Page 1

May 6, 2012

Modern Art & Design


1

PREVIEW

April 25 - May 5, 2012 10am - 6pm

AUCTION

Sunday, May 6, 2012 12pm (PST)

16145 Hart Street Van Nuys, CA 91406


May 6, 2012 Modern Art & Design Auction April 25 - May 5, 2012 Auction Preview for the Modern Art & Design Auction

Š 2012 Modern Auctions, Inc. All rights reserved. ISBN 978-0-9848067-1-3

front cover: Lot 137 Karl Benjamin #19 , 1978 back cover: Lot 169 Le Corbusier BOGOTA , 1950 right: Lot 334 Chuck Close SELF-PORTRAIT , 2006


Welcome to another diverse auction of Art and Design. While everything

we offer at LAMA can be described as Modern, this sale exhibits many different viewpoints and a multitude of different media, as well as represents the most comprehensive selection of California art ever to be offered in the company’s history. Over 100 lots come from an important Santa Barbara collection, including works by 30 major California artists, which represent the second half of the 20th century in Southern California through a strong grouping of paintings, photographs, prints, sculpture, and textile art. An anomaly in fine art of the 20th century, textile art by Modern and Contemporary masters is rare, which is mainly attributed to the rigorous process employed to create these works. This sale offers seven extraordinary textiles that range in materials and techniques. From the rough jute fibers of Calder's Josephine Baker tapestry and the famously refined Aubusson weave of Le Corbusier's Bogota, to the low-tech wool felt in Lichtenstein's Thunderbolt and the intensely intricate hand-woven Jacquard process employed in Chuck Close's Self-Portrait, each work beautifully captures the artist's iconic vocabulary by utilizing a different technique and material. The Hard Edge School, an area of California art that is now beginning to resonate on the open market, is represented in this auction by 11 original works from Karl Benjamin, Frederick Hammersley, and Lorser Feitelson. Even with recent attention from the Pacific Standard Time exhibitions, paintings and drawings from this period are still remarkably well-priced; however, as works become scarce, prices will surely climb. Don’t miss the opportunity to buy when there is a rich selection to choose from. We are particularly excited to offer the best selection of Modern and Contemporary photographs in our company’s history. From Burtynsky and Hamilton to Weegee and Wegman, we encourage you to jump into this marketplace and grow with us as this segment plays a larger role both at LAMA and in the Contemporary art world. The ceramics on offer run the gamut from traditional vessels by the Natzlers to the monumental sculpture by Viola Frey. The soulful simplicity of Claude Conover's Katap exists in striking contrast to Richard Shaw's trompe l'oeil Artist's House of Cards, and yet all of these works start with humble earthen clay. Jewelry, artist's books, prints, and of course, furniture round out what is without a doubt our most comprehensive Modern auction to date. So, enjoy this diverse offering by adding a little diversity to your own collection. PETER LOUGHREY, DIRECTOR

3


1 MICHAEL & FRANCES HIGGINS MOBILE Studio, executed 2000 Glass Etched “Higgins 00” 36.5” x 25” $3,000-5,000

2 MICHAEL & FRANCES HIGGINS RONDELAY SCREEN Studio, designed 1998 Glass Each square disc: 8.375” x 8.375”; Each round disc: 8.375” diameter; as photographed 55” x 26” $3,000-5,000


3 JOSEF ALBERS WHITE LINE SQUARE III (WHITE LINE SQUARES SERIES) 1966 Lithograph in colors on Arches #82 of 125 Published by Gemini G.E.L., Los Angeles Signed and dated lower right sheet margin; inscribed in pencil “WLS-III” lower left sheet margin; Gemini G.E.L. blindstamp lower right; Arches blindstamp center right Catalogue Raisonné, Gemini catalogue #2.3 Image: 15.5” x 15.5”; Sheet: 20.625” x 20.625”; Frame: 23.625” x 23.625” $2,000-3,000

5

4 JOSEF ALBERS WHITE LINE SQUARE I (WHITE LINE SQUARES SERIES) Trial proof #2 of 10, aside from the edition of 125 Published by Gemini G.E.L., Los Angeles, 1966 Lithograph in colors on Arches Signed and dated in pencil lower left sheet margin; “WLS-I Trial Proof II” lower left; Arches blindstamp center left margin Catalogue Raisonné, Gemini catalogue #2.1 Image: 15.5” x 15.5”; Sheet: 20.625” x 20.625”; Frame: 23.625” x 23.625”

Literature: J O S E F

ALB ER S AT TH E M ET-

R O P O L ITAN MUS E UM OF ART, EX H I B I TI ON C ATALO G, N E W YO R K : TH E M ETR OP OLI TAN MUS E UM O F ART, 19 7 1 , P G 70, NO 1 81 .

$2,000-3,000


5 VELIZAR ( VASA) MIHICH TOWER Studio, c. 1976 Acrylic 78.5”

Provenance: PRI VATE

COLLECTI ON

( ACQUIRED FROM TH E A RTIST CI R C A 1 9 76 )

$7,000-9,000


7

6 VELIZAR ( VASA) MIHICH TOWERS (3) Studio, 1987 Acrylic Signed and dated on one column Smallest column: 31” x 4.75” x 3.25”; medium column: 36” x 4.75” x 3.25”; tallest column: 41” x 4.75” x 3.25”; base: 4” x 28” x 14”; total height: 45” $2,000-3,000


FLETCHER BENTON UNTITLED 1967 Aluminum and Plexiglas kinetic sculpture C-5520-Series 3 Studio 35” x 31” x 4.5” Literature: BENTON,

FLETCH ER A N D E DWA R D

LUCIE- S MI TH , FLETCH ER BENTON, N E W YOR K : ABRAMS, 1990 FOR SI MI L A R EXA MP L E S

Provenance: PROPERT Y CO LLECT ION

$15,000-20,000

FROM A SA N TA B A R B A R A


Aspen was a multimedia magazine published by Phyllis Johnson from 1965-1971. It was a radical and highly influential publication that is now acknowledged as being the first three-dimensional magazine. Each issue of the magazine came in a box, which included a folder containing various items of ephemera, including postcards, posters, and records, among a variety of other objects. A diverse range of highly influential North American and European artists, musicians, and writers contributed to the magazine, including Andy Warhol, Helmut Richter, Robert Rauchenberg, John Lennon, and J.G. Ballard. Literature: Stafford, Andrew. Aspen: The Multimedia Magazine in a Box. 2011, Web. 26 March 2012.

8 ASPEN MAGAZINE ASPEN MAGAZINE (10 ISSUES) Published quarterly by Roaring Fork Press, Inc., New York., c. 1966-71 Mixed media Complete set of 10 issues Various dimensions $3,000-5,000

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

A C O L L EC TIO N O F MULTIP LES, 4 0TH ANNI VER-

SARY E X H IB ITIO N , E X H IB ITIO N C ATALO G, S E AT TLE: DAVI DSON GAL L E R IE S, 2 0 0 8 .

$3,000-5,000

9


10 AMERICAN MODERN GROUP OF SEGMENTED PLASTIC CHAIRS (10) Manufacturer unknown, designed c. 1990 Each 34.25" x 16" x 16" $2,000-3,000

11 AMERICAN MODERN X-BASE CONFERENCE TABLE Manufacturer unknown, designed c. 1990 29.5” x 84” x 45.5” $2,000-3,000


12 GENE DAVIS FOUR BLACK POPCORN (PORTFOLIO SERIES II) 1969 Serigraph on canvas mounted to board #62 of 150 Published by Petersburg Press, New York; printed by Haas; fabricated by Rudolf Reiser Retains ARCO corporate art collection label verso Sheet: 23.5” x 29.25”; Frame: 24.25” x 30.25” $1,000-1,500

13 ALLAN D’ARCANGELO UNTITLED (FROM THE ROAD SERIES) 1978 Serigraph #28 of 150 Signed and dated lower right; edition lower left Image: 23.75” x 29.75”; Visible sheet: 25.125” x 30.875”; Frame: 28.75” x 34.5” $1,000-1,500

11


14 FRANK STELLA BLACK ADDER (V SERIES) 1968 Lithograph in colors on Lowell #14 of 100 Published by Gemini G.E.L., Los Angeles Signed and dated in pencil with Gemini G.E.L. blindstamp lower left Catalogue Raisonné, Axsom #24 Sheet: 16.25” x 28.75”; Frame: 17.5” x 30.25” 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 N É : 1967-1982, 1ST EDITION , N E W YO RK: HUDSON H ILL S PRESS; A NN A R B OR : UN IV ERS IT Y OF MICH IGA N MU SEU M OF A RT, 1 9 83 , PL 24.

Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$3,000-5,000

SOL LEWITT FOUR DIFFERENT ORDERS OF PRINTING 1972 Silkscreen on Strathmore #3 of 20 Published by the artist; printed by John Campione, New York Signed in pencil lower right with edition lower left Catalogue Raisonné, Lewitt #1972.01 Sheet: 29.75” x 29.75”; Frame: 30.5” x 30.5” $1,000-1,500


The sculptor Ken Snelson studied under Fernand Leger in Paris and at the Black Mountain College where he became inspired by his tutor Richard Buckminster-Fuller and his concept of evolving energetic geometry. Snelson followed his own trajectory on the subject, eventually developing a ground-breaking technique known as “discontinuous compression” whereby a series of rigid steel tubes would be joined to one another by steel cables. With this invention he was able to create large, yet lightweight and flexible complex geometric structures. He later conducted research into the structure of the atom and in turn incorporated his discoveries into his works. During this period he attained four U.S. patents for his studies into the structure of atoms and of building systems. Snelson’s works were sold through the Park Place Gallery, NY, throughout the 1960s.

16 KEN SNELSON UNTITLED (SCULPTURE) 1993 Aluminum #2 of 4 Incised “K Snelson 1993/2/4” at base 14.25” x 26.25” x 16.5” Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$8,000-12,000

FR OM A SANTA

13


17 BRUCE NAUMAN RAW-WAR 1971 Lithograph in colors on white Arches #98 of 100 Co-published by Castelli Graphics, New York and Nicholas Wilder Gallery, Los Angeles; printed by Cirrus Editions, Los Angeles Signature in pencil with date and edition lower right Catalogue Raisonné, Cordes #7 Sheet: 22” x 28”; Frame: 27.125” x 32.625” Literature: CORDES,

CH RI STOPHE R ,

BRUCE NAU MA N, PRINTS 1970 - 89 : A CATALO G UE RA ISONNÉ, 1ST EDI T I ON , NEW YO RK: CASTELLI GRA PH ICS, 1 9 89, PL 7; DAV IS, BRU CE, MA DE I N L A : T HE PRIN TS O F CI RRU S EDI TIONS, NE W YO RK: DAP, 1995, PG 316.

Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$18,000-25,000

18 BRUCE NAUMAN UNTITLED (GREEN) 1971 Lithograph in colors on white Arches #38 of 100 Published by Castelli Graphics, New York; Nicholas Wilder Gallery, New York Signed and dated in pencil lower right; edition lower right; “370B1471” in pencil verso Catalogue Raisonné, Cordes #8 Sheet/Image: 22.5” x 28” Literature: CORDES,

CH RI STOPHE R ,

BRUCE NAU MA N, PRINTS 1970 - 89 : A CATALO G U E RA I SONNÉ, 1ST EDI TION , N EW YO RK: CASTELLI GRA PH ICS, 1 9 89, PL AT E 8 ; MA DE I N L A : TH E PRINTS OF CIRRUS EDI TIONS, NEW YORK: DA P, 19 95, PG 317.

$1,000-1,500


19 ROBERT INDIANA NUMBERS 1968 Portfolio of ten silkscreens in color with letterpress #232 of 275 Published by Edition Domberger, Stuttgart; Bonlanden bei Stuttgart; Schmela, Dusseldorf Signed by artist and Robert Creeley on title page Poems by Robert Creeley. Sold with original dust jacket. Catalogue Raisonné, Sheehan #46-56 25.5” x 19.75” Literature: S H E E H AN,

SU SAN, R OB ERT

IN D IAN A P R IN TS : A C ATALOG U E R AI SONNÉ, 195 1-19 9 1, N E W YO R K : SU SAN SH EEH AN GAL L E RY, 19 9 1, N O S 4 6 - 56.

$8,000-12,000

15


20 ALEXANDER CALDER UNTITLED (JOSEPHINE BAKER) 1974 Hand-woven jute Maguey tapestry #43 of 100 Bon Art Retains label “BON ART woven art hand crafts of Maguey fiber made in Guatemala” and “C” woven in tapestry upper left; edition woven bottom left; “CA 74” woven bottom right 97.5” x 73” $4,000-6,000


21 ALEXANDER CALDER PYRAMIDES VERTS 1975 Lithograph in colors on Arches #8 of 100 Published by Arts-Litho, Paris Signed in pencil lower right; edition lower left Sheet: 28.875” x 21.875”; Frame: 37.75” x 30.5” $1,500-2,000

22 ALEXANDER CALDER LA CIRQUE 1975 Lithograph in colors on Arches #27 of 100 Published by Arts-Litho, Paris Signed in pencil lower right; edition lower left Sheet: 31.625” x 23.75” $1,500-2,000

23 ALEXANDER CALDER UNTITLED (TWO BLACK PYRAMIDS) 1975 Lithograph in colors on Arches #52 of 100 Published by Arts-Litho, Paris Signed in pencil lower right; edition lower left Sheet: 22.375” x 30.75” $1,500-2,000

17


24 CLAIRE FALKENSTEIN FUSIONS

25 CLAIRE FALKENSTEIN FUSIONS

26 CLAIRE FALKENSTEIN FUSIONS

c. 1962 Copper and Murano glass Studio 1.75” x 1.75” x 1.75

c. 1962 Copper and Murano glass Studio 2” x 2” x 1.5”

c. 1962 Copper and Murano glass Studio 3” x 2” x 1”

$2,500-3,500

$2,500-3,500

$2,500-3,500


27 ZAHARA SCHATZ PAIR OF TABLE LAMPS Lucite Studio, designed c. 1955 28” x 11” diameter

Literature: KAP L AN ,

WENDY, C ALI FOR NI A

D E S IGN 193 0 -19 6 5 , L I VI NG I N A M ODER N WAY, E X H IB ITIO N C ATALOG , LOS ANG ELES C O UN T Y MUS E UM O F ART, CAM BR I DG E: MIT P R E SS, 2 0 11, P G 21 2 FOR A SI M I L AR E XAMP L E .

$3,000-5,000

19


28 GRETA MAGNUSSON GROSSMAN DESK WITH RARE TOP STORAGE UNIT Model no. 6200 and 6200A Glenn of California, designed 1952 40.5” x 48” x 24”

Literature: KAP L AN ,

WENDY, C ALI FOR NI A

D E S IGN 193 0 -19 6 5 , L I VI NG I N A M ODER N WAY, E X H IB ITIO N C ATALOG , LOS ANG ELES C O UN T Y MUS E UM O F ART, CAM BR I DG E: MIT P R E SS, 2 0 11, P G 102 FOR A SI M I L AR E XAMP L E .

$10,000-15,000

21


29 GRETA MAGNUSSON GROSSMAN TABLE LAMPS (2) Ralph O. Smith, designed 1949 Enameled metal and brass Adjustable 16” x 6.25” x 14” $5,000-7,000

30 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled metal and brass Adjustable 15” x 12” x 13” $6,000-9,000

31 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled metal and brass Adjustable 15” x 12” x 13” $6,000-9,000


32 GRETA MAGNUSSON GROSSMAN PAIR OF COUCHES Model no. 1017 Brown-Saltman, designed c. 1942 Each 26” x 98” x 40”

Literature: FURNITURE

DESIGNED FOR

LIVING IN THE MODERN MODE , B R OWNSALTMAN F UR N ITUR E CATALOG , 1 94 2, NP.

$5,000-7,000

23


33 RAUL CORONEL SIX NESTING BIRDS Stoneware Designs, Inc., designed c. 1965-68 Ceramic mounted to wood Signed “Coronel” on tile lower left; retains Stoneware Designs, Inc. label verso 60.625” x 30.375 $1,500-2,000

34 HENDRIK VAN KEPPEL & TAYLOR GREEN CHAIR AND SIDE TABLE Brown-Saltman, designed c. 1950 Side table stamped “166 Occasional Table” underneath Chair: 30.375” x 30” x 32”; Table: 18.375” x 34.375” x 23.75”

Provenance: MAX

A ND RI TA L AWR E N C E ;

PRIVAT E COLLECTION, LOS A NGEL E S ( ACQUIRED FROM TH E A BOVE TH R OU G H BUT T ERFIE LDS, OCTOBER 20 0 2)

$2,000-3,000


Max & Rita Lawrence, founders of the iconic Los Angeles firm Architectural Pottery, were lifelong personal friends of influential local furniture designers Hendrik van Keppel and Taylor Green. Whilst they never collaborated together on design projects, the bold modernist planter designs of Architectural Pottery and the furniture of V.K.G. were featured regurarly together in the interiors for many of the Case Study homes, including Pierre Koenig’s internationally renowned CSH22. Many of the works by Architectural Pottery and V.K.G were captured on film together by Julius Shulman in his survey of the leading architectural commissions of the period. As such the designs of both companies have helped to define the concept of California Modern, which was exported successfully to the rest of the world during the post-war years. The friendship between them resulted in many of the Architectural Pottery designs being stocked by V.K.G.’s shops, firstly in Beverly Hills until the late-1960s and later at the Country Store in Santa Monica. These boutiques became the focus for key taste arbiters of the period, from celebrities such as Vincent Price and Frank Sinatra, to influential European and North American designers such as Danish designer Jens Quistgaard and Tony Duquette. Literature: Haeberli, Eric. Van Keppel-Green: The Origins of Indoor/Outdoor Design”. Excerpt from the book proposal, 2011. Web. 26 March 2012.

25

35 HENDRIK VAN KEPPEL & TAYLOR GREEN COUCH AND COCKTAIL TABLE Brown-Saltman, designed c. 1950 Table retains “Brown & Saltman” label and stamped “167 Cocktail Table” verso Couch: 29” x 90.125” x 34.5”; Table: 16” x 64” x 35.75”

Provenance: MAX

AND R I TA L AWR ENCE;

P R IVATE C O L L EC TIO N, LOS ANG ELES ( AC Q UIR E D F R O M TH E AB OVE TH R OU G H B UT TE R F IE L D S, O C TOB ER 2002)

$4,000-6,000


36 GARRY KNOX BENNETT WOOD BENCH GKB Furniture, 1981 Mahogany and cut poplar Inscribed “In Oakland GKB Anno 81” 21.5” x 59” x 18”

LAMA wishes to thank the artist for his kind assistance in cataloguing this work. Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$4,000-6,000

37 GERALD MCCABE PAIR OF COFFEE TABLES Eon Furniture, designed 1964 Glass Each 19.5” x 19.5” x 19.5”

“I have a mechanical ability and I like to make three-dimensional objects….I guess I’d be a sculptor if I wasn’t so imbued with the puritan ethic.”, Gerald McCabe, Craftsman Works, The Gentle Revolution, 1977. Literature: C AL IFO R NI A

DESI G N 9, EX H I B I-

TIO N C ATALO G, PAS E D ENA: PASADENA ART MUS E UM, 19 6 5 , P G 8 8 .

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$1,500-2,000

FR OM A SANTA

27


38 MARILYN LEVINE ZIP NOIR 1993 Ceramic Stamped “Levine/93-7A” verso base 5.5” x 6” x 4.5” Provenance: PROPERT Y BARBARA COLLECTI ON

$3,000-5,000

FROM A SA N TA


39 RICHARD SHAW ARTIST’S HOUSE OF CARDS 2003 Glazed ceramic with overglaze decals Signed and dated in pencil underneath base 13.25” x 9” diameter Provenance: P R O P ERT Y

FR OM A SANTA

B AR B AR A C O L L EC TION

$8,000-12,000

29


40 MABEL HUTCHINSON PAIR OF SCULPTURAL DOORS Studio, executed c. 1968 Each 79.5” x 35” x 4”

Literature: C A L I FOR N I A

DE S IGN 9, E X H IB I-

T I ON C ATA LOG , PASE DE N A : PASAD E N A ART M U SE U M , 1 9 6 5, P G 1 7 FOR A S IMIL AR WO R K .

$12,000-15,000

41 MAX NEUFELDT UNTITLED (SCULPTURE)

42 MAX NEUFELDT UNTITLED

1965-68 Oxy-acetylene and braised brass flowers welded over mild steel Signed “Neufeldt” lower left

c. 1965 Mixed media assemblage Signed verso “Neufeldt Santa Barbara” 48” x 48” x 5”

39” x 24” x 9”

$4,000-5,000

LAMA wishes to thank the artist for his kind assistance in cataloguing this work. $1,500-2,000

31


43 DAVID SMITH ∆  48-12-57 1957 Black egg ink on Japanese paper Signed in black ink and dated lower left; retains two Knoedler & Company Gallery labels verso Sheet: 17.5” x 22.5”; Frame: 26.25” x 31.125”

Provenance: PR OP E RT Y BA RBA RA COLLEC T I ON

$25,000-35,000

F R OM A SA N TA


33

44 DAVID HARE UNTITLED c. 1985 Painted steel sculpture 34.5” x 23” x 12” $10,000-15,000


of the most surreal landscapes I had “ one ever seen; totally transformed by man.

Canadian photographer Edward Burtynsky (born 1955) has devoted his life’s work to capturing mankind’s impact on the natural world. The son of an avid outdoorsman, Burtynsky was exposed to Canada’s great north at an early age. While his photographs of landscapes portrayed the natural beauty of new growth and untouched wilderness, he feared that he was “being sucked into this genre of the calendar picture.” Searching for a more gripping theme, he stepped out of his car in a Pennsylvania coal-mining town and was struck by “one of the most surreal landscapes I had ever seen; totally transformed by man.” From that moment onward, Burtynsky knew that he had found a unifying conceit in mankind’s most earth-altering industrial undertakings, eventually leading him across North America, Australia, and China. His hugely successful international exhibitions – Before the Flood (2003), Manufactured Landscapes (2003-2005), China (2005-2008), and Oil (2009) – attempt to portray our relationship with the landscapes we create to extract materials and produce energy. In China (2005-2008), Burtynsky documents every segment of the country’s whirlwind urban explosion through seven photographic series. From the Shipyards series, Shipyards #1 (2005) was taken at China’s largest mid-size shipyard, Qili Port in the Zhejiang Province. Surrounded by industrial detritus, these ships are just a few of the 250 the Qili Port produces each year. Through contrasting shades of fresh red paint and rusty steel against a gray backdrop, Burtynsky captures the intensive eight-month process to build a single ship. Vessels like these will likely navigate the Yangtze River, home of the Three Gorges Dam, the world’s largest hydroelectric power plant. This fabled and controversial project began in 1994 and will be fully operational in mid-2012. While it will produce the electricity of sixteen nuclear power plants, it is expected to displace 1.13 million people and submerge at least thirteen cities and thousands of acres of farmland. Dam #6 (2005), from the Three Gorges series, provides a glimpse into the construction of the main turbines, an unseen domain of startling, otherworldly beauty. Literature: Burtynsky, Edward. “Edward Burtynsky on Manufactured Landscapes.” TED. TED, Oct. 2006. Web. 21 March 2012. Edward Burtynsky. Edward Burtynsky Photographic Works. 2012. Web. 21 March 2012.

45 EDWARD BURTYNSKY DAM #6, THREE GORGES DAM PROJECT, YANGTZE RIVER, CHINA Printed 2005 Digital chromogenic print #5 of 10 Signed verso Image: 27” x 34”; Sheet: 34” x 41”; Frame: 35.5” x 42.625” Provenance: PROPERT Y BARBARA COLLECTI ON

$5,000-7,000

FROM A SA N TA


35

46 EDWARD BURTYNSKY SHIPYARD #1, QILI PORT, ZHEJIANG PROVINCE Printed 2006 Digital chromogenic print #2 of 9 Signed verso

Image: 30" x 60"; Sheet: 38" x 68"; Frame: 40" x 70" Literature: C H IN A:

THE P H OTOG R AP H S OF

E DWAR D B URT Y N S KY, G OT TI NG EN: STEI DL , 2 0 05 .

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$10,000-15,000

FR OM A SANTA


47 MASSIMO VITALI MADIMA VERTICAL WAVE ALTERNATIVE c. 2002 Offset lithograph From the edition of 120 Published by Brancolini Grimaldi Arte Contemporanea, Roma/Florence; printed by Steidl, Gottingen Image: 35” x 27”; Frame: 41” x 33.25” Literature: VI TA LI,

MASSI MO, L AN DSC A P E

WIT H FIG U RES, GOT TINGEN: STEI DL , 2 004 .

$3,000-5,000

48 MASSIMO VITALI UNTITLED (LANDSCAPE WITH FIGURES) c. 2002 Offset lithograph From the edition of 120 Published by Brancolini Grimaldi Arte Contemporanea, Roma/Florence; printed by Steidl, Gottingen Image: 27” x 35”; Frame: 33.25” x 41” Literature: VI TA LI,

MASSI MO, L AN DSC A P E

WIT H FIG U RES, GOT TINGEN: STEI DL , 2 004 .

$3,000-5,000

49 MASSIMO VITALI UNTITLED (LANDSCAPE WITH FIGURES) c. 2002 Offset lithograph From the edition of 120 Published by Brancolini Grimaldi Arte Contemporanea, Roma/Florence; printed by Steidl, Gottingen Image: 27” x 35”; Frame: 33.25” x 41” Literature: VI TA LI,

MASSI MO, L AN DSC A P E

WIT H FIG U RES, GOT TINGEN: STEI DL , 2 004 .

$3,000-5,000

50 MASSIMO VITALI GARDA LOOK (VERONA, ITALY) c. 2002 Offset lithograph From the edition of 120 Published by Brancolini Grimaldi Arte Contemporanea, Roma/Florence; printed by Steidl, Gottingen Image: 27” x 35”; Frame: 33.25” x 41” Literature: VI TA LI,

MASSI MO, L AN DSC A P E

WIT H FIG U RES, GOT TINGEN: STEI DL , 2 004 .

$3,000-5,000


37


51 LARRY SULTAN WOMAN IN CURLERS 2002 Chromogenic print #10 of 10 Retains Stephen Wirtz Gallery, San Francisco label verso Sheet: 40” x 30”; Frame: 31.25” x 39.375” Literature: SU LTA N,

L A RRY, L A R RY SU LTA N : T HE VA L L E Y, ZU R I C H: SC A LO;

NEW YO RK: DA P, 20 0 4, P 78; EWI N G , WI L L I A M A A N D N AT HA L I E HE R SC HDORFER , FACE: TH E NEW PH OTOGRA P HI C P ORT R A I T, LON DON : T HA M E S & HUD S O N , 20 0 6, P 95; CH EVRI ER , J E A N - F R A N C OI S A N D J OHA N DE VOS E T A L , CLICK D O U BLECLI CK , KÖLN: WA LT HE R KON I G , 2 006 , P 1 24 .

