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MODERN ART & DESIGN OCTOBER 12, 2014


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PREVIEW

September 29–October 11, 2014 10am–6pm (PT) AUCTION

Sunday, October 12, 2014 12pm (PT)

16145 Hart Street Van Nuys, CA 91406


A Case for Art & Design. If you have been following LAMA’s progress over the

last 22 years, you know that we have been increasingly offering more art in our auctions. In fact, this catalogue has the highest percentage of art lots (56%) of any previous sale. I am often asked if LAMA will have a “stand-alone” art auction or if I would consider separating art into its own department. This is what other auction companies do, but I feel strongly that fine and functional (decorative) arts should always be paired together into one sale. Since our first auction in October 1992, up to the present auction (we are at 62 and counting!), every LAMA sale has combined Art and Design. The reason is this: artists and designers of the 20th century used many different media and supports to create works that embraced Modernism (and, in many cases, to reject Classicism). Artists such as Pablo Picasso, Alexander Calder, and Alberto Giacometti felt at ease in any medium whether oil on canvas, bronze, prints, or jewelry; while designers such as Charles & Ray Eames and Maria Pergay went beyond the traditional to create work that used materials in a way that blurred the line between art and design. To separate fine and functional arts by medium is a missed opportunity to see how they can interact, and the very proximity to each other can often provide additional insight into an artist’s vocabulary. In this catalogue we are excited to offer a wide range of Modern Fine Art and Design in varying media from around the world. Within each discipline there are even more ranges of styles and techniques. For example, photography by Edward S. Curtis is radically different when compared to that of Joel-Peter Witkin or Arnulf Rainer (yet somehow, there is an undeniable similarity between Curtis and the portraits by Martin Schoeller made exactly a century later). Drawings made of graphite on paper by Nancy Rubins and Alice Aycock share almost nothing in common other than the medium. And, because concept becomes increasingly more important towards the end of the century, there is little use trying to compare the acrylic work of Sam Francis with that of Mike Kelley.   Mike Kelley’s Nazi War Cave #1 is a landmark of complexity in a career full of challenging works. It is difficult to understand the purposeful layers of meanings, but it is not entirely inaccessible. We are once again honored to publish arts writer Jori Finkel’s insightful observations and research, which, as usual, help us approach the work with greater context. Kelley’s influence has been and continues to be legion in the contemporary art world. Other works in this sale that show his influence are drawings by Raymond Pettibon, photography by Paul McCarthy, and an interesting sculpture titled Biblebomb #18 by Gregory Green.   The Flying Carpet Daybed by Maria Pergay was a complete surprise to discover locally just a few weeks before this catalogue went into production. The fact that we were able to contact the designer and conduct a last minute interview (all during the notoriously slow month of August in France) was possible only through the connections and tenacity of Greg Cerio, former Senior Features Editor for House & Garden and former Editor-in-Chief for MODERN Magazine. We are thrilled to have the benefit of his experience and insight. Additional design highlights include large groups of furnishings by Roy McMakin and Paul László, in addition to exceptional works by Finn Juhl, Gertrud & Otto Natzler, George Nakashima, and Sam Maloof. As you view the offerings in this catalogue, we hope you will see that LAMA presents Modernism as an all-encompassing entity, where importance is not placed on the medium, but rather on the artist’s intent. And, while we continue to state our case for combining Art & Design, let us celebrate the diversity of materials while appreciating commonalities across these many disciplines. PETER LOUGHREY, DIRECTOR


1 FLORENCE KNOLL OVAL TABLE DESK Model no. 2481D Knoll, designed 1961 Retains Knoll label 28" x 96" x 54" Literature:

KNOLL STU DIO, PRI C E L I ST,

2 000, P 1 52.

$5,000-7,000

2 FLORENCE KNOLL ROUND TABLE DESK Model no. 2482T Knoll, designed 1961 Retains Knoll label remnants 28" x 54" diameter Literature:

KNOLL STU DIO, PRI C E L I ST,

2 000, P 1 52.

$3,000-5,000


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3 FLORENCE KNOLL SOFA Model no. 1205S3 Knoll, designed 1954 31.5" x 84" x 31.5" Literature:

K N O L L STU DI O, P R I C E LI ST,

2 0 0 0, P 114.

$3,000-5,000

4 EERO SAARINEN WOMB CHAIR AND OTTOMAN (2) Model nos. 70 (chair) and 74 (ottoman) Knoll Associates, designed 1947 Chair: 34.5" x 38.5" x 38"; Ottoman: 17" x 25" x 19.5" Literature:

LUTZ , B RI AN, K NOLL : A M OD -

E R N IST UN IV E R S E, N EW YOR K : R I ZZOLI , 2 0 10, P 116 .

$2,000-3,000


5 EERO SAARINEN DINING SUITE (7) Model nos. 164TR (table) and 151C (chairs) Knoll, designed 1955-56 Table retains a Knoll Studio label and chairs retain a Knoll International label Comprised of a table and six “Tulip” chairs Table: 28.5" x 54" diameter; Chairs each: 32.25" x 21.5" x 19.5" Literature:

KNOLL STU DIO, PRI C E L I ST,

2 000, P 2 74.

$3,000-5,000


6 CHARLES PFISTER LOUNGE SEATING (2) Model nos. 1053 (sofa) and 1051 (chair) Knoll, designed 1971 Comprised of a sofa and lounge chair Sofa: 26" x 87" x 33"; Chair: 26" x 33" x 33" Literature:

K N O L L STU DI O, P R I C E LI ST,

2 0 0 0, P 10 6 .

$5,000-7,000

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7 ROBERT VENTURI SHERATON CHAIRS (2) Model no. 664C Knoll International, designed 1984 Retains Knoll International label Each: 33.5" x 23.75" x 23.25" Literature:

KNOLL STU DI O, PRIC E

LIST, 1 9 8 8, P 58.

$3,000-5,000

8 WARREN PLATNER DINETTE SET (5) Model nos. 1725-A (chair) and 3716T (table) Knoll, designed 1966 Comprised of a table and four chairs Table: 28" x 54" diameter; Chairs each: 29" x 27" x 22" Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 CHAIRS, COLOGNE: TASCH EN , 1 9 9 7, P 4 00; KNOLL STU DI O, PRI CE LIST, 2 000, PP 1 2 6, 2 7 2.

$8,000-12,000


9 LUDWIG MIES VAN DER ROHE BARCELONA DAYBED Model no. 258LS Knoll Associates, designed 1929; this example manufactured later Upholstery marked “Knoll” 16" x 77" x 37.75" Literature:

K N O L L STU DI O, P R I C E LI ST,

2 0 0 0, P 12 0.

$4,000-6,000

10 LUDWIG MIES VAN DER ROHE BRNO ARMCHAIRS (8) Model no. 255CS Knoll International, designed 1930; these examples manufactured after 1960 Each: 31.5" x 22.5" x 22.5" Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO GNE: TASC H EN, 1 997, P 17 3 ; K N O L L STUD IO, P R I C E LI ST, 2000, P 5 0.

$3,000-5,000

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11 MARCEL BREUER TABLE AND CHAIRS (3) Model no. B55 (chair) Thonet, designed c. 1928 Comprised of a table and two chairs Chairs each: 34.5" x 26" x 21"; Table: 28" x 35.5" x 35.5" Literature:

H A BEGGER , JERRYL L , A N D

JO S EPH H OSMA N, SOU RCEBOOK OF MO D ERN FU RNI TU RE, NEW YOR K : N ORTON , 1 9 9 7, P 161.

$10,000-15,000


MAX ERNST Dadaist and Surrealist Max Ernst (1891–1976) lived a life befitting an artistic itinerant of the Belle Époque, traversing cities including Cologne, Monaco, Saigon, Paris, and Beverly Hills. His marriage to Peggy Guggenheim from 1942–1946 brought him to New York, and it was this partnership that encouraged his later experiments in glass, as seen in Volto (1964). Guggenheim had always displayed an interest in the otherworldly qualities of glass, and she helped to organize the 1965 exhibition “Sculpture in Glass” at the Museum of Modern Art, New York. The exhibition, which included works from Pablo Picasso, Guggenheim’s then ex-husband Ernst, and

Ernst’s longtime friend, Jean Arp, was intended to draw attention to the island of Murano, Italy and its centuries-old tradition of glassblowing. The title, Volto, is the Italian term for “face,” and refers to the subtle visage that appears in the central medallion. This early glasswork anticipates the later glass masterpieces that Ernst would execute. In glass, as in all other media that he worked with, Ernst’s ingenuity and matchless creativity is evident, earning him accolades in his lifetime such as the Grand Prize for painting at the 1954 Venice Biennale and a major retrospective in 1975 at the Solomon R. Guggenheim Museum. MoMA Archives, “Sculpture in Glass,” MoMA Press Release (October 26, 1965). “Max Ernst.” Tate Collections Online. Tate Museum. Web. 30 July 2014.

12 MAX ERNST VOLTO Fucina degli Angeli, executed 1964 Glass #2 of 3 Signed and inscribed with edition “2/3 Max Ernst FA 1964” verso 8.625" x 6.25" Provenance:

TH E E STATE OF R EBECC A

R E IS, LO S AN GE L E S, CALI FOR NI A; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$5,000-7,000

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13 JOSEF ALBERS WLS XIII (WHITE LINE SQUARES SERIES II) 1966 3-color lithograph on hand-cut Arches Cover #10 of 15 Artist’s proofs aside from the edition of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right; title lower left; edition inscribed in Roman numerals lower left Gemini G.E.L. #2.13 Image: 15.75" x 15.75"; Sheet: 20.75" x 20.75" Literature:

DA NILOW I TZ, BRENDA , T HE

PRIN TS O F JOSEF A LBERS: A CATA LOG U E RAIS O N N É 1915 -1976, 2ND EDI TION , M A NCHEST ER : H U DSON H ILL S, 20 10, #1 7 2 / 5.

$3,000-5,000

14 JOSEF ALBERS HOMMAGE AU CARRÉ (HOMMAGE AU CARRÉ SERIES) 1964; published 1965 Color screenprint on J. Perrigot Arches Special MBM paper #15 of 125 Published by Editions Denise René, Paris; printed by Atelier Arcay, Paris Signed and dated lower right; edition lower left Image: 11" x 11"; Sheet (visible): 19" x 15"; Frame: 23.75" x 19.625" Literature:

DA NILOW I TZ, BRENDA , T HE

PRIN TS O F JOSEF A LBERS: A CATA LOG U E RAIS O N N É 1915 -1976, 2ND EDI TION , M A NCHEST ER : H U DSON H ILL S, 20 10, #1 6 0/ 3.

$3,000-4,000


15 ELLSWORTH KELLY BLACK/BROWN 1970-72 2-color lithograph on Special Arjomari paper #9 of 9 Artist’s proofs aside from the edition of 50 Published and printed by Gemini G.E.L., Los Angeles Signed in pencil lower right with Gemini G.E.L. blind stamps; edition in pencil lower left Gemini G.E.L. #28.8 Image (irreg.): 25.75" x 25.75"; Sheet: 39.5" x 37.5"; Frame: 44.5" x 42" Literature:

AXS O M, R I C H AR D, TH E P R I NTS

O F E L L S WO RTH K E L LY: A C ATALOG U E R AIS O N N É , 19 49 -19 85, NEW YOR K : H U DSON H IL L S, 19 8 7, P 8 0, # 7 9.

$4,000-6,000

16 ELLSWORTH KELLY FONTEVRAULT (THIRD CURVE SERIES) 1973; published 1976 1-color intaglio with debossing and embossing on Rives paper #7 of 16 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in pencil lower right; Gemini G.E.L. blind stamps lower right Gemini #28.63 Image: 22" x 29"; Sheet: 33.5" x 40.5"; Frame: 34.25" x 41.25" Literature:

AXS O M, R I C H AR D, TH E P R I NTS

O F E L L S WO RTH K E L LY: A C ATALOG U E R AIS O N N É , 19 49 -19 85, NEW YOR K : H U DSON H IL L S, 19 8 7, P 114, # 138.

$3,000-5,000

17 ILYA BOLOTOWSKY RED, WHITE, BLUE COLUMN, AND PLATE VII (2) c. 1970s Color screenprint on paper #38 of 125 and #16 of 125 Each signed in pencil with edition A: Image: 11.25" x 27.75"; Sheet: 21.5" x 29.5"; Frame: 24" x 32"; B: Image: 28" x 14"; Sheet: 34.75" x 26" $1,000-1,500

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18 TONI COSTA DINAMICA VISUALE 1965 Vinyl bands on board Retains Galerie Chalette label verso; retains sticker with inscription in ink “Toni Costa Dinamica Visuale 27A” verso Image: 27" x 27"; Frame: 28.25" x 28.25" Literature:

ARTE C INETI C A , EX H I B I TI ON

C ATALO GUE , MIL AN : F D’AM B R OSI O, 2006 , P P 44 - 45 FO R S IMIL A R EXAM P LE.

$10,000-15,000

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19 JEAN-PIERRE YVARAL PROGRAMMATION POLYCHROME DU CARRÉ 1970 Oil on canvas Signed, titled, and dated verso Canvas: 51.25" x 51.25"; Frame: 51.5" x 51.5" In 1972 the Beverly Wilshire Hotel underwent a major renovation wherein each of the six floors of the building were redesigned to represent a different theme. The sixth floor was dedicated to the avant-garde. This painting was hung in one of the suites on the floor to achieve the avant-garde aesthetic. Exhibited:

BEVERLY W I L SH IRE H OT E L ,

BEV ERLY H I LL S, 197 2

Literature:

“ BEVERLY W I L SH IRE HOT E L ,”

ARCHIT ECTU RA L DIGEST 29, NO 1, 1 9 7 2 , PP 4 6 - 55 .

$10,000-15,000

20 YAACOV AGAM UNTITLED c. 1975 Agamograph (lithographic image viewed through a lenticular lens) #1 of 25 Signed in ink lower right; edition lower left Image: 10.25" x 14.5"; Sheet (vis.): 11.5" x 15.5"; Frame: 16.25" x 28.5" $1,500-2,000


21 JEAN-PIERRE YVARAL CRISTALLISATION VERTE 1972 Oil on canvas Signed and dated verso; inscribed “Cristallisation Verte” and “No 1176” verso Canvas: 51.25" x 51.25"; Frame: 52.125" x 52.125" In 1972 the Beverly Wilshire Hotel underwent a major renovation wherein each of the six floors of the building were redesigned to represent a different theme. The sixth floor was dedicated to the avant-garde. This painting was hung in one of the suites on the floor to achieve the avant-garde aesthetic. Exhibited:

B E V E R LY WI L SH I R E H OTEL ,

B E V E R LY H IL L S, 19 7 2

Literature:

“ B E V E R LY WI L SH I R E H OTEL , "

AR C H ITEC TUR AL D IGEST 29, NO 1 , 1 97 2, P P 46 - 5 5 .

$10,000-15,000

22 SIDNEY JONAS BUDNICK CONCERTO NO. 8, CONCERTO NO. 12, AND CONCERTO NO. 29 (3) 1973 Oil on molded Masonite panel Each signed and dated recto; each signed, dated, and titled verso Image/Masonite each: 20.5" x 20.5"; Frame each: 22.25" x 22.25" $3,000-5,000

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23 JEAN-PIERRE YVARAL DOUBLE-SIX 1972 Portfolio comprised of 6 color screenprints on paperboard #8 of 200 Published by Sigle-Tonal, Paris Each signed lower right; each with edition lower left; with one page of the portfolio signed by Franรงoise Giroud With text by Franรงoise Giroud Portfolio: 30.5" x 30.5"; Image each: 26" x 26"; Sheet each: 29.5" x 29.5" $2,500-3,500


19

24 RICHARD ANUSZKIEWICZ INWARD EYE (10) 1970 Lucite portfolio box of 10 color screenprints on paper #38 of 500 Published by Aquarius Press, Baltimore; printed by Edition Domberger, Stuttgart Signed in pencil with edition on colophon With text by William Blake Box: 26.25" x 20.5"; Images each: 25.5" x 19.5"; Sheets each: 25.75" x 19.75" $3,000-5,000


25 FLETCHER BENTON UNTITLED (KINETIC SERIES) c. 1971 Steel, Plexiglas and mixed media sculpture Signed 58.5" x 21.5" x 11" $8,000-10,000

26 EARL REIBACK LUMIA LAMP Lightolier, designed c. 1970 Retains Lightolier label 11.5" x 11.5" x 7" $1,500-2,000


27 HORACIO GARCIA ROSSI COULEUR LUMIÈRE 1984 Acrylic on canvas Signed, dated, and titled verso Canvas: 39.5" x 39.5"; Frame: 40" x 40" $3,000-5,000

28 HORACIO GARCIA ROSSI COULEUR LUMIÈRE 1986 Acrylic on canvas Signed, dated, and titled verso Canvas: 39.5" x 39.5"; Frame: 40" x 40" $3,000-5,000

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29 UELI BERGER , HEINZ ULRICH & ELEONORE PEDUZZI-RIVA NON STOP SOFA Model no. DS-600 de Sede for Stendig, designed 1972 29" x 180" x 39" as illustrated Literature:

H A BEGGER , JERRY LL , A N D

JO S EPH H OSMA N, SOU RCEBOOK OF MO D ERN FU RNI TU RE, NEW YORK: N ORTON , 1 9 9 7, P 4 9 6.

$15,000-20,000


30 GÜNTER FERDINAND RIS & HERBERT SELLDORF SUNBALL CHAIR Rosenthal, Germany, designed c. 1969 61" x 60" diameter ALTERNATE VIEW

$12,000-15,000

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31 RICHARD ARTSCHWAGER LOCATIONS 1969 Formica on wood with screenprinted Plexiglas and 5 blps made of wood, glass, Plexiglas, and rubberized horsehair with formica #14 of 90 Published by Brooke Alexander Editions, New York Retains label signed by the artist verso Box: 15" x 10.75" x 5"; Object dimensions vary $2,500-3,500

32 VLADIMIR KAGAN DINING CHAIRS (4) Model no. 175A (side chairs) Kagan-Dreyfuss, Inc., designed c. 1952 Comprised of two armchairs and two side chairs Armchairs each: 34" x 25" x 24"; Side chairs each: 34" x 24" x 19" Literature:

KAGA N, VL A DIMI R , THE C OM-

PL ET E KAGA N: A LI FE OF AVA NT- GA R DE D ES IG N, NEW YORK: POINTED LEAF P R E SS, 2004 , PP 111, 265.

$3,000-5,000

33 ARNOLD WOLF RANGER PARAGON STEREOPHONIC REPRODUCER Model no. 44000 JBL, designed 1957 Together with original speaker components comprised of two “JBL Ring Radiators,” two “JBL 150-4C low frequency drivers,” and original brochure 25.5" x 83.5" x 26" Literature:

KA PL A N, WENDY, LI VI N G I N A

M O D ERN WAY, CA LIFORNI A DESI G N 1 930 19 65, CAMBRI DGE: MI T PRESS, 201 1 , P 1 6 4 .

$8,000-12,000


VLADIMIR KAGAN Vladimir Kagan (b. 1927) entered the world of mid-20th century American design like a gust of cool air. His furniture has a startling verve, vivacity, and even sexiness: his pieces are lushly contoured, with sybaritically deep upholstered seats. Chairs feature dramatic parabolic curves and legs that thrust like those of a Bob Fosse dancer. Kagan’s early clients were, like the designer himself, young, cosmopolitan, and progressive. As a custom furniture designer, he did not have to concern himself with the requirements of mass production and mass appeal. With sensibilities more in tune with those of the master Italian designers Carlo Mollino and Gio Ponti than Charles Eames or Florence Knoll, Kagan could afford to be flamboyant. Kagan was the son of a Russian furniture maker who had immigrated twice: first to Germany (where Kagan was born) and then to the United States, just before the onset of World War II. He entered the design business in 1949, at age 22, and quickly distinguished himself with eye-catching pieces like his long, flowing Serpentine sofa. But finances were tight, and in 1950 Kagan teamed up with Hugo Dreyfuss, a talented textile designer and print maker who had money to invest. Their venture, Kagan-Dreyfuss, opened its office at 125 East 57th Street, a location just off Park Avenue and conveniently located for the kinds of clients who shopped at Tiffany and Bergdorf Goodman.

Kagan designed this desk for himself and his new partner. Sleek and striking, the piece embodies many of the attributes that have come to define the “Kagan” style. Unlike a typical partner’s desk, Kagan’s is asymmetrical and has a light, dynamic look. He placed the drawers and storage spaces—the weight of the piece—to one side, and devised dual cantilevered work spaces for the designers. The Y-shaped desktop suggests forward motion, an impression that is enhanced by book-matched walnut veneer in alternating lighter and darker bands. The Partner's desk is essentially an advertisement for the young company; it is an emblem of freshness and vigor—and a historical artifact of modern design. “Vladimir Kagan: Biography.” Vladimirkagan.com, n.d. Web. 27 Aug. 2014. Ross, Nathaniel. “VLADIMIR KAGAN: MADE IN THE USA.” Interior Design Blog. Haute Living, Chicago, 2014. Web. 27 Aug. 2014. “Vladimir Kagan's Designs of the Forties, Fifties and Sixties Have Become Icons.” Interview. Designboom.com, 2010. Web. 27 Aug. 2014. Muther, Christopher. “The Works of Furniture Icon Vladimir Kagan.” Lifestyle: House & Home. The Boston Globe, Boston, n.d. Web. 27 Aug. 2014. “Hugo Dreyfuss.” Textiles. The Cooper-Hewitt National Design Museum, New York, n.d. Web. 27 Aug. 2014.

34 VLADIMIR KAGAN PARTNER’S DESK Custom, designed 1950 28" x 99" x 84" This was Vladimir Kagan’s original partner’s desk from his office on 57th Street that he had built for himself at the age of 23. He shared this desk with his partner, Hugo Dreyfuss. Illustrated:

KAGAN , VL ADI M I R , TH E C OM-

P L E TE KAGAN : A L IF E TI M E OF AVANT- G AR DE D E S IGN, N E W YO R K : P OI NTED LEAF P R ESS, ILLUSTRATION OF PARTNER'S DESK IN KAGAN'S NEW YORK OFFICE

2 0 0 4, P 8 0.

The Complete Kagan, Vladimir Kagan: A Lifetime of Avant-Garde Design by Vladimir Kagan © Pointed Leaf Press/Photography Couresty Vladimir Kagan Archive

$6,000-8,000

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35 MILO BAUGHMAN ROCKING CHAIR Thayer Coggin, designed c. 1970 31" x 42" x 27.75" $2,500-3,500

36 MILO BAUGHMAN BENCH CABINET Glenn of California, designed c. 1950 Bench: 11.5" x 81" x 18"; Cabinet: 25" x 64.5" x 19" $3,000-5,000


37 JOHAN TAPP CABINET Gumps, designed c. 1948 Branded “Designed by Gumps” 70.75" x 64.25" x 16.5" $5,000-7,000

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38 GRETA MAGNUSSON GROSSMAN TRIPOD FLOOR LAMP Model no. 831 Ralph O. Smith, designed 1947-48 50.25" x 15" diameter Exhibited:

“CA LI FORNI A’S DESIG N I N G

WO MEN, 1 896 -1986, ” TH E AU TRY N AT IO NAL CENTER , LOS A NGELES, AU G U ST 1 0, 2 01 2-JAN UA RY 6, 20 13

Literature:

WA ERN, KA RING, GR E TA

MAG NUSSON GROSSMA N: A CA R A N D SOM E S HO RTS, VÄRNA MO: A RKI TEKTU R M U SE E T, 2 01 0, P 3 2.

$4,000-6,000

39 GRETA MAGNUSSON GROSSMAN CONSOLE Glenn of California, designed c. 1956 28.5" x 65.5" x 18.5" Literature:

KA NE, LILY, GRETA M AG N U S -

S O N G RO SSMA N, NEW YORK: R20 C E N T U RY, 2 000, P 2 5.

$5,000-7,000


40 JENS RISOM BOOKCASE Jens Risom Design Inc., designed c. 1955 Retains label 56.5" x 36" x 12" $2,000-3,000

41 EDITH HEATH SERVICE (83 PIECES) Heath Ceramics, designed c. 1948 Each signed “Heath� and with artist's cipher Comprised of cruet set (vinegar, oil and jar), coffee pot, two creamers, condiment jar with lid, large salt and pepper, small salt and pepper, two serving trays, seven-piece service for ten (dinner plates, salad plates, bowls, dessert bowls, dessert plates, cups, and saucers), and Heath Stoneware brochure (not illustrated) Various dimensions $1,200-1,500

29


42 WAYNE THIEBAUD SANDWICH (FROM SEVEN STILL-LIFES AND A RABBIT) 1970-71 3-color linocut on Arches paper #34 of 50 Published and printed by Parasol Press, Ltd., New York Signed and dated in pencil lower right; edition lower left; retains John Berggruen Gallery and Hoyer Workshop Inc. labels verso Image/sheet (vis.): 19" x 23.5"; Frame: 24.5" x 30.5" Literature:

TH I EBAU D, WAY NE, WAYN E

T HIEBAUD; GRA PH ICS, 1964 -1971, P ORTL AN D : PARASOL PRESS, 1971, # 43.

$3,000-5,000

43 RICHARD DIEBENKORN SPADE DRYPOINT 1982 Drypoint on paper #2 of 50 Published and printed by Crown Point Press, Oakland Initialed and dated in pencil lower right beneath image; edition lower left; publisher and printer blind stamp lower right sheet; retains Atlantic Richfield label verso Together with original invoice Image: 10.25" x 9"; Sheet: 23" x 18.5"; Frame: 24.75" x 19.75" Provenance:

BU RTON FINE A RT, WASHI N G -

TO N , D C; PRIVATE COLLECTI ON, WASHI N G TO N , D C ( ACQ U IRED DIRECTLY FR OM T HE ABOV E, 1 995 ); TH ENCE BY DESCE N T

$4,000-6,000


44 RICHARD DIEBENKORN UNTITLED #5 1992; published 1993 3-color lithograph on Hahnemühle German etching paper RTP aside from the edition of 68 Published and printed by Gemini G.E.L., Los Angeles Inscribed in pencil “RTP” lower left margin beneath image; artist’s initials screened lower right margin beneath image; Gemini G.E.L. and artist’s copyright blind stamps lower right sheet Gemini G.E.L. #15.16 Image: 7" x 11"; Sheet: 11" x 15"; Frame: 18.5" x 22.25" $1,000-1,500

45 RICHARD DIEBENKORN UNTITLED #7 1992; published 1993 4-color lithograph on Hahnemühle German etching paper RTP aside from the edition of 68 Published and printed by Gemini G.E.L., Los Angeles Inscribed in pencil “RTP” lower left margin beneath image; artist’s initials screened lower right margin beneath image; Gemini G.E.L. and artist’s copyright blind stamps lower right sheet Gemini G.E.L. #15.18 Image: 12" x 8"; Sheet: 16" x 12"; Frame: 23.25" x 19.25" $1,000-1,500

46 RICHARD DIEBENKORN THE BARBARIAN 1992 Aquatint reversal with scraping, burnishing, and drypoint on paper #12 of 15 Published by Crown Point Press, San Francisco; printed by Renee Bott, Crown Point Press, San Francisco Initialed and dated in pencil lower right sheet beneath image; printer blind stamp lower right sheet; edition lower left sheet beneath image Image: 24" x 18"; Sheet: 34" x 26.5"; Frame: 39" x 31.5" $3,000-5,000

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47 DAVID PARK RECLINING FEMALE NUDE (NO. 353) c. 1955 Ink wash with graphite on paper Bears the inscription in ink lower left sheet “353”; inscribed in ink by Lydia Park Moore “Work of my late husband David Park c. 1955-59/Lydia Park Moore, 8-29-66” verso; bears the inscription in pencil “C.4426” verso; retains James Corcoran Gallery label verso; retains Stanford University exhibition label verso Image/sheet: 12.125" x 17.875"; Frame: 20.75" x 27.5" Exhibited:

“ DAVI D PA RK - ‘FOU R I N

T HE AFT ERNOON’ A ND OTH ER WO R KS," STAN FO RD U NI VERSIT Y, STA NFOR D, M AY 1 0 -AUG UST 14, 1988

$10,000-15,000

48 NATHAN OLIVEIRA RECLINING RED FEMALE NUDE 1973 Watercolor and graphite on paper Signed, dated, and inscribed in pencil “Oliveira/Kent Ohio 73” lower left sheet Image/sheet: 11" x 14"; Frame: 21" x 23.75" $5,000-7,000

49 FRANK GALLO SEATED NUDE 1968 Molded epoxy resin Signed and dated “Gallo 68”; inscribed “Cast 5” 23" x 14" x 13" $2,500-3,500


50 JAMES WEEKS STUDY FOR COMEDIANS 1962 Oil on illustration board Signed with artist’s initials lower left; signed, dated, and inscribed in pencil “Study for Comedians/JWeeks 62” verso Image/sheet: 12.75" x 11.75"; Frame: 16.5" x 15.5" $5,000-7,000

51 WILLIAM THEOPHILUS BROWN BETH AT EASEL WITH MODELS & CAT 1987 Acrylic on paper Signed and dated in pencil “Theophilus Brown 87” lower right; retains Koplin Gallery label verso Sheet: 14" x 11"; Frame: 24.625" x 20.625"

LOT 50

Provenance:

KO P L IN G ALLERY, SANTA

MO N IC A , C AL IFO R N IA; P R I VATE C OLLECTIO N , LO S AN GE L E S, C ALI FOR NI A ( ACQ UIR E D D IR EC TLY F R OM TH E AB OVE)

$3,000-4,000

LOT 51

52 WILLIAM THEOPHILUS BROWN UNTITLED (NUDE WITH CHAIR) 1961 Oil on illustration board Signed and dated in pencil “William Brown 61” lower right Image/board: 11.25" x 9"; Frame: 15.25" x 13" $2,000-3,000

LOT 52

53 WILLIAM THEOPHILUS BROWN UNTITLED (FIGURE)

LOT 53

1961 Oil on illustration board Signed and dated in pencil “William Brown 61" lower right Image/sheet: 10.5" x 8.25"; Frame: 15.25" x 13" $2,000-3,000

33


54 JOHN SACCARO UNTITLED c. 1955 Oil on canvas Signed lower right; signed and inscribed “Saccaro SF” verso Canvas: 40" x 40"; Frame: 43" x 43" $3,000-5,000

55 JOHN SACCARO DREAMS AND LIES #2 c. 1955 Oil on canvas Signed and inscribed “Dreams & Lies #2 Saccaro 7/..(illegible) SF” verso; retains “Property of Moses Lasky” label verso Canvas: 44" x 24"; Frame: 48.5" x 28.75" $2,000-3,000


56 WESLEY KIMLER HOUSE FULL OF REASONS 1991 Oil on canvas Signed and dated with title verso; retains Gallery Paule Anglim label verso Canvas: 87" x 76"; Frame: 87.625" x 76.5" $3,000-5,000

35


57 LA GARDO TACKETT PLANTERS (3) Model nos. T-102 and TH-02 Architectural Pottery, designed c. 1955 One impressed “Architectural Pottery/ Made in USA” Two each: 20" x 10.5" diameter; Other: 21" x 10.5" diameter Literature:

A RCH ITECTU RA L POT T E RY

CATALO G UE, 1962, NP.

$2,000-3,000

58 JOHN FOLLIS PLANTERS (2) Model no. F-508 (Peanut) Architectural Pottery, designed c. 1958 Each: 7" (12" with stand) x 62" x 14" Literature:

A RCH ITECTU RA L POT T E RY

CATALO G UE, MA RCH 1961, P 15.

$10,000-15,000


59 JOHN FOLLIS PLANTERS (4) Model nos. FX-02, F-2 and F-3 Architectural Pottery, designed c. 1950 Planter with stand: 14.4" x 15" diameter; Bowls with stand (2) each: 6" x 9" diameter; Bowl with stand (1): 6" x 7" diameter Literature:

AR C H ITEC TU R AL P OT TERY

C ATALO GUE, 19 6 2 , N P.

$800-1,200

60 DAVID CRESSEY MONUMENTAL PLANTER Model no. 5008 from the Pro/Artisan series with “Rectangle” texture Architectural Pottery, designed c. 1965 31" x 39.5" diameter $3,000-5,000

37


61 LA GARDO TACKETT PLANTER Model no. IN-01 Architectural Pottery, designed c. 1955 8" x 14" diameter Literature:

A RCH I TECTU RA L POT T E RY

CATALO G UE, 1962, NP.

$300-500

62 JOHN FOLLIS PLANTER Architectural Pottery, designed c. 1952 16" x 61.25" x 16" $4,000-6,000

63 JOHN FOLLIS PLANTER Architectural Pottery, designed c. 1952 16" x 61.25" x 16" $4,000-6,000


39

64 HENDRIK VAN KEPPEL & TAYLOR GREEN PATIO FURNITURE (7) VKG, designed c. 1960 Comprised of three armchairs, two lounge chairs, and two tables Armchairs each: 29" x 28" x 20"; Lounge chairs each: 26.5" x 31" x 24"; Tables each: 17.75" x 29" x 18" $3,000-5,000

65 HENDRIK VAN KEPPEL & TAYLOR GREEN LOUNGE CHAIR AND OTTOMANS (3) Model nos. 800 (ottoman) and 801 (chair) VKG, designed c. 1950 Comprised of one lounge chair and two ottomans Chair: 22.25" x 36.5" x 21.25"; Ottoman each: 12" x 21" x 18.5" Literature:

V KG C ATALOG U E, 1 956, NP.

$1,000-1,500


66 MID-CENTURY CERAMIC PLANTER Manufacturer unknown, designed c. 1960 6" x 32" x 24" $1,500-2,000

67 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RNI T U R E

CATALO G U E, 1954, NP.

$4,000-6,000

68 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 32.5" x 69" x 26.5" Literature:

WA LTER L A MB FU RN I T U R E

CATALO G UE, 1954, NP.

$4,000-6,000

69 WALTER LAMB SLEIGH CHAIR, OTTOMAN, AND END TABLE (3) Model nos. C-5720 (chair), C-5726 (ottoman) and B-3700 (end table) Brown-Jordan Co., designed c. 1950 Chair: 29.25" x 30" x 23"; Ottoman: 10" x 20.5" x 18.25"; End table: 18" x 23.5" x 18" Literature:

WA LTER L A MB FU RN I T U R E

CATALO G UE, 1954, NP.

$2,500-3,500


70 WALTER LAMB SLEIGH CHAIR AND OTTOMAN (2) Model nos. C-5720 (chair) and C-5726 (ottoman) Brown-Jordan Co., designed c. 1950 Chair: 29" x 22.5" x 22"; Ottoman: 10" x 20" x 17" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE, 195 4, N P.

$2,000-3,000

71 WALTER LAMB SLEIGH CHAIR AND OTTOMAN (2) Model nos. C-5720 (chair) and C-5726 (ottoman) Brown-Jordan Co., designed c. 1950 Chair: 29" x 22.5" x 22"; Ottoman: 10" x 20" x 17" Literature:

WALTE R L AM B FU R NI TU R E

C ATALO GUE, 195 4, N P.

$2,000-3,000

72 DAVID CRESSEY UNTITLED (SCULPTURE) Architectural Pottery Studios, designed 1960 22" x 14.5" diameter Provenance:

MAX & R I TA L AWR ENCE, LOS

AN GE L E S, C AL IFO R N I A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ALTERNATE VIEW

$2,000-3,000

41


73 GORDON NEWELL SEA LION Model no. N2 Architectural Pottery, designed c. 1958 17" x 26" x 15.5" Literature:

A RCH I TECTU RA L POT T E RY

CATALO G UE, MA RCH 1961, P 18.

$5,000-7,000


74 GORDON NEWELL ANTEATER Model no. NB1 Architectural Pottery, designed c. 1958 8" x 27" x 6" Literature:

AR C H ITEC TU R AL P OT TERY

C ATALO GUE, MAR C H 196 1 , P 1 8.

$3,000-5,000

43


75 ED RUSCHA & MASON WILLIAMS DOUBLE STANDARD 1969 11-color screenprint on paper 1 of 3 unnumbered Trial proofs aside from the edition of 40 Published by the artist; printed by Jean Milant and Daniel Socha, Los Angeles Signed by Ed Ruscha and Mason Williams in pencil lower left; inscribed “Trial Proof" lower left Sheet: 25.75" x 40"; Frame: 28" x 42.625" Provenance:

CI RRU S EDI TIONS, LOS A N-

G EL ES, CA LIFORNI A ; PRI VATE COL L EC T I ON , UN IT ED STATES (ACQ U I RED DIREC T LY F R OM T HE ABOVE, 1970)

Literature:

ENGBERG, SI RI , A ND C L I VE P HI L-

POT, EDWARD RU SCH A : EDI TIONS 1 959 - 1 9 9 9 A CATALO GU E RA I SONNÉ, NEW YOR K : DA P, 1 9 9 9, #3 2.

