October 11, 2015 Modern Art & Design Auction

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Preview September 28–October 10, 2015 10am–6pm (PT) Auction Sunday, October 11, 2015 12pm (PT) 16145 Hart Street Van Nuys, CA 91406

Can I Get A Witness?

We are living in a golden age where many of the

including a special interview with designer Chris Ferebee

giants of contemporary art are not only still alive but

and some of my daily picks for lots to watch out for

are still producing vital work. Ed Moses just had the

during the auction preview.)

most wonderful exhibit of his drawings at LACMA (Ed Moses: Drawings from the 1960s and 70s). Frank

Of course, a few legends from the past shouldn't be

Stella is preparing for a retrospective at the Whitney

left out of our celebration. From the collection of

(Frank Stella: A Retrospective), even while producing

exquisite Pablo Picasso ceramics to all five prints of

his newest large-scale sculptures. Ed Ruscha's newest

Roy Lichtenstein's Modern Head Series, this catalogue

works are receiving some of the highest critical acclaim

is replete with highlights. Alfredo Ramos Martinez's

of his career, and John Baldessari continues now into

Floripondios (c. 1938), John McCracken's Five

his fifth decade of refusing to make boring art. David

Paintings III (1974), and Ken Price's Up Back (2000)—

Hockney, Mary Corse, and Richard Serra each have

each sublime in their own way—show us how Los

managed to stay remarkably productive, while sticking

Angeles can infuse itself into the medium of radically

to their own iconic vocabularies. So, too, have the next

different artists.

generation of artists like Tara Donovan, Tom Friedman, and Lawrence Carroll; all legends in the making.

With international design highlights such as contemporary seating by the Brazilian duo Fernando

In this catalogue, we are especially proud of the

& Humberto Campana; timeless works by French

interviews we conducted with artists Charles Arnoldi,

icons Le Corbusier, Jean Prouvé, and Jean Rispal; and

Joe Goode, and Richard Pettibone. All three have had a

Scandinavian classics by Hans Wegner and Wilhelm

tremendous impact on contemporary art in Los Angeles

Kåge, this sale is as well rounded as any in our history.

since the 1960s and each continues to innovate today. To hear these artists comment on their work, their style, and

So witness, if you will, but don't just blithely admire these

their point of view is a rare and exceptional honor, but

incredible works. Take part in this opportunity, take part

for an auction house to have direct quotes from an artist

in this golden age in which great cultural figures still walk

about the very historical works that will soon cross the

among us, and historical works are within reach.

block is possible only in this golden age in which we live.

(Don't forget to look on our blog for additional content

Peter Loughrey, Director

1 PABLO PICASSO Vallauris (R.331)

1956 Round dish of white earthenware clay, decoration in engobes under glaze, oxidized paraffin From the edition of 100 Madoura Ramié #331 16.5" diameter Frame: 21" x 21" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #331.

$8,000–12,000

2 AFTER PABLO PICASSO Carpet c. 1956 Wool 192" x 114" LIT E RAT URE Pablo Picasso: Catalogue Raisonné of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1971. #1271 for color lithograph bearing similar image.

$7,000–10,000

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MARKINGS DETAIL

3 PABLO PICASSO

Aztec Vase with Four Faces (R.401) 1957 Turned vase of white earthenware clay, decoration in engobes, knife engraved, paraffin, white enamel #35 of 50 Madoura Incised “EDITION/PICASSO/35/50/MADOURA”; retains “Madoura Plein Feu” and “Edition Picasso” stamps Ramié #401 21.5" x 10.5" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #401.

$50,000–70,000

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4 PABLO PICASSO

A Los Toros Avec Picasso (4) 1961 Lithograph on paper #10 of 50 each Published by Andrés Sauret, Monte Carlo; printed by Mourlot Frères, Paris Each signed in graphite with edition Comprised of La Pique, Jeu de la Cape, Les Banderilles, and Le Picador II Sheet each (vis.): 8.5" x 10" Frame each: 16" x 18.5" LITERATURE Pablo Picasso: Catalogue Raisonné of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1971. #1014-#1017.

$6,000–8,000

5 PABLO PICASSO

Tauromachy Scene (R.412) 1959 Round dish of white earthenware clay, oxidized paraffin decoration, glaze bath From the edition of 100 Madoura Ramié #412 16.25" diameter Frame: 21" x 21" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #412.

$8,000–10,000

6 PABLO PICASSO

Picador and Bull (R.197) 1953 Round/square plate of white earthenware clay, engraving covered with oxidized paraffin, highlights with oxides under glaze From the edition of 200 Madoura Ramié #197 9" diameter Frame: 12.75" x 12.75" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #197.

$6,000–9,000

7 PABLO PICASSO Picador (R.211)

1953 Turned cupel of red earthenware clay, engobe and enamel decoration, paraffin, glaze #388 of 500 Madoura Inscribed “EDITION/PICASSO/388/500/MADOURA” Ramié #211 2.375" x 6.5" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #211.

$2,000–3,000

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MARKINGS DETAIL

8 PABLO PICASSO

Bearded Man’s Wife (R.193) 1953 Turned pitcher of white earthenware clay, decoration in engobes, knife engraved under partial brushed glaze From the edition of 500 Madoura Inscribed “EDITION/PICASSO”; retains “Edition Picasso” and “Madoura Plein Feu” stamps Ramié #193 14.5" x 7.25" diameter LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #193.

$15,000–20,000

9 PABLO PICASSO Face (R.529)

1965 Round dish of white earthenware clay From the edition of 100 Madoura Ramié #529 16.5" diameter Frame: 21" x 21" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #529.

$3,000–5,000

10 PABLO PICASSO

Little-headed pitcher (R.222) 1953 Turned pitcher of white earthenware clay, oxidized paraffin decoration #48 of 300 Madoura Inscribed “EDITION/PICASSO/48/300”; retains faint “Madoura Plein Feu” and “Edition Picasso” stamps Ramié #222 5" x 5.625" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #222.

$4,000–6,000

11 PABLO PICASSO Heads (R.367)

1956 Turned pitcher of white earthenware clay, oxidized paraffin decoration From the edition of 500 Madoura Inscribed “EDITION/PICASSO”; retains “Edition Picasso” and “Madoura Plein Feu” stamps Ramié #367 4.75" x 5.5" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #367.

$4,000–6,000 LOT 10

LOT 11

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MARKINGS DETAIL

12 PABLO PICASSO

Woman’s Face (R.192) 1953 Turned pitcher of white earthenware clay, decoration in engobes, knife engraved under partial brushed glaze #56 of 200 Madoura Inscribed “EDITION PICASSO/56/200”; retains “Madoura Plein Feu” and “Edition Picasso” stamps Ramié #192 13.75" x 11" x 7" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #192.

$8,000–12,000

13 PABLO PICASSO

Bird on a Branch (R.175) 1952 Turned round ashtray of white earthenware clay, oxidized paraffin decoration, white enamel From the edition of 500 Madoura Inscribed “EDITION/PICASSO”; retains “Edition Picasso” stamp Ramié #175 1.5" x 6" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #175.

$1,500–2,000

14 PABLO PICASSO

Square with Dancers A (R.614) 1971 Tile of red earthenware clay #139 of 500 Madoura Retains “Madoura/plein/feu” and “Poincon/Original de/Picasso” stamps; inscribed “J.158”; edition inscribed verso Ramié #614 5.75" x 6" Frame: 9.125" x 9.5" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #614.

$2,000–3,000

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Le Corbusier & Charlotte Perriand

UNITÉ D’HABITATION APARTMENT COMPLEX MARSEILLE, FRANCE / JULY 2015

15 LE CORBUSIER & CHARLOTTE PERRIAND

Kitchen cabinet from Unité d’Habitation, Marseille Atelier, designed c. 1952 Another example of this design was exhibited in “Designing Modern Women, 1890-1990,” Museum of Modern Art, New York, October 5, 2013-October 19, 2014 45.5" x 91.75" x 17" LITERATURE Le Corbusier: Unité D’habitation in Marseille and the Four Other Unité Blocks in Rezé-les-Nantes. J. Sbriglio. 2004. 79-80.

$20,000–30,000

The Unité d’Habitation apartment complex in Marseille, France is a Le Corbusier (1887—1965) architectural masterwork and regarded as one of the most influential modernist structures ever built. Completed in 1952, the Unité d’Habitation, French for “Housing Unit,” realizes his vision of a “vertical garden city” in which residents live, shop, play, and interact as a community. In its 63 years of existence, the 12-story concrete tower with 337 apartments has proven to be as popular with tenants as with historians—not least for its airy duplex units with intelligent built-in furnishings.

The kitchens, a particular success, were devised by architect and furniture designer Charlotte Perriand (1903—1999).

She was a longtime collaborator of Le Corbusier, and the principal spirit behind such famed seating pieces as the Grand Confort armchair and the B306 Chaise Longue. (Perhaps it is not altogether surprising that Le Corbusier tasked Perriand with the kitchen plan. A confirmed male chauvinist, the architect first sent Perriand away when she applied for employment in 1927, telling

her: “We don’t embroider cushions here.”) For the project, Perriand designed sleek, efficient shelving and cupboards, with panels painted in bright primary colors (which were possibly influenced by the work of her friend, the artist Fernand Léger). Here she explored the simple and elegant forms she would use later in her 1950s work with artisan, designer, and engineer Jean Prouvé, such as the bookcases and other furnishings for the Cité Internationale Universitaire de Paris.

In 2009 the Museum of Modern Art in New York purchased an entire kitchen from the Unité d’Habitation for its permanent collection. Though originally wall-mounted, the unit in the present lot has been modified slightly with the addition of legs to be used as a standing cabinet.

“Charlotte Perriand, Le Corbusier (Charles-Édouard Jeanneret), Pierre Jeanneret Revolving Armchair 1928.” MoMA. The Museum of Modern Art, 2015.

Web. Aug 20, 2015. Sbriglio, Jacques. Le Corbusier: Unité D’habitation in Marseilles and the Four Other Unité Blocks in Rezé-les-Nantes, Berlin, Briey En Forêt and Firminy. Paris: Foundation Le Corbusier, 2004. Print. 79-80.

16 JEAN PROUVÉ Dactylo desk

Ateliers Jean Prouvé, designed c. 1950 Model no. BD 41 27" x 41.5" x 24.5" LIT E RAT URE Jean Prouvé: Complete Works (1944-1954). Vol. III. P. Sulzer.

2005. 178, fig. 1159.1.; Jean Prouvé.

Galerie Patrick Seguin and Sonnabend Gallery exh. cat. 2007. 330, 336-337.

$20,000–30,000

17 SERGE MOUILLE

Cocotte table lamp Ateliers Serge Mouille, designed 1957 15.5" x 12.5" x 7"

$7,000–9,000

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18 JEAN RISPAL Floor lamp

Rispal, designed c. 1950 68.25" x 20" x 10.5" LITERATURE 1000 Lights (1878-1959).

Vol. 1. C. Fiell and P. Fiell. 2005. 418.

$6,000–9,000

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19 MATHIEU MATÉGOT Wall shelves (2)

Ateliers Matégot, designed 1956 Each: 19.75" x 35.25" x 7.5"

$2,000–3,000

20 MATHIEU MATÉGOT Plant stand

Ateliers Matégot, designed c. 1956 38.5" x 18" x 12"

$2,000–3,000

21 JEAN ROYÈRE Coat rack

Atelier, designed c. 1950 Stamped “JR/Depose” 3.5" x 36.5" x 2.5"

$10,000–15,000

22 ALBERTO GIACOMETTI Tête d’Homme

1964 Lithograph on Rives paper #7 of 75 Published by Maeght, Paris Signed in graphite lower right sheet; edition center left sheet Together with receipt from Maeght Éditeur Sheet: 25.75" x 18.5" Frame: 31" x 24" LITERATURE Giacometti: The Complete Graphics and 15 Drawings.

H. Lust. 1970. #47.

$3,000–5,000

23 REGGIANI Floor lamp

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

$1,500–2,000

19 24 JEAN BORIS LACROIX Desk lamp

Robert Caillat, designed 1954 19.5" x 16" x 9.25" LIT E RAT URE The Complete Designers’ Lights (1950-1990): 30 Years of Collecting. C. Krzentowski. 2011. 86-87.

$3,000–5,000

25 ATTRIBUTED TO JULES LELEU Dining table

Possibly Maison Leleu, designed c. 1961 Incised “31895” 28.5" x 51.5" diameter

$3,000–5,000

26 IN THE STYLE OF MAISON JANSEN Torchères (2)

Manufacturer unknown, designed c. 1940 Each: 18.75" x 9" diameter

$3,000–5,000

27 ATTRIBUTED TO JULES & ANDRÉ LELEU Console table

Possibly Maison Leleu, designed c. 1961 35.5" x 62" x 14" LIT E RAT URE The House of Leleu: Classic French Style for a Modern World, 19201973. F. Siriex. 2008. 327.

$3,000–5,000

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28 SOREL ETROG Pulcinella c. 1966 Bronze #7 of 7 Retains stamped signature with edition; stamped with foundry mark [Fond. Vincigliata Firenze] 45" x 16.375" x 6" P ROVENANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$20,000–30,000

29 THEODOROS STAMOS Untitled

1949 Oil on cut canvas laid down to wooden panel Signed in ink verso; dated frame verso Composition: 7.875" x 16.25" Frame: 8.75" x 17" P ROV E NANC E The Estate of Barbara Poe Levee; Private Collection, Los Angeles, California (acquired directly from the above)

$3,000–5,000

30 PIERRE SOULAGES Sérigraphie No. 15

1981 Color screenprint on paper #14 of 250 Published by Circle Fine Art, Chicago; printed by Michael Caza, Cergy Signed with edition lower left Sheet: 41" x 28.75" Frame: 51.375" x 38.25" LIT E RAT URE Soulages, L’œuvre Complet: Peintures. Vol. III. P. Encreve. 1998. #107.

$2,000–3,000

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31 MAN RAY

Natural Painting c. 1958-1965 Acrylic on Masonite mounted in the artist’s frame Signed “Man Ray” lower right Masonite: 39.5" x 15.75" Frame: 42" x 18.5" P ROVENANC E The Estate of Juliet Man Ray, the Man Ray Trust, and the Family of Juliet Man Ray; Private Collection, Los Angeles, California (acquired directly from the above via Sotheby’s, London, “Man Ray: Paintings, Objects, Photographs,” March 23, 1995, Sale LN5173, Lot 417)

$20,000–30,000

32 MAN RAY Hands

1966 2-color screenprint on Plexiglas #39 of 40 Published and printed by Gemini G.E.L., Los Angeles Etched signature lower right; edition lower left; printed Gemini G.E.L. copyright beneath image Gemini G.E.L. #32.2 Image: 20" x 16.25" Sheet: 25.5" x 19.5" Frame: 26.25" x 20.25"

$3,000–5,000

33 MAN RAY One Hand

1966 Silkscreen on Plexiglas #35 of 40 Published and printed by Gemini G.E.L., Los Angeles Etched signature lower right; edition lower left; printed Gemini G.E.L. copyright beneath image LOT 32

LOT 33

Gemini G.E.L. #32.3 Image: 20" x 16.25" Sheet: 25.5" x 19.5" Frame: 26.25" x 20.25"

$3,000–5,000

34 MAN RAY

Cadeau/Gift 1921/1974 Patinated iron with metal tacks #4,990 of 5,000 Produced by Luciano Anselmino, Turin Together with booklet and signed certificate on card 6.5" x 3.875" x 3.75"

$1,500–2,000

25

35 WILLIAM DASSONVILLE

Untitled (Boats in the Harbor) c. 1925 Gelatin silver print Signed in graphite lower right margin of sheet Image: 9.75" x 7.875" Sheet (vis.): 10.75" x 8.25" Frame: 17.75" x 14.5"

$3,000–5,000

36 WILLIAM DASSONVILLE Monk

c. 1925 Gelatin silver print Signed in graphite lower right margin of sheet Image: 9.75" x 7.875" Sheet (vis.): 10.75" x 8.25" Frame: 17.75" x 14.5"

$1,500–2,000

37 HENRI CARTIER-BRESSON Barrio Chino, Barcelona

1933; this example printed later Photogravure on Arches paper #27 of 75 Signed in ink lower right margin of sheet; edition in graphite lower left margin of sheet Made on the occasion of the exhibition “Henri Cartier-Bresson, Photographs 1927-1980” at the Museum of Modern Art, Paris in 1980 Image: 13.875" x 9.25" Sheet (vis.): 17.25" x 12" Frame: 24.875" x 19.5"

$3,500–4,500

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38 ROBERT ADAMS Colorado Springs 1968 Gelatin silver print Signed, titled, and dated verso Image/sheet: 5.875" x 5.875" Frame: 19" x 15" P ROVENA NC E Hamburg Kennedy Photographs, New York, New York; Private Collection, Los Angeles, California

$10,000–15,000

39 DIANE ARBUS

Lady at a masked ball with two roses on her dress, N.Y.C. 1967; this example printed later by Neil Selkirk Gelatin silver print #42 of 75 Stamped “A Diane Arbus Photograph” verso; signed, titled, and with edition by Doon Arbus, Executor in ink verso Image: 14.75" x 14.5" Sheet (vis.): 15.25" x 15" Frame: 22" x 21.5" LIT E RAT URE Diane Arbus: An Aperture Monograph. D. Arbus. 1972. N. pag.

$8,000–12,000

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40 HELMUT NEWTON Rue Aubriot, Paris 1975 Gelatin silver print Signed and dedicated “For Pattie - Memories of Rue Aubriot” in ink lower left margin of sheet Image: 11.75" x 8" Sheet: 14.625" x 10.625" Mat: 18" x 14.375" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent LITERATURE Helmut Newton: 19202004. P. Bruckner. 2012. Front cover for another example illustrated.

$10,000–15,000

41 GARRY WINOGRAND

New York, New York (from Women are Beautiful Series) 1968; this example printed 1981 Gelatin silver print #33 of 80 Retains Kopeikin Gallery label verso; signed with edition in graphite verso Image: 8.75" x 13" Sheet (vis.): 9" x 13.125" Frame: 15.625" x 20" LIT E RAT URE Women are Beautiful.

H. Bishop. 1975. N. pag.

$6,000–8,000

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42 ANNIE LEIBOVITZ

Philip Johnson, Glass House, New Canaan, Connecticut 2000 Gelatin silver print #6 of 25 Signed with edition in graphite verso with Annie Leibovitz stamp; retains Peter Fetterman Gallery label verso Together with copy of receipt from Peter Fetterman Gallery Image/sheet (vis): 14.5" x 21.5" Frame: 26.5" x 32.5" LITERATURE Annie Leibovitz: At Work. A. Leibovitz. 2008. 158.

P ROVENA NC E Peter Fetterman Gallery, Santa Monica, California; Private Collection, Santa Barbara, California; Thence by descent

$9,000–12,000

LOT 43

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43 LUDWIG MIES VAN DER ROHE

Barcelona chair and ottoman (2) Knoll Associates, designed 1929) Chair: 30.25" x 30" x 29.5" Ottoman: 14.75" x 23.5" x 21.5"

$2,500–3,500

44 LOT 44

LUDWIG MIES VAN DER ROHE Living room suite (6)

Knoll Associates and other manufacturers, designed 1929 Chaise lounge designed together with Le Corbusier Comprised of two Barcelona chairs and ottoman by Knoll. Together with Barcelona daybed, chair, and Le Corbusier chaise lounge Chairs each: 30" x 29.25" x 29.5" Ottoman: 16" x 24.75" x 24.25" Chaise lounge: 29" x 65" x 22.25" Daybed: 24.5" x 78.75" x 39.25" LOT 44

PARTIAL ILLUSTRATION

$5,000–7,000

45 OSKAR FISCHINGER Stippled Cosmic 1963 Oil on cardboard Signed lower right; dated with artist’s monogram lower left; retains artist’s label and Jack Rutberg Fine Arts Inc. label verso Cardboard: 17.75" x 23.75" Frame: 27" x 33" P ROVENA NC E The artist; Thence by descent

$5,000–7,000

46 OSKAR FISCHINGER Retrospect

1966 Oil on canvas panel Signed lower right; titled and dated verso; printed “Nachlab/Oskar Fischinger” verso Panel: 24" x 30" Frame: 27" x 33" P ROV E NANC E The artist; Thence by descent

$4,000–6,000

47 OSKAR FISCHINGER Refraction #3

1962 Oil on canvas panel Signed lower right; dated with artist’s monogram lower left; retains artist’s label verso Panel: 8” x 10” Frame: 9.375” x 11.375” P ROV E NANC E The artist; Thence by descent

$2,000–3,000

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48 HERBERT BAYER

Self-Portrait (Photomontage) 1932-1936; this example printed 1970 Gelatin silver print Proof aside from the edition of 40 Together with letter from Emil Nelson Gallery Image/sheet (vis.): 13" x 9.5" Frame: 20.75" x 16.75" P ROVENA NC E Javan and Britt Bayer; Emil Nelson Gallery, Denver, Colorado; Private Collection, Santa Barbara, California (acquired directly from the above); Thence by descent LITERATURE “Herbert Bayer’s Photographic Experiments.” Typographica. Vol. 11. E. Neumann.

1965. 39.

$5,000–7,000

49 HERBERT BAYER

Untitled (Dunstlocher Drawing) 1936 Gouache on paper Signed and dated “Herbert Bayer 36/5” lower right sheet Sheet (vis.): 12.25" x 16.75" Frame: 23" x 27" P ROV E NANC E Joella Bayer; Private Collection, Des Moines, Iowa; Private Collection, Santa Barbara, California; Thence by descent

$10,000–15,000

37

50 HERBERT BAYER Owl People

1948 Oil on canvas Signed and dated lower right; titled, signed, and dated verso Canvas: 23" x 17.5" Frame: 23.5" x 18"

$4,000–6,000

51 ATTRIBUTED TO WALTER VON NESSEN Table lamp

Pattyn Products, designed c. 1930 Model no. 310 Retains manufacturer label with model number 19" x 8" diameter

$8,000–10,000

52 MARGARET BOURKE-WHITE Airship Akron

1931 Warm-toned gelatin silver print in duralumin frame Signed lower right sheet; retains LA Louver Gallery label verso; printed text on frame lower center: “U.S.S. Akron/World’s Largest Airship/This frame is made of Duralumin used in girder construction of the United States Airship “Akron”/ built by the Goodyear Zeppelin Corporation” Image/sheet (vis.): 17.25" x 22.75 Frame: 20.25" x 26"

$3,000–5,000

39

53 NORMAN BEL GEDDES

Century of Progress medallion General Motors, 1933 Together with the pamphlet “General Motors Silver Anniversary” 3" diameter This medallion was to commemorate General Motors’ twenty-fifth anniversary dedicated to “The advancement of Motor Transportation.”

$1,500–2,000

54 RUSSEL WRIGHT

Libbiloo Bookends (2) Russel Wright, Inc., designed c. 1927 One with cast mark to underside “RW” Each: 5.5" x 6.5" x 3.25" LITERATURE At Home in Manhattan: Modern Decorative Arts 1925 to the Depression. K. Davies. 1983. 59.

$10,000–15,000

55 PAUL HOWARD MANSHIP Corona Berenices

c. 1948 Polychromed plaster 23" x 27" x 5.25" This work bears similarities to the artist’s Aero Memorial sculpture (1948) in Aviator Park, Philadelphia, Pennsylvania.

P ROV E NANC E Art, Design, and Architecture Museum, UC Santa Barbara, California; Private Collection, Los Angeles, California (acquired directly from the above through Christie’s, New York, New York, Sale 2731, Lot 59, October 1-2, 2013)

$2,000–3,000

56 JOHAN ROHDE

Acorn silver service (84) Georg Jensen, designed 1915, this set was purchased in Copenhagen in 1974 Stamped “Sterling Denmark Georg Jensen” Comprised of a seven piece service for twelve Various dimensions PARTIAL ILLUSTRATION

$6,000–9,000

41

57 ISAMU NOGUCHI Measured Time

Measured Time Inc., designed c. 1932 Model no. E Marked recto “Measured Time LA Porte, Indiana” and retains Measured Time Inc. label verso with model number 6" x 5.25" x 3.25"

$5,000–7,000

58 ISAMU NOGUCHI Measured Time

Stevenson Mfg. Co., designed c. 1932 Model no. L Marked recto “Hawkeye Measured Time LA Porte, Indiana” and retains Stevenson Mfg. Co. label verso with model number 6" x 5.25" x 3.25"

$5,000–7,000

43

59 DAVID CRESSEY

Table lamps with Leaf texture (2) Architectural Pottery, designed c. 1963 From the Pro/Artisan Series Each: 30.25" x 14" diameter

$2,000–3,000

60 DAVID CRESSEY

Planters with Leaf texture (2) Architectural Pottery, designed c. 1963 Model nos. LT-24 and LT-20 16" x 16" diameter 14" x 13.875" diameter

$1,500–2,000

61 DAVID CRESSEY

Planters with Scratch texture (2) Architectural Pottery, designed c. 1963 Model no. 4044 from the Pro/Artisan Series Each: 24" x 18.5" diameter

$1,500–2,000

62 MALCOLM LELAND

Planter with Scratch texture Architectural Pottery, designed c. 1963 Model no. L-20 20.5" x 14" diameter

$1,000–1,500

63 MALCOLM LELAND Planters (2)

Architectural Pottery, designed c. 1963 Model no. L-24 Each: 24.5" x 17" diameter LIT E RAT URE Architectural Pottery.

Manufacturer cat. March 1961. 9.

$1,500–2,000 LOT 62

LOT 63

45

64 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 32.5" x 66" x 27.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

65 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 32.5" x 66" x 27.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

66 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 32.5" x 66" x 27.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

67 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 33" x 63.25" x 27" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$3,000–5,000

47

68 WALTER LAMB Settee

Brown-Jordan Co., designed c. 1958 32" x 51" x 33" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$5,000–7,000

69 WALTER LAMB Cocktail table

Brown-Jordan Co., designed c. 1950 Model no. S-3700 17" x 36.75" diameter LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$1,500–2,000

70 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 29.25" x 30" x 22.75" Ottoman: 10.25" x 20.25" x 18.25" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,000–3,000

71 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 29.25" x 22.75" x 30" Ottoman: 10.25" x 20.25" x 18.25" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,000–3,000

72 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 28" x 32.5" x 23" Ottoman: 10" x 20" x 18.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

73 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 28" x 32.5" x 23" Ottoman: 10" x 20" x 18.5" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

74 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 28" x 32.5" x 23" Ottoman: 10" x 20" x 18.5" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

75 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 28" x 32.5" x 23" Ottoman: 10" x 20" x 18.5" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

49

76 WALTER LAMB Lounge set (5)

Brown-Jordan Co., designed c. 1950 Model nos. C-5700 (lounge chair), C-5706 (ottoman), BL-3700 (end table) Comprised of two lounge chairs, two ottomans and an end table Lounge chairs each: 30.5" x 29.75" x 24" Ottomans each: 20" x 23.25" x 18" End table: 18" x 23.5" x 18" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

51

77 WALTER LAMB Armchairs (10)

Brown-Jordan Co., designed c. 1950 Model no. C1700A Each: 32" x 24" x 21.5" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$7,000–9,000

78 WALTER LAMB Dining table

Brown-Jordan Co., designed c. 1950 Model no. C-2700 29" x 48.5" diameter LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

79 WALTER LAMB

Rocking chairs (2) Brown-Jordan Co., designed c. 1950 Model no. C-5701 Each: 31" x 32" x 20" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$4,000–6,000

80 WALTER LAMB

Table and armchairs (5) Brown-Jordan Co., designed c. 1950 Model nos. C1700A (armchairs) and C-2700 (table) Comprised of a table and four armchairs Table: 28.5" x 42.5" diameter Chairs each: 32.75" x 21.25" x 24" LITERATURE Walter Lamb. Manufacturer cat. 1954. N. pag.

$3,000–5,000

81 WALTER LAMB Side chairs (4)

Brown-Jordan Co., designed c. 1950 Model no. C-1700 Each: 32" x 22" x 19" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$3,000–5,000

53

82 WALTER LAMB Dining table

Brown-Jordan Co., designed c. 1950 Model no. C-2700 28" x 48.5" diameter LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N. pag.

