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MODERN ART & DESIGN FEBRUARY 21, 2016 Fe a t u r i n g proper ty fro m t h e Estate of Jack Larson to benefit The Bridges/Larson Foundation


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Preview February 8–20, 2016 10am–6pm (PT) Auction February 21, 2016 12pm (PT) 16145 Hart Street Van Nuys, CA 91406


In Depth When we put together an auction catalogue, many times

of the George D. Sturges Residence in 1967 further

we are at the mercy of the marketplace with respect

brought them in contact with architect John Lautner,

to what is available for sale. As a result, our ability to

photographer Julius Shulman, and historian Thomas

curate is often limited. However, this season we have

S. Hines. The Sturges Residence itself has had a long

nearly an embarrassment of riches. Not only do we have

and rich history since its creation in 1939. In a separate

two separate lots estimated in excess of one million

catalogue, we dig even deeper into this history. In it, we

dollars each, we also have a deep selection of works by

have compiled an exhaustive document that should stand

a number of artists. In fact, there are forty-two artists

as a testament to this beautiful, historic structure.

in this catalogue represented by three or more lots. This has allowed us to explore many of these artists in

We are also extremely proud to offer an extraordinary

depth. And depth, in this case, means more than just

painting by Richard Prince. Presenting this work has

a wide selection. It also means range. For example,

been a joy on many levels, not the least of which is the

there is a Picasso plaque starting at $1,500 as well as

message we hope it sends to the broader art market:

a rare vase estimated at $30,000–50,000; a Richard

you don't have to send high value works to New York

Prince photograph for $5,000–7,000 and a painting for

anymore! An auction house like LAMA is small in size, but

$1,000,000–2,000,000; a Frank Lloyd Wright coffee table

with today's modern communication, we have proven to

estimated for $2,500–3,500 and an actual house for

have the same ability to reach the world market as the

$2,500,000–3,000,000!

bigger houses do.

A career highlight is, of course, the Frank Lloyd Wright

So, as you peruse this selection, we hope you will find

house and collection belonging to the late Jack Larson,

something that can provide some level of enjoyment.

sold to benefit The Bridges/Larson Foundation set up

From a simple pleasure to a life-changing moment, art

by Larson and his late partner, James Bridges. Larson

and design have the power to affect us on a profound

and Bridges had a life full of connections with the arts

level. Now that's deep.

community including actors, writers, and directors like themselves, but also artists like David Hockney, Alex Katz, and Joe Brainard, to name just a few. Their acquisition

Peter Loughrey, Director


1 ANDY WARHOL Cow

1977 Screenprint on wallpaper Unlimited edition size Published by Factory Additions, New York; printed by Bill Miller’s Wallpaper Studio, Inc., New York Stamped with the Andy Warhol Art Authentication Board Inc. and The Estate of Andy Warhol stamps verso; inscribed with unique authentication number verso F/S #II.12A Image/sheet (vis.): 45.5" x 29.75" Frame: 48.25" x 32.25" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.12A.

$8,000–9,000


2 AFTER KEITH HARING Untitled c. 1990 Wool rug Manufacturer unknown 128" x 200"

$6,000–9,000

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3 ROY LICHTENSTEIN Paper Plate (3)

1969 3-color screenprint on white paper plate Unknown edition size Published by Bert Stern, for On 1st, New York Printed “Roy Lichtenstein © On 1st Inc. 1969” verso Plates each: 10.25" diameter LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #III.45.

$2,000–3,000


4 TOM WESSELMANN

Standing Nude Edition 1985 Laser-cut steel with black enamel #43 of 50 Published by the artist and Sidney Janis Gallery, New York Signed, dated with edition verso LAMA would like to thank the Tom Wesselmann Estate for their assistance in cataloguing this work 23.125" x 6.625"

$18,000–25,000


5 TOM WESSELMANN

Big Blonde with Choker 1992 26-color screenprint on 4-ply natural white Archivart board #54 of 90 Published by International Images, Inc., Putney; printed by Screened Images, Port Washington Signed in graphite with edition lower right sheet; International Images, Inc. and Screened Images blind stamps lower left sheet LAMA would like to thank the Tom Wesselmann Estate for their assistance in cataloguing this work Board (vis.): 48.5" x 69" Frame: 52" x 72.75" LIT E RAT URE Tom Wesselmann: Works on Paper, Laser-Cut Steels and Screenprints. Samuel Vanhoegaerden Gallery exh. cat. 2008. 64-65.

$12,000–15,000

6 TOM WESSELMANN

Study For Red Head Nude #7820 1978 Colored pencil on paper Signed and dated in graphite lower right image; inscribed “D7820” lower left sheet margin; inscribed “78” lower right sheet margin Together with original invoice, and two letters from the artist This work is listed in the Tom Wesselmann Estate archives Image: 3.25" x 4.25" Sheet: 4.5" x 5.875" Frame: 11.375" x 14.25" P ROV E NANC E Ehrlich Gallery, New York, New York; Private Collection, Washington, DC (acquired directly from the above, 1979); Thence by descent

$10,000–15,000

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7 DAVID HOCKNEY

Mist (from Weather Series) 1973 5-color lithograph on Arjomari paper #11 of 98 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in blue grease pencil lower right margin of sheet with Gemini G.E.L. blind stamp; edition lower left Gemini G.E.L. #23.9 Image: 29" x 24.75" Sheet: 36.875" x 31.625" Frame: 39.5" x 34.625" LITERATURE David Hockney Prints 1954-1995. 1996. #129.

$8,000–12,000


8 DAVID HOCKNEY

Dancing Flowers, May 1986 1986 Home made print executed on an office color copy machine on acid free Xerox paper #50 of 60 Published by the artist Signed and dated in graphite lower right sheet with artist’s blind stamp; edition lower left; retains LA Louver Gallery label verso Image/sheet: 21.5" x 25.5" Frame: 27.75" x 31.75" LIT E RAT URE David Hockney Prints 1954-1995. 1996. #307.

$3,000–5,000

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9 DAVID HOCKNEY

Henry Seated with Tulips (from Friends Series) 1976 5-color lithograph on Arches Cover buff paper #42 of 90 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right sheet with Gemini G.E.L. blind stamp; edition lower left Gemini G.E.L. #23.39 Image/sheet: 41.625" x 28.625" Frame: 49.25" x 37.5" P ROV E NANC E Asher/Faure Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #177.

$4,000–6,000


10 DAVID HOCKNEY

Celia in a Wicker Chair 1974 5-color softground etching on Rives BFK paper #34 of 60 Published by Petersburg Press, London; printed by Maurice Payne, London Signed and dated in graphite lower right margin of sheet; edition lower left Image: 26.875" x 21.375" Sheet: 35.625" x 29.5" Frame: 41.875" x 36.5" LITERATURE David Hockney Prints 1954-1995. 1996. #158.

$8,000–12,000


11 DAVID HOCKNEY

Celia Seated in an Office Chair 1974 Etching and aquatint in colors on BFK Rives paper #34 of 60 Published by Petersburg Press, London; printed by Maurice Payne, London Signed and dated in graphite lower right margin; edition lower left margin Image: 26.75" x 21.25" Sheet (vis.): 35.25" x 29.625" Frame: 41.875" x 36.625" LIT E RAT URE David Hockney Prints 1954-1995. 1996.

$8,000–12,000

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12 FRANK STELLA

Double Gray Scramble 1973 150-color screenprint on Arches paper #98 of 100 Published and printed by Gemini G.E.L., Los Angeles Together with copy of print documenation from Gemini G.E.L. Signed and dated with edition in graphite lower right marging of sheet beneath image; retains Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #51.89 Image: 23.325" x 47" Sheet: 29" x 50.75" Frame: 29.25" x 50.875" LITERATURE The Prints of Frank Stella: A Catalogue Raisonné: 19671982. R. Axsom. 1983. #93.

$25,000–35,000


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Vasa. Photo by Arnold Chanin, 1977.

13 VASA (VELIZAR MIHICH) Tower #1350

1978 Laminated cast acrylic Etched signature and date; etched “#1350” 35.5" x 4.125" x 4.125"

$4,000–6,000


14 BRICE MARDEN Grid II

1971 Etching and aquatint on Rives BFK paper Printer’s proof aside from the edition of 31 Published by Parasol Press Ltd., New York Signed and dated in graphite lower right margin of sheet, inscribed “PP” lower left Image: 14.25" x 23.5" Sheet (vis.): 16" x 25" Frame: 24" x 32" LITERATURE Brice Marden: Prints 1961-1991: A Catalogue Raisonné. J. Lewison. 1992. #18.

$5,000–7,000

15 BRICE MARDEN Untitled

1971 Etching and aquatint on paper Artist’s proof Signed and dated in graphite lower right margin; edition lower left Image: 14.5" x 23.25" Sheet (vis.): 16" x 25" Frame: 24" x 32"

$3,000–5,000


16 SOL LEWITT

Untitled (Blue and White) 1998 Gouache on cardstock Signed and dated in graphite lower right; bears the inscription verso “006226” Sheet: 7.5" x 22.5" P ROV E NANC E Private Collection, United States (gifted directly by the artist); Private Collection, Untited States (acquired directly from the above)

$6,000–9,000

17 SOL LEWITT

Untitled (Blue and Yellow) 1997 Gouache on paper Signed in graphite lower right sheet Sheet: 15" x 14.875" Frame: 19" x 19" P ROV E NANC E Private Collection, United States (gifted directly by the artist); Private Collection, Untited States (acquired directly from the above)

$5,000–7,000

18 SOL LEWITT

Untitled (Irregular Forms in Yellow, Red, White, and Blue) 1997 Gouache on paper Signed and dated in graphite lower right sheet Sheet: 11" x 11.25" Frame: 14.125" x 14.125" P ROV E NANC E Private Collection, United States (gifted directly by the artist); Private Collection, Untited States (acquired directly from the above)

$5,000–7,000

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19 ROBERT RAUSCHENBERG Access

1996 Fabric and paper on painted wood door with brass and glass doorknob (double-sided) Signed and dated “Rauschenberg 96” lower right Together with base RRF #96.163 Overall: 77.125" x 29.825" x 6.25" P ROVENA NC E The artist; The Museum of Contemporary Art, Los Angeles (donated directly by the artist); Private Collection, Los Angeles, California (acquired directly from the above through The Museum of Contemporary Art store, Los Angeles, c. 2008)

$60,000–80,000


20 ROBERT RAUSCHENBERG

Scrape (from Hoarfrost Editions) 1974 Offset lithograph transferred to collage of paper bags and fabric on China silk and silk chiffon From the edition of 32 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition lower right Gemini G.E.L. #41.94 Overall: 76" x 36"

$8,000–10,000

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ALTERNATE VIEW

21 JOHN CHAMBERLAIN Untitled

1970 Urethane foam Signed and dated “JOHN ‘70” in felt-tip marker 12" x 12" x 9.5" P ROVENA NC E Private Collection, New Mexico (acquired directly from the artist); Thence by descent

$8,000–12,000


22 GEORGE NELSON

Coconut chairs & ottoman (3) Herman Miller, designed 1955 Model nos. 5569 (chairs) and 5898 (ottoman) Comprised of two Coconut chairs and an ottoman Chairs each: 33.5" x 41" x 33" Ottoman: 16.25" x23.5" x 18.75" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. Vitra Design Museum exh. cat. 2008. 249.

$5,000–7,000

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23 NABIL NAHAS NN-19

c. 1987 Oil on canvas Canvas: 98" x 96" P ROVENA NC E Holly Solomon Gallery, New York, New York; Private Collection, California (acquired directly from the above, February 1987)

$30,000–50,000


24 GEORGE NELSON Chairs (2)

Herman Miller, designed 1954 Model no. DAF One retains manufacturer’s label Each: 31" x 28.5" x 21" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. Vitra Design Museum exh. cat. 2008. 249.

$2,000–3,000

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25 MARY CORSE

Copper-Four Crosses 1979 Fired and glazed clay As illustrated: 86" x 86" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1980) LITERATURE Summer 1985. J. Brown, et al. 1985. N.pag. for similar examples illustrated.

$40,000–60,000


26 CHARLES & RAY EAMES Speaker

Stephens Tru-Sonic, designed 1956 Retains manufacturer’s label 29" x 22.5" x 16" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 209.

$3,000–5,000

23 27 CHARLES & RAY EAMES Chaise lounge

Herman Miller, designed 1968 Model no. ES106 27.25" x 75" x 17" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 338-339.

$2,500–3,500


28 VIJA CELMINS

Untitled (Ocean with Cross #1) 2005 Screenprint on paper #46 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 22.25" Sheet (vis.): 19.75" x 24.5" Frame: 26.75" x 31.5" LITERATURE Art at Lincoln Center: The Public Art and List Print and Poster Collections. C. Riley. 2009. 200.

$9,000–10,000

29 GIFFORD MYERS

Do Not Touch Works of Art 1979 Unglazed ceramic relief on plaque Signed in graphite “Gifford Myers 1979” and “4” verso 10.375" x 14.25" P ROVENA NC E Richard Dorso; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, October 9, 2011, lot 169)

$3,000–5,000


30 EERO SAARINEN

Grasshopper chair Knoll, designed 1945 Model no. 61U 35" x 29.75" x 35.5" LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 105.

$2,000–3,000

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31 EERO SAARINEN Dinette table

Knoll Studio, designed 1957; this example produced 2000 Retains facsimile signature from Knoll Studio 28" x 36" diameter

$1,500–2,000


32 DAVID AMICO

Yellow & Black with White 1993 Oil and wax on canvas Signed, titled, and dated in blue felt-tip marker verso Canvas: 96" x 72" P ROVENA N C E Ace Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, February 1993)

$5,000–10,000


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33 GRETA MAGNUSSON GROSSMAN Double shade floor lamp

Ralph O. Smith, designed 1948-1949 Adjustable: 59" x 47" x 11" LIT E RAT URE Greta Magnusson Grossman: A Car and Some Shorts. K. Waern. 2010. N.pag.

$7,000–9,000


34 GRETA MAGNUSSON GROSSMAN Console

Glenn of California, designed 1952 24.5" x 65.25" x 18.25" LITERATURE Greta Magnusson Grossman: A Car and Some Shorts. K. Waern. 2010. N.pag.

$2,500–3,500

35 JOHN FOLLIS & REX GOODE Pig planter

Architectural Pottery, designed c. 1949 Model no. G-99 13.5" x 42" x 25" LITERATURE Architectural Pottery cat. March 1961. 14.

$3,500–4,500

36 CONRAD DIVINE Coffee table

Conrad Divine, designed c. 1955 Retains label “Mosaic table custom crafted in venetian glass...designed by Conrad Divine/Pomona, California” 15" x 60" x 24"

$2,000–3,000


37 JONAS WOOD Ewing’s Card

2005 Gouache and pencil on Rives BFK paper Signed and dated with title verso Sheet: 27.75" x 20.25" Frame: 30.25" x 22.25"

$25,000–35,000

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Hans Burkhardt Born in Switzerland, trained in New York, and a longtime influential presence in Los Angeles art circles, Hans Burkhardt (1904–1994) developed a singular painting style that merged elements of representation, abstraction, and surrealism. One keynote of Burkhardt’s paintings is the careful balance and strong underlying structure of his compositions—a precept learned from his teacher Arshile Gorky, a seminal figure in the advent of Abstract Expressionism. Other hallmarks of Burkhardt’s work are his humanism and his facility for conveying deep emotions. Burkhardt has been called “Goya’s spiritual heir,” and his body of work encompasses some of the 20th century’s most compelling artistic indictments of the brutality of war. At the same time, few painters have been more successful in their depictions of happiness, hope, and human tenderness. Burkhardt’s empathy stemmed from the privations of his childhood. When he was three years old, Burkhardt’s father left the family to go to America. Three years later, Burkhardt’s mother died of tuberculosis and he was sent to a city orphanage. He worked menial jobs until 1924, when he joined his father in New York and found work in a furniture factory painting decorative motifs. To improve his

38 HANS BURKHARDT My L.A.

1938 Oil on panel Signed and dated lower left Panel (vis.): 27.25" x 17" Frame: 28.5" x 18.25"

$10,000–15,000

skills, Burkhardt studied at the Cooper Union. Discovering a talent for art, he took instruction from Gorky at the Grand Central School of Art. From 1928, alongside his fellow student Willem de Kooning, he painted in Gorky’s downtown studio. Relatively well paid during the Depression for his furniture making, Burkhardt supported Gorky—an archetypal impoverished starving artist—for several years. Burkhardt moved to Los Angeles in 1937. His work was soon championed by the prominent artist Lorser Feitelson. Burkhardt’s first solo show was in 1939, and in 1945 the Los Angeles County Museum of Art became the first public institution to purchase his art, which now sits in the collections of numerous major museums, including the Metropolitan Museum of Art in New York and the British Museum. Burkhardt taught at several schools in the Los Angeles area, among them the University of California at Los Angeles, the Otis College of Art and Design, and California State University at Northridge. Karlstrom, Paul J., ed. On the Edge of America: California Modernist Art, 1900–1950. Berkeley: University of California Press, 1996. 43-50. Print. Rutberg, Jack. “Hans Burkhardt in the 1960s – A Provocative Presence.” ArtweekLA – Art Here Now. ArtweekLA, 14 Nov. 2011. Web. 13 Dec. 2015.


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HANS BURKHARDT

HANS BURKHARDT

1969 Oil on linen canvas

1969 Oil on canvas; ink on paper

Signed and dated lower center; retains Lorraine Gallery label verso; bears the inscription “VII” canvas stretcher verso

Each signed and dated lower right

Lovers on the Bridge

Canvas: 31.75" x 41.75" Frame: 32.5" x 42.5"

$25,000–35,000

Dream of Love

Together with mixed-media drawing on paper Canvas: 14.125" x 20" Frame: 17.75" x 23.625"

$5,000–7,000

Hans Burkhardt. Photo by Arnold Chanin, 1969.

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41 HARRY BERTOIA

Multi-plane construction c. 1958 Melt-coated brass construction 33.75" x 16.25" x 7"

$60,000–80,000

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42 HARRY BERTOIA

Untitled (Sonambient) 1966 Beryllium copper and brass 36.5" x 8" x 8" Together with copy of certificate from Val O. Bertoia P ROV E NANC E Private Collection, Wisconsin; Mrs. A.B. Kores, Beaver Dam, Wisconsin; Private Collection, Los Angeles, California (acquired directly from the above through Wright, Chicago, Illinois, October 10, 2006, lot 418) LIT E RAT URE The World of Bertoia. V. O. Bertoia and N. Schiffer. 2003. 177-182 for similar examples.

$40,000–60,000

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43 HARRY BERTOIA

Untitled (Sonambient) 1974 Beryllium copper and brass 26.5" x 6" x 6" P ROVENA NC E Private Collection (acquired directly from the artist); Private Collection, Los Angeles, California (acquired directly from the above through Wright, Chicago, Illinois, May 22, 2007, lot 854) LITERATURE The World of Bertoia. V. O. Bertoia and N. Schiffer. 2003. 177-182 for similar examples.

$20,000–30,000


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44 HARRY BERTOIA

Untitled (Sonambient) c. 1972 Beryllium copper and brass 24.25" x 13.75" x 4.75" P ROV E NANC E Colorado National Bank, Denver, Colorado; Private Collection; Private Collection, Los Angeles, California (acquired directly from the above through Wright, Chicago, Illinois, May 22, 2007, lot 850) LIT E RAT URE The World of Bertoia. V. O. Bertoia and N. Schiffer. 2003. 177-182 for similar examples.

$20,000–30,000


45 OSKAR FISCHINGER Spokes #1059 1951 Oil on panel Signed lower right; dated with artist’s monogram lower left Together with photograph of Cleo Baldon with painting (illustrated on page 265) Sheet: 35.25" x 14" Frame: 37" x 15.75" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California

$6,000–9,000

46 OSKAR FISCHINGER Space light #1064

1962 Oil on illustration board Signed lower right; dated with artist’s monogram lower left Sheet (vis.): 5.75" x 7.5" Frame: 13" x 15" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California

$3,000–5,000


47 OSKAR FISCHINGER Gauge #1061

1963 Oil on paperboard Signed lower right; dated with artist’s monogram lower left Sheet: 8" x 6" Frame: 10.5" x 8.5" P ROV E NANC E Estate of Cleo Baldon, Los Angeles, California

$3,000–5,000

48 OSKAR FISCHINGER #326

1962 Gouache on paper on illustration board Signed lower right; dated with artist’s monogram lower left; inscribed and dated “To Gerry Nordland/ with very best wishes/ Elfrieda Fischinger/ May 13. 76.” verso; bears the inscription “R81 #326” Board (vis.): 7.5" x 13" Mat: 15" x 20" P ROV E NANC E Gerald Nordland, Chicago, Illinois (acquired directly from Elfrieda Fischinger, 1976)

$2,000–3,000

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49 SAM FRANCIS Rug

1990 Woven wool Arterior Collection Vorwerk, Germany Retains Vorwerk/Arterior Collection tag 118.125" x 78.75" LITERATURE The International Design Yearbook. Vol. 8. B. Sipek. 1993. 163, #10.

$8,000–12,000

50 SAM FRANCIS Heart Stone

1963 Color lithograph on Rives BFK paper #43 of 65 Published by Kornfeld and Klipstein, Bern Signed in graphite lower right sheet; edition lower left Image/sheet (vis.): 24.75" x 35.25" Frame: 27.5" x 38" LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L31.

$2,500–3,500


51 SAM FRANCIS

Happy Death Prints 1960 Color lithograph on Rives BFK paper #13 of 70 Published by Kornfeld and Klipstein, Bern Signed in graphite lower left with edition; retains partial Fred Chedel Gallery label verso Image/sheet: 24.75" x 35.75" Frame: 29.5" x 40.75" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L9.

$2,500–3,500

52 SAM FRANCIS

Concert Hall Set II 1977 4-color lithograph on Rives BFK paper #1 of 75 Published by the Louisiana Museum of Modern Art, Humblebaek; printed by the Litho Shop, Inc., Santa Monica Signed in graphite lower right margin of sheet; edition lower left Image: 25.5" x 16" Sheet: 30" x 22" Frame: 35.5" x 27.25" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L224.

$2,500–3,500

53 SAM FRANCIS

Concert Hall Set I 1977 5-color lithograph on Rives BFK paper #64 of 75 Published by the Louisiana Museum of Modern Art, Humblebaek; printed by the Litho Shop, Inc., Santa Monica Signed in graphite lower right margin of sheet; edition lower left Image: 21.875" x 17.375" Sheet: 29" x 22.875" Frame: 35.5" x 27.25" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L223.

$2,500–3,500

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Claire Falkenstein The abstract artist Claire Falkenstein (1908–1997) was one of the most important and intriguing figures in post-war American art. She developed an artistic vocabulary all her own, drawing on influences that ranged from Abstract Expressionism and Einsteinian physics to the French avant-garde of the 1950s. Falkenstein’s signature enigmatic sculptures—brambled thickets of bent and welded copper tubing and intricate networks of metal and glass (seen in her most famous commission, the gates of Peggy Guggenheim’s palazzo-museum in Venice)—reflect her ruminations on such themes as continuity and change, space and matter, and the interconnectedness of the infinite.

54 CLAIRE FALKENSTEIN

Large Point as a Set with Glass Center c. 1972 Copper and fused Venetian glass 17" diameter LITERATURE Claire Falkenstein. M. Duncan, et al. 2012. 118 for a similar example illustrated.

$25,000–35,000

Introduced to sculpture through her studies with the Cubist master Alexander Archipenko in the 1930s and later teaching alongside the Abstract Expressionist Clyfford Still at the California School of Fine Arts (now the San Francisco Art Institute) in the 1940s, her work was informed by an astonishingly rich background. In 1950, Falkenstein moved to Paris, where she befriended such artists as Alberto Giacometti, Jean Arp, and Sam Francis, and where she became involved in a new intellectual movement that explored the nexus of art, science, and philosophy. When she returned to California in 1960, those investigations continued to be the basis of her work on such pieces, as illustrated in the two present lots.


The Point as a Set sculpture series, which she began in her Los Angeles studio in the early 1960s, marked Falkenstein’s first self-assured steps into her mature artistic career. These sculptures vary in expression “from happy, open, curving lyricism to ominous, closed, hard-edged density,” Falkenstein wrote in an artist’s statement given to the Tate Gallery after the London museum acquired a work from the series in 1981. “Point as a Set refers to the language of mathematics, and thus to under-surface relations in nature.” Anderson, Susan M., Michael Duncan, and Maren Henderson. Claire Falkenstein. Los Angeles: Falkenstein Foundation, 2012. Print. Alley, Ronald. Catalogue of the Tate Gallery’s Collection of Modern Art Other than Works by British Artists. London: Tate Gallery and Sotheby Parke-Bernet, 1981. Web. 09 Jan. 2016.

Claire Falkenstein. Photo by Arnold Chanin, 1975.

55 CLAIRE FALKENSTEIN Point as a Set #27 1976 Copper Impressed “CF” Together with copy of invoice from the original owner 6" diameter P ROV E NANC E Private Collection, Palm Desert, California (gifted directly by the artist, 1977); Private Collection, Los Angeles, California (acquired directly from the above, 1999); Private Collection, Los Angeles, California

$10,000–15,000

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56 NORMAN BLUHM Black Card

1961 Oil on canvas Signed, titled, and dated verso; bears the inscription “61” on untreated edge of canvas LAMA would like to thank the estate of Norman Bluhm for their assistance in cataloguing this work Together with book Norman Bluhm (2000) Canvas: 84" x 72" P ROVENA NC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, April 1993) ILLUSTRAT E D Norman Bluhm. R. Rubinstein, et al. 2000. 59. LITERATURE “Ecstatic Meditations: Norman Bluhm’s Painting Over Five Decades.” Norman Bluhm. R. Rubinstein, et al. 2000. 22.

$40,000–60,000


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57 NORMAN BLUHM Golden Sultana 1988 Oil on canvas Signed and dated in marker verso; title inscribed verso LAMA would like to thank the estate of Norman Bluhm for their assistance in cataloguing this work Canvas: 67" x 67" Frame: 67.25" x 67.25" P ROV E NANC E Ace Gallery, New York, New York; Private Collection, California (acquired directly from the above, May 1994) E XHIBIT E D "Selections from the Bud Knapp Collection," Schneider Musuem of Art, Southern Oregon State College, Ashland, September 21-December 21, 1995 ILLUST RAT E D Norman Bluhm. R. Rubinstein, et al. 2000. 93.

$15,000–20,000


58 MAGDALENA ABAKANOWICZ Mefisto II

1966 Hand-spun wool, cotton string, and hemp rope Retains signed label verso 40" x 52" P ROVENA NC E Mr. and Mrs. J.L. Hurschler, California; California Institute of the Arts, Valencia, California; Private Collection, California; Private Collection, California (acquired directly from the above through Los Angeles Modern Auctions, June 13, 2004, lot 196) EXHIBITE D “Magdalena Abakanowicz: Early Works of the 1960s and Recent Sculpture,” Susanne Hilberry Gallery, Birmingham, May-June 1997; “Magdalena Abakanowicz: Early Abakans,” Stephen Wirtz Gallery, San Francisco, March-April 2000

$5,000–7,000


59 BENIAMINO BUFANO Dromedary Camel

Conceived c. 1960; this example cast c. 2008 Bronze Signed 14.25" x 20" x 9" P ROV E NANC E The Estate of the artist; Private Collection, Oakland, California (acquired directly from the above)

$6,000–8,000

60 BENIAMINO BUFANO Bactrian Camel

Conceived c. 1960; this example cast c. 2008 Bronze Signed and stamped "AP © 2008" 14.25" x 20" x 9" P ROV E NANC E The Estate of the artist; Private Collection, Oakland, California (acquired directly from the above)

$6,000–8,000

61 BENIAMINO BUFANO Untitled

c. 1953 Tile mosaic Bears the inscription "Bufano" in graphite verso Mosaic: 25" x 25" Frame: 33.375" x 33.375" P ROV E NANC E The Estate of the artist; Private Collection, Oakland, California (acquired directly from the above)

$3,000–5,000

47


62 BRUCE COHEN

Untitled (Still Life with Three Flowers) 1981 Oil on canvas Signed and dated “Bruce Cohen/1981” verso Canvas: 22" x 15" Frame: 22.75" x 15.75" P ROVENA NC E Asher/Faure Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$2,500–3,500


63 LARRY COHEN

View from the end of Via De La Paz of the Santa Monica Coast 2005 Oil on canvas Signed in graphite verso; signed in paint on canvas stretcher verso; retains partial artist’s label verso Canvas: 24" x 22" Frame: 25" x 23.25"

$2,000–3,000

49

64 LARRY COHEN

View of the Hollywood Reservoir from Durand Drive 2002 Oil on canvas Signed twice in graphite verso; title inscribed on canvas stretcher verso Canvas: 12.75" x 22" Frame: 14" x 23"

$1,500–2,000


65 ROLAND PETERSEN Morning #1 1969 Oil on canvas Signed and dated upper right; signed and titled canvas stretcher verso Canvas: 17.5" x 31.5" Frame: 18.5" x 32.25" P ROVENA NC E The artist; Thence by descent

$15,000–20,000

66 ROLAND PETERSEN Untitled

2002 Acrylic on canvas Signed and dated “Roland Petersen 2002” upper right Canvas: 26.25" x 32.25" Frame: 27.5" x 33.5" P ROVENA NC E Private Collection, Fairfax, California (acquired directly from the artist)

$10,000–15,000


67 ROLAND PETERSEN

Rice Paddies with a Cloud Shadow Overlay 1973 Acrylic on canvas Signed and dated lower left; titled, signed and dated verso Canvas: 30" x 34" Frame: 30.75" x 34.75" P ROV E NANC E The artist; Thence by descent

$15,000–20,000

51

68 ROLAND PETERSEN Orlean Scene

1966 Intaglio on paper #7 of 45 Signed in graphite lower right; edition lower left Image: 17.25" x 23.75" Sheet: 22.25" x 29.875" Frame: 32.75" x 40.875" P ROV E NANC E The artist; Thence by descent

$1,000–1,500


69 WAYNE THIEBAUD

Cherry Cakes (from Recent Etchings II) 1979 Hardground etching with aquatint on Somerset paper #42 of 50 Published by Parasol Press Ltd., New York; printed by Crown Point Press, San Francisco Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; Crown Point Press blind stamp lower right edge of sheet Image: 16" x 23.75" Sheet: 22.5" x 29.25" Frame: 30.25" x 36.25"

$5,000–7,000

70 WAYNE THIEBAUD Cone

1995; printed 2011 Hardground etching on paper #13 of 40 Published and printed by Crown Point Press, San Francisco Signed and dated in graphite lower right margin beneath image; titled lower center margin beneath image; edition lower left margin beneath image Together with print documentation from Crown Point Press, San Francisco, and copy of invoice Image: 6.25" x 7.75" Sheet: 11.25" x 12" Frame: 14" x 14.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from Crown Point Press, San Francisco, 2012)

$3,000–5,000


71 WAYNE THIEBAUD Suckers (State I)

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

$5,000–7,000

72 WAYNE THIEBAUD Eyeglasses

1994 Color hardground etching with drypoint on paper #24 of 50 Published and printed by Crown Point Press, San Francisco Signed and dated in graphite lower right margin of sheet beneath image; edition lower left Image: 8.25" x 10.75" Sheet (vis.): 9.5" x 11.75" Frame: 17.5" x 19.75"

$6,000–9,000

53


73 RICHARD DIEBENKORN High Green, Version II

1992 Color spit-bite and soap ground aquatint with softground and hardground etching and drypoint on paper #17 of 65 Published and printed by Crown Point Press, San Francisco Initialed and dated lower right margin of sheet in graphite; inscribed “II” with edition lower left margin Image: 39.5" x 22.5" Sheet (vis.): 41.625" x 24.625" Frame: 54.375" x 36.125" P ROVENA NC E Crown Point Press, San Francisco, California; Private Collection, Newport Beach, California (acquired directly from the above, c. 1993); Private Collection, Palm Desert, California (acquired directly from the above, 2012)

$150,000–175,000


74 RICHARD DIEBENKORN

Woman Seated at a Table 1965-67 Lithograph on paper #23 of 75 Published and printed by Original Press, San Francisco Initialed and dated in graphite lower right sheet with edition

Richard Diebenkorn. Photo by Arnold Chanin, 1975.

