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MODERN ART & DESIGN FEBRUARY 23, 2014


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PREVIEW

February 10 - 22, 2014 10 a.m. - 6 p.m.

AUCTION

Sunday, February 23, 2014 12 p.m. (PST)

16145 Hart Street Van Nuys, CA 91406


As 2014 begins, I am constantly reminded by many works in this auction that fifty years have passed since

1964, a legendary year for the arts in Los Angeles. It was the year The Beatles played the Hollywood Bowl, Ed Ruscha painted Norm’s, on Fire, the Eames Office developed the multimedia presentation Think, Judy Chicago created her Car Hood and Ferus Gallery held the pivotal group exhibition The Studs. In June of 1964, the same month in which Lorser Feitelson created Untitled (Lot 39 illustrated on opposite page), he spoke about his first impression of the Los Angeles scene: “I disliked it violently in the beginning, because there was no art appreciation. Then I learned to love it because there wasn’t any art appreciation, therefore the artist had to paint only for one person, himself.” This lack of art appreciation, which some have foolishly mistaken for lack of culture, was inextricably linked to the ability to create on a very personal level. On the West Coast, artists were free of the influences of the New York-centric and Euro-centric trends and movements. Feitelson along with John McLaughlin, Frederick Hammersley, and Karl Benjamin formed one of the first successful and uniquely modern American art movements, referred to as the Hard Edge School. In this sale, I am very proud to offer paintings by each of the four original founders of the movement. In addition, we are pleased to present original works by the following generation of Southern Californian artists including Joe Goode, De Wain Valentine, Guy Dill, and Chuck Arnoldi, as well as another previously undocumented painting by Vija Celmins. Celmins’ Untitled (Ham Hock) (Lot 210), is a rare, early work from 1964, executed during her seminal years when she kept a compact studio here in Venice Beach. I am especially enthusiastic to have published arts writer Jori Finkel’s insightful essay on this work (page 114). A short drive from Celmins’ studio was the Eames Office which, also in 1964, was putting the finishing touches on a highly innovative display for the IBM Pavilion at the New York World’s Fair. Two hand-painted panels (Lot 104), from the fair, are an excellent reflection of the Eames Office’s playful and diverse approach to art and design as well as a process for delivering information. I am also honored to present a masterpiece by Northern Californian artist and sculptor Ruth Asawa. Untitled S.437 (Lot 236), is a complex hanging sculpture that has a deceptively simple form. Despite many intense hours of knitting metal wires in the “e-loop” technique, this work appears weightless, a composition of floating orbs emanating tranquility. When I asked Asawa’s daughter how long it took to execute one of these sculptures, she replied “a lifetime.” From the same period, we are presenting works by George Nakashima from the collection of Edmund J. Bennett. With Bennett’s vision and Nakashima’s master woodworking skills, the collection materialized in 1963 and was continued with Nakashima’s daughter, Mira, through 1990. This collection has many of George Nakashima’s most iconic designs and includes a number of original documents and photographs that give rare insight into Nakashima’s process and the collection’s fruition. I strongly recommend coming to the preview for this auction because many of these works haven't been seen in public for the last fifty years. The tactile feel and visual dialogue that can be experienced with an Asawa sculpture, a Nakashima cabinet, and even a McLaughlin painting needs to be experienced in person. Better yet, if you are a successful bidder, you can be the owner for the next fifty years. PETER LOUGHREY, DIRECTOR


1 TIMO SARPANEVA DEVIL’S PEARL VASE Model no. 3149 Iittala, designed 1951, this example executed 1955 Etched “Timo Sarpaneva Iittala - 55” 5.5" x 6" x 5.5" Provenance:

TH E KINGSLEY RES I DE N C E ,

PACIFIC PALI SA DES, CA LI FORNI A ; T HE N C E BY D ES CENT

Literature:

FINNI SH GL ASS: GL ASS M A N U -

FACT URER S BROCH U RES FROM THE 1 950S, RIIHIMÄ KI: TH E FINNI SH GL ASS MU SE U M , 1 9 9 4 , P 2 2.

$1,500-2,000


2 KAJ FRANCK MORNING IN ATHENS (7) Nuutajärvi-Notsjö, designed c. 1955 Blown glass Four of the original packing tubes retain Arabia stickers; one packing tube retains partial "Nuutajarvi Notsjo/Made in Finland" sticker Together with the original packing tubes Each: 24.25" x 2.5" diameter $3,000-5,000

3 ALVAR AALTO CAFE TABLE Model no. 83 Artek, designed 1933; this example produced later Branded “Aalto Design/Artek/ Made in Sweden” 27" x 39" x 20.75" Literature:

F IE L L , CH AR LOT TE & P ETER ,

S C AN D IN AV IAN D E S I G N, C OLOG NE: TAS C H E N , 2 0 0 2 , P 83.

$1,500-2,000

4 ALVAR AALTO PAIMIO CHAIR Model no. 41 Artek, designed 1932; this example produced later 26" x 23.5" x 34.5" Literature:

F IE L L , CH AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO G NE: TASC H EN, 1 997, P 2 2 1.

$1,500-2,000

5


5 FRITS HENNINGSEN HIGHBACK ARMCHAIR Frits Henningsen, designed c. 1945 45" x 39" x 27" $12,000-15,000


6 JACOB KJÆR SIDEBOARD Kjær, designed c. 1950 48" x 43.25" x 18.75" $6,000-8,000

7


7 SVEND AAGE JESSEN COFFEE TABLE Sejer, designed c. 1965 Signed with manufacturer’s mark "Sejer" 19.325" x 58.5" x 36.5" $3,000-4,000

8 HANS J. WEGNER SINGLE DAYBED Model no. 9 Getama, designed c. 1960 Branded “Getama/Gedsted/Denmark/ Design Hans J. Wegner” 28.5" x 78" x 33.75" $2,500-3,500

9


9 HANS J. WEGNER SINGLE DAYBED Model no. 9 Getama, designed c. 1960 28.75" x 80.75" x 34.25" $2,500-3,500

10 HANS J. WEGNER HUTCH Ry Mobler, designed c. 1950 Retains manufacturer’s medallion and ghost of a label 71" x 70.75" x 19.5" Literature:

I LLU MS BOLIGH U S, C E N T E R OF

MO D ERN DESI GN CATA LOGU E, MAY 1 9 6 1 , N P.

$3,000-5,000


11 HANS J. WEGNER PEACOCK CHAIRS (2) Model no. 550 Johannes Hansen, designed 1947; these examples produced 1977 Each branded “Johannes Hansen Copenhagen Denmark” Each: 43.5" x 30" x 20" Literature:

O DA , N O R ITSU G U, H ANS J

W EGN E R ’S 10 0 C H AIR S, JAPAN: C OR ONA B O O KS, 2 0 0 2 , P 10 6 .

$5,000-7,000

11


12 HANS J. WEGNER OCCASIONAL TABLE Andr Tuck, designed c. 1950 Branded “Fabrikat: Andr Tuck/Arkitekt: Hans J. Wegner/Denmark” 21.5" x 29" x 23.5" $2,500-3,500

13 IB KOFOD-LARSEN LOW SIDEBOARD Faarup Möbelfabrik, designed c. 1960 Retains manufacturer’s label 30.25" x 90.5" x 19.5" $3,000-5,000


14 DANISH MODERN RUG Rya, designed c. 1970 Retains “EGE Taepper” leather tag and inventory label “3 N. 5567” 91" x 64" $2,000-3,000

15 POUL KJÆRHOLM LOUNGE CHAIRS (2) Model no. PK22 Fritz Hansen, designed 1955; these examples produced later Each stamped “Poul Kjærholm/Fritz Hansen/Denmark”; each retain “Republic of Fritz Hansen” stickers Each: 27.25" x 23" x 25" 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 41.

$3,000-5,000

13


16 WILHELM KÅGE BOWL Gustavsberg, executed c. 1955 Incised manufacturer’s marks and paper label 3.5" x 4.5" diameter Provenance:

PROPERT Y FROM T HE L EOP -

17 WILHELM KÅGE VASE Gustavsberg, executed c. 1955 Incised manufacturer’s marks 7.5" x 2.5" diameter Provenance:

P R OP E RT Y F R O M TH E L EO P -

O LD AN D PATRI CI A H I RSCH FELDT C OL L EC-

OL D A N D PAT R I C I A HI R SC HF E L DT C O L L EC-

T IO N; T HENCE BY DESCENT

T I ON ; T HE N C E BY DE SC E N T

$2,000-3,000

$2,500-3,500


18 GUNNAR NYLUND MINIATURE VESSELS (6) Rörstrand, designed c. 1955 Incised manufacturer’s marks Comprised of two bowls, one footed bowl, and three vases One bowl: .75" x 2.75" diameter; One bowl: 2" x 4" diameter; Footed bowl: 1.25" x 2.25" diameter; One vase: 3" x 1.25" diameter; One vase: 3" x 1" diameter; One vase: 4" x 1.25" Provenance:

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

O L D AN D PATR IC IA H IR SC H FELDT COLLECTIO N ; TH E N C E BY D E SC ENT

$1,500-2,000

19 JOHN ANDERSSON MINIATURE VASE A & J Höganäs, executed c. 1955 Incised mark “J.A. Hoganas” 2" x 1" diameter Provenance:

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

O L D AN D PATR IC IA H IR SC H FELDT COLLECTIO N ; TH E N C E BY D E SC ENT

$150-200

15


20 HENRIK DITLEV LARSEN MINIATURE VASES (4) Ditlev Keramik, executed c. 1965 Incised manufacturer’s marks Largest example: 3" x 1.5" diameter; Smallest example: 2" x 1.75" diameter Provenance:

PROPERT Y FROM T HE L EOP -

O LD AN D PATRI CI A H I RSCH FELDT C OL L ECT IO N; T HENCE BY DESCENT

$300-500

21 BERNDT FRIBERG MINIATURE VASE AND BOWL (2) Gustavsberg, executed c. 1950 Incised manufacturer’s marks Vase: 1.5" x 1.25" diameter; Bowl: .8" x 1.75" diameter Provenance:

PROPERT Y FROM T HE L EOP -

O LD AN D PATRI CI A H I RSCH FELDT C OL L ECT IO N; T HENCE BY DESCENT

$1,000-1,500


22 PREBEN FABRICIUS SCIMITAR LOUNGE CHAIRS (2) Model no. IS-63 Ivan Schlecter, Denmark, designed c. 1962 Designed together with Jørgen Kastholm Each: 26.25" x 32.5" x 25" Scimitar is a Turkish sword for which this chair is named after. Literature:

O DA , N O R I TSU G U, DANI SH

C H AIR S, SAN F R AN C IS CO: C H R ONI CLE B O O KS, 19 9 9, P 19 6 .

$5,000-7,000

17

23 GRETE JALK NESTING TABLE Poul Jeppesen, designed 1963 16.125" x 20.5" x 14.5" Literature:

F IE L L , C H AR LOT TE & P E-

TE R , S C AN D IN AV IAN D ESI G N, C OLOG NE: TAS C H E N , 2 0 0 2 , P 3 08.

$3,000-4,000


24 KAREL APPEL CHILDREN IN THE GRASS 1957 Crayon on cardboard Retains Esther Robles Gallery label verso Together with original receipt Image/board (vis.): 8.5" x 13.75"; Frame: 14.325" x 20" $6,000-9,000

25 JACOB KJÆR LONG CABINET Kjær, designed c. 1950 47.25" x 78.75" x 21.75" $5,000-7,000


26 ELSA SODERBERG MINIATURE VASES (5) Studio, executed c. 1960 Each initialed “ES” Largest example: 2" x 1.25" diameter; Smallest example: 1.25" x .75" diameter Provenance:

P R O P ERT Y FR OM TH E LEOP -

O L D AN D PATR IC IA H I R SC H FELDT COLLECTIO N ; TH E N C E BY D E S C ENT

$600-900

27 CARL HARRY STÅLHANE MINIATURE BOWL WITH COVER AND VASE (3) Rörstrand, executed c. 1955 Incised manufacturer’s marks Largest example: 2" x 2.5" diameter; Smallest example: 1.25" x 2" diameter Provenance:

P R O P ERT Y FR OM TH E LEOP -

O L D AN D PATR IC IA H I R SC H FELDT COLLECTIO N ; TH E N C E BY D E S C ENT

$1,200-1,500

19


28 JACOB KJÆR CHAIRS (8) Kjær, designed c. 1950 Comprised of two armchairs and six side chairs Each armchair: 33.5" x 23" x 22.75"; Each side chair: 33.75" x 19.25" x 20" $6,000-8,000

29 SEVERIN HANSEN DINING TABLE Haslev Møbelsnedskeri, designed c. 1960 Retains Danish Manufacturer’s Control sticker Together with three leaves (one not illustrated) As illustrated: 28" x 85" x 46" (with additional leaf, not illustrated: 28" x 104.75" x 46") $3,000-5,000


30 STIG LINDBERG TABLE LAMP Gustavsberg, designed c. 1963 31.5" x 14.25" shade diameter $2,000-3,000

31 PETER LØVIG NIELSEN CABINET Dansk, designed c. 1968 Branded “Løvig Dansk Designs Denmark” 31.5" x 59" x 19.5" $2,500-3,500

21


32 OLE WANSCHER SIDE CHAIRS (6) Slagelse Møbelværk, designed c. 1950 Each marked “Made in Denmark by Slagelse Møbelværk” Each: 32" x 18.75" x 16.25" $3,000-5,000

33 JACOB KJÆR DINING TABLE Kjær, designed c. 1950 28.75" x 59.25" $3,000-4,000


34 ARTHUR B. DAVIES THE BRIDGE c. 1925 Watercolor and graphite on paper Signed in pencil “A.B. Davies” lower right; retains Pomona College Gallery, La Jolla Museum of Art, University of Utah Museum of Fine Arts, Tucson Art Center, and partial American Masters Gallery labels verso Together with two exhibition catalogues Sheet: 10.75" x 13.875"; Frame: 20" x 22.5" Exhibited:

" ARTH UR B DAVI ES, M EM B ER

O F TH E IMMO RTAL E IGH T: AN EX H I B I TI ON O F VAR IE D ME D IA , " ACA AM ER I C AN M AS TE R S GAL L E RY, LO S A NG ELES, FEB R UARY 2 8 -AP R IL 2 , 19 6 6 ; " ARTH U R B DAVI ES: PAIN TIN GS AN D GR APH I CS, " TR AVELIN G E X H IB ITIO N , TUC SON ART CENTER , TUC S O N , MAR C H 4 -APR I L 1 , 1 967; L A JOLL A MUS E UM O F ART, L A JOLL A , AP R I L 5 -M AY 7, 19 6 7 ; UN IV E R S IT Y O F U TAH M U SEU M OF F IN E ARTS, SALT L AK E C I T Y, M AY 21 -JU NE 18 , 19 6 7

Illustrated:

ARTH UR B DAVI ES, M EM B ER

O F TH E IMMO RTAL E IGH T: AN EX H I B I TI ON O F VAR IE D ME D IA , E X H I BI TI ON CATALOG U E, LO S AN GE L E S : AC A AM ER I CAN M ASTER S GAL L E RY, 19 6 6 , # 16 ; ARTH U R B DAVI ES: PAIN TIN GS AN D GR APH I CS, EX H I B I TI ON C ATALO GUE , TUC S O N: TU C SON ART CENTE R , 19 6 7, # 46 (C OV ER ) .

$1,500-2,000

23


CALIFORNIA HARD EDGE In May 1959, the Los Angeles art critic Jules Langsner organized a meeting between four Southern California painters: Lorser Feitelson, John McLaughlin, Frederick Hammersley, and Karl Benjamin. These artists arrived at this point in their careers through vastly divergent paths, yet they all shared a distinctive method of painting similar to early 20th century European Geometric Abstraction. In Feitelson’s studio that day, Langsner urged the four artists to exhibit their “hard edge” paintings, his own term he wanted to use as the show’s title. Peter Selz, the Pomona College art department chair, had offered the college gallery as a venue, but Feitelson insisted on a major museum or nothing at all. Langsner answered his call to action and abruptly began his search. The pivotal exhibition, a collective unveiling of a new trend in painting, came to fruition in September of the same year at the Los Angeles County Museum of Art (then the Los Angeles County Museum in Exposition Park), entitled “Four Abstract Classicists.” The show then traveled to London and Belfast under Langsner’s original title, “West Coast Hard Edge.” A transition from Abstract Expressionism and yet a hint toward the minimal graphics and bold colors of Pop Art, this new direction represented a spontaneous and distinctive style in American painting. Over fifty years later, the Los Angeles County Museum of Art is currently exhibiting these four artists in “Four Abstract Classicists,” a tribute to the original 1959 exhibition. Colpitt, Frances. “Hard Edge Cool.” The Birth of the Cool: California Art, Design, and Culture at Midcentury. Ed. Elizabeth Armstrong. Newport Beach: Orange County Museum of Art, 2007. 80-106. Print. IMAGE COURTESY OF LOUIS STERN FINE ARTS. PHOTO © HARRY CARMEAN, 1959


KARL BENJAMIN In 1951, Karl Benjamin was certainly unaware of the boundless vocabulary of color he would construct over a 60-year painting career. As a young elementary school teacher in Bloomington, California, he ignored the 45-minute per week art requirement until his principal intervened. Benjamin begrudgingly passed out crayons and paper and famously announced to the class, “Fill up the space with pretty colors and don’t mess around.” Inspired by his students’ abstract creations as well as visits to local museums and galleries, two years later he started painting his own color experiments. From then on, while teaching elementary school in Claremont for thirty years, he steadily painted distinct compositions of subtly changing hues and interrelated shapes. Only three years after his first venture into painting, he achieved a solo exhibition at the Pasadena Art Museum in 1954, and five years later he was featured in “Four Abstract Classicists.”

Some of his earliest paintings articulate his Abstract Expressionist influences, though after 1954, Benjamin’s Hard Edge style had become more geometric, characterized by “an intensive exploration of color,” as seen in Untitled (1957), a collection of layered trapezoidal figures that build in color and texture. Benjamin was known to work on several different paintings at a time, reusing specific shapes and colors. And while many of Benjamin’s works, including #5 (1974) seem to follow the symmetry and boldness of Op Art, Benjamin in 1986 commented, “I am an intuitive painter, despite the ordered appearance of my paintings, and am fascinated by the infinite range of expression inherent in color relationships.” Louis Stern Fine Arts. Karl Benjamin and the Evolution of Abstraction . West Hollywood: Louis Stern Fine Arts, 2011. Print. Louis Stern Fine Arts. Karl Benjamin: Paintings from 1950-1965 . West Hollywood: Louis Stern Fine Arts, 2004. Print.

35 KARL BENJAMIN UNTITLED 1957 Oil on canvas Initialed and dated “KB ‘57” lower right; retains Louis Stern Fine Arts label verso; retains Brian Gross Fine Art label verso Canvas: 20" x 40"; Frame: 20.125" x 40.125" Louis Stern has confirmed the authenticity of this work, and it will be included in the catalogue raisonné of the paintings by Karl Benjamin, currently in preparation. Provenance:

LO UIS STER N FI NE ARTS,

LO S AN GE L E S C AL IFO R NI A; P R I VATE COLL EC TIO N , L AS V EGAS, NEVADA ( ACQ U I R ED D IR EC TLY F R O M TH E AB OVE, C 2003)

Exhibited:

" KAR L B ENJAM I N: PAI NTI NG S

F R O M 195 0 -19 6 5 , " LOU I S STER N FI NE ARTS, LO S AN GE L E S, JAN UARY 1 0 -AP R I L 1 0, 2004

Illustrated:

KAR L B ENJAM I N: PAI NTI NG S

F R O M 195 0 -19 6 5, E X H I B I TI ON CATALOG U E, LO S AN GE L E S : LO UIS STER N FI NE ARTS, 2 0 0 4, P 2 1.

$30,000-50,000

25


36 KARL BENJAMIN #5 1974 Oil on canvas Signed, titled, and dated “#5, 1974/Karl Benjamin" on canvas stretcher verso; retains Brian Gross Fine Art label verso Canvas: 51" x 68"; Frame: 52.25" x 69.25" Louis Stern has confirmed the authenticity of this work, and it will be included in the catalogue raisonné of the paintings by Karl Benjamin, currently in preparation. Provenance:

BRIA N GROSS FI NE A RT, SA N

FRAN CIS C O, CA LIFORNI A ; PRI VAT E C OLLECT IO N , L AS VEGAS, NEVA DA (AC QU I R E D D IRECT LY FROM TH E A BOVE, 20 05 )

$40,000-60,000


JUNE HARWOOD Originally from New York State, June Harwood (b. 1934) gained recognition when she was included in the seminal exhibition, “California Hard-Edge Painting” along with Helen Lundeberg, Lorser Feitelson, John McLaughlin, Frederick Hammersley, and Karl Benjamin, among others. Hosted by Pavilion Gallery in Balboa, California and organized by her husband Jules Langsner, the show proved to be quite successful for Harwood. Throughout the 60s, she created various series of acrylic paintings, including Colorform Series, Silver Series, and Loops Series in which she explored geometric forms amidst backdrops of rich acrylic color. During this period, she took a formalist approach to painting, marked by “impeccable organization” and the intention to create paintings that could achieve an independent existence. She wrote, “To

realize that intention fully, the structure would have to be at once integral to the imagery and harmonious within itself.” In the Loops Series painting Blue Orange (1966) - exhibited at the Santa Barbara Museum of Art in 1967 and the David Stewart Galleries thereafter - Harwood describes her exploration of kinetics: “After the symmetrical loops came kinetic loops loosened and free with a kinetic energy of their own…swirling and moving into the canvas and off again.” In most of her paintings, Harwood achieves symmetry between the captured movement on the canvas and the unseen movement beyond. Colpitt, Frances. “Hard Edge Cool.” The Birth of the Cool: California Art, Design, and Culture at Midcentury. Ed. Elizabeth Armstrong. Newport Beach: Orange County Museum of Art, 2007. 80-106. Print. Harwood, June. Interview by Julie Karabenick. Geoform . Geoform, Jan. 2011. Web. 10 Jan. 2014.

37 JUNE HARWOOD BLUE ORANGE (FROM LOOP SERIES) 1966 Acrylic on canvas Together with facsimile of exhibition brochure and exhibition checklist Canvas: 40.125" x 60.25" Signed, titled, and dated verso; bears the inscription “B-10” verso; retains Santa Barbara Museum of Art inventory label on canvas stretcher verso This painting has an alternate title Fish. LAMA would like to thank the artist for her assistance in cataloguing this work Exhibited:

“J UN E H ARWOOD, ” SANTA B AR-

B AR A MUS E UM O F ART, SANTA B AR B AR A , O C TO B E R 3 -N OV E MB E R 1 2, 1 96 7

$8,000-12,000

27


JOHN MCLAUGHLIN Unlike his formally trained contemporaries, John McLaughlin (1898-1976) did not devote himself full-time to painting until he moved from Boston to Southern California in 1946. He was already 61 when his paintings were exhibited in “Four Abstract Classicists.” Before the mid-century, McLaughlin sold Japanese prints, served in World War II as an Army intelligence language officer, and traveled to Japan and China where he studied Asian painting. He wrote to Jules Langsner concerning his appreciation of the Asian approach to painting, “...above all the most compelling quality in this has been economy of means in concert with large, unpainted areas, ” he explained. “These paintings I could get into and tell me who I was. By contrast, Western painters

tried to tell me who they were.” In McLaughlin’s work from 1962, (#11-1962), he adheres to the Japanese principle of “the marvelous void,” both on and off the canvas. The action seemingly continues beyond the borders of the canvas, the black rectangular abyss multiplied exponentially amidst a dimensionless atmosphere of white. This rare painting exemplifies McLaughlin’s efficient use of color and form to create art separated from history and genre. Colpitt, Frances. “Hard Edge Cool.” The Birth of the Cool: California Art, Design, and Culture at Midcentury. Ed. Elizabeth Armstrong. Newport Beach: Orange County Museum of Art, 2007. 80-106. Print.

38 JOHN MCLAUGHLIN #11-1962

DETAILS OF LABELS AND MARKINGS VERSO

1962 Oil on canvas Retains André Emmerich Gallery label on upper canvas stretcher verso; retains André Emmerich ink stamp on center canvas stretcher verso; retains partial Thomas Segal Gallery label on upper canvas stretcher verso; bears the inscription in pencil “Title A -- 1962” on upper canvas stretcher verso Together with exhibition catalogue Canvas: 42" x 60" Provenance:

AN D RÉ EM M ER I CH G ALLERY,

N E W YO R K , N E W YO R K; P R IVATE C O L L EC TIO N, LOS ANG ELES, CALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , 19 8 0)

Exhibited:

“J O H N MC L AU G H LI N R ETR O -

S P EC TIV E E X H IB ITIO N, ” L A JOLL A M U SEU M O F C O N TE MP O R ARY A RT, L A JOLL A , JU LY 12-AUGUST 12 , 19 7 3 ; “JOH N M C L AU G H LI N, ” AN D RÉ E MME R IC H GA LLERY, NEW YOR K , MAR C H 3 0 -AP R IL 17, 1974 ; “SU M M ER G R OU P S H OW, ” AN D R É E MMER I C H G ALLERY, NEW YO R K , 19 7 8 ; “J O H N MCL AU G H LI N PAI NTIN GS : 19 49 -19 7 5 , ” AN DRÉ EM M ER I C H G ALL E RY, N E W YO R K , S E P TEM BER 1 1 - OC TOBER 3 , 19 7 9

Illustrated:

J O H N MCL AU G H LI N R ETR O -

S P EC TIV E E X H IB ITIO N, EX H I B I TI ON CATALO GUE , L A J O L L A: L A JOLL A M U SEU M OF C O N TE MP O R ARY ART, 1 97 3, #1 8, P 1 4 .

