California and Western Paintings & Sculpture

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE Tuesday August 7, 2018 Los Angeles and San Francisco

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE Tuesday August 7, 2018 at 6pm Los Angeles and San Francisco

BONHAMS BIDS INQUIRIES ILLUSTRATIONS 220 San Bruno Avenue +1 (323) 850 7500 Los Angeles Front cover: Lot 109 San Francisco, California 94103 +1 (323) 850 6090 fax Scot Levitt Inside front cover: Lot 34 [email protected] Director, Fine Arts Opposite: Lot 49 7601 W. Sunset Boulevard Vice President Inside back cover: Lot 110 Los Angeles, California 90046 To bid via the internet please visit +1 (323) 436 5425 Back cover: Lot 42 bonhams.com www.bonhams.com/24771 [email protected] PROPERTY COLLECTION PREVIEW Please note that bids should be Kathy Wong NOTICE San Francisco submitted no later than 24hrs Specialist, Fine Arts This sale previews in multiple Friday July 27, 12pm to 5pm prior to the sale. New and +1 (323) 436 5415 cities. Please note the property Saturday July 28, 12pm to 5pm returning bidders will need valid [email protected] will be available for collection Sunday July 29, 12pm to 5pm proof of identity on file. Failure at our Los Angeles gallery at to do so may result in your bid San Francisco the time of the auction. Local, Los Angeles not being processed.. Aaron Bastian out-of-state and international Friday August 3, 12pm to 5pm Specialist, Fine Arts buyer property will remain Saturday August 4, 12pm to 5pm LIVE ONLINE BIDDING IS +1 (415) 503 3241 available for collection in our Sunday August 5, 12pm to 5pm AVAILABLE FOR THIS SALE [email protected] Los Angeles gallery after the Please email bids.us@bonhams. auction. All Northern California SALE NUMBER: 24771 com with “Live bidding” in buyer property will be shipped Lots 1 - 143 the subject line 48hrs before to our San Francisco gallery for the auction to register for this collection. Please contact the CATALOG: $35 service. department or cashiers with inquiries or shipping requests. Bidding by telephone will only be accepted on a lot with a lower REGISTRATION estimate in excess of $1000 IMPORTANT NOTICE Please note that all customers, Please see pages 114 to 118 irrespective of any previous for bidder information including activity with Bonhams, are Conditions of Sale, after-sale required to complete the Bidder collection and shipment. Registration Form in advance of the sale. The form can be found at the back of every catalogue and on our website at www. bonhams.com and should be returned by email or post to the specialist department or to the bids department at [email protected] To bid live online and / or leave internet bids please go to www.bonhams.com/ auctions/24771 and click on the Register to bid link at the top left of the page.

Bonhams 220 San Bruno Avenue San Francisco, California 94103 © 2018, Bonhams & Butterfields Auctioneers Corp.; All rights reserved. Bond No. 57BSBGL0808 1 WILLIAM SAMUEL PARROTT (1843-1915) Exhibited Shoshone Falls (Snake River, Idaho) East Oakland, The Home Club, Loan Collection of Pictures, no. 23, signed ‘W.S. Parrott’ (lower right), titled on a later label (affixed to the n.d. [1904-1919]. frame) New York, Whitney Museum of American Art, The American Frontier: oil on canvas Images and Myths, June 26 - September 16, 1973. 42 x 60 1/2in overall: 60 x 77in Literature Painted circa 1880 “The American Frontier: Images and Myths,” The Connoisseur, vol. 184, 1973, p. 132, fig. 3, illustrated. $8,000 - 12,000 Patricia Hills, The American Frontier: Images and Myths, New York, Whitney Museum of American Art, 1973, no. 50, p. 61. Provenance Ellen Halteman Schwartz, Northern California Art Exhibition Catalogues Private collection. (1878-1915): A Descriptive Checklist & Index, La Jolla, 1990, p. 15, Gift to the present owner from the above, 1919. 92. Sold to benefit the Acquisition Fund of the Fine Arts Museums of San Francisco.

4 | BONHAMS 2 WILLIAM KEITH (1838-1911) The Rev. Worcester cottage was as architecturally significant then A view of Reverend Joseph Worcester’s House, Piedmont, California as it is today. Rev. Worcester’s interest in architecture was a natural unsigned extension of his spiritual views on the harmony of God in nature. He oil on canvas is credited with developing a California version of the Shingle Style 16 3/8 x 27 14in architecture, known today as the First Bay Tradition, which counted overall: 26 1/2 x 37 1/4in architects Bernard Maybeck, Julia Morgan, and John Galen Howard as Painted circa 1883 its best-known adherents.

$15,000 - 20,000 In keeping with the philosophy of the Shingle Style, the emphasis was on harmony with nature through the use of humble materials and guild Provenance craftsmanship. Evident in the present work is the natural redwood Private collection, California. façade, which was both abundant, inexpensive, and helped to blend the architectural mass into the landscape. The present work depicts an idyllic pastoral view of the Piedmont Hills with a sweeping panorama of the San Francisco Bay and Marin The work relates to two known oil paintings of the same subject, both County beyond. Notably pictured in the midground is a cottage which of a similar size and dated 1883, in private collections. the Reverend Joseph Worcester designed for himself in 1876. 1 Scott A. Shields, Artists at Continent’s End: The Monterey Peninsula Rev. Worcester was a Swedenborgian minister whose spiritual beliefs Art Colony, 1875 - 1907, Berkeley, University of California Press, 2006, were compatible with the Transcendentalist philosophy of his day. Keith p. 44. was sympathetic to his beliefs, and became a close friend in the late 1870s. According to Scott A. Shields, Keith visited Rev. Worcester at his Piedmont home as well as his church in San Francisco and included the home in more than one landscape painting of the Piedmont hills.1

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 5 3 4

3 4 THEODORE WORES (1859-1939) GRACE CARPENTER HUDSON (1865-1937) Fruit seller, Samoa Untitled (Head, Little Upper Lake Girl) signed ‘Theodore Wores.’ with a signature and date pentimento ‘April signed ‘G. Hudson’ (lower left), signed again and inscribed ‘Grace 1902’ (upper right), titled (on the reverse) Hudson/Ukiah Cal/102.’ (on the reverse) oil on canvas board oil on academy board 16 x 10in 5 3/8 x 3 11/16in overall: 19 1/2 x 13 3/4in overall: 9 x 7in Painted in 1902 Painted in 1897

$10,000 - 15,000 $3,000 - 5,000

Provenance Literature Private collection, Hawaii, prior to June 2009. Searles R. Boynton, The Painter Lady Grace Carpenter Hudson, Private collection, California. Eureka, 1978, p. 161, no. 102, black and white thumbnail illustration.

6 | BONHAMS 5 AMÉDÉE JOULLIN (1862-1917) Literature The Passing of the Wampum Belt “Among the Artists,” San Francisco Call, Vol. 82, No. 76, August 15, signed and dated ‘Amédée Joullin 97.’ (lower right) 1897, p. 11 (as ‘The Exchange of the Wampum Belt’). oil on canvas Arthur I. Street, “California Artists - III: The Work of Amédée Joullin, 36 1/2 X 57 1/4in Overland Monthly, Vol. XXXIII, No. 193, January 1899, p. 4, 9, black overall: 51 1/4 x 72 3/8in and white line illustration. Painted in 1897 “Artist A. Joullin is Highly Honored,” San Francisco Call, Vol. 87, No. 185, May 24, 1900, p. 9 (as ‘The Passing of the Wampum Belt’). $40,000 - 60,000 “Honors for Amédée Joullin,” The Argonaut, Vol. XLVI, No. 1211, May 28, 1900, p. 14 (as ‘Passing of the Wampum Belt’). Provenance The Luzern Hotel, Lake Geneva, Wisconsin, 1959. Private collection, Lake Geneva, Wisconsin, and Sun City, Arizona owner of the above Private collection, Taos, New Mexico, by family decent, 2008.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 7 6

6 7 PERCY GRAY (1869-1952) WILLIAM BRUCE (1861-1911) A Marin view Mountain Cabin signed ‘Percy Gray’ (lower left) signed and dated ‘W. Bruce. 1910’ (lower left) gouache, watercolor, and graphite on paper oil on canvas sheet 10 x 13 15/16in 18 x 30 1/4in overall: 17 x 21in overall: 27 1/2 x 39 1/2in Painted in 1910 $5,000 - 7,000 $3,000 - 5,000

Provenance Property of a private collector.

8 | BONHAMS 8 THOMAS HILL (1829-1908) The Grizzly Giant and The Wawona (a pair) each signed ‘T. Hill’ within the composition (lower right), titled within the composition (lower center) oil on unprimed redwood panel each 45 x 10 1/8in overall: 48 1/2 x 13 1/2in

$15,000 - 20,000

Provenance Private collection, California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 9 9 FRANCIS JOHN MCCOMAS (1875-1938) Exhibited Monterey Twilight Carmel, The Carmel Art Association presents an exhibition of works by signed and dated ‘Francis McComas 1902’ (lower left) the Botkes, the McComases, the Seidenecks, August 4 - September watercolor on wove paper 6, 1988, no. 83. 26 1/8 x 34 3/4in Sacramento, Crocker Art Museum; Laguna Beach, Laguna Art overall: 31 3/4 x 40 3/8in Museum; Santa Barbara, Santa Barbara Museum of Art; and Monterey, Painted in 1902 Monterey Museum of Art, Artists at Continent’s End: The Monterey Peninsula Art Colony, 1875-1907 [traveling exhibition], February $10,000 - 15,000 17 - May 21, 2006, June 18 - October 1, 2006, October 21, 2006 - January 21, 2007, and February 3 - April 29, 2007, respectively. A copy of the documentary on DVD, Don’t Pave Main Street: Carmel’s Heritage, hosted and narrated by Clint Eastwood, accompanies the Literature lot. Eugen Neuhaus, The History and Ideals of American Art, Stanford, Stanford University Press, 1931. Provenance Ruth Westphal, Plein Air Painters of California: The North, Irvine, with Perlmutter Fine Arts, San Francisco, California. Westphal Publishing, 1986, p. 113, half page color illustration. Collection of Penny L. Perlmutter and Alfredo F. Fernandez, San Botke - McComas - Seideneck [exh. cat.], Carmel, Carmel Art Francisco, California. Association, 1988, n.p., full page color illustration. Private collection, San Francisco, California. William H. Gerdts, Art across America: Two Centuries of Regional Painting in America, 1710-1920, Vol. 3 (The Far Midwest, the Rocky Mountain West, the Southwest, the Pacific), New York, Abbeville Press, 1990, no. 3.213, p. 276, half page color illustration. William T. Cartwright and Julian Ludwig, Don’t Pave Main Street: Carmel’s Heritage, [documentary], June 1994.

10 | BONHAMS 10 PERCY GRAY (1869-1952) Eucalyptus Grove signed ‘Percy Gray’ (lower left) oil on canvas 16 1/4 x 20in overall: 22 1/2 x 26 1/2in

$12,000 - 16,000

Provenance The artist. Private collection, San Francisco, acquired from the above. Thence by family descent.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 11 11 FRANCIS JOHN MCCOMAS (1875-1938) View along the bay signed and dated ‘FMcComas 99’ (lower left) watercolor on paper sheet 16 1/4 x 8 5/8in overall: 24 x 16 3/8in Painted in 1899

$3,000 - 5,000

12 XAVIER MARTINEZ (1869-1943) Untitled (Poplars and Figures) stamped with the artist’s device ‘XM’ (lower right) monotype on paper sheet 7 13/16 x 7 5/8in overall: 11 3/4 x 11 3/8in Printed circa 1915-1918

$1,000 - 1,500

Provenance The artist. Gift to Mabel Whitmore (1893-1980), Oakland, California, from the above, circa 1915-1918. Private collection, from the estate of the above.

Mabel Whitmore graduated from the California College of Arts and Crafts in 1915, and taught drawing at the school for two years thereafter. Xavier Martinez was a fellow instructor at CCAC during this time. As commonly practiced by artists, the present work was given to Whitmore in exchange and gratitude for creative work. Whitmore never found commercial success; instead, she devoted herself to art instruction in the Oakland public school system for thirty years.

12 | BONHAMS 13 WILL SPARKS (1862-1937) The Stevenson House signed ‘Will Sparks’ (lower left) oil on canvas 12 1/2 x 15 1/2in overall: 18 3/4 x 21 3/4in

$4,000 - 6,000

Provenance with William A. Karges Fine Art, Carmel, California. Private collection, Monterey, California. Sale, Bonhams, San Francisco and Los Angeles, California and Western Paintings & Sculpture, August 7, 2012, sale 20033, lot 45. Private collection, California.

The Stevenson House was a 19th Century Spanish adobe- turned-rooming house called the French Hotel, named after its best-known boarder, Robert Louis Stevenson. Stevenson lived at the house from September to December 1879 while writing The Amateur Emigrant about his journey to California. 1 The hotel became an enclave for the city’s Bohemian set, 13 with artists such as Francis McComas, August Gay, and Clayton S. Price as residents. 2 The adobe was saved in 1937 from demolition by two architectural preservationists— Hibernia Bank heiress Celia Tobin Clark and San Francisco society woman Edith C. Chesebrough Van Antwerp—who deeded it to the state in 1941. The adobe opened as a museum dedicated to Stevenson in 1949, where it can be visited today.

1 Lori Lindberg, Guide to the Stevenson House Collection. Monterey State Historic Park, 2002, http://www.parks. ca.gov/pages/1080/files/fa_455_003.pdf. 2 Nancy Boas, The Society of Six: California Colorists, Berkeley, University of California Press, 1988, p. 135-136.

14 GOTTARDO FIDELE PONZIANO PIAZZONI (1872-1945) Oaks, Kentfield signed ‘GPIAZZONI’ (lower left), titled, signed again, dated, and inscribed ‘GFP Piazzoni 1914/Kentfield, Cal.’ (on the reverse) oil on canvas board 8 x 10in overall: 13 x 15in Painted in 1914

$4,000 - 6,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 13 15 CHARLES DICKMAN (1863-1943) Michael H. de Young was an appointed national commissioner to Four original illustrations from: A Glimpse of the Midwinter Fair, 1894. the 1893 World’s Columbian Exposition held in Chicago. During this Including: Grand Court Illuminated; The Electric Fountain; Chinese exposition, de Young saw an opportunity to stimulate California’s Procession; Santa Clara, Santa Barbara, and Alameda County depressed economy. Despite the concerns of conservationists buildings like John McLaren who feared extensive damage to the park, the each watercolor, gouache and ink on paper Midwinter Fair opened on January 27, 1894. The fair featured 7 5/8 x 10 5/8in (two); 7 1/4 x 10 5/8in; and 11 x 8in numerous attactions, and covered 200 acres centered on what is overall: 12 3/4 x 16in (two); 14 x 17in (two) the park’s current Music Concourse. More than 100 buildings were Executed in 1894 erected for the exposition, and it was estimated that more than two million people attended. The Fine Arts building of the fair became $4,000 - 6,000 the original M.H. de Young Memorial Museum, although it was subsequently rebuilt and another remaining attraction is the Japanese Provenance Tea Garden. Collection of the artist. Gift from the above to George W. Phelps, Monterey, California. Published in 1894 by Dickman-Jones Lithography in San Francisco Private collection, Northern California. the work consisted of 8 color illustrations of the fair.

14 | BONHAMS 16 WALTER L. GREENE (1870-1956) The present work depicts the construction of the Golden Gate Bridge The construction of the Golden Gate Bridge from San Francisco looking north toward Marin. Based on historic signed and inscribed ‘Walter L. Greene/ photographs, the phase of construction dates to between February © GENERAL ELECTRIC CO.’ (lower left) and March 1935. The nearly-completed Marin Tower stands formidably oil and graphite on canvas in the background, and the early construction of the San Francisco 26 1/4 x 20 1/4in Tower is shown in the foreground. overall: 27 1/2 x 21 1/2in Painted circa 1935 The work is as striking for its meticulous detail as it is for its richly saturated color. The bridge’s vibrant orange vermillion color is arguably $4,000 - 6,000 its most defining feature, captured here to great effect.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 15 17 ARTHUR HILL GILBERT (1894-1970) House in the Hills signed ‘Arthur Hill Gilbert’ (lower left) oil on canvas 18 x 22in unframed

$3,000 - 5,000

18 WILL SPARKS (1862-1937) Moonlit Village signed and dated ‘Will Sparks 1912’ (lower left) oil on canvas 17 x 21in overall: 25 3/8 x 29 1/4in Painted in 1912

$4,000 - 6,000

Provenance Private collection, Southern California. Sale, Bonhams & Butterfields, San Francisco & Los Angeles, California and Western Paintings & Sculpture, August 7, 2012, sale 20033, lot 38. Private collection, California.

16 | BONHAMS 19 PERCY GRAY (1869-1952) Mt. Tamalpais signed ‘Percy Gray’ (lower right) watercolor and pencil on paper sight 16 x 20in overall: 20 x 24in

$12,000 - 18,000

Provenance Private collection, Northern California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 17 20 WILLIAM RITSCHEL (1864-1949) California Coast South signed ‘Ritschel’ (lower right), titled (on the paper backing) oil on board 19 3/4 x 23 3/4in overall: 21 1/2 x 25 1/4in

$20,000 - 30,000

Provenance The artist. Thence by family descent, from the estate of the above.

