October 13, 2013 Modern Art & Design Auction by LA Modern Auctions

Modern Art & Design FEATURING WORKS FROM THE ESTATE OF RUTH & DALZELL HATFIELD

OCTOBER 13, 2013

PREVIEW

September 30 - October 12, 2013 10 a.m. - 6 p.m.

AUCTION

Sunday, October 13, 2013 12 p.m. (PST)

16145 Hart Street Van Nuys, CA 91406

Estate-to-wall. You may or may not have noticed a trend in contemporary cuisine that has taken hold

across the country known as farm-to-table, which brings to mind a parallel in the art and design world. If the food on your dinner plate can arrive via the most direct route from a farmer's field, then it will use fewer resources, support local economies, cut out middlemen, and create less waste. It can also be picked later, presumably closer to when it’s freshest. At LAMA, we have been increasingly offering fresh picked art and design from estates on the West Coast and bringing them directly to your home for over 20 years. Unlike big supermarket auctions that have dozens of departments to churn out an obscene amount of dealer inventory, we represent the best material that can be sourced locally and from original owners, estate professionals, and regional pickers. Many of these sources do not have the ability to market their goods directly, so LAMA has become a kind of co-op for getting material directly to the collector. Our most recent crop of fresh works comes from the Estate of Ruth and Dalzell Hatfield. Key figures in the development of the Los Angeles art scene, Ruth and Dalzell are responsible for exhibiting the works of major European artists in America, often for the first time. The works represented from this estate come directly from Ruth and Dalzell’s personal collection, which amount to over 40 lots of European, American, and Latin American paintings, prints, ceramics, and glass, many of which were acquired directly from the artists themselves. Take for example the Millard Sheets painting, The King’s Tent (1928). Ruth and Dalzell Hatfield acquired this painting directly from Sheets in 1928 for their own residence. When Ruth passed away in 1984, the painting went into storage and is only now coming onto the market for the very first time in 85 years. It is merely one of the 40 lots that have been packed away unseen for decades. In addition to fostering the careers of local artists, the duo brought countless European artists – Picasso, Cézanne, Monet, Gauguin, Rouault, Kandinsky – to the attention of Angelinos. Their tireless promotion of Picasso’s La Suite Vollard would see them sell several complete sets and hundreds of individual impressions. The 16 lots of Picasso etchings in this sale are among the very last examples to be sold by the keeper of the suite, Baron Henri Petiet. And, because Ruth was partial to deep royal blues, it makes sense that she would keep some of the best works of this color that came through their hands, including Emil Nolde's painting Amaryllis and Alfredo Ramos Martínez' Flores Tropicales (c. 1930). In addition to Ramos Martínez, we have a very strong selection of Latin American works. Nearly 40 lots in all, each comes to the market from fresh Southern California sources including the Los Angeles County Museum of Art. The Pedro Coronel oil on canvas, Untitled (1981), was painted in Paris during his most color-obsessed period and is a masterwork from the Generación de la Ruptura (The Breakaway Generation). This work reminds me of how many artists and designers of the 20th century did not so much reject their country's past as much as infuse the cultural dynamics into a modern sensibility. Coronel and Tamayo were to Mexico what Nakashima and Noguchi were to Japan, Wegner and Jacobsen to Denmark. As for decorative arts, this sale includes an important collection of Natzler ceramics, which is being offered for the first time in half a century. This collection of 14 works comes directly from the collection of Leopold and Patricia Hirschfeldt, close friends of Gertrud & Otto Natzler and avid ceramic collectors. These jewel-like works were handpicked by Otto Natzler himself and were included in several important exhibitions and catalogues. If your taste for art favors the iconic, let me recommend the $ (Quadrant) (1982) duo by Andy Warhol, or perhaps the proto-Pop masterpiece by Larry Rivers titled Valentine Painting (1959), a rare offering from the artist's most desirable period - both of which are being sold by owners who acquired them when almost new. With over 200 lots being sold for the very first time, you will see that LAMA, through experience and reputation, continues to bring fresh material from local estates to your wall. The aforementioned highlights exemplify this practice, and we feel that the consumer benefits from knowing where their art comes from. Indeed, like farm-to-table, the consumer can feel more connected to the artworks knowing that they are essentially buying the love, care, and meaning that inspired the original owners to acquire these works. LAMA provides a generous helping of expertise, context, and some curating, but you can provide these pieces a home. PETER LOUGHREY, DIRECTOR

1 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model nos. 670 (chair), 671 (ottoman) Herman Miller, designed 1956, this example executed before 1971 Laminated rosewood, black leather upholstery, polished and enameled aluminum Retains manufacturer’s tag to chair Chair: 31” x 33.5” x 36”; Ottoman: 16.25” x 25.25” x 21” Literature:

NEU H A RT, JOH N & MA R I LYN ,

EAM ES D ESI GN: TH E WORK OF THE OF F I C E O F CHARLES A ND RAY EA MES, NE W YOR K : ABRAMS, 1989, P 20 7.

$3,500-4,500

2 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model nos. 670 (chair), 671 (ottoman) Herman Miller, designed 1956, this example executed after 1971 Laminated rosewood, black leather upholstery, polished and enameled aluminum Retains manufacturer’s tag to chair and ottoman Chair: 31” x 33.5” x 36”; Ottoman: 16.25” x 25.25” x 21” Literature:

NEU H A RT, JOH N & MA R I LYN ,

EAM ES D ESI GN: TH E WORK OF THE OF F I C E O F CHARLES A ND RAY EA MES, NE W YOR K : ABRAMS, 1989, P 20 7.

$3,000-5,000

3 CHARLES & RAY EAMES SCREEN Model no. FSW-8 Evans Products Co., designed 1946, executed c. 1946-48 Laminated calico ash, canvas 67.5” x 80” Literature:

N E UH ART, JOH N & M AR I LYN,

E AME S D E S IGN : TH E WOR K OF TH E OFFI CE O F C H AR L E S AN D R AY EAM ES, NEW YOR K : AB R AMS, 19 8 9, P 7 9.

$3,000-5,000

5 ROLAND PEARSON VISION FLATWARE SERVICE (60) 4 NISSE & KAYSA STRINNING STRING LADDER SHELF SYSTEM String Bokhyllan, designed 1949 Walnut, painted wood, brass, enameled steel wire Each retains manufacturer’s label Together with two Charles & Ray Eames chairs and extra parts for another section Bookcase system: 81” x 63” x 23” (as illustrated); Each chair: 32.25” x 18.625” x 20” $2,000-3,000

International, designed 1961 Sterling silver, stainless steel Stamped assay and manufacturer’s marks Five piece service for twelve comprised of twelve dinner forks, twelve dinner knives, twelve dessert forks, twelve dessert spoons, and twelve tea spoons Various dimensions Literature:

ST E R N , J E WE L , MO D E R N IS M

I N A M E R I C A N SI LVE R : 2 0T H C E N TURY DE SI G N, C ON N EC T I C U T: YA L E UN IV E R S IT Y P R E SS, 2 005, P 2 81 .

$4,000-5,000

PARTIAL ILLUSTRATION

6 AMERICAN MODERN TABLE LAMPS (2) Lightolier, designed c. 1960 Enameled steel, brass Each marked “Lightolier” Each: 20.25” x 8” x 8” $600-900

7 GEORGE NELSON CABINET

8 GEORGE NELSON GRANDFATHER CLOCK

Model no. 4935, from the Thin Edge series Herman Miller, designed 1952 Walnut, aluminum 40.75” x 55.75” x 19”

Model no. 2256 Howard Miller, designed 1958 Walnut, brass, velvet 71” x 14” x 10”

Literature:

GEO R GE N E L S O N : AR CH I TECT, WR I TER , DE-

TH E H E R MAN MIL L E R C O L L EC-

Literature:

E IS E N B R AND, JOCH EN,

TIO N , 195 2 , N E W YO R K : AC AN TH US P R E SS,

S IGN E R , TE AC H E R , W EI L AM R H EI N: VI TR A

19 95 , P 19.

D E S IGN MUS E UM, 2 0 08, P 293.

$2,500-3,500

$3,000-5,000

9 GEORGE NELSON COMPREHENSIVE STORAGE SYSTEM (2) Model CSS Herman Miller, designed c. 1958 Walnut, enameled and anodized aluminum Retains manufacturer’s tag to one unit Together with another CSS of sixteen additional wide shelves, three small shelves, one magazine shelf, and four poles (not illustrated) 85.5” x 130” x 74.5”; 80.5” x 65” x 15.5” $6,000-9,000

10 GEORGE NELSON ARMCHAIRS (4) Model DAF Herman Miller, designed 1954 Chrome-plated steel, fiberglass Each: 30.75” x 29” x 19.5” Literature:

E IS E N B R AND, JOCH EN,

GEO R GE N E L S O N : AR CH I TECT, WR I TER , DES IGN E R , TE AC H E R , W EI L AM R H EI N: VI TR A D E S IGN MUS E UM, 2 0 08, P 24 9.

$3,000-5,000

11 GEORGE NELSON MARSHMALLOW SOFA Herman Miller, designed 1954-55; this example manufactured before 1965 Enameled and chrome-plated steel, wool 30” x 51” x 28” Literature:

E IS E N B R AND, JOC H EN, G EOR G E

N E L S O N : AR C H ITEC T, W R I TER , DESI G NER , TE AC H E R , W E IL AM R HEI N: VI TR A DESI G N MUS E UM, 2 0 0 8 , P 2 9 7.

$15,000-20,000

ILLUSTRATED OPPOSITE PAGE

12 ALEXANDER GIRARD GIRLS (TEXTILE)

13 ALEXANDER GIRARD DESK CHAIR

Model no. 3001 Herman Miller, 1972 Cotton Signed and dated in the selvage 71.5” x 52.5”

Model no. 66318-TSR Herman Miller, designed 1967 Chrome-plated steel, upholstery 29.5” x 26” x 25”

Literature:

G I R A R D, ATGL E N : S C H IF F E R P UB L IS H IN G

P IÑ A , L E SL I E , A L E XA N DE R

GIRA RD, ATG L E N : SC HI F F E R P U B L I SHI N G LTD, 1998, P 1 4 7.

Literature:

P I ÑA , L E S L IE , AL E XAN D E R

LT D, 1 9 9 8 , P 13 4.

$3,000-4,000

$2,000-3,000

14 ALEXANDER GIRARD TABLE AND CHAIR (2) Model nos. 66352 (table), 66307 (chair) Herman Miller, designed 1967 Aluminum, leather, marble Table: 20.5” x 19” x 19”; Chair: 27.75” x 24.5” x 20.5” Literature:

P I ÑA , L E S L IE , AL E XAN D E R GIR AR D, ATGL E N :

SC HI F F E R P UB L IS H IN G LTD, 19 9 8 , P P 13 6 , 13 9.

$5,000-7,000

15 FREDERICK HAMMERSLEY FRACTIONS #17 1960 Oil on canvas Signed and dated “F. Hammersley 1960” lower left; signed “F. Hammersley” verso; inscribed “#17” verso; retains two Heritage Gallery labels on canvas stretcher verso Canvas: 18.125” x 12.125”; Frame: 19.25” x 13.25” Provenance:

PRIVATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (GI FTED BY T HE ART IST ) ; TH ENCE BY DESCENT

$15,000-20,000

16 FREDERICK HAMMERSLEY PAIRABLE #6 1976-77 Oil on particle board in artist’s frame Signed and dated “F. Hammersley 197677” lower center; retains artist’s label and Charlotte Jackson Fine Art labels verso Image/Board: 8” x 8”; Frame: 8.75” x 8.625” Provenance:

PRIVATE COLLECTI ON ,

CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM CHARLOT TE JACKSON FINE A RT, SA N TA F E , NEW MEXI CO, 20 0 7 )

$10,000-15,000

DETAIL OF LABEL

17 FREDERICK HAMMERSLEY FIELD DAY 1964 Oil on canvas Signed and dated “F. Hammersley 1964” lower center; retains artist’s label on frame verso; retains label inscribed “#24” on frame verso Canvas (vis.): 8” x 10”; Frame: 14.25” x 16.25” Provenance:

P R IVAT E C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A (G I FTED BY TH E ARTIST ) ; TH E N C E BY DESCENT

Exhibited:

“ F R E D E R I CK H AM M ER SLEY:

R EC E N T PAIN TIN GS, ” SANTA B AR B AR A M U S E UM O F ART, SAN TA BAR B AR A , 1 96 5

$12,000-15,000

18 FREDERICK HAMMERSLEY DAY ONE 1949 Lithograph on paper Retains artist’s label verso Image: 3” x 3”; Sheet (vis.): 3.25” x 3.25”; Frame: 8.75” x 8.75” Provenance:

P R IVAT E C OLLECTI ON, CH I-

C AGO ( AC Q UIR E D D IREC TLY FR OM TH E ARTIST, AL B UQ UE R Q UE , NEW M EX I C O, 1 994 )

Exhibited:

“ WO R KS O N PAP ER : TH E NATA-

L IE AN D IRV IN G FO R MAN C OLLECTI ON, ” AL B R IGH T-K N OX ART G ALLERY, B U FFALO, AUGUST 15 -N OV E MB ER 30, 2008

Illustrated:

W E I, L ILLY, WOR KS ON PAP ER :

TH E N ATAL IE AN D IRVI NG FOR M AN C OLL EC TIO N, B UF FALO : A LBR I G H T-K NOX ART GAL L E RY, 2 0 0 8 , P 5 4.

$3,000-5,000

19 KARL BENJAMIN TG #34 1961 Oil on canvas Signed and dated “KB61” lower right; signed and titled “TG #34 Karl Benjamin” on canvas stretcher verso with artist’s address stamped on stretcher verso; retains Esther Robles Gallery label and inscribed “4.0.927.1.1” verso Canvas: 50” x 32”; Frame: 51” x 32.5” $30,000-50,000

20 KARL BENJAMIN UNTITLED 1964 Oil on particle board Initialed and dated in pencil “KB64” lower right; inscribed “Karl Benjamin, 1964” verso Board: 20.5” x 20.5”; Frame: 28.5” x 28.5” $10,000-15,000

21 KARL BENJAMIN #22 1984 Oil on canvas Signed, titled, and dated in marker on canvas stretcher verso “Karl Benjamin #22, 1984” Canvas: 30” x 30”; Frame: 31.875” x 31.875” $12,000-16,000

22 RICHARD PETTIBONE JANUARY 3 1968 1968 Silkscreen on canvas in artist’s frame Signed and dated in blue pen “Richard Pettibone 1968” on upper canvas stretcher verso; inscribed “J11601/ RP-40/GM+CC Kent” on lower canvas stretcher verso Canvas: 4” x 5.875”; Frame: 4.25” x 6.25” Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST )

$8,000-12,000

23 RICHARD PETTIBONE DUCHAMP. FONTAINE. 1917. 1965 Silkscreen on canvas with Plexiglas in artist’s frame Inscribed “RP-30 GM+CC Kent” verso Canvas: 8” x 5.875”; Frame: 8.375” x 6.25” Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST )

$12,000-15,000

24 RICHARD PETTIBONE UNTITLED (TWO TRAINS) 1964 Oil on glass in artist’s frame Signed and dated “R. Pettibone 1964” in marker verso; retains courtesy of Rolf Nelson Gallery label verso Image: 14.75” x 40.875”; Frame: 15.25” x 41.625” Provenance:

P R IVAT E C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

Exhibited:

“ R IC H AR D P ET TI BONE: A R ET-

R O S P EC TIV E , ” IN STITU TE OF CONTEM P O R ARY ART, P H IL AD E L P H I A; FR ANC ES YOU NG

DETAIL OF SIGNATURE

TAN G MUS E UM, SAR ATOG A SP R I NG S; L AGUN A ART MUS E UM, L AG U NA B EAC H , AP R IL 3 0, 2 0 05 -MAY 28, 2006

Illustrated:

B E R RY, IAN, AND M I CH AEL

D UN C AN , R IC H AR D P ET TI B ONE: A R ETR O S P EC TIV E , E X H IB ITIO N C ATALOG , SAR ATO GA S P R IN GS : F R ANC ES YOU NG TANG MUS E UM, 2 0 05 , P 3 1, #9.

$10,000-15,000

25 YNEZ JOHNSTON EARLY RITES 1969 Casein and oil on canvas Signed and dated lower center; retains Fresno Art Museum label verso; retains Adele Bednarz Gallery label verso Together with copy of exhibition catalogue and original invoice Canvas: 53.75” x 35.75”; Frame: 54.75” x 36.625” Provenance:

JODI SCU LLY GA LLE RY, LOS

AN G ELES, CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FR OM T HE ABOV E, MA RCH 1971 )

Exhibited:

“ Y NEZ JOH NSTON RE T R OSP EC-

T IV E,” FRESNO A RT MU SEU M, FR E SN O, JUN E 5 -AUGU ST 16, 1992

Literature:

Y NEZ JOH NSTON RE T R OSP EC-

T IV E, EXH IBI TION CATA LOGU E, FR E SN O: FRES N O A RT MU SEU M, 1992, NP.

$5,000-7,000

26 YNEZ JOHNSTON ORANGE LOVERS 1969 Mixed media relief Signed and dated verso with title; retains partial Adele Bednarz Gallery label verso Together with original invoice 24” x 18” x 2.125” Provenance:

AD E L E B EDNAR Z G ALLERY,

LO S AN GE L E S, C AL IFO R NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , MAR C H 19 7 0)

$2,500-3,500

27 YNEZ JOHNSTON WRITINGS IN YELLOW 1973 Mixed media on paper Signed and dated in ink lower right Together with Jodi Scully Gallery 1975 announcement signed by the artist, from an edition of 10 and original invoice Image/Sheet: 15.125” x 11.325”; Frame: 18” x 14.25” Provenance:

J O D I S CU LLY G ALLERY, LOS

AN GE L E S, C AL IFO R N I A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , J UN E 19 74 )

$800-1,200

28 EMERSON WOELFFER COLLAGE #2 1959 Mixed media collage Signed and dated in pencil “Woelffer 59” lower center; retains Poindexter Gallery label verso Sheet: 17.5” x 13.875”; Frame: 26” x 22” Provenance:

POINDEXTER GA LL E RY,

LO S AN G ELES, CA LIFORNI A ; BET T Y AS HER , LOS A NGELES, CAL I FOR N I A ( ACQUIRED DIRECTLY FROM TH E A B OVE , 19 62 ) ; T HENCE BY DESCENT

$3,000-5,000

29 EMERSON WOELFFER UNTITLED c. 1955-60 Oil on canvas Canvas: 24” x 18.125”; Frame: 25.25” x 19.5” Provenance:

FERU S GA LLERY,

LO S AN G ELES, CA LIFORNI A ; BET T Y T URNBU LL , CA LI FORNI A ; T HE N C E BY D ES CE NT; PRIVAT E COLLECTION, LOS A NGE L E S, CALIFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

$3,000-5,000

30 ROBERT NATKIN UNTITLED (INTIMATE LIGHTING SERIES) c. 1974 Acrylic on paper Signed “Natkin” lower right Image (vis.): 16.75” x 18”; Frame: 23.325” x 24.625” $3,000-5,000

31 PAUL JENKINS PHENOMENA SUNG JADE 1978 Watercolor on paper Signed in ink lower right Sheet: 29.75” x 22”; Frame: 32.75” x 25.125” $4,000-6,000

32 ARTHUR ESPENET CARPENTER WISHBONE CHAIR Studio, executed 1969 Walnut, leather Signed “Espenet 6965” 31” x 20.25” x 20” $8,000-12,000

33 ARTHUR ESPENET CARPENTER WISHBONE CHAIR Studio, executed 1969 Walnut, leather Signed “Espenet 6965” 31” x 20.25” x 20” $8,000-12,000

DETAIL OF SIGNATURE

34 GENE FLORES CHANDELIER Studio, custom executed c. 1968 Wrought-iron, glass 133.25” x 42.25” x 17” $5,000-7,000

35 VIOLA FREY SLEEPING MAN 1984 Glazed ceramic sculpture 18.5” x 96” x 49” Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A , C AL IFO R NI A COLLECTI ON

Illustrated:

L AR S E N, SU SAN, VI OL A FR EY:

MO N UME N TAL F IGURES, 1 978 -1 987, LOS AN GE L E S : AS H E R -FAU R E; SAN FR ANCI SCO: R E N A B R AN STE N GALLERY, 1 988, NP.

ILLUSTRATED IN SITU

$20,000-30,000

36 BEATRICE WOOD UNTITLED (SCULPTURE) Studio, designed c. 1960 Iridescent glazed ceramic Signed “Beato” 14” x 11.5” x 5.5” $5,000-10,000

37 BEATRICE WOOD MINIATURE TEA SET (8) Studio, designed c. 1960 Glazed ceramic Tray and teapot signed “Beato”; other items signed “B” Comprised of tray, teapot and cover, creamer, sugar bowl, one tea cup, and two saucers Tray: .75” x 8” diameter; Teapot and cover: 2.75” x 3.75” x 2.25”; Creamer: 1.25” x 2” x 1.5”; Sugar: .75” x 2.5” x 1.5”; Teacup: .75” x 2” x 1.5”; Each saucer: .5” x 3” diameter Provenance:

PRIVATE COLLECTI ON , OJA I ,

CAL IFO RNIA ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED FROM THE A B OVE , 2 01 3 )

$5,000-7,000

38 OTTO HEINO BOWL Studio, executed 2000 Glazed stoneware Signed “Otto” and dated “00” 5.25” x 7.5” $500-700

DETAIL OF SIGNATURE

39 JOCKO JOHNSON ROCKING CHAIR Studio, 1976 Oak Incised mark “Jocko's 1976 Rocker #2” 40.5” x 48” x 29.5” This handcrafted chair was included in the 1976 California Design exhibition on “well designed products” at the Pasadena Art Museum. $3,000-5,000

40 MALCOLM LELAND MAQUETTE Studio, 1958 Ceramic 4.75” x 6.75” x 2” Provenance:

MA LCOLM LEL A ND,

SAN D IEG O, CA LI FORNI A ; PRIVAT E COLLECTION, SA N DI EGO, C A L I FOR N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , C 2 005 )

$2,000-3,000

41 MALCOLM LELAND URN VASE Studio, designed c. 1950 Terracotta 15.25” x 16” x 8” Provenance:

WA LTER & MA RJORY TASE M , SA N DI EG O,

CAL IFO RNIA (GI FT FROM TH E A RT I ST, C 1 950); PRIVAT E COLLECTION, SA N DI EGO, C A L I FOR N I A (ACQUIRED D IRECTLY FROM TH E A BOVE , C 2 000)

$2,000-3,000

42 MALCOLM LELAND FLOOR SCONCE Studio, designed c. 1962, this example executed later Patinated bronze Together with black and white photograph of the artist 20.75” x 6.5” diameter Literature:

TIGE R MAN, BOB BYE, H AND -

B O O K O F C AL IFO R N IA DESI G N: 1 930 -1 965 C R AF TS P EO P L E , D E S IG NER S, M ANU FACTUR E R S, LO S AN GE L E S: M I T P R ESS, 201 2, P 16 5 .

$3,000-5,000

43 MILO BAUGHMAN ROOM STORAGE DIVIDER Model no. 1700 Glenn of California, designed 1950 American walnut, select red birch 70.5” x 64.75” x 14.75” Literature:

GLENN OF CA LIFORN I A C ATA-

LO G UE, NO DATE, NP.

$3,000-5,000

44 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP

45 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP

46 GRETA MAGNUSSON GROSSMAN RARE TABLE/WALL LAMP

Ralph O. Smith, designed 1949 Enameled aluminum, chrome-plated steel, brass Adjustable: 15” x 12” x 13”

Ralph O. Smith, designed 1949 Enameled aluminum, chrome-plated steel Adjustable: 8” x 12” x 12”

$4,000-6,000

$3,000-5,000

DETAIL OF NATZLER TILES (LOT 49)

47 EDWARD WORMLEY JANUS BEDSIDE TABLES (2) Dunbar, designed 1956 Walnut, brass, glazed ceramic Each retains gold Dunbar tag With inset ceramic tiles by Gertrud & Otto Natzler Each: 25.25” x 20” x 15.25” $3,000-5,000

48 EDWARD WORMLEY JANUS CHEST OF DRAWERS AND MIRROR (2) Model nos. 5728A (chest), 729 (mirror) Dunbar, designed 1956 Walnut, rosewood, brass, glazed ceramic, mirror plate Each retains gold Dunbar tag With inset ceramic tiles by Gertrud & Otto Natzler; mirror not illustrated Chest: 33” x 54” x 19”; Mirror: 32.75” x 40.5” Literature:

JA NU S SERI ES CATALOG U E,

CHICAG O : DU NBA R FU RNITU RE COM PA N Y, 1 957, PP 62, 64.

$3,000-5,000

DETAIL OF JOINERY (LOT 49)

49 EDWARD WORMLEY JANUS LARGE CHEST Model no. 5727 Dunbar, designed 1956 Walnut, brass, glazed ceramic Retains gold Dunbar tag With inset ceramic tiles by Gertrud & Otto Natzler 42” x 60” x 19.25” The chest could be ordered either with a hanging rail on one side, or a series of drawers. In this instance drawers were selected. Literature:

JAN US S ER I ES CATALOG U E,

C H IC AGO : D UN B AR F U R NI TU R E COM PANY, 195 7, P 6 0.

$3,000-5,000

50 EDWARD WORMLEY JANUS CHEST Model no. 5726 Dunbar, designed 1956 Walnut, brass, glazed ceramic With inset ceramic tiles by Gertrud & Otto Natzler 33” x 34” x 19.25” Literature:

JAN US S ER I ES CATALOG U E,

C H IC AGO : D UN B AR F U R NI TU R E COM PANY, 195 7, P 5 9.

$2,000-2,500

51 EDWARD WORMLEY JANUS GAMES SUITE (5) Model nos. 5705 (chairs), 5720 (table) Dunbar, designed 1957 Mahogany, walnut, macassar ebony, leather, brass, vinyl Comprised of a games table and four chairs Table: 25.25” x 55.5” x 55.5”; Each chair: 29.5” x 27” x 23.5” Literature:

JA NU S SERI ES CATALOG U E,

CHICAG O : DU NBA R FU RNITU RE COM PA N Y, 1 957, P 4 9.

$4,000-6,000

DETAIL OF NATZLER TILES

52 EDWARD WORMLEY CUSTOM LAMP TABLE Model no. 5742N Dunbar, designed 1956 Walnut, glazed ceramic Retains gold Dunbar tag With inset ceramic tiles by Gertrud & Otto Natzler 8” x 30.25” x 22.25” The design could be ordered from the manufacturer at any height up to 28”. The original owner of this table ordered this example for use in Japanese Tea Ceremonies Literature:

JAN US SER I ES C ATALOG U E,

C H IC AGO : D UN B AR F UR NI TU R E COM PANY, 195 7, P 8 8 .

$8,000-12,000

53 EDWARD WORMLEY SHEAF OF WHEAT TABLES (2) Model no. 5478 Dunbar, designed c. 1956 Travertine, mahogany, brass 20” x 21” diameter Literature:

H O C KADAY, M AR G AR ET,

TH E D UN B AR B O O K O F CONTEM P OR ARY F UR N ITUR E, B E R N E : D U NBAR FU R NI TU R E C O MPAN Y, 195 6 , P 5 7.

$3,000-4,000

54 PAUL FRANKL COFFEE TABLE Model no. 5005 Johnson Furniture Company, designed c. 1951 Lacquered cork, mahogany Retains ink stamp “5005 #313” 14.5” x 49.5” x 22.5” Literature:

LO N G, C H R I STOP H ER , PAU L T

F R AN K L AN D MO D E R N AM ER I CAN DESI G N, C O N N EC TIC UT: YAL E U NI VER SI T Y P R ESS, 2 0 0 7, P 16 1.

$3,000-5,000

NATZLER CERAMICS from the HIRSCHFELDT COLLECTION On Sunday morning, July 30, 1933, Otto Natzler (1908-2007) prayed for rain. Two days prior, his friend Hans Amon had brought his sister Gertrud (1908-1971) to Otto’s apartment for a few minutes before going out for the night. Gertrud had mentioned that if it rained on Sunday, she would like to go to her parents’ summerhouse to relax with the family. She left a few minutes later, and according to Otto, “Though I had hardly exchanged a word with Gertrud, I was terribly interested in seeing her again.” He accepted a longstanding invitation from Hans to join them at the summerhouse. Come Sunday, the rain fell, and Otto was off to the countryside. The young Austrians enjoyed each other’s company, and on their train ride back to the city, Gertrud told Otto about the pottery courses she started a few weeks prior. Three days later, Gertrud brought Otto a 20-pound slab of clay. Intrigued, and eager for any excuse to see Gertrud again, he made a few sculptures and a mask. Gertrud’s teacher was impressed enough to invite him to take classes at his studio. Otto quickly realized that his weakness was Gertrud’s gift: forming the clay. She displayed incredible prowess, a harmony of hands and material. Otto remembers the first bowl she gave him: “That bowl had no resemblance to any ceramic I had known before – I love that pot and Gertrud gave it to me.” Fortunately, Otto was fascinated with the liquid compounds that formed a glaze once fired. Beginners in ceramics, their relationship blossomed as they discovered their separate skills could be combined. They rented their own studio, spent a year experimenting with forms and glazes, and started selling their ceramics in Vienna shops, eventually becoming successful enough to support themselves financially. They won the Silver Medal at the 1937 World Exposition in Paris, and even had their first solo exhibition in Vienna. One year later, as Nazi tanks rolled into Vienna, the Natzlers emigrated to Los Angeles with nothing but their wheel and kiln. Upon their arrival in Los Angeles, the Natzlers were embraced by the community and instantly recognized as masters in their field. Throughout the 1950s and 60s, Gertrud and Otto honed their craft, innovating forms and glazes, constantly inching closer to perfection. The introduction to their 1966 Los Angeles County Museum of Art retrospective exhibition catalogue,

PATRICIA & LEOPOLD HIRSCHFELDT

“The Ceramic Work of Gertrud and Otto Natzler,” reads, “They appeared with us each of the first five years they worked here, in the Museum exhibitions of 1939-43. And in 1944 we presented a one-man, or one-family show of Natzler ceramics.” Additional career retrospectives followed, including “The Ceramic Work of Gertrud and Otto Natzler” at the M.H. de Young Memorial Museum in San Francisco in 1971 and “Form and Fire: Natzler Ceramics 1939-1972” at the Renwick Gallery of the Smithsonian Institution in 1973. Close friends of the Natzlers, Leopold and Patricia Hirschfeldt lent their impressive collection of ceramics to each of these retrospectives. In 1947 while vacationing in Switzerland with his brother, the young Swede Leo Hirschfeldt met a beautiful Canadian girl named Patricia, who had been traveling in Europe for the past six months. They had an instant connection, and three years later they were married in Los Angeles. With the money from Leo’s successful seismic engineering firm, the couple bought their home – a bungalow with hand-carved ceilings designed by a Mexican architect – on South Carmelina Avenue in Brentwood in 1955. During numerous trips to the desert, they became interested in Navaho and Zuni pottery, and Leo would return from family visits in Stockholm with sets of miniature pottery. As their enthusiasm for ceramics grew, the Hirschfeldts became good friends with the Natzlers. Through this friendship, the couple amassed an impressive collection of bowls and pots, including a group of rare miniatures that Gertrud could only form with her fingertips when she developed an elbow inflammation. She produced these miniatures for only one year, from 1965-66. In addition to “Form and Fire,” these miniatures were featured in “Masterpieces on a Small Scale” at Bullock’s Gallery on Wilshire in 1966. This diverse collection of Natzler ceramics includes brilliant glazes and delicate forms, and spans one of the most productive and successful decades of the Natzlers’ career. Natzler, Gertrud & Otto. Form and Fire: Natzler Ceramics 1939-1972. Washington, D.C.: Smithsonian Institution Press, 1973. Print. Natzler, Gertrud & Otto. The Ceramic Work of Gertrud and Otto Natzler: A Retrospective Exhibition. Los Angeles: Los Angeles County Museum of Art, 1966. Print. Natzler, Otto. Gertrud and Otto Natzler Ceramics: Catalog of the Collection of Mrs. Leonard M. Sperry. Los Angeles: Los Angeles County Museum of Art, 1968. Print.

55 GERTRUD & OTTO NATZLER CYLINDRICAL BOTTLE WITH LONG CONICAL NECK AND LIP Studio, executed 1959 Dark blue crystalline glaze Signed “Natzler” and retains paper inventory label “K276” 10.25” x 4” diameter (27 cm x 10 cm diameter) Provenance:

P R O P E RT Y FR OM TH E

L EO P O L D AN D PATR IC I A H I R SCH FELDT C O L L EC TIO N ; TH E N C E BY DESCENT

Exhibited:

SAIN T PAU L ART C ENTER ,

MIN N E S OTA , 19 6 0 ; " T H E CER AM I C WOR K O F GE RTR UD AN D OT TO NATZLER , " M H DE YO UN G ME MO R IAL MUSEU M , SAN FR ANC IS C O, J ULY 24 - S E P T EM B ER 6, 1 971 ; “FOR M AN D F IR E , N ATZ L E R CER AM I C S 1 939 -1 97 2, ” R E N W IC K GAL L E RY, SM I TH SONI AN AM ER IC AN ART MUS E UM, WASH I NG TON, DC , 1 97 3

Illustrated:

K E ITH , G R AEM E, ED, TH E

C E R AMIC WO R K O F GE RTR U D AND OT TO N ATZ L E R , SAN F R AN C I SCO: M H DE YOU NG ME MO R IAL MUS E UM, 1 971 , P 1 4 .

Literature:

TAY LO R , JOSH UA , ED, FOR M

AN D F IR E : N ATZ L E R CER AM I C S 1 939 -1 97 2, WAS H IN GTO N , D C : S M I TH SONI AN I NSTI TU TIO N P R E SS, 19 7 3 , P 4 7.

$15,000-20,000

“This small bowl demonstrates vividly Gertrud’s approach to form. The angular shape is softened by the treatment of the base 'flowing' into the main body of the bowl and the slightly curving lip balancing the base. The use of my favorite gray celadon glaze was rewarded by extreme luck in the accidental happenings of the fire - very complementary tracery pattern of melt fissures, 'skinning' of the glaze and smoke marks.” - OTTO NATZLER (TAYLOR 54)

56 GERTRUD & OTTO NATZLER CYLINDRICAL VASE

57 GERTRUD & OTTO NATZLER BOWL

Studio, executed 1961 Sky and Clouds glaze Signed “Natzler” and retains paper inventory label “L710” 5” x 2” diameter (12 cm x 5.5 cm diameter)

Studio, executed 1961 Gray celadon reduction glaze Signed “Natzler” and retains paper inventory label “L402” 3” x 4.25” diameter (7.5 cm x 11 cm diameter)

Provenance:

PR OP E RT Y F R OM T HE

P R O P E RT Y F R O M TH E

Illustrated:

K E ITH , GR AE ME , E D, TH E

LEOPOLD A ND PAT R I C I A HI R SC HF E L DT

L EOP OL D A N D PATR IC IA H IR S C H F E L DT

C E R AMIC WO R K O F GE RTR UD AN D OT TO

COLLECTION; THE N C E BY DE SC E N T

C OL L EC T I ON ; TH E N C E BY D E S C E N T

N ATZ L E R , SAN F R AN C IS C O : MH D E YO UN G

Exhibited:

ME MO R IAL MUS E UM, 19 7 1, P 44.

$4,000-6,000

“ TH E C E R AMIC WO R K O F GE R-

T R U D A N D OT TO N ATZ L E R , ” MH D E YO UN G

Literature:

M E M OR I A L M US E UM, SAN F R AN C IS C O,

AN D F IR E : N ATZ L E R C E R AMIC S 193 9 -19 7 2,

J U LY 24 - SE P TE MB E R 6 , 19 7 1; “ FO R M AN D

WAS H IN GTO N , D C : S MITH S O N IAN IN STITU -

F I R E , N ATZL E R C E R AMIC S 193 9 -19 7 2 , ” R E N-

TIO N P R E SS, 19 7 3 , P 5 4.

WI C K G A L L E RY, S MITH S O N IAN AME R IC AN A RT M U SE U M , WAS H IN GTO N , D C , 19 7 3

TAY LO R , J O S H UA , E D, FO R M

$3,000-5,000

“The pronounced finger marks from throwing accentuate the feeling of the clay beneath the glaze and add variation to the glaze itself.” - OTTO NATZLER (TAYLOR 66)

58 GERTRUD & OTTO NATZLER BOWL Studio, executed 1963 Tiger eye reduction glaze with melt fissures Signed “Natzler” and retains paper inventory label “M866” 3.25” x 9” diameter (8 cm x 23 cm diameter) Provenance:

P R O P E RT Y F R O M TH E

Illustrated:

K E ITH , GR AEM E, ED, TH E

L EO P O L D AN D PATR IC IA H IR S C H F E L DT

C E R AMIC WO R K O F GERTR U D AND OT TO

C O L L EC TIO N ; TH E N C E BY D E S C E N T

N ATZ L E R , SAN F R AN CI SC O: M H DE YOU NG

Exhibited:

ME MO R IAL MUS E UM, 1 971 , P 58

“ TH E C E R AMIC WO R K O F GE R-

TR UD AN D OT TO N ATZ L E R , ” LO S AN GE L E S

Literature:

C O UN T Y MUS E UM O F ART, LO S AN GE L E S,

AN D OT TO N ATZ L E R , LOS ANG ELES: LOS

J UN E 15 -AUGUST 14, 19 6 6 ; “ TH E C E R AMIC

AN GL E S C O UN T Y MUSEU M OF ART, 1 96 6,

WO R K O F GE RTR UD AN D OT TO N ATZ L E R , ”

N P, C ATALO GUE N O 146 ; TAYLOR , JOSH UA ,

MH D E YO UN G ME MO R IAL MUS E UM, SAN

E D, FO R M AN D F IR E : NATZLER C ER AM I C S

F R AN C IS C O, J ULY 24 - S E P TE MB E R 6 , 19 7 1;

193 9 -19 7 2, WAS H IN GTON, DC: SM I TH SON-

“ FO R M AN D F IR E , N ATZ L E R C E R AMIC S

IAN IN STITUTIO N P R E SS, 1 97 3, P 6 6.

193 9 -19 7 2 , ” R E N W IC K GAL L E RY, S MITH S O NIAN AME R IC AN ART MUS E UM, WAS H IN G TO N , D C , 19 7 3

N ATZ L E R , OT TO, ED, G ERTR U D

$5,000-7,000

59 OTTO NATZLER MOBILE Studio, executed c. 1967 Ten scallop shells Approximately 35” (top bar to bottom shell) x 28” (13.75” top bar only) Provenance:

PROPERT Y FROM

T HE LEO POLD A ND PATRICI A HIRS CHFELDT COLLECTI ON (GIFT FRO M G ERTRU D & OT TO NATZLER ); T HENCE BY DESCENT

$8,000-10,000

OTTO NATZLER WORKING IN THE STUDIO

60 GERTRUD & OTTO NATZLER MINIATURE VASES (5) Studio, executed 1965-66 Gray-green and sang reduction glaze, red glaze, gray-blue and peach blossom reduction glaze, azure oxidation glaze, and ivory celadon reduction glaze Three signed “n”, the largest signed “GNO”; each retains individual paper inventory labels “B14”, “C18”, “A27”, “A36”, “A07” Together with four Bullock's Wilshire issued certificates from time of purchase Largest: 2.5” high (6 cm) Provenance:

P R O P E RT Y FR OM TH E LEOP OLD

AN D PATR IC IA H IR S C H FELDT C OLLECTI ON; TH E N C E BY D E S C E N T

Exhibited:

“ FO R M AN D FI R E, NATZLER

C E R AMIC S 193 9 -19 7 2 , ” R ENWI C K G ALLERY, S MITH S O N IAN AME R IC AN ART M U SEU M , WAS H IN GTO N , D C , 19 7 3 ( B 1 4 , A07, C 1 8)

Illustrated:

TAY LO R , J OSH UA , ED, FOR M

AN D F IR E : N ATZ L E R C E R AM I C S 1 939 -1 97 2, WAS H IN GTO N , D C : S MITH SONI AN I NSTI TU TI ON P R E SS, 19 7 3 , P 10 1 ( B 14, A07, C1 8) .

$12,000-15,000

DETAIL OF VERSO

61 GERTRUD & OTTO NATZLER BOTTLE VASE Studio, executed 1963 Cat’s eye reduction glaze with ash deposits Signed “Natzler” and retains paper inventory label “M671” 8” x 7” diameter (21 cm x 17 cm diameter) Provenance:

PROPERT Y FROM THE

LEO PO L D A ND PATRICI A H I RSCH F E L DT CO LLECT I ON; TH ENCE BY DESCEN T

Exhibited:

"CERA MICS BY GERT R U D A N D

OT TO NATZLER" TRAVELING EXHI B I T I ON : SAN FRANCI SCO MU SEU M OF A RT, SA N FRAN CIS CO, JU LY 2-AU GU ST 18, 1 9 6 3; SAIN T PAUL A RT CENTER , MINNE SOTA , NOV EM BE R 22-JA NUA RY 2, 1964; M U SE U M O F CO NT E MPORA RY CRA FTS, NEW YOR K , JULY 1 5 - OCTOBER 10, 1964

$10,000-15,000

THE HIRSCHFELDT HOUSE, C. 1965, NATZLER CERAMICS ILLUSTRATED IN SITU

62 GERTRUD & OTTO NATZLER THICK-WALLED TRAY

63 GERTRUD & OTTO NATZLER BOWL

Studio, executed c. 1940s Unglazed with clear and blue glass fill Signed “Natzler” 1” x 3.875” diameter (2.5 cm x 10 cm diameter)

Studio, executed 1951 Peach blossom reduction glaze Signed “Natzler” and retains paper inventory label “C323” 1.5” x 4.25” diameter (3.5 cm x 11 cm diameter)

Provenance:

P R O P E RT Y F R O M TH E

L EO P O L D AN D PATR IC IA H IR S C H F E L DT

Provenance:

C O L L EC TIO N ; TH E N C E BY D E S C E N T

L EO P O L D AN D PATR IC I A H I R SCH FELDT

$3,000-5,000

P R O P E RT Y FR OM TH E

C O L L EC TIO N (GIF T F ROM G ERTR U D & OT TO N ATZ L E R ) ; TH E N C E BY DESC ENT

$2,500-3,500

64 GERTRUD & OTTO NATZLER BOWL Studio, executed 1962 Orange-red crater glaze Signed “Natzler” and retains paper inventory label “M300” 4.5” x 6” diameter (11.5 cm x 15.5 cm diameter) Provenance:

P R O P E RT Y FR OM TH E

L EO P O L D AN D PATR IC I A H I R SCH FELDT C O L L EC TIO N ; TH E N C E BY DESCENT

Exhibited:

K R AN N E RT ART M U SEU M ,

UN IV E R S IT Y O F IL L INOI S, CH AM PAI G N, 19 6 2 ; " C E R AMIC S BY G ERTR U D AND OT TO N ATZ L E R " TR AV E L IN G EX H I BI TI ON: TH E ART IN STITUTE O F C H IC AG O, CH I CAG O, AP R I L 13 -J UN E 9, 19 6 3 ; SAN FR ANCI SCO M U SEU M O F ART, SAN F R AN C ISCO, JU LY 2-AU G U ST 18 , 19 6 3 ; SAIN T PAUL ART C ENTER , M I NN E S OTA , N OV E MB E R 22-JANUARY 2, 1 96 4 ; MUS E UM O F C O N TE M P OR ARY C R AFTS, NEW YO R K , J ULY 15 - O C TO BER 1 0, 1 964

$7,000-9,000

65 RICHARD DIEBENKORN UNTITLED 1951 Ink brush drawing on paper Initialed and dated in pencil “RD51” upper center; inscribed “Richard Diebenkorn ink drawing 1951” by Phyllis Diebenkorn on frame backing verso Diebenkorn Catalogue Raisonné #5673 Sheet: 11” x 8.625”; Frame: 13.5” x 10.375” Provenance:

ROSE MA RY MACK , A L-

BUQUERQU E, NEW MEXI CO (ACQ UI R E D D IRECT LY FROM TH E A RTI ST, 1952 ); PRIVAT E COLLECTION, PRESCOT T, A R I ZON A ( ACQUIRED DI RECTLY FROM TH E A B OVE , 2 005 )

This work will be included in the forthcoming Richard Diebenkorn Catalogue Raisonné of Paintings and Works on Paper, Vol II (expected date of publishing 2016). $15,000-25,000

66 RICHARD DIEBENKORN GREYLAND 1986 Five-color lithograph on Arches 88 paper #4 of 40 Published and printed by Gemini G.E.L., Los Angeles Initialed and dated in pencil “RD84” lower right; edition lower left; retains Obelisk Gallery and Richard Green Gallery labels verso Gemini G.E.L. #15.5 Image: 35” x 27”; Sheet: 44” x 34.5”; Frame: 46.5” x 36.75” Provenance:

J O H N B ER G G R U EN G ALLERY,

SAN F R AN C IS C O, C AL I FOR NI A; P R IVATE C O L L EC TIO N , LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R EC TLY FR OM TH E AB OV E )

Literature:

N O R D L AND, G ER ALD, DI EBEN-

KO R N : GR AP H IC S, 19 8 1-1 988, BI LLI NG S: Y E L LOW STO N E ART C ENTER , 1 989, P 22, # 17.