$180,000-250,000

29


LORSER FEITELSON Before he was known as the “Father of Hard Edge,” Lorser Feitelson (1898-1978) worked in contemporary movements throughout the early 20th century, namely Cubism and PostSurrealism, and by the 1960s, his influence in the Los Angeles art scene was unmatched. His exposure to art began at an early age; Feitelson frequently visited New York City exhibits at institutions including the Metropolitan Museum of Art and the Armory. He subsequently began sketching and painting on his own, displaying great command of the human form. As a teenager, he painted sophisticated Cubist works in his Greenwich Village studio and later exhibited Post-Surrealist compositions in New York and Paris. His work throughout the 1930s and early 1940s – dreamlike interpretations of the female figure – remained consistently abstract, earning him exhibitions at the Los Angeles County Museum of Art and the San Francisco Museum of Modern Art as well as a teaching position at the Art Center College of Design in Pasadena in 1944. Beginning in the mid-1940s, Feitelson’s figural drawings foreshadow the later abstracted shapes that dominate his Hard Edge paintings. According to curator Michael Duncan, “By deriving his hard-edged forms from the shapes of the

human body and the physical world, Feitelson demonstrated a rigorous abstract and conceptual distillation of figuration that was ahead of its time.” From there, his paintings became increasingly minimal studies of color and the interaction of forms and space – he was developing his Hard Edge aesthetic. Throughout this transition, however, his fascination with the human body is filtered through a microscope. Sketches from the early 60s depicted specific areas of the human body such as hands and torsos, which led to paintings of undulating vertical lines that refer to the “angular gaps between fingers, the slope of a brow, and the curve of a hand.” In Untitled (1964), included in the Lorser Feitelson and Helen Lundeberg Retrospective at the San Francisco Museum of Art in 1980, the primary form moves with a vermilion force encased in multilayered, contrasting pathways. Duncan, Michael. “Lorser Feitelson’s Hard Edge Abstraction.” Lorser Feitelson and the Invention of Hard Edge Painting 1945-1965 . West Hollywood: Louis Stern Fine Arts, 2003. 17-23. Print. Hopkins, Henry T. “Lorser Feitelson: An Appreciation.” Lorser Feitelson and the Invention of Hard Edge Painting 1945-1965 . West Hollywood: Louis Stern Fine Arts, 2003. 13-15. Print. Moran, Diane Degasis. “Lorser Feitelson.” Lorser Feitelson and Helen Lundeberg: A Retrospective Exhibition . San Francisco: San Francisco Museum of Modern Art, 1980.


39 LORSER FEITELSON UNTITLED 1964 Oil and enamel on canvas Signed and dated “Lorser Feitelson/(June 1964)” verso; bears the inscription “Lorser Feitelson/60" x 40"/June 1964/Enamel + oil on canvas/#50” verso; retains Louis Stern Fine Arts, partial San Francisco Museum of Modern Art, and Laguna Beach Museum of Art labels verso Canvas: 60" x 40"; Frame: 60.5" x 40.5" This painting will be included in the forthcoming publications Eternal Recurrence written by Diane Moran (Spring 2014) and the Lorser Feitelson Catalogue Raisonné (Summer 2014). Provenance:

LO UIS STE R N FI NE ARTS, LOS

AN GE L E S, C AL IFO R N IA; P R I VATE COLLECTI ON, L AS V EGAS, N E VADA ( AC QU I R ED DI R ECTLY F R O M TH E AB OV E , C 2 0 03)

Exhibited:

" LO R S E R F E ITEL SON: A R ET-

R O S P EC TIV E E X H IB ITIO N , " M U NI CI PAL ART GAL L E RY, B AR N S DAL L PAR K , LOS ANG ELES, AUGUST 16 - S E P TE MB E R 17, 1 97 2; "TR I B U TE TO H E N RY S E L D IS, " L AGUN A B EAC H M U SEU M OF ART, L AGUN A B E AC H , N OV EM BER 1 -DECEM BER 18 , 19 7 8 ; " LO R S E R F E ITE L SON AND H ELEN LUN D E B E R G: A R E TR O S P ECTI VE EX H I B I TI ON, " TR AV E L IN G E X H IB ITIO N , SAN FR ANC I SCO MUS E UM O F MO D E R N ART, SAN FR ANCI SCO, OCTO B E R 2-N OV E MB E R 16 , 1980; TH E FR EDER I C K S W IGH T ART GAL L E RY, UCL A , LOS ANG ELES, MAR C H 17-MAY 3 , 19 8 1; " LOR SER FEI TEL SON AN D TH E IN V E N TIO N O F HAR D EDG E PAI NTI NG 19 45 -19 6 5 , " LO UIS STE R N FI NE ARTS, LOS AN GE L E S, MAY 15 -J ULY 12, 2003

Illustrated:

TR IB UTE TO H ENRY J SELDI S,

E X H IB ITIO N C ATALO GUE , L AG U NA BEAC H : L AGUN A B E AC H MUS E UM O F ART, 1 978, #25, P 1 3; LO R S E R F E ITE L S O N AN D HELEN LU NDEBER G : A R E TR O S P EC TIV E E X H IB I TI ON, EX H I BI TI ON C ATALO GUE , SAN F R AN C IS CO: SAN FR ANCI SCO MUS E UM O F MO D E R N ART, 1 980, #59, P 51 .

Literature:

LO R S E R F E ITEL SON: A R ETR OSP EC-

TIV E E X H IB ITIO N, E X H IB IT I ON CATALOG U E, LOS AN GE L E S : MUN IC IPAL ART G ALLERY, 1 97 2, NP.

$50,000-70,000

31


FREDERICK HAMMERSLEY One of the youngest of the Hard Edge painters at the time of “Four Abstract Classicists,” Frederick Hammersley (1919-2009) had served in World War II and attended the École des BeauxArts in Paris and Chouinard Art Institute in Los Angeles. While teaching at Pomona College and the Pasadena Art Museum in the 1950s, he painted using his “hunch” method, an unconscious approach that involved building upon a chosen shape through instinctively matched colors. This intuitive method, like many of his fellow Hard Edge painters, distinguishes his approach from pure Geometric Abstraction. “You put down a shape and it just lies there, and then you make a movement and it just comes alive,” said Hammersley in describing his perception of the relationship between color, shape, and perspective. “I’ve never 40 FREDERICK HAMMERSLEY CHINESE TOYS 1954-1956 Oil on canvas Signed in pencil “F. Hammersley” on lower canvas stretcher verso; dated in pencil “15 July 54-5...60” verso; retains Louis Stern Fine Arts, Aaron Payne Fine Art, and Charlotte Jackson Fine Art labels verso Together with exhibition catalogue Canvas: 20" x 24"; Frame: 25.125" x 29.25" Provenance:

PRI VATE COLLECTI ON , N E W

YO RK , NEW YORK; PRI VATE COLLEC T I ON , L AS V EG AS, NEVA DA (ACQ U I RED DI R EC T LY FRO M T HE A BOVE, C 20 03)

Exhibited:

"GA LLERY SELECTIONS," A A R ON

PAYN E FINE A RT, BROOKLY N, WIN T E R 2 002- 03

Illustrated:

GA LLERY SELECTI ONS, E X-

HIBIT IO N CATA LOGU E, BROOKLY N: A A R ON PAYN E FINE A RT, 20 0 2, (COVER).

$30,000-50,000

DETAILS OF VERSO

quite understood that, but it’s just marvelous. The shapes have attitudes, and the painting just clicks; it’s unbelievable.” From a period prior to his distinctly Hard Edge paintings of the 60s, Chinese Toys (1954-56) utilizes this hunch method with an extensive vocabulary of colors and shapes, resulting in an abstract landscape. Colpitt, Frances. “Hard Edge Cool.” The Birth of the Cool: California Art, Design, and Culture at Midcentury. Ed. Elizabeth Armstrong. Newport Beach: Orange County Museum of Art, 2007. 80-106. Print. Frederick Hammersley Foundation. Frederick Hammersley Foundation , 2012. Web. 24 March 2012. Hammersley, Frederick. Interview with Vanessa Smith. L.A. Louver, 2012. Web. 10 Jan 2014. Peabody, Rebecca, Andrew Perchuck, Glenn Phillips, and Rani Singh, eds. Pacific Standard Time: Los Angeles Art 1945-1980 . Los Angeles: Getty Research Institute, 2011. Print.


41 FREDERICK HAMMERSLEY UNTITLED

42 FREDERICK HAMMERSLEY UNTITLED

1950 Lithograph on cardstock mounted to illustration board Printed by the artist Signed and dated in ink “F Hammersley/22 Feb 1950” on illustration board verso; inscribed “2/3 lsd 42 42a” on illustration board verso Lithograph: 3" x 3"; Board: 7" x 7"

1950 Lithograph on cardstock mounted to illustration board Printed by the artist Signed and dated in ink “F Hammersley/5 Feb 1950” on illustration board verso; inscribed “5/14 3rd #37 48” and “16 July 51 37B” on illustration board verso Lithograph: 3" x 3"; Board: 7" x 7"

Literature:

Literature:

F R E D E R IC K H AMME R S L E Y,

F R E D E R I C K H AM M ER SLEY,

E XH IB ITIO N C ATALO GUE , V E N IC E : L A LO U -

E X H IB ITIO N C ATALO GU E, VENI C E: L A LOU -

VE R , 2 0 12 , P P 2 6 -3 3 ( S IMIL AR E XAMP L E S

V E R , 2 0 12 , P P 2 6 -3 3 ( SI M I L AR EXAM P LES

I L LUSTR ATE D) .

IL LUSTR ATE D) .

$2,500-3,500

$2,500-3,500

33


43 HELEN FRANKENTHALER GUADALUPE 1989 Mixografia print on white handmade paper #4 of 8 HC aside from the edition of 74 Published by Mixografia, Los Angeles; printed by Luis Remba, Los Angeles Signed and dated lower left; edition lower right Image/sheet: 69" x 45"; Frame: 72" x 48" Provenance:

MIXOGRA FIA , LOS A N G E L E S,

CAL IFO RNIA ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Literature:

H A RRISON, PEGRA M, HE L E N

FRAN KEN TH A LER : A CATA LOGU E R A IS O N NÉ O F PRINTS, 1961-1994, NE W YOR K : ABRAMS, 1996, # 164.

$15,000-20,000


44 ROBERT THERRIEN UNTITLED 1981 Tempera on paper Initialed and dated in pencil “RT81” lower left sheet Sheet: 8.875" x 10.875"; Frame: 17" x 18.5" Provenance:

D UD L EY DEL BAL SO, NEW

YO R K , N E W YO R K ; 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 )

$4,000-6,000

45 RICHARD SERRA VIDEY AFANGAR #2 (VIDEY AFANGAR SERIES) 1991 Intaglio on Hahnemühle German etching paper #74 of 75 Published and printed by Gemini G.E.L., Los Angeles SIgned and dated in pencil lower right beneath image; edition lower left; Gemini G.E.L. and artist blind stamps lower right sheet; retains ink stamp “Published by Gemini G.E.L, Los Angeles” verso; inscribed “R5-90-3158” verso Gemini G.E.L. #47.51 Image: 4.5" x 5.875"; Sheet: 10.5" x 12" Literature:

B E R S WO R DT-WALLR AB E, SI LK E

VO N , R IC H AR D S E R R A: DR U C KG R AFI KP R IN TS -E STAMP E S 197 2-1 999, DÜSSELD O R F: R IC H TE R V E R L AG , #6 5.

$2,500-3,500

35


46 MARCEL DZAMA COWBOY & NURSE c. 2001 Ink, watercolor, and root beer on paper Signed in ink lower center beneath image Image (approx.): 5" x 5"; Sheet (vis.): 12.5" x 9.5"; Frame: 23" x 19" Provenance:

GREG KU CERA GA L L E RY,

S EAT T L E, WASH INGTON; PRIVATE C OLL ECT IO N, LOS A NGELES, CA LIFOR N I A ( ACQUIRED DIRECTLY FROM TH E A B OVE , C 2 001 )

$2,000-3,000

47 LARI PITTMAN UNTITLED 2000 Acrylic, alkyd, and aerosol on two paper panels Retains Regen Projects label verso Image/sheet: 30.5" x 47.5"; Frame: 31.5" x 48.5" Provenance:

REGEN PROJECTS, LOS A N -

G ELES, CA LI FORNI A ; PRI VATE COL L EC T I ON , LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A BOVE, 20 01 )

$8,000-12,000


48 NANCY RUBINS UNTITLED 1994 Graphite on paper collage with steel push pins on painted medium density fiberboard Sheet: 40.5" x 26"; Fiberboard: 47" x 32" Provenance:

C O L L ECTI ON OF ART ENTER-

P R IS E S, LTD, C H IC AGO, I LLI NOI S

$6,000-9,000

37

49 JENNY HOLZER UNTITLED (FROM TRUISMS) 1996 Miniature electronic LED sign with diodes in colors LED display: 2.125" x 3.125"; Overall: 4" x 5" This work was made for the 1996 National Democratic Convention. Provenance:

GR EG KU CER A G ALLERY,

S E AT TL E , WAS H IN GTON; P R I VATE C OLL EC TIO N , LO S AN GE L ES, C ALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 2001)

$3,000-5,000


50 JENNY HOLZER INFLAMMATORY ESSAYS (10) 1979-82 Offset lithograph on colored paper Published by the artist; printed by Millner Bros., New York One sheet signed in black ink lower right Each sheet: 17" x 17" $3,000-5,000


51 THORSTEN PASSFELD STOOLS (GOOD AND CARESS) (FROM PLAY WITH THE BIG) (2) 1996 Acrylic painted wood Each: 17.5" x 13.25" x 11.5" The stools were created by the artist for “Art Projects,” a special exhibition for Art Basel Miami Beach 2006. Provenance:

P R IVAT E C OLLECTI ON, U NI T-

E D STATE S ( AC Q UIR E D DI R EC TLY FR OM ART B AS E L , MIAMI B E AC H, FLOR I DA , 2006 )

$1,500-2,000

39


DETAIL OF FLOATING WOMAN VERSO

52 CHRIS JOHANSON FLOATING HOMELESS MAN c. 1998 Acrylic on wood 33.75" x 5.5" Provenance:

FOU R WA LL S GA LLE RY, SA N

FRAN CIS CO, CA LIFORNI 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 98)

$3,000-5,000

53 CHRIS JOHANSON FLOATING WOMAN c. 1998 Acrylic on wood 45.5" x 9" Provenance:

FOU R WA LL S GA LLE RY, SA N

FRAN CIS CO, CA LIFORNI 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 98)

$3,000-5,000


54 CHRIS JOHANSON THE HUMANS c. 2004 Acrylic on paper Inscribed “The Humans” lower center Image/sheet (vis.): 13.75" x 16.5"; Frame: 20" x 26" Provenance:

JAC K H ANLEY G ALLERY, SAN

F R AN C IS C O, 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 , C 2 0 0 4 )

$3,000-5,000

55 CHRIS JOHANSON UNTITLED (FACES) 1999 Double-sided ink on paper (pencil on the reverse) Signed and dated in pencil verso; inscribed “It’s All Good” verso Image/sheet: 12" x 12"; Frame: 21" x 17" Provenance:

FO UR WALL S G ALLERY, SAN

F R AN C IS C O, 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 , 19 9 9)

$1,500-2,000

UNTITLED (FACES) VERSO

41


56 RAYMOND PETTIBON UNTITLED (THAT’S WHY I WANT A DRINK.) 1987 Ink on paper Signed and dated in red ink “Raymond Pettibon 87” verso Image/sheet: 13.5" x 10.5"; Frame: 18.75" x 16" Provenance:

LOS A NGELES A RT FA I R ,

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, C 1991 )

$9,000-12,000


57 RAYMOND PETTIBON UNTITLED (I WON’T BATHE...) 1986 Ink on paper Retains Kantor Gallery and Marc Jancou Contemporary Gallery labels verso Sheet: 11" x 8.5"; Frame: 13.75" x 11.25" Provenance:

KAN TOR G ALLERY, LOS AN-

GE L E S, C AL IFO R N IA; 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 )

$10,000-15,000

43

58 RAYMOND PETTIBON UNTITLED (PLAY BALL!) 1989 Lithograph on paper Artist’s Proof aside from the edition of 65 Signed and dated lower right; edition lower left Sheet: 36" x 24.875" $1,500-2,000


GERTRUD & OTTO

NATZLER CERAMICS


MINIATURE BOWLS SHOWN NEXT TO NATZLER SIGNATURE FOR SCALE

59 GERTRUD & OTTO NATZLER MINIATURE BOWL

60 GERTRUD & OTTO NATZLER MINIATURE BOWL

Studio, executed c. 1965 Speckled turquoise glazed ceramic Signed “LA” and retains Natzler inventory label “B88” .5" x .675" diameter (1 cm x 1.9 cm diameter)

Studio, executed c. 1965 Persimmon glazed ceramic Signed “G.O.N” .5" x 1.25" x 1.25" (1 cm x 3.2 cm x 3 cm)

Edwin A. Lipps was an innovator in the field of audio engineering and was also an owner of Case Study House #9. Provenance:

E DW IN A L IP P S, LO S AN GE-

L E S, C AL IFO R N IA

$3,000-5,000

Edwin A. Lipps was an innovator in the field of audio engineering and was also an owner of Case Study House #9. Provenance:

E DW IN A LI P P S, LOS ANG E-

L E S, C AL IFO R N IA

$3,000-5,000

45


61 GERTRUD & OTTO NATZLER CYLINDRICAL BOTTLE WITH LONG CONICAL NECK AND LIP Studio, executed c. 1959 Dark blue crystalline glazed ceramic Signed “Natzler” 10.5" x 4.5" diameter (27 cm x 11 cm diameter) $12,000-15,000


63 GERTRUD & OTTO NATZLER BOWL 62 GERTRUD & OTTO NATZLER BOWL Studio, executed 1967 Chartreuse glazed ceramic Signed “Natzler” and retains paper inventory label “N987” 3.125" x 7.25" diameter (8 cm x 10.5 cm diameter) $5,000-7,000

Studio, executed 1957 Light blue glazed ceramic Signed “Natzler” and retains paper inventory label “J022” 4.625" x 6" diameter (12 cm x 15 cm diameter) Edwin A. Lipps was an innovator in the field of audio engineering and was also 276 an owner of Case Study House #9.

MASSIMO VIGNELLI PENDANT LAMP Provenance: E DW IN A LI P P S, LOS ANG EL E S, C ALdesigned IFO R N IA Venini,

c. 1960 Blown and cased glass $4,000-6,000 Retains paper label “Ven. 011.6/80.00” 20” x 6” diameter $1,000-1,500

277 GINO SARFATTI TRIENNALE LAMP Arteluce, designed c. 1951 Enameled metal, marble, chrome-plated steel, leather Adjustable: 63.75” x 36” x 36.5” $3,000-5,000

47


64 GERTRUD & OTTO NATZLER BOWL Studio, executed c. 1952 Gray Earth Crater glazed ceramic 3" x 11" diameter (7 cm x 38 cm diameter) $9,000-12,000


65 GERTRUD & OTTO NATZLER BOWL

66 GERTRUD & OTTO NATZLER BOWL

Studio, executed c. 1967 Chartreuse glazed ceramic Signed “Natzler” 2.5" x 8.25" diameter (6 cm x 21.5 cm diameter)

Studio, executed 1963 Peach blossom glazed ceramic Signed “Natzler” and retains paper inventory label “M961” 2.875" x 5.625" diameter (7 cm x 15 cm diamter)

$5,000-7,000

Edwin A. Lipps was an innovator in the field of audio engineering and was also an owner of Case Study House #9. Provenance:

E DW IN A LI P P S, LOS ANG E-

L E S, C AL IFO R N IA

$4,000-6,000

49


67 BEATRICE WOOD VASE Studio, executed c. 1980 Iridescent glazed ceramic Signed “Beato” 7.75" x 7" diameter $3,000-5,000

68 BOB STOCKSDALE BOWLS AND TONGS (4) Studio, executed c. 1965 She oak and teak One example signed “She Oak from California/Bob Stocksdale”; other example signed “Teak from Thailand/ Bob Stocksdale” 2.25" x 7.325" diameter; and 3.75" x 9.325" diameter; Tongs each: 10.5" 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 )

$1,500-2,000

69 BOB STOCKSDALE BOWLS (3) Studio, executed c. 1965 Persimmon, Macassar Ebony, and cocobolo One signed “Persimmon from New Mexico/Bob Stocksdale”; other signed “Macassar Ebony from East India/Bob Stocksdale”; Other signed “Cocobolo from Mexico/Bob Stocksdale” 3.75" x 6.25" diameter; and 4.5" x 7" x 6.25"; and 3" x 6.25" 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 )

$2,000-3,000


70 LAURA ANDRESON VASES (2) Studio, executed c. 1951 Glazed ceramic Each signed “Andreson” 4.25" x 6.875" diameter and 5.75" x 3.5" diameter $3,000-5,000

51

71 J.B. BLUNK PLATES (4) Studio, designed c. 1960 Painted and glazed ceramic Largest example: 6.25" x 10.625"; Smallest example: 6" diameter $2,000-3,000


72 GLEN LUKENS PLATE Studio, executed c. 1950 Glazed ceramic Signed "Glen Lukens" 14.75" diameter $4,000-6,000

73 HARRISON MCINTOSH BOWL Studio, executed c. 1960 Glazed stoneware Retains McIntosh Studio label and artist cipher 4.625" x 5.75" diameter $800-1,200

74 ROSE CABAT FEELIE Studio, designed c. 1965 Glazed ceramic Signed “Cabat” 4" x 4.25" diameter $800-1,200


75 GERALD THURSTON PROFILE FLOOR LIGHT

76 EVELYN ACKERMAN BELL TOWER

Lightolier, designed c. 1954 44.5" x 15.75" diameter

ERA Industries, designed c. 1969 Hand-woven wool Woven initials “EA” lower right; retains label “Evelyn Ackerman Design/Handwoven in Mexico All Wool/((c)) Era Industrias Inc. RN 23103/Los Angeles, Calif.” verso 45.5" x 21"

Literature:

F IE L L , C H AR LOT TE & P E TE R ,

1 00 0 L IGH TS : 18 7 9 TO 195 9, C O LO GN E : TAS C H E N , 2 0 05 , P 5 19.

$1,500-2,000

$1,500-2,000

53


77 MALCOLM LELAND HANGING LANTERN Model no. 22L Architectural Pottery, designed c. 1951 27" x 7.5" x 5" Literature:

A RCH I TECTU RA L POT T E RY

CATALO G UE, MA RCH 1961, P 19.

$2,500-3,500

78 MALCOLM LELAND BIRD SHELTER Model no. 21L Architectural Pottery, designed c. 1951 12" x 7.5" x 7" Literature:

A RCH I TECTU RA L POT T E RY

CATALO G UE, MA RCH 1961, P 19.

$1,000-1,500

79 DAVID CRESSEY PRO/ARTISAN STONEWARE TABLE LAMP Model no. 8071H2 Architectural Pottery Inc., for Lightolier, designed c. 1970 31.5" x 18" diameter at shade Literature:

LIGH TOLI ER BROCH U R E , N D, N P.

$1,000-1,500


80 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER BOWLS (2) Earthgender, designed c. 1968 Each: 15.5" x 15" diameter $1,200-1,500

< 81

ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER BOWLS (2) Earthgender, designed c. 1968 Each: 19" x 17" diameter $1,200-1,500

< 82

PAUL MCCOBB PLANTERS (2) Model no. M1 Architectural Pottery, designed c. 1955 Each: 13.5" x 18" diameter Literature:

AR C H ITECTU R AL P OT TERY

C ATALO GUE , MAR C H 1 961 , P 5.

$1,500-2,000

55 < 83

JOHN FOLLIS PLANTERS (4) Model nos. FX-2 and F Architectural Pottery, designed c. 1955 14.5" x 16" diameter and 5" x 10" diameter Literature:

AR C H ITEC TUR AL P OT TE RY

$2,000-3,000

84 DAVID CRESSEY TALL PLANTER <

C ATALO GUE , MAR C H 19 6 1, P 15 .

Model no. 5048 Architectural Pottery, designed c. 1965 17.5" x 15" diameter Literature:

AR C H ITECTU R AL P OT TERY

C ATALO GUE , 19 7 0, N P.

$1,000-1,500

<< 86 <

85 JOHN FOLLIS SHALLOW PLANTER

LA GARDO TACKETT PLANTER WITH STAND

Model no. U-12 Architectural Pottery, designed c. 1955 6" x 32" diameter

Model no. SW-03 Architectural Pottery, designed c. 1955 Stamped “Architectural Pottery/Made in USA” 7.5" (15.25" with stand) x 20.5" diameter

Literature:

Literature:

AR C H ITEC TUR AL P OT TE RY

C ATALO GUE , MAR C H 19 6 1, P 17.

$700-900

AR C H ITECTU R AL P OT TERY

C ATALO GUE , MAR C H 1 96 1 , P 1 2.

$1,000-1,500


87 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RNI T U R E

CATALO G UE, 1954, NP.

$2,500-3,500

88 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RNI T U R E

CATALO G UE, 1954, NP.

$2,500-3,500

89 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RNI T U R E

CATALO G UE, 1954, NP.

$2,500-3,500

90 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RNI T U R E

CATALO G UE, 1954, NP.

$2,500-3,500

91 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RNI T U R E

CATALO G UE, 1954, NP.

