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MODERN ART & DESIGN OCTOBER 9, 2016


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Preview September 26–October 8, 2016 10am–6pm (PT) Auction October 9, 2016 12pm (PT) 16145 Hart Street Van Nuys, CA 91406


In Pursuit of Abstraction Over the years, the selection of Modernist works

his practice of creating paintings with single colors

at LAMA, whether by designers, painters, or

gave rise to the Minimalist movement. The culmination

craftspersons, has evolved to encompass a range

of his career would yield “ultimate” abstract paintings

of movements, techniques, and ideas. Abstraction,

using only subtly different shades of black. Exceptional

however, holds a special place in my heart, as some

original works by each of these Abstract painters can

of my first encounters with Modernism were with

be seen within these pages, many changing hands for

captivating works by Abstract painters.

the first time.

Abstraction can mean different things to different

From paint to clay, Abstraction also takes form in

people. It can mean dealing with ideas rather than

another dimension. I am excited once again to present

events; removing something from a source; and,

works from the revolution in clay by Peter Voulkos,

of course, freedom from representation. So it's

Paul Soldner, Stan Bitters, and Henry Takemoto. Their

not surprising that artists who identify as Abstract

pioneering work, as well as that of the Natzlers’, is

painters have many different approaches. Of the

explored in an essay by arts writer Jo Lauria, specially

Expressionists represented in this auction, Helen

commissioned by LAMA, on page 138.

Frankenthaler, for example, favored techniques that were more about the connection of the artist's wrist

Of course, our reputation was built on design and, as

with her mind and heart to produce an image that

usual, we have found some rare works that round out

"looks as if it were born in a minute." Sam Francis and

one of the best catalogues we have produced to date.

Gordon Onslow Ford took inspiration from Eastern

A rare pair of chairs by R. M. Schindler designed for

philosophy and used intense colors in an expressionis-

the legendary Sardi's restaurant are among the many

tic manner as well, but focused on the portrayal of the

furniture highlights. Handcrafted chairs by Sam Maloof

balance between darkness and light. John McLaughlin

lead an impressive group of studio craft. And Frank

also found inspiration through Eastern philosophy,

Gehry's fish sculpture is but one example of works that

but pursued ideal abstraction through the perfect

blur the line between art, architecture and design.

and careful composition of rectangular forms. This hard edge sensibility, while often compared to that

LAMA continues to represent the cutting edge of 20th

of De Stijl or Suprematism was, in fact, a wholly new

century architecture and design. We hope you will

West Coast American movement that included Karl

enjoy this selection and will find something you can't

Benjamin, Frederick Hammersley, and June Harwood,

live without.

among others. Concurrently, Ad Reinhardt was also pursuing ideal abstraction and many feel, as I do, that

Peter Loughrey, Director


1 ELLSWORTH KELLY Calla Lily 1

1983-1985 Transfer lithograph on Rives BFK paper #9 of 30 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite with edition lower right sheet; Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #28.133 Sheet: 30.25" x 39" Frame: 33.125" x 41.875" LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #209.

$7,000–10,000


2 ELLSWORTH KELLY Dracena 1

1983-1985 Transfer lithograph on Rives BFK paper #9 of 30 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in graphite lower right sheet; Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #28.136 Image/sheet: 43" x 31.5" Frame: 46" x 34.325" LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #212.

$5,000–7,000

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3 ELLSWORTH KELLY Dracena 2

1983-1985 Transfer lithograph on Rives BFK paper #9 of 30 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in graphite lower right sheet; Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #28.137 Image/sheet: 43" x 31.5" Frame: 46" x 34.325" LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #213.

$5,000–7,000


4 ELLSWORTH KELLY Black Curve

1970-1972 Linecut with debossing on Special Arjomari paper #20 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right sheet with Gemini G.E.L. blind stamp; edition lower left sheet Gemini G.E.L. #28.18 Image: 17" x 20.5" Sheet: 29" x 29" Frame: 32.25" x 32.25" LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #80.

$3,000–5,000

5 AFTER ELLSWORTH KELLY Sample portfolio (10)

1970 Offset color lithograph on paper Edition size unknown Printed by Blair Litho, Los Angeles Together with brochure and original paper folio case Sheets (vis.) each: various dimensions Frames each: 11.75" x 9"

$3,000–5,000


6 AFTER ALEXANDER CALDER Turquoise

1975 Handwoven jute maguey tapestry #20 of 100 BonArt Signature and date woven lower right; edition lower left; woven “C” upper left; with BonArt label recto 56.5" x 84.5"

$6,000–9,000

7 ALEXANDER CALDER Study for Sculpture I

1975 Color lithograph on paper #110 of 125 Signed in graphite lower right sheet; edition lower left sheet Image: 11.875" x 16" Sheet: 18.375" x 22.25" Frame: 20.25" x 24.25"

$1,000–1,500

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8 FRANK STELLA

Polar Co-Ordinates VII (from Polar Co-Ordinates for Ronnie Peterson) 1980 Offset lithograph, screenprint, and letterpress on Arches Cover paper #84 of 100 Published by Petersburg Press, New York; printed by John Hutcheson, Bruce Porter, James Welty, Norman Lassiter, assisted by Ken Farley Signed and dated with edition in graphite lower left sheet Image/sheet: 38.5" x 38" Frame: 41.75" x 42.25" LITERATURE The Prints of Frank Stella: A Catalogue Raisonné: 19671982. R.H. Axsom. 1983. #125.

$8,000–12,000


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9 FRANK STELLA

Polar Co-Ordinates VIII (from Polar Co-Ordinates for Ronnie Peterson) 1980 Color offset lithograph and screenprint on Arches Cover paper #78 of 100 Published by Petersburg Press, New York; printed by John Hutcheson, Bruce Porter, James Welty, Norman Lassiter, assisted by Ken Farley Signed and dated with edition in graphite lower left sheet Image/sheet: 38.5" x 38" Frame: 41.5" x 42" LIT E RAT URE The Prints of Frank Stella: A Catalogue Raisonné: 19671982. R.H. Axsom. 1983. #126.

$6,000–9,000


10 TAKASHI MURAKAMI

Monogram Multicolore—Cherry 2007 Canvas on aluminum chassis #32 of 100 Signed in black felt-tip marker on metal chassis verso; stamped “© MURAKAMI/The Museum of Contemporary Art/Los Angeles/2007” on metal chassis verso Together with certificate of authenticity and original box 15.75" x 15.75" x 2"

$5,000–7,000


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11 TAKASHI MURAKAMI Group (3)

2006-2007 Offset color lithograph on paper #204 of 300; #161 of 300; #30 of 300 Published by Kaikai Kiki Co., Ltd., Tokyo and New York Each signed with edition in felt-tip marker lower right sheet Comprised of And Then, And Then And Then And Then And Then (Gargle Glop); Time Bokan Missing in the Eyes (Red); and Flower Ball (Kindergarten Days) Sheets each: 19.5" x 19.5" Frames each: 23.75" x 23.75"

$2,000–3,000


12 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #1,518 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso Together with original box and plate stands 10.25" diameter

$10,000–15,000


13 13 JEFF KOONS Puppy (Vase)

1998 White glazed ceramic #15 of 3,000 Published by Art of this Century, New York and Paris Impressed signature, date, and edition with manufacturer’s stamp to underside 17.5" x 17.5" x 10.5"

$9,000–12,000


14 MARK BRADFORD

Sissafied (from Can You Feel It) 2009 Lithograph with hand-applied endpaper on brown paper bag #20 of 50 Published by Artists Space Editions, New York Initialed lower right sheet; edition lower left Image/sheet: 10.75" x 5" Frame: 16.5" x 10.75"

$3,000–5,000

15 KARA WALKER

Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times 1997 Leather bound volume of offset lithographs and five laser-cut pop-up silhouettes on wove paper From the edition of 4,000 Published by the Peter Norton Christmas Project, Santa Monica Closed: 9.325" x 8.325" LITERATURE The Book as Art: Artists’ Books from the National Museum of Women in the Arts. J. Drucker and K. Wasserman. 2006. 44.

$1,500–2,000


16 SHEPARD FAIREY Evolve Devolve

2009 Silkscreen on aluminum sheet #2 of 2 Signed in graphite lower right sheet; edition lower left; Obey emblem in plate lower left image Image: 17" x 23" Sheet: 18" x 24" Frame: 19" x 25"

$3,000–5,000

17 MARCEL DZAMA Untitled

1999 Ink, watercolor, and root beer on paper Signed in ink lower right sheet Together with copy of invoice Composition: 4" x 5.25" Sheet: 12.5" x 10" Frame: 13.875" x 11.25" P ROV E NANC E Richard Heller Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999)

$1,500–2,000

18 MARCEL DZAMA Untitled

1999 Ink, watercolor, and root beer on paper Signed in ink lower right sheet Together with copy of invoice Composition: 7.5" x 5" Sheet: 12.5" x 10" Frame: 14" x 11.25" P ROV E NANC E Richard Heller Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999)

$1,500–2,000

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VERSO

19 IMI KNOEBEL Kinderstern

2015 Acrylic on wood Signed and dated verso 15.75" x 17" x 3.5"

$18,000–25,000


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VERSO

20 IMI KNOEBEL Kinderstern

2016 Acrylic on wood Signed and dated verso 15.75" x 17" x 3.5"

$18,000–25,000


21 GUILLERMO KUITCA Los Angeles Suite (4)

2002 Suite of four mixed-media works on paper Each signed and dated in graphite; each retains L.A. Louver Gallery label verso Sheets each: 11" x 8.5" Frames each: 12.75" x 10" P ROVENA NC E L.A. Louver Gallery, Venice, California; Private Collection, Los Angeles, California (acquired directly from the above) EXHIBITE D “Guillermo Kuitca,” L.A. Louver Gallery, Venice, May 16-June 15, 2002 LITERATURE Guillermo Kuitca Everything: Paintings and Works on Paper, 1980-2008. D. Dreishpoon. 2009. 186-187 for similar examples illustrated.

$10,000–15,000


VERSO

22 KAZ OSHIRO

Fender Twin Reverb 2005 Acrylic and Bondo on stretched canvas over wood Signed and dated with title inscribed verso 20.5" x 26.5" x 11.25"

$10,000–15,000

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23 JASON RHOADES

The Discoverydong 2002 Various mediums Artist’s proof aside from the edition of 60 Comprised of a black mesh backpack, oak of the golden dream, clock radio, CD of cows, dogs, and pigs in the rain, transformer, rope light, change bank, strap-on harness, directions, and astroglide Various dimensions P ROVENA NC E Private Collection, New York, New York (acquired directly from the artist, 2002)

$5,000–7,000

24 JASON RHOADES Untitled (Animals) 1986 Pigment on paper LAMA would like to thank Hauser Wirth & Schimmel for their assistance in cataloguing this work Sheet: 41.5" x 35.5" P ROVENA NC E Private Collection, New York, New York (acquired directly from the artist, c. 1986)

$5,000–7,000


25 TONY OURSLER MMPI (Red)

1996 Small cloth figure, metal folding chair, projector, VCR, videotape

E XHIBIT E D “Introjection: Tony Oursler Mid-Career Survey 1976-1999,” traveling exhibition, Williams College Museum of Art, Williamstown, April 17-October 24, 1999; MassMoCA, North

Signed and dated “Tony Oursler 96” in black felt-tip marker on metal folding chair, cloth figure signed in black felt-tip marker

Adams, May 31-October 24, 1999;

Together with original invoice from Metro Pictures

Des Moines Art Center, Des Moines,

27" x 37" x 51" (as illustrated) P ROV E NANC E Metro Pictures, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1996)

Contemporary Arts Museum, Houston, December 11, 1999-February 13, 2000; The Museum of Contemporary Art, Los Angeles, April 2-July 16, 2000; November 11, 2000-January 21, 2001 ILLUST RAT E D Introjection: Tony Oursler Mid-Career survey 1976-1999. Williams College Museum of Art exh. cat. 1999. 71, #12.

$20,000–30,000

Photograph Courtesy of the artist and Metro Pictures

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26 MARION SAMPLER Untitled (3)

1963 Acrylic on cardboard relief Two signed in graphite lower right on mat board; one signed and dated in graphite lower left; each retains Eyraud-Barnes Gallery labels verso Sheets (vis.) each: 14.25" x 12.25" Frames each: 20.75" x 18.5"

$5,000–7,000


27 GENE DAVIS Black Dahlia

1971 Color screenprint on paper #78 of 198 Signed with edition in black ink lower right Image/sheet (vis.): 79.5" x 39.75" Frame: 81.25" x 41.25"

$2,000–3,000

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28 ALMA THOMAS Untitled

1968 Gouache on folded paper Initialed and dated in ballpoint pen lower left Together with envelope from the artist Composition/sheet: 6.25" x 7.25" P ROV E NANC E Private Collection, Washington, D.C. (acquired directly from the artist, 1968)

$3,000–5,000


29 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956; this example executed c. 1980 Model nos. 670 (chair), 671 (ottoman) Each retains Herman Miller label Chair: 31” x 33.5” x 36” Ottoman: 16.25” x 25.25” x 21” LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 207.

$4,000–6,000

30 CHARLES & RAY EAMES The Colouring Toy

Tigrett Enterprises, designed 1955 Box: 1” x 21” x 7.5” P ROVENA NC E Ray Eames, Los Angeles, California; Dale Bailey, Coconut Creek, Florida (gifted directly from the above, 1955) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 205.

$2,500–3,500

31 CHARLES & RAY EAMES Dining chairs (4)

Herman Miller, designed 1946 Model no. DCM Three retain remnants of manufacturer’s label Each: 29” x 22” x 19” LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 61.

$800–1,200


32 CHARLES & RAY EAMES Side chairs (4)

Herman Miller, designed 1950-1953 Model no. DKR Each retains Herman Miller paper label and logo Fabric designed by Alexander Girard Each: 31” x 21” x 18.5” LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 142.

$2,000–3,000

33 ALEXANDER GIRARD Wallpaper samples (4)

Herman Miller, designed 1952 Each with facsimile signature in the margin Comprised of Roman Stripe, Double Triangle, and Pepitas (2) Each (approx.): 72” x 30”

$1,000–1,500

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34 CHARLES & RAY EAMES Sofa Compact

Herman Miller, designed 1954 Model no. 473 36” x 72” x 29.5” LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 190-191.

$5,000–7,000

35 CHARLES & RAY EAMES Coffee table

Herman Miller, designed 1958 Model no. 691 16.5” x 36” diameter LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 227-228.; Herman Miller: Furniture for Your Home brochure. n.d. N.pag.

$1,500–2,000


36 CHARLES & RAY EAMES

Segmented Base conference table Herman Miller, designed 1964 Model no. ET 258 28” x 120” x 54” LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 293.; Herman Miller. Manufacturer cat. 1974. N.pag.

$3,000–5,000

37 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956; this example executed c. 1995 Model nos. 670 (chair), 671 (ottoman) Each retains Herman Miller label Chair: 31” x 33.5” x 36” Ottoman: 16.25” x 25.25” x 21” LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 207.

$4,000–6,000

38 CHARLES & RAY EAMES Elliptical Table Rod Base coffee table

Herman Miller, designed 1951 Model no. ETR Retains manufacturer’s label 10” x 89.5” x 28.5” LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 149.

$3,000–5,000

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SIGNATURE DETAIL

39 TONY ROSENTHAL Harp Player

1953 Cut and welded bronze Signed at base Together with original correspondence from the Long Beach Museum of Art 33.5" x 10" x 9.5" P ROVENA NC E Dr. & Mrs. William Fogg; Thence by descent; Private Collection, San Francisco, California (acquired directly from the above through Wright, Chicago, September 23, 2014, lot 169) EXHIBITE D “Sculpture by Bernard Rosenthal,” Long Beach Museum of Art, Long Beach, November 9-December 3, 1958 ILLUSTRAT E D Arts & Architecture. November 1953 issue. Cover.

$6,000–9,000


40 EMIL KOSA, JR. Untitled

c. 1950 Oil on board Signed lower center Board (vis.): 29.5" x 37.25" Frame: 38.25" x 45.25"

$3,000–5,000

41 NORMAN ZAMMITT

Little Rock Candy Mountain Landscape 1960 Mixed-media on Masonite panel Signed, titled, and dated in graphite verso LAMA would like to thank Marilyn Zammitt for her assistance in cataloguing this work Panel: 18" x 23.75" Frame: 19.5" x 25.5" P ROV E NANC E Felix Landau Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$2,000–3,000

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42 LEE MULLICAN Personal World

1966 Mixed-media on paperboard Signed in graphite lower right board; retains Silvan Simone Gallery label verso; bears the inscription “Mullican ‘Personal World’” in graphite frame verso Paperboard: 20" x 25" Frame: 22.375" x 27.25" P ROVENA NC E The Estate of Betsy Drake, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$5,000–7,000


43 JOHN ALTOON Untitled

1966 Ink and airbrush on illustration board Signed and dated in graphite lower right board; retains Sotheby’s Beverly Hills inventory label verso Board: 30" x 40" Frame: 32.25" x 42.25"

$2,500–3,500

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44 JOHN ALTOON Untitled

c. 1965 Ink on illustration board Board: 30" x 40"

$2,500–3,500


45 HANS BURKHARDT Wilted Flowers 1969 Oil on canvas Signed and dated lower center Canvas: 41.75" x 32" Frame: 42.75" x 33" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$12,000–15,000


46 HANS BURKHARDT Untitled

1959 Pastel and ink on paper Signed and dated lower right sheet Sheet: 25.125" x 19.125" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$2,500–3,500

47 OSKAR FISCHINGER

Construction with Red Square 1963 Oil on canvas board Signed lower right; artist’s monogram with date lower left; stamped verso “Nachlaß/Oskar Fischinger” verso; bears the inscription “Construction with Red Square (1963)” verso Board: 24" x 18" Frame: 28" x 22" P ROV E NANC E The artist; Thence by descent

$4,000–6,000

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48 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed 1957 Model no. CSS Comprised of six poles, 20 shelves (six not illustrated), 20 book end wire inserts, a 3-drawer unit, a file drawer unit, and a drop-front desk unit 95” x 161” x 21” (as illustrated) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 245.

$5,000–7,000

PARTIAL ILLUSTRATION

49 GEORGE NELSON

Watermelon table clock Howard Miller Clock Co., designed 1954 Model no. 2219 Retains manufacturer’s label 4.75” x 8” x 4” LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 289.

$2,500–3,500


50 GEORGE NELSON Thin edge cabinet

Herman Miller, designed 1952 Retains metal manufacturer’s label 33.5” x 47” x 18.5” LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 244.

$1,500–2,000

51 GEORGE NELSON Thin edge cabinet

Herman Miller, designed 1952 Retains metal manufacturer’s label 33.5” x 47” x 18.5” LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 244.

$1,500–2,000

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52 GEORGE NELSON Sunflower clock

Howard Miller Clock Co., designed 1958-1959 Model no. 2261 Retains manufacturer’s label 29.5” diameter LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 294.

$2,500–3,000

53 GEORGE NELSON Lounge chair

Herman Miller, designed 1950 Model no. 5080 26.5” x 29” x 29” LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 247.

$1,000–1,500

54 GEORGE NELSON Lounge chair

Herman Miller, designed 1950 Model no. 5080 26.75” x 29” x 29” LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 247.

$1,000–1,500


55 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed 1957 Model no. CSS Comprised of three poles and 10 shelves 95” x 97” x 15” (as illustrated) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 245.

$3,000–4,000

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56 GEORGE NELSON

Steel frame cabinets (2) Herman Miller, designed 1950 Model nos. 4033A and 4034A Each: 29.5” x 33.5” x 17.5” LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 244.; Herman Miller Illustrated Price List. January 1961. 12.

$2,500–3,500


SIGNATURE, TITLE, AND DATE DETAIL

John McLaughlin The first modernist master to emerge from Southern California, John McLaughlin (1898–1976) dedicated himself to abstraction. Unlike most artists of his stature, McLaughlin was self-taught and did not begin painting full-time until he was nearly 50. The artist’s elegant work is characterized by a calm austerity, which is closer in spirit to Minimalism than the emotionally charged painting of Abstract Expressionism, though it predated both. However, it is the influence of Zen Buddhist painting, which McLaughlin encountered during a three-year stint living in Japan in the 1930s, that particularly radiates throughout his work. Zen’s teaching of spiritual insights through simplicity is evident in the repeated geometric forms and toned-down palette of McLaughlin’s paintings. The consistency of his vision and commitment to abstract form prefigured the work of artists such as Sol LeWitt and Agnes Martin, and proved influential on the following generation of Los Angeles Light and Space artists like Robert Irwin and Larry Bell. Untitled (1955), Lot 57, is an exemplary work from this period in McLaughlin’s career. Contrasting vertical elements range across the canvas, with McLaughlin expertly offsetting his favored tones of grey and black with precise strips of yellow and blue. The repetition of rectangular form denies any attempt to read depth or space in the painting. In a letter to curator Jules Langsner, the artist said, "Perhaps the most distinguishing feature of my painting is that I develop the composition by using rectangles exclusively." The term ‘hard-edge abstraction,’ coined by Langsner for the 1959 exhibition Four Abstract Classicists at LACMA, is particularly appropriate in this case. Crisp lines and cool colors evoke a serenity beyond the chaos of everyday life. Distilled down to its simplest elements, the work suggests the possibility of enlightenment through the contemplation of pure form. Choosing not to title his works, McLaughlin denies any attempt to read the paintings as representational, thus ensuring that the focus rests solely upon the still, timeless forms rendered in paint. Exhibited at two of McLaughlin’s retrospectives, including the Pasadena Art Museum in 1963 and The Corcoran Gallery of Art in Washington, D.C. in 1968, this is a key work in the artist’s œuvre.

57 JOHN MCLAUGHLIN Untitled

1955 Oil on canvas Signed, titled, and dated verso Together with exhibition catalogue, copy of invoice from Louis Stern Fine Arts, and original Pasadena Art Museum, Max Protech Gallery, Henri Gallery, and Felix Landau Gallery labels Canvas: 42" x 60" P ROV E NANC E The artist; Edward Downe Jr., New York, New York (acquired directly from Max Protech Gallery, New York, New York); Private Collection, Los Angeles, California (acquired directly from Louis Stern Fine Arts, Los Angeles, California, 2002) E XHIBIT E D “John McLaughlin: A Retrospective Exhibition,” Pasadena Art Museum, Pasadena, November 12-December 12, 1963; “John McLaughlin: Retrospective Exhibition, 1947-1967,” The Corcoran Gallery of Art, Washington, DC, November 16, 1968-January 5, 1969; “Abstract Painting as Surface and Object,” Hillwood Art Gallery, Long Island University, February 13-March 8, 1985 LIT E RAT URE John McLaughlin: A Retrospective Exhibition. Pasadena Art Museum exh. cat. 1963. #21. ILLUST RAT E D John McLaughlin: Retrospective Exhibition, 1946-1967. The Corcoran Gallery of Art exh. cat. 1969. #25.; Abstract Painting as Surface and Object. Hillwood Gallery exh. cat. 1985. #4.

$200,000–300,000

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SIGNATURE AND DATE DETAIL

58 JOHN MCLAUGHLIN Untitled

1953 Oil on panel Signed and dated “McLaughlin/Feb ‘53” verso; retains remnant of a label verso Panel: 32" x 38" Frame: 32.75" x 38.75" P ROVENA NC E Nicholas Wilder Gallery, Los Angeles, California; Private Collection, Santa Fe, New Mexico (acquired directly from the above, c. 1978)

$150,000–200,000

The minimal palette of Untitled (1953), Lot 58, is characteristic of McLaughlin’s work in the early 1950s. This work was acquired from the Nicholas Wilder Gallery, one of the leading contemporary art galleries in Los Angeles during the 1960s and 1970s. Wilder fostered the development of artists such as John McCracken, Bruce Nauman, and McLaughlin, offering them shows early on in their careers. Painted on panel, an immaculate white stripe on the right contrasts with two smaller black rectangles; one broad, the other appearing as a narrow strip. These black shapes sit against a dove-grey background. The gap between these dark forms is suggestive of ma or ‘marvelous void,’ a principle of 15th century Zen painting which McLaughlin was known to invoke. Ma described the emptiness between two objects that acts as a focal point of attention, a recurring motif in McLaughlin’s work. The ambiguous relationship between floating space, smooth surface, and flat plane invites the viewer to engage in a critical reflection upon the shapes themselves—shapes, which are not intended to be figurative, but rather stand autonomous. These paintings provide a sense of the work in the highly anticipated survey exhibition of McLaughlin’s work at LACMA this fall, the first major museum retrospective of this important artist on the West Coast. McLaughlin, John. Letter to Jules Langsner, April 27, 1959. "John McLaughlin Papers." Archives of American Art. Smithsonian Institution, n.d. Web. Aug 16, 2016.


59 JOHN MCLAUGHLIN Untitled

c. 1950 Gouache on illustration board Signed and inscribed in black ink lower right margin “John McLaughlin/ c/o Dixi Hall Studio, Laguna Beach”; bears the inscription in blue ballpoint pen lower right margin “68” Composition: 13" x 13" Board: 20" x 20" P ROVENA NC E The artist; Thence by descent

$15,000–20,000


60 KARL BENJAMIN Untitled

1956 Oil on canvas Signed and dated lower right Canvas: 26" x 42" Frame: 28" x 44" 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.

$40,000–50,000

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SIGNATURE AND DATE DETAIL

61 JUNE HARWOOD Untitled

1964 Acrylic on canvas Signed and dated verso LAMA would like to thank Louis Stern Fine Arts for their assistance in cataloguing this work Canvas: 31.25" x 58" Frame: 32" x 58.75"

$8,000–12,000


62 JUNE HARWOOD Vim-Vis

1977 Acrylic on canvas Signed, titled, and dated verso LAMA would like to thank Louis Stern Fine Arts for their assistance in cataloguing this work Canvas: 42" x 42"

$4,000–6,000

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63 FREDERICK HAMMERSLEY Tact

#2, 1973 Oil on linen in artist’s frame Signed and dated lower center; retains artist’s label verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Linen: 24" x 24" Frame: 24.5" x 24.5" ILLUSTRAT E D Frederick Hammersley. D. Armitage and S. King, eds. 2009. 104.

$40,000–50,000


LABELS DETAIL

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64 FREDERICK HAMMERSLEY Twain Twin

#7, 1975 Oil on linen in artist’s frame Signed and dated lower left; retains artist’s label verso; retains David Klein Gallery and two L.A. Louver Gallery labels verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Canvas: 30" x 30" Frame: 31" x 31" E XHIBIT E D “Past Meets Present,” David Klein Gallery, Birmingham, March 21-April 25, 2015

$45,000–60,000


65 FREDERICK HAMMERSLEY PLENTY IS PLENTY

1969 Computer generated drawing on paper Signed in graphite lower left margin of sheet beneath image; date printed lower right margin of sheet beneath image; title printed lower center margin of sheet beneath image; retains L.A. Louver Gallery label verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Image: 8.25" x 10.5" Sheet: 11" x 14.75" Frame: 14.75" x 18.625" LITERATURE Frederick Hammersley: The Computer Drawings 1969. L.A. Louver Gallery exh. cat. 2013. 12 for similar example illustrated.

$3,000–5,000

66 FREDERICK HAMMERSLEY YO-YO A-GAIN

1969 Computer generated drawing on paper Signed in graphite lower left margin of sheet; title printed lower center margin; printed date lower right margin; inscribed “4/5 + C” lower right margin; inscribed “8” lower right edge LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Image: 8.25" x 10.5" Sheet: 11" x 14.75" P ROVENA N C E Private Collection, Albuquerque, New Mexico (gifted directly by the artist) LITERATURE Frederick Hammersley: The Computer Drawings 1969. L.A. Louver Gallery exh. cat. 2013. 19 for similar example illustrated.