$50,000-70,000


76 ED RUSCHA SIN 1970 8-color screenprint on Louvain Opaque Cover paper #42 of 150 Published by Cirrus Editions, Los Angeles; printed by Jean Milant and Larry Hurst, Cirrus Editions, Los Angeles Signed and dated with edition and blind stamp in pencil lower left Image: 12.875" x 21.375"; Sheet (vis.): 13.5" x 22"; Frame: 20.5" x 29" Literature:

DAV IS, B R UC E , MAD E IN L A:

TH E P R IN TS O F C IR R US E D ITIO N S, LO S

77 ED RUSCHA IT’S RECREATIONAL (WORLD SERIES) 1982 3-color lithograph on Arches 88 paper #8 of 40 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right; edition lower left Gemini G.E.L. #45.13 Image/sheet: 25" x 34"; Frame: 33.5" x 42.5"

AN GE L E S : LO S AN GE L E S C O UN T Y MUS E UM O F ART, 19 95 , P 3 3 8 ; E N GB E R G, S IR I, AN D

Literature:

C L IV E P H IL P OT, E DWAR D R US C H A: E D I-

P H IL P OT, E DWAR D R U SCH A: EDI TI ONS

TIO N S 195 9 -19 9 9, A C ATALO GUE R AIS O N N É,

195 9 -19 9 9, A C ATALOG U E R AI SONNÉ, NEW

N E W YO R K : DAP, 19 9 9, # 41.

YO R K : DAP, 19 9 9, #1 1 8.

$9,000-12,000

$4,000-6,000

E N GB ER G , SI R I , AND C LI VE

45


78 ED RUSCHA THE WORLD AND ITS SURROUNDINGS (THE GLOBAL EDITION SERIES) 1982 3-color lithograph on Rives BFK paper #13 of 55 Published by Bernard Jacobson, Ltd., London; printed by Alan Cox, Sky Editions, London Signed and dated in pencil lower right; edition lower left Image/sheet: 42" x 31.75" Literature:

ENGBERG, SI RI , A ND C L I VE P HI L P OT,

EDWARD RU SCH A : EDI TIONS 1959 - 1 9 9 9, A C ATALO G UE RA I SONNÉ, NEW YORK: DAP, 1 9 9 9, #1 2 5.

$3,000-5,000

79 ED RUSCHA TELEPHONE (ARCHI-PROPS SERIES) 1993; published 1997 2-color lithograph on white Rives BFK paper 1 of 12 unnumbered Artist’s proofs aside from the edition of 20 Published and printed by Patrick Painter Editions, Vancouver and Hong Kong Signed and dated in pencil lower right; edition lower left with blind stamp; retains Patrick Painter Editions label verso Image: 4.875" x 9.375"; Sheet: 11.25" x 15"; Frame: 18.25" x 22" Literature:

ENGBERG, SI RI , A ND C L I VE P HI L-

POT, EDWARD RU SCH A : EDI TIONS 1 959 - 1 9 9 9, A CATALO G UE RA ISONNÉ, NEW YOR K : DA P, 1 9 9 9, #25 1; CO NGDON, DA NIEL , ED, PAT R I C K PA I N T E R ED IT IO N S : 1991-20 05, VA NCOU VE R : PAT R I C K PAIN T ER EDI TIONS, 20 0 6, P 378.

$3,500-4,500

80 ED RUSCHA PARTS (ARCHI-PROPS SERIES) 1997 2-color lithograph on white Rives BFK paper 1 of 10 unnumbered Artist’s proofs aside from the edition of 20 Published and printed by Patrick Painter Editions, Vancouver and Hong Kong Signed and dated in pencil lower right sheet; edition lower left with blind stamp; retains Patrick Painter Editions label verso Image: 4.75" x 9.5"; Sheet: 11.25" x 15"; Frame: 18.25" x 22" Literature:

ENGBERG, SI RI , A ND C L I VE P HI L-

POT, EDWARD RU SCH A : EDI TIONS 1 959 - 1 9 9 9, A CATALO G UE RA ISONNÉ, NEW YOR K : DA P, 1 9 9 9, #25 7 ; CO NGDON, DA NIEL , ED, PAT R I C K PA I N T E R ED IT IO N S : 1991-20 05, VA NCOU VE R : PAT R I C K PAIN T ER EDI TIONS, 20 0 6, P 381.

$3,500-4,500


81 ED RUSCHA & KEN PRICE FLIES AND FROG 1969 Color lithograph on Copperplate Deluxe paper BAT aside from the edition of 40 Published by Tamarind Lithography Workshop, Los Angeles; printed by Daniel Socha, Tamarind Lithography Workshop, Los Angeles Signed and dated “Price ‘69” in pencil lower right margin; signed and dated “E. Ruscha 1969" lower right margin; inscribed “Artist’s Proof” with Tamarind ink stamps lower center margin; inscribed “2503” and “Copperplate Deluxe” lower center margin Image: 18" x 30"; Sheet: 23.25" x 34" Provenance:

DAN IE L S O CH A , ALBU Q U ER Q U E,

N E W ME X IC O

Literature:

E N GB E R G, S IR I , AND C LI VE P H I L-

P OT, E DWAR D R US C H A: E D I TI ONS 1 959 -1 999, A C ATALO GUE R AIS O N N É, NEW YOR K : DAP, 19 9 9, # 8 .

$4,000-6,000

47

82 ED RUSCHA UNTITLED 1983 3-color lithograph on Arches 88 paper #62 of 100 Co-published by Cirrus Editions, Los Angeles and Bernard Jacobson, Ltd., London; printed by Cirrus Editions, Los Angeles Signed and dated in pencil lower right; edition with blind stamp lower left Image/sheet: 33" x 28.25"; Frame: 38.5" x 33.75" Literature:

E N GB E R G, S IR I , AND C LI VE P H I L-

P OT, E DWAR D R US C H A: E D I TI ONS 1 959 -1 999, A C ATALO GUE R AIS O N N É, NEW YOR K : DAP, 1 999, # 13 2 .

$3,000-5,000


83 KEN PRICE UNTITLED 2000 Watercolor, gouache, and ink on paper Signed and dated in pencil “Price ‘00” lower right sheet Image/sheet: 18" x 14"; Frame: 22.25" x 18.25" Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST, 20 0 0)

$15,000-20,000

84 KEN PRICE TOWN WITH TALL MOUNTAIN 1974 Gouache and pastel on paper Signed and dated in pencil lower right sheet; bears the inscription in felt-tip marker “164 Town with Tall Mountain” on frame verso Image/sheet (vis.): 13.625" x 10.625"; Frame: 14.5" x 11.75" $6,000-9,000


85 KEN PRICE ACROBATIC FROG CUP II 1968; published 1969 5-color lithograph on Copperplate Deluxe paper 1 of 7 unnumbered Artist’s proofs aside from the edition of 20 Published and printed by Tamarind Lithography Workshop, Albuquerque Signed, dated, and inscribed in pencil “Artist’s Proof Acrobatic Frog Cup II Price ‘68” verso Image (irreg): 7" x 12"; Sheet: 23" x 31" Provenance:

DAN IE L SOC H A , ALBU Q U ER-

Q UE , N E W ME X IC O

Literature:

C ATALO GU E R AI SONNÉ: TAM A-

R IN D L ITH O GR AP H Y WOR KSH OP, I NC, 1 960 19 7 0, AL B UQ UE R Q UE : U NI VER SI T Y OF NEW ME X IC O ART MUS E UM , 1 989, P 202, #24 99.

$1,500-2,000

86 KEN PRICE WESTERN SUNSET 1993 7-color screenprint on Rives BFK white paper #2 of 5 Special proofs aside from the edition of 70 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right; edition and blind stamps lower left Gemini G.E.L. #39.28 Image: 24.875" x 19.25"; Sheet: 26" x 20.25"; Frame: 29.125" x 23.5" Provenance:

P R IVAT E COLLECTI ON,

LO S AN GE L E S, C AL IFOR NI A ( AC Q U I R ED D IR EC TLY F R O M TH E ARTI ST )

$1,500-2,000

87 KEN PRICE CHAIRS, TABLE, RUG, CUP (INTERIOR SERIES) 1971 14-color screenprint on Arjomari paper #26 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right; blind stamps lower right Gemini G.E.L. #39.12 Image/sheet: 51.5" x 41.25"; Frame: 54.75" x 44.75" Provenance:

P R IVAT E COLLECTI ON,

LO S AN GE L E S, C AL IFOR NI A ( AC Q U I R ED D IR EC TLY F R O M TH E ARTI ST )

$3,500-4,500

49


88 JOE GOODE PLIERS 1962 Oil on paper Signed and dated in pencil lower right sheet; retains Kantor Gallery and James Corcoran Gallery labels verso Image/sheet (vis.): 13.5" x 10"; Frame: 16.75" x 13.75" $20,000-30,000

89 JOE GOODE UNTITLED (STATE I) 1974 3-color lithograph on two sheets of Roll Rives paper sewn together along top border; top sheet of each impression cut by artist with razor blade #1 of 25 Published by Cirrus Editions, Los Angeles; printed by Ed Hamilton, Cirrus Editions, Los Angeles Signed and dated in pencil lower right; edition lower left; inscribed “State I” lower left Image/sheet: 30" x 41.5" Literature:

DAVIS, BRU CE, MA DE I N L A :

PRIN TS O F CI RRU S EDI TIONS, LOS A N G ELES : LO S A NGELES COU NT Y MU SE U M OF ART, 1 9 95, P 241.

$1,500-2,000


90 JOE GOODE GUNSHOT SERIES, NO. 1 1981 4-color lithograph on Twinrocker handmade paper; each impression shot by artist with gun Artist’s proof aside from the edition of 30 Published and printed by Cirrus Editions, Los Angeles Signed in pencil lower center; dated lower right; inscribed “AP” lower left Image/sheet (overall): 14.75" x 23"; Frame: 22" x 30.5" Literature:

DAV IS, B R U CE, M ADE I N L A:

P R IN TS O F C IR R US E D I TI ONS, LOS ANG EL E S : LO S AN GE L E S C O U NT Y M U SEU M OF ART, 19 95 , P 249.

$1,200-1,500

91 JOE GOODE FOREST FIRE #30 1983 Pastel, graphite, and pigment on paper Signed in pencil lower center; dated lower right; inscribed “#30" lower left Image/sheet: 7.5" x 22"; Frame: 14.5" x 29.5" Provenance:

P R IVATE C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST, 1 983)

$4,000-6,000

51


92 PETER VOULKOS LARGE PLATE Studio, executed 1975 Stoneware with porcelain pass-throughs and partial cobalt oxide slip/glaze Signed and dated verso LAMA would like to thank the Voulkos & Co. catalogue project for their assistance in cataloguing this work 20.5" diameter $10,000-15,000

SIGNATURE AND DATE DETAIL


53

93 JOHN MASON UNTITLED Studio, executed 1990 Painted and partially glazed ceramic Signed and dated verso 20.25" diameter $5,000-7,000

94 JOHN MASON BOWL Studio, executed c. 1985 Painted and glazed stoneware Signed “Mason” 7" x 8" x 6" $1,000-1,500


LAMA would like to thank Gail Natzler for her gracious assistance in cataloguing these Natzler works.

SIGNATURE AND LABEL DETAIL

95 GERTRUD & OTTO NATZLER BOWL Studio, executed 1960 Sang reduction glazed ceramic with melt fissures and crystals Signed “Natzler” and retains Natzler inventory label “L233” and red tape 2.25" x 5" diameter (5.5 cm x 12 cm diameter) $2,500-3,500

SIGNATURE AND LABEL DETAIL

96 GERTRUD & OTTO NATZLER BOWL Studio, executed 1962 Apple green reduction glazed ceramic with flame mark and melt fissure Signed “Natzler” and retains Natzler inventory label “M103” and red tape 3.25" x 9" diameter (8 cm x 23 cm diameter) This bowl was executed while the Natzlers were artists-in-residence at Brandeis Camp, California. $3,000-5,000


97 GERTRUD & OTTO NATZLER TEARDROP BOTTLE Studio, executed 1962 Green lava glazed ceramic Signed “Natzler” and retains Natzler inventory label “L890” 9" x 3.75" diameter (23 cm x 8.5 cm diameter) This particular green lava glaze was unique to this bottle. $8,000-12,000

55


98 GERTRUD & OTTO NATZLER CHALICE Studio, executed 1958 Mystic blue glazed ceramic Signed “Natzler” and retains Natzler inventory label “K069” 7.5" x 5.25" diameter (17 cm x 13 cm diameter) $5,000-7,000


99 GERTRUD & OTTO NATZLER BOWL

100 GERTRUD & OTTO NATZLER BOWL

Studio, executed c. 1941-62 Turquoise glazed ceramic Signed “Natzler” 3.25" x 5.25" diameter (8 cm x 13.5 cm diameter)

Studio, executed 1950 Chartreuse glazed ceramic Signed “Natzler” and retains Natzler inventory label “C272" 3.25" x 5.25" diameter (8 cm x 13 cm diameter)

$3,000-5,000

$3,000-5,000

101 GERTRUD & OTTO NATZLER SHALLOW BOWL

102 GERTRUD & OTTO NATZLER BOWL

Studio, executed c. 1952-62 Bright yellow glazed ceramic Signed “Natzler” 2" x 6" diameter (5 cm x 15 cm diameter)

Studio, executed 1963 Tiger eye reduction glazed ceramic with melt fissures Signed “Natzler” and retains Natzler inventory label “M930” 3" x 5.75" diameter (7 cm x 14 cm diameter)

$3,000-5,000

$2,500-3,500

57


103 MALCOLM LELAND EARTHWORKS (RELIEF) (2) Studio, designed c. 1966 A: #5 of 25 A: Label “Earthworks/Hard Anodized Cast Aluminum/1966/Malcolm Leland/#5 of 25"; B: “Malcolm Leland/ Faschia San Diego Art Museum" A: 16" x 12" x 4.5"; B: 10.5" x 24" x 10" $1,500-2,000

104 MALCOLM LELAND WALL APPLIQUE (LEAF) Studio, designed c. 1962; this example produced later 21" x 6.5" x 3.5" $800-1,200

105 ELLAMARIE WOOLLEY UNTITLED Studio, executed c. 1953 Painted and glazed ceramic plaque Signed “Ellamarie” lower right; bears the inscription “P53/Woolley” verso Image/plaque: 9" x 9"; Frame: 15.75" x 15.875" $2,000-3,000


106 BEATRICE WOOD VASE Studio, executed c. 1980 Luster glazed ceramic Signed “Beato” and “BNTF/#348” 10" x 10.5" x 6" $5,000-7,000

107 BEATRICE WOOD VASE Studio, executed 1988 Luster glazed ceramic Signed “Beato/88/B180” 10.5" x 8" diameter $7,000-9,000

59


108 BEATRICE WOOD TEAPOT Studio, executed c. 1980 Luster glazed ceramic Signed “Beato” and “BNTF #393” 10" x 7.5" x 6" $3,000-5,000

109 BEATRICE WOOD TABLE SERVICE (20) Studio, executed c. 1965 Luster glazed ceramic Signed “Beato” and two with labels “12-65” Comprised of four each challices, dinner plates, salad plates, soup bowls, soup plates Various dimensions $8,000-12,000

228 TOMORY DODGE DROP 2008 From the edition of 45 18-color screenprint Published by CRG Editions, New York; printed by Axelle Editions, Brooklyn Image/sheet: 35.25” x 31.25”; Frame: 37.75” x 34.5” $1,000-1,500


110 HARRISON MCINTOSH VESSEL Studio, executed c. 1960 Glazed stoneware Base retains remnant of McIntosh label and numbered “#73174” 9" x 7" diameter $4,000-6,000

111 ROSE CABAT VASE Studio, designed c. 1958 Glazed ceramic Signed “Cabat 0301RT” 4" x 3" diameter $600-800

61

112 MARILYN LEVINE DRAWSTRING BAG WITH RIVETS (#81-03H) 1981 Ceramic with leather string and wood board Together with original invoice and announcement mailer for Levine’s show at OK Harris Works of Art LAMA would like to thank Sam Jornlin for his assistance in cataloguing this work Ceramic: 8" x 9.25" x 3.5"; Wood board: 4.25" x 26.25" Provenance:

O K H AR R I S WOR KS OF ART,

N E W YO R K , N E W YO R K ; P R IVATE C O L L EC TIO N , WASH I NG TON, DC ( ACQ UIR E D D IR EC TLY F R O M TH E AB OVE, 1 981 ) ; TH E N C E BY D E S C E N T

Exhibited:

“ MAR ILY N L EVI NE, ” OK H AR R I S

WO R KS O F ART, N E W YO R K , AP R I L 25 -M AY 6 , 19 8 1

$5,000-7,000


STANTON MACDONALD-WRIGHT Painter Stanton Macdonald-Wright (1890–1973) was a pioneer of American abstract art. As a young artist in Paris, just prior to the outbreak of the First World War, Macdonald-Wright and another young American expatriate, Morgan Russell, developed a theory of painting they called Synchromism, meaning “with color.” Their core principle was that colors, deployed in careful relation to one another, could elicit profound, specific emotional and psychological reactions. Though short-lived in practice, Synchromism was the first American avant-garde art movement to capture the attention of an international audience. The use of color would be the guiding force of MacdonaldWright’s long artistic career. At 19, Macdonald-Wright set off for Paris, where he took courses at the École des Beaux-Arts and other institutions while visiting The Louvre almost daily. He was strongly influenced by the Cubist technique, and by the reverberant color in the work of Henri Matisse and, especially, Paul Cézanne. While taking classes in modern color theory, Macdonald-Wright met Russell. They became “convinced that color and sound were equivalent phenomena and that one could orchestrate the colors of a painting the way a composer arranges notes and chords in music.” Macdonald-Wright and Russell debuted their Synchromist works at galleries in Munich and Paris in 1913. The shows were well-attended, but the reaction was often harsh—no doubt in large part because 113 STANTON MACDONALD-WRIGHT YIN SYNCHROMY

M AC DON A L D -WR I G HT,” N AT I ON AL C O L L ECT I ON OF F I N E A RTS, WASHI N G TO N , D C , MAY 4 -J U N E 1 8, 1 9 6 7 ; “STA N TON M AC D O N AL D -

1925 Oil on canvas Signed, dated, titled, and inscribed verso “Yin Synchromy/California/1925/S. Macdonald-Wright" verso; retains North Carolina Museum of Art exhibition label verso Canvas: 24" x 29.5"; Frame: 26.5" x 32.5"

WR I G HT: A R E T R OSP EC T I VE E X H IB ITIO N ,

Provenance:

STA N TON M AC DON A L D -WR I G H T AN D

PRIVATE COLLECTI ON , PA-

CIFIC PALI SA DES, CA LI FORNI A (AC QU I R E D D IRECT LY FROM TH E A RTI ST, 1968)

1 9 1 1 - 1 9 7 0,” U C L A A RT G A L L E R IE S / GR UNWA L D G R A P HI C A RTS FOU N DATIO N , LO S A N G E L E S, N OVE M B E R 1 6 - DEC E MB E R 2 0, 1 9 7 0; “C OLOR , M Y T H A N D M U S IC : STAN TO N M AC DON A L D -WR I G HT A N D SYN C H R O MIS M, ” N ORT H C A R OL I N A M U SE U M OF ART, R AL E I G H, M A R C H 4 -J U LY 3, 2 001

Illustrated:

C OLOR , M Y T H A N D MUS IC :

SYN C HR OM I SM, E XHI B I T I ON C ATALO GUE , R A L E I G H: N ORT H C A R OL I N A MUS E UM O F A RT, 2 001 , #2 8

Exhibited:

“ SIXTH EXH I BI TION OF PA I N T-

ERS AN D SCU LPTORS OF SOU TH E R N C A L IFO RNIA ,” LOS A NGELES COU NT Y M U SE U M O F ART, LOS A NGELES, A PRI L 3 -3 0, 1 9 2 5; “ T HE MO D ERN A RT WORKERS, ” H OL LYWOOD LIBRARY A RT GA LLERY, H OLLY WOOD, OCTO BER , 1 9 25; “A RETROSPECTIVE SHOWI N G O F T HE WORK OF STA NTON MACDON A L D WRIG HT,” LOS A NGELES COU NT Y M U SE U M O F ART, LOS A NGELES, JA NUA RY 1 9 - F E BRUARY 1 9, 1956; “ TH E A RT OF STAN TON

Literature:

T HE A RT OF STA NTO N MAC-

DON A L D -WR I G HT, E XHI B I T I ON C ATALO GUE , WASHI N G TON , DC : N AT I ON A L C O L L ECT I ON OF F I N E A RTS, 1 9 6 7, #2 8 ; STAN TO N M AC DON A L D -WR I G HT: A R E T R O S P EC TIV E E XHI B I T I ON , 1 9 1 1 - 1 9 7 0, E XHI B I TIO N C ATALOG U E , LOS A N G E L E S: U C L A ART GAL L E RI E S/ G R U N WA L D G R A P HI C A RTS FO UN DAT I ON , 1 9 7 0, #1 6 .

$25,000-35,000

of Macdonald-Wright and Russell’s brash manifestos that declared Synchromism superior to all other forms of painting. The war sent Macdonald-Wright back to America. His work was prominently shown in New York galleries—including Alfred Stieglitz’s famed 291—but the mood of the day was too somber for Synchromism’s bright hues. Macdonald-Wright moved back to his native California in 1919, and soon established himself as the dean of modern art on the West Coast. He became director of the Art Students League of Los Angeles in the 1920s; during the Depression he headed the area’s Federal Art Project. Macdonald-Wright moved away from pure abstraction and towards figurative painting. Captivated by Asian art—he studied Chinese languages and artistic symbolism, and taught Asian philosophy and art history at UCLA for a decade beginning in 1942—he began to incorporate Asian themes and motifs in his paintings. Yin Synchromy (1925) is a classic example from Macdonald-Wright’s early mature period. Rendering in vibrant, carefully-arrayed colors, the painting depicts a reclining female nude (the yin force) juxtaposed with a tiger, representing the male yang. Following pilgrimages to Japan, Macdonald-Wright returned to abstraction and Synchromism in the 1950s. Many of his works, such as Sho Kannon (1961–1962), demonstrate an approach that synthesizes Cubist technique and a representational style, employing a figurative armature as the heart of the painting.


Macdonald-Wright regained a place in discussions of American modern art through late-life retrospectives, in particular a 1970 exhibit at the UCLA Art Galleries. Macdonald-Wright and Synchromism have since been featured in numerous exhibitions at institutions ranging from the Centre Pompidou to the San Francisco Museum of Modern Art. His work is included in the permanent collections of many museums, including the Metropolitan Museum of Art, Los Angeles County Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Brooklyn Museum, and the Museum of Fine Arts, Houston.

Will South, ed., Color, Myth, and Music: Stanton Macdonald-Wright and Synchromism, Raleigh, N.C., North Carolina Museum of Art, 2001 “Stanton Macdonald-Wright: Biography.” LACMA Collections. Los Angeles County Museum of Art, n.d. Web. 27 Aug. 2014. “Stanton Macdonald-Wright, Arm Organization.” Collections, Arts of North America. Museum of Fine Arts, Houston, n.d. Web. 27 Aug. 2014.

63

114 STANTON MACDONALD-WRIGHT SHO KANNON 1961-62 Oil on canvas Signed, titled, and dated verso Canvas: 60" x 44"; Frame: 60.75" x 44.75" Exhibited:

“ STAN TO N M ACDONALD -

W R IGH T: A R E TR O S P EC TI VE EX H I B I TI ON, 19 11-19 7 0, ” UC L A ART G ALLER I ES, LOS ANGE L E S, N OV E MB E R 16 -DECEM BER 20, 1 970

Illustrated:

STAN TO N M ACDONALD -

W R IGH T: A R E TR O S P EC TI VE EX H I B I TI ON, 19 11-19 7 0, E X H IB ITIO N C ATALOG U E, LOS ANGE L E S : UC L A ART GALLER I ES/G R U NWALD GR AP H IC S ART FO UN DATI ON, 1 970, #56 .

$40,000-60,000


115 CONRAD BUFF UNTITLED Oil on canvas Signed lower right Canvas: 26" x 39"; Frame: 27.25" x 40.25" Provenance:

JR DAVIDSON, OJA I , C A L I-

FO RNIA; TH ENCE BY DESCENT

$5,000-7,000

116 DAVID BURLIUK FARM SCENE 1949 Oil on canvas Signed “Burliuk” lower left; dated upper left Canvas (vis.): 9.5" x 11.5"; Frame: 18" x 20.25" $3,000-5,000


117 PETER KRASNOW UNTITLED c. 1940s Oil on canvas Signed lower center Canvas: 20" x 24"; Frame: 28" x 32" Provenance:

TH E ARTI ST; TH ENC E BY

DESCENT

$6,000-8,000

65 118 PETER KRASNOW UNTITLED 1952 Oil on illustration board Bears the inscription in pencil “Oct 1952” and “K-1b 52” verso Board: 20" x 16"; Frame: 21.5" x 17.5" Provenance:

TH E ARTI ST; TH ENC E BY

DESCENT

$6,000-8,000

119 PETER KRASNOW UNTITLED 1957 Oil on illustration board Bears the inscription “Krasnow” and “PK. 16” in ink verso; bears the inscription “Oct. 1, 1957” in pencil verso Board: 14" x 10"; Frame: 17" x 13" Provenance:

J UL E S L ANG SNER , LOS AN-

GE L E S, C AL IFO R N IA ( ACQ U I R ED DI R EC TLY F R O M TH E ARTIST )

$3,000-5,000


120 HANS BURKHARDT UNTITLED 1960 Oil on canvas Signed and dated upper left Canvas: 50" x 60"; Frame: 51.25" x 61.25" Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTIST )

$12,000-15,000


121 HANS BURKHARDT UNTITLED 1979 Color lithograph on paper Signed and dated in pencil “H. Burkhardt 1979" upper right Image/sheet: 22.375" x 30" $600-800

122 HANS BURKHARDT THE DEAD LEAVES WEEP 1965 Oil on canvas Signed and dated “H. Burkhardt 65” center right; inscribed “the dead leaves weep” in pencil on canvas stretcher verso Canvas: 31.5" x 39"; Frame: 33" x 40.5" $4,000-6,000

67


123 GEORGE NAKASHIMA SIDE TABLE Studio, executed c. 1963 Walnut 20.75" x 18.25" x 21" $5,000-7,000

124 GEORGE NAKASHIMA CHEST OF DRAWERS Studio, executed 1968 Walnut Signed and dated “George Nakashima/ New Hope 1968” 32" x 60" x 22" $10,000-15,000

SIGNATURE AND DATE DETAIL


PENCIL SKETCH

125 GEORGE NAKASHIMA COFFEE TABLE Studio, executed 1986 Walnut Together with original pencil sketch signed and dated July 1986 14" x 62.5" x 30" $15,000-20,000

126 GEORGE NAKASHIMA HEADBOARD Studio, executed c. 1963 Walnut 36" x 80" x 4" $6,000-9,000

69


127 GEORGE NAKASHIMA FOLDING TABLE Studio, executed c. 1963 American black walnut 28.75" x 69.75" x 38" (63" extended) $9,000-12,000

ALTERNATE VIEW


130 GEORGE NAKASHIMA SIDE TABLE

128 GEORGE NAKASHIMA END TABLES (2)

129 GEORGE NAKASHIMA GRASS SEAT "FITCH" STOOL

Studio, executed c. 1954 Walnut 21" x 27" x 20.5" and 21" x 27" x 23"

Studio, executed c. 1954 Walnut 12" x 20.5" x 20.5"

From “Origins Group” Collection Widdicomb Furniture Company, designed c. 1958 Branded signature and retains manufacturer’s label 21" x 30" x 28"

$3,000-5,000

$1,500-2,000

$1,800-2,500

71


131 SAM MALOOF ROCKING CHAIR Studio, custom executed 1990 Rosewood and Ebony Etched “No. 2 1990/Sam Maloof F.A.C.C.” 45.25" x 45" x 26.75" $25,000-35,000

132 SAM MALOOF ARMCHAIRS (2) Studio, executed 1955 Walnut Each branded “1955 Sam Maloof” Each: 30" x 20.75" x 20" $4,000-6,000


133 SAM MALOOF ROCKING CHAIR Studio, custom executed 1985 Walnut and ebony Etched “No. 50 1985/Sam Maloof F.A.C.C.” 42.25" x 46" x 25.25" $35,000-45,000

134 SAM MALOOF ROCKING CHAIR Studio, custom executed c. 1971 Black walnut and leather Branded “Designed Made Maloof California” and marked “J.K. Hull” 45" x 41" x 27.675" $15,000-20,000

73


135 FRANCISCO TOLEDO KITES (9) 2010 Watercolor, with stencil print on handmade paper Open edition; each unique Fabricated by Taller Arte Papel Oaxaca, San AgustĂ­n Etla Each signed; each with Taller Arte Papel Oaxaca label verso Each: 25" x 20" $4,000-6,000


136 FRANCISCO MORENO CAPDEVILA UNTITLED 1962 Charcoal and ink on illustration board Signed and dated lower right Image/board (vis.): 44" x 34"; Frame: 50.5" x 40.5" $4,000-6,000

137 DON SHOEMAKER SLING CHAIR Señal S.A., designed c. 1970 Retains remnant of label “Señal S.A./ Hecho Mexico” 27.5" x 28" x 23" $1,500-2,000

138 HECTOR AGUILAR FIREPLACE ACCESSORIES (3) Taxco, designed c. 1960 Marked “Taxco” Largest: 27" high $2,000-3,000

119 GINO SARFATTI TRIENNALE LAMP Arteluce, Italy, designed c. 1956 Adjustable: 70" $5,000-7,000

75


139 ROBERTO MONTENEGRO UNTITLED 1965 Oil on canvas Signed and dated lower right Canvas: 32" x 28"; Frame: 38" x 34" $8,000-12,000

140 ROBERTO MONTENEGRO UNTITLED 1963 Oil on canvas Signed and dated lower right; bears the inscription “Profile/8” on canvas stretcher verso; inscribed “24” verso Canvas: 52" x 37"; Frame: 53" x 38" $8,000-12,000


141 CARLOS ALMARAZ BEACH PARTY 1982 Oil on canvas Signed and dated verso; retains Jan Turner Gallery and Janus Gallery label verso Canvas: 16.25" x 24"; Frame: 17.75" x 25.5" $2,000-3,000

142 RUFINO TAMAYO PERSONAJE EN LA VENTANA 1980 Color etching on Guarro paper #10 of 15 HC aside from the edition of 99 Published and printed by Ediciones Polígrafa, Barcelona Signed lower right; edition lower left; bears the inscription in pencil “Personaje En La Ventana” verso Image/sheet: 30" x 22" Literature:

P E R E DA , JUAN CAR LOS, R U -

F IN O TAMAYO : C ATALOG U E R AI SONNÉ: G RÁF IC A 19 2 5 -19 9 1, ME X I C O: DF FU NDAC IÓN O LGA Y R UF IN O TAMAYO, 2004 , #280.

$2,500-3,500

143 RUFINO TAMAYO HOMBRE EN BLANCO 1976 Mixografia print on Arches paper #5 of 25 HC aside from the edition of 140 Published by Transworld Art, New York; printed by Taller de Gráfica Mexicana, Mexico City Signed in pencil lower right; edition inscribed in Roman numerals lower left with blind stamp Image/sheet: 29.75" x 22.5" Literature:

P E R E DA , JUAN CAR LOS, R U -

F IN O TAMAYO : C ATALOG U E R AI SONNÉ: G RÁF IC A 19 2 5 -19 9 1, ME X I C O: DF FU NDAC IÓN O LGA Y R UF IN O TAMAYO, 2004 , #222.

$2,000-3,000 LOT 142

LOT 143

77


144 ELIZABETH CATLETT SINGING HEAD (CABEZA CANTANDO) c. 1968 Patinated bronze Incised initials “E.C.” 7" (10.75" including base) x 5.5" x 8" Provenance:

PRIVATE COLLECTI ON , U N I T-

ED STAT ES (ACQ U I RED DIRECTLY F R OM T HE ART IST, C 1968)

Literature:

LEWIS, SA MELL A , THE A RT OF

ELIZ ABET H CATLET T, CL A REMONT: HA NCRAFT ST UDIOS, 1984, PP 31, 33, 1 88; E L I ZABET H CATLET T SCU LPTU RE: A F I F T Y-YE A R RET RO S PECTI VE, EXH IBI TION CATA LOG U E , PURCHAS E : NEU BERGER MU SEU M OF A RT, 1 9 9 8 , P 5 1; H ERZOG, MEL A NI E, ELI ZA B E T H CAT L ET T: A N A MERICA N A RTIST I N M E XI C O, S EAT T LE: U NIVERSIT Y OF WASH IN G TON PRESS, 2 00 0, NP, PL 8.

$15,000-20,000

145 HENRY MOORE TWO RECLINING FIGURES 1976 4-color lithograph on Arches paper #6 of 20 HC aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by Curwen Prints LTD., London Signed lower right in pencil beneath image; edition lower left Image: 9.25" x 11.5"; Sheet: 15.75" x 19.75" Literature:

CRA MER , PATRI CK , E D, HE N RY

MO O RE: CATA LOGU E OF GRA PH I C WOR K , VO L III: 1 976 -197 9, GENEVA : PATR I C K C R AMER , 1 9 8 0, # 440.

$1,500-2,500


146 SALLY MICHEL AVERY UNTITLED (MOTHER AND CHILD) 1970 Oil on Masonite Signed and dated lower left Image/Masonite: 29.5" x 23.75"; Frame: 31.5" x 25.5" $12,000-18,000

147 CONNOR EVERTS UNTITLED c. 1965 Pastel on paper Signed and inscribed in pencil verso Image/sheet: 24.125" x 18" Provenance:

P R IVAT E C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

$2,000-3,000

148 CONNOR EVERTS PROTOTYPE (STUDIES IN DESPERATION) 1963 Charcoal on paper Retains Cardwell Jimmerson Gallery label verso Image/sheet: 38" x 25"; Frame: 46" x 33" $2,500-3,500

79


MARKINGS DETAIL

149 ALISON SAAR ROSE TATTOO 1991 Wood, tar, tin, copper Signed, titled, and dated; retains partial Hirshhorn Museum and Sculpture Gardenexhibition label; retains Jan Baum Gallery label Together with photocopy of Hirshhorn Museum and Sculpture Garden exhibition brochure 28" x 26" x 12" Exhibited:

“A LI SON SA A R : SCU LP T U R A L

PO RT RAITS, WA LLWORKS A ND A RT I STS’S BO O KS,” A DDISON GA LLERY OF A M E R ICAN ART, PH I LLI PS ACA DEMY, A N DOVE R , JANUARY 18 -MA RCH 14, 1993; “ MY T H, MAG IC AN D RITUA L : FI GU RATIVE WOR KS BY AL IS O N SA A R , ” FREEDMA N GA L L E RY, AL BRIG HT COLLEGE, CENTER FOR T HE ARTS, REA DING, FEBRUA RY 2-MA R C H 7, 1 9 93 ; “D IRECTIONS -A LI SON SA A R ,” HI R SHHO RN MUSEU M, WASH INGTON, DC , A P R I L 1 -JUNE 2 7, 1993; “ IN TH E BL ACK , ” I RVI N E FIN E ARTS CENTER , I RVINE, DECE M B E R 1 9 9 4 - FEBR UA RY 26, 1995

Illustrated:

L AW RENCE, SI DNEY,

D IRECT IO NS -A LISON SA A R , EXH IB I T I ON CATALO G UE, WASH I NGTON, DC: HI R SHHO RN , 1 9 93, COVER

Literature: H EA RTNEY,

ELEA NOR , M Y T H,

MAG IC AN D RITUA L : FI GU RATIVE WOR KS BY AL IS O N SA A R , EXH I BI TION CATA LOG U E , READ ING : CENTER FOR TH E A RTS, 1 9 93, N P ; FOX , MARILY N J, “A LBRIGH T SH OW LOOKS AT ‘O UTS IDER’ A RT, ” REA DING EAG L E [ READ IN G ] 28 FEBRUA RY 1993, ARTS S ECTION.

$20,000-30,000


150 ALISON SAAR UNTITLED 2009 Patinated bronze and string #8 of 9 Incised signature with date and edition 17" x 6" x 6" Provenance:

L A LO UVER G ALLERY, VEN-

IC E , C AL IFO R N IA; P R IVATE C OLLECTI ON, LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE)

$7,000-9,000

151 BETYE SAAR MALE MODEL MAKIN’ THE CHAPLIN SCENE c. 1966 Sepia etching on paper Signed in pencil lower right; bears the inscription in pencil “Male Model Makin’ the Chaplin Scene” verso; retains Ankrum Gallery label verso Image/sheet (vis.): 12.5" x 14.5"; Frame: 19.125" x 21.25" $1,500-2,000

81


FRITZ SCHOLDER Celebrated for his unconventional, post-modernist paintings of American Indians, Fritz Scholder (1937–2005) is a central figure in the transformation and popularization of Native American art. His paintings of American Indians subvert stereotypical, romantic images of the “noble savage” and portray American Indians as he saw them in Santa Fe, New Mexico in the 1960s and 70s—sitting in the back of a car, walking out of a bar, or holding an ice cream cone. His works convey an idiosyncratic take on social realism, convention, and myth: each painted with the artist's inimitable blend of Abstract Expressionism and Pop Art, learned from heroes and teachers such as Wayne Thiebaud, Francis Bacon, and renowned American Indian artist Oscar Howe.

established Institute of American Indian Arts in Santa Fe. Touring American Indian schools across the United States and surrounded by the culture, Scholder began his now famous Indian Series in 1967. In this series, he portrays reservation life through his eyes—a man of mostly German descent who claimed to have been “raised white” and only one-quarter Luiseño, an indigenous tribe of what is now Southern California. Cat Person #1 (Native American Series) features an enigmatic and alluring figure, cloaked with horns and holding a spear. Menacing and sinister, these types of portrayals angered some in the American Indian community. The images were seen as being negative and damaging, especially coming from someone of Scholder’s background.