18 | BONHAMS 21 GRANVILLE REDMOND (1871-1935) Late Afternoon Surf signed and dated ‘G. Redmond 1906’ (lower right) oil on canvas 20 x 30in overall: 30 x 40in Painted in 1906

$25,000 - 35,000

Provenance Private collection, Southern California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 19 22 THEODORE WORES (1859-1939) The Wild Flowers of the Sand Dunes, San Francisco signed ‘Theodore Wores’ (lower right), titled and signed again ‘Theodore Wores’ (on the reverse) oil on canvas 12 x 16 1/4in overall: 19 3/8 x 23 1/4in

$12,000 - 18,000

Provenance with Spanierman Gallery, New York, New York. Private collection, Northern California.

20 | BONHAMS 23 GEORGE DEMONT OTIS (1879-1962) Fog and Sunshine (The Presidio) signed ‘GEO. DEMONT OTIS’ (lower right), titled, inscribed and signed again ‘San Francisco, Calif/Geo Demont Otis’ (on the reverse) oil on canvas 22 x 27in overall: 27 1/8 x 32 1/4in Painted circa 1930

$5,000 - 7,000

Provenance The artist. Dr. Frank B. Robinson, Moscow, Idaho; Monterey, California; and Wichita, Texas, gift from the above, circa 1930-1979. Alfred Robinson, Albuquerque, New Mexico, by descent after 1979. with A.J. Kollar Fine Paintings, Seattle, Washington, 1998. Private collection, California.

We wish to thank the five beneficiary siblings of Grace Van Tine Hartley, niece of the artist, for their kind assistance with cataloging the lot. 23

24 RINALDO CUNEO (1877-1939) Lover’s Point, Pacific Grove signed ‘RINALDO CUNEO’ (lower center) oil on bristol board sheet 16 x 21in overall: 23 1/2 x 27 7/8in

$4,000 - 6,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 21 25 MAURICE LOGAN (1886-1977) Reviewing the day’s catch signed ‘MAURICE LOGAN’ (lower left) oil on canvas affixed to board 21 1/2 x 27 1/2in overall: 25 x 31 1/4in

$10,000 - 15,000

Provenance Private collection, Colorado.

22 | BONHAMS 26 JULES EUGENE PAGES (1867-1946) Exhibited Window Shopping, Chinatown, San Francisco (Probably) San Francisco, California Palace of the Legion of Honor, signed ‘JULES PAGES-’ (lower right) and titled (on the stretcher bar) Jules Pages Memorial Exhibition, September 1946, no. 24. oil on canvas 15 1/4 x 18 1/4in Pages is well-regarded for his unmitigated scenes of the hustle overall: 22 x 25in and bustle of San Francisco’s Chinatown. Often tightly cropped, his compositions reflect a journalistic eye, unlike some of his $15,000 - 20,000 contemporaries whose focus was on the picturesque through a romanticized lens. Provenance with Graves Gallery, San Francisco, California. with William A. Karges Fine Art, Carmel, California. Private collection, California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 23 27

27 28 DEDRICK B. STUBER (1878-1954) WILLIAM LOUIS OTTE (1871-1957) Blue Waters, Monterey California coast signed ‘Dedrick B. Stuber’ (lower right) signed and dated ‘William Louis Otte 1921’ (lower left) oil on canvas pastel and conte crayon on paperboard 20 x 30 1/4in 22 x 28in overall: 27 x 37in overall: 23 3/8 x 29 1/2in Executed in 1921 $4,000 - 6,000 $4,000 - 6,000

Provenance Private collection, Vermont.

24 | BONHAMS 29 JEANETTE MAXFIELD LEWIS (1894-1982) Little Valley signed ‘J.M. Lewis’ (lower right), titled (on the reverse) oil on canvas board 18 x 24in overall: 23 1/4 x 29 1/8in

$8,000 - 12,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 25 30 ARMIN CARL HANSEN (1886-1957) The Helmsmen signed ‘Armin Hansen ANA’ (lower right), titled and inscribed ‘BY / ARMIN HANSEN / MONTEREY / CAL’ in the artist’s hand (on the backing) oil on board 13 1/8 x 14 13/16in overall: 18 3/4 x 20 1/2in

$20,000 - 30,000

Provenance Property sold to benefit a California institution.

While the date of the present work is unknown, it was painted between 1926 and 1947 when Hansen held an Associate distinction as a member of the National Academy of Design. Hansen became a full member of the NA in 1948.

26 | BONHAMS 31 ARMIN CARL HANSEN (1886-1957) dealer Earl Stendahl, “When last I wrote you I was just about broke Cowboy Sport (Bulldogging) —— now I am.” In an effort to survive the difficult Depression years, signed ‘ARMIN HANSEN’ (lower right), titled and inscribed ‘Salina [sic] Hansen exhibited as much as he could, took on as many commissions Rodeo / by / Armin Hansen / Monterey Co.’ in the artist’s hand (on the as he was offered (both with portrait as well as mural projects), and reverse) painted “everything, anything” to make ends meet. Los Angeles oil on canvas board reviewer Arthur Millier noted the broadened array of his work, writing 16 x 20in “Hansen comes ashore, too, and paints or etches a rodeo or the hills overall: 23 1/2 x 27 1/2in back from Monterey. And he has gentle moments when he paints delicate still lifes of glass and tableware.” Hansen had painted rodeo $70,000 - 100,000 subjects before. He produced his first rodeo compositions in 1913, after a friend took him to a rodeo in Salinas, just East of Monterey. Provenance In 1930, he reintroduced the subject in a Los Angeles exhibition, Property sold to benefit a California institution. which stood out among his marines and led a reviewer to declare that In a 1932 review of Hansen’s work, a writer for the Los Angeles Hansen had “gone western.” Examiner wrote: “He does not pause for the niceties of polishing In Cowboy Sport (Bulldogging) Hansen frames the scene for the viewer touches and his work is the stronger for this spontaneity.” Hansen’s with a delineated audience leaning against a fence. They are casually best work always treads at the edge of speed and fidelity to his subject attentive but lack the tension of the riders. Their passive participation without overworking his material. This aggressive and confident style is echoes the experience of a viewer of the painting, only they find often reflected in the intrepidness of his subjects. themselves at the edge of a cloud of dust. Just above this audience, Armin Hansen formally trained in San Francisco and Europe, Hansen’s focus is on the chaotic movement of the horsemen and the afterwards working as a crew member on North Sea trawlers and brown haze kicked up in their wake. Almost lost amongst tan clouds painting fishing scenes, maritime seascapes, and picturesque villages of dust, like Hansen’s boats tossed on the waves of the Pacific, a of the coast. His experience with the resilient and hardworking number of additional horsemen can be discerned in the distance seafaring community became a repeated theme in his artistic coming towards the viewer. Compositionally the work is divided into representations. Hansen made a good living as a painter in the two horizontal lines but the mastery is in Hansen’s snapshot of the 1920s. Demand for his work was strong and his career seemed solid. spur-of-the-moment movement - all the more gripping by what he However, the stock market crash of 1929 hit Hansen as much as leaves obscured. every other American. Not only did his savings disappear, so did his patronage. In late November of that year, he wrote to his Los Angeles

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 27 32 WILLIAM RITSCHEL (1864-1949) Toilers, Katwijk, Holland signed ‘W. Ritschel / N.A.’ (lower right), titled and signed ‘by W. RITSCHEL / N.A.’ and with the artist’s device (on the reverse) oil on canvas 30 1/4 x 36in overall: 34 1/4 x 40 1/4in

$30,000 - 50,000

Provenance The artist. Thence by family descent, from the estate of the above.

28 | BONHAMS 33 ARTHUR HILL GILBERT (1894-1970) Exhibited Cloudy Day, Giverny, France Philadelphia, The Pennsylvania Academy of Fine Arts, One Hundred signed, dated and inscribed ‘ARTHUR HILL GILBERT/FRANCE 1927’ and Twenty-third Annual Exhibition of Painting and Sculpture, January (lower left), signed again ‘Arthur Hill Gilbert’ (on the reverse) 9, 1928, no. 1314. oil on canvas 32 x 40in Literature overall: 36 1/2 x 44 1/2in The Pennsylvania Academy of Fine Arts, Catalog of the One Hundred Painted in 1927 and Twenty-third Annual Exhibition of Painting and Sculpture, 1928, p. 32. $20,000 - 30,000

Provenance Property of a prominent collector.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 29 34 SELDEN CONNOR GILE (1877-1947) Provenance Sun-washed street with figures strolling, thought to be Tiburon Estate of the artist. signed and dated ‘SC Gile 29’ (lower right) Collection of Elizabeth C. Hall. oil on board Acquired from the above. 14 7/8 x 18in Private collection, Northern California. overall: 19 1/2 x 22in Painted in 1929

$50,000 - 70,000

30 | BONHAMS 35 SELDEN CONNOR GILE (1877-1947) Provenance Still Life with Marigolds Estate of the artist. signed ‘Gile’ and dated indistinctly (lower left) Collection of Elizabeth C. Hall. oil on canvas Acquired from the above. 18 x 15in Private collection, Northern California. overall: 25 x 22in

$15,000 - 20,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 31 36 Provenance SELDEN CONNOR GILE (1877-1947) Portrait of August Gay with Maxwell Galleries, San Francisco, California. unsigned Private collection, San Francisco, California. oil on board Exhibited 15 1/2 x 11 1/2in overall: 20 1/4 x 16 1/4in Belmont, Wiegand Gallery, Notre Dame de Namur University. Society Of Six: American Masters of Color, March 11 - April 19, 2003. $10,000 - 15,000

32 | BONHAMS 37 BERNARD VON EICHMAN (1899-1970) Provenance Hong Kong Scene; Houses (double-sided) The artist. unsigned Mildred Stazer von Eichman, wife of the artist, by descent. watercolor on paper Thence by family descent. 11 1/4 x 8 1/2in overall: 11 1/4 x 8 1/2in

$15,000 - 25,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 33 38 SELDEN CONNOR GILE (1877-1947) Figures in boats signed ‘SC Gile’ (lower right) oil on board 6 1/2 x 7 1/2in overall: 11 1/2 x 13 3/4in

$8,000 - 12,000

Provenance Estate of the artist. Collection of Elizabeth C. Hall. Acquired from the above. Private collection, Northern California.

39 SELDEN CONNOR GILE (1877-1947) Mule cart signed and dated ‘S C Gile 32’ (lower left) watercolor on paper 9 x 11 3/4in overall: 15 1/4 x 18 1/4in Painted in 1932

$2,000 - 4,000

Provenance with WIM Fine Arts, Oakland, California. Private collection, San Francisco, California.

Literature James L. Coran and Walter A. Nelson-Rees, Paintings by Selden Connor Gile 1877-1947, Oakland, 1983, p. 56, no. 71.

A note, signed by Elizabeth C. Hall, regarding this work, is attached to the reverse.

34 | BONHAMS 40 FILASTRO MOTTOLA (1915-2008) Umbrella’s [sic] on Laguna Beach with View of Hotel signed ‘Mottola’ (lower left), signed and titled ‘©Mottola’ (on the reverse) oil on masonite 10 x 12in overall: 17 1/2 x 19 1/2in

$4,000 - 6,000

41 FILASTRO MOTTOLA (1915-2008) View from 415 Blumont, Laguna Beach signed ‘Mottola’ (lower center), signed again and titled ‘© Filastro Mottola’ (on the reverse) oil on masonite 10 x 12in overall: 17 1/2 x 19 1/2in

$3,000 - 5,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 35 42 WILLIAM WENDT (1865-1946) 14, 1926. Patriarchs of the Grove California Graphic, March 30, 1929, cover illustration. signed and dated ‘·WILLIAM WENDT· 1920·’ (lower left), titled (on the Letter from Julia Bracken Wendt to Earl Stendahl, July 23, 1926. stretcher bar), inscribed ‘347’ (on the reverse) Progressive Arizona, Vol. 3, No. 5, May 1927. oil on canvas Letter to Earl Stendahl, July 29, 1927. 40 x 50in Letter to Earl Stendahl, January 18, 1928. overall: 51 1/4 x 61 1/4in Marshall Breeden, The Romantic Southland of California, Los Angeles, Painted in 1920 The Kenmore Publishing Co., 1928, frontispiece. California Graphic, March 30, 1929, cover illustration. $250,000 - 350,000 Unidentified clipping, circa late 1920s, with caption comparing Patriarchs of the Grove to Joyce Kilmer’s poem, Trees: ‘I think that I Provenance shall never see/A poem lovely as a tree...’ The artist. Constance W. Glenn and Sue Taylor-Winter, eds., In Praise of Nature: with Stendahl Art Galleries, Los Angeles, California, 1926. The Landscapes of William Wendt [exh. cat.], Long Beach, California Alvah Griffin Strong (1900-1966), Tuckaway Farm, Rochester, New State University, University Art Museum, 1989, p. 19. York, and Nassau, Bahamas, acquired from the above, circa 1929. John Alan Walker, Documents on the Life and Art of William Wendt, (Alvah Griffin Strong was the grandson of Henry Alvah Strong, California’s Painter Laureate of the Paysage moralise, Big Pine, 1992, co-founder and President of Eastman Kodak, 1880-1919.) p. 53, 54, 94, 99, 113, 176, no. 513. Thence by descent in the Strong family until 2013. Will South, Jean Stern, Janet Blake, In Nature’s Temple, The Life and Private collection, Washington, 2013 to the present. Art of William Wendt, Irvine, 2008, p. 249, black and white archival image. Exhibited Melville Holmes and Kathryn Brogdon, “Images about the American Chicago, The Art Institute of Chicago, Exhibition of Paintings by William West,” American Art Review, Vol. XXIV, No. 2, March/April 2017, p. 94, Wendt and Sculpture by Julia Bracken Wendt, September 22 - color illustration. October 23, 1921, no. 7. Los Angeles, Exposition Park, Los Angeles Museum of History, Science, and Art, Thirteenth Annual Exhibition California Art Club, October 19 - November 19, 1922, no. 77 (awarded the Mrs. Henry E. Huntington Prize). Oakland Art Gallery, Fourth Annual Exhibition of Paintings, February 1926. Los Angeles, Stendahl Art Galleries, William Wendt and His Work, April 15 - May 15, 1926, no. 72. Spokane, Washington, Jundt Art Museum, Images about the American West, January 9 - May 13, 2017.

Literature Letter to Earl Stendahl, May 15, 1922. Exhibition of Paintings by William Wendt and Sculpture by Julia Bracken Wendt, The Art Institute of Chicago, 1921 [exh. checklist], no. 7, n.p. “Prize Winners Named,” Los Angeles Times, November 5, 1922, p. I15, illustrated. Quarterly bulletin of the Los Angeles Museum of History, Science and Art, Vol. IV, No. 2, January 1923, cover illustration. Letter to Earl Stendahl, November 14, 1923. Letter to William Wheeler, December 4, 1923. California Life, January 19, 1924, p. 10, illustrated. Letter from Earl Stendahl, January 22, 1924. California Graphic, June 28, 1924, p. 11, illustrated. Letter to Earl Stendahl, November 2, 1925. Letter to Earl Stendahl, January 20, 1926. Antony Anderson, Fred Hogue, Alma May Cook, and Arthur Millier, William Wendt and His Work, Los Angeles, Stendahl Art Galleries, 1926, p. 86, no. 72, color illustration on dust jacket and black and white full page illustration. Oxnard Courier, April 17, 1926, n.p. California Graphic, April 17, 1926, cover illustration. The catalogue cover for Wendt’s one-man exhibition at Stendahl Art Galleries in 1926 featuring Patriarchs of the Grove. Arthur Millier, “Of Art and Artists: Wendt’s California in Largest Showing” Los Angeles Times, April 25, 1926, p. C30. “Book Tells Life Story and Work of William Wendt,” Laguna Life, May

36 | BONHAMS CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 37 (Left) A photograph of Patriarchs of the Grove in the 1921 exhibition at The Art (Right) A photograph of an earlier, related work, The Grove, 1915. The Grove was Institute of Chicago. A standout of the show, it hung in good company with two previously owned by industrialist Mr. Clarence A. Black and lent by the University works from prominent collectors: To Mountain Heights and Beyond, 1920 (far Club of Seattle to Wendt’s 1926 one-man exhibition at Stendahl Art Galleries. It left) was lent by Mr. and Mrs. William Preston Harrison, and Tahoma the Silent, was on view with Patriarchs of the Grove. Black was the founder and President 1914, was lent by Mr. Clarence Alexander Black. of the Cadillac Motor Car Company. Raised in Detroit, he moved to Santa Barbara in 1911, where he commissioned a hacienda and estate called El Cerrito in the Mission Revival style that still exists today.

