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LAMA 16145 Hart Street Van Nuys, CA 91406

Preview: October 9 - 21, 2017 10am–6pm (PST) Auction: Sunday, October 22, 2017 12pm (PST)


25th Anniversary Auction 25 years ago LAMA was born of necessity. Not only did I

From the beginning, I had an amazing line of mentors. My

personally need to change my retail business model

brother, Joe, who was perhaps the most naturally gifted

(I couldn't stand sitting in my store—I preferred the

"picker" in the business, taught me to see quality and

hunt), but the overall market for vintage art and design

focused my interest in furniture and "decorative" art.

was calling for more variety and greater access. Before

My close friend Ron Winokur taught me to see value and

the internet, eBay, or Antiques Roadshow, collectors of

introduced me to the "fine" art market. And of course, the

mid-century modern were essentially confined to their

most important influence on me has been Shannon, my

local surroundings for acquiring both objects and knowl-

wife and business partner, who not only refined my busi-

edge. But perhaps even more critical to my new idea were

ness acumen, but also keeps me inspired and never stops

dealers who were selling outside of large metropolitan

encouraging me to stay passionate about the material we

centers who had no access to top collectors.

sell.

At 24 years old, I hadn't met a lot of people who wanted

Speaking of which, in this catalogue are some of the most

or needed to sell through auctions. So I crisscrossed the

exciting works we have offered to date, many of which

country stopping at antique stores, malls, vintage shops,

have been staples at LAMA from the beginning. Ceramics

and even junk yards to find the objects to fill each auction

by Gertrud and Otto Natzler, plywood storage units by

catalogue. It was difficult sticking to a consignment mod-

Charles & Ray Eames, and a set of silver-plated Elsa Tenn-

el, but I eventually found many sympathetic friends who

hardt cups round out a selection of design that happens

wanted to be part of a group; a vintage modern movement

to also have been featured in our very first sale in October

that was just beginning to spread. From Topeka, Kansas

1992. As for prints, paintings, drawings, and sculpture, the

to Phoenix, Arizona I made a circuit that, three or four

quality keeps getting better and better in each auction.

times a year, would fill a 26-foot rental truck with enough

Just a few highlights in this sale are, respectively, a rare

modern design items to get me through another auction.

pochoir by Marcel Duchamp, a stellar oil by Karl Benjamin,

Dealers, pickers, and collectors would save the things

a perfect watercolor by Paul Klee, and a mixed-media

I asked for until I made my way around again to their

masterpiece by Ken Price. And, of course, don't miss the

town. On several occasions the checks I mailed to those

classic California dune buggy known as the “Bounty Hunt-

consignors in Kansas, Texas, and Arizona were enough to

er” that is a virtual time capsule from 1968.

buy them a first home. Other times, original mid-century owners sought out my company and I became a conduit

I don't know if I'll be doing this for another 25 years, but

between those who needed to sell and the collectors who

if I am, you can bet I'll continue to celebrate the material,

wanted to buy. I began to realize that my little auction

enjoy the people, and be thankful for what LAMA has

model could have a significant impact on many people,

provided.

and many people have had a profound impact on me. Peter Loughrey, Director


1 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed 1957 Model no. CSS Comprised of four poles, nine shelves, magazine rack, desk, two-drawer cabinet, dividers, and four lights Overall: 88.5" x 100" x 22" (225 x 254 x 56 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 245.

$4,000–6,000


2 GEORGE NELSON Thin Edge bed

Herman Miller, designed 1956 Retains Herman Miller upholstery tag “Deliver to Charles Eame [sic]/901 West Washington Blvd.” 34" x 82" x 39" (86 x 99 x 208 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 271.

$2,500–3,500

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3 GEORGE NELSON

Modular Case cabinets (2) Herman Miller, designed 1948 29.75" x 34" x 19.5" 29.75" x 24" x 19.5" (76 x 86 x 50 cm) LIT E RAT URE The Herman Miller Collection. Manufacturer cat. 1952. 16.

$2,000–3,000


4 GEORGE NELSON Kite wall clock

Howard Miller Clock Co., designed 1952-1953 Model no. 2201 Retains “Howard Miller Clock Company” label 16.5" x 22" x 5" (42 x 56 x 13 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 287.

$3,000–4,000

5 GEORGE NELSON Watermelon clock

Howard Miller Clock Co., designed 1954 Model no. 2219 Retains Howard Miller label 4.75" x 8" x 4.5" (12 x 20 x 11 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 289.

$3,000–5,000

6 GEORGE NELSON & ASSOCIATES Action Office desk

Herman Miller, designed 1965 28.5" x 60" x 36" (72 x 152 x 91 cm)

$1,500–2,000


7 GEORGE NELSON Sunflower clock

Howard Miller Clock Co., designed 1958-1959 Model no. 2261 Retains Howard Miller labels 29.5" diameter (75 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 294.

$2,000–3,000

8 GEORGE NELSON Coffee table

Herman Miller, designed 1964 Model no. 64115 24" x 55" x 31.5" (61 x 140 x 80 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 264.

$4,000–6,000

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9 PAUL MCCOBB Coffee table

Directional, designed c. 1956 Model no. 8713 15.75" x 41" diameter (40 x 104 cm) LITERATURE Directional Designs/Paul McCobb. Manufacturer cat. 1956. 59, 91.

$1,500–2,000

10 PAUL MCCOBB

Planner Group bench Winchendon, designed c. 1950 10" x 60" x 18" (25 x 152 x 41 cm)

$800–1,200


11 FLORENCE KNOLL Settees (2)

Knoll, designed c. 1962 Model no. 52W Each: 31" x 48" x 28" (79 x 122 x 71 cm) LIT E RAT URE Knoll Associates. Manufacturer cat. 1962. 106.

$5,000–7,000

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12 EERO SAARINEN

Dining table and chairs (6) Knoll, designed 1956 Chairs each retain Knoll label Comprised of an oval table and five swivel armchairs Armchairs each: 32" x 26" x 21" Table: 28" x 48" x 77" (Armchairs each: 81 x 66 x 53 cm) (Table: 71 x 122 x 196 cm)

$4,000–6,000


13 FREDA KOBLICK Lamp

Studio, designed c. 1960 21" (top of finial) x 10" x 4" (53 x 25 x 10 cm)

$2,000–3,000

14 ROSS LITTEL Fabric panel

Studio, designed c. 1960 Signed lower right 43.5" x 17" (110 x 43 cm)

$1,000–1,500

15 ESTELLE & ERWINE LAVERNE Lounge chairs (2)

Laverne Originals, designed 1967 Comprised of a “Lily” chair and “Daffodil” chair Lily chair: 36" x 30" x 30" Daffodil chair: 25" x 30.25" x 27" (Lily chair: 91 x 76 x 76 cm) (Daffodil chair: 64 x 77 x 69 cm)

$3,000–5,000

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16 SOL LEWITT Untitled

1998 Gouache on cardstock Signed and dated in graphite lower right sheet; inscribed “006228” sheet verso Composition/sheet: 7.375" x 22.5" (19 x 57 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$6,000–9,000


ENLARGED DETAIL OF TITLE PAGE

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17 SOL LEWITT Emblemata

2000 The complete portfolio of 15 monotypes on Fabriano paper #20 of 20 artist’s proofs aside from the edition of 70 Published by Edizioni Essegi, Ravenna Colophon signed with edition; two signed in graphite lower right edge of sheet Sol LeWitt Catalogue Raisonné #2000.06 Images/sheets each: 11.25" x 22.375" (29 x 57 cm)

$6,000–9,000


18 SOL LEWITT

Colors Divided by Wavy Lines 1999 The complete set of 3 silkscreens on Arches 88 paper #1 of 3 trial proofs aside from the edition of 35 Published by Edicions T, Barcelona; printed by Watanabe Studio Ltd., Brooklyn Each signed with edition lower right edge of sheet Sol LeWitt Catalogue Raisonné #1999.07 Images each: 13" x 19.25" Sheets each: 16.875" x 23.25" (Images each: 33 x 49 cm)

$4,000–6,000


19 VICTOR VASARELY Betelguese

c. 1962 Color lithograph on paper #48 of 50 Signed lower right; edition lower left Image: 20.875" x 19.625" Sheet (vis.): 28" x 26" Frame: 29" x 27" (Image: 53 x 50 cm)

$1,000–1,500

20 MAN RAY

Man Ray exhibition catalogue 1969 Spiral bound book with polished aluminum binding Published by Hanover Gallery, London Signed by the artist on title page 7.75" x 6.25" x .25" (20 x 16 x 1 cm)

$300–500

21 VARIOUS ARTISTS

Eye #10: Futuristic Images 1984 Mixed-media book #14 of 155 Published by Eye Magazine, Santa Monica Some works signed, dated, and titled with edition Comprised of works by Alison Morley, Joe Fay, Hamilton Phillips, Roberto Delgaldo Rios, Bob Curry, Mary Michel, Gary Lang, Jett Jackson, Richard Duardo, Bob Clark, Dennis Goddard, Leonard Koscianski, Miriam Feldman, Nick Corea, Andi Alameda, Gary Worrell, Pamela Burgess, David Lawson, Daniel Martinez, Bob Gibson, and Craig O’Rourke; cover by Ronald Davis 8.625" x 11.75" x .375" (21 x 30 x 1 cm)

$300–500

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22 ROBERT INDIANA

Decade: Autoportraits, Vinalhaven Suite (6) 1980 Color screenprint on Fabriano paper Three: #25 of 125; Others: #119 of 125 Published by Mulitples, Inc., New York Each signed and dated in graphite lower right margin of sheet beneath image; edition lower left; retains blind stamp lower left Comprised of Autoportrait ‘70 (Vinalhaven), Autoportrait ‘71 (Isle au Haut), Autoportrait ‘72 (Penobscot), Autoportrait ‘74 (Hurricane), Autoportrait ‘75 (Carver’s Pond), and Autoportrait ‘79 (Brimstone) Images each: 24" x 24" Sheets each: 26.75" x 26.75" Frames each: 36.5" x 35.5" (Images each: 61 x 61 cm)

$7,000–10,000


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23 VICTOR VASARELY Untitled (6)

c. 1980 Screenprint on paper Each: #184 of 250 Each signed lower right; edition lower left Images/sheets each: 12.75" x 9.75" Frames each: 19.125" x 16.125" (Images/sheets each: 32 x 25 cm)

$3,000–5,000


25 ELLSWORTH KELLY 24 FRANK STELLA

Agua Caliente (from Race Track Series) 1972 Screenprint on Gemini Rag Board #73 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition lower right sheet

Red Blue (from Ten Works by Ten Painters) 1964 Screenprint on Mohawk Superfine Cover paper From the unnumbered edition of 500 Published by Wadsworth Atheneum, Hartford; printed by Sirocco Screenprints, New Haven Retains blind stamp lower right sheet

Sheet: 21.625" x 81.5" Frame: 23" x 82.5" (Sheet: 55 x 207 cm)

Image: 22" x 18" Sheet: 24" x 20" Frame: 24.25" x 20.25" (Image: 56 x 46 cm)

LITERATURE The Prints of Frank

L I T E RAT U R E The Prints of Ellsworth

Stella: A Catalogue Raisonné: 1967-

Kelly: A Catalogue Raisonné. Vol. I. R.

1982. R. Axsom. 1983. #75.

Axsom. 2012. #2.

$5,000–7,000

$1,500–2,000


26 MILLY RISTVEDT Wing

1968 Acrylic on canvas Signed and dated canvas verso; retains Carmen Lamanna Gallery label on wooden stretcher bar verso 84" x 137.25" (213 x 349 cm)

$5,000–7,000

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27 ELLSWORTH KELLY

Leaf VIII (from Twelve Leaves) 1978 1-color lithograph on Arches 88 paper #7 of 9 artist’s proofs aside from the edition of 20 Published and printed by Gemini G.E.L., Los Angeles Signed and titled with edition in graphite lower right edge of sheet; Gemini G.E.L. blind stamp lower right corner Gemini G.E.L. #28.85 Sheet: 30" x 42" Frame: 33.125" x 45.375" (Sheet: 76 x 107 cm) LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné. Vol. I. R. Axsom. 2012. #173.

$4,000–6,000


28 ELLSWORTH KELLY

Cyclamen I (from Suite of Plant Lithographs) 1964-1965 Lithograph on Rives BFK white paper #52 of 75 Published by Maeght Éditeur, Paris; printed by Imprimerie Maeght, Levallois-Perret Signed lower right sheet; edition lower left Image/sheet: 35" x 23.625" Frame: 37" x 27.25" (Image/sheet: 89 x 60 cm) LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné. Vol. I. R. Axsom. 2012. #36.

$5,000–7,000

29 ELLSWORTH KELLY

Camellia III (from Suite of Plant Lithographs) 1964-1965 Lithograph on Rives BFK white paper #53 of 75 Published by Maeght Éditeur, Paris; printed by Imprimerie Maeght, Levallois-Perret Signed lower right sheet; edition lower left Image/sheet: 35" x 23.625" Frame: 37" x 27.25" (Image/sheet: 89 x 60 cm) LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné. Vol. I. R. Axsom. 2012. #43.

$5,000–7,000

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30 JIM DINE

2005 Suite 2005 The complete portfolio of six color lithographs on Rives BFK paper #22 of 200 Published by Marco Fine Arts Contemporary, Hawthorne; printed by Atelier Michael Woolworth, Paris Each signed lower right sheet; edition lower left Together with a certificate of authenticity for each from Marco Fine Arts Comprised of The Bather, The Blue Heart, Black Ink Robe, The Yellow Belt, Two Hearts at Sunset, and Sunflower

Images/sheets each: 26.25" x 20.25" (or alternate orientation) (67 x 51 cm)

$12,000–18,000


31 JIM DINE

Multicolored Robe for the Seoul Olympics 1988 Color lithograph on paper #166 of 300 Published by the Olympic Games Committee, Seoul Signed and dated with edition lower center sheet; blindstamp lower right sheet Image/sheet: 35" x 27" Frame: 42.5" x 34.5" (Image/sheet: 89 x 69 cm)

$1,500–2,000

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PORTFOLIO CASE DETAIL

32 JIM DINE

Temple of Flora 1984 The complete portfolio of 28 drypoints and engravings on Rives BFK paper in original portfolio case #118 of 175 Published by Arion Press, San Francisco; printed by Robert E. Townsend, Georgetown Signed with edition on the justification page; edition lower right margin of frontispiece; signed lower left With botanical notes compiled and poetry selected by Glenn Todd and Nancy Dine Sheets each: 20.5" x 14" Portfolio case: 22" x 15.75" x 3" (Sheets each: 52 x 36 cm)

$3,000–5,000


33 FRANK STELLA

Stubb’s Supper (S-1, 1X) (from Moby Dick Series) 1986-1987 Acrylic on stainless steel, carbon steel, and bronze #1 of 3 Edition incised to wall mount 30.5" x 38.5" x 17.25" (77 x 98 x 44 cm) P ROV E NANC E Arij Gasiunasen Fine ALTERNATE VIEW

Art, Palm Beach, Florida; Private Collection, United States LIT E RAT URE Frank Stella’s Moby Dick: Words and Shapes. R. Wallace. 2000. #128.

$100,000–150,000

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34 CLAES OLDENBURG

Baked Potato (from 7 Objects in a Box) 1966 Cast resin painted with acrylic Artist’s proof aside from the edition of 75 Published by Tanglewood Press, New York; fabricated by Knickerbocker Machine & Foundry, Inc., New York Initialed with edition “C.O. AP” to underside of potato element Potato: 4" x 8.25" x 4.75" Plate: 1" x 10.5" x 7.375" (Potato: 10 x 21 x 12 cm) LITERATURE Claes Oldenburg: Multiples in Retrospect, 1964-1990. T. Lawson. 1991. #3.; Printed Stuff, Posters and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #20.

$6,000–8,000


35 CLAES OLDENBURG

Teabag (from 4 on Plexiglas) 1966 Laminated vacuum-formed vinyl, screenprinted vinyl, felt, and Plexiglas with rayon cord #103 of 125 Published by Multiples Inc., New York; printed and fabricated by Knickerbocker Machine & Foundry, Inc., New York Signed with edition verso Image: 39" x 27.75" Frame: 39.625" x 28.375" (Image: 99 x 70 cm) LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #36.

$4,000–6,000

36 CLAES OLDENBURG

Alternate Proposal for an Addition to the Allen Memorial Art Museum, Oberlin, Ohio 1979 Color soft-ground and hard-ground etching with spitbite aquatint on Rives BFK paper #17 of 60 Published by Multiples, Inc., New York; printed by Aeropress, New York Signed and dated in graphite with blind stamp lower right sheet; edition lower left Image: 22.75" x 28.5" Sheet: 34" x 40.75" (Image: 58 x 72 cm) LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #169.

$1,000–1,500

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37 ROY LICHTENSTEIN

Reverie (from 11 Pop Artists Portfolio, Vol. II) 1965 Color screenprint on paper Artist’s proof aside from the edition of 200 Published by Original Editions, New York; printed by Knickerbocker Machine & Foundry, Inc., New York Signed in graphite lower right margin beneath image; edition lower left Image: 27" x 23" Sheet: 30" x 34" (Image: 69 x 58 cm) P ROVENA NC E James Rosenquist; Private Collection, Florida (acquired directly from the above) LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #38.

$60,000–90,000


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38 ROY LICHTENSTEIN

Sweet Dreams, Baby! (from 11 Pop Artists Portfolio, Vol. III) 1965 Color screenprint on paper Proof aside from the edition of 200 Published by Original Editions, New York; printed by Knickerbocker Machine & Foundry, Inc., New York Signed in graphite lower right margin beneath image Image: 35.5" x 25.5" Sheet: 37.5" x 27.625" (Image: 90 x 65 cm) P ROV E NANC E James Rosenquist; Private Collection, Florida (acquired directly from the above) LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #39.

$60,000–90,000


39 ROY LICHTENSTEIN

Reflections on The Scream (from Reflections) 1990 Lithograph, screenprint, and woodcut in colors with metalized PVC collage and embossing on mold-made Somerset paper #5 of 16 artist’s proofs aside from the edition of 68 Published and printed by Tyler Graphics, Ltd., Mt. Kisco Signed and dated with edition lower right margin beneath image; Tyler Graphics blind stamp lower right corner of sheet Image: 42.25" x 59" Sheet: 48.75" x 65.25" Frame: 53.25" x 70.25" (Image: 107 x 150 cm) LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. M. Corlett. 1994. #243.

$100,000–150,000


40 ROY LICHTENSTEIN

Art: The American Federation of Arts 80th Anniversary 1988-1989 Color screenprint on paper Signed “Roy Lichtenstein” lower right sheet Sheet (vis.): 34.25" x 51.5" Frame: 44" x 61.25" (Sheet: 87 x 131 cm)

$1,500–2,000

41 JAMES ROSENQUIST

More Points on a Bachelor’s Tie 1977 1-color etching and aquatint with pochoir on Pescia Italia paper #10 of 78 Published by Multiples, Inc., New York Signed and dated with blind stamp lower right sheet; titled with edition lower left Image: 17.5" x 35.5" Sheet: 22.75" x 39.75" Frame: 23" x 40" (Image: 44 x 90 cm) LIT E RAT URE Time Dust: James Rosenquist Complete Graphics. 19621992. C. Glenn. 1993. 150.

$1,500–2,000

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42 ANDY WARHOL

Untitled (from Flash—November 22, 1963) 1968 Screenprint on paper #142 of 200 Published by Racolin Press, Inc., Briarcliff Manor; printed by Aetna Silkscreen Products, Inc., New York Signed with edition in ballpoint pen verso F/S #II.33 Sheet: 21" x 21" (53 x 53 cm) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.33.

$2,000–3,000

43 ANDY WARHOL

Two Male Figures, Full Figure c. 1957 Ink and tempera on paper Retains faint “Estate of Andy Warhol” and “Andy Warhol Art Authentication Board” stamps sheet verso; inscribed “A130.072” and “303.022” and “YA.38.8” sheet verso; retains Susan Sheehan Gallery label frame verso Together with copy of invoice from Susan Sheehan Gallery dated November 7, 2006 Sheet: 8.625" x 5.625" Frame: 15.875" x 12.625" (Sheet: 22 x 14 cm) P ROVENA NC E Susan Sheehan Gallery, New York, New York; Private Collection, Austin, Texas (acquired directly from the above, 2006)

$8,000–12,000


44 ANDY WARHOL

Marilyn (Castelli Gallery Invitation) 1981 Offset color lithograph on wove paper From the edition of approximately 250 Published by Castelli Graphics, New York; printed by Colour Editions, Inc., New York Signed in felt-tip marker recto Not in F/S 7" x 7" (18 x 18 cm) This is an announcement for the exhibition “Andy Warhol: A Print Retrospective 1963-1981,” held at Leo Castelli Gallery, New York.

$6,000–8,000

45 ANDY WARHOL

Kachina Dolls (from Cowboys and Indians) 1986 Color screenprint on Lenox Museum Board #2 of 250 Printed by Rupert Jasen Smith, New York Signed with edition lower left sheet; blind stamp lower right corner of sheet F/S #II.381 Image/sheet (vis.): 35.625" x 35.625" Frame: 41.75" x 41.75" (Image/sheet: 90 x 90 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.381.

$12,000–15,000

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46 EDWARD WORMLEY Listen-to-me couch

Dunbar, designed 1948 Model no. 4873 Retains gold “Dunbar” tag 26" x 74" x 25.5" (66 x 188 x 65 cm) EXHIBITE D “Reclining/Design: Art and the Aesthetics of Repose,” Palm Springs Art Museum, Palm Desert, February 15-July 31, 2014 LITERATURE Dunbar: Fine Furniture of the 1950s. L. Piña. 2000. 157, 201.

$15,000–25,000


47 T.H. ROBSJOHN-GIBBINGS Klismos armchairs (2)

Widdicomb Company, designed 1948 Each: 35" x 27.5" x 23.5" (89 x 70 x 60 cm)

$5,000–7,000

48 EDWARD WORMLEY Executive desk

Dunbar, designed c. 1956 Model no. 5557 29.75" x 74" x 37.75" (76 x 188 x 96 cm) LIT E RAT URE Dunbar: Fine Furniture of the 1950s. L. Piña. 2000. 159, 196.

$3,000–5,000

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49 VLADIMIR KAGAN

Floating seat and back sofa Kagan Design Group, designed 1952; this example produced c. 2005 Model no. 176-SC Together with plaque and certificate of authenticity from the Vladimir Kagan Design Group 27.5" x 83" x 50" (70 x 211 x 127 cm)

$5,000–7,000


50 HARRY BERTOIA

Bird chair and ottoman (2) Knoll Inc., designed 1952; these examples produced 1999 Model nos. 423 (chair), 424 (ottoman) Each retains an upholstery tag Chair: 40.5" x 38.5" x 31" Ottoman: 15" x 24" x 16" (Chair: 103 x 98 x 79 cm) (Ottoman: 38 x 61 x 41 cm) LIT E RAT URE Knoll Index of Contemporary Design. Manufacturer cat. 1954. N.pag.

$900–1,200

51 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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OPPPOSITE PAGE: DETAIL OF LOT 52

52 PHILIP & KELVIN LAVERNE

Spring Festival console table Philip LaVerne Collection, designed c. 1960 Signed “Philip Kelvin LaVerne”; retains “Philip LaVerne Galleries Ltd.” and “Philip LaVerne Collection” labels 26" x 56" x 20" (66 x 142 x 51 cm)

$8,000–12,000

53 PHILIP & KELVIN LAVERNE Coffee table

Philip LaVerne Collection, designed c. 1965 Signed “Philip K Laverne”; retains manufacturer’s label 16" x 48" x 36" (41 x 122 x 91 cm)

$4,000–6,000

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54 DAVID HOCKNEY

An Image of Gregory (from Moving Focus) 1984-1985 Lithograph and collage on TGL handmade paper in two parts in the artist’s original painted sculptural frames #7 of 18 artist’s proofs aside from the edition of 75 Published by Tyler Graphics, Mt. Kisco Signed and dated in graphite lower right corner of top sheet; edition in roman numerals lower left of top sheet; retains Tyler Graphics blind stamp to lower right corner of top sheet and lower right corner of bottom sheet Top: Image/sheet: 31.5" x 25" Frame: 37.5" x 30.5" Bottom: Image/sheet: 45.5" x 35" Frame: 52" x 41" Overall: 87.875" x 41" (Overall: 223 x 104 cm) LITERATURE David Hockney Prints 1954-1995. 1996. #276.; Tyler Graphics: Catalogue Raisonné: 1974-1985. K. Tyler. 1987. #285:DH72.

