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MODERN ART & DESIGN MAY 21, 2017


LAMA 16145 Hart Street, Van Nuys, CA 91406

Preview: May 8 - 20, 2017 10am–6pm (PT) Auction: Sunday, May 21, 2017 12pm (PT)


Letter from Mexico City As I write this essay, I am visiting Mexico City with the

art; indeed, to items in this very catalogue. Pablo Picas-

Getty Research Institute's fundraising council in antic-

so's Aztec vase with four faces (Lot 129) takes its form

ipation of The Getty's “Pacific Standard Time: LA/LA”

from the pre-Spanish vessels used at Teotihuacan with

initiative. This multi-institutional and interdisciplinary arts

heart valve-like handles. Some of the earliest depictions

celebration, which begins later this year, will focus on the

of disembodied hearts and hands from Mesoamerica are

relationship that Latin America (“LA”) has had with Los

recalled in Enrique Martínez Celaya’s Head with Hand and

Angeles (“LA”). While I have always been aware of design

Flowers (Lot 62) or even the etchings of Jim Dine (Lots

and art created by our neighbors to the south (and oc-

98 and 99). Mary Corse's shimmering white painting with

casionally sold such works in our auctions), I must admit

microspheres (Lot 18) brings to mind the almost un-re-

that my reluctance to further investigate Latin culture

producible “Maya” blue pigments that only recently were

was due to my misconception that there wasn't enough

found to have an advanced micro-molecular quality all

modernist material produced in this seemingly traditional

their own. Some of the giants of western modernism fea-

environment. However, over the last four days, my mind

tured in this catalogue, such as Alexander Calder, Josef

has been opened to art, architecture, and design that

Albers, Gordon Onslow Ford, and Emerson Woelffer, lived

epitomizes modernist ideas.

and worked in Mexico for significant periods. And Frank Lloyd Wright's tables from the Arizona Biltmore (Lots 152

If being modern means thinking, acting, and creating in

and 153) reflect Mayan influences, which were a common

a way that is new while rejecting classicism or historical

motif in his designs.

precedent, then perhaps modernism in the west even began in Mexico. For example, a day spent at Teotihuacan

After my daily tours of so many Art Deco, Streamline

immediately impressed upon me that the pyramids and

Moderne, and contemporary buildings, it is apparent that

other structures built there between 100 BCE and 250 CE

this historically rich and artistically diverse culture has so

are quite possibly the first works of truly modern architec-

much more than the traditional Spanish Colonial facade

ture ever built in North America. The massive scale of the

we are used to seeing. Digging a little deeper, we can find

site and extraordinarily sophisticated execution (at a time

profound influences and connections that may inspire our

when no large beasts of burden were available and the

own modern sensibilities. I, for one, am looking forward

wheel was used very little) shows evidence of progressive

to including more Latin American works under our brand

planning, advanced math and science, and the political

in the future and also learning more about the cross-pol-

will to make impactful social decisions. This city-sized,

lination our two societies have had in the arts. For more

state-of-the-art complex stands as the one of the most

information on “LA/LA,” visit The Getty's website at

technically triumphant feats of man in the Western Hemi-

www.getty.edu.

sphere until perhaps the completion of the Panama Canal or the Apollo Program two millennia later.

Enjoy this selection and we hope to see you again at our twenty-fifth anniversary auction later this year.

I now see the influences of the pre-Spanish cultures have numerous threads and connections to modern design and

Peter Loughrey, Director


1 VASA (VELIZAR MIHICH) Rectangular tower

1983 Laminated cast acrylic Signed, dated, and inscribed “#2132 Vasa 83” LAMA would like to thank the artist for his assistance in cataloguing this work 39.25" x 18.75" x 3.25" Overall (including base): 69.5" x 24" x 12" P ROVENA NC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$2,500–3,500


5

2 VASA (VELIZAR MIHICH) Tower

1983 Laminated cast acrylic Signed, dated, and inscribed “#2093 Vasa 83” LAMA would like to thank the artist for his assistance in cataloguing this work 84" x 6.875" x 2.75" Overall (including base): 88.5" x 18" x 14" P ROV E NANC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$5,000–7,000


3 VASA (VELIZAR MIHICH) Column

1984 Laminated cast acrylic Signed, dated, and inscribed “#2293 Vasa 84” LAMA would like to thank the artist for his assistance in cataloguing this work 48.125" x 9.25" x 10.5" Overall (including base): 76.875" x 18" x 18" P ROVENA NC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$4,000–6,000


4 VASA (VELIZAR MIHICH) Sphere

1981 Laminated cast acrylic Signed, dated, and inscribed “#1935 Vasa 81” 14" diameter

$2,500–3,500

7

5 VASA (VELIZAR MIHICH) Columns (4)

1979 Laminated cast acrylic One signed, dated, and inscribed “#1385 Vasa 79” LAMA would like to thank the artist for his assistance in cataloguing this work Each: 16.5" x 4" x 2.25" P ROV E NANC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$1,500–2,000


6 ED MOSES Grid #7

2015 Acrylic on canvas Signed, titled, and dated verso LAMA would like to thank the Ed Moses Studio for their assistance in cataloguing this work Canvas: 60" x 48" P ROVEN A NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$20,000–30,000


7 ED MOSES Untitled

1976 Ink and tape on mat board Retains Bobbie Greenfield Gallery label verso Together with copy of invoice from Bobbie Greenfield Gallery dated June 27, 1996 LAMA would like to thank the Ed Moses Studio for their assistance in cataloguing this work Board: 9" x 9" Frame: 14" x 14" P ROV E NANC E Bobbie Greenfield Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, June 27, 1996)

$4,000–6,000

8 HANNELORE BARON Untitled (C76-003) 1976 Mixed-media collage Signed in ink lower left; retains Manny Silverman Gallery label verso Together with two catalogues and copy of invoice from Manny Silverman Gallery dated April 12, 1994 Overall (irreg.): 6.5" x 6.25" Frame: 14.75" x 14.25" P ROV E NANC E The estate of the artist; Manny Silverman Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, April 12, 1994) E XHIBIT E D “Hannelore Baron: Collages and Box Constructions 1975-1978,” Manny Silverman Gallery, Los Angeles, March 3-April 9, 1994

$800–1,200

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9 JOE GOODE Untitled

1977 Oil on paper lacerated by the artist with a razor blade Signed and dated lower center “Joe Goode 1977” Sheet: 22" x 29.5" Frame: 25" x 33" LITERATURE Joe Goode: Selected Paintings on Paper from 1977. James Corcoran Gallery exh. cat. 1990. N.pag. for similar examples illustrated.

$5,000–7,000


10 RONALD DAVIS

Bow Tie Butterfly (PTG 884) 1987 Acrylic on canvas Signed, titled, and dated verso Together with catalogue and copy of invoice from Scott Hanson Gallery dated August 21, 1987 Canvas: 42" x 30" Frame: 44.5" x 32.5" P ROV E NANC E Scott Hanson Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, August 21, 1987) E XHIBIT E D “Summer Group Show,” Scott Hanson Gallery, New York, 1987

$3,000–5,000

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11 RONALD DAVIS

Two Circle (from Rectangle Series) 1971 8-color lithograph and screenprint with embossing on Arches Cover white paper #14 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with Gemini G.E.L. blind stamps lower right sheet; edition lower left; retains Stevens Gallery label verso Gemini G.E.L. #13.5 Image: 13.375" x 31.875" Sheet (vis.): 19.5" x 40.375" Frame: 20.25" x 41.125"

$500–700


12 LARRY BELL

Untitled (Vapor Drawing) 1979 Vaporized metal on paper Signed and dated in graphite lower right sheet Sheet: 58.5" x 41" Frame: 59.5" x 41.5" P ROVENA NC E Marcia Weisman, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$12,000–15,000


13 LARRY BELL

Mirage Vapor Drawing #74 1989 Mixed-media collage on paper Signed and dated lower center sheet; retains Kiyo Higashi Gallery label verso Sheet: 39" x 30" Frame: 42" x 32.75"

$5,000–7,000

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14 TONY BERLANT

Ducks in the News Pin 1993 Found tin and mixed-media pin Signed, dated, and inscribed “1993/Ducks in/the news/Berlant” verso Together with catalogue Pin: 2.75" x 2.25" Frame: 11" x 9.625"

$2,000–3,000


15 GUY DILL

Constructed Metal c. 1990 Steel Signed to base element 68" x 21" x 7" P ROVENA NC E Anita and Tom May, Beverly Hills, California

$8,000–12,000


15 16 GUY DILL

Constructed Metal 1990 Steel Signed and dated to base 10.75" x 22.875" x 5.25" P ROV E NANC E Anita and Tom May, Beverly Hills, California

$4,000–6,000

17 LADDIE JOHN DILL Untitled

1981 Mixed-media on paper Signed and dated lower right Sheet (vis.): 53.75" x 35" Frame: 66.125" x 46.625"

$1,000–1,500


Mary Corse: Shimmering Light American painter Mary Corse (b. 1945) is widely recognized as a leading figure in the California Light and Space movement. Along with artists like James Turrell, Peter Alexander, and Craig Kauffman, Corse creates arresting works that examine the perceptual nature of experience. She pursued this inquiry by incorporating advanced industrial materials, such as fluorescent light and acrylic glass in her painting and sculpture. However, like many other female artists from this time, Corse worked in isolation from the male-dominated art scene and it is only in recent years that her work has received widespread acclaim. Born in Berkeley, California, Corse was committed to abstraction from an early age. At the age of 12, Corse took art classes where she was introduced to the work of Abstract Expressionists like Hans Hofmann and Willem de Kooning. She went on to receive a BFA from the University of California, Santa Barbara in 1963 and later graduated with an MFA from Chouinard Art Institute in 1968. During this time, she came to reject the gestural approach of Abstract Expressionism, instead drawing influence from the abstract paintings and color theories of European artists like Wassily Kandinsky and Josef Albers. As her work grew increasingly minimal, she began making her now famous white paintings in 1964, inserting metal flakes to produce textured, reflective surfaces.

Untitled (from White Light Inner Band Series) (1999). These prismatic glass beads are used to enhance highway signs due to their reflective qualities; immersed in white paint, they create a shimmering, incandescent effect. This creates an interactive moment, where the positioning of the viewer impacts their perception of the painting—from one stance the painting appears to consist of planes of flat color, while from another perspective the same surface becomes animated by a glittering surface. In an interview, Corse described this encounter as follows, “Your perception, your subjectivity, your position, you are involved. It brings the viewer into the painting. The art’s not really on the wall, it’s in your perception.” To that end, the painting “creates an experience that makes us understand reality in a deeper way.” With the painting's simple geometric composition, featuring five thick vertical stripes, there are hints of Corse’s minimalist precursors, such as John McLaughlin and Agnes Martin. Like McLaughlin, Corse’s emphasis on pure form, pared-back to its most refined elements, invites Zen-like contemplation. However, Corse’s work is set apart by her ethereal treatment of color and light. Exquisitely finished, this pearlescent composition is a fine example of Corse’s celebrated white paintings.

"In Conversation: Mary Corse with Alex Bacon." Interview by Alex Bacon. The

It was in 1968 that Corse began her innovative practice of embedding glass microspheres into the surfaces of her paintings, which can be seen in the glowing white canvas of

Brooklyn Rail: Critical Perspectives on Arts, Politics, and Culture. The Brooklyn Rail, 3 June 2015. Web. 20 Mar. 2017. "Mary Corse." Collection Online. Guggenheim, n.d. Web. 20 Mar. 2017.


18 MARY CORSE

Untitled (from White Light Inner Band Series) 1999 Glass microspheres in acrylic on canvas Signed and dated in felt-tip marker verso Together with copy of invoice and certificate of authenticity from Chac-Mool Gallery dated August 14, 1999 Canvas: 60" x 60" P ROV E NANC E Chac-Mool Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, August 14, 1999)

$40,000–60,000

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LABEL DETAIL

19 JENNY HOLZER

White Arno-Text: Arno 1996 2003 Electronic LED sign with white diodes and anodized aluminum housing #15 of 20 Published by Edition Schellmann Signed on label with printed title, date, and edition verso Together with copy of invoice from Barbara Krakow Gallery dated March 17, 2005 2" x 16.5" x .5" (can be installed horizontally or vertically—the LED switches automatically) P ROVENAN C E Barbara Krakow

20 THORSTEN PASSFELD

Stools (from Play with the Big) (6) 2006 Acrylic painted wood Each: 17.5" x 13.25" x 11.5" These stools were created by the artist for “Art Projects,” a special exhibition for Art Basel Miami Beach, 2006.

Gallery, Boston, Massachusetts;

PROVE N A N CE Art Basel, Miami

Private Collection, Los Angeles, Cali-

Beach, Florida; Private Collection,

fornia (acquired directly from the

United States (acquired directly from

above, March 17, 2005)

the above, 2006)

$7,000–10,000

$2,500–3,500


19 21 CHRISTOPHER WOOL 6+4

2005 The complete portfolio comprised of six etchings and four aquatints on Strathmore Bristol paper in original case #13 of 18 Published and printed by Edition Jacob Samuel, Santa Monica Each sheet is signed and dated with edition in graphite lower right margin of sheet; Edition Jacob Samuel blind stamp lower right corner of each sheet Together with copy of original receipt from Edition Jacob Samuel dated November 18, 2010 Sheets each: 16.25" x 13" Case: 18" x 14.25" x 1.25" P ROV E NANC E Edition Jacob Samuel, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, November 18, 2010)

$9,000–12,000


22 DONALD SULTAN

Oranges on Branches 2001 Charcoal and flocking on paper Titled, dated, and initialed in graphite left edge of sheet Together with 1986 exhibition catalogue dedicated and initialed by the artist and certificate of authenticity from Imago Galleries dated March 8, 2002 Sheet: 19.5" x 27.25" Frame: 29" x 37"

$4,000–6,000


23 DONALD SULTAN

Trumpet March 17 (4) 2008 Four color etchings on Somerset paper Each: #4 of 50 Published by Polígrafa Obra Gràfica, Barcelona Each titled and dated with artist’s signature in graphite along left edge of sheet; edition lower right Together with certificate of authenticity from Polígrafa Obra Gràfica Images each: 31.5" x 28" Sheets each: 47" x 34.75"

$4,000–6,000

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24 TONY OURSLER Navert

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

$20,000–30,000


25 ROBERT THERRIEN No Title (Chapel)

1993 Color aquatint on paper #8 of 25 Published and printed by Simmelink Sukimoto, Ventura Initialed lower right sheet in graphite; edition lower left Together with two catalogues Image: 15.75" x 11" Sheet: 26.5" x 20" Frame: 29.25" x 22.75"

$1,500–2,500

26 GÜNTHER FÖRG

Untitled (For Parkett 40/41) 1994 Two-part object, consisting of one mirror and one copperplate each mounted on wood in Parkett format #22 of 45 Published by Parkett Editions; fabricated by Jürgen Zimmermann, Karlsruhe Each signed, dated, and inscribed “For Parkett” with edition verso Together with Parkett issue, brochure, and copy of invoice from Parkett Editions dated March 6, 1995 Each: 10" x 8.25" x 1.25" P ROV E NANC E Parkett Editions, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above March 6, 1995)

$3,000–5,000

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27 TEJO REMY

You Can’t Lay Down Your Memory Droog Design, designed 1991 #88 of 200 Signed with stamped edition and manufacturer’s mark to the back of one drawer case; stamped edition and manufacturer’s mark to the interior of each drawer case 51.25" x 54" x 24" (as illustrated) LITERATURE Simply Droog, 10 + 1 Years of Creating Innovation and Discussion. R. Ramakers. 2004. 27.

$10,000–15,000


28 MARC NEWSON Wicker chair

Idée, designed 1990 29" x 26" x 38" LIT E RAT URE Marc Newson. A. Rawsthorn. 1999. 60.

$4,000–6,000

29 BJARNE MELGAARD

Frederick Kiesler Bed Couch 2007 Tubular steel and fabric 36" x 88" x 51" (as illustrated)

$10,000–15,000

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VERSO DETAIL

30 DAMIEN HIRST Mickey (Small)

2014 Color screenprint with glaze on wove paper #144 of 250 Published and printed by Other Criteria, London and New York Signed in graphite lower left sheet; edition lower left sheet with artist’s and publisher’s blind stamps; publisher’s ink stamp, two artist’s ink stamps and “Science, Ltd” ink stamp verso Together with certificate of authenticity and receipt from Other Criteria dated May 5, 2014 Sheet: 34" x 27.5" P ROVENA NC E Other Criteria, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, May 5, 2014)

$25,000–35,000


31 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #144 of unknown edition size Published by VOICE: Venice Oakwood/Inner City Enterprise, Los Angeles Retains VOICE label verso with edition and date Together with original box and plate stands 10.75" diameter

$10,000–15,000

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MARKINGS DETAIL

32 BOAZ VAADIA Zofar

1997 Bronze, bluestone, and boulder #3 of 7 Initials and edition carved in base Together with pedestal, catalogue, and copy of invoice from Imago Galleries dated November 26, 1999 Overall: 20" x 29" x 27" (39" x 30" x 28" including pedestal) P ROVENA NC E Imago Galleries, Palm Desert, California; Private Collection, Los Angeles, California (acquired directly from the above, November 26, 1999)

$5,000–7,000

MARKINGS DETAIL

33 TOM OTTERNESS Free Money 2000 Bronze #2 of 9 Polich Tallix Fine Art Foundry, Rock Tavern Incised signature with edition and foundry mark to the lower edge Together with two catalogues and copy of invoice from Marlborough Gallery dated March 1, 2001 13" x 10" x 10" P ROVENA NC E The artist; Marlborough Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, March 1, 2001) LITERATURE Tom Otterness: Free Money and Other Fairy Tales. Marlborough Gallery exh. cat. 2001. #32.

$6,000–9,000


29

34 KARA WALKER

The Emancipation Approximation 1999-2000 Silkscreen on paper #22 of 25 Together with copy of original invoice from Jenkins Sikkema Editions dated October 16, 2002 Image: 37" x 23" Sheet: 43.75" x 33.75" Frame: 46.5" x 36.75" P ROV E NANC E Jenkins Sikkema Editions, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, October 16, 2002) LIT E RAT URE Seeing the Unspeakable: The Art of Kara Walker. G. Dubois Shaw. 2004. 17.

$5,000–7,000


35 KAWS (BRIAN DONNELLY)

Companion (Passing Through) (Brown) Medicom Toy Corporation, designed 2013 Marked “KAWS..13/Medicom Toy/2013/ China” Together with original box 11.75" x 4.625" x 7.25"

$1,000–1,500

36 KAWS (BRIAN DONNELLY)

Companion (Passing Through) (Black) Medicom Toy Corporation, designed 2013 Marked “KAWS..13/Medicom Toy/2013/ China” Together with original box 11.75" x 4.625" x 7.25"

$1,000–1,500


37 KAWS (BRIAN DONNELLY)

Companion (Passing Through) (Grey) Medicom Toy Corporation, designed 2013 Marked “KAWS..13/Medicom Toy/2013/ China” 11.75" x 4.625" x 7.25"

$1,000–1,500

38 KAWS (BRIAN DONNELLY) Light bulbs (3)

The Standard Hotel, designed c. 2011 From an edition of 1,000 Together with original packaging Each: 4.5" x 3" diameter

$2,000–3,000

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39 JONATHAN BOROFSKY Man With a Briefcase (C)

1991 Woodcut with collage on handmade paper #4 of 12 Published and printed by Gemini G.E.L., Los Angeles Signed lower right; edition lower left Gemini G.E.L. #7.72 Together with two catalogues Sheet: 92" x 39" Frame: 93.5" x 39.25" P ROVENA NC E Gemini G.E.L., Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$5,000–7,000


40 JONATHAN BOROFSKY Foot Prints (Right)

1985 2-color screenprint on Arches Cover white paper #24 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right sheet with Gemini G.E.L. blind stamp; edition lower left sheet Gemini G.E.L. #7.30 Together with copy of print documentation from Gemini G.E.L. Image: 54" x 21" Sheet: 69" x 47" Frame: 70.25" x 48.25" P ROV E NANC E Gemini G.E.L., Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Subject(s): Prints and Multiples by Jonathan Borofsky, 19821991. J. Cuno. 1992. #25.

$3,000–5,000

41 ROBERT GRAHAM Untitled (L)

2003 Patinated bronze #1 of 10 Signed, dated, and inscribed “For/ Dancin’/Bob/R. Graham/03” verso LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 9.75" x 7.75" x .875"

$3,000–5,000

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42 ED RUSCHA

Any Town in The U.S.A. 1981 2-color screenprint on white Stonehenge paper #109 of 150 Published by the artist; printed by Wasserman Silkscreen Co., Santa Monica Signed and dated in graphite lower right sheet; edition lower left Image: 8" x 12" Sheet: 30" x 24.125" Frame: 35.25" x 29.25" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #115.

$3,000–5,000


43 ED RUSCHA Brews

1970 5-color screenprint on paper #49 of 75 Published by Editions Alecto, London; printed by Alecto Editions, London Signed, dated, and with edition in graphite twice at lower left margin of sheet; bears the inscription in graphite “new signature btw” lower left edge of sheet Image: 18" x 27" Sheet: 23" x 31.875" Frame: 23.25" x 37.25" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #40.

$2,500–3,500

35 44 ED RUSCHA

Group of books (6) 1963-1972 Ed Ruscha: New Paintings and a Retrospective of Works on Paper signed by the artist on title page Comprised of Twentysix Gasoline Stations (1963, 3rd ed.); Royal Road Test (1967, 3rd ed.); Nine Swimming Pools and a Broken Glass (1968, 1st ed.); Crackers (1969); Real Estate Opportunities (1970); Colored People (1972). Together with The Last Time I Saw FERUS: 1957-1966 (1976); and Ed Ruscha: New Paintings and a Retrospective of Works on Paper (1998) Various dimensions LIT E RAT URE Edward Ruscha: Editions 1959-1999, A Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #B1, B6, B8, B10, B12, B16.

$4,000–6,000


45 DAVID HOCKNEY

Going Round (from Some More New Prints Series) 1993-1994 Color lithograph and screenprint on 4 sheets of Arches 88 paper #27 of 48 Published and printed by Gemini G.E.L., Los Angeles Signed and dated “David Hockney 93” in graphite lower right in image with Gemini G.E.L. blind stamp; edition lower left in image Gemini G.E.L. #23.94 Image: 46.5" x 63.5" Sheet: 48.25" x 65" Frame: 51.5" x 68.625" LITERATURE David Hockney Prints 19541995. 1996. #341.

$10,000–15,000


46 ITALO SCANGA

Italian Cypress Tree c. 1998 Steel and chain Together with catalogue and copy of invoice from the Lillian Berkley Collection dated October 7, 2000 89" x 16.5" x 16.5" P ROV E NANC E The Lillian Berkley Collection, Escondido, California; Private Collection, Los Angeles, California (acquired directly from the above, October 7, 2000) LIT E RAT URE Italo Scanga & Dale Chihuly. Imago Galleries exh. cat. 2012. 12 for similar examples illustrated.