Provenance: PROPERT Y $15,000-20,000

FROM A SA N TA B A R B A R A C OL L EC T I ON


52 PABLO PICASSO BUSTE BLANC SUR NOIR 1949 Lithograph #10 of 50 Signed in pencil lower right; edition lower left; retains Santa Barbara Museum of Art label verso Catalogue Raisonné, Bloch #592 Visible sheet: 24.375” x 18.375”; Frame: 31.25” x 25.25” Literature: B LO C H ,

GEO R GE S, PAB LO P IC ASS O : C ATALOG U E OF TH E

P R IN TE D GR AP H IC WO R K 19 0 4 -19 6 7, B E R N E : KO R N F ELD & K LI P STEI N, 19 6 8 , P G 145 , N O 5 9 2 .

Provenance: P R O P E RT Y

F R O M A SAN TA B AR B AR A C OLLECTI ON

$20,000-30,000

39


54 PABLO PICASSO FLUTE PLAYER AND GOAT

55 PABLO PICASSO PICADOR AND BULL

56 PABLO PICASSO FACE NO. 54

1956 White earthenware clay with glaze From the edition of 450 Madoura Impressed “Madoura Plein Feu/Empreinte Originale de Picasso” verso Catalogue Raisonné, Ramié #382 10” diameter

1953 White earthenware clay #191 of 200 Madoura Impressed “Madoura Plein Feu” and “Empreinte Originale de Picasso” verso Catalogue Raisonné, Ramié #197 9.25” diameter

1963 White earthenware clay #122 of 150 Madoura Signed “No. 54 Edition Picasso Madoura 122/150” verso Catalogue Raisonné, Ramié #467 9.75” diameter

PICASS O : CATA LOGU E OF TH E ED I T E D

Literature: R A M I É ,

Literature: R AMIÉ ,

Literature: R AMIÉ ,

CERAM IC WORKS 194 7-1971, MA DOU R A ,

P I C ASSO: C ATA LOG U E OF T HE E D ITE D

P IC ASS O : C ATALO GUE O F TH E E D ITE D

P IC ASS O : C ATALO GUE O F TH E EDI TED

1 9 8 8 , #3 89.

C E R A M I C WOR KS 1 9 4 7- 1 9 7 1, MAD O UR A ,

C E R AMIC WO R KS 19 4 7-19 7 1, MAD O UR A ,

C E R AMIC WO R KS 19 4 7-19 71, M ADOU R A ,

$4,000-6,000

1 9 88, #382 .

19 8 8 , # 19 7.

19 8 8 , # 46 7.

$2,500-3,500

$5,000-7,000

$4,000-6,000

PABLO PICASSO BEACH SCENE 1956 White earthenware clay with glaze From the edition of 450 Madoura Impressed “Madoura Plein Feu/Empreinte Originale de Picasso” verso Catalogue Raisonné, Ramié #389 10” diameter

Literature: RA MI É,

GEORGES, PAB LO G EOR G E S, PAB LO

GEO R GE S, PAB LO

GEO RG ES, PABLO


57 PABLO PICASSO WOMAN

58 PABLO PICASSO PICADOR

1955 White earthenware clay, decoration in engobes with glaze inside From the edition of 100 Madoura Stamped “Edition Picasso/Madoura Plein Feu” Catalogue Raisonné, Ramié #297 13” x 3.875” diameter at base

1953 Red earthenware clay #243 of 500 Madoura Signed “Edition Picasso #243/500 Madoura” verso Catalogue Raisonné, Ramié #211 2” x 6.25” diameter Literature: R AMIÉ ,

Literature: R AMIÉ ,

GEO R GE S, PAB LO

GEOR G ES, PAB LO

P IC ASS O : C ATALO GUE OF TH E EDI TED

P IC ASS O : C ATALO GUE O F TH E E D ITE D

C E R AMIC WO R KS 19 4 7-1 971, M ADOU R A ,

C E R AMIC WO R KS 19 4 7-19 7 1, MAD O UR A ,

19 8 8 , # 2 11.

19 8 8 , # 2 9 7.

$4,000-5,000

$3,000-5,000

41

59 PABLO PICASSO BULL, RIM WITH LEAVES 1957 Red earthenware clay with decoration #42 of 500 Madoura Stamped “Edition Picasso Madoura Plein Feu” and “Edition Picasso 42/500 Madoura” verso Catalogue Raisonné, Ramié #394 9.125” diameter

Literature: R AMIÉ ,

GEO R GE S, PAB LO P I-

C ASS O : C ATALO GUE O F TH E E D ITE D C E R AMIC WOR KS 19 4 7-19 7 1, MAD O UR A , 19 8 8 , # 3 9 4.

$3,000-5,000


60 PABLO PICASSO DIURNES 1962 Linoleum cut #3 0f 100 Signed in pencil with edition lower left Catalogue Raisonné, Bloch #1062 Image: 15.5” x 11.5”; Visible sheet: 18” x 14”; Frame: 30” x 26” Literature: BLOCH ,

GEORGES, PAB LO

PICASS O : CATA LOGU E OF TH E PRI N T E D G RAPHIC WORK 190 4 -1967, BERNE : KOR NFELD & KLIPSTEIN, 1968, PG 223, N O 1 06 2 .

$12,000-15,000


61 PABLO PICASSO FLEURS (FOR UCLA) 1961 Color lithograph on Arches #41 of 100 Published by the Art Council of UCLA Art Galleries Signature in pencil lower right; edition lower left; written on print “For U.C.L.A Picasso Cannes 23.5.61” Catalogue Raisonné, Bloch #1297 Sheet: 33” x 27”; Frame: 33.125” x 27.25” Literature: B LO C H ,

G EOR G ES, PABLO

P IC ASS O : C ATALO GUE OF TH E P R I NTED GR AP H IC WO R K 19 0 4 - 1 967, B ER NE: KOR NF E L D & K L IP STE IN , 1968, P G 1 4 5, NO 1 297.

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$5,000-7,000

62 PABLO PICASSO COMPOSITION EN TROIS COULEURS 1947 Lithograph in colors #28 of 50 Signed and dated “11.3.47” lower left; edition lower right Catalogue Raisonné, Bloch #428 Image: 8” x 10.75”; Sheet: 16.5” x 12.375; Frame: 24” x 19.5” Literature: B LO C H ,

G EOR G ES, PABLO

P IC ASS O : C ATALO GUE OF TH E P R I NTED GR AP H IC WO R K 19 0 4 - 1 967, B ER NE: KOR NF E L D & K L IP STE IN , 1968, P G 1 20, NO 4 28.

$1,500-2,000

43


Husband and wife Gertrud & Otto Natzler worked together from the late-1930s, when they were awarded the Medaille d’Argent at the seminal 1937 Paris Exposition, until Gertrud’s death in Los Angeles in 1971. Both were born in Vienna in 1908 and fled to California in 1938, where they re-established their workshop following the Nazis invasion of Austria in 1938. Their work together combined Gertrud’s talented imagination for form with Otto’s inexhaustible gift for glaze experimentation – he was to conceive an astonishing 2000 glazes in his lifetime. Their works embody an elegant expression of modernism that was to find a receptive audience within the burgeoning California modern movement that gained momentum through the middle years of the twentieth century. This collaborative partnership set their work apart from those of their peers and is even more remarkable when considering that they were entirely self-taught. Following Gertrud’s death, Otto continued to work with clay, however focusing on vessels of slab construction. Examples of the Natzlers' works may be found in the collections of over fifty international museums, including The Smithsonian, the Metropolitan Museum of Modern Art and the Victoria & Albert Museum.

63 GERTRUD & OTTO NATZLER BOTTLE Natzler inventory no. N299 Studio, 1964 Midnight Sky dark blue crystalline glaze Signed “Natzler” and retains inventory label “N299” 8” x 4” diameter $4,000-6,000


64 GERTRUD & OTTO NATZLER TEA SERVICE (16) Studio, c. 1940s Glazed ceramic Signed “G&O Natzler” Teapot with lid and stand: 4.5” x 9.75” x 7”; Creamer: 1.5” x 5.25” x 4.5”; Sugar: 1.5” x 4.75”; Strainer plate: 1.5” x 4.875” x 3.75”; Cups 1.5” x 5.25” x 4.75”; Saucer: 5.875” $15,000-20,000

45


65 GERTRUD & OTTO NATZLER BOWL Natzler inventory no. N623 Studio, 1965 Earth Crater glaze Signed “Natzler” and retains inventory label “N623” 4” x 8.625” diameter $5,000-7,000

66 GERTRUD & OTTO NATZLER BOWL Natzler inventory no. G679 Studio, 1955 Pale Green Crater glaze Signed “Natzler” 3” x 10” diameter $3,000-5,000

47


67 GERTRUD & OTTO NATZLER BOWL

68 GERTRUD & OTTO NATZLER BOWL

Natzler inventory no. N931 Studio, 1967 Moss Green Hares Fur glaze with crystals Signed “Natzler” and retains inventory label “N931” 4.25” x 6” diameter

Natzler inventory no. L897 Studio, 1962 Green Crystalline glaze Signed “Natzler” and retains inventory label “L897” 2.625” x 5.75” diameter

$5,000-7,000

$2,500-3,500


69 GERTRUD & OTTO NATZLER BOWL

70 GERTRUD & OTTO NATZLER BOWL

Natzler inventory no. B541 Studio, 1950 Chartreuse glaze Signed “Natzler” 5.375” x 4.625” diameter

Natzler inventory no. J312 Studio, 1958 Mystic blue glaze Signed “Natzler” and retains inventory label “J312” 2.25” x 5.375” diameter

$3,000-5,000

$4,000-6,000

49


71 GERTRUD & OTTO NATZLER TALL BOTTLE WITH LIP Natzler inventory no. M208 Studio, 1962 Green Crystalline glaze Signed “Natzler” and retains inventory label “M208” 1125” x 2.625” diameter $3,000-5,000


72 GERTRUD & OTTO NATZLER GROUP OF FOUR CERAMICS

73 GERTRUD & OTTO NATZLER SHALLOW DISH

75 GERTRUD & OTTO NATZLER PAIR OF "MASSIVE" BOWLS

Natzler inventory no. N721, M689, M441 and N534 Studio, 1966, 1963, 1962 and 1965 respectively Moss Green Hare’s Fur glaze, Reduction glaze with melt fissures, Blue and San reduction fired glaze A: Signed “Natzler” and retains inventory label “N721”; B: Signed “Natzler” and retains inventory label “M689”; C: Signed “Natzler” and retains inventory label “M441”; D: Signed “Natzler” and retains inventory label “N534” A: 9.125” x 5.625” diameter; B: 8.75” x 4.75” diameter; C: 3.25” x 6.125” diameter; D: 3.34” x 6” diameter

Studio, c. 1953 Pompeian glaze Signed “Natzler” .875” x 4.75” diameter

Natzler inventory no. H951 and H975 Studio, 1957 Old Turquoise glaze on the interior Each signed “Natzler” and retain inventory labels “H951” and “H975” H975: 1.625” x 6.125” diameter; H951: 1.875” x 5.75” diameter

$3,000-5,000

$1,000-1,500

$1,500-3,000

74 GERTRUD & OTTO NATZLER SHALLOW BOWL Natzler inventory no. A086 Studio, 1949 Flame Red matte glaze Signed “Natzler” 1.875” x 6.325” diameter

$3,000-5,000

We wish to thank Gail Reynolds Natzler for her researching the Natzler archive to provide information about the ceramics made by Gertrud & Otto Natzler offered in this LAMA auction.

51

LOT 73

LOT 74

LOT 75


EDWARD WORMLEY CABINET Dunbar, designed 1956 Retains Dunbar label With inset ceramic tiles by Gertrud & Otto Natzler 29” x 48” x 20” $3,000-5,000


77 EDWARD WORMLEY PAIR OF CANE-BACK CHAIRS Model no. 5480 Dunbar, designed 1954 Each 33” x 24” x 21”

Literature: GUR A ,

J UDI TH , EDWAR D

WO R ML E Y: TH E OTH E R FAC E OF M ODER NIS M, E X H IB ITIO N C ATALOG , NORTH AM P TON: D E S IGN B AS E , 19 9 7, P G 31 .

$3,000-4,000

78 EDWARD WORMLEY LOUNGE CHAIR Dunbar, designed c. 1955 33” x 30” x 30” $1,000-1,500

79 EDWARD WORMLEY LOUNGE CHAIR Dunbar, designed c. 1955 Wood and upholstery 28.5” x 24.75” x 28.5” $1,000-1,500

80 EDWARD WORMLEY OCCASIONAL TABLE Dunbar, designed c. 1955 Branded marks 25” x 19” x 17” $1,000-1,500

53


81 PAUL MCCOBB CHEST OF DRAWERS WITH JEWELRY CHEST Planner Group Winchendon Furniture, designed c. 1950 Fruitwood with brass pulls 48.5” x 36” x 18” $2,000-3,000

82 PAUL MCCOBB SETTEE Model No. 1307 Winchendon Furniture, designed c. 1950 31” x 76” x 28” $2,000-3,000


83 NOT ILLUSTRATED PAUL MCCOBB BUFFET Winchendon Furniture, designed c. 1950 Birch with rosewood pulls 30.75” x 58” x 12” $400-600

84 PAUL MCCOBB DINING SET Winchendon, designed c. 1955 Comprised of a table, two leaves and six chairs One of the leaves retains Planner Group label Chairs: 35" x 17" x 18"; Table: 29.25" x 60" x 38"; Leaves: each 12"; extended width of 84" $1,500-2,000

55


85 MICHAEL GOLDBERG STILL LIFE (APPLES & ORANGES) 1964-66 Oil and pastel on canvas Signature, title and date verso Sold with copy of letter from the artist signed and dated April 1978 27” x 35.5” $9,000-12,000


ROBERT MAXWELL PAIR OF EARTHGENDER PLANTERS Earth Gender, designed c. 1968 19.375” x 18” and 24.75” x 24” $1,500-2,000

87 DAVID CRESSEY PRO/ARTISAN PLANTER Model no. 4047 Architectural Pottery, designed c. 1963 Light olive glaze with "Leaf" texture 25.5” x 19.375” $800-1,200

88 ROBERT MAXWELL GROUP OF EARTHGENDER PLANTERS (3) Earth Gender, designed c. 1968 (2) 15” x 23” diameter; (1) 25” x 29” diameter $3,500-4,000

57


89 ACHILLE & PIER GIACOMO CASTIGLIONI STELLA CHAIR Zanotta, designed 1957 Bicycle saddle on steel base Seat retains metal tag 28” x 11”diameter

Literature: FI ELL ,

CH A RLOT TE, 1 000

CHAIRS, KÖLN: TASCH EN, 1997, P G 37 1 .

$500-700

90 ITALIAN MODERN TRIENNALE FLOOR LIGHT Arteluce, designed 1953 Stamped “Made in Italy” on top of stem and ink stencil to underside of marble plinth Adjustable 72.5” $5,000-7,000

91 DAVID CRESSEY PRO/ARTISAN PLANTERS (2) Model no. 5005 Architectural Pottery, designed c. 1963 Black matte glaze with "Leaf" texture Each 17” x 20” diameter $4,000-6,000


92 ETTORE SOTTSASS OMEGA VASE #8 of 12 Design Gallery Milano, 1995 Stained ash, enameled aluminum and cased glass From the series “Twenty-seven woods for a Chinese artificial flower” $4,000-6,000

59 93 RON ARAD RON-ALDODOWN LOUNGE CHAIR & OTTOMAN Bonaldo, designed c. 2000 Leather upholstery and chrome plated steel Chair: 28.5” x 30” x 25”; Ottoman: 16” x 25” x 21” $2,000-3,000


94 MARC NEWSON GLUON LOUNGE CHAIR AND OTTOMAN Moroso, designed 1993 Black leather Stamped mark Chair: 34” x 26.25” x 29”; Ottoman: 18” x 26” x 21”

Literature: RAWSTH ORN,

A LI CE, M A R C

N EWS O N, 1ST EDI TION, LONDON: B OOT HCL IBBO RN EDITIONS, 1999, PG 80 - 83.

$2,000-3,000

95 MARC NEWSON GLUON LOUNGE CHAIR AND OTTOMAN Moroso, designed 1993 Black leather Stamped mark Chair: 34” x 26.25” x 29”; Ottoman: 18” x 26” x 21”

Literature: RAWSTH ORN,

A LI CE, M A R C

N EWS O N, 1ST EDI TION, LONDON: B OOT HCL IBBO RN EDITIONS, 1999, PG 80 - 83.

$2,000-3,000


96 TARA DONOVAN UNTITLED (BUBBLE DRAWING) c. 2004 Ink on foamboard in Plexiglas Signed lower right 49” x 49” x 2.75” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$15,000-20,000

61


97 TOM BUTTER SLIPPER (SCULPTURE) 1986 Fiberglass, resin and poplar 77” x 48.5” x 19” LAMA wishes to thank the artist for his kind assistance in cataloguing this work.

Provenance: PROPERT Y BARBARA COLLECTI ON

$3,000-5,000

FROM A SA N TA


98 GREG FLEISHMAN PAIR OF NEW WAVE PLYWOOD CHAIRS Studio, designed 1994 Laminated birch Branded facsimile signature 32.5” x 23” x 29” $500-700

99 CONTEMPORARY MODERN PAIR OF BEEHIVE STOOLS Manufacturer unknown, designed c. 1990 Laminated wood and metal Each 20” x 14” diameter $250-350

100 CONTEMPORARY MODERN PAIR OF BEEHIVE STOOLS Manufacturer unknown, designed c. 1990 Laminated wood and metal 29” x 14.5” x 14.5” and 20” x 16” x 14” $250-350

63


101 BOB ZOELL MOTHER WITH CHILD 1987 Acrylic on canvas in two parts Both signed and dated verso; both with title verso A: 65.5” x 65.5”; B: 24” x 24”

Provenance: PROPERT Y BARBARA COLLECTI ON

$2,000-3,000

FROM A SA N TA


102 RON ARAD GROUP OF EMPTY CHAIRS (6) Driade for the Aleph Collection, designed 1993 Branded “Empty Chair by Ron Arad/Aleph Made in Italy” 36.5” x 17” x 22”

The design was originally conceived for the Belgo Noord restaurant, London, 1994. Literature: F IE L L ,

C HAR LOT TE, 1 000

C H AIR S, KÖ L N : TAS C H EN, 1 997, P G 64 1 .

$6,000-8,000

65


335 MANUEL NERI UNTITLED (FEMALE NUDE FRAGMENT) 1990 Painted bronze A.P. Signed and dated with edition on base 62” x 20” x 16” $40,000-60,000

336 MANUEL NERI UNTITLED Circa 1990 Bronze 21.25” x 8.25” x 8.75” $10,000-15,000


103 CHRIS FEREBEE PROTOTYPE HIVE SHELVING UNIT 521 Design, designed 1999 42” x 47.5” x 12”

This example is one of the first of two examples to be produced from the limited run of ten. Due to financial restrictions and manufacturing challenges, the unit did not go into commercial production. $4,000-6,000

104 JASPER MORRISON EXECUTIVE DESK Neotu, designed 1987 Laminated-birch 28” x 68” x 33”

Literature: MUS E UM

67 OF DESI G N: LU X E,

P O P & C O O L 193 7 TO TODAY, LI SBON: MUS E UM O F D E S IGN , 1 999.

$4,000-6,000


69

105 SPENCER FINCH TIMES SQUARE, FEBRUARY 10, 2006, 8PM 2006 15 T8 single strip fixtures Sold with certificate of authenticity from the artist and with fifteen additional fluorescent tubes and eight additional color sleeves. 48” x 46” x 4” Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$20,000-30,000

FR OM A SANTA


Scully travels extensively, amassing memories and photographs of ephemeral buildings that are often on the verge of collapse. Irish-born artist Sean Scully (born 1945) creates abstract paintings innately influenced by architecture. Colored stripes dominate his canvases, structurally simple and harmonious representational compositions that have earned him worldwide recognition. Scully grew up in London, pursued a secondary education in the arts, and eventually moved to America to paint. Scully’s constructions of stripes and “bricks” earned him a Turner Prize in 1989 and 1993 and have been included in countless museum collections, including the Guggenheim Museum in New York, the Tate Modern, and the National Gallery of Australia. Scully travels extensively, amassing memories and photographs of ephemeral buildings that are often on the verge of collapse. Surprisingly, the paintings often precede the photographs, and according to Michael Auping, Chief Curator of Sean Scully: Wall of Light (2006) at the Modern Art Museum of Forth Worth, “They operate as parallel metaphors rather than as cause and effect.” Even though Scully does not paint from his photographs, there exists a direct relationship in themes, motifs, and construction. Referring to his style as “druid minimalism,” Scully constructs his own canvases with timber stretchers, uses a five-inch brush similar to a housepainter’s, and stacks his stripes to expose narrow interstices like those between bricks in a wall. These photographs, taken in Santo Domingo, Dominican Republic in 1999-2000, exist alongside his paintings as tangible manifestations of imagined abstractions. Literature: Auping, Michael. “No Longer a Wall.” Sean Scully: Wall of Light. Ed. Stephen Bennett Phillips. New York: Rizzoli, 2005. 22-37. Print.

106 SEAN SCULLY #12 (SANTO DOMINGO FOR NENE) 1999-2000 #12 of 24 Publisher: Galerie Bernd Kluser, Munchen; Galerie Lelong, Paris and New York Signature, date and edition verso; inscribed “12” and “Santo Domingo for Nene” verso Selection from the porfolio Santo Domingo for Nene Image: 15.25” x 23”; Sheet: 20” x 24”

Provenance: PROPERT Y

FROM A SA N TA

107 SEAN SCULLY #8 (SANTO DOMINGO FOR NENE)

108 SEAN SCULLY #5 (SANTO DOMINGO FOR NENE)

1999-2000 #12 of 24 Publisher: Galerie Bernd Kluser, Munchen; Galerie Lelong, Paris and New York Initialed “S.S.” verso; edition verso; inscribed “8 SD” verso Selection from the porfolio Santo Domingo for Nene Image: 15.25” x 23”; Sheet: 20” x 24”

1999-2000 #12 of 24 Publisher: Galerie Bernd Kluser, Munchen; Galerie Lelong, Paris and New York Initialed “S.S.” verso; edition verso; inscribed “5 SD” verso Selection from the porfolio Santo Domingo for Nene Image: 15.25” x 23”; Sheet: 20” x 24”

Provenance: P R OP E RT Y

Provenance: P R O P E RT Y

F R O M A SAN TA

BARBARA COLLECTI ON

B A R B A R A C OL L EC T I ON

B AR B AR A C O L L EC TIO N

$4,000-6,000

$4,000-6,000

$4,000-6,000

F R O M A SAN TA


71


109 TIMOTHY HAWKINSON BENT TREE 1988 Graphite and charcoal on paper Signed and dated in pencil verso Sheet: 46” x 18.5”; Frame: 47” x 20” x 9”

Provenance: PROPERT Y

FROM A

SAN TA BARB A RA COLLECTION

$20,000-30,000


ROBERT THERRIEN UNTITLED Enamel on wood board c. 1985-87

Artist’s initials in pencil verso 11.25” x 22” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$8,000-12,000

73


111 PAULINE STELLA SANCHEZ 3 PLANES AND THREE VICES 1988 Oil on canvas and offset lithograph A: Signed and dated verso; title verso; inscribed “1 of 6 parts part 5” verso; B: signed and dated in paint with title verso; inscribed “1 of 6 parts part 2” verso; C: inscribed “1 of 6 parts part 3” verso; title verso; D: retains tape with “part 4” in paint on frame verso; inscribed “1 of 6 parts part 4” verso; dated verso; E: inscribed “1 of 6 parts part 5” verso; title verso; F: inscribed verso “1 of 6 parts part 6” verso A: 30.25” x 25”; B: Visible sheet: 7.825” x 9.825”; Frame: 8” x 10.25”; C: 30” x 24”; D: Visible sheet: 7.825” x 9.825”; Frame: 8” x 10.25”; E: 32.25” x 24”; F: Visible sheet: 7.825” x 9.825”; Frame: 8” x 10.25”

Provenance: PROPERT Y BARBARA COLLECTI ON

$5,000-7,000

FROM A SA N TA


75

112 PAULINE STELLA SANCHEZ UNTITLED c. 1988 Oil on canvas with faucets 35" x 24.25" x 3"

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$3,000-5,000

FR OM A SANTA


40 WILHELM KÅGE DRAWING AND 3 CERAMICS (4) 1944-54 Glazed stoneware with silver and ink drawing Ceramics: Gustavsberg, Sweden Each ceramic inscribed verso with model number; drawing signed and dated lower left Drawing Image: 4.25” x 7.25”, Frame: 12.25” x 14.75”; Ceramics: 2.25” x 17.75”; 1.5” x 12.875”; and 9.5” diameter $5,000-7,000

would sneak in a reference to the “ Ibody without depicting the body, which was a way of creating a kind of subversive connection.”


Through references to human forms, Los Angeles sculptor Peter Shelton (born 1951) explores the relationship between space, proportion, and movement, often on a grand scale. Initially a pre-medical student at Pomona College, he changed his major to fine art, earned a trade certificate in welding from the Hobart School of Welding Technology, and eventually a MFA from the University of California, Los Angeles in 1979. Displaying his technical skill, his early sculptures were overtly geometric, and according to the artist, “I would sneak in a reference to the body without depicting the body, which was a way of creating a kind of subversive connection.” His ingenious and expansive sculpture installations such as pipegutandwaterseatandSTANDSTILL (1984) utilize vast gallery spaces to juxtapose seemingly disparate suggestive objects as interrelated parts of the human body. Shelton’s legpoints (c. 1983-84) – another vague reference to human anatomy – sway in a deceptive imitation of life, producing a serenity of impeccable form and balance. Constantly building upon previous objects and themes, Shelton has earned himself numerous museum exhibitions, a Guggenheim Memorial Foundation Fellowship (1989), and a recent survey exhibition at L.A. Louver Gallery (2011). Literature: L.A. Louver Gallery. Peter Shelton eyehand: Selected Sculpture from 1975-2011. Venice, CA: L.A. Louver Gallery, 2011. Print.