$7,000-9,000

67 RAIMONDS STAPRANS HEAD WITH THE STRIPED SCARF 1971 Oil on canvas Signed and dated “Staprans-71” lower right Canvas: 15.5” x 19.5”; Frame: 24” x 28” $3,000-5,000

68 ROGER CAMPBELL UNTITLED (CITYSCAPE) 1989 Oil on linen diptych One painting retains Koplin Gallery label verso Each canvas: 50” x 38”; Each frame: 51” x 39” Provenance:

KOPLI N GA LLERY, SA N TA

M O N ICA , CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, CALIFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

$5,000-7,000

69 JAMES JARVAISE UNTITLED 1960 Oil on canvas Signed and dated lower center; retains paper label verso Canvas: 23.75” x 23.75”; Frame: 24.5” x 24.5” $2,000-3,000

70 JAMES JARVAISE TOREJON c. 1960-65 Oil on panel Bears the inscription “Jarvaise/Torejon” on upper canvas stretcher verso; retains Jr. Aff Art Rental Gallery paper label verso Panel: 12.625” x 8.325”; Frame: 13.25” x 9” $1,000-1,500

71 PAUL WONNER SELF-PORTRAIT PAINTING 2001 Watercolor and gouache on paper Signed in pencil lower right; signed, titled, and inscribed verso Sheet: 14.625” x 13.875”; Frame: 17.25” x 16.5” $2,500-3,500

72 WILLIAM THEOPHILUS BROWN BETH AT EASEL WITH MODELS & CAT 1987 Acrylic on paper Signed and dated in pencil “Theophilus Brown 87” lower right; retains Koplin Gallery label verso Sheet: 11” x 14”; Frame: 24.625” x 20.625” Provenance:

KOPLI N GA LLERY, SA N TA

M O N ICA , CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, CALIFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

$3,000-4,000

73 WILLIAM THEOPHILUS BROWN MALE NUDE 1976 Watercolor, gouache, and pencil on paper Image (vis.): 17” x 13”; Frame: 28.25” x 23” $2,000-3,000

74 LARRY COHEN VIEW FROM THE GETTY 1998 Oil on canvas Signed in pencil verso Canvas: 17.75” x 17.875”; Frame: 18.5” x 18.5” $1,500-2,000

75 LARRY COHEN COAST HIGHWAY/SANTA MONICA 2005 Oil on canvas Signed in pencil verso; signed in paint on upper canvas stretcher verso Canvas: 24.125” x 32”; Frame: 24.5” x 32.625” $2,000-3,000

76 RUFINO TAMAYO LA NEGRESSE 1969 Color lithograph on Rives paper #61 of 150 Published by Touchstone Publishers, New York; printed by Atelier Desjobert, Paris Signed lower right margin; edition lower left margin Together with original invoice Image: 27.25” x 21”; Sheet: 30” x 22.25”; Frame: 29.75” x 22.5” Provenance:

GA LERIE DEVEA N, B E VE R LY

HILL S, CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE, JU NE 197 3)

Literature:

PEREDA , JUA N CA RLOS, R U -

FIN O TAMAYO: CATA LOGU E RA ISON NÉ: G RÁFICA 1 9 2 5 -1991, MEXICO: DF FU NDAC I ON O LG A Y RU FINO TA MAYO, 20 0 4, # 1 09.

$1,500-2,000

77 RUFINO TAMAYO MANO BLANCA 1977 Color Mixografia on Arches paper #57 of 100 Printed by Taller de Gráfica Mexicana, Mexico City Signed in white crayon “R. Tamayo” lower right; edtion lower left Image/Sheet: 16” x 23.5”; Frame: 27.25” x 34.5” Literature:

PEREDA , JUA N CA RLOS, R U -

FIN O TAMAYO: CATA LOGU E RA ISON N É : G R ÁFICA 1 9 2 5 -1991, MEXICO: DF FU NDAC I ON O LG A Y RU FINO TA MAYO, 20 0 4, # 2 32 .

$2,000-3,000

ILLUSTRATED OPPOSITE PAGE

78 RUFINO TAMAYO CABEZA SOBRE FONDO ROSA (FROM 8 AGUAFUERTES) 1984 Etching on Guarro paper #30 of 99 Published and printed by Ediciones Polígrafa, Barcelona Signed and dated in crayon lower right; edition lower left Sheet: 29” x 21.5”; Frame: 35.5” x 28” Literature:

PEREDA , JUA N CA RLOS, R U -

FIN O TAMAYO: CATA LOGU E RA ISON N É : G R ÁFICA 1 9 2 5 -1991, MEXICO: DF FU NDAC I ON O LG A Y RU FINO TA MAYO, 20 0 4, # 32 0.

$2,500-3,500

FRANCISCO ZÚÑIGA Francisco Zúñiga (1912-1998) was born José Jesús Francisco Zúñiga Chavarría in a small suburb of San Jose, Costa Rica. By the age of 13, Zúñiga assisted his father in the studio by whittling slabs of wood for Santos, traditional religious sculptures of saints and angels for local clients and churches. The European Colonial style in which his father rendered these holy figures clashed with Francisco’s aspiration to depict veritable and humanistic forms. Seeking further training, Zúñiga enrolled at the School of Fine Arts in 1927, followed by a move from his native Costa Rica to Mexico City in 1936. While in Mexico, Zúñiga studied ancient artifacts at local museums. The delicately rounded yet stoic forms of Pre-Columbian idols intrigued the artist and confirmed his desire to refine his sculpting skills. He abandoned painting in 1937 by enrolling in the Direct School of Carving (later known as the School of Painting and Sculpture) where he stayed as a faculty member for over thirty years. In 1958 he was awarded the first prize in sculpture from the Instituto Nacional de Belles Artes y Literatura at the Palacio de Belles Artes in Mexico. In Mujer Envuelta con Rebozo (1978), the artist shows his mastery in deriving sentiment from a figure made of impenetrable bronze. The woman is crouched and enveloped head to toe by a traditional shawl. Although only her face and hand is exposed, it is enough to convey a sense of deep introspection. The woman’s face is weathered with a series of crevices that form as wrinkles around the curves of her nose, lips, and eyes. To Zúñiga she represents not only an anonymous Mexican woman but also a holy figure full of power that could challenge any traditional Santos. Although the artist ceased to paint he frequently drew and sketched, as he deemed it significant to the formation of all his sculptural works: “Various sketches sensed as sculptures help me to create three-dimensional forms. I am particularly careful of the contours of objects, their projections and depressions, their rhythm of composition, their structure which creates tensions in the interplay of masses in which the play of light and shadows define the contrasts and sinuosities; in which the forms emerge in their full monumentality.” In Desnudo Sentado (1969) a large-scale work on paper, the viewer is again presented with the lone female figure seated on a small plinth. She is sage-like and resigned, a contemporary version of the curvaceous Pre-Columbian idols the artist loved. Her full-figured form bows and undulates with the fluid lines of tawny red and orange that outline her frame. Although the women Zúñiga renders may be anonymous, they are unified by the artist’s hand in elevating the ordinary woman into the realm of the spiritual and sacred. Hickman, Ronald. Francisco Zúñiga: An Exhibition of Drawings and Sculpture. Exhibition Catalogue. San Diego: Arts and Crafts Press Printers, 1971. Print. Reich, Sheldon, and Francisco Zúñiga. Francisco Zúñiga, a Sculptor: Conversations and Interpretations. Arizona: University of Arizona Press, 1981. Print.

79 FRANCISCO ZÚÑIGA MUJER ENVUELTA CON REBOZO 1978 Bronze #3 of 3 Incised signature “ZUNIGA” with date and edition in Roman numerals Together with Francisco Zúñiga catalogue raisonné of sculpture volume I LAMA would like to thank the Fundacion Zúñiga for their assistance in cataloguing this work 17.5” x 12” x 19” Literature:

ZÚÑIGA , FR ANC I SCO, FR AN-

C IS C O ZÚÑIGA: C ATALOG O R AZONADO I ES C ULTUR A , 19 2 3 -19 93, M EX I C O: ALB EDR I O, E N AC O C IAC IO N C O N FU NDACI ON ZÚ ÑI G A L AB O R D E , 19 9 9, P 48 0, #825.

$18,000-25,000

80 FRANCISCO ZÚÑIGA DESNUDO SENTADO 1969 Crayon and pastel on paper Signed and dated in pencil “Zúñiga 1969” lower right; retains La Galeria Altavista 120-3, San Angel label verso Sheet: 25.5” x 19.75”; Frame: 38.25” x 32.5” Illustrated:

ZÚ ÑI GA , A RI EL , FRA N C I SC O

ZÚÑIG A: CATA LOGU E RA I SONNÉ O F DR AWIN G S, 1 9 2 7-1970, 1ST ED, VOL II I , M E XI C O: AL BED RIO A ND FU NDACI ON ZÚ ÑIG A L ABO RD E, AC, 20 0 6, # 1619.

$8,000-12,000

PARTIAL ILLUSTRATION

81 FRANCISCO ZÚÑIGA 20 DIBUJOS (20) 1974 Suite of offset lithographs on Grand Aigle Lavis Canson paper in clamshell case From the edition of 2000 Published by Galeria de Arte Misrachi, Mexico; printed by Litografos Unidos, S.A., Mexico Each print with signature and date in the plate 9 prints framed, 11 unframed Each sheet: 18” x 25” (or 25” x 18”) $5,000-7,000

82 FELIPE CASTAÑEDA MOTHER AND CHILD c. 1975 Mexican pink onyx Sculpture: 15” x 12” 7.5”; With base: 17” x 14” x 9.5” $5,000-7,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

83 FELIPE CASTAÑEDA UNTITLED (SEATED GIRL WITH SHAWL), UNTITLED (WOMAN IN CLOAK) & MUJER CON GUITARRA (3) c. 1983 Crayon on paper, colored pencil on paper, handmade paper embossed relief Paper relief: #35 of 50 A: Signature in ink lower right; B: Signature in ink lower right; C: Signature in pencil lower right; edition and date lower left; retains B. Lewin Galleries label verso A: Sheet: 19.75” x 17.25”; B: Sheet: 19.25” x 14.25”; Mat: 22” x 17.25”; C: Sheet: 9.75” x 14.75”; Frame: 15.5” x 21.5” Provenance:

TH E BERNA RD A ND E DI T H

L EWIN CO LLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M OF A RT

$1,000-1,500

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

84 AVILA TWO MEN WITH GUITARS Oil on canvas Signed lower left; retains B. Lewin Galleries label verso; retains printed inventory label “P-3087” recto; handwritten inventory label “LWP.808” verso Canvas: 40” x 30”; Frame: 47.5” x 37.5” Provenance:

TH E B ER NAR D AND EDI TH

L E W IN C O L L EC TIO N OF M EX I CAN ART; LO S AN GE L E S C O UNT Y M U SEU M OF ART

$2,000-3,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

85 CEFERINO PALENCIA PIERROT AND PIERETTE & THREE WOMEN PLAYING CARDS (2) 1958 Oil on canvas A: Signed “C. Palencia” lower left; retains B. Lewin Galleries label verso; B: Signed and dated “C. Palencia 1958”; retains two B. Lewin Galleries labels verso A: Canvas: 45” x 33”; Frame: 54.5” x 42.5”; B: Canvas: 37.75” x 51.25”; Frame: 47.25” x 60.75” Provenance:

TH E B ER NAR D AND EDI TH

L E W IN C O L L EC TIO N OF M EX I CAN ART; LO S AN GE L E S C O UNT Y M U SEU M OF ART

$3,000-5,000

86 JEAN CHARLOT AFTER THE BATH II Oil on canvas mounted to board Retains Stendhal Gallery label verso; bears the inscription in pencil “After the Bath II/$60” verso Canvas: 7.75” x 5.75”; Frame: 8.5” x 6.5” Provenance:

STENDH A L GA LLERY, LOS

ANG EL ES, CA LI FORNI A ; BET T Y ASH ER , LOS A NGELES, CA L I FOR N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , 19 62 ) ; T HENCE BY DESCENT

$2,500-3,500

87 FRITZ SCHOLDER POSSESSION #25 1989 Acrylic on canvas Signed lower right; inscribed and dated “Possession #25” on canvas stretcher verso Together with original invoice Canvas: 12.25” x 12.125”; Frame: 14.25” x 12.25” Provenance:

MA RILY N BU TLER G A L L E RY,

SAN TA MONI CA , CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, C A L IFO RN IA ( ACQ U I RED DIRECTLY FR OM T HE ABOV E, JU NE 1989)

$800-1,200

88 LIDYA BUZIO VASE Studio, 1982 Glazed terracotta Signed “L. Buzio 1982 NYC”, Garth Clark Gallery Los Angeles paper label numbered “#10516” and handwritten paper label “57-1983 Lidya Buzio Betty Asher” 13” x 9.5” diameter Provenance:

BET T Y ASH ER , LOS A N G E L E S,

CAL IFO RNIA ; TH ENCE BY DESCENT

$1,000-2,000

89 DON SHOEMAKER DESK AND ZIG-ZAG CHAIR (2) Model nos. F46 (desk), F52 (chair) Senal S.A., designed c. 1970, these examples executed 1981 Cocobolo wood, upholstery Desk retains manufacturer’s label; chair retains “Made in Mexico” label Together with a copy of the sales invoice dated from 1981 Desk: 30” x 50’ x 29.75”; Chair: 30” x 22” x 19” $3,000-5,000

90 CARLOS MERIDA UNTITLED (FRAROJO) 1967 Duco and watercolor on paper Signed and dated “Carlos Merida 1967” lower center; signed and dated with title verso Sheet: 22.5” x 31”; Frame: 29.5” x 36.75” Harold Hart was the Director of Martha Jackson Gallery in New York. He became the first African-American director for an important, private art gallery at the time. Hart organized exhibitions for artists such as Rufino Tamayo, Francisco Toledo, and Karel Appel during his twenty year tenure. Provenance:

H A ROLD RU DOFF HA RT, N E W

YO RK , NEW YORK; TH ENCE BY DE SC E N T

$18,000-25,000

91 ARMANDO MORALES STILL LIFE WITH BLUE BOTTLES, 1 (#110) 1962 Oil on canvas Signed and dated “Morales 62” lower right Canvas: 15” x 24”; Frame: 15.5” x 24.75” Provenance:

P R IVAT E COLLECTI ON, L A

J O L L A , C AL IFO R N IA (ACQ U I R ED DI R EC TLY F R O M TH E ARTIST ) ; P R IVATE C O L L EC TIO N, SAN DI EG O, CALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , AP R IL 2 0 13 )

$20,000-25,000

PEDRO CORONEL Painter and sculptor Pedro Coronel (1922-1985) was associated with a new generation of artists dedicated to revitalizing Mexican art through personal expression and universal aesthetics. Born in Zacatecas, Coronel studied under the guidance of Diego Rivera at "La Esmeralda," the National School of Painting, Sculpture, and Printmaking, before settling in Paris shortly after a visit in 1946. For the next twenty years, he divided his time between Mexico City and Paris, where he studied with Victor Brauner and Constantin Brâncusi. Sculpture rapidly gave way to oil painting, and by the 1960s, Coronel was regularly exhibiting his works in France, Mexico, and the United States. As Coronel began incorporating elements of his pre-Hispanic heritage amidst his abstract compositions, he soon became associated with the Generación de la Ruptura (The Breakaway Generation), a group of young artists who criticized Mexican muralism in favor of universal painting styles such as Abstract Expressionism and Cubism. Since this movement focused on personal expression as a rejection of the status quo in Mexican painting, their individual styles varied greatly. They were unified, however, in their stance against government funded nationalistic art so that they could expose the rich landscape of Mexican art to an international audience. Influenced by his Breakaway Generation contemporaries, chiefly his friend Rufino Tamayo, Coronel transitioned from figurative painting to abstract works with indigenous themes, ending his career with a quest for intense color. Untitled (1981) – painted in Paris four years before his death – achieves a pure spectrum of pink and red forms in harmony with a brown background. Similar examples of this work were included in the 2005 Coronel retrospective at the Museo de Arte Moderno in Mexico City. “Latin American Visionaries: Pedro Coronel.” AnitaShapolskyGallery.com. Anita Shapolsky Gallery, n.d. Web. 26 Aug. 2013.

92 PEDRO CORONEL UNTITLED 1981 Oil on canvas Signed and dated “Pedro Coronel Paris 81” verso Canvas: 47.25” x 47.5”; Frame: 59.75” x 59.75” Provenance:

PRI VATE COLLECTI ON , C OR O -

NAD O, CALI FORNI A ; PRIVAT E COLLECTION, CA LIFORN I A (ACQUIRED D IRECTLY FROM TH E A BOVE , 2 01 3)

Literature:

PEDRO CORONEL : RE T R OSP EC-

T IVA , MEXICO CI T Y: MU SEO DE A RT E M OD ERNO, PP 110 -115 (FOR SI MI L A R E XA M P L E S FRO M T HIS PERI OD).

$150,000-200,000

DETAIL OF SIGNATURE

93 PEDRO CORONEL UNTITLED 1969 Oil pastel on Fabriano paper Signed, dated, and inscribed verso “#453 Pedro Coronel. Roma. 69” verso Sheet: 27.5” x 19.5”; Frame: 34.25” x 24” Provenance:

P R IVAT E C OLLECTI ON, COR O -

N AD O, C AL IFO R N IA; P R IVATE C O L L EC TIO N, CALI FOR NI A ( ACQ UIR E D D IR EC TLY F R OM TH E AB OVE, 201 3)

$5,000-7,000

94 ENOC PEREZ MARDI GRAS 2004 Watercolor on paper Signed and dated in pencil “October 2004” with title verso; retains Elizabeth Dee Gallery label on frame verso Sheet: 18” x 24”; Frame: 19.5” x 25.5” $3,000-5,000

95 ENOC PEREZ MARDI GRAS 2004 Watercolor on paper Signed and dated in pencil “October 2004” with title in pencil verso; retains Elizabeth Dee Gallery label verso Sheet: 18” x 24”; Frame: 19.5” x 25.5” $3,000-5,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

96 HORIA POPP & VLADIMIR CORA STILL LIFE (2) 1963 and 1997 Watercolor on paper and acrylic on canvas A: Signed and dated “Pop Hopp/1963” center right; B: Signed and dated “Vladimir Cora.97” lower right; retains Los Angeles County Museum of Art label verso A: Image: 12” x 16”; Sheet: 12.75” x 16.75”; B: Canvas: 24” x 24”; Frame: 32.5” x 32.75” Provenance:

TH E B E R NAR D AND EDI TH

L E W IN C O L L EC TIO N O F M EX I C AN ART; LO S AN GE L E S C O UN T Y M U SEU M OF ART

$2,500-3,000

97 ANA MERCEDES HOYOS STILL LIFE II & VII (2) 1996 Pencil on paper A: Signed “HOS” lower right; B: Signed and dated “HOS 96” upper right A: Sheet: 9.5” x 9.75”; Frame: 16” x 16.75”; B: Sheet: 7.5” x 7.5”; Frame: 14” x 14” $2,000-3,000

98 ELIZABETH CATLETT UNTITLED Patinated bronze Incised initials “E.C.” at base 11.5” (14” with base) x 3.25” x 3.5” $5,000-7,000

99 FRANCISCO TOLEDO HOMBRE GEOMETRICO c. 1960s Gouache and ink on paper Signed in ink lower right; retains a Galeria Arvil label verso; retains Galeria de Miro label verso; retains Taller de Enm... label verso LAMA would like to thank the Francisco Toledo Studio for their assistance in cataloguing this work Sheet: 9.5” x 12.25”; Frame: 12.75” x 15.875” Provenance:

H A ROLD RU DOFF H A RT, N E W

YO RK , NEW YORK; TH ENCE BY DE SC E N T

$6,000-8,000

100 GRACIELA ITURBIDE NATURATA SUITE (4) 1996; published 2004 Suite of four Platinum prints on Arches Aquarelle paper with clamshell case Artist’s proof #1 of 2 Published by Galería López Quiroga and Toluca Editions; printed by Ava Vargas Photography Works Signed with edition in pencil on accompanying pamphlet; each print signed in pencil with edition verso Case: 9.75” x 9.125” x .75”; Each image: 8.125” x 7.875”; Each mount: 8.75” x 8.25” This was made on the occasion of the artist’s 2004 exhibition “Naturata” at Galeria Lopez Quiroga in Mexico City. $6,000-8,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

101 VLADIMIR CORA STILL LIFE WITH BOTTLES (4) c. 1990 Color Mixograph on handmade paper Artist’s proof Each signed in pencil lower right; “P/A” inscribed lower left Each image: 27” x 39”; Each sheet: 30” x 42” Provenance:

TH E B ER NAR D AND EDI TH

L E W IN C O L L EC TIO N OF M EX I CAN ART; LO S AN GE L E S C O UN T Y M U SEU M OF ART

$1,500-2,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

102 FELIPE ORLANDO ABSTRACT, RED & ABSTRACT, BLUE (2) Acrylic on canvas A: Signed “Orlando.=” lower left; retains handwritten inventory label “P-7361” verso; B: Signed “Orlando.=” lower left A: Canvas: 29.5” x 35.5”; Frame: 42” x 48”; B: Canvas: 35.5” x 29.5”; Frame: 43” x 37” Provenance:

TH E BERNA RD A ND E DI T H

L EWIN COLLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M OF A RT

$3,000-5,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

103 IGNACIO SALAZAR CLOWN PLAYING THE VIOLIN & UNTITLED (GROUP OF WOMEN) (2) 1980 Mixed media on canvas and oil on canvas A: Signed “Salazar” lower left; retains B. Lewin Galleries label verso; B: Signed and dated “Salazar 80” lower right; bears the inscription “32-98/Salazar/-80-” verso A: Canvas: 23.5” x 15.75”; Frame: 30” x 22.25”; B: Canvas: 15.75” x 23.75”; Frame: 22.25” x 30” Provenance:

TH E BERNA RD A ND E DI T H

LEWIN CO LLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M OF A RT

$2,000-3,000

104 LEONARDO NIERMAN EPIFANIA 1992 Acrylic on panel Signed lower left; signed, titled, and dated verso Image/Panel: 78.75” x 78.75” $5,000-7,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

105 LEONARDO NIERMAN SAIL BOATS 1957 Acrylic on Masonite Signed and dated “Nierman 57” lower left Image/Masonite: 19.75” x 48”; Frame: 27.125” x 55.5” Provenance:

TH E B ER NAR D AND EDI TH

L E W IN C O L L EC TIO N OF M EX I CAN ART; LO S AN GE L E S C O UN T Y M U SEU M OF ART

$1,500-2,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

106 JORGE OCHOA BODEGÓN CON TUNAS, MARKET DAY & ROMANTIC COUPLE I (3) A: 1996; B: 1995; C: 1994 A: Acrylic on linen; B: Oil and acrylic on linen; C: Oil and acrylic on canvas A: Signed and dated lower right; inscribed “Bodegon Con Tunas/ Platanos y Chirimollas/acrylic/linen/J. Ochoa/96” verso; B: Signed and dated “J. Ochoa/95” lower center; C: Signed and dated lower center “J. Ochoa/94”; inscribed “Pareja Romantic Comple I” verso A: Canvas: 24” x 36”; B: Canvas: 38” x 46”; Frame: 46.25” x 54.25”; C: Canvas (vis.): 41.25” x 35.25”; Frame: 49” x 43” Provenance:

TH E BERNA RD A ND E DI T H

LEWIN CO LLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M OF A RT

$1,500-2,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

107 JORGE OCHOA DE COMPRAS, BIRTHDAY ON THE RANCH & MAYAN INDIAN WOMEN (3) 1994-1995 A: Oil and acrylic on linen; B: Acrylic on canvas; C: Oil and acrylic on linen A: Signed and dated “J. Ochoa/95” lower right; retains B. Lewin Galleries label recto; B: Signed and dated “J. Ochoa/94” upper right; retains two handwritten inventory labels verso; C: Signed and dated “J. Ochoa/95” lower right A: Canvas: 38” x 32.25”; Frame: 46” x 40”; B: Canvas (vis.): 33.5” x 51”; Frame: 41” x 59”; C: Canvas (vis.): 35.25” x 47.5”; Frame: 44” x 56” Provenance:

TH E BERNA RD A ND E DI T H

LEWIN CO LLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M OF A RT

$1,500-2,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

108 JORGE OCHOA TARAHUMARA COUPLE, HARVEST WORKER (2) 1995 and 1992 Oil on canvas; pastel on paper Signed and dated "J. Ochoa/95” lower right; signed and dated in pencil “J. Ochoa/92” lower right and inscribed in pencil "AS1997.LWN.1363" lower right mat board Canvas (vis): 35.5” x 35.5”; Frame: 43.75" x 43.75"; Other: Sheet: 25.25” x 19”; Mat: 31.25” x 22” Provenance:

TH E B ER NAR D AND EDI TH

L E W IN C O L L EC TIO N OF M EX I CAN ART; LO S AN GE L E S C O UN T Y M U SEU M OF ART

$3,000-4,000

71 Sold by the Los Angeles County Museum of Art to benefit future acquisitions

109 GUSTAVO MONTOYA UNTITLED (BLACK FIGURE CARRYING COTTON CANDY), UNTITLED (GIRLS PLAYING IN SCHOOL YARD) & UNTITLED (MARKET SCENE) (3) 1985 Color lithograph and color etching on paper A: #6 of 100; B: #27 of 100; C: #64 of 100; D: Artist’s proof Published by B. Lewin Galleries, Palm Springs; printed by Kyron, Mexico A, B, and C: Each signed and dated with edition with Kyron blind stamp; D: Signed and inscribed in pencil “Para Bernard Lewin con un grato recuerdo de muchos anos/Pedro Diego” lower center; signed “Pedro D. Alvarado 986” lower right; “P.A.” lower left Together with Pedro Diego Alvarado “Pumpkin and Dog” A: Image/Sheet: 30” x 22”; Frame: 36.75” x 29”; B: Image/Sheet: 21.5” x 29”; Frame: 28.5 x 36.25”; C: Image/ Sheet: 21.5” x 29”; Frame: 28.5” x 36.5”; D: Image: 10” x 13.75”; Sheet: 12” x 17.5” Provenance:

TH E B ER NAR D AND EDI TH

L E W IN C O L L EC TIO N OF M EX I CAN ART; LO S AN GE L E S C O UN T Y M U SEU M OF ART

$600-900

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

110 HORIA POPP METAL DIGITATION, NO. 8, NO. 20 & NATURA STATICA (4) c. 1980 Oil on canvas A: Initialed “HP” lower right; retains B. Lewin Galleries label verso; B: Initialed “HP” lower right; C: Initialed “HP” lower right; signed with illegible inscription verso; D: Initialed and dated “HP80” lower right; signed, dated, and inscribed “Horia Popp/Natura Statica/1980” verso A: Canvas: 26” x 26”; Frame: 34” x 34”; B: Canvas: 21.5” x 26”; Frame: 30” x 34”; C: Canvas: 25.5” x 33.25”; Frame: 34” x 42”; D: Canvas: 16” x 24”; Frame: 23.25” x 31.25” Provenance:

TH E BERNA RD A ND E DI T H

LEWIN CO LLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M O F A RT

$3,000-4,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

111 SARAH TARAB LA CAIDA AND UNTITLED(2) 1980 Patinated bronze A: Retains plaque “Sarah Tarab/1980” near base; B: Signed “Sarah T.” near base A: 15” x 23” x 14.5” B: 49.25” x 18.25” x 10.25” Provenance:

TH E BERNA RD A ND E DI T H

LEWIN CO LLECTION OF MEXICA N A RT; LO S AN G ELES COU NT Y MU SEU M O F A RT

$1,000-2,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

112 FRANCIS LEVINE STILL LIFE WITH FRUITS & TORSO OF MAN c. 1929 Double-sided oil on canvas Signed “Levine” lower left; retains Los Angeles County Museum of Art label verso; handwritten paper label inscribed “LEVINE - L1782” verso Canvas: 24” x 30”; Frame: 25.5” x 31.5” Provenance:

LO S ANG ELES C OU NT Y M U -

S E UM O F ART

$2,000-3,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

113 GEORGE FREDERICK DEMAINE NUDE BATHER Oil on panel Signed “Geo. de Maine” lower left; bears the inscription in pencil “De Main” verso; retains Los Angeles County Museum of Art label verso; retains American Art Council label verso; retains 3rd Annual Exhibition Artists of Los Angeles County Museum 42 label verso Image/Panel: 19.25” x 12.25”; Frame: 22” x 15” Provenance:

LO S ANG ELES C OU NT Y

MUS E UM O F ART

Exhibited:

“ 3 R D AN NUAL EX H I B I TI ON OF

ARTISTS, ” LO S AN GE LES C OU NT Y M U SEU M O F ART, LO S AN GE L E S, 1 94 2

$2,000-3,000

114 ELIZABETH EATON BURTON RARE CANDELSTICKS (2) Studio, c. 1905 Patinated, hand-hammered copper Each with repoussé “B” Executed by Elizabeth for the Burton family residence, by repute Each: 13” x 5.5” x 5.5” Exhibited:

“CA LI FORNI A’S DESIG N I N G WOM E N

1 8 9 6 - 19 8 6, ” AU TRY NATIONA L CE N T E R , LOS A N G ELES, AUG U ST 10, 20 12-JA NUA RY 6 , 2 01 3

$5,000-7,000

115 ELIZABETH EATON BURTON RARE PLATE Studio, c. 1902 Patinated, hand-hammered copper, abalone shell .5” x 8” diameter $4,000-6,000

116 ELIZABETH EATON BURTON RARE SHELL LAMP Studio, commissioned c. 1902 Patinated, hand-hammered copper, copper tube, abalone shell shades 15.5” x 9” diameter Exhibited:

“C AL IFO RNI A’S DESI G NI NG

WO ME N 18 9 6 -19 8 6 , ” AU TRY NATI ONAL CENTE R , LO S AN GE L E S, AU G U ST 1 0, 201 2-JANU ARY 6 , 2 0 13

Literature:

AN D E R S E N, TI M OTH Y J, EU -

D O R AH M MO O R E , AND R OB ERT W WI NTER , C AL IFO R N IA D E S IGN 191 0, U TAH : G I B B S S MITH , 19 74, P 83 ( VAR I ANT DESI G N I LLUSTR ATE D) .

$9,000-12,000

117 GEORGE WASHINGTON MAHER HANGING LAMP Custom designed for the dining room of the John Rath Residence, Chicago, executed 1907 Leaded glass, bronze 92” x 32” x 32” Provenance:

JOH N RATH RESI DE N C E ,

LO G AN S QUA RE, CH ICAGO, I LLI NOI S; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA

Literature:

TH E I NL A ND A RCH I T EC T A N D

NEWS REC ORD, VOLU ME 52, SEPTE M B E R , 1 9 08 , NP (I LLU STRATED I N SITU ) .

$30,000-50,000

GEORGE WASHINGTON MAHER Stained glass designs formed an integral part of George Washington Maher’s architectural commissions. Native flowers became Maher’s primary visual device and were carefully selected to represent each of his clients. Maher’s approach in employing a single motif as a unifying visual emblem within an architectural scheme reached its zenith in 1912 with the design for the home of E.L. King, known as Rockledge, where the tiger lily became the project's motif. One of the important key examples in the development of Maher’s “motif-rhythm” theory can be found in the architect's design for the John Rath residence, 1907. In this instance a poppy native to the region was selected, and as well as being incorporated into the patterning for the leaded glass panes in this design, also features in the design of the leaded windows in the dining room.

Above image: John Rath Residence, The Inland Architect and News Record , September 1908. Courtesy Ryerson & Burnham Archives, The Art Institute of Chicago.

INTERIOR DETAIL

118 DIRK VAN ERP EARLY VASE Studio, executed c. 1911 Patinated, hand-hammered copper Stamped windmill motif “Dirk van Erp” and faint partially erased stamp “D’Arcy Gaw” 10.25” x 10” diameter Dirk van Erp opened his first shop in Oakland, California in 1908, but by 1910 had moved to a new location in San Francisco. During this first year in San Francisco van Erp began a design partnership with D’Arcy Gaw. This partnership terminated in 1911, and as a result van Erp attempted to remove all traces of Miss Gaw’s name from the Windmill hallmark on all existing inventory. Provenance:

TH E ESTATE OF DON R I C HI E ,

SAN FRANCI SCO, CA LIFORNI A ; PR I VAT E CO LLECT ION, LOS A NGELES, CA LI FOR N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , C 1 9 9 6)

$5,000-7,000

119 HARRY ST. JOHN DIXON VASE Studio, c. 1920 Hand-hammered copper applied with red patina Stamped “Harry Dixon San Francisco” 8.25” x 7.5” diameter $2,500-3,500

120 DIRK VAN ERP EARLY VASE Studio, executed c. 1911 Patinated, hand-hammered copper Stamped windmill motif “Dirk van Erp” and faint partially erased stamp “D’Arcy Gaw” 6” x 9.5” diameter Provenance:

TH E ESTATE OF DON R I C HI E ,

SAN FRANCI SCO, CA LIFORNI A ; PR I VAT E CO LLECT ION, LOS A NGELES, CA LI FOR N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , C 1 9 9 6)

$2,500-3,500

121 HARRY ST. JOHN DIXON RARE PUZZLE BOX Studio, c. 1920 Patinated copper, turquoise cabochons 2.75” x 5.75” x 3.75” Provenance:

TH E E STATE OF DON R I C H I E,

SAN F R AN C IS C O, C ALI FOR NI A; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 19 9 6 )

$6,000-8,000

122 HORACE POTTER BOX Potter Studio, designed and executed c. 1915 Patinated brass set with carved antique Chinese white jade cabochon, mahogany lining Stamped “Potter Studio” 2.5” x 6.75” x 4” $2,000-3,000

123 WILLIAM VAN ERP BOWL Studio, c. 1930s Patinated, hand-hammered brass Stamped windmill motif “Handwrought Dirk Van Erp San Francisco” 4.25” x 11.5” x 6.5” $1,500-2,000

124 CONRAD BUFF UNTITLED Oil on panel Signed “C Buff” lower left Image/Panel (vis.): 11.25” x 15.25”; Frame: 18.5” x 22.5” Illustrated:

BU FF, LI BBY, A ND W I L L

S O UT H, T H E A RT A ND LI FE OF CO N R A D BUFF, LO S A NGELES: GEORGE STE R N F I N E ARTS, 2 00 0, # 0338.

$3,000-5,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

125 ENGLISH ARTS & CRAFTS ARMCHAIR J.S. Henry, c. 1895 Mahogany with fruitwood inlay, close nail upholstery 42.25” x 23” x 20.5” Provenance:

ELLEN A ND MAX PA L E VSKY,

CAL IFO RNIA ; LO S AN G ELES COU NT Y MU SEU M OF A RT

$1,500-2,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

126 ENGLISH ARTS & CRAFTS HIGH BACK ARMCHAIR Liberty & Co., c. 1900 Mahogany, upholstery 48.5” x 25” x 20.75” Provenance:

ELLEN A ND MAX PA L E VSKY,

CAL IFO RNIA ; LO S AN G ELES COU NT Y MU SEU M OF A RT

$1,000-1,500

127 GUSTAV STICKLEY BOOKCASE Model no. 93 Gustav Stickley’s Craftsman Workshop, Eastwood, NY, executed c. 1907-12 Quarter sawn oak, bronze Retains remnants of Craftsman Workshops paper label and W. B. Moses & Son retailers tag 40” x 17” x 11” Provenance:

FAIR FAX DAVI S DOWNEY,

S P R IN GF IE L D, N E W H AM P SH I R E; R IC H AR D JAC KS O N , S P R I NG FI ELD, NEW H AMP S H IR E ( AC Q UIR ED FR OM TH E ABOVE, C 19 6 5 ) ; TH E N C E BY DESC ENT

$3,000-5,000

128 CHARLES LIMBERT CHILD’S CHAIR Limbert Furniture Co., executed 1902-05 Oak Retains manufacturer’s paper label “Limbert Arts & Crafts Furniture Made in Grand Rapids Michigan” 28” x 13” x 12” $2,000-3,000

129 GUSTAV STICKLEY SECRETARY’S DESK Gustav Stickley’s Craftsman Workshop, Eastwood, NY, executed 1902-03 Oak, oil cloth, brass nails Retains manufacturer’s red decal 29.25” x 36.25” x 24.25” Provenance:

FAIR FAX DAVI S DOWNEY,

S P R IN GF IE L D, N E W H AM P SH I R E; R IC H AR D JAC KS O N , S P R I NG FI ELD, NEW H AMP S H IR E ( AC Q UIR ED FR OM TH E ABOVE, C 19 6 5 ) ; TH E N C E BY DESC ENT

$2,000-3,000

130 PETER BEHRENS PRE-PRODUCTION TEA KETTLE Model no. 42417 Allgemeine Elektricitäts-Gesellschaft (AEG) Bingwerke, designed 1908, this example executed c. 1908 Silver-plated copper, cane Stamped mark “AEG BW” and numbered “42417” 8.75” x 7.5” x 6” From a selection of different design components such as the cover, finial, shape, and texture, Behrens had initially intended to offer as many as 81 different kettle designs to the public; however in eventuality only 30 design variations were ever offered for sale. The design of this cover and finial is not one of the 30 eventual production examples. It is possible that this example was one of the initial working models. A circular incision was made below the back of the handle and the circular fillet was welded back into place. It appears that the kettle body was mocked up to show where the electric socket heating element would be located. Following this use as a factory model rather than be discarded, the kettle was repaired and retained. Literature:

BROH A N, TORSTEN, A N D

T HO MAS BERG, AVA NT- GA RDE DE SI G N 1 8 8 0 - 193 0, COLOGNE: TASCH EN, 1 9 9 4 , P 74 ( PRO D UCTION EXA MPLE I LLU STR AT E D).

$6,000-8,000

DETAIL

131 WALT KUHN PRIESTESSES IN THE TEMPLE OF DIANA c. 1913 Gilt bronze Incised initials underneath base Together with black and white photograph of the work 6.25” x 3.25” x 3.5” Provenance:

JOH N Q U INN, NEW YOR K ,

NEW YO RK (ACQ U IRED DIRECTLY F R OM T HE ART IST ) ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM AM ERICAN A RT ASSOCIATI ON AU C T I ON , “JO HN QUINN COLLECTION, ” FEBR UA RY 1 2 , 1 9 2 7, LOT # 684 ); TH ENCE BY DES C E N T; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E); PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Literature:

JOH N Q U INN COLLEC T I ON,

NEW YO RK: A MERICA N A RT ASSOC I AT I ON , FEBRUARY 12, 1927, P 231, # 684.

$3,000-5,000

ALTERNATE VIEW

132 CHARLES MARTIN FLOOR LAMP Attributed to Damon, designed c. 1928 Nickel-plated brass 76.5” x 16” Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 18 7 9 -1959, COLOG NE: TAS C H E N , 2 0 05 , P 2 8 4 ; DU NCAN, AL ASTAIR , ART D EC O FU R NI TU R E, NEW YO R K : TH AME S & H UDSON, 1 984 , P 94 .

$10,000-15,000

133 ABRAHAM WALKOWITZ ISADORA DUNCAN 1909 Ink and watercolor on paper Signed and dated in ink lower center; retains Zabriskie Gallery label verso Together with copy of exhibition catalogue and gallery receipt Image/Sheet: 9.75” x 7.75”; Frame: 16.125” x 14.25” Provenance:

Z AB R ISK I E G ALLERY, NEW

YO R K , N E W YO R K ; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , JAN UARY 19 7 9)

Exhibited:

“AB R AH AM WALKOWI TZ:

WATE R C O LO R S F R O M 1 905 TH R OU G H 1 920 AN D OTH E R WO R KS O N PAP ER , ” ZAB R I SK I E GAL L E RY, N E W YO R K , NOVEM BER 30, 19 9 4 -JAN UARY 7, 19 95

Literature:

AB R AH AM WALKOWI TZ, EX H I-

B ITIO N C ATALO GUE , NEW YOR K : ZABR I SK I E, 19 95 , # 10.

$1,000-1,500

134 BERTRAM HARTMAN BEACH SCENE 1929 Watercolor and crayon on paper Signed and dated lower right; retains Vanderwoude Tananbaum Gallery label verso Together with original receipt Image/Sheet: 11.25” x 14.25”; Frame: 17.75” x 20.75” Provenance:

VAN D E RWOU DE TANANBAU M

GAL L E RY, N E W YO R K , NEW YOR K ; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , O C TO B E R 19 82)

$1,000-1,500

ILONKA KARASZ Ilonka Karasz (1886-1981) was the first woman admitted to study at the Royal Academy of Arts and Crafts in her native Budapest, before migrating to New York in 1913 to begin a career as an artist and designer. Karasz established the Design Group Inc., a guild of designers and craftsmen that made toys, lamps, wallpaper and various decorative items. An illustrator for several children’s books, her most noted drawings were for The New Yorker; spanning a tremendous period from 1924 to 1973 in which she executed 186 covers. Her designs and drawings can be found in the permanent collections of the Metropolitan Museum of Art and the Cooper-Hewitt National Design Museum.

