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MODERN ART & DESIGN FEBRUARY 25, 2018


LAMA 16145 Hart Street, Van Nuys, CA 91406

Preview: February 12 - 24, 2018 10am–6pm (PT) Auction: Sunday, February 25, 2018 12pm (PT)


Art & Design As LAMA continues to celebrate our 25th anniversary

1966 was created in his groundbreaking appropriation

year, we are very happy to bring you another diverse

style practically before Stella’s own canvas for which

collection of twentieth century art and design. Many of

it is named was dry. His 2006 work, Andy Warhol, 'Two

the lots on offer are fresh from important collections

Campbell's Soup Cans, Onion,' 1961 and 1962, proves

and several works in this sale have never traded hands

that his vocabulary has only become more resonant

since new. For example, Mother and Child, a masterpiece

with time.

by Tony Rosenthal, was purchased at his landmark oneman show at Catherine Viviano Gallery in New York in

As vintage design becomes more scarce on the resale

1953. It is now being offered by the family of the original

market, we are excited to represent 21st century works

purchaser.

that show a natural extension of mid-century modern aesthetics. Wendell Castle, who got started in the

Both works by Agam in this auction are also from the

mid-century era, has created a masterful contemporary

original owners. Untitled from 1960 is one of his seminal

work in stainless steel that while massive and com-

works that first introduced his ideas of optical illusion.

plicated, comes off as simply sublime. Abilene exists

Continuity from 1980 represents his later period and

somewhere between art and design because it brilliant-

is the culmination of decades of refinement on the

ly walks the line between sculpture and furniture. So

concept. The former is modern; living in a subtle zone

too does the late Zaha Hadid’s Moon System sofa from

between post-painterly abstraction and the impending

2006, which still looks like it’s from the future a decade

Op art movement. The latter is contemporary and has

after it was first created.

the boldness and confidence of a maestro marshaling all of the tools at his disposal. It is both sculpture and

The tension between art and design is still fascinating

painting, yet he negates both to create an experience

to me after a quarter century of investigating these re-

that transcends a simple description of medium.

lationships. I hope you will keep up with our blog during the preview for more thoughts on these classic works. In

Richard Pettibone’s work is also represented by early

the meantime, I hope you will enjoy this catalogue and

and late pieces which demonstrate a dedication to his

participate in the sale!

singular vision for contemporary art, which has remained unchanged for over 50 years. Stella, Sunapee,

Peter Loughrey, Director


1 MIGUEL BERROCAL Mini-Maria

1968-1969 Metal chrome and rhinestone #2,228 of 9,500 Incised signature and edition Together with original packaging and assembly instruction book 2.125" x 3.125" x 1.875" (including base) (5 x 8 x 5 cm)

$1,000–1,500

2 MIGUEL BERROCAL Mini Zoraida

1969-1970 Nickel-plated metal #1,003 of 9,500 Incised signature and edition Together with original packaging and assembly instruction book 2.25" x 3.125" x 1.875" (including base) (6 x 8 x 5 cm)

$1,000–1,500


3 MIGUEL BERROCAL Portrait de Michèle 1969 Brass #1,327 of 9,500 Incised signature and edition Together with original packaging and assembly instruction book 4" x 2.75" x 2.125" (including base) (10 x 7 x 5 cm)

$1,000–1,500

4 MIGUEL BERROCAL Le Mini-David

1968 Nickel-plated aluminum alloy and green agate #7,875 of 9,500 Incised signature and edition Together with original packaging and assembly instruction book 5.5" x 2.125" x 2.125" (including base) (14 x 5 x 5 cm)

$1,000–1,500

13


5 LUIS FEITO LÓPEZ Untitled

c. 1960 Gouache on paper Signed in graphite lower right edge of sheet; retains World House Galleries label and Galerie Arnaud stamp frame verso Sheet: 20.75" x 28.75" Frame: 21.875" x 30.125" (Sheet: 53 x 73 cm)

$4,000–6,000

6 AUGUSTÍN ÚBEDA Untitled

c. 1958 Oil on canvas Signed lower right edge of canvas; retains Galerie Drouant-David label on canvas stretcher verso Canvas (vis.): 23" x 31.5" Frame: 31.75" x 40.25" (Canvas: 58 x 80 cm)

$3,000–5,000


7 MANUEL HERNÁNDEZ MOMPÓ Untitled (Two Figures) 1955 Wax crayon on paper Signed and dated lower left edge of sheet Composition/sheet: 18.875" x 11.375" Frame: 27.125" x 19.625" (Composition/sheet: 48 x 29 cm)

$3,000–5,000

8 RUFINO TAMAYO

Cabeza Sobre Fondo Rosa (from 8 Aguafuertes) 1984 Etching on Guarro paper #81 of 99 Published and printed by Ediciones Polígrafa, Barcelona Signed lower right edge of sheet; edition lower left Image/sheet: 30" x 22" (76 x 56 cm) LIT E RAT URE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J.C. Pereda. 2004. #320.

$3,000–5,000

15


9 SALVADOR DALÍ

Les Usuriers (from La Divine Comédie) 1964 Color woodcut on Rives BFK paper #55 of 150 Published by Editions Orangerie-Reinz, Köln Signed in red crayon lower center sheet; edition lower left Sheet: 13" x 10.25" Frame: 21.25" x 18" (Sheet: 33 x 26 cm) LITERATURE Salvador Dalí: Catalogue Raisonné of Prints, Lithographs and Wood Engravings 1956-1980. Vol. II. R. Michler and L. Löpsinger, eds. 1995. #1055.

$1,000–1,500

10 SALVADOR DALÍ

Montre Molle (Soft Watch) (from Quinze Gravures) 1968 Drypoint etching on Japan nacré paper #27 of 75 Published by Webungs- und Commerz Union Anstalt, Basel; printed by Ateliers Rigal, Paris Signed lower right margin beneath image; edition lower left Image: 7" x 5" Sheet (vis.): 16.25" x 11.25" Frame: 22.75" x 17.75" (Image: 18 x 13 cm) LITERATURE Salvador Dalí: Catalogue Raisonné of Etchings and Mixed-Media Prints, 1924-1980. R. Michler and L. Löpsinger, eds. 1994. #296.

$1,500–2,000


17

11 ARMAN (ARMAND FERNANDEZ) Violon flatware (117)

1973 #93 of 99 Gold plated silver flatware service Each marked “Arman” and “925,” with artist’s cipher and edition; case signed “Arman” recto Comprised of a nine-piece service for twelve (dinner knives, salad knives, dinner forks, salad forks, soup spoons, teaspoons, demitasse spoons, butter knives, dessert forks), and eight service pieces in a velvet-lined case Case: 35" x 22" x 11.5" (89 x 56 x 29 cm) P ROV E NANC E Ann Kendall Richards, Inc., New York, New York; Private Collection, Colorado (acquired directly from the above, 1993) PARTIAL ILLUSTRATION

$10,000–15,000


ILLUSTRATED OPPOSITE PAGE

14 BERNAR VENET 13 MATSUMI KANEMITSU One-Eyed Jack

12 PAUL JENKINS

Phenomena Standing 1962 Watercolor on paper Signed lower left sheet; retains Martha Jackson Gallery label verso Composition/sheet: 30.25" x 22.25" Frame: 33.625" x 25.25" (Composition/sheet: 77 x 57 cm)

$3,000–5,000

1972 Watercolor on paper Signed and dated lower right edge of sheet; retains Janus Gallery label verso Sheet: 29.75" x 22.75" Frame: 31.125" x 23.875" (Sheet: 76 x 58 cm)

Position of an Undetermined Line 1982 Charcoal and collage on paper Signed and dated sheet verso Together with copy of invoice from Malinda Wyatt Gallery dated August 19, 1982 Sheet (vis.): 33" x 28" Frame: 41.875" x 36.875" (Sheet: 84 x 71 cm) P ROV E NANC E Malinda Wyatt Gallery, Venice, California; Private

PROVE N A N CE Private Collection,

Collection, Glendale, California

Santa Barbara, California (acquired

(acquired directly from the above,

directly from the artist, 1972)

1982)

$1,500–2,000

$10,000–15,000


ILLUSTRATED PREVIOUS PAGE

15 HANS HARTUNG Untitled

1960 Pastel on paper Signed and dated in graphite lower left edge of sheet Sheet (vis.): 24.625" x 18.625" Frame: 38" x 32" (Sheet: 63 x 47 cm)

$15,000–20,000

21

EMBLEM DETAIL

16 MARC DU PLANTIER

Abstract Composition 1960 Wool tapestry Fabricated by Pinton Frères, Aubusson Woven signature and date lower right; manufacturer’s emblem woven lower left 76.75" x 49.25" (195 x 125 cm)

$5,000–7,000


17 JEAN (HANS) ARP

Tête-Bouteille et Moustache necklace 1966 Silver with semiprecious stones #61 of 100 Produced by Peter Ein-Hod, Ein Hod Impressed “Design by Arp/61/100” and “Peter Ein-Hod/Made in/ Israel/ST925” Pendant: 3.125" x 2.125" (8 x 5 cm) LIT E RAT URE Jewelry by Contemporary Painters and Sculptors. R.S. Neu. 1967. #4.

$12,000–15,000

23

ALTERNATE VIEW

18 JEAN (HANS) ARP Profile brooch

1963 Silver with inset pebble #58 of 100 Produced by Peter Ein-Hod, Ein Hod Impressed “Design by Arp/58/100” and “Peter Ein-Hod/Made in/ Israel/ST925” 3" x 1.75" (8 x 4 cm) LIT E RAT URE Jewelry by Contemporary Painters and Sculptors. R.S. Neu. 1967. #3.

$8,000–12,000


19 PABLO PICASSO Engraved bottle

1954 Turned vase of white earthenware clay, decoration in engobes and paraffin, boring rod engraved with white enamel #13 of 100 Madoura Bears the inscription “Edition Picasso Madoura” with “Edition Picasso” and “Madoura Plein Feu” stamps and edition to underside Ramié #248 17" x 6" diameter (43 x 15 cm) LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #248.

$4,000–6,000

20 FRANÇOISE GILOT Le Dice

1952 Colored crayon and gouache on paper Signed and dated lower right sheet; retains Yares Gallery label verso Composition/sheet: 19.75" x 25.75" Frame: 24.25" x 32.25" (Composition/sheet: 50 x 65 cm)

$7,000–10,000


21 JOAN MIRÓ

Ouvrage du Vent II 1962 Aquatint on Rives BFK paper #29 of 75 Published by Maeght, Paris Signed lower right margin beneath image; edition lower left Image: 8.5" x 22.75" Sheet (vis.): 13" x 26.25" Frame: 21.25" x 34.625" (Image: 22 x 58 cm) LIT E RAT URE Miró Graveur: 19611973. Vol. II. J. Dupin. 1989. #343.

$3,000–5,000

25

22 ALEXANDER CALDER

Joys of the Neophyte (from La Mémoire Elémentaire) 1976 Color lithograph on Arches paper #47 of 100 Published by Editions de la Différence, Paris; printed by ArtsLitho, Paris Signed in graphite lower right edge of sheet; edition lower left; retains the Gallery at Hess’s label verso Image/sheet: 28.25" x 20.25" Frame: 34.75" x 26.75" (Image/sheet: 72 x 51 cm)

$1,500–2,000


23 ÉTIENNE HAJDÚ Figure

c. 1962 Carved marble 22.25" x 8" x 6" (57 x 20 x 15 cm) P ROVENA NC E Felix Landau, Los Angeles, California; Thence by descent

$8,000–12,000


24 HENRY MOORE

Group of prints (4) A: 1963; B, C: 1973; D: 1974 Lithographs on paper A: #1 of 65; B: #7 of 65; C: #50 of 65; D: H.C. aside from the edition of 65 A, B, C: Co-published by Galerie Wolfgang Ketterer, Munich and Stuttgart and Felix H. Man, London; printed by Curwen Prints Ltd., London; D: Published by the artist; printed by J.E. Wolfensberger, Zürich A, B, C: Signed and dated in graphite lower right margin beneath image; edition lower left margin beneath image; blind stamp lower left sheet; D: Signed lower right margin beneath image; edition lower left margin beneath image; blind stamp lower left sheet Comprised of A: Square Forms; B: Eight Sculptural Ideas; C: Seven Sculptural Ideas; and D: Group of Figures A: Image: 18.125" x 23" Sheet: 20" x 25.5" B: Image: 15.375" x 19.5" Sheet: 19.75" x 25.25" C: Image: 13.25" x 10.25" Sheet: 25.75" x 19.75" D: Image: 9" x 13" Sheet: 18" x 22" (A: Image: 46 x 58 cm) LIT E RAT URE Henry Moore: Catalogue of Graphic Work, 1931-1972. Vol. I. G. Cramer. 1973. #51.; Henry Moore: Catalogue of Graphic Work, 1973-1975. Vol. II. G. Cramer. 1976. #280, #296, and #341.

$3,000–5,000

27


25 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950 Model no. ESU 420-N 58" x 47" x 17" (147 x 119 x 43 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$10,000–15,000


29

26 CHARLES & RAY EAMES Storage Unit

Herman Miller, custom ordered 1952 Model no. ESU 400 58.25" x 24" x 16" (148 x 61 x 41 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent

$8,000–12,000


27 CHARLES & RAY EAMES Desk

Herman Miller, designed 1950 Model no. D-20-C 29" x 60" x 24.5" (74 x 152 x 62 cm) LITERATURE The Herman Miller Collection. Manufacturer cat. 1955. 105.

$2,500–3,500

28 CHARLES & RAY EAMES Intermediate Desk Chair

Herman Miller, designed 1968 Impressed with Herman Miller logo and patent number 31" x 25" x 23" (79 x 64 x 58 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 327.

$1,000–1,500


29 CHARLES & RAY EAMES Tables (3)

Herman Miller, designed 1947 Model no. DTM-1 (dining table) One child’s table with Herman Miller label Comprised of a dining table and two child’s tables Dining table: 28.5" x 54" x 34" Child’s tables each: 17" x 21.25" x 18" (Dining table: 72 x 137 x 86 cm) LIT E RAT URE The Herman Miller Collection. Manufacturer cat. 1948. N.pag.

$2,000–3,000

30 CHARLES & RAY EAMES Dining chairs (2)

Evans Products, designed 1946; these examples produced c. 1950 Model no. DCW Each retains label Each: 26.5" x 24" x 22" (67 x 61 x 56 cm)

$2,000–3,000

31


31 PETER VOULKOS Vase

Studio, executed c. 1955 Glazed stoneware Signed 7.5" x 5.5" diameter (19 x 14 cm)

$3,000–5,000

32 HENRY TAKEMOTO Platter

Studio, executed 1959 Glazed ceramic Signed and dated 2.25" x 16" diameter (6 x 41 cm) P ROVENA NC E Felix Landau, Los Angeles, California; Thence by descent; Private Collection, West Hollywood, California

$1,500–2,000

33 HENRY TAKEMOTO Tall vessel

Studio, executed 1959 Glazed ceramic Signed and dated 22.5" x 5.75" x 5.75" (57 x 15 x 15 cm)

$3,000–5,000

34

ILLUSTRATED OPPOSITE PAGE

KEN PRICE

35

Untitled I (Coffee Cup) 1978-1979 Glazed earthenware #94 of 100 Fabricated by the Ken Price Studio, Taos Stamped presser mark to underside Together with original cotton canvas bag and signed documentation sheet 2.75" x 3.25" x 2.375" (7 x 8 x 6 cm)

$1,000–1,500

KEN PRICE

Sculpture in Nature II 2000 Acrylic and ink on paper Signed and dated in graphite lower left edge of sheet; titled to backing board verso Composition/sheet: 7.5" x 5.375" Frame: 12.875" x 10.875" (Composition/sheet: 19 x 14 cm) PROVE N A N CE Private Collection, La Jolla, California (gifted directly by the artist, c. 2005)

$8,000–12,000


36 JOHN MASON Vessel

Studio, executed c. 1960 Glazed ceramic Signed “Mason” 11" x 5" x 5" (28 x 13 x 13 cm)

$5,000–7,000


35

37 JOHN MASON Untitled (3)

2014-2015 Lithographs on paper Each: PP1 aside from the edition of 45 Published and printed by Cirrus Editions, Los Angeles Each signed and dated in graphite lower right edge of sheet; edition lower left Sheets each: 22.5" x 30.25" (57 x 77 cm)

$3,000–5,000


* SEE DETAIL ON PAGE 8


37

LOTS 38 AND 39, IN SITU

ILLUSTRATED PREVIOUS PAGE

38 BILLY AL BENGSTON The Alamo - Yellow

1969 Lacquer and polyester resin on aluminum #16 of 20 Indented initials upper center; etched initials, date, and edition “B.A.B./1969/16/20” lower center

39 BILLY AL BENGSTON The Alamo - Blue

1969 Lacquer and polyester resin on aluminum From the edition of 20 Indented initials upper center

LAMA would like to thank the Billy Al Bengston Studio for their assistance in cataloguing this work

LAMA would like to thank the Billy Al Bengston Studio for their assistance in cataloguing this work

36" x 34" (91 x 86 cm)

36" x 34" (91 x 86 cm)

$12,000–15,000

$12,000–15,000


40 BILLY AL BENGSTON Puerto Escondido

1977 Watercolor on paper Signed, titled, and dated in graphite lower center sheet; retains Artist Studio and James Corcoran Gallery labels and unknown inventory label verso

41 RON DAVIS

ILLUSTRATED OPPOSITE PAGE

Untitled

42

1967 Cel-Vinyl paint on acetate mounted to paper

PETER LODATO

Signed and dated sheet verso

1990 Oil on canvas

Oculus: 100 Aspects of the Moon

Sheet: 10.25" x 14.125" Frame: 17" x 21.25" (Sheet: 26 x 36 cm)

Acetate: 3.5" x 5.625" Sheet: 8.125" x 19.875" Frame: 8.375" x 20.125" (Acetate: 9 x 14 cm)

P ROVENA NC E James Corcoran

PROVE N A N CE Nicholas Wilder

Gallery, Los Angeles, California;

Gallery, Los Angeles, California;

Private Collection, Beverly Hills,

Private Collection, Beverly Hills,

P ROV E NANC E Private Collection,

California (acquired directly from

California (acquired directly from

La Jolla, California (acquired directly

the above)

the above)

from the artist, c. 1998)

$2,000–3,000

$4,000–6,000

$3,000–5,000

Signed, titled, and dated verso Canvas: 36" x 22.25" Frame: 37.5" x 23.75" (Canvas: 91 x 57 cm)


39


ILLUSTRATED PREVIOUS PAGE

43 LADDIE JOHN DILL Untitled

1976-1977 Cement, glass, blue cobalt, and oxide on wood Signed and dated verso 48" x 31.75" (122 x 81 cm)

$2,500–3,500

44 ERIC ORR Ruby-1

1982 Embossed lead relief over wood backing Retains two Neil G. Ovsey Gallery labels verso 24" x 38.75" (61 x 98 cm)

$2,500–3,500

45 ERIC ORR Gold Door

1979 Embossed lead relief over wood backing #7 of 25 Published and fabricated by Cirrus Editions, Los Angeles Signed and dated lower right corner; edition lower left; inscribed “© Cirrus Editions Ltd., 1979” verso 23.75" x 16.875" (60 x 43 cm)

$1,200–1,500

41


46 ED RUSCHA

Cheese Mold Standard with Olive 1969 13-color screenprint on wove paper #109 of 150 Published by the artist; printed by Jean Milant and Daniel Socha, Hollywood Signed and dated with edition in graphite lower left margin of sheet beneath image; retains Brooke Alexander Gallery label frame verso Image: 19.5" x 36.75" Sheet: 25.75" x 40.125" Frame: 29.875" x 46.75" (Image: 50 x 93 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #31.

