Issuu on Google+

OCTOBER 7, 2012


1992-2012 20th Anniversary Auction

1

PREVIEW

September 19 - October 6, 2012 10 a.m. - 6 p.m.

AUCTION

Sunday, October 7, 2012 12 p.m. (PST)

16145 Hart Street Van Nuys, CA 91406


May 6, 2012 Modern Art & Design Auction April 25 - May 5, 2012 Auction Preview for the Modern Art & Design Auction

Š 2012 Modern Auctions, Inc. All rights reserved. ISBN 978-0-9848067-1-3

front cover: Lot 137 Karl Benjamin #19 , 1978 back cover: Lot 169 Le Corbusier bogota , 1950 right: Lot 334 Chuck Close Self-portrait , 2006


Since my first auction in 1992, I have always tried to curate the sales with objects of decorative and fine art with a simple philosophy: If an object was rejecting historical precedent, reducing unnecessary ornament, embracing a new material, or using a new method of construction, then I generally thought that was good.

The Museum of Modern Art first used the phrase “Good Design” in the late 1940s to honor thoughtfully conceived and well-executed objects of functional use. These humble chairs, lamps, and other household items were beginning to form a unique style, and MoMA was fostering a movement that had intellectual roots in Vienna, Weimar, Copenhagen, and beyond. But it was in America during those post-war years that the movement caught fire with young consumers, a decidedly young generation that saw the appeal in functional, beautiful, and reasonably priced objects for everyday use. Likewise in the 1980s, another young generation began buying Vintage Good Design for the exact same reasons. As a young man, I recognized a wide appeal for all things that were designed with the object’s form being dictated by the function or solution of a design problem. It is not surprising then, after 20 years of auctioning Good Design, to see yet another young generation entering the market. This generation of collectors is armed with an impressive knowledge and understanding of the history of design. They have unlimited information at their fingertips. They have the benefit of world-class museum shows on the subject (Thank you, Wendy Kaplan). But most of all, they recognize what the original buyers recognized: Good Design is still good. For anyone who has invested in Vintage Good Design, this should be a very comforting thought. It seems to always appeal to young consumers. In the past 20 years, design and art have increasingly been merging, the lines blurring even further in the vintage markets. Collectors of vintage design are also increasingly collecting art and vice-versa. The reason is simple. To paraphrase Adolf Loos, “We don’t dress like our ancestors, why should our interiors?” In other words, if you embrace a modern way of living, then it follows that modern art (or fashion, or architecture, or cuisine) should also be embraced. Going forward, I hope to curate auctions the same way for the next 20 years, not by providing works from a single period or style or region, but by offering works through a single philosophy. Whether it is a chair or a vase or even a painting, it must be good. PETER LOUGHREY, FOUNDER


1 HANS J. WEGNER DROP-LEAF DINING TABLE Andreas Tuck, designed 1957 Teak, oak, brass Branded “Fabrikat: Andr. Tuck/Hans J. Wegner/Denmark” 28” x 34” x 90” (extended) $4,000-6,000

2 BORGE MOGENSEN DINING CHAIRS (6) Model no. 122 Soborg Mobelfabrik, designed 1952 Laminated teak, solid oak Stamped “Made in Denmark” to underside of seat Each 30” x 19.75” x 17” Literature: JA LK ,

GRETA , DA NSK

MØBELKUNST GENNEM 40 A A R : KØ BENHAVNS SNEDKERL AU GS MØBELUD STI LLI NGER 1927-1966, CO PENHAGEN, P 153 (DESIGN IL LUST RATED).

$2,000-3,000


3 HANS J. WEGNER PAPA BEAR CHAIR Model no. AP 19 P.P. Mobler, designed 1951-53 Teak, Danish wool upholstery 38.5” x 36” x 36” Literature: O DA ,

N O RI 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 6 8 .

Purchased by the vendor’s parents in New York City, 1962. $4,000-6,000

4 HANS J. WEGNER PAPA BEAR CHAIR Model no. AP 19 P.P. Mobler, designed 1951-53 Teak, wool upholstery 38.5” x 36” x 36” Literature: O DA ,

N O R ITSU G U, HA NS J

W EGN E R ’S 1 0 0 C H A I R S, JA PA N: CORONA BO O KS, 2 0 0 2 , P 6 8 .

$4,000-6,000

5 BRUNO MATHSSON MARIA FOLDING TABLE Firma Karl Mathsson, designed c. 1960 Teak, beech Branded “Firma Karl Mathsson/Made in Varnamo - Sweden” and “Bruno Mathsson Design/Made in Sweden” 28.5” x 110” (extended) x 35.5” $3,000-5,000

5


6 POUL HENNINGSEN EARLY PROUCTION WALL SCONCES (2) Model no. 1/2/3 Louis Poulsen, designed 1967 Patinated copper 18” diameter $1,500-2,000

7 BERNDT FRIBERG VASES (4) Gustavsberg, designed c. 1950 Stoneware with shaded hare’s fur glaze Each with incised maker’s and designer’s mark to underside Sold together with seven miniature Gustavsberg glazed stoneware vases, not illustrated. Vase: 7.5” x 3.5” diameter Literature: MCFADDE N,

DR (E D), SCANDI-

NAVI AN M ODE RN DESIGN 1880 -19 8 0, NE W YO RK , 1983 , P 163 (E XAMPLES ILLUS T RAT ED).