135 ILONKA KARASZ COUNTRY AUCTION c. 1953 Gouache on illustration board Signed “Karasz” lower right LAMA would like to thank Ilonka Sigmund for her assistance in cataloguing this work Image/Sheet (vis.): 16.125” x 11”; Frame: 26.125” x 20.5” This illustration was used for the cover of The New Yorker’s March 28th, 1953 issue. Illustrated:

THE NEW YORKER , VOLU M E

XXIX , #6, MA RCH 28, 1953, COVE R .

$10,000-15,000

136 TOMMI PARZINGER UNTITLED Pencil, pen, and watercolor on paper Signed in pencil “Parzinger” lower right Image: 14.25” x 12.325”; Sheet: 14.625” x 12.875”; Frame: 23” x 21” $1,500-2,500

137 SHIRLEY PETTIBONE LAYERED GARDEN 2, HUNTINGTON GARDENS 2008 Watercolor on Arches paper Signed and dated in pencil lower right margin Image: 23.75” x 17”; Sheet (vis.): 24.75” x 18”; Frame: 33.5” x 25.25” Exhibited:

“C O N TE MP OR ARY M ASTER S,

ARTISTIC E D E N II, ” PASADENA M U SEU M OF H ISTO RY, PASAD E N A , JANUARY 1 7-AP R I L 12 , 2 0 0 9

$2,000-3,000

138 WARREN MCARTHUR RARE OCCASIONAL TABLE Warren McArthur Corporation Manufacturers, designed c. 1929 Enameled and brushed aluminum Retains manufacturer’s label 18.25” x 13.25” x 13.25” $3,000-5,000 DETAIL OF LABEL

139 ATTRIBUTED TO GILBERT ROHDE DRUM-SHAPED CHAIR Possibly manufactured by the Troy Sunshade Co., c. 1925 Chrome-plated steel, leather, oil cloth, ebonized mahogany 28.75” x 23” x 21” $3,000-5,000

140 GILBERT ROHDE TABLE CLOCK Model no. 6345 Herman Miller, designed 1937 Enameled metal, limed wood, glass Retains manufacturer’s marks 4.25” x 4.5” x 2” Literature:

H E R MAN MI LLER C OM PANY,

C ATALO GUE O F E L EC TR I C CLOC KS, 1 937, NP.

$2,000-3,000

141 WALTER DORWIN TEAGUE SPARTON TABLE RADIO Model no. 558 Sparton Corporation, designed 1936-37 Blue-tinted mirror glass, metal, wood 9” x 17.5” x 8.25” $3,000-5,000

142 WILLIAM “BILLY” HAINES BRENTWOOD LOUNGE CHAIRS (2) Studio, designed 1936 Lacquered wood, canework, silk Each: 28.5” x 26.75” x 25.25” Provenance:

JACK WA RNER , LOS

AN G ELES, CA LIFORNI A ; DAV ID G EF FEN, LOS A NGELES, CA L I FOR N I A ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, C 1989); PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, 20 13)

$15,000-20,000

143 ITALIAN NEOCLASSICAL SETTEE Studio, c. 1960 Brass, vinyl upholstery Stamped “Made in Italy” 35.75” x 42.5” x 20.5” $3,000-5,000

144 HOLLYWOOD REGENCY CHAIRS (2) Manufacturer unknown, c. 1960 Brass, upholstery Each: 31.5” x 20.5” x 20” $3,000-5,000

145 FRANK LLOYD WRIGHT SECTIONAL SOFA (4) Model nos. 1576, 1578, 1582 Heritage Henredon, designed c. 1955 Mahogany, upholstery Each retains manufacturer’s label Comprised of two end arm units, one two-seat unit, and one two-seat angled unit Each end arm unit: 30.5” x 26.5” x 31”; Two-seat unit: 30.5” x 49.5” x 31”; Two-seat angled unit: 30.5” x 68” x 31” $10,000-15,000

146 FRANK LLOYD WRIGHT TRIANGULAR TABLE/STOOLS (4) Model no. 452-A Heritage Henredon, designed c. 1955, these examples executed September, 1955 Mahogany Each with ink stamp “452-A 9-55” and manufacturer’s branded marks Each: 14.75” x 21.75” x 21.75” $3,000-5,000

147 FRANK LLOYD WRIGHT OTTOMANS (3) Model no. 1583 Heritage Henredon, designed c. 1955 Mahogany, upholstery Each: 16.5” x 28.5” x 28.5” $2,000-3,000

148 FRANK LLOYD WRIGHT COFFEE TABLE Model no. 451-C Heritage Henredon, designed c. 1955 Mahogany, slate Retains Frank Lloyd Wright monogram decal and model number 15.5” x 36” diameter $1,500-2,000

NOT ILLUSTRATED 149 FRANK LLOYD WRIGHT WALL MIRROR Model no. 2000 Heritage Henredon, designed c. 1955 Mahogany, mirror plate Retains manufacturer’s marks 38” x 34.5” $1,000-2,000

150 AMERICAN MODERN PARTIO KITCHEN/BBQ CART General Electric, designed c. 1956 Enameled and brushed steel, beech, vinyl Portable kitchen with oven, two burners, griddle and BBQ, two articulated beech wood shelves, umbrella and original User's Manual 90.5” (including umbrella) x 55” x 32” (articulated shelves closed) $5,000-7,000

151 FRANK LLOYD WRIGHT DINING SUITE (7) Model no. 2001 Heritage Henredon, designed c. 1955 Mahogany, brass, upholstery Manufacturer’s printed marks to table Comprised of a table and six chairs Table: 24.25” x 54” diameter; Each chair: 27.5” x 24.5” x 20” $3,000-5,000

152 JOHN LAUTNER ARCHITECTURAL STUDY OF SILVERTOP (REINER-BURCHILL RESIDENCE) c. 1956 Mimeograph with hand coloring on paper Printed signature “John Lautner A.I.A. Architect” lower right Sheet: 61” x 31.5” $3,000-5,000

153 WALTER LAMB CHAISE LOUNGE

154 WALTER LAMB CHAISE LOUNGE

155 WALTER LAMB SLEIGH CHAIR AND OTTOMAN (2)

156 WALTER LAMB SLEIGH CHAIR AND OTTOMAN (2)

Model no. C-4700 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 32.5” x 69” x 26.5”

Literature:

Model nos. C-5720 (chair) and C-5726 (ottoman) Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord Chair: 29” x 22.5” x 22”; Ottoman: 10” x 20” x 17”

Literature:

WA LTER L A MB FU RNI T U R E

WA LT E R L A M B F U R N ITUR E

CATALO G U E, 1954, NP.

C ATA LOG U E, 1 954 , N P.

$3,000-4,000

$2,500-3,500

WALTE R L AMB F UR N ITUR E

WALTE R L AMB FU R NI TU R E

C ATALO GUE, 195 4, N P.

$2,000-3,000

157 WALTER LAMB ROCKING CHAIR

158 WALTER LAMB ROCKING CHAIR

159 WALTER LAMB ROCKING CHAIR

160 WALTER LAMB WIDE ARMCHAIR AND OTTOMAN (2)

Model no. C-5701 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 31.75” x 21.25” x 31”

Literature:

Model nos. C-5700 (chair) and C-5706 (ottoman) Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord Chair: 30” x 24” x 22”; Ottoman: 20” x 23.5” x 17.5”

WA LTER L A MB FU RNI T U R E

WA LT E R L A M B F U R N ITUR E

WALTE R L AMB F UR N ITUR E

CATALO G U E, 1954, NP.

C ATA LOG U E, 1 954 , N P.

C ATALO GUE, 195 4, N P.

$2,000-3,000

Literature:

WALTE R L AMB FU R NI TU R E

C ATALO GUE, 195 4, N P.

$2,500-3,000

161 WALTER LAMB DOUBLE CHAISE

162 WALTER LAMB DINING TABLE AND CHAIRS (5)

Brown-Jordan Co., designed c. 1958 Tubular bronze with cotton yacht cord 33.5” x 63” x 50”

Model nos. C-2700 (table) and C-1700 (chairs) Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord, glass top Comprised of a table and four side chairs Table: 28” x 49”; Chairs each: 32.5” x 18” x 16”

$6,000-8,000

Literature:

WA LT E R L A M B F UR N ITUR E

C ATA LOG U E, 1 954 , N P.

$3,000-5,000

163 WALTER LAMB RECTANGULAR COFFEE TABLE

164 WALTER LAMB END TABLE AND OTTOMAN (2)

Model no. AH-3700 Brown-Jordan Co., designed c. 1950 Tubular bronze, glass 17” x 41.5” x 25.5”

Model nos. C-5726 (Ottoman) and BL3700 (end table) Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord, glass Ottoman: 10” x 23.5” x 17.5”; End table: 18” x 23.5” x 17.5”

Literature:

WALTE R L AMB F UR N ITUR E

C ATALO GUE, 195 4, N P.

$2,000-3,000

Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE, 195 4, N P.

$1,500-2,500

165 WALTER LAMB LOUNGE CHAIR AND OTTOMAN (2)

166 WALTER LAMB CHAISE LOUNGE

167 WALTER LAMB ROUND COFFEE TABLE

Model nos. C-1700A (chair) and C-5706 (ottoman) Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord Chair: 29” x 21.5” x 17”; Ottoman: 20” x 23.5” x 18”

Model no. C-4700 Brown-Jordan Co., designed c. 1950 Tubular bronze with plastic cord 32.5” x 69” x 26.5”

Model no. S-3700 Brown-Jordan Co., designed c. 1950 Tubular bronze, glass 17” x 42” diameter

Literature:

WALT E R L A M B F U R N I T U R E

CATA LOGU E, 1954 , N P.

$2,500-3,500

WALTE R L AMB F UR N ITUR E

C ATALO GUE, 195 4, N P.

$3,000-5,000

WALTE R L AM B FU R NI TU R E

C ATALO GUE, 195 4, N P.

$1,500-2,500

168 STAN BITTERS BIRD HOUSES (6) Hans Sumpf, designed c. 1960; these examples later Porous low-fire clay Each approximately: 30" x 6" $900-1,200

169 STAN BITTERS THUMB POTS (2) Hans Sumpf, 1999 and 2004 Stoneware Impressed “H.S.C./B-21-18/99/BR” and “H.S.C./B-21-18/2004/BR” 17.75” x 21.5” diameter and 17.5” x 21” diameter $1,500-2,000

170 STAN BITTERS THUMB POTS (2) Hans Sumpf, 2005 Stoneware Impressed “H.S.C./B-18-15/BR” and “H.S.C./B-18-15/2005/BR” Each: 14.75” x 18” diameter $1,000-1,500

171 ROBERT MAXWELL PLANTERS (3) Earthgender, designed c. 1968 Stoneware with Starburst pattern 19” x 18” diameter; 15.5” x 23” diameter; 12.5” x 18” diameter $1,500-2,000

172 DOUGLAS DEEDS PATIO FURNITURE (7) Architectural Fiberglass, designed c. 1971 Fiberglass Comprised of table and six chairs Table: 17” x 35” diameter; Each chair: 29.75” x 29.5” x 28” $1,500-2,000

173 MARILYN KAY AUSTIN PLANTERS (2) Model nos. EG-3 (yellow), EG-03 (white) Architectural Pottery, designed c. 1963 White and yellow glazed ceramic Yellow: 24” x 22” diameter; White: 22.5” x 22” diameter Literature:

A RCH ITECTU RA L POT T E RY

CATALO G U E, 1975, NP.

$300-500

174 JOHN FOLLIS & REX GOODE “PIG” PLANTER Model no. G-99L Architectural Pottery, designed c. 1949 Ceramic, enameled steel tube 15.75” x 42” x 25.75” Literature:

A RCH ITECTU RA L POT T E RY

CATALO G U E, MA RCH 1961, P 14.

$2,000-3,000

175 JOHN FOLLIS HEROIC-SCALED PLANTER Model no. GC-31 Architectural Pottery, designed c. 1950 Glazed ceramic 28” x 25” diameter Literature:

A RCH ITECTU RA L POT T E RY

CATALO G U E, MA RCH 1961, P 11.

$300-500

176 DAVID CRESSEY PLANTER Model no. AP-506 Architectural Pottery, designed c. 1970 Unglazed reduction-fired stoneware with “Rectangle” texture 16.5” x 20.5” diameter Literature: A RCH I TECTU RA L

POT T E RY

CATALO G U E, 1970, NP.

$800-1,200

177 DAVID CRESSEY PLANTERS (4) From the Pro/Artisan series Architectural Pottery, designed c. 1968 Glazed ceramic with Flame glaze, one with “Leaf” texture 14” x 13.75” diameter; 12” x 13” diameter; 10.5” x 11.75” diameter; 10” x 10” diameter Literature:

A RCH ITECTU RA L POT T E RY

CATALO G U E, 1975, NP.

$2,500-3,500

178 WOODS DAVY ALHAMBRA 1982 Steel and river stone Signed and dated “Davy 82” LAMA would like to thank the artist for his assistance in cataloguing this work 55.5” x 57.25” x 23” Exhibited:

“ WO O D S DAVY, ” LOS ANG ELES

C IT Y H AL L , S P R IN G STR EET C OU RT AND R OTUN DA , LO S AN GE LES, 1 982

$3,000-5,000

179 JEROME KIRK UNTITLED 1981 Painted aluminum and stainless steel Incised signature “Kirk” at base; impressed “6-10-81” under base Together with Erickson & Elms Gallery brochure 12.5” x 6.5” x 8” $3,000-5,000

180 ANDY WARHOL $ (QUADRANT) 1982 Silkscreen on Lenox Museum Board #42 of 60 unique impressions Signed with edition in pencil lower center; blind stamp lower left FS #II/283 Image/Sheet: 39.5” x 32”; Frame: 43.25” x 35.25” Literature:

FELDMA N, FRAY DA , A N D JÖR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # II / 2 83.

$70,000-90,000

101

181 ANDY WARHOL $ (QUADRANT) 1982 Silkscreen on Lenox Museum Board #42 of 60 unique impressions Signed with edition in pencil lower right; blind stamp lower left FS #II/284 Image/Sheet: 39.5” x 32”; Frame: 43.25” x 35.25” Literature:

F E L D MAN, FR AYDA , AND JÖRG

S C H E L L MAN N , AN DY WAR H OL P R I NTS: A C ATALO GUE R AIS O N NÉ 1 96 2-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I /284 .

$50,000-70,000

182 ANDY WARHOL SANTA CLAUS (FROM MYTHS) 1981 Screenprint on Lenox Museum Board with diamond dust #26 of 200 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed in pencil with edition lower right margin F/S: #11.266 Image/Sheet: 37.5” x 37.5”; Frame: 38.75” x 39” Literature:

FELDMA N, FRAY DA , A N D JÖR G

S CHEL L M ANN, A NDY WA RH OL PR I N TS: A CATALO G U E RA ISONNÉ 1962-1987, 4 T H E DIT IO N , NEW YORK: DA P, 20 03, # I I / 2 6 6 .

$15,000-20,000

183 ANDY WARHOL EDWARD KENNEDY 1980 Screenprint on Lenox Museum board with diamond dust #120 of 300 Signature and edition lower right F/S #II.240 Sheet: 40” x 32” Published to raise funds for the Edward Kennedy primary campaign for president. Literature:

F E L D MAN, FR AYDA , AND JÖRG

S C H E L L MAN N , AN DY WAR H OL P R I NTS: A C ATALO GUE R AIS O N NÉ 1 96 2-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I /24 0.

$7,000-9,000

103

184 ANDY WARHOL UNTITLED (CAMPBELL’S SOUP CAN) 1978 Marker on exhibition catalogue Signed “Andy Warhol” in marker lower center on the reverse of the exhibition catalogue Andy Warhol, Kunsthaus, Zurich, May 26-July 30, 1978 Andy Warhol Art Authentication Board #104.122 Together with certificate of authenticity from the Andy Warhol Art Authentication Board Image (vis.): 10.5” x 8”; Frame: 16.125” x 13.75” Provenance:

ROBERT SH A PAZIA N , LOS

ANG EL ES, CA LI FORNI A ; PRIVAT E COLLECTI ON, LOS A NGEL E S, CALIFO RN IA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

$4,000-6,000

185 ANDY WARHOL UNTITLED (SHOE) c. 1955 Offset lithograph and hand coloring on paper Unknown edition size Signed in ink upper left Sheet: 8.375” x 10.875”; Frame: 22.125” x 23.5” $4,000-6,000

ILLUSTRATED OPPOSITE PAGE

186 ANDY WARHOL BIRDS AND FLOWERS c. 1961 Ink and Dr. Martin’s Aniline Dye on ivory paper Retains the Estate of Andy Warhol stamp verso; retains Neal Meltzer Fine Art, Inc. label verso Sheet: 23.75” x 17.875”; Frame: 31.25” x 25.25” $18,000-25,000

105

202 BILLY AL BENGSTON HONOLULU WATERCOLOR 1982 Watercolor and collage Retains artist’s studio labels verso Collage: 16.5” x 24”; Frame: 25.125” x 32.125” $2,000-3,000

187 ROY LICHTENSTEIN MOONSCAPE (FROM LANDSCAPES SERIES) 1985 45-color lithograph, woodblock, and screenprint on Arches 88 paper #3 of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right margin with edition; Gemini G.E.L. blind stamps lower right margin Gemini G.E.L. #31.87 Together with invoice and print documentation Image: 34” x 52”; Sheet: 37” x 55”; Frame: 45.75” x 63.25” Literature:

CORLET T, MA RY LEE , T HE

PRINTS O F ROY LI CH TENSTEIN: A C ATALO G UE RA ISONNÉ, 1948 -1993, NE W YOR K : HUD S O N H I LL S PRESS, 20 0 2, # 21 2 .

$20,000-30,000

189 ROY LICHTENSTEIN IMPERFECT PRINT FOR B.A.M. 188 ROY LICHTENSTEIN CATHEDRAL #1 (FROM CATHEDRAL SERIES) 1969 2-color lithograph and screenprint on Arjomari paper #72 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right margin with Gemini G.E.L. blind stamp; edition lower left margin Gemini G.E.L. #31.1 Image: 41.5” x 26.75”; Sheet: 48.5” x 32.5”; Frame: 50.25” x 35.75” Literature:

C O R L E T T, MARY L E E , TH E

1987; published 1988 8-color woodcut and screenprint on Arches cover #55 of 75 Published by Parasol Press, New York; printed by Gemini G.E.L. at Joni Moisant Weyl, New York Signed and dated with edition in pencil lower right margin; two Gemini G.E.L. blind stamps lower right margin Gemini G.E.L. #31.92 Image: 52.625” x 25.5”; Sheet: 59.25” x 31.325”; Frame: 62” x 34” This print was made for the Brooklyn Academy of Music’s 125th Anniversary portfolio. This was also the first in the Imperfect series that the artist created. Literature:

C O R L E T T, M ARY LEE, TH E

P R I N TS O F R OY L IC H TE N STE IN : A C ATA-

P R IN TS O F R OY L IC H TENSTEI N: A CATA-

LOG U E R AIS O N N É , 19 48 -19 93, N E W YO R K :

LO GUE R AIS O N N É , 19 4 8 -1 993, NEW YOR K :

HU DSON H IL L S P R E SS, 2 0 0 2 , # 7 5 .

H UD S O N H IL L S P R E SS, 2002, #21 8.

$6,000-8,000

$9,000-12,000

107

190 ROY LICHTENSTEIN PEACE THROUGH CHEMISTRY IV 1970 3-color lithograph on Arjomari paper #52 of 56 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right margin with Gemini G.E.L. blind stamp; edition lower left margin Gemini G.E.L. #31.22 Image: 25” x 45”; Sheet: 30” x 50”; Frame: 32.25” x 52.25” Literature:

CORLET T, MA RY LEE , T HE

PRIN TS O F ROY LICH TENSTEIN: A C ATALO G UE RA I SONNÉ, 1948 -1993, NE W YOR K : HUD S O N H ILL S PRESS, 20 0 2, # 99.

$14,000-18,000

191 ROY LICHTENSTEIN MIRROR (FROM HARVEY GANTT PORTFOLIO) 1990 Color screen print on white 4-ply board #52 of 250 Published by the artist and Gemini G.E.L. for the benefit of the Harvey Gantt for Senate Campaign; printed by Gemini G.E.L., Los Angeles Signed lower center; edition lower left; dated lower right with Gemini G.E.L. blind stamps Gemini G.E.L. #31.109 Image/Sheet: 10” x 7.25”; Frame: 19” x 16.25” Literature:

C OR L E T T, M A RY L E E , TH E

P R I N TS OF R OY L I C HT E N ST E I N : A C ATALOG U E R A I SON N É , 1 9 4 8 - 1 9 93, N E W YO R K : HU DSON HI L L S P R E SS, 2 002 , # 246 .

$3,000-5,000

192 JAMES ROSENQUIST EARTH AND MOON 1971 9-color lithograph on white Arches Cover paper with vacuum formed plastic hourglass containing plastic beads #15 of 70 Published by USF Graphicstudio, Tampa; printed by Charles Ringness, Tampa Signed and dated lower right margin; two blind stamps lower center margin; retains John Berggruen Gallery label verso Image: 16.5” x 15.5”; Sheet: 19.5” x 18.5”; Frame: 20.125” x 18.75” Literature:

GL E N N , C ONSTANCE, TI M E

D UST: JAME S R O S E N Q U I ST C OM P LETE GR AP H IC S : 19 6 2-19 9 2, NEW YOR K : R I ZZOLI , 19 93 , # 43 .

$1,000-1,500

193 JAMES ROSENQUIST WHEN A LEAK... 1980; published 1982 11-color lithograph on Arches 88 paper #7 of 58 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right; edition and title lower left Gemini G.E.L. #43.4 Image: 39.5” x 50.5”; Sheet: 43.5” x 54”; Frame: 46.25” x 57.25” Literature:

GL E N N , C ONSTANCE, TI M E

D UST: JAME S R O S E N Q U I ST C OM P LETE GR AP H IC S : 19 6 2-19 9 2, NEW YOR K : R I ZZOLI , 19 93 , # 17 5 .

$3,000-5,000

109

194 ELLSWORTH KELLY RED/YELLOW/BLUE 2000 3-color lithograph on Rives BFK #20 of 40 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in pencil lower left; two Gemini G.E.L. blind stamps lower right Gemini G.E.L. #28.225 Image: 22.5” x 22.5”; Sheet: 31” x 30.5”; Frame: 33.25” x 32.75” Provenance:

GEMI NI GEL , LOS A N G E L E S,

CAL IFO RNIA ; PRIVAT E COLLECTION, LOS A NGEL E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FRO M T HE ABOV E, FEBRUA RY 20 0 0)

$3,000-5,000

195 ELLSWORTH KELLY UNTITLED 1996 Color lithograph on Rives BFK white paper #52 of 75 Published and printed by Gemini G.E.L., Los Angeles SIgned in pencil lower right with two Gemini G.E.L. blind stamps; edition lower left Gemini G.E.L. #28.214 Together with original receipt and print documentation Image (irreg.): 16” x 19.5”; Sheet: 16” x 19.5”; Frame: 24.625” x 27.5” Provenance:

GEMI NI GEL , LOS A N G E L E S,

CAL IFO RNIA ; PRIVAT E COLLECTION, LOS A NGEL E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FRO M T HE ABOV E, MAY 1997 )

$3,000-5,000

196 ROBERT MOTHERWELL ST. MICHEL I (STATE II) 1979 Color lithograph, screenprint, and monoprint on Arches paper #22 of 34 Published and printed by Tyler Graphics Ltd., Mount Kisco Initialed in pencil “RM” with edition lower right; printer blind stamps lower right Image/Sheet: 63” x 25.325”; Frame: 66.625” x 29.25” Literature:

B E L K N AP, DOR OTH Y, AND

STE P H AN IE TE R E N Z IO, TH E P R I NTS OF R O B E RT MOTH E RW E LL : A C ATALOG U E R AIS O N N É , 19 43 -19 9 0, N EW YOR K : H U DSON H IL L S P R E SS, 19 9 1, # 235.

$4,000-6,000

197 ROBERT MOTHERWELL HARVEST, WITH ORANGE STRIPE 1973 8-color lithograph and paper collage on Georges Duchene, Moulin de Larroque Hawthorne paper #44 of 55 Published and printed by Gemini G.E.L., Los Angeles, signed in pencil with edition lower right margin; Gemini G.E.L. and artist blind stamps lower right margin, Gemini G.E.L. #34.7 Together with print documentation from Gemini G.E.L. Image: 30” x 12”; Sheet: 36” x 18”; Frame: 37.25” x 20” Provenance:

GE MIN I G EL , LOS ANG ELES,

C AL IFO R N IA; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , S E P TE MB E R 197 3)

Literature:

B E L K N AP, DOR OTH Y, AND

STE P H AN IE TE R E N Z IO, TH E P R I NTS OF R O B E RT MOTH E RW E LL : A C ATALOG U E R AIS O N N É , 19 43 -19 9 0, NEW YOR K : H U DSON H IL L S P R E SS, 19 9 1, # 1 4 6 .

$3,000-5,000

111

198 CLAES OLDENBURG TEA BAG (FROM 4 ON PLEXIGLAS) 1966 Laminated vacuum-formed vinyl, screenprinted vinyl, felt, and Plexiglas with rayon cord #122 of 125 Published by Multiples Inc., New York; printed and fabricated by Knickerbocker Machine and Foundry, Inc., New York Signed with edition in pencil verso Image: 39” x 28” x 3.5”; Frame: 39.5” x 28.75” Literature:

AXSOM, RICH A RD H , A N D DA-

V ID PL ATZKER , PRI NTED STU FF, P OST E R S AN D EPHE MERA BY CL A ES OLDEN B U R G : A CATALO G UE RA I SONNÉ, NEW YOR K , HU D S O N HILL S, 1997, # 36.

$4,000-6,000

Sold to benefit The Group at Otis College of Art & Design

199 CLAES OLDENBURG BUTTER PAT IN THE BERKELEY HILLS 1976 Soft-ground etching on paper #15 of 35 Published by Multiples Inc., New York; printed by John Glivon, Crown Point Press, Oakland Signed in pencil lower right with printer blind stamp; edition lower left; retains Herbert B. Palmer Company label verso; retains Herbert Palmer Gallery label verso Image: 8.25” x 11”; Sheet: 26.25” x 19.75”; Frame: 30.5” x 22.375” Literature:

AXSOM, RICH A RD H , A N D DA-

V ID PL ATZKER , PRI NTED STU FF, P OST E R S AN D EPHE MERA BY CL A ES OLDEN B U R G : A CATALO G UE RA I SONNÉ, NEW YOR K , HU D S O N HILL S, 1997, # 149.

$1,000-1,500

200 JIM DINE SILVER STAR 1966 Lithograph on Rives BFK paper #41 of 60 Signed in pencil with edition lower left; signed in plate with date; blind stamp lower right; retains China Basin Designs label verso Image/Sheet: 29.875” x 22.25”; Frame: 39.75” x 31.875” Literature:

CU LLEN, MI CH A EL , AN D WI B K E

VO N BO NIN, JIM DI NE COMPLETE G R A P HICS, BERLI N: GA LERIE MIKRO BER L I N , 1 9 7 0, #3 8 .

$1,000-1,500

201 SMS PORTFOLIO A COLLECTION OF ORIGINAL MULTIPLES (VOLUMES 1-6) 1968 Various mediums Published by the Letter Edged in Black Press, New York Various dimensions Each volume consists of prints, text, and works of various mediums by artists including Roy Lichtenstein, Andy Warhol, David Hockney, Man Ray, Bruce Nauman, and Claes Oldenburg. Literature:

S MS : A COLLECTI ON OF M U LTI-

P L E S, 40 TH AN N IV E R SARY EX H I B I TI ON, EXH IB ITIO N C ATALO GUE, SEAT TLE: DAVI DSON GAL L E R IE S, 2 0 0 8 ; R ATCLI FF, C ARTER , SM S: A C O L L EC TIO N O F MULTI P LES, EX H I B I TI ON C ATALO GUE , N E W YO RK : R EI NH OLD -BR OWN GAL L E RY, 19 8 8 .

$3,000-5,000

202 JONATHAN DE PAS, DONATO D’URBINO & PAOLO LOMAZZI JOE CHAIR Poltronova, designed 1971 Leather 38” x 72” x 43.5” $5,000-7,000

113

HENRYK STAZEWSKI Although he was in his early sixties, 1957 marked the beginning of a new age for the Polish artist and art theorist Henryk Stazewski (1894-1988). In that year, he was featured in the monumental “Précurseurs de l’art abstrait en Pologne,” the first post-war exhibition to include Polish Constructivist and Avant-garde works, at Galerie Denise René in Paris. He showed alongside artists and friends including Kazimir Malevich and Wladyslaw Strzeminski. Leading up to this point, Henryk had been forgotten for years. Most of his paintings had been destroyed during the World War II bombings of Warsaw. The Nazi and Soviet invasions of Poland in 1939 threw Henryk into a state of shock. He no longer cared to explore his thoughts on the principles of color and shape, as he often did when he was co-editor for the radical and avant-garde magazine Blok which he helped organize in 1924. It was not until the late 1950s that Stazewski experienced his awakening. At a frenzied pace, Stazewski began work on a series of abstract and geometric reliefs. In the first issue of Praesens (1926), another quarterly where the artist served as editor, Stazewski writes, “The rapprochement between painting and architecture has been brought about by a new awareness of the inseparable nature of space, colour, and matter. The impact which colour exerts on shapes in the sense of being able to alter their dimensions, creates a whole new treasury of architectural instruments…these are the main foundations on which the great style of modern art is being built…” TEST TEST TEST Tied to his powerful manifestos from the mid-1920s, Untitled (Collage) from 1961 is a miraculous threedimensional work that not only illustrates but also validates his words. Razor-thin lines of white and black paint are meticulously applied to barrel-like shapes mounted to a rectangular board replete with lines shooting across vertical, horizontal, and diagonal axes. If one looks closely, the lines appear to swell, throb, and twist with the shift of an eye. A stationary and nonrepresentational image becomes animated and vivid when the opposing lines of the backboard meet the forms placed at the center. Like the works of the De Stijl movement’s architect, Theo van Doesburg, Stazewski’s collage promotes the idea that modern art need not be symmetrical, and that color is an organic form of expression which possesses the distinct ability to distort and alter forms when applied. Similar relief works from this critical period in the artist’s career reside in the permanent collections of major institutions such as the Brooklyn Museum and the Tate Gallery. Andreotti, Giulio, and Stefania Piga. Henryk Stazewski: 1894-1988: Rilievi e Dipinti, 1958-1987. Rome: Spicchi dell’Est, 1991. Print.

DETAIL OF LABEL

203 HENRYK STAZEWSKI UNTITLED (COLLAGE) 1961 Painted paper on hardboard relief Retains DESA Unicum Gallery label verso; retains paper label with printed inventory number “F2003-132 (Stazewski-1)” Image: 11” x 14.25”; Frame: 17” x 20.5” Provenance:

RICH A RD GRAY GA LL E RY,

CHICAG O ; PRIVAT E COLLECTI ON, CH I CAGO ( AC QU I R E D D IRECT LY FROM TH E A BOVE, 1963); T HE N C E BY D ES CENT

Exhibited:

“ WORKS ON PA PER : THE N ATA-

L IE AN D IRVING FORMA N COLLECT I ON ,” ALBRIG HT-KNOX A RT GA LLERY, BU F FA LO, AUG UST 1 5 -NOVEMBER 30, 20 0 8

Illustrated:

WEI, LI LLY, WORKS O N PA P E R :

T HE NATALI E A ND IRVING FORMA N C OL L ECT IO N, 2 008, PP 78 -7 9.

$10,000-15,000

204 RICHARD ANUSZKIEWICZ REFLECTIONS V - GREY LINE

205 RICHARD ANUSZKIEWICZ REFLECTIONS V - RED LINE

1979 Screenprint with hand-painted acrylic on gessoed Masonite #11 of 60 Published by Prestige Art, Ltd., New York; printed by Norman Lassiter, Editions Lassiter-Meisel, New York Signed and dated with edition lower right; signed and dated with Editions Lassiter-Meisel stamp verso Together with print documentation Masonite: 73.5” x 47”; Frame: 76” x 49.25”

Literature:

ST E WA RT, AL B E RT, AN D

STE WART, ALBERT, AND

E L AYN E VA R I A N , R I C H AR D AN UZ K IE W IC Z :

E L AY N E VAR IAN , R IC HAR D ANU ZK I EWI C Z:

P R I N TS, TA L L A HASSE E : UN IV E R S IT Y O F

P R IN TS, TAL L AH ASS EE: U NI VER SI T Y OF

F I N E A RT G A L L E R I E S, 19 8 0, N P.

F IN E ART GAL L E R IE S, 1 980, NP.

$2,500-3,500

115

206 SOL LEWITT LINES IN COLOR ON COLOR FROM CORNER SIDES & CENTERS TO SPECIFIC POINTS ON A GRID (2) 1978 Color silkscreen on Arches 88 paper Each Artist’s proof #11 of 15 aside from the edition of 25 Published by Multiples Inc., printed by Jo Watanabe, New York Signed with edition in pencil “Lewitt AP 11/15” lower right Sol Lewitt #1978.02 Each sheet: 29.75 x 29.75”; Each frame 32.5” x 32.5” Literature:

LEW I T T, SOL , SOL LE WI T T:

PRIN TS, 1 970 - 86, LONDON: TATE G A L L E RY, 1 9 8 6, #S -27.

$3,000-5,000

207 SOL LEWITT PLATE #4 (FROM EIGHT SMALL ETCHINGS/COLOR) 1999 Color hardground etching on paper #6 of 40 Published by Crown Point Press, San Francisco; printed by Daria Sywulak at Crown Point Press, San Francisco Signed in pencil lower left sheet with edition and date; blind stamp lower right Sol Lewitt #1999.19 Image: 4” x 4”; Sheet: 8” x 8”; Frame: 16” x 15.5” $900-1,200

208 BRICE MARDEN GRID II 1971 Etching and aquatint on Rives BFK paper #22 of 31 Published by Parasol Press, New York Signed and dated in pencil “B. Marden 71” lower right margin beneath image; edition lower left Image: 14.5” x 23.75”; Sheet (vis.): 17” x 25”; Frame: 29” x 37” Literature:

LEWISON, JEREMY, BR I C E

MARD EN : PRI NTS 1961-1991: A CATA LOG U E RAIS O N N É, LONDON: TATE GA LLE RY, 1 9 9 2 , #18 .

$4,000-6,000

117

209 JOSEF ALBERS EMBOSSED LINEAR CONSTRUCTIONS (ELC) (8) 1969 Portfolio of 8 inkless embossings on 300-gram Arches watercolor paper #11 of 100 Published by Gemini G.E.L., Los Angeles; printed by Kenneth Tyler and John Dill, Gemini G.E.L., Los Angeles Signed and dated lower right; titled with edition lower left; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #2.18 Each image: 8.125” x 18.125”; Each sheet: 20” x 26” Literature:

DAN ILOWI TZ, B R ENDA , TH E

P R IN TS O F J O S E F AL BER S, A C ATALOG U E R AIS O N N É 19 15 -19 76, R EVI SED EDI TI ON, N E W YO R K : H UD S O N HI LL S, 201 0, #1 86 /1 # 18 6 / 8 .

$10,000-15,000

210 PIERRE CARDIN COLLAR/NECKLACE Pierre Cardin, c. 1969 Chrome-plated and anodized metal Stamped “Made in France/Pierre Cardin” Drop: 22”; Collar: 5” diameter An example of this design is displayed in the permanent collection of the Musée Pierre Cardin, Paris. $2,000-3,000

211 CLAIRE FALKENSTEIN FROM POINT TO CONE 1977 Sugar-lift etching on paper #29 of 30 Published by the artist; printed by Richard Royce, Los Angeles Signed, dated, and titled with edition in pencil Assembled: 22” x 19” x 10”; Frame: 27” x 21” x 12”

212 BETTY COOKE BROOCH AND EARRINGS (3)

P R E SS, 1 9 84 , P 30 9.

Studio, c. 1950 Silver and ebony Each earring with stamped mark “Cooke Sterling” Brooch: 2.25” diameter; Each earring: 1” diameter

$4,000-6,000

$5,000-7,000

Literature:

WAT R O US, JAME S, A C E N TURY

OF A M E R I C A N P R I NTMAK IN G, 18 8 0 -19 8 0, M A DI SON : U N I VE R S IT Y O F W IS C O N S IN

119

213 EDWARD FIELDS RUG Edward Fields, 1971 Wool Signed and dated in the selvage 109.5” x 96” $4,000-6,000

214 MARTIN BORENSTEIN SOFA From the Challenge series Croyden Furniture Inc., designed 1952 Walnut, fiberglass, chrome-plated steel, upholstery 27” x 169” x 31.5” $4,000-6,000

215 VERNER PANTON SPIRAL LAMP Model no. SP1 (variant) J. Lüber, designed 1969 Plastic, nylon 40” x 16.5” diameter This example is a variant of production model no. SP1, which was first presented at Vision 2, Cologne Furniture Fair, 1970. Literature:

H O R S F E LD, H ANNE, ET AL ,

V E R N E R PAN TO N : TH E C OLLECTED WOR KS, W E IL AM R H E IN : V ITRA DESI G N M U SEU M , 2 0 0 0, P 2 9 2 .

$8,000-12,000 DETAIL

121

216 VELIZAR ( VASA) MIHICH SCULPTURE #2340 & TOWERS (3) 1983-4 Laminated cast acrylic #10 of 10 (Larger tower) Smaller tower signed and dated “Vasa 84”; larger tower signed and dated with edition “2182 Vasa 83”; triangle signed “#2340 Vasa 1984” Larger tower: 17” x 3” x 3”; Smaller tower: 13.75” x 2” x 2”; Triangle: 16.75” x 17.75” x 2.75” $2,500-3,500

217 VELIZAR ( VASA) MIHICH SCULPTURE #1918 1981 Laminated cast acrylic Signed and dated “#1918 Vasa 81” 19.25” x 8.25” x 2.625” $5,000-7,000

218 VELIZAR ( VASA) MIHICH SPHERE #2543 1985 Laminated cast acrylic Signed “#2543 Vasa 1985” 10” diameter $2,000-3,000

219 JOSEF ALBERS I-S VA 6 (FROM SIX VARIANTS) 1969 Color screenprint on Arches paper #143 of 150 Published by Ives-Sillman, New Haven; printed by Sirocco Screenprints, New Haven Signed, inscribed, and dated in pencil with edition “I-S Va 6 143/150 Albers ‘69” lower left margin with blind stamp Image: 24.75” x 25.75”; Sheet: 28” x 36”; Frame: 28.25” x 36.25” Literature:

DAN ILOWI TZ, B R ENDA , TH E

P R IN TS O F J O S E F AL BER S, A C ATALOG U E R AIS O N N É 19 15 -19 76, R EVI SED EDI TI ON, N E W YO R K : H UD S O N HI LL S, 201 0, #1 92/6.

$1,000-1,500

220 RICHARD ANUSZKIEWICZ UNTITLED 1980 Color screenprint on paper #36 of 96 Signed and dated in pencil “Anuszkiewicz 1980” lower right margin; edition lower left Image: 29.5” x 29.5”; Sheet (vis.): 31” x 30.5”; Frame: 37.375” x 36.75” $800-1,200

221 BERNYCE POLIFKA SMALL RED c. 1960-65 Oil on canvas Signed “Polifka” lower left; signed and titled in ink on canvas stretcher verso Canvas: 11” x 11”; Frame: 11.5” x 11.5” Bernyce Polifka was an artist who worked for the United Productions of America (UPA), an animation studio established in the wake of the Disney animators strike in 1941. She also taught at the Art Center of Los Angeles (now the Art Center College of Design). Provenance:

P R IVAT E C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A (G I FTED BY TH E ARTIST ) ; TH E N C E BY DESCENT

$1,500-2,000

123

222 WILLIAM KATAVALOS, ROSS LITTELL & DOUGLAS KELLEY NEW YORK SOFA AND CHAIRS (3) From the New Furniture Group series Laverne International, designed 1952 Chrome-plated and enameled steel, upholstery Sofa: 28.5” x 97.5” x 25.5”; Each chair: 30.5” x 26” x 25” Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 CHAIRS, COLOGNE: TASCH EN , 1 9 9 7, P 3 12 .

$4,000-6,000

223 WILLIAM KATAVALOS, ROSS LITTELL & DOUGLAS KELLEY COFFEE TABLE From the New Furniture Group series Laverne International, designed 1952 Chrome-plated steel, marble 15.75” x 48” x 48” $4,000-6,000

224 WILLIAM KATAVALOS, ROSS LITTELL & DOUGLAS KELLEY DINING TABLE

225 WILLIAM KATAVALOS, ROSS LITTELL & DOUGLAS KELLEY T-CHAIRS (8)

From the New Furniture Group series Laverne International, designed 1952 Chrome-plated and enameled steel, marble 29.25” x 104.25” x 41”

Model no. LAT073, from the New Furniture Group series Laverne International, designed 1952 Chrome-plated and enameled steel, leather Each: 32.5” x 22.5” x 19”

$5,000-7,000

Literature:

H AB EGGE R , JER RYLL , AND

J O S E P H H O S MAN , S O U R C EBOOK OF MO D E R N F UR N ITUR E, NEW YOR K : NORTON, 19 9 7, P 143 .

$4,000-6,000

125

226 CEDRIC HARTMAN FLOOR LAMPS (2) Cedric Hartman, Inc, designed 1966 Chrome-plated steel, adjustable 37” x 12” x 6”; 48” x 12” x 6” Literature:

H IESI NGER , KATH RYN , A N D

G EO RG E MA RCU S, DESIGN SI NCE 1 9 4 5, PHIL AD EL P H IA MU SEU M OF A RT, N E W YO RK: RIZ ZOLI, 1983, P 146.

$3,000-5,000

227 WARREN PLATNER DESK Model no. 4304 Knoll International, designed 1973 Oak, leather, chrome-plated steel Together with file cabinet of another design (manufacturer and designer unknown), not illustrated Desk: 29.5” x 91” x 43”; Cabinet: 32.25” x 41” x 24” Literature:

SCH IFFER , NA NCY, K N OL L

HO M E & O FFICE FU RNI TU RE, ATG L E N : S CHIFFER PU BLI SH ING LTD, 20 0 6 , P 2 6 6 .

$7,000-10,000

228 WARREN PLATNER SUITE (4) Model no. 3710T (tables) Knoll International, designed 1966, these examples executed 1976 Bronzed steel wire, upholstery, glass Each ottoman retains dated manufacturer’s labels Comprised of a pair of ottomans and pair of occasional tables Each ottoman: 15” x 25” diameter; Each table: 18.25” x 15.5” diameter Literature:

LUTZ , BR I AN, K NOLL : A M OD -

E R N IST UN IV E R S E, NEW YOR K : R I ZZOLI , 2 0 10, P P 16 6 - 6 7.

