May 17, 2015 Modern Art & Design Auction

MODERN ART & DESIGN MAY 17, 2015

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Preview May 4–16, 2015 10am–6pm (PT) Auction Sunday, May 17, 2015 12pm (PT) 16145 Hart Street Van Nuys, CA 91406

Balance is an Art. Balance is an art. Whether one is balancing a career

In this sale, we also have several works by great artists

with family or simply just trying to balance one's diet, it

who at the time in the late 1950s were just beginning to

can be difficult to get it just right. But when equilibrium

show their promise. Ken Price, Billy Al Bengston, John

is achieved, it's a thing of beauty. Often times, balance

Mason, and Henry Takemoto were all students of Peter

takes experience and practice. Take a work like Alexan-

Voulkos at Los Angeles County Art Institute (now Otis

der Calder's standing mobile Quatre Blancs. Deceptive-

College of Art and Design). It is fascinating to see how

ly simple in composition, this work is emblematic of the

even at this early stage each artist's voice would find its

artist's style. After a lifetime of working with metal and

distinction in the humble material of clay. Bengston's

wire, he had developed a mastery of shape, color and

obsession with bold and iconic imagery is already evi-

line. Like Picasso or Cézanne before him, Calder could,

dent in the iron cross at the center of a small mug. The

in just a few simple strokes, evoke the full power of his

angular and architectural form of Price’s vessel presag-

vocabulary. Quatre Blancs has a perfect balance. Not

es his later work by some thirty years. Mason renders

only literally, as every mobile must, but there is also a

abstraction in a surprisingly delicate manner for such a

balance of composition, space, color and shape. The

rough medium, which in a lesser artist's hand would be

positive and negative space that Quatre Blancs produc-

made heavy and bulky. Takemoto's heritage informed

es is seductive. The black base is composed of two con-

his early work but never overwhelmed it. Together with

trasting edges: a rounded curve vs. a sharp incline that

Paul Soldner and Jerry Rothman, this collection serves

come to a point. (It brings to mind a fencer's thrust or

as a rare window into the legendary beginnings of the

maybe an Alvin Ailey dance pose.) The red fin is both

American Clay Revolution.

a structural support and opposing force to the black shape. The masculine rivets that lock them together

Andy Warhol's Campbell’s Soup Portfolio I, Agnes Martin's

add to the tension: a battle for dominance that only

minimalist watercolor drawing, Picasso's ceramics, and

black and red can fight. What better to counter the

Sam Maloof's very last rocking chair, are also spectacular

bravado of the base than a delicate and Zen-like mo-

highlights which I will expand on at the auction preview.

bile? The blue disc's perfection is like Mother Earth in

Check out the LAMA blog—LAMODERN.com/blog—for

harmony: balanced, if you will, with the celestial white

more content and my personal auction picks.

shapes on the other end of the crisp, red line which holds them equally together and yet apart for eternity.

Whether we show furniture alongside paintings, prints

One of the very last sculptures that Calder created,

next to ceramics, or lighting with sculpture; LAMA be-

Quatre Blancs is indeed a brilliant essay in balance that

lieves each discipline enhances the other. How do we give

only a wise and experienced hand could make look so

equal consideration to so many distinctive works? It's a

seemingly simple.

delicate balance.

Peter Loughrey, Director

1 HANS WEGNER

Papa chair and ottoman (2) A. P. Stolen, designed 1951-1953 Model no. AP 19 Ottoman retains faint brand “Made in Denmark/Hans J. Wegner/Copenhagen” Chair: 39" x 36" x 36" Ottoman: 17" x 27.5" x 16" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 68.

$9,000–12,000

2 HANS WEGNER Sewing table

Andreas Tuck, designed 1950 Model no. 33 24" x 26.5" (46.75" with leaves up) x 22.75" LITERATURE Zacho catalogue. Los Angeles. 1961. 15.

$1,000–1,500

3 FINN JUHL Sideboard

Baker Furniture, Inc., designed c. 1956 Model no. 40 1/2-1 Retains Baker Furniture label 31" x 78" x 18" LIT E RAT URE Baker Furniture, Inc., Catalogue. c. 1956. 93.

$2,500–3,500

4 HANS OLSEN Rocking chair

Dux, designed c. 1970 38.5" x 35" x 26"

$800–1,200

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5 HANS WEGNER

Sliding door cabinet Ry Mobler, designed c. 1965 31" x 78.75" x 19.25"

$4,000–6,000

6 HANS WEGNER Easy chairs (2)

Carl Hansen, designed 1951 Model no. CH-22 Each: 28.5" x 28" x 24" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 53.

$4,000–6,000

7 HANS WEGNER

Dining chairs (6) Carl Hansen, designed 1952 Model no. CH-30 Branded “Designer/ Hans J. Wegner/ Made in Denmark/ Carl Hansen & Son/ Odense Denmark” Each: 28" x 18" x 18" LIT E RAT URE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 62.

$3,000–5,000

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8 PIERRE PAULIN Sling chair

Artifort, designed 1963 Model no. 444 38" x 32" x 29" LITERATURE Ergün, Nazire, ed. Modern Furniture: 150 Years of Design. Germany: Tandem Verlag, 2009. 418.

$3,000–4,000

PARTIAL ILLUSTRATION

9 JOHAN ROHDE

Acanthus silver service (87) Georg Jensen, designed 1917; executed post-1945 Comprised of a seven-piece service for twelve, three serving pieces, and manufacturer's brochure Various dimensions

$6,000–9,000

10 ALVAR AALTO

Paimio tables (2) Artek, designed c. 1932; these examples produced later Each branded “Alvar Aalto/Artek/ Made in Finland” Each: 23" x 23.5" x 19.5" LIT E RAT URE Habegger, Jerryll, and Joseph H. Osman. Sourcebook of Modern Furniture. New York: Norton, 2005. 541.

$1,500–2,000

11 TIMO SARPANEVA Vases (2)

Iittala, designed c. 1968 Each retains “Iittala/Made in Finland” sticker 12" x 11.75" x 12" 10" x 9.25" x 9.25"

$600–900

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12 ED RUSCHA

Course of Empire 2005 21-color lithograph on paper #27 of 50 Printed by Hamilton Press, Venice Signed and dated lower right; edition lower left Sheet: 18" x 15" Frame: 24" x 21"

$5,000–7,000

13 ED RUSCHA Other

2004 1-color lithograph on German etching white paper #15 of 250 Published and printed by Gemini G.E.L., Los Angeles, to benefit America Coming Together (ACT) Signed and dated in graphite lower right sheet with Gemini G.E.L. blind stamps; edition lower left Gemini G.E.L. #45.27 Image/sheet: 11.25" x 14.75" Frame: 19" x 22"

$3,000–5,000

14 ED RUSCHA

Various Small Fires and Milk; Every Building on the Sunset Strip; Crackers (3) 1970; 1966; 1969 Each black offset print on paper From the second edition of 3,000; From the first edition of 1,000; From the first edition of 5,000 Published by the artist, printed by Anderson, Ritchie & Simon, Los Angeles; published by the artist, printed by Dick de Rusha, Los Angeles; published by Heavy Industry Publications, Hollywood, printed by G.R. Huttner Lithography, Burbank 7" x 5.5" 7" x 5.5" 8.75" x 6" LIT E RAT URE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #B2, B4, B10.

$1,000–1,500

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15

16

17

JOE GOODE

JOE GOODE

JOE GOODE

1971 12-color lithograph and screenprint on Roll Rives paper

1971 8-color lithograph and screenprint on Copperplate Deluxe paper

1990 Oil on gator board

#12 of 75

Artist’s proof aside from the edition of 90

Untitled (triptych)

Co-published by Cirrus Editions, Los Angeles, and Multiples, Inc., New York; printed by David Trowbridge and Ed Hamilton Signed and dated with edition in graphite Sheets each: 23.875" x 42" Frames each: 24" x 42.25"

Untitled

Published by Cirrus Editions, Los Angeles; printed by Ed Hamilton Signed and dated lower center; edition lower left Image/sheet: 18" x 29" Frame: 19.5" x 30.5" L I T E RAT U R E Davis, Bruce. Made

LITERATURE Davis, Bruce. Made

in LA: The Prints of Cirrus Editions.

in LA: The Prints of Cirrus Editions.

Los Angeles: Los Angeles County

Los Angeles: Los Angeles County

Museum of Art, 1995. 237.

Museum of Art, 1995. 240.

$2,500–3,500

LOT 15

$1,000–1,500

Howick (from Waterfall Series)

Retains signed artist label verso Canvas: 84" x 8" Frame: 85" x 9.25" LIT E RAT URE Duncan, Michael, and Ed Ruscha. Joe Goode. Comp. Bruce Guenther. Newport Beach: Orange County Museum of Art, 1997. N. pag. (for similar examples.)

$3,000–5,000

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LOT 16

LOT 17

18 LARRY BELL

Untitled (Vapor Drawing) 1984 Vaporized metal on paper Signed and dated in graphite lower center sheet Sheet: 29" x 22" Frame: 31" x 25"

$5,000–7,000

19 PETER LODATO The Door

1987 Watercolor and graphite on paper Signed and dated in graphite lower right Sheet: 24.75" x 19" Frame: 32.5" x 26.5"

$1,200–1,500

20 DE WAIN VALENTINE

Skyline (Blue with Thin Red Line) 1991 Watercolor collage on paper Signed and dated in graphite verso Sheet: 30" x 40" P ROV E NANC E Private Collection, Raleigh, North Carolina (acquired directly from the artist, 1999)

$3,000–5,000

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21 DE WAIN VALENTINE

Skyline (Black with White Line) 1991 Watercolor collage on paper Signed and dated in graphite verso Sheet: 30" x 40" P ROV E NANC E Private Collection, Raleigh, North Carolina (acquired directly from the artist, 1999)

$3,000–5,000

22 CHUCK ARNOLDI Untitled

2006 Gouache on paper Signed and dated in graphite lower right sheet Sheet: 27.5" x 27.5" Frame: 36" x 36" P ROVENA NC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 2007)

$4,000–6,000

23 ED MOSES Cock Bak

1990 Asphaltum and acrylic on washi paper Signed “EMZ 3-90” in graphite lower right sheet; retains L.A. Louver Gallery label verso Sheet: 41" x 29.5" Frame: 45" x 33" E XHIBIT E D “Ed Moses: Abstraction & Apparition,” L.A. Louver Gallery, Venice, June 2-30, 1990 ILLUST RAT E D Ed Moses: Abstraction & Apparition. Venice: L.A. Louver, 1990. N. pag.

$2,000–3,000

24 PETER ALEXANDER

Pink One; Pink Three (2) 1999; 2000 Lithograph on paper #6 of 25; Artist’s proof aside from the edition of 25 Each initialed and dated in graphite lower right sheet; edition lower left Sheets each: 22" x 30" Frames each: 27.75" x 35.5"

$1,000–1,500

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25 ROBERT GRAHAM GINA 5-17-97

1997 Patinated bronze #5 of 6 Signed and dated “GINA/ 5-17-97” with edition stamp 14.5" x 5.5" x 5" P ROVENA NC E Private Collection, Malibu, California (gifted directly by the artist)

$15,000–20,000

26 ROBERT GRAHAM Elisa ‘96

Cast 2007 Patinated bronze on composite base From the edition of 250 Signed in ink “R. Graham” at base; incised “Eliza 8-... RG 07” sculpture verso Created to benefit the Women’s Guild 50th Anniversary at CedarsSinai Medical Center.

3.5" x 2.25" x 2.5" (not including base)

$2,000–3,000

27 ROBERT GRAHAM Julie 8-96

1996 Patinated bronze #2 of 10 Incised “Julie 8-96 RG” sculpture verso; edition stamped 3.75" x 3" x 4.75"

$2,000–3,000

28 ROBERT GRAHAM MOCA Torso

1992-1994 Patinated bronze From the edition of 3,500 Published by MOCA Editions Bears the inscriptions “Cyclone” and “Smiley” 11" x 4.5" diameter at base

$2,000–3,000

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29 SAM MALOOF Rocking chair

Studio, executed 2009 Fiddleback maple and ebony Etched “No. 1 January 2009/Sam Maloof- a.f.a.-r.is.d./@m.j./l.w./d.w.”

Together with photograph and letter from the Maloof Studio dated February 2015 stating that this was the last chair Sam Maloof made before his passing.

46.25" x 48" x 26.5"

$35,000–45,000

30 MICHAEL & FRANCES HIGGINS Rondelay screen

Studio, designed c. 1965 36" x 26.5"

$2,500–3,500

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31 DALE CHIHULY Soft Cylinder

Studio, executed c. 1987 19" x 16" x 12"

$12,000–18,000

32 GEORGE NAKASHIMA

Slab coffee table with shelf Studio, executed 1957 American black walnut Together with copy of receipt from Nakashima studio dated April 23, 1957 14" x 66.5" x 20.25" P ROVENA NC E Private Collection, Palo Alto, United States (acquired directly from the Nakashima Studio, April 23, 1957); Thence by descent

$18,000–25,000

33 GEORGE NAKASHIMA Lounge chairs (2)

Studio, executed 1957 American black walnut Together with copy of receipt from Nakashima studio dated April 23, 1957 Each: 30.5" x 32" X 29.5" P ROVENA NC E Private Collection, Palo Alto, United States (acquired directly from the Nakashima Studio, April 23, 1957); Thence by descent

$15,000–20,000

34 GEORGE NAKASHIMA Double pedestal desk Studio, executed 1957 American black walnut Together with copy of receipt from Nakashima studio dated April 23, 1957 28.5" x 60" x 31" P ROV E NANC E Private Collection, Palo Alto, United States (acquired directly from the Nakashima Studio, April 23, 1957); Thence by descent

$25,000–35,000

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35 GEORGE NAKASHIMA

Conoid headboard & daybeds (3) Studio, executed 1963 American black walnut Together with letter from George Nakashima studio and copy of original order card Headboard: 24" x 78" x 17.5" Daybeds each: 28" x 73" x 31" P ROVENA NC E Property from the Edmund J. Bennett Collection (acquired directly from the Nakashima studio)

$8,000–12,000

ALTERNATE VIEW

36 GEORGE NAKASHIMA Folding table

Studio, executed c. 1963 American black walnut 28.75" x 69.75" x 38" (63" extended)

$9,000–12,000

37 GEORGE NAKASHIMA Platform bed

Studio, designed c. 1950s Walnut 10" x 54" x 75.5"

$4,000–6,000

25

38 GERTRUD & OTTO NATZLER Glazed ceramic vase

Studio, executed 1968 Signed “Natzler” and retains inventory label “0279” 3.875" x 3.5" diameter (9.5 cm x 9 cm)

$3,000–5,000

39 LAURA ANDRESON

Red glazed porcelain bowl Studio, executed 1953 Signed, dated, and inscribed “A Ruby for E Kenneth E at 40” 6.25" x 4.75" diameter

$2,000–3,000

40 LAURA ANDRESON

Matte orange/brown glazed porcelain vase Studio, executed 1986 Signed 6" x 5" diameter Together with copy of receipt from Frank Lloyd Gallery P ROVENA NC E Laura Andreson Studio, Los Angeles, California; Frank Lloyd Gallery, Santa Monica, California; Private Collection, Los Angeles, California

$1,500–2,000

ALTERNATE VIEW

41 GLEN LUKENS

Partially glazed ceramic bowl Studio, executed c. 1940 Signed “Glen Lukens” 1.5" x 7.5" diameter

$4,000–6,000

42 HARRISON MCINTOSH Jar with lid

Studio, executed c. 1960 Impressed with artist’s cipher 10" x 6.5" diameter

$1,500–2,000

27

43 BEATRICE WOOD

Footed bowl with gold lustre finish Studio, executed c. 1980s 6.5" x 7.5" diameter Together with copy of letter from Beatrice Wood Studio

$6,000–9,000

44 BEATRICE WOOD Relief

Studio, executed 1954 Signed “Beato 1954” 15.25" x 8.25" x 1" Together with copy of letter from Beatrice Wood Studio

$4,000–6,000

45 WILLIAM BRICE Wired Fronds 1948 Oil on panel Signed and dated lower right; retains remnant of The Downtown Gallery label verso Panel (vis.): 35" x 8.75" Frame: 41.25" x 14.75" The artist’s second solo exhibition was held at The Downtown Gallery in New York in 1949.

E XHIBIT E D “William Brice,” The Downtown Gallery, New York, February 15-March 5, 1949.

LIT E RAT URE William Brice. New York: The Downtown Gallery, 1949. N. pag. #13.

$800–1,200

46 WILLIAM BRICE Untitled

1989-1990 Watercolor on paper Initialed and dated “B.89” in graphite lower right sheet; retains L.A. Louver Gallery label verso Sheet: 18" x 23.75" Frame: 28" x 34"

$800–1,200

29

Tony Duquette One of the great style icons of the 20th century, Tony Duquette (1914–1999) created designs of timeless flair and magnetism. “Beauty, not luxury, is what I value” was his oft-repeated motto. Hutton Wilkinson, his longtime design partner, referred to his skill in conjuring finery when he claimed that Duquette “was a do-it-yourself de Medici.”

Born in Los Angeles and educated at the Chouinard Art Institute in the 1940s, Duquette received peerless instruction as the protégé of Elsie De Wolfe—the eminent tastemaker often credited with originating the business of interior decoration, and a colleague of the great William “Billy” Haines. His own clients included both Hollywood royalty, such as actress Mary Pickford, and a platinum-clad roster of the wealthy and powerful, among them J. Paul Getty, Doris Duke, Norton Simon, and the Duchess of Windsor.