$5,000–10,000

47 ITALO SCANGA

Untitled (Head #83) 1986 Oil paint on wood Signature to the underside and on affixed metal plaque Together with copy of purchase statement from Carl Schlosberg Fine Arts 13.5" x 7" x 5.5" P ROV E NANC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, 1987)

$3,000–5,000

37


48 CHARLES & RAY EAMES Sofa Compact

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

$2,500–3,500

49 CHARLES & RAY EAMES Sofa Compact

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

$2,500–3,500


39

50 GEORGE NELSON Grandfather clock

Howard Miller Clock Company, designed c. 1957 Model no. 2256 71.5" x 17" x 11.5" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 293.

$3,000–5,000


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

51 GEORGE NELSON

Thin Edge headboard & bedside tables (3) Herman Miller, designed 1952 Model no. 5707 (bedside tables) Bedside tables each retain Herman Miller tag Comprised of two bedside tables and a headboard Headboard: 38" x 72" x 1.75" Bedside tables each: 23.5" x 20" x 18" LITERATURE Herman Miller Illustrated Price List. Manufacturer cat. Jan. 1961. 8.

$5,000–7,000

52 GEORGE NELSON Sofa

Herman Miller, designed 1955 Model no. 5691B 27.25" x 89" x 31" LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 267.; Herman Miller Illustrated Price List. Manufacturer cat. Jan. 1961. 21.

$2,500–3,500


53 GEORGE NELSON

Catenary Group suite (4) Herman Miller, designed 1962 Model nos. 6380 (chairs), 6381 (ottoman), and 6371 (coffee table) One chair retains Herman Miller silver medallion Comprised of two lounge chairs, an ottoman, and a coffee table Chairs each: 28.5" x 30" x 26" Ottoman: 15.5" x 30" x 22.5" Coffee table: 15" x 36" x 36" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand. 2008. 251, 264.

$6,000–8,000

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54 RAYMOND PETTIBON

No title (You won’t guess...) 2000 Pen and ink on paper Together with copy of original invoice from Regen Projects dated September 29, 2000 Sheet: 14" x 11" Frame: 16.75" x 13.75" P ROVENA NC E Regen Projects, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, September 29, 2000)

$15,000–20,000


55 RAYMOND PETTIBON No title (Play Ball!) 1989 Screenprint on paper Artist’s proof aside from the edition of 65 Signed and dated lower right; edition lower left Image: 36" x 24.5" Sheet (vis.): 38.5" x 26.5" Frame: 44.25" x 32.5"

$3,000–5,000

56 CRASH (JOHN MATOS) Untitled (Superman) 1994 Watercolor on paper Signed and dated “J. Crash 94” in graphite lower left sheet Sheet: 41" x 29" Frame: 49.25" x 37"

$2,500–3,500

43


57 ROBERT FORBES Push/Pull Art 1995 Oil on canvas Signed and dated lower right; signed and titled verso Canvas (vis.): 31.75" x 47.25" Frame: 33" x 48" P ROVENA NC E Franklin D. Murphy, Beverly Hills, California; Thence by descent

$3,000–5,000

58 ROBERT LONGO

Untitled (Wave #9) 2000 Lithograph on paper Printer’s proof aside from the edition of 12 Signed in graphite lower right sheet; edition lower left Image: 8.5" x 9.25" Sheet: 10" x 24" Frame: 13" x 26.75"

$3,000–5,000


Mike Bidlo: Art About Art Appropriation artist Mike Bidlo (b. 1953) is best known for his “Masterpieces Series,” for which he produced precise replicas of canonical works by modernist masters. Bidlo’s homages deliberately emulate the works of those mythologized as artistic geniuses, such as Andy Warhol, Marcel Duchamp, and Pablo Picasso. Bidlo completed his BFA at the University of Illinois in 1973, and received his MFA from Southern Illinois University, Carbondale in 1975. He moved to New York in 1982, where he quickly gained notoriety for recreating the moment when Jackson Pollock urinated in Peggy Guggenheim’s fireplace at his first solo exhibition, "Jack the Dripper at Peg’s Place" at PS1. Bidlo works from reproductions of the original pieces and takes care to use identical dimensions. This gesture serves to dismantle the aura of the artwork by showing how works of ‘genius’ can be remade. In an interview the artist said, “It has […] to do with a toppling of the gods—especially of changing my relationship to them. In a sense it deals more explicitly with demystification and empowerment.” Bidlo has been associated with other postmodern conceptual artists like Sherrie Levine, who also questions the notion of authenticity and value, authorship and creativity. Through the use of contextualizing devices such as titles and artist signatures, Bidlo makes plain that these are new versions of iconic art works.

Not Brancusi (1985) mimics Constantin Brancusi’s famed marble sculpture Mademoiselle Pogany, in this case carved from wood, not stone. In 1986, he produced approximately 100 plaster cast reproductions of the same Brancusi work. The original sculpture proved controversial at its unveiling in 1912, where it was condemned and celebrated in equal measure for its radical re-imagining of the human figure. By reproducing one of Brancusi’s most seminal sculptures in a new context and in a new time, Bidlo transforms our understanding of the earlier work. Not Brancusi also serves as a reminder that many of us experience the ‘originals’ via reproductions, whether in books or online. For Bidlo, the only way to create in today’s image-saturated multimedia culture is to co-opt the plethora of images that already exist. Bidlo demonstrates that appropriation is a creative process, revealing unexpected new meaning and insights. Julius, Anthony. Transgressions: the Offences of Art. Chicago: U of Chicago, 2003. 204. Print. Marter, Joan M. The Grove Encyclopedia of American Art. New York: Oxford UP, 2011. 266. Print. Siegel, Jeanne. Art Talk - the Early 80s. Ann Arbor: Da Capo, 1999. 191. Print. Strauss, David Levi. From Head to Hand: Art and the Manual. Oxford: Oxford UP, 2010. 72-73. Print.

59 MIKE BIDLO

Not Brancusi 1984-1985 Wood Stamped “B” 17" x 9" x 9" LIT E RAT URE Masterpieces: Mike Bidlo. R. Rosenblum. 1989. N.pag. for similar example illustrated.

$4,000–6,000

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60 HOWARD BEN TRÉ Column 33

1986 Cast glass and patinated copper LAMA would like to thank the Howard Ben Tré Studio for their assistance in cataloguing this work 95.5" x 28" x 14" EXHIBITE D “Cast Glass Sculpture,” The Main Art Gallery, California State University, Fullerton, April 12-May 11, 1986

$20,000–30,000


47

61 VIJA CELMINS

Jupiter Moon - Constellation 1983 3-color mezzotint and etching on Fabriano Rosaspina white paper #35 of 48 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamps lower right sheet Gemini G.E.L. #9.5 Image: 10.75" x 7.625" Sheet: 23.75" x 18.5" Frame: 25.25" x 20.25" LIT E RAT URE The Prints of Vija Celmins. S. Rippner. 2002. 50.

$5,000–7,000


62 ENRIQUE MARTÍNEZ CELAYA Head with Hand and Flowers 1996 Oil on canvas LAMA would like to thank the Enrique Martínez Celaya Studio for their assistance in cataloguing this work Canvas: 48" x 44" Frame: 49.25" x 45.25"

$7,000–9,000

ILLUSTRATED OPPOSITE PAGE

63 ENRIQUE MARTÍNEZ CELAYA The Exit

2001 Polyester resin and oak branches #1 of 12 Retains incised initials and inscription “EMC 1” to side of polyester resin element LAMA would like to thank the Enrique Martínez Celaya Studio for their assistance in cataloguing this work Polyester resin: 6" x 8" x 6" Oak branches: various dimensions

$5,000–7,000


49


Mike Kelley: Hidden Layers American contemporary artist Mike Kelley (1954–2012) was one of the most influential voices of his generation. Kelley first emerged in the Los Angeles art scene after graduating from California Institute of the Arts in 1978 and collaborating with bands like Sonic Youth and artists like Paul McCarthy and Tony Oursler. Celebrated as a conceptual multi-media artist, Kelley’s diverse practice is distinguished by its incisive wit, its exploration of absurdity and abjection, as well as a rebellious attitude toward societal norms. His work, which encompassed video, installation, painting, drawing, and sculpture, often drew on the artist’s own biography, flitting between high and low culture, and incorporating sources as diverse as literature, punk music, philosophy and comics. Kelley was recently the subject of a comprehensive international retrospective organized by the Stedelijk Museum, Amsterdam in 2012, which traveled onto the Centre Pompidou, Paris; MoMA PS1, New York; and the Museum of Contemporary Art, Los Angeles. The Missing Leg (1984) is made up of three black and white compositions depicting a tin of lard on a fire; a pig with the titular missing leg; and a Los Angeles Police Department

badge. This monumental triptych was acquired through the legendary Rosamund Felsen Gallery, which played a vital role in supporting and promoting Kelley’s work from an early stage in his career. This work was originally exhibited as part of Australiana, a forty-piece installation which was shown at the Newport Harbor Biennial at the Newport Harbor Art Museum in 1984. The Australiana drawings were made from notes that Kelley made while touring around Australia. For this, Kelley was inspired by the notion of brotherhood between America and Australia, due to their shared heritage as former British colonies. It explored such fundamental oppositions as good and evil, god and the devil, and East coast and West coast. In The Missing Leg, the crisp, five-pointed star emblem contrasts with the bubbling, excessive bucket of fat. The pig has been placed centrally to serve as a connection between the two panels; its fat supplies the contents of the lard bucket and its designation is also a derogatory term for the police that became popular in late 1960s counterculture. This anti-authoritarian impulse is typical of Kelley’s work.


64 MIKE KELLEY

The Missing Leg The compositions are rendered in a flat, informational style reminiscent of advertising graphics. Kelley was emphatic that these images were not cartoons but rather, “the most boiled-down way of imaging. This is how you picture something clearly, what you see when you look in a dictionary or a training manual. It has this authoritative look, so you could draw the most meaningless thing and it has this look of authority.” In this way, Kelley used irony to question the nature of authority in both style and subject matter. The work is rich with signifiers, from the boiling pot—a possible metaphor for a turbulent situation—to the wordplay between "LARD" and "LAPD." The artist was insistent that viewers spend time with his works, to venture deeper than the seemingly familiar surface and try to interpret the work’s true meaning: “I expect the reader to spend a little time with the work. I’m not interested in quick surface readings. This is especially important in relation to my works that have a socialized veneer, that seem to be a reiteration of mass cultural tropes.” Being offered on the market for the first time since its original purchase, The Missing Leg perfectly embodies Kelley’s subtle and dark comic sensibility.

1984 3 parts: acrylic on paper LAMA would like to thank the Mike Kelley Foundation for their assistance in cataloguing this work A (Lard): Sheet: 41.75" x 41.75" Frame: 45" x 45" B (Pig): Sheet: 41.75" x 54.25" Frame: 45" x 57.5" C (LAPD): Sheet: 41.75" x 41.75" Frame: 45" x 45" P ROV E NANC E Rosamund Felsen Gallery, Santa Monica, California; Private Collection, United States (acquired directly from the above, c. 1995) E XHIBIT E D “The First Newport Harbor Biennial: Los Angeles Today,” Newport

Cotter, Holland. "Mike Kelley, an Artist With Attitude, Dies at 57." The New York Times. 01 Feb. 2012. Web. 10 Apr. 2017.

Harbor Art Museum, Newport Beach,

Graw, Isabelle. “Isabelle Graw in Conversation with Mike Kelley.” Mike Kelley. London: Phaidon Press Ltd., 2011. 9. Print.

October 4-November 25, 1984; “Mike

Kelley, Mike, and John Miller. "Mike Kelley Interviewed by John Miller in Los Angeles on March 21, 1991." Mike Kelley. New York: A.R.T. Press, 1992. N. pag. Print.

Kelley, John Miller,” Metro Pictures, New York, February 2-February 23, 1985 ILLUST RAT E D Mike Kelley. L. Gabrielle Mark and E. Meyer-Hermann, eds. 2013. 70.

$600,000–800,000

51


65 JAMES WELLING 6236

2008 Inkjet print #1 of 1 Signed, titled, and dated verso; retains David Zwirner Gallery label verso Together with copy of original invoice from Artspace dated August 9, 2012 Image: 12.75" x 19.5" Sheet: 18" x 21.75" Frame: 19.875" x 26.375" P ROVENA NC E Artspace, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, August 9, 2012) LITERATURE James Welling Monograph. J. Crump. 2013. 82, 131-132 for similar examples illustrated.

$5,000–7,000

66 JAMES WELLING 6618

2008 Inkjet print #1 of 1 Signed, titled, and dated verso; retains David Zwirner Gallery label Together with copy of original invoice from Artspace dated August 9, 2012 Image: 12.875" x 19" Sheet: 18.25" x 24" Frame: 20" x 26.5" “...The Glass House series of photographs—featuring Philip Johnson’s legendary New Canaan, Connecticut residence—represents the evolution of Welling’s conceptual explorations as well as his obsession with architecture.” (excerpt from James Welling Monograph) P ROVENA NC E Artspace, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, August 9, 2012) LITERATURE James Welling Monograph. J. Crump. 2013. 82, 131-132 for similar examples illustrated.

$5,000–7,000


67 ALEX HARTLEY

Case Study House #21 (Bailey House) 2003 Chromogenic print #2 of 3 Retains Angles Gallery label verso Together with copy of invoice from Angles Gallery dated April 21, 2011 Image: 17.5" x 23.5" Sheet: 21.625" x 27.5" Frame: 22.5" x 28.5" P ROV E NANC E Angles Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, April 21, 2011) LIT E RAT URE Alex Hartley: Not Part of Your World. F. Bradley, ed. 2007. 86-87 for another example illustrated.

$3,000–5,000

68 EDUARDO CONSUEGRA

Untitled (from Bogotá de Noche Series) (2) 1999-2000 Chromogenic print Each: #2 of 5 Each together with certificate of authenticity signed by the artist Sheets (vis.) each: 13" x 20" Frames each: 20.5" x 26.625" P ROV E NANC E Latinarte, Miami, Florida; Private Collection, Los Angeles, California (acquired directly from the above)

$1,500–2,000

53


69 JULIE BLACKMON

Black Leather (from Domestic Vacations Series) 2005 Color pigment ink print #2 of 10 Together with copy of original invoice from Photo-Eye Gallery dated July 11, 2006 Image/sheet (vis.): 31.5" x 31.5" Frame: 33.125" x 33.125" P ROVENA NC E Photo-Eye Gallery, Santa Fe, New Mexico; Private Collection, Los Angeles, California (acquired directly from the above, July 11, 2006)

$2,500–3,500

70 JULIE BLACKMON

Green Velvet (from Domestic Vacations Series) 2007 Color pigment ink print #9 of 10 Signed, titled, and dated with edition in ink lower right margin of sheet Together with copy of original invoice from Photo-Eye Gallery dated June 12, 2009 Image: 32" x 32" Sheet (vis.): 35.5" x 35.5" Frame: 37" x 37" P ROVENA NC E Photo-Eye Gallery, Santa Fe, New Mexico; Private Collection, Los Angeles, California (acquired directly from the above, June 12, 2009)

$2,500–3,500

71 JULIE BLACKMON

Camptown Races (from Domestic Vacations Series) 2005 Color pigment ink print #3 of 25 Signed, titled, and dated with edition in ink lower right margin of sheet Image: 22" x 22" Sheet: 24" x 25" LITERATURE Presumed Innocence: Photographic Perspectives of Children. De Cordova Museum and Sculpture Park exh. cat. 2008. #108.

$1,500–2,000


55

72 MELANIE PULLEN

Half Prada (from High Fashion Crime Scenes) 2003 Chromogenic print #1 of 5 Retains signed metal tag with printed title, date, medium, and edition verso Image/sheet (vis.): 49.25" x 32.25" Frame: 56.25" x 39.625" LIT E RAT URE Melanie Pullen: High Fashion Crime Scenes. M. Pullen. 2003. N.pag.

$4,000–6,000


73 ANN HAMILTON

Untitled (from Body/Object Series) 1988 Gelatin silver print Signed, titled, and dated verso; retains LA Louver Gallery label verso Image: 5" x 5" Sheet: 10" x 8" Frame: 11.125" x 9.125" P ROVENA NC E Property from a Santa Barbara Collection; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, May 6, 2012, lot 184) LITERATURE Ann Hamilton. MCASD exh. cat. 1991. N.pag for other examples from the series illustrated.

$5,000–7,000

74 ANN HAMILTON

Untitled (from Body/Object Series) 1988 Gelatin silver print Signed, titled, and dated verso; retains LA Louver Gallery label verso Image: 4" x 4" Sheet: 10" x 8" Frame: 11.125" x 9.125" P ROVENA NC E Property from a Santa Barbara Collection; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, May 6, 2012, lot 184) LITERATURE Ann Hamilton. MCASD exh. cat. 1991. N.pag for other examples from the series illustrated.

$5,000–7,000


57 75 FLOR GARDUĂ‘O

Suite of photographs (3) A: 1983; this example printed 1993; B: 1987; C: 1994; this example printed 1994 Silver print Comprised of A: El Arbol de Yalalag, Oaxaca, Mexico; B: La Mujer, Juchitan, Mexico; and C: Girl with Horse Together with copies of original invoices from Andrew Smith Gallery dated December 9, 1996 and June 14, 2000 A: Image/sheet (vis.): 13.5" x 17.5" Frame: 24" x 28" B: Image/sheet (vis.): 13.75" x 17.5" Frame: 23" x 26.75" C: Image: 8.5" x 12.375" Sheet (vis.): 9" x 13" Frame: 15.125" x 19.125" P ROV E NANC E Andrew Smith Gallery, Santa Fe, New Mexico; Private Collection, Los Angeles, California (acquired directly from the above)

$3,000–5,000


76 HERB RITTS

Splash, Hollywood 1989 Gelatin silver print #8 of 25 Signed, titled, and dated with edition verso; retains Christie’s inventory label frame verso Image/sheet (vis.): 18" x 14.25" Frame: 29.125" x 24.875"

$4,000–6,000


77 BRETT WESTON

Untitled (Nude Torso) 1975; this example printed later Gelatin silver print Signed and dated lower right mount Image/sheet: 7.5" x 9.5" Mount (vis.): 12.75" x 14.5" Frame: 13.5" x 15.375"

$2,000–3,000

78 BRETT WESTON Distortion

1954; this example printed later Gelatin silver print Signed and dated lower right mount Image/sheet: 9.25" x 7.5" Mount (vis.): 14.625" x 12.75" Frame: 15.25" x 13.375"

$1,500–2,500

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SOLD BY GET LIT TO RAISE FUNDS FOR SCHOLARSHIPS AND FUND THEIR ON-GOING PROGRAMS

79 CATHERINE OPIE Portrait Sitting

This donation is by photographer Catherine Opie and includes a portrait sitting at Catherine’s studio in Los Angeles for one person, and also includes one 20” x 15” photographic print. The session will normally last 45 minutes and Catherine will choose the final portrait. Any mounting and framing is not included. The session must be scheduled within one year of the purchase date. The buyer will be in touch with Catherine’s assistant to schedule the sitting. To be completed by May 2018 Catherine Opie was born in Sandusky, Ohio and received her MFA from CalArts in 1988. Opie’s work has been exhibited extensively throughout the United States, Europe, and Japan, including a mid-career survey at the Solomon R. Guggenheim Museum in New York in 2008. In January of 2016 Opie has exhibition at the MOCA PDC and the Hammer Museum in Los Angeles. The book 700 Nimes Road, images inside Elizabeth Taylor’s home, was recently published by Prestel in Fall 2015. Opie was the 2013 recipient of the Julius Shulman Excellence in Photography Award, and was awarded a United States Artists Fellowship in 2006. She is currently a professor of photography at UCLA.

$30,000–50,000

CATHERINE OPIE, 2014. ©CATHERINE OPIE


Get Lit is a non-profit Los Angeles based teen empowerment program, improving literacy rates of "at risk" students in underserved school districts. The program brings classic poetry to the streets and street poetry to the classroom to inspire youth to engage in their own futures and reach their full potential. The Get Lit curriculum reaches over 50,000 youths annually and is now in over 100 schools. The Get Lit Players are the most watched poets on the internet with over 200 million views. 98% of them go to college and most on scholarship.

EILEEN, 2009. ©CATHERINE OPIE

ERIN. ©CATHERINE OPIE

The proceeds of the sale of Lot 79 will help Get Lit expand into additional underserved schools.

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GUS. ©CATHERINE OPIE


80 CATHERINE OPIE Untitled #19

1999 Chromogenic print mounted to aluminum From the edition of 5 Image/sheet (vis.): 15" x 19" Frame: 21.75" x 25.75" P ROVENA NC E Regen Projects, Los Angeles, California; Bruce and Nancy Berman, Los Angeles, California; Private Collection, New Hampshire; Private Collection, Los Angeles, California (acquired directly from the above through Heritage Auctions, Dallas, Texas, November 2, 2013, lot #74099) EXHIBITE D “Catherine Opie: 2004 Larry Aldrich Award Exhibition,” The Aldrich Contemporary Art Museum, Ridgefield, January 22-May 14, 2006 LITERATURE Catherine Opie: 1999/ In and Around Home. Orange County Museum of Art exh. cat. 2006. 30.

$4,000–6,000

81 CATHERINE OPIE

Untitled #27 (from Freeway Series) 1994 Platinum print #5 of 5 Retains Regen Projects label verso Image/sheet (vis.): 2.25" x 6.5" Frame: 8.75" x 14.5" LITERATURE Catherine Opie. The Photographers’ Gallery exh. cat. 2000. 15.

$2,000–3,000


82 RICHARD SERRA Vesturey I

1991 1-color intaglio construction on Meiret Velasquez and Japanese Kozo paper #35 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed and dated upper left corner of sheet Together with copy of invoice from Gemini G.E.L. dated January 22, 1993 and catalogue Gemini G.E.L. #47.68 Sheet: 71.25" x 35.25" Frame: 72" x 36.75" P ROV E NANC E Gemini G.E.L., Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, January 22, 1993) LIT E RAT URE Richard Serra: Druckgrafik-Prints-Estampes 1972-1999. S. Von Berswordt-Wallrabe. 1999. #85.; Richard Serra: Anfangar Icelandic Series 1988-1992. Gemini G.E.L. exh. cat. 1992. #12.