Together with exhibition catalogue, two gallery pamphlets, gallery mailer, two postcards, and two letters from the artist Image/sheet: 30.125" x 22" Frame: 31.5" x 23.5"

$7,000–9,000

55


Gordon Onslow Ford The British-born painter Gordon Onslow Ford (1912–2003) was the youngest and last surviving member of the original Surrealist artistic group, led by the poet André Breton, that convened in the salons and cafés of Paris in the 1920s and Thirties and included such members as Joan Miró, Marcel Duchamp, Yves Tanguy, Jean Arp, and Salvador Dalí. Onslow Ford articulated an influential theory and practice of painting based on the notion of “automatism,” spontaneous creativity unfettered by rational thought. His paintings—marked by dense, layered patterns, strong lines, biomorphic forms, and glowing spaces—manifest a visionary astral mindscape. Taking his inspiration more from Jung than Freud, Onslow Ford rejected the dream-based work of Dalí and others in favor of an approach that sought to more deeply probe the mind for archetypal, abstract signifiers of cosmic consciousness. Towards that end, he invented techniques such as one he called “coulage,” in which he poured paint directly on the canvas, moving it to form random patterns. In early 1941, Onslow Ford delivered a series of lectures on Surrealism in New York that were attended by Robert Motherwell, Arshile Gorky, Jackson Pollock, and other Abstract Expressionist painters. It has been speculated that the artists were strongly influenced by Onslow Ford’s “coulage” method.

75 GORDON ONSLOW FORD

The Desert’s Dazzling Furniture 1943 Gouache, watercolor, and pastel on paper Dated “31-12-43” lower center; retains partial San Francisco Museum of Art exhibition label verso; bears the inscription in graphite “’the desert’s dazzling furniture’ watercolor 1943 GOF” frame verso Sheet (vis.): 15.125" x 19.625" Frame: 22.75" x 27.25" P ROVENA NC E Deaccessioned by the San Francisco Museum of Art, San Francisco, California; The Estate of Robert Anthoine EXHIBITE D “Towards a New Subject in Painting,” San Francisco Museum of Art, 1948

$5,000–7,000

In 1947—following service in the Royal Navy during World War II—Onslow Ford moved to Northern California. For a time he made his studio in a disused ferryboat in Sausalito—a place that became a gathering spot for creative types including sculptor Ruth Asawa and the writer Henry Miller. He later settled down to work and live on the coast in western Marin County. He began to practice Buddhism and to study Japanese calligraphy with a Zen master. For several years starting in the latter 1950s—in an effort to break down his art to its fundamentals, a pure and direct expression of conscious energy unaltered by worldly associations—Onslow Ford painted only in black and white. Universal Animal (1961–1962) was the first painting in which he introduced color back into his work. Thereafter, luminous hues were again central to Onslow Ford’s restless, probing, and spiritually questing paintings—an art which sought, as he wrote, “to bring wonder into the world.” Onslow Ford, Gordon. Painting in the Instant. New York: H.N. Abrams, 1964. Print. Selz, Peter. “Spontaneous Apparitions: The Work of Gordon Onslow Ford.” Gordon Onslow Ford: Centennial Celebration. San Francisco: Weinstein Gallery, 2013. Print. Bogzaran, Fariba. “From Landscape to Inscape—Egypt and Gordon Onslow Ford.” Dada/Surrealism 19 (2013). Web. 09 Jan. 2016. “Guggenheim.” Collection Online. N.d. Web. 09 Nov. 2015.


76 GORDON ONSLOW FORD Heaven is Earth

1997 Acrylic on paper mounted to canvas Dated “12-97” lower center; signed, titled, and dated verso Composition: 48.5" x 36.75" Canvas: 50" x 38" Frame: 51" x 39" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist) ILLUST RAT E D Once Upon a Time: The O World. G. Onslow Ford. 1999. 58.

$8,000–12,000

57


77 GORDON ONSLOW FORD Dancing Still

1991 Acrylic on canvas Dated “8.91” lower right; signed, titled, and dated verso Canvas: 59" x 76" Frame: 60" x 77" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$20,000–30,000


78 GORDON ONSLOW FORD Abstraction in Yellow 1964 Gouache on paper Dated in graphite “4 ˙64” lower center edge of sheet Sheet: 22.125" x 30" Frame: 30.25" x 37.5" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$4,000–6,000

59

79 GORDON ONSLOW FORD Letter to Gerald Nordland

March 27, 1972 Ink and felt-tip marker on paper Signed lower center Sheet: 17.75" x 13.5" Mat: 23.5" x 19" P ROV E NANC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist)

$1,500–2,000


80 GORDON ONSLOW FORD

Abstraction in Black and White c. 1960 Oil on paper Retains the Whitney Museum of American Art partial exhibition label verso; retains The American Federation of Arts exhibition label and Rose Rabow Galleries label verso Sheet (vis.): 24" x 19" Frame: 33.25" x 27" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$3,000–5,000


81 GORDON ONSLOW FORD Lunar Wind

1962 Parles paint on canvas Inscribed verso “Lunar Wind 2.62/ Parles paint/R192 INN, IMB/91-41 CH” Canvas: 48.5" x 38" Frame: 48" x 39" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$10,000–15,000

61


82 LEE MULLICAN

Isis Appearing (Guardian Figure) 1978 Oil on canvas Retains paper label verso which bears the title and date Canvas: 72" x 50" P ROVENA NC E The Estate of Robert Anthoine EXHIBITE D “Lee Mullican: Selected Works, 1948-1980,” Los Angeles Municipal Art Gallery, Los Angeles, October 28-November 23, 1980 ILLUSTRAT E D Lee Mullican: Selected Works, 1948-1980. Los Angeles Municipal Art Gallery exh. cat. 1980. #16.

$20,000–30,000


Lee Mullican. Photo by Arnold Chanin, 1972.

63

83 LEE MULLICAN From the East 1963 Oil on canvas Signed and dated “L. Mullican 1963” verso; bears the inscription “From the East” in graphite on canvas stretcher verso; retains partial San Francisco Museum of Art and Rose Rabow Gallery labels verso Together with exhibition pamphlet, two exhibition catalogues, and two letters from the artist Canvas: 27.875" x 24.875" Frame: 29" x 26"

$5,000–7,000


George Chann. Photo by Arnold Chanin, 1976.

84 GEORGE CHANN Untitled

1969 Oil on canvas Signed and dated in felt-tip marker stretcher verso; signed lower left with monogram Together with two gallery mailers, Otis Art Institute exhibition catalogue, and other ephemera Canvas: 36.375" x 21.125" Frame: 38.875" x 23.625"

$15,000–20,000


George Chann George Chann (1913–1995) was the first widely recognized Chinese-American artist to paint in a modern Western style. His life and career form a remarkable artistic journey. Born Chen Yinpi in the Chinese province of Guangdong, he emigrated with his father—an herbalist and practitioner of traditional medicine—to Northern California in 1922. Chann showed an early interest in art and painting, but was largely self-taught until moving to Los Angeles in 1942. There he studied at the Otis Art Institute (now the Otis College of Art and Design), taking a master’s degree in fine arts in 1945. There are two distinct periods in Chann’s work. His early figurative paintings suggest the influence of the Post-Impressionists and feature robust stylized forms reminiscent of the work of Thomas Hart Benton and George Bellows. Chann’s subjects include landscapes, nudes, and still lifes, but he had a particular affinity for depictions of marginalized peoples–particularly the poor, the elderly, and children. In the early 1940s his work was frequently exhibited in California, including solo shows at the Palace of the Legion of Honor in San Francisco and at the Los Angeles County Museum of Art.

In search of his cultural roots, Chann returned to China in 1947. He stayed for three years, taking lessons in calligraphy and studying classical Chinese art and antiquities. When Chann returned to the United States in 1950, he quickly embraced innovations in American art. This second distinct style merged the energy and emotive brushwork of Abstract Expressionism with traditional Asian symbology. Chann would develop a singular technique in which individual Chinese pictographs were pasted onto a prepared canvas, rubbed or scratched, then overlaid with gestural paint strokes. “Chann achieved a balanced combination of formal visual components and textural physical patterns, to effectively tap the charm and tension inherent in each material and the myriad associations triggered by various written characters and symbols,” wrote the curator J.J. Shih. “George Chann’s later abstract paintings demonstrate his keen sense of color and capacity for creating order out of chaos, while at the same time proving the meticulous yet nevertheless lyrical artistic qualities of a pure abstract painter.” Shih, J.J. “George Chann (1913–1995).” Taipei: Lin & Keng Gallery, 2000: 34-37. Web. 22 Dec. 2015. Wong, Jean, and Grace Fu. “Chann, George – Selected Document – Artasiamerica – A Digital Archive for Asian / Asian American Contemporary Art History.” Artasiamerica, n.d. Web. 22 Dec. 2015.

65

85 GEORGE CHANN Untitled

c. 1969 Oil on canvas Signed with monogram lower left Canvas: 16" x 12" Frame: 18.75" x 14.5"

$8,000–12,000


Jack & Jim THE LIFE, LOVE AND ART OF TWO HOLLYWOOD CONNOISSEURS


67

Photographs by William Claxton (partial illustration of Lot 124A)

The actor and playwright Jack Larson and film director and writer James Bridges were gentlemen of the old school—talented, creative, cultured, thoughtful, generous, and supportive of each other and of their friends. They found each other and made a life together in a different Hollywood era—a much mythologized time and place. Although Larson and Bridges entered that world from different paths, each in his own way embodied a striking story of personal transformation.


Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation

Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation

Jack Larson (1928–2015) will forever be best remembered—as he often predicted with rueful good cheer—as the eager and earnest cub reporter Jimmy Olsen in the early television series Adventures of Superman. The young son of a working class family in suburban Los Angeles, Larson contemplated dropping out of high school in the late 1940s to pursue, if he’d had his way, a career as a professional bowler. But his father insisted, forcefully, that he return to his studies, and Larson ultimately completed high school and graduated from Pasadena Junior College. There Larson discovered a talent for writing and performing in theatrical skits. He was spotted by talent scouts and won a part in the 1948 Warner Bros. Technicolor war drama Fighter Squadron. Roles on the stage and on live television followed, and Larson began to dream of working on Broadway. Reluctantly, and for the sake of the money, in 1951 he signed on for 26 filmed episodes of Adventures of Superman— assured that the show would likely never air. Larson was living in New York when the program debuted the following year–and was an instant hit. “To me, it was a nightmare,” Larson recalled in a 2006 interview with The New York Times. “Everywhere I went, it was, ‘Jimmy! Jimmy! Hey, Jimmy, where’s Superman?’ Suddenly, I couldn’t take the bus or the subway anymore. It absolutely freaked me out.”

Though Larson enjoyed his work during the eight-year run of Adventures of Superman—and was particularly proud to have turned Jimmy Olsen into a deft comedic character—the role fulfilled his worst fears of becoming typecast. After a humiliating encounter with movie producer Mervyn LeRoy in a 1961 pre-production meeting for a part (“He started castigating the casting director right in front of me, saying, ‘I can’t have him in my film! He’s Jimmy Olsen!’” Larson told the New York Times), he sought guidance from a former boyfriend, Montgomery Clift. “Monty said, ‘This is going to continue,’” Larson recalled. “‘Don’t put yourself in these situations anymore. You need to leave this behind.’ And that’s when I decided to quit acting.” Larson returned to writing. Advised by Bridges and friends such as the famed theatrical and film producer John Houseman, Larson found a successful second career as a playwright. One specialty was the verse play, and his efforts in the genre included The Candied House—a retelling of the Hansel and Gretel story—and Cherry, Larry, Sandy, Doris, Jean, Paul, a comedy about being gay (both were directed by Bridges). He went on to write lyrics and narratives for composers such as Jerome Robbins and Ned Rorem. Larson wrote the libretto for Virgil Thomson’s third and last opera, 1972’s Lord Byron. His later works included a new text for Hector Berlioz’s Lélio in 1997 and 1998’s The Astronaut’s Tale, an updated and Americanized version of Stravinsky’s L’Histoire du Soldat. Larson was the first playwright to be awarded a grant by the Rockefeller Foundation.


Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation OPPOSITE LEFT

Headshot of Jack Larson as 'Jimmy Olsen' from Adventures of Superman Larson on the Sturges Residence rooftop observation deck OPPOSITE RIGHT BOTTOM Larson on the cantilevered patio of the Sturges Residence

LEFT

OPPOSITE RIGHT TOP

RIGHT

While Jack Larson was winning fans on Adventures of Superman, James Bridges (1936–1993) was scheming about leaving Arkansas. Bridges grew up in a small town in the western part of the state and was studying drama at Arkansas State Teachers College when he left for Los Angeles in 1956—prompted by a carpe diem epiphany on the day his idol James Dean died in a car crash, a moment Bridges later explored in his 1977 movie September 30, 1955. In Hollywood, Bridges acted in small roles on television shows such as Dragnet, sometimes selling ice cream to make ends meet. In 1957 he met Larson on the set of the movie Johnny Trouble. Within a year the two had formed a lasting relationship.

on to examine first-year Harvard law students’ desperation to succeed (in 1973’s The Paper Chase, for which Bridges received the first of his two Academy Award nominations for screenwriting); rudderless city-dwellers seeking to identify themselves with the trappings of bronco-busters (Urban Cowboy, 1980); the anxiety underlying the quest for physical beauty (Perfect, 1985); and the empty lives of coke-sniffing yuppies (Bright Lights, Big City, 1988). His best-known film, 1979’s The China Syndrome, a thriller starring Jane Fonda, Jack Lemmon, and Michael Douglas, centers on the inherent dangers of nuclear energy. It is a mark of Bridges’ integrity that, when the Three Mile Island nuclear accident occurred twelve days after the film’s opening, the director refused to exploit the incident as a marketing opportunity.

Bridges took a job as a stage manager for John Houseman at the UCLA Theatre Group and wrote scripts in his spare time. His 1961 play The Days of the Dancing, staged at the Beverly Hills Playhouse, caught the attention of Norman Lloyd, producer of The Alfred Hitchcock Hour, who invited Bridges to write for the show. The Appaloosa, a 1966 film starring Marlon Brando, was Bridges’ first produced screenplay; that same year he took his first job as a director, on Larson’s The Candied House. Four years later, Bridges made his film directorial debut with The Baby Maker, starring Barbara Hershey as a surrogate mother. That movie revealed a consistent theme in Bridges' work: a sensitive, character-driven attunement to new social currents and the people caught up in them. He would go

James Bridges in-situ at the Sturges Residence James Bridges on the set of The Baby Maker

Another hallmark of Bridges’ directorial work was the skill and understanding with which he worked with actors—a fellow feeling engendered by his own days on the stage and set. According to Larson, Bridges often advised aspiring movie directors to study theater rather than film in order to become more in tune with performers. He would defend his stars at all costs, though a forceful manner went against his polite and gracious nature. When the producer Robert Evans resisted his choice of the then little-known Debra Winger to star in Urban Cowboy, Bridges threatened to walk off the production. “He could get in there and fight with the best of them,” Winger recalled. “Although I fear he suffered later, because he really was not that kind of a person.”

69


Bridges finished his final movie project in 1990—the screenplay for Clint Eastwood’s White Hunter, Black Heart— the same year he was diagnosed with intestinal cancer. He died of complications from the disease three years later. Though each knew fame and success in his own right, together Jack Larson and James Bridges formed a remarkably seamless personal and professional union. On the stage Bridges brought Larson’s first theatrical works as a professional writer to life, but it was that work— and raves he received from critics when the pieces were performed in Los Angeles, London, and Edinburgh—that gave Bridges the bonafides that earned him directorial control of The Baby Maker. On that film and in several later ones, Larson worked as a producer—acting as a sounding board on scripts, giving his opinion about daily rushes and editing choices, carrying messages, and generally running interference against the impositions of executive producers and others who would have tried to push Bridges into artistic compromises. Their extraordinary circle of friends included the writer Christopher Isherwood, the composer Virgil Thomson, the philanthropist, patron, and photographer Betty Freeman, the portrait artist Don Bachardy, the actress Leslie Caron, the actor and director John Cassavetes, the artist David Hockney, the poet and critic Frank O’Hara, the artist and photographer Peter Schlesinger, the artist and writer Joe Brainard, the actress Salka Viertel, the artist and filmmaker Andy Warhol (Bridges had performed in his 1964 film Tarzan and Jane Regained…Sort Of), and many others. Larson and Bridges were generous and supportive friends. “My career has been dependent on drawing recognizable people—meaning many actors,” says Bachardy. “Jack and Jim were always helpful. So many of my sitters were introduced through them.” The two collected art out of friendship as much as connoisseurship. “Jack bought my artwork to help me because I was broke,” says Schlesinger. “They mostly bought from friends, or were given things by friends. There was a personal connection to everything they had.”

TOP TO BOTTOM

Jack Larson with John Travolta (Photographer unknown)

John Travolta with James Bridges (Photographer unknown)

James Bridges with Debra Winger (Photographer unknown)

Jack Larson with Jamie Lee Curtis

He adds: “I adored Jack and Jim.” Many—even those who did not know them—would say the same. Jack Larson. Dir. Karen Herman. Archives of American Television. Television Academy Foundation, 2003. Web. Tonguette, Peter Prescott. The Films of James Bridges. Jefferson, NC: McFarland, 2011. Print. King, Susan. “Adventures with Bridges.” Los Angeles Times. Los Angeles Times, 06 July 2011. Web. 10 Jan. 2016. Rhodes, Joe. “The Continuing Adventures and Movie Cameos of Jimmy Olsen and Lois Lane.” The New York Times. The New York Times, 13 July 2006. Web. 10 Jan. 2016. Gates, Anita. “Jack Larson, a TV Jimmy Olsen Turned Playwright, Dies at 87.” The New York Times. The New York Times, 21 Sept. 2015. Web. 10 Jan. 2016.

(Photographer unknown)

John Travolta inside the Sturges Residence (Vintage print from the collection of Jack Larson sold to benefit The Bridges/ Larson Foundation)

OPPOSITE TOP TO BOTTOM

Jack Larson with David Hockney (Photographer unknown)

Jack Larson with Virgil Thomson (Photographer unknown)

David Hockney, Betty Freeman, Jack Larson and friends (Photographer unknown)


71


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

86* FRANK LLOYD WRIGHT

George D. Sturges Residence Designed and completed in 1939 Registered as Historic Cultural Monument No. 577 by the City of Los Angeles in 1993 A single-story structure comprised of two bedrooms, one bathroom, kitchen, living/ dining area, a large wrap-around cantilevered patio, basement, and rooftop observation deck Approximately 1,200 square feet

Sold together with two original dining chairs by Frank Lloyd Wright designed and constructed for the house in 1939, various built-ins and permanent modifications executed by John Lautner, all books and literature listed in "Illustrated" column, and a rare historical archive of vintage photographic prints, ephemera, copies of blueprints, and other items related to the history of the house from the collection of Jack Larson and James Bridges

ILLUST RAT E D

P ROV E NANC E

California Arts & Architecture, April

George D. and Selma Sturges

1940. Cover, 14-15. Los Angeles Times,

(acquired the land on September 1, 1938)

Home and Garden section (K), December 26, 1993. “Living in a Legend” by D. Sutro. Los Angeles Times, February 4, 1940,

Edward Scofield (aka: Henry Schwartz) (acquired from the above on September 11, 1951)

“Frank Lloyd Wright Expresses Himself.”

Elaine Pike

Frank Lloyd Wright: American Master.

(acquired from the above on July 23, 1962)

K. Smith. 2009. 224-227. Book dedicated to Jack Larson and signed by Alan

Paul L. and Madeleine M. Garvin

Weintraub, photographer. Frank Lloyd

(acquired from the above on January 16, 1964)

Wright: The Natural House. 1954. 92-95. Global Interior, vol #10. Futagawa. 1976. 66-71. Frank Lloyd Wright Monograph: 1937-1941. B. Pfeiffer. 1986. 215-227. Frank

Located at 449 North Skyewiay Road in the Brentwood neighborhood of Los Angeles, California

Lloyd Wright: The Houses. A. Hess. 2005.

Land totals approximately 17,000 square feet

photographer. Wright-Sized Houses. D.

Cover, 330-333. Book dedicated to Jack Larson and signed by Alan Weintraub, Maddex. 2003. 4, 6-7, 17, 63, 116-119, 128. Signed by the author. Just Wright: An Architectural Memoir. B. Gregson and P. Swanson. 2010. 58-65. The Drawings of Frank Lloyd Wright. A. Drexler. Bramhall House. 1962. 164-165.

Jack Larson and James Bridges (acquired from the above in November 1967)

$2,500,000–3,000,000 *Please see “Instructions on How to Participate in the Auction of the Property” as well as “Conditions of Sale for the Skyewiay Property.” Please contact Barry Sloane (CalBRE # 1024594) at Sotheby’s International Realty, (310) 786-1844 if you would like to make arrangements to view the Property.


73


DETAIL OF LOT 87


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

87 FRANK LLOYD WRIGHT Origami lounge chair

Custom, commissioned c. 1965 for the George D. Sturges Residence, Los Angeles Executed under the supervision of John Lautner based on a model originally conceived by Frank Lloyd Wright 34.5" x 37" x 40" P ROV E NANC E Paul L. and Madeleine M. Garvin; Jack Larson and James Bridges, Los Angeles, California LIT E RAT URE Frank Lloyd Wright: Interiors and Furniture. T. Heinz. 1994. 198.

$10,000–15,000

75 SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

88 FRANK LLOYD WRIGHT Origami lounge chair

Custom, commissioned c. 1965 for the George D. Sturges Residence, Los Angeles Executed under the supervision of John Lautner based on a model originally conceived by Frank Lloyd Wright 34.5" x 37" x 40" P ROV E NANC E Paul L. and Madeleine M. Garvin; Jack Larson and James Bridges, Los Angeles, California LIT E RAT URE Frank Lloyd Wright: Interiors and Furniture. T. Heinz. 1994. 198.

$10,000–15,000

ALTERNATE VIEW (LOT 88)


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

89 FRANK LLOYD WRIGHT Stools (8)

Custom, commissioned c. 1970 for the George D. Sturges Residence, Los Angeles Executed under the supervision of John Lautner based on a model originally concieved by Frank Lloyd Wright Each: 17" x 16" x 16" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California

$10,000–15,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

90 JOHN LAUTNER Floor lamps (2)

Custom, commissioned c. 1965 for the George D. Sturges Residence, Los Angeles Each: 50" x 16" x 33.25" P ROV E NANC E Paul L. and Madeleine M. Garvin; Jack Larson and James Bridges, Los Angeles, California

$10,000–15,000

77

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

91 FRANK LLOYD WRIGHT End tables (2)

Custom, commissioned c. 1965 for the George D. Sturges Residence, Los Angeles Executed under the supervision of John Lautner based on a model originally concieved by Frank Lloyd Wright Each: 24.5" x 23" x 15.5" P ROV E NANC E Paul L. and Madeleine M. Garvin; Jack Larson and James Bridges, Los Angeles, California

$4,000–6,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

92 JOHN LAUTNER Coffee table

Custom, commissioned c. 1965 for the George D. Sturges Residence, Los Angeles 10" x 45" x 43.5" P ROVEN A NC E Paul L. and Madeleine M. Garvin; Jack Larson and James Bridges, Los Angeles, California

$4,000–6,000

PROPERTY OF ANOTHER OWNER

93 FRANK LLOYD WRIGHT Coffee table

Heritage Henredon, designed 1955 Stamped “Heritage Henredon by Frank Lloyd Wright” and branded “451-C/9-55” 15.75" x 35.75" diameter

$2,500–3,500


PARTIAL ILLUSTRATION

DETAIL OF CUSTOMS LABEL

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

94 FRANK LLOYD WRIGHT

Imperial Hotel dinner service (84) Noritake, Japan, designed c. 1922; these examples manufactured 1968 Comprised of seven-piece service for twelve; twelve each dinner plates, tea cups, saucers, bowls, bread plates, salad plates. Together with four original shipping boxes dated 1968 Various dimensions P ROV E NANC E Jack Larson and James PARTIAL ILLUSTRATION

Bridges, Los Angeles, California LIT E RAT URE Frank Lloyd Wright: Interiors and Furniture. T. Heinz. 1994. 198.

$15,000–20,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

95 FRANK LLOYD WRIGHT

Imperial Hotel dinner service (48) Noritake, Japan, designed c. 1922; these examples manufactured 1968 Comprised of six-piece service for eight; eight each dinner plates, tea cups, saucers, bowls, bread plates, salad plates. Various dimensions P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California

$10,000–15,000

79


DETAIL OF LOT 96


PROPERTY OF ANOTHER OWNER

96 JOHN LAUTNER Floor lamp

Custom executed for the George D. Sturges Residence, Los Angeles, California, 1939 49.75” x 30” x 16” P ROV E NANC E George D. Sturges, Los Angeles, California; Thence by descent

$25,000–35,000

81

PROPERTY OF ANOTHER OWNER

97 JOHN LAUTNER Floor lamp

Custom executed for the George D. Sturges Residence, Los Angeles, California, 1939 49.75” x 30” x 16” P ROV E NANC E George D. Sturges, Los Angeles, California; Thence by descent

$25,000–35,000


PROPERTY OF ANOTHER OWNER

98 FRANK LLOYD WRIGHT End tables (2)

Custom executed for the George D. Sturges Residence, Los Angeles, California, 1939 Each: 24.5" x 23" x 15.5" P ROV E NANC E George D. Sturges, Los Angeles, California (commissioned by Frank Lloyd Wright); Thence by descent

$6,000–8,000

83


PARTIAL ILLUSTRATION

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

99 JAMES NICHOLS Group lot (2)

1969; 1965 Painted metal on wood; oil on board Attraction: Etched signature and date center left; signed, titled, and dated in red marker verso; Untitled (Superman): Signed and dated lower left Comprised of Attraction (1969); Untitled (Superman) (1965) Together with signed James Nichols 1971 Westmoreland County Museum of Art exhibition mailer Attraction: 16.75" x 21.75" x 4" Untitled (Superman): Board: 10.25" x 11.75" Frame: 10.5" x 12.25" P ROVENAN C E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

100 JAMES NICHOLS

Portrait of Jack Larson c. 1965 Oil on panel Signed lower right Panel: 28" x 20" Frame: 28.75" x 20.75" P ROVENAN C E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,000–1,500


SOLD TO BENEFIT THE

SOLD TO BENEFIT THE

SOLD TO BENEFIT THE

BRIDGES/LARSON FOUNDATION

BRIDGES/LARSON FOUNDATION

BRIDGES/LARSON FOUNDATION

101

102

103

BILL STAIR

JACK LARSON

JAMES BRIDGES

1961 Mixed-media on fabric

c. 1950s Blue ink on two sheets of University of Colorado stationary

Sturges House by Frank Lloyd Wright Starring Jimmy Bridges and Jack Larson February 4, 1968 Acrylic on canvas board Signed and titled verso; inscribed “L.A. Feb 4 ‘68” verso Board: 9" x 12" PROVE N A N CE Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$600–900

Formerly White #31

Retains 1961 Annual Exhibition of Artists of Los Angeles and Vicinity label verso Together with 1961 exhibition catalogue, and letter from the Los Angeles County Musuem

Untitled (Sketch)

Inscribed “James Bridges/871 Wellesley Avenue/LA California” frame verso Sheets (overall): 13.5" x 10.25" Frame: 14.75" x 11.75"

Sheet (vis.): 6.5" x 7.5" Frame: 12.75" x 16.75"

P ROV E NANC E Jack Larson and

P ROV E NANC E Jack Larson and

$300–500

James Bridges, Los Angeles, California

James Bridges, Los Angeles, California E XHIBIT E D “Artists of Los Angeles and Vicinity,” Los Angeles County Museum, Exposition Park, August 30-October 1, 1961 LIT E RAT URE Artists of Los Angeles and Vicinity. Los Angeles County Museum exh. cat. 1961. #96.

$300–500 LOT 101

85

LOT 103

LOT 102


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

104 DAVID HOCKNEY

Portrait of Jack Larson 1967 Ink on paper Signed, dated, and inscribed “for Jack + Jim/from David/Feb 67” lower right sheet Together with two books, one signed and inscribed to Jack Larson and James Bridges by the artist, and exhbition catalogue Sheet: 17.875" x 13.875" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$30,000–40,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

105 DAVID HOCKNEY

Portrait of James Bridges 1967 Ink on paper Signed, dated, and inscribed in ink “For Jack + Jim/from David, Feb 67” lower right sheet Together with two books, one signed and inscribed to Jack Larson and James Bridges by the artist, and exhbition catalogue Sheet: 16.875" x 13.875" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$30,000–40,000

87


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

106 DAVID HOCKNEY

Sun (from Weather Series) 1973 8-color lithograph and screenprint on Arjomari paper Special proof aside from the edition of 98 Published and printed by Gemini G.E.L., Los Angeles Inscribed “S.P.” in red grease pencil lower left margin beneath image; inscribed in blue grease pencil “For Jack + Jim with love” lower left margin beneath image; signed and dated in red pencil lower right margin of sheet beneath image; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #23.6 Together with two exhibition catalogues, one signed and dedicated to Jack Larson by the artist Image: 29" x 25" Sheet (vis.): 37" x 30" Frame: 37.5" x 30.75" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LITERATURE David Hockney Prints 1954-1995. 1996. #127.

