May 19, 2019 Modern Art & Design Auction

LAMA 16145 Hart Street Van Nuys, CA 91406 Preview: May 6 - 18, 2019 10am–6pm (PT) Auction: Sunday, May 19, 2019 12pm (PT)

Seen and Unseen Once again, LAMA is excited to present many works that

From LACMA, a dining set designed by Hendrik Van

haven’t been available on the market for a generation or

Keppel and used in his own house leads the highlights

more.

that will help raise funds for future acquisitions in the Decorative Arts department. Two exceptional examples

It’s our passion to present items that have been well

of Sam Maloof’s work will also be for auction; a rare

cared for and, equally, we are especially proud to find

large chest of 20 drawers and an equally scarce two-sid-

new collections that will be ideal stewards of the works

ed coffee table with drawers. Each shows off the wood-

we sell. In this auction, we have many works of art and

worker’s anachronistic “rounded off” style and virtuosic

design that come from estates and private collections,

joinery.

such as Keith Haring Untitled (1984) and De Wain Valentine Untitled (Ring) (c. 1972). But, we are especially

Four works from Emerson Woelffer will be offered to

excited and honored to present works from three of our

benefit Otis College of Art and Design. Included are

favorite institutions: UCLA, LACMA, and Otis. Your pur-

seminal examples that illustrate his important transition

chase or participation in bidding on any of these works

from figural to non-representational style that started in

will directly help these vital establishments continue

Chicago in the late 1940s and culminated in Los Ange-

their mission.

les a decade later. Each work comes directly from the artist’s own collection, which was left specifically for

A rare group of works by Joe Goode will be sold to

raising funds for scholarships at Otis.

benefit UCLA Health. Goode’s Untitled (1978) and Forest Fire (c. 1982) are some of the very best examples of the

Even if you are not bidding or buying, we hope to see you

artist’s inclination to depict ephemeral moments that

at this exceptional preview and auction, because once

have an intriguing quality of translucency. In addition,

sold, many of these works will again be out of sight for a

a massive installation by Ed Moses, a rare folio by Ken

generation or more.

Price, two sculptures by Charles Arnoldi, and a painting

by Klaus Rinke will all be sold to benefit the institution’s acquisition budget.

Peter Loughrey, Director

1 ANDY WARHOL

Pine Barrens Tree Frog (from Endangered Species Portfolio) 1983 Screenprint on Lenox Museum Board #112 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower left edge of sheet; retains printer’s blind stamp lower right edge of sheet F/S #II.294 Together with copy of invoice from Silver Echo Gallery dated March 13, 2009 Image/sheet: 38" x 38" Frame: 49.75" x 49.875" (Image/sheet: 97 x 97 cm) P ROVENA NC E Silver Echo Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2009) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.294.

$40,000–60,000

2 ANDY WARHOL

Giant Panda (from Endangered Species Portfolio) 1983 Screenprint on Lenox Museum Board #112 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower left edge of sheet; retains printer’s blind stamp lower left edge of sheet F/S #II.295 Together with copy of invoice from Silver Echo Gallery dated March 13, 2009 Image/sheet: 38" x 38" Frame: 50.25" x 50.25" (Image/sheet: 97 x 97 cm) P ROV E NANC E Silver Echo Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2009) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.295.

$40,000–60,000

5

3 ANDY WARHOL

Grevy’s Zebra (from Endangered Species Portfolio) 1983 Screenprint on Lenox Museum Board #100 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower center edge of sheet; retains printer’s blind stamp lower right edge of sheet F/S #II.300 Image/sheet: 38" x 38" Frame: 50.75" x 50.75" (Image/sheet: 97 x 97 cm) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.300.

$30,000–50,000

4 ANDY WARHOL

Orangutan (from Endangered Species Portfolio) 1983 Screenprint on Lenox Museum Board #3 of 3 H.C. aside from the edition of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower right edge of sheet; retains printer’s blind stamp lower left edge of sheet F/S #II.299 Together with copy of invoice from Silver Echo Gallery dated March 13, 2009 Image/sheet: 38" x 38" Frame: 46.5" x 46.5" (Image/sheet: 97 x 97 cm) P ROV E NANC E Silver Echo Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2009) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.299.

$30,000–50,000

7

5 ANDY WARHOL

Black Rhinoceros (from Endangered Species Portfolio) 1983 Screenprint on Lenox Museum Board #112 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower left edge of sheet; retains printer’s blind stamp lower right edge of sheet F/S #II.301 Together with copy of invoice from Silver Echo Gallery dated March 13, 2009 Image/sheet: 38" x 38" Frame: 46.5" x 46.5" (Image/sheet: 97 x 97 cm) P ROVENA NC E Silver Echo Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2009) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.301.

$25,000–35,000

6 ANDY WARHOL

Northwest Coast Mask (from Cowboys and Indians) 1986 Color screenprint on Lenox Museum Board #236 of 250 Published by Gaultney, Klineman Art, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower right edge of sheet; retains printer’s blind stamp lower left edge of sheet F/S #II.380 Sheet (vis.): 35.625" x 35.625" Frame: 37" x 37" (Sheet: 90 x 90 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.380

$12,000–18,000

9

7 ANDY WARHOL

Marilyn Monroe (Marilyn) 1967 Screenprint on paper #81 of 250 Published by Factory Additions, New York; printed by Aetna Silkscreen Products, Inc., New York Signed in graphite with stamped edition verso F/S #II.29 Together with copy of invoice from Hamilton-Selway Fine Art dated July 20, 2006 Image/sheet: 36" x 36" Frame: 53.5" x 53.5" (Image/sheet: 91 x 91 cm) P ROVENA NC E Hamilton-Selway Fine Art, West Hollywood, California; Private Collection, Los Angeles, California (acquired directly from the above, 2006) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.29.

$50,000–70,000

8 ANDY WARHOL

Marilyn (Castelli Graphics Invitation) 1981 Offset color lithograph on wove paper Published by Castelli Graphics, New York; printed by Colour Editions, Inc., New York Signed in felt-tip marker along left edge of sheet Not in F/S Sheet (vis.): 6.875" x 6.875" Frame: 12.375" x 12.375" (Sheet: 17 x 17 cm) This is an announcement for the exhibition “Andy Warhol: A Print Retrospective 1963-1981,” held at Leo Castelli Gallery, New York.

$6,000–8,000

9 ANDY WARHOL

Merce Cunningham I 1974 Screenprint on Japanese gift wrapping paper #51 of 100 Published by Castelli Graphics and Multiples, Inc., New York; printed

by Alexander Heinrici, New York Signed with edition in graphite sheet verso F/S #II.124 Image/sheet: 30" x 20" Frame: 38.5" x 28.75" (Image/sheet: 76 x 51 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.124.

$5,000–7,000

11

10 ANDY WARHOL

Vegetarian Vegetable (from Campbell’s Soup II) 1969 Color screenprint on paper #88 of 250 Published by Factory Additions, New York; printed by Salvatore Silkscreen Co., Inc., New York Signed in ink with stamped edition verso; retains Martin Lawrence Galleries label frame verso F/S #II.56 Together with certificate of authenticity from Martin Lawrence Limited Editions Sheet: 35" x 23" Frame: 35.625" x 23.75" (Sheet: 89 x 58 cm) P ROVENA NC E Martin Lawrence Galleries, Santa Ana, California; Private Collection, Oakland, California (acquired directly from the above, 1988) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.56.

$20,000–25,000

11 ANDY WARHOL

Campbell’s Soup Can (Tomato) 1966 Screenprint on shopping bag From an unknown edition size Published by Institute of Contemporary Art, Boston F/S #II.4A Bag: 19.25" x 16.875" Frame: 31.75" x 24.25" (Bag: 49 x 43 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.4A.

$1,000–1,500

13

12 ANDY WARHOL

Untitled (Campbell’s Soup Can) 1976 Marker on The Philosophy of Andy Warhol title page Signed, dated, and inscribed “To Richard/Andy Warhol/Birmingham 76” Composition/sheet (vis.): 7.875" x 5" Frame: 13.625" x 11.5" (Composition/sheet: 20 x 13 cm) P ROV E NANC E Private Collection; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, October 11, 2015, lot 303)

$3,000–5,000

13 ANDY WARHOL After the Party

1979 Screenprint on Arches 88 paper #715 of 1,000

14

Published by Grosset and Dunlap, Inc., New York; printed by Rupert Jasen Smith, New York

ANDY WARHOL

Signed with edition in graphite lower right edge of sheet F/S #II.183 Together with copy of invoice from Crown Art Gallery dated April 20, 2005 Sheet: 21.5" x 30.5" Frame: 35.5" x 44.25" (Sheet: 55 x 77 cm) P ROVENA NC E Crown Art Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 2005)

Committee 2000 1982 Screenprint on Lenox Museum Board #38 of 200 artist’s proofs aside from the edition of 2,000 Published by Committee 2000, Munich; printed by Rupert Jasen Smith, New York Signed with edition lower right edge of sheet; retains printer’s blind stamp lower left F/S #II.289 Sheet: 30" x 20" Frame: 45.75" x 33.5" (Sheet: 76 x 51 cm)

LITERATURE Andy Warhol Prints:

L I T E RAT U R E Andy Warhol Prints:

A Catalogue Raisonné. 4th ed. F.

A Catalogue Raisonné. 4th ed. F.

Feldman and J. Schellmann. 2003.

Feldman and J. Schellmann. 2003.

#II.183.

#II.289.

$10,000–15,000

$7,000–10,000

15 ANDY WARHOL Vesuvius

1985 Screenprint on Arches 88 paper #11 of 50 artist’s proofs aside from the edition of 250 Published by Fondazione Amelio, Naples; printed by Rupert Jasen Smith, New York Signed with edition lower right edge of sheet; retains printer’s blind stamp lower left F/S #II.365 Image/sheet: 31.5" x 39.5" Frame: 46.25" x 54.25" (Image/sheet: 80 x 100 cm) P ROV E NANC E Martin Lawrence Galleries, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, c. 2004) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.365.

$25,000–35,000

15

16 ANDY WARHOL

The New Spirit (Donald Duck) (from Ads) 1985 Screenprint on Lenox Museum Board #38 of 190 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower left edge of sheet; retains publisher and printer’s blind stamps lower right edge of sheet F/S #II.357 Image/sheet: 38" x 38" Frame: 51" x 51" (Image/sheet: 97 x 97 cm) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.357.

$30,000–50,000

17 ANDY WARHOL

Van Heusen (Ronald Reagan) (from Ads) 1985 Screenprint on Lenox Museum Board #16 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 edge of sheet; retains publisher and printer’s blind stamps lower left edge of sheet F/S #II.356 Image/sheet: 38" x 38" Frame: 44.75" x 44.75" (Image/sheet: 97 x 97 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.356.

$15,000–20,000

17

18 ANDY WARHOL

Motorcycle with Sidecar (from Toys Series) 1983 Acrylic with screenprint inks on canvas Retains “The Estate of Andy Warhol” and “Andy Warhol Foundation for the Visual Arts” ink stamps to canvas overlap verso; retains “Andy Warhol Authentication Board” stamp to canvas verso; retains Martin Lawrence Gallery frame label verso Together with copy of original invoice from Martin Lawrence Galleries dated April 7, 2008 Canvas: 8" x 10" Frame: 14.5" x 16.5" (Canvas: 20 x 25 cm) P ROVENA NC E Martin Lawrence Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2008)

$50,000–70,000

19 ANDY WARHOL

Brillo Soap Pads 1970 Screenprint on paper From an unknown edition size Published by the Pasadena Art Museum, Pasadena Signed lower left edge of sheet Not in F/S Image/sheet: 30" x 26" Frame: 32" x 28" (Image/sheet: 76 x 66 cm)

$1,500–2,000

19

20 ANDY WARHOL Mao

1974 Screenprint on wallpaper From an unlimited edition, approximately 100 signed Published by Factory Additions, New York; printed by Bill Miller’s Wallpaper Studio, New York Signed in felt-tip marker lower left sheet F/S #II.125A Sheet (vis.): 39.5" x 29.375" Frame: 43.25" x 33.375" (Sheet: 100 x 74 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.125A.

$1,500–2,000

21 ANDY WARHOL Beethoven

1987 Screenprint on Lenox Museum Board #18 of 20 examples numbered in Roman numerals aside from the edition of 60 Published by Hermann Wünsche, Bonn; printed by Rupert Jasen Smith, New York Signed by executor of the Estate of Andy Warhol with edition on stamped certificate of authenticity sheet verso; retains printer’s blind stamp lower right edge of sheet F/S #II.391 Together with copy of original invoice from Hamilton-Selway Fine Art dated July 20, 2006 Sheet: 40" x 40" Frame: 52" x 52" (Sheet: 102 x 102 cm) P ROVENA NC E Hamilton-Selway Fine Art, West Hollywood, California; Private Collection, Los Angeles, California (acquired directly from the above, 2006) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.391.

$50,000–70,000

22 ANDY WARHOL

Details of Renaissance Paintings (Sandro Boticelli, Birth of Venus, 1482) 1984 Screenprint on Arches Aquarelle paper #49 of 70 Published by Editions Schellmann & Klüser, Munich and New York; printed by Rupert Jasen Smith, New York Signed with edition in graphite lower left margin beneath image; stamped “© Andy Warhol 1984/ Editions Schellmann & Kluser/New York - Munich” in red ink sheet verso; retains Martin Lawrence Gallery label frame verso F/S #II.317 Image: 25" x 37" Sheet: 32" x 44" Frame: 41" x 53" (Image: 64 x 94 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.317.

$40,000–60,000

21

23 Love Portfolio (3)

Together with copies of invoices from Martin Lawrence Galleries dated April 22, 2006, and November 3, 2006

1983 The complete portfolio of three screenprints on Rives BFK paper

Sheets each: 26" x 19.625" Frames each: 36.25" x 30" (Sheets each: 66 x 50 cm)

One: #40 of 100; Two: #12 of 100

PROVE N A N CE Martin Lawrence

Published by Form K.K., Tokyo; printed by Rupert Jasen Smith, New York and Ryoichi Ishida, Tokyo

Gallery, Beverly Hills, California;

ANDY WARHOL

Each signed with edition lower left edge of sheet; each retains Ryoichi Ishida blind stamp lower left; each retains Martin Lawrence Gallery label frame verso F/S #II.310-312

Private Collection, Los Angeles, California (acquired directly from the above, 2006) L I T E RAT U R E Andy Warhol Prints: A Catalogue RaisonnĂŠ. 4th ed. F. Feldman and J. Schellmann. 2003. #II.310-312.

$30,000–50,000

23

24 ANDY WARHOL

Sigmund Freud (from Ten Portraits of Jews of the Twentieth Century) 1980 Screenprint on Lenox Museum Board #146 of 200 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 right edge of sheet; retains printer’s blind stamp lower left F/S #II.235 Sheet: 40" x 32" Frame: 50.5" x 42.625" (Sheet: 102 x 81 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.235.

$10,000–15,000

25 ANDY WARHOL Kiku

1983 Screenprint on Rives BFK paper #61 of 300 Published by Gendai Hanga Center, Tokyo; printed by Rupert Jasen Smith, New York and Ryoichi Ishida, Tokyo Signed with edition lower left edge of sheet; retains Ryoichi Ishida blind stamp lower left F/S #II.308 Image/sheet: 19.625" x 26" Frame: 32.25" x 38.75" (Image/sheet: 50 x 66 cm) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.308.

$7,000–10,000

26 ANDY WARHOL

Kiku (from the Andy Warhol Exhibition Catalogue) 1984 Screenprint on paper From an edition of 1,500 Published by Gendai Hanga Center, Tokyo; printed by Modern Printer Center, Tokyo Retains Martin Lawrence Gallery label frame verso Not in F/S Together with original purchase receipt from Martin Lawrence Galleries Image/sheet: 8" x 11" Frame: 18.125" x 21.125" (Image/sheet: 20 x 28 cm) P ROVENA NC E Martin Lawrence Galleries, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2008)

$1,000–1,500

27 ANDY WARHOL Flowers

1970 Screenprint on paper #110 of 250 Published by Factory Additions, New York; printed by Aetna Silkscreen Products, Inc., New York Signed in ballpoint pen with stamped edition sheet verso F/S #II.73 Image/sheet: 36" x 36" Frame: 52" x 52" (Image/sheet: 91 x 91 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.73.

$30,000–50,000

25

Roy Lichtenstein: Early Beginnings Before finishing his undergraduate education at Ohio State University, Roy Lichtenstein (1923–1997) was drafted for Army service. Through a series of reassignments, Lichtenstein trained as a draftsman stateside and by the end of 1944 his unit was shipped to Europe. There, Lichtenstein took every spare moment, in between performing combat operations, to study the works of artists such as Paul Cézanne, Georges Rouault, and Francisco Goya at the Louvre and other French, British, and German institutions. Upon his discharge in 1946, the young artist returned to OSU to complete his B.F.A. and continued on to pursue a graduate degree in Fine and Applied Arts. Along with his extensive coursework in history, criticism, and multi-media execution, Lichtenstein composed a thesis on various modern artists including Henri Matisse, Paul Klee, and Pablo Picasso. It was during this period that Lichtenstein began working in series and exploring “sustained themes.”

Though Lichtenstein wouldn’t develop his signature iconography for another decade, his interest in “paraphrasing” common images began to flourish. The academically dominant Abstract Expressionists despised objective representation, labelling the grand figurative styles of the nineteenth century cheap and hackneyed. Lichtenstein, however, recognized that despite their lack of individuality, these art forms remained particularly abundant in the ‘lowbrow’ visuality of the everyday. He then sought to tease out the intersections of representation and abstraction that could imbue images with cultural salience.

In 1950, a friend provided Lichtenstein with a book on the Bayeux Tapestry. A landmark work in the development of sequential narrative art, the tapestry demonstrates a grandiose rhetorical dramatization, designed for an illiterate mass audience. As one of the earliest examples of popular media accommodating viewers of the lowest common denominator, the tapestry provided an ideal test subject for the artist’s burgeoning inclinations. Over the next few years, Lichtenstein fabricated a series of “humorous variations” on the historical painting

genre. As illustrated by St. Macarius Before His Monastery (1951), Lichtenstein began depicting medieval narrative icons, such as knights and saints, in a simplistic, Cubist style, quietly alluding to traditions of lore and mythology. The subject matter proved fruitful for the artist as Knight on Horseback (1951) was awarded first prize in sculpture at the Ohio State Fair and his woodcut, To Battle (1950), both took first prize in the fair’s graphics category and won the Brooklyn Museum’s museum purchase award upon its showing at the "Fifth National Print Annual Exhibition" in 1951. Lichtenstein’s interest in the subject of folklore eventually led to his study of the “American knight,” materializing in his naïve renderings of cowboys on the western frontier, and revolutionary war heros, as seen in Washington Crossing the Delaware (1951). These themes were particularly instructive for Lichtenstein as they offered a roadmap for a rigorous conceptual treatment of popular culture.

In defiance of his predecessors’ insistence on originality, he found that replicating familiar identities and images allowed for his “detachment” from the formal restraints of “serious subject matter.” This made way for his critical consideration of the types of simplified representations exemplified by comic books, that were themselves unintentional derivations of ‘high art’ forms. Having identified through his ‘historical’ painting exercise the process by which “overuse” renders a reference iconic, Lichtenstein discovered that he could mobilize the aesthetically corrosive effects of popular media by supercharging its content with irony and self-awareness.

Rose, Bernice. “The Drawings of Roy Lichtenstein.” Museum of Modern Art, New York, 1987.

Berman, Avis. “Roy Lichtenstein Biography.” Roy Lichtenstein Foundation, 2017, lichtensteinfoundation.org/biography/.

Glueck, Grace. “A Pop Artist’s Fascination With the First Americans.” The New York Times, 23 Dec. 2005.

28 ROY LICHTENSTEIN

St. Macarius Before His Monastery 1951 Watercolor, India ink, and metallic paint on paper Signed lower right sheet; retains Angus Whyte Fine Arts label frame verso Composition/sheet: 12" x 17.75" Frame: 21.25" x 27" (Composition/sheet: 30 x 45 cm) P ROV E NANC E Private Collection, Los Angeles, Califronia (acquired directly from the artist); Private Collection, Montecito, California (acquired directly from the above, 1998) LIT E RAT URE Roy Lichtenstein: das Frühwerk, 1942-1960. E. Busche. 1988. #215.

$20,000–30,000

29 ROY LICHTENSTEIN

Washington Crossing the Delaware 1951 Wax pencil on paper Signed lower left in composition; retains Angus Whyte Fine Arts label frame verso Sheet: 9.375" x 12.5" Frame: 18.75" x 21.5" (Sheet: 24 x 32 cm) P ROV E NANC E Private Collection, Los Angeles, Califronia (acquired directly from the artist); Private Collection, Montecito, California (acquired directly from the above, 1998) LIT E RAT URE Roy Lichtenstein: das Frühwerk, 1942-1960. E. Busche. 1988. #219.

$12,000–18,000

27

30 ROY LICHTENSTEIN

As I Opened Fire (Triptych) 1966 Offset lithographs on white wove paper From an edition of over 3,000 Published by Stedelijk Museum, Amsterdam; printed by Drukkerij Luii & Co., Amsterdam Signed and inscribed “For Harry” in graphite lower right margin of right panel This is from one of several editions of over 3,000 printed from 1966 onward

31 ROY LICHTENSTEIN

Foot Medication Poster 1963 Offset lithograph on lightweight, off-white wove paper From an unknown edition size aside from the edition of 100 Published by Leo Castelli Gallery, New York Signed in graphite lower right margin beneath image

Images each: 24" x 19.625" Sheets (vis.) each: 24.75" x 20.375" Frames each: 25.375" x 21" (Images each: 61 x 50 cm)

Image: 15.625" x 15.875" Sheet (vis.): 22.625" x 16.625" Frame: 23" x 17" (Image: 40 x 40 cm)

P ROVENA NC E Private Collec-

PROVE N A N CE Private Collec-

tion, Los Angeles, California (gifted

tion, Los Angeles, California (gifted

directly by the artist, 1981)

directly by the artist, c. 1972)

LITERATURE The Prints of Roy

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

Lichtenstein: A Catalogue Raisonné,

Lichtenstein: A Catalogue Raisonné,

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

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

App. 5.

App. 3.

$5,000–7,000

$3,000–5,000

32

33

ROY LICHTENSTEIN

ROY LICHTENSTEIN

Crak!

1963-1964 Offset lithograph on lightweight, white wove paper From an unknown edition size aside from the edition of 300 Published by Leo Castelli Gallery, New York; printed by Colorcraft, New York Signed and dated in graphite lower right edge of sheet Image: 18.5" x 27" Sheet: 19.25" x 27.625" (Image: 47 x 69 cm) P ROV E NANC E Private Collection, Los Angeles, California (gifted directly by the artist, c. 1964)

American Indian Theme V (from the American Indian Theme Series) 1980 6-color woodcut on handmade Suzuki paper #6 of 50 Published and printed by Tyler Graphics, Ltd., Bedford Village Signed and dated with edition in graphite lower right margin beneath image; retains Tyler Graphics blind stamp lower right edge of sheet Image: 23.25" x 33.25" Sheet: 31.75" x 41" Frame: 34.25" x 44.25" (Image: 59 x 84 cm)

LIT E RAT URE The Prints of Roy

LIT E RAT URE The Prints of Roy

Lichtenstein: A Catalogue Raisonné,

Lichtenstein: A Catalogue Raisonné,

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

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

#II.2.

