The Collection of Gerard L. Cafesjian

LAMA 16145 Hart Street Van Nuys, CA 91406

Preview: November 9 - 17, 2018 10am–6pm (PT) Auction: Sunday, November 18, 2018 12pm (PT)

The Collection of Gerard L. Cafesjian My earliest memory of speaking to Gerard Cafesjian was

philanthropic activities in Armenia, which included the

shortly after he had discovered LAMA. He reached out

establishment of an art museum in the country’s capital

to let me know of his interest in Armenian artists, and

of Yerevan.

asked me to contact him if we should come across them.

I replied, ignorantly, that I didn’t know any Armenian

After a tour of his collection in a spectacular sun-

artists, and in the same breath I asked him if he was

drenched penthouse on the Florida gulf coast, I con-

interested in any of the Southern Californian artists

vinced him that selling could be as thrilling as buying.

that I specialized in. He said he was, and had included

He let me represent a pair of bronze monkeys by

many in his collection already. Then he asked me if I ever

Francois-Xavier Lalanne, which set a world record for

saw works by John Altoon, Charles Garabedian, Arshile

the form, and he was hooked. We sold several works over

Gorky, or Edward Avedisian. I said, of course, they would

the years for him but he never stopped buying. I will

always be artists I’m trying to find. Well, he explained,

definitely miss the three-page fax of absentee bids that

then you DO know some Armenian artists, because they

always arrived the day before an auction.

are all Armenian.

Over the years, I had the opportunity to meet Mr. Ca-

I’m so proud to represent this part of his collection, and I’m confident that these pieces, which meant so much to

fesjian at his winter home in Naples, Florida. We spoke

him, will continue to make an impact on so many differ-

for hours about artists, collecting, the art market, the

ent lives. I am grateful to his family for their trust and

thrill of buying, and food (another of his passions). He

patience. And a very special thank you to Otto Theuer,

explained that King salmon was far superior in taste and

Mr. Cafesjian’s curator, for keeping such careful records,

consistency than Atlantic salmon or Sockeye salmon.

and helping us to catalogue these works. We couldn’t

We met a few times at restaurants he owned in Naples,

manage this auction without his coordination and spe-

including Café Lurcat, a top-rated eatery themed around

cial attention to detail.

the paintings and tapestries of Jean Lurcat, an artist he was particularly interested in. And he enlightened me about the history of the Armenian people, and his Peter Loughrey, Director

Opposite image: Cafesjian Center for the Arts, Yerevan, Armenia

Gerard L. Cafesjian: As a Collector Gerard L. Cafesjian was born in 1925 to Armenian parents in Brooklyn, New York. Cafesjian's love of art began early in life. As a young boy, he would spend hours at the Metropolitan Museum of Art and said that he wished he could live there. After serving in the Pacific theater during World War II, Cafesjian used his G.I. Bill benefits to pursue a degree in economics at Hunter College and later a law degree at St. John’s University Law School. During this time Cafesjian also studied painting and sculpture at the New York Art Students League on 57th Street in Manhattan. After graduating, Cafesjian began working as a legal editor for West Publishing and eventually became the firm’s executive vice president. Amongst many other professional accomplishments, Cafesjian initiated West’s annual exhibition program Art & the Law in 1975.

While Cafesjian maintained a high-profile position at West, he generally avoided publicity until 1990 when he made a $600,000 contribution to help save the 1914 State Fair Carousel in St. Paul, Minnesota (now named the Cafesjian Carousel) from demolition. Following his retirement in 1996, Cafesjian began dedicating much of his time and resources to philanthropic work, particularly in his parents’ home country of Armenia. In 2001, he established the Cafesjian Family Foundation, through which he devoted millions of dollars to Armenian development projects associated with renewable energy, media distribution, and security. While Cafesjian acknowledged that political lobbying was necessary to bolster his efforts and to “help guide U.S. policy in Armenia,” he also recognized that that was only one part of the puzzle. According to one record of his first visit to the country, Cafesjian was sincerely affected by the pride and ambition of the Armenian people. With a deep understanding of the intimate and transformative powers of art, Cafesjian set out to invest in cultural enrichment programs. One of the crowning achievements of this investment was the creation of the Cafesjian Center for the Arts in Yerevan, in 2009. Through a world-class collection of over 5,000 works, including many from his own collection, Cafesjian sought for the museum to “provide support and encouragement to Armenian artists to continue the rich tradition of Armenians' artistic expression.”

For over 60 years Cafesjian was an avid art collector and thus amassed an extensive and prestigious body of work. When surveying the thousands of fine art works and decorative pieces that Cafesjian collected during his lifetime, you could almost get lost in the seemingly random nature of his taste. On closer inspection however, Cafesjian’s earnest love of whimsy and avant-garde form becomes clear.

"Not just for Art's Sake; Partnership between a Republic and a Foundation." Aim, vol. 14, no. 1, Aug, 2003, pp. 26.

Papas, Lisa B. "Gerard L. Cafesjian." Agbu, vol. 9, no. 2, Apr 30, 1999, pp. 41.

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2 PARTIAL ILLUSTRATION

SONIA DELAUNAY Les Illuminations

1973 The complete portfolio of 15 pochoir prints on Arches paper #30 of 90 Published by Jacques Damase, Paris; printed by Ateliers Daniel Jacomet, Montrouge Signed with edition to justification page Together with portfolio box Text by Arthur Rimbaud Sheets each: 21.125" x 14.875" Portfolio box: 22.75" x 15.625" x 2" (Sheets each: 54 x 38 cm) PROV EN A N C E Sotheby’s, New York, New York, May 2, 2013, lot 65 PARTIAL ILLUSTRATION

$8,000–$12,000

7

1 SONIA DELAUNAY Avec moi-même

1970 The complete portfolio of 10 etchings and aquatints on paper #15 of 20 proofs aside from the edition of 75

3

Published by Société Internationale D’Art - XXe Siècle, Paris

SONIA DELAUNAY, ATTRIBUTED

Each sheet signed and dated lower right; edition in Roman numerals lower left

N.d.

Graphite on paper

Together with original Plexiglas portfolio box Sheets each: 26" x 19.875" Portfolio box: 27" x 20.75" x 1" (Sheets each: 66 x 50 cm)

Untitled

Signed lower left edge of sheet Sheet: 12.25" x 11.5" Frame: 14.5" x 13.75" (Sheet: 31 x 29 cm) PROV EN A N C E The Estate of Mrs.

P ROVENA NC E Sotheby’s, New York,

Harry N. Abrams; Phillips, New York,

New York, May 3, 2013, lot 64

New York, April 7, 2010, lot 210

$12,000–$15,000

$400–$600

PARTIAL ILLUSTRATION

5 VARIOUS ARTISTS

Works from 52 Affiches D’Expositions VII (42) 1959 Lithographs on Arches paper From an edition of 125 Published by Mourlot, Paris

PARTIAL ILLUSTRATION

Comprised of works by Blény, Jean Carzou, J. Fin, Raoul Dufy, Bissière, Jean Dubuffet, Alfred Manessier, Soutine, Pablo Picasso, Fernand Léger, Yves Brayer, Luc Simon, Brianchon, Jean Couty, and André Minaux Together with canvas portfolio cover Various dimensions Portfolio cover: 30.25" x 21.375" x 1" PROV EN A N C E Galerie David et Garnier, Paris, France; Galerie Knoedler, Paris France; Galerie Berggruen et Cie, Paris, France

$2,500–$3,500

6 PARTIAL ILLUSTRATION

VARIOUS ARTISTS

Exhibition posters (13) 1951-1967 Color lithographs on paper Published by Mourlot, Paris

Various dimensions

Comprised of Bal de L'École des Arts Décoratifs, Pavillon de Marsan (1951); Braque Graveur, Berggruen & Co. Gallery (1953); Chefs-D'Oeuvre du Musée d'Art de São-Paulo, Orangerie des Tuileries (1953); Derain, Musée National d'Art Moderne (1954); Toulouse-Lautrec, Galerie R.G. Michel (1954); Bonnard, Vuillard, et les Nabis, Musée National d'Art Moderne (1955); André Minaux, Galerie Bernier (1957); Blény, Expose, Galerie 93 and Raymond & Raymond, Inc. (1957); Cent Tableaux de Modigliani, Galerie Charpentier (1958); Trois Peintres de Provence: Seyssaud, Chabaud, Verdilhan, Musée Toulouse-Lautrec (1959); L'Expressionnisme Allemand, Musée Cantini (1965); Michel Ciry, Galerie de Paris (1966); and Les Peintres Témoins de Leur Temps, Musée Galliera (1967)

P ROVENA NC E Christie’s, Paris,

Various dimensions

4 VARIOUS ARTISTS Compositions (99)

1949-1998 Etchings, aquatints, dry tips, lithographs, and serigraphs on paper Most signed and dated with edition Comprised of works by Olivier Debré, Sonia Delaunay, Jean-Michel Folon, Claude Garache, Alain de la Bourdonnaye, Nicole, Pierre-Yves Trémois, Victor Vasarely, and after Jacques Villon

France, December 13, 2012, lot 201

$6,000–$8,000

L I TERATU R E Twentieth Century Posters: Chagall, Braque, Picasso, Dufy, Matisse, Miró, Léger. F. Mourlot.

1989. 7, 43.

$2,500–$3,500

9

9 ANONYMOUS

Alphonse Steurs c. 1910 Color lithograph on paper Unknown edition size Printed by Adolph Friedländer, Hamburg

7 BERNARD VILLEMOT Bally (Lotus)

1974 Lithograph on paper Retains facsimile signature lower right Image/sheet (vis.): 46.125" x 46.125" Frame: 50.25" x 50.125" (Image/sheet: 117 x 117 cm)

Retains printer’s logo along right edge of sheet; numbered “7021” in plate lower right Image: 26.125" x 35.375" Sheet (vis.): 26.75" x 36" Frame: 34.375" x 44" (Image: 66 x 90 cm) PROV EN A N C E Christie’s, London, United Kingdom, February 6, 1997, lot 354

$800–$1,200

$600–$800

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8 PICHE

L’Equilibriste 1940 Ink, charcoal, and collage on paper Signed in black ink lower right Composition/sheet (vis.): 16.25" x 8.25" Frame: 19.125" x 11" (Composition/sheet: 41 x 21 cm)

10 RAZZIA

Prêt à Porter Féminin c. 1980 Lithograph on paper Signed lower left Sheet (vis.): 60.75" x 43.625" Frame: 63.25" x 46.375" (Sheet: 154 x 111 cm)

P ROVENA NC E Sotheby’s, Paris,

PROV EN A N C E Great Gatsby’s

France, March 16, 2005, lot 619

Auction Gallery, Inc., Atlanta, Georgia

$300–$500

$150–$250

13 VARIOUS ARTISTS

Derrière le Miroir (5)

11

1951-1970 Lithographs on wove paper

PABLO PICASSO

Published by Maeght Éditeur, Paris

1962 Lithograph on paper mounted to canvas

Comprised of issue no. 36-37-38 (1951), no. 151-152 (1965), no. 156 (1966), no. 182 (1969), and no. 188 (1970)

Côte d’Azur

Together with La Danse by Marc Chagall from issue no. 144-145-146 (1964)

From an edition of 15,000 Published by the Ministère des Travaux Publics et des Transports, Paris; printed by Mourlot, Paris

Various dimensions

Facsimile signature lower right

PROV EN A N C E Christie’s, New York,

Image: 30.5" x 24.875" Sheet: 38.875" x 25.875" Mount: 41.125" x 28.125" (Image: 77 x 63 cm)

New York, February 8, 2005, lot 154 L I TERATU R E Derrière le Miroir et Affiches: Catalogue 1. 1971. 38, 110, 114, 138.

$1,000–$1,500

LITERATURE Picasso’s Posters. C. Czwiklitzer. 1971. #177.

$800–$1,200

14 JOAN MIRÓ PARTIAL ILLUSTRATION

Exhibition posters by Maeght (9) 1956-1966 Color lithographs on paper Various edition sizes Comprised of Derrière le Miroir (1956); Miró Peintures Murales (1961); Miró (1961); Miró: Artigas Céramiques Monumentales (1963); Nuits de la Fondation Maeght (1965); Miró: Recent Paintings 1945-1963 (1966); Joan Miró Exhibition, Japan (1966); Joan Miró Graphics (1966); and L’oiseau solaire, I’oiseau lunaire, étincelles (1967)

12

Largest (Nuits de la Fondation Maeght): Image: 27.5" x 22" Sheet: 34.5" x 22" Smallest (Joan Miró Exhibition, Japan): Image/sheet: 15.275" x 22.625"

PABLO PICASSO 50 Masterpieces

1959 Color lithograph on paper

L I TERATU R E Miró Litografo II: 1953-

From an edition of 1,000

1963. R. Queneau. 1975. #229, #295, and #338.; Miró Litografo III: 1964-

Published by Musée Cantini, Marseille; printed by Mourlot, Paris

1969. J. Teixidor. 1997. #433, #434, and #438.; Miró Litografo VI: 1976-

Image: 22.875" x 17" Sheet (vis.): 29.5" x 19.875" Frame: 31" x 21.25" (Image: 58 x 43 cm)

1981. P. Cramer. 1992. #295a, #504a.; Joan Miró Posters Affischer. A. Lewenhaupt, ed. 1993. #6, #12, #14, #17, #24, #28, #31, #33, and #34.; Miró’s Posters. J. Corredor-Matheos.

LITERATURE Picasso’s Posters. C.

1980. #13, #15, #21, #23, #26, and

Czwiklitzer. 1971. #139.

#27.

$800–$1,200

PARTIAL ILLUSTRATION

$1,000–$1,500

13

Camille Bombois As a foremost member of the “Naïve” painting movement, Camille Bombois is celebrated for his spontaneous, joyful style. As a young man, Bombois painted religiously while pursuing a number of odd jobs, including a stint as a circus strongman. The young painter received no formal training, and it wasn’t until after World War I that he was able to commit himself more fully to his practice. Bombois was largely ignored by critics and established artists throughout the 1920s, but attracted commercial success through collectors and dealers who spotted his work in Montmartre. By 1938, when MoMA featured Bombois in their exhibition, “Masters of Popular Painting,” the artist had cemented an international reputation. Bombois’ crisp, “clean-cut” shapes and invigorated colors maintain a distinctive fluidity. While his works take many cues from primitive art, Bombois resisted the impulse towards exoticism expressed by associates such as Henri Rousseau. Instead, he preferred to capture the wonders of the everyday. Despite his rise to fame, he came to be endearingly known as “a painter of the common man.”

16 CAMILLE BOMBOIS

L’Escalier et la boucherie c. 1928 Oil on canvas Signed lower right edge of canvas; retains Perls Galleries label canvas stretcher verso Canvas: 26" x 21.375" Frame: 35" x 30" (Canvas: 66 x 54 cm) PROV EN A N C E Galerie Bing, Paris, France; Private Collection, Zürich, Switzerland (acquired directly from

Fiedorek, Kara. Camille Bombois. National Gallery of Art, 2017, www.nga.gov/features/exhibitions/outliers-and-american-vanguard-artist-biographies/camille-bombois.html.

the above); Perls Galleries, New York, New York (acquired directly from the above, 1967); Evelyn Sharp, New York, New York (acquired directly from the above, 1967); Private Collection (acquired directly from the above through Sotheby’s, New York, New York, November 13, 1997, lot 285); Christie’s, New York, New York, November 4, 2010, lot 371 EXH I B I TED “Bombois: The Early Years,” Perls Gallery, New York, October 10-November 11, 1967; “The Evelyn Sharp Collection,” Solomon R. Guggenheim Museum, New York, April 1-October 1, 1978 I L LU STRATED The Evelyn Sharp Collection. Solomon R. Guggenheim Museum exh. cat. 1978. 16-17.

$15,000–$20,000

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17

CAMILLE BOMBOIS

CAMILLE BOMBOIS

c. 1925 Oil on canvas

N.d.

Oil on canvas

Signed lower right edge of canvas; retains Perls Galleries and Neumann Family Collection labels canvas stretcher verso

Signed lower left edge of canvas; retains James Vigeveno Galleries label verso

Le Nu aux Bras Levés

Canvas: 28.75" x 23.5" Frame: 38.75" x 32.75" (Canvas: 73 x 60 cm)

Maison au bord de la Rivière

Canvas: 9.25" x 11.25" Frame: 14" x 16" (Canvas: 23 x 29 cm) PROV EN A N C E Hammer Galleries,

P ROVENA NC E Perls Galleries, New

New York, New York; Private Collec-

York, New York; Morton Neumann

tion, New York, New York; Christie’s,

Family Collection; Tajan, Paris,

New York, New York, June 19, 2013,

France, July 21, 2012, lot 12

lot 1

$40,000–$60,000

$2,000–$3,000

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ILLUSTRATED PREVIOUS PAGE

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19

LÉONARD-TSUGUHARU FOUJITA

JEAN-ROBERT IPOUSTÉGUY

Femme Accoundée

1926 Brush and ink on pearlised papier Japon Signed, dated, and inscribed in Japanese lower right sheet Sheet (vis.): 22" x 17" Frame: 30.625" x 25.375" (Sheet: 56 x 43 cm) PROVENANCE Sotheby’s, London, United Kingdom, February 9, 2005, lot 293 ILLUSTRATED T. L. Foujita: Inédits. S. Buisson. 2007. #C.26.213.D.

$8,000–$12,000

Bras

1965 Bronze #2 of 8 Signed with edition to base 30" x 9.5" x 11.625" (76 x 24 x 30 cm) PROV EN A N C E The Art Institute of Chicago, Chicago, Illinois; Allan Frumkin Gallery, Chicago, Illinois; Sotheby’s, New York, New York, November 10, 2011, lot 294 L I TERATU R E Ipoustéguy: L’Œuvre Sculpté: Catalogue Raisonné, 1938-2000. D. Croiset-Veyre. 1990. #173.

$3,000–$5,000

20 MIREILLE LEMARCHAND Liberty Crying c. 2001 Bronze #1 of 8 Fabricated by Polich Tallix Fine Art Foundry, Rock Tavern Incised signature with edition to base; stamped with Tallix foundry mark 15.375" x 9.625" x 18" (39 x 24 x 46 cm) PROV EN A N C E Christie’s, New York, New York, January 15, 2008, lot 529

$800–$1,200

21 SOPHIDO

Le Chat Sifflant 1989 Bronze #1 of 6 Fabricated by Landoveur Cire Perdue Etched signature with edition to base; stamped with Landoveur Cire Perdue foundry mark 14.5" x 29" x 6.25" (including base) (37 x 74 x 16 cm) PROV EN A N C E Galerie Creuzevault, Paris, France; Sotheby’s, London, United Kingdom, October 21, 1999, lot 116

$1,000–$1,500

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Maurice Utrillo Maurice Utrillo made a splash in the Parisian art world at the tender age of 22.

With the support of his mother, who was herself a painter and a frequent model for Renoir and Lautrec, Utrillo’s artistic identity sprung from the bohemian fodder of the Montmartre art scene at the turn of the twentieth century. Known for his cityscapes, Utrillo developed a style that blended Impressionism and Cubism. The painter routinely captured Montparnasse and the other havens of his fellow artists, writers, and poets. Along with Amedeo Modigliani, Utrillo was a part of Les peintres maudits, or the cursed painters, who despite their moniker enjoyed considerable commercial success. In 1909, Utrillo began showing his work at the famed Salon d'Automne. It was at this point that his works began to attract national attention and acclaim. While Utrillo spent much of his life on the fringes of polite society, in 1928 he was awarded the Cross of the Legion of Honor by the French government, and has come to be recognized a pioneer of the School of Paris.

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22 MAURICE UTRILLO

Rue de Village Sous la Neige à Sannois c. 1916 Oil on canvas Signed lower right edge of canvas; retains Galerie Daniel Malingue label canvas stretcher verso Together with photocertificate from Jean Fabris and Galerie Gilbert & Paul Pétridès dated February 27, 1998, and photocertificate from Galerie Daniel Malingue dated February 20, 1987 Canvas (vis.): 17.5" x 21" Frame: 28.5" x 33" (Canvas: 44 x 53 cm) PROV EN A N C E Galerie Daniel Malingue, Paris, France; Private Collection (acquired through Sotheby’s, London, United Kingdom, November 29, 1989, lot 273); Christie’s, London, United Kingdom, June 27, 2000, lot 263

$40,000–$60,000

25 MICHEL-HENRY Museumplein c. 1965 Oil on canvas

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Signed lower left edge of canvas

YVONNE CANU

Canvas (vis.): 57.125" x 44" Frame: 64" x 51.5" (Canvas: 145 x 112 cm)

N.d.

Oil on canvas

L I TERATU R E Michel-Henry: Recent

Fleur sous les Fleurs

Signed lower right edge of canvas; titled and inscribed “1221” canvas verso; retains Alexander Kahan Fine Arts label canvas stretcher verso Canvas (vis.): 17.5" x 20.75" Frame: 25.5" x 28.5" (Canvas: 44 x 53 cm) P ROVENA NC E Alexander Kahan Fine Arts, Ltd., New York, New York; Christie’s, New York, New York, February 14, 2007, lot 8

$4,000–$6,000

Paintings. Wally Findlay Galleries exh. cat. 1965. 8-9 for a similar example illustrated.

$2,000–$3,000

26 HENRI VAN LERVEN

Heath Landscape with Crows N.d.

Oil on canvas Signed lower left Canvas (vis.): 11.75" x 15.5" Frame: 18.125" x 22" (Canvas: 30 x 39 cm) PROV EN A N C E Christie’s, Amsterdam, The Netherlands, May 17, 2006, lot 470

$500–$700

27 JEAN PIERRE POPHILLAT Vendages à Saint Émilion, France

24 JULES CAVAILLÈS

La baie de Saint Tropez N.d.

Oil on canvas Signed lower left edge of canvas Canvas: 21.75" x 18.25" Frame: 28" x 24.375" (Canvas: 55 x 46 cm)

1989 Oil on canvas Signed in white ink lower right; signed, titled, and dated in black felt-tip marker canvas stretcher verso; retains artist’s studio stamp canvas stretcher verso 23.5" x 28.75" (60 x 73 cm) PROV EN A N C E Christie’s, Paris, France, September 27, 2011, lot 129 I L LU STRATED Jean Pierre Pophillat:

P ROVENA NC E Tajan, Paris, France,

40 ans de peinture, 1960-2000. A.

June 8, 2011, lot 46

Sokolov, ed. 2000. 67.

$3,000–$5,000

$200–$300

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28 JEAN DUFY

L’église Saint-Pierre de Montmartre et le Sacré-Cœur c. 1954 Oil on canvas Signed lower right edge of canvas; retains Schoneman Galleries label canvas stretcher verso Canvas: 15.125" x 18.25" Frame: 25.625" x 28.75" (Canvas: 38 x 46 cm) P ROVENA NC E Bears Schoneman Galleries, New York, New York; Sotheby’s, London, United Kingdom, February 6, 2001, lot 264 ILLUSTRAT E D Jean Dufy: 18881964. Vol I. J. Bailly. 2002. #B.349.

$20,000–$30,000

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29 JEAN DUFY

Village du Limousin 1928 Oil on canvas Signed and dated lower right edge of canvas; inscribed “Le Limousin” to canvas stretcher verso Canvas (vis.): 17.5" x 23.375" Frame: 24.25" x 30.125" (Canvas: 44 x 59 cm) PROV EN A N C E Sotheby’s, London, United Kingdom, February 6, 2001, lot 268 I L LU STRATED Jean Dufy: 18881964. Vol I. J. Bailly. 2002. #B.141.

$20,000–$30,000

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31 JEAN LURÇAT Arlequin

1944 Gouache on paper

30 JEAN LURÇAT Autumn

1938 Wool tapestry Fabricated by Atelier Tabard Frères et Soeurs, Aubusson Signed and dated lower right in weave 93.5" x 146.5" (237 x 372 cm)

Signed twice lower left sheet; retains Golconda Fine Arts label frame verso Composition/sheet (vis.): 12.25" x 9.125" Frame: 20" x 17" (Composition/sheet: 31 x 23 cm) PROVENANCE Sotheby’s, London, United Kingdom, October 29, 1970, lot 141; Sotheby’s, London, United Kingdom, December 4, 1975, lot 425; Christie’s, London, United Kingdom, December 5, 2002, lot 101 LITERATURE L’Oeuvre Peint de Jean Lurçat Catalogue Raisonné: 1910-

PROVENANCE Christie’s, New York,

1965. G. Denizeau and S. Lurçat. 1998.

New York, December 8, 2004, lot 69

#1944.2.

$5,000–$7,000

$1,000–$1,500

Marc Chagall: The Painted Poetry of a Master Colorist Marc Chagall is one of the few artists to have been consistently lauded by his peers. Even Picasso, Chagall’s rival, routinely praised his marvelous treatment of light and dubbed the painter a master colorist. While Chagall was quick to “absorb” the various trends of modernism throughout the twentieth century, he never yielded to pressures to conform. Despite his stylistic forays, the artist clung to traditional, representational figures. Chagall has been credited with restoring “allegory and narrative” to European art, elements that, of course, “modern artists” rejected. Noting this provincial adherence is not to say that his works were simple, in fact quite the opposite.

Many scholars have ventured to decode Chagall’s network of signs and symbols, but have turned up empty handed.

As the director of the Marc Chagall Museum in Nice said, “there’s no consensus on what [Chagall’s codes] mean.

We cannot interpret them because they are simply part of his world, like figures from a dream.” It’s as though Chagall’s vocabulary, while generally consistent, contains the sort of metaphors that could only make sense in the blissful, blurry sliver of time when one begins to fall into a deep sleep.

In 1948, Chagall returned to France from the United States and settled on the Côte d’Azur, where he would remain until his death in 1985. Living mere miles away from both Picasso and Matisse, Chagall entered into a phase in his career of intense focus and meditation. The works that Chagall produced later in life, such as La Fête à Saint-Paul (1980-1982), take on an air of melancholy that’s not present in his pre-war pieces. Many connect this shifting tone with the death of Chagall’s first wife, Bella Rosenfeld, in 1944. While he continued depicting many of his signature figures, such as floating lovers and brightly colored livestock, his forms became increasingly lyrical and abstract.

This caused many critics to discount the ageing artist as “clumsy” and overly sentimental. Nevertheless, Chagall continued to produce hundreds of works and was commissioned for several major French and American public

art projects. Amongst these was the renovation of the Paris Opera, for which Chagall was selected to repaint the ceiling in 1963. Over the course of the year-long effort, Chagall was subjected to an onslaught of negative press that disparaged his Russian-Jewish origin and condemned his intrusion on France’s national artistic legacy. Upon the ceiling’s unveiling however, “even [his] bitterest opponents… seemed to fall silent." Chagall’s masterpiece was “unanimously” declared by the press to be a treasure for the French people. One journalist reported that Chagall’s “sublime images,” not only at the Paris Opera, but throughout his oeuvre, “[ranked] among the finest poetry of [their] time,” and the esteem felt for the artist has continued long after his death.

Baal-Teshuva, Jacob. Marc Chagall, Taschen (1998, 2008) Harriss, Joseph A. “The Elusive Marc Chagall.” Smithsonian Magazine, Smithsonian Institution, 1 Dec. 2003, www.smithsonianmag.com/arts-culture/ the-elusive-marc-chagall-95114921/.