$3,000-4,000

8 KAARE KLINT SETTEE Cabinet-Maker Rud. Rasmussen, designed c. 1935, this example of early manufacture Close-nailed Nigerian leather, Cuban mahogany understructure 28” x 81.5” x 29.25” Provenance: MR

DU STIN HOFFMAN

$6,000-8,000

In 1917 Kaare Klint began working as an independent furniture designer, having originally studied as a painter and trained as an apprentice in the Copenhagen architectural partnership of Nielsen & Petersen. Later in 1924, Klint established the Furniture Design department at the Royal Danish Academy of Arts where many of the pupils that he taught would become some of the most influential Danish designers of the 1940s and 50s, such as Borge Mogensen, Hans Wegner, Poul Kjaerholm, and Ole Wanscher. Klint's own designs were handmade in limited quantities or to order during the 1930s by the skilled cabinetmaker Rud. Rasmussen. His furniture designs articulated a deep understanding of 18th century English furniture forms, and laid the foundations for the revival of Danish design after the Second World War.


7

9 HANS J. WEGNER DINING SUITE (11) Andreas Tuck, designed 1951 Teak, oak, Danish paper-cord seats Each branded “Fabrikat: Andr. Tuck/ Hans J. Wegner/Denmark” Comprising a pair of “Wishbone” chairs (not illustrated), eight “CH23” chairs and a dining table with two extension leaves Table: 28.5” x 34” x 63”; Chairs: 30” x 18.5” x 19” $3,000-5,000

PARTIAL LOT ILLUSTRATION


10 DANISH MODERN ARTICULATED TEA TROLLEY

11 HANS J. WEGNER OCCASIONAL CHAIR

12 POUL HUNDEVAD BOOKSHELF UNITS (2)

Model no. AH18 Arrebo Mobler, 1962 Brazilian rosewood Manufacturer’s label to underside and branded mark “Made in Denmark” 21.5” x 27.5” x 35” (opened)

Model no. AP 215 AP Stolen, designed 1954 33.5” x 27.5” x 24”

HU Mobelfabrik, designed c. 1965 Rosewood Ink stamp “HU Made in Denmark” and “Danish Control” Each 77” x 54.5” x 17”

$2,000-3,000

$3,000-5,000

Purchased by the vendor’s parents in New York City, 1962 $800-1,200


13 HANS J. WEGNER DAYBED

14 JENS QUISTGAARD DE-MOUNTABLE ARMCHAIRS (2)

Getama, designed c. 1965 Teak, woven-cane, wool upholstery Impressed “Getama Gedsted Denmark Design Hans J. Wegner” 28” x 78” x 37”

Richard Nissen, designed c. 1960s Brazilian rosewood, chrome-plated steel, upholstered seat, and back cushion 29” x 23.875” x 20.25” $7,000-9,000

$2,000-3,000

9


15 JOHN BALDESSARI STONEHENGE (WITH TWO PERSONS) BLUE 2005 Mixografia print on handmade paper HC #6 of 6; aside from the edition of 60 Mixografia, Los Angeles, publisher and printer Signed “Baldessari” lower left margin Image: 26.25” x 29.5”; Sheet: 28.5” x 31.5”; Frame: 33.75” x 36.5” Literature: HU R OWITZ,

J OHN B AL DESSARI:

A CATA LOGU E RAISONNÈ OF PRINTS AND M ULT I PLES, 1971-2007, HU DSON H IL L S P RESS, 2009, PP 410 - 411, # 156 .

$5,000-7,000

16 JOHN BALDESSARI OBJECT (WITH FLAW) 1988 Lithograph on three sheets of Somerset and Arches 88 cut paper and one irregularly shaped sheet of Plexiglas, all printed to the edges #1 of 2 printer’s proofs; aside from the edition of 35 Cirrus Editions, Los Angeles and Multiples, Inc., New York, publishers; Cirrus Editions, printer Largest piece signed in pencil “Baldessari” lower right; “Printers Proof” lower left Overall: 52” x 109” Literature: HU R OWITZ,

SHARON C OP L AN,

JO HN B ALDESSARI: A CATALOGU E RAISONNÉ O F P RI NTS AND MU LTIPLES, 1 9 7 1-2007, NEW YO RK : HU DSON HILL PRESS, 201 0, CAT NO 4 0 ; DAVIS, BR U CE , MADE IN L A : TH E P RI N TS O F CIRR U S E DITIONS, NE W YORK : DA P, 1995, P 89.

$14,000-16,000


17 JOHN BALDESSARI JUGGLER’S HAND (WITH DIVER) 1988 Lithograph and screenprint on torn, irregularly shaped Arches 88 Printer’s proof; aside from the edition of 60 Cirrus Editions, Los Angeles, publisher and printer Signed and dated in pencil lower right; edition lower left Image: 49.5” x 22.5”; Sheet: 54.5” x 27” Literature: H U R OW I TZ ,

SHA RON COPL A N,

J O H N BA L D ESSA R I : A CATA LOG U E RA ISONNÉ O F P R I N TS A N D M U LT IPLES, 1 9 71-2 0 0 7, N E W YO R K : H U D S O N HILL PRESS, 2 0 1 0, CAT N O 3 9 ; DAV I S, BR U C E, MA D E IN L A : T HE P R I N TS O F C I R R U S E D IT IONS, NEW YORK : DA P, 1 9 95 , P 8 9.