$15,000–20,000


David Hockney Since the 1950s, David Hockney has been producing works that embrace an idiom of exuberance, while consistently pushing the envelope in terms of the potential for technology to uniquely engage, explore, and enable different modes of artistic expression. “I don’t think there are any borders when it comes to painting,” he once conceded. “I’ve always thought that. There are no frontiers, just art.” Although most widely associated with his semi-abstract representational artworks that capture and unabashedly celebrate the eternal sunshine of California culture in all its glorious hedonism and brazen superficiality, Hockney has consistently pioneered the use of unconventional media and technology in the creation of his works, which he himself refers to under the umbrella term of “drawings,” regardless of the media they engage. That Hockney would refer to a photocollage or an opera set as a drawing makes sense when taken in the context of his sustained interest in the status of images and their ability to make meaning—a drawing, in its most basic sense, is an attempt to reproduce or represent an object or idea in translated form. As a whole, Hockney’s oeuvre—which encompasses almost every medium thinkable—reflects this ongoing preoccupation with the exploration of wildly different modes of perception and representation vis-à-vis the shifting nature and influence of images. In the mid-1970s Hockney began experimenting with photography and other mechanical, reproductive media, such as fax machines and laser photocopiers, and would go on to create his celebrated Polaroid photocollages and gridded snapshot prints. Effectively transcending the two-dimensionality of photography, Hockney’s photocollages and snapshot prints are composite, fragmented images offering multi-perspective portraits of people and places using a medium that had, at the time, been widely associated with strict reproduction. “How difficult it is to learn not to see like cameras,” Hockney once admitted. “The camera sees everything at once. We don't. There's a hierarchy. Why do I pick out that thing, that thing, that thing?” Essentially turning Walter Benjamin’s famous verdict of mechanical reproduction and its repercussions for works of art on its head, Hockney’s photographic works engage reproductive technology in a highly subjective manner that returns agency to artist and viewer alike.

objects, he dubbed these works “Home Made Prints.” Hockney’s work with reproductive technologies, which necessitate a simplification of volumes, would also eventually lead him to return to the loosely abstract aesthetic which had characterized his earlier work. This shift is evident in lithographs such as Walking Past Two Chairs (from Moving Focus) (Lot 55) and An Image of Gregory (Lot 54), both of which explore the dynamic between objective observation and representation drawn from memory and impressions, much in the same way that Cubism does. “Memory must be part of vision, because everything is now. The past is now,” Hockney once said. “Because each of us has a different memory, this proves to me that objective vision cannot be. When you look at this, you remember that you’ve seen things like it before. Your memory comes in and forms part of it, contradicting the objectivity of vision.” Like many other artworks produced by Hockney during the 1980s and 1990s, Walking Past Two Chairs (Lot 55) utilized the “Mylar Layering System," an innovative printing technique developed by pioneering printmaker Kenneth Tyler. This technique involved drawing directly on Mylar sheets with deeply pigmented crayons and inks. A single color is used on each of the individual sheets, which are then layered on top of one another and pressed together to produce a single print. This layering process seems particularly apropos for a work by Hockney, given his sustained preoccupation with the relationship between objectivity, subjective impression, and the representative capacity of images. “In the end nobody knows how it's done — how art is made. It can't be explained. Optical devices are just tools. Understanding a tool doesn't explain the magic of creation. Nothing can.”

Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. Prism Key Press, 1936.

Hockney’s experimentation with photography and other reproductive technologies would go on to significantly influence his work in other media, including paintings and prints. In the 1980s he began producing works that would start as drawings, which he would then print and further manipulate. Occasionally including photocopies of actual

Feeney, Mark. “David Hockney Keeps Seeking New Avenues of Exploration.” Boston Globe, 26 Feb. 2006. Gayford, Martin. “Hockney's World of Pictures.” Tate Etc., 2017, Web. Gayford, Martin. “Hockney and the Secrets of the Old Masters.” The Telegraph, 22 Sept. 2001, Web. Joyce, Paul. Hockney on Art: Conversations with Paul Joyce. Little Brown, 1999.

41


OPPOSITE PAGE: DETAIL OF LOT 55

55 DAVID HOCKNEY

Walking Past Two Chairs (from Moving Focus) 1984-1986 Color lithograph on White TGL handmade paper overlaid with screenprint on Plexiglas in the artist’s original painted sculptural frame #11 of 38 Published by Tyler Graphics, Ltd., Mt. Kisco Signed and dated lower right edge of sheet; edition lower left Image/sheet: 21.5" x 39.5" Frame: 28.25" x 46" (Image/sheet: 55 x 100 cm) P ROV E NANC E Elizabeth Levine & Associates, Larchmont, New York; Private Collection, Greenwich, Connecticut (acquired directly from the above, 1986) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #275.

$30,000–50,000

56 DAVID HOCKNEY

Four Part Splinge (from Some New Prints) 1993-1994 44-color lithograph and screenprint on four sheets of Arches 88 paper #11 of 48 Published and printed by Gemini G.E.L., Los Angeles Signed, titled, and dated with edition in graphite lower right sheet in image; inscribed “First part” upper left sheet in margin; “Second part” upper right; “Third part” lower left Gemini G.E.L. #23.97 Image: 47" x 64" Sheet: 49" x 66" Frame: 53" x 70" (Image: 119 x 163 cm) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #334.

$8,000–12,000

43


57 DAVID HOCKNEY

Slow Forest (from Some New Prints) 1993 8-color lithograph and screenprint on Arches 88 paper #11 of 68 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #23.95 Image: 23" x 30.5" Sheet: 25" x 33" Frame: 27.625" x 35.625" (Image: 58 x 77 cm) LITERATURE David Hockney Prints 1954-1995. 1996. #332.

$4,000–6,000

58 DAVID HOCKNEY

Ink in the Room (from Some New Prints) 1993 23-color screenprint on Arches 88 paper #11 of 68 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #23.93 Image: 23.25" x 33.5" Sheet: 25.5" x 35.5" Frame: 28.125" x 38.125" (Image: 59 x 85 cm) LITERATURE David Hockney Prints 1954-1995. 1996. #333.

$3,000–5,000


59 DAVID HOCKNEY

Blue Hang Cliff (from Some New Prints) 1993 23-color lithograph and screenprint on Arches 88 paper #11 of 68 Printed and published by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #23.87 Image: 21" x 27" Sheet: 23" x 30" Frame: 25.625" x 32.625" (Image: 53 x 69 cm) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #335.

$7,000–10,000

60 DAVID HOCKNEY

Going Out (from Some New Prints) 1993-1994 26-color lithograph and screenprint on Arches 88 paper #11 of 68 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #23.88 Image: 21.125" x 26.125" Sheet: 24.25" x 27" Frame: 26.875" x 29.875" (Image: 54 x 66 cm) LIT E RAT URE David Hockney Prints 1954-1995. 1996. #336.

$4,000–6,000

45


61 DAVID HOCKNEY

Henry in his Office (from Friends) 1976-1977 1-color lithograph on Japanese Kurotani #5 paper #10 of 20 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in red pencil upper right corner of sheet; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #23.40 Sheet: 12.25" x 11.5" Frame: 17.125" x 16.375" (Sheet: 31 x 29 cm)

$2,000–3,000

62 ROBERT RAUSCHENBERG

Pre-Morocco (from Eight by Eight to Celebrate the Temporary Contemporary) 1983; published 1984 11-color lithograph on Rives BFK paper #12 of 250 Published by MOCA, Los Angeles; printed by ULAE, West Islip Signed and dated with edition in graphite lower left edge of sheet; retains ULAE blind stamp lower left corner; retains ARCO inventory label frame verso Image: 34" x 23.5" Sheet: 42" x 29.5" Frame: 43.625" x 30.375" (Image: 86 x 60 cm)

$1,000–1,500


63 CHRISTO & JEANNE-CLAUDE

Ericsson Display Monitor Unit 3111 Wrapped, Project for Personal Computer 1985 Color lithograph and collage on Arches Cover White paper mounted to museum board paper Printer’s proof aside from the edition of 100 Published by L. M. Ericsson, New Jersey; printed by Landfall Press, Chicago Signed and dated with edition lower left sheet Image/sheet: 27.75" x 22.5" Frame: 35" x 29.5" (Image/sheet: 70 x 57 cm)

$3,000–5,000

64 CHRISTO & JEANNE-CLAUDE

Wrapped Statues, Project for Die Glyptothek, Munchen 1988 Screenprint with collage on Arches Cover paper #185 of 300 Published by the Olympic Games Committee, Seoul Signed lower right sheet; edition lower left Image/sheet: 35" x 27" Frame: 37.75" x 29.75" (Image/sheet: 89 x 69 cm)

$1,000–1,500

47


65 CLAUDE LALANNE La Dormeuse

1994 Bronze and copper #1 of 1 Retains metal tag with etched date, edition, initials, and signature 13.5" x 15" x 11" (34 x 38 x 28 cm) P ROV E NANC E Galerie J.G.M., Paris; Sotheby’s, London, February 7, 2003, lot 211; David Copley, La Jolla, California; Private Collection, Palm Desert, California

$40,000–60,000

49


ILLUSTRATED OPPOSITE PAGE

66 MICHELANGELO PISTOLETTO La Cucitrice

1981 Color silkscreen on polished stainless steel #30 of 60 Signed, titled, and dated with edition verso 47.25" x 39.625" (120 x 101 cm)

$20,000–30,000

67 MICHELANGELO PISTOLETTO Panni (from Drape Suite)

1981 Color silkscreen on polished stainless steel #30 of 60 Signed, titled, and dated with edition verso 47.125" x 39.375" (120 x 100 cm)

$15,000–20,000

68 MICHELANGELO PISTOLETTO La Rosa

1981 Color silkscreen on polished stainless steel #30 of 60 Signed, titled, and dated with edition verso 47.125" x 39.375" (120 x 100 cm)

$15,000–20,000

51


LOGO DETAIL

TOP DETAIL

69 PIERO FORNASETTI Console table

Piero Fornasetti, designed c. 1955 Stenciled logo recto; retains Fornasetti decal verso 32" x 39.5" x 20" (81 x 100 x 51 cm)

$7,000–10,000


70 PIERO FORNASETTI

Sleeping Arianna mirror Piero Fornasetti, executed 1985 Etched “Fornasetti 1985 Escurzione Masserini Milano” upper left recto 47.25" x 65" x .75" (120 x 165 x 2 cm) P ROV E NANC E Private Collection, California (acquired through Christie’s, Los Angeles, California, May 16, 1998, lot 84)

$3,000–5,000

53

TEMPLATE DETAIL

71 PIERO FORNASETTI

Grande Madrepore table Piero Fornasetti, designed c. 1950 Together with lithographic zinc template 30" x 39" diameter (76 x 99 cm) P ROV E NANC E Private Collection, California (acquired through Christie’s, Los Angeles, California, May 16, 1998, lot 41)

$3,000–5,000


72 GIO PONTI

Custom wall unit from the Villa Goldschmidt, Buenos Aires Studio, designed c. 1956-1967 Together with a certificate of expertise from the Gio Ponti Archives 57" x 166" x 38.5" Side panel: 42" x 79" (145 x 422 x 98 cm) (Side panel: 107 x 201 cm) P ROVENA NC E Villa Goldschmidt, Buenos Aires, Argentina; Private Collection, Buenos Aires, Argentina; Private Collection, Los Angeles, California (acquired directly from the above, 2002)

$25,000–35,000


Gio Ponti Gio Ponti (1891-1979) was the archetypal renaissance man whose design sensibility was one that could be translated to a wide array of media. From cutlery to skyscrapers, Ponti’s aesthetic translated to different forms and functions; he designed interiors for homes, businesses, chapels, and even the infamous Andrea Doria ocean liner, which still lives at the bottom of the Atlantic Ocean off Nantucket. While Ponti was exceptionally knowledgeable about classical design and order, his work became progressively modern towards the latter half of his career. After decades of playfully referencing antique themes in his designs for ceramics, furniture, and architecture, Ponti increasingly rejected these elements in favor of more original and avant-garde designs until there was no longer any reference to historical precedent. By the early 1950s, Ponti’s interiors were becoming simplified in their decoration while gaining complexity in their execution. His concept for the “furnished wall” was a deconstruction of

traditional cabinetry as he had designed specific uses for each floating element. In the wall unit from the Villa Goldschmidt (Lot 72), a pair of long bookshelves have recessed lighting to accentuate the floating nature of each element. An irregularly shaped desktop is part of a long cantilevered cabinet that juts out from a backboard and reinforces the horizontal nature of the piece while adding depth to the composition. Three drawers from the unit are accessed by “co-planar” handles offset by an ivory-colored background. A trapezoidal magazine holder protrudes like a sculpture, while a built-in lamp and sliding newspaper holders complete a radical reimagining of what functional furniture can look like. While many furniture designers were still preoccupied with simplifying the form of a cabinet to follow the function, Ponti was rejecting even the prevailing rational ideas of modernism to create customized environments that, while ultimately functional, were never straight forward.

55


73 ITALIAN MODERN Lighted easel

Arredoluce, designed c. 1955 Overall height: 82.5" (209 cm)

$3,000–5,000

PARTIAL ILLUSTRATION

74 GIO PONTI

Flatware (43) Fraser’s, designed 1954 Some marked “Ponti/Fraser’s Italy”; others marked “Arthur Krupp/Milano Italy” Comprised of a five-piece service for eight (dinner forks, salad forks, knives, soup spoons, dessert spoons), and three serving pieces Various dimensions LITERATURE Gio Ponti. U. La Pietra, ed. 1996. 300.

$2,000–3,000


57

75 OSVALDO BORSANI Revolving coat rack Tecno, designed 1961 Model no. AT-16 95" (adjustable) x 21" diameter (241 x 53 cm) LIT E RAT URE L’Arradamento Moderno VII Serie. R. Aloi. 1964. 146.

$5,000–7,000


76 DAN JOHNSON Gazelle chair

Dan Johnson Studio, Italy, designed 1958 31" x 19" x 19" (79 x 48 x 48 cm)

$6,000–9,000

77 DAN JOHNSON Gazelle chair

Dan Johnson Studio, Italy, designed 1958 31" x 19" x 19" (79 x 48 x 48 cm)

$6,000–9,000

LOT 76

LOT 77


78 DAN JOHNSON Gazelle chair

Dan Johnson Studio, Italy, designed 1958 32" x 20" x 18.75" (81 x 51 x 48 cm)

$6,000–8,000

59


79 OSSIP ZADKINE & CAROL JANEWAY Coffee table

Studio, executed c. 1945 Tiles signed “Zadkine Pinxit” and “Janeway Fecit” 16.125" x 70" x 36.25" (41 x 178 x 92 cm) Carol Janeway was a ceramicist who had a brief relationship with Zadkine in the 1940s, and served as the model for a handful of his sculptures. P ROVENANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent ILLUSTRAT E D R.M. Schindler. J. Sheine. 2001. 102, 214.

$8,000–12,000

TOP DETAIL


80 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1963 Green mariposa reduction glazed ceramic with blue streaks Signed “natzler” and retains Natzler inventory label “M637” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work Natzler archives identification #M637 2.5" x 3.75" diameter (7 x 9.5 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent

$5,000–7,000

81 GERTRUD & OTTO NATZLER

Cylindrical Bowl with Fingermarks Studio, executed 1960 Steel blue matte glazed ceramic Signed “natzler” and retains Natzler inventory label “OØØ7” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work Natzler archives identification #OØØ7 4.75" x 7.165" diameter (11.5 x 18 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent

$4,000–6,000

82 GERTRUD & OTTO NATZLER Bowl

Studio, executed c. 1960 Glazed ceramic 2.5" x 6" diameter (6 x 15 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent

$4,000–6,000

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83 PETER VOULKOS Vase

Studio, executed c. 1952 Glazed stoneware Signed “Voulkos” to underside LAMA would like to thank Sam Jornlin of Voulkos & Co. for her assistance in cataloguing this work 12.75" x 9.5" diameter (32 x 24 cm)

$10,000–15,000

84 PAUL SOLDNER Raku platter

Studio, executed c. 1968 Signed “Soldner” 18" x 21.5" x 5" (46 x 55 x 13 cm) ILLUSTRAT E D The Crafts of the Modern World. R. Slivak, ed. 1968. #275.

$3,000–5,000


85 JOHN MASON

Untitled (Wall relief) Studio, executed 1959 Glazed ceramic mounted to wooden backing board Signed and dated “Mason 59” Ceramic: 27" x 40.5" Board: 32" x 48" (Ceramic: 69 x 103 cm) (Board: 81 x 122 cm)

$8,000–12,000

63

VERSO DETAIL

86 JOHN MASON Plaque

Studio, executed 1958 Glazed ceramic Signed and dated “Mason 58” verso 13.75" x 19.25" x 2.5" (35 x 49 x 6 cm)

$2,000–3,000


Ken Price Pioneering artist Ken Price (1935–2012) revolutionized the course of American ceramics from the 1950s onwards. Born in Los Angeles, Price had a quintessential Californian childhood, spending most of his days surfing at the beach. As a teenager Price already identified as an artist, taking music classes with the likes of jazz giant Chet Baker and art classes at the Chouinard Art Institute. After graduating with a B.F.A. from the University of Southern California in 1956, Price studied at the Los Angeles County Art Institute (now the Otis College of Art and Design) under Peter Voulkos, the acclaimed father of the American “Craft-to-Art” movement. Together with Voulkos, Price stretched the definition of sculpture by confronting the prejudice that pigeonholed clay works as pure craft. Rejecting the traditional restraints

placed on the ceramic arts at the level of technique, function, and form, Price took an innovative approach to clay as a medium in its own right, capable of producing deeply gestural sculpture. Like Voulkos, Price challenged the traditional assumption that ceramics served a purely utilitarian end, as opposed to “high art” with its devotion to pure form. Under Voulkos’ tutelage Price also devised a unique approach to sculpture that pitted form and color against one another and, along with other artists on both coasts — including Donald Judd, Billy Al Bengston, Robert Irwin, John McCracken, Larry Bell, John Chamberlain, Craig Kauffman, and Dan Flavin — Price often engaged heavy lacquers and enamels used in industrial manufacturing, ultimately fomenting a revolution in sculpture as a whole.


Price produced a diverse oeuvre that, in addition to sculpture, included drawings, watercolors, prints, and drawings. The latter was central to Price’s artistic practice from the beginning. “I think sculptors learn to draw so that they can see what they’ve been visualizing,” he once hypothesized. “Most sculptors can draw pretty well, and they draw in illusionistic space, because if you can’t draw it, you can’t see it.” As a sculptor, what Price most often thought about was space, proportion, and dimension. He was captivated by cups, eggs, and other objects having both an interior and exterior, which he frequently featured as the subjects in artworks, such as his 1963 Liquitex-on-board, Specimen (G2103.13) (Lot 88). What Price creates on the flat service is, in essence, a three-dimensional object. With their vibrant color palette and

whimsical subject matter, Price’s drawings both complement and elucidate his sculptures. Like many of his contemporaries, Price also drew inspiration from the experimental zeitgeist of the 1950s American subculture that embraced and intermingled influences as diverse as Asian philosophies, free-form jazz, and an iteration of Abstract Expressionism that turned tradition on its head. Price allowed the expressionistic nature of clay to come to life as he worked quickly and intuitively to stimulate new ideas. Along with other West Coast artists, including Voulkos and John Mason, Price embraced extemporaneity in the creation of his ceramics. In more ways than one, it might be said that these artists did for ceramics what

65

87 KEN PRICE McShann

2004 Acrylic on fired ceramic Together with exhibition box and copy of invoice from L.A. Louver Gallery dated February 27, 2004 7.25" x 7.25" x 7.25" (18 x 18 x 18 cm) P ROV E NANC E L.A. Louver Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2004) E XHIBIT E D “Ken Price Sculpture,” L.A. Louver Gallery, Los Angeles, March 4-April 10, 2004 ALTERNATE VIEW

$60,000–80,000


the beat poets did for verse, freeing it from rigid forms and engaging spontaneity and intuition as guiding forces in their work. Taking an approach to clay that allowed for accident and chance, Price exchanged artistic agency for a kind of collaboration with the material itself. “A craftsman knows what he’s going to make and an artist doesn’t know what he’s going to make, or what the finished product is going to look like,” he once said. In 1959, Price completed the master’s program at the New York State College of Ceramics at Alfred in just one year. Afterwards, he moved back to Los Angeles to exhibit his work at the now legendary Ferus Gallery, where he achieved immediate success with his diminutive, yet precisely finished sculptures. Price engaged monumentality in his work, but not in any traditional sense of the word. He primarily devoted his energy to the production of intimate pieces, which he himself designated as “hand-scaled.” Although small in scale, these works often engage monumentality in an entirely

ALTERNATE VIEWS

88 KEN PRICE

Specimen (G2103.13) 1963 Liquitex on board Signed, titled, and dated verso Together with storage box 4.5" x 4.5" x 1.5" (11 x 11 x 4 cm)

$8,000–12,000

novel manner. In such works, it is distilled and implied, rather than overtly deployed. Sculptures such as Price’s 1960-1961 mixed-media piece, The Astronauts in the Water (Lot 90), for instance, reduce and distill titanic subjects — the universe and the awe-inspiring transport of humans into outer space, in this case — to minuscule dimensions, so that they operate in a similar vein as the diminutive, boxed works of Joseph Cornell, whose maxim “tiny is the last refuge of the enormous,” the artist often quoted. “The two most powerful sizes,” Price wrote, “are very small and very large.” Towards the end of his career, beginning in the late 1990s and continuing through his death, Price started producing a series of haunting, ambiguously erotic sculptures decidedly larger in scale, but he never departed from the bulbous, dripping biomorphic forms and richly acidic colors that defined his earlier work. And in works such as his 2004 drawing, Volcanic Dust (Lot 89), we find the same equally realistic and fantastic, subtly disturbing and joyfully cartoonish


forms that are already evident in earlier works, such as his two 1981 screenprints, Detective Room and Orange Grove (from The Plain of Smokes) (Lot 90). While spontaneity played a decisive role in his practice throughout his long career, later in his life Price was also a fastidious adherent of the protocols of craft. His process was painstakingly work-intensive, often involving an obsessive, unorthodox application of copious coats of paint which he sanded in order to realize highly glossy surfaces of mottled, polychromatic hues, as found in the oozing contours of his later sculptures, such as his 2004 work, McShann (Lot 87). These later, creature-like sculptures could just as easily fit the description the artist used to describe earlier works as reminiscent of “mountain peaks, breasts, eggs, worms, worm trails, the damp undersides of things, intestines, veins and the like,” an aesthetic that Price would continue to grow into throughout his career.

Barron, Stephanie. Ken Price: A Retrospective. Los Angeles County Museum of Art, 2013. Dreishpoon, Douglas, ed. Ken Price: Slow Steady Wins the Race, Works on Paper 1962-2010. Drawing Center, 2013. Hopps, Walter and Lebow, Edward. Ken Price. Menil Collection, 1992. Price, Ken. Ken Price: Specimen Rocks. Matthew Marks Gallery, 2014. Smith, Roberta. “Ken Price, Sculptor Whose Artworks Helped Elevate Ceramics, Dies at 77.” Art & Design sec. The New York Times. 24 Feb. 2012. Web.

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89 KEN PRICE

Volcanic Dust 2004 Ink and gouache on paper Signed and dated in graphite lower left sheet; retains Matthew Marks Gallery label frame verso Sheet: 10.875" x 8.375" Frame: 13.75" x 11.25" (Sheet: 28 x 21 cm) P ROV E NANC E Claire Labine, New York, New York; Private Collection, Desert Hot Springs, California (acquired directly from the above, c. 2016)

$15,000–20,000


REVERSE SIDE OF SCULPTURE WITH IMAGE OF MOON AND ROCKET


DETAIL

DETAIL

SIGNATURE DETAIL

69 90 KEN PRICE

Astronauts in the Ocean 1960-1961 Painted ceramic in a wood box construction Signed, titled, and dated to underside of box Ceramic: 5" x 3.375" diameter Box: 10.75" x 5.5" x 4" (Ceramic: 13 x 9 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Sotheby’s, New York, February 26, 1994, lot 285) E XHIBIT E D “Ken Price Sculpture: A Retrospective,” traveling exhibition, LACMA, Los Angeles, September 16, 2012-January 6, 2013; Nasher Sculpture Center, Dallas, February 9-May 12, 2013; Metropolitan Museum of Art, New York, June 18-September 22, 2013 ILLUST RAT E D Ken Price Sculpture: A Retrospective. LACMA exh. cat. 2012. 152-153, 218.