Duquette’s style was broad and democratic. “I will use anything to help me capture the quality I am seeking; what I find in the street, in the attic, on the desert, in the sea, the gnarled tree root, the snail’s own shell.” The present lot is a classic example of this artfulness. Fashioned out of framed plastic and

mesh, this screen, or room-divider, was a prototype for the Paris apartment of American tycoon John Rosekrans and his wife Dodie, a patron of fine arts. 18th-century Chinese carved screens served as inspiration here. (Duquette also designed a snowflake pattern based on the Chinese décor, used in fabrics and wall-coverings.) His own Beverly Hills estate, Dawnridge, benefitted from this design, as Duquette made a similar piece for his home.

With a love for theater (and theatricality), Duquette also fashioned costumes and set designs for films, including “Kismet” (1955) and “Can-Can” (1960). In 1961 he won a Tony award as costume designer for the original Broadway production of “Camelot.” By way of his baroque interiors for private homes and hotels, lavish costumes, and original set designs, the name Tony Duquette remains to be synonymous with glamour, fantasy, and excess.

Iovine, Julie V. “Tony Duquette, a Decorator of Fantasy, Is Dead at 85.” The New York Times 14 Sept. 1999. Web. Mistry, Meenal. “Perfect Pair.” Harper’s Bazaar 23 Jan. 2012. Web. Wilkinson, Hutton. More Is More: Tony Duquette.

New York: Abrams, 2009. Print.

47 TONY DUQUETTE Six panel screen

Custom, designed c. 1994 Panels each: 95.5" x 25" x 1.5" Overall: 95.5" x 150" x 1.5" This screen is a prototype of a model designed by Tony Duquette for the first Paris residence of Mr. and Mrs. John N. Rosekrans.

P ROV E NANC E Private Collection, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above through Christies, Los Angeles, “Innovators of Twentieth Century Style Including Property sold to benefit the Elsie de Wolfe Foundation,” September 18, 1999, Lot 233)

$12,000–15,000

31

48 JOHN BALDESSARI

Night and Day You are the One (Magenta/Orange) 2002 Digital photographic print with acrylic on Sintra board Unique Image/sheet: 15.5" x 19" Frame: 16.25" x 19.75" P ROVENA NC E The artist; Private Collection, La Jolla, California (acquired directly from the above through “Benefit Art Auction,” Museum of Contemporary Art, San Diego, California, May 2002)

$8,000–12,000

49 JOHN BALDESSARI Two Opponents (Blue and Yellow)

2004 8-color screenprint on Rives BFK paper #15 of 165 Published and printed by Gemini G.E.L., Los Angeles, to benefit America Coming Together (ACT) Signed and dated with edition in graphite lower center sheet; Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #4.8 Image/sheet: 12" x 12" Frame: 12.75" x 12.75" LIT E RAT URE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #148.

$3,000–5,000

50 JOHN BALDESSARI

The Overlap Series: Palm Trees and Building (with Vikings) 2001 Iris print on Somerset Satin 500 gsm paper #71 of 75 Published by i8 Gallery, Reykjavík, in conjunction with the Reykjavík Art Museum; printed by A + I Digital, Los Angeles Signed and dated in graphite beneath image lower right margin of sheet; edition lower left Image: 15" x 16.5" Sheet: 19" x 19" Frame: 22" x 22" LIT E RAT URE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #116.

$2,500–3,500

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51 JOHN BALDESSARI

Kiss, Hair, Hand (From Hegel’s Cellar Portfolio) 1986 Sugar-lift aquatint, spit-bite aquatint, photogravure, and drypoint with embossing on Rives BFK paper #3 of 35 Published by Multiples, Inc., New York; printed by Sally Mara Sturman and Mark Sofield, New York, and Iris Editions, New York Signed with edition in graphite verso Image/sheet: 26.25" x 19.5" Frame: 36.5" x 27.5" LITERATURE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #22.

$3,000–5,000

52 JOHN BALDESSARI

Two Hands (with Distant Figure) 1989-1990 Sugar-lift, spit-bite, aquatint, and photogravure on Somerset 410 gsm paper #15 of 45 Published by Brooke Alexander Editions, New York; printed by Branstead Studio, New York, and Iris Editions, New York Signed in graphite lower right; Branstead Studio blind stamp lower right; edition lower left Sheet (irreg.): 50.5" x 32.625" Frame: 59.375" x 41" LIT E RAT URE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #45.

$4,000–6,000

35

53 SAM FRANCIS Untitled

1988 11-color screenprint on PTI Supra paper #125 of 250 Published by the artist; printed by Ronald McPherson, La Paloma, Tujunga Signed in graphite lower center; edition lower right Image/sheet: 56.875" x 29" Frame: 65.125" x 37" This poster was made to commemorate the twenty-fifth anniversary of the Music Center of Los Angeles County.

LITERATURE Lembark, Connie W. The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. II. New York: Hudson Hills, 1992. #P8.

$2,000–3,000

54 SAM FRANCIS Rug

1990 Woven wool Anterior Collection Vorwerk, Germany Retains Vorwerk/Anterior Collection tag 118.125" x 78.75" LIT E RAT URE Šipek, Borek. The International Design Yearbook. Vol. 8. New York: Abbeville, 1993. 163, #10.

$8,000–12,000

55 SAM FRANCIS Untitled

1975 1-color lithograph on paper #4 of 30 Published and printed by The Litho Shop, Inc., Santa Monica Signed in graphite lower right margin of sheet with blind stamp; edition lower left sheet; retains Jack Rutberg Fine Arts, Inc. label verso Image/sheet: 37" x 27" Frame: 40" x 30" LIT E RAT URE Lembark, Connie W. The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed.

Vol. I. New York: Hudson Hills, 1992. #L182.

$2,000–3,000

37

56 DAVID HOCKNEY Bora Bora

1979 Color lithograph on White Arches 88 paper #20 of 100 Published and printed by Tyler Graphics Ltd., Mount Kisco Signed and dated in graphite lower right; edition lower left; publisher blind stamp lower right Sheet: 34" x 48" Frame: 41" x 54" LITERATURE David Hockney Prints 1954-1995. Tokyo: Museum of Contemporary Art, 1996. #213.

$9,000–10,000

57 DAVID HOCKNEY Hollywood Tree

c. 1975 Gelatin silver print Signed and titled in ink upper center sheet Image/sheet: 4.5" x 6.5" Frame: 15" x 12" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the Los Angeles Center for Photographic Studies Charity Auction, 1975)

$5,000–7,000

58 DAVID HOCKNEY Rug

1988 Tufted wool Anterior Collection Vorwerk, Germany Together with label 78" x 119.5" LIT E RAT URE Šipek, Borek. The International Design Yearbook. Vol. 8. New York: Abbeville, 1993. 161, #6.

$5,000–8,000

39

59 ROBERT RAUSCHENBERG Stunt Man I, II, and III (3)

1962 The complete set of three color lithographs on Japanese paper #21 of 37; Artist’s proof aside from the edition of 35; #35 of 36 Published by ULAE, West Islip; printed by Robert Blackburn Each signed and dated with edition in graphite lower right sheet Image/sheet each: 22.5" x 17.5" Frames each: 28" x 23" P ROVENA NC E Private Collection, California (acquired directly from ULAE, West Islip, New York) LITERATURE Sparks, Esther.

Universal Limited Art Editions: A History and Catalogue: The First Twenty-five Years. New York: Abrams, 1989. 431-32, #6-8.; Robert Rauschenberg: Prints, 1948-1970.

Minneapolis: Minneapolis Insitute of Arts, 1970. #9-11.

$25,000–30,000

41

60 ROBERT RAUSCHENBERG Publicon-Station V (from Publicons Series)

1978 Sculpture composed of wood with 1/8 in. aluminum coated with nitrocellulose lacquer, collaged silk and cotton fabrics, brick, baked epoxy enamel over polished aluminum, Plexiglas, and a light bulb #17 of 30 Published and fabricated by Gemini G.E.L., Los Angeles Signed and dated with edition on Gemini G.E.L. plaque verso Gemini G.E.L. #41.120 18" x 36" x 8" (closed) 18" x 59.5" x 8" (open)

$4,000–6,000

61 ROBERT RAUSCHENBERG

Statue of Liberty (from New York, New York Series) 1983 Color screenprint with collage on Japon paper #148 of 250 Published by the New York Graphic Society, New York Signed and dated with edition in graphite lower left sheet Sheet: 35.5" x 24" Frame: 40" x 29"

$3,000–5,000

62 ROBERT RAUSCHENBERG

Samarkand Stitches #V (from Samarkand Stitches Series) 1988 Unique fabric assemblage with screenprinting on Ikat silk and domestic fabrics #21 of 73 Published by Gemini G.E.L., Los Angeles; fabricated by Willy Bietak Productions Artist’s signature and date stitched lower left; artist's initials stitched on Gemini G.E.L. label verso; inscribed “21” Gemini G.E.L. #41.186 56" x 46" P ROV E NANC E Private Collection, Seattle, Washington (acquired directly from Ochi Gallery, Boise, Idaho, 1988) LIT E RAT URE Kotz, Mary Lynn.

Rauschenberg: Art and Life. New York: Abrams, 1990. 39.

$15,000–20,000

43

63 VASA (VELIZAR MIHICH) Towers (4)

1976 Laminated cast acrylic One with etched signature, and date “#896 Vasa ‘76” Each: 94.75" x 6" x 3.5" (103.75” including base)

$8,000–10,000

45

64 VASA (VELIZAR MIHICH) Sculpture #687

1974 Laminated cast acrylic Etched signature “#687 Vasa 74” 31.25" x 14.75" x 7.25" P ROV E NANC E Private Collection, Beverly Hills, California (acquired directly from the artist, 1974)

$4,000–6,000

65 KARL SPRINGER Tables (2)

Karl Springer, Ltd., designed c. 1970 Each: 16" x 28.5" x 19"

$15,000–20,000

66 ROBERT SONNEMAN Arc lamp

Sonneman, designed c. 1975 As illustrated (adjustable): 78" x 17" diameter at base

$3,000–5,000

67 AMERICAN POSTMODERN

Lounge chairs and ottomans (4) Metropolitan, designed c. 1970 Each retains upholstery tag “Made Expressly for Carroll Sagar Office Interiors” and stitched label “Metropolitan/ Imported from San Francisco” Chairs each: 37.25" x 30" x 33.5" Ottomans each: 15" x 27" x 19.5"

$4,000–6,000

47

68 RAYMOND LOEWY Lounge chair

BarcaLounger, designed c. 1966 43" x 37.5" x 33"

$2,000–3,000

ALTERNATE VIEW

69 ISAMU NOGUCHI Child’s table

Knoll International, designed 1955 Model no. 87F-2 Retains Knoll International tag 20" x 24" diameter LIT E RAT URE Furniture Price List of September 1, 1961. New York: Knoll Associates, Inc. 28.

$1,500–2,000

70 SORI YANAGI

Elephant stools (2) Yanagi, designed 1954 Each: 15" x 20" x 20" LIT E RAT URE Ergün, Nazire, ed. Modern Furniture: 150 Years of Design. Germany: Tandem Verlag, 2009. 473.

$2,000–3,000

49

71 RAYMOND PETTIBON

Untitled (This is It. The Big Time, The Real Thing.)

1986 Ink on paper Signed verso Sheet: 14" x 11" Frame: 21" x 17" P ROVENA NC E Private Collection, California (acquired directly from the artist); Private Collection, Laguna Beach, California (acquired directly from the above)

$8,000–12,000

72 RAYMOND PETTIBON

Untitled (All the Way In.) 1986 Ink on paper Signed in graphite lower right sheet; signed and dated in ink verso Sheet (vis.): 9" x 13" Frame: 17" x 21.25" P ROV E NANC E Private Collection, California (acquired directly from the artist); Private Collection, Laguna Beach, California (acquired directly from the above)

$8,000–12,000

51

73 RAYMOND PETTIBON

I Thought California Would Be Different 1989 1-color lithograph on paper Artist’s proof aside from the edition of 65 Signed and dated in graphite lower right sheet; edition lower left Sheet (vis.): 45" x 29.5" Frame: 54" x 39" P ROV E NANC E Private Collection, California (acquired directly from the artist); Private Collection, Laguna Beach, California (acquired directly from the above)

$2,000–3,000

74 KEITH HARING

Untitled (from Three Lithographs) 1985 Color lithograph on paper #16 of 80 Signed and dated with edition in graphite lower right sheet Sheet: 32" x 40" Frame: 36.5" x 44" LITERATURE Littman, Klaus, ed.

Keith Haring: Editions on Paper, 19821990. Stuttgart: Cantz, 1993. 39.

$6,000–9,000

75 JAMES ROSENQUIST Chambers

1980 16-color lithograph on Twinrocker handmade paper #35 of 45 Published and printed by ULAE, West Islip Signed and dated lower right with ULAE blind stamp; edition lower left with title Sheet: 30.75" x 47.25" Frame: 32.5" x 50.5" P ROVENA NC E Private Collection, California (acquired directly from ULAE, West Islip, New York) LITERATURE Glenn, Constance.

Time Dust: James Rosenquist Complete Graphics: 1962-1992. New York: Rizzoli, 1993. 156, #173.; Sparks, Esther. Universal Limited Art Editions: A History and Catalogue: The First Twenty-five Years. New York: Abrams, 1989. 510, #19.

$2,000–3,000

76 STEPHEN POWERS

Friday at the Theftway 2001 Enamel on 11 individual aluminum panels Four panels signed verso Together with copy of invoice Panels each: 24" x 24" One panel: 24" x 48" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the Annex/Alleged Galleries, Los Angeles, California, December 19, 2001) E XHIBIT E D “Street Market (with Barry McGee and Todd James),” Deitch Projects, New York, December, 2000; “Street Market (with Barry McGee and Todd James),” 49th Venice Biennale, Venice, 2001; “Stephen Powers: Three Story Building,” the Annex/Alleged Galleries, Los Angeles, 2003

$10,000–15,000

53

77 KIM JONES

Untitled (Rat Piece) 1976 Xeroxed paper, cardboard, marker, and twine 1 of possibly 20 unique versions LAMA would like to thank the artist for his assistance in cataloguing this work Overall (including frame): 17.25" x 15.75"

$3,000–5,000

78 CHRIS BURDEN

Mini Skyscraper on Little Mesa 2003 4-color offset print on embossed metal sheet #14 of 100 Signed and dated with edition lower right sheet 34.5" x 26.76"

$2,000–3,000

55

79 JENNY HOLZER

Inflammatory Essays (10) 1979-1982 Offset lithographs on colored paper One sheet signed in ink lower right Sheets each: 17" x 17"

$3,000–5,000

80 DAMIEN HIRST

N-Methyl L-Aspartic Acid 2011 Color screenprint with glaze on 410 gsm Somerset Tub-sized paper #79 of 150 Published by Other Criteria, London Signed in graphite lower right; edition lower left Sheet: 23.5" x 21.5" Frame: 31.25" x 29.25"

$4,000–6,000

81 DAMIEN HIRST

For the Love of God, Believe 2009 Color screenprint with glaze on wove paper #176 of 1,700 Published by Other Criteria, London Signed lower right; edition lower left Sheet: 12" x 9" Frame: 20.75" x 17.5"

$2,500–3,500

57

82 JERRY DREVA

Razorblade Cross 1980 Razorblades and photo-collage Signed and dated in graphite verso Overall: 10.5" x 8.25" Frame: 14.5" x 11.5" LIT E RAT URE Benavidez, Max. Gronk.

Los Angeles: UCLA Chicano Studies Research Center, 2007. 58.

$2,000–3,000

83 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #59 of unknown edition size Published by VOICE: Venice/Oakwood Inner City Enterprise, Los Angeles Signed on VOICE label verso; edition and date verso Together with plate stands 10.75" diameter

$6,000–9,000

84 ANISH KAPOOR Untitled

1993 Ceramic and glass Unlimited edition size Published by Slegten & Toegemann, Brussels in collaboration with Torsten Fritze Stamped with artist’s copyright “A. KAPOOR 1993 CHASTRE” Assembled: 11" x 10" x 5"

$3,000–4,000

85 ROLF JULIUS

Two Speakers (3) c. 1991 Pen and ink on paper Sheets each: 10.75" x 8.25" Frames each: 12.5" x 10"

$800–1,200

86 GERHARD RICHTER 1024 Colours rug

1988 Tufted nylon, printed Dialog Art Collection Vorwerk, Germany 99.5" x 159.875" LIT E RAT URE Fisher, Volker. Bodenreform: Teppichboden von Kunstlern und Architekten. Berlin: Ernst, 1989.

110-115 (for similar examples.)

$4,000–6,000

59

87 ARTIS LANE Release 1982 Bronze Incised signature with edition near base 26.5" x 24" x 17.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$10,000–15,000

88 ELIZABETH CATLETT Singing Head

c. 1968 Patinated bronze Incised initials “E.C.” 7" (11" with base) x 5.5" x 9" LIT E RAT URE Elizabeth Catlett Sculpture: A Fifty-Year Retrospective.

Purchase: Neuberger Museum of Art, 1998. 51.; Herzog, Melanie. Elizabeth Catlett: An American Artist in Mexico.

Seattle: University of Washington Press, 200. Pl. 8.; Lewis, Samella. The Art of Elizabeth Catlett. Claremont: Hancraft Studios, 1984. 31, 33, 188.