$2,500-3,500


92 WALTER LAMB ROUND COFFEE TABLES (2) Model no. S-3700 Brown-Jordan Co., designed c. 1950 Each: 17" x 36.5" diameter Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$1,000-1,500

93 WALTER LAMB WIDE ARMCHAIR AND OTTOMAN (2) Model nos. C-5700 (chair) and C-5706 (ottoman) Brown-Jordan Co., designed c. 1950 Chair: 30" x 24" x 22"; Ottoman: 20" x 23.5" x 17.5" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$2,000-3,000

94 WALTER LAMB WIDE ARMCHAIR AND OTTOMAN (2) Model nos. C-5700 (chair) and C-5706 (ottoman) Brown-Jordan Co., designed c. 1950 Chair: 30" x 24" x 22"; Ottoman: 20" x 23.5" x 17.5" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$2,000-3,000

95 WALTER LAMB SLEIGH CHAIR AND OTTOMAN (2) Model nos. C-5720 (chair) and C-5726 (ottoman) Brown-Jordan Co., designed c. 1950 Chair: 29" x 22.5" x 22"; Ottoman: 10" x 20" x 17" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$2,000-3,000

96 WALTER LAMB SLEIGH CHAIR AND OTTOMAN (2) Model nos. C-5720 (chair) and C-5726 (ottoman) Brown-Jordan Co., designed c. 1950 Chair: 29" x 22.5" x 22"; Ottoman: 10" x 20" x 17" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$2,000-3,000

57


97 WALTER LAMB DINING TABLE AND ARMCHAIRS (5) Model nos. C-2700 (table) and C-1700A (chairs) Brown-Jordan Co., designed c. 1950 Comprised of a table and four armchairs Table: 28" x 49"; Chairs each: 32" x 23" x 21" Literature:

WA LTER L A MB FU R N I T U R E

CATALO GU E, 1954, NP.

$4,000-5,000

98 WALTER LAMB DINING TABLE AND ARMCHAIRS (5) Model nos. C-2700 (table) and C-1700A (chairs) Brown-Jordan Co., designed c. 1950 Comprised of a table and four armchairs Table: 28" x 49"; Chairs each: 32" x 23" x 21" Literature:

WA LTER L A MB FU RN I T U R E

CATALO G U E, 1954, NP.

$4,000-5,000

99 WALTER LAMB SIDE CHAIRS (7) Model no. C-1700 Brown-Jordan Co., designed c. 1953 Each chair: 32" x 21.5" x 18.5" $3,000-5,000


100 WALTER LAMB DINING TABLE AND ARMCHAIRS (5) Model nos. C-2700 (table) and C-1700A (chairs) Brown-Jordan Co., designed c. 1950 Comprised of a table and four armchairs Table: 28" x 49"; Chairs each: 32" x 23" x 21" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$4,000-5,000

101 WALTER LAMB DINING TABLE AND ARMCHAIRS (5) Model nos. C-2700 (table) and C-1700A (chairs) Brown-Jordan Co., designed c. 1950 Comprised of a table and four armchairs Table: 28" x 49"; Chairs each: 32.5" x 23" x 21" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE , 195 4, N P.

$4,000-5,000

59


102 CHARLES & RAY EAMES DRAFTING CHAIRS (2) Herman Miller, designed 1970 Each retains molded manufacturerâ&#x20AC;&#x2122;s mark 42.5" x 24.625" x 22" and 42" x 23" x 18" $1,500-2,000

103 CHARLES & RAY EAMES DINING SUITE (5) Model nos. DTM and DCM Herman Miller, designed 1947 Each chair retains Herman Miller medallion Comprised of a group of four DCM chairs and DTM folding table Each chair: 29.5" x 19" x 20.5"; Table: 28.75" x 53.75" x 33.75" $3,000-5,000


104 EAMES OFFICE NEW YORK WORLD'S FAIR PANELS (2) Custom designed for the IBM Pavilion, New York World's Fair, executed 1964 Hand-painted acrylic on aluminum sheet Each image (vis.): 30.5" x 21.75"; Each frame: 32.25" x 23.5" William Miner was the Chief Exhibition Designer for the Eames Office from 1968 to 1972. He originally worked for DMI and was sub-contracted to work with the Eames Office for the New York World's Fair. In 1972 Miner accepted a position to be Chief Exhibition Designer and coordinator for the Smithsonian Institution, and eventually went on to hold the same position for exhibition spaces at the Library of Congress. Provenance:

W IL L IAM " B IL L " MI NER , M ONR OVI A ,

C AL IFO R N IA ( AC Q UIR E D D IR EC TLY FR OM TH E NEW

Photograph taken by Ray Eames on the set of Tops (1969). William Miner (top left) and Charles Eames (top right) Photo Š Eames Office, LLC (eamesoffice.com)

YO R K WO R L D ' S FAIR , 19 6 4 ) ; THENCE BY DESCENT

$8,000-16,000

61


105 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model nos. 670 (chair), 671 (ottoman) Herman Miller, designed 1956, this example produced c. 1980 Retains Herman Miller upholstery tags 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 ,

EAMES D ESIGN: 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 20 7.

$2,500-3,500

106 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model nos. 670 (chair), 671 (ottoman) Herman Miller, designed 1956, this example produced c. 1990 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 ,

EAMES D ESIGN: 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 20 7.

$2,500-3,500


107 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model nos. 670 (chair), 671 (ottoman) Herman Miller, designed 1956, this example produced c. 1975 Chair: 31" x 33.5" x 36"; Ottoman: 16.25" x 25.25" x 21" 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 2 0 7.

$2,500-3,500

63 108 GEORGE NELSON HEADBOARD From the Thin Edge series Herman Miller, designed 1956 Each section retains Herman Miller medallion 39.625" x 58" (116" together) x 12" $4,000-6,000


LOT 109

LOT 110

LOT 111

LOT 112

109 GEORGE NELSON SMALL PRETZEL CLOCK

110 GEORGE NELSON POPSICLE CLOCK

111 GEORGE NELSON DIAMOND MARKERS CLOCK

112 GEORGE NELSON PETAL CLOCK

Model no. 4775 Howard Miller Clock Company, designed 1952 Incised “4775” verso; retains partial “Howard Miller Clock Company, Zeeland MI” label verso 17" diameter

Model no. 2257-A Howard Miller Clock Company, designed 1957 Incised “02257” verso; retains “Howard Miller Clock Company, Zeeland MI” label verso 14" diameter

Model no. 2267 Howard Miller Clock Company, designed 1959 Stamped “Howard Miller Clock Company” and “02267” 13" diameter

Model no. 7513 Howard Miller Clock Company, designed 1957 Stamped “7513” verso; retains “Howard Miller Clock Company” label verso; retains Howard Miller sticker recto 18" diameter

Literature:

Literature:

GEO R GE N E L S O N : AR C H ITEC T, W R ITE R , D E-

Literature:

EI SENBRA ND, JOCH E N ,

E I SE N B R A N D, J OCH E N ,

Literature:

E IS E N B R AN D, J O C H E N ,

E IS E N B R AN D, JOCH EN,

G EO RG E NEL SON: A RCH I TECT, WR I T E R , DE-

G EOR G E N E L SON : A R C HI T EC T, W R ITE R , D E-

S IGN E R , TE AC H E R , W E IL AM R H E IN : V ITR A

GEO R GE N E L S O N : AR C H ITEC T, WR I TER , DE-

S IG N ER , TEACH ER , W EI L A M RH E I N : VI T R A

SI G N E R , T E AC HE R , WE I L A M R H E IN : V ITR A

D E S IGN MUS E UM, 2 0 0 8 , P 2 95 .

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

D ES IG N MU SEU M, 20 0 8, P 287.

DE SI G N M U SE U M , 2 008, P 2 9 4.

$2,000-3,000

$2,000-3,000

$3,000-5,000

D E S IGN MUS E UM, 2 0 0 8 , P 291 .

$2,500-3,500


LOT 113

LOT 114

65

LOT 115

LOT 116

113 GEORGE NELSON CLOCK

114 GEORGE NELSON TRIANGLE CLOCK

115 GEORGE NELSON SPIKE CLOCK

116 GEORGE NELSON CLOCK

Model no. 2271-D Howard Miller Clock Company, designed 1958 Stamped “Howard Miller Clock Co.” 12.5" diameter

Model no. 2225-C Howard Miller Clock Company, designed 1955 Retains manufacturer’s label; stamped “2225” 20" diameter

Model no. 2202-D Howard Miller Clock Company, designed 1952 Stamped “Howard Miller Clock Co., Zeeland, MI” 18.5" diameter

Model no. 2265-A Howard Miller Clock Company, designed 1958 Incised “Kienzle” and “Monozelle” 9" diameter

G EO RGE NEL SON: A RCH I TECT, WR I T E R , DE-

Literature:

Literature:

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

S IG N ER , TEACH ER , WEIL A M R HE I N : VI T R A

G EOR G E N E L SON : A R C HI T EC T, W R ITE R , D E-

GEO R GE N E L S O N : AR C H ITEC T, W R ITE R , D E-

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

D ES IG N MU SEU M, 20 0 8, P 29 6 .

SI G N E R , T E AC HE R , WE I L A M R H E IN : V ITR A

S IGN E R , TE AC H E R , W E IL AM R H E IN : V ITR A

D E S IGN MUS E UM, 2 0 08, P 295.

DE SI G N M U SE U M , 2 008, P 2 9 0.

D E S IGN MUS E UM, 2 0 0 8 , P 2 8 7.

$2,000-3,000

$2,000-3,000

Literature:

EISENBRA ND, JO C HE N ,

$1,500-2,000

E I SE N B R A N D, J O C H E N ,

E IS E N B R AN D, J O C H E N ,

Literature:

E IS E N B R AND, JOCH EN,

$2,000-3,000


117 GEORGE NELSON DINING SUITE (9) Herman Miller, designed 1958 Table retains Herman Miller medallion Comprised of a table with two extension leaves and eight chairs Table: 28.25" x 71.75" x 36" (fully extended); Each chair: 31" x 21" x 21" Literature:

EI SENBRA ND, JOCH E N ,

G EO RG E NEL SON: A RCH ITECT, WR I T E R , DES IG N ER , TEACH ER , W EI L A M RH EIN : VI T R A D ES IG N MU SEU M, 20 0 8, P 263.

$3,000-5,000

ILLUSTRATED AS EXTENDED


118 GEORGE NELSON CLOCK Model no. 4757 Howard Miller Clock Company, designed 1949 14" diameter Literature:

E IS E N B R AND, JOCH EN,

GEO R GE N E L S O N : AR C H I TECT, WR I TER , DES IGN E R , TE AC H E R , WEI L AM R H EI N: VI TR A D E S IGN MUS E UM, 2 0 08, P 284 .

$1,200-1,500

67 119 ALEXANDER GIRARD ENVIRONMENTAL ENRICHMENT PANELS (5) Model nos. 3026 (Checks), 3014 (Eyes), Herman Miller, designed 1972 "Checks" and "Eyes" signed and dated in the selvage Comprised of "International Love Heart" (2), "Checks" (2), and "Eyes" (1) International Love Heart each: 15" x 15.75"; Checks each: 70" x 50"; Eyes: 27" x 60.5" Literature:

P IĂ&#x2018;A , L E SLI E, ALEXANDER

GIR AR D : D E S IGN S FO R H ER M AN M I LLER , ATGL E N : S C H IF F E R P UBLI SH I NG LTD, 1 998, P P 15 6 , 16 2 , 17 8 .

$2,000-3,000


120 FLORENCE KNOLL SOFA

121 FLORENCE KNOLL LOUNGE CHAIRS (2)

NOT ILLUSTRATED 122 FLORENCE KNOLL MARBLE AND STEEL END TABLES (2)

Model no. 67 Knoll International, designed 1958, produced 1958-75 32" x 85" x 28"

Model no. 65 Knoll International, designed 1958, produced 1958-75 Each chair: 32" x 28" x 28"

Model no. 2514MC Knoll International, designed 1958, produced 1958-75 Each: 16.5" x 30" x 30"

Literature:

Literature:

Literature:

ROU L A ND, STEVEN & L I N DA ,

R O UL AN D, STE 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 193 8 -19 6 0, 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 9 4 ,

SC HI F F E R P U B LIS H IN G LTD, 2 0 05 , P P 9 4,

S C H IF F E R P UB L IS H IN G LTD, 2 0 05 , P P 9 4,

95, 1 2 3 .

95, 1 2 3.

95 , 12 3 .

$3,000-5,000

$3,000-5,000

$1,500-2,000


123 EERO SAARINEN WOMB SETTEE, CHAIR AND OTTOMAN (3) Model nos. 73 (settee), 70 (chair), 74 (ottoman) Knoll Associates, designed 1947 Each retains manufacturer’s tag Settee: 35 x 60.5 x 35; Chair: 34.5" x 38.5" x 38"; Ottoman: 17" x 25" x 19.5" Literature:

LUTZ , B RI AN, K NOLL : A M ODER N -

IST UN IV E R S E, N E W YOR K : R I ZZOLI , 201 0, P 116 .

$2,500-3,500

NOT ILLUSTRATED 124 LEWIS BUTLER SIDE TABLES (2) Model no. 355 Knoll Associates, designed 1947-54 Each retains “Knoll Associates Inc.” labels 18.5" x 27" x 27" and 19" x 30" x 30" Literature:

LUTZ , B R I AN, K NOLL : A M OD -

E R N IST UN IV E R S E, N EW YOR K : R I ZZOLI , 2 0 10, P 111.

$1,500-2,000

125 EERO SAARINEN COFFEE TABLE Model no. 167MW Knoll International, designed 1956 15.5" x 54" 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 1 23.

$2,000-3,000

69


126 WARREN PLATNER DINETTE SET (5) Model no. 1725-A (chair) Knoll International, designed 1966 Comprised of table and four chairs Table: 28" x 47.75" diameter; Chairs each: 29" x 27" x 20" Provenance:

PRI VATE COLLECTI ON , C A L I-

FO RNIA ( ACQ U IRED DIRECTLY FR OM K N OL L )

Literature:

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

1 000 CHAIRS, COLOGNE: TASCH E N , 1 9 9 7, P 4 00.

$3,000-5,000


127 SIDNEY JONAS BUDNICK CONCERTO NO. 30, CONCERTO NO. 28, CONCERTO NO. 11 (3) 1973 Oil on molded Masonite panel Each signed and dated; each signed and dated verso with title Image/Masonite each: 20.75” x 20.5”; Frame each: 21.25” x 21.25” $4,000-6,000

71


128 SOTTSASS ASSOCIATI MANDARIN ARMCHAIRS (8) Knoll International, designed 1987 Each retains “Made in Italy” sticker Each: 32.25" x 26" x 21.25" Literature:

LU TZ, BRI A N, KNOLL : A

MO D ERNIST U NIVERSE, NEW YOR K : RIZ ZO L I, 20 10, P 220.

$1,500-2,500


129 AFTER HERBERT BAYER UNTITLED (MANY MOONS) c. 1961 Unique 100% wool-pile rug Manufactured by Decorative Carpets, Los Angeles and Tai Ping Carpets, Hong Kong Woven signature "Bayer" lower right 85" x 106.75" This design is based on a watercolor painting Many Moons (1961) executed by the artist and gifted to the original owner. Provenance:

P R IVATE COLLECTI ON, U NI T-

E D STATE S ; SAN TA B A R B AR A M U SEU M OF ART, SAN TA B AR B AR A , CALI FOR NI A (G I FTED D IR EC TLY F R O M TH E AB OVE, 1 981 )

$10,000-15,000

130 BORIS TABAKOFF SPHERE CHAIRS (4) Mobilier Modulaire Moderne, designed c. 1971 Each: 30" x 26" x 24" $4,000-6,000

73


131 ILYA BOLOTOWSKY ELLIPSE WITH BLACKS, BLUE, AND YELLOW 1979 Acrylic on canvas Signed and dated in ink “Ilya Bolotowsky 79” center left; titled and dated on the canvas stretcher verso; retains Galerie Christel exhibition label verso 51.125" x 35.5" diameter Exhibited:

“ KONSTRU KTI V TEND E N S: T HE

ART O F O U R CENTU RY, ” GA LERI E C HR I ST E L , STO CKHOLM, 1980 - 81

$25,000-30,000

DETAIL OF SIGNATURE AND DATE

REVERSE DETAIL


132 JOSEF ALBERS WHITE LINE SQUARE XI (FROM WHITE LINE SQUARES, SERIES II) 1966 3-color lithograph on hand-cut Arches cover paper #88 of 125 Printed and published by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; inscribed in pencil "WLS -- XI" and "88 -- 125" lower left margin Gemini G.E.L. #2.11 Image: 15.5" x 12.5"; Sheet (vis.): 16.25" x 16.5"; Frame: 25.75" x 25.25" Literature:

DAN ILOW ITZ , B R E N DA , TH E

133 JOSEF ALBERS VARIANT IV (FROM TEN VARIANTS) 1967 Color screenprint on Rives BFK paper #173 of 200 Published by Ives-Sillman Inc., New Haven; printed by Sirocco Screenprints, New Haven Signed and dated in pencil lower right margin beneath image; blind stamp lower right margin; inscribed "Variant IV 173-200" lower left margin Together with original sleeve Image: 10.875" x 11.875"; Sheet: 17" x 17"; Sleeve: 17" x 17" (34" open) Provenance:

IV E S - SI LLM AN, I NC, NEW H A-

V E N , C O N N EC TIC UT; P R I VATE COLLECTI ON,

P R IN TS O F J O S E F AL B E R S : A C ATALO GUE

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED

R AIS O N NÉ, 19 15 -19 76, 2 N D E D ITIO N , MAN-

D IR EC TLY F R O M TH E ABOVE)

C H E STE R : H UD S O N H IL L S, 2 0 10, # 17 2 / 3 .

Literature:

$3,000-4,000

P R IN TS O F J O S E F AL BER S: A C ATALOG U E

DAN ILOWI TZ, B R ENDA , TH E

R AIS O N NÉ, 19 15 -19 76, 2ND EDI TI ON, M ANC H E STE R : H UD S O N H I LL S, 201 0, #1 7 3/4 .

$1,500-2,000

134 JOSEF ALBERS VARIANT III (FROM TEN VARIANTS) LOT 133

LOT 134

1967 Color screenprint on Rives BFK paper #152 of 200 Published by Ives-Sillman Inc., New Haven; printed by Sirocco Screenprints, New Haven Signed and dated in pencil lower right margin beneath image; blind stamp lower right margin; inscribed "Variant III 152-200" lower left margin Image: 10" x 14.325"; Sheet: 17" x 17" Provenance:

IV E S - SI LLM AN, I NC, NEW H A-

V E N , C O N N EC TIC UT; P R I VATE COLLECTI 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 ABOVE)

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 NÉ, 19 15 -19 76, 2ND EDI TI ON, M ANC H E STE R : H UD S O N H I LL S, 201 0, #1 7 3/3.

$1,500-2,000

75


135 ROBERT MOTHERWELL UNTITLED c. 1954 Ink on Strathmore paper Initialed in graphite “R.M.” lower left; Strathmore blind stamp upper right Together with facsimile of letter from Ynez Johnston Sheet: 11.5" x 14.5"; Frame: 19.25" x 21.625" This work will be included in the forthcoming catalogue raisonné of Robert Motherwell’s drawings. Provenance:

Y NEZ JOH NSTON, LOS A N-

G EL ES, CA LI FORNI A (GI FTED DIREC T LY BY T HE ART IST )

Exhibited:

"ROBERT MOTH ERW E L L I N

CAL IFO RNI A COLLECTIONS, " OTI S A RT IN ST IT UT E GA LLERY, LOS A NGELE S, N O V EMBER 26, 197 3 -JA NUA RY 12, 1974

Illustrated:

ROBERT MOTH ERW E L L I N

CAL IFO RNI A COLLECTIONS, EXH I B I T I ON CATALO G UE, LOS A NGELES: OTI S A RT IN ST IT UT E, 1974 (I NSI DE OF FRON T A N D BACK COVERS).

$18,000-25,000


77

136 ALEXANDER CALDER THE BLACK ARROW 1969 Gouache on paper Together with Calder’s Universe and original receipt from Perls Galleries Image/sheet (vis.): 29.5" x 22.5"; Frame: 36" x 28.5" Calder Foundation #A06415” Signed and dated “Calder 69” lower right sheet Provenance:

P E R L S G ALLER I ES, NEW

YO R K , N E W YO R K ; P RI VATE C OLLECTI ON, LO S AN GE L E S, C AL IFO R NI A ( AC Q U I R ED D IR EC TLY F R O M TH E AB OVE, 1 970)

$40,000-60,000


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 exhbitions for artists such as Rufino Tamayo, Francisco Toledo, and Karel Appel during his twenty year tenure.

137 ALMA THOMAS UNTITLED c. 1974 Gouache on paper Stamped signature verso Image/sheet: 6.25" x 8.75"; Frame: 12" x 17" Provenance:

H A ROLD RU DOFF HA RT, N E W

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

$5,000-7,000

138 ALMA THOMAS UNTITLED c. 1974 Gouache on paper Illegible inscription lower left sheet; stamped signature verso Image/sheet: 6" x 7.5"; Frame: 12" x 17" Provenance:

H A ROLD RU DOFF HA RT, N E W

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

$5,000-7,000


139 ALMA THOMAS UNTITLED c. 1974 Gouache on paper Stamped signature verso Image/sheet: 6" x 8"; Frame: 12" x 17" Provenance:

H AR O LD R U DOFF H ART, NEW

YO R K , N E W YO R K ; THENCE BY DESCENT

$5,000-7,000

79 140 ALMA THOMAS UNTITLED c. 1974 Gouache on paper Stamped signature verso Image/sheet: 5" x 7.5"; Frame: 12" x 17" Provenance:

H AR O LD R U DOFF H ART, NEW

YO R K , N E W YO R K ; THENCE BY DESCENT

$5,000-7,000

141 ALMA THOMAS UNTITLED c. 1974 Gouache on paper Stamped signature verso Image/sheet: 6.625" x 7.75"; Frame: 12" x 17" Provenance:

H AR O LD R U DOFF H ART, NEW

YO R K , N E W YO R K ; THENCE BY DESCENT

$5,000-7,000


142 JEAN-PIERRE VASARELY (YVARAL) HORIZON STRUCTURÈ BL (NO. 1708) 1976 Acrylic on canvas Signed “Yvaral” lower center; signed and dated verso; inscribed “Horizon Structurè BL” and “No. 1708” verso Canvas: 15.875" x 15.875"; Frame: 16" x 16" $6,000-9,000

143 KENNETH NOLAND TWIN PLANES 1969 Color screenprint on canvas mounted to board From the edition of 200 Published by Chiron Press, New York; printed by Sarah Lawrence Press, New York Image/canvas: 6.325" x 58.75"; Frame: 7.5" x 60" $3,000-5,000

144 INGO MAURER THOMAS ALVA EDISON LIGHT Design M, designed 1979 Stamped “Design M Ingo Maurer Munich Made in West Germany” LAMA would like to thank Ingo Maurer LLC, New York for their assistance in cataloguing this work 14.25" x 8" diameter This lamp was designed in 1979, the centennial year that Edison designed the first commercial incandescent light. His design was submitted for a patent on November 4, 1879. $3,000-5,000


192 WALTER LAMB WAIKIKI LOUNGE Model no. 4720 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 17.5” x 22” x 72” This lounge received the "Good Design Award" at the Museum of Modern Art, New York in 1952-53. Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$1,000-2,000

193 WALTER LAMB LOUNGE CHAIR, OTTOMAN & TABLE (3) Model nos. C-5720 and C-5726 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord, limestone Chair: 30” x 22.5” x 22”; Ottoman: 10” x 20” x 17”; Table: 12.5” x 14.5” x 17” Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

145 VELIZAR ( VASA) MIHICH $3,000-5,000 #1402 RECTANGULAR COLUMN 1979 Laminated cast acrylic Inscribed, signed, and dated “#1402 Vasa 79” 70" x 7" x 4" Provenance:

P R IVAT E C OLLECTI ON, CALI-

FO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E ARTIST, 19 7 9)

$7,000-9,000

194 WALTER LAMB DINING TABLE AND SIDE CHAIRS (5) Model nos. C-2700 and C-1700 Brown-Jordan Co., designed c. 1950 Tubular bronze with plastic cord Table: 28” x 42” diameter; Chairs each: 32.5” x 18” x 16” Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$3,000-5,000

81


146 RICHARD NEUTRA CAMEL TABLE Custom, executed for the Serulnic Residence, Tujunga, California, 1955 28" (coffee table height 14") x 74" x 37" Provenance:

SERU LNI C RESIDE N C E ,

T UJUN G A , CA LI FORNI A (CU STOM DE SI G N E D BY T HE AR CH ITECT ); PRIVAT E COLLECTION, LOS A NGE L E S, CAL IFO RNIA ; PRIVAT E COLLECTION, LOS A NGE L E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY TH R OU G H LO S AN G ELES MODERN AU CTIONS, WE ST HO L LYWOOD, CA LIFORNI A , MAY 2005 )

Illustrated:

ILLUSTRATED AS DINING TABLE

L A MPRECH T, BA RBA R A ,

RICHARD NEU TRA : COMPLETED WOR KS, CO LO G NE: TASCH EN, 20 0 0, P 296 .