$8,000–12,000

63


83 ROBERT RAUSCHENBERG

Publicon—Station IV (Publicons) 1978 Sculpture composed of wood coated with nitrocellulose lacquer, collaged silk and cotton fabrics, bicycle wheel, baked epoxy enamel over polished aluminum, Plexiglas, and fluorescent light fixture #21 of 30 Published by Gemini G.E.L., Los Angeles Signature with edition and date on Gemini G.E.L. plaque verso Gemini G.E.L. #41.119 28" x 36" x 13" (closed) 52" x 64" x 13" (open)

$9,000–12,000

ALTERANATE VIEW


84 ROBERT RAUSCHENBERG

Strawboss (from Stoned Moon Series) 1970 2-color lithograph on Arjomari paper #13 of 50 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right sheet; Gemini G.E.L. blind stamps lower right corner of sheet Gemini G.E.L. #41.49 Image/sheet (vis.): 29.75" x 21.75" Frame: 30.25" x 22.25"

$1,000–1,500

85 ROBERT RAUSCHENBERG

Horsefeathers Thirteen-XII (from Horsefeathers Thirteen Series) 1972; published 1976 9-color offset lithograph, screenprint, pochoir, collage, and embossing on Jeff Goodman handmade white paper #22 of 51 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition lower right margin beneath image; Gemini G.E.L. blind stamps lower right edge of sheet; retains The Merryman Collection label verso Gemini G.E.L. #41.72 Sheet: 28.75" x 22.375" Frame: 31.625" x 25.125"

$1,000–1,500

65


86 ROBERT RAUSCHENBERG

Samarkand Stitches #VI (from Samarkand Stitches) 1988 Unique fabric assemblage with screenprinting on Ikat silk fabric #49 of 70 Published and printed by Gemini G.E.L., Los Angeles Retains embroidered signature and date tag to lower center edge; retains embroidered Gemini G.E.L. identification tag verso with woven edition number Gemini G.E.L. #41.187 77" x 26"

$10,000–15,000


67

87 ROBERT RAUSCHENBERG Arcanum V (from Arcanum Series)

1981 Color silkscreen with hand-coloring and collage on paper #12 of 85 Published and printed by Styria Studio, New York Signed and dated with edition in graphite lower right sheet; Styria Studio blind stamp lower right sheet Together with copy of invoice from Richard Green Gallery dated July 22, 1989 Image/sheet: 22.5" x 15.5" Frame: 31.25" x 24.25" P ROV E NANC E Richard Green Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, July 22, 1989)

$1,000–1,500


88 ANDY WARHOL

Franz Kafka (from Ten Portraits of Jews of the Twentieth Century) 1980 Color screenprint on Lenox Museum Board #54 of 200 Co-published by Ronald Feldman Fine Arts, Inc., New York, and Jonathan A Editions, Tel Aviv; printed by Rupert Jasen Smith, New York Signed with edition in graphite lower left sheet; printer blind stamp lower right sheet F/S #II.226 Image/sheet: 40" x 32" Frame: 44.5" x 36" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.226.

$12,000–15,000


Andy Warhol's Rebel Without A Cause From his humble beginnings as a commercial illustrator in 1950s New York, Andy Warhol (1928–1987) went on to become one of the most celebrated artists of the 20th century. A master of graphic imagery and vivid color, Warhol employed commercial techniques to create unique and striking paintings, prints, and drawings. Throughout his career, Warhol exhibited an obsession with celebrity and his works appropriate familiar imagery from popular culture; from photographs of movie stars and singers to newspaper clippings of political riots. Rebel Without A Cause (James Dean) (from Ads) (1985) is dominated by the iconic figure of actor James Dean. Copied directly from the poster for the classic movie Rebel Without A Cause (1955), Warhol simplifies the figure’s outline to create a stylized mirror image of the original. A faint imprint of the same figure can be seen in the center of the board, creating a ghostly effect. The red background forms a vibrant

contrast and is accompanied by billboard-style Japanese characters on the left, delineated in shades of electric blue. A tragic figure who died prematurely, Dean represents both the promise and disappointment of Hollywood. This screenprint is from Warhol’s Ads portfolio, a series of ten screenprints that draw from advertising imagery and feature celebrities such as Judy Garland and Ronald Reagan. Fascinated by these American icons, Warhol’s careful choice of subject reveals the mythologizing at work in contemporary culture. Warhol’s sardonic depictions of famous people were matched by the artist’s droll wit, captured in numerous interviews. “It’s the movies that have really been running things in America ever since they were invented. They show you what to do, how to do it, when to do it, how to feel about it, and how to look how you feel about it.” Andrews, Robert. The Columbia Dictionary of Quotations. New York: Columbia UP, 1993. Print.

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89 ANDY WARHOL

Rebel Without A Cause (James Dean) (from Ads) 1985 Color screenprint on Lenox Museum Board #15 of 30 artist’s proofs aside from the edition of 190 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition in graphite lower right sheet; printer and publisher blind stamps lower left sheet F/S #II.355 Image/sheet: 38" x 38" Frame: 44.125" x 44.125" LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.355.

$120,000–150,000


90 ANDY WARHOL Man’s Leg

1986 Six gelatin silver prints stitched together with thread Retains Fahey/Klein Gallery label verso Overall: 31.5" x 27" Frame: 44" x 39" P ROVENA NC E Fahey/Klein Gallery, Los Angeles, California LITERATURE Andy Warhol: Stitched Photographs. T. Hunt. 1999. N.pag. for other examples of stitched photographs illustrated.

$30,000–50,000


91 CLAES OLDENBURG

Untitled (New Pasadena Museum) (from Notes) 1968 7-color lithograph on Rives BFK paper #72 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with Gemini G.E.L. blind stamp lower right; edition lower left Gemini G.E.L. #38.12 Sheet: 22.5" x 15.5" Frame: 22.875" x 15.875" LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #55.2

$1,000–1,500

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92 CLAES OLDENBURG

Untitled (Sneaker Lace) (from Notes) 1968 6-color lithograph on Rives BFK paper #9 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with Gemini G.E.L. blind stamps lower right sheet; edition lower left Gemini G.E.L. #38.2 Together with 1971 Margo Leavin catalogue Sheet: 22.625" x 15.75" Frame: 25.25" x 18.25" LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #55.8.

$600–800


93 ROY LICHTENSTEIN

Explosion (from Portfolio 9) 1967 Color lithograph on Rives BFK paper #54 of 100 Published by Hollander Workshop, New York; printed by Irwin Hollander, New York Signed in graphite lower right sheet; edition lower left Image/sheet: 22" x 17" Frame: 26.5" x 21.375" P ROVEN A NC E MoMA Gift Shop, New York, New York; Private Collection, Pasadena, California (acquired directly from the above) LITERAT U RE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #49.

$12,000–18,000


94 ROY LICHTENSTEIN Plates (8)

1990 Glazed porcelain plate Each from the edition of 150 Published by Rosenthal, Germany Each with stamped signature, edition, and manufacturer's markings verso Each: 12.25" diameter

$3,000–4,000

95 ROY LICHTENSTEIN Brushstrokes

1967 4-color screenprint on off-white wove paper #159 of 300 Published by Leo Castelli Gallery, New York, for the Pasadena Art Museum, Pasadena Signed with edition in graphite lower right margin of sheet Image: 22" x 30" Sheet: 23" x 31" Frame: 26" x 34" LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #45.

$6,000–9,000

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96 JASPER JOHNS Watchman

1967 5-color lithograph on Angoumois paper #40 of 40 Published and printed by Universal Limited Art Editions, West Islip Signed and dated in graphite upper right sheet; edition lower right sheet; ULAE blind stamp lower left corner of sheet; retains Margo Leavin Gallery label verso Together with The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné and Jasper Johns by Michael Crichton Image/sheet: 36.25" x 24.125" Frame: 42" x 30" LITERATURE The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. R. Field. 1994. #32.

$8,000–12,000

97 JASPER JOHNS

Face (Black State) (from Casts from Untitled) 1973-1974 3-color lithograph on Japanese Washi No Mise paper #15 of 15 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower center margin beneath image; edition and Gemini G.E.L. blind stamp lower right Gemini G.E.L. #26.65 Image: 14.5" x 13" Sheet: 15.75" x 13.5" Frame: 24.75" x 22.375" LITERATURE The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. R. Field. 1994. #133.

$3,000–5,000


98 JIM DINE

The Hand-Colored Viennese Hearts VI (from The Hand-Colored Viennese Hearts Portfolio) 1990 Screenprint, soft-ground etching, and aquatint with hand coloring on Velin Arches White paper #21 of 40 Published by Pace Editions, New York; printed by Bob Saich, Advanced Graphics, London and Kurt Zein, Werkstatt für Handgedruckte Original Graphik, Vienna Signed and dated with edition lower left margin beneath image Image: 31" x 30" Sheet: 47" x 36" P ROV E NANC E Anita and Tom May, Beverly Hills, California LIT E RAT URE Jim Dine Prints: 19852000, A Catalogue Raisonné. E. Carpenter. 2002. #34.6.

$4,000–6,000

99 JIM DINE

The Hand-Colored Viennese Hearts II (from The Hand-Colored Viennese Hearts Portfolio) 1990 Screenprint, soft-ground etching, and aquatint with hand coloring on Velin Arches White paper #21 of 40 Published by Pace Editions, New York; printed by Bob Saich, Advanced Graphics, London and Kurt Zein, Werkstatt für Handgedruckte Original Graphik, Vienna Signed and dated with edition lower left margin beneath image Image: 34.5" x 30.5" Sheet: 47" x 36" P ROV E NANC E Anita and Tom May, Beverly Hills, California LIT E RAT URE Jim Dine Prints: 19852000, A Catalogue Raisonné. E. Carpenter. 2002. #34.2.

$4,000–6,000

75


LABEL DETAIL

SOLD TO BENEFIT THE BRIDGES/LARSON FOUNDATION

100 Joe LeSueur (the subject of lot 100) and Jack Larson

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

ALEX KATZ

Here’s to You 1962 Oil on Masonite panel Signed and dated upper right; retains Thibaut Gallery label verso; retains “In Memory of My Feelings: Frank O’Hara and American Art” and “Alex Katz: Small Paintings” exhibition labels verso; bears the inscription “#12” in red ink verso Panel: 23.875" x 32" Frame: 24.5" x 32.5" The subject of this painting is Joe LeSueur, friend and on-and-off lover of the poet and critic, Frank O’Hara. P ROV E NANC E Jack Larson and James Bridges, Los Angeles, California E XHIBIT E D “Alex Katz,” Thibaut Gallery, New York, February 12-March 9, 1963; “In Memory of My Feelings: Frank O’Hara and American Art,” traveling exhibition, the Museum of Contemporary Art, Los Angeles, July 11-November 14, 1999; the Wexner Center for the Arts, Columbus, January 28-April 16, 2000; the Parrish Art Museum, Southampton, June 11-July

Here’s to You (1962) is a seminal painting from the early-mature stage of Katz’s career that discloses much about his evolving style and technique. Relatively small in scale compared to later work, the painting suggests both an intimacy with and distance from the subject. “Katz’s ‘small paintings’ reveal other stylistic and, dare I say, emotional characteristics that were not entirely banished from the large works he initiated in the early 1960s,” the curator Adam D. Weinberg wrote of this and similar works. Here’s to You has been widely exhibited at venues that include the Whitney Museum of American Art, the Parrish Art Museum in Southampton, New York, and the Museum of Contemporary Art, Los Angeles.

30, 2000; “Alex Katz: Small Paintings,” traveling exhibition, Addison Gallery of American Art, Phillips Academy, Andover, April 7-July 31, 2001; Whitney Museum of American Art, New York, September 21, 2001-January 4, 2002; Kemper Museum of Contemporary Art, Kansas City, March 22-June 2, 2002 ILLUST RAT E D In Memory of My Feelings: Frank O’Hara and American Art. R. Ferguson. 1999. 95.; Alex Katz: Small Paintings.

Ratcliff, Carter, and Iwona Blazwick. Alex Katz. Rev. Ed. London: Phaidon, 2014. Print.

A. Weinberg, et al. 2001. 82.

Weinberg, Adam, Dana Self, and Shamim M. Momin. Alex Katz: Small Paintings. Place: Kansas City: Kemper Museum of

$80,000–120,000

Contemporary Art, 2001. Print.

77


79

101 GEORGE RICKEY

Two Open Triangles Leaning Gyratory III 1988 Stainless steel #1 of 3 Incised signature, date, and edition to base LAMA would like to thank the George Rickey Studio for their assistance in cataloguing this work 77.5" (maximum height, not including base) x 52.5" (maximum width) x 7.25" While the artist intended for the edition to comprise three examples, only two were realized. P ROV E NANC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above)

$120,000–150,000


George Rickey: Elegant Motion George Rickey (1907–2002) was one of the foremost kinetic artists of the 20th century. Born in South Bend, Indiana, his family immigrated to Glasgow, Scotland, where Rickey spent his formative years. He pursued a diverse education, studying history at Balliol College, Oxford and enrolling in art school in Paris before returning to the United States where, funded by the GI Bill, he studied art at the New York University Institute of Fine Arts and the Chicago Institute of Design. Rickey started out as a painter, but began making his first mobiles in 1945 while he worked as an engineer for the Army. In the 1950s he experimented with linear steel constructions, which were inspired by nature but placed a greater emphasis on the laws of physics. His inclusion in the exhibition "American Sculpture 1951" at the Metropolitan Museum of Art, New York, first brought his work to wider attention. Throughout the course of the 1960s, Rickey continued to refine the technical construction of his sculptures and evolve his aesthetic. One of Rickey’s most significant inspirations were the Constructivists, in particular the work of Naum Gabo, whom Rickey went on to write about in his 1967 book Constructivism: Origins and Evolution. While Rickey is often considered a successor to Alexander Calder, the master of kinetic sculpture, he was more influenced by the principles of engineering than by abstract motifs. He is also distinguished from Calder by his use of multiple axes to suspend the metal components of his works, whereas his predecessor tended to employ a single, central point. Rickey found bountiful inspiration in the possibilities provided by the natural world, writing in his 1963 essay, The Morphology of Movement: A Study in Kinetic Art, that “the catalogue of natural processes that have so far been overlooked in painting and sculpture, is endless.”

In Rickey’s hands, motion becomes a visual quality, just as much as color or form. This is evident in the two remarkable stainless steel sculptures, Two Open Rectangles Diagonal Jointed Gyratory II (1997), Lot 102, and Two Open Triangles Leaning Gyratory III (1988), Lot 101. In both works, geometric forms intersect atop tall steel rods to form varying configurations of shapes. These late sculptures, with their clean stripped-back aesthetic and cool materials, may appear to be minimalist sculptures at first glance. Yet the gyratory, a term which implies circular motion, moves and turns the geometric forms precisely in order to create a constantly changing set of visual effects. Rickey likened his sculptures to choreography, something which is underscored by the dance-like motion of these shapes. By harnessing elements from the natural world like light and wind, Rickey produces sculptures that are delicately balanced, and poised between stillness and animation. In both elegant and timeless pieces, the air around us is transformed into an artistic medium and movement becomes aesthetic. Kinetic sculptures by George Rickey can be found in the permanent collections of the Los Angeles County Museum of Art; the Walker Art Center, Minneapolis; and the Tate Gallery, London. Bouwhois, Jelle, and Jan Van Adichrem. Sculpture in Rotterdam. Rotterdam: 010 Uitgeverij, 2002. 188. Print. Kostelanetz, Richard. A Dictionary of the Avant-Gardes. London: Routledge, 2016. 513. Print. Siegel, Jeanne. Artwords: Discourse On The '60s And '70s. 2nd ed. Cambridge: Da Capo, 1992. 145. Print. Todorov, Todor. Elemental Sculpture: Theory and Practice. Newcastle upon Tyne: Cambridge Scholars, 2014. 63-64. Print. Walther, Ingo F., ed. Art of the 20th Century. Cologne: TASCHEN, 2014. 501. Print.


102 GEORGE RICKEY

Two Open Rectangles Diagonal Jointed Gyratory II 1997 Stainless steel #1 of 3 Incised signature, date, and edition to base Together with book, signed and dedicated by the artist, and copy of current market value letter from Carl Schlosberg Fine Arts dated December 3, 1997, and catalogue LAMA would like to thank the George Rickey Studio for their assistance in cataloguing this work 124.25" (maximum height) x 45.5" (maximum width) x 15.75" P ROV E NANC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above)

$120,000–150,000

81


103 ELLSWORTH KELLY Daffodil

1979-1980 Transfer lithograph on 300-gram Arches Cover paper #44 of 50 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed in graphite lower right sheet; edition lower left; Tyler Graphics, Ltd. blind stamp lower right sheet Together with The Prints of Ellsworth Kelly: A Catalogue Raisonné, 1949-1985, additional catalogue, and print documentation from Tyler Graphics, Ltd. Image: 26" x 15" Sheet: 39.25" x 28.25" Frame: 48.5" x 38.25" LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #188.

$4,000–6,000


83

104 AFTER ELLSWORTH KELLY Sample Portfolio (10)

1970 Offset color lithograph on paper Edition size unknown Printed by Blair Litho, Los Angeles Each with printed inscription “Copyright Gemini G.E.L. 1970” to lower left corner of sheet; each titled with measurements and Gemini G.E.L. catalogue number of the realized edition that this portfolio served to announce Together with original exterior sleeve and inserts Sheets each: 9.25" x 6.25" Frames each: 11.5" x 8.75"

$3,000–5,000


105 FRANK STELLA The Candles

1992 Color lithograph, screenprint, and collage on white Saunders mould-made paper with natural gampi fiber handmade paper #31 of 65 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated with edition in graphite lower left sheet Together with copy of invoice from Tyler Graphics, Ltd. dated November 10, 1992 and print documentation Image/sheet: 58.125" x 39" Frame: 61.5" x 42.5" This work has an alternate title, Stapling Down and Cutting Up VII. P ROVENA NC E Tyler Graphics, Ltd., Mount Kisco, New York; Private Collection, Los Angeles, California (acquired directly from the above, November 10, 1992) LITERATURE The Prints of Frank Stella: A Catalogue RaisonnĂŠ. R.H. Axsom. 2016. #211.

$10,000–15,000


106 FRANK STELLA

Lake City (from Copper Series) 1970 3-color lithograph and screenprint on Special Arjomari paper #75 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition and Gemini G.E.L. blind stamp lower right edge of sheet Gemini G.E.L. #51.52 Image: 10" x 13.25" Sheet (vis.): 15.75" x 21.75" Frame: 16.125" x 22.125" LIT E RAT URE The Prints of Frank Stella: A Catalogue Raisonné. R.H. Axsom. 2016. #41.

$1,500–2,000

107 VARIOUS ARTISTS

S.M.S. Portfolio: A Collection of Original Multiples (Vol. 1-6) (6) 1968 Various mediums Published by the Letter Edged in Black Press, New York Together with two 1988 second-pressings of Drift Study by La Monte Young Various dimensions LIT E RAT URE S.M.S.: A Collection of Multiples. Davidson Galleries exh. cat. 2008. N.pag.; S.M.S.: A Collection of Multiples. Reinhold-Brown Gallery exh. cat. 1988. N.pag.

$3,000–5,000

85


108 SOL LEWITT

Cube Without a Cube 1996 Painted basswood #27 of 42 Published by Gracie Mansion/Fred Dorfman Projects, New York; fabricated by Yoshitsugu Nakama Signed with edition to underside Together with copy of purchase statement from Carl Schlosberg Fine Arts dated September 1, 1996 8" x 8" x 8" P ROVENA NC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, September 1, 1996)

$12,000–18,000


109 JOSEF ALBERS

I-S Va 5 (from Six Variants) 1969 Color screenprint on paper #135 of 150 Published by Ives-Sillman, Inc., New Haven; printed by Sirocco Screenprints, New Haven Signed and dated in graphite lower right margin of sheet beneath image; edition and title inscribed lower left margin of sheet beneath image; retains Pence Gallery label verso Image: 24" x 27.75" Sheet: 28" x 36" Frame: 36.325” x 38.25" LIT E RAT URE The Prints of Josef Albers: A Catalogue Raisonné, 1915-1976. 2nd ed. B. Danilowitz. 2010. #192.5.

$2,000–3,000

110 JOSEF ALBERS

Gray Instrumentation Ik (from Gray Instrumentation I) 1974 4-color screenprint on white Arches 88 mould-made paper Printer’s proof aside from the edition of 36 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated lower right margin beneath image; titled with edition lower left; Tyler Graphics, Inc. blind stamp lower right edge of sheet; retains Pace Editions label verso Image: 11" x 11" Sheet: 19" x 19" Frame: 20" x 20" LIT E RAT URE Tyler Graphics: Catalogue Raisonné, 1974-1985. K. Tyler. 1987. #29:JA11.

$2,500–3,500

87


111 PAUL KASPER Untitled

c. 1968 Welded steel 45" x 35" x 14" P ROVENA NC E Estate of Paul Kasper, California

$3,000–5,000

112 PAUL KASPER Untitled

c. 1968 Welded steel 28.5" x 20" x 13" P ROVENA NC E Estate of Paul Kasper, California

$3,000–5,000


113 JESÚS BAUTISTA MOROLES Spirit Las Mesas 1985 Dakota granite Unique Together with catalogue and copy of purchase statement from Carl Schlosberg Fine Arts dated November 1, 1992 27" x 10" x 8.5" P ROV E NANC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, November 1, 1992) LIT E RAT URE Jesús Bautista Moroles: Granite Sculpture. Davis/ McClain Gallery exh. cat. 1988. 2 for similar example illustrated.

$1,500–2,500

114 TONY DELAP Untitled (2)

1968 Color screenprint on paper One inscribed “E-35” in graphite lower center margin of sheet; inscribed, signed, and dated “PR. ‘Q’ Tony DeLap ‘68” lower right margin of sheet Image: 21.625" x 21.625" Sheet: 23" x 23" Frame: 23.625" x 23.625" Image/sheet: 21" x 21" Frame: 26.375" x 26.25" P ROV E NANC E Rex Goode, Los Angeles, California; Thence by descent

$400–600

89


115 VICTOR VASARELY Untitled

c. 1978 Paper collage on panel Signed in graphite lower right Composition: 12.5" x 11" Panel (vis.): 15.25" x 11.5" Frame: 16.5" x 12.5"

$5,000–7,000


116 CRAIG ELLWOOD Capriccio

1981 Acrylic on canvas Signed, titled, and dated in black felt-tip marker verso; inscribed “#71” and “Italia/1981” verso Canvas: 66" x 66" P ROV E NANC E The artist; Thence by descent

$5,000–7,000

91


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

117 EDWARD WORMLEY Sofa

Dunbar, designed 1957 Model no. 5715 31" x 80.5" x 30" LITERATURE Edward Wormley Designs for Dunbar: The Janus Collection. Manufacturer cat. 1957. 43.

$2,000–3,000

DETAIL OF TIFFANY TILES

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

118 EDWARD WORMLEY

Coffee table with inset Tiffany glass tiles Dunbar, designed 1956 Model no. 5625T 19" x 38" x 38" LITERATURE Edward Wormley: The Other Face of Modernism. Lin-Weinberg Gallery exh. cat. 1997. #50.

$4,000–6,000


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

119 EDWARD WORMLEY Lounge chair

Dunbar, designed 1957 Model no. 5701 Retains fabric manufacturer’s label 34" x 31" x 34" LIT E RAT URE Edward Wormley Designs for Dunbar: The Janus Collection. Manufacturer cat. 1957. 23.

$1,500–2,000

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

120 EDWARD WORMLEY Lamp table

Dunbar, designed 1957 Model no. 5742 Retains gold “Dunbar” tag 24" x 30" x 22" LIT E RAT URE Edward Wormley Designs for Dunbar: The Janus Collection. Manufacturer cat. 1957. 89.