$50,000–70,000


43

47 ED RUSCHA

Jumping Fish 1980 Etching on R.K. Burt paper #31 of 55 Published by Bernard Jacobson, Ltd., London; printed by Terry Wilson, Palm Tree Editions, London Signed and dated in pencil lower right margin; edition lower left; printer blind stamp lower right Image: 10" x 31.25" Sheet: 19.25" x 39.25" Frame: 19.75" x 39.5" (Image: 32 x 76 cm)

48

49

ED RUSCHA

JOE GOODE

Main Street (from Harvey Gantt Portfolio) 1990; published 1991 1-color screenprint on gray Rives BFK paper #89 of 250 Published to benefit the campaign of Harvey Gantt; printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #45.18 Image/sheet: 8.25" x 10.25" Frame: 14.5" x 16.5" (Image: 20 x 25 cm) LIT E RAT URE Edward Ruscha: Editions

L I T E RAT U R E Edward Ruscha: Editions

1959-1999: Catalogue Raisonné. 1st

1959-1999: Catalogue Raisonné. 1st ed. Vol.

ed. Vol. II. S. Engberg and C. Phillpot.

II. S. Engberg and C. Phillpot. 1999. #113.

1999. #60.

$3,000–5,000

$3,000–5,000

Forest Fire #117 1985 Pastel, graphite, and pigment on paper Signed in graphite lower center edge of sheet; dated lower right; inscribed “117” lower left Composition/sheet: 5" x 12.875" Frame: 12" x 20" (Composition/sheet: 13 x 33 cm)

$4,000–6,000


50 JOHN ALTOON Desert

c. 1958 Oil and mud on canvas Signed and titled verso; initialed on canvas stretcher verso Canvas: 10" x 8" Frame: 12" x 10" (Canvas: 25 x 20 cm)

$6,000–8,000

51 DANIEL LARUE JOHNSON Untitled

c. 1965 Mixed-media painting on linen in artist’s frame Linen: 13.5" x 12.25" Frame: 15" x 14" x 4" (Linen: 34 x 31 cm) P ROVENA NC E Private Collection, Los Angeles, California (gifted directly by the artist, c. 1968)

$1,500–2,000


45

VERSO DETAIL

52 LLYN FOULKES Landscape #23

1996 Oil, acrylic, and mixed-media on wood panel Signed, titled, and dated verso Panel: 14" x 17.75" Frame: 15.125" x 19" (Panel: 36 x 45 cm)

DETAIL

$20,000–30,000


53 TONY BERLANT Untitled (House)

c. 1980 Metal collage on plywood with steel brads 17" x 15.75" x 12" (43 x 40 x 30 cm)

$6,000–9,000

54 TONY BERLANT

Josephine brooch 1993 Mixed-media Signed, titled, and dated verso Together with storage box 3.25" x 2.625" (8 x 7 cm)

$2,500–3,500

BROOCH WITH ARTIST'S BOX


55 ROBERT GRAHAM

Panel from the Dance Door 1984 Patinated bronze relief From the edition of 100 Produced for the Music Center of Los Angeles 8.625" x 21.25" (22 x 54 cm)

$3,000–5,000

56 ROBERT GRAHAM Untitled

1975 Porcelain relief LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 9.125" x 11.75" (23 x 30 cm) P ROV E NANC E Nicholas Wilder Gallery, Los Angeles, California; Private Collection, Beverly Hills, California (acquired directly from the above)

$2,000–3,000

47


57 JOHN BALDESSARI

Jacob’s Ladder: Love (Yellow, Red, Blue and Black and White); War (Orange, Violet, Green and Black and White) 2004 Anodized print on aluminum elements, anodized aluminum frame and base with integrated motor and gear system #4 of 50 Published by Deutsche Guggenheim, Berlin Etched signature, date, and impressed edition to base; stamped publication information to underside 29" x 11.75" x 7.125" (74 x 30 x 18 cm)

$9,000–12,000

ALTERNATE VIEW


58 JOHN BALDESSARI

Visionaire 64 Art Portfolio Platinum 2014 Portfolio of 30 screenprints on archival paper and platinum print with silkscreen on paper in original portfolio case Visionaire 64 Art Portfolio: #172 of 200; Mars Rover Self Portrait: #72 of 100 Published by Visionaire Publishing, New York; printed by Amana Salto Inc., Tokyo and Edition Works, Tokyo Mars Rover Self Portrait: Edition in graphite lower right margin beneath image; blind stamp lower left; Portfolio: Edition on cover of case Comprised of Mars Rover Self Portrait and 30 prints Mars Rover Self Portrait: Image: 15.75" x 10.625" Sheet: 17.375" x 11.625" Others: Images/sheets each (or alternate orientation): 18" x 12" Portfolio case: 18.75" x 12.75" x 2" (Mars Rover: Image: 40 x 27 cm) PARTIAL ILLUSTRATION

$3,000–5,000

59 CHUCK CLOSE

Self-Portrait/Spitbite (White on Black) 1997 Spitbite aquatint on paper #41 of 50 Published by Pace Editions, Inc., New York; printed by Spring Street Workshop, New York Signed and dated in graphite lower right edge of sheet; edition lower left Together with copy of original invoice from Pace Prints dated June 23, 1998 Image: 13.375" x 9.75" Sheet: 20.875" x 15.5" Frame: 28.125" x 22.875" (Image: 34 x 25 cm) P ROV E NANC E Pace Prints, New York, New York; Private Collection, Encino, California (acquired directly from the above, 1998)

$3,500–4,500

49


60 MARY WEATHERFORD California

2013 Lithograph on paper PP1 aside from the edition of 40 Published and printed by Cirrus Editions, Los Angeles Signed and dated in graphite lower right edge of sheet; titled lower center; edition lower left; retains Cirrus blind stamp lower left Image/sheet: 27.375" x 22.375" (70 x 57 cm)

$1,000–1,500

61 MARY WEATHERFORD Union Ave

2013 Lithograph on paper PP1 aside from the edition of 40 Published and printed by Cirrus Editions, Los Angeles Signed and dated in graphite lower right edge of sheet; titled lower center; edition lower left; retains Cirrus blind stamp lower left Image/sheet: 27.375" x 22.375" (70 x 57 cm)

$1,000–1,500


62 ROBERT JACK

Simple Multiplier 2004 Ink on paper Retains Josée Bienvenu Gallery label verso Composition/sheet: 24" x 19" Frame: 27.125" x 22.25" (Composition/sheet: 61 x 48 cm) P ROV E NANC E Josée Bienvenu Gallery, New York, New York; Private Collection, New York, New York (acquired directly from the above)

$1,500–2,000

63 ROBERT JACK Untitled

2005 Ink on paper Retains Josée Bienvenu Gallery label verso Composition/sheet: 24" x 19" Frame: 27.25" x 22.25" (Composition/sheet: 61 x 48 cm) P ROV E NANC E Josée Bienvenu Gallery, New York, New York; Private Collection, New York, New York (acquired directly from the above)

$1,500–2,000

51


64 NICOLE EISENMAN Bambi Gregor

1993 India ink on paper Titled lower right sheet in composition; retains unknown inventory label verso Composition: 36.75" x 52.5" Sheet: 44.5" x 60.5" Frame: 48.75" x 64.75" (Composition: 93 x 133 cm) EXHIBITE D “Codex USA: Works on

ILLUSTRATED OPPOSITE PAGE

65 NICOLE EISENMAN Jew Drag King

1993 India ink on paper Signed, titled, and dated sheet verso with additional sketch Composition/sheet: 20.5" x 16" Frame: 29.25" x 25" (Composition/sheet: 52 x 41 cm)

$6,000–9,000

Paper By American Artists,” Entwistle Gallery, London, June 4-August 1, 1998

$20,000–30,000

LOT 65 VERSO DETAIL


Nicole Eisenman When Brooklyn-based artist Nicole Eisenman’s bold, idiosyncratic work first hit the walls of New York galleries in the early nineties, no one knew how to respond. Was it a feminist revision of art history? A disruptive “queering” of trite scenes culled from popular cartoons and commercial culture? A satirical psychoanalytical take on the monstrousness of public and private human experience? The answer, it turns out, was all of the above and then some. With its unique blend of lucid and imaginative elements, and gloriously awkward merging of the banal with the absurd, her 1992 Bacon-esque portrait Jew Drag King eludes simple categorization. The work is an inversion of mainstream conventions synthesized with counterculture lifestyles, creating a figurative language distinct to Eisenman.

novella Metamorphosis, and Disney’s cloyingly saccharine Bambi cartoon, which quite literally transforms the latter into a vaguely sinister, yet no less charming version of itself. (One morning, when Bambi woke from troubled dreams, he found himself transformed into a horrible vermin, indeed.) Gioni further notes, “she doesn’t passively genuflect” in front of the sources from which she draws, “she resurrects it and camouflages it into our present.” Pulling as much from art history as from popular culture, her arresting tableaus allude to a kind of warped sublimity where everyday acts like sleeping, eating, walking, or making love become at once comical, dark, absurd, grotesque, and above all, unsettling.

It would seem that Eisenman would not have it any other way. Her potent and decidedly maximalist oeuvre, which includes paintings, drawings, sculptures, collages, installations, and videos, runs the gamut in terms of both subject matter and medium. “I’ve never been able to hone in on one way of doing things,” she admits. “For years, it caused me a lot of anxiety, but I’m finally okay with it.”

Lewis, Jacqueline. “Painter Nicole Eisenman Hides Nothing.” Cultured, Jan. 2017.

Eisenman’s singular voice is bolstered by the rich medley of references to which she alludes in her work. She freely summons a motley mix of art historical allusions, referencing masterpieces created by the likes of Picasso, Munch, Giotto, Goya, Cézanne, and Holbein. Yet, as Massimiliano Gioni, the artistic director of New York’s New Museum, stresses, “in her revision, criticism and expansion of the canon of art history, Nicole not only refuses certain positions but also rediscovers and opens up her work to other traditions that have been marginalized or put aside—and whether it is the work of men or women is even less important.” Eisenman is not afraid of convoluting her visual narratives by throwing a proverbial wrench into the sources she references. Additional citations from diverse sources such as Shakespearian dramas, idioms of Social Realism and Neo-Expressionism, and an uneasy mélange of comics, politics, and pornography, create new dimensions within her work. Her 1993 India ink on paper, Bambi Gregor, is an apt example with its irreverent mix of references to Kafka’s unsettling

Solway, Diane. “Nicole Eisenman Has Both Style and Substance.” W, 21 Apr. 2016.

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66 CARLOS ALMARAZ Tropical Music 1989 Oil on canvas Signed and dated lower right; retains Jan Turner Gallery label verso Canvas: 16" x 12" Frame: 19.375" x 15.375" (Canvas: 41 x 30 cm)

$5,000–7,000

67 CARLOS ALMARAZ Beach Figure #1 1981 Oil on Masonite Retains Janus Gallery label verso Masonite: 7" x 5" Frame: 13.5" x 11.5" (Masonite: 18 x 13 cm)

$3,000–5,000


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68 CARLOS ALMARAZ

Southwest Song; Growing City (2) 1988 Screenprints on paper #12 of 120; #2 of 20 H.C. aside from the edition of 100 Each signed and dated lower right edge of sheet; edition lower left Image/sheet: 34.75" x 48" Frame: 37" x 50.5" Image/sheet: 33.25" x 48" Frame: 35.5" x 50.75" (Image/sheet: 88 x 122 cm)

$2,000–3,000


SIGNATURE DETAIL

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PARTIAL ILLUSTRATION

69 WILLIAM “BILLY” HAINES

Collection of original drawings (19) c. 1960 Ink on illustration boards Four inscribed “William Haines Inc.” recto Largest: 20" x 15" (51 x 38 cm) P ROV E NANC E Estate of Michael Morrison; Private Collection, Pasadena, California (acquired directly from the above)

$8,000–12,000


70 PAUL T. FRANKL Dining table

Brown-Saltman, designed c. 1951 Model no. 2254 Branded “2254 1/2 #215” 29.75" x 96" x 40" (76 x 244 x 102 cm) LITERATURE Johnson Contemporary Designs by Paul T. Frankl. Manufacturer cat. N.d. N.pag.

$6,000–9,000

71 PAUL LÁSZLÓ Side chairs (8)

Brown-Saltman, designed c. 1948 Each: 30" x 20" x 19" (76 x 51 x 48 cm)

$2,000–3,000


72 ILONKA KARASZ Teapot

Paye & Baker, designed 1928 5" x 6" x 4" (13 x 15 x 10 cm)

$2,000–3,000

73 PORTER BLANCHARD

Tea and coffee service (5) Porter Blanchard, designed c. 1935; this set produced 1964 Each stamped “Colonial Pewter/Porter Blanchard”; tray with incised signature and date Together with Allan Adler cake server Various dimensions P ROV E NANC E Sold by the Los Angeles County Museum of Art to benefit future acquisitions

$1,000–1,500

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74 CONRAD BUFF & DONALD HENSMAN Dining table

Custom, executed c. 1977 for the Anka Residence 29.5" x 48" x 48" (75 x 122 x 122 cm) P ROVENA NC E Estate of Anne Anka, Los Angeles, California

$3,000–5,000

75 BEN KNIGHTHORSE Jewelry (2)

Studio, designed c. 1980 Bracelet marked “18K” with maker’s mark and artist’s cipher; earring marked “Ben Knighthorse/14K” with artist’s cipher Comprised of a bracelet and earrings Various dimensions P ROVENA NC E Estate of Anne Anka, Los Angeles, California

$3,000–5,000


76 AMERICAN MODERN Table lamps (2)

Stiffel, designed c. 1965 Each: 30" x 18" diameter (76 x 46 cm)

$3,000–5,000

77 MICHAEL TAYLOR Dining chairs (8)

Baker, designed c. 1970 Model no. 2876 Three side chairs retain “Baker New World Furniture” tag Comprised of two armchairs and six side chairs Armchairs each: 33" x 21.5" x 22" Side chairs each: 32.5" x 20" x 22" (Armchairs each: 84 x 55 x 56 cm)

$2,000–3,000

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78 EVANS CLARK Room divider

Glenn of California, designed c. 1949 Open: 60" x 64" x 8" (152 x 163 x 20 cm)

$5,000–7,000

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79 ADRIAN PEARSALL Coffee table

Craft Associates, designed c. 1960 16" x 50" x 33" (41 x 127 x 84 cm)

$1,500–2,000

80 LUTHER CONOVER Stacking tables (3)

Conover, designed c. 1950 Tallest: 18.5" x 16" diameter (47 x 41 cm)

$1,000–1,500


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81 JOCKO JOHNSON Side chair

Studio, executed 1969 Etched signature and date “Robt. Johnson 1969” 33" x 15" x 22" (84 x 38 x 56 cm) P ROV E NANC E Jane Callendar, California (acquired directly from the artist, 1969); Thence by descent; Private Collection, Laguna Beach, California

$3,000–5,000

82 DOYLE LANE

Weed pots (3) Studio, executed c. 1955 Each signed “Lane” Blue: 3" x 3" diameter Green: 2.75" x 3.25" diameter Red: 2" x 3" diameter (Blue: 8 x 8 cm)

$4,000–6,000

83 DOYLE LANE Tiles

Studio, executed c. 1965 Glazed ceramic Ceramic: 6" x 7.5" Frame: 7.125" x 8.5" (Ceramic: 15 x 19 cm)

$1,000–1,500

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84 JACKSON WOOLLEY Wall plaque

Studio, designed c. 1955 Signed “JW” recto Open: 12" x 16" Closed: 12" x 8.5" (Open: 30 x 41 cm)

$5,000–7,000

ALTERNATE VIEW


85 LAURA ANDRESON Vessels (3)

Studio, executed c. 1960 Glazed stoneware Each signed Shallow bowl: 2.5" x 10" diameter Tall vase: 11" x 6.5" diameter Vase: 4.25" x 4.75" diameter (Shallow bowl: 6 x 25 cm)

$2,500–3,500

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86 LAURA ANDRESON Vases (3)

Studio, executed c. 1980 Glazed porcelain Each signed Left: 4.5" x 3.25" diameter Right: 4" x 3.5" diameter Center: 3.75" x 3.25" diameter (Left: 11 x 8 cm)

$1,500–2,000


87 SAM MALOOF

Executive desk chair Studio, executed c. 1968 Walnut and leather Branded “designed-made/Maloof/ California” 51" x 30" x 24" (130 x 76 x 61 cm)

$3,000–5,000

88 STAN BITTERS Planters (2)

Hans Sumpf, executed 2004 Inscribed “HSC C.18.20/RD” and dated 2004 Each: 20" x 19" diameter (51 x 48 cm)

$2,500–3,500

89 STAN BITTERS Planters (2)

Hans Sumpf, executed 2004 Inscribed “HSC B.21.18/RD” and dated 2004 Each: 18" x 21" diameter (46 x 53 cm)

$2,500–3,500


90 GERTRUD & OTTO NATZLER Conical vase

Studio, executed 1944 Blue Lavastone glazed ceramic Signed “Natzler” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work 7" x 5.5" diameter (18 x 14 cm)

$3,000–5,000

91 BEATRICE WOOD Footed bowl

Studio, executed c. 1973 Luster glazed ceramic Signed “Beato” with paper label “BW591” 2.75" x 5.75" diameter (7 x 15 cm) P ROV E NANC E Private Collection, La Jolla, California

$2,000–3,000

92 RALPH BACERRA

Dinner service (60) Studio, executed c. 1985 Each signed Comprised of a six-piece service for ten (dinner plates, salad plates, bread plates, soup bowls, tea cups, and saucers) Various dimensions PARTIAL ILLUSTRATION

$5,000–7,000

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93 JULIUS SHULMAN

State Capitol Bank, Oklahoma City 1963 Gelatin silver print Signed lower right margin of sheet beneath image Image: 19.75" x 15.875" Sheet (vis.): 20.875" x 16.375" Frame: 28.375" x 23.5" (Image: 50 x 40 cm)

$2,000–3,000

94 JULIUS SHULMAN

Interior of Mirman House, Arcadia 1958 Color photograph Signed and dated lower right margin of sheet beneath image Image: 16" x 20" Sheet (vis.): 17.375" x 20.875" Frame: 22.25" x 25.75" (Image: 41 x 51 cm)

$2,000–3,000

95 JULIUS SHULMAN

Freeman House, Los Angeles 1953 Gelatin silver print Signed and dated lower right margin of sheet beneath image Image: 16" x 19.75" Sheet (vis.): 17.375" x 21" Frame: 22.25" x 25.875" (Image: 41 x 50 cm)

$2,000–3,000

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ALVIN LUSTIG

ALVIN LUSTIG Credenza

ALVIN LUSTIG

Untitled 1951 Wood

Custom, executed 1947-1948 for Corinne Chochem and Yehoshua Kovarsky

Custom, executed 1947-1948 for Corinne Chochem and Yehoshua Kovarsky

32" x 56" x 19" (81 x 142 x 48 cm)

25.5" x 100" x 15.5" (65 x 254 x 39 cm)

P ROV E NANC E Corinne Chochem and

P ROV E NANC E Corinne Chochem and

Yehoshua Kovarsky, Los Angeles, Califor-

Yehoshua Kovarsky, Los Angeles, Califor-

nia; Estate of Max Finkelstein, Los Ange-

nia; Estate of Max Finkelstein, Los Ange-

les, California; Private Collection, Los

les, California; Private Collection, Los

Angeles, California

Angeles, California

$3,000–5,000

$5,000–7,000

96" x 15.125" x 15" (244 x 38 x 38 cm)

Hanging cabinet

This work was created for Alvin Lustig’s New York offices. PROVE N A N CE Estate of Elaine Lustig Cohen, New York, New York; Private Collection, Los Angeles, California E X H I B I T E D “Alvin Lustig: American Modernist,” International Art and Design Fair, New York, October 5-10, 2007

$6,000–9,000

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ALVIN LUSTIG STUDIO, 1951 Image courtesy of the Estate of Alvin Lustig


Bernard “Tony” Rosenthal Remarking on a new body of smaller-scaled sculptures by Tony Rosenthal, including Mother and Child (1953), in the November 1953 edition of Arts & Architecture then-Chairman of the Department of Art at UCLA, Gibson Danes, described the artist’s recent bronze works as being “lyrical with the gaiety and gravity of a superbly wrought ballet.” “Although autonomous and independent creations,” he continued, “these new works imply an architectural setting. They envelop and electrify the expansive dimension of their ordered world.” Rosenthal’s abstract, geometric sculptures continually embraced a play with seemingly irreconcilable binaries.