$20,000–30,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

107 DAVID HOCKNEY

Picture of a still life that has an elaborate silver frame, 1 1965 Color lithograph on paper with unique hand-painted additions Inscribed “For Jack and Jim from David” in graphite lower right Together with two exhibition catalogues, one signed and dedicated to Jack Larson by the artist Image/sheet: 29.75" x 21.75" Frame: 30.5" x 22.75" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$25,000–35,000

89 SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

108 DAVID HOCKNEY Still Life

1965 3-color lithograph on Arches paper #36 of 50 Published and printed by Gemini G.E.L., Los Angeles Inscribed and dedicated in graphite “For Jack + Jim’s sweet home.” lower center margin of sheet; signed and dated with edition in graphite lower right sheet with Gemini G.E.L. blind stamp Together with two books, one signed and inscribed to Jack Larson and James Bridges by the artist Image: 22" x 16" Sheet: 30" x 22" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #40.

$4,000–6,000


David Hockney David Hockney (born 1937) has been described as the most popular and versatile British artist of the 20th century. In the results of a 2011 survey of 1,000 British painters and sculptors, his peers went further, naming Hockney the most influential British artist of all time. Such stature may be attributed to both the clarity and frankness of Hockney’s art—in media spanning painting, drawing, printmaking, photography, and stage design—as well as the creative zest and enthusiastic engagement with the world which is evident therein. Hockney grew up in the city of Bradford in Yorkshire county in northern England. He studied at the Bradford School of Art from 1953 to 1957 and at the Royal College of Art in London from 1959 to 1962. Though he was educated at a time when abstraction dominated the art world, Hockney stuck resolutely to figurative painting and drawing. His early paintings suggest a search for style, veering from spindly experiments in Expressionism to what today resemble amalgamations of James Ensor and Jean-Michel Basquiat. But all fell into place when Hockney arrived in Los Angeles in 1964. The escape from the oppressive air of Britain—cold, gray, rainy—to a world of bright sunshine, warmth, and sparkling water brought Hockney a sense of freedom and an artistic epiphany. “The day he stepped off the plane in Los Angeles, everything changed,” wrote the British art critic Richard Dorment. “In a moment I would seriously compare to Vincent Van Gogh’s arrival in Arles, it is as though the heat, light and color of California entered Hockney’s bloodstream. Overnight, a talented British artist became a major international star.” He would spend most of the next five years in L.A. painting luminous pictures of the things that made him happy and that made him a name: swimming pools, manicured lawns, palm trees, stucco buildings, and luxuries unknown in England such as shower stalls. Hockney would also paint people. His portraits are considered by many to be his finest work: grandly scaled yet intimate, sharply realized and at the same time resonantly poetic. One reason for the

piquancy of these portraits is their exclusive reliance on Hockney’s friends, family, and special acquaintances as his subjects. His closest friends in Los Angeles—the author and fellow ex-pat Christopher Isherwood and his companion, Don Bachardy; the actor and writer Jack Larson and film director Jim Bridges; art dealer Nicholas Wilder; his own companion of those years, artist Peter Schlesinger—would also be the subjects of Hockney’s work. Larson introduced Hockney to the art collector Betty Freeman, who would become the subject of one of his greatest paintings, Beverly Hills Housewife (1966). Three groupings of works by Hockney offered in this sale merit a particular note: the etchings from the 1966–67 series Illustrations for Fourteen Poems from C.P. Cavafy. Constantine Cavafy (1863-1933) was the son of a Greek merchant family who lived most of his life in Alexandria, Egypt, where he worked as a clerk. His poetry—gentle but forthright mediations on intimacy between young men—were anthologized two years after his death. In his youth, Hockney stole a copy of the book from a Bradford city library. In a 2010 BBC radio program, the director of the British Museum, Neil MacGregor, discussed Hockney’s Illustrations—specifically the etching In the Dull Village—in terms of human rights, calling it “a courageous, provocative act.” Homosexuality was illegal in Britain when Hockney was making the etchings, and they were published the year parliament finally de-criminalized it. On the BBC show, Hockney acknowledged that he was making a personal statement in Illustrations: “I wasn’t speaking for anybody else, but I would certainly defend my way of living.” Livingstone, Marco. David Hockney. New York: Thames and Hudson, 1996. Print. Hockney, David, and Nikos Stangos. David Hockney. New York: Harry N. Abrams, 1977. Print. Dorment, Richard. “Hockney at Nottingham Contemporary, Review.” The Telegraph [London] 23 Nov. 2009: n. pag. Telegraph Media Group. Web. 7 Jan. 2016. Drohojowska-Philp, Hunter. Rebels In Paradise: The Los Angeles Art Scene and the 1960s. New York: John Macrae Book/Henry Holt, 2011. Print. MacGregor, Neil. “Hockney’s ‘In the Dull Village’“ A History of the World in 100 Objects. BBC Radio 4. London, 19 Oct. 2010. Radio.


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

109 DAVID HOCKNEY

Illustrations for Fourteen Poems from C.P. Cavafy (4) 1966-1967 Etching and aquatint on Crisbrook handmade paper Proof set aside for the artist, aside from the edition of 75 Published by Editions Alecto, London Each inscribed “for me” lower left margin of sheet beneath image; each signed lower right margin of sheet beneath image; Two Boys Aged 23 or 24 and To Remain both with titles inscribed lower right sheet; According to Prescriptions of Ancient Magicians inscribed “According to the Magic prescriptions” lower right sheet Comprised of Portrait of Cavafy in Alexandria (pl. 1); Two Boys Aged 23 or 24 (pl. 2); To Remain (pl. 4); According to Prescriptions of Ancient Magicians (pl. 5) Together with copy of letter from the artist to Jack Larson and James Bridges dated February 10, 1966, and book Sheets each: 31" x 22" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #47, 48, 50, 51.

$10,000–15,000

91


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

110 DAVID HOCKNEY

Illustrations for Fourteen Poems from C.P. Cavafy (4) 1966-1967 Etching and aquatint on Crisbrook handmade paper Proof set aside for the artist, aside from the edition of 75 Published by Editions Alecto, London Each inscribed “for me” lower left margin of sheet beneath image; each signed lower right margin of sheet beneath image; In Despair inscribed “in despair + kabarion (sp)” lower right sheet; Beautiful and White Flowers with title inscribed lower right sheet; He Enquired About the Quality inscribed “He asked about the quality” lower right sheet Comprised of One Night (pl. 10); In Despair (pl. 11); Beautiful and White Flowers (pl. 12); He Enquired after the Quality (pl. 3) Together with copy of letter from the artist to Jack Larson and James Bridges dated February 10, 1966, and book Sheets each: 31" x 22" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LITERATURE David Hockney Prints 1954-1995. 1996. #49, 56, 57, 58.

$10,000–15,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

111 DAVID HOCKNEY

Illustrations for Fourteen Poems from C.P. Cavafy (4) 1966-1967 Etching and aquatint on Crisbrook handmade paper Proof set aside for the artist, aside from the edition of 75 Published by Editions Alecto, London Each inscribed “for me” lower left margin of sheet beneath image; each signed lower right margin of sheet beneath image; In an Old Book and The Shop Window of a Tobacco Store both with title inscribed lower right sheet; In the Dull Village inscribed “in the dreary village” lower right sheet; The Beginning inscribed “Their beginning” lower right sheet Comprised of In an Old Book (pl. 6); The Shop Window of a Tobacco Store (pl. 7); In the Dull Village (pl. 8); The Beginning (pl. 9) Together with copy of letter from the artist to Jack Larson and James Bridges dated February 10, 1966, and book Sheets each: 31" x 22" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #52, 53, 54, 55.

$10,000–15,000

93


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

112 DAVID HOCKNEY

Untitled (The Soldier's Tale) (2) c. 1982 Watercolor and ink on paper One bears the inscription “S” verso; one initialed center right in ink; bears the inscription verso “Property of Southern Music Publishing Co./1740 Broadway/NY, NY 10019/ 265-3910/ att. Diane Hirsch” Together with two librettos for The Soldier's Tale, showing one of the works illustrated on the cover, typed letter signed by David Hockney, and other ephemera Sheets each: 12" x 18" Jack Larson commissioned David Hockney to produce drawings for the cover design of the libretto for The Soldier's Tale, and an adaptation by Larson of the theatrical work conceived by Igor Stravinsky. P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$10,000–15,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

113 DAVID HOCKNEY

A Picture of My New House c. 1987 Color Xerox print on paper Facsimile of signature lower right sheet Together with exhibition catalogue Image/sheet: 8.5" x 11" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$3,000–5,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

114 DAVID HOCKNEY

Happy New Year Card; Christmas Card (2) 1991 Xerox print on paper Facsimile signature lower center sheet; Christmas Card with printed inscription: “Love from David + and all at 7506” Together with exhibition catalogue and postcard from David Hockney Sheets each: 8.5" x 11" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

115 DAVID HOCKNEY Untitled

c. 1987 Xerox print on paper Retains facsimile of signature lower right sheet Together with exhibition catalogue Sheet: 8.5" x 17.25" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$400–600

95


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

116 DAVID HOCKNEY

Untitled (Red Square) 1964 Acrylic on canvas Signed and inscribed lower center margin “My Dear Jim + Jack, - I’ll come back and finish the picture later. This is just/a background colour. Love David XX” LAMA would like to thank the David Hockney studio for their assistance in cataloguing this work Together with two books, one signed and inscribed to Jack Larson by the artist, and letter from James Bridges to Jack Larson mentioning the painting dated October 17, 1965 Canvas: 24" x 24" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$40,000–60,000

"…Hockney somehow managed to give us 2 lithographs and a funny unfinished painting. I have calmed down only a bit.” — Excerpt from a letter from James Bridges to Jack Larson October 17, 1965


SOLD TO BENEFIT THE

SOLD TO BENEFIT THE

SOLD TO BENEFIT THE

BRIDGES/LARSON FOUNDATION

BRIDGES/LARSON FOUNDATION

BRIDGES/LARSON FOUNDATION

117

118

NOT ILLUSTRATED

DAVID HOCKNEY

DAVID HOCKNEY

119

c. 1979 Ink on folded Steve Reich: Music for 18 Musicians flyer

1968 Etching on paper

Untitled (2)

Together with Steve Reich: Notes on the Music leaflet, and book signed by David Hockney Sheet each (as illustrated): 8.5" x 5.5" Unfolded each: 8.5" x 11" PROVE N A N CE Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

Peter Schlesinger

1 of 2 known examples printed Signed, dated, and inscribed in graphite lower center margin beneath image “For Jack + Jim from David + Peter/1968” LAMA would like to thank the David Hockney Studio for their assistance in cataloguing this work

DAVID HOCKNEY

Travels with Pen, Pencil and Ink 1979 Color poster Image: 16.75" x 14" Sheet: 21" x 17" Together with exhibition catalogue, signed and inscribed to James Bridges by the artist and another poster P ROV E NANC E Jack Larson and

Together with book signed by David Hockney

James Bridges, Los Angeles, California

Image: 5" x 5" Sheet: 11.5" x 15"

$200–300

(acquired directly from the artist)

P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LOT 117

$6,000–9,000

97

LOT 118


VERSO

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

120 PETER SCHLESINGER Untitled

c. 1968 Double-sided acrylic on canvas Canvas: 47" x 47" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000


VERSO

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

121 PETER SCHLESINGER

Untitled (Portrait of Man in Green Shirt) c. 1968 Double-sided watercolor and acrylic on canvas Canvas: 24" x 24" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,000–1,500

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

122 PETER SCHLESINGER Untitled (2)

A: c. 1968; B: 1979 A: Etching on paper; B: watercolor on paper A: Signed and inscribed “For Jack and Jim” lower center margin; B: inscribed and signed “For Jack and Jim from Peter 1979” Comprised of A: Woman in Bathtub and B: Still Life with Teapot and Cake A: Image: 7.75" x 7.75" Sheet: 12" x 11" B: Sheet: 14" x 20" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,000–1,500

99


Cecil Beaton The name Cecil Beaton (1904–1980)—portrait and fashion photographer and designer of couture, interiors, costumes, and sets for theater and film—was for decades a byword for chic and glamour. In the 1920s he worked as a staff photographer for Vanity Fair and Vogue magazines in his native London, documenting the comings-and-goings of the Bright Young Things of the upper class. The following decade saw Beaton shooting portraits of the Royal Family. During World War II, he worked as a photographer for Britain’s Ministry of Information, covering the London Blitz as well as the fighting in North Africa. After the conflict ended, Beaton resumed celebrity portraiture and expanded his work in set and costume design. He won two Tony Awards® for costume design in a musical as well as three Oscars®: one for costume design for Gigi (1958) and for both costumes and art direction for My Fair Lady (1964). PARTIAL ILLUSTRATION

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

123 CECIL BEATON Untitled (10)

c. 1963 Gelatin silver print One signed and inscribed by the artist in blue ink verso Comprised of nine photographs and one contact sheet of Jack Larson and James Bridges at Watts Towers in Watts, California Together with two notes from the artist and one envelope postmarked September 24, 1963, and other ephemera Sheets each: 10" x 8" (one framed) P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,200–1,500

Beaton developed a singular technique for his portraits: placing his sitters against unusual and vivid backdrops, they became just one element of an overall dramatic composition. This group of arresting and intimate photographs of Jack Larson and James Bridges at the Watts Towers are a superb example of the Beaton style. Beaton was quite possibly introduced to Larson and Bridges by their close friend Leslie Caron, the star of Gigi. Garner, Philippe, and David Mellor. Cecil Beaton: Photographs 1920–1970. New York: Stewart, Tabori & Chang, 1995. Print.


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

124 STATHIS ORPHANOS David Hockney

1985 Gelatin silver print Together with catalogue and signed book Image/sheet (vis.): 9.5" x 12" Frame: 16" x 20" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) LIT E RAT URE Sylvester & Orphanos. D. Luckenbill. 1990. 30.

$300–500

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

124A WILLIAM CLAXTON

Untitled (Jack Larson and James Bridges) (21) c. 1958–1964 Gelatin silver prints 11 sheets with photographer’s ink stamp verso Comprised of twelve large prints, a smaller print, and eight contact sheets Large prints each: 10.5” x 13.5”; Others each: 8” x 11” P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,000–1,500

101


DETAIL OF SIGNED BOOK

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

125 ANDY WARHOL Jane Fonda

1982 Screenprint on Lenox Museum Board #20 of 100 Published by Friends of Tom Hayden, New York; printed by Rupert Jasen Smith, New York Signed lower left with edition in graphite; inscribed “Peace, Jane Fonda” by Jane Fonda lower center; printer blind stamp lower right sheet F/S #II.268 Together with two copies of Andy Warhol: Portraits of the 70s (each signed and dedicated to James Bridges and Jack Larson by Andy Warhol), POPism: The Warhol 60s, Warhol Initiative, The Andy Warhol Diaries, The Andy Warhol Foundation for the Visual Arts: 1987-2007, photograph of Jane Fonda, Henry Fonda, and Katharine Hepburn dedicated and signed to Jack Larson by Jane Fonda, and photograph of Jane Fonda and James Bridges, signed and dedicated to James Bridges by Jane Fonda Image/sheet: 39.5" x 31" Frame: 41.5" x 33.5" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from Penelope Milford, 1986) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.268.

$25,000–35,000

PARTIAL ILLUSTRATION


SIGNATURE DETAIL

103

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

126 SAM FRANCIS

Untitled (SF86-775) 1986 Acrylic on paper Signed in graphite verso; bears the inscription “SF86-775” verso Sheet: 12.125" x 3" Frame: 14.75" x 5.5" This work is identified with the interim identification number of SF86-775 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 Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist, April 1994)

$8,000–12,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

127 JOE BRAINARD Untitled (3)

1963-1975 Mixed-media collage on illustration board; pencil on paper collage Black K: Signed and dated in ink lower right edge of sheet; Untitled: retains paper affixed to label with printed text “Alan Gallery Show Original/Drawing 1964/Collage/10 x 16 inches/James Bridges and Jack Larsen/Collection”; Self-portrait: Signed and dated in graphite lower center sheet beneath composition; retains Fischbach Gallery label verso Comprised of Black K (1963), Untitled (1964), and Self-portrait (1975) Together with ephemera Black K Sheet (vis.): 19.5" x 14.5" Frame: 21" x 15.75" Untitled Sheet (vis.): 8" x 14" Frame: 15" x 20.75" Self-portrait Composition: 8.5" x 6.375" Sheet: 13.5" x 10.375" Frame: 14" x 10.75" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Joe Brainard Exhibition: Assemblages & Collages,” The Alan Gallery, New York, January 4-January 23, 1965 (Untitled); “Joe Brainard,” Long Beach Museum of Art, Long Beach, September 7-November 2, 1980 (all works); “Joe Brainard: Selections from the Butts Collection At UCSD,” Mandeville Gallery, UCSD, La Jolla, February 19-March 22, 1987 (Black K and Self-Portrait) ILLUSTRAT E D Joe Brainard Exhibition: Assemblages & Collages. The Alan Gallery exh. cat. 1965. N.pag. (Untitled) LITERATURE Joe Brainard: Selections from the Butts Collection At UCSD. UCSD exh. cat. 1987. N.pag.

$2,000–3,000


Joe Brainard An artist, writer, and designer of theater sets and costumes, Joe Brainard (1942–1994) was one of the most prolific and protean figures in the American art and literary world of the 1960s and 1970s. He worked in a range of artistic mediums that included oil painting and drawing, but is best known for his collage and assemblage pieces. Brainard published more than a dozen books, among them the minor classic “I Remember” (1970), a lyrical prose-poem memoir. In an artistic era dominated by the brawny heroics of Abstract Expressionism and the cool distance of Pop art, Brainard was notable for the honesty, clarity, sincerity, and wry openhandedness of his creations. “Brainard is one of those figures—in his art, his writing, and, one gathers, his person—whose primary genius was to give long-sought relief from overbearing works of art, pieces of writing, and people,” wrote the poet and critic Dan Chiasson. “For their friendliness, their air of openness, their distaste for guile and pretense, Brainard’s productions have a soothing quality.”

Brainard was born in Arkansas and raised in Tulsa, Oklahoma. As a precocious high schooler, along with poets Ted Berrigan and Ron Padgett, Brainard edited the admired art and literary magazine White Dove Review. He won a full scholarship to the Dayton Art Institute in Ohio, but dropped out to move to New York at age 19. After an impoverished year of self-discovery in Boston, he returned to Manhattan where he quickly joined a prodigious creative circle that included the painters Alex Katz, Larry Rivers, and Jasper Johns and the urbane New York School poets Frank O’Hara, John Ashbery, Kenneth Koch, James Schuyler, and Berrigan and Padgett as well. Brainard developed an odd and appealing personal iconography that ranged from images of the Madonna and Child to bits of housewares packaging; renderings of fried eggs to, very frequently, the character Nancy from Ernie Bushmiller’s classic comic strip of the same name. He collaborated often with his poet friends on assemblages and collages—mediums that, like poetry, consist of allusions, affinities, references, and connections. Brainard’s literary masterwork, “I Remember,” is itself a sort of collage, made of scraps of memory such as those in this excerpt: Continue to page 107

105 VERSO DETAIL

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128 JOE BRAINARD Shadow Box

1964 Mixed-media collage with assemblage Signed and dated verso Together with ephemera 8" x 4.375" x 1.75" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) E XHIBIT E D “Joe Brainard,” Long Beach Museum of Art, Long Beach, September 7-November 2, 1980

$2,000–3,000


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129 JOE BRAINARD

Christ on Ham & Eggs 1964 Mixed-media collage with assemblage in artist’s frame Signed and dated verso Together with ephemera Overall: 10.125" x 8.125" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Joe Brainard,” Long Beach Museum of Art, Long Beach, September 7-November 2, 1980

$2,000–3,000


I remember planning to tear page 48 out of every book I read from the Boston Public Library, but soon losing interest. I remember Bickford’s. I remember the day Marilyn Monroe died. I remember the first time I met Frank O’Hara. He was walking down Second Avenue. It was a cool early Spring evening but he was wearing only a white shirt with the sleeves rolled up to his elbows. And blue jeans. And moccasins. I remember that he seemed very sissy to me. Very theatrical. Decadent. I remember that I liked him instantly. I remember a red car coat.

Brainard died of AIDS-related pneumonia in 1994 at the age of 52. He had stopped exhibiting new work in his final years. His last gallery show during his lifetime took place in 1978 and was followed by two retrospectives: the first at the Long Beach Museum of Art in 1980 and a second in 1987 at the University of California, San Diego—a fact that the critic Bruce Hainley finds significant. “How refreshing that an artist who spent most of his life in New York had retrospectives in Southern California. It is helpful to think about Brainard’s work—its humour, it directness—in terms of some Los Angeles artists,” he wrote in Frieze magazine. “His little books of drawings and writings can be placed snugly next to Edward Ruscha’s brilliant photographic booklets: both reveal the genius of fearlessly pursuing a banal idea with single-minded thoroughness.” Chiasson, Dan. “Joe Brainard’s Odes to the Survivable Past.” New Yorker, 20 June 2012: n. pag. Web. 09 Jan. 2016. Hainley, Bruce. “I Remember.” Frieze Magazine RSS. Frieze, 28 May 1996. Web. 08 Jan. 2016. Brainard, Joe. I Remember. New York City: Granary, 2001. Print. Ferguson, Russell, ed. In Memory of My Feelings: Frank O’Hara and American Art. Los Angeles: Museum of Contemporary Art, 1999. Print. SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

130 JOE BRAINARD & FRANK O'HARA

Well, I Never Said it Was Spring 1964 Mixed-media collage and ink on paper in artist’s frame Signed by both artists at the center of the composition; retains “In Memory of My Feelings: Frank O’Hara and American Art” exhibition label verso Together with ephemera 10" x 8.125" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) E XHIBIT E D “Joe Brainard,” Long Beach Museum of Art, Long Beach, September 7-November 2, 1980; “Joe Brainard: Selections from the Butts Collection At UCSD,” Mandeville Gallery, UCSD, La Jolla, February 19-March 22, 1987; “In Memory of My Feelings: Frank O’Hara and American Art,” The Museum of Contemporary Art, Los Angeles, July 11-November 14, 1999 ILLUST RAT E D Homage to Frank O’Hara. B. Berkson and J. LeSeuer. 1980. 105.; In Memory of My Feelings: Frank O’Hara and American Art. R. Ferguson. 1999. 113. LIT E RAT URE Joe Brainard: Selections from the Butts Collection At UCSD. UCSD exh. cat. 1987. N.pag.

$2,000–3,000

107


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131 JOE BRAINARD & FRANK O'HARA

Is That The Height of Your Ambition Johnny? 1964 Mixed-media collage and ink on paper in artist’s frame Retains “In Memory of My Feelings: Frank O’Hara and American Art” exhibition label verso Together with ephemera 10" x 8.125" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Joe Brainard,” Long Beach Museum of Art, Long Beach, September 7-November 2, 1980 ; “Joe Brainard: Selections from the Butts Collection At UCSD,” Mandeville Gallery, UCSD, La Jolla, February 19-March 22, 1987; “In Memory of My Feelings: Frank O’Hara and American Art,” The Museum of Contemporary Art, Los Angeles, July 11-November 14, 1999 ILLUSTRAT E D In Memory of My Feelings: Frank O’Hara and American Art. R. Ferguson. 1999. 110. LITERATURE Joe Brainard: Selections from the Butts Collection At UCSD. UCSD exh. cat. 1987. N.pag.

$2,000–3,000


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132 JOE BRAINARD & FRANK O'HARA

Guess Where I Found This?!! 1964 Mixed-media collage and ink on paper Signed and dated by both artists lower center; retains “In Memory of My Feelings: Frank O’Hara and American Art” exhibition label verso Alternate title is Bingo Together with ephemera 10.25" x 8.125" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) E XHIBIT E D “Joe Brainard,” Long Beach Museum of Art, Long Beach, September 7-November 2, 1980; “Joe Brainard: Selections from the Butts Collection At UCSD,” Mandeville Gallery, UCSD, La Jolla, February 19-March 22, 1987; “In Memory of My Feelings: Frank O’Hara and American Art,” The Museum of Contemporary Art, Los Angeles, July 11-November 14, 1999 ILLUST RAT E D Homage to Frank O’Hara. B. Berkson and J. LeSeuer. 1980. 105.; Joe Brainard: Selections from the Butts Collection At UCSD. UCSD exh. cat. 1987. N.pag.; In Memory of My Feelings: Frank O’Hara and American Art. R. Ferguson. 1999. 108.

$2,000–3,000

109


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133 ARTIST UNKNOWN

Untitled (June 1969 Together We Watched in London) c. 2013 Mixed-media on canvas with assemblage Initialed lower right; inscribed “For Jack/with love/+ history-/Lark” verso Canvas: 28.5" (tallest dimension) x 22.5" (widest dimension) P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$400–600


111

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134 ARTIST UNKNOWN The Window

c. 2013 Mixed-media on canvas with assemblage in artist’s frame Initialed “lB” lower right; signed, titled, and inscribed “The Window/For Jack + Jim/Love/l.B./8-13” verso Canvas: 58.625" x 35.625" Frame: 60.5" x 37.625" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$600–900


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135 FAIRFIELD PORTER

Portrait of Joe Brainard c. 1974 Ink on paper Signed in graphite lower right sheet Sheet: 11.875" x 9" Frame: 16.75" x 14" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Joe Brainard: Selections from the Butts Collection At UCSD,” Mandeville Gallery, UCSD, La Jolla, February 19-March 22, 1987 LITERATURE Joe Brainard: Selections from the Butts Collection At UCSD. UCSD exh. cat. 1987. N.pag.

$2,000–3,000

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136 PATRICK PROCKTOR Untitled

1965 Color lithograph on paper Trial proof #1 Inscribed “Trial Proof No. 1 Patrick Procktor 10/65/with love to Jim and Jack” Image (irreg.): 18" x 28.25" Sheet (vis.): 29.25" x 40.875" Frame: 31" x 42.25" P ROVENANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$300–500


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137 FRANCO ASSETTO Untitled (14)

1977-1981 Gilt and enamel painted ceramic Each signed and dated Together with two exhibition catalogues, signed book, and card from the artist Various dimensions P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000

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138 FRANCO ASSETTO Red Chair

1984 Crayon on paper Signed and dated in graphite lower right; retains Gallery Z label verso Together with two exhibition catalogues Sheet: 19.5" x 11.5" Frame: 20" x 16" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$800–1,200

113


Don Bachardy The portrait artist Don Bachardy (born 1934) is widely and deeply admired for his sensitive and insightful depictions of the famous, most particularly members of the creative classes. In the course of his career, Bachardy has sketched and painted the likenesses of hundreds of the past half century’s most celebrated and respected actors, artists, writers, poets, musicians, dancers, and other performers. Raised in Los Angeles, he studied at the Chouinard Art Institute in Los Angeles from 1956 to 1959, and the Slade School of Art in London in 1961. His work can be found in numerous public collections, including those of the Metropolitan Museum of Art in New York, the Smithsonian Institute, the National Portrait Gallery in London, and the de Young Museum of Art in San Francisco. He has often cited two chief influences on his artistic career. The first is his long and celebrated relationship with the British-born writer Christopher Isherwood. They became a couple when Bachardy was 19 years old and Isherwood 49, and their nurturing, mutually encouraging, and loving life together has become legendary. SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

139 DON BACHARDY

Portrait of James Bridges (2) 1966 Oil on paper; ink wash and graphite on paper Each signed Together with ink wash on paper of Frank Palice (1994) and two books Oil: 29" x 23" Ink wash on paper, sheet (vis.): 29.5" x 21.5" Frame: 31" x 23" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

The second is cinema. Bachardy’s first motive for drawing was a love of movies—he spent hours sketching photos of male stars. Even today he describes his artistic method in cinematic terms. “The making of each of my pictures is similar to an unedited dance number from a Fred Astaire and Ginger Rogers movie,” Barchardy wrote in the introduction to his 2014 monograph, Hollywood: Don Bachardy. “I am, like Astaire, in the thrall of my partner, my intense inspection the equivalent of Astaire’s infatuation with Rogers, whom he courts and yearns to make his own. My courting of my sitter is as dedicated and persistent, but my objective is to record rather than seduce, to possess by imitation rather than persuasion.” Bachardy, Don, and Tom Ford. Hollywood: Don Bachardy. New York: Glitterati, 2014. Print. Drohojowska-Philp, Hunter. Rebels In Paradise: The Los Angeles Art Scene and the 1960s. New York: John Macrae Book/Henry Holt, 2011. Print.


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140 DON BACHARDY

Portrait of Jack Larson (3) 1966 Pencil on paper; ink on paper Each signed Together with two books Sheet (vis.) 28.25" x 21" Frame: 29.74" x 22.5" Sheet (vis.): 29.5" x 21.5" Frame: 31" x 23" Sheet: 24" x 19" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000

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141 DON BACHARDY

Portrait of James Bridges c. 1966 Ink on paper Signed in ink lower left Together with two books Sheet (vis.): 28" x 21" Frame: 29.5" x 22.625" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,200–1,500

115


Joe LeSueur (the subject of Lot 142) and Jack Larson

Alex Katz The famed New York-based painter, printmaker, and sculptor Alex Katz (born 1927) has developed a unique, instantly recognizable, and paradoxical aesthetic that is simultaneously warm and cool, formal and representational. He is renowned for his large-scale depictions of places and people he knows intimately: the streetscapes and rooftops of the SoHo neighborhood of Manhattan, where Katz has lived and worked for decades; the woodlands, lakes, and shores of Maine, where he keeps a second home; friends and loved ones, and, most especially and in more than 200 iterations, his wife and muse, Ada. And yet Katz renders these subjects with dispassion and detachment in economical lines, spare forms, and bright but oddly muted colors. Katz’s work has a seductive sang-froid. He graduated from New York’s Cooper Union in 1949, and for the following two summers continued his studies at the Skowhegan School for Painting and Sculpture in Maine in the plein air painting program. A figurative painter by inclination and temperament, Katz fought against the prevailing gestural approach, destroying hundreds of works, Katz has said, as he sought his own method. He began to be influenced by movies, television, and advertising, and what emerged in the late 1950s and early 1960s was a style that anticipated Pop art—familiar and at the same time

remote and impersonal. Katz took one cue from Abstract Expressionism: his canvases grew larger as he embraced that school of art’s grand and epic formatting. As the critic Carter Ratcliff wrote: “Appropriating the monumental scale, stark composition and dramatic light of the Abstract Expressionists, he would beat the heroic generation at their own game.” Here’s to You (1962) is a seminal painting from the early-mature stage of Katz’s career that discloses much about his evolving style and technique. Relatively small in scale compared to later work, the painting suggests both an intimacy with and distance from the subject. “Katz’s ‘small paintings’ reveal other stylistic and, dare I say, emotional characteristics that were not entirely banished from the large works he initiated in the early 1960s,” the curator Adam D. Weinberg wrote of this and similar works. Here’s to You has been widely exhibited at venues that include the Whitney Museum of American Art, the Parrish Art Museum in Southampton, New York, and the Museum of Contemporary Art, Los Angeles. Ratcliff, Carter, and Iwona Blazwick. Alex Katz. Rev. Ed. London: Phaidon, 2014. Print. Weinberg, Adam, Dana Self, and Shamim M. Momin. Alex Katz: Small Paintings. Place: Kansas City: Kemper Museum of Contemporary Art, 2001. Print.