$2,500–3,500

83 WALTER LAMB Bench

Brown-Jordan Co., designed c. 1955 14" x 72" x 24"

$2,000–3,000

Alfredo Ramos Martinez The painter and muralist Alfredo Ramos Martinez (1871—1946) was a prominent and influential figure in the early 20th century in both his native Mexico and his adopted home of Los Angeles. Following the Mexican Revolution, Ramos Martinez brought a fresh, modernizing spirit to the moribund art scene of his homeland, helping to foster the rich artistic awakening led by Diego Rivera, Frida Kahlo, José Clemente Orozco and David Alfaro Siqueiros. As demonstrated by the 2014 exhibition Picturing Mexico: Alfredo Ramos Martinez in California held at the Pasadena Museum of California Art, his work manifests a moving and vivid expression of the Latino experience of the United States.

In Mexico he was respected as an artist and educator.

Following his formal studies, Ramos Martinez spent nine years in Paris, where he moved in the same circles as Picasso, Monet, and Matisse. He returned home in 1910, and was named director of Mexico City’s National School of Fine Arts in 1913. As director, he dismantled the school’s doctrinaire academism by initiating a new program for teaching painting en plein air—outdoors, in the countryside—a method, loved by the Postimpressionists, he had enjoyed in France. Siqueiros, his student, would forever credit Ramos Martinez for providing the spark of vitality that kindled Mexican modernismo. Ramos Martinez moved to Los Angeles with his family in 1929, largely to find medical treatment and a healthier climate for his young daughter, who suffered from a congenital bone disease. In Los Angeles, Ramos Martinez was helped by friends and patrons such as the painter Millard Sheets and William

Alanson Bryan, director of the Los Angeles Museum of History, Science and Art (which became the Natural History Museum of Los Angeles County and the Los Angeles County Museum of Art), who gave the artist his first show in the city. During this time, Ramos Martinez developed a new artistic style—Gaugin-esque, with an angular, bold-edged Art Deco inflection. On canvas, paper, and murals, he offers an immigrant’s view of Mexico-wistful, romantic, and at times, pained. Ramos Martinez succumbed to heart failure in 1946 when he was nearing completion of a mural (still extant) at Scripps College in Claremont.

Floripondios—the word translates as “large flowers”—are a recurring motif in Ramos Martinez’s work. Known to English-speaking horticulturalists as “Angel’s Trumpets,” the flowers had a clear spiritual significance to a devout Catholic such as the artist. Moreover, the blossoms serve as a potent symbol of Mexican life and society. Floripondios and the six other species of the genus Brugmansia are native to tropical South America. They are deeply significant to indigenous cultures–used, variably, to make native medicines or a hallucinogen for shamanistic rituals, to induce visionary states of consciousness. Floripondios, will be included in the upcoming catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martinez Research Project.

Chambers, Marie, Margarita Nieto, Louis Stern, and Gerard Vuilleumier. Alfredo Ramos Martinez & Modernismo. Los Angeles: Alfredo Ramos Martinez Research Project, 2009. Print. Karlstrom, Paul J. On the Edge of America: California Modernist Art, 1900—1950. Berkeley: University of California, 1996. Print.

84 ALFREDO RAMOS MARTINEZ Floripondios (2)

c. 1938 Tempera and Conté crayon on illustration board Each signed “Ramos Martinez” Board each: 52.625" x 25.5" Frame each: 63" x 35.5" P ROV E NANC E The artist; Private Collection, San Diego, California (acquired from the above); Private Collection, Los Angeles, California (acquired from the above through Butterfield & Butterfield, Los Louis Stern has confirmed the authenticity of these works. They will be included in the catalogue raisonné of works on paper, to be published by the Alfredo Ramos Martinez Research Project.

Angeles, California, April 24, 1997, sale 6543, lot 5609)

$150,000–200,000

55

85 RUFINO TAMAYO Le Masque Rouge

1973 Color lithograph on paper H.C. aside from the edition of 150 Published by Touchstone Publishers, New York; printed by Atelier Desjobert, Paris Inscribed H.C. in graphite lower left in image; signed lower right margin of sheet Image: 21.125" x 27.5" Sheet (vis.): 22" x 29.125" Frame: 28.125" x 35.5" LITERATURE Rufino Tamayo: Catalogue Raisonné: Grafica 1925-1991. J. Carlos Pereda. 2004. #124.

$2,000–3,000

86 RUFINO TAMAYO Femme Souriante

1969 Color lithograph on paper H.C. aside from the edition of 150 Published by Touchstone Publishers, New York; printed by Atelier Desjobert, Paris Inscribed “H-C” in graphite lower left margin of sheet; signed lower right margin of sheet Image: 21.125" x 27.25" Sheet (vis.): 22" x 29.125" Frame: 28.25" x 35.375" LITERATURE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J. Carlos Pereda, ed. 2004. #123.

$2,000–3,000

87 LIDYA BUZIO Waterbarrel

Studio, 1982 Retains artist’s label and Garth Clark Gallery labels verso 8" x 10" diameter

$1,500–2,000

88 ANTONIO PINEDA Silver vessel

Taxco, designed c. 1960 Stamped with artist’s cipher and “925” 1.75" x 11.5" x 3.5"

$2,000–3,000

57

89 PEDRO FRIEDEBERG Three leg table clock

Studio, designed c. 1968 Signed “PEDRO FRIEDEBERG” on one leg 11" x 8" x 5"

$3,000–5,000

90 PEDRO CORONEL Untitled

1969 Pastel on Fabriano paper Signed and dated in ink verso; bears the inscription “46./#444...#756” verso; retains Mex Art International S.A. label verso Sheet: 27.5" x 19.625"

$3,000–5,000

59

91 FELIPE CASTAÑEDA Untitled

1980 Patinated bronze Artist’s proof Incised signature and date with “P/A” near base 63.5" x 27" x 15"

$15,000–20,000

92 FELIPE CASTAÑEDA Untitled

1980 Patinated bronze Artist’s proof Incised signature and date with “P/A” near base 37.5" x 22.25" x 22"

$10,000–15,000

61

93 FELIPE CASTAÑEDA Untitled

1983 Patinated bronze #5 of 7 Incised signature and date with edition in Roman numerals near base 32.5" x 38" x 31"

$10,000–15,000

94 MORRIS GRAVES Seeking to Nest 1946 Sumi ink on paper Signed and dated in graphite lower right sheet; titled lower left; retains Willard Gallery label verso; retains San Diego Museum of Art exhibition label verso Sheet: 15.75" x 20.5" Frame: 21.5" x 26" EXHIBITE D “Insight: Selections from S.D. Private Collection,” San Diego Museum of Art, April 23-June 12, 1983

$1,500–2,500

95 MILLARD SHEETS Indian Bull

1943 Charcoal on paper Title inscribed in sepia ink lower left margin of sheet; signed and dated “India/1943” in graphite lower right margin of sheet Sheet (vis.): 11.625" x 15.625" Frame: 21.5" x 25.5"

$1,500–2,000

63

96 MILTON AVERY Fancy Fish

1949 Oil on canvas board Signed and dated in graphite lower left canvas board; retains Riva Yares Gallery and Harmon-Meek Gallery labels verso Canvas board: 12" x 16" Frame: 14.5" x 18.5" P ROV E NANC E Riva Yares Gallery, Scottsdale, Arizona; Private Collection, San Diego, California (acquired directly from the above, 2004) E XHIBIT E D "Milton Avery: All Creatures Great and Small," Riva Yares Gallery, Scottsdale, Arizona, March 6-April 6, 2004

$10,000–15,000

97 MILTON AVERY

Untitled (Nude on Step Stool) c. 1940 Marker and graphite on paper Signed in graphite lower right sheet Sheet: 16.5" x 13.75" Frame: 23.5" x 20.5" P ROVENA N C E Dolly Fiterman Gallery, Minneapolis, Minnesota; Private Collection, Minneapolis, Minnesota (acquired directly from the above, 1982)

$4,000–6,000

98 MILTON AVERY Little Girl

1940 Graphite on paper Signed in graphite lower right sheet; retains Dolly Fiterman Gallery label verso Sheet: 11" x 8.5" Frame: 13.75" x 11.375" P ROVENA N C E Dolly Fiterman Gallery, Minneapolis, Minnesota; Private Collection, Minneapolis, Minnesota (acquired directly from the above, 1988)

$4,000–6,000

99 MILTON AVERY

Standing Nude with Vase c. 1940 Graphite and crayon on paper Signed in graphite lower right sheet; retains Riva Yares Gallery label verso Together with copy of invoice from Riva Yares Gallery Sheet (vis.): 11" x 8.5" Frame: 17.25" x 14.75" P ROV E NANC E Riva Yares Gallery, Scottsdale, Arizona; Private Collection, Santa Barbara, California; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, May 6, 2012, lot 298)

$6,000–8,000

100 MILTON AVERY Half Reclining

1957 Graphite on paper Signed in graphite lower right sheet; retains Riva Yares Gallery label verso Together with copy of invoice from Riva Yares Gallery Sheet: 11" x 8.5" Frame: 17.25" x 14.875" P ROV E NANC E Riva Yares Gallery, Scottsdale, Arizona; Private Collection, Santa Barbara, California; Thence by descent

$2,000–3,000

65

Julie Ann by Robert Graham California sculptor Robert Graham (1938—2008) loved women. For four decades Graham contributed to the great tradition of Western art—the female nude. But his approach was contemporary; he melded realism with expressive force in sculptures of women that are intimate and immediate. They are powerful and muscular, not romanticized or generalized, but naturalistic. According to artist Tony Berlant “if you look at them, you see individual personalities, I think. They are portraits . . .”

He portrayed many women throughout his career, with the sculptures taking the name of his real-life models. Here Julie Ann (1993) stands upright and resolute atop a graceful base. The directness of her posture, position, and stare is slightly tempered by the casual pose in which she embraces one arm across her body. Characteristically, Graham shows his models’ personalities, incorporating a sense of their movement and choreography. Julie Ann was individually cast and has a unique patina.

Kuspit, Donald. “Goddess Or Gynecology?” Artnet. Artnet Worldwide Corporation, 10 July 2009. Web. 16 Aug 2015.

67

101 ROBERT GRAHAM

Julie Ann (from Eight Figures Series) 1993 Individually cast bronze with unique patina From the unnumbered edition, each with unique patina or hand painted LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 59" x 16" diameter at base LIT E RAT URE Robert Graham: Eight Statues. M. McClure. 1994. #5.

$40,000–60,000

102 ROBERT GRAHAM MOCA Torso

1992-1995 Patinated cast bronze From the edition of 3,500 Published by MOCA Editions Signed “R. Graham” and bears the inscriptions “Carlos M” and “A. Guardado” 11" x 4.5" diameter at base

$3,000–5,000

103 ROBERT GRAHAM Elisa ‘96

Cast 2007 Patinated bronze on composite base #128 of 250 Signed in ink “R. Graham” at base; incised “Elisa...RG” and stamped “128” 3.5" x 2.25" x 2.5" (not including base) Created to benefit the Women’s Guild 50th Anniversary at Cedars-Sinai Medical Center.

$2,000–3,000

104 ROBERT GRAHAM Elisa ‘96

Cast 2007 Patinated bronze on composite base #174 of 250 Signed in ink “R. Graham” at base; incised “Elisa...RG” and stamped “174” 3.5" x 2.25" x 2.5" (not including base) Created to benefit the Women’s Guild 50th Anniversary at Cedars-Sinai Medical Center.

$2,000–3,000

105 DAN MCCLEARY Untitled

1999 Pastel on paper Initialed and dated lower right sheet Sheet: 35" x 29.5" Frame: 41" x 35"

$2,000–3,000

69

106 DAN MCCLEARY

Untitled (Portrait of Unknown Person) 1996 Graphite on paper Signed and dated in graphite lower right sheet Sheet: 15" x 11" Frame: 21" x 17"

$800–1,200

107 WILLIAM THEOPHILUS BROWN Untitled

1975 Casein on paper Signed and dated in graphite lower left sheet Sheet: 10.75" x 14.75" Frame: 21" x 24.75" EXHIBITE D “Encounters,” Charles Campbell Gallery, San Francisco, 1999

$2,500–3,500

108 PAUL WONNER

Untitled (Self-Portrait) 1964 Gouache on paper Signed in graphite lower right sheet Sheet: 16.5" x 13.75" Frame: 25.125" x 21.25"

$8,000–10,000

71

109 JAMES JARVAISE

L’homme au chambre (7) 1983 Mixed-media on paper Each signed, dated, and inscribed Largest: Sheet: 11" x 9" Frame: 19.625" x 16.75" Smallest: Sheet: 6.5" x 4.75" Frame: 15.75" x 13"

$4,000–6,000

110 ROLAND PETERSEN

Landscape with Fields 1961 Acrylic and casein on paper Signed and dated “Roland Petersen 61” lower right; retains “All Faculty Art Exhibition/Art Dept., U.C. at DAVIS (…)” label verso Image/sheet (vis): 21" x 28.75" Frame: 29.125" x 34.875" P ROVENA NC E The artist; Thence by descent

$8,000–12,000

111 ROLAND PETERSEN

Fall Cloud Shadow and Fields 1972 Acrylic on canvas Initialed and dated lower right Canvas: 34" x 44" Frame: 34.75" x 44.75" P ROVENA NC E The artist; Thence by descent

$15,000–20,000

73

112 ROLAND PETERSEN

Picnic with Palm Trees 1996 Acrylic on canvas Signed and dated “Roland Petersen 1996” center right Canvas: 34.125" x 66" Frame: 34.875" x 67.125" P ROV E NANC E The artist; Thence by descent

$30,000–50,000

113 ARTHUR ESPENET CARPENTER Wishbone chair

Studio, executed 1969 Etched “Espenet 6965” 30.5" x 22" x 21"

$10,000–15,000

114 ARTHUR ESPENET CARPENTER Wishbone chair

Studio, executed 1969 Etched “Espenet 6965” 30.25" x 22" x 21.75"

$10,000–15,000

115 BENIAMINO BUFANO

Animal Sculptures (12) c. 1960 Pewter Some stamped “800” Together with book Bufano (1956) signed by the artist in blue ballpoint pen and dedicated inside Largest (Puffin): 3.625" x 1" x 1.75" (8.25" x 2" x 3" including base) Smallest (Walrus): 1" x .625" x 2" (4.25" x 2" x 3" including base)

$8,000–12,000

75

PARTIAL ILLUSTRATION

116 J.B. BLUNK

Ceramic plaques (6) Studio, executed c. 1960 Each initialed “JB” Largest: 11" x 11" x 1" Smallest: 7.5" diameter x 1"

$4,000–6,000

117 J.B. BLUNK ARCH1

Studio, executed c. 1980 #5 of 10 Bronze affixed to wooden artist’s base Marked “ARCH1 5/10” and signed by the artist at base 7" x 4.5" x 2.5" (4.75" diameter at base)

$2,500–3,500

118 STUDIO DEL CAMPO Wall relief

c. 1960 Wood, metal, ceramic 25.125" x 24.875"

$3,000–5,000

119 WAYNE THIEBAUD Van

1989 Color drypoint on paper #40 of 50 Published and printed by Crown Point Press, San Francisco Signed and dated in graphite lower right sheet; edition lower left margin; Crown Point Press blindstamp lower right edge of sheet Image: 9" x 11.75" Sheet: 17" x 18.75" Frame: 19" x 21"

$4,000–6,000

77

120 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956 Model nos. 670 (chair) and 671 (ottoman) Chair: 30.75" x 35" x 32.75" Ottoman: 16.5" x 26" x 22" LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 207.

$4,000–6,000

121 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956 Model nos. 670 (chair) and 671 (ottoman) Chair: 32.75" x 35" x 32.75" Ottoman: 16.5" x 26" x 22" LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 207.

$3,000–5,000

122 CHARLES & RAY EAMES Storage unit

Herman Miller, designed 1950 Model no. ESU-201-C 32.5" x 47" x 16" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 127.

$4,000–6,000

123 CHARLES & RAY EAMES Lounge chair

Evans Products, designed 1946 Model no. LCW Retains Evans Products label 26.5" x 24" x 22" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 73.

$1,000–1,500

NOT ILLUSTRATED

124 CHARLES & RAY EAMES Lounge chair

Evans Products, designed 1946 Model no. LCW 26.5" x 24" x 22" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 73.

$600–900

79

125 CHARLES & RAY EAMES Rocking chair

Herman Miller, designed 1950-1953 Model no. RAR 27" x 27.25" x 24.75"

$1,000–1,500

126 CHARLES & RAY EAMES Armchair

Zenith Plastics Co. for Herman Miller, designed 1950 Model no. DAX Retains Zenith/Herman Miller label 29.75" x 24.75" x 24.5"

$1,500–2,500

127 CHARLES & RAY EAMES Ten panel screen

Herman Miller, designed 1946 Model no. FSW 10 Retains “Carroll Sagar & Associates, 8833 Beverly Blvd” label 68" x 100" This screen was used as a fixture in the Carroll Sagar showroom as well as the Jules Seltzer Showroom, the first showroom in Los Angeles to sell Herman Miller furnishings.

LIT E RAT URE The Herman Miller Collection: Furniture Designed by George Nelson, Charles Eames, Isamu Noguchi, and Paul László. Herman Miller cat.

1948. 108.

$5,000–7,000

128 CHARLES & RAY EAMES Six panel short screen

Herman Miller, designed 1946 Model no. 34 FSW 6 34.25" x 60" LIT E RAT URE The Herman Miller Collection: Furniture Designed by George Nelson, Charles Eames, Isamu Noguchi, and Paul László. Herman Miller cat. 1948. 108.

$3,000–5,000

81

129 CHARLES & RAY EAMES Dining chairs (2)

Evans Products, designed 1945 Model no. DCW Each retains Evans Products labels Each: 28.75" x 21.5" x 19"

$1,000–1,500

130 CHARLES & RAY EAMES Coffee table

Evans Products, designed 1945 Model no. CTW Retains Evans Products label 15.5" x 34" diameter LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 63.

$1,500–2,000

131 CHARLES & RAY EAMES Dining table

Evans Products, designed 1945 Model no. DTW-1 Marked in pencil “DTW1” 29.5" x 54" x 34" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 62.

$3,000–5,000

132 CHARLES & RAY EAMES Side chairs (4)

Herman Miller, designed 1951 Model no. DKW One retains Herman Miller tag Each: 33" x 21" x 19" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 151.

$2,000–3,000

83

Dan Johnson While other postwar California furniture designers explored futuristic paraboloid forms and free-form biomorphic shapes, Dan Johnson (1918—1979) looked back to Roman antiquity to find inspiration for his signature furniture pieces. Born in Missouri, Johnson studied at the Art Center College of Design in Pasadena (with a brief spell as an engineering student at the University of Cincinnati).

Beginning in the late 1940s, he designed for the Alhambra, California furniture maker Hayden Hall, producing attractive chairs and case pieces in smooth-edged angular plywood.

Several of these were shown in Arts and Architecture magazine’s feature on architect Rodney Walker’s Case Study House #17.

In the mid-1950s, he moved to Rome and opened Dan Johnson Studio, designing furnishings that, as he later wrote to a friend, took “a modern approach to the ancient

133 DAN JOHNSON

Satyr dining table Dan Johnson Studio, Italy, designed c. 1956 28.5" x 68" x 36" LITERATURE A Handbook of California Design, 1930-1965: Craftspeople, Designers, Manufacturers. B. Tigerman, ed. 2013.

132-133.

$15,000–20,000

Roman stuff I appreciated so much.” The pieces are marked by their elegant sculptural quality. The forms of Johnson’s best-known works—his lithe, graceful Gazelle chairs and tables—were likely suggested by the animals depicted in early CE Roman hunting scene mosaics. The rare Satyr line of tables was inspired by images of the Greco-Roman mythological figure: part-man, part-horse, with a notably long tail, and in many renderings, equine legs and hooves. (Johnson took the further liberty of giving his satyrs a pair of tiny wings.) Both the Gazelle and the Satyr lines were made in wood, anodized aluminum, and patinated cast bronze. The 1956 Dan Johnson Studio catalogue offers three- and four-leg Satyr side tables.

However, this lot is the only known example of a Satyr dining table.

Tigerman, Bobbye, ed. A Handbook of California Design, 1930-1965: Craftspeople, Designers, Manufacturers. Cambridge: MIT, 2013. Print. 132-133.

134 DAN JOHNSON

Dining chairs (6) Dan Johnson Studio, designed c. 1958 Comprised of four side chairs and two armchairs Side chairs each: 32.75" x 20" x 19" Armchairs each: 31.25" x 20" x 19"

$20,000–30,000

85

135 DAN JOHNSON Desk

Hayden Hall, designed 1947 29.75" x 53.125" x 25" LITERATURE Living In a Modern Way: California Design 1930-1965. W. Kaplan, ed. 2011. 139.

$5,000–7,000

136 DAN JOHNSON Gazelle chair

Dan Johnson Studio, designed c. 1958 27" x 24" x 22.5"

$5,000–7,000

87

Interview: Joe Goode Artist Joe Goode (b. 1937) has been living in Los Angeles for over 55 years and his work has been exhibited internationally since before the very genesis of terms like “contemporary art” or “Pop Art.” His work was included in Walter Hopps’ groundbreaking show “New Paintings of Common Objects” at the Pasadena Museum of Art in 1962 alongside Andy Warhol, Roy Lichtenstein, and Jim Dine.

Artists as varied as Vija Celmins, Ed Ruscha, and Alex Israel have cited Joe Goode as an important influence on their work. His paintings are in the permanent collections of many major museums such as the Moderna Museet in Stockholm, the Victoria and Albert Museum in London, and the Museum of Modern Art in New York.

Recently, the artist sat down with Peter Loughrey, Director of Los Angeles Modern Auctions, to talk about his career and Glass and Spoon (Tickled Pink) (1966—1967), which is being offered at auction for the first time in almost a half a century.

Peter Loughrey: What were your biggest influences from local artists?

Joe Goode: Probably Ed Ruscha because he and I grew up together. We’ve always been exposed to essentially the same things. When you grow up with somebody from when you’re seven years old, and you both turn out to be artists, it’s pretty rare.

PL: Which of your instructors at Chouinard Art Institute gave you the most encouragement as an artist?

JG: Well, the one that hands down influenced me the most and also gave me the most encouragement was Bob Irwin. He was the one who said, “You don’t need to be here anymore.” And I just thought “Oh! Amen!”

PL: There has been a lot written about your works having ‘a detached austerity’ or ‘a placeless, colored background.’ But

I’ve always seen a connection to light and space and what is out here in Los Angeles.

JG: Yeah, well, I think we can lay that on some people like John Coplans [writer, curator, and Artforum Editor-in-Chief from 1972—1977] who said one time “these are the loneliest paintings I ever saw” or something like that [laughs]. I guess what you see is what you get. I never thought of them that way. I definitely saw them as still lifes on a white tablecloth. And when I showed this one in England, they thought I was making “fun” of English still lifes! When in actual fact I was paying homage to them because I always respected [them], particularly English paintings. I went to London five or six times in the 60’s to be there and stay with friends there. To be making fun of it there wouldn’t make sense at all.

PL: So, Glass and Spoon (Tickled Pink) was actually painted in London. Did the location make a difference to the subject matter?

JG: From a significance point of view, I don’t think so. But I find in hindsight that, yeah, it’s different. It would never have been that way [in Los Angeles] and in this case, you can see that the shape of the glass and the shape of the spoon is typically a London shape. In London, that was the glass they put wine in. The color of London was not really what I was dealing with in these paintings. I was thinking of [the background color] in terms of a tablecloth. I wasn’t rationalizing it like I am now, I was just painting a tablecloth.

PL: Your work is often described as “Pop” and your work was included in the first American retrospective Pop Art exhibition in 1962. But I’ve never thought of your work as “Pop.” JG: It always of course looks different in hindsight. But at that time I was working and I didn’t care what they labeled me as long as they showed it. At that time this place was really young and there was very little opportunity to get exposure

and sell things. No artist was in a position to say anything [to the contrary] when something like that opportunity came up.

I just looked at it as [the curator’s] opinion. At that particular time in America, everyone was saying that this scene was a new art. But at the time I was thinking “I don’t see anything so new about what I’m doing.” I didn’t feel it was. I definitely didn’t feel it was “Pop.” PL: You were certainly painting common objects around you and in front of you.

JG: [Yes, but] I always said from the very beginning, if there was an artist that I related to, it was [Giorgio] Morandi.

PL: The West Coast was certainly a kind of outpost of the art world. How did Artforum or trips to New York and London help inform your work?

JG: After I had already started [having success] doing Milk Bottle paintings and House paintings, I just wondered where, if at all, was anyplace I fit in. So, after a time, travelling helped a lot. I was curious to see what was going on in New York, London, and Paris.

PL: Does your work contain any messages about society or are they purely about visual language?

JG: No, I don’t think so—not consciously anyway. I select images or a series that I want to work on based on something that you can see through. It’s always been that way, whether it’s a glass and spoon where it’s reflective, or a window, milk bottle, whatever. When I was young I had a daughter, a baby, and I’d come home from Chouinard at night and the milk bottles would be sitting on the steps, and basically that’s where I got the idea to paint them; just what was around me.

But it’s been for the most part totally unconscious. I’ve always worked in a kind of series. From Milk Bottle paintings to [today’s work] and, I’ve only realized this later, it always seemed like I was looking from here [Los Angeles] and looking out out out out out.

“…it always seemed like I was looking from here and looking out out out out out.”

DETAIL

137 JOE GOODE

Glass and Spoon (Tickled Pink) 1966-1967 Oil on Belgian linen Signed, titled, and dated in marker verso; retains remnant of Fort Worth Art Center Museum label verso; bears the inscription “Rowan” on canvas stretcher verso LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 60" x 60" P ROV E NANC E The artist; Nicholas Wilder Gallery, Los Angeles, California; L.M. Asher Family Collection, Los Angeles, California; Private Collection, Los Angeles, California; Thence by descent E XHIBIT E D “English Still Life on White Tablecloth,” Rowan Gallery, London, MayJune 1967; “1967 Annual Exhibition of Contemporary American Painting,” Whitney Museum of American Art, New York, December 13, 1967-February 4, 1968; “Joe Goode and Edward Ruscha,” Balboa Pavilion Gallery, Newport Harbor Art Museum, March 27-April 21, 1968; “Joe Goode: Work Until Now,” Fort Worth Art Center Museum, 1972 LIT E RAT URE 1967 Annual Exhibition of American Painting. Whitney Museum of American Art exh. cat. 1967. #45.

ILLUST RAT E D Joe Goode and Edward Ruscha. Newport Harbor Art Museum exh. cat. 1968. N. pag.; Joe Goode: Work Until Now. H.T. Hopkins. 1972. #5.

$100,000–150,000

89

138 JOE GOODE

Köln (No. 62 from Ozone Series) 1995 Oil on canvas Retains LA Louver Gallery label verso Canvas: 28" x 26" Frame: 29.25" x 27" P ROVENA NC E LA Louver Gallery, Venice, California; Private Collection, United States (acquired directly from the above) EXHIBITE D “Joe Goode,” Orange County Museum of Art, Newport Beach, January 26-April 13, 1997 ILLUSTRAT E D Joe Goode. Orange County Museum of Art exh. cat. 1997. #37.

$3,000–5,000

139 JOE GOODE Sunspot

1996 Oil on canvas Retains LA Louver Gallery label verso Canvas: 28.5" x 26" Frame: 29.25" x 27" P ROV E NANC E LA Louver Gallery, Venice, California; Private Collection, United States (acquired directly from the above)

$3,000–5,000

91

140 JOE GOODE

Milk Bottle Photo 27 2004 Sumi ink and photograph on washi paper Signed in graphite lower center sheet; dated lower right sheet; retains artist’s studio label verso Sheet: 11.5" x 9.5" Frame: 13.5" x 12"

$1,500–2,000

141 VIJA CELMINS

Untitled (Ocean with Cross #1) 2005 Screenprint on paper #36 of 108 Published by the Lincoln Center/ List Print and Poster Program, New York; printed by Brand X Editions, New York Signed in graphite lower right margin of sheet; edition lower left margin; blind stamp lower right edge of sheet Image: 17.5" x 22.5" Sheet: 24" x 28.5" Frame: 27.25" x 31.75" LITERATURE Art at Lincoln Center: The Public Art and List Print and Poster Collections. C. Riley. 2009. 200.