$3,000–5,000


49

67 LORSER FEITELSON Untitled (2)

1971 Color screenprint on paper #4 of 25; #2 of 30 Printed by Gene Gill Each signed and dated in graphite lower right margin of sheet; edition lower left LAMA would like to thank the Feitelson/Lundeberg Art Foundation for their assistance in cataloguing this work Image: 30" x 22" Sheet (vis.): 35.5" x 27.5" Frame: 36.25" x 28.75" Image: 22.5" x 22.5" Sheet (vis.): 27.5" x 27.5" Frame: 28.25" x 28.25" P ROV E NANC E Rex Goode, Los Angeles, California; Thence by descent

$1,500–2,000


Ad Reinhardt: Pure Abstraction One of the 20th century’s most iconoclastic artists, Ad Reinhardt (1913–1967) devoted himself to the pursuit of pure abstraction. Reinhardt is best known for his all-black or “ultimate” paintings, on which he focused during the last ten years of his career. Reinhardt jokingly described these works as “the last paintings that anyone can make,” knowing all the while that he would continue to produce them. Rather than denoting the end point of art, these works represented the myriad possibilities available within a seemingly limited palette. The artist was deeply influenced by early 20th century abstraction, citing Kazimir Malevich and Piet Mondrian as particular sources of inspiration. In the late 1930s Rein-hardt became a member of the American Abstract Artists, an association that brought him considerable fame as well as the opportunity to exhibit at the renowned Betty Parsons Gallery and Peggy Guggenheim’s Art of This Century Gallery. Reinhardt's output in the 1940s focused primarily on geometric shapes, advancing to paintings rendered in a single color, after which he developed his signature black paintings in the late 1950s. During his early years, Reinhardt became involved in radical politics and worked as a cartoonist for left-leaning publications. A polemical tone suffused much of Reinhardt’s lectures and writings, which adopted a defiantly anti-establishment approach to the art world. For Reinhardt, abstraction represented an ethical decision in a world increasingly dominated by commercialism. Reinhardt railed against “the careerist racket,” critiquing the institutions that lauded the importance of Abstract Expressionists who were working in a vein that Reinhardt believed had already been established by earlier generations of abstract artists. Instead, Reinhardt set himself apart by travelling extensively through Asia and the Middle East, where he studied Islamic art, Buddhist culture, and prehistoric architecture. His experiences affirmed his belief in the timeless value of abstract forms, which he contrasted with the desire for

novelty that characterized the New York art scene in the 1960s. Richard Serra described Reinhardt as “a moral barometer,” whereas for Sol LeWitt, “[h]-is art really became the key to my thinking.” Uncompromising and resolutely principled, Reinhardt was much admired by his fellow artists and his work shaped the course of Abstract Expressionism, Minimalism, and conceptual art. Abstract Painting, created in 1958, makes clear Reinhardt’s unerring commitment to pure form. An early example of his famed black paintings, this work is in fact made up of multiple shades – what Robert Storr referred to as “a full spectrum […] in the lowest possible tonal register.” Nine distinct sections can be seen, forming a cruciform shape in the center rendered in minute strokes. Abstract Painting is intensely rigorous and Reinhardt undertook lengthy preparations for these black paintings, making diagrammatic sketches in advance. To achieve the matte, powdered finish of his paintings, Reinhardt would leave the oil paints sitting out for weeks at a time such that the oil would separate from the pigment and rise to the top, at which point he would pour it away to create a concentrated paint. As the light changes, so too does the appearance of the painting, which comes to reveal its range with repeated viewing. Reinhardt once said, “There is a black which is old and a black which is fresh. Lustrous black and dull black, black in sunlight and black in shadow.” Avoiding any reference to the world beyond the painting, Abstract Painting refuses interpretation and attests to the autonomy of art. Phillips, Harlan. “Interview with Ad Reinhardt.” Archives of American Art. Smithsonian Institute, c. 1964. Web. 17 Aug. 2016. Storr, Robert. “Curator Robert Storr on Ad Reinhardt at David Zwirner, New York.” Filmed [9 Nov. 2013]. YouTube Video, 34:46. Posted [12 Nov. 2013]. Web. 17 Aug. 2016. Cotter, Holland. “An Abstraction Shaped by Wounded Ideals.” New York Times. 21 Nov. 2013. Web. 17 Aug. 2016. Reinhardt, Ad. “Black as Symbol and Concept.” Art-as-Art: The Selected Writings of Ad Reinhardt. New York: Viking Press, 1975. Print.


VERSO

51

68 AD REINHARDT

Abstract Painting 1958 Oil on canvas Signed, titled, and dated frame verso; retains William Hayes Ackland Memorial Art Center exhibition label frame verso Together with photocopy of exhibition catalogue Canvas: 24" x 20" Frame: 24.5" x 20.5" P ROV E NANC E Private Collection, La Jolla, California (acquired directly from the artist, c. 1966); Private Collection, Rancho Mirage, California (acquired directly from the above) E XHIBIT E D “Distinguished University Artists,” William Hayes Ackland Memorial Art Center, UNC, Chapel Hill, April 2-May 2, 1965 LIT E RAT URE Distinguished University Artists. William Hayes Ackland Memorial Art Center exh. cat. 1965. 13.

$180,000–250,000


69 UELI BERGER, ELEONORE PEDUZZI-RIVA & HEINZ ULRICH Non Stop sofa

De Sede for Stendig, designed 1972 Model no. DS-600 Comprised of seven sections Sections each: 29.5” x 10” x 39”

$15,000–20,000


70 MASSIMO VITALI Rena Majori

2013 Diasec mounted chromogenic print in artist’s chosen frame #17 of 35 Signed in black ink with edition number on artist’s label verso Image/sheet (vis.): 34.5" x 45.5" Frame: 36" x 47"

$10,000–15,000

71 ANDRÉ CAZENAVE Rock lights (10)

Atelier A, designed c. 1970 Each retains “A. Cazenave/Atelier A” decal Largest: 15” x 21.5” x 15” Smallest: 5.5” x 7.5” x 6.5”

$3,000–5,000

53


72 DUILIO BARNABÉ (DUBÉ) Wall plaque

Fontana Arte, designed c. 1956 Signed “Dubé Fontana Arte” lower center edge of plaque 31” x 45.5” x .5”

$3,000–5,000

73 SAN POLO

Figural Minstrel San Polo, designed c. 1955 Glazed ceramic Inscribed “San Polo Italy/AH 12-1” 25” x 10” x 6”

$500–700

74 SAN POLO

Monumental vase San Polo, designed c. 1955 Inscribed “’San Polo’/Made in/ Italy/0/108” 24.5” x 12” diameter

$2,000–3,000

75 GIO PONTI

Flatware (47) Fraser’s; Arthur Krupp, designed 1954 Salad forks marked “Arthur Krupp/ Milano” with maker’s mark; others marked “Ponti/Fraser’s/Italy” Comprised of a five piece service for nine (soup spoons, salad forks, knives, dessert spoons, dinner forks), and two serving spoons Various dimensions LITERATURE Gio Ponti. U. La Pietra, ed. 1996. 300.

$2,000–3,000

PARTIAL ILLUSTRATION


76 GIO PONTI

Flatware (25) Arthur Krupp, designed c. 1955 Stainless steel Each stamped with manufacturer’s mark Comprised of a five piece service for five (tea spoons, spoons, dessert forks, dinner forks, dinner knives) Various dimensions LIT E RAT URE Gio Ponti. U. Pietra, ed. 1996. 301.

$3,000–5,000

55


77 JOSEPH D’URSO Tables (2)

Knoll International, designed 1980 Model no. 6022 Each: 14.5” x 22” x 22” LITERATURE Knoll Furniture Price List. March 1982. 160.

$6,000–9,000


78 ANGELO MANGIAROTTI Bud vases (2)

Knoll, designed c. 1960 Each: 12” x 8” diameter

$800–1,200

79 TOBIA & AFRA SCARPA Cabinet

Custom, designed c. 1994 28.5” x 70.25” x 18.25” P ROV E NANC E Private Collection, Montecito, California (acquired directly from the designers, 1994)

$8,000–12,000

57


80 ALBERTO BURRI Lettere (6)

1969 Silkscreen on Fabriano Rosaspina paper Each: #83 of 90 Published and printed by 2RC Edizioni d’Arte, Rome Each signed lower right margin beneath image; edition lower left margin beneath image; printer blind stamp lower left edge of sheet Images each: 7.75" x 9.125" Sheets each: 14" x 19.5" Frames each: 14.625" x 20.375" LITERATURE Burri Grafica: Opera Completa. C. Sarteanesi. 2003. 56-60.

$2,500–3,500


81 GIO POMODORO

Male and Female Seal I (Tamarind Squares XI) 1967 Color lithograph on German Etching paper 1 of 3 unnumbered artist’s proofs aside from the edition of 20 Published and printed by Tamarind Lithography Workshop, Albuquerque Signed with edition in graphite lower right sheet; inscribed in Italian lower center edge of sheet; Tamarind blind stamp lower right corner of sheet Image/sheet: 30" x 22.25" Frame: 38.5" x 29.5" LIT E RAT URE Catalogue Raisonné: Tamarind Lithography Workshop, Inc., 1960-1970. 1989. #2073.

$1,000–1,500

82 TONY DELAP Untitled (2)

1968 Color screenprint on paper One inscribed “E-35” in graphite lower center margin of sheet; inscribed, signed, and dated “PR. ‘Q’ Tony DeLap ‘68” lower right margin of sheet Image: 21.625" x 21.625" Sheet: 23" x 23" Frame: 23.625" x 23.625" Image/sheet: 21" x 21" Frame: 26.375" x 26.25" P ROV E NANC E Rex Goode, Los Angeles, California; Thence by descent

$800–1,200

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83 LARRY BELL

Untitled (Vapor Drawing) 1979 Vaporized metal on paper Signed and dated in graphite lower right sheet Sheet: 58.5" x 41" Frame: 59.5" x 41.5" P ROVENA NC E Marcia Weisman; Private Collection, Los Angeles, California (acquired directly from the above)

$8,000–12,000


84 LARRY BELL

Untitled (from in Barcelona Suite/Portfolio California) 1989 Color lithograph on paper #6 of 9 collaborator’s proofs aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Signed and dated in graphite lower center sheet; edition inscribed in Roman numerals lower left sheet Sheet: 29.5" x 22" Frame: 33.25" x 25.25"

$1,500–2,000

85 LARRY BELL

Untitled (from in Barcelona Suite/Portfolio California) 1989 Color lithograph on paper #6 of 9 collaborator’s proofs aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Signed and dated in graphite lower right margin of sheet; edition inscribed in Roman numerals lower left margin of sheet Image: 11.5" x 4" Sheet: 29.5" x 22" Frame: 33.25" x 25.25"

$1,000–1,500

61


Ronald Davis The work of pioneering abstract artist Ronald Davis (b. 1937) has been categorized, variously, as Color Field painting, abstract illusionism and hard-edge painting. Over the past fifty years, Davis has been influenced by such diverse inspirations as Piet Mondrian, Jackson Pollock and Renaissance master Paolo Uccello. Born in Santa Monica, California, Davis grew up in Wyoming and went on to study at the San Francisco Art Institute in the early 1960s. There he started to create geometric abstractions, using cheap, readily available materials such as house paint. His work gradually evolved in the 1970s to incorporate experimental, highly textured materials such as fiberglass, colored resin, and liquid cel-vinyl.

in classical perspective represented a rebellion against the discourse of mainstream abstract painting, which held that flat forms were superior to illusionistic space. Davis’s use of perspective, graphic imaging and three-dimensional modeling engages with philosophical questions of the nature of space and time. The artist continues his formal experimentation today, creating pixel dust paintings using digital animation software.

Davis’s work employs vivid color and precise patterning to produce the impression of depth and volume. His interest

Read an interview with the artist on our website www.lamodern.com.

86 RONALD DAVIS

Eighteen Triangle Slab (PTG 866) 1986 Cel-vinyl acrylic and dry pigment on canvas Snapline II Series Signed, titled, and dated verso LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 84" x 96" Frame: 86.375" x 98.25"

$10,000–15,000

Davis has exhibited in numerous museums and galleries internationally and his work is in major collections around the world, including Tate Gallery, London, the Norton Simon Museum of Art, Pasadena, and Hirschhorn Museum and Sculpture Garden, Washington DC.


87 CARLOS ALMARAZ

Mystery in the Park I & II 1989 Color screenprint diptych on paper #31 of 90 Published by Future Multiples Inc., Los Angeles; printed by Aztlán Multiples, Los Angeles Each signed lower right sheet; edition lower left Images/sheets each: 34.5" x 52.5" Overall: 34.5" x 105" Frame: 37" x 108.5"

$2,000–3,000

88 FRANK ISRAEL

Platform bed and headboard Custom, designed 1990 for the Borman House, Malibu, California 57” x 115.5” x 93.5” While the interior furnishings of the Borman House were designed by Frank Israel, the house itself was designed by Frank Gehry, whom is often cited as Israel’s mentor. P ROV E NANC E Borman House, Malibu, California

$3,000–5,000

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SIGNATURE, TITLE, AND DATE DETAIL

89 TONY BERLANT Yah-yah-yah

1964 Found metal assemblage on plywood Signed, titled, and dated in black felt-tip marker verso 11" x 8.625" x 2.5" Frame: 12.75" x 10.75" x 3.5"

$5,000–7,000

90 TONY BERLANT Indian Wells #16

1997 Metal collage on plywood with steel brads Inscribed in black felt-tip marker verso “Indian Wells #16 - 1997/ Berlant” 36" x 41" x 1.5" P ROVENA NC E Private Collection, Palm Desert, California (acquired directly from the artist) LITERATURE Extended Ecstasy: Tony Berlant. L.A. Louver Gallery exh. cat. 1999. N.pag for similar examples illustrated.

$4,000–6,000


91 TONY BERLANT

Another Night In Paradise #14 1996 Metal collage on plywood with steel brads Signed, titled, and inscribed in black felt-tip marker verso “Another Night In Paradise/#14 - 1996/Berlant” 45" x 48" x 1.5" LIT E RAT URE Extended Ecstasy: Tony Berlant. L.A. Louver Gallery exh. cat. 1999. N.pag for similar examples illustrated.

$5,000–7,000

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92 DE WAIN VALENTINE Ring

1972 Cast polyester resin Together with Galerie Denise René exhibition catalogue and letter from the artist’s studio dated 1990 11.25" x 21" diameter P ROVENA NC E The Estate of Irma Kellogg, Santa Barbara, California; Private Collection, Santa Barbara, California (acquired directly from the above, 1990) LITERATURE De Wain Valentine Sculpture. Denise René exh. cat. 1972. N.pag for similar example illustrated.

$30,000–50,000


93 DE WAIN VALENTINE Untitled

c. 1980 Laminated glass 18" x 31" x 6.25"

$4,000–6,000

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94 DE WAIN VALENTINE Untitled

1958 Watercolor on paper Signed and dated lower right in ink Sheet (vis.): 19.5" x 28.375" Frame: 27.125" x 36"

$3,000–5,000


95 JOE GOODE

Untitled (from Wash and Tear Series) 1975 2-layer, 3-color screenprint on Royal satin fabric From the edition of 24 unique examples Published and printed by Gemini G.E.L., Los Angeles Gemini G.E.L. #19.11 Image/sheet: 20" x 23.5" Frame: 22.25" x 26.25"

$5,000–7,000

96 JOE GOODE Untitled

1965 Color lithograph on paper #4 of 40 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite verso with edition; bears the inscription “103”; retains red Gemini G.E.L. and “B“ ink stamp verso Image/sheet: 10.5" x 15" Frame: 16" x 20.5" P ROVENA NC E Private Collection, Pasadena, California (acquired directly from Kenneth Tyler)

$1,500–2,000


97 JOE GOODE

Ocean Blue (5) 1990 Color lithograph on paper Color trial proofs Printed by Ed Hamilton, Venice Each signed and dated in graphite lower right sheet; each inscribed “CTP” lower left sheet Images/sheets each: 21.75" x 15.75" Frames each: 25.25" x 19"

$2,500–3,500

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98 ROBERT GRAHAM

Study for the Frieze V 1988 Cast bronze #3 of 10 Impressed “V” and “3/10” lower left LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 19.5" x 47" P ROVENA NC E Private Collection, Palm Desert, California (acquired directly from the artist) LITERATURE Robert Graham Sculptures. Galerie Neuendorf exh. cat. 1990. #76 for other examples from the series illustrated.

$30,000–50,000


99 ROBERT GRAHAM L2

1992 Copper relief plaque #2 of 2 artist’s proofs aside from the edition of 8 Impressed “L2” lower center; edition impressed lower right LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 14.25" x 14.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1996)

$3,000–5,000

100 ROBERT GRAHAM

Panel from the Dance Door 1984 Patinated bronze relief #84 of 100 Produced for the Music Center of Los Angeles Initials incised center right edge; impressed “084” center right edge LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work Bronze relief: 8.25" x 20.25" Frame: 16.25" x 28.25"

$3,000–5,000

71


Interview with Charles Arnoldi Throughout his forty-year career, legendary Los Angeles artist Charles Arnoldi (b. 1946) has been associated with the artistic scene of Venice Beach. Hailing originally from Dayton, Ohio, critic Dave Hickey aligns him with other Midwestern artist transplants, like Billy Al Bengston, Ed Ruscha, and Joe Goode, who have adopted California as their home base.

happened very spontaneously, so I kept collecting them. I could not possibly throw them away. Then I thought, why don’t you put them back on top? So it’s like a positive statement of the negative space I was drawing.

Arnoldi’s distinctive compositions of pigmented wood traverse the boundaries between sculpture and painting and contain echoes both of architecture and the natural world. Meticulously crafted, Arnoldi’s works impose a geometric order on irregular material to achieve a harmonious and symmetrical balance.

CA: I used to get sticks and cut down trees and save chunks of wood. I liked the striations; chainsaw cuts looked like some paintings I had in the studio, so that got me into wanting to cut with a chainsaw. So I cut a couple blocks of wood and they were not more than a foot or two in either direction. I immediately wanted to blow up the scale to painting scale. I wanted an 8’ x 8’, about a foot thick, so I counted how many sheets of plywood it would take to make this thing. So I order 24 or 30 sheets of plywood and 10 gallons of yellow glue and my assistant and I put sheets flat on the floor next to each other and rolled glue on it. Then we put two sheets in the opposite direction and we stacked this thing up. It was about 12” thick when we got done. Now, we had not thought it out very clearly and we realized that we had to put some weight on it. My assistant at the time had a motorcycle, so we put the motorcycle on it. We put everything we could find in the studio on this thing, so that the glue would squish out right. When we did that, the glue came oozing out of the side and, basically, we glued the thing to the floor in my studio. After about four or five days we couldn’t get it up, so we called Stanley Grinstein and he sent a forklift to my studio. This is when Frank Gehry and I shared the building on Brooks Ave. Anyway, we had to get sledgehammers and wedges and we basically busted this thing loose from the floor. This thing weighed about 1,200 pounds and I realized I didn’t think it out clearly. So I used that hunk for my carving table for a long time. That was just a platform. What I started doing instead was laying two or three sheets of three-quarter inch plywood together and then I put a thicker edge around the sides so it appeared to be 5" or 6" deep, but it was actually slightly hollow in the back. Anyway, I started gluing this plywood together and I loved the way it looked and Frank Gehry did too so I started making furniture out of it.

Arnoldi recently spoke with Peter Loughrey, Director of Modern Design & Fine Art at Los Angeles Modern Auctions to discuss his work: Peter Loughrey: When I got [to Los Angeles] in the mid-1980s, I remember walking around galleries, looking at shows and being blown away by the boldness of the art here. I remember seeing your work and thinking how unapologetic it was. I think Billion 1 is such a perfect title. Charles Arnoldi: Back in those days the word “billion” was not used all the time, like it is used today. I called it Billion 1, because it was going to go to a big corporation. Somebody came in my studio and we were talking about the piece and they said “that looks like a million bucks,” so I just kind of upped it and said “billion.” It was kind of a funny thing and a lot of the work I was doing here was pretty gutsy, because we all felt like we didn’t owe anything to anybody else and we thought we could do anything. You know, use tree branches, chainsaws, resin, and you didn’t have to get into the mold of what they were doing back east. The other thing was, I think we all were kind of macho and scale was something I’ve always embraced. PL: How does the process differ from the tree branch paintings? CA: The chainsaw paintings were after I made the tree branch paintings, which is a line I appropriate from nature. The image of the tree branch paintings makes sense, because every line on there is an integral part of the structure and it justifies what the drawing is. It was interesting because at the time the general consensus was that painting was dead. When I was making the chainsaw paintings I started to attack those paintings, to carve them away and drawing as I go. It was interesting because the holes became a big part of it. The holes left me with those chunks. The chunks were like beautiful objects that

PL: I wanted to ask you more about the material of this series.

PL: How long did it take to make a work like this? CA: Well, the standard answer to that is 40 years, but the truth is that the chainsaw painting itself goes really quickly. You just kind of go for it. It didn’t take me more than an hour to cut the wood, but it’s glued up, painted and cut and I made the chainsaw paintings for a couple of years, so I kept saving all the chunks. You make a piece over a period of a couple of days. In fact, I find that the faster and quicker you make decisions the more natural it is, so that you use intuition.


101 CHARLES ARNOLDI Billion 1

1985 Acrylic on plywood Signed and dated in black paint verso LAMA would like to thank the artist for his assistance in cataloguing this work 63" x 174" x 6"

$30,000–50,000

73


102 CHARLES ARNOLDI Untitled

1982 Handwoven wool tapestry Initials woven lower right LAMA would like to thank the artist for his assistance in cataloguing this work 72" x 72" P ROVENA NC E Private Collection, Canada (acquired directly from the artist)

$4,000–5,000

103 CHARLES ARNOLDI Untitled (90.MP.20) 1990 Monoprint on paper Unique Signed and dated in graphite lower center sheet; retains Richard Green Gallery label verso LAMA would like to thank the artist for his assistance in cataloguing this work Image/sheet: 20.5" x 17" Frame: 30.25" x 27.25"

$2,000–3,000


104 CHARLES ARNOLDI Untitled

1990 Monoprint on paper Unique Signed, dated, and inscribed “Arnoldi 5/1/1990 NYC” lower right edge of sheet LAMA would like to thank the artist for his assistance in cataloguing this work Image/sheet: 50" x 40.25" Frame: 58.75" x 48.75"

$2,000–3,000

105 CHARLES ARNOLDI III

1983 Color woodcut on paper #1 of 5 Signed and dated in graphite lower right margin of sheet; inscribed “III” with edition lower left sheet LAMA would like to thank the artist for his assistance in cataloguing this work Image: 28" x 38" Sheet: 35.5" x 46.5" Frame: 38.5" x 49.5"

$2,000–3,000

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106 FRANK GEHRY Untitled

1987-1988 Lead sculpture and white enameled bathtub with glass Custom commission for the Chiat/ Day Toronto, Canada offices Overall: 30" x 30" x 60" P ROV E NANC E Chiat/Day Toronto, Canada ILLUST RAT E D Frank O. Gehry. Y. Futagawa, ed. 1993. 164.; Frank O. Gehry: Tutte le opere. F. Dal Co, et. al. 1998. 384.

$100,000–150,000

Photography by Imaginahome Inc.

77


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

107 FRANK LLOYD WRIGHT

Imperial Hotel dinner service (48) Noritake, Japan, designed c. 1922 Comprised of a six piece service for eight (dinner plates, tea cups, saucers, bowls, bread plates, salad plates) Various dimensions P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California

$10,000–15,000

PARTIAL ILLUSTRATION

108 MARY WRIGHT Trays (2)

Klise Woodworking, produced 1941 Each with etched signature 3” x 11.25” x 11.125” .75” x 34.25” x 8.25”

$800–1,200


109 RICHARD NEUTRA

Proposal for Case Study House #21 1947 .5" x 11.375" x 10.625" P ROV E NANC E Roy Huggins, Los Angeles, California; Stuart Bailey, Los Angeles, California (gifted by the above, c. 1952); Thence by descent

$3,000–5,000

79

110 JAMES HARVEY CRATE Table lamp

Heifetz Manufacturing Co., designed 1950 Model no. T-3-C 24” x 13” x 13” This design won “Honorable Mention” in the Lamp Design Competition sponsored by The Museum of Modern Art and The Heifetz Company in 1951. P ROV E NANC E The Bailey House, Los Angeles, California (Case Study House #20A); Thence by descent LIT E RAT URE 1000 Lights. Vol. I. C. Fiell and P. Fiell. 2005. 442.

$6,000–9,000


SIGNATURE AND DATE DETAIL

111 PAUL LÁSZLÓ

Decorated screen Custom, executed 1947 Signed and dated lower left Hand painted glass tiles by Bottega Karin Overall: 108” x 142” P ROVENA NC E Barbara Stanwyck, Beverly Hills, California; Private Collection, Los Angeles, California; Private Collection, Beverly Hills, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, June 26, 2011, lot 238)

$20,000–30,000

112 PAUL LÁSZLÓ Console

László, Inc., custom designed c. 1948 37” x 84” x 15”

$4,000–6,000


113 PAUL LÁSZLÓ

Dining table and chairs (7) Brown-Saltman, designed c. 1948 Comprised of a table and six side chairs Table: 28.75” x 102.5” x 40” Chairs each: 30” x 20” x 20”

$2,000–3,000

81


Milton Avery: Master of Color Described by critic Hilton Kramer as “without question, our greatest colorist,” the work of Milton Avery (1885–1965) represents a key turning point in the history of American art. Working between figuration and abstraction, Avery delineated his forms by the simplest possible means and painted flat planes of vivid color, reminiscent of the saturated tones employed by Fauvist artists like Matisse and Franz Marc. Hailing from Altmar, New York, Avery spent his early career working in a succession of blue-collar jobs. He began painting in his spare time and taking classes at the Art Students League of New York in the 1920s. Despite his obscure origins, Avery acquired some prominent admirers, with Barnett Newman, Adolph Gottlieb, and Mark Rothko forming a close circle around the artist—the latter showed with Avery at the Opportunity Gallery in New York and became a close friend of the artist and his wife. It is thought that Rothko’s later use of thinned paint can be traced back to the weekly sketching sessions held at Avery’s apartment. Avery did not espouse any particular artistic theories, nor was he associated with any school of art, yet his radical approach to painting proved deeply influential for generations of abstract artists to come.

114 MILTON AVERY

Approaching Storm 1938 Watercolor on paper Signed “Milton Avery” lower right; bears the inscription “121” lower left; bears the inscription “3765 A” verso; retains the William Benton Museum of Art, the Summit Art Center, and the Phillips Collection exhibition labels verso; retains André Emmerich Gallery label verso Sheet: 22" x 31" Frame: 31" x 39" P ROVENA NC E André Emmerich Gallery, New York, New York; Private Collection, Bethesda, Maryland (acquired directly from the above, c. 1977) EXHIBITE D “Milton Avery and the Landscape,” William Benton Museum of Art, Storrs, March 15-April 16, 1976; “Milton Avery: Drawings & Paintings,” traveling exhibition, the University of Texas Art Museum, Austin, December 5, 1976-February 6, 1977; Summit Art Center, Summit, March 13-April 17, 1977; the Phillips Collection, Washington, D.C., May 21-June 19, 1977 LITERATURE Milton Avery and the Landscape. William Benton Museum of Art exh. cat. 1976. #5.; Milton Avery: Drawings & Paintings. University of Texas Art Museum exh. cat. 1976. 25, 55.