32 MARC CHAGALL

La Fête à Saint-Paul 1980-1982 Oil on canvas Signed lower right edge of canvas Together with copy of original invoice from O’Hara Gallery dated January 16, 2001, and certificate of authenticity from the Comité Marc Chagall Canvas: 13.125" x 7.5" Frame: 20.875" x 15.375" (Canvas: 33 x 19 cm) PROV EN A N C E O’Hara Gallery, New York, New York

$300,000–$500,000

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34 VARIOUS ARTISTS

Les Nouveaux Réalistes 1973 The complete set of 10 mixed-media prints and one bronze sculpture in two pieces #271 of 600 Each signed and dated; some with edition Comprised of works by César, Mimmo Rotella, Niki de Saint Phalle, Pierre Restany, Arman, Christo, Jacques Villeglé, Daniel Spoerri, Gérard Deschamps, Raymond Hains, and Francois Dufrêne Together with original leatherette case, a book signed by Attilio Codognato, and unsigned work by Yves Klein bound into booklet Images/sheets each: 19.625" x 19.625" Book: 19.625" x 19.625" Bronze sculpture: 8.5" x 1.625" x 0.75" Case: 21" x 22.75" x 5.625" (Images/sheets each: 50 x 50 cm) PROV EN A N C E Bonhams, London, United Kingdom, November 29, 2011, lot 163

$2,500–$3,500

33 ARMAN (ARMAND FERNANDEZ) Untitled

35

2002 Sliced violin with acrylic on canvas

RAYMOND SAVIGNAC

Signed to bottom edge of canvas overlap This work is recorded in the Arman Studio Archives New York under number: “APA# 8110.02.061” 31.5" x 20" (80 x 51 cm)

Untitled (The Tan)

N.d.

Gouache on paper laminated on cardboard Signed center right in composition Composition/sheet (vis.): 15.25" x 23" Frame: 22.375" x 29.375" (Composition/sheet: 39 x 58 cm)

P ROVENA NC E Galerie Mark Hachem, Paris, France

$8,000–$12,000

PROV EN A N C E Christie’s, Paris, France, December 12, 2012, lot 563

$800–$1,200

29

37

38

NIKI DE SAINT PHALLE

NIKI DE SAINT PHALLE

Paradise Now (An illuminated letter from Niki to Michael) N.d.

Ink, colored pencil, and wax crayons on paper Signed lower right Composition/sheet: 12.5" x 9.5" Frame: 21.375" x 15.375" (Composition/sheet: 32 x 24 cm) PROVENANCE Christie’s, Amsterdam, The Netherlands, May 31, 2005, lot 364

$3,000–$5,000

Nana

1968 Inflatable plastic Fabricated by Alvimar, United States Retains printed artist’s name, date, and manufacturer’s information; inscribed “Nana by Niki”; retains tag labeled “231”; signed in ball point pen verso 32.75" x 26.25" (83 x 67 cm) PROV EN A N C E Tajan, Paris, France, April 21, 2005, lot 231

$600–$800

31 39 NIKI DE SAINT PHALLE

My Love; Parfum Art Rêve (3) My Love: 1971; Parfum Art Rêve: c. 1984 Accordion-bound 50-illustration volume; color lithographs on paper

36

My Love: From an edition of 250; Parfum Art Rêve: From an edition of 500

NIKI DE SAINT PHALLE Sphinx

1989 Painted polyester resin with gold leaf

My Love: Published by Skåneoffset AB Malmö, Malmö; printed by Litografik AB, Malmö

#3 of 10

My Love: Retains facsimile signature to cover; Parfum Art Rêve: Each retains facsimile signature lower center sheet

Fabricated by Plastiques d’art R. Haligon, Périgny-sur-Yerres Signed with edition on metal tag to underside; stamped with R. Haligon, Plastiques d’art foundry mark to underside; retains Russek Gallery label to underside

Comprised of My Love and two copies of Parfum Art Rêve

10.5" x 17" x 12" (27 x 43 x 30 cm)

My Love: 7" x 7.25" x 0.75" Parfum Art Rêve: Image/sheets each: 28" x 22" (My Love: 18 x 18 cm)

P ROVENA NC E Sotheby’s, London,

PROV EN A N C E Rago Auctions,

United Kingdom, June 30, 2000,

Lambertville, New Jersey, Septem-

lot 207

$15,000–$20,000

ber 14, 2012, lot 566 ALTERNATE VIEW

PARTIAL ILLUSTRATION

$1,500–$2,000

ALTERNATE VIEW

40 CORNEILLE

L’Invitation aux Voyages ou l’Oreiller d’Herbes 1989 Oil on canvas Signed and dated top right edge of canvas; signed, titled, and dated verso 45.5" x 31.75" (116 x 81 cm) P ROVENA NC E Christie’s, Paris, France, September 27, 2011, lot 138

$12,000–$15,000

42 KAREL APPEL Close Together 1977 Painted wood #26 of 50 Published and fabricated by Editions Press, San Francisco Signed; retains edition and information label to underside 30.5" x 29" x 14" (77 x 74 x 36 cm)

$6,000–$8,000

41 GERD UTESCHER Vessels (2)

43 KAREL APPEL

Flower with Blue Eyes

Ceramic; glazed ceramic

1977 Painted wood

Studio, executed c. 1955

#14 of 300

12.25" x 14.5" x 10" 15.25" x 5.75" x 5.75" (31 x 37 x 25 cm)

Signed and dated; edition verso

P ROVENANC E Rago Auctions,

Together with original case 18.25" x 20" x 1.875" (46 x 5 cm)

Lambertville, New Jersey, June 16, 2012, lot 474; Leslie Hindman

PROV EN A N C E Christie’s, Amster-

Auctioneers, Chicago, Illinois, Octo-

dam, The Netherlands, December 2,

ber 13, 2015, lot 414

2008, lot 235

$300–$500

$4,000–$6,000

33

Rockwell Kent Know widely for his book and magazine cover illustrations, Rockwell Kent developed a “stark, realist” style that traversed the varied genres within his body of work. Kent was deeply impressed by transcendentalist philosophy. Just as Henry David Thoreau had escaped to Walden Pond, the artist retreated from the New York art scene to a farmstead in the Adirondacks in the late 1920s. Kent lived and worked at Asgaard, as the farm was known, until his death in 1971.

Kent’s landscapes, like Garden at Oak Ridge, Virginia (1956), reflect his signature passion for adventure and his deep reverence for America’s rural majesty. His paintings draw a close eye to the often brutal “sublimity” of his environment. Garden at Oak Ridge, Virginia is among a small number of Kent’s works that include the human figure. It has been suggested that this rare feature signals Kent’s decisive allusion to “mythic themes” such as individualism and loneliness.

Samels, Zoë. Rockwell Kent. National Gallery of Art, 29 Sept. 2016, www.nga.gov/collection/artist-info.4494.html.

35

44 ROCKWELL KENT

Garden at Oak Ridge, Virginia 1956 Oil on canvas Signed lower right edge of canvas Canvas (vis.): 27.5" x 33.625" Frame: 34.125" x 40.25" (Canvas: 70 x 85 cm) This painting is included in the annotated checklist of paintings by Scott R. Ferris.

PROV EN A N C E The Estate of Rockwell Kent; Kennedy Galleries, Inc., New York, New York; The Estate of Charles E. Curry (acquired through Sotheby’s, New York, New York, May 27, 1992, lot 112); Christie’s, New York, New York, September 27, 2011, lot 154

$50,000–$70,000

45 BRYSON BURROUGHS

Girls and Horses on Beach 1912 Oil on canvas Signed and dated lower center; retains Kennedy Galleries label verso Canvas: 18" x 36" Frame: 22" x 39.875" (Canvas: 46 x 91 cm) P ROVENA NC E Kennedy Galleries, Inc., New York, New York; Ralph Esmerian Collection, New York, New York; Leslie

48 DIMITRI HARALAMB CHIPARUS

A green patinated spelter figure c. 1930 Bronze Incised signature to base 9.75" x 21.375 x 6.125" (including base) (25 x 54 x 16 cm)

Hindman Auctioneers, Chicago, Illinois, December 11, 2011, lot 114

$3,000–$5,000

PROV EN A N C E Christie’s, London, United Kingdom, May 11, 2001, lot 269

$2,000–$3,000

46 WILLIAM JAMES GLACKENS Sacred Cow, Indiana

1912 Graphite and watercolor on paper board Signed in graphite lower right in composition; titled lower center sheet; signed, dated, and inscribed “W. J. Glackens April 13, 1912 I illustrated The Law, the Label, and the Liars” to label verso

49 JOE BROWN

Untitled (Boxer) 1937 Bronze with brown patina Fabricated by M. Scoma Foundry, New York

Composition: 5" x 8.5" Sheet: 10.875" x 12.625" Frame: 16.875" x 20.875" (Composition: 13 x 22 cm)

Etched signature and date inscribed “June 1937” to base

P ROVENA NC E Christie’s, New York, New

PROV EN A N C E Shannon’s Fine Art

York, September 15, 2005, lot 119

Auctioneers, Milford, Connecticut,

$2,000–$3,000

October 26, 2006, lot 218

4.75" x 8" x 6.875" (including base) (12 x 20 x 17 cm)

$2,000–$3,000

47 CARL SAMMONS

Desert at Palm Springs, Wild Flowers N.d.

Oil on canvas Signed lower right; titled in blue ink verso Canvas (vis.): 11.75" x 15.75" Frame: 20.5" x 24.5" (Canvas: 30 x 40 cm) P ROVENA NC E Larew’s Galleries, Evan-

50 PAUL HOWARD MANSHIP

Taurus and Libra (from the Zodiac Series) (2) 1946 Bronze Signed and dated Each: .75" x 6.25" diameter (2 x 16 cm)

ston, Illinois; Edward and Dorothy Espenshade, Jr., Madison, Wisconsin; Leslie

PROV EN A N C E Bonhams, Los Ange-

Hindman Auctioneers, Chicago, Illinois,

les, California, October 1, 2012, lot

December 11, 2011, lot 116

1106

$1,500–$2,000

$1,500–$2,000

37

Guy Wiggins Continuing in the landscape tradition of his father, Carleton Wiggins, Guy Wiggins began attracting critical attention early on. At the age of 20, Wiggins became the youngest American artist to be included in the New York Metropolitan Museum of Art’s permanent collection.

In the 1920s, Wiggins moved to join a group of painters who referred to themselves as “The Ten” in Old Lyme, Connecticut. During this period, Wiggins’ works began to reflect the styles of Childe Hassam and other members of The Ten, who pursued a hybrid blend of French and American Impressionist techniques, by emphasizing color and “luminosity.” Wiggins is best known for his wintery Manhattan cityscapes, which he often captured from Midtown office windows. His trademark works, such as Winter at the Library, elegantly convey “the feeling of snow quietly hushing the bustling city street.” Over the course of his career, Wiggins received numerous awards from prestigious institutions such as the Art Institute of Chicago and the Connecticut Academy of Fine Arts, among many others.

“Artist's Biography.” Guy Carleton Wiggins: Catalogue Raisonné, www.guycwiggins.com/bio.html.

39

51 GUY WIGGINS

Winter at the Library N.d.

Oil on canvas Signed lower left edge of canvas; signed and titled canvas verso Canvas: 25" x 30" Frame: 29" x 34" (Canvas: 64 x 76 cm) PROV EN A N C E Private Collection (acquired through William Doyle Galleries, New York, New York, April 13, 1988); Swann Auction Galleries, New York, New York, November 15, 2012, lot 30

$50,000–$70,000

53 ADOLF DEHN

A Summer Night N.d.

Oil on Masonite Signed lower right; titled verso; stamped “From the Personal Collection of Philip Desind” to canvas stretcher verso Masonite (vis.): 23.5" x 35.5" Frame: 29.625" x 41.75" (Masonite: 60 x 90 cm) PROV EN A N C E Sotheby’s, New York,

52

New York, March 14, 2001, lot 222

$2,000–$3,000

FRANZ KLINE

Little Red Bakery 1942 Oil on canvas Signed and dated lower right edge of canvas; initialed and dated canvas verso; titled frame verso Canvas: 15.75" x 21.625" Frame: 22.625" x 28.625" (Canvas: 40 x 55 cm) P ROVENA NC E Mr. and Mrs. Jacques Kline, Bristol, Pennsylvania; Sotheby’s, New York, New York, October 3, 1991, lot 1

$12,000–$15,000

54 JOSEPH STELLA

Red and Green Parrot Tulip N.d.

Silverpoint and crayon on paper Retains copy of Richard York Gallery label verso Composition/sheet (vis.): 10.125" x 7.625" Frame: 21.625" x 17.625" (Composition/sheet: 26 x 19 cm) PROV EN A N C E Irma Rudin, Ltd., New York, New York (acquired directly from the above, 1988); Sotheby’s, New York, New York, December 8, 2011, lot 265

$1,500–$2,000

55 JOSEPH STELLA

Chamomile Sprig and Leaf N.d.

Collage with natural leaves on paper Retains Pensler Galleries and Salander-O’ Reilly Galleries labels verso Composition/sheet: 8.875" x 6.375" Frame: 14.75" x 11.75" (Composition/sheet: 23 x 16 cm) PROV EN A N C E Pensler Galleries, Washington, D.C.; Leslie Hindman Auctioneers, Chicago, Illinois, December, 11, 2011, lot 96 EXH I B I TED “Joseph Stella: Paintings and Works on Paper,” Pensler Galleries, Washington, D.C., 1990

$1,000–$1,500

41

George Grosz in America Georg Groß was born in Berlin in 1893. While serving in World War I, Groß became disillusioned by what he saw as his nation’s depravity and changed his name to George Grosz out of “hatred of Prussian militarism” and with “a romantic enthusiasm for America.” Following the war, Grosz established a prolific reputation not only as a Dada artist, but as a political satirist.

Though he was a member of the German Communist Party, Grosz visited the Soviet Union in 1922 and became one of the few party members to actively denounce Stalin’s regime.

Upon being labeled an enemy of the state by the Nazi party and witnessing the slaughter of many of his colleagues, Grosz immigrated to the United States in 1933. The artist settled in New York and accepted a teaching position at the Art Students League. Based on his own account, Grosz found something “inexplicably exciting about [the Manhattan air], something that spurred [his] work onwards.” While pursuing painting, Grosz received great backlash for not continuing his “witty, extremely critical political” work stateside. One of Grosz’s biographers observed that “few people in America in the ‘30s” had seen “the dark side of human nature” to the extent that the artist had. Grosz knew that Americans thought of art as entertainment and that “in such a climate, his kind of art [could] have no place.” Left-wing intellectuals reportedly had expected the infamous German personality to “launch equally devastating assaults on American society and politics” and began to resent him when he refused to comply.

Grosz’s rosy Manhattan street scenes and cityscapes were shunned by the New York arts community. As the European societal fabric continued to tear and Grosz’s commercial potential quickly dimmed, the artist returned to oil painting to produce gloomy landscapes and still lifes. In a series of erotically

charged dune landscapes, such as his c. 1944 oil painting Nude on Beach (The artist’s wife), Grosz began to express his “fascination with nature as an artistic topic.” The quiet character of this study further aggravated his former admirers. Concurrently, Grosz began illustrating short stories as well as issues of Esquire and Vanity Fair. Despite having long admired the “simplicity and normality” of American illustration, Grosz was never quite able to assimilate his style and was underwhelmed by the “stamp-size” publications of his labors. Grosz increasingly identified with old-world artists such as Hieronymus Bosch and Pieter Bruegel, whose apocalyptic “premonitions of the Thirty Years’ War inspired him on the eve of World War II.” Throughout the war Grosz painted what he labeled “images of hell,” in which beauty ceases in the face of human barbarity.

The end of the war brought about Grosz’s series of “post-nuclear creatures without bodies.” These “Stickmen” signaled Grosz’s ultimate feeling of defeat. Near the end of his life, the artist sadly conceded that although “it was a very pretty iridescent one,” his “American Dream turned out to be a soap bubble.'' While Grosz’s legacy in the United States has been largely overlooked, his influence has recently been linked to prominent social realists as well as early episodes of Abstract Expressionism.

43

56 GEORGE GROSZ

Nude on Beach (The artist’s wife) c. 1944 Oil on paper mounted to Masonite Signed lower right edge of panel Masonite: 19.625" x 14" Frame: 28" x 22.375" (Masonite: 50 x 36 cm)

O'Neill, William L. “America Was Not His Medium.” The New York Times, 4 Sept. 1988.

Schus­ter, Peter-Klaus. “George Grosz: The Years in America 1933-1958.” Galerie

PROV EN A N C E Christie’s, New York,

Judin, www.galeriejudin.com/exhibitions/2009/george-grosz/about.html.

New York, November 8, 2000, lot 47

$10,000–$15,000

58 GEORGE GROSZ

Standing Female Nude Seen From the Rear N.d.

Chalk, pen, and ink on paper Signed lower right sheet; retains Vera Lazuk Gallery label frame verso Composition/sheet: 20" x 13" Frame: 27" x 19.5" (Composition/sheet: 51 x 33 cm) PROV EN A N C E Vera Lazuk Gallery, Cold Spring Harbor, New York; Doyle, New York, New York, November 30, 2005, lot 255

$3,000–$5,000

45

57 GEORGE GROSZ Seated Nude

N.d.

Oil on paper laid down to canvas Signed lower right Canvas: 22.875" x 15.5" Frame: 34.625" x 27.125" (Canvas: 58 x 39 cm)

59 GEORGE GROSZ

Untitled (Nude Woman) N.d.

Charcoal on paper Signed lower right sheet; stamped “George Grosz Naschlaß” and inscribed “5 38 6” sheet verso Sheet (vis.): 16" x 9.5" Frame: 25.5" x 21.25" (Sheet: 41 x 24 cm)

P ROVENA NC E Sotheby’s, New York, New York, December 19, 2003, lot

PROV EN A N C E Sotheby’s, Milan, Italy,

1052

May 27, 2003, lot 78

$10,000–$15,000

$4,000–$6,000

62 PAUL SIEFFERT La Coiffure

60 ALONZO HAUSER Kneeling Nude 1959 Limestone Signed and dated to base 37" x 18" x 16.25" (94 x 46 x 41 cm) P ROVENA NC E Kramer Gallery, St. Paul, Minnesota

$2,000–$3,000

c. 1939 Oil on canvas Signed lower left edge of canvas; signed and inscribed “No. 344” canvas verso; retains unknown information label canvas stretcher verso Canvas: 24" x 20" Frame: 31" x 26.75" (Canvas: 61 x 51 cm) PROV EN A N C E Sotheby’s, London, United Kingdom, May 11, 2005, lot 289

$6,000–$8,000

63 WALT KUHN

Reclining Woman 1928 Ink on paper Signed and dated lower left sheet in composition Sheet (vis.): 9.5" x 13.5" Frame: 15" x 19.625" (Sheet: 24 x 34 cm) PROV EN A N C E Otto and Eloise Spaeth, New York, New York (acquired directly from the artist); Thence by descent; Sotheby’s, New York, New York, December 19, 2003, lot 1009

$1,000–$1,500

61

64

REGINALD MARSH

ANDERS ZORN

Female Nude; Male Nude (2) 1947 Black crayon on paper One initialed and dated in graphite lower right in composition Composition/sheet (vis.): 10.625" x 7.875" Frame: 17.125" x 14.125" Composition/sheet (vis.): 10.5" x 8" Frame: 17.125" x 14.125" (Composition/sheet: 27 x 20 cm)

The Three Graces 1910 Etching on paper Unknown edition size Signed in graphite lower right margin beneath image; dated in plate Image: 6" x 4.5" Sheet (vis.): 8.125" x 6.75" Frame: 18" x 15.5" (Image: 15 x 11 cm) L I TERATU R E Zorn Engravings: A

P ROVENA NC E Sotheby’s, New York,

Complete Catalogue. B. Hjert and S.

New York, September 23, 2005, lot

Hjert. 1980. #257.; Zorn’s Engraved

248

Work. Vol. II. K. Asplund. 1990. #236.

$2,000–$3,000

$500–$700

47

Milton Avery 65 MILTON AVERY

Mother and Child by the Sea 1944 Watercolor on paper Signed and dated lower left edge of sheet; retains Riva Yares Gallery label frame verso Composition/sheet (vis.): 21.5" x 29.75" Frame: 30" x 38" (Composition/sheet: 55 x 76 cm) P ROVENA NC E Riva Yares Gallery, Scottsdale, Arizona

$60,000–$70,000

Milton Avery began his study of abstract form at a time when such a style was certainly not popular in the United States. Deemed the “American Matisse,” Avery was highly influenced by the expressiveness of French Fauvism, whose members used color to express emotion rather than accurately represent their subject, though Avery’s color palette tended more towards the subtle pastels favored by the Impressionists than the bold colors of the Fauvists. He combined this with the “untutored look” of folk art to create a new brand of American modernism. His works are often described as airy and full of whimsy, and in his landscapes, still lifes, and figure studies, Avery examined the most basic forms of his subjects by flattening his volumes to the point of almost eliminating any sense of perspective. To realize his characteristically lyrical mood, Avery purposely left out “unnecessary” realistic details, that in his opinion, “disorganized space in the canvas.” Avery’s prominent influence can easily be read in the work of later Color Field painters like Mark Rothko and Adolph Gottlieb, who extended Avery’s simplification of form to its natural end point.

66 MILTON AVERY Sleeping Nude

1958 Flobrush and ink on paper Signed and dated lower left sheet; retains Comsky Gallery label frame verso Composition/sheet: 13.875" x 16.75" Frame: 20.25" x 23.25" (Composition/sheet: 35 x 43 cm) PROV EN A N C E Barbara Walbridge, La

Chastain, C. “Avery, Milton Clark (1885-1965), artist.” American National Biography, Feb, 2000.

Jolla, California; Thence by descent; Christie’s, New York, New York, September 27, 2011, lot 53

$3,000–$5,000

49

67 MILTON AVERY Nude with Stool

1952 Felt-tip marker on paper Signed and dated lower right; retains The Pollock Gallery and Waddington Galleries labels frame verso Sheet: 16.75" x 13.75" Frame: 26.5" x 22.5" (Sheet: 43 x 35 cm) PROV EN A N C E The Pollock Gallery, Toronto, Canada; Christie’s, New York, New York, June 22, 2011, lot 170

$3,000–$5,000

68

71

RICHARD LINDNER

LOUIS DUROT

1964 Pastel, colored pencil, and graphite on vellum

Studio, designed c. 1994

Untitled (Nude Art)

Signed and dated lower right; retains Cordier & Ekstrom, Inc. and Donald Morris Gallery labels frame verso Composition/sheet (vis.): 9" x 5.75" Frame: 18.25" x 14.25" (Composition/sheet: 23 x 15 cm)

Saint Siège chair 38.625" x 21.625" x 28.625" (98 x 55 x 73 cm) PROV EN A N C E Phillips de Pury & Company, New York, New York, December 17, 2005, lot 24

$4,000–$6,000

P ROVENA NC E Cordier & Ekstrom, Inc., New York, New York; Donald Morris Gallery, Detroit, Michigan; Private Collection, Pacific Northwest; Bonhams & Butterfields, San Francisco, California, March 20, 2011, lot 5114

$3,000–$5,000

69 PHILIP PEARLSTEIN Seated Nude

1970 Watercolor on paper Signed and dated lower right edge of sheet

51

Composition/sheet (vis.): 19.5" x 23.25" Frame: 24.75" x 28.625" (Composition/sheet: 50 x 59 cm) P ROVENA NC E Bonhams & Butterfields, Los Angeles, California, May 2, 2004, lot 3059

$2,000–$3,000

72 70 PHILIP PEARLSTEIN

Seated Nude with Arm Over Head 1970 Graphite on paper Signed and dated lower right edge of sheet; retains Allan Frumkin Gallery label frame verso Sheet (vis.): 23.5" x 18.5" Frame: 30.5" x 25.5" (Sheet: 60 x 47 cm) P ROVENA NC E Allan Frumkin Gallery,

GEORGE SEGAL

Gazing Woman (From An American Portrait 1776-1976) 1975 White cast plastic relief #14 of 50 artist’s proofs aside from the edition of 175 Published by Transworld Art, New York Signed and dated in red felt-tip pen with edition in Roman numerals lower left 26" x 19.25" x 4.5" (66 x 49 x 11 cm)

New York, New York; The Estates of Elly and Jock Elliot; Sotheby’s, New York, New

PROV EN A N C E Christie’s, New York,

York, September 12, 2007, lot 293

New York, September 19, 1992, lot 215

$1,500–$2,000

$800–$1,200

ILLUSTRATED PREVIOUS PAGE

73 MARTIN EDER

Untitled (483MEgirl10/03) (from Memoirs of My Nervous Illness) 2003 Watercolor and graphite on paper Signed and dated lower left; titled with artist’s stamp sheet verso Composition/sheet: 11.25" x 8.75" Frame: 13.75" x 11.375" (Composition/sheet: 29 x 22 cm) PROV EN A N C E Frederick Freiser Gallery, New York, New York; Christie’s, London, United Kingdom, February 9, 2007, lot 374

$3,000–$5,000

74 MARTIN EDER

Untitled (736MEgirl03/06) 2006 Watercolor and graphite on Arches paper Signed and dated lower right; retains Galerie EIGEN + ART label frame verso Composition/sheet: 11.25" x 9" Frame: 14.75" x 11.75" (Composition/sheet: 29 x 23 cm) PROV EN A N C E Galerie EIGEN + ART, Berlin, Germany; Phillips, New York, New York, March 9, 2009, lot 91

$2,000–$3,000

75 MARTIN EDER Der Plan

2005 Charcoal and graphite on paper Titled upper right edge of sheet; signed and dated lower right Composition/sheet: 24.75" x 19" Frame: 27.75" x 22" (Composition/sheet: 63 x 48 cm) PROV EN A N C E Galerie EIGEN + ART, Berlin, Germany; Christie’s, New York, New York, February 28, 2007, lot 157

$2,000–$3,000

53

76 BERENICE ABBOTT

Blossom Restaurant, 103 Bowery, Lower East Side, New York

79 PARTIAL ILLUSTRATION

VARIOUS ARTISTS Photographie (11)

1935; this example printed 1979 Gelatin silver print

1930-1947 Spiral bound magazines

#58 of 60

Published by Édition Arts et Métiers Graphiques, Paris

Published and printed by Parasol Press, Ltd., New York Signed in graphite lower right mount beneath image; edition lower left; retains Parasol Press stamp mount verso Image/sheet: 18.125" x 23.125" Mount (vis.): 19.25" x 24.125" Frame: 28.25" x 33" (Image/sheet: 46 x 59 cm)

Each: 12.375" x 10.25" (Each: 31 x 26 cm) PROV EN A N C E Christie’s, Geneva, Switzerland, November 13, 2000, lot 190

$4,000–$6,000

P ROVENA NC E Phillips, New York, New York, March 10, 2007, lot 285

$3,000–$5,000

77 55

RALPH STEINER

Forty-Second Street Looking Towards Second Avenue c. 1922; this example printed 1981 Gelatin silver print Signed and dated sheet verso Image/sheet (vis.): 3.5" x 4.375" Mount: 20" x 16" (Image/sheet: 9 x 11 cm)

$800–$1,200

80 BERT STERN 78

Marilyn Monroe with Roses (from the Last Sitting)

YOUSUF KARSH

Lincoln’s Death Mask

1962 Screenprint on gold foil paper

N.d.