$10,000–15,000

89 MEL HANSON

After Elaine de Kooning c. 1961 Watercolor and pencil on paper Inscribed and signed in graphite “After Elaine de Kooning/MEL” lower left sheet Sheet: 22.25" x 19" Frame: 29.5" x 26.25"

$1,500–2,000

90 MEL HANSON Self-Portrait

1961 Charcoal on paper Signed and dated in charcoal “926-61/MEL HANSON” lower right sheet Sheet (vis.): 23.5" x 17.5" Frame: 30.375" x 24.375"

$1,000–1,500

61

91 PETER SHELTON Redshoulder 1985-1987 Mixed media Signed, titled, and dated 30.5" x 35" x 6" EXHIBITE D “Peter Shelton: Waxworks,” traveling exhibition, Des Moines Art Center, Des Moines, September 24-November 13, 1988; La Jolla Museum of Contemporary Art, La Jolla, April 7-June 4, 1989 LITERATURE Butler, Cornelia H. Peter Shelton: Waxworks. La Jolla: La Jolla Museum of Contemporary Art, 1988. N. pag. #19.

$6,000–9,000

92 PHILIP GUSTON Coat

1980 1-color lithograph on Arches Cover white paper #43 of 50 Published and printed by Gemini G.E.L., Los Angeles Titled with edition lower left sheet; signed and dated lower right Gemini G.E.L. #21.13 Sheet: 32" x 42.5" Frame: 39" x 48.5" P ROV E NANC E Private Collection, California (acquired directly from Gemini G.E.L., Los Angeles, California)

$3,000–5,000

93 DAVID SALLE Untitled

1991 Watercolor, colored pencil, and gouache on paper Signed and dated lower right; retains Gagosian Gallery label verso; retains MOCArtAuction’92 label verso Sheet: 14.5" x 11.25" Frame: 20.75" x 17.5" E XHIBIT E D “David Salle,” Gagosian Gallery, New York, March 26-April 25, 1992

$3,000–5,000

94 JAMES SURLS

See in the Door 1985 Graphite on paper Titled in graphite lower center sheet; signed and dated lower right Sheet: 22.25" x 14" Frame: 33" x 25"

$2,000–3,000

63

95 CAROLE FEUERMAN Splash

2008 Painted resin #3 of 9 Signed and dated with edition verso 4" x 16" x 10"

$4,000–6,000

96 ROBERT NATKIN

Boudoir (from the Hitchcock Series) 1984-1985 Acrylic on canvas Signed lower left; retains Gimpel Fils Gallery label verso; stamped “320A/Robert/Natkin/1985” on wooden canvas stretcher verso Canvas: 80" x 60" Frame: 80.5" x 60.5" LIT E RAT URE Dillon, Michael. Robert Natkin: Recent Paintings from the Hitchcock Series. Redding: MeridenStinehour Press, 1988. N. pag. (for similar examples.)

$10,000–15,000

65

97 STEPHEN P. CURRY Constellation #8

2005-2006 Oil and alkyd on canvas Signed, titled, and dated verso Canvas: 78" x 30" EXHIBITE D “Stephen P. Curry: Constellations,” Quint Gallery, La Jolla, February 25-April 1, 2006

$5,000–7,000

98 AL SOUZA

Bang Bang Bang Bang 2001 Puzzle pieces glued to panel Signed, titled, and dated verso Panel: 48" x 41" Frame: 48.75" x 41.125"

$3,000–5,000

99 THÉRÈSE OULTON Lacunae No. 7 1993 Oil on canvas Signed, titled, dated, and inscribed “Lacunae No. 7/(Skowhegan) July ‘93” verso Canvas: 24" x 19.75" Frame: 26.25" x 22.25"

$2,000–3,000

100 WILLIAM T. WILEY Winterwood 1989 Ink on paper Retains L.A. Louver Gallery label verso Sheet: 10.25" x 7" Frame: 17" x 14"

$1,000–1,500

67

Otis College: A Ceramic Legacy American ceramics over the last century have both evolved and endured, but Southern California holds claim as the breeding ground for revolutionary aesthetic and technical changes in the field. Beginning in the mid-twentieth century, a group of Los Angeles ceramists demanded the medium’s cultural reappraisal—away from associations of simple utility and domesticity. Through audacious experiments with scale, color, surface and technique, and by sheer drive and tenacity, this small faction of artists—including Glen Lukens, Peter Voulkos, Paul Soldner, John Mason, Henry Takemoto, Ken Price, and Billy Al Bengston—helped elevate the craft of ceramics to contemporary fine art.

In the 1950s, Otis College of Art and Design (then the Los Angeles County Art Institute) was the crucible for the medium’s dramatic changes under the banner of the California Clay Movement. But this story began some 20 years earlier when Glen Lukens (1887–1967) became the founding head of the ceramics department at the University of Southern California’s School of Architecture in 1932. Lukens took a daring and unusual approach to pottery. Not simply decorative, his work married bright colors to raw, rough surfaces, inspired by the rugged landscape of the Mojave Desert, where the artist dug for alkalis to make glazes. More significantly, Lukens delighted in defects and happy accidents, such as cracked surfaces with hardened drops of over-applied glaze. His love of gesture and spontaneity would have a profound influence on other ceramists.

No one was more deeply affected by Lukens’s example than Peter Voulkos (1924–2002). Montana-born, the burly and charismatic artist honed his talents at, among other places, Black Mountain College in North Carolina, the legendary school that nurtured such great artists as Robert Rauschenberg, Cy Twombly, Ruth Asawa, and John Chamberlain. In 1954 Voulkos became head of the ceramics department at Otis College. He brought with him energy, strength, and a bold streak influenced by Abstract Expressionism—all new elements for the discipline. Voulkos composed works in slabs of clay: stacked, perforated, and torn. Aggressively glazed and built in large format, they are reminiscent of Franz Kline or Willem de Kooning paintings, but rendered in three dimensions. There is nothing utilitarian about Voulkos’s ceramics; they are sculptural manifestations of force.

The Otis kilns became the launching pad for this new ceramic artistry. Voulkos’s students and colleagues joined the signal artistic movements of the sixties and seventies. Paul Soldner (1921–2011), the first student in the nascent department, early on made staggeringly tall, monumental-sized pots, before creating sculpture of slabs in shapes reminiscent of

jagged “angry” flowers using his own new version of raku, the 16th-century Japanese firing method. At first with runic motifs, then in cruciform, John Mason (b. 1927) fabricated large-scale totemic sculptures; in his late career his art was geometric and minimalist. Henry Takemoto’s (b. 1930) early works—often large, rugged, fired clay forms, were overlaid with patterns and organic shapes referencing traditional Asian ornamentation. Ken Price (1935–2012), a student for a brief time at Otis College, later became arguably the most important sculptor of ceramics in the late 20th century.

Though from Voulkos he learned a freedom of expression in clay form, he would later reject his teacher’s penchant for big and brawny sculpture in favor of small, fierce pieces. Price developed a personal visual vocabulary that shifted back and forth between geometric shapes and biomorphic forms with eye-piercing, vibrantly colored surfaces.

Price, Mason, Soldner, and another Otis College alumnus, Billy Al Bengston (b. 1934), were among the first artists shown at Ferus Gallery—the venue credited with establishing Los Angeles as a contemporary arts center. Bengston, unlike the others, would forgo clay for paint—materials taken from the California car and motorcycle culture, like sprayed enamel on metal. Yet Bengston credits Voulkos with teaching him a rakish, assertive spirit and “how to handle . . . actual physicality.

The strength, the tenacity.” The progenitors of key elements in Bengston’s later work are evident in his student ceramics: he placed blunt, forceful emblems in the center of his compositions, and created sharply-angled mug handles shaped like chevrons, a motif he would regularly employ in later works.

In recent years the art of ceramics has enjoyed consistent recognition at art institutions. The Museum of Fine Arts in Boston opened a yearlong survey exhibition in January 2015 dedicated to the interpretation of more than a century of ceramic production in the United States, called Nature, Sculpture, Abstraction, and Clay 100 Years of American Ceramics.

The show follows other acclaimed presentations of work in clay, mounted at major museums including the Metropolitan Museum of Art in New York, the Philadelphia Museum of Art, the Nasher Sculpture Center in Dallas, and the Los Angeles County Museum of Art. Also at LACMA, in 2012 the museum exhibited Ken Price Sculpture: A Retrospective.

Adamson, Glenn, Wendy Kaplan, and Bobbye Tigerman. California Design, 1930-1965: Living in a Modern Way. Los Angeles: Los Angeles County Museum of Art, 2011. Print. Cerio, Gregory. “American Studio Ceramics at Midcentury.” The Magazine Antiques 5 Mar. 2009. Print. Duncan, Michael, John Mason, Ken Price, and Peter Voulkos. Clay’s Tectonic Shift, 1956-1968.

Ed. Mary Davis MacNaughton. Los Angeles: J. Paul Getty Museum, 2012.

Print. Drohojowska-Philp, Hunter. Rebels In Paradise: The Los Angeles Art Scene and the 1960s. New York: A John Macrae Book/Henry Holt and Company, 2011. Print.

69

101 PETER VOULKOS Plate

Studio, executed c. 1956 Partially glazed stoneware with slipstencil technique Signed “Voulkos” 2.75" x 15.25" x 15" LAMA would like to thank the Voulkos & Co. catalogue project for their assistance in cataloguing this work.

P ROVENANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$6,000–9,000

ALTERNATE VIEW

102 PETER VOULKOS Footed bowl

Studio, executed 1951 Signed and dated “Voulkos 51” and “J” 3.5" x 8.5" diameter P ROV E NANC E Private Collection, Los Angeles, California; Frank Lloyd Gallery, Santa Monica, California

$2,000–3,000

103 MICHAEL FRIMKESS Vase

Studio, executed 1957 Signed and dated “Frim 57” 11.75" x 6" x 4" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$2,500–3,500

71

SIGNATURE DETAIL

104 KEN PRICE Vase

Studio, executed c. 1958 Partially glazed stoneware Signed “Price” 17" x 7" x 5" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$8,000–10,000

SIGNATURE AND DATE DETAIL

105 JOHN MASON Plaque

Studio, executed 1958 Signed “Mason 58” verso 3" x 14" x 20" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$7,000–9,000

73

106

107

PAUL SOLDNER

JERRY ROTHMAN

Raku vessel

Glazed ceramic vessel

Studio, executed c. 1970 17" x 7.5" diameter

Studio, executed c. 1957 Signed “Rothman” with artist’s paper label

P ROVENA N C E Mr. Katsunari Toyoda,

7.5" x 7" x 6"

Japan; Private Collection, United States (acquired from the above, 2013)

$2,000–3,000

P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$2,500–3,500

108 PAUL SOLDNER Dish

Studio, executed c. 1955 Signed "Soldner" 1" x 9.5" diameter

$1,500–2,000

75

109 PAUL SOLDNER Charger

Studio, executed c. 1975 Signed "Soldner" 2" x 18" x 18" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent LIT E RAT URE O’Connor, Letitia Burns.

Paul Soldner: A Retrospective. Perpetua Press: Los Angeles, 1991. 76 (for a similar example.)

$800–1,200

IMAGE COURTESY OF HENRY TAKEMOTO

110 HENRY TAKEMOTO Plates and bowl (4)

Studio, executed c. 1959 Each signed Bowl: 4" x 4" diameter Plates: 1" x 11.25" x 11" 1" x 9" x 7" 1.5" x 4.5" x 4.25" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$3,000–5,000

HENRY TAKEMOTO WITH ONE OF HIS COILED GLAZED STONEWARE POTS AT THE STUDIO OF JOHN MASON AND PETER VOULKOS, LOS ANGELES, CIRCA 1959.

111 HENRY TAKEMOTO Platter

Studio, executed c. 1959 Signed 2.5" x 14" x 13.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$1,500–2,000

112 HENRY TAKEMOTO Bowls (6)

Studio, executed c. 1959 Each signed Each approximately: 3.5" x 4.75" x 4" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$3,000–5,000

77

113 BILLY AL BENGSTON Mugs (2)

Studio, c. 1957 Partially glazed stoneware Each inscribed “Moontang” 4.5" x 4.5" x 3" 3.25" x 4.5" x 3.5" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent LITERATURE Monte, James. Billy. Los Angeles: Los Angeles County Museum of Art, 1968. N. pag. (for similar example of stoneware with “cross” motif.)

$2,000–3,000

INSCRIPTION DETAIL

114 BILLY AL BENGSTON Mugs (2)

Studio, c. 1957 Partially glazed stoneware Each inscribed “Moontang” 3.25" x 5" x 3" 3.5" x 5" x 3" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$2,000–3,000

INSCRIPTION DETAIL

79

115 BILLY AL BENGSTON Untitled (3)

1958 Watercolor on paper Two signed and dated in ink Sheets each: 11" x 8.5" Frames each: 14.25" x 12.25" P ROV E NANC E Private Collection, United States (acquired directly from the artist); Thence by descent

$6,000–9,000

116 BILLY AL BENGSTON Untitled Miniature

1962 Oil on wood panel in artist’s frame Signed and dated “Bengston/1962” frame verso Panel: 5" x 5" Frame: 8.5" x 8.5" P ROVENA NC E Private Collection, United States (acquired directly from the artist); Thence by descent

$15,000–20,000

81

117 BILLY AL BENGSTON

Augies Riviera Dracula 1972 Acrylic on canvas Initialed in pencil on wooden canvas stretcher “B.A.B.”; retains artist’s label verso Canvas: 72" x 72" Frame: 73" x 73" P ROV E NANC E Private Collection, Santa Monica, California (gifted directly by the artist, 1972) E XHIBIT E D “33rd Biennial Exhibition of Contemporary American Painting," Corcoran Gallery of Art, Washington, D.C., February 23–April 8, 1973

$70,000–90,000

118 PAUL KASPER Untitled

c. 1968 Welded steel 63.75" x 41" x 29" P ROVENA NC E Estate of Paul Kasper, California

$3,000–5,000

119 PAUL KASPER Untitled

c. 1968 Welded steel 55.5" x 39" x 12" P ROV E NANC E Estate of Paul Kasper, California

$3,000–5,000

83

120 VARIOUS ARTISTS Group of prints (7)

1988-1989 Lithograph and etching on paper From the edition of 50 (Bengston, Orr); edition of 75 (Kauffmann, Moses, Bell); edition of 25 (Dill); and edition of 10 H.C. (Alexander) Each signed and dated with edition in graphite Comprised of prints by Ed Moses, Larry Bell, Billy Al Bengston, Eric Orr, Peter Alexander, Laddie John Dill, and Craig Kauffman Sheets each: 30" x 22" or alternate orientation

$2,500–3,500

121 RON DAVIS

Triangle Slice (from Rectangle Series) 1971 12-color lithograph and screenprint with embossing on Arches Cover white paper #13 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right; edition lower left Gemini G.E.L. #13.9 Image: 13.25" x 31.5" Sheet: 18.5" x 43.875" Frame: 18.75" x 44"

$800–1,200

122 RON DAVIS Block

1983 7-color lithograph on Arches Cover white paper #12 of 39 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right; edition lower left Gemini G.E.L. #13.41 Image: 38" x 30" Sheet: 45" x 36" Frame: 46" x 37"

$800–1,200

123 LADDIE JOHN DILL Untitled

1995 Cement, glass, cobalt, oxide Signed and dated in black felt-tip marker verso 24" x 60"

$2,000–3,000

85

124 FRANK ISRAEL Untitled

1992 Crayon on paper Signed and dated lower right Sheet (vis.): 10" x 18.5" Frame: 16" x 24"

$2,000–3,000

125 ROY MCMAKIN

Box #4 & “A” (2) c. 1984 Oil on chromogenic print Each retains the Annex Art Gallery labels verso Box #4: Image/sheet (vis.): 6.25" x 9.5" Frame: 17" x 20" "A": Image/sheet: 9.5" x 6.25" Frame: 20" x 17"

$1,500–2,000

126 FRANK GEHRY

Study for New Frank Gehry House 2004 1-color lithograph on Rives BFK white paper #15 of 200 Published and printed by Gemini G.E.L., Los Angeles, to benefit America Coming Together (ACT) Signed, dated, and with Gemini G.E.L. blind stamp lower right sheet; edition lower left Gemini G.E.L. #59.2 Sheet: 11" x 14" Frame: 18.5" x 21"

$500–1,000

87

127 DEREK JARMAN Untitled (2)

c. 1986 Ink on napkin One signed upper left; each inscribed Napkins each: 14.25" x 7.5" Frames each: 18.5" x 12.5"

$2,500–3,500

128 IN THE STYLE OF RICHARD NEUTRA Cabinet

Custom, designed c. 1950 30.5" x 73.75" x 22.75"

$2,500–3,500

129 WILLIAM WESLEY PETERS Chairs (2)

Custom, designed 1963 for the Sorensen Residence, Wisconsin Each: 33.5" x 32.25" x 30.5" P ROVENA NC E Sorensen Residence, Vermont Township, Wisconsin; Private Collection, California

$1,500–2,000

ALTERNATE VIEW

130 RUDOLPH M. SCHINDLER Unit chair and ottoman (2)

Custom, executed 1936 for the Van Patten house, Los Angeles, California Together with receipt addressed to Miss Van Patten, dated March 16, 1936 Unit chair: 27" x 35.5" x 34.5" Ottoman: 15" x 21" x 21" P ROV E NANC E Miss Van Patten, Los Angeles, California; Private Collection, Los Angeles, California LIT E RAT URE Berns, Marla C. The Furniture of R.M. Schindler. Santa Barbara: University Art Museum, University of California. Seattle: University of Washington Press, 1997. 57, 124.