$20,000-30,000

ILLUSTRATED AS COFFEE TABLE


147 DAN JOHNSON CHEST OF DRAWERS (2) Hayden Hall, designed c. 1946 Each: 30" x 35.5" x 20" $4,000-6,000

148 HENDRICK VAN KEPPEL & TAYLOR GREEN WARDROBE CHEST Brown-Saltman, designed c. 1955 Marked verso “#2013 wardrobe chest” 35.75" x 60" x 19" $2,500-3,500

149 HENDRICK VAN KEPPEL & TAYLOR GREEN CHEST OF DRAWERS Brown-Saltman, designed c. 1955 Retains “Brown-Saltman California/ Original Design by Van Keppel-Green” label and branded “2004 chest” 39" x 19" x 36" $2,000-3,000

LOT 148

LOT 149

83


150 WARREN MCARTHUR PLANT STAND Studio, designed c. 1928 60.125" x 20" x 20" Custom designed for the Biltmore Hotel in Phoenix, Arizona. $3,000-5,000

151 FRANK LLOYD WRIGHT CLUB CHAIRS (2) Heritage Henredon, designed c. 1955 Each: 27" x 32.5" x 33" $1,500-2,000


152 FRANK O. GEHRY LITTLE BEAVER CHAIR AND OTTOMAN (2) #46 of 100 Vitra, designed 1980; this example produced later Retains plaque with edition number, manufacturer, and facsimile signature Chair: 32" x 40" x 33"; Ottoman: 18" x 24" x 19" $5,000-7,000

153 FRANK O. GEHRY EASY EDGES TABLE Easy Edges, designed 1972 Corrugated cardboard 29" x 83.75" x 33" Provenance:

D E B O R AH SU SSM AN, VENI C E,

C AL IFO R N IA (GIF TE D DI R ECTLY BY TH E AR C H ITEC T )

Literature:

AR N E L L , P ETER , FR ANK

GE H RY: B UIL D IN GS AND P R OJEC TS, NEW YO R K : R IZ ZO L I, 19 85 , P P 6 4 - 6 9.

$3,000-5,000

85


154 VICTOR GRUEN ASSOCIATES ARCHITECTURAL GRILL Custom designed for the Wilshire Terrace, executed 1958 111" x 75" x 2" and 111" x 74.5" x 2" Literature:

GRU EN, VI CTOR , VIC TOR

G RUEN ASSOCIATES: A RCH ITECTU R A L PL AN N ING ENGINEERI NG, LOS A NG E L E S: V ICTO R G R U EN ASSOCI ATES, ND, P P 24 -2 5.

$5,000-7,000

155 VICTOR GRUEN ASSOCIATES BUILT IN BENCH/TABLE Custom designed for the Wilshire Terrace, executed 1958 13.75" x 120" x 29.5" Literature:

GRU EN, VI CTOR , VIC TOR

G RUEN ASSOCIATES: A RCH ITECTU R A L PL AN N ING ENGINEERI NG, LOS A NG E L E S: V ICTO R G R U EN ASSOCI ATES, ND, P P 24 -2 5.

$5,000-7,000


VICTOR GRUEN â&#x20AC;&#x153;Wilshire Terrace in Beverly Hills, California, represents one of the outstanding departures from the emphasis on the superficial. Thanks to the ingenious planning by its architects, Victor Gruen Associates, luxury was not just 'applied' to an otherwise ordinary building, but was built into the structure.â&#x20AC;? Ilse Meissner Reese, Progressive Architecture, December 1959.

87


156 T.H. ROBSJOHN-GIBBINGS CHAISE Baker, designed c. 1960 42" x 59" x 23" $5,000-7,000

157 T.H. ROBSJOHN-GIBBINGS SOFA Widdicomb, designed c. 1948 31.5" x 73" x 31" $3,000-5,000

158 THEODORE MULLER & ELIZABETH BARRINGER LOTUS COFFEE TABLE Kittinger, designed c. 1965 14.125" x 47.5" diameter $2,500-3,500


159 PAUL T. FRANKL COFFEE TABLE Model no. 5005 Johnson Furniture Company, designed c. 1951 Retains ink stamp “5005 #166” 14.5" x 49.5" x 36" 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 C AN DESI G N, C O N N EC TIC UT: YAL E UNI VER SI T Y P R ESS, 2 0 0 7, P 16 1.

$3,000-5,000

89

160 PAUL T. FRANKL DESK Johnson Furniture Company, designed c. 1950 Retains branded manufacturer's marks 28.5" x 59" x 27" $5,000-7,000

161 PAUL T. FRANKL COCKTAIL TABLE/BENCH Model no. 5004 Johnson Furniture Company, designed c. 1948 Retains ink stamp “#5004” 13" x 70" x 20.75" $4,000-6,000


162 JEFF KOONS BALLOON DOG (RED) 1995 Cast porcelain with red reflective finish #28 of unknown edition size Published by VOICE: Venice Oakwood/ Inner City Enterprise, Los Angeles Signed verso on VOICE label; edition and date verso Together with original box and plate stands 10.75" diameter; Box: 5.75" x 13.75" x 14.5" Provenance:

MOCA STORE, LOS A N G E L E S,

CAL IFO RNIA ; PRI VATE COLLECTI ON , LOS AN G ELES, CA LIFORNI A (ACQ U I RED DIRECT LY FROM TH E A BOVE)

$7,000-9,000

163 JEFF KOONS BALLOON DOG (RED) 1995 Cast porcelain with red reflective finish #1033 of 2300 MoCA Editions Facsimile of signature with edition on MoCA label verso 10.25" diameter $3,000-5,000


164 KARA WALKER FROM THE BOWELS TO THE BOSOM 1994 Ink on paper Retains Greg Kucera Gallery label verso; retains Tony Shafrazi Gallery label verso; retains Brent Sikkema and Wooster Gardens label verso Image/sheet: 18" x 12"; Frame: 24" x 17.625" Provenance:

GR EG KU C ER A G ALLERY,

S E AT TL E , WAS H IN GTON; P R I VATE C OLL EC TIO N , LO S AN GE L ES, C ALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 2002)

Exhibited:

" N OW IS T H E TI M E, " G R OU P

S H OW, TO N Y S H AF R AZI G ALLERY, NEW YO R K , AP R IL 6 -2 9, 19 95; "FR OM TH E B OWE L S TO TH E B O S O M, " BR ENT SI K K EM A AND WO O STE R GAR D E N S, NEW YOR K , M AR CH 1-AP R IL 13 , 19 9 6

$10,000-15,000

165 KARA WALKER FREEDOM, A FABLE: A CURIOUS INTERPRETATION OF THE WIT OF A NEGRESS IN TROUBLED TIMES 2007 Leather bound volume of offset lithographs and five laser-cut, pop-up silhouettes on wove paper From the edition of 4000 Published by the Peter Norton Christmas Project, Santa Monica Overall: 9.325" x 8.325" Literature:

D R UC K E R , JOH ANNA , AND

K RYST Y N A WASS E R M AN, TH E BOOK AS ART: ARTISTS ’ B O O KS FR OM TH E NATI ONAL MUS E UM O F WO ME N I N TH E ARTS, P R I NCE TO N : P R IN C E TO N AR CH I TECTU R AL P R ESS, 2 0 0 6 , P 44.

$1,000-1,500

91


166 BALTASAR LOBO UNTITLED 1953 Watercolor on paper Signed and dated lower left "Lobo 53" Sheet: 13" x 16.25"; Frame: 13.25" x 16.5" Provenance:

PRI VATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (GI FTED DI R EC T LY BY T HE ARTI ST, C 1970 S)

$2,000-3,000

167 JOHN KACERE UNTITLED (STUDY) 1975 Pencil on Strathmore paper Signed and dated in pencil “Kacere 75 Mar 3” lower right; retains Manny Silverman Gallery label verso; retains OK Harris Works of Art Gallery label verso; retains Stanley Poler, Inc. label verso; retains Christie’s label verso Sheet: 21" x 29"; Frame: 30.5" x 38.5" $4,000-6,000


168 ROBERT GRAHAM ELISA ’96 2007 Patinated bronze #153 of 250 Signed in ink on base; edition stamped verso; incised “Elisa 8-96 RG” LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 5.5" x 5" x 5" $2,500-3,500

169 ROBERT GRAHAM MOCA TORSO 1992-94 Patinated bronze From the edition of 3500 Published by the Museum of Contemporary Art, Los Angeles Editions Incised “Joan” and “Smiley” underneath base 11" x 4.5" diameter at base $2,500-3,500

170 JOCK STURGES NIKKI: MONTALIVET, FRANCE, 1998 1998 Gelatin silver print #10 of 40 Signed, titled, and dated with edition in pencil verso Image (vis.): 14" x 18.25"; Frame: 22.25" x 26" Literature:

J O C K STU R G ES: NEW WOR K

19 9 6 -2 0 0 0, Z UR IC H : SC ALO, 2000, P 4 9.

$1,500-2,000

93


171 WILLIAM WEGMAN UNTITLED 1990 Gelatin silver print #6 of 7 Signed and dated in pencil “William Wegman 90” verso; edition verso Image: 10" x 10"; Sheet: 14" x 11"; Frame: 19" x 18.75" Provenance:

LINDA CATH CA RT G A L L E RY,

SANTA MONICA , CA LIFORNI A ; PRI VAT E CO LLECT ION, LOS A NGELES, CA LI FOR N I A ( ACQUIRED DIRECTLY FROM TH E A B OVE , C 1 9 9 0)

$2,500-3,500

172 IMOGEN CUNNINGHAM PORTRAIT OF GERTRUDE STEIN 1937; this example printed later Gelatin silver print Signed and dated “Imogen Cunningham 1937” lower right mat; retains artist's label mat verso; bears the inscription in pencil “J Edson/10/14/71” mat verso Image: 7.5" x 6.75"; Mat: 14" x 11" Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTIST, 1971 )

$4,000-6,000

DETAIL OF LABEL


173 ROBERT LONGO UNTITLED (STUDY FOR MEN IN THE CITIES) 1981 Chromogenic print on Kodak paper Signed lower right margin of sheet Image: 9.25" 6.25"; Sheet: 10" x 8"; Frame: 16.5" x 14.5" The model in this photograph is actor Eric Bogosian. Provenance:

DAN IE L WEI NBER G G AL-

L E RY, 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)

Literature:

P R IN C E , R I CH AR D, AND C I NDY

S H E R MAN , R O B E RT LO NG O: M EN I N TH E C ITIE S : P H OTO GR AP H S 1 976 -1 982, M U NI C H : S C H IR ME R / MO S E L , 2 0 09, P 67.

$1,500-2,000

95

174 ROBERT LONGO UNTITLED (PL. 2 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"; Sheet: 43" x 30"; Frame: 47.5" x 34.125" The model in this photograph is actor Eric Bogosian. $5,000-7,000


175 ANDY WARHOL FLOWERS 1970 Color screenprint on paper #64 of 250 Published by Factory Additions, New York; printed by Aetna Silkscreen Products, Inc., New York Signed in ballpoint pen verso; edition stamped verso F/S #II.70 Image/sheet (vis.): 35.75" x 35.75"; Frame: 36.25" x 36.25" Literature:

FELDMA N, FRAY DA , A N D J OR G

S CHEL L M ANN, A NDY WA RH OL PR I N TS: A CATALO G U E RA ISONNĂ&#x2030; 1962-1987, 4 T H E DIT IO N , NEW YORK: DA P, 20 03, # I I / 7 0.

$12,000-15,000


97

176 ANDY WARHOL MARILYN (INVITATION)

177 ANDY WARHOL REIGNING QUEENS (INVITATION)

1981 Offset color lithograph on wove paper From the edition of approximately 250 Published by Castelli Graphics, New York; printed by Colour Editions, Inc., New York Signed in black felt tip marker center left Not in F/S Image/sheet: 6.75" x 7"

1985 Color print on cardstock Unknown edition size Signed lower right Not in F/S Sheet: 7.25" x 5.875" (folded); 7.25" x 11.75" (unfolded)

This is an announcement for the exhibition “Andy Warhol, A Print Retrospective 1963-1981,” held at Leo Castelli Gallery, New York. $12,000-15,000

This is an announcement for the exhibition “Andy Warhol, Reigning Queens 1985,” held at Leo Castelli Gallery in New York. $3,000-5,000

178 ANDY WARHOL UNTITLED (CAMPBELL’S SOUP CAN ASPARAGUS) 1975 Marker on title page of hardcover edition of The Philosophy of Andy Warhol book Andy Warhol Art Authentication Board #106.122 Together with Andy Warhol Art Authentication Board letter Signed, inscribed, and dated “To John/ Campbell/Andy Warhol/Oct 1975” Image/sheet: 8.25" x 5.125"; Frame: 13.75" x 11.5" $3,000-5,000

179 ANDY WARHOL S&H GREEN STAMPS 1965 Offset color lithograph on paper From the edition of approximately 300 Published by the Institute of Contemporary Art, Philadelphia; printed by Eugene Feldman, Philadelphia F/S #II.9 Sheet: 3.75" x 9" (folded); 23" x 22.75" (unfolded) This is an announcement for an Andy Warhol exhibition held at the Institute of Contemporary Art, Philadelphia from October 8-November 21, 1965. Literature:

F E L D MA N, FR AYDA , AND JOR G

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 /9.

$1,500-2,000


180 ROY LICHTENSTEIN SUNRISE 1965 Offset color lithograph on lightweight, white, wove paper Unknown edition size Published by Leo Castelli Gallery, New York; printed by Colorcraft, New York Signed in pencil lower right margin Image: 17.25" x 23.25"; Sheet: 18.5" x 25.5" Literature:

WA LDMA N, DIA NE, ROY L I C H-

T EN ST EIN : DRAWINGS A ND PRI NTS, N E W YO RK , CHE L SEA H OU SE PU BLI SH E R S, 1 9 6 9, #15 ; CO RLET T, MA RY LEE, TH E PR I N TS O F ROY LIC H TENSTEIN: A CATA LO G U E RAIS O N NÉ , 1948 -1993, NEW YORK : HU DSON HILL S PRESS, 20 0 2, # I I /7.

$6,000-9,000

181 ROY LICHTENSTEIN RED LAMP 1992 Color lithograph on Rives BFK paper Artist’s Proof #15 of 40 aside from the edition of 250 Published by the artist and Leo Castelli Gallery, New York, for Art Takes Care Benefit, for the Village Nursing Home, New York; printed by Tyler Graphics Ltd., Mount Kisco Signed and dated with edition in pencil lower right beneath image; printer blind stamp lower right margin; printer workshop number inscribed in pencil verso Image: 15.875" x 18.5"; Sheet: 21.5" x 23.875"; Frame: 33.5" x 35.5" Literature:

CORLET T, MA RY LEE , T HE

PRIN TS O F ROY LICH TENSTEIN: A C ATALO G UE RAISONNÉ , 1948 -1993, NEW YOR K : HUD S O N H ILL S PRESS, 20 0 2, # 27 9.

$6,000-9,000

182 CLAES OLDENBURG FAGENDS CARVED IN ROCK 1975 4-color offset lithograph on cream Hammermill Antique cover paper #4 of 10 Landfall Press proofs aside from the edition of 50 Published by Multiples, Inc., New York; printed by Precision Colorplate Company, Chicago Signed in pencil lower center; initialed and dated “CO 72” in plate lower right Image/sheet: 38" x 22.25"; Frame: 41.25" x 25.5" Literature:

AXSOM, RI CH A RD H , A N D DA-

V ID PL ATZKER , PRINTED STU FF, P OST E R S AN D EPHEMERA BY CL A ES OLDEN B U R G : A CATALO G UE RA ISONNÉ, NEW YORK : HU D S O N HILL S, 1997, # 137.

$800-1,200


DETAIL OF LABEL

183 ROBERT O'DOWD PACKAGE 1964 Painted mixed media construction Signed and dated “O’Dowd 1964”; retains David Stuart Galleries label 5.75" x 9" x 9" Provenance:

TH E E STATE OF B ET T Y

AS H E R ; TH E N C E BY D ESCENT; P R IVATE C O L L EC TIO N, TU C SON, AR I ZONA ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, 2002)

$3,000-5,000

184 ED KIENHOLZ SOUVENIR FROM DOCUMENTA 5 KASSEL 1973 Painted lithograph mounted on aluminum and brass suitcase #220 of 300 Incised “220/K.73” 10" x 15.625" x 4.75" $2,000-3,000

99


185 FRANK STELLA SWAN ENGRAVING VII (FROM SWAN ENGRAVINGS) 1982 Intaglio etching on 100% rag handmade TGL paper #4 of 20 Published and printed by Tyler Graphics Ltd., Mount Kisco Signed and dated with edition in pencil lower left Image/sheet: 51.5" x 53.5"; Frame: 58" x 60" Literature:

AXSOM, RI CH A RD H , T HE

PRIN TS O F FRA NK STELL A : A CATA LOG U E RAIS O N NĂ&#x2030; , NEW YORK: H U DSON HI L L S, 1 9 83 , #15 9.

$3,000-5,000

186 JAMES ROSENQUIST OFF THE CONTINENTAL DIVIDE 1973-4 Color lithograph on ivory wove Japan handmade paper #29 of 43 Published by Universal Limited Art Editions, New York; printed by Bill Goldston and James Smith Signed and dated in graphite lower right margin with blind stamp; edition lower left; title inscribed upper left margin Image (irreg.): 37" x 78.3125"; Sheet: 42" x 79.1875"; Frame: 46" x 83" Literature:

GLENN, CONSTA NCE W, T I M E

D UST, RO SENQ U I ST: COMPLETE G R A P HI C S 1 9 62- 1 9 9 2, NEW YORK: RIZZOLI , 1 9 93, #6 9.

$9,000-12,000


187 DONALD SULTAN YELLOW FLOWERS 2003 Mixografia print on handmade paper #44 of 75 Printed by Mixografia, Los Angeles Titled, dated, and initialed in pencil “Yellow Flowers Sept 5 2003 DS” center left margin; edition lower right margin Image: 37.5" x 38.5"; Sheet: 41.5" x 41.5"; Frame: 59.5" x 59.5" $3,000-5,000

101

188 DAVID HOCKNEY TWO VASES OF CUT FLOWERS AND A LIRIOPE PLANT 1979; published 1981 4-color lithograph on Japanese Toyoshi 80 paper #19 of 78 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in red pencil lower right with Gemini G.E.L. blind stamps; edition lower left Gemini G.E.L. #23.52 Image/sheet: 42" x 59"; Frame: 46" x 62.25" 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 , # 2 3 2 .

$10,000-15,000


189 ROBERT RAUSCHENBERG WHY YOU CANâ&#x20AC;&#x2122;T TELL #1 1979 Color screenprint on paper #46 of 100 Published by Multiples, Inc., New York; printed by Styria Studio, New York Signed and dated with edition in pencil lower left margin; Styria Studio blind stamp lower right margin Image/sheet: 23" x 30"; Frame: 34.25" x 26.875" $1,500-2,000

190 CHRISTO THE UMBRELLAS, JOINT PROJECT FOR JAPAN AND U.S.A. 1991 Color offset lithograph and fabric collage on two sheets of paper mounted to museum board From the edition of 600 Published by Lothar Weber; printed by Les Ateliers Mourlot, Paris Signed on fabric sample in marker lower right; signature and date in plate Image (approx.): 18.25" x 27.5"; Sheet: 27" x 39"; Frame: 29" x 40.75" In 1991, Christo and Jeanne-Claude opened 3,100 umbrellas in Ibaraki, Japan, and California. The fabric samples used in this edition are from the umbrellas utilized for the project. $800-1,200


191 THE PARIS REVIEW AND OTHER PRINTS ( 12) A-H: UNTITLED; I: UNTITLED (TAR PITS) (FROM NOTES); J: UNTITLED (ICE CREAM CONES) (FROM NOTES); K: UNTITLED; L: UNTITLED (SELF-PORTRAIT POSTER FOR DWAN GALLERY) A-H: 1965; I, J: 1968; K: c. 1969; L: 1965 A: Silkscreen on clear acetate; B, C: Silkscreen; D: Color lithograph; E, F, G, H: Silkscreen; I, J: Color lithograph; K: Silkscreen; L: Offset color lithograph A: #24 of 150; B: #150 of 150; C: #88 of 150; D: #69 of 150; E: #150 of 150; F: #54 of 150: G: #76 of 150; H: #105 of 150, I: #26 of 100; J: #27 of 100; K: Unknown edition size; L: Unknown edition size (only a few impressions signed) A-H: Published by the Paris Review, New York; I, J: Published and printed by Gemini G.E.L., Los Angeles A-J: Each signed and dated with edition; L: Signed in pencil "Rauschenberg" lower right I, J: Gemini G.E.L. #38.9 and #38.6 A: Image/sheet: 25.125" x 41.25"; Frame: 26.25" x 42.125"; B: Sheet (vis.): 39.5" x 25.5"; Frame: 41.25" x 27.125"; C: Image/ sheet (vis.): 37.5" x 24.5"; Frame: 39.25" x 26.25"; D: Sheet (vis.): 24.5" x 20.5"; Frame: 25.75" x 21.75"; E: Sheet (vis.): 39.5" x 24.5"; Frame: 42" x 27.5"; F: Image/sheet (vis.): 25.75" x 25.5"; Frame: 27.25" x 27.25"; G: Sheet (vis.): 35.75" x 25.5"; Frame: 37.25" x 27.125"; H: Image/sheet (vis.): 38.5" x 28.5"; Frame: 40.25" x 27.125"; I, J: Each image/sheet (vis.): 22.25" x 15.5"; Each frame: 25.75" x 18.75"; J: Image; K: Image/sheet: 25.25" x 19.75"; Frame: 29.5" x 24"; Image/sheet (vis.): 23" x 24.875"; Frame: 23.25" x 25.125" Comprised of eight Paris Review prints by the artists Vardea Chryssa, Louise Nevelson, Claes Oldenburg, Robert Rauschenberg, Saul Steinberg, Ernest Trova, Esteban Vicente, and John Wesley. This lot also includes two color lithographs by Claes Oldenburg, a silkscreen by Nicholas Krushenick, and a signed color offset lithograph poster by Robert Rauschenberg for his 1965 show at Dwan Gallery. Literature:

R O B E RT R AU SC H ENB ER G :

P R IN TS 19 48 / 19 7 0, MI NNEAP OLI S: M I NN E AP O L IS IN STITUTE OF ARTS, 1 970, #34 ( DWAN GAL L E RY P O STER ) ; AXSOM , R I C HAR D H , AN D DAV ID P L ATZK ER , P R I NTED STUF F, P O STE R S AN D EP H EM ER A BY C L AES O L D E N B UR G: A C ATALOG U E R AI SONNĂ&#x2030;, NEW YO R K , H UD S O N H IL L S, 1 997, #34 , #55/1 2, # 5 5 / 3 (O L D E N B UR G) .

$2,000-3,000

103


SAM GILLIAM

192 SAM GILLIAM LIVE 1972 Acrylic on canvas Signed, dated, and titled verso Together with original receipt, Sam Gilliam 1982 exhibition invitation, and 1990 exhibition catalogue Canvas: 21.75" x 57.5"; Frame: 23" x 59" Provenance:

JEFFERSON PL ACE G A L L E RY,

WAS HING TON, DC; PRIVAT E COLLECTION, MA RY L A ND, U N I T E D STAT ES ( ACQ U I RED DIRECTLY FR OM T HE ABOV E, 1 9 74 ); TH ENCE BY DESCE N T

$5,000-8,000

In 1968, Sam Gilliam was the first recognized artist to stop using canvas stretchers as a means of reinforcement in favor of the solitary, painted, raw surface – a work on canvas independent of archetypal supports. His groundbreaking “drape paintings” from the mid-to-late 1960s are unique in their exploration of the canvas as a sculptural form and its critical relationship to the surrounding space. A pivotal player in the small, but formidable Washington Color School Movement, Gilliam had withdrawn to his studio in the late 1960s to paint, building up a catalogue of works that blurred the lines of Lyrical Abstraction and Color Field Painting. By the early 1970s, Gilliam had further explored different ways of manipulating the structure and dimensional aspects of a painted surface. Inspired by Ron Davis’ resin and fiberglass works from the early 70s (when installed, these works floated off gallery walls), Gilliam was determined to work with beveled canvas stretchers to facilitate the idea of the painting as a dimensional object. In a 1989 interview, Gilliam explains, “The beveled thick stretcher that made the painting an object at the same time and also made it more so of a volume.” The beveled edges of Live (1972) force the perimeter of the painted surface to fall away from the viewer, giving the illusion that the painted image is materializing out of the wall and into the viewer’s space. Small bursts of yellow wallow in eruptions of red paint splashed all over the surface. The vivid, primary color palette is reminiscent of fellow painter Kenneth Noland, with an approach to the canvas reminiscent of Paul Jenkins’ or Jackson Pollack’s drips. Supported along the way by gallerist, museum director, and curator Walter Hopps, Gilliam was able to exhibit at major museums such as the Phillips Collection and the Corcoran Gallery of Art. Works from this period reside in the permanent collections of the Detroit Institute of Arts, the Hirshhorn Museum and Sculpture Garden, and the Renwick Gallery at the Smithsonian. "Oral History Interview with Sam Gilliam, 1989 Nov. 4-11." Interview by Benjamin Forgey. Oral Histories – Archives of American Art, Smithsonian Institution. Archives of American Art, n.d. Web. 12 Jan. 2014.