77

113 PETER SHELTON LEGPOINTS c. 1983-84 Cast iron A: 19.5” x 5” diameter; extended length of 78”; B: 19” x 5” diameter; extended length of 78” Provenance: P R OP E RT Y B A R A C OL L EC T I ON

$18,000-25,000

F R O M A SAN TA B AR-


114 GEORGE NAKASHIMA SETTEE Studio, executed c. 1955 American walnut 31” x 54” x 31” $4,000-6,000

115 GEORGE NAKASHIMA CONOID HEADBOARD AND BED Studio, custom designed 1963 American Black Walnut Sold with copy of original order dated September 30, 1963 and copy of drawing. Headboard: 24” x 102.5” x 20”; Platform: 10.25” x 75.5” x 54” $12,000-15,000


116 GEORGE NAKASHIMA CABINET Studio, custom designed 1963 American Black Walnut and Pandanus cloth Sold with copy of original order dated September 30, 1963 and price list and Nakashima Studio sales brochure from 1962. 32” x 108” x 21” $30,000-50,000

79

185 MILTON AVERY UNTITLED 1950 Work on paper Signed and dated in pencil lower left Sheet: 17” x 22”; Frame: 25.5” x 29.25” $18,000-25,000


During the brief period from 1958 – 1961, George Nakashima designed a range of furniture for Widdicomb-Mueller, titled the ‘Origins Collection’. The production included bedroom, dining, upholstered and occasional furniture. Nakashima was wary of mass-produced furniture, which was contrary to his concept of the noble craftsman and his belief “…that trees have souls”, which was at the very heart of his design philosophy. As a result of this skepticism, during his lifetime he collaborated with only two furniture manufacturers. These were Knoll and the historic mid-nineteenth century furniture manufacturers, Widdicomb-Mueller of Grand Rapids, Michigan. In practice Widdicomb-Mueller were highly compatible with Nakashima’s design approach. Unlike the majority of manufacturers at the time, they did not experiment in the use of modern materials, just as a century earlier, wood remained their primary material. Even when faced with a retail market, Nakashima’s great attention to detail meant that the lines that he designed for Widdicomb-Mueller successfully bridged the gap between craftsmanship and the production line, modernity and tradition. Literature: McQuaid, Matilda, George Nakashima and the Modernist Movement” Pennsylvania: James A. Michener Art Museum, 2001, p. 27-30. Widdicomb Furniture Company, Grand Rapids Historical Commission, 2011: Web. 26 March 2012.

117 GEORGE NAKASHIMA DINING TABLE Widdicomb, designed c. 1959 Branded “George Nakashima”, “Sundra 11758” and retains Widdicomb label 29” x 74” x 39”; with extension: 29” x 74” x 65” $3,000-5,000

118 GEORGE NAKASHIMA COUCH Widdicomb, designed 1958 Sundra wood and upholstery Sold with copy of receipt from Widdicomb dated September 16, 1958. 25.5” x 111” x 35” $6,000-9,000


119 GEORGE NAKASHIMA NEW LOUNGE CHAIR Studio, executed 1984 Signed and dated 1984 33” x 23.25” x 18.75”

Provenance: MR

AN D M R S ALBERT H YDE,

N E W YO R K ; MO D E R N E G ALLERY, P H I L ADELP H IA; P R IVATE C O L L ECTI ON, CALI FOR NI A

$3,000-5,000

120 GEORGE NAKASHIMA WALL DESK AND CHAIR Studio, custom designed 1963 American Black Walnut Sold with copy of original order dated September 30, 1963. Desk: 29” x 60” x 20” $12,000-15,000

81


121 JASPER JOHNS EMBOSSED ALPHABET 1969 Embossing from an engraved plate on Arches #25 of 70 Published by Gemini G.E.L., Los Angeles Signed and dated lower left; Gemini G.E.L. blindstamp lower right Catalogue Raisonné, Field #116 Sheet: 29.75” x 37”; Frame: 30” x 37.375” Literature: FI ELD,

RICH A RD S, TH E P R I N TS

O F JAS PER JOH NS 1960 -1993, A C ATALO G UE RA I SONNÉ, NEW YORK: U N I VE R SA L LIM IT ED A RT EDITIONS, 1994, NO 7 0.

$5,000-7,000

122 JASPER JOHNS FACE (CASTS FROM UNTITLED SERIES) 1974 Lithograph printed in colors on Laga Narcisse Artist’s proof #6 of 10, aside from the edition of 49 Published by Gemini G.E.L., Los Angeles Signed and dated in pencil lower center; edition lower left Catalogue Raisonné, Field #132 Image: 14.5” x 13”; Sheet: 30.75” x 22.5”; Frame: 33” x 24.875” Literature: FI ELD,

RICH A RD S, TH E P R I N TS

O F JAS PER JOH NS 1960 -1993, A C ATALO G UE RA I SONNÉ, NEW YORK: U N I VE R SA L LIM IT ED A RT EDITIONS, 1994, NO 1 32 .

$3,500-4,500


123 JASPER JOHNS #2 (AFTER UNTITLED 1975) 1976 Lithograph in colors on Rives #52 of 60 Gemini G.E.L., Los Angeles Signed and dated lower right with blindstamps; edition lower left Image: 28.5” x 28.5”; Sheet: 30.125” x 29.875; Frame: 36.75” 36.75” Literature: F IE L D,

R I C H AR D S, JASP ER

J O H N S : P R IN TS 19 7 0 -1 97 7, M I DDLETOWN: W E S L E YAN UN IV E R S IT Y, 1 978, P G 1 1 7, #250.

$5,000-7,000

124 JASPER JOHNS #4 (AFTER UNTITLED 1975) 1976 Lithograph in colors on Rives #51 of 60 Gemini G.E.L., Los Angeles Signed and dated lower right with blindstamps; edition lower left Sold with photocopy of print documentation for Gemini G.E.L., Los Angeles Image: 28.5” x 28.5”; Sheet: 30.125” x 29.875; Frame: 36.75” 36.75” Literature: F IE L D,

R I C H AR D S, JASP ER

J O H N S : P R IN TS 19 7 0 -1 97 7, M I DDLETOWN: W E S L E YAN UN IV E R S IT Y, 1 978, P G 1 1 8, #252.

$5,000-7,000

125 JASPER JOHNS, AFTER EXHIBITION POSTER 1978 Offset lithograph in colors Unknown edition size Published by Margo Leaving Gallery This poster was published by Margo Leavin Gallery for the Jasper Johns exhibition "After Untitled 1974-1977: The Development of Two Graphic Images", March-April 1978. Sheet: 44” x 54.75” $300-500

83


127 ELLSWORTH KELLY POITIERS (THIRD CURVE SERIES)

126 1970S ABSTRACT PAINTING DARK EDGE

1973-76 Lithograph with embossing on 300gram Rives BFK #11 of 16 Published by Gemini G.E.L., Los Angeles Signed with edition in pencil lower right; Gemini G.E.L. blindstamp lower right Catalogue Raisonné, Axsom #117 Image: 22” x 28.875”; Visible sheet: 33.75” x 40.5”; Frame: 34.125” x 41.125”

1972 Oil on canvas Signed and dated verso 43.75” x 32”; Frame: 45.5” x 33.5”

Literature: AXS O M,

$2,000-3,000

$1,500-2,000

R IC H AR D H , TH E

P R IN TS O F E L L S WO RTH K E L LY A C ATALO GUE R AIS O N N É 19 49 -19 85, N E W YO R K : H UD S O N H IL L S P R E SS, 19 8 7, P L 117.


85

128 ELLSWORTH KELLY ORANGE/GREEN (SERIES OF TEN LITHOGRAPHS) 1970 Lithograph in colors on Special Arjomari #50 of 75 Published by Gemini G.E.L., Los Angeles Signed in pencil lower right; edition lower left; Gemini G.E.L. blindstamp lower right Catalogue Raisonné, Axsom #64 Sheet: 41.5” x 30.25”; Frame: 43.25” x 32” Literature: AXS O M,

RI CH AR D H , TH E

P R IN TS O F E L L S WO RT H K ELLY A C ATALO GUE R AIS O N N É 19 4 9 -1 985, NEW YOR K : H UD S O N H IL L S P R E SS, 1 987, P L 6 4

$3,000-4,000


129 RICHARD SERRA HREPPHOLAR VIII 1991 Intaglio construction #20 of 35 Published by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right; edition lower right; Richard Serra and Gemini G.E.L. blindstamps lower right; stamped “published by Gemini G.E.L., Los Angeles” verso; “RS 90-3172” in pencil verso Catalogue Raisonné, Gemini catalogue #47.67 Sheet: 34.75” x 43.25” Literature: BERSWORDT-WA LLRAB E ,

SI L K E

VO N , RICHA RD SERRA : DRU CKGRA F I KPRIN TS - ESTA MPES 197 2-1999, DU SSE LD O RF: RICHTER VERL AG, PGS 126 - 1 2 8, P L CR 8 1.

$6,000-9,000

130 DANIEL DOUKE PALLADIUM 1984 Acrylic on canvas Signed with title, date and dimensions verso; retains gallery label verso 40.25” x 40.25” $2,000-3,000


131 PAUL EVANS DINING SUITE Studio, designed 1968 One signed “Paul Evans 68” Comprised of a table and 6 chairs Table: 29.5” x 76” x 36”; Chairs: 32” x 28” x 24” $5,000-7,000

87


132 SUSAN ROTHENBERG SELF PORTRAIT WITH HORSE AND DOG c. 2007 Oil stick on canvas Sheet: 58” x 71”; Frame: 66” x 78”

Provenance: PROPERT Y BARBARA COLLECTI ON

$60,000-80,000

FROM A SA N TA


133 PAUL EVANS DINING SUITE Studio, designed 1968 Credenza signed “Paul Evans 68” Comprised of a table, credenza and 4 chairs Table: 29” x 76” x 36”; Credenza: 27” x 69” x 18”; Chairs: 47” x 19.5” x 25” $5,000-7,000

89


“ 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.”

Long before Karl Benjamin (born 1925) began his influential career as a California Hard Edge painter, he had aspirations of becoming a writer. A student at the University of Redlands in 1946, fresh off a three-year tour as a naval officer in World War II, Benjamin was likely unaware of the boundless vocabulary of color – rather than words – he would construct over a 60-year painting career. He graduated three years later with teaching credentials and a degree in literature, philosophy, and history. Married with a family, Benjamin began teaching at an elementary school in Bloomington, California, where he was required to teach art for at least 45 minutes a week. Preferring to teach literature and writing, he ignored the arts 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. Five years later he was featured in the 1959 Los Angeles County Museum of Art exhibition “Four Abstract Classicists” along with Lorser Feitelson, John McLaughlin, and Frederick Hammersley, which later traveled to Great Britain under the name “West Coast Hard Edge.” He continued teaching at the elementary school level for thirty years until 1977, and two years later he was appointed Professor of Art at Pomona College. Throughout the remaining decades of the twentieth century, Benjamin achieved numerous honors and exhibitions, including two National Endowment for the Arts grants in 1983 and 1989. Some of his earliest paintings, including Yellow Landscape (1953), articulate his Abstract Expressionist influences, though Benjamin finds his own voice in undulating landscapes growing through an expansive palette of corresponding colors. After 1954, his Hard Edge style had become more geometric, characterized by “an intensive exploration of color,” as seen in V.S. (1960), a collection of alternating stripes of warm color that congregate against an evolving pink and gray background. Benjamin was known to work on several different paintings at a time, reusing specific shapes and colors. For example, ten years after V.S., he revisits stripes in a more visually jarring Op Art composition, #7 (1977). While many of Benjamin’s works 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.” Literature: 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.


134 KARL BENJAMIN YELLOW LANDSCAPE 1953 Oil on canvas Signed and dated in black ink with title on upper center canvas stretcher verso; retains Ruth Bachofner Gallery label verso Canvas: 14” x 26”; Frame: 16.5” x 28.25” Exhibited: “ L A’S

R IS E N”, SU LLI VAN G OSS

GAL L E RY, SAN TA B ARBAR A , AU G U ST O C TO B E R 2 0 11.

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$25,000-35,000

135 KARL BENJAMIN V.S. 1960 Oil on canvas Initialed in paint “KB” and dated lower right; retains label verso Canvas: 16” x 20”; Frame: 16.875” x 21”

91 Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$18,000-25,000

FR OM A SANTA


136 KARL BENJAMIN #7 1977 Oil on canvas Title, date and artist's name inscribed on stretcher verso Canvas: 57” x 57”; Frame: 57.5” x 57.5” Provenance: PROPERT Y BARBARA COLLECTI ON

$30,000-50,000

FROM A SA N TA


137 KARL BENJAMIN #19 1978 Acrylic on canvas Signed and dated verso Canvas: 55.825” x 55.825”; Frame: 57” x 57” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$30,000-50,000

93


138 KARL BENJAMIN #14 1965 Oil on canvas Signed “KB 65” upper right Retains Orange County Museum of Art label verso; retains Louis Stern Fine Art Gallery label verso Canvas: 42” x 42”; Frame: 43” x 43” $30,000-50,000

In May 1959, Frederick Hammersley (1919-2009) found himself conversing with Lorser Feitelson, Karl Benjamin, and John McLaughlin at Feitelson’s studio in a meeting organized by Pomona College’s art department chair, Peter Selz. These four artists shared a distinctive method to painting similar to early 20th century European geometric abstraction. Their collaboration, a collective unveiling of a new trend in painting, culminated in September of the same year with an exhibition at the Los Angeles County Museum of Art, entitled “Four Abstract Classicists.” One of the youngest of the group, Hammersley had served in World War II and attended the Ecole des Beaux-Arts 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. In the 1960s and 70s, his technique evolved by incorporating preplanned sketches and color arrangements. Two of these resulting Hard Edge compositions, Figure of Speech (1974-75) and Double Vision #12 (1978), exemplify the bold colors and sharp lines that established Hammersley in modern painting vocabulary. While continuing to maintain his striking lines and colors, in the 1980s Hammersley revisited an “organic” style that focused on the interplay of nebulous forms. Enclosed in a wooden frame Hammersley constructed himself, Two for One (1986) is a marriage of his “hunch” method roots and the Hard Edge style that launched his career. Literature: Frederick Hammersley Foundation. Frederick Hammersley Foundation, 2012. Web. 24 March 2012. 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.


139 FREDERICK HAMMERSLEY FIGURE OF SPEECH 1974-75 Oil on linen Signature lower right; retains artist’s label verso; retains LA Louver Gallery label verso; retains Corcoran Gallery of Art exhibition label verso Canvas: 40” x 40”; Frame: 41” x 41” Exhibited: “ 3 5 TH

B IE N N IAL O F C O NTEM P OR ARY AM ER I-

C AN PAIN TIN GS ” , C O R C O R AN GAL LERY OF ART, WASHIN GTO N , D C , F E B R UARY - AP R IL 197 7; “L A’S R I SEN”, S UL L IVAN GO SS GAL L E RY, SAN TA BAR B AR A , CA , AU G U ST O C TO B E R 2 0 11

Provenance: P R O P E RT Y

F R O M A SANTA B AR B AR A

C O L L EC TIO N

$30,000-50,000

95


140 FREDERICK HAMMERSLEY DOUBLE VISION #12 1978 Oil on linen glued to 7-ply panel Signed and dated on canvas center recto, retains artist's label verso; retains Charlotte Jackson Gallery label verso

Image: 9.5” x 9.5”; Frame: 12.75” x 12.75” $9,000-12,000


141 FREDERICK HAMMERSLEY TWO FOR ONE 1986 Oil on 100% rag paper on linen on wood Signed and dated in blue paint on canvas over lower center stretcher; retains artist’s label verso; retains LA Louver Gallery label verso; retains Louis Stern Fine Art Gallery label verso Canvas: 7.875” x 10.125”; Frame: 11.25” x 13.625”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$10,000-15,000

97


142 LORSER FEITELSON UNTITLED (BOULDER SERIES) 1962 Acrylic on canvas Signed verso; “The Estate of Lorser Feitelson” stamp verso; retains Tobey Moss Gallery label verso; retains Louis Stern Fine Art Gallery label verso Canvas: 10” x 8.5”; Frame: 11.25” x 9.625”

Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$10,000-15,000

One of the pioneers of California Hard Edge painting, Lorser Feitelson (1898-1978) arrived at this distinction later in his career after working in contemporary movements throughout the early 20th century, namely Cubism and Post-Surrealism. Accompanied by his father, Feitelson frequently visited New York City exhibits, including those held at the Metropolitan Museum of Art and the Armory Show. 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 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, such as Mother/Child (1943), 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.” Venturing into a distinctly modernist period, his colors became brighter and more abrupt in their transition through negative space. In Untitled (1950), Feitelson uses a drawing of a female torso as a reference point to sketch his paintings. What appear to be non-representational shapes are actually abstracted forms that are based on his earlier figural studies. Foremost an educator, he continued to employ this self-instructive technique for Untitled (1962), a Boulder Series painting suggestive of the curvature of human features. In addition to the “Four Abstract Classicists” show in 1959, Feitelson achieved exhibitions at the Whitney Museum of American Art (1962), the Museum of Modern Art (1965), and the National Collection of Fine Art at the Smithsonian Institution in Washington, D.C. (1977). Literature: 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.


143 LORSER FEITELSON MOTHER/CHILD

144 LORSER FEITELSON UNTITLED

1943 Charcoal on paper Signature in pencil lower center; dated "’43” lower right Sheet: 9.5” x 5.25”; Frame: 12.75” x 8.25”

1950 Mixed media on paper Signature in pencil center left; signed and dated in black ink lower left Sheet: 20.25” x 17”; Frame: 23.625” x 20.25”

Provenance: P R O P E RT Y

Provenance: P R O P E RT Y

F R O M A SAN TA

B AR B AR A C O L L EC TIO N

B AR B AR A C O L L EC TIO N

$5,000-7,000

$8,000-12,000

FR OM A SANTA

99


145 LOUIS JAMMES UNTITLED 1988 Serigraph on 4 metal sheets #2 of 3 Signed in black ink “Jammes 88” with edition verso; retains Yvon Lambert Gallery, Paris label verso Each 96” x 96” Provenance: PROPERT Y BARBARA COLLECTI ON

$4,000-6,000

FROM A SA N TA


146 OSVALDO BORSANI LOUNGE CHAIR Model no. P40 Tecno, designed 1955 Retains tag 34” x 28” x 36” $2,000-3,000

101


147 PIERO MANZONI UNTITLED (ACHROME SERIES) c. 1959-1961 Package in newspaper with twine and wax tied to canvas mounted to frame Plaque with artist’s name lower right frame Catalogue Raisonné, Schubert #CL 6PA Package: 6” x 8.75”; Canvas: 27.5” x 27.5”; Frame: 33” x 32.75” Literature: A RCH IVIO

GENERA LE P I E R O

MAN ZO NI, ED GIA NNI SCH U BERT, VOL 1 , MIL AN: ARTI GRA FICH E F LLI FI OR I N , 1 9 89, PG S 1 1 8 -2 0, CAT # CL 6PA .

$60,000-90,000


148 TANCREDI PARMEGGIANI (CALLED TANCREDI) ECHOES c. 1950-55 Watercolor and oil on paper Signed lower right and verso; retains certificate of authenticity verso Image: 13.25” x 19.125”; Frame: 22.75” x 28” Provenance: P EGGY

G U G G ENH EI M

( AC Q UIR E D F R O M TH E ARTI ST ) ; P R IVATE C O L L EC TIO N ( LOS ANG ELES) ; P R IVATE C O L L EC TIO N ( LOS ANG ELES)

$8,000-12,000

103


EGON EIERMANN PAIR OF TELEPHONE TABLES Hertenstein, Freiberg, designed 1968 Each 19.25” x 12.25” diameter

This table was designed for the German Bundestag, Bonn, in a limited edition of 450. Very few examples have survived. $2,000-3,000

150 TOBIA & AFRA SCARPA SORIANA LOUNGE CHAIR & OTTOMAN Atelier International Limited for Cassina, designed 1970 Chair retains partial “Atelier International, Ltd.” tag; Ottoman retains “Atelier International, Ltd. manufactured for Cassina” tag Chair: 26” x 35” x 40”; Ottoman: 15” x 35” x 30”

Literature: H I ESI NGER ,

KATH RY N B ,

D ES IG N S INCE 1945, PH IL A DELPHI A : P HI L AD ELPHIA MU SEU M OF A RT, 1983, P G 1 35.

$2,500-3,500


151 EERO AARNIO PASTILLE CHAIR

152 JOE COLOMBO ELDA CHAIR

Asko, designed 1967 21” x 35” x 35”

Comfort, designed 1963 Fiberglass and white leather 38” x 42.5” x 31”

Literature: F IE L L ,

C H AR LOT TE , 10 0 0

C H AIR S, KÖ L N : TAS C H E N , 19 9 7, P G 42 7.

Literature: K R IE S,

$2,000-3,000

VO N V EGE SAC K , J O E COLOM B O: I NVENT-

MATEO AND ALEXANDER

IN G TH E F UTUR E, W E IL AM R H EI N: VI TR A D E S IGN STIF TUN G, 2 0 05, P G 1 4 4 -1 4 5.

$1,500-2,000

CARL NASON SFUMATO FLOOR LAMP R.V. Mazzaega, designed c. 1969 Blown opaque glass Overall 52” high $2,000-3,000

105


154 ANDRE CAZANAVE GROUP OF 5 ROCKS Atelier A, designed c. 1970s Fiberglass Largest: 23” x 24” x 22.5”; Smallest: 7” x 7.5” x 7” $2,000-3,000


In 1971, Dino Gavina, the Italian entrepreneur and founder of Collezione Simon, established a separate line of functional artworks under the title of Ultramobile. The series included collaborations with a number of highly influential artists, including Marcel Duchamp, Merret Oppenheim, Man Ray, Sebastian Matta, Marion Baruch, Allen Jones, and Francois-Xavier Lalanne. The line was intended to be perceived as a form of poetry, rather than an art multiple. According to Museo d’Arte Moderna di Bologna curators Elena Brigi and Daniele Vincenzi, “Ultramobile is…undoubtedly provocative, and fun: its aim is marvel, surprise…with a hint of that prankster spirit that Gavina sometimes showed. The actual serial production only involved some pieces, while others were produced in a few copies…” Whilst Francois-Xavier Lalanne decorated the screen with his iconic Rhinoceros, the form and the materials used were conceived by Japanese architect Kazuhide Takahama. Dino Gavina first met Takahama in Milan in 1957 where he was representing his nation at the XI Triennale. Gavina and Takahama would continue to embark on a long-lasting period of collaboration, which allowed Takahama to introduce a characteristically Asian design influence to the company. This influence is most clearly evident, not only in Takahama’s use of clean lines and simple forms, but also in his prolific use of sumptuous lacquer surfaces. Literature: Brigi, Elena, and Daniele Vincenzi. Lampi di Design. Exhibition Catalogue, Museo d’Arte Moderna di Bologna, September 23rd – December 12th 2010, p. 8

155 FRANCOIS-XAVIER LALANNE & KAZUHIDE TAKAHAMA ULTRAMOBILE SCREEN Collezione Simon, c. 1971 Retains Collezione Simon label 86.5” x 88.75” (extended) $7,000-9,000

107


156 MATHIEU MATÉGOT WALL MOUNTED SHELF Matégot, designed c. 1950 33.75” x 20.5” x 4.5” $2,000-3,000

157 CHARLOTTE PERRIAND GROUP OF THREE STOOLS Galerie Sentou, designed 1970 Mahogany Pair: 10.75” x 12.75” diameter; and other 15.5” x 12.5” diameter $10,000-15,000


158 SERGE MOUILLE LAMPADAIRE SIMPLE FLOOR LAMP Studio, designed 1953, early production example Enameled steel and brass 65” x 22” $15,000-20,000

109


159 DIEGO GIACOMETTI LA PROMENADE DES AMIS 1984 Wool pile rug From the edition of 100 Sedcome Signed and inscribed “Diego Giacometti” verso 89.75” x 67.25” $5,000-7,000


160 JEAN NEGULESCO FAMILY CHRISTMAS CARD & STUDY FOR MOVIE POSTER (2) 1963 & 1969 Pencil, colored marker and ink on paper A: Signed “Negu Madrid” lower right; B: Signed “Negulesco 69” upper center A: Sheet: 27” x 35.5”, Mat: 28” x 36.5”; B: Sheet: 32.375” x 28.25, Mat: 33.5” x 29.5” This study was intended to be the movie poster for Negulesco's film "The Invincible Six" (1970); the poster was never conceived. $1,000-1,500

111


161 JOAN MIRÓ ESPRIU-MIRO (PL. III) 1975 Etching with Aquatint and Carborundum #41 of 50 Signed in pencil lower right; edition lower left; blindstamp lower left Image: 27.125” x 19.5”; Sheet (visible): 34.5” x 27.5”; Frame: 39.5” x 33” $3,000-5,000

162 JOAN MIRÓ OISEAU DEVANT LE SOLEIL 1961 Lithograph printed in colors #70 of 300 Signed in white pencil lower right; edition lower left Sheet: 32.875” x 14.875”; Frame: 40.375” x 21.375” Literature: Q U ENEAU,

RAY MOND, E AU X-

FO RT ES ET LITH OGRA PH IES ORI G I N A L E S: ESTAM PES A TI RAGE LI MI TE ET J U ST I F I E, PARIS : MA EGH T EDI TEU R , 1961, C AT N O 1 7 22 .

Provenance: ACQ U I RED

BY TH E C U R R E N T

OWNER FROM TH E FOU NDATION M A EG HT, FRAN CE, 1965

$3,000-4,000

163 JOAN MIRÓ EXPOSITION DES OEUVRES RECENTS 1953 Lithograph printed in colors #70 of 150 Published by Galerie Maeght, Paris Signed in pencil lower right; edition lower left Catalogue Raisonné, Mourlot #191 Image: 27” x 20.75”; Sheet: 29.875” x 21.875”; Frame: 35.25” x 27.25” Literature: Q U ENEAU,

RAY MOND, J OA N

MIRO, LIT H OGRA H E, VOLU ME II , 1 953 - 1 9 6 3, PARIS : MA EGH T EDI TEU R , 1975, P L 1 2 3.

Provenance: ACQ U I RED

BY TH E C U R R E N T

OWNER FROM TH E FOU NDATION M A EG HT, FRAN CE, 1965

$3,000-4,000


164 MARC CHAGALL CHLOE’S KISS (FROM THE DAPHNIS AND CHLOE PORTFOLIO) 1960-61 Lithograph in colors on Arches #41 of 60 Signed in pencil lower right; edition lower left Catalogue Raisonné, Mourlot #16, Cramer #46 Image: 16.625” x 12.625”; Sheet (visible): 20” x 13.625”; Frame: 28” x 22” Literature: MO UR LOT,

F E R N AN D AN D CH AR LES SOR-

L IE R , TH E L ITO GR AP H S O F C H AGAL L , M ONTE CAR LO: SAUR E T, # 16 .