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142 ALEX KATZ

Here’s to You 1962 Oil on Masonite panel Signed and dated upper right; retains Thibaut Gallery label verso; retains “In Memory of My Feelings: Frank O’Hara and American Art” and “Alex Katz: Small Paintings” exhibition labels verso; bears the inscription “#12” in red ink verso Together with two books Masonite: 23.875" x 32" Frame: 24.5" x 32.5" The subject of this painting is Joe LeSueur, friend and on-and-off lover to Frank O’Hara. Both LeSueur and O’Hara were close friends of Jack Larson and James Bridges. P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California E XHIBIT E D “Alex Katz,” Thibaut Gallery, New York, February 12-March 9, 1963; “In Memory of My Feelings: Frank O’Hara and American Art,” traveling exhibition, the Museum of Contemporary Art, Los Angeles, July 11-November 14, 1999; the Wexner Center for the Arts, Columbus, January 28-April 16, 2000; the Parrish Art Museum, Southampton, June 11-July 30, 2000; “Alex Katz: Small Paintings,” traveling exhibition, Addison Gallery of American Art, Phillips Academy, Andover, April 7-July 31, 2001; Whitney Museum of American Art, New York, September 21, 2001-January 4, 2002; Kemper Museum of Contemporary Art, Kansas City, March 22-June 2, 2002 ILLUST RAT E D In Memory of My Feelings: Frank O’Hara and American Art. R. Ferguson. 1999. 95.; Alex Katz: Small Paintings. A. Weinberg, et al. 2001. 82.

$80,000–120,000

117


LABEL DETAIL

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143 JASPER JOHNS

Skin with O’Hara Poem 1965 2-color lithograph on KE Albanene Engineer’s standard form paper #2 of 30 Published and printed by ULAE, West Islip Together with two exhibition catalogues Signed and dated by the artist and Frank O’Hara in ink lower right sheet; edition, title, and date lower right; retains “In Memory of My Feelings: Frank O’Hara and American Art” exhibition label verso Image/sheet: 22" x 34" Frame: 22.125" x 34.125" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) EXHIBITE D “In Memory of My Feelings: Frank O’Hara and American Art,” traveling exhibition, the Museum of Contemporary Art, Los Angeles, July 11-November 14, 1999; the Wexner Center for the Arts, Columbus, January 28-April 16, 2000; the Parrish Art Museum, Southampton, June 11-July 30, 2000 LITERATURE In Memory of My Feelings: Frank O’Hara and American Art. R. Ferguson. 1999. 136.; The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. R. Field. 1994. #21.

$30,000–40,000


PROPERTY OF ANOTHER OWNER

144 JASPER JOHNS

Flashlight (Small) (from 1st Etchings, 2nd State) 1969 Intaglio on Auvergne paper #35 of 40 Published and printed by ULAE, West Islip Signed and dated in graphite lower right sheet; edition inscribed lower left margin beneath image Image: 3.75" x 4.75" Sheet: 25.75" x 19.25" Frame: 30.75" x 24.25" LIT E RAT URE The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. R. Field. 1994. #58.

$2,000–3,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

145 CLAES OLDENBURG Wedding Souvenir 1966 Plaster Signed underneath; stamped “WEDDING SOUVENIR/CLAES OLDENBURG/LOS ANGELES 1966” 6" x 6.5" x 2.375" Produced for the wedding of Jim and Judith Elliot on April 23, 1966, in an edition of approximately 8 cakes, with each cake composed of 18 slices. Jack Larson and James Bridges attended this wedding. P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist through the wedding of Jim and Judith Elliot, April 23, 1966) LIT E RAT URE Claes Oldenburg: Multiples in Retrospect, 1964-1990. T. Lawson. 1991. 40, 45, 150. SIGNATURE AND STAMP DETAIL

$7,000–10,000

119


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146 FERDINAND PORSCHE Beetle

Volkswagen, designed 1934; this example produced 1971 Sedan 111, Ravenna Green paint VIN number 1112441515 52,777 miles P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California

$3,000–5,000


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147 OLIVER ANDREWS

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

The Keeper of the Night

148

1954 Welded bronze

OLIVER ANDREWS

Stamped “Oliver Andrews 54” 72" x 13" x 9.75" P ROV E NA NC E Jack Larson and James Bridges, Los Angeles, California

Untitled (Figure) 1957 Welded bronze

Stamped “Oliver Andrews 1957” 42" x 7.25" x 8.25"

(acquired directly from the artist) ILLU ST RAT E D Metal Sculpture: New Forms, New Techniques. J. Lynch. 1957. Cover, 131.; Frank Lloyd Wright:

PROVE N A N CE Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

150 SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

149

JORGE FERRARI-HARDOY, ANTONIO BONET & JUAN KURCHAN Butterfly chairs (5)

AMERICAN MODERN

Various manufacturers, designed 1938 Model no. 198

Manufacturer unknown, designed c. 1950

Each: 37.75" x 30.75" x 29"

Floor lamp

52" x 20" x 18.5"

P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California

Interiors and Furniture. T. Heinz.

I L LU ST RAT E D Frank Lloyd Wright:

1994. 199.; The Frank Lloyd Wright

Interiors and Furniture. T. Heinz.

P ROV E NANC E Jack Larson and James

LIT E RAT URE Knoll: A Modernist

Companion. W. Storrer. 1993. 280-281.

1994. 199.

Bridges, Los Angeles, California

Universe. B. Lutz. 2010. 109.

$3,000–4,000

$2,000–3,000

$3,000–5,000

$100–200

121


James Gill Now enjoying a rediscovery, the painter James Gill (born 1934) emerged as a phenomenon in the Los Angeles art scene of the early 1960s. The Texan—a Marine Corps veteran who had given up architectural studies to pursue painting—moved to California in 1961. Though he was unknown, the prominent art dealer Felix Landau offered to represent Gill’s work in Los Angeles and New York. Critics had difficulty placing his art. The use of bright colors and serial imagery drawn often from celebrity culture and the news media prompted many to define Gill as a Pop artist, yet his blurred painterly technique also won him comparisons to Francis Bacon. Gill promptly drew a following from members of the Hollywood community as well as attention from established patrons in the East Coast art world. His 1962 triptych Marilyn—painted SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

151 JAMES GILL Untitled

1964 Monoprint on paper laid to board Signed and dated lower center Together with two color prints on paper, and New Paintings: James Gill Felix Landau Gallery, 1968 exhibition catalogue Board: 23.75" x 40.5" Frame: 24.75" x 41.5" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000

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152 JAMES GILL

Untitled (Couple in a Red Car) c. 1965 Painted and patinated bronze #1 of 6 Signed “Gill” Together with New Paintings: James Gill Felix Landau Gallery 1968 exhibition catalogue 6" x 18" x 11" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000

shortly after the actress’s suicide—was purchased in New York by Dominique and John de Menil and later donated to the Museum of Modern Art. Gill’s work was shown alongside that of Jasper Johns, Andy Warhol, James Rosenquist, Ed Ruscha, and others at the 1967 São Paulo biennial; the following year, he was commissioned by Time magazine to paint a cover image of the dissident Soviet writer Alex Solzhenitsyn. In 1972, still at the height of fame, Gill retreated from the public eye to live quietly in Northern California. He returned to his native town of San Angelo, Texas and recently resumed exhibiting his work. Edwards, Jim, William A. Emboden, and David McCarthy. Uncommonplaces: The Art of James Francis Gill. San Angelo, TX: San Angelo Museum of Fine Arts, 2005. Print.


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153 JAMES GILL

Infinite Regress DNA 1968 Oil on canvas Signed lower right; bears the inscription “31-25” verso Together with New Paintings: James Gill Felix Landau Gallery 1968 exhibition catalogue Canvas: 31.25" x 25.25" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist) E XHIBIT E D “New Paintings: James Gill,” Felix Landau Gallery, Los Angeles, December 2, 1968-January 4, 1969 ILLUST RAT E D New Paintings: James Gill. Felix Landau Gallery exh. cat. 1968. #6.

$1,500–2,000

123

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

154 JAMES GILL

Untitled (Man with Tattoos) c. 1968 Monoprint laid down to board with hand-made additions in ballpoint pen Bears the inscription in red ink “FL #7361” frame verso Board: 28.625" x 22.5" Frame: 29.75" x 23.75" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000


PROPERTY OF ANOTHER OWNER

155 JAMES GILL Untitled

1962 Acrylic on Masonite panel Signed and dated lower left Panel: 40" x 30" Frame: 41.75" x 31.625"

$3,000–5,000

PROPERTY OF ANOTHER OWNER

156 JAMES GILL Untitled (2)

1962 Acrylic and graphite on paper Signed and dated lower center; signed and dated lower right Image/sheet: 18.625" x 23.75" Frame: 24.875" x 30" Image/sheet: 18.625" x 23.875" Frame: 24.875" x 30"

$2,000–3,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

158 LOUISE NEVELSON Untitled

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

157 ROBERT INDIANA Lord Byron

1972 Color silkscreen on paper Commissioned for the production of Lord Byron at the Juilliard Theater, Lincoln Center, New York in 1972 Signed, dated, and inscribed “For Jack R Indiana 1972” lower center sheet; printed “List Art Poster (c) 1972 HKL Ltd” lower left sheet; printed “An Indianakatz production” lower center sheet; printed “Robert Indiana” lower right sheet

1986 Silkscreen on reverse of handwritten menu Printed upper center margin “Virgil Thomson - 90”; printed date “11 - 23 - 86” upper right margin of sheet; printed “Chanterelle” center right margin of sheet; artist's printed signature lower right Together with The Virgil Thomson Centenary 1896-1996 program companion Sheet: 13.75" x 17.875" Made for the occasion of Virgil Thomson’s 90th birthday at Chanterelle in

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159 WILLIAM S. BURROUGHS Untitled

New York City. PROV E N A N CE Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist through Virgil Thomson’s 90th birthday party, 1986)

Image/sheet (vis.): 80" x 39.5" Frame: 82" x 42"

LIT E RAT U R E Virgil Thomson:

PROVE N A N CE Jack Larson and

1997. 541.; “Chanterelle Sells Its Art

Composer on the Aisle. A. Tommasini.

c. 1980 Lithograph on paper Signed in graphite lower right sheet Image: 20.75" x 12.75" Sheet: 25" x 16.25" P ROV E NANC E Jack Larson and

James Bridges, Los Angeles, California

à la Carte.” F. Fabricant. New York

(acquired directly from the artist)

Times. Feb. 9. 2010. N.pag.

(acquired directly from the artist)

$2,000–3,000

$3,000–5,000

$300–500

James Bridges, Los Angeles, California

LOT 158

LOT 157

LOT 159

125


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

160 ALEXANDER ARCHIPENKO

Untitled (Seated Nude Female) 1931 Graphite on Strathmore paper Signed, dated, and inscribed in graphite “To Salka/from/Archipenko/June 15 1931” lower right; bears the inscription in graphite “10” lower left sheet Sheet (vis.): 21.625" x 13.75" Frame: 23.375" x 15.5" P ROVENA NC E Salka Viertel; Thence by descent; Jack Larson and James Bridges, Los Angeles, California (acquired directly from the above)

$7,000–10,000


Alexander Archipenko One of the most internationally prominent artists and educators of the first half of the 20th century, the Ukrainian-born Alexander Archipenko (1887–1964) received formal artistic training in his native Kiev before moving to Paris in 1908. Enrolled briefly at the École des Beaux-Arts, he left the school to take up independent studies at the Louvre. There he was particularly drawn to Egyptian, Assyrian, and Greek antiquities. By 1910, Archipenko had moved on from his classical studies and joined avant-garde art circles that included Pablo Picasso, Georges Braque, Marcel Duchamp, and Fernand Léger. Over the next several years he undertook groundbreaking work that saw him introduce Cubist principles to sculptural forms, incorporating open spaces and opposing concave and convex curved surfaces to imply a sense of rhythmic motion. Archipenko also explored the use of collage in sculptural works made of materials as various as metal, glass, and wood.

After exhibiting extensively in Europe, Archipenko moved to the United States in 1923 and began a peripatetic career as a teacher. During the following decades he taught in cities including New York, Oakland, and Los Angeles—where he taught at the Chouinard Art Institute as well as his own school—Chicago, Kansas City, and Seattle, using a curriculum that employed traditional art studies and techniques as a foundation for modernist advances. Karshan, Donald H. Archipenko; International Visionary. Washington: Published for the National Collection of Fine Arts by Smithsonian Institution, 1969. Print. “Alexander Archipenko Papers, 1904–1986, Bulk, 1930–1964.” Archives of American Art, n.d. Web. 24 Dec. 2015. SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

161 ALEXANDER ARCHIPENKO

Untitled (Two seated females) c. 1931 Gouache on paper Signed lower right Sheet (vis.): 14" x 22" Frame: 21.5" x 29.5" P ROV E NANC E Salka Viertel; Thence by descent; Jack Larson and James Bridges, Los Angeles, California (acquired directly from the above)

$7,000–10,000

127


162 HANS WEGNER Valet chair

Johannes Hansen, designed 1953 Model no. JH-540 Branded “Johannes Hansen Copenhagen/Denmark” 37" x 19.5" x 20.5" LITERATURE Danish Chairs. N. Oda. 1999. 116-117.

$7,000–9,000


163 POUL HENNINGSEN Wall sconces (2)

Louis Poulsen, designed 1966 Model no. PH 4.5/3 One retains manufacturer’s label Each: 12" x 19.5" x 18"

$1,500–2,000

129

164 WILHELM KÅGE Farsta vase

Gustavsberg Studio, executed 1950 Signed “Farsta/Kåge/Gustavsberg” with studio’s cipher and “T.” 6" x 6" diameter LIT E RAT URE The Nordic Modern Movement. Gansevoort Gallery exh. cat. 1998. 29 for similar examples.

$2,000–3,000


165 HANS WEGNER Lounge chair

AP Stolen, designed 1951 Model no. AP-16 40" x 28" x 32.5" LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 58.

$3,000–5,000


166 PETER LØVIG NIELSEN Desk

Løvig, Dansk, designed c. 1967; this example produced 1976 Retains branded mark “Løvig/Dansk”; stamped “1976” Top up: 34" x 63.75" x 28.75" Top down: 28.75" x 63.75" x 38"

$2,500–3,500

131


167 HANS WEGNER

Sofa, settee, and lounge chair (3) AP Stolen, designed c. 1952 Model no. AP34 Sofa: 27.5" x 82" x 27.5" Settee: 27.5" x 51.5" x 27.5" Lounge chair: 27.5" x 29.5" x 29.5"

$4,000–6,000


168 JO HAMMERBORG

President table lamps (2) Fog & Mørup, designed c. 1965 One retains manufacturer’s label Each: 17.25" x 14.5" diameter

$3,000–5,000

169 HANS WEGNER Desk organizer

Johannes Hansen, designed c. 1958 Branded “Johannes Hansen/Copenhagen/Denmark” 9.25" x 24" x 10.25"

$2,000–3,000

170 HANS WEGNER Lounge chair

Johannes Hansen, designed 1960 Model no. JH-713 Retains manufacturer’s medallion 33" x 27.5" x 26.5" LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 92.

$1,500–2,000

133


171 KAREL APPEL

Couple in Wood 1975 Hand-painted wood construction Unnumbered H.C. proof of 7 aside from the edition of 50 Published by Editions Press, San Francisco Signed lower left; signed on Editions Press label verso; inscribed “H.C.” on Editions Press label verso 17.75" x 24.75" x 2.75"

$4,000–6,000

172 KAREL APPEL

Jumping Fox with Green Virgin 1975 Hand-painted wood construction Unnumbered H.C. proof of 7 aside from the edition of 50 Published by Editions Press, San Francisco Signed lower right; signed on Editions Press label verso; inscribed “H.C.” on Editions Press label verso 19.5" x 24" x 3.5"

$3,000–5,000


173 JAMES HAVARD

Drinks Juice of the Stone 1978 Acrylic, charcoal on canvas over beveled boards Signed and dated in graphite lower right; title inscribed upper center; signed, titled, and dated on canvas overlap verso; retains Louis K. Meisel Gallery label verso Canvas: 48" x 95.5" P ROV E NANC E Louis K. Meisel Gallery, New York, New York; Private Collection, California (acquired directly from the above, February 1981)

$10,000–15,000

135


John McLaughlin John McLaughlin (1898–1976), regarded by many as one of the great American painters of the 20th century, is yet one of the most underappreciated. A self-described “fervent” admirer of McLaughlin, the Los Angeles Times art critic Christopher Knight has called him “the first great artist to emerge in Southern California following World War II.” McLaughlin is best known, along with Karl Benjamin, Frederick Hammersley, and Lorser Feitelson, as one of the artists whose work in the 1950s defined the Hard-Edge school of geometric abstract painting. McLaughlin’s serene, almost austere canvases were in particular seen as a West Coast counterpoint to the more assertive works of the New York Abstract Expressionists. He was strongly influenced by 15th century Asian monastic painters as well as the abstract purity of Piet Mondrian and the Suprematist painter Kazimir Malevich. McLaughlin saw his works as objects of contemplation: a means towards meditation on deeper, metaphysical realities. “I want to communicate only to the extent that the painting will serve to induce or intensify the viewer’s natural desire for contemplation without benefit

174 JOHN MCLAUGHLIN Untitled

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

$30,000–50,000

175 JOHN MCLAUGHLIN

Untitled (Abstract Geometric Composition) c. 1948 Oil on Masonite on board Stamped “From the Estate of/ John McLaughlin 1898-1976” verso Board: 24" x 36" x 2.125" P ROVENA NC E The artist; Thence by descent

$20,000–30,000

of a guiding principle,” he wrote in exhibition notes for a 1963 retrospective of his work at the Pasadena Art Museum. “I must therefore free the viewer from the demands or special qualities imposed by the particular by omitting the image (object). This I manage by the use of neutral forms. The uncompromised form by virtue of its power to withhold neither reveals or conceals. Its function is merely to indicate that reality may be sensed by the viewer when released from the insistent demands of substantive quality.” McLaughlin did not begin to paint in earnest until he was nearly 50 years old. He grew up in a suburb of Boston where he spent much time immersed in the Museum of Fine Art’s notable collection of Asian art. He and his wife moved to Japan in 1935, and there they stayed for three years studying the country’s language and culture. Back home in Boston, they opened a gallery dealing in Japanese prints and antiquities. Following his service in World War II as a translator for military intelligence working out of New Delhi, McLaughlin moved with his wife to the Southern California town of Dana Point.


It was in California that McLaughlin would have his greatest influence. Within a few years he had settled into a mature style that employed geometric figures—almost exclusively rectangles—rendered in colors that ranged from black, white, and neutrals to rich variants on primary hues. As Christopher Knight has pointed out, McLaughlin’s arrangements of formal elements on his canvases frustrate normal human binocular vision: “Ignoring accepted rules, his sophisticated paintings pry open perceptual space. Almost surreptitiously, they grab hold of your optical apparatus and undermine conventional habits of seeing.” These perceptual phenomena would have a profound impact on Robert Irwin, Larry Bell, James Turrell, and other members of the Los Angeles-born Light and Space movement. Barron, Stephanie, Sheri Bernstein, and Ilene Susan. Fort. Reading California: Art, Image, and Identity, 1900–2000. Los Angeles: Los Angeles County Museum of Art, 2000. Print. Morgan, Robert C. “John McLaughlin Paintings 1947–1974.” The Brooklyn Rail. N.p., 03 Apr. 2013. Web. 18 Dec. 2015. “About John McLaughlin.” Quint. Quint Gallery, 2015. Web. 18 Dec. 2015. Knight, Christopher. “Why L.A. Painter John McLaughlin Matters.” Los Angeles Times, 01 Oct. 2011. Web. 18 Dec. 2015. Knight, Christopher. “Pacific Standard Time: Open Your Eyes to John McLaughlin.” Los Angeles Times, 02 Oct. 2011. Web. 18 Dec. 2015.

John McLaughlin. Photo by Arnold Chanin, July 1975.

176 JOHN MCLAUGHLIN Untitled

1958 Oil on canvas Together with copy of invoice from Franklin Parrasch Gallery Bears the inscription canvas stretcher verso “1958 McLaughlin” Canvas: 50" x 40" Frame: 50.75" x 40.75" P ROV E NANC E Franklin Parrasch Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above)

$125,000–150,000

137


177 FREDERICK HAMMERSLEY Agree

#9, 1961 Oil on linen in artist’s frame Signed and dated lower left; retains artist’s, LA Louver, Modernism, and California Palace of the Legion of Honor labels verso Together with letter from the artist dated November 7, 2004 and Frederick Hammersley: Paintings 1961 catalogue LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Canvas: 30" x 24" Frame: 31" x 25.25" EXHIBITE D “Frederick Hammersley,” Heritage Gallery, Los Angeles, November 1961; “Frederick Hammersley: Paintings,” traveling exhibition, California Palace of the Legion of Honor, San Francisco, November 3-December 9, 1962; Art Center in La Jolla, La Jolla, March 13-April 14, 1963; Hollis Gallery, San Francisco, April 19-May 14, 1966; “Frederick Hammersley: A Retrospective Exhibition,” University of New Mexico Art Museum, Albuquerque, October 10-November 16, 1975; “Frederick Hammersley: Paintings of the 1960s,” LA Louver Gallery, Venice, October 15-November 13, 2004 ILLUSTRAT E D Frederick Hammersley: Paintings. California Palace of the Legion of Honor exh. cat. 1962. #12.

$40,000–60,000


178 FREDERICK HAMMERSLEY Tit for Tat

#14, 1987 Oil on linen on Masonite in artist’s frame Signed and dated center right; retains artist’s label and LA Louver Gallery label verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Masonite: 10" x 8" Frame: 14.5" x 12" E XHIBIT E D “Alcove Show,” Museum of Fine Arts, Santa Fe, September 16, 1989-January 14, 1990

$15,000–20,000

179 FREDERICK HAMMERSLEY Knee Portrait

#2, 1970 Gelatin silver print on Agfa paper in artist’s frame Signed, titled, and dated in ballpoint pen lower center margin of sheet; artist’s ink stamp verso; titled and dated mat verso; retains artist’s label, LA Louver Gallery, and Laguna Art Museum labels verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Image: 6" x 9.375" Sheet: 7.875" x 10" Frame: 12.5" x 15.5" E XHIBIT E D “Visual Puns and Hard Edge Poems,” traveling exhibition, University of New Mexico, Albuquerque; Laguna Art Museum, Laguna Beach, 1999-2000 ILLUST RAT E D Visual Puns and Hard Edge Poems. P. Walch, et al. 1999. 18.

$4,000–6,000

139


180 KARL BENJAMIN TG #25

1961 Oil on canvas Initialed and dated lower right; artist’s ink stamp canvas stretcher verso; inscribed “TG #25” canvas stretcher verso Canvas: 42" x 36" Frame: 43" x 37" 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.

$35,000–45,000


181 KARL BENJAMIN

#19

1983 Oil on canvas Signed, titled, and dated in black felttip marker canvas stretcher verso Canvas: 60" x 60" Frame: 60.5" x 60.75" 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 ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Ruth Bachofner Gallery, Santa Monica, California, 1987)

$25,000–35,000

182 KARL BENJAMIN #13

1984 Oil on canvas Signed, titled, and dated canvas stretcher verso Canvas: 30" x 30" Frame: 30.5" x 30.5" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin. P ROV E NANC E Private Collection, Claremont, California (acquired directly from the artist)

$15,000–20,000

141


Karl Benjamin in his studio with #29 in background. Photo by Arnold Chanin, 1975.

183 KARL BENJAMIN #29

1968 Oil on canvas Signed, titled, and dated on canvas stretcher verso Canvas: 40" x 40" Frame: 41.25" x 41.25" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonnĂŠ of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.

$20,000–30,000


143

184 KARL BENJAMIN S #5

1983 Oil on canvas Signed and dated with title in black felt-tip marker canvas stretcher verso Canvas: 31.25" x 22.5" Frame: 32" x 23" Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonnĂŠ of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin. P ROV E NANC E Private Collection, Claremont, California (acquired directly from the artist)

$20,000–30,000


185 JULES ENGEL Untitled

c. 1975 Acrylic on canvas Canvas: 24" x 20" Frame: 25" x 21"

$1,000–1,500

186 JUNE HARWOOD

Untitled (from Loop Series) 1966 Acrylic on canvas Signed and dated verso Canvas: 36" x 36" P ROVENA NC E The artist; NOHO Modern, Los Angeles, California (acquired directly from the above); Private Collection, California (acquired directly from the above)

$15,000–20,000


187 PAUL TUTTLE Music stand

Custom, executed c. 1990 Incised “Bud Tullis/0206” 82" x 19.25" x 40" P ROV E NANC E Private Collection, Santa Barbara (commissioned by the artist); Thence by descent

$3,000–5,000

188 PAUL TUTTLE Z-Chair

Carson-Johnson, Inc., designed c. 1964 Etched “9207” 37" x 23" x 31.25" LIT E RAT URE Living In a Modern Way: California Design 1930-1965. W. Kaplan, ed. 2011. 303.

$2,000–3,000

145


DETAIL

Richard Prince Richard Prince (born 1949) is one of the most acclaimed artists of his generation and arguably the most provocative. He works in a wide range of media that include painting, photography, and sculpture. The cornerstone of Prince’s work—like that of peers such as Sherrie Levine and Barbara Kruger—is appropriation: the artistic strategy that involves the borrowing, re-use, adaptation, or reproduction of existing artistic images and forms as the basis for fresh creation and commentary and as a means to ask philosophical questions about the nature of originality and authorship. His earliest thematic works, re-photographs of cigarette advertisements featuring the mythic American figure of the cowboy, prefigure such thematic successes as his Nurses paintings series, in which he recreated trashy book jacket imagery. From these works to his latest project involving the manipulation of Instagram selfies, Prince has developed a body of work that serves not only as a penetrating examination of contemporary art history, but also as a trenchant critique of current social and cultural mores. As Peter Schjeldahl, art critic for The New Yorker, wrote in his review of the artist’s 2007 retrospective at the Guggenheim Museum: “Prince’s works make him an artist as anthropologist, illuminating folkways by recycling advertising photographs, cartoons and one-liner jokes, soft-core pornography, motorcycle-cult ephemera, pulp-novel covers, ‘Dukes of Hazzard’-era car parts, celebrity memorabilia, and other demotic flotsam.”

In 1987, Prince embarked on his seminal Monochromatic Jokes paintings—canvases that consist of corny and shopworn gags printed on vivid, uniformly colored backgrounds. Bedtime Story (1988) is an impressive example from the series. The painting resonates with associations and references. The joke itself is a commentary on numerous stereotypical notions—about age, gender, holiday domesticity, and the nuclear family—but more significant is the way Prince has contextualized it. There is a coolness and detachment that removes the words from the realm of humor; they are writ small in a featureless typeface, overwhelmed by the surrounding color. Bedtime Story is a chimera: at once a Hard-Edge abstraction and a piece of Conceptualist art in which the aesthetic image has been replaced by the pure idea. There is no trace of the artist’s hand in the painting—the words are both familiar and remote, like a Warhol Campbell’s soup can. At once art and artifact, Bedtime Story represents the apex of appropriation art. Prince, Richard. Spiritual America. New York: Aperture, 1989. Print. Spector, Nancy, and Richard Prince. Richard Prince. New York: Guggenheim Museum, 2007. Print. Fogle, Douglas. “Richard Prince.” Bits & Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections. Ed. Joan Rothfuss and Elizabeth Carpenter. Minneapolis: Walker Art Center, 2005. Print. Schjeldahl, Peter. “The Joker: Richard Prince at the Guggenheim.” The New Yorker. The New Yorker, 15 Oct. 2007. Web. 09 Jan. 2016.


SIGNATURE AND DATE DETAIL

189 RICHARD PRINCE 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 ROV E NANC 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

147


190 RICHARD PRINCE

Cowboys & Girlfriends (RP-G1) 1992 Ektacolor photograph on Kodak professional paper From the edition of 26 Initialed in ballpoint pen verso Image/sheet (vis.): 15.25" x 22.75" Frame: 24.5" x 32"

$6,000–9,000

191 RICHARD PRINCE The Girl Next Door

1999 Ektacolor photograph on Kodak professional paper From the edition of 26 Signed and dated in ballpoint pen verso Image: 19" x 11.75" Frame: 29.75" x 23"

$5,000–7,000


192 DAMIEN HIRST

Lysergic Acid Diethylamide (LSD) 2000 Lambda C-print on Gloss Fuji Archive paper #21 of 300 Published by Eyestorm Media Ltd., London Together with certificate of authenticity from Eyestorm Media Ltd. Sheet (vis.): 41.375" x 49.5" Frame: 44.625" x 52.875"

$7,000–10,000

193 DAMIEN HIRST

The Magnificent Seven 2000 Seven ping pong balls with printed text in original box #52 of 1,500 Signed with edition to the underside of the box Overall: 10" x 2" x 2" Made in conjunction with the exhibition “Damien Hirst: Theories, Models, Methods, Approaches, Assumptions, Results, and Findings” at Gagosian Gallery in New York.