193 JACOB KAINEN THE WAY I 1978 Oil on linen Signed and dated “Kainen 78” lower right; inscribed “The Way I” verso Canvas: 47.75" x 36"; Frame: 49" x 37.125" Provenance:

H AR O LD R U DOFF H ART, NEW

YO R K , N E W YO R K ; THENCE BY DESCENT

$5,000-7,000

105

194 JACOB KAINEN BRIGHT STAMBOUL VI 1985 Oil on linen Signed, titled, and dated verso; signed “Kainen” lower center; bears the inscription “#36” on center canvas stretcher verso Canvas: 54" x 48"; Frame: 55" x 49" Provenance:

H AR O LD R U DOFF H ART, NEW

YO R K , N E W YO R K ; THENCE BY DESCENT

$5,000-7,000


195 PIERO FORNASETTI STRUMENTI MUSICALE (DOUBLE-SIDED THREE PANEL SCREEN) Studio, designed and executed c. 1950-1959 61.625" x 58.75" Provenance:

PRI VATE COLLECTI ON , LOS

ANG EL ES, CA LI FORNI A (ACQ U I RED F R OM "IMPO RTANT DESI GN: TH E LI FE OF P I E R O FO RN AS ET TI , " CH RI STIE’S, LOS A N G E L E S, CALIFO RNI A , MAY 1998); PRIVATE C OL L ECT IO N , SANTA CRU Z, CA LI FORNI A (AC QU I R E D FRO M LO S A NGELES MODERN AUC T I ON S, VAN NUYS, CA LI FORNI A , OCTOBER 2 01 2 )

$6,000-8,000

196 GIO PONTI LOUNGE CHAIRS (2) Cassina, designed 1950 for the First Class Ballroom of the transatlantic oceanliner “Augustus” Each: 27" x 29" x 29" Literature:

PICCI ONE, PAOLO, G I O P ON T I

L E NAV I: IL PROGET TO DEGLI INT E R N I VAVAL I 1 9 48 -1953, MI L A N: IDEA B OOKS, 207, P 3 3 .

$20,000-30,000


197 STILNOVO HANGING LIGHT Stilnovo, designed c. 1960 Approximately 31" diameter $3,000-5,000

198 MARINO MARINI PORTRAIT 1939 Tempera and ink on paper Signed in ink lower right; illegible inscription lower left sheet Image/Sheet (vis.): 11.625" x 8.25"; Frame: 21" x 16.5" Illustrated:

WAL D B E R G , PATR I CK , AND G D

SAN L AZ Z AR O, MAR INO M AR I NI : COM P LETE WO R KS, N E W YO R K : T U DOR , 1 970, #20, P 3 93 .

$5,000-7,000

199 MARCO ZANUSO SLEEPER SOFA Arflex, designed 1954 31" x 73.5" x 34.5" Literature:

L E S AN NÉ ES 50 D’ANNE BONY,

PAR IS : E D ITIO N S D U R EG AR D, 1 982, P 274 .

$2,500-3,500

107


200 CARLO SCARPA RARE GRANULARI BOWL Model no. 3779 Venini, designed c. 1940 Etched mark “Venini/Murano” 5" x 8.25" diameter Literature:

BA ROVI ER , MA RINO, VE N E T I A N

G L ASS BY CA RLO SCA RPA : TH E VE N I N I CO MPANY, 1932-194 7, MIL A N: SKI R A , 2 01 3, P 2 9 7.

$4,000-6,000


201 PAOLO VENINI RARE INCISO OBELISK

ILLUSTRATED OPPOSITE PAGE

141 DAN JOHNSON RARE SATYR TRIO OCCASIONAL TABLE Model no. 53B Dan Johnson Studio, designed 1956 Cast bronze, glass 28.75” x 26” diameter

Model no. 453 Venini, designed 1954, this example executed 1956-66 Retains manufacturer’s three line acid stencil mark “venini murano ITALIA” 18" x 3.5" diameter Literature:

V E N IN I DI AZ DE SANTI LL ANA ,

AN N A , V E N IN I: C ATALOG U E R AI SONNÉ 1 921 19 8 6, MIL AN : S K IR A , 2002, P 292.

$4,000-6,000

109 $15,000-20,000


DETAIL OF CHAIR

202 AFRA & TOBIA SCARPA ARTONA DINING CHAIRS (6) Maxalto, designed 1975 Each: 25.5" x 28.5" x 23.5" Literature:

ROME, JU LI A , DESIG N F U R N I-

T URE FROM I TA LY: CU LTU RE A ND T EC HN OLO GY O F TH E I TA LIA N FU RNITU RE 1 950 - 1 9 80, ITALY: ISTI TU TO NAZIONA LE PER I I C OMMERCIO ESTERO, 1980, P 189.

$6,000-8,000

203 AFRA & TOBIA SCARPA ARTONA DINING TABLE Maxalto, designed 1975 Table: 28.75" x 43.25" (86.25" extended) x 43.25" Literature:

ROME, JU LI A , DESIG N F U R N I-

T URE FROM I TA LY: CU LTU RE A ND T EC HN OLO GY O F TH E I TA LIA N FU RNITU RE 1 950 - 1 9 80, ITALY: ISTI TU TO NAZIONA LE PER I I C OMMERCIO ESTERO, 1980, P 189.

$2,000-3,000


204 LOUISE BOURGEOIS CROCHET V (FROM CROCHET SERIES) 1998 Mixografia print on handmade paper #46 of 50 Published by Mixografia, Los Angeles Initialed “LB” in pencil lower right; edition lower left Image: 28" x 9.75"; Sheet: 33.5" x 27.5"; Frame: 39.5" x 34" Literature:

P L ATZ K ER , DAVI D, AND

E L IZ AB E TH W YC KO F F, H AR D P R ESSED: 6 0 0 Y E AR S O F P R IN TS AND P R OCESS, NEW YO R K : TH E IN TE R N ATI ONAL P R I NT C ENTER , 2 0 0 0, # 8 4 ( FO R AN OTH ER EXAM P LE FR OM TH E S E R IE S ) .

$12,000-15,000

205 AFRA & TOBIA SCARPA ARTONA SIDEBOARD Maxalto, designed 1975 28.125" x 70.75" x 17.5" Literature:

R O ME , J U LI A , DESI G N FU R NI-

TUR E F R O M ITALY: C U LTU R E AND TECH NOLO GY O F TH E ITAL IAN F U R NI TU R E 1 950 -1 980, ITALY: ISTITUTO N AZ IO NALE P ER I I COMME R C IO E STE R O, 19 8 0, P 1 89.

$3,000-5,000

111


206 CAIO FONSECA PIETRASANTA C99.20 1999 Mixed media on canvas Signed, dated, and inscribed “Caio Fonseca/C99 20/1999/For Hector/Caio/ At Christmas” lower right verso LAMA would like to thank the Caio Fonseca Studio for their assistance in cataloguing this work Canvas: 27" x 52" Provenance:

PRI VATE 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 )

Literature:

CA I O FONSECA , EXH B I T I ON

CATALO G UE, NEW YORK: PAU L KASM I N G A LLERY, 2 00 2, # 1 (FOR SI MI L A R EXA M P L E ).

$15,000-20,000

207 CAIO FONSECA UNTITLED INVENTION 1999 Color softground and spitbite aquatint with hand-stamping on Somerset white paper #41 of 50 Published and printed by Paulson Bott Press, Berkeley Signed and dated with edition in pencil lower right; blind stamp lower right sheet margin Image: 19" x 54"; Sheet: 29" x 63"; Frame: 33" x 67" $1,200-1,800


208 LINO TAGLIAPIETRA LAGUNA Studio, executed 1989 Enameled, sandblasted, and acid-etched blown glass Etched “Dailey + Tagliapietra”; etched “DT.10.89/Laguna” Designed together with Dan Dailey 18.5" x 8" diameter $10,000-15,000

209 BERTIL VALLIEN BOWL Model no. A74 Kosta Boda, designed c. 1990 Mold-blown glass Etched signature “B. Vallien Kosta Boda Univc/A74” 6.75" x 8.25" x 7" $2,500-3,500

113


VIJA CELMINS In her fleshy painting of a ham hock from 1964, Vija Celmins takes on a familiar subject from art history: raw meat. It’s a classic test of a painter’s powers: How lifelike can the artist render animal muscle, fat, and other tissues? The ham hock (or shank, as the same cut is sometimes known) sits on an off-white ceramic plate, the pig gristle glistening and its joint extending beyond the rim of the plate. The color scheme is simple and powerful: burgundies and whites against a taupe background. But Celmins’ image is just as powerful for what it leaves out. Where is the evidence of a butcher’s shop or stall that we see in so many 16th-century Dutch still lifes? Where are the meat hooks and butchers' counters that show up in dense paintings by Beuckelaer or Aertsen? Likewise, you will not find any of the copper pots, ceramic jugs, or shiny knives that Old Masters like Chardin and French Impressionists later on would use to establish a domestic setting. We don’t even get a table, as the plate floats in the center of the composition. The style is deliberately plain too - a rejection of the attention-getting brushstrokes and paint drips that defined Abstract Expressionism, making this flatly realistic, life-sized image of meat an unlikely sort of palate cleanser for Celmins during an important year in the development of her work. In 1962, at age 25, Celmins enrolled in the M.F.A. program at UCLA and set herself up in a studio at 701 Venice Boulevard. In interviews since, she described her time in California as a weirdly sunny excursion for someone born in Latvia, raised in Indiana, and more at home in shades of gray. This early period in California also represented a turning point in which she managed to shrug off the gestural Abstract Expressionist vocabulary that had influenced her and dominated so much painting of the time, replacing it with the flat, deliberately nondescript sort of representational painting. She described this shift in an interview published as part of her M.F.A. thesis for UCLA, dated June 3, 1965. “I thought struggling and interacting with the painting was necessary; that is to say I put down a stroke, a mark, reacted to it, allowed it to act upon me, and went on from there until I had exhausted myself and the possibilities. The painting remained a battlefield, a symbol of my involvement.”

Feeling burdened by this Abstract Expressionist influence, she soon abandoned painting altogether, drawing landscapes for a time. Then, a breakthrough: “When I began painting again, I decided I would do the very barest thing that I could do, I would SEE what it was I was doing, and I would stop when that one thing began to come to life. There was less concern for the final form the painting was to take. Instead I concentrated on my ability to perceive and organize my perceptions into an image. I kept the paint-ground relationship in my mind and concentrated on projecting the image. I found I was doing the simplest forms, simplest compositions…using the most limited palette but making choices that mattered.” “I remembered kind of feeling the joy of being able to paint anything,” she later said about this period. Her subjects in 1964 ranged from everyday foods like soup, meat, and eggs to objects found in her studio like a lamp, space heater, and a gun on loan from a friend. (MoMA now owns the smoking gun painting.) These objects paved the way for the so-called “disaster” paintings inspired by larger historical events like the 1965 Watts Riots. Throughout this period, her style remains quasi-photographic, realistic without a great attempt at depth or perspective - a reminder that several art critics identified the emerging (and surprisingly varied) art movement of the time as “New Realism” before settling on the term “Pop Art.” New Realism in Celmins' hands could also be called literalism: communicating the thing-ness of a thing itself. Each artwork is an object. Each object is an artwork. A ham hock is a ham hock is a ham hock, to paraphrase Gertrude Stein, who had a lot to say about ham or really liked the word, or both. (As in this semi-inscrutable line: “Suppose, suppose a tremble, a ham, a little mouth told to wheeze more and a religion a reign of a pea racket that makes a load register and passes best.”) “Things that exist exist, and everything is on their side… Everything is equal, just existing,” to quote Donald Judd. He was writing about Claes Oldenburg in the year 1964. -- Jori Finkel


210 VIJA CELMINS UNTITLED (HAM HOCK) 1964 Oil on canvas Signed and dated verso LAMA would like to thank the artist for her assistance in cataloguing this work Canvas: 18" x 18"; Frame: 18.5" x 18.5" 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 96 4 )

DETAIL OF SIGNATURE AND DATE VERSO

$400,000-600,000

115


211 SAM FRANCIS UNTITLED Color lithograph on Rives BFK paper Unnumbered Artist’s Proof of 60 aside from the edition of 50 (edition never realized) Published by Editions Daniel Papierski, Paris; printed by Gardner Litho, Buena Park Signed in pencil and inscribed “AP” LAMA would like to thank the Sam Francis Foundation for their assistance in cataloguing this work Image/sheet: 30" x 22" Provenance:

GA RDNER LI TH O, BU E N A

PARK , CALIFORNI A

$2,000-3,000

212 SAM FRANCIS UNTITLED Color lithograph on Rives BFK paper Unnumbered Artist’s Proof of 60 aside from the edition of 50 (edition never realized) Published by Editions Daniel Papierski, Paris; printed by Gardner Litho, Buena Park Signed in pencil and inscribed “AP” LAMA would like to thank the Sam Francis Foundation for their assistance in cataloguing this work Image/sheet: 30" x 22" Provenance:

GA RDNER LI TH O, BU E N A

PARK , CALIFORNI A

$2,000-3,000


213 SAM FRANCIS UNTITLED Color lithograph on Rives BFK paper Unnumbered Artist’s Proof of 60 aside from the edition of 50 (edition never realized) Published by Editions Daniel Papierski, Paris; printed by Gardner Litho, Buena Park Signed in pencil and inscribed “AP” LAMA would like to thank the Sam Francis Foundation for their assistance in cataloguing this work Image/sheet: 22" x 30" Provenance:

GAR D NER LI TH O, B U ENA

PAR K , C AL IFO R N IA

$2,000-3,000

214 SAM FRANCIS THIRD STONE 1966 Lithograph on Rives BFK paper #9 of 30 Published by Hollander’s Workshop, New York; printed by Irwin Hollander, Hollander’s Workshop, New York Signed in pencil lower right with blindstamp; edition lower left Sheet: 22" x 29.75"; Frame: 26.5" x 34.5" Provenance:

S MITH ANDER SEN EDI TI ONS,

PALO ALTO, 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 , C 19 8 0)

Literature:

L E MB AR K , C ONNI E, TH E

P R IN TS O F SAM F R ANC I S: A CATALOG U E R AIS O N NÉ 19 6 0 -19 9 0, VOL I , NEW YOR K : H UD S O N H IL L S, 19 9 2 , #L86.

$3,000-5,000

117


215 GUY DILL 6TH STREET GATE 1995 White marble Together with wood and marble maquette, executed 1995, signed and dated in pencil underneath base 113" x 53.5" x 30"; Maquette: 15.5" x 8" x 4.5" $15,000-20,000

The full-scale sculpture (illustrated opposite page) is located offsite in Hancock Park, Los Angeles. Please arrange for a private viewing with the LAMA staff if you are interested in this lot. The successful bidder will be responsible for the removal and shipment of this lot from its current location. The maquette will be available for viewing in the LAMA showroom during preview hours. MAQUETTE OF 6TH STREET GATE

119


216 DE WAIN VALENTINE AMBER TO GOLD CIRCLE 1971 Cast polyester resin 17.5" diameter Provenance:

PRIVATE COLLECTI ON ,

RAL EIG H, NORTH CA ROLINA (ACQ U I R E D D IRECT LY FROM TH E A RTI ST, 1999)

$25,000-35,000


217 DE WAIN VALENTINE SKYLINE 1985 Watercolor collage on Arches paper Signed and dated in pencil "Valentine 85" verso Sheet: 30" x 42.25" Provenance:

P R IVAT E COLLECTI ON,

R AL E IGH , N O RTH C AR OLI NA ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST, 1 999)

$7,000-9,000

121


218 ED RUSCHA & KEN PRICE FLIES AND FROG 1969 Color lithograph on Copperplate Deluxe paper 1 of 7 unnumbered Artist’s Proofs aside from the edition of 40 Published by Tamarind Lithography Workshop, Los Angeles; printed by Daniel Socha, Tamarind Lithography Workshop, Los Angeles Signed and dated “Price ‘69” in pencil lower right margin; signed and dated “E. Ruscha 1969” lower right margin; inscribed “Artist’s Proof” with Tamarind ink stamps lower center margin; inscribed “2503” and “Copperplate Deluxe” lower center margin Image: 18" x 30"; Sheet: 23.25" x 34"; Frame: 25.75" x 36.75" 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 SONNÉ , N E W YO RK: DAP, 1999, P 85, # 8.

$4,000-6,000


219 ED RUSCHA THE WORLD AND ITS SURROUNDINGS (FROM GLOBAL EDITION SERIES) 1982 Color lithograph on Rives BFK paper #43 of 55 Published by Bernard Jacobsen, Ltd., London; printed by Alan Cox, Sky Editions, London Signed and dated in pencil lower right; edition lower left Image: 28" x 20"; Sheet: 42" x 31.75"; Frame: 46.125" x 36.125" Literature:

E N GB E R G, S IR I, AN D C L IV E

P H IL P OT, E DWAR D R US C H A: E D ITIO N S 195 9 -19 9 9, A C ATALO GUE R AIS O N NÉ , N E W YO R K : DAP, 19 9 9, # 12 5 .

$2,000-3,000

220 ED RUSCHA GREY SUDS

221 ED RUSCHA GREEN SUDS

1971 4-color screenprint on white Arches #6 of 100 Published by Edizioni O, Milan; printed by Jean Milant and Jane Aman, Cirrus Editions, Los Angeles Signed and dated in pencil with edition lower left; inscribed “D-6385” verso with printer blind stamp Sheet: 17.875" x 24"

1971 4-color screenprint on white Arches #53 of 100 Published by Edizioni O, Milan; printed by Jean Milant and Jane Aman, Cirrus Editions, Los Angeles Signed and dated with edition in pencil lower left; retains DeVorzon Gallery label verso Sheet: 17.875" x 24"; Frame: 18.5" x 24.5"

Provenance:

Provenance:

C IR R US E D ITIO N S, LO S AN-

C IR R US EDI TI ONS, LOS AN-

GE L E S, C AL IFO R N IA;

GE L E S, C AL IFO R N IA;

P R IVATE C O L L EC TIO N , LO S AN GE L E S,

P R IVATE C O L L EC TIO N, LOS ANG ELES,

C AL IFO R N IA ( AC Q UIR E D D IR EC TLY F R O M

C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM

TH E AB OV E )

TH E AB OV E )

Literature:

DAV IS, B R UC E , MAD E IN

Literature:

DAV IS, BR U CE, M ADE I N

L A: P R IN TS O F C IR R US E D ITIO N S, LO S

L A: P R IN TS O F C IR R U S EDI TI ONS, LOS

AN GE L E S : LO S AN GE L E S C O UN T Y MUS E UM

AN GE L E S : LO S AN GE LES COU NT Y M U SEU M

O F ART, 19 95 , P 3 43 ; E N GB E R G, S IR I, AN D

O F ART, 19 95 , P 3 42 ; ENG B ER G , SI R I , AND

C L IV E P H IL P OT, E DWAR D R US C H A: E D I-

C L IV E P H IL P OT, E DWA R D R U SC H A: EDI-

TIO N S 195 9 -19 9 9, A C ATALO GUE R AIS O N NÉ,

TIO N S 195 9 -19 9 9, A CATALOG U E R AI SONNÉ,

N E W YO R K : DAP, 19 9 9, # 5 9.

N E W YO R K : DAP, 19 9 9, #58.

$3,000-5,000

$3,000-5,000

123


222 ED RUSCHA STRANGER 1983 2-color lithograph on white Rives BFK paper #1 of 1 B.A.T. aside from the edition of 7 Published and printed by the Printmaking Department, University of Houston Signed and dated in pencil “Ed Ruscha 83” lower right with blind stamps; inscribed “B.A.T” lower left Image: 22" x 17"; Sheet: 29.5" x 22.25"; Frame: 32.625" x 25" Literature:

ENGBERG, SI RI , A ND C L I VE

PHILPOT, EDWA RD RU SCH A : EDIT 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 10 1, # 135.

$15,000-20,000


223 ED RUSCHA FRUIT-METRECAL HOLLYWOOD 1971 2-color screenprint with grape and apricot jam and Metrecal soda on Copperplate Deluxe paper #4 of 85 Published by the artist and Bernard Jacobson, Ltd., London; printed by Jean Milant and Jane Arman, Cirrus Editions, Los Angeles Signed and dated with edition in pencil lower left margin; printer blind stamps lower left margin Image: 10” x 37.5”; Sheet: 14” x 41.875”; Frame: 16.25” x 44” Literature:

DAV IS, BR U CE, M ADE I N

L A: P R IN TS O F C IR R U S EDI TI ONS, LOS AN GE L E S : LO S AN GE LES COU NT Y M U SEU M O F ART, 19 95 , P 3 40 ; ENG BER G , SI R I , AND C L IV E P H IL P OT, E DWA R D R U SC H A: EDITIO N S 195 9 -19 9 9, A CATALOU G E R AI SONNÉ, N E W YO R K : DAP, 19 9 9, P 91 , #53.

$7,000-9,000

125

224 ED RUSCHA TIRES (FROM ARCHI-PROPS SERIES) 1993 Lithograph on white Rives BFK paper Unnumbered Artist’s Proof of 11 aside from the edition of 20 Published by Patrick Painter Editions, Vancouver and Hong Kong; printed by Ed Hamilton, Hamilton Press, Venice Signed and dated in pencil lower right; inscribed “APA for Leo” lower left; blind stamp lower left Image: 5" x 9.5"; Sheet: 11" x 15"; Frame: 15" x 17.75" Literature:

E N GB E R G, SI R I , AND C LI VE

P H IL P OT, E DWAR D R U SC H A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # 2 52.

$3,500-4,500


225 ED RUSCHA BOLT II 1998 2-color lithograph on Murillo Avorio 360 gram paper #10 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “Ed Ruscha 1998” lower right margin of sheet; edition lower left; Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #45.21 Image: 14.25" x 7.25"; Sheet: 22" x 14"; Frame: 29.5" x 21.5" Literature:

ENGBERG, SI RI , A ND C L I VE

PHILPOT, EDWA RD RU SCH A : EDIT I ON S 1 959 - 1 9 9 9, A CATA LOGU E RA I SONNÉ, N E W YO RK: DAP, 1999, # 27 3.

$1,500-2,000

226 ED RUSCHA IF I WAS YOU I’D DO JUST LIKE I TELL YOU TO DO 2007 3-color lithograph on paper #14 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right; edition lower left; Gemini G.E.L. blind stamps lower center Image: 14.25" x 7.25"; Sheet: 19.5" x 15.25"; Frame: 23" x 19" $2,000-3,000


227 ED RUSCHA GROUP OF BOOKS (5) A, B: Black offset print on paper; C: black offset print on 80 lb white Prentice Gloss Text paper; D: black offset print on 60 lb Lithosheen Gloss paper; E: black offset print on 80 lb white Vicksburg Vellum paper A: From the third edition of 3,000; B: From the first edition of 2,413; C: From the first edition of 1,000; D: From the edition of 5,000; E: From the edition of 4,000 A: Published by the artist, printed by The Cunningham Press, Alhambra; B, C: Published by the artist, printed by Blair Litho, Los Angeles; D: Published by Heavy Industry Publications, Hollywood, printed by GR Huttner Lithography, Burbank; E: Published by the artist, printed by GR Huttner Lithography, Burbank B: Signed and inscribed on front endpaper in blue ballpoint pen "To Paul/ From/Ed" A: Twentysix Gasoline Stations (1963; 1969); B: Thirtyfour Parking Lots (1967); C: Royal Road Test (1967); D: Crackers (1969); E: Real Estate Opportunities (1970) A: 7" x 5.5"; B: 10" x 8.125"; C: 9.5" x 6.5"; D: 8.75" x 6"; E: 7" x 5.5" Literature:

E N GB E R G, SI R I , AND CLI VE

P H IL P OT, E DWAR D R USCH A: EDI TI ONS 195 9 -19 9 9, A C ATALOG U E R AI SONNĂ&#x2030;, NEW YO R K : DAP, 19 9 9, P P 1 23 -1 25, #B1 , #B 5, # B 6 , # B 10, # B 12 .

$4,000-6,000

DETAIL OF INSCRIPTION IN THIRTYFOUR PARKING LOTS

127


228 JOE GOODE UNTITLED 1969 Oil on canvas LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 45.25" x 45.375"; Frame: 46.125" x 46" Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTIST, 1975 )

$40,000-60,000


229 ED MOSES UNTITLED 1988 Watercolor and gouache on paper Signed and dated "EMS 88" in pencil lower right Image/sheet: 38.5” x 24.5”; Mat: 42" x 27.5" $2,500-3,500

129

230 JOE GOODE TORN SKY (FROM THE VANDALISM SERIES) c. 1974-76 Layered and cut oil on canvas LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 18" x 18"; Frame: 19.5" x 19.5" 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 )

$5,000-7,000


231 JUDY CHICAGO THROUGH THE FLOWER 2 1972 Colored pencil on paper Signed and dated in pencil “Judy Chicago 1972” lower right beneath image; inscribed “Through the Flower 2” lower left Image: 15" x 15"; Sheet: 22.75" x 22.75"; Frame: 23.25" x 23.25" Provenance:

PRI VATE COLLECTI ON , LOS

ANG EL ES, CA LI FORNI A (GI FTED DI R EC T LY BY T HE ARTI ST, C 1975 )

$2,000-3,000

232 LLYN FOULKES MEDICAL CENTER (FROM MEDICAL GROUP C) 1973 Mixed media on Masonite panel Signed and dated in pencil lower right; retains David Stuart Galleries label verso Masonite: 24.5" x 14.5"; Frame: 24.625" x 14.75" $4,000-6,000

ILLUSTRATED OPPOSITE PAGE

233 LEE MULLICAN KACHINA FORM 1975 Oil pastel on paper Signed and dated in ink “Lee Mullican 1975” lower right Image/sheet: 20" x 16"; Frame: 26" x 22" Provenance:

PRI VATE COLLECTI ON ,

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

$1,500-2,000


131


234 CHARLES ARNOLDI UNTITLED 1981 Acrylic on wooden stick assemblage Signed and dated in pencil "Arnoldi 1981" 14.5" x 14" x 9.25" $6,000-9,000


235 CHARLES ARNOLDI UNTITLED 1975 Wooden stick assemblage Signed and dated in pencil "Arnoldi 1975" verso 26.5" x 32" $6,000-9,000

133


RUTH ASAWA The renowned Japanese-American artist and educator Ruth Asawa (1926-2013) constructed intricate, multi-lobed wire sculptures that explore a complex relationship between object and space. Her diligence to her craft, her pioneering experiments in wire sculpture, and her comprehensive output in other mediums including public sculpture, painting, and printmaking have established Asawa as one of the most influential modernists of the 20th century. Born to Japanese immigrants in Norwalk, California, Asawa was the middle child in a family of seven boys and girls, and she learned the importance of hard work each day on her family’s vegetable farm. On Saturdays, however, Asawa practiced Japanese calligraphy – a welcome respite from farm life – where she received her first lesson in empty space. In 1942 following the attack on Pearl Harbor, Asawa and her family were forcibly relocated to internment camps. Fortunately, she spent her time learning how to draw from Japanese artists from Disney Studios, including Tom Okamoto. She immersed herself in drawing and painting classes, and in 1943 she graduated, earning herself freedom from the camp and a government stipend to study at the Art Institute of Chicago. She was accepted, but the tuition and fees were too expensive, forcing her to enroll at the Milwaukee State Teachers College. After three successful years in Milwaukee, Asawa went on a trip to Mexico in the summer of 1945. There she met Clara Porset, a friend of Josef Albers, who recommended that she enroll at Black Mountain College in North Carolina. This chance meeting and the promise of a robust art scene ultimately changed the course of her life. One year later in Josef Albers’ Basic Design and Color course, Asawa was beginning to understand her abilities: “She sensed that she was learning about herself, how her eyes worked, and that she was increasing her general consciousness.” Black Mountain’s supportive community and its faculty of practicing artists quickly awakened a desire to break from her family’s tradition and to focus on the necessary skills required for a life of creating art. Of the instructors she recalls, “They were the most competent people I have ever known. They performed with distinction.” In 1948, during her final year at Black Mountain, Asawa was encouraged to experiment, so she chose sculpture, an unfamiliar medium for the young artist. Inspired by a crochet loop basket weaving technique she had learned on a second trip to Mexico, she proposed to create a sculpture out of wire, whatever type of wire she could find in the studio: brass, copper, bailing wire. Asawa’s e loop technique was not only simple and inexpensive, but offered a multitude of possibilities. Asawa referred to the resulting sculptures as “drawing[s] in space,” punctuated by an overall nature of “transparency.” She said, “It was Albers’ word. I liked the idea, and it turns out my sculpture is like that. You can show inside and outside, and inside and outside are connected. Everything is connected, continuous.”