William Wendt, considered a giant among American Impressionists, is Patriarchs of the Grove exemplifies the artist’s ability to capture the often referred to as “The Dean of Southern California”. His adoption of magnificence of the California landscape. The composition begins in an impressionistic style can be dated to 1896-97, when he and his shadows of deep reds and oranges and gradually leads one through close friend George Gardner Symons were painting together on the the center of the painting, with its massive, mature sycamore trees. Malibu Rancho near Los Angeles. Both men were in the avant-garde Gradually the eye leads to sun-dappled trees, a clearing and eventually of American painters at the time in that they were open to the the bright sunny sky above distant majestic mountains. Wendt is Impressionist style that had begun in France in the mid-19th century. directing the viewer’s gaze to ascend to the heavens, the very source Southern California was a perfect location for translating the bright of his inspiration. He seldom depicted figures in his landscapes, colors, atmospheric conditions, and shimmering light that were instead focusing on capturing the dignity and spirituality he saw as characteristic of the French Impressionist style to a quintessentially inherent to the landscape. American location. It is believed that William Wendt painted Patriarchs of the Grove in Before 1915, Wendt worked with rather tentative, feathery 1920 on the grounds of the King Gillette Ranch in Malibu. brushstrokes, but thereafter he developed a bold, self-confident style which one critic termed “masculine impressionism”. It melded Patriarchs of the Grove is among a coveted handful of his large scale impressionism with a distinctly modernist flair. He produced prize-bestowed canvases. As in the present work, Wendt imparted landscapes with a signature broad, bold brush work. Eugen Neuhaus thoughtful, anthropomorphic and poetic titles to many of his best wrote of Wendt, “He sings of spring in its rich greens and more often of canvases. He gave his works such titles as The Three Guardsmen, the joyful quality of summer in typical tawny browns, in decorative 1926, Guardians of the Road, 1938, A Woodland Trinity, 1929, An broad terms.” Autumnal Procession, 1923, Youth and Old Age, 1905, Young Sycamores Struggling for a Place in the Sun, 1929, Their Glorious William Wendt’s landscapes reveal as much about the grandeur of the Fling, 1931, The Willow Preening, 1938, The Interview, 1929, The Hills West as the artist’s own religious beliefs. Wendt believed in the theory Proclaim Their Dryness, 1931, The Mourners, 1934, Naked Trees, of intelligent design and believed that God’s creative purpose for the 1932, The Scarlet Robe, 1899, Vandalism, 1916, Trees, They are My Earth is as evident in the natural world as in scripture. The tranquility, Friends, 1931, The Friendly Trees Hold Out Their Arms to Me, 1933. In strength and sense of well-being of his work appealed to a wide all of these works, Wendt conveys his love of the California landscape audience. It had a sober sort of poetry about it, one critic wrote, “like a and the trees that surround him. fine, familiar hymn”. Wendt painted exactly what he saw in nature with warm colors and outstanding effects of light and shadow. The significance of Patriarchs of the Grove within Wendt’s body of work is elegantly testified by the painting’s extensive publication history. Patriarchs of the Grove, with its bright, broad and lively brushwork, Images of Patriarchs of the Grove dominated the art scene of Southern emphasizes the contrast between the immortality of the landscape and California from just after the Great War until the dawn of the Great the mortality of its creator. The juxtaposition of these two truths, both Depression. It was included in the most respected art journals of the of which Wendt deeply believed, appear frequently throughout his time, beginning with the cover illustration of the Bulletin of the Los landscape compositions. Arthur Millier, an influential art critic at the Los Angeles Museum in 1923; California Life Magazine, 1924; California Angeles Times, wrote of Wendt in 1926: “A man who can compose so Graphic three times: once in 1924 and as the cover illustration in 1926 surely and strongly has to know where he stands in relation to life, he and again in 1929; the Oxnard Courier in 1926; the Los Angeles Times must see the world as a moral creation, a thing of inevitable laws and in 1926; Laguna Life in 1926; and Progressive Arizona in 1927. It was definite structures.” the frontispiece of Marshall Breeden’s book, The Romantic Southland of California, 1928. In the 1920s it was also referenced in an article

38 | BONHAMS ‘He sings of spring in its rich greens and more often of the joyful quality of summer in typical tawny browns, in decorative broad terms.’ - Eugen Neuhaus

William Wendt, circa 1920s, painting en plein air. Photo credit: OC Stories Photos, Lorna Mills/Laguna Federal Collection #131, Orange County Public Libraries, www.ocstories.org.

comparing the painting to Joyce Kilmer’s famous poem, Trees. Its and quality of his many canvases show us a Wendt little known, even crowning glory was as the cover illustration of Wendt’s 1926 Stendahl to his intimate friends. We think and firmly believe that no exhibition in Galleries Exhibition Catalog. the past, or even in the future, will leave as profound an impression on this community as the present one. Wendt has given us California as Patriarchs of the Grove is illustrated on the dust jacket for the 1926 she really is, and his work will live to be the most enduring record of Stendahl Galleries one-man exhibition of paintings by William Wendt. In our beloved state.” describing the painting in his review of the show, chief art critic of the day Antony Anderson declared that it was “A canvas that is at once Mr. and Mrs. Alvah Griffin Strong were the original owners of the work, dignified and beautiful”. With a price of $2,500, it was the most and the Strong family provenance is notable. The Strongs arrived in expensive painting in the show. In 1922 it won the Mrs. Henry E. Massachusetts during the Colonial Period, but branched out to Huntington Prize at the Los Angeles Museum. Some years earlier, a Rochester, New York in 1821 with Ezra Strong (1777-1846). He was a similar monolithic work The Grove, won Wendt the Clarence A. Black medical doctor by training, but became a merchant by 1809. Ezra Prize at the California Art Club. Strong laid the groundwork for civic and business engagement of the Strong family in the Rochester area, where he raised six children, It bears noting the importance of Stendahl Galleries to the art scene in including Alvah Strong (1809-1885). Alvah Strong became very Los Angeles for over fifty years. Earl Stendahl began selling the works influential in town as the founder and associate publisher of the of local painters and opened his first gallery at the inauguration of the Rochester Democrat, a whig-party newspaper which he ran for 30 Ambassador Hotel in Los Angeles in 1921. Stendahl Galleries emerged years. 1 He was effectively the patriarch of the Rochester clan, serving as one of the most innovative and influential art galleries in Southern as a deacon for his local church and a namesake for two generations. California. By the 1930s, the gallery had established its reputation as Alvah’s son, Henry Alvah Strong (1838-1919), became the best-known the premier dealer in painters of the California Impressionist School. descendant as a partner and the first president of the Eastman Kodak William Wendt, Guy Rose, Edgar Payne, Joseph Kleitsch and Nicolai Company from 1880 to 1919. He was by far the most commercially Fechin were part of the early Stendahl stable of artists. Representation successful of the family, amassing considerable wealth but also by Stendahl Galleries gave artists international fame and increased establishing a legacy of philanthropy. Henry Alvah and his wife Hattie fortune. In the gallery’s later years they sold works by modern artists M. Strong were known collectors of paintings and Native American such as Pablo Picasso, Henri Matisse, Georges Braque, Marc Chagall baskets, and likely set a precedent for the heirs. Alvah Griffin Strong and Paul Klee. Earl Stendahl was known to advise several major art (1900-1966) was a grandson of Henry Alvah Strong, and like his collectors of the day including Nelson Rockefeller, William Randolph sibling, inherited shares of Kodak stock in Trust. By the age of 25, he Hearst, Thomas Gilcrease and curators from many museums including had a considerable inheritance, allowing him to commission a 48-acre the Louvre. country estate and 20,000 square foot mansion called Tuckaway Farm, in addition to owning Alasa Farms on Sodus Bay. Correspondence between William Wendt and Earl Stendahl over the years reveals a strong relationship. Before one exhibition for the artist A copy of the hardcover Stendahl Art Galleries 1926 one-man in 1922, Stendahl wrote, “I will try and make this a corking good show exhibition catalogue titled William Wendt and His Work accompanies and feel that a lot of things will be turned [sold].” The gallery had this lot. It is personally signed and dedicated to Mr. and Mrs. Alvah tremendous success in selling Wendt’s paintings, which led to a Griffin Strong and retains its original dust jacket. second one-man show for the artist’s work in the Spring of 1926. Ahead of the show Stendahl wrote the following press release: “It is 1 Benjamin Woodbridge Dwight, The History of the Descendants of with great pride that we offer this exhibition by William Wendt, A.N.A. Elder John Strong of Northampton, Mass., Vol. 2, Albany, Joel Munsell, For many years he has been working for just a showing. The number 1871, p. 912.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 39 43 THEODORE WORES (1859-1939) Yosemite Valley signed ‘Theodore Wores.’ (lower left) oil on canvas board 12 x 15 7/8in overall: 20 x 23 3/4in

$8,000 - 12,000

Provenance Private collection, Northern California.

44 PAUL GRIMM (1891-1974) South Palisades, High Sierras signed ‘PAUL GRIMM’ (lower right), inscribed and titled ‘#733’ (on the stretcher bar) oil on canvas 30 1/4 x 40 1/4in overall: 36 1/4 x 46 1/2in

$7,000 - 9,000

Provenance with George Stern Fine Arts, West Hollywood, California.

40 | BONHAMS 45 JACK WILKINSON SMITH (1873-1949) Mt. Hurd looking across South Lake signed ‘Jack Wilkinson Smith’ (lower left) oil on canvas 20 x 24in overall: 25 x 29in

$7,000 - 9,000

Provenance Private collection, Northern California.

We wish to thank Eric Jessen and Greg Horvath for their kind assistance with cataloguig the lot.

46 JACK WILKINSON SMITH (1873-1949) Sierra Cabin signed ‘Jack Wilkinson Smith’ (lower left) oil on canvas affixed to board 16 x 20in overall: 19 x 23in

$4,000 - 6,000

Provenance Private collection, Northern California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 41 47 WILLIAM WENDT (1865-1946) Literature The Mansion California Pictorial, August 3, 1929, cover illustration. signed and dated ‘-WILLIAM WENDT- 1928-’ (lower left) South Coast News (Stendahl Art Galleries advertisement), Laguna oil on canvas Beach, February 14, 1930. 30 x 25 1/4in South Coast News, Laguna Beach, March 18, 1932. overall: 36 1/2 x 31 1/2in John Alan Walker, Documents on the Life and Art of William Wendt, Painted in 1928 California’s Painter Laureate of the Paysage moralise, Big Pine, 1992, p. 164, no. 396. $30,000 - 50,000 Will South, Jean Stern, Janet Blake, In Nature’s Temple, The Life and Art of William Wendt, Irvine, 2008, p. 60, full page color illustration. Provenance with Laguna Beach Art Gallery, Laguna Beach, California. The work depicts the Susanna Bixby Bryant Ranch House in Santa with Stendahl Art Galleries, 1929, Los Angeles, California, no. 9. Ana, California, designed by architect Wallace Neff. Neff is credited Private collection, California. with pioneering a uniquely California style of architecture, drawn from Tuscan, Spanish and Mediterranean Revival influences. Bixby Bryant Exhibited was an avid horsewoman and horticulturalist who founded the Rancho Irvine, In Nature’s Temple, The Life and Art of William Wendt, Santa Ana Botanic Garden in 1927 to showcase California’s native November 9 - February 8, 2009. plants. The locale shown here was the site of the original garden. While the ranch house no longer exists, the Rancho Santa Ana Botanic Garden was relocated in 1951 to Claremont, California, and thrives to this day.

42 | BONHAMS 48 JOSEPH KLEITSCH (1882-1931) A view of Old Laguna signed and inscribed ‘JOSEPH KLITSCH [sic] / CALIFORNIA’ (lower right) oil on canvas 22 x 21in overall: 26 5/8 x 25 5/8in Painted circa 1927-1931

$50,000 - 70,000

Provenance Property from the Estate of William H. Schwingel, Aurora, Illinois.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 43 49 GUY ROSE (1867-1925) In his 1995 book Guy Rose: American Impressionist, Dr. Will South Laguna Beach writes the following, “In painting the Pacific, Rose could indulge two signed ‘Guy Rose’ (lower right) of his major pictorial interests explored at Giverny; reflections on water oil on canvas and multifarious atmosphere. It also satisfied his personal penchant for 18 1/4 x 15 1/8in creating images of solitude and quiet.” overall: 25 x 22in In describing a similar composition, Dr. South astutely notes: “What he $150,000 - 250,000 brought west was a mature understanding of translating atmospheric subtlety into paint at the same time he managed to allow individual Provenance brushstrokes to retain their identity as daubs of pigment...he makes Private collection, Newport Beach, California. the largeness of the Pacific intimate, and the often bold outline of the shore quiet. Rose understood well the possibilities of humble subject Guy Rose was one of several American artists who went to Europe matter, composition and scale, and further how a limited palette, such in the late nineteenth-century to absorb time-honored academic as the blue-green program... could express more than the outsized traditions—rigid, exact drawing and accurate, Salon-appropriate canvas of many colors. And, while Rose’s debt to French precedent paintings. He was typical, too, in that he felt the irresistible attraction to is also obvious, and his years of residence at Giverny inform this outdoor painting where nature was constantly shifting in incandescent later work, he nonetheless touches upon an early-twentieth century color. Rose would forever remain a confident and careful draftsman California aesthetic (indeed, one he helped to create) wherein the and a rigorous composer of sound compositions, but his surfaces landscape is approachable, lyrical, nuanced, and ever soothing.” would be animated by the vitality of light as actually observed. By the turn of the century, Rose and his wife, Ethel, were living in Giverny This painting depicts the main beach along Laguna’s shore on a quiet where Guy gained an intimate knowledge of the work of that little hazy day. The cliffs at the north end of the beach are where the Laguna town’s most famous artist, Claude Monet. Rose took his academic Art Museum stands today. Further down the shoreline one can see foundation and swiftly replaced it with the new modern style of the Emerald Bay and Irvine Cove. It clearly was an inspiring sight for the day, brightening his palette and adding a completely new wispy, quick artist to witness this unspoiled stretch of coastline. Rose shows off all freshness to his works. The result was to become one of the hallmarks of his impressionist skills with his high key palette and subtle variations of American Impressionism. of blues and whites. This is a classic plein air painting with clues that reveal the artist’s influences and talent. Although the scene is subtle in When Guy Rose returned to California in 1914, he brought with him mood, upon closer inspection, the variation in colors and attention to a vast firsthand knowledge of what was happening in the art world in detail are surprising. It is no wonder that Guy Rose is considered the both Europe as well as on the East Coast. This experience enabled leader in California Impressionist painting. the artist to work confidently with a broad array of compositions and colors. These works illustrate the artist at the peak of his powers. Painting up and down the California coast, Rose visited Laguna Beach in 1915 and 1916. He found the constant sunlight and postcard- perfect scenery of southern California ideal for setting up shop as an easel painter. He took advantage of his proximity to the sea and made excursions to the coast whenever possible. He actively sought the solitude of the ocean and the quaint sleepy seaside hamlets dotted along the coast.

44 | BONHAMS CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 45 50 BENJAMIN CHAMBERS BROWN (1865-1942) The Rising Fog signed ‘Benjamin C. Brown.’ (lower right), signed, titled and inscribed ‘Painted by Benjamin C. Brown/Pasadena, Cal.’ (on the reverse) oil on canvas 22 1/8 x 30in overall: 29 3/4 x 37 3/4in Painted circa 1920-1930

$4,000 - 6,000

The present work is thought to depict the Russian River in Sonoma County.

51 CHARLES DICKMAN (1863-1943) A Seascape sunset signed ‘C.J. Dickman’ (lower left) oil on canvas 24 3/4 x 41 3/4in overall: 25 1/2 x 43in

$4,000 - 6,000

Provenance Collection of the artist. Gift from the above to George W. Phelps, Monterey, California. Private collection, Northern California.

46 | BONHAMS 52 FRANK WILLIAM CUPRIEN (1871-1948) Sunset, Laguna Beach, Cal. signed ‘F.W. CUPRIEN.’ (lower right) and signed with the artist’s monogram, dated, and titled ‘FWC 1915’ (on the reverse) oil on canvas 28 x 40in overall: 37 x 49in Painted in 1915

$8,000 - 12,000

Provenance Private collection, Southern California.

53 No lot

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 47 54 JOSEPH RAPHAEL (1869-1950) Jongkindt and moved to a small cottage in Uccle, a suburb of Children of the artist Brussels. It is in Uccle where Raphael seems to have settled into his signed ‘JOE RAPHAEL’ (lower left) ‘signature’ style, that of broad brushstrokes loaded with thick paint oil on linen and bright colors. The bold impasto in his compositions is as thick as 55 1/2 x 59 1/4in one finds within Impressionist and Post-Impressionist painters. The overall: 64 x 65 5/8in artist’s children, vegetable garden and home were popular scenes for Painted circa 1925-1926 Raphael.