In Upside Down Dog (1977), Scholder borrows the contorted, gaping mouth made famous by Bacon. Using a similar palette as his predecessor, the dark, moody environment is interrupted by a hint of intense color for psychological effect. The same year that he created Upside Down Dog, Scholder was profiled by People magazine, where it was reported that his work resided in the collections of movie star Robert Redford and designer Bill Blass. In addition to private collections, Scholder’s work is in major museums such as the National Gallery of Art and the Smithsonian American Art Museum.

Scholder himself would remain somewhat ambivalent about his chosen subject for the majority of his career, but it cannot be denied that he was an advocate for change in the stymied development of Native American art. In 1972, the artist made a prescient and powerful statement proclaiming his aims for American Indian art: “I believe that there is a new Indian Art emerging. It will take many forms and will be vital. A merging of traditional subject matter with the contemporary idiom will give us a truer statement of the Indian.” Scholder made strides in combating an imperialistic and orientalist view of the American Indian, substituting it with a refreshingly real viewpoint.

Leading up to this commercial and institutional art world success was Scholder’s important contribution to the Native art movement, which began in 1961 with a scholarship to the Rockefeller Foundation’s Southwest Indian Art Project at the University of Arizona. After earning an MFA in 1964, he began teaching art history and advanced painting at the newly 152 FRITZ SCHOLDER UPSIDE DOWN DOG 1977 Oil on linen Signed lower center; titled and dated verso Together with three color posters (two signed by the artist in ballpoint pen) Canvas: 29.5" x 39.75"; Frame: 30.125" x 40.25" $6,000-9,000

Brockman, Joshua. “Indian or Not? Fritz Scholder’s Art and Identity.” NPR.org. National Public Radio. Web. 19 Aug. 2008 Ewing, Robert. “The New Indian Art.” El Palacio (Spring 2013): 33-39. Web. 19 Aug. 2013. Fritz Scholder: Indian/Not Indian. National Museum of the American Indian at the Smithsonian, 2009. Web. 19 Aug. 2014.


153 FRITZ SCHOLDER CAT PERSON #3 (NATIVE AMERICAN SERIES) 1978 Oil on canvas Signed lower right; titled and dated on canvas stretcher verso Canvas: 20" x 16" $6,000-9,000

154 FRITZ SCHOLDER CAT PERSON #1 (NATIVE AMERICAN SERIES) 1978 Oil on canvas Signed lower right; titled and dated on canvas stretcher verso Canvas: 20" x 16" $6,000-9,000

155 FRITZ SCHOLDER CAT PERSON #2 (NATIVE AMERICAN SERIES) 1978 Oil on canvas Signed upper left; titled and dated on canvas stretcher verso Canvas: 20" x 16" $6,000-9,000

LOT 154

LOT 155

83


156 FRITZ SCHOLDER WOMAN WITH FEATHER DUSTER #1, STUDY FOR WOMAN WITH FAN #2, AND WOMAN WITH FEATHER DUSTER #3 (STUDY FOR WOMAN WITH FAN #3) (3) 1979 Gouache on paper Each signed in pencil; each with title inscribed in pencil verso Each image/sheet: 22.75" x 30.75" $6,000-9,000


157 FRITZ SCHOLDER DAKOTA DOG c. 1977 Oil on paper Signed upper left Image/sheet: 22.25" x 30.125" $5,000-7,000

85

158 FRITZ SCHOLDER STUDY FOR MEMORIES OF ART HISTORY #3 c. 1979 Gouache on paper Signed in pencil lower left Image/sheet: 22.5" x 30.75" $3,000-5,000


159 ROBERT BARON CHAIRS (6) Glenn of California, designed c. 1965 Each: 39.25" x 19.25" x 20.25" $2,500-3,500

160 MILLARD SHEETS COFFEE TABLE Studio, executed c. 1962 16.25" x 60" x 36" $2,000-3,000


161 RAUL CORONEL UNTITLED (MURAL) Stoneware Designs, designed c. 1968 36" x 48" $2,000-3,000

162 RAUL CORONEL UNTITLED (MURAL) Stoneware Designs, designed c. 1968 36" x 48" $2,000-3,000

87

163 HUGO FRANÇA IGUAÇU TABLE Unique Studio, executed 2005 Pequi wood Together with certificate from the artist 13.5" x 66.75" x 36" $8,000-12,000


164 FRANK ROMERO DES NUDA BLUE 2002 Painted and glazed ceramic plate in custom frame box Retains Patricia Correia Gallery label verso Ceramic: 12.75" x 13.75"; Frame: 15.75" x 15.75" $2,500-3,500

165 JEAN-MICHEL FOLON LE MÉTAMORPHOSE 1974 Watercolor and ink on paper Signed and dated in Roman numerals “Folo IV” lower right; title inscribed lower center Image/sheet (vis.): 15.75" x 11"; Frame: 21.75" x 16.625" $3,000-5,000

166 GARRY KNOX BENNETT DESK Custom, executed 1981-84 Signed “In Oakland GKB Anno 81-84” 29" x 66" x 26" $5,000-7,000


167 PETER SHIRE RARE EARLY TEAPOTS (4) Studio, executed 1979 Glazed ceramic Each signed and dated Largest: 14" x 17" x 10"; Smallest: 7.5" x 8" x 5" Peter Shire executed these prior to opening his studio gallery but after graduating from The Chouinard Art Institute in 1970. $4,000-6,000

168 ARTHUR COURT CHAMPAGNE BUCKET From the Endangered Kingdom collection Arthur Court, Inc., designed 1982 15" x 31" x 12" $1,500-2,000

89


PARTIAL ILLUSTRATION

169 RUSSEL WRIGHT CHARTREUSE AND GRANITE GRAY STEMWARE (38 PIECES) American Modern, designed 1951 Comprised of eight each in chartreuse: Goblet, Sherbet, Wine, Cordial; and six Cocktail in granite gray Various dimensions $800-1,200

170 BILL SAUNDERS CHOPPING BLOCK ON WHEELS Studio, designed 1964 28.5" x 33.5" x 24" Literature:

CA LI FORNI A DESI GN N I N E,

PASAD EN A: PASA DENA A RT MU SE U M : 1 9 6 5, P 112.

$1,000-1,500

171 GERALD MCCABE COFFEE TABLE Orange Crate Modern, designed c. 1968 17" x 40" x 26" $1,500-2,000


172 RON KENT COMPOTE Studio, executed 1993 Norfolk Island Pine Signed 5.375" x 15.5" diameter $2,500-3,500

173 RON KENT BOWL Studio, executed 1993 Norfolk Island Pine Signed and dated 7.5" x 8.125" diameter $2,000-3,000

174 BOB STOCKSDALE BOWLS (2) Studio, executed 1982-84 Koa and ebony Tall bowl marked “Koa from Kawaii” with signature and date; Wide bowl “Ebony from Borneo” with signature and date Tall bowl: 3.25" x 4.5" diameter; Wide bowl: 2.25" x 7.5" diameter $2,500-3,500

175 FITZ SCHRODER , DAN MONGOLD & RUDE OSOLNIK DECORATIVE OBJECTS (3) Studio, executed c. 1979 Schroder signed and dated ‘79 and “Spruce Burl”; Mongold with artist's cipher; Osolnik marked “Osolnik originals/Walnut” Comprised of Fritz Schroder vase, Dan Mongold “Weedpot,” and Rude Osolnik bowl Schroder: 4.5" x 4.5" diameter; Mongold: 2.5" x 4.75"; Osolnik: 2" x 5" diameter $1,000-1,500

91


176 PABLO PICASSO FOUR POLYCHROME FISHES 1947 Rectangular dish of white earthenware clay, decoration in engobes and oxides under glaze #43 of 200 Madoura Signed and inscribed “I 110/Edition/ Picasso/43/200” verso; stamped “Madoura Plein Feu” and “Edition Picasso” verso Ramié #31 1.5" x 15.25" x 12.25" Literature:

RA MI É, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDI TED C E R A M I C WO RKS 1 9 4 7-1971, MA DOU RA : GA LE R I E M AD O URA , 1988, # 31.

$5,000-7,000

177 PABLO PICASSO TOROS 1952 Turned plate of white earthenware clay, decoration in engobes and oxidized paraffin From the edition of 500 Madoura Signed and inscribed “Edition/Picasso/ Madoura” verso; stamped “Edition Picasso” and “Madoura Plein Feu” verso Ramié #161 7.875" diameter Literature:

RA MI É, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDI TED C E R A M I C WO RKS 1 9 4 7-1971, MA DOU RA : GA LE R I E M AD O URA , 1988, # 161.

$3,000-5,000

178 PABLO PICASSO FACE 1955 Turned round cupel of white earthenware clay, decoration in engobes under glaze From the edition of 500 Madoura Signed “Edition/Madoura/Picasso” Ramié #290 2.5" x 5" diameter Literature:

RA MI É, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDI TED C E R A M I C WO RKS 1 9 4 7-1971, MA DOU RA : GA LE R I E M AD O URA , 1988, # 290.

$3,000-5,000


179 PABLO PICASSO FACE IN A STAR 1947 Rectangular dish of white earthenware clay, engobe decoration, engraved under yellow glaze #25 of 200 Madoura Inscribed “I 104 25/200” verso; stamped “Madoura Plein Feu” and “Edition Picasso” verso Ramié #30 1.75" x 15.25" x 12.375" Literature:

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MA DOU R A: G ALER I E MAD O UR A , 19 8 8 , # 3 0.

$6,000-9,000

180 PABLO PICASSO FOUR DANCERS 1956 Convex wall plaque of white earthenware clay, engraving accentuated with oxidized paraffin, glaze bath From the edition of 450 Madoura Stamped “Madoura Plein Feu” and “Empreinte Originale de Picasso” verso Ramié #314 9.625" diameter Literature:

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MA DOU R A: G ALER I E MAD O UR A , 19 8 8 , # 3 14.

$2,000-3,000

181 PABLO PICASSO BIRD ON A BRANCH 1952 Bowl of white earthenware clay, oxidized paraffin decoration with white enamel From the edition of 500 Madoura Signed “Edition Picasso”; stamped “Edition Picasso” Ramié #175 6.25" diameter Literature:

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MA DOU R A: G ALER I E MAD O UR A , 19 8 8 , # 17 5 .

$1,500-2,000

93


182 PABLO PICASSO JOY OF LIVING 1956 Round dish of white earthenware clay #96 of 100 Madoura Inscribed “C. 102/96/100” verso; stamped “Empreinte Originale de Picasso" and “Madoura Plein Feu" verso Ramié #346 16.5" diameter Literature:

RA MIÉ, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDITED C E R A M I C WO RKS 1 9 4 7-1971, MA DOU RA : GA L E R I E MAD O URA , 1988, # 346.

$6,000-9,000

183 PABLO PICASSO PATINATED FACE 1959 Plate of white earthenware clay, engobe and patina decoration with scraped relief #61 of 100 Madoura Inscribed “K. 110/61/100" verso; stamped “Madoura Plein Feu" and “Empreinte Originale de Picasso" verso Ramié #441 9.75" x 9.625" Literature:

RA MIÉ, A L A IN, PA BLO P I C AS -

S O : CATALOGU E OF TH E EDITED C E R A M I C WO RKS 1 9 4 7-1971, MA DOU RA : GA L E R I E MAD O URA , 1988, # 441.

$4,000-6,000


184 AFTER PABLO PICASSO GRANDE MATERNITÉ c. 1963 Color lithograph on wove Arches paper #74 of 200 Signed in pencil lower right; edition lower left; signature in plate with date upper left Sheet: 35" x 25"; Frame: 45.5" x 36" $5,000-7,000

185 JOAN MIRÓ LA HARPIE 1969 Color etching and aquatint with carborundum on Arches paper #30 of 75 Published by Maeght Éditeur, Paris; printed by Morsang, Paris Signed in pencil lower right; edition lower left Image/sheet (vis.): 35.75" x 25.5"; Frame: 45" x 35" Literature:

D UP IN , JAC Q UE S, MIRÓ ENG R AVEU R , VOL I I ,

N E W YO R K : R IZ ZO L I, 19 8 9, # 5 0 6 .

$6,000-9,000

186 JOAN MIRÓ UNTITLED (PLATE 4 FROM UBU ROI) 1966 Lithograph on Arches paper #43 of 75 Published by Tériade, Paris Signed with artist’s monogram in pencil lower right; edition lower left Image: 16" x 24.5"; Sheet: 21" x 29"; Frame: 33.5" x 42" Literature:

C R AME R , PATR IC K , J OAN M I RÓ: LI TH OG R A-

P H IE, VO L III, PAR IS : MAEGH T, 19 7 2, #4 6 3.

$2,000-3,000

95


MARIA PERGAY Though many in her field aspire to be called an artist, the French designer Maria Pergay (b. 1930) is that rare creator of furnishings who deserves the name. Regarded as a national treasure in her homeland—she was recently awarded the Légion d’honneur—Pergay seems to produce her elegant, spirited designs from an inner source that is equal parts intelligence, imagination, and intuition. Pieces from the relatively small, boutique-level output of her 56-year career are most often described in terms of art movements: some are seen as Minimalist, others as Surreal, still others as Mannerist. Pergay’s designs have been called feminine and anti-feminine, and a continual source of surprise is that her primary material has long been that sternest of metals: stainless steel.

Maria Pergay recently spoke with Los Angeles Modern Auctions about her methods, her materials, and more:

Pergay’s work features in both private collections and in the collections of such institutions as the Metropolitan Museum of Art. At the same time—while she is avowedly uninterested in the ebb-and-flow of fashion—Pergay has long been a favorite of the great European couture houses, having received commissions from Christian Dior, Jacques Heim and, most recently, Fendi. The nowiconic “Flying Carpet” daybed, was the centerpiece of Pergay’s first furniture collection. When that collection was first exhibited in Paris in 1968, Pierre Cardin bought it in its entirety.

MP: It depends. Often, someone asks me a question. They would like something, they talk to me about it, and the idea comes. But in all cases, I don’t do research, I don’t make sketches.

Los Angeles Modern Auctions: From your earliest creations on, your work seems to embody such a lightness of spirit. Do you find designing fun? Maria Pergay: Well, it’s not something you do while having tea in the afternoon. No, it is difficult, strong, hard work. But to see an object come to life that did not exist— for a vision in my head to turn into a real thing in steel— yes, that is magic and I am delighted. LAMA: What is your design process?

LAMA: You are an intuitive designer. MP: An object presents itself to my vision, my eye. I see it, in my mind, and it is finished. Take the ‘Flying Carpet’: it was like giving birth! One morning I saw it—my mind projected the image of this bed. Full stop! Next paragraph! It has always been like this, for fifty years.


LAMA: Why stainless steel? MP: I had a shop on the Place des Vosges that I opened in 1960. I designed small pieces in silver— jewelry boxes, cigarette boxes. More and more people visited, and I began to receive commissions. In 1967, Ugine-Gueugnon [a major French stainless steel maker] asked me if I would work in stainless steel, and I have ever since. LAMA: What is the attraction of that material? MP: Stainless steel does not forgive. It has authority, and it helps me not to make errors. But it also shines and glows; it hints at greater things. That said, I thank all the people in the workshops, who have put their craftsmanship to my service. I am not a metal worker. I am so grateful for their hands—and, of course, for my head, that every once in a while spits out an image.

LAMA: Still, it’s nice to make an impression. How did you feel when your first collection in 1968 sold out? MP: I was at the Galerie Maison et Jardin, that’s where my first show was. Paris was in an uproar [amidst the tumultuous student demonstrations of 1968]. One of the first persons that walked in was Pierre Cardin. He was a discoverer—a great man of taste and vision. He could see a piece of cloth on the floor and understand how to make it into a dress. I am so flattered that he also discovered me. LAMA: Does designing still rekindle that feeling? MP: Oh, yes. A design realized is happiness, pure joy, a delight. I find happiness in creating. It is a need; a need I satisfy as I would satisfy hunger or thirst. LAMA would like to thank Maria Pergay for her generosity and assistance.

LAMA: You studied theatre design and costume design. Before you started a design career you were known for amazing store window displays. Do you seek to tell a story in your work? MP: No. A piece is there, and it tells its own story. 97

187 MARIA PERGAY FLYING CARPET DAYBED Ugine-Gueugnon, designed 1968 Uginox stainless steel and upholstery 12" x 117.5" x 29.875" Provenance:

P R IVAT E C OLLECTI ON,

SAR AS OTA , F LO R IDA; P R I VATE COLLECTI ON, LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, 1 985 )

Literature:

D E MIS C H, SU ZANNE, AND STE-

P H AN E DAN AN T, MAR I A P ER G AY: C OM P LETE WO R KS 195 7-2 0 10, B O LOG NA: DAM I ANI , 2 0 11, N P, # 15 .

ALTERNATE VIEW

$100,000-150,000


188 DORA MAAR UNTITLED 1933; this example printed by the Estate of Dora Maar 1999 Gelatin silver print Artist’s ink stamp “DM/1999” verso; mount inscribed in pencil “49” verso Together with Piasa auction catalogue Image/sheet: 9.375" x 7"; Frame: 17" x 15" Provenance:

TH E ESTATE OF DO R A M A A R ;

LES PHOTOGRA PH I ES DE DORA M A A R : U N E D ERNIÈ RE RENCONTRE, PIASA , PA R I S, N O V EMBER 1 9, 1999; # 49; PRIVATE C OL L ECT IO N, UN ITED STATES (ACQ U IRED DI R EC T LY FRO M T HE A BOVE)

Literature:

DORA MA A R FOTÓGR A FA , VA-

LENCIA: BA NCA JA , 1995, PP 69, 155, #9.

$7,000-9,000


189 LOUIS MARCOUSSIS CHANTRE AND ROSEMONDE (PLATES 8, 21 FROM ALCOOLS) (2) 1934 Etching on off-white wove paper Each #1 of 2 numbered Artist's proofs Each signed in pencil lower right margin beneath image; each with number inscription upper right margin; each with title inscribed verso; each with ink stamp “Atelier Marcoussis” verso Image each: 6" x 3.75"; Sheet each: 7.5" x 5" The Alcools series is based on a collection of poems by Guillaume Apollinaire. Provenance:

LO UIS M AR C OU SSI S ESTATE;

TH E N C E BY D E S C E N T

Literature:

MIL E T, SOL ANG E, LOU I S

MAR C O USS IS : C ATALOG U E R AI SONNÉ DE L’O E UV R E GR AVÉ, C O PENH AG EN: FOR L AG ET C O R D E L IA , 19 9 1, 12 1 III /I I I , 1 34 I I I /I I I .

$4,000-6,000

190 HANS BELLMER DIALOGUES 5 1967 Etching on Japan paper #1 of 8 Signed in pencil lower right margin; edition lower left Together with original receipt Image: 5.25" x 4.625"; Sheet (vis.): 6" x 5"; Frame: 15.75" x 13.75" Provenance:

F R AN Z BADER G ALLERY,

WAS H IN GTO N , D C ; P R I VATE C OLLECTI ON, WAS H IN GTO N , D C ( AC Q U I R ED DI R EC TLY F R O M TH E AB OV E , 19 85 ) ; TH ENC E BY DESCENT

$600-800

99


DETAIL

191 ALBERTO GIACOMETTI LAMPADAIRE À TÊTE DE FEMME Executed c. 1968 Bronze Together with letter from Marjorie Bernheim 60.5" x 8.375" diameter at base Provenance:

PRIVATE COLLECTI ON , LOS

ANG EL ES, CA LIFORNI A (ACQ U I RE D DIRECT LY FROM DI EGO GI ACOMET TI , C 1 9 6 8); T HEN CE BY DESCENT

$80,000-120,000


192 DAVID SMITH 48-12-57 1957 Ink on Japanese paper Signed and dated in black ink lower left; retains two Knoedler Gallery labels verso Image/sheet: 17.5" x 22.5"; Frame: 26.25" x 31.125" “In the 1950s he began an independent series of calligraphic egg-and-ink drawings, using a medium that he invented, a viscous mixture of egg yolk and India ink. Egg made the ink thicker, yet allowed for visual depth within the brushwork, giving it an added physicality.� (David Smith by Joan Pachner, New York, Phaidon Press, 2013, p 90) Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A C O L L EC TIO N

$10,000-15,000

101


193 CHARLES GREEN SHAW OPUS A - NUMBER 6 1953 Oil on canvas Signed lower left; signed and dated verso Canvas: 25" x 30"; Frame: 31" x 36" $5,000-7,000

194 CHARLES GREEN SHAW IDENTITY 2 1963 Oil on canvas Signed lower right; signed and with Bertha Schaefer Gallery label verso Canvas: 29.375" x 21.375"; Frame: 35.25" x 27" $3,000-5,000


195 MARK TOBEY FLIGHT OVER FORMS 1966 Color lithograph on paper #75 of 200 Printed by Kurt Meier Lithography, Basel Signed and dated in pencil lower right margin beneath image; edition lower left margin beneath image; printer blind stamp lower left sheet margin Image: 18.25" x 26.25"; Sheet: 25" x 33" Provenance:

H AN S BU R K H AR DT ( AC-

Q UIR E D D IR EC TLY F R OM TH E M AR K TOBEY STUD IO) ; P R IVATE C O LLEC TI ON, LOS ANGE L E S, C AL IFO R N IA ( ACQ U I R ED DI R EC TLY F R O M TH E AB OV E )

$2,000-3,000

196 PHILIP GUSTON UNTITLED 1963 1-color lithograph on natural Nacre paper #4 of 5 aside from the edition of 20 Published and printed by Tamarind Lithography Workshop, Albuquerque Signed and dated in pencil lower right sheet; edition in Roman numeral lower center Image/sheet: 22.25" x 30.25"; Frame: 26.625" x 34.5" Provenance:

J UL E S L ANG SNER , LOS AN-

GE L E S, C AL IFO R N IA ( ACQ U I R ED DI R EC TLY F R O M TH E ARTIST )

Literature:

C ATALO GU E R AI SONNÉ: TAM A-

R IN D L ITH O GR AP H Y WOR KSH OP, I NC , 1 960 19 7 0, AL B UQ UE R Q UE : U NI VER SI T Y OF NEW ME X IC O ART MUS E UM, 1 989, P 89, #836.

$2,500-3,500

103


197 HARRY BERTOIA SONAMBIENT SCULPTURE Studio, executed c. 1970 Bronze 16" (base: 7" x 4") Provenance:

PRIVATE COLLECTI ON

( ACQUIRED DI RECTLY FROM TH E A RT I ST, C 1 9 70) ; T HENCE BY DESCENT

$10,000-15,000


198 HARRY BERTOIA UNTITLED c. 1940 Monotype Image/sheet: 10" x 7.5"; Frame: 18.625" x 15.625" Provenance:

TH E E STATE OF H AR RY BER-

TO IA; P R IVATE C O L L EC TI ON, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E )

$1,000-1,500

199 HARRY BERTOIA UNTITLED c. 1960 Monotype Bears the inscription in pencil “3017” verso Image/sheet: 12.5" x 25.25" Provenance:

TH E E STATE OF H AR RY BER-

TO IA; P R IVATE C O L L EC TI ON, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E )

$1,000-1,500

200 HARRY BERTOIA UNTITLED c. 1945 Monotype Image/sheet: 6.5" x 6.5"; Mat: 12.25" x 12.25" Provenance:

S O LO M ON R G U G G ENH EI M

MUS E UM; P R IVATE C OLLEC TI ON, LOS AN GE L E S, C AL IFO R N I A ( WR I G H T, M AY 1 4 , 2 0 0 2 , LOT 17 1 )

$1,000-1,500

105


201 EDWARD WORMLEY SOFA Dunbar, designed c. 1955 29" x 91" x 31" $5,000-7,000

202 EDWARD WORMLEY TRAPEZOIDAL COFFEE TABLE Dunbar, designed 1958 Retains gold Dunbar label With inset tiles designed by Gertrud and Otto Natzler 17" x 77.25" x 19" $6,000-8,000 TOP DETAIL


203 IN THE STYLE OF EDWARD WORMLEY DESK Manufacturer unknown, designed c. 1960 29" x 58" x 30.5" $2,500-3,500

107

204 EDWARD WORMLEY SOFA Dunbar, designed c. 1955 28" x 84" x 32" $2,000-3,000


205 CEDRIC HARTMAN END TABLES (2) Cedric Hartman, Inc., designed c. 1970 Each: 23.25" x 18" diameter $6,000-9,000

206 CEDRIC HARTMAN FLOOR LAMPS (2) Model no. 11UCO Cedric Hartman, designed 1966; these examples manufactured 1991 Each stamped “Cedric Hartman/910530A/Made in U.S.A.” with etched signature Each: 42" high Literature:

H A BEGGER , JERRY LL , A N D

JO S EPH H OSMA N, SOU RCEBOOK OF MO D ERN FU RNI TU RE, NEW YORK: N ORTON , 1 9 9 7, P 3 3 1.

$2,000-3,000


207 CHARLES HOLLIS JONES LAMPS (2) CHJ Designs, designed c. 1970 Each: 39" x 22" diameter $2,000-3,000

208 PHILIP & KELVIN LAVERNE COFFEE TABLE Philip LaVerne Collection, designed c. 1960 Signed 16.75" x 57" x 20" $4,000-6,000

SIGNATURE DETAIL

209 PHILIP & KELVIN LAVERNE UNTITLED (PLAQUE) LaVerne, executed 1965 Signed and dated “Philip P. Kelvin LaVerne/1965” lower right 33.75" x 27.75" $2,000-3,000

109


210 ÉDOUARD-WILFRED BUQUET BALANCED LAMP Model no. A Buquet, Paris, France, designed 1927 Together with copy of Galerie Jousse Seguin receipt dated March 1999 and “La Lampe Équilibrée,” a booklet from Buquet’s 1927 lamps Adjustable: 34" x 40" Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 LIG H TS: 187 9 TO 1959, COLOG N E : TAS CHEN, 20 05, P 244.

$4,000-6,000

211 ART MODERNE CABINET Manufacturer unknown, designed c. 1948 33" x 42" x 17" $2,000-3,000


212 JOHN DICKINSON TREE-FORM TABLE LAMP Studio, executed c. 1975 24" x 10" diameter at base $5,000-7,000

213 MERET OPPENHEIM TABLE WITH BIRD’S FEET Simon Intl., designed 1939; this example manufactured c. 1970s 25" x 26.5" x 20.75" Literature:

B UR C K H AR DT, JACQ U ELI NE,

ME R E T O P P E N H E IM - BEYOND TH E TEACU P, N E W YO R K : IN D E P E N D ENT CU R ATOR S IN C O R P O R ATE D, 19 9 7, P 4 6 .

$4,000-6,000

214 ATTRIBUTED TO MICHAEL TAYLOR LOUNGE CHAIR Manufacturer unknown, designed c. 1980 28.5" x 38" x 35" $1,500-2,000

111


Mike Kelley, Nazi War Cave #1, 1985, Acrylic on paper, 68.875" x 104" Installation view, Museum of Contemporary Art Los Angeles, 2014 Courtesy of Mike Kelley Foundation for the Arts All Kelley Works Š Estate of Mike Kelley. All rights reserved.


MIKE KELLEY Throughout his intensely inventive and transgressive career, Mike Kelley had a thing for subterranean spaces. Along with holding various basement and “sub-basement” performances, he made a range of paintings and sculptures evoking tunnels, crawlspaces and caves. In the 1991 installation Lumpenprole, he buried stuffed animals beneath a crocheted blanket, creating in effect a new floor bulging with castaway childhood objects and, presumably, repressed desires or perversions. For his 1995 work Educational Complex, an architectural model showing every building where he had been schooled, he placed a mattress on the floor so that viewers could lie down and view a model of the CalArts basement screwed onto the underside of the table. CalArts later became the focus of an expanded model, Sublevel, raised on car jacks to be seen from underneath. The 2006 video installation Rose Hobart II took the form of a narrow black wooden tunnel that visitors could worm their way through in order to reach the light, that is, a peephole viewing of the famous shower scene from the movie Porky's. And Kelley’s interest in caves, those oddly homey but claustrophobic spaces, dates to at least two decades earlier, as seen in some early performances as well as in the powerful 198586 installation Plato's Cave, Rothko’s Chapel, Lincoln's Profile.

Most memorably, Kelley hung one painting that is now owned by the Museum of Modern Art, Exploring (1985), so low across a door frame that visitors had to get down on hands and knees to enter the space—dramatically undercutting museum protocols that reward proper posture and sophisticated comport. The painting was “positioned like a dominatrix,” George Baker points out in his subterranean-themed essay, “Mike Kelley: Sublevel.” Words printed on the work, in the hollows created by stalactite and stalagmite imagery, reinforce the point: “WHEN SPELUNKING SOMETIMES YOU HAVE TO STOOP…. SOMETIMES YOU HAVE TO GO ON ALL FOURS… SOMETIMES EVEN CRAWL….CRAWL WORM!!” Nazi War Cave #1 (1985), a black-and-white acrylic painting, also from Plato's Cave, Rothko’s Chapel, Lincoln's Profile, features some similar crystalline imagery and its own provocative text snippets running along the margins. And it too proves arresting. To be sure, this painting (and its counterpart from the following year, Nazi War Cave #2, which reverses the black ground and white foreground) is engaging on many levels. The scene of an Ice-Age-cave-meets-high-tech munitions storehouse, which prefigures some of the cave sculptures of Kelley’s Supermaninspired Kandor series, has the graphic appeal of a comic-book strip. And the powerful renderings of Teutonic axes pack a bamwham sort of punch. Continue to page 114

Originally made in 1985 as a site-specific work for the Brooklyn Anchorage called The Trajectory of Light in Plato’s Cave, a fuller version with the new title was soon installed at the Rosamund Felsen Gallery in Los Angeles. Another iteration later appeared at Metro Pictures in New York, where he also did a performance by the same title at Artists Space in collaboration with Sonic Youth. The script of that performance, published in book form, teases some of the themes implicit in the installation itself, with the classical idea of the philosopher who transcends the murkiness of material forms (à la Plato’s parable of the cave) giving way to a more modern and subversive celebration of the underground (the naked truth of a dark pit or “the richness of mud,” as Kelley put it). Throughout he plays a mean game with power dynamics, exposing the “philosophical, political or sexual hierarchies to which we capitulate,” in the words of Art in America critic Kathy O’Dell. Recognized as a turning point from performance to installation art for Kelley, Plato's Cave, Rothko’s Chapel, Lincoln's Profile is also an example of how the artist used paintings as a makeshift or illicit (certainly not up-to-code) sort of architecture. Mike Kelley photographed by Grant Mudford in 1989 Photo © Grant Mudford

113


Meanwhile, some sayings on the painting, like “YODEL ON THIS BRO’” and “YOO HOO—SWISS MISS!!” directly address the viewer, drawing us to the smaller and denser text nearby, whether on the outsourcing of American production or the defilement of nature. Despite making such bids for our attention, Nazi War Cave #1 is also designed to thwart the viewer visually, much as Exploring does physically. For at the heart of the cave, which is also the work’s central vanishing point according to the principles of Renaissance perspective, stands the outline of a large swastika—one of the few national or political symbols that can be as repellant as a physical barrier. Even though it has been rendered with relatively faint lines, the swastika here has the power to stop one cold. What was the artist thinking? As an art historian on the case, you can find other examples of swastikas in the work of contemporaries (most notably Sigmar Polke) as well as Kelley’s own work (he once defaced an image of Abraham Lincoln by adding a swastika to his forehead.) As a viewer familiar with Kelley’s own class-conscious, anti-establishment ethos (which Sterling Ruby nicely summarized as “a perfect bastard culmination of punk rock, blue-collar politics, craft appropriation and criminality”), you can trust that Kelley is not naively embracing the anti-Semitism or military brutality of Hitler’s Third Reich. But whatever your approach, you can’t quite deny the work’s push-pull tension. As Kelley said to art historian Eva Meyer-Hermann in 2011, in the last interview conducted before his suicide, “You know as well as I do that most viewers look at art for about two seconds and then they’re out the door. I have always appreciated complexity in artworks; the fact that the works are high minded or silly is less important than their complexity. That is the true content of the work—its structure.” Like Kelley’s work on legendary criminals (and their kinship with great but also lawless artists), this painting captures a rather Miltonic struggle between the creative or generative forces of dark and light. And like so much of his work more broadly, Nazi War Cave #1 works to both attract and repel viewers, include and exclude them. In other words, welcome to the unwelcoming cave, where the darkness is—never mind Plato—pregnant with flashes of light. Jori Finkel

Mike Kelley with Nazi War Cave #2 photographed by Tim Street-Porter Photographs © Tim Street-Porter


215 MIKE KELLEY NAZI WAR CAVE #1 1985 Acrylic on paper Retains 43rd Biennale of Venice exhibition label verso LAMA would like to thank the Mike Kelley Foundation for the Arts for their assistance in cataloguing this work Sheet: 68.875" x 104"; Frame: 72.625" x 108.25"

Provenance:

R O SAMUN D F E L S E N GAL-

K E L L E Y, ” TR AV E L IN G EX H I BI TI ON, STE-

L E RY, SAN TA MO N IC A , C AL IFO R N IA;

D E L IJ K MUS E UM, AMSTER DAM , DECEM BER

P R IVATE C O L L EC TIO N , UN ITE D STATE S ( AC-

15 , 2 0 12-AP R IL 1, 2 0 13 ; C ENTR E P OM P I DOU,

Q UIR E D D IR EC TLY F R O M TH E AB OV E , 19 85 )

PAR IS, MAY 2-AUGUST 5, 201 3; M OM A P S1 , N E W YO R K O C TO B E R 1 3, 201 3 -FEBR UARY

Exhibited:

“ P L ATO ’S C AV E , R OTH KO ’S

C H AP E L , L IN C O L N ’S P R O F IL E , ” R O SA-

4, 2 0 14; MO C A , LO S ANG ELES, M AR C H 31 , 2 0 14 -J ULY 2 8 , 2 0 14;

MUN D F E L S E N GAL L E RY, LO S AN GE L E S, 19 85 ; “ P L ATO ’S C AV E , R OTH KO ’S C H AP E L ,

Literature:

L IN C O L N ’S P R O F IL E , ” ME TR O P IC TUR E S,

R OTH KO ’S C H AP E L , LI NCOLN’S P R OFI LE,

N E W YO R K , 19 8 6 ; “ L A H OT AN D C O O L :

V E N IC E / N E W YO R K : NEW C I T Y EDI TI ONS/

TH E E IGH TIE S, ” GR O UP E X H IB ITIO N , L IST

ARTISTS S PAC E , 19 8 6 .

C E N TE R FO R TH E V IS UAL ARTS, MAS SAC H US E T TS IN STITUTE O F TEC H N O LO GY, C AMB R ID GE , 19 8 7 ; “ P L ATO ’S C AV E , R OTH KO ’S C H AP E L , L IN C O L N ’S P R O F IL E , ” 43 R D B IE N N AL E O F V E N IC E , AP E RTO ‘ 8 8 , V E N IC E , 19 8 8 ; “ MIK E K E L L E Y, ” TR AV E L IN G E X H IB ITIO N , KUN STH AL L E B AS E L , B AS E L ; IN STITUTE O F C O N TE MP O R ARY ARTS, LO ND O N ; C AP C MUSÉE D’ART C O N TE MP O R AIN , B O R D E AUX , 19 9 2 ; “ MIK E K E L L E Y: 19 85 19 9 6 , ” TR AV E L IN G E X H IB ITIO N , MUS E U D’ART C O N TE MP O R AN I D E B AR C E LO N A , B AR C E LO N A; R O O S E UM C E N TE R FO R C O NTE MP O R ARY ART, MAL MÖ; STE D E L IJ K VAN AB B E MUS E UM, E IN D H OV E N , 19 9 7 ; “ MIK E

Illustrated:

K E L L E Y, M I K E, P L ATO’S C AVE,

AR MSTR ONG , R I CH AR D, AND

E L IZ AB E TH S USS MAN, M I K E K ELLEY: C ATH O L IC TASTE S, N E W YOR K : WH I TNEY MUS E UM O F ART, 19 93, P 1 4 4 ; LEB R ER O STAL S, J O S E , E D, MIKE K ELLEY, EX H I BI TI ON C ATALO GUE , B AR C E LO NA: M U SEU D’ART C O N TE MP O R AN I D E BAR CELONA , 1 997, P P 3 1, 42 ; W E LC H MAN , JOH N C , I SABELLE GR AW, AN D AN TH O N Y VI DLER , M I K E K ELL E Y, 2 N D E D ITIO N , N EW YOR K : P H AI DON, 2 0 11, P 14; ME Y E R -H E R M ANN, EVA , AND L ISA GAB R IE L L E MARK , EDS, M I K E K ELLEY, MUN IC H : D E L MO N IC O/P R ESTEL , 201 3, P 76.