#164.

$8,000–12,000

$7,000–10,000

29

34 ROBERT DOWD Dollar Bill

1963 Mixed-media on paper Signed and dated in graphite center right sheet; retains David Stuart Galleries label and Los Angeles County Museum of Art museum loan sticker frame verso Composition/sheet (irreg.): 12.375" x 16" Frame: 16" x 20" (Composition/sheet: 31 x 41 cm) P ROVENA NC E Asher Collection, Los Angeles, California; Private Collection, Minnesota; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, May 18, 2014, lot 171) EXHIBITE D “Six More,” Los Angeles County Museum of Art, Los Angeles, 1963; “Selections from the LM Asher Family Collection,” The Art Gallery, University of New Mexico, Albuquerque, January 20-February 23, 1964 LITERATURE Selections from the LM Asher Family Collection. Art Gallery, University of New Mexico exh. cat.

1964. N.pag.

$2,000–3,000

35 HARRY GORDON Ginsberg dress

Poster Dress, Ltd., designed 1968 Retains manufacturer’s label Dress: 36.5" x 24" Frame: 41" x 30.5" (Dress: 93 x 61 cm)

$1,500–2,000

ILLUSTRATED OPPOSITE PAGE

36 MARCEL DUCHAMP

A Poster Within a Poster 1963 Offset lithograph on paper From an edition of 300 Image/sheet: 34.5" x 27.125" Frame: 38.25" x 30.75" (Image/sheet: 88 x 69 cm)

$3,000–5,000

31

37 GEORGE NELSON Thin Edge cabinet

Herman Miller, designed 1952 33.375" x 47" x 18.5" (85 x 119 x 47 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 244.

$4,000–6,000

38 GEORGE NELSON Thin Edge cabinet

Herman Miller, designed 1952 Retains Herman Miller metal tag 33.375" x 47" x 18.5" (85 x 119 x 47 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 244.

$4,000–6,000

39 GEORGE NELSON

Thin Edge chest of drawers Herman Miller, designed 1952 Model no. 5240 Retains Herman Miller metal tag 40.5" x 39.625" x 18.5" (103 x 101 x 47 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 244.

$3,000–5,000

40 ALEXANDER GIRARD Fruit Tree fabric

Herman Miller, designed c. 1961 Woven “Herman Miller Fabrics Inc. Fruit Tree designed by Alexander Girard” along bottom edge; retains manufacturer’s label Together with six additional fabric samples including “Mexidot #1303” (2), “Diamond” (brown and green diamonds on blue), “Stripes” (red and green on white), “Stripes” (blue and black on white), and “Maypole” Various dimensions LIT E RAT URE Alexander Girard Designs for Herman Miller. L. Piña. 1998. 41, 53, 88, and 103.

$2,500–3,500 PARTIAL ILLUSTRATION

33

41 GEORGE NELSON

Half Nelson table lamp Koch & Lowy, designed 1949-1950 18" x 15" x 15" (46 x 38 x 38 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 283.

$1,000–1,500

42 GEORGE NELSON

Executive desk with return Herman Miller, designed c. 1956 Retains Herman Miller white metal medallion to interior Desk: 27.875” x 65” x 29.5” Return: 25.5” x 73.875” x 18.5” (Desk: 71 x 165 x 75 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 272.

$2,500–3,500

43 GEORGE NELSON Corner table

Herman Miller, designed 1956 Model no. 5752 Retains Herman Miller white metal medallion to underside 15.125" x 32" x 32" (38 x 81 x 81 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 262.

$1,000–1,500

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

44 GEORGE NELSON Daybed

Herman Miller, designed c. 1948; this example produced c. 1955 Model no. 5087 Retains manufacturer’s upholstery tag and metal designer’s and manufacturer’s label to underside 28.75" x 76.25" x 33.875" (73 x 194 x 86 cm) P ROV E NANC E Los Angeles County Museum of Art LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 270.

$2,000–3,000

35

45 GEORGE NELSON Sling sofa

Herman Miller, designed 1963 Model no. 6382 28.75" x 86.75" x 31.75" (73 x 220 x 81 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 268.

$2,500–3,500

ALTERNATE VIEW

46 GEORGE NELSON Action Office desk

Herman Miller, designed 1964 Model no. 64903 33.625" x 54" x 29.625" (85 x 137 x 75 cm) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 274.

$2,000–3,000

47 GEORGE NELSON

Contract Bench Systems (2) Herman Miller, designed c. 1955 Model no. 5994 One retains remnants of upholstery label to underside With fabric designed by Alexander Girard Each: 14.125" x 80.5" x 20.375" (36 x 205 x 52 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 268.

$4,000–6,000

37

48

49

51

CHARLES & RAY EAMES

CHARLES & RAY EAMES

Time-Life Executive chair

Herman Miller, designed 1960 Model no. 675

Herman Miller, designed 1960; this example produced 1978 Model no. ES107 Retains Herman Miller metal label and upholstery tag to underside; stamped “Jun 30 1978” in red ink to underside

29.125" x 29" x 28.25" (74 x 74 x 72 cm)

50

Time-Life Executive chair

Herman Miller, designed 1960 Model no. ES107

Herman Miller, designed 1960; this example produced 1978 Model no. ES107 Retains Herman Miller metal label and upholstery tag to underside; stamped “Jul 11 1978” in red ink to underside

33.125" x 28.375" x 23.5" (84 x 72 x 60 cm)

31.625" x 28.75" x 22.375" (80 x 73 x 57 cm)

33" x 28.5" x 23" (84 x 72 x 58 cm)

LITERATURE Eames Design: The Work of

L I T E RAT U R E Eames Design: The Work of

LIT E RAT URE Eames Design: The Work of

LIT E RAT URE Eames Design: The Work of

the Office of Charles and Ray Eames. J.

the Office of Charles and Ray Eames. J.

the Office of Charles and Ray Eames. J.

the Office of Charles and Ray Eames. J.

Neuhart. 1989. 248-249.

Neuhart. 1989. 248-249.

Neuhart. 1989. 248-249.

Neuhart. 1989. 248-249.

$800–1,000

$800–1,200

$800–1,200

$800–1,200

CHARLES & RAY EAMES Time-Life Lobby chair

CHARLES & RAY EAMES Time-Life Executive chair

LOT 48

LOT 49

LOT 50

LOT 51

55 53

54

CHARLES & RAY EAMES

CHARLES & RAY EAMES

Herman Miller, designed 1960 Model no. ES105

Herman Miller, designed 1960 Model no. ES105 Retains Herman Miller upholstery tag to underside

Herman Miller, designed 1960 Model no. ES105 Retains Herman Miller metal label to underside

Herman Miller, designed 1960; this example produced 1979 Model no. ES107 Retains Herman Miller label and upholstery tag to underside; stamped “Apr 18 1979” in red ink to underside

30" x 29" x 23.875" (76 x 74 x 61 cm)

30.75" x 28.5" x 24" (78 x 72 x 61 cm)

30.75" x 28.375" x 23.25" (78 x 72 x 59 cm)

33.25" x 26.75" x 22.875" (84 x 68 x 58 cm)

LITE RAT U RE Eames Design: The Work of

L I T E RAT U R E Eames Design: The Work of

LIT E RAT URE Eames Design: The Work of

LIT E RAT URE Eames Design: The Work of

the Office of Charles and Ray Eames. J.

the Office of Charles and Ray Eames. J.

the Office of Charles and Ray Eames. J.

the Office of Charles and Ray Eames. J.

Neuhart. 1989. 248-249.

Neuhart. 1989. 248-249.

Neuhart. 1989. 248-249.

Neuhart. 1989. 248-249.

$800–1,200

$800–1,200

$800–1,200

$600–900

52 CHARLES & RAY EAMES Time-Life Executive chair

Time-Life Executive chair

Time-Life Executive chair

CHARLES & RAY EAMES Time-Life Executive chair

39

LOT 52

LOT 53

LOT 54

LOT 55

56 CHARLES & RAY EAMES Rocker

Herman Miller, designed 1950 Model no. RAR Retains impressed Herman Miller logo and “S” logo to underside; stamped “512141” and “Summit/1/Prime” in black ink to underside 26.75" x 24.75" x 26.5" (68 x 63 x 67 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames.

J. Neuhart. 1989. 138-141.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 276.

$1,200–1,500

57 CHARLES & RAY EAMES Chair

Herman Miller, designed 1951 Model no. DKR-2 32.25" x 19" x 19.875" (82 x 48 x 50 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 150-153.

$700–900

58 CHARLES & RAY EAMES Dining chair

Herman Miller, designed 1946; this example produced c. 1949 Model no. DCW 28.75" x 17.625" x 20.625" (73 x 45 x 52 cm) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 73.

$1,000–1,500

59 CHARLES & RAY EAMES Soft Pad chair

Herman Miller, designed 1969; this example produced later Model no. EA435 Retains designer’s and manufacturer’s fabric label to underside 32.25" x 23.125" x 22.375" (82 x 59 x 57 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 342-343.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 393.

$700–900

60 CHARLES & RAY EAMES Soft Pad chair

Herman Miller, designed 1969; this example produced 1985 Model no. EA435 Stamped “Apr 29 1985” in white ink to underside 32.875" x 23.125" x 22.625" (83 x 59 x 57 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 342-343.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 393.

$700–900

41

61 FRITZ HALLER & PAUL SCHÄRER

Furniture grouping (6) USM Modular Furniture, designed c.

1965 Small serving cart retains Herman Miller metal label and stamped “Feb 3 1975” in black ink to underside Comprised of a shelving unit, small serving cart, two large serving carts, desk, and a pedestal unit Shelving unit: 24" x 20.625" x 16.5" Small serving cart: 23.875" x 34.5" x 20.5" Large serving carts each: 32.75" x 34.25" x 20.5" Desk: 25.75" x 46" x 21.25" Pedestal unit: 24.125" x 16.5" x 20.5" (Shelving unit: 61 x 52 x 42 cm)

$2,000–3,000

62 POSTMODERN Cabinets (2)

Manufacturer unknown, designed c.

1990 40.375" x 13" x 16.5" 39.125" x 12" x 16.125" (102 x 33 x 42 cm)

$2,500–3,500

43

63 AMERICAN MODERN Lounge chair

Manufacturer unknown, designed c.

1970 25.5" x 37" x 30.5" (64 x 93 x 77 cm)

$1,000–1,500

64 MARGARET DE PATTA Pin

Studio, designed c. 1950 Sterling silver and onyx Impressed artist’s cipher and inscribed “Sterling” to underside 3" x 3.75" x .5" (8 x 9 x 1 cm) P ROVENA NC E The artist; Thence by descent

$7,000–10,000

65 MARGARET DE PATTA Key chain

Studio, designed c. 1935 Sterling silver .875" x .875" x 2.625" (2 x 2 x 7 cm) These customized examples were created as a gift to de Patta’s husband, Sam de Patta.

P ROV E NANC E The artist; Thence by descent

$1,500–2,000

66 MARGARET DE PATTA

Key chain and cufflinks (3) Studio, designed c. 1940 Sterling silver Key chain: .75" x 1.25" x 2.5" Cufflinks each: .5" x .5" x .75 (Key chain: 2 x 3 x 6 cm) These customized examples were created as a gift to de Patta’s brother-in-law, William O’Brien.

P ROV E NANC E The artist; Thence by descent

$1,500–2,000

45

67 MARGARET DE PATTA Ring

Studio, designed c. 1940 Sterling silver and amethyst Impressed with artist’s cipher .875" x 1" x .75" (2 x 3 x 2 cm) P ROVENA NC E The artist; Thence by descent

$2,500–3,500

68 MARGARET DE PATTA Pin

Studio, designed c. 1935 Sterling silver 1.25" x 1.125" x .375" (3 x 3 x 1 cm) P ROVENA NC E The artist; Thence by descent

$1,500–2,000

69 MARGARET DE PATTA Pin

Studio, designed c. 1955 Sterling silver with agate, amber, and pearl Signed and inscribed “Sterling” to underside 3.25" x 1.625" x .625" (8 x 4 x 2 cm) P ROV E NANC E The artist; Thence by descent

$7,000–10,000

47

70 MARGARET DE PATTA Earrings (2)

Studio, designed c. 1945 Sterling silver and quartz crystal Each: 1" x .625" x .5" (3 x 2 x 1 cm) P ROVENA NC E The artist; Thence by descent

$2,000–3,000

71 MARGARET DE PATTA Earrings (2)

Studio, designed c. 1940 Sterling silver and quartz crystal Each: 1.25" x .875" x .5" (3 x 2 x 1 cm) P ROVENA NC E The artist; Thence by descent

$1,500–2,000

72 MARGARET DE PATTA Pin

Studio, designed c. 1940 Sterling silver and quartz crystal Impressed with artist’s cipher 1.5" x .875" x .5" (4 x 2 x 1 cm) P ROVENA NC E The artist; Thence by descent

$2,000–3,000

73 MARGARET DE PATTA Pin

Studio, designed c. 1942 Sterling silver Impressed artist’s cipher and inscribed “Sterling” to underside 1" x 3.25" x .625" (3 x 8 x 2 cm) P ROV E NANC E The artist; Thence by descent

$7,000–10,000

49

74 MARGARET DE PATTA Pin

Studio, designed c. 1935 Sterling silver 1.25" diameter (3 x 1 cm) P ROVENA NC E The artist; Thence by descent

$2,000–3,000

75 MARGARET DE PATTA Earrings (2)

Studio, designed c. 1940 Sterling silver Each: 1" x .75" x .375 (3 x 2 x 1 cm) P ROVENA NC E The artist; Thence by descent

$1,500–2,000

76 MARGARET DE PATTA Pin

Studio, designed c. 1955 Sterling silver, beach pebbles, and pearl Signed with impressed artist’s cipher and inscribed “Sterling” to underside 1.375" x 3.625" x.5" (3 x 9 x 1 cm) P ROV E NANC E Estate of Beverly Fritchman, Boise, Idaho; Private Collection, Boise, Idaho (acquired directly from the above)

$7,000–10,000

51

77 SAM GILLIAM

Purple Antelope Space Squeeze 1987 Relief, etching, aquatint, collograph, and hand-painted collage on handmade paper with embossing From an edition of 40 Published and printed by Tandem Press, Madison Signed and dated in graphite lower center Sheet (irreg.): 40.125" x 40.125" Frame: 46.125" x 46.125" (Sheet: 102 x 102 cm) LITERATURE Tandem Press: Five Years of Collaboration and Experimentation. Elvehjem Museum of Art exh. cat. 1994. Cover, 45.

$15,000–20,000

53

78 SAM GILLIAM

Multiple 4, edition of 2 1971 Watercolor on Japan paper Unique Signed, dated, and inscribed “1/2” in ballpoint pen lower right Sheet (irreg.): 19.5" x 24" (50 x 61 cm) P ROV E NANC E Private Collection, Saylorsburg, Pennsylvania (acquired directly from the artist, c. 1972) E XHIBIT E D “Die Sammlung Hans und Hildi Müller und die Schenkung an das Bündner Kunstmuseum,” Bündner Kunstmuseum, Chur, Switzerland, October 5-November 11, 1990 LIT E RAT URE Die Sammlung Hans und Hildi Müller und die Schenkung an das Bündner Kunstmuseum. Bündner Kunstmuseum exh. cat. 1990.

N.pag.

$7,000–10,000

79 SAM GILLIAM Manet

1998 Mixed-media monoprint with handpainting, relief painting, screenprinting, cutouts, collage and stitching on handmade paper From an edition of 120 Printed by Jones Road Print Shop, Barneveld Signed and dated in black felt-tip marker lower right; titled lower center sheet; edition lower left Image/sheet: 18.125" x 23" (Image/sheet: 46 x 58 cm)

$3,000–5,000

80 SAM GILLIAM Manet

1998 Mixed-media monoprint with handpainting, relief painting, screenprinting, cutouts, collage and stitching on handmade paper From an edition of 120 Printed by Jones Road Print Shop, Barneveld Signed and dated in black felt-tip marker lower right; titled lower center sheet; edition lower left Image/sheet: 18.875" x 23.125" (Image/sheet: 48 x 59 cm)

$3,000–5,000

55

81 SAM FRANCIS

Untitled (SFS-334) 1988 11-color screenprint on PTI Supra paper #190 of 250 Published by the artist; printed by La Paloma, Tujunga Signed in graphite lower left center sheet; edition lower right center sheet; retains artist’s blind stamp lower right corner of sheet Sheet: 56.875" x 29.25" Frame: 65.375" x 37.875" (Sheet: 144 x 75 cm) This poster commemorates the twenty-fifth anniversary of the Music Center of Los Angeles Country, in 1989.

LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #P8.

$2,000–3,000

82

This work is identified with the

SAM FRANCIS

SF79-265 in consideration for the

interim identification number of

Untitled (SF79-265)

forthcoming Sam Francis: Catalogue

1979 Acrylic on paper

This information is subject to change

Raisonné of Unique Works on Paper. as scholarship continues by the Sam

Inscribed “SF79-265/9” x 12 1/8”” sheet verso; retains Museum of Contemporary Art, Los Angeles exhibition label frame verso

Francis Foundation.

Composition/sheet: 9" x 12.125" Frame: 16" x 19" (Composition/sheet: 23 x 31 cm)

Angeles, California, May 16, 1986);

PROVE N A N CE Private Collection, Los Angeles, California (acquired through MOCA Gala & Auction, Los Thence by descent E X H I B I T E D “Sam Francis: Major Paintings and Drawings,” Ace Gallery, Los Angeles, March 20-April 25, 1981

$12,000–15,000

83 SAM FRANCIS

Untitled (SFE-112) 1994 Etching and aquatint on paper #3 of 22 Printed by The Litho Shop, Inc., Santa Monica Signed with edition in graphite lower right edge of sheet Image: 11.75" x 16.375" Sheet: 20" x 23.5" Frame: 27" x 30.625" (Image: 30 x 41 cm)

$3,000–5,000

57 84 SAM FRANCIS

Five Coral Screen 1972 5-color screenprint on Arches 88 paper Printer’s proof II aside from the edition of 75 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower center edge of sheet; edition lower left; retains Gemini G.E.L. blind stamps lower center edge of sheet Gemini G.E.L. #18.21 Image/sheet: 30.25" x 38.125" (Image/sheet: 77 x 97 cm) P ROV E NANC E Gemini G.E.L., Los Angeles, California; Private Collection, Beverly Hills, California (acquired directly from the above) LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #S12.

$4,000–6,000

85 JOHN LEVEE

November I, II, III 1958 Oil on canvas triptych Each signed and dated canvas recto; each signed, titled, and dated canvas verso; each retains André Emmerich Gallery label canvas stretcher verso Canvases each: 63.75" x 27.5" Frames each: 64.75" x 28.5" (Canvases each: 162 x 70 cm) P ROVENA NC E André Emmerich Gallery, New York, New York; Private Collection

$15,000–20,000

John Levee Born in California, John Levee (1924-2017) would become one of the most important Abstract Expressionists of the mid-century Parisian expatriate art scene. After serving as an aviator in the French liberation effort during World War II, Levee returned to the U.S. before securing a grant through the G.I. Bill, which allowed him to return to France in 1949. Through his enrollment at the Académie Julian, Levee crossed paths with American painter Sam Francis, who would become Levee’s close friend. Like Francis, Levee pursued a form of lyrical abstraction. Even his most rhythmic forms however, maintained a geometric, near architectural, framework that prefigured his later transition to hard-edge painting. Levee’s thick application of his paints emphasized the physicality of his materials and the complete absence of representation within his compositions.

forms to produce complex pictorial relationships. As the artist entered the 1950s, he received significant critical reception, holding his first solo exhibition at Galerie 8 and participating in a number of significant Parisian shows, including Galerie Craven’s “Peintres les Américains en France” in 1953 and Galerie de France’s “Dix Jeunes Peintres de l’Ecole de Paris” in 1956.

Levee also garnered attention stateside, exhibiting at both the Museum of Modern Art in New York and the Whitney Museum repeatedly between 1957 and 1965. Today, the artist’s work is prominently represented around the globe in both private and public collections, including the Musée National d’Art Moderne in Paris, the Guggenheim Museum in New York, and the Stedelijk Museum in Amsterdam.

“John Levee.” Hanina Fine Arts, 2017, www.haninafinearts.com/artists/john_levee/ biography.

Like many of his European contemporaries, Levee favored muted tones that hinted at the somber mood of the postwar atmosphere. The austerity of his palette united with his explosive

Nechvatal, Joseph. “Three Americans Find Leeway in Postwar Paris.” Hyperallergic, 7 Oct. 2014,hyperallergic.com/154011/three-americans-find-leeway-in-midcentury-paris/.

86 JOHN LEVEE April III

1957 Oil on canvas Signed and dated upper center right edge of canvas; signed, titled, and dated canvas verso; retains André Emmerich Gallery label canvas stretcher verso Canvas: 19.5" x 51" Frame: 20.25" x 52" (Canvas: 50 x 130 cm) P ROV E NANC E André Emmerich Gallery, New York, New York; Private Collection

$6,000–8,000

59

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

87 EMERSON WOELFFER Untitled

1958 Oil on paper Signed and dated lower right edge of sheet; retains Manny Silverman Gallery and Hackett Freedman Gallery labels frame verso Composition/sheet: 26" x 19" Frame: 35.5" x 28.875" (Composition/sheet: 66 x 48 cm) This work is being sold to raise funds for scholarships to the Otis College of Art and Design.

P ROVENANC E The estate of Emerson Woelffer

$4,000–6,000

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

88 EMERSON WOELFFER Figure by the Sea 1947 Oil on canvas Signed, titled, and dated canvas verso Canvas: 30" x 22" Frame: 30" x 24" (Canvas: 76 x 56 cm) This work is being sold to raise funds for scholarships to the Otis College of Art and Design.

P ROVENA NC E The estate of Emerson Woelffer

$10,000–15,000

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

89 EMERSON WOELFFER

Untitled (from Bucky Fuller Series) 1949 Casein and ink on Strathmore paper Signed and dated upper right edge of sheet; signed and dated lower left; retains Manny Silverman Gallery and Hackett Freedman Gallery labels frame verso Composition/sheet: 23" x 28.875" Frame: 30.375" x 36.25" (Composition/sheet: 58 x 73 cm) This work is being sold to raise funds for scholarships to the Otis College of Art and Design.

P ROV E NANC E The estate of Emerson Woelffer E XHIBIT E D “Qué Significa: Emerson Woelffer in the Yucatan,” Los Angeles Modern Auctions, Van Nuys, September 18-29, 2017

$5,000–7,000

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

90 EMERSON WOELFFER Untitled

c. 1949 Oil on Masonite Masonite: 24.25" x 17.625" Frame: 26.25" x 19.75" (Masonite: 61 x 45 cm) This work is being sold to raise funds for scholarships to the Otis College of Art and Design.