$500–700

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

121 JOHN VAN KOERT Bench

Drexel, designed c. 1960 Model no. K78 16.5" x 35" x 14" LIT E RAT URE Profile by Drexel. Manufacturer cat. Jan. 1960. 19.

$800–1,200

93


122 WILLIAM “BILLY” HAINES, DESIGNER Metal chargers (2)

Custom designed for 1015 North Beverly Drive residence, executed 1960 Each: 1" x 11" diameter P ROVENA NC E Rita Roedling, Beverly Hills, California; Anita May Rosenstein, Beverly Hills, California

$1,000–1,500

123 WILLIAM “BILLY” HAINES, DESIGNER Lidded Lucite box

Custom designed for 1015 North Beverly Drive residence, executed 1960 3.75" x 11.75" x 6.75" P ROVENA NC E Rita Roedling, Beverly Hills, California; Anita May Rosenstein, Beverly Hills, California

$1,500–2,000

124 WILLIAM “BILLY” HAINES, DESIGNER

Lidded Lucite box with Asian painting embellishment Custom designed for 1015 North Beverly Drive residence, executed 1960 2" x 9.5" x 6.25" P ROVENA NC E Rita Roedling, Beverly Hills, California; Anita May Rosenstein, Beverly Hills, California

$1,500–2,000

LOT 123

LOT 124


125 WILLIAM “BILLY” HAINES, DESIGNER Coffee tables (2)

Custom designed for 1015 North Beverly Drive residence, executed 1960 Each: 19" x 72" x 21" P ROV E NANC E Rita Roedling, Beverly Hills, California; Anita May Rosenstein, Beverly Hills, California

$7,000–10,000

126 WILLIAM “BILLY” HAINES, DECORATOR Armchair

Manufacturer unknown, selected and customized for 1015 North Beverly Drive residence, 1960 31" x 25" x 24" P ROV E NANC E Rita Roedling, Beverly Hills, California; Anita May Rosenstein, Beverly Hills, California

$500–700

95


Alberto Giacometti: A Delicate Tribute The work of Alberto Giacometti (1901–1966) is among the most important of the 20th century. Friends with the leading figures of the Parisian avant-garde, from Pablo Picasso to Joan Miró and Max Ernst, Giacometti’s distinctive figurative forms never fit within any single art movement. His unique oeuvre—comprising painting, drawing, and sculpture—was characterized by elongated, sinuous figures often rendered in rough, scratchy textures. For Giacometti, this was an attempt to shape and refine the body back to its core essence, an approach which was influenced by his studies of Egyptian and Etruscan art. His elegant works convey a sensitivity to the anguish of his fellow man amidst the scarred landscapes of postwar Europe, and they remain as intense and powerful as when they were first made. Giacometti’s sensitive treatment of pain and suffering is evident in this unique drawing from 1952. Here, three birds can be seen flying around a single palm tree, which stands starkly against a faintly sketched-out horizon. The significance of this unusual, sparse composition can be explained by the tribute, handwritten in French below the drawing, which translates as “22 November 1952, thinking of Paul Éluard.” Éluard, a French poet and founder of the Surrealist movement, was close to Giacometti and had a formative influence on the artist’s work. His

127 ALBERTO GIACOMETTI Untitled

1952 Ink on paper mounted to mat board Signed, dated, and inscribed in ink at lower center “Stampa samedi soir 22 novembre 1952 en pensant à Paul Eluard Alberto Giacometti” Together with certificate of authenticity Composition: 8" x 5.5" Mat (vis.): 14.5" x 11.25" Frame: 18" x 14.75" This work is included in the Alberto Giacometti Database as no. 3733.

$10,000–15,000

death from a heart attack at the age of 56, just four days before this drawing was made, plunged the French art world into mourning. Having been friends for over two decades, Giacometti was surely deeply affected by Éluard’s unexpected passing. Perhaps the drawing was produced for the artist’s own private reflection, or for others close to Éluard. This might account for the difference between the composition and the artist’s more public-facing works. In fact, Giacometti was fond of using the tree motif in those works that he dedicated to friends. He created a sculpture of a miniature bronze tree for a memorial to the painter Francis Gruber, and a tableau of two twisting trees for the grave of the son of his dealers, Aimé and Marguerite Maeght. In this way, Giacometti substituted the typical memorial symbology of Christianity, such as the crucifix, for more universal emblems from nature. This delicate drawing is a touching tribute to a friendship between a painter and a poet. Heathcote, Christopher. "When Beckett Commissioned Giacometti." Quadrant Online (2003). N.pag. Web. 7 Apr. 2017. Wilson, Laurie. Alberto Giacometti: Myth, Magic, and the Man. New Haven: Yale University Press, 2003. 151, 158. Print.


128 PIERRE JEANNERET

Easy armchairs from Chandigarh (2) Studio, designed c. 1955 Model no. PJ-SI-29-A One marked “SSC-31” 26.75" x 20.75" x 29" 27" x 20.5" x 27" P ROV E NANC E Chandigarh, India; George Gilpin, New York, New York (acquired directly from the above, 2016) LIT E RAT URE Le Corbusier, Pierre Jeanneret: The Indian Adventure, Design-Art-Architecture. G. Moreau and E. Touchaleaume. 2011. 563.

$5,000–7,000

97


129 PABLO PICASSO

Aztec vase with four faces 1957 Turned vase of white earthenware clay, decoration in engobes, knife engraved #19 of 100 Madoura Bears the inscription “Edition Picasso Madoura” with edition, and “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #402 20.5" x 10.5" diameter LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #402.

$50,000–70,000


99

ALTERNATE VIEWS


130 PABLO PICASSO

Laughing-eyed face 1969 Turned pitcher of white earthenware clay, decoration in engobes engraved by knife under partial brushed glaze, black patina #148 of 350 Madoura Bears the inscription “Edition Picasso Madoura” with edition, and “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #608 13" x 8.5" diameter LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #608.

$25,000–35,000


101

131 PABLO PICASSO

Bearded man’s wife 1953 Turned pitcher of white earthenware clay, decoration in engobes, knife engraved under partial brushed glaze From the edition of 500 Madoura Bears the inscription “Edition Picasso” with “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #193 15" x 7" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #193.

$20,000–30,000


VERSO DETAIL

132 PABLO PICASSO

“Fish” Service Plate and Bowl (2) 1947 Plate and bowl of white earthenware clay, decoration in engobes and oxides under glaze Each from the edition of 300 Madoura Each bears the inscription “15 Madoura” with monogram of Suzanne Ramié to the underside; bowl bears the inscription “E” to the underside Ramié #8 and #20 Plate: 1.25" x 9" diameter Bowl: 2.375" x 7.5" diameter LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #8, 20.

$4,000–6,000

133 PABLO PICASSO

Woman-faced wood-owl 1952 Turned vase of white earthenware clay, decoration in oxides, knife engraved on white enamel #27 of 300 Madoura Bears the inscription “Edition Picasso Madoura” with edition, and “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #144 11" x 6" x 8.25" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #144.

$7,000–9,000


134 PABLO PICASSO Bright owl

1955 Rectangular dish of white earthenware clay, decoration in engobes engraved by knife under glaze From the edition of 450 Madoura Retains “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #285 1.5" x 15.25" x 12.5" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #285.

$10,000–15,000

135 PABLO PICASSO Wood-owl

1948 Rectangular dish of white earthenware clay, decoration in oxides under glaze #77 of 200 Madoura Bears the inscription “I 112” with edition, and “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #48 1.875" x 15.375" x 12.5" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #48.

$7,000–9,000

103


136 PABLO PICASSO Ice-pitcher

1952 Turned pitcher of white earthenware clay, decoration in oxides, knife engraved on white enamel #9 of 100 Madoura Bears the inscription “Edition Picasso Madoura” with edition, and “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #142 13.5" x 7" x 13.5" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #142.

$20,000–30,000


137 PABLO PICASSO Four Dancers

1956 Convex wall plaque of white earthenware clay, engraving accentuated with oxidized paraffin From the edition of 450 Madoura Retains “Empreinte Originale De Picasso” and “Madoura Plein Feu” stamps to underside Ramié #314 9.75" x 9.625" LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #314.

$3,000–5,000

138 PABLO PICASSO Divers

1956 Small convex wall plaque of white earthenware clay, engraving accentuated with glaze, black patinated ground From the edition of 500 Madoura Retains “Empreinte Originale De Picasso,” “Madoura Plein Feu,” and “Collector’s Gallery Inc.” stamps to underside Ramié #378 7.5" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #378.

$3,000–5,000

105


139 PABLO PICASSO

Deux Modèles vêtus (from La Suite Vollard) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in graphite lower right margin of sheet with Picasso watermark Image: 10.25" x 7.375" Sheet: 17.5" x 13.375" LITERATURE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1984. #150.

$8,000–12,000


140 PABLO PICASSO Football

1961 3-color lithograph on Arches paper #127 of 200 Published by Le Patriote, Nice Signed in graphite lower right sheet; edition lower left; Arches watermark lower center edge of sheet; bears the inscription in graphite “4363 A” and “8271” verso Image/sheet: 21.625" x 30.5" LIT E RAT URE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1984. #1019.

$7,000–10,000

141 PABLO PICASSO

Untitled (from La Série 347) 1968 Etching and aquatint on Rives paper #40 of 50 Published by Galerie Louise Leiris, Paris; printed by Atelier Crommelynck, Paris Signed lower right margin of sheet; edition lower left Image: 6" x 8" Sheet (vis.): 8" x 10" Frame: 25.75" x 27" LIT E RAT URE Pablo Picasso: Catalogue of the Printed Graphic Work 1966-1969. Vol. II. G. Bloch, ed. 1971. #1767.

$5,000–7,000

107


142 PABLO PICASSO

Minotaure caressant une Femme (from La Suite Vollard) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in graphite lower right margin of sheet with Vollard watermark Image: 11.5" x 14.125" Sheet: 13.25" x 17.625" LITERATURE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1984. #191.

$8,000–12,000

143 PABLO PICASSO

Minotaure vaincu (from La Suite Vollard) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in graphite lower right margin of sheet with Vollard watermark Image: 7.375" x 10.25" Sheet: 13" x 17.625" LITERATURE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1984. #197.

$7,000–10,000


144 PABLO PICASSO

Famille de Saltimbanques (from La Suite Vollard) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in graphite lower right margin of sheet with Vollard watermark Image: 7.5" x 10.5" Sheet: 13.25" x 17.75" LIT E RAT URE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1984. #163.

$8,000–12,000

109

145 PABLO PICASSO

Le Repos du Sculpteur, II (from La Suite Vollard) 1933; published 1939 Etching on Montval paper From the edition of 260 Published by A. Vollard, Paris Signed in graphite lower right margin of sheet with Vollard watermark Image: 7.375" x 10.375" Sheet: 13.125" x 17.5" LIT E RAT URE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch, ed. 1984. #172.

$6,000–9,000


146 GEORGE L.K. MORRIS Bagotelle No. I c. 1945 Oil on canvas Signed lower right; signed and titled verso; retains The Alan Gallery label verso Canvas: 11.25" x 15.25" Frame: 17.5" x 21.5" P ROVENA NC E Felix Landau Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above); Thence by descent

$15,000–20,000


147 LEONARD EDMONDSON Untitled

1947 Oil on board Signed and dated lower right; retains remnant of Railway Express Agency label verso Board: 23.25" x 28" Frame: 29" x 33.25"

$3,000–5,000

148 BENTLEY SCHAAD Thorn Fragment

1957 Mixed-media collage Signed and dated lower left; retains remnant of The Pasadena Art Museum exhibition label, and an Esther Robles Gallery label verso Collage (vis.): 17.5" x 29.5" Frame: 26.75" x 39"

$1,000–1,500

149 PHIL DIKE Revisited

c. 1965 Watercolor and gouache on paper Signed in ink lower right Sheet (vis.): 17" x 23" Frame: 24.5" x 30.5" P ROV E NANC E Challis Galleries, Laguna Beach, California; Private Collection, Los Angeles, California (acquired directly from the above, 1970); Thence by descent

$2,500–3,500

111


150 FRANK LLOYD WRIGHT Side tables (2)

Heritage Henredon, designed c. 1955 Each branded “Heritage Henredon by Frank Lloyd Wright”; each retains Frank Lloyd Wright ink monogram decal Each: 23" x 26" x 27"

$1,500–2,000

151 WALTER LAMB Side table

Brown-Jordan Co., designed c. 1950 15" x 30.25" x 18.25"

$2,000–3,000


152 FRANK LLOYD WRIGHT & WARREN MCARTHUR

Table for the Arizona Biltmore Hotel, Phoenix Custom, executed c. 1927 28" x 31" x 36" LIT E RAT URE Frank Lloyd Wright Monograph: 1924-1936. Y. Futagawa and B. Pfieffer. 1985. N.pag. for the commission discussed.

$2,500–3,500

153 FRANK LLOYD WRIGHT & WARREN MCARTHUR

Table for the Arizona Biltmore Hotel, Phoenix Custom, executed c. 1927 17" x 24" x 24" LIT E RAT URE Frank Lloyd Wright Monograph: 1924-1936. Y. Futagawa and B. Pfieffer. 1985. N.pag. for the commission discussed.

$2,500–3,500

113


154 RUSSEL WRIGHT

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

$5,000–7,000

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

155 PORTER BLANCHARD

Pewter tea and coffee service (5) Porter Blanchard, designed c. 1935; this set produced 1964 Each piece stamped “Colonial Pewter/ Porter Blanchard”; tray with incised signature and date Comprised of a tea pot, coffee pot, creamer, sugar bowl, and tray Various dimensions

$1,000–1,500


156 KEM WEBER Airline chair

Airline Chair Company, designed 1934-1935 31.5" x 24.5" x 28.5" P ROV E NANC E Walt Disney Studios, Burbank, California; 20th Century Furnishings, San Francisco, California; Private Collection, San Francisco, California (acquired directly from the above, c. 1995) LIT E RAT URE Living in a Modern Way: California Design 1930-1965. W. Kaplan, ed. 2011. 71.; KEM Weber: Designer and Architect. B. Long. 2014. 140-141.

$8,000–12,000

157 AMERICAN MODERN Side tables (2)

Brown-Saltman, designed c. 1940 Each: 18.25" x 22" x 14.5"

$800–1,200

115


Nejad Melih Devrim: Byzantine Abstraction The Turkish abstract painter Nejad Melih Devrim (1923–1995) was an important member of the postwar Parisian avant-garde, whose work continues to be highly sought after today. Hailing from a family of renowned intellectuals, authors and poets, he was the son of writer Izzet Melih Devrim and painter Fahrelnissa Zeid. Through his mother, Devrim became interested in art and began making paintings inspired by the work of French artists Pierre Bonnard and Henri Matisse while still a high school student at the reputable Lycée de Galatasaray. He studied art at the Istanbul Academy of Fine Art, graduating in 1941, and subsequently relocated to Paris. Devrim lived and worked in the city from approximately 1946–1968. Since roughly 1900, Paris was the unrivaled center of artistic activity and innovation, where artists from all over the world flocked in huge numbers. Devrim became part of this diverse gathering of internationals, whose works were loosely grouped under the affiliation of the School of Paris. Prominent figureheads from this acclaimed circle included Pablo Picasso, Constantin Brancusi, Marc Chagall and Amedeo Modigliani. Devrim’s contribution to this group was recognized with his inclusion in the Salon de Mai and Salon des Réalités Nouvelles exhibitions. He was the first Turkish painter to stage a solo show of abstract art in Paris in 1947. During this period, Devrim became acquainted with acclaimed artists and writers like Marcel Duchamp and Gertrude Stein. By 1955, the artist had started to produce graphics and plate illustrations for books by Surrealist and Dada intellectuals such as Paul Éluard and Tristan Tzara.

158 NEJAD MELIH DEVRIM Untitled

1957 Oil on canvas Signed and dated lower center Canvas: 21.75" x 18.125" Frame: 23" x 19.375" P ROVENA NC E Anita and Tom May, Beverly Hills, California

$6,000–9,000

Immersed in this avant-garde community, Devrim honed his signature style, a distinctive synthesis of western art and the culture of his homeland, combining the energetic coloring of Fauvism and the angular mark-making of Cubism, with aspects of Ottoman calligraphy, abstract Islamic art and intricate Byzantine mosaics, which he had studied in Istanbul. These influences are evident in Untitled (1957), a luminous painting produced during Devrim’s time in Paris. Vibrant cerulean and azure hues are rendered in thick, expressive daubs of paint. These rich colors are reminiscent of the bright tones of the stained glass windows at Chartres Cathedral, which Devrim visited periodically. The artist has skillfully added contrast to the painting’s sweeping diagonals with glints of grey and amber highlights and lyrical black undertones, the forms of which mirror the sweeping curves of Arabic script. Devrim’s works are held in several important collections including the Musée d’Art Moderne de la Ville de Paris; Musée National d’Art Moderne, Paris; Musée Royaux des Beaux-Arts, Brussels; Istanbul Museum of Painting and Sculpture, as well as in various esteemed private collections. "Nejad Melih Devrim." Galeri Nev Istanbul, n.d. Web. 22 Mar. 2017. Voorhies, James. "School of Paris." Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, Oct. 2004. Web. 22 Mar. 2017.


159 OSKAR FISCHINGER Untitled (#257a) c. 1962 Oil on canvas panel Inscribed “#257a” with dedication from Elfriede Fischinger verso Panel: 10" x 8" P ROV E NANC E The artist; Thence by descent

$1,500–2,000

160 OSKAR FISCHINGER Untitled (#257b) 1962 Oil on canvas panel Signed lower right; dated lower left with artist’s monogram; inscribed “#257b” with dedication from Elfriede Fischinger verso Panel: 8" x 10" P ROV E NANC E The artist; Thence by descent

$2,000–3,000

117


161 SAM FRANCIS

Untitled (SF79-979) 1979 Acrylic on paper Signed and dated in graphite verso Sheet (vis.): 18.75" x 13.75" Frame: 26.75" x 21.75" This work is identified with the interim identification number of SF79-979 in consideration for the forthcoming Sam Francis: Catalogue RaisonnĂŠ of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist)

$20,000–30,000


119

162 SAM FRANCIS

Untitled (SF70-160) 1970 Acrylic on paper Sheet: 6.25" x 9.25" Frame: 15.75" x 17.5" This work is identified with the interim identification number of SF70-160 in consideration for the forthcoming Sam Francis: Catalogue RaisonnĂŠ of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist)

$15,000–20,000


VERSO DETAILS

163 SAM FRANCIS

Untitled (SF64-572) 1964 Acrylic and watercolor on paper Signed and dated in graphite verso; retains Ace Gallery label verso; retains artist’s label with “The Sam Francis Estate” stamp verso Sheet: 21.5" x 17.375" Frame: 25" x 21" This work is identified with the interim identification number of SF64-572 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Ace Gallery, Beverly Hills, California; Private Collection, Beverly Hills, California (acquired directly from the above, 2015)

$20,000–30,000


164 SAM FRANCIS

Untitled (SF78-255) 1978 Acrylic on paper Signed and dated in pencil “Sam Francis 1978” verso Sheet: 29.25" x 41" Frame: 38.25" x 49.5" SIGNATURE AND DATE DETAIL

This work is identified with the interim identification number of SF78-255 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.

$13,000–15,000

121


165 SAM FRANCIS

Untitled (SF77-133) 1977 Acrylic on paper

166

Signed in graphite verso

Untitled (SF-198sA)

Together with exhibition catalogue Sheet: 8.75" x 5.75" Frame: 18.75" x 14.75" This work is identified with the interim identification number of SF77-133 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist)

SAM FRANCIS

c. 1974-1976 Monotype: mixed-media through silkscreen process on paper Unique Created in collaboration with the Garner Tullis Workshop, Santa Barbara Retains facsimile of artist’s signature verso and “The Estate of Sam Francis” stamp verso; retains Martin Lawrence Galleries label verso Sheet: 30.875" x 24.875" Frame: 37" x 31" This work is identified with the interim identifi-

EXHIBITE D “Sam Francis Works on Paper

cation number of SF-198sA. This information is

1953-1986: The Ranchito Collection,” The Roy

subject to change as scholarship continues by the

and Frances Brandstater Gallery, Loma Linda

Sam Francis Foundation.

University, Riverside, February 19-March 19, 1987

PROVE NANC E Chalk & Vermilion Fine Arts, LLC, Connecticut (acquired directly from the estate

LITERATURE Sam Francis Works on Paper

of the artist, October 2004); Martin Lawrence

1953-1986: The Ranchito Collection. The Roy

Galleries, New York, New York; Private Collection,

and Frances Brandstater Gallery exh. cat.

Los Angeles, California (acquired directly from

1987. #17.

the above)

$10,000–15,000

$12,000–18,000


167 SAM FRANCIS Untitled

1986 8-color lithograph on Rives BFK paper #39 of 45 Published and printed by The Litho Shop, Inc., Santa Monica Signed lower right in graphite; edition lower left Together with The Prints of Sam Francis: A Catalogue Raisonné, 19601990, and copy of documentation from The Litho Shop, Inc. Sheet: 30" x 22.375" Frame: 42.625" x 34.625" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L264.

$2,500–3,500

168 SAM FRANCIS Green Ring

1970 6-color lithograph on Rives BFK paper #5 of 70 Published and printed by The Litho Shop, Inc., Santa Monica Signed in graphite lower left sheet; edition lower right sheet Image/sheet: 25" x 35" Frame: 31.25" x 41.25" LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L112.

$1,500–2,000

169 SAM FRANCIS Untitled

1993 3-color lithograph on 112 Waterleaf paper #89 of 100 Published and printed by The Litho Shop, Inc., Santa Monica Signed with edition lower center; retains The Litho Shop, Inc. documentation sheet verso Sheet: 23" diameter Frame: 25.5" x 25.5"

$2,000–3,000

123


170 SAM FRANCIS Untitled

1976-1977 10-color lithograph on Arches 88 paper Printer’s proof II aside from the edition of 25 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right sheet with Gemini G.E.L. blind stamp; inscribed “PPII” lower left sheet Gemini G.E.L. #18.32 Sheet: 51" x 50.875" Frame: 51.25" x 51.25" LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. I. C. Lembark. 1992. #L214.

$1,500–2,000

171 SAM FRANCIS

Pointing to the Future 1975-1976 5-color lithograph on Arches 88 paper Printer’s proof II aside from the edition of 26 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower right sheet with Gemini G.E.L. blind stamps; inscribed “PPII” lower left Gemini G.E.L. #18.29 Sheet (vis.): 50" x 30" Frame: 50.25" x 30.25" LITERATURE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. I. C. Lembark. 1992. #L216.