$3,000-5,000

PART OF LOT 16

11


18 ED RUSCHA GALLERY ANNOUNCEMENTS (6) 1963-1969 Offset lithograph on white paper Unknown edition size A, F: Ferus Gallery, publisher; B, D: Irving Blum Gallery, publisher Collection of Ed Ruscha gallery announcements, including one from his first Ferus Gallery exhibition in 1963. The announcement for his 1969 show at Irving Blum was specially created by Ruscha for the announcement. A. Ruscha at Ferus, 1965; B. Irving Blum Gallery, 1968; C. Double-Standard; D. Irving Blum Gallery, 1969; E. Alexandre Iolas, 1967; F. Ruscha at Ferus, 1963 A: 9.75” x 13.25”; B: 9” x 12.375”; C: 12.875” x 10”; D: 12.375” x 9.25”; E: 11.5” x 9.75”; F: 10” x 13.5” Literature: ENGBERG

A ND PH ILLP OT,

EDWARD RU SCH A : EDI TIONS 1959 - 1 9 9 9 CATALO G UE RA ISONNÉ, WA LKER ART C E N T ER , 1 9 9 9, # M8, # M13; A LL A N, KE N N E T H D, M AKIN G TH E SCENE: ASSEMBL AG E , P OP ART AN D LOCA LIT Y I N 1960 S LOS A N G E L E S, CHICAG O : U NI VERSIT Y OF CH I CAG O P R E SS, VO L 1 , 2 005, P 214.

$10,000-12,000


19 ED RUSCHA OK (STATE II) 1990 Lithograph in colors on white Rives BFK #12 of 25 Published by the artist; Ed Hamilton, Hollywood, printer Title inscribed lower left; signed and dated lower right Sheet: 19.5” x 23” Literature: E N GBE R G

A ND PHILLPOT,

E DWA R D R U S C H A : E D IT IONS 1 95 9 -1 9 9 9 CATA LO GU E R A I S O N N È, WA LKER A RT CENT E R , 1 9 9 9, #1 9 8 .

$5,000-7,000

20 ED RUSCHA PICO AND SEPULVEDA 2001 3-color screenprint on Rives BFK Gray #11 of 70 Gemini G.E.L., publisher Signed and dated lower right; edition lower left Gemini G.E.L. #45.25 Image/Sheet: 16” x 25.75”; Frame: 21” x 31” $4,000-6,000

21 EDWARD RUSCHA V. 2003 3-color lithograph on German etching paper #10 of 20 Denver Art Museum, publisher; Ed Hamilton/Hamilton Press, printer Signed and dated “Ed Ruscha 2003” in pencil lower right sheet; edition with printer blindstamp lower left Sold with print documentation. Sheet: 22.5” x 30”; Frame: 32.5” x 24.625” $5,000-7,000

13


22 CY TWOMBLY UNTITLED 1983 Lithograph and aquatint etching on White Arches #61 of 150 Visconti Art Spectrum, Wien, publisher; Pressing Room Company, Rome, printer Initialed lower right; edition lower left in pencil Image: 29” x 21.25”; Sheet (vis.): 32.5” x 23.25”; Frame: 42.25” x 33.125” Literature: BASTIAN,

HE INE R , DAS

G RAP HI S CHE WE RK 1953 -1984, MU NI CH: ED I TION SCHE LLMANN, 1984 , #76 .

$2,000-3,000

23 WILLEM DE KOONING UNTITLED 1975 Serigraph #16 of 25 Signed lower right; edition lower left Image: 23” x 29”; Sheet (vis.): 27.25” x 35.25”; Frame: 36.75” x 44.5” $4,000-6,000


24 ROBERT RAUSCHENBERG ONE MORE AND WE WILL BE MORE THAN HALF WAY THERE (FROM A SUITE OF NINE PRINTS) 1979 Screenprint in colors with fabric collage #71 of 100 Styria Studio Inc, New York, publisher Signed and dated in pencil with edition lower center; Styria Studio blindstamp lower right Sheet: 30” x 23”; Frame: 38” x 30” $1,200-1,800

25 ROBERT RAUSCHENBERG ARCANUM VI (FROM ARCANUM) 1981 Silkscreen in colors with handcoloring and collage on wove paper #45 of 85 Styria Studio Inc, New York, publisher Signed and dated with edition in pencil lower left; Styria Studio blindstamp lower right Sheet: 22.75” x 15.75”; Frame: 37.5” x 28.25” $1,500-2,000

26 ROBERT RAUSCHENBERG FLOWER RE-RUN 1968 3-color lithograph Artist’s proof #5 of 9; aside from the edition of 52 Gemini G.E.L., publisher Signed “RRauschenberg 68” in pencil lower right; retains The Merryman Collection label on verso of frame Sheet: 23.375” x 18.375”; Frame: 24.5” x 19.5” Literature: R O BE RT

R AU SCHENBERG :

P R I N TS 1 9 48 -1 9 7 0, E XHIBIT ION CATA LOG , WA L K E R A RT C E N T E R , MINNEA POLIS, 1 9 70, NO 56.

$2,500-3,500

15


27 BOB ZOELL I WISH I WAS HAPPY (6) 2007 Complete suite of aluminum parking signs Boxed suite #2 of 3 artist's proof; aside from the edition of 60 Each signed Sold with the original box. Each 18” x 18” $3,000-5,000


28 ELLSWORTH KELLY YELLOW (FROM SECOND CURVE SERIES) 1975 1-color lithograph on 300-gram Rives BFK Artist’s proof #7 of 11; aside from the edition of 48 Gemini G.E.L., Los Angeles, publisher Signed “AP VII Kelly” in pencil lower right margin; retains Gemini G.E.L. blindstamp lower right margin Gemini G.E.L. #28.39 Sheet: 38.625” x 38”; Frame: 46.5” x 46.5” Literature: AXS O M ,

THE PRINTS OF ELL S -

WO RT H K E L LY: A CATA LOG U E RA ISONNÉ, 1 9 49 -1 9 85 , N E W YO R K : HU D SON HILL S P R ESS, 1 ST E D I T I O N , 1 9 9 9, #1 0 7.