135

THE ARTIST IN HER STUDIO, CALIFORNIA. UNTITLED S.437 IS PICTURED AT FAR RIGHT PHOTOGRAPH BY PAUL HASSEL. © RUTH ASAWA


In the early 1950s, Asawa found time to work on her wire sculptures amidst significant life events, including her marriage to architect Albert Lanier and the birth of her children. She submitted a sculpture to the San Francisco Art Association Annual at the San Francisco Museum of Art (now San Francisco Museum of Modern Art), her first show outside of Black Mountain. Throughout the next five years, Asawa showed more regularly at local and national galleries and museums, culminating in a piece at the Bienal de S達o Paolo in Brazil. It was around this time in 1953-54 that June Lane Christensen commissioned Untitled S.437 (Hanging, Seven-Lobed, Two-Part Continuous Form within a Form with Two Small Spheres) for her dance studio in Santa Barbara. In early 1956, Ruth Asawa completed the hanging sculpture and personally installed the work in June's studio, where June and her husband taught dance, music, and the arts to children. June studied dance in the late 40s and early 50s at Black Mountain College where she came to know Ruth Asawa. June then moved to New York to study with Merce Cunningham, John Cage, and Martha Graham, ultimately bringing modern dance into the awareness of the Santa Barbara dance community. The sculpture hung in the dance studio for nearly 20 years and has continued to serve as an inspiration and muse to June and her work since retiring three years ago at the age of 85. On November 13, 2008 the Montecito Tea Fire erupted, destroying homes and buildings in the foothills of Santa Barbara. June's dance studio was one of those buildings burned by the fire. While the property was burning, and her current residence evacuated, the family had very little time to gather their belongings, but they made sure to save the Asawa sculpture. Now after 57 years, the sculpture will save them. Proceeds from the sale of the sculpture will go to rebuilding the property and studio, continuing June's legacy of teaching arts to children through dance, movement, and music. Cornell, Daniell. The Sculpture of Ruth Asawa: Contours in the Air. San Francisco: Fine Arts Museums of California, 2006. Print. Nordland, Gerald. Introduction. Ruth Asawa: A Retrospective View. San Francisco: San Francisco Museum of Art, 1973. Print.

JUNE LANE CHRISTENSEN WITH DAUGHTER, KATHERINE, 1956, SANTA BARBARA


137

DETAIL OF TAG

236 RUTH ASAWA UNTITLED S.437 (HANGING, SEVENLOBED, TWO-PART CONTINUOUS FORM WITHIN A FORM WITH TWO SMALL SPHERES) Custom commission, 1956 Looped brass and steel wires Unique Together with The Sculpture of Ruth Asawa: Contours in the Air exhibition catalogue Retains tag “S.437/50 ((c))” LAMA would like to thank Aiko Cuneo for her assistance in cataloguing this work 103" x 18.5" largest diameter Provenance:

P R IVAT E C OLLECTI ON,

SAN TA B AR B AR A , C ALI FOR NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

Illustrated:

C O R N E L L , DANI ELL , TH E

S C UL P TUR E O F R UTH ASAWA: CONTOU R S IN TH E AIR , B E R K E L E Y: U NI VER SI T Y OF C AL IFO R N IA , 2 0 0 6 , P 1 29.

$300,000-500,000


237 CONRAD BUFF UNTITLED Double-sided oil on paper board (ink drawing on the reverse) Signed “Conrad Buff” lower right; stamped “This painting is By/Conrad Buff/And Has Been Stamped/With The Official/Estate Signature/Mary Elizabeth Buff” verso; bears the inscription in ink “GSFA/CB998” verso Image/sheet: 6.5" x 9.5" $700-900

REVERSE DETAIL


238 SALLY MICHEL AVERY RED INTERIOR 1968 Oil on canvas board Signed and dated “Sally Michel Avery 1968” lower right Canvas board: 18" x 24"; Frame: 19.25" x 25.25" Provenance: KATH A R I NA R I C H P ER LOW GAL L E RY, N E W YO R K , NEW YOR K ; P R I VATE C O L L EC TIO N , L AS VEG AS, NEVADA ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 2 0 0 8)

Exhibited:

" SAL LY MI CH EL : I NTER I OR S

AN D N UD E S : D R E SS E D AND U NDR ESSED PAIN TIN GS 19 6 0 S -19 90, " KATH AR I NA R I CH P E R LOW GAL L E RY, N E W YOR K , OC TOBER 4 -N OV E MB E R 1, 2 0 0 8

$10,000-15,000

239 MARCH AVERY ON THE DAM 1962 Oil on canvas Signed and dated “March Avery ‘62” lower left; bears the inscription in red ink “On the Dam by March Avery” on upper canvas stretcher verso; retains Madelyn Jordon Fine Art label verso Canvas: 16" x 24"; Frame: 16.5" x 24.5" $4,000-6,000

139


240 FRITZ SCHOLDER UNTITLED (INDIAN WITH TURQUOISE TEETH) 1974 Oil on canvas Signed upper left; bears the inscription “Indian with Turquoise Teeth - 1974” on upper canvas stretcher verso; retains Elaine Horwitch Galleries label verso Together with book signed by the artist Canvas: 20" x 16"; Frame: 23.5" x 19.5" Provenance:

EL A INE H ORW I TCH G A L-

LERIES, SCOT TSDA LE, A RIZONA ; P R I VAT E CO LLECT ION, LOS A NGELES, CA L I FOR N I A ( ACQUIRE D DI RECTLY FROM TH E A B OVE , C 1 9 75 )

$6,000-9,000

241 FRITZ SCHOLDER UNTITLED (INDIAN) 1974 Gouache and ink on paper Signed lower center; inscribed “For Bill Settai 8/31/74 - Scholder” lower center Together with book signed by the artist Image/sheet: 15" x 11"; Frame: 19.5" x 15.25" Provenance:

EL A INE H ORW I TCH G A L L E R I E S,

S COT TS DA LE, A RI ZONA ; PRI VATE C OL L ECT IO N, LO S A NGELES, CA LIFORNI A (AC QU I R E D D IRECT LY FROM TH E A BOVE, C 19 7 5 )

$2,000-3,000

242 FRITZ SCHOLDER UNTITLED (INDIAN) c. 1974 Ink, colored pencil, and pastel on paper Signed lower right; retains Elaine Horwitch Galleries label verso Together with book signed by the artist Image/sheet (vis.): 12" x 10": Frame: 17.75" x 15.75" Provenance:

EL A I NE H ORW I TCH G A L L E R I E S,

S COT TS DA LE, A RIZONA ; PRI VATE C OL L ECT IO N, LO S A NGELES, CA LI FORNI A (AC QU I R E D D IRECT LY FROM TH E A BOVE, C 197 5 )

$2,000-3,000

LOT 242 LOT 241


243 JAMES STROMBOTNE APRIL’S DREAM 1960 Oil on canvas board Signed and dated upper left; title inscribed verso Canvas: 17.75" x 24"; Frame: 18.5" x 24.5" $2,000-3,000

244 JAMES STROMBOTNE DEPARTURE 1976 Oil on canvas Signed lower right Canvas: 43.75" x 47.75"; Frame: 44.75" x 48.75" Provenance:

P R IVAT E C OLLECTI ON,

B AL B OA IS L AN D, C ALI FOR NI A ( AC Q U I R ED D IR EC TLY F R O M TH E ARTI ST )

Exhibited:

" JAME S STR OM BOTNE, " NEW-

P O RT H AR B O R MUS E UM , NEWP ORT BEAC H , MAR C H 17-AP R IL 2 9, 1 97 9

Illustrated:

JAME S STR OM B OTNE , EX H I BI-

TIO N C ATALO GUE , N E WP ORT B EAC H : NEWP O RT H AR B O R MUS E UM , 1 97 9, #1 1 (C OVER ) .

$3,000-5,000

141


143

NAKASHIMA COMMISSIONS FROM THE

EDMUND J. BENNETT COLLECTION


In 1962, Edmund J. Bennett, self-taught residential builder and community planner, opened the Carderock Springs subdivision in Bethesda, Maryland, a housing development that promised community and modern living. Ahead of its time, the Carderock Springs subdivision featured homes with 4- and 5-bedroom floor plans, which were “modeled to cause as little alteration to the natural landscape as possible.” The homes offered privacy and natural solitude, yet families had the opportunity to build a sense of community at the centrally located clubhouse where they could play tennis, go swimming, or go sledding. One of the first communities to utilize pre-fabricated sections, underground utilities, and cul-de-sacs, Carderock Springs homes were angled towards the forest, allowing expansive views through the wide-open floor-to-ceiling windows. Some of the other “atrium houses” were built to include a vibrant courtyard at the center of the living space. While the houses looked small and cozy from the outside, the high ceilings and open floor plans provided airiness in harmony with the natural surroundings. Nestled between Congressional Country Club and Cabin John Regional Park, the subdivision offered woods, hills, and solitude only 20 minutes from downtown Washington D.C. In addition to his modern housing designs and the scenic location, Bennett was a savvy marketer. In November 1963, to publicize a newly developed section in the subdivision, Bennett, with the help of architect-designer Doris Harris, commissioned George Nakashima to completely furnish the Valleyview model home to attract the attention of contemporary buyers. Bennett’s marketing strategy paid off. On November 16, 1963, The Washington Post published an article about George Nakashima, his designs, and the Carderock Springs subdivision, bringing over 1,000 people to the model home that week alone. Mr. Bennett later stated that he had to call in his entire staff to help manage the crowds who came to see both the furniture and Mr. Nakashima. Due to its proximity to Washington and Nakashima’s contemporary designs, the development attracted a diverse group of families from around the world. To this day, the community remains internationally minded, and much of the homes are decorated with art from around the world.

CARDEROCK SPRINGS PROMOTIONAL BROCHURE, VALLEYVIEW MODEL HOME

GEORGE NAKASHIMA, DORIS HARRIS, AND EDMUND J. BENNETT STANDING IN FRONT OF THE CUSTOM COMMISSIONED HANGING WALL CASE, 1963, CARDEROCK SPRINGS, VALLEYVIEW MODEL HOME

OPPOSITE PAGE: IKEBANA ARRANGED BY RAVI GUNEWARDENA


245 GEORGE NAKASHIMA HANGING WALL CASE WITH FREE EDGE Studio, executed 1963 American black walnut, pandanus cloth Marked “S Room #309” Together with letter from the George Nakashima Woodworker Studio and copy of the original order card 18.25" x 104" x 20.25" $20,000-30,000

145


The Nakashima designs created for the model home – over 30 in total – represented some of the furniture designer’s most contemporary styles and advanced woodworking techniques. Nakashima was quoted in a local newspaper at the time, stating, “I respect antiques, but I see no reason to copy them. The men who made early American furniture did not make the furniture to be antiques. They made furniture for their time.” One of these designs, the Conoid bench (1963), features a long, low slab of American black walnut that doubles as an end table, a practical and attractive innovation. The word Conoid refers to Nakashima’s incredible Conoid Studio that he had recently designed and completed in the late 1950s. The model home collection also features one of Nakashima’s most innovative designs, the Cross-legged dining table (1963). According to his daughter Mira, the cross-legged base “reflects a lightness and freedom, whimsy and joy, which must have pervaded Nakashima’s life at the time.” Additional designs from the model home featured the natural characteristics of the American black walnut wood. The Slab II coffee table (1963) presents the walnut slab’s rotted out sections, knots, and crotch figures, seamlessly complimenting Bennett and Harris’ hardwood floors and forest views.

VALLEYVIEW MODEL HOME LIVING ROOM, 1963 LOTS ILLUSTRATED IN SITU: 246, 253, 255, 257, 259, 268


LIVING ROOM DETAIL FLOOR PLAN OF PROPOSED FURNITURE IN THE VALLEYVIEW MODEL HOME HAND-DRAWN BY GEORGE NAKASHIMA, DATED AUGUST 23, 1963

246 GEORGE NAKASHIMA CONOID BENCH Studio, executed 1963 American black walnut and hickory Marked “Bennett” and stamped “III” Together with letter from the George Nakashima Woodworker Studio and copy of the original order card 29.75" x 91" x 40" $30,000-40,000

14 7


This example of Nakashima's table lamp (1978) perfectly illustrates an important element of the relationship between designer and client. Weeks, if not months were devoted to getting the smallest details right for this order. Even a detail as seemingly insignificant as the choice between English walnut and American walnut was carefully weighed and led to three drawings and as many letters before both Nakashima and Bennett were satisfied. Nakashima preferred this type of client who understood his aesthetic and would appreciate the skill and thought that went into every small piece. The three letters shown here are included in the sale of this lamp. While not unheard of, it is extremely rare that Nakashima sent the original drawings to the client. Most examples are carbon copies that closely resemble an original sketch; these are in fact the originals.


247 GEORGE NAKASHIMA TABLE LAMP Studio, executed 1978 American black walnut and holly Marked “Bennett” Together with three letters discussing this example (illustrated opposite page) 28.75" x 13.25" diameter $8,000-10,000

149


248 GEORGE NAKASHIMA TABLE LAMPS (2) Studio, executed 1963 American black walnut and fiberglass Each marked “Bennett” 27.75" x 12.75" diameter; and 27.5" x 12.75" diameter $10,000-15,000


LIVING ROOM AND STUDY DETAIL FLOOR PLAN OF PROPOSED FURNITURE IN THE VALLEYVIEW MODEL HOME

249 GEORGE NAKASHIMA FREE EDGE ARMCHAIRS (2) Studio, executed 1963 American black walnut and hickory Each marked “Bennett” Each: 33" x 32" x 28" $10,000-15,000

151


250 GEORGE NAKASHIMA DRESSER Studio, executed 1963 American black walnut Marked “Bennett #2025” 31.75" x 60" x 19.75" $7,000-10,000

251 GEORGE NAKASHIMA DRESSER Studio, executed 1963 American black walnut Marked “Bennett #2025” 31.75" x 60" x 19.75" $7,000-10,000


252 GEORGE NAKASHIMA PEDESTAL DINETTE TABLE AND LOW “MIRA” CHAIRS (5) Studio, executed 1963 Walnut and hickory Table: 28" x 41.5" diameter; Chairs each: 27" x 17" x 16.5" $5,000-7,000

153


253 GEORGE NAKASHIMA WOHL END TABLES (2) Studio, executed 1963 American black walnut Each marked “Bennett” 17" x 23.25" x 18.25"; and 17" x 27.25" x 21.5" $4,000-6,000

254 GEORGE NAKASHIMA CONOID HEADBOARD Studio, executed 1963 American black walnut 24" x 78" x 17.5" $15,000-20,000


LIVING ROOM DETAIL FLOOR PLAN OF PROPOSED FURNITURE IN THE VALLEYVIEW MODEL HOME

255 GEORGE NAKASHIMA SLAB II COFFEE TABLE Studio, executed 1963 American black walnut Marked “Bennett” 13" x 53.25" x 28.5" $12,000-15,000

155


256 GEORGE NAKASHIMA HANGING WALL MIRROR Studio, executed 1963 American black walnut and mirror plate 43.5" x 30.5" x 4.75" $3,000-5,000

257 GEORGE NAKASHIMA HANGING WALL SHELF Studio, executed 1963 American black walnut Marked “Bennett 2030” 11.25" x 54" x 19.5" $10,000-15,000

258 GEORGE NAKASHIMA GREENROCK OTTOMANS (2) Studio, executed 1984 Walnut, Brazilian rosewood, and upholstery Each: 15" x 19" x 19" $6,000-9,000


259 GEORGE NAKASHIMA CUSHION LOUNGE CHAIRS (2) Studio, executed 1963 American black walnut and upholstery Cushion lounge chair marked “Bennett” Cushion lounge chair with arms: 30.5" x 24" x 31.5"; Cushion lounge chair: 30.5" x 24" x 30.5" $10,000-15,000

157


260 GEORGE NAKASHIMA CONOID CHAIRS (12) Studio, six chairs executed 1978, others 1984 American black walnut and hickory Ten chairs marked “Bennett” Together with letter from the George Nakashima Woodworker Studio and copy of the original order card Each: 35.5" x 20.75" x 20.5" Literature:

OSTERGA RD, DER E K , G EOR G E

NAKASH IMA : FU LL CI RCLE, NE W YOR K : AM ERICA N CRA FT MU SEU M, 19 89, P 1 55 ( FO R A SI MI L A R EXA MPLE).

$60,000-80,000


159


When Edmund Bennett sold his company in 1973, he brought the entire collection into his home, and in 1989 he built a home in Bethesda designed to accommodate each piece of Nakashima furniture. Bennett admired Nakashima and his designs, and Nakashima listened carefully to his client’s requests. In 1978, Nakashima sent Bennett a detailed drawing and letter asking if a piece of English walnut would suffice, and Bennett responded that he would wait to see if Nakashima could find some American black walnut. The resulting Table lamp (executed in 1978) is a rare piece that demonstrates Nakashima’s ability to showcase both his craft and the wood’s natural beauty. Also in 1978, Bennett commissioned Nakashima for six Conoid chairs – one of his most popular designs – as well as a Frenchman’s Cove dining table. Nakashima originally produced the Frenchman’s Cove line of furniture for the Jamaican resort of the same name. It became one of Nakashima’s most popular designs, and he continued producing the table for many years. In 1984, Bennett asked Nakashima for an extension for the table as well as six more Conoid chairs. The two visionaries developed their styles independently, but their paths crossed at Carderock Springs to result in a conscientious collaboration of the era’s most innovative furniture design and architecture that would last a lifetime. Nakashima, Mira. Nature, Form, & Spirit: The Life and Legacy of George Nakashima. New York: Abrams, 2003. “George Nakashima, Woodworker.” The Washingtonian. Jan. 1967: 25. Print.

LEFT: DETAIL OF ORIGINAL SKETCH OF FRENCHMAN'S COVE II DINING TABLE BY GEORGE NAKASHIMA, DATED SEPTEMBER 29, 1978 BOTTOM LEFT: ORIGINAL DRAWING OF FRENCHMAN'S COVE II EXTENSION TABLE BY MIRA NAKASHIMA, DATED JULY 20, 1984 BOTTOM RIGHT: ORIGINAL INVOICE FROM GEORGE NAKASHIMA TO EDMUND J. BENNETT FOR NINE DESIGNS COMMISSIONED IN 1978


161

261 GEORGE NAKASHIMA FRENCHMAN’S COVE II TABLE AND EXTENSION Studio, executed 1978; extension executed 1984 American black walnut and Brazilian rosewood Dining table marked “Bennett” Together with letter from the George Nakashima Woodworker Studio and copy of the original order card Table: 28.5" x 89.75" x 43.75"; Extension table: 28.5" x 44" x 24" $40,000-60,000


MASTER BEDROOM AND BEDROOMS DETAIL FLOOR PLAN OF PROPOSED FURNITURE IN THE VALLEYVIEW MODEL HOME


262 GEORGE NAKASHIMA DAYBEDS (2) Studio, executed 1963 Cherry and upholstery One example marked “Bennett” Together with letter from the George Nakashima Woodworker Studio and copy of the original order card Each: 28" x 73" x 31" $20,000-30,000

163


263 GEORGE NAKASHIMA NEW LOUNGE CHAIR

264 GEORGE NAKASHIMA GRASS-SEATED STOOL

265 GEORGE NAKASHIMA SWETT SIDE TABLE WITH DRAWER

Studio, executed 1963 American black walnut Marked “Conoid” 33.25" x 23.25" x 20"

Studio, executed 1963 Walnut and seagrass 12.5" x 18" x 16"

Studio, executed 1963 American black walnut 21" x 20" x 19.75"

$1,500-2,000

$2,500-3,500

$3,000-5,000


266 GEORGE NAKASHIMA TURNED LEG END TABLE

267 GEORGE NAKASHIMA CAPTAIN’S CHAIR

Studio, executed 1963 American black walnut Marked “Bennett” 17" x 18" x 17.75"

Studio, executed 1963 American black walnut Marked “Bennett” 28.25" x 24.25" x 17.5"

$2,000-3,000

$800-1,200

165


DINING ROOM DETAIL FLOOR PLAN OF PROPOSED FURNITURE IN THE VALLEYVIEW MODEL HOME

268 GEORGE NAKASHIMA “NEW” CHAIRS (4) Studio, executed 1963 Each marked “Bennett” American black walnut and hickory Each: 35.5" x 18.5" x 21" $8,000-12,000

269 GEORGE NAKASHIMA CROSS-LEGGED DINING TABLE Studio, executed 1963 American black walnut 28.5" x 62.5" x 37" $10,000-15,000


270 GEORGE NAKASHIMA HANGING WALL CASE WITH FREE EDGE Studio, executed c. 1978 American black walnut Marked “#1949 Bennett” 14.5" x 71" x 14.25" $15,000-20,000

271 GEORGE NAKASHIMA FITCH STOOLS (2) Studio, executed 1963 Walnut and seagrass Each: 10.75" x 20" x 20" $5,000-7,000

167


272 GEORGE NAKASHIMA Q BENCH Studio, executed c. 1963 American black walnut Marked “Bennett” 13" x 83.25" x 18.5" $15,000-20,000

169


273 GEORGE NAKASHIMA HANGING WALL MIRROR Studio, executed 1963 American black walnut and mirror plate 43.5" x 34.75" x 4.5" $3,000-5,000

274 GEORGE NAKASHIMA HIGH "MIRA" CHAIRS (2) Studio, executed 1984 American black walnut and hickory Each marked “George Nakashima” and dated “1985” Each: 39.5" x 19" x 20" $5,000-7,000


275 MIRA NAKASHIMA DOUBLE GREENROCK OTTOMAN Studio, executed 1991 Walnut, rosewood, and upholstery (upholstery not illustrated) Marked “Mira Nakashima Bennett” and dated "9.6.91" 15" x 37" x 20.5" $5,000-7,000

171


DETAIL OF MARKING

276 GEORGE NAKASHIMA DOUBLE SLIDING DOOR CABINET Studio, executed c. 1978 American black walnut, pandanus cloth Marked “Show Room #1369” 31.75" x 67" x 21.75" $15,000-20,000


173

277 GEORGE NAKASHIMA SINGLE CHEST OF DRAWERS Studio, executed 1963 Cherry Marked “#2026 Bennett” 31.75" x 36" x 20" $5,000-7,000


278 RICHARD DIEBENKORN UNTITLED 1951 Ink on three sheets of paper affixed together Initialed and dated “RD51” lower left sheet Diebenkorn Catalogue Raisonné #290 Sheet (overall): 14" x 18"; Illustration board: 19" x 23" Provenance:

Y NEZ JOH NSTON, LOS A N-

G EL ES, CA LIFORNI A (GI FTED DIREC T LY BY T HE ART IST )

$15,000-25,000

DETAIL OF SIGNATURE AND DATE


279 WAYNE THIEBAUD UNTITLED (DOUBLE-SIDED DRAWING) 1962 Graphite on paper Signed and dated “Thiebaud 1962” lower right sheet on both sides; inscribed in pencil “To David Christmas 1963” lower left sheet; retains Hackett-Freedman Gallery label verso Together with letter from the artist Image/sheet (vis.): 15" x 19.5"; Frame: 24" x 28.125" Provenance:

P R IVATE C O LLEC TI ON,

F LO R IDA , UN ITE D STATE S; P R IVATE C O L L EC TIO N , L AS VEG AS, NEVADA ( AC Q UIR E D D IR EC TLY F R OM TH E AB OVE, C 2 0 03 )

$15,000-20,000

REVERSE DETAIL

175


280 DAVID PARK SEATED FEMALE FIGURE c. 1933-34 Ink wash on paper Retains Hackett-Freedman Gallery label verso; retains facsimile of portion of letter from Mark Hoffman of Maxwell Galleries verso Image/sheet (vis.): 11.325" x 8.25"; Frame: 19.25" x 15.75" Provenance:

H ACKET T MI LL GA L L E RY,

SAN FRANCI SCO, CA LIFORNI A ; PRIVAT E COLLECTION, L AS VEGAS, N E VA DA ( ACQUIRE D DIRECTLY FROM TH E A B OVE , C 1 9 9 8)

$8,000-12,000

281 DAVID PARK SEATED FIGURE IN CHAIR 1960 Ink wash on paper Bears the inscription in blue ballpoint pen “208” lower left sheet; retains two Hackett-Freedman Gallery labels verso Image/sheet (vis.): 16.25" x 13"; Frame: 29.5" x 24.75" Provenance:

H ACKET T MI LL GA L L E RY,

SAN FRANCI SCO, CA LIFORNI A ; PRIVAT E COLLECTION, L AS VEGAS, N E VA DA ( ACQUIRE D DIRECTLY FROM TH E A B OVE , C 1 9 9 8)

Exhibited:

"DAVI D PA RK: 1911-19 6 0: A

RET RO S PECTI VE, " TRAVELING EXHI B IT IO N, NEWPORT H A RBOR A RT MUSE U M , NEWPO RT BEACH , SEPTEMBER 16 - N OVE MBER 1 3 , 1 97 7; TH E OA KL A ND A RT M U SE U M , OAKL AN D, NOVEMBER 29, 197 7-JA N UA RY 1 5 , 1 9 78

Literature:

DAVI D PA RK: 1911-19 6 0, E XHI B I -

T IO N CATA LOGU E, NEW PORT BEAC H: N E WPO RT HARBOR A RT MU SEU M, 197 7, #1 4 7.