$10,000-12,000

165 ARISTIDE MAILLOL FEMME NUE A LA DRAPERIE c. 1920s Lithograph Retains Galleries Maurice Sternberg label verso; Minneapolis Institute of Arts inventory label verso Visible image: 12.5” x 8.75”; Frame: 19.25” x 15.25” $800-1,200

113


166 JUN DOBASHI UNTITLED c. 1955 Oil on canvas laid down on board Visual canvas: 34" x 27.75"; Framed: 41" x 34.5" $3,000-5,000


167 JUN DOBASHI CIEL CHANGEANT II c. 1955 Gouache on paper Signed in ink lower right; title inscribed in pencil verso Visible image: 20.5” x 28.5”; Frame: 27” x 35” $2,000-3,000

168 JUN DOBASHI LES MAISONS BLANCHE c. 1955 Watercolor on paper Signed lower right; retains Dalzell Hatfield Gallery, Los Angeles label verso Image: 13.5” x 21.25”; Frame: 22.25” x 29” $2,000-3,000

115


Le Corbusier referred to tapestry as "'Le Muralnomad,' the nomadic mural of the modern man.” Once asked about his variety of production, architect, writer, and artist, Le Corbusier (1887-1965) revealed, “In truth, the key to my artistic creation is my pictorial work.” Celebrated as one of the pioneers of modern architecture, the Swiss-born Le Corbusier also produced an abundance of drawings, paintings, murals, sculptures, and tapestries. In 1948, he sought out Pierre Baudouin, an art history professor from the French town of Aubosson, an epicenter of wool dyeing and carpet making. With Baudouin’s assistance, Le Corbusier designed about thirty tapestries, including Bogota (1950). While he was presenting his urban Pilot Plan for the city of Bogota, Le Corbusier designed this celebratory scene depicting four musicians – three of them female – playing a violin, an accordion, a drum, and possibly a harp. A woman with winged arms and the head of a goat, the figure in the center of the tapestry is most likely a rendition of Le Corbusier’s wife, Yvonne, his “guardian angel” who was included in previous works. Celestial women on the left and the earthly beings on the right suggest a meeting of two worlds, “the imagination and the reality, and, on a deeper level, the spiritual and the material.” Le Corbusier referred to tapestry as "'Le Muralnomad,' the nomadic mural of the modern man,” a medium he continued exploring for the remainder of his life. Literature: Sarmiento, Jamie. “Bogota: The Nomadic Mural that Le Corbusier Painted.” Le Corbusier in Bogota: Precisions Around the Master Plan. Universidad de los Andes, 2012. Web. 24 March 2012.

169 LE CORBUSIER BOGOTA From the edition of 6 Aubusson, 1950 Handwoven wool Signed in the weave and dated 98” x 76” $40,000-60,000

117


170 ALVAR AALTO COFFEE TABLE WITH GLASS TOP Model no. Y805 Artek, designed 1946 18” x 40” x 40” $2,000-3,000

171 CLIFFORD PASCOE BOOKSHELF Pascoe, Inc., designed c. 1950 53” x 58” x 12” $2,500-3,500


172 POUL HENNINGSEN PAIR OF WALL SCONCES Model no. 1/2/3 Louis Poulsen, designed 1967 Patinated copper Each 18” diameter $1,500-2,000

173 ARNE JACOBSEN CHAIRS (8) Model no. 3107 Fritz Hansen, designed 1955 Laminated birch Each 32.25” x 18” x 18.5” $1,200-1,500

119


174 ALVAR AALTO CHILD’S TABLE AND CHAIRS (8) Model no. 65 Artek, designed 1935; this example produced later Chairs retain ICF foil labels 3 chairs in red; 2 in yellow; 2 in blue Table: 24” x 39” diameter Chairs: 23.75” x 13.625” x 13.625” $2,000-3,000


175 LUDWIG MIES VAN DER ROHE PAIR OF BARCELONA CHAIRS

176 LE CORBUSIER CHAISE LOUNGE

Model no. MR 250 Knoll, designed 1929; this example produced after 1972 Mocha leather Each 28.5” x 29.25” x 31”

Model no. LC4 Cassina, designed 1928; this example 1978 Steel frame with leather Sold with Cassina Masters Collection catalogue 34” x 24.5” x 63”

$5,000-7,000

$1,000-1,500

121


177 HANS J. WEGNER OX CHAIR Model no. AP 46 Johannes Hansen, designed 1960 34” x 39” x 35”

Literature: ODA ,

NORITSU GU, H A N S J

WEG NER’S 10 0 CH A I RS, JA PA N: C OR ON A BO O KS, 2 00 2, PG 94.

$1,500-2,000

178 HANS J. WEGNER OX CHAIR AND OTTOMAN Model no. AP 46 and AP 49 Johannes Hansen, designed 1960 Chair: 34” x 39” x 35”; Ottoman: 13” x 30” x 17”

Literature: ODA ,

NORITSU GU, H A N S J

WEG NER’S 10 0 CH A I RS, JA PA N: C OR ON A BO O KS, 2 00 2, PG 68.

$2,500-3,500


179 POUL KJAERHOLM PAIR OF STOOLS Model no. PK 41 E. Kold Christensen, designed 1961 Stamped “EKC” 16.125” x 16.125” x 22.25”

Literature: H AR L AN G,

C H R I STOFFER ,

P O UL KJAE R H O L M, C O P ENH AG EN: AR K I TEKTE N S FO R L AG, 2 0 0 1, P G 1 07.

$6,000-9,000

180 HANS J. WEGNER PAPA CHAIR Model no. AP 19 A.P. Stolen, designed 1951-53 38” x 35” x 38”

Literature: O DA ,

N O RI TSU G U, H ANS J

W EGN E R ’S 10 0 C H AIR S, JAPAN: COR ONA B O O KS, 2 0 0 2 , P G 6 8 .

$4,000-6,000

123


181 HANS J. WEGNER VALET OR BACHELOR’S CHAIR Model no. JH-540 Johannes Hansen, designed 1953 37.5” x 20” x 21”

Literature: ODA ,

NORITSU GU, DA N I SH

CHAIRS, SA N FRA NCI SCO: CH RONI C L E BO O KS, 1 999, PG 116 -117.

$5,000-7,000


182 HANS J. WEGNER WING LOUNGE CHAIR Model no. CH445 Carl Hansen, designed 1960 Steel with wool upholstery 40.5” x 35” x 38” $2,000-3,000

125


183 ARNE JACOBSEN EGG CHAIR AND OTTOMAN Model no. 3316 Fritz Hansen, designed 1958 Chair: 41” x 32” x 28”; Ottoman: 16” x 21.5” x 16” $8,000-10,000


Combining performance, video, music, photographs, and textiles into a single installation, Ann Hamilton (born 1956) seeks to explore the relationship between visual, verbal, and written language. A native of Ohio, she earned degrees in sculpture and fine arts from the University of Kansas and Yale University. She was awarded a MacArthur Fellowship in 1993 and represented the United States at the 1999 Venice Biennale with a large-scale installation that gracefully revealed, through a falling vermillion powder, Braille carved in the white walls. Her Body/Object series (1984-88), a succession of photographs documenting found and assembled objects, exhibits like a group of stills from an Andrei Tarkovsky film. Haunting yet playful, the photographs depict Hamilton interacting with objects and wearing garments, which include a bushy headdress, a loudspeaker exploding with paper, and her famous “toothpick suit.” Literature: “Body/Object Series.” Ann Hamilton Studio. Ann Hamilton Studio, 2012. Web. 26 March 2012.

184 ANN HAMILTON BODY/OBJECT SERIES (8) Gelatin silver prints 1984-88 From the first edition of 10

Each sheet: 10” x 8”; Frame: 11.125” x 9.125” Signed, dated and titled verso; retains Louver NY label verso Literature: FO R S H A ,

LYNDA AND SU SAN

STE WART, AN N H AMILTON, EX H I BI TI ON C ATALO G, L A J O L L A: SAN DI EG O M U SEU M O F C O N TE MP O R ARY A RT, 1 991 , I LLU STR ATE D O N F R O N T C OV E R AND B ACK COVER , P GS 6 3 , 6 5 , 6 8 .

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$20,000-30,000

FR OM A SANTA

127


185 GEORGE RICKEY TIDAL IV 1962 Stainless steel kinetic sculpture Incised “Rickey 1962” 6.75” x 73” x 14”

Sold with an original letter from the artist explaining assembly and adjustment. This work was a special commission. Provenance: PROPE RT Y

FROM A SA NTA BA RBA RA

COLLECT ION (ACQUIRE D FROM T HE A RT IST )

$100,000-150,000


186 JULIUS SHULMAN CASE STUDY HOUSE #22 1960; later impression Gelatin silver print Signed and dated lower right 20” x 16” (unframed) $3,000-5,000

187 JULIUS SHULMAN KAUFFMAN HOUSE 1947; later impression Gelatin silver print Signed lower right 20” x 16” (unframed) $3,000-5,000


188 MAX YAVNO BREAKWATER IN SAN PEDRO (GATEWAY TO HAWAII) c. 1945-49; later impression Gelatin silver print Signed in pencil “Yavno” on mat lower right Sheet: 6.75” x 13.75”; Frame: 19” x 25” Literature: MAD D OW,

BEN, TH E P H OTOG -

R AP H Y O F MAX YAV N O, BER K ELEY: U NI VERS IT Y O F C AL IFO R N IA PR ESS, 1 982, P 23.

$1,500-2,000

133 189 MAX YAVNO WAILING WALL, WOMEN'S SECTION 1979; later impression Gelatin silver print Visible image: 10.25” x 13.25”; Frame: 17.5” x 20.5” $1,500-2,000

190 MAX YAVNO GARAGE DOORS 1947; later impression Gelatin silver print Signed in pencil “Yavno” on mat lower right Visible image: 10.25” x 13.25”; Frame: 19” x 23” Literature: MAD D OW,

BEN, TH E P H OTOG -

R AP H Y O F MAX YAV NO, B ER K ELEY: U NI VERS IT Y O F C AL IFO R N IA P R ESS, 1 982, P 32.

$1,500-2,000


191 JOEL FISHER SUITE OF WORKS 1970-75 Comprised of three books, letter, two postcards and handmade paper work “Double-sectional layer horizontal” $2,500-3,500

192 MICHAEL ARNTZ CHARGER AND BOOK (3) Studio, 1990 and 1994 Glazed ceramic Charger signed “M. Arntz 90”; Books signed “Michael Arntz 1994” Charger 3” x 12” diameter; Books each: 8.5” x 11” x 5” $1,500-2,000


Los Angeles beat artists Wallace Berman and George Herms embraced Ray Johnson’s “mail art” concept during the mid-to-late 1960s when the movement reached its zenith. The idea of the “mail art” concept was to spontaneously execute hand-printed works with found objects featuring playful references, ideas, poems, jazz, and often-nonsensical language and faux-spirituality. Under the title the New York Correspondence School, which Johnson had founded in the early 1960s, artists and beat poets were able to express and collaborate with one another using “mail art” as their main form of communication. Berman, Herms, and Johnson would mail these works to one another, thus completing the circle of the art happening as a form of correspondence dada. The artists involved found this a pragmatic way in which to 193 make direct action and to circumvent the constrictions of the gallery system, and in WALLACE BERMAN Herms words the “….circle of friends help each other to have a full life.”

EPHEMERA AND CORRESPONDENCES

Literature: Plunkett, Edward, “The New York Correspondence School.” Art Journal, Spring (1977): n. pag, Web. 26 March 2012. “Greetings from L.A.: Artists and Publics, 1950-1980”, Getty Research Institute, Los Angeles, 2012, Web. 26 March 2012.

c. 1963-66 Various mediums Comprised of signed artist’s proof sheet, envelope with photograph and message to Shirley Pettibone, a “new Giant Pepsi” advertisement, envelope with custom Christmas card to the Pettibones dated "12.26.66", and note to Shirley Pettibone with black and white photograph. $2,000-3,000

135


194 GEORGE HERMS ARCHIVE (13) 1963-1966 Various mediums Comprised of six collage postcards, three addressed envelopes with photographs, one handwritten poem, one exhibition postcard, printed gallery announcements for Batman Gallery (1) and for Rolf Nelson Gallery (1)

Provenance: RI CH A RD

& SH IRLE Y

PET T IBO NE, LOS A NGELES

$2,000-3,000

195 MAN RAY CADEAU/GIFT 1921; from the 1974 edition Iron with patina and metal tacks #4102 of 5000 Produced by Luciano Anselmino, Turin, Italy Sold with signed certificate 6.25” x 4” x 4” Literature: SEVS,

PH I LI PE, MA N R AY,

S CULPT URES ET OBJECTS: CATA LOG U E RAIS O N N E , PA RI S, 1983, I LLU STR E D P G 4 3, CAT NO 2 8

$1,500-2,000

196 ED KIENHOLZ THE OPTI-CAN ROYALE 1977 Metal sculpture with Fresnal lens system, light bulb and set of 6 photographs #29 of 55 Published by Gemini G.E.L., Los Angeles Signed with edition Collaborated with Nancy Reddin Kienholz Catalogue Raisonné, Gemini catalogue #29.7 $1,800-2,500


197 JOHN LEVEE UNTITLED 1953 Tempera on Masonite Signed and dated in paint upper right Image: 26.5” x 14.5”; Frame: 28” x 16” $3,000-5,000

198 JOE BRAINARD UNTITLED 1971 Mixed media assemblage Signed and dated verso Sheet: 3.5” x 2.25”; Frame: 7.5” x 6.375” $3,000-5,000

137

199 WILLIAM DOLE HYPOTHESES 1971 Mixed media collage on paper Signed and dated in black ink lower right; “SBMA Ex. 92.2.38/Ex. 81.33.2” written verso Sheet: 26” x 18.25”; Frame: 31.5” x 21.75” Literature: MC D O N ALD,

R OB ERT, ART

O F TH E STATE S : WO R KS FR OM A SANTA B AR B AR A C O L L EC TIO N, SANTA BAR B AR A: SAN TA B AR B AR A MUS EU M OF ART, 1 984 , P G 42 .

Exhibited: ”ART

O F TH E STATES: WOR KS

F R O M A SAN TA B AR B A R A COLLECTI ON”, SAN TA B AR B AR A MUS EU M OF ART, SANTA B AR B AR A , J UN E-AUGUST 1 984

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$3,000-5,000

FR OM A SANTA


200 MARIA HELENA VIEIRA DA SILVA COMPOSIÇÃO 51 c. 1965 Woven tapestry 2105-EXP.A1 Manufactura de Tapeçarias de Portálegre Signature woven in tapestry lower right; manufacturer mark woven lower right; retains tag verso; “2105-EXP.A1” woven verso 74.5” x 151.5” $18,000-25,000


201 GEORGE NELSON “CSS” UNIT Herman Miller, designed c. 1958 86.5” x 132” x 23” Provenance: ESTAT E $6,000-8,000

OF SAU L B ASS


202 CHARLES & RAY EAMES PAIR OF DRAFTING CHAIRS (2) Herman Miller, designed 1970 Each 41” x 20” x 20” Literature: N E UH ART,

JOH N AND M AR I LYN

N E UH ART, E AME S D E S I G N: TH E WOR K OF TH E O F F IC E O F C H AR LES AND R AY EAM ES, N E W YO R K : AB R AMS, 1 989, P G 354

$2,000-3,000

203 CHARLES & RAY EAMES TANDEM SLING SEATING UNIT Herman Miller, designed 1962 33.25” x 118” x 28” Literature: N E UH ART,

JOH N AND M AR I LYN

N E UH ART, E AME S D E S I G N: TH E WOR K OF TH E O F F IC E O F C H AR LES AND R AY EAM ES, N E W YO R K : AB R AMS, 1 989, P G 275.

$3,000-5,000


204 GEORGE NELSON HANGING LAMP Nessen, designed 1969 10” x 15” diameter $1,500-2,000

205 GEORGE NELSON CREDENZA Herman Miller, designed 1952 25.625” x 60” x 18.375” $3,000-5,000


206 GEORGE NELSON UTILITIY CABINET -1 Model no. 5201; from the Thin Edge Group Herman Miller, designed 1956 Rosewood 30.5” x 34” x 20” $2,500-3,500

207 GEORGE NELSON CHEST OF DRAWERS Model no. 5221 from the Thin Edge Group Herman Miller, designed 1956 Retains original metal tag 30.5” x 47” x 19.5” $4,000-6,000

145

208 GEORGE NELSON CABINET WITH STEREO Model no. 5432 Herman Miller & Stephens Tru-Sonic, Inc., designed 1956 With Stephens Tru-sonic speaker 30.5” x 55.5” x 20” $2,000-3,000


209 WILLIAM KATAVOLOS LOUNGE CHAIR Laverne International, designed 1952 William Katavolos, Ross Littell & Douglas Kelley 29” x 28” x 29”

Literature: H A BEGGER ,

JERRY L AN D J O -

S EPH H O SMA N, SOU RCEBOOK OF M ODE R N FURN IT URE, 2ND EDI TION, NEW YOR K : NO RTO N, 1997, PG 143.

$2,000-3,000

WILLIAM KATAVOLOS NEW YORK SOFA Model LV.104 ICF, designed 1952; this example produced later Leather and chromed aluminum William Katavolos, Ross Littell & Douglas Kelley 28.5” x 99” x 28” $3,000-5,000


211 C. JERE CRANE ADJUSTABLE FLOOR LAMP

212 C. JERE CRANE ADJUSTABLE TABLE LAMP

213 C. JERE CRANE ADJUSTABLE FLOOR LAMP

Studio, designed c. 1977 Remnant of signature on base of arm Adjustable, as photographed: 66” x 41”

Studio, designed c. 1977 Adjustable, as photographed: 34”

Studio, designed c. 1977 Adjustable, as photographed: 66” x 41”

$1,500-2,000

$2,000-3,000

$2,000-3,000

14 7


214 KEITH HARING UNTITLED (SUBWAY DRAWING) 1981 Chalk on paper Retains label verso Sheet: 36” x 25.5”; Frame: 38.25” x 29” $20,000-30,000

215 ALLEN RUPPERSBERG HEADS (3) c. 1982 Cast concrete Each 7” x 11” x 9.5” Provenance: PROPERT Y BARBARA COLLECTI ON

$8,000-12,000

FROM A SA N TA


149 216 ROBERT LONGO UNTITLED IV (FROM MEN IN CITIES IV) 1990 Lithograph on Rives Artist’s proof #7 of 12 Signed in pencil lower right; dated lower right; edition lower left; “IV” lower center Image: 38.5” x 25.5”; Frame: 45.5” x 31.5” $6,000-9,000

217 ROBERT LONGO UNTITLED (PL. 4 FROM MEN IN THE CITIES) 2005 Digital pigment print on Crane Portfolio rag paper From the edition of 15 Image: 40” x 26.25”; Sheet: 44” x 30.5”; Frame: 47.5” x 34” $6,000-9,000

218 ROBERT LONGO UNTITLED (ROSE) 2005 Digital pigment print on Crane Museo paper #49 of 75 Signed and dated lower right; edition lower left Visual image; 13.5” x 13.5”; Frame: 22.5” x 22.5” $3,000-5,000


219 GAETANO PESCE FOOD Custom designed for the TBWA/Chiat Day offices, New York, 1991 Resin with steel frame 83.5” x 34” x 8”

220 GAETANO PESCE BEAUBORG PROTOTYPE BOOKSHELVES(3)

CO LLECT I ON, LOS A NGELES

Edition, VA Diffusion, executed 1981 Polyurethane foam Pair of shelves: 53.5” x 82.5” x 21”; Single shelf: 74” x 50.5” x 21”

$3,000-5,000

$10,000-15,000

Provenance: TBWA /CH I AT

DAY; P R I VAT E


These bookcases were executed in 1981 with the assistance of funding from the VIA (Valorisation de Innovation de l’Ameublement). The VIA, which was founded in 1979, encouraged the exchange between designers, art directors, manufacturers, and distributors. Each year it would fund a prototype from a promising designer and one of its earliest commissions was for a polyurethane-foam bookcase by Gaetano Pesce. An example of the bookcase was included in an exhibition titled VIA Design 3.0, which was held to celebrate 30 years of the VIA at the Pompidou Centre, Paris, 2009. The original prototypes were executed as a whole, however, the freeform nature of the design meant it could prove slightly unstable when in use. As a result, these examples have been later mounted onto wood plinths. Literature: Cowell, Simon,“Prototype, Prototype, Prototype”, Architonic,com. Architonic, 2009, Web. 26 March 2012.

151


221 DAVID GILHOOLY BREADFROG FREEZING HIS BUNS OFF 1978 Glazed ceramic Dated “78” verso 12.25” x 20.5” x 13.75” Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON (ACQ U IRED F R OM T HE ART IST )

$8,000-10,000


222 DAVID GILHOOLY VICTORIA RETURNING TO ENGLAND WITH HER SOUVENIRS 1978 Glazed ceramic Signed and dated “Gilhooly 1978” verso 19.5” x 16.5” x 11” Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A C O L L EC TIO N ( AC Q U I R ED FR OM TH E ARTIST )

$10,000-15,000

153


A brazen adventurer through materials and mediums, “Post-Minimalist renegade” Lynda Benglis (born 1941) has devised a multitude of creations that obscure the definitions of sculpture, painting, and installation. After finishing college in her native New Orleans, she erupted onto the New York art scene in 1970 by pouring fluorescent latex onto the gallery floor, resulting in bright, swirling puddles. Always seeking to push the boundaries of a genre, Benglis exhibited a gender-bending nude photograph of herself in the 1974 issue of Artforum that earned her widespread critical acclaim and disapproval. Throughout her career, she has continued to explore sculpture and installation with cast-aluminum protrusions, vibrant beeswax pillars, phosphorescent wall swells, and an enormous, melting chunk of brass cleverly named Eat Meat (1973). In the 1990s, Benglis scaled-down her sculpture to accommodate sensual, free flowing ceramic forms. Untitled (c. 1992 - 98), more suggestive than her expansive installations, evokes sentience through twisting coils imbued with a deep, verdant green. In describing her ceramic works, Benglis reveals, “I thought that sculpture had begun to imitate life too much and sculptors had forgotten about the life of the surface and the life of the form itself. They weren’t asking questions anymore and often people were just working too logically.” In addition to a 2011 retrospective at the New Museum in New York, Lynda Benglis’ work has been exhibited at the Los Angeles County Museum of Art, the Museum of Modern Art in New York, and the Tate Modern in London. Literature: Smith, Roberta. “Artful Commentary, Oozing From the Walls.” New York Times , 18 Feb. 2011, Late ed.: C25. Print. Cashdan, Marina, and Vivian Rehberg. “Time & Tide.” Frieze. Issue 134 (2010): n. pag. Web. 26 March 2012.

thought that sculpture had “ Ibegun to imitate life too much

223 LYNDA BENGLIS UNTITLED c. 1992-98 Glazed ceramic Unique 13” x 17” x 11” Provenance: PROPERT Y BARBARA COLLECTI ON

$6,000-9,000

and sculptors had forgotten about the life of the surface and the life of the form itself. They weren’t asking questions anymore and often people were just working too logically.” FROM A SA N TA


224 BERNARD DURUSSEL , ATTRIBUTED BUREAU BOOKCASE Durussel, c. 1955 64.125” x 29.5” x 12” (26” open) $2,000-3,000

155


225 JEAN-LUC POIVRET UNTITLED 1987-89 Oil on fragment of airplane wing Signed and dated “JLPoivret/87-88-89” verso 110” x 72” x 9”

Provenance: PROPERT Y BARBARA COLLECTI ON

$3,000-5,000

FROM A SA N TA


226 FRENCH ART DECO STYLE LOUNGE SUITE (3) Manufacturer unknown, late 20th Century Tan leather upholstery Comprised of a pair of club chairs and settee Chairs: 34.5” x 36” x 39”; Settee: 34.5” x 77” x 39” $4,000-6,000

157


227 JAN SENBERGS BAGGAGE OF THE INNER ROOM 1985 Oil on canvas Signed and dated in pencil verso; title and medium verso; “Francheville” written verso Canvas: 77” x 71.5”; Frame: 78” x 73”

Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$8,000-10,000

228 JENS QUISTGAARD DESK Lovid, Dansk, designed 1967 Mahogany Branded “Lovid, Dansk, Denmark” 34” x 63.75” x 28.75” $3,000-5,000


159

229 MOROCCAN HIGH PILE RUG c. 1950s Hand-knotted wool 160” x 80” $5,000-7,000


230 ANDY WARHOL INSTITUTE OF CONTEMPORARY ART EXHIBITION BOOK Published by Ben Brillo, Inc., 1965 Unpaginated book An Institute of Contemporary Art, University of Pennsylvania exhibition book from October 8th to November 21st, 1965. 7.125” x 6” $800-1,200

231 ANDY WARHOL LAMENTATION (FROM THE MARTHA GRAHAM PORTFOLIO) 1986 Screenprint in colors on Lenox museum board From the edition of 100 Published by Martha Graham Center of Contemporary Dance, Inc., New York; Printed by Rupert Jasen Smith, New York Blindstamp lower left Catalogue Raisonné, Feldman/ Schellmann #II.388 Sheet: 36” x 26”; Frame: 41.5” x 41.5” Literature: FELDMA N,

FRAY DA A ND J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # 11/388.

$12,000-15,000


232 ANDY WARHOL TORSO (DOUBLE) 1982 Screenprint Stamped and inscribed verso “The Estate of Andy Warhol UP 56-41” Catalogue Raisonné, Feldman/ Schellmann #III A.35d 30.625” x 43.125”; Frame: 39” x 51.5” Literature: F E L D MAN,

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 I A/35D.

$10,000-12,000

161


233 ANDY WARHOL LIZ 1965 Offset lithograph in colors printed on white paper From the edition of approximately 300 Published by Leo Castelli Gallery Signed and dated in ball point pen lower right Catalogue Raisonné, Feldman/ Schellmann II: 7 Image: 21.75” x 21.75; Frame: 33” x 29” Literature: FELDMA N,

FRAY DA A ND J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H ED IT ION, NEW YORK: DA P, 2003, #1 1 / 7.

$25,000-35,000


234 MR . BRAINWASH TOMATO SPRAY 2009 2009 Stencil on canvas Signed on canvas; signed and dated verso; spray painted “life is wonderful” verso 50” x 28” $25,000-35,000

163


235 RICHARD PETTIBONE ROY LICHTENSTEIN. "TEX." 1962. 1964 Acrylic and rubber stamp on canvas with artist's frame Pencil marked verso “#29” 4.5” x 4.5” Literature: BERRY,

IA N, RICH A RD P E T-

T IBO NE: A RETROSPECTI VE, EXH I B I T I ON CATALO G, SA RATOGA SPRI NGS: F R A N C E S YO UN G TA NG TEACH ING MU SEU M , 2 005, PG 5 0, NO 74.

Exhibited: “ RICH A RD

PET TI BONE : A

RET RO S PECTI VE” , TRAVELING EXHI B IT IO N, IN STITU TE OF CONTEMPOR A RY A RT, PHIL AD ELPH I A ; FRA NCES YOU NG TA N G MUS EUM , SA RATOGA SPRINGS; L AG U N A ART MUS EU M, L AGU NA BEACH , A P R I L 2 005 - MAY 20 0 6.

$40,000-60,000


236 RICHARD PETTIBONE ROY LICHTENSTEIN, “GOLF BALL”, 1962 1965 Acrylic on canvas with artist's frame 11.375” x 10.375” Literature: B E R RY,

IAN , R IC H AR D P E T TI BONE: A R ETR OSP EC-

TIV E, E X H IB ITIO N C ATALO G, SAR ATO GA SP R I NG S: FR ANC ES YO UN G TAN G TE AC H IN G MUS E UM, 2 0 05, P G 6, NO 7 7.

Exhibited: “ R IC H AR D

P E T TIB O N E : A R E TR OSP ECTI VE”,

TR AV E L IN G E X H IB ITIO N , IN STITUTE O F CONTEM P OR ARY ART, P H IL AD E L P H IA; F R AN C E S YO UN G TAN G M U SEU M , SAR ATOG A S P R IN GS ; L AGUN A ART MUS E UM, L AGUNA B EAC H , AP R I L 2 0 05 -MAY 2 0 0 6 .