$30,000–50,000

Approaching Storm (1938) is an early work on paper depicting a rugged coastline and a dramatic stormy sky in Gaspé, Quebec. Smooth, flat banks of sandy yellow and brown contrast with the brusquely-painted black clouds. Executed in watercolors, Avery judiciously balanced dry and wet sections of the work to convey a sense of light as well as deep shadow. Curiously bereft of people, Avery skillfully captures the foreboding associated with a coming storm. The atmospheric effects achieved in this work, produced before Avery received wider recognition in the New York art scene, are typical of his paintings from this period. As his widow Sally Avery explained, Avery was fascinated by “the landscape and the seascape...I love what Rothko said—out of these homely subjects great poems are made. It wasn't the subject that was great; it was Milton that was great. And he took these ordinary subjects and infused them with a great deal of poetry.” Understated yet eloquent, Approaching Storm is a typically masterful work by this seminal 20th century artist. Kramer, Hilton. “Avery, Our Greatest Colorist.” New York Times. 12 Apr. 1981. Web. 28 Aug. 2016. Raynor, Vivian. “Milton Avery: Paintings on Paper at the Whitney.” New York Times. 10 Oct. 1982. Web. 28 Aug. 2016. “Oral history interview with Sally Avery.” Archives of American Art. Smithsonian Institution, 19 Feb. 1982. Web. 28 Aug. 2016.


115 EMIL BISTTRAM

Rain Over Grand Canyon 1945 Watercolor on paper Signed and dated lower left sheet; title inscribed backing board verso; retains Esther Stoefen Robles label verso Sheet (vis.): 16.75" x 21.75" Frame: 22.625" x 27.625"

$1,000–1,500

116 SYLVIA MANGOLD Untitled

1979 Oil on canvas Signed and dated on canvas stretcher verso; retains Droll/Kolbert Gallery label verso Canvas: 24" x 30"

$10,000–15,000

83


117 WILLIAM “BILLY” HAINES, DESIGNER Lounge chairs (2)

Custom, designed c. 1946 Each: 29.5” x 27” x 27.5” P ROVENA NC E Sam & Sara Briskin, Los Angeles, California; Private Collection, Palm Springs, California (acquired directly from the above through Christie’s, Los Angeles, “Innovators of Twentieth Century Style including Property from the Collection of Billy Wilder,” May 18, 2000, lot 6)

$10,000–15,000


118 KARL EMANUEL MARTIN (KEM) WEBER Airline chair

Airline Chair Company, designed 1934-1935 29.5” x 34” x 24.875” LIT E RAT URE Living in a Modern Way: California Design 1930-1965. W. Kaplan. 2011. 71.; KEM Weber: Designer and Architect. B. Long. 2014. 140-141.

$8,000–12,000

85

119 GILBERT ROHDE Bedroom set (3)

Herman Miller, designed 1940 Model no. 4140 Each stamped “4140” Comprised of a chest of drawers and two night stands Chest of drawers: 44.75” x 34.5” x 18.5” Night stands each: 25” x 18” x 12” LIT E RAT URE Herman Miller 1940 Catalog & Supplement: Gilbert Rohde Modern Furniture Design. L. Piña, ed. 1998. 128-129.

$2,000–3,000


Sardi's Restaurant, Dining Room, c. 1933. Photographer, W. P. Woodock. Courtesy, R. M. Schindler papers, Art Design & Architecture Museum, UC Santa Barbara.

120 RUDOLPH M. SCHINDLER Armchair

Warren McArthur Corporation, designed 1932-1933 for Sardi’s Restaurant, Hollywood, California 34” x 25” x 24” Lewis Ehrenberg was the manager of Lindy's Restaurant. Both Lindy's and Sardi's were owned by Adolph Edward Brandstatter, who commissioned R.M. Schindler to design both restaurants. P ROV E NANC E Lewis Ehrenberg, Los Angeles, California; Thence by descent LIT E RAT URE The Furniture of R.M. Schindler. M. Berns, ed. 1997. 118.; Living in a Modern Way: California Design 19301965. W. Kaplan. 2011. 71.

$8,000–15,000

121 RUDOLPH M. SCHINDLER Armchair

Warren McArthur Corporation, designed 1932-1933 for Sardi’s Restaurant, Hollywood, California 34” x 25” x 24” Lewis Ehrenberg was the manager of Lindy's Restaurant. Both Lindy's and Sardi's were owned by Adolph Edward Brandstatter, who commissioned R.M. Schindler to design both restaurants. P ROV E NANC E Lewis Ehrenberg, Los Angeles, California; Thence by descent LIT E RAT URE The Furniture of R.M. Schindler. M. Berns, ed. 1997. 118.; Living in a Modern Way: California Design 19301965. W. Kaplan. 2011. 71.

$8,000–15,000

87


122 WALTER LAMB Chaise lounge

Brown-Jordan, designed c. 1950 Model no. C-4700 32.5” x 26.5” x 68.5” LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,500–3,500

123 WALTER LAMB Chaise lounge

Brown-Jordan, designed c. 1950 Model no. C-4700 32.5” x 26.5” x 68.5” LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,500–3,500

124 WALTER LAMB Chaise lounge

Brown-Jordan, designed c. 1950 Model no. C-4700 32.5” x 26.5” x 68.5” LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,500–3,500


125 WALTER LAMB

Waikiki lounges (2) Brown-Jordan, designed c. 1950 Model no. 4720 Each: 20.5” x 21.75” x 70” LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,500–3,500

126 KIPP STEWART

Chaise lounges (2) Terra, designed c. 1960 Each: 22.25” x 23” x 73”

$2,000–3,000

89


Ed Moses: Luck, Chance, and Circumstance Peter Loughrey: MOCA had a mid-career retrospective of your work in 1996. What impact did this have or what did you learn from that retrospective and how did it affect your work? Ed Moses: Well, everything plays back on everything as you know. PL: So there’s like a feed back? EM: So what it does, it reacts to one painting reacting to another in terms of while I’m doing it. So it’s an encounter of what I’m doing. Even though it might be a painting that I did 10 years ago, the encounter is reestablished. So how it comes out is all about luck and chance and circumstance. Luck, chance, and circumstance. PL: The works on paper that we are offering in this sale tend to have a lot of negative space, whereas your paintings tend to be more saturated. Is this

127 ED MOSES

Vision Catcher #6 1999 Acrylic on canvas LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 78" x 66" Frame: 79.625" x 67.75" P ROVENA NC E Imago Galleries, Palm Desert, California; Private Collection, Newport Beach, California (acquired directly from the above)

$20,000–30,000

intentional or is this just a part of how the material reacts? EM: I fill up the surface when I am working with paint, and when I’m doing watercolors and things like that I leave a lot of the paper showing. So it’s either filling it up, like “chock full of nuts” kind of idea, or saturation and coagulation. Paint tends to coagulate. Mutation is also a big factor in it. PL: How so? EM: Well, things mutate from one thing to another. They start out one thing and then they’ll develop or mutate, fragment, or split open in the action of laying the paint on. So one painting mutates to another painting. I like what happened, but I want to continue that motion or kind of laceration of the paper with paint, if it’s paper we’re talking about. Right? PL: Yes.


128 ED MOSES Mug-Po

1995 Acrylic and asphaltum on canvas

EM: Yeah. So I sort of like to lacerate the paper with paint—in other words it splits it open in the activity of it, so it’s all about activity painting for me. The physical planning of paint on paper or canvas or whatever it is, and I’ll tend to fill it up with the paint with the brush or pour it on or pour it in, scrape it off, take off, put it on. Painting to me is putting on and taking off. I’m doing some right now, doing that very thing. They sort of look like Morandi’s paintings. I love Morandi. Guys that did painting like I do; I like to impact with them. Make them alliances so there is an alliance that is drawn between one painting and another painting and one painter and another painter. So if I happen to like the way a painter works, like Brice Marden, I’ll engage in that kind of activity and it will mutate into something else. Right now I’m working with some Morandi paintings. I love his images.

Left panel: titled on canvas overlap verso; retains L.A. Louver Gallery label on canvas stretcher verso; right panel: initialed and titled on canvas overlap verso; retains L.A. Louver Gallery label on canvas stretcher verso LAMA would like to thank the artist for his assistance in cataloguing this work This work was exhibited at MOCA with a former title, Muk-Po Overall: 78" x 126" P ROV E NANC E Imago Galleries, Palm Desert, California; Private Collection, Rancho Mirage, California (acquired directly from the above) E XHIBIT E D “Ed Moses: A Retrospective of the Paintings and Drawings, 1951-1996,” The Museum of

PL: Yeah, me too.

Contemporary Art, Los Angeles, April

EM: His still-lifes are generally fine models.

ILLUST RAT E D Ed Moses: A Retrospective

(Continue to page 92)

MOCA exh. cat. 1996. #60.

21-August 11, 1996

of the Paintings and Drawings, 1951-1996.

$30,000–50,000

91


The model takes on a shape or a form and I like the shaping and the form, so that’s what painting is about to me. Shaping and form. PL: Can you talk about some of the techniques that you use to shape and form, and maybe some of the materials like resin or asphaltum? Or I’ve heard that you have a secret sauce that you use? EM: (Laughter) Yeah, secret sauce is sort of a joke. When I don’t know what to use I call it secret sauce. And people say “What? What secret sauce?” I don’t have any secret sauce—it’s all discovery, chance, and circumstance. PL: So is it fair to say your secret sauce is just your sort of primal artistic abilities? EM: Yeah, primal response to things is secret sauce. I don’t know what to use so I just go to Jack in the Box and I’ll pour a gallon of that all over. The sauce it puts on Jack in the Box sandwiches, hamburgers. PL: Really?

129 ED MOSES Head Struc

1990 Acrylic, shellac, and asphaltum on Washi paper Initialed and dated in graphite lower right sheet; retains MOCA exhibition label, L.A. Louver Gallery label, and Sotheby’s, Beverly Hills inventory label verso LAMA would like to thank the artist for his assistance in cataloguing this work This work was exhibited at L.A. Louver Gallery with a former title, Umber Blak Sheet: 41" x 29.5" Frame: 45.25" x 33.25" EXHIBITE D “Ed Moses Abstraction & Apparition,” L.A. Louver Gallery, Venice, June 2-30, 1990; “Ed Moses: A Retrospective of the Paintings and Drawings, 1951-1996,” The Museum of Contemporary Art, Los Angeles, April 21-August 11, 1996 ILLUSTRAT E D Ed Moses Abstraction & Apparition. L.A. Louver Gallery exh. cat. 1990. 11.; Ed Moses: A Retrospective of the Paintings and Drawings, 1951-1996. MOCA exh. cat. 1996. #47.

$4,000–6,000

EM: I sort of like the surface that it makes, so I call it secret sauce. That’s what Jack in the Box calls their stuff, secret sauce. So I like to appropriate those kinds of things as they’re kind of twists or humor on it. Is that guy serious? I say “Yeah, he’s having secret sauce isn’t he?” How lucky is that? You engage in secret sauce when you’re paying. Because I never know what I am doing. I’m just chasing a worm. A snake in the ground. He’s crawling though the ground looking for an opening and he fills the whole thing. The images fill with this secret sauce. Maybe underground or below the ground. Or outside of the ground. Underground you know. Underground art is outside of the usual. PL: Would it be fair to say you would like collectors to observe how your work has mutated or evolved over the years? EM: I don’t know if there is that much intelligence that takes place or actual pursuance of artistic nature. It’s all luck to me. Luck and chance. You wiggle this way and you wiggle that way and something comes out the other end or squeezes out of the surface.


130 ED MOSES Untitled

1988-1989 Acrylic and shellac on Washi paper Initialed and dated in graphite lower right sheet; retains L.A. Louver Gallery label verso LAMA would like to thank the artist for his assistance in cataloguing this work Sheet: 32.125" x 24.25" Frame: 40.875" x 32.875"

$4,000–6,000

131 ED MOSES

Record #24 1993 Ink on paper Initialed and dated in graphite lower right; retains L.A. Louver Gallery label verso; retains Sotheby’s, Beverly Hills inventory label verso LAMA would like to thank the artist for his assistance in cataloguing this work Sheet (vis.): 7.5" x 10.5" Frame: 15.5" x 18.5"

$1,500–2,000

93


132 JOHN BALDESSARI

Leg, Straw, Diver (from Hegel’s Cellar Portfolio) 1986 Photogravure, aquatint, spit-bite aquatint, and sanding on torn Rives BFK paper #7 of 10 artist’s proofs aside from the edition of 35 Published by Multiples, Inc., New York; printed by Iris Editions, New York Signed in graphite with edition verso Image: 25.625" x 19.125" Sheet: 26.125" x 19.625" Frame: 34.25" x 27.5" LITERATURE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #29.

$3,000–5,000

133 JOHN BALDESSARI

Two Trucks/Two Decisions (on Bridge) 1996 Black and white photograph on glossy photographic paper printed to the edges #120 of 120 Published by Texte zür Kunst, Germany; printed by J. Mindermann, Cologne Signed and dated with edition in black felt-tip marker lower center sheet Together with copy of original invoice Image/sheet: 11.5" x 19.75" Frame: 17.75" x 25.125" This is an artist’s proof. Artist’s proofs were not noted as “AP”; they were continuous with the numbered edition, which is numbered 1-120. The standard edition is 100. P ROVENA NC E Pasadena Art Alliance, Pasadena, California; Private Collection, Pasadena, California (acquired directly from the above, 1996) LITERATURE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #89.

$3,000–5,000


95

134 UTA BARTH

Untitled (98.8) (2) 1998 Chromogenic print diptych in artist’s frames #5 of 6 Each retains Rena Bransten Gallery labels verso with printed edition number Images/sheets each: 29.625" x 37.627" Frames each: 30.25" x 38.25"

$8,000–12,000


135 VIJA CELMINS Alliance

1983 3-color aquatint, mezzotint, and drypoint on Fabriano Rosaspina white paper #35 of 48 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamps lower right sheet Gemini G.E.L. #9.4 Image: 10" x 7.5" Sheet: 24" x 19.375" Frame: 25.75" x 21" LITERATURE The Prints of Vija Celmins. S. Rippner. 2002. 50.

$7,000–10,000


97

136 VIJA CELMINS

Jupiter Moon - Constellation 1983 3-color mezzotint and etching on Fabriano Rosaspina white paper #35 of 48 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamps lower right sheet Gemini G.E.L. #9.5 Image: 10.75" x 7.625" Sheet: 23.75" x 18.5" Frame: 25.25" x 20.25" LIT E RAT URE The Prints of Vija Celmins. S. Rippner. 2002. 50.

$7,000–10,000


Crescent Heights Becomes Laurel Canyon Ed Ruscha’s painting, photography, and books are among the most iconic art works of the 20th century. The depiction of subjects from popular culture and the flat, stylized forms in his works have led him to be characterized as a Pop artist. A transplant to Los Angeles, he moved to the city in 1956 to attend the Chouinard Art Institute, and soon became one of the city’s most adept chroniclers. The unique streetscape of the city, dominated by facades and bold signage, prompted Ruscha’s exploration of the empty spectacle of Hollywood, a continual source of fascination for the artist. In Crescent Heights Becomes Laurel Canyon (2000), three pale lines bisect the stippled black and white surface of the linen. The painted words, which run alongside these lines, invoke famous Los Angeles street names, identifying this as a simplified aerial view of the city. This work developed from Ruscha’s renowned Metro Plots series, in which the intersecting lines of the gridded street system are viewed from above, illustrating the point at which one street transitions into the next. The cool lines and stark text impose an abstract order upon the chaos of the city and the words themselves resonate with the glamour of Los Angeles. The artist has described Los Angeles as, “the ultimate cardboard cut-out town. It’s full of illusions and allows its people to indulge in all these illusions.” Rieff, David. Los Angeles: Capital of the Third World. New York: Simon & Schuster, 1991. Print.


SIGNATURE AND DATE DETAIL

99 137 ED RUSCHA

Crescent Heights Becomes Laurel Canyon 2000 Acrylic on raw linen Signed and dated verso Linen: 18" x 20" Frame: 18.875" x 20.875" P ROV E NANC E Private Collection, Los Angeles, California ILLUST RAT E D Edward Ruscha: Catalogue Raisonné of the Paintings. Vol. 6. R. Dean. 2016. 194, #P2000.25.

$150,000–200,000


138 ED RUSCHA

Various Small Fires (from Book Covers Series) 1970 3-color lithograph on white Arches paper #20 of 30 Published and printed by Graphicstudio, Tampa Initialed and dated with edition in graphite lower left margin of sheet with Arches watermark; printer blind stamps lower right margin of sheet Image: 8.5" x 11.5" Sheet: 16" x 20" Frame: 23.75" x 27.75" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue RaisonnĂŠ. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #46.

$15,000–20,000


139 ED RUSCHA Drops

1971 Color lithograph on white Arches paper #56 of 90 Co-published by Cirrus Editions, Los Angeles and Brooke Alexander, Inc., New York; printed by Cirrus Editions, Los Angeles Signed and dated with edition in graphite lower left sheet Image/sheet: 20" x 28" Frame: 21.25" x 29.25" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #54.

$8,000–12,000

101


Eight Trembling Individuals Ed Ruscha’s training in commercial art is evident in the everyday subject matter, slick imagery, and neatly set typography of his works. His works often employ text, which is rendered with such graphic simplicity that the language becomes as pictorial as it is linguistic. Eight Trembling Individuals (1977) was produced during a period in which Ruscha had temporarily abandoned painting. This period resulted in a range of radical experiments, including the use of such unconventional materials as chocolate, lettuce, egg yolk, blood, and in this case, blackberry juice, in his works. Ruscha’s incorporation of unusual media suggests a revolt against the strictures of traditional painting. These works helped Ruscha out of an artistic impasse and led to one of the richest phases in his career. “For a whole year I couldn’t paint. It was 1970 and I didn’t do any painting… And so ‘staining’ came out of that. Instead of applying a skin of paint to a canvas support, I would stain the surface, so it was another way out of this box I’d painted myself into. I was in a corner and this was the most logical thing, and it involved the concept of liquids.” With its horizontal smears, washes of thin color and occasional remnants of berry, the movement of the artist’s hand is visible in the sweeps across the sheet. That the stark lines of the text emerge clear and unsullied by the fruit attests to Ruscha’s type-setting skills and early education in graphic arts. The ambiguous choice of phrase, a hallmark of Ruscha’s work, leaves the meaning of the work open to multiple interpretations. As the artist says, “I am careful not to be literal, not to offer this other option to anyone.” This work was included in the exhibition “Edward Ruscha: Recent Drawings” at the Fort Worth Art Museum in 1977 through 1978. Schwartz, Alexandra, ed. Leave Any Information at the Signal: Writings, Interviews, Bits, Pages. The MIT Press, 2004. Print.

LABEL DETAIL

103

140 ED RUSCHA

Eight Trembling Individuals 1977 Blackberry juice on paper Signed and dated verso Together with original frame which retains Fort Worth Art Museum exhibition label verso Sheet: 22.75" x 28.75" Frame: 27.625" x 33.625" This work will be included in a forthcoming volume of Edward Ruscha: Catalogue Raisonne of the Works on Paper. P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1978) E XHIBIT E D “Edward Ruscha: Recent Drawings,” Fort Worth Art Museum, Fort Worth, December 4, 1977-January 22, 1978

$250,000–350,000


141 ED RUSCHA

Bailarina (from in Barcelona Suite/Portfolio California) 1988 3-color lithograph on Guarro paper #6 of 9 collaborator’s proofs aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Signed and dated in graphite lower right sheet; edition inscribed in Roman numerals lower left sheet Image/sheet: 29.5" x 22" Frame: 33.25" x 25.25" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #164.

$7,000–10,000

142 ED RUSCHA

Reloj de Arena (from in Barcelona Suite/Portfolio California) 1988 4-color lithograph on Guarro paper #6 of 9 collaborator’s proofs aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Signed and dated in graphite lower right sheet; edition inscribed in Roman numerals lower left sheet Image/sheet: 29.5" x 22" Frame: 33.25" x 25.25" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #163.

$5,000–7,000


105

143 ED RUSCHA Glass #7

1993 Acrylic on paper Signed and dated in graphite lower right margin of sheet; titled frame verso Composition: 7.5" x 10.5" Sheet (vis.): 14" x 11" Frame: 16.125" x 13.125" This work will be included in a forthcoming volume of Edward Ruscha: Catalogue Raisonne of the Works on Paper. P ROV E NANC E Private Collection, Los Angeles, California

$25,000–35,000


144 ED RUSCHA & ROBERT RAUSCHENBERG Stay Safe

1978 Offset color lithograph on paper Edition size unknown Published by Change, Inc., Los Angeles; printed by Alan Printing & Litho, Los Angeles Signed and inscribed “For Fran” by Ed Ruscha in ballpoint pen center right edge; signed by Robert Rauschenberg in graphite lower left sheet; printed “1978 Change Inc., West, Los Angeles, Printed by Alan Printing & Litho, Los Angeles.” lower right edge of sheet Image/sheet: 35.25" x 23.25" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #M36.

$1,000–1,500

145 ROBERT RAUSCHENBERG

Pre-Morocco (from Eight by Eight to Celebrate the Temporary Contemporary) 1983; published 1984 11-color lithograph on Rives BFK paper #16 of 250 Published by MOCA, Los Angeles; printed by ULAE, West Islip Signed and dated in pencil with edition and printer blind stamp lower left sheet Image: 34" x 23.5" Sheet: 41" x 29" Frame: 53" x 40"

$1,000–1,500


146 ROBERT RAUSCHENBERG Poise

1991 Offset color lithograph on paper #26 of 48 Published and printed by ULAE, West Islip Signed and dated with edition in graphite lower right sheet Image/sheet: 40.75" x 29.25" Frame: 44.25" x 32.75"

$1,000–1,500

147 LOUISE NEVELSON Aquatint IV

1973 Aquatint etching on paper #14 of 90 Published by Pace Editions, Inc., New York; printed by 2RC Edizioni d’Arte, Rome Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; 2RC Edizioni d’Arte blind stamp lower left sheet and upper right sheet Image: 27.75" x 21.5" Sheet: 38.75" x 27.25" Frame: 41.325" x 30"

$1,000–1,500

148 LOUISE NEVELSON Aquatint II

1973 Aquatint etching and collage on paper #14 of 90 Published by Pace Editions, Inc., New York; printed by 2RC Edizioni d’Arte, Rome Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; 2RC Edizioni d’Arte blind stamp lower left sheet Image: 27.75" x 21.5" Sheet: 38.75" x 27.25" Frame: 41.325" x 30"

$1,000–1,500

107


Vik Muniz: Pictures of Appropriation 149 VIK MUNIZ

Standard Station (Night) After Ed Ruscha (from Pictures of Cars) 2008 Chromogenic print #6 of 6 Retains signed artist’s label with edition verso Published by J. Carter Tutwiler Together with book Ed Ruscha, Vik Muniz and the Car Culture of Los Angeles Image/sheet: 51" x 95" Frame: 58" x 102" P ROVENA NC E Vik Muniz Studio, Brooklyn, New York; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Vik Muniz: Obra Completa, 1987-2009, Catálogo Raisonné. P. Corrêa do Lago, ed. 2009. 613.; Ed Ruscha, Vik Muniz and the Car Culture of Los Angeles. 2011. 17.

$50,000–70,000

Brazilian-born artist Vik Muniz (b. 1961) is celebrated for his tongue-in-cheek appropriation of canonical paintings. In the past this has included a version of da Vinci’s Mona Lisa rendered in peanut butter and jelly, and a line drawing of Jackson Pollock made with chocolate syrup, appropriated from Hans Namuth’s 1950 photograph of the artist. Always careful to cite the original work in the title, Muniz selects his subjects with great care, choosing iconic works that symbolize our fascination with artistic genius. Muniz’s use of inexpensive, everyday materials gently skewers the reverence with which we regard these art historical classics. Still Life with Lemons, Oranges, and a Rose, After Francisco de Zurbarán (from Pictures of Magazines, Still Life) emulates Francisco de Zurbarán’s still life masterpiece, which is in the collection of the Norton Simon Museum in Pasadena. Muniz employs new technologies to reproduce the priceless painting as a contemporary chromogenic print. This is not a straightforward reproduction, however. First, Muniz created a collage based on de Zurbarán’s painting, which he then photographed and reproduced as a chromogenic print. Made up of multiple small circles, this lends the work a mosaic-like appearance and further distinguishes it from the 17th century original. His adaptation of Ed Ruscha’s 1963 Standard Station, Amarillo Texas differentiates itself from its 1960s forebear through slight variations of color and detail on the roof line. Muniz employs cut automotive parts in this series, evoking the car-centric culture of Los Angeles, a touchstone in Ruscha’s work. In an interview, the artist has said, “The car parts series relates directly to the work of Ed Ruscha, whom I admire a lot. I was interested in exposing and deconstructing/analyzing our intimacy (including our tactile one) with used cars. I wanted to explore… a certain LA atmosphere, the gas station, a style that is well-known.” For Muniz, the act of appropriation simultaneously confirms and undermines our expectations. Muniz, Vik. Vik Muniz After Ed Ruscha. Palm Desert, CA: Imago Galleries, 2014. Print.


Fancisco de Zurbarán (Spanish, 1598–1664), Still Life with Lemons, Oranges and a Rose, 1633, Oil on canvas. Photograph Courtesy of The Norton Simon Foundation.

150 VIK MUNIZ

Still Life with Lemons, Oranges, and a Rose, After Francisco de Zurbarán (from Pictures of Magazines, Still Life) 2004 Chromogenic print #5 of 6 Image/sheet: 40" x 67" Frame: 44.625" x 72.125" P ROV E NANC E Vik Muniz Studio, Brooklyn, New York; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Vik Muniz: Obra Completa, 1987-2009, Catálogo Raisonné. P. Corrêa do Lago, ed. 2009. 474.

$20,000–30,000

109


151 WILLIAM TUNBERG Peaches + Cream

c. 1966 Mixed-media assemblage 10.25" x 17.5" x 11" (closed) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$2,000–3,000


152 KEN PRICE

Frog Cup and Double Frog Cup (2) 1968 Color lithograph on Copperplate Deluxe paper Each from the edition of 20 Published and printed by Tamarind Lithography Workshop, Albuquerque Each signed, titled, dated, with edition verso; each retains Sotheby’s, Beverly Hills inventory label verso Sheets each: 21.75" x 16.25" Frames each: 23.25" x 17.75" LIT E RAT URE Catalogue Raisonné: Tamarind Lithography Workshop, Inc., 1960-1970. 1989. #2496-2497.

$2,000–3,000

153 KEN PRICE

Club Romance 1990 1-color photoengraving on Japanese Toyoshi paper #16 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; edition lower left margin of sheet beneath image; Gemini G.E.L. blind stamps lower right sheet Gemini G.E.L. #39.21 Image: 3.5" x 2.75" Sheet: 9" x 9.625" Frame: 13" x 13.5"

$800–1,200

111


154 WALLACE BERMAN Untitled

1976 Verifax collage Bears the inscription in red ink verso “Wallace Berman/Post. Frag./1976 D.S.” Image/sheet: 6" x 6.5" Frame: 14.75" x 13.75" P ROVENA NC E Joy Marchenko, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Wallace Berman: Verifax Collages. Galerie Frank Elbaz exh. cat. 2009. N.pag for similar examples illustrated.

$10,000–15,000


113

155 ROBERT HEINECKEN

14 or 15 Buffalo Ladies #1 1969 Photographic lithograph with chalk, and ink on paper Unique Signed and dated in graphite “Heinecken 10/69” lower right margin of sheet beneath image; titled lower left margin beneath image; inscribed “VI” lower center beneath image and lower right corner of sheet; inscribed “lithograph, chalk, ink” verso Image (overall): 12.75" x 8" Sheet: 15" x 11" Mat: 18" x 14" P ROV E NANC E Harry Arthur Taussig, Los Angeles, California (acquired directly from the artist); Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Heinecken. J. Enyeart, ed. 1980. Pl. 25 for similar example illustrated.