$8,000–10,000

142 VIJA CELMINS Spider Web

2009 Silkscreen on paper #17 of 117 Published by the Lincoln Center/ List Print and Poster Program, New York; printed by Brand X Editions, New York Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; printer blindstamp lower right edge of sheet Image: 11" x 13" Sheet: 17.5" x 19" LIT E RAT URE Art at Lincoln Center: The Public Art and List Print and Poster Collections. C. Riley. 2009. 210.

$3,000–5,000

143 RODNEY GRAHAM Weather Vane

2002 Black enameled stainless steel #23 of 70 Together with certificate of authenticity from Parkett signed by the artist with edition 26.25" x 24.5" x 21.5"

$3,000–5,000

93

144 ED MOSES Et Tu

2004 Acrylic and mylar on wood panel with metal ball chain Signed and dated “Y Branco 04” lower center; signed and inscribed “Moses y Branco #2 04” verso LAMA would like to thank the Ed Moses Studio for their assistance in cataloguing this work 43" x 43" x 2.5" P ROVENA NC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 2007)

$10,000–15,000

145 ED MOSES Untitled

1990 Acrylic on washi paper Signed and dated in graphite lower right sheet; retains two LA Louver Gallery labels verso Sheet: 36" x 26.25" Frame: 42" x 32.5" EXHIBITE D “Ed Moses: Abstraction & Apparition,” LA Louver Gallery, Venice, June 2-30, 1990

$5,000–7,000

Artist Ed Moses (b. 1926) incorporates his mother’s maiden name into his signatures, inscribing “Y Branco” and “Moses y Branco” on his works interchangeably. Olivia Branco raised Moses in Long Beach, California, while his father lived in Hawaii. Moses cites Pablo Picasso as inspiration for these signature variations. The Spanish artist signed works “Pablo Ruiz y Picasso” until around 1900. By adopting Picasso’s style and using his mother’s name in his signature, Moses pays homage to his maternal parentage.

146 ED MOSES #2 WAC

2002 Acrylic on canvas Signed “Y Branco” verso; inscribed “#2 WAC” verso LAMA would like to thank the Ed Moses Studio for their assistance in cataloguing this work Canvas: 60" x 48" Frame: 61.5" x 49.5" P ROV E NANC E Robert Green Fine Arts, Mill Valley, California; Private Collection, Northern California (acquired directly from the above) E XHIBIT E D “Ed Moses: Recent Paintings,” Brian Gross Fine Art, San Francisco, September 5-October 19, 2002; “Ed Moses,” Robert Green Fine Arts, Mill Valley, California, 2004

$15,000–20,000

95

147 BILLY AL BENGSTON Playa Estrella Dracula 1974 Acrylic on canvas Retains a Contemporary Arts Museum Houston exhibition label, an artist’s studio label, an Oakland Museum label, and two James Corcoran Gallery labels verso Canvas: 60" x 60" EXHIBITE D “Billy Al Bengston: Paintings of Three Decades,” traveling exhibition, Contemporary Arts Museum, Houston, May 14-June 26, 1988; The Oakland Museum, July 23-October 30, 1988; Los Angeles County Museum of Art, November 30, 1988-January 29, 1989; Contemporary Arts Center, Honolulu, March 6-April 30, 1989 LITERATURE Billy Al Bengston: Paintings of Three Decades. Contemporary Arts Museum, Houston exh. cat. 1988. #25

$40,000–60,000

148 VARIOUS ARTISTS Group of prints (7)

1988-1989 Lithograph and etching on paper Each signed and dated with edition in graphite Comprised of prints by Ed Moses (#12 of 25), Larry Bell (#42 of 75), Billy Al Bengston (#5 of 5 HC), Eric Orr (#4 of 50), Peter Alexander (#10 of 10 HC), Laddie John Dill (#2 of 10 HC), and Craig Kauffman (#9 of 10 HC) Various dimensions

$3,000–5,000

97

SIGNATURE DETAIL

149 BILLY AL BENGSTON Vase

Studio, executed c. 1957 Partially glazed and painted stoneware Signed “Moontang” 13.25" x 6.25" diameter P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 1950s); Thence by descent

$4,000–6,000

150 BILLY AL BENGSTON Mugs (2)

Studio, executed c. 1957 Partially glazed stoneware One signed “MOONTANG”; other signed and inscribed “LUV/ME TENDER/MOONTANG” 4" x 3.5" x 3" 4" x 3.5" x 2.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$2,000–3,000

99

INSCRIPTION DETAIL

151 BILLY AL BENGSTON Mugs (2)

Studio, executed c. 1957 Partially glazed stoneware One inscribed and signed “DO NOT WIND/MORE THAN.../MOONTANG”; other signed “D. Dtang” 4" x 5" x 3" 4" x 4" x 3" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$2,000–3,000

INSCRIPTION DETAIL

SIGNATURE DETAIL

152 PETER VOULKOS Vase

1960 Glazed and gas-fired stoneware with iron oxides Signed and dated “Voulkos 60” to the underside LAMA would like to thank Sam Jornlin of Voulkos & Co. for his assistance in cataloguing this work 20.375" x 5.75" x 7.5" The artist worked with Mussi Artworks Foundry in Berkeley, California to reproduce this vase in bronze in a small edition of ten.

P ROVENA NC E Osceola Gallery, Emeryville, California; Private Collection, Berkeley, California (acquired directly from the above) EXHIBITE D “Love, Pete Voulkos,” Osceola Gallery, Emeryville, May 3-June 16, 2003

$25,000–35,000

153 ROBERT ARNESON Face Brick

1978 Unglazed stoneware Impressed “ARNESON” to one side 4.25" x 2.75" x 10"

$8,000–12,000

101

154 PAUL SOLDNER Raku vessel

Studio, executed c. 1965 11.75" x 10" x 8"

$1,000–1,500

Paintings, Planks, and Portals: John McCracken John McCracken (1934—2011) fused painting with sculpture within the context of 1960s West Coast Minimalism, Finish Fetish, and Light and Space art in California. As an artist who explored light and color in simple geometric forms, finished with highly polished fiberglass and lacquer, he both exemplified and transcended the various movements with which he was associated. Taking notice of cultural and technological trends in Southern California, he utilized what was available: the surfboard, automobile, and plastics industries. Five Paintings III (1974) and Painting #6 (1973), like so much of McCracken’s oeuvre, function as “three-dimensional canvases”—between painting and sculpture—objects to experience from multiple angles with sensuous surfaces.

His signature works are high-gloss monolithic and monochromatic shapes—pure forms by way of industrial materials. McCracken developed the process for his fiberglass and resin pieces in an effort to find perfection.

As an early experiment, he covered plywood with lacquer paint, but the wood grain showed through. By pouring fiberglass over the wood first, he could get a “really flat surface,” then apply the resin color smoothly, about 1 millimeter thick. He polished them with hand-held power tools, and sometimes sanded the edges by hand. Employing this handmade process to make pieces come out “right” (“how they were supposed to look”) paradoxically resulted in them looking machine-made, which was the goal.

With pure forms McCracken wanted to make “otherworldly” objects with “hallucinatory” aspects. A favorite shape was what

he called a “plank.” These are made to rest on the floor and against the wall—and therefore reside in two spheres, one the traditional location for sculpture and the other for painting. He described them as portals linking two worlds—the grounded space of the floor or earth, and the “the imagination, illusionist painting space, [and] human mental space” of the wall. Painting #6, is like a plank in painting structure, with framework made to hang on the wall. The swirling blues, blacks, whites, and grays (a departure from the usual monochrome) are reminiscent of resin on vintage surfboards.

Five Paintings III is one of a series of five high-gloss, wall-mounted rectangles made in 1974. (Five Paintings IV is in the collection of the Museum of Contemporary Art San Diego).

A serendipitous accident occurred while applying the resin wherein many air bubbles or particulates were trapped in the surface. Depending on the angle, the surface looks highly reflective, or opaque, or alight with flashing sparks. Facing it, rather than seeing gestural or figurative brushwork, you can see yourself among what looks like a galaxy of stars. McCracken invites his viewers to enter another dimension.

“About This Artwork: John McCracken.” Art Institute Chicago. The Art Institute of Chicago, 2015. Web. 24 June 2015. Clark, Robin, ed. Phenomenal: California Light, Space, Surface. Berkeley: University of California Press; San Diego: Museum of Contemporary Art San Diego, c. 2011. Print. 67. Colpitt, Frances.

“Between Two Worlds: John McCracken.” Art in America Magazine. Brant Publications, 1 April 1998. Web. 24 June 2015. Knight, Christopher. “John McCracken dies at 76; contemporary artist made geometric sculptures.” Los Angeles Times. 10 April 2011. Web. 24 June 2015. “Post/20196398088/whenwe-think-of-painting-we-expect-to-recognize” MCASD Tumblr. Museum of Contemporary Art, San Diego, n.d. Web. 24 June 2015.

MARKINGS DETAIL

155 JOHN MCCRACKEN Five Paintings III

1974 Polyester resin, fiberglass, and wood Signed, dated, and inscribed “John McCracken 5-74/Five Paintings III” in felt-tip marker verso 32" x 48" x 2.5" Murray “Mickey” A. Gribin was a significant art patron who gifted many items from his collection including works by Craig Kauffman, John McCracken, Ed Ruscha, and Larry Bell to the Laguna Art Museum and the Museum of Contemporary Art San Diego. He gifted Five Paintings IV (from this series) to the Museum of Contemporary Art San Diego where it currently resides in their permanent collection.

P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California LIT E RAT URE Phenomenal: California Light, Space, Surface. R. Clark, ed.

2011. 66 for another work from this series illustrated.

$90,000–120,000

103

156 JOHN MCCRACKEN Painting #6

1973 Resin on panel Signed, titled, and dated in felt-tip marker verso 12" x 96" x 2"

$15,000–20,000

157 TONY BERLANT Lure

2003 Found and fabricated printed tin collaged on plywood with steel brads Together with invoice from John Berggruen Gallery 6" x 6" x 6" P ROVENANC E John Berggruen Gallery, San Francisco, California; Private Collection, Santa Barbara, California; Thence by descent

$3,000–5,000

105

158 LARRY BELL

ELIN 26 (Ellipse Insert) 1981 Vaporized metal particles on paper Signed and dated in graphite lower center sheet; signed and titled verso Sheet: 52" x 35" Frame: 54" x 37" P ROV E NANC E Private Collection, Beverly Hills, California

$6,000–9,000

159 DE WAIN VALENTINE Disk Purple

1968 Cast polyester resin 5" x 11.5" diameter

$10,000–15,000

MARKINGS DETAIL

160 MARY CORSE

White Light Painting (from the White Light Band Series) 1990 Glass microspheres in acrylic on canvas Signed and dated in felt-tip marker twice verso Canvas: 86" x 60" P ROV E NANC E Ace Contemporary Exhibitions, Los Angeles, California; Private Collection, California (acquired directly from the above, 1992)

$50,000–70,000

107

161 ERIC ORR

Haiku Heat c. 1993 Mixed-media on canvas panel in artist’s frame Canvas panel: 33" x 27.25" Frame: 36.25" x 29"

$3,000–5,000

162 VARIOUS ARTISTS

The Frostig Collection (5) 2004; published 2005 The complete set of bronze sculptures together with original wooden box #8 of 200 Each signed with edition Comprised of Crybaby by Charles Arnoldi, Lunk by Ken Price, Speak for Me by Sarah Perry, Stretching Dog Maquette by Gwynn Murrill, and Maquette for Studio by Michael C. McMillen Various dimensions Box: 18.25" x 12" x 6.25"

$4,000–6,000

109 163

164

PETER ALEXANDER

PETER ALEXANDER

1987 Charcoal on paper

1972 Polyester resin

Titled, initialed, and dated in graphite lower right sheet

LAMA would like to thank the artist for his assistance in cataloguing this work

Romance VIII (Sleeping Cat)

Sheet: 17.625" x 23.625" Frame: 25.875" x 31.625"

$2,000–3,000

Drip

68" x 8" (largest width)

$15,000–20,000

111

VANCOUVER SORROW: The Mystery of “Sandra” VANCOUVER SORROW, a poem in 26 parts, functions as a long-distance unrequited love story between an artist, Sandra, and a woman in Vancouver, Canada. Nearly every day for a month at the end of the year 1974, the artist mailed a single yellow lined page with a sentiment, a story, or abstract prose or poetry. The pages are handwritten in a beautiful script. A matching manuscript, in which each typewritten page mimics each letter exactly, is included. The first page starts: “<a romantic tale without an end>.” References to Diane Arbus, Brice Marden, and good times spent in Vancouver, Los Angeles, and more, follow.

An air of mystery permeates the one-sided dialogue. The recipient is not referred to by name, and the sender's return address reads only “VANCOUVER SORROW” and a P.O. Box address in New York. One name, “Carl,” appears frequently.

Carl is referred to on a page titled “Hollis Frampton,” in a “‘moving’ fugue” about a suicide at False Creek, and along with cognac—“cognac with Carl cognac.” Also, “Ian of all the artists who have been to my home Carl is the first to have brought anything.” The style of this artistic manuscript strongly resembles the concrete poetry of Carl Andre.

A founding member of Minimalism in the mid-1960s, Carl Andre is regarded as one of America’s greatest living sculptors. But poetry was his first calling. His mother was an amateur poet, and he studied the subject at Phillips Andover Academy where he enrolled on a scholarship. From the 1950s and 1960s onward, Andre created text-based works and concrete poetry in addition to sculpture. He called these “typewriter drawings,” since the structure of the words on the page were as important as the actual content. The word combinations have a visual component—they are in descending lines, or blocks stacked upon each other. Often he uses stories from history or biographies, or those drawn from his own life. His Passport (1960) is like a scrapbook with poems and collages of items of interest to him. In Still a Novel (1972) sentences are arranged in grids and repeating blocks over 104 pages depicting the drama of photographer Eadweard Muybridge’s life. Andre sometimes injects into his work an irreverent sense of humor, with cunning puns and verbal jokes. In his ready-made series, Dada Forgeries, with a nod to Duchamp, he created the pseudonym Alden Carr, an anagram derived from his real name.

The manuscript VANCOUVER SORROW resembles Andre’s concrete poetry—the typed lines are formatted graphically; the occasional drawing interspersed. The tale ends thus: “But then I didn’t go to Vancouver to speak — I went to touch you — you who had touched me with your words covered and caressed me. And now I seem to be back at the beginning VANCOUVER, B.C. my Love, Sandra (handwritten)” But who is Sandra? The recipient of this poem does not seem to remember. She does recall, many years ago, meeting up with Carl Andre in Vancouver and Los Angeles, but not with a “Sandra.” Is it a man or a woman? Is it a false name? A pseudonym? Like a riddle or a game to play, with VANCOUVER SORROW you can open the airmail envelopes to see the pages, or you can read the complete typed manuscript, or find the accompanying used yellow notepad with remaining empty pages. Extremely rare and personal, VANCOUVER SORROW has never been on the market before.

Unravel the mystery and read the entire narrative here for the first time. Also with this lot is a postcard from Carl Andre referencing this work dated June 22, 1979.

Andre, Carl, Lynn Kost, and Museum zu Allerheiligen. Carl Andre: Poems.

Zurich: JRP/Ringier, 2014. 5-7. Print. Carter, Holland. “A Stonehenge for the Modern Age Carl Andre’s Epic Sculptures, United at Dia: Beacon.” The New York Times. Art & Design/Art Review sec. The New York Times Company, 29 May 2014. Web. 12 July 2015. Smith, Roberta. “Carl Andre, John Weber Gallery.” About Carl Andre: Critical Texts Since 1965. Eds. Paula Feldman, Alistair Rider, and Karsten Schubert. London: Ridinghouse, 2008. 125-126.

Print. Raymond, Yasmil, and Philippe Vergne. Carl Andre Sculpture as Place, 1958–2010. Ed. Michelle Piranio and Jeremy Sigler. New Haven: Yale UP; and New York: Dia Art Foundation, 2014. 235. Print.

165 SANDRA

VANCOUVER SORROW, a poem in 26 parts 1974 Typewriter ink, and ink on 100% cotton fiber paper in 27 sheets One sheet signed ”Sandra“ Together with 26 airmail envelopes containing 26 inscribed yellow notepad sheets, additional envelope containing remainder of yellow notepad, and postcard from Carl Andre referencing the work (dated June 22, 1979) Sheet each: 11" x 8.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1974)

$10,000–15,000

113

PARTIAL ILLUSTRATION

165A VARIOUS ARTISTS

Group of postcards and gallery mailers (22) 1974–1993 Three signed ”@ carl andre“, two signed ”@ carl“, two signed ”Alden Carr“, and 14 signed ”@“ Comprised of 19 postcards, three gallery mailers, and corresponding envelopes Various dimensions P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artists, 1974–1993) PARTIAL ILLUSTRATION

$3,000–5,000

166 JOHN MILLEI

Untitled Drawing #1 1993 Oil, ink, and graphite on plastic vellum Initialed and dated in graphite lower right sheet Sheet: 59.75" x 42" Frame: 65.5" x 48.25" P ROVENANC E Ace Contemporary Exhibitions, Los Angeles, California; Private Collection, California (acquired directly from the above, May 1994)

$5,000â&#x20AC;&#x201C;10,000

115

167 JOHN MILLEI Untitled (12)

1999 Oil on canvas in twelve parts Each initialed and dated verso Canvas each: 8" x 10" Frame each: 9" x 11" P ROV E NANC E Ace Contemporary Exhibitions, Los Angeles, California; Private Collection, California (acquired directly from the above, January 2000)

$8,000â&#x20AC;&#x201C;12,000

ALTERNATE VIEW

168 CHRIS FEREBEE

Hollow Table prototype Custom, executed 1999 Retains designer’s label 10" x 48" x 22" This example is the prototype of two handmade tables produced at a later date. This prototype debuted at the International Contemporary Furniture Fair (ICFF) in 2000.

P ROVENA NC E The artist, New York LITERATURE Young American Designers. C. Kowalski Dougherty, ed. 2006.

15.; Furniture Design. teNeues exh. cat.

2002. N. pag.

$8,000–10,000

117

169 DON SUGGS

Two Fridas (from Matrimony Series) (2) 2006 Oil on canvas in two parts Signed and dated in black felt-tip marker verso; retains LA Louver Gallery label verso As illustrated: 69" x 85" P ROV E NANC E LA Louver Gallery, Venice, California; Private Collection, California (acquired directly from the above, July 2007) ILLUST RAT E D Don Suggs One Man Group Show. D. Harvey, et al. 2007. 34.

$5,000â&#x20AC;&#x201C;7,000

Tom Friedman Drawing on a seemingly infinite reserve of patience, and a near obsessive concern with detail, multimedia artist Tom Friedman (b. 1965) consistently conjures up miracles and majesty from the most mundane materials. These include Styrofoam, toilet paper, cooked spaghetti, pencils, masking tape, plastic cups, and drinking strawsâ&#x20AC;&#x201D;and he uses them with wry humor. Friedman built a geometric starburst sculpture from 30,000 toothpicks; made a perfect sphere from 1,500 pieces of chewed gum; and fashioned a work between 1992 and 1995 entitled Everything, consisting of a single sheet of paper on which he wrote every word in a dictionary. The present lot, Hi, is one of a series of large-scale collages executed in 2006 and 2007, for which Friedman painstakingly culled magazines for thematic images, layering and building them to a near epic narrative tableaux.

Friedmanâ&#x20AC;&#x2122;s work has been exhibited in major museums throughout the world, including solo shows at the Museum of Modern Art in New York, the Art Institute of Chicago, the Fondazione Prada in Milan, and the Tel Aviv Museum of Art. Cooper, Dennis, Bruce Hainley, Tom Friedman, and Adrian Searle. Tom Friedman. London: Phaidon, 2001. Print.

170 TOM FRIEDMAN Hi

2007 Collage on paper Sheet: 108" x 78" Frame: 111" x 81.5" P ROV E NANC E Gagosian Gallery, Beverly Hills, California; Private Collection, California (acquired directly from the above, 2007)

$100,000â&#x20AC;&#x201C;150,000

119

171 LARRY POONS Akege

1981 Oil on canvas Signed and dated in graphite verso; retains André Emmerich Gallery label verso Canvas: 79.5" x 47" Frame: 81" x 48.5" P ROVENA NC E André Emmerich Gallery, New York, New York; Private Collection, California (acquired directly from the above, March 1981)

$18,000–25,000

121

MARKINGS DETAIL

172 GEORGE RICKEY One Line Leaning 1982 Stainless steel #1 of 3 Incised signature with date and edition at base Overall: 20" x 20" (base: 3" x 3") P ROV E NANC E Inkfish Gallery, Denver, Colorado; Private Collection, Tucson, Arizona (acquired directly from the above)

$18,000â&#x20AC;&#x201C;25,000

173 HARRY BERTOIA

Sonambient Sculpture Studio, executed c. 1961-1965 Welded beryllium 55" x 5.75" diameter at base P ROVE NA NC E Inkfish Gallery, Denver, Colorado; Private Collection, Tucson, Arizona (acquired directly from the above)

$40,000â&#x20AC;&#x201C;60,000

174 HARRY BERTOIA

Untitled (Study with letter to Mr. Beau Locksley) 1967 Blue ink on paper Signed and inscribed: “Dear Mr. Beau:/Here are the sketches you requested./I hope you’ll find them satisfactory/Sincerely,/Harry Bertoia; retains Locksley Shea Gallery label verso Sheet (vis.): 9.875" x 8.875" Frame: 14.5" x 12.5"

$2,000–3,000

175 HARRY BERTOIA

Small Diamond chairs (2) Knoll Associates, designed 1952 Model no. 421C Each retains Knoll Associates tag Each: 30.25" x 33.5" x 24.25" LIT E RAT URE Knoll Furniture 1938-1960.

S. Rouland. 2005. 75.

$400–600

123

Made of Color & Clay: Ken Price Central to the California Clay Movement, Ken Price (1935-1912) was one of the Los Angeles artists whose experimentation in ceramic sculpture revolutionized the medium to high art. During a brief time at the Otis College of Art and Design (then the Los Angeles County Art Institute), Price studied under Peter Voulkos. The “hero of American ceramics” (according to Price), who championed abstract sculpture, was a significant influence. At a young age, Price established himself in the emerging art scene with solo shows at the famed Ferus Gallery, in the company of artists and friends such as Billy Al Bengston and Robert Irwin.

Early works included fanciful drinking vessels and plates; along with nonfunctional items—sculptures in organic shapes—“eggs,” “mounds,” and “blobs.” Critic Lucy R. Lippard deemed them as having both surrealist and naturalist tendencies. Price said they reminded him of “mountain peaks, breasts, eggs, worms, worm trails, the damp undersides of things, intestines, veins and the like.”

shapes, mottled, and reminiscent of Murano glass.

Layers upon layers of acrylic paint were applied, and then fired. Price sanded the surface to reveal spots of the various colors underneath. Though the surface looks rough and pockmarked, it is actually smooth.

His early pieces were glazed, however, the artist used acrylic paints from 1983 onward. By 2000 Price was making rounded forms, like Up Back, often labeled “biomorphic” or “organic;” seemingly abstract “creatures” that might crawl away. He used color as a medium saying, “I wanted them to look like they were sort of made out of color.” Price developed a laborious technique resulting in these lavishly multi-colored

Barron, Stephanie. “Lumps, Bumps, Grooves, and Curves: Fifty Years of Ken Price Sculpture.” Ken Price Sculpture: A Retrospective. By Stephanie Barron. Los Angeles: Los Angeles County Museum of Art; Munich: Prestel Verlag, 2012. 17, 31, and 34. Print. Boucher, Brian. “The Last Testament of Ken Price.” Art in America, 7 March 2013. Web. 22 July 2015. Smith, Roberta. “Ken Price, Sculptor Whose Artworks Helped Elevate Ceramics, Dies at 77.” Art & Design sec. The New York Times, 24 Feb. 2012. Web. 22 July 2015 Tuchman, Phyllis. “Color Me Sculpture.” Ken Price Sculpture: A Retrospective. By Stephanie Barron. Los Angeles: Los Angeles County Museum of Art; Munich: Prestel Verlag, 2012. 171. Print.

Up Back, on the market for the first time since it was made in 2000, is similar to many of the biomorphic sculptures from the 2000s prominently featured in Ken Price Sculpture: A Retrospective at the Los Angeles County Museum of Art, held September 16, 2012—January 6, 2013. The artist was in poor health as his retrospective was being organized. In anticipation of this honor, rather than continue to receive medical treatment, he devoted his remaining time to creating work and preparing for the exhibition. Ken Price died on February 24, 2012. After its debut at LACMA, Ken Price Sculpture: A Retrospective traveled to the Nasher Sculpture Center in Dallas, and New York’s Metropolitan Museum of Art.

125

176 KEN PRICE Up Back

2000 Fired and painted clay 10.5" x 11" x 9.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 2005)

$150,000â&#x20AC;&#x201C;200,000

ALTERNATE VIEWS

127

177 KEN PRICE Big Wave II

1999 Acrylic, ink, and graphite on paper Signed and dated in graphite lower left sheet; titled and dated in felttip marker frame verso Composition: 5" x 7.5" Sheet (vis.): 7.5" x 9.5" Frame: 11" x 13" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$17,000â&#x20AC;&#x201C;20,000

178 KEN PRICE

Surfing in a State of Nature 1999 Acrylic, ink, and graphite on paper Signed and dated in graphite lower left sheet; title inscribed with date in felt-tip marker frame verso Together with copy of The Surfer’s Journal Composition: 6.25" x 7.5" Sheet: 7.25" x 8.5" Frame: 11" x 13" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) ILLUSTRAT E D “Greenwater and Biomorphs: The Art of Ken Price.” J. Gunnin. The Surfer’s Journal. Oct. 2005. 86.

$25,000–30,000

179 KEN PRICE Lorna

1981 Watercolor and Xerox print on paper #2 of 3 unique variations Signed and dated with title and edition in graphite lower right mat Composition: 3.75" x 5.375" Sheet: 3.875" x 6.75" Mat (vis.): 4.375" x 7.125" Frame: 10.875" x 15"

$3,000–5,000

180 KEN PRICE

Four Images of New Mexico 1997 Color lithograph on paper #40 of 70 Printed by Tamarind Press, Albuquerque Signed and dated in graphite lower right sheet with edition; Tamarind blindstamp lower left sheet Image/sheet: 30" x 22"

$800â&#x20AC;&#x201C;1,200

129

181 KEN PRICE

Figurine Cup I (from Figurine Cup Series) 1970 6-color lithograph on Arjomari paper #56 of 59 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with title and edition in graphite lower right sheet; Gemini G.E.L. blindstamp lower right sheet Gemini G.E.L. #39.1 Image: 6" x 8" Frame: 24.625" x 20.625"

$800â&#x20AC;&#x201C;1,200

182 ROBERT LONGO Wave

2003 Color screenprint on paper #38 of 108

183

Published by the Lincoln Center/ List Print and Poster Program, New York; printed by Brand X Editions, New York

ROBERT LONGO

Signed and dated in graphite lower right sheet; edition lower left Image/sheet: 15.375" x 39.75" Frame: 21.5" x 46.25" LITERATURE Art at Lincoln Center: The Public Art and List Print and Poster Collections. C. Riley. 2009. 196.

$3,000–5,000

Untitled (Rose)

2005 Digital pigment print on Crane Museo paper #44 of 75 Signed and dated in graphite lower right sheet; edition lower left Image/sheet (vis.): 13.5" x 13.5" Frame: 21.5" x 21.5"

$4,000–6,000

MARKINGS DETAIL

184 RAYMOND PETTIBON

Untitled (They say water finds the lowest place.)

2005 Hand-shaped Clark foam blank and polyester resin surfboard Unique Hand-shaped by Terry Martin and Pierre Van Swaye of Hobie Signed “Raymond Pettibon” verso Together with fin, Hobie fin cover, exhibition catalogue, and gallery postcard mailer with image of the surfboard 84.5" x 21.5" x 2" This surfboard was made via a transformational fusion process utilizing imaging on rice paper, state-of-theart resins and extreme heat, which physically integrated the artwork onto the body of the board.

P ROV E NANC E Private Collection, Dana Point, California (acquired directly from Peter Blake Gallery, Laguna Beach, California, 2005) E XHIBIT E D “FLOW,” Peter Blake Gallery, Laguna Beach, April 6-27, 2006 ILLUST RAT E D FLOW. Peter Blake Gallery exh. cat. 2006. 13.

$15,000–20,000

131

185 RAYMOND PETTIBON

Get the camera we found life.