$800–1,200

149


194 JEFF KOONS

Balloon Dog (Blue) 1995 Cast porcelain with blue reflective finish #2,239 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso Together with original box and plate stands 10.25" diameter

$10,000–15,000

195 JEFF KOONS

Jeff Koons Book 2009 Hardcover book in clamshell box #250 of 1,600 Published by TASCHEN Signed in black felt-tip marker on title page; edition printed on title page Together with original packaging Book: 17.625" x 13.375" x 2.625" Case: 19.375" x 14.75" x 3.5" TITLE PAGE DETAIL

$3,000–5,000


196 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #664 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso Together with original box and plate stands 10.25" diameter

$10,000–15,000

151


INSCRIPTION DETAIL

197 MIKE KELLEY

Unlucky Clover (from Pansy Metal/ Clovered Hoof Series) 1989 Oversized silk scarf on China silk Habotai #10 of 10 Artist’s proofs aside from the edition of 40 Published by Edition Julie Sylvester, New York Signed, dated, and inscribed “AP X/X” in ink on hanging tie 53" x 38" LITERATURE Mike Kelley. E. MeyerHermann and L. Gabrielle Mark, eds. 2013. 133-135.

$5,000–7,000


198 MIKE KELLEY

Bowling Ball, Bag, Shirt, and Catalogue 1991 The complete set of four objects including a customized bowling shirt, bowling ball, bag, and catalogue #15 of 50 Published by A.R.T. Press, Los Angeles Bowling ball engraved with artist’s signature and edition Various dimensions

$6,000–9,000

153


ALTERNATE VIEW

199 TIM HAWKINSON Sweet Tweet

2004 Patinated bronze Signed and dated “Tim Hawkinson 2004” lower edge 53.25" x 15.5" x 17"

$50,000–70,000


155


200 JOHN BALDESSARI

Two Whales (With People) 2010 Color screenprint on paper #25 of 50 Published by The Metropolitan Museum of Art, New York; printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin with edition lower left; retains Gemini G.E.L. and Metropolitan Museum of Art blind stamps lower right and lower left sheet Image: 30" x 23.375" Sheet: 32" x 23.375" Frame: 34.75" x 26.125" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from Barbara Krakow Gallery, Boston, Massachusetts)

$5,000–7,000

201 JOHN BALDESSARI

The Overlap Series: Palm Trees and Building (with Vikings) 2001 Iris print on Somerset Satin 500 gsm paper #15 of 75 Published by i8 Gallery, Reykjavík, in conjunction with the Reykjavík Art Museum; printed by A + I Digital, Los Angeles Signed and dated in graphite beneath image lower right margin of sheet; edition lower left Image: 13" x 15" Sheet: 19" x 19" Frame: 24" x 24" LITERATURE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #116.

$3,000–5,000


202 JOHN BALDESSARI

Large Door (from Hegel’s Cellar Portfolio) 1986 Photogravure and aquatint on Rives BFK paper #7 of 10 Artist’s proofs aside from the edition of 35 Published by Multiples, Inc., New York; printed by Iris Editions, New York Signed in graphite with edition verso Image: 19.5" x 37.25" Sheet: 20" x 38" Frame: 23.25" x 41.25" LIT E RAT URE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #28.

$3,000–5,000

203 JOHN BALDESSARI

Two Figures (One with Shadow) (from Hegel’s Cellar Portfolio) 1986 Photogravure and aquatint on Rives BFK paper #8 of 35 Published by Multiples, Inc., New York; printed by Iris Editions, New York Signed in graphite with edition verso Image: 19.75" x 19.375" Sheet: 20" x 19.625" Frame: 23.625" x 22.875" LIT E RAT URE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #21.

$2,000–4,000

157


204 TAKASHI MURAKAMI Flowerball (4)

2004-2013 Offset color lithograph on paper Flower Ball (3D) Autumn: #108 of 300; Flower Ball (3D) Red: #121 of 300; Flower Ball (Lots of Colors): #110 of 300; Flower Ball (3D) Sequoia Sempervirens: #107 of 300 Published by Kaikai Kiki Co., Ltd. Each signed with edition in metallic felt-tip marker Comprised of Flower Ball (3D) Autumn (2004), Flower Ball (3D) Red (2009), Flower Ball (Lots of Colors) (2013), and Flower Ball (3D) Sequoia Sempervirens (2013) Image/sheets (vis.) each: 27.75" diameter Frames each: 30.5" x 30.5"

$4,000–6,000

205 RYOKO AOKI

Flowering Cabbage 2004 Ink and watercolor on paper Retains Marc Foxx Gallery label verso Sheet: 14.25" x 20.625" Frame: 16.625" x 23.25" P ROVENA NC E Marc Foxx Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, June 2004)

$2,000–3,000


206 SHIRO KURAMATA Flower Vase #3

Ishimaru Ltd., designed 1989 Overall: 11.5" x 10.5" x 3.25"

$1,000–1,500

159


Kaz Oshiro By “monumentalizing the mundane,” as one critic put it, Kaz Oshiro (born 1967) has drawn comparisons to Andy Warhol and other Pop artists with his signature, uncannily realistic sculptural representations of everyday accoutrements. And yet the Los Angeles-based artist goes a step further. Oshiro finishes his pieces with scuffs, scratches, and scrapes—“abstract marks,” he calls them—that suggest the object has lived through years of use. If this is trompe l’œil trickery, Oshiro is an illusionist who is happy to reveal his secrets: he leaves one side of an assemblage open so as to expose its means of construction, a generous artistic gesture allowing the viewer to participate in the creative process. Oshiro’s work draws on a range of influences beyond Pop—among them Minimalism, Abstraction, and Conceptualism—and resists easy categorization. Like those of Lucio Fontana and Richard Pettibone, Oshiro’s pieces occupy a middle ground between painting and sculpture. He employs the materials of painting including canvas, acrylics, wooden boards, and framing, to create sculptural objects such as the three archetypal works in this sale: Trash Bin #9 (Pink/White), Bumper #3, and Microwave Oven #4. Oshiro’s work has been exhibited by such public art institutions as the Los Angeles County Museum of Art, the Walker Art Center in Minneapolis, and the Museum of Contemporary Art Denver. Oshiro, Kaz, Ed Schad, and Michael Duncan. Kaz Oshiro. Paris: Damiani/ Perrotin, 2015. Print. Schmelzer, Paul. “Kaz Oshiro’s ‘Painting Problem.’” Walker Art Center, 14 Mar. 2012. Web. 04 Dec. 2015.

ALTERNATE VIEW

207 KAZ OSHIRO Bumper #3

2001 Acrylic on stretched canvas Titled and dated in black felt-tip marker verso 6.75" x 71" x 5.25" P ROV E NANC E Rosamund Felsen Gallery, Santa Monica, California; Private Collection, Los Angeles, California LIT E RAT URE Kaz Oshiro: Common Noise. P. Beausse, et al. 2007. 20 for a similar example illustrated.

$15,000–20,000

161


ALTERNATE VIEW

208 KAZ OSHIRO

Microwave Oven #4 2007 Acrylic and Bondo on stretched canvas Signed and dated in black felt-tip marker; bears the inscription “Microwave Oven #4. 2007/Acrylic and Bondo on stretched canvas”; retains Yvon Lambert Gallery label in interior 11.25" x 18" x 12.25" P ROVENA NC E Yvon Lambert Gallery, New York, New York; Private Collection, Los Angeles, California EXHIBITE D “Kaz Oshiro,” Yvon Lambert Gallery, New York, New York, May 31-June 30, 2007 ILLUSTRAT E D Kaz Oshiro: Common Noise. P. Beausse, et al. 2007. 16.

$20,000–30,000


163

ALTERNATE VIEW

209 KAZ OSHIRO

Trash Bin #9 (Pink/White) 2005 Acrylic on stretched canvas Signed, dated, and titled in black felt-tip marker 39.75" x 20" x 20" P ROV E NANC E Steven Wolf Fine Arts, San Francisco, California; Private Collection, Los Angeles, California E XHIBIT E D “Subpar,” Steven Wolf Fine Arts, San Francisco, 2006 ILLUST RAT E D Kaz Oshiro: Common Noise. P. Beausse, et al. 2007. 52. LIT E RAT URE “Kaz Oshiro at Steven Wolf Fine Arts.” G. Helfand. Artforum. May 2006. N.pag.

$20,000–30,000


210 FRED EVERSLEY Cathedral

1972 3-color cast polyester resin Together with two exhibition catalogues, card from the artist, two gallery mailers, and other ephemera 19" x 7.5" x 4.75" ILLUSTRAT E D Frederick Eversley. Santa Barbara Museum of Art exh. cat. 1976. #24. (erroneous date listed) EXHIBITE D “Frederick Eversley,” traveling exhibition, Santa Barbara Museum of Art, April 30-May 30, 1976; Oakland Museum, FebruaryMarch 1977; Newport Harbor Art Museum, December 10, 1976-January 23, 1977

$30,000–50,000


Fred Eversley Like Peter Alexander, De Wain Valentine, and other contemporaries in the Los Angeles-born Light and Space movement, Fred Eversley (born 1941) works with cast resin to create sculptures that explore the act of visual perception. Elegant and seductive, Eversley’s sculptures have simple geometric forms—concave discs, triangular wedges, and obelisks with parabolic curves, as in the present lot. But their true complexity is revealed in the manner in which these pieces capture, distort, and refract light, changing color and apparent shape as the viewer moves around them. What Eversley makes is not an object so much as a sensory experience. Born in Brooklyn, Eversley took an unusual path to his art, driven by curiosity, a restless intellect, and an experimental turn of mind. Eversley graduated with an engineering degree from the Carnegie Institute of Technology (now Carnegie Mellon University) in 1964 and moved that year to California to participate in the booming aerospace and electronics industry. Like so many transplants before him, Eversley was quickly captivated by the sea, sun, and sky, as well as the rich and groovy cultural scene in L.A.’s Venice Beach. There, he began work on what he has called “art informed by science and technology.” He has maintained a studio in the neighborhood ever since. Eversley’s first solo museum show was mounted by the Whitney Museum of American Art in 1970. “I am involved with using art as a phenomenon,” he wrote in an artist’s statement for the Smithsonian American Art Museum, where he worked as an artist-in-residence for three years beginning in 1977, keeping a studio in the National Air and Space Museum. “I am dealing with real energies, forces, space, time, and matter.” “Frederick Eversley.” Pacific Standard Time at the Getty Center. The Getty Center, 01 Oct. 2011. Web. 09 Jan. 2016. Frederick Eversley/American Art. Smithsonian American Art Museum, n.d. Web. 09 Jan. 2016.

165

Fred Eversley in his studio. Photo by Arnold Chanin, 1972.


211 SAM GILLIAM On Blue

1967 Acrylic on canvas with aluminum powder Signed and dated on overlap verso; signed, titled, and dated on canvas stretcher in felt-tip marker “On Blue, 67, Sam Gilliam/29 x 54 inches” verso 53.75" x 28.5" Sam Gilliam exhibited at The Phillips Collection in Washington, D.C. in 1967. Gilliam also received his first grant from the National Endowment for the Arts in 1967. P ROVENA NC E Jefferson Place Gallery, Washington, D.C.; Private Collection, California (acquired directly from the above); Private Collection, California (acquired directly from the estate of the above)

$30,000–50,000


167


Betye Saar. Photo by Arnold Chanin, 1977.

212 BETYE SAAR

Forget Me Not c. 1977 Mixed-media collage on handkerchief Together with six gallery mailers, and three exhibition pamphlets Handkerchief: 11.625" x 11.625" Frame: 18.25" x 18.25" LITERATURE American Black Women in the Arts and Social Sciences: A Bibliographic Survey. O. Williams. 1994. 330.

$4,000–6,000

213 JOHN OUTTERBRIDGE Two Faces

c. 1970 Painted wood relief with found metal elements Signed verso; retains label with title and artist’s name inscribed verso 11.5" x 18.25" x 4.5"

$3,000–5,000


214 NICOLAS AFRICANO

It’s Your Turn Now Minnie To Weep in Vain! 1980-1981 Oil, acrylic, and magna on enamel on Masonite in artist’s frame Signed and dated verso; retains Asher/Faure Gallery label verso Frame: 48.75" x 84" P ROV E NANC E Asher/Faure Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$5,000–7,000

169


215 NATVAR BHAVSAR MRIG IV

1975 Pure pigment on canvas Signed, titled, and dated verso; retains Max Hutchinson Gallery label verso Canvas: 80" x 45" Frame: 81" x 46" P ROVENA NC E Private Collection, United States (acquired directly from the artist, c. 1970s)

$8,000–12,000


216 CONRAD MARCA-RELLI Untitled

c. 1975 Pencil, oil, burlap, and paper collage on construction paper This work is registered with the Archivio Marca-Relli, Parma, as archive number MARE-6138 Sheet: 12.5" x 13" Frame: 18" x 18" P ROV E NANC E Private Collection, Los Angeles, California (gifted directly by the artist, c. 1985)

$4,000–6,000

171


217 CARLO MOLLINO Untitled

1968-1973 Color Polaroid print Image/sheet (vis.): 3.625" x 2.75" Frame: 13.75" x 13"

$7,000–10,000


218 CARLO MOLLINO Untitled

1968-1973 Color Polaroid print Image/sheet (vis.): 3.625" x 2.75" Frame: 13.75" x 13"

$7,000–10,000

173

219 CARLO MOLLINO Untitled

1968-1973 Color Polaroid print Image/sheet (vis.): 3.625" x 2.75" Frame: 13.75" x 13"

$7,000–10,000


220 ARNALDO POMODORO Untitled (Bas Relief) 1980 Bronze Artist’s proof Composition: 12" x 10.25" x 2.25" Overall: 19.5" x 17.75" x 3" P ROVENA NC E The artist; Private Collection, Oakland, California (acquired directly from the above)

$15,000–20,000


221 GIO PONTI

Armchairs (2) Cassina, designed c. 1950 for the Transatlantic ocean liner Augustus Each: 31.5" x 21.5" x 21" LIT E RAT URE Gio Ponti Le Navi: Il Progetto Degli Interni Navali 1948-1953. P. Piccione. 2007. 33.

$6,000–9,000

175


222 DAN JOHNSON Gazelle table

Dan Johnson Studio, designed c. 1956 29" x 43" x 42"

$10,000–15,000

177

223 ALIGHIERO BOETTI

Languidi sguardi assassini 1982 Embroidery on linen Retains Galleria Massimo de Carlo and The Mayor Gallery labels frame verso Linen: 11.25" x 11.5" Frame: 14.25" x 14.5" P ROV E NANC E Massimo de Carlo Gallery, Milan, Italy; The Mayor Gallery, London, United Kingdom; Private Collection, Los Angeles, California

$30,000–40,000


STAMP DETAIL

224 ALBERTO GIACOMETTI

Lampadaire à tête de femme Conceived c. 1933-1934; this example cast prior to 1978 Patinated bronze Stamped “AG 16” at base This work is included in the Alberto Giacometti Database as no. 3499 Together with certificate of authenticity and copy of receipt from Christopher Chodoff Gallery 61" x 8.25" diameter at base P ROV E NANC E Christopher Chodoff Gallery, New York, New York; Private Collection, United States (acquired directly from the above, September 4, 1978); Thence by descent

$80,000–120,000

179


STAMP DETAIL

225 PABLO PICASSO Vase with Goats

1952 Vase with cut sides in white earthenware clay, decoration in engobes, partially brushed glaze Few copies produced Madoura Stamped “Madoura/Plein Feu” and “Empreinte Originale/de Picasso” Ramié #157 Together with Catalogue Raisonné of the Ceramic Works (1988) and book Pablo Picasso Céramiques (1976) 7.5" x 8.625" diameter LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #157.

$30,000–50,000

ALTERNATE VIEW


226 PABLO PICASSO

Wood-owl Woman 1951 Turned vase of white earthenware clay, engobe and paraffin decoration, white enamel From the edition of 500 Madoura Stamped “Edition/Picasso” and stamped “Madoura/Plein Feu,” and “Edition/Picasso” Ramié #119 11.625" x 6.25" x 9" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #119.

$8,000–12,000

181

227 PABLO PICASSO

Square with Dancers A 1971 Tile of red earthenware clay #139 of 500 Madoura Stamped “Madoura/Plein/Feu” and “Poincon/Original de/Picasso”; 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.

$1,500–2,000


228 PABLO PICASSO

Tauromachy Scene 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" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #412.

$7,000–9,000

229 PABLO PICASSO Picador

1952 Turned pitcher of red earthenware clay, paraffin decoration, black enamel From the edition of 500 Madoura Stamped “Edition/Picasso/Madoura” Ramié #162 5.125" x 3.5" x 4.625" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #162.

$3,000–5,000


230

231

PABLO PICASSO

PABLO PICASSO

1956 Turned pitcher of white earthenware clay, oxidized paraffin decoration

1956 Turned pitcher of white earthenware clay, oxidized paraffin decoration, white enamel

Heads

From the edition of 500 Madoura Stamped “EDITION/PICASSO”; retains “Edition Picasso” and “Madoura Plein Feu” 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.

$3,000–5,000

Heads

From the edition of 500 Madoura Stamped “EDITION/PICASSO”; “EDITION/PICASSO” and “MADOURA/ PLEIN FEU” Ramié #367 Together with book Ceci est Notre Témoignage (Madoura, 1971) 5.125" x 5.5" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #367.

$3,000–5,000

183


232 JOAN MIRÓ Israel

1975 Color lithograph on paper #15 of 50 Published by the Israel Museum, Jerusalem; printed by Arte Adrien Maeght, Paris Signed in graphite lower right sheet; edition lower left Image/sheet: 33.5" x 23" Frame: 36.25" x 25.75" LITERATURE Joan Miró, Lithographe. Vol. III. P. Cramer, ed. 1976. #1035.

$4,000–6,000


233 JOAN MIRÓ Tres Joans

1978 Color etching with aquatint on Guarro paper #12 of 15 H.C. proofs aside from the edition of 99 Published by Polígrafa, Barcelona; printed by Morsang, Paris Signed lower right; edition lower left Image: 20.5" x 41.75" Sheet (vis.): 26" x 46" Frame: 34.5" x 54.375" LIT E RAT URE Miró Engraver. Vol. IV. J. Dupin. 2001. #1034.

$5,000–7,000

234 JOAN MIRÓ Sculptures

1974 Color lithograph on paper Unknown edition size Published by Maeght Éditeur, Paris; Printed by Arte Adrien Maeght, Paris Printed signature lower right Image: 14.25" x 23.5" Sheet (vis.): 18.75" x 26.75" Frame: 29.75" x 37.625" LIT E RAT URE Joan Miró, Lithographe. Vol. V. P. Cramer, ed. 1992. #950

$1,000–1,500

235 JOAN MIRÓ

Untitled (pl. 9 from Obra Inédita Recent) 1964 Color lithograph on paper From the edition of 1,100 Published by Sala Gaspar, Barcelona Signed, dated, and inscribed in blue ballpoint pen upper right sheet “a Marion,/avec ionie m/sympathie/ Miró/27/1/68” Together with 1972 book Image/sheet: 11.875" x 17.25" LIT E RAT URE Joan Miró, Lithographe. Vol. III. P. Cramer, ed. 1977. #424

$800–1,200

185


236 SACHA MOLDOVAN

Portrait d’une Femme c. 1948 Oil on canvas Retains ink stamp “Carnegie Art Museum/February 23 - April 8, 1990” verso Together with book Moldovan Canvas (vis.): 21.125" x 17.625" Frame: 33" x 30" ILLUSTRAT E D Moldovan. M. Burg, et al. 1990. 93.

$3,000–5,000

237 SACHA MOLDOVAN

Nu Sur Canapé Rouge c. 1940 Oil on board Signed lower right Together with book Moldovan Board: 18.25" x 13" Frame: 26" x 20.875" ILLUSTRAT E D Moldovan. M. Burg, et al. 1990. 88.

$2,000–3,000


238 SACHA MOLDOVAN Café

c. 1927 Oil on canvas Retains ink stamp “Carnegie Art Museum/February 23 - April 8, 1990” frame verso Together with book Moldovan Canvas (vis.): 19.5" x 26.5" Frame: 28" x 35" ILLUST RAT E D Moldovan. M. Burg, et al. 1990. 64.

$3,000–5,000

239 SACHA MOLDOVAN La Campagne c. 1966 Oil on canvas Canvas: 10" x 14.125" Frame: 16.25" x 20.25" ILLUST RAT E D Moldovan. M. Burg, et al. 1990. 144.

$1,000–1,500

240 SACHA MOLDOVAN Le Jardin Ensoleille c. 1964 Oil on canvas Canvas: 14.25" x 23" Frame: 21.75" x 30.625" ILLUST RAT E D Moldovan. M. Burg, et al. 1990. 140.

$1,000–2,000

187


241 PIERRE GUARICHE

Counterbalanced floor lamp Possibly Disderot, designed c. 1951 Overall: 73.5" x 7" x 13"

$5,000–7,000


242 LE CORBUSIER La Femme Rose

1961 Color lithograph on paper #7 of 75 Signed with edition in graphite lower left sheet; date printed in image lower right Image/sheet (vis.): 26" x 37.5" Frame: 37.25" x 49" LIT E RAT URE Le Corbusier: Œuvre Lithographique. H. Weber. 1965. #67.

$8,000–12,000

243 MARIA PERGAY Floor lamp

Ugine-Gueugnon, designed c. 1968 67.5" x 16" x 9.75" LIT E RAT URE Maria Pergay: Between Ideas and Design. S. Demisch. 2006. 32.

$2,000–3,000

244 CHARLOTTE PERRIAND Stools (2)

Galerie Steph Simon, designed 1947; these examples produced c. 1960 Each: 16" x 12.25" diameter

$8,000–12,000

189


245 HENRI MATISSE Mimosa

Alexander Smith & Sons Co., New York, 1951 #397 of 500 Hand-woven wool tapestry Woven initials lower left; retains manufacturer’s label with edition and facsimile signature verso 57.5" x 36"

$5,000–7,000


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

246 AFTER HENRI MATISSE Untitled

1943 Lithograph on paper #12 of 50 Signed lower right; edition lower left Image/sheet (vis.): 17" x 22" Frame: 25.375" x 30.375" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California

$2,000–3,000

247 JEAN COCTEAU Vase

Atelier Madeline Jolly, executed 1958 #14 of 50 Signed in graphite near base; inscribed “Edition originale/de Jean Cocteau/ Atelier Madeline Jolly/14/50” 6" x 5.375" diameter

$800–1,200

248 GILBERT PORTANIER Ceramic vase

Studio, executed c. 1960 Signed “Portanier” 17" x 9" diameter

$1,000–1,500

191


249 PAUL SIGNAC La Rochelle

c. 1926 Watercolor and crayon on paper Signed with title in graphite lower left sheet; retains Dalzell Hatfield Galleries label verso Sheet: 7.125" x 11.25" Mat (vis.): 10.625" x 13.75" Frame: 15.75" x 19"

$8,000–12,000


250 ÉLISÉE MACLET Park Scene

1925 Oil on canvas Signed center right edge Together with photo certificate of authenticity from Fernand Cottel dated July 1991, Élisée Maclet 1960 catalogue by Marcel Guicheteau and Jean Cottel, and Allan Rich Galleries exhibition poster Canvas (vis): 17.375" x 21.5" Frame: 28.75" x 32"

$3,000–4,000

251 ÉLISÉE MACLET Village Scene

c. 1920 Oil on paperboard Signed lower right Together with photo certificate of authenticity from Fernand Cottel dated November 1997, book, and Allan Rich Galleries exhibition poster Paperboard (vis.): 12.5" x 17.5" Frame: 20.375" x 25.875"

$2,000–3,000

193


252 ROBERTO MATTA

Le Roi and La Reine (2) c. 1970 Gilt metal #133 of 150; #138 of 150 Each with stamped signature and edition at base 16" x 3" x 3" 16" x 4" x 3"

$1,000–1,500

253 CLAUDE LALANNE Surmulot

1987 Patinated bronze #3 of 8 Stamped “Lalanne”; retains artist’s cipher and edition number 4.25" x 8" P ROVENA NC E Private Collection, New York (acquired directly from the artist through Artcurial Gallery, Paris, France)

$8,000–12,000


254 CLAUDE LALANNE

Group of maquettes (5) c. 1986 Galvanized copper Comprised of two benches and three stools Benches each: 2.5" x 7.5" x 3" Stools each: 1.5" x 2.5" x 2.5" P ROV E NANC E Private Collection, New York (acquired directly from the artist through Artcurial Gallery, Paris, France)

$8,000–12,000

195


255 CLAUDE VENARD Flowers in a Vase c. 1958 Oil on canvas Signed “C. Venard” lower right; bears the inscription in black felt-tip marker “No. 19” canvas stretcher verso; bears the inscription in ballpoint pen “(Acosta) Ming Black a Pewter” frame verso Canvas: 39.5" x 29.75" Frame: 44.5" x 30.25" P ROVENA NC E Edgardo Acosta Gallery, Ltd., Beverly Hills, California; Private Collection, Los Angeles, California (acquired directly from the above)

$4,000–6,000


256 CLAUDE VENARD Table Still Life c. 1958 Oil on canvas Signed “C. Venard” lower right; canvas bears red ink stamp “romanet rive ganche/30-32 rue de seine-VI/dan. 46-70” verso; bears the inscription in ballpoint pen “Mickey Gribbin” frame verso Canvas: 15" x 18" Frame: 22" x 25"

$2,500–3,500

197

257 JEAN NEGULESCO Untitled

1962 Watercolor and gouache on paper Signed and dated lower left sheet Sheet (vis.): 21" x 24.625" Frame: 29.5" x 32.25"

$2,000–3,000


258 DE WAIN VALENTINE

Untitled (Red Double Wheel) c. 1965 Fiberglass 16" x 27" x 16" P ROV E NANC E Mr. and Mrs. Melvin Hirsh, Los Angeles, California; Thence by descent; Private Collection, Los Angeles, California ILLUST RAT E D “Americana/70: One Couple’s Collection, Home with the Melvin Hirshes.” B. Miller. Los Angeles Time Home. 17 May 1970. N.pag.

$30,000–50,000

199


259 DE WAIN VALENTINE Amber Gold Column 1970 Cast polyester resin 18.75" x 8.125" x 4.625" P ROV E NANC E Private Collection, Raleigh, North Carolina (acquired directly from the artist, 1999)

$30,000–50,000

201


260 DE WAIN VALENTINE Iridescent Skyline

1992 Acrylic collage on canvas with glass Signed and dated verso Canvas: 12" x 24.125" P ROVENA NC E Private Collection, Raleigh, North Carolina (acquired directly from the artist, 1999)

$4,000–6,000

261 DE WAIN VALENTINE Cylindrical Column c. 1980s Laminated glass 11" x 3" diameter P ROVENA NC E Private Collection, Knightdale, North Carolina (acquired directly from the artist, c. 1980s); Private Collection, Raleigh, North Carolina (acquired directly from the above, 1999)

$4,000–6,000


SIGNATURE AND DATE DETAIL

262 KEN PRICE

Industrial Cup Box 1960 Painted and glazed ceramic cup with collaged and painted box construction Signed and dated to underside of box in black ink LAMA would like to thank the Ken Price studio for their assistance in cataloguing this lot Cup: 3" x 4" x 3" Box: 9" x 7.5" x 5.5" P ROV E NANC E Mr. and Mrs. Melvin Hirsh, Los Angeles, California; Thence by descent; Private Collection, Los Angeles, California

$30,000–50,000

203


263 ED RUSCHA Sex

1991 3-color lithograph on Rives BFK paper #29 of 30 Published and printed by Hamilton Press, Venice Signed and dated in graphite lower right; edition lower left with Hamilton Press blind stamp Image/sheet (vis.): 27.25" x 34.5" Frame: 36" x 43" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st. ed. Vol. II. S. Engberg and C. Phillpot. 1999. #205.

$8,000–12,000

264 ED RUSCHA

Advertisement 2012 Color pencil and photograph on museum board paper Retains facsimile of artist’s signature and date verso Sheet (vis.): 9.5" x 7.25" Frame: 13" x 10.875" EXHIBITE D “Incognito: Art Exhibition and Sale,” Santa Monica Museum of Art, March 17, 2012

$3,000–5,000


265 ED RUSCHA Untitled

1983 3-color lithograph on Arches 88 paper #54 of 100 Co-published by Cirrus Editions, Los Angeles, and Bernard Jacobson, Ltd., London; printed by Cirrus Editions, Los Angeles Signed and dated in graphite lower right sheet; edition lower left sheet with Cirrus blind stamp Image/sheet: 33" x 28.5" Frame: 39" x 33.875" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st. ed. Vol. II. S. Engberg and C. Phillpot. 1999. #132.

$3,000–4,000

205

266 ED RUSCHA

Actual (from That is Right portfolio) 1989 3-color lithograph on Rives BFK paper Unnumbered Artist’s proof of 13 aside from the edition of 30 Published and printed by Hamilton Press, Venice Initialed and dated in graphite lower right; printer blind stamp lower right; inscribed “AP” lower left Image: 5" x 6.75" Sheet: 9" x 11" Frame: 10.25" x 12.25" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st. ed. Vol. II. S. Engberg and C. Phillpot. 1999. #174.

$3,000–5,000


267 ROBERT GRAHAM Single Head

1973 Patinated bronze on gilt wooden base Unique Incised “B 2 RG 73” to underside 6" x 5" x 2.75" (16" x 10" x 10" with base) P ROVENA NC E The artist; Private Collection, Oakland, California (acquired directly from the above) LITERATURE Robert Graham Statues. H. Neuendorf. 1980. 8-9.

$6,000–9,000

268 JOE GOODE

Fukunishi 16 (from the Oil and Water Series) 2000 Oil on Uda paper Signed lower center; dated lower right; retains artist’s studio label and L.A. Louver Gallery labels verso Sheet: 9.75" x 8" Frame: 11.125" x 9" EXHIBITE D “Joe Goode,” LA Louver Gallery, Venice, January 18-February 17, 2001

$2,000–3,000


269 JOE GOODE

L.A. Artists In Their Cars 1969 Color photo-offset lithograph calendar Title page (not illustrated) inscribed by Joe Goode in green ballpoint pen “to Erin”; Billy Al Bengston page signed and inscribed by the artist in blue ballpoint pen “B.A.B./This is my official signature signed Billy Al Bengston”; John Altoon page signed and inscribed by the artist in blue ballpoint pen “everybody scores in 69, love -- John Altoon”; Ken Price page signed and inscribed “- High Kenneth M Price”; Peter Alexander page signed by the artist in blue felt tip marker; Joe Goode page signed by the artist in green ballpoint pen Sheets each: 22.375" x 14.25" LIT E RAT URE Made in California: Art, Image, and Identity, 1900-2000. S. Barron. 2000. 205.

$2,000–3,000

207


SIGNATURE AND DATE DETAIL

270 BILLY AL BENGSTON Oaxacan Blanket

1977 Handwoven, all natural colored wool yarn Teotitlán del Valle, Oaxaca, Mexico Woven “BAB/1977” LAMA would like to thank the Billy Al Bengston Laboratory for their assistance in cataloguing this lot 57" x 41"

$5,000–7,000


Billy Al Bengston. Photo by Arnold Chanin, 1973.