$12,000-15,000


282 JAMES WEEKS STANDING NUDE 1960 Charcoal and ink wash on paper Initialed and dated in black ballpoint pen “JW 1960” upper left sheet; bears the inscription “20” lower right sheet; retains Brian Gross Fine Arts label verso Image/sheet (vis.): 22.75" x 15"; Frame: 32" x 23.5" Provenance:

C H AR LES CAM P B ELL G AL-

L E RY, SAN F R AN C IS C O, CALI FOR NI A; P R IVATE C O L L EC TIO N, L AS VEG AS, NEVADA ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 2 0 03 )

$2,500-3,500

17 7

283 NATHAN OLIVEIRA UNTITLED (RECLINING NUDE) 1966 Graphite on paper Signed and dated in pencil “Oliveira 66” lower right; retains Hackett-Freedman Gallery label verso Image/sheet: 16.5" x 19.875"; Frame: 26.75" x 30.25" Provenance:

C H AR LES CAM P B ELL G AL-

L E RY, SAN F R AN C IS C O, CALI FOR NI A; P R IVATE C O L L EC TIO N, L AS VEG AS, NEVADA ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 2 0 03 )

$5,000-7,000


284 JAMES WEEKS PORTRAIT (YELLOW SHIRT WITH VEST) c. 1949 Oil on canvas Initialed “JW” upper left; bears the inscription “JW98-73” and “334” on canvas stretcher verso Together with letter from Charles Campbell Gallery Canvas: 35" x 28"; Frame: 36" x 29" Provenance:

CH A RLES CA MPBE L L G A L-

LERY, SAN FRA NCI SCO, CA LIFORN I A ; PRIVAT E COLLECTION, L AS VEGAS, N E VA DA ( ACQUIRE D DIRECTLY FROM TH E A B OVE , C 2 001 )

$8,500-12,000

285 FRANK LOBDELL STANDING NUDE 1965 Pen, ink, and ink wash on paper Signed and dated in pencil “L/65” lower right sheet; retains Hackett-Freedman Gallery label verso Image/sheet: 16.875" x 12.25"; Frame: 27.75" x 22.75" Provenance:

CH A RLES CA MPBE L L G A L-

LERY, SAN FRA NCI SCO, CA LIFORN I A ; PRIVAT E COLLECTION, L AS VEGAS, N E VA DA ( ACQUIRE D DIRECTLY FROM TH E A B OVE , C 2 003 )

$6,000-9,000


286 WILLIAM THEOPHILUS BROWN UPPER DELTA 1991 Acrylic on canvas Initialed and dated “T.B. 91” lower right Canvas: 36" x 35.75"; Frame: 37.5" x 37.5" Provenance:

C H AR LES CAM P B ELL G AL-

L E RY, SAN F R AN C IS C O, CALI FOR NI A; P R IVATE C O L L EC TIO N, L AS VEG AS, NEVADA ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, C 2 0 03 )

Illustrated:

ARTH UR , JOH N, TH EOP H I LU S

B R OW N : PAIN TIN GS, COLL AG ES & DR AWIN GS, C H E STE R F IE L D : C H AM ELEON B OOKS, 2 0 0 7, P 5 7.

$9,000-12,000

179


GARRY KNOX BENNETT Furniture designer and woodworker Garry Knox Bennett (b. 1934) is known for combining wood with unconventional materials such as plastic, metal, and Formica to create playful and unique pieces of furniture. Executed in 1972, this is believed to be the first clock Bennett ever created. In the signature on the back of the clock, Bennett refers to Ambrose Pillphister, his painter alter ego who painted the front of this piece. Aaron’s Belly-Button Clock, a clock with similar materials from this same period resides in the permanent collection of the Mint Museum in Charlotte, North Carolina. A native of Oakland, California, Bennett was honored with a major retrospective of his work at the Oakland Museum in 2004. “Garry Knox Bennett.” Spark . KQED.org, 2005. Web. 10 Jan. 2014.

287 GARRY KNOX BENNETT WALL-MOUNTED CLOCK CABINET (1972- GKB #20) Studio, executed 1972 Fir, silver-plated brass, and clock components Signed “GKB/Anno/72”; etched "A little rough/but who gives/a shit?/C+/ Ambrose did/this part/My first/clock to Dave/& Barbara - May/They enjoy" and inscribed "Get Nixon" verso LAMA would like to thank the artist for his assistance in cataloguing this work 49" x 11" x 7" Provenance:

GU MP'S GA LLERY, SA N

FRAN CIS CO, CA LIFORNI A ; PRIVAT E COLLECTION, CA LIFORNI A (ACQUIRED D IRECTLY FROM TH E A BOVE )

$6,000-9,000


288 FRANK ROHLOFF CRADLE Studio, designed 1957 Walnut 20" x 18" x 36" Literature:

F UR N ITUR E BY C R AFTSM AN,

E X H IB ITIO N C ATALO G U E, NEW YOR K : TH E MUS E UM O F C O N TE M P OR ARY C R AFTS, 195 7, # 6 0.

$2,000-3,000

181

289 FEDERICO ARMIJO WINE RACK Studio, designed c. 1975 28" x 55" x 7.75" $1,500-2,000

290 GERALD MCCABE CUBE TABLE Eon Furniture, designed 1964 19.5" x 19.25" x 19.25" Literature:

C AL IFO R N IA D E S IGN 9,

E X H IB ITIO N C ATALO GUE , PASAD E N A: PASAD E N A ART MUS E UM, 19 6 5 , P 8 8 .

$800-1,200


291 SAM MALOOF ROCKING CHAIR Studio, executed 1982 Rosewood and ebony Signed “No. 22 1982/Sam Maloof f.a.c.c./made for/Barbara Gardner” 41.5" x 27" x 45.75" Provenance:

PRI VATE COLLECTI ON ,

CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ART IST )

Literature:

A DA MSON, JEREMY, T HE

FURN IT URE OF SA M MA LOOF, NEW YOR K : NO RTO N COMPA NY, 20 0 1, P 192.

$30,000-50,000


183

292 SAM MALOOF END TABLE Studio, executed 1969 Walnut Branded “Designed Made Maloof California” and “103 7.69” 21" x 19.75" diameter Provenance:

P R IVAT E C OLLECTI ON,

C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E ARTIST )

$4,000-6,000


293 SAM MALOOF DINING TABLE AND CHAIRS (9) Studio, two end chairs executed 1965; six spindle back chairs executed 1969; dining table executed 1968 Walnut, upholstery Each spindle back chair branded “Designed Made Maloof California” and “12.69”; each spindle back chair branded with a number “118” through “123”; each end chair branded “Designed Made Maloof California” and “6 65 2” Comprised of eight chairs (six spindle back and two end) and dining table with two leaves Dining table: 28.5" x 92.25" (137.75" extended) x 45"; Spindle back chairs each: 38" x 20.75" x 20"; End chairs each: 40" x 21" x 20" Provenance:

PRIVATE COLLECTI ON ,

CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ART IST )

$50,000-70,000


185


294 RICHARD MARQUIS TEAPOT GOBLET Studio, executed 1988 Blown glass with Zanfirico technique Incised signature “((c)) 1988 Marquis” 10.125" x 4" diameter $4,000-6,000


295 WILLIAM MORRIS VESSEL Pilchuck studio, executed 1979 Blown glass Etched signature “William Morris ‘79” and “Pilchuck” 14" x 7" x 5" $10,000-15,000

187

296 WILLIAM MORRIS VESSEL Studio, executed 1985 Blown glass Etched signature “William Morris 1985” 17" x 16" x 5.25" $8,000-12,000


297 CLAIRE FALKENSTEIN OBJECT 3 (B.E.) c. 1940s Suspended sculpture, metal, and black string 7" x 4" x 4" Provenance:

TH E FA LKENSTEI N FOU N DA-

T IO N, LO S A NGELES, CA LI FORNI A

$3,000-5,000


298 CLAIRE FALKENSTEIN OBJECT 2 (B.E.)

299 CLAIRE FALKENSTEIN OBJECT 4 (B.E.)

1940 Suspended sculpture, metal, plastic, and black string 8.25" x 6.25" x 3"

1940 Suspended sculpture, metal, and black string 4.25" x 3" x 3"

Provenance:

Provenance:

TH E FAL K E N STE IN FO UN DA-

TH E FA LK ENSTEI N FOU NDA-

T I ON , LO S AN GE L E S, C AL IFO R N IA

TIO N , LO S AN GE L E S, C ALI FOR NI A

$3,000-5,000

$3,000-5,000

300 CLAIRE FALKENSTEIN UNTITLED (MOVING POINTS PAINTING 2) 1968 Acrylic on canvas Initialed and dated “CF 68” verso; bears the inscription in pencil “#P155” verso Canvas: 9" x 12" Provenance:

TH E FA LK ENSTEI N FOU NDA-

TIO N , LO S AN GE L E S, C ALI FOR NI A

$2,000-3,000

189


301 PAUL KASPER UNTITLED Studio, executed c. 1968 Welded steel 64.25" x 33" x 12" Provenance:

ESTATE OF PAU L KASP E R ,

CAL IFO RNIA

$2,000-3,000


191 302 PAUL KASPER UNTITLED Studio, executed c. 1968 Welded steel 31.75" x 20" x 20" Provenance:

E STATE OF PAU L KASP ER ,

C AL IFO R N IA

$2,000-3,000


303 LA GARDO TACKETT FISH Freeman Lederman, designed c. 1960 Glazed ceramic Signed “Tackett” and “KF” verso Designed together with Kenji Fujita 2" x 20" x 13.5" $1,500-2,000

304 LA GARDO TACKETT CERAMICS (11) Freeman Lederman, designed c. 1956 Designed together with Kenji Fujita Comprised of two sake carafes, two vases, two narrow vessels, vinegar cruet, gin vessel, teapot, brandy vessel, and olive oil cruet Each retains manufacturer’s markings; some retain partial remnant sticker “JAPAN” Sake carafe (black): 6.25" x 5.5" diameter at base; Sake carafe (white): 6" x 5.5" diameter at base; Vase (black): 8.25" x 5" x 5"; Vase (orange): 8.25" (9.5" with stopper) x 5" x 5"; Other vessels each: 7" x 1.625" diameter; Vinegar cruet: 9.75" (10.25" with stopper) x 6" x 4.25"; Olive oil cruet: 7.5" (8" with stopper) x 9" x 2.5"; Brandy vessel: 11.5" x 3" x 1.875" diameter at base; Gin vessel: 12" (12.75" with stopper) x 2.625" diameter at base; Teapot: (6" to top of lid finial) x 6.5" diameter $1,000-1,500


305 MICHAEL GRAVES TEAPOT Glaskoch Leonardo, designed 2000 Retains “Germany” sticker 9.25" (top of lid finial) x 9.5" x 5" diameter Literature:

IOV IN E , JU LI E, M I CH AEL

GR AV E S, SAN F R AN C I SCO: C H R ONI CLE B O O KS, 2 0 0 2 , P 6 2 .

$500-1,000

193

306 ALLAN ADLER SUNSET FLATWARE (45 PIECES) Studio, designed c. 1940 Hand-hammered Sterling Each stamped “Allan Adler Hand Hammered Sterling” Comprised of a four piece set for ten (ten dinner forks, ten salad forks, ten dinner knives, ten tablespoons) and two butter spreaders, sugar shovel, gravy ladle, and smaller ladle Spoons: 6"; Dinner forks: 7.5"; Salad forks: 6.25"; Knives: 9.5"; Spreaders: 5.75"; Sugar shovel: 6.25"; Small ladle: 5.75"; Gravy ladle: 6.5" Together with original storage cloth Provenance:

P R IVATE C OLLECTI ON, CALI-

FO R N IA ( AC Q UIR E D DI R ECTLY FR OM ALL AN AD L E R D E S IGN S IN C . )

$4,000-6,000


307 MILO BAUGHMAN BUFFET Model no. 1629 Glenn of California, designed c. 1952 Glass doors not illustrated 58" x 65" x 18" Literature:

GLENN OF CA LI FORN I A

CATALO G UE, ND, NP.

$2,500-3,500

308 GRETA MAGNUSSON GROSSMAN COCKTAIL TABLE Glenn of California, designed c. 1952 14.25" x 60" x 47" Literature:

GLENN OF CA LI FORN I A

CATALO G UE, ND, NP.

$4,000-6,000


309 GRETA MAGNUSSON GROSSMAN CHEST OF DRAWERS From the 62-Series Glenn of California, designed c. 1952 33" x 35.25" x 20" Literature:

GL E N N OF C ALI FOR NI A

C ATALO GUE , N D, N P.

$2,500-3,500

310 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Adjustable: 15" x 12" x 13" $3,000-5,000

311 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Adjustable: 15" x 12" x 13" $3,000-5,000

LOT 310

LOT 311

195


312 JO HAMMERBORG SENIOR TABLE LAMPS (2) Fog & Mørup, designed c. 1965 Each: 18" x 14.25" shade diameter $3,000-4,000

313 MILO BAUGHMAN HEADBOARD, NIGHTSTANDS, AND MIRROR (4) Model nos. 3901 (headboard), 3902 (nightstands), 3905 (mirror) Thayer Coggin, designed c. 1965 Bed retains Thayer Coggin label Nightstands each: 23" x 28" x 21"; Headboard (not illustrated): 31.5" x 84" x 4"; Mirror (not illustrated): 28.75" x 48" $2,500-3,500

314 MILO BAUGHMAN CREDENZA Model no. 3903 Thayer Coggin, designed c. 1965 32.75" x 84.5" x 20" $3,000-4,000


315 ROGER SPRUNGER BARSTOOLS (3) Dunbar, designed c. 1965 Each retains brass colored “Dunbar” medallion Each: 38.75" x 20.5" x 19" $3,000-5,000

316 PAUL EVANS DINING TABLE Paul Evans Studio for Directional, designed c. 1972 Sold with two leaves, not illustrated 29.5" x 78" (108" extended) x 42" $8,000-12,000

197


317 JAMES CASEBERE PARLOR 2001 Digital chromogenic print mounted to Plexiglas #5 of 5 Retains signed Sean Kelly Gallery label with edition verso Together with James Casebere: The Spatial Uncanny Image/sheet: 48" x 64" Literature:

JA MES CASEBERE: THE SPA-

T IAL UN CANNY, MIL A N: EDI ZI ONI C HA RTA , 2 001, P 1 75.

$15,000-20,000

318 HARRY BOWERS UNTITLED (3) 1978; these examples printed later Large-format digital color print Each image (vis.): 36.5" x 28.5"; Each frame: 44" x 35.75" Comprised of Irene Dancing (from Irene Portfolio), Going Steady at 40 (from White on White Portfolio), and Skirts Iâ&#x20AC;&#x2122;ve Known $2,000-3,000


319 JOHN REGISTER VENETIAN LIGHT 1990 Color screenprint and lithograph on paper #69 of 85 Published by Modernism Gallery, San Francisco; printed by Jeff Wasserman, Santa Monica Signed and dated in pencil lower right beneath image; edition lower left; blind stamps lower left and lower right margins of sheet Image: 43" x 36"; Sheet: 50" x 42"; Frame: 55.75" x 47.5" $1,800-2,500

320 RON KLEEMANN DONAHUEâ&#x20AC;&#x2122;S RIDE 1972 Acrylic on canvas Retains Warren Benedek Gallery and Andre Chenue S.A., Paris labels verso Canvas: 36" x 48"; Frame: 39" x 50.5" Exhibited:

WAR R E N BENEDEK G ALLERY,

N E W YO R K , N E W YO R K , 1 97 2

$8,000-10,000

199


321 EUGENE MARTIN UNTITLED 1988 Pen, ink, and graphite on paper Signed and dated in ink with copyright symbol in pencil upper right Sheet: 13.75" x 10.75"; Frame: 21" x 17.5" $2,000-3,000

322 BRUCE MCGAW UNTITLED 1958 Watercolor and gouache on paper Signed and dated “McGaw 58” lower right sheet Image/sheet (vis.): 13.25" x 16.25"; Frame: 20" x 23" Provenance:

871 FI NE A RTS GA LL E RY, SA N

FRAN CIS CO, CA LIFORNI A ; PRI VAT E C OLLECT IO N , L AS VEGAS, NEVA DA (AC QU I R E D D IRECT LY FROM TH E A BOVE, C 2003)

$3,000-5,000


323 EDGAR EWING THE PALACE OF KNOSSOS SERIES 11 (5) 1972 Oil on gesso panel Each signed lower left; each retains artist’s label verso; each stamped “E” verso Each panel: 13.75" x 9.5"; Each frame: 15.125" x 10.75" Provenance:

P R IVAT E C OLLECTI ON, CALI-

FO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E ARTIST )

$3,000-5,000

201


324 MARK TANSEY RENOIR (LUNCHEON OF THE BOATING PARTY) c. 1970-71 Oil on canvas Signed “Renoir/Tansey” lower right Canvas: 44" x 59.5"; Frame: 45.75" x 61.75" Provenance:

RU BY DEI XLER , A P TOS, C A L I-

FO RNIA ( ACQ U IRED DIRECTLY FR OM T HE ART IST CIRCA 1970 S); PRIVAT E COLLECTION, CA LIFORN I A ; T HENCE BY DESCENT

$40,000-50,000


325 LARRY COHEN WEST HOLLYWOOD SEEN FROM ST. IVES ST. 1983 Oil on canvas Signed in pencil “Larry Cohen” verso; inscribed and dated “West Hollywood Seen From St. Ives St. 1983” on canvas stretcher verso Canvas: 22" x 24.125"; Frame: 22.5" x 24.75" $2,000-3,000

203

326 JAMES MCGARRELL UNTITLED c. 1979 Watercolor on Fabriano paper Signed “McG” lower right LAMA would like to thank the artist for his assistance in cataloguing this work Image/sheet: 29.75" x 22"; Frame: 41" x 31.75" $2,000-3,000


327 KAZUYA SAKAI END OF THE NIGHT (VARIATIONS ON THE DIAMOND IV) 1969 Acrylic on canvas Signed and dated verso; bears the inscription “110 x 110 cm./variaciones/ sobre el/rombo IV/‘end of the night’ 69” verso; retains partial Galeria Juan Martin label verso Canvas: 43" x 43.25"; Frame: 44" x 44" $6,000-9,000


328 MASAMI TERAOKA KUNISADA ECLIPSED (FROM HAWAII SNORKEL SERIES) 1993 Color woodcut, etching and aquatint, and ink on handmade Fuji paper #12 of 30 Published and printed by Tyler Graphics Ltd., Mount Kisco Signed and dated with edition lower left sheet; Tyler Graphics Ltd. blind stamp lower right sheet Image/sheet: 25.5" x 46"; Frame: 31.5" x 51" $2,500-3,500

329 MINEO MIZUNO SAKE SET AND PLATTER (7) c. 1984 Painted and glazed ceramic Studio Platter signed and dated “Mizuno 84”; sake bottle signed “Mizuno”; each sake cup initialed “M” Comprised of a sake bottle, five cups, and large platter Platter: 15" diameter; Sake bottle: 4.75" x 4" diameter; Cups each: 1.75" x 2" diameter $800-1,200

330 SORI YANAGI BUTTERFLY STOOLS (2) Tendo Mokko Co., designed 1956 Each: 15.5" x 16.5" x 12" 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 2 7.

$4,000-6,000

205


331 JEAN CHARLOT THE DRESS 1937 Oil on canvas Signed and dated in pencil “Jean Charlot 37” upper left; retains Earl Stendahl Collection label verso; bears the inscription “SF No. 9 The Dress” with ink stamp “Stendahl Art Galleries/Earl L Stendahl” on canvas stretcher verso LAMA would like to thank John Charlot for his assistance in cataloguing this work Canvas: 24" x 20"; Frame: 25.75" x 21.75" Provenance:

PRI VATE COLLECTI ON , C A L I-

FO RNIA; TH ENCE BY DESCENT

Exhibited:

STENDA H L GA LLERIE S, LOS

AN G ELES, 1937: CIT Y OF PA RI S DE PA RTMENT STORE, SA N FRA NCI SCO, AP R I L 1 938; D IS NEY STU DIOS, H OLLY WOOD, J U N E 1 938; IOWA UN IVERSI T Y, I OWA CI T Y, NOVE M B E R 1 93 9

$7,000-9,000

332 LEONARDO NIERMAN BIRTH OF A LIGHTNING II Oil on Masonite Signed “Nierman” lower left; retains Minotaur Galleries label verso; bears the inscription “Birth of a Lightning” verso; inscribed “c. 96198” verso Image (vis.): 35" x 47.5"; Frame: 49.75" x 62.25" Provenance:

MI NOTAU R GA LLER I E S, L AS

V EG AS, NEVA DA ; PRIVAT E COLLECTION, L AS VEGAS, N E VA DA ( ACQUIRED DI RECTLY FROM TH E A B OVE , C 1 9 93 )

$2,000-3,000

333 RUFINO TAMAYO TORSO BLANCO 1978 Mixografia print on handmade paper #38 of 100 Published by Mixografia, Los Angeles; printed by Taller de Gráfica Mexicana, Mexico City Signed in pencil lower right; edition lower left Image: 31.5" x 23.75"; Sheet: 35.5" x 27.25"; Frame: 37.75" x 29.5" Literature:

PEREDA , JUA N CA RLOS, R U -

FIN O TAM AYO: 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, # 24 7.

$4,000-6,000


207

334 ANA MERCEDES HOYOS STILL LIFE I & STILL LIFE V (2) 1996 Pencil on paper Each: Initialed “HOS” lower right Together with book Ana Mercedes Hoyos A: Sheet: 6.5" x 6.5"; Frame: 13.25" x 13.125"; B: Sheet: 8.75" x 9.75"; Frame: 15.325" x 16.325" $1,500-2,000


335 NIKI DE SAINT PHALLE CALIFORNIA NANA 2000 Painted polyester resin vase #108 of 150 Published by Gerard Haligon Stamped signature “Niki de Saint Phalle” with edition, date, and Gerard Haligon cipher 13" x 8" x 7.5" Provenance:

GA LERIE LC, PA RI S, F R A N C E ;

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, 2 00 6)

$18,000-25,000


336 ARMAN BRUSH AND BRUNCH TABLE 2004-05 Accumulation of brushes and paint in Plexiglas, aluminum #36 of 70 Edition Trewell Ltd., Cork, Atelier Desjobert, Paris Signed lower right; retains signed and dated plaque with edition 13" x 60.5" x 39.5" Provenance:

GAL E R I E LC, PAR I S, FR ANC E;

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 , 2 0 0 6 )

$8,000-12,000

209


337 JEAN ROYÈRE SCULPTURE DINING TABLE From Royère’s “Meubles Sculpture” series Designed c. 1955 29.5" x 101.5" x 47.5" Literature:

DE BEY RIE, CATH ER I N E & ST E-

PHANE, JEA N ROY ERE, NEW YOR K : G A L E R I E D E BEYRIE, 20 0 0, PP 48 - 57 (FOR I N FOR M AT IO N ABOU T TH E SERI ES).

$10,000-15,000


211

338 MICHEL CADESTIN & GEORGES LAURENT BEAUBOURG CHAIRS (4) Teda, designed 1976 31" x 18.375" x 20.5" (2) and 28.5" x 20.5" x 23" (2) Designed for use in the Centre Georges Pompidou, Paris 1977. $4,000-6,000


339 CHAIM GROSS THE DANCE 1963 Patinated bronze Signed and dated near base 26” (59” with base) x 21” x 16” 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 )

Literature:

GETLEI N, FRA NK , CH A I M

G RO SS, NEW YORK: A BRA MS, 1974 , #1 55; CHAIM G R OSS: A RETROSPECTIVE, N E W YO RK: FO RU M GA LLERY, 197 7, # 44 .