$35,000-45,000

165


237 RICHARD PETTIBONE ANDY WARHOL, "FLOWERS", 1971 1971 Acrylic and silkscreen on canvas with artist’s frame Signed and dated on the frame verso “R. Pettibone ‘71” 1.75” x 1.75” $7,000-9,000

Actual size

238 RICHARD PETTIBONE FRANK STELLA, “VALPARAISO GREEN”, 1963 1966 Enamel on canvas with artist's frame Signed verso “Richard Pettibone 1966” 6.125” x 7.125” Literature: BERRY,

IA N, RICH A RD P E T-

T IBO NE: A RETROSPECTI VE, EXH IB I T I ON CATALO G , SA RATOGA SPRI NGS: F R A N C E S YO UN G TA NG TEACH ING MU SEU M , 2 005, PG 8 4, NO 99.

Exhibited: “ RICH A RD

PET TI BONE : A

RET RO S PECTI VE” , TRAVELING EXHI B IT IO N, IN STITU TE OF CONTEMPOR A RY A RT, PHIL AD ELPH I A ; FRA NCES YOU NG TA N G MUS EUM , SA RATOGA SPRINGS; L AG U N A ART MUS EU M, L AGU NA BEACH , A P R I L 2 005 - MAY 20 0 6.

$10,000-12,000


167

239 RAY JOHNSON EPHEMERA (9) One dated October 9, 1968 Xerographic print on paper Comprised of a letter titled “Collage by Ray Johnson” and other titled “Collage by Alexandra Findlay”; exhibition poster; and six printed works on paper Letters approx. 5.75” x 4”; Printed works each 14” x 8.5” and one 11” x 8.5” $3,000-5,000


“ We’re not living in a School-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.”

- Roy Lichtenstein

In 1964, art dealer Robert Graham asked Roy Lichtenstein (1923-1977) to submit designs for felt banners to be hung outside of his Madison Avenue gallery. Having already experimented with ceramic and steel, Lichtenstein thought it was an interesting idea and a chance to work with a new medium that was in many ways similar to the canvas. Robert Graham and framer Barbara Kulicke organized a banner-making workshop called the Betsy Ross Flag and Banner Company. Deceptive in its simplicity, Thunderbolt (1966) bursts off the wall in a dramatic moment of three-dimensional realism. Simple circular dot patterns are rendered with several layers of felted and stitched wool. The artist’s iconic imagery and enlarged Ben-Day dots – the lightning bolt and assertive hand appearing in his drawings from this period – take on an intensity not available in any other medium. Literature: "Roy Lichtenstein Pistol Banner Lot Information.” Sotheby’s Contemporary Art Auction. Sotheby’s, 22 September 2011. Web. 24 March 2012.

ROY LICHTENSTEIN THUNDERBOLT 1966 Felt banner #11 of 20 Betsy Ross Flag and Banner Co., Inc., New York Retains signed label verso with edition number 100.5” x 46” Literature: WA LDMA N,

DI A NE, R OY

L ICHT ENSTEIN, NEW YORK: A BR A M S, 1 9 7 1 , PL AT E 1 33.

Provenance: PROPERT Y BARBARA COLLECTI ON

$80,000-120,000

FROM A SA N TA


169


241 ROY LICHTENSTEIN BRUSHSTROKE CONTEST 1989 Lithograph on Rives BFK Printers proof II, aside from edition of 36 Published by Tyler Graphics Ltd., New York Signed and dated in pencil lower right; initialed “P.P. II” at lower center Catalogue Raisonné, Corlett #235. Image: 47.25” x 37.75”; Sheet: 48” x 48”; Frame: 59” x 49.25” The image was initially designed for use on a poster for the 24th Olympiad, but it was never realized. The brushstrokes form the Chinese characters for “contest.” Literature: CORLET T,

MA RY LEE , T HE

PRIN TS O F ROY LICH TENSTEIN: A C ATALO G UE RA I SONNÉ, 1948 -1993, 1ST E DI T I ON , NEW YO RK: H U DSON H I LL S PRESS, 1 9 9 4 , P G 2 16, NO 2 35.

$10,000-15,000


242 ROY LICHTENSTEIN DINNERWARE OBJECTS (5) From the edition of 800 Jackson China/Durable Dish Co., 1966 Glazed ceramic china dinnerware Each stamped “Jackson China for Durable Dish Co. by R. Lichtenstein © 1966” Dinner plate: 10.125” diameter; Salad plate: 6.25” diameter; Bowl: 8.125” diameter; Cup: 2.5” x 3.25” diameter; Saucer: 6” diameter

Literature: MO P H E T,

R I CH AR D, R OY LI CH-

TE N STE IN, E X H IB ITIO N C ATALOG , LONDON: TATE GAL L E RY, 19 6 9, P G 4 5, NO 76 .

$2,800-3,500

243 JEFF KOONS BALLOON DOG (BLUE) 1995 Cast porcelain with blue reflective finish #1937 of 2300 MoCA Editions Signed verso with MoCA label Sold with original box and plate stands 10.25” diameter $6,000-9,000

171


244 WILLIAM WEGMAN OUTING 1991 Large-format Polaroid Polacolor print Signed in pencil lower right; “WW.580.Y” lower right; “Outing” lower center Image: 27.25” x 21.5”; Sheet: 29.25” x 21.75”; Frame: 38” x 30” $3,000-5,000

245 ARTHUR FELLIG (WEEGEE) MONA LISA (DISTORTION SERIES) c. 1958 Gelatin silver print Stamped “Weegee The Famous” verso Sheet: 8.5” x 11”; Frame: 16.25” x 14.25” $3,000-5,000


246 ARTHUR TRESS CENTRAL PARK, NY 1990 Cibrachrome print #5 of 50 Signed verso; retains poem by artist verso The poem “Einstein Would Rather Dream” composed by Arthur Tress is written verso: “Vernal joy betides the genius/Who would surely rather dream/ Than be enlisted to cogitate/For the military research team.” Visible image: 14.75” x 14.75”; Frame: 22.125” x 21.125” Provenance: P R O P ERT Y

FR OM A SANTA

B AR B AR A C O L L ECTI ON

$1,000-1,500

247 ARTHUR TRESS BRIDE & GROOM 1970 Gelatin silver print #24 of 50 Signature in black ink lower right margin; title and date lower left; edition lower center; “Bride & Groom, N.Y., 1970” in lower center margin Visible image: 15.75” x 14.75”; Sheet: 20” x 16”; Frame: 23.125” x 21.5” Provenance: P R O P ERT Y B AR B AR A C O L L ECTI ON

$1,000-1,500

FR OM A SANTA

173


248 HOWARD WARSHAW UNTITLED 1971 Ink and pastel on paper Image on recto and verso sides of sheet Sheet: 8.75” x 11.375” $500-1,000

249 JOHN MCQUEEN HAYSTACK LION (CURLY TAIL) 1999 Sticks and bundle ties Sold with original receipt 36” x 27” x 22” $3,000-5,000


175

250 ANDY GOLDSWORTHY FALL LEAVES ON STONES 2002 Color photographs of a constructed nature scene A: Written by artist pencil lower center of mat: “Two Stones laid across a stream covered with elm leaves Townhead Burn, Dumfriesshire Andy Goldsworthy, 24 November, 2002” A: Photo: 9.375" x 9.375", Mat: 32.5" x 21"; Frame: 25" x 22.5"; B: Photo: 19" x 19"; Mat: 29" x 29"; Frame: 30.5" x 30.5"”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$15,000-20,000

FR OM A SANTA


251 DAVID HOCKNEY MIKE IZZO IV 2003 Watercolor on paper in two sheets Signed and dated in pencil lower right; retains Richard Gray Gallery label verso; retains LA Louver gallery label verso; retains David Hockney copyright label with “#03F.11” handwritten verso Sheet: 23.5” x 36”; Frame: 26.75” x 39”

Provenance: PROPERT Y BARBARA COLLECTION

$40,000-60,000

FROM A SA N TA

Throughout his celebrated career as a painter, photographer, printmaker, and stage designer, British artist David Hockney (born 1937) has created a pictorial mythology of his friends, family, and surroundings. His prints, drawings, and photographs all display his sense of composition, providing a deeper insight into his larger paintings. An inexorable portraitist, Hockney has explored the genre through Cubist paintings, photo collages, watercolors, and even crayon drawings, his favorite method in the 1960s. In the ink drawing Bing, Baden Baden (2002), Hockney depicts his friend Bing McGilvray, artist and set designer from Boston, during their trip to a German spa town. The subject’s casual smirk and relaxed position, enhanced by quick strokes and warm shades of black and white, suggest the pair are engaged in a pleasant moment. A sort of self-portrait, the watercolor Mike Izzo IV (2003) is a musing of realism amidst an abstract reflection of Hockney himself. According to critic Christopher Knight, his portraits achieve “a passion for the world as it is, but it is a passion matched by a relentless desire to make the enigma of simple experience more habitable and congenial, to render it less mystifying but no less delightfully mysterious.” Literature: Howgate, Sarah, and Barbara Stern Shapiro. David Hockney Portraits. New Haven: Yale University Press, 2006. Print. Knight, Christopher. “Composite Views: Themes and Motifs in Hockney’s Art.” David Hockney: A Retrospective. New York: Harry N. Abrams, 1988. Print.


17 7 252 DAVID HOCKNEY BING, BADEN BADEN 2002 Ink on paper in two sheets Signed and dated in red ink lower right; inscribed “Bing. 30th Oct. 02. Baden Baden” in red ink lower right; retains Richard Gray Gallery label verso; retains LA Louver Gallery label verso; retains MFA, Boston exhibition label verso; retains artist’s label verso Sheet: 23.5” x 10.25”; Frame: 25.75” x 12.5” Portrait of Bing McGilvray, Boston-based artist and friend of David Hockney. Literature: H OWGATE,

SAR AH , DAVI D

H O C K N E Y P O RTR AITS, NEW H AVEN: YALE UN IV E R S IT Y P R E SS, 2006, C AT NO 1 39.

Exhibited: “ DAV ID

H OCK NEY P ORTR AI TS”,

TR AV E L IN G E X H IB ITION, M U SEU M OF FI NE ARTS, B O STO N ; LO S A NG ELES C OU NT Y MUS E UM O F ART, LO S ANG ELES; NATI ONAL P O RTR AIT GAL L E RY, LONDON; FEB R UARY 2 0 0 6 -JAN UARY 2 0 0 7.

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$30,000-50,000

FR OM A SANTA


253 DAVID HOCKNEY PONDEN HALL (THRUSH CROSS GRANGE) HOWARTH 1983 Photographic collage Signed and dated with title and edition at lower center margin; retains LA Louver Gallery label verso; retains Richard Gray Gallery label verso Image: 40” x 50”; Sheet: 48.5” x 63.5”; Frame: 49.5” x 69.5” $15,000-18,000


254 DAVID HOCKNEY JOHN ST. CLAIR SWIMMING (FROM TWENTY PHOTOGRAPHIC PICTURES) 1972; printed 1976 Chromogenic print #9 of 80 Published by Sonnabend Editions, New York Signed in black ink lower right margin; edition lower left Image: 7” x 9.5”; Sheet 8” x 10.5”; Frame: 13.875” x 13.375” Literature: C O R N E L L ,

DANI ELL , BACKYAR D

OAS IS : TH E S W IMMING P OOL I N SOU TH ER N C AL IFO R N IA P H OTO GRAP H Y, 1 94 5 -1 982, EXH IB ITIO N C ATALO G, PA LM SP R I NG S: PALM S P R IN GS ART MUS E UM, 201 2, P G 61 FOR A S IMIL AR E XAMP L E .

$2,500-3,500

179

255 DAVID HOCKNEY MY PARENTS (FROM TWENTY PHOTOGRAPHIC PICTURES) 1972; printed 1976 Chromogenic print #10 of 80 Published by Sonnabend Editions, New York Signed in black ink lower right margin; edition lower left Image: 9.5” x 7”; Sheet: 10.5” x 8.25”; Frame: 16.75” x 14.75” $1,000-1,500


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

H OCKNEY: CATA LOG U E

257 DAVID HOCKNEY CELIA -- RECLINING 1979 Lithograph on Twinrocker handmade paper #28 of 100 Published by Gemini G.E.L., Los Angeles Signature, edition and Gemini G.E.L. blindstamp lower right Catalogue Raisonné, MCAT #132 Sheet: 23” x 21”; Frame: 27.5” x 26” Literature: DAVI D

HOC K N E Y: C ATALO GUE

RAIS O N N É OF TH E PRI NTS 1954 -19 95,

R A I SON N É OF T HE P R I N TS 1 95 4 -19 95,

TO KYO : MU SEU M OF CONTEMPOR A RY A RT,

TOKYO: M U SE U M OF C ON T E MP O R ARY ART,

1 9 9 6, NO 327.

1 9 9 6 , N O 1 32 .

$12,000-15,000

$3,000-5,000


181

258 DAVID HOCKNEY THE WAVE

259 DAVID HOCKNEY RED SQUARE AND THE FORBIDDEN CITY

1990 Lithograph in colors on Arches Printer’s proof #2, aside from the edition of 50 Published by Tyler Graphics, Ltd., Los Angeles Signed in pencil lower left; initialed “P.P. II” lower left; dated lower right Catalogue Raisonné, MCAT #324 Image: 25.75” x 37.5”; Frame: 36.5” x 47.5”

1982 Lithograph in colors on Somerset rag #756 of 1000 Printed by Petersburg Studios, New York Signature, date and edition in pencil lower right Created for David Hockney’s publication, China Diary (1982). Catalogue Raisonné, MCAT #254 Image: 19.5” x 21.25”; Frame: 32” x 34”

Literature: DAVI D

Literature: DAVI D

H OCK N E Y: C ATA LOG U E

H O C K N E Y: C ATALO GUE

RA I SONNÉ OF TH E PRI NTS 1 954 - 1 9 95,

R A I SON N É OF T HE P R IN TS 195 4 -19 95,

TOKYO: MU SEU M OF CONT E M P OR A RY A RT,

TOKYO: M U SE U M OF C O N TE MP O R ARY ART,

1 996, NO 324.

1 9 9 6 , N O 2 54 .

$15,000-20,000

$1,800-2,500


260 TONY BEVAN LEG AND RED TABLE 1989 Powdered pigment and acrylic on canvas Signed and dated verso; inscribed "PC 8915" verso; retains LA Louver Gallery labels verso 46.5" x 70.5"

Provenance: PROPERT Y BARBARA COLLECTI ON

$20,000-30,000

FROM A SA N TA


261 MICHAEL YOUNG DYSSYMETRY 1988 Sand, soil, acrylic varnish and chalk on paper Retains Blum Helman Gallery, New York label verso Sheet: 19” x 19”; Frame: 21.125 Exhibited: “ MIC H AE L

YOU NG : NEW WOR K ”,

B LUM H E L MAN GAL L ERY, NEW YOR K , O C TO B E R 19 8 8

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$1,500-2,000

183

262 GERALD GIAMPORTONE UNTITLED ARC #7 1988 Beeswax, oil, acrylic and metal on wood Signed and dated verso; title verso; retains Leslie Cecil Gallery label verso 35.5” x 38”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$3,000-5,000

FR OM A SANTA


263 DE WAIN VALENTINE GOLD CIRCLE 1971 Cast polyester resin 17.5” diameter Provenance: PROPERT Y BARBARA COLLECTI ON

$20,000-30,000

FROM A SA N TA


264 DAVID IRELAND CAKE DOME VITRINE 2000-01 Glass cake stand and Fixall with pigment Initialed “DI” and inscribed “fix” underneath Fixall Fixall: 4.25” x 7.75” x 4.25”; Serving platter: 11.25” x 11.25” diameter Literature: TS UJ IMOTO,

KAR EN, TH E ART

O F DAV ID IR E L AN D : TH E WAY TH I NG S AR E, OAK L AN D : OAK L AN D MU SEU M OF C ALI FORN IA; B E R K E L E Y: UN IV ER SI T Y OF C ALI FORN IA P R E SS, 2 0 03 , P G 1 34 , CAT NO #1 24 .

Exhibited: “ TH E

ART OF DAVI D I R EL AND:

TH E WAY TH IN GS AR E”, SANTA BAR B AR A MUS E UM O F ART, SANTA BAR B AR A , DEC E MB E R 2 0 0 4 -MAR C H 2005.

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$4,000-6,000

265 DENNIS OPPENHEIM IRON/BOAT 2000 Colored cast resin and tinted mirror Unknown edition size Both signed and dated “DO.2000” verso Each 12.5” x 6” x 8.5” LAMA wishes to thank the artist studio for their kind assistance in cataloguing this work. Literature: C E L AN T,

G ER M ANO, VENEZI A

C O N TE MP O R AN EO : D ENNI S OP P ENH EI M, MIL AN O : E D IZ IO N I C HARTA , 1 997, P G S 56 5 7 ( FO R A S IMIL AR E XAM P LE) .

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$7,000-10,000

FR OM A SANTA

185


While living in Venice, California in 1962, artist Tony Berlant (born 1941) came across a collection of metal signs in various stages of deterioration strewn about a local market that had recently been torn down. He was immediately captivated: “I took those home and just studied them as objects, and first exhibited them as unaltered objects, and then started cutting them up and reassembling them. But now they’re more like mosaics.” Much of his work consists of hundreds of found metal pieces he cuts, fastidiously arranges, and then secures using a pattern of brads, resulting in sweeping and abstract compositions. Taking great pleasure in the scrupulous labor each piece necessitates, Berlant has enjoyed a prolific output in the past five decades. The orderly disarray of Lure (2003) – concise in form and color yet indiscriminately scattered with brads and images – presents the viewer with a compact, harmonious collage. The Wave (1975), one of Berlant’s most exceptional and rare pieces, utilizes a similar technique to his abstract canvases while adding a layer of three-dimensional motion. Described by Berlant as “an oddball moment” in his career, he constructed various states of movement using found ceramic plates – an atomic explosion, landscapes – and suspended them in a polyester resin. It ironically imitates fluidity through a fragmented swell, a breaking wave with the force of fragility. All of the other works from this series remain in the collection of the artist. Many of his other works are on display at the Art Institute of Chicago, the Los Angeles County Museum of Art, and the Whitney Museum of American Art in New York. Literature: Berlant, Tony. Personal interview. 26 March 2012. “Video Interview with Tony Berlant.” L.A. Louver, L.A. Louver. 2007. Web. 19 March 2012.

266 TONY BERLANT THE WAVE 1975 Polyester resin and ceramic on wood base Retains MoCA LA label underneath base Box: 18.25” x 17” x 12.75”; Base: 12.25” x 18.75” x 15” Provenance: PROPERT Y

FROM A

SANTA BA RBA RA COLLECTI ON

$8,000-12,000


took those home and just “ Istudied them as objects,

187

and first exhibited them as unaltered objects, and then started cutting them up and reassembling them. But now they’re more like mosaics.”

267 TONY BERLANT LURE 2003 Found metal collage on plywood with steel brads 6” x 6” x 6” Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$5,000-7,000

FR OM A SANTA


268 WILLIAM WURSTER GROUP OF THREE OCCASIONAL TABLES Custom, designed c. 1955, for the Froum House, Sea Cliff A: 18.5” x 21.25” x 26.25”; B: 18.5” x 23.25” x 11.5”; C: 18.5” x 24.34” x 23.24” $1,500-2,000


189

269 RICHARD ARTSCHWAGER PORT 1991 Painted wood and formica #17 of 50 Published by Multiples Inc., New York Signed in black ink verso; dated verso; edition verso 19.5� diameter $4,000-6,000


270 ROLAND REISS THE MORALITY PLAYS: THE ILLUSION OF INFINITY 1980 Mixed media in Plexiglas case Signed lower right on wooden platform; title lower left 14” x 36.5” x 8” Literature: SH A NNON,

JENKI NS, R OL A N D

REISS PERSONA L POLI TICS: SCU L P T U R E FRO M T HE 1970 S A ND 1980 S, PASA DE N A : PASAD EN A MU SEU M OF A RT, 20 11 (FOR S IMIL AR EXA MPLES IN TH E SERI E S).

Provenance: PROPERT Y BARBARA COLLECTI ON

$8,000-12,000

FROM A SA N TA


271 CHARLES & RAY EAMES STORAGE UNIT Model no. ECS Herman Miller, designed 1961 This example was the showroom model (as constructed by the Eames Office) at the Herman Miller Showroom in Los Angeles 78” x 159” x 24”; (84” with bed) $6,000-9,000

191


272 STAN BITTERS GROUP OF FOUR BIRD FEEDERS Hans Sumpf, designed c. 1960 Porous low-fire clay with cord Largest 13” diameter $1,000-1,500

273 HANS SUMPF CO. GROUP OF 3 PLANTERS Hans Sumpf Co., executed c. 1990 Ceramic 13” x 11.5” x 11.5”; 8.5” x 11” x 11”; 18” x 11.5” x 11.5” respectively $1,000-1,500


274 STAN BITTERS PAIR OF THUMB POTS Hans Sumpf Co., executed c. 1960s Ceramic 13” x 20.75” and 10.5” x 18.5” $1,500-2,000

275 STAN BITTERS PAIR OF SCRAPE-SIDED PLANTERS Hans Sumpf Co., executed c. 1990 Ceramic Each 18” x 21” $1,000-1,500

276 STAN BITTERS PAIR OF SCRAPE-SIDED PLANTERS Hans Sumpf Co., executed c. 1990 Ceramic Each 15.5” x 28.5” $1,000-1,500

193


277 LAURA ANDRESON PORCELAIN BOWL Studio, 1939 Yellow glaze Signed and dated 2.25” x 5.25” diameter $700-900

278 HENRY VARNUM POOR UNTITLED (2) Studio, 1931 Glazed ceramic (one not illustrated) Bowl signed, charger signed and dated Comprised of a charger and large bowl Bowl: 4.25” x 7” diameter; Charger: 1.25” x 8.75” diameter $600-900

279 MINEO MIZUNO PAIR OF BOWLS Sudio, 1980 Glazed ceramic 4.5” x 8.125” diameter and 1.25” x 11.125” x 11.125” $800-1,200

280 RALPH BACERRA GROUP OF GLAZED CERAMICS Studio, c. 1978 Glazed ceramic Each signed 15” x 12.25” diameter and 8.75” x 5.625” diameter respectively $1,000-1,500


281 BUCKMINSTER FULLER DYMAXION GLOBE Designed circa 1950; this edition produced later 46” x 33” x 33” This model was produced in a limited edition by a special arrangement between Levi Strauss and the estate of Buckminster Fuller. $8,000-9,000

195

282 CARLOS MESQUITA UNTITLED c. 1986 Oil on canvas Visible canvas: 52.5” x 63.5” $2,000-3,000


283 AMERICAN MODERN TABLE LAMP Manufacturer unknown, designed c. 1950 Wire mesh and paper 22.75” x 10” diameter $1,000-1,500

284 DOROTHY SCHINDELE PAIR OF NESTING TABLES

285 BENJAMIN J. BALDWIN GROUP OF FOUR STOOLS

Studio, designed c. 1950 Each 21.625” x 16” x 25”

Baldwin, designed c. 1959 Largest 27.5” x 18.5” x 18.5”

$1,500-2,000

$2,000-3,000


286 JOHN FOLLIS & REX GOODE SOMBRERO

287 JOHN FOLLIS PLANTERS WITH BASES (2)

Model no. MH-109 Architectural Pottery, designed 1949 Bisque unglazed ceramic 17” x 25” diameter

Each model no. FT Architectural Pottery, designed c. 1955 Bisque unglazed ceramic with oiled walnut base One impressed “Architectural Pottery made in USA” Each planter: 12” x 21” diameter; Height with bases: 21.25” and 19.25”

$1,000-1,500

$1,000-1,500

288 JOHN FOLLIS PLANTERS WITH BASES (2) Each model no. FT Architectural Pottery, designed c. 1955 Bisque unglazed ceramic with oiled walnut bases One impressed “Architectural Pottery made in USA” Each planter: 12” x 21” diameter; Height with bases: 16.25” and 14.75” $1,000-1,500

289 LA GARDO TACKETT PAIR OF PLANTERS Model no. IN-03 and T-104 respectively Architectural Pottery, designed c. 1955 White glazed ceramic IN-03: 16” x 21” diameter; T-104: 26” x 18” diameter $3,000-4,000

290 LA GARDO TACKETT PAIR OF PLANTERS (2) Model no. TH-04 and S-03 respectively Architectural Pottery, designed c. 1955 White glazed ceramic Both stamped “Architectural Pottery made in USA” TH-04: 26” x 18” diameter; S-03: 8” x 21” diameter $2,000-3,000

197


WALTER LAMB ROCKING CHAIR Model no. C-5701 Brown Jordan, designed c. 1950 31.75” x 21.25” x 31”

Literature: WA LTER

L A MB FU RNIT U R E

CATALO G

$2,000-3,000

292 WALTER LAMB SETTEE Brown Jordan, designed c. 1958 32” x 51” x 33” $2,000-3,000


293 PATSY KREBS DEEP MAGENTA/RED (LINKED SERIES) 1991 Acrylic on canvas Signed and dated verso; title verso 24” x 48”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$2,000-3,000

199

294 TONY DELAP THE ONE OF DIAMONDS 1980 Acrylic on canvas Signed and dated with title on canvas stretcher verso; retains partial Janus Gallery label verso 33” x 35.25”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$9,000-12,000

FR OM A SANTA


295 AL HELD VOO 1959 Gouache on paper Signed verso; retains Andrew Dierken Gallery label verso Sheet: 18” x 24”; Frame: 25.375” x 31”

Provenance: PROPERT Y BARBARA COLLECTI ON

$15,000-20,000

FROM A SA N TA


201 296 AL HELD MORRE II 1996 Watercolor on paper Title written on wooden stretcher verso; retains Robert Miller Gallery, NY label verso 31.5” x 39.5”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$10,000-15,000

AL HELD HUDSON 14 1989 Watercolor on paper Retains Ameringer Yohe Fine Art Gallery label and stamp verso; retains Andre Emmerich Gallery label and stamp verso Sheet: 14.125” x 20”; Frame: 20.25” x 26.5”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$6,000-10,000

FR OM A SANTA


298 MILTON AVERY STANDING NUDE WITH VASE

299 MILTON AVERY HALF RECLINING

c. 1940 Mixed media Signed in pencil lower right; retains Riva Yares Gallery label verso Visible image: 10” x 8”; Sheet: 11” x 8.5”; Frame: 17.25” x 14.75”

1957 Pencil on paper Signature in pencil lower right; retains Riva Yares Gallery label verso Sheet: 11” x 8.5”; Frame: 17.25” x 14.875”

Provenance: P R O P E RT Y

F R O M A SAN TA

B AR B AR A C O L L EC TIO N

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$5,000-8,000

$6,000-9,000

300 MILTON AVERY NURSING BABY #14 1932 Pencil on paper Signature in pencil lower right; retains Knoedler & Company Gallery label verso; retains David Barnett label verso; retains Dolan/Maxwell gallery label verso Visible image: 10.5” x 8.25”; Sheet: 11” x 8.5”; Frame: 18.875” x 16.375”

301 MILTON AVERY STURDY NUDE c. 1930’s Lithograph with crayon Signed in pencil lower right; retains Riva Yares Gallery label verso Sheet: 11” x 8.5”; Frame: 17” x 14”

203 Provenance: P R O P E RT Y

F R O M A SAN TA

Provenance: P R O P E RT Y

B AR B AR A C O L L EC TIO N

B AR B AR A C O L L EC TIO N

$5,000-8,000

$5,000-8,000

FR OM A SANTA


302 RAYMOND LOEWY MODE-MAKER DESK G.F.C, designed c. 1950 Retains remnants of manufacturer’s labels to interior of drawer 29” x 59” x 29.5”

The Mode Maker Line of furniture by Loewy was introduced in 1948. $2,000-3,000

AFTER EILEEN GRAY PAIR OF BRICK SCREENS (2) Manufacturer unknown, c. 2000 Black lacquered screen Each 59” x 52” $3,000-5,000


WILLIAM LESCAZE PAIR OF WALL SCONCES Studio, designed 1936 Porcelain Each 7” x 5” x 3.5” $1,000-1,500

305 PETER PFISTERER WAVE SHADE DESK LAMP M.S.L.C., designed c. 1940 Opaque Lucite and aluminum Retains original tag 12.5” x 15.5” x 4” $1,500-2,000

306 RAYMOND LOEWY DISCOVERY FLATWARE (42) Wallace Sterling, designed c. 1957 Stamped “Wallace Sterling USA” Silver service comprising: 8 dinner knives, 8 dinner forks, 8 dessert spoons, 8 dessert forks, 8 teaspoons, cake slice, serving spoon $5,000-7,000

205


307 JOHAN ROHDE ACANTHUS SILVER SERVICE (66) Georg Jensen, designed 1917, executed post-1945 Stamped makers marks Set of 66 pieces Various dimensions $7,000-9,000


308 HANS HOFMANN UNTITLED c. 1930’s India ink on paper Signed in pencil lower left; retains the Estate of Hans Hofmann stamp with handwritten inventory number verso; retains Ameringer Yohe Fine Art Gallery label and stamp verso The Estate of Hans Hofmann inventory #M-0933/078 Sheet: 10.75” x 8.25”; Frame: 16.125” x 13.625”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

207

$4,000-6,000

309 HANS HOFMANN UNTITLED c. 1930’s India ink on paper Retains The Estate of Hans Hofmann stamp with handwritten inventory number “M-0933/582” verso; retains Ameringer Yohe Fine Art Gallery label and stamp verso Sheet: 8.5” x 11”; Frame: 13.625” x 16.25”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$4,000-6,000

FR OM A SANTA


310 RUDOLPH M. SCHINDLER UNIT CHAIR AND OTTOMAN Custom, designed 1934 for the Van Patten House, Los Angeles Chair with table: 28” x 34” x 36”; Ottoman: 15” x 22.5” x 22.5”

Literature: BERNS,

MA RL A C, THE F U R N I-

T URE O F RM SCH I NDLER , SA NTA B A R B A R A : UNIV ERS IT Y A RT MU SEU M, U NI VE R SI T Y O F CAL IFORNIA ; SEAT TLE: U NI VE R SI T Y OF WAS HIN G TON PRESS, 1997, PG 57 A N D 1 24 .

