, ‘’John O’Shea and Friends’’,August 1993 (see verso label). Provenance: Estate of the artist Richard T. Taggart.Visual: Generally good condition with minor frame abrasion and slight unevenness tothe board. Surface dirt. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALE FINAL.189 Maurice Logan (1886-1977 Orinda, CA)Rocky Shore, signed lower left: Maurice Logan, oil on board, 10’’ x 16’’, est:$1500/2000Provenance: Private Collection, Washington. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. SALES FINAL.190 Joe Duncan Gleason (1881-1959 Glendale, CA)‘’Homeward Bound’’, Clipper Ship Likely Entering Los Angeles Harbor, signed lowerright: J. Duncan Gleason, oil on panel, 33.75’’ x 39.5’’, est:$20,000/30,000Note: Titled on a typed artist’s label affixed verso. Provenance: Private Collection,Michigan. Visual: Generally good condition with small nail holes along the four edgeswith minor scattered dots of loss in those areas. Another spot of touch-up alongthe upper center edge. Blacklight: Areas fluoresce in the sky and clouds but theseappear to be in the hand of the artist. AS-IS. ALL SALES FINAL.191 Eyvind Earle (1916-2000 Carmel, CA)Coastal Landscape, signed and dated lower right: Eyvind Earle 70, oil on board,30.25’’ x 24.5’’, est:$3000/5000Provenance: Private Collection, Beverly Hills, CA. Visual: Generally good condition.A spot of surface residue in the lower left corner. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.192 Peter Ellenshaw (1913-2007 Santa Barbara, CA)‘’Cresting Wave’’, signed and dated lower left: Peter Ellenshaw ‘63, oil on canvas,25.25’’ x 50.25’’, est:$3000/4000Provenance: Manhattan Galleries, Pasadena, CA, no. 2508 (see verso label). Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.40

193 Peter Ellenshaw (1913-2007 Santa Barbara, CA)Crashing Wave, signed and dated lower left: Peter Ellenshaw 1960, oil on canvas,24’’ x 30’’, est:$2500/3500Provenance: Estate, Los Angeles, CA. Visual: Generally good condition. A minorisolated area of stable craquelure in the right center. Blacklight: No evidence ofrestoration under blacklight. AS-IS. ALL SALES FINAL.194 Alexander Dzigurski (1911-1995 California)‘’California Coast’’, signed lower right: A. Dzigurski, oil on canvas, 26’’ x 30’’,est:$1000/1500Provenance: Findlay Galleries, Chicago, IL; Estate, San Diego County. Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.195 Calvin Liang (1960-* Los Angeles, CA)Rocky Shores, signed lower left: Calvin Liang, oil on canvas, 12’’ x 16’’, est:$1000/2000Provenance: Private Collection, San Juan Capistrano, CA. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.196 Rod Goebel (1946-1993 Taos, NM)‘’East Beach, Santa Barbara, CA’’, signed lower left: Ron Goebel, oil on canvas,26’’ x 30’’, est:$2000/3000Provenance: Trailside Galleries, Jackson, WY (see verso label); Property from anEstate, Thousand Oaks, CA. Visual: Generally good condition with artist pinholesalong the left and right edges. Blacklight: No evidence of restoration underblacklight. AS-IS. ALL SALES FINAL.197 Robert W. Wood (1889-1979 Bishop, CA)Autumn Wooded Landscape, signed left center: Robert Wood, oil on canvas,24’’ x 36’’, est:$3000/5000Note: Artist reproduction stamps verso. Provenance: Estate, Los Angeles, CA. Visual:Generally good condition. Blacklight: A quarter-sized spot and 2’’ thin line of touchupin the upper left with corresponding verso repair patch. Two spots in the lower leftcenter fluoresce presumably in the hand of the artist. AS-IS. ALL SALES FINAL.41