Echoing Danes, in 1999 American playwright Edward Albee would go on to note that Rosenthal’s “monumental outdoor pieces, set in landscapes or in busy city spaces, seem always to have been there. His more intimate Wall Sculptures and standing forms have a monumentality no matter what their actual size.” He continues, “Like all the important metal workers - like Stankiewicz, like Caro, like Serra, like Chamberlain - Rosenthal's objects instruct us, alter our perceptions, disturb and thrill us by their audacity, their wonder and their inevitability" — which is to say, by their glorious embrace of complex contradictions. Danes, Gibson. “Rosenthal.” Arts & Architecture Magazine, Nov. 1953, pp. 11–15.

Most widely known for his landmark public art installations, particularly in New York City, Rosenthal created dynamic sculptures out of several mediums including bronze, wood, steel, iron, and aluminum, in an array of sizes ranging from a few inches to several hundred feet. In their acute sensitivity to the relationship between form, site, and material, Rosenthal’s works uniquely bring sculpture and architecture together, regardless of whether they manifested as smaller scale objects placed in an intimate, interior setting, such as Mother and Child (1953), or as monumental structures, like his acclaimed, colossal Cube sculptures. Mother and Child (1953) is nearly 100 inches tall, but is one of the artist’s more intimate works, intended to be placed in an interior setting.

Albee, Edward. Tony Rosenthal, Monograph. Rizzoli, 1999.

Mother and Child (1953) was featured on the cover of the November 1953 edition of Arts & Architecture, and is an excellent example of Rosenthal’s early work. During this time, the sculptor was teaching at the University of California, Los Angeles, and working primarily in bronze. It was only a few years earlier, while stationed in England during the Second World War, that Rosenthal came across the monumental bronze sculptures of Henry Moore, who would be one of the artist’s greatest influences. As Danes noted in 1953, Rosenthal’s work continually “proves that sculpture is a necessary part of any important architectural environment” and that “the universal fact that all significant sculpture conveys meanings which are architectonic by the nature of its three-dimensional life.”

ARTS & ARCHITECTURE MAGAZINE COVER, NOVEMBER 1953


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DETAIL

99 BERNARD “TONY” ROSENTHAL Mother and Child

1953 Cut and welded bronze Incised signature near base Together with Arts & Architecture magazine from November 1953 99.125" x 14" x 18.25" (252 x 36 x 46 cm) ILLUST RAT E D Arts & Architecture. November 1953. Cover. E XHIBIT E D “Tony Rosenthal,” Catherine Viviano Gallery, New York, November 1953

$10,000–15,000


100 JOSEPH CORNELL Untitled (Sandbox)

c. 1960 Wood and glass box construction with sand, string, metal balls, and found objects Signed to paper label on underside 9" x 15.75" x 1.5" (23 x 40 x 4 cm)

$40,000–60,000

VERSO


101 CHRIS FEREBEE Untitled

1994 Wood, copper wire, painted plaster, glass, and paper on wood panel Signed and dated lower right; signed and dated in graphite and again in ink verso 14.25" x 32.5" x 1.625" (36 x 83 x 4 cm)

$2,000–3,000

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102 HARRY BERTOIA

Untitled (Sonambient) c. 1965 Beryllium copper and brass 59.125" x 8" x 8" (including base) (150 x 20 x 20 cm)

$20,000–30,000

103 HARRY BERTOIA Hood

c. 1970 Melt-pressed bronze LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work 8.5" x 8" x 5.25" (22 x 20 x 13 cm)

$10,000–15,000

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104 GEORGE RICKEY

Two Rotors One Rectangle 1993 Painted metal and stainless steel Signed and dated to base 9" x 9" x 6" (maximum overall dimensions) (23 x 23 x 15 cm)

$12,000–18,000


105 GEORGE RICKEY

Two Open Squares Spread II 1997 Painted metal and stainless steel Signed and dated to base 6.875" x 13.25" x 16" (maximum overall dimensions) (17 x 34 x 41 cm)

$10,000–15,000

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106 WARREN PLATNER Dining suite (5)

Knoll, designed 1966 Model nos. 3716T (table) and 1725 (chairs) Comprised of a dining table and four side chairs Table: 27.75" x 48" diameter Chairs each: 29" x 26" x 24" (Table: 70 x 122 cm) LITERATURE Knoll Price List. Manufacturer cat. 1988. 272.

$6,000–9,000


107 EERO SAARINEN Oval dining table

Knoll, designed 1956 Model no. 174TO 28.25" x 78" x 47.5" (72 x 198 x 121 cm) LIT E RAT URE Knoll Price List. Manufacturer cat. 1988. 158.

$4,000–6,000

108 HARRY BERTOIA

Diamond chairs (2) Knoll Associates, designed 1952 Model no. 421C Each: 30.25" x 33.5" x 24.25" (77 x 85 x 62 cm) LIT E RAT URE Knoll Furniture 1938-1960. S. Rouland. 2005. 75.

$1,000–1,500

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109 EERO SAARINEN

Womb chair and ottoman Knoll, designed 1948 Model no. 70PC (chair) and 74PC (ottoman) Chair: 35" x 38.5" x 36" Ottoman: 16" x 19.5" x 17.5" (Chair: 89 x 98 x 91 cm) LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 116.

$1,000–1,500

110 FLORENCE KNOLL Settee

Knoll, designed 1954 Model no. 32 29" x 48" x 24" (74 x 122 x 61 cm) LITERATURE Knoll Furniture Price List. Manufacturer cat. 1960. N.pag.

$1,000–1,500

111 CEDRIC HARTMAN Floor light

Cedric Hartman, designed 1966; this example produced 1990 Stamped “Cedric Hartman/090570/ Made in U.S.A.” with facsimile of signature 33" x 13" x 11" (84 x 33 x 28 cm)

$1,500–2,000


112 GEORGE NELSON Roll top desk

Herman Miller, designed 1964 Action Office Series 33" x 48" x 32" (84 x 122 x 81 cm)

$3,000–5,000

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113 RALPH RAPSON Rocking chair

Knoll, designed 1945 Inscribed in graphite “C S” 27.5" x 29" x 31" (70 x 74 x 79 cm)

$1,800–2,000


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115

116

CHRISTOPHER WOOL

CHRISTOPHER WOOL

CHRISTOPHER WOOL

1989 Screenprint on smooth wove paper

1989 Screenprint on smooth wove paper

1989 Screenprint on smooth wove paper

#72 of 350

#72 of 350

#72 of 350

Co-published by Thea Westreich, New York, and Gisela Capitain, Cologne

Co-published by Thea Westreich, New York, and Gisela Capitain, Cologne

Co-published by Thea Westreich, New York, and Gisela Capitain, Cologne

Sheet: 22.5" x 15.5" Frame: 25.5" x 18.25" (Sheet: 57 x 39 cm)

Sheet: 22.5" x 15.5" Frame: 25.5" x 18.25" (Sheet: 57 x 39 cm)

Sheet: 22.5" x 15.5" Frame: 25.5" x 18.25" (Sheet: 57 x 39 cm)

PROVE N A N CE Estate of Anne Anka,

P ROV E NANC E Estate of Anne Anka,

P ROV E NANC E Estate of Anne Anka,

Los Angeles, California

Los Angeles, California

Los Angeles, California

$3,000–5,000

$3,000–5,000

$3,000–5,000

Untitled (from Black Book)

Untitled (from Black Book)

Untitled (from Black Book)


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118

119

RAYMOND PETTIBON

KARA WALKER

TAKASHI MURAKAMI

No Title (I want the person...) 1985 Ink on paper Signed and dated sheet verso Composition: 11.5" x 8" Sheet: 11.75" x 9" Frame: 18.5" x 15.5" (Composition: 29 x 20 cm)

$8,000–12,000

Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times 1997 Leather bound volume of offset lithographs and five laser-cut popup silhouettes on wove paper From the edition of 4,000 Published by the Peter Norton Christmas Project, Santa Monica Together with original packaging 9.25" x 8.25" x .625" (closed) (23 x 21 x 2 cm) LIT E RAT URE The Book as Art: Artists’ Books from the National Museum of Women in the Arts. J. Drucker and K. Wasserman. 2006. 44.

$1,500–2,000

Oval

2000 Plastic and compact disc From the edition of 3,000 Published by the Peter Norton Christmas Project, Santa Monica; fabricated by CUBE Company, Ltd., Tokyo Retains molded signature and date with publication information to underside Together with original packaging 10.5" x 7.5" x 7.5" (27 x 19 x 19 cm)

$3,000–5,000


120 BARRY MCGEE

Untitled (Yellow Man on Right Side) 2003 Acrylic on metal 9.5" x 32" x 2.75" (24 x 81 x 7 cm) P ROVENA NC E Roberts & Tilton Gallery, Culver City, California; Estate of Anne Anka, Los Angeles, California (acquired directly from the above)

$4,000–6,000

121 DAVE MULLER

The King Springs Eternal 2009 Acrylic on paper Retains Blum & Poe Gallery label verso Image: 1.875" x 98.5" Sheet: 7.25" x 105.25" Frame: 9.75" x 108.25" (Image: 5 x 250 cm) P ROVENA NC E Estate of Anne Anka, Los Angeles, California

$4,000–6,000


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122 CLAIRE FONTAINE

Passe-partout (Leurre) 2008 Hacksaw blades, bicycle spokes, paperclips, safety pins, allen keys, fishing hooks, artificial bait, and cable Unique 8.75" x 4.25" x 3" (dimensions variable) (22 x 11 x 8 cm) P ROV E NANC E Private Collection, New York, New York

$8,000–12,000


* SEE DETAIL ON PAGE 5

Frank O. Gehry Frank O. Gehry and Sophie Calle, friends of nearly 25 years, collaborated in 2006 to design Le Téléphone, a large sculpture which was installed as a work of public art in Paris until 2012. The flower-shaped structure was a functioning telephone booth, created with the sole intention of receiving calls from Sophie Calle. From her home just outside of Paris, Calle would call Le Téléphone at random times to converse with whomever happened to be walking by. The calls ranged from 8 seconds to 4 hours. Shortly after Le Téléphone appeared on the Pont du Garigliano in Paris, Gehry created his Memory of Sophie Calle’s Flower (2012), an elegant, cast urethane sculpture referencing the duo’s original collaborative effort. True to its title, Gehry’s sculptural homage to the collaboration appears as but a memory of the piece installed in Paris. Its ethereal translucence and smaller scale stand in sharp contrast to the imposing presence and rich color palette of the original work. Two years later, Calle created In Memory of Frank Gehry’s Flowers (2014), effectively creating a conceptual “Droste effect,” wherein an image is repeated endlessly within the composition. Calle’s work, also published by Gemini G.E.L., features a composition that traces back to the original work and pushes appropriation and collaboration to new limits. Artists have been working together for as long as art has been created, but it has played a particularly significant role in the production of art since the early 1900s, when Cubist and Dadaist artists used it as a key artistic strategy for questioning and redefining the nature of art itself. Memory of Sophie Calle’s Flower is a compelling example of on-going artistic dialogue and memory itself, in the 21st century.

“Le Telephone, Sophie Calle Et Frank Gehry.” YouTube, 2009. “Téléphone Pont Du Garigliano.” Que Faire à Paris, Monnuage, 2012. “6 Of Frank Gehry’s Greatest Non-Architectural Works.” Mirvish and Gehry, Toronto, 5 Aug. 2015.


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123 FRANK O. GEHRY

Memory of Sophie Calle’s Flower 2012 Cast urethane with wood pedestal #26 of 28 Published by Gemini G.E.L., Los Angeles Signed in felt-tip marker with printed title, date, and edition to plaque on underside 22.5" (68" with base) x 22" x 19" (57 x 56 x 48 cm)

$12,000–18,000

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124 TONY OURSLER Navert

2004 Fiberglass sculpture, Audiovox DVD player, DVD, LCD screen, cord Signed, dated, and inscribed in black felt-tip marker “Blue/Tony Oursler 2004” to DVD Together with copy of original invoice from Margo Leavin Gallery dated April 27, 2004 63" x 15" x 4.5" (160 x 38 x 11 cm) P ROV E NANC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2004) E XHIBIT E D “Tony Oursler,” Margo Leavin Gallery, Los Angeles, April 24-May 27, 2004

$10,000–15,000


Cy Twombly When Cy Twombly’s work first emerged in the early 1950s many critics scoffed at the deeply expressive gestures, scribbles, drips, and scratches that have come to firmly secure his place as one of the most innovative artists of the 20th century. "My line is childlike but not childish,” the artist once offered in response to criticism pegging his work as simplistic and lacking in clear technique. “It is very difficult to fake ... to get that quality you need to project yourself into the child's line. It has to be felt." The emotional caliber of Twombly’s elegantly orchestrated compositions is palpable. Chock-full of fluid starts and stops, erasures, and replacements, which all lend a manuscript-like quality to his canvases. And while the same highly animated, lyrical scribbles and gestural scratches might be evocative of graffiti, Twombly himself shied away from such identification. "Graffiti is linear and it's done with a pencil, and it's like writing on walls. But in my paintings it's more lyrical," he explained. At their core, Twombly’s “scribble” works point to the subtle tensions between language and its graphic representation. In a short essay penned in an Italian art journal in 1957, incidentally the only written statement the artist ever offered on his work, Twombly noted that each line he made in his work was at its core “the actual experience” of its creation. “It does not illustrate,” he continued, “It is the sensation of its own realization.” Language, especially the written word, are essential to both Twombly’s conceptual and practical approach to painting. A wide variety of literary sources including poems, myths, and historical texts each influenced his work in countless respects. The literature of the Classical world in particular exerted substantial influence on his work as a whole, especially after Twombly moved to Rome in 1957, where he would remain for the rest of his life. While the impact of literature on Twombly’s work is discernable throughout

his oeuvre, perhaps even more dominant is the influence that the actual act of writing itself had on the artist’s work. In emphasizing the inherently visual, graphic nature of the written word, works such as Twombly’s 1967 etching, Note II, blur clear-cut distinctions separating word and image. Twombly’s animated compositions uniquely engage a form of ekphrastic tension that asks the viewer to reconsider the distinctions commonly thought to exist between different registers of communication: the verbal and the visual, the poetic and the plastic, motion and stasis. In these exuberant "scribble" works the visual and the verbal operate in a round of competing proofs effectively producing what Jacques Rancière calls “the pensiveness of the image,” which he identifies as “the latent presence of one regime of expression in another.” Ecstatic works, such as Note II, are ingenious experiments in what happens when both language and images of language take on a life of their own once extracted from their original context. Perhaps this is what lead English Art Historian Simon Schama to conclude: "I have always thought "Twombly" ought to be (if it isn't already) a verb, as in twombly: (vt.): to hover thoughtfully over a surface, tracing glyphs and graphs of mischievous suggestiveness, periodically touching down amidst discharges of passionate intensity. Or, then again, perhaps a noun, as in twombly (n.): A line with a mind of its own."

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125 CY TWOMBLY Note II

1967 Etching on Auvergne handmade paper Unique trial proof aside from the edition of 14 Published and printed by Universal Limited Art Editions, West Islip Initialed in graphite lower right edge of sheet; edition lower left; retains ULAE blind stamp lower left Together with copy of invoice from Margo Leavin Gallery dated April 25, 2000 Image: 8.75" x 10.75" Sheet: 25.5" x 20" Frame: 29" x 24.125" (Image: 22 x 27 cm) Two unique trial proofs were produced for this edition. The trial proofs tested variations in wiping, which refers to the process where the excess ink is wiped away from the surface of the plate, leaving the ink in the recessed areas. For this example, less ink was wiped from the

Bradley, Laura. “Top 10 Cy Twombly Facts & Quotes.” AnOther, 19 Sept. 2014. “Cy Twombly: Scribbles and Masterpieces.” The Telegraph, 2017. Jacques Rancière, The Emancipated Spectator (London and New York: Verso, 2011), 124. Also: “The pensiveness of the image is the result of this new status of the figure that

lines framing the composition, creating a bold border. P ROV E NANC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Encino, California (acquired directly from the above, 2000) LIT E RAT URE Cy Twombly: The Printed Graphic Work, 1953-1984. H. Bastian.

conjoins two regimes of expression, without homogenizing

1984. #7.

them,” 122.

$60,000–90,000

95


126 ROBERT RAUSCHENBERG

Pull (from Hoarfrost Editions) 1974 Offset lithograph and screenprint transferred to collage of paper bags and fabric on cheesecloth and silk taffeta #19 of 29 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition lower center edge Gemini G.E.L. #41.93 Collage: 85" x 48" Frame: 88" x 53" (Collage: 216 x 122 cm) P ROVENA NC E Estate of Anne Anka, Los Angeles, California

$10,000–15,000


97

127 ROBERT RAUSCHENBERG Sling-Shots Lit #6

1985 11-color lithograph and assemblage with sailcloth, Mylar, wooden lightbox, aluminum, moveable window shade system, Plexiglas bars, and fluorescent light fixture #17 of 25 Published by Gemini G.E.L., Los Angeles Signed, dated, and titled with edition on signature plaque on lower left side of lightbox Gemini G.E.L. #41.161 84.5" x 56.25" x 12.5" (215 x 143 x 32 cm) LIT E RAT URE Rauschenberg at Gemini. Armory Center for the Arts exh. cat. 2010. 38.