$400,000-600,000

115


216 ED MOSES TARANTULA WINDOWS (3) 1983 Painted glass Each: 74.25" x 76.25" These painted glass windows once adorned the Frank Gehry designed exterior of Rebecca’s Restaurant in Venice, California. Provenance:

REBECCA’S RESTAU R A N T,

V EN ICE, CA LI FORNI A ; PRI VATE COL L EC T I ON , LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A BOVE, 1998)

$4,000-6,000


217 JUDY STABILE UNTITLED

218 ERIC ORR LEAD WINDOW GOLD X

2007 Reverse painted glass with copper and gold leaf Signed and dated verso 20" x 56"

1979 Embossed lead and gold relief over wood backing #6 of 25 Published and fabricated by Cirrus Editions, Los Angeles Signed and dated lower right; edition lower left; “262CM-EO79” in pencil verso; “Cirrus Editions Ltd. 1979” ink stamp verso 24" x 17"

$2,500-3,500

Provenance:

P R IVATE C OLLECTI ON, NEW

YO R K ( AC Q UIR E D D IR ECTLY FR OM TH E ARTIST )

Literature:

DAV IS, B R U CE, M ADE I N L A:

P R IN TS O F C IR R US E D I TI ONS, LOS ANG EL E S : LO S AN GE L E S C O U NT Y M U SEU M OF ART, 19 95 , P 3 3 0 FO R SI M I L AR EXAM P LE.

$2,500-3,500

219 ERIC ORR LEAD WINDOW 1979 Embossed lead relief over wood backing #6 of 25 Published and fabricated by Cirrus Editions, Los Angeles Signed and dated lower right; edition lower left 24" x 17" Provenance:

P R IVATE C OLLECTI ON, NEW

YO R K ( AC Q UIR E D D IR ECTLY FR OM TH E ARTIST )

Literature:

DAV IS, B R U CE, M ADE I N L A:

P R IN TS O F C IR R US E D I TI ONS, LOS ANG EL E S : LO S AN GE L E S C O U NT Y M U SEU M OF ART, 19 95 , P 3 3 0 FO R SI M I L AR EXAM P LE.

$2,500-3,500

117


220 PETER ALEXANDER DRUM 1981 Acrylic paint, glitter, and fabric on velvet Signed, titled, and dated verso Image/fabric: 72" x 84.5"; Frame: 80" x 92" Provenance:

JA N COWLES, NEW YOR K ,

NEW YO RK; PRIVATE COLLECTI ON, LOS A NG EL ES, CA LIFORNI A (ACQ U I RED DI R EC T LY T HRO UG H STA IR GA LLERI ES AU CTI ON , JANUARY 19, 20 13, LOT 574 )

$3,000-5,000

221 PETER ALEXANDER UNTITLED 1984 Painted and glazed ceramic with inset glass beads Signed with artist’s initials in two areas 24" x 2" diameter Provenance:

PRI VATE COLLECTI ON , C A L I-

FO RNIA (GI FTED DIRECTLY BY THE A RT I ST, C 1 9 8 0S )

$3,000-5,000


222 PETER LODATO YOU AND YOUNG AND YOU AND YOUNG 2008 Oil on canvas Signed, titled, and dated verso Canvas: 72" x 54" $2,000-3,000

119 223 PETER LODATO UNTITLED (THE DOOR) 1988 Graphite on paper Signed and dated in pencil lower right Image/sheet: 24.75" x 18.75"; Frame: 27.625" x 22" $2,000-3,000


224 LARRY BELL VAPOR DRAWING 1978 Vaporized metal on black Fabriano paper Signed and dated “L Bell ‘78” lower center Image/sheet (vis.): 39" x 27"; Frame: 46.25" x 34.25" Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST ); TH E N C E BY D ES CEN T

$4,000-6,000


225 MATT MULLICAN COSMOLOGY (FAITH) 1987 Oil stick on canvas Retains Krygier Landau Contemporary Art Gallery label verso Canvas: 48" x 48" $10,000-15,000

226 GARY LANG CIRCLING THE FUTURE 1998 Oil on canvas Signed, dated, and titled verso Canvas: 27" diameter Provenance:

P R IVAT E C OLLECTI ON,

P E N N S Y LVAN IA (GIF TED DI R ECTLY BY TH E ARTIST )

$4,000-6,000

227 JONATHAN LASKER UNTITLED (STUDY) 1992 Ballpoint pen, marker, and oil on paper Signed and dated verso; retains Baumgartner Galleries label verso Together with original invoice Image/sheet: 4.5" x 6"; Frame: 16.5" x 15" Provenance:

B AUMGARTNER G ALLER I ES

IN C , WAS H IN GTO N , D C; P R I VATE COLL EC TIO N , WAS H IN GTO N, DC ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, 1 992) ; TH ENC E BY D E S C E N T

$1,500-2,000

121


CHRIS BURDEN In the late 1970s during the first phase of his career, the Los Angeles-based visual artist and sculptor Chris Burden (b. 1946) executed a group of projects that examined notions of transparency, openness, and identity. Burden had employed numerous personae in documented performance pieces prior to executing his celebrated project Merry Christmas from Chris Burden (1976) and his installation Full Financial Disclosure (1976–77), critics noted: that of a daredevil sensation-seeker in Shoot (1971), when he arranged to have himself shot in the arm with a .22 caliber rifle; that of a servant in Garçon! (1976), where he acted as a waiter, fetching coffee for visitors to an art gallery. With Merry Christmas from Chris Burden, critic Anne M. Wagner wrote in Artforum, he became a “budding Mæcenas.” Burden sent 100 specially printed envelopes containing a holiday greeting and a fresh $10 bill to fellow artists and acquaintances. “Was this a big gesture or a small one? The answer, like so much in economic relations, depends on where you stand,” Wagner noted. “It is easy to imagine Burden’s offering being quite carefully parsed by its beneficiaries, though whether gratefully or skeptically is harder to decide.” 228 CHRIS BURDEN FULL FINANCIAL DISCLOSURE 1976-77 Check mounted to paperboard Signed lower right check; signed, dated, and inscribed lower center Image/sheet (vis.): 9.625" x 13.25"; Frame: 10.5" x 14" Exhibited:

“ FU LL FINA NCI A L DISC LOSU R E ,”

JAN BAUM-I RI S SILVERMA N GA LLE RY, LOS AN G ELES, 197 7

Illustrated:

FU LL FI NA NCI A L DI SC LOSU R E,

EXHIBIT ION CATA LOGU E, LOS A NG E L E S: JAN BAUM-I RI S SILVERMA N GA LLE RY, 1 9 7 7, FRO NT COVER

Literature:

H OFFMA N, FRED, CH R I S B U R-

D EN, LO N DON: TH A MES & H U DSON , 2 007, PP 69, 3 7 3; PH I LLI PS, LI SA , ED, CHR I S BURD EN : EXTREME MEASU RES, NE W YOR K : S KIRA/ RIZZOLI , 20 13, PP 25, 134, 2 30.

$4,000-6,000

The following year Burden realized Full Financial Disclosure (1976–77), a slyly earnest endeavor that emerged in the context of the cynicism and mistrust engendered by Vietnam, Watergate, and a host of congressional sex, bribery, and fraud scandals. Burden executed Full Financial Disclosure in multiple media: a television commercial that ran 30 times in late-night slots on local L.A. stations in the autumn of 1977, concurrent with an exhibition at the Jan Baum-Iris Silverman Gallery. In the commercial, Burden soberly intoned: “In keeping with the Bicentennial Spirit, the post-Watergate mood, and the new atmosphere on Capitol Hill, I wish to be the first artist to publically make a full financial disclosure.” TV graphics detailed his income and expenditures for 1976. The Jan Baum-Iris Silverman Gallery show consisted of Burden’s cancelled checks and IRS filings for that year. Burden also produced a documentary booklet that offered a month-by-month accounting of his credits and debits. (Lot 228), a check to Burden's dealer at the time, Ronald Feldman Fine Arts for expenses incurred for the 1977 show C.B.T.V. [Chris Burden Television], was used as the cover image of the Full Financial Disclosure booklet. Chris Burden, Full Financial Disclosure, Jan Baum-Iris Silverman Gallery, Los Angeles 1977. Wagner, Anne M. “Then and There.” Artforum International (2011): n. pag. Web. 28 Aug. 2014.


229 CHRIS BURDEN MERRY CHRISTMAS FROM CHRIS BURDEN December 14, 1976 Envelope with printed text and $10 bill Image/sheet (irreg.): 12" x 9"; Frame: 17.25" x 15.25" Literature:

B UR D E N , C H R I S, ANNE AYER S,

AN D PAUL S C H IMME L , C H R I S BU R DEN: A TW E N T Y-Y E AR S URV EY, EX H I BI TI ON C ATALO GUE , N E W P O RT B EAC H : NEWP ORT H AR B O R ART MUS E UM , 1 998, P P 24 , 7 9; H O F F MAN , F R E D, C H R I S B U R DEN, LONDON: TH AME S & H UD S O N , 2007, P P 6 9, 37 3

$4,000-6,000

123 230 NANCY RUBINS UNTITLED c. 1992 Graphite on paper Image/sheet (irreg.): 42.25" x 46"; Frame: 46.5" x 51" Exhibited:

B UR N E T T M I LLER G ALLERY,

LO S AN GE L E S, 19 9 2

$6,000-9,000


231 RAYMOND PETTIBON UNTITLED (WHAT WAS, MORALLY SPEAKING, BEHIND HER VEIL?) 1987 Ink on paper Image/sheet (vis.): 21.5" x 16.5"; Frame: 28.25" x 23.25" Provenance:

PRI VATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (ACQ U I RED DI R EC T LY FRO M Z ER O ONE GA LLERY, H OLLYWOOD, CAL IFO RNIA , 1987 )

Exhibited:

ZERO ONE GA LLERY, H OL-

LYWO O D, 1987; “ RAY MOND PET TIB ON ,” T RAV ELIN G EXH I BI TION, TH E REN A I SSA N C E S O CIET Y AT TH E U NI VERSIT Y OF C HI C AG O, S EPT EMBER 13 -NOVEMBER 8, 1998; T HE D RAWIN G CENTER , NEW YORK , FE B R UA RY 2 0 -APRIL 10, 1999; PH IL A DELPH IA M U SE U M O F ART, AP RIL 30 -JU LY 25, 1999; M U SE U M O F CO NT EMPORA RY A RT, LOS A NG E L E S, S EPT EMBER 26, 1999 -JA NUA RY 2 , 2 000; “RAYM O N D PET TI BON: PLOTS L A ID T HI C K ,” T RAV ELIN G EXH I BI TION, MU SEU D’A RT C ONT EM PO RANI DE BA RCELONA , 20 0 2 ; TOKYO O PERA CIT Y A RT GA LLERY; “ LOS AN G E L E S 1 955 - 1 9 85 : BIRTH OF A N A RT CA P I TA L” CENT RE POMPI DOU, PA RIS, MA RC H 8 -J U LY 1 7, 2 006.

$18,000-25,000

232 RAYMOND PETTIBON VARIOUS SHOW FLYERS (8) c. 1980s Offset print on paper Each: 11" x 8.5"; One example: 14" x 8.5" Five examples illustrated, plus three duplicates Literature:

STORR , ROBERT, RAY M ON D

PET T IBO N, NEW YORK: PH A I DON P R E SS, 2 001, P 1 6.

$800-1,200

PARTIAL ILLUSTRATION


233 RAYMOND PETTIBON UNTITLED (I GO IN FOR THE BOOK OF LIFE) 1989 Black ink on soft white paper Signed and dated verso Image/sheet: 14" x 11"; Frame: 22" x 18" Provenance:

F R AN K AND M I NDY DALU I SO,

B E V E R LY H IL L S, C AL I FOR NI A ( ACQ U I R ED DIR EC TLY F R O M TH E ARTI ST ) ; C OLLECTI ON OF N AN C Y E S C H E R AN D CH R I STOP H ER TR U M B O, LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE)

$8,000-10,000

234 RAYMOND PETTIBON PLOTS ON LOAN 2001 Hardbound book with 70 lithographs on Somerset paper #16 of 50 Artist’s proof aside from the edition of 250 Co-published by Brooke Alexander Editions, New York and David Zwirner, New York; printed by Derrière L’Étoile Studios, New York Signed in pencil with edition on end page Book: 19" x 14.5" (closed) Literature:

W Y E , D E B OR AH , ARTI STS

AN D P R IN TS : MASTE RWOR KS FR OM TH E MUS E UM O F MO D E R N ART, NEW YOR K : MUS E UM O F MO D E R N ART P U B LI C ATI ONS, 2 0 0 4, P 249.

$2,000-3,000

235 RAYMOND PETTIBON UNTITLED (YES, BUT, ALAS...) 1990 Color silkscreen on paper #36 of 40 Signed lower right; edition lower left Image/sheet: 22" x 16" $1,500-2,000

125


236 VARIOUS ARTISTS EIGHT BY EIGHT TO CELEBRATE THE TEMPORARY CONTEMPORARY 1983; published 1984 Complete portfolio comprised of eight prints in various mediums #28 of 250 (aside from the Tinguely #28 of 300) Published by the Museum of Contemporary Art, Los Angeles; printed by Gemini G.E.L., Los Angeles Each print signed with edition Portfolio designed by Joseph Kosuth The portfolio includes Richard Diebenkorn, Untitled (from Club/Spade Group ‘81-82) (Gemini G.E.L. #15.1); Sam Francis, Untitled; David Hockney, My Pool and Terrace; Ellsworth Kelly, Untitled (Gemini G.E.L. #28.130); Niki de Saint Phalle, Untitled; Jean Tinguely, Fontaine Joe Syffert; Andy Warhol, Sidewalks (F/S #11/304); and Robert Rauschenberg, Untitled Sheet each: 42" x 29" or alternate orientation Provenance:

PRIVATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (ACQ U I RED DI R EC TLY FRO M TH E MU SEU M OF CONTE M P OR A RY ART, LO S A NGELES)

Literature:

AXSOM, RICH A RD, THE P R I N TS

O F ELL S WORTH KELLY: A CATA LO U G E RAIS O N NÉ, 1949 -1985, NEW YORK : HU DSON HILL S, 1 9 87, P 114, # 20 1; DAVID HOC K N E Y PRIN TS 1 954 -1995, TOKYO: MU SE U M OF CO NT EM PORA RY A RT, 1996, # 232 ; F E L D MAN , FRAYDA , A ND JÖRG SCH ELL M A N N , AN DY WARH OL PRI NTS: A CATA LOG U E RAIS O N NÉ 1962-1987, 4TH EDI TION , N E W YO RK: DAP, 20 03, # 11/30 4; LEMBA R K , C ONNIE, T HE PRINTS OF SA M FRA NCI S: A C ATALO G UE RA I SONNÉ 1960 -1990, NEW YOR K : HUD S O N H ILL S PRESS, 1992, # L2 6 3.

$20,000-30,000


127


PAUL MCCARTHY Artist Paul McCarthy (b. 1945) takes the philosophies and characters that Americans hold most dear and lampoons them in sculpture, performance, and video works. Combining opposing values of the erotic and vulgar with innocence, nostalgia, and charm, McCarthy upends cultural codes and questions what he sees as being arbitrary assignations of value and morality. In a series of performances and mixed-media installations staged in Tokyo, Zürich, and Santa Monica in the late 1990s, McCarthy targeted the cherubic Santa Claus of holiday folklore. McCarthy plays the role of a frightening, bumbling Santa Claus in his performance Tokyo Santa (1999). In Untitled (Tokyo Santa #2), a still taken from the performance, he wears a gruesome rubber mask and is seemingly 237 PAUL MCCARTHY UNTITLED (TOKYO SANTA #2) 1999 Cibachrome print #3 of 6 Image/sheet (vis.): 68.5" x 47"; Frame: 71.5" x 50.5" Literature:

PAU L MCCA RTH Y: TOKYO

SANTA , KÖLN: VERL AG DER BU CC HA N D LUN G WALTH ER KÖNIG, 20 0 4, NP.

$8,000-10,000

bloodied. Instead of a fur-trimmed velvet suit, McCarthy’s Santa is stripped down to his long underwear. Santa crouches down boorishly, as brown liquid shoots out seemingly from his groin. In McCarthy’s body of work, the recurrent reference to bodily excretions and genitals serves to shock and humiliate, as well as to break down a false sense of decorum and subjective standards. For example, McCarthy frequently uses staples of the wholesome American pantry such as mayonnaise, ketchup, and Hershey’s chocolate syrup to mimic unsavory bodily fluids. Klein, Jennie. “Paul McCarthy: Rites of Masculinity.” PAJ: A Journal of Performance and Art. Vol. 23, No. 2 (May, 2001): 10-17. Web. 22 Aug. 2014. McCarthy, Paul. Tokyo Santa. Cologne: Verlag der Buchhandlung Walther König, 2004. Print.


238 PAUL MCCARTHY UNTITLED (PHOTO BOOK) 1992 Four black and white polaroids with felttip marker bound together with string One signed and dated “8/15/92 Paul McCarthy” verso Each: 3.375" x 4.25" $20,000-30,000

129

239 PAUL MCCARTHY LEISURE 1988 Ink on paper Retains Rosamund Felsen Gallery label verso Image/sheet: 27" x 41"; Frame: 28" x 42" Provenance:

R O SAM U ND FEL SEN G AL-

L E RY, SAN TA MO N IC A , C ALI FOR NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ( AC Q UIRED DI R ECTLY FR OM TH E AB OV E )

$10,000-15,000


ROY MCMAKIN Artist and designer Roy McMakin (b. 1956) dissolves the border between art and utilitarian object in his custom-made and small-batch furniture collections. In the 1980s, McMakin owned a bustling showroom called Domestic Furniture on Beverly Boulevard, where he attracted customers such as artist John Baldessari, and Lisa Eisner, former fashion editor at Vogue and Mademoiselle. The Unique desk (c. 1986) was the center of business at the showroom. The design is straightforward, yet its details are delightful to observe and experience. McMakin painted the rectangular desk a saturated blue, leaving unpainted areas which demarcated where office supplies such as notepads and folders might be placed. The permanently raised drawer is where the Domestic Furniture catalogue would be displayed. McMakin’s playful approach to designing furniture is underpinned by a conceptualism absorbed from his studies at the UCSD with avant-garde artists such as Allan Kaprow and Eleanor Antin. Other important influences include Hard Edge painter John McLaughlin, whose impact can be seen in the Unique desk, American architect Irving Gill, and the Art and Crafts movement. His designs subtly manipulate scale and dimension to create furniture that is meant to be noticed, and never taken for granted—a knob much too big for its drawer, or a tiny ottoman paired with an overstuffed lounge chair, for example. There is an undeniable sense of wit and whimsy in his work. For the Wing armchair (1989), McMakin played with the lines and proportions of the prototypical upholstered armchair to create a charming lounger that approaches the anthropomorphic. The side panels of the chair back swell out at an angle, resembling wings or ears. Continue to page 133

240 ROY MCMAKIN UNIQUE DESK Custom, executed c. 1986 30" x 86" x 36.75" McMakin founded Domestic Furniture Co. in 1987 and designed this desk for his Los Angeles showroom. Illustrated:

MC MAK IN, R OY, AND M AT TH EW

MAR KS, TH E ART O F ROY M CM AK I N, WH EN IS A C H AIR N OT A C H AI R ?, NEW YOR K : R I ZZO L I, 2 0 10, P 2 6 .

$10,000-15,000

131


241 ROY MCMAKIN WING ARMCHAIR Domestic Furniture Co., designed 1989 41" x 37" x 40" Literature:

DA RLING, MICH A EL , R OY

MCMAKIN: A DOOR MEA NT AS ORN A M E N T, EXHIBIT ION CATA LOGU E, LOS A NG E L E S: MO CA , 2 003, P 32.

$4,000-6,000

242 ROY MCMAKIN FECUND SOFA Domestic Furniture Co., designed 1988 35" x 61" x 36" $5,000-7,000


The arms extend out, as if to meet the sitter’s tired arms halfway at the end of a long day. The first McMakin piece that Baldessari acquired was a chair identical to the Wing armchair, rendered in blue fabric. Baldessari recalls of his first time at the Domestic Furniture showroom: “I instantly fell in love with a large blue upholstered armchair. […] That was when my addiction began.” McMakin would go on to create an extra-large custom bed for the six-foot-seven artist, and a made-to-order dining table and chairs, among other commissions and orders. McMakin’s sense of visual play and punning enlivens the Fecund sofa (1988), featuring a plush seat cushion emblazoned with embroidered letters spelling out the word “fecund.” The item was a custom order for Eisner, an influential fashion personality and frequent shopper at Domestic Architecture. With its overstuffed cushion and chaise lounge form, the sofa encourages a languid pose and alludes to female sensuality,

fullness, and richness. The sofa also obliquely refers to Eisner’s brimming family life and career, as she has been noted for inspiring icons and designers including Madonna, Tom Ford, and Isaac Mizrahi. In an apropos nod to the humor that McMakin utilized in his own work, he was asked to design the set for “The Tonight Show,” hosted by comedian Jay Leno in the 1990s. Eventually, McMakin was asked by clients to overhaul interiors and remodel or design entire homes. In 2003, McMakin’s impressive body of work and career trajectory was traced in an exhibition at the Museum of Contemporary Art, Los Angeles. Examples of his innovative pieces can be found in the permanent collections of the Museum of Modern Art, New York, and the San Francisco Museum of Modern Art. Darling, Michael. Roy McMakin: A Door Meant as Ornament. Los Angeles: Museum of Contemporary Art, 2003. Print. McMakin, Roy, et al. Roy McMakin, When is a chair not a chair? New York: Skira/Rizzoli, Matthew Marks Gallery, 2010. Print.

243 ROY MCMAKIN DINING TABLE Domestic Furniture Co., designed c. 1990 29.5" x 53.25" diameter $3,000-5,000

244 ROY MCMAKIN COVE TABLES (2) Domestic Furniture Co., designed c. 1990 Each: 20" x 19" x 19" Literature:

MC MAK IN, R OY, DOM ESTI C

F UR N ITUR E C O, F UR NI TU R E C ATALOG U E, SAN D IEGO : C O MME R C I AL P R ESS, 1 988, NP.

$1,500-2,000

245 ROY MCMAKIN COVE TABLE Domestic Furniture Co., designed 1987 16" x 19" x 19" Literature:

MC MAK IN, R OY, DOM ESTI C

F UR N ITUR E C O, F UR NI TU R E C ATALOG U E, SAN D IEGO : C O MME R C I AL P R ESS, 1 988, NP. LOT 244

LOT 245

$500-700

133


246 ROY MCMAKIN CABINET/DESK Domestic Furniture Co., designed 1986 62.25" x 36.5" x 27" $5,000-7,000

247 ROY MCMAKIN DINING TABLE Domestic Furniture Co., designed 1999 29.5" x 92" x 47" $3,000-5,000


248 ROY MCMAKIN BUFFET Domestic Furniture Co., designed c. 1990 41" x 44" x 21.5" $3,000-5,000

249 ROY MCMAKIN BARSTOOLS (2) Domestic Furniture Co., designed 1986 Each: 30" x 14" x 14" $1,500-2,000

250 ROY MCMAKIN SANVITO BARSTOOLS (2) Domestic Furniture Co., designed c. 1990 Each: 26" x 18.25" x 14" $1,000-1,500

135


ROBERT NATKIN Born in 1930 to a family mired in dysfunction and Depressionera poverty, Robert Natkin (1930–2010) found art to be an escape from the darkness of life, and devoted himself to creating paintings that shimmered with light and color. At the age of seventeen, Natkin had an epiphany when he encountered a book on Paul Klee, prompting him to enroll at the School of the Art Institute of Chicago. He was deeply influenced and affected by the Art Institute of Chicago’s comprehensive holdings in Post-Impressionist and Abstract Expressionist painting. #6 (1963) is a characteristic work from Natkin’s pivotal Apollo Series, named after the mythological sun god and referring to the radiance of the paintings. The piece shows the artist at the height of his achievement. Soft, loose stripes of lavender and marigold become taut and invigorated against streaks of bold

251 ROBERT NATKIN #6 (APOLLO SERIES) 1963 Oil on canvas Signed, dated, and inscribed verso Canvas: 85.25" x 67.75" Provenance:

PRIVATE COLLECTI ON , C A L I-

FO RNIA (GI FTED DIRECTLY BY THE A RT I ST ); PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Literature:

ROBERT NATKI N, EXHI B I T I ON

CATALO G UE, PH IL A DELPH IA : MOO R E C OLLEG E O F A RT/TH E FA LCON PRESS, 1 9 76 , P P 1 0 - 14 FO R MORE I NFORMATI ON ON T HE SERIES ; ZO NA , LOU I S A , LEDA NATK I N N E L I S, AN D RO SS WOODMA N, ROBERT NAT K I N , A RET RO S PECTI VE: 1952-1996, WA R R E N : B U TLER IN ST ITU TE OF A MERI CA N A RT, 1 9 9 7, N P FO R MO RE INFORMATI ON ON TH E SE R I E S.

$10,000-15,000

blues and reds. In what Natkin called “visual vibrato,” the tension and contrast between the vertical bands of color are activated, so that the eye sees a greater luminescence and brilliance on the canvas. Like the glowing domestic interiors of Pierre Bonnard and Henri Matisse, artists whose images Natkin tacked up on his studio walls, the Apollo Series is an investigation into the effects and possibilities of intermingling color and light. Today, Natkin’s work is held in major public collections across the United States, including the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, and, finally, the Art Institute of Chicago, the galleries of which he rambled as a young student. Zona, Louis A, Leda Natkin Nelis, and Ross Woodman. Robert Natkin, A Retrospective: 19521996. Warren: Butler Institute of American Art, 1997. Print. “Biography.” RobertNatkin.com. Robert Natkin. Web. 21 Aug. 2014.


252 ROBERT NATKIN UNTITLED c. 1977 Color lithograph on Arches paper #26 of 150 Signed with edition lower right Together with Wells Street Gallery mailer Image/sheet: 30" x 22" $600-800

253 DAVID HOCKNEY PEMBROKE STUDIO WITH BLUE CHAIRS AND LAMP (MOVING FOCUS SERIES) 1984 14-color lithograph on white handmade paper #57 of 98 Published and printed by Tyler Graphics, Mount Kisco Signed and dated in pencil lower right; edition lower left; blind stamp lower right Image/sheet: 18.625" x 22"; Frame: 22.75" x 26" Literature:

T Y L E R , KENNETH , T YLER

GR AP H IC S : C ATALO GUE R AI SONNÉ, 1 974 19 85, N E W YO R K : AB BEVI LLE P R ESS, 1 987, # 2 7 5 : D H 6 2 ; DAV ID H OCK NEY P R I NTS 1 954 19 95, TO KYO : MUS E UM OF C ONTEM P OR ARY ART, 19 9 6 , # 2 6 3 .

$5,000-7,000

254 MARK DI SUVERO UNTITLED 1972 5-piece sculpture of torch-cut steel #53 of 250 Published by Gemini G.E.L., Los Angeles Incised “MdS” with date and edition; impressed Gemini G.E.L. copyright logo Gemini G.E.L. #16.1 10" x 8" x 2" (in most compact arrangement) $2,500-3,500

137


255 CHUCK ARNOLDI UNTITLED (TAPESTRY) 1982 Handwoven wool Initials woven lower right 72" x 72" Provenance:

PRI VATE COLLECTI ON ,

CAN ADA ( ACQ U I RED DIRECTLY FR OM T HE ART IST )

$5,000-7,000


256 RON DAVIS UNTITLED 1980 Watercolor and pencil on paper Signed and dated in pencil lower right Image/sheet: 60" x 40"; Frame: 66.5" x 47" Provenance:

P R IVATE C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST, 1 980)

$7,000-9,000

257 BILLY AL BENGSTON UNTITLED 1974 Watercolor on paper Retains artist’s label verso Image/sheet: 26" x 14.5"; Frame: 26.625" x 15.125" Provenance:

P R IVATE C OLLECTI ON,

WAS H IN GTO N , D C ; TH ENC E BY DESCENT

$2,000-3,000

139


258 PAUL JENKINS PHENOMENA BYRON'S HUNCH 1978 Watercolor on paper Signed lower center; signed, titled, and dated verso Image/sheet: 43" x 31"; Frame: 45.75" x 33.5" Provenance:

GILMA N A ND RU TH K R A F T,

BEV ERLY H I LL S, CA LI FORNI A ; PRI VAT E CO LLECT ION, LOS A NGELES, CA LIFOR N I A

$3,000-5,000


141

259 SAM GILLIAM VILLAGE SERIES #1 1979 Japanese rice paper, aniline dye, polymer dip, and string in Plexiglas box Signed and dated with title on Plexiglas box; retains Middendorf/Lane Gallery label Together with note from the artist Sheet: 7.25" x 18" x 3.5" Provenance:

P R IVATE C OLLECTI ON,

WAS H IN GTO N , D C ; TH ENC E BY DESCENT

$5,000-8,000


260 RON ARAD TREE FLOOR LAMP Barton, England, designed 1983-84 Impressed “Made in England/Maul A BS/ 4568-4-20/Barton” Adjustable: 75" x 7" diameter (base) Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 LIG H TS: 1960 TO PRESENT, VOL I I , CO LO G NE: TASCH EN, 20 05, P 338 .

$3,000-5,000


261 MARK BRAZIER-JONES LYRE CHAIR Studio, executed 1990 Etched signature and date 39" x 28.75" x 26.75" Provenance:

P R IVATE C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

$3,000-5,000

143

262 PAUL EVANS DINING TABLE Model no. Brutal series Directional, designed c. 1968 29.5" x 84" x 44" $6,000-8,000


263 FRANK GEHRY POWER PLAY CLUB CHAIR Model no. 94L-GC Knoll, designed 1992 Retains branded signature, dated “10/01”, and marked “Made in USA” 32" x 32" x 31.5" Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 CHAIRS, COLOGNE: TASCH E N , 1 9 9 7, P 64 6; KNOLL STU DIO, PRI CE LIST, 2 000, P 88.

$1,500-2,000

264 FRANK GEHRY LITTLE BEAVER CHAIR AND OTTOMAN (2) Vitra, designed 1980; this example manufactured later Chair: 32" x 40" x 33"; Ottoman: 18" x 24" x 19" $3,000-5,000


265 FRANK GEHRY ICING COFFEE TABLE Knoll, designed 1992; this example manufactured 2001 Retains branded signature and dated “03/01” 15.25" x 40" x 40" Literature:

K N O L L STU DI O, P R I C E LI ST,

2 0 0 0, P 2 7 0.

$2,000-3,000

145 266 FRANK GEHRY HAT TRICK SIDE CHAIRS AND CAFE TABLE (6) Model nos. 91C-GC (chair) and 95T-40 (table) Knoll, designed 1992 Branded signature and dated “1/21/93” Table: 28.75" x 40"; Chairs each: 33.5" x 19.5" x 22" Literature:

K N O L L STU DI O, P R I C E LI ST,

2 0 0 0, P P 8 6 , 2 7 0.

$3,000-5,000


267 ZAHA HADID UNTITLED (BLACK) 1990 Acrylic on paper Initialed and dated lower right Image/sheet: 25.75" x 35"; Frame: 28.25" x 37.625" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON

$10,000-15,000


LEBBEUS WOODS Upon his death at 72, lengthy obituaries of Lebbeus Woods (1940–2012) appeared, significantly, in both Architectural Record and Artforum. Woods was that rare figure who commanded attention and respect in two major fields of creative enterprise, as an architect and as a fine artist. Among architects, Woods was revered as a visionary, provocative conceptualist who challenged his colleagues to defy conventions and commercial restraints. While some projects drafted in pencil and ink might seem wistful—a tomb in outer space for Albert Einstein, for example—most of his drawn plans were intended as calls to action that dealt with global conflicts and catastrophes. Woods conceived of an underground city below divided Berlin, where citizens of East and West Berlin could meet and gather; he drew a scheme for a new, post-earthquake San Francisco: a city that would gently move in response to seismic shifts. And if such ideas seem fantastical, above all, Woods’ aim was to combat complacency. Woods’ futuristic renderings and drawings are admired for their strength and clarity of line, and imagery that recognized

parallels between the built environment and human psychology. Artforum noted: “Complex, chaotic, sometimes violent, and relentlessly avant-garde, Woods’ drawings explode with a kind of cosmic beauty. Shards of glass and steel morph and recombine into metallic animal-machines that walk high above cities. Buildings tear and bleed, only to grow scabs and heal into new form.” Airplane Parts (1992–93) presents an image of cryptic engineering and mechanical forms composed of curved and complex geometric elements. While such enigmatic, esoteric schema are often compared to science fiction, Woods rejected the notion. “I think that these things could be built,” he once said. “I would like them to be built, and to see what we can do with them, to see what they would mean to us.” Lamster, Mark. “Lebbeus Woods: 1940-2012.” News. Architectural Record, New York, 31 Oct. 2012. Web. 27 Aug. 2014. Galloway, Alexander R. “Lebbeus Woods (1940–2012).” Passages. ArtForum, New York, 22 Jan. 2013. Web. 27 Aug. 2014. Medina, Samuel. “Coming Home.” Architecture. Metropolis Magazine, New York, Apr. 2014. Web. 27 Aug. 2014. “Lebbeus Woods, Architect.” Past Exhibitions. The Drawing Center, New York, 27 Apr. 2014. Web. 27 Aug. 2014.

14 7

268 LEBBEUS WOODS AIRPLANE PARTS 1992-93 Graphite and colored pencil on illustration board Bears the inscription in pencil “55” verso Image/sheet: 11.75" x 19.75"; Frame: 13.75" x 21.75" Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A C O L L EC TIO N

$6,000-8,000


269 JAMES CASEBERE PARLOR 2001; printed 2014 Digital chromogenic print mounted to Plexiglas #5 of 5 Signed with edition on label verso Together with James Casebere: The Spatial Uncanny Image/sheet: 48" x 64"; Frame: 49.25" x 64.75" Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST, 20 14 )

Literature:

JA MES CASEBERE: THE SPA-

T IAL UN CANNY, MIL A N: EDI ZI ONI C HA RTA , 2 001, P 1 75.

$15,000-20,000


270 ALICE AYCOCK THE CENTRAL MACHINE: STUDY FOR WHEELS 1979 Graphite on paper Signed and dated in pencil lower right; title inscribed lower right Together with original invoice and four gallery mailers Image/sheet (vis.): 13.75" x 16.75"; Frame: 19.5" x 22.5" Provenance:

P R OTETCH -M C I NTOSH

GAL L E RY, WAS H IN GTO N, DC; P R I VATE COLL EC TIO N , WAS H IN GTO N, DC ( ACQ U I R ED DIR EC TLY F R O M TH E ABOVE, 1 980) ; TH ENC E BY D E S C E N T

$2,000-3,000

271 JOHN GRAZIER MEMORY OF A TROMBONE 1979 Graphite on paperboard Retains Middendorf/Lane and Lunn Gallery labels verso Image/sheet: 16" x 38"; Frame: 23.5" x 45.125" Provenance:

P R IVATE C OLLECTI ON,

WAS H IN GTO N , D C ; TH ENC E BY DESCENT

$800-1,200

149


272 EDWARD BURTYNSKY MANUFACTURING #17, DEDA CHICKEN PROCESSING PLANT, DEHUI CITY, JILIN PROVINCE, CHINA, 2005 2005 Chromogenic color print #7 of 10 Signed in ink verso; retains Charles Cowles Gallery label verso Image: 24" x 37"; Sheet: 33" x 45"; Frame: 34.375" x 46.25" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTION

$7,000-9,000

273 SHAI KREMER SKYHAWK, AIR FORCE TRAINING TARGETS, BIG RIVERS NATURE RESERVE, ISRAEL, 2007 2007 Chromogenic color print #3 of 5 Signed in ink on Robert Koch Gallery label verso Image: 31.5" x 42"; Mount: 40" x 50"; Frame: 42" x 52" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON

$4,000-6,000


274 SANDY SKOGLUND THE COCKTAIL PARTY 1992; printed 1999 Cibachrome print #23 of 30 Signed, dated, and with edition lower right sheet; retains Mary Ryan Gallery label verso Image/sheet (vis.): 48" x 65"; Frame: 53.75" x 71" Provenance:

MARY RYAN G ALLERY, NEW

YO R K , N E W YO R K ; P R IVATE C O L L EC TIO N, SANTA FE, NEW ME X IC O ( AC Q UIR E D DI R ECTLY FR OM TH E AB OV E , 2 0 0 0)

Literature:

SAN DY S KOG LU ND: R EALI T Y

UN D E R S IEGE, E X H IB ITI ON C ATALOG U E, N E W YO R K : AB R AMS, 1 998, DU ST JAC K ET (C OV E R ) , P P 6 2-3 , # 4 3.

$5,000-7,000

275 ARNULF RAINER SELF-PORTRAIT WITH EYE AMPLIFIER 1971 Oil stick on gelatin silver print Signed and dated in pencil upper left; inscribed “auf Augenohren” upper left Image/sheet: 20" x 24"; Mat: 29" x 32.75" Provenance:

ULYSS E S G ALLERY, NEW

YO R K , N E W YO R K ; P R I VATE COLLECTI ON, SAN TA F E , N E W ME X IC O ( ACQ U I R ED DIR EC TLY F R O M TH E ABOVE, 1 989)

$9,000-12,000

151


276 CHUCK CLOSE SELF-PORTRAIT 2006 Handwoven Jacquard tapestry #5 of 10 Published by Magnolia Editions, Oakland Retains label with signature, title, edition, and manufacturer 103" x 79" Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A C O L L EC TIO N

Literature:

W E I, L IL LY, CH U C K CLOSE:

S E L EC TE D PAIN TIN GS AND TAP ESTR I ES, 2 0 05 -2 0 0 9, E X H IB ITION C ATALOG U E, NEW YO R K : PAC E W IL D E N STEI N G ALLERY, 2009, P P 3 4 -3 5 .