Gelatin silver print

Artist’s proof aside from the edition of 300

Image/sheet: 19.75" x 14" Mount: 28" x 20" (Image/sheet: 50 x 36 cm)

Signed lower right margin beneath image; edition lower left Image/sheet: 40" x 32" (Image/sheet: 102 x 81 cm)

P ROVENA NC E Lawrence Rubin/ Greenberg Van Doren Fine Art, New

PROV EN A N C E Leslie Hindman

York, New York; Christie’s, New York,

Auctioneers, Chicago, Illinois,

New York, July 22, 2010, lot 31

September 12, 2011, lot 1261

$1,000–$1,500

$1,500–$2,000

82 RICHARD BILLINGHAM NRAL 8

81

1996 SFA 4 color photograph mounted to aluminum

JOHN MARGOLIES

#2 of 7

Selected Images of American Popular Culture (10) 1978-1981 Ektacolor photographs Each signed, titled, and dated in black ink sheets verso; one numbered “1/4” verso; four with handwritten credit in graphite in the margin; nine retain Viart Corporation labels verso Comprised of Milk Can Drive-In, Route 146, Lincoln, Rhode Island (1978); Richfield Gas, Route 66, Cucamonga, California (1978); The Wigwam Lodge, Tempe, Arizona (1979); Harold’s Auto Center, Route 19, Spring Hill, Florida (1979); Big Fish Supper Club, Bena, Minnesota (1980); Standard Service Station, Brooklyn, Iowa (1980); Standard Gas, Bena, Minnesota (1980); Hub Cap Corner, Dishman, Washington (1980); Lakewood Drive-In Theater, Carson Street, Lakewood, California (1981); and Star View Drive-In Theater, Route 61, Cape Girardeau, Missouri (c. 1981) Images/sheets (vis.) each: 12.625" x 18.75" (or alternate orientation) Frames each: 22.25" x 28.25" (or alternate orientation) (Images/sheets: 32 x 48 cm) P ROVENA NC E Viart Corporation, New York, New York; Christie’s, New York, New York, January 13, 2009, lot 486 LITERATURE The End of the Road.

J. Margolies. 1977. #19, 21, 25, 53, 81, 91, and 118.; Pump and Circumstance: Glory Days of the Gas Station. J. Margolies. 1993. 67.; Home Away from

Signed and dated with edition in black felt-tip marker verso; retains Luhring Augustine label verso 47.25" x 31.5" (120 x 80 cm) PROV EN A N C E Phillips de Pury & Company, New York, New York, January 25, 2012, lot 226

$1,000–$1,500

57

83 OLIVER WASOW #245

1990 Cibachrome print #1 of 3 Signed, titled, and dated with edition in black felt-tip marker verso; retains Josh Baer Gallery and Holly Solomon Gallery labels verso Image/sheet (vis.): 23.375" x 15.75" Frame: 25.625" x 18.125" (Image/sheet: 59 x 40 cm)

Home: Motels in America. J. Margolies. 1995. 82.; Roadside America:

PROV EN A N C E Estate of Holly Solo-

Architectural Relics from a Vanishing

mon; Bonhams & Butterfields, Los

Past. J. Heimann, ed. 2010. Cover,

Angeles, California, November 6,

42-43, and 217.

2005, lot 739

$3,000–$5,000

$400–$600

84 CANDIDA HÖFER

Spiegelkantine, Hamburg III 2000 Chromogenic print #11 of 100 Retains signed label with printed title, date, and edition frame verso Image: 19.625" x 19.625" Sheet (vis.): 28.625" x 28.625" Frame: 30" x 30" (Image: 50 x 50 cm) P ROVENA NC E Sotheby’s, London, United Kingdom, February 9, 2006, lot 466

$3,000–$5,000

86 ROBERT MAPPLETHORPE Tampa Orchids

1985-1986 Photogravure and screenprint with aluminum glitter appliqué on paper #45 of 60 Published and printed by Graphicstudio, Tampa Signed and dated in graphite lower center edge of sheet; edition lower left Image/sheet: 21.375" x 35" (Image/sheet: 54 x 89 cm) L I TERATU R E Graphicstudio: Contemporary Art from the Collaborative Workshop. R. Lee. 1991. #148.

$4,000–$6,000

85 CRAIG KALPAKJIAN Corridor

1997 Cibachrome print mounted to aluminum #1 of 6

87 MARIO TESTINO Ipanema Beach

Retains Robert Miller Gallery label verso

1998 Dye-destruction print mounted to Plexiglas in artist’s frame

29.125" x 39" (74 x 99 cm)

Retains Mary Boone Gallery label verso

P ROVENA NC E Robert Miller Gallery,

23.875" x 35.25" (61 x 90 cm)

New York, New York; Christie’s, New York, New York, April 24, 2006, lot 232

PROV EN A N C E Mary Boone Gallery, New York, New York; Christie’s, New

LITERATURE Craig Kalpakjian: Intel-

York, New York, January 10, 2006,

ligence. S. Najafi, ed. 2017. 9.

lot 243

$2,000–$3,000

$3,000–$5,000

59

88 JUSTINE KURLAND Circus Scene

2002 Color coupler print From an edition of 100 Image/sheet (vis.): 14.5" x 18.5" Mount: 20" x 24" (Image/sheet: 37 x 47 cm) P ROVENA NC E Phillips de Pury & Company, New York, New York, April 8, 2006, lot 45

$500–$700

89 JESSICA CRAIG-MARTIN Amfar Benefit, Cannes 2000 Chromogenic print #3 of 5

61

Signed in black ink verso; retains Lawrence Rubin/Greenberg Van Doren Fine Art labels frame verso Image/sheet: 20" x 27.5" Frame: 23.75" x 31.25" (Image/sheet: 51 x 70 cm)

91

P ROVENA NC E Lawrence Rubin/

Plates from The American League Stadiums Portfolio (3)

Greenberg Van Doren Fine Art, New York, New York; Christie’s, New York, New York, July 22, 2010, lot 43

$800–$1,200

90 RICHARD AVEDON The Beatles

1967 Offset lithograph on paper Co-published by Cowles Education Corporation, Richard Avedon Posters, Inc., and Maximus Enterprises Ltd., New York; printed by Waterlow & Sons, Ltd., London Image/sheet (vis.): 14.25" x 39.75" Frame: 18.125" x 43.75" (Image/sheet: 36 x 101 cm)

$300–$500

JIM DOW

1982 Ektacolor triptych photographs Each: #25 of 40 Each signed, titled, and dated with edition in ink verso; each retains Viart Corporation labels verso; two retain Cleveland Museum of Art tags verso Comprised of The Hubert H. Humphery Metrodome, Minneapolis; Alameda County Coliseum, Oakland; and Arlington Stadium, Arlington Images/sheets (vis.) each: 8.125" x 9.875" (or alternate orientation) One frame: 18.25" x 32.25" Two frames: 16.25" x 38.25" (Images/sheets each: 21 x 25 cm) PROV EN A N C E Christie’s, New York, New York, May 19, 1999, lot 50

$1,500–$2,000

95 STEPHEN FRAILEY

Untitled (Man with Playing Cards)

92

1988 Chromogenic print

LUCIANO

#19 of 50

Burano, Italy

Signed and dated with edition in graphite lower margin

c. 1999 Photograph

Image/sheet (vis.): 13.125" x 13.125" Frame: 22.625" x 20.75" (Image/sheet: 33 x 33 cm)

#61 of 250 Signed in graphite lower right mount; edition lower left mount

PROV EN A N C E The Estate of Rita K.

Image/sheet (vis.): 23.625" x 19.5" Mount: 31.75" x 25.625" Frame: 34.625" x 28.75" (Image/sheet: 60 x 50 cm)

Hillman; Christie’s, New York, New York, January 14, 2009, lot 479

$100–$200

$100–$200

96 93

ERIC L. ALTENBERG Concatenation #11

GENE YOUNG

Canal Reflection, Burano, Italy, July 1992

N.d.

Digital print

1992 Photograph

Image: 13.75" x 21" Sheet (vis.): 18.375" x 23.375" Frame: 19.125" x 24.25" (Image: 35 x 53 cm)

Signed in graphite to mount; signed and titled in blue felt-tip marker on artist’s documentation sheet verso

$300–$500

Image/sheet (vis.): 15.75" x 19.75" Mount (vis.): 21.625" x 27.625" Frame: 23" x 29" (Image/sheet: 40 x 50 cm)

97

$100–$150

COLE WESTON

Think of Color as Form Portfolio 1983-1988 The complete portfolio of 10 Cibachrome prints

94

Each signed and dated to mount

STUART KLIPPER

Comprised of Punts, Le Quesnoy, France (1983); Pump, Arles, France (1983); Nude and Lava, Hawaii (1983); Hawaii (1983); Kelp, Point Lobos (1985); Tar, North Carolina (1985); Nacimiento River (1986); Eroded Rock, Bean Hollow Beach (1986); Combine, Missouri (1987); and Nude, Hawaii (1988)

Antarctica #109

c. 1990 Ektacolor Plus print Retains Viart Corporation labels verso Image/sheet (vis.): 17.625" x 56" Frame: 27.25" x 65" (Image/sheet: 45 x 142 cm)

Images each: Various dimensions Mounts each: 22" x 28" (or alternate orientation) Frame: 22.25" x 28.25" Portfolio box: 22.5" x 28.5" x 1.25"

P ROVENA NC E Robert Burge Gallery, New York, New York; Bonhams, London, United Kingdom, April 26, 2006, lot 175

$200–$400

PARTIAL ILLUSTRATION

$5,000–$7,000

63

98 65

JASPER JOHNS

Casts from Untitled Portfolio (7) 1974 Lithographs on Laga Narcisse paper A: #34 of 48; B: #46 of 49; C: #34 of 50; D: #30 of 49; E: #45 of 47; F: #45 of 50; G: #45 of 47

99

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

Bull I-VI (6)

Each signed and dated lower center margin beneath image; edition with Gemini G.E.L. blind stamps lower left edge of sheet Comprised of A: HandFootSockFloor; B: Face; C: Torso; D: Buttocks; E: Feet; F: Leg; and G: Knee Sheets each: 31" x 22.5" Frames each: 34" x 25.75" (Sheets each: 79 x 57 cm) Gemini G.E.L. #26.62, 26.64, 26.66, 26.68, 26.70, 26.72, 26.74

AFTER ROY LICHTENSTEIN 1989 Glazed porcelain plates #41 of 50 Published by Artists to End Hunger, Inc., New York; fabricated by Charlotte Potok, Plainfield Each with printed signature and title verso; edition inscribed in felttip pen verso Each: 12.75" x 12.75" (Each: 32 x 32 cm) These plates were published to bene-

P ROVENA NC E Sotheby’s, New York,

fit the International Art Show for the

New York, May 17, 1997, lot 1133

End of World Hunger.

LITERATURE The Prints of Jasper

L I TERATU R E The Prints of Roy

Johns 1960-1993: A Catalogue

Lichtenstein: A Catalogue Raisonné,

Raisonné. R. Field. 1994. #132, #134,

1948-1993. 1st ed. M. Corlett. 1994.

#136, #138, #140, #142, #144.

#116-121.

$15,000–$20,000

$6,000–$8,000

101 FRANK STELLA

Dieuze (from Dusseldorf Proposal-First Edition) 1992 Stainless steel and bronze on aluminum and mixed-media base From an edition of 5 Published by Akira Ikeda, Tokyo Retains etched signature and date 18" x 29" x 29" (as illustrated) (46 x 74 x 74 cm) PROV EN A N C E Earl Childress, New York, New York (acquired directly from the artist); Sotheby’s, New York, New York, October 6, 2005, lot 139

$8,000–$12,000

100 JAMES ROSENQUIST House of Fire

1989 33-color pressed paper pulp work with lithography collage elements on white Rives BFK paper adhered to handmade white TGL paper #46 of 54 Published and printed by Tyler Graphics, Ltd., Mt. Kisco Signed and dated lower right edge of sheet; titled with edition lower left Image/sheet (vis.): 54.25" x 119.25" Frame: 57.625" x 122.75" (Image/sheet: 138 x 303 cm) LITERATURE Time Dust: James Rosenquist Complete Graphics: 19621992. C. Glenn. 1993. #223.

$15,000–$20,000

67

69

102 TOM WESSELMANN

Steel Drawing Edition: Monica Sitting Cross-Legged 1986-1990 Laser-cut steel with alkyd oil #20 of 25 Published by the artist and Sidney Janis Gallery, New York Signed, titled, and dated with edition verso Composition: 9.75" x 9.125" Frame: 16.5" x 15.75" (Composition: 25 x 23 cm)

103 TOM WESSELMANN

Steel Drawing Edition: First Rosemary Drawing 1990 Laser-cut steel with alkyd oil #24 of 25 Retains etched signature and edition verso; titled and dated in black felt-tip pen verso 9" x 14" (23 x 36 cm) PROV EN A N C E Sotheby’s, London,

P ROVENA NC E Christie’s, New York,

United Kingdom, March 28, 2006,

New York, May 14, 1997, lot 889

lot 441

$15,000–$20,000

$10,000–$15,000

104 TOM WESSELMANN

Big Blonde with Choker 1992 26-color screenprint on 4-ply natural white Archivart board #77 of 90 Published by International Images, Inc., Putney; printed by Screened Images, Port Washington Signed with edition in graphite lower right edge of sheet; retains Screened Images and International Images blind stamps lower left Image: 40.25" x 62" Sheet (vis.): 48.75" x 69.25" Frame: 53.625" x 74" (Image: 102 x 157 cm) P ROVENA NC E Sotheby’s, London, United Kingdom, March 28, 2006, lot 442 LITERATURE Tom Wesselmann: Works on Paper, Laser-Cut Steels and Screenprints. Samuel Vanhoegaerden Gallery

105 TOM WESSELMANN Seascape

1984 Glazed porcelain plaque

exh. cat. 2008. 64-65.

#294 of 500

$12,000–$15,000

Published by Rosenthal, Selb Signed lower right; retains Rosenthal label with edition and facsimile signature mount verso Together with original box and certificate Plaque: 15.5" x 17.75" Mount: 19" x 20.5" (Plaque: 39 x 45 cm)

$2,000–$3,000

106 TOM WESSELMANN Blonde Vivienne (4)

1985 Glazed porcelain dishes Published by Rosenthal, Selb Each retains facsimile signature verso Together with original boxes Each: 12.125" diameter (Each: 31 cm)

$3,000–$5,000

71

109 107

PARTIAL ILLUSTRATION

VARIOUS ARTISTS One Cent Life

LARRY RIVERS

1964 Color lithographs on wove paper

1970 The complete set of 13 screenprints with embossing and collage on paper

#158 of 2,000

Boston Massacre

Published by E.W. Kornfeld, Bern; printed by Maurice Beaudet, Paris Facsimile signature and red artist’s seal of Walasse Ting, Sam Francis, and E.W. Kornfeld to justification page

Printer’s proof aside from the edition of 150 Published by Marlborough Graphics, New York; printed by Styria Studio, New York

Together with printed dust jacket and red cloth slip case

Each signed with edition lower right edge of sheet

Folded sheets each: 16.125" x 11.375" Full sheets each: 16" x 22.75" Slip case: 16.75" x 12" x 1.675" (Folded sheets each: 41 x 29 cm)

Twelve: Sheets each: 19.125" x 27.625" Frames each: 21" x 31" One: Sheet: 19.125" x 44.5" Frame: 21" x 46.5" (Twelve: 49 x 70 cm)

PROV EN A N C E Private Collection, New Jersey (acquired directly from the artist); Freeman’s Auctioneers &

P ROVENA NC E Christie’s, New York,

Appraisers, May 12, 2012, lot 112

New York, February 8, 2005, lot 400

$2,000–$3,000

$2,000–$3,000

73

108 VARIOUS ARTISTS

Plates from Ten from Leo Castelli (6) 1968 Various mediums Each: #46 of 200

110

Published by Tanglewood Press, Inc., New York

ROBERT INDIANA

Each signed and dated with edition

Master Contemporary Original Artist Rugs, designed c. 1995

Chosen Love

Comprised of Silkscreen (Lee Bontecou); Model (Robert Morris); Untitled (Larry Poons); Passport (Robert Rauschenberg); Sketch for Forest Ranger (James Rosenquist); and Fortin de las Flores (Frank Stella)

Skein dyed hand-carved and hand-tufted archival New Zealand wool on stretched canvas with natural latex backing #257 of 300

Together with portfolio box

Signed in the weave “R. Indiana” lower right; retains manufacturer’s label with artist’s signature and edition verso

Various dimensions Portfolio box: 25.25" x 21.375" x 8.75" P ROVENA NC E Bonhams & Butter-

72" x 72" (183 x 183 cm)

fields, San Francisco, California, May 20, 2008, lot 344

$3,000–$5,000

$5,000–$7,000 PARTIAL ILLUSTRATION

111 PARTIAL ILLUSTRATION

ROBERT RAUSCHENBERG Opal Gospel

113

1971-1972 Color screenprints on 10 acrylic panels in Lucite base

RICHARD HAMILTON

Exhibition posters (24) A: 1976; B: 1993; C: 1983 Offset lithographs on paper

#228 of 230 Published by Racolin Press, Inc., Briarcliff Manor; printed by Styria Studio, Inc., New York

Published by Fruit Market Gallery, Edinburgh, Tate Gallery, London, and The British Council, Venice

Each with etched signature and edition lower right edge of panels

Comprised of A: Hamilton: Paintings, Pastels, Prints, Fruit Market Gallery, Edinburgh (16); B: Richard Hamilton, XLV Biennale di Venezia (6); and C: Richard Hamilton: Image and Process, Tate Gallery (2)

19" x 24" x 7" (48 x 61 x 18 cm) P ROVENA NC E Eckert Fine Art, Naples, Florida

A: Various dimensions B: Images/sheets each: 33" x 23.375" C: Images each: 24.5" x 18.75" Sheets each: 30" x 20" Frames each (2): 34.375" x 24.125"

$5,000–$7,000

PROV EN A N C E Gordon House Collection, London, United Kingdom; Chris-

112

tie’s, London, United Kingdom, April 12, 2006, lot 150

EDUARDO PAOLOZZI

$2,500–$3,500

General Dynamic F.U.N., Volume II of the Moon Strips Empire News (50)

75

1972 Color screenprints and photolithographs on paper

114

#192 of 350

VARIOUS ARTISTS

Published by Editions Alecto, London; printed by Richard Davis Ltd., London, and Alecto Studios, London

American Portfolio

1980 The complete portfolio of six color lithographs on Arches paper

Signed with edition in black ink to title page; each sheet retains stamped title, date, publisher’s and printer’s stamps, and facsimile of the artist’s signature verso; six signed with edition in graphite lower edge of sheet

#135 of 150 Published by London Arts, Inc., Detroit; printed by Joseph Kleinman Fine Arts Printing, New York, and Fine Creations, Inc., New York

Comprised of 19 framed works and 31 unframed works

Each signed with edition; some titled and dated

Together with justification page, introduction by J.G. Ballard, and original portfolio box

Comprised of In the Garden (Romare Bearden); City Scene I (Lester Johnson); John (Alice Neel); Judgement of Paris with 1924 Lagonda (Henry Pearson); Streets Paved in Moonlight and Candlelit Cafes (Sharon Sutton); and Circe II (Will Barnet)

Images/sheets each: 15" x 10" (or alternate orientation) Frames each: 22.75" x 17.75" (or alternate orientation) Portfolio box: 15.75" x 11.125" x 1.75" (Images/sheets each: 38 x 25 cm)

Together with cover page Largest (Circe II): Sheet: 29.75" x 22" Smallest (John): Sheet: 27.5" x 21.25" (Circe II: 76 x 56 cm)

P ROVENA NC E Sotheby’s, London, United Kingdom, October 6, 2003, lot 282

$1,500–$2,000

$3,000–$5,000 PARTIAL ILLUSTRATION

PARTIAL ILLUSTRATION

115 ROBERT DOWD World’s Fair

N.d.

Acrylic on canvas Retains Art Exchange Gallery label canvas verso Canvas (vis.): 47.5" x 59.5" Frame: 50.375" x 62.25" (Canvas: 121 x 151 cm) P ROVENA NC E Bonhams & Butterfields, Los Angeles, California, November 23, 2010, lot 1133

$3,000–$5,000

116 117

VARIOUS ARTISTS

New York International Portfolio (10)

LOUISE NEVELSON Façade Portfolio

1965-1966 Various mediums #71 of 226 PARTIAL ILLUSTRATION

Published by Tanglewood Press, Inc., New York

1966 The complete portfolio of 12 color screenprints with collage on paper and acetate Artist’s proof aside from the edition of 125

Edition to justification page; most sheets signed with edition; some dated

Co-published by Harry N. Abrams, New York, and Pace Gallery, New York; printed by Chiron Press, New York

Comprised of Boom-Boom (Arman); Sketch for Tanglewood Press (Mary Bauermeister); Eddy (Sylvie’s Brother) in the Desert (Öyvind Fahlström); Two-Sided Movement (John Goodyear); Print Collage (Charles Hinman); Self (Allen Jones), Lithograph (Robert Motherwell); Abstract Print (Ad Reinhardt); Somewhere to Light (James Rosenquist); and Sam’s Art (Saul Steinberg)

Signed with edition to justification page; sheets each signed and dated with edition; some retain printer’s blind stamp Together with original portfolio box With text by Edith Sitwell Sheets each: 23" x 17.5" Portfolio box: 24.5" x 18.75" x 1.625" (Sheets each: 58 x 44 cm)

Together with original portfolio box Sheets each: 22" x 17" (or alternate orientation) Portfolio box: 23.25" x 18.125" x 2" (Sheets each: 56 x 43 cm)

PROV EN A N C E Christie’s, Amsterdam, The Netherlands, May 30, 2006, lot 155

P ROVENA NC E Sotheby’s, New York, New

L I TERATU R E Nevelson: The Prints.

York, November 2, 2006, lot 670

G. Baro. 1974. #71-82.

$3,000–$5,000

PARTIAL ILLUSTRATION

$4,000–$6,000

77

120 PETER MAX

Self Portrait #1

118 MARIE-LUISE HELLER Dia Object (2)

c. 1972 Spray paint on Plexiglas Each stamped “heller” Each: 12" x 12" x 4" (Each: 30 x 30 x 10 cm) LITERATURE Serielle Formationen 1967-2017. R. Wiehager, ed. 2017.

137-138, 179 for similar examples illustrated.

1969 Acrylic and screenprint on canvas Signed and dated in black felt-tip marker upper left; retains William Zierler Gallery label verso Canvas: 24.125" x 24.25" Frame: 25.25" x 25.5" (Canvas: 61 x 62 cm) PROV EN A N C E William Zierler Inc., New York, New York; Christie’s, New York, New York, January 10, 2006, lot 54

$3,000–$5,000

$2,000–$3,000

119

121

ENZO MARI

PETER MAX

Otto, L’Oca (from Serie Della Natura) 1967 Serigraph on Texilina with aluminum borders

Liberty Head N.d.

Mixed-media on paper Signed lower right sheet

Manufactured by Edizioni Danese, Milan

Composition/sheet: 17" x 13" Frame: 29" x 25" (Composition/sheet: 43 x 33 cm)

Printed title, artist name, publisher, and date upper left

PROV EN A N C E The Estate of Norman

21.875" x 44.25" (56 x 112 cm)

Korswold, Orlando, Florida; Leslie Hindman Auctioneers, Chicago, Illinois, December 18, 2012, lot 496

P ROVENA NC E Quittenbaum

L I TERATU R E The Universe of Peter

Kunstauktionen, Munich, Germany,

Max. P. Max. 2013. 174-177 for similar

February 26, 2013, lot 107A 1258

examples illustrated.

$800–$1,200

$800–$1,200

79

123 MARCOS MARIN

Untitled (Sophia Loren) c. 2012 Pietre dure, stone, and marble #1 of 10 60.25" x 30.5" x 1" (153 x 77 x 3 cm) PROV EN A N C E Avant Gallery, Miami, Florida

$1,000–$1,500

81

122 RUSSELL YOUNG

Marilyn Glamor (White and Suicide Pink) 2010 Acrylic, enamel, and diamond dust screenprint on linen Signed, titled, and dated verso; retains Modernmasters Fine Art & Brokerage label verso 37.25" x 29.25" (95 x 74 cm) P ROVENA NC E Modernmasters Fine Art and Brokerage, Indianapolis, Indiana

$6,000–$8,000

124 JONI MITCHELL Turbulent Indigo

N.d.

Lithograph on paper Artist’s proof Signed in graphite lower right margin beneath image; edition lower left Image: 25.5" x 21.75" Sheet (vis.): 31.5" x 25.5" Frame: 33.25" x 27.25" (Image: 65 x 55 cm)

$1,000–$1,500

Disaster in the Everyday: The Houses of Jennifer Bartlett Perhaps best known for her monumental work Rhapsody (1975-1976), Jennifer Bartlett has explored the foundations of the painting medium for over forty years. As a young artist, Bartlett was impressed by Sol LeWitt’s 1967 essay “Paragraphs on Conceptual Art,” and became fascinated with artistic applications of Chaos Theory.

Bartlett has worked with “every conceivable medium,” including more unlikely candidates such as jewelry, theater design, and fiction writing. Despite being one of the most commercially successful female artists of the 1970s, Bartlett has long been overlooked. Over the past decade, however, scholars have begun to reappraise her work. Bartlett’s first major museum survey, “History of the Universe: 1970-2011,” debuted at the Pennsylvania Academy of the Fine Arts in 2013. Earlier this year, LACMA acquired Bartlett’s House Piece (1970), which will be featured in their 2021 exhibition, “Coded: Art at the Dawn of the Computer Age, 1960–80.”

Beginning in the 1970s, the image of the house began to saturate Bartlett’s work. While grappling with notions of iconography, the artist asked herself, “what is the most common image in the U.S.A. that everyone would recognize?...I picked a red house with a white picket fence.” As a universal and domestic shape, the geometric house became a popular icon amongst feminist artists because of its cool minimalism and immediate association with the nuclear family, and a woman’s place in the home. While Bartlett’s 1980s multimedia series further develops themes from her earlier works, pieces like White House (1985) also amplify a new feeling of alienation.

Recalling her own essay, “Los Angeles Notebook,” Joan Didion identified an “apprehension of the potential for disaster in the everyday” within Bartlett’s series. Didion argued that the artist’s “curious blend of coziness and impending trouble” is a hallmark sensibility from Bartlett’s California upbringing.

The quiet eeriness of Bartlett’s multimedia series is in part a result of her rigorous investigation of medium itself. Traditionally, the two-dimensional picture plane simulates perspective and thus creates an imagined space. Sculpture on the other hand has no need for this illusion, given that it already exists in the real space of the viewer. Bartlett’s positioning of parallel images in both mediums, however “disorients our perception.”

The two-dimensional painting presents a realistic environment that encourages you to project yourself into it. Ironically, Bartlett’s three-dimensional rendition appears flat and strikingly uninhabitable. This dialogue is jarring and causes you to feel unsteady in your own space. Returning to Bartlett’s subject matter, this phenomena becomes all at once alarming as it is induced by a canonical American house. As one curator argued, the image dislocates the viewer because a home is seen as one’s “surrogate self” in terms of both time and space. In thinking of the house “as our primary place...the rest of the world radiates outward in every direction,” as we often think of other places in terms of “how many minutes, hours, or days” it would take to travel from our home to the destination. The quest to negotiate the relationship between Bartlett’s two-dimensional and three-dimensional houses destabilizes the viewer’s own bearings and familiar perceptions of reality. This formal depth identifies the multimedia series as “some of [the] most important work” of Bartlett's career, and remains an intriguing exploration of place.

Perrone, Jeff. Jennifer Bartlett: Recent Work. Milwaukee Art Museum, 1988.

Newhall, Edith. “Jennifer Bartlett, Pennsylvania Academy of the Fine Arts.” ARTnews, November 2013.

Vogel, Wendy. “On and Off the Grid: A Painter Bends Conceptualism’s Rules.” Modern Painters, April 2014.

Schwendener, Martha. “Grids and Steel Spanning Great Divides.” May 11, 2014.

Murray, Elizabeth. “Binary Images: Shaped Canvases and Plate Paintings.” BOMB Magazine, no. 93, Fall 2005, pp. 54-59.