$8,000–12,000


156 SAM MALOOF Desk

Studio, executed 1992 Fiddleback maple and ebony Signed, dated, and inscribed “No. 7 1992/Sam Maloof f.a.c.c./made for Navabeh/and Burt” 29.5” x 49.75” x 26”

$10,000–15,000


157 SAM MALOOF Rocking chair

Studio, executed 1991 Walnut Signed, dated, and inscribed “No. 9 1991/Sam Maloof f.a.c.c./©” 45” x 26.25” x 44.25”

$20,000–30,000

115

158 SAM MALOOF

Sculpted side chair Studio, executed 1992 Walnut Signed, dated, and inscribed “No. 6 1992/Sam Maloof f.a.c.c./©” and “Made for/Burt Borman/ February 1992” 30.5” x 23.25” x 21.25”

$5,000–7,000


159 EDWARD MOULTHROP Figured bowl

Studio, executed c. 1975 Tulipwood Incised “Ed Moulthrop/figured tulipwood/liriodendron tulipfera/500910R/401060R” with artist’s cipher 8.75” x 15.25” diameter

$3,000–5,000

160 EDWARD MOULTHROP Bowl

Studio, executed c. 1975 Cherry wood Incised “Moulthrop/Wild Cherry” with artist’s cipher 5.75” x 10.5” diameter

$1,500–2,000

161 EDWARD MOULTHROP Bowl

Studio, executed c. 1985 Ashleaf maple Incised “Ed Moulthrop/rare ashleaf maple/acer negundo/201092” with artist’s cipher 9.5” x 10.5” diameter

$3,000–5,000


162 JOHN NYQUIST Cabinet

Studio, executed 1977 20.5” x 32” x 14” P ROV E NANC E Dr. Frank Law, Huntington Beach, California; Private Collection, Los Angeles, California

$1,000–1,500

163 JAMES PRESTINI

Turned wood bowls (2) Studio, executed c. 1948 Branded “Prestini” with various labels and markings 2” x 7” diameter 1” x 12” diameter P ROV E NANC E Estate of James Prestini, Berkeley, California

$800–1,200

117


164 GEORGE NAKASHIMA Trestle table

Studio, executed June 1966 Signed and dated Comprised of a dining table and two leaves 28.75” x 58.5” (86.5” with leaves) x 40”

$15,000–20,000

165 GEORGE NAKASHIMA Chairs (4)

Knoll, designed 1946 Model no. N19 Each: 28” x 20” x 19” LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 106.

$1,500–2,000


166 GEORGE NAKASHIMA Armchair

Studio, executed 1963 American black walnut and upholstery 30.25” x 30” x 31.5” P ROV E NANC E Property from the Edmund J. Bennett Collection (acquired directly from the Nakashima studio); Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, February 23, 2014, lot 259)

$5,000–7,000

167 GEORGE NAKASHIMA Lounge chair

Studio, executed 1963 American black walnut and upholstery Marked “Bennett” to underside 30.75” x 23.75” x 35” P ROV E NANC E Property from the Edmund J. Bennett Collection (acquired directly from the Nakashima studio); Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, February 23, 2014, lot 259)

$3,000–5,000

119


168 J.B. BLUNK

Untitled (Plaque) Studio, executed c. 1975 7.75” x 7.75” x .5”

$1,000–1,500

169 J.B. BLUNK

Wooden plate Studio, executed c. 1975 11.25” x 11.875”

$2,500–3,500


121

170 GERALD MCCABE Coffee table

Orange Crate Modern, designed c. 1968 17” x 40” x 26”

$500–700

171 ARTHUR AMES Enamel plaque

Studio, executed c. 1965 Enamel: 9” x 10.375” Frame: 11.875” x 13.75”

$200–300


172 DALE CHIHULY

Jasper Red Persian (8) Studio, executed c. 1997 Overall: 8.5” x 24” x 20”

$7,500–10,000

173 DALE CHIHULY

Moroccan Macchia pair (2) Portland Press Edition, executed 2003 One etched “PP03” and signed Overall: 5.5” x 10” x 9”

$2,500–3,500


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

174 DALE CHIHULY

Cinnamon Macchia Portland Press Edition, executed 2001 Signed “PP 01” 6.25” x 7.5” x 6.5” P ROV E NANC E Los Angeles County Museum of Art

$2,500–3,500

175 MARVIN LIPOFSKY Glass vase

Studio, executed 1966 Etched signature and date 9” x 7” x 6.25”

$4,000–6,000

123


Helen Frankenthaler Throughout her six-decade career, Helen Frankenthaler (1928–2011) created a dramatic body of highly expressive abstract painting, unmatched in intensity and lyricism. Trained at Bennington College in Vermont, Frankenthaler had her first encounter with the New York art world in 1950 through her relationship with the renowned art critic, Clement Greenberg. Enthralled by the potency of Jackson Pollock’s action paintings, Frankenthaler began her own experiments with the medium, laying canvases on the floor before applying paint. She developed what later became her famous ‘soak stain’ technique, in which she applied paint thinned out with turpentine directly to raw, unprimed canvas. This created a uniquely luminous effect in which the surface of the canvas and the paint merged, appearing to become one entity. Frankenthaler’s use of this technique served to emphasize the flat surface over painterly illusion, drawing the viewer’s attention to the nature of painting itself and ultimately leading to her association with Color Field painting. The technique proved influential among her contemporaries, including Morris Louis and Kenneth Noland. Frankenthaler’s atmospheric work eschewed the strictures of modernism’s monochromatic grid to create a space of boundless expression, excessive and sublime in equal measure. As the 1960s and 1970s dawned, so too did Pop art, performance art, and other experimental forms. While Frankenthaler was resolutely an abstract painter, she was not immune to such dramatic changes in artistic practice, and in her lectures from this time she maintained that the act of painting remained vital. The forms of her work grew noticeably hard-edged as she began to work with acrylic paint instead of oils. She continued to employ her stain

effect, but acrylic provided her with greater control over her effects as it was quicker to dry than oil paint. This sharp shift attests to Frankenthaler’s continued experimentation with forms and materials, long into the latter stages of her career. Created in 1976, Jade demonstrates Frankenthaler’s facility with acrylics. Broad brushstrokes of sienna are offset by deep horizontal sweeps of prismatic blue, while the image is framed top and bottom by delicate white marks. The work carries Frankenthaler’s signature balance of control and spontaneity. As the artist said, “A really good picture looks as if it’s happened at once… For my own work, when a picture looks labored and overworked… that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart.” Frankenthaler was often inspired by encounters with nature and, reminiscent of a foaming sea and muddy shore, Jade makes clear allusions to landscape. One of the artist’s more tonally muted paintings, it possesses an elemental power, expressed in its expanses of deep color. The work coincided with a period of great confidence for Frankenthaler, whose reputation had been cemented by her retrospective at the Whitney in 1969. During the 1970s, the artist began working on a more intimate scale, which enabled her to test out new ideas. Unafraid of disposing of works which did not meet her high standards, Jade is one of the smaller format works which survives from this time—a testament to its importance. Dreishpoon, Douglas. Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s. Buffalo, New York: Albright-Knox Art Gallery, 2014. Print. Rose, Barbara. Frankenthaler. New York: Harry N. Abrams, Inc., 1975. Print.


SIGNATURE DETAIL

176 HELEN FRANKENTHALER Jade

1976 Acrylic on canvas Signed lower left; signed, titled, and dated verso; retains André Emmerich and Ameringer McEnery Yohe Gallery labels verso Together with copy of invoice from André Emmerich Gallery Canvas: 44.5" x 41.5" Frame: 45.5" x 42.5" P ROV E NANC E André Emmerich Gallery, New York, New York; Private Collection, Bethesda, Maryland (acquired directly from the above, 1977)

$300,000–500,000

125


SIGNATURE AND DATE DETAIL

177 RAY PARKER Untitled

1963 Oil on canvas Signed and dated “Parker 1963” verso Canvas: 13.125" x 15.875" Frame: 14" x 17" P ROVENA NC E Ulfert Wilke (acquired directly from the artist); Thence by descent

$7,000–10,000


178 KNUD MERRILD Fish & Fowl

c. 1934 Watercolor on paper Retains Los Angeles County Museum of Art exhibition loan label verso The exhibition catalogue lists the title of the work as Fishes Sheet (vis.): 8.25" x 10.75" Frame: 19.5" x 22.5" P ROV E NANC E Mr. and Mrs. Dudley Nichols, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) E XHIBIT E D “Knud Merrild, 18941954: Paintings, Constructions, Collages, Watercolors and Drawings,” Los Angeles County Museum of Art, November 26-December 26, 1965 LIT E RAT URE Knud Merrild, 18941954: Paintings, Constructions, Collages, Watercolors and Drawings. LACMA exh. cat. 1965. #27.

$3,000–5,000

179 HENRY MOORE

Sculptural Ideas 4 (from the Sculptural Ideas Portfolio) 1980-1981 Color etching and aquatint on Fabriano paper #37 of 50 Published by Raymond Spencer Company Ltd., for the Henry Moore Foundation; printed by 2RC Edizioni d’Arte, Rome Signed lower right margin of sheet; edition lower left; retains Van Straaten Gallery label verso Image: 9.75" x 13.375" Sheet (vis.): 12" x 15.25" Frame: 20.25" x 23.5" LIT E RAT URE Henry Moore: Catalogue of Graphic Work. Vol. IV. G. Cramer, ed., et. al. 1973. #583.

$1,000–1,500

127


180 GERE KAVANAUGH Whimsy II

1957 Mixed-media on fabric Signed “by geré” in paint lower right Composition: 28" x 33.5" Fabric: 36.25" x 41.25"

$2,000–3,000

181 GERE KAVANAUGH Whimsy I

1951 Mixed-media on fabric Stitched signature and date “geré 51” lower right Composition: 33.75" x 27.125" Fabric: 49.625" x 40.25"

$2,000–3,000


182 DANNY HO FONG Café set (5)

Tropi-Cal, designed c. 1955 Comprised of four stools and a table Stools each: 16.75” x 15” diameter Table: 27.25” x 38” diameter

$3,000–5,000

183 ATTRIBUTED TO STAN HAWK Outdoor table/fire pit

Possibly Hawk House, designed c. 1950 19.5” x 43” diameter

$800–1,200

184 STAN HAWK

Candle stands (2) Hawk House, designed c. 1950 Each: 9” x 8” diameter

$1,000–1,500

129


185 MILO BAUGHMAN Desk

Murray Furniture, designed c. 1954 28.75” x 62” x 24.25”

$3,000–5,000

186 MILO BAUGHMAN Coffee table

Glenn of California, designed c. 1952 14” x 54.25” x 24”

$3,000–5,000


187 MILO BAUGHMAN Sideboard

Glenn of California, designed c. 1952 Model no. 1632 30” x 64.75” x 17.75” LIT E RAT URE Glenn of California. Manufacturer cat. n.d. N.pag.

$2,000–3,000

131

188 MILO BAUGHMAN Coffee table

Glenn of California, designed c. 1952 Model no. 530 15.25” x 53” x 23.75” LIT E RAT URE Glenn of California. Manufacturer cat. n.d. N.pag.

$2,000–3,000

189 MILO BAUGHMAN Coffee table

Glenn of California, designed c. 1950 16” x 48” x 18”

$500–700


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

190 DAVID HOCKNEY

Untitled (Red Square) 1964 Acrylic on canvas Signed and inscribed lower center margin “My Dear Jim + Jack, - I’ll come back and finish the picture later. This is just/a background colour. Love David XX” Canvas: 24" x 24" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$40,000–60,000


133

191 DAVID HOCKNEY

The Blue Guitar (20) 1976-1977 Color softground etching and aquatint on Inveresk mould-made paper Each: #73 of 200 Published and printed by Petersburg Press, London and New York Each signed with edition in graphite Images/sheets each: 20.5" x 18" (or alternate orientation) Frames each: 22.75" x 20.25" (or alternate orientation) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #178-197.

$25,000–35,000


192 DAVID HOCKNEY

Two Vases of Cut Flowers and a Liriope Plant 1979; published 1981 4-color lithograph on Japanese Toyoshi 80 paper #36 of 98 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in red pencil lower right edge of sheet with Gemini G.E.L. blind stamps; edition lower left Gemini G.E.L. #23.52 Image/sheet: 42" x 59" Frame: 45.25" x 62" LITERATURE David Hockney Prints 1954-1995. 1996. #232.

$10,000–15,000


193 DAVID HOCKNEY Ann in the Studio

1984 Etching on Rives BFK paper #5 of 61 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right margin beneath image; edition lower left margin of sheet beneath image; Gemini G.E.L. blind stamps lower right sheet Gemini G.E.L. #23.84 Image: 23.875" x 35.5" Sheet: 30.75" x 41.5" Frame: 33.625" x 44.5" LIT E RAT URE David Hockney Prints 1954-1995. 1996. #258.

$1,200–1,500

194 DAVID HOCKNEY

Mexican Hotel Garden 1984 Etching on John Koller handmade paper #6 of 65 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet; edition lower left margin of sheet; Gemini G.E.L. blind stamps lower right edge of sheet; retains Richard Green Gallery label verso Gemini G.E.L. #23.82 Image: 23.75" x 35.5" Sheet: 32.5" x 46.5" Frame: 36.5" x 50.5" LIT E RAT URE David Hockney Prints 1954-1995. 1996. #256.

$4,000–6,000

135


195 DONALD SULTAN

Trumpet March 17 (4) 2008 Color etching on Somerset paper Each: #5 of 50 Published by Polígrafa Obra Gràfica, Barcelona Each titled and dated with artist’s initials in graphite along left edge of sheet; edition lower right sheet Together with certificate of authenticity for each from Polígrafa Obra Gràfica Comprised of Blue Trumpet March 17, Red Trumpet March 17, Green Trumpet March 17, and Black Trumpet March 17 Sheets each: 46.75" x 35"

$4,000–6,000


196 PHILIP GUSTON

Remains (from Eight Lithographs to Benefit the Foundation for Contemporary Performance Arts) 1981 1-color lithograph on Koller Transfer paper #16 of 50 Published and printed by Gemini G.E.L., Los Angeles Artist’s estate and Gemini G.E.L. blind stamps lower right sheet; edition in graphite lower left sheet Gemini G.E.L. #21.25 Image/sheet: 19.5" x 29.75" Frame: 31.5" x 42" LIT E RAT URE Philip Guston Prints: Catalogue Raisonné. M. Semff, ed. 2015. #46.

$3,000–5,000

197 SEAN SCULLY

Square Light 1 & 2 (2) 1988 Color soft ground and spit bite aquatint with aquatint on paper #20 of 25; #19 of 25 Published and printed by Crown Point Press, San Francisco Each signed and dated with publisher’s blind stamp lower right sheet; title lower center; edition lower left Images each: 21" x 21" Sheets each: 34" x 30.5" Frames each: 36.625" x 33.25" P ROV E NANC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Beverly Hills, California (acquired directly from the above, 1994) LIT E RAT URE Sean Scully Prints: Catalogue Raisonné 1968-1999. V. Martino. 1999. #88004-88005.

$4,000–6,000

137


Defining Moments for SoCal Ceramics California played a key role in the American Studio Ceramic Movement that emerged post-World War II. The 1940s through the 1970s were a period of intense production and experimentation in all the arts, and were particularly transformative for ceramics. The creative culture of California in the mid-20th century was open-minded, inclusive, and unfettered by the restrictive artistic conventions of the East Coast; it provided the ideal location for an experimental approach to emerge. Los Angeles, specifically, was fertile ground for some of the greatest achievements of the movement. In the mid-1950s on the campus of the Los Angeles County Art Institute (now Otis College of Art and Design) ceramic instructor Peter Voulkos and his students adopted a radical approach to clay. Assertive, dramatically altered, frequently over-scaled, and asymmetrical forms emerged from the Otis studio during Voulkos’ tenure (1954–1958). The Otis Group, as they were known, included artists/students Billy Al Bengston, Stan Bitters, Michael Frimkess, John Mason, Ken Price, Paul Soldner, and Henry Takemoto. The works that these artists produced were a departure from the domestic tabletop and functional objects that had been identified with ceramics since the end of the Arts and Crafts movement. The work of the Otis Group sent tremors through the field. Once marginalized in art discourse, this epoch—now referred to as a “revolution in clay”—created a new platform for ceramics. As a medium, clay could now be evaluated for its expressive, intellectual, and sculptural qualities, and it commanded critical acclaim. Volumes have been written about the expressive power of Peter Voulkos’ work in clay, but one series stands out: the transitional vessels of the mid-1950s to the early 1960s. At this juncture, Voulkos abandoned the pursuit of making perfectly-profiled functional pots—for which he had won several first-place awards in national shows—and pivoted aesthetically to produce non-utilitarian work that was loosely thrown and infused with the Japanese qualities of rustic simplicity and spontaneity. However, Voulkos’ thrown forms were visually of a larger scale than the traditional Japanese folk pottery that they emulated, and they carried Voulkos’ distinctive imprint in the glaze painting—his fluid brushstrokes, mark-making, and palette were more stylistically aligned with Abstract Expressionism than with Japanese sumi ink painting. The sculptural vessels from this period are emblematic of the transition that Voulkos made from controlling to collaborating with the raw qualities of clay. Observing and learning from his teacher and mentor, Stan Bitters was inspired by the holistic partnership that Voulkos had forged with clay. Bitters’ “organic approach to environments” began in the late 1960s when he was

BY JO LAURIA

inspired to create oversized ceramic works that related to environments—interior and exterior walls, fountains, gardens, pools, pots, and sunscreens. “Environmental ceramics” was the term that Bitters used to describe outdoor clay elements that responded organically to nature, the site, and to architecture. Bitters' sunscreens demonstrated the most nuanced collaboration with clay and its physical response to the environment: fabricated of clay shards strung together in vertical rows and hung from a horizontal armature, the assembled unit served as a screen of privacy when static or transformed into a delightful kinetic sculpture when moved by wind. “Environmental ceramics” moved clay into the new territory of architecture, and fostered an aesthetic kinship with site-specific sculpture. Predating both Voulkos and Bitters is the artistic duo of Gertrud and Otto Natzler. Their work also served as a catalyst in re-shaping attitudes toward clay, but in a quiet, less rebellious way. Fleeing the Nazi annexation of Austria in 1938, they emigrated to Los Angeles and brought with them the principles of modernism. Throughout their lifelong collaboration on 25,000 refined vessels, they honored the European credo of good design, which should be expressive of its time and attain beauty through functionality. In this pursuit, their work referenced the contemporary art movements of modernism and minimalism and, as such, was highly valued. The Natzlers worked as a creative team—Gertrud threw the vessels and Otto glazed them—and together they produced a variety of classical shapes derived from Asian pottery traditions. However familiar and formal their shapes, Otto’s original glazes made Gertrud’s pots unique, not derivative: the range of glaze treatments on Natzler pots variously achieved lush colors and unusual surface textures that added depth, volume, and visual interest. The descriptive terms of “crater,” “lava,” “fissured,” and “fire-marked” entered the ceramic vocabulary as a means to describe Natzler glaze effects. Although these artists made their mark during the first wave of the American Studio Ceramic Movement—contributing to the dynamic mix of groundbreaking ceramics produced post 1940—their work has stood the test of time. Numerous recent exhibitions, which have contextualized the contribution of these artists to contemporary art, serve as a testament to the enduring vitality of their work. Their ceramics continue to fascinate and delight museum curators and collectors alike. Lauria, Jo, Emily Zaiden, and Sharon K. Emanuelli. Golden State of Craft: California 1960–1985. Los Angeles: Craft in America, Inc., 2011. Print. Bitters, Stan. Environmental Ceramics. New York: Van Nostrand Reinhold Company, 1976. Print. Duncan, Michael, John Mason, Ken Price, and Peter Voulkos. Clay’s Tectonic Shift, 1956–1968. Los Angeles: J. Paul Getty Museum, 2012. Print. Johnson, Christy, et. al. Common Ground: Ceramics In Southern California, 1945–1975. Pomona: American Museum of Ceramic Art, 2012. Print.


198 STAN BITTERS Clay sunscreen

Studio, designed c. 1970 71” x 49” x 1” LIT E RAT URE Environmental Ceramics. S. Bitters. 1976. 41, 58-59.

$3,000–5,000

199 STAN BITTERS

Scratch planters (3) Hans Sumpf, executed c. 1990 Each stamped “B2118/H.S.C.” Each: 18” x 21” diameter

$2,000–3,000

200 STAN BITTERS

Scratch planters (3) Hans Sumpf, executed c. 1990 Each stamped “B4815/H.S.C.” Each: 15.25” x 18” diameter

$1,500–2,000

139


201 PETER VOULKOS Vase

Studio, executed c. 1956 Gas-fired stoneware with iron oxides/glazes Signed to underside LAMA would like to thank Sam Jornlin for her assistance in cataloguing this work 14.25” x 9” diameter

$10,000–15,000

202 HENRY TAKEMOTO Bowls (2)

Studio, executed c. 1959 Each signed “Takemoto” 2” x 6.25” diameter 2.25” x 9.5” diameter

$1,500–2,000


SIGNATURE AND DATE DETAIL

203 PAUL SOLDNER Vase

Studio, executed 1959 Signed and dated Together with glazed ceramic plaque (not illustrated) 18.5” x 9” x 11”

$2,000–3,000

204 PAUL SOLDNER Vase

Studio, executed c. 1980 Signed “Soldner” 9.5” x 7.25” diameter

$1,500–2,000

205 ROBERT MAXWELL Vase

Studio, executed c. 1960 Signed “Robert Maxwell” 13” x 5” diameter

$2,000–3,000

141


LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing these works.

206 GERTRUD & OTTO NATZLER Double-curved bowl

Studio, executed 1943 Green Lavastone glazed ceramic Signed “Natzler” 5.25” x 11” diameter (10.5 cm x 28 cm diameter)

$15,000–20,000

SIGNATURE DETAIL

207 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1939 Early Pompeian glazed ceramic Signed “GON” and “329” 4.125” x 9” diameter (10 cm x 23 cm diameter)

$6,000–9,000


208 GERTRUD & OTTO NATZLER Cylindrical bottle

Studio, executed 1956 Gray Earth Crater glazed ceramic Signed “Natzler” and retains paper inventory label “H260” Together with certificate from the Natzler archives 16” x 3.75” diameter ( 40.6 cm x 9 cm diameter)

$6,000–9,000

209 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1963 Citron Yellow Alkaline glazed ceramic Signed “Natzler” and retains inventory label “M625” 2.5” x 5.5” diameter (6 cm x 14 cm diameter) E XHIBIT E D "The Ceramic Work of Gertrud and Otto Natzler," MH De Young Memorial Museum, San Francisco, July 24–September 6, 1971

$4,000–6,000

143


210

211

212

GERTRUD & OTTO NATZLER

GERTRUD & OTTO NATZLER

GERTRUD & OTTO NATZLER

Studio, executed 1962 Ivory glazed ceramic Signed “Natzler” and retains inventory label “L910”

Studio, executed 1957 Crater glazed ceramic Signed “Natzler” and retains inventory label “H956”

Studio, executed 1946 Velvet Chartreuse glazed ceramic Signed “Natzler”

3.25” x 5.75” diameter (8.5 cm x 14.5 cm diameter)

5” x 9” diameter (12.5 cm x 23 cm diameter)

$3,000–5,000

$2,500–3,500

Bowl

Bowl

Bowl

3” x 5.875” diameter (7.5 cm x 15 cm diameter)

$2,500–3,500


213

214

215

GERTRUD & OTTO NATZLER

GERTRUD & OTTO NATZLER

GERTRUD & OTTO NATZLER

Studio, executed 1940s Peach Blossom Reduction glazed ceramic Signed “Natzler”

Studio, executed 1944 Blue Lavastone glazed ceramic Signed “Natzler”

Studio, executed c. 1967 Chartreuse glazed ceramic Signed “Natzler”

7” x 5.5” diameter (18 cm x 13.5 cm diameter)

2.5” x 8.25” diameter (6 cm x 21.5 cm diameter)

$6,000–9,000

$5,000–7,000

Double-curved vase form

7.5” x 5.5” diameter (18.25 cm x 14 cm diameter)

$7,000–10,000

Conical vase

Bowl

145


216 VIOLA FREY Untitled

c. 1995 Painted and glazed ceramic 30" x 27" x 13"

$20,000–30,000


217 ROY DE FOREST A Pug

2001 Acrylic with pastel in artist’s frame Signed, titled, and dated upper center sheet in blue pencil Sheet: 22" x 29.5" Frame: 32" x 38" P ROV E NANC E Private Collection, Palm Desert, California (acquired directly from the artist)

$4,000–6,000

218 KIM MACCONNEL Gymnasts

1980 Gouache on cut and folded paper Retains Holly Solomon Gallery label verso Sheet (approx.): 15.25" x 11.5" Frame: 19.75" x 16" LIT E RAT URE Collection Applied Design: A Kim MacConnel Retrospective. MCASD exh. cat. 2010. 50-51 for a similar example illustrated.

$2,000–3,000

147


219 GORDON ONSLOW FORD Universal Animal

1962 Parles polymer paint on linen Dated lower right Together with Untitled (mixed-media on padded mailing envelope) LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work Linen: 70.25" x 118.25" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist) EXHIBITE D “Gordon Onslow Ford: Retrospective Exhibition,” The Oakland Museum, March 22-May 29, 1977; “Gordon Onslow Ford: The World of Line Circle Dot,” Pavilion at the Botanical Garden, Munich, 1993; “Gordon Onslow Ford: A Retrospective,” Kunstmuseum Bochum, Bochum, February 1994 LITERATURE Gordon Onslow Ford: Retrospective Exhibition. The Oakland Museum exh. cat. 1977. 58.; Creation. Galerie Schreiner AG exh. cat. 1978. 91.; Gordon Onslow Ford: Paintings. A. Neufert. 1993. 20.; The Annual Exhibition Record of the Pennsylvania Academy of the Fine Arts: 1914-1968. P. Falk. 1989. 353, #38, 505.

$30,000–50,000

UNTITLED (MIXED-MEDIA ON PADDED MAILING ENVELOPE)


220 GORDON ONSLOW FORD Untitled-145

1955 Acrylic on paper mounted to linen Dated and inscribed “1955-145” lower left edge of linen LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work Composition: 36" x 52" Linen: 54.5" x 70.25" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$8,000–12,000

221 GORDON ONSLOW FORD Out of the Woods (1) 1951 Gouache on paper Inscribed “Gordon Onslow Ford” backing board verso LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work Sheet (vis.): 18.25" x 23.375" Frame: 29" x 34.5" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$4,000–6,000

149


222 GORDON ONSLOW FORD Being Space Being

1971 Acrylic on paper mounted to linen Dated “1-71” lower center composition; signed, titled, and dated canvas verso LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work Composition: 56" x 34.5" Canvas: 62.375" x 41.625" Frame: 63.5" x 42.625" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$10,000–15,000

223 GORDON ONSLOW FORD Untitled

1964 Ink on paper Dated “8.64” lower right LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work Sheet (vis.): 25.5" x 39.625" Frame: 27" x 41" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$4,000–6,000


224 GORDON ONSLOW FORD Jewel

2001 Acrylic on paper mounted to linen Dated “1-01” lower left; dated and titled verso LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work Composition: 36" x 22.625" Linen: 40" x 27" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$8,000–12,000

151


225 JOE DOWNING

Abstraction in Yellow, Blue, and Red c. 1990 Oil on canvas Signed lower right Canvas: 64" x 51" P ROVENA NC E The Estate of Robert Anthoine

$4,000–6,000


226 JOE DOWNING Untitled

1993 Watercolor on registry paper Together with Untitled Portfolio (7 offset color lithographs on paper) (partial illustration), Much Happiness Always (mixed-media collage on envelope) (not illustrated) and Untitled (mixed-media collage) (not illustrated) Signed lower right sheet in ink; inscribed “Joe Downing/on/registry paper” frame verso Sheet: 16.5" x 23.5" Frame: 23.625" x 31.125" P ROV E NANC E The Estate of Robert Anthoine

$2,500–3,500

PARTIAL ILLUSTRATION

153


SIGNATURE, DATE, AND TITLE DETAIL

227 JAY DEFEO Apex

1982 Oil and tape on canvas Signed, dated, and titled in graphite verso LAMA would like to thank the Jay DeFeo Foundation for their assistance in cataloguing this work Canvas: 84" x 60" Frame: 85.5" x 61.5" EXHIBITE D “Jay DeFeo,” Gallery Paule Anglim, San Francisco, February 9-March 12, 1983

$80,000–120,000


228 NATHAN OLIVEIRA

Yucatan Sequence I-5 1982 Monotype on paper Signed and dated in graphite lower right margin of sheet; inscribed “Yucatan Sequence I-5” lower left margin Retains Charles Cowles Gallery, Inc. label verso Image: 15.5" x 23.75" Sheet (vis.): 17" x 25" Frame: 25.25" x 32.75" LIT E RAT URE Variations in Time: Nathan Oliveira Monotypes and Monoprints. G. Bertazzoni and R. Flynn Johnson. 1997. #66 for similar example illustrated.