$20,000–30,000


128 LOUISE BOURGEOIS

Give or Take (How Do You Feel This Morning?) 1990 Patinated bronze #11 of 13 artist's proofs Incised initials and date to underside; retains stamped foundry mark, date, and edition "XI AP" 4" x 8.5" x 5.5" (10 x 22 x 14 cm)

$15,000–25,000


129 BETYE SAAR Untitled

1976 Mixed-media assemblage Signed and dated to underside Closed: 3" x 6" x 1" Open: 5.5" x 6" x .5" (Closed: 8 x 15 x 3 cm) P ROV E NANC E Private Collection, Los Angeles, California (gifted directly by the artist, c. 1976)

$2,000–3,000

130 ALEXIS SMITH Choice Quality

1979 Camel cigarette pack and mirror on painted wood 2.375" x 7.25" x 6.25" (6 x 18 x 16 cm) P ROV E NANC E L.A. Municipal Art Gallery, Los Angeles, California; Private Collection, Santa Barbara, California (acquired directly from the above, 1980) E XHIBIT E D “Significant Others: Collections of Artists,” Santa Barbara Contemporary Arts Forum, August-September 1998

$3,000–5,000

99


131

132

SCOTT OLSON

SCOTT OLSON

2008 Oil on MDF panel

2008 Oil on MDF panel

CHRISTIAN ROSA

Retains Overduin and Kite label verso

Retains Overduin and Kite label verso

Panel: 16" x 12" Frame: 17.25" x 13.25" (Panel: 41 x 30 cm)

Panel: 16" x 12" Frame: 17.25" x 13.25" (Panel: 41 x 30 cm)

2014 Oil, charcoal, oil stick, and graphite on canvas

P ROVENA N C E Estate of Anne Anka,

PROVE N A N CE Estate of Anne Anka,

Los Angeles, California

Los Angeles, California

$4,000–6,000

$4,000–6,000

Untitled

Untitled

ILLUSTRATED OPPOSITE PAGE

133 Untitled

Signed and dated on canvas overlap verso 78.75" x 78.75" (200 x 200 cm)

$20,000–30,000


101


134 BLAKE RAYNE

E X H I B I T E D “Empedocles/Hölder-

P ROV E NANC E Miguel Abreu Gallery,

lin, Cézanne/Gasquet, Straub/Huil-

New York, New York; Estate of

let, Monique Païni & Blake Rayne,”

Anne Anka, Los Angeles, California

2006 Acrylic diptych on canvas

Miguel Abreu Gallery, New York,

(acquired directly from the above,

March 12-April 9, 2006; “Make

2006)

Each signed on canvas overlap verso; each dated and initialed on canvas stretcher verso

of Cologne,” traveling exhibition,

Untitled Painting No. 25 (California Redwood)

Your Own Life: Artists In and Out Institute of Contemporary Art, Philadelphia, April 21-July 30, 2006;

LAMA would like to thank the Miguel Abreu Gallery for their assistance in cataloguing this work

The Power Plant Contemporary

Canvases each: 44" x 34" Overall: 44" x 68" (Canvas each: 112 x 86 cm)

2007; Museum of Contemporary Art,

Art Gallery, Toronto, September 9-November 25, 2006; Henry Art Gallery, Seattle, January 20-April 22, North Miami, May 11-July 15, 2007

ILLUST RAT E D Blake Rayne: Tense and Spaced Out. K. Pickard and T. Saltarelli, eds. 2017. 51.

$8,000–12,000


ALTERNATE VIEW

103

SIGNATURE AND DATE DETAIL

135 TIM HAWKINSON Sonic

2004 Bronze From the edition of 6 Signed and dated to underside 23.75" x 21" x 26.5" (60 x 53 x 67 cm) P ROV E NANC E Ace Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Tim Hawkinson. H. Barton. 2015. #2004.05.

$30,000–50,000


136 TERRY WINTERS Untitled

1981 Charcoal and watercolor on paper Signed and dated sheet verso; retains Margo Leavin Gallery and Yamahata Fine Art labels frame verso Together with copy of original invoice from Margo Leavin Gallery dated February 28, 2002 Composition/sheet: 9" x 5.875" Frame: 16" x 13" (Composition/sheet: 23 x 15 cm) P ROVENA NC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2002) EXHIBITE D “Terry Winters,” Margo Leavin Gallery, Los Angeles, February 12-March 16, 2002

$4,000–6,000


105

137 DOUGLAS HUEBLER Multi-Colored #7

1980 Mixed-media on paperboard Signed and dated in graphite lower right edge of paperboard Board (vis.): 15.25" x 24.75" Frame: 16.5" x 25.75" (Board: 39 x 63 cm) P ROV E NANC E Private Collection, Santa Barbara, California

$6,000–8,000


107

139 DONALD SULTAN Visual Poetics ILLUSTRATED PREVIOUS PAGE

138 DONALD SULTAN

Trumpet March 17 (4) 2008 The complete set of four color etchings on Somerset paper Each: #2 of 50 Published by Polígrafa Obra Gràfica, Barcelona Each signed, titled, and dated in graphite along left edge of sheet; edition lower right

1998 Black leather portfolio with text, illustrations, and 6 loose color screenprints #170 of 395 Published and printed by Marco Fine Arts Contemporary Atelier, El Segundo Each loose sheet initialed in graphite lower right; edition with blind stamp lower left; frontispiece with edition center With poetry by Robert Creeley and text by Michael McKenzie

Images each: 31.5" x 28" Sheets each: 47" x 35" (Images each: 80 x 71 cm)

Portfolio: 22.5" x 17.5" Loose sheets each: Various dimensions (Portfolio: 57 x 44 cm)

$4,000–6,000

$3,000–5,000

140 GWYNN MURRILL Untitled 2004 Bronze Signed and dated to underside Together with base 4.75" x 13.5" x 5" (12 x 34 x 13 cm)

$3,000–5,000


TABLE TOP DETAIL

141 GEORGE NAKASHIMA Minguren coffee table

Studio, executed 1968 Black walnut Together with copy of Nakashima Studio order card dated March 2, 1968 15.5" x 46" x 27" (39 x 117 x 69 cm) P ROVENA NC E Richard A. Lathlaen, San Diego, California; Private Collection, San Diego, California

$18,000–25,000


142 GEORGE NAKASHIMA

Dining table with clustered base Studio, executed 1979 Black walnut Marked “Hoblitzelle” Together with copy of Nakashima Studio order card dated August 24, 1979 29" x 60" diameter (74 x 152 cm)

$10,000–15,000

109 143 GEORGE NAKASHIMA Dining chairs (4)

Studio, executed c. 1951 Black walnut Each: 29" x 24" x 18" (74 x 61 x 46 cm)

$3,000–5,000


Wendell Castle In 1966, envelope-pushing American furniture artist Wendell Castle (b. 1932) landed in the pages of Life magazine where he was quoted as saying “I have no special interest in form following function,” in reference to the famous Louis Sullivan axiom. Castle’s work continues to attest to this predisposition some six decades later. Often dubbed the “founding father” of the Art Furniture Movement and a strong proponent of the American Crafts Movement, Castle’s elegant but bold sculptural furniture works engage biomorphic, organic forms that favor whimsy and grace over sheer functionality. Castle has consistently defined his work as sculpture with a caveat, noting that it also “performs some useful function in addition to, I hope, being beautiful." Born in Emporia, Kansas in 1932, Castle didn’t set out to become a furniture designer. While pursuing formal training in industrial design and sculpture at the University of Kansas, two experiences set Castle on a path to developing the approach to furniture design for which he is now so widely known. First, as Castle began experimenting with uncommon industrial materials in his sculptural works he noted that some of these pieces “quite by accident ended up by looking a bit like strange pieces of furniture with seats at the wrong heights … That idea interested me and I began to go in that direction." The second experience was when Castle stumbled upon the wooden works of American sculptor Wharton Esherick, who brought the principles of sculpture to bear on ordinary, utilitarian objects, such as chairs and tables. The discovery of Esherick’s work would prove pivotal to Castle’s career. “I didn’t realize there were people who made furniture by hand,” Castle has recollected of this crucial moment. “I didn’t even know there was a field.” This revelation would lead Castle to reconsider traditional philosophies defining craft and design from fine art, while altering the direction of his practice in one fell swoop.

give up on sculpture, because I felt it was a higher form of art. But I also didn’t understand why furniture was so low on the totem pole.” Not waiting for an answer as to why these two creative fields remained formally segregated, Castle began designing work that both confounded and delighted critics by blending the two in wholly unprecedented ways. "I could see after a brief industrial design job that no one was really interested in making things of sort of experimental or unusual nature,” Castle recollected on one occasion. “The only way I could make what I wanted to make was to make it myself." Crafted from superb, exotic hardwoods and industrial materials, including plastics, metals, and veneers, Castle’s organic approach to furniture design lends his works an uncommonly biomorphic, sculptural quality. Equally organic is the philosophy that Castle takes with regard to his practice as a whole. "My vocabulary has always been organic; sometimes I think of it as actually growing from a seed/idea. Hence, my ideas actually grow into something. Each idea has other ideas which grow from it," the artist once explained. With its lyrical lines and over-the-top, biomorphic form, Castle’s superb Abilene (2008) chair is an exceptional example of the artist’s signature work. True to form, this spectacular piece resists precise classification. It may neither be comfortably called a piece of furniture, nor a sculpture. Abilene is at once classic and modern, paying homage to the traditional craftsmanship that influenced Castle’s forms, while utilizing modern materials and language of industrial design.

Dailey, Meghan. “King Castle.” Introspective Magazine, 1stDibs, 19 Mar. 2014. Fison, Lizzie. “‘Furniture Is Still a Relative Bargain’ Compared to Art, Says Artist

Confounded by the seemingly arbitrary distinctions between art and design, Castle began to question the double standard applied to each of these classifications. “The general thought then was, if something had a function, it couldn’t be fine art,” Castle remarked. “That was a dilemma: I didn’t want to

Wendell Castle.” De Zeen, 5 May 2017. Jow, Tiffany. “Wendell Castle: Agent of Change.” Surface, 19 June 2017. Leen, Nina. “The Old Crafts Find New Hands.” Life, 29 July 1966, pp. 33–40. “Wendell Castle.” Edited by Smithsonian American Art Museum, Smithsonian American Art Museum, Smithsonian Online.


111

SIGNATURE, DATE, AND EDITION DETAIL

144 WENDELL CASTLE

Abilene rocking chair Studio, executed 2008 #4 of 8 Stainless steel Signed and dated with edition to underside 30.5" x 29" x 52" (77 x 74 x 132 cm) P ROV E NANC E Barry Friedman, Ltd., New York, New York; Private Collection, Los Angeles, California ALTERNATE VIEWS

$80,000–120,000


ILLUSTRATED OPPOSITE PAGE

145

146

147

CHRIS FEREBEE

ZAHA HADID

DAMIEN HIRST

Studio, designed 1999-2000 Together with promotional materials for the Newform Series

B&B Italia, designed 2007 From the Moon System series Retains B&B Italia label

2002; hand colored in 2006 Ink, crayon, and etching on paper

14" x 30" diameter (36 x 76 cm)

34" x 112" x 77" (86 x 284 x 196 cm)

This prototype was part of the “Newform

$5,000–7,000

Ghost table prototype

Series,” which incorporated industrial objects into the design. Only one table was eventually produced as part of the series.

$2,500–3,500

Sofa

Spinning Around

Signed lower left; titled lower right; dated upper right Together with certificate of authenticity from DTR Modern Galleries Composition/sheet: 43.5" x 35.75" Frame: 55.125" x 47.375" (Composition/sheet: 110 x 91 cm) This example is taken from one of five unique, hand colored sets of the portfolio In a Spin, the Action of the World on Things, Vol. II.

$20,000–30,000


148 MINEO MIZUNO

Cup and platter (2) Studio, executed 1982 Each signed and dated Platter: 1.5" x 20" x 20" Cup: 2" x 6" x 3" (Platter: 4 x 51 x 51 cm)

$1,500–2,000

149 HARRY OSAKI Flatware (75)

Studio, designed c. 1960 Stamped “Osaki/Hand-Wrought/ Sterling” Comprised of a seven-piece service for nine (salad forks, dinner forks, teaspoons, iced teaspoons, soup spoons, butter knives, dinner knives), ice pick, salt spoon, plus additional pieces Various dimensions

$4,000–6,000

PARTIAL ILLUSTRATION


150 NED VENA

Untitled (4) 2011 Rust-Oleum flat white enamel on linen Signed and dated in black felt-tip marker verso; retains Michael Benevento label verso 12.25" x 96.25" (31 x 244 cm) P ROV E NANC E Estate of Anne Anka, Los Angeles, California

$7,000–10,000

115

* SEE DETAIL ON PAGE 9

151 LOUISE NEVELSON Untitled

c. 1979 Painted cigar box with wood construction Retains Louise Nevelson Estate label and inventory label inscribed “S20232/LN” to underside 9.25" x 7" x 2.25" (closed) (23 x 18 x 6 cm) ALTERNATE VIEW

$8,000–12,000


152 ILLUSTRATED OPPOSITE PAGE

TARA DONOVAN

Untitled (Bubble Drawing)

153

2005 Ink on foamcore

TARA DONOVAN

Signed and dated lower right

2005 Paper plates and glue

Foamcore: 48" x 71.75" Frame: 55.5" x 79.375" (Foamcore: 122 x 182 cm)

Untitled (Paper Plates)

36" x 51.5" x 44.5" (91 x 131 x 113 cm)

P ROVENA NC E PaceWildenstein, New

PROVE N A N CE PaceWildenstein,

York, New York; Private Collection,

New York, New York; Private Collec-

Los Angeles, California (acquired

tion, New York, New York (acquired

directly from the above)

directly from the above)

$15,000–20,000

$15,000–25,000


117


154 AD REINHARDT

Ten Screenprints by Ad Reinhardt 1966 The complete portfolio of 10 color screenprints on heavy wove paper #229 of 250 Co-published by Wadsworth Atheneum, Hartford and Ives-Sillman, Inc., New Haven; printed by Sirocco Screenprints, New Haven Edition to justification page; each sheet retains Ives-Sillman blindstamp Together with original paper folders Images each: Various dimensions Sheets each: 22" x 17" (56 x 43 cm)

$5,000–7,000


155 MARY CORSE

Untitled (Grey Light Grid) c. 1990 Glass microspheres in acrylic on canvas 60" x 60" (152 x 152 cm)

$30,000–50,000

119


ALTERNATE VIEWS


ILLUSTRATED PREVIOUS PAGE

156

157

158

RONALD MALLORY

RONALD MALLORY

CHUCK PRENTISS

c. 1966 Mercury behind acrylic

c. 1970 Mercury encased in acrylic

c. 1969 Stainless steel with lights

Acrylic: 14" x 14" Frame: 14.5" x 14.5" x 2.25" (Acrylic: 36 x 36 cm)

Incised initials “RM”

#7 from an unknown edition size

$2,000–3,000

Each: 4.75" x 6" x 6" (12 x 15 x 15 cm)

Untitled

$2,000–3,000

Ring

Kinetic boxes (2)

$1,500–2,000

121


123

160 DAN FLAVIN

Guggenheim Tondo 1992 2-color mezzotint on handmade paper #7 of 25 ILLUSTRATED PREVIOUS PAGE

159

Published by the Guggenheim Museum, New York

161

MARK FLOOD

Signed and dated with edition in graphite to interior and exterior

SOL LEWITT

2014 Acrylic on canvas

Together with copy of invoice from Jim Kempner Fine Art dated December 11, 2007

1997 Gouache on cardstock

Signed, titled, and dated on canvas overlap verso; retains Peres Projects label on canvas stretcher verso

13" x 3" diameter Acrylic box: 14.25" x 3.25" x 3.25" (33 x 8 cm)

Blue Flint

66" x 33" (168 x 84 cm)

Untitled

Signed and dated in graphite lower right edge of sheet Composition/sheet: 14.875" x 11.25" (38 x 29 cm)

P ROV E NANC E Jim Kempner Fine Art, New York, New York; Private

P ROV E NANC E Private Collection,

Collection, Encino, California

Los Angeles, California (acquired

PROVE N A N CE Estate of Anne Anka,

(acquired directly from the above,

directly from the artist); Thence by

Los Angeles, California

2007)

descent

$12,000–18,000

$4,000–6,000

$5,000–7,000


ILLUSTRATED PREVIOUS PAGE

162 SOL LEWITT

Arcs from Sides or Corners, Grids & Circles (8) 1972 The complete set of eight silkscreens on Rives BFK paper Each: Artist’s proof aside from the edition of 100 Published by Pio Monti, Macerata; printed by John Campione, New York Each signed lower right margin beneath image; edition lower left Sol LeWitt Catalogue Raisonné #1972.03 Images each: 13.875" x 13.875" Sheets (vis.) each: 14.5" x 14.5" Frames each: 15.25" x 15.25" (Images each: 35 x 35 cm)

$5,000–7,000

163 JULES ENGEL Meteor

1966 Gouache on paper Signed, dated, and inscribed “Los Angeles” sheet verso; retains Esther Robles Gallery label frame verso Sheet: 30" x 23.875" Frame: 30.25" x 24.25" (Sheet: 76 x 61 cm)

$1,500–2,000

164 JULES ENGEL Decatur

1973 Acrylic on canvas Signed, titled, and dated verso 36" x 36" (91 x 91 cm)

$2,000–3,000

125


165 JEROME KIRK

Untitled (Kinetic Sculpture) 1970 Painted aluminum and steel Etched signature to base; etched “Jan 70” to underside 36.25" x 30" x 13" (92 x 76 x 33 cm)

$3,000–5,000

166 JEROME KIRK

Untitled (Kinetic Sculpture) 1967 Painted aluminum and steel Incised signature at base; incised “1-4-67” to underside 18.75" x 17.125" x 5.5" (48 x 43 x 14 cm)

$2,000–3,000


127

167 YAACOV AGAM Untitled

c. 1960 Oil on wood relief mounted to painted wood boards Signed “Agam” to top edge of relief; signed and inscribed “Jacob Agam/45 Rue Castagnary- Paris XV” to board verso Relief: 3.25" x 3.25" Mount: 12.625" x 14.125" (Relief: 8 x 8 cm) P ROV E NANC E Syd and Lewis Laventhol Estate, Philadelphia, Pennsylvania; Thence by descent ALTERNATE VIEWS

$20,000–30,000


Yaacov Agam In 1964, Israeli Op artist Yaacov Agam laid out his artistic credo. His statement detailed how he began producing the kinetic and optical art for which he is now so widely known. “My intention was to create a work of art which would transcend the visible, which cannot be perceived except in stages, with the understanding that it is a partial revelation and not the perpetuation of the existing,” he explained. Often called the “Father of kinetic art,” Agam’s vibrant, dynamic works demonstrate an ongoing preoccupation with time and movement, teasing out allusions to fourth dimension where time is both regulated and made visible. “For twenty years, I tried, and finally I understood, the image must be something that becomes, not something that is,” he recounted in 1971. “Where is truth, where is the true order? The only truth is the truth of states of being, and the passage of time which destroys itself.” Agam first received formal training as an artist at the Bezalel Academy of Arts and Design in Jerusalem. He studied under Mordecai Ardon, who introduced Agam to his former teacher at the Bauhaus, color theorist Johannes Itten, who was then cultivating a practice in Zurich. Agam briefly moved to Zurich to study under Itten, then continued his studies at the Atelier d’art abstrait and the Académie de la Grande Chaumière in Paris, where he lives and works to this day. His works, which span the scope of sculpture, serigraphy, painting, ceramics, etchings, drawings, and stained glass, typically enlist viewer participation and often incorporate elements of light and sound. The son of an Orthodox Rabbi and Kabbalist, Agam’s formalist artworks often

draw on elements of Kabbalistic mysticism and incorporate aspects of esoteric philosophies derived from other religions. Melding formalism and mysticism, Agam has continually countered the label of abstraction being connected to his work. “Abstract art shows a situation on a canvas. I show a state of being which does not exist, the imperceptible absence of an image,” he insists. “The infinity of possibilities, opposing the chance of a presence, a possibility.” There is no passive absorption when viewing a work by Agam: the viewer is an active participant in engaging and setting his works into motion. His best-known series of works are comprised of a series of lenticular painted panels that are devised to continually shift and oscillate as viewers change their position. The similarities between this early painted wood relief, Untitled (c. 1960) (Lot 167), and later kinetic sculpture, Continuity (1980) (Lot 168), illustrate how even though the artist employed increasingly complex techniques, the shifting “state of being” enacted through the movement of the viewer remains the key to fully activating the works. As is the case with the artist’s oeuvre as a whole, these works are intended to remain in a condition of perpetual flux, suspended in an ongoing state of “becoming” in order to, as Agam himself puts it, “show what can be seen within the limits of possibility which exists in the midst of coming into being.”