$3,000-5,000

127

229 WARREN PLATNER LOUNGE CHAIR AND OTTOMAN (2) Model no. 1705N (chair) Knoll International, designed 1966, these examples executed 1976 Bronzed steel wire, upholstery Each retains manufacturer’s label Lounge chair: 41” x 39.75” x 33”; Ottoman: 15” x 25” diameter $3,000-5,000

230 ROLAND REISS ADULT FAIRY TALES: LANGUAGE AND MYTH c. 1983 Mixed media in Plexiglas case Signed lower right; titled lower left 13.75” x 24.125” x 24.25” Literature:

SH A NNON, JENKI NS, R OL A N D

REISS PERSONA L POLITICS: SCU L P T U R E FRO M T HE 1970 S A ND 1980 S, PASA DE N A : PASAD ENA MU SEU M OF A RT, 20 11 (FOR S IM IL AR EXA MPLES OF OTH ERS I N T HE S ERIES ) .

$5,000-7,000

231 ROLAND REISS THE MORALITY PLAYS: CONVENTIONAL WISDOM c. 1977-80 Mixed media in Plexiglas case Signed lower right; title lower left 14” x 36.325” x 7.75” Provenance:

ACE GA LLERY, LOS A N G E L E S,

CALIFO RNI A ; PRIVAT E COLLECTI ON, LOS A NGE L E S, CALIFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

Literature:

SH A NNON, JENKI NS, R OL A N D

REISS PERSONA L POLITICS: SCU L P T U R E FRO M T HE 1970 S A ND 1980 S, PASA DE N A : PASAD ENA MU SEU M OF A RT, 20 11 (FOR S IM IL AR EXA MPLES OF OTH ERS I N T HE S ERIES ) .

$5,000-7,000

232 CHARLES HOLLIS JONES METRIC DINING SUITE (5) Studio, designed 1965 Lucite, chrome-plated steel, upholstery Comprised of a table and four chairs Table: 30’’ x 60’’ x 36’’; Each chair: 32’’ x 20.75’’ x 30.5’’ $7,000-9,000

233 CHARLES HOLLIS JONES LORETTA YOUNG LAMP TABLE (2) Joe Roide Enterprises, designed c. 1963 Chrome-plated steel, Lucite, glass Together with magazine rack (not illustrated) Lamp table: 57” x 24”; Magazine rack: 15.75” x 15.5” x 6” $1,500-2,000

PARTIAL ILLUSTRATION

129

234 UELI BERGER , ELEONORE PEDUZZI-RIVA & HEINZ ULRICH NON STOP SOFA Model no. DS-600 de Sede/Stendig, designed 1972 Leather upholstery Comprised of twenty-two sections Dimensions as illustrated: 31” x 187” x 106” Literature:

H A BEGGER , JERRY LL , A N D

JO S EPH H OSMA N, SOU RCEBOOK OF MO D ERN FU RNI TU RE, NEW YORK: N ORTON , 1 9 9 7, P 4 96.

$18,000-25,000

235 WILLY RIZZO TRG REVOLVING COCKTAIL TABLE Studio, c. 1970 Brushed and polished steel, plastic laminate 15” x 45” diameter $3,000-5,000

236 PHILIPPE STARCK RARE PRINCE DE FRIBOURG ET TREYER ARMCHAIR Driade, designed c. 1987 Aluminum, leather, chrome-plated steel Produced from the edition of 50 33.75” x 42.75” x 41” Literature:

P H IL IP P I , SI M ONE, STAR CK ,

C O LO GN E : TAS C H E N , 1 996, P 300.

$2,000-3,000

131

237 JULES ENGEL UNTITLED c. 1964 Painted wood structure 84” x 21” x 21” Provenance:

TH E ASH KENAZY

CO LLECT ION, LOS A NGELES, CA LI FOR N I A ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA

$5,000-7,000

133

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

238 AUSTRIAN MODERN CHAIRS (12) Thonet, designed c. 1950 Beech, vinyl Each retains manufacturer’s label Each: 32.25” x 17.25” x 15.5” Provenance:

LO S ANG ELES C OU NT Y

MUS E UM O F ART

$2,000-3,000

239 DAVID HOCKNEY BING, BADEN BADEN 2002 Ink on paper in two sheets Signed and dated in red ink lower right; inscribed “Bing. 30th Oct. 02. Baden Baden” in red ink lower right; retains Richard Gray Gallery label verso; retains LA Louver Gallery label verso; retains MFA, Boston exhibition label verso; retains artist’s label verso Sheet: 23.5” x 10.25”; Frame: 25.75” x 12.5” Portrait of Bing McGilvray, Boston-based artist and friend of David Hockney. Provenance:

PROPERT Y FROM A SA N TA

BARBARA , CA LI FORNI A COLLECTION (ACQUIRED D IRECTLY FROM RICH A RD G R AY G ALLERY, FEBRUA RY 20 05 )

Exhibited:

“ DAVI D H OCKNEY PORT R A I TS,”

T RAV ELIN G EXH I BI TION, MU SEU M OF F I N E ARTS, BO STON; LOS A NGELES CO U N T Y MUS EUM OF A RT, LOS A NGELES; N AT I ON A L PO RT RAIT GA LLERY, LONDON; FEB R UA RY 2 006 -JANUA RY 20 0 7

Literature:

H OWGATE, SA RA H , DAVI D

HO CKN EY PORTRA ITS, NEW H AVE N : YA L E UN IV ERS IT Y PRESS, 20 0 6, # 139.

$18,000-25,000

240 DAVID HOCKNEY RAMPANT 1991 Color lithograph on Rives BFK paper Artist’s proof #8 of 14 aside from the edition of 50 Published by Tyler Graphics Ltd., Mt. Kisco; printed by Lee Funderburg, Mt. Kisco Signed and dated in pencil lower right; edition inscribed in Roman numerals lower left Image: 26.325” x 37.325”; Sheet: 30.125” x 43.325”; Frame: 35.75” x 47” Literature:

DAV ID H OC K NEY P R I NTS 1 954 -

19 95 , TO KYO : MUS E UM OF CONTEM P OR ARY ART, 19 9 6 , # 3 2 5 .

$5,000-7,000

135

241 DAVID HOCKNEY UNTITLED (HOUND) c. late 1980s Photographic print Unique Image: 14” x 9.5”; Sheet: 14.5” x 10”; Frame: 30” x 25.5” Provenance:

JOH N BA RRY PREN DE R G AST,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST ); PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (GI FTED DIRECTLY F R OM T HE ABOV E, 1 9 91 )

$6,000-9,000

242 DAVID HOCKNEY GOING OUT (FROM SOME NEW PRINTS) 1993 26-color lithograph and screenprint on Arches 88 paper #55 of 68 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right with Gemini G.E.L. blind stamps; edition lower left Image/Sheet: 24.25” x 27”; Frame: 25.875” x 28.625” Literature:

DAVI D H OCKNEY PRIN TS 1 954 -

1 9 95 , TO KYO: MU SEU M OF CONTE M P OR A RY ART, 1 9 9 6, # 336.

$3,000-5,000

137

243 DAVID HOCKNEY TWELVE FIFTEEN 1991 Lithograph in colors on Rives BFK #33 of 50 Published and printed by Tyler Graphics Ltd., New York Signed and dated in pencil lower right; edition lower left; Tyler Graphics Ltd. blind stamp lower left Catalogue Raisonné, MCAT #327 Sheet: 44” x 56”; Frame: 54” x 67” Literature:

DAV ID H O C K NEY: C ATALOG U E

R AIS O N NÉ O F TH E P R IN TS 1 954 -1 995 , TO KYO : MUS E UM O F C O NTEM P OR ARY ART, 19 9 6 , N O 3 2 7.

$12,000-15,000

139

244 ROBERT GRAHAM MOCA TORSO

245 ROBERT GRAHAM UNTITLED (CYLINDER)

246 ROBERT GRAHAM SINGLE HEAD

1992-94 Patinated bronze From the edition of 3500 Published by the Museum of Contemporary Art, Los Angeles Editions Etched signature “R. Graham” at base 11” x 4.5” diameter at base

1980 Patinated bronze Unique Signed and dated “R. Graham/ Cast 1980” LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 22.75” x 7.75” diameter

1973 Patinated bronze on gilt wooden base Unique Incised signature “RG” and “2” under head LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 6” x 5” x 2.5” (16” x 10” x 10” with base)

$8,000-12,000

Literature:

Provenance:

P R I VAT E C OL L EC T I ON ,

LOS A NGELE S, C A L I FOR N I A (AC QU I R E D DIRECTLY FR OM M OC A , 1 9 9 4 )

$2,500-3,500

N E UE N D O R F, H ANS, R OB ERT

GR AH AM STATUE S, F R ANK FU RT: G ALER I E N E UE N D O R F AG, 19 9 0, P P 8 - 9.

$6,000-9,000

247 ROBERT RAUSCHENBERG TRUNK (FROM 7 CHARACTERS) 1982 Unique paper and fabric collage on Chinese Xuan 30-ply paper with mirror and embroidered hanging medallion From the series of 70 unique paper and fabric collages Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “Rauschenberg 82” lower right; stamped “Trunk” verso Gemini G.E.L. #41.44 Sheet: 30.5” x 26.5”; Framed dimensions including hanging medallion and mirror: 43” x 31” x 2.5” Provenance:

GEMINI GEL , LOS

AN G ELES ; CA LI FORNI A ; PRIVAT E COLLECTI ON, BEVERLY HI L L S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOVE); TH ENCE BY DESCEN T

$8,000-12,000

248 ROBERT RAUSCHENBERG LOOP (FROM STONED MOON SERIES) 1969 Color lithograph on Rives BFK paper #41 of 79 Published by Gemini G.E.L., Los Angeles; printed by Kenneth Tyler, Gemini G.E.L., Los Angeles Signed and dated in pencil with edition lower right; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #41.29 Image/Sheet: 33” x 28”; Frame: 33.25” x 28.25” $1,500-2,000

141

249 ROBERT RAUSCHENBERG BELLINI #3 1988 8-color intaglio on Arches paper Printer’s proof #4 of 5 aside from the edition of 49 Published by Universal Limited Art Editions, Bay Shore Signed with edition and date in pencil lower right; publisher blind stamp lower right Image (irreg.): 34.75” x 55”; Sheet: 59” x 37.5”; Frame: 62.5” x 41” $10,000-12,000

250 SAM FRANCIS UNTITLED (SF78-255) 1978 Acrylic on paper Signed and dated in pencil “Sam Francis 1978” verso Sheet: 29.25” x 41”; Frame: 38.25” x 49.5” In the 1970s, the artist explored loosely geometric forms and symbols in addition to experimentation with different processes, such as the use of wet rollers on paper. $30,000-50,000

DETAIL OF SIGNATURE

251 SAM FRANCIS SULFUR WATER 1967 Color lithograph on Rives BFK paper Unnumbered Trial proof aside from the edition of 50 Published by Joseph Press, Los Angeles Signed in pencil lower right; inscribed “Trial Proof” lower left Image/Sheet: 27.76” x 18.875”; Frame: 29.75” x 20.75” Literature:

L E MB ARK , C ONNI E, TH E P R I NTS

O F SAM F R AN C IS : A C ATALOG U E R AI SONNÉ 19 6 0 -19 9 0, VO L I, N EW YOR K : H U DSON H I LL S, 19 9 2 , # 9 0.

$2,000-3,000

252 SAM FRANCIS RED AGAIN 1972 11-color screenprint on Arches Cover white paper #87 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed in pencil lower right with Gemini G.E.L. blind stamp; edition lower left Gemini G.E.L. #18.14 Image/Sheet: 24.75” x 30.75”; Frame: 25.75” x 32” Literature:

L E MB ARK , C ONNI E, TH E P R I NTS

O F SAM F R AN C IS : A C ATALOG U E R AI SONNÉ 19 6 0 -19 9 0, VO L II, NEW YOR K : H U DSON H IL L S, 19 9 2 , # S 9.

$2,000-3,000

253 SAM FRANCIS DEFT AND SUDDEN GAIN 1976 6-color lithograph on Arches 88 paper #21 of 38 Published and printed by Gemini G.E.L., Los Angeles Signed in pencil lower center; Gemini G.E.L. blind stamps lower right; edition lower left Gemini G.E.L. #18.31 Together with copy of original invoice Image/Sheet: 51” x 51”; Frame: 51.25” x 51.25” Provenance:

MAR G O LEAVI N G ALLERY,

LO S AN GE L E S, C AL IFOR NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , J UN E 19 76 )

Literature:

L E MB ARK , C ONNI E, TH E P R I NTS

O F SAM F R AN C IS : A C ATALOG U E R AI SONNÉ 19 6 0 -19 9 0, VO L II, NEW YOR K : H U DSON H IL L S, 19 9 2 , # 12 17.

$2,000-3,000

143

254 BILLY AL BENGSTON HONOLULU WATERCOLOR #170 & PUERTO ESCONDIDO #28 (2) 1979 and 1977 Watercolor on paper A: Signed; retains artist’s studio label verso; B: Signed; retains artist’s studio label and James Corcoran Gallery label verso Together with original receipt A: Image/Sheet: 7.625” x 7.25”; Frame: 13.25” x 13.25”; B: Image/Sheet: 14.75” x 19.875”; Frame: 22” x 27” Provenance:

JA MES CORCORA N G A L L E RY,

LO S AN G ELES, CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGEL E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FRO M T HE ABOV E, JU NE 197 7 A ND MA RCH 19 80)

$1,500-2,000

255 BILLY AL BENGSTON VENICE WATERCOLOR 1974 Watercolor on paper Signed, dated, and inscribed in ink “B.A.B./Venice/1974” lower center; retains artist’s label verso Sheet: 15” x 14.875”; Frame: 24.5” x 22.5” $2,000-3,000

256 CHARLES ARNOLDI UNTITLED 1982 Acrylic on wooden stick assemblage Signed and dated in pencil “C. Arnoldi 82” Together with original gallery receipt LAMA would like to thank the Charles Arnoldi Studio for their assistance in cataloguing this work 15.5” x 16” x 15” Provenance:

JAME S C OR COR AN G ALLERY,

LO S AN GE L E S, C AL IFO R NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , 19 8 2 )

$2,500-3,500

145

257 ED RUSCHA L.A.S.F. #1, #2, AND #3 (3) 2003 Color soft ground etching Each #24 of 35 Published by Crown Point Press, Oakland; printed by Dena Schuckit, Crown Point Press, Oakland Each signed and dated in pencil lower right with publisher and printer blind stamps; edition lower left; each retain Bobbie Greenfield Gallery label verso Each image: 30” x 24”; Each sheet: 37.5” x 30.5”; Each frame: 39.375” x 32.5” $10,000-15,000

14 7

258 ED RUSCHA GROUP OF BOOKS (4) A: Black-and-white offset printing on 80 lb. white Vicksburg Vellum paper; B: Black offset printing on 100 lb. white Vicksburg Vellum text paper; C: Offset printing on 40 lb. manila drawing paper; D: 4-color offset printing on white paper A: From the edition of 4000; B: From the edition of 3000; C: From the edition of 2000; D: From the edition of 2000 A: Published by the artist; printed by G.R. Huttner Lithography, Burbank; B: Published by the artist; printed by Anderson, Ritchie & Simon, Los Angeles; C: Published by the Minneapolis Institute of Arts; printed by Kolorpress, Inc., Minneapolis; D: Published by the artist; printed by Blair Litho, Los Angeles A: Real Estate Opportunities (1970), softcover with glassine dust jacket; B: Some Los Angeles Apartments (1970), softcover with glassine dust jacket (2nd edition); C: Edward Ruscha (Ed-Werd Rew-Shay) Young Artist (1972), hardcover; D: Nine Swimming Pools and a Broken Glass (1976), softcover (2nd edition) A, B, and D: Each 7” x 5.5”; C: 4.5” x 3.75” Literature:

ENGBERG, SI RI , A ND C L I VE P HI L P OT, E DWA R D R U SC HA : E DI T I ON S 195 9 -

1 9 9 9, A CATA LOGU E RA I SONNÉ, NE W YOR K : DA P, 1 9 9 9, P P 1 24 - 1 2 5, 1 2 9, #B 3, #B 8 , #B12 , #M 25.

$2,500-3,500

259 ED RUSCHA ANCHOR IN SAND 1991 Color lithograph on white Rives BFK paper #19 of 100 Published by Paris Review; printed by Hamilton Press, Venice Signed and dated in pencil “Ed Ruscha 71” lower right; edition with printer blind stamp lower left sheet Image/Sheet: 21” x 32”; Frame: 27.5” x 38.5” Literature:

ENGBERG, SI RI , A ND C L I VE

PHILPOT, E DWA RD RU SCH A : EDI T I ON S 1 959 - 1 9 9 9, A CATA LOGU E RA I SONN É, N E W YO RK: DAP, 1999, # 213.

$3,000-5,000

260 ED RUSCHA FRUIT-METRECAL HOLLYWOOD 1971 2-color screenprint with grape and apricot jam and Metrecal soda on Copperplate Deluxe paper #1 of 1 B.A.T. aside from the edition of 85 Published by the artist and Bernard Jacobson, Ltd., London; printed by Jean Milant and Jane Aman, Cirrus Editions, Los Angeles Signed, dated, and inscribed in pencil “B.A.T. E. Ruscha 1971” lower left margin Image: 10” x 37.5”; Sheet: 14.5” x 42”; Frame: 21.5” x 48.5” Literature:

ENGBERG, SI RI , A ND C L I VE

PHILPOT, E DWA RD RU SCH A : EDI T I ON S 1 959 - 1 9 9 9, A CATA LOGU E RA I SONN É, N E W YO RK: DAP, 1999, P 91, # 53.

$4,000-6,000

149

261 ED RUSCHA VOWEL E 1996 Oil on Hard Light book cover Book: 7” x 5”; Frame: 10.5” x 8.325” This work was created by the artist for a benefit exhibition at Gagosian Gallery, Los Angeles with proceeds going to the Estate Project for Artists with AIDS and AIDS Project Los Angeles. Provenance:

P R IVAT E C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A ( AC Q U I R ED FR OM GAGO S IAN GAL L E RY, LOS ANG ELES, 1 996)

Exhibited:

“ E D R US CH A: VOWEL S -

PAIN TIN GS O N B O O K C OVER S, ” G AG OSI AN GAL L E RY, LO S AN GE L ES, SEP TEM BER 1 1 -28, 19 9 6

$15,000-20,000

262 J.B. BLUNK PLATES (4) Studio, c. 1960 Glazed ceramic A: 1.5” x 7.25” x 7.25”; B: .5” x 8” x 8”; C: .5” x 8.5” x 6.5”; D: 1.5” x 8.5” x 8.5” $2,000-3,000

263 HARRISON MCINTOSH UNTITLED (SCULPTURE) Model no. 8024 Studio, c. 1980 Glazed stoneware, chrome-plated steel 4.75” x 7.5” x 7.25” (excluding plinth) $4,000-6,000

151

264 WARD YOURY CERAMIC VASE Studio, designed c. 1975 Glazed ceramic Signed “Ward Youry” 14.5” x 7” diameter $800-1,200

265 LEONARD EDMONDSON VASE Studio, c. 1955 Glazed stoneware Signed “Edmondson” 15.25” x 4” diameter $1,500-2,500

266 PETER VOULKOS VASE

267 KEN PRICE VASE

Studio, executed c. 1950 Glazed stoneware Signed “Voulkos” 7” x 5” diameter

Studio, executed 1958 Glazed stoneware Signed and dated “Price ‘58” 6.25” x 5.5” diameter

$3,000-5,000

268 KEN PRICE TEQUILA CUPS & PRINTS (7) Prints: 1977-81; Cups: 1970-77 Color lithograph on paper and glazed ceramic A: Color trial proof; B: #5 of 7; C: #4 of 20 A: Signed, dated, and inscribed in pencil “Color Trial Proof Price ‘77” lower right; two blind stamps lower left; B: Signed and dated with edition in pencil lower right; title lower center; C: Signed and dated in pencil lower right; printer blind stamp lower left Comprised of four cups and three color lithographs A: Image: 19.5” diameter; Sheet: 29.75” x 22”; Frame: 38” x 29.25”; B: Image: 3.25” x 6.5”; Sheet: 4.5” x 8.5”; Mount: 9” x 12”; Frame: 9.25” x 12.125”; C: Sheet (vis.): 29.5” x 21.5”; D: Each: 2” x 1.625” diameter (2.5” with handle) Provenance:

P R IVAT E C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST, TAOS, NEW ME X IC O, C 19 8 0)

Literature:

B AR R O N , STEP H ANI E, AND

L AUR E N B E R GMAN , K EN P R I C E SC U LP TU R E: A R E TR O S P EC TIV E, LOS ANG ELES: LOS AN GE L E S C O UN T Y MU SEU M OF ART, 201 2, P 2 05 .

$5,000-7,000

153

269 JOHN ALTOON UNTITLED 1960 Gouache and oil pastel on illustration board Signed and dated in ink “Altoon 1960” on frame backing verso LAMA would like to thank the Estate of John Altoon for their assistance in cataloguing this work Sheet (vis.): 29.5” x 39.25”; Frame: 31.5” x 41.375” Provenance:

PRI VATE COLLECTI ON ,

PALM S PR INGS, CA LIFORNI A ; PRIVAT E COLLECTION, PA LM SPR I N G S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ESTATE OF TH E A BOVE, 20 10)

$5,000-7,000

270 ED MOSES AVILDA 1965 Paper relief and drawing on illustration board Signed and dated in pencil lower left; signed and dated in pencil on the frame backing verso; retains Ferus Gallery label verso Image/Relief: 5.5” x 6”; Frame: 17” x 13.75” Provenance:

FERU S GA LLERY, LOS A N G E-

LES, CAL IFORNIA ; BET T Y T URNBU LL , CA LI FORNI A ; T HE N C E BY D ES CE NT; PRIVAT E COLLECTION, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

Literature:

YAU, JOH N, ED MOS E S: A

RET RO S PECTI VE OF TH E PA INTIN G S A N D D RAWIN G S, 1951-1996 , LOS A NGE L E S: U N IV ERS IT Y OF CA LIFORNI A PRESS, 1 9 9 6 , P 24 ( FO R S IMI L A R EXA MPLE).

$2,000-3,000

271 JOE GOODE UNTITLED (FROM VANDALISM SERIES) 1975 Acrylic on canvas board Together with copy of Nicholas Wilder Gallery poster for Joe Goode “Vandalism” series (not illustrated) Canvas: 23.75” x 35.5”; Frame: 24.75” x 36.5” $10,000-15,000

155

272 DE WAIN VALENTINE BLUE GREEN CIRCLE c. 1970 Cast polyester resin 15.875” diameter Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST )

$25,000-35,000

273 DE WAIN VALENTINE UNTITLED c. 1980 Laminated glass 18” x 26” x 6.75” (64.5” x 28.25” x 9.5” with base, not illustrated) $5,000-7,000

157

274 NORMAN ZAMMITT UNTITLED 1968 Cast laminated acrylic LAMA would like to thank the Estate of Norman Zammitt for their assistance in cataloguing this work 108.25” x 1.25” x 1.25” Provenance:

GEORGE A ND SH IR L E Y

NAS O N E, LOS A NGELES, CA LIFOR N I A ( ACQUIRE D DIRECTLY FROM TH E A RT I ST ); PRIVAT E COLLECTION, CA LIFORN I A (G I F T E D D IRECT LY FROM TH E A BOVE, 199 9)

$5,000-7,000

275 NORMAN ZAMMITT MALE FIGURE - HALVES 1962 Oil and polymer on canvas Signed and dated “NZ62” lower left; retains The Museum of New Mexico Albuquerque Invitational 1964 label verso; retains collection of Robert L.B. Tobin label verso; retains artist’s label verso LAMA would like to thank the Estate of Norman Zammitt for their assistance in cataloguing this work Canvas: 47.5” x 36”; Frame: 49.125” x 37” Exhibited:

“AL B UQ UE R Q U E I NVI TATI ONAL , ”

TH E MUS E UM O F N E W M EX I CO, ALB U Q U ERQ UE , 19 6 4

Illustrated:

ARTFO R U M , VOLU M E I I , #2,

19 6 4, P 5 6 .

$5,000-7,000

159

276 WILLIAM DOLE OP. CIT. AND IBID 1965 Mixed media collage Signed and dated in ink upper right; retains Rex Evans Gallery label verso; retains two Santa Barbara Museum of Art labels verso; retains Fine Arts Gallery of San Diego label verso Together with exhibition catalogue and copy of invoice receipt Image: 7.25” x 13.625”; Sheet: 8.25” x 14.5”; Frame: 14.325” x 20.5” Provenance:

MEKLER GA LLERY, LOS A N G E L E S, C A L I FOR N I A ;

PRIVAT E COLLECTION, LOS A NGEL E S, C A L I FOR N I A (AC QU I R E D D IRECT LY FROM TH E A BOVE, MA R C H 1 9 76 )

Exhibited:

“ WILLI A M DOLE RETR OSP EC T I VE 1 9 6 0 -7 5,” LOS

AN G ELES MU NICI PA L A RT GA LLERY, LOS A N G E L E S; C OLOR AD O S PRINGS FI NE A RT CENTER , C OLOR A DO; F I N E A RTS G A LLERY O F SA N DI EGO, SA N DIEGO; SA N TA B A R B A R A M U SE U M O F ART, SANTA BA RBA RA , A PRIL 1 4 , 1 9 76 - F E B R UA RY 2 7, 1 9 7 7

Literature:

W I LLI A M DOLE RETR OSP EC T I VE 1 9 6 9 - 1 9 7 5,

EXHIBIT ION CATA LOGU E, LOS A NG E L E S: T HE G A L L E RY, 1 9 76 , P 4 4 , #26.

$1,000-1,500

277 JACK STUCK GRETCHEN c. 1965 Oil on canvas Signed “Stuck” in pencil center verso; retains Comara Gallery label verso Canvas: 31.875” x 50”; Frame: 51.75” x 32.5” $2,500-3,500

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

278 K . LYNCH BAKER MAN 1958 Oil on Masonite Signed “Lynch” lower right; signed “K. Lynch” upper right; inscribed “Baker Man” verso; initialed and dated “58/KL” verso; retains parial Los Angeles County Museum of Art label verso Masonite: 48” x 24” Provenance:

LOS A NGELES COU N T Y M U SE U M OF A RT

$2,000-3,000

PARTIAL ILLUSTRATION

279 SISTER MARY CORITA KENT UNTITLED Gouache: c. 1960; Prints: 1948-51 Gouache on paper and one print Together with prints by Ernest Freed (3) and Jack Zajac (2) not illustrated Sheet: 11.25” x 15.875”; Frame: 11.625” x 16.125”; Largest print: 20” x 13”; Smallest print: 14.25” x 8.625” $2,000-3,000

161

280 GORDON ONSLOW-FORD UNTITLED (4) c. 1943 Double-sided mixed media on paper One sheet dated “11 30 43” lower center Largest example: 19.75” x 29.75”; Smallest example: 11.75” x 19.75” $3,000-5,000

281 RON ARAD UNTITLED 2008 Digital print #6 of 10 Signed in black felt tip pen “R. Arad” with edition and date on frame backing verso Image (vis.): 15.875” x 23.75”; Frame: 24.25” x 32.25” $2,000-3,000

282 MARC NEWSON EMBRYO CHAIR Cappellini, designed 1988 Tubuar steel, polyurethane foam, neoprene upholstery Retains manufacturer’s label 31.5” x 33.5” x 17.75” Literature:

RAWSTH ORN, A LI CE, M A R C

N EWS O N, LONDON: BOOTH - CLIBBOR N E DIT IO N S, 1 9 9 9, P 26.

$3,000-5,000

283 ALBERTO MEDA RARE SOFT LIGHT CHAIR Alias, designed and executed 1989-90 Carbon fiber, Dymetrol fabric LAMA would like to thank Alberto Meda for his assistance in cataloguing this chair 29” x 20” x 15” Due to the exorbitant costs involved in the development and production of the design, only 70 examples were ever manufactured. Production ceased in 1990. $6,000-8,000

284 FRANK O. GEHRY SUPERLIGHT SIDE CHAIRS (2) Edition nos. 283/500 & 284/500 Emeco, designed 2004, these examples executed from the edition of 500 Aluminum Each retains Emeco label Each: 31.75” x 16.5” x 23” Gehry designed the Superlight chair in homage to Gio Ponti’s celebrated Superleggera chair from 1957. $2,500-3,500

163

285 FRANK O. GEHRY COFFEE TABLE Custom designed for TBWA\Chiat\Day, Venice, California, 1984 Corrugated cardboard 16” x 52” x 25” $5,000-8,000

286 DAVID ELLSWORTH TURNED VESSEL Studio, 1979 Redwood burl Signed, dated, and inscribed “Ellsworth 1979 redwood burl” 3” x 10” diameter $2,000-3,000

287 PHILIP C. MOULTHROP TURNED VESSEL Studio, c. 1975 Ash-leaf Maple Signed and inscribed “PCW/Philip C. Moulthrop/Ash-leaf Maple/Acer Negundo/327-01” 6” x 6.5” diameter $800-1,200

288 HANS HOPFER MAH JONG MODULAR SOFA (18) Roche Bobois, designed 1999 Fabric upholstery Comprised of thirteen seating pads and five backrests Dimensions as illustrated: 27” x 153” x 38”; Ottoman: 8” x 36.5” x 36.5” $5,000-7,000

289 BENIAMINO BUFANO PENGUIN Marble Retains Maxwell Galleries label 20.5” x 6.5” x 6.5” Provenance:

MAXW ELL G ALLER I ES,

SAN F R AN C IS C O, C ALI FOR NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D F R OM TH E ABOVE)

$7,000-9,000

290 MERRY RENK BROOCH Studio, 14 K gold, pearls Stamped “Renk” and “14K” 3” diameter $5,000-7,000

291 MERRY RENK BROOCH Studio, c. 1970s 14K gold, pearl Stamped “Renk” and “14K” Together with a card from the Renk studio 1.25” diameter $3,000-5,000

165

292 GEORGE NAKASHIMA TALL KORNBLUT CASE Studio, designed c. 1964 American black walnut, English oak burl Marked “3669 How” 30.75” x 24” x 18.25” Literature:

OSTERGA RD, DEREK , G EOR G E

NAKAS HIMA : FU LL CIRCLE, NEW YOR K : AM ERICAN CRA FT MU SEU M, 1989, P 1 6 5.

$12,000-18,000

293 GEORGE NAKASHIMA LOW TABLE Studio, c. 1960 English walnut burl, American black walnut Marked “Thompson” 13” x 57.75” x 21” $18,000-25,000

294 GEORGE NAKASHIMA GRASS-SEATED CHAIRS (6) Studio, designed 1944 Walnut, woven sea grass One chair signed and marked “Aug 25 1988” Each: 27.5” x 23” x 18” Literature:

O STE R GA R D, DER EK , G EOR G E

N AKAS H IMA: F UL L C IR C LE, NEW YOR K : AME R IC AN C R AF T MU SEU M , 1 989, P 1 38.

$4,000-6,000

295 GEORGE NAKASHIMA CUSHION LOUNGE CHAIRS (2) Studio, designed 1941 Walnut, upholstery Each marked “Napier”, one stamped “X” and other stamped “II” 30.5” x 31” x 24” Literature:

O STE R GA R D, DER EK , G EOR G E

N AKAS H IMA: F UL L C IR C LE, NEW YOR K : AME R IC AN C R AF T MU SEU M , 1 989, P 1 58.

$6,000-8,000

167

296 GEORGE NAKASHIMA CONOID CHAIRS (6) Studio, designed 1960, these examples executed 1973 American black walnut, hickory Each marked “Baker” Each: 35.5” x 20.75” x 19” Literature:

OSTERGA RD, DEREK , G EOR G E

NAKAS HIMA : FU LL CIRCLE, NEW YOR K : AM ERICAN CRA FT MU SEU M, 1989, P 1 55.

$30,000-50,000

297 GEORGE NAKASHIMA CONOID DINING TABLE Studio, executed 1973 English walnut, rosewood 28.75” x 83” x 38.5” Literature:

NA KASH I MA , MIRA , N AT U R E ,

FO RM & SPI RI T: TH E LEGACY OF G EOR G E NAKAS HIMA , NEW YORK: A BRA MS, 2 003, P 2 23 .

$30,000-50,000

298 GEORGE NAKASHIMA PLATFORM BED AND HEADBOARD Studio, c. 1960 American black walnut Platform: 10” x 74” x 54”; Headboard: 30.5” x 84.5” x 3” $20,000-30,000

299 GEORGE NAKASHIMA SUNDRA DINING SUITE (7) Model nos. 204 (table), 259 (chairs) Widdicomb, designed 1958, this example executed October 1958 Walnut, hickory Each chair branded “George Nakashima 259”; table branded “George Nakashima”, ink mark “10/58 Sundra 204” and retaining manufacturer’s label Comprised of two armchairs, four side chairs, table, and two leaves Each armchair: 36.25” x 24.5” x 21”; Each side chair: 36.5” x 21” x 20.5”; Table: 29” x 61.5” (97.5” fully extended) x 44.75” $5,000-7,000

169

300 PHILLIP LLOYD POWELL MIRRORED SCREENS (2) Studio, designed and executed c. 1965 Walnut, mirror plate One screen signed “Phillip Powell” Each screen: 87.5” x 51” x 1.75” Literature:

MERRILL , TODD, A ND J U L I E V

LOV INE, MODERN A MERICA NA : STU DI O F U RN IT URE FROM H I GH CRA FT TO H I G H G L A M, N EW YO RK: RIZZOLI , 20 0 6, P 28.

$20,000-30,000

301 PHILLIP LLOYD POWELL & PAUL EVANS CREDENZA Studio, designed and executed c. 1960 Carved and parcel gilt walnut, slate, iron 34.25” x 84.5” x 20.25” $20,000-30,000

171

302 PHILLIP LLOYD POWELL LOUNGE CHAIR AND OTTOMAN (2) Studio, designed and executed c. 1960 Walnut, leather Chair: 35” x 32” x 29”; Ottoman: 16.5” x 23.75” x 23” Literature:

ME R R IL L , TODD, AND JU LI E V

LOV IN E , MO D E R N AME R I CANA: STU DI O FU RN ITUR E F R O M H IGH CR AFT TO H I G H G L AM, N E W YO R K : R IZ ZO L I, 2006 , P P 1 03, 1 07.

$6,000-8,000

303 PAUL EVANS CITYSCAPE COCKTAIL TABLE Paul Evans Studio for Directional, custom executed c. 1975 Brass, Brazilian rosewood veneer 15.25” x 48” x 42” $2,500-3,500

304 PAUL EVANS MODULAR BOOKCASE/BAR Studio, custom designed and executed c. 1970 Painted metal, glass, laminates, and plumbing fixture 96” x 114” x 54” $30,000-40,000

173

305 MARK BRAZIER JONES EARLY LYRE CHAIR Studio, executed c. 1986 Welded and torch-cut iron found objects Together with copy of original receipt from 1987 40.5” x 27” x 21” An example of the design is held in the permanent collection of the Museum of Fine Arts, Boston, Massachusetts. Provenance:

PRIVATE COLLECTI ON ,

SAN FRANCI SCO, CA LIFORNI A (AC QU I R E D D IRECLT Y FROM "MA RK BRAZIER J ON E S", RO CO CO CH OCOL ATES, LONDON E XHI B IT IO N, 1 9 8 7 )

Exhibited:

"MA RK BRAZI ER JONE S,"

RO CO CO CH OCOL ATES, 321 KING ’S R OA D, LO N D O N , 1987

Literature:

WILLI A MS, GA RETH , A N D N I C K

WRIG HT, CU T A ND SH U T, TH E H ISTORY OF CREAT IV E SA LVAGE, LONDON: WIL L I A M S WRIG HT PU BLISH ING, 20 12, P 96.

$3,000-5,000

306 MARK DI SUVERO UNTITLED 1972 5-piece sculpture of torch-cut steel #6 of 250 Published by Gemini G.E.L., Los Angeles Incised “MdS” with edition; impressed Gemini G.E.L. copyright logo Gemini G.E.L. #16.1 10” x 8” x 2” (in compact arrangement) $2,500-3,500

307 MARK DI SUVERO MOON DOG 1981 Saw-cut, nickel-plated aluminum in five pieces #21 of 75 Published by Gemini G.E.L., Los Angeles Incised signature; stamped with artist’s initials, Gemini G.E.L. copyright logo and edition Together with Mark Di Suvero catalogue from Gemini G.E.L. .625” x 16” x 19”; 14” x 22” x 21” (as illustrated) Literature:

D I S UV E R O, M AR K , M AR K DI

S UV E R O, LO S AN GE L E S: G EM I NI G EL , 1 981 , N P.

$2,500-3,500

175

308 GUITOU KNOOP FONTAINE NO. 2 Patinated bronze on black stone base Together with facsimile of receipt 12” x 21” x 13” Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST, 198 4 )

$1,500-2,000

THE ESTATE OF RUTH & DALZELL HATFIELD

17 7

"AND IN THE END, WHEN THE DEALER DIES, IF THEY SHOULD TURN HIM UPSIDE DOWN AND SHAKE HIM, ALL THEY WILL USUALLY FIND ARE A FEW COINS, A LIFE INSURANCE POLICY AND 300 PAINTINGS." - DALZELL HATFIELD

Located in the legendary Ambassador Hotel on Wilshire Boulevard in Mid-Wilshire, the Dalzell Hatfield Galleries offered Los Angeles’ most impressive collection of paintings, sculpture, etchings, drawings, and decorative art from modern French, German, and American masters. Ruth and Dalzell Hatfield are responsible for introducing Los Angeles to some of the most celebrated artists of the 20th century. Their list of artists who were exhibited for the first time in Los Angeles is astounding: Édouard Manet, Claude Monet, Paul Gauguin, Henri de Toulouse-Lautrec, Paul Cézanne, Georges Rouault, Pierre-August Renoir, and Wassily Kandinsky, among others. The Hatfields also represented American and Mexican artists such as Gertrud & Otto Natzler, Millard Sheets, Russell Cowles, Pedro Coronel, and Alfredo Ramos Martínez. From the late 1920s to the early 70s, the Hatfields dedicated their lives to exhibiting and selling modern art, in the process educating Angelinos about cutting edge works of genius coming from Europe, Latin America, and the United States.

"IF A YOUNG PERSON CAME INTO MY GALLERY AND ASKED HOW TO GO ABOUT BECOMING A DEALER, I WOULD FIRST HAVE TO FIND OUT WHAT HIS BASIC CONCEPTS ARE, HOW MUCH MONEY HE HAS TO INVEST AND HOW MUCH TIME HE WANTS TO GIVE, BECAUSE IN THIS BUSINESS YOU GIVE YOUR ENTIRE LIFE." - DALZELL HATFIELD

Dalzell Hatfield’s fascination with art began at an early age. When he was 13, Dalzell earned his allowance by taking books back to Carnegie Library in his hometown of Pittsburgh. On his way, he would browse through the art gallery, captivated with what he saw. A few years later, he helped galleries organize traveling art exhibits for such artists as Winslow Homer and George Bellows. During his travels, he stopped in Los Angeles and realized that the rapidly expanding city would serve as the best place to sell art outside of New York. Dalzell initially opened up a small gallery in Chicago; however, the emerging gallerist was forced to put everything on hold when he provided service to the Navy during World War I. He went into business with Earl Stendahl in 1925, joining together as the short-lived Stendahl-Hatfield Galleries located in the Ambassador Hotel. Later that year, he opened his gallery in Los Angeles on Seventh Avenue near MacArthur Park, and one year later he married Ruth, who became an integral part of their growing business. After nine successful years, the gallery closed in 1934, but Dalzell, an expert on modern art and design, traveled the country as a guest curator and lecturer for major galleries and museums, including the Corcoran Gallery of Art in Washington, D.C. and the National Academy of Design in New York. The couple also took numerous extended trips to Europe to acquire the latest works in European art. They reopened the Dalzell Hatfield Galleries in 1939 at the Ambassador Hotel, establishing itself as one of the most prosperous galleries in Los Angeles. In the 1950s, Dalzell also operated the Barbizon-Plaza Galleries at the Barbizon-Plaza Hotel at 101 W. 58th Street in New York. Dalzell was active in the art world for nearly 40 years. Not only was he instrumental in setting up the first major American exhibitions of Renoir, Gauguin, and other post-Impressionist European artists, but he also exposed and encouraged regional California artists, his most noted discovery being Millard Sheets. Over the course of 24 years at the Ambassador, the gallery held more than 250 exhibitions. Dalzell passed away in 1963, yet the gallery maintained a steady output of modern exhibitions for another twenty years until Ruth's death in 1984. Ruth and Dalzell left behind a vast collection of art, in addition to a legacy of helping to establish Los Angeles as a modern art sanctuary. Strickler, Carolyn. “How to Collect Art: Start Right.” Los Angeles Examiner 20 Aug. 1961. Print.

181

MILLARD SHEETS Artist, designer, and educator, Millard Sheets (1907-1989) is responsible for some of the most iconic buildings in the Los Angeles area. He championed the incorporation of artwork into architectural plans, resulting in the Scottish Rites Temple, dozens of Home Savings and Loan banks, and the Garrison Theater, each of these lined with mosaics, stained glass, murals, sculpture, and furniture all created by Sheets. Originally from Pomona, Sheets graduated from the Chouinard Art Institute in 1929, having already established a reputation as a California Style watercolor painter. Beginning in 1932, Sheets became the assistant head of the art department at Scripps College, and only four years later he was named the full-time head. It was here that Sheets explored innovative ways to integrate various art disciplines such as architecture, art, dance, and music. Additionally, as commissions for murals, frescos, and buildings piled up, Sheets maintained an impressive and successful output of watercolors and oils. In 1926 during Sheets’ first year at Chouinard, the Dalzell Hatfield Gallery opened on 7th Street near MacArthur Park, just a few blocks away from the art school. Opting to save his money for paint supplies rather than lunch, Sheets would frequent the gallery to view the latest in European art, including his first Matisse and van Gogh. One year later, after seeing the young painter’s works in local exhibitions, Hatfield offered to represent Sheets, explaining, “We’ve seen it [Sheets’ painting], and we think that you have potential. We don’t know whether it’s going to be practical to handle it, but if you would put everything that you’ve got into it for five years, we’ll do the same.” His first one man exhibition opened at the Dalzell Hatfield Gallery one year later in 1929, and the day the exhibition opened, a telegram arrived announcing that Sheets had won the $1,750 prize for his painting Goat Ranch (1929) he entered in a national competition at the Witte Memorial Museum in San Antonio, Texas. These events marked the beginning of a 30-year relationship in which Hatfield sold at least 3,000 of his paintings and prints, “practically all that I’ve produced,” according to Sheets. Early in his career while he was still a student at Chouinard, Sheets painted primarily in oils. The King’s Tent (1928), one of his earliest oil paintings, displays a sophistication of color, brush stroke, and composition for such a young artist and remains a precursor to some of his most famous paintings, Angel’s Flight (1931) in LACMA’s permanent collection and Family Flats (1933-34) in the Smithsonian Museum of American Art’s permanent collection. For The King’s Tent, Sheets skipped class to attend the election of a new Gypsy queen at the Whittier Narrows, just east of Los Angeles. Over 1,400 Gypsies set up tents that remained for six weeks. Sheets recalls, “I went out there with these big canvases, scared to death, because I was so young and some of these people looked pretty tough to me. At first they didn’t particularly like to have me around, but they became intrigued.” Sheets eventually painted 15 canvases while sitting in the middle of the Gypsy encampment. That same year, Sheets’ professor at Chouinard encouraged him to paint in watercolor, a medium he quickly mastered. One of these watercolors, Below Half Moon Bay (c. 1935), was exhibited at the “17th International Exhibition of Watercolors” at the Art Institute of Chicago in 1938 and again in 1941 at the Faulkner Memorial Gallery of Art in Santa Barbara. These exhibitions were regular occurrences for Sheets thanks to Dalzell Hatfield, a visionary who fostered the modern art scene in Los Angeles by taking chances on young, talented artists such as Millard Sheets. Hatfield, Dalzell, ed. Millard Sheets. Los Angeles: Dalzell Hatfield Gallery, 1935. Print. Los Angeles Conservancy. Millard Sheets: A Legacy of Art & Architecture. Los Angeles: Los Angeles Conservancy, 2012. Print. Sheets, Millard. Interview by George M. Goodwin. Oral History Program. Los Angeles: UCLA, 1977. Web. 26 Aug. 2013.