$20,000–30,000

89

131 LE CORBUSIER & CHARLOTTE PERRIAND Room divider

Custom, designed 1956-1959 for La Maison du Brésil, Cité Internationale Universitaire de Paris, France Each plastic drawer with molded inscription “Modèle Charlotte Perriand/ Breveté S.G.D.G.” 59.5" x 70.25" x 27"

$15,000–20,000

ALTERNATE VIEW

91

132 JEAN PROUVÉ School desk

Atelier, designed c. 1930s-1940s 32.25" x 53.75" x 36.75" LIT E RAT URE Geest, Jan Van. Jean Prouvé Furniture. Bonn: TASCHEN, 1991. 66.

ALTERNATE VIEW

$5,000–7,000

133 LUDWIG MIES VAN DER ROHE Barcelona chair

Knoll International, designed 1929; this example produced later Retains manufacturer’s label 30" x 30" x 30"

$2,000–3,000

134 AFTER OTTO WAGNER

Café table and two chairs (3) Manufacturer unknown, designed 1904 Chairs retain partial labels Table: 27.75" x 27.75" diameter Chairs each: 29.75" x 19.75" x 22" P ROVENA NC E Mr. & Mrs. Jacob Y. & Sandra Terner; Los Angeles County Museum of Art (gifted directly by the above)

$5,000–8,000

135 MARCEL BREUER Cabinet

Custom, designed for Bryn Mawr College 1938 Branded “Rhoads” 29.25" x 50" x 25.125"

$1,500–2,000

136 MARCEL BREUER Pedestal desk

Custom, designed for Bryn Mawr College 1938 29" x 50" x 24.5"

$1,500–2,000

93 137 MAX GOTTSCHALK Bench

Studio, designed c. 1965 Branded with artist’s cipher and signature 27" x 59.5" x 24.75"

$4,000–6,000

138 XANTI SCHAWINSKY Untitled

1957-1958 Oil on Masonite Signed and dated upper left “1957-8/Schawinsky” Masonite: 44" x 88" Frame: 46" x 90"

$2,000–3,000

139 OSKAR FISCHINGER Space Abstraction 1964 Oil on canvas Signed lower right; retains Harriet and Charles Luckman Fine Arts Gallery label verso Canvas: 48" x 36" Frame: 49" x 37" P ROV E NANC E The artist; Thence by descent E XHIBIT E D “Oskar Fischinger,” Luckman Fine Arts Gallery, California State University, Los Angeles, November 11-December 15, 1994

$4,000–6,000

140 OSKAR FISCHINGER Refraction #714

1962 Oil on canvas board Signed lower right; dated with artist’s monogram lower left; retains artist’s label verso Panel: 8" x 10" Frame: 9.5" x 11.25" P ROV E NANC E The artist; Thence by descent

$2,000–3,000

95

141 CLAIRE FALKENSTEIN Object 1 (B.E.)

1940 Suspended metal sculpture with black string Studio 11" x 5" x 3.5" P ROVENA NC E The Falkenstein Foundation

$4,000–5,000

142 UNKNOWN ARTIST Brutalist sculpture c. 1960 Welded steel 49" x 37" x 20"

$2,000–3,000

143 JIMMY ERNST Untitled

1955 Gouache on paper Signed and dated lower right Sheet (vis.): 14.5" x 20.25" Frame: 21" x 26.5"

$3,000–5,000

97

144 ELAINE DE KOONING Taurus VII

1973 1-color lithograph on paper #6 of 16 Printed by Tamarind Lithography Workshop, Albuquerque Signed lower center sheet; edition lower left Sheet: 22.5" x 19" Frame: 29.5" x 26"

$1,500–2,000

André Brasilier André Brasilier was born to painters in the Loire Valley region of France in 1929. He studied art at the École des Beaux-Arts, Paris, and was a success early on. For example, he was awarded the Prix Florence-Blumenthal in 1952, and the Grand Prix de Rome in 1953, for which he spent the following three years living at the Villa di Medici Medici as an artist in residence with a stipend, a privilege extended by the French Academy to prizewinners until 1968. He also received the Prix Charles-Morellet at the Salon de la Jeune Peinture in 1961. A distinguished French landscape painter with a languid, lyrical style, Brasilier has staying power–his career has spanned six decades.

Natural beauty abounds in his pastoral scenes rendered almost abstract and surreal. Notes French critic Bernard de Montgolfier: “One could say that Brasilier has a very personal way of being non-figurative within figuration.” Or, in the artist’s own words, he distills nature: “I always try to give the quintessence of a subject, to say a great deal with a little, like Japanese artists who focus on asceticism and simplicity.”

Over the years Brasilier has had numerous exhibitions all over the world: throughout France, and in Germany, Switzerland, Japan, England, Mexico, Canada, and the United States.

Notably, one hundred of his paintings were shown in a retrospective at the State Hermitage Museum, Saint Petersburg, Russia, in 2005.

André Brasilier. New York: Findlay Galleries, 1968. Print. Harambourg, Lydia.

André Brasilier. Paris: Éditions Cercle D’Art, 2008. Print. André Brasilier.

Web. <http://www.andrebrasilier.com/en/andre-brasilier>.

145 ANDRÉ BRASILIER Les Régates 1970 Oil on canvas Signed lower center canvas; signed verso Together with copy of letter from the artist dated June 26, 1970 Canvas (vis.): 20.75" x 28.25" Frame: 21.5" x 29" P ROVENA NC E Galerie de Paris, Paris, France; Private Collection, Los Angeles, California (acquired directly from the above, June 15, 1970); Thence by descent

$9,000–12,000

LABEL DETAIL

146 HENRI LE SIDANER Le Vieux Village 1902 Oil on panel Signed “Le Sidaner” lower left; bears the inscription “SIDONER” [sic] verso; retains “Arthur Murray/2877 Kalakaua Avenue/Honolulu, Hawaii 96815” label verso; retains “Sheraton Ref #/614 West 49th Street, N.Y., N.Y./Arthur Murray” label verso Panel (vis.): 9.625" x 13.5" Frame: 17.25" x 21" LAMA would like to thank Yann FarinauxLe Sidaner for their assistance in cataloguing this work.

P ROV E NANC E The Estate of Arthur Murray; Private Collection, Los Angeles, California

$20,000–25,000

147 GEORGES ROUAULT Nu de Dos

1918 Watercolor and gouache on paper Signed and dated “G. Rouault/1918” upper right sheet Together with photo-certificate from Isabelle Rouault Sheet (vis.): 8" x 12" Frame: 22.25" x 17"

$12,000–15,000

99

148 EMILE GRAU-SALA Le Paddock

1969 Oil on canvas Signed lower right; signed, titled, and dated “Grau Sala/Paris 69/ Paddok [sic]” verso Canvas: 22.5" x 30" Frame: 32" x 39" P ROVENA NC E Edgardo Acosta Gallery, Ltd., Beverly Hills, California; Private Collection, Los Angeles, California (acquired directly from the above, May 6, 1970); Thence by descent

$20,000–30,000

Emile Grau-Sala Emile Grau-Sala (1911–1975), born Emilio Grau-Sala in Spain, attended the Escuela de Bella Artes, Barcelona, and later studied under Antoni Clavé. He and his wife, painter Ángeles Santos, relocated to Paris at the outbreak of the Spanish Civil War. He was influenced by both his contemporaries in Paris, and painters of older generations, such as Raoul Dufy, and great impressionists, particularly Manet and Renoir. In Paris he found professional success and exhibited both in galleries and the Salons, and also in the galleries of his native Barcelona. Internationally, his paintings were shown in London, Buenos Aires, and Los Angeles. He was associated with the Jeune Peinture (Young Painting) artists of the School of Paris, the postwar generation of painters working in a modern (less traditional and figurative) style in the 1950s.

Known as a figurative painter who used thick, built-up slabs of intense color in oil, Grau-Sala often depicted graceful landscapes and scenes of genteel French society.

Exteriors included the racetrack or the circus, seascapes, and elegant parties. Stylish domiciles, portraits, and nude

studies were the subjects of interior scenes. The artist lived in France some twenty-five years before returning to Spain, having first acquired a vacation home in northwestern France–an extremely picturesque setting with a glamorous, international social set. Grau-Sala favored painting the local markets, beaches, and racing scenes–featuring horses and paddocks.

A famed illustrator as well, he also painted in watercolor and used pastels. His work illustrated notable editions of books by Maupassant, Colette, and Baudelaire. In 1937 Emile Grau-Sala was awarded third-honorable mention at the Carnegie International exhibition of paintings in Pittsburgh.

Distinguished banker, philanthropist, and art collector Robert Lehman bought two Grau-Sala paintings (one with a paddock theme) from Paris dealers in 1964; both are in the collection of the Metropolitan Museum of Art, New York.

Brettell, Richard R. Paul Hayes Tucker, and Natalie Henderson Lee. “Emilio Grau-Sala.” Nineteenth-and Twentieth-century Paintings: Paintings in the Robert Lehman Collection. New York: Metropolitan Museum of Art; Princeton: in Association with Princeton UP, 2009. 374-377. Print.

101

149 EMILE GRAU-SALA Fenêtre sur la Neige 1938 Oil on canvas Signed and dated lower right; signed, titled, and dated verso Canvas: 22" x 15" Frame: 29" x 22" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Sotheby’s Parke-Bernet Galleries, New York, New York, November 5, 1969, Sale No. 2925, Lot 131); Thence by descent

$6,000–9,000

103

MARKINGS DETAIL

150 PABLO PICASSO Fish Service (26)

1947 White earthenware clay, decoration in engobes and oxides under glaze #43 of 300 Madoura Each inscribed “43” and “EDITION/PICASSO” verso; some stamped “D’APRÈS/PICASSO” and “MADOURA/PLEIN/FEU” verso The complete service comprised of a dish, twelve bowls, twelve plates, and a tureen with lid Ramié #3-28 Various dimensions LIT E RAT URE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #3-28.

$75,000–100,000

105

151 PABLO PICASSO Bull

1955 Turned pitcher of white earthenware clay, decoration in engobes, and knife engraved #7 of 100 Madoura Inscribed “EDITION/PICASSO/7/100/MADOURA”; stamped “EDITION PICASSO” and “MADOURA/PLEIN/FEU” Ramié #255 12" x 9" diameter LITERATURE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #255.

$50,000–70,000

ALTERNATE VIEW

MARKINGS DETAIL

152

153

PABLO PICASSO

PABLO PICASSO

1955 Turned vase of white earthenware clay, decoration in engobes and engraved by knife, glaze inside

1963 Round plate of white earthenware clay, decoration in engobes and enamel under partial brushed glaze, grey patina

Woman lamp

#193 of 200 Madoura Stamped “EDITION/PICASSO” and “MADOURA/PLEIN FEU” with edition inscribed “193/200”

Face No. 72

#54 of 150 Madoura Inscribed “No 72/EDITION PICASSO/54/150/MADOURA”

Ramié #299

Ramié #474

14" x 7" x 5"

10" diameter

LIT E RAT URE Ramié, Alain. Picasso:

LIT E RAT URE Ramié, Alain. Picasso:

Catalogue of the Edited Ceramic

Catalogue of the Edited Ceramic

Works, 1947-1971. Vallauris: Madoura,

Works, 1947-1971. Vallauris: Madoura,

1988. #299.

1988. #474.

$15,000–20,000

$5,000–7,000

107

154

155

PABLO PICASSO

PABLO PICASSO

1963 Round plate of white earthenware clay, decoration in enamel and brushed glaze, black patina

1951 Turned vase of white earthenware clay, engobe and paraffin decoration, white enamel

#99 of 150

From the edition of 300

Madoura

Madoura

Inscribed “No 46/EDITION/ PICASSO/99/150/MADOURA”

Inscribed “MADOURA” and “EDITION/PICASSO” with two stamps

Ramié #466

Ramié #120

10" diameter

11.25" x 5.75" x 9"

LITERATURE Ramié, Alain. Picasso:

L I T E RAT U R E Ramié, Alain. Picasso:

Catalogue of the Edited Ceramic

Catalogue of the Edited Ceramic

Works, 1947-1971. Vallauris: Madoura,

Works, 1947-1971. Vallauris: Madoura,

1988. #466.

1988. #120.

$5,000–7,000

$6,000–9,000

Face No. 46

Wood-Owl with Spots

156

157

PABLO PICASSO

PABLO PICASSO

1955 Turned pitcher of white earthenware clay, decoration in oxides, and engraved by knife on white enamel

1963 Round plate of white earthenware clay, decoration in engobes and enamel under partial brushed glaze, grey patina

Small Owl Jug

From the edition of 500 Madoura Inscribed “EDITION/PICASSO/MADOURA” with two stamps Ramié #293 10.25" x 5" x 6" LIT E RAT URE Ramié, Alain. Picasso:

Little Horse No. 61

#114 of 150 Madoura Inscribed “N. 61/EDITION PICASSO/114/150/MADOURA” verso Ramié #470 10" diameter

Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura,

LIT E RAT URE Ramié, Alain. Picasso:

1988. #293.

Catalogue of the Edited Ceramic

$6,000–9,000

Works, 1947-1971. Vallauris: Madoura, 1988. #470.

$4,000–6,000

109

158 PABLO PICASSO Toros

1952 Turned plate of white earthenware clay, decoration in engobes and oxidized paraffin From the edition of 500 Madoura Signed and inscribed “EDITION/PICASSO” verso; stamped “EDITION PICASSO” and “MADOURA PLEIN FEU” verso Ramié #161 7.875" diameter LITERATURE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #161.

$4,000–6,000

159 SALVADOR DALI

La Divine Comédie 1959-1963 The complete set of 100 color woodcuts on Rives BFK paper in 6 volumes From the edition of 4,765 Published by Editions D’Art Les Heures Claires Sheets each: 10" x 6.75" Books each: 2.25" x 13.25" x 10.75" Cases each: 2.5" x 13.625" x 11" LITERATURE Field, Albert. The Official Catalog of the Graphic Works of Salvador Dalí. Astoria: S Dalí Archives, 1996. 189-200.

$8,000–12,000

160 OSSIP ZADKINE Mère et enfant

1943 Pen and ink on paper Signed and dated lower right sheet Sheet: 23.75" x 17.5" Frame: 31.75" x 25.75"

$6,000–9,000

111

161 MARC CHAGALL Souvenir

1970 Crayon on paper in bound book Signed and inscribed “Pour Dr. Chris Demos et bon Souvenir/Marc Chagall/1970” Sheet (with illustration): 11.5" x 8" The artist signed, dated, and dedicated a drawing on the title page of the book Marc Chagall by Franz Meyer.

P ROV E NANC E Dr. Christopher Demos, Santa Monica, California (acquired directly from the artist, 1970); Private Collection, Los Angeles, California (acquired directly from the estate of the above) TITLE PAGE

$2,500–3,500

162 JOAN MIRÓ

Le Grand Écart 1969 Color lithograph on Rives paper #8 of 75 Published by Maeght Éditeur, Paris; printed by Arte Adrien Maeght, Paris Signed lower right; edition lower left Sheet (vis.): 32.5" x 23" Frame: 41" x 31" LITERATURE Cramer, Patrick, ed.

Joan Miró, Lithographe. Vol. III. Paris: Maeght, 1976. 176, #524.

$3,000–5,000

163 JOAN MIRÓ

Femme à la Colombe 1969 Color lithograph on Rives paper #6 of 75 Published by Maeght Éditeur, Paris; printed by Arte Adrien Maeght, Paris Signed lower right; edition lower left Sheet (vis.): 33" x 23" Frame: 41" x 31" LITERATURE Cramer, Patrick, ed.

Joan Miró, Lithographe. Vol. III. Paris: Maeght, 1976. 181, #529.

$3,000–5,000

164 JOAN MIRÓ

Escultor, Japan 1974 Color lithograph on Guarro paper Published by Ediciones Polígrafa, Barcelona; printed by Mourlot, Paris Signed in plate lower right sheet; retains Leslie Sacks Fine Art label verso Image/sheet: 7.75" x 15.5" Frame: 14.75" x 22.5" LIT E RAT URE Dupin, Jacques.

Miró Engraver. Vol. IV. Paris: Daniel Lelong/Galerie Lelong, 2001. #937.

$800–1,200

165 KAREL APPEL

Untitled (Plate IV from Five Night Faces in Broadway) 1975 Color etching with carborundum on paper #3 of 50 Published and printed by Maeght, Paris Signed and dated in graphite lower right margin of sheet; edition lower left Together with copy of receipt from Jack Rutberg Fine Arts, Inc. Image: 23.125" x 28" Sheet: 31.375" x 37.125"

$1,000–1,500

166 KAREL APPEL Untitled

1954 Color lithograph on paper Artist’s proof Signed and dated lower right sheet; edition lower left Together with copy of receipt from Jack Rutberg Fine Arts, Inc. Sheet: 22" x 28"

$1,000–1,500

113

Calder in California Alexander Calder (1898–1976), a modernist master known for revolutionizing abstract sculpture and originating kinetic art mobiles, lived much of his professional life between France and New York. A member of the avant-garde, he employed Surrealist tendencies and counted Marcel Duchamp, Joan Miró, Jean Arp, Piet Mondrian, and other art world stars, as friends and confidants. After World War II, Calder returned to Paris for many exhibitions and he quickly found enthusiastic support in the form of Galerie Maeght. Aimé and Marguerite Maeght provided refuge for the artistic elite and literati during the occupied years in France. Later, the prestigious gallery became a nexus for like-minded artists, and nurtured the careers of Duchamp, Miró, and Marc Chagall, among other 20th-century icons. From 1950 to his death, Calder showed with Galerie Maeght, Paris.