$200,000–300,000


91 KEN PRICE Heat Wave

1995 The complete portfolio of 15 color screenprints on Arches paper #11 of 170 Published by Black Sparrow Graphic Arts, Santa Rosa; printed by T.J. Owens, Healdsburg Four prints signed and dated in graphite with edition and artist’s/ publisher’s blind stamps; facsimile of artist’s signature on justification page with edition inscribed in red ink Text by Charles Bukowski Together with original packaging Sheets each: 14" x 11" (some with alternate orientation) Portfolio case: 1" x 12.625" x 15" (Sheets each: 36 x 28 cm)

$6,000–8,000


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92 KEN PRICE

Detective Room; Orange Grove (from The Plain of Smokes) (2) 1981 Color screenprint on Arches 88 paper #23 of 35 and #27 of 35 aside from the edition of 150 Published by Arabesque Books, Atlanta; printed by SOMA Fine Art Press, San Francisco Each signed and dated lower right sheet in margin; edition lower left Images each: 8.5" x 11" Sheets (vis.) each: 9" x 11.5" Frames each: 13.375" x 14" (Images each: 22 x 28 cm)

$2,000–3,000


The Bounty Hunter Long before Roger Moore narrowly escaped two racing dune buggies commandeered by villains on a beach in the 1981 James Bond film “For Your Eyes Only,” the dune buggy had emerged from Southern California and become an instant icon of an era. The dune buggy boom had already started to gain momentum in Southern California as early as 1964. In 1968, Faye Dunaway and Steve McQueen raced across the dunes in “The Thomas Crown Affair,” cementing the craze that had taken the Golden State entirely by storm. This was the same year that buggy enthusiast, Brian Dries, custom designed the bodyshell for the Bounty Hunter, named as an homage to Steve McQueen’s television show, ‘Wanted Dead or Alive.’ Some of the earliest rigs created in the 1950s were made from ordinary automobile frames that had the bodies removed and modified and were then equipped with the larger tires necessary for beach racing. During the late 1950s and early 1960s, the hot rod racing boom in Southern California gave way to the beach racing fad that eventually snowballed into a full-on mania in the later years of that decade. The phenomenon of modification and customization inherited from the hot rod culture directly translated to the dune buggy world. Of the fully customized gems produced at this time, only a few have survived intact in all their original glory.

This particular example was so exquisitely done that it was featured in many industry publications including, Rod & Custom, Street Rod, and Manx Mania. Brian Dries designed the Bounty Hunter at his Burbank-based company, Glass Enterprises. It was subsequently fully customized inside and out by William Larzelere over the course of an entire year from 1968 to 1969. This dune buggy has been impeccably maintained and kept in original condition. The buggy features shocking, bright yellow paint and glossy black welds, an easy-access gas cap on the hood, custom upholstery, instruments by Empi, 1964 Corvette tail lights, Delco air type shocks, Ansen Sprint wheels mounted with Crager adapters, Firestone Super Sport GP wet and dry thread tires, and a very rare, sleekly slanted 1965 Renault windshield and Plexiglas spoiler. Bond and McQueen would certainly approve.

Bryan, Bud, ed. “Fiasco Buggy!” Rod & Custom, July 1970. Bryan, Bud, ed. “Street Rod of the Year Announcement of Class Winners.” Rod & Custom, December 1970. Hale, James. “Bounty Hunter, US.” The Dune Buggy Handbook, Veloce, United Kingdom, 2013. Sparks, Nelson. “The Bounty Hunter Returns.” Manx Mania, 2016.


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ROD & CUSTOM, JULY 1970

93 WILLIAM LARZELERE

Bounty Hunter Dune Buggy Body by Glass Enterprises, Burbank, California, designed 1968; completed in 1969 Seats made by Solar Productions (Steve McQueen’s company); additional design by Mel Keys; interior by Tony Nancy LIT E RAT URE Rod & Custom. July 1970. 50-51.; Rod & Custom. December 1970. 25.

$30,000–50,000


94

95

GORDON NEWELL

JOHN FOLLIS & REX GOODE

Architectural Pottery, designed c. 1958 Model no. NB1

Architectural Pottery, designed c. 1955 Model no. CPB-17

8" x 27" x 6" (20 x 69 x 15 cm)

11.5" x 17" diameter 13.5" (with stand) x 17" diameter (29 x 43 cm)

Polar Bear

Planter with stand

LITERATURE Architectural Pottery. Manufacturer cat. March 1961. 18.

L I T E RAT U R E Architectural Pottery.

$3,000–5,000

Manufacturer cat. March 1961. 18.

$800–1,200


96 DAVID CRESSEY Phoenix planter

Architectural Pottery, designed c. 1963 From the Pro/Artisan series 20" x 24.5" diameter (51 x 62 cm)

$2,000–3,000

75

97 LA GARDO TACKETT & KENJI FUJITA Serving trays (2)

Freeman Lederman, designed c. 1960 2.5" x 19" x 10.75" 2" x 19" x 12" (6 x 48 x 27 cm)

$1,500–2,000


98 GRETA MAGNUSSON GROSSMAN Double shade table lamp

Ralph O. Smith, designed 1949 15" (adjustable) x 12" x 13" (38 x 30 x 33 cm) LITERATURE Greta Grossman: A Car and Some Shorts. K. Waern. 2010. 33.

$5,000–7,000

99 GRETA MAGNUSSON GROSSMAN Cobra table lamp

Ralph O. Smith, designed 1949 15" (adjustable) x 12" x 13" (38 x 30 x 33 cm) LITERATURE Greta Grossman: A Car and Some Shorts. K. Waern. 2010. 33.

$2,000–3,000


100 GRETA MAGNUSSON GROSSMAN Desk and chairs (3)

Glenn of California, designed 1952 Model no. 6260 (chairs) Comprised of a desk and two chairs Chairs each: 30.5" x 17" x 22" Desk: 28" x 48" x 24" (Chairs each: 77 x 43 x 56 cm) (Desk: 71 x 122 x 61 cm) LIT E RAT URE Greta Grossman: A Car and Some Shorts. K. Waern. 2010. 48.

$3,000–5,000

77


101 MILO BAUGHMAN Sofa tables (3)

Glenn of California, designed c. 1950 Two each: 21" x 32" x 23" One: 15.5" x 24" x 53" (Two each: 53 x 81 x 58 cm) (One: 39 x 61 x 135 cm)

$3,000–5,000

102 JOHN KEAL Coffee table

Brown-Saltman, designed c. 1955 14.5" x 66" x 29.5" (37 x 168 x 75 cm)

$2,000–3,000


103 HARRY LAWENDA

Wall sconce candelabra Kneedler-Fauchère, designed c. 1952 31" x 21" x 11" (79 x 53 x 28 cm) LIT E RAT URE Furniture Forum. June 1952. N.pag.

$2,500–3,500

104 STAN HAWK

Candle stands (2) Hawk House, designed c. 1950 Each: 9" x 8" diameter (23 x 20 cm)

$1,000–1,500

79


105 RAUL CORONEL Blocks (12)

Studio, executed c. 1965 Glazed ceramic As illustrated: 41.25" x 34.5" x 10" (105 x 88 x 25 cm)

$3,000–5,000

PARTIAL ILLUSTRATION

106 RAUL CORONEL Tiles (56)

Studio, executed c. 1965 Unglazed earthenware Each: 4.5" x 9" x 1" (11 x 23 x 3 cm)

$2,000–3,000


107 WALTER LAMB Rocking chair

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

$1,500–2,000

108 WALTER LAMB

Waikiki lounge chair Brown-Jordan Co., designed c. 1950 Model no. 4720 20.5" x 21.75" x 70" (52 x 55 x 178 cm) LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$1,500–2,000

109 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950; this example produced later Model no. C-4700 Retains “Brown Jordan” label 32" x 27" x 66" (81 x 69 x 168 cm)

$2,500–3,500

81


110 PAUL LANDACRE

The Enchanted Cottage 1944 Wood engraving on cream wove paper From the edition of 19 Retains Paul Landacre Estate stamp lower right margin beneath image; retains “Origins of Art” stamp sheet verso Only one impression was signed and titled Image: 5.75" x 7.875" Sheet: 8.875" x 11.375" Mat: 16" x 20" (Image: 15 x 20 cm) This print will be included in the forthcoming catalogue raisonné of Paul Landacre’s work in preparation by Jake M. Wien as Wien 263. P ROVENA NC E The estate of Paul Landacre

$1,000–1,500

111 PAUL LANDACRE Poinsettias

c. 1933 Wood engraving on cream wove paper From the edition of 14 Retains Paul Landacre Estate stamp lower left margin of sheet beneath image; retains “Origins of Art” stamp sheet verso 18 impressions were printed overall, with 14 in red-orange ink Image: 3.75" x 5" Sheet: 8.875" x 11.375" Mat: 16" x 20" (Image: 10 x 13 cm) This print will be included in the forthcoming catalogue raisonné of Paul Landacre’s work in preparation by Jake M. Wien as Wien 143. P ROVENA NC E The estate of Paul Landacre

$1,000–1,500


112 PAUL LANDACRE

Stadium–Berkeley 1929 Wood engraving on tissue-thin white Japanese wove paper #11 of 100 Signed in graphite lower right margin of sheet beneath image; titled with edition lower left; retains Paul Landacre Estate stamp lower right edge of sheet; inscribed “L.8210.45” and “TRU051.52”; retains “Origins of Art” stamp sheet verso; mat signed and titled Only 11 impressions were printed, of which only nine were signed Image: 8" x 6" Sheet: 12" x 9" Mat: 19.25" x 14.25" (Image: 20 x 15 cm) This print will be included in the forthcoming catalogue raisonné of Paul Landacre’s work in preparation by Jake M. Wien as Wien 77. P ROV E NANC E The estate of Paul Landacre

$1,500–2,500

113 PAUL LANDACRE Evening, Carmel

1930 Wood engraving on thin cream Japanese laid paper affixed to 1930 holiday greeting card of John van Druten From the probable edition of 150 holiday cards ordered by John van Druten, of which only two are known to survive Signed in graphite lower right sheet beneath image Image: 2.875" x 3.625" Sheets each: 6.375" x 5" Mat: 16" x 20" (Image: 7 x 9 cm) This print will be included in the forthcoming catalogue raisonné of Paul Landacre’s work in preparation by Jake M. Wien as Wien 85. P ROV E NANC E The estate of Paul Landacre

$2,000–3,000

83


114 PAUL LANDACRE

Headland–Big Sur Coast 1930 Wood engraving on cream wove paper #2 of 50 Signed in graphite lower right sheet beneath image; titled with edition lower left; inscribed “For ML” lower right sheet; retains Paul Landacre Estate stamp lower right sheet; retains “Origins of Art” stamp sheet verso Only 43 impressions were printed, of which only 37 were signed, titled, and numbered Image: 5.875" x 7.875" Sheet: 8.75" x 11.125" Mat: 20" x 16" (Image: 15 x 20 cm) This print will be included in the forthcoming catalogue raisonné of Paul Landacre’s work in preparation by Jake M. Wien as Wien 87. P ROVENA NC E The estate of Paul Landacre

$3,000–5,000

115 PAUL LANDACRE The Gold Fields

1933 Wood engraving on tissue-thin white Japanese wove paper #17 of 30 Signed in graphite lower right margin of sheet beneath image; titled with edition lower left; inscribed “L.82.10.28,” “818,” and “TR4051.28”; retains “Origins of Art” stamp sheet verso; mat signed, titled, and inscribed “Dumas ‘a gil Blas’/ map for facing xxx pg 5” Only 25 impressions were printed, of which only 22 were signed, titled, and numbered Image: 8" x 10" Sheet: 9" x 12" Mat: 14.25" x 19.25" (Image: 20 x 25 cm) This print will be included in the forthcoming catalogue raisonné of Paul Landacre’s work in preparation by Jake M. Wien as Wien 138. P ROVENA NC E The estate of Paul Landacre

$2,000–3,000


116 EDWARD HOPPER Night Shadows

1921 Etching on wove paper Signed in graphite lower right margin beneath image Together with frame Image: 7" x 8.375" Sheet: 10.75" x 14" (Image: 18 x 21 cm) P ROV E NANC E Associated American Artists, New York, New York; Private Collection, Greenwich, Connecticut (acquired directly from the above, 1986) LIT E RAT URE Edward Hopper: The Complete Prints. G. Levin. 1979. #82.

$20,000–30,000

85


117 PETER KRASNOW Untitled (Door) c. 1930 Carved wood Carved signature lower center Together with two Peter Krasnow exhibition catalogues 46.375" x 20.25" x 2" (118 x 51 x 5 cm) P ROVENA NC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent ILLUSTRAT E D R.M. Schindler. J. Sheine. 2001. 102, 214.

$10,000–15,000


118 LOUISE NEVELSON

Untitled (Nude Study) c. 1930 India ink on paper Signed center right edge of sheet; retains Louis Stern Fine Arts label frame verso Sheet (irreg.): 12.25" x 17.75" Frame: 20.75" x 25.75" (Sheet: 31 x 45 cm)

$2,000–3,000

87

119 HORACE BRISTOL

Chinese Bubble Dancer 1939 Gelatin silver print Signed sheet verso; inscribed “SG96-P0002-1114 50.25” sheet verso; signed and dated lower right mat beneath image Image: 12" x 9" Sheet: 14" x 11" Mat: 20" x 16" (Image: 30 x 23 cm)

$2,000–3,000


PARTIAL ILLUSTRATION

120 PAUL T. FRANKL

Group of drawings (38) c. 1935 Mixed-media drawings on paper Some signed and dated Largest: 11.75" x 9.25" Smallest: 7.875" x 4.875" (Largest: 30 x 23 cm) P ROV E NANC E Michiyo Inouye, Torrance, California (acquired directly from the artist, c. 1955); Thence by descent

$10,000–15,000

121 ELSA TENNHARDT Cocktail glasses (6)

Studio, designed c. 1928 Each stamped “E.&J.B./9165/US Patent #75939” Each: 4.75" x 2.5" x 2.5" (12 x 6 x 6 cm)

$3,000–5,000

89


122 PAUL T. FRANKL Desk

Johnson Furniture Company, designed c. 1950 Retains branded manufacturer’s marks 28.5" x 59" x 27" (72 x 150 x 69 cm)

$3,000–5,000

123 PAUL T. FRANKL End tables (2)

Johnson Furniture Company, designed c. 1950 Each: 21" x 30" x 18" (53 x 76 x 46 cm)

$2,000–3,000


91

124 TAG DETAIL

PAUL T. FRANKL Dining table

Custom, designed c. 1955 Retains tag “Pat. No. 2377929/Paul T. Frankl” 28" x 72" x 36.5" (71 x 183 x 93 cm) P ROV E NANC E Michiyo Inouye, Torrance, California (acquired directly from the artist, c. 1955); Thence by descent

$4,000–6,000


125 KEM WEBER Airline chair

Airline Chair Company, designed 1934-1935 31.5" x 24.5" x 28.5" (80 x 62 x 72 cm) LITERATURE Living in a Modern Way: California Design 1930-1965. W. Kaplan, ed. 2011. 71.; KEM Weber: Designer and Architect. B. Long. 2014. 140-141.

$8,000–12,000


ALTERNATE VIEW

93 126 RUDOLPH M. SCHINDLER Dining chair

Custom, executed 1948 for the Richard Lechner House, Studio City 32" x 16" x 24" (81 x 41 x 61 cm) P ROV E NANC E Michael & Gabrielle Boyd, California; Phillips, New York, June 11, 2001, lot 108; Private Collection, Los Angeles, California (acquired through Sotheby’s, New York, December 18, 2004, lot 711) E XHIBIT E D “Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd,” San Francisco Museum of Modern Art, San Francisco, November 20, 1998-February 23, 1999 ILLUST RAT E D Sitting on the Edge: Modernist Design from the Collection of Michael and Gabrielle Boyd. San Francisco Museum of Art exh. cat. 1998. Pl. 57. LIT E RAT URE R.M. Schindler. J. Sheine. 2001. 215 for interior view of Lechner House.

$20,000–30,000


127 PAUL LÁSZLÓ

Living room suite (3) Custom, designed c. 1937 for the Lupita Tovar & Paul Kohner Residence, Los Angeles Comprised of two sofas and a coffee table Together with vintage photograph of the pieces in situ Sofas each: 32" x 83" x 35" Table: 16.25" x 48" x 48" (Sofas each: 81 x 211 x 89 cm) (Table: 41 x 122 x 122 cm) P ROVENA NC E Lupita Tovar & Paul Kohner, Los Angeles, California; Thence by descent

$6,000–9,000


128 PAUL LÁSZLÓ

Circular mirrored table Custom, designed c. 1937 for the Lupita Tovar & Paul Kohner Residence, Los Angeles 20" x 30" diameter (51 x 76 cm) P ROV E NANC E Lupita Tovar & Paul Kohner, Los Angeles, California; Thence by descent

$2,000–3,000

95

129 PAUL LÁSZLÓ

Full-length dressing mirror and light (2) Custom, designed c. 1937 for the Lupita Tovar & Paul Kohner Residence, Los Angeles Together with vintage photograph of the piece in situ, and a drawing by László 81" x 66" x 13" (206 x 168 x 33 cm) P ROV E NANC E Lupita Tovar & Paul Kohner, Los Angeles, California; Thence by descent

$2,500–5,000


130 FRANZ MARC

Ruhende Pferde (Horses Resting) 1911-1912 Woodcut on tissue-thin paper mounted to heavy wove paper mounted to cardboard From an edition of approximately 3 Inscribed “No 2” in graphite lower left margin beneath image; signed “F. Marc” lower right corner of cardboard mount Together with Franz Marc: 10 Farbtafeln mit Einführung by Rudolf Probst Image: 6.5" x 9" Sheet: 7.75" x 11.125" Cardboard: 12.5" x 15.125" (Image: 17 x 23 cm) P ROVENA NC E Private Collection, Newport, Rhode Island; Thence by descent; Private Collection, Winterpark, Florida (acquired directly from the above, 2017) LITERATURE Franz Marc: The Complete Works. Vol. III. A. Hoberg and I. Jansen. 2011. #23.; Franz Marc: Katalog der Werk. K. Lankheit. 1970. #825-2.

$25,000–35,000


97

131 LYONEL FEININGER

Strasse in Paris (Streets in Paris) 1918 Woodblock on Kozo paper From an edition of approximately 15 Signed in graphite lower left margin beneath image; inscribed “Pariser Hauser” lower right Image: 21.5" x 16" Sheet (vis.): 24.5" x 18.5" Frame: 33.375" x 26.75" (Image: 55 x 41 cm) This print was also titled by the artist “High Houses in Paris,” “Hohe Hauser, Paris,” and “Hauser in Paris.” This example is inscribed “Pariser Hauser.” LIT E RAT URE Lyonel Feininger: A Definitive Catalogue of his Graphic Work, Etchings, Lithographs, Woodcuts. Vol. II. L. Prasse. 1972. #W97.

$12,000–18,000


132 EMIL NOLDE Prophet

1912 Woodcut on paper From the unnumbered edition of 20 Signed lower right margin of sheet beneath image Image: 12.375" x 8.875" Sheet (vis.): 13.25" x 9.5" Frame: 23.25" x 19.5" (Image: 31 x 23 cm) LITERATURE Emil Nolde: Das Graphische Werk. Vol. II. G. Schiefler. 1967. #110.

$30,000–50,000


133 JUAN GRIS

Portrait de Picasso c. 1912 Drypoint on paper Image: 6.875" x 5.375" Sheet (vis.): 7.5" x 5.875" Frame: 14.125" x 12.125" (Image: 17 x 14 cm)

$1,500–2,000

134 EGON SCHIELE

Portrait of Paris von Gütersloh 1918; published 1919 Lithograph on pure rag paper Published by Arthur Roessler, Vienna Sheet: 21.125” x 15.5” Frame: 28.125” x 22.375” (Sheet: 53 x 39 cm) Only a small number of the original run of 125 prints were sold. Those that went unsold at the time remained unnumbered and lack a signature stamp. LIT E RAT URE Egon Schiele: Das Druckgraphische Werk. O. Kallir. 1970. #16.

$5,000–7,000

99


Paul Klee In the spring of 1914 Swiss-German artist Paul Klee (1879–1940) embarked on an extended trip to Tunisia with fellow expressionist artists August Macke and Louis Moilliet, who, like Klee, were associated with the avant-garde Blaue Reiter group. The voyage would prove pivotal to each of the artists’ subsequent work, but it was particularly critical to that of Klee. The journey deeply affected Klee, sparking a turning point in his approach to his practice, which would move towards a focus on developing the arcane, highly symbolic pictorial language for which he is now best known. Tunisia’s rich cultural heritage ignited an already simmering interest in mysticism for the artist, while the vibrant, color-saturated North African landscape inspired him to expand his profound infatuation with the language of color, which he would subsequently deploy as a form of pure abstraction, independent of physical description. “Color has taken hold of me,” he wrote in his journal while in Tunisia. “No longer do I have to chase after it. I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter.”

At first glance it may appear that works such as Ein Komet am Horizont einer Stadt (Lot 135) differ greatly from the artist’s later works, given that they reproduce actual, physical phenomena, rather than allowing symbols as varied as hieroglyphs and musical notations to stand in and, to Klee’s mind, more perfectly represent an actual person or event. Yet, in his early comet works we already find Klee working from subjects rooted in a reality which he distills to its most essential elements, a practice that would further evolve in later works, such as his 1925 drawing Das Gartentor (The Garden Gate) (Lot 136) and his 1932 etching Was Läuft Er? (Why Does He Run?) (Lot 137), each of which hinges on the contours produced by a series of severely reduced, deliberate lines. Although the comets in earlier works are clearly discernable, true to Klee, they also operate as potent symbols pointing to the concepts of transcendence and evanescence underpinning the principles of mysticism and transcendentalism that fascinated Klee throughout his life. A comet, after all, is a perfect embodiment of evanescence.

Two years later, in 1916, Klee was drafted for the army during the First World War. Although he never saw the front line from his clerical position at a flight school, his tenure in the army sparked a keen interest in flight and the cosmos. From 1916-1918, Klee, like the rest of the western world at the time, would become briefly infatuated with all things celestial, producing a body of work that looked upwards for inspiration. With a massive war afoot, rapid advances in aircraft technologies followed suit, sending troops into the air in balloons and planes, forming entirely new constellations in a sky that was in turn becoming more familiar and fantastic due to an increase in scientific breakthroughs that looked to the cosmos.

Klee, Paul. Creative Credo. 1920.

During this time Klee produced a series of watercolors centered on comets, including his 1917 work Landschaft mit dem Kometen, as well as Der Komet von Paris, and Ein Komet am Horizont einer Stadt (Lot 135). However, the artist who would famously assert that “art does not reproduce the visible; rather, it makes visible,” took no conventional approach to the cosmos. “Art is a simile of the Creation,” he once asserted. “Each work of art is an example, just as the terrestrial is an example of the cosmic.” Klee’s comets are indeed comets, but, like the visual language present in his other works, they are also highly charged, mystical symbols pointing to something beyond their physicality.

Spretnak, Charlene, The Spiritual Dynamic in Modern Art: Art History Reconsidered, 1800 to the Present, Springer, 2014.

135 PAUL KLEE

Ein Komet am Horizont Einer Stadt (A Comet on the Horizon of a Town) 1918 Ink and watercolor on paper mounted to card Signed upper right sheet; titled with date inscription “1918/200” lower right mount Composition/sheet: 5.75" x 6.375" Mount (vis.): 8.5" x 7.75" Frame: 17.5" x 16.375" (Composition/sheet: 15 x 16 cm) P ROV E NANC E Willy Hahn, Stuttgart, Germany; Berggruen & Cie, Paris, France (acquired directly from the above, 1958); Private Collection, Hollywood, California (acquired directly from the above, c. 1958) ILLUST RAT E D Paul Klee Catalogue Raisonné. Vol. II. J. Helfenstein, ed. 2000. #2047. LIT E RAT URE Paul Klee: Das bildnerische Denken. J. Spiller. 1956. 322.

$80,000–120,000

101


136 PAUL KLEE

Das Gartentor (The Garden Gate) 1925 Pen and ink on paper mounted to card Signed upper left sheet; titled with date inscription “1925/248” lower center edge of mount Sheet: 12" x 5.75" Mount (vis.): 13.5" x 6.5" Frame: 25.25" x 18.25" (Sheet: 30 x 15 cm) P ROVENA NC E Lily Klee, Bern, Switzerland; Klee Gesellschaft, Bern, Switzerland (acquired directly from the above, 1946); Galerie Rosengart, Luzern, Switzerland (acquired directly from the above, 1947); Charlotte Picher Purcell, Chicago, Illinois (acquired directly from the above, c. 1949); Clifford Odets, New York, New York; Eugene Victor Thaw & Co., New York, New York; Private Collection, Los Angeles, California (acquired directly from the above through Sotheby’s Parke-Bernet, Los Angeles, California, February 2, 1982, lot 305) ILLUSTRAT E D Paul Klee Catalogue Raisonné. Vol. IV. J. Helfenstein, ed. 2000. #3929.; Paul Klee: Im Zeichen der Teilung. W. Kersten and O. Okuda. 1995. 354. LITERATURE Paul Klee: Handzeichnungen 1921-1930. Vol. II. W. Grohmann. 1934. 21.