309 MILLARD SHEETS BELOW HALF MOON BAY c. 1935 Watercolor on paper Signed “Millard Sheets” lower right; retains Dalzell Hatfield Galleries label verso; retains Faulkner Memorial Art Gallery label verso; retains Art Institute of Chicago 17th International Exhibition of Watercolors 1938 label verso; retains Dalzell Hatfield Galleries/Ambassador Hotel loan label verso Image/Sheet (vis.): 22” x 30”; Frame: 32” x 42” Provenance:

TH E ESTATE OF RUT H A N D DA L ZE L L

HAT FIEL D, LOS A NGELES, CA LIFO R N I A ; T HE N C E BY D ES CEN T

Exhibited:

“ 17TH I NTERNATIONAL E XHI B I T I ON OF WA-

T ERCO LO RS, ” A RT I NSTITU TE OF C HI C AG O, C HI C AG O, 1 93 8 ; “M ILL A RD SH EETS, ” FAU LK N E R M E M OR I A L G A LLERY O F A RT, SA NTA BA RBA RA , J U N E-AU G U ST, 1 9 4 1

$7,000-9,000

RUTH HATFIELD WITH "THE KING'S TENT"

310 MILLARD SHEETS THE KING’S TENT 1928 Oil on canvas Signed “Millard Owen Sheets” lower right; bears the inscription in pencil “The King’s Tent” with Dalzell Hatfield Galleries label on upper canvas stretcher verso Canvas: 32” x 36”; Frame: 38.5” x 42.5” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA ( AC Q UIR E D D I R ECTLY FR OM TH E ARTIST ) ; TH E N C E BY DESC ENT

$30,000-50,000

183

311 MILLARD SHEETS HINDU NUDE 1944 Charcoal on paper Signed, dated, and inscribed in ink lower left “Millard Sheets/India 1944/to Ruth and Dal/Christmas 1944”; retains Dalzell Hatfield Galleries label verso Image (vis.): 26” x 9.375”; Frame: 35.75” x 16” Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FR OM T HE ART IST ) ; TH ENCE BY DESCENT

$1,500-2,000

312 MILLARD SHEETS THREE GAY BIRDS & BIRDS OF A FEATHER c. 1947 Color screenprint A: #228 and 370; B:#104 of 150 A: Signature in pencil lower right; initials in plate lower right; titled with edition lower left margin beneath image; B: Signed lower right; title in pencil lower left margin; edition lower center; Together with copy of exhibition catalogue A: Image: 13.125” x 18”; Sheet: 22.5” x 28.5”; B: Image: 20.125” x 12.5”; Sheet (vis.): 21” x 13.125”; Frame: 30” x 22.25” Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$500-800

PARTIAL ILLUSTRATION

313 MILLARD SHEETS VARIOUS SKETCHES AND PRINTS (14) A: Offset color lithograph on paper; B: Lithograph on paper taped to illustration board; C: Pencil on illustration board; D: Black ink and pencil on paper; E: Pencil on paper; F: Lithograph on paper; G: Lithograph on paper; H: Lithograph on paper; I, J: Pencil on paper; K: Color lithograph on paper H: #21 of 25 A: Illustration board bears the inscription in pencil “The Goat Ranch Millard Sheets/Collection of D.H. Hatfield”; B: Titled in pencil lower left beneath image; initials “M.O.S.” in plate; D: Bears the inscription in pencil “Mr. & Mrs. Waller Woods 632 Ivarsene Hollywood, Calif/ Sketch by Millard Sheets” verso; E: Signature in pencil verso; F: Titled in pencil lower left; G: Inscribed in pencil “4 inches” center right of image in margin; signature in plate lower left; H: Signed in pencil lower right; edition and title lower left; I: Signature in pencil verso; J: Signature in pencil verso A: The Goat Ranch; B: Billy, The Kid (1931); C: Untitled Study (Horses); D: Untitled; E: Untitled (Giraffes); F: Mexican Store; G: The Book of Mary and Millard Sheets; H: Wind; I: Untitled (Aerial View of a Neighborhood); J: Untitled (Three Houses); K: Various reproductions of paintings for United Air Lines A: Image: 8” x 8”; Sheet: 14” x 14”; B: Image: 12” x 7.75”; Sheet: 16” x 10.25”; C: 15” x 20”; D: 4” x 6”; E: 6” x 4”; F: Image: 5” x 5.75”; Sheet: 11.5” x 8.75”; G: Image: 6.5” x 4.5”; Sheet: 13.75” x 8.75”; H: Image: 3.5” x 3.625”; Sheet: 10.25” x 9.875”; I: Sheet: 11” x 8.5”; J: 8.5” x 11”; K: Each sheet approximately: 13.25” x 16” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$2,000-3,000

185

PARTIAL ILLUSTRATION

314 PHILIP PAVAL SILVER OBJECTS (8) Studio, c. 1940 Sterling silver with smooth and martele surface decoration, mahogany, bone Stamped assay and maker’s marks Comprised of tazza, tray, pitcher, two grapefruit spoons (not illustrated), salad server fork, salad server spoon, and serving spoon Together with Philip Paval brochure Tazza: 3.75” x 8.5” x 4”; Tray: 1.25” x 10.75” x 6.5”; Pitcher: 9” x 5.5” x 1.75” diameter; Each grapefruit spoon: .5” x 5.5” x 1.5”; Salad server fork: .75” x 17” x 1.75”; Salad server spoon: .75” x 17.25” x 2.25”; Serving spoon: 1” x 11” x 2.25” Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$6,000-9,000

315 LOUISE JANIN THE GIRL c. 1925-30 Mixed media collage Signed lower right “Janin”; retains Dalzell Hatfield Galleries label verso; stamped “Douane Centrale Paris” verso Sheet: 20” x 26”; Frame: 28.25” x 22.75” Louise Janin was a French-American artist born in New England. She traveled extensively across Europe, Asia, and the Americas before her first exhibition in New York in 1921. Inspired by the colorful aesthetic and ornament of China and India, Janin’s wildly decorative drawings and collages are whimsical and exotic. Her works were circuited throughout Parisian galleries in the 1920s and early 1930s including Bernheim-Jeune Galerie and Galerie Georges Petit. Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY D ESCENT

$1,000-1,500

316 PAUL LANDACRE ANNA 1938 Wood engraving on wove Japanese paper #53 of 60 Signed in pencil lower right margin beneath image; edition with title lower left Together with woodblock engraving “Ex Libris Hatfield” Anna: Image: 9” x 4.5”; Sheet: 10.5” x 7.25”; Ex Libris: Image: 5.625” x 4”; Sheet: 10.5” x 8.125” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY D ESCENT

$1,500-2,000

187

EMIL NOLDE German Expressionist painter Emil Nolde (1867-1956) cherished spontaneity as the most essential element in his creative process. One of the preeminent painters of the 20th century, Nolde created oil paintings, watercolors, and prints with the vitality of a poet: “I try to avoid all thinking. A vague concept of color and luminosity suffices, and the picture evolves during the act of painting.” Throughout the first three decades of the century, Nolde enjoyed considerable recognition with numerous exhibitions throughout Germany and Europe. Beginning in 1933, however, the Nazi Party, having seen some of Nolde’s more controversial works, fired him from his post at the Akademie der Künste and then ordered his paintings removed from German museums. In 1937, the government officially forbade him from painting, which culminated in the embarrassing “Degenerate Art” exhibition and the confiscation of 1,052 of his works. He retreated to his farm at Seebüll on the German-Danish border, longing to continue painting. Fearful that the pungent oil paints and turpentine would arouse suspicion, Nolde revisited watercolors, a medium well suited for his instinctive and rapid style of painting. He completed hundreds of watercolors in these years of expulsion, later named the Unpainted Pictures. The aging painter had previously used watercolor many times throughout his long career: a mountain sunrise on 3.5 x 4 inch canvas in 1894; Sunset from 1908, painted using pieces of ice to form watercolor crystals; Hamburg harbor scenes in 1910 and Berlin night life in 1911; quick sketches on his trip to the German South Seas in 1913-14; and the subjects he revisited most often, flowers. Nolde’s love of flowers was lifelong and heartfelt, evidenced by his shift in personality in their presence. He was known to become “rhapsodic at the sight of his garden in bloom,” and in his autobiography he extolled their life cycle: “the purity of their colors… their shooting up, blossoming, glowing, bringing joy, drooping, fading…and ending on the rubbish tip.” At the two homes they bought, Utenwarf and Seebüll, Nolde and his wife Ada planted meticulously designed microclimates to ensure longer blooms, thus more time and subjects for Nolde to paint. Nolde credited his diligent study of flowers to his brilliant understanding of color. He began painting gardens in oil, but upon his return from the South Seas, he focused on the blooms of single species, many of these painted in watercolor. Amaryllis features the plants in full bloom against a blue background, allowing the viewer to focus on Nolde’s ability to preserve the character of the flowers – hues dance from soft yellow, pure white, and cream to crimson, pink, and blue all within one bloom. Similar floral watercolors from the same era reside in the permanent collections of the Philadelphia Museum of Art, the Norton Simon Museum, and the Nolde Museum at Seebüll and Berlin. King, Averil. Emil Nolde: Artist of the Elements. London: Philip Wilson, 2013. Print. Selz, Peter. Emil Nolde. New York: Museum of Modern Art, 1963. Print.

317 EMIL NOLDE AMARYLLIS Watercolor and gouache on paper Signed lower right “E. Nolde”; retains Dalzell Hatfield Galleries label verso Image (vis.): 11.25” x 9”; Frame: 18.125” x 16.125” Another example of this subject, “Red and White Amaryllis,” is in the permanent collection of the Kunsthalle, Hamburg, Germany. Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA; TH ENCE BY DESCENT

$60,000-90,000

DETAIL OF LABEL

318 BARSE MILLER PORTRAIT OF RUTH Oil on canvas Signed lower right; signed verso; retains Dalzell Hatfield Galleries label verso Canvas: 30.125” x 25” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$2,500-3,500

319 LOREN BARTON UNTITLED (PORTRAIT OF RUTH) c. 1940-45 Oil on canvas Signed lower left; retains Dalzell Hatfield Galleries label verso Canvas: 30” x 24.75”; Frame: 35.5” x 30.5” A successful book illustrator, the artist was commissioned in 1933 by the White House to paint the first ladies’ gowns. These paintings were published in a book by Arnold Constable, founder of the Arnold Constable & Company department stores. Barton later went on to teach at the Chouinard Art Institute from 1941-47. Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$2,000-3,000

189

RUSSELL COWLES Equipped with the discipline of a scholar and a vast painting vocabulary, American painter Russell Cowles (1887-1979) produced brilliant landscapes in oil and watercolor. Originally from Iowa, Cowles studied painting in Paris and Rome, and upon returning to the United States in 1920, he exhibited his work at the Metropolitan Museum in New York. Cowles had a deep respect for the French masters Cézanne and Gaugin, though he filtered what he learned in Europe through a modern intelligence for color and form. Eager to expand his artistic knowledge, he traveled to Asia where he studied traditional Chinese painting with a Chinese master, and in Bali, he experimented with semi-abstract compositions. He eventually settled in Santa Fe, New Mexico, where he completed some landscapes of the Southwest, “painted with a profound appreciation of the exciting architectural aspects and exhilarating color of the country itself.” Wherever he traveled, Cowles demonstrated his technical prowess combined with patience for the subject: “When an artist sees something he wants to paint, his first step should be to look – to look long and sensitively – to feel what nature has to say.” The painting Nova Scotia Morning (1948), which was featured in the 1948 issue of LIFE magazine, portrays the daily routine of vacationers and locals, rendered in the delicate and capricious light of the eastern seaboard. Bear, Donald. Russell Cowles. Los Angeles: Dalzell Hatfield Gallery, 1946. Print. Bear, Donald. Russell Cowles. Los Angeles: Dalzell Hatfield Gallery, n.d. Print. “Russell Cowles.” LIFE. 9 Feb. 1948: 74-78. Print.

320 RUSSELL COWLES CANONCITO 1935 Oil on canvas Signed “Cowles” lower left; retains Dalzell Hatfield Galleries label verso Canvas: 35.5” x 28”; Frame: 43” x 35” Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

Exhibited:

"RU SSELL COW LES, " DA L ZE L L

HAT FIEL D GA LLERIES, LOS A NGELE S, 1 9 4 6

Literature:

BEA R , DONA LD, RU SSE L L

COWLES, LOS A NGELES: DA LZELL HAT F I E L D G ALLERIES, 1946, NP.

$8,000-12,000

RUSSELL COWLES BY DALZELL HATFIELD

321 RUSSELL COWLES NOVA SCOTIA MORNING 1939 Oil on canvas Signed “Russell Cowles” lower left; retains Kraushaar Gallery label verso; inscribed in pencil on upper canvas stretcher verso “Nova Scotia Morning/Russell Cowles/c/o Kraushaar 32 E. 57th NYC” Canvas: 40” x 50”; Frame: 51” x 61” Provenance:

TH E E STATE O F R UTH AN D

Illustrated:

“ R USS E LL COWLES, ” LI FE

MAGAZ IN E , VO LUME 24 , #6, FEBR UARY 9, 19 48 , P 7 7

DAL Z E L L H ATF IE L D, LO S AN GE L E S, C AL IFO R-

Literature:

N IA; TH E N C E BY D E S C E N T

E X P O S ITIO N : C O N TE M P OR ARY ART OFFI CI AL

Exhibited:

“GO L D E N GATE IN TE R N ATIO N AL

E X H IB ITIO N : C O N TE MP O R ARY ART, ” SAN F R AN C IS C O B AY E X P O S ITIO N , F E B R UARY 18 - O C TO B E R 2 9, 193 9 ; “ R USS E L L C OW L E S, ” DAL Z E L L H ATF IE L D GAL L E R IE S, LO S AN GEL E S, 19 46

GO L D E N G ATE I NTER NATI ONAL

C ATALO G, SAN F R AN CI SC O: SAN FR ANCI SCO B AY E X P O S ITIO N C O M PANY, 1 939, P 36, #87; B E AR , D O N AL D, R USSELL COWLES, LOS AN GE L E S : DAL Z E L L H ATFI ELD G ALLER I ES, 19 46 , N P.

$18,000-25,000

191

322 JASON FIELD (CHARLES L . HASKELL) FOOTHILL RANCH, CALIF. 1932 Oil on canvas Signed and dated “Jason Field. ‘32” lower right; retains Corcoran Gallery of Art exhibition label verso Canvas: 37” x 44”; Frame: 42” x 49” The artist exhibited under the pseudonym Jason Field for the Corcoran Gallery of Art Biennial exhibition. Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA; TH ENCE BY DESCENT

Exhibited:

“ BIENNI A L EXH I BI TION ,”

CO RCO RAN GA LLERY OF A RT, WASHI N G TON , D C, 1 93 2

Illustrated:

“A RT SECTI ON, ” LOS A N G E L E S

T IMES, D ECEMBER 18, 1932, SECT I ON 3 - 1 8.

$2,000-3,000

323 LOREN BARTON IN THE GARDEN c. 1940-45 Watercolor on paper Signed lower right; retains inventory sticker “No. 10” recto Together with exhibition catalogue Image/Sheet (vis.): 20.75” x 28.75”; Frame: 32” x 39” Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA; TH ENCE BY DESCENT

$1,500-2,000

193

324 JUNE WAYNE A WORK OF MOURNING IV (DONALD BEAR SERIES); STRANGE MOON & THE ADVOCATE(3) A: 1952; B: 1951; C: 1953 Lithograph on paper A: #7 of 30; B: #19 of 35; C: #3 of 35; Printed by Linton R. Kistler, Los Angeles A: Signed and dated with title and edition in pencil lower left; blindstamp lower left; B: Signed and dated lower right; titled with edition and blind stamp lower left; signature in plate lower left; C: Signed and dated in pencil lower right; titled with edition lower left; signature and date in plate lower right Together with 1952 exhibition catalogue A: Image: 20” x 14”; Sheet: 25” x 15.5”; B: Image: 13.875” x 18”; Sheet: 18.25” x 23.25” C: Image: 27.5” x 8”; Sheet: 30.325” x 10” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

Literature:

J UN E WAYNE , EX H I B I TI ON

C ATALO GUE , PASAD E NA: PASADENA ART IN STITUTE , 195 2 , # 3 0, #35.

$1,000-1,500

325 GLEN LUKENS PLATE Studio, c. 1940 Glazed ceramic Signed “Glen Lukens Plate C” and with paper label “#3109 Plate (PinkGrey) by Glen Lukens $5.00” 1” x 10.5” diameter Provenance:

TH E ESTATE OF R U T H A N D

DALZ EL L H ATFI ELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$3,000-5,000

326 GLEN LUKENS FOOTED BOWL Studio, designed c. 1940 Partially glazed ceramic Signed “Glen Lukens” 3” x 15” diameter Provenance:

TH E ESTATE OF R U T H A N D

DALZ EL L H ATFI ELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$8,000-12,000

DETAIL OF SIGNATURE

DETAIL OF GLAZE

195

PARTIAL ILLUSTRATION

327 GLEN LUKENS BOWLS AND CHARGERS (37) Studio, designed c. 1955 Molded glass Each signed “Glen Lukens”; one example with paper label numbered “#3146”; one example with paper label marked “Water of the sea yellow center” and numbered “#2358” Eleven bowls: 1” x 7.5” diameter; Eight bowls: 1.25” x 7.75” diameter ; Eight “Water of the Sea” bowls: 2.5” x 9.75” diameter; One bowl: 2.5” x 9.25” diameter; One plate: .25” x 8.25” diameter; One bowl: 2.5” x 11” diameter; One bowl: 1.25” x 11.75” diameter; One bowl: 1.25”: x 12.5” diameter; One bowl: 3.25” x 14.5” diameter; One charger: .5” x 14” diameter; One charger: 1.5” x 14.5” diameter; One bowl: 3.5” x 14.5” diameter; One charger: 1.5” x 18.75” diameter Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$5,000-7,000

328 MYRTON PURKISS PLATES AND BOWLS (19) Studio, executed c. 1948 Glazed ceramic Each signed “M. Purkiss” and with paper label "Designed & Made by M. Purkiss NO Duplicates U.S.A." Individually with numbers 509, 929, 1235, 1239, 1259, 1423, 1424, 1429, 1474, 1954, 1959, 2183, 2816, 2818. One marked "To Ruth & Dal Merry Christmas '48 from Myrt" and numbered "1712". Largest bowl: 2" x 10.5" diameter; Largest plate: 1.5” x 11” diameter Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$4,000-6,000

197

ALTERNATE VIEW

329 MYRTON PURKISS CERAMIC BOWL Model no. 6 Studio, designed c. 1950 Glazed stoneware Signed “M. Purkiss”, numbered “6” and paper label “Designed & Made by M. Purkiss No Duplicates U.S.A. 2790” Together with a photograph of Myrton Purkiss hand-decorating this bowl, and various other photographs and ephemera relating to Purkiss 3.75” x 16” diameter Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$3,000-5,000

330 WILLIAM MANKER CHARGER AND VASES (3) Studio, 1947 Glazed ceramic Charger signed “William Manker 1947”; each vase with Ruth and Dalzell Hatfield monogram and with manufacturer’s marks Charger: 3” x 19.5” diameter; Each vase: 8.25” x 6.5” x 4.75” Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$1,500-2,000

331 ELLAMARIE WOOLLEY & ARTHUR AMES ENAMEL DISHES (3) Studio, c. 1955 Enameled copper Each signed by the artist, one example titled “Harlequin”, another example numbered #3091 and titled “Construction” .25” x 5.75” diameter; 1” x 6” diameter; .5” x 5.5” diameter Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$900-1,200

PARTIAL ILLUSTRATION

332 JEAN GOODWIN AMES CHARGER AND PLATES (8) Studio, designed c. 1950 Glazed ceramic Each plate signed Together with exhibition brochure and drawing by the artist Two plates: .75” x 8.5” diameter; One plate: .75” x 6.5” x 6.5”; One plate: 1” x 6.75” x 6.75”; One plate: 1.5” x 9.5” diameter; One plate: 1” x 9.5”; One plate: 1.25” x 9.75” x 9.75”; Charger: 1.5” x 17” diameter Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$2,000-3,000

333 GERTRUD & OTTO NATZLER CERAMIC VASE Studio, executed 1961 Turquoise green matte glaze Signed “Natzler” and retains paper inventory label “L555” 9” x 4.5” diameter (23.25 cm x 11 cm diameter) Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$5,000-7,000

334 GERTRUD & OTTO NATZLER CERAMIC VASE Studio, executed 1960 Green cyrstalline glaze Signed “Natzler” and retains paper inventory label “K749” 8.25” x 4.25” diameter (21 cm x 11 cm diameter) Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$3,000-5,000 Lot 333

199

Lot 334

335 GERTRUD & OTTO NATZLER CERAMIC BOWL

336 GERTRUD & OTTO NATZLER CERAMIC BOWL

337 GERTRUD & OTTO NATZLER CERAMIC BOWL

Studio, executed 1953 Gray mottled glaze Signed “Natzler” and retains paper inventory label “E456” 3” x 7.75” x 5.25” (7.5 cm x 13.5 cm x 19.5 cm)

Studio, executed c. late 1940s Mystic blue glaze Signed “Natzler” 1.675” x 5.25” x 5” (4 cm x 13.25 cm x 12.675 cm)

Studio, executed c. late 1940s Light blue glaze Signed “Natzler” 1.5” x 5.875” x 5” (3.5 cm x 14 cm x 12.5 cm)

Provenance:

DAL Z E L L H ATF IE L D, LO S AN GE L E S, C AL I-

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALI-

FO R N IA; TH E N C E BY D E S C E N T

FO R N IA; TH E N C E BY DESC ENT

$3,000-5,000

$2,000-3,000

T HE E STAT E OF R U T H A N D

DA L ZE L L HAT F I E L D, LOS A N G E L E S, C A L IFOR N I A ; T HE N C E BY DE SC E N T

$2,000-3,000

TH E E STATE O F R UTH AN D

TH E E STATE OF R U TH AND

338 PIERRE SICARD JOSHUA TREES IN SAND DUNES c. 1954 Oil on canvas Signed lower left; bears the inscription “Desert Floor Near Eagle Mountain” on canvas stretcher verso; retains Dalzell Hatfield Galleries label verso Canvas: 13” x 39”; Frame: 23” x 49” Provenance:

TH E ESTATE OF RUT H A N D

DAL Z ELL H ATFIELD, LOS A NGELES, C A L IFO RN IA; T HENCE BY DESCENT

Exhibited:

“ LOS A NGELES A ND T HE C A L I-

FO RN IA D ESERT, ” DA LZELL H ATFIE L D G A LL ERIES, LOS A NGELES, MA RCH 22-A P R I L 10, 1 954

$1,500-2,000

339 PIERRE SICARD LA SEINE À PARIS c. 1964 Tapestry Aubusson Woven signature with Aubusson mark lower right 77” x 62” Provenance:

TH E ESTATE OF RUT H A N D

DAL Z ELL H ATFIELD, LOS A NGELES, C A L IFO RN IA; T HENCE BY DESCENT

Exhibited:

“CH RI STMAS GI FT A ND

HO LIDAY EXH IBI TION, ” DA LZELL HAT F I E L D G AL L ERIES, LOS A NGELES, NOVEM B E R 25 -JAN UARY 5, 1969 -70

Literature:

CH RISTMAS GI FT A ND HOL I DAY

EX HIBIT IO N, EXH IBI TION CATA LOGU E , LOS ANG EL ES : DA LZELL H ATFI ELD GAL L E R I E S, 19 69, NP.

$5,000-7,000

DETAIL OF WOVEN SIGNATURE

340 BERNARD LAMOTTE PARIS - RAINY DAY c. 1960 Oil on canvas Signed lower right; retains Dalzell Hatfield Galleries label verso; ink on paper signed lower right Together with ink on paper “Portrait of Woman” and exhibition brochure Canvas (vis.): 30.5” x 24.125”; Frame: 38.25” x 32” The Paris-born artist is also known for his book illustrations, including the novel Flight to Arras by his friend and author, Antoine de Saint-Exupéry. Prior to book illustrations, Lamotte trained at the École des Beaux-Arts at Sorbonne before leaving for New York in 1935. Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

Exhibited:

“ B E R N AR D L AM OT TE PAI NTI NG S

O F PAR IS, ” DAL Z E L L HATFI ELD G ALLER I ES, LO S AN GE L E S, AUGUST 1 -31 , 1 96 0; “B ERN AR D L AMOT TE STR E ETS AND CAFES OF PAR IS AN D L AN D S C APES OF FR ANCE, ” DALZ E L L H ATF IE L D GAL L E R I ES, LOS ANG ELES, N OV E MB E R 14 -D EC E M BER 1 4 , 1 970

Illustrated:

B E R N AR D L AM OT TE STR EETS

AN D C AF E S O F PAR IS AND L ANDSC AP ES OF F R AN C E, LO S AN GE L ES: DALZELL H ATFI ELD GAL L E R IE S, 19 7 0, N P.

$1,500-2,000

201

341 GRIGORY GLUCKMANN THE CELLIST c. 1940-45 Oil on canvas Signed “Gluckmann” lower right; retains Dalzell Hatfield Galleries label verso Together with work on paper “Nude Reclining” and exhbition catalogue Canvas: 12” x 8.5”; Frame: 19.5” x 15.75”; Work on paper: Image (vis.): 7.5” x 10.5”; Frame: 14.75” x 17” The artist was awarded the Gold Medal for Painting at the Paris International Exhibition in 1937. Provenance:

TH E ESTATE OF RU T H A N D

DALZ EL L H ATFIELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

Exhibited:

“GRIGORY GLU CKMA NN ,” M I LC H

G ALLERIE S, NEW YORK , A PRI L 25 - M AY 1 4 , 1 9 60

Literature:

GRI GORY GLU CKMA NN , E XHI B I-

T IO N CATA LOGU E, NEW YORK: MILC H G A LLERIES, 1 960, # 7.

$6,000-9,000

342 EDGAR EWING DALZELL HATFIELD AS MATADOR 1956 Oil on canvas Signed lower right; retains Dalzell Hatfield Galleries label verso; retains artist’s inventory label verso; retains Palm Springs Desert Museum exhibition label verso; retains Los Angeles County Fair Association National Exhibition label verso Together with exhibition catalogue Canvas: 52” x 28”; Frame: 59.25” x 35.25” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

Exhibited:

“ N ATIO N AL EX H I BI TI ON OF TH E

C O N TE MP O R ARY ARTS OF U NI TED STATES, ” LO S AN GE L E S C O UN T Y FAI R ASSOC ATI ON, P O MO N A , S E P TE MB E R 1 4 -30, 1 956; “EDG AR E W IN G, ” DAL Z E L L H AT FI ELD G ALLER I ES, LO S AN GE L E S, O C TO BER 1 -1 5, 1 956; “EDG AR E W IN G R E TR O S P EC TIV E, ” PALM SP R I NG S D E S E RT MUS E UM, PALM SP R I NG S, NO V E MB E R 3 , 19 76 -JAN UARY 2, 1 97 7; "EDG AR E W IN G, " UN IV E R S IT Y OF SOU TH ER N CALIFO R N IA GAL L E R IE S, AP R I L 20 -M AY 1 8, 1 978

Illustrated:

“ART S ECTI ON, ” LOS ANG ELES

TIME S, S E P TE MB E R 3 0, 1 956 , SEC TI ON 6 , PART V; E D GAR E W I NG, EX H I BI TI ON C ATALO GUE , LO S AN GELES: U NI VER SI T Y OF S O UTH E R N C AL IFO R NI A , 1 978, NP.

$2,000-3,000

343 EDGAR EWING UNTITLED (CARICATURE OF RUTH AND DALZELL) (2) c. 1961 Ink wash on paper and oil on panel Ink wash: Signed and inscribed in ink lower center “Happy Anniversary to Ruth and Dal, 1961, from Suzanne and Edgar Ewing”; Oil: Signed and inscribed lower right “to Ruth and Dal - Edgar Ewing”; retains Dalzell Hatfield Galleries label verso Ink wash: Sheet (vis.): 10” x 8”; Frame: 15.875” x 13.5”; Oil: Panel (vis.): 7.875” x 10.75”; Frame: 13.75” x 16.75” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E ARTIST ) ; TH E N C E BY DESCENT

$500-1,000

203

IMAGE OF ARTIST IN A HATFIELD GALLERIES PUBLICATION

344 ALFREDO RAMOS MARTÍNEZ FLORES TROPICALES c. 1930 Tempera on newsprint Signed lower right “Ramos Martinez”; retains Van Gallery and Dalzell Hatfield Galleries labels verso Together with serigraph print “Los Amigos” and exhibition catalogue LAMA would like to thank Louis Stern for kindly confirming the authenticity of this work Image (vis.): 20.5” x 15.5”; Frame: 31.625” x 25.625” Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA ( ACQ U IRED DIRECTLY FRO M T HE ESTAT E O F TH E A RTIST, 1964 ); THE N C E BY D ES CEN T

$7,000-9,000

345 ALFREDO RAMOS MARTÍNEZ VENDEDORA DE FLORAS c. 1948 Serigraph Signature in plate lower right Image/Sheet: 11” x 17.25”; Frame: 22.125” x 28” $2,000-3,000

346 JOAQUIN CHINAS CHIAPANECO AND TRINI (2) 1961-62 Pencil on paper Each signed and dated lower left; one retains Dalzell Hatfield Galleries label verso A: Image (vis.): 28.625” x 22.5”; Frame: 36” x 30”; B: Image (vis.): 28” x 22”; Frame: 35.5” x 29.25” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$1,500-2,000

205

347 DAN LUTZ RIVER VILLAGE 1944 Oil on canvas Signed and dated “Dan Lutz 44” lower right; retains Dalzell Hatfield Galleries label verso Canvas: 18” x 36”; Frame: 26.75” x 44.75” Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA; TH ENCE BY DESCENT

$2,500-3,000

348 DAN LUTZ CAMPESINO c. 1944 Oil on canvas Signed “Dan Lutz” center right; retains Dalzell Hatfield Galleries label verso Together with exhibition brochure Canvas: 30” x 36”; Frame: 38.25” x 44.5” Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA; TH ENCE BY DESCENT

Exhibited:

"DA N LU TZ: TWENTI E T H A N N I-

V ERSARY EXH IBI TION, " DA LZELL HAT F I E L D G ALLERIES, LOS A NGELES, MA RC H 7-A P R I L 7, 1 9 61

Illustrated:

DA N LU TZ: TW ENTIE T H A N-

NIV ERSARY EXH IBI TION, EXH I BI T I ON C ATALO G UE, LOS A NGELES: DA LZELL H AT F I E L D G ALLERIES, 1961, NP.

$2,500-3,500

349 DAN LUTZ SWIMMING SCENE c. 1944 Oil on canvas Signed “Dan Lutz” lower left Canvas (vis.): 23.5” x 29.5”; Frame: 32.25” x 38.25” Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFIELD, LOS A NGELES, C A L IFO RNIA; TH ENCE BY DESCENT

$2,500-3,500

207

350 MICHAEL FRARY COAST TOWN (BAY FRONT) 1964 Oil on Masonite Signed “Frary” lower right; retains National Academy of Design 40th Annual Exhibition 1965 label verso; retains Youngstown 1964 Mid-Year Show label verso; bears an illegible signature with date verso; Works on paper: Each signed and some with Dalzell Hatfield Galleries labels verso Together with 5 works on watercolor paper (Winter Slope, St. Ives, Fishermen’s Homes, Island Fantasy, Border Town, Canada) and exhibition catalogue Masonite: 30” x 40”; Works on paper: Various Dimensions Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

Exhibited: “ MIDY E AR

EX H I BI TI ON, ”

B UTL E R IN STITUTE O F AM ER I CAN ART, YO UN GSTOW N , 19 6 4

$2,000-3,000

351 JADE FON UNTITLED (5) c. 1943 Watercolor on paper Each signed; some retain Dalzell Hatfield Galleries labels verso “Budding Trees”, “Mountain Flight”, “El Rancho”, “Evening..”, “Untitled (Connie takes a Swim)” A: Image (vis.): 6.75” x 9.25”; Frame: 13.75” x 16.125”; B: Image (vis.): 7.125” x 9.5”; Frame: 13.625” x 15.75”; C: Image (vis.): 5.625” x 9.5”; Frame: 13.625” x 16.125”; D: Image (vis.): 7.25” x 9.75”; Frame: 13.5” x 16”; E: Image (vis.): 21” x 29”; Frame: 35.5” x 41.75” Chinese-American artist Jade Fon moved from San Jose to study at the Arizona State Teacher’s College of Flagstaff, Arizona and later to the Art Student’s League of Los Angeles, California. Fon was also a singer, performing at clubs in the San Francisco area such as the Lion’s Den. He received awards and mentions for his watercolors by the Pomona Fair, the Los Angeles County Museum of Art, and the Museum of Northern Arizona. Provenance:

TH E ESTATE OF RUT H A N D

DALZ EL L H ATFI ELD, LOS A NGELE S, C A L IFO RNIA; TH ENCE BY DESCENT

$2,000-3,000

352 PAULINE POLK RUBIN’S FLOWERS Watercolor and graphite on paper Signed “Pauline Polk” lower right; retains Dalzell Hatfield Galleries label verso Image (vis.): 29.125” x 21.25”; Frame: 36.25” x 28.5” Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, C AL IFO R N IA; TH E N C E BY DESCENT

$1,000-1,500

209 353 MARY BOWLING WORLD WITHOUT LIGHT c. 1956 Intarsia/mosaic Initialed “MB” lower left; retains Dalzell Hatfield Galleries label verso Together with exhibition brochure Mosaic: 28.25” x 19”; Frame: 29.25” x 19.75” Korean-American artist and designer Mary Bowling (1917-1995) is known for her intricate mosaics comprised of elements such as glass, beads, mirror shards, and tile. She moved from California to New York to become an industrial designer and worked for Raymond Loewy & Associates before returning to Los Angeles to teach at the Chouinard Art Institute. Famous commissions include murals for the International Ballroom (formerly Bali Room) at the Beverly Hilton, the General Petroleum Building, as well as stained glass windows designs for the St. Edmund’s Episcopal Church of San Marino, California. Provenance:

TH E E STATE OF R U TH AND

DAL Z E L L H ATF IE L D, LOS ANG ELES, CALIFO R N IA; TH E N C E BY DESC ENT

$3,000-5,000

PABLO PICASSO: LA SUITE VOLLARD The most distinguished and researched set of etchings in the immense output of Pablo Picasso’s career, La Suite Vollard presents a deeply personal glimpse into Picasso’s life between 1930 and 1937. Amounting to 100 etchings in total, the suite was produced at a critical juncture in his life, both emotionally and artistically. Picasso was rekindling his interest in sculpture while inciting a passionate affair with his young lover and muse Marie-Thérèse Walter, resulting in a tension between “the rival claims of making art and making love.” While there is no strict order to the suite, the art historian Hans Bollinger categorized the plates into five main themes – Battle of Love, the Sculptor’s Studio, Rembrandt, the Minotaur, and the Blind Minotaur – in addition to 27 miscellaneous plates and three portraits of Vollard. The group of 100 started with eleven that Picasso, or most likely Vollard, had chosen from those made between 1930 and 1932. Picasso then produced about 40 plates in six weeks, and by 1936, he had produced 97. In 1937, Vollard convinced him to create an even 100 with three portrait etchings of Vollard himself. Picasso was a self-taught printmaker, but in his career he produced over 2,500 prints. La Suite Vollard shifts “from one state to another, from contemplative repose in the studio to brutal, animalistic violence, matched by changes in style from lucid crispness of line to aggressively worked plates.” The inclusion of this emotional turmoil, like most of his works, is characteristic of Picasso’s autobiographical style: “The paintings, finished or not, are the pages of my journal, and as such they are valid.” Each work is meticulously dated with the year, month, and day. At this period in his life, Picasso’s relationship with his wife, the dancer Olga Khokhlova, was disintegrating. He was exasperated by their differences in lifestyle and by 1925, the apartment was divided into separate living quarters – the downstairs pristine and bourgeois, the upstairs a frenzied artist’s studio. In 1927, Picasso began an affair with Marie-Thérèse Walter, a beautiful young girl with an athletic build and Grecian profile, the perfect muse for Picasso’s etchings and sculptures. The Sculptor’s Studio group of etchings features Picasso the sculptor contemplating his work as well as his model, the sculptor’s dilemma in attempting to create a perfect version of reality (Le Repos du Sculpteur et la Sculpture Surréaliste). Picasso weaves mythology throughout the suite, reimagining the events of his life as a fantastical drama. Marie-Thérèse figures prominently as a sort of Venus, a classical beauty posing for Picasso the sculptor, the scene teetering on the verge of passionate submission. The scene often becomes violent, as in Le Viol and Le Viol II, expressions of emotional and ultimately physical obsession with the subject. He later becomes the Minotaur, half-man, half-bull, “whose power, pride and ferocity he regarded as corresponding to his own personality.” In Minotaure attaquant une Amazone, the beast is possessed by “sexual frenzy and unbridled passion,” yet in the etching Minotaure mourant, the Minotaur dying in an arena reaches out to Marie-Thérèse for aid, forgiveness, pity. The 16 etchings offered here represent each theme of the suite as well as every stage of Picasso’s emotional life, “the bullfight to the end.” Ambroise Vollard (1866-1939) was originally from a small French colony in the Indian Ocean called La Réunion. Trained as a lawyer, he opened a small gallery in 1893 where he championed the French painters Edouard Vuillard, Paul Gaugin, and Paul Cézanne with solo shows. Throughout the first two decades of the 20th century, Vollard’s business sense earned him considerable wealth. In addition to dealing in the most avant-garde artworks of the era, Vollard published numerous books with poetry and illustrations, working with artists such as Auguste Rodin, Pierre Bonnard, Georges Braque, Marc Chagall, and Georges Rouault. The relationship between Vollard and Picasso began in June 1901 when Vollard gave the young painter an exhibition in his gallery. In 1910, Vollard purchased the originals of five of Picasso’s sculptures, and throughout the 1920s, the two worked together to publish Picasso’s etchings that would precede in subject matter La Suite Vollard. Having died in a car accident as the suite was being completed in 1939, Vollard was unable to effectively market the works and the entire inventory was soon sold to Baron Henri Petiet, another Parisian dealer who would disseminate sets and single impressions for the next several decades. Picasso was known to sign the edition only sporadically from the 1950s through the late 1960s, and many examples show up today with little provenance and spurious signatures. The following 16 lots were purchased directly from Petiet by the Hatfield Gallery on September 19, 1973 and are unsigned, as many impressions from the suite were. Coppel, Stephen. Picasso Prints: The Vollard Suite. London: British Museum Press, 2012. Print.

211

SEE FULL SHEET ILLUSTRATED ONLINE

354 PABLO PICASSO FEMME ACCOUDÉE, SCULPTURE DE DOS ET TÊTE BARBUE (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “332 71” lower left sheet; printed in reverse in plate “Paris 3 Mai XXXIII” lower left image Image: 14.75” x 11”; Sheet: 17.5” x 13.25” Provenance:

A MBROISE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FR A N C E ( ACQUIRE D DIRECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRE D DIRECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 184.

$3,000-5,000

SEE FULL SHEET ILLUSTRATED ONLINE

355 PABLO PICASSO LE REPOS DU SCULPTEUR ET LA SCULPTURE SURRÉALISTE (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “320 60” lower left sheet; printed in reverse in plate “Paris 31 Mars XXXIII” lower right image Image: 7.625” x 10.5”; Sheet: 13.25” x 17.75" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #1 6 9.

$3,000-5,000

356 PABLO PICASSO MINOTAURE ATTAQUANT UNE AMAZONE (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “357 87” lower left sheet; printed in reverse in plate “Paris 23 Mai XXXIII” upper right image Image: 10.5” x 7.625”: Sheet: 17.375” x 13.125” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #1 95.

$3,000-5,000

213

357 PABLO PICASSO LE CIRQUE (FROM LA SUITE VOLLARD) 1933; published 1939 Drypoint on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “367 17” lower left sheet; printed in reverse in plate “Paris 11 Novembre XXXIII” lower left image Image: 7.875” x 10.875”; Sheet: 13.25” x 17.5” Provenance:

A MBROISE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FRAN C E ( ACQUIRED DI RECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 205.

$3,000-5,000

358 PABLO PICASSO MINOTAURE MOURANT (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “360 90” lower left sheet; printed in reverse in plate “Paris 30 Mai XXXIII” lower left image Image: 7.625” x 10.625”; Sheet: 13.25” x 17.625” Provenance:

A MBROISE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FRAN C E ( ACQUIRED DI RECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 198.

$3,000-5,000

215

359 PABLO PICASSO MODÈLE ET GRAND SCULPTURE DE DOS (FROM LA SUITE VOLLARD) 1933; published 1939 Etching and scraper on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “334 73” lower left sheet Image: 10.5” x 7.625”; Sheet: 17.375” x 13.125” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #1 86 .

$3,000-5,000

ILLUSTRATED OPPOSITE PAGE

360 PABLO PICASSO REMBRANDT À LA PALETTE (FROM LA SUITE VOLLARD) 1934; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “369 34” lower left sheet; printed in reverse in plate “Paris 27 Janvier XXXIV” lower left image Image: 10.875” x 7.75”; Sheet: 17.375” x 13.375” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #208.

$3,000-5,000

361 PABLO PICASSO FEMME NUE À LA JAMBE PLIÉE (FROM LA SUITE VOLLARD) 1931; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “208 8” lower left sheet Image: 12.25” x 8.75”; Sheet: 17.5” x 13.375” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #1 4 1 .

$3,000-5,000

217

SEE FULL SHEET ILLUSTRATED ONLINE

362 PABLO PICASSO LE VIOL, II (FROM LA SUITE VOLLARD) 1933; published 1939 Drypoint on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “348 30” lower left sheet; printed in reverse in plate “Boisgeloup 22 Avril XXXIII” upper right image Image: 11.625” x 14.375”; Sheet: 13.375” x 17.375” Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FRAN C E ( ACQUIRED DI RECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 180.