Provenance: MS

VA N PAT TEN;

PRIVAT E COLLECTION, LOS A NGEL E S

$20,000-30,000


311 RUDOLPH M. SCHINDLER STEREO Custom, designed 1934 for the Van Patten House, Los Angeles 17” x 22” x 38”

Literature: B E R N S,

MAR L A C, TH E FU R NI-

TUR E O F R M S C H IN D LER , SANTA B AR B AR A: UN IV E R S IT Y ART MUS EU M , U NI VER SI T Y O F C AL IFO R N IA; S E AT TLE: U NI VER SI T Y OF WAS H IN GTO N P R E SS, 1 997, P G 57 AND 1 24 .

Provenance: MS

VAN PAT TEN;

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

$10,000-15,000

209


312 EDWARD DURELL STONE STOOL Fulbright Furniture, designed 1945 Oak 14” x 20” x 18” $2,000-3,000

313 RUDOLPH M. SCHINDLER EPHEMERA 1936 Paper Comprised of a signed letter, dated May 23, 1936, related to billing for Miss E. Van Patten and a receipt for lumber signed by both RM Schindler and Miss Van Patten, dated May 13, 1936 11” x 8.5” and 8.5” x 5.5”

Provenance: MS

VA N PAT TEN; PR I VAT E

CO LLECT ION, LOS A NGELES

$500-1,000


211

314 RUDOLPH M. SCHINDLER DESK Custom designed 1946 for the J.L. Armon House 31” x 51” x 24.75” $30,000-50,000


315 RICHARD NEUTRA CHANNEL HEIGHTS HOUSING PROJECT Prototype, 1942 Table lamp 10.125” x 18” x 4”

Dr. Neutra, who is auctioning this work, is donating the proceeds to the Cal Poly Pomona Foundation for the restoration of the Richard and Dion Neutra VDL studio and residences. Provenance: LILLY

A ND A LFRED

NIED ERM ANN, LOS A NGELES, CA , 1 9 4 2– 6 0; REG UL A NI EDERMA NN FY BEL , LO S AN G ELES, CA , C 1960 -7 7; RAYM ON D RICHARD NEU TRA MD, LOS A NGE L E S, C A , 1 9 7 7 – PRESENT

Literature: H I NES,

TH OMAS S, R I C HA R D

NEUT RA A ND TH E SEA RCH FOR M ODE R N ARCHIT ECTU RE, 4TH EDITION, NE W YOR K : RIZ ZO L I, 20 0 6, PGS 196 -199.

$20,000-30,000


“ This lamp and I have grown old

together, surviving the batterings of seven decades and showing the inevitable scars.” - Dr. Raymond Neutra

Upon America’s entrance into Word War II in 1941, the country focused on wartime production to supply armaments and vehicles for campaigns in Western Europe and the Pacific. In order to house the thousands of workers building ships in the San Pedro Harbor, architect Richard Neutra (1892-1970) was commissioned to design the Channel Heights Housing Project in 1942. Families living in the low-rent structures had access to a health center, gardens, daycare, and even a woodshop for the workers to build their own furniture. The rooms were spartan but comfortable, outfitted with built-in furniture and Neutra’s famous Boomerang Chair. Maximizing use of the limited space, the lamp was intended to sit on a windowsill so that it could shed light on a nearby desk. Prior to the completion of the development, Julius Shulman photographed one of the units, which was outfitted with prototype furniture, showcasing the lamp resting on a Channel Heights windowsill. The housing project long ago demolished, the lamp, designed at Neutra’s Silver Lake workspace, has passed through three generations of the Neutra family. Lilly and Alfred Niedermann, Neutra’s in-laws, first received the lamp as a housewarming gift from Neutra when they moved to the Kelton apartments, a Neutra building, in 1942. The lamp was then passed down in the early 1960s to Regula Niedermann Fybel, Neutra’s sister-in-law, who then gave the lamp in 1977 as a housewarming gift to her nephew, Dr. Raymond Neutra, Neutra’s son. According to Dr. Raymond Neutra, “This lamp and I have grown old together, surviving the batterings of seven decades and showing the inevitable scars.”

213

© J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10)


316 EMERSON WOELFFER FIGURE 1948 Oil on canvas Signed “Woelffer” lower center of canvas; inscribed “Figure”, “Woelffer 1948” and “For Ken + Jeanette” upper left verso Image: 30” x 20.125”; Frame: 30.5” x 20.625” $4,000-6,000

317 EMERSON WOELFFER UNTITLED 1986 Acrylic and spraypaint on canvas Signed lower right 24” x 18” $3,000-4,000

318 EMERSON WOELFFER UNTITLED 1974 Lithograph in colors #9 of 45 Signed “Woelffer” in pencil lower right; dated lower right; edition lower left Sheet: 30” x 22”; Frame: 37.25” x 29.25” $1,000-1,500


319 EMERSON WOELFFER PAIR OF SCULPTURES (2) c. 1960 Ceramic A: Initialed “E.W.” at bottom of sculpture 14” x 4” x 3.5” and 16.5” x 4” x 3.5” respectively $2,000-3,000

320 EMERSON WOELFFER UNTITLED 1964 Mixed media on paper Signed and dated “Woelffer 64” in pencil lower right Visible image: 23.5” x 18.5”; Frame: 32” x 26.75”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$10,000-15,000

FR OM A SANTA

215


321 NATHAN OLIVEIRA UNTITLED 1957 Drawing on paper Signed and dated in pencil at lower margin Sheet: 34.25” x 22.125”; Frame: 35.5” x 23.5” $8,000-12,000

322 PAUL WONNER ARTISAN MODEL 2002 Acrylic on paper Signed in pencil lower left of sheet; signed with date, medium and title lower left verso; “35” written in blue ink verso Sheet: 13.5” x 17.5” $3,000-5,000


323 LARRY COHEN VIEW FROM THE TOP OF WESTRIDGE 1987-88 Oil on canvas Signed verso; retains Jan Turner Gallery label verso 66” x 44” $3,000-4,000

217 324 LARRY COHEN VIEW OF THE COAST SANTA MONICA 2005 Oil on canvas Signed and dated verso; “View of the Coast Santa Monica” verso 26” x 22” $2,500-3,500


325 ED RUSCHA QUESTION? 1989 Lithograph on 300-gram white Rives BFK Artist’s proof, aside from the edition of 35 Published by the artist; printed by Ed Hamilton, Hamilton Press, Venice Signed and dated lower right; “AP” lower left Catalogue Raisonné, Engberg #186 Sheet: 26.5” x 35.5”; Frame: 32.5” x 41.5” Literature: ENGBERG,

SIRI , EDWA R D

RUS CHA: EDITIONS 1959 -1999, 1ST E DI T I ON , MIN N EAPOLI S: WA LKER A RT CENT E R , 1 9 9 9, #18 6.

$5,000-7,000

326 ED RUSCHA THE FAN AND ITS SURROUNDINGS (GLOBAL EDITION SERIES) 1982 Lithograph in colors on Rives BFK #13 of 55 Published by Bernard Jacobson, Ltd., London; printed by Alan Cox, Sky Editions, London, 1982 Signed and dated “Ed Ruscha 1982” in pencil lower left; edition lower left Catalogue Raisonné, Engberg #123 Sheet: 36.75” x 31.625”; Frame: 42” x 37”

Literature: ENGBERG,

SIRI A ND CL I VE

PHILPOT, EDWA RD RU SCH A : EDI T I ON S 1 9 62- 1 9 9 9, 1ST EDITION, MINNEA P OL I S: WALKER A RT CENTER , 1999, # 123.

$3,000-5,000

327 ED RUSCHA NINE SWIMMING POOLS AND A BROKEN GLASS From the first edition of 2400 Self published; printed by Blair Litho, Los Angeles, 1968 Catalogue Raisonné, Engberg #B8

Literature: ENGBERG,

SIRI , EDWA R D

RUS CHA: EDITIONS 1959 -1999, 1ST E DI T I ON , MIN N EAPOLI S: WA LKER A RT CENT E R , 1 9 9 9, #B8 .

$600-900


328 ED RUSCHA PETROPLOTS SUITE: SUNSET/PCH 2001 Mixografia on handmade paper #7 of 75 Published by Mixografia, Los Angeles Signed and dated lower right; edition lower left Sheet: 28.5” x 39”; Frame: 31.25” x 42.5” $3,000-5,000

329 ED RUSCHA IT IS A GO 2009 Lithograph in colors on Copperplate #31 of 50 Printed by Hamilton Press, Venice, 2009 Signature and date lower right in pencil; edition lower left in pencil Sheet: 23.25” x 19”; Frame: 28.75” x 24.5”

219

$4,000-5,000

330 ED RUSCHA BILLY 1968 Exhibition catalogue with felt letters mounted to sandpaper cover, machine screw and nut binding, and satin ribbon page marker From the first edition of 2500 Sold with crate stamped “Moca Cat/Ltd Edition” Book: 9” x 11”; Crate: 3.25” x 13.75” x 13.75” Literature: R OTH ,

ANDR EW, TH E OP EN

B O O K , 2 0 0 4, GOTH E NB ER G : H ASSELB L AD C E N TE R , P G 19 8 .

$800-1,200


331 RAYMOND PETTIBON GROUP OF FOUR WORKS ON PAPER c. 1990s Black ink wash on paper Each initialed “RP” in pencil verso Each sheet: 14” x 8”; Frame: 17.75” x 12.25” $8,000-12,000

RAYMOND PETTIBON UNTITLED (SHE CAME WITHIN BLOODSHOT) 1990 Silkscreen in colors #4 of 40 Signed in pencil lower right; edition lower left Sheet: 22” x 17”; Frame: 29.25” x 24.25” $2,000-3,000

333 RAYMOND PETTIBON GROUP OF LA SHOW FLYERS (45) c. 1980s Offset print on paper (37) 11” x 8.5”; (2) 8.5” x 5.5”; (4) 17” x 11”; (1) 5” x 3.5”; (1) 2.5” x 8.5”

Literature: STORR ,

ROBERT, RAYM ON D

PET T IBO N, NEW YORK: PH A I DON P R E SS, 2001 , PG 16.

$5,000-7,000


221


Property Sold to Benefit the Santa Monica Museum of Art

Through its exhibitions, education, and outreach programs, the Santa Monica Museum of Art fosters diversity, innovation, and discovery in contemporary art. The Museum celebrates expanding boundaries, exploring individual differences, enhancing public knowledge of art, and broadening the art experience. SMMoA is a collection of ideas.

413 CHARLES POLLOCK SWIVEL ARMCHAIRS (16) Model no. 1258DS Knoll International, designed 1965 Knoll International labels Each: 32” (adjustable) x 26.5” x 25.5” $7,000-9,000


Chuck Close (born 1940) has mastered the art of intimate portraiture and continues to experiment with emerging technology to obtain photorealist perfection. From paintings, photographs, prints, and now tapestries, each medium has inherent strengths that Close uses to capture his iconic imagery. In 2006, Close began working with the Jacquard weaving process, essentially the Pointillism of tapestry. Based on the primary and intermediary color wheel invented by the nineteenth -century French chemist, Michel Eugéne Chevreul, this intricate weaving process relies on a regular ocular occurrence, “simultaneous contrast.” Chevreul realized that the perceived color of a thread is dependent upon its surrounding threads. It is the same phenomenon used in television and computer displays, as well as many of Close’s portraits that utilize fingerprints, dots, and minute brush strokes. According to Nick Stone at Magnolia Editions, Close’s hand-woven Self-Portrait (2006) “incorporates a fusion of methods separated by over two hundred years: the lyricism and nearly infinite detail of a nineteenth-century photographic technique and an innovative, digitally driven approach to weaving.” Literature: Stone, Nick. Chuck Close: Tapestries. Oakland: Magnolia Editions, 2009. Print.

334 CHUCK CLOSE SELF-PORTRAIT 2006 Handwoven Jacquard tapestry #5 of 10 Magnolia Editions Retains label with signature, title, edition and manufacturer lower right of tapestry 99” x 78.5” Literature: W E I,

L IL LY, C H U C K CLOSE:

S E L EC TE D PAIN TIN GS AND TAP ESTR I ES: 2 0 05 -2 0 0 9, E X H IB ITION C ATALOG , NEW YO R K : PAC E W IL D E N STEI N G ALLERY, 2009, P GS 3 4 -3 5 .

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$100,000-150,000

FR OM A SANTA

223


335 ROBERT GRAHAM MOCA TORSO 1992-95 Patinated bronze MoCA Edition From the edition of 3500 Published by the Museum of Contemporary Art, Los Angeles Signature etched at base 11” x 4.5” diameter at base $3,000-5,000

336 ROBERT GRAHAM KRISTA 1996 Cast bronze #3 of 6 Incised “Krista 7-96 RG” with title at base 5” x 9” x 5” Provenance: PROPERT Y BARBARA COLLECTI ON

$6,000-9,000

FROM A SA N TA


225

337 LISA YUSKAVAGE SUSPECT 1989 Oil on linen Retains Pamela Auchincloss Gallery label verso

Canvas: 16” x 12”; Frame: 17.5” x 13.5”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$30,000-50,000

FR OM A SANTA


338 ROBERT RAUSCHENBERG SAMARKAND STITCHES #V (SAMARKAND STITCHES SERIES) 1988 Unique screenprint in colors on Ikat silk and fabric assemblage From the edition of 73 Published by Gemini G.E.L., Los Angeles Signature and date stitched lower left Catalogue Raisonné, Gemini catalogue #41.186 Fabric: 56” x 46”; Frame: 63.5” x 53" Literature: Rauschenberg at Gemini, exhibition catalog, Pasadena: Armory Center for the Art; Santa Monica: RAM Publications, 2010, np. $18,000-20,000


341 ROBERT RAUSCHENBERG HORSEFEATHERS THIRTEEN - XI

339 ROBERT RAUSCHENBERG RESIDENCE (SPECULATIONS) 1997 Screenprint in colors on 640-gram Lanaquarelle #23 of 36 Published by Gemini G.E.L., Los Angeles Signature and edition lower right; dated lower left; Gemini blindstamp lower right Catalogue Raisonné, Gemini catalogue #41.214 Sheet: 70” x 32”; Frame 78.75” x 40.5” $7,000-9,000

1979 Offset lithograph in colors with collage on wove paper #3 of 100 Signed and dated in pencil with edition lower left Image: 30” x 22.75”; Frame: 36.5” x 29”

1972 Lithograph in colors, screenprint embossing and unique collage on Arches Watercolor 300-gram #19 of 85 Published by Gemini G.E.L., Los Angeles Signed in pencil with date and edition lower left; Gemini G.E.L. blindstamp lower right Catalogue Raisonné, Gemini catalogue #41.71 Image: 18” x 15”; Sheet: 30” x 22”; Frame: 30.75” x 22.75”

$2,000-3,000

$1,800-2,500

340 ROBERT RAUSCHENBERG WHY YOU CAN’T TELL #2 (FROM SUITE OF NINE PRINTS)

227


342 VIOLA FREY SLEEPING MAN 1984 Ceramic sculpture 18.5” x 96” x 49” Illustrated: L AR S E N ,

SU SAN, VI OL A FR EY:

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

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$70,000-90,000

343 MASANORI UMEDA RED ROSE CHAIR Edra, designed 1990 Velour upholstery 30” x 34” x 30” $2,000-3,000

344 MASANORI UMEDA PAIR OF GETSUEN CHAIRS Edra, designed 1990 Velour upholstery Each 34.5” x 30” x 30” $2,000-3,000

229


345 LOUISE BOURGEOIS GIVE OR TAKE III (HOW DO YOU FEEL THIS MORNING?) 1990 Patinated bronze #39 of 40 Published by the New Museum, NY Incised and dated “L.B. 90” with edition; retains foundry mark 4” x 9” x 6” Provenance: PROPERT Y BARBARA COLLECTI ON

$18,000-25,000

FROM A SA N TA


346 HELEN PASHGIAN UNTITLED 1990 Epoxy on canvas Signature verso; retains gallery label verso 48” x 36” $3,000-5,000

347 JUDY STABILE UNTITLED 1989 Reverse painted glass with copper and gold leaf Signed and dated “J. Stabile 1989” on stretcher verso; retains gallery label verso 32” x 56” $3,000-5,000

231


348 MALCOLM MORLEY OUR TRAMP STREAMER HUGGING THE HORIZON OFF COCONUT ISLAND I 1987 Lithograph in colors on Arches 88 From the edition of 39 Published by Gemini G.E.L., Los Angeles Signed lower right Catalogue Raisonné, Gemini catalogue #33.5 Sheet: 51.5” x 77”; Frame: 53” x 78” $2,000-3,000

349 MICK MOON ROYAL FLUSH 1987 Acrylic, monotype and collage on paper Signed and dated lower right Sheet: 69.5” x 55”; Frame: 74.5” x 61.5” $2,000-3,000


233

350 KAREL APPEL CAT 1960 Colored crayon and graphite on paper Signed and dated lower right; inscribed “For Joyce” at bottom margin Image: 9.5” x 7”; Sheet: 18” x 24”; Frame: 13.375” x 12.875” $12,000-15,000

351 ROBERTO MATTA UNTITLED 1956 Oil pastel on paper Two drawings in one frame 9.375” x 6” and 10.375” x 6”; Frame together: 16.75” x 19.5” $2,000-3,000


352 SAUL STEINBERG UNTITLED MASK c. 1959-65 Collage with paper bag and pencil Inscribed “To Ilse, my Brussels Angel with Love, Saul Steinberg” Image: 26” x 19”; Frame: 28” x 22.25” $10,000-15,000


353 CARSON THOMSON PROTOTYPE ARTICULATED TABLE Studio, designed c. 1965 Mahogany and enameled steel 20.5” x 31” diameter $3,000-5,000

354 CARSON THOMSON PROTOTYPE CHAIR Studio, designed c. 1950 Solid and laminated oak with velour seat 32.5” x 17.5” x 16.5” $500-1,000

355 CARSON THOMSON PROTOTYPE CHAIR Studio, designed c. 1950 Wicker and mahogany 29” x 23.5” x 22.25” $1,000-1,500

235


356 JOHN DICKINSON ETRUSCAN CHAIR Studio, designed 1975-79 36” x 21” x 23”

An example of the design is featured in the permanent collection of SFMoMA. $4,000-6,000

357 T.H. ROBSJOHN-GIBBINGS PAIR OF LOUNGE CHAIRS AND ONE FOOT STOOL Widdicomb, designed c. 1950 Chairs 31.25” x 25.25” x 30” $3,000-5,000

358 T.H. ROBSJOHN-GIBBINGS PAIR OF SLIPPER CHAIRS Widdicomb, designed c. 1950 Each 31” x 31” x 26” $2,000-3,000


359 CHARLES HOLLIS JONES PAIR OF LORETTA YOUNG SIDE TABLES Joe Roide Enterprises, designed c. 1963 17.125” x 22” diameter

Literature: KAP L AN ,

WENDY, CALI FOR NI A

D E S IGN 193 0 -19 6 5 , L I VI NG I N A M ODER N WAY, E X H IB ITIO N C ATALOG , LOS ANG ELES C O UN T Y MUS E UM O F ART, CAM BR I DG E: MIT P R E SS, 2 0 11, P G 192 FOR A SI M I L AR E XAMP L E .

$3,000-5,000

360 PAUL FRANKL COFFEE TABLE Model No. 5011 Johnson Furniture Company, designed c. 1948 Cork and mahogany Branded “5011 218” verso 16” x 36” x 36” $1,500-2,000

237


361 ROBERTO MARQUEZ THE PYRAMID 2005 Mixed media on paper Signed and dated lower right; retains Riva Yares Gallery label verso Sheet: 15” x 11”; Frame: 21.75” x 18”

Provenance: PROPERT Y BARBARA COLLECTI ON

$5,000-7,000

FROM A SA N TA


239 362 PETER BOOTH UNTITLED 1985 Pastel on paper Sheet: 18” x 24”; Frame: 25.25” x 31.25” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$4,000-6,000

363 LORI TASCHLER UNTITLED (SLEEPING FIGURE) 2002 Pastel on paper Signed and dated verso; retains James Graham & Sons Gallery label verso Sheet: 14” x 11”; Frame: 21” x 18” Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$500-1,000

FR OM A SANTA


DIANE ARBUS TOPLESS DANCER IN HER DRESSING ROOM, SAN FRANCISCO, CAL. 1968 1968; later impression Gelatin silver print #46 of 75 Printed by Neil Selkirk Retains label with edition and signatures of Neil Selkirk and Doon Arbus verso; stamped “copyright 1968/The Estate of Diane Arbus” verso Image: 14.75” x 14.75”; Sheet: 19.5” x 15.5”; Frame: 21.25” x 17”

Image of famous 1960’s San Francisco topless dancer, Carol Doda. Literature: A RBU S,

DI A NE, DI A NE A R B U S

REV EL AT IONS, 1ST EDI TION, NEW YOR K : RAN D O M H OU SE, 20 03, PG 257; DI A N E ARBUS : AN A PERTU RE MONOGRAP H, N E W YO RK: APE RTU RE, 197 2, NP.

$12,000-15,000


365 LARRY RIVERS GIRLIE 1970 Screenprint #76 of 100 Signed in pencil with edition at right margin; in marker “Keep out of sun and damp/1-28-98 Venice” verso Sheet: 29” x 17.75”; Frame: 34.125” x 22” $1,000-1,500

366 NICOLA SIMBARI KATHY LA BLOND c. 1981 Acrylic on canvas Signed lower right; title inscribed verso Visible image: 26.75” x 38.75”; Frame: 37” x 49” $3,000-5,000

241


367 TOM WESSELMANN MONICA WITH TULIPS 1989 Screenprint in colors #42 of 100 Published by International Images, Inc. Signed and dated in pencil with edition at lower right margin; two blindstamps lower right Image: 35.5” x 44.25”; Sheet: 44” x 53”; Frame: 45.75” x 54.5” Literature: TOM

W ESSELMA NN: WOR KS

O N PAPER , L ASER- CU T STEEL S A N D S CREEN PR INTS, KNOKKE: SA MU E L VA NHO EG AERDEN GA LLERY, 20 0 8, PG 4 6 .

$9,000-12,000

368 TOM WESSELMANN BEDROOM DROPOUT 1983 Woodcut in colors on wove paper #7 of 50 Published by Multiples Inc., New York Signed and dated lower left; edition lower left Sheet: 24.5” x 28.75”; Frame: 30” x 43” Literature: TOM

W ESSELMA NN: WOR KS ON PA P E R , L A-

S ER- CUT STEEL S A ND SCREENPR I N TS, K N OK K E : SA M U E L VANHO EG AERDEN GA LLERY, 20 0 8 , P G 38.

$4,000-5,000


369 TOM WESSELMANN SUNSET NUDE WITH YELLOW TULIPS 2004-2006 21-color relief print on handmade paper Trial proof 6, aside from the edition of 75 Mixografia, Inc. Edition lower left of relief; estate stamp verso signed and dated by Claire Wesselmann This was the last print made by Wesselmann. Sheet: 37” x 42”; Frame: 42.25” x 46.25” $10,000-12,000

243


370 ELIZABETH CATLETT FIGURE 1961 Bronze Incised “EC” at base 13.875” x 3.5” Literature: GEDEON,

LU CINDA , E L I ZA-

BET H CAT LET T SCU LPTU RE: A FI F T Y-YE A R RET RO S PECTI VE, SEAT TLE: U NI VE R SI T Y OF WAS HING TON PRESS, 1998, PG 52.

Exhibited: “ ELI ZA BETH

CATLET T SC U L P -

T URE: A FIFT Y-Y EA R RETROSPECT I VE ”, T RAV ELIN G EXH I BI TION, MU SEO D E A RT E MO D ERNO, MEXICO CI T Y, FEBRUA RY 1 9 9 8 NOV EM BER 1999.