1988 Ink on paper Signed and dated in blue ballpoint pen verso Composition: 12.375" x 9.375" Sheet: 14" x 11" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$8,000â&#x20AC;&#x201C;12,000

186 RAYMOND PETTIBON

From the Original Score c. 2002 Ink on paper 9" diameter This drawing was utilized as artwork for the compact disc version of Mother Superior’s Sin (2002).

$4,000–6,000

187 RAYMOND PETTIBON

Assorted ‘zines and a comic (15) 1978-1980s Offset lithograph on paper; each staple-bound The Cloud of Unreading: #55 of 100; The Language of Romantic Thought: #84 of 100 Published by SST Publications Each: 8.5" x 5.5" One: 10.5" x 7.25" The Cloud of Unreading together with Nelson Tarpenny, and Selfishness together with Michael Gira PARTIAL ILLUSTRATION

$2,000–3,000

133

188 CLAIRE FALKENSTEIN Flames

1992 Oil on canvas Signed and dated with title verso Canvas: 54" x 77"

$4,000â&#x20AC;&#x201C;6,000

135

189 CLAIRE FALKENSTEIN

Untitled (from Fusions Series) c. 1962 Fused murano and copper 2.125" x 2.5" x 3"

$2,500–3,500

190 MARGARET DE PATTA Ring

Production, designed 1947 Sterling and rutilated quartz on rotating axis Stamped “de Patta/Sterling” with artist’s cipher

$3,000–5,000

191 SAM FRANCIS Untitled

c. 1974-1976 Monoprint Signed in graphite verso Sheet: 30" x 24.75" Frame: 34" x 28.75"

$4,000â&#x20AC;&#x201C;6,000

192 SAM FRANCIS

Untitled (SF82-125) 1982 India ink on paper Signed in blue ballpoint pen lower right sheet Sheet: 19.25" x 13.75" Frame: 25" x 18.75" This work is identified with the interim identification number of SF82-125 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, La Jolla, California (acquired directly from the artist)

$6,000–9,000

137

193 SAM FRANCIS Untitled

1990 5-color lithograph on PTI #120 Waterleaf paper #47 of 50 Published and printed by the Litho Shop, Inc., Santa Monica Signed in graphite lower left sheet; edition lower right with publisher’s blindstamp Image/sheet: 46.25" x 30" Frame: 54.75" x 38" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. I. C. Lembark. 1992. #L285.

$2,500–3,500

194 SAM FRANCIS Lyre Eight

1972 8-color screenprint on Italia paper #4 of 50 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in graphite lower right margin of sheet; Gemini G.E.L. blindstamp lower right sheet Image/sheet: 42.5" x 54.5" Frame: 48.125" x 60.5" LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. II. C. Lembark.

1992. #S5.

$4,000–6,000

195 SAM FRANCIS

Untitled (from Eight by Eight to Celebrate the Temporary Contemporary) 1983; published 1984 8-color offset lithograph on Rives BFK paper #242 of 250 Published by the Museum of Contemporary Art, Los Angeles; printed by George Page, the Litho Shop, Inc., Santa Monica Signed in graphite lower right sheet; edition lower left Image/sheet: 42" x 28.75" P ROV E NANC E Moira James Gallery, Green Valley, Nevada; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark.

1992. #L263.

$2,500–3,500

139

196 SAM FRANCIS Chinese Opal

1970 6-color lithograph on Rives BFK paper From the edition of 15 Published and printed by The Litho Shop, Inc., Santa Monica Signed in graphite lower center sheet Image/sheet: 35.25" x 25" Frame: 41" x 30.75" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark.

1992. #L111.

$2,000–3,000

Charles Arnoldi One of the most protean figures in the contemporary Los Angeles art world, Charles Arnoldi (b. 1946) is a painter, sculptor, and printmaker acclaimed for brightly colored compositions that straddle the margins of sculpture and painting; abstraction and representation. Both curiosity and experimentation are hallmarks of Arnoldi’s work—a theme that emerged in his groundbreaking “stick paintings” of the 1970s, made of found twigs and branches that Arnoldi shaped into constructions and affixed to panels.

Widely exhibited in the United States, Arnoldi’s work is included in the permanent collections of the Los Angeles County Museum of Art, the Museum of Modern Art, the Metropolitan Museum of Art in New York, the Smithsonian American Art Museum, and the Guggenheim Museum in Bilbao, Spain.

Los Angeles Modern Auctions spoke with Charles Arnoldi in August 2015 about his career and his artistic philosophy.

Los Angeles Modern Auctions: When you moved to California to study in the late sixties, the art world was in a state of flux. How did that affect you?

Charles Arnoldi: At art school they told me that painting was dead. Everyone was talking about conceptual art and process art. I was just some dumb kid from Dayton, Ohio.

To me, art was painting and sculpture. My goal was to make valid paintings.

LAMA: But then you did something unconventional with your compositions by using twigs.

CA: To my mind, that was painting. The tree branches look to me like drawn lines; they were like brushstrokes. I was appropriating lines from nature—and the structure of the lines gave the work integrity. Not everyone agreed with me. When I had my first solo show in New York in 1975, I got

into a fight with Brice Marden at Max’s Kansas City [a 1960s and 1970s nightclub famous for its creative class patrons].

He said I shouldn’t call them paintings and that I was just ripping off Polynesian stick charts [traditional maps made by Micronesian islanders, using the ribs of coconut palm fronds, to represent patterns in ocean currents].

LAMA: Critics frequently write about the relationship of your work to “the California environment.” Would you be the same artist if you worked elsewhere?

CA: I don’t consider myself a “California artist.” But there is a kind of attitude here, an open-mindedness— particularly about the use of non-traditional materials.

When I got here, Billy Al Bengston was painting on dented metal. Ron Davis was using resin and fiberglass. Larry Bell was making sculpture using vapor films adhered to glass panels. That was exciting. I wouldn’t be the same artist if I had gone to New York. Californians don’t have that same obsession with their place in art history. And there’s not that competitiveness. I met Jasper Johns and Warhol and Bob Rauschenberg and went to their studios. I saw that they were just people, and that I could make art, too. I didn’t feel I had to outdo them.

LAMA: The pieces in the auction form a sort of selected mini survey of your work. You have quite a diverse body of work.

CA: I’m always receptive to new ideas, and I pursue them to their logical ends. Plus, once I get good at something, it seems to me that it’s time to move on. I don’t do it for novelty’s sake. There’s always pressure to reinvent the wheel—but that’s just a silly pursuit. We human animals always think we’re scaling some new pinnacle, but in fact someone has been there before. Art is simply what I do with my time on earth. Hopefully the work is interesting and challenging, and each painting or sculpture represents a certain point in time in my life.

141

197 CHARLES ARNOLDI Untitled

1970 Acrylic on found wood sticks Signed and dated in graphite “Arnoldi 1970” verso 72.25" x 72.25" x 3"

$20,000–30,000

198 CHARLES ARNOLDI Hobby

2006 Acrylic on canvas Signed, titled, and dated in black felt-tip marker verso Together with copy of certificate of authenticity Canvas: 28" x 28" Frame: 28.75" x 28.75" P ROVENA NC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 2006)

$8,000–12,000

199 CHARLES ARNOLDI Untitled

2005 Oil on aluminum Etched signature and date, and inscribed “05.189” verso 13.25" x 18" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$5,000–7,000

200 CHARLES ARNOLDI Untitled (diptych)

1988 Monotype on paper in two sheets Signed, inscribed, and dated “Arnoldi 11/18/88 SB” upper center Sheet (overall): 73" x 64" Frame: 81.25" x 71.25" P ROV E NANC E Garner Tullis Workshop, Santa Barbara, California; Private Collection, United States (acquired directly from the above)

$6,000–9,000

201 CHARLES ARNOLDI Untitled

1997 Graphite and acrylic on paper Signed and dated in graphite lower right sheet; retains artist’s studio label verso Composition: 10.75" x 7.75" Sheet: 12.25" x 9" Frame: 21.25" x 17.25"

$1,500–2,000

143

202 DAVID HOCKNEY

Celia with Green Hat (from Moving Focus Series) 1984; published 1985 13-color lithograph on handmade paper #60 of 98 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated in graphite lower right sheet with publisher blindstamp; edition lower left Image/sheet: 30" x 22" P ROVENANC E LA Louver Gallery, Venice, California; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE David Hockney Prints 19541995. D. Hockney. 1996. #268.

$15,000â&#x20AC;&#x201C;20,000

203 DAVID HOCKNEY

The Atelier March 17th 2009 2009 Inkjet-printed computer drawing on paper #19 of 30 Signed and dated in graphite lower right margin of sheet; edition lower left margin of sheet; retains LA Louver Gallery label verso Image: 22.75" x 36.75" Sheet: 29" x 42.75" Frame: 33" x 46" P ROV E NANC E LA Louver Gallery, Venice, California; Private Collection, California (acquired directly from the above, May 2010)

$10,000â&#x20AC;&#x201C;15,000

145

204 DAVID HOCKNEY

Mulholland Drive, June 1986 1986 Homemade print executed on an office color copy machine on rag Arches Text paper #31 of 50 Published and printed by the artist Signed and dated in graphite lower right sheet; edition lower left Image/sheet (vis.): 10.75" x 16.75" Frame: 21" x 25" LITERATURE David Hockney Prints 1954-1995. D. Hockney. 1996. #308.

$6,000–9,000

205 DAVID HOCKNEY Untitled (Dog)

1991 Marker on Texas Ware plastic plate Initialed and dated in plate lower right 10" diameter P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$3,000–5,000

206 DAVID HOCKNEY

Gold (from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Image: 13.5" x 10.5" Sheet: 24.5" x 17.5" LIT E RAT URE David Hockney Prints 1954-1995. D. Hockney. 1996. #100.

$1,000–1,500

207 DAVID HOCKNEY

The Rescued Princess (from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Softground etching and aquatint on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Image: 9" x 10" Sheet: 17.75" x 15.75" LIT E RAT URE David Hockney Prints 1954-1995. D. Hockney. 1996. #99.

$1,000–1,500

208 DAVID HOCKNEY

The Rose and the Rose Stalk (from Illustrations for Six Fairy Tales from the Brothers Grimm) 1969-1970 Etching on paper #7 of 100 Published by Petersburg Press, London Signed in graphite lower right margin of sheet; edition lower left Image: 11" x 5" Sheet: 17.5" x 15.75" LIT E RAT URE David Hockney Prints 1954-1995. D. Hockney. 1996. #75.

$1,000–1,500

147

209 JOHN BALDESSARI

Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) 1973 The complete portfolio of 14 loose sheets; 12 sheets offset color photolithographs From the edition of 2,000 Published by Galleria Toselli, Milan; printed by Giampaolo Prearo, Milan Image each: 7" x 10" Sheet each: 9.625" x 12.625"

$1,000â&#x20AC;&#x201C;1,500

PARTIAL ILLUSTRATION

149

210 JOHN BALDESSARI

Hand and/or Feet: Chair and Books/Plate and Egg 2010 Color lithograph on Somerset paper in two sheets #38 of 48 Signed and dated lower right; edition lower left One sheet: 21.75" x 17.125" Other: 17.5" x 17.125"

$3,500â&#x20AC;&#x201C;4,500

211 JOHN BALDESSARI

Six Colorful Gags (Male) 1991 Photogravure, aquatint, and spitbite on torn, textured Somerset paper #16 of 25 Published and printed by Crown Point Press, San Francisco Signed and dated in graphite lower right sheet with Crown Point Press blindstamp; edition lower left Image: 40" x 48" Sheet: 47" x 54" Frame: 48.5" x 55" P ROVENA NC E Crown Point Press, San Francisco, California; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #56.

$5,000–7,000

212 JOHN BALDESSARI

Two Figures: One Leaping (Orange); One Reacting (with Blue and Green) 2005 Duotone photolithograph and lithograph with embossing and debossing on torn Magnani Pescia 300g paper Working proof aside from the edition of 40 Published and printed by El Nopal Press, Los Angeles Signed and dated in graphite lower right margin of sheet; inscribed “Working Proof” lower left Image: 18.5" x 15.5" Sheet: 22.625" x 18.375" Frame: 25.25" x 21.25" LITERATURE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #162.

$2,500–3,500

213 JOHN BALDESSARI

The Overlap Series: Double Motorcyclists and Landscape (Icelandic 2003) 2001-2003 6-color lithograph on Somerset paper #31 of 90 Published by Brooke Alexander Editions, New York; printed by Derriere L’Etoile Studios, New York Signed and dated in pencil lower right sheet margin beneath image; edition lower left sheet margin beneath image Image: 28" x 27.5" Sheet: 29.25" x 28.5" Frame: 37" x 36.25" LIT E RAT URE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #115.

$4,000–6,000

214 JOHN BALDESSARI

Raised Eyebrows/Furrowed Foreheads: Figure with Globe 2009 9-color screenprint on Fabriano paper #48 of 70 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Image: 29.75" x 30.75" Sheet: 31.75" x 30.75" Frame: 39.75" x 38.5"

$3,000–5,000

151

From One LA Icon to Another: Ed Ruscha and the Hollywood Sign After moving to Los Angeles from Oklahoma City in 1956 to study graphic design at the Chouinard Art Institute (now the California Institute of the Arts), Ed Ruscha (b. 1937) quickly gained his footing in the art scene and found early success as one of the “Cool School” associated with the Ferus Gallery. His start in commercial art influences his oeuvre: though he defies categorization with a varied output of photo-collages, paintings, prints, drawings, and books; his ironic words and deadpan style place him in the company of Pop artists. He often references the city’s vernacular and culture with conceptual word games.

In Hollywood (1968) Ruscha uses an actual sign as his text, one that is an iconic image and a stand-in itself for the City of Angels, in a long format, as if in reference to the silver screen. The artist had a studio in East Hollywood for a number of years. “I would look out my window there, and if I could see the Hollywood sign I’d know the weather wasn’t too smoggy,” he said.

Hollywood is a screenprint from an edition of 100, which he published and printed himself, using a split fountain technique so that several colors were run together directly onto the screen, creating modulations of blended colors. The Hollywood sign appears for the first time in this edition. Ruscha would later revisit the image, and in 1977 he painted the sign large-scale from another angle, which would become an iconic painting of his.

Tomkins, Calvin. “An artist in the right place.” Profiles sec.

The New Yorker. Condé Nast, 1 July 2013. Web. 16 Aug 2015.

153

215 ED RUSCHA Hollywood

1968 8-color screenprint on paper #68 of 100 Published and printed by the artist Signed and dated “E. Ruscha 1968” with edition in graphite lower left sheet Image: 12.5" x 40.5" Sheet: 17.5" x 44.5" Frame: 21" x 48" P ROV E NANC E Brooke Alexander, Inc., New York, New York; Private Collection, Santa Barbara, California (acquired directly from the above, 1969) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #7.

$75,000–100,000

216 ED RUSCHA

Cheese Mold Standard with Olive 1969 13-color screenprint on wove paper #93 of 150 Published and printed by the artist; printed by Jean Milant and Daniel Socha, Hollywood Signed and dated with edition in graphite lower left margin of sheet beneath image Image: 19.5" x 36.75" Sheet: 25.5" x 39.75" Frame: 27.5" x 42" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed.

Vol II. S. Engberg and C. Phillpot. 1999. #31.

$35,000–45,000

217 ED RUSCHA Sin

1970 8-color screenprint on Louvain Opaque Cover paper #104 of 150 Published and printed by Cirrus Editions, Los Angeles Signed, dated, and with edition in graphite lower left margin of sheet Image: 13" x 21.5" Sheet (vis.): 14" x 22.25" Frame: 20.75" x 29.25" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #41.

P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$10,000–15,000

155

218 ED RUSCHA

Vowel #58 (U) August 6, 1996 Oil on Various Small Fires book cover 7.125" x 5.675" This work was created by the artist for a benefit exhibition at Gagosian Gallery, Beverly Hills with proceeds going to the Estate Project for AIDS and AIDS Project Los Angeles.

P ROVENA NC E Gagosian Gallery, Beverly Hills, California; Private Collection, Los Angeles, California (acquired directly from the above, September 1996); Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, October 10, 2010, lot 60) EXHIBITE D “Ed Ruscha: VowelsPaintings on Book Covers,” Gagosian Gallery, Beverly Hills, September 11-28, 1996

$20,000–30,000

219 ED RUSCHA

Various books (4) 1969-1972 Offset print on paper Edward Ruscha (Ed-Werd RewShay) and Records: from the edition of 2,000; Crackers: from the edition of 5,000; Every Building on the Sunset Strip: from the 2nd edition of 5,000 Various publishers and printers Comprised of Crackers, Edward Ruscha (Ed-Werd Rew-Shay), Records, and Every Building on the Sunset Strip Largest (Crackers): 8.75" x 6" Smallest (Edward Ruscha): 4.5" x 3.625" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #B4, #B10, #B15, #M25.

$2,000–3,000

220 ED RUSCHA

Thirtyfour Parking Lots in Los Angeles 1967 Black offset print on white paper From the 1st edition of 2,413 Published by the artist; printed by Blair Litho, Los Angeles 10" x 8" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #B5.

$1,000–1,500

157

221 ED RUSCHA

Made in California 1971 3-color screenprint on Arches paper #46 of 100 Published by Grunewald Graphic Arts Foundation, University of California, Los Angeles; printed by Cirrus Editions, Los Angeles Initialed, dated, and with edition in graphite lower left sheet; retains Grunewald Graphic Arts Foundation documentation verso Image/sheet: 20" x 28" Frame: 23" x 30.75" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #52.

$20,000–30,000

222 ED RUSCHA

Cheese Circle (from Various Cheeses) 1976 3-color lithograph on Arches 88 paper #3 of 8 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in graphite verso; Gemini G.E.L. blindstamps lower right sheet; bears the inscription in graphite “ER75-735” verso; stamped “Gemini G.E.L....” verso Gemini G.E.L. #45.11 Image/sheet: 26" x 29.25" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #94.

$2,000–3,000

223 ED RUSCHA

Spam (from Seven Products) 1961; this example printed 2003 Gelatin silver print #3 of 8 Printed by Paul Ruscha Signed and dated “Ed Ruscha 1961-2003” in graphite with edition verso; retains Gagosian Gallery label verso Image/sheet (vis.): 10.125" x 13" Frame: 20" x 16.75" P ROV E NANC E Gagosian Gallery, Beverly Hills, California; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Ed Ruscha and Some Los Angeles Apartments. V. Heckert. 2013.

29.; Ed Ruscha: Photographs. Gagosian Gallery exh. cat. 2003. N. pag.

$6,000–9,000

159

224 ED RUSCHA

Cities (from World Series) 1982 3-color lithograph on Arches 88 paper #38 of 40 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #45.16 Image/sheet: 25" x 47.5" Frame: 29" x 51.25" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #121.

$6,000–9,000

225 ED RUSCHA

Egg (from Domestic Tranquility Series) 1974 2-color lithograph on Arches Cover paper #21 of 65 Published by Cirrus Editions, Los Angeles; printed by Multiples, Inc., and Castelli Graphics, New York Signed and dated in graphite lower right sheet; Cirrus Editions blindstamp lower left sheet Image: 8.5" x 19" Sheet: 16" x 26" Frame: 18.75" x 28.25" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot.

1999. #76.

$2,000–3,000

226 PERCY GIBBAR

Sportsman’s Chairs (2) Studio, designed 1978 Each: 36.75" x 21.5" x 18.5" LIT E RAT URE “The Rise of Artiture: Woodworking Comes of Age.” A. Espenet Carpenter. Fine Woodworking. 1983. 103.

$3,000–5,000

227 IN THE STYLE OF FRANK GEHRY Parsons tables (4)

Manufacturer unknown, designed c. 1970 Long tables each: 30.75" x 60.25" x 15.25" Short tables each: 30.75" x 30.25" x 15.25"

$2,000–3,000

161

In Barcelona Founded in 1964, the Barcelona fine art printmaker Polígrafa Obra Gráfica established itself as one of the top firms of its kind in Europe. After the death of Francisco Franco in 1975, and at the end of Spain’s 36-year-long fascist regime, Polígrafa was widely credited for bringing new art and artists into the country, injecting a breeze of freshness and modernity to Spain’s moribund cultural atmosphere.

One Polígrafa innovation was a short-term artistic residency program. In 1988 and 1989 the firm invited eight prominent California-based artists—Billy Al Bengston, Peter Alexander, Larry Bell, Laddie John Dill, Craig Kauffman, Ed Moses, Eric Orr, and Ed Ruscha—to spend two weeks in Barcelona and develop prints based on their experiences and impressions of the city. The resulting portfolio of 16 etchings and prints is a remarkable example of what can be wrought by a change of location, artistic medium, and cultural milieu. The octet of Californians, accustomed to vast spaces, bright and limpid light, and near total freedom of movement, formed their responses to an Old World city of dark, twisting, and narrow thoroughfares, tucked tightly between mountains and the sea.

163 228 VARIOUS ARTISTS

In Barcelona Suite (Portfolio California) 1989 The complete suite of 16 etchings and lithographs on Guarro paper in original case #6 of 9 collaborator proofs aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Each signed and dated in graphite by the artist; edition inscribed in Roman numerals on colophon Comprised of prints by Peter Alexander, Larry Bell, Billy Al Bengston, Laddie John Dill, Craig Kauffman, Ed Moses, Eric Orr, and Ed Ruscha Sheet each: 22" x 29.875" (or alternate orientation) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #163.

$10,000–15,000

ALTERNATE VIEW

229 FERNANDO & HUMBERTO CAMPANA Harumaki chair

Estudio Campana, Brazil, designed 2004 From the Sushi Collection 34" x 24" x 19" LITERATURE The Campana Brothers: Complete Works (So Far). D. Alfred, et al.

2010. 270.

$6,000â&#x20AC;&#x201C;9,000

MARKINGS DETAIL

230 FERNANDO & HUMBERTO CAMPANA Cake Stool

Estudio Campana, Brazil, designed 2008 #76 of 150 Stitched edition on raccoon’s tail “Campana/Cake Stool #076/150” Together with slip case and copy of certificate from Estudio Campana 28" x 49" diameter LIT E RAT URE The Campana Brothers: Complete Works (So Far). D. Alfred, et al.

2010. 286.

$20,000–30,000

165

231 JEFF KOONS

Balloon Dog (Blue) 1995 Cast porcelain with blue reflective finish #810 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso Together with original box and plate stand 10.25" diameter

$15,000â&#x20AC;&#x201C;20,000

167

ALTERNATE VIEW

232 JEFF KOONS Puppy (Vase)

1998 White glazed ceramic #1,768 of 3,000 Published by Art of this Century, New York and Paris Signed and dated with impressed edition to the underside 17.5" x 17.5" x 10.5"

$10,000â&#x20AC;&#x201C;15,000

233 TAKASHI MURAKAMI

DOB in Pure White Robe (2) 2013 Offset color lithograph on paper Each from the edition of 300 Kaikai Kiki Co., Ltd. Each signed in black felt-tip marker lower right; each with title, date, and manufacturer name printed lower left Comprised of DOB in Pure White Robe (Navy & Vermillion) and DOB in Pure White Robe (Pink & Blue) Image/sheet (vis.) each: 19.25" x 19.25" Frame each: 23.75" x 23.75"

$2,000â&#x20AC;&#x201C;3,000

234 GEORGE STOLL

Untitled (Halloween: Mickey Mouse and Popeye) (2) 2001 Plaster, cheese cloth, and encaustic on bronze mount One dated in graphite “3.15.01” verso Together with copy of invoice from Baldwin Gallery White mask: 10" x 6.25" x 2.5" Black mask: 8.75" x 10" x 3.25" Together with base (overall): 13" x 15" x 4" P ROV E NANC E Baldwin Gallery, Aspen, Colorado; Private Collection, Santa Barbara, California; Thence by descent

$2,000–3,000

235 GEORGE CONDO Line of Figures

2001 Color lithograph on paper #6 of 40 Signed and dated in graphite upper right sheet; edition upper left; blindstamp lower left sheet Image/sheet: 21.5" x 30" Frame: 25.5" x 34"

$1,000–1,500

169

236 TARA DONOVAN

Untitled (Paper Plates) c. 2005 Paper plates, hot glue Overall: 10" x 23" x 15" LITERATURE Tara Donovan. M. Franke. 2013. #5 for similar example illustrated.

$15,000â&#x20AC;&#x201C;20,000

Tara Donovan Tara Donovan (b. 1969) creates wondrous visual experiences, in large-scale installation and sculpture, from everyday objects. By stacking, piling, and densely arranging together hundreds of pieces of mundane materials like paper plates, plastic cups, or plastic straws, she renders surprisingly strange and beautiful results. They resemble great natural phenomena, such as nebulous clouds, or brittle landscapes, far beyond the scope of what one would expect from common household items.

Curator Nicholas Baume describes Donovan as a young, contemporary minimalist, in the same vein as her predecessors Sol LeWitt, Carl Andre, or Eva Hesse. He says of her work, “It’s about creating a system, using a structure, and repeating incremental units that can go from the finite to the seemingly infinite . . . it brings it into our own period by suggesting digital, cellular, emergent networks. It seems to speak to the systems that are shaping our lives.” The shapes in Untitled (Paper Plates) (c. 2005) suggest natural systems, resembling sponges, or some other underwater element found in the sea. At the same time, they look to have a technological component, with a honeycomb pattern found in digital architecture drawings, aeronautic honeycomb filling, or the façade of the new Broad Museum in Los Angeles. The natural and the

technological meet in Donovan’s prints as well. In Untitled (Bubble Drawing) (2003) she uses a straw to blow bubbles from a mixture of liquid soap and ink, delicately transferring the bubbles onto the surface of the foamcore board. Over a short period of time, the bubbles pop or dissipate, creating physical traces of something normally ephemeral.

Tara Donovan received the MacArthur Foundation “Genius” award in 2008, and the first annual Calder Prize in 2005.

Over the last decade she has exhibited widely. She was a Hammer Projects artist in 2004 at the UCLA Hammer Museum, and has had solo exhibitions at the Metropolitan Museum of Art, New York; the Corcoran Gallery of Art, Washington D.C.; and the Louisiana Museum of Modern Art in Denmark.

During the summer of 2015 she had four one-person shows: one in Edinburgh, one at Pace Gallery in New York, and one at Pace Prints, also in New York. Platform: Tara Donovan, at the Parrish Art Museum, Water Mill, New York on view July 4, 2015 through October 12, 2015.

Kino, Carol. “The Genius of Little Things.” The New York Times. Art sec. The New York Times Company, 2011. Web. 17 Aug 2015.Pace Prints. “Tara Donovan.” Greg Kucera. Greg Kucera Gallery, Inc., n.d. Web. 17 Aug 2015. “Tara Donovan: Biography.” Pace. Pace Gallery, n.d. Web. 17 Aug 2015.

171

237 TARA DONOVAN

Untitled (Bubble Drawing) 2003 Ink on foamcore in Plexiglas case Signed and dated in blue ink lower right Sheet: 48" x 48" Frame: 49" x 49" x 2.5" LIT E RAT URE Tara Donovan. N. Baume, et al. 2008. 124 for similar example illustrated.