83

125 126

JENNIFER BARTLETT White House

1985 Oil on canvas with mixed-media installation 130" x 192" x 118" (as illustrated) (330 x 488 x 300 cm) P ROVENA NC E Paula Cooper Gallery, New York, New York; Private Collection (acquired directly from the above, 1986); Private Collection (acquired directly from the above through Sotheby’s, New York, New York, November 11, 1993, lot 173a); Sotheby’s, New York, New York, October 11, 2006, lot 192

JENNIFER BARTLETT E X H I B I T E D “Jennifer Bartlett,” Paula Cooper Gallery, New York, April 4-April 27, 1985; “75th American Exhibition,” Art Institute of Chicago, Chicago, March 8-April 27, 1986 I L LU ST RAT E D “Jennifer Bartlett.”

ARTnews. E. Hertney. Sept. 1985.

131.; “The 75th American Exhibition: Tradition Confronts the Future.” New Art Examiner. M. Segard and J. Yood.

May 1986. 28.; Jennifer Bartlett: Recent Work. Milwaukee Art Museum exh. cat. 1988. 21.

$30,000–$50,000

Earth; Air; Fire; Water (from The Elements) (4) 1992 Etchings with soft ground and aquatint on Rives BFK paper #5 of 25 artist’s proofs aside from the edition of 80 Published by Creative Works Editions, Osaka; printed by Branstead Studio, New York One signed and dated in graphite lower right margin beneath image; others initialed in graphite lower left margin beneath image; each annotated sequentially (1-4) with edition in graphite lower left margin beneath image; each retains Branstead Studio blind stamp lower right Images each: 31" x 31.125" Sheets each: 33.125" x 33.25" (Images each: 79 x 79 cm) PROV EN A N C E Christie’s, New York, New York, February, 8, 2005, lot 180 L I TERATU R E Jennifer Bartlett: A Print Retrospective. M. D. Stelzer, ed.

1994. #23-26.

$2,000–$3,000

127 JENNIFER BARTLETT House

2005 Color screenprint on wove paper #5 of 108 Published by Brand X Editions, New York Signed and dated in graphite lower right margin beneath image; edition lower left; retains Brand X Editions blind stamp lower right Image: 30.25" x 30.25" Sheet: 36.625" x 36.25" (Image: 77 x 77 cm) PROV EN A N C E Bonhams & Butterfields, San Francisco, California, April 18, 2006, lot 246

$1,000–$1,500

85

129 CY DECOSSE

Three Italian Pears 1994 Platinum-palladium print on Arches Platine paper #10 of 25 Signed and dated in graphite lower right margin beneath image; titled lower left Image: 14.625" x 14.875" Sheet (vis.): 15.375" x 15.5" Frame: 23.75" x 20.875" (Image: 37 x 38 cm)

$200–$300

130 BONNIE HELLER Still Life

N.d.

Acrylic on paper in two parts

128 DONALD SULTAN

Fruits and Flowers Portfolio 1991 The complete portfolio of eight screenprints on Arches 88 paper #16 of 20 artist’s proofs aside from the edition of 125 Published by Parasol Press, Ltd., New York; printed by Watanabe Studio, New York Each titled, dated, and initialed along left edge of sheet; edition lower right edge of sheet Images each: 12" x 12" Sheets each: 23" x 22" Frames each: 25.75" x 24.75" (Images each: 30 x 30 cm) P ROVENA NC E Christie’s, New York, New York, November 13, 1998, lot 345

Signed lower right edge of right sheet Sheets each: 30.5" x 22.875" Frame: 41.25" x 56.375" (Sheets each: 77 x 58 cm)

$1,000–$1,500

131 DAVID DE VILLIER Closed for Winter 1993 Oil on panel Signed and dated lower left; retains Gail Severn Gallery label verso; signed, titled, dated, and inscribed “#129” in black felt-tip marker verso 17.875" x 23.875" (45 x 61 cm)

LITERATURE Donald Sultan: A Print

PROV EN A N C E Gail Severn Gallery,

Retrospective. B. Walker. 1992. N.pag.

Ketchum, Idaho

$6,000–$8,000

$600–$800

87

132 JIM DINE

Four Hearts 1970 Watercolor on paper Signed and dated in graphite lower center sheet Composition/sheet: 13.125" x 13.125" Frame: 24.25" x 22.25" (Composition/sheet: 33 x 33 cm) P ROVENA NC E Butterfield & Butterfield, San Francisco, California, October 25, 1992, lot 2383

$8,000–$12,000

ILLUSTRATED OPPOSITE PAGE

133 JIM DINE Hand

Betsy Ross Flag and Banner Co., Inc., designed c. 1966 Retains signed manufacturer’s label verso From an edition of 30 87.75" x 66" (223 x 168 cm)

$4,000–$6,000

89

134 JIM DINE

Wall Chart I 1974 48-color lithograph on Rives paper

136

#3 of 75

JIM DINE

Published by Petersburg Press, London; printed by Landfall Press, Chicago and Petersburg Press, London

1970; published 1971 Etching and 2-color aquatint on J. Green Mould Made paper

Signed and dated with edition in graphite lower left edge of sheet Image: 41.75" x 30" Sheet: 48.375" x 34.875" Frame: 51.75" x 38.125" (Image: 106 x 76 cm) P ROVENA NC E Christie’s, Los Angeles, California, June 13, 2000, lot 220 LITERATURE Jim Dine, Prints: 197077. T. Krens. 1977. #166.

$4,000–$6,000

A Girl and Her Dog I

#3 of 75 Published and printed by Petersburg Press, London Signed and dated with edition in graphite lower right margin beneath image Image: 27" x 21.5" Sheet: 35" x 28.125" Frame: 36.625" x 29.625" (Image: 69 x 55 cm) PROV EN A N C E Christie’s, New York, New York, January 10, 2012, lot 99 L I TERATU R E Jim Dine, Prints: 197077. T. Krens. 1977. #36.

$1,500–$2,000

91

137 JIM DINE 135 JIM DINE

Untitled (from Dutch Hearts) 1970 Color lithograph with collage on Hodgkinson handmade paper Artist’s proof aside from the edition of 85 Published by Petersburg Press, London; printed by Piet Clement, Amsterdam Signed with edition in graphite lower right Image/sheet: 16.375" x 19.875" Frame: 23.25" x 26.125" (Image/sheet: 42 x 50 cm)

Untitled (from Dutch Hearts) 1970 Color lithograph with collage on Hodgkinson handmade paper #84 of 85 Published by Petersburg Press, London; printed by Piet Clement, Amsterdam Signed with edition in graphite upper right; retains Jack Glenn Gallery label verso Image/sheet: 16.375" x 19.875" Frame: 18.25" x 21.5" (Image/sheet: 42 x 50 cm) PROV EN A N C E Bonhams & Butterfields, San Francisco, California, May 20, 2008, lot 248

LITERATURE Jim Dine, Prints: 1970-

L I TERATU R E Jim Dine, Prints: 1970-

77. T. Krens. 1977. #8.

77. T. Krens. 1977. #3.

$1,500–$2,000

$1,500–$2,000

138 BRUCE NAUMAN

Clown Taking a Shit 1988 4-color lithograph on Transpagra paper #7 of 35 Published by Brooke Alexander Editions, New York; printed by Arber and Son Editions, Alameda Signed and dated with edition lower right edge of sheet Image/sheet (vis.): 40.25" x 28.75" Frame: 49" x 37.375" (Image/sheet: 102 x 73 cm) LITERATURE Bruce Nauman Prints

140 BRUCE NAUMAN Suposter

1972; published 1973 3-color lithograph and screenprint on Arjomari paper #40 of 72 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition and Gemini G.E.L. blind stamps lower right edge of sheet; retains Lorence-Monk Gallery label frame verso Gemini G.E.L. #36.1 Sheet: 36.125" x 29.75" Frame: 40" x 33.75" (Sheet: 92 x 76 cm)

1970-89: A Catalogue Raisonné. C. Cordes. 1989. #56.

$10,000–$15,000

This work was published to benefit the Los Angeles County Museum of Art, and in conjunction with the exhibition “Bruce Nauman: Work from 1965 to 1972.”

L I TERATU R E Bruce Nauman Prints 197089: A Catalogue Raisonné. C. Cordes.

1989. #12.

$1,500–$2,000

93 141 BRUCE NAUMAN 139 BRUCE NAUMAN

Caned Dance (from Merce Cunningham) 1974 3-color lithograph on Arches paper #15 of 100 Co-published by Multiples, Inc., New York, and Castelli Graphics, New York; printed by Cirrus Editions, Los Angeles Signed and dated with edition lower right edge of sheet Image/sheet: 21.875" x 30" (Image/sheet: 56 x 76 cm) P ROVENA NC E Private Collection,

Untitled

1969 2-color offset lithograph on 100 lb.

Kromekote paper Unknown edition size Published by Leo Castelli Gallery, New York Signed in felt-tip pen lower right edge of sheet Image: 23" x 19" Sheet: 24.25" x 20" Frame: 32.5" x 28.5" (Image: 58 x 48 cm) Published in conjunction with the exhibition “Bruce Nauman: Holograms, Videotapes, and Other Works” at Leo Castelli Gallery, New York, May 24-June 14, 1969.

New Jersey; Rago Auctions, Lambert-

PROV EN A N C E Christie’s, London, United

ville, New Jersey, November 17, 2012,

Kingdom, October 30, 2003, lot 321

lot 619

L I TERATU R E Bruce Nauman Prints 1970-

LITERATURE Bruce Nauman Prints

89: A Catalogue Raisonné. C. Cordes.

1970-89: A Catalogue Raisonné. C.

1989. 130.; Made in LA: Prints of Cirrus

Cordes. 1989. #27.

Editions. B. Davis. 1995. 318.

$1,500–$2,000

$2,000–$3,000

Chuck Close Along with Audrey Flack and Ralph Goings, Chuck Close is perhaps Photorealism’s best known representative, though it be should noted that Close maintains an aversion to the label. While his style has developed over the years, Close is renowned for his massive portraits that feature painstakingly intricate detail. The artist reportedly first pursued portraiture in response to art critic Clement Greenberg’s assertion that an “advanced” artist would never debase themselves with the likes of portrait painting. In addition to Clement’s challenge, Close also suffered from prosopagnosia, otherwise known as face blindness, thus presenting an additional hurdle. By working with photographs, which inherently flatten the human face, Close recognized that his mind could process the image in a different way.

The sheer scale of a Close painting restricts the viewer from “seeing the thing as a whole,” and thus forces them to “confront” the image by “scanning it” bit by bit, in much the same way that he must do when he paints the piece.

Through this phenomenon, Close says, the viewer “is seeing the journey that I took to build this image.”

Brown, Jeffrey. Interview: For Chuck Close, an Evolving Journey Through the Faces of Others. PBS Newshour, 6 July 2010, web.archive.org/ web/20140121223236/http://www.pbs.org/newshour/bb/entertainment/july-dec10/close_07-06.

95

142 CHUCK CLOSE Self Portrait

2000 Color screenprint on paper #34 of 80 Published by Pace Editions, Inc., New York; printed by Brand X Editions, New York Signed lower center margin beneath image; dated lower right; edition lower left; retains Babcock Gallery label frame verso Image: 58.25" x 48" Sheet: 65.375" x 54.125" Frame: 68.125" x 56.75" (Image: 148 x 122 cm)

143 CHUCK CLOSE Self Portrait

1993 Woven silk tapestry #3 of 150 Co-published by the artist and A/D Gallery, New York Signed lower center; dated lower right; edition lower left 50.5" x 37.75" (128 x 96 cm)

P ROVENA NC E Private Collection, New York, New York; Phillips, New

PROV EN A N C E Christie’s, New York,

York, New York, May 21, 2008, lot 43

New York, February 9, 2007, lot 245

$30,000–$50,000

$2,000–$3,000

144 ELLSWORTH KELLY Black/Green II

146

1970-1972 2-color lithograph on Special Arjomari paper

STANLEY WILLIAM HAYTER

#8 of 50 Published and printed by Gemini G.E.L., Los Angeles Signed with Gemini G.E.L. blind stamps lower right edge of sheet; edition lower left Gemini G.E.L. #28.17 Image: 25.875" x 21.875" Sheet (vis.): 28" x 24" Frame: 28.625" x 24.625" (Image: 73 x 56 cm) LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #77.

$3,000–$5,000

Marais

1976 Color etching and soft-ground etching on Rives BFK paper #7 of 50 Published by Atelier 17, Paris; printed by Hector Saunier, Paris Signed and dated in graphite lower right margin beneath image; titled in graphite lower center; edition lower left Image: 19.25" x 15.75" Sheet: 25.625" x 19.875" (Image: 49 x 40 cm) PROV EN A N C E Bonhams & Butterfields, San Francisco, California, April 18, 2006, lot 97 L I TERATU R E The Prints of Stanley William Hayter. P. Black and D. Moorhead. 1992. #382.

$400–$600

145 ELLSWORTH KELLY

147

Saint Martin Landscape

ADOLPH GOTTLIEB

1976-1979 Lithograph and screenprint with collage on 350-gram Arches 88 paper and white Rives Satine paper

1972 Serigraph on wove paper

#6 of 39 Published and printed by Tyler Graphics, Ltd., Bedford Signed lower right margin of sheet beneath image; edition lower left; Tyler Graphics blind stamp lower right edge of sheet

Chrome Green

#131 of 150 Published by Marlborough Graphics, Inc., New York Signed and dated in graphite lower left margin beneath image; edition lower right; retains Atlantic Richfield Company label verso

Image: 15.375" x 22" Sheet: 26.875" x 33.625" (Image: 39 x 56 cm)

Image: 24" x 17.875" Sheet: 36" x 27.5" Frame: 37.5" x 29.125" (Image: 61 x 45 cm)

LITERATURE The Prints of Ellsworth

PROV EN A N C E Christie’s, London,

Kelly: A Catalogue Raisonné, 1949-

United Kingdom, November 30, 1999,

1985. R. Axsom. 1987. #179.

lot 98

$2,000–$3,000

$1,500–$2,000

97

149 GERHARD RICHTER Kerze I

1988 4-color offset print on paper From an edition of 250 Published by Verein zur Förderung moderner Kunst e.V., Goslar; printed by Kirschbaum Laserscan, Düsseldorf Signed lower center image in black pastel chalk Image/sheet (vis.): 35" x 36.75" Frame: 36.625" x 38.375" (Image/sheet: 89 x 93 cm) L I TERATU R E Gerhard Richter: Editions 1965-2013. H. Butin. 2014. #64.

$8,000–$12,000

148 GERHARD RICHTER Seestück II

1970 4-color offset print with black tinted ground on white lightweight cardboard #35 of 100 Published and printed by Kirschbaum, Düsseldorf Signed and dated lower right margin beneath image; edition lower left Image: 20.625" x 17" Sheet (vis.): 22.625" x 17.375" Frame: 27" x 22.5" (Image: 52 x 43 cm) LITERATURE Gerhard Richter: Editions 1965-2013. H. Butin. 2014. #31.

$5,000–$7,000

99

152 MAX ERNST

Gedichte: Weisst du Schwartz du Fünf Klebebilder von Max Ernst

150 FRIEDRICH SCHRÖDER-SONNENSTERN

1930 32-page book comprised of five woodblock illustrations

Die Zaubermühle

1959 Pencil and oil pastel on board

#268 of 250

Signed and dated lower right edge of sheet; titled lower left

Published by Pra Verlag, Zürich; printed by Gebrüder Fretz Ag., Zürich

Composition: 26.75" x 18.5" Board (vis.): 28" x 19.375" Frame: 36" x 27.5" (Composition: 68 x 47 cm) P ROVENA NC E Galerie Springer,

Signed and inscribed by Jean Arp and the artist to Louis Marcoussis on title page PARTIAL ILLUSTRATION

Berlin, Germany; Tajan, Paris, France,

Text by Jean Arp Together with business card from Sophie Taeuber-Arp

January 31, 2005, lot 298

$4,000–$6,000

9.375" x 6.375" x .25" (24 x 16 x 1 cm) PROV EN A N C E Louis Marcoussis; Christie’s, Paris, France, June 2, 2005, lot 424 L I TERATU R E Albtraum und Befreiung Max Ernst in der Sammlung Würth. W. Spies and C.S. Weber, eds.

2009. 118.

$3,000–$5,000

153 MAX ERNST

La Ballade Du Soldat 1972 The complete suite of 34 lithographs on paper

151

#3 of 79

FRIEDRICH SCHRÖDER-SONNENSTERN

Published by Pierre Chave, Vence Signed by the artist and author with edition to justification page; each sheet signed lower right; edition lower left

Untitled

1975 Lithograph on paper

Together with original portfolio box

#95 of 275 Signed and dated in graphite lower margin; edition lower left in image

Text by Georges Ribemont-Dessaignes

Image: 27" x 18.5" Sheet (vis.): 30.5" x 21.5" Frame: 40.625" x 31.25" (Image: 69 x 47 cm)

Sheets each: 15.5" x 11.25" Portfolio box: 16.25" x 12" x 2.75" (Sheets each: 39 x 29 cm) L I TERATU R E Albtraum und Befrei-

P ROVENA NC E Quittenbaum

ung Max Ernst in der Sammlung

Kunstauktionen, Munich, Germany,

Würth. W. Spies and C.S. Weber, eds.

February 14, 2012, lot 574

2009. 324-328.

$100–$200 PARTIAL ILLUSTRATION

$3,000–$5,000

101

154 DIETER GLASMACHER Bei Dir bin ich zu hause

1971 Mixed-media on canvas mounted to board Signed and dated lower left edge of canvas Canvas: 49.125" x 49" Frame: 49.375" x 49.375" (Canvas: 125 x 124 cm) P ROVENA NC E Quittenbaum Kunstauktionen, Munich, Germany,

157 SANDRO CHIA Blue Angel

N.d.

Bronze with patina and gold paint #10 of 10 Fabricated by Fonderia Bonvicini, Sommacampagna

$3,000–$5,000

Signed with edition in Roman numerals near base; retains manufacturer’s mark near base

155

15.625" x 10.125" x 12.375" (including base) (40 x 26 x 31 cm)

JOSEPH BEUYS

PROV EN A N C E Sotheby’s, New York,

September 20, 2011, lot 331

Yellow

New York, June 24, 2004, lot 590

1977 Color screenprint with handwritten additions on paper

$3,000–$5,000

#27 of 80 Published by Edition Staeck, Heidelberg Signed and titled with edition at center in image

103

Image: 32.75" x 24.375" Sheet: 35.5" x 24.625" (Image: 83 x 62 cm) LITERATURE Joseph Beuys: The Multiples. 8th ed. J. Schellmann, ed.

1997. #205.

$1,500–$2,000

156 JOSEPH BEUYS Installation

158

1977 Offset lithograph on gray cardstock

SANDRO CHIA

#94 of 100

He Was Once a King

Published by Christos Joachimides, Berlin

N.d.

Etching, lithograph, and screenprint with collage on handmade paper

Signed with edition in graphite lower center sheet

#1 of 30

Image/sheet: 12" x 16.875" Frame: 22" x 26.75" (Image/sheet: 30 x 43 cm)

Signed in purple crayon with edition lower right Image/sheet: 57.875" x 44.625" (Image/sheet: 147 x 113 cm)

LITERATURE Joseph Beuys: The Multiples. 8th ed. J. Schellmann, ed.

PROV EN A N C E Sotheby’s, New York,

1997. #204.

New York, November 5, 1995, lot 16

$700–$1,000

$400–$600

159 MICHAEL CRAIG-MARTIN Book

1997 Screenprint on Archival Rag Endleaf White 160 gsm paper #143 of 150 Co-published by Alan Cristea Gallery and Ridinghouse Editions, London; printed by Advanced Graphics, London Signed and dated with edition to colophon and verso of one loose sheet; other loose sheet signed with edition verso Comprised of a book, two loose sheets, and portfolio box Sheets each: 13" x 21.5" Book: 13.125" x 21.5" x .5" Portfolio box: 14.625" x 22.625" x 1.125" (Sheets each: 33 x 55 cm)

$4,000–$6,000

PARTIAL ILLUSTRATION

105

161 KAY KURT

Weingummi

160 MATTHEW DAY JACKSON Bucky (ROYGBV) (from the Dymaxion Series)

2007 Color etching and screenprint on shaped Hahnemühle Copperplate paper From an edition of 35

1969-1970 Oil on canvas Retains The New York Cultural Center and Walker Art Center exhibition labels verso Canvas: 59.375" x 94.75" Frame: 60.375" x 95.875" (Canvas: 151 x 241 cm) PROVENANCE Jill Kornblee Gallery, New York, New York; Christie’s, New York, New York, July 10-12, 2007,

Published by Peter Blum Edition, New York; printed by Lower East Side Printshop, New York

lot 389

Image/sheet: 23.25" x 17.5" Frame: 25.625" x 19.5" (Image/sheet: 59 x 44 cm)

1972; “Kay Kurt: Paintings,” traveling

EXHIBITED “Realism Now,” The New York Cultural Center, New York, exhibition, Walker Art Center, Minneapolis, November 9, 1980-January 4,

162 KENNY SCHARF

Untitled (Woof! Yum! Bow Wow!) 2010 Glazed ceramic Signed and dated to underside 3.5" x 11" diameter (9 x 28 cm)

1981; Tweed Museum of Art, Duluth, P ROVENA NC E Blumarts Inc., New

January 25-February 22, 1981; Grand

PROVENANCE Bonhams & Butter-

York, New York; Peter Blum Gallery,

Rapids Art Museum, Grand Rapids,

fields, Los Angeles, California,

New York, New York

March 15-April 26, 1981

November 23, 2010, lot 1110

$1,000–$1,500

$5,000–$7,000

$2,500–$3,500

Hyper-Realist Sculture Like the broader Photorealism movement, hyperrealist figurative sculpture grew out of the Pop impulses of the 1950s and ‘60s. Duane Hanson and John De Andrea, among others, sought to challenge established notions of which subjects were or were not worthy of serious artistic study. Just as Warhol and Lichtenstein had done before them, these sculptors drew attention to the uneventful, everyday encounters of an increasingly commercialized culture. Critics saw this “revival of illusionism” as a degradation of Minimalism’s aesthetic accomplishments. Many of their arguments stressed the incompatibility of the ‘honest’ artistic inquiry with this new breed of direct imitation. While their specific attacks were tailored to the period, their overall contention was nothing new. Disputes over the value of imitation stretch back to the days of antiquity. The French sculptor Alexandre Falguière was the first artist to truly blur “the boundaries between life-casting and sculpture.” Falguière spurred outrage in 1896 when he debuted a nude cast of a dancer at the Paris Salon. His piece was labeled obscene and immoral for publicly exhibiting Cléo de Mérode’s naked figure, an accusation which had never been levied against the thousands of sculpted nudes that had preceded it.

This voyeuristic tinge is precisely what ignites viewer fascination with hyperrealist sculptures. Leading hyperrealist Duane Hanson cast his figures using polyresin, bronze, or fiberglass. Setting his work apart from previous examples of this method, Hanson then painstakingly painted his figures to capture life-like imperfections and intricacies. Deconstructed clothing would then be reassembled on the figure and treated to specifically accommodate the world-weary attitudes that Hanson sought to capture.

164 DUANE HANSON

Beagle in a Basket

163 DUANE HANSON Policeman

1992-1994 Bronze, polychromed in oil, and mixed-media with accessories #2 of 3 Together with copy of original invoice from O’Hara Gallery dated January 16, 2001 71" x 21.5" x 15" (180 x 55 x 38 cm)

1990 Polychromed bronze, polyester cushion with acrylic filling, and basket #4 of unknown edition size Signed twice and dated with edition to underside of beagle 6.5" x 22" x 16" (17 x 56 x 41 cm) PROV EN A N C E Private Collection, Florida (acquired directly from the artist); James Goodman Gallery, New York, New York (acquired directly from the above); Christie’s, New York,

P ROVENA NC E O’Hara Gallery, New York, New York

New York, February 28, 2007, lot 261 L I TERATU R E Duane Hanson: More

ILLUSTRAT E D Duane Hanson: More

Than Reality. T. Buchsteiner and O.

Than Reality. T. Buchsteiner and O.

Letze, eds. 2001. #68/1 for a similar

Letze, eds. 2001. #104/2.

example illustrated.

$200,000–$300,000

$35,000–$45,000

107

Both Hanson and De Andrea’s figures maintain disengaged, inward facing expressions. The characters’ apparently oblivious attitude toward the viewer allows the spectator to try out their “invisible-man” fantasy. They become free to stare, inspect, and ponder the figure in a manner that violates all standard social codes. While Hanson’s characters personify very quotidian performances, their presence in a gallery or museum estranges them. Often portraying figures meant to be interpreted as part of a lower socioeconomic class, their placement in the halls of fine art calls attention to the disparity between the two worlds.

De Andrea’s figures slip more seamlessly into their exhibition spaces. Their nudity undoubtedly casts them alongside classical examples of high art, and thus the viewer’s recognition of their voyeuristic guilt is somewhat delayed. Nevertheless, De Andrea repackages Falguière’s initial question. While De Andrea’s nudes are in many senses ideal, they are not idealized. Their postures and small imperfections, such as a zit or cold sore, signal their active imitation of their living references and renders the audience’s inspection suspect.

109

165 JOHN DE ANDREA

Brunette Sitting on Table 1973 Oil on polyester resin with synthetic hair 57.75" x 15" x 22" (147 x 38 x 56 cm) PROV EN A N C E OK Harris Works of Art, New York, New York; Private Collection (acquired directly from the above, 1973); Sotheby’s, New York, New York, November 10, 2011, lot 207 EXH I B I TED “John de Andrea, Duane Hanson: The Real and Ideal in Figurative Sculpture,” Museum of Contemporary Art, Chicago, June 29-August 25, 1974 I L LU STRATED John de Andrea, Duane Hanson: The Real and Ideal in Figurative Sculpture. Museum of Contemporary Art, Chicago exh. cat.

1974. N.pag.

TABLE NOT INCLUDED

$50,000–$70,000

Carole Feuerman, another leading hyperrealist, creates bathers and swimmers who are alternatively highly idealized. Feuerman’s figures, however, resist the voyeuristic invitations of traditional female representations.

While De Andrea’s women are “more objects than subjects,” Feuerman’s women turn away from the male-gaze, closing “their eyes in introspective ecstasy.” While each of these instances embody very different themes, they all contribute to a robust discussion on the nature of spectatorship in their proto-realities.

Hickling, Alfred. “Completely Plastered.” The Guardian, 16 Feb. 2002, www.theguardian.com/books/2002/feb/16/books.guardianreview4.

Adrian, Dennis. The Real and Ideal in Figurative Sculpture. Museum of Contemporary Art, Chicago, IL, 1974.