$80,000 - 120,000 The present work, Children of the Artist, was likely painted in the artist’s garden in Uccle. An unusually large work for Raphael, the colors Provenance are classic, brilliant Impressionist high key tones of blue, yellow and Albert M. Bender, San Francisco, California, prior to 1926. red. The artist takes great pains to captures the unique individuality Gift from the above to the California Palace of the Legion of Honor, in each of the children’s faces. The iconic broad brush strokes dance San Francisco, California. across the canvas, giving it an ever-present liveliness. This vibrant style earned the artist the silver medal at the 1915 Panama Pacific Sold to benefit the Acquisition Fund of the Fine Arts Museums of San International Exposition, where six of his canvases were displayed. Francisco. Although he lived and worked in Europe for many years, Raphael always maintained close ties with the San Francisco art community Joseph Raphael was active in the Bay area during the 1890s, first as and his loyal art dealer and Bay area collector Albert M. Bender, who a newspaper illustrator and later as a sign painter. Like many of the owned Children of the Artist prior to 1926. Of the multitude of Raphael artists of the time, Raphael wanted to continue his artistic education works owned and later sold by Bender, this painting remained in his abroad. By 1903 he saved enough money to pursue studies in Paris. personal collection for many years. Given the glorious color, scale and He attended classes at the Ecole des Beaux-Arts and at the Académie movement, one can easily see why. Julian. During this Parisian interval, he supported himself by creating illustrations for a number of French magazines. The present work probably represents Raphael’s three youngest daughters, Johanna (Joky) with blue eyes and brown hair, at left, and In 1910, Raphael stayed for eight months in San Francisco, where he the middle sisters, Elizabeth (Liesbeth) and Marie-Jeanne (Dany), at the exhibited his predominantly figural Dutch series at the Art Association. right. Following his return to Laren, Holland in 1912, he married Johanna The work is #P-316 in the Joseph Raphael Catalogue Raisonné (unpublished), compiled by Dr. Phyllis Hattis. We wish to thank Dr. Hattis for her kind assistance with the lot.

48 | BONHAMS CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 49 55 JOHN HUBBARD RICH (1876-1954) Carmen signed ‘JOHN HUBBARD RICH’ (upper right) oil and tooling on masonite 12 x 10in overall: 18 3/8 x 16 5/8in Painted circa 1930

$4,000 - 6,000

Provenance The artist. Grandniece of the artist, by descent. Private collection, Los Angeles, California, 1995 to the present.

Exhibited Pasadena, Pasadena Museum of California Art, A Seed of Modernism: The Art Students League of Los Angeles, January 20 - April 13, 2008.

Literature Will South, Marian Yoshiki-Kovinick and Julia Armstrong- Totten, A Seed of Modernism: The Art Students League of Los Angeles, Pasadena, Pasadena Museum of California Art, p. 68, pl. 20.

56 ABEL GEORGE WARSHAWSKY (1883-1962) Woman of Brittany, Pont Croix signed ‘A.G. Warshawsky’ (upper right) oil on panel 16 x 13in overall: 22 x 19in Painted in 1938

$1,000 - 1,500

Provenance Property sold to benefit a California institution.

There is a letter written by the artist in 1947 describing the sitter poetically, affixed to the reverse.

50 | BONHAMS 57 LAWTON SILAS PARKER (1868-1954) Lady in a garden signed ‘LAWTON PARKER’ (lower right) oil on board 11 1/2 x 10 1/4in overall: 17 1/4 x 16 1/8in

$7,000 - 9,000

58 JEAN MANNHEIM (1861-1945) A portrait of the artist’s daughters signed ‘Jean Mannheim’ (lower left) oil on canvas 47 1/4 x 38in overall: 57 1/4 x 48in Painted in 1913

$8,000 - 12,000

Provenance with William A. Karges Fine Art, Beverly Hills, California. The Buck Collection, Laguna Beach, California. Private collection, Corona del Mar, California.

The present work depicts Mannheim’s two young daughters, Jeanne and Eunie, who often served as models in his portraiture. According to the artist’s great-grandson, Mannheim ‘greatly enjoyed the company of children and portrayed them on many occasions in paintings that speak to the magic and innocence of childhood.’

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 51 59 CHARLES REIFFEL (1862-1942) The Apple Barn signed ‘Charles Reiffel’ (lower right) oil on canvas 37 x 34 1/2in overall: 45 x 42in

$30,000 - 50,000

Provenance Property of a prominent collector.

52 | BONHAMS 60 ALFRED R. MITCHELL (1888-1972) Exhibited Sunset glow San Diego, Fine Arts Gallery of San Diego, Alfred R. Mitchell, October signed ‘Alfred R. Mitchell.’ (lower right) 9 - November 4, 1973 (loaned by Mrs. Mitchell). oil on canvas 30 x 36in Literature overall: 40 1/2 x 46 1/2in Antiques & Fine Art Magazine, September/October 1988, Vol. 5, No. 6, p. 35. $40,000 - 60,000 Paul Bockhorst, Impressions of California : Early Currents in Art, 1850- 1930 [documentary film], Part Three: Early Art in Laguna Beach and Provenance San Diego, Paul Bockhorst Productions, 1996. The artist. Mrs. Alfred R. Mitchell [née Dorothea Webster], by descent. The work depicts the El Monte Valley with El Cajon Mountain in the with Mission Galleries, San Diego, California. distance, located in the Cuyamaca Mountains in Eastern San Diego with Robert Bijou Fine Art, San Francisco, California and Chicago, County. El Cajon is known colloquially as ‘El Capitan’, after the similarly Illinois, circa 1989. steep rock face in Yosemite Valley. with Stewart Galleries, Palm Springs, California. The Buck Collection, Laguna Beach, California, 1998. Private collection, Corona del Mar, California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 53 61 DAVID CHAPPLE (BORN 1947) Sierra Stream signed ‘David Chapple’ (lower right), titled (on the reverse) oil on canvas affixed to masonite 24 x 36in overall: 31 1/2 x 43 1/2in

$6,000 - 8,000

62 PAUL GRIMM (1891-1974) Sierras signed ‘P. GRIMM’ (lower right) oil on canvas 25 x 30 1/4in unframed

$5,000 - 7,000

54 | BONHAMS 63 ALFRED R. MITCHELL (1888-1972) Provenance Mountain Meadow The Buck Collection, Laguna Beach, California. signed ‘Alfred R. Mitchell.’ (lower right), titled, signed, and inscribed Private collection, Corona del Mar, California. ‘Alfred R. Mitchell/213/June Lake/Area/Reversed Creek’ (on the reverse) Exhibited oil on board San Diego, San Diego Historical Society, Sunlight and Shadow: The 16 x 20in Art of Alfred R. Mitchell 1888-1972, June 18 - July 31, 1988. overall: 23 1/8 x 27 1/4in

$10,000 - 15,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 55 64 EDGAR PAYNE (1883-1947) Teton Peaks signed ‘EDGAR PAYNE’ (lower left), titled on a label (affixed to the backing) oil on canvas affixed to panel 10 1/4 x 12 1/4in overall: 15 x 17in

$7,000 - 9,000

Provenance Private collection, Wyoming.

56 | BONHAMS 65 ANNA ALTHEA HILLS (1882-1930) Trees in Laguna Canyon signed and dated ‘A.A. Hills-/ -1915-’ (lower right) oil on canvas 24 x 32in overall: 36 x 45in Painted in 1915

$15,000 - 20,000

Provenance Private collection, Connecticut.

66 No lot

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 57 67 DONNA SCHUSTER (1883-1953) Irises signed ‘Donna Schuster’ (lower right) oil on canvas 30 x 30in overall: 38 1/2 x 38 1/2in

$4,000 - 6,000

Provenance Property of a prominent collector.

68 MARIA DEL CARMEN CALVO (20TH/21ST CENTURY) Pond reflections signed, dedicated, inscribed and dated indistinctly ‘Maria del Carmen/Paris’ (on the reverse) oil on canvas 36 x 24in overall: 41 1/2 x 29 1/2in

$4,000 - 6,000

58 | BONHAMS 69 LAWTON SILAS PARKER (1868-1954) Provenance A Santa Barbara Garden with A.J. Kollar Fine Paintings, Seattle, Washington, 2000. signed and dated ‘Lawton Parker 1914’ (lower right), titled on a period Private collection, California. label (on the stretcher bar) oil on canvas Exhibited 24 x 24in Rochester, The Memorial Art Gallery, Paintings by Maurice Fromkes overall: 33 1/2 x 33 1/2in and a New York Group, Paintings and Drawings by Aston Knight, Painted in 1914 Paintings by Five American Women, and Pastels by Elizabeth F. Washington, May 1918, no. 28. $15,000 - 20,000 Literature The Memorial Art Gallery, Paintings by Maurice Fromkes and a New York Group, Paintings and Drawings by Aston Knight, Paintings by Five American Women, and Pastels by Elizabeth F. Washington [exh. cat.], Rochester, University of Rochester, 1918, n.p.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 59 70 EDGAR PAYNE (1883-1947) Trees along the foothills signed ‘EDGAR PAYNE’ (lower right) oil on canvas affixed to masonite 47 1/8 x 47 3/8in overall: 55 x 55 1/2in

$30,000 - 50,000

Provenance Private collection, Irvine, California.

60 | BONHAMS 71 WILLIAM WENDT (1865-1946) Stony Slope signed ‘·WILLIAM WENDT·’ (lower left), titled (on the stretcher bar) oil on canvas 25 x 30in overall: 27 1/2 x 32 1/2in

$20,000 - 30,000

Provenance Private collection, Oregon.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 61 72 WILLIAM LEES JUDSON (1842-1928) Horses in a landscape signed ‘WLJudson’ (lower right), titled on a label (on the reverse) oil on canvas 18 x 30 1/4in overall: 24 3/8 x 36 1/4in

$3,000 - 5,000

Provenance with George Stern Fine Arts, West Hollywood, California.

Exhibited Irvine, The Irvine Museum, Lasting Impressions: Twenty Years of The Irvine Museum, January 26 - June 6, 2013. 72 Irvine, The Irvine Museum, Moods of California, October 7, 2017 - February 8, 2018.

73 DAVID CHAPPLE (BORN 1947) Evening Eucalyptus signed ‘David Chapple’ (lower left), titled (on the reverse) oil on canvas affixed to masonite 24 x 30in overall: 31 1/2 x 37 1/2in

$3,000 - 5,000

Provenance The artist. Sale, Bonhams, San Francisco and Los Angeles, California and Western Paintings & Sculpture, August 6, 2013, sale 20547, lot 127. Private collection, Southern California.

62 | BONHAMS 74 SAM HYDE HARRIS (1889-1977) Sentinel Oaks signed with the estate stamp ‘Sam Hyde HARRIS’ (lower left), with the Estate and Schiffer/St. Gaudens stamps (on the reverse) oil and conte crayon on board 15 7/8 x 19 3/4in overall: 22 x 26in Painted circa 1922

$5,000 - 7,000

Provenance Estate of Sam Hyde Harris. Private collection, California.

Exhibited Pasadena, Pasadena Museum of History, Who was Sam?, Sam Hyde Harris 1887-1977, January 24 to April 29, 2007.

Literature Maurine St. Gaudens, Sam Hyde Harris, 1889- 1977: A Retrospective, Atglen, Schiffer Publishing 74 Ltd., 2007, p. 46, half page color illustration (as ‘Untitled. Tree in landscape with hills.’)

75 SAM HYDE HARRIS (1889-1977) Tranquil shadows estate signed ‘Sam Hyde HARRIS’ (lower left), with the Estate and Schiffer/St. Gaudens stamps (on the reverse) oil on board 12 x 16in overall: 18 1/8 x 22 1/8in

$4,000 - 6,000

Provenance Estate of Sam Hyde Harris. Private collection, California.

Exhibited Pasadena, Pasadena Museum of History, Who was Sam?, Sam Hyde Harris 1887-1977, January 24 to April 29, 2007.

Literature Maurine St. Gaudens, Sam Hyde Harris, 1889- 1977: A Retrospective, Atglen, Schiffer Publishing 75 Ltd., 2007, p. 45, half page color illustration (as ‘Foothills of San Gabriel Valley.’)

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 63 76 PAUL GRIMM (1891-1974) Trees signed ‘PAUL GRIMM’ (lower right) oil on canvas 25 x 30 1/4in overall: 32 1/4 x 37 3/4in

$7,000 - 9,000

77 JACK WILKINSON SMITH (1873-1949) A Southern California landscape signed ‘Jack Wilkinson Smith.’ (lower right) oil on canvas 16 1/4 x 20 1/8in overall: 22 3/4 x 26 1/2in

$4,000 - 6,000

64 | BONHAMS 78 BENJAMIN CHAMBERS BROWN (1865-1942) Flintridge, California signed and inscribed ‘Benjamin C. Brown/California’ (lower right) oil on canvas board 12 x 16in overall: 21 x 26in

$4,000 - 6,000

The present work is believed to depict Flintridge, California, near Flintridge Country Club, based on a similar known work.

79 ANGEL ESPOY (1879-1963) In California signed ‘A. Espoy’ (lower right), inscribed and titled ‘987’ (on the stretcher bar), titled again on a label (on the backing) oil on canvas 28 1/4 x 38in overall: 34 1/2 x 44 3/4in

$5,000 - 7,000

Provenance with J.J. Gillespie Company Fine Art Galleries, Pittsburgh, Pennsylvania.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 65 80 PAUL GRIMM (1891-1974) Summer eucalyptus and High Sierra views (a group of four) three signed ‘PAUL GRIMM’ (lower right), one signed ‘PAUL GRIMM’ (lower left) two oil on board; two oil on canvas board each 12 x 9in each unframed

$4,000 - 6,000

66 | BONHAMS 81 ELMER WACHTEL (1864-1929) San Juan Capistrano signed with the artist’s device ‘Wachtel’ (lower right) oil on canvas 16 x 19 3/4in overall: 21 1/4 25 1/4in

$5,000 - 7,000

Provenance Sale, Christie’s, Los Angeles, California, Western & American Paintings, April 29, 1998, sale 8846, lot 52.

The present work is one of several known works by the artist of Mission San Juan Capistrano and relates to a larger version from the same viewpoint, illustrated in The Irvine Museum’s exhibition catalog, Romance of the Bells: The California Missions in Art, on page 49.

82 PAUL GRIMM (1891-1974) San Diego Mission signed ‘P. GRIMM’ (lower left), inscribed and signed again ‘S. DIEGO MISSION/PAUL GRIMM’ (on the reverse) oil on academy board 18 x 24in overall: 23 x 29in

$4,000 - 6,000

Exhibited Irvine, The Irvine Museum; San Juan Capistrano, Mission San Juan Capistrano, Romance of the Bells [traveling exhibition], June 17, 1994 - October 14, 1995.

Literature Jean Stern, Romance of the Bells, the California Missions in Art, Irvine, 1995, p. 124, half page color illustration (as ‘San Diego Mission, Bell Tower’).

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 67 83 EDGAR PAYNE (1883-1947) Looking down on Mentone, France signed ‘EDGAR PAYNE’ (lower left) oil on canvas 8 x 10in overall: 13 1/8 x 15 1/8in Painted in 1923

$7,000 - 9,000

Provenance The artist. Collection of Pearl Harder Guenther (1882-1963).

The work is dedicated on the reverse to Pearl H. Guenther by fellow artist Elsie Palmer Payne. Guenther was a student of Mary DeNeale Morgan and Evylena Nunn Miller, and upon moving to Los Angeles in the 1930s, exhibited alongside Payne as a member of the Women Painters of the West in shows at the Los Angeles Ebell Club.

84 RINALDO CUNEO (1877-1939) Marin hills landscape signed and dated ‘Rinaldo. Cuneo. / 16’ (lower right) oil on canvas 29 1/4 x 35 1/4in overall: 35 3/4 x 41 3/4in Painted in 1916

$6,000 - 8,000

Provenance Estate of the artist. with William A. Karges Fine Art, Carmel, California.

68 | BONHAMS 85 EDGAR PAYNE (1883-1947) Brittany fishing boats signed ‘EDGAR PAYNE’ (lower right) oil on canvas 24 x 28in overall: 29 1/2 x 33 1/2in

$18,000 - 25,000

Provenance Private collection, Southern California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 69 86 CARL OSCAR BORG (1879-1947) Ojai Valley signed ‘Carl Oscar Borg’ (lower left) oil on canvas board 12 x 16in overall: 19 x 23in

$4,000 - 6,000

Exhibited Salmagundi Club Auction Sale, no date.

87 MARION KAVANAUGH WACHTEL (1870- 1954) California mountains estate signature ‘Marion Kavanagh Wachtel’ (lower left), with the estate stamp (on the stretcher bar) oil on canvas 16 x 20 1/4in overall: 23 3/4 x 28in

$4,000 - 6,000

Provenance Estate of the artist.