$1,000–1,500

229 NATHAN OLIVEIRA Yucatan

1983 Monotype on paper Signed and dated in graphite lower right margin beneath image; inscribed “Yucatan” lower left margin Retains John Berggruen Gallery label verso Image: 15.5" x 23.5" Sheet (vis.): 16.75" x 24.75" Frame: 25" x 32.5" LIT E RAT URE Variations in Time: Nathan Oliveira Monotypes and Monoprints. G. Bertazzoni and R. Flynn Johnson. 1997. #66 for similar example illustrated.

$1,000–1,500

155


230 RICHARD DIEBENKORN Tri-Color II

1981 Color aquatint with soft ground etching on paper #15 of 35 Published and printed by Crown Point Press, San Francisco Initialed and dated in graphite lower right margin of sheet beneath image; edition lower left; Crown Point Press blind stamp lower right sheet Image: 18.75" x 17.75" Sheet: 37.5" x 30.75" Frame: 40" x 33.325"

$10,000–15,000


231 RICHARD DIEBENKORN Blue Club

1981 Color aquatint with soft ground etching on paper #5 of 35 Published and printed by Crown Point Press, San Francisco Initialed and dated in graphite lower right margin of sheet beneath image; edition lower left; Crown Point Press blind stamp lower right sheet Image: 18.75" x 17.75" Sheet: 37.5" x 30.5" Frame: 40" x 33.25"

$7,000–10,000

157

232 RICHARD DIEBENKORN White Club

1981 Aquatint reversal on paper #22 of 22 Published and printed by Crown Point Press, San Francisco Initialed and dated in graphite lower right margin of sheet beneath image; edition lower left; Crown Point Press blind stamp lower right corner of sheet Image: 18.75" x 17.75" Sheet: 37.5" x 30.5" Frame: 40" x 33.25"

$6,000–9,000


233 WAYNE THIEBAUD Suckers (State I)

1968 1-color lithograph on Rives BFK paper #10 of 150 Published and printed by Gemini G.E.L., Los Angeles Signed and inscribed “State I” with edition in graphite lower right sheet; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #52.1 Image: 8" x 14" Sheet: 16" x 22" Frame: 20.25" x 26.25" LITERATURE Technics and Creativity: Gemini G.E.L. R. Castleman. 1971. #86.

$5,000–7,000

234 MARK DI SUVERO Untitled

1972 5-piece sculpture of torch-cut steel #218 of 250 Published and fabricated by Gemini G.E.L., Los Angeles Initials incised “MdS” with date and edition; impressed Gemini G.E.L. copyright logo Gemini G.E.L. #16.1 Together with print documentation 10" x 8" x 2" (in most compact arrangement) P ROVENA NC E Private Collection, Pasadena, California (acquired directly from the artist)

$3,000–5,000


235 JOHN REGISTER Wasteland Hotel

1990 Color silkscreen on paper #81 of 85 Signed in graphite lower right margin of sheet beneath image; edition lower left Image: 33.5" x 48" Sheet (vis.): 36" x 50" Frame: 47.5" x 61"

$3,000–4,000

236 JOHN REGISTER & CHARLES BUKOWSKI Hollywood

1989 Color silkscreen on paper #17 of 75 Signed in graphite lower right margin of sheet; signed by Charles Bukowski lower left margin of sheet; dated with edition in graphite lower center margin of sheet Image: 14.75" x 11.25" Sheet (vis.): 17" x 13" Frame: 29" x 25"

$2,000–3,000

159


237 PAUL WONNER F.T. As Flora

1965 Casein on paper Signed lower right sheet; retains Felix Landau Gallery label verso Sheet (vis.): 16.5" x 14.625" Frame: 24" x 21.75" P ROVENA NC E The Estate of Betsy Drake, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$4,000–6,000

238 PAUL WONNER Untitled

c. 1980 Watercolor on paper Signed lower right sheet Sheet: 13.875" x 16.875" Frame: 23.625" x 26.5"

$3,000–5,000


239 GREGORY KONDOS Group (4)

1982 Monotype on paper B: Signed lower right margin beneath image; title lower left; retains John Berggruen Gallery label verso; A, C, and D: Signed and dated lower right margin beneath image; title lower left Comprised of A: Greek Island, Samos, B: Samos, Greece, C: Half Dome, Yosemite, and D: Greek Fishing Boat Images each: 15.5" x 15.5" Sheets (vis.) each: 17.25" x 16.875" Frames each: 36" x 27"

$2,000–3,000

161

240 LARRY COHEN

View of the Coast Highway from Malibu Canyon Road 2003 Oil on canvas Signed in graphite verso; signed and dated with title in red paint on canvas stretcher verso Canvas: 22" x 22" Frame: 23.25" x 23.25"

$2,000–3,000


241 JOSEF ALBERS I-S VV I

1971 Color screenprint on American Etching paper #15 of 100 Published by Ives-Sillman Inc., New Haven; printed by Sirocco Screenprints, New Haven Signed and dated in graphite lower right margin of sheet beneath image; titled with edition lower left Image: 12.5" x 25.5" Sheet (vis.): 14" x 27" Frame: 20.75" x 33.5" LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #210.

$2,500–3,500

242 MAX BILL Untitled

1970 Color screenprint on paper #60 of 100 Signed and dated in graphite lower right margin of sheet; edition lower left Image: 13.75" x 13.75" Sheet (vis.): 27" x 19" Frame: 27.75" x 19.75" P ROVENA NC E Rex Goode, Los Angeles, California; Thence by descent

$800–1,200

243 HERBERT BAYER

Das Druckgrafische Werk 1974 Color silkscreen on paper Unknown edition size Inscribed in graphite lower center sheet “For Rex from Herbert”; signed lower right sheet Image: 33" x 23.25" Sheet (vis.): 33.5" x 24" Frame: 34.25" x 24.625" P ROVENA NC E Rex Goode, Los Angeles, California; Thence by descent

$600–900


244 MARCEL BREUER Chaise lounge

Knoll, designed 1935-1936 32” x 25.375” x 52” LIT E RAT URE Marcel Breuer: Furniture and Interiors. C. Wilk. 1981. 127.

$1,500–2,000

245 LUDWIG MIES VAN DER ROHE Barcelona chairs (2)

Knoll Associates, designed 1929 Model no. MR 250 Each retains manufacturer’s label Each: 30” x 30” x 30”

$2,000–3,000

163


The Art of Craig Ellwood Renowned for his elegant architectural designs, Craig Ellwood (1922–1992) fused a Californian sensibility with the strict formalism of European modernist architects like Ludwig Mies van der Rohe. A maverick figure, self-taught and hugely ambitious, Ellwood’s life story embodies the frontier spirit of the West Coast. He moved with his family from Texas to California in the mid-1920s, and as an adult he changed his name from Jon Nelson Burke, thinking Craig a more appropriate name for an architect. His buildings combined glass walls and steel frames with a particular attention to site, and his legacy can be seen throughout Los Angeles. With the rise of postmodernism, Ellwood began to turn away from architecture. He became increasingly drawn to the purity of form offered by abstract painting. His widow, Leslie Phillips, stated that “Craig felt that painting was a purer expression of his architectural vision.” Ellwood was deeply influenced by Josef Albers, who he met at Yale University in the 1950s while Albers was serving as Chairman of the Department of Design. The four Masonite and plywood works, For Josef, pay tribute

246 CRAIG ELLWOOD Capriccio

1981 Acrylic on canvas Signed, titled, and dated in black felt-tip marker verso; inscribed “#71” and “Italia/1981” verso 93" x 93" (as illustrated) P ROVENA NC E The artist; Thence by descent

$10,000–15,000

to his mentor. Ellwood was also encouraged to paint by famed Hard Edge abstract artist, Lorser Feitelson, who sent two blank canvases to Ellwood’s office, along with a note bearing the simple instruction—‘Paint!’ Created in 1981, Capriccio demonstrates Ellwood’s natural facility with his chosen medium. The painting’s unconventional diamond orientation contrasts with its cool structural grid. A dramatic gradient draws the eye from the black outer corners into the pale center of the work. Ellwood constructed his paintings meticulously, carefully rendering each color and gradation square-by-square. The imposition of multiple geometries, with squares overlaid from border to grid to background, nods to the classical formalism of Ellwood’s architectural heroes. Phillips described his devotion to the purity of abstract painting, saying: “With canvas and paint he could craft space, line, and color, creating the vibration of harmony and beauty that he held so dear.” Jackson, Neil. California Modern: The Architecture of Craig Ellwood. New York: Princeton Architectural Press, 2002. Print.


247 CRAIG ELLWOOD For Josef–Red #1

1979-1981 Painted Masonite and plywood #1 of 12 Signed, titled, and dated with edition in black felt-tip marker verso; inscribed “60 cm x 60 cm/ Constructed in U.S.A./1979-80/ Painted in/Italy 1981” verso 23.75" x 23.75" P ROV E NANC E The artist; Thence by descent

$3,000–5,000

248 CRAIG ELLWOOD

For Josef–Silver #1 1979-1981 Painted Masonite and plywood #1 of 12 Signed, titled, and dated with edition in black felt-tip marker verso; inscribed “60 cm x 60 cm/ Constructed in U.S.A./1979-80/ Painted in Italy 1981” verso 23.875" x 23.75" P ROV E NANC E The artist; Thence by descent

$3,000–5,000

165


249 CRAIG ELLWOOD

For Josef–Black #1 1979-1981 Painted Masonite and plywood #1 of 12 Signed, titled, and dated with edition in black felt-tip marker verso; inscribed “60 cm x 60 cm/ Constructed in U.S.A. 1979-80/ Painted in Italy 1981” verso 23.75" x 23.75" P ROVENA NC E The artist; Thence by descent

$3,000–5,000

250 CRAIG ELLWOOD

For Josef–White #1 1979-1981 Painted Masonite and plywood #2 of 12 Signed, titled, and dated with edition in black felt-tip marker verso; inscribed “Constructed in U.S.A. ‘79-80/Painted in Italy ‘81/60 cm x 60 cm” 23.75" x 23.875" P ROVENA NC E The artist; Thence by descent

$3,000–5,000


251 CRAIG ELLWOOD Untitled (4)

1979-1980 Color print on paper A: #1 of 1; B: #33 of 33; C: #44 of 66; D: #1 of 1 A: signed and dated lower left sheet in graphite; inscribed “Unique Print” with edition lower left; B: signed and dated with edition lower left sheet in graphite; blind stamp lower left; C: signed and dated with edition lower left sheet in graphite, blind stamp lower left; D: signed and dated lower right sheet in graphite; inscribed “Unique Print” with edition lower right Sheets (vis.) each: 35.875" x 35.875" Frames each: 36.125" x 36.125" P ROV E NANC E The artist; Thence by descent

$3,000–4,000

167


SIGNATURE, DATE, AND EDITION DETAIL

252 GEORGE RICKEY

Divided Quadrilateral III 1978 Stainless steel #2 of 3 Incised signature with date and edition on base; inscribed "Divided Quad?" in felt-tip marker on each blade LAMA would like to thank the George Rickey Foundation for their assistance in cataloguing this work Together with documentation sheet from Carl Schlosberg Fine Arts Maximum overall dimensions: 33.25" x 28.5" x 3" P ROVENA NC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, 1988)

$30,000–50,000


169

SIGNATURE, DATE, AND EDITION DETAIL

253 GEORGE RICKEY

Open Rectangles One Up One Down Excentric Variation III 1980 Stainless steel #2 of 3 Incised signature with date and edition on base LAMA would like to thank the George Rickey Foundation for their assistance in cataloguing this work Maximum overall dimensions: 28.75" x 30" x 25" P ROV E NANC E Ulfert Wilke (acquired directly from the artist); Thence by descent

$18,000–25,000


254 NASSOS DAPHNIS Untitled

1968 Inlay epoxy on Masonite Signed and dated “5-12-68/N. Daphnis” Masonite panel verso; frame verso signed and dated Together with exhibition catalogue Nassos Daphnis Color and Form: A Retrospective Masonite: 12" x 12" Frame: 18.125" x 18.125"

$2,000–3,000


255 DONALD JUDD Untitled

1974-1979 Aquatint on paper #39 of 70 Published by the artist; printed at Styria Studio, Inc., New York Signed with edition in graphite lower right sheet Image: 35" x 23" Sheet: 39.5" x 29" Frame: 43.5" x 31.25" LIT E RAT URE Donald Judd Prints and Works in Editions: A Catalogue Raisonné. J. Schellmann, ed. 1993. #84.

$3,000–5,000

171

256 MINEO MIZUNO Ceramic plate

Studio, executed 1973 Signed and dated “Mizuno 73” verso 2” x 18” diameter

$1,000–1,500


257 LEON POLK SMITH Untitled

c. 1959 Acrylic on torn paper Signed in graphite lower right sheet; retains Valerie Carberry Gallery label verso Sheet: 15.75" x 11.75" Frame: 18.75" x 14.75" P ROVENA NC E Gerald Nordland, Chicago, Illinois

$3,000–5,000

258 EMERSON WOELFFER A Blue Letter

1975 Acrylic on blue board Signed and dated in graphite lower right board; signed, titled, dated, and inscribed “For my very dear friend Ulfert” frame verso Board: 39" x 31.5" Frame: 39.75" x 32.25" P ROVENA NC E Ulfert Wilke (acquired directly from the artist); Thence by descent

$2,500–3,500


259 ROBERT MOTHERWELL

Untitled (from the Berggruen Series) 1980 3-color lithograph on white Arches Cover paper #29 of 100 Co-published by Berggruen & Cie, Paris, John Berggruen Gallery, San Francisco, and Brooke Alexander, Inc., New York; printed by Derrière l’Étoile Studios, New York Signed with edition in graphite lower right margin of sheet beneath image; retains John Berggruen Gallery label verso Image: 10" x 10.75" Sheet (vis.): 11" x 12" Frame: 20.25" x 20.25" LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #260.

$1,500–2,000

260 ROBERT MOTHERWELL Spoleto poster

1968 3-color screenprint on American Etching paper H.C. proof aside from the edition of 150 Published by Spoleto Festival, Spoleto; printed by Maurel Studio, New York Signed and inscribed in graphite “for Ulfert Wilke R. Motherwell/ h.c.” lower center sheet Image/sheet (vis.): 39.25" x 27.25" Frame: 40.25" x 28.25" P ROV E NANC E Ulfert Wilke (acquired directly from the artist); Thence by descent LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #60.

$1,000–1,500

173


261 SOL LEWITT

Untitled (Wavy Lines) 2004 Gouache on paper Signed and dated in graphite lower right sheet Sheet: 22.5" x 30" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$18,000–25,000


262 SOL LEWITT

Curvy Brushstrokes (Color) 1997 Etching with color sugar lift aquatint with aquatint on Somerset Textured White paper #1 of 10 artist’s proofs aside from the edition of 15 Published and printed by Crown Point Press, San Francisco Signed lower right margin beneath image; edition lower left Sol LeWitt Catalogue Raisonné #1997.07 Image: 29.75" x 39.75" Sheet (vis.): 38" x 47.85" Frame: 40.25" x 50"

$4,000–6,000

263 SOL LEWITT

Wavy Lines in All Directions, #8 1996 Monoprint with aquatint on paper Unique Printed by Watanabe Studio, Brooklyn Signed and inscribed in graphite “LeWitt 8” lower right margin of sheet LAMA would like to thank Andrew Witkin, editor of the Sol LeWitt Prints Catalogue Raisonné for his assistance cataloguing this work Image: 19.875" x 19.875" Sheet: 23.5" x 23.325"

$1,500–2,000

264 SOL LEWITT

Complex Forms (pl. #3) 1990 Etching with aquatint on paper 1 of 2 unnumbered trial proofs aside from the edition of 27 Published by Osiris Editions, New York; printed by Peter Pettengill, Wingate Studios, Hinsdale Signed and inscribed in graphite “Sol LeWitt TP/for Harold + Liz” lower right margin of sheet beneath image Sol LeWitt Catalogue Raisonné #1990.11 Image: 29.25" x 29.75" Sheet (vis.): 34.25" x 34.75" Frame: 35.5" x 36"

$2,000–3,000

175


265 HANS J. WEGNER

Chinese armchairs (8) Fritz Hansen, designed 1943 Model no. FH-4283 Together with original shipping boxes Each: 32” x 21.5” x 22” P ROVENA NC E Rex Goode, Los Angeles, California (acquired directly from Fritz Hansen, c. 1972-1974); Thence by descent LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 22-23.

$7,000–9,000


266 HANS J. WEGNER

Hammock lounge chair Getama, designed 1960 27” x 29.5” x 72” LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 93.

$7,000–10,000

267 HANS J. WEGNER Easy chair

Carl Hansen & Søn, designed 1951 Model no. CH-22 Etched manufacturer’s mark 28” x 27.25” x 25” LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 52-53.

$3,000–5,000

177


268 ARNE JACOBSEN Swan chairs (2)

Fritz Hansen, designed 1958 Model no. 3320 Each: 32” x 28.25” x 24” LITERATURE 1000 Chairs. C. Fiell and P. Fiell. 1997. 347.

$1,500–2,000

269 ARNE JACOBSEN AJ flatware (48)

A. Michelsen, designed 1957 Model no. 660 Dinner knives marked “A. Michelsen/ Denmark” with manufacturer’s cipher; others marked “A. Michelsen/Stainless/Denmark” Comprised of a six piece service for eight (dinner forks, salad forks, soup spoons, dessert spoons, dinner knives, and butter knives) Various dimensions LITERATURE Den Store Danske Møbelguide. P. Hansen and K. Petersen. 2005. 133.

$1,000–1,500

270 KAY FISKER Pitcher

Anton Michelsen, designed 1926 Stamped signature and manufacturer’s mark to underside 11” x 6.5” x 5.25” LITERATURE Dansk Kunsthåndværker Leksikon. Vol I. V. Bruun. 1979. 145.

$4,000–6,000

PARTIAL ILLUSTRATION


271 JENS QUISTGAARD

Stokke lounge armchair Nissen, designed 1966 Stamped manufacturer’s mark “Nissen/Langaa/Danmark/JHQ” 29” x 26.75” x 26.5” LIT E RAT URE Den Store Danske Møbelguide. P. Hansen and K. Petersen. 2005. 273.

$2,000–3,000

272 KAY BOJESEN

Animals/toy (3) Kay Bojesen, designed c. 1951 Car and monkey each branded: “Kay Bojesen Copyright Denmark” Comprised of a monkey, lion, and a car Car: 3” x 10.5” x 4” Monkey: 18” x 10” x 5” Lion: 8” x 11” x 7”

$1,500–2,000

179


273 HARALD NIELSEN

Pyramid flatware (278) Georg Jensen, designed 1927 Marked “Georg Jensen/Sterling/ Denmark”; some with manufacturer’s cipher Comprised of a seven piece service for 14 (salad forks, dinner forks, place spoons, dinner knives, luncheon forks, luncheon knives [small], luncheon knives [large]), plus additional pieces Various dimensions

$20,000–30,000

PARTIAL ILLUSTRATION

274 GEORG JENSEN

Blossom salt spoons (8) Georg Jensen, designed 1919 Each stamped “Sterling/Denmark/84” with manufacturer’s cipher Each: 3.5” x .75”

$1,000–1,500


275 GERALD SUMMERS

Occasional table

Makers of Simple Furniture, designed c. 1935 20” x 28.75” diameter

$2,000–3,000

276 ALVAR AALTO

Nesting tables (2) Artek, designed c. 1935 28.5” x 34.5” x 18.75” 24.75” x 27” x 17.75”

$2,000–3,000

277 BRUNO MATHSSON Eva side chair

Dux, designed 1934 Engraved facsimile signature “Bruno Mathsson by DUX” 33” x 28” x 23.5” LIT E RAT URE Sourcebook of Modern Furniture. 3rd ed. J. Habegger. 2005. 399.

$1,000–1,500

181


278 NIELS KOEFOED Dining suite (9)

Koefoeds, Hornslet, designed c. 1964 Model no. 304 (dining table) Six chairs retain manufacturer’s label; each chair etched “Made in Denmark” Comprised of a dining table, two armchairs, and six side chairs Table: 28.75” x 76.5” x 51” Armchairs each: 38” x 21” x 18” Side chairs each: 38” x 19” x 18”

$5,000–7,000


279 ILLUM WIKKELSØ Sofa

Possibly A. Mikael Laursen, designed c. 1960 30” x 103” x 24”

$3,000–5,000

280 ERIK BUCK

Barstools (4) Odense Møbelfabrik, designed c. 1960 Each: 33” x 18” x 16”

$2,000–3,000

183


281 KAREL APPEL

Personnage: Jaune, Vert, Rouge (3) 1975 Color aquatint with carborundum on paper #85 of 99; Jaune: #25 of 99 Each signed and dated in graphite lower right margin of sheet beneath image; edition lower left Images each: 25" x 17.75" Sheets (vis.) each: 28" x 20" Frames each: 43" x 33.5"

$2,500–3,500


282 JAGODA BUIC` Fiesta

1968 Woven tapestry Woven signature lower left; signed, titled, and dated on fabric label verso Tapestry: 88" x 26.5"

$1,000–1,500

185 283 JEAN TINGUELY

Meta-Meta/Roto-Zaza 1967 Offset color lithograph with collage on paper #291 of 999 Signed lower right; edition lower left Image/sheet: 35" x 27" Frame: 38" x 29.75"

$800–1,200


SAM FRANCIS (PICTURED MIDDLE), MARCH 1987

Sam Francis, A Private Collection Among the great postwar American painters, Sam Francis (1923–1994) stands out for his virtuosic use of color. The artist discovered his craft in unusual circumstances, only picking up a brush in 1945, while in recovery from an injury that he sustained during a test flight in 1943. Francis was serving in the U.S. Air Force at the time and this was his first foray into art, having studied medicine, botany, and psychology at the University of California, Berkeley. Of this period, Francis said: “Painting became a way back to life for me. Now it is no longer that but a way of life. But in those four years on my back it was life itself. I painted to stay alive.” Francis was particularly influenced by the Abstract Expressionists Clyfford Still and Mark Rothko, and his own work became associated with the second generation of Color Field artists, like Helen Frankenthaler. However, his formative years were spent in Paris where he studied the work of Matisse and Monet, and came into contact with Art Informel, a European movement similar to action painting. His work from this time was primarily abstract monochrome painting and he began to carefully insert expanses of white amidst the color, which would later become his signature aesthetic. Showing predominantly in Europe throughout the 1950s, he first found fame in 1956, when his work was included in the group exhibition, 12 Americans, at the Museum of Modern Art, New York. He eventually settled in California in 1962. Lots 284–288 were all acquired directly from the artist and reveal the depth and range of Francis’s œuvre. In Untitled (SF62-020), Lot 284, created in 1962, thick daubs of primary-colored paint dominate the upper corner of the work. Explosive drops of red, blue, and yellow striate the picture plane and are offset by a vast expanse of white ground. Francis’s distinctive use of negative space can be traced back to his fascination with the asymmetrical compositions and

spontaneous brushwork of Japanese calligraphic art, which the artist studied during his travels in Europe and Japan. Francis began using acrylic paint more regularly in the 1960s, which he sometimes combined with oil paint, drawing on technical innovations developed during his printmaking and casting aside the formal conventions of painting. The dynamism of Francis’s approach to painting is further apparent in Untitled (SF66-100), Lot 287, in which broad strokes of vibrant red, green, yellow, and blue form a border around a small, blank space. The visible brushstrokes convey the powerful and expressive way in which this work on paper was executed. Highly pigmented drops are splattered confidently across the paper in a manner reminiscent of Jackson Pollock’s drip technique. The work was painted in Paris in 1966 and demonstrates the artist’s considerable skills with brilliant color, something Francis held dear. “It’s the element in painting which I am most fascinated with. It is an element of painting which overcomes me… Color in a way is a receptacle for a feeling and a way for you to hold it until understanding arrives or meaning is extracted.” Francis dedicated himself to achieving the saturated tones of his work, working with rich custom-made tints with a high ratio of solid pigment to liquid from 1970 onward. These hues were often incredibly rare and obscure. Francis continued to experiment into the latter stages of his career, incorporating commercial brands of acrylic emulsion as well as printing inks in his paintings. “Sam Francis.” Artists. Madison Museum of Contemporary Art, n.d. Web. 17 Aug. 2016. “Sam Francis: The Exploration of Color,” Sotheby’s, n.d. Web. 17 Aug. 2016 Zebala, Aneta, Tom Learner and Rachel Rivenc. “Notes on Sam Francis’s Painting Methods and Materials in Two Grid Paintings.” Sam Francis Foundation, n.d. Web. 17 Aug. 2016.


SIGNATURE AND DATE DETAIL

284 SAM FRANCIS

Untitled (SF62-020) 1962 Acrylic on paper Signed and dated in graphite verso Together with copy of exhibition catalogue Sheet: 22" x 30" Frame: 30" x 36.75" This work is identified with the interim identification number of SF62-020 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist) E XHIBIT E D “Sam Francis Works on Paper 1953-198: The Ranchito Collection,” Roy and Frances Brandstater Gallery, Riverside, February 19-March 19, 1987 LIT E RAT URE Sam Francis Works on Paper 1953-1986: The Ranchito Collection. Roy and Frances Brandstater Gallery exh. cat. 1987. #4.

$40,000–60,000

187


285 SAM FRANCIS

Untitled (SF78-957) 1978 Acrylic on paper Bears the inscription in graphite “T” verso Sheet: 19.5" x 14" Frame: 26.75" x 21.75" This work is identified with the interim identification number of SF78-957 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist)

$25,000–35,000


SIGNATURE AND INSCRIPTION DETAIL

286 SAM FRANCIS

Untitled (SF75-119) 1975 Acrylic on paper Signed and inscribed “For Marty/a dancing/door to the/good life/Sam/ Sam Francis” verso Together with copy of exhibition catalogue Sheet: 13.5" x 11.5" Frame: 23.25" x 20.25" This work is identified with the interim identification number of SF75-119 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist) E XHIBIT E D “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Riverside, February 19-March 19, 1987 LIT E RAT URE Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #14.

$15,000–20,000

189


287 SAM FRANCIS

Untitled (SF66-100) 1966 Acrylic on paper Dated in graphite “66 Paris” verso; signed and dated in blue ink and red pencil “Sam Francis/Bern 1968” verso; bears the inscription in graphite “G66-100/15 x 18” verso Together with copy of exhibition catalogue Sheet: 14.875" x 18" Frame: 24.75" x 26.75" This work is identified with the interim identification number of SF66-100 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist) EXHIBITE D “Sam Francis: Gouaches from 1949 to 1975," Los Angeles Valley College, Van Nuys, October 27-November 20, 1975; "Sam Francis: Works on Paper, a Survey 19481979," Institute of Contemporary Art, Boston, September 11-October 28, 1979; "Sam Francis Works on Paper 1953-1986: The Ranchito Collection," The Roy and Frances Brandstater Gallery, Loma Linda University, Riverside, February 19-March 19, 1987 LITERATURE Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #6.