$1,500–2,000


172 SAM FRANCIS

Living in Our Own Light 1977 6-panel lithograph, each panel printed with a 3-color rainbow roll on Arches 88 paper #8 of 20 Published and printed by Gemini G.E.L., Los Angeles Each with Gemini G.E.L. blind stamp lower right sheet; one sheet signed with edition lower center right Gemini G.E.L. #18.34 Sheets each: 43.75" x 35.75" Frames each: 44.25" x 36.25" LIT E RAT URE The Prints of Sam Francis: A Catalogue RaisonnĂŠ, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L218.

$4,000–6,000

125


173 KEN BORTOLAZZO

Square Diamond/Slanted Rectangle Variation III 1991 Stainless steel Incised signature and date Together with copy of purchase statement from Carl Schlosberg Fine Arts dated September 2, 1991 LAMA would like to thank the artist for his assistance in cataloguing this work 68" x 110" x 79" P ROVENA NC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, September 2, 1991)

$15,000–20,000


174 ROBERT NATKIN Untitled

1979 Acrylic on canvas Signed lower right; signed and dated verso; retains artist’s ink stamp canvas stretcher verso Canvas: 70" x 70" Frame: 71" x 71"

$6,000–9,000


175 ANTON HENNING Playday

c. 1991 Oil on canvas Canvas: 40" x 32" Frame: 47.25" x 39" P ROV E NANC E Vrej Baghoomian Gallery, New York, New York; Private Collection, United States (acquired directly from the above, November 15, 1991); Private Collection, Los Angeles, California

$4,000–6,000

176 DOROTHY GILLESPIE Untitled

c. 1985 Painted metal Signed to base element 20" x 13" x 11"

$700–900

129


177 JOEL SHAPIRO

Untitled (JS 972) 1991 Chalk, charcoal, and pastel on paper Retains Asher Faure Gallery label verso Sheet: 30.625" x 23" Frame: 33.75" x 26.125" P ROVENA NC E Anita and Tom May, Beverly Hills, California

$6,000–9,000


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

178 ELISE (ELISE CAVANNA SEEDS ARMITAGE WELTON) Untitled #1

1961 Oil on canvas Signed and dated lower right “e-61”; bears the inscription in black ink “Painting Untitled #1” on canvas stretcher verso Canvas: 52" x 34" Frame: 52.75" x 34.75" P ROV E NANC E Retained by the artist and her husband, James Welton; donated by the husband’s estate to the Los Angeles County Museum of Art, 2008 (sold by the Los Angeles County Museum of Art to benefit future acquisitions)

$4,000–6,000

179 BERNAR VENET

Two Undetermined Lines 1990 Color lithograph with hand-drawn embellishment on paper #30 of 30 Published by Landfall Press, Chicago Signed, titled, and dated in graphite lower left sheet; edition lower right sheet Together with catalogue, copy of invoice from Landfall Press dated May 29, 1990, and print documentation Sheet: 45.25" x 39" Frame: 50" x 43.25" P ROV E NANC E Landfall Press, Chicago, Illinois; Private Collection, Los Angeles, California (acquired directly from the above, May 29, 1990) LIT E RAT URE Landfall Press: 25 Years of Printmaking. J. Ruzicka. 1996. 178.

$4,000–6,000

131


180 WESS DAHLBERG Blued-Black

1990 Acrylic on wood panel Together with copy of invoice from Richard Green Gallery dated October 25, 1990 Panel (irreg.): 43" x 43" x 3" P ROVENANC E Richard Green Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, October 25, 1990)

$2,000–3,000

181 SARA SOSNOWY Blue #13

1995 Oil stick, powdered pigment, and string on gessoed paper Together with catalogue and copy of invoice from John Weber Gallery dated September 22, 1995 Sheet: 40" x 29.5" Frame: 47" x 36" P ROVENA NC E John Weber Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, September 22, 1995)

$1,000–1,500


182 RICHARD ALLEN MORRIS Sci-Fi Cover

1998 Acrylic on wood Signed, dated, and titled in black felt-tip marker verso Together with copy of receipt from Chac-Mool Gallery dated March 13, 1999, exhibition announcement postcard, and pamphlet 35" x 5.25" x 1" This work was illustrated on the postcard announcement for the artist’s exhibition at Chac-Mool Gallery in 1999. P ROV E NANC E Chac-Mool Gallery, West Hollywood, California; Private Collection, Los Angeles, California (acquired directly from the above, March 13, 1999) E XHIBIT E D “The Next Wave: New Painting in Southern California,” Museum at California Center for the Arts, Escondido, June 4-September 10, 2000

$1,500–2,000

183 SAM GILLIAM Manet

1998 Color woodcut with hand-coloring and collage on handmade paper From the edition of 120 Printed by Bill Weege, Jones Road Print Shop, Barneveld Signed and dated lower right sheet; titled lower center sheet; edition lower left sheet Together with copy of print documentation Image/sheet: 17.5" x 23"

$4,000–6,000

133


Paul Jenkins: Sublime Color Paul Jenkins (1923-2012) was one of the foremost American abstract painters of the postwar era. Born in Kansas City, Missouri, the artist moved to New York in 1948 where, enabled by the GI Bill, he studied at the Art Students League under painter and printmaker Yasuo Kuniyoshi. He quickly established himself in the New York art scene, befriending Mark Rothko in 1951 and becoming affiliated with the Abstract Expressionists. In 1953, Jenkins relocated to Paris, though he continued to maintain a studio in New York throughout the rest of his life. He had many famous patrons including the former First Lady of France, Danielle Mitterrand and fashion designer Pierre Cardin, who commissioned his work for one of his boutiques. By the late 1960s, Jenkins had found international acclaim and was exhibiting in galleries worldwide.

of his work were presented at prominent international institutions such as the Museum of Fine Arts, Houston; San Francisco Museum of Art (both 1971); and the Palais des Beaux-Arts in Charleroi (1974). This enthusiasm for the artist’s work buttressed Jenkins' confidence, resulting in magnificent paintings of monumental scale produced during this period. This painting exemplifies Jenkins’ work from this time, with its rich plumes of translucent shades of blue and smokey grey, which he achieved by dripping and pouring paint directly onto the canvas and manipulating the flow using a tilted canvas. He was also known to employ an ivory knife to direct the movement of his paints. In this way, Jenkins’ technique can be compared to the dynamic methods of other historic abstract painters such as Jackson Pollock and Morris Louis. Kennedy, Randy. "Paul Jenkins, Painter of Abstract Artwork, Dies at 88." The New

Phenomena Wind at the Foot of the Anvil (1975) was painted during a high point in the artist’s career when retrospectives

184 PAUL JENKINS

Phenomena Wind at the Foot of the Anvil 1975 Acrylic on canvas Signed, titled, and dated in felt-tip marker canvas stretcher verso; retains Gimpel & Weitzenhoffer Gallery label verso Canvas: 77" x 66" Frame: 78" x 67.25" P ROVENA NC E Gimpel & Weitzenhoffer Gallery, New York, New York; Private Collection, United States (acquired directly from the above, 1975); Thence by descent

$35,000–45,000

York Times. 17 June 2012. Web. "Paul Jenkins." Paul Jenkins. N.p., n.d. Web. 06 Apr. 2017.


Information for Lot 185:

185

Usually these unique prints were developed from an early group

HELEN FRANKENTHALER

of trial proofs that had been set aside and were rediscovered by the artist at a later visit to the workshop. This is the case with the five proofs of Solarium that Universal Limited Art Editions (ULAE) saved for her. On May 1, 1974, Frankenthaler hand colored five unsigned trial proofs of the blue key stone and ULAE released them the same year as Solarium Plus Color Variations.

Solarium Plus Color Variation 1964-1974 Color lithograph on paper with unique hand-drawn embellishment in pastel pencil, china marker, and pink lipstick on Rives BFK paper #4 of 5 unique trial proofs Published and printed by Universal Limited Art Editions, West Islip Signed and dated in graphite “Frankenthaler ‘64-’74” lower right margin of sheet; inscribed with edition “4/5 lithograph plus color variations” lower left margin of sheet; ULAE blind stamp lower left corner of sheet Image/composition: 24" x 14" Sheet: 30" x 22" Frame: 32.25" x 24.25" LIT E RAT URE Frankenthaler: A Catalogue Raisonné: Prints, 1961-1994. P. Harrison. 1996. #5.4.; Helen Frakenthaler Prints, 1961-1979. Williams College exh. cat. 1980. #70.

$5,000–7,000

186 HELEN FRANKENTHALER Reflections IX (from Reflections Series)

1995 6-color lithograph on Rives BFK paper #22 of 30 Published and printed by Tyler Graphics, Ltd., Mount Kisco Signed and dated lower right; edition lower left Together with copy of invoice from Tyler Graphics, Ltd. dated March 31, 1995 and print documentation Sheet: 20" x 14.75" Frame: 27.625" x 22.625" P ROV E NANC E Tyler Graphics, Ltd., Mount Kisco, New York; Private Collection, Los Angeles, California (acquired directly from the above, March 31, 1995)

$2,000–3,000

135


187 EDWARD DUGMORE Untitled (1960-G) 1960 Oil on canvas Signed and dated lower right; signed and dated in black felt-tip marker verso “Dugmore/1960-G”; retains Manny Silverman Gallery and Joseloff Gallery labels verso Canvas: 79.5" x 93.875" Frame: 80.75" x 95"

$40,000–60,000

VERSO DETAIL


188 JOAN MITCHELL Fields IV

1992-1993 Color etching, aquatint, and carborundum on white TGL handmade paper #11 of 14 Printed by Tyler Graphics, Ltd., Mount Kisco Signed with edition in graphite lower center edge of sheet; Tyler Graphics, Ltd. blind stamp lower right corner of sheet Together with copy of print documentation from Tyler Graphics, Ltd. Image (approx.): 20.5" x 14" Sheet: 23" x 16.5" Frame: 29" x 22.75" P ROV E NANC E Tyler Graphics, Ltd., Mount Kisco, New York; Private Collection, Los Angeles, California (acquired directly from the above)

$4,000–6,000

189 GERD KOCH Lots of Light

1959 Oil stick and watercolor on paper Signed and dated in ink lower left corner of sheet; titled in graphite verso; ink stamped “Esther Robles Gallery/665 N. La Cienega Boulevard/Los Angeles 46, California...” twice verso Sheet: 17.75" x 23.375" Frame: 23.5" x 29" P ROV E NANC E Anita and Tom May, Beverly Hills, California

$800–1,200

137


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

190 FLORENCE KNOLL Settee

Knoll, designed 1954 Model no. 56W 30" x 62" x 32" LITERATURE Knoll Furniture: 1938-1960. S. Rouland and L. Rouland. 1999. 88.

$1,500–2,000

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

191 FLORENCE KNOLL Cabinet

Knoll Associates, designed 1952 Retains manufacturer’s label 29" x 75.5" x 18.5"

$3,000–5,000


192 FLORENCE KNOLL Cabinet

Knoll, designed 1961 Model no. 2549-6 25.5" x 37.25" x 18" LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 160.

$3,000–5,000

193 FLORENCE KNOLL Cabinet

Knoll International, designed 1961 Model no. 2545 Retains manufacturer’s label 25.5" x 37.25" x 18" LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 160.

$3,000–4,000

139


194 FLORENCE KNOLL Table

Knoll International, designed 1961; this example produced 1976 Model no. 2482 Retains manufacturer’s label with stamped date 28.5" x 54" diameter LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 160.

$2,000–3,000

195 FLORENCE KNOLL Bench

Knoll International, designed 1954 Retains manufacturer’s label 17" x 108" x 17.5"

$2,000–3,000


196 FLORENCE KNOLL Cabinet

Knoll International, designed 1954 Retains manufacturer’s label 28" x 75.5" x 18"

$3,000–5,000

197 FLORENCE KNOLL Lounge chairs (2)

Knoll, designed 1954 Model no. 55 Each: 30" x 30" x 30" LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 142.; Knoll Furniture: 1938-1960. S. Rouland and L. Rouland. 1999. 85.

$2,500–3,500

141


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

198 WARREN PLATNER Dining chairs (2)

Knoll, designed c. 1962 Model no. 1725 Each: 29" x 26" x 24" LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 166-167.

$500–700

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

199 WARREN PLATNER Lounge chair

Knoll, designed c. 1962 Model no. 1715 30" x 36.5" x 28" LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 166-167.

$800–1,200

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

200 DON PETITT

Armchairs (4) Knoll Associates, designed c. 1964 Each retains manufacturer’s label Each: 32" x 22" x 24" LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 165.

$400–600


201 HARRY BERTOIA Child’s chairs (2)

Knoll, designed 1952 Model no. 425 Each: 23.75" x 15.75" x 16.5" LIT E RAT URE Knoll Furniture Price List. Manufacturer cat. June 1983. 78.

$500–700

202 ISAMU NOGUCHI Child’s table

Knoll Associates, designed c. 1954 Model no. 87F-2 Retains manufacturer’s label 19.75" x 23.75" diameter LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 144.

$1,500–2,000

203 HARRY BERTOIA Diamond chair

Knoll, designed 1952 Model no. 421 30" x 33.5" x 28" LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 135.

$600–900

143


Louise Nevelson: Totemic Sculpture American artist Louise Nevelson (1899–1988) remains one of the most singular sculptors of the 20th century. She was an active participant in the New York art world where she studied under Hans Hofmann and worked as an assistant to Diego Rivera on a mural project. While her majestic sculptures, assembled from discarded wood and usually painted all-black, exhibit the influence of Surrealism, Cubism, and elements of Abstract Expressionism, Nevelson cannot easily be categorized within a single art movement. Born in Kiev, Ukraine, Nevelson and her family moved to the United States in 1905. They settled in Rockland, Maine where the Yiddish-speaking Nevelson learned English. After marrying, she moved with her husband to New York City where she began taking classes in dance, drawing, and painting. As she became more intensely involved in art, her marriage broke down and, despite struggling to make ends meet, she remained committed to pursuing an independent existence as an artist. Her use of wood is attributed to her need to forage for readily available materials, particularly during wartime scarcity. By assembling throwaway materials into monumental creations with a strong, resonant presence, Nevelson’s work mirrors her own difficult journey toward self-determination. With its primitive, quasi-geometric composition, Untitled (c. 1945) is representative of Nevelson's early sculptures that were greatly influenced by Cubism. A figurative resemblance can be found in its protruding head and chunky, arm-like angles. A dense, crouched sculpture, Untitled emanates a raw energy, which is heightened by its thick black surface.

204

PROVE N A N CE Bobbie Greenfield

LOUISE NEVELSON

Private Collection, Los Angeles, Cali-

Gallery, Santa Monica, California;

Untitled

fornia (acquired directly from the

c. 1945 Black painted ceramic

E X H I B I T E D “Louise Nevelson Figu-

Unique

above, December 23, 1998)

rative Drawings & Ceramic Sculptures from the 1930s and 1940s,”

Together with copy of original invoice from Bobbie Greenfield Gallery dated December 23, 1998, certificate of authenticity from the estate of Louise Nevelson dated January 18, 1999, and Bobbie Greenfield Gallery brochure for the exhibition

Bobbie Greenfield Gallery, Santa

10" x 10" x 8.5"

$25,000–35,000

Monica, December 5, 1998-January 30, 1999 I L LU ST RAT E D Louise Nevelson Figurative Drawings & Ceramic Sculptures from the 1930s and 1940s. Bobbie Greenfield Gallery brochure. 1998. N.pag.

Through this dark coat of paint, Nevelson, who is noted for her strictly monochromatic use of color, effaces any trace of the ceramic’s original texture. In an interview, Nevelson articulated her unique treatment of color: “For me black isn't black anyway, and color isn't color as such. Color is a rainbow and is just as fleeting as anything on earth, you see, if you want to analyze it. And every minute it's changing through light. So it's a mirage.” Echoes, too, can be found in this totemic work of more mystical and symbolic meaning, redolent of Nevelson’s beloved Native American pottery, which she collected during the 1950s, and whose design and geometry she identified closely with. The work’s figurative tendency also foreshadows some of Nevelson’s later, more prominent, series like Moving-Static-Moving-Figures (1946-1948) and Game Figures (1949-1950) in which numerous biomorphic forms were stacked atop dowels. Nevelson started to achieve critical recognition when her work was featured prominently in "Sixteen Americans," the seminal exhibition at the Museum of Modern Art, New York in December 1959. Following this, Nevelson was chosen to represent America at the 31st Venice Biennale in 1962 and was given her first retrospective in 1967 at the Whitney Museum of American Art. "Oral History with Louise Nevelson." Interview by Arnold Glimcher. Archives of American Art. Smithsonian Institution, 30 Jan. 1972. Web. 21 Mar. 2017. Rapaport, Brooke Kamin, ed. The Sculpture of Louise Nevelson: Constructing a Legend. New Haven: Yale UP, 2009. 8. Print.


205 FREDERICK HAMMERSLEY Untitled (Three Circles) 1955 Watercolor on paper Dated in graphite “30 apr 55” lower left edge of sheet Sheet: 24.75" x 19" Frame: 28.375" x 22.5"

$5,000–7,000

145

206 HELEN LUNDEBERG

Study for Grey Interior II 1979 Gouache on paper Signed and dated in graphite “Lundeberg/Sept. 1979” lower right sheet beneath composition LAMA would like to thank the Feitelson/Lundeberg Art Foundation for their assistance in cataloguing this work Composition: 6" x 5" Sheet (vis.): 8" x 7" Frame: 20.25" x 16.375" P ROV E NANC E Tobey C. Moss Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, March 28, 1992) E XHIBIT E D “36 California Contemporary Artists,” Laguna Art Museum, Laguna Beach, March 21-May 20, 1987

$3,000–5,000


VERSO DETAIL

207 DAVID SMITH 10-9-55

1955 Ink on paper Signed and dated in ink lower right sheet; retains Margo Leavin Gallery label verso Together with copy of original invoice from Margo Leavin Gallery dated February 16, 2006, two gallery mailers, and exhibition catalogue Sheet: 15.75" x 20.25" Frame: 23.375" x 28" P ROVENA NC E The estate of David Smith; Margo Leavin Gallery, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above, February 16, 2006) EXHIBITE D “David Smith: Paintings and Drawings, 1955-1958,” Margo Leavin Gallery, Los Angeles, July 9-August 20, 2005 ILLUSTRAT E D David Smith: Paintings and Drawings, 1955-1958. P. Stevens. 2005. #26.

$20,000–30,000


208 JOHN LEVEE Juin II

1956 Oil on canvas Signed and dated upper center; titled and dated in black felt-tip marker “Levee/Juin II./1956.” verso Canvas: 18" x 24" Frame: 19.25" x 25.25" P ROV E NANC E Anita and Tom May, Beverly Hills, California

$3,000–5,000

209 JACK YOUNGERMAN Untitled

1953 Oil on paper Signed and dated lower right sheet; retains Washburn Gallery label verso Together with copy of invoice from Washburn Gallery dated October 15, 1999 Sheet: 8" x 5.75" Frame: 15.25" x 12.75" P ROV E NANC E The artist; Washburn Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, October 15, 1999) E XHIBIT E D “Youngerman in Paris,” Washburn Gallery, New York, September 8-October 30, 1999

$1,000–1,500

147


Emerson Woelffer A self-described “abstract surrealist,” the painter, collagist, and teacher Emerson Woelffer (1914–2003) was in many ways the very ideal of a postwar American artist. His distinctive style of Abstract Expressionism was inflected by his many and varied interests and experiences. He was a student at the Art Institute of Chicago before becoming employed in the WPA artist’s program and then as a teacher at László Moholy-Nagy’s Institute of Design in Chicago. Woelffer also lived and worked for a period in Mexico and in Italy; played jazz drums; and collected ethnographic art as well as cars. A close friend of Robert Motherwell and Buckminster Fuller, he was invited to teach at the storied Black Mountain College in North Carolina in 1949. Woelffer came to Los Angeles a decade later and, upon taking a position as an instructor at the Chouinard Art Institute, became mentor to an impressive roster of devoted students that included Larry Bell, Ed Ruscha, Joe Goode, and Charles Arnoldi. Emerson Woelffer’s work is both erudite and intuitive; his personal style cosmopolitan, cool, and casual. He was inspired by the Surrealists’ notion of “automatism”—painting unconsciously and without intention—and by free-form jazz improvisation. Marked by runes and ciphers—Xs, Os, and seeming proto-numbers and -letters—many of his canvases suggest primitive pictographs. His work was shaped, too, by the environments which surrounded him, and his move to Southern California prompted a discernable shift to bolder, brighter colors in his paintings.

that “art was simply a thing to be practiced rather than studied. Paint a picture rather than study about the painting of a picture,” Ruscha wrote for the catalogue to that exhibit. “He could get you to dive into the pool without ever using the word dive or the word pool or the words into the.” About the Scholarship Fund and Otis College of Art and Design: The Scholarship Fund provides vital scholarship funding to many Otis College students who are promising young artists and designers, but who would be unable to complete their education without this support. Established in 1918, Otis College offers undergraduate and graduate degrees in a wide variety of visual and applied arts, media, and design. Core programs in liberal arts, business practices, and community-driven projects support the College’s mission to prepare diverse students to enrich our world through their creativity, skill, and vision. As Los Angeles’ first professional art school, visionary alumni and faculty include MacArthur and Guggenheim grant recipients, Oscar awardees, and design stars at Apple, Anthropologie, Pixar, Mattel, and more. The renowned Creative Action program has been recognized by the Carnegie Foundation for Community Engagement, and the Otis Report on the Creative Economy is a powerful advocacy tool for creative industries. The College serves the Greater Los Angeles Area through compelling public programming, as well as year-round Continuing Education courses for all ages. More information is available at www.otis.edu. Ruscha, Ed, and Gerald Nordland. Emerson Woelffer: A Solo Flight. Valencia, CA:

Certainly one of Woelffer’s most enduring legacies is the inspiration he gave his students. Not long after Woelffer’s death, Ed Ruscha curated a survey of his work at the California Institute of the Arts’s REDCAT Gallery. Woelffer taught

REDCAT, California Institute of the Arts, 2003. Print. Drohojowska-Philp, Hunter. Emerson Woelffer: Selections from a Career. Manny Silverman Gallery. Los Angeles. 2014. Print.