$3,500-4,500

29 ELLSWORTH KELLY UNTITLED (FROM WORKS BY ARTISTS IN THE NEW YORK COLLECTION FOR STOCKHOLM) 1973 Screenprint on Rives BFK #107 of 300 Experiments in Art and Technology, Inc., New York, publisher; Styria Studio, Inc., New York, printer Initialed in pencil “EK” lower right sheet; edition lower left This was included as one of thirty works selected by K.G.P. Hulten for the Moderna Museet, Stockholm. Other works in the portfolio included works by John Chamberlain, Roy Lichtenstein, Richard Serra, and Cy Twombly. Sheet: 11.75” x 8.75”; Frame: 15.25” x 12.25” Literature: AXS O M ,

R ICHA RD H, T HE

P R I N TS O F E L L SWO RTH KELLY A CATALO GU E R A I S O N N È 1 9 4 9 -1 9 85, NEW YORK : H U D S O N H I L L S P R ESS, 1 9 87, #9 2 .

$1,500-2,000

17


30 ELLSWORTH KELLY CAMELLIA II (FROM SUITE OF PLANT LITHOGRAPHS) 1964-65 Transfer lithograph on Rives BFK #64 of 75 Maeght Editeur, Paris, publisher; Marcel Durassier, Paris, printer Signed in pencil lower right; edition lower left Axsom #42 Sheet: 35.25” x 24.25”; Frame: 38.25” x 27.25” Literature: AXSOM,

THE PR INTS OF E L L S -

WO RT H KELLY CATALOGU E RAISO NNÈ 1 9 4 9 1985, NEW YORK : HU DSON HILL P RESS, 198 7, P 6 0, # 42.

$4,000-6,000

31 PAUL WONNER TULIP 1982 Lithograph #6 of 36 Signed lower right; edition lower left Sheet: 7.5” x 6.25”; Frame: 13” x 14.25” $600-900


32 ROBERT MAPPLETHORPE UNTITLED (ROSE) 1988 Photogravure #12 of 90 Limited Editions Club, New York, publisher Initialed “RM” and dated “86” in pencil lower right; edition lower left Image: 4.5” x 4.5”; Sheet: 11” x 14”; Frame: 16.25” x 12.75” $2,000-3,000

19

33 ANDY WARHOL FLOWERS 1970 Screenprint From the edition of 250 Factory Additions, New York, publisher; Aetna Silkscreen Products, Inc., New York, printer Signed and inscribed verso FS #II/70 Image/Sheet: 35.75” x 35.75”; Frame: 36.75” x 36.75” The owner, an associate of Andy Warhol, states that this work was given to him by Warhol in the late 1960s and suggests that this example was made prior to 1970. Provenance: GI F T

O F T HE A RT IST TO

S I L I TVI N O F F; AT TO R NEY FOR A NDY WA RH O L D U R I N G T H E 1 9 6 0S

Literature: F E L D MAN ,

FR AYDA AND JOR 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 N È 1 962-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I /70.

$15,000-20,000


34 ARNALDO POMODORO SCULPTURE AND PRINT (2) c. 1975 and 1976 Sculpture: Silver patinated bronze Print ("7-Lettere-Lettera a Meta"): Embossing on Fabriano Rosaspina paper Sculpture: #7 of 12; Print: #31 of 90 Sculpture: Incised “A. Pomodoro” with edition lower right; Print: Signed in pencil lower center; edition lower left Sculpture: 9.625” x 6.5” x 1” Sheet: 13” x 9.5”; Frame: 15.25” x 11.25”; $5,000-7,000


21


35 PAUL EVANS CITYSCAPE EXECUTIVE DESK

36 PAUL EVANS CITYSCAPE BAR CABINET

Paul Evans Studio for Directional, designed c. 1970 Burr-walnut and maple, brass Signed “Paul Evans” on base 29” x 96” x 66”

Paul Evans Studio for Directional, designed c. 1970 Burr-walnut and maple, brass, mirror glass 84” x 66” x 22”

$10,000-12,000

$8,000-12,000


23


37 AMERICAN MODERN MONUMENTAL ATOMIC HANGING LAMP

38 PAUL EVANS CITYSCAPE EXTENDED DINING TABLE

Lightolier, designed c. 1970 Chrome-plated steel 30” x 103” x 30”

Paul Evans Studio for Directional, designed c. 1970 Burr-walnut and maple, brass with two extension leaves Signed “Paul Evans” underneath 29.5” x 96” x 48”; Extended: 29.5” x 111” x 48”

$6,000-8,000

$8,000-12,000


39 PAUL JENKINS PHENOMENA WHITE TAIL SOUND 1977 Watercolor Signature lower left Sheet: 43” x 31”; Frame: 52.125” x 40.125” $4,000-6,000

40 PAUL JENKINS PHENOMENA WINGED GLOBE 1980 Watercolor Signed “Paul Jenkins” in ink lower center; back of frame inscribed “St. Croix, 1980” Sheet (vis.): 28.75” x 40.75”; Frame: 40.5" x 52" $4,000-6,000

41 PAUL JENKINS PHENOMENA STARCROSS 1978 Watercolor Signed lower right; signature, date, and title verso Sheet: 29.25” x 22.25”; Frame: 38” x 30.25” $2,000-4,000

25


42 STAN BITTERS DECORATED PLANTERS (2) Hans Sumpf, executed 2008 Glazed stoneware Signed “Bitters ‘08” 22” x 20.5” diameter $4,000-6,000

43 STAN BITTERS THUMB POTS (2) Hans Sumpf, executed c. 1995 Brown stoneware Stamped “Hans Sumpf, Fresno California” Each 17” x 25.5” diameter $2,000-3,000

44 STAN BITTERS THUMB POTS (2) Hans Sumpf, executed c. 1995 Glazed stoneware Each stamped “C24 HS CO” Each 26.5” x 24” diameter $2,000-3,000


45 STAN BITTERS BIRD FEEDERS (7) Hans Sumpf, designed c. 1960 Porous low-fire clay with cord Various dimensions $1,500-2,000

46 STAN BITTERS LOW RELIEF MURAL Studio, 1967 Glazed ceramic Signed lower left 33.25” x 44” x 3.5” $2,500-3,500

47 STAN BITTERS SUN PEOPLE Hans Sumpf, executed c. 1990s Partially glazed clay sculpture Signed “Bitters” 24” x 10” diameter at base Literature:

BI T T E R S, STA N, ENV IRON-

M E N TA L C E R A M I C S, LIT TON ED U CAT IONA L P U BL I S H I N G, 1 9 76 , P 87 FOR A SIMIL A R E XA M P L E .