P ROV E NANC E The estate of Emerson Woelffer E XHIBIT E D “Qué Significa: Emerson Woelffer in the Yucatan,” Los Angeles Modern Auctions, Van Nuys, September 18-29, 2017

$10,000–15,000

61

91 HANS BURKHARDT Untitled

1965 Oil on canvas Signed and dated lower center Canvas (vis.): 30.625" x 38.625" Frame: 33.5" x 41.5" (Canvas: 78 x 98 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 1980)

$10,000–15,000

92 HANS BURKHARDT Untitled

1945 Pastel on paper Signed and dated in graphite lower right Composition/sheet (vis.): 17" x 23" Frame: 24.625" x 30.625" (Composition/sheet: 43 x 58 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 1980)

$1,500–2,000

63

93 HANS BURKHARDT Untitled

1937 Pastel on paper Signed and dated in graphite lower right Composition/sheet (vis.): 23" x 17" Frame: 30" x 24" (Composition/sheet: 58 x 43 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 1980)

$1,500–2,000

94 FRANCIS DE ERDELY Women & Tree N.d.

Oil on canvas Signed lower right edge of canvas; retains George Stern Fine Arts label verso Canvas: 52" x 28" Frame: 61" x 36.75" (Canvas: 132 x 71 cm)

Francis de Erdely

P ROVENA NC E Lucy & Herbert Agid, California (acquired directly from the artist, c. 1953)

$8,000–12,000

Through his training in Budapest, Madrid, and Paris, the Hungarian-born painter, Francis de Erdely (1904–1959), developed a modern style with a deep respect for the traditions of Classicism. Following the completion of his formal education, de Erdely travelled throughout Europe teaching and studying the technical methods of the Old Masters. As World War II began to ravage the continent, de Erdely immigrated to the United States. He first settled in New York and began successfully exhibiting at respected institutions on the East Coast. It wasn’t until he moved to Los Angeles in the mid-1940s, however, that de Erdely established his mature artistic identity.

When the painter held his solo exhibition at the Los Angeles County Museum of Art in 1944, he was immediately showered with critical praise. Los Angeles Times arts editor, Arthur Millier, compared the emotional intensity and dignity of de Erdely’s somber images of European devastation to that of Francisco Goya’s haunting nineteenth century etchings. The artist “[illuminated]” faces and figures that would otherwise go unnoticed and sensitively paired the frailty of his subjects with “tender coloring.” Millier asserted that de Erdely’s works “[burned] with sincerity” and that their humanitarian pleas were rendered all the more urgent by the care and compassion that the painter showed, not only to his subjects, but to his viewers alike.

While producing these compelling works, de Erdely undertook a prolific teaching career. Credited with having incomparably shaped a generation of California painters, de Erdely taught at the University of Southern California from 1945 until his death in 1959, as well as at other schools in the Los Angeles area.

In addition to residing in the permanent collections of nearly every major art museum in California, de Erdely’s paintings are in the collections of some of the world’s most prominent institutions, including the Metropolitan Museum of Art, New York, the National Gallery of Victoria, Melbourne, and the Bussels Moderne, Brussels.

Millier, Arthur. “Artist’s Exhibit Depicts Grim Horrors of War.” Los Angeles Times (1923-1995), Nov 26, 1944, pp. 2.

95 FRANCIS DE ERDELY

Still Life with Melon and Fruit Bowl N.d.

Oil on Masonite panel Signed lower right edge of panel Panel: 22" x 40" Frame: 30.25" x 48.25" (Panel: 56 x 102 cm) P ROV E NANC E Lucy & Herbert Agid, California (acquired directly from the artist, c. 1953)

$2,000–3,000

96 FRANCIS DE ERDELY Still Life with Bottles N.d.

Oil on Masonite panel Signed lower right edge of panel Panel: 20" x 36" Frame: 29.75" x 45.5" (Panel: 51 x 91 cm) P ROV E NANC E Lucy & Herbert Agid, California (acquired directly from the artist, c. 1953)

$2,000–3,000

97 FRANCIS DE ERDELY Sunflowers c. 1954 Oil on panel Signed lower right edge of panel Panel (vis.): 21.625" x 39.5" Frame: 22.625" x 40.5" (Panel: 55 x 100 cm) P ROV E NANC E Lucy & Herbert Agid, California (acquired directly from the artist, c. 1954)

$2,000–3,000

65

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

98 SAM MALOOF

Chest of drawers Studio, executed c. 1969 Walnut 40.5" x 76.5" x 20" (103 x 194 x 51 cm) P ROVENA NC E Los Angeles County Museum of Art

$10,000–15,000

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

99 SAM MALOOF Coffee table

Studio, executed 1969 Walnut Each drawer branded “designed made/ Maloof/California”; incised “92 7-69/ Levy” and branded “designed made/ Maloof/California” to underside 18.75" x 60" x 33.5" (48 x 152 x 85 cm) P ROV E NANC E Los Angeles County Museum of Art

$10,000–15,000

100 SAM MALOOF

Square tables (2) Studio, executed c. 1952 Walnut and marble Together with letter from the Sam Maloof studio Each: 21" x 36" x 32" (53 x 91 x 81 cm)

$5,000–7,000

67

101 ROY MCMAKIN Desk

Custom, executed 2006 Ebonized oak 29.75" x 80" x 38" (75 x 203 x 97 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 2006) LITERATURE Roy McMakin: When is a Chair Not a Chair? R. McMakin and M. Marks. 2010. 187 for a similar example illustrated.

$4,000–6,000

102 ROY MCMAKIN

Dining chairs (6) Domestic Furniture Co., designed c.

1997 Each retains manufacturer’s label Each: 38.25" x 19.5" x 23" (97 x 50 x 58 cm)

$3,000–5,000

103 CARBON MESA WOODWORKING Live-edge coffee table

Custom, designed c. 2010 Walnut 15.5" x 76.875" x 48" (39 x 195 x 122 cm) P ROV E NANC E Carbon Mesa Woodworking, Malibu, California; Private Collection (acquired directly from the above)

$3,000–5,000

69

104 MID-CENTURY MODERN Inlaid side table

Manufacturer unknown, designed c.

1950 Retains “JA” stamp to underside 16.375" x 12" diameter (41 x 31 cm)

$2,000–3,000

105 PAUL KASPER Untitled

c. 1968 Welded steel 98.5" x 69" x 16" (250 x 175 x 41 cm) P ROVENA NC E Estate of Paul Kasper, California

$3,000–5,000

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

106 JACK CARTWRIGHT Buffet

Founders, designed c. 1961 Model no. 52305 Stamped “52305” 30.5" x 77.75" x 18" (78 x 197 x 46 cm) P ROV E NANC E Hendrik Van Keppel, Los Angeles, California; Los Angeles County Museum of Art LIT E RAT URE Founders 10. Manufacturer cat. c. 1961. N.pag.

$3,000–5,000

107 EDWARD WORMLEY End table

Dunbar, designed c. 1952 Model no. 5403 Retains Dunbar green metal tag 24" x 53.5" x 23" (61 x 136 x 58 cm) LIT E RAT URE Dunbar: Fine Furniture of the 1950s. L. Piña. 2000. 188-189.

$1,500–2,000

71

Indoor/Outdoor Designs for Living Finding that the dominant furniture styles of the 1930s were wholly inappropriate for California’s growing architectural interest in unifying indoor and outdoor spaces, the design partnership Van Keppel-Green (VKG) set to crafting simple, multiuse, all-weather pieces that could be easily moved from place to place throughout the home. VKG has been credited with the invention of the term indoor/outdoor living, which was used early on in their marketing materials. Their products became uniquely embedded in the iconography of mid-century modernism and was a leading influence on some of the period’s most prominent furniture designers.

Both California natives, Hendrik Van Keppel (1914–1988) and Taylor Green (1914–1991) met in Los Angeles in 1937. Finding that they shared an enthusiasm for simple, essentialized form, they soon joined forces to establish their design and manufacturing practice in downtown Los Angeles, which would later become a series of shops in Beverly Hills, and finally their Santa Monica ‘Country Store’ in the late 1960s. While the general public tended to automatically classify VKG’s pieces as outdoor furniture, the design duo only crafted a handful of works exclusively intended for outdoor use. Offering custom fabrication, VKG catered to art world masters and Hollywood royalty alike.

Due to their works’ singular compatibility with the philosophy of the Arts and Architecture Case Study House program, VKG began attracting the program’s architects, designers, and en-

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

108 HENDRIK VAN KEPPEL & TAYLOR GREEN Camel table

Custom designed for Dr. Halden, c.

1955 15" x 76" x 36" 27.75" x 76" x 36" (extended) (38 x 193 x 91 cm) P ROVENA NC E Los Angeles County Museum of Art

$4,000–6,000

thusiasts in 1945. In 1960, when Julius Shulman famously photographed Pierre Koenig’s Case Study House #22 (the Stahl House), Koenig enlisted VKG’s expertise to furnish the entirety of the home’s interior and exterior. Similarly, Shulman’s iconic poolside images of Richard Neutra’s Kaufmann House showcase a VKG table and lounge chairs. VKG’s catalogue also routinely graced the silver screen, as both Van Keppel and Green maintained good relationships with the era’s film studios, and often rented out their designs for set dressing. VKG’s repertoire achieved near ubiquity in the period as it radiated the “attractive informality” that animated popular notions of modern “California living.”

Many of the pieces that are now being sold by the Los Angeles County Museum of Art hail from Van Keppel’s personal collection, and offer an intimate portrait of the designer’s curation of his own home. The private nature of these works stands as a testament to Van Keppel’s resolute confidence in the elegant functionality of his creations.

Haeberli, Eric. “The Origins of Indoor/Outdoor Design.” Van Keppel-Green, 2008, www.vankeppelgreen.com/about.htm.

Kaufman, Sam. “Spotlight on the Midcentury Design Duo Who Invented the Term Indoor/Outdoor Living.” Dwell, 10 Aug. 2017, www.dwell.com/article/spotlight-on-themidcentury-design-duo-who-invented-the-term-indooroutdoor-living-8f77bc13.

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

109 HENDRIK VAN KEPPEL & TAYLOR GREEN Dining suite (9)

VKG (chairs); Custom (table), designed c. 1960 Model no. 622 (chairs) Comprised of a dining table and eight side chairs Dining table: 25.125" x 96" x 42" Side chairs each: 29.75" x 17" x 22" (Table: 64 x 244 x 107 cm) P ROV E NANC E Hendrik Van Keppel, Los Angeles, California; Los Angeles County Museum of Art

$5,000–7,000

73

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

110 HENDRIK VAN KEPPEL & TAYLOR GREEN Garden table

VKG, designed c. 1960 20" x 18" x 18" (51 x 46 x 46 cm) P ROV E NANC E Los Angeles County Museum of Art

$1,500–2,000

111 STAN HAWK

Fire pit, tool holder, and candle stand (3) Hawk House, designed c. 1950 Fire pit: 19" x 42.5" x 36" Tool holder: 33" x 14.25" x 14.25" Candle stand: 22.75" x 9" x 8.75" (Fire pit: 48 x 108 x 91 cm) Together with eight pokers and brush P ROVENA NC E Drs. Kato and S.L. Pomer Collection

$3,000–5,000

112 HENDRIK VAN KEPPEL & TAYLOR GREEN Candle lights

VKG, designed c. 1950 Model no. 990 46.25" x 24.5" x 17" (117 x 62 x 43 cm) LITERATURE Van Keppel-Green: Modern Furniture. Manufacturer cat. N.d. N.pag.

$1,500–2,000

PARTIAL ILLUSTRATION

113 PETER VOULKOS

Wall-hanging charger Studio, executed 1978 Stoneware with porcelain passthroughs and partial cobalt oxide slip/ engobe and clear glaze Signed and dated to underside 4" x 24" diameter (10 x 61 cm)

$6,000–8,000

75

114 ELLAMARIE WOOLLEY Untitled

Studio, executed c. 1972 Enameled ceramic plaque Signed and inscribed “537” verso 18.125" x 11.75" x .875" (46 x 30 x 2 cm)

$2,000–3,000

115 RON KENT

Turned wood bowls (3) Studio, N.d.

Each with incised signature to underside 5.75" x 15.125" diameter 5.5" x 17.25" diameter 4.125" x 15.375" diameter (15 x 38 cm)

$1,000–1,500

116 ED MOULTHROP

Turned bowl

Studio, N.d.

Tulipwood Incised signature and stamped artist’s cipher to underside; inscribed “Figured Tulipwood/Liriodendron Tulipifera/404992R/C24888-R” 6.5" x 13" diameter (17 x 33 cm)

$1,500–2,000

117 HARRISON MCINTOSH

Group (3)

Studio, executed c. 1960 Glazed stoneware Each signed to underside; one retains remnants of paper label inscribed “Harrison/460 1/2/Claremont” Comprised of a bowl, vase, and tumbler Bowl: 2.875" x 5.375" diameter Vase: 8.625" x 4.5" diameter Tumbler: 5" x 3.375" diameter (Bowl: 7 x 14 cm)

$1,500–2,000

77

LOT 118

LOT 119

LOT 120

LOT 121

118

119

120

121

GLEN LUKENS

GLEN LUKENS

GLEN LUKENS

GLEN LUKENS

Studio, executed c. 1940 Partially glazed ceramic Signed “Glen Lukens” to underside

Studio, executed c. 1945 Partially glazed ceramic Signed “Glen Lukens” to underside

Studio, executed c. 1940 Partially glazed ceramic Signed “Glen Lukens” to underside

Studio, executed c. 1939 Partially glazed ceramic Signed “Glen Lukens” to underside

4.5" x 6.5" diameter (11 x 17 cm)

2.25" x 10" diameter (6 x 25 cm)

3" x 11" diameter (8 x 28 cm)

1.375" x 7.5" diameter (3 x 19 cm)

$3,000–5,000

$3,000–5,000

$4,000–6,000

$3,000–5,000

Vase

Bowl

Bowl

Shallow bowl

Glen Lukens Missouri-born ceramic and glass artist, Glen Lukens (1887–1967), is celebrated as one of “the great artist-teachers” of the twentieth century. Through his workshops, writing, and experiments, he sparked a sweeping interest in traditional pottery methods that had been discounted with the advent of new technologies and trends. “Self-educated” in geology and ceramic engineering, Lukens attended Maryville State Teachers College and taught elementary and high school in his home state before relocating to California.

At the time, America’s formal ceramic tradition was rooted on the East Coast where many of European artisans had settled.

As a result, Lukens’ independent approach to the discipline emerged liberally and untethered. The artist developed a practice characterized by a rough, organic aesthetic that proposed a visual counter-argument to the precise and decorative styles of his predecessors.

Inspired by his frequent trips to Walker Art Center in Minneapolis, the artist moved west in the 1920s to search for desert materials akin to those used by the ancient Egyptians to create the iconic blue glazes known as Egyptian faience.

Lukens’ career-long quest to replicate ancient pastes motivated his investigation of natural mineral deposits and alkaline compositions. Using selenium, uranium, and other rare minerals, he harnessed distinctive pigments, such as his signature “ocean-like” blue glaze, which took nearly ten years to develop. Amidst simple shapes and forms, Lukens often paired rich, silky colors with coarse, unglazed clay, illustrating “a contrast between arid and lush,” reminiscent of the environmental diversity of his adopted California home.

Throughout his career Lukens perfected his crackle glazes, which when pooled and dripped, as seen in Shallow Bowl (c.

1939), Bowl (c. 1945), and Vase (c. 1940), produced a sense of drama. These glazes also ensured that each execution was entirely unique, an idea central to the studio pottery movement of which Lukens was a pioneer.

While teaching at Fullerton High School, Fullerton College, and later the University of Southern California, Lukens made important technical contributions to the ceramic arts.

In addition to displacing the dominant slip-cast method by being “possibly the first ceramist in California to use the potter’s wheel,” Lukens developed one of the earliest electric kilns, in collaboration with his students. Prior to Lukens’

engineering, schools and studios were unable to maintain in-house pottery kilns due to their size and emissions. The artist debuted his design at the San Francisco World’s Fair of 1939-40, where it was used for demonstration firings by Gertrud and Otto Natzler. Lukens attracted a large number of disciples, not only through his ceramic work, but through his robust offering of glass, metalworking, and jewelry courses as well. After just one year teaching at USC, Lukens was appointed chair of the university’s nascent ceramics program in 1933. One of the first of its kind, the program drew students and teachers from across disciplines, eager to train under Lukens’ guidance. Lukens’ impressive roster of students included F. Carlton Ball, Roy Walker, and Frank Gehry.

An advocate for utilitarian art, Lukens retired from USC in the mid-1940s to travel to Haiti, upon invitation from the United States Aid Program. Throughout the following decade the artist worked with the island’s communities to establish pottery craft as a profitable home industry. In light of many failed attempts to secure continued financial support from Washington, Lukens tirelessly petitioned his personal and professional circles stateside for funding and supplies. In 1951, Lukens was presented with a commendation by the Haitian government, in part for his role in stemming the island’s dysentery epidemic. By replicating traditional gourd drinking vessels with glazed ceramic, Lukens offered the Haitian people a more sanitary, yet culturally salient, alternative for water storage and consumption.

By the time Lukens returned home to California in the late 1950s, a new wave of ceramic art had taken hold. Due to the artist’s worsening arthritis and the realization that his form of low-fire earthenware had fallen out of fashion, Lukens began focusing on glassware. Until his death in 1967, Lukens continued to offer a variety workshops and avidly produced literature on ceramic art. Lukens’ formidable influence on California’s ceramic heritage is undisputed and his work still exhibits actively.

McCloud, Mac. “Glen Lukens: Pioneer Ceramist.” American Craft (Archive : 1979-2005), vol. 42, no. 3, Jun 01, 1982, pp. 12-15.

Peterson, Susan. “Glen Lukens 1887-1967.” Craft Horizons (Archive : 1941-1978), vol. 28, no. 2, Mar 01, 1968, pp. 22-25.

Prunkl, Pete. “Mojave modern: in the ease of potter Glen Lukens, form followed function and emotion.” Antiques Roadshow Insider, Jan. 2008.

79

122 LA GARDO TACKETT

Double cone planters (2) Architectural Pottery, designed c. 1955 Model no. TH-104 One stamped “Architectural Pottery/ Made in USA” 27.125" x 18.75" diameter 25.25" x 17.5" diameter (69 x 48 cm) LITERATURE Architectural Pottery.

Manufacturer cat. 1961. 13.

$1,500–2,000

123 LA GARDO TACKETT & KENJI FUJITA Platters (3)

Freeman Lederman, designed c. 1960 Two with incised signature to underside; one with impressed artist’s cipher to underside Star platter: 8" x 8" x 1.25" Fish platter (small): 3.5" x 13" x 1.25" Fish platter (large): 8" x 11" x 1.5" (Star platter: 20 x 20 x 3 cm)

$1,500–2,000

124 STERLING RUBY Untitled

2010 Glazed ceramic Initialed and dated to underside 7.75" x 12.25" x 1.625" (20 x 31 x 4 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 2010)

$8,000–12,000

81

ALTERNATE VIEW

125 DAVID CRESSEY Earth Cells #2

Architectural Pottery, designed c. 1965 25" x 18" x 6" (64 x 46 x 15 cm) P ROVENA NC E Drs. Kato and S.L. Pomer Collection LITERATURE California Design Nine.

Pasadena Art Museum exh. cat. 1965. 76.

$5,000–7,000

126 DAVID CRESSEY Ceramic vessel

Architectural Pottery, designed c. 1965 Model no. 4030, from the Pro/Artisan series 18.375" x 12" diameter (47 x 31 cm) LIT E RAT URE Architectural Pottery: The Pro/Artisan Collection. Manufacturer cat.

1971. N.pag.

$800–1,200

83

ALTERNATE VIEW

127 RAUL CORONEL Flower Pot

Studio, executed 1967 Glazed ceramic Signed and dated to underside; titled to reverse 17.25" x 6.5" x 4.75" (44 x 17 x 12 cm)

$2,000–3,000

128 RAUL CORONEL Jeweled City

Stoneware Designs, Inc., designed c. 1958 Composition: 26" x 25.25" Frame: 38" x 38.375" (Composition: 66 x 64 cm) LITERATURE Stoneware Designs, Inc. Manufacturer cat. N.d. 11.

$1,500–2,000

129 RAUL CORONEL Guinea Hens

Stoneware Designs, Inc., designed c. 1958 Retains ceramic plaque with incised signature lower right 24" x 32" (61 x 81 cm) LITERATURE Stoneware Designs, Inc. Manufacturer cat. N.d. 6.

$1,500–2,000

130 BETTY DAVENPORT FORD Gibbon

1952 Glazed ceramic Signed “Davenport Ford” to reverse 26.5" x 14" x 11" (67 x 36 x 28 cm) E XHIBIT E D “Jordan Tile Company,” Los Angeles County Fair, Pomona, September 12-28, 1952

$3,000–4,000

85

131 GUY WIGGINS Street Scene N.d.

Oil on canvas Signed and inscribed “NA” lower right; signed and inscribed “NA” canvas verso Canvas (vis.): 15.125" x 11.25" Frame: 23" x 19.25" (Canvas: 38 x 28 cm) P ROVENA NC E Private Collection, Vienna, Austria; Private Collection, Vienna, Austria (acquired directly from the above, c. 1995)

$10,000–15,000

87

132 GUY WIGGINS Street Scene N.d.

Oil on canvas Signed and inscribed “NA” lower left Canvas (vis.): 15.375" x 11.5" Frame: 19.75" x 16" (Canvas: 39 x 29 cm) P ROV E NANC E Private Collection, Vienna, Austria; Private Collection, Vienna, Austria (acquired directly from the above, c. 1995)

$10,000–15,000

SIGNATURE DETAIL

133 PEDRO FRIEDEBERG Hand Foot chair

Studio, designed c. 1960 Gilt finished wood Signed “PEDRO FRIEDEBERG” 37" x 22" x 32" (94 x 56 x 81 cm)

$6,000–9,000

89

134 GRAYSON PERRY Princess Freedom 2017 Cast silver #3 of 10 Etched title verso; stamped artist’s cipher twice and inscribed “925” to base 20.25" x 15.875" x 5.625" (including base) (51 x 40 x 14 cm) P ROV E NANC E Victoria Miro, London, United Kingdom; Private Collection (acquired directly from the above)

$8,000–12,000 ALTERNATE VIEW

135 DIEGO RIVERA Sueño

1932 Lithograph on paper Proof aside from the edition of 100 Published by Weyhe Gallery, New York; printed by George C. Miller, New York Signed in graphite lower right margin beneath image; inscribed “Geo. C. Miller (Litho) Proof for Diego Rivera” lower left; retains facsimile initials and date lower right in image Image: 16.25" x 11.875" Sheet (vis.): 17.25" x 12.75" Frame: 31.5" x 25.375" (Image: 41 x 30 cm) P ROVENA NC E George C. Miller; Joseph Mugnaini, Los Angeles, California (gifted directly from the above); Thence by descent

$15,000–20,000

136 MIGUEL COVARRUBIAS Tehuantepec River 1951 Lithograph on paper Proof aside from the edition of 250 Published by Associated American Artists, New York; printed by George C. Miller, New York Signed in graphite lower right margin beneath image; inscribed “Geo. C. Miller (Litho) Proof OK” lower left Image: 12.25" x 9" Sheet (vis.): 15.5" x 11.5" Frame: 21.25" x 17.5" (Image: 31 x 23 cm)

137 CHARLES WHITE Missouri C.

1972 Etching on paper Proof aside from the edition of 25 Published by Heritage Gallery, Los Angeles; printed by Hugo and Joseph Mugnaini, Los Angeles Facsimile initials lower right in image Image: 19.5" x 35.875" Sheet: 27.5" x 39.25" (Image: 50 x 91 cm)

P ROV E NANC E George C. Miller; Joseph Mugnaini, Los Angeles,

P ROV E NANC E Joseph Mugnaini,

California (gifted directly from the

Los Angeles, California; Thence by

above); Thence by descent

descent

$1,000–1,500

$3,000–5,000

91

138 PAUL WONNER

Untitled (Two Figures) N.d.

