Ann Alderson Cabezas (20 th / 21 st Century) American

UNTITLED, gouache on paper or board, signed by both artists lower center and lower left respectively, sight 6 ¼ x 11 ½”, frame 17 ¾ x 21 ¾” with glass.

Gillen, John and Ann Neale (American 20th/ 21st Century), Itanos, 2003, acrylic and gypsum on wood, 36 x 27 inches, signed, titled, and dated on reverse, framed in a strip frame measuring 37 x 28 inch

Ann Fleming (American, 20th/21st century), Flower House, 1973, painted ceramic sculpture, signed and dated beneath, overall: 14.75"h x 7.25"w x 5.5"d

* Ann Patrick O'Brien (American, 20th/21st century) Minibike 70B acrylic on canvas signed 6 x 6 inches. Estimate $10-20 Property from The Estate of Robert Geppert, Wilmette, Illinois

HORIZON OF MYTH, 1995, mixed media wall sculpture with screen-printed glass, with metal-tipped wood darts in an intentional non-closing suitcase, signed on artist’s label on verso, 22 ½

SLOWLY LISTENING AT AN ANGEL, found-paper collage and painting on wood panel, signed and titled on verso, 18 ¼ x 25”. Provenance: purchased directly from the artist at Scion Gallery Show,

QUEEN ELIZABETH & UNION JACK, unique hand painted polymorph, signed lower right, 16 x 15”, frame 23 ½ x 22 ½” with Plexiglas.

DONALD & GOOFY, unique hand painted polymorph, signed lower right, 12 x 15”, frame 19 ½ x 22” with Plexiglas.

SIX BLUE EGGS, 2007, acrylic painting on wood panel, signed and dated lower right, 9 ¾ x 9 ¾”. From the Stephen Cohen Collection, Los Angeles.

BB KING, color pigment print on archival paper, signed in ink by BB King and Robert Sturman, numbered 4/8 in pencil, sheet 22 x 22 ½”, frame 29 x 28 ½” with Plexiglas.

SAINT MARILYN OUR LADY OF HOLLYWOOD, 2004, archived digital print from photocollage, signed and dated and numbered 1/8 in ink on verso, 20 x 16”, frame 20 ½ x 16 ½”. Provenan

RIVER DANCE, 2003, oil painting with pigment and resin on wood panel, signed and dated and titled on verso, 11 ¾ x 47 ½”.

AFTER THE SUN HAS GONE, 2002, REFLECTIONS, 2005, two oil paintings on canvas, each signed lower left, the latter signed on verso; each 20 x 24”, frames 21 ½ x 25 ½” & 21 &fra

CAMPBELL’S SOUP PLATE, acrylic and spray paint on 10 ½” diameter plate, frame 20 ¼ x 20 ¼” with Plexiglas.

1930s’ PACKARDS, two, each a pastel and mixed media on paper or board, one signed lower right, one lower left, sights 8 ¾ x 7 ½” & 6 ¾ x 5 ¾”, frames 23

CS II, 2006, aquatint etching on black Korean Hanji paper mounted to a larger sheet of white paper, signed and dated lower right and numbered 1/30 lower left, image 30 x 36", sheet reduced to 34 ¾ x

DOOR-STOP, 2004, oil painting and welding on metal, 2004, signed and dated and titled on verso, 17 ½ x 9 x 1”.

1930s’ PACKARDS, oil painting on paper or board, signed lower right, sight 18 ¾ x 26 ¼” heavy frame 32 x 38 ¾” with glass, weight 23 lbs.

A David Neri CITY VIEW, 2002, acrylic painting on canvas board, signed and dated on verso, frame 17 ¼ x 13 ¼”; Together with Artists Unidentified SEASCAPE, acrylic painting on canv

A BREAK IN THE CLOUDS, 2004, oil painting on canvas, signed lower left, signed and dated and titled on verso, 24 x 30”, frame 27 x 33”.

LAST CALL, 2004, oil painting on canvas, signed lower left, signed and dated and titled on verso, 24 x 48”, frame 25 ¼ x 49 ¼”.

BAGS AT THE DOOR, 2004, oil painting and welding on metal, 2004, signed and dated and titled on verso, 20 x 16 x ¾”.

HOP TO IT, 2015, paper collage, signed and dated lower left, sight 9 ½ x 7 ½”, frame 15 x 12” with glass.

LITMUS TEST, 2003, acrylic painting on Masonite, signed and titled and dated and inscribed #7 on label on verso, 12 x 10”. From the Stephen Cohen Collection, Los Angeles.