$15,000–20,000

238 MASSIMO VITALI Rena Majori

2013 Diasec mounted C-print in artist’s chosen frame #16 of 35 Printed by Colorzenith, Milan; mounted and framed to artist’s specifications by Laumont, New York Signed with edition on label verso Sheet: 34.75" x 45.5" Frame: 36" x 47" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$10,000–15,000

173

239 MONIQUE PRIETO

Indisputable One, Indisputable Too (2) 2004 Acrylic on canvas diptych Each retains ACME Gallery label verso; each signed and dated verso Canvas each: 48" x 48" P ROV E NANC E ACME Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, July 2004)

$10,000â&#x20AC;&#x201C;15,000

240 GEORGE NAKASHIMA Headboard

Studio, executed September 1968 Walnut Signed “George Nakashima Sept 1968” 43" x 113" x 1.25"

$12,000–15,000

241 GEORGE NAKASHIMA Long chaise

Sakura, executed c. 2008 25.75" x 69" x 33.75"

$10,000–15,000

175

242 GEORGE NAKASHIMA Q Bench

Studio, executed November 1961 American black walnut Marked “Zelkind” Together with copy of Nakashima Studio order card dated November 1961 and copy of payment receipt 13" x 82.5" x 20.25"

$12,000–15,000

243 GEORGE NAKASHIMA

Free-edge armchairs (2) Studio, executed 1973 and 1977 American black walnut One chair marked “Van den Berg” Together with copy of Nakashima Studio order cards from 1973 and 1977 and letter from Mira Nakashima dated July 2012 Each: 32.75" x 30.5" x 28"

$10,000–15,000

244 GEORGE NAKASHIMA Lounge chair

Studio, executed 1954 American black walnut 32.75" x 31" x 25"

$5,000–7,000

245 GEORGE NAKASHIMA Lounge chair

Studio, executed 1954 American black walnut 32.25" x 31" x 25"

$5,000–7,000

246 GEORGE NAKASHIMA Lounge chair

Studio, executed 1954 American black walnut 32.75" x 31" x 25"

$5,000–7,000

247 GEORGE NAKASHIMA Trestle table

Studio, executed 1954 American black walnut 27" x 63.25" x 34"

$10,000–15,000

248 GEORGE NAKASHIMA Mira chairs (4)

Studio, executed c. 1951-1952 American black walnut Each: 26.5" x 19.5" x 18.5"

$3,000–5,000

177

249 OTTO & VIVIKA HEINO Pitcher and cups (3)

Studio, executed c. 1949 Each signed “Vivika + Otto” Comprised of two cups and a pitcher Pitcher: 7.5" x 8" x 4.5" Cups each: 3" x 3" diameter

$1,500–2,000

250 OTTO & VIVIKA HEINO Teapot and box (2)

Studio, executed 1992 Teapot signed and dated “Vivika + Otto 92” Teapot: 9" x 7" x 6" Box: 2.5" x 7" x 6"

$1,000–1,500

251 OTTO & VIVIKA HEINO Bottles and vase (3)

Studio, executed c. 1990 Each initialed “V+O” Comprised of two bottles and one vase 7" x 4" diameter 5" x 4" diameter 4" x 5.5" diameter

$1,000–1,500

252 OTTO & VIVIKA HEINO Vase

Studio, executed c. 1948 Signed and dated “Vivika and Otto 48” 6" x 6" diameter

$1,500–2,000

253 MASATOYO KISHI Opus #64-k-2

November 5th, 1964 Oil on canvas Signed and dated with title verso Canvas: 26" x 16" Frame: 27.25" x 17.25"

$2,500â&#x20AC;&#x201C;3,500

179

254 GEORGE MIYASAKI Dap

1962 Oil on canvas Signed and dated lower right; retains San Francisco Art Institute exhibition label verso Canvas: 57.5" x 70" Frame: 58" x 71" EXHIBITE D “82: The 82nd Annual Exhibition of the San Francisco Art Institute,” San Francisco Museum of Art (now the San Francisco Museum of Modern Art), 1963

$3,000–5,000

255 GERTRUD & OTTO NATZLER Green crystalline glazed bowl

Studio, executed 1961 Natzler inventory #L586 Signed “Natzler” and retains paper inventory label “L586” LAMA would like to thank Gail Natzler for her gracious assistance in cataloguing this work 2" x 5.25" diameter (5 cm x 13 cm diameter)

$3,000–5,000

256 GERTRUD & OTTO NATZLER

Conical bowl with velvet chartreuse matte glaze Studio, executed c. 1940s Signed “Natzler” LAMA would like to thank Gail Natzler for her gracious assistance in cataloguing this work 3.875" x 5.75" diameter (9 cm x 13.5 cm diameter)

$3,000–5,000

257 GERTRUD & OTTO NATZLER Green crystalline glazed bowl

Studio, executed c. 1960 Signed “Natzler” LAMA would like to thank Gail Natzler for her gracious assistance in cataloguing this work 2.25" x 5.25" diameter (5.5 cm x 13 cm)

$2,000–3,000

181

258 F. CARLTON BALL Vase

Studio, executed c. 1950 Signed “FC Ball/A Bohrod” Executed together with Aaron Bohrod 11.5" x 5" diameter

$1,000–1,500

259 LAURA ANDRESON Bowl

Studio, executed 1940 Signed and dated 5" x 7" diameter

$1,000–1,500

260 LAURA ANDRESON Porcelain bowl

Studio, executed 1976 Signed and dated 5" x 9" diameter

$1,500–2,000 LOT 259

LOT 260

261 BEATRICE WOOD

No Practice Needed; Still Hoping (2) 1977; 1979 Graphite and colored pencil on paper One signed and inscribed “Beato 1977/ no practice/needed” lower right sheet; other signed and inscribed in graphite “Still Hoping/Beato/1979” lower right sheet Sheet: 13" x 11" Mat: 17" x 14" Sheet: 10.625" x 12.5" Mat: 14.5" x 17"

$3,000–5,000

262 BEATRICE WOOD

Large plate with pink glaze and blue crystal Studio, executed c. 1965 Signed “Beato” 1.75" x 12.5" diameter

$3,000–5,000

263 BEATRICE WOOD

Bowl with blue and red glaze Studio, executed c. 1980 Signed “Beato” and marked “BWFT #26” 3.75" x 6.5" diameter

$2,000–3,000

183

264 RICHARD NEUTRA

Architectural Rendering of the Linn Residence c. 1960 Pastel and graphite on paper Inscribed in graphite “Looking South/ Linn Residence” lower right sheet Sheet (vis.): 22.5" x 34.25" Frame: 30.75" x 42"

$6,000–9,000

265 JULIUS SHULMAN

Portrait of Raymond Loewy c. 1947; this example printed later Gelatin silver print Retains Julius Shulman stamp verso Image/sheet (vis.): 9.375" x 7.25" Frame: 21.25" x 19.25"

$2,000â&#x20AC;&#x201C;3,000

185

266 SAM DURANT

Dutch Painting 1995 Photocopy with collage on paper Signed and dated with title and dimensions in graphite verso Sheet: 10.875" x 8.375" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$2,500â&#x20AC;&#x201C;3,500

MARKINGS DETAIL

267

268

GIO PONTI

GIO PONTI

Decorative tile (Bacchus)

Decorative tile (Venus)

Richard-Ginori, designed c. 1929 Model no. 2155 Stamped “Richard-Ginori/S. Cristo Foro/Milano/Made in Italy/2155/34T”

Richard-Ginori, designed c. 1929 Model no. 2155 Stamped “Richard-Ginori/S. Cristo Foro/Milano/Made in Italy/2155/267T”

16.5" x 10.5" x .5"

16.5" x 10.5" x .5"

LITERATURE Ceramiche Moderne

L I T E RAT U R E Ceramiche Moderne

d’Arte Richard Ginori. Manufacturer cat.

1930. 128.

$4,000–6,000

d’Arte Richard Ginori. Manufacturer cat.

1930. 129.

$4,000–6,000

269 MAX INGRAND Sconces (2)

Fontana Arte, designed c. 1955 Model no. 1636 Each: 16.5" x 6.75" x 5.75" LIT E RAT URE Fontana Arte. Manufacturer cat. 1961. 64.

$5,000–7,000

187

270 GIO PONTI

Flatware (60) Fraser’s Italy, designed 1954 Marked “Ponti/Fraser’s Italy” Comprised of five-piece service for twelve; including twelve each knives, soup spoons, dessert spoons, dinner forks, and salad forks Various dimensions LIT E RAT URE Gio Ponti. U. La Pietra, ed.

1996. 300.

PARTIAL ILLUSTRATION

$3,000–5,000

271 ARNALDO POMODORO

Tavola del matematico III 1965 Silver Signature and date etched in base element 6.25" x 4.375" x .75" This work is registered in the Pomodoro Archive, Milan, under archive number AP 245K.

$10,000â&#x20AC;&#x201C;15,000

272 CORRADO CAGLI African Figures 1955 Oil on board Signed and dated lower left Board (vis.): 18.5" x 10.25" Frame: 24" x 16"

$4,000â&#x20AC;&#x201C;6,000

189

Achille Perilli Achille Perilli was born in 1927 in Rome. As a young painter he helped found Gruppo Arte Sociale (Social Art Group) in 1945 with other pioneers of abstract painting in Italy. Determined to bring back form as an artistic concern, Perilli helped compose the Forma 1 manifesto (published in the magazine of the same name) in 1947. These artists adhered to the ideals of form and abstraction above all else, and were influenced by constructivism and concrete art as well. ■

The painting Lo Scopo Della Vita (1962) was included in the national exhibition XIV Mostra Nazionale Premio Del Fiorino in Florence in 1963 and bears a Galeria Bonino, New York label.

Notably, Perilli has participated in a number of Venice Biennale exhibitions; the most recent was in 2011. His work is included in the public collections of the Museum of Modern Art in New York, the Walker Art Center in Minneapolis, and the Museum of Contemporary Art of Rome (MACRO).

Perilli exhibited widely in Italy and abroad; he is a mainstay in Italian postwar painting. He is known for dynamic cubist compositions of fragmented shapes and color fields, which are almost optical illusions, multifaceted and multidimensional. Perilli was included in what is considered to be the first exhibition of exclusively Italian abstract art, Abstract and Concrete Art in Italy (1951), at the National Gallery of Modern Art in Rome.

“Achille Perilli.” Art Directory/The Information Medium for Art and Culture. Art Directory GmbH, n.d. Web. 15 Aug 2015. “Achille Perilli.” Rosenberg Art Gallery/ Auction House. Galleria Rosenberg, n.d. Web. 15 Aug 2015. “Biografia.” Achille Perilli. Achille Perilli, n.d. Web. 15 Aug 2015.

273 ACHILLE PERILLI

Lo Scopo Della Vita 1962 Oil on canvas Signed and dated “Perilli 62” lower right; signed, dated, and titled verso; retains Galeria Bonino, Ltd. label verso Canvas: 39.5" x 32" Frame: 41" x 33.625" EXHIBITE D “XIV Mostra Nazionale Premio Del Fiorino,” Florence, May 15-June 15, 1963 LITERATURE XIV Mostra Nazionale Premio Del Fiorino. Unione Fiorentina exh. cat. 1963. 129.

$20,000–30,000

274 GINO SARFATTI Ceiling lamp

Arteluce, designed 1950 7" x 23" diameter

$4,000–6,000

275 ICO & LUISA PARISI Console table

Singer & Sons, designed c. 1952 Impressed “Made in Italy” 30" x 70.75" x 19.75" LIT E RAT URE Ico Parisi: & Architetture. F. Gualdoni, ed. 1990. 198-199.

$10,000–20,000

191

276 ALDO TURA Bar cart

Tura, designed c. 1950-1960s Beverage cooler and ice bucket retain sticker “TURA/Milano Italia” Together with ice bucket and beverage cooler Bar cart: 52.5" x 31" x 20" Beverage cooler: 8" x 16.5" x 5.75" Ice bucket: 6.75" x 7.75"

$4,000–6,000

193

277 ALDO TURA

Dining chairs (8) Tura, designed c. 1950-1960s Each: 36.5" x 20" x 23"

$2,000–3,000

278 ALDO TURA Dining table

Tura, designed c. 1950-1960s 30" x 59" diameter

$2,500–3,500

279 VICTOR VASARELY Gable

1988 Acrylic on board Signed, titled, and inscribed in black ink verso “VASARELY-/(1245) “Gable” - 32 x 32/(1970-conception/1988/execution)/Vasarely-”; bears the inscription ink ballpoint pen “VAS396” verso Together with copy of letter and invoice from Circle Fine Art Corporation, and a pair of signed prints, #109 of 175 each Composition: 12.25" x 12.25" Board (vis.): 14" x 14" Frame: 20.25" x 20.25" P ROVENA NC E Circle Fine Art Corporation, Costa Mesa, California; Private Collection, Long Beach, California (acquired directly from the above, 1989)

$10,000–15,000

PARTIAL ILLUSTRATION

ILLUSTRATED OPPOSITE PAGE

280 AFTER VICTOR VASARELY Cassiopée

Atelier Tabard Frères et Soeurs, Aubusson, executed 1963 Wool tapestry Woven signature with Atelier’s monogram lower right; retains Atelier label verso

ATELIER LABEL DETAIL

94" x 87" P ROVENA NC E Galerie Denise René, Paris, France; Private Collection, Santa Barbara, California (acquired directly from the above) LITERATURE On Weaving. A. Albers.

1963. 112.

$10,000–15,000

SIGNATURE WITH ATELIER'S MONOGRAM DETAIL

LOT 280

195

281 BABE SHAPIRO Elan

1975 Acrylic on canvas Signed and inscribed “’ELAN’ 1975 Babe Shapiro (48” x 48”) ‘68 Diamond” in black felt-tip marker verso Canvas: 68" x 68" (as illustrated)

$3,000–5,000

282 ROBERT FAY MARKS Untitled

1974 Mixed-media construction in Plexiglas box 18.5" x 11.75" x 11.75"

$1,000–1,500

283 NANDA VIGO Utopia lamp

Arredoluce, designed 1970 Retains label “Made in Italy/ Arredoluce” 24" x 24" x 6" LIT E RAT URE Italy: The New Domestic Landscape. E. Ambasz, ed. 1972. 58.

$6,000–9,000

197

284 YAACOV AGAM Untitled

c. 1970 Gold-plated brass kinetic sculpture 26" x 28" x 28"

$10,000–15,000

199

285 YAACOV AGAM

Color and Bleu Fused Rhythm 1987 Screenprint on mirrored glass #1 of 1 Signed in felt-tip marker lower right; edition lower left; signed, dated, and inscribed “Color and Bleu fused Rythem [sic.]/Agam/ Paris 1987” verso; retains Kahala Fine Art Gallery label verso Sheet: 30.75" x 25.25" Frame: 32.25" x 26.375"

$3,000–5,000

ALTERNATE VIEW

286 JESÚS RAFAEL SOTO

Multiple I (from Jai Alai Series) 1969 Perspex in white, yellow, blue, and black with metal and filament kinetic elements #185 of 300 Published by Marlborough Graphics, New York Incised signature with edition 21.375" x 25" x 7.5"

$8,000–12,000

288 VARIOUS ARTISTS Notes on a Room

287 SOL LEWITT

Flat Top Pyramid with Colors Superimposed 1988 20-color silkscreen on Arches cover #5 of 5 artist’s proofs aside from the edition of 30

#51 of 130 Published by the Library Fellows of the Whitney Museum of American Art, New York Each print signed and dated in graphite with edition

Signed with edition lower right sheet

Comprised of two Richard Artschwager etchings, two Louise Lawler lithographs, and two Sol LeWitt woodcuts accompanied with essays

by Gini Alhadeff and Brendan Gill, with poetry by Daniel Halpern

Sol LeWitt Catalogue Raisonné #1988.01

Sol LeWitt Catalogue Raisonné #1998.01

Image/sheet: 30" x 95" Frame: 35" x 99.5"

Various dimensions Case: .75" x 16.75" x 21"

$5,000–7,000

$2,000–3,000

Co-published by Edition Schellmann, New York and Achenbach Graphics, Dusseldorf; printed by Watanabe Studio Ltd., Brooklyn

PARTIAL ILLUSTRATION

1998 The complete portfolio comprised of six prints

201

289 JOSEF ALBERS

JHM - II (from Josef Albers Honors the Hirshhorn Museum and Sculpture Garden) 1973 Color screenprint on German etching paper #130 of 144 Published by Ives-Sillman, Inc., New Haven, for the Hirshhorn Museum and Sculpture Garden, Washington, DC; printed by Sirocco Screenprints, New Haven Inscribed “JHM - II 130/144” in graphite lower left margin of sheet; signed and dated lower right margin of sheet beneath image Image: 14.875" x 14.875” Sheet (vis.): 24.375" x 34.375" Frame: 25.375" x 35.5" LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #224.2.

$2,000–3,000

290 VERNER PANTON

Spectrum textile panel Mira-X AG, designed 1969 Design Square from Collection Decor Marked in the selvedge “Mira-Spectrum/Designed by Verner Panton/For Mira-X AG” 90" x 50.5" LIT E RAT URE Verner Panton: The Collected Works: Vitra Design Museum.

M. Remmele and A. von Vegesack, eds.

2000. 139.

$2,000–3,000

203

291 EARL REIBACK

Helios (Lumia sculpture) 1969 Kinetic lightbox Signed “Earl Reiback 1969 Lumia Helios” 24" x 32" x 11.75"

$2,000–3,000

292 PATRICIA FAURE

Photography Portfolio 2005 The complete portfolio of 24 Epson Ultrachrome Prints on paper in original clamshell box #17 of 24 Published by Zazu Faure Each signed and dated in graphite lower left margin of sheet with edition Image each: 10" x 8" Sheet each: 14" x 11" Case: 1.5" x 15.5" x 12.375" P ROVENA NC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$800–1,200 PARTIAL ILLUSTRATION

293 PAOLO LOMAZZI, GIONATAN DE PAS, DONATO D'URBINO & CARLA SCOLARI Blow armchair

Zanotta, designed 1967 Together with original box and pump 28" x 44" x 38" LIT E RAT URE 1000 Chairs. C. Fiell and P. Fiell. 1997. 473.

$1,000–1,500

205

294 JOE COLOMBO Armchair

Kartell, designed 1963-1964 Model no. 4801 22.75" x 28.125" x 27.75" LIT E RAT URE 1000 Chairs. C. Fiell and P. Fiell. 1997. 413.

$3,000–5,000

Interview: Richard Pettibone In a career that spans more than 50 years, Richard Pettibone (b. 1938) has created one of the most compelling and intriguing bodies of work in contemporary American art. A pioneer of appropriation—the reusing, adaptation, or reproduction of existing images and forms—Pettibone began in the early 1960s to paint miniature copies of modernist masterworks by artists such as Andy Warhol, Marcel Duchamp, Frank Stella, Roy Lichtenstein, and Jasper Johns. His canvases are supported by painstakingly crafted stretchers and frames. Pettibone has an acuity for smallness and detail, a talent he developed as a boyhood model train enthusiast. His engaging work prompts both celebration and controversy, and raises questions about the nature of originality, and the relationship between art and the viewer. “Mr. Pettibone is a connoisseur and careful explorer of the chief wellspring of art-making: the simple love of art,” Roberta Smith, chief art critic for The New York Times, wrote in a review in 2005. “[H]e has made art that he can call his own. Its emotional wisdom for the artistically inclined is bracingly clear: love art, love yourself, do what you have to do and what only you can do.

Utter honesty is the only path to originality.” Pettibone’s work is in the permanent collections of numerous institutions including the Museum of Modern Art in New York, the Brooklyn Museum, and the Museum of Contemporary Art, Los Angeles.

In August 2015 Los Angeles Modern Auctions spoke with the New York-based artist about thoughts and influences that informed the works of art on offer in this sale.

Los Angeles Modern Auctions: This sale includes one of your versions, in oil, of Pepper Pot, from Andy Warhol’s Campbell’s Soup Cans series. That was the very first Warhol image you appropriated, back in 1964. Why did you choose that one?

Richard Pettibone: Pepper Pot was the canvas used for the poster for the first ever show of the Campbell’s Soup Cans in 1962 at the Ferus Gallery in Los Angeles. I’m not sure if it was Andy or [gallery owner] Irving Blum who chose that one for the poster, though I suspect it was Irving. That show had a tremendous impact on me. And I was glad to see that, in the current show of the Campbell’s Soup Cans at the Museum of Modern Art—(Andy Warhol: Campbell’s Soup Cans and Other Works, 1953–1967, April 25–October 18, 2015)—they are presenting the paintings lined up one-by-one against the wall, as they were at Ferus.

Ever since, the thirty-two soup flavors have been shown as a grid.

LAMA: What was Warhol like?

RP: He was friendly and supportive. He was the first person in New York that I showed the paintings to. He thought they were funny. He told me to go to his gallery and see [art dealer] Leo Castelli, who eventually showed my work, too. I saw Andy maybe three or four times.

LAMA: Tell us about the “Warhol” called Saturday Disaster (right hand panel).

RP: A couple of years after he started the Death and Disaster series, Andy started adding a second, blank panel to the pictures, making them diptychs. When asked why he did it, Andy said: “To make them more expensive.” Well, one day I was at the gallery and I saw a blank canvas from Saturday Disaster in the back room. Someone had bought just the left hand panel, and left the other behind. So this is an homage to that orphaned right hand panel.

LAMA: Marcel Duchamp is also one of your favorite artists.

RP: I only copy what I love. When I first saw his work I thought Duchamp was far out. The library at the Otis College of Art and Design in L.A. had a copy of Robert Lebel’s great Duchamp monograph—incidentally, I found my copy of the book in the bargain basement at Macy’s, of all places—and, of course, I went to the incredible retrospective that [curator and Ferus Gallery co-founder] Walter Hopps organized at the Pasadena Art Museum [now the Norton Simon Museum] in 1963. I still think Duchamp is far out. I’m working on a series of paintings based on his urinal [Fountain, Duchamp’s famous “ready-made” sculpture of 1917 that consists of a porcelain urinal tipped on its end and signed “R. Mutt”]. I think of the urinal as a kind of self-portrait. My own bodily plumbing and my eyesight are a concern these days. Duchamp’s urinal was first published in the Dadaist magazine The Blind Man, in a photo by Alfred Stieglitz. [Laughs] LAMA: Your work defies easy categorization, though that never stops people from trying.

RP: Take the “Frank Stella” paintings [Union and Moultonboro] in the auction. When I paint a Frank Stella abstract people ask, “So does that make you an abstractionist?” No! These are realist paintings of abstract art. I am probably more of a realist than most realists. That said, the colors in these Frank Stellas are not accurate to the originals. But these paintings are my own, after all.

295 RICHARD PETTIBONE

Andy Warhol, “Pepper Pot,” 1962 1965 Oil and rubber stamp on canvas in artist’s frame Signed and dated “RICHARD PETTIBONE 1965” lower right; inscribed “#28” verso Canvas: 8" x 6" Frame: 8.375" x 6.375" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$20,000–25,000

207

296 RICHARD PETTIBONE

Frank Stella, “Union,” 1966 1967 Enamel on canvas in artist’s frame Signed and dated “R Pettibone 1967” in ballpoint pen verso; inscribed “Stella Union 1966” verso Canvas: 5.625" x 9.75" Frame: 6" x 10.25" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Richard Pettibone: A Retrospective,” Institute of Contemporary Art, Philadelphia; Frances Young Tang Museum, Saratoga Springs; Laguna Art Museum, Laguna Beach, April 30, 2005-May 28, 2006 ILLUSTRAT E D Richard Pettibone: A Retrospective. I. Berry and M. Duncan. 2005. 86.

$15,000–20,000

209

297 RICHARD PETTIBONE

Frank Stella, “Moultonboro,” 1966 1967 Enamel on canvas in artist’s frame Signed and dated “Richard Pettibone 1967” in ballpoint pen verso; inscribed “Stella Moultonboro 1966” verso Canvas: 6.25" x 6.875" Frame: 6.5" x 7.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) E XHIBIT E D “Richard Pettibone: A Retrospective,” Institute of Contemporary Art, Philadelphia; Frances Young Tang Museum, Saratoga Springs; Laguna Art Museum, Laguna Beach, April 30, 2005-May 28, 2006 ILLUST RAT E D Richard Pettibone: A Retrospective. I. Berry and M. Duncan. 2005. 86.

$15,000–20,000

298 RICHARD PETTIBONE

Andy Warhol, “Saturday Disaster,” 1964 (right hand panel) 1969 Acrylic and silkscreen on canvas in artist’s frame Signed, dated, and inscribed “Andy Warhol Saturday Disaster 1964 Right hand panel R Pettibone 1969” in ballpoint pen verso; inscribed “#65” in felt-tip marker verso Canvas: 8.25" x 5.5" Frame: 8.375" x 5.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Richard Pettibone: A Retrospective,” Institute of Contemporary Art, Philadelphia; Frances Young Tang Museum, Saratoga Springs; Laguna Art Museum, Laguna Beach, April 30, 2005-May 28, 2006 ILLUSTRAT E D Richard Pettibone: A Retrospective. I. Berry and M. Duncan. 2005. 70.

$6,000–8,000

299 RICHARD PETTIBONE

Andy Warhol, “Flowers,” 1964 1970 Acrylic and silkscreen on canvas in artist’s frame Signed, dated, and inscribed “Pettibone 1970 #31” in ballpoint pen verso Canvas: 1.5" x 1.5" Frame: 1.6875" x 1.6875" P ROVENANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$9,000–12,000

211

300 RICHARD PETTIBONE

Marcel Duchamp, “Belle Haleine: Eau de Voilette,” 1921 1966 Acrylic and photo-engraving on canvas in artist’s frame From set #6 Signed, dated, and inscribed “Set #6 Richard Pettibone 1966” in graphite verso Canvas: 5.625" x 4" Frame: 5.875" x 4.375" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$12,000–18,000

301 ANDY WARHOL Liz

1964 Color offset lithograph on paper From the edition of approximately 300 Published by Leo Castelli Gallery, New York; printed by Total Color, New York Signed “Andy Warhol” in ballpoint pen lower right margin of sheet F/S #II.7 Image: 22" x 21.75" Sheet: 23.125" x 23.125" Frame: 25.75" x 25.75" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman, and J. Schellmann. 2003. #II.7.

$25,000–35,000

302 ANDY WARHOL

S&H Green Stamps 1965 Color offset lithograph on paper From the edition of approximately 300 Published by the Institute of Contemporary Art, Philadelphia; printed by Eugene Feldman, Philadelphia Initialed in graphite by Fred Hughes verso; retains Andy Warhol Estate stamp verso F/S #II.9 Image/sheet: 23" x 22.75" LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.9.

$2,000–3,000

303 ANDY WARHOL

Untitled (Campbell’s Soup Can) 1976 Marker on The Philosophy of Andy Warhol title page Signed, inscribed, and dated “To Richard/Andy Warhol/Birmingham 76” Sheet (vis.): 8" x 5" Frame: 13.5" x 11.5"

$3,000–5,000

213

304 AFTER ANDY WARHOL Mao

1974 Screenprint on wallpaper Printed signature, date, and title center left edge of sheet; “Musée Galliera 23 Fevrier - 18 Mars Ouvert de a 10 a 17:45 Ferme Mardi” printed along upper right edge of sheet Not in F/S Sheet: 40" x 29.5" Mat: 48" x 38"

$1,500–2,000

305 ROBERT DOWD

Untitled (Dollar Bill) c. 1968 Graphite, acrylic, and watercolor on paper Signed “Dowd” in graphite lower right corner Sheet: 15.25" x 16.75" Frame: 21.75" x 23.75"

$2,000–3,000

306 CLAES OLDENBURG

Vote Button in Landscape 1984 6-color screenprint on Essex Rag paper #118 of 150 Published by Artists for Mondale, Washington, D.C.; printed by Maurel Studios, New York Initialed and dated in graphite lower right; edition lower left Image: 21" x 16" Sheet: 30" x 23" LIT E RAT URE Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné 1958-1996. R. Axsom and D. Platzker.

1997. #187.

$800–1,200

215

307 CLAES OLDENBURG Typewriter Eraser

1970 4-color offset lithograph on Rives BFK paper #241 of 250 Published by Paul Bianchini, New York; printed by Imprimeries Réunies, Lausanne Initialed and dated in graphite lower right sheet; edition lower left Image/sheet (vis.): 28.375" x 19.5" Frame: 29.25" x 20.25" LIT E RAT URE Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné 1958-1996. R. Axsom and D. Platzker.

1997. #64.

$2,000–3,000

Roy Lichtenstein’s Modern Head Series The Modern Head Series of 1970 was one of Roy Lichtenstein’s (1923—1997) signal endeavors in the early mature period of his artistic career. In the mid-1960s, he moved away from taking direct inspiration for his imagery from sources such as comic books and product packaging, toward abstract painting inflected by references to Cubism, Constructivism, and Art Deco design. Lichtenstein was deeply taken by Art Deco, or Machine Age, aesthetics, which he facetiously called “Cubism for the home.” This interest first manifested itself in his artwork in 1966, in both a poster for that year’s performance season at the Lincoln Center in New York, and in a composition titled Modern Painting with Bolt. In the latter, Lichtenstein “scrupulously orchestrated an interplay of vertical and diagonals, curves and straight edges, and dynamic and static forms,” writes art historian Carol Lanchner. “The result [is] a vigorous, handsomely contrived abstraction of evident Art Deco heritage.”