$40,000-60,000

153

277 CHUCK CLOSE KEITH/FOUR TIMES 1975 2-color lithograph on Arches paper Trial proof aside from the edition of 50 Published by Parasol Press Ltd., New York; printed by Jack Lemon, Landfall Press, Chicago Signed and dated in pencil lower right sheet margin; inscribed “Trial Proof” lower center sheet margin; title inscribed lower left sheet margin with blind stamp; inscribed “For Irving + Natalie with many thanks, Chuck” along right margin of sheet Image/sheet: 30" x 79"; Frame: 31.75" x 81" Provenance:

P R IVAT E C OLLECTI ON, CH I-

C AGO, IL L IN O IS ( AC Q UI R ED DI R EC TLY FR OM TH E ARTIST ) ; TH E N C E BY DESCENT

Literature:

C H UC K CLOSE EDI TI ONS: A

C ATALO GUE R AIS O N NÉ AND EX H I BI TI ON, E X H IB ITIO N C ATALO G U E, YOU NG STOWN: B UTL E R IN STITUTE O F AM ER I CAN ART, #5.

$4,000-6,000


278 VIJA CELMINS DESERT (UNTITLED PORTFOLIO) 1975 2-color lithograph on Twinrocker handmade paper #72 of 75 Published by Cirrus Editions, Los Angeles; printed by Lloyd Baggs, Cirrus Editions, Los Angeles Signed and dated in pencil lower right; edition lower left Image: 12.5" x 16.5"; Sheet (vis.): 13.5" x 17.5"; Frame: 19.75" x 22" Literature:

DAVIS, BRU CE, MA DE I N L A :

PRIN TS O F CI RRU S EDI TIONS, LOS A N G ELES : LO S A NGELES COU NT Y MU SE U M OF ART, 1 9 95, P 20 6; RI PPNER , SA MA N T HA , T HE PRIN TS OF VIJA CELMINS, N E W YOR K / NEW HAV EN: TH E METROPOLI TA N M U SE U M O F ART; YALE U NI VERSIT Y PRESS, 2 002 , P P 1 9, 4 9, #9.

$10,000-15,000


279 VIJA CELMINS UNTITLED (OCEAN WITH CROSS #1) 2005 Screenprint on Rives textured rag paper #91 of 108 Published by the Lincoln Center/List Print and Poster Program, New York; printed by Brand X Editions, New York Signed in pencil lower right margin; edition and printer blind stamp lower left Image: 17.5" x 22.5"; Sheet: 24" x 28.5"; Frame: 26" x 30.5" Literature:

R IL E Y, C H AR LES, ART AT

L IN C O L N C E N TE R : TH E P U BLI C ART AND L IST P R IN T AN D P O ST ER C OLLECTI ONS, N E W YO R K : TH E L IN C OLN P R I NT C ENTER , 2 0 0 9, P 2 10.

$7,000-10,000

280 VIJA CELMINS WEB 2009 Silkscreen on paper #69 of 117 Published by the Lincoln Center/List Print and Poster Program, New York; printed by Brand X Editions, New York Signed and dated lower right beneath image; blind stamp lower right sheet margin; edition lower left beneath image Image: 10.75" x 13"; Sheet: 17.25" x 19"; Frame: 21" x 22.5" Literature:

R IL E Y, C H AR LES, ART AT LI N-

C O L N C E N TE R : TH E PU BLI C AND LI ST P R I NT AN D P O STE R C O L L EC TI ONS, NEW YOR K : TH E L IN C O L N P R IN T CENTER , 2009, P 21 0.

$3,000-5,000

155


281 HANS WEGNER COWHORN CHAIR Model no. PP 505 Johannes Hansen, designed 1952 30" x 23" x 17" Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 CHAIRS, COLOGNE: TASCH EN , 1 9 9 7, P 3 01 .

$5,000-7,000

282 HANS WEGNER COFFEE TABLE Andrs. Tuck, designed c. 1970 Branded “Fabrikat - Andr. Tuck/Arkiteket: Hans J. Wegner/Made in Denmark” 19" x 72" x 23.25" $3,000-5,000


283 HANS WEGNER PEACOCK CHAIR Model no. JH 550 Johannes Hansen, designed 1947 Branded “Johannes Hansen Copenhagen Denmark” 43.5" x 30" x 20" Literature:

O DA , N O R I TSU G U, H ANS J

W EGN E R ’S 10 0 C H AIR S, JAPAN: COR ONA B O O KS, 2 0 0 2 , P 3 2 .

$2,500-3,500

284 HANS WEGNER SAWBACK CHAIR Model no. CH-28 Carl Hansen, designed 1951 28.5" x 28.5" x 26" $2,500-3,500

285 HANS WEGNER EASY CHAIR Model no. GE-270 Getama, designed 1950 28" x 29" x 26.75" $1,000-1,500

157


286 FINN JUHL INLAID DINING TABLE Model no. 511 Baker, designed c. 1954 Retains manufacturer’s tag 29.5" x 103" (fully extended) x 41.75" $4,000-6,000

287 HANS WEGNER THE CHAIRS (8) Model no. JH 501 Johannes Hansen, designed 1949 Branded “Johannes Hansen/ Copenhagen/Denmark” Each: 29.5" x 24.75" x 20.5" Literature:

O DA , N O R I TSU G U, H ANS J

W EGN E R ' S 10 0 C H AIRS, JAPAN: COR ONA B O O KS, 2 0 0 2 , P 3 6 .

$10,000-15,000

159


288 ARNE JACOBSEN SWAN CHAIRS (2) Model no. 3320 Fritz Hansen, designed 1958 Each: 32" x 28.25" x 24" Literature:

FIELL , CH A RLOT TE & P E T E R , 1 000

CHAIRS, COLOGNE: TASCH EN, 199 7, P 34 7 ; KNO LL ST UDIO, PRI CE LIST, 20 0 0, P 1 2 8.

$3,000-5,000

289 ARNE JACOBSEN SWAN CHAIRS (2) Model no. 3320 Fritz Hansen, designed 1958 Each: 32" x 28.25" x 24" Literature:

FIELL , CH A RLOT TE & P E T E R , 1 000

CHAIRS, COLOGNE: TASCH EN, 199 7, P 34 7 ; KNO LL ST UDIO, PRI CE LIST, 20 0 0, P 1 2 8.

$3,000-5,000

290 ARNE JACOBSEN SWAN CHAIRS (2) Model no. 3320 Fritz Hansen, designed 1958 Retains Fritz Hansen labels Each: 32" x 28.25" x 24" Literature:

FIELL , CH A RLOT TE & P E T E R , 1 000

CHAIRS, COLOGNE: TASCH EN, 199 7, P 34 7 ; KNO LL ST UDIO, PRI CE LIST, 20 0 0, P 1 2 8.

$3,000-5,000

291 ARNE JACOBSEN EGG STOOL Model no. 3127 Fritz Hansen, designed 1958 16.25" x 22.25" x 16" Literature:

KNOLL STU DI O, PRIC E L I ST,

2 000, P 1 28.

$1,000-1,500


Photograph Courtesy of Los Angeles Daily News

JULIUS SHULMAN PHOTOGRAPHED WITH ARNE JACOBSEN EGG CHAIR IN HIS STUDIO

161

292 ARNE JACOBSEN EGG CHAIRS AND STOOLS (4) Model nos. 3317 (chair) and 3127 (stool) Fritz Hansen, designed 1958 Retains dated manufacturer’s label to ottoman Comprised of two chairs and two stools Chairs each: 42.5" x 32.25" x 27"; Stools each: 16" x 21.5" x 16" Provenance:

J UL IUS SH U LM AN, LOS AN-

GE L E S, C AL IFO R N IA; TH ENC E BY DESCENT

Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO G NE: TASC H EN, 1 997, P 3 46 ; K N O L L STUD IO, P R I CE LI ST, 2000, P 12 8 .

$3,000-5,000


293 FINN JUHL ARMCHAIRS (2) Model no. NV-45 Niels Vodder, designed 1945 Each branded “Niels Vodder Cabinet Maker/Copenhagen Denmark/ Design: Finn Juhl” Acquired from Dansk Møbelkunst, Copenhagen Each: 32.5" x 30" x 27" Literature:

H IORT, ESBJØRN, FI N N J U HL ,

CO PENHAGEN: TH E DA NI SH A RCHI T EC T U RAL PRESS, 1990, P 34; FI ELL , CH AR LOT T E & PET ER , 10 0 0 CH A I RS, COLOGNE: TASC HE N , 1 9 9 7, P 2 67.

$20,000-30,000

MARKING DETAIL


294 FINN JUHL EASY CHAIR Model no. 137 France & Søn, Denmark, designed c. 1953 Retains “France & Søn Denmark” medallion 28" x 27" x 26.5" $2,000-3,000

295 FINN JUHL SOFA Model no. 137-3 France & Søn, Denmark, designed c. 1953 Retains medallion "fd" 28.5" x 74" x 27" $3,500-4,500

163


296 VERNER PANTON MOON HANGING LIGHTS (4) Louis Poulsen, designed 1960 Each: 14.5" x 13.75" diameter Literature:

FI ELL , CH A RLOT TE & P E T E R ,

1 000 LIG H TS: 1960 TO PRESENT, VOL I I , CO LO G NE: TASCH EN, 20 05, P 63.

$3,000-5,000

297 FINN JUHL JUDAS TABLE Niels Vodder, designed c. 1953 Branded “Niels Vodder/Cabinet Maker/ Copenhagen Denmark” 28.75" x 71" x 47.25" (114.75" fully extended) $8,000-12,000


298 LISA JOHANSSON-PAPE TABLE LIGHT Iittala, designed 1954 16" x 10" diameter Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 18 7 9 TO 1 959, C OLOG NE: TAS C H E N , 2 0 05 , P 5 0 8.

$500-800

299 FINN JUHL LOUNGE CHAIRS (2) France & Søn, Denmark, designed 1954 Each: 31" x 28" x 23" Literature:

O DA , N O R I TSU G U, DANI SH

C H AIR S, SAN F R AN C IS C O: C H R ONI CLE B O O KS, 19 9 9, P 10 1.

$3,000-5,000

300 FINN JUHL CHAIRS (3) Model no. M138 France & Søn, Denmark, designed c. 1953 Each with John Stuart medallion Each: 30" x 27" x 24" $3,000-5,000

165


301 FINN JUHL BWANA CHAIR France & Søn, designed 1962 Retains medallions by John Stuart and France & Søn 36" x 35" x 33" $2,500-3,500

302 BØRGE MOGENSEN EASY CHAIR Fredericia Stolefabrik, designed 1963 42" x 27" x 34" Literature:

H A BEGGER , JERRY LL , A N D

JO S EPH H OSMA N, SOU RCEBOOK OF M O D ERN FU RNITU RE, NEW YORK: N ORTON , 19 9 7, P 4 20.

$4,000-6,000


303 CLAUS BONDERUP & TORSTEN THORUP SEMI HANGING LIGHT Fog & Mørup, designed 1967 14.5" x 27.5" diameter Literature:

F IE L L , C HAR LOT TE & P ETER ,

10 0 0 L IGH TS : 19 6 0 TO P R ESENT, VOL I I , C O LO GN E : TAS C H E N , 2005, P 1 23.

$1,000-1,500

304 JOHN SELBING BOWLS (2) Orrefors, designed c. 1940s Each etched “Orrefors 2251/S” 3.25" x 7" x 7.25" and 3.37" x 9.5" x 5.5" Literature:

D UN C AN , AL ASTAI R , OR R EFOR S

GL ASS, S UF FO L K : AN TI Q U E C OLLECTOR S’ C LUB , 19 95 , P 2 05 .

$1,500-2,000

305 KAI KRISTIANSEN DESK Illums Bolighus, designed c. 1960 Retains tag “Illums Bolighus København” 28.5" x 70.75" x 33.5" $3,000-5,000

167


306 PAAVO TYNELL LIGHT Taito Oy, designed c. 1950 As illustrated: 43" x 18.5" diameter $7,000-9,000

307 TAPIO WIRKKALA PLATTER Venini, designed 1984 Etched “Venini iittala TW 84” 2" x 19.25" diameter $2,000-3,000


308 ALVAR AALTO DOOR HANDLES (4) Aalto, designed 1956-58 Each: 3.75" x 9.75" x 2" Literature:

L AH TI, MAR K KU, ALVAR

A ALTO -A GE N TL E R STR U C TU R E FOR LI FE, H E L S IN K I: R AK E N N USTI ETO, 1 996, FR ONT AN D B AC K C OV E R S O F BOOK .

$4,000-6,000

309 ALVAR AALTO PAIMIO CHAIR Model no. 41 Artek, designed 1932; this example manufactured later 26" x 23.5" x 34.5" Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO GNE: TASC H EN, 1 997, P 2 2 1.

$1,000-1,500

310 ALVAR AALTO TEA TROLLY Model no. 900 Artek, designed 1937; this example manufactured later 23" x 36" x 25.375" This design was introduced to the public in 1937 at the Paris World’s Fair. $1,000-1,500

169


LOWELL NESBITT Throughout his career, Lowell Nesbitt (1933–1993) approached a variety of subject matter using the format of a series, but he is most well-known for his large, seductive flower paintings. His flowers reached a populist zenith in the 1980s when the United States Postal Service issued a set of four stamps with Nesbitt’s designs. However, Nesbitt’s lush, emotive flower paintings belie their complicated theoretical basis and the formal, architectonic qualities of their making. Working off of images found in seed catalogues, Nesbitt created an initial sketch, and then plotted out the enlarged image onto the canvas using a grid system. To achieve the natural, soft form of the flower, he counterintuitively painted using geometric shapes while alternating the softness and hardness of line. At the outset, Anemone ’64 (1964) looks strikingly photorealistic, but closer inspection reveals subtle abstractions and alluring artistic liberties. The edges of the anemone petals oscillate with

311 LOWELL NESBITT BELLE GROVE PLANTATION 1966 Oil on canvas Signed, dated, titled, and inscribed “Belle Grove Plantation/(Burned to the Ground-1952)/65" x 85” L. Nesbitt” verso Canvas: 65" x 85"; Frame: 66.25" x 86.25" Exhibited:

“CONTEMPORA RY A ME R I C A N

PAINT ING A ND SCU LPTU RE, ” KRA N N E RT ART MUS EU M, U NI VERSIT Y OF ILL I N OI S AT URBANA- CH A MPA I GN, MA RCH 5 -A P R I L 9, 1 9 67

Illustrated:

CONTEMPORA RY A M E R I C A N

PAINT ING A ND SCU LPTU RE, EXH I B I T I ON CATALO G U E, U RBA NA : U NIVERSIT Y OF I L L IN O IS URBANA- CH A MPA IGN, 1967, P 1 51 , #7 1 .

$7,000-9,000

accents of red and blue. The petals curve sumptuously inward, culminating in an amber and gold crown of stamens that surround a highlighted gray mound of pistils. It is no wonder that Nesbitt’s paintings are often thought of as sensual and alluding to the body. Surprisingly, Nesbitt had a different theory, comparing his serial flower paintings to Robert Rauschenberg’s Factum I and Factum II of 1957, in which the latter artist created one work in the manner of a tempestuous action painting by Jackson Pollock, then followed it up by attempting to mimic the unrepeatable, spontaneous process. It is this complex foundation under an undeniable aesthetic beauty that fueled Nesbitt’s popularity both in and out of the art world. Lowell Nesbitt: The Flower Series 1964-1973. Washington, DC: The Corcoran Gallery of Art, 1973. Print. Smith, Roberta. “Lowell Nesbitt, a Realist Painter of Flowers, is Found Dead at 59.” NYTimes.com. The New York Times. Web. 21 Aug. 2014.


312 LOWELL NESBITT ANEMONE ‘64 1964 Oil on canvas Signed, titled, and dated verso Canvas: 36" x 36" Literature:

LOW E L L NESB I T T: TH E FLOWER

S E R IE S 19 6 4 -19 7 3, E XH I BI TI ON CATALOG U E, WAS H IN GTO N , D C : TH E C OR COR AN G ALL E RY O F ART, 19 7 3 , #60.

$5,000-7,000

313 ROBERT DOWD DOLLAR BILL 1965 Oil on canvas Signed “Dowd” lower right; signed and dated verso; inscribed “A31” verso Canvas: 30" x 40"; Frame: 40.25" x 50.25" $4,000-6,000

171


314 ROY LICHTENSTEIN SWEET DREAMS, BABY! (11 POP ARTISTS PORTFOLIO, VOL. III) 1965 Color screenprint on paper #22 of 50 proofs numbered in Roman numerals aside from the edition of 200 Published by Original Editions, New York Signed in pencil lower right; edition inscribed in Roman numerals lower left Image: 35.5" x 25.5"; Sheet: 37.5" x 27.5"; Frame: 39.5" x 29.5" Provenance:

JOH N BERGGRU EN G A L L E RY,

SAN FRANCI SCO, CA LIFORNI A ; PR I VAT E CO LLECT ION, U NI TED STATES (ACQU I R E D D IRECT LY FROM TH E A BOVE, 1971 )

Literature:

BI A NCH INI , PAU L , ROY L I C H-

T EN ST EIN : DRAWINGS A ND PRI NTS, N E W YO RK: CHE L SEA H OU SE, 1969, P 22 0, #1 1 ; CO RLET T, MA RY LEE, TH E PRI NTS OF R OY LICHT EN STEIN: A CATA LOGU E RA I SON N É , 1 9 4 8 - 1 9 93, NEW YORK: H U DSON H I L L S PRESS, 2 00 2, # 39.

$70,000-90,000


315 GENE DAVIS YANKEE DOODLE 1969 Screenprint on paper #42 of 144 Signed with edition lower right Image: 79.375" x 34"; Sheet: 81" x 36" $4,000-6,000

316 FRANK STELLA CLINTON PLAZA (BLACK SERIES I) 1967 1-color lithograph on Barcham green paper #7 of 9 Artist’s proofs aside from the edition of 100 Published and printed by Gemini G.E.L., Los Angeles Signed with date and edition inscribed in Roman numerals in pencil lower right; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #51.14 Image: 10.625" x 8.325"; Sheet: 15" x 22" Literature:

AXS O M, R I C H AR D H , TH E

P R IN TS O F F R AN K ST ELL A: A C ATALOG U E R AIS O N N É, N E W YO R K: H U DSON H I LL S, 19 83 , # 4.

$2,500-3,500

173


317 TOM WESSELMANN OPEN ENDED NUDE #63 1974 Liquitex and pencil on 100% ragboard Signed, dated, and inscribed in pencil “#63 Wesselmann 74” lower left; inscribed in ink “Open Ended Nude Drawing Edition #63/Wesselmann/pencil + liquitex on 100% ragboard” verso This work is listed in the Tom Wesselmann Estate archives Image/sheet: 3.875" x 9.0625"; Frame: 9.75" x 14.5" $20,000-30,000


318 TOM WESSELMANN STUDY FOR RED HEAD NUDE #7820 1978 Colored pencil on paper Signed and dated in pencil lower right image; inscribed “D7820” lower left sheet margin; inscribed “78” lower right sheet margin Together with original invoice, and two letters from the artist This work is listed in the Tom Wesselmann Estate archives Image: 3.25" x 4.25"; Sheet: 4.5" x 5.875"; Frame: 11.375" x 14.25" Provenance:

E H R L ICH G ALLERY, NEW

YO R K , N E W YO R K ; P R I VATE COLLECTI ON, WAS H IN GTO N , D C ( AC Q U I R ED DI R EC TLY F R O M TH E AB OV E , 19 7 9) ; TH ENCE BY DESCENT

$18,000-25,000

319 TOM WESSELMANN STILL LIFE WITH APPLE, ORANGE, AND RADIO 1991 Color screenprint on Arches paper #70 of 100 Published by International Images, Putney; printed by Screened Images, Port Washington Signed and dated with edition in pencil lower right Image: 19.5" x 25"; Sheet (vis.): 22.75" x 28"; Frame: 33.75" x 38.75" $3,000-4,000

175


320 CLAES OLDENBURG GEOMETRIC MOUSE -- SCALE C 1971 Anodized aluminum sculpture #82 of 120 Published and fabricated by Gemini G.E.L., Los Angeles Artist's initials incised with edition; retains Gemini G.E.L. stamps Gemini G.E.L. #38.25 24" x 20" Provenance:

JOH N BERGGRU EN G A L L E RY,

SAN FRANCISCO, CA LIFORNI A ; PR I VAT E CO LLECT ION, LOS A NGELES, CA L I FOR N I A ( ACQUIRE D DI RECTLY FROM TH E A B OVE )

Literature:

L AW SON, TH OMAS, C L A E S

O LD ENBUR G: MU LTI PLES IN RETR OSP EC T, 1 9 64 - 19 9 0, NEW YORK: RI ZZOLI , 1 9 9 1 , P P 1 08 - 9, #14.

$12,000-15,000

321 CLAES OLDENBURG EMERALD PILL 1977 Enamel over cast aluminum #26 of 35 Published by the Museum of Contemporary Art, Chicago; fabricated by Lippincott, Inc., New Haven Engraved with signature, date, and edition on metal plate verso 2" x 6.125" diameter Literature:

L AW SON, TH OMAS, C L A E S

O LD ENBUR G: MU LTI PLES IN RETR OSP EC T, 1 9 64 - 19 9 0, NEW YORK: RI ZZOLI , 1 9 9 1 , P P 1 2 2-3 , #18.

$1,000-1,500


INITIALS AND EDITION DETAIL

322 CLAES OLDENBURG BAKED POTATO (FROM 7 OBJECTS IN A BOX) 1966 Cast resin painted with acrylic #14 of 75 Published by Tanglewood Press, New York; fabricated by Knickerbocker Machine & Foundry, Inc., New York Initialed with edition “C.O. 14/75” Together with pamphlet for an exhibition at the National Gallery of Art, Washington held in 1995 and pamphlet for the artist’s outdoor sculpture Batcolumn in Chicago 4" x 8.25" x 4.75" Provenance:

P R IVAT E C OLLECTI ON,

WAS H IN GTO N , D C ; TH ENC E BY DESCENT

Literature:

L AW S O N , TH OM AS, C L AES

O L D E N B UR G: MULTIP LES I N R ETR OSP ECT 19 6 4 -19 9 0, N E W YO R K : R I ZZOLI , 1 991 , P 3 5 , # 3 ; AXS O M, R IC H AR D H , AND DAVI D P L ATZ K E R , P R IN TE D STU FF, P OSTER S AND E P H E ME R A BY C L AE S OLDENB U R G : A C ATALO GUE R AIS O N N É, N EW YOR K : H U DSON H IL L S P R E SS, 19 9 7, P 20.

$6,000-8,000

323 CLAES OLDENBURG THREE HATS 1974 8-color lithograph on cream Twinrocker Mill handmade paper #43 of 100 Published by the Committee to Endow a Chair in Honor of Meyer Schapiro at Columbia University, New York; printed by Adolf Rischner, Styria Studio, New York Artist’s initials in pencil lower center; edition lower left; printed “(c) 1974” lower center Image (irreg.): 31" x 19"; Sheet: 35.25" x 23" Literature:

AXS O M, R I C H AR D H , AND DA-

V ID P L ATZ K E R , P R IN TED STU FF, P OSTER S AN D E P H E ME R A BY C L AES OLDENB U R G : A C ATALO GUE R AIS O N NÉ, NEW YOR K : H U D S O N H IL L S P R E SS, 1997, #1 1 5.

$1,000-1,500

17 7


JOHN CHAMBERLAIN A seminal figure in the history of modern art, the American sculptor John Chamberlain (1927–2011) is best known for his brightly-painted abstract assemblages of scrap automotive steel; works that straddle the spheres of Abstract Expressionism and Pop Art. Among artists and art historians, Chamberlain is particularly honored for his use of unconventional materials, a practice that changed critical thinking on the nature of sculpture. As the artist and critic Donald Judd wrote, Chamberlain’s openwork, interstitial forms made of everyday substances challenged “the prevailing idea of sculpture as a solid mass.” Chamberlain sculpted with just about anything. Successful experiments employed paper bags, aluminum foil, and Plexiglas. “One day something—some one thing—pops out at you, and you pick it up, and you take it over, and you put it somewhere else, and it fits,” Chamberlain said of his materials. “It’s just the right thing at the right moment.” From 1966 into the 1970s, that “something,” almost exclusively, was urethane foam rubber. His experiments began when the artist played with household sponges and twine, which led to larger scale sculptures that Chamberlain intended for use as furniture, including Cradle (1985). “Chamberlain cut, folded, and tied [pieces of urethane foam] to make a kind of instant sculpture—direct, graceful, and im-

mediate,” according to the exhibition notes for a show of some 30 of these lesser-known Chamberlain sculptures at the Chinati Foundation in Marfa, Texas. “The work presents another aspect, complementary to the steel sculptures, of Chamberlain’s unique exploration of form and materiality.” Art historian Klaus Kertess has pointed out that foam sculptures such as Cradle render more specific the sexual and anatomical references that appear only suggestively in Chamberlain’s steel sculptures. Moreover, Kertess adds, Chamberlain’s deployment of sculpture as furniture anticipates by several years efforts in a similar vein by Scott Burton, and, later, Jorge Pardo. Chamberlain’s foam sculptures are seldom exhibited because the material is sensitive: urethane degrades in natural light. Many of these rare works, including Cradle, are accompanied by protective cloth covers. Put in place, the covers only add to the layers of associations and ambiguities inherent in Chamberlain’s art. Stockebrand, Marianne, ed., John Chamberlain: The Foam Sculptures, Marfa, Texas. Chinati Foundation, 2007 “John Chamberlain: Foam Sculptures (1966-1979); Photographs (1989-2004).” Exhibitions. Chinati Foundation, Marfa, Texas, Oct. 2005. Web. 27 Aug. 2014. “John Chamberlain Retrospective (announcement).” Guggenheim Museum, New York, 21 Feb. 2012. Web. 27 Aug. 2014. “John Chamberlain: Biography.” Dia Art Foundation, Beacon, New York, n.d. Web. 27 Aug. 2014.


324 JOHN CHAMBERLAIN CRADLE 1985 Urethane foam, cord and fabric Together with certificate from John Chamberlain Studio 36.5" x 78" x 39.25" Illustrated:

STO C K E BR AND, M AR I ANNE,

E D, J O H N C H AMB E R L AI N: TH E FOAM S C UL P TUR E S, MAR FA : C H I NATI FOU NDATIO N , 2 0 0 7, P P 10 4 - 5 . ALTERNATE VIEW WITHOUT FABRIC COVER

$10,000-20,000

179


325 ANDY WARHOL FLOWERS 1970 Color screenprint on paper #107 of 250 Published by Factory Additions, New York; printed by Aetna Silkscreen Products, Inc., New York Signed in ballpoint pen verso; edition stamped verso F/S #II/70 Image/sheet: 36" x 36" Literature:

FELDMA N, FRAY DA , A N D J ÖR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # II / 7 0.

$12,000-15,000

326 ANDY WARHOL FISH 1983 Screenprint on wallpaper Unknown edition size Printed by Rupert Jasen Smith, New York Estate stamp verso and marked “89.31" in pencil verso F/S #IIIA/39 Image/sheet (vis.): 40.75" x 29"; Frame 50.5" x 38.5" Made as a backdrop for the exhibition “Paintings for Children,” Bruno Bischofberger Gallery, Zurich, Switzerland, December 3, 1983-January 14, 1984. Literature:

FELDMA N, FRAY DA A N D J ÖR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # II I A / 39.

$4,000-6,000


327 ANDY WARHOL AFTER THE PARTY 1979 Color screenprint on Arches 88 paper #87 of 1000 Published by Grosset and Dunlap, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition in pencil lower right F/S #II/183 Image/sheet: 21.5" x 30.5"; Frame: 23.75" x 32.5" Literature:

F E L D MAN, FR AYDA , AND JÖR G

S C H E L L MAN N , AN DY WAR H OL P R I NTS: A C ATALO GUE R AIS O N NÉ 1 96 2-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I /1 83.

$8,000-12,000

328 CHRISTO ORANGE STORE FRONT, PROJECT 1979 Color lithograph with collage of brown wrapping paper on Arches paper #99 of 100 Published by Ediciones Polígrafa, Barcelona; printed by La Polígrafa, Barcelona Signed with edition in pencil lower right Image/sheet: 14.75" x 10.625" Literature:

S C H E L L M ANN, JÖR G , ED,

C H R ISTO AN D J E AN N E- CL AU DE: P R I NTS AN D O BJ EC TS : C ATALOG U E R AI SONNÉ, 3 R D E D ITIO N , N E W YO R K : TH E OVER LOOK P R E SS, 2 0 13 , # 10 2 .

$2,500-3,500

329 CHRISTO WRAPPED MONUMENT TO VITTORIO EMANUELE, PROJECT FOR PIAZZA DEL DUOMO, MILAN 1975 Color lithograph on paper 1 of 10 unnumbered HC aside from the edition of 75 Published by Ediciones Polígrafa, Barcelona; printed by La Polígrafa, Barcelona Signed and inscribed “HC” in pencil upper right Image/sheet: 28" x 22" Literature:

S C H E L L M ANN, JÖR G , ED,

C H R ISTO AN D J E AN N E- CL AU DE: P R I NTS AN D O BJ EC TS : C ATALOG U E R AI SONNÉ, 3 R D E D ITIO N , N E W YO R K : TH E OVER LOOK P R E SS, 2 0 13 , # 8 0.

$2,500-3,500

181


FRAME VERSO

330 RICHARD PETTIBONE ANDY WARHOL, “MOST WANTED MEN NO. 12, FRANK B.,” 1963 (PINK), ANDY WARHOL, “MOST WANTED MEN NO. 11, JOHN JOSEPH H.,” 1963 (PINK), AND ANDY WARHOL “MOST WANTED MEN NO. 2, JOHN VICTOR G.,” 1963 (PINK) (3) 1969 Acrylic and silkscreen on canvas in artist’s frame Each signed, dated, and titled in black ballpoint pen verso A: Canvas: 4.25" x 7.25"; Frame: 4.375" x 7.5"; B: Canvas: 4.125" x 7.25"; Frame: 4.375" x 7.5"; C: Canvas (irreg.): 6.25" x 6.75"; Frame: 6.5" x 7" Exhibited:

“ L’OEU VRE RE-PRODU I T E :

AS PECTS DE L’A RT DU XXE SIÈCLE ,” A B B AYE SAIN T-AN DRÉ , CENTRE D’A RT CON T E M P O RAIN, MEY MAC, AU GU ST 31-DECE M B E R 1 , 1 9 9 1 ; “IN YOU R FACE, ” TH E A NDY WA R HOL MUS EUM , PIT TSBU RGH , OCTOBER 1 7, 1 9 9 8 -JAN UA RY 17, 1999; “ RICH A R D P E TT IBO NE: A RETROSPECTI VE, ” I NST I T U T E O F CO NT E MPORA RY A RT, PH I L A DE L P HI A ; FRAN CES YOU NG TA NG MU SEU M, SA R ATO G A S PR I NGS; L AGU NA A RT MU S E U M , L AG UN A BEACH , A PRIL 30, 20 05 - M AY 2 8, 2 006

Illustrated:

BERRY, IA N, A ND MI C HA E L

D UN CAN, R ICH A RD PET TI BONE: A R E T R O S PECT IV E, EXH I BI TION CATA LOGU E , SA R ATO G A S PR I NGS: FRA NCES YOU NG TA N G MUS EUM , 20 05, P 69, # 62- 64.

$100,000-150,000


331 RICHARD PRINCE UNTITLED (COWBOYS & GIRLFRIENDS) 1992 Ektacolor photograph on Kodak professional paper From the edition of 26 Initialed in black ink “RP” verso Image/sheet (vis.): 22.5" x 15"; Frame: 30.5" x 22.75" $8,000-12,000

332 SHERRIE LEVINE AFTER EDWARD WESTON c. 1990 Gelatin silver print #1 of 5 Signed, titled, with edition in ink verso Image: 19.5" x 14.75"; Sheet: 20" x 16"; Frame: 29" x 24" $10,000-15,000

183


ROBERT MAPPLETHORPE Photographer Robert Mapplethorpe (1946–1989) was immersed in what was perceived to be the fringes of society during the 1970s and 80s. He socialized and worked with artists, musicians, pornographic actors, and initiates of the S&M underground to create images that are electric with sexuality and beauty, yet balanced by a classical composition and the black and white format. Portraiture was important to his work as he explored culture and identity in his snapshots of personalities ranging from Andy Warhol to Debbie Harry. In his poignant photographic inquiry, he often used himself as a subject, creating selfportraits in many guises: clothed, nude, and in drag. For Mapplethorpe’s 1985 Self Portrait, he dons a pair of horns and looks intensely at the camera, perhaps challenging or enticing the viewer. The horns bring up many associations: the dichotomy of good and evil in Christianity; the Greek god Dionysus, aligned with debauchery and sexual hedonism; and, finally, the animalistic. Indeed, Mapplethorpe's proclivity for "sexual wonders" and "erotic monstrosities" has frequently been cited as an inspiration as well as a base for exploration in his work. At the same time, the work is not simply about sexual

333 ROBERT MAPPLETHORPE SELF PORTRAIT 1985 Gelatin silver print #3 of 10 Signed and dated in black ink lower right; edition lower left; signed and dated with photographer’s stamp verso; bears the inscription in pencil “RM #M8709.167-C” verso; bears the inscription in ink “1535 3/10 Self Portrait 1985” verso Image: 15" x 15"; Sheet: 19.75" x 15.75" Provenance:

BLU MH ELMA N GA LL E RY,

NEW YO RK , NEW YORK; PRI VATE C OL L ECT IO N, SANTA FE, NEW MEXI CO (AC QU I R E D D IRECT LY FROM TH E A BOVE, 1988)

Literature:

DA NTO, A RTH U R C, R OB E RT

MAPPL ET H ORPE, NEW YORK: RA N DOM HO US E, 1 992, P 42.

$25,000-35,000

indulgence. Mapplethorpe is nude and depicted in half-length, like an antique or Neoclassical bust. His horns and tousled locks resemble the satyrs of classical mythology, who were male companions to Dionysus. Mapplethorpe cleverly sets S&M fetishism and gay culture within the language and framework of classical sculpture. Self Portrait from 1985 is a profound example of how Mapplethorpe challenged accepted boundaries and brought attention to marginal communities. The self-portrait was an important trope for Mapplethorpe throughout his experimental and provocative career. He would create one of his last self-portraits in 1988, a year before his death from AIDS-related complications. Prior to his passing in 1989, Mapplethorpe was honored with a retrospective at the Whitney Museum of American Art. The artist’s proof of this print resides in the collection of the Solomon R. Guggenheim Museum. “Biography.” The Robert Mapplethorpe Foundation. Web. 30 July 2014. “Robert Mapplethorpe.” Tate Collections Online. Tate Museum. Web. 30 July 2014. Szegedy-Maszak, Andrew. A Distinctive Vision: The Classical Photography of Robert Mapplethorpe.” Archaeology. Vol. 44, No. 1 (Jan/Feb 1991): 60-63. Web. 30 July 2014.


334 HERB RITTS TONY WITH BLACKFACE 1986 Gelatin silver print #5 of 25 Signature embossed “© Herb Ritts” lower right margin beneath image; signed, dated, and inscribed with edition in pencil “‘Tony with Blackface’ Los Angeles 1986 Herb Ritts 5/25/Frontal” verso Image: 18.5" x 15"; Sheet: 20" x 16"; Mat: 24" x 20" Provenance:

FAH E Y /K LEI N G ALLERY, LOS

AN GE L E S, C AL IFO R N I A; P R I VATE C OLLECTIO N , SAN TA F E , N E W M EX I C O ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, 1 988)

$6,000-8,000

185

335 HERB RITTS MALE NUDE (HORIZONTAL LOS ANGELES) 1987 Gelatin silver print #11 of 25 Signed, dated, and inscribed with edition in pencil “‘Male Nude’ Horizontal Los Angeles 1987 Herb Ritts 11/25” verso Image: 18.25" x 22.75"; Sheet: 20" x 23.75" Provenance:

FAH E Y /K LEI N G ALLERY, LOS

AN GE L E S, C AL IFO R N I A; P R I VATE C OLLECTIO N , SAN TA F E , N E W M EX I C O ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, 1 988)

$5,000-7,000


336 ALLEN RUPPERSBERG HEADS (3) c. 1982 Cast concrete Each: 7" x 11" x 9.5" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON

$4,000-6,000


337 ROBERT MAPPLETHORPE LARRY 1979 Gelatin silver print #6 of 10 Retains Robert Mapplethorpe Estate stamp verso; retains Robert Mapplethorpe copyright stamp verso; bears the inscription “MAP #274.1/Larry Desmedt 1979/6/10” verso Image: 14" x 14"; Sheet: 19.875" x 15.875" Provenance:

F R AE NK EL G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; P R I VATE COLLECTIO N , SAN TA F E , N E W M EX I C O ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, 2000)

Literature:

TH E GARDEN OF EARTH LY

D E L IGH TS : P H OTO GR AP H S BY EDWAR D W E STO N AN D R O B E RT M AP P LETH OR P E, E X H IB ITIO N C ATALO G U E, R I VER SI DE: TH E R EGE N TS O F TH E UN IVER SI T Y OF C ALI FORN IA , 19 95 , P P 43 , 5 9, #4 3; DANTO, ARTH U R C , R O B E RT MAP P L E THOR P E, NEW YOR K : R AN D O M H O US E , 19 9 2, P 97.