111

166 CAROLE FEUERMAN Capri

1996 Mixed-media and oil on resin #9 of 9

167 CAROLE FEUERMAN Untitled

1992 Mixed-media and oil on resin

Signed and dated with edition verso

#2 of 9

33" x 18" x 12.5" (84 x 46 x 32 cm)

15.5" x 12.75" x 7" (39 x 32 x 18 cm)

P ROVENA NC E Jaffe Baker Gallery,

PROV EN A N C E Sotheby’s, New York,

Boca Raton, Florida

New York, June 21, 2006, lot 481

$10,000–$15,000

$5,000–$7,000

Signed and dated with edition

113

168

169

PETER DOIG

PETER DOIG

100 Years Ago (from 100 Years Ago)

Black Palms

2004 The complete portfolio of six etchings and aquatints on 250 gsm Zerkall laid paper

2000-2001 Color etching and aquatint on Hahnemühle paper

From an edition of 119

#4 of 46 Published by Paragon Press, London

Published by Griffelkunst-Vereinigung, Hamburg; printed by Druckatelier Fritze Margull, Berlin

Signed with edition in graphite lower right margin beneath image

Each signed and dated lower right margin beneath image

Image: 37.75" x 23.625" Sheet: 47.375" x 32.5" Frame: 50" x 35.25" (Image: 96 x 60 cm)

Images each: 7.625" x 5.75" (or alternate orientation) Sheets each: 20.75" x 15" (Images each: 19 x 15 cm)

$6,000–$8,000

DETAIL

$7,000–$10,000

115

170

171

PETER DOIG

PETER DOIG

2000-2001 Color etching and aquatint on Hahnemühle paper

2000-2001 Color etching and aquatint on Hahnemühle paper

#18 of 46

#18 of 46

Published by Paragon Press, London

Published by Paragon Press, London

Signed with edition in graphite lower right margin beneath image

Signed with edition in graphite lower right margin beneath image

Image: 55.75" x 35.125" Sheet: 65.25" x 43.75" (Image: 142 x 89 cm)

Image: 34.25" x 51.75" Sheet: 43.75" x 60.5" (Image: 87 x 131 cm)

$12,000–$15,000

$12,000–$15,000

Surfer (from 100 Years Ago)

Pinto (from 100 Years Ago)

172 PATRICK HUGHES

173

Palm Door

PATRICK HUGHES

1998 Lithograph with hand-painted additions on paper

c. 1978 Gloss paint on board

#33 of 35 Published by Flowers Gallery, London; printed by 107 Workshop, Wiltshire Signed in graphite lower right margin below image; edition lower left

Untitled

48.25" x 72" (123 x 183 cm) PROV EN A N C E Christie’s, London, United Kingdom, February 29, 2012, lot 691

$1,500–$2,000

Overall: 20.125" x 24.875" x 6.125" (Overall: 51 x 63 cm) P ROVENA NC E Flowers East Gallery, London, United Kingdom

$3,000–$5,000

117

174 PATRICK HUGHES Paper Roses

1985 12-color screenprint on Arches 88 paper #19 of 150 Published by CCA Galleries, London, New York, and Tokyo; printed

by Coriander Studio, Isleworth Signed and dated in graphite with CCA Galleries blind stamp lower right; titled in graphite lower center margin; edition lower left; retains documentation from CCA Galleries verso Image: 22.75" x 17" Sheet (vis.): 29.75" x 22.125" Frame: 31.375" x 23.75" (Image: 58 x 43 cm) PROV EN A N C E Bonhams, London, United Kingdom, April 26, 2006, lot 190

$300–$500

175 JOHN ILG

The Internet 2011 Archival digital prints in magnifying boxes mounted to board Composition: 19.625" x 19.625" x 1" Frame: 28.75" x 28.25" (Composition: 50 x 50 cm)

$1,000–$1,500

177 ILONA GRANET

Curb Your Animal Instinct (from Emily Post Street Signs Series) 1986 Screenprint on metal From an edition of 100 Published by Exit Art, New York Signed and dated verso; retains P.P.O.W. Gallery label verso 24" x 26" (61 x 66 cm) PROV EN A N C E P.P.O.W. Gallery, New York, New York; Christie’s, New York, New York, July 11, 2006, lot 181

$500–$700

119

176 NICK WALKER Moona Lisa

2006 Color screenprint on paper #6 of 20 artist’s proofs aside from the edition of 125 Published by Apish Angel, London Signed with artist’s monogram and edition in graphite lower right; retains Apish Angel stamp lower left

178 CHRIS OFILI

Afro Lunar Lovers II 2005 Giclée and screenprint with embossed gold leaf on paper #17 of 250

Image: 24.5" x 10.5" Sheet: 29.5" x 21.875" (Image: 62 x 27 cm)

Published by Victoria Miro Gallery, London

P ROVENA NC E Private Collection,

Signed and dated lower right edge of sheet; titled lower center; edition lower left

Los Angeles, California (acquired directly from the artist); Bonhams & Butterfields, New York, New York, May 13, 2008, lot 41

$800–$1,200

Image/sheet: 18.875" x 12.25" (Image/sheet: 48 x 31 cm)

$1,500–$2,000

179

181

CATHY MCCLURE

KEVIN MCHUGH

2011 Mixed-media on canvas

2010 Fiberglass, leather, and crystal

Signed, titled, and dated to canvas verso

Signed and dated in red felt-tip marker verso

44" x 46.5" x 9" (112 x 118 x 23 cm)

34.5" x 60.5" x 3.5" (88 x 154 x 9 cm)

P ROVENA NC E Moss, New York, New

PROV EN A N C E Avant Gallery, Miami,

York

Florida

$5,000–$7,000

$4,000–$6,000

One Minute to Nigh-Night

Marilyn Sailfish

121

VERSO

180 JEFF KOONS

Signature Plate (For Parkett 19) 1989 Porcelain with decal #43 of 50 Published by Parkett Editions, Zürich; fabricated by Porzellanfabrik Langenthal, Langenthal Printed title and edition in Roman numerals verso 1.25" x 10.25" diameter (3 x 26 cm)

$2,000–$3,000

182 CHRISTINA NIEDERBERGER Chandalier (Diana/Long)

2004 Oil with glass crystals on canvas Signed, titled, and dated canvas verso; retains Jill George Gallery label canvas stretcher verso 70.875" x 19.625" (180 x 50 cm) PROV EN A N C E Jill George Gallery, London, United Kingdom; Bonhams, London, United Kingdom, June 20, 2006, lot 50

$400–$600

183

185

CHIHO AOSHIMA

SHIRO KURAMATA

Piercing a Heart

2005 Offset lithograph on paper

Flower Vase #1 (3)

Ishimaru Co., Ltd., designed 1989

#48 of 300

Each: 8.75" x 3.125" x 3.125" (8 x 8 cm)

Published by Kaikai Kiki Co., Ltd., Tokyo

$1,500–$2,000

Signed with edition lower right edge of sheet; printed title and publisher information lower center edge of sheet Image/sheet: 28.625" x 25.5" (Image/sheet: 73 x 65 cm)

$800–$1,200

123

184 CHIHO AOSHIMA

Japanese Apricot 2 2005 Offset lithograph on paper #146 of 300 Published by Kaikai Kiki Co., Ltd., Tokyo Signed and dated with edition lower right edge of sheet; printed title and publisher information lower center edge of sheet

186 SHIRO KURAMATA Flower Vase #2; Flower Vase #3 (2)

Ishimaru Co., Ltd., designed 1989

Image/sheet: 30.625" x 21.625" (Image/sheet: 78 x 55 cm)

Flower Vase #2: 7.5" x 4.375" x 4.375" Flower Vase #3: 10.25" x 10.625" x 3.125" (Flower Vase #2: 19 x 11 x 11 cm)

$500–$700

$1,500–$2,000

188 SILAS SEANDEL Untitled

c. 1965 Patinated bronze, brass, steel, and pewter 47.25" x 83.375" x 5.25" (120 x 212 x 13 cm) DETAIL

PROV EN A N C E Rago Auctions, Lambertville, New Jersey, October

187 GEORGE NAKASHIMA

28, 2012, lot 1372

$1,500–$2,000

Coffee table

Studio, executed 1967 English walnut and rosewood 15.25" x 54.5" x 30.75" (39 x 138 x 78 cm)

125

P ROVENA NC E Rago Auctions, Lambertville, New Jersey, October 28, 2012, lot 1015

$12,000–$18,000

189 PAUL EVANS Table lamp

Directional, designed c. 1970 21.75" x 7.125" x 7.125" (55 x 18 x 18 cm)

$600–$800

190 PAUL EVANS

Floor lamps (3) Directional, designed c. 1970 40.25" x 8" x 8" 22.125" x 10.125" x 10.125" 12.25" x 14" x 14" (102 x 20 x 20 cm)

$2,000–$3,000

191 JEAN NOUVEL Milana chair

193 MORGAN CLIFFORD Colored Squares

Stamped “FTL MILANA/NVL 94”

2009 Woven, hand-dyed silk and linen mounted to board

45.25" x 30" x 33" (115 x 76 x 84 cm)

Signed, titled, and dated in black felt-tip marker frame verso

$4,000–$6,000

18.5" x 16" (47 x 41 cm)

Sawaya & Moroni, designed 1994

$1,500–$2,000

194 JACK CHARNEY Hand of God

N.d.

Painted ceramic 16" x 18.25" x 6.375" (41 x 46 x 16 cm)

$300–$500

195 HOWARD BEN TRÉ Untitled 13

1985 Gouache, copper leaf, and patina on paper on shaped board Retains Charles Cowles Gallery, Inc. label verso

192 MASANORI UMEDA Getsuen chair

Edra, designed 1990 34.5" x 39.25" x 32" (88 x 100 x 81 cm)

Board: 38.25" x 12.5" Frame: 50.75" x 21" (Board: 97 x 32 cm) PROV EN A N C E Charles Cowles Gallery, Inc., New York, New York; Christie’s, New York, New York, July 22, 2010, lot 12 L I TERATU R E Howard Ben Tré. A. C.

LITERATURE 1000 Chairs. C. Fiell

Danto, M. J. Jacob, and P. Sims. 1999.

and P. Fiell. 1997. 634.

Pl. 1 for a similar example illustrated.

$1,000–$1,500

$1,500–$2,000

127

Josef Albers’ Pure Expressions Josef Albers became fascinated with the architectural silhouettes of the Mesoamerican flat-top pyramids that he observed during his numerous trips to Mexico. This experience is said to have had a lasting impression on Albers’ iconic works, and especially his Homage to the Square series, whose recurring square within a square composition could be seen as a distillation of the shape of the stepped pyramid when viewed from above. Much in the way of other mid-century abstractionists, Albers sought to maximize the viewer’s subjectivity by excluding all manner of representation or imitation. While never explicitly cited, Albers naturally extended Kazimir Malevich’s pioneering notion that the truth of form in art should always transcend subject matter, as was typified by Malevich’s 1915 painting, Black Square.

Albers’ series, Homage to the Square, isolates color to test its inherent qualities. By simplifying his form to the canvas’ most basic shape, the square, Albers eliminates all distractions. In Albers’ extensive body of literature, which he created following World War II, the artist discusses the optical effects of reducing painting to pure expressions of “hue, tone, and intensity.” With a decongested picture-plane, the viewer’s eye is free to appreciate the color’s morphing character which, at different times, can appear to move and blur. Many are surprised to find that Albers resisted masking and instead painted his hard edges free-hand. The artist rarely mixed his paints, mainly using shades available directly from the tube. As was his custom, Albers lists the pigments—Cadmium Yellow Deep (Lukas), Cadmium Yellow Deep (Blockx), and Naples Yellow Reddish (Lukas)—used in Study for Homage to the Square: Unhurried (1965) on the verso of the Masonite board. Unlike many of his contemporaries who touted highly philosophical practices, Albers championed practical painting methods that advanced channels for studying and, more importantly, teaching color.

Gilderhus, Kirsten E. Homage to the Pyramid: Josef Albers in Mexico, The University of Wisconsin - Madison, Ann Arbor, 2011.

Kelly, Rob Roy. “Recollections of Josef Albers.” Design Issues, vol. 16, no. 2, 2000, pp. 3–24.

196 JOSEF ALBERS

Study for Homage to the Square: Unhurried 1965 Oil on panel Incised initials and date lower right edge of panel; signed, titled, and dated verso; retains Sidney Janis Gallery label verso Panel (vis.): 17.375" x 17.375" Frame: 18.5" x 18.5" (Panel: 44 x 44 cm) This work is slated for inclusion in the Josef Albers catalogue raisonné of paintings as JAAF 1965.1.8.

PROV EN A N C E Sidney Janis Gallery, New York, New York; Christie’s, London, United Kingdom, July 1, 1999, lot 721 VERSO

$250,000–$350,000

129

PARTIAL ILLUSTRATION

197 JOSEF ALBERS Ten Variants

1967 The complete portfolio of 10 screenprints on Rives BFK paper #236 of 300 Published by Ives-Sillman, Inc., New Haven; printed by Sirocco Screenprints, New Haven Edition to justification page; each sheet retains publisher’s blind stamp lower right edge of sheet

PARTIAL ILLUSTRATION

Together with original linen-covered portfolio box and black paper-covered slipcase Sheets each: 17" x 17" Slipcase: 18.25" x 17.75" x 1.125" (Sheets each: 43 x 43 cm) P ROVENA NC E Sotheby’s, New York, New York, April 29, 2005, lot 363 LITERATURE The Prints of Josef Albers: A Catalogue Raisonné, 1915-1976. 2nd ed.

B. Danilowitz. 2010. #173.

131

$12,000–$15,000

198 JOSEF ALBERS

Interaction of Color 1963 Boxed set comprised of one bound volume, one portfolio of 80 screenprinted folders, and one paperback volume of commentary Published by Yale University Press, New Haven and London Initialed and inscribed “for Sylvie/ JA VII ‘66” in black ink to title page Together with original portfolio box Sheets each: 10" x 13" Portfolio box: 11.125" x 14.75" x 5.75" (Sheets each: 25 x 33 cm)

$3,000–$5,000

200 FRANCIS CELENTANO

Hexagon (Kinetic Painting) 1968 Acrylic on Masonite Retains Adler & Conkright Fine Art label verso 47" x 40.625" x 7" (119 x 103 x 18 cm) PROV EN A N C E Adler & Conkright Fine Art, New York, New York

$10,000–$15,000

133

201 TIM MARA Water Jug

1983 Lithograph and screenprint on Arches paper #2 of 25

199 MICHAEL EMMONS Aura

1998 Stainless steel

Signed, titled, and dated with edition in graphite lower right edge of sheet Image/sheet: 35.875" x 25" (Image/sheet: 91 x 64 cm)

91" x 34" x 15" (231 x 86 x 38 cm)

PROV EN A N C E Christie’s, London,

$2,000–$3,000

$300–$500

United Kingdom, September 27, 2006, lot 48

202 YAACOV AGAM Group (3)

A, C: N.d.; B: 1982 A: Screenprint on Perspex and mirror on acrylic base; B: Screenprint on cardboard within acrylic and synthetic polymer veneered box; C: Color screenprint on three sheets of moveable Perspex mounted in a wooden frame A: #4 of 18 artist’s proofs; B: #94 of 99; C: Unknown edition size A: Signed with edition mirror verso; etched signature to base; B: Signed with artist’s monogram in graphite upper left; edition lower left

PARTIAL ILLUSTRATION

Comprised of A: University Plastic; B: Untitled; and C: Shalom Window (V) A: Sheets each: 7.125" x 7.125" Overall: 8.5" x 7.25" x 7.5" B: Image/sheet (vis.): 6.375" x 8.75" Overall: 13.625" x 14" x 4.75" C: Images/sheets (vis.) each: 6.5" x 10.75" Frame: 9" x 13.125" (A: Sheets each: 18 x 18 cm) P ROVENA NC E Christie’s, London, United Kingdom, April 19, 2011, lot 301

$3,000–$5,000

135 204 YAACOV AGAM

Untitled (Composition) 1975 Lithograph on particleboard Artist’s proof aside from the edition of 200

203 YAACOV AGAM

Colour Composition N.d.

Color screenprint on wove paper #21 of 27 H.C. Signed in graphite lower right in image; edition lower left Sheet (vis.): 25.875" x 32.375" Frame: 35.25" x 41.125" (Sheet: 66 x 82 cm)

Signed and dated in black ink lower right margin beneath image; signed, dated, and inscribed “a Alain Poher Cordialement/13.10.1975” lower left; retains artist’s tag with edition verso Image: 22.5" x 24.625" Board (vis.): 25" x 28" Frame: 29.875" x 33.125" (Image: 57 x 63 cm) This work was a gift from the artist to Alain Poher, the long-reigning President of the French Senate. It appears to be modeled after a rendering of the entrance hall of the French President’s private apartments and

P ROVENA NC E Christie’s, London,

residence at the Élysée Palace, which

United Kingdom, September 27,

Georges Pompidou commissioned

2006, lot 109

from the artist in 1974.

$800–$1,200

$1,000–$1,500

205 PETER SCHUYFF Untitled

1987 Acrylic on linen Signed and dated linen verso; retains Pat Hearn Gallery label canvas stretcher verso 75" x 75" (191 x 191 cm) P ROVENA NC E Fred Hoffman Gallery, Santa Monica, California; Phillips de Pury & Company, New York, New York, December 17, 2005, lot 270

$8,000–$12,000

137

206 PETER SCHUYFF Echo and Nasty

207

N.d.

Oil on paper mounted to canvas

HANS KOTTER

24.25" x 71.5" (62 x 182 cm)

2008-2009 Polished stainless steel light box, slide on Plexiglas, LED lights, and remote control

P ROVENA NC E The Estate of Gianni Versace, New York, New York; Sotheby’s, New York, New York, March 15, 2006, lot 204

$4,000–$6,000

Colour Code: Bunt

78.75" x 5" x 5.25" (200 x 13 x 13 cm)

$2,000–$3,000

210 SAM FRANCIS Untitled

1987 23-color aquatint with mixed-media and collage additions on Rives BFK paper

208 SAM FRANCIS

Self-Portrait (SF74-142) 1974 Acrylic on prepared paper Retains Sam Francis Estate ink stamps and inscribed “S4-63 EE/ SFT-74-142” sheet verso Composition/sheet: 16" x 12.25" Frame: 26" x 22.25" (Composition/sheet: 41 x 31 cm)

Unique color trial proof aside from the edition of 20 Published and printed by The Litho Shop, Inc., Santa Monica Signed lower right margin beneath image; edition lower left; retains Leslie Sacks Fine Art label frame verso Image: 47.5" x 32.25" Sheet: 56.25" x 32.25" Frame: 59.125" x 34.375" (Image: 121 x 82 cm) L I TERATU R E The Prints of Sam

This work is identified with the

Francis: A Catalogue Raisonné, 1960-

interim identification number of

1990. 1st ed. Vol. II. C. Lembark. 1992.

SF74-142 in consideration for the

#I79.

forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper.

$8,000–$10,000

This information is subject to change as scholarship continues by the Sam

139

Francis Foundation.

P ROVENA NC E The Estate of Sam Francis; Gallery Delaive, Amsterdam, The Netherlands (acquired directly from the above, 1994); Guy Pieters Gallery, Saint-Paul-de-Vence, France; Tajan, Paris, France, April 24, 2012, lot 115

$15,000–$20,000

211 SAM FRANCIS 209 SAM FRANCIS Untitled

1994 Sugarlift and spitbite aquatint on paper #16 of 25 Signed with edition in graphite lower right edge of sheet; retains Leslie Sacks Fine Art label frame verso Image: 7.375" x 24.5" Sheet: 16.5" x 32.5" Frame: 21.75" x 37.75" (Image: 19 x 62 cm)

$4,000–$6,000

A Red Star

1987 10-color screenprint on PTI #120 Waterleaf paper #4 of 115 Published by the artist; printed by La Paloma, Tujunga Signed in red pencil lower right edge of sheet; edition lower left Image/sheet: 34" x 22" Frame: 44.25" x 32.375" (Image/sheet: 86 x 56 cm) L I TERATU R E The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #P7.

$5,000–$7,000

212 HELEN FRANKENTHALER

A Page From a Book: I-III (3) 1997 Etching, aquatint, mezzotint, and stencils on White TGL Handmade paper

214 HELEN FRANKENTHALER West Wind

1997 Screenprint on paper

Each: #9 of 60

#61 of 110

Published and printed by Tyler Graphics, Ltd., Mount Kisco

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

Each signed and dated lower right margin beneath image; edition lower left; each retains Tyler Graphics blind stamp lower right edge of sheet

Signed lower right edge of sheet; signed with edition lower left

Sheets each: 10.125" x 24.625" (Sheets each: 26 x 63 cm)

Image/sheet: 41.5" x 35.75" Frame: 53.5" x 47.5" (Image/sheet: 105 x 91 cm)

$8,000–$12,000

$6,000–$8,000

141

213

215

HELEN FRANKENTHALER

HELEN FRANKENTHALER

1985-1990 13-color lithograph on White Arches Cover paper

1987 Etching, aquatint, and drypoint on White Magnani paper

#32 of 60

#61 of 68

Published and printed by Tyler Graphics, Ltd., Mount Kisco

Published by 2RC Edizioni d’Arte, Rome; printed by Vigna Antoniniana Stamperia d’Arte, Rome

Madame de Pompadour

Signed and dated with Tyler Graphics blind stamp lower right edge of sheet; edition lower left Image/sheet: 43.5" x 29.375" Frame: 53.375" x 39.375" (Image/sheet: 110 x 75 cm) LITERATURE Helen Frankenthaler:

Broome Street at Night

Signed and dated lower right margin beneath image; edition lower left Image: 27" x 28" Sheet (vis.): 32" x 33" Frame: 39.75" x 40" (Image: 69 x 71 cm)

Prints. R. Fine. 1993. #71.; Frankenthaler: A Catalogue Raisonné: Prints,

L I TERATU R E Frankenthaler: A Cata-

1961-1994. P. Harrison. 1996. #170.

logue Raisonné: Prints, 1961-1994. P.

$4,000–$6,000

Harrison. 1996. #122.

$3,000–$5,000

216 JULES OLITSKI

Temptation of Noah 2000 Watercolor and gouache on paper Signed and dated in black felt-tip marker lower left; retains Marianne Friedland Gallery label verso Composition/sheet: 12.125" x 9.25" Frame: 20.875" x 17.875" (Composition/sheet: 31 x 23 cm)

219 DIETER ROTH

Paint Brush Strokes; Blau und Gello (2)

P ROVENA NC E Marianne Friedland Gallery, Naples, Florida

1977; 1974 Color lithographs on paper

$3,000–$5,000

#23 of 100; From an edition of 100 Paint Brush Strokes: Initialed with edition in graphite lower right; Blau und Gello: Titled and signed in plate along bottom edge

217 JULES OLITSKI Play of Angels

2000 Watercolor and gouache on paper Signed and dated in black felt-tip marker lower left; retains Marianne Friedland Gallery label verso

LOT 216

Composition/sheet: 17.875" x 9" Frame: 26.875" x 17.875" (Composition/sheet: 45 x 23 cm)

LOT 217

Paint Brush Strokes: Image/sheet (vis.): 11.5" x 15.5" Frame: 16.25" x 20.25" Blau und Gello: Image/sheet (vis.): 8.125" x 6.5" Frame: 18.25" x 14.25" (Paint Brush Strokes: 29 x 39 cm) PROV EN A N C E Rago Auctions, Lambertville, New Jersey, April 20, 2012, lot 55

P ROVENA NC E Marianne Friedland

$400–$600

Gallery, Naples, Florida

$3,000–$5,000

220

218

BARBARA NESSIM

JULES OLITSKI

Early Thursday Light IV

Untitled (from Curved Landscape) (2)

1998 Monoprint on paper

1969 Watercolors and ink on paper

Signed and dated in graphite lower right margin beneath image; titled lower center margin; numbered lower left; retains Marianne Friedland Gallery label verso

Each signed and dated lower right; each retains Chermayeff & Geismar and Westinghouse Art Collection labels frame verso Composition/sheets (vis.) each: 19.75" x 14" Frames each: 20.125" x 14.375" (Composition/sheets each: 50 x 36 cm)

Image: 24.125" x 31.375" Sheet (vis.): 26.375" x 33.375" Frame: 35.5" x 42.5" (Image: 61 x 80 cm)

PROV EN A N C E Rago Auctions, P ROVENA NC E Marianne Friedland

Lambertville, New Jersey, June 18,

Gallery, Naples, Florida

2010, lot 1283A

$1,500–$2,500

$200–$300 LOT 218

143

222 WOLF KAHN Untitled

1986 Color monotype on Rives BFK paper Printed by Atelier Tullis Workshop, Santa Barbara Signed and dated in red crayon lower right center edge of sheet; retains Garner Tullis Workshop documentation sheet verso

221 WOLF KAHN Last Glow

Image: 41.125" x 79.5" Sheet: 42" x 80" Frame: 47.5" x 85" (Image: 104 x 202 cm)

1990 Oil on canvas

PROV EN A N C E Atelier Tullis Work-

Signed lower center canvas; retains Jerald Melberg Gallery label verso

Bonhams & Butterfields, San Fran-

Canvas: 32.125" x 43.125" Frame: 33.5" x 44.5" (Canvas: 82 x 110 cm)

shop, Santa Barbara, California; cisco, California, April 18, 2006, lot 316

$4,000–$6,000

P ROVENA NC E Jerald Melberg Gallery, Charlotte, North Carolina

$20,000–$30,000

223 WOLF KAHN

Foliage in a Lemon-Yellow Surround 2004 Oil on canvas Signed lower left; inscribed “#2004/55” in graphite canvas verso; retains Jerald Melberg Gallery label verso Canvas: 26" x 32" Frame: 27" x 33" (Canvas: 66 x 81 cm) PROV EN A N C E Jerald Melberg Gallery, Charlotte, North Carolina

$15,000–$20,000

224 WOLF KAHN Landscape

N.d.

Pastel on paper Signed lower right Composition/sheet (vis.): 10.375" x 13.25" Frame: 17.875" x 20.625" (Composition/sheet: 26 x 34 cm) PROV EN A N C E Sotheby’s, New York, New York, February 12, 2004, lot 157

$3,000–$5,000

145

225

227

PATTI WARASHINA

ALTON S. TOBEY

Homage to Calder

Paint Swirler (from Four-Foot Figures Series)

N.d.

Oil on canvas

1993 Mixed-media sculpture

Signed lower right; signed and titled in black felt-tip marker canvas verso

Signed and dated to base 43.75" x 26" x 13.25" (111 x 66 x 34 cm)

Canvas (vis.): 19.75" x 23.5" Frame: 26.75" x 30.75" (Canvas: 50 x 60 cm)

P ROVENA NC E Bonhams, Los Angeles, California, March 11, 2012, lot

PROV EN A N C E Shannon’s Fine Art

7099

Auctioneers, Milford, Connecticut,

ILLUSTRAT E D Patti Warashina: Wit

April 25, 2013, lot 133

and Wisdom. M. Kingsbury. 2012. #71.

$2,000–$3,000

$2,000–$3,000

147

228 ALEXANDER CALDER Lo Oscuro Invade

c. 1970 Color lithograph on wove paper #323 of 500 Initialed in graphite lower right; signed by Carlos Franqui with edition in graphite lower left edge of sheet

226 JOHN CISNEY

Image: 24" x 33.25" Sheet (vis.): 27.125" x 37" Frame: 34.75" x 44.75" (Image: 61 x 84 cm)

Georgia Inside and Out 1986 Painted wood Signed and dated to interior

PROV EN A N C E Bonhams & Butter-

50.5" x 12" x 19.5" (128 x 30 x 50 cm)

$1,000–$1,500

fields, San Francisco, California, April 18, 2006, lot 256 ALTERNATE VIEW

$800–$1,200

229 AFTER ALEXANDER CALDER Turquoise

1975 Handwoven jute maguey tapestry Artist’s proof aside from the edition of 100 BonArt Woven initials and date lower right; edition lower left 56" x 83.25" (142 x 211 cm)

$6,000–$9,000

231 ALEXANDER CALDER

230 AFTER ALEXANDER CALDER Hammock

1975 100% cotton manila, wood spreaders #28 of 100 Published by CAC Publications, New York; fabricated in Nicaragua Woven date and artist’s initials upper right; edition lower left; retains CAC Publications label verso 135" x 44" (laid flat) (343 x 112 cm)

$4,000–$6,000

Untitled (Sun over Braniff Plane) c. 1975 Photograph with hand-painted additions Initialed lower right edge of sheet Image: 23" x 34.75" Sheet: 24.125" x 40" Frame: 29.25" x 40.375" (Image: 58 x 88 cm) PROV EN A N C E George Gordon (acquired directly from the artist, c.