$10,000-15,000


340 PABLO PICASSO FLÛTISTE ET TROIS FEMMES NUES (FROM LA SUITE VOLLARD) 1932; published 1939 Drypoint and scraper on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in pencil lower right margin; dated in reverse in plate in Roman numerals Image: 11.5" x 14.25"; Sheet (vis.): 12.75" x 15.25"; Frame: 20.625" x 22.75" 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 4 .

$6,000-9,000

341 PABLO PICASSO JEU DE LA CORRIDA 1957 Lithograph on Arches paper #47 of 50 Signed in red pencil lower left; edition lower right; signed and dated in plate upper left Sheet: 22.25" x 30.125"; Frame: 31.25" x 37" Literature:

B LO C H , GEOR G ES, P I CASSO:

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 NE: EDI TI ONS KOR NF E L D & K L IP STE IN , 196 8, #832.

$3,000-5,000

342 PABLO PICASSO L’ATELIER DE CANNES (COVER FOR CES PEINTRES NOS AMIS VOLUME II) 1956; published 1960 Color lithograph on Arches paper From the edition of 250 Published and printed by Mourlot, Paris Signed in pencil lower right; dated in plate “7.4.56” upper left; inscribed and signed in plate “pour Gillierte + Gorge/ Picasso/65.12./58” upper center This image was originally used as a frontispiece for Dans l’atelier de Picasso. This image was also used as the cover of Ces Peintres Nos Amis (Vol. II) with the color ways altered by the artist. Sheet: 17.5" x 12.75"; Frame: 25.625" x 20.875" 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, #7 94 .

$1,500-2,000

213


343 PABLO PICASSO WOMAN’S FACE 1953 White earthenware clay, decoration in engobes, knife engraved under partial brushed glaze #141 of 200 Madoura Inscribed “Edition Picasso/141/200/ Madoura”; stamped “Madoura Plein Feu” and “Edition Picasso” Ramié #192 12.75" x 8" diameter Literature:

RA MIÉ, 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 : GAL E R I E MAD O URA , 1988, # 192.

$5,000-8,000

ALTERNATE VIEW


344 PABLO PICASSO GEOMETRIC FACE 1956 White earthenware clay, decoration in ceramic pastels under brushed glaze and patina #33 of 100 Madoura Inscribed “D.100 Bis” verso; edition verso; stamped “Madoura Plein Feu” and “Empreinte Originale de Picasso” verso Ramié #357 12.5" x 14.75" diameter Literature:

R AMIÉ, A L AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MADOU R A: G ALER I E MAD O UR A , 19 8 8 , # 3 57.

$12,000-15,000

215

REVERSE DETAIL

345 PABLO PICASSO BEACH SCENE 1956 Convex wall plaque of white earthenware clay, engraving accentuated with glaze, black patinated ground From the edition of 450 Madoura Stamped “Madoura Plein Feu” and “Empreinte Originale de Picasso” Ramié #391 10" x 10" diameter Literature:

R AMIÉ, A L AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MADOU R A: G ALER I E MAD O UR A , 19 8 8 , # 3 91 .

$3,000-5,000


346 PABLO PICASSO DEUX HOMMES SCULPTÉS (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “313 52” lower left sheet; dated in reverse in plate upper left image Image: 10.625" x 7.75"; Sheet: 17.5" x 13.375" Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AN D DALZELL H ATFI ELD, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CENT

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, # 161.

$4,000-6,000

347 PABLO PICASSO DEUX SCULPTEURS DEVANT UNE STATUE (FROM LA SUITE VOLLARD) 1931; published 1939 Etching on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “207 7” lower left sheet Image: 8.75" x 12.25"; Sheet: 12.75" x 17.375" Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AN D DALZELL H ATFI ELD, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CENT

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, # 140.

$3,000-5,000


348 PABLO PICASSO SCULPTEUR, MODÈLE ET SCULPTURE ASSISE (FROM LA SUITE VOLLARD) 1933; published 1939 Drypoint on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “341 40” lower left sheet; bears the inscription in pencil “341” verso Image: 12.5" x 7.25"; 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 ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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 6.

$5,000-7,000

217

349 PABLO PICASSO VIEUX SCULPTEUR AU TRAVAIL (FROM LA SUITE VOLLARD) 1933; published 1939 Etching and scraper on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “309 47” lower left sheet; dated in reverse in plate lower left image Image: 10.375" x 7.5"; Sheet: 17.75" x 13.75" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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 53.

$3,000-5,000


350 PABLO PICASSO MODÈLE ACCOUDÉ SUR UN TABLEAU (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “304 43” lower left sheet; dated in reverse in plate lower right image Image: 10.5" x 7.75"; Sheet: 17.125" x 13.5" Provenance:

A MBROISE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AND DALZELL H ATFIELD, LOS A NG E L E S, CALIFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOVE, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CE NT

Literature:

BLOCH , GEORGES, PI C ASSO:

CATALO G U E OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDI TION S KOR NFEL D & KLIPSTEIN, 1968, # 151.

$4,000-6,000

351 PABLO PICASSO FEMME NUE ASSISE ET TROIS TÊTES BARBUES (FROM LA SUITE VOLLARD) 1934; published 1939 Etching, engraving, and aquatint on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “384 25” lower left sheet Image: 5.125" x 7"; Sheet: 13.375" x 17.625" Provenance:

A MBROISE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AND DALZELL H ATFIELD, LOS A NG E L E S, CALIFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOVE, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CE NT

Literature:

BLOCH , GEORGES, PI C ASSO:

CATALO G U E OF TH E PRINTED GRA P HI C WO RK , 1 9 0 4 -1967, BERNE: EDI TION S KOR NFEL D & KLIPSTEIN, 1968, # 216.

$3,000-5,000


352 PABLO PICASSO FEMME TORERO, III (FROM LA SUITE VOLLARD) 1934; published 1939 Etching on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “379 23” lower left sheet; dated in reverse in plate lower center image Image: 9.375" x 11.75"; Sheet: 13.375" x 17.5" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

Literature:

B LO C H , GEOR G ES, P I CASSO:

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 R NE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #221 .

$3,000-5,000

219

353 PABLO PICASSO TÊTES ET FIGURES EMMÊLÉES (FROM LA SUITE VOLLARD) 1934; published 1939 Etching on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “372 18” lower left sheet; bears the inscription “#372 verso” Image: 10.75" x 7.75"; Sheet: 16.5" x 13.25" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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 R NE: EDI TI ONS KOR NF E L D & K L IP STE IN , 1968, #21 1 .

$3,000-5,000


354 PABLO PICASSO FEMME NUE COURONNÉE DE FLEURS (FROM LA SUITE VOLLARD) 1930; published 1939 Etching on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “192 1” lower left sheet; bears the inscription in pencil “B2” verso Image: 12.25" x 8.75"; Sheet: 17.25" x 13.25" Provenance:

A MBROISE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AN D DALZELL H ATFI ELD, LOS A NG E L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CE NT

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, # 134.

$3,000-5,000


355 PABLO PICASSO FEMME NUE SE COURONNANT DE FLEURS (FROM LA SUITE VOLLARD) 1930; published 1939 Etching on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “195 2” lower left sheet; bears the inscription in pencil "B2 #195" verso Image: 12.375" x 8.75"; Sheet: 17.125" x 13.125" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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 35.

$3,000-5,000

356 PABLO PICASSO LES BAIGNEUSES SURPRISES (FROM LA SUITE VOLLARD) 1933; published 1939 Etching and drypoint on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “364 14” lower left sheet; dated in reverse in plate lower right image Image: 7.5" x 10.5"; Sheet: 13.375" x 17.375" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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 94 .

$3,000-5,000

221


357 PABLO PICASSO TAUREAU ET CHEVAUX DANS L'ARÈNE (FROM LA SUITE VOLLARD) 1933; published 1939 Etching on Montval paper with Picasso watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “365 15” lower left sheet; dated in reverse in plate upper right image Image: 7.625" x 10.5"; Sheet: 13.25" x 17.625" Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AN D DALZELL H ATFI ELD, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CENT

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, # 203.

$3,000-5,000

358 PABLO PICASSO LE VIOL, IV (FROM LA SUITE VOLLARD) 1933; published 1939 Aquatint, etching, and drypoint on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “351 29” lower left sheet Image: 7.75" x 11"; Sheet: 13.375" x 17.5" Provenance:

A MBROI SE VOLL A R D E STAT E ,

PARIS, FRA NCE; BA RON H ENRI PE T I E T, PARIS, FRA NCE (ACQ U IRED DIREC T LY FRO M T HE A BOVE); TH E ESTATE O F R U T H AN D DALZELL H ATFI ELD, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E, SEPTEMBER 19, 197 3 ); T HE N C E BY D ES CENT

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, # 181.

$3,000-5,000


359 PABLO PICASSO LE VIOL SOUS LA FÊNETRE (FROM LA SUITE VOLLARD) 1933; published 1939 Aquatint, etching, and drypoint on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “352 28” lower left sheet Image: 11" x 7.75"; Sheet: 17.375" x 12.5" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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 83.

$3,000-5,000

360 PABLO PICASSO LE VIOL, VII (FROM LA SUITE VOLLARD) 1933; published 1939 Etching, and aquatint on Montval paper with Vollard watermark From the edition of 260 Published by A. Vollard, Paris Bears the inscription in pencil “350 32” lower left sheet; dated in reverse in plate upper right image Image: 7.75" x 10.875"; Sheet: 13.25" x 17.375" Provenance:

AMB R OI SE VOLL AR D ESTATE,

PAR IS, F R AN C E ; B AR O N H ENR I P ETI ET, PAR IS, F R AN C E ( AC Q U I R ED DI R ECTLY F R O M TH E AB OV E ) ; T H E ESTATE OF R U TH AN D DAL Z E L L H ATF IE LD, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , S E P TE MB ER 1 9, 1 97 3) ; TH ENCE BY D E S C E N T

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, #202.

$3,000-5,000

223


361 LE CORBUSIER UNTITLED (PL. #16 FROM UNITÉ PORTFOLIO) 1953 Color etching on Rives BFK paper XV of XXX aside from the edition of 130 Edition inscribed in pencil in Roman numerals lower left margin of sheet; signed lower right; initaled and dated in plate “L-C 16/13/8/53” Image: 16" x 12.25"; Sheet (vis.): 18" x 14"; Frame: 24" x 20.5" $600-800

362 MAX ERNST RYTHMES 1950 5-color lithograph on Arches paper #92 of 200 Published by Guilde de la Gravure, Geneva-Paris; printed by Desjobert, Paris Signed “Max Ernst” in pencil lower left beneath image; edition lower right; publisher blind stamp lower left margin of sheet Image: 16.875" x 11"; Sheet: 22" x 16"; Mat: 23.25" x 16.25" Literature:

SP I E S, WE R N E R , MAX E R N ST,

OE U VR E- KATA LOG : DAS G R A P H IS C H E W E R K ,

363 PIERRE SOULAGES SÈRIGRAPHIE N o . 15 1981 Color screenprint on paper #23 of 250 Published by Circle Fine Art, Chicago; printed by Michel Caza, Cergy Signed with edition in pencil lower left Image/sheet: 41.5" x 28.5"; Frame: 49.5" x 36.5" Literature:

ENCREVE, PIERRE, S OU L AG E S:

L’O EUV RE COMPLET, PEI NTU RES, VOL I I I , PARIS : ED I TIONS DU SEU I L , 1998, #1 07.

$2,000-3,000

E D, HE L M U T L E P P I E N, VOL 5, KO L N : M DU M ON T SC HAU B E R G , 1 9 7 5, #48 .

$1,200-1,500


364 ATTRIBUTED TO PAUL DUPRE-LAFON DESK CLOCK/BAROMOTER Hermes, designed c. 1950 Marked "Hermes Paris" 4.5" x 5" x 5" $5,000-7,000

365 CHARLOTTE PERRIAND LES ARCS STOOLS (2) Les Arcs, designed c. 1968 Each: 17.75" x 12.75" diameter $2,500-3,500

225 366 ROGER CAPRON ZOOMORPHIC SCULPTURE Vallauris, designed c. 1955 19" x 9" x 10" $1,000-1,500


367 JOSE DE RIVERA CONSTRUCTION #184 Motorized stainless steel kinetic sculpture 17.25" x 17.5" x 14" (including base) Provenance:

TH E ESTATE OF CA R OLYN

AND JO EL GIBBS, BOSTON, MASSAC HU S ET TS ; PRIVATE COLLECTI ON, LO S A N G EL ES, CAL IFORNIA (ACQ U I RED DIREC T LY FRO M T HE A BOVE TH ROU GH CH R I ST I E ’S, N EW YO RK , SA LE # 2716, LOT # 191 , J U N E 18 - 1 9, 2 01 3)

$6,000-8,000

368 GAE AULENTI PIPISTRELLO TABLE LAMPS (2) Model no. 620 Martinelli Luce, designed 1965-66 Each retains manufacturer’s label Each: 29" x 22" diameter Literature:

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

1000 LIG H TS: 1960 TO PRESENT, VOLU M E 2 , CO LO G N E: TASCH EN, 20 05, PP 88 - 89.

$2,500-3,500


369 ANDRE CAZENAVE ROCK LIGHTS (2) Atelier A, designed c. 1970s One retains manufacturerâ&#x20AC;&#x2122;s sticker Largest approximately: 14.75" x 20" x 28"; Smallest approximately: 8" x 10" x 11.5" $1,500-2,000

227 370 BERNARD RANCILLAC ELEPHANT CHAIR Michel Roudillon, designed 1966; this example produced later 40" x 55" x 61" $3,000-5,000


371 FABIO LENCI HYALINE CHAIRS (2) Stendig, designed c. 1968; these examples produced later One chair retains manufacturerâ&#x20AC;&#x2122;s sticker; each with etched mark "Securit" Each: 26.25" x 27.5" x 35.325" $6,000-8,000


372 MAX FINKELSTEIN KACHINA SERIES #7 1986 Enamel on wood relief Signed, inscribed, and dated verso 34" x 35.625" x 2.5" $4,000-6,000

373 LOUIS DUROT L’ASPIRALE CHAIR Designed 1972 Polyurethane 26" x 32.5" x 25" Literature:

R O D R IGU EZ, R OXANE, P OLY-

UR E TH AN N E S : LO UIS DU R OT, FR ANCE: AL AN , 2 0 05 , N P.

$3,000-5,000

229


374 CRASH (JOHN MATOS) UNTITLED (MICKEY MOUSE) 1996 Watercolor and acrylic paint on paper Signed and dated in grease pencil “J.Crash/96” lower left Sheet: 41" x 29.5"; Frame: 49" x 37" $1,500-2,000

375 CRASH (JOHN MATOS) UNTITLED (2) 1995-96 Acrylic on canvas with silkscreen on painted wood frame Each signed and dated verso Canvas: 14" x 11"; Frame: 17.5" x 14.625"; Canvas: 12" x 9"; Frame: 16.75" x 13.75" $2,000-3,000


376 PETER SHIRE TEAPOT Studio, executed 2005 Painted and glazed ceramic 7" (16" with lid) x 15.25" x 6" Signed and dated “EXP 2005” $2,000-3,000

231

377 PETER SHIRE TEAPOT AND CUP (2) Studio, executed 1980 Painted and glazed ceramic Teapot: 8" (8.75" with lid) x 10" x 5"; Cup: 8.75” x 6.25” x 3” Each signed and dated “Shire 1980 EXP” $2,000-3,000


378 PETER SHIRE TWO-TONE CONE TEAPOT Studio, 1981 Painted and glazed ceramic and brass Signed “Shire” and “EXP” and dated "1981" 4.5" x 15" x 10" $2,000-3,000

379 PETER SHIRE COFFEE POT AND MUGS (3) Studio, executed c. 1978 Painted and glazed ceramic Each signed “EXP” Coffee pot: 8.25" (10" with lid) x 12" x 4.325"; Mugs each: 4.125" x 2.325" diameter Provenance:

PRIVATE COLLECTI ON ,

CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ART IST )

$800-1,200

380 PETER SHIRE TEAPOT Studio, executed 2005 Painted and glazed ceramic Teapot: signed and dated “EXP 2005/J.”; Lid: inscribed “M.” 7.5" (13" with lid) x 13.5" x 5" $1,500-2,000


381 PETER SHIRE SIDE TABLE Studio, executed 1984 Stamped “Shire 166x 1984” 26" x 22" x 19" Provenance:

PR I VATE C OLLECTI ON,

C AL IFO R N IA ( AC Q U I R ED DI R EC TLY FR OM TH E ARTIST )

$1,800-2,500

233

382 GERRIT RIETVELD BERLIN CHAIR Designed 1923; this example produced later by Jack Brogan 43" x 26.5" x 21" Provenance:

MO D E R NI SM G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; 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 ABOVE, 1 981 )

$1,500-2,000


383 KURT VERSEN LAMPS (2) Nessen, designed c. 1950 A: 19.75" x 14.25" diameter at shade; B: 50" x 14.25" diameter at shade $3,000-5,000

384 CHARLES HOLLIS JONES WISTERIA CHAIRS (2) CHJ Designs, designed c. 1965; these examples produced 2013 Each: 34.5" x 16" x 20" $2,000-3,000


385 LADDIE JOHN DILL UNTITLED 1986 Mixed media collage on paper Signed and dated lower right Image/sheet (vis.): 28.75" x 47"; Frame: 35" x 53" $1,500-2,500

235

386 SALLY SIRKIN LEWIS CONSOLE J. Robert Scott, designed c. 1980 27" x 54.25" x 21.75" $2,000-3,000


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 March 5th, collection and storage fees will begin incurring immediately.

Buyer’s Premium • 25% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc. • 15% on the portion of the hammer price in excess of $500,000 if bids are placed directly with Modern Auctions, Inc.

Buyer’s Premium discount ** • 22.5% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc. AND if payment by cash, check, or bank wire is received in full by March 5, 2014. • 12.5% on the portion of the hammer price in excess of $500,000 if bids are placed directly with Modern Auctions, Inc. AND if payment by cash, check, or bank wire is received in full by March 5, 2014. ** The buyer’s premium will not be discounted for internet bidding (28%), payment by credit card, or if full payment is not received by March 5, 2014. (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 MARCH 5TH. Purchases not removed by March 5th 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 are unable to 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,

February 22nd by 5:00 p.m. (PST) via fax to (323) 904-1954 or scanned 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 will be notified by phone or email by February 25th. 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 are unable to 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 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 for 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 buyer's 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 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 ACCEPTNG CONSIGNMENTS MODERN ART & DESIGN

PETER LOUGHRE Y, DIREC TOR 323-904 -1950 | PETER@L AMODERN.COM

PHOTO CREDIT: NOE MONTES

MAY 2014


INDEX A

Aalto, Alvar Ackerman, Evelyn Adler, Allan Albers, Josef Andersson, John Andreson, Laura Appel, Karel Arman Armijo, Federico Arnoldi, Charles Asawa, Ruth Aulenti, Gae Avery, March Avery, Sally Michel

3-4 76 306 132-34 19 70 24 336 289 234-35 236 368 239 238

B

Baughman, Milo 307, 313-14 Bayer, Herbert 129 Benjamin, Karl 35-36 Bennett, Garry Knox 287 Blunk, J.B. 71 Bolotowsky, Ilya 131 Bourgeois, Louise 204 Bowers, Harry 318 Brown, William T. 286 Budnick, Sidney Jonas 127 Buff, Conrad 237 Butler, Lewis 124

C

Cabat, Rose 74 Cadestin, Michel 338 Calder, Alexander 136 Capron, Roger 366 Casebere, James 317 Cazenave, Andre 369 Celmins, Vija 210 Charlot, Jean 331 Chicago, Judy 231 Christo 190 Cohen, Larry 325 Crash 374-75 Cressey, David 79, 84 Cunningham, Imogen 172

D

Davies, Arthur B. de Rivera, Jose de Saint Phalle, Niki Diebenkorn, Richard Dill, Guy Dill, Laddie John Dowd, Robert Dupré-Lafon, Paul Durot, Louis Dzama, Marcel

E

Eames Ernst, Max Evans, Paul Ewing, Edgar

F

34 367 335 278 215 385 183 364 373 46

102-107 362 316 323

Fabricius, Preben 22 Falkenstein, Claire 297-300 Feitelson, Lorser 39

Finkelstein, Max 372 Follis, John 83, 85 Fonseca, Caio 206-207 Fornasetti, Piero 195 Foulkes, Llyn 232 Francis, Sam 211-14 Franck, Kaj 2 Frankenthaler, Helen 43 Frankl, Paul T. 159-61 Friberg, Berndt 21

G

Gehry, Frank O. Gilliam, Sam Girard, Alexander Goode, Joe Graham, Robert Graves, Michael Green, Taylor Gross, Chaim Grossman, Greta Gruen, Victor

152-53 192 119 228, 230 168-69 305 148-49 339 308-11 154-55

H

Hammerborg, Jo 312 Hammersley, Frederick 40-42 Hansen, Severin 29 Harwood, June 37 Henningsen, Frits 5 Hockney, David 188 Holzer, Jenny 49-50 Hoyos, Ana Mercedes 334

J

Jalk, Grete 23 Jessen, Svend Åage 7 Johanson, Chris 52-55 Johnson, Dan 147 Jones, Charles Hollis 384

K

Kacere, John 167 Kåge, Wilhelm 16-17 Kainen, Jacob 193-94 Kasper, Paul 301-302 Kienholz, Ed 184 Kjær, Jacob 6, 25, 28, 33 Kjærholm, Poul 15 Kleemann, Ron 320 Knoll, Florence 120-22 Kofod-Larsen, Ib 13 Koons, Jeff 162-63

L

Lamb, Walter 87-101 Larsen, Henrik Ditlev 20 Le Corbusier 361 Leland, Malcolm 77-78 Lenci, Fabio 371 Lewis, Sally Sirkin 386 Lichtenstein, Roy 180-81 Lindberg, Stig 30 Lobdell, Frank 282 Lobo, Baltasar 166 Longo, Robert 173-74 Lukens, Glen 72

M

Maloof, Sam 291-93 Marini, Marino 198 Marquis, Richard 294 Martin, Eugene 321 Matos, John 374-75 Maurer, Ingo 144 Maxwell, Robert 80-81 McArthur, Warren 150 McCabe, Gerald 290 McCobb, Paul 82 McGarrell, James 326 McGaw, Bruce 322 McIntosh, Harrison 73 McLaughlin, John 38 Mizuno, Mineo 329 Morris, William 295-96 Moses, Ed 229 Motherwell, Robert 135 Muller, Theodore 158 Mullican, Lee 233

N

Nakashima, George 245-77 Natzler 59-66 Nelson, George 108-18 Neutra, Richard 146 Nielsen, Peter Løvig 31 Nierman, Leonardo 332 Noland, Kenneth 143 Nylund, Gunnar 18

O

Oldenburg, Claes Oliveira, Nathan

P

Park, David Passfeld, Thorsten Perriand, Charlotte Pettibon, Raymond Picasso, Pablo Pittman, Lari Platner, Warren Ponti, Gio

182 283

280-81 51 365 56-58 340-60 47 126 196

R

Rancillac, Bernard 370 Rauschenberg, Robert 189 Register, John 319 Rietveld, Gerrit 382 Robsjohn-Gibbings 156-57 Rohloff, Frank 288 Rosenquist, James 186 Royère, Jean 337 Rubins, Nancy 48 Ruscha, Ed 218-27

S

Saarinen, Eero 123, 125 Sakai, Kazuya 327 Sarpaneva, Timo 1 Scarpa, Afra/Tobia 202-205 Scarpa, Carlo 200 Scholder, Fritz 240-42 Serra, Richard 45 Shire, Peter 376-81

Soderberg, Elsa 26 Sottsass Associati 128 Soulages, Pierre 363 Sprunger, Roger 315 Stålhane, Carl Harry 27 Stella, Frank 185 Stilnovo 197 Stocksdale, Bob 68-69 Strombotne, James 243-44 Sturges, Jock 170 Sultan, Donald 187

T

Tabakoff, Boris 130 Tackett, La Gardo 86, 303-304 Tagliapietra, Lino 208 Tamayo, Rufino 333 Tansey, Mark 324 Teraoka, Masami 328 Therrien, Robert 44 Thiebaud, Wayne 279 Thomas, Alma 137-41 Thurston, Gerald 75

V

Valentine, De Wain 216-17 Vallien, Bertil 209 Van Keppel, Hendrick 148-49 Vasa 145 Venini, Paolo 201 Versen, Kurt 383

W

Walker, Kara 164-65 Wanscher, Ole 32 Warhol, Andy 175-79 Weeks, James 284-85 Wegman, William 171 Wegner, Hans J. 8-12 Wood, Beatrice 67 Wright, Frank Lloyd 151

Y

Yanagi, Sori Yvaral (Vasarely)

Z

Zanuso, Marco

330 142

199


AUCTION:

SUNDAY, FEBRUARY 23, 2014

Peter Loughrey Director, Modern Art & Design

12 p.m. Noon (PST) Shannon Loughrey Managing Director

PREVIEW:

FEBRUARY 10 - 22, 2014

Elizabeth Portanova Marketing Director

10 a.m. - 6 p.m. (PST) Zoe Weinberg Cataloguer

ADDRESS:

Carolina Ivey Client Services

16145 Hart Street Van Nuys, CA 91406

Joe Alascano Shipping

TELEPHONE:

Jazmine Rivera Assistant to Peter Loughrey

323-904-1950

WEBSITE: LAMODERN.com

Cataloguing, Essays, and Editing Zoe Weinberg Paul Des Marais

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

N

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

Photography Susan Einstein Mario de Lopez

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