198 Conrad Buff (1886-1975 Laguna Beach, CA)‘’Rock Canyon’’, estate signed lower left: Conrad Buff, oil on board, 24’’ x 30’’,est:$5000/7000Note: There is an estate label signed by Mary Elizabeth Buff on the verso.Provenance: Deru’s Fine Arts, Laguna Beach, CA (see verso label); CorporateCollection, Orange County, CA. Visual: Generally good condition. Blacklight: Noevidence of restoration under blacklight. AS-IS. ALL SALES FINAL.199 Kevin Macpherson (1956-* Escondido, NM)‘’Winter Brook’’, signed lower left: Kevin Macpherson, signed again and titled verso,oil on canvasboard, 20’’ x 24’’, est:$4000/6000Note: The painting retains a Mayen Olsen frame. Provenance: The Redfern Gallery,Laguna Beach, CA (see verso label); Corporate Collection, Orange County, CA. Visual:Generally good condition. Blacklight: No evidence of restoration under blacklight.AS-IS. ALL SALES FINAL.200 Kevin Macpherson (1956-* Escondido, NM)‘’Bottle Bums’’, Farm Scene with Goats, signed lower left: Kevin Macpherson, signedagain and titled verso, oil on canvas laid to artist’s board, 16’’ x 20’’, est:$2500/3500Provenance: Private Collection, San Juan Capistrano, CA. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALESFINAL.201 Gary Ray (1952-* Venice, CA)‘’Sunset at Antelope Valley’’, signed lower left: Gary Ray, signed again and titledverso, oil on linen laid to artist’s panel, 24’’ x 30’’, est:$1000/1500Provenance: Private Collection, Los Angeles, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.202 Gary Ray (1952-* Venice, CA)‘’Antelope Valley Poppy Reserve’’, signed lower right: Gary Ray, signed again, datedand titled verso: ‘05, oil on masonite, 12’’ x 16’’, est:$1000/1500Provenance: Property from an Estate, Thousand Oaks, CA. Visual: Generally goodcondition. Blacklight: No evidence of restoration under blacklight. AS-IS. SALESFINAL.42

203 William Dorsey (1942-* California)Ojai Landscape, signed lower right: Wm. Dorsey, oil on canvas, 37’’ x 48’’,est:$2000/3000Provenance: Private Collection, Santa Monica, CA. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.204 Ken Auster (1949-* Laguna Beach, CA)‘’Is Everything Okay?’’, incised with signature and date lower right: Auster 90, oil onpanel, 16’’ x 20’’, est:$1500/2000Provenance: Auster Studio/Gallery 133, Laguna Beach, CA, ‘’Laguna Inside and Outby Ken Auster’’, November 19, 2000 (see postcard featuring this painting); PrivateCollection, San Juan Capistrano, CA, acquired from the above. Visual: Generallygood condition. Blacklight: No evidence of restoration under blacklight. AS-IS. ALLSALES FINAL.205 Ken Auster (1949-* Laguna Beach, CA)‘’Apples or Oranges’’, incised with signature lower left: Auster, oil on canvasboard,12’’ x 9’’, est:$800/1200Provenance: Auster Studio/Gallery 133, Laguna Beach, CA; Private Collection, SanJuan Capistrano, CA, acquired from the above. Visual: Generally good condition.Blacklight: No evidence of restoration under blacklight. AS-IS. ALL SALES FINAL.206 Ben Abril (1923-1995 Los Angeles, CA)‘’Old Los Angeles, Angel’s Flight Railway’’, signed lower left: Ben Abril, titled on thestretcher, oil on canvas, 21’’ x 30’’, est:$6000/8000Visual: Generally good condition. Blacklight: No evidence of touch-up throughout.AS-IS. ALL SALES FINAL.207 Tim Solliday (1952-* Alhambra, CA)Colorado Bridge, Pasadena, signed lower left: T. Solliday, oil on canvas, 11’’ x 14’’,est:$800/1200Provenance: with Poulsen Galleries, Pasadena, CA; Private Collection, HumboldtCounty, CA, acquired from the above. Visual: Generally good condition. Blacklight:No evidence of touch-up throughout. AS-IS. ALL SALES FINAL.43

Join us for our monthly walk-in valuation clinics.Bring in up to five items of fine art, antiques,silver or jewelry for a free verbal auction valuationand find out:Discovered at our Valuation DayWhat’s it Worth?June 8th 20119am-1pm735 West Woodbury RoadAltadena, CA 91001Frederic Tellander (1878-1968)Boys Playing in the Surf, likely Lake Michiganoil on canvas 20x24 est:$1000/2000Moran’s bookshop now open online!We’re pleased to announce the launch of our retailwebsite, dedicated to new, used and out-of-printbooks on California and American art. Discoverthe latest releases, hard-to-find monographsand exhibition catalogues, and classic works forcollectors and casual readers.www.californiaartbooks.comJust released: From a Versatile Brush: the Life and Art ofJean Mannheim by Richard W. Reitzell

Currently Accepting Consignments for our October 18, 2011 AuctionSi Chen Yuan (1911-1974 Monterey, CA)Monterey Wharfest:$6000/8000Price Realized: $15,925.00California & American Fine Art AuctionOctober 18, 2011Preview - 12:00pmAuction Begins - 6:30pm pstPasadena Convention Center300 East Green StreetPasadena, CA 91101Please inquire about consigning to this upcoming auctioni n f o @ j o h n m o r a n . c o m · ( 6 2 6 ) 7 9 3 - 1 8 3 3 · w w w . j o h n m o r a n . c o m

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