1975); Private Collection (acquired directly from the above); Sotheby’s, New York, New York, December 14, 2005, lot 324

$7,000–$10,000

232 AFTER ALEXANDER CALDER Circus

1975 Handwoven jute maguey tapestry #80 of 100 BonArt Woven signature and date lower right; edition lower left; retains BonArt label upper right 84.25" x 56" (214 x 142 cm)

$3,000–$5,000

149

233 BERNARD FRIZE Yucca

1999 Acrylic and resin on canvas Retains artist’s label to canvas stretcher verso 82.125" x 76.75" (209 x 195 cm) P ROVENA NC E Frith Street Gallery, London, United Kingdom; Private Collection (acquired directly from the above, 2001); Christie’s, London, United Kingdom, February 14, 2013, lot 292

$25,000–$35,000

234 HARVEY HURLEY

Parting of the Ways 2004 Mixed-media on canvas Signed lower right; signed, titled, dated, and inscribed “Acrylic on canvas/33” x 42”/June 10, 2004” in black felt-tip marker canvas verso Canvas: 32.875" x 42.125" Frame: 34.25" x 43.375" (Canvas: 84 x 104 cm)

$1,000–$1,500

151

235 JOSÉ MARÍA SICILIA Flor Grande

2003 Oil and encaustic on wood panel Initialed, dated, and inscribed in blue paint panel verso Panel: 39.25" x 39.25" Frame: 40.625" x 40.625" (Panel: 100 x 100 cm) PROV EN A N C E Private Collection (acquired directly from the artist); Sotheby’s, New York, New York, June 27, 2013, lot 227

$6,000–$8,000

236 HEATHER CARISCH The Cello

238

1993 Acrylic on paper

ROXY PAINE

Signed and dated lower right edge of sheet

2001 Linear low-density polyethylene

Composition/sheet: 49.75" x 38.125" Frame: 58.5" x 46.75" (Composition/sheet: 126 x 97 cm)

17.25" x 25.75" x 23.875" (44 x 65 x 61 cm)

$1,000–$1,500

Scumak

PROV EN A N C E Galerie Thomas Schulte, Berlin, Germany; Private Collection (acquired directly from the above); Christie’s, New York, New York, January 12, 2009, lot 91 L I TERATU R E Roxy Paine: Second Nature. J.D. Ketner, L.M. Herbert, and G. Volk. 2002. 62-67 for similar examples from the series illustrated.

$4,000–$6,000

153

237 STEVEN SORMAN From Away

239

1988 Woodcut, lithograph, and screenprint on Okawara handmade paper mounted to wood screen

ROBERT KELLY

#1 of 12 Published and printed by Tyler Graphics, Ltd., Mt. Kisco Signed, titled, and dated with edition upper right 60.625" x 84.5" x 12" (154 x 215 x 30 cm) LITERATURE The Complete Printmaker. 2nd ed. J. Ross, et al. 1990.

Nocturne Assemblage XVI 2004 Mixed-media on panel Signed, titled, and dated in black ink verso; retains John Berggruen Gallery label verso Panel: 17" x 14" Frame: 27.875" x 24.375" (Panel: 43 x 36 cm) PROV EN A N C E John Berggruen Gallery, San Francisco, California; Christie’s, New York, New York, Janu-

216.

ary 16, 2008, lot 519

$2,000–$3,000

$1,500–$2,000

240 LEONARD JANKLOW Octagonal Abysmal

c. 1977 Screenprint on acrylic in painted Plexiglas construction Signed lower right Image: 42" x 42" Frame: 48.5" x 48.5" (Image: 107 x 107 cm) P ROVENA NC E Wiener Gallery, New York, New York; Private Collection, New York (acquired directly from the above, 1977); Christie’s, New York, New York, January 8, 2013, lot 53

$1,500–$2,500

242 241 GRAHAM LITTLE

Gucci Spring/Summer 1999 Mixed-media and acrylic on MDF Signed and dated in black ink 39.375" x 80.75" x 27.5" (as illustrated) (100 x 205 x 70 cm)

VAL BERTOIA

Sounds of Hexagons 2009 Silvered beryllium copper rods and brass 54" x 12" x 9" (137 x 30 x 23 cm) PROV EN A N C E Leslie Hindman Auctioneers, Chicago, Illinois, May 15,

P ROVENA NC E Private Collection

2011, lot 62

(acquired directly from the artist);

$3,000–$5,000

Christie’s, London, United Kingdom, February 12, 2009, lot 176

$3,000–$5,000

243 VAL BERTOIA

Growing Sound 2009 Silvered beryllium copper rods and brass 49" x 12.75" x 13" (124 x 32 x 33 cm) PROV EN A N C E Leslie Hindman Auctioneers, Chicago, Illinois, May 15, 2011, lot 61

$3,000–$5,000

155

246 PETER ALEXANDER Palmdale

1990 Color lithograph on wove paper

244 ED RUSCHA

Anchor in Sand 1991 2-color lithograph on white Rives BFK paper #78 of 100 Published by the Paris Review, New York; printed by Hamilton Press, Venice Signed and dated in graphite lower right edge of sheet; edition lower left with Hamilton Press blind stamp; retains Viridian Artists Inc. label frame verso Image/sheet: 21" x 32" Frame: 25.125" x 36.25" (Image/sheet: 53 x 81 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #213.

$3,000–$5,000

245 ED RUSCHA

Makeup Dept. (from Artists and Photographs) 1975 Color dye-transfer print on acetate #47 of 60 Published by Multiples, Inc., New York; printed by GP Color, Los Angeles Signed lower right edge of sheet; edition lower left; retains Hirschl & Adler Modern label frame verso Sheet (vis.): 15.75" x 19.75" Frame: 23" x 26.75" (Sheet: 40 x 50 cm) P ROVENA NC E Sotheby’s, New York, New York, February 23, 1996, lot 156 LITERATURE Edward Ruscha:

Artist’s proof aside from the edition of 30 Signed and dated in graphite lower right edge of sheet; edition lower left Image/sheet: 30" x 39.875" Frame: 33.75" x 43.625" (Image/sheet: 76 x 101 cm) PROV EN A N C E Christie’s, New York, New York, July 18, 2011, lot 309

$1,500–$2,000

247 R. B. KITAJ

Group of prints (4) 1965-1967 Screenprints on paper A: #55 of 70; B: #24 of 70; C: #39 of 70; D: #27 of 70 A-C: Published by Marlborough AG Schellenberg Fl, London; printed by Kelpra Studio, London; D: Printed

by Kelpra Studio, London A: Signed lower right edge of sheet; edition lower left; B, C: Signed with edition lower left edge of sheet; D: Signed with edition lower right edge of sheet Comprised of A: Ed Dorn (1966); B: Revolt on the Clyde (Hugh MacDiarmid) (1967); C: Star Betelguese/ Robert Duncan (1967); D: The Desire for Lunch is a Bourgeois Obsessional Neuroses or Grey Schizoids (1965) A, B: Images/sheets (vis.) each: 25.125" x 20.125" Frames each: 26.75" x 21.75" C: Image: 26.25" x 19.125" Sheet (vis.): 30.125" x 21.5" Frame: 31.75" x 23.25" D: Image: 27.75" x 18.125" Sheet (vis.): 29.5" x 19.75" Frame: 31" x 21.5" (A,B Images/sheets each: 64 x 51 cm)

Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg

L I TERATU R E The Prints of R.B. Kitaj.

and C. Phillpot. 1999. #85.

J. Kinsman. 1994. #15, #34ii-iv.

$2,000–$3,000

$2,000–$3,000

157

249 DAVID HOCKNEY

David Hockney, Seibu, Tokyo, 1988 exhibition poster 1988 Offset lithograph on paper Signed lower right Sheet: 14.375" x 20.25" (Sheet: 37 x 51 cm) L I TERATU R E Off the Wall: Hockney Posters. B. Baggott. 1994. #127.

$400–$600

159

250 DAVID HOCKNEY 248 DAVID HOCKNEY Parade

1981 Screenprint on paper Published by Petersburg Press, London Retains Peter M. David Gallery label frame verso Image: 79.625" x 39.875" Sheet (vis.): 80.25" x 40.25" Frame: 81.25" x 41" (Image: 202 x 101 cm)

Picture of Melrose Avenue in an Ornate Gold Frame (from A Hollywood Collection) 1965 Color lithograph on Rives BFK mould-made paper #59 of 85 Published by Editions Alecto, London; printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right sheet in image Image/sheet (vis.): 29.75" x 21.625" Frame: 31.375" x 23.25" (Image/sheet: 76 x 55 cm)

LITERATURE Off the Wall: Hockney

L I TERATU R E David Hockney Prints

Posters. B. Baggott. 1994. #103.

1954-1995. 1996. #44.

$1,500–$2,000

$4,000–$6,000

251 WAYNE THIEBAUD Dark Cake

1983 Color woodcut on handmade Tosa Kozo paper #46 of 200 Published by Crown Point Press, Oakland; printed by Shiundo Print Shop, Kyoto Signed and dated lower right margin beneath image; edition lower left; retains Crown Point Press blind stamp lower right edge of sheet Image: 15" x 17.5" Sheet: 20.25" x 22.5" Frame: 24.75" x 27" (Image: 38 x 44 cm)

252 LETA RAMOS

Finished, Unfinished Quintet 1981 Oil on linen Signed and dated canvas verso; retains unknown information label canvas stretcher verso Linen (vis.): 48.75" x 59" Frame: 49.5" x 59.625" (Linen: 124 x 150 cm) PROV EN A N C E Private Collection, Santa Rosa, California; Bonhams & Butterfields, Los Angeles, California, May 1, 2005, lot 131

$3,000–$5,000 LITERATURE Thirty-Five Years at Crown Point Press. K. Breuer. 1997. #105.

$20,000–$30,000

161

253 LETA RAMOS Untitled

1979 Oil on canvas Signed and dated in graphite canvas verso Canvas: 24.125" x 24" Frame: 24.875" x 24.75" (Canvas: 61 x 61 cm) PROV EN A N C E Private Collection, Santa Rosa, California; Bonhams & Butterfields, Los Angeles, California, May 1, 2005, lot 131

$3,000–$5,000

254 LEONARD BASKIN

The Muskellunge; The Mosquito (from Under the North Star) (2) 1980 Watercolors on paper Each signed in black ink lower right; dated lower left; each retains Kennedy Galleries label verso Sheets each: 11" x 7.5" Frames each: 20.625" x 15.625" (Sheets each: 28 x 19 cm) These two works were created as original illustrations for a widely released children’s book, Under

163

the North Star, released in 1981 as a collaboration between the artist, Leonard Baskin, and the poet, Ted Hughes.

P ROVENA NC E Sotheby’s, New York, New York, December 14, 2005, lot 157 LITERATURE Under the North Star.

T. Hughes and L. Baskin. 1981. 21, 45.

$1,500–$2,000

256 NICHOLAS AFRICANO Evelina

255 EUGÈNE BERMAN

Scene from a Ballet 1942 Ink and watercolor on paper Signed with artist’s monogram and dated in black ink lower right Sheet: 22.5" x 15.125" (Sheet: 57 x 38 cm)

1984 Acrylic, oil, gesso, and cast cloth on canvas diptych Right panel: Signed, titled, and dated canvas verso; Left panel: Signed and titled canvas verso Right panel: Canvas: 12" x 8.875" Frame: 16.625" x 13.75" Left panel: Canvas: 86" x 66.25" (Right panel canvas: 30 x 23 cm) PROV EN A N C E The estate of Holly Solomon; Bonhams & Butterfields,

P ROVENA NC E Tajan, Paris, France,

San Francisco, California, April 30,

October 5, 2004, lot 223

2006, lot 2060

$1,500–$2,000

$5,000–$7,000

257

259

260

CLAIRE FALKENSTEIN

MARK LERE

PAT STEIR

1964-1965 Ink, wash, and metallic paint on paper

1986 Graphite on shaped flake board

1981 Color aquatint, hard ground etching, soft ground etching, spitbite aquatint, and drypoint on Arches 88 paper

Untitled

Signed and dated lower right edge of sheet Composition/sheet: 11.625" x 12.5" Frame: 18.75" x 19.75" (Composition/sheet: 30 x 32 cm) P ROVENA NC E Bonhams & Butterfields, San Francisco, California, May 3, 2010, lot 15

$1,500–$2,000

Gullet

43.375" x 36.5" x 8" (110 x 93 x 20 cm) PROVENANCE John Berggruen Gallery, San Francisco, California; Private Collection, Northern California; Bonhams, Los Angeles, California, March 11, 2012, lot 7107

$500–$600

Abstraction, Belief, Desire

#4 of 35 Published and printed by Crown Point Press, Oakland Signed and dated with edition lower right margin beneath image; retains Vesti label frame verso Image: 35.5" x 55" Sheet (vis.): 38" x 57" Frame: 45.5" x 64.25" (Image: 90 x 140 cm) L I TERATU R E Thirty-Five Years at Crown Point Press. K. Breuer. 1997.

Fig. 5, #4.

$2,000–$3,000

165

258 HERBERT FERBER Untitled

1974 Acrylic on paper Signed and dated lower right edge of sheet; retains André Emmerich Gallery label frame verso Sheet: 19.75" x 24.5" Frame: 21.25" x 26.75" (Sheet: 50 x 62 cm) P ROVENA NC E André Emmerich Gallery, New York, New York; Swann Auction Galleries, New York, New York, November 15, 2012, lot 203

$1,000–$1,500

167

261

262

SAM GILLIAM

SAM GILLIAM

1974 Watercolor on paper

1982 Mixed-media on paper

Signed and dated lower right edge of sheet; inscribed “Lisa 5” lower left

Signed and dated lower right edge of sheet

Untitled

Composition/sheet: 37.125" x 72.125" Frame: 41.25" x 76.25" (Composition/sheet: 94 x 183 cm)

Untitled

Composition/sheet: 23.75" x 38.75" Frame: 25.25" x 40.25" (Composition/sheet: 60 x 98 cm) PROVE N A N CE Private Collection,

263 SAM GILLIAM August

1991 Mixed-media on paper in white fiberglass case under Plexiglas Signed, titled, and dated on placard verso; retains Robert Kidd Gallery label verso 8.5" x 47.75" diameter (22 x 121 cm)

P ROVENA NC E Leslie Hindman

Cincinnati, Ohio; Rago Auctions,

Auctioneers, Chicago, Illinois, Novem-

Lambertville, New Jersey, November

PROV EN A N C E Robert Kidd Gallery,

ber 1, 2012, lot 26

17, 2012, lot 649

Birmingham, Minnesota

$10,000–$15,000

$6,000–$8,000

$15,000–$20,000

John Altoon By many accounts, John Altoon remains a “looming” icon of the 1950s and 1960s Los Angeles art scene.

A member of the notorious Ferus group, alongside Ed Ruscha, Robert Irwin, and Billy Al Bengston, Altoon is often remembered for both his struggles with mental illness and his outsized personality. Over the course of his short career, Altoon produced evocative and irreverent work that captured his “fantasies and dreams.” Not surprisingly, Altoon was highly influenced by Surrealism. Like many of his contemporaries, Altoon’s works often reflect his early forays into commercial illustration. While many of his early works are comical and sexually explicit, the Hyperion series, to which Untitled (1963-1964) belongs, is a more highly abstracted work. Titled after the Los Angeles avenue, Hyperion features “splattered” biomorphic forms that evolve into a soft sensuality. Here, Altoon’s “own version artistic madness” blossoms into a sort of pulsating psychedelia.

265 JOHN ALTOON Untitled

1965 Mixed-media on illustration board Signed and dated lower right edge of sheet Sheet: 30" x 40" Frame: 31.125" x 41.125" (Sheet: 76 x 102 cm)

Eler, Alicia. “Curating the Mind of John Altoon.” Hyperallergic, 22 July 2014, hyperallergic.com/132458/curating-the-mind-of-john-altoon/.

PROV EN A N C E Bonhams & Butterfields, Los Angeles, California, May 1, 2005, lot 139

$6,000–$8,000

266 JOHN ALTOON

Frog and Princess Series #14

264 JOHN ALTOON

Untitled (from Hyperion Series) 1963-1964 Oil on canvas Retains Edward Thorp Gallery and Goldeen labels canvas stretcher verso Canvas: 56.25" x 60.125" Frame: 57.375" x 61.125" (Canvas: 143 x 153 cm)

$40,000–$60,000

1968 Ink and airbrush on illustration board Signed and dated lower right edge of sheet Sheet (vis.): 29.875" x 39.75" Frame: 30.75" x 40.75" (Sheet: 76 x 101 cm) PROV EN A N C E Rene and Veronica di Rosa Foundation, Napa, California; Bonhams, Los Angeles, California, November 5, 2006, lot 168

$5,000–$7,000

169

269

270

271

272

SARKIS SARKISIAN

ZADIK ZADIKIAN

ZADIK ZADIKIAN

ZADIK ZADIKIAN

N.d.

Oil on canvas

1997 Oil on hand treated paper

c. 1996 Oil on hand treated paper

1997 Oil on canvas

267

Signed lower left edge of canvas; painting of woman verso

Signed and dated lower right

Signed lower center in composition

MARTIROS SARIAN

Canvas (vis.): 21.5" x 29.5" Frame: 25.5" x 33.5" (Canvas: 55 x 75 cm)

Composition/sheet: 24" x 18" Frame: 30.5" x 24.25" (Composition/sheet: 61 x 46 cm)

Composition/sheet: 21.875" x 16.75" Frame: 28.5" x 23.125" (Composition/sheet: 56 x 43 cm)

Signed and dated lower left edge of canvas

$1,000–$1,500

$1,000–$1,500

Untitled (Two Heads)

Untitled (Vase with Flowers) 1949 Oil on panel

Untitled (Gabriel)

Untitled

Untitled

77.75" x 64.5" (197 x 164 cm)

$1,000–$1,500

PROVENANCE DuMouchelles Fine

Signed and dated lower right edge of panel

Art Auctioneers, Detroit, Michigan,

Panel: 16" x 12" Frame: 20.25" x 16.25" (Panel: 41 x 30 cm)

$1,000–$1,500

February 11, 2012, lot 2004

$15,000–$20,000

171 LOT 270

LOT 269

268 MARTIROS SARIAN

Portrait of Boris Parsadanian 1962 Black and red chalk on paper Signed, dated, and inscribed “28 II” in Cyrillic lower right; inscribed “Yerevan” in Cyrillic lower left Composition/sheet (vis.): 7.375" x 10.375" Frame: 13.375" x 16.125" (Composition/sheet: 19 x 26 cm)

LOT 271

P ROVENA NC E Boris Parsadanian; Thence by descent; Christie’s, New York, New York, April 24, 2006, lot 149

$3,000–$5,000

LOT 272

273 CHARLES GARABEDIAN Untitled

1981 Pencil on paper Initialed and dated lower right edge of sheet; retains Holly Solomon Gallery, L.A. Louver Gallery, Tortue Gallery, and Hirschl & Adler Modern labels frame verso Sheet: 30" x 20.125" Frame: 34.625" x 24.875" (Sheet: 76 x 51 cm) P ROVENA NC E L.A. Louver Gallery, Venice, California; Tortue Gallery, Santa Monica, California; Hirschl & Adler Modern, New York, New York; Holly Solomon Gallery, New York, New York; Bonhams, Los Angeles, California, November 5, 2006, lot 253

$2,000–$3,000

274 KARLEN HOVSEPIAN

276 ARMEN VARTANIAN Damn Bad-Wishers 1998 Bronze Stamped artist’s cipher to underside and base 11.125" x 5.625" x 5.125" (including base) (28 x 14 x 13 cm) PROV EN A N C E Armenian Center

Chat

for Contemporary Experimental Art,

1996 Oil on canvas

$600–$800

Yerevan, Armenia

Signed and dated upper left edge of canvas; signed and dated lower right edge of canvas; inscribed verso Canvas (vis.): 19.375" x 27" Frame: 20.875" x 28.625" (Canvas: 49 x 69 cm) P ROVENAN C E Armenian Center for Contemporary Experimental Art, Yerevan, Armenia

$3,000–$5,000

275 KARLEN HOVSEPIAN Girlfriends

277

1994 Oil on canvas

ARMEN VARTANIAN

Signed and dated upper right edge of canvas; dated upper left Canvas (vis.): 19.5" x 14" Frame: 21.125" x 15.625" (Canvas: 50 x 36 cm)

Easy Hen c. 1999 Bronze

Stamped artist’s cipher to base 13.875" x 10.375" x 5.5" (35 x 26 x 14 cm)

P ROVENA NC E Armenian Center for Contemporary Experimental Art,

PROV EN A N C E Armenian Center

Yerevan, Armenia

for Contemporary Experimental Art,

$2,000–$3,000

Yerevan, Armenia

$1,000–$1,500

173

278 EDWARD AVEDISIAN

Sunkist on the West Side Highway 1960 Acrylic on canvas Signed and titled canvas stretcher verso; retains unknown information label canvas stretcher verso Canvas: 72.375" x 72.125" Frame: 73.5" x 73.25" (Canvas: 184 x 183 cm)

280

281

282

MODERN

SUPERSTUDIO

ITALIAN MODERN

Manufacturer unknown, designed c. 1975

Poltronova, designed 1968

Manufacturer unknown, designed c. 1960

Lucite chairs (2)

Each: 32.5" x 21" x 26" (Each: 83 x 53 x 66 cm) PROVENANCE Christie’s, New York, New York, January 9, 2013, lot 559

$800–$1,200

Gherpe table lamp Retains manufacturer’s label 17" x 25" x 7.75" (maximum overall dimensions) (43 x 64 x 20 cm)

$2,000–$3,000

Smoker’s table

24.875" x 11.5" x 12.625" (63 x 29 x 32 cm) PROV EN A N C E Leslie Hindman Fine Art Auctioneers, Chicago, Illinois, October 13, 2005, lot 522

$600–$800

P ROVENA NC E William Rubin; Property of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California; Bonhams & Butterfields, San Francisco, California, May 7, 2006, lot 6063

$2,000–$3,000

175

279 EDWARD AVEDISIAN Untitled

1965 Acrylic on canvas Signed and dated to canvas overlap; signed and dated and inscribed “Liquitex” in graphite canvas verso 71" x 71.75" (180 x 182 cm) P ROVENA NC E Property of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California; Bonhams & Butterfields, San Francisco, California, May 7, 2006, lot 6064

$2,000–$3,000

284

285

GAIL BOYAJIAN

VESNA KREZICH KITTELSON

City Life

2000 Oil on panel Signed, titled, and dated in black felt-tip marker board verso; retains Katharina Rich Perlow Gallery label verso Board: 12.75" x 60.75" (Board: 32 x 154 cm) PROVENANCE Katharina Rich Perlow Gallery, New York, New York

$2,000–$3,000

Massacre of the Civilian Population in Timisoara, Romania; Witness, Victory, Malitia/ Securitate (from War Paintings series) (2) 1990 Oil and acrylic on shaped canvas Right panel: 53.5" x 73.125" x 4.25" Frame: 59.125" x 74.5" x 8.25" Left panel: 52.25" x 61.125" x 2.25" Frame: 59.125" x 64.5" x 8.25" (Right panel: 136 x 186 x 11 cm)

$4,000–$6,000

177

283 OLEG TISTOL Untitled

2007 Acrylic and screenprint on canvas Signed and dated lower right; signed twice and dated verso 58.25" x 41" (148 x 104 cm) P ROVENA NC E Private Collection (acquired directly from the artist); Phillips, New York, New York, November 8, 2011, lot 355

$7,000–$10,000

Fernando Botero Columbian artist Fernando Botero’s style is instantly recognizable. His plump figures have become his trademark, always carrying a whimsical air of satire. Botero uses grand proportions to communicate his characters’ enormous personalities. He paints emotional volumes that appear to burst at the seams. Primarily self-taught, Botero was awestruck by the works of the Spanish and Italian Old Masters during his extended stay in Europe as a young man. Over the course of his career, Botero has paid tribute to the history of art both subtly and explicitly. One sees small references through color and staging in a number of Botero’s paintings to Boris Kustodiev’s seminal portraits of merchant wives. He more obviously wears his influences on his sleeve in his reimagining of principle works by da Vinci, Van Eyck, and, of course, Velázquez. These recreations not only demonstrate Botero’s technical expertise, but deliver a love letter to his heroes.

By ‘fattening-up’ Juan de Calabazas and other iconic characters, Botero articulates the impressiveness of the personalities that he reads between the brushstrokes of his idols. Botero’s unique twist on their works acts as a sentimental testament to the age-defying communicative powers of the Old Masters’ oeuvre.

179

286 FERNANDO BOTERO

Juan de Calabazas (After Velázquez) 1975 Charcoal and graphite on Arches paper Signed, titled, and dated lower right edge of sheet Composition/sheet: 30" x 22.25" Frame: 44.625" x 37.125" (Composition/sheet: 76 x 57 cm) P ROVENA NC E Galerie Claude Bernard, Paris, France; Private Collec-

287 FERNANDO BOTERO Untitled

c. 1960 Watercolor on paper Signed and inscribed “A Cecelia” lower left sheet; sketch of chicken verso Sheet: 11.75" x 9" Frame: 18.625" x 15.875" (Sheet: 30 x 23 cm)

tion, Athens, Greece; Tajan, Paris, France, July 21, 2012, lot 13 EXHIBITE D “Botero: Aquarelles et Dessins,” Galerie Claude Bernard, Paris, March 1976

PROV EN A N C E Cecilia Perez Coombs, Philadelphia, Pennsylvania (acquired directly from the artist); Nancy Morgan Ambler, Philadelphia, Pennsylvania (acquired directly from the

ILLUSTRAT E D Botero: Aquarelles et

above); Freeman’s Auctions, Phila-

Dessins. Galerie Claude Bernard exh.

delphia, Pennsylvania, November 6,

cat. 1976. #22.