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

271 BILLY AL BENGSTON Honolulu Watercolor 1980 Watercolor on paper Retains artist’s label verso Together with Billy Al Bengston Margo Leavin Gallery 1971 exhibition poster and pastel drawing on Billy Al Bengston poster dated April 8, 1975, and other ephemera Sheet: 11.25" x 18" Frame: 16" x 23" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,000

209


272 BILLY AL BENGSTON Blow Up 400 Miles 1957 Oil on canvas Signed lower right; signed, titled, and dated “B.A. Bengston/Dec. 1957/Blow Up 400 miles” verso Together with framed color print on fabric, Draculas (1977) Canvas: 34.5" x 36.125" Frame: 35.125" x 36.625" P ROVENA NC E Private Collection, United States (acquired directly from the artist); Thence by descent

$10,000–15,000

DETAIL OF DRACULAS


SIGNATURE DETAIL

273 PETER VOULKOS

Bird plate

Studio, executed c. 1956 Signed 17" x 16.5" diameter Plexiglas box: 17.125" x 19.5" x 3"

$8,000–12,000

274 PETER VOULKOS Cups (5)

Studio, executed c. 1960 Each signed “Voulkos” Each: 4.5" x 3" diameter

$3,000–5,000

211


275 CRAIG KAUFFMAN Shoe

1980 Paint stick, tempera, and acrylic on paper and silk Signed and dated in graphite “Kauffman 1980” verso; retains La Jolla Museum of Contemporary Art, partial Asher/Faure Gallery, and The Oakland Museum of Art labels verso Overall: 60" x 42" P ROVENA NC E BlumHelman Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above) EXHIBITE D “Craig Kauffman: A Comprehensive Survey 1957-1980,” traveling exhibition, La Jolla Museum of Contemporary Art, March 14-May 3, 1981; Elvehjem Museum of Art, University of Wisconsin, SeptemberOctober 1981; Anderson Gallery, Virginia Commonwealth University, November 1981; The Oakland Museum of Art, February 8-April 5, 1982 ILLUSTRAT E D Craig Kauffman: A Comprehensive Survey 1957-1980. La Jolla Museum of Contemporary Art exh. cat. 1981. #41.

$5,000–7,000


276 ED MOSES Wedge #6

1974 Color lithograph on paper Artist’s proof aside from the edition of 50 Published and printed by Cirrus Editions, Los Angeles Initialed and dated in graphite lower right sheet; titled and inscribed “AP” lower left sheet; retains Cirrus Gallery label verso Image: 23.5" x 18" Sheet: 24" x 18" Frame: 28.625" x 21.125"

$1,000–1,500

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

277 ERIC ORR Untitled

1971 Resin sculpture Incised signature and date on base 5.875" x 4.5" diameter P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$600–900

213


ALTERNATE VIEWS

278 TONY BERLANT

Tree Sweet Venus 1966 Found tin, steel brads, and painted wood construction LAMA would like to thank the artist for his assistance in cataloguing this work 14.25" x 10" x 14"

$15,000–20,000


Tony Berlant. Photo by Arnold Chanin, 1972.

279 TONY BERLANT

Woman Walking Her Dog Under Saturn 1965 Found metal collage on plywood Signed and dated in graphite verso LAMA would like to thank the artist for his assistance in cataloguing this work Plywood: 7.75" x 7.75" Frame: 9" x 9" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$5,000–7,000

280 TONY BERLANT

August 7, 1944 - Caught Napping (#78-1990) 1990 Found metal collage on plywood Signed, titled, and dated in black felt-tip marker verso; retains Helander Gallery, Louis Stern Gallery, LA Louver Gallery, and LewAllen Gallery labels verso LAMA would like to thank the artist for his assistance cataloguing this work Plywood: 20" x 19" E XHIBIT E D “Imaginary Realities: Surrealism Then and Now,” Louis Stern Fine Arts, Los Angeles, September 19-November 12, 1996; “Tony Berlant: Recent Work,” LA Louver Gallery, Venice, December 1-December 29, 1990

$4,000–6,000

215


281 JUN KANEKO

Untitled (Dango) 1990 Painted and glazed stoneware Signed and dated LAMA would like to thank the Jun Kaneko studio for their assistance in cataloguing this lot 78" in height P ROVENA NC E Klein Art Works, Chicago, Illinois; Sharon and Harold Joseph Collection; Private Collection, United States (acquired directly from the above through Sotheby’s, New York, March 16, 2000, lot 83)

$18,000–25,000


217


282 JUN KANEKO Untitled

1989 Painted and glazed stoneware Signed and dated LAMA would like to thank the Jun Kaneko studio for their assistance in cataloguing this lot 36" x 24" x 15" P ROVENA NC E Dorothy Weiss, San Francisco, California; Private Collection, United States (acquired directly from the above, 1999)

$8,000–12,000


283

284

JUN KANEKO

JUN KANEKO

1973 Painted and glazed ceramic

1973 Painted and glazed ceramic

Signed and dated

Signed and dated

LAMA would like to thank the Jun Kaneko studio for their assistance in cataloguing this lot

LAMA would like to thank the Jun Kaneko studio for their assistance in cataloguing this lot

29" x 28" x 28"

20" (25.75" including lid) x 18.25" diameter at base

Untitled

Untitled

P ROV E NANC E Private Collection, Rhode Island (acquired directly from

P ROV E NANC E Private Collection,

the artist, c. 1973)

Rhode Island (acquired directly from

$6,000–9,000

the artist, c. 1973)

$5,000–7,000

219


BRAND DETAIL

285 JOHN NYQUIST Wardrobe

Studio, commissioned 1977 Teak and Brazilian rosewood Branded with artist’s cipher Together with copy of invoice from Nyquist studio dated November 26, 1977 74" x 49.25" x 21" P ROVENA NC E Dr. Frank Law, Huntington Beach, California; Private Collection, Los Angeles, California

$5,000–7,000


286 JOHN NYQUIST Display case

Studio, commissioned 2002 Rosewood Branded with artist’s cipher Together with copy of invoice from Nyquist studio dated January 2002 80.5" x 40" x 22" P ROV E NANC E Dr. Frank Law, Huntington Beach, California; Private Collection, Los Angeles, California

$3,000–5,000

221


287 DALE CHIHULY

Coral Pink and White Seaform Set (7 piece) Studio, executed 2000 Signed Artist registration #00.649.s7 10" x 22" x 19"

$15,000–20,000

288 DALE CHIHULY Seaform Set

Studio, executed 1984 Signed 8" x 13.75" 4.5" x 2.25"

$2,500–3,500


SIGNATURE AND DATE DETAIL

289 DALE CHIHULY

Red Orange Macchia with Meadow Green Lip Wrap Studio, executed 1993 Signed and dated Artist registration #93.2551.m1 16.5" x 30.25" x 25"

$10,000–15,000

223

290 DALE CHIHULY Macchia

Studio, executed c. 1985 6.25" x 7.5" x 6.5" P ROV E NANC E Sold by the Los Angeles County Museum of Art to benefit future acquisitions

$5,000–7,000


291 SAM MALOOF Rocking chair

Studio, executed 1969 Rosewood and leather Etched “34/1.69/Asimow” and “designed made/Maloof/California” 44" x 27.25" x 46.5"

$18,000–25,000

225


292 SAM MALOOF

Sculpted armchair Studio, executed 1981 Walnut Etched “No. 71 1981/Sam Maloof f.a.c.c.” 30.5" x 20.25" x 21.5"

$15,000–20,000


293 SAM MALOOF Circular table

Studio, executed 1982 Walnut Etched “No. 11 1982/Sam Maloof f.a.c.c.” 28" x 44" diameter

$15,000–20,000

227


294 GEORGE NAKASHIMA Free-edge armchair

Studio, executed 1976 American black walnut Marked “Schiller” Together with copy of letter signed by Mira Nakashima dated February 1976 addressed to Mr. Schiller 32.5" x 31" x 28"

$7,000–9,000

295 GEORGE NAKASHIMA Free-edge armchair

Studio, executed 1976 American black walnut Marked “Schiller” Together with copy of letter signed by Mira Nakashima dated February 1976 addressed to Mr. Schiller 32.5" x 31" x 28"

$7,000–9,000


296 GAWAINE DART Large pinch pot 1969 Glazed ceramic Signed and dated Together with Gawaine Dart: Retrospective Sisson Gallery catalogue 22" x 9" diameter

$2,000–3,000

297 VIVIKA & OTTO HEINO Bottle

Studio, executed c. 1965 Signed “Vivika & Otto” 22" x 8.5" diameter

$3,000–5,000

229


Gertrud & Otto Natzler A Survey of Ceramics

231


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

298 GERTRUD & OTTO NATZLER Bowl with lip

Studio, executed 1955 Velvet blue matte glazed ceramic Signed “Natzler” and retains paper inventory label “G512” 7.25" x 9.75" diameter (18.75 cm x 24.5 cm diameter)

$10,000–15,000


299 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1960 Tiger Eye reduction glazed ceramic Signed “Natzler” and retains paper inventory label “K904” 4" x 8.375" diameter (10 cm x 16.5 cm diameter)

$4,000–6,000

300 GERTRUD & OTTO NATZLER

Massive bowl with textured clay Studio, executed 1960 Orange red glazed ceramic Signed “Natzler” and retains paper inventory label “L037” 3.5" x 3.5" diameter (8.5 cm x 9 cm diameter)

$2,000–3,000

233


301 GERTRUD & OTTO NATZLER Double curved vase form

Studio, executed c. 1940s Peach blossom reduction glazed ceramic Signed “Natzler” 7.5" x 5.5" diameter (18.25 cm x 14 cm diameter)

$7,000–10,000

302 GERTRUD & OTTO NATZLER Bowl

Studio, executed c. late 1940s Blue glazed ceramic Signed “Natzler” 3.25" x 8" diameter (8 cm x 17 cm diameter)

$5,000–7,000


303 GERTRUD & OTTO NATZLER Vase form with slight lip

Studio, executed 1962 Mystic blue glazed ceramic Signed “Natzler” and retains paper inventory label “L927” 5" x 2.75" diameter (12.5 cm x 7 cm diameter)

$2,500–3,500

304 GERTRUD & OTTO NATZLER Cylindrical bowl

Studio, executed 1960 Orange red glazed ceramic Signed “Natzler” and retains paper inventory label “K694” 4" x 5.625" diameter (10 cm x 14.25 cm diameter)

$3,000–5,000

235


305 GERTRUD & OTTO NATZLER Cylindrical bottle

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

$6,000–9,000


306 GERTRUD & OTTO NATZLER

Bowl

Studio, executed 1959 Red glazed ceramic Signed “Natzler” and retains paper inventory label “K487” 2" x 6.125" diameter (5 cm x 15.5 cm diameter)

$600–900

307 GERTRUD & OTTO NATZLER

Bowl

Studio, executed 1957 Nocturne reduction glazed ceramic Signed “Natzler” and retains paper inventory label “H523” 2.75" x 6.5" diameter (6.5 cm x 16.5 cm diameter)

$2,500–3,500

308 OTTO NATZLER

Cylinder with 3 Pipe Inset

LOT 306

LOT 307

Studio, executed 1982 Steel blue glazed ceramic Signed “Otto Natzler 1982,” etched “XIII,” retains artist’s cipher, and paper inventory label “X275” 4.5" x 4.25" diameter (11 cm x 11 cm diameter) P ROV E NANC E Private Collection, Los Angeles, California (gifted directly by the artist, 2001)

$2,000–3,000

309 GERTRUD & OTTO NATZLER

Flaring bowl

Studio, executed 1963 Gold Hare’s Fur glazed ceramic with crystals Signed “Natzler” 2.5" x 6.25" diameter (6 cm x 16 cm diameter)

$2,500–3,500 LOT 308

LOT 309

237


310 JEAN G. THEOBALD

Diament Dinette set (4) International Wilcox Silver Plate Co., designed 1928 Marked “Wilcox Quality”/Manufacturers mark/W.M. Mounts/1982N/PAT APPLD FOR/49” (“61” and “2” on others)” Comprised of a tray, covered teapot, covered sugar bowl, and covered creamer Overall: 8" x 7" x 13" LITERATURE Modernism in American Silver. J. Stern. 2005. Cover, 34-35, 69.

$5,000–7,000

311 POTTER STUDIO Bowl

Studio, executed c. 1915-1924 Stamped “Potter Studio” 2" x 8" x 5.75"

$2,500–3,500


239


312 KEM WEBER Airline chair

Airline Chair Company, designed 1934-1935 30" x 25" x 34.5" LITERATURE Living In a Modern Way: California Design 1930-1965. W. Kaplan, ed. 2011. 71.; KEM Weber: Designer and Architect. B. Long. 2014. 140-141.

$8,000–12,000

313 ATTRIBUTED TO KEM WEBER Chair

Mueller Furniture Company, designed c. 1935 Retains manufacturer’s medallion 33.25" x 22.75" x 32.5"

$1,000–1,500


241


314 JULIUS SHULMAN Lovell House

1948 Gelatin silver print Signed and dated lower right Image/sheet (vis.): 15.5" x 19.5" Frame: 23" x 27" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California

$3,000–5,000

315 JULIUS SHULMAN Kaufmann House 1947 Gelatin silver print Signed and dated lower right; bears the inscription in ink “Richard Neutra/Kaufmann residence/093-39”; artist ink stamp verso Image/sheet: 15.875" x 19.875" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California

$3,000–5,000


316 WALTER LAMB Dining table

Brown-Jordan Co., designed c. 1950 Model no. C-2700 28.25" x 42.5" diameter LIT E RAT URE Walter Lamb manuf. cat. 1954. N.pag.

$1,500–2,000

243

317 WALTER LAMB

Square dining table Brown-Jordan Co., designed c. 1950 Model no. A-2700 28" x 35.5" x 35.5" LIT E RAT URE Walter Lamb manuf. cat. 1954. N.pag.

$1,500–2,000


318 LEBBEUS WOODS Untitled

1970 Oil on canvas Signed and dated verso Canvas: 40" x 30" P ROVENA NC E Laurence and Bernice Lieberman, Champaign, Illinois (acquired directly from the artist, c. 1970)

$4,000–6,000


319 LEBBEUS WOODS Untitled

1970 Oil on canvas Signed and dated verso Canvas: 34" x 40" P ROV E NANC E Laurence and Bernice Lieberman, Champaign, Illinois (acquired directly from the artist, c. 1970)

$4,000–6,000

245

320 LEBBEUS WOODS Untitled

1970 Oil on canvas Signed and dated verso Canvas: 36" x 32" P ROV E NANC E Laurence and Bernice Lieberman, Champaign, Illinois (acquired directly from the artist, c. 1970)

$4,000–6,000


321 LEBBEUS WOODS

Sarajevo #42 from Radical Reconstruction 1994 Colored pencil on paper Composition/sheet: 11.75" x 19.75" Frame: 13.75" x 21.75"

$6,000–9,000

322 LEBBEUS WOODS Region M(7), 27

1984 Color pencil, graphite, and pastel on Strathmore paper Signed and dated lower center sheet Composition: 8.5" x 26" Sheet (vis.): 11" x 28.5" Frame: 12.5" x 30.125"

$3,000–5,000


323

324

LEBBEUS WOODS

LEBBEUS WOODS

1984 Color pencil, graphite, and pastel on Strathmore paper

1984 Graphite on paper

Region M(7), 32

Region M(7), 49 (#49)

Signed and dated lower center sheet

Signed and dated in graphite lower center margin

Composition: 26" x 8.375" Sheet (vis.): 28.625" x 11" Frame: 30.125" x 12.5"

Composition: 25.5" x 8.375" Sheet (vis.): 28.625" x 11" Frame: 30.125" x 12.5"

$6,000–9,000

$3,000–5,000

247


325 PAUL STRAND

Charcuterie Moderne, France 1950 Gelatin silver print Bears the inscription in graphite verso “MEH 149.1” and “PF112045”; signed, dated, and inscribed by the artist in graphite “Charcuterie, Burgundy 1950/Paul Strand H.S.” verso Image/sheet: 4.625" x 5.75" Mount: 14.75" x 12.25" P ROVENA NC E The Estate of Robert Anthoine

$10,000–15,000


326 PAUL STRAND

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

$6,000–9,000

249


327 EDWARD WESTON

Juniper, Lake Tenaya 1937; this example printed c. 1970s by Cole Weston Gelatin silver print Signed in graphite by Cole Weston mount verso; mount bears the inscriptions “Juniper at Lake Tenaya, 1937” and “31-C-26” verso Image/sheet: 9.5" x 7.5" Mount: 15" x 13.25" Frame: 16" x 13.25" P ROVENA NC E The Estate of Robert Anthoine LITERATURE Edward Weston: Photographs from the Collection of the Center for Creative Photography. A. Conger. 1992. #1008.

$3,000–5,000

328 BRETT WESTON

White Sands, New Mexico, 1946 1946; this example printed c. 1950s Gelatin silver print Signed in graphite lower right mount Image/sheet: 7.5" x 9.5" Mount: 13.25" x 15" Frame: 18" x 18.75" P ROVENA NC E The Estate of Robert Anthoine

$2,000–3,000


251

PORTFOILO CASE

329 RUTH BERNHARD

Gift of the Commonplace Portfolio Published 1994 Ten hand-coated platinum/palladium on Crane Parchment in original portfolio and case #15 of 40 Printed by Sal Lopes, Boston; published by Joseph G. Folberg and Vision Editions, San Francisco Each signed in graphite by the artist; each with title, date, and edition inscribed verso; each inscribed “Vision Editions (c) 1993” verso Comprised of Creation (1936), Teapot (1976), Two Leaves (1952), Skull and Rosary (1945), Straws (1930), Lifesavers (1930), One World (1946), Angelwing (1943), Candy (1942), Door Knob (1975) Images each: variable dimensions Sheets each: 11" x 14"

$8,000–10,000


330 ROBERT ADAMS

Pawnee National Grassland, Colorado 1984; this example printed 1992 Gelatin silver print on Agfa paper From the edition of 40 Together with letter from Aperture Signed, titled, and dated in graphite verso; retains artist’s ink copyright stamp verso Image: 9" x 11.25" Sheet: 10.875" x 13.875" Frame: 16.25" x 20.25" P ROVENA NC E The Estate of Robert Anthoine LITERATURE Perfect Times, Perfect Places. R. Adams. 1988. N.pag.

$5,000–7,000

331 ROBERT ADAMS

Old Growth Stump - Case, Disappointment, Washington 2004; this example printed 2006 Gelatin silver print Signed twice in graphite verso; titled and dated verso Image: 12.25" x 10" Sheet: 14" x 11" Frame: 20" x 16.5"

$6,000–9,000


332 ROBERT ADAMS Untitled

1973 Gelatin silver print Signed in graphite mount verso; inscribed “RA.1229.Y” mount verso Image/sheet: 6" x 7.625" Frame: 19" x 15.25" P ROV E NANC E Hamburg Kennedy Photographs, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 2004)

$10,000–15,000

333 STEPHEN SHORE

Palm Beach Mall, West Palm Beach, Florida, November 8 1977; this example printed 1978 C-print on Kodak paper Signed, titled, and dated in black ink verso Image: 7.875" x 10" Sheet: 11" x 14" Frame: 14.125" x 16.125" P ROV E NANC E Hamburg Kennedy Photographs, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 2004) LIT E RAT URE Stephen Shore, Uncommon Places: The Complete Works. S. Shore. 2004. 140.

$6,000–9,000

253


Gerald Nordland

334 FREDERICK SOMMER

The Thief Greater Than His Loot c. 1950; this example printed 1955 Gelatin silver print Signed and inscribed in graphite “The Thief Greater Than His Loot/ About 1950/Frederick Sommer” verso; retains Manny Silverman Gallery label verso Image: 9.5" x 7.625" Sheet: 9.875" x 8" Frame: 18.75" x 14.75" P ROVENA NC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist) LITERATURE Frederick Sommer. G. Nordland. 1968. N.pag.

$10,000–15,000

335 FREDERICK SOMMER Untitled

1951 Gouache on black construction paper Signed and dated in graphite verso Sheet: 12" x 18.5" P ROVENA NC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist)

$4,000–6,000

An author, curator, essayist, educator, and museum director, Gerald Nordland (born 1927) has enjoyed a remarkably rich and distinguished life in the arts. He served as head of the San Francisco Museum of Modern Art, the Milwaukee Art Center, and the Frederick S. Wight Art Gallery at the University of California, Los Angeles. As a dean of the Chouinard Art Institute in the early 1960s, he helped organize the school’s transition into a wing of the nascent California Institute of the Arts (CalArts). Nordland’s vast literary output includes seminal monographs on Richard Diebenkorn and the sculptures of Gaston Lachaise. He was the friend and acquaintance of many of the greats of 20th century art including Man Ray, Mark Rothko, Robert Motherwell, and Frederick Sommer. Nordland is a true connoisseur.


336 FREDERICK SOMMER

Arizona Landscape (from Arizona Landscape Series) 1943 Gelatin silver print Retains affixed San Francisco Museum of Art photographic file label verso Image: 7.75" x 9.5" Sheet: 8" x 10" Frame: 15.25" x 16.75" P ROV E NANC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist) LIT E RAT URE Frederick Sommer. G. Nordland. 1968. N.pag.

$15,000–20,000

337 FREDERICK SOMMER Untitled

1952 Gouache and graphite on paper Signed and dated in graphite verso Sheet: 12.25" x 18.5" Mat: 16" x 22" P ROV E NANC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist)

$4,000–6,000

255


PORTFOILO CASE

338 SEAN SCULLY

Santo Domingo for Nené (8) 1999-2000 C-print on Kodak paper Each: #12 of 24 Co-published by Galerie Bernd Klüser, Munich, and Galerie Lelong, Paris and New York Each initialed and dated with edition and plate number verso Comprised of eight chromogenic prints together with original portfolio box Images each: 15.325" x 23" Sheets each: 20" x 24" Portfolio box: 21.625" x 23" x 1.25"

$10,000–15,000


339 SEBASTIÃO SALGADO

Wood Delivery Men, Eastern Sierra Madre, Mexico 1980; this example printed later Gelatin silver print Signed, dated, and inscribed in graphite “Sebastião Salgado/ Mexico-1980” verso Image: 7" x 10.75" Sheet: 9.5" x 11.75" Frame: 14.25" x 18.25" P ROV E NANC E The Estate of Robert Anthoine LIT E RAT URE An Uncertain Grace: Photographs by Sebastião Salgado. E. Galeano, et al. 2005. 6.

$3,000–5,000

257


340 MELANIE PULLEN

Untitled (from Water Series) 2003 C-print #2 of 5 Signed on artist’s label with edition verso Sheet (vis.): 47.375" x 71.375" Frame: 54.5" x 78.625"

$4,000–6,000

341 MELANIE PULLEN

Stairs (from the High Fashion Crime Series) 2004 C-print #2 of 5 Signed on artist’s label with edition verso Sheet (vis.): 49.25" x 32.375" Frame: 56.375" x 39.5" LITERATURE Melanie Pullen: High Fashion Crime Scenes. M. Pullen. 2003. N.pag.

$3,000–5,000


342 VALÉRIE BELIN

Black Women I (Untitled) 2001 Gelatin silver print #3 of 5 Retains Sikkema Jenkins & Co. label verso; retains signed and dated artist’s label verso Image/sheet: 38.75" x 31" Frame: 41.25" x 33.5" LIT E RAT URE Valérie Belin. Huis Marseille Museum for Photography exh. cat. 2007. N.pag.

$7,000–10,000

259

343 DAIDO MORIYAMA

Yokosuka (from Another Country #18) 1971; this example printed later Gelatin silver print Signed in graphite verso Image/sheet (vis.): 11.5" x 7.5" Frame: 19" x 15.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist through Michael Dawson Gallery, Los Angeles, California, 2011)

$3,000–5,000


344

345

ROBERT LONGO

ROBERT LONGO

2005 Digital pigment print on Crane portfolio rag paper

2005 Digital pigment print on Crane portfolio rag paper

#8 of 15

#8 of 15

Published by Adamson Editions, New York

Published by Adamson Editions, New York

Signed and dated in graphite lower right image; edition lower left image

Signed and dated in graphite lower right image; edition lower left image

Image: 40" x 26" Sheet: 43" x 30" Frame: 47.5" x 34.125"

Image: 40" x 26" Sheet: 43" x 30" Frame: 47.5" x 34.125"

$5,000–7,000

$5,000–7,000

Untitled (Pl. 20 from Men in the Cities)

Untitled (Pl. 7 from Men in the Cities)


346 MONA KUHN

Three Figures 2006 C-print #1 of 3 Signed and dated with edition verso; retains M&B Gallery label frame verso Image/sheet (vis.): 49" x 49" Frame: 50.75" x 50.75"

$5,000–7,000

261


347 ESTEBAN VICENTE Untitled

1973 Pastel on Strathmore paper Signed lower left sheet; retains Riva Yares Gallery label verso Sheet (vis.): 28.25" x 21.25" Frame: 31" x 24.25"

$4,000–6,000


348 RUTH ASAWA Untitled

c. 1948 Crayon on paper Signed frame verso Sheet: 11.875" x 8.75" Frame: 16.25" x 12" P ROV E NANC E Steven Wolf Fine Arts, San Francisco, California; Private Collection, Los Angeles, California (acquired directly from the above)

$3,000–5,000

263 349 ROBERT MOTHERWELL

Africa 3 (from Africa Suite) 1970 Screenprint on JB Green paper Proof aside from the edition of 150 Published by Marlborough Graphics Inc., New York; printed by Kelpra Studio, London Initialed in graphite lower left margin beneath image; signature in plate lower right; artist’s blind stamp lower right margin of sheet Image: 31.25" x 23.325" Sheet: 40.125" x 28.5" Frame: 50" x 38" P ROV E NANC E The Estate of Robert Anthoine E XHIBIT E D “Africa Suite: Ink Drawings and Related Prints,” Bobbie Greenfield Gallery, Santa Monica, April 1-May 6, 2006 LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #71.

$3,000–5,000


350 CLEO BALDON

Game table and X Benches (3) Terra, designed 1964 Model nos. GTC-24/48 (table); XB-502 (X Bench) Comprised of a game table and two stools Table: 27.25" x 48" x 24.25" Stools each: 16" x 18.75" x 16" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California LITERATURE Terra Retail Price List. February 1969. N.pag.

$2,000–3,000

351 CLEO BALDON Fetus (Plaque)

Terra, designed 1965 Model no. PB-422 21" x 21" x 4" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California

$2,500–3,500


Cleo Baldon with Oskar Fischinger painting in the background (Lot 45). From the Cleo Baldon Estate.

Cleo Baldon A swimming pool, the designer Cleo Baldon (1927–2014) wrote, “reaches us on an emotional level. We are drawn to water. We seek to live beside it, at streams and rivers, oceans and lakes. We can imagine the pool as a link to our primordial past; pools respond to a profound emotional need and satisfy it.” Few have understood the full significance of the swimming pool and the environment surrounding it better than Baldon. From the 1960s and onwards, she was a key creative figure in the widespread establishment of the pool as an integral feature of the laid-back, optimistic Southern California lifestyle. By her own reckoning, Baldon designed more than 3,000 pools in and around Los Angeles, working as co-principal of a landscape architecture firm whose offices overlooked Venice Beach. She has been credited with the invention of the lap pool in the early seventies, a contribution that helped to advance the personal fitness revolution. At the same time, Baldon was a force for SoCal cool and sybaritic relaxation: she held a patent for the first prefabricated fiberglass jacuzzi with contoured seating, and she designed successful lines of outdoor furniture that married the sleek minimalism of modernist design with materials redolent of the region’s Spanish Colonial heritage: wrought iron, wood, and leather strapping. Baldon was, moreover, a quintessential Southern California character. She was born in rural Washington state, in the heart of apple-growing country (she would later say that

the long, narrow irrigation trenches that run between the orchards were an inspiration for the lap pool). She came south to study interior design at Woodbury University in Burbank. Like many an L.A. transplant, she changed her name—she was christened Merle—to something more exotic. Baldon took part in the birth of what we now call Mid-century Modernism. At Woodbury, she became close friends with Robert Theron “Pete” Peters—the architect and illustrator who is widely acknowledged as the practical force in the architectural offices of Craig Ellwood, who himself had no formal training—and would collaborate with him on several design projects. Another of Baldon’s longtime friends was the photographer Julius Shulman, whose work did so much to advance the mythos of modernism. He and Baldon published a design monograph about stairways. She was also an enterprising businesswoman: when she opened her own furniture company, Baldon purchased a foundry to fabricate the metal frames. There was one final idiosyncrasy to this remarkable woman. Though she co-owned a thriving landscape design firm, she had no interest in greenery and left all horticultural matters to her business partner. “I don’t understand plants,” Baldon told the Los Angeles Times. “And don’t intend to.” Baldon, Cleo, Ib Melchior, and Melba Levick. Reflections on the Pool: California Designs for Swimming. New York: Rizzoli, 1997. Print. Hillier, Bevis. “Designing Women.” Editorial. Los Angeles Times, 24 Feb. 1985: n. pag. Web. 22 Nov. 2015. Jackson, N. California Modern: The Architecture of Craig Ellwood. New York: Princeton Architectural, 2002. 36-39. Print.

265


352 CLEO BALDON

Pack Saddle Sofa/Triple Terra, designed 1965 Model no. PS-896 28" x 92.25" x 35" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California LITERATURE Terra Retail Price List. February 1969. N.pag.

$3,000–5,000

ALTERNATE VIEW


353 CLEO BALDON Chunk table

Terra, designed 1965 18" x 54.5" x 30.5" P ROV E NANC E Estate of Cleo Baldon, Los Angeles, California LIT E RAT URE Terra Retail Price List. February 1969. N.pag.

$1,500–2,000

ALTERNATE VIEW

354 CLEO BALDON

Pack Saddle Sofa/Double Terra, designed 1965 Model no. PS-870 27.5" x 71.25" x 35" P ROV E NANC E Estate of Cleo Baldon, Los Angeles, California LIT E RAT URE Terra Retail Price List. February 1969. N.pag.

$2,000–3,000

267


355 CLEO BALDON

Extension dining table Terra, designed 1965 Model nos. EXT-52 (table); LS-24 (lazy susan) Comprised of a dining table, two leaves, and a lazy susan 27.75" x 53" diameter 27.75" x 89.25" x 52" (with leaves) P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California LITERATURE Terra Retail Price List. February 1969. N.pag.