$900-1,200

27


Sheila Hicks (b. 1934), internationally renowned fiber artist, has traveled the world to learn the weaving practices of a diverse group of indigenous cultures. Along the way, “she has absorbed the tone, respected its tradition, and responded to its potentials.” For the past fifty years, she’s acted on these potentials through a variety of materials and techniques, creating both small woven tapestries and massive gallery installations. Originally from Nebraska, she studied at Yale University under Josef Albers and was awarded multiple scholarships to research pre-Incaic cultures as well as painting and weaving in Mexico and France. She eventually settled in Paris where she has resided since 1964. Along with commissions and exhibitions throughout Europe, in the 1960s and 70s, Hicks utilized local resources in Chile and Mexico to establish workshops that produced wall hangings and prayer rugs. One of these rugs, originally displayed in the CBS Building in Manhattan, is now in the permanent collection at the Museum of Modern Art, New York. Throughout the following decades, Hicks, operating out of her Atelier des Grands Augustins in Paris, worked with design firms such as Knoll and architects around the world, making her one of the first successful fiber artists, both critically and commercially. Among the foremost architects she has the reputation of being able to “walk into any situation, evaluate the potential of local artisans and resources, factor in the demands of the market, take into account the sensibility of the various players, and propose design solutions that were not only adapted but innovative.” In Tahoe Wall (c. 1970), Hicks illustrates her ability to transform a surface into a vibrant tapestry, teeming with warmth and fluidity. Her scrupulous attention to the properties of the materials has resulted in a seamless transition of colorful silk interrupted by smooth tufts of natural linen. Critic Mildred Constantine and fabric designer Jack Lenor Larsen describe this piece as “replete with the rhythmic cadence of music.” Hicks’ work can be viewed in the permanent collections at the Metropolitan Museum of Art in New York, the Rhode Island School of Design Museum, and the Centre Pompidou in Paris. A retrospective, entitled “Sheila Hicks: 50 Years,” was on view at the Institute of Contemporary Art in Philadelphia in 2011. >>

48 SHEILA HICKS TAHOE WALL c. 1970 Rayon, linen, and cotton on three panels 89” x 128” assembled A variant of the design was included in an interior scheme by Michel Boyer for the Rothschilds Bank refurbishment, Paris, 1970. Literature: C O N STA NTI NE,

M I LDR ED AND

L AR S E N , JAC K L E N OR , B EYOND CR AFT: TH E ART FAB R IC , KO DAN SH A I NTER NATI ONAL , SAN F R AN C IS C O, 19 86, P P 1 88 -1 89.

$20,000-30,000

29


Sheila Hicks, along with other fiber artists in the 60s and 70s, challenged the conventional definition of fiber – a “craft” material – by manipulating it beyond its common manifestations. A dense visual landscape constructed of hundreds of fibrous nodes, Tahoe (Rainbow) (c. 1975) demonstrates a progression in weaving techniques that Hicks had amassed over her extensive travels. Constantine, Mildred, and Jack Lenor Larsen. Beyond Craft: The Art of Fabric. San Francisco: Kodansha International, 1986. Print. Falino, Jeannine, ed. Crafting Modernism: Midcentury American Art and Design. New York: Abrams, 2011. Print. Vienne, Veronique. “Sheila Hicks: The Art of the Yarn.” Metropolismag.com. Metropolis June 2011. Web. 12 Aug. 2012.

49 SHEILA HICKS TAHOE (RAINBOW) c. 1975 Linen, rayon, and gold-coated silk thread over bobbins 123” x 57” $20,000-30,000


27 ZAHARA SCHATZ PAIR OF TABLE LAMPS Lucite Studio, designed c. 1955 28” x 11” diameter Literature: KAP L AN ,

WENDY, CALI FOR NI A

D E S IGN 193 0 -19 6 5 , L I VI NG I N A M ODER N WAY, E X H IB ITIO N C ATALOG , LOS ANG ELES C O UN T Y MUS E UM O F ART, CAM BR I DG E: MIT P R E SS, 2 0 11, P G 21 2 FOR A SI M I L AR E XAMP L E .

$3,000-5,000

31


50 GEORGE NELSON EXECUTIVE DESK & RETURN Model no. 6720/7230 Herman Miller, c. 1955 Oak, lacquered Masonite, steel Desk: 29.75” x 84.25” x 30”; Return: 25.5” x 67” x 18.5”; Assembled: 29.75” x 84.25” x 67”

51 GEORGE NELSON SPEAKER CABINET

S I G N M US E U M, 2008, P 272.