In the middle of this stylistic period, Lichtenstein was inspired

by Alexej von Jawlensky’s group of constructivist paintings of heads, presented in the 1968 show Serial Imagery at the Pasadena Art Museum (now the Norton Simon Museum), to create his Modern Head Series. Lichtenstein worked with Gemini G.E.L., the Los Angeles art printmaking firm that, though founded only in 1966, had already garnered wide acclaim for its technical expertise. It is particularly noteworthy that each work in the Modern Head Series was produced using a different and distinct printing method.

Those employed include woodcut, lithography, linecut, embossing, and the use of a die-cut paper overlay. Though conceived and printed as a cohesive whole, the Modern Head Series is now rarely found intact.

Lanchner, Carolyn, and Roy Lichtenstein. Roy Lichtenstein. New York: Museum of Modern Art, 2009. 18-19. Print. Breuer, Karin. “Roy Lichtenstein Prints from Gemini G.E.L.” De Young FAMSF. Fine Arts Museums of San Francisco, 1997. Web. 18 Aug 2015.

308 ROY LICHTENSTEIN

Modern Head #1 (from Modern Head Series) 1970 4-color woodcut on Japanese Hoshi paper #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #31.23 Image: 20.25" x 12.5" Sheet: 24" x 19" Frame: 25.5" x 20.75" Modern Head #1 was the artist’s first woodcut with a print publisher, and his only work in this medium between 1959 and 1980.

LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #91.

P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$10,000–15,000

217

309 ROY LICHTENSTEIN

Modern Head #5 (from Modern Head Series) 1970 Embossed graphite with Strathmore die-cut paper overlay mounted in white lacquered aluminum frame with wood stretcher support #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #31.27 Image: 20" x 11.5" Sheet: 28" x 19.5" Frame: 28.5" x 20" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #95.

P ROVENA NC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$18,000–25,000

310 ROY LICHTENSTEIN

Modern Head #2 (from Modern Head Series) 1970 2-color embossed lithograph and linecut on handmade Waterleaf paper #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #31.24 Image: 19.75" x 11.75" Sheet: 24" x 18.5" Frame: 25.5" x 19.75" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #92.

P ROVENANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$9,000–12,000

311 ROY LICHTENSTEIN

Modern Head #4 (from Modern Head Series) 1970 4-color lithograph on engraved and anodized aluminum #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Incised signature with date and edition verso; stamped “RL70-247/ copyright 1970 GEMINI G.E.L./LOS ANGELES, CALIFORNIA” verso Gemini G.E.L. #31.26 Image/sheet: 20.625" x 17.25" Frame: 21.125" x 17.5" LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #94.

P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$15,000–20,000

312 ROY LICHTENSTEIN

Modern Head #3 (from Modern Head Series) 1970 1-color embossed linecut on handmade Waterleaf paper #62 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left Gemini G.E.L. #31.25 Image: 20" x 13.75" Sheet: 24" x 18" Frame: 25.75" x 19.75" LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #93.

P ROV E NANC E Murray “Mickey” A. Gribin, Los Angeles, California; Private Collection, Los Angeles, California

$9,000–12,000

219

313 ROY LICHTENSTEIN Chem IA

1970 2-color screenprint on Arjomari paper #29 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet with Gemini G.E.L. blindstamp; edition lower left sheet Gemini G.E.L. #31.30 Image: 23.75" x 14.25" Sheet (vis.): 26.25" x 16.25" Frame: 34" x 23" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #100.

$6,000–9,000

314 JAMES ROSENQUIST

Fire Fountain-Speed of Light 2005 Color lithograph on paper #8 of 24 artist’s proofs aside from the edition of 69 Signed and dated in graphite lower right sheet; title with edition inscribed lower left sheet Image/sheet: 33.25" x 30.5" Frame: 37" x 34.5"

$3,000–5,000

221

315 JIM DINE

Two Hearts at Sunset 2005 10-color lithograph on Rives BFK paper #72 of 200 Published and printed by MFA Contemporary, Hawthorne Signed and dated lower left sheet; edition lower right Image/sheet: 19.5" x 25.5" Frame: 28.25" x 34.5"

$2,000–3,000

316 ROBERT RAUSCHENBERG Soviet/American Array I

1988-1989 14-color intaglio with collage on Saunders with Oriental rice paper #21 of 55 Published and printed by ULAE, West Islip Signed, dated, and with edition in graphite lower right sheet; publisher’s blindstamp lower center sheet Image/sheet: 88" x 55" Frame: 95" x 59.25" P ROVENA NC E Universal Limited Art Editions, West Islip, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1989)

$12,000–18,000

317 ROBERT MOTHERWELL

New York Portfolio: Untitled 1982 8-color lithograph on white Arches Cover mould-made paper with embossing 1 of 70 unnumbered artist’s proofs aside from the edition of 250 Published by New York Graphic Society, Greenwich; printed by Tyler Graphics, Ltd., Bedford Village Inscribed in graphite “A.P.” with signature lower right sheet; publisher blindstamp lower right sheet Image/sheet: 30" x 22.5" Frame: 32.75" x 25.125" LIT E RAT URE The Prints of Robert Motherwell: A Catalogue Raisonné, 1943-1990. D. Belknap and S. Terenzio. 1990. #293.

$1,000–1,500

223

318 ROBERT MOTHERWELL

Africa 10 (from Africa Suite) 1970 2-color screenprint on J.B. Green paper #42 of 150 Published by Marlborough Graphics, Inc., New York; printed by Kelpra Studio, London Initialed in graphite lower left margin of sheet; edition lower right margin of sheet with artist’s blindstamp Image: 31" x 23.5" Sheet: 40" x 28" Frame: 44" x 31.75" LIT E RAT URE The Prints of Robert Motherwell: A Catalogue Raisonné, 1943-1990. D. Belknap and S. Terenzio. 1990. #78.

$1,500–2,000

Christo’s Wrapped Payphone As masters of the grand gesture, the married duo Christo (b.

1935) and Jeanne-Claude (1935—2009) arguably invented the practice of supersized environmental art with their audacious and visually enthralling installations, involving logistics of epic proportions. They stretched a 365-foot-high curtain across a valley in the Rocky Mountains, Colorado in 1972; surrounded 11 islands with pink fabric in Biscayne Bay, Florida (1983); and hung more than 7,500 saffron-colored drapery panels across pathways in Central Park (The Gates, Central Park, New York, 1979—2005). Christo and Jeanne-Claude’s projects often included a transformative aspect: they altered the identity and nature of landmarks and public institutions by wrapping them as if they were packages, concealed in plastic or fabric. They’ve done so to a Parisian bridge, national buildings and monuments, museums, a church, and more. Though ephemerality was a central component to their installations (made to provoke intense and memorable experiences), Christo and Jeanne-Claude did make some lasting sketches and diagrams to sell.

319 CHRISTO

Wrapped Payphone 1988 Steel payphone wrapped in canvas, polyethylene, twine, and rope #8 of 30 Published by Edition Schellmann, Munich and New York Signed and dated with edition verso 21" x 8" x 6.5" P ROVENA NC E Edition Schellmann, Munich, Germany; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Christo and JeanneClaude: Prints and Objects, 1963-95: A Catalogue Raisonné. 2nd ed. J. Benecke and J. Schellmann, eds.

1995. #139.

$40,000–60,000

MARKINGS DETAIL

Wrapped Payphone (1988) is a rare find—a tangible sculpture from a small edition. In collaboration with the German art publisher Edition Schellman, the artist wrapped household objects such as shoes, paint cans, and bottles. In one stroke, Christo’s Wrapped Payphone both recalls his early works of the 1950s and 1960s, and the mature environmental installations he realized with Jeanne-Claude. True to form, he wraps another, albeit smaller, public institution—the once ubiquitous New York payphone.

But while the public payphone itself has diminished in significance, the significance of this piece has only increased. Today, in the era of digital information and personal mobile phones, amid concerns over privacy, and identity theft, Christo’s Wrapped Payphone now might lend itself to more interpretations and associations than on the day it was made.

Christo, Paul Goldberger, Jonathan Henery, Jeanne-Claude, and Wolfgang Volz. Christo and Jeanne-Claude: 75. Köln: Taschen, 2010. Print.

320 CHRISTO

The Pont Alexandre III, Wrapped, Project for Paris 1991 Color lithograph with collage on Museum board #6 of 35 artist’s proofs aside from the edition of 120 Published by Art Front Gallery, Tokyo Signed with edition in graphite lower right margin of sheet; retains Villa Grisebach label verso Image/sheet: 27.125" x 29.25" Frame: 31.625" x 33.625" LIT E RAT URE Christo and JeanneClaude: Prints and Objects, 1963-95: A Catalogue Raisonné. 2nd ed. J. Benecke and J. Schellmann, eds.

1995. #156.

$3,000–5,000

225

321 FRANK STELLA

Polar Co-Ordinates II (from Polar Co-Ordinates for Ronnie Peterson) 1980 Offset lithograph, screenprint, and letterpress on Arches Cover paper #57 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 in graphite lower right sheet; edition lower left sheet Image/sheet: 38" x 38" Frame: 41" x 41" P ROV E NANC E LA Louver Gallery, Venice, California; Private Collection, California (acquired directly from the above, 1981) LIT E RAT URE The Prints of Frank Stella: A Catalogue Raisonné: 19671982. R. Axsom. 1983. #120.

$8,000–12,000

322 PAUL JENKINS Untitled

c. 1973 Watercolor on paper Signed lower center sheet Sheet (vis.): 39.5" x 28" Frame: 53" x 41"

$5,000â&#x20AC;&#x201C;7,000

227

323 EERO SAARINEN

Womb chair & ottoman (2) Knoll, designed 1946 Model nos. 70PC (chair) and 74PC (ottoman) Chair: 36" x 41" x 37.5" Ottoman: 16.5" x 25" x 21" LIT E RAT URE Furniture Price List of 1962.

Knoll cat. 1962. 103.

$2,000–3,000

324 EERO SAARINEN Coffee table

Knoll, designed 1956 Model no. 162TR 14.75" x 36" diameter

$1,000–1,500

325 EERO SAARINEN Dining suite (5)

Knoll, designed c. 1958 Model nos. 150u (armchairs), 151u (side chairs) Comprised of a table, two armchairs, and two side chairs Table: 28.25" x 47.5" diameter Armchairs each: 32" x 26" x 24" Side chairs each: 32" x 21.5" x 20" LITERATURE Furniture Price List of 1962.

Knoll cat. 1962. 519.

$5,000â&#x20AC;&#x201C;7,000

326 JACK YOUNGERMAN

Maquette for Amnesty International poster 1976 Gouache and collage on paper Inscribed “Amnesty International Poster” in graphite lower left sheet; signed lower right margin of sheet; retains Sotheby’s inventory label verso Composition: 31.875" x 25.25" Sheet (vis.): 33.5" x 25.625" Frame: 42.125" x 34" P ROV E NANC E Amnesty International USA, United States; Private Collection, Los Angeles, California (acquired directly from the above via Sotheby’s, New York, September 10, 2008, Lot 387)

$4,000–6,000

229

327 AFTER ALEXANDER CALDER Turquoise

BonArt, 1975 Handwoven jute maguey tapestry #63 of 100 Signature woven with date lower right; “C” woven in tapestry upper left; edition lower left; retains Bon Art label verso Together with a copy of bill of sale from 1985 57" x 84.25"

$6,000–9,000

231

328 VARIOUS ARTISTS

Derrière le Miroir (5) 1950-1976 Arp: color woodcut on paper Calder: color lithograph on paper Miró: color lithograph on paper Gouaches et Totems signed and inscribed “H.C.” in graphite in colophon (back of book) Comprised of two Alexander Calder issues (nos. 141 and 221), one signed special edition Alexander Calder issue (Calder: Gouaches et Totems published by Maeght Éditeur), one Joan Miró issue (no. 169), and one Jean Arp issue (no. 33) Issue each: 15" x 11" Gouaches et Totems: 15.5" x 11.5" x 1" LIT E RAT URE Derrière le Miroir et Affiches: Catalogue 1. Maeght Éditeur.

1971. 35, 102, 125.

$1,500–2,000

329 VARIOUS ARTISTS

Galerie Maeght posters (5) 1958-1965 Color lithograph on paper Unknown edition size Kelly: published by Maeght Éditeur, Paris; printed by Imprimerie Arte, Paris; Calder: printed by Maeght Éditeur and Mourlot, Paris Largest: 26.25" x 19.875" Smallest: 25.25" x 18.5" Comprised of two Ellsworth Kelly Galerie Maeght posters (1958 and 1964), one Ellsworth Kelly Lithographies Galerie Adrien Maeght poster (1965), and two Alexander Calder Galerie Maeght posters (1959 and 1963) LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #IIb, #IIc, #IId.

$1,000–1,500

233

330 LUTHER CONOVER Desk

Conover, designed c. 1947 Branded “Conover Sausalito” 28.75" x 47.75" x 24.5"

$2,000–4,000

331 MAURICE MARTINE Chair

Studio, designed c. 1950 29.5" x 29" diameter P ROV E NANC E Private Collection, Los Angeles, California (acquired from the artist’s estate)

$3,000–5,000

Classic Frederick Hammersley Abstract Classicist painting is hard-edged painting. Forms are finite, flat, rimmed by a hard clean edge. These forms are not intended to evoke in the spectator any recollections of specific shapes he may have encountered in some other connection. They are autonomous shapes, sufficient unto themselves as shapes.

— JULES LANGSNER Curator Jules Langsner both defined a movement by exhibiting four artists—Frederick Hammersley, Karl Benjamin, Lorser Feitelson, John McLaughlin—together under the banner “Four Abstract Classicists” in 1959, and is credited for coining the term Hard Edge painting.

Noteworthy for putting West Coast abstraction on the map, the exhibition Four Abstract Classicists was organized by the Los Angeles County Museum of Art, opened at the San Francisco Museum of Modern Art, and traveled internationally. The movement is seen as a “cool, crisp” counterpoint to Abstract Expressionism. With its flat shapes and hard edges, these artists distilled feelings and sought balance on the canvas, according to Langsner. In this exhibition, painter Frederick Hammersley (1919—2009) first gained critical recognition.

In 1942 one of the younger artists of the group, Hammersley started studying at the Chouinard Art Institute (now the California Institute of the Arts). But his studies were interrupted from 1942—1946 during World War II when he served in the military. Stationed in Paris, this period proved to be instrumental in his development as he experimented with abstract imagery. He took courses at the École des Beaux Arts and visited the studios of Picasso, Brâncusi, and Cézanne. Upon his return to California, he continued at Chouinard and focused on painting colored and patterned shapes on flat surfaces, devoid of representation.

Hammersley is best known for his Hard Edge “geometrics” paintings, those comprised of circles and straight lines. Most follow a set of rules: based on a grid with a restricted palette, Hammersley would choose to add a diagonal or a circle or introduce a new color. The finished composition then would vary depending on his choices, with the original grid hidden beneath the resulting rectangles, triangles, squares, parallelograms, or L-shapes. The artist first drew and developed the linear composition and color scheme in a sketchbook, and used a palette knife to construct the precise edges on canvas—he never used tape. These paintings are bold and bright; the circles are counterpoints to and contrast the lines, adding a surprising touch of playfulness.

Opposing (#15, 1959), is a vibrant example of a “geometrics” painting. It carries a significant exhibition history, having been in the Orange County Museum of Art’s Birth of the Cool: California Art, Design and Culture at Midcentury (2007-2008) curated by Elizabeth Armstrong. Armstrong conceived of the exhibit–a concentration of 1950s California cool in art, architecture, design, and jazz—when she saw the paintings of the Abstract Classicists, and those by Hammersley. The painting was exhibited in five other institutions as well, including at the Pomona College Museum of Art (2013—2014), the Oakland Museum of California (2008), and the Blanton Museum of Art in Austin (2009).

“Frederick Hammersley.” Frederick Hammersley Foundation. The Frederick Hammersley Foundation, n.d. Web. 10 Aug 2015. King, Sarah S. “You Want to Surprise the Eye: An Interview With Frederick Hammersley.” Frederick Hammersley. By Frederick Hammersley, et al. Santa Fe: Art Santa Fe Presents, 2009. 163-165. Print. Muchnic, Suzanne. “Frederick Hammersley Dies At 90; Acclaimed Painter.” Los Angeles Times. Entertainment/Arts & Culture sec.

Los Angeles Times, 6 June 2009. Web. 10 Aug 2015. Reed, Arden. “Hammersley’s Line.” Frederick Hammersley. By Frederick Hammersley, et al.

Santa Fe: Art Santa Fe Presents, 2009. 61-64. Print. Reed, Arden. “Seeing Hammersley Whole.” Hunches, Geometrics, Organics: Paintings By Frederick Hammersley. By Frederick Hammersley, Kathleen Stewart Howe, Rebecca McGrew-Yule, and Pomona College Museum of Art. Claremont: Pomona College Museum of Art, 2007. 7-9. Print.

MARKINGS DETAIL

332 FREDERICK HAMMERSLEY Opposing

#15, 1959 Oil on linen Signed and dated lower right; retains Heritage Gallery, Charlotte Jackson Fine Art, and two artist’s labels verso Together with copy of letter from the artist dated April 8, 2004 and exhibition catalogue LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Canvas: 30" x 24" Frame: 32.25" x 26.5" E XHIBIT E D “Hunches, Geometrics, Organics: Paintings by Frederick Hammersley,” Pomona College of Art, January 23-April 8, 2007; “Birth of the Cool: California, Art, Design, and Culture at Midcentury,” traveling exhibition, Orange County Museum of Art, Newport Beach, October 7, 2007-January 6, 2008; Addison Gallery of American Art, Phillips Academy, Andover, February 15-April 13, 2008; Oakland Museum of California, May 18-August 17, 2008; The Blanton Museum of Art, The University of Texas at Austin, February 27-May 31, 2009 ILLUST RAT E D Hunches, Geometric, Organics: Paintings by Frederick Hammersley. Pomona College of Art exh. cat. 2007. 21.; Birth of the Cool: California, Art, Design, and Culture at Midcentury. Orange County Museum of Art exh. cat. 2007. 102.; “Ahead of His Time: The Art of Frederick Hammersley.” A. Morris. Santa Fean. 2004. 56.; “Modern Roots: Birth of the Cool.”

Metropolitan Home. 2007. 72.; “Artist’s Intuition.” W. Pulkka. The Sunday Journal (Albuquerque Journal). Arts sec. 7 Mar. 2004.; Frederick Hammersley with Arden Reed, A Dialogue. SITE Santa Fe exh. brochure. 2004.

$50,000–70,000

235

333 KARL BENJAMIN Landscape Forms 1961 Oil on canvas Initialed and dated “KB61” lower right; signed with title inscribed on canvas stretcher verso; retains Louis Stern Fine Arts label verso Canvas: 60" x 42" Frame: 61" x 42.75" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.

P ROVENA NC E Private Collection, California (acquired directly from Louis Stern Fine Arts, Los Angeles, California) EXHIBITE D “Karl Benjamin: Paintings from 1950-1965,” Louis Stern Fine Arts, Los Angeles, January 10-April 10, 2014 ILLUSTRAT E D Karl Benjamin: Paintings from 1950-1965. Louis Stern exh. cat. 2014. #23.

$40,000–60,000

334 KARL BENJAMIN #17

1971 Oil on canvas Signed, titled, and dated in black felt-tip marker verso Canvas: 49.75" x 49.75" Frame: 51" x 51" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonnĂŠ of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.

P ROV E NANC E Avco Financial Services, Irvine, California; Private Collection, Orange County, California (acquired directly from the above); Thence by descent

$20,000â&#x20AC;&#x201C;30,000

237

MARKINGS DETAIL

335 JUNE HARWOOD

Untitled (from Sliver Series) 1963 Acrylic on canvas Signed, titled, and dated verso Canvas: 31" x 59"

$10,000â&#x20AC;&#x201C;20,000

336 LORSER FEITELSON Untitled

1950 Mixed-media on paper Signed in graphite center left; signed and dated in black ink lower left sheet Sheet: 20.25" x 17" Frame: 23.625" x 20.5"

$4,000–6,000

337 HELEN LUNDEBERG Forms in Space

1971 Color screenprint on paper #6 of 35 Signed and dated in graphite lower right margin of sheet; edition lower left; retains Louis Stern Fine Arts label verso Image: 18" x 24" Sheet (vis.): 19" x 25" Frame: 26.75" x 32.75"

$1,000–1,500

239

338 YUNHEE MIN

Events in Dense Fog #3 2001 Acrylic on canvas Signed, titled, and dated in black felt-tip marker verso; retains LA Louver Gallery label verso Canvas: 46.25" (H left) x 48.25" (H right) x 55" (W) P ROVENA NC E Susanne Vielmetter Projects, Los Angeles, California; Private Collection, California (acquired directly from the above, May 2004)

$8,000–12,000

339 HARVEY PROBBER

Lounge armchairs (2) Harvey Probber, Inc., designed c. 1960 Each: 35.5" x 32" x 30"

$2,500–3,500

340 ALEX KATZ

Coleman Pond III 2006-2007 1-color heliorelief woodcut on Tosa Washi Hanga Natural paper #17 of 50 Printed by Graphicstudio, Tampa Signed with edition in graphite lower left margin of sheet Image: 5" x 6.375" Sheet: 6.25" x 7.5" Frame: 12.5" x 14.125" LIT E RAT URE Alex Katz: Prints: Catalogue Raisonné, 1947-2011. G. Bauer, et al. 2011. #446.

$1,000–1,500

341 CEDRIC HARTMAN Floor lamp

Cedric Hartman, Inc., designed c. 1966 Base stamped “Cedric Hartman 19” 37.75" x 18.75"

$1,200–1,500

342 CEDRIC HARTMAN End table

Cedric Hartman, Inc., designed c. 1970 23" x 18" diameter

$1,000–1,500

241

343 EVELYN ACKERMAN Aerial View

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

$2,500–3,500

344 MILO BAUGHMAN Sideboard

Glenn of California, designed 1950 32.5" x 64.75" x 18"

$2,000–3,000

345 EVANS CLARK Room Divider

Glenn of California, designed c. 1949 Closed: 60" x 32" x 16" Open: 60" x 64" x 8" LIT E RAT URE Glenn of California. Furniture cat. c. 1949. N. pag.

$3,000â&#x20AC;&#x201C;5,000

243

346 DAVID GILLESPIE & BILLY JOE MCCARROLL Heroic Sunburst doors (2) Forms and Surfaces, Inc., designed c. 1970 105" x 35.75" 105" x 36.25" LITERATURE California Design Eleven.

Pasadena Art Museum exh. cat. 1971. 68 for similar design.

$20,000â&#x20AC;&#x201C;30,000

347 ED KIENHOLZ

The Opti-Can Royale 1977 Metal sculpture with Fresnal lens system, light bulb and set of 6 photographs #29 of 55 Published and fabricated by Gemini G.E.L., Los Angeles Signed with edition Gemini G.E.L. #29.7 Collaboration with Nancy Reddin Kienholz 12.5" x 8.625" x 9"

$2,000–3,000

245

348 BRUCE CONNER

Group of works (3) Lithograph: c. 1970; Bookmark: 1993; Inkblot: c. 2001 Lithograph on paper; ink on paper Lithograph: #23 of 90 Bookmark dated in graphite “11/19/93”; lithograph signed with edition in graphite verso Comprised of a lithograph, bookmark, and framed inkblot drawing Lithograph: 5.5" x 3.75" Bookmark: 9" x 2" Inkblot: 2.5" x 3.5" (framed) P ROV E NANC E Private Collection, San Francisco, California (acquired directly from the artist)

$2,000–4,000

349 SAM MALOOF

Executive swivel chair Studio, executed 1984 Signed and dated “Sam Maloof/ f.a.c.c./1984/©” 52.5" x 29" x 29"

$8,000–12,000

350 LOUISE NEVELSON Untitled

1970 Cardboard, foil, paint, paper, and wood on board Signed and dated “Louise Nevelson- 70” lower right; retains PaceWildenstein label verso Overall: 20" x 16" Frame: 22" x 18" P ROV E NANC E PaceWildenstein, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above through Phillips de Pury, New York, New Museum Benefit Auction, November 15, 2007, Lot 42)

$25,000–35,000

247

351 LOUISE NEVELSON Untitled

c. 1930 Black ink on paper Signed in ink lower right sheet; retains Estate of Louise Nevelson label verso Together with copy of invoice from Bobbie Greenfield Gallery Sheet: 15.75" x 11.5" Frame: 20.5" x 16.25" P ROVENA NC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999)

$2,000â&#x20AC;&#x201C;3,000

352 ABBOTT LAWRENCE PATTISON Seated Figure

Patinated bronze Etched signature at base 7" x 10" x 6" (8.25" x 9.5" x 6" including base)

$1,500–2,000

353 ABBOTT LAWRENCE PATTISON Two Conjoined Figures

Patinated bronze on marble base Incised signature near base 7" x 3.75" x 2.5" (8" x 3" x 3" including base)

$1,500–2,000

354 REUBEN NAKIAN Untitled

1959 Incised terracotta on wooden base Incised signature verso 9" x 10" x 1.75" (10.5" x 15" x 6" including base)

$2,500–3,500

249

355 DAVID LACHAPELLE

1000 B.C., D&G, New York 1998 C-print #9 of 30 Signed and dated with edition and title verso Image/sheet (vis.): 23" x 17" Frame: 31.75" x 21.5" LITERATURE David LaChapelle. G. Mercurio and F. Torres, eds. 2007. #56.

$5,000â&#x20AC;&#x201C;7,000

356 MELANIE PULLEN

Dorothy (from Barrel Series) 2003 C-print From the edition of 25 Signed on artist’s label verso Image/sheet (vis.): 48" x 72" Frame: 54.5" x 78.5" LIT E RAT URE Melanie Pullen: High Fashion Crime Scenes. M. Pullen.

2003. N. pag.

$3,000–5,000

251

357 ANDY GOLDSWORTHY

Two Stones Laid Across a Stream Covered with Elm Leaves (2) 2002 Unique Ilfachrome photograph Signed, dated, and inscribed in graphite at lower center mat of one photograph “Two Stones laid across a stream covered with elm leaves Townhead Burn, Dumfriesshire Andy Goldsworthy, 24 November, 2002” Together with coy of receipt from Haines Gallery A: Image/sheet: 9.375" x 9.375" Mat: 23.5" x 21" Frame: 25" x 22.5" B: Image/sheet: 19" x 19" Mat: 29" x 29" Frame: 30.5" x 30.5" P ROVENA NC E Haines Gallery, San Francisco, California; Private Collection, Santa Barbara, California; Thence by descent

$6,000–9,000

358 RICHARD MISRACH

Hawaii (from the Hawaii Portfolio) 1978 Vintage color dye transfer print #11 of 50 Signed, dated, and with edition in graphite verso Image/sheet (vis.): 15" x 18.75" Frame: 22.5" x 26"

$1,000–1,500

253

359 MARINA ABRAMOVIC

The Great China Wall Walk 1996 C-print with ink drawing From the edition of twelve unique variations plus three artist’s proofs Image: 16" x 23.5" Sheet: 34" x 41" Frame: 36.5" x 43.5"

$5,000–7,000

360 SEAN SCULLY

Omaha Snow Door 2000 C-print face mounted to Plexiglas #3 of 6 Retains Galerie Lelong, New York label verso Image/sheet: 38" x 33.5" Frame: 40" x 35.5"

$6,000â&#x20AC;&#x201C;9,000

361 CARRIE MAE WEEMS

The Shape of Things (from Africa Series) 1993 Platinum print Printed by Sal Lopes Retains Museum of Photographic Arts exhibition label verso Image/sheet (vis.): 7.625" x 7.625" Frame: 20.75" x 17" E XHIBIT E D “The Discerning Eye: Southern California Collects,” September 7, 2003-January 4, 2004

$2,500–3,500

362 ANN HAMILTON Gauge (Brown)

2008 2-color lithograph and screenprint on paper #9 of 16 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin; edition lower left Image: 33.5" x 39.75" Sheet: 38" x 55.5" Frame: 48.5" x 66"

$2,000–3,000

363 WILLIAM WEGMAN Hand Some 2001 C-print From the edition of 150 Published by the Fabric Workshop and Museum, Philadelphia Image: 7" x 7" Sheet: 14" x 11" Frame: 16.625" x 13.625"

$1,500–2,000

255

364 LEBBEUS WOODS

War and Architecture (04) 1992-1993 Ink, pencil, and collage on paper mounted to Bristol board Sheet: 12" x 19.875" Frame: 13.75" x 21.75"

$6,000–9,000

365 CHARLES SIMONDS Towers

1985 Clay, sand, wood 11" x 24" x 24"

$6,000–8,000

366

367

TONY DELAP

TONY DELAP

The One of Diamonds 1980 Acrylic on canvas Signed and dated with title on canvas stretcher verso; retains partial Janus Gallery label verso

The Psychic 1992 Bronze #1 of 15

Incised signature with date and edition at base

33" x 35.25"

23.75" x 5.25" x 3.75"

$3,000–5,000

$2,000–3,000

257

368 RICHARD SERRA Tujunga Blacktop

1985 3-color screenprint and Paintstik on coated Arches cover paper #20 of 28 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right sheet with edition Gemini G.E.L. #47.32 Sheet: 60" x 52.5" Frame: 62" x 54" LITERATURE Richard Serra: Werkverzeichnis: Druckgrafik [Catalogue Raisonné: Prints], 1972-2007.