70 | BONHAMS 88 DAVID CHAPPLE (BORN 1947) The Hope of Rain signed ‘David Chapple’ (lower left), titled (on the reverse) oil on canvas affixed to masonite 24 x 36in overall: 34 3/4 x 46 1/2in

$7,000 - 9,000

89 EMIL JEAN KOSA, JR. (1903-1968) The Riverbed signed ‘Emil J Kosa Jr.’ (lower right), titled and signed again ‘Emil J Kosa Jr.’ (on the stretcher bar) oil on canvas 24 x 36in overall: 30 1/2 x 42 1/2in

$6,000 - 8,000

Provenance Private collection, Corona del Mar, California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 71 90 PAUL GRIMM (1891-1974) Coastal and boat scenes (a group of four) one signed ‘PAUL GRIMM’ (lower left), two signed ‘PAUL GRIMM’ (lower right), one signed ‘Paul Grimm’ (on the reverse) oil on canvas board; oil on board each: 9 x 12in each unframed

$4,000 - 6,000

72 | BONHAMS 91 JACK WILKINSON SMITH (1873-1949) Crashing surf signed ‘Jack Wilkinson Smith-’ (lower left) oil on canvas 32 x 40in overall: 40 1/4 x 48 1/4in

$10,000 - 15,000

Provenance Private collection, Southern California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 73 92 PAUL GRIMM (1891-1974) Foreground of San Jacinto signed ‘PAUL GRIMM’ (lower left), signed again, dated and titled ‘PAUL GRIMM - 1949’ (on the reverse) oil on canvas 24 x 30in unframed Painted in 1949

$3,000 - 5,000

93 WILLIAM DARLING (1882-1963) Clearing Skies signed ‘W Darling’ (lower left) oil on canvas affixed to masonite 30 x 40in overall: 37 1/4 x 47in

$4,000 - 6,000

Provenance Estate of the artist. Private collection, Los Angeles, California, purchased from the above. Sale, Butterfields, San Francisco and Los Angeles, California & American Paintings and Sculpture, November 19, 2002, sale 7390D, lot 8312. Private collection, California.

Exhibited Orange County Annual, 1963. San Francisco, M.H. de Young Memorial Museum, 23rd Annual Exhibition of the Society of Western Artists, April 1 - May 3, 1964. 93

74 | BONHAMS 94 DENNIS M. DOHENY (BORN 1956) Harmony signed ‘Dennis M Doheny’ (lower left), signed again, titled and dated ‘DM Doheny ©2011’ (on the backing) oil on linen 20 x 24in overall: 29 x 33in Painted in 2011

$6,000 - 8,000

95 DENNIS M. DOHENY (BORN 1956) Yosemite Falls signed ‘Dennis M Doheny’ (lower left), signed again and titled ‘DM Doheny’ (on the backing) oil on linen 16 x 12in overall: 19 x 14 3/4in

$5,000 - 7,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 75 96 MILLARD OWEN SHEETS (1907-1989) Provenance Tony’s Ranch with Stary-Sheets Fine Art Galleries, Gualala, California. signed ‘MILLARD SHEETS’ (lower left), titled, and inscribed ‘by Millard with William A. Karges Fine Art, Carmel, California. Sheets’ in the artist’s hand (on the stretcher bar) Private collection, Corona del Mar, California. oil on canvas 30 x 36in overall: 37 1/2 x 43 1/2in Painted circa 1930

$25,000 - 35,000

76 | BONHAMS 97 MILLARD OWEN SHEETS (1907-1989) Provenance Happy Herd with Kennedy Galleries, New York, New York. signed and dated ‘Millard Sheets 1986’ (lower right) Private collection, Corona del Mar, California. watercolor on paper 29 1/2 x 41 1/2in Exhibited overall: 41 x 52in New York, Kennedy Galleries, Millard Sheets, March 14 - April 4, 1987, Painted in 1986 no. 31.

$15,000 - 20,000 Literature Kennedy Galleries, Millard Sheets [exh. cat.], New York, Kennedy Galleries, Inc, 1987, n.p., full page color illustration.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 77 98

98 99 PHIL DIKE (1906-1990) JADE FON (1911-1983) Newport Harbor Pacific Heights signed ‘Phil Dike’ (lower right) signed ‘Jade Fon A.W.S.’ (lower right) mixed media (oil stick, gouache, watercolor, ink, watercolor on paper and ballpoint pen) on paper 15 x 21 1/2in 11 7/8 x 36in overall: 25 x 31in overall: 22 1/4 x 46 1/2in $3,000 - 5,000 $5,000 - 7,000

78 | BONHAMS 100 ARTHUR EDWAINE BEAUMONT (1890-1978) Bunkering signed and dated ‘Arthur Beaumont 32’ (lower left) oil on canvas 24 x 28in overall: 32 x 35in Painted in 1932

$4,000 - 6,000

Provenance Los Angeles Athletic Club, Los Angeles, California. Private collection, Southern California.

Exhibited Washington D.C., The Corcoran Gallery of Art, Thirteenth Annual Exhibition Contemporary American Paintings, December 4, 1932 - January 25, 1933.

100

101 JAMES MARCH PHILLIPS (1913-1981) The Golden Gate signed ‘James March Phillips’ (lower left) watercolor on paper 16 x 20 1/2in overall: 26 x 31 1/2in

$3,000 - 5,000

Provenance Property of a prominent collector.

101

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 79 102 HENRIETTA BERK (1919-1990) Racing signed ‘H. Berk’ (lower left), titled on a label (on the stretcher bar) oil on canvas 38 x 42in overall: 41 3/4 x 45 1/2in

$4,000 - 6,000

102

103 ARTHUR GROVER RIDER (1886-1975) Flowers for Mother’s Day signed ‘A.G. RIDER’ (lower right) oil on canvas 28 x 25in overall: 37 x 33 3/4in Painted circa 1948

$4,000 - 6,000

Provenance Private collection, Corona del Mar, California.

103

80 | BONHAMS 104 BROR JULIUS OLSSON NORDFELDT (1878-1955) Green and Gray signed ‘Nordfeldt’ (lower right) and bears inscription ‘Collection / B.J.O. Nordfeldt / “Green and Gray” / 1948 #325 / 30 x 40’ (on the reverse) oil on canvas 30 x 40 1/4in overall: 38 x 48in Painted in 1948

$8,000 - 12,000

Provenance Pedersen Gallery, Lambertville, New Jersey. Acquired by the present owner from the above, 1993.

Exhibited Minneapolis, Minnesota, Harriet Hanley Gallery, 1949. 104 Doylestown, Pennsylvania, James A. Michener Art Museum, Visual Heritage of Bucks County, July 18, 1993 - October 31, 1994.

105 BROR JULIUS OLSSON NORDFELDT (1878-1955) Diving Duck signed and dated ‘Nordfeldt / 53’ (lower right) oil on canvas 28 x 38 1/4in overall: 35 1/4 x 45 1/4in Painted in 1953

$6,000 - 8,000

Provenance The artist. Emily Abbott Nordfeldt, wife of the above, by descent. Pedersen Gallery, Lambertville, New Jersey. Acquired by the present owner from the above, 1996.

Exhibited New York, Passedoit Gallery, B.J.O. Nordfeldt Paintings, November 23 - December 12, 1953, n.p., no. 8. New York, Graham Gallery, 1967. Princeton, New Jersey, Western Electric Gallery, 1980. New Brunswick, New Jersey, Zimmerli Art Museum at Rutgers University, n.d. Trenton, New Jersey, New Jersey State Museum, B.J.O. Nordfeldt: The Lambertville Years, October 24, 1981 - January 3, 1982, n.p., no. 41. New York, Sid Deutsch Gallery, A Selection of Twentieth Century American Art, 1988.

Literature 105 “Reviews: B.J.O. Nordfeldt”, Art News, 57, no. 9, January 1989, p. 45.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 81 106 CLAUDE CHARLES BUCK (1890-1970) According to a notarized letter from Leslie Buck, the artist’s wife and Leslie in Red Blouse muse, the present work was painted in Chicago in 1938 and depicts signed and bearing date ‘Claude Buck 1951’ (lower right), inscribed, her as a young woman. It bears a later date in order to qualify for an signed again and bearing date ‘Claude Buck/1951’ (on the reverse) exhibition of the Carmel Art Association in 1951. The original letter tempera and oil on masonite accompanies the lot. 24 x 27in overall: 33 1/2 x 36 1/2in Painted in 1938

$7,000 - 9,000

82 | BONHAMS 107 MARK ROSSI (BORN 1951) Cat Sitting Upright signed and numbered ‘M Rossi 1/28’ (along the tail and hind leg) bronze with green patina 14in high $4,000 - 6,000

107

108 ARTHUR PUTNAM (1873-1930) Reclining panther inscribed with the artist’s device (on the base), stamped ‘CORYRICHT 1908 EY ABTHUR PUTNAM’ [sic] (along the base) bronze with brown patina 2 1/2in high

$3,000 - 5,000

108

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 83 109 SYDNEY LAURENCE (1865-1940) Mount McKinley, 63° North Latitude, Alaska, Altitude 20.390 Feet signed ‘Sydney Laurence’ (lower left), titled in the artist’s hand on a label (affixed to the frame) oil on canvas 36 5/8 x 54 5/8in overall: 44 3/4 x 62 1/2in Painted circa 1911-12

$80,000 - 120,000

Provenance Private collection, Anchorage, Alaska.

Literature Braarud Fine Art, Michael Walmsley, and Tim Marcher, Sydney Laurence (1865-1940): Anecdotes, Myths, Opinions : A Collection of Laurence Paintings for Sale, La Conner, Braarud Fine Art, 1996, p. 2.

84 | BONHAMS CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 85 (Above) Sydney Laurence in a field of wildflowers in Alaska, date unknown. Photo credit: Alaska State Library, Historical Collections, Portrait File, ASL-P01-4381.

Sydney Laurence was a native of Brooklyn, New York, and attended north shore of Cook Inlet. He initially tried his hand at mining while Peekskill Military Academy in New York sometime before 1885. He continuing to paint. While there he is known to have painted a canvas exhibited paintings at the National Academy between 1887 and 1889, called Cordova between 1908 and 1909, a 4 x 16 foot panorama and was involved in the founding of the American Fine Arts Society. scene, which is currently in the Whatcom Museum in Bellingham, During this time, he took courses at the Arts Students League and Washington. A Christmas postcard from his wife and children in 1904, privately from Edward Moran who was living in Manhattan. (Laurence’s addressed to him in Tyonek, Alaska, is the last known contact between entry in the Paris Salon of 1890 listed Moran as his former teacher, the artist and his first family. but there is no evidence that Laurence spent time studying in Paris). Laurence was in the mainstream of a large group of young artists Financially supported by friends, Laurence set up camp in the vicinity searching for a new way to paint landscapes. Reacting against the of Denali, formerly known as Mount McKinley until 2015. Painting theatrical, detailed and dramatic paintings of Albert Bierstadt, Thomas scenes of the awe-inspiring Denali (“The High One”) from the hills Hill, and others, Laurence and his colleagues were attracted to the above the rapids of the Tokositna River became his trademark. It is more subdued tonalist style and plein-air naturalism of Jean-Baptiste- this image more than any other which personifies Laurence for his Camille Corot and his fellow Barbizon School painters. Laurence and many admirers and collectors in Alaska and beyond. The unique many of his peers were also influenced by the later more ‘radical’ work qualities of the Alaskan light and the immense scale of the wilderness of the French Impressionists. and mountains fascinated him. He painted many different views of Denali, beginning in 1911. The present work is thought to be In 1889 he traveled to England where he spent most of the first year amongst the earliest and largest known depictions of Denali painted in an artists’ colony in St. Ives, Cornwall. From the mid-1890s he took by the Laurence. It was reproduced as a chromolithograph by The jobs as an artist-war correspondent and traveled to various parts of Knapp Company, a division of American Lithographic Co., for a 1913 the globe including to Africa, and China and South Africa (where he calendar, which is believed to predate two well-known early works lost his hearing in his left ear). For unknown reasons he traveled to in the Anchorage Museum, Mount McKinley and The Top of the Alaska around 1903, and from 1904 into 1908, was in Tyonek on the Continent, both painted in 1913.

86 | BONHAMS (Above left) Sydney Laurence in his studio with two completed works and one in progress, date unknown. Photo credit: Alaska State Library, Historical Collections, Portrait File, ASL-P01-0445. (Above right) A formal portrait sitting of the artist, date unknown. Photo credit: Alaska State Library, Historical Collections, Portrait File, Robert J. Wells, ASL-P01-4380.

Len Braarud was a consummate collector and scholar of Alaskan University of Alaska Museum. It’s just...made-up, or borrowed from painters and had a keen interest in Sydney Laurence paintings. In his elsewhere topography, reflective of Denali in the large, domed central book Sydney Laurence 1865-1940: Anecdotes, Myths, Opinions, peak, but not conforming to the actual shape.” In light of the arduous Braarud discusses this particular painting, “Any viewer of Mt. McKinley journey the artist must have made just to stand on the vantage point will likely be confused by [Sydney Laurence’s] unfamiliar depiction in of the painting, it’s no wonder that his preparatory drawings might be this composition. The basic indications of McKinley and its surrounding proportionally off. peaks are present but their shapes do not match any contemporary face of the mountain. Further the middle third of the painting features Laurence’s success coincided with the near universal fascination in mountains whose flat or rounded tops are more suggestive of those mountain climbing and man’s desire to stand atop the world’s highest found in the lower 48. In conversations with Mr. Kesler E. Woodward, peaks. First attempted in 1910 by an expedition team that included [author of Sydney Laurence, Painter of the North], about the unusual Canadian artist Belmore Browne, Denali was finally conquered by mountain profile, he said, “My guess is that since this was perhaps Hudson Stuck and his support team in June of 1913. The allure his earliest large painting of the mountain, he simply hadn’t made of such majestic peaks as Denali continues to this day, but during adequate sketches or photographs to get the shape right, and he Laurence’s lifetime, his images of such an exotic locale must have took great liberties with the topography, never realizing at the time been especially breathtaking to those fortunate to see them. It is no that the shape of the mountain from the viewpoint in the Dutch Hills wonder that Laurence came to be the preeminent Alaskan painter area near Talkeetna would become iconic for him and for Alaskans.” of “The Last Frontier.” Further he said, “It’s the same quality painting as the giant Alaska Airlines painting [donated to the Anchorage Museum by Alaska Airlines] of the mountain at the museum, or the 1919 image at the

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 87 110 SYDNEY LAURENCE (1865-1940) A view of an old fisherman and cache signed ‘Sydney Laurence’ (lower right) oil on canvas affixed to masonite 12 x 16in overall: 16 x 20in

$10,000 - 15,000

88 | BONHAMS 111 EUSTACE PAUL ZIEGLER (1881-1969) Totem and cabin signed with the artist’s device ‘-Ziegler-’ (lower left), titled and inscribed, possibly in the artist’s hand (on the frame) oil and graphite on canvas board 20 x 16in overall: 26 1/2 x 22 1/2in

$6,000 - 8,000

The present composition was also the subject of a drypoint etching by the artist, circa 1965.

The frame is inscribed with a stanza from the poem Old and New: A Parable (1848) by Charles Kingsley: ‘So fleet the works of men-/Back to their Earth again,/Ancient and holy things/Fade like a dream [?]’, possibly in the hand of the artist.

111

112 EUSTACE PAUL ZIEGLER (1881-1969) King Island Eskimo signed with the artist’s device ‘-Ziegler-’ (lower left), titled (on the frame) oil on canvas board 12 x 10in overall: 17 x 15in

$5,000 - 7,000

112

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 89 113 SYDNEY LAURENCE (1865-1940) A view of Mount McKinley, Alaska signed ‘Sydney Laurence’ (lower right) oil on canvas affixed to board 11 7/8 x 9 7/8in overall: 16 x 14in

$6,000 - 8,000

113

114 SYDNEY LAURENCE (1865-1940) Some Old Sourdough’s Home signed ‘Sydney Laurence’ (lower right), titled (on the stretcher bar) oil on canvas 20 x 16in overall: 28 1/4 x 24 1/4in

$6,000 - 8,000

Provenance Collection of Hamilton P. Aaris, Portland, Oregon. Private collection.

Exhibited Seattle, Charles and Emma Frye Art Museum, Sydney Laurence, September 22 - October 11, 1970, no. 3.

114

90 | BONHAMS 115 CARL VON HASSLER (1887-1962) Winter in the Setting Sun signed ‘Von Hassler’ (lower left), titled (on the reverse) oil on canvas 27 x 34 1/8in overall: 32 7/8 x 40 1/8in

$8,000 - 12,000

Provenance Private collection, Florida.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 91 116 FRANK TENNEY JOHNSON (1874-1939) A landscape with two riders on a trail signed and dated ‘F. Tenney Johnson A.N.A./1929’ (lower left) oil on board 11 7/8 x 16in overall: 17 1/8 x 21 1/2in Painted in 1929

$20,000 - 30,000

Provenance Private collection, Northern California. Thence by descent to the current owners.