$3,000-5,000

363 PABLO PICASSO SCULPTEUR ET DEUX TÊTES SCULPTÉES (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “311 48/311”; lower left sheet; printed in plate in reverse “Paris 26 Mars XXXIII” center right image Image: 10.5” x 7.625”; Sheet: 17.375” x 13.375” Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FRAN C E ( ACQUIRED DI RECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 157.

$3,000-5,000

219

364 PABLO PICASSO FEMME NUE ASSISE, LA TÊTE APPUYÉE SUR LA MAIN (FROM LA SUITE VOLLARD) 1934; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “375 21” lower left sheet; printed in reverse in plate “Paris 9 Mars XXXIV” upper right image Image: 10.875” x 7.875”; Sheet: 16.75” x 13.25” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #21 8.

$3,000-5,000

ILLUSTRATED OPPOSITE PAGE

365 PABLO PICASSO FEMME TORERO, II (FROM LA SUITE VOLLARD) 1934; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “378 22” lower right; printed in reverse in plate “Paris 20 Juin XXXIV” upper right image Image: 11.75” x 9.375”; Sheet: 17.25” x 13.25” Provenance:

AMB R O IS E VO L L AR D E STATE ,

366 PABLO PICASSO TAUREAU AILÉ CONTEMPLE PAR QUATRE ENFANTS (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “377 13” lower left sheet Image: 9.375” x 11.75”; Sheet: 13.375” x 17.625” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ;

B AR O N H E N R I P E TIE T, PAR IS, F R AN C E

B AR O N H E N R I P E TIE T, PAR I S, FR ANCE

( AC Q UIR E D D IR EC TLY F R O M TH E AB OV E ) ;

( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ;

TH E E STATE O F R UTH AN D DAL Z E L L

TH E E STATE O F R UTH AND DALZELL

H ATF IE L D, LO S AN GE L E S, C AL IFO R N IA

H ATF IE L D, LO S AN GE LES, CALI FOR NI A

( AC Q UIR E D D IR EC TLY F R O M TH E AB OV E ,

( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE,

S E P TE MB E R 19, 19 7 3 ) ; TH E N C E BY D E S C E N T

S E P TE MB E R 19, 19 7 3 ) ; TH ENCE BY DESCENT

Literature:

B LO C H , GEO R GE S, P IC ASS O :

B LO C H , G EOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R IN TE D GR AP H IC

C ATALO GUE O F TH E PR I NTED G R AP H I C

WO R K , 19 0 4 -19 6 7, B E R N E : E D ITIO N S KO R N-

WO R K , 19 0 4 -19 6 7, B E R NE: EDI TI ONS KOR N-

F E L D & K L IP STE IN , 19 6 8 , # 2 2 0.

F E L D & K L IP STE IN , 1968, #229.

$8,000-12,000

221

367 PABLO PICASSO LE VIOL (FROM LA SUITE VOLLARD) 1931; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “209 9” lower left sheet Image: 8.875” x 12.25”; Sheet: 12.875” x 17.75” Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FRAN C E ( ACQUIRED DI RECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 142.

$3,000-5,000

368 PABLO PICASSO MORTE AU SOLEIL, IV (FROM LA SUITE VOLLARD) 1933; published 1939 Drypoint on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “366 16” lower left sheet; printed in reverse in plate “Paris 8 Novembre XXXIII” lower left image Image: 7.75” x 10.875”; Sheet: 13.25” x 17.5” Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BARO N HE NRI PETI ET, PA RI S, FRAN C E ( ACQUIRED DI RECTLY FROM TH E A B OVE ); T HE ESTATE OF RU TH A ND DA LZE L L HAT FIEL D, LOS A NGELES, CA LIFO R N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , S EPT EMBER 19, 197 3); TH ENCE BY DE SC E N T

Literature:

BLOCH , GEORGES, P I C ASSO:

CATALO G UE OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDITION S KOR NFELD & KLIPSTEIN, 1968, # 20 4.

$3,000-5,000

223

369 PABLO PICASSO MODÈLE ET SCULPTURE SURRÉALISTE (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “335 74” lower left sheet; printed in reverse in plate “Paris 4 Mai XXXIII” upper right image Image: 10.5” x 7.625”; Sheet: 17.375” x 13.125” Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H E N R I P E TIE T, PAR I S, FR ANC E ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE) ; TH E E STATE O F R UTH AND DALZELL H ATF IE L D, LO S AN GE LES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, S E P TE MB E R 19, 19 7 3 ); TH ENCE BY DESCENT

Literature:

B LO C H , GEOR G ES, P I C ASSO:

C ATALO GUE O F TH E P R I NTED G R AP H I C WO R K , 19 0 4 -19 6 7, B E RNE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #1 87.

$5,000-7,000

370 PABLO PICASSO GOAT’S HEAD IN PROFILE 1952 White earthenware clay with decoration in engobes under partial brushed glaze From the edition of 100 Madoura Impressed with “Empreinte Originale de Picasso” and “Madoura Plein Feu” stamps verso Ramié #151 16” diameter Literature:

RA MI É, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDI TED C E R A M I C WO RKS 1 94 7-1971, MA DOU RA : GA L E R I E MAD O URA , 1988, # 151.

$12,000-15,000

371 PABLO PICASSO PITCHER WITH BIRDS

372 PABLO PICASSO HEAD PITCHER

1962 White earthenware clay turned pitcher with decoration in engobes under partial brushed glaze #5 of 200 Madoura Signed “Edition Picasso” with edition and impressed Madoura stamps Ramié #456 8.5” x 7.625” diameter

1953 White earthenware clay, oxidized paraffin decoration, white enamel From the edition of 500 Madoura Signed “Edition Picasso/Madoura” with “Edition Picasso” and “Madoura Plein Feu” stamps Ramié #221 6” x 6” diameter

Literature:

R AMIÉ , AL AIN , PAB LO P IC AS -

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F TH E E D ITE D C E R AMIC

S O : C ATALO GUE O F THE EDI TED CER AM I C

WO R KS 19 4 7-19 7 1, MAD O UR A: GAL E R IE

WO R KS 19 4 7-19 7 1, MADOU R A: G ALER I E

MAD O UR A , 19 8 8 , # 45 6 .

MAD O UR A , 19 8 8 , # 2 21 .

$12,000-15,000

$2,500-3,500

225

373 PABLO PICASSO WOOD OWL

374 PABLO PICASSO WOOD OWL

1969 White earthenware clay, decoration in engobes engraved by boring-rod under partial brushed glaze #43 of 350 Madoura Signed “Edition Picasso/Madoura/43/350” Ramié #602 11.875” x 8.875” diameter

1969 White earthenware clay, decoration in engobes engraved by boring-rod under partial brushed glaze #76 of 350 Madoura Signed “Edition Picasso/Madoura/76/350” Ramié #602 11.875” x 8.875” diameter

Literature:

RA MI É, A L A IN, PA BLO P I C AS -

R A M I É , A L A I N, PAB LO P IC AS -

S O : CATALOGU E OF TH E EDI TED C E R A M I C

SO: C ATA LOG U E OF T HE E D ITE D C E R AMIC

WO RKS 1 94 7-1971, MA DOU RA : GAL E R I E

WOR KS 1 9 4 7- 1 9 7 1, M A DOU R A: GAL E R IE

MAD O URA , 1988, P 246, # 60 2.

M A DOU R A , 1 9 88, #6 02 .

$6,000-8,000

375 PABLO PICASSO FACE

376 PABLO PICASSO OWL

1955 White earthenware clay, decoration in engobes with glaze inside From the edition of 500 Madoura Signed “Edition/Picasso/Madoura”; stamped “Edition Picasso” and “Madoura Plein Feu” Ramié #288 12.5” x 4.125” diameter

1954 White earthenware clay turned pitcher with oxide decoration on white enamel From the edition of 500 Madoura Signed “Edition Picasso/Madoura” with “Madoura Plein Feu” and “Madoura” stamps Ramié #253 10” x 5.125” diameter

Literature:

R AMIÉ , AL AIN , PAB LO P IC AS -

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F TH E E D ITE D C E R AMIC

S O : C ATALO GUE O F THE EDI TED CER AM I C

WO R KS 19 4 7-19 7 1, MAD O UR A: GAL E R IE

WO R KS 19 4 7-19 7 1, MADOU R A: G ALER I E

MAD O UR A , 19 8 8 , # 2 8 8 .

MAD O UR A , 19 8 8 , # 2 53.

$4,000-6,000

$6,000-8,000

227

377 ARNOLD NEWMAN PABLO PICASSO, VALLAURIS, 1954 1954; printed later Gelatin silver print Signed in pencil “© Arnold Newman” lower right margin; inscribed “Pablo Picasso, Vallauris, France, 1954” lower left mount; retains Peter Fetterman Gallery label verso Image: 18.25” x 14.325”; Sheet: 19.75” x 15.75”; Frame: 31” x 25” Provenance:

PETER FET TERMA N G A L L E RY,

SANTA MONICA , CA LIFORNI A ; PRIVAT E COLLECTI ON, LOS A NGE L E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

Literature:

PICASSO PORTR ÄT T E R A D,

STO CKHO LM: MODERNA MU SEET, 1 9 89, #2 1 .

$3,000-4,000

378 PABLO PICASSO FACE NO. 111 1963 White earthenware clay, decoration in engobes and enamel under glaze #453 of 500 Madoura Signed “No 111/Edition Picasso 453/500 Madoura” Ramié #476 10” diameter Provenance:

STU DIO VA LL AU RI S,

VALL AURIS, FRA NCE; PRIVAT E COLLECTI ON, LOS A NGE L E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

Literature:

RA MI É, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDITED C E R A M I C WO RKS 1 94 7-1971, MA DOU RA : GA L E R I E MAD O URA , 1988, # 4 76.

$5,000-7,000

379 PABLO PICASSO PICADOR 1953 White earthenware clay with decoration in engobes under glaze #162 of 300 Madoura Inscribed “K 112” with edition verso; impressed “Madoura Plein Feu” and “Empreinte Originale de Picasso” stamps verso Ramié #202 8.75” diameter Literature:

RA MI É, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDITED C E R A M I C WO RKS 1 9 4 7-1971, MA DOU RA : GA L E R I E MAD O URA , 1988, P 246, # 20 2.

$3,000-5,000

380 AFTER PABLO PICASSO GRANDE MATERNITÉ c. 1963 Color lithograph on wove Arches paper #88 of 200 Signed in pencil lower right; edition lower left; signature in plate with date upper left Sheet: 35” x 25”; Frame: 40.5” x 30” $5,000-7,000

381 AFTER PABLO PICASSO NATURE MORTE AU CITRON ET UN PICHET ROUGE c. 1955-1960 Color aquatint on Rives BFK paper #40 of 300 Published and printed by Atelier Crommelynck, Paris Signed in pencil lower right margin beneath image; edition lower left with blind stamp Image: 12.75” x 16”; Sheet: 15.25” x 18.375”; Frame: 24” x 27” $3,000-5,000

229

JACQUES LE CHEVALLIER Jacques Le Chevallier’s talent encompassed an unusually large breadth of genre, from illustrating, stained glass design, engraving, and lighting design. Following the conclusion of his studies at the École Nationale des Arts Supérieur Décoratifs in 1915, he joined the studio of stained glass artist Louis Barillet, with whom he would collaborate until 1945. Echos of the designer’s foundation in the visual arts can be found in this lamp (Model no. 43), with its harmonious architectural qualities of balance, proportion, and graphic silhouette. This particular lamp is a development of table lamp Model no. 3, which is primarily made of wood. This example, however, designated as Model no. 43, is constructed entirely from man-made materials of aluminum and Ebonite, a form of early plastic, resulting in a strong industrial aesthetic. The design was first presented at the influential XXIème Salon d’Automne, Paris, 1928, recognized as one of the key moments in the development of international modernism. The design’s machine aesthetic belies the fact that Le Chevallier’s lighting designs were only ever produced to order in small batches, and subsequently very few examples were ever created. Robert Mallet Stevens ordered three examples of this model for inclusion in the interior of the Delza Boutique, Rue de la Paix, Paris. Just one year later Le Chevallier would cement his reputation as one of Europe’s leading modernist designers in becoming one of the founding members of the Union des Artistes Modernes (U.A.M.), together with notable designers such as Robert Mallet-Stevens, Eileen Gray, Jean Prouvé, Louis Sognot and Charlotte Perriand. Archieri, Jean-François, Jacques le Chevallier 1896-1987: La Lumière Moderne. Paris: Gourcuff Gradenigo, 2008. Print.

382 JACQUES LE CHEVALLIER & RENÉ KOECHLIN RARE TABLE LAMP Model no. 43 Studio, c. 1928 Aluminum, ebonite Together with a copy of the certificate of authenticity from Maîtres Gros & Delettrez Auctioneers, signed by Félix Marcilhac 11.5” x 7” x 4.25” The design was first presented at the XXIème Salon d’Automne, Paris, 1928. Provenance:

MAÎ TRES GROS & D E-

LET T REZ , PA RI S, JU NE 16, 1993, LOT 2 04 ; PRIVAT E COLLECTI ON, LOS A NGEL E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOV E AU CTION)

Literature:

A RCH IERI , JEA N-FRANÇOI S,

JACQUES LE CH EVA LLIER 1896 -19 87, L A LUM IÈRE MODERNE, PA RI S: GOU R C U F F G RAD ENIG O, 20 0 8, P 86.

$15,000-20,000

TAMARA DE LEMPICKA Polish artist Tamara de Lempicka (1898-1980) immortalized the aesthetics of the Art Deco era with her paintings of nude women, Parisian socialites in luxury convertibles, European kings and queens, and the ethos of Paris in the 1920s. The French painter André Lhote described de Lempicka’s style as “soft Cubism,” a highly stylized and precise representation of the cultural and social elite with whom she associated. Originally from Warsaw, she met the lawyer Tadeusz de Lempicka at a ball in St. Petersburg while visiting her relatives, and upon marrying in 1916, de Lempicka immediately improved her social status. They moved to Paris in 1918 where she enrolled in art classes at the Academie Ranson. Under the instruction of André Lhote, she learned how to “skillfully merge modern forms of illustration with the great academic tradition,” resulting in “an agreeable form which would flatter the conservative tastes of the affluent bourgeoisie.” As she began showing her paintings in the Paris salons, de Lempicka received numerous commissions for portraits from affluent socialites. In these paintings, she depicted strong females – many of them nude – celebrating the freedom of the era, a lifestyle she enjoyed publicly, having many affairs with both men and women. While her marriage crumbled into divorce, her clients grew to include European royalty, and in 1934 after marrying a wealthy landowner from Eastern Europe, she moved to America and became the preferred portrait artist to Hollywood stars. After the war, de Lempicka’s reputation faded as she attempted to paint works in surrealist and expressionist styles. After her death in 1980, collectors recognized her as an Art Deco icon, and her work achieved a renaissance in popularity, culminating in numerous international exhibitions and retrospectives at the Royal Academy of Arts in London, 2004, the Accademia di Francia (Villa Medici) in Rome, 1994, and the Palacio de Bellas Artes in Mexico City, 2009. Wróblewska, Magdalena. “Tamara de Lempicka.” Culture.pl. Adam Mickiewicz Institute, n.d. Web. 28 Aug. 2013.

231

383 TAMARA DE LEMPICKA STUDY OF MRS. ALLAN BOTT c. 1930 Graphite on paper Signed in pencil “DE.LEMPICKA” lower right Together with facsimile of letter from Kizette de Lempicka Foxhall Image/Sheet (vis.): 12.25” x 8.25”; Frame: 23” x 17.75” Literature:

B AD E , PATR I CK , LEM P I CKA ,

N E W YO R K : PAR KSTO NE P R ESS I NTER NATIO N AL , 2 0 0 6 , P P 176 -1 7 7 ( FOR TH E PAI NTIN G O F MR S AL L AN B OT T ) .

$15,000-25,000

384 CLAUDE VENARD STILL LIFE WITH FRUIT AND DECANTER c. 1958 Oil on canvas Signed “C. Venard” lower right Canvas (vis.): 31.25” x 38.5”; Frame: 41” x 48.5” Provenance:

JA NET LEIGH A ND TON Y

CURT IS, LOS A NGELES; JAMIE LEE CU RTIS A ND KELLY CURT I S, LOS AN G ELES

$4,000-6,000

385 AFTER GEORGES BRAQUE L’OISEAU JAUNE c. 1960 Color lithograph on paper #166 of 300 Published by Maeght, Paris Signed in pencil lower right margin; edition lower left Image: 15.5” x 22.25”; Sheet (vis.): 16.75” x 23.5”; Frame: 25.75” x 33” Literature:

VA LLIER , DORA , BRAQU E : T HE

CO MPLET E GRA PH I CS: CATA LOGU E R A IS O N N É, NEW YORK: GA LLERY BOOKS, 1 9 88, MAEG HT # 1031.

$2,000-3,000

386 GEORGES BRAQUE THÉOGONIE I 1949 Etching in bister and black on Auvergne paper #20 of 20 Published by Maeght Paris, printed by Signovert, Paris Signed in pencil lower right margin; edition lower left Image: 9.25” x 11.5”; Sheet (vis.): 11.25” x 12.75”; Frame: 19” x 20.25” Provenance:

JA NET LEIGH A ND TON Y C U R-

T IS, LO S A NGELES; JAMIE LEE CU RTIS A ND KELLY CURT I S, LOS AN G ELES

Literature:

VA LLIER , DORA , BRAQU E :

T HE CO MPLETE GRA PH I CS: CATA LOG U E RAIS O N N É, NEW YORK: GA LLERY B OOKS, 1 9 8 8 , #46.

$2,000-3,000

387 MAN RAY L’AUBE c. 1960s Woven wool tapestry From the edition of 250 Atelier Robert Four, Paris Woven signature “M. Ray”; inscribed in marker “1043” on the reverse 43.5" x 98" $3,000-5,000

388 AFTER JOAN MIRÓ DANSEUSE ESPAGNOLE c. 1930; this example produced later Knotted wool-pile rug Maison Myrbor Signed in marker “J. Miro” on the reverse 76” x 60” Literature: DAY,

S USAN, ART DEC O AND

MO D E R N IST C AR P E TS, NEW YOR K : CH R ONIC L E B O O KS, 2 0 0 2 , # 1 84 ( I N ALTER NATE C O LO RWAY ) .

$3,000-5,000

233

389 LOUIS VALTAT BERENICE c. 1900-10 Color woodcut on wove paper #38 of 50 Edition in pencil lower left; artist’s monogram lower right Together with original Sotheby's Parke-Bernet invoice Image: 11.5” x 8”; Sheet: 20” x 12.625”; Frame: 24” x 16.625” Provenance:

SOTH EBY 'S PA RKE- B E R N E T,

LO S AN G ELES, CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGEL E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FR OM T HE ABOV E, FEBRUA RY 197 9)

$1,000-1,500

390 JEAN COCTEAU UNTITLED c. 1955 Colored wax crayon on paper Signed in crayon “Jean” lower left Image/Sheet (vis.): 7.75” x 5.75”; Frame: 16” x 12.5” $1,000-1,500

391 BERNARD BUFFET FINAL (FROM MON CIRQUE) 1968 Color lithograph on Arches paper #105 of 120 Published by Fernand Mourlot, Paris Signed lower right margin; edition lower left margin Image: 26.875” x 38.125”; Sheet: 28.125” x 40”; Frame: 37.25” x 49” Literature:

SORLI ER , CH A RLES, B E R N A R D

BUFFET, LITH OGRA PH E, VOL I , PAR I S: M T RINCKV E L , 197 9, # 185.

$2,000-3,000

392 MARC CHAGALL CHLOE’S KISS (FROM THE DAPHNIS AND CHLOE PORTFOLIO)

393 AFTER MARC CHAGALL LES CHAMPS-ELYSÉES

394 ZAO WOU-KI ENTRE DEUX VILLES

395 GINO SEVERINI NATURE MORTE

1954 Color lithograph on Arches paper #111 of 200 Published by Galerie Maeght, Paris Signed in pencil lower right margin; signed in plate lower right; ; edition lower left Image: 23.5” x 16.5”; Sheet (vis.): 25” x 17.5”; Frame: 30.5” x 22.75”

1955 5-color lithograph on Rives paper #131 of 150 Published by L’Oeuvre Gravée, Zurich; printed by E&J Desjobert, Paris Signed in pencil lower right; edition lower left with blind stamp in margin Image: 18.5” x 24”; Sheet (vis.): 19” x 24.125”; Frame: 27” x 33”

1958 Color lithograph on Rives paper #134 of 140 Published by L’Oeuvre Gravée, ParisZurich; Printed by Michael Cassé, Paris Signed in pencil lower right margin; edition lower left Image: 15” x 22”; Sheet (vis.): 16.75” x 22.75”; Frame: 23.5” x 29.625”

G ALL : TH E LI TH OGRA PH S, NEW YOR K : DA P,

Provenance:

Literature:

1 9 9 8 , # 316.

C U RT I S, LOS A N G E L E S;

Y V E S R IV IÈ R E , Z AO WO U -K I: L E S E STAMP E S

S E V E R IN I: TUT TA L’O PER A G R AFI C A , R EG G I O

JA M I E L E E C U RT I S A N D K E L LY C URTIS, LO S

193 7-19 74, PAR IS : ARTS E T MÉ TIE R S

E MIL IA: L IB R E R IA P R ANDI , 1 982, #33.

ANGELES

GR AP H IQ UE S, 19 7 5 , # 9 7.

1961 Color lithograph on Arches paper #41 of 60 Signed in pencil lower right; edition lower left Image: 16.625” x 12.625”; Sheet (visible): 20” x 13.625”; Frame: 28” x 22” Literature:

GAU SS, U LRI KE, M A R C C HA-

$10,000-12,000

Literature:

JA N E T L E I GH AN D TO N Y

C A I N , J U L I E N , AN D F E R N AN D

MAR Q UE T, F R AN Ç O IS E , AN D

ME LO N I, FR ANC ESCO, G I NO

$600-900

$1,500-2,000

M OU R LOT, C HAG A L L L I T HO GR AP H S, VO LU M E I ( 1 9 2 2- 1 957 ), M ON T E C AR LO : AN D RÉ SAU R E T, 1 9 6 0, #C 6 .

$4,000-6,000

235

Lot 392

Lot 394

Lot 393

Lot 395

396 GILBERT PORTANIER VASE Studio, 1985 Ceramic Signed and dated “Portanier 85” 12.5” x 9” x 2.25” $1,500-2,000

DETAIL OF SIGNATURE

397 ROGER CAPRON COFFEE TABLE Studio, c. 1960 Glazed ceramic, enameled steel Signed “R. Capron” 15.25” x 47.5” x 16” $6,000-8,000

398 CHARLOTTE PERRIAND DINING TABLE AND STOOLS (3) Studio, designed c. 1968 Pine, enameled steel Comprised of dining table and two stools Table: 28.75” x 59” x 27”; Each stool: 16.75” x 17.75”x 12” The design was conceived for use at the La Nova residence, Les Arc 1800 ski resort, Savoia, France. Literature:

MC L EO D, M ARY, C H AR LOT TE

P E R R IAN D : AN ART O F LI VI NG, NEW YOR K : AB R AMS, 2 0 03 , P 195.

$3,000-5,000

237

399 DIMITRI HADZI PILLARS OF HERCULES III 1977 Patinated bronze on stone plinth From the edition of 7 11” (12.25” with base) x 10.25” x 5.5” $3,000-5,000

400 SOREL ETROG UNTITLED c. 1965 Patinated bronze Sculpture: #2 of 5; Poster: #2 of 30 Stamped signature with edition “Etrog 2/5” to base Together with signed 1969 Felix Landau Gallery exhibition poster Sculpture: 12.75” x 3.325” x 3.125” Provenance:

FELI X L A NDAU GA LL E RY,

LO S AN G ELES, CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGEL E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FRO M T HE ABOV E, 1 9 69); PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA

$6,000-9,000

401 GEORGES MATHIEU UNTITLED 1959 Oil on board Signed and dated center right; retains Sotheby’s New York label verso Image/Board: 19” x 24.75”; Frame: 25.325” x 31” Provenance:

JAN E T LEI G H AND TONY

C URTIS, LO S AN GE L E S ; JAMIE L E E C URTIS AND K ELLY CU RTI S, LO S AN GE L E S

$5,000-10,000

402 PIERRE SOULAGES SÉRIGRAPHIE N°16 1981 Color screenprint on paper #35 of 250 Published by Circle Fine Art, Chicago; printed by Michel Caza, Cergy Signed in pencil lower right with edition Sheet: 41.5” x 29.25”; Frame: 49.325” x 37.25” Literature:

E N C R E V É , P I ER R E, SOU L AG ES:

L’O E UV R E C O MP L E T, PEI NTU R ES, VOL I I I , PAR IS : E D ITIO N S D U SEU I L , 1 998, #1 08.

$1,500-2,000

239

403 SERGE MOUILLE RARE CUSTOM PIPE LINK WALL APPLIQUES (3) Atelier Serge Mouille, custom designed and executed c. 1960 Enameled aluminum, steel rod, brass collar Each: 32.25” x 11.75” x 4.75” This variant wall applique features an ingenious brass joint which enables the lamp stems to be moved both vertically and horizontally. The lamps were created for a French architect and are the only known examples of the model. Provenance:

PRIVATE COLLECTI ON ,

PARIS, FRA NCE; PRIVAT E COLLECTION, EU ROPE (AC QU I R E D D IRECT LY FROM TH E A BOVE, C 199 0)

Literature:

BONY, A NNE, LES A N NÉE S 50

D’AN N E BONY, PA RI S: EDITIONS DU R EG A R D, 1 9 8 2 ( M O DEL I LLU STRATED WITH VA R IAN T S HADE I N LOU I S SOGNOT I NT E R I OR , C 1 950) .

$30,000-50,000

241

404 SERGE MOUILLE TRÉPIED TABLE LAMPS (2) Atelier Serge Mouille, designed 1953, executed before 1964 Enameled aluminum, steel rod, brass collar Each: 17” x 14” x 10.75” Provenance:

P R IVAT E C OLLECTI ON,

PAR IS, F R AN C E ; P R IVATE C O L L EC TIO N, EU R OP E ( AC Q U I R ED D IR EC TLY F R O M TH E ABOVE, C 1 990)

Literature:

C O N O UR D, AL AN, LU M I NAI R ES

195 3 -19 6 2 , PAR IS : L E R EG AR D AL AN EDITIO N S, 19 93 , P 3 7.

$15,000-20,000

405 BORIS-JEAN LACROIX RARE FLOOR LAMP

406 SERGE MOUILLE SIMPLE FLOOR LAMP

Robert Caillat, designed 1947 Enameled steel, brass, Perspex 63.75” x 9.75” x 9.75” 1 000 L IGH TS : 18 7 9 -195 9, C O LO GN E :

Atelier Serge Mouille, designed 1953, executed before 1964 Enameled aluminum, steel rod, brass collar 63.25” x 22.5” x 18.5”

TASCH E N , 2 0 05 , P 3 9 1.

Provenance:

Literature:

F IE L L , C H AR LOT TE & P E TE R ,

$5,000-8,000

P R IVAT E C OLLECTI ON,

PAR IS, F R AN C E ; P R IVATE C O L L EC TIO N, EU R OP E ( ACQ U I R ED D IR EC TLY F R O M TH E AB OVE, C 1 990)

$10,000-15,000

243

407 BALTASAR LOBO TORSE AU SOLEIL

BALTASAR LOBO

1973 Patinated bronze #4 of 8 Susse Fondeur, Paris Incised signature “Lobo” with edition near base; incised foundry mark “Susse Fondeur Paris” near base; retains International Art Transport label inside sculpture Together with Lobo Galerie Nathan 1979 exhibition catalogue, signed and with drawing by the artist 17.25” x 19.5” x 7” (49.25” x 18” x 10” with base, not illustrated)

The Spanish sculptor Baltasar Lobo (1910-1993) found his voice in modern sculptural expressions of classical forms, namely the female figure. After briefly attending art school in Madrid, Lobo emigrated to Paris in 1939 following the Spanish Civil War. He worked as an assistant to the sculptor Henri Laurens and befriended fellow Spaniard Pablo Picasso. In 1945 he achieved his first major exhibition alongside Picasso, Matisse, and Utrillo at the Galerie Vendôme. His bronze, marble, and granite statues depicting mother and child and the female form received international acclaim, including numerous outdoor commissions in Spain, Austria, and Venezuela. Abstraction plays a significant role in his interpretations of the human form, likely influenced by equal parts classical tradition and his modern contemporaries. Many of his works are displayed publicly throughout Spain and reside in the permanent collections of European and Latin American museums inlcuding the Museo Baltasar Lobo in Zamora, Spain.

Provenance:

BA LTASA R LOBO ST U DI O, PA R I S,

FRAN CE;

“Baltasar Lobo, Sculptor, 83.” NYTimes.com. New York Times, 4 Sept. 1993. Web. 26 Aug. 2013.

PRIVAT E COLLECTION, LOS A NGE L E S, C A L F I ORNIA ( ACQUI RED DIRECTLY FROM T HE A B OVE , C 1 9 70S )

Literature:

MU LLER , JOSEPH -E M I L E , LOB O,

CATALO G UE RA ISONNÉ DE L’OU EV R E SC U L P T E, PARIS : BIBLI OTHÈQ U E DES A RTS, 1 9 85, #387.

$40,000-60,000

DETAIL OF SIGNATURE

408 BALTASAR LOBO UNTITLED c. 1953 Ink wash and graphite on paper Signed and inscribed in ink lower right “Pour/Naomi et/Roger/Lobo” Sheet: 12.625” x 9.75”; Frame: 16.25” x 13.325” Provenance:

P R IVAT E C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A (G I FTED DI R EC TLY F R O M TH E ARTIST, C 1 970S)

$2,000-3,000

245

409 BALTASAR LOBO UNTITLED 1953 Ink wash on paper Signed and dated lower right “Lobo/ Paris 53” Sheet: 19.75” x 25.25”; Frame: 20.25” x 25.75” Provenance:

P R IVATE COLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A (G I FTED DI R EC TLY F R O M TH E ARTIST, C 1 970S)

$1,500-2,000

410 POUL KJÆRHOLM LOUNGE CHAIR Model no. PK 20 Fritz Hansen, designed 1967, this example executed after 1982 Steel, cane 34.5” x 32” x 32” Literature:

FI ELL , CH A RLOT TE & P E T E R ,

1 000 CHAIRS, COLOGNE: TASCH E N , 1 9 9 7, P 4 02.

$2,000-3,000

411 DANISH MODERN EXECUTIVE DESK Soren Horn, designed c. 1960 Brazilian rosewood Branded “Made in Denmark by Cabinetmakers Soren Horn” 28.5” x 82.5” x 35.5” Provenance:

SERGE L A NG, BERK E L E Y,

CAL IFO RNIA ; TH ENCE BY DESCENT

$4,000-6,000

412 HANS J. WEGNER PEACOCK CHAIR Model no. 550 Johannes Hansen, designed 1947, this example manufactured 1977 Ash, teak Branded “Johannes Hansen Copenhagen Denmark” 43.5” x 30.25” x 26” Literature:

O DA , N O R I TSU G U, H ANS J

W EGN E R ’S 10 0 C H AIR S, JAPAN: COR ONA B O O KS, 2 0 0 2 , P 10 6 .

$3,000-5,000

413 BORGE MOGENSEN CHESTS (2) Søborg Møbelfabrik, designed c. 1955 Teak One example retains “Illums Bolighus” tag Each: 34.25” x 39” x 18.75” Provenance:

S E R GE L ANG , B ER K ELEY,

C AL IFO R N IA; TH E N C E BY DESCENT

Literature:

IL LUMS B OLI G H U S: CENTER OF

MO D E R N D E S IGN R E TAI L C ATALOG U E, CO P E N H AGE N : EGMO N T P ETER SEN, 1 961 , NP.

$1,500-2,000

24 7

414 HANS J. WEGNER SOFA Model no. 236 Getama, designed 1953 Oak, upholstery Branded mark “Getama Gedsted Denmark Design Hans J. Wegner” 28.5” x 108” x 31” Literature:

ODA , NORI TSU GU, H AN S J

WEG N ER' S 10 0 CH A I RS, JA PA N: COR ON A BO O KS, 2 00 2, P 19.

$3,000-5,000

415 ARNE JACOBSEN OXFORD CHAIRS (7) Model no. 3171 Fritz Hansen, designed 1965, these examples executed 2008 Aluminum, leather Each retains manufacturer’s label Each: 40.5” x 24.5” x 21” Literature:

MOODY, ELL A , DECOR AT I VE

ART IN MODERN I NTERIORS 1966/ 6 7, N E W YO RK: V IK ING PRESS, 1966, P 75.

$2,500-3,500

416 OLE WANSCHER COFFEE TABLES (2) Poul Jeppesen, designed c. 1955 Brazilian rosewood Each retains “JP” and “Danish Furniture Makers Control” label Each: 21.25” x 29.25” x 18.75” Provenance:

S E R GE L ANG , B ER K ELEY,

C AL IFO R N IA; TH E N C E BY DESCENT

$2,500-3,500

417 MAX BILL WALL CLOCKS (2) Junghans, designed 1959 Brass, teak, glazed ceramic Manufacturer’s mark “Junghans” 2.5” x 8.25” x 8.25”; 1.75” x 7” diameter $2,000-3,000

418 ARNE JACOBSEN AJ FLATWARE SERVICE (53) Model no. 660 A. Michelsen, designed 1957, this example manufactured before 1970 Stainless steel Stamped manufacturer’s marks Comprised of nine dinner forks, seven steak knives, two dinner knives, two hors d’oeuvres forks, seven dessert knives, two dessert forks, two dessert spoons, seven table spoons, two sauce ladles, one left-hand soup spoon, one right-hand soup spoon, two right-hand serving spoons, two serving forks, and seven tea spoons Various dimensions $1,000-1,500

PARTIAL ILLUSTRATION

249

419 ARNE JACOBSEN GRAND PRIX TABLE AND CHAIRS (5) Model no. 4130 (chairs) Fritz Hansen, designed 1955 Solid and laminated teak, beech Table retains branded mark “FH” and “Illums Bolighus” tag; each chair retains “Illums Bolighus” tag Table: 27.5” x 59.75” x 31.25”; Each chair: 30.5” x 18.5” x 18” The chair adopted the name after winning the Grand Prix at the Triennale, Milan, 1957. Provenance:

SERGE L A NG, BERK E L E Y,

CAL IFO RNIA ; TH ENCE BY DESCENT

$4,000-6,000

420 ARNE JACOBSEN EGG CHAIR AND OTTOMAN (2) Model nos. 3316 (chair), 3127 (ottoman) Fritz Hansen, designed 1958, this example executed 1981 Aluminum, chrome-plated steel, upholstery Retains dated manufacturer’s label to ottoman Chair: 42.5” x 32.25” x 27”; Ottoman: 16.5” x 22” x 15.75” Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO GNE: TASC H EN, 1 997, P 3 46 .

$2,500-3,500

251

421 ARNE JACOBSEN EGG CHAIR AND OTTOMAN (2) Model nos. 3316 (chair), 3127 (ottoman) Fritz Hansen, designed 1958, this example executed 1981 Aluminum, chrome-plated steel, upholstery Retains dated manufacturer’s label to ottoman Chair: 42.5” x 32.25” x 27”; Ottoman: 16.5” x 22” x 15.75” Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO GNE: TASC H EN, 1 997, P 3 46 .

$2,500-3,500

422 DANISH MODERN CONSOLE TABLE Manufacturer unknown, designed c. 1955 Brazilian rosewood, brass 31.5” x 78.75” x 19.5” Provenance:

SERGE L A NG, BERK E L E Y,

CAL IFO RNIA ; TH ENCE BY DESCENT

$5,000-8,000

423 SEVERIN HANSEN NESTING TABLES (3) Haslev Møbelsnedkeri A/S, c. 1965 Brazilian rosewood veneer One retains “Ny Bolig, Odense” retailer label and each retains “Danish Furniture Makers Control” label Comprised of one large table and pair of small nesting tables Large table: 18.5” x 14.25” x 12.5”; Each nesting table: 16” x 19.25” x 12” $2,000-3,000

424 FINN JUHL DIPLOMAT ARMCHAIR France & Son, designed c. 1955 Brazilian rosewood, leather Retains “France & Son” tag and “FF Made in Denmark” stamp 32” x 27” x 22” Provenance:

S E R GE L ANG , B ER K ELEY,

C AL IFO R N IA; TH E N C E BY DESCENT

$1,500-2,000

425 FINN JUHL DIPLOMAT DESK France & Son, designed c. 1955 Brazilian rosewood Retains “France & Son” tag and “FF Made in Denmark” stamp 28.25” x 75” x 37.5” $3,000-5,000

253

426 ARNE VODDER DESK Model no. B085 (desk) Bovirke, designed c. 1955 Teak, brass, leather upholstery Each retains “Illums Bolighus København” tag Together with desk chair designed by Erik Kirkegaard Desk: 28” x 61.25” x 45.25”; Chair: 29.75” x 24.5” x 21” Provenance:

SERGE L A NG, BERK E L E Y,

CAL IFO RNIA ; TH ENCE BY DESCENT

Literature:

ILLU MS BOLIGH U S: C E N T E R OF

MO D ERN DESI GN RETA IL CATA LOG U E, C O PENHAG EN: EGMONT PETERSEN, 1 9 6 1 , N P.

$4,000-6,000

427 AMERICAN MODERN CONFERENCE TABLE Manufacturer unknown, designed c. 1960 Mahogany, chrome-plated steel Branded mark “J.R. 1907” 30” x 144” x 60” $3,000-5,000

255

428 HANS J. WEGNER THE CHAIRS (12) Model no. JH 501 Johannes Hansen, designed 1949 Teak, leather Each with branded mark “Johannes Hansen/Copenhagen, Denmark” Each: 29.5” x 24.75” x 20.5” Literature:

O DA , N O R I TSU G U, H ANS J

W EGN E R ' S 10 0 C H AIRS, JAPAN: C OR ONA B O O KS, 2 0 0 2 , P 3 6 .

$10,000-15,000

LARRY RIVERS One of the first artists to combine the spontaneity of Abstract Expressionism with the everyday objects of Pop Art, Larry Rivers (1923-2002) developed a daringly idiosyncratic artistic style that allowed him to explore political, sexual, and historical themes. Born in the Bronx, Rivers briefly served in the US Army during World War II, and upon his return he established a successful career as a jazz saxophonist in New York clubs. He was introduced to art through the painter Jane Freilicher in the summer of 1945, and shortly thereafter enrolled in the Hans Hoffman School to study painting. Perhaps due to his jazz background, he was initially drawn to Abstract Expressionism’s emotional immediacy, but upon viewing the Pierre Bonnard exhibit at the Museum of Modern Art in 1948, Rivers began incorporating figurative subjects in his works. While his first one-man show featured paintings heavily influenced by Bonnard, contemporaries such as Willem de Kooning saw a talented newcomer unafraid to incorporate abstraction. In 1953, the Museum of Modern Art acquired his most ambitious work to date, Washington Crossing the Delaware (1953), a “controversial reinterpretation of a banal historical subject.” Beginning in 1953, Rivers spent a productive four years in Southampton, Long Island with his two sons and mother-in-law Berdie. During this time he developed a figurative style characterized by a marriage of “drawing and color in a fluent harmony,” resulting in a renewed understanding of the human form that would last throughout his career. Paintings from this period – including a nude study of his elderly mother-in-law, Double Portrait of Berdie (1955) – earned him both approbation and criticism. By 1957, the year Berdie passed away, Rivers’ paintings were becoming personal allegories, often featuring his entire family in multiple poses amidst rich spots of color and blank canvas. He was evolving as a figurative painter, yet his tendency toward abstraction reentered his artistic vocabulary. 1958-59 was a short-lived period when Rivers returned to Abstract Expressionism. He also returned to his beloved literary and artistic circle, which included the poets Frank O’Hara and John Ashbery. “The strokes got laid down like bursts of talk, sometimes simultaneously with them,” recalls Ashbery, who described Rivers’ paintings from this era as “very much an extension of his daily life,” which included his lover and muse, Maxine Groffsky, who at the time was in control of the New York literary circle. Like de Kooning’s women, she exuded confidence and decadence. Valentine Painting (1959) features Groffsky – who Rivers nicknamed “Miss New Jersey” – as an obfuscated blur sitting in his Second Avenue loft. At the center of the chaotic brush strokes resides the focal point – a shimmering white bracelet rendered in metallic paint, enclosed within thin black lines forming a heart. A little over a year later, their intense four-year relationship abruptly ended, and Groffsky became the Paris editor of the Paris Review, a position she held for many years. A similar series of paintings called Miss New Jersey were exhibited at the Whitney Museum of American Art in 1961. These were some of the final works – essential to his transition – before Rivers began incorporating non-traditional materials and commercial subject matter to create the three-dimensional proto-Pop constructions of the next decade. Harrison, Helen A. Larry Rivers: Performing for the Family. New York: Guild Hall Museum of East Hampton, 1983. Print. Hunter, Sam. Rivers. New York: Abrams, 1972. Print. Rivers, Larry. Drawings and Digressions. New York: Clarkson N. Potter, 1979. Print. Rosenzweig, Phyllis. Larry Rivers. Washington, D.C.: Smithsonian Institution Press, 1981. Print.

ILLUSTRATED OPPOSITE PAGE

429 LARRY RIVERS VALENTINE PAINTING 1959 Oil and charcoal on canvas Signed and dated “Rivers 59” center right; signed, dated, and inscribed in pencil “Valentine Painting/Rivers ‘59” verso LAMA would like to thank the Larry Rivers Foundation for their assistance in cataloguing this work Canvas: 52” x 50”; Frame: 52.75” x 51” Provenance:

P R IVAT E C OLLECTI ON,

W YO MIN G ( AC Q UIR E D C M I D -1 96 0S)

$200,000-300,000

257

MAGDALENA ABAKANOWICZ Polish artist Magdalena Abakanowicz (b. 1930) transcends medium by deftly transforming fiber and textiles into haunting figures that depict the various states of the human condition. Abakanowicz remained in Poland throughout the chaos of World War II and post-war communism, both eras influencing her art-making process and themes of her work. During her studies at Warsaw’s Academy of Fine Arts, Abakanowicz focused on drawing and painting, but quickly shifted her concentration to fabric and fiber tapestries, one of which was exhibited at the International Tapestry Biennale in 1962. Abakanowicz’s bold experiments with textiles – her three-dimensional Abakans (1960s) hang from the ceiling to create shadowy inner folds – were instrumental in elevating “weaving from a craft to an art form.” From the 60s onward, Abakanowicz forged unique methods of manipulating fiber to result in massive sculptural forms made from a combination of textiles and metal. In each of her sculptural cycles, repetition is essential in conveying the theme, and these repeated forms – Alterations: Heads (1973-75), Seated Figures (1974-79), and Backs (1976-82) – take on new meaning depending on the location. Abakanowicz thought that it was “extremely important” to travel to these exhibitions to prepare her works: “I arranged it, I gave to it the power, the climate, the whole atmosphere.” For Backs, “her first attempt to deal directly with the human figure,” Abakanowicz created a plaster mold of the human body and then formed burlap and rope against the plaster to create a rough shell of a seated figure. Hunched-over and hollow, the bodies are always exhibited facing in the same direction away from viewers. Upwards of 80 Backs in a group have been exhibited at once in various international locations, from the banks of a river in Poland to a hillside in South Korea. Cast in bronze in 2005, Backwards on Bench carries marks left by the burlap and rope that resemble “arteries, veins, and sinew, giving the impression that one is looking into the body.” Critics tend to associate the nameless, faceless Backs with Polish citizens rendered helpless at the hands of the post-WWII totalitarian regime, or victims of the Holocaust. Abakanowicz confirms and clarifies: “People who saw the Backs would ask: ‘Is it Auschwitz?’ ‘Is it a religious ceremony in Peru?’ ‘Is it a dance from the Ramayana?’ The answer to these questions is affirmative, because it speaks about the human condition in general.” During her retrospective at the Musée d’Art Moderne de la Ville de Paris in 1982, a viewer contemplating 80 Backs said to Abakanowicz, “I understood: the face can lie, the body cannot.” Abakanowicz, Magdalena. Fate and Art: Monologue. Milan: Skira, 2008. Print. Nicoletta, Julie. “Magdalena Abakanowicz by Barbara Rose.” Woman’s Art Inc. 18.1 (1997): 56-57. Print.