2nd ed. S. von Berswordt-Wallrabe, ed. 2008. #33.

$8,000–10,000

369 RICHARD SERRA

Videy Afangar #6 (from Videy Afangar Series) 1991 1-color intaglio on Hahnemühle German etching paper #28 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet; edition lower left; Gemini G.E.L. and artist’s blindstamps lower right edge of sheet Gemini G.E.L. #47.55 Image: 4.25" x 5.75" Sheet: 10.5" x 12" Frame: 12.75" x 14.25" LITERATURE Richard Serra: Werkverzeichnis: Druckgrafik [Catalogue Raisonné: Prints], 1972-2007.

2nd ed. S. Von Berswordt-Wallrabe, ed. 2008. #69.

$2,000–3,000

370 RICHARD SERRA Ballast I, II, III (3)

2011 1-color etching on Hahnemühle Copperplate Warm White 300 gsm paper #38 of 45 each Published and printed by Gemini G.E.L., Los Angeles Each signed and dated with edition verso I: Sheet: 36" x 16.5" Frame: 43.75" x 24.25" II: Sheet: 30" x 23" Frame: 38" x 31" III: Sheet: 36" x 26.25" Frame: 43.75" x 34"

$15,000–20,000

259

371 ESTEBAN VICENTE Untitled

1982 Mixed-media collage Signed lower right; retains Julian Weissman Fine Art label verso Sheet: 16" x 17" Frame: 19.25" x 20.5"

$10,000â&#x20AC;&#x201C;15,000

372 ESTEBAN VICENTE Collage #12

1979 Mixed-media collage Retains Yares Gallery label verso Canvas: 13.75" x 17.75" Frame: 22.875" x 26.75"

$6,000â&#x20AC;&#x201C;9,000

261

373 EMERSON WOELFFER S.H. Painting #2 1961 Oil on canvas Signed verso; retains PrimusStuart Galleries label and remnant of Long Beach Museum of Art exhibition label verso Canvas: 36" x 42" Frame: 37" x 47" EXHIBITE D “Arts of Southern California XIII – Painting,” Long Beach Museum of Art, 1963 ILLUSTRAT E D Arts of Southern California XIII – Painting. Long Beach Museum of Art exh. cat. 1963. #26.

$4,000–6,000

374 EMERSON WOELFFER Untitled

1999 Oil on canvas Initialed “EW” upper left; retains Manny Silverman Gallery label verso Canvas: 58.75"’ x 47.75" Frame: 61.25" x 49.25" E XHIBIT E D “Emerson Woelffer: A Solo Flight,” REDCAT, Los Angeles, November 16-December 28, 2003 ILLUST RAT E D Emerson Woelffer: A Solo Flight. G. Nordland. 2003.

21, #58.

$4,000–6,000

263

Axel Zacho was a visionary businessman who imported Scandinavian design through his Wilshire Boulevard store in Los Angeles from the 1930s until the store closed in 1962. The store, simply called Zacho, was in a building designed by KEM Weber and was among the first locations in the west where one could find designs by Danish masters such as Hans Wegner, Axel Salto, Berndt Friberg, and Just Anderson. Zacho was well known in Denmark and friends with nearly all of the artists and craftsmen he imported. In fact, to commemorate 25 years of friendship, Just Andersen created a large bronze bowl for Axel—Lot 375 offered in this auction.

The following nine lots (Lot 375—383) were owned by Axel Zacho and have since remained in his family.

AXEL ZACHO WITH JUST ANDERSEN BOWL

375 JUST ANDERSEN Bronze bowl

Studio, designed 1949 Stamped “Denmark/B2427” with artist’s cipher 2" x 16" diameter

$4,000–6,000

ZACHO STOREFRONT

376 HANS J. WEGNER

Papa chair and ottoman (2) A. P. Stolen, designed 1951-1953 Model no. AP 19 Chair: 39" x 36" x 36" Ottoman: 17" x 27.5" x 16" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 68.

$9,000–12,000

265

377 BERNDT FRIBERG Ceramic lamp base

Gustavsberg Studio, executed after 1948 Signed “Friberg” with artist’s cipher, and Gustavsberg stamp and label 34" x 12" diameter LITERATURE The Nordic Modern Movement. Gansevoort Gallery exh. cat. 1998.

47.

$1,000–1,500

378 JUST ANDERSEN Lamp

Studio, designed c. 1930s Stamped “Denmark/B1675” with artist’s cipher 41" x 9" diameter

$1,000–1,500 LOT 377

379 WILHELM KÅGE

Ceramic footed bowl Gustavsberg Studio, executed 1956 Impressed “Gustavsberg/Kåge” with studio’s cipher and “A” Together with catalogue 3" x 11.875" diameter LITERATURE The Nordic Modern Movement.

Gansevoort Gallery exh. cat. 1998. 47.

$3,000–5,000

LOT 378

380 HANS J. WEGNER Sewing table

Andreas Tuck, designed 1950 Model no. 33 24" x 26.5" (46.75" with leaves) x 22.75" LIT E RAT URE Zacho cat. 1961. 15.

$500–800

381 HANS J. WEGNER The chair

Johannes Hansen, designed 1949 Model no. JH 501 Branded “Johannes Hansen Copenhagen Denmark” Together with promotional photograph (not illustrated) 29.75" x 25" x 21" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 36.

$800–1,200

382 HANS J. WEGNER Rocking chair

Mikael Lauresen, designed c. 1940s Model no. ML-33 31" x 27" x 24.25" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 18.

$1,800–2,500

383 HANS J. WEGNER Lounge chair

A. P. Stolen, designed c. 1960 Model no. AP43 27.5" x 27" x 25" LIT E RAT URE Zacho cat. 1961. 24A.

$800–1,200

267

384 HANS J. WEGNER

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

$6,000–9,000

385 HANS J. WEGNER

Papa chair and ottoman (2) A. P. Stolen, designed 1951-1953 Model no. AP 19 Chair: 38.5" x 36" x 36" Ottoman: 15.5" x 27.25" x 16" LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 68.

$6,000–9,000

269

386 HANS J. WEGNER Sofa

Getama, designed 1953 Model no. 236 30.75" x 91" x 29" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 19.

$4,000–6,000

387 HANS J. WEGNER Sofa

A.P. Stolen, designed c. 1958 Model no. AP 31/3 Retains Danish Control tag 29.5" x 70" x 28"

$3,000–5,000

388 FRITZ HANSEN Sofa set (3)

Fritz Hansen, designed c. 1942 Model nos. 1590a (sofa) and 1590 (chairs) Comprised of a sofa and two chairs Sofa: 31" x 71" x 34" Chairs each: 30.5" x 32.5" x 27" LITERATURE Fritz Hansen production cat. 1942. 6

$5,000â&#x20AC;&#x201C;7,000

389 FRITZ HANSEN Armchair

Fritz Hansen, designed c. 1946 42.5" x 30" x 27"

$2,000–3,000

271

390 PIERRE FORSELL Candlesticks (16)

Skultuna, designed c. 1960s Marked “Skultuna/1607/Sweden” with etched signature Each: 19" x 3.25" x 1.5"

$2,000–3,000

391 PAAVO TYNELL Chandelier

Taito Oy, designed c. 1950 20" x 27" diameter

$10,000–15,000

392 ALVAR AALTO

Door handles (2) Aalto, designed 1956-1958 Each: 10" x 3" x 2" LITERATURE Alvar Aalto-A Gentler Structure for Life. M. Lahti. 1996. Front and back covers of book for another example illustrated.

$2,000–3,000

393 NANNY STILL

Bottle vases (10) Riihimäen Lasi Oy, Finland, designed c. 1958 Each marked “RIIHIMBEN/LASI/O.Y./ NANNY STILL” Each approximately 13"

$5,000–7,000

394 PHILIP ARCTANDER Clam chairs (2)

Nordisk Staal & Møbel Central, designed 1944, these examples assembled later Each: 31" x 34" x 28"

$20,000–30,000

273

395 MID-CENTURY MODERN GERMAN Desk

Manufacturer unknown, designed c. 1970 30" x 51.25" x 26.75"

$3,000–5,000

396 PREBEN FABRICIUS & JØRGEN KASTHOLM Tulip chair

Alfrid Kill International, designed 1964 39.5" x 29.5" x 23.5" LITERATURE Sourcebook of Modern Furniture. J. Habegger and J. Osman.

1988. 96.

$2,500–3,500

275

397 JAY PHILLIPS

Hancock Park (from the Serrano Suite) (3) 1979 Silkscreen print, die cut and folded in Plexiglas box #15 of 44 One retains Marlborough Gallery labels verso with edition verso Each: 40.5" x 46.5" x 5.25"

$2,500â&#x20AC;&#x201C;3,500

398 ALAN DAVIE

Glass for Snake Juice 1963 Gouache on paper laid down to board Signed and dated in graphite “Alan Davie July 1963” lower left; retains remnant of Dayton’s 12 Gallery label verso Sheet (vis.): 19.5" x 29.75" Frame: 20.25" x 30.25"

$8,000–12,000

277

399 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed 1959 Model no. CSS Each pole retains Herman Miller tag Comprised of five poles, fourteen shelves, a desk with return, two lights and three sliding door cabinets Overall: 91.25" x 129" x 67" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. Vitra Design Museum exh. cat. 2008. 245.

$5,000â&#x20AC;&#x201C;7,000

400 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed 1959 Model no. CSS Each pole retains Herman Miller tag Comprised of three shelves and desk Overall: 99.5" x 66" x 33"

$2,000â&#x20AC;&#x201C;3,000

401 CHRIS BURDEN

If You Fly; If You Drive (2) 1973 2-color lithograph on Arches paper #23 of 50 each Published by Newspace Gallery, Los Angeles; printed by Ed Hamilton and Richard Ewan, Cirrus Editions, Los Angeles Signed and dated in graphite lower right sheet; edition lower left Sheet each (vis.): 28.75" x 21.75" Frame each: 36" x 29" LITERATURE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 197.

$3,000–5,000

402 GEORGE NELSON Sling sofa

Herman Miller, designed 1964 Model no. 6372 29" x 87" x 34" LITERATURE George Nelson: Architect, Writer, Designer, Teacher. Vitra Design Museum exh. cat. 2008. 264.

$3,000–5,000

403 JOHN WESLEY

Group of prints (4) 2001 Color screenprint on Somerset paper #3 of 30 each Published by the Chinati Foundation Signed and dated in image lower left Comprised of Bus Stop in Downtown Iceland, Brown Woman in Half-Slip, Night Titanic, and B’s Stair Largest sheet: 44" x 34" Smallest sheet: 34" x 37"

$3,000–5,000

279

404 WARREN PLATNER Set (3)

Knoll International, designed 1966 Model nos. 1725A (side chairs), 3710T (table) Chairs retain Knoll International tag Comprised of a table and two chairs Table: 18" x 15.75" diameter Chairs each: 29.25" x 27.25" x 21.25" LITERATURE Knoll: A Modern Universe.

B. Lutz. 2010. 166-167.

$2,000–3,000

405 WARREN PLATNER Coffee table

Knoll International, designed 1966 Model no. 3714T 15.5" x 42" diameter LITERATURE Knoll: A Modern Universe.

B. Lutz. 2010. 166.

$1,500–2,000

406 WARREN PLATNER Lounge chairs (4)

Knoll International, designed 1966 Model no. 1715L Each: 30" x 37" x 25.5" LITERATURE Knoll: A Modern Universe.

B. Lutz. 2010. 166-167.

$3,000–5,000

407 LAURA OWENS Untitled (2)

2002 Xerox transfer, watercolor, and colored pencil on paper #12 of 15; #13 of 15 Each signed and dated with edition in graphite verso Each: 14.25" x 10"

$1,000â&#x20AC;&#x201C;1,500

281

408 ELIZABETH CATLETT Gossip

2005 Color photolithograph on paper #11 of 200 Signed and dated in graphite lower right margin of sheet; titled lower center; edition lower left margin of sheet Image: 15.5" x 17.875" Sheet (vis.): 16.5" x 18.75" Frame: 26.5" x 28.375"

$1,500â&#x20AC;&#x201C;2,000

409 ROLAND REISS

The Dancing Lessons: Centrifugal Force 1979 Mixed-media in Plexiglas case Signed lower right on wooden platform; title lower left 12" x 24" x 24" EXHIBITE D “Roland Reiss: Personal Politics: Sculpture from the 1970s and 1980s,” Pasadena Museum of California Art, September 11, 2011-January 8, 2012 ILLUSTRAT E D Roland Reiss: Personal Politics: Sculptures from the 1970s and 1980s. P. Clothier, et al. 2011. 32-33.; Roland Reiss: Painting and Sculpture. L. Barrie, et al.

2014. 89.

$5,000–7,000

ALTERNATE VIEWS

410 ROLAND REISS

The Morality Plays: The Illusion of Infinity 1980 Mixed-media in Plexiglas case Signed lower right on wooden platform; title lower left 14" x 36.5" x 8"

$5,000â&#x20AC;&#x201C;7,000

283

411 JENNIFER LEE Vase

Studio, executed c. 2001 Together with exhibition booklet from 1990 8.25" x 5.5" diameter

$4,000–6,000

412 ROY MCMAKIN Bench

Domestic Furniture Co., designed c. 1990 Retains Domestic Furniture Co. label 17.25" x 36" x 18" LITERATURE Roy McMakin, When is a chair not a chair? R. McMakin and M. Marks. 2010. 121.

$1,000–1,500

413 MARIO MERZ

Canti Errabondi 1984 Marker, crayon, and beeswax on paper Signed and dated “Mario Merz 84” lower left sheet; retains Sperone Westwater and Nohra Haime Gallery labels verso Sheet: 40" x 29.375" Frame: 42.875" x 32.25" E XHIBIT E D “Drawing by Sculptors,” Nohra Haime Gallery, New York, February 4-March 1, 1986

$15,000–20,000

285

414 ALAN SARET

Scratch Entering, Amazed 1983 Colored pencil on paper Sheet (vis.): 28.5" x 35" Frame: 37.25" x 43.5"

$4,000–6,000

415 ROBERT THERRIEN

Untitled (Abstract Composition) 1991 Marker on Texas Ware plastic plate Initialed and dated 10" diameter P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$800–1,200

416 RICHARD LONG Untitled (Hands)

1991 Marker on Texas Ware plastic plate 10" diameter P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$800–1,200

417 LAWRENCE CARROLL Untitled

2000 Oil, wax, and canvas on wood Signed and dated in black felt-tip marker verso 37.25" x 29" x 2.75" P ROV E NANC E Ace Contemporary Exhibitions, Los Angeles, California; Private Collection, California (acquired directly from the above, January 2000)

$5,000â&#x20AC;&#x201C;7,000

287

418 JOHN OKULICK Aura

1988 Wood, pigment, and gold leaf Signed, titled, and dated verso 27" x 24" x 7"

$3,000â&#x20AC;&#x201C;5,000

419 RICHARD NONAS

Detail from Harrison Street 1986 Steel Signed and inscribed in black felttip marker 6.75" x 9.5" x 4"

$3,000â&#x20AC;&#x201C;5,000

420 JOHN WALKER Untitled (2)

1993 Monoprint on Japanese paper Unique Each signed and dated in graphite lower right sheet; each retains Knoedler & Company label verso Image/sheet each: 20.75" x 17.5" Frames each: 28.75" x 25.25"

$1,500â&#x20AC;&#x201C;2,000

289

421 T.H. ROBSJOHN-GIBBINGS Settee

Widdicomb, designed c. 1949 Retains “True Grand Rapids Certified” tag 33" x 53" x 32"

$2,000–3,000

422 T.H. ROBSJOHN-GIBBINGS Coffee table

Widdicomb, designed c. 1955 13.25" x 72" x 24"

$2,500–3,500

423 JAMES SURLS Needle's Eye

c. 1981 Wood with burnt incisions 81" x 5" x 4"

$5,000â&#x20AC;&#x201C;7,000

291

424 MARK BOYLE

Lorrypark Study 1974 Mixed-media on board Retains Charles Cowles Gallery label verso; signed, title, and dated verso 12.25" x 12.25" x 2.5"

$3,000–5,000

425 PAUL EVANS Coffee table

Custom, executed 1972 Initialed and dated “PE 72” 16" x 60" x 34"

$4,000–6,000

426 PAUL EVANS Headboard

Directional, designed c. 1970s From the Cityscape series Etched “An Original Paul Evans” 84.5" x 104.25" x 18"

$4,000–6,000

293

427 DEBORAH REMINGTON Elyria

1975 Oil on canvas Signed and dated verso; retains two labels verso Canvas: 56" x 52" Frame: 56.5" x 52.5" ILLUST RAT E D “Deborah Remington: Cool Fire.” C. Robbins. Arts Magazine.

1975. 52.

$3,000–5,000

428 ELLSWORTH KELLY Black/Brown

1970-1972 2-color lithograph on Special Arjomari paper #39 of 50 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite with Gemini G.E.L. blindstamp lower right sheet; edition lower left Gemini G.E.L. #28.8 Image: 25.75" x 25.75" Sheet: 39.5" x 37.5" Frame: 44.5" x 42" LITERAT U RE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #79.

$2,000–3,000

429 EDWARD WORMLEY La Gondola sofa

Dunbar, designed 1957 Model no. 5719 31.5" x 111" x 31.5" LITERATURE Edward Wormley: The Other Face of Modernism: An Exhibition of Mid-century Furniture Designs. J. Gura, et al. 1997. 43.

$4,000–6,000

295

430 IDA KOHLMEYER Synthesis #40

1982 Mixed-media on canvas Signed and dated lower right Canvas: 45.5" x 46.375" Frame: 46.5" x 47.375"

$10,000â&#x20AC;&#x201C;15,000

431 LOUISE BOURGEOIS

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

$7,000–9,000

432 RICHARD SHAW

Artist’s House of Cards 2003 Glazed porcelain with underglaze transfers and overglaze decals Signed and dated in graphite underneath base Together with copy of invoice from Frank Lloyd Gallery 13.25" x 9" diameter P ROV E NANC E Frank Lloyd Gallery, Santa Monica, California; Private Collection, Santa Barbara, California; Thence by descent

$4,000–6,000

433 VARIOUS ARTISTS

The Magic Magic Book 1994 2-volume book comprised of essays and photoengravings #245 of 300 Published by the Whitney Museum of American Art, New York to benefit the Library Fellows of the Whitney Museum of American Art Signed in graphite by each artist on blank page at end of book Comprised of illustrations by Vija Celmins, Jane Hammond, Glenn Ligon, Justen Ladda, Philip Taaffe, and William Wegman, authored by Ricky Jay Volume each: .5" x 10" x 8" Case: 1.5" x 10.625" x 8.5"

$1,500–2,000

297

434 BEATRIZ MILHAZES Coisa Linda

2002 Book of forty-three screenprints and one collage #1 of 175 plus 25 artist’s copies Published by the Contemporary Editions/Library Council, The Museum of Modern Art, New York; printed by Screened Images Inc., Port Washington Signed with edition in graphite Book: .5" x 12.125" x 12.125" Case: 1" x 12.5" x 12.5"

$2,000–3,000

435 RICHARD TUTTLE Memento/cENTER

2002 Hardcover exhibition catalogue From the edition of 1,000 Co-published by Museu de Arte Contemporânea de Serralves, Porto, Portugal and Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain Published on the occasion of major exhibitions for the artist in Portugal and Spain with essays by Susan Harris, José Bragança de Miranda, David Platzker, and Eduardo Lago 1" x 15.25" x 15.25"

$200–300

436 FRED TOMASELLI Phrase Book

2000 The complete set of two relief prints and seven offset lithographs in color, hors-texte, title page, and justification on wove paper with original artist’s collaged slipcase #79 of 150 Published by the Whitney Museum of American Art, New York Text by Rick Moody Together with four additional colophons Book: .625" x 13.25" x 10.125" Case: 1.75" x 14.5" x 10.75"

$1,000–1,500

PARTIAL ILLUSTRATION

437 ELLEN PHELAN

A Clown, Some Colors, A Doll, Her Stories, A Song, A Moonlit Cove 1996 The complete set of 13 photogravures (3 with hand-coloring), title, and justification, on wove paper in green clothcovered case #61 of 120 Published by the Library Fellows of the Whitney Museum of American Art, New York; printed by Leslie Miller, New York Loose print signed and dated lower right margin of sheet with edition; title inscribed lower center margin Written by Ann Lauterbach Together with loose color print Curtain Call by Ellen Phelan 12" x 8.5" x 1.5"

$800â&#x20AC;&#x201C;1,200

438 ILYA KABAKOV

The Flying Komarov, Albums 1 and 6 (from 10 Characters/Ten Personnages) 1994 Two portfolios including color offset lithographs mounted to board #105 of 200 Signed and dated in graphite with edition on justification Image each: 12" x 8.5" or 7.875" x 10.5" Sheet each: 20" x 13.75" Volume each: 1.75" x 20.75" x 14.375"

$500â&#x20AC;&#x201C;1,000

299

439 GAETANO PESCE Door

Custom designed for the TBWA/Chiat Day offices, New York, executed 1991 82.75" x 33.5"

$3,000â&#x20AC;&#x201C;5,000

440 ETTORE SOTTSASS Spool vase

Bitossi Ceramiche, designed c. 1957 Model no. 548 8.75" x 12" diameter LIT E RAT URE Ettore Sottsass: Architect and Designer. R. Labaco and D. Doordan.

2006. 128-129.

$1,200–1,500

301

441 PETER SHIRE Bowls (3)

Studio, executed 2006-2010 Each signed and dated 2.25" x 13.25" 2" x 15" 1.25" x 13"

$1,000–1,500

442 GÉRARD KOCH Sculpture

Studio, executed 1986 Aluminum and glass Signed “Koch 86” 28" x 39.25" x 10"

$3,000–5,000

443 BRUCE BURDICK Desk

Herman Miller, designed c. 1980s Retains Herman Miller label and stamped “R0-071...”

43" x 128" x 99" (as illustrated)

$5,000–7,000

444 JONATHAN BOROFSKY Molecule Men

1983 Aluminum edition sculpture shotpeened and sandblasted From the edition of 15 Published and fabricated by Gemini G.E.L., Los Angeles Etched signature verso; stamped “2815368” lower right Gemini G.E.L. #7.8 87.375" x 69.5" x 8.5" P ROV E NANC E Gemini G.E.L., Los Angeles, California; Private Collection, Minneapolis, Minnesota (acquired directly from the above, 1986)

$6,000–9,000

303

445 LADDIE JOHN DILL Untitled

1987 Cement, glass, cobalt, oxide Signed and dated in black felt-tip marker verso 41" x 59"

$4,000–6,000

446 LADDIE JOHN DILL Untitled

c. 1986 Tempered glass, steel, mineral, and oxides 65" x 69.5" x 15"

$1,500–2,000

447 DAKOTA JACKSON

Self-winding Coffee Table Dakota Jackson, designed 1978 18.5" x 37" x 36"

$2,000–3,000

448 PAUL TUTTLE

Zeta lounge chairs (2) Strässle International, Switzerland, designed 1968 Each: 26" x 32" x 27" LIT E RAT URE Paul Tuttle Designs. M.C. Berns. 2003. 49.

$4,000–6,000

305

449 JOAN SNYDER MY SONG

2006 Acrylic, papier-mâché, herbs, buds, and dried flowers on linen Retains Betty Cunningham Gallery label verso Together with copy of receipt from Betty Cunningham Gallery 36" x 36" P ROVENA NC E The artist; Betty Cunningham Gallery, New York, New York; Private Collection, Santa Barbara, California; Thence by descent

$4,000–6,000

450 DALE CHIHULY

Midnight Blue Piccolo Venetian with Red Feather Studio, executed 1999 Portland Press edition Retains etched signature; etched “PP99” to base 16.5" x 4.875" diameter at base

$4,000–6,000

451 DALE CHIHULY Basket

Studio, executed 1979 Signed and dated 4" x 5" diameter

$3,000–5,000

452 PAT STEIR

Direction of Water 1991 Color spit-bite and soap ground aquatints with soft-ground etching and drypoint on paper #19 of 30 Published and printed by Crown Point Press, San Francisco Signed and dated with edition in graphite lower right margin of sheet; Crown Point Press blindstamp lower right sheet Image: 36" x 45" Sheet: 41.5" x 50" Frame: 44" x 52"

$1,000–1,500

307 453 PAT STEIR

Beloved Ghost Waterfall/Beijing 1990 Color woodcut on mulberry paper mounted on rag paper #3 of 75 Published and printed by Crown Point Press, San Francisco Edition with signature and date in graphite lower right margin of sheet Image: 41.125" x 25.875" Sheet (vis.): 47.375" x 32.125" Frame: 49.125" x 34"

$1,000–1,500

454 DANNY PERKINS Sculpture

Studio, executed 1995 Blown glass with oil paint Signed and dated 53" x 8" diameter

$1,500–2,000

455 PORTIA HEIN

The First of Many 2003 Acrylic and watercolor on canvas Signed, titled, and dated in black felt-tip marker verso Canvas: 80" x 56" P ROVENA NC E Anna Helwing Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, February 2004)

$3,000â&#x20AC;&#x201C;5,000

456 CAMILLE HILAIRE Bord de l’Epte Oil on canvas Titled and signed in felt-tip marker verso; signed lower right Canvas: 19.75" x 24"

$1,000–1,500

309

457 ED BAYNARD

The Dragonfly Vase 1980 Color woodcut on natural Okawara handmade paper #12 of 16 artist’s proofs aside from the edition of 70 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated with edition in graphite lower right sheet; Tyler Graphics blindstamp lower left sheet Image/sheet: 30" x 42" Frame: 39" x 51" LIT E RAT URE Tyler Graphics: Catalogue Raisonné: 1974-1985. K. Tyler.

1987. #72:EB3.