92 | BONHAMS 117 JOSEPH HENRY SHARP (1859-1953) Contemplation signed ‘JH SHARP’ (lower right) oil on canvas 20 1/8 x 16 1/8in overall: 30 1/8 x 24 1/8in

$50,000 - 70,000

Provenance Private collection, California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 93 118 MAYNARD DIXON (1875-1946) Provenance Homestead Private collection, Northern California. signed, inscribed and dated ‘Maynard Dixon/Ariz Nov 1943’ (lower left), inscribed, titled, and signed again ‘686/Maynard Dixon/Tucson Literature Ariz’ (on the reverse) Wesley Burnside, Maynard Dixon: Artist of the West, Provo, Brigham oil on canvas affixed to board Young University Press, 1974, p. 187. 12 x 16in overall: 16 1/4 x 20 1/4in Painted in 1943

$25,000 - 35,000

94 | BONHAMS 119 MAYNARD DIXON (1875-1946) Provenance Desert Autumn Cowie Galleries, Los Angeles, California, 1944-1945. signed, inscribed and dated ‘Maynard Dixon/Ariz. Nov. 1943’ (lower Private collection, Northern California. right), inscribed, titled, and signed again ‘676/Maynard Dixon/Tucson Ariz’ (on the reverse) Literature oil on canvas affixed to board Wesley Burnside, Maynard Dixon: Artist of the West, Provo, Brigham 12 x 16in Young University Press, 1974, p. 186. overall: 16 1/4 x 20 1/4in Painted in 1943

$25,000 - 35,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 95 120

121

120 121 ROBERT E. MCGINNIS (BORN 1926) ROBERT DUNCAN (BORN 1932) To the Panamints A Winter’s Eve signed ‘R. McGinnis’ (lower right), signed again and titled ‘© R. signed and dated ‘R. Duncan © 1977’ (lower left) McGinnis’ (on the reverse) oil on board egg tempera on masonite 15 x 30in 16 x 37in overall: 26 x 41in overall: 25 1/4 x 46 1/4in Painted in 1977

$4,000 - 6,000 $4,000 - 6,000

Provenance Provenance with Husberg Fine Arts, Scottsdale, Arizona. Trailside Galleries, Scottsdale, Arizona. Private collection. Northern California. Private collection, Northern California.

96 | BONHAMS 122 FRANK MCCARTHY (1924-2002) Provenance With the Remuda with Husberg Fine Arts Gallery, Sedona, Arizona. signed and dated ‘McCarthy CA ©1983’ Private collection, Northern California. (lower right) oil on canvas 15 x 30in overall: 25 3/4 x 30 3/4in Painted in 1983

$15,000 - 25,000

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 97 123 CLARK HULINGS (BORN 1922) Santa Fe Kitchen Corner signed and dated ‘Hulings 1974’ (lower left), titled and inscribed ‘by Clark Hulings’ (on the stretcher bar) oil on canvas 24 x 36in overall: 33 x 45in Painted in 1974

$15,000 - 20,000

Provenance Private collection, Wyoming.

98 | BONHAMS 124 BIRGER SANDZÉN (1871-1954) Still life with apples and oranges signed and dated ‘Birger Sandzén 1913’ (upper left) oil on canvas 18 x 12in overall: 24 x 18 1/4in Painted in 1913

$8,000 - 12,000

Provenance with David Cook Galleries, Denver, Colorado.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 99 125

126

125 126 OLEG STAVROWSKY (BORN 1927) JOHN WADE HAMPTON (1918-2000) Llano River Social Club Headin’ Em For the Cut signed ‘Oleg Stavrowsky’ (lower right), titled and signed again ‘© signed with the artist’s device and dated ‘-JMHampton CA © 1970’ OLEG STAVROWSKY’ (on the reverse) (lower left), titled (on the presentation plaque, and on the reverse) oil on canvas oil on canvas 30 x 54in 20 x 30in overall: 35 1/2 x 59 1/2in overall: 26 3/4 x 36 3/4in Painted in 1970 $6,000 - 8,000 $4,000 - 6,000 Provenance Private collection, California.

100 | BONHAMS 127 LON MEGARGEE (1883-1960) Panning for gold (The prospector) signed ‘LON MEGARGEE’ (lower right) oil on board 20 x 16in overall: 22 1/2 x 18 1/2in

$6,000 - 8,000

127

128 CLARK HULINGS (BORN 1922) Nuzzling Donkeys signed and dated ‘Hulings 1973’ (lower left) oil on masonite 16 x 12in overall: 23 5/8 x 19 3/4in Painted in 1973

$4,000 - 6,000

Provenance Private collection, Wyoming. 128

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 101 129 LEONARD HOWARD REEDY (1899-1956) Saturday Night at The Cactus Saloon signed ‘LEONARD H. REEDY’ (lower left), partial title on a label (on the stretcher bar) oil on canvas 24 x 30in overall: 31 1/4 x 37in

$4,000 - 6,000

Provenance Private collection, Northern California.

129

130 MAYNARD DIXON (1875-1946) Colorado Desert #2, Arizona stamped with the artist’s device, inscribed, and dated ‘Aug -02’ (lower left), identified on an estate label (on the backing) graphite and pastel on paper sheet 4 3/4 x 6 1/4in overall: 14 5/8 x 15 7/8in Drawn in 1902

$2,000 - 4,000

Provenance The artist. Edith Hamlin Dixon, San Francisco, California, by descent, 1946. Estate of Edward Dixon Heise (1916-2006), San Francisco, California, by descent. Private collection, Northern California.

130

102 | BONHAMS 131 EDWARD BOREIN (1872-1945) Untitled (Plains warriors in a nighttime ritual) signed and dated ‘EDWARD BOREIN 13’ (lower right) india and sepia ink on illustration board 20 x 29in overall: 26 1/4 x 35 1/4in Drawn in 1913

$8,000 - 12,000

Provenance Private collection, Maine.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 103 132

133

132 133 EDWARD BOREIN (1872-1945) MAYNARD DIXON (1875-1946) Running Horses; Standing Cattle; Roping Steer; Running Steer (a Old Wagon; Cowboy Smoking (a group of two) group of four) Wagon stamped with the artist’s device, inscribed and dated ‘Shaver, each unsigned Cal./July 1906’ (lower left); Cowboy stamped with the artist’s device Horses ink on paper, the others ink and graphite on paper and dated ‘1937’ (lower left), titled (on the reverse), and identified on sight sizes to 8 x 10 7/8in an estate label (on the backing) overall sizes to 14 3/4 x 17 3/4in both graphite on paper sheet 6 1/3/16 x 11 3/8in; sheet 3 5/8 x 3in $3,000 - 5,000 overall: 14 1/4 x 18 1/4in; 13 1/2 x 12 1/2in Drawn in 1906 and 1937, respectively Provenance Horses, Estate of Dr. Irving Wills, Santa Barbara, California. $1,500 - 2,500 Sale, Bonhams, Los Angeles and San Francisco, August 7, 2006, California and American Paintings & Sculpture, sale 14017, lot 1086 Provenance (as ‘Studies of Steers and Horses’). The artist. Private collection, California. Edith Hamlin Dixon, San Francisco, California, by descent, 1946. Estate of Edward Dixon Heise (1916-2006), San Francisco, California, by descent. Private collection, Northern California. 104 | BONHAMS (partial 3 illustrated)

134 LEONARD HOWARD REEDY (1899-1956) Pause for Rest; On the Prairie; The Sandstorm; Pack Train in Winter; The Coyote Hunter; Spotting the Wild Herd; Bucking Bronco; Buffalo Hunt; Wanted-Outlaw; and Counting the Coup (a group of 10) eight signed ‘LEONARD H. REEDY’ (lower right or lower left, respectively) and titled (on the backing), two unsigned and titled (lower center and on the window mat) watercolor and graphite on paper sight sizes to 8 1/4 x 11 5/8in overall sizes to 15 1/2 x 18 1/2in

$5,000 - 7,000

Provenance Private collection, Northern California.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 105 135 CURT WALTERS (BORN 1950) First Light - Canyon del Muerto signed and dated ‘© Curt Walters 1982’ (lower left), titled (on the stretcher bar) oil on canvas 30 x 36in overall: 39 x 45 1/2in Painted in 1982

$7,000 - 9,000

Provenance Private collection, Southern California.

135

136 ED MELL (BORN 1942) Golden Time signed ‘Ed Mell’ (lower right, on the reverse, and on the artist’s frame), titled, signed again, and dated ‘© ED MELL 2015’ (on the reverse) oil on linen board 14 x 14in overall: 17 x 17in Painted in 2015

$4,000 - 6,000

Provenance with The Owings Gallery, Santa Fe, New Mexico. Property from a New York City Estate.

Exhibition Santa Fe, The Owings Gallery, Ed Mell: New Work, August 7 - September 12, 2015.

Literature The Owings Gallery, Ed Mell: New Work [exh. cat], n.p., color illustration.

A copy of the exhibition catalogue Ed Mell: New Work accompanies the lot.

136

106 | BONHAMS 137 FERNAND HARVEY LUNGREN (1859-1932) Desert Shadows signed ‘Lungren’ (lower right) oil on canvas 20 x 38in overall: 27 x 45in

$8,000 - 12,000

Provenance Private collection, San Francisco, California. Private collection, Sweden.

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 107 138 AFTER HERMON ATKINS MACNEIL (1866-1947) The Sun Vow (a lifetime surmoulage) signed and titled ‘HA MacNeil’ (within the cast), bears foundry marks ‘ROMAN BRONZE WORKS N-Y-’ and ‘ROMAN BRONZE WORKS’ (within the cast, along the base) bronze with dark brown patina 35in high

$15,000 - 25,000

Provenance Charles A. Wilding, Fort Wayne, Indiana, by 1920s. By descent to the present owner.

Exhibited Fort Wayne, Indiana, Tri-State Loan & Trust Co., Treasures, n.d., pp. 19-20, illustrated.

Literature Lorado Taft, The History of American Sculpture, New York, 1925, pp. 441-44, fig. 73, another example illustrated. Anna H. Mayor, et al., A Century of American Sculpture: Treasures from Brookgreen Gardens, New York, 1988, p. 10, 41, another example illustrated. Thayer Tolles, ed., American Sculpture in the Metropolitan Museum of Art, Volume II. A Catalogue of Works by Artists Born between 1865 and 1885, New 138 York, 2001, pp. 475, 477-79, no. 211, another example illustrated.

139 HARRY JACKSON (1924-2011) Safe and Sound inscribed ‘© Harry Jackson 1982 SAS 46’ along with thumb print and foundry stamp ‘WFS ITALIA’ (lower right base) bronze with dark brown patina on a wooden base 19 1/4in high Executed in 1982

$6,000 - 8,000

Provenance Private collection, Los Angeles, California.

139

108 | BONHAMS 140 EARLE ERIK HEIKKA (1910-1941) Too Crowded signed and numbered ‘E.E. Heikka / 7/36’ (on the base) cold painted bronze 15 1/4in high (including base)

$4,000 - 6,000

Provenance Private collection, Northern California.

140

141 EARLE ERIK HEIKKA (1910-1941) An Early Sourdough (a posthumous cast) bears signature, number and mark ‘E. E. Haika [sic] 5/36 ©MATTHEWS 1983’ (on the reverse), and titled (lower center) bronze with brown patina 11 1/4in high on a 2in wooden base Executed in 1983

$2,000 - 3,000

Provenance Private collection, Northern, California.

141

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 109 142

142 JONATHAN KENWORTHY (BORN 1943) The Migration inscribed, dated and numbered ‘© Kenworthy 1991 / 7/9’ and stamped with the Mike Davis Foundry, Milton Keynes, mark (on the base) bronze with dark brown patina 8 1/4in high Executed in 1991

$8,000 - 12,000

143 JONATHAN KENWORTHY (BORN 1943) Mother and Child (Spotted Hyena and Cub) numbered ‘1/9’ and inscribed and dated ‘© Kenworthy / 2002’ (on the base) bronze with brown patina 14 1/4in high on a 1/4in bronze base Executed in 2002

$8,000 - 12,000

The present work was cast by Pangolin Editions, 143 England.

END OF SALE

110 | BONHAMS Lot 31 (detail) INDEX

Beaumont, Arthur Edwaine 100 MacNeil, After Hermon Atkins 138 Berk, Henrietta 102 Mannheim, Jean 58 Borein, Edward 131, 132 Martinez, Xavier 12 Borg, Carl Oscar 86 McCarthy, Frank 122 Brown, Benjamin Chambers 50, 78 McComas, Francis John 9, 11 Bruce, William 7 McGinnis, Robert E. 120 Buck, Claude Charles 106 Megargee, Lon 127 Mell, Ed 136 Chapple, David 61, 73, 88 Mitchell, Alfred R. 60, 63 Cuneo, Rinaldo 24, 84 Mottola, Filastro 40, 41 Cuprien, Frank William 52 Nordfeldt, Bror Julius Olsson 104, 105 Darling, William 93 Del Carmen Calvo, Maria 68 Otis, George Demont 23 Dickman, Charles 15, 51 Otte, William Louis 28 Dike, Phil 98 Dixon, Maynard 118, 119, 130, Pages, Jules Eugene 26 133 Parrott, William Samuel 1 Doheny, Dennis M. 94, 95 Payne, Edgar 64, 70, 83, 85 Duncan, Robert 121 Phillips, James March 101 Piazzoni, Gottardo Fidele Ponziano 14 Espoy, Angel 79 Putnam, Arthur 108

Fon, Jade 99 Raphael, Joseph 54 Redmond, Granville 21 Gilbert, Arthur Hill 17, 33 Reedy, Leonard Howard 129, 134 Gile, Selden Connor 34, 35, 36, 38, Reiffel, Charles 59 39 Rich, John Hubbard 55 Gray, Percy 6, 10, 19 Rider, Arthur Grover 103 Greene, Walter L. 16 Ritschel, William 20, 32 Grimm, Paul 44, 62, 76, 80, Rose, Guy 49 82, 90, 92 Rossi, Mark 107

Hampton, John Wade 126 Sandzén, Birger 124 Hansen, Armin Carl 30, 31 Schuster, Donna 67 Harris, Sam Hyde 74, 75 Sharp, Joseph Henry 117 Hassler, Carl von 115 Sheets, Millard Owen 96, 97 Heikka, Earle Erik 140, 141 Silas Parker, Lawton 57, 69 Hill, Thomas 8 Smith, Jack Wilkinson 45, 46, 77, 91 Hills, Anna Althea 65 Sparks, Will 13, 18 Hudson, Grace Carpenter 4 Stavrowsky, Oleg 125 Hulings, Clark 123, 128 Stuber, Dedrick B. 27

Jackson, Harry 139 Von Eichman, Bernard 37 Johnson, Frank Tenney 116 Joullin, Amédée 5 Wachtel, Marion Kavanaugh 87 Judson, William Lees 72 Wachtel, Elmer 81 Walters, Curt 135 Keith, William 2 Warshawsky, Abel George 56 Kenworthy, Jonathan 142, 143 Wendt, William 42, 47, 66, 71 Kleitsch, Joseph 48 Wores, Theodore 3, 22, 43 Kosa, Jr., Emil Jean 89 Ziegler, Eustace Paul 111, 112 Laurence, Sydney 109, 110, 113, 114 Lewis, Jeanette Maxfield 29 Logan, Maurice 25 Lungren, Fernand Harvey 137 GLOSSARY

This sale previews in multiple cities. Please note the property will TYPICAL HEADINGS USED IN THE CATALOG be available for collection at our Los Angeles gallery at the time of The following are examples of the terminology used in the catalog. the auction. Local, out-of-state and international buyer property will While every reasonable effort has been made to ensure that the remain available for collection in our Los Angeles gallery after the statements made in the catalog are correct, all statements and terms auction. All Northern California buyer property will be shipped to our in this catalog are subject to the provisions of the Conditions of Sale San Francisco gallery for collection. Please contact the department (particularly paragraphs 7 and 8) and the Galleries and Consignors or cashiers with inquiries or shipping requests. make no warranties or representations with respect to any lot.

AUTHORSHIP (ARTIST) This is our highest category of authenticity and, as such, indicates that the work, in our best judgment, is by the named artist. (No unqualified statement as to authorship is made or intended.)

ATTRIBUTED TO (ARTIST) In our best judgment a work of the period and in the style of the artist; may be the work of the artist, in whole or in part, but less certainty of authorship than in the preceding category.

STUDIO OF (ARTIST) In our best judgment a work by an unknown handworking in the artist’s studio.

CIRCLE OF (ARTIST) In our best judgment a work of the period of the artist and closely related to the artist’s style.

FOLLOWER OF (ARTIST) In our best judgment a work by an artist working in the artist’s style, in his lifetime or shortly thereafter.

MANNER OF (ARTIST) In our best judgment a work in the style of the artist, possibly of a later date.

AFTER (ARTIST) In our best judgment a copy of the known work by the artist.

TITLE If there is a generally accepted title of the lot, that title is given at the beginning of the description. If the work does not have a title or the title is not known to us, a descriptive title is given.

SIGNATURE SIGNED The signature is, in our opinion, the signature of the artist.

BEARS SIGNATURE Has a signature which, in our opinion, might be the signature of the artist.

CONDITIONS No statement is implied or intended regarding the imperfections or general condition of a work. If you have questions on the condition of a work, the appropriate department would be glad to provide its opinion, but all works are sold as viewed.

Bonhams and the Seller assume no risk or responsibility for the authenticity of authorship of lots executed before 1870.