Watercolor, gouache, and graphite on paper Signed lower right in composition Composition/sheet: 18" x 11.875" Frame: 27.25" x 21.25" (Composition/sheet: 46 x 30 cm)

$4,000–6,000

139 PAUL WONNER

Untitled (Woman Dressing) N.d.

Watercolor, gouache, and graphite on paper Signed lower right edge of sheet in composition Composition/sheet: 15.25" x 12" Frame: 27.25" x 21.25" (Composition/sheet: 39 x 30 cm)

$4,000–6,000

140 LAWRENCE GIPE

Apollinaire Cycle #4 1989 Oil on wood Retains Karl Bornstein Gallery label verso Board: 47.75" x 72" Frame: 53.625" x 77.625" (Board: 121 x 183 cm)

$1,500–2,000

93

141 FRITZ SCHOLDER

Galloping Indian after Leigh 1979 Etching and aquatint on Magnani paper Artist’s proof aside from the edition of an unknown size Printed by 2RC Edizioni d’Arte, Rome Signed in graphite lower left margin beneath image; edition lower right; retains printer’s blind stamp lower left corner of sheet Image: 38.375" x 47" Sheet: 43.625" x 62.875" (Image: 97 x 119 cm) P ROV E NANC E Orr’s Gallery, San Diego, California; Private Collection, Los Angeles, California; Private Collection, Studio City, California (acquired directly from the above through Wright, Chicago, Illinois, April 19, 2018, lot 390)

$1,000–1,500

142 KEN PRICE Heat Wave

1995 The complete deluxe portfolio of 15 color screenprints on Arches paper #14 of 26 Published by Black Sparrow Graphic Arts, Santa Rosa; printed by T.J. Owens, Healdsburg Each signed and dated in graphite lower right margin beneath image; edition lower left; each retains publisher’s blind stamps; facsimile of artist’s signature on justification page with lettered edition inscribed in red ink Text by Charles Bukowski Together with original packaging and CD Sheets each: 14" x 11" (some with alternate orientation) Portfolio case: 15" x 12.625" x 1" (Sheets each: 36 x 28 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$6,000–8,000

143 ED KIENHOLZ

For the Secret S.S.S.R. 1972 Watercolor and ink stamp on paper in artist’s frame Signed and dated in graphite with artist’s thumbprint lower right edge of sheet Sheet (vis.): 11.625" x 15.625" Frame: 12.25" x 16.25" (Sheet: 29 x 40 cm)

$5,000–7,000

144 ED KIENHOLZ

For Two New Decker Packsaddles 1969 Watercolor and ink stamp on paper in artist’s frame Signed and dated in graphite with artist’s thumbprint lower right edge of sheet; retains Eugenia Butler Gallery label frame verso Sheet (vis.): 11.625" x 15.625" Frame: 12" x 16.125" (Sheet: 29 x 40 cm)

$5,000–7,000

95

145 BILLY AL BENGSTON The Alamo - Yellow

1969 Lacquer and polyester resin on aluminum #2 of 20 Indented initials upper center; etched initials, date, and edition “B.A.B./1969/2/20” lower center; retains Artist Studio label verso 36" x 34" (91 x 86 cm)

$12,000–15,000

97

ALTERNATE VIEW

146 DE WAIN VALENTINE Untitled (Ring) c. 1972 Acrylic 2.125" x 30.875" diameter (5 x 78 cm)

$30,000–50,000

147 ED RUSCHA

Cheese Mold Standard with Olive 1969 13-color screenprint on wove paper #75 of 150 Published by the artist; printed

by Jean Milant and Daniel Socha, Hollywood Signed and dated with edition in graphite lower left margin beneath image Image: 19.5" x 36.75" Sheet: 25.75" x 40" Frame: 29.625" x 46.75" (Image: 50 x 93 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #31.

$60,000–80,000

148 ED RUSCHA F (Falling)

1993 Pigment and graphite on paper Signed and dated in graphite lower right; retains Modern and two Franklin Parrasch Gallery labels frame verso Sheet: 4" x 5.625" Frame: 15.625" x 13.125" (Sheet: 10 x 14 cm) P ROV E NANC E Franklin Parrasch Gallery, New York, New York; Private Collection, Aspen, Colorado (acquired directly from the above, 2015)

$40,000–60,000

99

149 ED RUSCHA Miracle

1999 1-color lithograph on John Koller HMP cream paper #10 of 10 artist’s proofs aside from the edition of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right edge of sheet; edition lower left; retains Gemini G.E.L. blind stamps lower right edge of sheet Gemini G.E.L. #45.24 Image: 15.375" x 24.75" Sheet: 23.5" x 32.5" Frame: 25.625" x 34.625" (Image: 39 x 63 cm)

$8,000–12,000

150 ED RUSCHA

New Wood, Old Wood 2007 Mixografía diptych relief on handmade paper #11 of 75 Published and printed by Mixografía, Los Angeles Each signed and dated lower right edge of sheet; edition lower left; retains Mixografía and Gagosian Gallery labels frame verso Sheets each: 13" x 34" Frame: 29.625" x 36.625" (Sheets each: 33 x 86 cm)

$4,000–6,000

151 JOHN BALDESSARI

Double Bill (Part 2) ...And Ernst 2012 Inkjet on canvas Signed and inscribed “For Robert From John Baldessari” along lower edge of canvas Canvas (vis.): 16.5" x 14.5" Frame: 17.125" x 15" (Canvas: 42 x 37 cm) P ROV E NANC E Robert Dean (acquired directly from the artist) LIT E RAT URE Zoetrope: All Story.

Vol. 16. No. 4. Winter 2012/2013. 63.

$6,000–8,000

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152 JOHN BALDESSARI

Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) 1973 The complete portfolio of 15 loose sheets; 13 sheets offset lithographs From the edition of 2,000 Published by Galleria Toselli, Milan; printed by Gimpolo Prearo, Milan Together with original slip case This example includes an additional photolithograph, making 13 photolithographs in total (the set typically is comprised of 12 photolithographs) Images each: 7" x 10" Sheets each: 9.625" x 12.625" Frame: 47" x 59.5" (Images each: 18 x 25 cm)

$2,000–3,000

153 CHARLES ARNOLDI Untitled 1981 Bronze Artist’s proof aside from unknown edition size Etched signature and date with edition to underside 14.875" x 7.125" x 11.375” (38 x 18 x 29 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$5,000–7,000

154 CHARLES ARNOLDI Untitled #1 1981 Bronze #2 of 6 Etched signature and date with edition to underside 13.25” x 13” x 9.25” (34 x 33 x 23 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$3,000–5,000

103

Looking Through the Natural World Over the course of his career, Joe Goode (b. 1937) has explored the nature of perception and the fluid relationship between representation and abstraction. Featured in the Pasadena Art Museum’s 1962 exhibition, “New Painting of Common Objects,” Joe Goode’s breakout Milk Bottle series earned him national recognition and a prominent place within the Pop Art canon.

Goode characterized his subject matter as “the stuff that [he was] confronted with everyday.” Despite similar historical context, Goode’s commentary diverged from that of contemporaries such as Andy Warhol and Ed Ruscha, observed one critic, in that he refused to address any particular argument or audience. Goode’s independent conceptual rhetoric was reiterated in the series of works that he began producing in the 1970s, which highlighted natural forces. While some have attached metaphysical meaning to the apparent shift in Goode’s subject matter, the artist pointed out that his portrayal of “the elements” was truly a perpetuation of his core framework of encounters with the everyday.

When Goode moved to Springville, California, in the foothills of the Sierra Nevada Mountains, he began painting his Torn Sky series. In the series’ works, clear blue skies, imitating the mountain air surrounding his new home, are interrupted by patches of hazy, Los Angeles atmosphere, rendered in tan and pea green, that peek out from behind the top layer of canvas.

According to Goode, the Torn Sky paintings were pure observations of texture, and didn’t initially contain any criticism. However, upon exhibiting the works in London, he was startled by the revelation that his European audience struggled to identify the murky colors of the secondary canvas layer as sky variants.

It was this encounter that “made [him] really conscious of what kind of sky we had” and the compelling exchanges between people and their natural environments. Despite its clarity, the Springville sky lacked the complexity afforded to Los Angeles sunsets by the city’s smog gradient. Goode instead undertook identifying the dynamic color qualities of the pastoral scenes that surrounded him.

Just as the icon of the milk bottle had presented itself to Goode on his doorstep, one early morning as he returned from working a night shift, so did the initial inspiration for Untitled (Forest Fire) (1982). As reported by the artist, one evening in the late 1970s, Goode was sitting on his porch and noticed a bright light coming up from behind a mountain. He recalled thinking to himself that it was “going to be the damnedest moon [he’d] ever seen in his life.” After waiting until nearly four o’clock in the morning for the supposed moon to emerge, Goode suddenly noticed the defined edges of flames stretching upwards. The next day he asked a friend of his, who worked for the Forest Service, to bring him out to the site of the fire. Upon gazing at the scene, Goode was awestruck by the magnitude of the destruction and the dissolution of the visual character that he had previously sought to capture. Following his Forest Fire works, Goode was inspired by the “rebirth of the forest” and created the Tree series (to which Tree #26 (1986) and Tree #16 (1987) belong). The artist described the difficulty of documenting this healing process, citing the challenge of capturing his desired “sense of looking in and out, above and below” the mammoth foliage.

Goode’s 1992 Tornado series revisited the terrain of his Oklahoma upbringing. The painter demystified the “sublime” by pausing an unrelenting force, allowing the viewer to peer into a fury that would otherwise inspire a retreat. While Goode’s “pictorial image” constantly changes, he says that “what [he is] trying to do” remains resolute. From milk bottles to tornados, his “idea of looking through something doesn’t change.”

Coyne, Mary. “Joe Goode at the Contemporary Art Museum St. Louis.” Droste Effect Mag, 13 Oct. 2015, www.drosteeffectmag.com/joe-goode-contemporary-art-museum-st-louis/.

Hunter, Drohojowska P. “ART; Abstraction is in His Nature; Onetime Pop Artist Joe Goode Reveals another Side in a Survey Opening the New Orange County Museum of Art.” Los Angeles Times, Jan. 26, 1997.

“Oral history interview with Joe Goode, 1999 Jan. 5-2001 Apr. 12.” Archives of American Art, Smithsonian Institution.

155

156

JOE GOODE

JOE GOODE

1978 Oil on canvas

1986 Oil on panel and oil on canvas in two parts

Untitled

Retains James Corcoran Gallery label canvas stretcher bar verso Canvas: 72" x 66" Frame: 72.875" x 67" (Canvas: 183 x 168 cm) This work is being sold to fund new

Tree #26

Signed to stretcher bar of right canvas verso; inscribed “#26” to stretcher bar of left canvas verso Canvas/panel (overall): 51" x 144.25" Frame: 53" x 146.25" (Canvas/panel: 130 x 366 cm)

artwork for UCLA’s hospitals, medical centers, and clinics, along with

This work is being sold to fund new

much needed repairs and upkeep of

artwork for UCLA’s hospitals, medi-

artwork in the collection.

cal centers, and clinics, along with

P ROV E NA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$20,000–30,000

much needed repairs and upkeep of artwork in the collection.

PROVE N A N CE James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$30,000–50,000

105

157 JOE GOODE

Tree Drawing #16 1987 Oil on paper Signed and stamped “1987” sheet verso; inscribed “J.C. #87-1136” and “T.D. #16” Composition: 14.75" x 9.75" Sheet: 15.25" x 10.25" (Composition: 37 x 25 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$5,000–7,000

158 JOE GOODE

Untitled (Tornado Series #3) 1992 Pastel on paper Signed and inscribed “#3” sheet verso Composition/sheet: 8.75" x 5.625" (Composition/sheet: 22 x 14 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$3,000–5,000

160 JOE GOODE 159 JOE GOODE Forest Fire

c. 1982 Oil on canvas in three parts

Untitled (Torn Sky) 1973 Lithograph on paper #9 of an unknown edition size of artist’s proofs

Retains James Corcoran Gallery label canvas stretcher verso

Signed and dated lower right margin beneath image; edition lower left

Canvas (overall): 14" x 33" Frame: 15.375" x 34.625" (Canvas: 36 x 84 cm)

Image: 8" x 14" Sheet: 12" x 18" (Image: 20 x 36 cm)

This work is being sold to fund new

This work is being sold to fund new

artwork for UCLA’s hospitals, medi-

artwork for UCLA’s hospitals, medi-

cal centers, and clinics, along with

cal centers, and clinics, along with

much needed repairs and upkeep of

much needed repairs and upkeep of

artwork in the collection.

artwork in the collection.

P ROV E NANC E James Corcoran, Los

P ROV E NANC E James Corcoran, Los

Angeles, California; UCLA Health

Angeles, California; UCLA Health

(gifted directly from the above)

(gifted directly from the above)

$10,000–15,000

$1,500–2,000

107

109

161 ED MOSES Untitled

c. 1978 Oil on canvas mounted to panel in four parts Each numbered in felt-tip marker panel verso; each retains James Corcoran Gallery label panel verso Canvases each: 60" x 60" Overall: 60" x 240" (Canvases each: 152 x 152 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$20,000–30,000

162 ED MOSES Untitled

1982 Watercolor on paper Signed “E” and dated in graphite lower right Composition/sheet: 16" x 12" Frame: 23.375" x 19.375" (Composition/sheet: 41 x 30 cm) P ROVENA NC E Private Collection, Venice, California (acquired directly from the artist); Thence by descent

$3,000–5,000

163 ED MOSES Untitled

1993 Ink on paper Initialed and dated in graphite lower right Composition: 8" x 12" Sheet: 12.75" x 16.75" Frame: 19.375" x 23.375" (Composition: 20 x 30 cm) P ROVENA NC E Private Collection, Venice, California (acquired directly from the artist); Thence by descent

$1,000–1,500

ILLUSTRATED OPPOSITE PAGE

164 ED MOSES Fagaragan

1991 Oil, acrylic, and shellac on canvas Initialed and dated in black felt-tip marker canvas verso; titled in black felt-tip marker to canvas overlap verso; retains L.A. Louver Gallery label to canvas stretcher verso Canvas: 48" x 38" Frame: 48.25" x 38.25" (Canvas: 122 x 97 cm) P ROVENA NC E Private Collection, Venice, California (acquired directly from the artist); Thence by descent

$8,000–12,000

165 ROBERT GRAHAM

Study for the Frieze V 1988 Cast bronze #10 of 10 Edition stamped lower left edge of panel; impressed “V” lower left Panel: 19.25" x 48.25" Frame: 21.25" x 50.375" (Panel: 49 x 122 cm) LITERATURE Robert Graham Sculptures. Galerie Neuendorf exh. cat.

1990. #76 for other examples from the series illustrated.

$18,000–20,000

113

167 DAVID HOCKNEY

Small Head of Gregory 1976 1-color lithograph on Buff Arches Cover paper #37 of 98

166 ROBERT GRAHAM MOCA Torso

1992-1995 Patinated cast bronze From an edition of 3,500 Published by MOCA Editions, Los Angeles Inscribed “Guardado A” and “Carlos M” to underside

Published and printed by Gemini G.E.L., Los Angeles Signed and dated with Gemini G.E.L. blind stamps lower right; edition lower left; retains Adler Gallery label frame verso Gemini G.E.L. #23.35 Together with original invoice from Gemini G.E.L. dated June 6, 1980 Image/sheet: 10.25" x 9.375" Frame: 16" x 15" (Image/sheet: 26 x 24 cm)

10.875" x 4.5" diameter (27 x 11 cm)

LIT E RAT URE David Hockney Prints

$1,800–2,500

$2,000–3,000

1954-1995. 1996. #173.

168 CRAIG KAUFFMAN

Gray with Sun/Crescent Moon 1951 Mixed-media on paper Signed and dated in white crayon lower center sheet Composition/sheet (vis.): 21.375" x 26.5" Frame: 23" x 28.125" (Composition/sheet: 54 x 67 cm) P ROVENA NC E The artist; Phyllis Kessel, California (acquired directly from the above)

$3,000–5,000

169 CRAIG KAUFFMAN

The Mountains are Dancing (Valentine) c. 1952 Graphite and watercolor on paper Signed and dated in graphite lower left; inscribed “For Phyllis” in graphite lower right; retains Landau Gallery label frame verso Composition/sheet (vis.): 10.875" x 30.375" Frame: 14" x 33.625" (Composition/sheet: 27 x 77 cm) P ROVENA NC E The artist; Phyllis Kessel, California (acquired directly from the above)

$3,000–5,000

115 170 JACK ZAJAC

Untitled (Goat on a Stake) 1956 Bronze Retains stamped artist’s cipher and date 7" x 10.375" x 6.5" (including base) (18 x 26 x 17 cm)

$1,200–1,500

171 JACK ZAJAC Falling Water c. 1967 Bronze 8.375" x 2" x 3.5" (21 x 5 x 9 cm)

$800–1,200

Keith Haring Keith Haring’s (1958–1990) hieroglyphic expressions have become synonymous with the social electricity of New York City in the 1980s. Unlike the Pop artists who preceded him, Haring’s employment of the simplest symbolic relationships elevated everyday meaning-making and celebrated the universality of visual culture in its most reduced form. As one of the few artists of his generation to successfully cross-pollinate public and institutional art, Haring radically redefined practices of art consumption. Haring’s urban interventions are perhaps the most emblematic of this framework, negotiating unpredictable time, space, and materials. While Haring famously resisted discussing his political inclinations, his public works more than compensated for his coyness. In addition to scrutinizing love, greed, power, racism and homophobia, Haring became a prominent figure in the AIDS activism movement. Following his own diagnosis in 1988, Haring formed the Keith Haring Foundation with the mission of supplying financial support and artistic contributions to AIDS organizations, and generating public awareness through the formal dissemination of his work.

Haring helped create the AIDS Coalition to Unleash Power's (ACT UP) most iconic visual by co-opting the pink triangle that had been used by the Nazis to identify someone as gay, and contributed to the graphic campaign to spur governmental action in combating the AIDS crisis.

Untitled (1984) features Haring’s ‘monkey men,’ who are a recurring motif in a handful of his works. Compared with other examples of Haring’s hybrid animal-human characters, the monkey man is imbued with a sense of innocence and harmlessness. Here, the two men are torn apart by a large disembodied hand, and the traumatic desperation of the moment is documented by Haring’s canny motion lines. This narrative

seems to lament the societal prejudices that prevented gay men from openly expressing their love. One 1983 painting bears a similar iconography, with a miniature depiction of the monkey man caught by his tail. The tableau is embedded in a computer monitor which sits a top a rampaging caterpillar. This work is said to communicate apprehension toward the proliferation of technological media and warns of the commercialization of abuse and injustice. Seeing as such, Haring commonly portrays the monkey man as unwittingly vulnerable. While it is tempting to assign an irrepressible or even divine identity to the faceless power that inflicts the scene’s pain, a more compelling reading may be that the hand represents any faceless power who manipulates individuals to an outsized degree, be that corporate, political, or religious groups. Untitled (1984) evokes the notion that this type of institutional power is only legitimized by the complacency that the work projects onto its viewer.

In contrast to Haring’s subway art, most often rendered on the black paper of unoccupied advertising space, Untitled (1984) was executed on plywood. Less ephemeral than paper, the nature of the work’s material demands more from the viewer than the momentary glance that they would be willing to lend on a crowded subway platform, while maintaining the simple spontaneity and sense of connection that his subway pieces meant to elicit.

“Keith Haring Biography.” The Keith Haring Foundation, www.haring.com/!/about-haring/bio#.XLD5Ti-ZPBI. Gruen, Julia. "Haring All-Over." The Keith Haring Foundation, 1999. http://www. haring.com/!/selected_writing/haring-all-over#.XLZd2ZNKhUM.

117

172 KEITH HARING Untitled

1984 Chalk on plywood Signed, dated, and inscribed “ORIGINALLY DRAWN ON/THE STREET–/SIGNED LATER–JULY 13–1989” in black felt-tip marker verso; retains Tony Shafrazi Gallery label frame verso Keith Haring Estate ID #070505A2 Together with copy of certificate from the Estate of Keith Haring Panel (vis.): 95" x 47" Frame: 97" x 49" (Panel: 241 x 119 cm) P ROV E NANC E The Estate of Stephen Reichard; Tony Shafrazi Gallery, New York, New York; Brooklyn Academy of Music, New York, New York; Private Collection, New York, New York (acquired directly from BAM, 1991)

$150,000–200,000

174 CHRIS BURDEN

Relic from “Merry Christmas from Chris Burden” ILLUSTRATED PREVIOUS PAGE

173 CHRIS BURDEN

1976 Printed text on paper and $10 bill Sheet: 3.625" x 8.5" Bill: 2.625" x 6.125" (Sheet: 9 x 22 cm)

Ephemera for Documenta 6 performance

PROVE N A N CE Billy Adler, Los Ange-

1977 Fax

the artist); Private Collection, Califor-

les, California (acquired directly from nia (acquired directly from the above)

Signed and dated

L I T E RAT U R E Chris Burden: A Twen-

11" x 8.5" x .125" (28 x 22 x 0.2 cm)

ty-Year Survey. Newport Harbor Art

Together with 3-volume exhibition catalogue Documenta 6

Museum exh. cat. 1988. 79.

$3,000–5,000

For Documenta 6, the contemporary art exhibition that occurs every 5 years in Kassel, Germany, Burden exhibited C.B.T.V. (Chris Burden Television). For the piece, Burden created a working replica of an early mechanical television invented by John Logie Baird in 1924. The viewer could choose to stand in front of the machine or place an object in front of the machine, and the image would be transmitted to another room. The piece was intended to give insight into how increasingly complex devices functioned, by presenting an early simplified version.