Herman Miller, designed 1946 Birch, tambour top 22.5” x 34” x 17.25”

$2,000-3,000

$1,000-2,000

Literature: GEORGE

NE L SON: ARC H ITEC T,

W RI T ER , DESIGNE R , TE ACHE R , VITRA DE-


52 GEORGE NELSON RARE STEELFRAME SIDE CHAIR Model no. 5068 Herman Miller, designed c. 1955 Enameled steel, birch, woven-cane 29.25” x 21.25” x 21.25” Literature: GEO R GE

NEL SON: AR CH I TECT,

W R ITE R , D E S IGN E R , T EACH ER , VI TR A D E S IGN MUS E UM, 2 0 08, P G 24 7; ALOI , R O B E RT, L’AR R E DAMENTO M ODER NO SESTA S E R IE, MIL AN : UL R IC O H OEP LI , 1 955, P 1 4 6 ( D E S IGN IL LUSTR ATE D) .

$1,000-1,500

53 GEORGE NELSON SWAG LEG CHAIR Model no. DAA Herman Miller, designed 1954 Fiberglass, enameled metal Retains “Herman Miller Furniture Company” label 34” x 28” x 21” Literature: GEO R GE

N EL SON: A RCHIT ECT,

W R I T E R , D ES I GN E R , TEACHER , V IT RA D ES I GN M U S E U M , 2 0 0 8 , P 249.

$1,800-2,200

54 GEORGE NELSON HOME OFFICE DESK Model no. 4658 & 601 Herman Miller, designed 1946 This example contains the original Pendaflex file basket which was a special order 40.5” x 54.5” x 28” Literature: GEO R GE

N EL SON: A RCHIT ECT,

W R I T E R , D ES I GN E R , TEACHER , V IT RA D ES I GN M U S E U M , 2 0 0 8 , P 2 5 6.

$4,000-6,000

33


56 CHARLES & RAY EAMES LOUNGE ARMCHAIR

55 CHARLES & RAY EAMES ROCKING CHAIR

Model no. LAR Zenith Plastics Co. for Herman Miller, designed 1950 Seafoam green molded fiberglass shell with wire rod base 24” x 24.75” x 24”

Model no. RAR Herman Miller, designed 1951 26.5” x 25” x 29.5”

Literature: NE U H A RT,

$1,000-1,500

M A R I LY N , T H E

57 GEORGE NELSON PLATFORM BENCH Model no. 4690 Herman Miller, designed 1947 Ebonised and polished birch 14” x 48” x 18.5” Literature: GEO R GE

N E L S O N : A R C H I T EC T,

STORY OF E AM ES F U R N I T U R E, BO O K 2 ,

W R I T E R , D ES I GN E R , T E AC H E R , V I T R A D E-

B E RL IN: G ESTA LT E N , 2 0 1 0, P 5 76 .

S I GN M U S E U M , 2 0 0 8 , P 243 .

$800-1,200

$800-1,200


58 GEORGE NELSON SWAG LEG HOME DESK Model no. 5850 Herman Miller, designed 1958-64 34.5” x 39” x 29”

59 CHARLES & RAY EAMES WIRE MESH CHAIR Model no. DKR-2 and naugahyde bikini pad Herman Miller, designed 1951-53 32” x 18.75” x 15.5”

60 GEORGE NELSON HEADBOARD

WRITE R , DESIG NE R , TE AC H E R , V ITR A D E-

O F C H A R L ES A N D R AY E A M ES, N E W YO R K :

SIG N M USE UM , 2008 , P 26 1 .

A BR A M S, 1 9 8 9, P 1 5 2 .

From the Thin Edge series Herman Miller, designed 1956 Rosewood, vinyl, steel, lacquered wood Retains manufacturer’s label 39.625” x 116.25” x 12”

$4,000-6,000

$250-350

$3,000-5,000

Literature: G EORG E

NE L SON: ARC H I T EC T,

Literature: N E U H A RT,

J O H N A N D M A R I LY N ,

EA M ES D ES I GN : T H E WO R K O F T H E O F F I C E

35


61 CHARLES & RAY EAMES EARLY ARMSHELL DINING CHAIRS (6) Model no. DAX Herman Miller/Zenith Plastics, designed 1950-53, these examples executed c. 1952 Sea-foam green fiberglass with rope-edge, enameled-steel, large shock mounts Label to underside of two chairs “Designed by Charles Eames Herman Miller Michigan Shipped from Venice California” Each 31” x 24.5” x 22” $3,000-5,000


62 FABIO NOVEMBRE ORG CONSOLE/DINING TABLE Capellini, designed 2001 Polypropylene rope, steel, glass 28.75” x 78.75” x 39.25” Literature: CA R LO

D U CCI (CU RATOR),

LU XU RY I N L I V I N G: I TA LIA N D ESIG N FOR I TA L I A N I N D U ST R I ES, EX HIBIT ION BOOK , P H O E N I X , JA N UA RY 14T H - FEBRUA RY 5 T H, 2 0 0 6 , P 1 8 ( D ES I GN I LLU ST RAT ED).

$3,000-4,000

37


63 FREDERICK HAMMERSLEY UNTITLED

64 FREDERICK HAMMERSLEY UNTITLED

April 1949 Lithograph Unknown edition size Signed verso “F. Hammersley” with date “9 Apr 1949”; inscribed “8A” and “6” verso Lithograph: 3” x 3”; Mount: 7” x 7”

November 1949 Lithograph #9 of 22 Signed “F. Hammersley” verso with date “20 Nov 1949”; inscribed “9/22 2nd” and “29B” verso Lithograph: 3” x 3”; Mount: 7” x 7”

$3,000-5,000

$3,000-5,000

DETAIL OF VERSO

DETAIL OF VERSO


65 FREDERICK HAMMERSLEY DIFFERENT QUARTERS #12 1959 Oil on canvas Signed and dated “F. Hammersley 59” lower right; signed and dated verso; retains artist’s label verso of frame Canvas: 15.875” x 12”; Frame: 20.25” x 15.625” $15,000-20,000

39


66 FREDERICK HAMMERSLEY MIDDLE EAST 1964 Oil on panel Signed and dated; retains artist’s label verso; retains California State University, Los Angeles, exhibition label verso Canvas: 11.75” x 8”; Frame: 19.25” x 15.25” Exhibited: "SMA LL

IMAGE EXH IBI T I ON ,"

CAL IFO RNIA STATE U NIVERSIT Y, LOS A NG EL ES, 1 9 76.