Lot 137 (detail) CONDITIONS OF SALE

The following Conditions of Sale, as amended by any resell the purchased property, at public auction and/or by five (5) business days following the date of the sale. If not published or posted notices or verbal announcements private sale, and in such event the purchaser shall be liable so removed, a storage fee of $5.00 per lot per day will during the sale, constitute the entire terms and conditions for the payment of all consequential damages, including any be payable to us by the purchaser beginning at the close on which property listed in the catalog shall be offered for deficiencies or monetary losses, and all costs and expenses of the 21st day following the sale, and we may thereafter sale or sold by Bonhams & Butterfields Auctioneers Corp. of such sale or sales, our commissions at our standard transfer such property to an offsite warehouse at the and any consignor of such property for whom we act as rates, all other charges due hereunder, all late charges, purchaser’s risk and expense. Accounts must be settled in agent. If live online bidding is available for the subject collection costs, attorneys’ fees and costs, expenses full before property will be released. Packing and handling auction, additional terms and conditions of sale relating and incidental damages. In addition, where two or more of purchased lots are the responsibility of the purchaser. to online bidding will apply; see www.bonhams.com/ amounts are owed in respect of different transactions by Bonhams can provide packing and shipping services for WebTerms for the supplemental terms. As used herein, the purchaser to us, to Bonhams 1793 Limited and/or to certain items as noted in the “Buyer’s Guide” section of the “Bonhams,” “we” and “us” refer to Bonhams & Butterfields any of our other affiliates, subsidiaries or parent companies catalog. Auctioneers Corp. worldwide within the Bonhams Group, we reserve the right to apply any monies paid in respect of a transaction 9. The copyright in the text of the catalog and the 1. As used herein, the term “bid price” means the price at to discharge any amount owed by the purchaser. If all photographs, digital images and illustrations of lots in the which a lot is successfully knocked down to the purchaser. fees, commissions, premiums, bid prices and other sums catalog belong to Bonhams or its licensors. You will not The term “purchase price” means the aggregate of (a) the due to us from the purchaser are not paid promptly as reproduce or permit anyone else to reproduce such text, bid price, (b) a PREMIUM retained by us and payable by provided in these Conditions of Sale, we reserve the right photographs, digital images or illustrations without our prior the purchaser EQUAL TO 25% OF THE FIRST $250,000 to impose a finance charge equal to 1.5% per month (or, if written consent. OF THE BID PRICE, 20% OF THE AMOUNT OF THE lower, the maximum nonusurious rate of interest permitted 10. These Conditions of Sale shall bind the successors BID PRICE ABOVE $250,000 UP TO AND INCLUDING by applicable law), on all amounts due to us beginning on $4,000,000, AND 12.5% OF THE AMOUNT OF THE BID and assigns of all bidders and purchasers and inure to the 31st day following the sale until payment is received, in the benefit of our successors and assigns. No waiver, PRICE OVER $4,000,000, and (c) unless the purchaser addition to other remedies available to us by law. is exempt by law from the payment thereof, any Arizona, amendment or modification of the terms hereof (other than California, Colorado, Connecticut, Florida, Georgia, 3. We reserve the right to withdraw any property and to posted notices or oral announcements during the sale) shall Illinois, Massachusetts, Nevada, New Jersey, N ew divide and combine lots at any time before such property’s bind us unless specifically stated in writing and signed by York, Pennsylvania, Texas, Virginia, Washington, D.C., auction. Unless otherwise announced by the auctioneer us. If any part of these Conditions of Sale is for any reason Washington state, or other state or local sales tax (or at the time of sale, all bids are per lot as numbered in the invalid or unenforceable, the rest shall remain valid and compensating use tax) and other applicable taxes. catalog and no lots shall be divided or combined for sale. enforceable.

2. On the fall of the auctioneer’s hammer, the highest bidder 4. We reserve the right to reject a bid from any bidder, to 11. These Conditions of Sale and the purchaser’s and our shall have purchased the offered lot in accordance and split any bidding increment, and to advance the bidding in respective rights and obligations hereunder are governed subject to compliance with all of the conditions set forth any manner the auctioneer may decide. In the event of any by the laws of the State of California. By bidding at an herein and (a) assumes full risk and responsibility therefor, dispute between bidders, or in the event the auctioneer auction, each purchaser and bidder agrees to be bound (b) if requested will sign a confirmation of purchase, and (c) doubts the validity of any bid, the auctioneer shall have sole by these Conditions of Sale. Any dispute, controversy or will pay the purchase price in full or such part as we may and final discretion either to determine the successful bidder claim arising out of or relating to this agreement, or the require for all lots purchased. No lot may be transferred. or to re-offer and resell the article in dispute. If any dispute breach, termination or validity thereof, brought by or against Any person placing a bid as agent on behalf of another arises after the sale, our sales records shall be conclusive Bonhams (but not including claims brought against the (whether or not such person has disclosed that fact or the in all respects. consignor by the purchaser of lots consigned hereunder) identity of the principal) may be jointly and severally liable shall be resolved by the procedures set forth below. with the principal under any contract resulting from the 5. If we are prevented by fire, theft or any other reason MEDIATION AND ARBITRATION PROCEDURES acceptance of a bid. whatsoever from delivering any property to the purchaser or a sale otherwise cannot be completed, our liability shall be (a) Within 30 days of written notice that there is a dispute, the Unless otherwise agreed, payment in good funds is due limited to the sum actually paid therefor by the purchaser parties or their authorized and empowered representatives and payable within five (5) business days following the and shall in no event include any compensatory, incidental shall meet by telephone and/or in person to mediate their auction sale. Whenever the purchaser pays only a part of or consequential damages. differences. If the parties agree, a mutually acceptable the total purchase price for one or more lots purchased, we mediator shall be selected and the parties will equally share may apply such payments, in our sole discretion, to the lot 6. If a lot is offered subject to a reserve, we may implement such reserve by bidding on behalf of the consignor, whether such mediator’s fees. The mediator shall be a retired judge or lots we choose. Payment will not be deemed made in or an attorney familiar with commercial law and trained full until we have collected good funds for all amounts due. by opening bidding or continuing bidding in response to other bidders until reaching the reserve. If we have an in or qualified by experience in handling mediations. Any Payment for purchases may be made in or by (a) cash, (b) interest in an offered lot and the proceeds therefrom other communications made during the mediation process shall cashier’s check or money order, (c) personal check with than our commissions, we may bid therefor to protect such not be admissible in any subsequent arbitration, mediation approved credit drawn on a U.S. bank, (d) wire transfer interest. CONSIGNORS ARE NOT ALLOWED TO BID ON or judicial proceeding. All proceedings and any resolutions or other immediate bank transfer, or (e) Visa, MasterCard, THEIR OWN ITEMS. thereof shall be confidential, and the terms governing American Express or Discover credit, charge or debit card. arbitration set forth in paragraph (c) below shall govern. 7. All statements contained in the catalog or in any bill A processing fee will be assessed on any returned checks. (b) If mediation does not resolve all disputes between Please note that the amount of cash notes and cash of sale, condition report, invoice or elsewhere as to authorship, period, culture, source, origin, measurement, the parties, or in any event no longer than 60 days after equivalents that can be accepted from a given purchaser receipt of the written notice of dispute referred to above, may be limited. quality, rarity, provenance, importance, exhibition and literature of historical relevance, or physical condition the parties shall submit the dispute for binding arbitration To the fullest extent permitted by applicable law: The ARE QUALIFIED STATEMENTS OF OPINION AND NOT before a single neutral arbitrator. Such arbitrator shall be purchaser grants us a security interest in the property, and REPRESENTATIONS OR WARRANTIES. No employee or a retired judge or an attorney familiar with commercial we may retain as collateral security for the purchaser’s agent of Bonhams is authorized to make on our behalf or law and trained in or qualified by experience in handling obligations to us, any property and all monies held or on that of the consignor any representation or warranty, oral arbitrations. Such arbitrator shall make all appropriate received by us for the account of the purchaser, in our or written, with respect to any property. disclosures required by law. The arbitrator shall be drawn possession. We also retain all rights of a secured party from a panel of a national arbitration service agreed to under the California Commercial Code. If the foregoing 8. All purchased property shall be removed from the by the parties, and shall be selected as follows: (i) If the conditions or any other applicable conditions herein are not premises at which the sale is conducted by the date(s) national arbitration service has specific rules or procedures, complied with, in addition to all other remedies available to and time(s) set forth in the “Buyer’s Guide” portion of this those rules or procedures shall be followed; (ii) If the national us and the consignor by law, we may at our election: (a) catalog. Property designated with a “W” and associated arbitration service does not have rules or procedures for the hold the purchaser liable for the full purchase price and any purchased lots, if not removed promptly following sale, will selection of an arbitrator, the arbitrator shall be an individual late charges, collection costs, attorneys’ fees and costs, be transferred to an offsite warehouse at the purchaser’s jointly agreed to by the parties. If the parties cannot agree expenses and incidental damages incurred by us or the risk and expense, as set forth in more detail in the “Buyer’s on a national arbitration service, the arbitration shall be consignor arising out of the purchaser’s breach; (b) cancel Guide.” Purchased property that is permitted to remain conducted by the American Arbitration Association, and the the sale, retaining as liquidated damages all payments onsite at Bonhams’ facility should be removed at the arbitrator shall be selected in accordance with the Rules of made by the purchaser; and/or (c) cancel the sale and/or purchaser’s expense not later than 5:00 p.m. Pacific Time LA-CA/MAIN/6.2018 CONDITIONS OF SALE - CONTINUED the American Arbitration Association. The arbitrator’s award LIMITED RIGHT OF RESCISSION REMEDY AGAINST BONHAMS FOR ANY REASON shall be in writing and shall set forth findings of fact and WHATSOEVER IS THE LIMITED RIGHT OF legal conclusions. If within one (1) year from the date of sale, the original RESCISSION DESCRIBED IN THIS SECTION. purchaser (a) gives written notice to us alleging that (c) Unless otherwise agreed to by the parties or provided the identification of Authorship (as defined below) of “Authorship” means only the identity of the creator, the by the published rules of the national arbitration service: such lot as set forth in the BOLD TYPE heading of period, culture and source or origin of the lot, as the the catalog description of such lot (as amended by any case may be, as set forth in the BOLD TYPE heading of (i) the arbitration shall occur within 60 days following the saleroom notices or verbal announcements during the the print catalog entry. The right of rescission does not selection of the arbitrator; sale) is not substantially correct based on a fair reading extend to: (a) works of art executed before 1870 (unless (ii) the arbitration shall be conducted in the designated of the catalog (including the terms of any glossary these works are determined to be counterfeits created location, as follows: (A) in any case in which the subject contained therein), and (b) within 10 days after such since 1870), as this is a matter of current scholarly auction by Bonhams took place or was scheduled to notice returns the lot to us in the same condition as at opinion which can change; (b) titles, descriptions, or take place in the State of New York or Connecticut or the the time of sale, and (c) establishes the allegation in the other identification of offered lots, which information Commonwealth of Massachusetts, the arbitration shall notice to our satisfaction (including by providing one or normally appears in lower case type below the BOLD take place in New York City, New York; (B) in all other more written opinions by recognized experts in the field, TYPE heading identifying the Authorship; (c) Authorship cases, the arbitration shall take place in the city of San as we may reasonably require), then the sale of such lot of any lot where it was specifically mentioned that Francisco, California; and will be rescinded and, unless we have already paid to there exists a conflict of specialist or scholarly opinion the consignor monies owed him in connection with the regarding the Authorship of the lot at the time of sale; (d) (iii) discovery and the procedure for the arbitration shall sale, the original purchase price will be refunded. Authorship of any lot which as of the date of sale was in be as follows: accordance with the then generally-accepted opinion of If, prior to receiving such notice from the original scholars and specialists regarding the same; or (e) the (A) All arbitration proceedings shall be confidential; purchaser alleging such defect, we have paid the identification of periods or dates of creation in catalog consignor monies owed him in connection with the (B) The parties shall submit written briefs to the arbitrator descriptions which may be proven inaccurate by means sale, we shall pay the original purchaser the amount no later than 15 days before the arbitration commences; of scientific processes that are not generally accepted of our commissions, any other sale proceeds to which for use until after publication of the catalog in which the (C) Discovery, if any, shall be limited as follows: (I) we are entitled and applicable taxes received from property is offered or that were unreasonably expensive Requests for no more than 10 categories of documents, the purchaser on the sale and make demand on the or impractical to use at the time of such publication. to be provided to the requesting party within 14 days consignor to pay the balance of the original purchase of written request therefor; (II) No more than two (2) price to the original purchaser. Should the consignor LIMITATION OF LIABILITY depositions per party, provided however, the deposition(s) fail to pay such amount promptly, we may disclose EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL are to be completed within one (1) day; (III) Compliance the identity of the consignor and assign to the original PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR with the above shall be enforced by the arbitrator in purchaser our rights against the consignor with respect THE CONSIGNOR MAKES ANY REPRESENTATION accordance with California law; to the lot the sale of which is sought to be rescinded. Upon such disclosure and assignment, any liability of OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE (D) Each party shall have no longer than eight (8) hours to Bonhams as consignor’s agent with respect to said lot MERCHANTABILITY, FITNESS OR CONDITION OF present its position. The entire hearing before the arbitrator shall automatically terminate. THE PROPERTY OR AS TO THE CORRECTNESS shall not take longer than three (3) consecutive days; OF DESCRIPTION, GENUINENESS, ATTRIBUTION, The foregoing limited right of rescission is available to PROVENANCE OR PERIOD OF THE PROPERTY OR (E) The award shall be made in writing no more than 30 the original purchaser only and may not be assigned AS TO WHETHER THE PURCHASER ACQUIRES ANY days following the end of the proceeding. Judgment to or relied upon by any subsequent transferee of COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY upon the award rendered by the arbitrator may be the property sold. The purchaser hereby accepts RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK entered by any court having jurisdiction thereof. the benefit of the consignor’s warranty of title and OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS other representations and warranties made by the OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE To the fullest extent permitted by law, and except as consignor for the purchaser’s benefit. Nothing in PURCHASER EXPRESSLY ACKNOWLEDGES AND required by applicable arbitration rules, each party shall this section shall be construed as an admission by AGREES THAT IN NO EVENT SHALL BONHAMS BE bear its own attorneys’ fees and costs in connection with us of any representation of fact, express or implied, LIABLE FOR ANY DAMAGES INCLUDING, WITHOUT the proceedings and shall share equally the fees and obligation or responsibility with respect to any LIMITATION, ANY COMPENSATORY, INCIDENTAL OR expenses of the arbitrator. lot. THE PURCHASER’S SOLE AND EXCLUSIVE CONSEQUENTIAL DAMAGES.

SELLER’S GUIDE

SELLING AT AUCTION as “photo auction estimate”. Alternatively, you can submit your tax and family division purposes and reflect prices paid by a willing request using our online form at www.bonhams.com/us. Digital buyer to a willing seller. Bonhams can help you every step of the way when you are ready to images may be attached to the form. Please limit your images to no sell art, antiques and collectible items at auction. Our regional offices When we conduct a private appraisal, our specialists will prepare a more than five (5) per item. and representatives throughout the US are available to service all of thorough inventory listing of all your appraised property by category. your needs. Should you have any further questions, please visit our CONSIGNING YOUR PROPERTY Valuations, complete descriptions and locations of items are included website at www.bonhams.com/us for more information or call our in the documentation. After you receive an estimate, you may consign your property to us for Client Services Department at +1 (323) 850 7500. sale in the next appropriate auction. Our staff assists you throughout Appraisal fees vary according to the nature of the collection, the AUCTION ESTIMATES the process, arranging transportation of your items to our galleries amount of work involved, the travel distance, and whether the (at the consignor’s expense), providing a detailed inventory of your property is subsequently consigned for auction. The first step in the auction process is to determine the auction value consignment, and reporting the prices realized for each lot. We provide of your property. Bonhams’ world-renowned specialists will evaluate Our appraisers are available to help you anywhere and at any time. secure storage for your property in our warehouses and all items are your special items at no charge and in complete confidence. You can Please call our Client Services Department to schedule an appraisal. insured throughout the auction process. You will receive payment for obtain an auction estimate in many ways: your property approximately 35 days after completion of sale. ESTATE SERVICES • Attend one of our Auction Appraisal Events held regularly at our Sales commissions vary with the potential auction value of the Since 1865, Bonhams has been serving the needs of fiduciaries – galleries and in other major metropolitan areas. The updated property and the particular auction in which the property is offered. lawyers, trust officers, accountants and executors – in the disposition schedule for Bonhams Auction Appraisal Events is available at Please call us for commission rates. of large and small estates. Our services are specially designed to aid www.bonhams.com/us. in the efficient appraisal and disposition of fine art, antiques, jewelry, PROFESSIONAL APPRAISAL SERVICES • Call our Client Services Department to schedule a private appointment and collectibles. We offer a full range of estate services, ranging from at one of our galleries. If you have a large collection, our specialists can Bonhams’ specialists conduct insurance and fair market value flexible financial terms to tailored accounting for heirs and their agents travel, by appointment, to evaluate your property on site. appraisals for private collectors, corporations, museums, fiduciaries to world-class marketing and sales support. and government entities on a daily basis. Insurance appraisals, used • Send clear photographs to us of each individual item, including For more information or to obtain a detailed Trust and Estates for insurance purposes, reflect the cost of replacing property in item dimensions and other pertinent information with each picture. package, please visit our website at or today’s retail market. Fair market value appraisals are used for estate, www.bonhams.com/us Photos should be sent to Bonhams’ address in envelopes marked contact our Client Services Department.