P ROV E NA NC E Billy Adler, Los Angeles, California (acquired directly from the artist); Private Collection, California (acquired directly from the above)

175 CHRIS BURDEN

Full Financial Disclosure; B-Car (2) 1977 Full Financial Disclosure: Published

by Jan Baum-Iris Silverman Gallery, Los Angeles; B-Car: Published by CHOKE Publications, Los Angeles Each signed and dedicated in blue felt-tip pen 7.75" x 3.5" x .125" 5.5" x 7" x .125" (20 x 9 x 0.2 cm)

LIT E RAT U RE Chris Burden: A Twen-

PROVE N A N CE Billy Adler, Los Ange-

ty-Year Survey. Newport Harbor Art

les, California (acquired directly from

Museum exh. cat. 1988. 112.; Docu-

the artist); Private Collection, Califor-

menta 6. Vol. I. 1977. 294-295.

nia (acquired directly from the above)

$3,000–5,000

$1,500–2,000

119

176 DAMIEN HIRST

For the Love of God, The Diamond Skull 2007 Screenprint with glazes and diamond dust on paper #128 of 250 Published by Other Criteria, London Signed in white crayon lower right; edition lower left Together with copy of invoice from White Cube dated June 20, 2007 Sheet: 39.375" x 29.375" Frame: 42.5" x 32.5" (Sheet: 100 x 74 cm) P ROVENA NC E White Cube, London, United Kingdom; Private Collection, Los Angeles, California (acquired directly from the above, 2007)

$10,000–15,000

177

178

JEFF KOONS

TOM FRIEDMAN

1995 Cast porcelain with red reflective finish

2000 Color inkjet print on Somerset paper

Balloon Dog (Red)

#462 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso with edition Together with original box and plate stands 10.25" diameter (26 cm)

$8,000–12,000

Untitled (Dollar Bill)

#95 of 100 Published by Fabric Workshop and Museum, Philadelphia Signed with edition in graphite verso Image: 13.25" x 33.375" Sheet: 21.125" x 41.25" Frame: 23" x 43" (Image: 34 x 85 cm)

$4,000–6,000

121

179 TAKASHI MURAKAMI Manji-fuji

2001 Color laser print on smooth wove paper #83 of 105 Published by Kaikai Kiki, Tokyo Signed and dated with edition in graphite lower right margin beneath image Image: 8.75" x 11.75" Sheet (vis.): 9.375" x 12.25" Frame: 16.5" x 19" (Image: 22 x 30 cm)

$3,000–5,000

180 TAKASHI MURAKAMI Kerotan

2001 Color laser print on smooth wove paper #83 of 105 Published by Kaikai Kiki, Tokyo Signed and dated with edition in graphite lower right margin beneath image Image: 14.75" x 7.75" Sheet (vis.): 15.5" x 8.25" Frame: 22.25" x 16.5" (Image: 37 x 20 cm)

$3,000–5,000

181 TAKASHI MURAKAMI 72727

2001 Color laser print on smooth wove paper #83 of 105 Published by Kaikai Kiki, Tokyo Signed and dated with edition in graphite lower right margin beneath image Image: 14.75" x 9.375" Sheet (vis.): 15.375" x 10" Frame: 22.25" x 16.5" (Image: 37 x 24 cm)

$2,000–3,000

182 TAKASHI MURAKAMI

Monogram Cherry; Monogram Mini Multicolore-Black; Monogram Mini Multicolore-White; Monogram Multicolore-Black; Monogram Multicolore-White (5) 2007 Canvases on aluminum chassis Each from an edition of 100 Co-published by Louis Vuitton and MOCA Editions, Los Angeles Each signed in black felt-tip marker on metal chassis verso; each stamped “© MURAKAMI/The Museum of Contemporary Art/Los Angeles/2007” on metal chassis verso Each together with original box Each: 15.75" x 15.75" x 2" (40 x 40 x 5 cm)

$25,000–35,000

123

David Shrigley UK-based multimedia artist David Shrigley (b. 1968) is internationally recognized for his deadpan depictions of the micro-dilemmas inherent to twenty-first century life. With an oeuvre of over 7,000 works, including drawings, sculpture, films, and spoken-word poetry, Shrigley has become one of the most successful artists of his generation. In 2018 alone he was the subject of major solo exhibitions in Shanghai, Brighton, Stockholm, and Athens. The artist earned a B.F.A. in environmental art from the Glasgow School of Art, but says that he harvests his works “without any consideration of craft.” His creative method is improvisational, but his critical process is rigorous. His popular freehand drawings appear to be off-the-cuff musings, but in reality, Shrigley discards hundreds of illustrations, disseminating only the most evocative and finely-tuned images.

In exploring the everyday oddities and “challenges [that await] the contemporary man,” Shrigley often turns to text out of fascination with “the slippage of meaning.” He notes that writers have had a much greater influence over his practice than other visual artists. Though Shrigley himself is not heavily invested in

183 DAVID SHRIGLEY Drum Skin 16

2017 Water-based marker on mylar drum skin 22.75" diameter (58 cm) P ROVENA NC E Anton Kern Gallery, New York, New York; Private Collection (acquired directly from the above)

$7,000–10,000

social media, he recognizes that much of what makes his works resonate with people runs parallel to the draw of the internet’s most popular memes and tropes. The artist argues that his dark, confessional humor lands because he delivers “de-contextualized” messages. Just as is the case within the visual culture of social media, the shared information is validated and “re-contextualized” by the person receiving it. This allows strange or out of place images or phrases to become personal, but also communal. With this level of accessibility, Shrigley’s repertoire has managed to straddle the worlds of both common and refined art consumption.

Fullerton, Elizabeth. “Doodle Unto Others.” ARTnews, 18 Apr. 2012, www.artnews. com/2012/02/23/doodle-unto-others/.

Weiner, Jonah. “The Art of the Doodle.” The New York Times Magazine. January 29, 2012, pp: 39-41.

White, Adam. “David Shrigley: Life Lessons from an Art World Anarchist.” Huck Magazine, 1 Mar. 2018, www.huckmag.com/art-and-culture/art-2/life-lessons-david-shrigley/.

Yerebakan, Osman Can. “New York – David Shrigley at Anton Kern Gallery Through May 23rd, 2015.” Art Observed, 23 May 2015, artobserved.com/2015/05/new-yorkdavid-shrigley-at-anton-kern-gallery-through-may-23rd-2015/.

184 DAVID SHRIGLEY

Untitled (Express your feelings) 2012 Acrylic on paper Retains Anton Kern Gallery label frame verso Composition/sheet: 29.5" x 22" Frame: 31.625" x 24.125" (Composition/sheet: 75 x 56 cm) P ROV E NANC E Anton Kern Gallery, New York, New York; Private Collection (acquired directly from the above)

$8,000–12,000

185 DAVID SHRIGLEY

Untitled (Very simple...)

2013 Ink on paper Retains Anton Kern Gallery label frame verso Composition/sheet: 16.375" x 11.5" Frame: 18.875" x 14.125" (Composition/sheet: 41 x 29 cm) P ROV E NANC E Anton Kern Gallery, New York, New York; Private Collection (acquired directly from the above)

$5,000–7,000

186 DAVID SHRIGLEY

Untitled (Incompetence) 2013 Ink on paper Retains Anton Kern Gallery label frame verso Composition/sheet: 16.375" x 11.5" Frame: 18.875" x 14.125" (Composition/sheet: 41 x 29 cm) P ROV E NANC E Anton Kern Gallery, New York, New York; Private Collection (acquired directly from the above)

$5,000–7,000

125

187 MATTHEW BRANNON Consequence

2013 Screenprint on canvas, wood, brass Unique 90.625" x 65" (including dowel) (230 x 165 cm) P ROVENA NC E David Kordansky Gallery, Los Angeles, California; Private Collection (acquired directly from the above)

$3,000–5,000

188 ANDREA BOWERS

Political Poetry - Gagosian Recycled (Knight and Turrell) 2011 Graphite on invitation card Signed and dated in black ink verso; retains Susanne Vielmetter label frame verso Image/sheet: 22.75" x 9.125" Frame: 35.625" x 21" (Image/sheet: 58 x 23 cm) P ROV E NANC E Susanne Vielmetter, Los Angeles, California; Private Collection (acquired directly from the above)

$2,000–3,000

189 THORSTEN PASSFELD

Stools (from Play with the Big) (6) Atelier, designed 2006 Each: 17.5" x 13.25" x 11.5" (44 x 34 x 29 cm) P ROV E NANC E Art Basel, Miami Beach, Florida; Private Collection, United States (acquired directly from the above, 2006)

$2,500–3,500

127

190 RAYMOND PETTIBON

No Title (Leading out of...)

2003 Watercolor, India ink, and pencil on paper Signed and dated verso; inscribed “RaP5916” verso; retains an additional drawing verso Composition/sheet: 24" x 18" Frame: 29.125" x 23.125" (Composition/sheet: 61 x 46 cm) P ROVENA NC E Galerie Meyer Kainer, Vienna, Austria; Private Collection (acquired directly from the above)

$15,000–20,000

129

191 RAYMOND PETTIBON

No Title (When I love...)

2017 Ink and acrylic on collaged paper Composition/sheet (irreg.): 41.75" x 37" Frame: 48" x 41" (Composition/sheet: 106 x 94 cm) P ROV E NANC E Sadie Coles HQ, London, United Kingdom; Private Collection (acquired directly from the above)

$30,000–50,000

192 FRED TOMASELLI Bloom (March 12)

2017 Acrylic and ink on paper Signed and dated in graphite lower right margin beneath composition; retains White Cube label frame verso Composition: 45.75" x 56.75" Sheet: 47" x 57.75" Frame: 55.75" x 66.625" (Composition: 116 x 144 cm) P ROVENA NC E White Cube, London, United Kingdom; Private Collection (acquired directly from the above)

$20,000–30,000

193 CHARLINE VON HEYL Untitled

2010 Mixed media on paper Signed and dated in graphite lower right Composition/sheet: 23.875" x 18.875" Frame: 26.625" x 21.625" (Composition/sheet: 60 x 48 cm) P ROV E NANC E 1301PE, Los Angeles, California; Private Collection (acquired directly from the above)

$4,000–6,000

131

194 AMY SILLMAN Pooch

1995 Watercolor and gouache monotype on paper Published by Pelavin Editions, New York Signed and dated in graphite lower right margin beneath image; titled lower center sheet; retains unknown blind stamp lower left Image: 22.625" x 30.375" Sheet: 29.25" x 41.5" Frame: 31.5" x 43.875" (Image: 57 x 77 cm) P ROV E NANC E Cheryl Pelavin Fine Art, New York, New York; Private Collection, Orange, California (acquired directly from the above, 1998)

$4,000–6,000

Form Over Function Cited as the father of the American Studio Furniture Movement, Wendell Castle (1932–2018) produced a prolific body of work over the course of his six decade-long career. Castle was one of the first, and most successful, artists to seamlessly blend the aesthetic sensibilities of sculpture with the accessibility of furniture. Through his signature organic forms, the artist “invented his own visual language,” that challenged the predominant modernist insistence that form follow function.

With the combined knowledge of his degrees in both industrial design and sculpture, Castle distinguished himself from other furniture artisans of the 1960s by pioneering a stack-lamination process. When pieces of wood were glued together, a more versatile, sculptural canvas emerged, allowing Castle’s designs to blossom upwards from well-established support points.

Sleepy Time Gal bed (executed 1998) illustrates many of the essential markers of Castle’s work of the 1990s, a period which saw the artist’s increased blurring of medium boundaries.

Castle’s use of varying woods presents a multi-color palette.

This tonal variation emphasizes the bed frame’s whimsical decorative elements, which include the silhouette of a woman outlining its headboard and the etched lyrics of Richard Whiting’s 1925 song, “Sleepy Time Gal,” along its posts. As is a feature in a number of works from the decade, the bed frame also includes small compartments and drawers that offer very little space for any meaningful storage. It has been suggested that these spaces were introduced simply “to parody the notion of function.” Thus, this piece offers a critical example of Castle’s dynamic role in shaping the lexicon of art furniture.

In the 1980s, the postmodern trends that animated the New Wave and Memphis styles encouraged Castle to shy away from stack-lamination and to begin focusing on traditional joinery methods. This led to a brief interlude in which Castle executed “fine-furniture” in the tradition of Art Deco craftsmen. By the end of the decade, however, the artist abandoned this approach and returned to his sculptural style with gusto.

Sewell, Darrel, et al. “Contemporary American Crafts.” Philadelphia Museum of Art Bulletin, vol. 87, no. 371/372, 1991.

“Wendell Castle: The Art of Furniture.” Popular Woodworking Magazine, 21 June 2018, www.popularwoodworking.com/interviews/wendell-castle-art-furniture-2/.

“Wendell Castle: Timeless.” Smithsonian American Art Museum, 23 Jan. 2019, americanart.si.edu/blog/eye-level/2018/23/57324/wendell-castle-timeless.

195 WENDELL CASTLE

Sleepy Time Gal bed Studio, executed 1998 Mahogany, jelutong, and bronze Signed, titled, and dated 91" x 109.25" x 101" (231 x 277 x 257 cm) P ROV E NANC E Scott Jacobson Gallery, New York, New York; Private Collection, Aspen, Colorado (acquired directly from the above, 1999) ILLUST RAT E D Wendell Castle: A Catalogue Raisonné 1958-2012. E. Eerdmans.

2014. #IV.644.

$30,000–50,000

133

ALTERNATE VIEWS

MARKINGS DETAIL

196 WENDELL CASTLE

Abilene rocking chair Studio, executed 2008 #4 of 8 Stainless steel Signed and dated with edition to underside 30.5" x 29" x 52" (78 x 74 x 132 cm) P ROVENA NC E Barry Friedman, Ltd., New York, New York; Private Collection, Los Angeles, California

$40,000–60,000

197 MAARTEN BAAS Clay fan

Den Herder Production House, designed 2007 Enameled synthetic clay over steel frame Signed and dated “august ‘07” in black felt-tip marker to backside of fan blade; signed with applied metal signature to one leg 83" x 34.25" x 26.375" (211 x 87 x 67 cm)

$7,000–10,000

135

198 DALE CHIHULY

Buttercup Yellow Persian with Red Lip Wrap Portland Press, executed 1996 Signed, dated, and inscribed “PP 96” to underside 9.875" x 13.375" x 9" (25 x 34 x 23 cm)

$2,000–3,000

199 DAN DAILEY

Waterfall vase Studio, designed c. 1985 Glass Etched signature near base; etched “MF 2993/Waterfall” to underside 10.75" x 8" x 4.25" (27 x 20 x 11 cm)

$1,000–1,500

200 DANTE MARIONI Red Mosaic vase

Studio, executed c. 1999 Glass 28" x 8" diameter (71 x 20 cm)

$3,000–5,000

137

201 BERTIL VALLIEN Metropolis vase

Kosta Boda, designed c. 1990 Model no. 40025 Inscribed “8BUMT 009012/500 KOSTA BODA ATELIER B. VALLIEN” to underside 22.5" x 3.5" x 3.5" (57 x 9 x 9 cm)

$1,500–2,000

202 ALBERTO GIACOMETTI Nu Assis

1965 Lithograph on Rives BFK paper #33 of 100 Published by the Graphic Arts Council, LACMA, Los Angeles; printed by Gemini G.E.L., Los Angeles Signed in graphite lower right margin beneath image; edition lower left; retains Gemini G.E.L. blind stamp lower right edge of sheet Image: 24.25" x 17" Sheet: 30" x 22" Frame: 36.75" x 29" (Image: 61 x 43 cm) LITERATURE Giacometti: The Complete Graphics and 15 Drawings.

H. Lust. 1970. #53.

$4,000–6,000

203 PABLO PICASSO

Tête de Femme, Face et Profil (from Picasso, Dessins) 1925; published 1926 Lithograph on Japon Impérial paper From an edition of 100 Published by Éditions des Quatre Chemins, Paris; printed by Engelmann Imprimeur-Lithographe, Paris Signed in graphite lower right margin beneath image; inscribed “Picasso Tete de Femme G.240” lower left edge of sheet Image: 5" x 4.625" Sheet: 10.375" x 8.25" (Image: 13 x 12 cm) LITERATURE Picasso: Peintre-Graveur. Vol. I. 3rd ed. B. Geiser and B. Baer. 1990. #240.; Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol I. G. Bloch. 1968. #73.

$7,000–10,000

204 PABLO PICASSO Balzac Portrait

1952 Crayon lithograph on Arches wove paper Trial proof aside from the edition of 100 Published by Galerie Louise Leiris, Paris; printed by Mourlot, Paris Signed and dated “7.12.52” in plate; stamp signed lower right margin beneath image; inscribed "épreuve d'essai" lower left; retains two stamps from the Collection of Marina Picasso verso; inscribed “M224/3184/2 ep/9 unique/2.211/B/715/49460” in graphite verso Together with copy of certificate of authenticity from the Ateliers Mourlot Image: 8.5" x 6.25" Sheet: 11.125" x 7.5" (Image: 22 x 16 cm) P ROV E NANC E Collection of Marina Picasso; Ateliers Mourlot, Paris, France (acquired directly from the above); Private Collection, Beverly Hills, California (acquired directly from the above) LIT E RAT URE Picasso Lithographs. F. Mourlot. 1970. #224.; Pablo Picasso: Catalogue of the Printed Graphic Work 19041967. Vol I. G. Bloch. 1968. #722.

$4,000–6,000

205 PABLO PICASSO Heads

1956 Turned pitcher of white earthenware clay, oxidized paraffin decoration, white enamel From an edition of 500 Madoura Bears the inscription “Edition Picasso Madoura” and “Edition Picasso” and “Madoura Plein Feu” stamps to underside Ramié #368 6" x 6.5" x 6" (15 x 17 x 15 cm) LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #368.

$3,000–5,000

139

206 AFTER PABLO PICASSO

Vénus et l’Amour, d’après Lucas Cranach l’Ancien c. 1960 Color lithograph on paper Proof aside from the edition of 300 Published by Editions Paul Rosenberg, Paris; printed by Mourlot, Paris Signed in blue pencil lower right; dated “12.6.57” in plate upper left in image; printed “le 12.6.57/fait 13.6.57/Cranach l’Ancien/Venus et l’amour voleur de miel/Collection Lehman” verso Together with copy of certificate of authenticity from the Ateliers Mourlot Image: 25.25" x 19.625" Sheet: 29.875" x 21.625" (Image: 64 x 50 cm) P ROVENA NC E Ateliers Mourlot, Paris, France; Private Collection, Beverly Hills, California (acquired directly from the above)

$4,000–6,000

207 PABLO PICASSO Mourlot Cover IV

1963 Lithograph on Arches paper A unique proof aside from the edition of 3,000 Published by André Sauret, Monte Carlo; printed by Mourlot, Paris Dated twice “4.2.63” in plate Together with copy of certificate of authenticity from the Ateliers Mourlot Image: 12.125" x 19.375" Sheet: 19.75" x 25.625" (Image: 31 x 49 cm) P ROV E NANC E Ateliers Mourlot, Paris, France; Private Collection, Beverly Hills, California (acquired directly from the above) LIT E RAT URE Picasso Lithographs. F. Mourlot. 1970. #388.; Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol I. G. Bloch. 1968. #1108.

$1,000–1,500

141 208 PABLO PICASSO Two Clowns

1954 6-color lithograph on wove paper Proof aside from the edition of 50 Printed by Mourlot, Paris Inscribed “M 264” in graphite lower right edge of sheet Together with copy of certificate of authenticity from the Ateliers Mourlot Image/sheet: 29.375" x 21.125" (Image/sheet: 74 x 54 cm) This composition served as the basis for a later tapestry.

P ROV E NANC E Ateliers Mourlot, Paris, France; Private Collection, Beverly Hills, California (acquired directly from the above) LIT E RAT URE Picasso Lithographs. F. Mourlot. 1970. #264.; Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol I. G. Bloch. 1968. #766.

$4,000–6,000

209 ROGER BEZOMBES Untitled

N.d.

Oil on board Signed lower right Board (vis.): 13.25" x 22.625" Frame: 20.25" x 29.625" (Board: 34 x 57 cm) P ROVENA NC E Private Collection, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, c. 2012)

$3,000–5,000

210 AUGUSTÍN ÚBEDA Untitled

1960 Oil on canvas Signed lower right edge of canvas; signed and dated canvas verso Canvas: 21.25" x 25.375" Frame: 23.25" x 27.625" (Canvas: 54 x 64 cm)

$2,500–3,500

211 SAMUEL MARX

Still Life in a Blue Vase c. 1950 Watercolor and gouache on paper Inscribed “On account of you’re such nice news/From Sam/For Kitty/And Mervyn”; retains remnants of owner’s label frame verso Sheet (vis.): 39.5"x 29.5" Frame: 51" x 41" (Sheet: 100 x 75 cm) Together with book and magazine P ROV E NANC E LeRoy Collection, Los Angeles, California; Private Collection, Belleville, New Jersey ILLUST RAT E D Ultramodern Samuel Marx: Architect, Designer, Art Collector. L. O’Brien. 2007. 185.; "Mervyn LeRoy: The Gone with the Wind Producer's Contemporary House in Bel-Air." G. Clarke. Architectural Digest. April 1994. 227.

$8,000–12,000

212 ARMAN (ARMAND FERNANDEZ) Le Luthier 1997 Bronze #5 of 30 Published and fabricated by the artist Signed “Arman” near base; retains etched edition near base This work is recorded in the Arman Studio Archives New York under number: APA# 8401.97.304 15.625" x 10.5" x 10" (including base) (40 x 27 x 25 cm)

$5,000–7,000

143

213 AXEL VERVOORDT Cupboard

Custom, designed mid-18th century 80.5" x 68.25" x 22.5" (205 x 173 x 57 cm) P ROVENA NC E Atelier AM, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2016)

$3,000–5,000

214 CHARLOTTE PERRIAND Free form coffee table

Galerie Steph Simon, designed c. 1958 18" x 53" x 38.5" (46 x 135 x 98 cm) P ROVENA NC E Modern One, Los Angeles, California; Waldo’s Designs, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above, 2012) LITERATURE Charlotte Perriand: Complete Works 1956-1968. Vol. 3. J. Barsac. 2014. 88-89.

$30,000–50,000

215 MAX INGRAND

Dahlia chandelier Fontana Arte, designed c. 1954 19.25" x 42.5" diameter (49 x 108 cm) P ROV E NANC E Rewire, Los Angeles, California; Private Collection (acquired directly from the above) LIT E RAT URE Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand. F. Deboni.

2012. #307-308 for similar examples illustrated.

$5,000–7,000

216 PIERRE-PAUL MONTAGNAC Club chairs and ottomans (4)

Atelier Pierre-Paul Montagnac, designed c. 1930 Comprised of two chairs and two ottomans Chairs each: 35.875" x 27.75" x 34" Ottomans each: 16.375" x 24.125" x 20" (Chairs each: 91 x 70 x 86 cm) These models were used on the French ocean liner, Normandie.

P ROV E NANC E Calderwood Gallery, Philadelphia, Pennsylvania; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Arts Décoratifs à Bord des Paquebots Français, 1880-1960. L. Vian.

1992. 248.; Nouveaux Intérieurs Français.

C. Moreau. 1936. Pl. 18.

$6,000–10,000

145

217 ALAIN RICHARD Cabinet

Meuble TV, designed 1959 From the Série 800 Retains designer’s metal label; retains manufacturer’s label inscribed “Ameublement/NF/Meuble/B0092” 37.625" x 94.625 x 23.625" (96 x 240 x 60 cm) LITERATURE Les Decorateurs des annees 50. P. Favardin. 2012. 284.

$4,000–6,000

218 CESARE LEONARDI & FRANCA STAGI CL9 Ribbon chair

Elco, designed 1961; this example produced after 1969 25.125" x 36.25" x 25.125" (64 x 92 x 64 cm) LITERATURE Modern Furniture Classics: Postwar to Post-Modernism. C. Fiell and P. Fiell. 1991. 90, 105.