2011, lot 73

$40,000–$60,000

$10,000–$15,000

288 AFTER FERNANDO BOTERO Les Danseurs

1985 Offset lithograph on paper From the edition of 26, lettered A-Z aside from the edition of 150 Signed lower right margin beneath image; edition inscribed “k/z” lower left Image: 15" x 10.625" Sheet: 17" x 12.25" (Image: 38 x 27 cm) P ROVENA NC E Christie’s, New York, New York, May 1, 2006, lot 30

$1,500–$2,500

291 HEINZ RABBOW Sailor

2005 Tempera on panel Signed and dated lower left edge of panel; retains Landau Fine Art label verso Panel: 71" x 78.875" Frame: 74.5" x 82.125" (Panel: 180 x 200 cm) PROV EN A N C E Landau Fine Art, Montreal, Canada

$3,000–$5,000

289 FERNANDO BOTERO

Botero au Palais des Papes, Avignon 1993 Bronze 1.25" x 3.625" diameter (3 x 9 cm)

$2,000–$3,000

292 HEINZ RABBOW

Frau in den Feldern 2007 Tempera on panel Signed and dated lower right; retains Landau Fine Art label verso Panel (vis.): 8.25" x 11" Frame: 12.875" x 15.375" (Panel: 21 x 28 cm) PROV EN A N C E Landau Fine Art, Montreal, Canada

$1,200–$1,800

290 FERNANDO BOTERO, ATTRIBUTED Bailarina 1988 Bronze #2 of 6 Signed “F. Botero” and dated with edition at base

293 HEINZ RABBOW

Frau mit Sommerhut 2007 Tempera on panel Signed and dated lower right; retains Landau Fine Art label verso Panel (vis.): 6.625" x 6.625" Frame: 11.25" x 11.25" (Panel: 17 x 17 cm)

12" x 5.625" x 7" (including base) (30 x 14 x 43 cm)

PROV EN A N C E Landau Fine Art,

$500–$700

$1,000–$1,500

Montreal, Canada

181

294 RAFAEL CORONEL Untitled

1968 Acrylic and pencil on board Signed, dated, and inscribed “New York” lower right edge of sheet; retains unknown information label frame verso Composition/sheet (vis.): 16.375" x 13.5" Frame: 21.75" x 18.875" (Composition/sheet: 42 x 34 cm)

296 FELIPE CASTAÑEDA Meditation

c. 1976 Semi-polished white onyx 21" x 19.125" x 10" (including base) (53 x 49 x 25 cm)

P ROVENA NC E John and Barbara

PROV EN A N C E Private Collection

Duncan, New York, New York (gifted

(acquired directly from the artist);

directly from the artist, 1968); Sothe-

Los Angeles Modern Auctions, Van

by’s, New York, New York, December

Nuys, California, June 3, 2007, lot

14, 2005, lot 278

180

$3,000–$5,000

$4,000–$6,000

295 LEONARDO NIERMAN Bird in Flight

1960 Acrylic on Masonite Signed and dated lower right edge; retains B. Lewin Galleries label verso Masonite: 19.75" x 48" Frame: 21.375" x 49.75" (Masonite: 50 x 122 cm)

$800–$1,200

297 FELIPE CASTAÑEDA Woman with Lilies 1996 Marble Incised signature and date to base 19.75" x 11.5" x 12.625" (50 x 29 x 32 cm) PROV EN A N C E Leslie Hindman Auctioneers, Chicago, Illinois, December 11, 2011, lot 173

$2,000–$3,000

298 ANTHONY PADOVANO Untitled 1986 Marble Signed and dated to base 45" x 15" x 14" (114 x 38 x 36 cm) PROV EN A N C E Private Collection, New York; Rago Auctions, Lambertville, New Jersey, November 17, 2012, lot 707

$5,000–$7,000

183

299 DANIEL QUINTERO Cabina Naranja 1978-1979 Oil on cloth Retains Marlborough Gallery label canvas stretcher verso

301

Cloth: 58.375" x 40.25" Frame: 60" x 41.75" (Cloth: 148 x 102 cm)

JIRÍ STREDA

P ROVENA NC E Marlborough Gallery, New York, New York; Bonhams, New York, New York, May 9, 2011, lot 1046 EXHIBITE D “Daniel Quintero: Paintings and Drawings,” Marlborough

Co Víme 1995 Bronze

Retains etched signature and date to base 21.75" x 6.625" x 8" (including base) (55 x 17 x 20 cm)

Gallery, New York, January 30-February 23, 1980 ILLUSTRAT E D Daniel Quintero: Paintings and Drawings. Marlborough

PROV EN A N C E Galerie Pyramid, Créteil, France

$1,000–$1,500

Gallery exh. cat. 1980. #10.

$5,000–$7,000

185

302 RUBÉN BERLAND 300 ABIGAIL VARELA

Mujer Colgando en un Aro 1998 Bronze #3 of 8 Retains incised initials and edition to base 46" x 45" x 12.25" (117 x 114 x 31 cm)

$10,000–$15,000

Mogote Bajo Luz de Luna Llena 1999 Acrylic on canvas Signed lower right; signed and titled in black felt-tip marker verso Canvas (vis.): 47.25" x 59" Frame: 56.25" x 68.25" (Canvas: 120 x 150 cm) PROV EN A N C E Private Collection (acquired directly from the artist); Christie’s, New York, New York, November 20, 2001, lot 85

$12,000–$15,000

307 VICTOR RODRIGUEZ Game Control

2005 Acrylic on canvas Signed, titled, and dated canvas verso 78" x 67.75" (198 x 172 cm) PROV EN A N C E Galería Ramis Barquet, New York, New York; Private Collection (acquired directly from the above); Christie’s, New York, New York, May 24, 2006, lot 270

$4,000–$6,000 LOT 304

LOT 303

187

303 RUFINO TAMAYO

LOT 305

Salomé

304

1984 Color lithograph on Somerset paper

RUFINO TAMAYO

#240 of 250 Published by the New York Metropolitan Opera House, New York; printed by American Atelier, New York Signed lower right; retains American Atelier blind stamp lower right corner; retains The Metropolitan Opera House blind stamp lower center edge of sheet; edition lower left

Mujer Con Sandía

LOT 306

305

1950 Color lithograph on Arches paper

ROBERTO SEBASTIAN MATTA

#191 of 200

1970 Aquarelle and aquatint on paper

Printed by Guilde Internationale de l’Amateur de Gravures, Paris Signed in graphite lower left margin beneath image; edition lower right

Untitled

306 ENRICO BAJ

Unknown edition size

L’Ultimo dei Generali

Published by George Visat Editions, Paris

c. 1975 Mixed-media on porcelain plate

Signed in graphite lower right in image; signed in graphite lower right margin beneath image; retains publisher’s stamp and inscribed in French verso

#1,539 of 3,000

Image/sheet: 30" x 21.75" (Image/sheet: 76 x 55 cm)

Image: 21.25" x 16.75" Sheet (vis.): 22.125" x 17.125" Frame: 29.375" x 24.25" (Image: 54 x 43 cm)

P ROVENA NC E Freeman’s Auction,

PROVE N A N CE Christie’s, New York,

Philadelphia, Pennsylvania, Novem-

New York, September 28, 2005, lot

ber 4, 2012, lot 70

465

LITERATURE Rufino Tamayo: Cata-

L I T E RAT U R E Rufino Tamayo: Cata-

logue Raisonné: Gráfica 1925-1991.

logue Raisonné: Gráfica 1925-1991. J.

P ROV E NANC E Christie’s, Milan, Italy,

P ROV E NANC E Christie’s, New York,

J.C. Pereda. 2004. #307.

Carlos Pereda. 2004. #32.

May 24, 2005, lot 36

New York, June 5, 2002, lot 126

$800–$1,200

$1,500–$2,000

$2,000–$3,000

$100–$200

Image: 14.875" x 19.5" Sheet: 18.5" x 22.5" Frame: 23.875" x 30.125" (Image: 38 x 50 cm)

Published by Edizioni Ceramica Franco Pozzi and Studio Marconi, Gallarate Retains facsimile signature with edition verso 1" x 12.125" diameter (3 x 31 cm)

ILLUSTRATED PREVIOUS PAGE

308 WALASSE TING Dance with Me

N.d.

Acrylic and ink on paper Stamped with artist’s red seal upper left in composition Composition/sheet: 18.75" x 13.125" Frame: 30.875" x 25.25" (Composition/sheet: 48 x 33 cm) PROV EN A N C E Sotheby’s, Hong Kong, April 6, 2013, lot 202

$4,000–$6,000

309 WALASSE TING Untitled

1982 Acrylic on rice paper Stamped with artist’s red seal upper left in composition Composition/sheet: 14.125" x 19.75" Frame: 27.25" x 33" (Composition/sheet: 36 x 50 cm) PROV EN A N C E Bonhams & Butterfields, Los Angeles, California, November 17, 2009, lot 1091

$3,000–$5,000

310 WALASSE TING Waiting for You

N.d.

Acrylic and ink on paper Stamped with artist’s red seal lower right in composition Composition/sheet: 8.625" x 12.125" Frame: 20.5" x 24" (Composition/sheet: 22 x 31 cm) PROV EN A N C E Sotheby’s, Hong Kong, April 6, 2013, lot 203

$2,000–$3,000

189

311 HUNG LIU Relic IV

2004 Oil on canvas with painted wood insert Initialed and dated lower left; retains remnant of unknown label frame verso 66" x 66" x 2.625" (168 x 168 x 7 cm) P ROVENA NC E Bernice Steinbaum Gallery, Miami, Florida LITERATURE Summoning Ghosts: The Art of Hung Liu. K. Dahlgren, ed.

2013. #72 for an additional example from the period.

$7,000–$10,000

313 YANG QIAN

Girl with red hair #4 2005 Oil on canvas Signed, dated, and titled in pinyin canvas verso 35.5" x 59" (90 x 150 cm) PROV EN A N C E Red Mansion Foundation, London, United Kingdom; Private Collection (acquired directly from the above); Christie’s, London, United Kingdom, February 9, 2007, lot 457

$10,000–$15,000

314 312 LUO QING

Man Carrying a Monkey 2001 Oil on canvas Signed in Chinese lower right edge of canvas; signed in Chinese and pinyin, titled, and dated canvas verso Canvas: 51.375" x 41.375" Frame: 52" x 41.75" (Canvas: 130 x 105 cm) P ROVENA NC E Christie’s, Hong Kong, November 28, 2010, lot 1432

$2,000–$3,000

UTTAPORN NIMMALAIKAEW Area of Corporeality

2012 Fishing line and oil on zephyr cloth in boxed installation Signed and dated lower right; signed in black felt-tip marker to canvas stretcher verso Canvas: 31.75" x 51.25" Frame: 33.125" x 52.25" x 8.25" (Canvas: 81 x 130 cm) PROV EN A N C E Sotheby’s, Hong Kong, April 6, 2013, lot 225

$5,000–$7,000

191

316 CHOI YEONG-GEOL

Afternoon in the Seaside 2004 Watercolor on paper mounted to board Retains artist’s red seal lower right edge of sheet Board: 66.25" x 83.5" Frame: 73" x 90.375" (Board: 168 x 212 cm) PROV EN A N C E Christie’s, Hong Kong, May 28, 2006, lot 485

$8,000–$12,000

315 CHOI YEONG-GEOL Seashore

2002 Watercolor on paper mounted to board Retains artist’s red seal lower right sheet Board: 50.875" x 63" Frame: 54.75" x 67.125" (Board: 129 x 160 cm) P ROVENA NC E Christie’s, Hong Kong, November 27, 2005, lot 397

$7,000–$10,000

193

317 TINYAN CHAN Pretty in Pink N.d.

Oil on canvas Signed lower right

319 JUNE YOUNG

Canvas (vis.): 29.25" x 23.25" Frame: 40.5" x 34.5" (Canvas: 74 x 59 cm)

Four Glass Vases

P ROVENA NC E Ellensohn Trust,

Signed and inscribed “at N.W.S.” lower right

Chicago, Illinois; Leslie Hindman Auctioneers, Chicago, Illinois, September 11, 2011, lot 169

$800–$1,200

N.d.

Watercolor on paper

Composition/sheet (vis.): 27.75" x 32.625" Frame: 38.125" x 44.125" (Composition/sheet: 70 x 83 cm)

$1,000–$1,500

195

318 TINYAN CHAN Hydrangeas N.d.

Oil on canvas Signed lower right Canvas (vis.): 23.75" x 29.5" Frame: 34.875" x 40.875" (Canvas: 60 x 75 cm) P ROVENA NC E Ellensohn Trust, Chicago, Illinois; Leslie Hindman Auctioneers, Chicago, Illinois, September 11, 2011, lot 170

$800–$1,200

320 JUNE YOUNG

Three Glass Vases N.d.

Watercolor on paper Signed and inscribed “at N.W.S.” lower left Composition/sheet (vis.): 31" x 24.125" Frame: 44.25" x 36.375" (Composition/sheet: 79 x 61 cm)

$800–$1,200

Jamie Wyeth As the third generation of the “Wyeth Art Dynasty,” which included Andrew Wyeth and N.C. Wyeth before him, Jamie Wyeth explores many of the same themes tackled by his father and grandfather.

Once labelled the “painters laureate of American Realism,” all three artists pay tribute the natural and human landscapes of rural Maine. In his own practice, Jamie Wyeth adopts the observationalism of his father’s work but picks up drama and “a sense of the bizarre” from his grandfather’s.

While Wyeth has painted portraits of many influential individuals, including Andy Warhol and John F. Kennedy, he has also been described as an “animalier,” or an artist with an exceptional expertise for capturing the subtleties of animal subjects. Many argue that his numerous animal studies serve as a conduit for discussing the peculiarities of the human psyche. Inherent to his natural scenes is an impressionistic treatment of light that allows him to sharpen select details while blurring others, thereby imbuing his paintings with a pulsing but “finely controlled energy.” Wyeth’s works demonstrate a rare commingling of the subjectivity of postwar Abstract Expressionism with the formal vocabulary of Rococo and Romanticism.

Kany, D. “The Arresting Painterly Panache of Jamie Wyeth.” Portland Press Herald, 09 Oct 2016.

“Capturing Character.” Scholastic Art, vol. 34, Sept. 2003, pp. 6–7.

322 YURI MATUSHEVSKI A Winter’s Day 1961 Oil on cardboard Signed and dated in Cyrillic lower left Sheet (vis.): 20.875" x 27" Frame: 24.625" x 30.875" (Sheet: 53 x 69 cm) PROV EN A N C E Christie’s, London, United Kingdom, December 15, 2010, lot 716

$2,000–$3,000

321 JAMIE WYETH Dozer and Egg

1985 Mixed-media on paper Titled and dated “Summer 1985” sheet verso; retains Frank E. Fowler label frame verso Composition: 19" x 23.875" Sheet: 20" x 25" Frame: 27.875" x 32.875" (Composition: 48 x 61 cm) P ROVENA NC E Private Collection, Texas; Christie’s, New York, New York, May 25, 2006, lot 138

$30,000–$50,000

323 TERRY PEDDLE CORCORAN July Afternoon (3)

1998 Acrylic on canvas triptych Signed lower left of left canvas; left canvas retains information label verso Canvases (vis.) each: 47.625" x 23.5" Frames each: 49.25" x 25.25" (Canvases each: 121 x 60 cm)

$3,000–$5,000

197

326 BILL KOHN Cuilapan

324 ARTASHES ABRAAMYAN Green Trees by the Blue Mountains 1979 Oil on canvas Signed and dated in Armenian lower right; signed and titled in blue crayon in Armenian canvas verso Canvas (vis.): 22" x 30.875" Frame: 28" x 36.875" (Canvas: 56 x 78 cm)

1993 Acrylic on canvas Signed and dated in ink lower right; etched signature with title and date to canvas stretcher verso Canvas: 37.125" x 48" Frame: 38.5" x 49.375" (Canvas: 94 x 122 cm) PROV EN A N C E Jan Cicero Gallery, Chicago, Illinois

$1,000–$1,500

P ROVENA NC E Christie’s, London, United Kingdom, February 12, 1999, lot 1

$800–$1,200

327 BILL KOHN

Survivors/Patio of the Columns, Mitla 1993 Acrylic on canvas Signed and dated lower left edge of canvas Canvas: 57.75" x 133" Frame: 59.25" x 134.625" (Canvas: 147 x 338 cm) PROV EN A N C E Jan Cicero Gallery, Chicago, Illinois

$2,000–$3,000

325 ARTASHES ABRAAMYAN Midday, Garni 1975 Oil on canvas Signed and dated in Armenian lower left; signed, titled, and dated in Armenian canvas verso Canvas (vis.): 31.125" x 22" Frame: 37.375" x 28.375" (Canvas: 79 x 56 cm) P ROVENA NC E Christie’s, London, United Kingdom, February 12, 1999, lot 19

$1,500–$2,000

199

330 KEN MOYLAN

Studio Landscape

328 KEN MOYLAN

Chimney Butte 1994 Oil and wood veneers on Masonite

c. 1994 Oil, wood veneers, and modeling paste on Masonite Initialed lower right in composition 70.5" x 28" x 3" (179 x 71 x 8 cm)

$1,500–$2,000

Signed and dated verso 47.25" x 29.75" x 2" (120 x 76 x 5 cm) P ROVENA NC E Thomas Barry Fine Arts, Minneapolis, Minnesota

$1,500–$2,000

201

329 KEN MOYLAN

Moonlite Window 1990 Redwood, oil, modeling paste, and wood veneers on Masonite Signed, titled, dated, and inscribed “9.90” in black felt-tip marker verso

331 KEN MOYLAN Balcony

1989-1990 Oil, modeling paste, and wood

46" x 24" x 2" (117 x 61 x 5 cm)

73.25" x 48.125" (186 x 122 cm)

P ROVENA NC E Thomas Barry Fine

PROV EN A N C E Thomas Barry Fine

Arts, Minneapolis, Minnesota

Arts, Minneapolis, Minnesota

$1,000–$1,500

$2,000–$3,000

333 TOM UTTECH

Wigwas Giwitaii 1996 Oil on Museum Board in artist’s frame Signed, titled, and dated verso Board: 9.375" x 10" Frame: 15.75" x 16.5" (Board: 24 x 25 cm)

332

PROV EN A N C E Schmidt Bingham

JIM WAID

$2,000–$3,000

Lagoon

Gallery, New York, New York

1999 Acrylic on canvas Signed lower right edge of canvas; signed, titled, and dated canvas verso; retains Riva Yares Gallery label canvas stretcher verso 84" x 66" (213 x 168 cm) P ROVENA NC E Riva Yares Gallery,

203

Scottsdale, Arizona

$6,000–$8,000

334 KEITH MILOW Balls and Rods

1990 Mixed-media on copper Signed and dated in black ink lower right Copper (vis.): 29.5" x 23.75" Frame: 41.375" x 33.5" (Sheet: 75 x 60 cm) PROV EN A N C E Pence Gallery, Santa Monica, California; Christie’s, London, United Kingdom, December 15, 2011, lot 168 EXH I B I TED “Keith Milow: 100 Large Drawings,” Pence Gallery, Santa Monica, March-April 1991

$1,500–$2,000

337 VIKTOR TEMPLIN

Through the Woods c. 1964 Oil on board Signed in Cyrillic lower right Board (vis.): 16.125" x 22.25" Frame: 21.125" x 27.375" (Board: 41 x 57 cm) PROV EN A N C E Christie’s, London, United Kingdom, March 7, 2007, lot 1259

$1,500–$2,000

338 KAIRONG LIU

Backyard of Oak Street c. 2009 Acrylic on paper Signed lower right Composition/sheet (vis.): 29.5" x 43.625" Frame: 39.75" x 53.875" (Composition/sheet: 75 x 111 cm)

$300–$500

335 CECILE GRAY BAZELON Winterset

1990 Oil on canvas Retains Katharina R. Perlow Gallery and West Publishing Company labels verso Canvas: 38" x 28" Frame: 39.125" x 29.125" (Canvas: 97 x 71 cm) P ROVENA NC E West Publishing Company, St. Paul, Minnesota

$600–$800

339 336 WILLIAM BUKOWSKI

WILLER JØRGENSEN

Winter Day in Fortunen

Mattina nel Giardino (from Sibley Park in Mankato Series)

1936 Oil on canvas

2008 Oil on linen

Signed, dated, and inscribed “Fortunen” lower left edge of canvas

Signed lower left; signed, titled, and dated in black crayon canvas verso

Canvas: 33.75" x 49.5" Frame: 42.625" x 58.5" (Canvas: 86 x 126 cm)

Linen: 40" x 30" Frame: 41.5" x 31.5" (Linen: 102 x 76 cm)

$1,000–$1,500

PROV EN A N C E Sotheby’s, London, United Kingdom, March 9, 2006, lot 168

$2,000–$3,000

205

342 BARBARA D. HULTMANN Main Beach Lake Harriet

340 WARNER FRIEDMAN Rene’s Yard

1996 Acrylic on canvas

c. 1990 Watercolor on paper Signed in graphite lower right margin beneath composition; titled in graphite lower center left margin beneath composition

Signed, titled, and dated in black felt-tip marker to canvas stretcher verso; signed and dated in black felt-tip marker to canvas overlap verso

Composition: 5.75" x 8.375" Sheet (vis.): 6.625" x 9.25" Frame: 15.125" x 17.25" (Composition: 15 x 21 cm)

95.75" x 52.25" (243 x 133 cm)

$800–$1,200

P ROVENA NC E Freites-Revilla Gallery, Coral Gables, Florida

$5,000–$7,000

343 JOSEPH SWEENEY Flag Day

1987 Oil on canvas Signed and dated lower left edge of canvas; retains West Publishing Company and Katharina Rich Perlow Gallery labels verso Canvas (vis.): 15.875" x 47.5" Frame: 17.25" x 48.875" (Canvas: 40 x 121 cm) PROV EN A N C E West Publishing Company, St. Paul, Minnesota

$1,000–$1,500

341 WARNER FRIEDMAN Rhode Island Light 1995 Acrylic on canvas Signed, titled, and dated in black felt-tip marker to canvas stretcher verso; signed in black felt-tip marker to canvas overlap verso; retains Horwitch Newman Gallery label verso

344 KIRK LYBECKER Eclypse

N.d.

Watercolor on paper Retains West Publishing Company label verso

40.125" x 68" (102 x 173 cm)

Composition/sheet (vis.): 34.5" x 41.375" Frame: 35.25" x 42.25" (Composition/sheet: 88 x 105 cm)

$3,000–$5,000

$400–$600

207

348 PHILIP MICHELSON 345 MARK O’NEILL

The Strand of Hair 2008 Oil on board Signed and dated lower left; signed, titled, and dated in black felt-tip marker board verso Board (vis.): 23.375" x 17.25" Frame: 35.25" x 29.125" (Board: 59 x 44 cm)

Untitled (Barber Pole) 1995 Watercolor and acrylic on paper Signed and dated in graphite lower right margin beneath composition; retains Horwitch Newman Gallery label verso Composition: 15" x 6.75" Sheet (vis.): 16.125" x 7.75" Frame: 23.25" x 14.375" (Composition: 38 x 17 cm)

$800–$1,200

P ROVENA NC E Morgan O’Driscoll Fine Art Auctioneers, Skibbereen, Ireland, September 23, 2008, lot 91

$1,500–$2,000

349 346 ELLEN LANYON Untitled

1965 Graphite on paper Signed and dated in graphite lower right Composition/sheet (vis.): 24" x 17.25" Frame: 33.375" x 26.625" (Composition/sheet: 61 x 44 cm) P ROVENA NC E B.C. Holland Gallery, Chicago, Illinois; Private Collection; Wright, Chicago, Illinois, September 27, 2012, lot 218

$1,000–$1,500

JAKE LONGSTRETH Eggs

2007 Acrylic on canvas on board Signed, titled, and dated in felt-tip marker board verso; retains Gregory Lind Gallery and Artsource Consulting labels verso Board: 19.625" x 19.625" Frame: 21.125" x 21.125" (Board: 50 x 50 cm) PROV EN A N C E Gregory Lind Gallery, San Francisco, California; Heller Ehrman LLP, San Francisco, California; Bonhams & Butterfields, San Francisco, California, November 17, 2009, lot 2184

347

$1,000–$1,500

ALICE NEEL

Edward Avedisian 1981 Lithograph on paper #2 of 10 artist’s proofs Signed and dated lower right margin beneath image; edition lower left Image: 32.5" x 24.125" Sheet: 35.5" x 26.125" (Image: 83 x 61 cm) P ROVENA NC E Freeman’s Auction, Philadelphia, Pennsylvania, May 5, 2013, lot 130

$800–$1,200

350 JAMES JENDRO Boats at Rest

1997 Acrylic on canvas Signed lower left; retains artist’s studio tag verso Canvas (vis.): 17.75" x 23.625" Frame: 22.375" x 28.25" (Canvas: 45 x 60 cm)

$1,000–$1,500

209

351 ALICE DALTON BROWN Positively Pink 1991 Pastel on paper Signed and dated lower left; retains Fischbach Gallery label verso Composition/sheet: 20" x 30" Frame: 27.375" x 37.375" (Composition/sheet: 51 x 76 cm) P ROVENA N C E Fischbach Gallery, New York, New York

$400–$600

354 DAVID MCELHINNEY Dublin Poet 2011 Oil on canvas Signed “McElhinney” lower right; signed, titled, and dated in black felt-tip marker canvas verso Canvas (vis.): 19.625" x 23.375" Frame: 27.75" x 31.5" (Canvas: 50 x 59 cm) PROV EN A N C E Morgan O’Driscoll Fine Art Auctioneers, Skibbereen, Ireland, February 20, 2012, lot 218

352

$600–$800

ALICE DALTON BROWN Lifting Flag 1985 Oil on linen Signed and dated lower left; retains West Publishing Company and A.M. Sachs Art Gallery labels verso Linen (vis.): 22" x 38" Frame: 31.25" x 47.5" (Linen: 56 x 97 cm) P ROVENA NC E Fischbach Gallery, New York, New York

$800–$1,200

355 DAVID O’SULLIVAN On Reflection 2011 Oil on canvas Signed and dated lower right Canvas: 16.126" x 24" Frame: 23.875" x 31.875" (Canvas: 41 x 61 cm) PROV EN A N C E Morgan O’Driscoll Fine Art Auctioneers, Skibbereen, Ireland, February 20, 2012, lot 156

353

$1,500–$2,000

SHIRLEY PETTIBONE Lily Pond with Turtle 1979 Watercolor on paper Signed and dated lower right margin beneath composition; titled lower left; retains Tortue Gallery label frame verso Composition: 6.125" x 13.5" Sheet (vis.): 7" x 14" Frame: 13.375" x 20.375" (Composition: 16 x 34 cm)

356 KEN HAYES

What’s That?

N.d.

Watercolor on paper Signed lower left in composition Composition/sheet (vis.): 10.625" x 14.625" Frame: 20" x 24" (Composition/sheet: 27 x 37 cm)

P ROVENA NC E Tortue Gallery, Santa Monica, California; Bonhams, Los

PROV EN A N C E Morgan O’Driscoll

Angeles, California, November 22,

Fine Art Auctioneers, Skibbereen,

2011, lot 1126

Ireland, October 17, 2011, lot 245

$800–$1,200

$100–$200

211

357

359

BLY POPE

VICTORIA CHALMERS

My Mom

Phil

c. 2010 Graphite on paper

1998 Oil on canvas

Composition/sheet (vis.): 37.625" x 29.25" Frame: 46" x 37.375" (Composition/sheet: 96 x 74 cm)

84.5" x 69.25" (215 x 176 cm)

$4,000–$6,000

Sotheby’s, London, United Kingdom,

PROV EN A N C E Private Collection (acquired directly from the artist); February 9, 2006, lot 491

$3,000–$5,000

213

360 358

TILL FREIWALD Untitled

NICHOLAS POPE

1998 Watercolor on paper

2007 Graphite on paper

Composition/sheet: 30" x 20.375" Frame: 37.125" x 27.5" (Composition/sheet: 76 x 52 cm)

Jessica Scott

Composition/sheet: 13.25" x 9.25" Frame: 20" x 16" (Composition/sheet: 34 x 23 cm)

$2,000–$3,000

PROV EN A N C E Christie’s, New York, New York, October 4, 2011, lot 228

$2,000–$3,000

362 JOSEPH PICCILLO Horse 12

1995 Graphite, charcoal, and acrylic on canvas 60" x 48" (152 x 122 cm) PROV EN A N C E Gallery Camino Real, Boca Raton, Florida

$3,000–$5,000

215

361 FRITZ SCHOLDER Carnival #7

363

1988 Oil on canvas

MALCOLM MORLEY

Signed lower right edge of canvas; retains Charlotte Jackson Fine Art label and unknown tag with title and date verso

N.d.