$12,000-15,000

371 FREDERICK WIGHT UNTITLED (RECLINING NUDE) 1968-70 Oil on canvas Signed verso “April 14, 68-70 FW” Canvas: 10” x 48.5”; Frame: 11.25” x 50” $5,000-7,000


245

372 JOHN NAVA SLEEPING MODEL 1997 Oil on canvas Signed and dated on wooden stretcher verso; retains label verso Canvas: 14.625” x 22”; Frame: 16.5” x 24”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$2,000-3,000

FR OM A SANTA


373 BO BARTLETT THE WAY (STUDY) 2003 Oil on panel Signature on panel verso; handwritten in ink verso: “The Way (study) summer ‘03 Wheaton Island”; “IGN” written verso; retains Pilkington-Olsoff Fine Arts, Inc. Gallery label verso Visible image: 15” x 19”; Panel: 23.25” x 27.25”; Frame: 23.25” x 27.25” Provenance: PROPERT Y BARBARA COLLECTI ON

$10,000-15,000

FROM A SA N TA


374 STUART LUKE GATHERER SURFING GIRLS, #40 c. 2000s Oil on canvas Signature in red ink on lower wooden canvas stretcher verso Canvas: 18” x 12”; Frame: 23.75” x 17.75”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$3,000-5,000

375 SANDOW BIRK NORTHERN CALIF. WOMEN’S FACILITY -- STOCKTON, CA 2001 Oil and acrylic on canvas Signed and dated verso; inscribed on blue tape “010669 Sando Birk” on canvas stretcher verso; retains Catherine Clark Gallery label verso; title written on canvas verso Visible image: 19.375” x 23.125”; Canvas: 20” x 24”; Frame: 25” x 29” Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$12,000-18,000

FR OM A SANTA

24 7


376 LEROY NEIMAN KIRBY STONE FOUR 1965 Oil on panel Signed and dated lower right; title verso Visible canvas: 36” x 48”; Frame: 44” x 56” $18,000-25,000


249 377 NICOLA SIMBARI IL MURETTO 1983 Acrylic on canvas Signed lower right; retains certificate of authenticity verso Visible image: 38.75” x 31”; Frame: 45.5” x 37.625” $3,000-5,000

378 NICOLA SIMBARI GOLD INTERIOR 1981 Retablo in silkscreen on canvas RP 2 Signed lower right with "RP 2" lower left; illegible stamp lower right verso Visible image: 30.625” x 34.875”; Frame: 40.625” x 44.75” $700-900


379 JACK ZAJAK JAPANESE FISH VENDOR 1948-49 Oil on canvas Visible image: 39.5” x 31.5”; Frame: 47.25” x 39.5” LAMA wishes to thank the artist for confirming the authenticity of this work. $3,000-5,000


380 RUFINO TAMAYO HOMBRE EN FONDO VERDE 1980 Lithograph in colors on wove Arches Artist’s proof #4 of 25, aside from the edition of 100 Published by Editions Press, San Francisco; printed by Ernesto de Soto, San Francisco Signed with edition lower right; blindstamp lower left Sheet: 30” x 22”; Frame: 36” x 28” $2,000-3,000

381 RUFINO TAMAYO SANDIAS 1977 Mixografia on Arches From the edition of 125 Published by Mixografia, Los Angeles Signed in pencil lower right Image: 28” x 20.5”; Visible sheet: 29.75” x 21.5”; Frame: 37.5” x 28.75” $5,000-7,000

251


382 SAM FRANCIS TRIETTO II 1991 Aquatint #17 of 66 Published by 2RC Edizionis d’Arte, Rome; printed by Vigna Antoniniana Stamperia d’Arte, Rome Signed in pencil lower right; edition lower left; printer blindstamp lower left Image: 26.875” x 38.5”; Sheet: 38” x 52.75”; Frame: 41” x 56” $2,500-3,500

383 SAM FRANCIS TOWARD DISAPPEARANCE 1973 Silkscreen in colors on Arches Artist’s proof IV, aside from the edition of 75 Published by Gemini G.E.L., Los Angeles Signed in pencil with edition lower left; Gemini G.E.L. blindstamp lower right Catalogue Raisonné, Gemini catalogue #18.24 Sheet: 37.25” x 31.25”; Frame: 43” x 37.5” Literature: LEMBA RK ,

CONNIE W, T HE P R I N TS

O F SAM FRA NCI S: A CATA LOGU E R A I SON N É 1 9 6 0 19 9 0, 1 ST EDITION, NEW YORK: H U DSON HI L L S PRESS, 1 992.

$2,000-3,000


NANCY GRAVES FOLIAR 1987 Bronze with polychrome patina and baked enamel Signed and dated “N.S. Graves VI-9-87” with title at base 20.25” x 16” x 14.5” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$8,000-12,000

253


385 LOUISE NEVELSON BRACELET AND RING Studio, c. 1965 Lucite Bracelet $1,500-2,000

386 LOUISE NEVELSON NIGHT LEAF 1969 Cast polyester construction #123 of 150 Published by Pace Editions Inc., New York 12.75” x 12.75” x 2.25” $4,000-6,000


387 TAKASHI MURAKAMI MONOGRAM MINI MULTICOLORE WHITE 2007 Canvas on aluminum chassis #42 of 100 Published by Louis Vuitton and MoCA Sold with original Louis Vuitton box and MoCa edition certificate; signed on the chassis 15.75” x 15.75” $5,000-7,000

255


388 TAKASHI MURAKAMI I KNOW NOT. I KNOW 2010 Offset lithograph #64 of 300 Kaikai Kiko Co., Ltd. Signed in silver ink with edition lower right; title printed lower center margin Image: 30” x 23”; Frame: 32.375” x 25.375” $1,000-1,500

TAKASHI MURAKAMI FLOWERBALL (3D) FROM THE REALM OF THE DEAD 2010 Offset lithograph #120 of 300 Kaikai Kiko Co., Ltd. Signed in silver ink with edition lower right Image: 27.5” diameter; Frame: 31” x 31” $1,000-1,500

257

390 TAKASHI MURAKAMI AND THEN AND THEN AND THEN AND THEN AND THEN (RED) 1999 Offset lithograph #84 of 300 Kaikai Kiko Co., Ltd. Signed in silver ink with edition lower right Image: 26.25” x 26.25”; Frame: 28.625” x 28.625” $1,000-1,500

391 TAKASHI MURAKAMI MAIDEN IN THE YELLOW STRAW HAT 2010 Offset lithograph #184 of 300 Kaikai Kiko Co., Ltd. Signed in silver ink with edition lower right Image: 23” x 23”; Frame: 29.5” x 29.5” $1,000-1,500


392 PETER MACCHIARINI DOT RING Studio, c. 1960 Silver, onyx and recycled Ivory Inside of band stamped “Macc” $2,000-3,000

393 PETER MACCHIARINI BRACELET Studio, c. 1970 Inside of band stamped “Macchiarini” $4,000-6,000

PETER MACCHIARINI BROOCH Studio, c. 1960 Stamped “Macc” 4” x 3” $3,000-4,000


259

395 HUBERT HARMON DOG BONE NECKLACE Taxco, c. 1942-48 Sterling and wood Impressed “Sterling Hubert Harmon Made in Mexico” $3,000-5,000

396 MARGARET DE PATTA RING Studio, executed c. 1950 Stamped with artist cypher $3,000-5,000

397 CLAIRE FALKENSTEIN BRACELET AND DANGLE Studio, c. 1955 Silver Dangle stamped “C Falkenstein” $4,000-6,000


398 JIM DINE UNTITLED 1970 Watercolor on vellum Signed upper margin “Jim Dine 1970”; retains partial gallery label verso Sheet: 24” x 36”; Frame: 30” x 42” $12,000-18,000

399 JIM DINE WATERCOLOR IN GALILEE 2001 Etching with hand coloring #24 of 50 Published by Pace Editions, Inc., New York Signed and dated in pencil lower left margin; edition lower left margin; Pace Editions Inc., blindstamp lower right Image: 18.25” x 16.25”; Sheet: 30.625” x 22”; Frame: 40” x 32” $4,000-6,000


400 CLAUDE CONOVER KATAP PLANTER Studio, designed circa 1961 Glazed stoneware with decoration Signed “Claude Conover Katap” Retains original plastic insert and Conover catalog 14.5” x 16” diameter $4,000-6,000

401 OSCAR BUCHER VESSEL Studio, c. 1960 Glazed ceramic 22.5” x 14” x 4.75”

Bucher established a studio in Santa Barbara after moving from his native Switzerland. His work was presented at numerous acclaimed exhibitions, including the California Design exhibitions at the Pasadena Art Museum in 1965, 1968 and 1971. In addition to his studio work, he also taught ceramics and glass blowing at the Santa Barbara City College for over 30 years. $1,500-2,000

261


402 HARRY CARMEAN THREE NUDE FIGURES 1991 Oil on canvas Signed lower right; retains Sullivan Goss Ltd., Gallery label verso Canvas: 20” x 24”; Frame: 23.5” x 27.5”

Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$2,000-3,000

403 STEVEN ASSAEL CLARA 1998 Ink on paper Signed “Assael 8098” lower center of sheet; retains Forum Gallery inventory label verso with complete exhibition and reproduction histories Sheet: 22” x 21.5”; Frame: 26” x 25”

Provenance: PROPERT Y BARBARA COLLECTI ON

$3,000-5,000

FROM A SA N TA


404 FRANZ HAGENAUER PAIR OF TABLE LAMPS Hagenauer Werkstatte, designed c. 1930 Each 32" $6,000-9,000

263


405 MICHAEL KENNA UNTITLED (CHARLES BRIDGE, STUDY 8, PRAGUE, CZECHOSLOVAKIA) 1992 Gelatin silver print #17 of 45 Signed and dated in pencil on mat lower right; edition on mat lower left; signature in pencil with date, edition and artist’s copyright verso; retains Peter Fetterman gallery label verso Image: 7.75” x 7.75”; Mat: 20” x 16”; Frame: 20.125” x 16.125” Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTION

$3,000-5,000

406 MICHAEL KENNA UNTITLED 1988 Gelatin silver print #1 of 45 Signed and dated in pencil on mat lower right; edition lower left Image: 7” x 8”; Mat: 20” x 16”; Frame: 20.125” x 16.125” Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTION

$1,500-2,000

407 MICHAEL KENNA UNTITLED 1988 Gelatin silver print #10 of 45 Signed and dated in pencil on mat lower right; edition lower left Image: 7.25” x 7.5”; Mat: 20” x 16”; Frame: 20.125” x 16.125” Provenance: PROPERT Y BARBARA COLLECTION

$3,000-5,000

FROM A SA N TA


408 MICHAEL KENNA UNCLIPPED BUSH, VAUX LE VICOMTE, FRANCE 1988 Gelatin silver print #13 of 45 Signed and dated in pencil on mat lower right; edition lower left Image: 6” x 9”; Mat: 20” x 16”; Frame: 20.125” x 16.125” Literature: H AS K E L L ,

ER I C AND M I CH AEL

K E N N A , L E N OTR E ’S G AR DENS, SAN M AR IN O : TH E H UN TIN GTON LI BR ARY; SANTA MO N IC A: R AM P UB L ICATI ONS, 1 997.

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$3,000-5,000

409 RICHARD MISRACH DESERT FIRE #1, BURNING PALMS (DESERT CANTOS SERIES) 1983 Chromogenic print Signed and dated lower right; title lower left Image: 18” x 23”; Sheet: 19.75” x 23.5”; Frame: 23” x 27” Literature: B AN H AM,

R EYNER R I CH AR D

MIS R AC H , D E S E RT C ANTOS, ALB U Q U ER Q U E: UN IV E R S IT Y O F N E W M EX I CO P R ESS, 1 987, C OV E R AN D P L 4 7 ; TUCK ER , ANNE WI LK ES, C R IME S AN D S P L E N D OR S: TH E DESERT C AN TO S O F R IC H AR D M I SR ACH, EX H I B I TI ON C ATALO G, H O USTO N : M U SEU M OF FI NE ARTS P R E SS, 19 9 6 , P G 90.

$2,500-3,500

265


410 WILLY GUHL PAIR OF GARDEN PLANTERS Eternit AG, designed circa 1955 Marked “Eternit 672” and “Eternit 551” respectively Each 23.5” x 14.5” diameter $3,000-5,000

411 TERJ EKSTRÖM PAIR OF EKSTREM CHAIRS (2) Hjellegjerde, designed 1972 Jersey stretch upholstery 31” x 29” x 29” $1,000-1,500


412 DIMITRI KOZYREV UNTITLED 2001 Pencil on paper Sheet: 23” x 29”; Frame: 24.25” x 30.25”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$2,000-3,000

413 DIMITRI KOZYREV SEASONS 2001 Acrylic on canvas Signed with date, title and canvas dimensions verso 19.25” x 24”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$3,000-5,000

FR OM A SANTA

267


414 MILO BAUGHMAN PAIR OF SWIVEL CHAIRS Thayer Coggin, designed c. 1970 With upholstery design by Jack Lenor Larsen Each 26” x 27” x 30” $3,000-5,000

415 VLADIMIR KAGAN GROUP OF CHAIRS (6) From the Capricorn Collection Kagan-Dreyfuss, designed 1958 Each 34.875” x 19.25” x 23.125” $3,000-5,000


416 WILL BARNET AFTER A DESIGN FROM HIS PAINTING “BOY WITH CORN, 1945” 1988 Handwoven silk tapestry #6 of 25 Styria Studio, New York Artist’s facsimile signature in the weave, retains Styria Studio label verso 60” x 71” $3,000-5,000

269


417 JOHN RISLEY SUITE OF FURNITURE (6) Luger Manufacturing Corp for Raymor, designed c. 1965 Enameled steel Settee: 51” x 34.25” x 16.5”; Table: 13.75” x 30.75” x 24”; Chairs (2): 40” x 26.25” x 29.25”; Chairs (2): 46.75” x 24.25” x 20.5” $4,000-6,000


418 JONATHAN ELLIS DRAWING FOR VESSEL HEAD I 1986 Charcoal on paper Signed and dated lower right sheet; retains Michael Kohn Gallery, Los Angeles, label verso Sheet: 35” x 49”; Frame: 35.125” x 48.75”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$1,500-2,000

419 LORDON BUNCH UNTITLED (LB-91-6) 1991 Oil on canvas Signed and dated verso; title verso; retains Stephen Wirtz Gallery, San Francisco label verso 60” x 72” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$5,000-7,000

271


420 JOSEPH BEUYS ART INTERMEDIA 1971 Offset lithograph Unknown edition size Published by Art Intermedia, Cologne Signed in pencil lower lower right; stamped lower right Sheet: 22.25” x 33”; Frame: 25.25” x 35.75” $1,000-1,500

421 JOSEPH BEUYS BLACKBOARD I, II AND III 1980 Silkscreen on cardstock I: from the edition of approximately 1,000; II: from the edition of 1,250; III: from the edition of 1,200 Published by Griffelkunst-Vereinigung, Hamburg Each signed in pencil at lower center margin of sheet Catalogue Raisonné, Schellmann #326328 Each image: 14.5” x 10.5”; Sheet: 33.75” x 23.75”; Frame: 36” x 26” Literature: SCH ELLMA NN,

JORG, J OSE P H

BEUYS, T HE MU LTI PLES: A CATA LOG U E R A IS O N N É O F MU LTI PLES A ND PRINTS 1 9 6 5 1 9 8 6, MUNI CH : EDI TION SCH ELLMA N N , 1 9 9 7, PL 326 -28.

$1,500-2,000


422 BEVERLY PEPPER UNTITLED 1985 Monotype with oil stick, charcoal and watercolor Signed in pencil and dated lower right; retains Pamela Auchincloss Gallery label verso Sheet: 92” x 42.5”; Frame: 96” x 46.5”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$4,000-6,000

273


ITALO SCANGA UNTITLED 1985 Monotype Artist’s proof Signed and dated lower right sheet; retains Pamela Auchincloss Gallery, NY label verso Sheet: 60.5” x 44”; Frame: 65.5” x 49”

Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$2,000-3,000

424 PETER ALEXANDER CHULA VISTA I 1981 Lithograph on Arches Artist’s proof 4, aside from the edition of 30 Printed by Ed Hamilton, Cirrus Editions, Los Angeles Signed “P.A.” and dated lower right; title lower left; edition lower center Image: 30” x 34.5”; Frame: 43” x 47” Literature: DAVI S,

BRU CE, MA DE I N L A :

T HE PRIN TS OF CI RRU S EDI TIONS, N E W YO RK: DAP, 1995, PG 163.

$1,500-2,000


275

425 BORIS SIPEK SNI CHAISE LOUNGE Driade, designed 1987 Leather and cherry wood 38” x 65” x 34” $2,000-3,000

426 BORIS SIPEK PROSIM SEDNI ARMCHAIR Driade, designed 1987 Leather, upholstery and cherry wood 36” x 23” x 29” $1,500-2,000


427 CONTEMPORARY MODERN SIDE CHAIR Manufacturer unknown, c. 2000 Lacquered and polished steel chair 30” x 18” x 27” $1,000-1,500

428 BORIS SIPEK COUCH Driade, designed c. 1987 Wood and upholstery 34” x 76” x 27” $3,000-5,000


27 7

429 PHILIPPE STARCK GROUP OF VON VOGELSANG CHAIRS (10) Driade, designed 1985 Powder coated steel Each 28” x 21.5” x 20”

Literature: GE H L E RT,

SYLVI A AND SI M ONE

P H IL IP P I E T AL , P H ILI P P E STAR CK , B ER LI N: TAS C H E N , 2 0 0 0, P G 182.

$2,000-3,000

430 MARCO POCCI & CLAUDIO DONDOLI PAIR OF FLIP OUTDOOR ROCKING CHAIRS Bonaldo, designed c. 2000 Batch-dyed polyurethane Molded manufacturer’s marks “Archirivolto Design/Bonaldo Casa/Made in Italy” 35” x 29” x 38” $1,500-2,000


431 DEBORAH OROPALLO STEEL BRIDGE 1990 Oil on canvas Retains San Jose Museum of Art exhibition label verso; retains Milwaukee Art Museum exhibition label verso; retains partial Stephen Wirtz Gallery, San Francisco, label verso 80” x 80” Exhibited: “ H OW-TO:

TH E PA I NT I N G S OF DE B OR A H OR OPA L LO”,

T RAV EL ING EXH I BI TION, SA N JOSE M U SE U M OF A RT, SA N J OSE , CA , O CTOBER 20 0 1 - JU NE 20 03 .

Provenance: PROPERT Y $10,000-15,000

FROM A SA N TA B A R B A R A C OL L EC T I ON


432 PHILIPPE STARCK GROUP OF SARAPIS CHAIRS (10) Driade, designed 1986 Powder coated steel Each 31.25” x 16” x 20”

Literature: GE H L E RT,

SYLVI A AND SI M ONE

P H IL IP P I E T AL , P H IL IP P E STAR C K , B ER LI N: TAS C H E N , 2 0 0 0, P G 1 82.

$2,000-3,000

433 PIERO LISSONI FERRO TABLE Porro, designed 1994 28.75” x 93” x 33” $5,000-7,000

279


434 RICK ARNITZ CURTAINS 1990 Oil on canvas Signed and dated verso; title with dimensions verso 96" x 72"

Provenance: PROPERT Y BARBARA COLLECTI ON

$5,000-7,000

FROM A SA N TA


281

435 PHILIPPE STARCK GROUP OF LA MARIE CHAIRS (10) Kartell, designed 1998 Transparent polycarbonate Retains molded makers marks Each 34” x 15.25” x 17”

Literature: GE H L E RT,

SYLVI A AND SI M ONE

P H IL IP P I E T AL , P H IL IP P E STAR C K , B ER LI N: TAS C H E N , 2 0 0 0, P G 1 71 .

$2,000-3,000

436 PHILIPPE STARCK TIPPY JACKSON FOLDING TABLE Driade, designed 1985 28.25” x 47” diameter

Literature: GE H L E RT,

SYLVI A AND SI M ONE

P H IL IP P I E T AL , P H IL IP P E STAR C K , B ER LI N: TAS C H E N , 2 0 0 0, P G 1 82.

$2,000-3,000


437 JOSEPH DRAPELL CORONATION 1978 Acrylic on canvas Signed verso Canvas: 77” x 80” Provenance: PROPERT Y BARBARA COLLECTI ON

$10,000-15,000

FROM A SA N TA


438 BEATRICE WOOD GREEN LUSTER CHALICE c. 1987-92 Glazed earthenware Signed “Beato” underneath base 8.25” x 10” diameter Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$4,000-6,000

439 JAMES MOORE TWO CUPS AND A VASE 1987 Oil on canvas Signed in paint lower right; retains Schmidt Bingham Gallery label verso Canvas: 20” x 30”; Frame: 21.25” x 31.5”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$2,500-3,500

FR OM A SANTA

283


440 POST-MODERN ARTICULATED THRONE CANOPY CHAIR Custom, designed c. 2000 64” x 52” x 41” $2,000-3,000

441 ANDRE DUBREUIL SPINE CHAIR Ceccotti, designed 1988 Welded and painted steel 32.75” x 26.5” x 34”

Literature: FI ELL ,

CH A RLOT TE, 1000

CHAIRS, KÖLN: TASCH EN, 1997, PG 6 02 .

$500-700

MASANORI UMEDA , ATTRIBUTED LOUNGE CHAIR Possibly by Edra, designed 1990 Velour upholstery 30” x 30” x 30” $800-1,200


443 MICHELE DE LUCCHI SHOLAPUR VASE Marmi Design, designed 1985 Polished marble and slate 18” x 21” x 10.5” $1,000-1,500

444 GWATHMEY SIEGEL TUXEDO CHINA (62) Swid Powell, designed c. 1989 Each with facsimile signature Comprised of dinner plates (9), salad plates (8), bread plates (8), dessert plates (8), soup bowls(8), dessert bowls (10), cups (6), saucers (5)

Literature: TAP E RT,

AN NET TE, SWI D P OW-

E L L : O BJ EC TS BY AR C H I TECTS, NEW YOR K : R IZ ZO L I, 19 9 0.

$1,000-1,500

285


445 MARIO BOTTA PAIR OF SHOGUN FLOOR LAMPS (2) Artemide, designed 1986 Enameled steel Each 84”

Literature: FI ELL ,

CH A RLOT TE A N D P E T E R

FIELL , 1 000 LI GH TS: 1960 TO PRE SE N T, VO LUM E 2, KÖLN: TASCH EN, 20 05, P G 350.

$1,500-2,000

446 MARIO BOTTA SHOGUN TABLE LAMP Artemide, designed 1986 22.25” x 12.75” x 15”

Literature: FI ELL ,

CH A RLOT TE A N D P E T E R

FIELL , 1 000 LI GH TS: 1960 TO PRE SE N T, VO LUM E 2, KÖLN: TASCH EN, 20 05, P G 350.

$500-700


447 ERIKA ROTHENBERG IS GOD PUNISHING US? 1987 Acrylic on canvas Signed and dated with title verso; retains Rosamund Felsen Gallery, Santa Monica, label verso 40” x 54”

Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$3,000-5,000

287 448 ERIKA ROTHENBERG 7 HOURS, 10 MINUTES A DAY c. 1987 Acrylic on canvas Image: 11” x 18”; Sheet: 16” x 19.875”; Frame: 16.25” x 20”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$2,000-3,000

FR OM A SANTA


449 PATROCINIO BARELA UNTITLED (FIGURE WITH THREE FACES) 1961 Wood Signed “Pat. Bar” Purchased from the artist in 1961 24” x 5” x 7” $2,500-3,500

450 PATROCINIO BARELA UNTITLED (FIGURE WITH THREE FACES) 1961 Wood Signed “Pat. Bar” Purchased from the artist in 1961 17” x 6.5” x 5” $2,000-3,000

451 ROBERT STEVENSON A TRIBUTE TO GEORGE NAKASHIMA Studio, executed 1995 Clara walnut, Pervian walnut, American black walnut and Rosewood Branded “Hand Crafted by R.G. ‘Bob’ Stevenson” 30” x 74” x 25”

This table won first prize in “Design in Wood”, San Diego, 1995 $4,000-6,000


452 CHRISTOPHER DYSON RECLINING NUDE WITH HEADS 1986 Acrylic on canvas in 2 panels Both panels retain 70 Arden Street Gallery label verso; one panel signed and dated in black ink verso Each 72” x 54” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$3,000-5,000

289


453 BILLY AL BENGSTON PLATO DE MORENO 1982 Watercolor collage From the suite of 60 original watercolors Signed lower left; blindstamp lower right Sheet: 23” x 29.5”; Frame: 24.25” x 30.75” $3,000-4,000


454 ROMANO BIANCHI GROUP OF ILLUMINATED ALABASTER STOOLS Studio, designed c. 1980 Retains manufacturer's label Each 25” x 14” diameter $2,500-3,500

291 455 FRANCESCO BINFARE FLAP COUCH Edra, designed 2000 White leather Retains Edra tag Approximately 24” x 92” x 48” $2,000-3,000


456 ELIJAH DAVID HERSCHLER UNTITLED 1960 Engraved “D. Herschler 60” With base: 12” x 17” $2,000-3,000

457 NINO FRANCHINA UNTITLED c. 1960 Iron and Mahogany 12” x 14.5” x 3” $3,000-5,000


458 MASSIMO IOSA GHINI BALZO SOFA AND LOUNGE CHAIR Moroso, designed c. 1990 White leather Chair: 31” x 36” x 39”; Sofa 31” x 82” x 41” $2,000-3,000

293

459 BRUTALIST CONSTRUCTION COFFEE TABLE Manufacturer unknown, designed c. 960 Melt coated welded steel with glass 15.25” x 59.75” x 35.75” $3,000-5,000


460 HARRY BERTOIA 3034 c. 1960s Monoprint on rice paper Inscribed in pencil “3034” verso Sheet: 12.5” x 25.5” $1,500-2,000

461 HARRY BERTOIA 497 c. 1960s Monoprint on rice paper Initialed in blue ink “HB” verso; inscribed “497” lower left margin Sheet: 8.5” x 12”; Mat: 13” x 18” $1,500-2,000

462 HARRY BERTOIA 3 (SERIES IV) c. 1960s Monoprint on rice paper Inscribed in pencil “IV 3” verso Image: 10” x 10”; Sheet: 11.5” x 11.75”; Mat: 16” x 16” $1,500-2,000

463 HARRY BERTOIA 7 (SERIES IV) c. 1960s Monoprint on rice paper Inscribed in pencil “Harry Bertoia Series IV 7” verso Image: 10” x 10”; Sheet: 12” x 11.75”; Mat: 16” x 16” $1,500-2,000


464 ROBERT MULLEN UNTITLED 1957 Oil on panel Signed and dated in black ink verso "Robert Mullen/November 1957" Visible canvas: 23.875" x 17.5”; Frame: 25" x 19" $1,000-2,000

465 ROBERT PEARSON MCCHESNEY DANCING SCHOOL 1944 Gouache and ink on paper Signed and dated lower right; “Dancing School #53” inscribed verso Image: 18” x 11”; Sheet: 19” x 12”; Frame: 26.25” x 18.75” $2,000-3,000

295 466 MAX FINKELSTEIN HEXALUM #4 1975 Enamel on aluminum Signed and dated verso Image: 23.25” x 19.25”; Frame: 24.375” x 20.375” $3,000-4,000


LAMA wishes to thank the artist for his kind assistance in cataloguing these works.