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

210 EMERSON WOELFFER Born To The Day 1950 Oil on Masonite Signed lower right; signed, titled, and dated verso; retains paper label that bears the inscription “EST 393”; retains two The Artists’ Gallery stamps verso Board: 24" x 17.5" Frame: 24.75" x 18.25" P ROV E NANC E The estate of Emerson Woelffer

$5,000–7,000


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

211 EMERSON WOELFFER Untitled

1956 Ink on paper Signed and dated in graphite lower left sheet; retains Paul Kantor Gallery label verso Sheet: 10.25" x 13.375" P ROVENA NC E The estate of Emerson Woelffer

$2,000–3,000

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

212 EMERSON WOELFFER Untitled

1961 Lithograph on paper #19 of 20 Printed by Tamarind Lithography Workshop, Albuquerque Signed and dated in graphite lower right sheet; edition lower left with printer blind stamp Image: 11.75" x 9.25" Sheet: 15.25" x 11.25" P ROVENA NC E The estate of Emerson Woelffer

$2,000–3,000


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

213 EMERSON WOELFFER The Meeting 1953 Oil on canvas Signed and dated lower right; bears the inscription in graphite “(14) The Meeting” on canvas stretcher verso; retains paper label that bears the inscription “Est 092” verso Canvas: 14" x 18" Frame: 14.75" x 18.5" P ROV E NANC E The estate of Emerson Woelffer

$3,000–5,000

151


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

214 EMERSON WOELFFER Untitled

1993 Acrylic on canvas Initialed and dated lower right; inscribed “ML” upper left Canvas: 48" x 36" P ROVENA NC E The estate of Emerson Woelffer

$5,000–7,000


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

215 EMERSON WOELFFER Untitled

c. 1993 Acrylic on canvas Retains paper label that bears the inscription “Est 169” verso Canvas: 14" x 11" P ROV E NANC E The estate of Emerson Woelffer

$2,000–3,000

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

216 EMERSON WOELFFER Untitled

1973 Acrylic on canvas Signed lower right and dated "928-73"; inscribed lower left "For Dina"; retains paper label that bears the inscription "Est 270" verso Canvas: 16" x 12" P ROV E NANC E The estate of Emerson Woelffer

$2,000–3,000

153


217 JEAN (HANS) ARP Shadow Figure

1960 Patinated bronze #1 of 10 Clémenti Foundry Edition stamped to the interior 5.5" x 3" x 2.75" (not including base element) P ROVENA NC E Franklin D. Murphy, Beverly Hills, California; Thence by descent LITERATURE Jean Arp Sculptures: A Critical Survey. A. Hartog, ed. 2012. #219.; Jean Arp Sculpture: 1957-1966. E. Trier, et al. 1968. #219.

$20,000–30,000


218

219

VICTOR BRAUNER

AFTER ALEXANDER CALDER

Untitled

Hammock #9

1949 Gouache and crayon on paper

1975 100% cotton manila, wood spreaders

Signed and dated “Victor 28.12.1949” lower right sheet 4.25" x 5.25" P ROV E NANC E James Prestini (gifted directly by the artist); Private Collection, Los Angeles, California (acquired directly from the estate of

Proof aside from the edition of 100 CAC Publications, Nicaragua Woven date and artist’s initials upper right; woven “II” upper left; retains CAC Publications label verso

James Prestini)

Approximately: 130" x 50" (laid flat)

$1,000–1,500

$4,000–6,000

155


220 JEROME KIRK

Untitled (Kinetic Sculpture) 1978 Painted aluminum One element signed and dated “KIRK 78” 47" x 47" x 29" (dimensions variable)

$3,000–5,000

221 JEROME KIRK

Untitled (Kinetic Sculpture) 1967 Painted aluminum and steel Signed “KIRK”; dated “7-30-67” to underside 14.5" x 13" x 13" (dimensions variable)

$2,500–3,500


222 JEROME KIRK

Untitled (Kinetic Sculpture) c. 1965 Painted aluminum and steel Initialed and inscribed “AC Copy/ JK” 11.25" x 14.5" x 7.5" (dimensions variable)

$2,500–3,500

223 JEROME KIRK

Untitled (Kinetic Sculpture) c. 1967 Aluminum and steel Initialed “JK” 13" x 13" x 5" (dimensions variable)

$2,500–3,500

157


Claire Falkenstein: Infinite Space American sculptor Claire Falkenstein (1908–1997) left behind a highly-regarded and inventive artistic legacy. Falkenstein’s work has seen a recent resurgence, spurred by two 2016 exhibitions: a posthumous retrospective of her work at the Pasadena Museum of California Art, and her inclusion in the inaugural show at Hauser Wirth & Schimmel, Los Angeles, “Revolution in the Making: Abstract Sculpture by Women, 1947-2016.” The complexity of Falkenstein’s wide-ranging practice has made the process of classifying her artwork a difficult challenge. This can be attributed to Falkenstein’s unceasing drive to experiment and explore new materials. Over the course of her lengthy career, the artist made paintings, ceramics and tangled sculptures of metal, wood, plastic, wire, copper and glass. She even produced a short film, Polyester Moon (1957), depicting one of her sculptures in montage form accompanied with a score composed by Terry Riley. Born in Coos Bay, Oregon, Falkenstein and her family moved to San Francisco when she was 12. She lived in the Bay Area for the next thirty years, graduating from the University of California, Berkeley in 1930 and later went on to teach at the San Francisco Art Institute. Here she came into contact with the European avant-garde émigrés László Moholy-Nagy and Alexander Archipenko. Around this time, her work consisted mainly of abstract clay sculptures in the vein of Untitled (1939), Lot 224. The angular forms and colored planes of this work reveal the influence of Constructivism and Cubism.

aqua-colored glass. The series comprises highly technical constructions, which Falkenstein worked on throughout the second half of her career. What unifies Falkenstein’s many formal experiments—and these works—is her commitment to the expressive potential of negative space. This formed the basis for a life-long approach to painting and sculpture, one which eschewed the enclosure of volumes and rejected the notion of a knowable, measurable Euclidean geometry in favor of porous and complex lattice-style structural systems. This openness is epitomized by the title of her ‘Moving Points’ series, which she began making in the 1950s. With its flat repetition of a detailed motif Untitled (Moving Points Painting), Lot 226, an acrylic on canvas painting, alludes to the concept of a flowing and infinitely expanding, uninterrupted space, which was inspired by her understanding of Einstein’s theory of relativity. Falkenstein returned to California in the 1960s, where she embarked on her large-scale public commissions, one of the most prominent being the doors, gates and stained-glass windows of St. Basil Catholic Church (1968-1969). Falkenstein's work can be found in the permanent collections of the Hammer Museum, Los Angeles; the Smithsonian American Art Museum, Washington, D.C.; and the Centres Georges Pompidou, Paris. Carl, Robert. Terry Riley's In C: Studies in Musical Genesis, Structure, and Interpre-

In 1948 Falkenstein had a solo exhibition at the San Francisco Museum of Art and shortly afterward emigrated to Europe at the age of 42. She had studios in Paris and Rome, and associated with artists and patrons like Alberto Giacometti, Jean (Hans) Arp, and Peggy Guggenheim, the latter of whom commissioned Falkenstein to produce a custom iron and Murano glass gate entrance for her Venice palazzo. Her interest in Venetian Murano glass is evident in the intricate, small-scale sculpture Untitled (from Fusions Series), Lot 225, which ingeniously welds together dark copper and fused

tation. New York: Oxford UP, 2009. 17. Print. "Claire Falkenstein: Beyond Sculpture." Pasadena Museum of California Art. Pasadena Museum of California Art, 26 Apr. 2016. Web. 22 Mar. 2017. Gaze, Delia. Dictionary of Women Artists. Vol. II. London: Routledge, 1997. 509. Print. Knight, Christopher. "Claire Falkenstein's Strangely Contradictory Sculptures." Los Angeles Times [Los Angeles] 19 June 2016, Arts & Culture sec.: n. pag. Web. 22 Mar. 2017. Marter, Joan M. The Grove Encyclopedia of American Art. New York: Oxford UP, 2011. 195. Print.


224 SIGNATURE AND DATE DETAIL

CLAIRE FALKENSTEIN Untitled

1939 Painted ceramic LABEL DETAIL

Signed and dated “Falkenstein ‘39” lower edge; bears the inscription “5145” in graphite to underside; retains unknown paper label “Geometric 2, 1941/Ceramic” to underside 14" x 8" x 10" P ROV E NANC E Henry T. Hopkins, Los Angeles, California; Thence by descent

$5,000–7,000

225 CLAIRE FALKENSTEIN Untitled (Fusion)

1975 Fused Murano glass and copper Bears etched initials and signature “FC ‘75” to copper element Overall (approx.): 12" x 7.5" x 7.5" P ROV E NANC E The artist; Private Collection, Pasadena, California (acquired directly from the above through California State University, Los Angeles Annual Art Auction, c. 1990)

$8,000–12,000

226 CLAIRE FALKENSTEIN

Untitled (Moving Points Painting) c. 1960 Acrylic on canvas Signed “Claire Falkenstein/Paris” lower right Canvas: 30.75" x 37.5" Frame: 31.625" x 38.25" P ROV E NANC E Henry T. Hopkins, Los Angeles, California; Thence by descent

$5,000–7,000

159


VERSO DETAIL

227

228

GORDON ONSLOW FORD

GORDON ONSLOW FORD

1952 Acrylic on paper mounted to linen

1964 Ink on paper

Signed, dated, and titled verso

Dated “8.64” lower right

LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work

LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work

Linen: 35.5" x 72" Frame: 37" x 73.25"

Sheet (vis.): 25.5" x 39.625" Frame: 27" x 41"

P ROVENA NC E The estate of Robert

PROVE N A N CE The estate of Robert

Anthoine (acquired directly from the

Anthoine (acquired directly from the

artist)

artist)

$15,000–20,000

$3,000–5,000

River Road

Untitled


230 229 GORDON ONSLOW FORD Untitled

c. 1989 Parles paint and acrylic on paper

GORDON ONSLOW FORD In Vironment

2002 Acrylic on paper mounted to linen Signed, titled, and dated verso

LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work

LAMA would like to thank the Lucid Art Foundation for their assistance in cataloguing this work

Composition: 18.25" x 12.75" Sheet: 21" x 15.25" Frame: 23.75" x 18"

Composition: 38.25" x 77" Linen: 43" x 81" Frame: 43.75" x 81.5"

P ROV E NANC E The estate of Robert

P ROV E NANC E The estate of Robert

Anthoine (acquired directly from the

Anthoine (acquired directly from the

artist)

artist)

$2,000–3,000

$15,000–20,000

161


231 GEORGE NAKASHIMA

Quadruple sliding door cabinet Studio, executed 1960 Cherry wood and pandanus cloth Signed and inscribed “Galey/George Nakashima” to wooden plaque Together with carbon copy of sketch from the Nakashima studio dated November 1, 1960

CARBON COPY OF STUDIO SKETCH

34.5" x 125.875" x 21.625" P ROVENA NC E Mr. and Mrs. John T. Galey, Somerset, Pennsylvania (acquired directly from the designer); Thence by descent

$40,000–60,000 ALTERNATE VIEW


232 HENRY TAKEMOTO Plaque

Studio, executed c. 1959 Signed “Takemoto” 12.5" x 13.75" x 2"

$1,500–2,000

233 HENRY TAKEMOTO Bowls (6)

Studio, executed c. 1959 Each signed Each approximately: 3.5" x 4.75" x 4" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$1,500–2,000

234 HENRY TAKEMOTO Vase

Studio, executed 1954 Signed and dated 12" x 6.25" diameter

$1,500–2,000

163


SIGNATURE AND DATE DETAIL

235 JOHN MASON Plaque

Studio, executed 1958 Signed and dated “Mason 58” verso 20" x 14" x 3" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$3,000–5,000


236 PAUL SOLDNER Charger

Studio, executed c. 1975 Retains incised signature 17.5" x 20.625" x 4"

$1,500–2,000

165

237 JERRY ROTHMAN

Glazed ceramic vessel Studio, executed c. 1957 Signed “Rothman” with artist’s paper label 7.5" x 7" x 6" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$1,500–2,000


238 JACK STUCK Still Life #9

1959 Collage on Masonite Signed and dated lower right; retains Comara Gallery and Long Beach Museum of Art labels verso Together with copy of Comara Gallery appraisal dated January 12, 1977 Masonite (vis.): 47.75" x 44" Frame: 48.75" x 45"

$2,500–3,500

239 JACK STUCK Figure

c. 1960 Bronze mounted to rosewood base #1 of 3 Together with copy of Comara Gallery appraisal dated January 12, 1977 14" x 14" x 6" (including base)

$1,500–2,000


240 JACK STUCK Untitled

c. 1960 Mixed-media on paper Sheet: 14" x 11" Frame: 18.25" x 15.25"

$1,000–1,500

167

241 VIC SMITH Untitled

1962 Mixed-media on Masonite Signed and dated lower right Together with copy of Comara Gallery appraisal dated January 12, 1977 Masonite: 48" x 48" Frame: 49.25" x 49.25"

$1,500–2,000


242 FRANK GEHRY Custom table

Studio, executed 1972 Together with a letter from the current owner and advertising brochure for the subsequent Easy Edges series 28.625" x 78.5" x 35.75" Wesley Bilson was an early associate of Frank Gehry's, teaming up in 1962 to develop the Hillcrest Apartments in Santa Monica. P ROVENA NC E Wesley Bilson, Sherman Oaks, California (acquired directly from the designer, 1972)

$10,000–15,000


243 KEN PRICE

Hermit Crab Cup 1972 14-color screenprint on J. Green mould-made paper #6 of 60 Published and printed by Cirrus Editions, Los Angeles Signed and dated lower right; titled with edition lower left Image: 14.875" x 11.625" Sheet (vis.): 27.625" x 22" Frame: 29.25" x 23.25" LIT E RAT URE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 336.

$1,000–1,500

244 KEN PRICE

The Fireworm Cup 1991 Glazed earthenware cup #4 of 25 Published and fabricated by Gemini G.E.L., Los Angeles Signed, dated, and with edition to underside; Gemini G.E.L. rubber stamp and copyright information stamped to underside Gemini G.E.L. #39.24 3.375" x 6.5" x 3"

$1,000–1,500

169


245 STAN BITTERS Thumb pots (3)

Hans Sumpf Co., executed 1996-1997 Each dated and inscribed “H.S.C.” and “RD”; two inscribed “A2112”; other inscribed “A2414” One: 14.5" x 23.75" diameter Two each: 12.75" x 21" diameter

$1,500–2,000

246 STAN BITTERS

Scratch pots (3) Hans Sumpf Co., executed 1993 A: Unmarked; B: Dated and inscribed “H.S.C. B-18-15” and “RD”; C: Dated and inscribed “H.S.C. C-18-20” and “RD” A: 8.75" x 21.25" diameter B: 15.5" x 18.75" diameter C: 20.25" x 18" diameter

$1,500–2,000

247 STAN BITTERS

Scratch pots (3) Hans Sumpf Co., executed 1995-1996 Each dated and inscribed “H.S.C. B-1815” and “RD” Each: 15.5" x 18" diameter

$1,500–2,000


171

248 WOODS DAVY

Cantamar 10/2/00 2000 Stone Together with copy of invoice from Imago Galleries dated October 12, 2002 70" x 37" x 29" P ROV E NANC E Imago Galleries, Palm Desert, California; Private Collection, Los Angeles, California (acquired directly from the above, October 12, 2002)

$3,000–5,000


249 DALE CHIHULY

Parrot Green Persian Set Studio, executed 2001 Blown glass in two parts Smaller element signed “Chihuly” Together with copy of invoice from Imago Galleries dated April 5, 2002 7.375" x 11.25" x 9.75" (as illustrated) P ROVENA NC E Imago Galleries, Palm Desert, California; Private Collection, Los Angeles, California (acquired directly from the above, April 5, 2002)

$3,000–5,000


250 CLAUDE CONOVER Muuk vessel

Studio, executed c. 1965 Signed and titled “Claude/Conover/ Muuk” 19" x 16.5" diameter

$4,000–6,000

173

251 LAURA ANDRESON Chalice

Studio, executed c. 1975 Incised signature to underside 6" x 8.5" diameter

$800–1,200


252 GERTRUD & OTTO NATZLER Double curved bowl

Studio, executed 1951 Peach Blossom reduction glazed ceramic with melt fissures Signed “natzler” and retains Natzler inventory label “C902” Natzler archives identification #C902 6.25" x 7" diameter (15.5 cm x 17.8 cm diameter) EXHIBITE D “The Ceramic Work of Gertrud and Otto Natzler” traveling exhibition, Palm Springs Desert Museum, January 9-February 11, 1968; Pacific Lutheran University, Tacoma, 1968; “Common Ground: Ceramics in Southern California 1945-1975,” American Museum of Ceramic Art, Pomona, November 12, 2011-March 31, 2012 ILLUSTRAT E D Common Ground: Ceramics in Southern California 1945-1975. J. Lauria. 2011. #11.

$6,000–8,000

253 GERTRUD & OTTO NATZLER Bottle with lip

Studio, executed 1968 Blue Celadon reduction glazed ceramic with melt fissures Signed “natzler” and retains Natzler inventory label “O154” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work Natzler archives identification #O154 4.5" x 4.75" diameter (11.5 cm x 12.2 cm diameter)

$4,000–6,000

254 GERTRUD & OTTO NATZLER Oval bowl

Studio, executed 1962 Bright Yellow glazed ceramic Signed “natzler” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work Natzler archives identification #M178 3.625" x 10.125" x 7.5" (9.3 cm x 25.8 cm x 19 cm)

$4,000–6,000


255 GERTRUD & OTTO NATZLER Wind chime

Studio, executed c. 1962-1964 Signed “natzler” and retains Natzler inventory label “M425” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work Natzler archives identification #M425 14" x 9.75" diameter (not including metal element) (35.3 cm x 24.7 cm diameter) LIT E RAT URE Common Ground: Ceramics in Southern California 1945-1975. J. Lauria. 2011. #13 for similar examples illustrated.

$4,000–6,000

175

256 GERTRUD & OTTO NATZLER Wind chime

Studio, executed c. 1962-1964 Signed “natzler” and retains partial Natzler inventory label LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work 8.5" x 6" diameter (not including metal element) (21.5 cm x 17 cm diameter) LIT E RAT URE Common Ground: Ceramics in Southern California 1945-1975. J. Lauria. 2011. #13 for similar examples illustrated.

$4,000–6,000


Beatrice Wood: Lustrous Figures The prolific California artist Beatrice Wood (1893–1998) led a long and fascinating life. Born to a wealthy family in San Francisco, she studied art in Paris then settled in New York to pursue acting. There she became associated with the leading figures of Dada such as Marcel Duchamp. A radical figure for her time, she has been described as the very embodiment of the Dada movement and one who dissolved the boundaries between life and art. Wood returned to the West Coast in 1928, first living in Los Angeles, then moving to Ojai in 1948, where she remained for the rest of her life. Wood took her first ceramics class in 1933 at the age of 40, and proceeded to study with California’s most renowned ceramicists, Glen Lukens and later Gertrud & Otto Natzler. She became particularly respected for her use of opalescent luster glazes, which she would incorporate into the process during a single glaze firing, instead of applying the luster afterward as a surface decoration. While she did not invent this approach, her facility with the technique introduced a whimsy and an expressiveness that were groundbreaking for the medium. Her earthenware work consisted of vases, bottles, teapots, cups, bowls, and small sculptures which evinced her skills with color, texture, and form, as well as the

influence of modernism, folk art, and Eastern philosophy on her work. This tile mural from 1967 is an unusually monumental piece for Wood, who tended to focus on smaller-scale works. It features five simplified figures standing before a boat resembling a Viking longship. A sense of ritualism is created by the figures’ interlocked stance and by the exquisitely colored beaded necklaces that hang around their necks. This intricately detailed work is accompanied by a fascinating letter from Wood, written in 1979, in which she explains that the work was commissioned by a friend for the entrance to their swimming pool. She sums up her feelings in her final line: “…ten years passed before I again saw the finished product. As far as an artist can evalute [sic.] his work, I thought the mural was the finest thing I have done." “Beatrice Wood." Smithsonian American Art Museum and the Renwick Gallery. N.p., n.d. Web. 07 Apr. 2017. Sawelson-Gorse, Naomi. Women in Dada: Essays on Sex, Gender, and Identity. Cambridge, MA: MIT, 2001. 106. Print. "About Beatrice Wood." Beatrice Wood Center for the Arts. N.p., n.d. Web. 07 Apr. 2017.

177

257 BEATRICE WOOD Untitled (Mural)

Studio, executed 1967 Signed and dated “Beato 1967” lower right; inscribed “Helen & John Bauer” lower left Together with two letters from the artist and archival photographs BEATRICE WOOD IN HER STUDIO

33.625" x 113.25" x 1.875"

P ROV E NANC E Helen and John Bauer, Ojai, California (acquired directly from the artist); Leo and Jackie Halpern, Ojai, California (acquired directly from the above, c. 1988); Private Collection, Los Angeles, California

$40,000–60,000


SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

258 HENDRIK VAN KEPPEL & TAYLOR GREEN Console table

VKG, designed c. 1950 Model no. 626-27 27" x 48" x 18" LITERATURE Van Keppel-Green: Modern Furniture. Manufacturer cat. N.d. N.pag.

$800–1,200

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

259 HENDRIK VAN KEPPEL & TAYLOR GREEN Cocktail table

VKG, designed c. 1950 Model no. 426-16 16" x 54" x 18" LITERATURE Van Keppel-Green: Modern Furniture. Manufacturer cat. N.d. N.pag.

$1,500–2,000


260 HENDRIK VAN KEPPEL & TAYLOR GREEN Chaise lounge

VKG, designed c. 1950 Model no. 682 23.25" x 31" x 74.25" LIT E RAT URE Van Keppel-Green: Modern Furniture. Manufacturer cat. N.d. N.pag.

$1,500–2,000

179


Alvin Lustig: Practical Elegance The graphic artist, typographer, and furniture designer Alvin Lustig (1915–1955) made a lasting contribution to the history of 20th century American design. Born in Denver, Lustig studied at Los Angeles City College, Art Center, and later with renowned architect Frank Lloyd Wright. His book designs are characterized by their flat colors, unique compositions and pared-back typography, as well as their use of simple geometric shapes, referencing the work of modern artists like Paul Klee and Joan Miró. Lustig’s reputation was cemented in 1941 with his iconic set of graphic abstract covers for the publisher New Directions. The quality of his work and his streamlined Bauhaus sensibility led to an invitation from legendary artist Josef Albers to teach at Black Mountain College in 1945, alongside such luminaries as John Cage and Buckminster Fuller. A design polymath, Lustig’s created posters, book covers, record sleeves, textiles, furnishings, signage, and lighting. Of this varied approach he wrote, ”The words 'graphic designer,' 'architect,' or 'industrial designer' stick in my throat giving me a sense of limitation, of specialization within the specialty, or a relationship to society that is unsatisfactory and incomplete.” Lustig worked as the visual research director of Look magazine from 1944 to 1946, before returning to Los Angeles, where he established his office and began taking on interior design and architectural commissions. It was around

261 ALVIN LUSTIG Lounge chair

Paramount Furniture Company, designed c. 1948 37.5" x 37.5" x 32.5" P ROVENA NC E Private Collection, California; Museum of California Design, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, June 7, 2009, lot 403) LITERATURE Arts & Architecture. August 1950. 33.