$2,000–3,000

356 CLEO BALDON

X Armchairs (2) Terra, designed 1965 Model no. XAC-203 Each: 32" x 23.25" x 22.5" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California LITERATURE Terra Retail Price List. February 1969. N.pag.

$2,000–3,000

ALTERNATE VIEW


357 CLEO BALDON

X-Bar stools (4) Terra, designed 1964 Model no. XBS-35 Each: 35.25" x 16.25" x 23" P ROV E NANC E Estate of Cleo Baldon, Los Angeles, California LIT E RAT URE Terra Retail Price List. Spring 1964. N.pag.

$2,000–3,000

358 CLEO BALDON Gallery Bench

Terra, designed 1965 Model no. GB-511 25" x 48" x 19" P ROV E NANC E Estate of Cleo Baldon, Los Angeles, California LIT E RAT URE Terra Retail Price List. February 1969. N.pag.

$1,000–2,000

269


359 CLEO BALDON

Patio table and chairs (5) Terra, designed 1964 Model nos. TTM-42 (table); RC-201 (chairs) Comprised of a table and four chairs Table: 28" x 42.25" diameter Chairs each: 32" x 20.75" x 23" P ROVENA NC E Estate of Cleo Baldon, Los Angeles, California LITERATURE Terra Retail Price List. Spring 1964. N.pag.

$2,000–3,000


360 CLEO BALDON

Terra hooks and plant frames (25) Terra, designed 1965 Together with plant frames and wall-hung triangle (not illustrated) Various dimensions P ROV E NANC E Estate of Cleo Baldon, Los Angeles, California

$800–1,200 PARTIAL ILLUSTRATION

271


361 JOHN MILLEI

Untitled #1 (Wallflowers) 1993 Oil, ink, and graphite on plastic vellum Initialed and dated lower right; title inscribed lower left Sheet: 60" x 42" Frame: 65.75" x 47.75" P ROVENA NC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, May 1994)

$5,000–10,000


273

362 LAWRENCE CARROLL Group lot (4)

A: 1979; B: 1900-1993; C, D: 1995 A and B: Pencil, silkscreen, acrylic, and latex paint on paper; C: Paint, ink, and cloth on paper; D: Paint, ink, and found ink on paper A and B: signed lower right sheet; C: inscribed and dated ”Madrid Aug 5 92“ upper right sheet; D: retains facsimile signature upper right sheet Comprised of A: Untitled XIII #LC0047; B: Untitled VI #LC00-0040; C: Untitled #0155-0155; and D: Untitled #0156-0158 Smallest sheet (A): 22.375" x 17.5" Frame: 31" x 26.25" Largest sheet (C): 23.75" x 18" Frame: 32.5" x 26.5" P ROV E NANC E Ace Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, April 1998)

$10,000–15,000


363 LOUISE BOURGEOIS

Crochet III (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


364 HUGO WEBER

Journey Up a Hill 1964 Oil on canvas Signed, dated, and titled verso Canvas: 54" x 38"

$2,000–3,000

275

365 JAMES WOLFE Untitled

c. 1985 Painted steel #36 of 45 Stamped “36/45” 18.5" x 9" x 8"

$1,000–1,500


366 ERNEST TROVA Untitled

c. 1970-1973 Brass Stamped “E.T. 73” underneath base 8.5" x 11" x 3.625"

$3,000–5,000

367 ERNEST TROVA Untitled 1970 Brass Stamped “E.T. 70” to the underside Together with Untitled, 1987 (not illustrated) 4.75" x 8" x 5"

$3,000–5,000


368 SIDNEY JONAS BUDNICK

Concerto no. 17 / Concerto no. 22 (2) 1973 Oil on molded masonite panel Each signed and dated; each signed, dated, and titled verso Panels each: 21" x 21" Frames each: 23" x 23"

$3,000–5,000

277


369 KAY LEROY RUGGLES UMBO shelf

Directional Industries, designed 1974 As illustrated: 72" x 98" x 12"

$2,500–3,500

370 MENASHE KADISHMAN Tower

c. 1975 Aluminum and Plexiglas #2 of 10 Etched signature with edition at base Together with gouache on paper signed and inscribed in graphite “M. Kadishman to Allan happy Chanuka” lower center sheet (not illustrated) Overall: 11" x 11.75" x 5.875"

$2,000–3,000


371 YAACOV AGAM Hidden Image

1978 Silkscreen on plastic with moveable grille Unnumbered Artist’s proof of 13 aside from the edition of 99 Printed by Atelier Arcay, France Signed in ink lower right margin; inscribed “AP” verso Together with print documentation and certificate from Martin Lawrence Limited Editions Image: 13" x 13" Sheet: 17.125" x 17.125" Frame: 21" x 21" P ROV E NANC E Sold by the Los Angeles County Museum of Art to benefit future acquisitions

$3,000–5,000

372 YAACOV AGAM Untitled

1975 Silkscreen on plastic #101 of 150 Signed verso with edition; dated “Paris 1975” verso Image: 15.625" x 22.125" Support: 21.25" x 28.25"

$3,000–5,000

279


373 MARYAN S. MARYAN (PINCHAS BURSTEIN) Portraits (2)

1975 Crayon on paper Together with books Maryan: Behold a Man and His Work, Maryan: Galerie De France, and letter from the artist A: Sheet (vis.): 28.75" x 22.625" Frame: 37.5" x 31" B: Sheet: 29" x 22.875" Frame: 30.25" x 24.25"

$4,000–5,000


281

374 MARYAN S. MARYAN (PINCHAS BURSTEIN) Drawings (3)

1972 Gouache and ink on paper Each signed and dated Together with lithograph and Maryan: Galerie de France catalogue Sheets each: 12" x 16" Frames each: 12.375" x 16.375"

$3,000–5,000


375 MARYAN S. MARYAN (PINCHAS BURSTEIN) Painted jacket

c. 1970 Acrylic on jacket Drawing signed and dated lower center sheet Together with drawing not illustrated) Various dimensions

$3,000–5,000


376 MARYAN S. MARYAN (PINCHAS BURSTEIN) Drawings (3)

1966 Watercolor and ink on paper Each signed and dated Together with lithograph (not illustrated) Sheets each (vis.): 9.375" x 5.125" Frames each: 17.5" x 13.5"

$2,500–3,500

283


PORTFOLIO CASE

377 HENRY MOORE

Untitled (from Reclining Figure Portfolio (6) 1977-1978 Six etchings on Richard de Bas Auvergne à la main paper with original portfolio case #15 of 25 Published by Ganymed Original Editions Ltd., London; printed by Lacourière et Frélaut, Paris Each signed in graphite lower right margin beneath image; each inscribed with plate number and edition lower left margin beneath image Together with original folio case Sheets each (vis): 10" x 12.75" Frames each: 22.25" x 19.25" Folio case: 22.625" x 19.125" x 1.25"

$3,000–5,000


378 SALVADOR DALI

Le Couple à la Bougie (from Les Amours de Cassandre) 1968 Color etching on Arches blanc paper From the edition of 299 Published by P. Argillet, Paris; printed by Atelier Robbe, Paris Signed in graphite lower right margin with embossed signature Image: 12.5" x 9.125" Sheet: 15" x 11" Frame: 17.625" x 13.625" LIT E RAT URE The Official Catalog of the Graphic Works of Salvador Dali. Vol. I. 1996. #251.

$800–1,200

379 LA GARDO TACKETT

Egghead condom holders (10) Schmid International, designed 1958 Marked “‘Designed by Tack’/Schmid International c 1959” Largest (Sex): 11.5" x 7" diameter LIT E RAT URE “Discovering LaGardo Tackett.” F. Swanson. Conneticut Explored. 2011. N.pag. Web. Nov 21, 2015.

$2,000–3,000

285


380 SUEO SERISAWA #372

1960 Oil on board Signed lower right; signed, titled, and dated verso Board: 25" x 35" Frame: 30.25" x 40.5"

$2,000–3,000

381 IBRAM LASSAW Necklace

Studio, executed 1956-1957 Together with vintage gelatin silver print and two photographs of the artist 3" x 6.5" P ROVENA NC E James Byrnes, Los Angeles, California (gifted directly by the artist, c. 1960s); Thence by descent

$6,000–9,000


Ibram Lassaw Ibram Lassaw (1913–2003) was a pioneering American abstract sculptor whose expressionistic and evanescent welded wire-and-alloy pieces presaged the open-form sculptures of later artists such as John Chamberlain and Mark Di Suvero. Like many modernist sculptors—most notably Alexander Calder, Harry Bertoia, and Claire Falkenstein— Lassaw turned to jewelry as a means to test theories and methods and practice his art in miniature. Starting in the early 1950s, Lassaw would create some 1,000 unique jewelry pieces, mostly pendants, in materials ranging from bronze and copper to gold plate. His jewelry manifests the same sense of dynamism and immediacy seen in his full-scale sculptures. Though Lassaw rejected the notion of representational art, he was fascinated by cosmology and concepts of celestial space— several of his sculptures are named for constellations—and these wearable artworks reflect that interest.

Lassaw’s work is in the permanent collections of numerous museums, including the Museum of Modern Art, the Guggenheim Museum, and the Metropolitan Museum of Art in New York, and the Israel Museum, Jerusalem. Lassaw, Denise. “A Brief History of Ibram Lassaw’s Jewelry.” 2015. Neu, Renée Sabatello. Jewelry by Contemporary Painters and Sculptors. New York: Museum of Modern Art, 1967. Print. Schon, Marbeth. Modernist Jewelry 1930–1960: The Wearable Art Movement. Atglen, PA: Schiffer Pub., 2004. Print.

287 382 IBRAM LASSAW

Bosom sculpture (pendant) Studio, executed 1956-1957 Together with North Carolina Museum of Art catalogue, vintage silver gelatin print, and copy of receipt from The Kootz Gallery 3.5" x 3.25" P ROV E NANC E The Kootz Gallery, New York, New York; James Byrnes, Los Angeles, California; Thence by descent ILLUST RAT E D Panel’s Choice 1957. exh. cat. Cover illustration.

$4,000–6,000

383 RICHARD TUTTLE Necklace

Studio, designed c. 1980 Stamped “Tuttle Sterling” Pendant: 4.25" diameter

$3,000–5,000


384 WILLIAM T. WILEY

What He Always Does 1999 Watercolor and ink on paper Signed and dated center right edge of sheet Together with copy of invoice dated August 2, 2002 Sheet: 12.25" x 16.25" Frame: 20.25" x 24.125" P ROVENA NC E LA Louver Gallery, Venice, California; Private Collection, Santa Barbara (acquired directly from the above, 2002); Thence by descent

$2,500–3,500

385 WILLIAM WEGMAN Colorado Girl

2006 Oil and postcards on canvas board Signed, dated, and titled twice in black ink verso Together with copy of invoice dated May 24, 2007 Canvas: 9.875" x 13.875" Frame: 11" x 15" P ROVENA NC E Marc Selwyn Fine Art, Los Angeles, California; Private Collection, Santa Barbara (acquired directly from the above, 2007); Thence by descent

$2,000–3,000


386 LEO SEWELL Untitled (2)

1995-1996 Mixed-media with assemblage Each with etched signature and dated Comprised of Untitled (Jockey) (1995) and Untitled (Dog) (1996) Jockey: 40.5" (44.5" including base) x 14" x 16" Dog: 31" x 9" x 19"

$3,000–5,000

289


387 PORTIA HEIN Untitled

2007 Oil on canvas Signed and dated in felt-tip marker on overlap; retains LA Louver Gallery label verso Canvas: 48" x 36" P ROVENA NC E LA Louver Gallery, Venice, California; Private Collection, California (acquired directly from the above, July 2007)

$2,000–3,000


291

388 WELTON BECKET

Custom sofa with Jack Lenor Larsen fabric Welton Becket & Associates, designed c. 1967 Together with a Jack Lenor Larsen fabric swatch and fabric receipt dated 1967 27" x 103" x 33.5" P ROV E NANC E The designer; Thence by descent

$5,000–7,000

389 RUSSEL WRIGHT Lounge chair

Conant-Ball Co., designed c. 1936 Branded “Built by Conant-Ball Co./ American/Modern” 30.25" x 27" x 33"

$1,000–1,500


390 WILLIAM COPLEY Untitled

c. 1968 Matchstick box, razor blade fabric, and assemblage with news print wrapped around illustration board Signed and inscribed in ink “To Jimmy + Bobby fond memories of Paris, CPLY” verso 5" x 7" P ROVENA NC E From the Collection of James Byrnes, Los Angeles, California; Thence by descent

$2,500–3,500

391 H.C. WESTERMANN

Letters to Gerald Nordland (2) 1968 Ink on paper Each signed and dated Letters from H.C. Westermann to Gerald Nordland dated February 11th and March 30th, 1968 Together with letter dated June 7th, 1978 to Paula Prokopoff with envelope Letter (February 11th, 1968): Sheet: 13.5" x 10.375" Mat: 19" x 16" Letter (March 30th, 1968): Sheet: 13.5" x 10.5" Mat: 19"x 16" P ROVENA NC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist)

$1,500–2,000

PARTIAL ILLUSTRATION


392 FLORENCE KNOLL

Wall-mounted cabinets (2) Knoll Associates, designed c. 1954 Model no. 121 W-1 (two-door cabinet) Each retains manufacturer’s label Comprised of a two-door cabinet and a single-door cabinet 18" x 72" x 15.25" 18" x 36" x 15.5"

LIT E RAT URE Knoll Furniture cat. 1954. 52.

$3,000–5,000

293


393 ALICE RAHON

Le Blé (Corn Festival) 1954 Oil on canvas Signed and dated lower right; retains two paper labels with printed text “Property of Mr. & Mrs. Albert Lewin/880 Fifth Ave-Apt. 14E/New York City” verso Canvas: 45.5" x 35" Frame: 46.5" x 36" P ROVENA NC E The Estate of Robert Anthoine EXHIBITE D “Alice Rahon: Una Surrealista en México (1939-1987),” Museo de Arte Moderno, Mexico City, April 16-September 7, 2009 ILLUSTRAT E D Alice Rahon: Una Surrealista en México (1939-1987). Museo de Arte Moderno exh. cat. 2009. 122.

$8,000–12,000


394 WILLIAM KATAVOLOS, ROSS LITTEL & DOUGLAS KELLEY New York Sofa

ICF, designed 1952; this example produced later 28.5" x 100" x 29" LIT E RAT URE 1000 Chairs. C. Fiell and P. Fiell. 1997. 312.

$5,000–7,000

295


395 STEVE RODEN

The Silent World (Retract & Disappear) 2001-2002 Oil, polyurethane, acrylic, and beeswax on canvas Signed, titled, and dated verso; retains Suzanne Vielmetter Projects label verso Canvas: 72" x 72" P ROVENA NC E Suzanne Vielmetter Projects, Los Angeles, California; Private Collection, California (acquired directly from the above, March 2004)

$10,000–15,000


396 PAUL MCCOBB

Planner Group shelf Winchendon, designed c. 1949 49" x 47" x 13"

$2,000–3,000

297

397 ALLAN GOULD Lounge chair

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

$1,000–1,500

398 AMERICAN MODERN Fireplace tool set

Manufacturer unknown, designed c. 1950 36.5" x 10.25" x 10.25"

$1,000–1,500


399 SATORU ABE Untitled

c. 1960 Welded copper tubing with bronze brazing LAMA would like to thank the artist for his assistance in cataloguing this work Together with two catalogues 33" x 9.5" x 2.625"

$8,000–12,000

400 ISAMU NOGUCHI Lamps (5)

Akari, designed c. 1950 Together with Akari brochure and two incomplete models (not illustrated) 69" x 15" diameter 43" x 14" x 14" 27" x 18" x 18" Two each: 24" x 12" x 12"

$3,000–5,000

PARTIAL ILLUSTRATION

299


401 ANDY COLLINS Untitled

2003 Oil and alkyd on canvas Signed and dated in graphite verso Canvas: 66" x 64.25" P ROVENA NC E Marc Foxx Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, February 2004)

$5,000–10,000


402 PAUL FRANKL Coffee table

Johnson Furniture Company, designed c. 1948 Model no. 5028 Branded “5028 #348” 14.5" x 72" x 36" LIT E RAT URE Contemporary Designs by Paul T. Frankl. Johnson Furniture Company cat. c. 1950. N.pag.

$7,000–9,000

403 ATTRIBUTED TO DONALD DESKEY Fireplace andirons (2) Manufacturer unknown, designed c. 1950s Each: 19.75" x 6.5" x 18.75"

$1,500–2,000

301


404 EDWARD WORMLEY Settee

Dunbar, designed c. 1955 30" x 53" x 32"

$3,000–5,000

405 EDWARD WORMLEY Bar cart

Drexel, designed 1947; this example produced 1949 Model no. 220-2 Retains branded manufacturer’s mark; stamped “NO. 220-2 TYPE: CAB./ PRECEDENT BY DREXEL/2-49” 26" x 25" x 16.25"

$1,000–1,500


406 TONY DELAP

Magic Trick Series (13) 1966 Color screenprint on paper Each with stamped signature and date in lower right corner Together with a letter from the artist dated May 22, 1966 Sheets each: 12.75" x 9.75" P ROV E NANC E Gerald Nordland, Chicago, Illinois (acquired directly from the artist)

$1,500–2,000

303


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

407 ATTRIBUTED TO BARONESS CATHERINE D’ERLANGER

Portrait of a Woman with Dark Hair c. 1930s Oil on canvas Canvas stretcher with ink stamp “LECHERTIER BARBE LTD/98 JERMYN STREET/LONDON, S.W.1.” verso Together with 1931 Claridge Gallery exhibition pamphlet Canvas: 24.25" x 18" Frame: 26.25" x 20.25" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California

$2,000–3,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

408 THOMAS KNITCH Les Forain

1949 Watercolor on paper Signed and dated lower right; title inscribed frame verso Sheet (vis.): 17" x 12.75" Frame: 27.75" x 23.75" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California

$500–700

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

409 FRED KOESTER Libby Holman

c. 1960s Color lithograph on paper Printed signature upper left sheet; printed “Tolmer Imp” lower right sheet Image/sheet: 63" x 45" Frame: 63.5" x 45.5" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from Libby Holman)

$300–500


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

410 GEORGES ROUAULT

Le Politcard (Pl. 4 from Réincarnations du Père Ubu) 1928 Heliogravure, etching, softground, roulette, and aquatint on Arches laid paper From the edition of 305 Published by Ambroise Vollard, Paris Printed initials and date lower center image; inscribed verso “Christmas greetings/and love to Salka/from Clifford and Bette/Hollywood 1946” frame verso Image: 11.75" x 7.5" Sheet (vis.): 16.5" x 12.25" Frame: 18" x 14" P ROV E NANC E Clifford Odets and Bette Grayson; Salka Viertel; Thence by descent; Jack Larson and James Bridges, Los Angeles, California (acquired directly from the above) LIT E RAT URE Rouault: Œuvre Gravé. Vol. I. I. Rouault. 1978. #11d.

$500–700

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

411 FRENCH SCHOOL Portrait of a Man

1958 Watercolor on paper Inscribed, signed, and dated “Avec a Jack Larson avec sympathie/1958” Sheet (vis.): 16.75" x 11.75" Frame: 24.5" x 18.75" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$800–1,200

305


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

412 NORMAN HOLDEN

Untitled (Seated Figure) c. 1960 Oil on canvas Signed lower right Together with letter from the artist Canvas: 64.75" x 59.5" Frame: 66" x 60.25" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,000–2,000

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

413 NORMAN HOLDEN Untitled (Abstract) c. 1960 Oil on canvas Signed in graphite lower right Together with color lithograph on paper, and letter from the artist Canvas: 70" x 61.5" Frame: 72.5" x 64" P ROVENA NC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,500–2,500


SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

414 ARTIST UNKNOWN

Untitled (View of Park and Cityscape) 1969 Acrylic on canvas Signed illegibly and dated verso Canvas: 6.25" x 10.5" Frame: 7.5" x 11.75" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$1,000–1,500

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

415 WILLIAM DUNLAP

Palm Grove and Pond 1963 Gouache on paper Signed “DUNLAP” lower right; bears the inscription “PALM GROVE AND POND 1963” verso Composition: 13" x 18" Sheet: 18" x 22.5" P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California (acquired directly from the artist)

$800–1,200

307


416 LITA ALBUQUERQUE

Trajectory Through the Sun #13 1994 Mixed-media on paper Title lower center sheet; signed and dated lower right Composition: 15.75" x 18" Sheet: 22" x 30" Frame: 28" x 35.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$1,000–1,500

417 LITA ALBUQUERQUE Triangular Time 1990 Etching on paper #1 of 52 Signed and dated in graphite lower right margin of sheet; title inscribed lower left margin Image: 18.5" x 23.5" Sheet (vis.): 20" x 25" Frame: 33" x 38.5" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$800–1,200


418 LITA ALBUQUERQUE Untitled (Triptych) 1991 Color print on paper #98 of 100 Signed and dated lower right margin of sheet; edition lower left Image: 15" x 46" Sheet: 19.75" x 49.5" Frame: 21.5" x 51" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

419 LITA ALBUQUERQUE Sound

1989 Oil and pigment on vellum Signed and dated in graphite lower right mat; retains Works Gallery label verso Composition: 43" x 34" Frame: 59.25" x 50.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$2,000–3,000

309


420 JAMES DOOLIN City Scene

1974 Oil on canvas Signed and dated “JAMES DOOLIN/Los Angeles 1974” verso Composition: 10.125" x 9.875" Canvas: 14" x 14" Frame: 15" x 15" P ROVENA NC E Asher/Faure Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$2,500–3,500

421 ERIC FISCHL Beach

1987 Aquatint on paper #31 of 100 Printed by Aldo Crommelynck, Paris Signed in graphite lower right; retains Aldo Crommelynck blind stamp lower right margin Image: 12" x 15.875" Sheet: 18.5" x 21.625" Frame: 21" x 24.5"

$800–1,200


422 EDGAR ARCENEAUX Spy Envy

c. 2000 Pastel on paper Sheet: 68.5" x 50.5" Frame: 71" x 53.5"

$4,000–6,000

311


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. PA Y M E NT All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (Please note: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request; please phone 323.904.1950. If payment is not received in full by March 2, 2016, collection and storage fees will begin occuring immediately. BUY E R ’ S P R E MIU M ■■ 25% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc. ■■ 20% on the portion of the hammer price in excess of $500,000 up to $2,000,000 if bids are placed directly with Modern Auctions, Inc. ■■ 15% on the portion of the hammer price in excess of $2,000,000 if bids are placed directly with Modern Auctions, Inc. BUY E R ’ S P R E MIU M D IS C OU N T * * ■■ 22.5% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc. and if payment by cash, check, or bank wire is received in full by March 2, 2016. ■■ 17.5% on the portion of the hammer price in excess of $500,000 up to $2,000,000 if bids are placed directly with Modern Auctions, Inc. and if payment by cash, check, or bank wire is received in full by March 2, 2016. ■■ 12.5% on the portion of the hammer price in excess of $2,000,000 if bids are placed directly with Modern Auctions, Inc. and if payment by cash, check, or bank wire is received in full by March 2, 2016. **The buyer’s premium will not be discounted for Lot 86 (“Skyewiay Property”), internet bidding (28%), payment by credit card, or if full payment is not received by March 2, 2016. (Please note: Credit card payments are accepted when presented in person and will not be accepted over the phone, fax, or e-mail). CA LIFO R N IA S ALE S TAX Sales tax of 9% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied. E ST IMATE S & R E S E R VES The estimates printed after each lot should be used as a guide only and should not be relied upon as a prediction of final selling prices. Many of the lots offered for sale carry a reserve and are confidential. The reserve is a minimum price at which the seller has agreed to let the auctioneer sell the property.

C ON DI T I O N Everything is sold in“As-Is” Condition. No statement regarding condition of any item, whether it is made orally at the auction, or in writing, or printed in this catalogue, or at any other time shall be deemed to be a warranty, representation, or assumption of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate. Photographs of any lots not illustrated can be found on our website, lamodern.com. C OL L E C T I O N & STO RA GE All lots must be removed from the auction showroom by 12:00p.m. (PT) on March 22, 2016. Purchases not removed by March 22, 2016 will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing, the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request. B I DDI N G We encourage you to attend the sale in person. However, if you are unable to attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an Absentee/Phone bid form. To obtain this form please call 323.904.1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, February 20, 2016 by 5:00pm (PT) via fax to 323.904.1954 or scanned and sent via email to shannon@lamodern.com. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful. All successful absentee/phone bidders will be notified by phone or email by February 23, 2016. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc. Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who are unable to come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum.

If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc. reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale. GUA RA N TEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in the line directly below the lot number, may be blue, pink, or white type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc., in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed,” “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility for reading all addendums and posted corrections to the catalogue prior to bidding. RESCI SSI O N Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyer’s sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping, and storage costs will not be reimbursed. Modern Auctions, Inc. is not liable for any costs, such as expert’s and attorney’s fees. If the item is authentic, as stated in the Modern Auctions, Inc. catalogue, then the purchaser shall bear Modern Auctions, Inc.’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from Modern Auctions, Inc. Once the item is resold, then all rights and liabilities of Modern Auctions, Inc. regarding authenticity end. The Purchaser’s sole and

exclusive remedy against Modern Auctions, Inc. for any reason is the limited right of rescission described in this section. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert’s fees, attorney’s fees, and other costs. RI GH TS TO PH O TO GRA PH S All images and text contained in this catalogue are the sole property of Modern Auctions, Inc., and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc.

Modern Auctions, Inc. | Bond # 7900405194 Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406


INSTRUCTIONS ON HOW TO PARTICIPATE IN THE AUCTION OF THE PROPERTY COMMONLY KNOWN AS 449 N. SKYEWIAY RD., LOS ANGELES, CALIFORNIA (SKYEWIAY PROPERTY) 1. Please contact Shannon Loughrey, at Modern Auctions, Inc. (“MAI”) at (323) 904-1950 to request a “Bidder’s Package,” which will include certain informational material regarding the Skyewiay Property,

bidder, or (2) will be returned to you at the conclusion of

Form, (ii) execute and deliver the Contract of Sale,

the Auction if you are an unsuccessful bidder.

including any exhibits or addendum thereto, (iii) provide satisfactory proof of financial capability to

6. The successful bidder shall covenant to close escrow

purchase the Property as provided in the Contract of

in accordance with the terms specified in the Contract

Sale, and (iv) sign and complete as instructed certain

of Sale for the Skyewiay Property. Failure to close

disclosures. If the successful bidder fails to comply

escrow may result in the loss of the deposit as liquidated

with any of the requirements of the Conditions of Sale

damages.

or the Contract of Sale, the deposit shall be retained as liquidated damages pursuant to the terms of the

CONDITIONS OF SALE FOR THE SKYEWIAY PROPERTY

the Real Estate Contract of Sale, the Conditions of

The estimate printed after the lot should be used

Sale, the Bidder’s Registration Form and disclosure

as a guide only and should not be relied upon as

documents. You will then be provided with a Bidder’s

a prediction of final selling prices. Many of the

Package Request Form, which you must complete and

lots offered for auction carry a reserve and are

return to Modern Auctions, Inc., along with a refundable

confidential. The reserve is a minimum price at

cashier’s check in the amount of one hundred-thousand

which the seller has agreed to let the auctioneer

dollars ($100,000) made payable to Modern Auctions,

sell the property.

Inc. in order to receive the Bidder’s Package. The Skyewiay Property, described in the catalogues for 2. Bidders must register to bid with Modern Auctions,

the February 21, 2016 auction, is intended to be offered

Inc., no later than Friday, February 19, 2016, 5:00pm

for sale at auction (“the Auction”) at Modern Auctions,

(Pacific Time). The Bidder must have pre-registered to

Inc., (“MAI”) by Sotheby’s International Realty, Inc.,

bid on the Skyewiay Property and been issued a special

(“SIR”), as agent for the owner of the Property (“the

bidder paddle.

Seller”). By bidding at the Auction, each bidder agrees to be bound by these Conditions of Sale for the

3. Broker participation is welcomed. A cooperating

Skyewiay Property, as amended by posted notices or

broker commission of 2.5% of the “Hammer Price”

oral announcements before or during the Auction.

will be paid to the licensed California real estate broker whose client pays the “Purchase Price” and

1. The highest bidder acknowledged by the MAI

closes on the property. To qualify for a commission,

auctioneer as the successful bidder shall be deemed

the real estate broker must: (a) be a licensed

“the Buyer” subject to the terms of paragraph 5

California real estate broker who will abide by the

below. The auctioneer has the right to reject any bid to

National Association of Realtors Code of Ethics, (b)

advance the bidding at his absolute discretion and, in

first register their client by completing the Broker

the event of any dispute between bidders, to determine

Registration Agreement (available from MAI’s office)

the successful bidder or to reoffer the Skyewiay

and returning it by fax to Barry Sloane at (310)

Property at their sole discretion.

724-7010 or email at Barry.Sloane@Sothebyshomes. com no later than 48 hours prior to the scheduled

2. MAI reserves the right to withdraw the Skyewiay

auction; and the registration form must be signed by

Property before or at the Auction, and MAI reserves

the broker’s client and received before any inspection

the right to offer the Skyewiay Property for sale prior

of the property by the broker’s client. The broker

to the Auction.

must be present at the Auction to submit the bid with their client. Each broker must submit a copy of

3. The Skyewiay Property is being offered for sale

the faxed or emailed form when their client registers

on the terms and conditions contained in the Real

for the auction. A complete registration file on all

Estate Contract of Sale (the “Contract of Sale”)

prospective Buyers will be maintained. No broker

included in the Bidder’s Package. Such Contract of

will be compensated for a Buyer who has previously

Sale and certain informational materials regarding the

contacted, or been contacted by, the Seller or its

Skyewiay Property are part of the Bidder’s Package

representatives. Commissions to the cooperating

and upon MAI’s receipt of one hundred thousand

broker will only be paid upon closing and receipt

dollars ($100,000), such Bidder’s Package will be made

of commissions by Sotheby’s International Realty.

available to potential bidders who contact MAI or SIR.

Attorneys representing bidders are not entitled to any

The successful bidder shall pay the “Hammer Price”

compensation from commissions paid by the Seller or

plus the “Buyer’s Premium,” totaling the “Purchase

from the “Buyer’s Premium,” in the Conditions of Sale.