$2,000–3,000

ALTERNATE VIEW

219 GIANFRANCO FRATTINI Megaron floor lamps (2)

Artemide, designed 1979 Impressed “Milano Artemide spa/ Modello Megaron/Design Gianfranco Frattini/Made in Italy” to underside Each: 71.5" x 12" diameter (including base) (182 x 31 cm)

$2,000–3,000

147

220 PIERRE CARDIN Necklace

Pierre Cardin, designed c. 1969 Stamped “Made in France/Pierre Cardin” to collar and pendant Pendant: 6" x 3.625" Collar: 1" x 5.125" diameter (Pendant: 15 x 9 cm) P ROV E NANC E Drs. Kato and S.L. Pomer Collection

$1,500–2,500

221 ARNALDO POMODORO Silver box with lid

Cusi, designed c. 1959 Stamped “Cusi/120MI/Sterling/925” twice to underside of box and lid 1.75" x 4.75" x 3.5" (4 x 12 x 9 cm)

$2,000–3,000

222 DAN JOHNSON

Gazelle lounge chair Dan Johnson Studio, designed c. 1958 27.5" x 22" x 22" (70 x 56 x 56 cm)

$8,000–12,000

223 DAN JOHNSON

Gazelle lounge chair Dan Johnson Studio, designed c. 1958 26.75" x 22.5" x 22" (68 x 57 x 56 cm)

$8,000–12,000

224

225

ANGELO LELLI

ALDO TURA

Arredoluce, designed c. 1961

Tura, designed c. 1950

13.5” x 77" x 56" (34 x 196 x 142 cm)

16.75" x 54" x 28" (42 x 137 x 71 cm)

LIT E RAT URE Arredoluce: Catalogo

$4,000–6,000

6 Lune ceiling light

Ragionato 1943-1987. A. Pansera, ed.

2018. #369.

$15,000–20,000

Parchment covered table

149

226 GIO PONTI Vase

Richard-Ginori, designed c. 1930 Model no. 5913 Signed and inscribed “297” to underside; stamped “Richard-Ginori/S. Cristoforo/Milano/Made in Italy” to underside 10.5" x 10" diameter (27 x 25 cm) LITERATURE Ceramiche Moderne d’Arte Richard Ginori. Manufacturer cat. 1930.

105.

$7,000–10,000

227 PIERO FORNASETTI Malachite cabinet

Piero Fornasetti, designed c. 1955 25" x 27.5" x 13.75" (64 x 70 x 35 cm) LIT E RAT URE Piero Fornasetti: One Hundred Years of Practical Madness. G.Q. Curzio. 2013. 182 for similar examples illustrated.

$2,000–3,000

151

228 GIO PONTI

Flatware (44) Fraser’s, designed 1954 Each stamped “Fraser’s Italy”; some stamped “Ponti/Fraser’s Italy” Comprised of a four-piece service for eight (dinner forks, knives, soup spoons, dessert spoons), plus additional pieces Various dimensions LIT E RAT URE Gio Ponti. U. La Pietra, ed.

1996. 300.

$2,500–3,500 PARTIAL ILLUSTRATION

Fortunato Depero Central to Futurist thought of the early twentieth century was a complete rejection of the aging aristocratic conventions and institutions that had endowed their select inheritors with excessive cultural power. In order to dismantle this self-affirming system, Futurists sought to saturate their visual landscapes with objects and images that heralded technological progress, particularly through representations of the changing nature of time and space, and its ‘inevitable’ reappraisal of cultural value.

As a result of his mastery in a range of mediums, Fortunato Depero (1892–1960) came to be a prominent figure of the second generation of Italian Futurism. In 1914, inspired by Umberto Boccioni’s groundbreaking sculpture, Development of a Bottle in Space (1913), which sought to visualize a deconstructed bottle, and Filippo Tommaso Marinetti’s "Futurist Manifesto," Depero moved to Rome from his home in the Italian countryside to immerse himself in the Futurist movement.

While in Italy, and during his stays in the United States, the painter, sculptor, fashion designer, craftsman, and poet helped realize several ‘total works of art,’ which stood as pinnacles of Futurist philosophy. Understanding that a crafted environment could be far more effective than a crafted object, the Italian Futurists took up fabricating immersive art experiences. Mixing highbrow and lowbrow creations, these eclectic, all-enveloping spatial performances displaced dominant norms of art consumption. One such example was Depero’s dining and performance space, Cabaret del Diavolo (executed 1922), in Rome.

Emulating Dante’s description of the afterlife, Depero fabricated all of the club’s aesthetic elements, such as furnishings, murals, and staff uniforms, in order to produce a completely alternate reality. Similarly, Depero’s ‘Futurist House’ in New York MARKINGS DETAIL

229 FORTUNATO DEPERO Linen chest

Studio, executed c. 1928 Inlaid wood Retains inlaid signature “F. Depero” 23.5" x 52.5" x 19.5" (60 x 133 x 50 cm) P ROVENA NC E Private Collection, Salt Lake City, Utah; Thence by descent LITERATURE Italian Futurism 1909-1944: Reconstructing the Universe. V. Greene, ed. 2014. 116 for examples of his inlaid wood designs.

$15,000–20,000

City featured the artist’s own “paintings, models, wall panels, pillows, interior furnishings, posters, advertising, [and] stage sets.” While not technically a ‘total work of art,’ the project was intended to function as a seedling for “a new Futurist village”–a completely inorganic community through which a viewer could achieve maximum exposure to the movement's progressive visual culture.

While Futurists asserted that industrialization would absolve society of its antiquated stratifications, for the most part, Futurist artists themselves rejected methods of mass-reproduction. Instead, they perpetuated the cachet of authorship and invested in the superiority of handcrafted, one-of-a-kind objects, a sentiment which would be echoed by the various ‘studio movements’ that would rise to popularity later in the century. Depero’s Linen chest (executed c. 1928) reveals these competing urges. While the clean, bold lines of the chest’s red border and dark semi-circle legs announce an assertive modernism, the ornate inlay of its panels celebrates Depero’s own skill. While many of Depero’s contributions to the Futurist canon offer vital illustrations of the movement’s thought and practice, decorative works such as Linen chest are particularly valuable in shedding light on its internal complexity.

“Center for Italian Modern Art Opens To Public February 22 With Inaugural Program Focused On Futurism.” Center for Italian Modern Art, 12 Feb. 2014.

“Depero, Fortunato (1892-1960).” The Thames & Hudson Dictionary of Design Since 1900, Guy Julier, Thames & Hudson, 2nd edition, 2004.

White, Anthony. “Italian Futurism 1909-1944: Reconstructing the Universe/Italian Futurism 1909-1944: Reconstructing the Universe.” The Art Bulletin, vol. 97, no. 1, 2015, pp. 104-107.

230

231

GAETANO PESCE

GAETANO PESCE

Custom designed for TBWA\Chiat\Day, New York, 1991 Poured rubber resin with steel frame

Custom designed for TBWA\Chiat\Day, New York, 1991 Poured rubber resin with steel frame

98" x 32.75" (249 x 83 cm)

86.75" x 36" (220 x 91 cm)

P ROV E NANC E TBWA\Chiat\Day, New

P ROV E NANC E TBWA\Chiat\Day, New

York, New York

York, New York

$3,000–5,000

$2,000–3,000

Door (Bottle)

Door (Soda can)

153

232

233

HARRY BERTOIA

CLAIRE FALKENSTEIN

c. 1975 Bronze and copper

c. 1975 Fused Murano glass and copper

12" x 12" diameter (30 x 30 cm)

3.75" x 5.75" x 4.625" (9 x 15 x 12 cm)

Together with certificate of authenticity from the Harry Bertoia Foundation

P ROV E NANC E Private Collection,

Bush

E XHIBIT E D Inkfish Gallery, Denver, 1978

$30,000–50,000

Untitled (Fusion)

Walnut Creek, California (acquired directly from the artist, c. 1980)

$8,000–12,000

155

234 AFTER ALEXANDER CALDER Balloons

1975 Handwoven jute maguey tapestry #10 of 100 BonArt Woven signature and date lower right; edition lower left 85" x 56" (216 x 142 cm)

$5,000–7,000

235 ALEXANDER CALDER Black Pyramids

c. 1974 Color lithograph on wove paper #5 of 100 Signed in graphite lower right in image; edition lower left Image/sheet: 22.75" x 30.625" Frame: 31.375" x 39.375" (Image/sheet: 58 x 78 cm)

$2,000–3,000

157

236 JEAN ARP

Fouille Pour Clients Intéressés 1962 Color lithograph on wove paper #14 of 100 Published by L’Oeuvre Gravée, Zürich Signed in graphite lower left margin beneath image; edition lower right Image: 23.25" x 18.75" Sheet (vis.): 24.75" x 19.75" Frame: 32.5" x 27" (Image: 60 x 47 cm)

$1,200–1,500

237 GEORGE RICKEY 2 Red Lines

1991 Painted metal and stainless steel Incised signature and date to base; titled to underside 50" x 4" x 25" (maximum overall dimensions) (127 x 10 x 64 cm) EXHIBITE D “George Rickey Recent Sculptures,” Inkfish Gallery, Denver, 1993

$40,000–60,000

238 GEORGE RICKEY Three Blades 1970 Stainless steel #3 of 5 Incised signature, date, and edition to base 36.5" x 3" x 28" (maximum overall dimensions) (93 x 8 x 71 cm)

$30,000–50,000

Traces of George Rickey’s Kinetic Beginnings Born from a long line of artists and engineers, George Rickey (1907–2002) seems to have been genetically predestined to pursue kinetic craftsmanship. Despite initially pursuing an education in painting, Rickey’s time serving in the Army Corps of Engineers during World War II reignited his childhood passion for mechanical operations. After completing his service and returning to his studies, Rickey first began exploring three-dimensional renderings. While the artist is well-recognized for his monumental metal kinetic works, it’s his more intimate tabletop sculptures and choice applications of color that trace Rickey’s creative origins.

As a young boy, Rickey and his family moved to a small town on the Scottish coast. It was here that Rickey was first mesmerized by “the waving of branches and the trembling of stems” induced by the environment’s blustering winds.

Throughout his childhood, Rickey made countless trips to the shoreline and became increasingly fascinated with the ways in which the construction of a ship not only negotiates air currents, but makes their existence visible. It has been argued that these youthful musings sparked Rickey’s career-long quest to, as the artist put it, "use movement as an expressive means, as a painter might use color."

minimalistic and geometric, the works maintain all of the essential characteristics of model ships, but the boats’ varying mechanical features later informed Rickey’s unornamented kinetic structures and his fondness for tabletop sizing, as evidenced by Three Blades (1970).

While Rickey applied colors to his early kinetic works, by the 1970s he had largely omitted color as an important element of his sculptural practice. However, during the 1990s Rickey appeared to reconsider his conceptual roots. Soon after he produced his series of model ships, Rickey crafted works that tested Josef Albers’ seminal color theories on the relational exchanges between color and shape to simulate motion on a two-dimensional surface. Rickey took this framework and applied it to a three-dimensional structure by painting small color fields on geometric metal shapes and joining them to one another by wire. Through this exercise, Rickey married real and imagined motion in a single work. Though his later pieces, such as 2 Red Lines (1991), lack the same explicit theoretical references, they do subtly reveal Rickey’s reevaluation of the role that color plays in shaping a viewer’s perception of movement.

Kephart, Shannon. Passages of Light and Time: George Rickey’s Life in Motion. Snite Museum of Art, 2009.

Amongst the first works to come out of Rickey’s early experimentation with sculpture was a series of 11 brass and steel model ships produced in the early- to mid-1950s. Highly

Travato, Joseph. "Oral History Interview with George Rickey, 1965 July 17." Smithsoniana Archives of American Art, https://www.aaa.si.edu/collections/interviews/ oral-history-interview-george-rickey-13221#transcript.

159

239 OSKAR FISCHINGER Tower

1954 Oil on canvas Signed and dated lower right; artist’s cipher lower left; signed and dated in red ink to frame verso; inscribed “#6” in red ballpoint pen canvas verso; retains Gallery 609, The Oakland Museum, The Pasadena Art Museum, and The Santa Barbara Museum of Art labels verso

PROVE N A N CE Elfriede Fischinger,

Tide: Early Los Angeles Modern-

LIT E RAT URE Painting and Sculpture

Los Angeles, California; Gordon

ists 1920-1956” traveling exhibition,

in California: The Modern Era. San

Shwayder Rosenblum, Lakewood,

Gallery 609, Denver, May-June 1981;

Francisco Museum of Modern Art

Colorado (acquired directly from the

The Oakland Museum, Oakland,

exh. cat. 1977. #46.

above, c. 1982); Thence by descent

October 13-December 16, 1990; The

Canvas (vis.): 35.5" x 47.5" Frame: 37.875" x 50.25" (Canvas: 90 x 121 cm)

ing and Sculpture in California: The

ILLUST RAT E D Turning the Tide:

Modern Era," San Francisco Museum

Early Los Angeles Modernists 1920-

of Art, San Francisco, September

1956. Santa Barbara Museum of Art

3-November 21, 1976; “Turning the

exh. cat. 1990. 111.

E X H I B I T E D “Oskar Fischinger,” The Pasadena Art Museum, Pasadena, December 1956-January 1957; "Paint-

Santa Barbara Museum of Art, Santa Barbara, July 13, 1990-January 20, 1992

$9,000–12,000

161

240

241

OSKAR FISCHINGER

OSKAR FISCHINGER

1944 Oil on board

c. 1950 Oil on Masonite panel

Signed lower right; dated with artist’s cipher lower left; retains Gallery 609 label verso

Signed, titled, dated, and inscribed “Red Oval/Oil by Oskar Fischinger/ ca. 1950” in black ink verso; retains Gallery 609 label frame verso; inscribed “#660” twice in black ink verso

Light Area Motion in Space

Board (vis.): 31" x 37.875" Frame: 33.5" x 40.5" (Board: 79 x 96 cm) P ROV E NA NC E Elfriede Fischinger, Los Angeles, California; Gordon

Red Oval

Panel (vis.): 25.375" x 20.5" Frame: 31.75" x 26.75" (Panel: 64 x 52 cm)

Shwayder Rosenblum, Lakewood, Colorado (acquired directly from the

PROVE N A N CE Elfriede Fischinger,

above, c. 1982); Thence by descent

Los Angeles, California; Gordon

$15,000–20,000

Shwayder Rosenblum, Lakewood, Colorado (acquired directly from the above, c. 1982); Thence by descent

$3,000–5,000

MARKINGS DETAIL

242 DIMITRI HADZI Thera II

1967-1968 Cast bronze #1 of 6 Incised signature and edition near base 51.5" x 20" x 21" (sculpture) 67" x 20" x 21" (including base) (Sculpture: 131 x 51 x 53 cm) P ROVENA NC E Felix Landau Gallery, Los Angeles, California; Private Collection, California (acquired directly from the above, 1969) ILLUSTRAT E D Dimitri Hadzi: Recent Sculpture. Felix Landau Gallery exh. cat. 1969. #23.

LITERATURE Summer Artist in Residence. 1969. N.pag.

$30,000–50,000

243 ANTONI TÀPIES

Group of prints (3) A,B: 1982; C: 1984 A: Etching and resins on Arches paper; B: Etching and carborundum with relief on Guarro paper; C: Resins and sugar on textures on Arches paper A: #29 of 75; B: #20 of 99; C: #29 of 50 A: Published by Galerie Lelong, Paris; printed by Atelier Morsang, Paris; B: Published by Edicions Polígrafa SA, Barcelona; printed by Edicions Polígrafa SA Workshop, Barcelona; C: Published by Galerie Lelong, Paris; printed by J. Barbarà, Barcelona Each signed in graphite lower right beneath image; edition lower left Comprised of A: Sofa; B: Aparicions 2; C: Vaisselle A: Image: 16.375" x 25.25" Sheet: 24.5" x 35.375" Frame: 26.625" x 37.625" B: Image: 15.875" x 15.875" Sheet: 29.875" x 22.25" Frame: 31.75" x 24" C: Image: 13.5" x 23.375" Sheet: 22.25" x 29.875" Frame: 26.375" x 34.125" (Image: 41 x 64 cm) LIT E RAT URE Tàpies Obra Gráfica: 1979-1986. M. Galfetti and N. Homs.

2002. #833, #888, and #959.

$1,500–2,000

163

244 FRIEDENSREICH HUNDERTWASSER

2 bis 13 schwimmende Fenster (2 to 13 windows afloat) 1979 29-color woodcut on paper #132 of 200 Published by Gruener Janura AG, Glarus; printed by T. Matsuoka Surishi and Uchida Kogei Kobo, Kyoto Signed, dated, and inscribed “Friedensreich Regentag 21 Dezember 1979 Wien” with edition in black ink and two artist’s stamps in red ink in Japanese lower left margin beneath image; titled in Japanese along left edge; retains two unknown stamps and numbered “664A” in black ink lower right margin beneath image Image: 14.5" x 20.25" Sheet: 16.625" x 22.375" Frame: 24.875" x 31" (Image: 37 x 51 cm) LITERATURE Hundertwasser’s Complete Graphic Work: 1951-1976. W. Koschatzky, et. al.

2008. #76.

$3,000–5,000

245 FRIEDENSREICH HUNDERTWASSER

Regentropfenzähler (Rain drop counter) 1981 Color lithograph with screenprint and metal imprints on Fabriano wove paper #201 of 247 Published by Gruener Janura AG, Glarus; printed by Studio d’Arte Serigrafica di Claudio Barbato, Venice Signed, dated, and inscribed “Hundertwasser 8 Februar 1981 Wien” with edition in black ink and two artist’s stamps in red ink in Japanese lower center right in image; retains additional artist’s stamp in red ink in Japanese lower left in image; retains stamp of printer, publisher, and coordinator upper left; retains Chamberlain Galleries label frame verso Image: 21.625" x 29.5" Sheet: 22.125" x 29.875" Frame: 31.75" x 39.875" (Image: 55 x 75 cm) LITERATURE Hundertwasser’s Complete Graphic Work: 1951-1976. W. Koschatzky, et. al.

2008. #80.

$2,000–3,000

165

246 MICHAEL GOLDBERG Untitled

1988 Oil monotype on paper Published by Garner Tullis Workshop, Santa Barbara Signed and dated in graphite lower center sheet Image/sheet: 47.875" x 40" Frame: 52.125" x 44.125" (Image/sheet: 121 x 102 cm) P ROV E NANC E Richard Tullis, Santa Barbara, California; Private Collection, Orange, California (acquired directly from the above, 1997)

$4,000–6,000

247 KIM MACCONNEL El Impuesto 1988 Oil on canvas Signed, titled, and dated “10/88” in black felt-tip marker canvas verso; retains James Corcoran Gallery label to canvas stretcher verso 22.125" x 28.125" (56 x 71 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$1,000–1,500

248 PETER SHIRE Teapot

Echo Park Pottery, executed 1998 Glazed ceramic Signed “EXP” and dated to underside 14" x 15.25" x 6.5" (36 x 39 x 17 cm)

$2,000–3,000

249 PATRICK CAULFIELD

White Ware Prints Portfolio 1990 The complete portfolio of eight screenprints on paper Each: #3 of 45 Published by Waddington Galleries, London; printed by Advanced Graphics, London Each signed with edition in graphite lower right margin beneath image; each initialed, titled, dated, and numbered from 5239 to 5246 in graphite verso Images each: 31.25" x 21" Sheets each: 42.125" x 32" (Images each: 79 x 53 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above) LIT E RAT URE Caulfield: The Complete Prints 1964-1999. K. Dempsey. 1999. #75-82.

$6,000–8,000

167

250

251

POUL KJÆRHOLM

POUL KJÆRHOLM

Fritz Hansen, designed 1958 Model no. PK 31/3

Fritz Hansen, designed 1968; this example produced 1986 Model no. PK 62 Retains Fritz Hansen sticker

3-seat sofa

27.5" x 77.75" x 29" (70 x 197 x 74 cm) LITERATURE Poul Kjærholm. 2nd ed. C.

Side table

6.25" x 32.25" x 10.625" (16 x 82 x 27 cm)

Harlang, ed. 2001. 178.

$5,000–7,000

L I T E RAT U R E Poul Kjærholm. 2nd ed. C. Harlang, ed. 2001. 180.

$5,000–7,000

252 POUL KJÆRHOLM Dining table

E. Kold Christensen, designed 1963 Model no. PK 54 Stamped “EKC/Denmark” 27.25" x 55" diameter (69 x 140 cm) LIT E RAT URE Poul Kjærholm. 2nd ed. C. Harlang, ed. 2001. 112-113.

$6,000–9,000

169 253 ARNE JACOBSEN

Grand Prix chairs (7) Fritz Hansen, designed 1957 Model no. 4130 Each branded “Made by FH/Denmark” to underside Each: 30.25" x 19" x 17.5" (77 x 48 x 45 cm) LIT E RAT URE Fritz Hansen-Furniture.

Manufacturer cat. 1963. 24.; 1000 Chairs.

C. Fiell and P. Fiell. 1997. 348.

$1,500–2,000

254 HANS J. WEGNER Nesting tables (3)

Andreas Tuck, designed c. 1965 Model no. AT-40 Branded with designer’s and manufacturer’s names and inscribed “Denmark/Made in Denmark” to underside 17.625" x 15.75" x 11.5" 18.125" x 18" x 12.375" 18.75" x 20.375" x 13.25" (45 x 40 x 29 cm)

$1,000–1,500

255 HANS J. WEGNER Side table

Andreas Tuck, designed c. 1955 Model no. AT-12 Branded with designer’s and manufacturer’s names and inscribed “Denmark/Made in Denmark” to underside 15" x 29.5" x 24.375" (38 x 75 x 62 cm)

$1,000–1,500

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

256 ATTRIBUTED TO HANS WEGNER Dining table

Possibly Andreas Tuck, designed c.

1955 Table branded with distributer’s mark and inscribed “George Tanier Selection/Made in Denmark” to underside Together with one leaf 28.25" x 125" x 41.25" (with leaf) 28.25" x 70.75" x 41.25" (without leaf) (Table: 72 x 318 x 105 cm) P ROVENA NC E Los Angeles County Museum of Art

$2,500–3,500

257 HANS J. WEGNER The chairs (10)

Johannes Hansen, designed 1949 Model no. JH501 Each chair branded with manufacturer’s mark and inscribed “Johannes Hansen/Copenhagen/Denmark” to underside Each: 30.125" x 24.5" x 19.25" (77 x 62 x 49 cm) LIT E RAT URE Hans Wegner’s 100 Chairs.

N. Oda. 2002. 36.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 269.

$10,000–15,000

171

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

258 HANS J. WEGNER The chairs (6)

Johannes Hansen, designed 1949 Model no. JH501 Each chair branded with manufacturer’s mark and inscribed “Johannes Hansen/Copenhagen/Denmark” to underside Each: 30" x 22.75" x 18" (76 x 58 x 46 cm) P ROVENA NC E Los Angeles County Museum of Art LITERATURE Hans Wegner’s 100 Chairs.

N. Oda. 2002. 36.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 269.

$2,500–3,500

259 CARL-AXEL ACKING

Trienna armchairs (2) Nordiska Kompaniets Verkstäder, designed 1957 Model no. 563-059 Each: 30.25" x 27" x 27.5" (77 x 69 x 70 cm) LITERATURE Svenska Stolar: Och Deras Formgivare 1899-2001. D. Gordan. 2014.