Whimsical, colorful, and popular—as an artist who “radically translated French Surrealist vocabulary into American vernacular”—it is no surprise that Calder found a receptive audience in California. Indeed, the link between the artist and Southern California was established very early on. From 1906 to 1909, Calder's family lived in Pasadena. His father, also a sculptor, worked on commissions for California locations. For one project he created archways for a building on the campus of what would become the California Institute of Technology. His parents encouraged his skill in making things by hand.

They gave him his first tool set and provided the young boy with his first studio in the cellar of the family’s Pasadena house.

At the height of his career Alexander Calder happily obliged numerous requests for commissions in California. In 1947 he had a solo exhibition at San Francisco Museum of Modern Art. The museum boasts a large standing mobile in red, black, blue, and white, in its rooftop sculpture garden. A milestone achievement, Calder’s Three Quintains (Hello Girls) (1964) fountain was commissioned by the Los Angeles County Museum of Art to coincide with the opening of the museum on Wilshire Boulevard in 1965. He also designed the celebratory poster announcing LACMA’s start. In November 2013, the county museum presented the critically lauded, Frank Gehry designed, Calder and Abstraction: From Avant-Garde to Iconic, which exhibited the artist’s sculp-

tures, mobiles, stabiles, and maquettes, spanning forty years. Other key public artworks include the Bunker Hill landmark in downtown Los Angeles: Four Arches (1974), so-titled in homage to his father’s archway reliefs at Caltech. In UCLA’s tranquil sculpture garden rests Button Flower (1959), and Spinal Column (1968) lies at the front steps of the San Diego Museum of Art. Lot 167, Quatre Blancs (1976), is a prime example of Calder’s artistic genius. “The substantial size, the simple construction, the elegant balance, and the primary colors—Quatre Blancs shows Calder’s masterful ability to distill his life’s work into a simple gesture,” states Peter Loughrey, Director of Fine Art & Design at LAMA. Among Calder’s very last works, this outstanding sculpture was made for his Galerie Maeght show in December 1976, which opened shortly after his death. This lot will be offered at auction for the first time since the original owner purchased the work in 1978 through Galerie Maeght, Paris.

Calder’s long-standing relationship with Galerie Maeght was significant in establishing the artist’s international market: with the gallery his work traveled from Paris, across America, to California. This lot was acquired through Galerie Maeght by a Northern California collector and comes direct to Los Angeles to trade hands.

Major exhibitions of Calder’s sculptures will open at Pulitzer Arts Foundation, St. Louis, Missouri, in May 2015; and at Tate Modern, London, in November 2015.

Alexander Calder is one of fourteen renowned artists heralded in American Icons: Masterworks from SFMOMA and the Fisher Collection, on view April 8–22 June 2015, at the Grand Palais in Paris.

Barron, Stephanie, Ilene Susan Fort, Aleca Le Blanc, Jed Perl, and Harriet F. Senie.

Calder and Abstraction: From Avant-Garde to Iconic. Ed. Stephanie Barron and Lisa Gabrielle Mark. Los Angeles: Los Angeles County Museum of Art, 2013. Print.

"Calder's Life: Chronology and Exhibitions." Calder Foundation. Web. <http://www.calder. org/life/chronology> and <http://www.calder.org/life/exhibitions> Miró, Joan Punyet, and Fundació Joan Miró. Calder: 20 Novembre 1997–15 Febrer 1998.

Barcelona: Fundació Joan Miró, 1997. Print.

"Press Release: Calder and Abstraction: From Avant-Garde to Iconic." LACMA. Web. <http://www.lacma.org/about/press/calder-and-abstraction-avant-garde-iconic> Several, Michael. "Four Arches: Historical Background." Public Art in LA. June 1998.

Web. <http://www.publicartinla.com/Downtown/figueroa/bunker_hill/arches.html> "Alexander Calder: Objects to Art Being Static, So He Keeps It in Motion," New York World-Telegram 11 June 1932. Print. in Lucy Flint. "Alexander Calder: Untitled." Guggenheim. Web. <http://www.guggenheim.org/new-york/collections/collection-online/ artwork/743>

167 ALEXANDER CALDER Quatre Blancs

1976 Sheet metal, wire and paint Signed and dated “CA 76” on blue disc Calder Foundation #A11629 19.625" x 20" x 12" P ROV E NANC E Galerie Maeght, Paris, France; Private Collection, Los Altos, California (acquired from the above through Maeght USA, San Francisco, California, 1978) E XHIBIT E D "Calder: Mobiles and Stabiles," Galerie Maeght, Paris, December 1, 1976-January 8, 1977 ILLUST RAT E D Calder: Mobiles and Stabiles. Galerie Maeght: Paris, 1976. #37.

$500,000–700,000

115

168 UELI BERGER, ELEONORE PEDUZZI-RIVA & HEINZ ULRICH Non Stop Sofa

De Sede for Stendig, designed 1972 Model no. DS-600 Comprised of twenty sections Sections each: 28.5" x 10" x 37" Overall approximately: 28.5" x 167" x 37" LITERATURE Habegger, Jeryll, and Joseph H. Osman. Sourcebook of Modern Furniture. New York: Norton, 1997. 496.

$15,000â&#x20AC;&#x201C;20,000

169 ITALIAN MODERN Chandeliers (2)

Arredoluce, designed c. 1960 Each: 24" x 60" diameter

$10,000â&#x20AC;&#x201C;15,000

117

170 GIO PONTI

Floor lamps and Ogivali (Pierelli) table light (3) Fontana Arte, designed c. 1967-1968 Table light retains label “Fontana Arte/ Made in Italy” Each floor lamp: 72.5" x 15" x 10.75" Table light: 14.6" x 6.5" x 3" LITERATURE Deboni, Frank. Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand. Turin: Umberto Allemandi, 2012. #381.

$5,000–7,000

171 ARNALDO POMODORO Stationery tray c. 1958 Cast bronze 1.75" x 5.5" x 8.5"

$3,000–5,000

172 DUILIO BARNABÉ Art glass panel

Fontana Arte, designed c. 1955 Inscribed “Dubé*Fontana Arte” lower center 16.25" x 47"

$1,000–1,500

173 MICHELANGELO PISTOLETTO Frattali

1999-2000 Acrylic on mirrored glass Unique Signed, titled, and dated verso Accompanied by a photo certificate of authenticity signed by the artist, and stamped by the Associazione Culturale Arte Nova, Pescara 29.5" x 25.25"

$6,000–9,000

174 SALVATORE MELI

Glazed ceramic plate Studio, executed 1950 Signed “Meli 50 Roma” 3" x 20" diameter

$3,000–5,000

119

175 MARCO ZANUSO

Lady chair and settee (2) Arflex, designed 1951 Chair retains Illums Bolighus label Settee: 32" x 57.75" x 34.75" Chair: 31.5" x 31" x 32.25" LITERATURE Habegger, Jerryll, and Joseph H. Osman. Sourcebook of Modern Furniture. New York: Norton, 2005. 409; Ergün, Nazire, ed. Modern Furniture: 150 Years of Design. Germany: Tandem Verlag, 2009. 493.

$3,000–5,000

176 ATTRIBUTED TO CARLO SCARPA Mirror

PossiblyVenini, designed c. 1938 1.5" x 17.5" diameter LIT E RAT URE Barovier, Marino. Venetian Glass by Carlo Scarpa: The Venini Company, 1932-1947. Italy: Skira, 2013.

(243 for a similar example.)

$1,800–2,500 LOT 177

177 CARLO SCARPA Vase

Venini, designed 1932-1933 Model no. 11028 Etched “Venini/Murano/Made in Italy” 7" x 4" diameter LIT E RAT URE Barovier, Marino. Venetian Glass by Carlo Scarpa: The Venini Company, 1932-1947. Italy: Skira, 2013.

LOT 176

#115.

$4,000–6,000

178 MURANO GLASS Vase

Possibly Zecchin Martinuzzi, c. 1938 12" x 5.25" diameter

$3,000–5,000

179 ATTRIBUTED TO ERMANNO TOSO Lamp base

Manufacturer unknown, possibly Fratelli Toso, designed c. 1958 24" x 4.5" diameter

LOT 178

LOT 179

$50–100

121

“I want to be a machine.”

– Andy Warhol

Campbell’s Soup I is a major suite in the Andy Warhol canon.

Defining emblems of Warhol’s artistry, these prints are icons of the Pop art movement, and arguably are among the most famous images in all of postwar art. In these prints, Warhol returned to the subject of his first solo show as an artist and to that which made his name: Campbell’s Soup Cans, a group of 32 silkscreened paintings on canvas with hand-lettering (now in the collection of the Museum of Modern Art, New York) exhibited in 1962 at the legendary Ferus Gallery in Los Angeles.

The 1968 Campbell’s Soup I prints represent a refinement of that work. They realize a concept that Warhol expressed often and variously throughout his career, but never more succinctly than when he said: “I want to be a machine.” With the use of the mechanical silkscreen technique, he removed the direct hand of the artist from the artistic process. “Traditional, manual virtuosity no longer mattered,” in light of Warhol and his silkscreens, write art historians Tony Scherman and David Dalton. “The result alone mattered: whether or not it was a striking image. Making art became a series of mental decisions.” This notion turned centuries of fine art orthodoxy on its head. After Warhol, artists would be seen not only as makers of compelling objects, such as painting and sculpture, but also as makers of ideas.

Warhol’s 1962 Campbell’s Soup Cans appear, at first glance, to be faithful and exact replicas of the soup company’s labels.

But the handiwork of the artist is noticeable in the slightly askew lettering of the soup names, and in the fleur-de-lis images that run along the bottom of each label (made by using hand-cut rubber stamps). In the fourth edition catalogue raisonné of Warhol prints, curator Donna De Salvo says of the 1968 silkscreens: “The ten screenprints in each portfolio, based on paintings from 1962, possess none of the color variations or painterly effects of the other prints. They remain the most mechanical and uniform prints Warhol ever produced.” Warhol, in other words, improved upon himself— with his 1968 Campbell’s Soup I edition, he made a Warhol more properly a Warhol.

Defendi, Claudia, Frayda Feldman, and Jörg Schellmann, eds. Text by Arthur Danto and Donna De Salvo. Andy Warhol Prints: A Catalogue Raisonné; 1962– 1987. 4th ed. New York: D.A.P./Ronald Feldman Fine Arts/The Andy Warhol Foundation for the Visual Arts, 2003. 72—73. Print. Dorment, Richard. “What Is an Andy Warhol? ” New York Review of Books (2009). Web. Scherman, Tony, and David Dalton. Pop: The Genius of Andy Warhol. New York: Harper Collins, 2009. Print.

180 ANDY WARHOL

Campbell’s Soup I 1968 The complete suite of ten screenprints on paper #179 of 250 Published by Factory Additions, New York; printed by Salvatore Silkscreen Co., Inc., New York Each signed in ballpoint pen verso; each stamped with edition verso F/S #II.44-53 Sheets each: 35" x 23" P ROV E NANC E James Corcoran Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, May 23, 1989) LIT E RAT URE Danto, Arthur C., Donna De Salvo, Frayda Feldman, Claudia Defendi, and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné: 1962-1987. 4th ed. New York: D.A.P., 2003. 72-73. #II.44-53.

$400,000–600,000

123

181 ANDY WARHOL $

1982 Screenprint on Lenox Museum Board #56 of 60 unique impressions Published by Andy Warhol; printed

by Rupert Jasen Smith, New York Signed lower right; edition lower center; blind stamp lower left F/S #II.278 Image/sheet: 19.75" x 15.625" Frame: 20" x 16" LITERATURE Danto, Arthur C., Donna De Salvo, Frayda Feldman, Claudia Defendi, and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné: 1962-1987. 4th ed.

New York: D.A.P., 2003. 83, #II.278.

$35,000–45,000

182 ANDY WARHOL Mao

1973 Screenprint on Beckett High White paper #219 of 250 Published by Castelli Graphics and Multiples, Inc., New York; printed

by Styria Studio, Inc., New York Signed lower right verso; edition lower left verso F/S #II.94 Image/sheet: 36" x 36" Frame: 45.75" x 45.75" LIT E RAT URE Danto, Arthur C., Donna De Salvo, Frayda Feldman, Claudia Defendi, and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné: 1962-1987. 4th ed.

New York: D.A.P., 2003. 83, #II.94.

$25,000–35,000

125

183 LOUISE NEVELSON Night Leaf

1969 Cast polyester construction Artist’s proof aside from the edition of 150 Published by Pace Editions, Inc., New York Signed in ink with edition on Pace Editions, Inc. label verso Together with book Louise Nevelson: A Passionate Life 12.75" x 12.75" x 2.25"

$4,000–6,000

184 HELEN FRANKENTHALER Flotilla

2006 Color screenprint on paper #83 of 120 Published by The Naples Art Museum, Naples; printed by Brand X Editions, New York Signed, dated, and with edition lower left sheet; signature in plate lower right Image/sheet: 31" x 37"

$3,000–5,000

185 FRANK STELLA

Puerto Rican Blue Pigeon (from Exotic Bird Series) 1977 Offset lithograph and color screenprint on Arches 88 mould-made paper #43 of 50 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed, dated, with edition and blind stamp lower right; retains John Berggruen Gallery label verso Image: 32.875" x 44.875" Sheet: 33.875" x 45.875" Frame: 34" x 46" P ROV E NANC E Private Collection, California (acquired directly from John Berggruen Gallery, San Francisco, California) LIT E RAT URE Axsom, Richard H. The Prints of Frank Stella: A Catalogue Raisonné: 1967-1982. New York: Hudson Hills Press, 1983. 131, #108.

$4,000–6,000

186 FRANK STELLA

Avicenna (from the Aluminum Series) 1970 3-color lithograph and screenprint on Special Arjomari paper #63 of 75 Published and printed by Gemini G.E.L., Los Angeles Edition lower left; signature and date lower right Gemini G.E.L. #51.48 Sheet/frame: 16" x 22" LIT E RAT URE Axsom, Richard H. The Prints of Frank Stella: A Catalogue Raisonné: 1967-1982. New York: Hudson Hills Press, 1983. 64, #37.

$2,000–3,000

127

187 LOUISE BOURGEOIS

Crochet IV (from Crochet Series) 1998 Mixografía print on handmade paper #45 of 50 Published and printed by Mixografía, Los Angeles Initialed in graphite lower right sheet; edition lower left Sheet: 28" x 33" Frame: 34.25" x 40"

$7,000–9,000

188 JIM DINE

A Girl and Her Dog I 1970; published 1971 Etching and aquatint on J. Green Mould Made paper #21 of 75 Published by Petersburg Press, London; printed by Maurice Payne Signed, dated, and with edition in graphite lower right sheet Image: 10.875" x 8.5" Sheet: 35" x 28" Frame: 43.875" x 35.875" LIT E RAT URE Jim Dine, Prints: 197077. Williamstown: Williams College, 1977. #36.

$2,000–3,000

129

189 JIM DINE

Pliers (from Ten Winter Tools Suite) 1973 Lithograph on German Etching Deluxe paper #21 of 100 Published by Petersburg Press, New York; printed by William Law Signed in graphite lower left sheet; edition lower center; dated with blind stamp lower right Sheet: 27.5" x 21.5" Frame: 29.25" x 23" LIT E RAT URE Jim Dine, Prints: 197077. Williamstown: Williams College, 1977. #113.

$1,500–2,000

190 ROBERT INDIANA

Love and Love Poem (2) 1996 Color screenprint on Coventry Archival Rag paper; mixed-media debossment and color screenprint on Coventry Rag paper #158 of 250 Each signed with edition in graphite; “Love” screenprint with date Sheets each: 24” x 20"

$5,000–7,000

LABEL DETAIL

191 ROBERT INDIANA Classic Love rug

1995 Skein dyed hand-carved and handtufted archival New Zealand wool on stretched canvas with natural latex backing #68 of 100 Master Contemporary Original Artist Rugs, Israel and New York Signed in the weave “R. Indiana” lower right; retains manufacturer’s label with artist’s signature and edition verso 96" x 96"

$3,000–5,000

192 OTTO DUECKER

Merona Jogging Shorts 1985 Oil on board Signed, titled, and dated in black felt-tip marker verso; retains Hokin/Kaufman Gallery label verso 24" x 12"

$2,000â&#x20AC;&#x201C;3,000

131

193 KIM MCCARTY Untitled Boy

2004 Watercolor on paper Signed and dated in graphite lower right sheet Sheet: 30" x 22" Frame: 35.75" x 28"

$1,500â&#x20AC;&#x201C;2,000

194 EARL REIBACK

Untitled (Light sculpture) c. 1970 Kinetic lightbox Carved signature “Earl Reiback” verso 78" x 50" x 20"

$3,000–5,000

195 RICHARD SERRA Cool Down

1996 1-color etching on Pasquale de Ponte, Mexico Goitia watercolor cream paper #15 of 38 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right sheet; edition lower left Gemini G.E.L. #47.90 Sheet: 33" x 42" Frame: 35" x 44" LIT E RAT URE Von BerswordtWallrabe, Silke, ed. Richard Serra: Werkverzeichnis: Druckgrafik, 19722007. 2nd ed. Düsseldorf: Richter Verlag, 2008. 137, #108.