259

DETAIL OF STAMP

430 MAGDALENA ABAKANOWICZ BACKWARD ON BENCH 2005 Bronze Stamped “Backward on Bench 2005” with artist’s monogram 46.5” x 46.5” x 22” Provenance:

MAR L BOR OU G H G ALLERY,

N E W YO R K , N E W YO R K ; P R IVATE C O L L EC TIO N, SANTA B AR B AR A , C AL IFO R N IA ( AC Q UIR E D DI R ECTLY FR OM TH E AB OV E )

$25,000-35,000

431 JAMES SEARLES AXE 1985 Hardwood 42” x 22” diameter $8,000-10,000

DOUG OHLSON With the precision of a sculptor, painter Doug Ohlson (1936-2010) applied an expansive palette of colorful vertical bars to large canvases. In his native Iowa, Ohlson worked long days on the family farm below a spacious sky of changing colors. After earning his art degree at the University of Minnesota, he became the studio assistant to abstract painter Tony Smith at Hunter College in New York where he eventually joined the faculty in 1964. After successful shows at the Hudson River Museum and the Fischbach Gallery, Ohlson was included in the Museum of Modern Art exhibition “The Art of the Real: 1948-1968.” Throughout the 1970s and 80s, Ohlson shifted from strictly Hard Edge lines to softer transitions between swaths of color, resulting in a more layered abstraction, as seen in the 1987 acrylic on canvas, The Mighty Gus. Ohlson’s work can be found in the permanent collections of the Brooklyn Museum, the Whitney Museum of American Art, and the Metropolitan Museum of Art. Smith, Roberta. “Doug Ohlson, Painter of Vivid Abstracts, Dies at 73.” NYTimes.com. New York Times, 23 July 2010. Web. 30 Aug. 2013.

432 DOUG OHLSON THE MIGHTY GUS 1987 Acrylic on canvas Signed, dated, titled, and inscribed “Ohlson/'The Mighty Gus'/’87 a/c/For Gus Darg ‘98” Canvas: 18” x 18” $6,000-8,000

261

433 ROSS BLECKNER UNTITLED 1996 Oil on canvas Signed and dated verso; retains Gagosian Gallery label verso Canvas: 30” x 30”; Frame: 38” x 38” Provenance:

GAGOSI A N GA LLERY, N E W

YO RK , NEW YORK; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, 1997 )

$15,000-20,000

434 RICHARD HAMBLETON UNTITLED (SHADOW CAT)

435 RICHARD HAMBLETON UNTITLED (SHADOW CAT)

2005 Oil on canvas Signed and dated “R. Hambleton 05” lower right; signed and dated verso Canvas: 31” x 20”

2005 Oil on canvas Signed and dated “R. Hambleton 05” lower right; signed and dated verso Canvas: 34” x 21”

$4,000-6,000

263

436 CHRIS JOHANSON CONTEMPORARY c. 2008 Acrylic on paper Sheet: 22.25” x 30”; Frame: 27.625” x 35.25” Provenance:

JACK H A NLEY GA LL E RY, SA N

FRAN CIS CO, CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

$3,000-5,000

437 LISA RUYTER HOME ALONE 2003 Acrylic on canvas LAMA would like to thank the Lisa Ruyter Studio and Alan Cristea Gallery for their assistance in cataloguing this work Canvas: 48” x 60” Provenance:

PRIVATE COLLECTI ON , SA N TA

MO NICA , CA LIFORNI A (ACQ U I RED DI R EC T LY FRO M T HE A RTI ST, 20 0 4 ); PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

$10,000-15,000

438 RAYMOND PETTIBON UNTITLED (OM) & UNTITLED (BUT WE MUST) (2) c. 2006 Lithograph on paper Unknown edition size Each signed in pencil “Raymond Pettibon” lower center Each image/sheet: 18.75” x 13.75”; Each frame: 24” x 19” $1,500-2,000

439 BARRY MCGEE UNTITLED (3 BOTTLES) 2005 Painted glass bottles in three parts Together with certificate of authenticity from the artist 13.75” x 10” x 4.5” Provenance:

MO D E R N ART I NC, LONDON,

E N GL AN D ; P R IVATE C O L L EC TIO N, I TALY ( AC Q U I R ED V IA P H IL L IP S D E P URY & C OM PANY, LOND O N , O C TO B E R 17, 2 0 09, LOT 280)

Exhibited:

“ B AR RY M CG EE: EASY TONTO, ”

MO D E R N ART, IN C , LONDON, SEP TEM B ER 9 - O C TO B E R 3 0, 2 0 05

Literature:

B OAS, N ATASH A , AND

GE R MAN O C E L AN T, B A R RY M C G EE, NEW YO R K : DAP, 2 0 12 , P P 31 8 -31 9 ( FOR SI M I L AR E XAMP L E S ) .

$4,000-6,000

265

DETAIL OF SIGNATURE

440 TAKASHI MURAKAMI CERISES CHERRY POCHETTE 2005 Monogrammed leather with color silkscreen and dyed-snake skin straps Louis Vuitton, Paris Stamped “Louis Vuitton” inside; signed in black-felt tip marker “Takashi” with drawing of two cherries inside Together with dust pouch 5” x 10.25” (without straps) $5,000-7,000

441 TAKASHI MURAKAMI AND THEN AND THEN AND THEN AND THEN AND THEN BLUE, YELLOW, AND PINK (3) 1999 Offset lithograph on paper #156, #122, and #122 of 300 Kaikai Kiko Co., Ltd. Signed with edition lower right Each sheet: 27.375” x 27”; Each frame: 28” x 28” $3,000-5,000

442 TAKASHI MURAKAMI FLOWERBALL (3D) FROM THE REALM OF THE DEAD (3) 2010 Offset lithograph #127, #40, #44 of 300 Kaikai Kiko Co., Ltd. Signed with edition lower right Each sheet (vis.): 26” x 26”; Each frame: 31” x 31” $3,000-5,000

443 JEFF KOONS BALLOON DOG (RED) 1995 Cast porcelain with red reflective finish #696 of 2300 Published by the Museum of Contemporary Art, Los Angeles Editions Signed verso on Museum of Contemporary Art label with date and edition Together with original box and plate stands 10.25” diameter $6,000-9,000

444 JEFF KOONS BALLOON DOG (RED) 1995 Cast porcelain with red reflective finish #303 of 2300 Published by the Museum of Contemporary Art, Los Angeles Editions Signed verso on Museum of Contemporary Art label with date and edition Together with plate stands 10.25” diameter $5,000-7,000

445 PETER SHIRE DODGEHEDGE TEAPOT From the Mexican Bauhaus series Studio, 1982 Glazed ceramic Signed “Shire” and dated “1982” 15.75” x 17.5” x 14” Literature:

P E TE R S H I R E, NEW WOR K :

C E R AMIC S, S C UL P TURE, FU R NI TU R E, E X H IB ITIO N C ATALO G U E, LOS ANG ELES: JAN US GAL L E RY, 19 83 ( DESI G N VAR I ANT IL LUSTR ATE D) .

$1,500-2,000

446 PETER SHIRE ABSTRACT TEAPOT Studio, 2002 Glazed ceramic Signed “EP 2002” and “WB-B-20” 14.5" x 16" x 7" Provenance:

P R IVAT E C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

$1,500-2,500

447 PETER SHIRE PERFECT PITCH AND NIGHT STUDIO (2) 1989 Welded steel and aluminum metal sculpture with anodized and two-part polyester paint Each from the edition of 24 Studio 27.25” x 22” x 14” and 26.25” x 19.5” x 19” $1,500-2,000

269

448 JIM SHAW UNTITLED (STUDY FOR THE WOMEN IN THE WILDERNESS) 2005 Graphite and colored pencil on folded paper Sheet: 7” x 9.25”; Frame: 10.75” x 12.75” Provenance:

PRIVATE COLLECTI ON , LOS

ANG EL ES (GIFTED BY TH E A RTI ST )

$5,000-7,000

449 DAN COLEN ON MY WAY 2011 Color Xerox print From the edition of 25 unique color prints aside from the complete edition of 50 Published by White Columns, New York Together with certificate of authenticity signed by the artist Image (vis.): 10.625” x 8.125”; Frame: 16" x 13" $2,000-3,000

450 MARCEL DZAMA JUST LIKE HIS BROTHERS 2006 Acrylic and collage on panel Retains Timothy Taylor Gallery label verso Together with original gallery invoice Image/Panel: 6” x 6.125”; Frame: 12.375” x 12.375” $2,000-3,000

271

451 MARCEL DZAMA UNTITLED (DIE FISCHHANDLUNG) c. 2006 Watercolor and ink on paper Signed “Marcel Dzama” lower right Sheet: 14” x 11”; Frame: 18.625” x 15.625” $3,000-5,000

452 SHEILA HICKS CORD STRUCTURE 1977 Vertical coil-wrapped yarn on muslin backing Signed and dated in marker “Sheila Hicks/’77” on Suzy Langlois Gallery label verso 38.25” x 51.325” Provenance:

GA LERI E SU ZY L A N G LOI S,

PARIS, FRA NCE; PRIVAT E COLLECTION, PA RI S, FRAN C E (ACQUIRED D IRECTLY FROM TH E A BOVE , 1 9 7 8); PRIVAT E COLLECTION, PA RI S, FRAN C E

Exhibited:

“ BA BY TIME AGA I N, ” GA L E R I E

S UZ Y L ANGLOI S, PA RIS, MAY-JU N E 1 9 7 8

Literature:

FAXON, SU SA N C, A N D J OA N

S IMO N, S H EIL A H ICKS: 50 Y EA RS, N E W HAV EN: YALE U NI VERSIT Y PRESS, 2 01 0, P 1 1 2 ( FO R PI CTU RE OF EXH I BI TION I N STA LL AT IO N) .

$10,000-15,000

DETAIL OF LABEL

453 BILL BRACKNEY INVERSION #4 1972 Oil on shaped particle board Signed and dated with title verso 20.5” x 19.5” x 1.75” $1,000-1,500

273

454 BILL BRACKNEY INFINITUM #3 1973 Oil on shaped particle board Signed and dated with title verso 39.75” x 14.5” x 1.5” $1,500-2,000

455 ROBERT INDIANA PICASSO (FROM THE AMERICAN DREAM) 1997 Color screenprint on paper #186 of 395 Signed in pencil lower right margin; edition lower left Image: 17” x 14”; Sheet (vis.): 18.5” x 29.5”; Frame: 23.25” x 29.5” $1,500-2,000

456 JASPER JOHNS FLAG (MORATORIUM) 1969 Offset color lithograph on wove paper #290 of 300 Published by the Committee Against the War in Vietnam Signed in pencil lower right margin with printed text and date “copyright Jasper Johns, 1969”; edition lower left margin Image: 17.125” x 26”; Sheet: 20” x 28.25”; Frame: 21.25” x 29.25” Literature:

FI ELD, RICH A RD, TH E P R I N TS

O F JAS PER JOH NS 1960 -1993: A C ATALO G UE RA ISONNÉ, NEW YORK: U L A E , 1 9 9 4 , #S 5.

$6,000-8,000

457 JOHN BALDESSARI PARADISE 1989-90 Spit-bite, aquatint, and photogravure on torn Somerset 410 paper #20 of 45 Published by Brooke Alexander Editions, New York; printed by Branstead Studio, New York and Iris Editions, New York Signed in pencil lower right margin with Branstead Studio blind stamp; edition lower left Image: 25.75” x 51.25”; Sheet: 28” x 53.5”; Frame: 30.125” x 55.5” Literature:

H UR OW ITZ, SH AR ON COP L AN,

J O H N B AL D E SSAR I: A CATALOG U E R AIS O N N É O F P R IN TS AND M U LTI P LES, 1 971 2 0 0 7, MAN C H E STE R : H U DSON H I LL S P R ESS, 2 0 0 9, # 4 7.

$4,000-6,000

458 JOHN BALDESSARI MAN, DOG (BLUE), CANOE/SHARK FINS (ONE YELLOW), CAPSIZED BOAT 2002 Color lithograph on torn, textured Somerset paper Printer’s proof #2 aside from the edition of 60 Published and printed by Cirrus Editions, Los Angeles Signed and dated in pencil lower right margin beneath image; inscribed “P.P.2” lower left margin Image: 24” x 32”; Sheet: 29.5” x 37.25”; Frame: 37.5” x 45.25” Literature:

H UR OW ITZ, SH AR ON COP L AN,

J O H N B AL D E SSAR I: A CATALOG U E R AIS O N N É O F P R IN TS AND M U LTI P LES, 1 971 2 0 0 7, MAN C H E STE R : H U DSON H I LL S P R ESS, 2 0 0 9, # 12 9.

$4,500-5,500

275

459 CHRIS BURDEN IF YOU DRIVE & IF YOU FLY (2)

460 ROBERT MOSKOWITZ AIR MAIL ENVELOPE

1973 2-color lithograph on Arches #9 of 50 and #10 of 50 Published by Newspace Gallery, Los Angeles; printed by Ed Hamilton and Richard Ewan, Cirrus Editions, Los Angeles Signed and dated in pencil “Chris Burden 73” lower right; edition lower left with printer blind stamp Each sheet: 30” x 22.25”; Each frame: 31.5” x 24.125”

1963 Oil on canvas Retains Leo Castelli Gallery label verso; retains partial Los Angeles County Museum of Art exhibition loan label verso Canvas: 9.875” x 9”; Frame: 10.875” x 9.875”

Literature:

Exhibited:

DAVIS, BRU CE, MA DE I N L A :

T HE PRIN TS OF CI RRU S EDI TIONS, N E W YO RK: DAP, 1995, P 197; H OFFMA N , F R E D, CHRIS BUR DEN, NEWCASTLE U PO N T YN E : LO CUS PLU S, 20 0 7, P 37 2.

$3,000-5,000

Provenance:

L EO C AST E L L I G AL L E RY,

N E W YOR K , N E W YOR K ; B E T T Y ASHE R , LOS A N G E L E S, C AL IFO RN I A (AC QU I R E D F R OM T HE A B OV E , 19 6 3 ) ; T HE N C E BY DE SC E N T “G R OU P SHOW,” L EO C ASTE L L I

G A L L E RY, N E W YOR K , A P R I L 2-2 5 , 19 6 3 ; “SE L EC T I ON S F R OM T HE L M AS H E R FAMILY C OL L EC T I ON ,” T HE A RT G A L L E RY, UN IVE R SI T Y OF N E W M E XI C O, A L B UQ UE R Q UE , JA N UA RY 2 0 - F E B R UA RY 2 3, 1 96 4

Literature:

R I F K I N , N E D, R OB E RT MO S -

KOWI TZ , N E W YOR K : T HA M E S AN D H UD S O N , 1 9 89, #6 (FOR SI M I L A R E XA M P L E ) ; S E L ECT I ON S F R OM T HE L M ASHE R FA MILY C O LL EC T I ON, A L B U QU E R QU E : U N I V E R S IT Y O F N E W M E XI C O P R E SS, 1 9 6 4 , #38 .

$2,000-3,000

461 ED KIENHOLZ FOR $105.00 1969 Watercolor and ink stamp on paper Signed and dated with artist’s thumb print lower right Image/Sheet (vis.): 11.5” x 15.5”; Frame: 12” x 16.125” Literature:

H O P P S, WALTER , K I ENH OLZ:

A R E TR O S P EC TIV E, NEW YOR K : WH I TN E Y MUS E UM, 19 9 6 , P 1 4 1 ( FOR SI M I L AR E XAMP L E S ) .

$4,000-6,000

462 ED KIENHOLZ FOR 2 PHONY ROCKS AND A SNAG 1971 Watercolor and ink stamp on paper Signed and dated with artist’s thumb print lower right Image/Sheet (vis.): 11.5” x 15.625”; Frame: 12.125” x 16.25” Literature:

H O P P S, WALTER , K I ENH OLZ:

A R E TR O S P EC TIV E, NEW YOR K : WH I TN E Y MUS E UM, 19 9 6 , P 1 4 1 ( FOR SI M I L AR E XAMP L E S ) .

$4,000-6,000

27 7

LLYN FOULKES Los Angeles artist and musician Llyn Foulkes (b. 1934) creates paintings, installations, and tableaux of biting social commentary, often utilizing a concoction of pop icons, American landscapes, and violent imagery. Foulkes was born in a small farming town in Washington State where he idolized Salvador Dali, the musician Spike Jones, and comedian Charlie Chaplin. After serving in the Korean War, Foulkes moved to Los Angeles to attend the Chouinard Art Institute and had his first exhibition at Ferus Gallery in 1959. Throughout the 1960s and 70s, his work ranged from melancholy assemblages and skillful American landscapes to his “bloody head” portraits. During this period, in addition to amassing international awards including the 1967 Prize for Painting at the Paris Biennale, Foulkes played drums in the bands City Lights and The Rubber Band, culminating in 1979 with his Machine, a one-man band constructed of car horns and percussion instruments, influenced by Stan Kenton, Gene Krupa, and Lionel Hampton. He continues to perform on the Machine to this day. The Hammer Museum recently exhibited Foulkes’ 50-year retrospective, “LLYN FOULKES,” which highlighted some of his most recent “narrative tableaux that combine painting with woodworking, found materials, and thick mounds of mixed media, seamlessly blended into the painted surface to create a remarkable illusion of depth.” Some taking years to complete, these tableaux tell a story of corporate America’s hijacking of art and creativity. The materials and subject matter refer back to some of Foulkes’ earliest paintings, The Flag (1962) and The Leg (1963), both of which incorporate lacquer and found text to create a shimmering symbology of letters, numbers, and ubiquitous symbols such as a cross. Foulkes’ work resides in the permanent collections of the Los Angeles County Museum of Art, the Whitney Museum of American Art, and the Norton Simon Museum. “LLYN FOULKES.” Hammer Exhibitions. Hammer Museum, 2013. Web. 7 Aug. 2013.

463 LLYN FOULKES THE FLAG 1962 Lacquer, newsprint, tar, and canvas on Masonite Signed and dated in Roman numerals “FOULKES LXII” lower center; retains Rolf Nelson Gallery label verso LAMA would like to thank the artist for his assistance in cataloguing this work Canvas/Masonite: 49” x 39” Provenance:

PRIVATE COLLECTI ON , L A

JO LL A , CA LIFORNI A (ACQ U I RED DI R EC T LY FRO M RO LF NEL SON GA LLERY, LO S A N G ELES, CAL IFORNIA , C 1960 S)

Exhibited:

“ LLY N FOU LKES, ” TH E OA K-

L AN D ART MU SEU M, OA KL A ND, F E B R UA RY 1 5 - MARCH 1, 1964

Literature:

LLY N FOU LKES, EXH I B I T I ON

CATALO G UE, OA KL A ND: TH E OA KL A N D A RT MUS EUM , 1964, P 53.

$20,000-30,000

INTERVIEW WITH

LLYN FOULKES August 28, 2013

People have been putting letters and

PD: Taking a portrait and removing the

postcards were monochromatic. The blue

numbers on their works. It wasn’t

head or distorting the head?

happens with Who’s on Third [1971-73];

something I made up. We are all products Paul Des Marais: I want to hear about

of what is around us. I don’t think I’m

your progression throughout the 60s. For

original in a certain way; maybe it’s

The Flag, what was your inspiration? You

original if you put certain things together

use a variety of non-traditional materials

that influence you. There is a reason

such as lacquer and tar.

I did that. Had to do with school stuff

Llyn Foulkes: Stephan von Huene, he was a year and a half ahead of me at Chouinard. I know Stephan von Huene's

you learn, ABCDEFG, 1234567. I had paintings called Summer School [1962] and School Days.

LF: [Laughs] Well I should take photographs of cartoons I have from the

PD: Did it open a whole new spectrum

a body with the head off. I would cut off

for you?

photos or drawings. It’s always been a part of me and it just came out like that. Product of what you’ve learned. I never thought about it at the time. It is much different now, when I paint a lot of things

PD: Was this a negative feeling toward

I do, I think about it more. That’s the neat

started using tar. I don’t know how I got

school?

thing about it before, certain things have

paint and I started mixing the tar with the paint. I mean it looks great, it held up really well. PD: How about the numbers and letters that are edited out in The Flag? LF: It depends. I would put letters on things and some would make words.

LF: You’d have to figure that one out [laughs]. PD: Suddenly 10 years later you move back to two-dimensional. In Barbara, you use light blue, pink, more color. Like your more recent works? LF: Right, exactly. I started using color.

think about it.

60s. I was doing that, taking things with

is similar to this flag. Stephan von Huene to lacquer but it was very quick. I used oil

all of a sudden it just worked. I didn’t

a presence that is female, a safety pin, and becomes some sort of statement about women.

LF: Not really, I just like putting one color on there. Or a cloud or something that designates it as something else. Makes me concentrate, makes me feel like something that is more out there even though it is right here. I first started doing the, what do you call it? Return

Here [1959]. That had the stuff on the top of it, pictures. That’s kind of a combo of Jasper Johns’ target and Kienholz. I

PD: Why did you move away from this

saw this stuff. Would I have done that if I

black and white color palette?

wouldn’t have seen it?

L F:

A ll

early

paintings

were

monochromatic. In the 60s I used stripes and colors, but a lot of landscapes and

464 LLYN FOULKES THE LEG 1963 Lacquer and ink on bestile board Signed and dated “1963 foulkes” lower right LAMA would like to thank the artist for his assistance in cataloguing this work Image/Sheet: 28.5: x 12.25”; Frame: 33.5” x 17.125” Provenance:

279

P R IVATE C O L L EC TIO N , L A

J O L L A , C AL IFO R N IA ( AC Q UIR E D D IR EC TLY F R O M R O L F N E L S O N GAL L E RY, LO S AN GEL E S, C AL IFO R N IA , C 19 6 0 S )

$6,000-8,000

465 LLYN FOULKES BARBARA 1974 Oil and collage on photograph in artist’s frame Retains facsimile of David Stuart Galleries label verso LAMA would like to thank the artist for his assistance in cataloguing this work Image (vis.): 3.5” x 3.625”; Frame: 7” x 7” Provenance:

DAV ID STUART G ALLER -

IE S, LO S AN GE L E S, C ALI FOR NI A; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

Exhibited:

“ L LY N FO ULK ES, ” DAVI D STU -

ART GAL L E R IE S, LO S ANG ELES, 1 974

$5,000-7,000

466 GEORGE STANLEY THE HUMBLE WIFE c. 1940-45 Bisque ceramic Signed “George Stanley” near base Together with copy of letter from the estate 9.125” x 5.625” x 7” Provenance:

TH E GEORGE STA NL E Y

ESTAT E; PRIVAT E COLLECTION, PASA DENA , C A L IFO RNIA ( ACQ U IRED DIRECTLY FRO M T HE ABOV E)

$3,000-5,000

ALTERNATE VIEW

467 GEORGE STANLEY STANDING WOMAN c. 1950-55 Carved mahogany Signed “G. Stanley” Together with letter from the estate 36” x 9.5” x 8.5” A Los Angeles sculptor noted for his part in designing many of the famous sights of the city, Stanley is responsible for co-designing the 40-foot Astronomers Monument at the Griffith Park Observatory in Hollywood. He also designed the relief on the facade of the BullocksWilshire building in 1929. His most iconic work is designing the maquette for the Oscars award, still used by the Academy to this day. Provenance:

TH E GEO R GE STAN L E Y

E STATE ; P R IVATE C O L L EC TIO N , PASAD E N A , C AL IFO R N IA ( AC Q UIR E D D IR EC TLY F R O M TH E AB OV E )

$7,000-9,000

281 468 GEORGE STANLEY UNTITLED c. 1940-45 Carved wood Carved signature “G. Stanley” under base Together with copy of letter from the estate 12.5” x 4.75” diameter at base Provenance:

TH E GEOR G E STANLEY

E STATE ; P R IVATE C O L L EC TIO N, PASADENA , C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E )

$3,000-5,000

FRANK BOWERS Frank Howard Bowers (1905-1964) was an American painter and muralist born in California. He moved to Los Angeles during the Depression Era and was assigned to execute grand-scale murals for the WPA’s Federal Art Project as part of President Roosevelt’s New Deal program. Noteworthy commissions include a mural for the interior of the South Gate, California City Hall in 1941, and a series of murals for the Fruit Growers Exchange in Downtown Los Angeles (also known as the Sunkist Building, which has since been demolished) in the early 1930s. Aside from his involvement in the Federal Art Project he also leisurely painted several custom oil on canvas murals for bars and lounges in and around Long Beach and South Los Angeles. Some of the commissions were reportedly in exchange for his bar tab. This mural was executed for the interior of restaurateur Vivian Laird’s Restaurant and Jungle Room in Long Beach. Los Angelenos may find some of these tremendous murals in situ at the Veterans of Foreign Wars Hall and Buccaneer Lounge in Sierra Madre, Foc’sle Bar in Wilmington, and outside state lines at the Hard Hat Lounge in Las Vegas, Nevada.

469 FRANK BOWERS MURAL 1947 Oil on canvas Signed and dated “Frank Bowers/47” lower left 400” x 71” This mural was made for Vivian Laird’s Restaurant and Jungle Room in the Belmont Shore area of Long Beach, California. $18,000-25,000

DETAIL

283

DETAIL

470 JACK ZAJAC SMALL SKULL AFTER ORVIETO 1976 Patinated bronze From the edition of 12 Signed “Zajac” Together with exhibition catalogue 11” (12.5” with base) x 8.125” x 14” Provenance:

MEKLER GA LLERY,

LO S AN G ELES, CA LI FORNI A ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Exhibited:

“JACK ZA JAC SCU LPT U R E

RET RO S PECTI VE: 1955 -197 9, " FRE SN O A RTS CENT ER , FRESNO, NOVEMBER 23 -JA N UA RY 4, 1981

Illustrated:

JACK ZA JAC SCU LPTU R E

RET RO S PECTI VE: 1955 -197 9, EXH I B I T I ON CATALO G UE, LOS A NGELES: MEKL E R G A LLERY, 1 9 8 0, # 20.

$3,000-5,000

471 JACK ZAJAC METAMORPHOSIS 1960 Bronze Signed “Zajac”; retains inventory label and sticker under base 10” x 9” x 3” Exhibited:

“JACK ZA JAC: RETROSP EC T I VE

EXHIBIT ION, ” FINE A RTS GA LLERY OF SA N D IEG O, SAN DIEGO; SA NTA BA RBAR A M U S EUM O F A RT, SA NTA BA RBA RA , F E B R UA RY 1 5 - MAY 1 8 , 1975

Literature:

JACK ZA JAC: RETROSP EC T I VE

EXHIBIT ION CATA LOGU E, SA N DI EG O: F I N E ARTS G ALLERY OF SA N DIEGO, 197 5, #1 9.

$1,500-2,500

472 JOHN HARRISON LEVEE ABSTRACTION IN BLUE AND YELLOW 1958 Oil on canvas Signed “Levee 58” lower right; signed “Levee/January III/1958” verso; retains Art Transit, Paris and Arthur Lenars & Company, Paris labels verso Canvas: 51.5" x 38”; Frame: 53” x 39.5” Provenance:

JAN E T LEI G H AND TONY

C URTIS, LO S AN GE L E S ; JAMIE L E E C URTIS AND K ELLY CU RTI S, LOS AN GE L E S

$3,000-4,000

473 JOHN HARRISON LEVEE UNTITLED 1959 Oil on canvas Signed and dated upper left; signed and inscribed “July V./1959.” verso; retains partial labels “The International Removers Pitt & Scott Ltd Paris”; inscribed “Levee/Tony Curtis/c/o/ Schreiber + N. 13” verso Canvas: 28.5” x 36”; Frame: 29.5” x 37” Provenance:

JAN E T LEI G H AND TONY

C URTIS, LO S AN GE L E S ; JAMIE L E E C URTIS AND K ELLY CU RTI S, LOS AN GE L E S

$2,000-3,000

285

474 PAOLO VENINI RARE CANOA A MURRINE Model no. 4883 Venini, designed 1955, executed 1955-59 Fused glass murrines with wheel-carved surface finish 1” x 13.75” x 3.5” Literature:

VENINI DI AZ DE SA NT I L L A N A , A N N A , VE-

NIN I: CATA LOGU E RA I SONNÉ 1921- 1 9 86, M I L A N : SK I R A , 2 002, P 2 92.

$10,000-15,000

475 TOMASO BUZZI ALGA VASE

476 GIO PONTI CANE VASE

Model no. 3420 Venini, designed 1933 Blown glass 8.25” x 6.25” diameter

Venini, designed 1955 Glass Retains manufacturer’s three line acid stencil mark “venini murano ITALIA” 6.5” x 5.25” diameter

Literature:

VE N IN I D IAZ D E SAN TIL L AN A ,

V E N IN I DI AZ DE SANTI LL ANA ,

A N N A , VE N I N I : C ATALO GUE R AIS O N NÉ 19 2 1-

AN N A , V E N IN I: C ATALOG U E R AI SONNÉ 1 921 -

1 9 86, M I L A N : SK I R A , 2 0 0 2 , P 2 3 9.

19 8 6, MIL AN : S K IR A , 2002, P 99.

$4,000-6,000

$1,500-2,000

287

ILLUSTRATED OPPOSITE PAGE

477 PAOLO VENINI RARE INCISO OBELISK Model no. 453 Venini, designed 1954, this example executed 1956-66 Line-cut cased glass Retains manufacturer’s three line acid stencil mark “venini murano ITALIA” 18” x 3.5” diameter

478 FULVIO BIANCONI DUCK SCULPTURES (2)

19 8 6, MIL AN : S K IR A , 2 0 0 2 , P 2 9 2 .

Venini, designed 1954 Lattimo glass Each retains manufacturer’s three line acid stencil mark “venini murano ITALIA” 10” x 6.25” x 3.25”; 6” x 7.5” x 3.25”

$6,000-8,000

$2,500-3,500

Literature:

V E N IN I D IAZ D E SAN TIL L AN A ,

AN N A , V E N IN I: C ATALO GUE R AIS O N NÉ 19 2 1-

289

479 ATTRIBUTED TO PIETRO CHIESA CEILING LAMP Fontana Arte, designed c. 1934 Glass, painted and polished brass 41.25” x 17” diameter shade Provenance:

PRIVATE COLLECTI ON,

RO M E, ITALY (ACQ U IRED C 1940 S); P R IVAT E CO LLECTION, CA LIFORNI A ( ACQUIRED D I RECTLY FROM TH E A BOVE , C 1 9 95 )

Literature:

DEBONI, FRA NCO, FONTA N A

ART E: G IO PONTI, PI ETRO CH I ESA , M AX I NG RAND, T URIN: A LLEMA NDI & C, 2 01 3, P 1 9 (CO M PARABLE CEILI NG L A MP DES I G N S I L LUST RAT ED).

$4,000-6,000

480 ATTRIBUTED TO PIETRO CHIESA CEILING LAMP Fontana Arte, designed c. 1934 Glass, painted and polished brass 34.25” x 14” x 11.75” Literature:

DEBONI, FRA NCO, FONTA N A

ART E: G IO PONTI, PI ETRO CH I ESA , M AX I NG RAND, T URIN: A LLEMA NDI & C, 2 01 3, P 1 9 (CO M PARABLE CEILI NG L A MP DES I G N S I L LUST RAT ED).

$4,000-6,000

481 PIETRO CHIESA WALL APPLIQUES (2) Model no. 1537 Fontana Arte, designed c. 1940 Acid-frosted and sand-blasted glass, brass 11.25” x 3.75” diameter Provenance:

PRIVATE COLLECTI ON, R OM E ,

I TALY ( ACQUI RED C 1940 S); P R IVAT E CO LLECTION, CA LIFORNI A ( ACQUIRED D I RECTLY FROM TH E A BOVE C , 1 9 95 )

Literature:

DEBONI, FRA NCO, FONTA N A

ART E: G IO PONTI, PI ETRO CH I ESA , M AX I NG RAND, T URIN: A LLEMA NDI & C, 2 01 3, P 2 61.

$3,000-5,000

291

482 PIERO FORNASETTI EVE PLATES (12) Atelier Fornasetti, designed 1954 Glazed, transfer-printed china Each with printed manufacturer’s marks Each: 1” x 10.25” diameter Literature:

MAUR IÈS, PATR I CK , FOR NA-

S E T TI, D E S IGN E R O F D R EAM S, LONDON: TH AME S & H UD S O N , 1991 , P 238.

$2,000-3,000

483 GIO PONTI PORCELAIN VASES (2) Model nos. 834, 840 Doccia, executed c. 1925 Bisque porcelain hand-painted with gold colored highlights Each retains glaze marks “Doccia” and incised marks “M” 7.25” x 4.5” x 2.25”; 5.25” x 5.75” x 3” Literature:

RICH A RD - GINORI, CE R A M I C HE

MO D ERNE D’A RTE, MA NU FACTU RE R ’S C ATALO G UE, MI L A N: CA PIZZA NO, 1930, P 76 .

$4,000-6,000

DETAIL OF VERSO

293 484 GIO PONTI GLI AMANTI PLATE Richard-Ginori, designed 1925, executed 1928 Transfer-printed porcelain Retains mark “Richard-Ginori Pittoria di Doccia 1925”, “Richard * Ginori 28=1”, “Made in Italy” and “Gli Amanti 1925” LAMA would like to thank Oliva Rucellai at the Museo Richard-Ginori, Florence, for her assistance in the cataloguing of this work 1” x 13.25” diameter The unusual number of marks on an example of Richard-Ginori porcelain such as this, together with the date stamp for January 1928, indicate the possibility that the plate was made to be exhibited at the Quadriennale, Pesaro and Fiera Campionaria, Milan, 1928. Provenance:

P R IVAT E C OLLECTI ON, I TALY;

P R IVATE C O L L EC TIO N, U NI TED STATES; TH E N C E BY D E S C E N T

Literature:

R IC H AR D - G I NOR I , CER AM I C H E

MO D E R N E D’ARTE, MA NU FACTU R ER ’S CATALO GUE , MIL AN : C AP IZZANO, 1 930, P 30; L A P IE TR A , UGO, GIO P O NTI, M I L AN: R I ZZOLI , 19 8 8 , P 2 1.

$4,000-6,000

485 NANDA VIGO MANHATTAN FLOOR LAMP Arredoluce, designed 1972 Brushed and enameled steel 76” x 10” x 6.5” $4,000-6,000

486 AFRA & TOBIA SCARPA ARTONA CHAIR Maxalto, designed 1975 Palissander, leather upholstery Impressed with manufacturer’s mark 31” x 22” x 17” Literature:

GRA MIGNA , GU ILI A N A ,

1 950/ 1 9 8 0 REPERTORY: PICTU RE S A N D ID EAS REGA RDING TH E H I STORY OF I TA L I A N FURN IT URE, MIL A N: MONDA DORI, 1 9 85, P 415.

$2,000-3,000

487 GINO LORCINI HORIZONTAL ETUDE 1967 Aluminum #4 of 5 Signed and dated in marker verso; titled with edition verso; retains Gallery Moos label verso 14.75” x 31.5” $800-1,000

488 VLADIMIR TATLIN ARMCHAIRS (2) Nikol Internazionale, designed 1927 Chrome-plated steel, leather Each: 30” x 21” x 21.5” $3,000-5,000

489 AMBROGIO POZZI ART PIECES (7) Ceramica Franco Pozzi, designed c. 1968 Glazed ceramic Comprised of four tiles, one pyramid, one cylinder, one cube Each tile: 1” x 6” x 6”; Pyramid: 5.75” x 4.75” x 4.75”; Cylinder: 5.5” x 4.75” diameter; Cube: 4.25” x 4.25” x 4.25” $300-500

295

490 SORI YANAGI BUTTERFLY STOOL Tendo, designed 1954 Laminated teak, brass Printed mark “Made in Japan” 14.45” x 17.25” x 12” $1,500-2,500

491 SORI YANAGI ELEPHANT STOOLS (6) Yanagi, designed 1954 Fiberglass Each retains manufacturer’s label Each: 13.25” x 18.5 “x 17” $3,500-5,500

492 JUN KANEKO UNTITLED 1989 Glazed ceramic Signed and dated “Kaneko 89” verso 4.25” x 26” x 20.5” $2,000-3,000

493 ISAMU NOGUCHI CHILD’S CYCLONE TABLE Model no. 87 Knoll Associates, designed 1955, this example executed before 1967 Enameled steel, maple, laminate Retains “Knoll Associates” label 19.75” x 23.5” diameter Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 1 1 6.

$2,000-3,000

297

RUT BRYK During the late 1930s and early 40s, the Arabia ceramics factory found an increasing demand for pictorial tiles and wall reliefs. In order to respond to this demand, in 1943, artistic director of Arabia, Kurt Eckholm hired the talented graduate student printmaker and artist Rut Bryk, protégé of acclaimed art teacher Arttu Brummer. Unlike the other members of the factory’s design department, Bryk had no prior experience in the study or practice in the field of applied arts. Her exceptional skills in printmaking translated perfectly into the design of tiles and wall reliefs, the zenith of which came in her design for a monumental architectural wall relief for the Rosenthal Factory in Germany, 1960. In 1945 Rut Bryk married Tapio Wirkkala, and the two began a long and fruitful period of intense creative collaboration. During this period, Bryk's artistic style began to move away from the figurative to the abstract, of which this panel is an esquisite example. Aav, Marianne. Finnish Modern Design: Utopian Ideals and Everyday Realities 1930-1997. New Haven: Yale University Press, 1998, p 218. Print.

494 RUT BRYK WALL RELIEF Arabia, designed c. 1968 Glazed ceramic Impressed “Rut Bryk Arabia” lower center; bears inscriptions “Rut Bryk 'Rypale'/'Grappe'/Varahy” verso 43.25” x 43.25” x 3” $10,000-15,000

495 KARL HEINZ SCHULTZ-KÖLN WALL TILE Arabia, designed c. 1960 Glazed ceramic Signed “Schultz-Koln” 2” x 19.25” x 16.25” Karl Heinz Schultz-Köln was assistant to seminal Finnish ceramic artist Birger Kaipiainen from 1950-54. From 1954-62 he established and ran his own design department at Arabia. $1,500-2,000

496 PAAVO TYNELL CEILING LIGHT Taito Oy, designed c. 1950 Brass, fabric 51.5” (height adjustable); 35.5” diameter $8,000-12,000

299

497 ALVAR AALTO SIDE CHAIRS (6) Model no. 611 Artek, designed 1929 Birch, linen webbing Each: 31.5” x 19” x 18” Literature:

PA LL ASMA A , JU H A NI , A LVA R

A ALTO FUR NI TU RE, H EL SINKI: MU SE U M OF FINNIS H A RCH I TECTU RE, 1984, P 2 03.

$1,500-2,000

498 ALVAR AALTO SAVOY VASES (2) Model nos. 3031 (large), 9750 (small) Iittala, designed 1936, these examples executed c. 1950 Mold-blown glass Large example etched “Alvar Aalto 3030”; small example etched “Alvar Aalto” 11.75” x 12” x 11.5”; 6” x 8.25” x 6.5” Literature:

KELLEIN, TH OMAS, ALVA R

& AINO A A LTO, DESIGN COLLECTI ON BIS CHO FBERGER , OSTFI LDERN-R U I T: HATJ E CATZ , 2 005, P 211.

$500-800

499 TAPIO WIRKKALA SILVERMOON PENDANT Nilo Westerback & Kupittaan Kulta, designed 1970, this example executed 1971 Silver Retains stamped assay marks 9.625” drop x 2.5” diameter pendant Literature:

A AV, MARI ANNE, TAP I O WI R K-

KAL A: E Y E , H AN D AN D TH OU G H T, H EL SI NK I : TAID E TEO L L IS UUMUSEO, 2000, P 1 92.

$2,000-3,000

500 TAPIO WIRKKALA & TIMO SARPANEVA ART OBJECTS (4) Model nos. 3336 (dish), 3132 (vase), 3149 (Devil’s Pearl) Iittala, designed 1947, executed c. 1950s Free-blown and wheel-engraved glass Each etched “Tapio Wirkkala - Iittala”; Devil’s Pearl etched “Timo Sarpaneva Iittala - 54” Comprised of three line-cut works by Tapio Wirkkala and “Devil’s Pearl” by Timo Sarpaneva Dish: 2” x 5.5” x 4.5”; Dish: 2” x 5.25” x 4.75”; Vase: 2.75” x 2.75” diameter; Devil’s Pearl vase: 5.75” x 6.5” x 6.25” Literature:

F IN N IS H G L ASS: G L ASS M ANU -

FAC TUR E R S ’ B R O C H U R ES FR OM TH E 1 950S, R IIH IMÄK I: TH E F IN N I SH G L ASS M U SEU M , 19 9 4, P 11.

$2,000-3,000

301

501 DENNIS HOPPER ANDY WARHOL AND MEMBERS OF THE FACTORY 1963; printed 1994 Gelatin silver print Image/Sheet: 16” x 24”; Frame: 25” x 32.5” Provenance:

PRI VATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (GI FTED BY T HE ART IST, 1 994 )

Literature:

GILOY-H I RTZ, PETRA , DE N-

NIS HO PPE R : TH E LOST A LBU M: VI N TAG E PRIN TS FROM TH E SIXTIES, NEW YOR K : PREST EL , 20 12, P 61, # 130.