$1,000–1,500

458 GRACE HARTIGAN Mme. CĂŠzanne 1992 Oil on canvas Signed and dated lower right; signed, titled, and dated verso; retains ACA Galleries label verso Canvas: 53.25" x 42" Frame: 55.125" x 43.125"

$3,000â&#x20AC;&#x201C;5,000

459 LISA YUSKAVAGE Suspect

1989 Oil on linen Retains Pamela Auchincloss Gallery label verso Canvas: 16" x 12" Frame: 17.5" x 13.5"

$10,000–15,000

311

460 LISA YUSKAVAGE Forces

2007 4-color lithograph on Rives BFK paper #15 of 46 Published and printed by ULAE, West Islip Signed and dated in graphite lower right margin of sheet; edition lower left margin with ULAE blindstamp Image: 32" x 26" Sheet: 40" x 30" Frame: 46.625" x 34.625"

$2,500–3,500

461 ROBERT CREMEAN Untitled c. 1975 Bronze 31" x 27.5"

$800–1,200

462 ROBERT CREMEAN Untitled

c. 1975 Painted wood 34" x 23" x 11.5"

$1,000–1,500

463 DAVID HARE

Tree and Rocks 1978 Charcoal, pencil, and acrylic on paper Signed and dated with title verso; retains Hamilton Gallery label verso Sheet: 42" x 33" Frame: 44.75" x 35"

$1,500–2,000

464 HANS SCHLEEH Untitled

c. 1970 Carved and polished stone Incised signature verso; base bears stamp “Dominion Gallery/ Montreal” 18" x 13" x 12" (not including base)

$2,500–3,500

313

465 PAUL MANES

Anado (0999492) c. 1992 Oil and mixed-media on canvas Signed and inscribed “0999492” in black felt-tip marker verso Canvas: 66.5" x 60.5"

$4,000–6,000

466 KARL SPRINGER Cube table

Karl Springer, designed c. 1968 Retains Karl Springer label 30" x 30" x 24"

$3,000–5,000

467 AMERICAN MODERN Benches (2)

Monteverdi-Young, designed c. 1965 Each: 16.75" x 36" x 17"

$2,500–3,500

315

468 HUGUES STEINER Dining chairs (6)

Steiner, designed c. 1950s Comprised of four side chairs and two armchairs Side chairs each: 31.5" x 20.25" x 19.5" Armchairs each: 32.75" x 27.25" x 23.75"

$1,000â&#x20AC;&#x201C;1,500

469 THONET

Dining table Thonet, designed c. 1965 Retains Thonet label 29.25" x 72" x 41.5"

$1,000â&#x20AC;&#x201C;1,500

470 LODEWIJK KAREL BRUCKMAN My Magic Gondola 1957 Oil on canvas Signed, dated, and inscribed verso with title; signed and dated upper left Canvas: 22.125" x 45" Frame: 27.125" x 50.25"

$2,000–3,000

471 LODEWIJK KAREL BRUCKMAN Crucifixion of the Sea 1955 Oil on canvas Signed, dated, and inscribed verso “SANIBEL/ISLAND/FLORIDA/1955”; initialed “L”, “f’55” with a cross and “B” upper center Together with photograph of artist with painting Canvas: 15.875" x 8" Frame: 26.75" x 18.75"

$1,000–1,500

317

472 JOHN PAUL JONES Wales

1985 Mixed-media on paper Initialed, titled, and dated in graphite lower right sheet Sheet: 13.875" x 13.875" Frame: 20.75" x 20.75"

$800–1,200

473 EDWARD WORMLEY Sofa

Dunbar, designed c. 1955 28" x 84" x 32"

$1,000–1,500

474 MARTIN GRIERSON Lounge chairs (2)

Manufacturer unknown, designed c. 1970 Each: 23.75" x 33.75" x 32"

$800–1,200

475 MOSES SOYER Untitled

Oil on canvas Signed “M. Soyer” lower right; retains Elizabeth Mayer Fine Art Gallery label verso Canvas: 23.875" x 18" Frame: 31" x 25.125"

$4,000–6,000

319

476 ROBERT EDMOND JONES

For Eugene O’Neill’s “Desire under the Elms” 1924 Watercolor on paper Retains Museum of Modern Art (2), Member’s Exhibition of The Century Association New York, The American Federation of the Arts New York, the Santa Barbara Museum of Art, and Wesleyan University labels verso Image/sheet (vis.): 6.375" x 6.375" Frame: 15.5" x 15.5" E XHIBIT E D The Century Association, New York; the Santa Barbara Museum of Art; The American Federation of Arts, New York; The Museum of Modern Art, New York

$2,000–3,000

RICHARD PRINCE

Detail of Bedtime Story by Richard Prince Winter 2016 Modern Art & Design Auction

Bedtime Story

1988 Acrylic and silkscreen on canvas Signed and dated “R Prince 1988” in felt-tip marker on overlap verso; retains Barbara Gladstone Gallery and Regen Projects labels verso Together with copy of invoice from Regen Projects LAMA would like to thank the Richard Prince studio for their assistance in cataloguing this work (RPS5633) Canvas: 66” x 54” P ROVENA NC E Barbara Gladstone Gallery, New York, New York; Regen Projects, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2004)

$1,000,000—2,000,000

Now Accepting Consignments WINTER 2016 FOR ALL INQUIRIES CONTACT PETER LOUGHREY PETER@LAMODERN.COM

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”). We are acting as an agent on behalf of our consignors.

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Image credits: Frank Gehry, Walt Disney Concert Hall, 1989–2003 (competition 1988), Los Angeles, California, © 2015 Gehry Partners, LLP, unless noted otherwise images courtesy Gehry Partners, LLP. Top–bottom: Project Sketch, Collection Frank Gehry, Los Angeles; Walt Disney Concert Hall Project Model, Gehry Partners, LLP, Los Angeles; Walt Disney Concert Hall Digital Model; Walt Disney Concert Hall, photo courtesy of Josh Bustos Photography

^

FRANK GEHRY

A breathtaking look at the ideas that transformed how we look at architecture

September 13, 2015–March 20, 2016 Tickets on Sale Now 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 is organized by the Centre Pompidou, Musee National d’Art Moderne, Paris, in association with the Los Angeles County Museum of Art. Presented by:

Additional support provided by MATT Construction

Michael O’Neill On

OCTOBER – NOVEMBER 8070 BEVERLY BLVD LOS ANGELES, CA 90048 LA-GALLERY@TASCHEN.COM +1 323 852-9098

MAK CENTER FOR ART AND ARCHITECTURE AT THE SCHINDLER HOUSE THE MAK CENTER FOR ART AND ARCHITECTURE, L.A. is a contemporary, experimental, multi-disciplinary center for art and architecture that operates from architect Rudolph M. Schindler’s own House and Studio (1922) in West Hollywood. Established in 1994 as a branch of MAK Vienna in an alliance between MAK, the Republic of Austria and Friends of the Schindler House, the MAK Center produces a year-round schedule of exhibitions, lectures, performances, and publications. It also hosts an international residency program for visiting artists and architects.

MAKcenter.org

UPCOMING

R.M. SCHINDLER: THE PREQUEL JOSEF HOFFMAN, ADOLF LOOS, OTTO WAGNER AND THE MODERNIST DEBATES OF EARLY 20TH CENTURY VIENNA. Curated by Christian Witt-Dörring of MAK Vienna, the MAK Center presents this exhibition exploring the intellectual climate in Vienna at the time of R.M. Schindler’s architectural training, and highlighting the trajectory connecting 19th century Europe with 20th century West Hollywood.

On view: September 11-December 7, 2015 Opening reception: September 10, 2015

Design for a cemetery and crematorium with a chapel (R.M. Schindler, 1912-13) Courtesy of R.M. Schindler papers, Architecture and Design Collection, Art, Design & Architecture Museum, UC Santa Barbara.

The first English translation of Adolf Loos’s Das Andere (The Other), edited by Beatrix Colomina, co-published by the MAK Center and Lars Müller will be presented during the run of the exhibition.

THE SCHINDLER HOUSE ON KINGS ROAD DESIGNED AND BUILT BY SCHINDLER IN 1921-22 AS LIVE/WORK SPACE FOR TWO FAMILIES —his own and friend and engineer Clyde Chace’s—the Schindler House redefined notions of public and private spheres. As a result of its innovative program for communal modern living, the house became a site of forward-thinking aesthetic, cultural, and political activity throughout the 1920s-50s. It is the mission of the MAK Center to continue the conversation initiated

by Schindler by creating and supporting programming that explores the dynamic intersections of art, architecture, and culture.

SCHINDLER HOUSE (R.M. Schindler, 1922)

MARY CORSE Copper-Four Crosses 1979 / Fired and glazed clay / As illustrated: 86" x 86" $40,000â&#x20AC;&#x201D;60,000

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Index A Aalto, Alvar. . . . . . . . . . . . . . . . . . . . . . . . 392 Abramovic, Marina. . . . . . . . . . . . . . . . . . 359 Ackerman, Evelyn. . . . . . . . . . . . . . . . . . . 343 Adams, Robert . . . . . . . . . . . . . . . . . . . . . . 38 Agam, Yaacov. . . . . . . . . . . . . . . . . . 284-285 Albers, Josef. . . . . . . . . . . . . . . . . . . . . . . 289 Alexander, Peter. . . . . . . . 148, 163-164, 228 Andersen, Just. . . . . . . . . . . . . . . . . 375, 378 Andreson, Laura. . . . . . . . . . . . . . . . 259-260 Arbus, Diane . . . . . . . . . . . . . . . . . . . . . . . . 39 Arctander, Philip. . . . . . . . . . . . . . . . . . . . 394 Arneson, Robert. . . . . . . . . . . . . . . . . . . . . 153 Arnoldi, Charles . . . . . . . . . . . . . 162, 197-201 Artschwager, Richard. . . . . . . . . . . . . . . . 288 Avery, Milton. . . . . . . . . . . . . . . . . . . . 96-100

B Baldessari, John. . . . . . . . . . . . . . . . 209-214 Ball, F. Carlton. . . . . . . . . . . . . . . . . . . . . . 258 Baughman, Milo. . . . . . . . . . . . . . . . . . . . .344 Bayer, Herbert. . . . . . . . . . . . . . . . . . . . 48-50 Baynard, Ed. . . . . . . . . . . . . . . . . . . . . . . . 457 Bel Geddes, Norman. . . . . . . . . . . . . . . . . . 53 Bell, Larry . . . . . . . . . . . . . . . . . 148, 158, 228 Bengston, Billy Al. . . . . . . . . . . . 147-151, 228 Benjamin, Karl. . . . . . . . . . . . . . . . . . 333-334 Berlant, Tony. . . . . . . . . . . . . . . . . . . . . . . . 157 Bertoia, Harry. . . . . . . . . . . . . . . . . . . 173-175 Blunk, J.B.. . . . . . . . . . . . . . . . . . . . . . . 116-117 Borofsky, Jonathan. . . . . . . . . . . . . . . . . 444 Bourgeois, Louise. . . . . . . . . . . . . . . . . . . . 431 Bourke-White, Margaret. . . . . . . . . . . . . . . 52 Boyle, Mark . . . . . . . . . . . . . . . . . . . . . . . . 424 Brown, William Theophilus . . . . . . . . . . . . 107 Bruckman, Lodewijk Karel. . . . . . . . 470-471 Bufano, Beniamino. . . . . . . . . . . . . . . . . . . 115 Burden, Chris. . . . . . . . . . . . . . . . . . . . . . . . 401 Burdick, Bruce. . . . . . . . . . . . . . . . . . . . . . 443 Buzio, Lidya. . . . . . . . . . . . . . . . . . . . . . . . . 87

Etrog, Sorel. . . . . . . . . . . . . . . . . . . . . . . . . 28 Evans, Paul. . . . . . . . . . . . . . . . . . . . . 425-426

F Fabricius, Preben . . . . . . . . . . . . . . . . . . . 396 Falkenstein, Claire. . . . . . . . . . . . . . . 188-189 Faure, Patricia. . . . . . . . . . . . . . . . . . . . . . 292 Feitelson, Lorser. . . . . . . . . . . . . . . . . . . . 336 Ferebee, Chris. . . . . . . . . . . . . . . . . . . . . . . 168 Fischinger, Oskar . . . . . . . . . . . . . . . . . 45-47 Forsell, Pierre . . . . . . . . . . . . . . . . . . . . . . 390 Francis, Sam . . . . . . . . . . . . . . . . . . . . 191-196 Friberg, Berndt. . . . . . . . . . . . . . . . . . . . . 377 Friedeberg, Pedro. . . . . . . . . . . . . . . . . . . . 89 Friedman, Tom. . . . . . . . . . . . . . . . . . . . . . . 170

Gehry, Frank. . . . . . . . . . . . . . . . . . . . . . . . 227 Giacometti, Alberto . . . . . . . . . . . . . . . . . . 22 Gibbar, Percy. . . . . . . . . . . . . . . . . . . . . . . 226 Gillespie, David. . . . . . . . . . . . . . . . . . . . . 346 Goldsworthy, Andy. . . . . . . . . . . . . . . . . . 357 Goode, Joe. . . . . . . . . . . . . . . . . . . . . . 137-140 Graham, Robert. . . . . . . . . . . . . . . . . . 101-104 Graham, Rodney. . . . . . . . . . . . . . . . . . . . . 143 Graves, Morris. . . . . . . . . . . . . . . . . . . . . . . 94 Grierson, Martin. . . . . . . . . . . . . . . . . . . . 474

H

N

Hamilton, Ann. . . . . . . . . . . . . . . . . . . . . . 362 Hammersley, Frederick . . . . . . . . . . . . . . 332 Hansen, Fritz. . . . . . . . . . . . . . . . . . . 388-389 Hare, David . . . . . . . . . . . . . . . . . . . . . . . . 463 Hartigan, Grace. . . . . . . . . . . . . . . . . . . . . 458 Hartman, Cedric. . . . . . . . . . . . . . . . 341-342 Harwood, June . . . . . . . . . . . . . . . . . . . . . 335 Hein, Portia. . . . . . . . . . . . . . . . . . . . . . . . 455 Heino, Otto & Vivika. . . . . . . . . . . . . 249-252 Hilaire, Camille . . . . . . . . . . . . . . . . . . . . . 456 Hockney, David. . . . . . . . . . . . . . . . . 202-208

Nakashima, George. . . . . . . . . . . . . . 240-248 Nakian, Reuben. . . . . . . . . . . . . . . . . . . . . 354 Natzler, Gertrud & Otto. . . . . . . . . . 255-257 Nelson, George. . . . . . . . . . . . . . . . . 399-402 Neutra, Richard. . . . . . . . . . . . . . . . . . . . . 264 Nevelson, Louise. . . . . . . . . . . . . . . . . 350-351 Newton, Helmut . . . . . . . . . . . . . . . . . . . . . 40 Noguchi, Isamu. . . . . . . . . . . . . . . . . . . 57-58 Nonas, Richard. . . . . . . . . . . . . . . . . . . . . . 419

G

I

Cagli, Corrado. . . . . . . . . . . . . . . . . . . . . . 272 Calder, Alexander. . . . . . . . . . . . . . . 327-329 Campana, Fernando & Humberto. . 229-230 Carroll, Lawrence. . . . . . . . . . . . . . . . . . . . 417 Cartier-Bresson, Henri. . . . . . . . . . . . . . . . 37 Castañeda, Felipe. . . . . . . . . . . . . . . . . . 91-93 Catlett, Elizabeth . . . . . . . . . . . . . . . . . . . 408 Celmins, Vija . . . . . . . . . . . . . . . . 141-142, 433 Chihuly, Dale. . . . . . . . . . . . . . . . . . . 450-451 Christo. . . . . . . . . . . . . . . . . . . . . . . . . 319-320 Clark, Evans. . . . . . . . . . . . . . . . . . . . . . . . 345 Colombo, Joe. . . . . . . . . . . . . . . . . . . . . . . 294 Condo, George. . . . . . . . . . . . . . . . . . . . . . 235 Conner, Bruce . . . . . . . . . . . . . . . . . . . . . . 348 Conover, Luther. . . . . . . . . . . . . . . . . . . . . 330 Coronel, Pedro. . . . . . . . . . . . . . . . . . . . . . . 90 Corse, Mary. . . . . . . . . . . . . . . . . . . . . . . . . 160 Cremean, Robert. . . . . . . . . . . . . . . . 461-462 Cressey, David. . . . . . . . . . . . . . . . . . . . . 59-61

Ingrand, Max. . . . . . . . . . . . . . . . . . . . . . . 269

Dassonville, William . . . . . . . . . . . . . . . 35-36 Davie, Alan. . . . . . . . . . . . . . . . . . . . . . . . . 398 de Patta, Margaret. . . . . . . . . . . . . . . . . . . 190 del Campo . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Delap, Tony . . . . . . . . . . . . . . . . . . . . 366-367 Dill, Laddie John. . . . . . . 148, 228, 445-446 Dine, Jim . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Donovan, Tara. . . . . . . . . . . . . . . . . . 236-237 Dowd, Robert. . . . . . . . . . . . . . . . . . . . . . . 305 Durant, Sam. . . . . . . . . . . . . . . . . . . . . . . . 266

E Eames, Charles & Ray . . . . . . . . . . . . 120-132 Espenet Carpenter, Arthur . . . . . . . . . 113-114

M Maloof, Sam. . . . . . . . . . . . . . . . . . . . . . . . 349 Manes, Paul. . . . . . . . . . . . . . . . . . . . . . . . 465 Manship, Paul Howard . . . . . . . . . . . . . . . . 55 Marks, Robert Fay. . . . . . . . . . . . . . . . . . . 282 Martine, Maurice. . . . . . . . . . . . . . . . . . . . . 331 Martinez, Alfredo Ramos. . . . . . . . . . . . . . 84 Matégot, Mathieu. . . . . . . . . . . . . . . . . . 19-20 McCleary, Dan. . . . . . . . . . . . . . . . . . . 105-106 McCracken, John . . . . . . . . . . . . . . . . 155-156 McMakin, Roy . . . . . . . . . . . . . . . . . . . . . . . 412 Merz, Mario. . . . . . . . . . . . . . . . . . . . . . . . . 413 Mies van der Rohe . . . . . . . . . . . . . . . . 43-44 Milhazes, Beatriz . . . . . . . . . . . . . . . . . . . 434 Millei, John . . . . . . . . . . . . . . . . . . . . . 166-167 Min, Yunhee. . . . . . . . . . . . . . . . . . . . . . . . 338 Misrach, Richard. . . . . . . . . . . . . . . . . . . . 358 Miyasaki, George. . . . . . . . . . . . . . . . . . . . 254 Moses, Ed. . . . . . . . . . . . . . 144-146, 148, 228 Motherwell, Robert. . . . . . . . . . . . . . . 317-318 Mouille, Serge. . . . . . . . . . . . . . . . . . . . . . . . 17 Murakami, Takashi . . . . . . . . . . . . . . . . . . 233 Murrill, Gwynn. . . . . . . . . . . . . . . . . . . . . . . 162

C

D

Long, Richard . . . . . . . . . . . . . . . . . . . . . . . 416 Longo, Robert. . . . . . . . . . . . . . . . . . . 182-183 Lundeberg, Helen. . . . . . . . . . . . . . . . . . . 337

J Jackson, Dakota. . . . . . . . . . . . . . . . . . . . 447 Jarvaise, James. . . . . . . . . . . . . . . . . . . . . 109 Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . . . 322 Johnson, Dan. . . . . . . . . . . . . . . . . . . . 133-136 Jones, John Paul . . . . . . . . . . . . . . . . . . . 472 Jones, Robert Edmond . . . . . . . . . . . . . . 476

K Kabakov, Ilya. . . . . . . . . . . . . . . . . . . . . . . 438 Kåge, Wilhelm. . . . . . . . . . . . . . . . . . . . . . 379 Katz, Alex. . . . . . . . . . . . . . . . . . . . . . . . . . 340 Kauffman, Craig . . . . . . . . . . . . . . . . 148, 228 Kelly, Ellsworth. . . . . . . . . . . . . . . . . 329, 428 Kienholz, Ed. . . . . . . . . . . . . . . . . . . . . . . . 347 Kishi, Masatoyo. . . . . . . . . . . . . . . . . . . . . 253 Koch, Gérard. . . . . . . . . . . . . . . . . . . . . . . 442 Kohlmeyer, Ida. . . . . . . . . . . . . . . . . . . . . . 430 Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . 231-232

L LaChapelle, David. . . . . . . . . . . . . . . . . . . 355 Lacroix, Jean Boris. . . . . . . . . . . . . . . . . . . 24 Lamb, Walter. . . . . . . . . . . . . . . . . . . . . 64-83 Le Corbusier . . . . . . . . . . . . . . . . . . . . . . . . . 15 Lee, Jennifer. . . . . . . . . . . . . . . . . . . . . . . . 411 Leibovitz, Annie . . . . . . . . . . . . . . . . . . . . . 42 Leland, Malcolm . . . . . . . . . . . . . . . . . . 62-63 Leleu, Jules. . . . . . . . . . . . . . . . . . . . . . 25, 27 LeWitt, Sol. . . . . . . . . . . . . . . . . . . . . 287-288 Lichtenstein, Roy . . . . . . . . . . . . . . . 308-313 Ligon, Glenn. . . . . . . . . . . . . . . . . . . . . . . . 433 Lomazzi, Paolo. . . . . . . . . . . . . . . . . . . . . 293

O Okulick, John. . . . . . . . . . . . . . . . . . . . . . . . 418 Oldenburg, Claes. . . . . . . . . . . . . . . . 306-307 Orr, Eric . . . . . . . . . . . . . . . . . . . 148, 161, 228 Owens, Laura. . . . . . . . . . . . . . . . . . . . . . . 407

P Panton, Verner . . . . . . . . . . . . . . . . . . . . . 290 Parisi, Ico & Luisa. . . . . . . . . . . . . . . . . . . 275 Pattison, Abbott Lawrence. . . . . . . 352-353 Perilli, Achille . . . . . . . . . . . . . . . . . . . . . . 273 Perkins, Danny . . . . . . . . . . . . . . . . . . . . . 454 Perriand, Charlotte. . . . . . . . . . . . . . . . . . . . 15 Pesce, Gaetano. . . . . . . . . . . . . . . . . . . . . 439 Petersen, Roland. . . . . . . . . . . . . . . . . . 110-112 Pettibon, Raymond. . . . . . . . . . . . . . . 184-187 Pettibone, Richard. . . . . . . . . . . . . . 295-300 Phelan, Ellen. . . . . . . . . . . . . . . . . . . . . . . 437 Phillips, Jay. . . . . . . . . . . . . . . . . . . . . . . . 397 Picasso, Pablo. . . . . . . . . . . . . . . . . . . . . . 1-14 Pineda, Antonio. . . . . . . . . . . . . . . . . . . . . . 88 Platner, Warren. . . . . . . . . . . . . . . . 404-406 Pomodoro, Arnaldo. . . . . . . . . . . . . . . . . . . 271 Ponti, Gio. . . . . . . . . . . . . . . . . . . . . . 267-270 Poons, Larry . . . . . . . . . . . . . . . . . . . . . . . . 171 Price, Ken. . . . . . . . . . . . . . . . . . . . 162, 176-181 Prieto, Monique. . . . . . . . . . . . . . . . . . . . . 239 Probber, Harvey . . . . . . . . . . . . . . . . . . . . 339 Prouvé, Jean. . . . . . . . . . . . . . . . . . . . . . . . . 16 Pullen, Melanie. . . . . . . . . . . . . . . . . . . . . 356

R Rauschenberg, Robert. . . . . . . . . . . . . . . . 316 Ray, Man. . . . . . . . . . . . . . . . . . . . . . . . . . 31-34 Reggiani. . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Reiback, Earl. . . . . . . . . . . . . . . . . . . . . . . . 291 Reiss, Roland. . . . . . . . . . . . . . . . . . . 409-410 Remington, Deborah. . . . . . . . . . . . . . . . . 427

Rohde, Johan. . . . . . . . . . . . . . . . . . . . . . . . 56 Rickey, George . . . . . . . . . . . . . . . . . . . . . . 172 Rispal, Jean. . . . . . . . . . . . . . . . . . . . . . . . . . 18 Robsjohn-Gibbings, T.H.. . . . . . . . . . 421-422 Rosenquist, James. . . . . . . . . . . . . . . . . . . 314 Royère, Jean. . . . . . . . . . . . . . . . . . . . . . . . . 21 Ruscha, Ed. . . . . . . . . . . . . . . . . 215-225, 228

S Saarinen, Eero. . . . . . . . . . . . . . . . . . 323-325 Sandra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 Saret, Alan. . . . . . . . . . . . . . . . . . . . . . . . . . 414 Sarfatti, Gino. . . . . . . . . . . . . . . . . . . . . . . 274 Schleeh, Hans. . . . . . . . . . . . . . . . . . . . . . 464 Scully, Sean. . . . . . . . . . . . . . . . . . . . . . . . 360 Serra, Richard. . . . . . . . . . . . . . . . . . 368-370 Shapiro, Babe . . . . . . . . . . . . . . . . . . . . . . . 281 Shaw, Richard. . . . . . . . . . . . . . . . . . . . . . 432 Sheets, Millard. . . . . . . . . . . . . . . . . . . . . . . 95 Shire, Peter. . . . . . . . . . . . . . . . . . . . . . . . . 441 Shulman, Julius. . . . . . . . . . . . . . . . . . . . . 265 Simonds, Charles . . . . . . . . . . . . . . . . . . . 365 Snyder, Joan. . . . . . . . . . . . . . . . . . . . . . . 449 Soldner, Paul. . . . . . . . . . . . . . . . . . . . . . . . 154 Soto, Jésus Rafael. . . . . . . . . . . . . . . . . . 286 Sottsass, Ettore . . . . . . . . . . . . . . . . . . . . 440 Soulages, Pierre. . . . . . . . . . . . . . . . . . . . . 30 Soyer, Moses. . . . . . . . . . . . . . . . . . . . . . . 475 Springer, Karl. . . . . . . . . . . . . . . . . . . . . . .466 Stamos, Theodoros. . . . . . . . . . . . . . . . . . . 29 Steiner, Hugues. . . . . . . . . . . . . . . . . . . . . 468 Steir, Pat. . . . . . . . . . . . . . . . . . . . . . 452-453 Stella, Frank. . . . . . . . . . . . . . . . . . . . . . . . . 321 Still, Nanny . . . . . . . . . . . . . . . . . . . . . . . . 393 Stoll, George. . . . . . . . . . . . . . . . . . . . . . . 234 Suggs, Don. . . . . . . . . . . . . . . . . . . . . . . . . . 169 Surls, James. . . . . . . . . . . . . . . . . . . . . . . 423

T Tamayo, Rufino. . . . . . . . . . . . . . . . . . . 85-86 Therrien, Robert. . . . . . . . . . . . . . . . . . . . . 415 Thiebaud, Wayne. . . . . . . . . . . . . . . . . . . . . 119 Thonet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Tomaselli, Fred . . . . . . . . . . . . . . . . . . . . . 436 Tura, Aldo. . . . . . . . . . . . . . . . . . . . . . 276-278 Tuttle, Paul. . . . . . . . . . . . . . . . . . . . . . . . . 448 Tuttle, Richard. . . . . . . . . . . . . . . . . . . . . . 435 Tynell, Paavo. . . . . . . . . . . . . . . . . . . . . . . . 391

V Valentine, De Wain . . . . . . . . . . . . . . . . . . . 159 Vasarely, Victor. . . . . . . . . . . . . . . . . 279-280 Vicente, Esteban. . . . . . . . . . . . . . . . . 371-372 Vigo, Nanda. . . . . . . . . . . . . . . . . . . . . . . . 283 Vitali, Massimo. . . . . . . . . . . . . . . . . . . . . 238 von Nessen, Walter. . . . . . . . . . . . . . . . . . . . 51 Voulkos, Peter. . . . . . . . . . . . . . . . . . . . . . . 152

W Walker, John . . . . . . . . . . . . . . . . . . . . . . . 420 Warhol, Andy. . . . . . . . . . . . . . . . . . . 301-304 Weems, Carrie Mae. . . . . . . . . . . . . . . . . . . 361 Wegman, William. . . . . . . . . . . . . . . . 363, 433 Wegner, Hans J.. . . . . . . . . . . . . 376, 380-387 Wesley, John. . . . . . . . . . . . . . . . . . . . . . . 403 Winogrand, Garry. . . . . . . . . . . . . . . . . . . . . 41 Woelffer, Emerson. . . . . . . . . . . . . . . . 373-374 Wonner, Paul . . . . . . . . . . . . . . . . . . . . . . . . 108 Wood, Beatrice . . . . . . . . . . . . . . . . . . 261-263 Woods, Lebbeus . . . . . . . . . . . . . . . . . . . . 364 Wormley, Edward. . . . . . . . . . . . . . . . 429, 473 Wright, Russel. . . . . . . . . . . . . . . . . . . . . . . 54

Y Youngerman, Jack . . . . . . . . . . . . . . . . . . 326 Yuskavage, Lisa. . . . . . . . . . . . . . . . . 459-460

INFORMATION

DIRECTIONS TO AUCTION & PREVIEW

STAFF

Auction

Peter Loughrey

Sunday, October 11, 2015

From Hollywood

12pm (PT)

■■

Make your way to the 101 Freeway

■■

Proceed North on the 101

Shannon Loughrey

Preview

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Merge onto the 405 Freeway, north

Managing Director

September 28—October 10, 2015

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Take the 4th exit onto “Sherman

10am—6pm (PT) Address

Way, west”

Elizabeth Portanova

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Proceed west on Sherman Way

Marketing Director

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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

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Take the 405 Freeway, north

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Continue past the Getty Museum

Clo Pazera

and the 101 Interchange

Consignor Services

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Exit onto “Sherman Way, west”

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(this is 4 exits North of the 101)

Joe Alascano

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Proceed west on Sherman Way

Shipping

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Turn left at the 3rd light onto “Woodley”

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

Photography by Mario de Lopez Susan Einstein Ryan Skut Fredrik Nilsen Essays by e

323.904.1950

Greg Cerio Melissa Pellico