Watercolor on paper

Canvas: 80" x 68" Frame: 82.375" x 70.375" (Canvas: 203 x 173 cm)

Composition/sheet (vis.): 13.75" x 15.375" Frame: 21.875" x 23.25" (Composition/sheet: 35 x 39 cm)

Goat

Signed in graphite lower right

P ROVENA NC E Sotheby’s, New York, New York, September 29, 1993, lot

PROV EN A N C E Christie’s, New York,

377

New York, July 11, 2006, lot 98

$10,000–$15,000

$2,000–$3,000

364 DAVID GILHOOLY Arcimboldi’s Dog

1987 Monotype collage on paper Signed and dated in graphite lower right; titled lower left; retains Smith Andersen Editions label backing board verso Sheet: 30" x 22.125" (Sheet: 76 x 56 cm)

367

P ROVENA NC E Smith Ander-

DIRK DUBOIS

sen Editions, Palo Alto, California; Bonhams & Butterfields, Los Ange-

Junk Bull

les, California, November 18, 2008,

c. 2005 Forged steel

lot 1129

$500–$700

36.75" x 17" x 35.5" (93 x 43 x 90 cm)

$800–$1,200

365 DAVID GILHOOLY Frog in a Mug

1975 Painted and glazed ceramic Etched signature with date to underside

368

5.125" x 5.5" x 3.625" (13 x 14 x 9 cm)

Beavertail Salute

WAYNE POTRATZ 1997 Cast iron and cast bronze

P ROVENA NC E Daniel G. Volkmann Jr. Trust, San Francisco, California;

18" x 19" x 7.75" (46 x 48 x 20 cm)

Bonhams & Butterfields, San Francisco, California, November 23, 2010, lot 1099

$1,000–$1,500

$800–$1,200

366 DAVID GILHOOLY

369

Froghedge Against Inflation

DAVID GIL

1974 Gold luster glazed plaster #5 of 25

Untitled LOT 365

c. 1990 Stoneware, wood, and acrylic

Published by the Institute of Contemporary Art, Philadelphia

Fabricated by Bennington Potters, Bennington

Signed, dated, and inscribed “ICA/1974 5/25/Gilhooly” to underside

Inscribed “Bennington/Potters/ Bennington/Vermont/1850” to interior

2.875" x 4.5" x 3" (7 x 11 x 8 cm)

19.125" x 10" x 9" (49 x 25 x 23 cm)

P ROVENA NC E Freeman’s Auctioneers & Appraisers, Philadelphia,

PROV EN A N C E Rago Auctions,

Pennsylvania, November 4, 2012, lot 175

$400–$600

Lambertville, New Jersey, October LOT 366

24, 2009, lot 260

$300–$500

217

372 WOUTER VAN RIESSEN Untitled

2003 Acrylic on canvas Signed and dated canvas verso 86.75" x 76" (220 x 193 cm) PROV EN A N C E Galerie De Praktijk, Amsterdam, The Netherlands; Chris-

370 BRAD RUDE

tie’s, Amsterdam, The Netherlands, September 6, 2011, lot 191

$4,000–$6,000

River Voyage 1995 Mixed-media on board triptych Signed and dated in black crayon lower right; retains Foster/White Gallery label verso Left panel: 32" x 10" Center panel: 32" x 40" Right panel: 32" x 10" Frame: 39.75" x 67.25" (Left panel: 81 x 25 cm) P ROVENA NC E Foster/White Gallery, Seattle, Washington

$1,000–$1,500

373 JOHN MCQUEEN

Haystack Lion (Curly Tail) 1999 Sticks and bundle ties 33.75" x 68.625" x 20" (86 x 174 x 51 cm) PROV EN A N C E Los Angeles Modern Auctions, Van Nuys, California, May 6, 2012, lot 249

371 PETER BEARD

Two Diary Pages, April 7th and 8th, 1970 (from Pettiness and Futility) 1970 Gelatin silver print with ink and blood handwork on paper Signed center right in image; retains The Time is Always Now Gallery and artist’s labels frame verso Sheet: 15.75" x 19.75" Frame: 17.625" x 21.625" (Sheet: 40 x 50 cm) P ROVENA NC E The Time Is Always Now Gallery, New York, New York; Christie’s, New York, New York, October 10, 2005, lot 103

$7,000–$10,000

$1,500–$2,000

219

FEBRUARY 17, 2019

Modern Art & Design Now Accepting Consignments

ANDY WARHOL Mickey Mouse (from Myths), 1981 Screenprint with diamond dust on Lenox Museum Board $100,000–150,000

Now Accepting Consignments

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

FEBRUARY 17, 2019

Modern Art & Design

MARIA HELENA VIEIRA DA SILVA Untitled, 1956 Gouache on paper $80,000–100,000

Now Accepting Consignments

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

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GUA RA N TEE The authenticity of every item offered for

$500,000 if bids are placed directly with LAMA;

an Absentee or Phone Bidding service. For this service fill

auction is guaranteed. MAI warrants only the authorship of

• 17.5% on the portion of the hammer price in excess

out and submit a Bid Form. To obtain this form please call

an item (as printed in the line directly below the lot number,

of $500,000 up to $2,000,000 if bids are placed

323.904.1950 or go to our website. We will not execute

may be blue, pink, or white type) and does not guarantee the

directly with LAMA;

Absentee or Phone bid orders unless a signed and completed

condition, age, or any identifying characteristic used by MAI

• 12.5% on the portion of the hammer price in excess

bid form has been received. All Bid Forms must be received

in any descriptions such as color, method of construction,

of $2,000,000 if bids are placed directly with LAMA.

by Saturday, November 17, 2018 by 5:00pm (PT) via fax to

and type of materials. Any lot using the terms “attributed,”

323.904.1954 or scanned and sent via email to shannon@

“attribution,” “in the style of,” “in the manner of,” or “after”

BUYER’S PREMIUM**:

lamodern.com. We encourage you to call after faxing to

does not qualify for our guarantee. In addition, the buyer

PAYMENT RECEIVED AFTER NOVEMBER 28, 2018

confirm we have received your form. We kindly ask that you

assumes responsibility for reading all addendums and posted

• 25% on the hammer price up to and including

do not call on the day of the auction to submit bids or to

corrections to the catalogue prior to bidding.

$500,000 if bids are placed directly with Modern

check if your bids were successful.

Auctions, Inc.;

• 20% on the portion of the hammer price in excess

by phone or email by November 20, 2018. In addition, the

disputed after a sale, the buyer has 90 days from the date of

of $500,000 up to $2,000,000 if bids are placed

auction's Prices Realized will be posted the day after the

the auction to provide written documentation or conclusive

directly with Modern Auctions, Inc.;

auction on our website. Do not rely on any auction results

opinion of a mutually agreed upon independent expert,

• 15% on the portion of the hammer price in excess

(Prices Realized) unless published on www.lamodern.com or

retained at the buyer’s sole expense, that the item in question

of $2,000,000 if bids are placed directly with

as provided directly by MAI.

is not as stated in the catalogue. In the event of an error, MAI

Modern Auctions, Inc.

will rescind the purchase contract. MAI will reimburse the

All successful Absentee and Phone bidders will be notified

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

RESCI SSI O N Should the authenticity of an item be

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

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

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

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

Premium and only after the item is returned to the original

on the total invoice amount and requires a completion of

earliest received will take precedence. The number of phone

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

LAMA's “Credit Card Authorization” form.

lines available are limited so please submit your phone requests

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

early. By registering for the Phone Bidding service you

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

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

acknowledge and consent to allow MAI to record telephone

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

be collected on all purchases removed from our premises or

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

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

delivered within the state of California. Those holding a valid

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

incurred in defense of the allegation, such as attorney fees

California State Resale License must register before each

required for all absentee and phone bids. The party responsible

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

auction and present their valid resale number. No purchases

for submitting the Bid Form is solely responsible for the payment

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

will be released until all sales tax requirements are satisfied.

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

then all rights and liabilities of MAI regarding authenticity

invoice.

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

EST IMAT ES & R ES E RVES The estimates printed

for any reason is the limited right of rescission described in

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

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

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

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

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

compensatory, incidental, consequential, nominal or punitive,

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

withdraw any property before the auction and shall have no

nor any expenses incurred during the proceedings, such as

confidential. The reserve is a minimum price at which the

liability whatsoever for such withdrawal. Should an item be

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

seller has agreed to let the auctioneer sell the property.

withdrawn, the auctioneer will make an announcement at the

Should a dispute arise after the auction, our records are

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

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

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

auctioneer may add lots not previously listed in the catalogue

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

statement regarding condition of any item, whether it is made

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

may not be used or reproduced in any medium without the

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

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

expressed written permission of MAI.

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

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

representation, or assumption of liability. It is the sole

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

Modern Auctions, Inc. | Bond # 7900453024

responsibility of the buyer to inspect all goods prior to the

resell the property privately or at auction without further notice.

Peter Loughrey, Principal Auctioneer

sale. We strongly encourage all bidders to request a condition

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

Los Angeles Modern Auctions (LAMA)

report on any item before bidding. All electrical items are sold

all incurred expenses, such as warehouse and transportation

16145 Hart Street, Van Nuys, CA 91406

A

Arman. . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Abbott, Berenice. . . . . . . . . . . . . . . . . . . 76 Abraamyan, Artashes. . . . . . . . . 324-325 Africano, Nicholas. . . . . . . . . . . . . . . . 256 Agam, Yaacov. . . . . . . . . . . . . . . 202-204 Albers, Josef. . . . . . . . . . . . . . . . . 196-198 Alexander, Peter. . . . . . . . . . . . . . . . . 246 Altenberg, Eric L.. . . . . . . . . . . . . . . . . 96 Altoon, John . . . . . . . . . . . . . . . . 264-266 Aoshima, Chiho. . . . . . . . . . . . . . . 183-184 Appel, Karel. . . . . . . . . . . . . . . . . . . 42-43 Avedisian, Edward. . . . . . . . . . . . 278-279 Avedon, Richard . . . . . . . . . . . . . . . . . . 90 Avery, Milton. . . . . . . . . . . . . . . . . . 65-67

B

Baj, Enrico. . . . . . . . . . . . . . . . . . . . . . 306 Bartlett, Jennifer. . . . . . . . . . . . . 125-127 Baskin, Leonard . . . . . . . . . . . . . . . . . 254 Bazelon, Cecile Gray. . . . . . . . . . . . . . 335 Beard, Peter . . . . . . . . . . . . . . . . . . . . . 371 Berland, Rubén. . . . . . . . . . . . . . . . . . 302 Berman, Eugène. . . . . . . . . . . . . . . . . 255 Bertoia, Val . . . . . . . . . . . . . . . . . 242-243 Beuys, Joseph. . . . . . . . . . . . . . . . 155-156 Billingham, Richard . . . . . . . . . . . . . . . 82 Bombois, Camille . . . . . . . . . . . . . . . 15-17 Botero, Fernando . . . . . . . . . . . . 286-290 Boyajian, Gail. . . . . . . . . . . . . . . . . . . . 284 Brown, Joe. . . . . . . . . . . . . . . . . . . . . . . 49 Brown, Alice Dalton . . . . . . . . . . . 351-352 Bukowski, William. . . . . . . . . . . . . . . . 336 Burroughs, Bryson. . . . . . . . . . . . . . . . 45

C

Calder, Alexander. . . . . . . . . . . . 228-232 Canu, Yvonne. . . . . . . . . . . . . . . . . . . . . 23 Carisch, Heather. . . . . . . . . . . . . . . . . 236 Castañeda, Felipe. . . . . . . . . . . . 296-297 Cavaillès, Jules. . . . . . . . . . . . . . . . . . . 24 Celentano, Francis . . . . . . . . . . . . . . . 200 Chagall, Marc. . . . . . . . . . . . . . . . . . . . . 32 Chalmers, Victoria . . . . . . . . . . . . . . . 359 Chan, Tinyan. . . . . . . . . . . . . . . . . 317-318 Charney, Jack. . . . . . . . . . . . . . . . . . . . 194 Chia, Sandro . . . . . . . . . . . . . . . . . 157-158 Chiparus, Dimitri. . . . . . . . . . . . . . . . . . 48 Cisney, John . . . . . . . . . . . . . . . . . . . . 226 Clifford, Morgan . . . . . . . . . . . . . . . . . . 193 Close, Chuck . . . . . . . . . . . . . . . . . 142-143 Corcoran, Terry Peddle . . . . . . . . . . . 323 Corneille. . . . . . . . . . . . . . . . . . . . . . . . . 40 Coronel, Rafael. . . . . . . . . . . . . . . . . . 294 Craig-Martin, Jessica. . . . . . . . . . . . . . 89 Craig-Martin, Michael. . . . . . . . . . . . . . 159

D

de Andrea, John. . . . . . . . . . . . . . . . . . 165 de Saint Phalle, Niki. . . . . . . . . . . . 36-39 de Villier, David. . . . . . . . . . . . . . . . . . . 131 DeCosse, Cy. . . . . . . . . . . . . . . . . . . . . . 129 Dehn, Adolf . . . . . . . . . . . . . . . . . . . . . . 53 Delaunay, Sonia. . . . . . . . . . . . . . . . . . . 1-3 Dine, Jim . . . . . . . . . . . . . . . . . . . . 132-137 Doig, Peter. . . . . . . . . . . . . . . . . . . . 168-171 Dow, Jim. . . . . . . . . . . . . . . . . . . . . . . . . . 91 Dowd, Robert. . . . . . . . . . . . . . . . . . . . . 115 DuBois, Dirk. . . . . . . . . . . . . . . . . . . . . 367 Dufy, Jean. . . . . . . . . . . . . . . . . . . . 28-29 Durot, Louis. . . . . . . . . . . . . . . . . . . . . . . 71

E

Eder, Martin . . . . . . . . . . . . . . . . . . . 73-75 Emmons, Michael. . . . . . . . . . . . . . . . . 199 Ernst, Max. . . . . . . . . . . . . . . . . . . 152-153 Evans, Paul. . . . . . . . . . . . . . . . . . . 189-190 Falkenstein, Claire. . . . . . . . . . . . . . . . 257

F

Ferber, Herbert. . . . . . . . . . . . . . . . . . 258 Feuerman, Carole. . . . . . . . . . . . . 166-167 Foujita, Léonard-Tsuguharu. . . . . . . . . . 18 Frailey, Stephen. . . . . . . . . . . . . . . . . . . 95 Francis, Sam . . . . . . . . . . . . . . . . . 208-211 Frankenthaler, Helen. . . . . . . . . . .212-215 Freiwald, Till. . . . . . . . . . . . . . . . . . . . . 360 Friedman, Warner. . . . . . . . . . . . 340-341 Frize, Bernard . . . . . . . . . . . . . . . . . . . 233

G

Garabedian, Charles . . . . . . . . . . . . . 273 Gil, David . . . . . . . . . . . . . . . . . . . . . . . 369 Gilhooly, David. . . . . . . . . . . . . . . 364-366 Gilliam, Sam. . . . . . . . . . . . . . . . . . 261-263 Glackens, William James. . . . . . . . . . . 46 Glasmacher, Dieter. . . . . . . . . . . . . . . . 154 Gottlieb, Adolph . . . . . . . . . . . . . . . . . . 147 Granet, Ilona . . . . . . . . . . . . . . . . . . . . . 177 Grosz, George. . . . . . . . . . . . . . . . . 56-59

H

Hamilton, Richard. . . . . . . . . . . . . . . . . 113 Hanson, Duane . . . . . . . . . . . . . . . 163-164 Hauser, Alonzo . . . . . . . . . . . . . . . . . . . 60 Hayes, Ken. . . . . . . . . . . . . . . . . . . . . . 356 Hayter, Stanley WIlliam. . . . . . . . . . . . 146 Heller, Marie-Luise. . . . . . . . . . . . . . . . 118 Heller, Bonnie . . . . . . . . . . . . . . . . . . . . 130 Hockney, David. . . . . . . . . . . . . . 248-250 Höfer, Candida. . . . . . . . . . . . . . . . . . . . 84 Hovsepian, Karlen. . . . . . . . . . . . 274-275 Hughes, Patrick. . . . . . . . . . . . . . . 172-174 Hultmann, Barbara D.. . . . . . . . . . . . . 342 Hurley, Harvey. . . . . . . . . . . . . . . . . . . 234

I

Ilg, John. . . . . . . . . . . . . . . . . . . . . . . . . 175 Indiana, Robert. . . . . . . . . . . . . . . . . . . 110 Ipoustéguy, Jean-Robert. . . . . . . . . . . . 19

J

Jackson, Matthew Day. . . . . . . . . . . . . 160 Janklow, Leonard. . . . . . . . . . . . . . . . 240 Jendro, James. . . . . . . . . . . . . . . . . . .350 Johns, Jasper. . . . . . . . . . . . . . . . . . . . 98 Jørgensen, Willer. . . . . . . . . . . . . . . . 339

K

Kahn, Wolf. . . . . . . . . . . . . . . . . . . 221-224 Kalpakjian, Craig. . . . . . . . . . . . . . . . . . 85 Karsh, Yousuf . . . . . . . . . . . . . . . . . . . . 78 Kelly, Ellsworth. . . . . . . . . . . . . . . 144-145 Kelly, Robert. . . . . . . . . . . . . . . . . . . . 239 Kent, Rockwell. . . . . . . . . . . . . . . . . . . . 44 Kitaj, R. B. . . . . . . . . . . . . . . . . . . . . . . 247 Kittelson, Vesna Krezich. . . . . . . . . . 285 Kline, Franz . . . . . . . . . . . . . . . . . . . . . . 52 Klipper, Stuart. . . . . . . . . . . . . . . . . . . . 94 Kohn, Bill . . . . . . . . . . . . . . . . . . . 326-327 Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . . 180 Kotter, Hans. . . . . . . . . . . . . . . . . . . . . 207 Kuhn, Walt. . . . . . . . . . . . . . . . . . . . . . . 63 Kuramata, Shiro . . . . . . . . . . . . . . 185-186 Kurland, Justine. . . . . . . . . . . . . . . . . . 88 Kurt, Kay . . . . . . . . . . . . . . . . . . . . . . . . 161

L

Lanyon, Ellen . . . . . . . . . . . . . . . . . . . 346 Lemarchand, Mireille. . . . . . . . . . . . . . 20 Lere, Mark. . . . . . . . . . . . . . . . . . . . . . 259 Lerven, Henri van. . . . . . . . . . . . . . . . . 26 Lichtenstein, Roy . . . . . . . . . . . . . . . . . 99 Lindner, Richard. . . . . . . . . . . . . . . . . . 68 Little, Graham. . . . . . . . . . . . . . . . . . . . 241 Liu, Hung. . . . . . . . . . . . . . . . . . . . . . . . 311 Liu, Kairong. . . . . . . . . . . . . . . . . . . . . 338 Longstreth, Jake . . . . . . . . . . . . . . . . 349 Luciano. . . . . . . . . . . . . . . . . . . . . . . . . . 92 Lurçat, Jean . . . . . . . . . . . . . . . . . . . 30-31 Lybecker, Kirk. . . . . . . . . . . . . . . . . . . 344

M

Manship, Paul Howard . . . . . . . . . . . . . 50 Mapplethorpe, Robert . . . . . . . . . . . . . 86 Mara, Tim. . . . . . . . . . . . . . . . . . . . . . . . 201 Margolies, John. . . . . . . . . . . . . . . . . . . . 81 Mari, Enzo . . . . . . . . . . . . . . . . . . . . . . . 119 Marin, Marcos. . . . . . . . . . . . . . . . . . . . 123 Marsh, Reginald . . . . . . . . . . . . . . . . . . . 61 Matta, Roberto Sebastian. . . . . . . . . 305 Matushevski, Yuri. . . . . . . . . . . . . . . . 322 Max, Peter. . . . . . . . . . . . . . . . . . . . 120-121 McClure, Cathy . . . . . . . . . . . . . . . . . . . 179 McElhinney, David. . . . . . . . . . . . . . . . 354 McHugh, Kevin . . . . . . . . . . . . . . . . . . . 181 McQueen, John. . . . . . . . . . . . . . . . . . 373 Michel-Henry. . . . . . . . . . . . . . . . . . . . . 25 Michelson, Philip. . . . . . . . . . . . . . . . . 348 Milow, Keith. . . . . . . . . . . . . . . . . . . . . 334 Miró, Joan. . . . . . . . . . . . . . . . . . . . . . . . 14 Mitchell, Joni. . . . . . . . . . . . . . . . . . . . . 124 Morley, Malcolm . . . . . . . . . . . . . . . . . 363 Moylan, Ken. . . . . . . . . . . . . . . . . . 328-331

N

Nakashima, George. . . . . . . . . . . . . . . . 187 Nauman, Bruce. . . . . . . . . . . . . . . . 138-141 Neel, Alice. . . . . . . . . . . . . . . . . . . . . . 347 Nessim, Barbara. . . . . . . . . . . . . . . . . 220 Nevelson, Louise. . . . . . . . . . . . . . . . . . 117 Niederberger, Christina. . . . . . . . . . . . 182 Nierman, Leonardo. . . . . . . . . . . . . . . 295 Nimmalaikaew, Uttaporn. . . . . . . . . . . 314 Nouvel, Jean. . . . . . . . . . . . . . . . . . . . . 191

O

O'Neill, Mark . . . . . . . . . . . . . . . . . . . . 345 O'Sullivan, David. . . . . . . . . . . . . . . . . 355 Ofili, Chris . . . . . . . . . . . . . . . . . . . . . . . 178 Olitski, Jules. . . . . . . . . . . . . . . . . 216-218

P

Padovano, Anthony. . . . . . . . . . . . . . .298 Paine, Roxy . . . . . . . . . . . . . . . . . . . . . 238 Paolozzi, Eduardo. . . . . . . . . . . . . . . . . 112 Pearlstein, Philip. . . . . . . . . . . . . . . . 69-70 Pettibone, Shirley. . . . . . . . . . . . . . . . 353 Picasso, Pablo. . . . . . . . . . . . . . . . . . . 11-12 Piccillo, Joseph. . . . . . . . . . . . . . . . . . 362 Piche. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Pope, Bly . . . . . . . . . . . . . . . . . . . . . . . 357 Pope, Nicholas. . . . . . . . . . . . . . . . . . . 358 Pophillat, Jean Pierre . . . . . . . . . . . . . 27 Potratz, Wayne. . . . . . . . . . . . . . . . . . 368

Q

Qian, Yang. . . . . . . . . . . . . . . . . . . . . . . 313 Qing, Luo. . . . . . . . . . . . . . . . . . . . . . . . 312 Quintero, Daniel . . . . . . . . . . . . . . . . . 299

R

Rabbow, Heinz. . . . . . . . . . . . . . . . 291-293 Ramos, Leta. . . . . . . . . . . . . . . . . 252-253 Rauschenberg, Robert. . . . . . . . . . . . . . 111 Razzia. . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Richter, Gerhard. . . . . . . . . . . . . . 148-149 Riessen, Wouter van. . . . . . . . . . . . . . 372 Rivers, Larry. . . . . . . . . . . . . . . . . . . . . 107 Rodriguez, Victor. . . . . . . . . . . . . . . . 307 Rosenquist, James. . . . . . . . . . . . . . . . 100 Roth, Dieter. . . . . . . . . . . . . . . . . . . . . . 219 Rude, Brad. . . . . . . . . . . . . . . . . . . . . . 370 Ruscha, Ed. . . . . . . . . . . . . . . . . . 244-245

S

Sammons, Carl . . . . . . . . . . . . . . . . . . . 47 Sarian, Martiros . . . . . . . . . . . . . 267-268 Sarkisian, Sarkis. . . . . . . . . . . . . . . . . 269 Savignac, Raymond . . . . . . . . . . . . . . . 35 Scharf, Kenny . . . . . . . . . . . . . . . . . . . . 162 Scholder, Fritz. . . . . . . . . . . . . . . . . . . . 361 Schröder-Sonnenstern, Friedrich.150-151 Schuyff, Peter. . . . . . . . . . . . . . . 205-206 Seandel, Silas . . . . . . . . . . . . . . . . . . . . 188 Segal, George . . . . . . . . . . . . . . . . . . . . . 72 Sicilia, José María. . . . . . . . . . . . . . . . 235 Sieffert, Paul. . . . . . . . . . . . . . . . . . . . . 62 Sophido . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Sorman, Steven. . . . . . . . . . . . . . . . . . 237 Steiner, Ralph . . . . . . . . . . . . . . . . . . . . . 77 Steir, Pat. . . . . . . . . . . . . . . . . . . . . . . .260 Stella, Joseph . . . . . . . . . . . . . . . . . 54-55 Stella, Frank. . . . . . . . . . . . . . . . . . . . . . 101 Stern, Bert. . . . . . . . . . . . . . . . . . . . . . . 80 Streda, Jirí. . . . . . . . . . . . . . . . . . . . . . . 301 Sultan, Donald . . . . . . . . . . . . . . . . . . . 128 Superstudio. . . . . . . . . . . . . . . . . . . . . . 281 Sweeney, Joseph. . . . . . . . . . . . . . . . .343

T

Tamayo, Rufino. . . . . . . . . . . . . . 303-304 Templin, Viktor . . . . . . . . . . . . . . . . . . 337 Testino, Mario . . . . . . . . . . . . . . . . . . . . 87 Thiebaud, Wayne. . . . . . . . . . . . . . . . . . 251 Ting, Walasse. . . . . . . . . . . . . . . . 308-310 Tistol, Oleg. . . . . . . . . . . . . . . . . . . . . . 283 Tobey, Alton S. . . . . . . . . . . . . . . . . . . 227 Tré, Howard Ben. . . . . . . . . . . . . . . . . . 195

U

Umeda, Masanori . . . . . . . . . . . . . . . . . 192 Utescher, Gerd. . . . . . . . . . . . . . . . . . . . . 41 Utrillo, Maurice. . . . . . . . . . . . . . . . . . . 22 Uttech, Tom. . . . . . . . . . . . . . . . . . . . . 333

V

Varela, Abigail. . . . . . . . . . . . . . . . . . . 300 Vartanian, Armen. . . . . . . . . . . . 276-277 Villemot, Bernard. . . . . . . . . . . . . . . . . . . 7

W

Waid, Jim. . . . . . . . . . . . . . . . . . . . . . . 332 Walker, Nick. . . . . . . . . . . . . . . . . . . . . . 176 Warashina, Patti. . . . . . . . . . . . . . . . . 225 Wasow, Oliver . . . . . . . . . . . . . . . . . . . . 83 Wesselmann, Tom. . . . . . . . . . . . . 102-106 Weston, Cole. . . . . . . . . . . . . . . . . . . . . 97 Wiggins, Guy . . . . . . . . . . . . . . . . . . . . . . 51 Wyeth, Jamie. . . . . . . . . . . . . . . . . . . . . 321

Y

Yeong-Geol, Choi. . . . . . . . . . . . . . 315-316 Young, Gene. . . . . . . . . . . . . . . . . . . . . . 93 Young, Russell. . . . . . . . . . . . . . . . . . . . 122 Young, June. . . . . . . . . . . . . . . . . . 319-320

Z

Zadikian, Zadik. . . . . . . . . . . . . . 270-272 Zorn, Anders. . . . . . . . . . . . . . . . . . . . . 64

INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, November 18, 2018

From Hollywood

Director,

12pm (PT)

• Make your way to the 101 Freeway

Art & Design

Proceed North on the 101 Preview

• Merge onto the 405 Freeway,

Shannon Loughrey

November 9 – 17, 2018

north

President

10am–6pm (PT)

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

Carolina Ivey

Address

• Proceed west on Sherman Way

Managing Director

16145 Hart Street

• Turn left at the 3rd light onto

Van Nuys, CA 91406

“Woodley”

Clo Pazera

• Take the first right onto “Hart”

Specialist

Telephone

street, which is a side street

323.904.1950

Jamie Shi From the Westside

Cataloguer

Website

• Take the 405 Freeway, north

LAModern.com

Continue past the Getty Muse-

Joe Alascano

um and the 101 Interchange

Jose Ramirez

• Exit onto “Sherman Way,

Shipping

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

Susan Einstein

• Proceed west on Sherman

Robert Wedemeyer

Way

Photographers

• Turn left at the 3rd light onto “Woodley”

Kathryn Hanlon-Hall

• Take the first right onto

Writer

“Hart” street, which is a side street

LAMA MAP VAN NUYS AIRPORT

SEPULVEDA BLVD

HART ST

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

101 FREEWAY WOODLAND HILLS HOLLYWOOD

N

GETTY MUSEUM

FSC logo