Price,” and shall include such terms as defined in the Contract of Sale. In addition, pursuant to such

4. Please contact Barry Sloane (CalBRE # 1024594) at

Contract of Sale, a Buyer’s Premium, which will be

Sotheby’s International Realty, (310) 786-1844 if you

25% of the first $500,000 of the Hammer Price, 20%

would like to make arrangements to view the Property.

of the next $500,001 to $2,000,000 of the Hammer

In order to view the Skyewiay Property, you must have

Price and 15% of any amounts of the Hammer Price

obtained the Bidder’s Package as provided in paragraph

over $2,000,000, will be added to the Hammer Price

1 above.

and will be payable by the Buyer into Escrow as part of the total Purchase Price.

5. If you are interested in bidding on the Property, in addition to the requirements set forth in the Conditions

4. On or before Friday, February 19, 2016 at 5:00pm

of Sale, you must sign and deliver the Contract of Sale.

(Pacific Time), each party who wishes to bid on

All Deposits shall (1) either be a credit to the Purchase

the Skyewiay Property must (i) register in writing

Price of the Skyewiay Property, if you are the successful

with MAI by completing the Bidder’s Registration

Contract of Sale. If the bidder is not the highest accepted bidder at the Auction, such deposit, along with the voided Contract of Sale, shall be immediately returned to such bidder after the conclusion of the Auction. Upon receipt of the deposit, MAI will issue a certificate to the registered bidder. Upon presentment to MAI of such certificate prior to the Auction, with appropriate personal identification, the holder of such certificate will be entitled to be issued a special paddle in order to bid by raising such paddle. The bidder will advise MAI in writing in the event the certificate is lost prior to the Auction. 5. The Skyewiay Property is offered subject to a reserve, which is the confidential minimum price agreed to with the Seller, below which the Skyewiay Property will not be sold (the “Seller’s Reserve”). MAI may act to protect the Seller’s Reserve by bidding through the auctioneer. The auctioneer may open bidding on the Skyewiay Property below the Seller’s Reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of the Seller up to the amount of the Seller’s Reserve, either by placing consecutive bids or placing bids in response to other bidders. In the event that the amount bid by the highest bidder is below the Seller’s Reserve, then the Skyewiay Property will be hammered down by the auctioneer as “bought-in.” 6. Upon the fall of the auctioneer’s Hammer, the auctioneer will announce whether or not the Skyewiay Property has been sold and announce the Hammer Price. If the auctioneer announces that the Skyewiay Property has been sold, the successful bidder’s $100,000 deposit (“Hammer Deposit”) will be forwarded to Escrow Exchange West. The Hammer Deposit will be held in an escrow with Escrow Exchange West, which will act as the escrow for the resulting transaction, and will be applied as a credit towards the Purchase Price, and the successful bidder shall comply with such other Conditions of Sale and contractual requirements. The escrow period for the purchase and sale transaction shall be 10 days, and shall commence when the Hammer Deposit is deposited with Escrow Exchange West. The successful bidder agrees to sign any further escrow instructions required by Escrow Exchange West to facilitate the resulting transaction. Chicago Title Company shall act as the title company in the resulting transaction. 7. If the Buyer fails to comply with the Contract of Sale, in addition to other rights and remedies available to the Seller, the sale shall be cancelled and the Seller shall be entitled to retain the Hammer Deposit, or some portion thereof, as liquidated damages and not as a penalty, in full satisfaction of all damages suffered by Seller by reason of Buyer’s default pursuant to the Contract of Sale. If any sale is so cancelled, the Skyewiay Property may, at the auctioneers’ discretion, be reoffered and resold. In the event that the Seller shall, on the closing date set forth in the Contract of Sale, fail to convey


title to the Skyewiay Property in accordance with

(iii) such bidder has not relied upon any representa-

independent investigations of the Skyewiay Property

terms of the Contract of Sale, the Buyer’s recourse

tions, warranties, guarantees or promises or upon

any bidder or bidder’s agent deems necessary. Each

shall be limited solely to the refund of the portion of

any statements made or any information provided

potential bidder should conduct its own independent

the Purchase Price paid by the Buyer, and the Buyer

concerning the Skyewiay Property, including but not

investigations, inquires and due diligence concerning

shall and does hereby release Seller, SIR and MAI from

limited to the catalogues, provided or made by MAI, SIR,

the Skyewiay Property and the documents and

any and all liability in connection with the performance

or the Seller or their respective agents and repre-

legal matters pertaining thereto, as well as such

by the Seller of any of its obligations set forth in the

sentatives, and has determined to make its bid after

engineering, environmental and other inspections as

Contract of Sale.

having made and relied solely on its own independent

each potential bidder deems necessary to determine

investigation, inspection, analysis, appraisal and

the physical condition of the Skyewiay Property.

8. The respective rights and obligations of the parties

evaluation of the Skyewiay Property and the facts and

Potential bidders acknowledge that the sale of the

with respect to these Conditions of Sale for The

circumstances related thereto.

Skyewiay Property contained in the catalogues will be made on an “AS-IS”, “WHERE IS” condition and

Skyewiay Property and the conduct of the Auction shall be governed and construed and enforced in accordance

12. SIR and its affiliates are involved in a broad range of

that such condition was bargained for in Purchase

with the laws of the State of California. By bidding at the

real estate services, including the rendering of advice

Price at Auction.

Auction, whether present in person or by agent, each

to owners and Buyers of properties with the valuation,

bidder shall be deemed to have irrevocably (i) submitted

acquisition and disposition of properties. Bidders are

The material and information concerning the

to the courts of competent jurisdiction in the State of

advised that SIR and/or its affiliates may be providing

Skyewiay Property contained in the catalogues and

California (including the federal courts) in connection

such services to persons and/or entities involved in the

any other information, written or oral, which may be

with any suit, proceeding or other legal process relating

Auction (including, without limitation, the Seller and

provided by the Seller, SIR, MAI or their respective

to the Auction or the offering or sale of the Skyewiay

other potential bidders).

agents and/or employees and/or representatives, is supplied for general information purposes only.

Property (“Action”), (ii) agreed that any Action may be heard in any such court, (iii) waived the defense of an

13. Each bidder shall be deemed to have consented

No warranty or representation, express or implied,

inconvenient forum to the maintenance of any Action

to the issuance of press releases and other public

(except as may be expressly stated in the Contract

in any such court and (iv) agreed to be subject to suit,

communications by MAI, SIR, or their agents regarding

of Sale) is made by the Seller, MAI, SIR or any of

service and legal process of such courts in connection

the Auction and the Skyewiay Property offered or sold

their respective affiliates, agents, representatives,

with any Action.

at Auction.

employees, as to the accuracy or completeness of

9. Information regarding the Skyewiay Property

14. These Conditions of Sale for Skyewiay Property

provided in the catalogues is summary in nature and

shall be governed by and construed and enforced in

necessarily incomplete. The Skyewiay Property is sold

accordance to with the laws of the State of California

Modern Auctions, Inc. | Bond # 7900405194 Peter Loughrey, Principal Auctioneer

“AS-IS”, “WHERE-IS”, and with no requirements to be

applicable to agreements made and to be performed

Los Angeles Modern Auctions (LAMA)

met by the Seller that the real property have a zoning

wholly within the State of California.

16145 Hart Street, Van Nuys, CA 91406

any such information.

classification acceptable to bidder as a condition to sale. Descriptions of the Skyewiay Property appearing in the

15. Each bidder shall be deemed to be personally liable

catalogues or other advertisements are not warranties

with respect to his bids and his obligations under these

or representations and are subject to the section

Conditions of Sale for Skyewiay Property even though

below entitled “As Is/No Warranties.” Accordingly, the

he shall purport to act as agent for a principal, with the

Skyewiay Property should be viewed personally by

result that such bidder and his principal shall be jointly

prospective Buyers to evaluate its conditions and Buyer

and severally liable with respect hereto.

agrees to rely solely on he/she/its own independent investigation of the condition of the Skyewiay Property.

16. MAI will use information provided by its clients or which MAI otherwise obtains relating to it clients for

10. By bidding, each bidder shall be deemed to have

provision of auction and other art-related services,

agreed to indemnify and hold harmless MAI, the Seller,

and insurance services, client administration,

SIR, and their respective subsidiaries, affiliates, agents,

marketing and otherwise to manage and operate its

employees and representatives from and against any

business, or as required by law. Some gatherings of

and all losses, costs, liabilities and expenses (including,

information about MAI clients will take place using

without limitation, reasonable attorneys’ fees and

technical means to identify their preferences and

disbursements) resulting from any claims for any

provide a higher quality of service to them, and MAI

commission, fee or other compensation made by any

may gather information about its clients through

real estate broker, advisor, consultant, finder or other

video image or through the use of monitoring

person in connection with the Auction, any bid at the

devices used to record telephone conversations. MAI

Auction or the sale and purchase of the Skyewiay

will generally seek clients’ express consent before

Property to such bidder resulting from any bid, other

gathering any sensitive data, unless otherwise

than those who are specifically registered to represent

permitted by law. Clients agree that MAI may use

such bidder.

any sensitive information that they supply to MAI. By agreeing to these Conditions of Sale, clients agree to

11. Each bidder shall be deemed to represent, warrant

the processing of their personal information and also

and agree that (i) such bidder has examined the

to the disclosure and transfer of such information

Skyewiay Property and is familiar with the physical

to MAI and to third parties anywhere in the world

condition thereof and has conducted such investigation

for the above purposes, including to countries which

of the property as such bidder has considered

may not offer equivalent protection of personal

appropriate, (ii) neither MAI, SIR, nor Seller, nor any

information to that offered in the US. Clients can

affiliate, agent, officer, employer, or representative of

prevent the use of their personal information for

each of the foregoing has made any verbal or written

marketing purposes at any time by notifying MAI.

representations, warranties, promises or guarantees whatsoever to such bidder, express or implied, and, in particular, that no such representations, warranties,

AS IS/NO WARRANTIES

guarantees or promises have been made with respect

All potential bidders expressly acknowledge that

to the physical condition, operation, or any other matter

bidder or bidder’s agents have made or will have the

or thing affecting or related to the Skyewiay Property

opportunity pursuant to the Contract of Sale and

or the offering or sale of the Skyewiay Property, and

other bid documents to make prior to the Auction, all


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Arthur Heygate Mackmurdo, Chair (ca. 1882). The Huntington Library, Art Collections, and Botanical Gardens and the Los Angeles County Museum of Art, purchased jointly with funds provided by the Frances Crandall Dyke Bequest, the Schweppe Art Acquisitions Fund, MaryLou Boone, Max Palevsky and Jodie Evans, and the Decorative Arts and Design Council. Photo courtesy of Museum Associates/LACMA


PLAN Opening: February 21, 2016

ESMoA | 208 Main Street El Segundo

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10am to 5pm

Experience 21: February 21 until May 22, 2016 Odilon Redon | L'Ange de La Melancolie (detail) | graphite on paper | 8 7/8 x 12 1/8 in | 1840 -1916

Why do we make plans, if the future is unknown anyway? How do we make plans, if coincidence may take it all apart in seconds? Do you stick to a plan? Or do you love to improvise? ESMoA, in collaboration with the Wende Museum, will combine rare objects from the central planning processes of Eastern Europe with artworks by Egon Schiele, Odilon Redon, Stephan Balkenhol, Cornelius Voelker and many more. The juxtaposition will reveal how different artists and administrators deal with planning, quality controlling and motivational reward systems.

Curatorial Remarks: February 21, 2016 | 2pm Dr. Joes Segal Chief Curator, The Wende Museum

ESMoA 208 Main Street, El Segundo, CA 90245 www.ESMoA.org | Phone 424.277.1020

General Opening Hours: Friday to Sunday from 10am to 5pm | Admission free Educational and special events by appointment ESMoA is run by artlab21 foundation, a 501(c)(3)organization


FEBRUARY 21–MAY 15, 2016 CURATED BY

Helen Molesworth WITH RUTH ERICKSON

LEAP BEFORE YOU LOOK: BLACK MOUNTAIN COLLEGE 1933–1957 IS ORGANIZED BY THE INSTITUTE OF CONTEMPORARY ART, BOSTON. JOSEF ALBERS, LEAF STUDY IX, C. 1940 (DETAIL). LEAVES ON PAPER. 28 X 24 ¾ IN. (71.1 X 60.1 CM). © THE JOSEF AND ANNI ALBERS FOUNDATION/ ARTISTS RIGHTS SOCIETY NEW YORK. PHOTO: TIM NIGHSWANDER/IMAGING 4 ART.


LARRY RIVERS

Dutch Masters White Plains Box (1981)

SPRING 2016

Now Accepting Consignments PETER LOUGHREY, DIRECTOR | 323-904-1950 | PETER@LAMODERN.COM


Index A

F

M

S

Abakanowicz, Magdalena . . . . . . . . . . . . . 58

Falkenstein, Claire. . . . . . . . . . . . . . . . .54-55

Maclet, Élisée . . . . . . . . . . . . . . . . . . 250-251

Saar, Betye. . . . . . . . . . . . . . . . . . . . . . . . . . 212

Abe, Satoru. . . . . . . . . . . . . . . . . . . . . . . . 399

Ferrari-Hardoy, Jorge. . . . . . . . . . . . . . . . . 150

Maloof, Sam. . . . . . . . . . . . . . . . . . . . . 291-293

Saarinen, Eero. . . . . . . . . . . . . . . . . . . . . 30-31

Adams, Robert . . . . . . . . . . . . . . . . . 330-332

Fischinger, Oskar . . . . . . . . . . . . . . . . . 45-48

Marca-Relli, Conrad . . . . . . . . . . . . . . . . . . 216

Salgado, Sebastião. . . . . . . . . . . . . . . . . . 339

Africano, Nicolas. . . . . . . . . . . . . . . . . . . . . 214

Fischl, Eric. . . . . . . . . . . . . . . . . . . . . . . . . . 421

Marden, Brice . . . . . . . . . . . . . . . . . . . . . 14-15

Schlesinger, Peter. . . . . . . . . . . . . . . . 120-122

Agam, Yaacov. . . . . . . . . . . . . . . . . . . 371-372

Follis, John. . . . . . . . . . . . . . . . . . . . . . . . . . 35

Maryan, Maryan (Pinchas Burstein).373-376

Scully, Sean. . . . . . . . . . . . . . . . . . . . . . . . 338

Albuquerque, Lita. . . . . . . . . . . . . . . . 416-419

Francis, Sam . . . . . . . . . . . . . . . . . 49-53, 126

Matisse, Henri. . . . . . . . . . . . . . . . . . 245-246

Serisawa, Sueo. . . . . . . . . . . . . . . . . . . . . 380

Amico, David. . . . . . . . . . . . . . . . . . . . . . . . 32

Frankl, Paul . . . . . . . . . . . . . . . . . . . . . . . . 402

Matta, Roberto . . . . . . . . . . . . . . . . . . . . . 252

Sewell, Leo. . . . . . . . . . . . . . . . . . . . . . . . . 386

McCobb, Paul. . . . . . . . . . . . . . . . . . . . . . . 396

Shore, Stephen. . . . . . . . . . . . . . . . . . . . . 333

McLaughlin, John. . . . . . . . . . . . . . . . 174-176

Shulman, Julius. . . . . . . . . . . . . . . . . . 314-315

Andrews, Oliver. . . . . . . . . . . . . . . . . . 147-148 Aoki, Ryoko. . . . . . . . . . . . . . . . . . . . . . . . 205

G

Appel, Karel. . . . . . . . . . . . . . . . . . . . . . 171-172

Giacometti, Alberto . . . . . . . . . . . . . . . . . 224

Millei, John . . . . . . . . . . . . . . . . . . . . . . . . . 361

Signac, Paul. . . . . . . . . . . . . . . . . . . . . . . . 249

Arceneaux, Edgar. . . . . . . . . . . . . . . . . . . 422

Gill, James. . . . . . . . . . . . . . . . . . . . . . 151-156

Miró, Joan. . . . . . . . . . . . . . . . . . . . . 232-235

Sommer, Frederick. . . . . . . . . . . . . . 334-337

Archipenko, Alexander. . . . . . . . . . . . 160-161

Gilliam, Sam. . . . . . . . . . . . . . . . . . . . . . . . . 211

Moldovan, Sacha. . . . . . . . . . . . . . . . 236-240

Stair, Bill. . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Asawa, Ruth. . . . . . . . . . . . . . . . . . . . . . . . 348

Goode, Joe. . . . . . . . . . . . . . . . . . . . . 268-269

Mollino, Carlo. . . . . . . . . . . . . . . . . . . . 217-219

Stella, Frank. . . . . . . . . . . . . . . . . . . . . . . . . . 12

Assetto, Franco. . . . . . . . . . . . . . . . . . 137-138

Goode, Rex. . . . . . . . . . . . . . . . . . . . . . . . . . 35

Moore, Henry. . . . . . . . . . . . . . . . . . . . . . . 377

Strand, Paul. . . . . . . . . . . . . . . . . . . . 325-326

Gould, Allan. . . . . . . . . . . . . . . . . . . . . . . . 397

Moriyama, Daido. . . . . . . . . . . . . . . . . . . . 343

B

Graham, Robert. . . . . . . . . . . . . . . . . . . . . 267

Moses, Ed. . . . . . . . . . . . . . . . . . . . . . . . . . 276

T

Bachardy, Don. . . . . . . . . . . . . . . . . . . . 139-141

Grossman, Greta. . . . . . . . . . . . . . . . . . 33-34

Motherwell, Robert. . . . . . . . . . . . . . . . . . 349

Tackett, La Gardo. . . . . . . . . . . . . . . . . . . 379

Baldessari, John. . . . . . . . . . . . . . . . 200-203

Guariche, Pierre . . . . . . . . . . . . . . . . . . . . . 241

Mullican, Lee. . . . . . . . . . . . . . . . . . . . . 82-83

Theobald, Jean G.. . . . . . . . . . . . . . . . . . . . 310

Murakami, Takashi . . . . . . . . . . . . . . . . . . 204

Thiebaud, Wayne. . . . . . . . . . . . . . . . . . 69-72

Myers, Gifford. . . . . . . . . . . . . . . . . . . . . . . 29

Trova, Ernest. . . . . . . . . . . . . . . . . . . 366-367

Baldon, Cleo. . . . . . . . . . . . . . . . . . . . 350-360 Beaton, Cecil. . . . . . . . . . . . . . . . . . . . . . . . 123

H

Becket, Welton . . . . . . . . . . . . . . . . . . . . . 388

Hammerborg, Jo. . . . . . . . . . . . . . . . . . . . . 168

Belin, Valérie. . . . . . . . . . . . . . . . . . . . . . . 342

Hammersley, Frederick . . . . . . . . . . . 177-179

N

Bengston, Billy Al. . . . . . . . . . . . . . . 270-272

Haring, Keith. . . . . . . . . . . . . . . . . . . . . . . . . 2

Nahas, Nabil. . . . . . . . . . . . . . . . . . . . . . . . . 23

Benjamin, Karl. . . . . . . . . . . . . . . . . . . 180-184

Harwood, June . . . . . . . . . . . . . . . . . . . . . . 186

Nakashima, George. . . . . . . . . . . . . . 294-295

V

Berlant, Tony. . . . . . . . . . . . . . . . . . . 278-280

Havard, James . . . . . . . . . . . . . . . . . . . . . . 173

Natzler, Gertrud & Otto. . . . . . . . . . 298-309

Valentine, De Wain . . . . . . . . . . . . . . . 258-261

Bernhard, Ruth. . . . . . . . . . . . . . . . . . . . . 329

Hawkinson, Tim. . . . . . . . . . . . . . . . . . . . . . 199

Negulesco, Jean. . . . . . . . . . . . . . . . . . . . 257

Vasa (Velizar Mihich). . . . . . . . . . . . . . . . . . 13

Bertoia, Harry. . . . . . . . . . . . . . . . . . . . . 41-44

Hein, Portia. . . . . . . . . . . . . . . . . . . . . . . . 387

Nelson, George. . . . . . . . . . . . . . . . . . . 22, 24

Venard, Claude . . . . . . . . . . . . . . . . . 255-256

Bhavsar, Natvar. . . . . . . . . . . . . . . . . . . . . . 215

Heino, Vivika & Otto. . . . . . . . . . . . . . . . . 297

Nevelson, Louise. . . . . . . . . . . . . . . . . . . . . 158

Vicente, Esteban. . . . . . . . . . . . . . . . . . . . 347

Bluhm, Norman. . . . . . . . . . . . . . . . . . . 56-57

Henningsen, Poul . . . . . . . . . . . . . . . . . . . . 163

Nichols, James. . . . . . . . . . . . . . . . . . 99-100

Voulkos, Peter. . . . . . . . . . . . . . . . . . 273-274

Boetti, Alighiero . . . . . . . . . . . . . . . . . . . . 223

Hirst, Damien. . . . . . . . . . . . . . . . . . . . 192-193

Nielsen, Peter Løvig. . . . . . . . . . . . . . . . . . 166

Bourgeois, Louise. . . . . . . . . . . . . . . . . . . 363

Hockney, David. . . . . . . . . . . . . . 7-11, 104-119

Noguchi, Isamu. . . . . . . . . . . . . . . . . . . . . 400

W

Brainard, Joe. . . . . . . . . . . . . . . . . . . . 127-134

Holden, Norman . . . . . . . . . . . . . . . . . 412-413

Nyquist, John . . . . . . . . . . . . . . . . . . 285-286

Warhol, Andy. . . . . . . . . . . . . . . . . . . . . . 1, 125

Budnick, Sidney Jonas. . . . . . . . . . . . . . . 368

I

O

Bufano, Beniamino. . . . . . . . . . . . . . . . . 59-61

Indiana, Robert. . . . . . . . . . . . . . . . . . . . . . 157

Oldenburg, Claes. . . . . . . . . . . . . . . . . . . . . 145

Wegman, William. . . . . . . . . . . . . . . . . . . . 385

Onslow Ford, Gordon . . . . . . . . . . . . . . . 75-81

Wegner, Hans. . . . . . . . . . . . . . . . 162, 165-170

Orphanos, Stathis. . . . . . . . . . . . . . . . . . . . 124

Wesselmann, Tom. . . . . . . . . . . . . . . . . . . . 4-6

Johns, Jasper. . . . . . . . . . . . . . . . . . . 143-144

Orr, Eric . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Westermann, H.C.. . . . . . . . . . . . . . . . . . . . 391

Johnson, Dan. . . . . . . . . . . . . . . . . . . . . . . 222

Oshiro, Kaz. . . . . . . . . . . . . . . . . . . . .207-209

Weston, Brett. . . . . . . . . . . . . . . . . . . . . . .328

Outterbridge, John. . . . . . . . . . . . . . . . . . . 213

Weston, Edward. . . . . . . . . . . . . . . . . . . . . 327

Bridges, James. . . . . . . . . . . . . . . . . . . . . . 103

Burkhardt, Hans. . . . . . . . . . . . . . . . . . 38-40 Burroughs, William S.. . . . . . . . . . . . . . . . . 159

C Carroll, Lawrence. . . . . . . . . . . . . . . . . . . 362

J

Tuttle, Paul. . . . . . . . . . . . . . . . . . . . . . 187-188 Tuttle, Richard. . . . . . . . . . . . . . . . . . . . . . 383

Weber, Hugo. . . . . . . . . . . . . . . . . . . . . . . . 364 Weber, KEM. . . . . . . . . . . . . . . . . . . . . 312-313

Celmins, Vija . . . . . . . . . . . . . . . . . . . . . . . . 28

K

Chamberlain, John. . . . . . . . . . . . . . . . . . . . 21

Kadishman, Menashe. . . . . . . . . . . . . . . . 370

P

Chann, George. . . . . . . . . . . . . . . . . . . . 84-85

Kåge, Wilhelm. . . . . . . . . . . . . . . . . . . . . . . 164

Pergay, Maria. . . . . . . . . . . . . . . . . . . . . . . 243

Wood, Jonas . . . . . . . . . . . . . . . . . . . . . . . . 37

Chihuly, Dale. . . . . . . . . . . . . . . . . . . 287-290

Kaneko, Jun. . . . . . . . . . . . . . . . . . . . 281-284

Perriand, Charlotte. . . . . . . . . . . . . . . . . . 244

Woods, Lebbeus . . . . . . . . . . . . . . . . . 318-324

Claxton, William.. . . . . . . . . . . . . . . . . . . 124A

Katavolos, William. . . . . . . . . . . . . . . . . . .394

Petersen, Roland. . . . . . . . . . . . . . . . . . 65-68

Wormley, Edward. . . . . . . . . . . . . . . 404-405

Cocteau, Jean. . . . . . . . . . . . . . . . . . . . . . 247

Katz, Alex. . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Picasso, Pablo. . . . . . . . . . . . . . . . . . . 225-231

Wright, Frank Lloyd. . . 86, 87-89, 91, 93-95, 98

Cohen, Bruce. . . . . . . . . . . . . . . . . . . . . . . . 62

Kauffman, Craig . . . . . . . . . . . . . . . . . . . . 275

Pomodoro, Arnaldo. . . . . . . . . . . . . . . . . . 220

Wright, Russel. . . . . . . . . . . . . . . . . . . . . . 389

Cohen, Larry. . . . . . . . . . . . . . . . . . . . . 63-64

Kelley, Douglas. . . . . . . . . . . . . . . . . . . . . 394

Ponti, Gio. . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Collins, Andy. . . . . . . . . . . . . . . . . . . . . . . . 401

Kelley, Mike. . . . . . . . . . . . . . . . . . . . . 197-198

Porsche, Ferdinand. . . . . . . . . . . . . . . . . . . 146

Copley, William . . . . . . . . . . . . . . . . . . . . . 390

Knitch, Thomas. . . . . . . . . . . . . . . . . . . . . 408

Portanier, Gilbert . . . . . . . . . . . . . . . . . . . 248

Corse, Mary. . . . . . . . . . . . . . . . . . . . . . . . . 25

Knoll, Florence . . . . . . . . . . . . . . . . . . . . . 392

Porter, Fairfield. . . . . . . . . . . . . . . . . . . . . . 135

Koester, Fred. . . . . . . . . . . . . . . . . . . . . . . 409

Potter Studio. . . . . . . . . . . . . . . . . . . . . . . . 311

Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . 194-196

Price, Ken. . . . . . . . . . . . . . . . . . . . . . . . . . 262

D’Erlanger, Baroness Catherine. . . . . . . 407

Kuhn, Mona . . . . . . . . . . . . . . . . . . . . . . . . 346

Prince, Richard. . . . . . . . . . . . . . . . . . 189-191

Dalí, Salvador . . . . . . . . . . . . . . . . . . . . . . 378

Kuramata, Shiro . . . . . . . . . . . . . . . . . . . . 206

Procktor, Patrick. . . . . . . . . . . . . . . . . . . . . 136

D Dart, Gawaine . . . . . . . . . . . . . . . . . . . . . . 296

Pullen, Melanie. . . . . . . . . . . . . . . . . 340-341

Delap, Tony . . . . . . . . . . . . . . . . . . . . . . . . 406

L

Deskey, Donald. . . . . . . . . . . . . . . . . . . . . 403

Lalanne, Claude. . . . . . . . . . . . . . . . . 253-254

R

Diebenkorn, Richard. . . . . . . . . . . . . . . . 73-74

Lamb, Walter. . . . . . . . . . . . . . . . . . . . 316-317

Rahon, Alice. . . . . . . . . . . . . . . . . . . . . . . . 393

Divine, Conrad. . . . . . . . . . . . . . . . . . . . . . . 36

Larson, Jack . . . . . . . . . . . . . . . . . . . . . . . . 102

Rauschenberg, Robert. . . . . . . . . . . . . . 19-20

Doolin, James. . . . . . . . . . . . . . . . . . . . . . 420

Lassaw, Ibram. . . . . . . . . . . . . . . . . . 381-382

Roden, Steve. . . . . . . . . . . . . . . . . . . . . . . 395

Dunlap, William. . . . . . . . . . . . . . . . . . . . . . 415

Lautner, John . . . . . . . . . . . 87-90, 92, 96-97

Rouault, Georges . . . . . . . . . . . . . . . . . . . . 410

E

Le Corbusier . . . . . . . . . . . . . . . . . . . . . . . 242

Ruggles, Kay LeRoy. . . . . . . . . . . . . . . . . 369

LeWitt, Sol. . . . . . . . . . . . . . . . . . . . . . . . 16-18

Ruscha, Ed. . . . . . . . . . . . . . . . . . . . . 263-266

Eames, Charles & Ray . . . . . . . . . . . . . 26-27

Lichtenstein, Roy . . . . . . . . . . . . . . . . . . . . . . 3

Engel, Jules. . . . . . . . . . . . . . . . . . . . . . . . . 185

Littell, Ross. . . . . . . . . . . . . . . . . . . . . . . . 394

Eversley, Fred . . . . . . . . . . . . . . . . . . . . . . . 210

Longo, Robert. . . . . . . . . . . . . . . . . . 344-345

Wiley, William T.. . . . . . . . . . . . . . . . . . . . . 384 Wolfe, James. . . . . . . . . . . . . . . . . . . . . . . 365


INFORMATION

DIRECTIONS TO AUCTION & PREVIEW

STAFF

Auction

Peter Loughrey

Sunday, February 21, 2016

From Hollywood

12pm (PT)

■■

Make your way to the 101 Freeway

■■

Proceed North on the 101

Shannon Loughrey

Preview

■■

Merge onto the 405 Freeway, north

Managing Director

February 8–20, 2016

■■

Take the 4th exit onto “Sherman Way, west”

Elizabeth Portanova

■■

Proceed west on Sherman Way

Marketing Director

■■

Turn left at the 3rd light onto

10am—6pm (PT) Address 16145 Hart Street Van Nuys, CA 91406

Director, Modern Art & Design

■■

“Woodley”

Zoe Weinberg

Take the first right onto “Hart”

Fine Art Specialist

street, which is a side street Telephone

Website

Carolina Ivey From the Westside

Client Services

■■

Take the 405 Freeway, north

■■

Continue past the Getty Museum

Clo Pazera

and the 101 Interchange

Consignor Services

LAMODERN.com ■■

Exit onto “Sherman Way, west”

■■

(this is 4 exits North of the 101)

Joe Alascano

■■

Proceed west on Sherman Way

Shipping

■■

Turn left at the 3rd light

■■

onto “Woodley”

Forrest Petterson

Take the first right onto “Hart”

Assistant to the Director

street, which is a side street

Photography by Mario de Lopez Susan Einstein e

323.904.1950

Essays by Greg Cerio

Public Relation Services provided by JMPR

February 21, 2016 Modern Art & Design Auction  

The February 21, 2016 Modern Art & Design Auction featuring Frank Lloyd Wright’s George D. Sturges Residence and property from the Estate of...

February 21, 2016 Modern Art & Design Auction  

The February 21, 2016 Modern Art & Design Auction featuring Frank Lloyd Wright’s George D. Sturges Residence and property from the Estate of...