$10,000-15,000


67 FREDERICK HAMMERSLEY ME TO (#1) 1975 Oil on linen in artist’s own frame Signed “F. Hammersley 1975” lower right; retains Charlotte Jackson Fine Art label verso of frame Canvas: 20” x 20”; Frame: 20.875” x 20.875” $25,000-35,000

41


68 (OPPOSITE PAGE) KARL BENJAMIN UNTITLED (TAPE GRID SERIES) 1961 Oil on canvas Initialed and dated “KB61” upper left canvas Canvas: 13.75” x 20”; Frame: 20.75” x 14.75” $20,000-30,000

69 KARL BENJAMIN UNTITLED 1958 Oil on canvas Initialed and dated lower left “KB ‘58” Canvas: 40” x 16”; Frame: 41” x 16.75” $15,000-20,000

43


70 KARL BENJAMIN CORRIDOR 1960 Oil on canvas Signed and dated “KB60” lower right; retains Hollis Galleries label on wooden stretcher verso; stamped “Hollis Galleries” on wooden stretcher verso Canvas: 23.75” x 29.75”; Frame: 25” x 31” Exhibited: H OLLI S

GA LLERI ES, SA N

FRANCIS CO, 1964

$12,000-15,000

71 JUNE HARWOOD SLIVER DEVIL (SLIVER SERIES) 1963 Acrylic on canvas Signed and dated verso; titled verso 40.375” x 60.25” Literature: JU NE

HARWOOD, HAR D - E DG E

PAI N T I N G R E VISITE D: 1959 -1969, NOH O M O D ERN, 2003, NP, FOR SIMIL AR EXAM P LES FROM THE SE RIES.

$5,000-7,000


72 MAX COLE PUME 1969 Acrylic on Masonite Signed “Max Cole/Pume/1969” verso; retains Comora Gallery label verso Image (vis.): 48.25” x 40”; Frame: 49” x 40.75” $3,000-5,000

73 DORIS LEWIS WHITE, RED & GREEN (ABSTRACT) c. 1959-65 Oil on board Board: 28” x 22”; Frame: 28.75” x 22.75” Provenance: C O L L ECT ION

OF T HE A RT IST;

T H E N C E BY D ES C E N T; PRIVAT E C O L L EC T I O N , LO S A NG ELES

$2,000-3,000

45


74 ROBERT MANGOLD FRAMES AND ELLIPSES (A, B AND C) 1988 Complete set of 3 soft ground etching and aquatints in colors on watermarked Fabriano, Somerset, and Arches Each #4 of 50 Each signed lower right; edition lower left Each sheet: 22” x 29.75”; Each frame: 23.375” x 32.875” $3,000-5,000


75 PERCIVAL LAFER SOFA Lafer A.S. Ind. Com., designed 1958 Jacaranda, leather upholstery Retains partial “Lafer A.S. Sao Paolo...” 33.5” x 75” x 34” $3,000-5,000

47

76 AMERICAN CRAFT DESK AND CHAIR (2) Studio, executed 1975 Mahogany Each carved “MC 75” at base Desk: 30” x 40” x 25”; Chair: 32” x 17.5” x 23” $1,500-2,000


77 SAM MALOOF ENTERTAINMENT CABINET

78 BEATRICE WOOD CHARGER

Custom designed and executed for the Carleton Appleby residence, Alta Loma, California, 1954 Walnut, Masonite 32” x 72” x 20”

Studio, c. 1964 Glazed ceramic Signed “Beato” 2.25” x 16.25” diameter

The Carleton Appleby family were amongst the first of Sam Maloof’s local clients. Literature: A DA MSON,

JEREMY, T HE F U R-

NIT URE O F SA M MA LOOF, WASH I N G TON DC : S M IT HS O NIA N A MERICA N A RT MU SE U M , 2 001, P 5 4 (CONTEMPORA RY PH OTOG R A P H O F CABINET I N- SI TU ); ASH TON, S HI R L E Y, "MALO O F DESI GNER , CRA FTSMA N OF F U RNIT URE", CRA FT H ORI ZONS 14, NO 3, M AYJUN E 1 954, P 16 (CA BI NET PH OTO G R A P HE D IN - S IT U BY BU RTON FRASER , JR).

$4,000-6,000

$4,000-6,000


79 BEATRICE WOOD BOWL

80 BEATRICE WOOD BOWL

81 BEATRICE WOOD BOTTLE VASE

82 BEATRICE WOOD BOTTLE VASE

Studio, c. 1955 Black volcanic glaze Signed “Beato” 3.75” x 8.5” x 6.875”