467 BRUCE GRAY GROUP OF LOUNGE CHAIRS (2) Studio, 1993 Steel Signed “B. Gray 2/100” and “B. Gray 3/100” 38” x 46” x 43” and 33” x 45” x 45” $2,000-3,000

468 BRUCE GRAY PEDESTAL Studio, 1993 Steel 56.5” x 57” x 51” $1,500-2,000


469 BRUCE GRAY EXOSPHERE EXCERPT 1995 Kinetic sculpture Studio Approx. 61” x 87” x 8” $2,000-3,000

BRUCE GRAY DESK Studio, 1993 Steel 36” x 107.5” x 53” $2,000-3,000

297


471 FRANK ROMERO UNTITLED (STUDY) 1993 Acrylic on paper Signed “MG-FEROMERO” lower left; dated “11/4/93” lower right Visible image: 29.125” x 21.625”; Frame: 37.25” x 29.5” $500-700

472 FRANK ROMERO UNTITLED (6) 1990-92 Various mediums C: #45 of 78 A: Signed in pencil “FERomero” lower left; B: signed upper right; C: signed in black ink at lower left with edition and blindstamp; D: signed and dated lower right A: Verso side with another sketch A: 16.25” x 20”; B: 15” x 16.5”; C: 19.5” x 27.25”; D: 22.25” x 30”; E: 19.75” x 28”; F: 40” x 30” $1,000-1,500


299

473 PAUL TUTTLE CHAIR Studio, designed c. 1980 Laminated mahogany and enameled steel Impressed with artist cypher and “9805” 27.5” x 18.5” x 26.5”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$3,000-5,000

FR OM A SANTA


474 ROBERT MOTHERWELL UNTITLED

475 ROBERT MOTHERWELL UNTITLED (THE BASQUE SUITE)

1973 Aquatint and lift-ground etching on Arches Cover paper #29 of 46 Published by the artist; printed by Catherine Mosley Signed in pencil with edition lower right; Robert Motherwell blindstamp lower right Catalogue Raisonné, Engberg #138 Image: 35” x 18”; Sheet: 41.5” x 24”; Frame: 50” x 33”

1971 Screenprint on J.B. Green paper #17 of 150 Published by Marlborough Graphics Inc., New York; printed by Chris Prater, Kelpra Studio, London Signed in black ink at lower right of image; signed with edition in pencil at lower right of sheet; Robert Motherwell blindstamp at lower right Catalogue Raisonné, Engberg #83 Image: 22.5” x 17.5”; Sheet: 41” x 28.25”

Literature: BA NACH ,

Literature: B A N AC H,

JOA N A ND S I R I

J OAN AN D S IR I E N GB E R G,

EN G BERG , ROBERT MOTH ERW ELL : T HE C OM-

R OB E RT M OT HE RWE L L : TH E C O MP L E TE P R IN TS 19 40 -

PL ET E PRINTS 1940 -1991: A CATA LOG U E R A I-

1 9 9 1 : A C ATA LOG U E R A I S O N N É, 1ST E D ITIO N , MIN N E-

S O NNÉ, 1 ST EDITION, MINNEA POLI S: WA L K E R

A P OL I S: WA L K E R A RTS C E N TE R , 2 0 03 , P G 112 , P L 83 .

ARTS CENTER , 20 03, PG 140, PL 138.

$2,000-3,000

$1,800-2,500

476 ROBERT MOTHERWELL UNTITLED (THE BASQUE SUITE)

477 ROBERT MOTHERWELL UNTITLED (THE BASQUE SUITE)

1971 Screenprint on J.B. Green paper #73 of 150 Published by Marlborough Graphics Inc., New York; printed by Chris Prater, Kelpra Studio, London Signed in black in at lower left of image; signed with edition in pencil at lower right of sheet; Robert Motherwell blindstamp lower right Catalogue Raisonné, Engberg #80 Image: 22.5” x 17.5”; Sheet: 41” x 28.25”

1971 Screenprint on J.B. Green paper #70 of 150 Published by Marlborough Graphics Inc., New York; printed by Chris Prater, Kelpra Studio, London Signed in black ink at upper left; signed in pencil with edition at lower right; Robert Motherwell blindstamp at lower right Catalogue Raisonné, Engberg #79 Image: 22.5” x 17.5”; Sheet: 41” x 28.25”

Literature: BA NACH ,

Literature: B A N AC H,

JOA N A ND S I R I E N G B E R G ,

J OAN AN D S IR I E N GB E R G,

RO BERT MOTH ERW ELL : TH E COMP L E T E P R I N TS

R OB E RT M OT HE RWE L L : TH E C O MP L E TE P R IN TS

19 4 0 - 19 9 1 : A CATA LOGU E RA I SONNÉ, 1 ST E DI T I ON ,

1 9 4 0 - 1 9 9 1 : A C ATA LOG U E R AIS O N N É, 1ST E D I-

M INNEAPOLI S: WA LKER A RTS CENT E R , 2 003, P G

T I ON , M I N N E A P OL I S: WA L K E R ARTS C E N TE R ,

11 0, PL 8 0.

2 003, P G 1 1 0, P L 7 9.

$2,000-3,000

$2,000-3,000

LOT 475

LOT 476

LOT 477


478 MICHEL TABORI DESERT ECSTASY 3 2007 Mixed media and resin on canvas Signed and dated in black ink verso; retains Modern Masters Fine Art Gallery, Palm Springs label verso 48” x 36” $500-1,000

479 LITA ALBUQUERQUE BREATH OF FIRE 1989 Oil, powdered pigment and gold leaf on wood panel framed in Plexiglas Retains gallery label verso 24” x 24”; Frame: 30.25” x 30.25” $3,000-5,000

480 LADDIE JOHN DILL UNTITLED 2008 Mixed media construction Signed and dated in black ink verso 24.25” x 12” x 1” $1,500-2,000

301


481 DAVE SALLE HIGH AND LOW (HIGH AND LOW SERIES) 1994 Lithograph in colors, woodcut and screenprint on Tyler Graphics Ltd. handmade paper #6 of 30 Published by Tyler Graphics Ltd., New York Signature in pencil with date lower right; edition lower right; Tyler Graphics Ltd. blindstamp lower right Sheet: 56.875” x 44.75”; Frame: 73” x 60.5” Literature: DAVID

SA LLE: H I GH AN D LOW:

A S ERIES OF SI X MIXED -MEDI A PR I N TS, MO UN T KI SCO: T Y LER GRA PH ICS LT D, 1 9 9 4 , NP.

$1,000-2,000


483 JAMES ROSENQUIST STAR PROCTOR

FRANCESCO CLEMENTE THIS SIDE UP 1981 Etching on wove paper #10 of 25 Published by Crown Point Press Signed in pencil with edition lower left Image: 19” x 38”; Sheet: 29” x 48”; Frame: 32” x 51” $1,200-2,000

1978 Etching with aquatint, embossing and hand coloring on Pescia Italia paper #65 of 78 Published by Multiples, Inc., New York Signed and dated in pencil lower right; “Star Proctor” lower left; edition lower left; Martin Lawrence Limited Editions, Inc. label verso Catalogue Raisonné, Glenn #130 Image: 17.5” x 35.5”; Sheet: 22.25” x 39.75”; Frame: 33.75” x 51” Literature: GL E N N ,

CONSTANCE W, TI M E

D UST: R O S E N Q UIST, COM P LETE G R AP H I CS: 19 6 2-19 9 2, N E W YO R K: R I ZZOLI , 1 993, P G 15 1, P L 13 0.

$1,200-1,500

484 CLAES OLDENBURG FAGEND BOOT 1976 Soft ground etching and aquatint on Rives BFK #24 of 25 Published by Multiples Inc., New York; printed by John Slivon, Crown Point Press, Oakland Signed lower right; edition lower left; “Crown Point Press John Slivon” blindstamp lower right Catalogue Raisonné, Axsom #155 Image: 10.125” x 12.5”; Sheet: 29.75” x 22”; Frame: 37.75” x 25.74” Literature: AXS O M,

RI CH AR D H AND DAVI D

P L ATZ K E R , P R IN TE D STU FF: P OSTER S AN D E P H E ME R A BY C L AES OLDENB U R G : A C ATALO GUE R AIS O N NÉ, NEW YOR K : H U DSON H IL L S P R E SS, 19 9 7, P G 298, P L 1 55.

$1,000-1,200

303


485 STAN DANN WOOD GRAPHICS Forms + Surfaces, designed c. 1970 Carved wood panel 24” x 65” x 1.75” $1,000-1,500

486 SHERRILL BROUDY CHEST OF DRAWERS 102A and 102B Panel Carve, designed c. 1970 Carved wood drawers Possibly created for the Broadway Plaza Hotel, Los Angeles 39” x 35.5” x 17.5” $1,500-2,000


487 DAVID GILLESPE & BILLY JOE MCCARROLL DOOR Forms + Surfaces, designed c. 1970 Cast bronze over wood 78.5” x 36”

Literature: CALIFORNIA

DESIGN ELEVEN ,

E X H IB ITIO N C ATALO G , PASADENA: PASAD E N A ART MUS E UM, 1 971 , P G 67 FOR A S IMIL AR E XAMP L E .

$3,000-4,000

488 DAVID GILLESPE & BILLY JOE MCCARROLL , ATTRIBUTED PAIR OF BRONZE PANELS Forms + Surfaces, designed c. 1970 76" x 38" x .75" and 67" x 36" x .5" respectively $2,500-3,500

305


489 GEORGE WASHINGTON SMITH UNTITLED c. 1920s Color drawing on paper Visible sheet: 13.625” x 9.125”; Frame: 23” x 18” Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$1,500-2,000

490 JOSEPH PARK DEEP BLUE SEA 2004 Oil on linen Signed, dated and titled verso; retains Howard House gallery label Canvas: 24” x 30”

Provenance: PROPERT Y BARBARA COLLECTI ON

$2,000-3,000

FROM A SA N TA


491 GERARDO BURMESTER D. SEBASTIÃO ‘O DESEJADO’ OU O PRAZER DA AUSÊNCIA 1984 Oil on canvas Signed and dated lower right; inscribed “D. Sebastião ‘o desejado’ ou o prazer da ausência/Maia-1984” verso; retains partial gallery label verso 79.5” x 75” $2,000-3,000

307


492 CAMERON SHAW UNTITLED (WHITE HORSE) 1989 Mixed Media Signed verso 52.5” x 17.375” x 5.5” Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$2,000-3,000

493 JOHN VIRTUE THREE STUDIES (LANDSCAPE 101) 1989-90 Shellac black ink and white paint on plaques in custom wooden frames A: Signed and dated in pencil verso; “Study No. 20” and “Landscape 101” written verso; B: Signed and dated verso; “Study No. 9 - Landscape 101” written verso; C: Signed and dated verso; “J” written in pencil verso; “Study No. 10 - Landscape 101” written verso A: Image: 2.25” x 4.825”; Frame: 3” x 5.5”; B: Image: 5.125” x 5.125”; Frame: 6” x 6.825”; C: Image: 6.75” x 6.825”; Frame: 7.75” x 7.5” Provenance: PROPERT Y BARBARA COLLECTI ON

$2,500-3,500

FROM A SA N TA


494 JAMES CASTLE UNTITLED (INTERIOR WITH FRIENDS) No date Soot, spit, and string on found paper Retains multiple Knoedler & Company Gallery, New York, labels verso Sheet: 6.75” x 9.25”; Frame: 16” x 18”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$5,000-7,000 Detail of verso

FR OM A SANTA

309


495 WILLIAM WILEY PUNCH ASLEEP WITH ABSTRACTION 2003 Acrylic, charcoal and mixed media on linen Signed and dated at center of canvas; title in pencil verso; “03.29.P” in pencil verso Visible canvas: 35” x 37.5” x 3”; Frame: 37” x 39” Provenance: PROPERT Y

FROM A SA N TA

BARBARA COLLECTI ON

$6,000-9,000

Detail of verso


496 BRENDA GOODMAN UNTITLED 1991 Oil on wood diptych Left panel signed and dated in black ink verso; both panels retain Pamela Auchincloss Gallery, New York, NY labels verso Each 80” x 36” Provenance: P R O P E RT Y

FR OM A SANTA

B AR B AR A C O L L EC TIO N

$2,000-3,000

311

497 LAWRENCE GIPE UNTITLED c. 1990s Oil on paper Sheet: 24.5” x 32”; Frame: 32.5” x 40.5”

Provenance: P R O P E RT Y B AR B AR A C O L L EC TIO N

$2,000-4,000

FR OM A SANTA


498 AMERICAN STREAMLINE OVAL DESK Jewett City Furniture Co., designed 1935 30.25” x 72” x 46.25” $2,000-3,000

499 FRANK FLETCHER THE FLETCHER DESK Fletcher Aviation, designed c. 1945 Light Honduras mahogany 30.25” x 72” x 46.25” $1,500-2,000


313 500 C. JERE PAIR OF PYLON FLOOR LAMPS Studio, designed 1980 Signed in pen “C. Jere 1980” 76” x 18” x 16” $1,500-2,000


501 ANTONIO DA ROS GLASS

502 HUGH ACTON LOLLIPOP TABLE

503 EERO SAARINEN DINING CHAIRS (4)

Cenedese & Co., designed c. 1965 Sommerso glass technique 9.875” x 7.75” diameter

Acton, designed c. 1950s Chrome-plated steel and marble Retains partial label 20.125” x 24” diameter

Model no. 71ULB Knoll, designed 1948 Each 31” x 22” x 17.5”

$1,000-1,500

Literature: LUTZ ,

$2,000-3,000

B R IAN , K N O L L : A MO D -

E R N IST UN IV E R S E, N E W YO R K : R IZ ZO L I, 2 0 10, P G 118 .

$1,000-1,500


504 YAACOV AGAM THE BLESSING 2nd half of 20th century Lithograph #11 of 99 Signed lower right; edition lower left Image: 35.75” x 14.25”; Frame: 51.5” x 30.25” $800-1,200

505 YAACOV AGAM HIDDEN RAINBOW X 9 2002 Agamograph (lithographic image viewed through a lenticular lens) #49 of 99; aside from 25 proofs Signed lower right; edition lower left Sold with documentation from Park West Gallery, Michigan 14” x 14.25”; Frame: 27” x 27.25” $1,500-2,000

506 YAACOV AGAM NIGHT CONSTELLATION 1979 Serigraph on Arches #46 of 99 Atelier Arcay, Paris Signed below circle; edition lower left Sold with documentation from Goldman’s Art Gallery; Acquired by consigner from Goldman’s Art Gallery at L.A. County Fair Image/Sheet: 28.5” x 42.5”; Frame: 28.5” x 42.75” $1,000-1,500

315


507 CHARLES BRAGG A PRINCELY STUDY & UNCLE SAM c. 1960s Oil on panel Both signed lower right and retain gallery labels verso A: Visible image: 9.75” x 8.25”; Frame: 20.75” x 19.25”; B: Visible image: 9.5” x 7.75”; Frame: 20.625” x 19” $3,000-5,000


Š J. Paul Getty Trust. Used with permission. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10)

317

HELP RESTORE

RICHARD NEUTRA VDL STUDIO/RESIDENCES WAYS TO CONTRIBUTE

Bring friends to the Saturday docent tours Become a Friend of VDL at neutra-vdl.org Buy a print of this picture signed and numbered by Julius Shulman at: https://secure.qgiv.com/for/?key=neutravdl


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 May 15th collection and storage fees will begin incurring immediately.

BUYER’S PREMIUM A buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 22.5% if payment by cash, check or bank wire is received by May 15th. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card or if full payment is not received by May 15, 2012. (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 8.75% 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.

Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who can not come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc, reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale.

GUARANTEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in BLUE type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc, in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed”, “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility of reading all addendums and posted corrections to the catalogue prior to bidding.

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 MAY 15th. All property remaining after MAY 15th will be removed and stored in an off-site storage facility at the cost of the buyer. Purchases not removed by May 15th will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing; the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDING We encourage you to attend the sale in-person. However, if you can not attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an “Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, May 5th by 5:00 p.m. (PST) via fax to (323) 904-1954. 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 see if your bids were successful. All successful absentee bids should be notified by phone by May 8th. 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.

RESCISSION Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyers sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping and storage costs will not be reimbursed. Modern Auctions, Inc. is not liable for any costs, such as experts 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 fees, attorney’s fees and other costs.

RIGHTS TO PHOTOGRAPHS It is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted. Buyers do not acquire the rights to reproduce the images in any form. All images and text contained in this catalogue are the sole property of Modern Auctions, Inc. and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 7900369478 Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406


INDEX A

Aalto, Alvar Aarnio, Eero Acton, Hugh Agam, Yaacov Albers, Josef Albuquerque, Lita Alexander, Peter Andreson, Laura Appel, Karel Arad, Ron Arbus, Diane Arnitz, Rick Arntz, Michael Artschwager, Richard Assael, Steven Avery, Milton

170, 174 151 502 504-506 3-4 479 424 277 350 93, 102 364 434 192 269 403 298-301

B

Bacerra, Ralph Baldwin, Benjamin J. Barela, Patrocinio Barnet, Will Bartlett, Bo Baughman, Milo Benglis, Lynda Bengston, Billy Al Benjamin, Karl Bennett, Garry Knox Benton, Fletcher Berlant, Tony Berman, Wallace Bertoia, Harry Beuys, Joseph Bevan, Tony Bianchi, Romano Binfare, Francesco Birk, Sandow Bitters, Stan Booth, Peter Borsani, Osvaldo Botta, Mario Bourgeois, Louise Bragg, Charles Brainard, Joe Brainwash, Mr. Broudy, Sherrill Bucher, Oscar Bunch, Lordon Burmester, Gerardo Burtynsky, Edward Butter, Tom

280 285 449-50 416 373 414 223 453 134-38 36 7 266-67 193 460-63 420-21 260 454 455 375 272-76 362 146 445-46 345 507 198 234 486 401 419 491 45-46 97

C

Calder, Alexander Carmean, Harry Castiglioni, Achille Castle, James Catlett, Elizabeth Cazanave, Andre Chagall, Marc Clemente, Francesco Close, Chuck Cohen, Larry Colombo, Joe Conover, Claude Coronel, Raul Cressey, David

20-23 402 89 494 370 154 164 482 334 323-24 152 400 33 87,91

D

da Ros, Antonio Dann, Stan d’Arcangelo, Allan Davis, Gene de Lucchi, Michele de Patta, Margaret Delap, Tony Dickinson, John Dill, Laddie John Dine, Jim Dobashi, Jun Dole, William Donovan, Tara Douke, Daniel Drapell, Joseph Dubreuil, Andre

501 485 13 12 443 396 294 356 480 398-99 166-68 199 96 130 437 441

Durussel, Bernard Dyson, Christopher

224 452

E

Eames, Charles Eiermann, Egon Ekstrom, Terj Ellis, Jonathan Evans, Paul

202-203, 271 149 411 418 131-33

F

Falkenstein, Claire Feitelson, Lorser Fellig, Arthur Ferebee, Chris Finch, Spencer Finkelstein, Max Fisher, Joel Fleishmann, Greg Fletcher, Frank Follis, John Franchina, Nino Francis, Sam Frankl, Paul Frey, Viola Fuller, Buckminster

24-26, 397 142-44 245 103 105 466 191 98 499 286-89 457 382-83 360 342 281

G

Gatherer, Stuart Luke Giacometti, Diego Giamportone, Gerald Gilhooly, David Gillespe, David Gipe, Lawrence Goldberg, Michael Goldsworthy, Andy Goodman, Brenda Graham, Robert Graves, Nancy Gray, Eileen Gray, Bruce Grossman, Greta Guhl, Willy

374 159 262 221-22 487-88 497 85 250 496 335-36 384 303 467-70 28-32 410

H

Hagenauer, Franz 404 Hamilton, Ann 184 Hammersley, Frederick 139-41 Hare, David 44 Haring, Keith 214 Harmon, Hubert 395 Hawkinson, Timothy 109 Held, Al 295-97 Henningsen, Poul 172 Herms, George 194 Herschler, Elijah David 456 Higgins, Michael & Frances 1-2 Hockney, David 251-59 Hofmann, Hans 308-309 Hutchinson, Mabel 40 I

Indiana, Robert Iosa Ghini, Massimo Ireland, David

19 458 264

J

Jacobsen, Arne Jammes, Louis Jere, C. Johns, Jasper Johnson, Ray Jones, Charles Hollis

173, 183 145 211-13, 500 121-25 239 359

K

Kagan, Vladimir Katavolos, William Kelly, Ellsworth Kenna, Michael Kienholz, Ed Kjaerholm, Poul Koons, Jeff Kozyrev, Dimitri Krebs, Patsy

L

Lalanne, Francois-Xavier 155 Lamb, Walter 291-92 Le Corbusier 169, 176 Lescaze, William 304 Levee, John 197 Levine, Marilyn 38 Lewitt, Sol 15 Lichtenstein, Roy 240-42 Lissoni, Piero 433 Loewy, Raymond 302, 306 Longo, Robert 216-18 M

Macchiarini, Peter 392-94 Maillol, Aristide 165 Manzoni, Piero 147 Marquez, Roberto 361 Mategot, Mathieu 156 Matta, Roberta 351 Maxwell, Robert 86, 88 McCabe, Gerald 37 McChesney, Robert Pearson 465 McCobb, Paul 81-84 McQueen, John 249 Mesquita, Carlos 282 Mies van der Rohe, Ludwig 175 Miro, Joan 161-63 Misrach, Richard 409 Mizuno, Mineo 279 Moon, Mick 349 Moore, James 439 Morley, Malcolm 348 Morrison, Jasper 104 Motherwell, Robert 474-77 Mouille, Serge 158 Mullen, Robert 464 Murakami, Takashi 387-91 N

Nakashima, George Nason, Carl Natzler, Gertrud & Otto Nauman, Bruce Nava, John Negulesco, Jean Neiman, Leroy Nelson, George Neufeldt, Max Neutra, Richard Nevelson, Louise Newson, Marc

114-20 153 63-75 17-18 372 160 376 201-208 41-42 315 385-86 94-95

O

Oldenburg, Claes Oliveira, Nathan Oppenheim, Dennis Oropallo, Deborah

490 171 346 422 157 219-20 331-33 235-38 305 52-62 430 225 278

Q

415 209-10 127-28 405-408 196 179 243 412-13 293

Quistgaard, Jens

228

R

Rauschenberg, Robert Ray, Man Reiss, Roland Rickey, George Risley, John Rivers, Larry Robsjohn-Gibbings, T.H. Rohde, Johan

471-72 483 132 447-48 215 325-30

S

Saarinen, Eero 503 Salle, David 481 Sanchez, Pauline Stella 111 Scanga, Italo 423 Scarpa, Tobia & Afra 150 Schatz, Zahara 27 Schindele, Dorothy 284 Schindler, Rudolph M. 310-314 Scully, Sean 106-108 Senbergs, Jan 227 Serra, Richard 129 Shaw, Richard 39 Shaw, Cameron 492 Shelton, Peter 113 Shulman, Julius 186-87 Siegel, Gwathmey 444 Simbari, Nicola 366, 377-78 Sipek, Boris 425-28 Smith, David 43 Smith, George W. 489 Snelson, Kenneth 16 Sottsass, Ettore 92 Stabile, Judy 347 Starck, Philippe 429, 432, 435-36 Steinberg, Saul 352 Stella, Frank 14 Stevenson, Robert 451 Stone, Edward Durell 312 Sultan, Larry 51 T

Tabori, Michel 478 Tackett, La Gardo 289-90 Takahama, Kazuhide 155 Tamayo, Rufino 380-81 Tancredi 148 Taschler, Lori 363 Therrien, Robert 110 Thomson, Carson 353-55 Tress, Arthur 246-47 Tuttle, Paul 473 U

Umeda, Masanori

343-44, 442

V

484 321 265 431

P

Park, Joseph Pascoe, Clifford Pashgian, Helen Pepper, Beverly Perriand, Charlotte Pesce, Gaetano Pettibon, Raymond Pettibone, Richard Pfisterer, Peter Picasso, Pablo Pocci, Marco Poivret, Jean-Luc Poor, Henry Varnum

Romero, Frank Rosenquist, James Rothenberg, Susan Rothenberg, Erika Ruppersberg, Allen Ruscha, Ed

338-341 195 270 185 417 365 357-58 307

Valentine, De Wain 263 Van Keppel, Hendrik 34-35 Vasa 5-6 Vieira da Silva, Maria Helena 200 Virtue, John 493 Vitali, Massimo 47-50 W

Warhol, Andy 230-33 Warshaw, Howard 248 Weegee 245 Wegman, William 244 Wegner, Hans J. 177-82 Wesselmann, Tom 367-69 Wight, Frederick 371 Wiley, William 495 Woelffer, Emerson 316-20 Wonner, Paul 322 Wood, Beatrice 438 Wormley, Edward 76-80 Wurster, William 268 Y

Yavno, Max Young, Michael Yuskavage, Lisa

188-90 261 337

Z

Zajac, Jack Zoell, Bob

379 101


los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions

AUCTION:

SUNDAY, MAY 6, 2012 12PM NOON (PST)

PREVIEW: APRIL 25 - MAY 5 10AM - 6PM (PST)

ADDRESS: 16145 HART STREET VAN NUYS, CA 91406 TELEPHONE: 323-904-1950 DIRECTIONS TO AUCTION & PREVIEW FROM HOLLYWOOD VAN NUYS AIRPORT

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

SHERMAN WAY VALJEAN AVE

Make your way to the 101 Freeway Proceed North on the 101 Merge onto the 405 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

HART ST

FROM THE WESTSIDE

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

101 FREEWAY WOODLAND HILLS

N

Complimentary Valet Parking

DIRECTOR

PETER LOUGHREY MANAGING DIRECTOR

SHANNON LOUGHREY

CATALOGUER/EDITOR

ZOE WEINBERG DAN TOLSON PAUL DES MARAIS PHOTOGRAPHY

MARKETING DIRECTOR

ELIZABETH PORTANOVA

CLIENT SERVICES

JULIE WEARING ZOE WEINBERG

SUSAN EINSTEIN MARIO DE LOPEZ ESSAYS

PAUL DES MARAIS DAN TOLSON

HOLLYWOOD

GETTY CENTER

Profile for Los Angeles Modern Auctions

May 6, 2012 Modern Art & Design Auction  

The May 6, 2012 Modern Art & Design Auction will include over 100 works from an important Santa Barbara collection, featuring fine art and s...

May 6, 2012 Modern Art & Design Auction  

The May 6, 2012 Modern Art & Design Auction will include over 100 works from an important Santa Barbara collection, featuring fine art and s...

Profile for lamodern