194.; Svenska Möbler 1890-1990. M. Boman, et al. 1991. 303.

$3,000–5,000

ALTERNATE VIEW

260 PETER LØVIG NIELSEN Flip-Top desk

Løvig/Dansk, designed c. 1967; this example produced 1970 Retains stamped designer’s mark and inscribed “Dansk/Designs/Denmark” to underside; stamped “1970” twice to underside 33.875" x 63.75" x 28.75" (closed) 28.625" x 63.75" x 37.75" (extended) (86 x 162 x 73 cm)

$2,500–3,500

261 JACOB KJÆR FN chair

Christensen & Larsen A/S, designed 1949 Model no. B-37 Retains designer’s label to underside; stamped “Made in Denmark” to underside 30.25" x 23.75" x 18.675" (77 x 60 x 47 cm) The FN chair was produced for the United Nations building based in New York.

LIT E RAT URE Mesterværker: 100 års dansk møbelsnedkeri. B. Laursen, et al.

2000. 62-63, 128.; Danish Chairs. N. Oda. 1996. 33.

$3,000–5,000

173

262 KAREL APPEL Bowl

Studio, executed c. 1950 Glazed ceramic Signed “K. Appel” to underside 4.5" x 12.25" diameter (11 x 31 cm) LITERATURE Karel Appel: Street Art, Ceramics, Sculpture, Wood Reliefs, Tapestries, Murals, Villa El Salvador. K. Appel, et al. 1985. 92-94, 99 for similar examples illustrated.

$5,000–7,000

175

263 EVA ENGLUND

Vase and bowl (2) MECT Nordic Design AB, Tyresö, executed 1998; 2000 #17 of 100; #19 of 100 Each retains etched signature; vase dated with edition and inscribed “SG Strömbergshyttan”; bowl dated with edition and inscribed “Wilkes Studioglas” Together with certificates of authenticity from MECT Nordic Design AB Vase: 8.5" x 9.5" diameter Bowl: 6.75" x 8" diameter (22 x 24 cm)

$1,500–2,000

264 ALVAR AALTO

X-Leg stools (4) Artek, designed 1954 Model no. X601 Each retains designer’s and manufacturer’s stamp and inscribed “Made in Finland/050810” to underside Each: 17.625" x 17.75" x 17.75" (45 x 45 x 45 cm) LITERATURE Alvar Aalto: The Complete Catalogue of Architecture, Design, and Art. G. Schildt. 1994. 269.

$1,000–1,500

265 ALVAR AALTO Vases (15)

Iittala, designed 1936-1939; these examples produced later Model nos. 3030, 3031, 3032, 3033, 9745, 9770 Eight signed to underside; five retain etched signature with date and additional inscriptions to underside; two retain etched signature with model number to underside Comprised of two partial sets of stackable “Aalto Flowers,” five “Savoy” vases, two “Aalto” vases, one tray from “Aalto” series, and one dish from “Aalto” series Largest: 14.125" x 8.375" x 8.5" Smallest: 4.75" x 6" x 5.375" (Largest: 36 x 21 cm) LITERATURE Alvar Aalto: The Complete Catalogue of Architecture, Design, and Art. G. Schildt. 1994. 268-269.; Alvar and Aino Aalto: Design: Collection Bischofberger. T. Kellein, ed. 2005. 215-222.

$1,500–2,000

PARTIAL ILLUSTRATION

266 VARIOUS ARTISTS

Group of objects (12) Iittala; Nuutajarvi Notsjo, designed c.

1950-1960 Glass Most with etched signature or initials; some with manufacturer’s sticker or etched information Comprised of works by Timo Sarpaneva (6); Tapio Wirkkala (2); and Kaj Franck, attributed (4) Various dimensions

$1,000–1,500

177

PARTIAL ILLUSTRATION

267 TAPIO WIRKKALA

Puuko knife and sheath (2) Hackman & Co., designed 1961 Incised “Hackman Finland Stainless/ Tapio Wirkkala” to blade Knife: 1" x 7.25" x .75" Sheath: 1.125" x 6.25" x .875" (Knife: 3 x 18 cm) P ROV E NANC E Drs. Kato and S.L. Pomer Collection

$400–600

268 KARL BENJAMIN TG #1

1960 Oil on canvas Initialed and dated lower right edge of canvas; inscribed “TG-1” to canvas stretcher bar verso Canvas: 20" x 14.125" Frame: 21.75" x 15.875" (Canvas: 51 x 36 cm) P ROVENA NC E Private Collection, San Francisco, California (acquired directly from the artist, c. 1977); Private Collection, New York, New York (acquired directly from the above, 1984)

$15,000–20,000

269 JOHN MCLAUGHLIN Untitled

1963 Color lithograph on paper #13 of 15 Published and printed by Tamarind Press, Los Angeles Signed and dated “5/6/63” with edition sheet verso; retains Tamarind Press ink stamps sheet verso Image: 16.125" x 22" Sheet: 22" x 30" Frame: 29.125" x 37.125" (Image: 41 x 56 cm)

$4,000–6,000

179

270 VASA (VELIZAR MEHICH) Tower #2959

1990 Laminated cast acrylic Etched “#2959 Vasa ©1990” near base 96.25" x 34" x 18" (including base) (244 x 86 x 46 cm)

$10,000–15,000

271 VASA (VELIZAR MEHICH) #2039 H. L. Quartet (4) 1982 Laminated cast acrylic Each: 136.25" x 16" x 10" (including bases) (346 x 41 x 25 cm) P ROV E NANC E Ocean Hills Country Club, Oceanside, California (commissioned from the artist, 1982)

$20,000–30,000

181

183 272 YAACOV AGAM Magic Rain

1972-1974 Acrylic on aluminum Signed, titled, and dated verso; inscribed “Made for/Rose + Lary/ Furstman” verso; retains Palm Springs Desert Museum exhibition label verso Together with book Agam: 54 Mots Cles Pour Une Lecture Polyphonique D’Agam signed and inscribed by the artist 24" x 45" x 2" (61 x 114 x 5 cm) E XHIBIT E D “Agam in Palm Springs,” Palm Springs Desert Museum, Palm Springs, January 24-March 7, 1976 ILLUST RAT E D Agam: 54 Mots Cles Pour Une Lecture Polyphonique D’Agam. M. Ragon. 1975. Cover.

LIT E RAT URE Agam in Palm Springs.

Palm Springs Desert Museum exh. cat. 1976. #58.

$60,000–90,000 VERSO

273 CRAIG ELLWOOD

For Josef–Black #1 1979-1981 Painted Masonite and plywood #1 of 12 Signed, titled, and dated with edition in black felt-tip marker verso; inscribed “60 cm x 60 cm/ Constructed in U.S.A. 1979-80/ Painted in Italy 1981” verso 23.75" x 23.75" (60 x 60 cm) P ROVENANC E The artist; Thence by descent; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, October 9, 2016, lot 249)

$3,000–5,000

274 HUGUETTE CALAND Untitled

c. 2007 Ink on paper Composition/sheet: 9.75" x 10.875" Frame: 15" x 16" (Composition/Sheet: 25 x 27 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 2007)

$5,000–7,000

276 FRANK STELLA 275 KLAUS RINKE

Night Shadow Plants 1985 Graphite and latex on canvas mounted to board Signed, titled, dated, and inscribed “K.R.P. 98” in black crayon verso; retains James Corcoran Gallery label verso Canvas: 51.25" x 36.375" Board (vis.): 52.125" x 37.125" Frame: 54.125" x 39.125" (Canvas: 130 x 92 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

Del Mar (from Race Track Series) 1972 7-color screenprint on Gemini Rag Board #21 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right margin beneath image; retains Gemini G.E.L. blind stamps lower right edge of sheet Gemini G.E.L. #51.86 Image: 15" x 75" Sheet: 20.25" x 80.125" Frame: 23" x 82.625" (Image: 38 x 191 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medi-

P ROV E NANC E James Corcoran, Los

cal centers, and clinics, along with

Angeles, California; UCLA Health

much needed repairs and upkeep of

(gifted directly from the above)

artwork in the collection.

E XHIBIT E D “Klaus Rinke: New

P ROV E NANC E James Corcoran, Los

Work,” James Corcoran Gallery, Los

Angeles, California; UCLA Health

Angeles, 1986-1987

(gifted directly from the above)

LIT E RAT URE Klaus Rinke, Retroak-

LIT E RAT URE The Prints of Frank

tiv: 1954-1991. U. Eisenbach. 1992.

Stella: A Catalogue Raisonné: 1967-

#619.

1982. R. Axsom. 1983. #73.

$1,500–2,000

$5,000–7,000

185

277 JOSEPH MARIONI

Opus 17: Umber Meditation First Performance/10 (4) 1972 Acrylic on paper mounted to board Each initialed lower right edge of sheet in composition; three dated lower right; each titled and inscribed “Number One” through “Number Four” backing board verso Compositions each: 23.75" x 17.875" Boards (vis.) each: 27.5" x 21.5" Frames each: 28.25" x 22.25" (Compositions each: 60 x 45 cm)

$20,000–30,000

278 JOSEPH MARIONI

Opus 3: Composition #7 c. 1967 Oil on canvas Signed “Jos. Marioni” and titled to underside of canvas stretcher bar Canvas: 32" x 28" Frame: 32.75" x 28.625" (Canvas: 81 x 71 cm)

$10,000–15,000

187

279 JOSEPH MARIONI

Opus 2: 3-6-9 They All Drank Wine c. 1965 Liquitex acrylic on canvas Signed “Jos. Marioni” canvas verso; titled to canvas stretcher bar verso Canvas: 69.625" x 45.25" Frame: 70.5" x 46" (Canvas: 177 x 115 cm)

$3,000–5,000

280

281

LEE MULLICAN

LEE MULLICAN

Spectre of the Midnight Giant (from Transfigured Night) 1977 Alkyd on canvas Signed, titled, dated, and inscribed “Taos/Alkyd/”Transfigured Night”/A Series/Two of Seven/ Two-”Spectre of the Midnight Giant”” canvas verso Canvas: 28" x 22.125" Frame: 28.75" x 22.75" (Canvas: 71 x 56 cm) P ROV E NANC E Private Collection,

Untitled

1977 Alkyd and oil on canvas Signed, titled, dated, and inscribed “Taos/W. + N. Alkyd on Oil Ground” canvas verso Canvas: 25" x 48" Frame: 25.75" x 48.75" (Canvas: 64 x 122 cm) P ROV E NANC E Private Collection, Denver, Colorado

$7,000–10,000

Denver, Colorado

$3,000–5,000

189

282 BRUCE HOUSTON Untitled (Truck)

c. 1990 Mixed-media sculpture 5.75" x 63.125" x 2.25" (14 x 160 x 6 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 1990)

$3,000–5,000

283 DON SUGGS

Coleridge’s Muse 1981 Acrylic on canvas mounted to board Initialed and dated lower right; signed, titled, and dated in black felt-tip marker verso; retains unknown information label verso 78" x 96" (198 x 244 cm)

$4,000–6,000

284 ROBERT RAUSCHENBERG

Cardbird VII (from Cardbird Series) 1971 Collage print with corrugated cardboard, tape, and photo offset lithograph #11 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in black felt-tip marker verso; retains printed publisher and printer’s chop verso Gemini G.E.L. #41.58 33" x 33.375" (84 x 85 cm) This work is being sold to fund new artwork for UCLA’s hospitals, medical centers, and clinics, along with much needed repairs and upkeep of artwork in the collection.

P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$3,000–5,000

285 ANTHONY MASTROMATTEO Epiphany

2009 Oil on linen mounted to board Signed, titled, and dated verso; retains Adler & Co. Gallery label verso Board: 25" x 25" Frame: 26.125" x 26.125" (Board: 64 x 64 cm)

$3,500–4,500

191

Mel Ramos’ Lessons in Art History Figurative painter Mel Ramos (1935–2018) made a name for himself as a leading figure of the first generation of American Pop artists. Alongside Ed Ruscha and Wayne Thiebaud (his former teacher), Ramos was featured in the Los Angeles County Museum of Art’s 1963 Pop art show, “Six More,” curated by critic Lawrence Alloway. While Ramos first began his practice emulating Abstract Expressionists such as Willem De Kooning, he quickly took to reimagining the comic book icons of his childhood. Working within this genre, Ramos found himself gravitating towards the voluptuous forms of Wonder Woman and other female superheroes. The commercial nature of these images eventually led the artist to his signature renderings of hyper-realistic nudes entwined with popular products such as Heinz ketchup bottles and Snickers candy bars, entangling notions of sex and consumption. While some evaluate these works as “satirical” and self-aware, others find no credible distinction between Ramos’ visual discussion of misogynistic representation and the male-gaze that he employs in its depiction. Ramos certainly invites the viewer to consider the social ramifications of his rhetoric, but he does nothing to discourage them from accepting his voyeuristic invitation.

After several institutions and galleries refused to exhibit his mature images, in the early 1970s Ramos began working on his Salute to Art History series, which appropriated famous nudes by Velázquez, Manet, Duchamp, and others. In addition to asserting the parity of his skill with that of the masters, Ramos’ tributes brought a critical lens to the relational nature of nude painting. These portraits called into question why the eroticism of their forerunners had been absolved by virtue of their idealism, while Ramos’ female forms had been dismissed as tawdry. By applying the high-gloss fashioning of familiar commercial iconography to the masters’ templates, Ramos

seemed to argue that it was the viewer’s automatic correlation of the visual character of American advertising and media with sexual enticement that ostracized his work from the respected nude tradition.

In much the same way, Ramos aligns Unfinished Painting #1 (1990) and The Drawing Lesson #5 (1990) with established art historical themes. Unfinished Painting #1 (1990) features a female nude gently figured by a classical S-curve. While the subject’s face and upper torso are rendered in hyper-saturation and with dramatic modelling, her legs and feet remain a light grayscale sketch. This deliberate abandonment of the image plays on the lore of “the unfinished masterpiece,” the likes of which include Michelangelo’s David and a countless number of Da Vinci's works. The Drawing Lesson #5 (1990) reflects the time-honored subject of the artist’s studio, as captured by works such as Matisse’s The Red Studio (1911) and Vermeer’s The Art of Painting (1666-1668). Here, however, Ramos offers a twist on the motif. The seated nude model is executed in Ramos’ slick style. In contrast, however, the lesson’s student has articulated the model in a gestural form that, when compared to her actual physicality, seems cruel and grotesque. Perhaps Ramos’ lesson has not been offered to an imagined artist but rather to the viewer. Though many critics rebuked Ramos’ hypersexualization of his female subjects, the artist revealed that high-art trends may be just as guilty of forsaking natural beauty.

Greenberger, Alex. “Mel Ramos, Painter of Sexually Suggestive Pop Pictures, Dies at 83 -.” ARTnews, 17 Oct. 2018, www.artnews.com/2018/10/16/mel-ramos-painter-sexually-suggestive-pop-pictures-dies-83/.

“Mel Ramos.” Fine Arts Museums of San Francisco, 2018, art.famsf.org/mel-ramos

286 MEL RAMOS

Unfinished Painting #1 1990 Watercolor on paper Signed and dated in graphite lower right; retains artist’s label and Louis K. Meisel Gallery label frame verso Sheet (vis): 28" x 22" Frame: 40.5" x 34" (Sheet: 71 x 56 cm) P ROV E NANC E Private Collection, New York, New York (acquired directly from the artist, 1991) E XHIBIT E D “Mel Ramos: Aquarelle und Grafiken,” Maximilian Krips Galerie, Cologne, June 13-July 31, 1992; “Our Own Directions: Works from the Louis K. and Susan P. Meisel Collection,” Eileen S. Kaminsky Foundation in collaboration with the Mana Art Center, Jersey City, September 18, 2011-January 12, 2012 ILLUST RAT E D Mel Ramos Pop Art Fantasies: The Complete Paintings. D. Kuspit. 2004. 223.

$15,000–20,000

287 MEL RAMOS

The Drawing Lesson #5 1990 Pencil on paper Signed and dated in graphite lower right; retains Levy, Louis K. Meisel Gallery, and Galleria d’Arte Maggiore labels frame verso Composition: 20.5" x 20.5" Sheet (vis.): 22.25" x 22.375" Frame: 33.125" x 32.875" (Composition: 52 x 52 cm) P ROV E NANC E Galleria d’Arte Maggiore, Bologna, Italy; Private Collection, New York, New York (acquired directly from the above) E XHIBIT E D "Mel Ramos- Retrospective," traveling exhibition, Kunstverein Lingen, Lingen, November 12-December 19, 1994; Mannheimer Kunstverein, Mannheim, January 15-March 5, 1995; Kunsthalle zu Kiel, Kiel, April 6-May 6, 1995; "Mel Ramos: Pop Art Images," Hochschule Für Angewandte Kunst, Vienna, July 21-August 26, 1995; "Mel Ramos," Palazzo dei Sette, Orvieto, July 1-August 31, 2001; "Mel Ramos- Neue Bilder," traveling exhibition, Galerie Ernst Hilger, Vienna, April 25-May 29, 2001; Galleria d'Arte Maggiore, Bologna, 2001

$10,000–15,000

193

288 PETRA CORTRIGHT

VOLKSmarket $elling_upskirtpix@vulnerable_shopper 2016 Digital painting on Sunset Hot Press Rag paper mounted to aluminum Retains 1301PE label frame verso Sheet: 40" x 28.5" Frame: 40.75" x 29" (Sheet: 102 x 72 cm) P ROVENA NC E 1301PE, Los Angeles, California; Private Collection (acquired directly from the above)

$12,000–15,000

195

289 RICHARD MCLEAN

Cordelia Winter (Smiling Barn) 2002 Oil on canvas Signed, titled, and dated in black ink canvas verso; retains Louis K. Meisel Gallery, OK Harris Works of Art, and Bernarducci Meisel Gallery labels frame verso

290 FÉLIX GONZÁLEZ-TORRES

Canvas: 18" x 33.75" Frame: 19.75" x 35.75" (Canvas: 46 x 86 cm)

Untitled (Crucifixion)

P ROV E NA NC E OK Harris Works of

From an edition of 3 artist’s proofs

Art, New York, New York; Private Collection, New York, New York (acquired directly from the above, 2003) IL LU ST RAT E D Photorealism in the Digital Age. L. Meisel and E. Harris.

2013. 193.

$8,000–12,000

1987 Chromogenic print

Retains Blake Byrne Fine Art and two unknown information labels frame verso Image/sheet (vis.): 7.75" x 12" Frame: 16.625" x 22.5" (Image/sheet: 20 x 30 cm)

$5,000–7,000

291 CHUCK CLOSE

Self-Portrait/Photogravure 2005 Photogravure on Somerset Textured white paper #14 of 35 Published by Graphicstudio, Tampa Signed in graphite lower center margin beneath image; dated with publisher’s blind stamp lower right; edition lower left; retains Louis K. Meisel Gallery label frame verso; retains copy of Graphicstudio documentation sheet verso Image: 45.875" x 33.75" Sheet (vis.): 54.125" x 40.5" Frame: 58.875" x 44.75" (Image: 116 x 86 cm) P ROVENA NC E Graphicstudio, Tampa, Florida; Private Collection, New York, New York (acquired directly from the above, 2007) EXHIBITE D “Our Own Directions: Works from the Louis K. and Susan P. Meisel Collection,” Eileen S. Kaminsky Foundation in collaboration with the Mana Art Center, Jersey City, September 18, 2011-January 12, 2012

$8,000–12,000

292 CHUCK CLOSE Ross

1993 Polaroid print mounted to aluminum Unique Titled in black felt-tip marker top center sheet; signed and dated in black felt-tip marker lower center margin beneath image; retains Louis K. Meisel Gallery label frame verso Image (vis.): 26.625" x 20.375" Sheet (vis.): 30" x 20.375" Frame: 37.5" x 28.125" (Image: 68 x 52 cm) P ROVENA NC E Private Collection, New York, New York (acquired through Swann Auction Galleries, New York, New York, October 21, 2008, lot 356) EXHIBITE D “Our Own Directions: Works from the Louis K. and Susan P. Meisel Collection,” Eileen S. Kaminsky Foundation in collaboration with the Mana Art Center, Jersey City, September 18, 2011-January 12, 2012

$6,000–8,000

197

293 MARTIN KIPPENBERGER Mut Zum Druck

1990 The complete portfolio of 28 screenprints on paper #10 of 25 Published by the artist Each initialed and dated lower right edge of sheet; edition lower left Various dimensions P ROV E NANC E Galerie Gisela Capitain, Cologne, Germany; Private Collection (acquired directly from the above); Private Collection; Private Collection, California (acquired directly from the above through Phillips, New York, New York, May 13, 2005, lot 321) LIT E RAT URE Martin Kippenberger: Das 2. Sein. Museum für Neue Kunst exh. cat.

2003. 72-73.

$30,000–50,000

294 MONA HATOUM

Over My Dead Body 1988-2002; this example printed 2005 Heliogravure on wove paper #23 of 35 aside from an edition of 55 Published by Edition René Block, Berlin Signed with edition in Roman numerals in graphite lower right margin beneath image; retains White Cube label frame verso Image: 22.5" x 34.375" Sheet: 27.125" x 39.125" Frame: 29.875" x 42.125" (Image: 57 x 87 cm) This example was published on the occasion of the Cetinje Bienniale, Love It or Leave It, dated to 2004.

LITERATURE Mona Hatoum. C. Heinrich. 2004. 8.

$1,000–1,500

295 KIKI SMITH Hello, Hello

2000 Ink on Nepal paper Signed and dated in graphite upper right; retains Pace Wildenstein and Shoshana Wayne Gallery labels frame verso Composition/sheet: 20" x 26" Frame: 25.5" x 41.25" (Composition/sheet: 51 x 66 cm) P ROVENA NC E Shoshana Wayne Gallery, Los Angeles, California; Private Collection (acquired directly from the above)

$6,000–8,000

296 MARILYN MINTER Siren

2014 Chromogenic print #2 of 5 Signed in black ink verso; retains Regen Projects label verso Sheet: 60" x 40" Frame: 61.75" x 41.75" (Sheet: 152 x 102 cm) P ROV E NANC E Regen Projects, Los Angeles, California; Private Collection (acquired directly from the above)

$15,000–20,000

199

297 JOHN KACERE Allison ‘85 1985 Oil on linen Signed twice and titled in black felt-tip marker canvas verso; retains two Louis K. Meisel Gallery labels frame verso Linen: 37.875" x 64" Frame: 40.125" x 66.25" (Linen: 96 x 163 cm) P ROVENA NC E OK Harris Works of Art, New York, New York; Collection of E. Jean Belloni, Switzerland (acquired directly from the above); Private Collection, New York, New York (acquired directly from the above, 1996)

$20,000–30,000

298 MARTIN EDER Untitled

2007 Watercolor on paper Signed and inscribed “0207” in graphite lower left edge of sheet Composition/sheet: 11.375" x 9.125" Frame: 17" x 14.75" (Composition/sheet: 29 x 23 cm) P ROV E NANC E Galerie EIGEN + ART, Berlin, Germany; Private Collection, Beverly Hills, California (acquired directly from the above, c. 2010)

$5,000–7,000

201

299 ENZO PLAZZOTTA Study for Jane 1978 Bronze #1 of 12 Fabricated by Meridian, London Retains stamped foundry mark and artist’s cipher with edition to base 23.875" x 16.125" x 7" (60 x 41 x 18 cm) LIT E RAT URE Enzo Plazzotta: A Catalogue Raisonné. C. Plazzotta and R. O’Conner. 1986. #290.