$4,000-6,000

338 ROBERT MAPPLETHORPE UNTITLED (MILTON MOORE) 1982 Gelatin silver print #2 of 10 Signed in ink lower right beneath image; edition lower left; signed and dated in ink with photographer’s stamp verso; bears the inscription in pencil “680 2/10 Untitled Milton Moore” verso Image: 15" x 15"; Sheet: 19.75" x 15.75" $4,000-6,000

187


339 NICOLAS BORIS GREEK ATHLETES 1935 Gelatin silver print Signed in pencil lower right mount beneath image; title inscribed lower left mount beneath image Image: 12.75" x 15.75"; Sheet: 13" x 16.25"; Mount: 16" x 20"; Frame: 18" x 20.5" Provenance:

PH OTOFI ND GA LLE RY, N E W

YO RK , NEW YORK; PRIVATE COLLEC T I ON , SANTA FE, NEW MEXI CO (ACQ U IR E D DIRECT LY FROM TH E A BOVE, 1989)

$1,500-2,000

340 ERWIN OLAF JOY (SQUARES SERIES) 1985 Gelatin silver print #14 of 15 Signed in ink verso; titled with date and edition in ink verso Image: 14.5" x 14.75"; Sheet: 17" x 15.5" Provenance:

PRIVATE COLLECTI ON , SA N TA

FE, NEW MEXICO (ACQ U IRED DIREC T LY FRO M T HE A RTI ST, 1988)

$3,000-5,000


341 DUANE MICHALS THE CANDY KISS c. 1970 Sequence of four gelatin silver prints #1 of 25 Signed with edition in black ink lower center margin beneath bottom image in black ink; inscribed “Kiss Kiss” upper center margin above top image in sequence; both photographs at center of work inscribed in black ink upper center above image “2” and “3” Image each: 3.25" x 5"; Sheet each: 5" x 8"; Mat: 28" x 13.5" Provenance:

342 HERBERT LIST MORNING, ATHENS 1937 Gelatin silver print #8 of 15 Artist’s initials embossed lower right sheet; artist’s estate ink stamp verso with edition and signed by Max Scheler, executor Image: 13.125" x 8.625"; Sheet: 15.75" x 11.75"; Mat: 20" x 16" Provenance:

C H AR LES COWLES G ALLERY,

N E W YO R K , N E W YO R K ; P R I VATE C OLLECP R IVATE C O L L EC TIO N , SAN TA

F E , N E W ME X IC O ( AC Q UIR E D D IR EC TLY

TIO N , SAN TA F E , N E W M EX I C O ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, 1 989)

F R O M “ K ISS IN G TIME : TO B E N E F IT MO ME NTUM AID S O UTR E AC H P R O GR AM O F SAIN T

Literature:

P E TE R ' S C H UR C H , " B E N E F IT AUC TIO N P R E-

TH IAS H AR D E R , E D S, H ER B ERT LI ST: TH E

S E N TE D BY TW IN IN G GAL L E RY, N E W YO R K ,

MO N O GR AP H, MUN IC H: SCH I R M ER /M OSEL ,

N E W YO R K , S E P TE MB E R 19 8 8)

2 0 0 0, P 15 3 .

$7,000-9,000

$4,000-6,000

S C H E L E R , M AX , AND M AT-

189


343 GIO PONTI VASES (2) Richard-Ginori, designed c. 1928 Each with applied label “Richard Ginori/ Pittoria di Doccia/Richard” and marked “Richard * Ginori/37-6”, “Made in Italy”, and “1399E” Each: 5.375" x 5.25" diameter Literature:

L A PI ETRA , U GO, GIO P ON T I,

MIL AN: RIZZOLI , 1996, P 21 FOR S I M I L A R E XA MPLE; PO RTOGH ESI, PAOLO, A ND AN T Y PA N SE R A , G IO PO NT I-A LL A MA NI FAT TU RA D I DOC C I A , EXHIBIT ION CATA LOGU E, MI L A N: SU G A R C O E D IZ IO N I, 1 9 82, P 90 FOR SIMI L A R E XA M P L E .

$6,000-9,000

344 GIO PONTI GLI AMANTI Richard-Ginori, designed 1925, executed 1928 Retains mark “Richard-Ginori Pittoria di Doccia 1925”, “Richard * Ginori 28=1”, “Made in Italy” and “Gli Amanti 1925” LAMA would like to thank Oliva Rucellai at the Museo Richard-Ginori, Florence, for her assistance in cataloguing this work 1" x 13.25" diameter Provenance:

PRIVATE COLLECTI ON , I TA LY;

PRIVAT E COLLECTION, U NITED STAT E S; T HE N C E BY D ES CENT

Literature:

RICH A RD - GINORI, CE R A M I C HE M OD -

ERNE D’ARTE, MA NU FACTU RER'S C ATA LOG U E , MIL AN: CA PI ZZA NO, 1930, P 30 ; L A P I E T R A , U G O, G IO PO NT I, MI L A N: RIZZOLI , 1996 , P 2 1 .

$3,000-5,000

345 GIO PONTI L’AMORE DELLA ANTICHITA Richard-Ginori, designed 1923, executed 1928 Retains facsimile signature “Gio Ponti 1927” twice, “Richard-Ginori Pittoria di Doccia 1925”, ‘Richard * Ginori 28=1”, “Made in Italy” and “l’Amore della Antichita 1923” LAMA would like to thank Oliva Rucellai at the Museo Richard-Ginori, Florence, for her assistance in cataloguing this work 1" x 13.25" diameter Provenance:

PRIVATE COLLECTI ON , I TA LY;

PRIVAT E COLLECTION, U NITED STAT E S; T HE N C E BY D ES CENT

Literature:

MA NNA , LORI S, GI O P ON T I L E

MAIO LICHE, MIL A N: BIBLI OTECA D I VI A SE N ATO ED IZ IO N I, 20 0 0, PP 13, 14; MAT T EON I , DA R I O, G IO PO NT I FASCINATI ON FOR CER A M I C S, M I L A N : S ILVANA EDITORI A LE, 20 11, PP 68 - 9.

$3,000-5,000


PARTIAL ILLUSTRATION

346 GIO PONTI FLATWARE (63) Fraser’s, Italy, designed 1954 Marked “Ponti/Fraser’s Italy” Comprised of nine dinner forks, sixteen salad forks, thirteen spoons, twelve teaspoons, and thirteen knives Various dimensions Literature:

L A P IE TR A , U G O, G I O P ONTI,

R IZ ZO L I: 19 9 6 , P 3 0 0.

$3,000-5,000

347 ATTRIBUTED TO GIO PONTI DESK Singer & Sons, c. 1960 29" x 62.5" x 21" $4,000-6,000

191


348 MARCO ZANUSO MARTINGALA ARMCHAIR Arflex, designed c. 1953 Retains Arflex/France label 36" x 32" x 31" $2,000-3,000

349 ARTELUCE FLOOR LAMP Arteluce, designed c. 1950 Impressed “Made in Italy” 58" high $2,000-3,000

350 ALDO TURA BARCART Tura, Milano, designed c. 1950 26.5" x 45" x 21.5" $2,000-3,000


351 ATTRIBUTED TO GINO SARFATTI CHANDELIER Possibly Arteluce, designed c. 1955 38.5" x 29" diameter $3,000-5,000

352 MASSIMO VIGNELLI TABLE LAMP Model no. Zaffiro 4000 (Fungo) Venini, designed c. 1956 10.5" x 7" diameter Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 18 7 9 TO 1 959, C OLOG NE: TAS C H E N , 2 0 05 , P 5 13.

$1,500-2,000

193

353 ETTORE SOTTSASS CANDLESTICKS (9) Models nos. “Starlight,” “Moonlight,” and “Silvershade” Swid Powell, designed 1985 Eight are stamped “Swid Powell/Silver Plated/Made in Italy” Largest: 13.75" x 2.75" x 2.25"; Smallest: 12.75" x 3" x 3" Literature:

TAP E RT, ANNET TE, SWI D P OW-

E L L : O BJ EC TS BY AR CH I TECTS, NEW YOR K : R IZ ZO L I, 19 9 0, P 8 7.

$4,000-6,000

354 MID-CENTURY ITALIAN DINING TABLE Manufacturer unknown, designed c. 1960s 28.75" x 48" diameter $2,000-3,000


355 ANGELO LELLI FLOOR LAMP Arredoluce, designed c. 1967 79" x 13" diameter at base $3,000-5,000

356 ANGELO LELLI ARTICULATED FLOOR LAMP Arredoluce, designed c. 1955 74" x 5.75" x 5.75" $4,000-6,000

357 GIANFRANCO FRATTINI NESTING TABLE SET (4) Cassina, designed c. 1966 Retains Cassina and Atelier labels Nested: 15" x 16" diameter $1,800-2,500


358 LUCIANO VISTOSI TABLE LIGHT Vetreria Vistosi, Mogliano Veneto, Italy, designed 1972 Retains label “Made in Italy” 21" x 13" x 10" Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 19 6 0 TO P R ESENT, VOL I I , C O LO GN E : TAS C H E N , 2005, P 287.

$1,000-1,500

195 359 SCANDINAVIAN MODERN TABLE LIGHTS (2) Manufacturer unknown, designed c. 1960 Each: 14.5" X 10" diameter $1,000-1,500

360 MARIO BELLINI CAB CHAIRS (6) Cassina, designed 1977 Retains Cassina and Atelier International labels Comprised of four armchairs and two side chairs Armchairs each: 32" x 23" x 19"; Side chairs each: 32" x 18.5" x 18" Literature:

H AB EGGE R , JER RYLL , AND

J O S E P H H O S MAN , S O U R C EBOOK OF MO D E R N F UR N ITUR E, NEW YOR K : NORTON, 19 9 7, P 2 03 .

$2,000-3,000


ARNALDO POMODORO Arnaldo Pomodoro (b. 1926) is widely regarded as Italy’s greatest post-war avant-garde sculptor. His enigmatic work is evocative of conflict and reconciliation, destruction and renewal. Pomodoro has explored such themes in bronze high reliefs that incorporate a kind of personal handwriting, composed of positive and negative spaces, gnomic symbols, glyphs, and cross-hatched striations. His three-dimensional works, notably his monumental Spheres Series, feature polished cast bronze surfaces broken by fissures and fractures revealing crystalline blocks, bars, and ribs that are, Pomodoro says, “an expression of an internal movement.” Pomodoro took an ostensibly oblique path to fine art. He trained as a civil engineer, and immediately after World War II served as a consultant on the reconstruction of damaged public buildings. In those years he also studied stage design and trained as a goldsmith. With his brother, Gio, Pomodoro moved to Milan in 1954 to open a jewelry design business. There he bonded with a community of artists and writers, among them Lucio Fontana, Enrico Baj, the poet Roberto Sanesi, and photographer Ugo Mulas. Energized and enlightened, Pomodoro found, in sculpture, a focus for all his skills: an architect’s sense of scale, volume and proportion; a set designer’s feel for drama, presentation, and narrative; and a jeweler’s facility with metal and devotion to detail. Towards the end of the 1950s, Pomodoro began his Tavola Series of sculptural reliefs. The planar Tavola saw Pomodoro exploring vital aesthetic, philosophical, and technical questions that he would examine in rounded three-dimensional form with his Spheres Series, which were first presented in 1963. This untitled piece from 1961 is a construction of sorts. It is composed of separate cast silvered bronze segments, or stages, built one atop another. Opposing vertical and horizontal forms in the piece imply a slow progression of stops and starts; hesitation and reengagement. Yet the movement in the sculpture is ever upward, ultimately suggesting growth and renewal. Similar examples from the early 1960s are in the permanent collections of the Museo del Parco in Portofino, Milan’s Museo della Permanente, and the Peggy Guggenheim Collection in Venice. Sculptures from Pomodoro’s Spheres Series are displayed in venues including the Vatican, the United Nations headquarters, and the campuses of Princeton University and the University of California at Berkeley. Pomodoro’s work is also found in the collections of numerous museums, including the Hirshhorn Museum and Sculpture Garden, the Guggenheim Museum, and the Courtauld Gallery. “Pomodoro Arnaldo: Biography.” Collection Online. Guggenheim Museum, New York, n.d. Web. 27 Aug. 2014. “Pomodoro Arnaldo: Biography.” Italica. RAI Italia, n.d. Web. 27 Aug. 2014. “BAM/PFA - Art Exhibitions - Arnaldo Pomodoro / MATRIX 42.” Berkeley Art Museum & Pacific Film Archive. University of California, 01 Apr. 1981. Web. 27 Aug. 2014. “Arnaldo Pomodoro.” Guggenheim Museum. Peggy Guggenheim Collection, Venice, n.d. Web. 27 Aug. 2014. “Little Book of Sculpture.” Princetoniana. Princeton University, 2011. Web.

361 ARNALDO POMODORO COLUMN 1961 Silvered bronze Signed and dated Together with copy of invoice from Felix Landau Gallery 17.125" x 3.75" x 2" Provenance:

F E L IX L ANDAU G ALLERY,

LO S AN GE L E S, C AL IFO R NI A; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE, MAR C H 10, 19 6 2 ) ; TH E NCE BY DESCENT

$25,000-35,000

197


Louis Stern has confirmed the authenticity of the following four works (Lots 362-365). They will be included in the catalogue raisonnĂŠ of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin.

362 KARL BENJAMIN #7 1986 Oil on canvas Signed, titled, and dated on canvas stretcher verso Canvas: 63" x 45"; Frame: 63.75" x 45.75" Provenance:

JA MES STROMBOTN E ,

CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ART IST )

$30,000-50,000


363 KARL BENJAMIN #37 1968 Oil on canvas Signed, titled, and dated on canvas stretcher verso Canvas: 50" x 50"; Frame: 51" x 51" $25,000-35,000

364 KARL BENJAMIN #18 1983 Acrylic on canvas Signed, titled, and dated on canvas stretcher verso Canvas: 30" x 30"; Frame: 30.5" x 30.5" $12,000-15,000

199


365 KARL BENJAMIN #13 (CLOUD SERIES) 1978 Acrylic on canvas Signed, titled, and dated on canvas stretcher verso Canvas: 48" x 63"; Frame: 49.25" x 64.25" Provenance:

PRIVATE COLLECTI ON , SE-

AT T L E, WASH INGTON (ACQ U IRED DI R EC T LY FRO M T HE A RTI ST ); PRI VATE COLL EC T I ON , NEW YO RK (ACQ U IRED DIRECTLY F R OM T HE ABOV E)

$25,000-35,000

366 FREDERICK HAMMERSLEY IN TWO #27 1977 Oil on canvas Signed and dated lower right; retains artist’s label, LA Louver Gallery label, Ameringer/Yohe Gallery label, Gary Snyder Project Space, and David Klein Gallery labels verso LAMA would like to thank the Frederick Hammersley Foundation for their assistance in cataloguing this work Canvas: 32" x 32"; Frame: 33" x 33" Provenance:

DAVI D KLEIN GA LL E RY, B I R-

MIN G HAM, MICH IGA N; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Literature:

KING, SA RA H S, A ND DI A N E

ARM ITAG E, EDS, FREDERI CK H A MM E R S LEY, SANTA FE: A RT SA NTA FE PR E SE N TS, 2 009, P 5 0 FOR PRELI MI NA RY SK E TC H OF T HIS PAINTI NG I LLU STRATED I N ART I ST ’S NOT EBO O K .

$30,000-50,000


367 LORSER FEITELSON BATHERS 1923 Oil on canvas Signed and dated “Feitelson 1923” lower left; signed and inscribed “Feitelson/59 rue Reaumor/Paris/1923” verso Canvas (vis.): 44" x 58"; Frame: 56.25" x 71.25" This painting will be included in the forthcoming Lorser Feitelson Catalogue Raisonné. $40,000-60,000

201


368 HELEN FRANKENTHALER SOUTHERN EXPOSURE 2005 Color screenprint on Somerset paper #15 of 128 Published by the Lincoln Center/List Print and Poster Program, New York; printed by Brand X Editions, New York Signed and dated in pencil with edition lower left; signature in plate lower right Image/sheet: 30" x 37"; Frame: 33.75" x 40.5" Literature:

RI LEY, CH A RLES, A RT AT

LIN CO L N CENTER : TH E PU BLIC A RT A N D LIST PRIN T A ND POSTER COLLEC T I ON S, NEW YO RK: TH E LI NCOLN PRI NT C E N T E R , 2 009, P 2 01.

$6,000-8,000


369 HELEN FRANKENTHALER WIND DIRECTIONS (FOUR POCHOIRS PORTFOLIO)

370 HELEN FRANKENTHALER ORANGE DOWNPOUR (FOUR POCHOIRS PORTFOLIO)

1970 4-color pochoir on white Arches Imperial Rough watercolor paper #1 of 50 Published by Abrams Original Editions, New York; printed by the artist and Maurel Studios, New York Signed and dated with edition in pencil lower left Image/sheet: 30.5" x 21.625"; Frame: 34.875" x 26.625"

1970 4-color pochoir on white Arches Imperial Rough watercolor paper #1 of 50 Published by Abrams Original Editions, New York; printed by the artist and Maurel Studios, New York Signed and dated in pencil lower right; edition lower left Image/sheet: 30.625" x 21.75"; Frame: 34.875" x 26.625"

Provenance:

Provenance:

P R IVATE C O L L EC TIO N , LO S

P R IVAT E C OLLECTI ON, LOS

A N G E L E S, C AL IFO R N IA (GIF TE D D IR EC TLY

AN GE L E S, C AL IFO R N I A (G I FTED DI R EC TLY

BY T HE A RTIST ) ; P R IVATE C O L L EC TIO N ,

BY TH E ARTIST ) ; P R IVATE COLLECTI ON,

U N I T E D STATE S ( AC Q UIR E D D IR EC TLY F R O M

UN ITE D STATE S ( AC Q U I R ED DI R ECTLY FR OM

T HE A B OVE )

TH E AB OV E )

Literature:

H AR R IS O N , P EGR AM, H E L E N

Literature:

H AR R IS ON, P EG R AM , H ELEN

F R A N K E N TH AL E R : A C ATALO GUE R AIS O N N É

F R AN K E N TH AL E R : A C ATALOG U E R AI SONNÉ

OF P R I N TS, 19 6 1-19 9 4, N E W YO R K : AB R AMS,

O F P R IN TS, 19 6 1-19 9 4, NEW YOR K : ABR AM S,

1 9 9 6 , #2 8.

19 9 6 , # 2 7.

$3,000-5,000

$3,000-5,000

203


371 ALEXANDER CALDER SYSTÈME SOLAIRE 1965 Gouache on paper Signed and dated lower right sheet The Calder Foundation registration number forthcoming Image/sheet: 29.5" x 42.5"; Frame: 36" x 49" Provenance:

PRI VATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (ACQ U I RE D DIRECT LY FROM SOTH EBY 'S PA RKE- B E R N E T, LO S AN G ELES, CA LI FORNI A , MA R C H 1 7- 1 8, 1 9 8 0, LOT 531 )

$80,000-100,000


372 ALEXANDER CALDER CROSS ROADS 1963 Watercolor on paper Signed and dated lower right sheet; retains the Long Beach Museum of Art label verso The Calder Foundation registration number forthcoming Image/sheet (vis.): 14.25" x 18.5"; Frame: 24" x 27.75" Provenance:

P R IVATE C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A ( AC Q U I R ED DIR EC TLY F R O M S OTH E BY'S PAR K E-B ER NET, LO S AN GE L E S, C AL IFO R NI A , M AR C H 1 7-1 8, 19 8 0, LOT 5 3 0 -A)

Exhibited:

“C AL D E R G OUACH ES: TH E

ART O F AL E XAN D E R CALDER , ” TR AVELI NG E X H IB ITIO N , LO N G B E ACH M U SEU M OF ART, LO N G B E AC H , JANUARY 1 1 -FEB R UARY 8 , 19 7 0 ; TH E F IN E ARTS G ALLERY OF SAN D IEGO, SAN D IEGO, F EBR UARY 27-M AR C H 2 9, 19 7 0 ; P H O E N IX ART M U SEU M , P H OENI X , MAY 1-MAY 3 1, 19 7 0

Illustrated:

C AL D E R G OUAC H ES: TH E

ART O F AL E XAN D E R CALDER , EX H I BI TI ON C ATALO GUE , LO N G B E AC H : LONG BEAC H MUS E UM O F ART, 19 7 0, #1 4 .

$18,000-25,000

373 RICHARD SERRA UNTITLED 1996 1-color etching on Fabriano Murillo paper #70 of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right beneath image; Gemini G.E.L. blind stamp lower right; edition lower left Gemini G.E.L. #47.83 Image: 8.75" x 11.75"; Sheet: 14.75" x 17.625"; Frame: 17.75" x 20.5" This edition was made to benefit Senator Edward Kennedy. $2,500-3,500

205


ORIGINAL BOX (LOT 374)

374 JEFF KOONS BALLOON DOG (BLUE) 1995 Cast porcelain with blue reflective finish #1965 of 2300 MOCA Editions Retains facsimile of signature on MOCA label verso Together with original box and plate stands 10.25" diameter $10,000-15,000

375 JEFF KOONS BALLOON DOG (RED) 1995 Cast porcelain with red reflective finish #24 of unknown edition size Published by VOICE: Venice/Oakwood Inner City Enterprise, Los Angeles Signed on VOICE label verso; edition and date verso 10.75" diameter $5,000-7,000


376 TAKASHI MURAKAMI MR. WINK/COSMOS BALL 2000 Plastic From the edition of 3,000 Published by the Peter Norton Family Christmas Project, Santa Monica; fabricated by Cube, Tokyo Embossed “Peter Norton Family Christmas Project 2000” and “by Takashi Murakami” on base verso 10.5" x 7.5" diameter at base $2,000-3,000

377 TAKASHI MURAKAMI PLATTER 2007 Signed verso with drawing in ink Made on the occasion of the artist’s gala opening at MOCA in 2007 13.75" diameter $800-1,200

378 BARBARA KRUGER YOU’RE RIGHT AND YOU KNOW IT AND SO SHOULD EVERYONE ELSE 2010 Color lithograph on paper #147 of 200 Signed with edition in pencil verso Image/sheet: 9" x 24" VERSO

$2,000-3,000

207


379 SUSAN ROTHENBERG SELF-PORTRAIT WITH HORSE AND DOG c. 2007 Oil stick and gouache on paper Image/sheet: 58" x 71"; Frame: 66" x 78" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON

$20,000-30,000


380 LOUISE BOURGEOIS GIVE OR TAKE III (HOW DO YOU FEEL THIS MORNING?) 1990 Patinated bronze #39 of 40 Published by the New Museum, New York Incised initials and dated “L.B. 90” with edition; retains foundry mark 4" x 9" x 6" Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A C O L L EC TIO N

$12,000-15,000

209

381 HANNAH WILKE UNTITLED 1976 Chewing gum on board in Plexiglas Signed and dated in pencil on board lower right “Wilke 76” 1" x 1.5" x 1.5" $3,000-5,000


KEM WEBER The Berlin-born and trained architect and designer KEM Weber (1889–1963) arrived in the United States in 1914, during the initial wave of progressive Central European architects, designers and artists. Weber, along with Rudolph Schindler, Richard Neutra, Paul T. Frankl and Ilonka Karasz, would profoundly affect the course of American modernism. Weber (“KEM” was a self-styled acronym for his given name: Karl Emanuel Martin) was an accidental immigrant. He had been sent to San Francisco by his teacher-turned-employer, the great proto-modernist architect Bruno Paul, to oversee an exhibition installation. Marooned by the outbreak of World War I, Weber was unfazed for he had quickly grown to love California. Gaining U.S. citizenship in 1924, Weber’s early years in America were difficult. When design commissions were hard to find, he took jobs as a lumberjack, chicken farmer, and art school teacher. But in 1921, impressed by his portfolio, the Barker Bros. department store of Los Angeles hired Weber. Five years later Weber persuaded the store—the largest furniture retailer in the United States at the time—to open a new full-floor department devoted to modern design. Weber delivered lectures on modernism nationwide and won a reputation as a champion of a new, clean and elegant style. It is a measure of his prominence that, in 1928, the Friedman Silver Company of Brooklyn issued a KEM Weber signature line of silver-plated tea and coffee services, cocktail shakers, and barware. Pieces from that collection (Lot 382) were the cutting edge of style, sharing the same striking, tiered geometries as Paul T. Frankl’s famous and simultaneously-produced “Skyscraper” furniture. Weber’s undoubted masterpiece is the Airline chair (designed 1934–35). The chair has become an emblem of 20th century design, and appears in the collections of the Victoria & Albert 382 KEM WEBER SUGAR AND CREAMER (2) Model no. Silver Style line Friedman Silver Company, designed c. 1928 Each impressed “SILVER STYLE/Kem Weber/Design/E.P.-N.S./4E4/D” Sugar: 4.5" (including lid) x 4" diameter; Creamer: 3" x 3.5" diameter Literature:

STERN, JEW EL , MOD E R N I SM

IN AM ERICA N SILVER : 20 TH CENTU RY D ES IG N, CONNECTICU T: YA LE U NI VE RS IT Y PRESS, 20 05, # 17 FOR SIMI L A R EXAM PL E.

$8,000-10,000

Museum, the Brooklyn Museum, the San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art, where it was a centerpiece of the landmark 2011–2012 exhibition California Design, 1930–1965: “Living in a Modern Way.” The Airline chair was the realization of Weber’s career-long goal: to achieve a wholly American form of modern design—sleek, trim, and stylish; yet comfortable, easygoing, and practical. With its raked, gently angular frame and cantilevered seat, the form of the chair suggests movement, speed, and forward progression. Weber named it the Airline chair to associate the design with the signal technological triumph of the day: commercial aviation. In a practical innovation far ahead of its time, the Airline chair was designed to be sold flat-packed in segments for easy home assembly. The design seemed perfect for mass-production, but Weber was never able to convince a major manufacturer to take it on. One problem may have been the price: $24.75 was more than the average worker's weekly salary in the Depression years. In the end, fewer than 300 Airline chairs were produced. Most of those were bought by the Walt Disney Company in 1939 for use in the projection rooms and executive offices of its Burbank animation studios, for which Weber was the project architect. Today, surviving examples of the Airline chair rarely come to market. “Airline Chair.” The Collections. Victoria & Albert Museum, London, n.d. Web. 27 Aug. 2014. Long, Christopher. “The Bixby House.” The Magazine Antiques. Brant Publications, New York, Jan. 2012. Web. 27 Aug. 2014. Long, Christopher. “KEM Weber and the Rise of Modern Design in Southern California.” The Magazine Antiques. Brant Publications, New York, May 2009. Web. 27 Aug. 2014. Marks, Ben, Et Al. “KEM Weber: The Mid-Century Modern Designer Who Paved the Way for IKEA.” Collectors Weekly. San Francisco, 04 Apr. 2011. Web. 27 Aug. 2014. “Statistics of Income 1934.” (n.d.): n. pag. Internal Revenue Service. Washington, D.C. Web. 23 Aug. 2014.


LABEL DETAIL

383 KEM WEBER AIRLINE CHAIR Airline Chair Company, custom designed 1934-35 Retains “Walt Disney Productions” label and branded 30.75" x 37" x 25" Literature:

KAP L AN , WENDY, C ALI FOR NI A

D E S IGN 193 0 -19 6 5 : L I VI NG I N A M ODER N WAY, C AMB R ID GE : MIT P R ESS, 201 1 , P 71 .

$12,000-15,000

211


384 RICHARD NEUTRA CAMEL TABLE Custom for the Dr. Fred and Mrs. Alicia Adler Residence, 1438 North Kenter Avenue, Brentwood, California, executed 1956 28.25" x 80" x 36" Provenance:

DR FRED A ND MRS A L I C I A A DL E R

RES ID ENCE, 1438 NORTH KENTER AVE N U E , BRENTWO OD, CA LIFORNI A (CU STOM DE SI G N E D BY T HE AR CH ITECT ); TH ENCE BY DE SC E N T

Illustrated:

L A MPRECH T, BA RBA R A , R I C HA R D

NEUT RA: COMPLETED WORKS, CO LOG N E : TAS CHEN, 20 0 0, P 299.

$10,000-15,000

ALTERNATE VIEW


213

385 RICHARD NEUTRA BUNKBEDS Custom, designed for the Singleton Residence, 1959 Each: 90" x 41" $5,000-7,000


386 FRANK LLOYD WRIGHT CHAIR Custom designed for the “Meeting House” of the First Unitarian Society, Madison, Wisconsin, designed 1951 27" x 21" x 21" Literature:

STORRER , W I LLI A M, T HE

FRAN K LLOY D W RI GH T COMPA NI ON, CHICAG O : U NI VERSIT Y OF CH I CAG O P R E SS, 1 9 93 , P 3 01.

$2,000-3,000

387 FRANK LLOYD WRIGHT DOUBLE HIGH BENCH Custom designed for the “Meeting House” of the First Unitarian Society, Madison, Wisconsin, designed 1951 28" x 42" x 23" Literature:

STORRER , W I LLI A M, T HE

FRAN K LLOY D W RI GH T COMPA NI ON, CHICAG O : U NI VERSIT Y OF CH I CAG O P R E SS, 1 9 93 , P 3 01.

$2,000-3,000

388 FRANK LLOYD WRIGHT DOUBLE LOW BENCH Custom designed for the “Meeting House” of the First Unitarian Society, Madison, Wisconsin, designed 1951 19" x 43" x 21" Literature:

STORRER , W I LLI A M, T HE

FRAN K LLOY D W RI GH T COMPA NI ON, CHICAG O : U NI VERSIT Y OF CH I CAG O P R E SS, 1 9 93 , P 3 01.

$2,000-3,000


389 WALTER VON NESSEN FLOOR LAMP Nessen, designed c. 1948 51.25" high $3,000-5,000

390 BILL LAM FLOOR LAMP Lam Inc., designed c. 1951 48" x 11" diameter $1,200-3,000

391 PAUL TUTTLE ARMCHAIR Custom, designed 1950 29" x 26.5" x 19.5" This chair won Paul Tuttle an award from the Saint Louis Art Museum Women's Board in 1951. Exhibited:

“D E S IGN E R - C R AFSTM AN EX H I-

B ITIO N ,” SAIN T LO UIS ART M U SEU M , 1 951

Illustrated:

B E R N S, M AR L A C , PAUL

TUT TL E D E S IGN S, SANTA BAR B AR A: U NIV E R S IT Y ART MUS E UM, 2003, #1 /6 .

$6,000-9,000

215


392 ROBERT IRWIN UNTITLED 1957 Oil on canvas Signed and dated lower right; bears the inscription “Irwin 3’7” 4’ untitled painting 57...” on canvas stretcher verso Canvas: 43" x 48"; Frame: 44" x 49" Provenance:

PRIVATE COLLECTI ON ,

UN IT ED STATES (ACQ U I RED DI REC T LY F R OM FERUS G ALLERY, LOS A NGELES, C A L I FORNIA) ; T HENCE BY DESCENT

$30,000-50,000


393 RAY PARKER UNTITLED 1955 Oil on canvas Signed and dated lower right; retains Pasadena Museum of Art label verso; retains partial Paul Kantor Gallery label verso Canvas: 50.5" x 39"; Frame: 51.125" x 39.75" Provenance:

PAUL KANTOR G ALLERY, LOS

AN GE L E S, C AL IFO R N I A; PASADENA ART MUS E UM, PASAD E N A , CALI FOR NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM S OTH E BY PAR K E-B E R NET, LOS ANG ELES, C AL IFO R N IA , P R O P E RT Y FOR M ER LY I N TH E C O L L EC TIO N O F T H E PASADENA ART MUS E UM, J UN E 2 3 , 1980, LOT 296)

$15,000-20,000

217


394 SAM FRANCIS UNTITLED TRIPTYCH (SF80-307) 1980 Acrylic on paper Signed and dated in pencil verso Sheet each (vis.): 16.5" x 13.5"; Frame each: 20" x 17" Exhibited:

“SA M FRA NCI S: MA JOR PA I N T-

IN G S AN D DRAW I NGS,” ACE GA LLE RY, LOS AN G ELES, MA RCH 20 -A PRI L 25, 19 81 ; “SA M FRAN CIS : OPERE DA L 1960 A L 1983,” ST U D IO MARCONI, MI L A N, MAY 12-JU N E 1 5, 1 9 83

Provenance:

ESTATE OF TH E A RT I ST,

CAL IFO RNIA ; I KON, LTD, SA NTA M ON I C A , CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E); PRI VATE COLLECTI ON , SANTA BAR BA RA , CA LI FORNI A (AC QU I R E D D IRECT LY FROM TH E A BOVE); TH E N C E BY D ES CEN T

$25,000-35,000

This work is identified with the interm identification number of SF80-307 (SF80-307A, SF80-307B, SF80307C) in consideration for the forthcoming Sam Francis Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.


395 SAM FRANCIS UNTITLED 1992 Color lithograph on Rives BFK paper Unnumbered Artist’s proof of 64 aside from the edition of 50 Published by Editions Daniel Papierski, Paris; printed by Gardner Litho, Buena Park Signed in pencil lower right; inscribed “AP” lower left LAMA would like to thank the Sam Francis Foundation for their assistance in cataloguing this print Image/sheet: 30" x 22" Provenance:

GAR D NER LI TH O, B U ENA

PAR K , C AL IFO R N IA

$2,000-3,000

396 SAM FRANCIS UNTITLED 1992 Color lithograph on Rives BFK paper Unnumbered Artist’s proof of 64 aside from the edition of 50 Published by Editions Daniel Papierski, Paris; printed by Gardner Litho, Buena Park Signed in pencil lower right; inscribed “AP” lower left LAMA would like to thank the Sam Francis Foundation for their assistance in cataloguing this print Image/sheet: 22" x 30" Provenance:

GAR D NER LI TH O, B U ENA

PAR K , C AL IFO R N IA

$2,000-3,000

219


397 JOHN ALTOON UNTITLED 1962 Pastel on board Image/sheet (vis.): 55" x 40"; Frame: 60.25" x 45" Provenance:

TH E ESTATE OF JO HN

ALTO O N ; NI CH OL AS W I LDER GA LLE RY, LOS AN G ELES, CA LIFORNI A (ACQ U I RED DI R EC TLY FRO M TH E A BOVE, C 1970 S); P R I VAT E CO LLECT ION, U NI TED STATES (ACQU I R E D D IRECT LY FROM TH E A BOVE, C 1980S)

Exhibited:

“ TH E ASTONI SH ING WOR KS OF

JO HN ALTOON, ” NY EH AU S, NEW YOR K , M AY 7-JUN E 1 9, 20 10

Illustrated:

NY E, TIM, TH E ASTO N I SH-

IN G WO RKS OF JOH N A LTOON, EX HI B I T I ON CATALO G UE, NEW YORK: TH E MON AC E L L I PRESS, 2 010, # 88.

$20,000-30,000


398 BRUCE CONNER BOX 1963 Ink on paper Inscribed in pencil “Box" and “Box/1963" verso; retains Swetzoff Gallery and Alan Gallery labels verso Image/sheet: 23.75" x 17.5"; Frame: 31.25" x 24.75" $4,000-6,000

399 GEORGE HERMS THE QUEEN SCENE REVISTED 1963 Mixed media assemblage 32" x 19.75" x 10" Exhibited:

“ TH E P R OM ETH EU S AR CH I VES:

A R E TR O S P EC TIV E E XH I B I TI ON OF TH E WO R K O F GEO R GE H E R M S,” TR AVELIN G E X H IB ITIO N , N E WP ORT H AR B OR ART MUS E UM, N E W P O RT BEACH , JU NE 2-JU LY 2 2 , 19 7 9 ; OAK L AN D M U SEU M , OAK L AND, AUGUST 14 - S E P TE MBER 30, 1 97 9; SEAT TLE ART MUS E UM, S E AT T LE, NOVEM B ER 1 5, 19 7 9 -JAN UARY 6 , 19 8 0

Illustrated:

TH E P R O M ETH EU S AR CH I VES:

A R E TR O S P EC TIV E E XH I B I TI ON OF TH E WO R K O F GEO R GE H E R M S, EX H I B I TI ON C ATALO GUE , N E W P O RT B EAC H : NEWP ORT H AR B O R ART MUS E UM , 1 97 9, P 4 7, #32.