DETAIL OF SIGNATURE IN REFLECTION

168 YAACOV AGAM Continuity

1980 Kinetic double-sided oil on aluminum relief sculpture mounted to metal base Signed and dated in mirrored writing to underside of relief; titled and inscribed “Paris” to underside of relief 78" x 68.25" x 27.75" (198 x 173 x 70 cm) P ROV E NANC E Private Collection, Beverly Hills, California (commissioned from the artist, 1980)

$150,000–250,000

Shapiro, Morris. “Yaacov Agam—21st Century Genius.” Park West Gallery, 13 Oct. 2010. “The Asian Age: Art and Its Movements.” Embassy of Israel in India, Embassy of Israel in India, 19 Feb. 2016.

* SEE ADDITIONAL DETAIL ON PAGE 11

129


Frederick Hammersley In the autumn of 1967 Frederick Hammersley gave a series of lectures in Claremont, California in which he laid out and elaborated on what he considered to be the seven essential elements of the painter’s language: shape, line, value, color, form, pattern, and texture. Over the course of these talks, Hammersley continually returned to the importance of shape above the other elements. “Of all the tools – shape – I feel is needed before you can do anything else,” he asserted. “Value, color, pattern and the rest cannot exist unless there is an edge where they begin and end. This edge of the shape, this boundary can be of many different kinds, either clearly defined, or soft and vague. The character of the edge can either emphasize or reduce, but it never destroys the shape.” The body of geometric, “Hard edge” work that resulted from this postulation is that which is most often associated with Hammersley, who would pursue the same idiom throughout the rest of his career. Paintings, such as his 1967 Home run, would begin as rhythmically orchestrated studies in sketchbooks. In these studies Hammersley explored the interactions between shape and color on geometric grids that ultimately plotted out their arrangements for the canvas. “At first I would paint a shape that I would ‘see’ there,” Hammersley noted. “That one colored shape in that canvas would work, or fit. The next shape would come from the feeling of the first plus the canvas. This process would continue until the last shape completed the picture.” It is in this dynamic between the intuitive and the systematic that lends an element of exuberance to the precise, economical style of Hammersley’s most well-known works, including Home run. Speaking of his geometric abstractions in another lecture entitled “About My Painting” Hammersley identified what he considered a recurrent theme in his work: “It is the creating of a harmony of opposites, but most important, the interaction of these opposites creates a third thing, outside the identity of the shapes themselves.” This third thing, he explained, is not something that is easily articulated, but undoubtedly felt: “I know that an area of quiet can suggest action, and an active shapes group can suggest repose.” That Hammersley would speak of his paintings as dealing in the undefined comes as no surprise, given that his practice was largely rooted in the intuitive. Hammersley divided his works into three distinct categories: “hunches,” “organics,” and “geometrics.” “The structure making is of prime importance,” Hammersley stressed. “Until this is right nothing further can be done. After the picture works in line

the shapes ‘become’ colors. I answer the hunch as it comes.” Hammersley’s geometrics also embraced intuition, but in a different respect. In spite of their very precise compositions and clearly delineated color fields, Hammersley’s geometric works such as Home run rely on a kind of haphazard, yet systematic form of free association. In Hammersley’s paintings “the parameters are where the arbitrary lies,” as curator James Glisson puts it. Hammersley’s works attest to an acknowledgement that “art comes from a letting go or a loosening of control” even as they understand that “the arbitrary lies in axioms and ground rules. Why make a square painting in the first place? Why does a chessboard have 64 squares?” In a 1984 talk entitled "Life Can be, Black & White" given at Hoshour Gallery in Albuquerque Hammersley himself addressed these questions: “I settled on the square because it is neutral. It demands nothing from you. A vertical canvas, on the other hand being mildly aggressive, has a tendency to make you stand up. A horizontal canvas, being passive, has a tendency to make you lie down. A square is neither of these. It is noncommittal. It is the actor shapes put on this square that may make you stand up, lie down, or feel stimulated. It is a combination of opposites—no comment, with a comment.” Free association also played a role with regard to how Hammersley selected the playful titles for his works. “The idea is to eliminate judgment and let the image prompt whatever words of phrases that come,” he said. “The title is right when it does what the painting does—at least two different things. At times the title will look one way, yet sound another, or be a pun, etc. Like the painting, it must be more than what it is.” Titles were never an afterthought for Hammersley, who ardently insisted that they play an active role in how a work generates meaning. “As the observer looks at a painting he experiences changes and shifts of relationships. Likewise, when he considers the title he should be able to experience various shades of meaning that echo those found in the painting. The title and the painting contribute one to the other—an exchange of meaning the observer creates for himself.”

“Frederick Hammersley at the Huntington: Stefanie Sobelle interviews James Glisson,” Los Angeles Review of Books, December 29, 2017. Hammersley, Frederick. “Talk #1 (of 6) Methodist Church, Claremont.” Frederick Hammersley Foundation.


131

169 FREDERICK HAMMERSLEY Home run

#2, 1967-1968 Oil on linen Signed and dated lower right; retains artist’s label verso Linen: 41.75" x 41.75" Frame: 42.625" x 42.75" (Linen: 106 x 106 cm) P ROV E NANC E L.A. Louver Gallery, Los Angeles, California; Private Collection, London, United Kingdom (acquired directly from the above, 1981)

$50,000–70,000


170 KARL BENJAMIN #7

1963 Oil on canvas Initialed and dated lower right Canvas: 42" x 34" Frame: 42.75" x 35" (Canvas: 107 x 86 cm) 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.

$8,000–12,000

171 JOSEF ALBERS

White Line Squares V (from White Line Squares Series I) 1966 3-color lithograph on Arches Cover paper #33 of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right sheet; titled with edition lower left Gemini G.E.L. #2.5 Image: 15.625" x 15.625" Sheet (vis.): 17" x 17" Frame: 24.75" x 24.75" (Image: 40 x 40 cm) LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #171.5.

$2,500–3,500


133

172 JOSEF ALBERS

Gray Instrumentation I (12) 1974 Portfolio of twelve 3- or 4-color screenprints on white Arches 88 mould-made paper Each: #13 of 36 Published and printed by Tyler Graphics, Bedford Village Each signed lower right margin beneath image; each titled with edition lower left; each retains Tyler Graphics blind stamp lower right sheet Images each: 11" x 11" Sheets (vis.) each: 18.75" x 18.75" Frames each: 19.25" x 19.25" (Images each: 28 x 28 cm) LIT E RAT URE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #225.

$10,000–15,000


135

173 FRED EVERSLEY Untitled (Ring)

c. 1980 Cast polyester resin 4" x 19.75" diameter (10 x 50 cm) P ROV E NANC E Barbara Taffet (aka: Maria Alquilar), Sacramento, California; Thence by descent

$30,000–50,000


Vasa

174 VASA (VELIZAR MIHICH)

E X H I B I T E D “Contemporary

Contact

American Painting and Sculpture

1966 Acrylic lacquer on wood

Champaign, March 5-April 9, 1967;

1967,” Krannert Art Museum, “Vasa,” Herbert Palmer Gallery,

Signed and dated to underside

Los Angeles, May 1967

LAMA would like to thank the Vasa Studio for their assistance in cataloguing this work

I L LU ST RAT E D Contemporary

42" x 22" x 9.625" (107 x 56 x 24 cm)

American Painting and Sculpture 1967. Krannert Art Museum exh. cat. 1967. #106.

$5,000–7,000

Born in the former Yugoslavia, long-time Los Angeles-based artist Vasa arrived in the United States just in time to help significantly shape what would become known as the Light and Space movement, which found its nascence in 1960s California. “I came to the United States because of Abstract Expressionism,” he notes in a recent monograph. “Instead, I found Minimalism, and more.” That “more” would lead to a long career focused on an elaborate investigation into the phenomenology of light, optics, color, volume, scale, and, ultimately, perception. Before he started producing prismatic, laminated cast acrylic sculptures, Vasa was busy establishing the foundations for these later works in the creation of polychromatic, nonrepresentational geometric abstractions in acrylic lacquer on wood. One such example is his remarkable 1966 work, Contact, a highly reduced, bare-boned ode to pure form and bold swathes of hard-edged color. There is a clear link between such earlier pieces in wood with the later works. Vasa’s minimalist works in wood were crucial stepping-stones in the conceptual and technical processes that ultimately lead to the production of the reflective and refractive acrylic sculptures of his later practice. Already dissatisfied with traditional materials and techniques, Vasa first used acrylic lacquer because, as he explained in 1966, “I am working with mechanically applied industrial finishes, because no classical medium can give me the fine surface.” Often pairing two opposing colors, as in the case of Contact, in these earlier works there is a discernable effort to put the principles of color theory to the test, while enlisting form as a primary component of the experiment. Vasa continues this experiment to this day in his sleek laminated cast acrylic sculptures and his dizzying technicolor-stained geometric grid paintings that have dominated his later career. The pursuit to understand the interactions and interdependence between perceptible phenomena such as color, form, light, and scale equally spilled over into the content of the courses on color theory that Vasa taught in his capacity as a professor at the University of California, Los Angeles in the Department of Design and Media Arts. Vasa insists that his work has always been “only about itself,” but his oeuvre taken as a whole seems to continually seek to make sense of, and re-examine, the distinct respects in which perceptual phenomena both affect and are affected by those who view and experience them.

Singer, Jill. “At 83, Vasa — and His Famed Acrylic Sculptures — Are Still On Top of the LA Art World.” Sight Unseen, 9 Jan. 2017. Mihich, Vasa Velizar. Vasa Studio. Vasa Studio, 2007.


137

175 FLETCHER BENTON Untitled

1989 Polished bronze Etched signature and date 20" x 19.75" x 19" (including base) (51 x 50 x 48 cm)

$3,000–5,000


139

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176

177 CHARLES ARNOLDI Untitled (ST. I-2)

CHARLES ARNOLDI

1991 Monoprint on paper

1980 Acrylic on wood block

Unique

Untitled

Signed and dated verso; retains James Corcoran Gallery and LA Contemporary labels verso

Signed and dated lower right sheet; titled “ST. I-2” lower left

11" x 10" x 4.75" (28 x 25 x 12 cm)

Composition/sheet (vis.): 34.75" x 53.25" Frame: 45.75" x 64.5" (Composition/sheet: 88 x 135 cm)

$7,000–9,000

$5,000–7,000


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178

179

CHARLES ARNOLDI

CHARLES ARNOLDI

1989 Monoprint on paper

1989 Monoprint on paper

Unique

Unique

Signed and dated in graphite lower left sheet; retains Shirley Cerf Gallery label verso

Signed and dated lower center sheet; retains Shirley Cerf Gallery label verso

Image/sheet: 20.75" x 17" Frame: 31.375" x 27.5" (Image/sheet: 53 x 43 cm)

Sheet: 30.875" x 23.25" Frame: 41" x 33" (Sheet: 78 x 59 cm)

$2,000–3,000

$4,000–6,000

Untitled

Untitled


141


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180 LARRY BELL

Untitled (Vapor Drawing) 1978 Vaporized metal on paper Composition/sheet: 39.25" x 26" Frame: 42.25" x 29" (Composition/sheet: 100 x 66 cm)

$15,000–20,000

143

181 LARRY BELL SMTTHOJ #1

2001 Acrylic and screenprint on canvas Signed, titled, and dated canvas verso 30" x 30.25" (76 x 77 cm)

$5,000–7,000


182 LARRY BELL SMVD #94

183 LARRY BELL

Fraction #4827

1989 Collage with aluminum and silicon monoxide on hand cast paper

1999 Mixed-media collage with aluminum and silicon monoxide and watercolor on paper

Signed and dated in graphite lower right sheet

Signed and dated in graphite lower center sheet

Together with copy of certificate from the artist

Together with copy of certificate from the artist

Sheet: 17.625" x 12.25" Frame: 30" x 23.75" (Sheet: 45 x 31 cm)

Sheet: 10" x 10" Frame: 13.25" x 13.25" (Sheet: 25 x 25 cm)

$4,000–6,000

$1,500–2,000

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184 DANIEL DOUKE Crown Load

1984 Acrylic on canvas Signed, titled, and dated verso 73.5" x 41.25" (187 x 105 cm)

$3,000–5,000


145


147

187 186 ILLUSTRATED PREVIOUS PAGE

185 POUL KJÆRHOLM Chaise lounge

E. Kold Christensen, designed 1965 Model no. PK24 34" x 26" x 61" (86 x 66 x 155 cm)

TAPIO WIRKKALA Iceberg vase

Iittala, designed 1950 Model no. 3825 Etched “Tapio Wirkkala 3825” 7.75" x 8" x 6.5" (20 x 20 x 17 cm)

TAPIO WIRKKALA Objects (3)

Iittala, designed c. 1946-1951 Etched “Tapio Wirkkala/Iittala/55”; “Tapio Wirkkala/Iittala/3337”; and “Tapio Wirkkala/Iittala/56” Left: 1.75" x 7.75" x 6.25" Center: 3.75" x 3.5" diameter Right: 2" x 4.5" x 5" (Left: 4 x 19 x 15 cm)

LIT E RAT URE The Nordic Modern Movement: Masterworks in Glass, Ceramic,

LIT E RAT URE Tapio Wirkkala. Finnish

L I T E RAT U R E Poul Kjærholm. Arkitektens

Silver and Wood. Gansevoort Gallery exh.

Society of Crafts and Design exh. cat.

Forlag. C. Harlang. 2001. 118-119.

cat. 1998. N.pag.

1985. 24, 112.

$12,000–15,000

$1,500–2,000

$2,500–3,500


188 AXEL SALTO

Budding Fruit vase Royal Copenhagen, executed c. 1950 Glazed ceramic Signed “Salto” with Royal Copenhagen insignia and inscribed “21475/ Denmark” 4.5" x 3" diameter (11 x 8 cm)

$4,000–6,000

189 AXEL SALTO Bowls (2)

Royal Copenhagen, executed c. 1937 Glazed ceramic Each signed “Salto” with Royal Copenhagen insignia and inscribed “20682/ Denmark” Each: 2.25" x 3.875" diameter (6 x 10 cm)

$2,500–3,500

190 AXEL SALTO

Budding Style vase Royal Copenhagen, executed c. 1937 Glazed ceramic Signed “Salto” with Royal Copenhagen insignia and numbered “3548” 2" x 2.75" diameter (5 x 7 cm)

$1,500–2,000


191 HANS J. WEGNER

Papa chair and ottoman A.P. Stolen, designed 1951-1953 Model no. AP 19 (chair) Chair: 38" x 36" x 36" Ottoman: 15.5" x 27" x 16" (Chair: 97 x 91 x 91 cm) LIT E RAT URE Hans Wegner’s 100 Chairs. N. Oda. 2002. 68.

$6,000–9,000

149


192 HANS J. WEGNER Office Group desk

Johannes Hansen, designed 1965 28" x 64.5" x 34" (71 x 164 x 86 cm) LITERATURE Georg Jensen. Manufacturer cat. N.d. N.pag.

$2,500–3,500

193 HANS J. WEGNER Easy chairs (2)

Carl Hansen & Sons, designed 1951 Model no. CH-28 Branded “Designer Hans J. Wegner/ Made in Denmark/Carl Hansen & Sons/ Odense Denmark” Each: 30.5" x 29" x 25" (77 x 74 x 64 cm) LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 54.

$3,000–5,000


194 CARL HALIER & KNUD ANDERSEN Lidded jar

Royal Copenhagen, executed c. 19131923 Glazed stoneware with bronze lid Lid retains artist’s cipher and Royal Copenhagen mark; jar marked “N” with Royal Copenhagen mark, impressed Royal Copenhagen stamp, and etched artist’s cipher marks “SOH” and “CH” 7.5" x 6" diameter (19 x 15 cm)

$4,000–6,000

195 SONJA BLOMDAHL Vase

Studio, executed 1984 Etched “Sonja/SP5684” 10.5" x 10.5" diameter (27 x 27 cm)

$1,000–1,500

151


153

197 FRANK STELLA

Black Adder (from V Series) 1968 4-color lithograph on Lowell paper

196

#93 of 100

FRANK STELLA

Published and printed by Gemini G.E.L., Los Angeles

Rayy Sketch

1970 Watercolor and printer’s ink on paper Signed and dated lower right beneath composition; titled lower left Composition: 15" x 74.75" Sheet: 26.5" x 78.5" Frame: 29" x 81" (Composition: 38 x 190 cm)

$50,000–70,000

Signed and dated with edition in graphite lower left sheet; retains Gemini G.E.L. blind stamp lower left Gemini G.E.L. #51.34 Sheet (vis.): 16.125" x 28.75" Frame: 17" x 29.625" (Sheet: 41 x 73 cm) LIT E RAT URE The Prints of Frank Stella: A Catalogue Raisonné. R.H. Axsom. 2016. #24.