$30,000–50,000


103

137 PAUL KLEE

Was Läuft Er? (Why Does He Run?) 1932 Etching on wove paper From the unnumbered edition of 110 Published by Editions Cahiers d’Art, Paris Signed lower right margin beneath image Image: 9" x 11.5" Sheet (vis.): 12" x 15.625" Frame: 31.125" x 34.875" (Image: 23 x 29 cm) LIT E RAT URE Verzeichnis des graphischen Werkes von Paul Klee. E. Kornfeld. 2005. #109.

$15,000–20,000


138 PABLO PICASSO

Eaux-Fortes Originales Pour des Textes de Buffon 1941-1942 The complete set of 31 aquatints on Vidalon vellum #110 of 226 Published by Martin Fabiani, Paris; printed by Lacourière, Paris Text by Georges-Louis Leclerc Sheets each: 14.5" x 11" Portfolio case: 16.125" x 12.125" x 2.5" (Sheets each: 37 x 28 cm) LITERATURE Pablo Picasso: Catalogue Raisonné of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1968. #328-358.

$25,000–35,000


139 PABLO PICASSO

Buste de Femme à la Chaise 1938 Etching, aquatint, and drypoint on Montval laid paper Retains “Succ. Pablo Picasso/ Coll. Marina Picasso” stamp sheet verso; inscribed “1078,” “B 308 bis VIII,” and “80g 60” in graphite verso State VIII of X Image: 9.625" x 5.375" Sheet: 13.25" x 8.875" Frame: 19.125" x 15.125" (Image: 24 x 14 cm) LIT E RAT URE Pablo Picasso: Catalogue Raisonné of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1968. #308.; Picasso: Peintre-Graveur. Vol. III. B. Baer, ed. 1985. #643.VIII.

$12,000–18,000

140 PABLO PICASSO Joueur de Flûte

1959 Lithograph on paper #60 of 200 Signed in graphite upper left corner of sheet; edition lower right; facsimile signature and date upper left sheet Sheet: 27.25" x 20.625" Frame: 30.5" x 24" (Sheet: 69 x 52 cm)

$1,000–1,500

105


141 PABLO PICASSO

Bearded Man’s Wife 1953 Turned pitcher of white earthenware clay, decoration in engobes, knife engraved under partial brushed glaze From the edition of 500 Madoura Bears the inscription “Edition Picasso Madoura” with “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #193 14.25" x 7" diameter (36 x 18 cm) LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #193.

$20,000–30,000


142 PABLO PICASSO

Square-headed pitcher 1953 Turned pitcher of white earthenware clay, oxidized paraffin decoration, white enamel #88 of 300 Madoura Inscribed “Edition Picasso” with edition to underside Ramié #223 5.5" x 5.625" diameter (14 x 14 cm) LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #223.

$3,000–5,000

107

143 PABLO PICASSO Fleurs (for UCLA)

1961 7-color lithograph on Arches paper #27 of 100 Published by the Art Council of UCLA Art Galleries, Los Angeles Signed lower right; edition lower left Together with brochure Sheet (vis.): 29.125" x 20.5" Frame: 34.75" x 26.125" (Sheet: 74 x 52 cm) LIT E RAT URE Pablo Picasso: Catalogue Raisonné of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch. 1968. #1297.; Picasso Lithographs. F. Mourlot. 1970. #351.

$3,000–5,000


144 HENRI MATISSE Poésies

1932 The complete portfolio of 29 etchings on Arches paper in original portfolio case #90 of 145 Published by Albert Skira et Cie, Lausanne Signed with edition title sheet verso Text by Stéphane Mallarmé Sheets each: 13" x 10" Portfolio case: 13.625" x 10.625" x 2" (Sheets each: 33 x 25 cm)

$15,000–20,000


145 HENRI MATISSE

Loulou, Le Regard Absent 1914-1915 Etching and chine-collé on vellum #12 of 15 Signed with edition lower right edge of sheet; retains Andipa Gallery label verso Image: 6.75" x 4.75" Sheet: 14.875" x 11" Frame: 24.625" x 20.375" (Image: 17 x 12 cm) LIT E RAT URE Henri Matisse: Oeuvre Gravé. Vol. I. C. Duthuit. 1983. #50.

$3,000–5,000

146 MARC CHAGALL

Black Couple with Musician (Couple noir au Musicien) 1960 Color lithograph on Arches paper #29 of 40 Signed lower right sheet; edition lower left Image: 12.375" x 9.75" Sheet (vis.): 15" x 12" Frame: 22.5" x 18.5" (Image: 31 x 25 cm)

$4,000–6,000

109


147 PIERRE SOULAGES Eau-Forte No. 17

1961 Etching on Arches vellum #7 of 100 Published by Berggruen, Paris; printed by Lacourière, Paris Signed in graphite lower right sheet beneath image; edition lower left Image: 18" x 22.75" Sheet (vis.): 20.625" x 25.25" Frame: 27" x 31.625" (Image: 46 x 58 cm) LITERATURE Soulages: Eaux-fortes, lithographies 1952-1973. Y. Rivière. 1974. #XVII.

$4,000–6,000


148 JOAN MIRÓ

Plate 3 (from Le Lézard aux Plumes d’Or) 1971 Color lithograph on Rives vellum #28 of 50 Published by Broder, Paris; printed by Mourlot, Paris Signed lower right sheet; edition lower left Image: 13" x 18.75" Sheet: 16" x 22" Frame: 24" x 29.5" (Image: 33 x 48 cm) LIT E RAT URE Joan Miró, Lithographe. Vol. II. P. Cramer, ed. 1992. #797.

$2,500–3,500

149 MARINO MARINI

La Sorpresa II (from Personaggi) 1973-1974 Color etching and aquatint on Magnani paper P.A. aside from the edition of 25 Published by Albra, Turin; printed by Il Cigno, Rome Signed in graphite lower right margin beneath image; edition lower left; blind stamp lower right corner of sheet Image: 25" x 19" Sheet: 39" x 27.5" Frame: 44.25" x 32.625" (Image: 64 x 48 cm) LIT E RAT URE Marino Marini: Catalogo ragionato dell’Opera grafica (Incisioni e Litografie) 1919-1980. G. Guastalla and G. Guastalla. 1990. #A169.

$1,000–1,500

111


150 GEORGES BRAQUE

Théogonie (from La Théogonie d’Hesiode) 1932 Etching on Hollande Van Gelder paper #27 of 50 Signed in brown pencil lower right margin beneath image; edition lower left Image: 14.375" x 11.75" Sheet (vis.): 15.25" x 12.25" Frame: 23.875" x 20.125" (Image: 37 x 30 cm) LITERATURE Braque: The Complete Graphics, Catalogue Raisonné. D. Vallier. 1988. #20g.

$3,000–5,000

151 GEORGES BRAQUE La Danse

1934 Etching on Rives paper From the edition of 250 Published by Chroniques du jour, Paris Signed in graphite lower right margin beneath image Image: 9.375" x 6.625" Sheet (vis.): 10.5" x 7.625" Frame: 17.625" x 14.75" (Image: 24 x 17 cm) LITERATURE Braque: The Complete Graphics, Catalogue Raisonné. D. Vallier. 1988. #25.; Georges Braque: Graphische Werk Aus der Sammlung der Galerie Boisserée. Galerie Boisserée exh. cat. 2010. #11.

$2,500–3,500


113 152 BEN NICHOLSON

Movement; 5 Circles (2) 1965; 1934, this example printed 1962 Etching on wove paper; woodcut on paper Movement: #36 of 50; 5 Circles: #7 of 300 Movement: Co-published by Ganymed, London and Marlborough Graphics, New York; printed by François Lafranca, Lugano Movement: Signed with edition in graphite lower left margin; dated lower center; 5 Circles: Initialed and dated “34” in graphite lower left margin; edition lower right edge of sheet Movement: Image: 7.75" x 7.75" Sheet (vis.): 9.125" x 9.125" Frame: 13.75" x 13.75" 5 Circles: Image: 6.25" x 7.75" Sheet (vis.): 7.5" x 9" Frame: 15.875" x 17.375" (Movement: Image: 20 x 20 cm)

$3,000–4,000


153 ERNST NAY Untitled

1951 Watercolor on paperboard mounted to board Signed and dated lower left corner of paperboard Paperboard: 6.25" x 9.375" Mount: 12.625" x 15.375" (Paperboard: 16 x 24 cm) This work will be included as an addendum to volume II of Ernst Wilhelm Nay: Wekverzeichnis: Aquarelle, Gouachen, Zeichnungen 1949-1953 as CR No. 51-444.1. P ROVENA NC E Private Collection, Newport, Rhode Island; Thence by descent; Private Collection, Winterpark, Florida (acquired directly from the above, 2017)

$12,000–15,000


115

154 GERHARD MARCKS Sängerin 1957 Bronze #3 of 10 Cast by Richard Barth, Berlin Stamped “III” and “Guss. Rich Barth Bln.” with artist’s cipher 9.75" x 5.25" x 6" (25 x 13 x 15 cm) LIT E RAT URE Gerhard Marcks: Das Plastische Werk. G. Busch and M. Rudloff. 1977. #674.

$3,000–5,000


155 LÁSZLÓ MOHOLY-NAGY

12 Fotografien 1920-1939 1973 The complete portfolio of 12 photographic prints #36 of 50 Co-published by Galerie Heiner Friedrich, Munich and Edizioni O, Milan Each embossed “Foto Repro 1973” to lower right edge of sheet in image; each retains estate stamp verso signed by Hattula Moholy-Nagy with edition Images/sheets each: Various dimensions Mats each: 25.25" x 19.5" Portfolio case: 26" x 20" x 1.5" (Mats: 64 x 50 cm)

$4,000–6,000

PARTIAL ILLUSTRATION


156 HANS BELLMER

Group of prints (5) B: 1965; A, C, D, E: c. 1965 Lithograph on paper A: #5 of 100; B: #25 of 100; C: #55 of 100; D: #18 of 100; E: #68 of 100 Each: Signed lower right margin beneath image; edition lower left; B: Retains Richard Gray Gallery label frame verso Comprised of A: Untitled; B: Madame Edwarda; C: Untitled; D: Untitled; E: Untitled A: Image: 10.5" x 13" Sheet: 19.5" x 25.5" Frame: 24" x 30.25" B: Image: 22.75" x 11.25" Sheet (vis.): 28.75" x 18" Frame: 29.625" x 19" C: Image: 12.5" x 9.5" Sheet: 22.5" x 15.375" Frame: 31.5" x 23.5" D: Image: 9.5" x 5.75" Sheet: 17.5" x 12.25" Frame: 22" x 16.375" E: Image: 9.75" x 8.125" Sheet (vis.): 14.625" x 12.5" Frame: 22.625" x 20.125" (A: Image: 27 x 33 cm) LIT E RAT URE Hans Bellmer: Oeuvre Gravé. H. Bellmer. 1969. 55.

$2,000–3,000

117


157 EDUARDO CHILLIDA Susmur

1974 Woodcut on Auvergne paper #7 of 50 Published by Maeght Éditeur, Paris; printed by Fequet et Baudier, Paris Signed lower right margin of sheet beneath image; edition lower left Image: 4" x 4.5" Sheet: 15" x 12.5" Frame: 20.25" x 18" (Image: 10 x 11 cm) LITERATURE Eduardo Chillida: Catalogue Raisonné of the Original Prints 1973-1985. Vol. II. M. van der Koelen. 1997. #74004.

$3,000–5,000

158 JEAN ARP

Variables Bild (3 x 7 = 21 Formen) 1964 Paper, wood, and Plexiglas #50 of 100 Published by Galerie der Spiegel Edition MAT, Cologne Retains Edition MAT label verso; signed with edition on Edition MAT label verso 15.75" x 15.75" (40 x 40 cm)

$2,000–3,000


119

159 OTTO FREUNDLICH, ATTRIBUTED Untitled (2)

1931 India ink on paperboard One signed, dated, and inscribed lower right beneath composition “Otto Freundlich/Paris 1931” Paperboards: 8.25" x 6.75" and 9" x 7" Frames each: 11.75" x 10.25" (Paperboards: 21 x 17 cm)

$2,000–3,000


Marcel Duchamp When revolutionary French artist Marcel Duchamp (1887-1968) debuted his transgressive 1912 Cubo-Futurist painting Nude Descending a Staircase, No. 2 at the 1913 International Exhibition of Modern Art (now known as The Armory Show) in New York, its reputation preceded it. News had already crossed the Atlantic heralding the semi-abstract painting, with its dynamic Cubist forms cast in a rich, monochromatic palette of brown-ocher hues and muted blue-green undertones, though it had been derided when it was submitted to the avant-garde Salon des Indépendants in 1912. The exhibition’s jury immediately lambasted the work as an abomination to the sensuous genre it purported to engage: ”A nude never descends the stairs,” they declared. “A nude reclines." In response to the intense criticism the painting received, Duchamp subsequently withdrew the painting from the exhibition. Although it made an appearance at the Salon de la Section d'Or in Paris later that year, even the boundary-pushing members of the avant-garde Section d'Or (also known as the Groupe de Puteaux) that organized the exhibition—and with whom Duchamp was closely associated—snubbed the painting’s unusual, serial treatment of a curiously multiplying, kaleidoscopic nude in motion, while casting suspicion on Duchamp for satirizing both the tenets of Cubism and the generic conventions of the nude. “What contributed to the interest provoked by the canvas was its title,” Duchamp reflected later in his career. Although Edouard Manet had previously challenged the traditional conventions of the nude with his Olympia (1863) and Le Dejeuner sur l'herbe (1862–63), he barely rocked the boat in comparison to Duchamp’s take on the genre. “One just doesn't do a nude woman coming down the stairs, that’s ridiculous,” Duchamp later said in response to the cold shoulder the painting received in Paris. “It doesn't seem ridiculous now, because it has been talked about so much, but when it was new, it seemed scandalous. A nude should be respected.” Nude was born from Duchamp’s aggregate of interests, including the fractured forms of Cubism and Futurism’s preoccupation with velocity and motion, the genesis of cinema, and philosophies of time and space, including the prospect of a fourth dimension. He also found inspiration for his Nude in the time-lapse motion studies of Étienne-Jules Marey and Eadweard Muybridge’s blurred chronographs. “The idea of describing the movement of a nude coming downstairs while still retaining static visual means to do this, particularly interested me,” Duchamp later said. “The fact that I had seen chronophotographs of fencers in action and horse galloping gave me the idea for the Nude.”

Although formally trained as a painter and closely associated with the movements of Surrealism, Cubism, Futurism, and Dada, Duchamp was in a league of his own, rigorously subverting and sharply challenging conventional notions pertaining to the sanctity of the art object and the agency of the artist’s hand with a radical approach to artmaking and display. As the artist Jasper Johns put it, Duchamp created a space for creating art “where language, thought and vision act on one another.” The scandal caused by Nude stoked Duchamp’s defiance of conventional standards of art and shortly thereafter he unveiled his radically experimental “readymades,” striking objets trouvés such as a bottle rack, a bicycle wheel, and his now legendary urinal titled Fountain. Rejecting what he termed the “retinal art” of his contemporaries, which only charmed the eye, Duchamp set out “to put art back in the service of the mind” and after 1912 he rarely produced paintings. Some two decades later Duchamp began to fashion a Lilliputian retrospective of his oeuvre in the form of pochoir reproductions of his work to be exhibited in a Boîte-en-Valise (literally “box in a suitcase”), a portable monograph containing labor-intensive copies of the artist's own work in miniature. Among these was a small work reproducing the artist’s notorious Nude Descending a Staircase, No. 2. With the market materials at hand, the artist chose to produce small, unnumbered edition of the print, which bears Duchamp's presence on three counts: it is signed and dated in his hand over a postage stamp, which he affixed beneath the reproduction, and bears an image of a work he himself painted. The fact that Duchamp deliberately chose to use the arduous, pochoir process, a stencil technique using gouache, to make wholly new works from earlier pieces he had created, further substantiates his investment in questioning and redefining the status of originality in regard to works of art. This example comes from the estate of famed Manhattan gallerist and collector Julien Levy (1906-1981), who met Duchamp in 1927 aboard Paris, a transatlantic steamer bound for Le Havre, and the two immediately became friends. Through Duchamp, Levy was introduced to many artists in the Parisian avant-garde, in particular those associated with the Surrealist movement. Levy would go on to become one of the chief proponents of Surrealist art in America, showcasing the work of such heavyweight artists as Joseph Cornell, Max Ernst, Arshile Gorky, Frida Kahlo, Man Ray, René Magritte, Salvador Dalí, and Alberto Giacometti.


In more ways than one Nude Descending a Staircase, No. 2 is the perfect embodiment of the revolutionary ideas that made Duchamp the bona fide father of modern art. In it we find distilled Duchamp’s pioneering inquiry into the nature of authenticity, originality, and taste, as well as his captivation with alternate dimensions, the debate over what may or may not be considered a work of art, and the respects in which movement can be represented by way of a work that by all other counts is itself static.

Bonk, Ecke. The Box in a Valise, De Ou Par Marcel Duchamp Ou Rrose Sélavy. Rizzoli, 1989. Folland, Dr. Tom. “Marcel Duchamp, Nude Descending a Staircase, No 2.” Smart History, 9 Jan. 2017, Web. Judovitz, Dalia. Unpacking Duchamp: Art in Transit. University of California Press, Berkeley, 1995. Naumann, Francis M. The Art of Making Art in the Age of Mechanical Reproduction. Harry N. Adams, 1999. Schwarz, Arturo. The Complete Works of Marcel Duchamp. 3rd ed., Delano Greenridge Editions, 1997.

121

160 MARCEL DUCHAMP

Nude Descending a Staircase, No. 2 1937 Pochoir-colored collotype and postage stamp on paper Signed and dated in ink over stamp lower center sheet Image: 12.625" x 7.75" Sheet: 13.75" x 7.875" Frame: 22.5" x 16.5" (Image: 32 x 20 cm) P ROV E NANC E The estate of Julien Levy, New York, New York; Francis M. Naumann Fine Art, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 2012) LIT E RAT URE The Complete Works of Marcel Duchamp. 2nd ed. A. Schwarz. 2000. #458.

$100,000–150,000


ILLUSTRATED OPPOSITE PAGE

161 JOSEF ALBERS Concerned

1940 Drypoint on heavy wove paper #16 of 20 Printed by the Art Academy, Mexico City Signed and dated in graphite lower right margin beneath image; titled with edition lower left Image: 7.875" x 5.25" Sheet (vis.): 8.875" x 6.375" Frame: 14.25" x 11.5" (Image: 20 x 13 cm) LIT E RAT URE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #87.

$4,000–6,000

123

162 JOSEF ALBERS

Formulation: Articulation 1972 Set of two boxed portfolios, each of 33 screenprinted folders on Mohawk Superfine Bristol paper #976 of 1,000 Co-published by Ives-Sillman, Inc., New Haven and Harry N. Abrams, New York; printed by Sirocco Screenprints, New Haven Signed in black ink on title page Sheets each: 15" x 20" Case: 15.75" x 20.75" x 3.5" (Sheets each: 38 x 51 cm) LIT E RAT URE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. 199-204.

$5,000–7,000


163 JOSEF ALBERS

White Line Square VIII (from White Line Squares Series I) 1966 3-color lithograph on Arches Cover paper #54 of 125 Published and printed by Gemini G.E.L., Los Angeles Initialed and dated in graphite lower right margin of sheet beneath image; titled with edition lower left; Gemini G.E.L. blind stamp lower right corner of sheet Gemini G.E.L. #2.8 Image: 15.625" x 15.625" Sheet (vis.): 20.625" x 20.625" Frame: 20.875" x 20.875" (Image: 40 x 40 cm) LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #171.8.

$2,000–3,000

164 JOSEF ALBERS

Variant IX (from Ten Variants) 1966 Screenprint on Rives BFK paper #160 of 200 Published by Ives-Sillman, Inc., New Haven; printed by Sirocco Screenprints, New Haven Signed and dated lower right margin; titled with edition lower left; blind stamp lower right sheet Image: 8.75" x 13" Sheet: 17" x 17" Frame: 17.125" x 17.125" (Image: 22 x 33 cm) LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #173.9.

$1,500–2,000


165 ROBERT SLUTZKY

Composition in Red and Greys 1957-1958 Oil on canvas Retains David Herbert Gallery label verso Canvas: 36" x 36" Frame: 37.25" x 37.25" (Canvas: 91 x 91 cm)

$4,000–6,000

125


ALTERNATE VIEW

166 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950; this example produced prior to 1953 Model no. ESU 421-N Retains Herman Miller label 58.5" x 47.125" x 17" (149 x 120 x 43 cm) P ROVENA NC E Cynthia Brants, Fort Worth, Texas; Private Collection, Texas LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$20,000–30,000


127

167 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950; this example produced prior to 1953 Model no. ESU 421-N Retains Herman Miller label 58.5" x 47.125" x 17" (149 x 120 x 43 cm) P ROV E NANC E Cynthia Brants, Fort Worth, Texas; Private Collection, Texas LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$20,000–30,000


168 CHARLES & RAY EAMES Desk

Herman Miller, designed 1950 Model no. ESU D-20-N 29" x 60" x 24.5" (74 x 152 x 62 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$3,000–5,000


169 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950 Model no. ESU 100-C 20.5" x 47" x 16" (52 x 119 x 41 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$3,000–5,000

129

170 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950 Model no. ESU 150-N 20.75" x 24" x 16" (53 x 61 x 41 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$2,000–3,000


171 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950 Model no. ESU 250-N Retains Herman Miller label 32.75" x 24.125" x 16.125" (83 x 61 x 41 cm) P ROVENA NC E Cynthia Brants, Fort Worth, Texas; Private Collection, Texas LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$3,500–4,500

172 CHARLES & RAY EAMES Storage Unit

Herman Miller, designed 1950 Model no. 150-N Retains Herman Miller label 20.625" x 24.125" x 16.125" (52 x 61 x 41 cm) P ROVENA NC E Cynthia Brants, Fort Worth, Texas; Private Collection, Texas LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 129.

$2,500–3,500


173 CHARLES & RAY EAMES Speaker cabinet

Stephens Tru-Sonic, designed 1956 21.5" x 29.75" x 13" (55 x 76 x 33 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 209.

$1,500–2,000

174 CHARLES & RAY EAMES Custom side table

Eames Office, executed c. 1977 16" x 22" x 16" (41 x 56 x 41 cm) Frederick Usher worked in the Eames Office from 1948 to 1954, then again in 1977. Further, as a designer he created many cover illustrations for Arts & Architecture magazine. P ROV E NANC E Frederick Usher, California; Thence by descent; Private Collection, San Diego, California (acquired directly from the above, c. 2002)

$2,000–3,000

131


175 CHARLES & RAY EAMES Sofa Compacts (2)

Herman Miller, designed 1954 Model no. 473 With fabric designed by Alexander Girard Each: 35" x 70" x 28" (89 x 178 x 71 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 190-191.

$4,000–6,000


176 CHARLES & RAY EAMES

Soft Pad armchairs and ottomans (4) Herman Miller, designed 1969 Ottomans retain Herman Miller logo and stamp Comprised of two armchairs and two ottomans Armchairs each: 40" x 28" x 25.75" Ottomans each: 17.5" x 21" x 21" (Armchairs each: 102 x 71 x 65 cm) (Ottomans each: 44 x 53 x 53 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 343.

$3,000–5,000

133

177 CHARLES & RAY EAMES Soft Pad chairs (2)

Herman Miller, designed 1969 Comprised of one armchair and one side chair Armchair: 35" x 25" x 25" Side chair: 35" x 22" x 25" (Armchair: 89 x 64 x 64 cm) (Side chair: 89 x 56 x 64 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 343.

$1,000–1,500


178 CHARLES & RAY EAMES Rocking chair

Zenith Plastics, designed 1950 Model no. RAR Retains Zenith label 27" x 27.25" x 24.75" (69 x 69 x 63 cm)

$1,200–1,500

179 CHARLES & RAY EAMES Rocking chair

Zenith Plastics, designed 1950 Model no. RAR Retains Zenith label 27" x 27.25" x 24.75" (69 x 69 x 63 cm)

$1,200–1,500


180 CHARLES & RAY EAMES Wire mesh chair

Herman Miller, designed 1951 Model no. PKW Retains Herman Miller upholstery tag 31.5" x 18.25" x 20" (80 x 46 x 51 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent LIT E RAT URE The Herman Miller Collection. Manufacturer cat. 1952. 98.