$6,000-9,000

221


400 JOHN PAUL JONES UNTITLED 1955 Casein on board Signed and dated lower center Image/board: 23" x 29"; Frame: 26.125" x 32.125" $2,500-3,500

401 WILLIAM DOLE STRATA DATA 1961 Mixed media collage Signed and dated lower right; retains Rex Evans Gallery label verso Together with copy of invoice from Rex Evans Gallery and exhibition loan receipt Image/sheet: 11.5" x 16.25"; Frame: 18.25" x 22.25" Provenance:

REX EVA NS GA LLERY, LOS

AN G ELES, CA LIFORNI A ; PRI VATE C OL L ECT IO N, LO S A NGELES, CA LI FORNI A (ACQUIRED D IRECTLY FROM TH E A BOVE , 1 9 6 1 ); T HENCE BY DESCENT

Exhibited:

“A RETROSPECTI VE E XHI B I T I ON

O F WILLIAM DOLE, " A RT GA LLERY, U N IV ERS IT Y OF CA LIFORNI A , SA NTA B A R B A R A , JANUARY 12-FEBRUA RY 21, 1965

Illustrated:

A RETROSPECTIVE E XHI B I T I ON

O F WILLIAM DOLE, EXH IBI TION C ATA LOG U E , SANTA BA RBA RA : U C SA NTA BA RBA R A A RT G ALLERY, 1965, # 34.

$1,000-1,500


402 YNEZ JOHNSTON NIGHT JOURNEY 1965 Mixed media on board Signed and dated lower right; retains Adele Bednarz Galleries label verso Image/board (vis.): 27.5" x 20"; Frame: 30.75" x 23.25" $3,000-5,000

403 SONJA SEKULA UNTITLED 1954 Gouache on paper Signed with artist’s monogram in pencil with date lower right Image/sheet: 12" x 9"; Frame: 22" x 19" $2,500-3,500

223


404 HAROLD CHRISTOPHER DAVIES UNTITLED 1956 Oil on gessoed panel Signed lower left Panel: 16" x 20"; Frame: 22.5" x 22.5" $1,500-2,000

405 HAROLD CHRISTOPHER DAVIES UNTITLED (HUNSTVILLE, ALABAMA SERIES) c. 1947 Oil on canvas Signed verso; retains Hoover Gallery ink stamps on canvas and canvas stretcher verso; retains Hoover Gallery label verso Canvas: 32" x 40"; Frame: 32.75" x 40.625" $3,000-5,000


406 FRANCIS DE ERDELY BULLFIGHTER c. 1955 Ink and wash on paper Signed in ink center right; retains illegible inscription in blue ballpoint pen lower right sheet Image/sheet (vis.): 19" x 15.5"; Frame: 31.25" x 23.25" $1,000-1,500

407 EDMOND KOHN UNTITLED c. 1950s Oil on canvas Canvas: 10" x 10"; Frame: 15.5" x 15.5" $800-1,200

225 408 JAN STUSSY 3 SEPARATE OBJECTS c. 1957 Casein and mixed media on paper Signed in pencil “Stussy" lower left; retains Esther Robles Gallery label and Pasadena Art Museum exhibition label verso Image/sheet (vis.): 11" x 31.5"; Frame: 13.5" x 34" Exhibited:

PASAD E N A ART M U SEU M , PASA-

D E N A , AP R IL 195 7

$1,000-1,500


409 JOSEPH ALEXANDER GOETHE UNTITLED (FIGURE) c. 1940s Rosewood Stamped “G/Goethe” 49" x 7.75" x 6" $3,000-5,000

410 JACK ZAJAC UNTITLED (FIGURE) 1964 Patinated bronze Incised signature and date 12.25" (including base) x 8" x 7" $3,000-5,000


411 DIMITRI HADZI UNTITLED (STUDIES FOR SCULPTURE) 1957 Ink on paper Signed and dated in ink “Dimitri Hadzi/ Roma April 57” Image/sheet (vis.): 11.75" x 15.75"; Frame: 20.25" x 24.25" $2,000-3,000

412 REUBEN NAKIAN UNTITLED c. 1965 Terracotta on wooden base Incised signature verso 10.25" x 13" x 2" (not including base) Provenance:

P R IVAT E C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M F E L IX L ANDAU G ALLERY, C 19 6 0 S )

$2,500-3,500

413 JACK ZAJAC SWAN c. 1971 Patinated bronze #1 of 125 Incised signature and edition 4.25"x 10" x 4.625" Provenance:

P R IVAT E C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

$2,000-3,000

227


PAUL L ÁSZLÓ The architect and interior designer Paul László (1900–1993), the story goes, once refused a commission from Elizabeth Taylor because the actress insisted that she be allowed to collaborate with him on her decorating scheme. Other clients— who included Barbara Stanwyck, Cary Grant, Gloria Vanderbilt, and Barbara Hutton—could have advised Taylor that he did just fine on his own. László turned his hand to every element in the décor “down to the last ashtray,” as Time once wrote of him. From the late 1930s and well on into the 1960s, among members of the smart set nationwide his name was a byword for sumptuous modernity. Like his clients, László was at ease with luxury—not the luxury of the rare and precious, but the luxury of rich colors and textures, and deep comforts. But, he also had a contemporary élan, shown in an appreciation for spaces that were bright, airy, uncluttered, and up-to-date. Aligned with no artistic or design movements, László relied on his own carefully-honed instincts. Born in Hungary at the turn of the century, László learned about quality from his father, a prosperous furniture manufacturer. In Vienna, where he trained and worked, László absorbed ideas of beauty, grace, and warmth. He learned his technical skills in Stuttgart, and there, at age 27, he established an upscale design business that gained an international reputation. Nine years later, with the Nazis entrenched, László, a Jew, left Germany for America. He

414 PAUL LÁSZLÓ PADDLE ARMCHAIRS (2) Custom, executed 1946 Each: 32" x 35" x 31" Provenance:

COMMI SSIONED FOR T HE

RENE WILLIA MS RESIDENCE, 60 6 N ORT H BEV ERLY DRI VE, LOS A NGELES, C A L I FOR N I A

$4,000-6,000

made his way to Los Angeles, where he was pleased to find that his Stuttgart credentials carried weight. While he had any number of large commercial assignments— many for national department stores—custom residential work was László’s stock in trade. In 1946, Laszlo was commissioned to furnish the interior of Rene William's residence in Beverly Hills. The designs made for the Rene Williams residence display many of the classic earmarks of László interior furnishings. The “Paddle” armchairs (Lots 414, 415, 416) are more than generously proportioned, and feature namesake armrests that are flat and wide—perfect spots to rest a cocktail. Case goods, tables and dining chairs have clean, elegant lines, and, rather like the Wiener Werkstattë furniture László knew in Vienna, are simplyformed, yet somehow warm. László frequently employed artisans who were also Central European émigrés to realize his designs, and one of his favorites was the weaver Maria Kipp (1900–1988). The lampshades for (Lots 420, 421) are one of her signature constructions, featuring macramé-like horizontal bands that hold in place a vertical array of slender sticks. Like every facet of a László interior, the shades contribute to an environment that is at once robust and relaxed. Todd Merrill and Julie Iovine, eds., Modern Americana: Studio Furniture from High Craft to High Glam. (New York: Rizzoli, 2008). “Rich Man's Architect.” Time (August 18, 1952): n. pag. Web. 27 Aug. 2014. Laskey, Marlene L. “Designing with Spirit: Paul László.” Oral History Project Transcript. University of California Libraries, 1986. Web. 27 Aug. 2014. “Paul László, 93, Dies; Architect to Celebrities.” The New York Times. The New York Times, 07 Apr. 1993. Web. 27 Aug. 2014.


415 PAUL LÁSZLÓ PADDLE ARMCHAIRS (2) Custom, executed 1946 Each: 32" x 35" x 31" Provenance:

C O MMISSI ONED FOR TH E

R E N E W IL L IAMS R E S IDENC E, 606 NORTH B E V E R LY D R IV E , LO S ANG ELES, C ALI FOR NI A

$4,000-6,000

416 PAUL LÁSZLÓ PADDLE ARMCHAIR Custom, executed 1946 32" x 35" x 31" Provenance:

C O MMISSI ONED FOR TH E

R E N E W IL L IAMS R E S IDENC E, 606 NORTH B E V E R LY D R IV E , LO S ANG ELES, C ALI FOR NI A

$2,000-3,000

417 PAUL LÁSZLÓ OCCASIONAL TABLE Custom, executed 1946 13.75" x 47.75" x 13.75" Provenance:

C O MMISSI ONED FOR TH E

R E N E W IL L IAMS R E S IDENC E, 606 NORTH B E V E R LY D R IV E , LO S ANG ELES, C ALI FOR NI A

$5,000-7,000

229


418 PAUL LÁSZLÓ CLUB CHAIRS (2) Custom, executed 1946 Each: 28" x 42" x 38" Provenance:

COMMISSIONED FOR T HE

RENE WILLIA MS RESIDENCE, 60 6 N ORT H BEV ERLY DRI VE, LOS A NGELES, C A L I FOR N I A

$6,000-9,000


419 PAUL LÁSZLÓ DINING SUITE (7) Custom, executed 1946 Comprised of a table and six chairs Chairs each: 32.5" x 24" x 20"; Table: 30" x 72" x 42" Provenance:

C O MMI SSI ONED FOR TH E

R E N E W IL L IAMS R E S I DENCE, 606 NORTH B E V E R LY D R IV E , LO S ANG ELES, C ALI FOR NI A

$6,000-8,000

231


420 PAUL LÁSZLÓ TABLE LAMPS (2) Royal Copenhagen, designed c. 1946 Together with shades by Maria Kipp Each: 27" including shade Provenance:

COMMI SSIONED FOR T HE

RENE WILLIA MS RESIDENCE, 60 6 N ORT H BEV ERLY DRI VE, LOS A NGELES, C A L I FOR N I A

$1,800-2,500

421 PAUL LÁSZLÓ TABLE LAMPS (2) Royal Copenhagen, designed c. 1946 Together with shades by Maria Kipp Each: 36" including shade Provenance:

COMMI SSIONED FOR T HE

RENE WILLIA MS RESIDENCE, 60 6 N ORT H BEV ERLY DRI VE, LOS A NGELES, C A L I FOR N I A

$2,500-3,500


422 PAUL LÁSZLÓ TABLE LAMP Royal Copenhagen, designed c. 1946 20" to top of finial Provenance:

C O MMISSI ONED FOR TH E

R E N E W IL L IAMS R E S I DENCE, 606 NORTH B E V E R LY D R IV E , LO S ANG ELES, C ALI FOR NI A

$1,800-2,500

233

423 PAUL LÁSZLÓ GAME TABLE AND CHAIRS (5) Custom, executed 1946 Chairs each: 31.5" x 24" x 20"; Table: 28.5" x 32" x 32" Provenance:

C O MMISSI ONED FOR TH E

R E N E W IL L IAMS R E S I DENCE, 606 NORTH B E V E R LY D R IV E , LO S ANG ELES, C ALI FOR NI A

$3,000-5,000


424 GEORGE NELSON SWAG LEG CHAIR Model no. DAA Herman Miller, designed 1954 Retains Herman Miller label 31.25" x 28" x 25" Literature:

EI SENBRA ND, JOCH E N , G EOR G E

NEL S O N: A RCH ITECT, WRITER , DE SI G N E R , T EACHER , W EI L A M RH EIN: VITRA DE SI G N MUS EUM , 20 0 8, P 249.

$1,500-2,000

425 GEORGE NELSON COUCH AND CHAIR (2) Model nos. 5681 (chair) and 5682 (couch) Herman Miller, designed c. 1955 Couch: 28" x 81" x 29"; Chair: 28" x 32" x 29" $2,500-3,500

426 GEORGE NELSON CHEST WITH VANITY AND STOOL (2) Model nos. 4600 and 4661 Herman Miller, designed 1948 Vanity/chest: 29.75" x 98" x 20"; Stool: 16.5" x 22" x 15.5" Literature:

NEL SON, GEORGE, HE R M A N

MIL L ER COLLECTION, ZEEL A ND: HE R M A N MIL L ER , 1 949, PP 12, 31.

$2,000-3,000


427 GEORGE NELSON BALL CLOCK Model no. 4755B Howard Miller Clock Company, designed 1949 Retains original wind-up key; model number stamped verso 13.75" diameter $500-700

428 GEORGE NELSON CABINET Model no. 4937-A Herman Miller, designed 1946 40" x 56.25" x 20" Literature:

TH E H E RM AN M I LLER C OL-

L EC TIO N, MAN UFAC TUR ER 'S CATALOG U E, 19 48 , P 19.

$1,500-2,000

429 CHARLES & RAY EAMES SEGMENTED BASE TABLE Herman Miller, designed 1964 Retains label and branded “ET145” 28.5" x 83.25" x 41.25" Literature:

N E UH ART, JOH N & M AR I LYN,

E AME S D E S IGN : TH E WOR K OF TH E OFFI CE O F C H AR L E S AN D R AY EAM ES, NEW YOR K : AB R AMS, 19 8 9, P 2 93 .

$2,000-3,000

235


430 GEORGE NELSON BASKET OVAL WALL CLOCK Model no. 2216 Howard Miller Clock Company, designed 1952 Retains Howard Miller label verso 13" x 11" x 3" Literature:

EISENBRA ND, JOCH E N ,

G EO RG E NEL SON: A RCH ITECT, WR I T E R , DES IG NER , TEACH ER , W EI L A M RH E I N : VI T R A D ES IG N MU SEU M, 20 0 8, P 289.

$400-600

431 CHARLES & RAY EAMES SIX PANEL SHORT SCREEN Model no. 34 FSW 6 Herman Miller, designed 1946 34.25" x 60" Literature:

TH E H ERMA N MILLER C OL-

L ECT IO N, MA NU FACTU RER'S CATA LOG U E , 19 4 8 , P 1 0 8.

$4,000-6,000

432 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model nos. 670 (chair), 671 (ottoman) Herman Miller, designed 1956; this example executed before 1990 Each retains Herman Miller label Chair: 31" x 33.5" x 36"; Ottoman: 16.25" x 25.25" x 21" Provenance:

JU LIU S SH U LMA N, LOS A N-

G ELES, CA LI FORNI A ; TH ENCE BY DE SC E N T

Literature:

NEU H A RT, JOH N & M A R I LYN ,

EAMES D ESIGN: TH E WORK OF THE OF F I C E O F CHARLES A ND RAY EA MES, NE W YOR K : ABRAM S, 1989, P 20 7.

$3,000-5,000


433 CHARLES & RAY EAMES TEN PANEL SCREEN Model no. FSW 10 Herman Miller, designed 1946 Retains label "Carroll Sagar & Associates, 8833 Beverly Blvd" 68" x 100" This screen was used as a fixture in the Carroll Sagar showroomas well as the Jules Seltzer Showroom, the first showroom in Los Angeles to sell Herman Miller furnishings. Literature:

TH E H E RM AN M I LLER COL-

L EC TIO N, MAN UFAC TU R ER 'S C ATALOG U E, 19 48 , P 10 8 .

$6,000-8,000

237

434 CHARLES & RAY EAMES DINING CHAIRS (4) Model no. DCM Herman Miller, designed 1947 Each chair retains Herman Miller medallion Each: 29.5" x 19" x 20.5" $2,000-3,000


435 JOHN BALDESSARI THREE MOMENTS 1996 Printed photograph with unique handpainted additions on paper in two parts laid to artist’s board Unique 1 of approximately 14 Artist’s proofs with unique hand-painted additions gifted to recipients of the CalArts Trustees’ Awards Image/sheet (irreg.): 35.625" x 23.75"; Frame: 36.125" x 24.125" Literature:

H U ROWITZ, SH A RON C OP L A N ,

JO HN BALDESSA RI : A CATA LOGU E R A IS O NNÉ O F PRINTS A ND MU LTI PLE S, 1 9 7 1 2007, MANCH ESTER : H U DSON H IL L S P R E SS, 2009, #10 7.

$6,000-9,000

436 JOHN BALDESSARI MAN, DOG (BLUE), CANOE/SHARK FINS (ONE YELLOW), CAPSIZED BOAT 2002 5-color lithograph on torn, textured, Somerset paper #47 of 60 Published and printed by Cirrus Editions, Los Angeles Signed and dated in pencil lower right margin beneath image Image: 24" x 32.5"; Sheet: 29.5" x 37"; Frame: 31.25" x 39" Literature:

H U ROWITZ, SH A RON C OP L A N ,

JO HN BALDESSA RI : A CATA LOGU E R A IS O NNÉ O F PRINTS A ND MU LTI PLE S, 1 9 7 1 2007, MANCH ESTER : H U DSON H IL L S P R E SS, 2009, #129.

$4,000-6,000


437 JOHN BALDESSARI BRAIN/CLOUD (WITH SEASCAPE AND PALM TREE) 2009 Inkjet on Hahnemühle photo rag 308 gsm paper using archival inks #44 of 145 Published by Counter Editions, London Signed on numbered and dated certificate on frame verso Image/sheet: 29" x 23"; Frame: 33.75" x 27.75" $3,000-5,000

438 JOHN BALDESSARI TWO HANDS (WITH DISTANT FIGURE) 1989-90 Sugarlift, spit-bite, aquatint, and photogravure on Somerset 410 paper #36 of 45 Published by Brooke Alexander Editions, New York; printed by Branstead Studio, New York and Iris Editions, New York Signed in pencil lower right; Branstead Studio blind stamp lower right; edition lower left Overall sheet: 50.5" x 32.625"; Frame: 58.75" x 41" Literature:

H UR OW I TZ, SH AR ON C OP L AN,

J O H N B AL D E SSAR I: A CATALOG U E R AIS O N N É O F P R IN TS AND M U LTI P LES, 1 971 2 0 0 7, MAN C H E STE R : H U DSON H I LL S P R ESS, 2 0 0 9, # 45 .

$4,000-6,000

239


439 KORI NEWKIRK NAPPY DAYS (7) 1998-99 Book pages, hair, mixed media Each retains Rosamund Felsen Gallery label verso Image/sheet (vis.) each: 8.5" x 6"; Frame each: 9.5" x 7" Provenance:

ROSA MU ND FEL SEN G A L-

LERY, SANTA MONICA , CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Exhibited:

ROSA MU ND FEL SEN G A L L E RY,

SANTA MONI CA , 1999; “ H A IRSTOR I E S,” T RAV ELIN G EXH I BI TION, CL A RK AT L A N TA UN IV ERS IT Y A RT GA LLERY, ATL A N TA , JA N U ARY 3 0 -APRIL 4, 20 0 4; CH ICAGO C U LT U R A L CENT ER , CH I CAGO, MAY 1-JU LY 4, 2 004

Literature:

CU RRY-EVA NS, KI M, SU SA N

KRAN E, D R NEA L A LESTER , CH A R L E S H NEL S O N, JR , KEVIN POWELL , A ND PA M E L A S N EED, HA IRSTORI ES, EXH IBI TION C ATALO G UE, S COT TSDA LE: SCOT TSDA L E M U S EUM O F CONTEMPORA RY A RT, 2003, P 6 0.

$3,000-5,000


DAVE MULLER Wry, idiosyncratic, and slyly philosophical, Los Angelesbased artist Dave Muller (b. 1964) is best known for acrylic-and-ink works on paper that explore the transformative nature of our experience of art and artists. Born in San Francisco, he earned a B.A. in chemistry and art at the University of California at Davis, and an M.F.A. from the California Institute of the Arts in Valencia. Muller is fascinated by the graphic ephemera associated with both high and popular culture: art gallery announcements, invitations, promotional posters, vinyl LP album covers, book jackets, and newspaper comic strips. In 1994, Muller began painting stylized watercolor announcements for gallery exhibitions of fellow L.A. artists, as well as posters for “Three Day Weekends”: art happenings he hosted regularly, until 2000, in neighborhood venues. Muller later extended the gallery announcement concept to re-imagined exhibitions by canonical artists. In 1999 he produced a group of promotional pieces for a Jackson Pollock retrospective; in 2000, a set of mock posters for a show of Andy Warhol’s Oxidation paintings.

The present lot, I Couldn’t Find a Single Pedestal Chair at the Künstlerhaus Bethanien, marks an important step in the broadening of Muller’s milieu beyond California. Muller created the work shortly after his art was first shown internationally, at the Künstlerhaus Bethanien in Berlin. The source material is a late 1950s marketing placard by Swiss graphic designer Herbert Matter for the furniture maker Knoll, Inc. Next to Matter’s slab-serif “K” logo, Muller inserts a small “B” for Bethanien. Through this gesture, the poster has come out of the confines of the showroom and has entered the art world at large. Muller's work can be found in the collections of numerous museums, including the Guggenheim Museum, the Museum of Modern Art, the Hammer Museum, and the San Francisco Museum of Modern Art. “Dave Muller: Connections.” The Hammer Museum. University of California at Los Angeles, 6 Oct. 2002. Web. 27 Aug. 2014. “Dave Muller: Biography.” Collection Online. Guggenheim Museum, New York, n.d. Web. 27 Aug. 2014. “2004 Biennial.” The Whitney Museum of American Art. New York, 2004. Web. Myers, Julian. “Dave Muller.” Frieze Magazine. N.p., Mar. 2005. Web. 27 Aug. 2014. Godfrey, Mark. “Dave Muller.” Frieze Magazine. N.p., Mar. 2001. Web. 27 Aug. 2014. “Herbert Matter.” The Collection. Museum of Modern Art, New York, n.d. Web. 27 Aug. 2014.

440 DAVE MULLER I COULDN’T FIND A SINGLE PEDESTAL CHAIR AT THE KÜNSTLERHAUS BETHANIEN 1996 Pencil and acrylic on paper Image/sheet: 40" x 28"; Frame: 44" x 32" Provenance:

P R IVAT E C OLLECTI ON,

UN ITE D STATE S ( AC Q U I R ED DI R ECTLY FR OM TH E ARTIST, 19 9 6 )

Exhibited:

“ STR E AM OF C ONSCI OU SNESS:

8 LO S AN GE L E S ARTISTS, ” U NI VER SI T Y ART MUS E UM, UC SAN TA B AR B AR A , SEP TEM BER 8 -N OV E MB E R 10, 19 9 6; “DAVE M U LLER : C O N N EC TIO N S, ” TR AV ELI NG EX H I BITIO N , C E N TE R FO R C U R ATOR I AL STU DI ES MUS E UM, B AR D C O L LEG E, ANNANDALE- ONH UD S O N , J UN E 2 3 - S E P TEM B ER 8, 2002; H AMME R MUS E UM, LOS ANG ELES, OC TOBER 6 , 2 0 0 2-JAN UARY 5 , 2003

Illustrated:

C R UZ , AM ANDA , AND M AT-

TH E W H IGGS, DAV E M U LLER : CONNECTI ONS, E X H IB ITIO N C ATALO G U E, ANNANDALE- ONH UD S O N : C E N TE R FO R CU R ATOR I AL STU D IE S, 2 0 0 2 , P P 13 , 3 1, #8.

$8,000-12,000

241


441 LLYN FOULKES DAVID 1985 Oil on paper with collage Bears the inscription “Llyn Foulkes/1985/David” verso; retains LA Louver Gallery, Kent Fine Art, and Andrea Rosen Gallery labels verso LAMA would like to thank the artist for his assistance in cataloguing this work Image/sheet: 8.875" x 7.5"; Frame: 14.125" x 12.75" Provenance:

L A LOU VER , VENIC E , C A L I-

FO RNIA; PRIVATE COLLECTI ON, LOS A NG EL ES, CA LIFORNI A (ACQ U I RED DI R EC T LY FRO M T HE A BOVE)

$10,000-15,000


ALTERNATE VIEW

243

442 GREGORY GREEN BIBLEBOMB #18 2000 Bible with lead pipes, 9 volt battery, electrical wire, nails, stick pins, glue, and board 13.25" x 11" x 3.75" $3,000-5,000

443 NICOLE EISENMAN UNTITLED c. 1995 Ink and watercolor on paper Image/sheet: 19" x 24"; Frame: 21.5" x 26.5" $1,000-1,500


444 MONIQUE PRIETO REFLECTION 2003 Oil on canvas Retains ACME Gallery label verso Canvas: 84" x 72" Provenance:

PRIVATE COLLECTI ON , LOS

AN G ELES, CA LIFORNI A (ACQ U I RED DI R EC TLY FRO M ACME GA LLERY, LOS A NG E L E S, CAL IFO RNIA , 20 03)

$8,000-12,000


445 MONIQUE PRIETO MADE TO FORGET 2007 Oil on canvas Signed and dated lower right; retains ACME Gallery label verso Canvas: 60" x 48" Provenance:

P R IVATE C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A ( AC Q U I R ED DI R EC TLY F R O M AC ME GAL L E RY, LOS ANG ELES, C AL IFO R N IA , 2 0 0 7 )

$6,000-8,000

245


446 ROBERT RAUSCHENBERG ROMANCES (MYTH) (ROMANCES SERIES) 1977 4-color lithograph on Barcham Green De Wint paper #9 of 39 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right; blind stamps lower left Gemini G.E.L. #41.110 Image/sheet: 23" x 31.5"; Frame: 31.875" x 40.5" $3,000-5,000

447 ROBERT RAUSCHENBERG ROMANCES (ELYSIAN) (ROMANCES SERIES) 1977 4-color lithograph on Arches Cover buff paper #5 of 38 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right; blind stamps lower left Gemini G.E.L. #41.112 Image/sheet: 39" x 29.75"; Frame: 48" x 38" $2,500-3,500

448 ROBERT RAUSCHENBERG HOLLYWOOD SPHINX (ILLEGAL TENDER L.A. SERIES) 1991 2-color lithograph on Koller handmade granite gray paper #1 of 1 RTP aside from the edition of 58 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right; Gemini G.E.L. and artist’s blind stamps lower right sheet Gemini G.E.L. #41.195 Image/sheet: 40" x 30"; Frame: 45.5" x 35.5" $3,500-4,500 LOT 447

LOT 448


449 ROBERT RAUSCHENBERG EARTH DAY 1990 1990 Offset color lithograph on paper From the edition of 650 (aside from the signed and numbered screenprint edition of 75) Published and printed by Gemini G.E.L., Los Angeles Signature in pencil lower right; signature in plate lower right Image/sheet: 60" x 40"; Frame: 67.75" x 47.75" $3,000-5,000

450 ROBERT RAUSCHENBERG MARMONT FLAIR (ILLEGAL TENDER L.A. SERIES) 1991 4-color lithograph on Koller handmade off-white paper #1 of 1 RTP aside from the edition of 59 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right; Gemini G.E.L. and artist’s blind stamps lower right Gemini G.E.L. #41.198 Image/sheet: 31" x 41"; Frame: 35.25" x 45.25" $2,500-3,500

451 ROBERT RAUSCHENBERG COMPOSITION (MAN RAY PORTFOLIO) 1975 Offset color lithograph and screenprint collage with packing tape on cardboard #95 of 100 Signed and dated with edition in pencil lower center Image/sheet: 19.5" x 13.5"; Frame: 28.5" x 21.375" $1,200-1,500

24 7


452 JIM DINE PICABIA I (CHEER), II (FORGOT), AND III (GROANS) (3) 1971 Lithograph and collage on Hodgkinson Mouldmade paper #28 of 75 Published by Petersburg Press, London; printed by Ernie Donagh, Petersburg Press, London Each signed, dated, and numbered lower center Image/sheet each: 53.5" x 37"; Frame each: 58.25" x 41" Literature:

JI M DI NE, PRINTS: 197 0 -

1 9 7 7, EXHIBI TION CATA LOGU E, NE W YOR K : HARPER & ROW, 1997, # 43 - 45.

$6,000-9,000


453 JAMES ROSENQUIST WHERE THE WATER GOES 1989 26-color pressed paper pulp work with lithography collage elements adhered, printed on white Rives BFK paper (adhered elements) and handmade white TGL paper (hand-colored with dyed pulp) #27 of 32 Published and printed by Tyler Graphics Ltd., Mount Kisco Signature and blind stamp lower right; edition lower left Image/sheet: 102.75" x 58"; Frame: 105.5" x 61.25" Literature:

GL E N N , CONSTANCE, TI M E

D UST: JAME S R O S E N Q U I ST C OM P LETE GR AP H IC S : 19 6 2-19 9 2, NEW YOR K : R I ZZOLI , 19 93 , # 2 15 .

$7,000-9,000

249


454 ROBERT LONGO RICK

455 ROBERT LONGO RAPHAEL

1994 Lithograph on Arches Cover paper #109 of 170 Published by Greenpeace, New York Signed and dated in pencil lower right; edition lower left Image/sheet: 45" x 30"; Frame: 51.75" x 35.75"

1998 Lithograph on Rives BFK paper #119 of 120 Published by Wolfryd-Selway Fine Art, New York; printed by Derrière L’Étoile, New York Signed and dated in pencil lower right; edition lower left Image/sheet: 46" x 30"; Frame: 51.75" x 35.75"

$5,000-7,000

$5,000-7,000


456 JONATHAN BOROFSKY MALE/FEMALE 2000 5-color lithograph and screenprint on Lana 640 gram paper #24 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed in pencil lower center; edition lower left; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #7.91 Together with copy of invoice from Gemini G.E.L. at Joni Moisant Weyl Image: 54" x 35"; Sheet: 63" x 43"; Frame: 66" x 46" Provenance:

P R IVAT E C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A ( AC Q U I R ED DI R EC TLY F R O M GE MIN I GE L AT JONI M OI SANT W E Y L , N E W YO R K , N EW YOR K , 2000)

$1,500-2,000

457 JONATHAN BOROFSKY PICASSO DREAM FRACTURED 1991 5-panel, 3-color lithograph and screenprint on Arches Cover buff paper #29 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil Gemini G.E.L. #7.57 Overall dimensions for the framed work in its most compact configuration: 53.625" x 38.875" $1,500-2,000

251


458 VICTOR PASMORE POINTS OF CONTACT NO. 8 1966 Screenprint and mixed media collage on paper #62 of 70 Initialed and dated in ink lower right; edition in pencil lower left Image/sheet: 31.5" x 30"; Frame: 33.25" x 31.25" $1,000-1,500

459 ROBERT MANGOLD ONE COLUMN & CURVED PLANE (2) 1995-2005 Color screenprint on paper #82 of 100 and #8 of 60 Each signed in pencil lower right with edition A: Sheet: 20" x 16"; Frame: 25.125" x 21.125"; B: Sheet: 20.375" x 16.875"; Frame: 25.875" x 22.125" $2,500-3,500

460 ROBERT MANGOLD TWO COLUMNS B 2004 Color etching and relief on Mulberry paper mounted onto Arches cover white paper #18 of 30 Published by Pace Editions, New York Signed in pencil lower right; edition lower left; inscribed “B.” lower center Image: 40" x 29.25"; Sheet: 43" x 31.75"; Frame: 48.25" x 37" $3,000-5,000


253 461 BENJAMIN MOORE GLASS VASE Studio, executed 1997 Etched “Benjamin Moore © 1997” 6.5" x 25" diameter $3,000-5,000

462 BRIAN HIRST VOTIVE BOWL Studio, executed 1993 Etched signature, titled, and dated “1993/3” 11.5" x 14" diameter $5,000-7,000


463 FELIM EGAN WOOD NOTE (V) 2000 Mixed media on wood panel Signed and dated in pencil verso Together with original invoice Panel: 19" x 19" Provenance:

ROBERT BROWN GAL L E RY,

WAS HING TON, DC; PRI VATE COLLEC T I ON , WAS HING TON, DC (ACQ U I RED DIR EC T LY FRO M T HE A BOVE, 20 0 0); TH ENC E BY D ES CEN T

$800-1,200

464 CARTER POTTER LITTLE RED LEADER (SHINY) 1995 16mm film over wood stretcher Signed, titled, and dated verso Canvas: 12" x 12" Provenance:

PRIVATE COLLECTI ON ,

WAS HING TON, DC; TH ENCE BY DE SC E N T

$2,500-3,500

465 JOEL SHAPIRO UNTITLED 1985 Pastel on paper Retains McIntosh/Drysdale label verso Together with original invoice Image/sheet: 15.125" x 11.625"; Frame: 23" x 19" Provenance:

MCINTOSH /DRYSDA L E

G ALLERY, WASH I NGTON, DC; PRI VAT E C OLLECT IO N , WASH INGTON, DC (ACQ U I R E D DIRECT LY FROM TH E A BOVE, 1988); T HE N C E BY D ES CENT

$5,000-7,000


466 JOHN WALKER THE RED CENTER 1984 Oil and wax on canvas Signed, titled, and dated verso Canvas: 84" x 67"; Frame: 87" x 69" Provenance:

P R O P E RT Y FR OM A SANTA

B AR B AR A C O L L EC TIO N

$10,000-15,000

255


ANTON HENNING To review Anton Henning’s (b. 1964) body of work to date is like flipping through a modern art history reference book or walking through the contemporary wing of a museum. With a penchant for pastiche, Henning’s hand at times resembles the cubism of Pablo Picasso, the wry humor of Marcel Duchamp, or the phantasmagoria of the Surrealists. The artist explains: “I don’t like being pinned down. […] I challenge myself to contradict myself.” Using art history as source material, the artist moves swiftly and deftly between genres with no prescribed order. He reinterprets artworks and artists that have come before him, and in the process prompts questions regarding style, art history, and the role of the artist as a creative force. The feeble paint drippings, pasted photo clippings, and fabric

467 ANTON HENNING ICON IN BED 1989 Oil, cloth, and fabric on canvas Signed with artist’s initials and dated lower right Canvas: 71" x 63"; Frame: 76" x 67.5" Literature:

H A NSON, A L A N J, A N TON HE N-

N ING : NEU E A RBEITEN 1990, EXH I B I T I ON CATALO G U E, FRA NKFU RT/MA I N: G A L E R I E HILG ER , # 15 FOR SI MI L A R EXA MP L E .

$5,000-7,000

strips in Henning’s Icon in Bed (1989) have the unmistakable appearance of a Robert Rauschenberg collage. The title refers to one of Rauschenberg’s most iconic works, Bed (1955), in which Rauschenberg splattered paint on his own bed and hung it up as a work of art. Covered in large blocks of gray, Henning's Portrait of a Mother (1988) alludes to Rauschenberg’s lover, friend, and collaborator, Jasper Johns, who was famous for his prolific use of the dark shade. The nonsensical, mismatched title is typical of Henning—a cue to the viewer to look and think again. Unfettered by categorization, Henning repeats and remixes art history so that we may re-experience it, and, perhaps, reconsider entrenched meanings. Anton Henning: Stillfragen/Questions of Style. Berlin: ARNDT, 2011. Web. 25 Aug. 2014. Bader, Joerg. Little Henning Reader, A-Z. Düsseldorf: Richter Verlag, 2008. Web. 22 Aug. 2014.


257 468 ANTON HENNING PORTRAIT OF A MOTHER 1988 Oil, cloth, and fabric on canvas Retains Galerie Hilger label verso Canvas: 63" x 69"; Frame: 67.25" x 75.25" Literature:

H AN S O N, AL AN J, ANTON H EN-

N IN G: N E UE AR B E ITE N 1 990, EX H I B I TI ON C ATALO GUE , F R AN K F URT/M AI N: G ALER I E H ILGE R , N P FO R S IMIL AR EXAM P LES.

$5,000-7,000


469 JOEL-PETER WITKIN THE GRACES 1988 Gelatin silver print #8 of 15 Signed, titled, dated, and inscribed with edition in pencil “Joel-Peter Witkin/(c) ‘The Graces’/Los Angeles 1988/8/15” verso; bears the inscription in pencil “JW.183.3” verso Image: 14.625" x 14.5"; Sheet: 19.875" x 15.75" Provenance:

PACE/MACGILL GA L L E RY,

N EW YO RK , NEW YORK; PRIVAT E COLLECTI ON, SA NTA FE, N E W M EX ICO ( ACQ U IRED DIRECTLY FR OM T HE ABOV E, 1 9 88)

Literature:

JOEL-PETER W I TKI N, M I L A N :

PHOTO LO GY, 20 0 7, NP.

$6,000-9,000

470 JOEL-PETER WITKIN UN SANTO OBSCURO 1987 Toned gelatin silver print Artist’s proof #3 aside from the edition of 15 Signed in pencil “Joel-Peter Witkin/ Un Santo Obscuro/Los Angeles 1987/ AP-3” verso Image: 14.75" x 15"; Sheet: 19.75" x 15.875"; Mat: 20.25" x 20" Provenance:

PACE/MACGILL GA L L E RY,

N EW YO RK , NEW YORK; PRIVAT E COLLECTI ON, SA NTA FE, N E W M EX ICO ( ACQ U IRED DIRECTLY FR OM T HE ABOV E, 1 9 88)

Literature:

PA RRY, EU GENI A , JOE L- P E T E R

WIT KIN, LONDON: PH A I DON, 20 0 1, P P 6 8 - 9 ; JO EL- PET ER W I TKI N, PA RI S: DELP I R E , 2 01 2 , P 2 07.