$2,500–3,500

300 DAVID PARRISH

Jazz Diva Cookie Jar 2005 Oil on canvas Signed and dated in red paint lower right; titled and dated in black felttip marker to canvas stretcher verso; retains Louis K. Meisel Gallery label to canvas stretcher verso 59.875" x 40" (149 x 102 cm) P ROVENANC E Private Collection, New York, New York (acquired directly from the artist, 2005) ILLUSTRAT E D Photorealism in the Digital Age. L. Meisel and E. Harris.

2013. 227.

$10,000–15,000

301 DAVID PARRISH

Bass Man Cookie Jar 2006 Oil on canvas Signed and dated in red paint lower right; signed, dated, and titled in black felt-tip marker to canvas stretcher verso; retains Louis K. Meisel Gallery and Bernarducci Meisel Gallery labels to canvas stretcher verso 60" x 40" (152 x 102 cm) P ROV E NANC E Private Collection, New York, New York (acquired directly from the artist, 2007) E XHIBIT E D “Painted Faces: Post Modern Portraits,” Bernarducci Meisel Gallery, New York, January-February 2008; “Photorealism Revisited,” traveling exhibition, Oklahoma City Museum of Art, Oklahoma City, January 24-April 21, 2013; Butler Institute of American Art, Youngstown, June 1-September 30, 2013; and MANA Contemporary, Jersey City, January 12-February 14, 2014 ILLUST RAT E D Painted Faces: Post Modern Portraits. Bernarducci Meisel Gallery exh. cat. 2008. N.pag.; Photorealism in the Digital Age. L. Meisel and E. Harris. 2013. 227.

$10,000–15,000

203

302 FRANK LLOYD WRIGHT Dining chairs (10)

Heritage Henredon, designed c. 1955 Comprised of eight side chairs and two armchairs Side chairs each: 31.5" x 20" x 22.25" Armchairs each: 31.5" x 23.125" x 22.25" (Side chairs each: 80 x 51 x 56 cm)

$2,500–3,500

303 FRANK LLOYD WRIGHT Dining table

Heritage Henredon, designed c. 1955 Model no. 2002 Each retains etched manufacturer’s mark with facsimile signature; stamped “NO. 2002” Together with two leaves not illustrated 29" x 64" x 42" (without leaves) 29" x 100" x 42" (with leaves) (74 x 163 x 107 cm)

$1,500–2,000

304

305

306

FRANK LLOYD WRIGHT

ATTRIBUTED TO PAUL FRANKL

ATTRIBUTED TO PAUL FRANKL

Heritage Henredon, designed 1955 Model no. 451-C Retains branded manufacturer’s mark with facsimile signature; stamped “451-C/9-55”

Brown-Saltman, designed c. 1939 Retains stamped manufacturer’s mark and inscribed “Monte-Ceito/copyrighted by Brown-Saltman/Los Angeles, Calif./1210” to underside

Brown-Saltman, designed c. 1939 Retains stamped manufacturer’s mark and inscribed “Monte-Ceito/copyrighted by Brown-Saltman/Los Angeles, Calif./1105” to underside

15.75" x 35.75" diameter (40 x 91 cm)

31" x 20" x 23" (79 x 51 x 58 cm)

30.75" x 40.375" x 21.75" (78 x 102 x 55 cm)

$3,000–5,000

$1,500–2,000

$2,000–3,000

Coffee table

Chair

Desk

205

307 MARCEL BREUER Vitrine

Tecta, designed c. 1924; this example produced later Model no. S40 64.5" x 31.375" x 31.375" (164 x 80 x 80 cm)

$2,000–3,000

308 LUDWIG MIES VAN DER ROHE Tugendhat chair

Knoll, designed 1929-1930; this example produced later Model no. MR 70 33" x 28.75" x 24.75" (84 x 73 x 63 cm) LIT E RAT URE Mies Van Der Rohe. S. Dachs, P. de Muga, and L. G. Hintze, eds.

2010. 58-59.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 175.

$4,000–6,000

309 LUDWIG MIES VAN DER ROHE Settee

Knoll International, designed 1930; this example produced later Retains Knoll International upholstery tag 25.25" x 62.25" x 31.625" (64 x 158 x 80 cm)

$6,000–8,000

207

310 HARRY BERTOIA

Large Diamond chairs (2) Knoll, designed 1952 Model no. 422 Each retains Knoll upholstery tag to underside Each: 27.375" x 45" x 32.75" (69 x 114 x 83 cm) LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 137.; Knoll Furniture: 1938-1960. L. Rouland and S. Rouland. 1999. 75.; 1000 Chairs. C. Fiell and P. Fiell. 1997. 315.

$2,500–3,500

311 EERO SAARINEN

Tulip side tables (2) Knoll International, designed 1957 Model no. 161 Each retains two manufacturer’s labels to underside; each retains manufacturer’s mark to underside of base Each: 20.25" x 22.5" x 15" (51 x 57 x 38 cm) P ROVENA NC E Drs. Kato and S.L. Pomer Collection LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 146-147.; Knoll Furniture: 1938-1960. L. Rouland and S. Rouland. 1999. 123.

$2,500–3,500

312 FLORENCE KNOLL End table

Knoll, designed 1961 Model no. 2510 17.125" x 24" x 24" (43 x 61 x 61 cm) LIT E RAT URE Knoll Furniture: 1938-1960.

L. Rouland and S. Rouland. 1999. 125.

$800–1,200

313 ROBERT VENTURI Hepplewhite Chair

Knoll International, designed 1984 Retains manufacturer’s label 34.5" x 23.5" x 21.625" (88 x 60 x 55 cm) LIT E RAT URE Design for Living: Furniture and Lighting 1950-2000. D. A. Hanks, A. Hoy, and M. Eidelberg. 2000. 166.; Out of the Ordinary: Robert Venturi, Denise Scott Brown, and Associates: Architecture, Urbanism, Design. D. Brownlee.

2001. 210.

$2,000–3,000

209

314 CHARLES GWATHMEY & ROBERT SIEGEL Buffets (3)

Knoll International, designed c. 1981 One retains manufacturer’s paper label to interior; one retains two manufacturer’s paper labels to interior Each: 28.25" x 62.75" x 20" (72 x 159 x 51 cm)

$5,000–7,000

315 CHARLES GWATHMEY & ROBERT SIEGEL Cabinet

Knoll, designed c. 1981 28.25" x 62.75" x 19.75" (72 x 159 x 50 cm)

$1,000–1,500

316 CHARLES GWATHMEY & ROBERT SIEGEL Cabinet with marble top Knoll, designed c. 1981 Model no. GS1-2D3S 27.25" x 31.375" x 18.75" (69 x 80 x 48 cm) LIT E RAT URE Knoll Furniture Price List.

Manufacturer cat. June 1983. 254.

$1,000–1,500

211

Modern Art & Design Now Accepting Consignments

KENNETH NOLAND Songs: Yesterdays, 1985 Acrylic on canvas February 17, 2019 Auction Realized $550,000

Now Accepting Consignments 2019 Auctions

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

NOW ACCEPTING CONSIGNMENTS

2019 AUCTIONS

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

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

all incurred expenses, such as warehouse and transportation

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

representation, or assumption of liability. It is the sole

costs, commissions, incidentals, and shall be liable for payment

“L.A. Modern Auctions,” or “LAMA”) on May 19, 2019. We are

responsibility of the buyer to inspect all goods prior to the

of any deficiency in the purchase price. This is strictly enforced.

acting as an agent on behalf of our consignors.

sale. We strongly encourage all bidders to request a condition

We reserve the right to assess a late charge of 1.5% of the total

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

purchase price per month if payment is not made in accordance

PAY M E NT All sales are final. All sold lots are to be paid

for decorative value only and should be assumed not to be

with any of these Conditions of Sale.

for on the day of the auction. We accept cash, bank wire

working. All measurements are approximate. Photographs of

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

payments carry a 3% processing fee on the total invoice

LEGA L F EES & V EN UE If a suit, action, arbitration or other proceeding of any nature whatsoever is instituted

amount. All payments made by personal checks will be subject

COL L ECT I ON & STO RAGE All lots must be removed

in connection with any controversy arising out of these

to clearance before purchases can be collected. Buyers who

from the auction showroom by 12:00pm (PT) on June 18,

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

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

2019. Purchases not removed by June 18, 2019 will be

breach thereof between the bidder or buyer and Modern

Modern Auctions) previously are asked to provide a method

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

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

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

storage are not insured by MAI. Unless other arrangements

its attorney's fees and costs incurred in connection with

prior to the auction. Bank wire information is available upon

are made and confirmed in writing, the buyer assumes sole

such proceeding. This Agreement shall be governed by and

request. If payment is not received in full by May 29, 2019,

responsibility for shipping, packing, insurance, and storage

construed in accordance with California law, without reference

collection and storage fees will begin occurring immediately.

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

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

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

purchased lot is paid for but not collected within six months

The parties agree that all actions or proceedings arising in

added to the hammer price and is calculated upon when

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

connection with this Agreement shall be litigated exclusively

payment is received by MAI. Please see schedule below:

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

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

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

intended by the parties to be mandatory, thereby precluding

BUYER’S PREMIUM**:

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

the possibility of litigation between the parties with respect to

PAYMENT RECEIVED BY MAY 29, 2019

charges and any other outstanding costs and expenses owed

or arising out of this Agreement in any other jurisdiction.

• 22.5% on the hammer price up to and including

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

$500,000 if bids are placed directly with Modern

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

Auctions, Inc.;

GUA RA N TEE The authenticity of every item offered for auction is guaranteed. MAI warrants only the authorship of

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

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

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

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

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

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

directly with Modern Auctions, Inc.;

an Absentee or Phone Bidding service. For this service fill

condition, age, or any identifying characteristic used by MAI

• 12.5% on the portion of the hammer price in

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

in any descriptions such as color, method of construction,

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

323.904.1950 or go to our website. We will not execute

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

Modern Auctions, Inc.

Absentee or Phone bid orders unless a signed and completed

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

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

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

BUYER’S PREMIUM**:

by Saturday, May 18, 2019 by 5:00pm (PT) via fax to

assumes responsibility for reading all addendums and posted

PAYMENT RECEIVED AFTER MAY 29, 2019

323-904-1954 or scanned and sent via email to shannon@

corrections to the catalogue prior to bidding.

• 25% on the hammer price up to and including

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

$500,000 if bids are placed directly with Modern

confirm we have received your form.

RESCI SSI O N Should the authenticity of an item be

Auctions, Inc.;

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

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

by phone or email as late as May 21, 2019. In addition, the

the auction to provide written documentation or conclusive

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

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

opinion of a mutually agreed upon independent expert,

directly with Modern Auctions, Inc.;

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

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

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

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

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

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

as provided directly by MAI.

will rescind the purchase contract. MAI will reimburse the

Modern Auctions, Inc.

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

All successful Absentee and Phone bidders may be notified

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

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

Premium and only after the item is returned to the original

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

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

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

on the total invoice amount and requires a completion of

earliest received will take precedence. The number of phone

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

LAMA's “Credit Card Authorization” form.

lines available are limited so please submit your phone requests

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

early. By registering for the Phone Bidding service you

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

SA LES & U S E TAX California sales or use tax of 9.5%

acknowledge and consent to allow MAI to record telephone

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

will be added to the total purchase price (hammer plus buyer's

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

incurred in defense of the allegation, such as attorney fees

premium) on all purchases removed from our premises

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

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

or delivered within the state of California. All purchases

required for all absentee and phone bids. The party responsible

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

delivered outside California will be liable for the sales and use

for submitting the Bid Form is solely responsible for the payment

then all rights and liabilities of MAI regarding authenticity

tax at the rate of the point of delivery; this tax amount will be

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

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

added to the total purchase price on their purchases. Those

invoice.

for any reason is the limited right of rescission described in

holding a valid Resale License must register before each

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

auction and present their valid resale number. No purchases

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

compensatory, incidental, consequential, nominal or punitive,

will be released until all tax requirements are satisfied.

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

nor any expenses incurred during the proceedings, such as

withdraw any property before the auction and shall have no

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

Should a dispute arise after the auction, our records are

EST IMAT ES & R ES E RVES The estimates printed

liability whatsoever for such withdrawal. Should an item be

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

withdrawn, the auctioneer will make an announcement at the

RI GH TS TO PH OTO GRA PH S

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

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

contained in this catalogue are the sole property of MAI, and may not

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

auctioneer may add lots not previously listed in the catalogue

be used or reproduced in any medium without the expressed written

confidential. The reserve is a minimum price at which the

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

permission of MAI.

seller has agreed to let the auctioneer sell the property.

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

All images and text

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

Modern Auctions, Inc. | Bond # 7901002777

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

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

Peter Loughrey, Principal Auctioneer

statement regarding condition of any item, whether it is made

resell the property privately or at auction without further notice.

Los Angeles Modern Auctions (LAMA)

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

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

16145 Hart Street, Van Nuys, CA 91406

Index A

Aalto, Alvar . . . . . . . . . . 264-265 Acking, Carl-Axel. . . . . . . . . . 259 Agam, Yaacov . . . . . . . . . . . . 272 Appel, Karel. . . . . . . . . . . . . . 262 Arman (Armand Fernandez). 212 Arnoldi, Charles. . . . . . . 153-154 Arp, Jean. . . . . . . . . . . . . . . . 236

Goldberg, Michael. . . . . . . . . 246 González-Torres, Félix. . . . . . 290 Goode, Joe. . . . . . . . . . . 155-160 Gordon, Harry . . . . . . . . . . . . . 35 Graham, Robert. . . . . . . 165-166 Gwathmey, Charles. . . . . 314-316

B

Hadzi, Dimitri. . . . . . . . . . . . . 242 Haller, Fritz. . . . . . . . . . . . . . . . 61 Haring, Keith. . . . . . . . . . . . . 172 Hatoum, Mona. . . . . . . . . . . . 294 Hawk, Stan . . . . . . . . . . . . . . . 111 Hirst, Damien. . . . . . . . . . . . . 176 Hockney, David . . . . . . . . . . . 167 Houston, Bruce. . . . . . . . . . . 282 Hundertwasser, F. . . . . . 244-245

Baas, Maarten. . . . . . . . . . . . 197 Baldessari, John. . . . . . . 151-152 Bengston, Billy Al. . . . . . . . . 145 Benjamin, Karl. . . . . . . . . . . . 268 Bertoia, Harry. . . . . . . . 232, 310 Bezombes, Roger . . . . . . . . . 209 Bowers, Andrea. . . . . . . . . . . 188 Brannon, Matthew. . . . . . . . . 187 Breuer, Marcel. . . . . . . . . . . . 307 Burden, Chris. . . . . . . . . . 173-175 Burkhardt, Hans . . . . . . . . 91-93

C

Caland, Huguette. . . . . . . . . . 274 Calder, Alexander . . . . . 234-235 Carbon Mesa Woodworking . 103 Cardin, Pierre. . . . . . . . . . . . . 220 Cartwright, Jack. . . . . . . . . . 106 Castle, Wendell . . . . . . . 195-196 Caulfield, Patrick. . . . . . . . . . 249 Chihuly, Dale . . . . . . . . . . . . . 198 Close, Chuck. . . . . . . . . .291-292 Coronel, Raul. . . . . . . . . . 127-129 Cortright, Petra. . . . . . . . . . . 288 Covarrubias, Miguel . . . . . . . 136 Cressey, David. . . . . . . . . 125-126

D

H

I

Ingrand, Max . . . . . . . . . . . . . 215

J

Jacobsen, Arne. . . . . . . . . . . 253 Johnson, Dan. . . . . . . . . 222-223

K

Kacere, John . . . . . . . . . . . . . 297 Kasper, Paul. . . . . . . . . . . . . . 105 Kauffman, Craig. . . . . . . 168-169 Kent, Ron. . . . . . . . . . . . . . . . . 115 Kienholz, Ed. . . . . . . . . . 143-144 Kippenberger, Martin . . . . . . 293 Kjær, Jacob . . . . . . . . . . . . . . 261 Kjærholm, Poul . . . . . . 250-252 Knoll, Florence. . . . . . . . . . . . 312 Koons, Jeff. . . . . . . . . . . . . . . 177

Dailey, Dan. . . . . . . . . . . . . . . 199 Davenport Ford, Betty . . . . . 130 de Erdely, Francis . . . . . . . 94-97 de Patta, Margaret . . . . . . 64-76 Depero, Fortunato. . . . . . . . . 229 Dowd, Robert. . . . . . . . . . . . . . 34 Duchamp, Marcel. . . . . . . . . . . 36

L

E

MacConnel, Kim. . . . . . . . . . . 247 Maloof, Sam. . . . . . . . . . . 98-100 Marioni, Dante. . . . . . . . . . . 200 Marioni, Joseph. . . . . . . 277-279 Marx, Samuel. . . . . . . . . . . . . . 211 Mastromatteo, Anthony. . . . 285 McIntosh, Harrison. . . . . . . . . 117 McLaughlin, John . . . . . . . . . 269 McLean, Richard. . . . . . . . . . 289 McMakin, Roy. . . . . . . . . . 101-102 Mies van der Rohe, L. . 308-309 Minter, Marilyn. . . . . . . . . . . . 296 Montagnac, Pierre-Paul . . . . 216 Moses, Ed. . . . . . . . . . . . . 161-164 Moulthrop, Ed. . . . . . . . . . . . . . 116 Mullican, Lee . . . . . . . . . 280-281 Murakami, Takashi. . . . . . 179-182

Eames, Charles & Ray. . . . 48-60 Eder, Martin. . . . . . . . . . . . . . 298 Ellwood, Craig . . . . . . . . . . . . 273 Englund, Eva . . . . . . . . . . . . . 263

F

Falkenstein, Claire. . . . . . . . . 233 Fischinger, Oskar. . . . . . 239-241 Fornasetti, Piero. . . . . . . . . . 227 FFrancis, Sam . . . . . . . . . . 81-84 Frankl, Paul. . . . . . . . . . 305-306 Frattini, Gianfranco. . . . . . . . 219 Friedeberg, Pedro. . . . . . . . . 133 Friedman, Tom. . . . . . . . . . . . 178

G

Giacometti, Alberto. . . . . . . . 202 Gilliam, Sam. . . . . . . . . . . . 77-80 Gipe, Lawrence . . . . . . . . . . . 140 Girard, Alexander . . . . . . . . . . 40

Lelli, Angelo. . . . . . . . . . . . . . 224 Leonardi, Cesare. . . . . . . . . . 218 Levee, John. . . . . . . . . . . . 85-86 Lichtenstein, Roy . . . . . . . 28-33 Lukens, Glen. . . . . . . . . . . 118-121

M

N

Nelson, George . . . . . . . . . 37-47 Nielsen, Peter Løvig. . . . . . . 260

P

Parrish, David . . . . . . . . 300-301 Passfeld, Thorsten. . . . . . . . .189 Perriand, Charlotte. . . . . . . . 214 Perry, Grayson. . . . . . . . . . . . 134 Pesce, Gaetano . . . . . . . 230-231 Pettibon, Raymond. . . . . 190-191 Picasso, Pablo. . . . . . . 203-208 Plazzotta, Enzo. . . . . . . . . . . 299 Pomodoro, Arnaldo. . . . . . . . 221 Ponti, Gio. . . . . . . . . . . 226, 228 Price, Ken. . . . . . . . . . . . . . . . 142

R

Ramos, Mel. . . . . . . . . . . 286-287 Rauschenberg, Robert . . . . . 284 Richard, Alain . . . . . . . . . . . . 217 Rickey, George. . . . . . . . 237-238 Rinke, Klaus. . . . . . . . . . . . . . 275 Rivera, Diego. . . . . . . . . . . . . 135 Ruby, Sterling . . . . . . . . . . . . 124 Ruscha, Ed. . . . . . . . . . . . 147-150

S

Saarinen, Eero. . . . . . . . . . . . . 311 Scholder, Fritz. . . . . . . . . . . . . 141 Shire, Peter . . . . . . . . . . . . . . 248 Shrigley, David. . . . . . . . 183-186 Sillman, Amy. . . . . . . . . . . . . 194 Smith, Kiki. . . . . . . . . . . . . . . 295 Stella, Frank. . . . . . . . . . . . . . 276 Suggs, Don. . . . . . . . . . . . . . . 283

T

Tackett, La Gardo . . . . . . 122-123 Tàpies, Antoni. . . . . . . . . . . . 243 Tomaselli, Fred. . . . . . . . . . . . 192 Tura, Aldo. . . . . . . . . . . . . . . . 225

U

Úbeda, Augustín . . . . . . . . . . 210

V

Valentine, De Wain. . . . . . . . .146 Vallien, Bertil. . . . . . . . . . . . . 201 Van Keppel, Hendrik. . . . 108-112 Vasa (Velizar Mehich). . 270-271 Venturi, Robert. . . . . . . . . . . 313 Vervoordt, Axel. . . . . . . . . . . 213 von Heyl, Charline. . . . . . . . . 193 Voulkos, Peter. . . . . . . . . . . . . 113

W

Warhol, Andy. . . . . . . . . . . . . 1-27 Wegner, Hans. . . . . . . . 254-258 White, Charles. . . . . . . . . . . . 137 Wiggins, Guy . . . . . . . . . . 131-132 Wirkkala, Tapio. . . . . . . . . . . . 267 Woelffer, Emerson. . . . . . . 87-90 Wonner, Paul . . . . . . . . . . 138-139 Woolley, Ellamarie. . . . . . . . . . 114 Wormley, Edward. . . . . . . . . . 107 Wright, Frank Lloyd. . . 302-304

Z

Zajac, Jack. . . . . . . . . . . . 170-171

INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, May 19, 2019

From Hollywood

Director,

12pm (PT)

• Make your way to the 101 Freeway

Art & Design

Proceed North on the 101 Preview

• Merge onto the 405 Freeway,

Shannon Loughrey

May 6 - 18, 2019

north

President

10am–6pm (PT)

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

Carolina Ivey

Address

• Proceed west on Sherman Way

Managing Director

16145 Hart Street

• Turn left at the 3rd light onto

Van Nuys, CA 91406

“Woodley”

Clo Pazera

• Take the first right onto “Hart”

Specialist

Telephone

street, which is a side street

323.904.1950

Joe Alascano From the Westside

Jose Ramirez

Website

• Take the 405 Freeway, north

Shipping

LAModern.com

Continue past the Getty Museum and the 101 Interchange

Jamie Shi

• Exit onto “Sherman Way,

Cataloguer

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

Codie Barry

• Proceed west on Sherman

Consignor Services

Way • Turn left at the 3rd light

Laura Begley

onto “Woodley”

Client Services

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

Susan Einstein

street

Robert Wedemeyer Photographers

LAMA MAP

Kathryn Hanlon-Hall Writer

VAN NUYS AIRPORT

HART ST

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

101 FREEWAY WOODLAND HILLS HOLLYWOOD

N

GETTY MUSEUM