$800–1,200

181 CHARLES & RAY EAMES Wire mesh chair

Herman Miller, designed 1951 Model no. DKR Retains Herman Miller upholstery label 30.75" x 18.5" x 22.25" (78 x 47 x 57 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent LIT E RAT URE The Herman Miller Collection. Manufacturer cat. 1952. 98.

$300–500

135


182

183

CHARLES & RAY EAMES

CHARLES & RAY EAMES

Evans Products, designed 1941-1942

Herman Miller, designed 1946; these examples produced after 1950 Model no. LCW

Leg splint

42" x 4" x 7.75" (107 x 10 x 20 cm) LITERAT U RE Eames Design: The Work of

Lounge chairs (2)

Each: 26.5" x 24" x 22" (67 x 61 x 56 cm)

the Office of Charles and Ray Eames. J. Neuhart. 1989. 33.

$300–500

$2,500–3,500


LOT 184

184 CHARLES & RAY EAMES Dining chairs (4)

Herman Miller, designed 1946; these examples produced after 1950 Model no. DCW Together with two additional dining chairs Each: 28.75" x 21.5" x 19" (73 x 55 x 48 cm)

$2,000–3,000

LOT 185

185 CHARLES & RAY EAMES Dining chairs (4)

Herman Miller, designed 1946 Model no. DCW Each: 28.75" x 21.5" x 19" (73 x 55 x 48 cm)

$1,600–2,000

137


California Hard Edge Hard Edge painting wasn’t always the term used to describe California’s first fully native Modernist art movement. A genre unto itself, critics and artists alike struggled to find an appropriate moniker to characterize the wholly new form of geometric abstraction that emerged on the West Coast during the late 1950s. Initially, Abstract Classicism was mentioned in the same breath as paintings by artists producing work in this new style, including those by Karl Benjamin, Lorser Feitelson, Frederick Hammersley, and John McLaughlin. Helen Lundeberg, who often worked in the Hard Edge idiom, as evident in Linear Torso (1969) (Lot 189), alternately described her works as Classicism or Post-Surrealism, with the former denoting “a highly conscious concern with esthetic structure which is the antithesis of intuitive, romantic, or realistic approaches to painting” with an aim “to calculate, and reconsider, every element in a painting with regard to its function in the whole organization” and the latter as “based upon the normal functioning of the mind: its meandering, logical in sequence though not in ensemble, its perceptions of analogy and idea-content in forms and

groups of forms unrelated in size, time, or space.” Art critic Clement Greenberg characterized the movement as a sub-variant of Post-Painterly Abstraction, which shifted away from the overtly painterly, gestural Abstract Expressionism found in the work of artists such as Jackson Pollock, Willem de Kooning, and others, towards a sleeker, sharper idiom. However, it wasn’t until prominent Los Angeles art critic Jules Langsner coined the term Hard Edge painting in conjunction with his seminal “Four Abstract Classicists” exhibition mounted at the Los Angeles County Museum of Art in 1959, that this new mode of expression was given an appropriate name, which gained currency and eventually stuck. Devoid of surface incident, Hard Edge works prioritize formal elements of shape, color, and line with an eye toward achieving a lucid, unitary composition. Works such as Karl Benjamin’s 1957 Seascape (Lot 186) and John Barbour’s 1966 Untitled (Lot 188), epitomize Hard Edge's predilection for clearly defined, non-relational fields that nonetheless


ILLUSTRATED OPPOSITE PAGE

186 KARL BENJAMIN Seascape

1957 Oil on canvas Initialed and dated lower right; retains partial Esther Robles Gallery label verso Canvas: 26" x 44" Frame: 28.25" x 46.25" (Canvas: 66 x 112 cm) P ROV E NANC E The artist; Thence by descent

$40,000–60,000

LABEL DETAIL

187 KARL BENJAMIN

Blue with Yellow Spot 1954 Oil on Masonite Signed and titled in graphite frame verso; retains Pasadena Art Institute exhibition label verso Masonite (vis.): 21.625" x 23.5" Frame: 24" x 25.75" (Masonite: 55 x 60 cm) P ROV E NANC E The artist; Thence by descent

$20,000–30,000

139


generate a unity of composition. With its angular forms, subdued colors, and rhythmic forms, Seascape is a quintessential example of Benjamin’s oeuvre. Straddling figuration and abstraction, the composition is defined on three sides by a jagged blue border, which frames a series of blue, pink, and olive green triangles, redolent of maritime landforms set against a white and pale blue background suggestive of a vast expanse of sky hovering over a seascape. In Barbour’s Untitled, Hard Edge’s obsessive compartmentalization of monochromatic colors are exhibited with full force, which comes as little surprise given that he studied under Henri Matisse, whose celebrated cut-paper collages engaged flat, drastically reduced shapes and a bold color palette.

188 JOHN BARBOUR Untitled

c. 1966 Acrylic on panel Together with copy of invoice from Cardwell Jimmerson Contemporary Art dated December 20, 2008 24" x 24" (61 x 61 cm) P ROVENA NC E Cardwell Jimmerson Contemporary Art, Culver City, California; Private Collection, Sherman Oaks, California (acquired directly from the above, 2008)

$4,000–6,000

Evoking the precisionism associated with the Neo-Plasticism of Piet Mondrian and loosely drawing on the tenets of De Stijl, Hard Edge painting adopted a precise, deliberately methodical approach to applying paint. The minimalist forms and interplay of shapes and colors evident in work pioneered by Josef Albers reappear in the Hard Edge vernacular, which seamlessly fuses the potent pigments and bold, uniform contours found in Color Field painting with the clear composition, sharp imagery, and economy of expression inherent to Geometric Abstraction. Hard Edge painting’s abrupt color transitions and a complete absence of brushstrokes renders rigorously tidy surfaces saturated with intense, monochromatic, clean-edged colors applied


141

189 HELEN LUNDEBERG Linear Torso

1969 Acrylic on canvas Inscribed “Lundberg [sic], Helen/”Linear Torso” 1969/#3/WU 1979.23.4”; retains Mildred Lane Kemper Art Museum label verso 60" x 60" (152 x 152 cm)

$30,000–50,000


in clearly defined, non-relational fields that emphasized the two-dimensionality of the canvas’s surface. This is particularly the case in Frederick Hammersley’s 1972 work On and of (Lot 190). Created at the height of his career, Hammersley’s oil-on-linen painting is an excellent example of the Hard Edge idiom, which Hammersley helped define. On and of found its nascence as a rhythmically orchestrated study exploring the interactions between shape and color on a geometric grid that ultimately plotted out its arrangements for the canvas. "At first I would paint a shape that I would 'see' there,” Hammersley once said. “That one colored shape in that canvas would work, or fit,” he continued. “The next shape would come from the feeling of the first plus the

190 FREDERICK HAMMERSLEY On and of

#4, 1972 Oil on linen Retains Barbara Mathes Gallery label and artist’s label verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Canvas: 23.875" x 23.75" Frame: 24.75" x 24.625" (Canvas: 61 x 60 cm) P ROVENA NC E L.A. Louver Gallery, Los Angeles, California; Nicholas Wilder, Los Angeles, California; Private Collection, New York, New York; Private Collection, Kentfield, California

$35,000–55,000

canvas. This process would continue until the last shape completed the picture.” It is this dynamic, a “harmony of opposites,” between the intuitive and the systematic, that ultimately lends an element of exuberance to the precise, economical composition of Hammersley’s work and to Hard Edge painting as a whole.

Fort, Ilene Susan. Helen Lundeberg, An 80th Birthday Celebration. Los Angeles County Museum of Art, 1988. "Frederick Hammersley." Louis Stern Fine Arts, 2017. Web. “Helen Lundeberg: Classic Attitude.” Cristin Tierney Gallery, 3 Nov. 2016, Web.


191 FREDERICK HAMMERSLEY Act One

1950 Lithograph on cloth in artist’s frame #1 of 1 Dated in graphite lower right mat beneath image; signed lower left Retains Charlotte Jackson Fine Art label and artist’s label frame verso Cloth: 3" x 3" Mat: 6.75" x 6.75" Frame: 8.5" x 8.5" (Cloth: 8 x 8 cm)

$3,000–5,000

192 FREDERICK HAMMERSLEY Covenant

1963 Screenprint on paper #1 of 50 Signed and dated in graphite lower right margin beneath image; titled with edition lower left; retains Aaron Payne Fine Art label verso Image: 10.75" x 8.5" Sheet (vis.): 13" x 10" Frame: 22" x 18" (Image: 27 x 22 cm)

$1,500–2,000

143


193 JULIUS SHULMAN

Stahl Residence (Case Study House #22), Los Angeles 1960 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) LITERATURE Julius Shulman: Modernism Rediscovered 1958-1964. Vol. II. B. Taschen, ed. 2016. 456.

$4,000–6,000

194 JULIUS SHULMAN

Shulman Residence and Studio, Los Angeles 1952 Gelatin silver print Signed and dated lower right margin of sheet beneath image Image: 19.875" x 15.875" Sheet (vis.): 21.375" x 17" Frame: 26.5" x 22.25" (Image: 50 x 40 cm)

$2,000–3,000


195 JULIUS SHULMAN

Interior of Kings Road House, Los Angeles 1991 Color photograph Signed lower right in image Image/sheet (vis.): 15.125" x 23.125" Frame: 20.875" x 29" (Image/sheet: 38 x 59 cm)

$2,500–3,500

196 JULIUS SHULMAN

Hollyhock House, Los Angeles 1977 Color photograph Signed lower right corner in image Image/sheet (vis.): 15.375" x 23.25" Frame: 21.125" x 28.875" (Image/sheet: 39 x 59 cm)

$2,500–3,500

145


197 DENNIS HOPPER Prague Wall

1995 Cibachrome print #1 of 3 Retains Ochi Gallery label frame verso Sheet: 75" x 50" Frame: 86.5" x 61.5" (Sheet: 191 x 127 cm)

$8,000–12,000


147

198 WILLIAM WEGMAN

Untitled (from Improved Photographs Portfolio) (3) 1979 Gelatin silver print with screened or inked additions Each: #1 of 15 Published by Multiples, Inc., New York Each signed and dated with edition verso Together with portfolio case Images each: Various dimensions Sheets each: 20" x 16" (Sheets each: 51 x 40 cm)

$3,000–5,000


199 EDWARD BURTYNSKY

Shipbreaking #45, Chittagong, Bangladesh 2001; this example printed 2010 Chromogenic print #3 of 5 Retains signed information label frame verso Image/sheet: 39" x 49" Frame: 49.125" x 59.125" (Image/sheet: 99 x 124 cm)

$10,000–15,000


149

200 EDWARD BURTYNSKY

Feng Jie #7, Yangtze River, China 2002; this example printed 2003 Chromogenic print on Kodak Supra Endura paper #1 of 5 Retains signed information label frame verso Image/sheet: 40" x 50" Frame: 49" x 59" (Image/sheet: 102 x 127 cm)

$10,000–15,000


201 EDWARD BURTYNSKY

Abandoned Marble Quarries #1, near Rutland, Vermont 1991; this example printed 1994 Chromogenic print on Kodak Professional paper #7 of 10 Retains signed information label frame verso Image/sheet: 26.625" x 33.625" Frame: 35.125" x 42.125" (Image/sheet: 68 x 85 cm) LITERATURE Manufactured Landscapes: The Photographs of Edward Burtynsky. L. Pauli. 2003. #24.

$5,000–7,000

202 ANDY GOLDSWORTHY

Red Earth Splash: Ft. Barry I 1994 Cibachrome print Retains Haines Gallery and Museum of Contemporary Art, San Diego Art Auction labels verso Image/sheet: 15.5" x 15.5" Frame: 27.25" x 26.25" (Image/sheet: 39 x 39 cm)

$3,000–5,000


203 LITA ALBUQUERQUE

Rock and Pigment Installation (4) 1978 Color photograph Each signed lower right sheet Images each: 12.875" x 18.875" Sheets (vis.) each: 13.75" x 19.75" Frames each: 22.25" x 28.25" (Images each: 33 x 48 cm)

$2,000–3,000

151


PARTIAL ILLUSTRATION

204 MASSIMO VITALI

Portfolio of Landscapes with Figures 2006 The complete portfolio of 52 offset color lithographs on 300g Consort Royale paper #75 of 120 Published by Steidl Verlag, Göttingen; printed by Gerhard Steidl, Göttingen Signed with edition on title page; editioned again on colophon; each sheet retains artist’s stamp with edition and plate number verso Together with copy of original invoice from Arte Nova, dated October 18, 2007 Comprised of two framed works, 50 unframed works, and a portfolio case Image: 25.75" x 33.75" (or alternate orientation) Sheet: 27.25" x 35.25" (or alternate orientation) Frame: 27.375" x 35.25" (or alternate orientation) (Image: 65 x 86 cm)

$20,000–30,000


153

205 WALTER NIEDERMAYR

Schnalstagletscher V (3) 1999 Chromogenic print triptych #4 of 6 Each signed frame verso; each retains Angles Gallery label verso Sheets (vis.) each: 38.375" x 49" Frames each: 40.375" x 51" (Sheets each: 97 x 124 cm)

$7,000–10,000


206 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 Self Portrait: 46 x 30 cm)

$7,000–10,000


155

207 JOHN BALDESSARI

The Overlap Series: Palm Trees and Building (with Vikings) 2001 Iris print on Somerset Satin 500 gsm paper #37 of 75 Published by i8 Gallery, Reykjavík, in conjunction with the Reykjavík Art Museum; printed by A + I Digital, Los Angeles Signed and dated lower right margin of sheet beneath image; edition lower left Together with Brown Green and Other Parables artist’s book and portfolio case Image: 15" x 15" Sheet: 19" x 19" Portfolio case: 20" x 20.25" x .75" (Image: 38 x 38 cm)

$3,000–5,000


208 YAYOI KUSAMA Mountain Range

1978 Acrylic spray paint on board Signed and dated upper left edge of board; signed, titled, dated, and inscribed “KUSA-0006” board verso; retains Robert Miller Gallery label board verso; retains Margo Leavin Gallery label frame verso Together with Yayoi Kusama: Obsessional Vision exhibition catalogue Composition/board: 10.625" x 9.5" Frame: 19.875" x 18.625" (Composition/board: 27 x 24 cm) P ROVENA NC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1997) EXHIBITE D “Yayoi Kusama: Obsessional Vision,” The Arts Club of Chicago, Chicago, June 11-July 30, 1997 LITERATURE Yayoi Kusama: Obsessional Vision. Arts Club of Chicago exh. cat. 1997. #19.

$25,000–35,000


209 ANISH KAPOOR Untitled

2002 Color etching with aquatint on paper #112 of 200 Signed lower right sheet; edition lower left sheet Image: 19" x 26" Sheet (vis.): 21" x 27" Frame: 29.5" x 35" (Image: 48 x 66 cm)

$1,500–2,000

210 ANISH KAPOOR Untitled 11

1990 Color woodcut on paper #49 of 75 Signed and dated lower right sheet; edition lower center sheet Image: 20.25" x 19.25" Sheet (vis.): 22" x 20.5" Frame: 29.5" x 26.25" (Image: 51 x 49 cm)

$2,000–3,000

157


211 FORREST MYERS

Cardinal Richelieu chair Studio, executed 1990 Powder-coated aluminum wire 37.5" x 34.5" x 27" (95 x 88 x 69 cm)

$30,000–50,000


212 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #780 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso with edition Together with original box and plate stand 10.25" diameter (27 cm)

$10,000–15,000

159


213 FERNANDO & HUMBERTO CAMPANA Dolphins and Sharks Chair

Estudio Campana, Brazil, designed 2002 #26 of 35 Stitched edition on underside “Campana/Dolphins and Sharks/#26/35” Together with slip case and copy of certificate from Estudio Campana 34.5" x 56" x 38.5" (88 x 142 x 98 cm) LITERATURE The Campana Brothers: Complete Works (So Far). D. Alfred, et al. 2010. 266.

$20,000–30,000


161 LABEL DETAIL

214 FERNANDO & HUMBERTO CAMPANA Cake Stool

Estudio Campana, Brazil, designed 2008 #93 of 150 Stitched edition on otter’s side “Campana/Cake Stool #093/150” Together with slip case and copy of certificate from Estudio Campana 25.5" x 51" x 53" (65 x 130 x 135 cm) LIT E RAT URE The Campana Brothers: Complete Works (So Far). D. Alfred, et al. 2010. 286.

$20,000–30,000


215 JOAQUIM TENREIRO

Cadeira com Braços dining chairs (10) Tenreiro Móveis e Decorações, designed c. 1960 Each: 30.5" x 25" x 20" (77 x 64 x 51 cm) LITERATURE Tenreiro. S. Cals, et. al. 1998. 92, 120.

$30,000–50,000


163


216 JORGE ZALSZUPIN

Paulistana lounge chair and ottoman (2) Atelier Zalszupin, designed c. 1969 Chair: 37" x 32" x 29" Ottoman: 12" x 28" x 21" (Chair: 94 x 81 x 74 cm) (Ottoman: 30 x 71 x 53 cm)

$8,000–12,000


217 JEAN GILLON

Lounge chair and ottoman (2) Wood Art, designed c. 1965 Chair: 33" x 35" x 43" Ottoman: 14.5" x 26" x 17" (Chair: 84 x 89 x 109 cm) (Ottoman: 37 x 66 x 43 cm)

$4,000–6,000

165


Gunther Gerzso Pioneering Mexican Modernist Gunther Gerzso (1915-2000) was an acclaimed film and theater set designer in the 1950s when he turned his focus entirely to the creation of the “architectonic abstractions” for which he is now widely celebrated. Born in Mexico City to a German mother and a Hungarian father, the self-taught artist received a significant portion of his education in Switzerland, where his maternal uncle Hans Wendland, an influential art historian and collector in Lugano, took him under his wing. The young artist was introduced to Kandinsky’s abstractions, the principles of psychoanalysis, Great Masters such as Titian and Rembrandt, the French Romantics, and the mystical prose of Hermann Hesse, who was his uncle’s neighbor. During this period Gerzso befriended the acclaimed Italian stage set designer Nando Tamberlani, who encouraged the young artist to pursue a career in the field, a path that would make Gerzso one of the most sought-after set designers of his time. During the 1930s and 1940s Gerzso collaborated with many avant-garde Latin American filmmakers, including Roberto Gavaldón, Chano Urueta, and Luis Buñuel, as well as Hollywood filmmakers who set their productions in Mexico, such as John Huston and John Ford. Gerzso often described himself and his work as ''European with Mexican eyes.'' Pre-Columbian visual culture and Western artistic movements, such as Surrealism, Cubism, and Abstract Expressionism, equally influenced his work. Surrealism in particular exerted itself forcefully in Gerzso’s earliest paintings, although Gerzso himself expressed reticence towards the idiom. “Surrealism is very theatrical,” he once maintained. “Dalí is a great example. His early work was beautiful, but it had a lot of drama. There’s also great theatrical content in Tintoretto, who made wonderful paintings. I’m not against theatricality, but Cubism, Mondrian, and the Russians—Kandinsky, Malevich and others—just can’t be ignored. One has to follow their path without imitating them.” The influence of artists such as Diego Rivera, Wolfgang Paalen, and José Clemente Orozco is particularly evident, but it is also easy to discern echoes of

Picasso and Matisse in Gerzso’s early work. The later style for which Gerzso is best known engages and synthesizes architectural elements and geometric structures, such as those found in the work of Le Corbusier, while also using motifs derived from both pre-contact Latin American culture and that of ancient Greece. Gerzso possesses a theatrical, almost cinematic sensibility of condensed and over-charged narrative. Nobel Prize-winning Mexican author Octavio Paz, who called Gerzso a “glacial spark” and who lauded him as “one of the great Latin American painters,” remarked that each of the artist’s paintings holds a secret that continually unravels and conceals itself. This sensibility is evident in Azul y Blanco (1964), where Gerzso’s characteristically hyper-charged visual language is on full display. ''His painting indicates its existence behind the canvas,” Paz said. “The depicted rendings, mutilations and sexual hollows have a function: they allude to what lies on the other side.” Expressing a reality that goes beyond the surface, his works take the unconscious and the intuitive as their bread and butter. “Many people say I am an abstract painter,” Gerzso once noted. “Actually, I think my paintings are very realistic. They are real because they express very accurately what I am all about, and in doing so they are to some degree about everybody else.” Gerzso held solo exhibitions at several museums, such as the Museum of Modern Art in Mexico City and the Santa Barbara Museum of Art. His work was the subject of exhibitions at the San Francisco Museum of Modern Art and at the Musée Picasso in Antibes, France.

Aldrete-Haas, Jose Antonio. “Gunther Gerzso.” BOMB, Winter 2001, Web. Kinzer, Stephen. “ Just For Art, Mexican Broke The Mold; A Retrospective Is Gerzso's First Since His Death.” The New York Times, 26 Aug. 2003, Web. “Gunther Gerzso.” Latin American Masters, 2017, Web. Accessed 18 Aug. 2017.


218 GUNTHER GERZSO Azul y Blanco 1964 Oil on canvas Signed and dated lower right; title frame verso Canvas (vis.): 21.25" x 17.75" Frame: 28.125" x 24.5" (Canvas: 54 x 45 cm) P ROV E NANC E Private Collection, Hollywood, California

$50,000–70,000

167


ILLUSTRATED OPPOSITE PAGE

219 LEONORA CARRINGTON

Fire Dancer on a Grey Ground 1955 Wool tapestry Fabricated by Taller Paloma Workshop, Mexico City Woven manufacturer’s mark top right Together with appraisal from Gump’s Gallery dated August 8, 1980 64" x 48.5" (163 x 123 cm) P ROV E NANC E William and Jacqueline Sharlin, Kallis House, Los Angeles, California; Thence by descent ILLUST RAT E D R.M. Schindler. J. Sheine. 2001. 214.

$3,000–5,000

220 FRANCISCO TOLEDO

Te Tengo con Sombrilla 1971 Gouache on paper Signed in graphite lower center edge of sheet in composition; retains Galeria Juan Martin label frame verso Composition/sheet (vis.): 9" x 11" Frame: 17.875" x 19.875" (Composition/sheet: 23 x 28 cm)

$3,000–5,000

221 RUFINO TAMAYO

Moon Face (Cara de Luna) 1964 Lithograph on Rives BFK paper #10 of 20 Published and printed by Tamarind Lithography Workshop, Inc., Los Angeles Signed with edition in graphite lower right sheet Sheet: 14.25" x 11.25" (36 x 29 cm) LIT E RAT URE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J.C. Pereda. 2004. #87.

$2,000–3,000

169


222 RAFAEL CORONEL Untitled

c. 1975 Oil on canvas Signed lower left Canvas (vis.): 23" x 29" Frame: 29.25" x 35.25" (Canvas: 58 x 74 cm)

$8,000–12,000

223 FRANCISCO ZÚÑIGA Maternidad 1974 Bronze #4 of 6 Signed and dated with edition incised verso 14" x 9.75" x 9.75" (including base) (36 x 25 x 25 cm)

$5,000–7,000


ALTERNATE VIEW

171 224 FELIPE CASTANEDA

Untitled (Reclining Nude) 1979 White onyx Retains etched signature and date 7.5" x 23.125" x 10.75" (including base) (19 x 59 x 27 cm)

$5,000–7,000


225 RICHARD SERRA

Videy Afangar #2, #6, and #9 (3) 1991 1-color Intaglio on Hahnemühle German etching paper Each: #55 of 75 Published and printed by Gemini G.E.L., Los Angeles Each signed and dated lower right margin; edition lower left Gemini G.E.L. #47.51, #47.55, #47.58 Videy Afangar #2 and #6: Image: 4.25" x 6" Sheet: 10.25" x 12" Frame: 12.5" x 14.125 Videy Afangar #9: Image: 5.875" x 4.5" Sheet: 13.25" x 10.25" Frame: 15" x 12" (Videy Afangar #2 and #6: Image: 11 x 15 cm) LITERATURE Richard Serra, Prints: Catalogue Raisonné, 1972-1999. S. Berswordt-Wallrabe. 2000. 126-127.