$4,000–6,000

this time in 1949 that Lustig was commissioned to design this lounge chair for Paramount Furniture. Echoes of the work of modernist designers like Eero Saarinen, Charles & Ray Eames, or Arne Jacobsen, can be found in the chair’s elegant, curved profile. The seat’s molded plywood bears the influence of Finnish architect Alvar Aalto’s technical innovations with wood, yet it remains a distinctive object in its own right, exemplifying Lustig’s stylish yet functional approach to design. Its iconic status was underscored by the design’s inclusion in the 2014 exhibition “Designing Home: Jews and Midcentury Modernism” at the Contemporary Jewish Museum, San Francisco, which recognized the key role of designers like Lustig in the development of modern American interior and furniture design. With its handsome moss green upholstery atop refined legs of painted metal, this highback lounge chair is a comfortable and versatile household object. "Designing Home: Jews and Midcentury Modernism." The CJM. N.p., n.d. Web. 22 Mar. 2017. Heller, Steven. "Down the Pigeonhole." Alvin Lustig, Modern American Design Pioneer - Architecture & Interiors. N.p., n.d. Web. 22 Mar. 2017. Heller, Steven. “Born Modern." Alvin Lustig, Modern American Design Pioneer Architecture & Interiors. N.p., n.d. Web. 22 Mar. 2017.


262 GRETA MAGNUSSON GROSSMAN Dresser

Glenn of California, designed 1952 28.5" x 46.75" x 17.625" LIT E RAT URE Greta Magnusson Grossman: A Car and Some Shorts. K. Wærn. 2010. N.pag.

$3,000–5,000

263 GRETA MAGNUSSON GROSSMAN Console

Glenn of California, designed 1952 Model no. 6250 30" x 65" x 18" LIT E RAT URE Greta Magnusson Grossman: A Car and Some Shorts. K. Wærn. 2010. N.pag.; Glenn of California. Manufacturer cat. N.d. N.pag.

$3,000–5,000

181


264 MIGUEL BERROCAL Goliath

1968-1972 Brass #1,258 of 2,000 Published by Orangerie Multiples, Cologne; cast by Reischauer Foundry, Idar-Oberstein Impressed signature, edition, Reischauer foundry stamp, and Orangerie Multiples stamp near base 9.5" x 5.75" x 5" LITERATURE La Sculpture de Berrocal. G. Marchiori. 1973. 113-114.

$2,500–3,500

265 MIGUEL BERROCAL Alice II

1981-1982 Bronze and steel #62 of 500 Etched signature and edition Together with assembly instruction book 6.5" x 5.625" x 2.75"

$1,000–1,500


266 MIGUEL BERROCAL

Mini-David and Micro-David Pendant (2) 1968-1969; 1981-1982 Nickel-plated metal; bronze #7,926 of 9,500; edition size unknown Each with impressed signature; one with impressed edition Together with book 5.25" x 2.375" x 2.25" 2.375" x .75" x .5"

$1,000–1,500

267 MIGUEL BERROCAL Mini-Cariatide

1968-1969 Nickel-plated metal #3,207 of 9,500 Impressed signature and edition near base Together with assembly instruction book 6" x 2.625" x 2.375"

$1,000–1,500

268 MIGUEL BERROCAL Mini-Zoraida

1969-1970 Nickel-plated metal #3,268 of 9,500 Impressed signature and edition to underside Together with assembly instruction book 2.25" x 3.25" x 1.75"

$800–1,200

183


Alfonso Ossorio: Textured Abstraction The Filipino American artist Alfonso Ossorio (1916–1990) played a crucial role in fostering the development of postwar painting in America. Born in Manila to a wealthy family, he was educated in England and moved to the United States in 1930 to attend high school, then continued his education at Harvard and the Rhode Island School of Design where he studied fine art. Ossorio was a collector and early supporter of Jackson Pollock and other Abstract Expressionists like Willem de Kooning, Barnett Newman, and Clyfford Still. He and Pollock were close with the renowned French ‘Art Brut’ artist Jean Dubuffet, a friendship which proved to be influential on the work of all three men. This connection was explored in the 2013 exhibition "Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet" at the Phillips Collection in Washington, D.C.

Acrobatic Babies (1950) is a compact and frenetic work on paper that embodies the strange and beguiling power of his extensive paintings. At first glance this tangle of white lines amid a wash of red and black looks to be an abstract image. However, on closer inspection, a pair of loosely-rendered cherubic figures can be seen. At this time Ossorio was transitioning from surrealist influences to abstract expressionism, with a tendency toward magical and mystical subjects. Ossorio’s work often featured rich, textured surfaces and his innovative cut and paste process was inspired by Dubuffet’s collage techniques. Executed in wax, ink, and watercolor on a piece of found stationary, this work exemplifies the artist’s assemblage-style approach. Acrobatic Babies was illustrated in Jean Dubuffet’s 1952 book on the artist, Peintures Initiatiques D'Alfonso Ossorio.

Ossorio was an accomplished and prolific painter in his own right but, in his lifetime, his artistic reputation was overshadowed by his prominence as a collector. However, in recent years his paintings have come to be reevaluated by critics and collectors, with their inclusion in the 2015 Whitney Museum of American Art inaugural exhibition "America is Hard to See," as well as their acquisition by the Goldman Sachs Group for their corporate collection.

Gruen, John. "Madness and Material." New York Magazine 2 Dec. 1968: 54. Print.

269 ALFONSO OSSORIO Acrobatic Babies

1950 Ink, wax, and watercolor on torn Tiffany stationary paper

PROVE N A N CE Estate of Alfonso Ossorio; Ossorio Foundation, Southampton, New York; Michael Rosenfeld Gallery, New York, New York; Private

Retains Ossorio Foundation label and two Michael Rosenfeld Gallery labels verso

Collection, Los Angeles, California

Together with exhibition catalogue, book, copy of invoice from Michael Rosenfeld Gallery dated March 31, 1999, and exhibition postcard announcement

E X H I B I T E D “Alfonso Ossorio: The

Sheet (irreg.): 11" x 8.25" Frame: 17.75" x 15.25"

I L LU ST RAT E D Peintures Intiatiques

This work was illustrated on the post-

Returns, 1950-Philippines, Expres-

card announcement for the artist’s

(acquired directly from the above, March 31, 1999)

Child Returns, 1950-Philippines, Expressionist Paintings on Paper,” November 5, 1997-January 9, 1999, Michael Rosenfeld Gallery, New York

D’Alfonso Ossorio. J. Dubuffet. 1951. Pl. 6.; Alfonso Ossorio: The Child sionist Paintings on Paper. Michael

exhibition at Michael Rosenfeld

Rosenfeld Gallery exh. cat. 1998. 20.

Gallery in 1998.

$10,000–15,000

"Michael Solomon on the Ossorio Foundation." Artists' Estates: Reputations in Trust. Ed. Magda Salvesen and Diane Cousineau. New Brunswick: Rutgers UP, 2005. 209. Print.


270 RUFINO TAMAYO

Untitled (from Los Signos Existen) 1973 Color lithograph on Rives paper #77 of 100 Published by Edizioni d’Arte AKA, Vaduz; printed by Franco Cioppi Signed lower right sheet; edition and publisher’s blind stamp lower left Image/sheet: 27.25" x 19.25" LIT E RAT URE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J.C. Pereda. 2004. #158.

$2,500–3,500

271 RUFINO TAMAYO

Untitled (from Los Signos Existen) 1973 Color lithograph on Rives paper #15 of 100 Published by Edizioni d’Arte AKA, Vaduz; printed by Franco Cioppi Signed lower right sheet; edition and publisher’s blind stamp lower left Image/sheet: 27.375" x 19.375" LIT E RAT URE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J.C. Pereda. 2004. #157.

$2,500–3,500

272 RUFINO TAMAYO

Untitled (from Los Signos Existen) 1973 Color lithograph on Rives paper #3 of 100 Published by Edizioni d’Arte AKA, Vaduz; printed by Franco Cioppi Signed lower right sheet; edition and publisher’s blind stamp lower left Image/sheet: 27.375" x 19.375" LIT E RAT URE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991. J.C. Pereda. 2004. #156.

$2,500–3,500

185


273 ARNE NORELL

Ilona sofa and chair (2) Norell Möbel, designed 1971 Each retains manufacturer’s label Sofa: 29" x 58" x 32" Chair: 29" x 32.5" x 32"

$3,000–5,000


274 POUL KJÆRHOLM Stools (2)

E. Kold Christensen, designed 1961 Model no. PK 41 Each stamped “EKC” Each: 15.5" x 23.5" x 17.75" LIT E RAT URE Poul Kjærholm. 2nd ed. C. Harlang, ed., et al. 2001. 178.

$3,000–5,000

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

275 PETER HVIDT & ORLA MØLGAARD-NIELSEN Card table

France & Daverkosen, designed c. 1954 Retains manufacturer’s mark and “John Stuart Inc.” medallion 29" x 33" x 33"

$500–700

SOLD BY THE LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT FUTURE ACQUISITIONS

276 AMERICAN MODERN Tea cart

Manufacturer unknown, designed c. 1965 25.25" x 27.5" x 17.25" (34.75" extended)

$500–700

187


277 GINO SARFATTI Ceiling light

Arteluce, designed 1950 8" x 24" diameter

$4,000–6,000

278 GIO PONTI & LUIGI FONTANA Side table

Possibly Fontana Arte, designed 1932; this example produced later 24.25" x 24" diameter LITERATURE Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand. F. Deboni. 2012. #126.

$2,000–3,000

279 GUIDO GAMBONE Vase

Studio, executed c. 1955 Signed and inscribed “Gambone/Italy” with artist’s cipher 11" x 4.25" diameter

$1,500–2,000


280 GIO PONTI

Diamond flatware (74) Reed & Barton, designed 1958 Each with stamped manufacturer’s mark Comprised of an eight piece service for seven (teaspoons, dessert spoons, dinner spoons, dinner forks, salad forks, oyster forks, dinner knives, butter knives), eight service pieces, plus additional pieces Various dimensions

$5,000–7,000

281 ANGELO MANGIAROTTI Table lamp

Società Cooperativa Artieri dell’Alabastro, designed 1981 8.25" x 7.5" x 5.5" LIT E RAT URE Angelo Mangiarotti: Opera completa. F. Burkhardt, ed. 2010. 314.

$3,000–5,000 PARTIAL ILLUSTRATION

282 SERGIO ASTI

Up & Up vases (2) Atelier International Limited, designed c. 1968 Each retain a sticker inscribed “UP & UP/Made in Italy/Massa Carrara”; one retains manufacturer’s label 2.25" x 9.75" diameter 1.5" x 6.125" diameter

$1,000–1,500

189


Wayne Thiebaud: Nostalgic View Celebrated American artist Wayne Thiebaud (b. 1920) is best known for his pastel-hued paintings of confections and popular novelties, from cakes and ice cream sundaes to lipsticks and shoes. With its similarities to commercial art and depiction of everyday subject matter, Thiebaud’s work has long been associated with the Pop Art movement. However, the heavily impastoed surfaces of his paintings bear closer similarities to the techniques of European Masters such as Giorgio Morandi and Paul Cézanne, rather than Andy Warhol, Roy Lichtenstein or any of his contemporaries. Born in Mesa, Arizona, Thiebaud and his family relocated to California when he was six-months old. As a teenager he apprenticed at the Walt Disney Studios in Los Angeles, between 1936–1937, and thereafter set out to become an illustrator, working as a cartoonist in Long Beach. After World War II, he studied at San Jose State College and California State College, Sacramento, where he graduated with an MFA. He began experimenting with painting and discovered his distinctive style in 1961, while teaching in the Art Department at the University of California, Davis.

283 WAYNE THIEBAUD Seclusion

1959 Color screenprint on paper #3 of 25 Signed and dated in graphite lower right margin of sheet; title and edition inscribed lower left margin of sheet Image: 19.5" x 29.125" Sheet (vis.): 21.5" x 31" Frame: 32" x 41.75" P ROVENA NC E Fred Maxwell, San Francisco, California; Private Collection, San Francisco, California (acquired directly from the above, c. 1980); Thence by descent

$15,000–20,000

Seclusion (1959) is a rare and distinguished color screenprint that contains the visual seed for Thiebaud’s future work. The artist continued to produce landscapes of places familiar to him throughout his career, from San Francisco cityscapes to views of Sacramento. The air of sentimentality embodied in the image anticipates the nostalgia of the artist’s most celebrated paintings. Thiebaud spent some of his formative years at Thorley Ranch in Utah; a private, secluded retreat, brimmed with sweeps of trees. The little glowing dots of yellow that emerge between the tree trunks in Seclusion also foreshadow the halo effect that he employed in later works. Meticulously rendered, this landscape confirms Thiebaud’s standing within the classical tradition of painting. Hess, Thomas B. “Wayne Thiebaud: Eternal Mayonnaise.” New York Magazine 8 Aug. 1977: 56-57. Print. Marter, Joan M. The Grove Encyclopedia of American Art. New York: Oxford UP, 2011. 33. Print.


284 WAYNE THIEBAUD Untitled

1953 Ink on paper Signed and dated in graphite lower left Sheet: 8.5" x 7.25" Frame: 16.25" x 14.75"

$3,000–5,000

285 RICHARD DIEBENKORN Sugarlift Spade

1982 Sugarlift aquatint on Rives BFK paper #10 of 35 Published and printed by Crown Point Press, San Francisco Initialed and dated in graphite lower right sheet; edition lower right; Crown Point Press blind stamp lower right corner of sheet Together with copy of invoice from Crown Point Press dated March 31, 1989 and print documentation Image: 16" x 14.75" Sheet: 33" x 26.5" Frame: 34.25" x 28.75" P ROV E NANC E Crown Point Press, San Francisco, California; Private Collection, Los Angeles, California (acquired directly from the above, March 31, 1989) LIT E RAT URE Richard Diebenkorn: Graphics, 1981-1988. G. Nordland. 1989. #18.

$1,500–2,000

191


286 JAMES GILL Nude

1962 Oil on board Signed and dated lower right Board: 39.5" x 30.5" Frame: 40.25" x 31.25"

$4,000–6,000

287 JAMES GILL

Suite of drawings (5) 1965 Graphite on paper Each signed and dated in graphite Smallest sheet: 14" x 12" Largest sheet: 13.125" x 20.125" Three sheets each: 12" x 18" (or alternate orientation)

$3,000–5,000


288 MASAMI TERAOKA Masturbation

1973 Pen and ink on paper Signed, titled, and dated in graphite verso Sheet: 14.25" x 21.25" P ROV E NANC E Edward Den Lau, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$3,000–5,000

289 MASAMI TERAOKA

Study for Los Angeles Storm Series/Silverlake 1983 Graphite on paper Signed, titled, and dated in graphite lower center margin of sheet beneath composition Composition: 8.25" x 5.75" Sheet (vis.): 9.25" x 6.75" Frame: 15.75" x 13.125" P ROV E NANC E Edward Den Lau, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$1,200–1,500

290 MASAMI TERAOKA Woman and Iris

1980 54-color screenprint on paper #16 of 87 Edition lower left; signed and dated in graphite verso Image/sheet: 23" x 17" P ROV E NANC E Edward Den Lau, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$1,500–2,000

193


291 MARK ROSSI

Blacktail Jackrabbit Grooming 2001 Bronze #4 of 15 Together with copy of invoice from The Redfern Gallery dated August 17, 2001 and catalogue 36" x 19" x 19" P ROVENA NC E The Redfern Gallery, Laguna Beach, California; Private Collection, Los Angeles, California (acquired directly from the above, August 17, 2001) LITERATURE Mark Rossi: Recent Sculpture. The Redfern Gallery exh. cat. 1994. N.pag. for another example illustrated.

$4,000–6,000

292 MARK ROSSI River Toad 2003 Bronze #3 of 15 Together with copy of invoice from The Redfern Gallery dated June 28, 2003 12" x 22" x 25" P ROVENA NC E The Redfern Gallery, Laguna Beach, California; Private Collection, Los Angeles, California (acquired directly from the above, June 28, 2003)

$4,000–6,000


293 EMILIO PUCCI Dish set (92)

Rosenthal, designed c. 1965 Each with stamped manufacturer’s mark Various dimensions

$1,000–1,500

PARTIAL ILLUSTRATION

195

294 SAUL STEINBERG

The Braque Postcard and Music in China (from Six Drawing Tables Portfolio) (2) 1970 Color lithograph and collage on Arches paper Each: #6 of 12 artist’s proofs aside from the edition of 100 Published by Abrams Original Editions, New York Each signed and dated to lower edge; each with publisher’s blind stamp lower left sheet Sheets each: 22.25" x 30" Frames each: 23" x 30.625" P ROV E NANC E Franklin D. Murphy, Beverly Hills, California; Thence by descent

$1,500–2,000


295 BUZZ SPECTOR Old Rose

1989 Cibachrome print Retains Roy Boyd Gallery label verso

296 FORREST MOSES Untitled

1985 Monotype on paper Signed lower right

Image/sheet (vis.): 38" x 60" Frame: 49" x 71"

Sheet (vis.): 23" x 46.25" Frame: 30.875" x 53.375"

$2,500–3,500

$800–1,200


197

297 DONALD BAECHLER Five Flowers (5)

2007 The complete set of five etchings on Aquari paper Each: #1 of 2 trial proofs aside from the edition of 35 Published by Polígrafa Obra Gràfica, Barcelona Each sheet signed and dated in graphite lower right sheet; edition lower left Together with certificate of authenticity from Polígrafa Obra Gràfica Images each: 13.75" x 10.75" Sheets each: 25.5" x 20"

$2,500–3,500


298 KARL SPRINGER Desk

Karl Springer, Ltd., designed c. 1975 Retains manufacturer’s label 30" x 71.5" x 36" P ROVENA NC E Johnny Carson, Malibu, California; Private Collection, Rolling Hills Estates, California

$3,000–5,000

299 VLADIMIR KAGAN

Corkscrew lounge chairs and ottoman (3) Directional, designed 1992 Ottoman and one chair retain manufacturer’s label Comprised of two chairs and an ottoman Chairs each: 29.25" x 36" x 33" Ottoman: 16.25" x 27" x 17" LITERATURE The Complete Kagan. V. Kagan. 2004. 198-199.

$2,000–3,000


300 AMERICAN MODERN Table lamps (2)

Nessen Lamps, Inc., designed c. 1981 Model no. NT1060 One retains manufacturer’s label Each: 34.5" x 16.25" diameter (including shade) LIT E RAT URE Nessen Lamps Catalog 13. Manufacturer cat. 1981. 29.

$800–1,200

301 AMERICAN MODERN Lounge chair

Manufacturer unknown, designed c. 1970 25.5" x 37" x 30.5"

$2,000–3,000

199


302 T.H. ROBSJOHN-GIBBINGS Dresser

Widdicomb, designed c. 1950 Retains manufacturer’s label 31" x 67.5" x 21"

$2,000–3,000

303 ATTRIBUTED TO T.H. ROBSJOHN-GIBBINGS Sofa

Possibly Widdicomb, designed c. 1950 29.25" x 75" x 32"

$4,000–6,000


304 JAMES MONT Cabinet

James Mont, designed c. 1955 Stamped “James Mont Design” twice 78.75" x 79.75" x 19.75"

$4,000–6,000

201


305 DENNIS LEON

Underlay #1, #5, and #7 (3) 1982-1983 Pastel on paper Sheets (vis.) each: 29.25" x 43.5" Frames each: 36" x 50.25"

$2,000–3,000


306 IN THE STYLE OF FRANÇOIS-XAVIER LALANNE Sheep (2)

c. 1975 Gilt bronze and wool 27" x 41" x 20" 25" x 41" x 20"

$3,000–5,000


307 ED BENAVENTE

Walking Man on Time 1994 Steel and stainless steel Signed and dated on base Together with copy of invoice from the artist dated April 26, 1994 50" x 30" x 8" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, April 26, 1994)

$3,000–5,000

308 ED BENAVENTE Stopping Point 2001 Stainless steel Signed and dated verso 60" x 36" x 16" (including base) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 2001)

$2,500–3,500


309 ED BENAVENTE

Rules of Acquisition: Risk II 2002 Enameled steel Signed and dated verso Together with copy of invoice from Imago Galleries dated June 4, 2002 62" x 28" x 24" P ROV E NANC E Imago Galleries, Palm Desert, California; Private Collection, Los Angeles, California (acquired directly from the above, June 4, 2002)

$3,000–5,000

205

310 ED BENAVENTE

Three Squares Yellow Var. II (Ascending Left) 1998 Steel, wood panel, and enamel paint Signed, titled, and dated in black felt-tip marker verso Together with copy of purchase statement from Carl Schlosberg Fine Arts dated June 15, 1998 28" x 25" x 2" P ROV E NANC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, June 15, 1998)

$2,000–3,000


311 RODNEY ALAN GREENBLAT House by Memory Boulevard 1988 Acrylic on wood Retains Gracie Mansion Gallery label and Contemporary Arts Museum, Houston exhibition label verso

312

54" x 66" x 6"

The Embrace

EXHIBITE D “Rodney Alan Greenblat:

1965 Patinated bronze

Reality & Imagination: Two Taste Treats In One!” Contemporary Arts Museum, Houston, July 23-September 4, 1988

$5,000–10,000

CAROL Z. MILLER

Signed and dated 14" x 7" x 10"

$2,000–3,000


313 JOE FAY

Morning Coyote 1987 Pastel, oilstick, and airbrush on paper Signed and dated lower right sheet; titled lower left sheet Sheet: 47" x 67" Frame: 51" x 71.125"

$2,000–3,000

207

314 RED GROOMS Dali Salad II

Signed and dated upper right sheet in graphite; retains metal plaque verso with printed title, date, publication and fabrication information, and etched edition

1980 Three-dimensional color lithograph and screenprint on Arches Cover paper, Rives BFK Journal paper, Japanese paper, and vinyl cut-out, glued and mounted on white painted backing board, framed and covered with Plexiglas dome

Together with book, signed and dedicated by the artist, and copy of invoice from Marlborough Gallery dated March 12, 1986

#36 of 55

York, New York; Private Collection, Los

Published by Brooke Alexander and Marlborough Graphics, New York; fabricated by Vermillion Editions Limited, Minneapolis

the above, March 12, 1986)

26.125" x 27.25" x 12" P ROV E NANC E Marlborough Gallery, New Angeles, California (acquired directly from

LIT E RAT URE Red Grooms. C. Ratcliff. 1984. #245 for another example illustrated.