$25,000–35,000


191

288 SAM FRANCIS

Untitled (SFM81-119) 1981 Monotype of dry pigment, inks, and oils on paper Unique Signed lower right sheet Together with copy of exhibition catalogue Sheet: 29" x 25" Frame: 39" x 35" P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist) E XHIBIT E D “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Riverside, February 19-March 19, 1987 ILLUST RAT E D Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #21.

$12,000–18,000


289 SAM FRANCIS

Untitled (Drawing for Sculpture) (SF66-067) 1966 Acrylic on paper Signed, dated, and inscribed in graphite verso “1966/Tokyo/Sam Francis/sculpture/Ed. j” Sheet: 16" x 12" Frame: 20.75" x 17" This work is identified with the interim identification number of SF66-067 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. EXHIBITE D “Sam Francis Exhibition of Drawings and Lithographs,” traveling exhibition, San Franciso Museum of Art, San Francisco; Dickson Art Center, University of California, Los Angeles, August 23-September 24, 1967 LITERATURE Sam Francis Exhibition of Drawings and Lithographs. UCLA exh. cat. #83

$8,000–12,000


290 SAM FRANCIS

Up and Down in Fall 1984 Aquatint on Somerset textured paper #4 of 11 Published and printed by the Litho Shop, Inc., Santa Monica Signed in graphite lower right margin of sheet beneath image; edition lower left Image: 21.5" x 9.875" Sheet (vis.): 23" x 11" Frame: 33.5" x 20.25" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol II. C. Lembark. 1992. #I52.

$2,000–3,000

193

291 SAM FRANCIS Island Plate

1973 Etching and aquatint on Fabriano Rosaspina vellum #10 of 36 Published by 2RC Edizioni d’Arte, Rome; printed by Eleanora Rossi and Giancarlo Iacomucci, Stamperia 2RC, Rome Signed lower right margin beneath image; edition lower left margin beneath image; publisher blind stamp lower left edge of sheet Image: 29.5" x 35.5" Sheet (vis.): 38" x 45.25" Frame: 40" x 47" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. II. C. Lembark. 1992. #I4.

$800–1,200


292 SAM FRANCIS

The Five Continents in Summertime 1984 15-color aquatint on Rives BFK paper #7 of 20 Published and printed by The Litho Shop, Inc., Santa Monica Signed in graphite lower right sheet; blind stamp lower right corner of sheet; edition lower left Image: 23.75" x 48.75" Sheet: 31" x 55.75" Frame: 34.5" x 59" LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. II. C. Lembark. 1992. #I53.

$10,000–15,000


293 SAM FRANCIS

Untitled #3, Variant II (from Pasadena Box) 1963 Color lithograph on Rives BFK paper #85 of 100 Published by the Pasadena Art Museum, Pasadena; printed by Joseph Press, Los Angeles Signed and inscribed “State #II” with edition and publisher blind stamp lower left; printer blind stamp lower right Image/sheet: 15" x 11.25" Frame: 28.375" x 24.5" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol I. C. Lembark. 1992. #L60.

$1,500–2,000

294 SAM FRANCIS

Untitled #5 (from Pasadena Box) 1963 Color lithograph on Rives BFK paper #85 of 100 Published by the Pasadena Art Museum, Pasadena; printed by Joseph Press, Los Angeles Signed with printer blind stamp lower right; edition and publisher blind stamp lower left Image/sheet: 15" x 11.125" Frame: 28.375" x 24.5" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol I. C. Lembark. 1992. #L61.

$1,500–2,000

195


295 FLORENCE KNOLL Sofa

Knoll, designed 1947 Model no. 26 30” x 90” x 30” LITERATURE Knoll Furniture 1938-1960. S. Rouland and L. Rouland. 1999. 69.

$2,000–3,000

296 VINCENT CAFIERO Executive chair

Knoll International, designed c. 1958 Model no. 181 Retains manufacturer’s label 40.25” x 27” x 25” LITERATURE Knoll Furniture Price List. 1983. 44.; Knoll: A Modernist Universe. B. Lutz. 2010. 158.

$1,000–1,500

297 WARREN PLATNER Lounge chair

Knoll International, designed 1966 Model no. 1715L 30” x 35” x 26” LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 166-167.

$1,500–2,000


298 RICHARD SCHULTZ

Convertible sofa bed Knoll Associates, designed 1958 Model no. 704 BC Retains manufacturer’s label 28” x 81” x 32” LIT E RAT URE Knoll Furniture 1938-1960. S. Rouland and L. Rouland. 1999. 145.

$3,000–5,000

299 JENS RISOM

Single pedestal desk Jens Risom Design, Inc., designed c. 1955 Model no. D-140 29” x 44.75” x 29” LIT E RAT URE Contemporary Furniture. Jens Risom Design manufacturer cat. 1955. 82.

$1,500–2,000

197


300 ROSS BELLAH & CARL ANDERSON Lounge chairs (2)

Custom, designed c. 1941 Fabric designed by Antonin Raymond Each: 28.5” x 26.5” x 33”

$1,000–1,500

301 DONALD DESKEY

Andirons and fire tool set (6) Bennett, designed c. 1955 Comprised of a pair of andirons, fire tools, and stand Andirons each: 19.25” x 8.5” x 8” Fire tools (overall): 33.75” x 12.5” x 8.75”

$1,500–2,000


302 EDWARD WORMLEY Sofa

Dunbar, designed c. 1960 28.5” x 91” x 32”

$5,000–7,000

199

303 EDWARD WORMLEY Lamp table

Dunbar, designed 1957 Model no. 5742 Retains gold-colored Dunbar tag and paper label 28” x 30” x 22” LIT E RAT URE Edward Wormley Designs for Dunbar: The Janus Collection. 1957. 89.

$500–700

304 KURT VERSEN Floor lamp

Kurt Versen Co., designed c. 1948 59.5” x 23.5” diameter

$1,500–2,000


305 ROY LICHTENSTEIN

The Sower (from Landscapes Series) 1985 34-color lithograph, woodcut, and screenprint on Arches 88 paper #48 of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right edge of sheet; Gemini G.E.L. blind stamps lower right corner of sheet Gemini G.E.L. #31.86 Image: 38.125" x 52.5" Sheet: 41.125" x 55.5" Frame: 48.75" x 63" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 2nd ed. M. Corlett. 1994. #211.

$30,000–40,000


201

306 ROY LICHTENSTEIN

Two Paintings: Green Lamp (from Paintings Series) 1984 8-color woodcut, lithograph, screenprint, and collage on Arches 88 paper #52 of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right edge of sheet; Gemini G.E.L. blind stamps lower right corner of sheet Gemini G.E.L. #31.76 Image: 35.5" x 49.5" Sheet: 38.75" x 53" Frame: 46" x 60.5" LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 2nd ed. M. Corlett. 1994. #201.

$20,000–30,000


307 ROY LICHTENSTEIN

Portrait (from Brushstroke Figures Series) 1989 Color lithograph, waxtype, woodcut and screenprint on Saunders Waterford paper #15 of 60 Published by Waddington Graphics, London; printed by Graphicstudio, Tampa Signed and dated with edition in graphite lower right margin beneath image; blind stamp lower right edge of sheet Image: 50" x 32" Sheet: 52.5" x 34" Frame: 62" x 43.25" P ROVENA NC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #229.

$15,000–20,000


203

308 ROY LICHTENSTEIN

Mask (from Brushstroke Figures Series) 1989 Color lithograph, waxtype, woodcut, screenprint and encaustic on Saunders Waterford paper #15 of 60 Published by Waddington Graphics, London; printed by Graphicstudio, Tampa Signed and dated with edition in graphite lower right edge of sheet Sheet: 46" x 31.25" Frame: 55" x 40.75" P ROV E NANC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #227.

$15,000–20,000


309 ROY LICHTENSTEIN ...Huh?

1976 4-color screenprint on Arches paper #84 of 100 Co-published by the Jerusalem Museum, Jerusalem, Castelli Graphics, New York, and Multiples Inc., New York; printed by Burston Graphics Centre, Jerusalem Signed and dated in graphite lower right margin of sheet Together with copy of receipt from Gallerie L.A. Image: 39.5" x 28" Sheet: 41.5" x 29.625" Frame: 51.5" x 39.25" P ROVENA NC E Gallerie L.A., Westwood, California; Private Collection, Los Angeles, California (acquired directly from the above, 1984) LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #149.

$10,000–15,000


310 ROY LICHTENSTEIN Plates (8)

1990 Glazed porcelain plate From the edition of 150 Published by Rosenthal, Germany Each with stamped signature, edition, and manufacturer's markings verso Together with original boxes Each: 12.25" diameter

$3,000–4,000

311 ROY LICHTENSTEIN Paper Plates (10)

1969 3-color screenprint on white paper plate Edition size unknown Published by Bert Stern, for On 1st, New York Printed “Roy Lichtenstein © On 1st Inc. 1969” verso Each: 10.25" diameter P ROV E NANC E Private Collection, United States (acquired directly from the artist, c. 1975) LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #III.45.

$3,000–5,000

205


312 ROY LICHTENSTEIN Turkey Shopping Bag

1964 Color screenprint on smooth, white wove paper bag with handles From the edition of approximately 200 Published by Bianchini Gallery, New York; possibly printed by Nu-Art, Brooklyn Signed in graphite lower right below image Image: 7.5" x 8.5" Bag: 19.5" x 17" (23" including handle) Frame: 26" x 20" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 2nd ed. M. Corlett. 1994. App. #4.

$3,000–5,000

313 ROY LICHTENSTEIN Shipboard Girl

1965 Offset 4-color lithograph on white wove paper Edition size unknown Published by Leo Castelli Gallery, New York Image: 26" x 19" Sheet: 27" x 20.25" Frame: 27.325" x 20.5" P ROVENA NC E Private Collection, Pasadena, California (acquired directly from the artist) LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #II.6.

$3,000–5,000


207

314 ROY LICHTENSTEIN Chem IA

1970 2-color screenprint on Special Arjomari paper #59 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #31.30 Image: 24" x 14.325" Sheet: 30.5" x 20.375" P ROV E NANC E Private Collection, United States (acquired directly from the artist, c. 1975) LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #100.

$6,000–9,000


315 ANDY WARHOL

San Francisco Silverspot (from Endangered Species Portfolio) 1983 Color screenprint on Lenox Museum Board #18 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed lower right with edition F/S #II.298 Image/sheet: 38" x 38" Frame: 38.375" x 38.375" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.298.

$35,000–45,000


209

316 ANDY WARHOL

Orangutan (from Endangered Species Portfolio) 1983 Color screenprint on Lenox Museum Board #18 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed lower right with edition F/S #II.299 Image/sheet: 38" x 38" Frame: 38.375" x 38.375" LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.299.

$30,000–40,000


Andy Warhol's Rebel Without A Cause From his humble beginnings as a commercial illustrator in 1950s New York, Andy Warhol (1928–1987) went on to become one of the most celebrated artists of the 20th century. A master of graphic imagery and vivid color, Warhol employed commercial techniques to create unique and striking paintings, prints, and drawings. Throughout his career, Warhol exhibited an obsession with celebrity and his works appropriate familiar imagery from popular culture; from photographs of movie stars and singers to newspaper clippings of political riots. Rebel Without A Cause (James Dean) (from Ads) (1985) is dominated by the iconic figure of actor James Dean. Copied directly from the poster for the classic movie Rebel Without A Cause (1955), Warhol simplifies the figure’s outline to create a stylized mirror image of the original. A faint imprint of the same figure can be seen in the center of the board, creating a ghostly effect. The red background forms a vibrant

317 ANDY WARHOL

Rebel Without A Cause (James Dean) (from Ads) 1985 Color screenprint on Lenox Museum Board #15 of 30 artist’s proofs aside from the edition of 190 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition in graphite lower right sheet; printer and publisher blind stamps lower left sheet F/S #II.355 Image/sheet: 38" x 38" Frame: 44.125" x 44.125" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.355.

$120,000–150,000

contrast and is accompanied by billboard-style Japanese characters on the left, delineated in shades of electric blue. A tragic figure who died prematurely, Dean represents both the promise and disappointment of Hollywood. This screenprint is from Warhol’s Ads portfolio, a series of ten screenprints that draw from advertising imagery and feature celebrities such as Judy Garland and Ronald Reagan. Fascinated by these American icons, Warhol’s careful choice of subject reveals the mythologizing at work in contemporary culture. Warhol’s sardonic depictions of famous people were matched by the artist’s droll wit, captured in numerous interviews. “It’s the movies that have really been running things in America ever since they were invented. They show you what to do, how to do it, when to do it, how to feel about it, and how to look how you feel about it.” Andrews, Robert. The Columbia Dictionary of Quotations. New York: Columbia UP, 1993. Print.


211

318 ANDY WARHOL Sitting Bull

1986 Color screenprint on Lenox Museum Board Printed by Rupert Jasen Smith, New York F/S #IIIA.70 Sheet: 40" x 40" Frame: 49" x 49" P ROV E NANC E Andy Warhol Studio, New York, New York; Rupert Jasen Smith, New York, New York; William Kennedy, New York, New York; Private Collection, Los Angeles, California ILLUST RAT E D Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #IIIA.70.

$40,000–60,000


319 ANDY WARHOL Mao

1972 Color screenprint on Beckett High White paper #140 of 250 Co-published by Castelli Graphics and Multiples, Inc., New York; printed by Styria Studio, Inc., New York Signed in ballpoint pen verso; edition ink stamped verso F/S #II.92 Image/sheet: 36" x 36" Frame: 36.25" x 36.25" P ROVENA NC E Hamilton-Selway Fine Art, West Hollywood, California; Private Collection, Rancho Mirage, California (acquired directly from the above, 2007) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.92.

$35,000–50,000


SIGNATURE AND DATE DETAIL

320 ANDY WARHOL

Campbell’s Soup Can (Tomato) 1964 Screenprint on shopping bag From the edition of approximately 300 Published by Bianchini Gallery, New York Signed and dated in blue ballpoint pen verso F/S #II.4 Published for the “American Supermarket” exhibition at Bianchini Gallery, New York, October 1964 Image: 6" x 3.25" Bag: 19.5" x 17" (23.25" including handle) Frame: 25.75" x 20" LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.4.

$7,000–9,000

321 RICHARD PETTIBONE

Andy Warhol, “Flowers,” 1964 1968 Acrylic and silkscreen on canvas in artist’s frame Signed, titled, and dated in black ink on canvas stretcher verso; inscribed “OK#162” verso Canvas: 6" x 6" Frame: 6.25" x 6.25"

$15,000–20,000

213


PORTFOLIO CASE

322 VARIOUS ARTISTS

Ten From Leo Castelli 1967 Various mediums Each: #117 of 200 Published by Tanglewood Press, Inc., New York Each signed and dated with edition The complete portfolio of 10 works in original portfolio case together with table of contents and letter from Tanglewood Press, Inc. (both with edition inscribed) Comprised of Lee Bontecou Silkscreen (silkscreen on muslin), Jasper Johns The Critic Sees (silkscreened acetate, embossing, and collage on Rives handmade paper), Donald Judd Table Object (stainless steel), Roy Lichtenstein Fish and Sky (silkscreen and photomontage on laminated plastic), Robert Morris Model (vacuum-formed plastic), Larry Poons Untitled (silkscreen on paper), Robert Rauschenberg Passport (silkscreen on three rotating acrylic discs), James Rosenquist Sketch for Forest Ranger (silkscreen on two vinyl sheets) (not illustrated), Frank Stella Fortin de las Flores (silkscreen on graph paper, hand-penciled), and Andy Warhol Portraits of the Artists (silkscreen on 100 styrene boxes) Various dimensions Portfolio box: 25.25" x 21.375" x 8.75"

$15,000–20,000


323 VARIOUS ARTISTS

X + X (Ten Works by Ten Painters Portfolio) 1964 Color screenprints on paper (Lichtenstein on clear Mylar) Each: #380 of 500 Published by the Wadsworth Atheneum, Hartford; printed by Ives-Sillman Inc., New Haven The complete set of ten screenprints together with title page and portfolio case Comprised of Larry Poons Untitled, Robert Motherwell Untitled, George Ortman Untitled, Ad Reinhardt Untitled (Black Square), Roy Lichtenstein Sandwich and Soda, Frank Stella Untitled (Rabat), Ellsworth Kelly Red/Blue, Andy Warhol Birmingham Race Riot, Robert Indiana Eternal Hexagon, Stuart Davis Ivy League Sheets each: 24" x 20" (or alternate orientation) Portfolio box: 25.625" x 21.25" x 1.375" LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 1949-1985. R. Axsom. 1987. #2.; The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #35.; Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.3.

$15,000–20,000

215


324 TOM WESSELMANN

Nude (from 11 Pop Artists, Vol. II) 1965 Color screenprint on wove paper #43 of 200 Published by Original Editions, New York Signed in graphite lower right sheet; edition lower left Image/sheet (vis.): 24" x 29.5" Frame: 24.25" x 30.125"

$5,000–7,000

325 JIM DINE

Two Hearts at Sunset 2005 10-color lithograph on Rives BFK paper #64 of 200 Published and printed by MFA Contemporary, Hawthorne Signed and dated in white pencil lower left sheet; edition lower right sheet Image/sheet: 19.5" x 25.5" Frame: 28.125" x 34.125"

$2,000–3,000


326 VARIOUS ARTISTS

S.M.S. Portfolio: A Collection of Original Multiples (Vol. 1-6) (6) 1968 Various mediums Published by the Letter Edged in Black Press, New York Various dimensions LIT E RAT URE S.M.S.: A Collection of Multiples. Davidson Galleries exh. cat. 2008. N.pag.; S.M.S.: A Collection of Multiples. Reinhold-Brown Gallery exh cat. 1988. N.pag.

$3,000–5,000

327 CLAES OLDENBURG

Sketch for a Sculpture in the Form of a Dress Collar and Tie, with Stud 1994 5-color lithograph on white Somerset Textured paper #120 of 250 Published by Store Days, New York; printed by Derrière l’Étoile Studios, New York Initialed and dated in graphite lower right sheet; edition lower left sheet Image: 9.5" x 6" Sheet: 11.25" x 8.25" Frame: 14" x 11" P ROV E NANC E Michael Ovitz, Los Angeles, California; Private Collection, Los Angeles, California (gifted directly from the above) LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #253.

$1,000–1,500

217


328 ALEX KATZ

Reclining Figure/Indian Blanket 1987 Color aquatint on Somerset Satin paper #8 of 60 Published and printed by Crown Point Press, San Francisco Signed in graphite with edition lower center sheet Image/sheet: 35.325" x 41.625" Frame: 42.5" x 48.625" P ROVENA NC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Beverly Hills, California (acquired directly from the above, 1994) LITERATURE Alex Katz: Prints: Catalogue Raisonné, 1947-2011. K. Schröder, ed. 2011. #215.

$4,000–6,000


329 PHILIP PEARLSTEIN

Figure Lying on Rug (from Six Lithographs Drawn from Life) 1970 Color lithograph on Arches White Cover paper From the edition of 50 Published by Landfall Press, Inc., Chicago; printed by Nova Scotia College of Art and Design, Halifax Signed and dated with edition in graphite upper left sheet Image/sheet (vis.): 29.5" x 21.25" Frame: 30.5" x 22.325" LIT E RAT URE The Lithographs and Etchings of Philip Pearlstein. Springfield Art Museum exh. cat. 1978. #14.

$1,000–1,500

330 PHILIP PEARLSTEIN The Sphinx

1979 Color aquatint on Rives BFK paper #15 of 41 Co-published by the artist and Brooke Alexander Inc., New York Signed, titled, and dated with edition in graphite lower center sheet Image/sheet: 28.5" x 40" Frame: 33.75" x 45.5"

$600–900

219


331 JAMES ROSENQUIST

Shriek (from Secrets in Carnations) 1986 Color monoprint and lithograph on two sheets of Arches paper #10 of 29 Published and printed by Graphicstudio, Tampa Signed and dated with title and edition lower left sheet Image/sheet: 42.25" x 71.5" Frame: 46.75" x 76" LITERATURE Graphicstudio: Contemporary Art from the Collaborative Workshop. R. Lee. 1991. #58.; Time Dust: James Rosenquist Complete Graphics: 1962-1992. C. Glenn. 1993. #205.

$7,000–9,000


332 JAMES ROSENQUIST Rails

1975-1976 5-color lithograph and screenprint on white Arches paper #34 of 40 Published and printed by Graphicstudio, Tampa Signed and dated in graphite lower right sheet; titled with edition lower left sheet Image/sheet (vis.): 34" x 70.5" Frame: 37.75" x 74.25" LIT E RAT URE Graphicstudio: Contemporary Art from the Collaborative Workshop. R. Lee. 1991. #55.; Time Dust: James Rosenquist Complete Graphics: 1962-1992. C. Glenn. 1993. #89.

$2,000–3,000

333 JAMES ROSENQUIST Untitled

1970 Color lithograph on paper Signed and dated lower right in graphite Image: 20.75" x 25.625" Sheet (vis.): 21.75" x 26.625" Frame: 23" x 27.5"

$800–1,200

221


334 CARLO BUGATTI Pedestal

Studio, designed c. 1902 45.625” x 17.25” x 17.75” LITERATURE Carlo Bugatti au Musée D’Orsay. M. Massé. 2001. 99 for similar example.; Bugatti: Carlo, Rembrandt, Ettore, Jean. P. Dejean. 1982. 90 for similar example.

$10,000–15,000

335 ATTRIBUTED TO KARL HAGENAUER Covered box

Possibly Werkstätte Hagenauer Wien, designed c. 1922 2.25” x 4.5” x 3.5”

$1,500–2,000


336 JOSEF HOFFMANN

Fledermaus seating (5) J. & J. Kohn, designed 1905-1906 Model no. 728 Chairs each etched “J & J Kohn”; settee retains remnants of paper manufacturer’s label Comprised of a settee, two chairs, and two stools Settee: 29.25” x 48” x 20.5” Chairs each: 29.25” x 20.75” x 18” Stools each: 18.5” x 14.5” diameter LIT E RAT URE 1000 Chairs. C. Fiell and P. Fiell. 1997. 126.

$5,000–7,000

223

337 JOSEF HOFFMANN Parlor set (3)

Thonet, designed c. 1906 Each etched “Thonet” Comprised of a settee and two chairs Settee: 30.5” x 46” x 22” Chairs each: 29.75” x 22.25” x 21.5”

$3,000–5,000


338 JEAN PASCAUD Cabinet

Studio, designed c. 1938 Etched “Jean Pascaud” with artist’s cipher Medallion designed by Jean de Barre 70.25” x 86.5” x 24”

$15,000–25,000


339 FELIX AGOSTINI

Erato sconces (2) Studio, designed c. 1955 Each: 24” x 20” x 7”

$7,000–10,000

225

340 D.I.M. (DÉCORATION INTÉRIEURE MODERNE) Circular table with shelf

Studio, designed c. 1930 Designed by René Joubert, Georges Mouveau, and Philippe Petit 24” x 35.5” diameter

$3,000–5,000


Jean Royère's Tour Eiffel Chandelier The elegant designs of Jean Royère (1902–1981) bridge the gap between the ornate fin-de-siècle style and the paredback forms of postwar modernism. Working across furniture, lighting, and interior decor, the French designer is known for his pioneering work with organic shapes and rare materials. Royère did his apprenticeship at a furniture workshop at Faubourg Saint-Antoine in Paris, which ultimately led to the exquisite craftsmanship of his designs. He rose to prominence with his sophisticated renovation of the Hotel Carlton’s brasserie on the Champs Élysées in 1933 and worked internationally until his retirement in 1972. Throughout his career, Royère focused primarily on creating unique and limited edition pieces, instead of venturing into the mass production techniques of his modernist peers. Therefore, surviving examples of his work are particularly prized. His Tour Eiffel series encompasses lamps, chairs, standing screens, and tables. Produced in the late 1940s, the collection took inspiration from the iconic Eiffel Tower in Paris, designed by the firm of Gustave Eiffel and completed in 1889. Royère expertly incorporated the structure’s gridded metal form in these chic furnishings, transforming the industrial aesthetic into a style more suited to a domestic setting. Though his work referenced the contemporary fashion for the so-called “machine age,” it never compromised on comfort or functionality. The Tour Eiffel chandelier represents a luxurious interpretation of the tower’s iron lattice pattern, which is rendered in tubular metal to form a circular base. Sinuous arms extend from the base to connect to a rope-like stem and the chandelier’s six lamps perch upon slender rods, capped by simple parchment shades. Russ, Eric. "From Jean Royère to Lucio Fontana." Sotheby's. 07 April 2015. Web. Aug 18, 2016. Wagner, Andrew. "Galerie Patrick Seguin Showcases the Fanciful Designs of Frenchmen Jean Royère." Artsy. 24 Feb 2016. Web. Aug 18, 2016.


227

341 JEAN ROYÈRE

Tour Eiffel chandelier Atelier, designed c. 1947 Together with copy of receipt from 1950 Gallery 64” x 54” diameter P ROV E NANC E 1950 Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, c. 1991) LIT E RAT URE Jean Royère. C. De Beyrie and S. De Beyrie. 2000. 27 for variation.

$50,000–70,000


342 GEORGES JOUVE Sconces (2)

Studio, designed c. 1955 Each: 13.5” x 6.5” x 5.25” (including shades) P ROVENA NC E Galerie Jousse Seguin, Paris, France; Private Collection, Atlanta, Georgia (acquired directly from the above, 1998)

$8,000–12,000


343 GEORGES JOUVE Table lamp

Studio, designed c. 1955 Etched signature and artist’s cipher 17.5” x 8” x 12.75” (including shade) P ROV E NANC E Galerie Jousse Seguin, Paris, France; Private Collection, Atlanta, Georgia (acquired directly from the above, 1998)

$5,000–7,000

229

344 GEORGES JOUVE Table lamp

Studio, designed c. 1955 Etched signature and artist’s cipher 17.5” x 8” x 12.5” (including shade) P ROV E NANC E Galerie Jousse Seguin, Paris, France; Private Collection, Atlanta, Georgia (acquired directly from the above, 1998)

$5,000–7,000


345 AFTER PABLO PICASSO Bathsheba

c. 1960 Color aquatint on Rives BFK paper #246 of 300 Published by Atelier Crommelynck, Paris Signed lower right sheet; edition lower left Sheet (vis.): 12" x 16" Frame: 25" x 29"

$7,000–10,000

346 PABLO PICASSO

Square with Dancers B 1971 Tile of red earthenware clay #102 of 500 Madoura Retains “Madoura/plein/feu” and “Poincon/Original de/picasso” stamps; inscribed “J.159”; edition inscribed verso Ramié #615 5.875" x 5.875" P ROVENA NC E Madoura Pottery Workshop, Vallauris, France; Private Collection, Los Angeles, California (acquired directly from the above, 1981) LITERATURE Pablo Picasso: Catalogue of the Printed Graphic Work 1947-1971. A. Ramié. 1988. #615.

$1,500–2,000


347 PABLO PICASSO Face No. 197

1963 White earthenware clay, engobe and enamel decoration under glaze #411 of 500 Madoura Bears the inscription “No 197/edition Picasso/411/500/Madoura” verso Ramié #494 9.875" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #494.

