James Scoppattone (b. 1937) California

STREET SCENE, oil painting on canvas, signed lower right, 24 x 30”, frame 34 ½ x 40 ½ x 4”.

GARDEN PATH GIVERNY, oil painting on canvas, signed lower right, 24 x 48”, frame 32 ½ x 56 x 2 ½”.

FOREST PATH, oil painting on canvas, signed lower right, 30 x 24”, frame 38 x 31 ½ x 3 ½”.

FLOWERS, oil painting on canvas, signed lower right, 24 x 18”, frame 29 ½ x 23 ½ x 2”.

VIEW OF MONTMARTRE, oil painting on paper, signed lower right, sight 17 ½ x 23 ½”, frame 33 ½ x 39” with Plexiglas.

RUE SAINT RUSTIQUE, oil painting on paper, signed lower left, 18 x 24”, frame 33 ½ x 39” with Plexiglas.

Heinie Hartwig (b-1937, California). Framed oil on masonite. The painting is titled on the verso "Winter Encampment" and depicts a Native American Indian figure and teepee with mountains beyond. Artis

WATERFALL DRAWING 15, 1990, oil painting on board, signed and dated and inscribed ‘15’ on verso, 4 ½ x 14”, frame 8 ¾ x 18 ¼” with glass. Provenance: James Corco

ERSKINE (Waterfall Series 065), 1990, oil painting on gatorboard mounted to wood panel, signed and dated on verso of panel, 11 ½ x 5 x 1”. Provenance: Artist’s studio; James Corcoran

Framed silkscreen lithograph by Ronald Davis (American, California, b-1937). Titled "Single Divider". Pencil signed by the artist lower right and dated 71 (1971). Edition 58/66. Blindstamp of the publ

Framed watercolor by Harold Mason (California / New Mexico, b-1937). The Southwest still life painting depicts an Acoma olla jar in the window of an adobe. Signed lower left. Measures 20.75" x 28.5".

CHEESE MOLD STANDARD WITH OLIVE (W.31), 1969, color screenprint, signed and numbered 83/150 in pencil, published by Ed Ruscha, printed by Jean Milant and Daniel Socha at Ruscha’s studio, Hollywo

SIN, 1970, (Engberg 41; Cirrus pg. 338), color screenprint on Louvain Opaque Cover paper, signed and numbered edition of 150 in pencil, printed and published by Cirrus with blind stamp lower left, ima

UNTITLED Clouds, 1970, photo-collage, signed and dated on verso, 10 ½ x 10 ½”, frame 15 ¼ x 15 ¼”. Provenance: Manny Silverman Gallery, Los Angeles.

TORNADO DRAWING #21, Sumi ink on Washi paper, signed and titled on the verso, 25 ¾ x 19 ½”, Plexiglas box frame 30 ½ x 24 ½ x 2”.

BRAVE MEN RUN IN MY FAMILY, 1983, two etchings on one sheet, one color, signed in pencil by both artists and dated by Ruscha, numbered 31/40, Abury Press blind stamps lower right and another blind sta

RAINY SEASON 78, 1978, portfolio of six color lithographs with razor blade manipulation by artist, each signed and numbered 26/30 in pencil; Together with UNTITLED (249C), color lithograph with razor

UNTITLED GREEN, 1997, color lithograph, signed and dated and numbered 12/30 in pencil, printed by Cirrus with blind stamp lower left, image 23 ¾ x 23 ¾”, full margins, frame 28 &fr

UNTITLED BLUE, 1997, color lithograph, signed and dated and numbered 14/30 in pencil, printed by Cirrus with blind stamp lower left, image 23 ¾ x 23 ¾”, full margins, frame 28 &fra

UNTITLED (Cirrus page 237), 1971, color lithograph with screenprint on Copperplate Deluxe paper, signed and dated and inscribed AP (artist’s proof) in pencil, aside from the numbered edition 90

POLLUTION R-3, 1995, Mixografia on handmade paper, signed and dated and numbered 4/ 30 in pencil, 15 x 17”, finger-jointed frame 19 ½ x 21 x 2 ½” with Plexiglas. Provenance:

FLOATING CARDS, 1969, five color lithographs, each signed and dated in pencil and inscribed VIII Roman Numeral, aside from the numbered edition 98, printed by Mourlot Paris, sheets 22 x 29 ¾&#822

Contemporary. Acrylic on paper 39 1/2 x 29 1/2 in. (sight), 49 x 39 in. (framed)

TRI-BOX AND GRID (G. 1121), 1983, etching on green paper, signed and dated and inscribed PP II (printer’s proof 2), aside from the numbered edition 35, printed and published by Gemini G. E. L. w