$3,000–5,000


198 JASPER JOHNS

Flag (Moratorium) 1969 Offset color lithograph on wove paper #77 of 300 Published by the Committee Against the War in Vietnam Edition lower left margin beneath image; signed lower right margin; printed “© Jasper Johns 1969” lower right edge of sheet Image: 17.125" x 26" Sheet: 20.5" x 28.5" Frame: 21.125" x 29.25" (Image: 43 x 66 cm) P ROVENA NC E Leo Castelli Gallery,

199 JASPER JOHNS 1

1975 Intaglio on Barcham Green paper #74 of 100 Published by Petersburg Press, New York; printed by Atelier Crommelynck, Paris Signed and dated in graphite lower right edge of sheet; edition lower left margin beneath image; retains Craig F. Starr Associates label verso Together with copy of original invoice from Craig F. Starr Associates dated October 12, 2005 Image: 2.375" x 2" Sheet: 8.375" x 6" Frame: 12.75" x 10.375" (Image: 6 x 5 cm)

New York, New York; Private Collection, Beverly Hills, California

PROVE N A N CE Craig F. Starr Associates, New

(acquired directly from the above)

York, New York; Private Collection, Encino, Cali-

LITERATURE The Prints of Jasper

fornia (acquired directly from the above, 2005)

Johns 1960-1993: A Catalogue

L I T E RAT U R E The Prints of Jasper Johns 1960-

Raisonné. R. Field. 1994. #S5.

1993: A Catalogue Raisonné. R. Field. 1994. #157.

$10,000–15,000

$3,000–4,000


200 ROBERT DOWD

Six Cent Postage Stamp c. 1968 Acrylic on canvas Signed lower right Canvas: 23.5" x 31.5" Frame: 26.5" x 34.5" (Canvas: 60 x 80 cm) LIT E RAT URE Robert Dowd: Pop Art Money. Frederick R. Weisman Museum of Art exh. cat. 2009. 52 for more information on the Stamps series.

$5,000–7,000

155

201 ROBERT INDIANA Chosen Love

Master Contemporary Original Artist Rugs, designed c. 1995 #110 of 175 Skein dyed hand-carved and hand-tufted archival New Zealand wool on stretched canvas with natural latex backing Signed in the weave “R. Indiana” lower right; retains manufacturer’s label with artist’s signature and edition verso 95" x 97" (241 x 246 cm)

$3,000–5,000


157 204 ELLSWORTH KELLY Blue Curve

1999 1-color lithograph on Rives BFK paper

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202 ROY LICHTENSTEIN

American Indian Theme III (from American Indian Theme Series)

203 VARIOUS ARTISTS

#29 of 38 artist’s proofs aside from the edition of 220 Published and printed by Gemini G.E.L., Los Angeles

S.M.S. Portfolio: A Collection of Original Multiples (Vol. 1-6) (6)

Signed with edition in graphite lower right edge of sheet; retains Bobbie Greenfield Gallery label verso

1968 Various mediums

Gemini G.E.L. #28.220

#27 of 50 Published and printed by Tyler Graphics, Ltd., Bedford Village

Published by the Letter Edged in Black Press, New York

Signed and dated with edition in graphite lower right margin beneath image; retains Tyler Graphics blind stamp lower right edge of sheet

Together with 1988 second-pressings of Drift Study by La Monte Young and Poppy Nogoods All Night Flight by Terry Riley

Image: 26.375" x 19" Sheet: 34.875" x 27" (Image: 67 x 48 cm)

Various dimensions

1980 5-color woodcut on handmade Suzuki paper

LIT E RAT URE S.M.S.: A Collection of Multiples. Davidson Galleries exh. cat.

Together with copy of invoice from Bobbie Greenfield Gallery dated May 20, 2000 Image/sheet: 8" x 6" Frame: 15" x 13" (Image/sheet: 20 x 15 cm) This work was published to benefit the Archives of American Art. P ROV E NANC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Encino, California (acquired directly from the above, 2000)

LI T E RAT U R E The Prints of Roy Lichtenstein:

2008. N.pag.; S.M.S.: A Collection of

A Catalogue Raisonné, 1948-1993. 1st ed. M.

Multiples. Reinhold-Brown Gallery

LIT E RAT URE The Prints of Ellsworth Kelly: A Cata-

Corlett. 1994. #162.

exh. cat. 1988. N.pag.

logue Raisonné. Vol. II. R. Axsom. 2012. #281.

$10,000–15,000

$3,000–5,000

$3,000–5,000


159 206 RICHARD PETTIBONE

My Favorite Title (Frank Stella, “The Marriage of Reason and Squalor,” 1959) 1980 Acrylic on canvas

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205 RICHARD PETTIBONE Stella, Sunapee, 1966 1967 Oil on canvas Titled to canvas stretcher verso; signed and dated to canvas stretcher verso Canvas: 6.375" x 6.125" Frame: 6.625" x 6.375" (Canvas: 16 x 16 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) CANVAS VERSO

$20,000–30,000

Signed, titled, and dated verso; inscribed “Frank Stella, “The Marriage of Reason and Squalor,” 1959. Enamel on canvas, 7’ 6 3/4” x 11’ 3/4”. It’s not my favorite painting but it sure is my favorite title. I mean it’s certainly a terrific painting, it’s just not my favorite.” recto 12.125" x 20" (31 x 51 cm) E XHIBIT E D "Richard Pettibone: A Retrospective," traveling exhibition, Institute of Contemporary Art, Philadelphia, April 30-August 1, 2005; Frances Young Tang Museum, Saratoga Springs, November 19, 2005-February 12, 2006; Laguna Art Museum, Laguna Beach, March 12-May 28, 2006

$25,000–35,000


207 RICHARD PETTIBONE

Andy Warhol, ‘Two Campbell’s Soup Cans, Onion,’ 1961 and 1962 2006 Oil on canvas Titled canvas overlap verso; signed and dated canvas overlap verso with ink stamp “JUN 15 2006” Canvas: 7.25" x 11.75" Frame: 7.625" x 12" (Canvas: 18 x 30 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$25,000–35,000

CANVAS VERSO


208 ANDY WARHOL Electric Chair

1971 Screenprint on paper #31 of 250 Published by Bruno Bischofberger, Zürich; printed by Silkprint Kettner, Zürich Signed and dated sheet verso; stamped edition sheet verso F/S #II.80 Image/sheet: 35.5" x 47.75" Frame: 40.375" x 52.75" (Image/sheet: 90 x 121 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.80.

$8,000–12,000

161

209 ANDY WARHOL

Edward Kennedy 1980 Screenprint with diamond dust on Lenox Museum Board #29 of 300 Published by Kennedy for President Committee, Washington, D.C.; printed by Rupert Jasen Smith, New York Signed with edition in graphite lower right sheet F/S #II.240 Image/sheet: 40" x 31.875" (102 x 81 cm) Published to raise funds for the Edward Kennedy primary campaign for president. LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.240.

$7,000–10,000


211 210 TOM WESSELMANN

New Bedroom Blonde Doodle 1991 Color silkscreen on Museum Board #78 of 100 Published by International Images, Inc., Putney Signed with edition in graphite lower right sheet beneath image Image: 24.25" x 26.75" Sheet: 30" x 34.75" Frame: 44.5" x 49.5" (Image: 62 x 68 cm)

$7,000–10,000

TOM WESSELMANN

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212

Seascape Dropout

MEL RAMOS

1982 Woodcut on Kizuki Hosho handmade paper

1991 Oil on terracotta

Vessel

#20 of 50

Signed and dated to underside

Published by Multiples Inc., New York; printed by Michael Berden, Boston

Together with a copy of the exhibition invitation, press release, and original invoice from Sharon Truax dated April 18, 1991

Signed and dated with edition in graphite lower center sheet; retains Multiples Inc. blind stamp lower right; retains Shirley Cerf Gallery label verso Sheet: 21.25" x 24.75" Frame: 25.25" x 28.25" (Sheet: 54 x 63 cm)

$4,000–6,000

10.25" x 7.5" diameter (26 x 19 cm) E XHIBIT E D “Vessels,” The Art Store Gallery, San Francisco, April 18-June 5, 1991

$4,000–6,000


163


213 JAMES ROSENQUIST

Jet Engines and Dinner Triangles 1977 Gouache and charcoal with newsprint collage on paper Signed and dated in graphite lower right sheet; titled lower left; retains Leo Castelli Gallery label verso Composition/sheet: 22" x 43.875" Frame: 29.75" x 51.75" (Composition/sheet: 56 x 111 cm) P ROVENA NC E Leo Castelli Gallery, New York, New York; Estate of Anne Anka, Los Angeles, California (acquired directly from the above, c. 1977)

$30,000–40,000


165 214 JAMES ROSENQUIST

High Technology and Mysticism: A Meeting Point Portfolio (7) 1981 The complete portfolio of seven lithographs on Arches 88 paper Each: #79 of 150 Published by Rosebranches, Inc., Aripeka; printed by Siena Studios, New York Each signed and dated in graphite lower right margin beneath image; titled with edition lower left Comprised of Somewhere, Above, The, Sky, Silverbirds, Fly, and Ai-Cham (Somewhere) Images each: 28" x 28" Sheets each: 34" x 33" (Images each: 71 x 71 cm) P ROV E NANC E Collection of a former assistant to James Rosenquist LIT E RAT URE Time Dust: James Rosenquist Complete Graphics: 1962-1992. C. Glenn. 1993. #180-186.

$4,000–6,000


215 CLAES OLDENBURG Soft Snare Drum 1995 Charcoal on paper Initialed and dated lower right sheet; retains two Dickinson Roundell Inc. labels verso Sheet: 18" x 21.125" Frame: 26.25" x 29.5" (Sheet: 46 x 54 cm) P ROVENA NC E Private Collection, New York, New York (acquired directly from the artist)

$8,000–12,000


167

216 VARIOUS ARTISTS

Art Pro-Choice II Portfolio (8) 1991 The complete portfolio of eight prints in various mediums including woodcut, relief, photo-engraving, and dry point #63 of 125 Each sheet with artist’s signature or initials and edition in pencil; some with date Comprised of Jennifer Bartlett, Black, Gray, White; Ross Bleckner, Untitled; Francesco Clemente, Traditional Self-Portrait; Eric Fischl, Untitled; April Gornik, Flood Light; Claes Oldenburg, Wristwatch Rising; Cindy Sherman, Untitled; and Pat Steir, Dry Point Waterfall Images each: Various dimensions Sheets each: 20" x 15.75" Frames each: 22.5" x 18.5" (Sheets each: 51 x 40 cm)

$3,000–5,000


169

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217

219

EMERSON WOELFFER

EMERSON WOELFFER

Bird on Wall 1956 Oil on canvas

218

Signed and dated lower right; signed and dated canvas verso; signed, titled, and dated on canvas stretcher verso; retains Paul Kantor Gallery, Primus Stuart Galleries, Hackett Mill, and Hackett Freedman Gallery labels verso

EMERSON WOELFFER Untitled (Forio)

1958 Gouache, ink, and collage on paper Dated and inscribed “Forio” lower center edge of sheet; signed lower center

Untitled (Madrid) 1958 Oil on paper

Signed and dated in graphite lower right edge of sheet; inscribed “Madrid” lower left; retains Hackett Mill, Hackett Freedman Gallery, and Manny Silverman Gallery labels verso

Composition/sheet: 18.125" x 13.75" (46 x 35 cm)

Composition/sheet: 27.5" x 19.75" Frame: 34.75" x 27" (Composition/sheet: 70 x 50 cm)

This work is being sold to raise funds

This work is being sold to raise funds

This work is being sold to raise funds

for scholarships to the Otis College of

for scholarships to the Otis College of

for scholarships to the Otis College of

Art and Design.

Art and Design.

Art and Design.

PROVE N A N CE The estate of Emer-

P ROV E NANC E The estate of Emer-

P ROV E NANC E The estate of Emer-

son Woelffer

son Woelffer

son Woelffer

$10,000–15,000

$2,000–3,000

$3,000–5,000

Canvas: 40.5" x 30" Frame: 42.75" x 32.25" (Canvas: 103 x 76 cm)


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220 EMERSON WOELFFER Untitled

1961 Lithograph on paper #8 of 16 Printed by Tamarind Lithography Workshop, Los Angeles Signed and dated in graphite lower right margin beneath image; edition lower left; retains Tamarind blind stamp lower left sheet Image: 18.5" x 14" Sheet: 22.125" x 15.125" (Image: 47 x 36 cm) This work is being sold to raise funds for scholarships to the Otis College of Art and Design. P ROV E NANC E The estate of Emerson Woelffer

$1,500–2,000

221 EMERSON WOELFFER Figure 1947 Bronze 6.5" x 2.625" x .5" (17 x 7 x 1 cm) ILLUST RAT E D Emerson Woelffer: Profile of the Artist, 1947-1981. The Art Gallery, Visual Arts Center exh. cat. 1982. Pl. 20.

$3,000–5,000

222 EMERSON WOELFFER Kiss #27; Kiss #12 (2) 1979; 1980 Raw clay and stone Each signed and dated verso Kiss #27: 7" x 5.75" x 4" Kiss #12: 7.875" x 5.25" x 3.75" (Kiss #27: 18 x 15 x 10 cm) E XHIBIT E D “Emerson Woelffer: A Solo Flight,” REDCAT, Los Angeles, November 16-December 28, 2003 LIT E RAT URE Emerson Woelffer: A Solo Flight. REDCAT exh. cat. 2003. #48, #50.

$4,000–6,000

171


173

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223 OSKAR FISCHINGER Untitled (#2076)

1954 Oil on canvas over wood panel Signed lower right; dated with artist’s cipher lower left; signed and inscribed “2076” verso Canvas: 22.625" x 14.875" Frame: 23.125" x 15.375" (Canvas: 57 x 38 cm) PROVE N A N CE Harry and Brigitta Bertoia, Pennsylvania (gifted directly by the artist); Thence by descent; Private Collection, Florida (acquired directly from the above, c. 1998)

$5,000–7,000

224 OSKAR FISCHINGER Untitled

1960 Oil on linen

225 OSKAR FISCHINGER Untitled

c. 1960 Oil on panel

Signed lower right; dated with artist’s cipher lower left

Signed lower right; artist’s cipher lower left; signed and inscribed panel verso

Linen (vis.): 14.75" x 19.75" Frame: 16.375" x 21.375" (Linen: 37 x 50 cm)

Panel: 12" x 9" Frame: 18.625" x 15.625" (Panel: 30 x 23 cm)

$5,000–7,000

$3,000–5,000


227 HANS BURKHARDT

Female - Blue Ground

226 HANS BURKHARDT Untitled

1955 Oil on canvas

1958 Pastel on paper Signed and dated lower center sheet

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228 HANS BURKHARDT Untitled

1959 Pastel on paper Signed lower right edge of sheet

Sheet (irreg.): 18.25" x 24.375" (46 x 62 cm)

Composition/sheet: 24" x 18" (61 x 46 cm)

PROVE N A N CE Private Collection,

P ROV E NANC E Private Collection,

Santa Barbara, California (acquired

Santa Barbara, California (acquired

directly from the artist, 1972)

directly from the artist, 1972)

$2,000–3,000

$2,000–3,000

Signed and dated lower right 23" x 33" (58 x 84 cm)

$5,000–7,000


175


229 HANS BURKHARDT First Light

1970 Oil on canvas Signed and dated lower center Canvas: 16" x 20" Frame: 17.5" x 21.5" (Canvas: 41 x 51 cm) P ROVENA NC E Private Collection, Santa Barbara, California (acquired directly from the artist, 1972) EXHIBITE D Michael Smith Gallery, Los Angeles, April-May 1972

$5,000–7,000


230 ROBERT NATKIN

Untitled (from the Apollo Series) 1964 Acrylic on canvas Signed and dated lower right edge of canvas; signed in graphite canvas verso Canvas: 20" x 14" Frame: 21.25" x 15.125" (Canvas: 51 x 36 cm) P ROV E NANC E Sheila Benow, Los Angeles, California (gifted directly by the artist); Thence by descent

$3,000–5,000

177

231 DAVID HOCKNEY House Doodle

1984 1-color etching on Rives BFK paper #57 of 60 Published by Gemini G.E.L., Los Angeles Signed and dated lower right; edition lower left Gemini G.E.L. #23.81 Image: 23.75" x 35.75" Sheet (vis.): 30.5" x 41.25" Frame: 31.25" x 42" (Image: 60 x 91 cm) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #255.

$2,000–3,000


179

233 RICHARD DIEBENKORN ILLUSTRATED PREVIOUS PAGE

232 RICHARD DIEBENKORN

#2 (from 41 Etchings Drypoints Portfolio) 1964; published 1965 Hardground etching on Rives BFK paper

Untitled

#10 of 25

1958 Charcoal on paper

Published by Crown Point Press, San Francisco; printed by Kathan Brown, Oakland

Sheet (vis.): 16.375" x 12.375" Frame: 22.125" x 18.125" (Sheet: 42 x 31 cm) PROVE N A N CE Private Collection, Sausalito, California (acquired through Sotheby’s, New York, February 12, 1991, lot 454)

Signed and dated lower right margin beneath image; titled lower center; edition lower left Image: 8" x 9.5" Sheet (vis.): 14.5" x 11.25" Frame: 21" x 18.125" (Image: 20 x 24 cm)

I L LU ST RAT E D Richard Diebenkorn: The Catalogue Raisonné. Vol. III. J.

LIT E RAT URE Thirty-Five Years at

Livingston and A. Liguori, eds. 2016.

Crown Point Press. K. Breuer. 1997.

#2475.

#173.

$8,000–12,000

$5,000–7,000

234 RICHARD DIEBENKORN

Untitled (from Harvey Gantt Portfolio) 1990-1991 2-color lithograph on Rives BFK white paper PP II aside from the edition of 250 Published and printed by Gemini G.E.L., Los Angeles Initialed and dated lower right margin beneath image; edition lower left; retains Gemini G.E.L. blind stamp lower right sheet Gemini G.E.L. #15.9 Together with print documentation from Gemini G.E.L. Image: 5" x 6.75" Sheet: 13" x 14.5" Frame: 23.25" x 26.25" (Image: 13 x 17 cm)

$1,000–1,500


236 235 RICHARD DIEBENKORN Blue Softground

1985 Color softground etching with aquatint on paper #21 of 35 Published and printed by Crown Point Press, San Francisco

RICHARD DIEBENKORN Domino II

1990 Softground and hardground etching with drypoint on paper #23 of 35 Published by Crown Point Press, San Francisco; printed by Renée Bott, Oakland

Initialed and dated in graphite lower right margin beneath image; edition lower left; retains L.A. Louver Gallery label verso

Initialed and dated in graphite lower right margin beneath image; edition lower left; retains Crown Point Press blind stamp lower right edge of sheet

Image: 13.5" x 23.625" Sheet: 25.5" x 35.5" Frame: 30.375" x 40.375" (Image: 34 x 60 cm)

Image: 18" x 13" Sheet: 27" x 20.75" Frame: 29" x 23" (Image: 46 x 33 cm)

$3,000–5,000

$2,000–3,000


237 MARK DI SUVERO

Untitled #4 (Drawing for Nova Albion)

EXHIBITION LABELS DETAIL

1965 Ink and oil pastel on paper Signed and dated lower right sheet; retains the Museum of Modern Art, Staatliche Kunsthalle Baden-Baden, and Kunsthaus Zürich exhibition labels verso Sheet (vis.): 17.25" x 23.25" Frame: 25.25" x 30.25" (Sheet: 44 x 59 cm) P ROV E NANC E Estate of Anne Anka, Los Angeles, California E XHIBIT E D “Drawing Now: 1955-1975,” traveling exhibition, Museum of Modern Art, New York, January 23-March 9, 1976; Kunsthaus Zürich, October 10-November 14, 1976; Staatliche Kunsthalle Baden-Baden, November 25, 1976-January 16, 1977; Grafische Sammlung Albertina, Vienna, January 20-February 28, 1977; Tel Aviv Museum, May 12-June 2, 1977

$3,000–5,000

181 238 MARK DI SUVERO

Untitled #1 (Drawing for Nova Albion) 1965 Pencil on paper Signed, dated, and titled lower right sheet; retains Museum of Modern Art, Staatliche Kunsthalle Baden-Baden, Kunsthaus Zürich, and Tel Aviv Museum exhibition labels verso Sheet (vis.): 17.25" x 23.25" Frame: 25.25" x 30.25" (Sheet: 44 x 59 cm) P ROV E NANC E Estate of Anne Anka, Los Angeles, California E XHIBIT E D “Drawing Now: 1955-1975,” traveling exhibition, Museum of Modern Art, New York, January 23-March 9, 1976; Kunsthaus Zürich, October 10-November 14, 1976; Staatliche Kunsthalle Baden-Baden, November 25, 1976-January 16, 1977; Grafische Sammlung Albertina, Vienna, January 20-February 28, 1977; Tel Aviv Museum, May 12-June 2, 1977 ILLUST RAT E D Drawing Now. Museum of Modern Art exh. cat. 1976. 57.