$7,000–9,000

348 PABLO PICASSO

Célestine, fille, et vieux client (from La Série 347) 1968-1969 Etching and aquatint on Rives paper #34 of 50 Published by Galerie Louise Leiris, Paris; printed by Atelier Crommelynck, Paris Signed in graphite lower right margin of sheet beneath image; edition lower left; retains Leslie Sacks Fine Art Gallery label verso Image: 3.325" x 5" Sheet: 10" x 12.75" Frame: 18.125" x 21" P ROV E NANC E Leslie Sacks Fine Art Gallery, Brentwood, California; Private Collection, Los Angeles, California (acquired directly from the above, 1996) LIT E RAT URE Pablo Picasso: Catalogue of the Printed Graphic Work 1966-1969. Vol. II. G. Bloch, ed. 1971. #1588.; Picasso: Peintre-Graveur. Vol. VI. B. Baer, ed. 1994. #1604.

$3,000–5,000

231


349 GEORGES BRAQUE Oiseaux

1963 Color lithograph on paper #14 of 75 Facsimile of signature lower right in image; edition lower right margin of sheet; signed lower left sheet Image: 12.875" x 16.875" Sheet (vis.): 16.5" x 18.5" Frame: 24" x 25.75" LITERATURE Braque: The Complete Graphics: Catalogue Raisonné. D. Vallier. 1988. #184.

$3,000–5,000

350 FRENCH MODERN

Glazed ceramic birds (2) Studio, designed c. 1950 Each: 11” x 8” x 7.5”

$1,000–1,500


351 JOAN MIRÓ

Oiseau Zéphyr (from Derrière le Miroir) 1960 Color lithograph on Arches paper #20 of 100 Published by Maeght Éditeur, Paris Signed in graphite lower right margin of sheet; edition lower left Image (irreg.): 13.625 x 20.625" Sheet (irreg.): 15.75" x 23.75" Frame: 30.5" x 36.5" LIT E RAT URE Joan Miró, Lithographe. Vol. II. P. Cramer, ed. 1992. #159.

$3,000–5,000

352 FRANÇOISE GILOT

Sur la Pierre Portfolio 1972 Lithographs on Japon nacre paper Lithographs each: #45 of 50 Published by Montcalm Gallery, Michigan; printed by Mourlot, Paris (text printed by Imprimerie Union, Paris) Colophon signed and inscribed “to Judith and Milton Stark” with edition (#45 of 168) in Roman numerals; each lithograph with edition lower left; 11 signed lower right Comprised of 12 lithographs, and a book of illustrated poems (lithographs and book not illustrated) Together with portfolio box Sheets each: 12.75" x 9.75" Portfolio box: 13.75" x 10.5" x 1.5"

$400–600

233


353 MARC CHAGALL The Poetess

1972 Color lithograph on Arches paper #21 of 50 Signed in graphite lower right margin of sheet; edition lower left Together with book The Lithographs of Chagall: Volume IV (1969-1973) Image/sheet (vis.): 23.5" x 19" Frame: 39.5" x 34.5" LITERATURE Marc Chagall: The Lithographs. U. Gauss, ed. 1998. #643.

$5,000–7,000


354 AFTER FERNAND LÉGER

Motifs from the Acrobats series (4) Salins, France, c. 1950

Glazed ceramic plates Three with printed initials lower right; one with printed signature “F. Léger”; three bear the stamp verso “SALINS France” Each: 9.5" diameter

$2,000–3,000

235

355 ANTONI CLAVÉ Roy à la Pipe

1961 Color lithograph on paper Artist’s proof Signed lower right margin beneath image; edition lower left Image (irreg.): 27.625" x 19.75" Sheet: 29.875" x 21.875" Frame: 38" x 29"

$400–600


356 ANTHONY CARO Late Summer

1987 Patinated bronze and pillow Unique Together with original invoice from Carl Schlosberg Fine Arts 18" x 40" x 19" P ROVENA NC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, 1989)

$30,000–50,000


357 FRANCISCO ZÚÑIGA Desnudo Sentado 1962 Patinated bronze #3 of 4 Signed and dated with edition in Roman numerals near base 11.5" x 10" x 8.75" (13" x 10" x 10" including base) P ROV E NANC E Anne and John Summerfield, Los Angeles, California (acquired directly from the artist, c. 1970) LIT E RAT URE Francisco Zúñiga: Catalogo Razonado I Escultura, 1923-1993. F. Zúñiga. 1999. #316.

$12,000–18,000

358 FRANCISCO TOLEDO Untitled

c. 1963 Ink and watercolor on paper Retains Galerie Karl Flinker label verso Composition: 8" x 7.25" Sheet (vis.): 8.25" x 7.5" Frame: 15.75" x 14.5" P ROV E NANC E Galerie Karl Flinker, Paris, France; Private Collection, Los Angeles, California (acquired directly from the above, 1963); Thence by descent

$3,000–5,000

237


359 BERNAR VENET

Two Undetermined Lines 1987 Pastel and collage on paper Titled, signed, and dated lower right Together with documentation sheet from Carl Schlosberg Fine Arts Sheet: 49.25" x 37.25" Frame: 51" x 39" P ROVENA NC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, 1988)

$10,000–15,000


360 PIERRE SOULAGES Sérigraphie No. 15

1981 Color screenprint on paper #28 of 250 Published by Circle Fine Art, Chicago; printed by Michael Caza, Cergy Signed with edition lower left sheet Image/sheet (vis.): 40.75" x 28" Frame: 50" x 37.25" LIT E RAT URE Soulages, L’œuvre Complet: Peintures. Vol. III. P. Encreve. 1998. #107.

$2,000–3,000

361 VICTOR VASARELY Untitled

1978 Color silkscreen on paper #23 of 90 Signed in graphite lower right margin of sheet; edition lower left margin Image: 23.5" x 23.375" Sheet (vis.): 26.5" x 26.5" Frame: 27" x 27"

$800–1,200

362 VICTOR VASARELY Pok-Italie 2

1978 Color silkscreen on paper Artist’s proof Signed lower right margin beneath image; edition lower left with blind stamp Image: 23.375" x 23.5" Sheet: 26.375" x 26.375" Frame: 27" x 27"

$800–1,200

239


363 JEROME KIRK

Untitled (kinetic sculpture) 1970 Steel base and strut, wire, and aluminum kinetic shapes Incised date and signature near base 44" x 28.5" x 7.25"

$2,500–3,500


364 RAYMOND LOEWY Cabinet

DF 2000, designed c. 1969 35.75” x 78.75” x 21.5”

$2,500–3,500

365 SWISS MODERN Floor lamps (4)

Manufacturer unknown, designed c. 1965 Each retains label “Made in Switzerland” Each: 64.75” x 11.25” diameter

$1,500–2,000

366 REGGIANI Floor lamp

Reggiani, designed c. 1965 72.25” x 12” diameter

$1,000–1,500

241


367 VICTOR PASMORE Abstract

1972 Aquatint and etching on paper #7 of 25 Published and printed by Duerreci Edizioni Grafiche, Rome Signed and dated lower right margin of sheet; edition lower left Image: 77.75" x 36.25" Sheet: 89.5" x 38.5" Frame: 93" x 41.5"

$1,000–1,500

368 VICTOR PASMORE Two Images

1975 Lithograph on paper #10 of 90 Initialed and dated lower right margin beneath image; edition lower left Image (irreg.): 21.625" x 16.5" Sheet: 23.375" x 25.5" Frame: 32.75" x 26"

$800–1,200


243

369 BRUNO ROMEDA Cercle

c. 2009 Patinated bronze 27" x 21.75" x 7"

$8,000–12,000


370 JENNIFER BARTLETT At Sands Point #13 1985-1986 Oil on canvas Retains Paula Cooper Gallery label verso Canvas: 24" x 72" Frame: 26.5" x 74.5"

$18,000–25,000


371 FRANCESCA DIMATTIO Untitled

2007 Mixed-media on paper Signed and dated verso Sheet: 12" x 9" Frame: 16.75" x 13.75"

$2,000–3,000

372 ROMARE BEARDEN

The Fall of Troy (from the Odysseus Series) 1979 Color silkscreen on paper #16 of 125 Signed in graphite lower right; edition lower left Image: 18" x 24" Sheet (vis.): 19.5" x 25.25" Frame: 31.75" x 37.5" LIT E RAT URE From Process to Print: Graphic Works by Romare Bearden. M. Corlett. 2009. #72.

$1,500–2,000

373 CHARLES GARABEDIAN Study Anarchy

1989 Watercolor on paper Retains L.A. Louver Gallery label and Sotheby’s Beverly Hills inventory label verso Sheet: 9.125" x 39" Frame: 11" x 41"

$2,000–3,000

245


LABEL DETAIL

374 DIANE ARBUS

Wax Museum Strangler, Coney Island, N.Y. 1960; this example printed later by Neil Selkirk Gelatin silver print Retains San Francisco Museum of Modern Art exhibition loan label verso Image: 8" x 5.25" Sheet (vis.): 8.25" x 5.5" Frame: 16" x 12.75" EXHIBITE D “Diane Arbus: Revelations,” traveling exhibition, LACMA, Los Angeles, February 29-May 30, 2004; the Museum of Fine Arts, Houston, June 27–August 29, 2004; the Metropolitan Museum of Art, New York, March 8–May 30, 2005; Museum Folkwang, Essen, June 17–September 18, 2005; the V&A Museum, London, October 13, 2005–January 15, 2006; the Walker Art Center, Minneapolis, June 17–September 10, 2006 (not shown at SFMOMA) LITERATURE Diane Arbus: Revelations. SFMOMA exh. cat. 2003. 28.

$8,000–12,000


247

375 DIANE ARBUS

Mexican Dwarf in his Hotel Room, N.Y.C. 1970; this example printed later by Neil Selkirk Gelatin silver print Image: 10" x 9.75" Sheet: 14" x 11" Frame: 16.5" x 16.125" P ROV E NANC E Private Collection, New York (acquired directly from Neil Selkirk) LIT E RAT URE Diane Arbus: Revelations. SFMOMA exh. cat. 2003. 66.

$25,000–35,000


376 DIANE ARBUS Untitled No. 4

1970-1971; this example printed later by Neil Selkirk Gelatin silver print Image: 13" x 13" Sheet: 20" x 16" Frame: 25.5" x 25.5" P ROVENA NC E Private Collection, New York (acquired directly from Neil Selkirk) LITERATURE Diane Arbus: Revelations. SFMOMA exh. cat. 2003. 277.

$7,000–10,000


377 DIANE ARBUS

Albino Sword Swallower at a Carnival, Md. 1970; this example printed August 1972 by Neil Selkirk Gelatin silver print on Agfa paper Bears the inscription in black ink verso “Diane Arbus Photograph/ Printed by Neil Selkirk 8/72/Not to be reproduced without/Permission”; inscribed in graphite “7” verso Image: 10" x 10" Sheet: 14" x 11" P ROV E NANC E Private Collection, New York (acquired directly from Neil Selkirk) LIT E RAT URE Diane Arbus: Revelations. SFMOMA exh. cat. 2003. 305.

$10,000–15,000

378 WEEGEE (ARTHUR FELLIG) Some Prefer the Beat of the Tom-Tom c. 1940 Gelatin silver print Retains ink stamps “Please credit/ Weegee/From/Photo-Representatives” and “Credit Photo By/ Weegee/The Famous” verso; bears the inscription in graphite “MOMA” verso; bears the inscription “Audience Reaction/62.4” and “0262 V” verso Image: 13.375" x 10.75" Sheet: 14" x 11.25" Mat: 20" x 16" The J. Paul Getty Museum has a copy of this print in their permanent collection. LIT E RAT URE Weegee: Wegee’s People. A. Fellig. 1946. N.pag.

$3,000–5,000

249


379 EDWARD WESTON

Juniper, Lake Tenaya 1937; this example printed later by Cole Weston Gelatin silver print Signed in graphite by Cole Weston mount verso; mount bears the inscription “Juniper at Lake Tenaya, 1937” and “31-C-26” verso Image/sheet: 9.5" x 7.5" Mount: 15" x 13.25" Frame: 16" x 13.25" P ROVENA NC E The Estate of Robert Anthoine LITERATURE Edward Weston: Photographs from the Collection of the Center for Creative Photography. A. Conger. 1992. #1008.

$3,000–5,000


380 BRETT WESTON

White Sands, New Mexico, 1946 1946; this example printed later Gelatin silver print Signed in graphite lower right mount Image/sheet: 7.5" x 9.5" Mount: 13.25" x 15" Frame: 18" x 18.75" P ROV E NANC E The Estate of Robert Anthoine LIT E RAT URE White Sands: Brett Weston. B. Weston. 2005.

$2,000–3,000

381 BRETT WESTON Alaska

1973 Gelatin silver print mounted to cardstock Signed and dated in graphite on cardstock at lower right Image/sheet: 10.5" x 12.325" Cardstock: 14.75" x 18" Frame: 17.125" x 20.125"

$800–1,200

251


382 ARTHUR SIEGEL

Right of Assembly, Cadillac Square, Detroit, Michigan, 1939 1939; this example printed 1977 Gelatin silver print Image/sheet (vis.): 16.5" x 13.5" Frame: 26.5" x 22.25" The Metropolitan Museum of Art and the de Young both have copies of this photograph in their permanent collections. P ROVENA NC E Simon Lowinsky, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Arthur Siegel Retrospective. Edwynn Houk Gallery exh. cat. 1982. #6.

$10,000–15,000


383 ARTHUR SIEGEL Untitled

1951 Dye transfer print #1 of 7 Retains artist’s credit ink stamp verso; bears the inscription in graphite “AS...172” and bears the inscription “10467/Arthur Siegel/A.S./1951/1 of 7” verso Image: 10.375" x 8.5" Sheet: 12" x 10" Mat: 20" x 16" P ROV E NANC E Simon Lowinsky, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above)

$4,000–6,000

384 PAUL STRAND

Landscape Near Sea in Montélimar c. 1950 Gelatin silver print Inscribed in graphite “Landscape near sea in Montélimar” verso; bears the inscription “MEH 128” and “PF112041” verso Image/sheet: 4.5" x 5.75" Mount: 14.75" x 12.25" P ROV E NANC E The Estate of Robert Anthoine

$6,000–9,000

253


385 ROBERT LONGO

Untitled (pl. 15 from Men in the Cities) 2005 Digital pigment print on Crane portfolio rag paper #4 of 15 Published by Adamson Editions, New York Signed and dated lower right image; edition lower left Image: 40" x 26" Sheet: 43" x 30" Frame: 47.5" x 34"

$5,000–7,000

386 ROBERT LONGO

Untitled (pl. 19 from Men in the Cities) 2005 Digital pigment print on Crane portfolio rag paper #4 of 15 Published by Adamson Editions, New York Signed and dated lower right image; edition lower left Image: 40" x 26" Sheet: 43" x 30" Frame: 47.5" x 34"

$5,000–7,000


255

387 HERB RITTS

Male Nude with Bubble 1987 Gelatin silver print on Agfa paper Artist’s proofs aside from the edition of 7 Embossed signature “© HERB RITTS” lower right margin of sheet beneath image; inscribed in graphite verso “’Male Nude With Bubble’ Los Angeles 1987 Herb Ritts A/P 1” Image: 18" x 15.25" Sheet: 20" x 16" LIT E RAT URE Herb Ritts: Work. T. Fairbrother. 1996. N.pag.

$6,000–9,000


388 JOHN DIVOLA

Five Prints Portfolio (5) 1987 Five dye transfer photographs Each #3 of 20 Published by Frog Prince & Co., San Francisco Each signed and dated verso in graphite with edition number Comprised of Cyclone, House, Wolf, Flying, and Desire Together with original portfolio case and title page Images each: 19" x 18.5" Sheets each: 23.75" x 20" Portfolio box: 24.75" x 20.75" x 1.75" P ROVENA NC E Stephen Daiter Gallery, Chicago, Illinois; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE John Divola. Gallery Min exh. cat. 1987. N.pag.

$10,000–15,000


389 MONA KUHN Bather

2005 Chromogenic print #1 of 3 Signed and dated with edition verso; retains M+B Gallery label verso Image/sheet: 50" x 50" Frame: 51" x 51"

$6,000–9,000

257

390 PIETER HUGO

Tem Vleksi, Cape Town 2003 Archival pigment print From the edition of 8 Image/sheet (vis.): 18.75" x 18.75" Frame: 26" x 26" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$5,000–7,000


391 ELIOT PORTER

Untitled (from Intimate Landscapes Portfolio) (9) 1979 Dye transfer photograph mounted to paper Each signed in graphite lower right mount Images/sheets each: 13.5" x 10.75" Mounts (vis.) each: 14.5" x 11.75" Frames each: 24.5" x 21" LITERATURE Intimate Landscapes: Photographs by Eliot Porter. E. Porter. 1979. N.pag.

$6,000–9,000


392 DAVID KESSLER

Painted Magnifier (from Staged Landscape Watercolor Series) 1985 Color lithograph on paper Dated and inscribed “Staged Landscape Watercolor Series” lower left margin beneath image; titled lower center; signed lower right Image: 34.75" x 51.75" Sheet (vis.): 35.25" x 52.5" Frame: 45" x 61.625"

$1,000–1,500

393 DAVID KESSLER

Creekside Turbulence through Painted Glass (from Staged Landscape Watercolor Series) 1985 Color lithograph on paper Dated and inscribed “Staged Landscape Watercolor Series” lower left margin beneath image; titled lower center; signed lower right Image: 34.5" x 51.75" Sheet (vis.): 35.25" x 52.5" Frame: 45" x 61.625"

$1,000–1,500

259


394 RICHARD MISRACH Group (7)

1978-1979 Ektacolor photograph Comprised of A: Sounion (Island), B: Athena Nike, C: Roman Forum, D: Lindos with Column, E: Parthenon, Interior Moon, F: Parthenon, and G: Athena Nike Column A and B: Sheets (vis.) each: 27.25" x 31.125" Frames each: 40.5" x 43" C and F: Sheets (vis.) each: 27.25" x 31.125" Frames each: 38" x 40.5" D, E, and G: Sheets (vis.) each: 27.25" x 29.25" Frames each: 38.5" x 40.25"

$6,000–9,000


395 CHRISTOPHER BROWN The Casting Pool

1982 Oil on canvas diptych Signed and dated canvas verso Canvas (overall): 80" x 140.75" Frame: 81" x 142"

$10,000–15,000

396 CHRISTOPHER GERLACH

View from the Schoolhouse 1984 Oil on canvas Signed lower left Canvas: 48.25" x 72" Frame: 49.75" x 73.5"

$2,000–3,000

397 RICHARD ROSS

Ivy Benches, Las Tejas, Santa Barbara, CA; Bacon Estate, Montecito, CA (2) 1985; 1984 Ektacolor plus color coupler photograph Images/sheets (vis.) each: 30" x 29.5" Frames each: 39" x 38.5"

$400–600

261


398 KURT VERSEN Wall lamps (2)

Kurt Versen Co., designed c. 1948 Each retains manufacturer’s label Each: 5.5” x 14” x 28”

$1,000–1,500

399 KARL SPRINGER Mounted table

Karl Springer Ltd., designed c. 1975 LAMA would like to thank Tom Langevin, former Director of Karl Springer Ltd., New York, for confirming the authenticity of this work 6” x 54.5” x 17.5”

$1,000–1,500


400 KARL SPRINGER Coffee table

Karl Springer Ltd., designed c. 1975 LAMA would like to thank Tom Langevin, former Director of Karl Springer Ltd., New York, for confirming the authenticity of this work 18.25” x 50.75” x 36”

$2,000–3,000

263


401 PAUL MCCOBB Coffee table

Calvin, designed c. 1952 Retains manufacturer’s label 16” x 66” x 32”

$1,000–1,500

402 PAUL MCCOBB

Nightstands (2) Calvin, designed c. 1952 Each retains manufacturer’s label Each: 24.25” x 20” x 20”

$1,500–2,000

403 PAUL MCCOBB Cigarette table

Directional, designed c. 1956 Model no. 1094 22.5” x 20” diameter LITERATURE Directional Designs/Paul McCobb. Manufacturer cat. 1956. 56.

$800–1,200


265

404 AMERICAN MODERN Hanging lamps (4)

Lightolier, designed c. 1955 Each retains Lightolier label Each: 16” x 21.5” diameter

$2,000–3,000


405 CRASH (JOHN MATOS) Untitled (3)

1990; 1989 Gouache, crayon, and black ink on collage laid down to paper board; Watercolor and gouache on paper Each signed and dated Sheets each: 30" x 22" Frames each: 33.25" x 25.5"

$2,000–3,000


406 CRASH (JOHN MATOS) Untitled (2)

1990; 1996 Watercolor, gouache, puffy paint, and black ink on paper; Gouache and watercolor on paper Each signed and dated Sheets each: 41" x 30" Frames each: 48.75" x 36.75"

$1,500–2,000

267

407 CRASH (JOHN MATOS) Untitled (3)

1996 Color screenprint on metal Each from the edition of 5 Each signed and dated in black felttip marker; each with edition verso Smallest: 20" x 16.625" x 2" Largest: 40" x 40" x 2"

$1,500–2,000


408 GUS HEINZE

November (1953 Cadillac) 1985 Acrylic on gesso panel Bears the inscription in ink verso “Painting by/Gus Heinze/Mill Valley, California/Acrylic on gesso panel” Panel: 48" x 72" Frame: 48.75" x 72.75"

$6,000–9,000

409 GUS HEINZE

Late Afternoon (1956 Cadillac) 1985 Acrylic on gesso panel Signed lower right Panel: 48" x 72" Frame: 48.625" x 72.75"

$6,000–9,000


410 DON WILLIAMS Moonlit Night

1985 Pastel on paper Signed and dated lower right Sheet (vis.): 29.5" x 48.25" Frame: 38" x 56.625"

$1,000–1,500

411 DON WILLIAMS Warehouse Gate 1987 Pastel on paper Signed and dated lower left Sheet (vis.): 30" x 49.25" Frame: 37.75" x 56.875"

$1,000–1,500

269


412 TOM HOLLAND Manca

1984 Color soft ground etching with spit bite and sugar lift aquatints and drypoint on paper Unnumbered trial proof aside from the edition of 35 Published and printed by Crown Point Press, San Francisco Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; title inscribed lower center; Crown Point Press blind stamp lower right corner of sheet Image: 10" x 36" Sheet: 22" x 46" Frame: 23.75" x 47.875"

$800–1,200

413 BILLY AL BENGSTON Punk Indio

1982 6-color lithograph on paper with cut-out relief #23 of 23 Printed by Lynne Allen, Tamarind Institute, Albuquerque Initialed, dated, and with edition in graphite lower center margin of sheet; publisher and printer blind stamps at lower left and lower right margins of sheet Image: 15.75" x 12" Sheet: 24" x 20" Frame: 27.25" x 23.325"

$1,500–2,000


414 ALINE FELDMAN

American Countryside, Quartet #1-4 (4) 1985 Color woodcut on paper Each from the edition of 25 Each signed and dated in graphite lower right sheet; edition lower center; title inscribed lower left Images/sheets each: 48" x 31.75" Frames each: 52" x 36"

$1,000–1,500

271


415 SEIJI KUNISHIMA Untitled 86-12

1986 Black granite and river rock Together with copy of invoice from Space Gallery 15.75" x 16.125" x 16.5" P ROVENA NC E Space Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1987)

$2,500–3,500


416 SEIJI KUNISHIMA

Suspended Pool 85-15 1985 Black granite and river rock Together with copy of invoice from Space Gallery and signed exhibition catalogue 5.875" x 15" x 11.75" P ROV E NANC E Space Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1985) E XHIBIT E D Space Gallery, Los Angeles, September 7-October 12, 1985

$2,500–3,500

417 MASAMI TERAOKA

Yaenohu (Hawaii Snorkel Series) 1990 Pen and ink on paper Signed in Japanese center right; retains Pamela Auchincloss Gallery label verso Sheet (vis.): 21.5" x 29.25" Frame: 32.25" x 39.125"

$4,000–6,000

418 NOBUYOSHI ARAKI

Untitled (from Skyscape Series) (2) c. 2000 Gelatin silver print with hand coloring Each signed in black felt-tip marker verso Images/sheets each: 11.75" x 17.75" P ROV E NANC E Private Collection, Switzerland (acquired directly from the artist); Private Collection, Germany (acquired directly from the above)

$3,000–5,000

273


419 HAROLD FRANK Untitled

1960 Mixed-media on paper Signed and dated in graphite lower right Sheet (vis.): 11" x 16.25" Frame: 16.875" x 21.875"

$800–1,200

420 HAROLD FRANK

Untitled (Flowers) c. 1965 Mixed-media on paper Sheet (vis.): 18" x 14" Frame: 24.625" x 20.625"

$1,000–1,500


421 HAROLD FRANK

The Poet Sandburg 1967 Black and white print on paper Signed, titled, and dated in graphite lower right margin of sheet Image: 16.25" x 12.25" Sheet (vis.): 17.5" x 13.5" Frame: 21" x 16.875"

$1,000–1,500

422 RICO LEBRUN

Carpenter of the Cross 1950 Ink wash on paper Signed and dated lower center Sheet (vis.): 22.5" x 28.5" Frame: 30.625" x 35.5"

$1,500–2,000

423 MAX FINKELSTEIN Untitled

c. 1955 Welded steel and brass Signed in red paint to underside 31" x 5.25" x 4.25"

$2,000–3,000

275


424 STEPHEN LORBER Sardinian Basket 1978 Oil on canvas Signed and dated lower left; retains Alexander F. Milliken Inc. Gallery label verso Canvas: 54.325" x 60.25" Frame: 55.75" x 61.75"

$3,000–5,000


425 JOHN BUCK

Two Man Mask 1994 Carved wood Signed, titled, dated, and inscribed in graphite to underside of base “Newport Harbor/Art Museum/Two Man Mask/John E. Buck/1994” Overall (including base): 16.5" x 5.625" x 6.125"

$1,500–2,000

426 FRITZ SCHOLDER Untitled c. 1990 Lithograph on paper #89 of 100 Signed lower left edge of sheet; edition lower center Together with book Fritz Scholder Image/sheet: 29.75" x 22.25" Frame: 37.5" x 30.125"

$600–900

427 FRITZ SCHOLDER Untitled c. 1990 Color lithograph on paper #40 of 50 Signed lower right edge of sheet; edition lower left Image: 9.625" x 9.625" Sheet: 29.5" x 21.875" Frame: 31.5" x 23.75"

$600–900

277


428 PETER LOFTUS

Eucalyptus Groves 1984 Oil on canvas Signed and dated lower right; signed, titled, and dated canvas verso Canvas: 48" x 71.875" Frame: 49.25" x 73.5"

$2,000–3,000

429 PETER LOFTUS Incoming Fog 1983 Oil on canvas Signed and dated lower right; signed, titled, and dated verso Canvas: 47.5" x 72" Frame: 49" x 73.25"

$2,000–3,000


430 DENNIS LEON

Underlay #1, #5, and #7 (3) 1982-1983 Pastel on paper Sheets (vis.) each: 29.25" x 43.5" Frames each: 36" x 50.25"

$2,000–3,000

279

431 FORREST MOSES Untitled

1985 Monotype on paper Signed lower right Sheet (vis.): 23" x 46.25" Frame: 30.875" x 53.375"

$800–1,200


432 FERRUCCIO POLACCO Saltimbanquis

1958 Patinated bronze Signed and dated Together with marble base (sculpture presently not mounted to base) 49.5" x 33" x 11" (not including marble base)

$3,000–5,000


433 DIMITRY GERRMAN Circle of Time

1999 Patinated bronze Together with book Dimitry Gerrman: Poetry of Form Overall: 70" x 42" x 10" (including base) ILLUST RAT E D Dimitry Gerrman: Poetry of Form. N. Kolodzei, et al. 2009. #36.

$8,000–12,000

434 DIMITRY GERRMAN Dance with Shadow

1999 Patinated bronze on marble base Incised signature and date near base Overall (including marble base): 26.5" x 27" x 6.125" LIT E RAT URE Dimitry Gerrman: Poetry of Form. N. Kolodzei, et al. 2009. #32 for another example illustrated.