$5,000-7,000

471 JOEL-PETER WITKIN THE SINS OF JOAN MIRÓ 1981 Toned gelatin silver print #8 of 15 Signed in pencil “Joel-Peter Witkin/The Sins of Joan Miro/NM 1981/8/15” verso Image: 14.5" x 14.75"; Sheet: 19.75" x 16"; Mat: 20.25" x 20" Provenance:

PACE/MACGILL GA L L E RY,

N EW YO RK , NEW YORK; PRIVAT E COLLECTI ON, SA NTA FE, N E W M EX ICO ( ACQ U IRED DIRECTLY FR OM T HE ABOV E, 1 9 88)

$5,000-7,000


472 ERWIN OLAF CHESSMEN X 1988 Gelatin silver print #1 of 15 Signed and dated in ink verso; inscribed “Chessmen X" with edition verso Image: 14.625" x 14.625"; Sheet: 16.875" x 15.625" Provenance:

P R IVATE C OLLECTI ON, SANTA

F E , N E W ME X IC O ( AC Q U I R ED DI R ECTLY F R O M TH E ARTIST, 1988)

$3,000-5,000

473 ERWIN OLAF CHESSMEN XXIV 1988 Gelatin silver print #3 of 15 Signed and dated in ink verso; inscribed “Chessmen XXIV” with edition verso Image: 14.75" x 14.75"; Sheet: 16.875" x 15.625" Provenance:

P R IVATE C OLLECTI ON, SANTA

F E , N E W ME X IC O ( AC Q U I R ED DI R ECTLY F R O M TH E ARTIST, 1988)

$3,000-5,000

474 ERWIN OLAF CHESSMEN XII 1988 Gelatin silver print #1 of 15 Signed and dated in ink verso; inscribed “Chessmen XII” with edition verso Image: 14.75" x 14.75"; Sheet: 16.875" x 15.625" Provenance:

P R IVATE C OLLECTI ON, SANTA

F E , N E W ME X IC O ( AC Q U I R ED DI R ECTLY F R O M TH E ARTIST, 1988)

$3,000-5,000

259


475 ROBERT GRAHAM MOCA TORSO 1992-94 Patinated bronze From the edition of 3500 Published by MOCA Editions Bears the inscription “Juan" 11" x 4.5" diameter at base $2,500-3,500

476 ROBERT GRAHAM UNTITLED c. 2002 Patinated bronze in two parts Incised artist’s initials and inscribed “For/Dana/R.G.” verso 2.25" x 4" x 3.5" (as illustrated) Provenance:

PRIVATE COLLECTI ON , C A R-

PIN T ERIA , CA LIFORNI A (GI FTED DI R EC T LY BY T HE ARTI ST )

$4,000-6,000


477 MARILYN MINTER DOLLFACE 2006 Chromogenic color print #7 of 8 Retains Salon 94 Gallery label Signed by the artist with edition verso Image/sheet (vis.): 14.25" x 19.25"; Frame: 21.5" x 26" Provenance:

P R IVATE C OLLECTI ON, SANTA

F E , N E W ME X IC O ( AC Q U I R ED DI R ECTLY F R O M “ S ITE SAN TA F E P R ESENTS AU CTI ON S ITE 2 0 0 6 , " SAN TA F E , NEW M EX I C O, 2006 )

$6,000-8,000

261

478 GAVIN BOND GISELE (PLATINUM COLLECTION SERIES) 2012 Digital C-print #1 of 1 Signed in ink with edition on label accompanying the work Together with two mailers from Guy Hepner and accompanying label signed by the artist Image/sheet: 60.5" x 40.5" Provenance:

GUY H E P NER , WEST H OLLY-

WO O D, C AL IFO R N IA; P R I VATE C OLLECTI ON, SAN TA MO N IC A , C AL IFOR NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE) ; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$10,000-15,000


479 MARTIN SCHOELLER LANCE ARMSTRONG 2001 Chromogenic color print #2 of 3 Image: 50" x 40"; Sheet (vis.): 60" x 48.5"; Frame: 61.5" x 50" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON

Literature:

REMNI CK , DAVID, MART I N

S CHO ELLER CLOSE U P : PORTRA ITS 1 9 9 8 2 005, KEMPEN: TENEU ES, 20 05, N P.

$4,000-6,000

480 MARTIN SCHOELLER MAX ROACH 1999 Chromogenic color print #1 of 3 Image: 50" x 40"; Sheet (vis.): 60" x 48.5"; Frame: 61.5" x 50" Provenance:

PROPERT Y FROM A SA N TA

BARBARA COLLECTI ON

Literature:

REMNI CK , DAVID, MART I N

S CHO ELLER CLOSE U P : PORTRA ITS 1 9 9 8 2 005, KEMPEN: TENEU ES, 20 05, N P.

$4,000-6,000


481 EDWARD S. CURTIS LUMMI TYPE 1899 Photogravure on Van Gelder paper John Andrew & Son Printed “Lummi Type” lower left beneath image; “From copyright photograph 1899 by E.J. Curtis” lower center beneath image; “photogravure by John Andrew & Son” lower right beneath image; printed “Plate 320” upper left sheet Image: 14.5" x 10.25"; Sheet (vis.): 21.375" x 17"; Frame: 22.75" x 18.25" Literature:

DAV IS, B AR B A R A , EDWAR D S

C URTIS : TH E L IF E AN D TIMES OF A SH ADOW C ATC H E R , SAN F R AN C IS C O : C H R ONI CLE BOOKS, 19 85 , P 15 1; C AR D OZO, C H R I STOP H ER , NATI VE N ATIO N S : F IR ST AME R IC ANS AS SEEN BY E DWAR D S C URTIS, N E W YOR K : CALL AWAY EDITIO N S, 19 93 , P 111.

$4,000-6,000

482 EDWARD S. CURTIS MOSQUITO HAWK-ASSINIBOIN 1908 Photogravure on Van Gelder paper John Andrew & Son Printed “Mosquito Hawk-Assiniboin” lower left beneath image; “From copyright photograph 1908 by E.J. Curtis” lower center beneath image; “photogravure by John Andrew & Son” lower right beneath image; printed “Plate 102” upper left sheet Image: 15.5" x 10.25"; Sheet (vis.): 21.375" x 17"; Frame: 22.75" x 18.25" Literature:

DAV IS, B AR B A R A , EDWAR D S

C URTIS : TH E L IF E AN D TIMES OF A SH ADOW C ATC H E R , SAN F R AN C IS C O : CH R ONI CLE BOOKS, 19 85 , P 10 9 ; C AR D OZO, C H R I STOP H ER , NATIV E N ATIO N S : F IR ST AMER I CANS AS SEEN BY E DWAR D S C URTIS, N E W YOR K : CALL AWAY EDITIO N S, 19 93 , P 119.

$4,000-6,000

483 EDWARD S. CURTIS A SON OF THE DESERT-NAVAHO 1904 Photogravure on Van Gelder paper John Andrew & Son Printed “A Son of the Desert-Navaho” lower left beneath image; “From copyright photograph 1904 by E.J. Curtis” lower center beneath image; “photogravure by John Andrew & Son” lower right beneath image; printed “Plate 32” upper left sheet Image: 15.5" x 11.625"; Sheet (vis.): 21.25" x 17.125"; Frame: 20.5" x 18.25" Literature:

C AR D OZO, C H R I STOP H ER , NA-

TIV E N ATIO N S : F IR ST AMER I CANS AS SEEN BY E DWAR D S C URTIS, N E W YOR K : CALL AWAY EDITIO N S, 19 93 , P 95 .

$4,000-6,000

263


484 IMOGEN CUNNINGHAM BEN BUTLER 1910 Gelatin silver print Together with letter from the Imogen Cunningham Trust Image/sheet (vis.): 6.25" x 4.5"; Frame: 23" x 18.75" Literature:

LOT 485

LORENZ, RI CH A RD, IM OG E N C U N-

NIN G HAM: PORTRA ITU RE, BOSTO N : B U L F I N C H PRESS, 2 00 1, PL ATE 13; LORENZ, R I C HA R D, IM O G EN CU NNI NGH A M: ON TH E BODY, B OSTON : BUL FINCH PRESS, 20 0 1, PL ATE 6.

$3,000-5,000

485 ANDRÉ KERTÉSZ CHEZ MONDRIAN, PARIS 1926; this example printed later Gelatin silver print Signed, titled, and dated in pencil verso Image: 13.5" x 10.25"; Sheet: 14" x 11"; Frame: 26" x 21.375" Literature:

LOT 484

BOU RCI ER , NOËL , A N DR É K E RT É SZ,

LO N D O N : PH A IDON, 20 0 6, PP 15 -1 6 .

$8,000-12,000

486 EDWARD WESTON PORTRAIT OF DR. ELOESSER c. 1929 Gelatin silver print Signed in pencil lower right mount beneath image Image: 5" x 5"; Mount (vis.): 5.75" x 5.5"; Frame: 20.25" x 16.25" $3,000-4,000

487 EDWARD WESTON MS. HOLCOMBE

LOT 486

1931 Gelatin silver print Signed and dated in pencil lower right mat Together with note from Amy Conger Image/sheet: 9.5" x 7.5"; Frame: 18.5" x 14.5" Literature:

CONGER , A MY, EDWAR D WE STON :

PHOTO G RAPH S FROM TH E COLLEC T I ON OF T HE CENTER FOR CREATIVE PH OTOG R A P HY, 1 ST ED IT ION, TU CSON: CENTER FOR C R E AT I VE PHOTO G RAPH Y, 1992, # 663/1931.

$4,000-6,000

LOT 487


489 ANSEL ADAMS FERN SPRING, DUSK, YOSEMITE NATIONAL PARK c. 1961; this example printed later Gelatin silver print Signed in pencil lower right mount; New York Graphic Society label on mount verso Image/sheet: 12.25" x 9"; Mount: 16.5" x 13.5"; Frame: 20.25" x 16.25"

488 ANDRÉ KERTÉSZ MARTINIQUE, 1 JANUARY

490 ESTHER BUBLEY SEISMOGRAPH WORKER, TEXAS 1945

This print originally accompanied the deluxe volume Ansel Adams Images, 1923-1974, published 1974 by the New York Graphic Society.

1945 Gelatin silver print Signed and inscribed in pencil “25856/B/Esther Bubley/Texas, 1945 #51.1” verso Image: 10.25" x 13.5"; Sheet: 11" x 14"; Mount: 16" x 20"

Literature:

Provenance:

491 DIANE ARBUS COUPLE ON A PIER, N.Y.C.

B OSTON : L I T T L E , B R OW N , AN D C O MPAN Y,

SAN TA F E , N E W ME X IC O ( AC Q UIR E D D I-

T ÉSZ, LONDON: PH A I DON , 2 006 , P P 50 - 51 .

1 9 9 4 , #1 3.

R EC TLY F R O M TH E AB OV E , 19 8 9)

1963; this example printed in 1980 by Neil Selkirk Gelatin silver print #15 of 75 Retains The Estate of Diane Arbus copyright ink stamp with date verso; signed, titled, and dated by Doon Arbus with reproduction limitation stamp verso; retains Robert Miller Gallery label verso Image: 14.5" x 14.5"; Sheet: 20" x 16"; Frame: 20.25" x 16.25"

$7,000-10,000

$4,000-6,000

$1,500-2,000

$7,000-10,000

1972; this example printed later Gelatin silver print Signed, titled, and dated in pencil verso Image: 10.5" x 13.75"; Sheet: 11" x 14"; Frame: 16.625" x 20.5" Literature:

BOU RCIER , NOË L , A N DR É K E R-

ST I L L M A N , AN D R E A G, AN S E L

KATH L E E N E W IN G GAL L E RY,

A DA M S: YOSE M I T E A ND TH E H IGH S IE R R A ,

WAS H IN GTO N , D C ; P R IVATE C O L L EC TIO N ,

265 LOT 488

LOT 489

LOT 490

LOT 491


492 JENS QUISTGAARD DE-MOUNTABLE ARMCHAIR Richard Nissen, designed c. 1960s 28" x 26" x 26" $2,000-3,000

493 JENS QUISTGAARD DE-MOUNTABLE ARMCHAIRS (2) Richard Nissen, designed c. 1960s Each: 29" x 27" x 26" $8,000-12,000


267

494 ILLUM WIKKELSØ & JOHANNES AASBJERG ARMCHAIRS AND COFFEE TABLE (3) Søren Willadsen, designed c. 1963 Chairs each retain label “Furniture Vejen Denmark” Chairs: 41" x 32" x 31.5" and 31" x 31" x 31"; Table: 18" x 72" x 40" $4,000-6,000


495 YNGVE EKSTRÖM LOUNGE CHAIR AND OTTOMAN (2) Swedese, designed c. 1960 Ottoman branded “Swedese/Yngve Ekström” Chair: 39.5" x 33" x 27.5"; Ottoman: 19" x 23.5" x 17" $1,500-2,000

496 JENS QUISTGAARD DESK Lovig, Dansk, designed c. 1967 Retains branded mark “Lovig/Dansk” 34" x 63.75" x 28.75" $3,000-5,000


497 KAJ FRANCK MORNING IN ATHENS (7) Nuutajärvi-Notsjö, designed c. 1955 Four of the original packing tubes retain Arabia stickers; one packing tube retains partial “Nuutajärvi Notsjö/Made in Finland” sticker Together with the original packing tubes Each: 24.25" x 2.5" diameter $3,000-5,000

498 VILHELM LAURITZEN WALL LIGHTS (2) Louis Poulsen, designed c. 1965 Each: 8" x 15" x 8" $3,000-5,000

499 BERNDT FRIBERG VASES (4) Gustavsberg, executed 1962 and 1965 Each signed and with artist's cipher Largest: 7.5" x 3" diameter; Smallest: 1.75" x 3.5" diameter $1,000-1,500

500 CARL HARRY STÅLHANE MINIATURE BOWL WITH COVER AND VASE (2) Rörstrand, executed c. 1955 Incised manufacturer’s marks Vase: 2" x 2.5" diameter; Bowl: 1.25" x 2" diameter Provenance:

P R O P E RT Y FR OM TH E LEOP -

O L D AN D PATR IC IA H IR SC H FELDT COLLECTIO N ; TH E N C E BY D E SC ENT

$1,200-1,500

269


501 IB KOFOD-LARSEN SIDEBOARD Faarup Møbelfabrik, designed c. 1960 30" x 91" x 19.5" $3,000-5,000

502 IB KOFOD-LARSEN SIDEBOARD Faarup Møbelfabrik, designed c. 1960 30" x 91" x 19.5" $3,000-5,000


503 WILHELM KÅGE VASE

504 WILHELM KÅGE BOWL

Gustavsberg, executed c. 1955 Incised manufacturer’s marks 7.5" x 2.5" diameter

Gustavsberg, executed c. 1955 Incised manufacturer’s marks and paper label 3.5" x 4.5" diameter

Provenance:

Provenance:

505 WILHELM KÅGE VASE

OL D A N D PAT R I C I A HI R SC H F E L DT C O L L EC-

O L D AN D PATR IC IA H IR S C H F E L DT C O L L EC-

T I ON ; T HE N C E BY DE SC E N T

TIO N ; TH E N C E BY D E S C E N T

Gustavsberg, executed c. 1955 Signed “Farsta/Kåge/V” with artist's cipher 4" x 4.25" diameter

$2,500-3,500

$2,000-3,000

$1,000-1,500

P R OP E RT Y F R O M TH E L EO P -

P R O P E RT Y F R O M TH E L EO P -

271

506 DANISH MODERN DESK Manufacturer unknown, designed c. 1960 Together with wall unit (not illustrated) 29" x 57.25" x 27.5" $1,000-1,500


507 JOHN LEVEE UNTITLED 1952 Oil on canvas Signed and dated upper right Canvas: 44.5" x 22.75"; Frame: 45.75" x 24.25" $3,000-5,000

508 JOHN LEVEE UNTITLED 1953 Oil on canvas Signed and dated upper right; signed and inscribed “Levee/5 rue Daumier/ Paris XVI” verso; bears the inscription “13.” on canvas stretcher verso Canvas: 7.5" x 10.5"; Frame: 8.25" x 11.5" $1,000-1,500

509 JOHN LEVEE UNTITLED 1953 Oil on canvas Signed and dated upper right; signed and inscribed “Levee 1953/5 rue Daumier/Paris XVI” verso Canvas: 5" x 8.75"; Frame: 8.375" x 12.375" $1,000-1,500


510 RUTH ASAWA UNTITLED (S.002) 1998 Patinated cast bronze Studio Retains original hanging tag Together with invoice from Tobey C. Moss Gallery 7.75" x 8" x 9" This form was cast from woven wire, dipped in wax and then cast in bronze. Asawa first developed this unique process for the Ghirardelli Square Fountain, San Francisco, executed 1966. Provenance:

TH E ARTI ST; TOB EY C M OSS

GAL L E RY, LO S AN GE L ES, CALI FOR NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D D I R EC TLY FR OM TH E AB OV E , 2 0 0 8)

$20,000-30,000

273


511 SEIJI KUNISHIMA STONE WORK 81-1 1981 Iron, stone Together with signed and numbered copy of Seiji Kunishima 1963-2001 (#178 of 300) 8.25" x 15.75" x 8" Provenance:

SPACE GA LLERY, LOS A N G E-

LES, CAL IFORNIA ; PRI VATE COLLEC T I ON , LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A BOVE, C 1981 )

Illustrated:

SEIJI KU NISH IMA 196 3 -2 001,

VO L II, FUJ I SAWA : GA LLERY H I RAWATA , 2 001, P 4 7.

$2,000-3,000

IMAGE OF ACCOMPANYING BOOKS


512 SEIJI KUNISHIMA STONE WORK 77-1 1977 Granite Together with signed copy of Seiji Kunishima Wrapped Works: 1978-1985 6.875" x 17.375" x 9.875" Provenance:

S PAC E G ALLERY, LOS ANG E-

L E S, C AL IFO R N IA; P R I VATE COLLECTI ON, LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, C 1 97 7 )

Illustrated:

S E IJ I KUNI SH I M A 1 96 3 -2001,

VO L II, F UJ ISAWA: GALLERY H I R AWATA , 2 0 0 1, P 3 5 .

$2,000-3,000

513 SEIJI KUNISHIMA STONE WORK 79-1 1979 Granite Together with signed copy of Seiji Kunishima Wrapped Works: 1976-1982 12.625" x 11" x 12.625" Provenance:

S PAC E G ALLERY, LOS ANG E-

L E S, C AL IFO R N IA; P R I VATE COLLECTI ON, LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ABOVE, C 1 97 9)

Illustrated:

S E IJ I KUNI SH I M A , WOR KS

19 76 -19 8 2, LO S AN GE LES: SPACE, 1 983, NP ; S E IJ I KUN IS H IMA 19 6 3 -2001, VOL I I , FUJISAWA: GAL L E RY H IR AWATA , 2001 , P 4 1 .

$2,000-3,000

275


VERSO OF LOT 514

514 ISAMI ADACHI UNTITLED 1952 Double-sided oil on illustration board Signed and dated lower right Image/board: 19.25" x 26"; Frame: 24.5" x 31" Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTIST ); TH E N C E BY D ES CEN T

$1,500-2,000

515 ISAMI ADACHI UNTITLED 1960 Oil on illustration board Signed and dated lower left Image/board (vis.): 14.5" x 21.25"; Frame: 18.75" x 25.25" Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LIFORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTIST ); TH E N C E BY D ES CEN T

$1,500-2,000

516 PAUL HORIUCHI EARTH SUBSTANCE 1963 Ink and paper collage on canvas Signed and dated lower right; retains partial Zoë Dusanne Gallery label verso Canvas: 48" x 36"; Frame: 49" x 37" $2,000-3,000


517 SUEO SERISAWA QUEST FOR THE ETERNAL MOUNTAIN (IDYLLWILD SERIES)

519 LÉONARD-TSUGUHARU FOUJITA SELF-PORTRAIT WITH CAT ON SHOULDER

1983 Sumi ink on paper triptych Signed in pencil lower left and lower right; ink stamps at lower left, lower center, and lower right Image/sheet (vis.): 20" x 51"; Frame: 25.25" x 55.25"

1927 Etching on paper #4 of 150 Signed in pencil lower right; edition lower left Image: 12.75" x 9.5"; Sheet: 14.5" x 11.625"; Frame: 22.75" x 19.5"

518 KENZO OKADA UNTITLED

DE SC E N T

1964 Oil on canvas Signed and dated lower left; bears the inscription in pencil “Fisher Gallery” on canvas stretcher verso Canvas: 18" x 15"

$2,000-3,000

$4,000-6,000

Provenance:

R U T H C HA I S, C A L I FOR N I A

(GI F T E D BY T HE A RT I ST ); T HE N C E BY

Literature:

B UISS O N, SYLVI E, L A VI E ET

L’O E UV R E D E LÉO N AR D -TSU G U H AR U FOU J ITA , PAR IS : AC R , # 2 7/02.

$3,000-5,000

27 7


520 ROBERT FRAME STILL LIFE OF A WATERMELON 1960 Oil on canvas Signed lower left; retains Esther Robles Gallery label verso Canvas: 34.75" x 36.75"; Frame: 34" x 36" $3,000-5,000

521 ROBERT FRAME THE GREEN UMBRELLA c. 1960 Oil on canvas Signed lower left; signed verso; title inscribed verso Canvas: 48" x 42"; Frame: 54.25" x 48.25" $4,000-6,000

522 ROBERT FRAME EVENING GARDEN c. 1960 Oil on canvas Signed lower left; signed verso; title inscribed verso Canvas: 48" x 60"; Frame: 54" x 66" $5,000-7,000


279

523 PAUL WONNER FIGURE AND PLANTS c. 1958 Oil on canvas Signed lower right; signed and titled in pencil verso Canvas: 49.75" x 40"; Frame: 54.75" x 44.75" $5,000-7,000

524 RAIMONDS STAPRANS UNTITLED (BOAT) 1963 Oil on canvas Signed and dated lower right Canvas: 22" x 25"; Frame: 24" x 31" $8,000-12,000


525 ATTRIBUTED TO KARL SPRINGER COFFEE TABLE Manufacturer unknown, designed c. 1975 17.25" x 54" x 32" $2,000-3,000

526 PIERRE PAULIN BUTTERFLY CHAIR Model no. 675 Artifort, designed 1966 26" x 31.5" x 29" Literature:

H A BEGGER , JERRY LL , A N D J O -

S EPH H O SMA N, SOU RCEBOOK OF M ODE R N FURNIT UR E, NEW YORK: NORTON, 1 9 9 7, P 42 6.

$800-1,200


527 ISAMU NOGUCHI FLOOR LAMPS (2) Akari, designed 1950-85 Each: 64" high Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 19 6 0 TO P R ESENT, VOL I I , C O LO GN E : TAS C H E N , 2005, P P 54 2- 54 5.

$2,000-3,000

281

528 LE CORBUSIER , PIERRE JEANNERET & CHARLOTTE PERRIAND CHAISE LOUNGE Model no. LC4 Cassina, designed 1928; this example manufactured 2008 34" x 21" x 63" $1,500-2,000


529 ACHILLE & PIER GIACOMO CASTIGLIONI ARCO FLOOR LAMP Flos, designed 1962 Retains Flos label 96" x 88" x 7" Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 LIG H TS: 1960 TO PRESENT, VOL I I , CO LO G NE: TASCH EN, 20 05, P 54.

$1,000-1,500

530 GIOVANNI OFFREDI WAVE SOFA Saporiti Italia, designed 1974 29" x 112" x 43" $3,000-5,000


531 ATTRIBUTED TO CARLO SCARPA CHAIRS (4) Gavina, designed 1974 Each: 37.25" x 18.75" x 20" $3,000-5,000

532 GUIDO FALESCHINI TUCROMA CHAIRS (4) Pace Collection, Inc., designed c. 1970 Each retains upholstery tag Each: 32" x 20.5" x 26" $2,000-3,000

533 DAKOTA JACKSON CLUB CHAIRS (3) Model no. Ke-Zu Dakota Jackson, designed 1988 Each: 34.25" x 36" x 35" $1,500-2,000

283


Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed in this catalogue to be sold by Modern Auctions, Inc. (L.A. Modern Auctions or “LAMA”). We are acting as an agent on behalf of our consignors.

PAYMENT All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request; please phone (323) 904-1950. If payment is not received by October 24, 2014, collection and storage fees will begin incurring immediately.

BUYER’S PREMIUM • 25% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc. • 15% on the portion of the hammer price in excess of $500,000 if bids are placed directly with Modern Auctions, Inc.

BUYER’S PREMIUM DISCOUNT ** • 22.5% on the hammer price up to and including $500,000 if bids are placed directly with Modern Auctions, Inc. AND if payment by cash, check, or bank wire is received in full by October 24, 2014. • 12.5% on the portion of the hammer price in excess of $500,000 if bids are placed directly with Modern Auctions, Inc. AND if payment by cash, check, or bank wire is received in full by October 24, 2014. ** The buyer’s premium will not be discounted for internet bidding (28%), payment by credit card, or if full payment is not received by October 24, 2014. (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail).

CALIFORNIA SALES TAX Sales tax of 9% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied.

ESTIMATES & RESERVES The estimates printed after each lot should be used as a guide only and should not be relied upon as a prediction of final selling prices. Many of the lots offered for sale carry a reserve and are confidential. The reserve is a minimum price at which the seller has agreed to let the auctioneer sell the property.

CONDITION EVERYTHING IS SOLD IN “AS-IS” CONDITION. No statement regarding condition of any item, whether it is made orally at the auction or at any other time or in writing in this catalogue shall be deemed to be a warranty, representation, or assumption of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate. Photographs of any lots not illustrated can be found on our website, LAMODERN.com.

COLLECTION AND STORAGE ALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON OCTOBER 24, 2014. Purchases not removed by October 24, 2014 will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing, the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDING We encourage you to attend the sale in person. However, if you are unable to attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an Absentee/Phone bid form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday,

October 11, 2014 by 5:00 p.m. (PST) via fax to (323) 904-1954 or scanned and sent via email: shannon@lamodern.com. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful. All successful absentee/phone bidders will be notified by phone or email by October 14, 2014. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.LAMODERN.com or as provided directly by Modern Auctions, Inc. Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who are unable to come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc. reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale.

GUARANTEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in BLUE type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc., in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed,” “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility for reading all addendums and posted corrections to the catalogue prior to bidding.

RESCISSION Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyer's sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping, and storage costs will not be reimbursed. Modern Auctions, Inc. is not liable for any costs, such as expert's and attorney’s fees. If the item is authentic, as stated in the Modern Auctions, Inc. catalogue, then the purchaser shall bear Modern Auctions, Inc.’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from Modern Auctions, Inc. Once the item is resold, then all rights and liabilities of Modern Auctions, Inc. regarding authenticity end. THE PURCHASER’S SOLE AND EXCLUSIVE REMEDY AGAINST MODERN AUCTIONS, INC. FOR ANY REASON IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert's fees, attorney’s fees, and other costs.

RIGHTS TO PHOTOGRAPHS All images and text contained in this catalogue are the sole property of Modern Auctions, Inc., and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 7900405194

Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406


MODERN ART & DESIGN

FEBRUARY 2015

HARRY BERTOIA MONUMENTAL AND IMPORTANT SCULPTURE Executed c. 1960 Melt-coated and welded metals $250,000-350,000

PETER LOUGHREY, DIRECTOR | 323-904-1950 | PETER@LAMODERN.COM


FEBRUARY 2015 MODERN ART & DESIGN

P E T E R L O U G H R E Y, D I R E C T O R 3 2 3 - 9 0 4 - 195 0 | P E T E R @ L A M O D E R N .C O M

PHOTO CREDIT: NOE MONTES

NOW ACCEPTING CONSIGNMENTS


INDEX A

Aalto, Alvar 308-10 Adachi, Isami 514-15 Adams, Ansel 489 Agam, Yaacov 20 Aguilar, Hector 138 Albers, Josef 13-14 Alexander, Peter 220-21 Almaraz, Carlos 141 Altoon, John 397 Anuszkiewicz, Richard 24 Arad, Ron 260 Arbus, Diane 491 Arnoldi, Chuck 255 Arteluce 349 Artschwager, Richard 31 Asawa, Ruth 510 Avery, Sally Michel 146 Aycock, Alice 270

435-38 159 35-36 224 360 190 257 362-65 166 25 29 197-200 17 478 303 339 456-57 380 261 11 51-53 490 22 115 210 228-29 120-22 116 272

C Cabat, Rose 111 Calder, Alexander 371-72 Capdevila, Francisco 136 Casebere, James 269 Castiglioni 529 Catlett, Elizabeth 144 Celmins, Vija 278-80 Chamberlain, John 324 Christo 328-29 Close, Chuck 276-77 Conner, Bruce 398 Coronel, Raul 161-62 Costa, Toni 18 Court, Arthur 168 Cressey, David 60, 72 Cunningham, Imogen 484 Curtis, Edward S. 481-83

D Davies, Harold Christopher 404-05 Davis, Gene 315 Davis, Ron 256 de Erdely, Francis 406 di Suvero, Mark 254 Dickinson, John 212 Diebenkorn, Richard 43-46, 236 Dine, Jim 452 Dole, William 401 Dowd, Robert 313

E Eames, Charles & Ray Egan, Felim Eisenman, Nicole

495 12 262 147-48

F Faleschini, Guido 532 Feitelson, Lorser 367 Follis, John 58-59, 62-63 Folon, Jean-Michel 165 Foujita, Léonard-Tsuguharu 519 Foulkes, Llyn 441 Frame, Robert 520-22 França, Hugo 163 Francis, Sam 236, 394-96 Franck, Kaj 497 Frankenthaler, Helen 368-70 Frattini, Gianfranco 357 Friberg, Berndt 499

G

B Baldessari, John Baron, Robert Baughman, Milo Bell, Larry Bellini, Mario Bellmer, Hans Bengston, Billy Al Benjamin, Karl Bennett, Garry Knox Benton, Fletcher Berger, Ueli Bertoia, Harry Bolotowsky, Ilya Bond, Gavin Bonderup, Claus Boris, Nicolas Borofsky, Jonathan Bourgeois, Louise Brazier-Jones, Mark Breuer, Marcel Brown, William Theophilus Bubley, Esther Budnick, Sidney Jonas Buff, Conrad Buquet, Édouard-Wilfred Burden, Chris Burkhardt, Hans Burliuk, David Burtynsky, Edward

Ekström, Yngve Ernst, Max Evans, Paul Everts, Connor

429-34 463 443

Gallo, Frank Gehry, Frank Giacometti, Alberto Gilliam, Sam Goethe, Joseph Alexander Goode, Joe Graham, Robert Grazier, John Green, Gregory Grossman, Greta Guston, Philip

49 263-66 191 259 409 88-91 475-76 271 442 38-39 196

267 411 366 205-06 41 467-68 399 462 236, 253 516

392

J Jackson, Dakota Jacobsen, Arne Jenkins, Paul Johansson-Pape, Lisa Johnston, Ynez Jones, Charles Hollis Jones, John Paul Juhl, Finn

533 288-92 258 298 402 207 400 286, 293-301

K Kagan, Vladimir Kåge, Wilhelm Kelley, Mike Kelly, Ellsworth Kent, Ron Kertész, André Kimler, Wesley Knoll, Florence Kofod-Larsen, Ib Kohn, Edmond Koons, Jeff Krasnow, Peter Kremer, Shai Kristiansen, Kai Kruger, Barbara Kunishima, Seiji

M Maar, Dora 188 Macdonald-Wright, Stanton 113-14 Maloof, Sam 131-34 Mangold, Robert 459-60 Mapplethorpe, Robert 333, 337-38 Marcoussis, Louis 189 Mason, John 93-94 McCabe, Gerald 171 McCarthy, Paul 237-39 McIntosh, Harrison 110 McMakin, Roy 240-50 Michals, Duane 341 Minter, Marilyn 477 Miró, Joan 185-86 Mogensen, Børge 302 Montenegro, Roberto 139-40 Moore, Benjamin 461 Moore, Henry 145 Moses, Ed 216 Muller, Dave 440 Mullican, Matt 225 Murakami, Takashi 376-77

Nakashima, George Nakian, Reuben Natkin, Robert Natzler, Gertrud & Otto Nelson, George Nesbitt, Lowell Neutra, Richard Newell, Gordon Newkirk, Kori Noguchi, Isamu

123-30 412 251-52 95-102 424-30 311-12 384-85 73-74 439 527

O

I Irwin, Robert

355-56 507-09 112 332 314 342 222-23 454-55

N

H Hadid, Zaha Hadzi, Dimitri Hammersley, Frederick Hartman, Cedric Heath, Edith Henning, Anton Herms, George Hirst, Brian Hockney, David Horiuchi, Paul

Lelli, Angelo Levee, John Levine, Marilyn Levine, Sherrie Lichtenstein, Roy List, Herbert Lodato, Peter Longo, Robert

32, 34 503-05 215 15-16, 236 172-73 485, 488 56 1-3 501-02 407 374-75 117-19 273 305 378 511-13

L Lam, Bill 390 Lamb, Walter 67-71 Lang, Gary 226 Lasker, Jonathan 227 László, Paul 414-23 Lauritzen, Vilhelm 498 LaVerne 208-09 Le Corbusier 528 Leland, Malcolm 103-04

Offredi, Giovanni Okada, Kenzo Olaf, Erwin Oldenburg, Claes Oliveira, Nathan Oppenheim, Meret Orr, Eric

530 518 340, 472-74 320-23 48 213 218-19

P Panton, Verner Park, David Parker, Ray Pasmore, Victor Paulin, Pierre Pergay, Maria Pettibon, Raymond Pettibone, Richard Pfister, Charles Picasso, Pablo Platner, Warren Pomodoro, Arnaldo Ponti, Gio Potter, Carter Price, Ken Prieto, Monique Prince, Richard

296 47 393 458 526 187 231-35 330 6 176-84 8 361 343-46 464 83-87 444-45 331

Q Quistgaard, Jens

492-93, 496

R Rainer, Arnulf Rauschenberg, Robert Reiback, Earl Ris, Günter Ferdinand Risom, Jens Ritts, Herb Romero, Frank Rosenquist, James Rossi, Horacio Garcia

275 236, 446-51 26 30 40 334-35 164 453 27-28

Rothenberg, Susan Rubins, Nancy Ruppersberg, Allen Ruscha, Ed

379 230 336 75-82

S Saar, Alison Saar, Betye Saarinen, Eero Saccaro, John Saint Phalle, Niki de Sarfatti, Gino Saunders, Bill Schaefer, Bertha Schoeller, Martin Scholder, Fritz Schroder, Fitz Sekula, Sonja Selbing, John Serisawa, Sueo Serra, Richard Shapiro, Joel Shaw, Charles Green Sheets, Millard Shire, Peter Shoemaker, Don Skoglund, Sandy Smith, David Sottsass, Ettore Springer, Karl Stabile, Judy Stålhane, Carl Harry Staprans, Raimonds Stella, Frank Stocksdale, Bob Stussy, Jan

149-50 151 4-5 54-55 236 351 170 347 479-80 152-58 175 403 304 517 373 465 193-94 160 167 137 274 192 353 525 217 500 524 316 174 408

T Tackett, La Gardo Tamayo, Rufino Tapp, Johan Taylor, Michael Thiebaud, Wayne Tinquely, Jean Tobey, Mark Toledo, Francisco Tura, Aldo Tuttle, Paul Tynell, Paavo

57, 61 142-43 37 214 42 236 195 135 350 391 306

V Van der Rohe, Mies Van Keppel, Hendrik Venturi, Robert Vignelli, Massimo Vistosi, Luciano Von Nessen, Walter Voulkos, Peter

9-10 64-65 7 352 358 389 92

W Walker, John Warhol, Andy Weber, KEM Weeks, James Wegner, Hans Wesselmann, Tom Weston, Edward Wikkelsø, Illum Wilke, Hannah Wirkkala, Tapio Witkin, Joel-Peter Wolf, Arnold Wonner, Paul Wood, Beatrice Woods, Lebbeus Woolley, Ellamarie Wormley, Edward Wright, Frank Lloyd Wright, Russel

466 236, 325-27 382-83 50 281-85, 287 317-19 486-87 494 381 307 469-71 33 523 106-09 268 105 201-04 386-88 169

Y Yvaral, Jean-Pierre

19, 21, 23

Z Zajac, Jack Zanuso, Marco

410, 413 348


AUCTION:

SUNDAY, OCTOBER 12, 2014 12pm (PT)

Peter Loughrey Director, Modern Art & Design Shannon Loughrey Managing Director

PREVIEW:

SEPTEMBER 29 – OCTOBER 11 10am – 6pm (PT)

Elizabeth Portanova Marketing Director Zoe Weinberg Cataloguer

ADDRESS:

Carolina Ivey Client Services

16145 Hart Street Van Nuys, CA 91406

Jazmine Rivera Consignor Services

TELEPHONE: 323-904-1950

Joe Alascano Shipping

WEBSITE:

Clo Pazera Assistant to Peter Loughrey

LAMODERN.com

DIRECTIONS TO AUCTION & PREVIEW: FROM HOLLYWOOD

VAN NUYS AIRPORT

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

HART ST

FROM THE WESTSIDE 101 FREEWAY

WOODLAND HILLS

N

Make your way to the 101 Freeway Proceed North on the 101 Merge onto the 405 Freeway, NORTH Take the 4th exit onto “Sherman Way, WEST” Proceed WEST on Sherman Way Turn LEFT at the 3rd light onto “Woodley” Take the first RIGHT onto “Hart” street, which is a side street

HOLLYWOOD

GETTY CENTER

Take the 405 Freeway, NORTH Continue past the Getty Museum and the 101 Interchange Exit onto “Sherman Way, WEST” (this is 4 exits North of the 101) Proceed WEST on Sherman Way Turn LEFT at the 3rd light onto “Woodley” Take the first RIGHT onto “Hart” street, which is a side street

Complimentary Valet Parking

Essays Greg Cerio Jennifer Li Photography Susan Einstein Mario de Lopez

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