$4,000–6,000

196 ALAN SARET

Dual and Non-Dual Entrance (Gang Drawing) 1985 Colored pencil on paper Signed in graphite verso Sheet: 26.5" x 40" Frame: 30" x 43.75" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Marc Selwyn Fine Art, Los Angeles, California, c. 1995)

$4,000–6,000

133

Agnes Martin Canadian-born Agnes Martin (1912–2004) was a major figure of 1950s and 1960s abstraction, known for her square-format works with all-over grid patterns, rendered in paint and graphite. Described as an artist who bridged Abstract Expressionism and Minimalism, she exhibited an austere North American pragmatism, influenced by Protestantism. In a similar vein, her belief in the tenets of Zen Buddhism aligns with her oeuvre’s classical refrains.

Martin’s paintings evoke ancient (Greek, Egyptian, and Chinese) ideals—simplicity and perfection, or a search for solitude. She said, “My interest is in experience that is wordless and silent, and in the fact that this experience can be expressed for me in artwork, which is also wordless and silent.”

The time after her first solo show in 1958 at Betty Parsons Gallery, New York, marked increasing commercial and critical success for Martin, both national and international. But just as she was gaining acclaim, in 1967 the artist abandoned the New York art scene and painting in general. Martin traveled across the U.S. and Canada, and settled in New Mexico, where she had lived previously, to write. When she returned to painting some six years later, she refined her practice. Still subtle and meditative, her late 1970s paintings feature wide horizontal watercolor washes of pale blue, yellow, and light red, delicately defined by penciled lines. Their variations in color, opacity, and transparency evoke optical and textural allusions.

They seemingly refer to the Southwestern landscape: like luminous, dissolving stretches of the desert horizon. The artist said these works “are light, lightness, about merging, about formlessness, breaking down forms.”

Martin joined New York’s Pace Gallery in 1975 (to this day she is one of their featured artists). Untitled (1977), in watercolor, graphite, and ink on paper, has excellent gallery provenance. This lot retains Pace Gallery and Margo Leavin Gallery labels and will be offered on the market for the first time in decades. (A similar watercolor, also from 1977, is in the collection of the Guggenheim, New York.)

Since her first solo exhibition, Martin’s work has been the subject of more than 80 solo shows and two retrospectives. Early one-woman exhibitions were at the Institute of Contemporary Art, University of Pennsylvania, Philadelphia (1973); the Museum of Modern Art, New York (1973); and the Hayward Gallery in London (1977).

The retrospective Agnes Martin: Paintings and Drawings 1974–1990 was organized by the Stedelijk Museum, Amsterdam (1991); and the Whitney Museum of American Art organized the survey Agnes Martin in 1992. In 1989 Martin was inducted into the American Academy and Institute of Arts and Letters. Other honors include the Skowhegan Medal of Painting and Sculpture (1987), and the Golden Lion at the 1997 Venice Biennale. In June 2015, Tate Modern, London will present the first retrospective of Agnes Martin since her death in 2004.

Brandauer, Aline. “Bearing Witness.” Agnes Martin: Works on Paper.

Santa Fe: Museum of Fine Arts, Museum of New Mexico, 1998. 9. Print.

Cooke, Lynne. “In the Classic Tradition.” Agnes Martin. Ed. Lynne Cooke, Karen Kelly, and Barbara Schröder. New Haven, London: Yale UP, 2011.

11. Print.

LABELS DETAIL

197 AGNES MARTIN Untitled

1977 Watercolor, graphite, and ink on paper Signed and dated in graphite “a martin ‘77” lower right sheet; inscribed “Top Top” upper center sheet; retains The Pace Gallery, Margo Leavin Gallery, and Charlotte Jackson Fine Art labels verso Sheet: 12" x 12" Frame: 15.375" x 15.25" This work will be included in an upcoming catalogue raisonné to be published digitally by Artifex Press.

P ROV E NANC E The Pace Gallery, New York, New York (acquired directly from the artist, March 1978); Irving Galleries of Fine Art, Palm Beach, Florida (acquired directly from the above, November 1983); Private Collection, United States E XHIBIT E D “Agnes Martin: Recent Watercolors,” Margo Leavin Gallery, Los Angeles, April 7-May 5, 1979; “Drawings, Watercolors and Prints

by Contemporary Masters,” group exhibition, Root Art Center, Hamilton College, Clinton, April 15-May 23, 1982

$100,000–150,000

135

198 KARL BENJAMIN #17

1984 Oil on canvas Signed, titled, and dated “Karl Benjamin #17 1984” verso Canvas: 30" x 30" Frame: 30.5" x 30.5" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.

P ROVENA NC E Private Collection, Claremont, California (acquired directly from the artist, c. 1995)

$15,000–20,000

199 KARL BENJAMIN

Seascape North of Santa Barbara II 1953 Oil on canvas Signed and dated lower right; title inscribed in graphite on wooden canvas stretcher verso; retains The Pasadena Art Institute label verso Canvas: 18" x 24" Frame: 22" x 28.25" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonnĂŠ of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.

P ROV E NANC E Private Collection, Claremont, California (gifted directly by the artist, 1953); Thence by descent E XHIBIT E D The Pasadena Art Institute, Pasadena, August 1954

$10,000â&#x20AC;&#x201C;15,000

137

200 JUNE HARWOOD

Untitled (from the Sliver Series) 1964 Acrylic on canvas Signed, dated, and inscribed “Harwood 1964/50 x 38/Sliver series” verso Together with signed exhibition catalogue Canvas: 50" x 38" Frame: 50.5" x 38.5" P ROVENA NC E The artist; NOHO Modern, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above)

$5,000–7,000

201 MAXWELL GIMBLETT

Study after “Orange/Green” 1978 Marker on paper Signature, date and title in graphite upper right sheet Sheet: 22.5" x 30" Frame: 24" x 31.25"

$500–1,000

202 JOHN LEVEE July IV

1967 Acrylic on canvas board Signed and dated with title in marker verso Board: 11.25" x 7.75" Frame: 21" x 17"

$1,000–1,500

203 ILYA BOLOTOWSKY Column (from II)

c. 1970 Screenprint on Plexiglas interlocking panels #11 of 25 Printed by Chiron Screenprint Company, New York Signed with edition at base 30" x 5" diameter

$1,500–2,000

139

204 BRICE MARDEN

L.A. Muses (from The MOCA Portfolio) 1999 3-color etching and lithograph on Somerset Velvet 330 gsm paper #32 of 80 Published by MOCA, Los Angeles; printed by Gemini G.E.L., Los Angeles Signed and dated in graphite “B. Marden 99” lower right margin of sheet beneath image; Gemini G.E.L. blind stamps lower right margin of sheet; edition lower left margin of sheet beneath image; retains Robert Berman Gallery label verso Gemini G.E.L. #63.1 Image: 17" x 26" Sheet: 22" x 30" Frame: 30.25" x 38"

$8,000–12,000

205 VALERIE JAUDON Cameta

1985 Oil on linen Signed, dated, and titled on overlap verso; retains Margo Leavin Gallery label verso Canvas: 25" x 23"

$3,000â&#x20AC;&#x201C;5,000

141

206 ROBIN BRIGHT

Untitled; Virden (2) 1992; 2001 Mixed media on paper; pigment on plaster Each signed and dated in graphite; one retains Quint Gallery label verso A: Sheet: 12.5" x 10" Frame: 25.25" x 23.75" B: Plaster: 13" x 10" Frame: 19" x 16"

$800â&#x20AC;&#x201C;1,200

207 KAI KRISTIANSEN Floating desk

Illums Bolighus, designed c. 1950 29" x 60" x 30.5"

$3,000–5,000

208 KAARE KLINT Chair

Rud. Rasmussens Snedkerier, designed 1927 Retains label “Rud. Rasmussens Fabrik/For Egetraesmobler/Norrebrogade 45. Kobenhavn” 31.5" x 31" x 32.25" LITERATURE Matz, Søren, Christian Holm Olesen, and Bodil Busk Laursen, eds. Mesterværker: 100 Års Dansk Møbelsnedkeri. Copenhagen: Nyt Nordisk Forlag A. Busck, 2003. 130.

$1,500–2,000

209 KAARE KLINT Chair

N.C. Jensen Kjær, designed c. 1930 33" x 20.75" x 20" LITERATURE Matz, Søren, Christian Holm Olesen, and Bodil Busk Laursen, eds. Mesterværker: 100 Års Dansk Møbelsnedkeri. Copenhagen: Nyt Nordisk Forlag A. Busck, 2003. 130.

$2,000–3,000

LOT 208

LOT 209

210 BØRGE MOGENSEN Tall dresser

Søborg Møbelfabrik, designed c. 1952 Model no. 135 57" x 39.5" x 19" LIT E RAT URE Søborg Møbler Furniture Catalog. 1952. 11. Web. 22 March 2015.

$1,500–2,000

143

211 MID-CENTURY MODERN Tambour door credenza Manufacturer unknown, designed c. 1968 31" x 82.75" x 19.75"

$1,500–2,000

212 HANS WEGNER

Dining side chairs (6) with associated table and pair of armchairs Carl Hansen, designed 1958 Model no. CH-33 (side chairs) One armchair stamped “Made in Denmark,” other armchair with upholstery tag Table: 28.5" x 72.5" x 39.25" Armchairs each: 32" x 24" x 22" Side chairs each: 29" x 20" x 19" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 86.

$5,000–7,000

213 DANISH MODERN Lamp

Manufacturer unknown, designed c. 1960 61" x 14" x 13"

$2,500–3,500

214 ARNE JACOBSEN Desk chair

Fritz Hansen, designed 1955 Model no. 3217 Retains Fritz Hansen markings 30" x 25" x 21" LIT E RAT URE Sten Møller, Henrik. Hans Wegner Furniture Catalogue, c. 1980. 101.

$1,500–2,000

215 IN THE STYLE OF OLE WANSCHER Rocking chair

Manufacturer unknown, designed c.

1970 Retains upholstery tag 33" x 23.5" x 30"

$200–300

145

216 T.H. ROBSJOHN-GIBBINGS Armchairs (2)

Widdicomb, designed c. 1950 Each: 30.5" x 29" x 25.75"

$4,000–6,000

217 T.H. ROBSJOHN-GIBBINGS End table

Widdicomb, designed c. 1950 Retains Widdicomb brand and “True Grand Rapids” tag 20" x 28" diameter

$1,500–2,000

147

218 T.H. ROBSJOHN-GIBBINGS Lounge chairs (2)

Widdicomb, designed c. 1950 Each: 31.25" x 26.75" x 34"

$2,000–3,000

219 T.H. ROBSJOHN-GIBBINGS Coffee table

Widdicomb, designed c. 1950 Retains Widdicomb brand and “True Grand Rapids” tag 16" x 58" x 21"

$1,500–2,000

220 T.H. ROBSJOHN-GIBBINGS Coffee table

Studio, designed c. 1950 16.75" x 53" x 26.5"

$7,000–8,000

221 EDWARD WORMLEY La Gondola sofa

Dunbar, designed 1957 Model no. 5719 28" x 84" x 29" LIT E RAT URE Weinberg, Larry. Edward Wormley: The Other Face of Modernism.

New York: Designbase, 1997. 43.

$6,000–9,000

149

222 EDWARD WORMLEY Side chairs (2)

Dunbar, designed c. 1956 Model no. 5000A One retains gold Dunbar tag Each: 32" x 29.5" x 23.5" LIT E RAT URE Dunbar Book of Contemporary Furniture. New York: Arrow Press, 1956. 181.

$3,000–5,000

MGM studio actress Ann Rutherford had a long career during the Golden Age of Hollywood, boasting more than 50 film credits to her name. Famously she played Scarlett’s younger sister, Careen, in the 1939 film “Gone With the Wind.” She was married first to David May II, the grandson of the May Department Stores Company founder, then from 1953 William Dozier, the 1960s “Batman” TV series producer. In 1942 Ann Rutherford and David May II hired William “Billy” Haines to design the interior of their Hollywood residence, and Rutherford continued to be one of his main clients.

223 WILLIAM “BILLY” HAINES, DECORATOR Chairs (2)

Custom, executed c. 1956 Each: 29" x 27" x 25" P ROVENA NC E William Dozier and Ann Rutherford, Beverly Hills, California; Ann Rutherford Dozier Trust, Beverly Hills, California; Private Collection, Los Angeles, California

$8,000–12,000

224 WILLIAM “BILLY” HAINES, DECORATOR Barstools (4)

Custom, executed c. 1942 Each: 32" x 13" x 11" P ROVENA NC E David May II and Ann Rutherford, Beverly Hills, California; Ann Rutherford Dozier Trust, Beverly Hills, California; Private Collection, Los Angeles, California

$3,000–5,000

225 WILLIAM “BILLY” HAINES, DECORATOR Table lamp

Custom, executed c. 1956 21.5" (top of finial) x 8" x 6" P ROV E NANC E William Dozier and Ann Rutherford, Beverly Hills, California; Ann Rutherford Dozier Trust, Beverly Hills, California; Private Collection, Los Angeles, California

$1,500–2,000

226 WILLIAM “BILLY” HAINES, DECORATOR Table lamp

Custom, executed c. 1942 13" (top of finial) x 10" x 6" P ROV E NANC E David May II and Ann Rutherford, Beverly Hills, California; Ann Rutherford Dozier Trust, Beverly Hills, California; Private Collection, Los Angeles, California

$1,500–2,000

151 227 PAUL LÁSZLÓ

Lounge chairs (2) Herman Miller, designed c. 1948 Model no. L-689 LOT 225

LOT 226

Each: 28.75" x 34" x 31" LIT E RAT URE Herman Miller Furniture, manufacturer’s catalogue, 1948. 52.

$5,000–7,000

228 CHARLES & RAY EAMES

Elliptical Table Rod Base coffee table Herman Miller, designed 1951 Model no. ETR 10.25" x 88.75" x 29" LITERATURE Neuhart, Marilyn, and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Harry Abrams, Inc., 1989. 149.

$4,000–6,000

229 CHARLES & RAY EAMES Wire Mesh Chair (4)

Herman Miller, designed 1952 Model no. DKR-2 with Naugahyde bikini pad Three retain upholstery tags Each: 32" x 18.5" x 17" LITERATURE Neuhart, Marilyn, and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Harry Abrams, Inc., 1989. 150-53.

$1,500–2,000

ALTERNATE VIEW

230 CHARLES & RAY EAMES Coffee table

Evans Products Co., designed 1946 Model no. CTM-3 15.5" x 34.25" diameter LIT E RAT URE Neuhart, Marilyn, and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Harry Abrams, Inc., 1989. 80.

$5,000–7,000

231 CHARLES & RAY EAMES Dining chair

Herman Miller, designed 1946 Model no. DCW 28.75" x 19.25" x 20.5" LIT E RAT URE Neuhart, Marilyn, and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Harry Abrams, Inc., 1989. 59.

$300–500

232 CHARLES & RAY EAMES Dining chair

Herman Miller, designed 1946 Model no. DCM 29" x 19.5" x 21.5" LIT E RAT URE Neuhart, Marilyn, and Ray Eames. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Harry Abrams, Inc., 1989. 74-75.

LOT 231

LOT 232

$200–300

153

233 MILO BAUGHMAN Settees (2)

Thayer Coggin, designed c. 1960 Each: 24.5" x 58" x 34"

$6,000–9,000

234 MILO BAUGHMAN Bench

Glenn of California, designed c. 1952w 11.75" x 81" x 18"

$1,500–2,000

235 GRETA MAGNUSSON GROSSMAN Bench

Glenn of California, designed 1952 11" x 65" x 16"

$1,500–2,000

LOT 234

LOT 235

236 WALTER LAMB Rocking chair

Brown Jordan Co., designed c. 1950 Model no. C5701 31.25" x 22.25" x 32" LIT E RAT URE Walter Lamb Furniture Catalogue. 1954. N. pag.

$2,500–3,500

237 WALTER LAMB Rocking chair LOT 236

LOT 237

Brown Jordan Co., designed c. 1950 Model no. C5701 31.25" x 22.25" x 32" LIT E RAT URE Walter Lamb Furniture Catalogue. 1954. N. pag.

$2,500–3,500

238 WALTER LAMB

Lounge chairs (4) Brown Jordan Co., designed c. 1950 Each: 29.5" x 27.25" x 24.25" LIT E RAT URE Walter Lamb Furniture Catalogue. 1954. N. pag.

$6,000–8,000

155

239 EVELYN ACKERMAN Untitled (Tapestry)

ERA Industries, designed c. 1969 Woven initials 70" x 43"

$2,500–3,500

240 EVELYN ACKERMAN

Untitled (Tapestries) (2) ERA Industries, designed c. 1969 Each with woven signature 45" x 14.5" 47" x 21.5"

$1,500–2,500

241 LA GARDO TACKETT Vessels (2)

Studio, designed c. 1950s One with artist’s cipher 3.5" x 18" x 5.5" 2.25" x 14" x 5"

$2,000–3,000

157 242 DAVID CRESSEY

Planters with Leaf texture (2) Architectural Pottery, designed c. 1963 Model nos. CR 22-17 and CR 18-25, from the Pro/Artisan Series 16.5" x 23" diameter 24" x 22.5" diameter

$2,000–3,000

LABEL DETAIL

243 ALSON S. CLARK Watertown Circus 1906 Oil on panel Dated “Aug 30 06” lower right; retains The Pasadena Art Museum label verso; bears the inscription in graphite “Watertown” verso Panel: 7.375" x 9.375" Frame: 17.5" x 19.5" EXHIBITE D The Pasadena Art Museum, Pasadena, 1952

$10,000–15,000

244 PAUL LANDACRE

Three Kids and a Horse 1943 Woodcut on paper #15 of 100 Signed in graphite lower right; title with edition inscribed lower left Image: 7.5" x 10" Sheet (vis.): 8.375" x 11" Frame: 18" x 22" The Library of Congress awarded Paul Landacre a Purchase Prize for this print.