$5,000–7,000


173

226 JENE HIGHSTEIN Untitled

1979 Charcoal on paper Signed and dated lower right sheet; retains Droll/Kolbert Gallery, Michael Klein Inc., and Joyce Pomeroy Schwartz Ltd. labels verso Sheet: 49.5" x 38" Frame: 53" x 41" (Sheet: 126 x 97 cm)

$2,000–3,000


227

228

RICHARD SERRA

RICHARD SERRA

1972 3-color lithograph on Moulin du Verger du Puymoyen handmade paper

c. 1973 Graphite on lined yellow paper

Circuit

#46 of 50 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in graphite lower right sheet in image; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #47.1 Image/sheet: 29" x 42" Frame: 30.5" x 43.25" (Image/sheet: 74 x 107 cm)

$4,000–6,000

Untitled

Signed and inscribed lower right sheet Sheet: 14" x 8.375" Frame: 19.25" x 15.125" (Sheet: 36 x 21 cm)

$3,000–5,000


229 LOUISE NEVELSON The Night Sound

1971 Lead intaglio collage on paper #150 of 150 Published by Pace Editions, Inc., New York Signed and dated in graphite lower right sheet beneath image; titled lower center; edition lower left Image: 25.5" x 16.5" Sheet (vis.): 29.25" x 24.25" Frame: 30.25" x 25.25" (Image: 65 x 42 cm)

$1,500–2,000

230 LOUISE NEVELSON Sky Shadow

1973 Lead intaglio collage on paper #135 of 150 Published by Pace Editions, Inc., New York Signed and dated in graphite lower right sheet beneath image; titled lower center; edition lower left; retains Pace Editions label frame verso Image: 24" x 17.25" Sheet (vis.): 29.125" x 24" Frame: 30.125" x 25.25" (Image: 61 x 44 cm)

$2,500–3,500


231 MARY CORSE

Untitled (White Inner Band) 2001 Glass microspheres in acrylic on canvas Signed and dated verso 42" x 42" (107 x 107 cm) P ROV E NANC E Private Collection, Pennsylvania (acquired directly from the artist, c. 2002); Private Collection, Cincinnati, Ohio (acquired directly from the above)

$30,000–50,000

177


232 DE WAIN VALENTINE Blue Green Circle

c. 1970 Cast polyester resin 1" x 17.125" diameter (3 x 43 cm)

$20,000–30,000


233 DE WAIN VALENTINE

Open Diamond Rotated Hyperbolic Parabola 1982 Laminated glass 18" x 34.625" x 14.625" (46 x 88 x 37 cm)

$5,000–7,000

179


234 ERIC ORR Mu-6

1982 Mixed-media with lead and linen over wood backing Retains Neil G. Ovsey Gallery label verso 52.75" x 44" (134 x 112 cm)

$6,000–9,000


235 ERIC ORR Mu-12

1982 Mixed-media with lead and linen over wood backing Retains Neil G. Ovsey Gallery label verso 29.75" x 24" (76 x 61 cm)

$3,000–5,000

181

236 ERIC ORR Mu-10

1982 Mixed-media with lead and linen over wood backing Retains Neil G. Ovsey Gallery label verso 29.875" x 24" (76 x 61 cm)

$3,000–5,000


237 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)

$5,000–7,000


238 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)

$2,500–3,500

239 ERIC ORR

Lead Window 1979 Embossed lead relief over wood backing #15 of 25 Published and fabricated by Cirrus Editions, Los Angeles Signed and dated lower right; edition lower left 24" x 17.125" (61 x 43 cm)

$2,500–3,500

183


240 LYNDA BENGLIS Torso

1982 Ceramic sculpture with glazed bronze H.C. aside from the edition of 12 Published by Topaz Editions, Tampa Retains signed label with edition verso 32" x 14" x 5" (81 x 36 x 13 cm)

$20,000–30,000


185 241 HELEN PASHGIAN Untitled

c. 1974 Resin panel 33" x 32.875" (84 x 84 cm)

$3,000–5,000

242 KAZUO KADONAGA Untitled c. 1975 Wood Signed lower left edge of front horizontal plane Together with two catalogues 8" x 16.25" x 9" (20 x 41 x 23 cm)

$1,500–2,000


243 ED RUSCHA

Mocha Standard 1969 8-color screenprint on paper #72 of 100 Published by the artist; printed by Jean Milant and Daniel Socha, Hollywood Signed and dated with edition in graphite lower left margin beneath image; retains Brooke Alexander Gallery label verso Image: 19.5" x 36.75" Sheet (vis.): 20.75" x 37.875" Frame: 29.875" x 46.75" (Image: 50 x 93 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue RaisonnĂŠ. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #30.

$50,000–70,000


187

244 ED RUSCHA

Made in California 1971 3-color lithograph on Arches paper #10 of 100 Published by Grunwald Graphic Arts Foundation, University of California, Los Angeles; printed by Cirrus Editions, Los Angeles Initialed and dated with edition in graphite lower left sheet LAMA would like to thank the Ed Ruscha Studio for their assistance in cataloguing this work Image/sheet: 20" x 28" Frame: 23.25" x 31.25" (Image/sheet: 51 x 71 cm) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue RaisonnĂŠ. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #52.; Made in LA: The Prints of Cirrus Editions. B. Davis. 1995. 340.

$30,000–40,000


245 ED RUSCHA Drops

1971 3-color lithograph on white Arches paper Printer’s proof aside from the edition of 90 Co-published by Cirrus Editions, Los Angeles and Brooke Alexander, Inc., New York; printed by Ed Hamilton, Cirrus Editions, Los Angeles Signed and dated with edition in graphite lower left edge of sheet Image/sheet: 20" x 28" Frame: 25.5" x 33" (Image/sheet: 51 x 71 cm) P ROVENA NC E Joni Gordon, Newspace Gallery, Los Angeles, California; Private Collection, West Hollywood, California (acquired directly from the above) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #54.; Made in LA: The Prints of Cirrus Editions. B. Davis. 1995. 341.

$12,000–15,000

246 ED RUSCHA

Group of books (11) 1963-1978 Each signed in blue ink Comprised of Twentysix Gasoline Stations (3rd ed., 1963/1969); Various Small Fires and Milk (2nd ed., 1964/1970); Some Los Angeles Apartments (2nd ed., 1965/1970); Every Building on the Sunset Strip (2nd ed., 1966/1970); Royal Road Test (3rd ed., 1967/1971); Nine Swimming Pools and a Broken Glass (2nd ed., 1968/1976); Real Estate Opportunities (1st ed., 1970); A Few Palm Trees (1st ed., 1971); Records (1st ed., 1971); Colored People (1st ed., 1972); Hard Light (1st ed., 1978) Largest (Royal Road Test): 9.5" x 6.25" Smallest (Hard Light): 7" x 5.125" (Largest: 24 x 16 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #B1, B2, B3, B4, B6, B8, B12, B13, B15, B16, B17.

$15,000–20,000


247 ED RUSCHA

Red Ants; Swarm of Red Ants (from Insects) (2) 1972 5-color screenprint on Fabriano Classico glazed-finish watercolor paper Each: #84 of 100 Published by Multiples, Inc., New York; printed by Styria Studio, New York Each signed and dated with edition in graphite lower left edge of sheet Images/sheets each: 20" x 27" Frames each: 22.75" x 29.625" (Images/sheets each: 51 x 69 cm) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #63, #62.

$4,000–6,000

189


248 ED RUSCHA

Group of books (10) 1963-1978 Comprised of Twentysix Gasoline Stations (3rd ed., 1963/1969); Some Los Angeles Apartments (2nd ed., 1965/1970); Every Building on the Sunset Strip (2nd ed., 1966/1970); Thirtyfour Parking Lots in Los Angeles (2nd ed., 1967/1974); Royal Road Test (3rd ed., 1967/1971); Nine Swimming Pools and a Broken Glass (2nd ed., 1968/1976); Real Estate Opportunities (1st ed., 1970); A Few Palm Trees (1st ed., 1971); Records (1971); Hard Light (1st ed., 1978) Largest (Thirtyfour Parking Lots in Los Angeles): 10" x 8" Smallest (Hard Light): 7" x 5.125" (Largest: 25 x 20 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #B1, B3, B4, B5, B6, B8, B12, B13, B15, B17.

$7,000–10,000

249 ED RUSCHA

Bailarina (from in Barcelona Suite/Portfolio California) 1988 3-color lithograph on Guarro paper #27 of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Signed and dated in graphite lower right sheet; edition lower left sheet Image/sheet: 29.5" x 22" Frame: 35.125" x 27.125" (Image/sheet: 75 x 56 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #164.

$5,000–7,000


191

250 ED RUSCHA Miracle

1999 1-color lithograph on John Koller HMP cream paper #31 of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right edge of sheet; edition lower left; retains Gemini G.E.L. blind stamp lower right corner Gemini G.E.L. #45.24 Image: 15.375" x 24.875" Sheet: 23.375" x 32.375" Frame: 25.875" x 34.75" (Image: 39 x 63 cm)

$7,000–10,000


252 251 CHARLES ARNOLDI Peninsula

1986 Acrylic and wood chunks on plywood Signed “Arnoldi” and dated verso; retains Charles Arnoldi Studio label verso

CHARLES ARNOLDI

Untitled (Abstract Lines) 1978 Gouache on paper Signed and dated in graphite lower right sheet beneath image; inscribed “Arnoldi from Robert Elkon, 1978 or 1979” frame verso

57" x 112" x 9" (145 x 284 x 23 cm)

Composition: 6.875" x 11.125" Sheet: 9.5" x 13.375" Frame: 10.875" x 14.75" (Composition: 17 x 28 cm)

$30,000–50,000

$5,000–7,000


ILLUSTRATED OPPOSITE PAGE

253 TONY BERLANT Betty #50

2000-2001 Metal diptych collage on plywood with steel brads Each panel signed “Berlant” verso; one panel titled and dated verso Panels each: 84" x 36" x 1.5" Overall: 84" x 72" x 1.5" (Panels each: 213 x 91 x 4 cm)

$10,000–15,000

254 TONY BERLANT Untitled (House)

c. 1984 Metal collage on plywood with steel brads 6" x 6" x 4.5" (15 x 15 x 11 cm) P ROV E NANC E Private Collection, Venice, California (acquired directly from the artist, c. 1984)

$3,000–5,000

255 TONY BERLANT Untitled (House)

c. 1984 Metal collage on plywood with steel brads 7.25" x 5.875" x 5.5" (18 x 15 x 14 cm)

$4,000–6,000

195


256 JUDY CHICAGO

Pasadena Lifesavers Yellow #5 1969-1970 Sprayed acrylic lacquer on clear acrylic sheet with white Plexiglas Acrylic sheet (vis.): 58.875" x 58.875" Frame: 59.625" x 59.625" (Acrylic sheet: 150 x 150 cm) EXHIBITE D “Judy Chicago,” California State University, Fullerton, October 23-November 25, 1970

$40,000–60,000


ALTERNATE VIEW

197

257 BRUCE CONNER

Slide from light shows with the North American Ibis Alchemical Company c. 1967 Print with hand-coloring on acetate slide Together with copy of receipt from the artist 2" x 2" (5 x 5 cm) P ROV E NANC E Private Collection, California (acquired directly from the artist, 1967); Private Collection, California LIT E RAT URE “Bruce Conner: Theater of Light and Shadow.” 2000 BC: The Bruce Conner Story Part II. J. Rothfuss, ed. 1999. 70 for light shows discussed.

$4,000–6,000


258 BILLY AL BENGSTON Untitled (Dento)

1969 Lacquer and polyester resin on aluminum #13 of 20 Indented initials upper center; etched initials, date, and edition “30 A.B./1969/13/20” lower center 36" x 34" (91 x 86 cm)

$10,000–15,000


DETAIL

199

259 BILLY AL BENGSTON Occasional table

c. 1963 Mixed-media and resin The legs of this table can be unscrewed, allowing it to be displayed as a wall piece As illustrated: 15.25" x 22" x 22" (39 x 56 x 56 cm) P ROV E NANC E Sterling Holloway, Laguna Beach, California (acquired directly from the artist, c. 1963); Thence by descent; Private Collection, Altadena, California (acquired directly from the above, c. 2000)

$5,000–7,000


260 BILLY AL BENGSTON Dracula Series #1 1960 Ink on paper Signed and dated center beneath composition; retains Ferus Gallery label frame verso Composition: 5.375" x 5" Sheet (vis.): 13.75" x 17.75" Frame: 14.5" x 18.5" (Composition: 14 x 13 cm)

$7,000–9,000


201

261 BILLY AL BENGSTON Untitled (2)

A: c. 1975; B: 1975 Watercolor on paper B: Initialed, dated, and inscribed “Venice” lower center edge of sheet in composition; retains Artist Studio label frame verso A: Composition/sheet: 3.25" x 15.5" Frame: 8.125" x 20.125" B: Composition/sheet (vis.): 15.875" x 35.875" Frame: 16.25" x 36.5" (A: Composition/sheet: 8 x 39 cm)

$3,000–5,000


262 JOE GOODE

Budapest (from the Ozone Series) 1993 Oil on canvas Retains unknown inventory label verso Canvas: 47.75" x 37.75" Frame: 49.25" x 39.25" (Canvas: 121 x 96 cm)

$10,000–15,000


263 JOE GOODE

Untitled (from the Black/Nighttime Series) 1977 Oil on cut, torn, and creased paper Signed and dated in graphite lower center edge of sheet Composition/sheet: 11.25" x 15" Frame: 15.5" x 19.125" (Composition/sheet: 29 x 38 cm)

$4,000–5,000

264 JOE GOODE Untitled

1971 8-color lithograph and screenprint on Copperplate Deluxe paper #15 of 90 Published by Cirrus Editions, Los Angeles; printed by Paul Clinton and Ed Hamilton, Los Angeles Signed and dated “Joe Goode ‘71” in graphite lower center sheet; edition and blind stamp lower left Image/sheet: 18" x 29" Frame: 19.75" x 30.75" (Image/sheet: 46 x 74 cm) LIT E RAT URE Made in LA: The Prints of Cirrus Editions. B. Davis. 1995. 237.

$1,000–1,500

203


265 LARRY BELL MVD 293

1991 Mixed-media on paper Sheet: 42" x 86.75" Frame: 44.5" x 89.5" (Sheet: 107 x 220 cm)

$20,000–30,000


266 LARRY BELL Melta 6

1985 Vaporized metal on paper Signed and dated in graphite lower center; inscribed “Melta 6/Frank & Pat Shaw/8/85” frame verso Sheet: 28.375" x 23.375" Frame: 30.25" x 24.25" (Sheet: 72 x 59 cm)

$6,000–9,000

267 ERIC ORR & LARRY BELL III (from Seasons of the Fountain)

1977 Mixed-media on tempered glass panel #7 of 50 Signed “L. Bell” lower right corner of panel; titled and dated with edition lower center; signed “Orr” lower left 36" x 48" (91 x 122 cm)

$4,000–6,000

205


268 SAM MALOOF Rocking chair

Studio, executed 1990 Fiddleback maple and ebony Signed “No. 33 1990/Sam Maloof f.a.c.c/©” 44.5" x 26.25" x 45" (113 x 67 x 114 cm) LITERATURE The Furniture of Sam Maloof. J. Adamson. 2001. 192.

$30,000–50,000


ALTERNATE VIEW

207

269 SAM MALOOF

Highback armchair Studio, executed c. 1956 Walnut Branded “Designed/Made/Maloof/ California” 37" x 27" x 26" (94 x 69 x 66 cm) P ROV E NANC E The estate of Mary & Millard Sheets; Thence by descent; Private Collection, San Francisco, California; Private Collection, Laguna Beach, California

$7,000–10,000


270 SAM MALOOF

Occasional table Studio, executed c. 1950 Walnut Branded “Designed/Made/Maloof/ California” 21" x 24.25" diameter (53 x 62 cm)

$4,000–6,000

ALTERNATE VIEW

271 SAM MALOOF

Drop-leaf side table Studio, executed 1964 Walnut Branded “Designed/Made/Maloof/ California” 28" x 48" (extended) x 21" (71 x 122 x 53 cm)

$7,000–10,000


272 SAM MALOOF Rocking chair

Studio, executed 1972 Walnut, leather, and ebony 47" x 28" x 44" (119 x 71 x 112 cm) LIT E RAT URE The Furniture of Sam Maloof. J. Adamson. 2001. 192.

$10,000–15,000

209

ALTERNATE VIEW

273 PETER MACCHIARINI Pendant

Studio, executed 1964 Signed “Peter Macchiarini/S.F/64” 2.5" diameter (6 cm) P ROV E NANC E Mr. and Mrs. A.E. Worthington, Laguna Beach, California; Thence by descent; Private Collection, Laguna Beach, California

$1,000–1,500


OPPPOSITE PAGE: DETAIL OF LOT 274

274 ARTHUR ESPENET CARPENTER Buffet

Studio, executed 1985 Cherry wood Arthur Espenet Carpenter archives #8506 33" x 85" x 20.75" (84 x 216 x 53 cm) P ROV E NANC E Herbert and Jeannette Hawkins, California; Thence by descent

$9,000–12,000

275 ARTHUR ESPENET CARPENTER Desk

Studio, executed 1966 Rosewood Arthur Espenet Carpenter archives #6628 30" x 70" x 28.5" (76 x 178 x 72 cm) P ROV E NANC E Herbert and Jeannette Hawkins, California; Thence by descent

$9,000–12,000

211


276 MANUEL NERI La Palestra

2001 Bronze and acrylic enamel Cast by Walla Walla Foundry, Walla Walla 29" x 47" x 20" (74 x 119 x 51 cm) P ROVENA NC E James Corcoran Gallery, Santa Monica, California; Private Collection, United States

$30,000–50,000


Nathan Oliveira In the late 1950s Nathan Oliveira, an important figure in California's Bay Area Figurative Movement, adopted an approach to painting that involved unsystematically spreading pigment on canvas, while erratically and loosely working the paint until an image emerged. “For me, painting is that magical material, that beautiful stuff that was invented, the ground-up pigments in oil which makes it very malleable,” Oliveira once remarked. “It can be manipulated and changed, darkened, lightened, given different hues and colors, so that by manipulating this material somehow I can find that figure I'm looking for, that figure that represents all the issues I'm bringing up and addressing.”

against a murky backdrop rendered in the artist’s signature thick brushstrokes. Utilizing brilliant reds and billowing pinks, Oliveira forms an image reminiscent of a turbulent sky at dusk. The intensity of the ghostly nude, with her ominously effaced visage, is juxtaposed with a glimpse of calm horizon evident at the bottom left corner of the painting. Like many of Oliveira’s paintings, Untitled, Standing Figure #1, possesses an almost shamanistic quality that is at once melancholic and mystical, the effect of which is achieved and intensified by the artist’s loose, but thick, brushwork, and skillful manipulation of gradations in light and color. Grimes, William. “Nathan Oliveira, 81, Dies; Painted Human Conflict.” The New York

In his highly-charged large-scale work, Untitled, Standing Figure #1 (1990) the viewer finds a central abstract figure set

Times, 19 Nov. 2010, Web. “Nathan Oliveira.” Artnet, 2016, Web.

213

277 NATHAN OLIVEIRA

Untitled, Standing Figure #1 1990 Oil on canvas Signed and dated lower right; retains Salander-O’Reilly Galleries label and Salander-O’Reilly Galleries exhibition label verso Canvas: 84" x 68.125" Frame: 88.625" x 72.625" (Canvas: 213 x 173 cm) P ROV E NANC E Salander-O’Reilly Galleries, New York, New York; Private Collection, Rancho Santa Fe, California E XHIBIT E D “Nathan Oliveira: Paintings and Works on Paper 1959-1991,” Salander-O’Reilly Galleries, New York, April 3-May 8, 1991

$30,000–50,000


278 ROLAND PETERSEN Girl with Flowers 1966 Oil on canvas Signed and dated upper right corner; retains UC Davis and Adele Bednarz Gallery labels verso Canvas: 24" x 24" Frame: 24.75" x 24.875" (Canvas: 61 x 61 cm)

$10,000–15,000


279 LARRY COHEN

View of Santa Monica Coast 2005 Oil on canvas Signed in graphite canvas verso Canvas: 30" x 18" Frame: 31.25" x 19.25" (Canvas: 76 x 46 cm)

$2,000–3,000

280 LARRY COHEN

View of the Hollywood Reservoir 2003 Oil on canvas Signed in graphite canvas verso; signed in paint on wooden stretcher verso Canvas: 22" x 24" Frame: 22.5" x 24.5" (Canvas: 56 x 61 cm)

$2,000–3,000

215


VERSO

SOLD TO RAISE FUNDS FOR SCHOLARSHIPS TO THE OTIS COLLEGE OF ART AND DESIGN

281 HASSEL WENDELL SMITH Untitled

1961 Oil on canvas Signed and dated upper right edge of canvas; signed and dated verso; retains Ferus Gallery, Hackett Mill, and Hackett Freedman Gallery labels verso; retains Pasadena Art Museum and Pomona College Gallery exhibition labels verso Canvas: 68" x 48" Frame: 69" x 49" (Canvas: 173 x 122 cm)

$20,000–30,000


282 GORDON ONSLOW FORD V Space S

1966 Liquitex on paper, sprayed pay-coat mounted to linen Signed, titled, and dated verso Linen: 38.5" x 49.75" Frame: 40.5" x 51.5" (Linen: 98 x 126 cm) P ROV E NANC E Private Collection, Sonoma, California

$5,000–7,000

217


283 SHIRLEY PETTIBONE Sunset Sea #3 1992 Oil on paper Signed and inscribed in black ink frame verso “for Barbara - 6/93/ this is the view from the/north side of Morro Rock./Thought you would like/something from your own area/thank you for everything./ Love, Shirley”; retains George Stern Fine Arts and Tortue Gallery labels verso Sheet: 7.5" x 12" Frame: 14.5" x 18.75" (Sheet: 19 x 30 cm)

$800–1,200

284 SHIRLEY PETTIBONE Cloud

1967 Silkscreen ink on canvas Signed and dated in ink canvas overlap verso 8" x 10" (20 x 25 cm)

$800–1,200


285 WAYNE THIEBAUD Suckers (State I)

1968 1-color lithograph on Rives BFK paper #12 of 150 Published and printed by Gemini G.E.L., Los Angeles Signed and inscribed “State I” with edition in graphite lower right sheet; Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #52.1 Image: 8" x 14" Sheet: 16" x 22" Frame: 17.625" x 23.5" (Image: 20 x 36 cm) LIT E RAT URE Technics and Creativity: Gemini G.E.L. R. Castleman. 1971. #86.

$4,000–6,000

286 PAUL WONNER Narcissus

c. 1966-1968 Casein on paper Signed lower right edge of sheet in image; inscribed “Paul Wonner/4 Narcissus/c. 1966-68” frame verso Composition/sheet: 16.875" x 13.875" Frame: 27.75" x 24.25" (Composition/sheet: 43 x 35 cm)

$3,000–5,000

219


287 RICHARD DEVORE

Vessel with draped slab rim Studio, executed c. 1957 Stoneware 6.5" x 10.5" diameter (17 x 27 cm) P ROVENA NC E Private Collection, Columbus, Ohio (acquired directly from the artist, c. 1957)

$4,000–6,000

288 PHILLIP LLOYD POWELL New Hope lounge chair Studio, executed c. 1960 30" x 27" x 30" (76 x 69 x 76 cm)

$7,000–9,000


221 289 PAUL EVANS

Cityscape dining table Directional, designed 1974 Signed “Paul Evans” 29.5" x 96" x 48" (75 x 244 x 122 cm)

$6,000–8,000


290 GEORGE NAKASHIMA Side table

Studio, executed 1958 American black walnut Sold with copy of order card from the Nakashima studio dated February 8, 1958 21" x 20.5" x 27" (53 x 52 x 69 cm) P ROVENA NC E Mr. & Mrs. Joseph Talbot (acquired directly from the Nakashima studio, 1958)

$5,000–7,000

291 GEORGE NAKASHIMA Bench

Studio, executed 1961 Claro walnut Sold with copy of order card from the Nakashima studio dated January 28, 1961 13" x 101.5" x 18" (33 x 258 x 46 cm) P ROVENA NC E Mr. & Mrs. Joseph Talbot (acquired directly from the Nakashima studio, 1961)

$10,000–15,000


223

292 GEORGE NAKASHIMA

Dinette table and chairs (5) Studio, executed before 1954 (table); 1978 (chairs) Walnut Three chairs signed “George Nakashima/Feb 1978” Table: 28.375" x 38" x 33.5" Chairs each: 27.375" x 22.375" x 19.75" (Table: 72 x 97 x 85 cm) (Chairs each: 70 x 57 x 50 cm)

$6,000–9,000


293 GEORGE NAKASHIMA

Triple sliding door cabinet Studio, executed c. 1960 American black walnut, pandanus cloth Signed in grease pencil “Garfield #347” verso 32.5" x 84" x 20" (83 x 213 x 51 cm) P ROVENA NC E Marjorie Garfield, Merion, Pennsylvania (acquired directly from the Nakashima studio, c. 1960); Thence by descent

$20,000–30,000


294 GEORGE NAKASHIMA

Minguren I coffee table Studio, executed 1979 English walnut Together with copy of sketch signed by George Nakashima and dated February 3, 1979 15" x 44.5" x 23" (38 x 113 x 58 cm) P ROV E NANC E Private Collection, Nevada (acquired directly from the Nakashima studio, 1979)

$20,000–30,000

225


295 JEROME KIRK

Untitled (Kinetic sculpture) 1972 Painted aluminum and steel Signed “Kirk” and dated “7-14-72” to underside 18" x 13" x 6" (46 x 33 x 15 cm)

$3,000–5,000

296 PAUL JENKINS

Phenomena Ambiance of Blue 1982 Watercolor on paper Signed lower center edge of sheet; retains Laura Pollak Galleries label frame verso Sheet: 31.25" x 43.25" Frame: 37.25" x 49.25" (Sheet: 79 x 110 cm)

$6,000–8,000


297 ALEXANDER CALDER

Circles (from Our Unfinished Revolution) 1975-1976 Color lithograph on Arches Wove paper #72 of 175 Published by Alba Editions, Inc., New York; printed by Atelier Fernand Mourlot, Paris Signed lower right sheet; edition lower left Image/sheet: 22" x 29.5" Frame: 27.25" x 35.25" (Image/sheet: 56 x 75 cm)

$2,500–3,500

298 ALEXANDER CALDER Swirls and Curls

1967 Color lithograph on paper #43 of 60 Signed lower right sheet; edition lower left Image: 20" x 22.25" Sheet: 22.25" x 30" Frame: 29" x 36.625" (Image: 51 x 57 cm)

$3,000–5,000

227


299 ROBERT MOTHERWELL Redness of Red

1985 Color lithograph, screenprint, and collage on white Arches Cover mould-made paper #20 of 24 artist’s proofs aside from the edition of 100 Published and printed by Tyler Graphics, Ltd., Bedford Village Initialed “RM” with edition in graphite lower right sheet; Tyler Graphics, Ltd. blind stamp lower right corner of sheet Sheet: 24" x 16" Frame: 31.625" x 23.375" (Sheet: 61 x 41 cm) P ROVENA NC E Elizabeth Levine & Associates, Larchmont, New York; Private Collection, Greenwich, Connecticut (acquired directly from the above, 1986) LITERATURE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #354.; Tyler Graphics: Catalogue Raisonné: 1974-1985. K. Tyler. 1987. #458:RM77.