$3,000–5,000


183 ILLUSTRATED PREVIOUS PAGE

239 WAYNE THIEBAUD

Pies (from Delights) 1964-1965 Etching and aquatint on Rives paper Artist’s proof aside from the edition of 100 Published by Crown Point Press, San Francisco; printed by Kathan Brown, Oakland Signed and dated in graphite lower right margin beneath image; edition lower center; titled “Pie Rows” lower left Together with copy of invoice from Jim Kempner Fine Art dated November 13, 2001 Image: 3.75" x 4.75" Sheet: 14.75" x 11" Frame: 17.75" x 13.75" (Image: 10 x 12 cm) PROVE N A N C E Jim Kempner Fine Art, New York, New York; Private Collection, Encino, California (acquired directly from the above, 2001)

240 WAYNE THIEBAUD Eyeglasses

1994 Color hardground etching with drypoint on Somerset Textured White paper #40 of 50 Published and printed by Crown Point Press, San Francisco Signed and dated in graphite lower right margin beneath image; edition lower left; retains Crown Point Press blind stamp lower right edge of sheet Together with print documentation sheet and copy of original invoice from Crown Point Press dated April 20, 1994 Image: 8.25" x 10.75" Sheet: 15.75" x 17.25" Frame: 18.625" x 20.125" (Image: 21 x 27 cm) P ROV E NANC E Crown Point Press, San Francisco, California; Private Collection,

L I T E RAT U R E Wayne Thiebaud: Graphics,

Encino, California (acquired directly from

1964-1971. 1971. #17.

the above, 1994)

$6,000–9,000

$5,000–7,000

241 WAYNE THIEBAUD Toy Box

2002 Hardground etching with aquatint on paper #13 of 40 Published by Crown Point Press, San Francisco Signed and dated in graphite lower right margin beneath image; edition lower left; retains Crown Point Press blind stamp lower right edge of sheet Image: 5.875" x 6" Sheet: 13" x 12" Frame: 14.625" x 13.5" (Image: 15 x 15 cm)

$2,000–3,000


242 FRANK LOBDELL Untitled

1948 Oil on canvas Signed and dated “10 March 48” verso Canvas: 36" x 36" Frame: 36.75" x 36.75" (Canvas: 91 x 91 cm) P ROVENA NC E Private Collection, San Francisco, California; Private Collection, Sausalito, California (acquired directly from the above through Butterfield & Butterfield, San Francisco, October 25, 1990, lot 1486)

$15,000–20,000


185

243 ROLAND PETERSEN Untitled

c. 1950 Oil on canvas Signed and inscribed “Petersen/104” and “Property of John Bowers/2042 Hearst/Berkeley 9” canvas verso This work has been kindly confirmed by the artist 19" x 26" (48 x 66 cm)

$5,000–7,000


244 DAVID PARK

Untitled (#508) c. 1945 Oil on Masonite Masonite (vis.): 21.5" x 12.375" Frame: 23" x 14" (Masonite: 55 x 31 cm) P ROVENA NC E San Francisco Art Institute; Private Collection, Sausalito, California (acquired directly from the above through Butterfield & Butterfield, San Francisco, April 25, 1991, lot 4616)

$12,000–15,000


245 DAVID PARK

Woman with a Black Bob 1948 Oil on paper mounted to paperboard Together with copy of invoice from Butterfield & Butterfield dated October 25, 1996 and statement of provenance from Phillip Goddard Composition/sheet (vis.): 9.5" x 7.75" Frame: 18.25" x 16.25" (Composition/sheet: 24 x 20 cm) P ROV E NANC E Phillip Goddard; Private Collection, Sausalito, California (acquired directly from the above through Butterfield & Butterfield, San Francisco, October 24, 1996, lot 2117)

$8,000–12,000

187


246 DAVID PARK

Seated Female on Stool c. 1956 Pencil and charcoal on paper Inscribed “Work of David Park, my late husband/Lydia Park Moore 8-28-66” in blue ink verso Together with copy of invoice from Suzanne Zumbrink Strid dated March 18, 1991 Sheet (vis.): 14.875" x 10.375" Frame: 24.25" x 20.25" (Sheet: 38 x 26 cm) P ROVENA NC E Suzanne Zumbrink Strid, Carmel, California; Private Collection, Sausalito, California (acquired directly from the above, 1991)

$6,000–9,000

247 DAVID PARK

Nude Resting on Side (#257) c. 1955 Watercolor and graphite on paper Inscribed “257” lower left edge; retains Maxwell Galleries label and inscribed “257 certified/8-29-66” frame verso Together with copy of invoice from Butterfield & Butterfield dated October 31, 1990 Sheet (vis.): 16" x 12.25" Frame: 23.25" x 19.25" (Sheet: 41 x 31 cm) P ROVENA NC E Maxwell Galleries, San Francisco, California; Private Collection, Ventura, California; Private Collection, Sausalito, California (acquired directly from the above through Butterfield & Butterfield, San Francisco, October 25, 1990, lot 1509)

$6,000–9,000


248 LARRY COHEN

Santa Monica Beach 2004 Oil on canvas Signed in graphite canvas verso; signed in paint on canvas stretcher verso Canvas: 18" x 24" Frame: 19.125" x 25" (Canvas: 46 x 61 cm)

$2,000–3,000

189

249 LARRY COHEN

View from San Vicente Blvd. Study 1991 Oil on canvas Retains Jan Turner Gallery label verso Canvas: 22" x 22" Frame: 23.75" x 23.75" (Canvas: 56 x 56 cm)

$2,000–3,000


250 MONA KUHN

Flower; Papillon (2) 2005; 2006 Chromogenic prints mounted to board Each: #4 of 10 Each signed, titled, and dated with edition verso Images each: 19.875" x 19.875" Sheets each: 20.25" x 20.25" (Images each: 50 x 50 cm)

$4,000–6,000


191

251 JOEL STERNFELD

Tolstoy Farm, Davenport, Washington, August 2004 2004; this example printed 2006 Chromogenic print #2 of 7 Retains Luhring Augustine label verso Sheet: 26.5" x 33.25" Frame: 29.25" x 36" (Sheet: 67 x 84 cm) P ROV E NANC E Private Collection, New York, New York

$4,000–6,000


252 EDUARDO ENFELDT

Escala em Branco (Stairs in White) c. 1957; this example printed later Ultrachrome ink on premium luster photo paper #8 of 15 Retains Dickinson Roundell Inc. label verso Image: 15.75" x 11.75" Sheet: 19" x 12.75" Frame: 20.25" x 14.25" (Image: 40 x 30 cm) P ROVENA NC E Private Collection, New York, New York

$3,000–5,000

253 GEORGES RADÓ

Composicão L (Composition L) 1960; this example printed later Ultrachrome ink on premium luster photo paper #8 of 15 Retains Dickinson Roundell Inc. label verso Image: 11.75" x 17.875" Sheet: 12.75" x 19" Frame: 14.25" x 20.25" (Image: 30 x 45 cm) P ROVENA NC E Private Collection, New York, New York

$1,500–2,000


254 GEORGES RADÓ

Espinhas (Spines) c. 1960; this example printed later Ultrachrome ink on premium luster photo paper #5 of 15 Retains Dickinson Roundell Inc. label verso Image: 11.75" x 15.75" Sheet: 13" x 19" Frame: 14.25" x 20.25" (Image: 30 x 40 cm) P ROV E NANC E Private Collection, New York, New York

$1,500–2,000

193

255 JOSÉ YALENTI Beiras (Sides)

c. 1950; this example printed later Ultrachrome ink on premium luster photo paper #5 of 15 Retains Dickinson Roundell Inc. label verso Image: 15.75" x 11.75" Sheet: 19" x 12.75" Frame: 20.25" x 14.25" (Image: 40 x 30 cm) P ROV E NANC E Private Collection, New York, New York

$2,000–3,000


256 JOSEF HOFFMANN

“Melon” mocha service (9) Augarten, designed 1929 Porcelain with silver polychrome paint Sugar bowl marked “Hofmühl/Skolnik/ Austria Vienna”; three saucers marked in blue and with sticker “Made in Vienna”

ILLUSTRATED OPPOSITE PAGE

258 257 OTTO PRUTSCHER

MICHAEL POWOLNY Putto Astride Hare

Studio, executed c. 1910

Wiener Werkstätte, designed c. 1907 Stamped “Austria” and “1097/87/7” and with Wiener Werkstätte cipher

Various dimensions

8.25" x 3.25" diameter (21 x 8 cm)

9.75" x 8" x 5.5" (25 x 20 x 14 cm)

$2,000–3,000

$3,000–5,000

$1,000–1,500

Comprised of a coffee pot, creamer, sugar, three cups, and three saucers

Wine glass


195


PARTIAL ILLUSTRATION


197

ILLUSTRATED PREVIOUS PAGE

259 JEAN EMILE PUIFORCAT Normandie flatware (50)

Cartier, designed c. 1934 Each with artist’s cipher; knives with artist’s cipher and signed “Cartier/ Puiforcat/France” Comprised of a six-piece Silver service for eight (dinner knives, dinner fork, salad fork, tea spoons, soup spoons, butter spreaders), two service pieces, seven dessert spoons, and additional spoon

260

261

JEAN EMILE PUIFORCAT

TÉTARD FRÈRES

Maison Desny, designed c. 1925 Stamped “Jean E. Puiforcat” verso; debossed stamps of artist’s cipher to the outside rim

Maison Tétard, designed c. 1930 Each stamped “96/227” with maker’s mark Comprised of a coffee pot, teapot, covered sugar bowl, and cream jug

Vase

Various dimensions

5.25" x 5.75" diameter (13 x 15 cm)

$6,000–8,000

$5,000–7,000

Tea and coffee service (4)

Various dimensions

$5,000–7,000


262 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 32" x 27" x 66" (81 x 69 x 168 cm) LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$3,000–5,000

263 WALTER LAMB Waikiki lounge

Brown-Jordan Co., designed c. 1950 Model no. 4720 20.5" x 21.75" x 70" (52 x 55 x 178 cm) LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$1,000–1,500

264 WALTER LAMB

Wide armchairs and table (3) Brown-Jordan Co., designed c. 1950 Model nos. C-5700 (armchairs) and AA-2700 (table) Comprised of two wide armchairs and a square occasional table Armchairs each: 30" x 24" x 27" Table: 22" x 25" x 25" (Armchairs each: 76 x 61 x 69 cm) LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$4,000–6,000


265 WALTER LAMB

Side chairs and table (3) Brown-Jordan Co., designed c. 1950 Model nos. C-1700 (chairs) and AA2700 (table) Comprised of two side chairs and a square occasional table Chairs each: 32" x 18.5" x 19" Table: 22" x 25" x 25" (Chairs each: 81 x 47 x 48 cm) LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

199 266 WALTER LAMB Rocking chair

Brown-Jordan Co., designed c. 1950 Model no. C-5701 32" x 22" x 33" (81 x 56 x 84 cm) LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

267 WALTER LAMB

Sleigh chair and ottoman (2) Brown-Jordan Co., designed c. 1950 Model nos. C-5720 (sleigh chair) and C-5726 (ottoman) Chair: 28" x 23" x 32.5" Ottoman: 10" x 20" x 18.5" (Chair: 71 x 58 x 83 cm) LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,500–3,500


268 WARREN MCARTHUR

Biltmore lounge chairs (2) Warren McArthur Corporation, designed c. 1929 Each: 29.125" x 19.75" x 24" (74 x 50 x 61 cm)

$2,000–3,000

269 FRANK LLOYD WRIGHT Double high bench

Custom, designed 1951 for the First Unitarian Society, Wisconsin 28" x 42" x 23" (71 x 107 x 58 cm)

$2,000–3,000


270 SHOJI HAMADA Jar with lid

Studio, N.d. Glazed stoneware Signed and inscribed with artist’s stamp to underside of lid of wooden storage box Together with wooden storage box 7.5" x 6.5" diameter (19 x 17 cm)

$5,000–7,000

271 SHOJI HAMADA Square bowl

Studio, N.d. Glazed stoneware Signed and inscribed with artist’s stamp to underside of lid of wooden storage box Together with wooden storage box 8" x 8" x 1.625" (20 x 20 x 4 cm)

$3,000–5,000

201


272 PAOLO BUGGIANI Muro Scritto 1958 Oil on canvas Signed lower right edge of canvas; signed, dated, and inscribed “Paris 4/58” and “Buggiani/Via Genzano 133” verso; titled and inscribed “’Muro Scritto’ For Mr. E. Stendahl” on canvas stretcher verso Canvas: 39.375" x 32" Frame: 39.75" x 32.375" (Canvas: 100 x 81 cm)

$2,000–3,000

273 GIUSEPPE GAMBINO Palazzo Moro Sini 1958 Oil on canvas Signed, titled, and dated canvas verso; retains California Palace of the Legion of Honor exhibition label verso Canvas (vis.): 39.25" x 27.25" Frame: 47.875" x 35.75" (Canvas: 100 x 69 cm)

$2,000–3,000


274 CARLO SCARPA Vase

Venini, designed 1934-1936 Etched “Venini/Murano/Made in Italy” 9" x 5" x 4.75" (23 x 13 x 12 cm) LIT E RAT URE Venetian Glass by Carlo Scarpa: The Venini Company, 1932-1947. M. Barovier. 2014. 20 for similar examples.

$4,000–6,000

275 CARLO SCARPA Bollicine bowl

Venini, designed c. 1935 Etched “Venini/Murano/Made in Italy” 4" x 11" x 9.5" (10 x 28 x 24 cm)

$5,000–7,000

203


276 FULVIO BIANCONI Hen

Venini, designed c. 1950 6.75" x 7.5" x 4" (17 x 19 x 10 cm)

$1,500–2,000

277 FULVIO BIANCONI

Fasce Verticale lanterns (3) Venini, designed c. 1953 Single: 12.25" x 6" diameter Pair: 10.5" x 5" diameter (Single: 31 x 15 cm)

$3,000–5,000


278 FULVIO BIANCONI

Fasce Verticali vase Venini, designed c. 1950 Model no. 4317 Etched “Venini/Murano/Italy” 9.5" x 4.5" x 4.25" (24 x 11 x 11 cm)

$4,000–6,000

279 FULVIO BIANCONI Pezzato vase

Venini, designed c. 1950 Etched “Venini/Italia”; retains Christie’s label 9.5" x 5" diameter (24 x 13 cm) P ROV E NANC E Private Collection, Colorado (acquired through Christie’s, South Kensington, United Kingdom, June 3, 1998, lot 33)

$4,000–6,000

280 FULVIO BIANCONI Face vases (2)

Venini, designed c. 1950 Each: 5" x 3.5" x 3.25" (13 x 9 x 8 cm)

$1,500–2,000

281 FULVIO BIANCONI Handkerchief vase

Venini, designed c. 1950 8.5" x 9.25" x 9" (22 x 23 x 23 cm)

$1,500–2,000

205


282 IN THE STYLE OF FABIO LENCI Settee and chair (2)

Manufacturer unknown, designed c. 1968 Settee: 27.25" x 80" x 36" Chair: 28.25" x 36.5" x 34" (Settee: 70 x 203 x 91 cm)

$5,000–7,000


283 MARINO MARINI

Cavallo in Armonia 1978 Etching and aquatint on Magnani paper #88 of 125 Co-published by Edizioni Grafica dei Greci, Rome and Toninelli Arte Moderna, Milan; printed by Edizioni Grafica dei Greci, Rome Signed “Marino” in graphite lower right margin beneath image; edition lower left; retains Leslie Sacks Fine Art label verso Image: 19.25" x 26.25" Sheet (vis.): 21.25" x 27.75" Frame: 30.125" x 36.5" (Image: 49 x 67 cm) LIT E RAT URE Marino Marini: Catalogo ragionato dell’Opera grafica (Incisioni e Litografie) 1919-1980. G. Guastalla and G. Guastalla. 1990. #A219.

$1,000–1,500

284 POLLIO PERELDA Vase

Fratelli Toso, designed c. 1970 Retains label “Made in Italy Murano Glass” 13" x 4.5" diameter (33 x 11 cm)

$3,000–5,000

207


285 MAX INGRAND

Suspended Ceiling Light Fontana Arte, designed c. 1958 32" (top of finial) x 5" x 4" (81 x 13 x 10 cm) LITERATURE 1000 Lights: 1879 to 1959. P. Fiell. 2005. 481.; Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand. F. Deboni. 2012. #314.

$4,000–6,000

286 OSVALDO BORSANI Starburst table

Stow/Davis Furniture Company, designed c. 1968 Retains Stow/Davis Furniture Company label 28.5" x 78" x 47" (72 x 198 x 119 cm)

$4,000–6,000


287 DAN JOHNSON Gazelle chair

Dan Johnson Studio, designed c. 1958 27" x 24" x 22.5" (69 x 61 x 57 cm)

$5,000–7,000

209


DETAILS


ILLUSTRATED PREVIOUS PAGE

288 DAN JOHNSON

Satyr dining table Dan Johnson Studio, designed c. 1956 28.5" x 68" x 36" (72 x 173 x 91 cm) LIT E RAT URE A Handbook of California Design, 1930-1965: Craftspeople, Designers, Manufacturers. B. Tigerman, ed. 2013. 132-133.