$1,200–1,500

245 GENE KLOSS

Winter Woods, Indian Summer, Adobes in Snow (3) 1941 Etching on paper Each signed in graphite lower right; each with title inscribed lower left Winter Woods: Image: 6.75" x 8.375" Sheet (vis.): 7.625" x 9" Frame: 16" x 20" Adobes in Snow: Image: 7.75" x 11.25" Sheet (vis.): 8.375" x 12" Frame: 14.25" x 17.625" Indian Summer: Image: 7.75" x 11" Sheet (vis.): 8.25" x 11.375" Frame: 17" x 21"

$2,000–3,000

159

246 CINDY SHERMAN

Untitled Diptych (Doctor and Nurse) 1980-1987 Gelatin silver print diptych on semigloss double weight photo paper #55 of 125 Each signed and dated with edition verso Images (vis.) each: 8.5" x 6.75" Frame: 16.5" x 20.5" LITERATURE Respini, Eva. Cindy Sherman. New York: Museum of Modern Art, 2012. 21, #10.

$8,000–12,000

247 DUANE MICHALS Duane Duck

1984 Gelatin silver print #2 of 25 Signed with edition lower center margin of sheet; title inscribed upper center margin Sheet: 11" x 13.5" Frame: 13.5" x 16.5" LITERATURE Livingstone, Marco, ed. Duane Michals: Photographs, Sequences, Texts: 1958-1984. Oxford: Museum of Modern Art, 1984. 61, #54.

$3,000–5,000

248 CHUCK CLOSE Robert

1998 Photogravure on Lana Gravure paper #4 of 48 Published and printed by ULAE, West Islip, to benefit The Lab School of Washington Signed lower center in graphite; dated lower right; edition lower left with ULAE blind stamp Image: 20.625" x 17" Sheet: 28.5" x 24" Frame: 32.75" x 28.5" P ROV E NANC E Private Collection, California (acquired directly from ULAE, West Islip, New York)

$2,000–3,000

249 HORACE BRISTOL

Saidaigi Temple, Japan, 1946 1946; this example printed 1956 Gelatin silver print Signed and dated in graphite lower right mat Image (vis.): 8.75" x 13" Frame: 19.5" x 23.5" LIT E RAT URE Eye on the World: The Photographs of Horace Bristol. Los Angeles: G. Ray Hawkins Gallery, 1991. 38-39.

$3,000–5,000

161

250 ROBERT LONGO

Untitled (Pl. 17 from Men in the Cities) 2005 Archival pigment print on Crane Portfolio Rag paper #8 of 15 Published by Adamson Editions, Washington, D.C. Signed and dated in graphite lower right image; edition lower left image Image: 39.75" x 26.25" Sheet: 44" x 30" Frame: 47.5" x 34.125"

$5,000â&#x20AC;&#x201C;7,000

251 ROBERT LONGO

Untitled (Pl. 18 from Men in the Cities) 2005 Archival pigment print on Crane Portfolio Rag paper #8 of 15 Published by Adamson Editions, Washington, D.C. Signed and dated in graphite lower right image; edition lower left image Image: 39.75" x 26.25" Sheet: 44" x 30" Frame: 47.5" x 34.125"

$5,000â&#x20AC;&#x201C;7,000

163

252 RICHARD MISRACH

Untitled (from Desert Cantos Series) c. 1983 Chromogenic print Sheet (vis.): 18" x 22.25" Frame: 24" x 29.5"

$2,000â&#x20AC;&#x201C;3,000

253 NICHOLAS NIXON

Brown Sisters, New Canaan, Connecticut 1975 Gelatin silver print on Kodak paper Signed, dated, and inscribed in graphite “Heather Brown McCann, Mimi Brown, Bebe Brown Nixon, Laurie Brown New Canaan, Conn.

1975 Nicholas Nixon” verso Image: 7.625" x 9.625" Sheet: 8" x 10" Frame: 16" x 20" P ROVENA NC E Private Collection, California (acquired directly from the artist); Thence by descent LITERATURE Nicholas Nixon: The Brown Sisters. Abrams/The Museum of Modern Art: New York, 1999.

N. pag.

$5,000–7,000

254 NICHOLAS NIXON Cambridge

1986 Gelatin silver print Signed, titled, dated, and inscribed in graphite “Cambridge 1986 (8) Nicholas Nixon” verso Image: 7.75" x 9.75" Sheet: 8" x 10" Frame: 14" x 16"

$1,000–2,000

255 LEE FRIEDLANDER New York City

1966; this example printed 1978 Gelatin silver print Signed in graphite and dated with copyright credit reproduction limitation stamp verso Image: 7.5" x 11" Sheet: 11" x 14" Frame: 14" x 17.5" LIT E RAT URE Friedlander, Lee, and Rod Slemmons. Like a One-Eyed Cat: Photographs by Lee Friedlander, 1956-1987. New York: Abrams, 1989.

Pl. 20.

$3,000–5,000

256 LEE FRIEDLANDER Chicago

1967; this example printed 1970 Gelatin silver print Signed and titled in graphite and dated with copyright credit reproduction limitation stamp verso Image: 7.5" x 11" Sheet: 11" x 14" Frame: 14" x 17.5"

$3,000–5,000

165

257 WILLIAM WEGMAN Knot

1990 Polaroid Polacolor II photograph Titled in ink lower center sheet; signed and dated lower right Together with Linda Cathcart Gallery label Frame: 29.25" x 22.25" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from Linda Cathcart Gallery, Santa Monica, California); Thence by descent

$4,000–6,000

258 WILLIAM WEGMAN

Bad Dog (Dog Study) 1982 Ink on paper Inscribed “Bad Dog” lower center; initialed and inscribed “WW 1917” verso; retains Janss Collection and Linda Cathcart Gallery labels verso Sheet: 14" x 16.75" Frame: 21.5" x 24" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from Linda Cathcart Gallery, Santa Monica, California); Thence by descent

$1,000–1,500

259 WILLIAM WEGMAN Legged Creature

1988 Polaroid Polacolor II photograph Signed and dated in ink lower right sheet; titled lower center; retains Janss Collection and Linda Cathcart Gallery labels verso Sheet (vis.): 26.25" x 21.5" Frame: 32" x 27" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Linda Cathcart Gallery, Santa Monica, California); Thence by descent

$4,000–6,000

167

260 WILLIAM WEGMAN

And Then I Knew My Diving Days Were Over 1982 Ink on paper Initialed and dated lower right Sheet: 14" x 11" Frame: 16.5" x 13.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Linda Cathcart Gallery, Santa Monica, California); Thence by descent

$1,000–1,500

LOT 261

LOT 262

LOT 263

261 BRUCE WEBER

Untitled working prints (4) c. 1977 Gelatin silver print Together with book Looking Good, and Agfa box with Bruce Weber label Sheets/frames each: 8" x 10"

$1,500–2,000

262 BRUCE WEBER

Untitled working prints (4) c. 1977 Gelatin silver print Sheets/frames each: 8" x 10"

$1,500–2,000

263 BRUCE WEBER

Untitled working prints (4) c. 1977 Gelatin silver print Sheets/frames each: 8" x 10"

$1,500–2,000

169

264 NATHAN OLIVEIRA Untitled

1957 Oil on canvas Signed and dated upper left; signed and dated in graphite “Nathan Oliveira/57” verso Canvas: 72.5" x 35.75" Frame: 73" x 36.5"

$12,000–18,000

265 NATHAN OLIVEIRA

Autumno in Toscano 1986 1986 Monotype on paper Signed and titled in graphite lower center margin of sheet; date in plate upper left image; retains Goldeen Gallery label verso Image: 15.5" x 17.25" Sheet: 27.5" x 19.75" Frame: 31" x 23" LIT E RAT URE Bertazzoni, Giovanna, and Robert Flynn Johnson. Variations in Time: Nathan Oliveira: Monotypes and Monoprints. San Francisco: Fine Arts Museum of San Francisco, 1997. 60.

$1,000–1,500

266 JOHN SACCARO Untitled

1941 Oil on board Signed and dated lower right; signed “Giovanni Saccaro” verso; retains 43rd Annual Exhibition of Wisconsin Art label verso Board: 24" x 20" Frame: 32" x 28.25" E XHIBIT E D “Wisconsin Painters and Sculptors 43rd Annual Exhibition of Wisconsin Art,” Milwaukee Art Institute, Milwaukee

$3,000–5,000

171

267 WILLIAM THEOPHILUS BROWN Still Life with Flower 1967 Acrylic on board Signed and dated “WTB 67” lower right corner Board: 12.25" x 15.75" Frame: 13" x 16.5" LITERATURE Recent Paintings by William Theo Brown. Los Angeles: Felix Landau Gallery, 1967. N. pag. (#24-27 for similar examples from the period.)

$2,000–3,000

268 WILLIAM THEOPHILUS BROWN Still Life with Matches 1977 Acrylic on canvas Signed and dated verso Canvas: 12" x 9" Frame: 13" x 10"

$1,500–2,000

269 PAUL WONNER Untitled

c. 2005 Watercolor, acrylic, and graphite on paper Signed in graphite lower right Sheet: 14.75" x 22.5" Frame: 16.75" x 24"

$2,500–3,500

270 WAYNE THIEBAUD

Olives (from Delights) 1964 Aquatint #24 of 100 Published by Crown Point Press, Oakland; printed by Kathan Brown, Oakland Signed, dated, and titled lower right; edition lower center Image: 3.875" x 3.875" Sheet: 12.5" x 10.75" Frame: 17.5" x 15.5" LIT E RAT URE Thiebaud, Wayne.

Wayne Thiebaud: Graphics, 1964-1971.

Portland: Parasol Press, 1971. #8.

$3,000–5,000

173

271 DONALD SULTAN Yellow Iris

1982 Woodblock print on paper #7 of 10 Artist’s proofs aside from the edition of 45 Signed, titled, and dated with edition in graphite left margin of sheet Sheet: 29" x 23" Frame: 31.25" x 25.25"

$1,000–1,500

272 BRUCE COHEN

Untitled (BC 91-10) 1991 Oil on canvas Signed, titled, and dated verso; retains Asher Faure Gallery label verso Canvas: 48" x 72" Frame: 50" x 74"

$4,000â&#x20AC;&#x201C;6,000

273 BRUCE COHEN

Untitled (Interior with Screen Door and Rubrum Lily) 1989 Oil on canvas Signed and dated verso Canvas: 48" x 60" Frame: 50" x 62"

$4,000–6,000

175

274 BRUCE COHEN

Untitled (Interior with Red Pitcher, Coat, Landscape, and Red Rose) 1986 Oil on canvas Signed and dated verso Canvas: 40" x 60" Frame: 42" x 62" E XHIBIT E D “Bruce Cohen: New Paintings,” Asher Faure Gallery, Santa Monica, January 8-February 4, 1987

$4,000–6,000

275 MANNY FARBER Prarie Sun

2003 Oil on board Signed and dated with title in red marker verso; retains Quint Gallery label verso Canvas: 30" x 30" EXHIBITE D “Manny Farber: New Small Paintings,” Quint Gallery, La Jolla, December 2003

$2,000–3,000

276 ROBERT FRAME Shore View

c. 1980 Oil on canvas Signed “R Frame” lower left; retains Dubins Gallery label verso Canvas: 42" x 52" Frame: 43.5" x 54"

$2,000–3,000

277 LARRY COHEN

View of Santa Monica Coast 2004 Oil on canvas Signed in graphite verso Canvas: 28" x 24" Frame: 28.75" x 24.5"

$2,000–3,000

278 LARRY COHEN

Window-View of Westridge Rd 2002 Oil on canvas Signed and titled in graphite verso Canvas: 9" x 26" Frame: 9.25" x 26.25"

$1,500–2,000

177

279 ANNIE LAPIN Older Boys

2007 Casein and oil on panel Signed and dated verso; retains Angles Gallery label verso Panel: 60" x 54" P ROVENA N C E Private Collection, Los Angeles, California (acquired directly from Angles Gallery, Santa Monica, California)

$5,000â&#x20AC;&#x201C;7,000

280 BALTHUS (BALTHASAR KLOSSOWSKI DE ROLA)

Portrait de Filles et Personnages/Scène Erotique et Bouquet de Fleurs c. 1930s Ink and graphite on paper (double-sided) Together with letter from Galerie Koller, Zurich, dated April 10, 1992 Sheet: 9.5" x 7.75" P ROV E NANC E Denenberg Fine Arts, San Francisco, California; Dr. William Ehrenfeld, San Francisco, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above)

$4,000–6,000

179

281 BYRON BROWNE The Clown

1960 Oil on canvas Signed and dated lower left; signed, dated, and titled verso Canvas: 18.25" x 14" Frame: 24.875" x 21"

$2,500–3,500

283 282 ROY DOWELL

Broadcasting the Word 1986 Acrylic and sand on canvas Signed, dated, and inscribed in graphite “Roy Dowell/1986/#363” verso; retains Rosamund Felsen Gallery label verso; retains Margo Leavin Gallery label verso

LARI PITTMAN

This Landscape, Beloved and Despised, Continues Regardless 1989 Color lithograph on paper #29 of 45 Published and printed by Cirrus Editions, Los Angeles Signed and dated in graphite lower right sheet; edition lower left

Canvas: 64" x 24" Frame: 65.25" x 25"

Sheet: 44" x 38" Frame: 49" x 43"

$3,000–5,000

$2,000–3,000

284 JUD FINE

Removal #1 1978 Watercolor, colored pencil, and graphite on paper Signed and dated in graphite “J. Fine ‘78” lower right sheet; retains Butterfields label verso Sheet: 25.5" x 40" Frame: 28.25" x 42.75"

$500–700

285 GIUSEPPE GALLO Untitled

1989 Mixed media on paper diptych Retains L.A. Louver Gallery label verso Sheets each: 18.5" x 14.5" Overall: 18.5" x 32" Frame: 26.5" x 40"

$1,000–1,500

181

286 BEN ARONSON The Deck

1996 Mixed-media on board Signed and dated lower right; signed and dated with title in ink verso; retains Horwitch Newman Gallery labels verso Canvas: 30" x 20.25" Frame: 32.5" x 23" P ROVENA NC E Horwitch Newman Gallery, Scottsdale, Arizona; Private Collection, United States (acquired directly from the above, 1997)

$3,000â&#x20AC;&#x201C;5,000

287 BEN ARONSON

Toward Downtown 1996 Oil on board Signed and dated lower right; retains Horwitch Newman Gallery label verso Canvas: 18" x 24" Frame: 20.5" x 26" P ROVENA NC E Horwitch Newman Gallery, Scottsdale, Arizona; Private Collection, United States (acquired directly from the above, 1997)

$3,000â&#x20AC;&#x201C;5,000

288 CARLOS ALMARAZ

Laughing and Crying 1987 Color screenprint on paper #51 of 90 Signed and dated lower left sheet; edition lower right

289 MARIA ESCOBEDO

Catapultas para Cocos 1994 Acrylic, ink, graphite, and paper collage Signed and dated lower right sheet

Sheet: 33" x 48" Frame: 38.5" x 53.25"

Sheet: 20" x 27" Frame: 26.5" x 34"

$800–1,200

$500–1,000

183

290

291

292

CHRIS GALLAGHER

ELIZABETH MURRAY

CECILY BROWN

2004 Oil on six conjoined canvases

2004 3-color lithograph on Rives BFK paper

Totem

Signed, dated, and titled verso Canvas: 24" x 108"

$5,000–7,000

Tybid

#15 of 150 Published and printed by Gemini G.E.L., Los Angeles, to benefit America Coming Together (ACT) Signed and dated in graphite lower right sheet margin with Gemini G.E.L. blind stamps; edition lower left Gemini G.E.L. #35.34 Image: 12.25" x 9.5" Sheet: 16" x 12.75" Frame: 23.75" x 20"

$800–1,200

Study After An Election by William Hogarth 2004 4-color screenprint on Rives BFK gray paper #15 of 120 Published and printed by Gemini G.E.L., Los Angeles, to benefit America Coming Together (ACT) Signed and dated in graphite lower right sheet; edition lower left sheet Gemini G.E.L. #57.1 Image/sheet: 16.5" x 13.5" Frame: 24.25" x 20.75"

$1,500–2,000

293 MATTHEW OFFENBACHER Sequoia (71) 2003 Oil on canvas Signed and dated verso; retains Quint Gallery labels verso 26" diameter E XHIBIT E D “Matthew Offenbacher: New Paintings,” Quint Gallery, La Jolla, January 23-February 21, 2004

$2,000–3,000

185 294 M. DAYON Untitled 1977 Marble Signed and dated “M. Dayon ‘77” 26" x 10.25" x 10.25"

$500–1,000

295 JAMES TWITTY Port

1973 Color lithograph on paper #2 of 20 Artist’s proofs Signed and dated in graphite lower right margin of sheet; edition inscribed in Roman numerals lower left sheet margin; retains Curl Galleries label verso Image: 36" x 36" Sheet (vis.): 39.5" x 39.5" Frame: 41" x 41"

$500–1,000

296 PAUL MCCOBB Sofa

Directional Furniture, designed c. 1960 31" x 98" x 34"

$4,000–6,000

297 PAUL MCCOBB

Arm lounge chair Directional Furniture, designed c. 1955 Model no. 402 34" x 27" x 30" LITERATURE Directional Designs, Paul McCobb Catalogue. 1956. 96.