$7,000–10,000

281


Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed in this catalogue to be sold by Modern Auctions, Inc. (“MAI,” “L.A. Modern Auctions,” or “LAMA”) on October 9, 2016. We are acting as an agent on behalf of our consignors. PAY M E N T All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (Please note: Credit Card payments carry a 3% processing fee on the total invoice amount). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request. If payment is not received in full by October 19, 2016, collection and storage fees will begin occurring immediately. All lots are subject to a Buyer's Premium, this amount is added to the hammer price and is calcuated upon when payment is received by MAI. Please see schedule below: BUYER’S PREMIUM**: PAYMENT RECEIVED BY OCTOBER 19, 2016 ■

22.5% on the hammer price up to and including $500,000 if bids are placed directly with LAMA; 17.5% on the portion of the hammer price in excess of $500,000 up to $2,000,000 if bids are placed directly with LAMA; 12.5% on the portion of the hammer price in excess of $2,000,000 if bids are placed directly with LAMA.

BUYER’S PREMIUM**: PAYMENT RECEIVED AFTER OCTOBER 19, 2016 ■

25% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc.; 20% on the portion of the hammer price in excess of $500,000 up to $2,000,000 if bids are placed directly with Modern Auctions, Inc.; 15% on the portion of the hammer price in excess of $2,000,000 if bids are placed directly with Modern Auctions, Inc.

BUYER’S PREMIUM**: ONLINE BIDDERS ■

The buyer's premium for online bidding is 28% on the hammer price.

**Payment by Credit Card carries a 3% processing fee on the total invoice amount and requires a completion of LAMA's “Credit Card Authorization” form. CA LIFO R NIA SALES TAX Sales tax of 9% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied. EST IMATES & R ES E RVES The estimates printed after each lot should be used as a guide only and should not be relied upon as a prediction of final selling prices. Many of the lots offered for sale carry a reserve and are confidential. The reserve is a minimum price at which the seller has agreed to let the auctioneer sell the property. CO NDITIO N Everything is sold in “As-Is” Condition. No statement regarding condition of any item, whether it is made orally at the auction, or in writing, or printed in this catalogue, or at any other time shall be deemed to be a warranty, representation, or assumption

of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate. Photographs of any lots not illustrated can be found on our website, lamodern.com. COL L ECT I ON & STO RAGE All lots must be removed from the auction showroom by 12:00pm (PT) on November 8, 2016. Purchases not removed by November 8, 2016 will be assessed daily storage fees of $15 per day per lot. Items in storage are not insured by MAI. Unless other arrangements are made and confirmed in writing, the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request. If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes MAI, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at MAI's reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to MAI and the remainder will be forfeited unless collected by the buyer within two years of the original auction. BI DDI N G We encourage you to attend the sale in person. However, if you are unable to attend in person we offer an Absentee or Phone Bidding service. For this service fill out and submit a Bid Form. To obtain this form please call 323.904.1950 or go to our website. We will not execute Absentee or Phone bid orders unless a signed and completed bid form has been received. All Bid Forms must be received by Saturday, October 8, 2016 by 5:00pm (PT) via fax to 323.904.1954 or scanned and sent via email to shannon@lamodern.com. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful. All successful Absentee and Phone bidders will be notified by phone or email by October 11, 2016. In addition, the auction Prices Realized will be posted the day after the sale on our website. Do not rely on any auction results (Prices Realized) unless published on www.lamodern.com or as provided directly by MAI. Absentee or Phone Bidding service is on a first-come, first-served basis; thus, we encourage you to submit your Bid Form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. By registering for the Phone Bidding service you acknowledge and consent to allow MAI to record telephone conversations. On all Bid Forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. The party responsible for submitting the Bid Form is solely responsible for the payment in full of the total invoice, we will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the Notices to Buyers, MAI reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and Buyer’s Premium, retain or process any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such

as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these Conditions of Sale. LEGA L F EES & V EN UE If a suit, action, arbritration or other proceeding of any nature whatsoever is instituted in connection with any controversy arising out of these Conditions of Sale, the sale of items, the auction or any breach thereof between the bidder or buyer and Modern Auctions, Inc., the prevailing party shall be entitled to recover its attorney's fees and costs incurred in connection with such proceeding. This Agreement shall be governed by and construed in accordance with California law, without reference to the conflicts of law rules and principles of such State. The parties agree that all actions or proceedings arising in connection with this Agreement shall be litigated exclusively in the Los Angeles Superior Court. This choice of venue is intended by the parties to be mandatory, thereby precluding the possibility of litigation bewteen the parties with respect to or arising out of this Agreement in any other jurisdiction. GUA RA N TEE The authenticity of every item offered for sale is guaranteed. MAI warrants only the authorship of an item (as printed in the line directly below the lot number, may be blue, pink, or white type) and does not guarantee the condition, age, or any identifying characteristic used by MAI in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed,” “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility for reading all addendums and posted corrections to the catalogue prior to bidding. RESCI SSI O N Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyer’s sole expense, that the item in question is not as stated in the catalogue. In the event of an error, MAI will rescind the purchase contract. MAI will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping, and storage costs will not be reimbursed. MAI is not liable for any costs, such as expert’s and attorney’s fees. If the item is authentic, as stated in the auction catalogue or lamodern.com, then the purchaser shall bear MAI’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from MAI. Once the item is resold, then all rights and liabilities of MAI regarding authenticity end. The Purchaser’s sole and exclusive remedy against MAI for any reason is the limited right of rescission described in this section. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert’s fees, attorney’s fees, and other costs. RI GH TS TO PH OTO GRA PH S All images and text contained in this catalogue are the sole property of MAI, and may not be used or reproduced in any medium without the expressed written permission of MAI. Modern Auctions, Inc.  |  Bond # 7900405194 Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406


Pablo Picasso (Spanish, 1881–1973), Long-Haired Young Girl, Nov 6–24, 1945, Lithographs, 1st, 3rd, 4th, and 6th and final states, Norton Simon Art Foundation, Gift of Jennifer Jones Simon © 2016 Estate of Pablo Picasso/Artists Rights Society (ARS), New York

STATES MIND of

picasso lithographs 1945–1960

October 14, 2016–February 13, 2017

Norton Simon Museum

www.nortonsimon.org


John McLaughlin paintings: Total Abstraction November 13, 2016–April 16, 2017 Los Angeles County Museum of Art 5905 Wilshire Boulevard | lacma.org | 323 857–6010

Always free for members and children 17 and under This exhibition was organized by the Los Angeles County Museum of Art and made possible by the May and Samuel Rudin Family Foundation, Inc., Mim Spertus and Ed Victor, and Van Doren Waxter. John McLaughlin with #21-1958 (1958) on the San Clemente Men’s Golf Club, California, 1962, photograph by Fred Lyon


Index A Aalto, Alvar. . . . . . . . . . . . . . . . . . . . . . . . 276 Agostini, Felix. . . . . . . . . . . . . . . . . . . . . . 339 Albers, Josef. . . . . . . . . . . . . . . . . . . . . . . . 241 Almaraz, Carlos. . . . . . . . . . . . . . . . . . . . . . 87 Altoon, John . . . . . . . . . . . . . . . . . . . . . 43-44 Anderson, Carl . . . . . . . . . . . . . . . . . . . . . 300 Ames, Arthur. . . . . . . . . . . . . . . . . . . . . . . . 171 Appel, Karel. . . . . . . . . . . . . . . . . . . . . . . . . 281 Araki, Nobuyoshi. . . . . . . . . . . . . . . . . . . . . 418 Arbus, Diane . . . . . . . . . . . . . . . . . . . . 374-377 Arnoldi, Charles . . . . . . . . . . . . . . . . . 101-105 Avery, Milton. . . . . . . . . . . . . . . . . . . . . . . . 114

B Baldessari, John. . . . . . . . . . . . . . . . . 132-133 Barnabé (Dubé), Duilio. . . . . . . . . . . . . . . . 72 Barth, Uta . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Bartlett, Jennifer. . . . . . . . . . . . . . . . . . . 370 Baughman, Milo. . . . . . . . . . . . . . . . . 185-189 Bayer, Herbert. . . . . . . . . . . . . . . . . . . . . . 243 Bearden, Romare . . . . . . . . . . . . . . . . . . . 372 Bell, Larry . . . . . . . . . . . . . . . . . . . . . . . 83-85 Bellah, Ross . . . . . . . . . . . . . . . . . . . . . . . 300 Bengston, Billy Al. . . . . . . . . . . . . . . . . . . . 413 Benjamin, Karl. . . . . . . . . . . . . . . . . . . . . . . 60 Berger, Ueli . . . . . . . . . . . . . . . . . . . . . . . . . 69 Berlant, Tony. . . . . . . . . . . . . . . . . . . . . . 89-91 Berman, Wallace. . . . . . . . . . . . . . . . . . . . . 154 Bill, Max. . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Bisttram, Emil. . . . . . . . . . . . . . . . . . . . . . . 115 Bitters, Stan . . . . . . . . . . . . . . . . . . . 198-200 Blunk, J.B.. . . . . . . . . . . . . . . . . . . . . . 168-169 Bojesen, Kay. . . . . . . . . . . . . . . . . . . . . . . 272 Bradford, Mark . . . . . . . . . . . . . . . . . . . . . . . 14 Braque, Georges. . . . . . . . . . . . . . . . . . . . 349 Breuer, Marcel. . . . . . . . . . . . . . . . . . . . . . 244 Brown, Christopher. . . . . . . . . . . . . . . . . .395 Buck, Erik. . . . . . . . . . . . . . . . . . . . . . . . . . 280 Buck, John. . . . . . . . . . . . . . . . . . . . . . . . . 425 Bugatti, Carlo . . . . . . . . . . . . . . . . . . . . . . 334 Bukowski, Charles. . . . . . . . . . . . . . . . . . . 236 Buic, Jagoda. . . . . . . . . . . . . . . . . . . . . . . 282 Burkhardt, Hans. . . . . . . . . . . . . . . . . . 45-46 Burri, Alberto . . . . . . . . . . . . . . . . . . . . . . . 80

C Cafiero, Vincent . . . . . . . . . . . . . . . . . . . . 296 Calder, Alexander. . . . . . . . . . . . . . . . . . . . 6-7 Caro, Anthony. . . . . . . . . . . . . . . . . . . . . . 356 Cazenave, André. . . . . . . . . . . . . . . . . . . . . . 71 Celmins, Vija . . . . . . . . . . . . . . . . . . . . 135-136 Chagall, Marc. . . . . . . . . . . . . . . . . . . . . . . 353 Chihuly, Dale. . . . . . . . . . . . . . . . . . . . 172-174 Clavé, Antoni. . . . . . . . . . . . . . . . . . . . . . . 355 Cohen, Larry. . . . . . . . . . . . . . . . . . . . . . . 240 Crash (John Matos) . . . . . . . . . . . . . 405-407 Crate, James Harvey. . . . . . . . . . . . . . . . . 110

D D.I.M.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 Daphnis, Nassos. . . . . . . . . . . . . . . . . . . . 254 Davis, Gene . . . . . . . . . . . . . . . . . . . . . . . . . 27 Davis, Ronald. . . . . . . . . . . . . . . . . . . . . . . . 86 De Forest, Roy. . . . . . . . . . . . . . . . . . . . . . . 217 DeFeo, Jay. . . . . . . . . . . . . . . . . . . . . . . . . 227 DeLap, Tony. . . . . . . . . . . . . . . . . . . . . . . . . 82 Deskey, Donald. . . . . . . . . . . . . . . . . . . . . . 301 di Suvero, Mark. . . . . . . . . . . . . . . . . . . . . 234 Diebenkorn, Richard. . . . . . . . . . . . . 230-232 DiMattio, Francesca . . . . . . . . . . . . . . . . . . 371 Dine, Jim . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Divola, John. . . . . . . . . . . . . . . . . . . . . . . . 388

Downing, Joe. . . . . . . . . . . . . . . . . . . 225-226 D’Urso, Joseph . . . . . . . . . . . . . . . . . . . . . . 77 Dzama, Marcel. . . . . . . . . . . . . . . . . . . . . . 17-18

E Eames, Charles & Ray . . . . . . . . . . . . . 29-38 Ellwood, Craig. . . . . . . . . . . . . . . . . . . 246-251

F Fairey, Shepard. . . . . . . . . . . . . . . . . . . . . . . 16 Feitelson, Lorser. . . . . . . . . . . . . . . . . . . . . 67 Feldman, Aline. . . . . . . . . . . . . . . . . . . . . . . 414 Finkelstein, Max . . . . . . . . . . . . . . . . . . . . 423 Fischinger, Oskar . . . . . . . . . . . . . . . . . . . . 47 Fisker, Kay. . . . . . . . . . . . . . . . . . . . . . . . . 270 Fong, Danny Ho. . . . . . . . . . . . . . . . . . . . . . 182 Ford, Gordon Onslow . . . . . . . . . . . . . 219-224 Francis, Sam . . . . . . . . . . . . . . . . . . . 284-294 Frank, Harold. . . . . . . . . . . . . . . . . . . . 419-421 Frankenthaler, Helen. . . . . . . . . . . . . . . . . 176 Frey, Viola . . . . . . . . . . . . . . . . . . . . . . . . . . 216

G Garabedian, Charles. . . . . . . . . . . . . . . . . 373 Gehry, Frank. . . . . . . . . . . . . . . . . . . . . . . . . 106 Gerlach, Christopher . . . . . . . . . . . . . . . . 396 Gerrman, Dimitry. . . . . . . . . . . . . . . 433-434 Gilot, Françoise. . . . . . . . . . . . . . . . . . . . . 352 Girard, Alexander. . . . . . . . . . . . . . . . . . . . 33 Goode, Joe. . . . . . . . . . . . . . . . . . . . . . . 95-97 Graham, Robert. . . . . . . . . . . . . . . . . . 98-100 Guston, Philip . . . . . . . . . . . . . . . . . . . . . . . 196

H Hagenauer, Karl. . . . . . . . . . . . . . . . . . . . . 335 Haines, William “Billy”. . . . . . . . . . . . . . . . 117 Hammersley, Frederick . . . . . . . . . . . . 63-66 Harwood, June . . . . . . . . . . . . . . . . . . . . 61-62 Hawk, Stan. . . . . . . . . . . . . . . . . . . . . . 183-184 Heinecken, Robert . . . . . . . . . . . . . . . . . . . 155 Heinze, Gus. . . . . . . . . . . . . . . . . . . 408-409 Hockney, David. . . . . . . . . . . . . . . . . . 190-194 Hoffmann, Josef. . . . . . . . . . . . . . . . 336-337 Holland, Tom. . . . . . . . . . . . . . . . . . . . . . . . 412 Hugo, Pieter. . . . . . . . . . . . . . . . . . . . . . . . 390

I Israel, Frank. . . . . . . . . . . . . . . . . . . . . . . . . 88

J Jacobsen, Arne. . . . . . . . . . . . . . . . . 268-269 Jensen, Georg. . . . . . . . . . . . . . . . . . . . . . 274 Jouve, Georges. . . . . . . . . . . . . . . . . 342-344 Judd, Donald. . . . . . . . . . . . . . . . . . . 255, 322

K Katz, Alex. . . . . . . . . . . . . . . . . . . . . . . . . . 328 Kavanaugh, Gere. . . . . . . . . . . . . . . . . 180-181 Kelly, Ellsworth. . . . . . . . . . . . . . . . . . 1-5, 323 Kessler, David . . . . . . . . . . . . . . . . . . 392-393 Kirk, Jerome. . . . . . . . . . . . . . . . . . . . . . . 363 Knoebel, Imi. . . . . . . . . . . . . . . . . . . . . . . 19-20 Knoll, Florence . . . . . . . . . . . . . . . . . . . . . 295 Koefoed, Niels. . . . . . . . . . . . . . . . . . . . . . 278 Kondos, Gregory. . . . . . . . . . . . . . . . . . . . 239 Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . . . 12-13 Kosa, Emil . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Kuhn, Mona . . . . . . . . . . . . . . . . . . . . . . . . 389

L

R

Lamb, Walter. . . . . . . . . . . . . . . . . . . . 122-125 László, Paul. . . . . . . . . . . . . . . . . . . . . . . 111-113 Lebrun, Rico . . . . . . . . . . . . . . . . . . . . . . . 422 Léger, Fernand. . . . . . . . . . . . . . . . . . . . . . 354 Leon, Dennis. . . . . . . . . . . . . . . . . . . . . . . 430 LeWitt, Sol. . . . . . . . . . . . . . . . . . . . . . 261-264 Lichtenstein, Roy . . . . . . . 305-314, 322-323 Lipofsky, Marvin . . . . . . . . . . . . . . . . . . . . . 175 Loewy, Raymond. . . . . . . . . . . . . . . . . . . . 364 Loftus, Peter. . . . . . . . . . . . . . . . . . . 428-429 Longo, Robert. . . . . . . . . . . . . . . . . . 385-386 Lorber, Stephen. . . . . . . . . . . . . . . . . . . . . 424

Rauschenberg, Robert. . . . . . . 145-146, 322 Reggiani. . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Register, John. . . . . . . . . . . . . . . . . . 235-236 Reinhardt, Ad . . . . . . . . . . . . . . . . . . . 68, 323 Rhoades, Jason. . . . . . . . . . . . . . . . . . . 23-24 Rickey, George . . . . . . . . . . . . . . . . . 252-253 Risom, Jens. . . . . . . . . . . . . . . . . . . . . . . . 299 Ritts, Herb. . . . . . . . . . . . . . . . . . . . . . . . . 387 Rohde, Gilbert. . . . . . . . . . . . . . . . . . . . . . . 119 Romeda, Bruno. . . . . . . . . . . . . . . . . . . . . 369 Rosenquist, James. . . . . . . . . . 322, 331-333 Rosenthal, Tony. . . . . . . . . . . . . . . . . . . . . . 39 Ross, Richard. . . . . . . . . . . . . . . . . . . . . . . 397 Royère, Jean. . . . . . . . . . . . . . . . . . . . . . . . 341 Ruscha, Ed. . . . . . . . . . . . . . . . . . . . . . 137-144

M MacConnel, Kim . . . . . . . . . . . . . . . . . . . . . 218 Maloof, Sam. . . . . . . . . . . . . . . . . . . . . 156-158 Mangiarotti, Angelo. . . . . . . . . . . . . . . . . . 78 Mangold, Sylvia. . . . . . . . . . . . . . . . . . . . . . 116 Mathsson, Bruno. . . . . . . . . . . . . . . . . . . . 277 Maxwell, Robert . . . . . . . . . . . . . . . . . . . . 205 McCabe, Gerald. . . . . . . . . . . . . . . . . . . . . . 170 McCobb, Paul. . . . . . . . . . . . . . . . . . . 401-403 McLaughlin, John. . . . . . . . . . . . . . . . . 57-59 Merrild, Knud. . . . . . . . . . . . . . . . . . . . . . . . 178 Mies van der Rohe, Ludwig. . . . . . . . . . . 245 Miró, Joan. . . . . . . . . . . . . . . . . . . . . . . . . . 351 Misrach, Richard. . . . . . . . . . . . . . . . . . . . 394 Mizuno, Mineo. . . . . . . . . . . . . . . . . . . . . . 256 Moore, Henry. . . . . . . . . . . . . . . . . . . . . . . . 179 Moses, Ed. . . . . . . . . . . . . . . . . . . . . . . . 127-131 Moses, Forrest. . . . . . . . . . . . . . . . . . . . . . . 431 Motherwell, Robert. . . . . . . . . . 259-260, 323 Moulthrop, Edward. . . . . . . . . . . . . . . . 159-161 Mullican, Lee. . . . . . . . . . . . . . . . . . . . . . . . 42 Muniz, Vik. . . . . . . . . . . . . . . . . . . . . . 149-150 Murakami, Takashi . . . . . . . . . . . . . . . . . . 10-11

N Nakashima, George. . . . . . . . . . . . . . . 164-167 Natzler, Gertrud & Otto. . . . . . . . . . 206-215 Nelson, George. . . . . . . . . . . . . . . . . . . 48-56 Neutra, Richard. . . . . . . . . . . . . . . . . . . . . . 109 Nevelson, Louise. . . . . . . . . . . . . . . . . 147-148 Nielsen, Harald. . . . . . . . . . . . . . . . . . . . . 273 Nyquist, John . . . . . . . . . . . . . . . . . . . . . . . 162

O Oldenburg, Claes. . . . . . . . . . . . . . . . . . . . 327 Oliveira, Nathan . . . . . . . . . . . . . . . . 228-229 Oshiro, Kaz. . . . . . . . . . . . . . . . . . . . . . . . . . 22 Oursler, Tony. . . . . . . . . . . . . . . . . . . . . . . . 25

P Parker, Ray. . . . . . . . . . . . . . . . . . . . . . . . . . 177 Pascaud, Jean. . . . . . . . . . . . . . . . . . . . . . 338 Pasmore, Victor . . . . . . . . . . . . . . . . 367-368 Pearlstein, Philip. . . . . . . . . . . . . . . . 329-330 Pettibone, Richard. . . . . . . . . . . . . . . . . . . 321 Picasso, Pablo. . . . . . . . . . . . . . . . . . 345-348 Platner, Warren. . . . . . . . . . . . . . . . . . . . . 297 Polacco, Ferruccio . . . . . . . . . . . . . . . . . . 432 Pomodoro, Gio. . . . . . . . . . . . . . . . . . . . . . . . 81 Ponti, Gio. . . . . . . . . . . . . . . . . . . . . . . . . 75-76 Porter, Eliot. . . . . . . . . . . . . . . . . . . . . . . . . 391 Prestini, James. . . . . . . . . . . . . . . . . . . . . . 163 Price, Ken. . . . . . . . . . . . . . . . . . . . . . . 152-153

Kuitca, Guillermo . . . . . . . . . . . . . . . . . . . . . 21

Q

Kunishima, Seiji. . . . . . . . . . . . . . . . . . 415-416

Quistgaard, Jens. . . . . . . . . . . . . . . . . . . . . 271

S Sampler, Marion . . . . . . . . . . . . . . . . . . . . . 26 San Polo. . . . . . . . . . . . . . . . . . . . . . . . . . 73-74 Scarpa, Tobia & Afra. . . . . . . . . . . . . . . . . . 79 Schindler, Rudolph M.. . . . . . . . . . . . . 120-121 Scholder, Fritz. . . . . . . . . . . . . . . . . . 426-427 Schultz, Richard. . . . . . . . . . . . . . . . . . . . 298 Scully, Sean. . . . . . . . . . . . . . . . . . . . . . . . . 197 Siegel, Arthur. . . . . . . . . . . . . . . . . . 382-383 Smith, Leon Polk. . . . . . . . . . . . . . . . . . . . 257 Soldner, Paul. . . . . . . . . . . . . . . . . . . 203-204 Soulages, Pierre. . . . . . . . . . . . . . . . . . . . 360 Springer, Karl. . . . . . . . . . . . . . . . . . 399-400 Stella, Frank. . . . . . . . . . . . . . . . 8-9, 322-323 Strand, Paul. . . . . . . . . . . . . . . . . . . . . . . . 384 Sultan, Donald. . . . . . . . . . . . . . . . . . . . . . . 195 Summers, Gerald. . . . . . . . . . . . . . . . . . . . 275

T Takemoto, Henry. . . . . . . . . . . . . . . . . . . . 202 Teraoka, Masami. . . . . . . . . . . . . . . . . . . . . 417 Thiebaud, Wayne. . . . . . . . . . . . . . . . . . . . 233 Thomas, Alma. . . . . . . . . . . . . . . . . . . . . . . 28 Tinguely, Jean. . . . . . . . . . . . . . . . . . . . . . 283 Toledo, Francisco. . . . . . . . . . . . . . . . . . . .358 Tunberg, William. . . . . . . . . . . . . . . . . . . . . 151

V Valentine, De Wain . . . . . . . . . . . . . . . . 92-94 Vasarely, Victor. . . . . . . . . . . . . . . . . . 361-362 Venet, Bernar . . . . . . . . . . . . . . . . . . . . . . 359 Versen, Kurt. . . . . . . . . . . . . . . . . . . 304, 398 Vitali, Massimo. . . . . . . . . . . . . . . . . . . . . . 70 Voulkos, Peter. . . . . . . . . . . . . . . . . . . . . . . 201

W Walker, Kara. . . . . . . . . . . . . . . . . . . . . . . . . . 15 Warhol, Andy. . . . . . . . . . . 315-320, 322-323 Weber, KEM. . . . . . . . . . . . . . . . . . . . . . . . . 118 Weegee (Arthur Fellig). . . . . . . . . . . . . . . 378 Wegner, Hans J.. . . . . . . . . . . . . . . . . 265-267 Wesselmann, Tom. . . . . . . . . . . . . . . . . . . 324 Weston, Brett. . . . . . . . . . . . . . . . . . . 380-381 Weston, Edward. . . . . . . . . . . . . . . . . . . . . 379 Wikkelsø, Illum. . . . . . . . . . . . . . . . . . . . . . 279 Williams, Don. . . . . . . . . . . . . . . . . . . . 410-411 Woelffer, Emerson. . . . . . . . . . . . . . . . . . . 258 Wonner, Paul . . . . . . . . . . . . . . . . . . . 237-238 Wormley, Edward. . . . . . . . . . . . . . . . 302-303 Wright, Frank Lloyd. . . . . . . . . . . . . . . . . . . 107 Wright, Mary . . . . . . . . . . . . . . . . . . . . . . . . 108

Z Zammitt, Norman. . . . . . . . . . . . . . . . . . . . . 41 Zúñiga, Francisco. . . . . . . . . . . . . . . . . . . 357


ROY LICHTENSTEIN IN L.A. A new retrospective of more than seventy remarkable works by the Pop Art master

skirball.org/lichtenstein

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ROY LICHTENSTEIN, NUDE WITH BLUE HAIR, STATE I (DETAIL), FROM THE NUDES SERIES, 1994. PRIVATE COLLECTION, LOS ANGELES. © ESTATE OF ROY LICHTENSTEIN

ON VIEW AT THE SKIRBALL OCTOBER 7, 2016–MARCH 12, 2017


WINTER 2017

Now Accepting Consignments

287

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INFORMATION

DIRECTIONS TO AUCTION & PREVIEW

STAFF

Auction

Peter Loughrey

Sunday, October 9, 2016

From Hollywood

12pm (PT)

■■

Make your way to the 101 Freeway

■■

Proceed North on the 101

Shannon Loughrey

Preview

■■

Merge onto the 405 Freeway, north

Managing Director

September 26–October 8, 2016

■■

Take the 4th exit onto “Sherman

10am—6pm (PT) Address

Way, west”

Elizabeth Portanova

■■

Proceed west on Sherman Way

Marketing Director

■■

Turn left at the 3rd light onto

16145 Hart Street Van Nuys, CA 91406

Director, Modern Art & Design

■■

“Woodley”

Zoe Weinberg

Take the first right onto “Hart”

Fine Art Specialist

street, which is a side street Telephone

Website

Carolina Ivey From the Westside

Client Services

■■

Take the 405 Freeway, north

■■

Continue past the Getty Museum

Clo Pazera

and the 101 Interchange

Assistant to Fine Art Specialist

LAMODERN.com ■■

Exit onto “Sherman Way, west”

■■

(this is 4 exits North of the 101)

Joe Alascano

■■

Proceed west on Sherman Way

Shipping

■■

Turn left at the 3rd light

■■

onto “Woodley”

Pejman Shojaei

Take the first right onto “Hart”

Consignor Services

street, which is a side street Photography by Mario de Lopez Susan Einstein Essays by e

323.904.1950

Ciara Moloney

October 9, 2016 Modern Art & Design Auction  

The October 9, 2016 Modern Art & Design Auction features a noteworthy Helen Frankenthaler painting, Jade, from 1976, an important Ad Reinhar...

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