$12,000–18,000

300 ROBERT MOTHERWELL 3 Poems

1988 Illustrated book with 27 lithographs on handmade Japanese paper #159 of 750 Published by the Limited Editions Club, New York; printed by Wingate Studio, Hinsdale Signed on the colophon by the artist and the poet Text by Octavio Paz Book: 21.75" x 18.125" x 1.75" Portfolio case: 23.125" x 19.375" x 2.25" (Book: 55 x 46 x 4 cm)

$3,000–5,000


301 ROBERT MOTHERWELL Elegy Study

1979 Lithograph on Twinrocker handmade paper #76 of 98 Published by Brooke Alexander, Inc., New York; printed by Derrière l’Étoile Studios, New York Signed with edition in graphite upper left edge of sheet; artist’s blind stamp lower right Image/sheet: 25" x 37.375" Frame: 26.375" x 38.625" (Image/sheet: 64 x 95 cm) LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #240.

$4,000–6,000

302 ROBERT MOTHERWELL St. Michel III

1979 Lithograph and screenprint on gray HMP handmade paper #13 of 20 artist’s proofs aside from the edition of 99 Published and printed by Tyler Graphics, Ltd., New York Signed “RM” in white pencil lower right sheet; blind stamp lower right; retains Patricia Heesy Gallery label verso Image/sheet: 41.5" x 31.5" Frame: 43.5" x 35.25" (Image/sheet: 105 x 80 cm) LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #237.

$3,000–5,000

229


SOLD TO RAISE FUNDS FOR SCHOLARSHIPS TO THE OTIS COLLEGE OF ART AND DESIGN

303 EMERSON WOELFFER

Black Mirror and Black Hands 1963 Oil on canvas Signed upper left edge of canvas; signed, titled, and dated canvas verso; retains Hackett Freedman Gallery label verso 54" x 38" (137 x 97 cm) P ROVENA NC E The estate of Emerson Woelffer

$10,000–15,000


SOLD TO RAISE FUNDS FOR SCHOLARSHIPS TO THE OTIS COLLEGE OF ART AND DESIGN

304 EMERSON WOELFFER Untitled

1963 Oil pastel on paper Signed and dated lower left edge of sheet; retains Manny Silverman Gallery label verso Sheet: 19" x 24" Frame: 27.25" x 32.25" (Sheet: 48 x 61 cm) P ROV E NANC E The estate of Emerson Woelffer

$3,000–5,000

231


SOLD TO RAISE FUNDS FOR SCHOLARSHIPS TO THE OTIS COLLEGE OF ART AND DESIGN

305 EMERSON WOELFFER Untitled

1961 Lithograph on paper #13 of 20 Printed by Tamarind Lithography Workshop, Los Angeles Signed and dated lower right; edition lower left; retains Tamarind blind stamp lower center Sheet: 30" x 22" (76 x 56 cm) P ROVENA NC E The estate of Emerson Woelffer

$1,500–2,000


233

SOLD TO RAISE FUNDS FOR SCHOLARSHIPS TO THE OTIS COLLEGE OF ART AND DESIGN

306 EMERSON WOELFFER Untitled (from Lips)

1967 Collage with crayon and graphite on paper Signed and dated lower right 24" x 18" (61 x 46 cm) P ROV E NANC E The estate of Emerson Woelffer

$2,500–3,500


307 MARION SAMPLER Untitled

1963 Oil on canvas Signed and dated lower left; signed and dated canvas verso; inscribed “on loan/Yvonne/deMiranda” verso Canvas: 38" x 34" Frame: 38.75" x 34.75" (Canvas: 97 x 86 cm) P ROVENA NC E Yvonne de Miranda, Santa Monica, California; Private Collection, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2000)

$6,000–9,000


308 JULES ENGEL

Garden Interior 1959 Gouache on paper Signed lower right sheet; retains Paul Kantor Gallery label frame verso Sheet (vis.): 11.375" x 14" Frame: 17.125" x 20" (Sheet: 29 x 36 cm)

$2,500–3,500

309 WILLEM DE KOONING Untitled

1972 Cast pewter #42 of 100 Published and fabricated by Gemini G.E.L., Los Angeles Retains incised signature, edition, and Gemini G.E.L. stamp Gemini G.E.L. #14.1 6.5" x 11" x 2.375" (17 x 28 x 6 cm)

$12,000–15,000

235


310 LEONARD EDMONDSON Untitled

1961 Oil and collage on canvas Signed and dated lower center Canvas: 36" x 48" Frame: 36.75" x 48.875" (Canvas: 91 x 122 cm)

$4,000–6,000

311 LEONARD EDMONDSON Venice

1962 Oil and collage on canvas Signed and dated lower left; title left center edge Canvas: 30" x 36" Frame: 30.75" x 36.75" (Canvas: 76 x 91 cm)

$4,000–6,000


237

312 LEONARD EDMONDSON

Embracing Orange; Untitled (2) 1962; 1963 Gouache and collage on paper; ink and graphite on paper mounted to board Embracing Orange: Signed and dated in graphite lower left edge of sheet; signed and titled frame verso; title inscribed again verso; Untitled: Signed and dated upper left sheet in image Embracing Orange: Sheet (vis.): 10.375" x 11.375" Frame: 15.5" x 16.5" Untitled: Board: 11.5" x 17.25" Frame: 16.5" x 22.5" (Embracing Orange: Sheet: 26 x 29 cm)

$1,500–2,000


313 DAN CHRISTENSEN Kitty Hawk

1983 Acrylic on canvas Signed, dated, and titled on canvas overlap verso; retains Salander-O’Reilly Galleries label on wooden stretcher verso Canvas: 50.25" x 36" Frame: 51.375" x 37.25" (Canvas: 128 x 91 cm) P ROVENA NC E Salander-O’Reilly Galleries, New York, New York; Private Collection, Rancho Santa Fe, California

$7,000–10,000


314 PETER ALEXANDER Angel

1980 Mixed-media on canvas Signed, titled, and dated canvas verso 36" x 40" (91 x 102 cm)

$4,000–6,000

239


315 SAM FRANCIS

Untitled (SF80-873) c. 1980 Acrylic on paper Signed, dated, and inscribed sheet verso Together with exhibition catalogue Sheet: 26" x 19.5" Frame: 34" x 27.5" (Sheet: 66 x 50 cm) This work is identified with the interim identification number of SF80-873 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist) EXHIBITE D “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Loma Linda, February 19-March 19, 1987 LITERATURE Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #20.

$35,000–45,000


316 SAM FRANCIS

Untitled (SF67-023A) 1967 Acrylic on paper Together with exhibition catalogue Sheet: 29.5" x 22.5" Frame: 37.325" x 29.25" (Sheet: 75 x 57 cm) This work is identified with the interim identification number of SF67-023A in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist) E XHIBIT E D “Modern Master Watercolors and Drawings,” Felix Landau Gallery, Los Angeles, March 30-April 25, 1970; “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Loma Linda, February 19-March 19, 1987 LIT E RAT URE Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #8.

$25,000–35,000

241


317 SAM FRANCIS

Untitled (SF74-341) 1974 Acrylic on paper Signed and dated in graphite verso; signed and inscribed in blue ink “Happy new House/new life!/March 8 1986/Sam” verso; bears the inscription in graphite “SF 74-341” verso; bears the inscription “17” in graphite verso Together with exhibition catalogue Sheet: 12.5" x 9.325" Frame: 22" x 18" (Sheet: 32 x 24 cm) This work is identified with the interim identification number of SF74-341 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist) EXHIBITE D “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Loma Linda, February 19-March 19, 1987 LITERATURE Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #11.

$12,000–18,000


318 SAM FRANCIS

The Five Continents in Wintertime 1984 Aquatint on Rives BFK paper #9 of 9 Published and printed by the Litho Shop, Inc., Santa Monica Signed lower right sheet; edition lower left Image: 23.75" x 48.75" Sheet: 31" x 55.75" Frame: 36.25" x 61.25" (Image: 60 x 124 cm) LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #I.55.

$6,000–9,000

243


319 SAM FRANCIS

Spun for James Kirsch 1972 7-color screenprint on Arches 88 paper #68 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed with blind stamp lower right sheet; edition lower left Image/sheet: 29.875" x 22.375" Frame: 35.75" x 28.25" (Image/sheet: 76 x 57 cm) LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #S3.

$3,000–5,000

320 SAM FRANCIS

Metal II (from the Vegetable Series) 1971 2-color lithograph on Rives BFK paper From the edition of 23 Published and printed by The Litho Shop, Inc., Santa Monica The Litho Shop, Inc. blind stamp lower center sheet Image/sheet: 34.875" x 24" Frame: 37.25" x 27.25" (Image/sheet: 89 x 61 cm) LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. I. C. Lembark. 1992. #L126.

$3,000–5,000


321 LARI PITTMAN Untitled #15

1986-1987 Acrylic and gouache on paper Retains Rosamund Felsen Gallery label frame verso Composition/sheet: 12.75" x 9.375" Frame: 20" x 17" (Composition/sheet: 32 x 24 cm)

$3,000–5,000

245

322 WILLIAM BRICE Untitled

1983 Charcoal on paper Initialed and dated lower right corner of sheet; retains L.A. Louver Gallery label frame verso; retains UCLA Wight Art Gallery exhibition label frame verso Sheet: 24" x 17.75" Frame: 34.125" x 28.25" (Sheet: 61 x 45 cm) E XHIBIT E D “William Brice: Works on Paper 1982-1992,” Grunwald Center for the Graphic Arts, Los Angeles, March 16-May 2, 1993 LIT E RAT URE William Brice: Works on Paper 1982-1992. UCLA exh. cat. 1993. #4.

$1,000–1,500


323 RAYMOND PETTIBON

No Title (Mother Mary...) 1991 Ink and watercolor on paper Signed and dated sheet verso Composition/sheet: 22.125" x 16.875" Frame: 24.125" x 19.125" (Composition/sheet: 56 x 43 cm)

$10,000–15,000

324 RAYMOND PETTIBON

No Title (No pickle games...) 2008 Gisele print on archival paper #38 of 100 Signed in graphite lower right edge of sheet; edition lower left Image: 14.5" x 8.75" Sheet: 16" x 12" Frame: 17.875" x 13.875" (Image: 37 x 22 cm)

$1,000–1,500

ILLUSTRATED OPPOSITE PAGE

325 RAYMOND PETTIBON

No Title (What would you have me say ladies) 2002 Color screenprint on paper #17 of 100 Published by Brooke Alexander Editions, New York Signed in graphite lower right sheet; edition lower left Sheet: 30" x 22" (76 x 56 cm)

$1,500–2,000


ILLUSTRATED OPPOSITE PAGE

326 NICOLE EISENMAN

Self-Portrait with Ashtray as Ashtray 1997 Ink on gessoed paper with cigarette remnants Titled upper right corner of sheet; signed and dated to underside 11" x 11" x 4" (28 x 28 x 10 cm) P ROV E NANC E Jack Tilton Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1997)

$4,000–6,000

327 NICOLE EISENMAN

Demoiselles After Work 1993 Ink on paper Signed sheet verso; retains Susanne Vielmetter Los Angeles Projects label frame verso Sheet: 9.375" x 12.375" Frame: 17.125" x 20.125" (Sheet: 24 x 31 cm) P ROV E NANC E Shoshana Wayne Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1998)

$4,000–6,000

328 NICOLE EISENMAN Self Portrait

1994 India ink on paper Retains Susanne Vielmetter Los Angeles Projects label frame verso Sheet: 30" x 22.25" Frame: 35.125" x 27.75" (Sheet: 76 x 57 cm) P ROV E NANC E Shoshana Wayne Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1994)

$6,000–9,000

249


329 CHRIS BURDEN

If You Fly; If You Drive (2) 1973 2-color lithograph on Arches paper Each: #3 of 50 Published by Newspace Gallery, Los Angeles; printed by Cirrus Editions, Los Angeles Signed and dated in graphite lower right sheet; edition lower left Images/sheets each: 29.875" x 22.25" Frames each: 35.25" x 27.625" (Image/sheets each: 76 x 57 cm) LITERATURE Made in LA: The Prints of Cirrus Editions. B. Davis. 1995. 197.

$3,000–5,000


330 ALEXIS SMITH Big Gun

1982 Mixed-media collage in artist’s frame Retains Margo Leavin Gallery label verso Composition: 16" x 13" Frame: 20.375" x 17.375" (Composition: 41 x 33 cm) E XHIBIT E D “Christmas Eve, 1943,” Margo Leavin Gallery, Los Angeles, September 25-October 23, 1982; “Selections from the Merry and Bill Norris Collection,” Fine Arts Gallery, University of California, Irvine, October 11-November 3, 1984 LIT E RAT URE Selections from the Merry and Bill Norris Collection. Fine Arts Gallery exh. cat. 1984. 84.

$4,000–6,000

331 KIKI SMITH I Hate Cake

1981 Blue ink and paint on blue tissue paper Signed, titled, and dated “I HATE CAKE/Kiki Smith/May 27, 1981” lower right sheet Sheet: 7" x 5.375" (18 x 14 cm)

$2,000–3,000

251


332 ROSS BLECKNER FSD

2004 Oil on paper Retains Lehmann Maupin Gallery and Taylor Graham Gallery labels frame verso Composition/sheet: 34" x 22" Frame: 36.125" x 24.125" (Composition/sheet: 86 x 56 cm)

$6,000–8,000


Kathy Chenoweth Kathy (Kahty) Chenoweth's (b. 1963) conceptually-based sculptures, paintings, and performances were highlights of the grassroots L.A. art scene of the 1990s. Her exhibition at Sue Spaid Fine Art (1994) and collaborative exhibitions with Lynne Berman at Tri Gallery (1994), Special K Exhibitions (1997), and Pomona College (2000) included works that addressed the intersection of art and everyday life. Much in the spirit of fellow LA artists like Mike Kelley and Jason Rhoades, Chenoweth explored complex systems of thought, transforming her found materials with humor and pathos. Her works have been reviewed in Artext, Art in America, Art Issues, World Art, and Frieze.

333 KATHY CHENOWETH Belt Rug

1994 Mixed-media 49.75� x 75.5" (126 x 192 cm) P ROV E NANC E Sue Spaid Fine Art, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1994) E XHIBIT E D Sue Spaid Fine Art, Los Angeles, 1994

$3,000–5,000

253


255

BRAND DETAIL

334 HANS J. WEGNER Valet chair

Johannes Hansen, designed 1953 Model no. PP250 Branded “Johannes Hansen/Copenhagen/Denmark” 20.5" x 38" x 18" (52 x 97 x 46 cm) LIT E RAT URE Danish Chairs. N. Oda. 1999. 116-117.

$6,000–8,000


335 POUL KJÆRHOLM Chaise lounge

E. Kold Christensen, designed 1965 Model no. PK24 34" x 61" x 26" (86 x 155 x 66 cm) LITERATURE Poul Kjærholm. Arkitektens Forlag. C. Harlang. 2001. 118-119.

$14,000–18,000


336 POUL KJÆRHOLM Lounge chairs (2)

Fritz Hansen, designed 1955 Model no. PK22 Each stamped “Poul Kjærholm/Fritz Hansen/Denmark” Each: 28.5" x 25" x 25" (72 x 64 x 64 cm) LIT E RAT URE 1000 Chairs. C. Fiell. 1997. 341.

$4,000–6,000

337 POUL KJÆRHOLM Daybed

Fritz Hansen, designed 1957 Model no. PK80 12" x 75" x 32" (30 x 191 x 81 cm) LIT E RAT URE Poul Kjærholm. Arkitektens Forlag. C. Harlang. 2001. 104-105.

$6,000–9,000

257


338 HANS J. WEGNER

Wishbone chairs (5) Carl Hansen & Son, designed 1950 Model no. 24 Each branded “Carl Hansen & Son/ Made in Denmark/Odense” Each: 28.5" x 21.5" x 20" (72 x 55 x 51 cm) LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 50.

$2,500–3,500

339 HANS J. WEGNER

Wishbone chairs (2) Carl Hansen & Son, designed 1950 Model no. 24 Each: 28.5" x 21.5" x 20" (72 x 55 x 51 cm) LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 50.

$800–1,200


340 HANS J. WEGNER Dining chairs (8)

Carl Hansen & Son, designed 1951 Model no. CH23 Several branded “Carl Hansen & Son/Designer Hans Wegner/Made in Denmark” Each: 30" x 19" x 18.5" (76 x 48 x 47 cm) LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 55.

$4,000–6,000

259

341 HANS J. WEGNER

Three-leg coffee table Andreas Tuck, designed 1951 Branded “Fabrikat: Andr. Tuck/Architect: Hans J. Wegner/Denmark” 19.5" x 39.25" diameter (50 x 100 cm)

$1,500–2,000


342 JEAN RISPAL Floor light

Rispal, designed c. 1950 Overall height: 64" (162 cm) LITERAT U RE 1000 Lights: 1879-1959. Vol. I. C. Fiell and P. Fiell. 2004. 419.

$3,000–5,000


343 KAREN & EBBE CLEMMENSEN Lounge chair

Model no. 4305 Fritz Hansen, designed 1963 Retains tag “Furniture Makers Control/ Danish” 27.5" x 24" x 25" (70 x 61 x 64 cm)

$900–1,200

261

344 CEES BRAAKMAN Cabinet

Pastoe, designed c. 1954 Branded “Pastoe” 47" x 51.5" x 17.5" (119 x 131 x 44 cm)

$2,000–3,000


345 ROBERT GRAHAM Untitled

1975 Gilded bronze relief #5 of 6 Etched initials, date, and edition verso Relief: 5.625" x 3" Mount: 10.5" x 5.625" (Relief: 14 x 8 cm) P ROVENA NC E St. Augustine School, Rare Day Sale, Santa Monica, California; Michael and Dorothy Blankfort, Los Angeles, California; Thence by descent EXHIBITE D “The Michael and Dorothy Blankfort Collection,” Los Angeles County Museum of Art, Los Angeles, April 1-June 13, 1982 ILLUSTRAT E D The Michael and Dorothy Blankfort Collection. LACMA exh. cat. 1982. #63.

$8,000–9,000

346 ROBERT GRAHAM

Untitled (Relief Portrait of a Woman) 1981 Bronze wall relief with brown patina 7.875" x 8.25" (20 x 21 cm)

$2,000–3,000


347 EMILIO GRECO

Grande Bagnante II 1956-1957; this example cast 1990 Bronze Etched signature on base 86.5" x 32" x 24" (220 x 81 x 61 cm) P ROV E NANC E Dr. Carlo Bilotti (acquired directly from the artist, c. 1991); Edy Cantor (acquired directly from the above, 1999); Thence by descent; Private Collection, California (acquired from the above through Christie’s, New York, New York, May 5, 2010, lot 363) LIT E RAT URE Emilio Greco: Sculpture & Drawings. J.P. Hodin. 1971. #3, #34, and #35.

$60,000–90,000

263


348 JAMES MCGARRELL Bathers

1956 Oil on canvas Signed and dated lower left; retains The Art Gallery of Hamilton, The Elsie Perrin Williams Memorial Art Museum, and Frank Perls Gallery labels verso; retains The American Federation of Arts exhibition label verso Together with UCLA Gallery exhibition catalogue and Frank Perls Gallery brochure Canvas: 44" x 48" Frame: 45.125" x 49.125" (Canvas: 112 x 122 cm) P ROVENA NC E Sterling Holloway, Laguna Beach, California; Thence by descent; Private Collection, Altadena, California (acquired directly from the above, c. 2000) EXHIBITE D “From the Sterling Holloway Collection,” UCLA Art Galleries, Los Angeles, September 20-October 25, 1964 ILLUSTRAT E D James McGarrell. Frank Perls Gallery brochure. 1957. N.pag.; From the Sterling Holloway Collection. UCLA Art Galleries exh. cat. 1964. #58.

$3,000–5,000

349 JOHN ALTOON

Portrait of the Artist c. 1962 Ink and watercolor on illustration board Signed in graphite lower right Composition/board: 18.75" x 14.25" Frame: 22.125" x 17.375" (Composition/board: 48 x 36 cm)

$4,000–6,000


LABEL DETAIL

265

350 GEORGE HERMS Tail Light

1973 Mixed-media on found wood Signed, titled, and dated in black felt-tip marker verso; retains Los Angeles County Museum of Art exhibition label verso 13.75" x 11.375" x 2" (35 x 29 x 5 cm) P ROV E NANC E L.A. Louver Gallery, Los Angeles, California; Michael and Dorothy Blankfort, Los Angeles, California; Thence by descent E XHIBIT E D “The Michael and Dorothy Blankfort Collection,” Los Angeles County Museum of Art, Los Angeles, April 1-June 13, 1982 ILLUST RAT E D The Michael and Dorothy Blankfort Collection. LACMA exh. cat. 1982. #70.

$4,000–6,000


351 ED KIENHOLZ

For Old Zenith Transoceanic 1969 Watercolor and ink stamp on paper in artist’s frame Signed and dated in graphite with artist’s thumbprint lower right edge of sheet Sheet (vis.): 11.625" x 15.75" Frame: 12.25" x 16.25" (Sheet: 30 x 40 cm)

$8,000–12,000


267

352 ED KIENHOLZ For $92.00

1969 Watercolor and ink stamp on paper in artist’s frame Signed and dated in graphite with artist’s thumb print lower right sheet; retains Eugenia Butler Gallery label frame verso Sheet (vis.): 11.625" x 15.5" Frame: 12.25" x 16.125" (Sheet: 30 x 39 cm)

$4,000–6,000


353 JEDD NOVATT

In the Thick of It 1996 Painted and welded steel in two parts One element signed and dated at base As illustrated: 33" x 24" x 12" (84 x 61 x 30 cm) P ROVENA NC E Salander-O’Reilly Galleries, New York, New York; Private Collection, Rancho Santa Fe, California EXHIBITE D “Jedd Novatt Sculpture,” Salander-O’Reilly Galleries, New York, May 1-June 1, 1996

$12,000–15,000

354 JEDD NOVATT

Untitled (Over the Hill and Far Away) N.d. Mixed-media on paper Signed lower left corner of sheet; inscribed “For: Art Brody” lower left Composition/sheet: 24" x 59" Frame: 29.75" x 65" (Composition/sheet: 61 x 150 cm)

$1,000–1,500


355 JEDD NOVATT Untitled

1987 Painted and welded steel Etched signature and date on base 87" x 43" x 21" (221 x 109 x 53 cm)

Jedd Novatt

P ROV E NANC E Salander-O’Reilly Galleries, New York, New York; Private Collection, Rancho Santa Fe,

Jedd Novatt (b. 1958) is best known for his bronze and steel architectural "Chaos" sculptures comprised of interlocking, open-frame metal cubes precariously stacked high on top of one another. Based in Paris, his work explores the relationships between volume, scale, structure, balance, and gravity, and the ways in which each of these establish a sense of space in the individual mind. Recognizing that “non-representational works are more difficult to access” than more figurative works of art, Novatt elegantly manipulates key tropes of minimalism while pushing that idiom beyond its static and reflexive dimensions with a unique gestural approach to scale and form. “A sculpture is never the same each time we look at it because our moods, emotional state, and intellectual development evolve, which alter our perspective,” the artist noted. This is particularly the case in the presence of Novatt’s seemingly precarious sculptures, which continually shift shape the more time one spends with them. “The form I focus on most is the inverse of the material of the work: the space that surrounds it, which I imagine as solid. The creation of this negative space is part of the work — perhaps that space can be said to have no surface at all. It is, at least, the beginning of the engagement of the work with its setting.” Novatt’s oeuvre as a whole has always emphasized scale and the importance of negative space. Works such as In the Thick of It (1996) (Lot 353) and Untitled (1987) (Lot 355) both operate within a delicate hierarchy of filled space and void. These two asymmetrical sculptures are at once resolutely stable and just on the brink of toppling over, enshrining “the moment before collapse.” Appearing arrested, even as they are continually activated in a sustained and interlocked choreography that balances chaos and equilibrium, Novatt’s sculptures, like constellations, are at once meticulously formal and polished in their engineering while irrepressibly playful in their chaotic melee of shapes. “Although I don’t work with any math or specific calculation,” the artist once said, “I recognize the inevitable correlation between any object and the math or geometry of its form.” Sedbon, Lara. “Interview With Artist Jedd Novatt.” Art and Only, 25 Jan. 2016, Web. Accessed 18 Aug. 2017.