$7,000-9,000

502 DENNIS HOPPER BIKER COUPLE 1961; printed 1994 Gelatin silver print Signed and dated verso with inscription “For Robin Berg/Happy birthday/above and beyond the Call of Duty/Love Dennis/1961” Image/Sheet: 16” x 24”; Frame: 24.75” x 32.5” Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (GI FTE D BY T HE ART IST, 1994 )

$6,000-9,000

503 ROBERT LONGO UNTITLED (PL. 12 FROM MEN IN THE CITIES) 2005 Digital pigment print on Crane Portfolio rag paper #7 of 15 Signed and dated in pencil lower right; edition lower left Image: 40” x 26.5”; Sheet: 44” x 30.5”; Frame: 47.625” x 34.125” $5,000-7,000

504 ROBERT LONGO UNTITLED (FLAG) 2011 Digital pigment print #24 of 30 Signed and dated in pencil lower right margin beneath image; edition lower left Image: 30” x 19.5”; Sheet: 33.75” x 23.25”; Frame: 41.875” x 31.375” $5,000-7,000

303

505 SALLY MANN EASTER DRESS 1986 Gelatin silver print #7 of 25 Retains Houk Friedman gallery label on the frame verso; signed and dated with edition and title in pencil verso Image: 19.25” x 23.125”; Sheet: 20” x 23.5”; Sheet: 20” x 24”; Frame: 27.75” x 30.75” Literature:

MA NN, SA LLY, IMMEDI AT E

FAM ILY, NEW YORK: A PERTU RE, 19 9 2 , UN PAG IN ATED.

$6,000-9,000

506 CHUCK CLOSE UNTITLED (SELF-PORTRAIT) 1996 Digital inkjet print on Arches Aquarelle cold press paper Printer’s proof aside from the edition of 10 Signed in pencil lower margin beneath image; dated lower right; inscribed “P.P.” lower left Image: 39” x 32.375”; Sheet: 47” x 35”; Frame: 55.75” x 43.25” $6,000-8,000

507 MARILYN MINTER VAMP 2011 Chromogenic color print #2 of 25 Signed and dated with edition and title in black felt tip pen verso Image (vis.): 19.25” x 13”; Sheet: 20” x 16”; Frame: 26.75” x 20.25” $5,000-7,000

508 SHIRIN NESHAT I AM ITS SECRET (FROM THE MOCA PHOTOGRAPHY PORTFOLIO) 1993; printed 1999 Fujicolor crystal archive print From the unnumbered edition of 250 Published by the Museum of Contemporary Art, Los Angeles and Muse [X] Editions, Los Angeles Signed, titled, and dated in black felt tip pen lower center verso Sheet: 19.5” x 13”; Frame: 25.25” x 19.25” Provenance:

MUS E U M OF C ONTEM P OR ARY

ART LO S AN GE L E S STOR E, LOS ANG ELES, C AL IFO R N IA; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R ECTLY FR OM TH E AB OV E , C 2 0 0 0)

Literature:

DAB AS H I, H AM I D, AND ZAYA

O C TAV IA , S H IR IN N E SH AT/L AST WOR D, MIL AN : C H ARTA , 2 0 0 6, P 1 7; NOACK , R U TH , S H IR IN N E S H AT, AUST R I A: KU NSTH ALLE W IE N , 2 0 0 0, P 10.

$7,000-9,000

305

509 HIROSHI SUGIMOTO SEASCAPES (FROM TIME EXPOSED)(16) 1980-1990; published 1991 Tri-tone lithograph Each from the edition of 500 Each with title, date, and number debossed on mount in lower center margin North Sea Berriedale 1990, Tasman Sea Ngarupupu 1990, Pacific Ocean Iwate 1986, Sea of Japan Oki 1987, South Pacific Ocean Maraenui 1990, South Pacific Ocean Maraenui 1990, Pacific Ocean Oregon 1985, Sea of

Japan Oki 1987, Sea of Japan Oki 1987, Sea of Japan Hokkaido 1986, Arctic Ocean NordKapp 1990, Norwegian Sea Vesterlan Island 1990, South Pacific Ocean Waihau 1990, Mediterranean Sea Cassis 1989, Caribbean Sea Jamaica 1980, Tasman Sea Ngarupupu 1990 Each image: 9.5” x 12.25”; Each frame: 15.5” x 19.875” Provenance:

M E T R OP OL I TA N MUS E UM

OF A RT STOR E , N E W YOR K , N E W YO R K ; P R I VAT E C OL L EC T I ON , LOS A N GE L E S, C A L I FOR N I A (AC QU I R E D DI R EC TLY F R O M T HE A B OVE , 1 9 9 1 )

$15,000-20,000

510 ROBERT MAPPLETHORPE DESMOND 1983 Gelatin silver print #3 of 10 Retains estate stamp verso; retains Sean Kelly Gallery label verso Image (vis.): 14.875” x 14.875”; Sheet: 20” x 16”; Frame: 24.5” x 24.25” $5,000-7,000

307

511 WILLIAM WEGMAN LITTLE RED RIDING HOOD 1992 Large-scale color Polaroid Signed and dated lower right Image: 26” x 20.75”; Sheet (vis.): 28” x 21”; Frame: 39.5” x 32.5” $3,000-5,000

512 JULIUS SHULMAN PHOTOGRAPHS (13) 1947-1962 Gelatin silver and chromogenic color prints Each retains Orange County Museum of Art exhibition label verso Case Study #23 (Killingsworth, Brady & Smith, La Jolla, California, 1960), 1960; Case Study House #22 (Pierre Koenig, Los Angeles, 1959-60), 1960; Skinner House (Richard Neutra, Los Angeles, 1955), 1959; Frey Residence II (Albert Frey, Palm Springs, California, 1964), 1965; Case Study House #21 (Pierre Koenig, Los Angeles, 1958), 1958; Malin Residence (Chemosphere) (John Lautner, Hollywood, 1960), 1961; Kaufmann House (Richard Neutra, Palm Springs, 1946), 1947; Case Study House #20 (Bass House) (Buff Straub & Hensman, Altadena, California, 1958), 1958; Case Study House #22 (Pierre Koenig,

Los Angeles, 1959-60), 1960; Malin Residence (Chemosphere) (John Lautner, Hollywood, 1960), 1961; Case Study House #22 (Pierre Koenig, Los Angeles, 1959-60), 1960; “Dome” house (Bernard Judge, Los Angeles, 1960), 1962; Mobil Gas Station, Anaheim, 1957 Each framed (dimensions vary) Exhibited:

“B I RT H OF T HE C O O L , ” O R AN GE

C OU N T Y M U SE U M OF A RT, N E W P O RT B E AC H ; A DDI SON G A L L E RY OF A M E R I C AN ART, ANDOVE R ; OA K L A N D M U SE U M OF C AL IFO R N IA , OA K L A N D; B L A N TON M U SE U M O F ART, AUS T I N , OC TOB E R 7, 2 007- M A R C H 3 1, 2 0 0 9

Literature:

A R M ST R ON G , E L I Z AB E TH ,

B I RT H OF T HE C OOL : C A L I FOR N IA ART, D ESI G N , A N D C U LT U R E AT M I DC E N TURY, N E WP ORT B E AC H: OR A N G E C OU N T Y MUS E UM OF A RT, 2 007, P P 34 -35; L A O B S C UR A: TH E A R C HI T EC T U R A L P HOTOG R A P H Y O F J UL IUS SHU L M A N, 1 9 9 8, #2 3, #2 7.

$5,000-7,000

309

513 PAUL MCCOBB LOUNGE CHAIRS (2) From the Symmetric Group Widdicomb, designed 1962, these examples executed 1962-65 Walnut, upholstery Each retains manufacturer’s label Each: 31.5” x 27” x 27” $4,000-6,000

514 PAUL MCCOBB SIDEBOARD Model no. 1510, from the Planner Group Winchendon Furniture Co., designed 1952 Maple, enameled steel rod 33” x 72” x 18” Literature:

SMI TH , TOBI , MODER N DE SI G N ,

T HE FABULOU S 50 S, ATGLEN: SCHI F F E R PUBL IS HING LTD, 20 0 2, P 58.

$3,000-5,000

515 PAUL MCCOBB STOOL Model no. 1306 Directional Manufacturing Co., designed 1956 Steel, vinyl 16.5” x 20.5” x 20.5” Literature:

DI RECTIONA L DESIG N S: PAU L

MCCO BB, CATA LOGU E, 1956, P 81.

$500-800

516 OLE WANSCHER COFFEE TABLE Poul Jeppesen, designed c. 1955 Brazilian rosewood Branded mark “PJ” 21.5” x 43.5” diameter Provenance:

S E R GE L ANG , BER K ELEY,

C AL IFO R N IA; TH E N C E BY DESCENT

$2,000-3,000

311

517 VLADIMIR KAGAN CHAIRS (4) Model no. 175A (side chairs) Kagan-Dreyfuss, Inc., designed 1950 Mahogany, upholstery Comprised of two armchairs and two side chairs Each armchair: 34.75” x 25” x 23”; Each side chair: 34.75” x 23” x 19.5” Literature:

KAGAN , V L ADI M I R , TH E COM-

P L E TE KAGAN : A L IF E OF AVANT- G AR DE D E S IGN, N E W YO R K : POI NTED LEAF P R ESS, 2 0 0 4, P P 111, 2 6 5 .

$3,000-5,000

518 ATTRIBUTED TO VLADIMIR KAGAN BIOMORPHIC COFFEE TABLE Unknown manufacturer, c. 1958 Walnut, glass 16.25” x 84” x 44.5” $3,000-4,000

519 J. R . DAVIDSON LOUNGE CHAIRS (2) Manufacturer unknown, c. 1950 Teak, wool upholstery 29” x 32.5” x 29.5” A pair of similar club chairs are featured in Julius Shulman’s photograph of the interior of The Kingsley residence from 1947. The only visible difference between these examples and those in the photograph is the leg configuration. The chairs from 1947 feature legs of a squared section, and these are of a conical form. Provenance:

TH E KINGSLEY RES I DE N C E ,

PACIFIC PALISA DES, CA LI FORNI A ; T HE N C E BY D ES CENT

$800-1,200

520 DONALD SULTAN VISUAL POETICS 1998 Black leather portfolio with text, illustrations, and 6 loose color screenprints #105 of 395 Published and printed by Marco Fine Arts Contemporary Atelier, El Segundo Each of the six loose prints are signed in pencil lower right; edition lower left with blind stamp; frontispiece with edition lower center With poetry by Robert Creeley and text by Michael McKenzie Together with certificate of authenticity from the publisher Portfolio: 22.5” x 17.5”; Each loose sheet: Image: 14.25” x 14.24”; Sheet: 16.25” x 16.25” $3,000-5,000

313

521 DONALD SULTAN RED FLOWERS (FROM FRUITS AND FLOWERS PORTFOLIO) & PEPPERS, MAY 30, 1989 (2) 1989 Color screenprint on Arches 88 paper #8 of 125 and #51 of 100 Published by Parasol Press, New York; printed by Katsumi Suzuki, Watanabe Studio, New York A: Signed, dated, and inscribed in pencil center left “Flowers April 1989 D.S.”; edition lower right; “Peppers” and “Untitled” (Fruits and Flowers portfolio) B: Signed, dated, and inscribed in pencil center left “Peppers May 30, 1989 D.S.”; edition lower right A: Image: 12” x 12”; Sheet: 23” x 22”; Frame: 26.125” x 25.125”; B: Image: 12” x 12”; Sheet: 23” x 22”; Frame: 25.5” x 24.5” Literature:

WAL K E R , B AR RY, DONALD SU L-

TAN : A P R IN T R E TR O SP ECTI VE, NEW YOR K : R IZ ZO L I, 19 9 2 , # 49 - 50.

$2,000-3,000

522 ARNALDO POMODORO CRONACA 6 1978 Embossing on Fabriano paper #46 of 90 Published and printed by 2RC Edizioni d’Arte, Rome Signed in pencil lower right; edition lower left Together with original invoice Image/Sheet: 38.5” x 27”; Frame: 41.75” x 30.125” Provenance:

MA RLBOROU GH GAL L E RY,

NEW YO RK , NEW YORK; PRIVAT E COLLECTI ON, LOS A NGEL E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOV E, 1978)

$1,200-1,500

523 NOVELLO FINOTTI SGABELLO ANATOMICO 1985 Bronze Together with gallery exhibition catalogue 19.125” x 11.75” x 12” Provenance:

GA LLERI A BOCCH IN I ,

V ERO NA , I TA LY; PRIVAT E COLLECTI ON, LOS A NGEL E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOV E, 1986)

Exhibited:

“ NOVELLO FINOT TI : STA L DE

LE V ECIE,” GA LLERIA BOCCH INI , VE R ON A , O CTO BER 1986

Illustrated:

FINOT TI , NOVELLO, N OVE L LO

FIN OT T I STA L DE LE VECIE, VERO N A : G A LLERIA BO CCH INI , 1986, # 11.

$3,000-5,000

524 HENRY GUERRIERO UNTITLED (3) 1968-71 Pen and ink on vellum and bronze sculpture A: Incised initials “H.G”; B: Incised “H. Guerriero”; C: Retains artist’s label verso A: Hedonist Organ: Pipes Um-m-m-m; B: In Case of Accident Call 0-0-0-0-0-9; C: Never Knock a Good Sport Together with 1968 exhibition catalogue A: 10.75” (11.75” with base) x 8.75” x 4.5”; B: 17” (20.25” with base) x 10” x 11”; C: Image: 15.25” x 11.5”; Sheet: 23.75” x 18”; Frame: 24.125” x 18.25” Exhibited:

“ H ENRY GU ERRI ERO, ” SI LVA N

S IMO NE GA LLERY, LOS A NGELES, M AY 5 - MAY 24 , 1968

Illustrated:

H ENRY GU ERRI ERO, E XHI B I-

T IO N CATA LOGU E, LOS A NGELES: SI LVA N S IMO NE GA LLERY, 1968, # 8, # 27.

$2,000-3,000

525 KIP DECKER COASTAL POSTAL 1969 Oil on shaped canvas Initialed and dated upper right Together with original invoice Canvas: 34.125” x 70.75”; Frame: 72.75” x 35.875” Provenance:

E STH E R BEAR G ALLERY,

SAN TA B AR B AR A , C ALI FOR NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , O C TO B E R 1 969)

$1,000-1,500

526 HANS BURKHARDT UNTITLED 1972 Pastel on paper Signed and dated in pencil Image/Sheet (vis.): 21” x 16”; Frame: 27.25” x 22.25” $800-1,200

527 REX CLAWSON UNTITLED (2) 1955 Mixed media on paper A: Signed lower center; dated lower right A: Untitled (Woman Singing); B: Untitled (Four Figures) A: Image/Sheet: 19.75” x 12”; Frame: 24.25” x 16.325”; B: Image/Sheet: 19” x 27.25”; Frame: 23.75” x 31.875” $1,000-1,500

315

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

528 SILVA PRIETTO TWO RAVENS Oil on Masonite Signed “Silva” lower right; retains Los Angeles County Museum of Art label verso Masonite: 35.75” x 24”; Frame: 39” x 27.25” Provenance:

LOS A NGELES COUN T Y

MUS EUM OF A RT

$2,000-3,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

529 PEGGY CHRISTIANSON UNTITLED Oil on Masonite Signed “Peggy Christianson” lower right Masonite: 29.75” x 39.75”; Frame: 31.5” x 41.5” Provenance:

LOS A NGELES COUN T Y

MUS EUM OF A RT

$2,000-3,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

530 MARIE DICK INTEGRATION Oil on burlap Initialed “M.D” lower right; retains Los Angeles County Museum of Art label verso Burlap: 26” x 36”; Frame: 31” x 41.25” Provenance:

LOS A NGELES COUN T Y

MUS EUM OF A RT

$2,000-3,000

531 TOM HOLLAND UNTITLED 1961 Oil relief on wood Signed and dated verso; inscribed “TH72/55/61” verso; retains Lanyon Gallery stamp verso 44” x 34” Exhibited:

L AN YO N G ALLERY, PALO ALTO,

19 6 3

$5,000-7,000

Sold by the Los Angeles County Museum of Art to benefit future acquisitions

532 JESSE JACOBS UNTITLED 1960 Oil on cut canvas collage Signed and dated in pencil “JJ60” lower right; signed and dated “Jacobs 60” verso Provenance:

LO S ANG ELES C OU NT Y

MUS E UM O F ART

$2,000-3,000

533 JACQUES DUPONT GEOMETRIC ABSTRACTION WITH BICYCLE RIDERS 1955 Oil on canvas Signed and dated lower right Canvas: 18.25” x 22”; Frame: 19.25” x 23.25” Provenance:

JAN E T LEI G H AND TONY

C URTIS, LO S AN GE L E S ; JAMIE L E E C URTIS AND K ELLY CU RTI S, LOS AN GE L E S

$500-1,000

317

534 DON SORENSON #5 1984 Oil on canvas Signed, titled, and dated in pencil “Untitled #984/Don Sorenson/1984” verso Together with original invoice Canvas: 57.25” x 96” Provenance:

JEN- GEN GA LLERY,

BEV ERLY H ILL S, CA LI FORNI A ; PRIVAT E COLLECTI ON, LOS A NGEL E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOV E, MA RCH 1985 )

$5,000-7,000

535 GUY WILLIAMS ‘EM 1979 Oil on cut out paper applied to six painted wood panels Signed, titled, and dated on the panels verso Approximately 178.25” x 80” $8,000-12,000

536 LARRY BELL MIRAGE PAINTING #224 1990 Mixed media on canvas Signed and dated “L.Bell ‘90” verso; retains EVO Gallery label verso Together with signed photograph of the painting Canvas: 42.25” x 41.25” $3,000-5,000

319

537 JIM MORPHESIS BRUISED HEARTS 1997 Oil, enamel, charcoal, collage, and gold leaf on two affixed wood panels Signed and dated with title verso Overall: 30.25” x 36” $2,000-3,000

351 THEODORE HANCOCK UNTITLED 1939 Watercolor on paper Bears the inscription in pencil “Theo Hancock ’39/Exhibited at San Francisco Museum of Art 1939” in pencil verso Sheet: 15.25” x 22.5”; Frame: 21.375” x 28.5” The National Aeronautics and Space Administration (NASA) commissioned 538 the artist to document FLORENCE KNOLLtheir space program in 1964. PARTNERS DESK Hancock’s studies of NASA’s space initiatives are now in the Knoll International, designed c. 1961, Smithsonian’s collection. this example executed c. 1980 Oak, chrome-plated steel $3,000-4,000 28.5” x 72” x 38” $3,000-5,000

539 FLORENCE KNOLL CREDENZA Knoll International, designed 1961, this example executed c. 1980 Oak, chrome-plated and enameled steel 25.5” x 74.5” x 17.75” $3,000-5,000

DETAIL OF LABEL

540 FLORENCE KNOLL BEDROOM UNIT Model nos. 329-1 (suspended vanity), 324-1 (four drawer chest), 62 (stools) Knoll Associates, designed 1960, these examples executed before 1967 Walnut, laminate Chest retains manufacturer’s label Together with two Eero Saarinen stools Vanity and chests: 29.25” x 100” x 19.5”; Stools: 15.25” x 28” x 18” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 1 4 0,

$4,000-6,000

321

541 FLORENCE KNOLL LOUNGE SUITE (5) Model nos. 67 (sofa), 65 (chair), 2514MC (end tables), 167MW (oval table) Knoll International, designed 1958, manufactured 1958-75 Steel, fabric, enameled aluminum, marble Comprised of sofa, two chairs, and two end tables Together with Eero Saarinen oval coffee table Sofa: 32” x 85” x 28”; Each chair: 32” x 28” x 28”; Oval table: 15.5” x 54” x 36”; End tables: 16.5” x 30” x 30” Literature:

ROU L A ND, STEVEN & L I N DA ,

KNO LL FU RNI TU RE 1938 -1960, ATG L E N : S CHIFFER PU BLI SH ING LTD, 20 05, P P 9 4 , 95, 1 2 3 .

$12,000-15,000

542 AMERICAN MODERN LOUNGE CHAIRS (2) Model no. 95-2 Knoll Associates, designed 1954 Walnut, upholstery Each: 32” x 31.25” x 30.5” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 7 9.

$1,500-2,000

323 543 HARRY BERTOIA LARGE DIAMOND CHAIR AND OTTOMAN (2) Model nos. 422LU (chair), 424C (ottoman) Knoll Associates, designed 1954 Enameled steel wire, upholstery Chair: 27.5” x 44.25” x 34.75”; Ottoman: 14.75” x 24” x 17.5” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 75.

$600-800

544 FLORENCE KNOLL COFFEE TABLE Model no. 2518MC Knoll Associates, designed c. 1955 Chrome-plated steel, marble 17.25” x 36” x 36” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 95.

$1,000-1,500

545 FLORENCE KNOLL BENCHES (2) Model no. 2530-6 Knoll International, designed 1961, these examples executed after 1967 Steel, leather Each retains manufacturer’s label Each: 18” x 73” x 18.5” Literature:

SCH IFFER , NA NCY, K N OL L

HO ME & OFFI CE FU RNI TU RE, ATGL E N : S CHIFFER PU BLISH ING LTD, 20 0 6 , P 95.

$2,500-3,500

546 FLORENCE KNOLL T ANGLE COFFEE TABLES (3) Model no. 307 1/2 (rectangular table) Knoll Associates, designed 1952 Enameled steel, laminate Comprised of rectangular and two square coffee tables Each square table: 16” x 24” x 24”; Rectangular table: 16” x 45” x 23” Literature:

ROU L A ND, STEVEN & L I N DA ,

KN O L L FU RNI TU RE 1938 -1960, ATG L E N : S CHIFFER PU BLISH ING LTD, 20 05, P 1 1 1 .

$1,000-1,500

547 FLORENCE KNOLL TABLE Model no. 327-1S Knoll Associates, designed 1956 Walnut, laminate 18” x 19.5” x 19.5” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 960, ATG LEN: S C H IF F E R P UB L IS H IN G LTD, 2005, P 1 4 1 .

$700-900

548 FLORENCE KNOLL CHEST Model no. 136 Knoll Associates, designed 1953 Maple, painted wood, enamled steel 28” x 36” x 18” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 1 34 .

$800-1,000

325 549 FLORENCE KNOLL TWIN HEADBOARDS (2) Model no. 740C Knoll Associates, designed 1956, these examples executed before 1967 Cane, walnut One example retains manufacturer’s label Each: 26” x 40” x 2” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P 1 4 1 .

$600-900

550 JENS RISOM LOUNGE CHAIRS (2) Model no. 652W Knoll Associates, designed 1941 Birch, fabric webbing Each: 28.75” x 24” x 27” Literature:

ROU L A ND, STEVEN & L I N DA ,

KNO LL FUR NI TU RE 1938 -1960, ATG L E N : S CHIFFER PU BLI SH ING LTD, 20 05, P 37.

$1,500-2,000

551 EERO SAARINEN WOMB CHAIR AND OTTOMAN (2) Model nos. 70 (chair), 74 (ottoman) Knoll International, designed 1947, this example executed after 1967 Chrome-plated steel, wool Each retains manufacturer’s tag Chair: 34.5” x 38.5” x 38”; Ottoman: 16” x 19.5” x 17.5” Literature:

LU TZ, BRIA N, KNOLL : A

MO D ERN U NIVERSE, NEW YORK: R I ZZOL I , 2 01 0, P 1 1 6.

$1,500-2,000

552 EERO SAARINEN WOMB CHAIR AND OTTOMAN (2) Model nos. 70 (chair), 74 (ottoman) Knoll Associates, designed 1947, these examples executed before 1967 Chrome-plated steel, wool Each retains manufacturer’s tag Chair: 34.5” x 38.5” x 38”; Ottoman: 16” x 19.5” x 17.5” Literature:

LU TZ, BRIA N, KNOLL : A

MO D ERN U NIVERSE, NEW YORK: R I ZZOL I , 2 01 0, P 1 1 6.

$1,500-2,000

553 AMERICAN MODERN STEREO (2) Knoll Asssociates, designed c. 1960 Walnut, chrome-plated steel, painted wood, marble Custom stereo with two Knoll bases and a marble top 37.5” x 60” x 15.5”; 30” x 60” x 15.75” $3,000-5,000

554 EERO SAARINEN DINING SUITE (6) Model nos. 172F (table), 151U (chairs) Knoll Associates, designed 1955-56, these examples executed before 1967 Enameled aluminum, fiberglass, upholstery Table retains manufacturer’s label Comprised of a dining table and five “Tulip” side chairs Table: 28.75” x 35.75” diameter; Each chair: 31.75” x 20” x 17.5” Literature:

R O UL AN D, STEVEN & LI NDA ,

K N O L L F UR N ITUR E 1938 -1 96 0, ATG LEN: S C H IF F E R P UB L IS H ING LTD, 2005, P P 6 4 , 12 2 .

$1,500-2,000

327

555 FLORENCE KNOLL & EERO SAARINEN PEDESTAL DESK AND CHAIRS (3)

NOT ILLUSTRATED 556 FLORENCE KNOLL TWIN HEADBOARDS (2)

NOT ILLUSTRATED 557 FLORENCE KNOLL TWIN HEADBOARDS (2)

Model nos. 1503E (desk), 72 P*PSB (side chair), 72U*UPC (armchair) Knoll Associates, designed 1948-55 Walnut, steel, fiberglass, upholstery Desk: 29” x 50” x 30”; Side chair: 31” x 21.5” x 16.5”; Armchair: 32" x 26.5" x 19.75"

Model no. 740WP Knoll Associates, designed 1956, these examples manufactured before 1967 Laminate, walnut One example retains manufacturer’s label Each: 32.5” x 36.5” x 2”

Model no. 740C Knoll Associates, designed 1956, these examples manufactured before 1967 Cane, walnut One example retains manufacturer’s label Each: 26” x 40” x 1.5”

Literature:

ROU L A ND, STEVEN & L I N DA ,

R OU L A N D, ST E V E N & L IN DA ,

R O UL AN D, STE V E N & L IN DA ,

KNO LL FU RNI TU RE 1938 -1960, ATG L E N :

K N OL L F U R N I T U R E 1 938 - 1 9 60, ATGL E N :

K N O L L F UR N ITUR E 193 8 -19 6 0, ATGL E N :

S CHIFFER PU BLI SH ING LTD, 20 05, P P 51 ,

SC HI F F E R P U B L I SHI N G LT D, 2 0 05 , P 141.

S C H IF F E R P UB L IS H IN G LTD, 2 0 05 , P 141.

1 5 2.

$600-900

$1,800-2,500

558 OLGA LEE RARE TABLE LAMP Ralph O. Smith, designed c. 1949 Enameled steel 26.25” x 19” x 13” Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 18 7 9 -1959, COLOG NE: TAS C H E N , 2 0 05 , P 410.

$2,500-3,500

559 CHARLES & RAY EAMES CATS CRADLE CHAIR Model no. LKR-2 Herman Miller, designed 1951, this example executed before 1957 Enameled wire, upholstery Retains manufacturer’s label 25.5” x 19” x 15” $800-1,200

560 GEORGE NELSON STEERING WHEEL WALL CLOCK Model no. 4756 Howard Miller, designed 1949 Enameled steel, brass Retains manufacturer’s label 2.75” x 12.25” diameter Literature:

E IS E N B R AND, JOCH EN,

GEO R GE N E L S O N : AR CH I TECT, WR I TER , DES IGN E R , TE AC H E R , W EI L AM R H EI N: VI TR A D E S IGN MUS E UM, 2 0 08, P 284 .

$600-900

329

561 CHARLES & RAY EAMES DINING TABLE AND CHAIRS (3) Model nos. DTW-3 (table), DCM (chairs) Herman Miller, designed 1951 Laminated ash, birch, chrome-plated steel Table retains Herman Miller label; one chair with Herman Miller/Evans Products Co. label Table: 28.75” x 54” x 34.25”; Each chair: 30” x 19.5” x 21” Literature:

NEU H A RT, JOH N & M A R I LYN ,

EAMES DESIGN: TH E WORK OF THE OF F I C E O F CHARLES A ND RAY EA MES, NE W YOR K : ABRAM S, 1989, P 14 7.

$2,500-3,500

562 CHARLES & RAY EAMES LOUNGE CHAIRS (2) Model no. LCW Herman Miller/Evans Products Co., designed 1945, executed c. 1948 Laminated ash Each retains Evans Products Co./ Herman Miller label Each: 26.5” x 22” x 22” Literature:

N E U HA RT, J OHN & MAR ILY N ,

E A M E S DE SI G N : T HE WOR K O F TH E O F F IC E OF C HA R L E S A N D R AY E A M E S, N E W YO R K : A B R A M S, 1 9 89, P 7 2 .

563 HARRY BERTOIA SMALL DIAMOND CHAIR AND OTTOMAN (2)

$3,000-4,000

Model nos. 422L (chair), 424C (ottoman) Knoll Associates, designed 1952, these examples manufactured before 1967 Enameled steel wire, upholstery Chair and ottoman retain manufacturer’s labels Chair: 30.25” x 34” x 32”; Ottoman: 14.75” x 24” x 17.5” Literature:

ROU L A ND, STEVEN & L I N DA ,

KN O L L FU RNITU RE 1938 -1960, ATG L E N : S CHIFFER PU BLI SH ING LTD, 20 05, P 7 5.

$300-500

564 ISAMU NOGUCHI RUDDER COFFEE TABLE Model no. IN-52 Herman Miller, designed 1944 Birch veneer, zinc-plated steel 15.75” x 50” x 36” $5,000-7,000

565 LUDWIG MIES VAN DER ROHE BRNO CHAIRS (6) Model no. 255CS Knoll International, designed 1929 Chrome-plated steel, fabric upholstery Each: 32” x 23” x 21” $2,500-3,500

331 566 JORGE FERRARI HARDOY, ANTONIO BONET & JUAN KURCHAN BUTTERFLY CHAIRS (2) Possibly Knoll Associates, designed 1938, these examples executed c. 1947-51 Enameled steel, canvas Each: 34” x 32.75” x 29.75” $800-1,200

567 LE CORBUSIER , CHARLOTTE PERRIAND & PIERRE JEANNERET CHAISE LOUNGE Model no. LC4 Cassina, designed 1928; this example c. 1980s Chrome-plated and enameled steel, leather, pony skin Retains manufacturer’s label 28” x 63” x 24” $1,500-2,000

Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed in this catalogue to be sold by Modern Auctions, Inc. (L.A. Modern Auctions or “LAMA”). We are acting as an agent on behalf of our consignors.

PAYMENT All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request, please phone (323) 904-1950. If payment is not received by October 23rd, collection and storage fees will begin incurring immediately.

BUYER’S PREMIUM A buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 22.5% if payment by cash, check, or bank wire is received by October 23rd. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card or if full payment is not received by October 23, 2013. (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail).

CALIFORNIA SALES TAX Sales tax of 9% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied.

ESTIMATES & RESERVES The estimates printed after each lot should be used as a guide only and should not be relied upon as a prediction of final selling prices. Many of the lots offered for sale carry a reserve and are confidential. The reserve is a minimum price at which the seller has agreed to let the auctioneer sell the property.

CONDITION EVERYTHING IS SOLD IN “AS-IS” CONDITION. No statement regarding condition of any item, whether it is made orally at the auction or at any other time or in writing in this catalogue shall be deemed to be a warranty, representation, or assumption of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate. Photographs of any lots not illustrated can be found on our website LAMODERN.com.

COLLECTION AND STORAGE ALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON OCTOBER 25TH. Purchases not removed by October 25th will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing; the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDING We encourage you to attend the sale in-person. However, if you can not attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an “Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, October 12th by 5:00 p.m. (PST) via fax to (323) 904-1954 or scan and sent via email to: shannon@lamodern.com. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful. All successful absentee/phone bids should be notified by phone by October 15th. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc.

Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who can not come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc., reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale.

GUARANTEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in BLUE type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc., in any descriptions such as title, color, method of construction, and type of materials. Any lot using the terms “attributed,” “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility of reading all addendums and posted corrections to the catalogue prior to bidding.

RESCISSION Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyers sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping, and storage costs will not be reimbursed. Modern Auctions, Inc. is not liable for any costs, such as expert's and attorney’s fees. If the item is authentic, as stated in the Modern Auctions, Inc. catalogue, then the purchaser shall bear Modern Auctions, Inc.’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from Modern Auctions, Inc. Once the item is resold, then all rights and liabilities of Modern Auctions, Inc. regarding authenticity end. THE PURCHASER’S SOLE AND EXCLUSIVE REMEDY AGAINST MODERN AUCTIONS, INC. FOR ANY REASON IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert's fees, attorney’s fees, and other costs.

RIGHTS TO PHOTOGRAPHS It is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted by Modern Auctions, Inc. Buyers do not acquire the rights to reproduce any images in any form. All images and text contained in this catalogue are the sole property of Modern Auctions, Inc., and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 7900405194

Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406

NOW ACCEPTING CONSIGNMENTS

FEBRUARY 2014 333

PETER LOUGHREY 323 -904 -1950 | PETER@LAM O DER N .CO M

Aalto, Alvar 497-98 Abakanowicz, Magdalena 430 Albers, Josef 209, 219 Altoon, John 269 Ames, Jean Goodwin 332 Anuszkiewicz, Richard 204-205, 220 Arad, Ron 281 Arnoldi, Charles 256 Austin, Marilyn Kay 173 Avila 84

Baldessari, John 457-58 Barton, Loren 319, 323 Baughman, Milo 43 Behrens, Peter 130 Bell, Larry 536 Bengston, Billy Al 254-55 Benjamin, Karl 19-21 Berger, Ueli 234 Bertoia, Harry 543, 563 Bianconi, Fulvio 478 Bill, Max 417 Bitters, Stan 168-70 Bleckner, Ross 433 Blunk, J.B. 262 Borenstein, Martin 214 Bowers, Frank 469 Bowling, Mary 353 Brackney, Bill 453-54 Braque, Georges 385-86 Brazier Jones, Mark 305 Brown, William Theo. 72-73 Bryk, Rut 494 Bufano, Beniamino 289 Buff, Conrad 124 Buffet, Bernard 391 Burden, Chris 459 Burkhardt, Hans 526 Burton, Elizabeth 114-16 Buzio, Lidya 88 Buzzi, Tomaso 475

Campbell, Roger 68 Capron, Roger 397 Cardin, Pierre 210 Castañeda, Felipe 82-83 Catlett, Elizabeth 98 Chagall, Marc 392-93 Charlot, Jean 86 Chevallier, Jacques Le 382 Chiesa, Pietro 479-81 Chinas, Joaquin 346 Christianson, Peggy 529 Clawson, Rex 527 Close, Chuck 506 Cocteau, Jean 390 Cohen, Larry 74-75 Colen, Dan 449 Cooke, Betty 212 Cora, Vladimir 101 Corita, Sister Mary 279 Coronel, Pedro 92-93 Cowles, Russell 320-21 Cressey, David 176-77

Davidson, J. R. 519 Davy, Woods 178 de Lempicka, Tamara 383 Demaine, George F. 113 de Pas, Jonathan 202 Decker, Kip 525 Deeds, Douglas 172 di Suvero, Mark 306-307 Dick, Marie 530 Diebenkorn, Richard 65-66 Dine, Jim 200 Dixon, Harry St. John 119-21 Dole, William 276 Dupont, Jacques 533 Dzama, Marcel 450-51

Eames, Charles & Ray 1-3, 559-62

Edmondson, Leonard 265 Ellsworth, David 286 Engel, Jules 237 Espenet Carpenter, Arthur 32-33 Etrog, Sorel 400 Evans, Paul 303-304 Ewing, Edgar 342-43

Falkenstein, Claire Field, Jason Fields, Edward Finotti, Novello Flores, Gene Follis, John Fon, Jade Fornasetti, Piero Foulkes, Llyn Francis, Sam Frankl, Paul Frary, Michael Frey, Viola

Gehry, Frank O. Girard, Alexander Gluckmann, Grigory Goode, Joe Graham, Robert Grossman, Greta Guerriero, Henry

211 322 213 523 34 174-75 351 482 463-65 250-53 54 350 35 284-85 12-14 341 271 244-46 44-46 524

Hadzi, Dimitri 399 Haines, William “Billy” 142 Hambleton, Richard 434-35 Hammersley, Frederick 15-18 Hansen, Severin 423 Hardoy, Jorge Ferrari 566 Hartman, Bertram 134 Hartman, Cedric 226 Heino, Otto 38 Hicks, Sheila 452 Hockney, David 239-43 Holland, Tom 531 Hopfer, Hans 288 Hopper, Dennis 501-502 Hoyos, Ana Mercedes 97

Indiana, Robert Iturbide, Graciela

455 100

Jacobs, Jesse 532 Jacobsen, Arne 415-21 Janin, Louise 315 Jarvaise, James 69-70 Jenkins, Paul 31 Johanson, Chris 436 Johns, Jasper 456 Johnson, Jocko 39 Johnston, Ynez 25-27 Jones, Charles Hollis 232-33 Juhl, Finn 424-25

Kagan, Vladimir Kaneko, Jun Karasz, Ilonka Katavalos, William Kelly, Ellsworth Kienholz, Ed Kirk, Jerome Kjaerholm, Poul Knoll, Florence Knoop, Guitou Koons, Jeff Kuhn, Walt

Lacroix, Boris-Jean Lamb, Walter Lamotte, Bernard Landacre, Paul Lautner, John Le Corbusier

517-18 492 135 222-25 194-95 461-62 179 410 538-49 555-57 308 443-44 131 405 153-67 340 316 152 567

Lee, Olga Leland, Malcolm Levee, John Levine, Francis Lewitt, Sol Lichtenstein, Roy Limbert, Charles Lobo, Baltasar Longo, Robert Lorcini, Gino Lukens, Glen Lutz, Dan Lynch, K.

558 40-42 472-73 112 206-207 187-91 128 407-409 503-504 487 325-27 347-49 278

Maher, George Washington 117 Manker, William 330 Mann, Sally 505 Mapplethorpe, Robert 510 Marden, Brice 208 Martin, Charles 132 Martínez, Alfredo Ramos 344-45 Mathieu, Georges 401 Maxwell, Robert 171 McArthur, Warren 138 McCobb, Paul 513-15 McGee, Barry 439 McIntosh, Harrison 263 Meda, Alberto 283 Merida, Carlos 90 Mies van der Rohe 565 Miller, Barse 318 Minter, Marilyn 507 Miro, Joan 388 Mogensen, Borge 413 Montoya, Gustavo 109 Morales, Armando 91 Morphesis, Jim 537 Moses, Ed 270 Moskowitz, Robert 460 Motherwell, Robert 196-97 Mouille, Serge 403-406 Moulthrop, Philip C. 287 Murakami, Takashi 440-42

Nakashima, George 292-99 Natkin, Robert 30 Natzler 55-64, 333-37 Nelson, George 7-11, 560 Neshat, Shirin 508 Newman, Arnold 377 Newson, Marc 282 Nierman, Leonardo 104-105 Noguchi, Isamu 493, 564 Nolde, Emil 317

Ochoa, Jorge 106-108 Ohlson, Doug 432 Oldenburg, Claes 198-99 Onslow-Ford, Gordon 280 Orlando, Felipe 102

Palencia, Ceferino 85 Panton, Verner 215 Parzinger, Tommi 136 Paval, Philip 314 Pearson, Roland 5 Perez, Enoc 94-95 Perriand, Charlotte 398 Pettibon, Raymond 438 Pettibone, Richard 22-24 Pettibone, Shirley 137 Picasso, Pablo 354-81 Platner, Warren 227-29 Polifka, Bernyce 221 Polk, Pauline 352 Pomodoro, Arnaldo 522 Ponti, Gio 476, 483-84 Popp, Horia 96, 110 Portanier, Gilbert 396 Potter, Horace 122 Powell, Phillip Lloyd 300-302 Pozzi, Ambrogio 489 Price, Ken 267-68

Prietto, Silva Purkiss, Myrton

528 328-29

Rauschenberg, Robert 247-49 Ray, Man 387 Reiss, Roland 230-31 Renk, Merry 290-91 Risom, Jens 550 Rivers, Larry 429 Rizzo, Willy 235 Rohde, Gilbert 139-40 Rosenquist, James 192-93 Ruscha, Ed 257-61 Ruyter, Lisa 437

Saarinen, Eero 551-54 Salazar, Ignacio 103 Scarpa, Afra & Tobia 486 Scholder, Fritz 87 Schultz-Köln, Karl 495 Searles, James 431 Severini, Gino 395 Shaw, Jim 448 Sheets, Millard 309-13 Shire, Peter 445-47 Shoemaker, Don 89 Shulman, Julius 512 Sicard, Pierre 338-39 Sorenson, Don 534 Soulages, Pierre 402 Stanley, George 466-68 Staprans, Raimonds 67 Starck, Philippe 236 Stazewski, Henryk 203 Stickley, Gustav 127, 129 Strinning, Nisse & Kaysa 4 Stuck, Jack 277 Sugimoto, Hiroshi 509 Sultan, Donald 520-21

Tamayo, Rufino 76-78 Tarab, Sarah 111 Tatlin, Vladimir 488 Teague, Walter Dorwin 141 Toledo, Francisco 99 Tynell, Paavo 496

Valentine, De Wain 272-73 Valtat, Louis 389 van Erp, Dirk 118, 120 van Erp, William 123 Vasa 216-18 Venard, Claude 384 Venini, Paolo 474, 477 Vigo, Nanda 485 Vodder, Arne 426 Voulkos, Peter 266

Walkowitz, Abraham 133 Wanscher, Ole 416, 516 Warhol, Andy 180-86 Wayne, June 324 Wegman, William 511 Wegner, Hans 412, 414, 428 Williams, Guy 535 Wirkkala, Tapio 499-500 Woelffer, Emerson 28-29 Wonner, Paul 71 Wood, Beatrice 36-37 Woolley, Ellamarie 331 Wormley, Edward 47-53 Wou-Ki, Zao 394 Wright, Frank Lloyd 145-51

Yanagi, Sori Youry, Ward

Zajac, Jack Zammitt, Norman Zúñiga, Francisco

490-91 264 470-71 274-75 79-81

AUCTION:

SUNDAY, OCTOBER 13, 2013

Peter Loughrey Director, Modern & Contemporary Fine Art

12 p.m. Noon (PST) Dan Tolson Director, 20th Century Decorative Art & Design

PREVIEW:

SEPTEMBER 30 - OCTOBER 12, 2013 10 a.m. - 6 p.m. (PST)

Shannon Loughrey Managing Director

ADDRESS:

Elizabeth Portanova Marketing Director

16145 Hart Street Van Nuys, CA 91406

Zoe Weinberg Cataloguer

TELEPHONE:

Carolina Ivey Client Services

323 - 904 - 1950

Joe Alascano Shipping

WEBSITE: LAMODERN.com

DIRECTIONS TO AUCTION & PREVIEW: FROM HOLLYWOOD

VAN NUYS AIRPORT

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

HART ST

FROM THE WESTSIDE 101 FREEWAY

WOODLAND HILLS

Make your way to the 101 Freeway Proceed North on the 101 Merge onto the 405 Freeway, NORTH Take the 4th exit onto “Sherman Way, WEST” Proceed WEST on Sherman Way Turn LEFT at the 3rd light onto “Woodley” Take the first RIGHT onto “Hart” street, which is a side street

HOLLYWOOD

GETTY CENTER

Take the 405 Freeway, NORTH Continue past the Getty Museum and the 101 Interchange Exit onto “Sherman Way, WEST” (this is 4 exits North of the 101) Proceed WEST on Sherman Way Turn LEFT at the 3rd light onto “Woodley” Take the first RIGHT onto “Hart” street, which is a side street

Complimentary Valet Parking

Cataloging, Essays, and Editing Zoe Weinberg Paul Des Marais Dan Tolson Photography Susan Einstein Mario de Lopez