$3,000–5,000


315 LISA RUYTER Rear Window

1997 Acrylic on canvas Signed, titled, and dated in black felt-tip marker upper canvas overlap verso Together with copy of invoice from Ace Contemporary Exhibitions dated January 2, 1999 Canvas: 40" x 60" P ROVENA NC E Ace Contemporary Exhibitions, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, January 2, 1999)

$3,000–5,000

316 DENNIS PEARSON

Red Seated Beastie 1988 Two-part fiberglass sculpture Signed, dated, and inscribed “1988 ©/Dennis Pearson Beastie ™” Together with copy of invoice from Posner Gallery dated December 20, 1988 52" x 30" x 26" P ROVENA NC E Posner Gallery, Milwaukee, Wisconsin; Private Collection, Los Angeles, California (acquired directly from the above, December 20, 1988)

$3,000–5,000


317 KEVIN PETTELLE Crouching Man

1996 Patinated bronze and steel #1 of 50 NW Artworks Bronze Casting Foundry, Sultan Signed twice with artist’s monogram and date to base; edition and foundry mark to base Together with copy of invoice from Lois Neiter Fine Arts dated October 7, 1996 5.625" x 3" x 4.75" (61" x 10" x 10" including pedestal) P ROV E NANC E Lois Neiter Fine Arts, DETAIL FOR LOT 317

Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, October 7, 1996)

$2,500–3,500

318 KEVIN PETTELLE Handstand II

1995 Patinated bronze and steel #30 of 50 NW Artworks Bronze Casting Foundry, Sultan Signed “Pettelle” on base; artist’s monogram, date, and edition incised on base Together with copy of invoice from Lois Neiter Fine Arts dated November 5, 1995 13" x 2" x 2" (68" x 10" x 10" including pedestal) P ROV E NANC E Lois Neiter Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, November 5, 1995) DETAIL FOR LOT 318

$2,500–3,500

209


VERSO DETAIL

319 TONY SCHERMAN Marat Grand-Mère 1997-1998 Encaustic on canvas Signed, titled, dated, and inscribed in black felt-tip marker verso “About 1789/Marat/Grand-Mère” Together with book, signed and dedicated by the artist, copy of purchase statement, and documentation from Carl Schlosberg Fine Arts, each dated January 1, 1999 Canvas: 40" x 40" P ROVENA NC E Carl Schlosberg Fine Arts, Sherman Oaks, California; Private Collection, Los Angeles, California (acquired directly from the above, January 1, 1999)

$2,000–3,000


320 HARRY STERNBERG Untitled

c. 1999 Acrylic on Masonite Signed lower center Together with catalogue signed and dedicated by the artist Masonite: 16" x 20" Frame: 21" x 25.5"

$3,000–5,000

321 HARRY STERNBERG Longshoremen

c. 1928 Etching on paper From the edition of 30 Title lower left margin in graphite; edition lower center; signed lower right Together with catalogue Image: 5" x 14.75" Sheet (vis.): 5.75" x 15.25" Frame: 13.75" x 22.25"

$800–1,200

211


Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed

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

price. This is strictly enforced. We reserve the right to assess

in this catalogue to be sold by Modern Auctions, Inc. (“MAI,”

for decorative value only and should be assumed not to be

a late charge of 1.5% of the total purchase price per month if

“L.A. Modern Auctions,” or “LAMA”) on May 21, 2017. We are

working. All measurements are approximate. Photographs of

payment is not made in accordance with any of these Conditions

acting as an agent on behalf of our consignors.

any lots not illustrated can be found on our website, lamodern.

of Sale.

com.

PAYM E NT All sales are final. All sold lots are to be paid for

LEGA L F EES & V EN UE If a suit, action, arbitration

on the day of the sale. We accept cash, bank wire transfers,

CO L L ECT I O N & STO RAGE All lots must be removed

or other proceeding of any nature whatsoever is instituted

checks, and credit cards. Please note: Credit Card payments

from the auction showroom by 12:00pm (PT) on June 20,

in connection with any controversy arising out of these

carry a 3% processing fee on the total invoice amount.

2017. Purchases not removed by June 20, 2017 will be

Conditions of Sale, the sale of items, the auction or any

All payments made by personal checks will be subject to

assessed daily storage fees of $15 per day per lot. Items in

breach thereof between the bidder or buyer and Modern

clearance before purchases can be collected. Buyers who

storage are not insured by MAI. Unless other arrangements

Auctions, Inc., the prevailing party shall be entitled to recover

have not purchased from Modern Auctions, Inc. (Los Angeles

are made and confirmed in writing, the buyer assumes sole

its attorney's fees and costs incurred in connection with

Modern Auctions) previously are asked to provide a method

responsibility for shipping, packing, insurance, and storage

such proceeding. This Agreement shall be governed by and

of payment and/or letter of reference from a bank or creditor

concerns. A list of shippers can be provided upon request. If a

construed in accordance with California law, without reference

prior to the auction. Bank wire information is available upon

purchased lot is paid for but not collected within six months

to the conflicts of law rules and principles of such State.

request. If payment is not received in full by May 31, 2017,

of the auction, the buyer authorizes MAI, upon notice, to

The parties agree that all actions or proceedings arising in

collection and storage fees will begin occurring immediately.

arrange a resale of the item by auction or private sale, with

connection with this Agreement shall be litigated exclusively

All lots are subject to a Buyer's Premium, this amount is

estimates and a reserve set at MAI's reasonable discretion.

in the Los Angeles Superior Court. This choice of venue is

added to the hammer price and is calcuated upon when

The proceeds of such sale will be applied to pay for storage

intended by the parties to be mandatory, thereby precluding

payment is received by MAI. Please see schedule below:

charges and any other outstanding costs and expenses owed

the possibility of litigation bewteen the parties with respect to

by the buyer to MAI and the remainder will be forfeited unless

or arising out of this Agreement in any other jurisdiction.

BUYER’S PREMIUM**:

collected by the buyer within two years of the original auction.

PAYMENT RECEIVED BY MAY 31, 2017

GUA RA N TEE The authenticity of every item offered

• 22.5% on the hammer price up to and including

BI DDI N G We encourage you to attend the sale in person.

for sale is guaranteed. MAI warrants only the authorship of

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

However, if you are unable to attend in person we offer an

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

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

Absentee and Phone Bidding service. For this service fill

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

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

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

condition, age, or any identifying characteristic used by MAI

directly with LAMA;

323.904.1950 or go to our website. We will not execute

in any descriptions such as color, method of construction,

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

Absentee or Phone bid orders unless a signed and completed

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

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

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

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

by Saturday, May 20, 2017 by 5:00pm (PT) via fax to

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

BUYER’S PREMIUM**:

323.904.1954 or scanned and sent via email to shannon@

assumes responsibility for reading all addendums and posted

PAYMENT RECEIVED AFTER MAY 31, 2017

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

corrections to the catalogue prior to bidding.

• 25% on the hammer price up to and including

confirm we have received your bid. We kindly ask that you do

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

not call on the day of the sale to submit bids or to check if

RESCI SSI O N Should the authenticity of an item be

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

your bids were successful.

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

All successful Absentee and Phone bidders will be notified

the auction to provide written documentation or conclusive

directly with LAMA;

by phone or email by May 23, 2017. In addition, the auction

opinion of a mutually agreed upon independent expert,

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

Prices Realized will be posted the day after the sale on our

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

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

website. Do not rely on any auction results (Prices Realized)

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

unless published on www.lamodern.com or as provided

will rescind the purchase contract. MAI will reimburse the

directly by MAI.

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

BUYER’S PREMIUM**: LIVEAUCTIONEERS BIDDERS

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

premium and only after the item is returned to the original

• The buyer's premium for bidding via

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

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

LiveAuctioneers is 28% on the hammer price.

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

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

earliest received will take precedence. The number of phone

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

**Payment by Credit Card carries a 3% processing fee

lines available are limited so please submit your phone requests

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

on the total invoice amount and requires a completion of

early. By registering for the Phone Bidding service you

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

LAMA's “Credit Card Authorization” form.

acknowledge and consent to allow MAI to record telephone

incurred in defense of the allegation, such as attorney’s fees

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

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

CA LI FORN IA SALES TAX Sales tax of 8.75% will

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

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

be collected on all purchases removed from our premises or

required for all absentee and phone bids. The party responsible

then all rights and liabilities of MAI regarding authenticity

delivered within the state of California. Those holding a valid

for submitting the Bid Form is solely responsible for the payment

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

California State Resale License must register before each sale

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

for any reason is the limited right of rescission described in

and present their valid resale number. No purchases will be

invoice.

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

released until all sales tax requirements are satisfied.

Should a dispute arise after the sale, our sale records are

compensatory, incidental, consequential, nominal or punitive,

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

nor any expenses incurred during the proceedings, such as

ESTIMATES & R ESE RVES The estimates printed

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

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

after each lot should be used as a guide only and should not

withdraw any property before the sale and shall have no liability

be relied upon as a prediction of final selling prices. Many of

whatsoever for such withdrawal. Should an item be withdrawn,

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

the lots offered for sale carry a reserve and are confidential.

the auctioneer will make an announcement at the time the lot

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

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

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

may not be used or reproduced in any medium without the

to let the auctioneer sell the property.

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

expressed written permission of MAI.

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

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

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

Modern Auctions, Inc. | Bond # 7900405194

statement regarding condition of any item, whether it is made

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

Peter Loughrey, Principal Auctioneer

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

or process any deposit, and resell the property privately or

Los Angeles Modern Auctions (LAMA)

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

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

16145 Hart Street, Van Nuys, CA 91406

representation, or assumption of liability. It is the sole

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

responsibility of the buyer to inspect all goods prior to the

warehouse and transportation costs, commissions, incidentals,

sale. We strongly encourage all bidders to request a condition

and shall be liable for payment of any deficiency in the purchase


Index A

H

P

Albers, Josef . . . . . . . . . . . . . . . . . 109-110 Andreson, Laura . . . . . . . . . . . . . . . . . 251 Arp, Jean (Hans) . . . . . . . . . . . . . . . . . 217 Asti, Sergio . . . . . . . . . . . . . . . . . . . . .282

Haines, William “Billy” . . . . . . . . .122-126 Hamilton, Ann . . . . . . . . . . . . . . . . . 73-74 Hammersley, Frederick . . . . . . . . . . .205 Hartley, Alex . . . . . . . . . . . . . . . . . . . . . 67 Henning, Anton . . . . . . . . . . . . . . . . . . 175 Hirst, Damien. . . . . . . . . . . . . . . . . . . . . 30 Hockney, David . . . . . . . . . . . . . . . . . . . 45 Holzer, Jenny. . . . . . . . . . . . . . . . . . . . . 19 Hvidt, Peter . . . . . . . . . . . . . . . . . . . . . 275

Passfeld, Thorsten . . . . . . . . . . . . . . . . 20 Pearson, Dennis . . . . . . . . . . . . . . . . . 316 Petitt, Don . . . . . . . . . . . . . . . . . . . . . .200 Pettelle, Kevin . . . . . . . . . . . . . . . . 317-318 Pettibon, Raymond . . . . . . . . . . . . . 54-55 Picasso, Pablo . . . . . . . . . . . . . . . .129-145 Platner, Warren . . . . . . . . . . . . . . 198-199 Ponti, Gio . . . . . . . . . . . . . . . . . . 278, 280 Price, Ken . . . . . . . . . . . . . . . . . . .243-244 Pucci, Emilio . . . . . . . . . . . . . . . . . . . . 293 Pullen, Melanie . . . . . . . . . . . . . . . . . . . 72

B Baechler, Donald . . . . . . . . . . . . . . . . . 297 Baron, Hannelore . . . . . . . . . . . . . . . . . . 8 Bell, Larry . . . . . . . . . . . . . . . . . . . . . 12-13 Ben Tré, Howard . . . . . . . . . . . . . . . . . . 60 Benavente, Ed . . . . . . . . . . . . . . . 307-310 Berlant, Tony . . . . . . . . . . . . . . . . . . . . . 14 Berrocal, Miguel . . . . . . . . . . . . 264-268 Bertoia, Harry . . . . . . . . . . . . . . .201, 203 Bidlo, Mike . . . . . . . . . . . . . . . . . . . . . . . 59 Bitters, Stan . . . . . . . . . . . . . . . .245-247 Blackmon, Julie. . . . . . . . . . . . . . . . .69-71 Blanchard, Porter . . . . . . . . . . . . . . . . 155 Borofsky, Jonathan. . . . . . . . . . . . .39-40 Bortolazzo, Ken . . . . . . . . . . . . . . . . . . 173 Brauner, Victor . . . . . . . . . . . . . . . . . . 218

C Calder, Alexander . . . . . . . . . . . . . . . . 219 Celaya, Enrique Martínez. . . . . . . . 62-63 Celmins, Vija . . . . . . . . . . . . . . . . . . . . . 61 Chihuly, Dale . . . . . . . . . . . . . . . . . . . . 249 Conover, Claude . . . . . . . . . . . . . . . . .250 Consuegra, Eduardo . . . . . . . . . . . . . . . 68 Corse, Mary . . . . . . . . . . . . . . . . . . . . . . 18 Crash . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

D Dahlberg, Wess . . . . . . . . . . . . . . . . . . 180 Davis, Ronald . . . . . . . . . . . . . . . . . . . 10-11 Davy, Woods . . . . . . . . . . . . . . . . . . . .248 DeLap, Tony . . . . . . . . . . . . . . . . . . . . . .114 Devrim, Nejad Melih . . . . . . . . . . . . . . 158 Diebenkorn, Richard . . . . . . . . . . . . . .285 Dike, Phil . . . . . . . . . . . . . . . . . . . . . . . 149 Dill, Guy . . . . . . . . . . . . . . . . . . . . . . . 15-16 Dill, Laddie John . . . . . . . . . . . . . . . . . . 17 Dine, Jim . . . . . . . . . . . . . . . . . . . . .98-99 Dugmore, Edward . . . . . . . . . . . . . . . . 187

E Eames, Charles & Ray . . . . . . . . . .48-49 Edmondson, Leonard . . . . . . . . . . . . . 147 Elise . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Ellwood, Craig . . . . . . . . . . . . . . . . . . . . 116

F Falkenstein, Claire. . . . . . . . . . . .224-226 Fay, Joe . . . . . . . . . . . . . . . . . . . . . . . . 313 Fischinger, Oskar . . . . . . . . . . . . 159-160 Forbes, Robert. . . . . . . . . . . . . . . . . . . . 57 Förg, Günther . . . . . . . . . . . . . . . . . . . . 26 Francis, Sam . . . . . . . . . . . . . . . . . 161-172 Frankenthaler, Helen. . . . . . . . . . 185-186

G Gambone, Guido . . . . . . . . . . . . . . . . . 279 Garduño, Flor . . . . . . . . . . . . . . . . . . . . . 75 Gehry, Frank. . . . . . . . . . . . . . . . . . . . . 242 Giacometti, Alberto . . . . . . . . . . . . . . 127 Gill, James . . . . . . . . . . . . . . . . . .286-287 Gillespie, Dorothy . . . . . . . . . . . . . . . . 176 Gilliam, Sam . . . . . . . . . . . . . . . . . . . . . 183 Goode, Joe . . . . . . . . . . . . . . . . . . . . . . . . 9 Graham, Robert. . . . . . . . . . . . . . . . . . . 41 Greenblat, Rodney Alan . . . . . . . . . . . . 311 Grooms, Red . . . . . . . . . . . . . . . . . . . . 314 Grossman, Greta . . . . . . . . . . . . .262-263

J Jeanneret, Pierre . . . . . . . . . . . . . . . . 128 Jenkins, Paul . . . . . . . . . . . . . . . . . . . . 184 Johns, Jasper . . . . . . . . . . . . . . . . . 96-97

K Kagan, Vladimir . . . . . . . . . . . . . . . . . .299 Kasper, Paul . . . . . . . . . . . . . . . . . . . 111-112 Katz, Alex. . . . . . . . . . . . . . . . . . . . . . . 100 KAWS . . . . . . . . . . . . . . . . . . . . . . . . 35-38 Kelley, Mike . . . . . . . . . . . . . . . . . . . . . . 64 Kelly, Ellsworth . . . . . . . . . . . . . . 103-104 Kirk, Jerome . . . . . . . . . . . . . . . .220-223 Kjærholm, Poul . . . . . . . . . . . . . . . . . . 274 Knoll, Florence . . . . . . . . . . . . . . .190-197 Koch, Gerd . . . . . . . . . . . . . . . . . . . . . . 189 Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . . 31

L Lamb, Walter . . . . . . . . . . . . . . . . . . . . . 151 Leon, Dennis . . . . . . . . . . . . . . . . . . . .305 Levee, John . . . . . . . . . . . . . . . . . . . . .208 LeWitt, Sol . . . . . . . . . . . . . . . . . . . . . . 108 Lichtenstein, Roy . . . . . . . . . . 93-95, 107 Longo, Robert . . . . . . . . . . . . . . . . . . . . 58 Lundeberg, Helen . . . . . . . . . . . . . . . .206 Lustig, Alvin. . . . . . . . . . . . . . . . . . . . . 261

M Mangiarotti, Angelo . . . . . . . . . . . . . . 281 Mason, John . . . . . . . . . . . . . . . . . . . . 235 McArthur, Warren . . . . . . . . . . . . .152-153 Melgaard, Bjarne . . . . . . . . . . . . . . . . . . 29 Miller, Carol Z. . . . . . . . . . . . . . . . . . . . 312 Mitchell, Joan . . . . . . . . . . . . . . . . . . . 188 Mølgaard-Nielsen, Orla . . . . . . . . . . . 275 Mont, James . . . . . . . . . . . . . . . . . . . .304 Moroles, Jesús Bautista . . . . . . . . . . . 113 Morris, George L.K. . . . . . . . . . . . . . . . 146 Morris, Richard Allen . . . . . . . . . . . . . 182 Moses, Ed . . . . . . . . . . . . . . . . . . . . . . . 6-7 Moses, Forrest . . . . . . . . . . . . . . . . . . .296

N Nakashima, George. . . . . . . . . . . . . . . 231 Natkin, Robert . . . . . . . . . . . . . . . . . . . 174 Natzler, Gertrud & Otto . . . . . . .252-256 Nelson, George . . . . . . . . . . . . . . . . 50-53 Nevelson, Louise . . . . . . . . . . . . . . . . .204 Newson, Marc . . . . . . . . . . . . . . . . . . . . 28 Noguchi, Isamu . . . . . . . . . . . . . . . . . .202 Norell, Arne . . . . . . . . . . . . . . . . . . . . . 273

O Oldenburg, Claes . . . . . . . . . . . . . . . 91-92 Onslow Ford, Gordon . . . . . . . . . 227-230 Opie, Catherine . . . . . . . . . . . . . . . . 79-81 Ossorio, Alfonso . . . . . . . . . . . . . . . . . 269 Otterness, Tom . . . . . . . . . . . . . . . . . . . 33 Oursler, Tony . . . . . . . . . . . . . . . . . . . . . 24

R Rauschenberg, Robert . . . . . . . . . . 83-87 Remy, Tejo . . . . . . . . . . . . . . . . . . . . . . . 27 Rickey, George . . . . . . . . . . . . . . . 101-102 Ritts, Herb . . . . . . . . . . . . . . . . . . . . . . . 76 Robsjohn-Gibbings, T.H. . . . . . . .302-303 Rossi, Mark . . . . . . . . . . . . . . . . . 291-292 Rothman, Jerry . . . . . . . . . . . . . . . . . . 237 Ruscha, Ed . . . . . . . . . . . . . . . . . . . .42-44 Ruyter, Lisa . . . . . . . . . . . . . . . . . . . . . 315

S Sarfatti, Gino . . . . . . . . . . . . . . . . . . . . 277 Scanga, Italo . . . . . . . . . . . . . . . . . . 46-47 Schaad, Bentley . . . . . . . . . . . . . . . . . 148 Scherman, Tony. . . . . . . . . . . . . . . . . . 319 Serra, Richard . . . . . . . . . . . . . . . . . . . . 82 Shapiro, Joel . . . . . . . . . . . . . . . . . . . . 177 Smith, David . . . . . . . . . . . . . . . . . . . . 207 Smith, Vic. . . . . . . . . . . . . . . . . . . . . . . 241 Soldner, Paul . . . . . . . . . . . . . . . . . . . . 236 Sosnowy, Sara . . . . . . . . . . . . . . . . . . . .181 Spector, Buzz . . . . . . . . . . . . . . . . . . .295 Springer, Karl. . . . . . . . . . . . . . . . . . . .298 Steinberg, Saul . . . . . . . . . . . . . . . . . .294 Stella, Frank . . . . . . . . . . . . . . . . . 105-106 Sternberg, Harry . . . . . . . . . . . . . 320-321 Stuck, Jack . . . . . . . . . . . . . . . . 238-240 Sultan, Donald . . . . . . . . . . . . . . . . . 22-23

T Takemoto, Henry . . . . . . . . . . . . .232-234 Tamayo, Rufino . . . . . . . . . . . . . . 270-272 Teraoka, Masami . . . . . . . . . . . . 288-290 Therrien, Robert . . . . . . . . . . . . . . . . . . 25 Thiebaud, Wayne . . . . . . . . . . . . 283-284

V Vaadia, Boaz . . . . . . . . . . . . . . . . . . . . . 32 Van Keppel, Hendrik . . . . . . . . . 258-260 Van Koert, John . . . . . . . . . . . . . . . . . . 121 Vasa . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-5 Vasarely, Victor . . . . . . . . . . . . . . . . . . . 115 Venet, Bernar . . . . . . . . . . . . . . . . . . . 179

W Walker, Kara . . . . . . . . . . . . . . . . . . . . . . 34 Warhol, Andy . . . . . . . . . . . . . . . . . .88-90 Weber, KEM . . . . . . . . . . . . . . . . . . . . . 156 Welling, James . . . . . . . . . . . . . . . . 65-66 Weston, Brett. . . . . . . . . . . . . . . . . . 77-78 Woelffer, Emerson . . . . . . . . . . . . 210-216 Wood, Beatrice . . . . . . . . . . . . . . . . . . 257 Wool, Christopher . . . . . . . . . . . . . . . . . 21 Wormley, Edward. . . . . . . . . . . . . . 117-120 Wright, Frank Lloyd. . . . . . . . . . . .150-153 Wright, Russel . . . . . . . . . . . . . . . . . . . 154

Y Youngerman, Jack . . . . . . . . . . . . . . .209


FALL 2017

Now Accepting Consignments th for our 25 Anniversary Auction

GIO PONTI / CUSTOM FURNISHED WALL FROM VILLA GOLDSCHMIDT, BUENOS AIRES / ESTIMATE: $25,000-$35,000

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


INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, May 21, 2017

From Hollywood

Director,

12pm (PT)

• Make your way to the 101 Freeway

Modern Art & Design

Proceed North on the 101 Preview

• Merge onto the 405 Freeway,

Shannon Loughrey

LAMA

north

Managing Director

16145 Hart Street, Van Nuys, CA

• Take the 4th exit onto “Sherman

May 8 – 20, 2017

Way, west”

Zoe Weinberg

10am–6pm (PT)

• Proceed west on Sherman Way

Fine Art Specialist

• Turn left at the 3rd light onto Address

“Woodley”

Clo Pazera

16145 Hart Street

• Take the first right onto “Hart”

Design Specialist

Van Nuys, CA 91406

street, which is a side street Carolina Ivey

Telephone

From the Westside

323.904.1950

• Take the 405 Freeway, north

Client Services Manager

• Continue past the Getty and

Pejman Shojaei

Website

the 101 Interchange

Consignor Services

LAMODERN.com

• Exit onto “Sherman Way, west”

Camilla Johnston

(this is 4 exits North of the 101)

Marketing Department

• Proceed west on Sherman Way

Joe Alascano

• Turn left at the 3rd light

Shipping Department

onto “Woodley” • Take the first right onto

Ciara Moloney

“Hart” street, which is a side

Writer

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 CENTER

Los Angeles Modern Auctions (LAMA) May 21, 2017 Modern Art & Design Auction  

20th Century Modern Art & Design Auction catalogue.

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