California

$15,000–20,000

269


356 MARILYN MANSON Boy Magnet

c. 2000 Watercolor on Arches Aquarelle paper Initialed in graphite lower right corner of sheet Composition/sheet: 30" x 22.125" Frame: 40.875" x 33.25" (Composition/sheet: 76 x 56 cm)

$12,000–18,000

357 KARL HAENDEL Untitled (Jackie)

c. 2012 Graphite on Arches Aquarelle paper Composition: 10.25" x 5.5" Sheet: 30" x 22.5" Frame: 32.625" x 25.25" (Composition: 26 x 14 cm)

$3,000–5,000


271

358 KORI NEWKIRK Untitled

2009 Acrylic on duralene Sheet (vis.): 61.75" x 47" Frame: 71.75" x 57" (Sheet: 157 x 119 cm)

$6,000–8,000


359 TOM DIXON

Mirror Ball floor light Tom Dixon, United Kingdom, designed 2016 71" x 43" x 36" (180 x 109 x 91 cm)

$3,000–5,000


360 MARC NEWSON Lounge chair

Idée, designed 1990 29" x 26.5" x 26" (74 x 67 x 66 cm) LIT E RAT URE Marc Newson. A. Rawsthorn. 1999. 60.

$4,000–6,000

273

361 MARC NEWSON Lounge chair

Idée, designed 1990 29" x 26.5" x 26" (74 x 67 x 66 cm) LIT E RAT URE Marc Newson. A. Rawsthorn. 1999. 60.

$4,000–6,000


362 JEANNOT CERUTTI You Jane side chair

Manufacturer unknown, designed c. 1990 34.5" x 19.125" x 21.5" (88 x 49 x 55 cm)

$1,500–2,000

363 BOREK ŠÍPEK

Gudrun Am Leineufer chair Leitner Interior Design Studio, designed 1984 33.5" x 27" x 15" (85 x 69 x 38 cm)

$1,000–1,500


364 ALESSANDRO MENDINI Papilio coffee tables (2) Zanotta, designed 1985 Each: 18" x 22" x 18" (46 x 56 x 46 cm) LIT E RAT URE Sourcebook of Modern Furniture. 3rd ed. J. Habegger and J. Osman. 2005. 553.

$4,000–6,000

365 PHILIPPE STARCK

Dick Deck chairs (2) Aleph, designed 1989 Each retains Aleph decal Each: 35.25" x 13.75" x 24" (90 x 35 x 61 cm)

$3,000–5,000

275


366 CARLOS RIART Rocker

Knoll, designed 1982 38" x 22.75" x 39" (97 x 58 x 99 cm)

$2,500–3,500

367 PETER SHIRE Floor lamp

Shire Studio, designed 1984 for the Los Angeles Olympic Village 77" x 24" diameter (196 x 61 cm)

$5,000–7,000


368 BOREK ŠÍPEK

Prosim Sedni armchairs (2) Driade, designed 1987 Each: 35.2" x 38" x 31" (89 x 97 x 79 cm)

$3,000–5,000

277


369 KAREL APPEL

Jumping Fox with Green Virgin 1975 Hand-painted wood construction mounted to linen covered backing board #13 of 50 Published by Editions Press, San Francisco Signed “Appel” lower right; retains unknown label mount verso Relief: 19.25" x 24.25" x 3" Mount: 25.375" x 30" (Relief: 49 x 62 x 8 cm)

$3,000–5,000


370 MARISOL ESCOBAR

Will I always be a basket case 1974 Colored pencil on paper Signed and dated “New York April 1974 Marisol” lower center edge of sheet; retains Makler Gallery label verso

371 MARISOL ESCOBAR Fidooo

1974 Colored pencil on paper Signed and dated lower center edge of sheet; retains Makler Gallery label verso

Sheet (vis.): 41.375" x 29.25" Frame: 45.5" x 33.375" (Sheet: 105 x 74 cm)

Sheet (vis.): 41.375" x 29.25" Frame: 45.5" x 33.375" (Sheet: 105 x 74 cm)

$4,000–6,000

$4,000–6,000

279


PARTIAL ILLUSTRATION

372 PHILIP PEARLSTEIN

The Temple of Hatshepsut; Tintern Abbey (2) 1979 Color sugar-lift aquatint with roulette work on Rives BFK paper Each: #6 of 55 Printed by Condeso & Brokopp, New York Each signed and dated lower right sheet; titled with edition lower left Images each: 24" x 34" Sheets each: 29.75" x 39.5" Frame: 32.125" x 42.125" (Images each: 61 x 86 cm)

$1,000–1,500

373 PHILIP PEARLSTEIN

Ruins and Landscapes: A Folio of Five Prints 1979 The complete portfolio of five color sugar-lift aquatints with roulette work on Rives BFK paper in original portfolio case Each: #38 of 55 Printed by Condeso & Brokopp, New York Each signed and dated lower right sheet; titled with edition lower left Comprised of Stonehenge, Temple of Hatshepsut, Sacsahauman, Temples at Abu Simbel, and Tintern Abbey Images each: 24" x 34" Sheets each: 29.75" x 39.5" (Images each: 61 x 86 cm)

$1,000–2,000

PARTIAL ILLUSTRATION


374 ROGER HERMAN Structure

1982 Oil on canvas Signed and dated lower left; retains Eaton/Shoen Gallery label on wooden stretcher bar verso Canvas: 53" x 38" Frame: 54.75" x 39.75" (Canvas: 135 x 97 cm)

$4,000–6,000

375 MARGARET NIELSEN

Untitled (Lake on Fire) c. 1984 Oil on panel Panel: 4" x 5" Frame: 13" x 14" (Panel: 10 x 13 cm)

$1,200–1,500

281


t

Now Accepting Consignments

WINTER 2018 MODERN ART & DESIGN AUCTION

JOSEPH CORNELL | SANDBOX | c. 1966

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


Golden Kingdoms to Modern Visions Latin American artists—from 1000 BC to the present, from Mexico to Argentina, from Aztec goldsmiths to subversive photographers—all offer their unique and diverse perspectives in Golden Kingdoms, Luxury and Legacy in the Ancient Americas; Photography in Argentina, 1850–2010; The Metropolis in Latin America, 1830–1930; and Making Art Concrete. Find out more at getty.edu/pacificstandardtime

at the Getty Center September 2017 – January 2018

#PSTLALA Images left to right: Serpent Labret with Articulated Tongue (detail), 1300–1521, Aztec culture. Gold, h: 6.7 × w: 4.5 × d: 6.7 cm. The Metropolitan Museum of Art, purchase, 2015 Benefit Fund and Lila Acheson Wallace Gift, 2016 (2016.64). Image © The Metropolitan Museum of Art | Natalia Ariñez, 23 Years Old, Architecture Student (detail), 1999, from the series The Sons and Daughters, Tucumán, Twenty Years Later. Julio Pantoja (Argentine, born 1961). Gelatin silver print, 20.7 × 20.7 cm. The J. Paul Getty Museum, purchased with funds provided by the Photographs Council. © Julio Pantoja | The City of the Future: Hundred Story City in Neo-American Style, 1929. Francisco Mujica (Mexican, 1899–1979). From Francisco Mujica, History of the Skyscraper (1929). The Getty Research Institute, 88-B34645 | Objeto ativo (cubo vermelho/branco), Active Object (red/white cube), 1962. Willys de Castro (Brazilian, 1926–1988). Oil on canvas and plywood. Colección Patricia Phelps de Cisneros, promised gift to the Museum of Modern Art, New York, through the Latin American and Caribbean Fund in honor of Tomás Orinoco Griffin-Cisneros. Artwork © Walter de Castro. Text and design © 2017 J. Paul Getty Trust

283


Now Accepting Consignments

WINTER 2018 MODERN ART & DESIGN AUCTION

ED RUSCHA | CHEESE MOLD STANDARD WITH OLIVE | 1969

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


Found in Translation: Design in California and Mexico, 1915–1985 September 17, 2017–April 1, 2018

^ Los Angeles County Museum of Art 5905 Wilshire Blvd |LACMA.org

This exhibition was organized by the Los Angeles County Museum of Art. Lead support is provided by the Getty Foundation.

Generous support provided by Debbie and Mark Attanasio, and Martha and Bruce Karsh. Additional funding provided by the WHH Foundation, AMEXCID and the Consulate General of Mexico in Los Angeles, and the Wallis Annenberg Director’s Endowment Fund.

free for members and children 17 and under Francisco Artigas and Fernando Luna, House at 131 Rocas, Jardines del Pedregal, Mexico City (detail), 1966, photograph by Fernando and Roberto Luna, 1966, courtesy of Fernando Luna, © Roberto and Fernando Luna


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The reserve is a minimum price at which the seller has agreed

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

may not be used or reproduced in any medium without the

to let the auctioneer sell the property.

may add lots not previously listed in the catalogue or addendum.

expressed written permission of MAI.

If the buyer does not comply with all of the Notices to Buyers,

CONDITIO N Everything is sold in “As-Is” Condition. No

MAI reserves the right to cancel the sale, hold the defaulting

Modern Auctions, Inc. | Bond # 7900453024

statement regarding condition of any item, whether it is made

buyer liable for the purchase price and Buyer’s Premium, retain

Peter Loughrey, Principal Auctioneer

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

or process any deposit, and resell the property privately or

Los Angeles Modern Auctions (LAMA)

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

at auction without further notice. In the latter, the defaulting

16145 Hart Street, Van Nuys, CA 91406

representation, or assumption of liability. It is the sole

buyer will be held responsible for all incurred expenses, such as


Index A

Albers, Josef . . . . . . . . . . . . . . 161-164 Albuquerque, Lita . . . . . . . . . . . . . 203 Alexander, Peter . . . . . . . . . . . . . . .314 Altoon, John . . . . . . . . . . . . . . . . . 349 Appel, Karel . . . . . . . . . . . . . . . . . . 369 Arnoldi, Charles . . . . . . . . . . .251-252 Arp, Jean . . . . . . . . . . . . . . . . . . . . .158

B

Baldessari, John . . . . . . . . . . 206-207 Barbour, John . . . . . . . . . . . . . . . . .188 Baughman, Milo. . . . . . . . . . . . . . . . 101 Bell, Larry . . . . . . . . . . . . . . . 265-266 Bellmer, Hans . . . . . . . . . . . . . . . . .156 Benglis, Lynda . . . . . . . . . . . . . . . . 240 Bengston, Billy Al . . . . . . . . . .258-261 Benjamin, Karl . . . . . . . . . . . . . 186-187 Berlant, Tony . . . . . . . . . . . . . 253-255 Bertoia, Harry . . . . . . . . . . . . . . . 50-51 Bleckner, Ross . . . . . . . . . . . . . . . . 332 Borsani, Osvaldo . . . . . . . . . . . . . . . .75 Braakman, Cees . . . . . . . . . . . . . . 344 Braque, Georges . . . . . . . . . . . 150-151 Brice, William . . . . . . . . . . . . . . . . . . 321 Bristol, Horace . . . . . . . . . . . . . . . . 119 Burden, Chris . . . . . . . . . . . . . . . . . 329 Burtynsky, Edward . . . . . . . . . 199-201

C

Calder, Alexander . . . . . . . . . 297-298 Campana . . . . . . . . . . . . . . . . . 213-214 Carpenter, Arthur Espenet . 274-275 Carrington, Leonora . . . . . . . . . . . .219 Castaneda, Felipe . . . . . . . . . . . . . 224 Cerutti, Jeannot . . . . . . . . . . . . . . 362 Chagall, Marc . . . . . . . . . . . . . . . . . .146 Chenoweth, Kathy. . . . . . . . . . . . . 333 Chicago, Judy . . . . . . . . . . . . . . . . 256 Chillida, Eduardo . . . . . . . . . . . . . . . 157 Christensen, Dan. . . . . . . . . . . . . . . 313 Christo . . . . . . . . . . . . . . . . . . . . 63-64 Clemmensen, Karen & Ebbe . . . . 343 Cohen, Larry . . . . . . . . . . . . . 279-280 Conner, Bruce . . . . . . . . . . . . . . . . 257 Coronel, Rafael . . . . . . . . . . . . . . . 222 Coronel, Raul . . . . . . . . . . . . . . 105-106 Corse, Mary . . . . . . . . . . . . . . . . . . . 231 Cressey, David . . . . . . . . . . . . . . . . . 96

D

de Kooning, Willem . . . . . . . . . . . . 309 DeVore, Richard . . . . . . . . . . . . . . 287 Dine, Jim . . . . . . . . . . . . . . . . . . 30-32 Dixon, Tom . . . . . . . . . . . . . . . . . . . 359 Duchamp, Marcel . . . . . . . . . . . . . .160

E

Eames, Charles & Ray . . . . . . 166-185 Edmondson, Leonard . . . . . . . 310-312 Eisenman, Nicole. . . . . . . . . . 326-328 Engel, Jules . . . . . . . . . . . . . . . . . . 308 Escobar, Marisol . . . . . . . . . . . 370-371 Evans, Paul. . . . . . . . . . . . . . . . . . . 289

F

Feininger, Lyonel . . . . . . . . . . . . . . . 131 Follis, John . . . . . . . . . . . . . . . . . . . . 95 Fornasetti, Piero . . . . . . . . . . . . . 69-71 Francis, Sam . . . . . . . . . . . . . .315-320 Frankl, Paul . . . . . . . . . . . . . . . 120-124 Freundlich, Otto . . . . . . . . . . . . . . . 159

G

Gerzso, Gunther . . . . . . . . . . . . . . .218 Gillon, Jean . . . . . . . . . . . . . . . . . . . 217 Goldsworthy, Andy . . . . . . . . . . . . 202 Goode, Joe . . . . . . . . . . . . . . . 262-264 Graham, Robert. . . . . . . . . . . 345-346 Greco, Emilio . . . . . . . . . . . . . . . . . 347

Gris, Juan . . . . . . . . . . . . . . . . . . . . . 133 Grossman, Greta . . . . . . . . . . . 98-100

H

Haendel, Karl . . . . . . . . . . . . . . . . . 357 Hammersley, Frederick . . . . . 190-192 Hawk, Stan . . . . . . . . . . . . . . . . . . . .104 Herman, Roger . . . . . . . . . . . . . . . 374 Herms, George . . . . . . . . . . . . . . . 350 Highstein, Jene . . . . . . . . . . . . . . . 226 Hockney, David . . . . . . . . . . . . . . 54-61 Hopper, Dennis . . . . . . . . . . . . . . . . 197 Hopper, Edward . . . . . . . . . . . . . . . . 116

I

Indiana, Robert . . . . . . . . . . . . . . . . 22

J

Jenkins, Paul . . . . . . . . . . . . . . . . . 296 Johnson, Dan. . . . . . . . . . . . . . . .76-78

K

Kadonaga, Kazuo . . . . . . . . . . . . . 242 Kagan, Vladimir . . . . . . . . . . . . . . . . 49 Kapoor, Anish . . . . . . . . . . . . 209-210 Keal, John . . . . . . . . . . . . . . . . . . . .102 Kelly, Ellsworth . . . . . . . . . . 25, 27-29 Kienholz, Ed . . . . . . . . . . . . . . .351-352 Kirk, Jerome . . . . . . . . . . . . . . . . . 295 Kjærholm, Poul . . . . . . . . . . . 335-337 Klee, Paul . . . . . . . . . . . . . . . . . 135-137 Knoll, Florence . . . . . . . . . . . . . . . . . 11 Koblick, Freda . . . . . . . . . . . . . . . . . . 13 Koons, Jeff. . . . . . . . . . . . . . . . . . . .212 Krasnow, Peter . . . . . . . . . . . . . . . . 117 Kusama, Yayoi . . . . . . . . . . . . . . . . 208

L

Lalanne, Claude. . . . . . . . . . . . . . . . 65 Lamb, Walter . . . . . . . . . . . . . . 107-109 Landacre, Paul. . . . . . . . . . . . . . 110-115 Larzelere, William . . . . . . . . . . . . . . 93 László, Paul . . . . . . . . . . . . . . . 127-129 Laverne, Estelle & Erwine . . . . . . . . 15 Laverne, Philip & Kelvin . . . . . . 52-53 Lawenda, Harry . . . . . . . . . . . . . . . .103 LeWitt, Sol . . . . . . . . . . . . . . . . . . 16-18 Lichtenstein, Roy . . . . . . . . . . . 37-40 Littel, Ross . . . . . . . . . . . . . . . . . . . . . 14 Lundeberg, Helen . . . . . . . . . . . . . .189

M

Macchiarini, Peter . . . . . . . . . . . . . 273 Maloof, Sam . . . . . . . . . . . . . . 268-272 Manson, Marilyn . . . . . . . . . . . . . . 356 Marc, Franz . . . . . . . . . . . . . . . . . . .130 Marcks, Gerhard . . . . . . . . . . . . . . .154 Marini, Marino . . . . . . . . . . . . . . . . .149 Mason, John . . . . . . . . . . . . . . . 85-86 Matisse, Henri . . . . . . . . . . . . . 144-145 McCobb, Paul . . . . . . . . . . . . . . . . . 9-10 McGarrell, James . . . . . . . . . . . . . 348 Mendini, Alessandro . . . . . . . . . . . 364 Miró, Joan . . . . . . . . . . . . . . . . . . . .148 Moholy-Nagy, László . . . . . . . . . . .155 Motherwell, Robert . . . . . . . . 299-302 Myers, Forrest . . . . . . . . . . . . . . . . . 211

N

Nakashima, George. . . . . . . . 290-294 Natzler, Gertrud & Otto . . . . . . 80-82 Nay, Ernst . . . . . . . . . . . . . . . . . . . . 153 Nelson, George . . . . . . . . . . . . . . . . 1-8 Neri, Manuel . . . . . . . . . . . . . . . . . 276 Nevelson, Louise . . . . . . 118, 229-230 Newell, Gordon . . . . . . . . . . . . . . . . 94 Newkirk, Kori . . . . . . . . . . . . . . . . . 358 Newson, Marc . . . . . . . . . . . . .360-361 Nicholson, Ben . . . . . . . . . . . . . . . .152

Niedermayr, Walter . . . . . . . . . . . . 205 Nielsen, Margaret . . . . . . . . . . . . . 375 Nolde, Emil . . . . . . . . . . . . . . . . . . . . 132 Novatt, Jedd . . . . . . . . . . . . . 353-355

O

Oldenburg, Claes . . . . . . . . . . . . 34-36 Oliveira, Nathan . . . . . . . . . . . . . . 277 Onslow Ford, Gordon . . . . . . . . . . 282 Orr, Eric . . . . . . . . . . . . . 234-239, 267

P

Pashgian, Helen . . . . . . . . . . . . . . . 241 Pearlstein, Philip . . . . . . . . . . .372-373 Petersen, Roland. . . . . . . . . . . . . . 278 Pettibon, Raymond . . . . . . . . 323-325 Pettibone, Shirley . . . . . . . . . 283-284 Picasso, Pablo . . . . . . . . . . . . . 138-143 Pistoletto, Michelangelo . . . . . 66-68 Pittman, Lari . . . . . . . . . . . . . . . . . 322 Ponti, Gio . . . . . . . . . . . . . . . . . . 72, 74 Powell, Phillip Lloyd . . . . . . . . . . . 288 Price, Ken . . . . . . . . . . . . . . . . . . .87-92

R

Rauschenberg, Robert . . . . . . . . . . 62 Ray, Man . . . . . . . . . . . . . . . . . . . . . . 20 Riart, Carlos . . . . . . . . . . . . . . . . . 366 Rispal, Jean . . . . . . . . . . . . . . . . . . 342 Ristvedt, Milly . . . . . . . . . . . . . . . . . 26 Robsjohn-Gibbings, T.H. . . . . . . . . . 47 Rosenquist, James . . . . . . . . . . . . . . 41 Ruscha, Ed . . . . . . . . . . . . . . . 243-250

S

Saarinen, Eero . . . . . . . . . . . . . . . . . . 12 Sampler, Marion . . . . . . . . . . . . . . 307 Schiele, Egon . . . . . . . . . . . . . . . . . .134 Schindler, Rudolph. . . . . . . . . . . . . . 126 Serra, Richard . . . . . . . . 225, 227-228 Shire, Peter . . . . . . . . . . . . . . . . . . 367 Shulman, Julius. . . . . . . . . . . . 193-196 Šípek, Borek . . . . . . . . . . . . .363, 368 Slutzky, Robert . . . . . . . . . . . . . . . .165 Smith, Alexis . . . . . . . . . . . . . . . . . 330 Smith, Kiki . . . . . . . . . . . . . . . . . . . . 331 Smith, Hassel Wendell . . . . . . . . . .281 Soldner, Paul . . . . . . . . . . . . . . . . . . 84 Soulages, Pierre . . . . . . . . . . . . . . . 147 Starck, Philippe . . . . . . . . . . . . . . . 365 Stella, Frank . . . . . . . . . . . . . . . . 24, 33

T

Tackett, La Gardo . . . . . . . . . . . . . . 97 Tamayo, Rufino . . . . . . . . . . . . . . . . 221 Tennhardt, Elsa . . . . . . . . . . . . . . . . 121 Tenreiro, Joaquim . . . . . . . . . . . . . .215 Thiebaud, Wayne . . . . . . . . . . . . . . 285 Toledo, Francisco. . . . . . . . . . . . . . 220

V

Valentine, De Wain . . . . . . . . 232-233 Vasarely, Victor . . . . . . . . . . . . . .19, 23 Vitali, Massimo . . . . . . . . . . . . . . . 204 Voulkos, Peter . . . . . . . . . . . . . . . . . 83

W

Warhol, Andy . . . . . . . . . . . . . . . 42-45 Weber, KEM . . . . . . . . . . . . . . . . . . . 125 Wegman, William . . . . . . . . . . . . . . .198 Wegner, Hans . . . . . . . . . 334, 338-341 Woelffer, Emerson . . . . . . . . . 303-306 Wonner, Paul . . . . . . . . . . . . . . . . . 286 Wormley, Edward. . . . . . . . . . . . 46, 48

Z

Zadkine, Ossip . . . . . . . . . . . . . . . . . 79 Zalszupin, Jorge . . . . . . . . . . . . . . .216 Zúñiga, Francisco . . . . . . . . . . . . . 223


INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, October 22, 2017

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

October 9 – 21, 2017

north Take the 4th exit onto “Sher-

Managing Director

10am–6pm (PT)

man Way, west” • Proceed west on Sherman Way

Clo Pazera

Address

• Turn left at the 3rd light onto

Fine Art Specialist

16145 Hart Street

“Woodley”

Van Nuys, CA 91406

• Take the first right onto “Hart”

Carolina Ivey

street, which is a side street

Client Services Manager

From the Westside

Pejman Shojaei

• Take the 405 Freeway, north

Cataloguer

Telephone 323.904.1950 Website

Continue past the Getty Muse-

LAMODERN.com

um and the 101 Interchange

Camilla Johnston

• Exit onto “Sherman Way,

Marketing

west” (this is 4 exits north of the 101)

Katie Cape

• Proceed west on Sherman

Consignor Services

Way • Turn left at the 3rd light

Joe Alascano

onto “Woodley”

Shipping

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

Grace-Yvette Gemmell

street

Writer

LAMA MAP VAN NUYS AIRPORT

SEPULVEDA BLVD

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405 FREEWAY

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GETTY CENTER


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