LA-CA/MAIN/6.2018 BUYER’S GUIDE

BIDDING & BUYING AT AUCTION item at the lowest bid price possible. In the event identical bids the Conditions of Sale. If you wish to use your resale license are submitted, the earliest bid submitted will take precedence. please contact Cashiers for our form. Whether you are an experienced bidder or an enthusiastic Absentee bids shall be executed in competition with other novice, auctions provide a stimulating atmosphere unlike any absentee bids, any applicable reserve, and bids from other Shipping & Removal other. Bonhams previews and sales are free and open to the Bonhams can accommodate shipping for certain items. auction participants. A friend or agent may place bids on public. As you will find in these directions, bidding and buying Please contact our Cashiers Department for more information your behalf, provided that we have received your written at auction is easy and exciting. Should you have any further or to obtain a quote. Refer to Conditions of Sale for special authorization prior to the sale. Absentee bid forms are available questions, please visit our website at or terms governing the shipment of Arms and Wine. Shipments www.bonhams.com in our catalogs, online at , and at our call our Client Services Department at +1 (323) 850 7500. www.bonhams.com/us are made during weekday business hours up to four weeks San Francisco, Los Angeles and New York galleries. after payment is received. Carriers are not permitted to deliver Catalogs to P.O. Boxes. Before each auction we publish illustrated catalogs that By Telephone Under special circumstances, we can arrange for you to bid include dates and times for previews and auctions. Our International buyers are responsible for all import/export by telephone. To arrange for a telephone bid, please contact catalogs also provide descriptions and estimated values customs duties and taxes. An invoice stating the actual our Client Services Department a minimum of 24 hours prior for each “lot.” A lot may refer to a single item or to a group purchase price(s) will accompany all international purchases. to the sale. of items auctioned together. We offer our catalogs by subscription or by single copy. For information on subscribing Simultaneous sale property collection notice: Online If this sale previews in multiple cities, please see the title page to our catalogs, you may refer to the subscription form in Web users may place absentee bids online from anywhere for details regarding final location of property for collection. this catalog, call our Client Services Department, or visit our in the world. To bid online, please visit our website at www. website at www.bonhams.com/us. bonhams.com/us. Auction Results Auction results are usually available on the next business day We are pleased to make our live online bidding facility available Previews following the sale or online at Auction previews are your chance to inspect each lot prior to to bidders in this sale. www.bonhams.com/us. the auction. We encourage you to look closely and examine Additional terms and conditions of sale relating to online each object on which you may want to bid so that you will bidding will apply. Please see or know as much as possible about it. Items are sold “as is” and www.bonhams.com/24771 contact the Client Services Department to obtain information with all faults; illustrations in our catalogs, website and other and learn how you can register and bid online in this sale. materials are provided for identification only. At the previews, our staff is always available to answer your questions and Bid Increments guide you through the auction process. Condition reports may Bonhams generally uses the following increment multiples as be available upon request. bidding progresses: Estimates $50-200...... by $10s Bonhams catalogs include estimates for each lot, exclusive of $200-500...... by $20/50/80s buyer’s premium and tax. The estimates are provided as an $500-1,000...... by $50s approximate guide to current market value and should not be $1,000-2,000...... by $100s interpreted as a representation or prediction of actual selling $2,000-5,000...... by $200/500/800s prices. They are determined well in advance of a sale and are $5,000-10,000…...... by $500s subject to revision. Please contact us should you have any $10,000-20,000...... by $1,000s questions about value estimates. $20,000-50,000...... by $2,000/5,000/8,000s $50,000-100,000...... by $5,000s Reserves $100,000-200,000...... by $10,000s All lots in a catalog are subject to a reserve unless otherwise above $200,000...... at auctioneer’s discretion indicated. The reserve is the minimum price that the seller is willing to accept for a lot. This amount is confidential and does The auctioneer may split or reject any bid at any time at not exceed the low estimated value. his or her discretion as outlined in the Conditions of Sale. BIDDING AT AUCTION Currency Converter At Bonhams, you can bid in many ways: in person, via Solely for the convenience of bidders, a currency converter absentee bid, over the phone, or via Bonhams’ online bidding may be provided at Bonhams sales. The rates quoted for facility. Absentee bids can be submitted in person, online, via conversion of other currencies to U.S. Dollars are indications fax or via email. only and should not be relied upon by a bidder, and neither Bonhams nor its agents shall be responsible for any errors A valid Bonhams client account is required to participate in or omissions in the operation or accuracy of the currency bidding activity. You can obtain registration information online, at converter. the reception desk or by calling our Client Services Department. By bidding at auction, whether in person or by agent, by Buyer’s Premium A buyer’s premium is added to the winning bid price of each absentee bid, telephone, online or other means, the buyer or individual lot purchased, at the rates set forth in the Conditions bidder agrees to be bound by the Conditions of Sale. of Sale. The winning bid price plus the premium constitute Lots are auctioned in consecutive numerical order as they the purchase price for the lot. Applicable sales taxes are appear in the catalog. Bidding normally begins below computed based on this figure, and the total becomes your the low estimate. The auctioneer will accept bids from final purchase price. interested parties present in the saleroom, from telephone Unless specifically illustrated and noted, fine art frames are bidders, and from absentee bidders who have left written not included in the estimate or purchase price. Bonhams bids in advance of the sale. The auctioneer may also accepts no liability for damage or loss to frames during execute bids on behalf of the consignor up to the amount storage or shipment. of the reserve, but never above it. All sales are final and subject to the Conditions of Sale We assume no responsibility for failure to execute bids for any found in our catalogs, on our website, and available at the reason whatsoever. reception desk. In Person If you are planning to bid at auction, you will need to register Payment All buyers are asked to pay and pick up by 3pm on the at the reception desk in order to receive a numbered bid business day following the auction. Payment may be made card. To place a bid, hold up your card so that the auctioneer to Bonhams by cash, checks drawn on a U.S. bank, money can clearly see it. Decide on the maximum amount that order, wire transfer, or by Visa, MasterCard, American Express you wish to pay, exclusive of buyer’s premium and tax, and or Discover credit or charge card or debit card. All items must continue bidding until your bid prevails or you reach your limit. be paid for within 5 business days of the sale. Please note that If you are the successful bidder on a lot, the auctioneer will payment by personal or business check may result in property acknowledge your paddle number and bid amount. not being released until purchase funds clear our bank. Absentee Bids As a service to those wishing to place bids, we may at our Sales Tax Residents of states listed in Paragraph 1 of the Conditions discretion accept bids without charge in advance of sale by of Sale must pay applicable sales tax. Other state or local telephone, by facsimile or in writing on bidding forms available taxes (or compensation use taxes) may apply. Sales tax will from us. “Buy” bids will not be accepted; all bids must state the be automatically added to the invoice unless a valid resale highest bid price the bidder is willing to pay. Our auction staff number has been furnished or the property is shipped via will try to bid just as you would, with the goal of obtaining the common carrier to destinations outside the states listed in

LA-CA/MAIN/6.2018 CONTACTS OFFICERS BONHAMS * BONHAMS * BONHAMS * Malcolm Barber NEW YORK DEPARTMENTS SAN FRANCISCO DEPARTMENTS LOS ANGELES DEPARTMENTS Co-Chairman 580 Madison Avenue 220 San Bruno Avenue 7601 W. Sunset Boulevard New York, New York 10022 San Francisco California 94103 Los Angeles California 90046 Matthew Girling (212) 644 9001 (415) 861 7500 (323) 850 7500 Chief Executive Officer Books & Manuscripts 20th Century Fine Art 20th Century Decorative Arts Laura King Pfaff • Ian Ehling, (212) 644 9094 Sonja Moro, (415) 503 3412 Angela Past, (323) 436 5422 Chairman Emeritus Darren Sutherland, (212) 461 6531 Jason Stein, (323) 436 5466 Leslie Wright Asian Works of Art Vice President, Trusts and Estates Chinese Works of Art & Paintings Dessa Goddard, (415) 503 3333 20th Century Fine Art Bruce MacLaren, (917) 206 1677 Alexis Chompaisal, (323) 436 5469 Vice Presidents, Specialists Ming Hua, (646) 837 8132 Books & Manuscripts Rupert Banner Adam Stackhouse, (415) 503 3266 African, Oceanic & Pre-Columbian Art Mark Fisher Collectors’ Motorcars & Motorcycles Fredric W. Backlar, (323) 436 5416 • Dessa Goddard Rupert Banner, (212) 461 6515 Chinese Works of Art Jakob Greisen Eric Minoff, (917) 206 1630 Daniel Herskee, (415) 503 3271 Books & Manuscripts Bruce MacLaren Evan Ide, (917) 340 4657 Catherine Williamson, (323) 436 5442 Scot Levitt Michael Caimano, (917) 206 1615 Jewelry & Watches Mark Osborne Shannon Beck, (415) 503 3306 Coins & Banknotes Brooke Sivo Paul Song, (323) 436 5455 Catherine Williamson Fine Art Collectors’ Motorcars & Motorcycles Mark Osborne, (415) 503 3353 Contemporary Art REPRESENTATIVES American Jakob Greisen, (415) 503 3284 Dane Jensen, (323) 436 5451 Arizona Jennifer Jacobsen, (917) 206 1699 Terri Adrian-Hardy, (602) 859 1843 Elizabeth Goodridge, (917) 206 1621 Museum Services Entertainment Memorabilia Laura King Pfaff, (415) 503 3210 Catherine Williamson, (323) 436 5442 California Contemporary Dana Hawkes, (978) 283 1518 David Daniel Jeremy Goldsmith, (917) 206 1656 Native American Art (916) 364 1645, Central Valley Ingmars Lindbergs, (415) 503 3393 Furniture, Decorative Arts & Ceramics California European Paintings Aileen Ward, (323) 436 5463 Brooke Sivo Madalina Lazen, (212) 644 9108 California & Western (760) 350 4255, Palm Springs Paintings & Sculpture Jewelry & Watches (760) 567 1744, San Diego Impressionist & Modern Aaron Bastian, (415) 503 3241 Dana Ehrman, (323) 436 5407 Caitlyn Pickens, (212) 644 9135 Alexis Vourvoulis, (323) 436 5483 Colorado Photographs & Prints Lance Vigil Himalayan Art Morisa Rosenberg, (415) 503 3259 Collectors’ Motorcars & Motorcycles (720) 355 3737, Denver Mark Rasmussen, (917) 206 1688 Michael Caimano, (929) 666 2243 Space History Florida Japanese Works of Art Adam Stackhouse, (415) 503 3266 Photographs & Prints April Matteini Jeff Olson, (212) 461 6516 Morisa Rosenberg, (323) 436 5435 (305) 978 2459 Trusts & Estates Jewelry Victoria Richardson, (415) 503 3207 Natural History Georgia Caroline Morrissey, (212) 644 9046 Celeste Smith, (415) 503 3214 Thomas E. Lindgren, (310) 469 8567 • Mary Moore Bethea, (404) 842 1500 • Camille Barbier, (212) 644 9035 Claudia Florian, G.J.G., (323) 436 5437 • Wine Illinois Erin McGrath, (415) 503 3319 California & Western Ricki Harris Modern Decorative Arts & Design Paintings & Sculpture (773) 267 3300, (773) 680 2881 Benjamin Walker, (212) 710 1306 Dan Tolson, (917) 206 1611 Scot Levitt, (323) 436 5425 Massachusetts/New England Kathy Wong, (323) 436 5415 Amy Corcoran, (617) 742 0909 Photographs & Prints Deborah Ripley, (212) 644 9059 European Paintings Nevada Laura Paterson, (917) 206 1653 Mark Fisher, (323) 436 5488 David Daniel, (775) 831 0330 Rocco Rich, (323) 436 5410 New Mexico Russian Fine & Decorative Arts Terri Adrian-Hardy, (602) 859 1843 Yelena Harbick, (212) 644 9136 Silver Aileen Ward, (323) 436 5463 Oregon and Idaho Trusts & Estates Sheryl Acheson, (971) 727 7797 Sherri Cohen, (917) 206 1671 Trusts & Estates Leslie Wright, (323) 436 5408 Texas, Oklahoma and Louisiana Watches & Clocks Joseph Francaviglia, (323) 436 5443 Amy Lawch, (713) 621 5988 • Jonathan Snellenburg, (212) 461 6530 Virginia and Washington DC Mid-Atlantic Region * Indicates saleroom Gertraud Hechl, (202) 422 2733 • • Indicates independent contractor Washington Heather O’Mahony, (206) 566 3913 Canada, Toronto, Ontario Kristin Kearney, (416) 462 9004 •

Montreal, Quebec CLIENT SERVICES DEPARTMENT David Kelsey, (514) 894 1138 • San Francisco New York (415) 861 7500 (212) 644 9001 (415) 861 8951 fax (212) 644 9009 fax Monday - Friday, 9am to 5pm Monday - Friday, 9am to 5pm Toll Free Los Angeles (800) 223 2854 (323) 850 7500 (323) 850 6090 fax Monday - Friday, 9am to 5pm

CON/9/7/2018 Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding) INTERNATIONAL AUCTION CALENDAR 2018 Please circle your bidding method above.

FINE AND RARE WINES WHISKY Sale title: California and Western Paintings & Sculpture Sale date: Tuesday August 7, 2018 Thursday 12 July London Friday 17 August Hong Kong Paddle number (for office use only) Sale no. 24771 Sale venue: Los Angeles Friday 14 September San Francisco Wednesday 3 October Edinburgh General Notice: This sale will be conducted in accordance General Bid Increments: with Bonhams Conditions of Sale, and your bidding and $10 - 200 ...... by 10s $10,000 - 20,000 ...... by 1,000s Thursday 27 September London Wednesday 12 December Edinburgh buying at the sale will be governed by such terms and $200 - 500 ...... by 20 / 50 / 80s $20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s Friday 16 November Hong Kong conditions. Please read the Conditions of Sale in conjunction $500 - 1,000 ...... by 50s $50,000 - 100,000 ...... by 5,000s with the Buyer’s Guide relating to this sale and other $1,000 - 2,000 ...... by 100s $100,000 - 200,000 .....by 10,000s published notices and terms relating to bidding. Thursday 29 November London $2,000 - 5,000 ...... by 200 / 500 / 800s above $200,000 ...... at the auctioneer’s discretion Payment by personal or business check may result in your Friday 7 December San Francisco property not being released until purchase funds clear our $5,000 - 10,000 ...... by 500s The auctioneer has discretion to split any bid at any time. bank. Checks must be drawn on a U.S. bank. Customer Number Title Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at First Name Last Name least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in Company name (to be invoiced if applicable) the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams Address will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids. City County / State ENQUIRIES Notice to First Time Bidders: New clients are requested to UK Post / Zip code Country provide photographic proof of ID - passport, driving license, ID +44 (0) 20 7468 5811 card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a Telephone mobile Telephone daytime [email protected] copy of their articles of association / company registration [email protected] documents, together with a letter authorizing the individual to Telephone evening Fax bid on the company’s behalf. Failure to provide this may result USA in your bids not being processed. For higher value lots you may Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 also be asked to provide a bankers reference. next to the telephone number. +1 (415) 503 3363 [email protected] E-mail (in capitals) Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams HONG KONG contact Client Services. and partner organizations. Bonhams does not sell or trade email addresses. +852 2918 4321 I am registering to bid as a private client I am registering to bid as a trade client If successful [email protected] I will collect the purchases myself Please contact me with a shipping quote (if applicable) Resale: please enter your resale license number here I will arrange a third party to collect my purchase(s) We may contact you for additional information.

Please email or fax the completed Registration Form and requested information to: SHIPPING Bonhams Client Services Department 7601 W. Sunset Blvd Shipping Address (if different than above): Los Angeles, California 90046 Address: ______Country: ______Tel +1 (323) 850 7500 Fax +1 (323) 850 6090 City: ______Post/ZIP code: [email protected] Please note that all telephone calls are recorded.

Brief description MAX bid in US$ Type of bid Lot no. (In the event of any discrepancy, lot number and not lot description will govern.) If (excluding premium and applicable tax) ( -Absentee, -Telephone) A T you are bidding online there is no need to complete this section. Emergency bid for telephone bidders only*

You instruct us to execute each absentee bid up to the corresponding bid * Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed amount indicated above. by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date: bonhams.com/wine LA-CA/MAIN/07.17 INTERNATIONAL AUCTION CALENDAR 2018

FINE AND RARE WINES WHISKY

Thursday 12 July London Friday 17 August Hong Kong Friday 14 September San Francisco Wednesday 3 October Edinburgh Thursday 27 September London Wednesday 12 December Edinburgh Friday 16 November Hong Kong Thursday 29 November London Friday 7 December San Francisco

ENQUIRIES UK +44 (0) 20 7468 5811 [email protected] [email protected]

USA +1 (415) 503 3363 [email protected]

HONG KONG +852 2918 4321 [email protected]

bonhams.com/wine

CALIFORNIA AND WESTERN PAINTINGS & SCULPTURE | 121 Bonhams 220 San Bruno Avenue San Francisco, California 94103

7601 W. Sunset Boulevard Los Angeles, California 90046

+1 323 850 7500 +1 323 850 6090 (fax)

International Auctioneers and Valuers – bonhams.com