$800–1,200

298 PAUL MCCOBB

Planner Group dresser Winchendon Furniture Co., designed c. 1950 Branded “Paul McCobb/Planner Group/

by Winchendon” 41.75" x 60" x 19.25"

$1,500–2,000

299 PAUL MCCOBB

Planner Group night stands (2) Winchendon Furniture Co., designed c. 1950 Each: 22" x 18" x 18"

$1,000–1,500

187

300 GERALD MCCABE

Desk and bench (2) Custom, executed c. 1966 Bench (as illustrated): 41.5" x 69.75" x 22.5" Desk: 29" x 84" x 30" (62.5" with return)

$3,000â&#x20AC;&#x201C;5,000

301 GERALD MCCABE Tables (2)

Custom, executed c. 1966 Each: 29" x 47.5" x 18"

$3,000–5,000

189

302 JANE KENNEDY Coffee table

Studio, designed 1974 16" x 72" x 48"

$4,000–6,000

303 MAX SAUZE

Cassiopé hanging light Atrow, designed c. 1970 32" x 19" x 19" LITERATURE Fiell, Charlotte & Peter.

1000 Lights: 1960 to Present. Vol. 2.

Cologne: TASCHEN, 2005. 206-207.

$2,000–3,000

304 NORMAN CHERNER Chair

Plycraft, designed c. 1960 30.75" x 23" x 23"

$500–700

305 JENS RISOM

Executive desk Jens Risom, designed c. 1961 Model no. N80 (Group Nine) with kneespace bookcase 30" x 78" x 36" LITERATURE Jens Risom Retail Price List - 1961-1962. N. pag.

$2,000–3,000

306 ALLAN GOULD Lounge chair

Possibly by Functional Furniture, designed c. 1950 29" x 28" x 20"

$1,000–1,500

307 HENDRIK VAN KEPPEL & TAYLOR GREEN Chairs (6)

VKG, designed c. 1950 Each: 31.5" x 20" x 19"

$1,000–1,500

191

John Harris (1937–2002) lived an artist’s life in New York during the sixties, but his roaming spirit took him back west to California (he was originally from Oregon), to Venice and Big Sur, where he remained for the rest of his life. In the High Sierra Mountains he produced log tables from felled tree trunks, which became his signature line of furniture. The northern mountains’ abandoned mining towns and rough-hewn buildings influenced Harris’ next projects in Venice, where he designed and manufactured furniture of railroad spikes and steel.

308 JOHN HARRIS

Steel-clad dining table and chairs (5) Studio, designed c. 1999 Chairs each: 40" x 24" x 27" Table: 31.5" x 57.75" diameter

$10,000–15,000

309

310

AMERICAN MODERN

AMERICAN MODERN

Lightolier, designed c. 1970

Manufacturer unknown, designed c. 1970

Monumental atomic hanging lamp 30" x 103" x 30"

Cactus lamp

64" x 15" x 15"

$6,000–8,000 $1,000–1,500

311 KARL SPRINGER, ATTRIBUTED Desk

Possibly Karl Springer, Ltd., designed c. 1970s 29" x 60" x 30"

$5,000–7,000

193

312 PHILIPPE STARCK

Le Paravent de l’autre screen Driade, designed 1992 Retains “Aleph by Starck” facsimile signature Overall: 75.5" x 60.5" x 2" LITERATURE Philippi, Simone. Starck.

Paris: TASCHEN, 2000. N. pag.

$2,500–3,500

313 AMERICAN POSTMODERN Bookshelves (2)

Manufacturer unknown, designed c. 1985 74.5" x 72.25" x 11" 66" x 50" x 12"

$2,000–3,000

195

314 TOM DIXON Punch XL is a prototype for a series of bespoke aluminum shades that are infinitely customizable–the geometric pattern and size of each is unique. This prototype is made of 12 panels, 30 ribs, and 20 nodes, or joints. Designed in partnership with Trumpf Inc., one of the world’s leading sheet metal fabricators, Punch XL was created for the 2013 Sotheby’s (RED) Auction–all proceeds were donated to the Global Fund to Fight AIDS. This is a prototype model of a design, and not a fully developed product. It should not be used as a light, but rather as an installation piece.

“Punch XL”

Trumpf Inc., USA in collaboration with Kammetal USA, 2013 74" x 79.25" diameter Created for the (RED) Auction in 2013.

P ROV E NANC E Tom Dixon; Private Collection, United States (acquired directly from the above through Sotheby’s, New York, Jony and Marc’s (RED) Auction, November 23, 2013, Lot 36)

$20,000–30,000

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Index A

Aalto, Alvar. . . . . . . . . . . . . . . . 10 Ackerman, Evelyn. . . . . 239-240 Alexander, Peter. . . . . . . . . . . . 24 Almaraz, Carlos. . . . . . . . . . . 288 Andreson, Laura. . . . . . . . . 39-40 Appel, Karel. . . . . . . . . . . 165-166 Arnoldi, Chuck. . . . . . . . . . . . . . 22 Aronson, Ben. . . . . . . . . 286-287

B

Baldessari, John. . . . . . . . . 48-52 Balthus (Balthasar Klossowski de Rola) . . . . . . . . . . . . . . . . . 280 Barnabé, Duilio. . . . . . . . . . . . 172 Baughman, Milo. . . . . . . 233-234 Bell, Larry . . . . . . . . . . . . . . . . . 18 Bengston, Billy Al. . . . . . . . 113-117 Benjamin, Karl. . . . . . . . . 198-199 Berger, Ueli . . . . . . . . . . . . . . . 168 Bolotowsky, Ilya . . . . . . . . . . . 203 Bourgeois, Louise. . . . . . . . . . 187 Brasilier, André. . . . . . . . . . . . 145 Breuer, Marcel. . . . . . . . . . 135-136 Brice, William. . . . . . . . . . . . 45-46 Bright, Robin. . . . . . . . . . . . . 206 Bristol, Horace . . . . . . . . . . . . 249 Brown, Cecily. . . . . . . . . . . . . . 292 Brown, William T. . . . . . . 267-268 Browne, Byron. . . . . . . . . . . . . 281 Burden, Chris. . . . . . . . . . . . . . . 77

C

Calder, Alexander. . . . . . . . . . 167 Catlett, Elizabeth . . . . . . . . . . . 87 Chagall, Marc. . . . . . . . . . . . . . . 161 Cherner, Norman. . . . . . . . . . 304 Chihuly, Dale. . . . . . . . . . . . . . . 31 Clark, Alson S.. . . . . . . . . . . . . 243 Close, Chuck . . . . . . . . . . . . . . 248 Cohen, Bruce. . . . . . . . . . 272-274 Cohen, Larry. . . . . . . . . 276, 278 Cressey, David. . . . . . . . . . . . . 242 Curry, Stephen P. . . . . . . . . . . . 96

D

Dalí, Salvador . . . . . . . . . . . . . 159 Davis, Ron . . . . . . . . . . . . . 121-122 Dayon, M.. . . . . . . . . . . . . . . . . 294 De Kooning, Elaine. . . . . . . . . 144 Dill, Laddie John. . . . . . . . . . . 123 Dine, Jim . . . . . . . . . . . . . 188-189 Dixon, Tom. . . . . . . . . . . . . . . . 314 Dowell, Roy . . . . . . . . . . . . . . . 282 Dreva, Jerry. . . . . . . . . . . . . . . . 81 Duecker, Otto. . . . . . . . . . . . . . 192 Duquette, Tony . . . . . . . . . . . . . 47

E

Eames, Charles & Ray . 228-232 Ernst, Jimmy. . . . . . . . . . . . . . 143 Escobedo, Maria. . . . . . . . . . . 289

F

Falkenstein, Claire. . . . . . . . . . 141 Farber, Manny . . . . . . . . . . . . . 275 Feuerman, Carole A.. . . . . . . . . 94 Fine, Jud . . . . . . . . . . . . . . . . 284 Fischinger, Oskar . . . . . . 139-140 Frame, Robert. . . . . . . . . . . . . 276 Francis, Sam . . . . . . . . . . . . 53-55 Frankenthaler, Helen. . . . . . . 184 Friedlander, Lee. . . . . . . 255-256 Frimkess, Michael. . . . . . . . . . 103

G

Gallagher, Chris . . . . . . . . . . . 290 Gallo, Giuseppe. . . . . . . . . . . . 285 Gehry, Frank. . . . . . . . . . . . . . . 126 Gimblett, Maxwell. . . . . . . . . . 201 Goode, Joe. . . . . . . . . . . . . . . 15-17 Gottschalk, Max . . . . . . . . . . . 137 Gould, Allan. . . . . . . . . . . . . . . 306 Graham, Robert. . . . . . . . . . 25-28 Grau-Sala, Emile. . . . . . . 148-149 Grossman, Greta. . . . . . . . . . . 235 Guston, Philip . . . . . . . . . . . . . . 91

H

Haines, William. . . . . . . . 223-226 Hanson, Mel. . . . . . . . . . . . 88-89 Haring, Keith . . . . . . . . . . . . . . 73 Harris, John. . . . . . . . . . . . . . 308 Harwood, June . . . . . . . . . . . 200 Higgins, Michael & Frances. . . 30 Hirst, Damien. . . . . . . . . . . . 79-80 Hockney, David. . . . . . . . . . 56-58 Holzer, Jenny. . . . . . . . . . . . . . . 78

I

Indiana, Robert. . . . . . . . . 190-191 Israel, Frank. . . . . . . . . . . . . . . 124

J

Jacobsen, Arne. . . . . . . . . . . . 214 Jarman, Derek. . . . . . . . . . . . . 127 Jaudon, Valerie . . . . . . . . . . 205 Jones, Kim. . . . . . . . . . . . . . . . . 76 Juhl, Finn. . . . . . . . . . . . . . . . . . . 3 Julius, Rolf . . . . . . . . . . . . . . . . 84

K

Kapoor, Anish . . . . . . . . . . . . . . 83 Kasper, Paul. . . . . . . . . . . . 118-119 Kennedy, Jane. . . . . . . . . . . . . 302 Klint, Kaare. . . . . . . . . . 208-209 Kloss, Gene . . . . . . . . . . . . . . . 245 Koons, Jeff. . . . . . . . . . . . . . . . . 82 Kristiansen, Kai. . . . . . . . . . . . 207

L

Lamb, Walter. . . . . . . . . 236-238 Landacre, Paul. . . . . . . . . . . . . 244 Lane, Artis. . . . . . . . . . . . . . . . . 86 Lapin, Annie. . . . . . . . . . . . . . . 279

László, Paul. . . . . . . . . . . . . . . 227 Le Corbusier . . . . . . . . . . . . . . . 131 Le Sidaner, Henri . . . . . . . . . . 146 Levee, John. . . . . . . . . . . . . . . 202 Lodato, Peter . . . . . . . . . . . . . . 19 Loewy, Raymond. . . . . . . . . . . . 67 Longo, Robert. . . . . . . . . 250-251 Lukens, Glen . . . . . . . . . . . . . . . 41

Risom, Jens. . . . . . . . . . . . . . . 305 Robsjohn-Gibbings, T.H..216-220 Rohde, Johan. . . . . . . . . . . . . . . 9 Rosenquist, James. . . . . . . . . . 74 Rothman, Jerry. . . . . . . . . . . . 107 Rouault, Georges . . . . . . . . . . 147 Ruscha, Ed. . . . . . . . . . . . . . . 12-14

M

Saccaro, John. . . . . . . . . . . . . 266 Salle, David . . . . . . . . . . . . . . . . 92 Saret, Alan. . . . . . . . . . . . . . . . 196 Sarpaneva, Timo. . . . . . . . . . . . . 11 Sauze, Max. . . . . . . . . . . . . . . . 303 Scarpa, Carlo. . . . . . . . . . . 176-177 Schawinsky, Xanti. . . . . . . . . . 138 Schindler, Rudolph M.. . . . . . . 130 Serra, Richard. . . . . . . . . . . . . 195 Shelton, Peter. . . . . . . . . . . . . . 90 Sherman, Cindy. . . . . . . . . . . . 246 Soldner, Paul. . . . . . 106, 108-109 Sonneman, Robert. . . . . . . . . . 66 Souza, Al . . . . . . . . . . . . . . . . . . 97 Springer, Karl. . . . . . . . . . . 65, 311 Starck, Philippe. . . . . . . . . . . . 312 Stella, Frank. . . . . . . . . . . 185-186 Sultan, Donald . . . . . . . . . . . . 271 Surls, James . . . . . . . . . . . . . . . 93

Maloof, Sam. . . . . . . . . . . . . . . . 29 Marden, Brice . . . . . . . . . . . . 204 Martin, Agnes . . . . . . . . . . . . . 197 Mason, John . . . . . . . . . . . . . . 105 McCabe, Gerald. . . . . . . . 300-301 McCarty, Kim. . . . . . . . . . . . . . 193 McCobb, Paul. . . . . . . . . 296-299 McIntosh, Harrison. . . . . . . . . . 42 McMakin, Roy . . . . . . . . . . . . . 125 Meli, Salvatore. . . . . . . . . . . . . 174 Michals, Duane . . . . . . . . . . . . 247 Mies van der Rohe . . . . . . . . . 133 Miró, Joan. . . . . . . . . . . . 162-164 Misrach, Richard. . . . . . . . . . . 252 Mogensen, Børge . . . . . . . . . . 210 Moses, Ed. . . . . . . . . . . . . . . . . . 23 Murray, Elizabeth. . . . . . . . . . 291

N

Nakashima, George. . . . . . . 32-37 Natkin, Robert. . . . . . . . . . . . . . 95 Natzler, Gertrud & Otto. . . . . . 38 Neutra, Richard. . . . . . . . . . . . 128 Nevelson, Louise. . . . . . . . . . . 183 Nixon, Nicholas. . . . . . . 253-254 Noguchi, Isamu. . . . . . . . . . . . . 68

0

Offenbacher, Matthew . . . . . . 293 Oliveira, Nathan . . . . . . 264-265 Olsen, Hans. . . . . . . . . . . . . . . . . 4 Oulton, Thérèse. . . . . . . . . . . . . 98

P

Paulin, Pierre. . . . . . . . . . . . . . . . 8 Perriand, Charlotte. . . . . . . . . . 131 Peters, William Wesley. . . . . . 129 Pettibon, Raymond. . . . . . . 70-72 Picasso, Pablo. . . . . . . . . 150-158 Pistoletto, Michelangelo . . . . 173 Pittman, Lari. . . . . . . . . . . . . . 283 Pomodoro, Arnaldo. . . . . . . . . . 171 Ponti, Gio. . . . . . . . . . . . . . . . . 170 Powers, Stephen. . . . . . . . . . . . 75 Price, Ken. . . . . . . . . . . . . . . . . 104 Prouvé, Jean. . . . . . . . . . . . . . 132

R

Rauschenberg, Robert. . . . 59-62 Reiback, Earl. . . . . . . . . . . . . . 194 Richter, Gerhard . . . . . . . . . . . . 85

S

T

Tackett, La Gardo. . . . . . . . . . 241 Takemoto, Henry. . . . . . . . 110-112 Thiebaud, Wayne. . . . . . . . . . . 270 Twitty, James . . . . . . . . . . . . . 295

V

Valentine, De Wain . . . . . . . 20-21 Van Keppel, Hendrik. . . . . . . . 307 Vasa (Velizar Mihich). . . . . 63-64 Voulkos, Peter. . . . . . . . . . 101-102

W

Wagner, Otto. . . . . . . . . . . . . . 134 Wanscher, Ole . . . . . . . . . . . . . 215 Warhol, Andy. . . . . . . . . . 180-182 Weber, Bruce. . . . . . . . . . 261-263 Wegman, William. . . . . . . 257-260 Wegner, Hans. . . . . . . 1-2, 5-7, 212 Wiley, William T.. . . . . . . . . . . . 100 Wonner, Paul . . . . . . . . . . . . . . 269 Wood, Beatrice . . . . . . . . . 43-44 Wormley, Edward. . . . . . . 221-222

Y

Yanagi, Sori. . . . . . . . . . . . . . . . 69

Z

Zadkine, Ossip. . . . . . . . . . . . . 160 Zanuso, Marco. . . . . . . . . . . . . 175

INFORMATION

DIRECTIONS TO AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, May 17, 2015

From Hollywood

12pm (PT)

■■

Take Interstate 101, north

■■

Merge onto the 405 Freeway, north

■■

Take the 4th exit onto “Sherman

Shannon Loughrey

Way, west”

Managing Director

Preview May 4–16, 2015 10am–6pm (PT)

Modern Art & Design

■■

Proceed west on Sherman Way

■■

Turn left at the 3rd light onto

Elizabeth Portanova

“Woodley” avenue

Marketing Director

Address 16145 Hart Street

Director,

■■

Van Nuys, CA 91406

Take the first right onto “Hart” street, which is a side street

Zoe Weinberg Fine Art Specialist

Telephone

From the Westside

323.904.1950

■■

Take the 405 Freeway, north

Carolina Ivey

■■

Continue past the Getty Museum

Client Services

Website LAMODERN.com

and the 101 Interchange ■■

Exit onto “Sherman Way, west”

Jazmine Rivera

(this is 4 exits North of the 101)

Consignor Services

■■

Proceed west on Sherman Way

■■

Turn left at the 3rd light

Joe Alascano

onto “Woodley” avenue

Shipping

■■

Take the first right onto “Hart” street, which is a side street

Clo Pazera Assistant to Peter Loughrey

Photography by Susan Einstein Mario de Lopez Essays by Greg Cerio Melissa Pellico