$15,000–20,000

289 DAN JOHNSON

Dining chairs (6) Dan Johnson Studio, designed c. 1958 Comprised of four side chairs and two armchairs Side chairs each: 32.75" x 20" x 19" Armchairs each: 31.25" x 20" x 19" (Side chairs each: 83 x 51 x 48 cm)

$20,000–30,000

211


SPRING 2018

Now Accepting Consignments Now Accepting Consignments

ED RUSCHA | DOUBLE STANDARD, 1969 | REALIZED $206,250 | OCTOBER 12, 2014

FRANK STELLA | DOUBLE GRAY SCRAMBLE, 1973 | REALIZED $68,750 | FEBRUARY 21, 2016

PETER PETER LOUGHREY, LOUGHREY, DIRECTOR DIRECTOR | 16145 | 16145 HART HART STREET, STREET, VAN VAN NUYS, NUYS, CA 91406 CA 91406 | 323-904-1950 | 323-904-1950 | LAMODERN.COM | LAMODERN.COM


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buyer for no more than the hammer price plus the Buyer’s

THIRD-PARTY ONLINE BIDDERS

Premium and only after the item is returned to the original

• The Buyer's Premium for bidding via a third-party

first-served basis; thus, we encourage you to submit your

point of sale in the condition in which it was sold. Taxes,

online platform is 28% on the hammer price.

Bid Form ASAP. If identical absentee bids are submitted, the

packing, shipping, and storage costs will not be reimbursed.

earliest received will take precedence. The number of phone

MAI is not liable for any costs, such as expert and attorney

**Payment by credit card carries a 3% processing fee

lines available are limited so please submit your phone requests

fees. If the item is authentic, as stated in the auction catalogue

on the total invoice amount and requires a completion of

early. By registering for the Phone Bidding service you

or lamodern.com, then the purchaser shall bear MAI’s expenses

LAMA's “Credit Card Authorization” form.

acknowledge and consent to allow MAI to record telephone

incurred in defense of the allegation, such as attorney fees

conversations. On all Bid Forms, please leave a valid credit

and other costs. The limited right of rescission is only available

CA LIFO R NIA SALES TAX Sales tax of 9.5% will

card number with expiration date; a deposit of 25% may be

to the original purchaser from MAI. Once the item is resold,

be collected on all purchases removed from our premises or

required for all absentee and phone bids. The party responsible

then all rights and liabilities of MAI regarding authenticity

delivered within the state of California. Those holding a valid

for submitting the Bid Form is solely responsible for the payment

end. The Purchaser’s sole and exclusive remedy against MAI

California State Resale License must register before each

in full of the total invoice, we will not make any changes to an

for any reason is the limited right of rescission described in

auction and present their valid resale number. No purchases

invoice.

this section. The purchaser shall not be entitled to damages,

will be released until all sales tax requirements are satisfied.

compensatory, incidental, consequential, nominal or punitive,

All successful Absentee and Phone bidders will be notified

Absentee or Phone Bidding service is on a first-come,

Should a dispute arise after the auction, our records are

conclusive. We are not responsible for failure to execute a bid

nor any expenses incurred during the proceedings, such as

EST IMAT ES & R ES E RVES The estimates printed

and have the right to reject any bid. We reserve the right to

expert’s fees, attorney’s fees, and other costs.

after each lot should be used as a guide only and should

withdraw any property before the auction and shall have no

not be relied upon as a prediction of final selling prices.

liability whatsoever for such withdrawal. Should an item be

RI GH TS TO PH OTO GRA PH S All images and text

Many of the lots offered for auction carry a reserve and are

withdrawn, the auctioneer will make an announcement at the

contained in this catalogue are the sole property of MAI, and

confidential. The reserve is a minimum price at which the

time the lot would have been put up for sale. In addition, the

may not be used or reproduced in any medium without the

seller has agreed to let the auctioneer sell the property.

auctioneer may add lots not previously listed in the catalogue

expressed written permission of MAI.

or addendum. If the buyer does not comply with all of the

CO NDIT ION Everything is sold in “As-Is” Condition. No

Conditions of Sale/Notices to Buyers, MAI reserves the right to

Modern Auctions, Inc.  |  Bond # 7900453024

statement regarding condition of any item, whether it is made

cancel the sale, hold the defaulting buyer liable for the purchase

Peter Loughrey, Principal Auctioneer

orally at the auction, or in writing, or printed in this catalogue,

price and Buyer’s Premium, retain or process any deposit, and

Los Angeles Modern Auctions (LAMA)

or at any other time shall be deemed to be a warranty,

resell the property privately or at auction without further notice.

16145 Hart Street, Van Nuys, CA 91406

representation, or assumption of liability. It is the sole

In the latter, the defaulting buyer will be held responsible for


Index A

H

P

Agam, Yaacov. . . . . . . . . . . . . . . . 167-168 Albers, Josef. . . . . . . . . . . . . . . . . . 171-172 Almaraz, Carlos. . . . . . . . . . . . . . . . 66-68 Altoon, John . . . . . . . . . . . . . . . . . . . . . 50 Andreson, Laura. . . . . . . . . . . . . . . 85-86 Arman. . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Arnoldi, Charles . . . . . . . . . . . . . . 176-179 Arp, Jean (Hans). . . . . . . . . . . . . . . . . 17-18

Hadid, Zaha. . . . . . . . . . . . . . . . . . . . . . 146 Haines, William "Billy". . . . . . . . . . . . . 69 Hajdú, Étienne. . . . . . . . . . . . . . . . . . . . 23 Halier, Carl . . . . . . . . . . . . . . . . . . . . . . 194 Hamada, Shoji. . . . . . . . . . . . . . . . 270-271 Hammersley, Frederick . . . . . . . . . . . . 169 Hartman, Cedric. . . . . . . . . . . . . . . . . . . 111 Hartung, Hans. . . . . . . . . . . . . . . . . . . . . 15 Hawkinson, Tim. . . . . . . . . . . . . . . . . . . 135 Hirst, Damien. . . . . . . . . . . . . . . . . . . . . 147 Hockney, David. . . . . . . . . . . . . . . . . . . 231 Hoffmann, Josef. . . . . . . . . . . . . . . . . 256 Huebler, Douglas. . . . . . . . . . . . . . . . . . 137

Park, David. . . . . . . . . . . . . . . . . . 244-247 Pearsall, Adrian. . . . . . . . . . . . . . . . . . . 79 Perelda, Pollio. . . . . . . . . . . . . . . . . . . 284 Petersen, Roland. . . . . . . . . . . . . . . . . 243 Pettibon, Raymond. . . . . . . . . . . . . . . . 117 Pettibone, Richard. . . . . . . . . . . 205-207 Picasso, Pablo. . . . . . . . . . . . . . . . . . . . . 19 Platner, Warren. . . . . . . . . . . . . . . . . . . 106 Powolny, Michael. . . . . . . . . . . . . . . . . 258 Prentiss, Chuck. . . . . . . . . . . . . . . . . . . 158 Price, Ken. . . . . . . . . . . . . . . . . . . . . 34-35 Prutscher, Otto. . . . . . . . . . . . . . . . . . 257 Puiforcat, Jean Emile. . . . . . . . . 259-260

I

R

Indiana, Robert. . . . . . . . . . . . . . . . . . . 201 Ingrand, Max. . . . . . . . . . . . . . . . . . . . 285

Radó, Georges. . . . . . . . . . . . . . . 253-254 Ramos, Mel . . . . . . . . . . . . . . . . . . . . . . 212 Rapson, Ralph. . . . . . . . . . . . . . . . . . . . 113 Rauschenberg, Robert. . . . . . . . . 126-127 Rayne, Blake. . . . . . . . . . . . . . . . . . . . . 134 Reinhardt, Ad . . . . . . . . . . . . . . . . . . . . 154 Rickey, George . . . . . . . . . . . . . . . 104-105 Rosa, Christian. . . . . . . . . . . . . . . . . . . 133 Rosenquist, James. . . . . . . . . . . . 213-214 Rosenthal, Bernard "Tony". . . . . . . . . 99 Ruscha, Ed. . . . . . . . . . . . . . . . . . . . 46-48

B Bacerra, Ralph. . . . . . . . . . . . . . . . . . . . 92 Baldessari, John. . . . . . . . . . . . . . . 57-58 Bell, Larry . . . . . . . . . . . . . . . . . . . 180-183 Bengston, Billy Al. . . . . . . . . . . . . . 38-40 Benjamin, Karl. . . . . . . . . . . . . . . . . . . . 170 Benton, Fletcher. . . . . . . . . . . . . . . . . . 175 Berlant, Tony. . . . . . . . . . . . . . . . . . 53-54 Berrocal, Miguel . . . . . . . . . . . . . . . . . . 1-4 Bertoia, Harry. . . . . . . . . . . . 102-103, 108 Bianconi, Fulvio. . . . . . . . . . . . . . . 276-281 Bitters, Stan . . . . . . . . . . . . . . . . . . 88-89 Blanchard, Porter. . . . . . . . . . . . . . . . . . 73 Blomdahl, Sonja . . . . . . . . . . . . . . . . . . 195 Borsani, Osvaldo. . . . . . . . . . . . . . . . . 286 Bourgeois, Louise. . . . . . . . . . . . . . . . . 128 Buff, Conrad. . . . . . . . . . . . . . . . . . . . . . . 74 Buggiani, Paolo. . . . . . . . . . . . . . . . . . 272 Burkhardt, Hans. . . . . . . . . . . . . 226-229

C Calder, Alexander. . . . . . . . . . . . . . . . . 22 Castle, Wendell. . . . . . . . . . . . . . . . . . . 144 Clark, Evans. . . . . . . . . . . . . . . . . . . . . . 78 Close, Chuck . . . . . . . . . . . . . . . . . . . . . 59 Cohen, Larry. . . . . . . . . . . . . . . . 248-249 Conover, Luther. . . . . . . . . . . . . . . . . . . 80 Cornell, Joseph. . . . . . . . . . . . . . . . . . . 100 Corse, Mary. . . . . . . . . . . . . . . . . . . . . . 155

D Dalí, Salvador . . . . . . . . . . . . . . . . . . . 9-10 Davis, Ron . . . . . . . . . . . . . . . . . . . . . . . . 41 di Suvero, Mark. . . . . . . . . . . . . . 237-238 Diebenkorn, Richard. . . . . . . . . . 232-236 Dill, Laddie John. . . . . . . . . . . . . . . . . . 43 Donovan, Tara. . . . . . . . . . . . . . . . 152-153 Douke, Daniel. . . . . . . . . . . . . . . . . . . . . 184 Dowd, Robert. . . . . . . . . . . . . . . . . . . . 200 du Plantier, Marc. . . . . . . . . . . . . . . . . . . 16

E Eames, Charles & Ray . . . . . . . . . . 25-30 Eisenman, Nicole. . . . . . . . . . . . . . . 64-65 Enfeldt, Eduardo. . . . . . . . . . . . . . . . . 252 Engel, Jules. . . . . . . . . . . . . . . . . . 163-164 Eversley, Fred . . . . . . . . . . . . . . . . . . . . 173

F Feito López, Luis. . . . . . . . . . . . . . . . . . . . 5 Ferebee, Chris. . . . . . . . . . . . . . . . 101, 145 Fischinger, Oskar . . . . . . . . . . . . 223-225 Flavin, Dan. . . . . . . . . . . . . . . . . . . . . . . 160 Flood, Mark . . . . . . . . . . . . . . . . . . . . . . 159 Fontaine, Claire. . . . . . . . . . . . . . . . . . . 122 Foulkes, Llyn. . . . . . . . . . . . . . . . . . . . . 52 Frankl, Paul . . . . . . . . . . . . . . . . . . . . . . 70

G Gambino, Giuseppe. . . . . . . . . . . . . . . 273 Gehry, Frank.. . . . . . . . . . . . . . . . . . . . . 123 Gilot, Françoise. . . . . . . . . . . . . . . . . . . 20 Goode, Joe. . . . . . . . . . . . . . . . . . . . . . . 49 Graham, Robert. . . . . . . . . . . . . . . . 55-56

J Jack, Robert. . . . . . . . . . . . . . . . . . 62-63 Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . . 12 Johns, Jasper. . . . . . . . . . . . . . . . 198-199 Johnson, Dan. . . . . . . . . . . . . . . . 287-289 Johnson, Daniel LaRue . . . . . . . . . . . . . 51 Johnson, Jocko. . . . . . . . . . . . . . . . . . . . 81

K Kanemitsu, Matsumi. . . . . . . . . . . . . . . . 13 Karasz, Ilonka . . . . . . . . . . . . . . . . . . . . . 72 Kelly, Ellsworth. . . . . . . . . . . . . . . . . . 204 Kirk, Jerome. . . . . . . . . . . . . . . . . 165-166 Kjærholm, Poul. . . . . . . . . . . . . . . . . . . 185 Knighthorse, Ben . . . . . . . . . . . . . . . . . . 75 Knoll, Florence . . . . . . . . . . . . . . . . . . . 110 Kuhn, Mona . . . . . . . . . . . . . . . . . . . . . 250

L Lamb, Walter. . . . . . . . . . . . . . . . 262-267 Lane, Doyle . . . . . . . . . . . . . . . . . . . 82-83 László, Paul. . . . . . . . . . . . . . . . . . . . . . . 71 Lenci, Fabio {style}. . . . . . . . . . . . . . . 282 LeWitt, Sol. . . . . . . . . . . . . . . . . . . . 161-162 Lichtenstein, Roy . . . . . . . . . . . . . . . . 202 Lobdell, Frank . . . . . . . . . . . . . . . . . . . 242 Lodato, Peter. . . . . . . . . . . . . . . . . . . . . 42 Lustig, Alvin. . . . . . . . . . . . . . . . . . . 96-98

M Mallory, Ronald. . . . . . . . . . . . . . . 156-157 Maloof, Sam. . . . . . . . . . . . . . . . . . . . . . 87 Marini, Marino. . . . . . . . . . . . . . . . . . . 283 Mason, John . . . . . . . . . . . . . . . . . . . 36-37 McArthur, Warren. . . . . . . . . . . . . . . . 268 McGee, Barry. . . . . . . . . . . . . . . . . . . . . 120 Miró, Joan. . . . . . . . . . . . . . . . . . . . . . . . 21 Mizuno, Mineo. . . . . . . . . . . . . . . . . . . . 148 Mompó, Manuel Hernández. . . . . . . . . . . 7 Moore, Henry. . . . . . . . . . . . . . . . . . . . . 24 Muller, Dave. . . . . . . . . . . . . . . . . . . . . . 121 Murakami, Takashi . . . . . . . . . . . . . . . . 119 Murrill, Gwynn. . . . . . . . . . . . . . . . . . . . 140

S Saar, Betye. . . . . . . . . . . . . . . . . . . . . . . 129 Saarinen, Eero. . . . . . . . . . . . . . . . 107, 109 Salto, Axel. . . . . . . . . . . . . . . . . . . 188-190 Scarpa, Carlo. . . . . . . . . . . . . . . . 274-275 Shulman, Julius. . . . . . . . . . . . . . . . 93-95 Smith, Alexis. . . . . . . . . . . . . . . . . . . . . 130 Stella, Frank. . . . . . . . . . . . . . . . . . 196-197 Sternfeld, Joel. . . . . . . . . . . . . . . . . . . . 251 Sultan, Donald. . . . . . . . . . . . . . . . 138-139

T Takemoto, Henry. . . . . . . . . . . . . . . . 32-33 Tamayo, Rufino. . . . . . . . . . . . . . . . . . . . 8 Taylor, Michael. . . . . . . . . . . . . . . . . . . . . 77 Tétard Frères. . . . . . . . . . . . . . . . . . . . . 261 Thiebaud, Wayne. . . . . . . . . . . . . . 239-241 Twombly, Cy. . . . . . . . . . . . . . . . . . . . . . 125

U Úbeda, Augustín. . . . . . . . . . . . . . . . . . . . 6

V Vasa . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Vena, Ned. . . . . . . . . . . . . . . . . . . . . . . . 150 Venet, Bernar . . . . . . . . . . . . . . . . . . . . . 14 Voulkos, Peter. . . . . . . . . . . . . . . . . . . . . 31

W

Nakashima, George. . . . . . . . . . . . 141-143 Natkin, Robert. . . . . . . . . . . . . . . . . . . 230 Natzler, Gertrud & Otto. . . . . . . . . . . . 90 Nelson, George. . . . . . . . . . . . . . . . . . . 112 Nevelson, Louise. . . . . . . . . . . . . . . . . . 151

Walker, Kara. . . . . . . . . . . . . . . . . . . . . . 118 Warhol, Andy. . . . . . . . . . . . . . . . 208-209 Weatherford, Mary. . . . . . . . . . . . . . 60-61 Wegner, Hans.. . . . . . . . . . . . . . . . . 191-193 Wesselmann, Tom. . . . . . . . . . . . . . 210-211 Winters, Terry. . . . . . . . . . . . . . . . . . . . 136 Wirkkala, Tapio . . . . . . . . . . . . . . . 186-187 Woelffer, Emerson. . . . . . . . . . . . . 217-222 Wood, Beatrice . . . . . . . . . . . . . . . . . . . . 91 Wool, Christopher. . . . . . . . . . . . . . 114-116 Woolley, Jackson. . . . . . . . . . . . . . . . . . 84 Wright, Frank Lloyd . . . . . . . . . . . . . . 269

O

Y

Oldenburg, Claes. . . . . . . . . . . . . . . . . . 215 Olson, Scott. . . . . . . . . . . . . . . . . . . 131-132 Orr, Eric . . . . . . . . . . . . . . . . . . . . . . 44-45 Osaki, Harry. . . . . . . . . . . . . . . . . . . . . . 149 Oursler, Tony. . . . . . . . . . . . . . . . . . . . . 124

Yalenti, José . . . . . . . . . . . . . . . . . . . . 255

N


INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, February 25, 2018

From Hollywood

Director,

12pm (PT)

• Make your way to the 101 Freeway

Modern Art & Design

Proceed North on the 101 Preview

• Merge onto the 405 Freeway,

Shannon Loughrey

February 12 – 24, 2018

north

Managing Director

10am–6pm (PT)

• Take the 4th exit onto “Sherman Way, west”

Clo Pazera

Address

• Proceed west on Sherman Way

Specialist

16145 Hart Street

• Turn left at the 3rd light onto

Van Nuys, CA 91406

“Woodley”

Carolina Ivey

• Take the first right onto “Hart”

Client Services Manager

Telephone

street, which is a side street

323.904.1950

Katie Cape From the Westside

Consignor Services

Website

• Take the 405 Freeway, north

LAModern.com

Continue past the Getty Muse-

Joe Alascano

um and the 101 Interchange

Shipping

• Exit onto “Sherman Way, west”

David Jones

(this is 4 exits North of the 101)

Client Services

• Proceed west on Sherman Way

Grace-Yvette Gemmell

• Turn left at the 3rd light

Writer

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

LAMA MAP VAN NUYS AIRPORT

SEPULVEDA BLVD

HART ST

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

101 FREEWAY WOODLAND HILLS HOLLYWOOD

N

GETTY MUSEUM


$30.00 ISBN 978-0-9962961-8-2

53000>

9 780996 296182

STREET, VAN NUYS, CA 91406 | T 323-904-1950 | F 323-904-1954 | LAMODERN.COM 16145 16145 HART HART STREET, VAN NUYS, CA 91406 | T 323-904-1950 | F 323-904-1954 | LAMODERN.COM

PRINTED IN LOS ANGELES

February 25, 2018 Modern Design & Fine Art Auction  
February 25, 2018 Modern Design & Fine Art Auction  

February 25, 2018 Modern Design & Fine Art Auction catalogue