Studio, c. 1987 Iridescent glazed ceramic Signed “Beato” 4.5” x 6.875” diameter

Studio, c. 1987 Iridescent glazed ceramic Signed “Beato” 4.75” x 2.75” diameter

Studio, 1980 Iridescent glazed ceramic Signed “Beato 80” 3.25” x 2.5” diameter

$2,000-3,000

$2,000-3,000

$1,500-2,000

$1,500-2,000

49


Even after a mere glance at these works, it is clear what passions drove Harrison McIntosh (b. 1914). The breathtaking boldness, understated elegance and simplicity of form, and sensitivity to color and shade bring to mind the works of Swedish potters Wilhelm Kage and Stig Lindberg for Gustavsberg. The fluidity, figurative influence, and functionality evoke Japanese pottery and traditional prints as well as the work of Japanese potter Shoji Hamada. Throughout his 70 years as a potter, he has remained devoted to his approach: “Simplification is a basic principle of mine, and I strive to purify and strengthen an idea.” Harrison McIntosh was born in Vallejo, California in 1914 to Scottish parents. Throughout his adolescent years, he participated in a variety of artistic opportunities, including painting competitions, lessons from local artists, and exposure to influential artwork at the Haggin Museum and Art Gallery, each of which set him on course toward the formation of his artistic voice. In 1937 the family left Vallejo for Los Angeles and the following year Harrison took his first job with the community exhibition space “Foundation of Western Art.” During his time acquainting himself with the LA gallery scene, McIntosh became fascinated with the influential gallery Dalzell Hatfield where he was first exposed to the work of Gertrud & Otto Natzler, which inspired him to experiment with ceramics. In 1938 his parents commissioned the architect Richard Neutra to design a home for them in Silver Lake. While taking a ceramics course with Glen Lukens at the University of Southern California, his family encouraged him in his new direction by setting up a kiln in the garage. From 1949-52 he studied at the seminal ceramics school at the Claremont Graduate School at Scripps College during the tenure of influential art director Millard Sheets. In the late 1950s, Millard Sheets and Albert Stewart, designers of the Scottish Rite Memorial Temple located on Wilshire and Lucerne in Los Angeles, asked McIntosh to design a jar for the temple. His largest vessel, this jar (1961) inhabits space with an economy of design and organic graphics that achieve a stately magnitude. At this point in his career, he had perfected his characteristic designs and techniques with the same clay and glazes, and this urn is the embodiment of his virtuosity. Considered as one of the most influential ceramicists living today, McIntosh enjoyed a successful career, producing works for industry, as well as custom commissions that can be viewed in museums and galleries around the world, including the Los Angeles County Museum of Art, the Louvre, Paris, the Museum of Fine Arts, Boston, and the Smithsonian Institution, Washington, D.C. “Harrison McIntosh.” Franklloyd.com. Frank Lloyd Gallery, 2003. Web. 13 Aug. 2012. McNaughton, Mary. Oral history interview with Harrison McIntosh, 1999 Feb. 24-Mar. 4. Smithsonian Archives of American Art. Web. 13 Aug. 2012. Muchnic, Suzanne. “Harrison McIntosh, ceramics virtuoso.” LAtimes.com. Los Angeles Times, 24 Sept. 2009. Web. 13 Aug. 2012.

51 LAMA wishes to thank the artist and family for their kind assistance with cataloguing the following lots.

83 HARRISON MCINTOSH SCOTTISH RITE TEMPLE JAR Studio, executed August 29, 1961 Semi-mat glazed hand-thrown stoneware with leopard spot decoration and blue-green & black engobes of Cobalt and Copper oxide Signed “Harrison McIntosh” with affixed label “0128” 24” x 17” diameter This was McIntosh’s largest vessel. It was commissioned by Millard Sheets and Albert Stewart for the Scottish Rite Temple in Los Angeles where it remained for 49 years. Illustrated: C O M M O N

G ROU ND : CERA MICS

I N S O U T H E R N CA L I FO RNIA 1 9 45 -1 9 75 , BOOK TO AC C O M PA N Y T H E EX HIBIT ION, POMONA , 2 0 1 2 , P 1 43 (JA R I L LUST RAT ED).

Exhibited:

A M E R I CA N MU SEU M OF CE-

R A M I C A RT, P O M O N A , 2 0 1 2 .

$25,000-35,000


84 HARRISON MCINTOSH LAMP BASE Studio, 1952 Glazed stoneware Signed “McIntosh” 20” x 5” diameter (30” to top of finial) Literature: COMMON

GR OU ND: C E RAM IC S

I N S O UT HE R N CALIFOR NIA 1945 -1 9 75 , B OOK TO ACC O MPANY THE E XHIBITION, P OM ONA , 2 012 , P 14 5 (L AMP BASE ILLU STR ATE D) .

Exhibited:

AME R ICAN MU SE U M O F C E-

RA M I C ART, POMONA , 2012.

$1,500-2,000

85 HARRISON MCINTOSH FOOTED BOWL McIntosh inventory no. 4 Studio, c. 1952 Glazed stoneware Signed “McIntosh”; retains handwritten label “#4” 3” x 4.75” diameter $1,000-1,500

86 HARRISON MCINTOSH TWO-PIECE JAR Studio, c. 1953-54 Glazed stoneware Signed “McIntosh”; retains handwritten label “NFS” 7” x 4.75” diameter $2,000-3,000

DETAIL OF SIGNATURE


87 HARRISON MCINTOSH BOWL McIntosh inventory no. 8457 Studio, 1984 Glazed stoneware Retains McIntosh Studio label and artist cipher; retains handwritten label “#8457” 1.75” x 6.5” diameter $1,000-1,500

53 DETAIL OF SIGNATURE

88 HARRISON MCINTOSH PLATE McIntosh inventory no. 76161 Studio, 1976 Glazed stoneware Retains McIntosh Studio label and artist cipher; retains handwritten label “#76161” 1.25” x 7.75” diameter $1,000-1,500

DETAIL OF SIGNATURE


89 GRETA MAGNUSSON GROSSMAN RARE DOUBLE SHADE FLOOR LAMP (CONE AND COBRA) Ralph O. Smith, designed 1948-49 Enameled aluminum, chrome-plated steel Cast manufacturer’s marks to underside 55” x 18” diameter Literature: WAE R N,

KARING, GRETA M AG -

NUSS O N GROSSMAN: A CAR AND SOM E S HO RTS, ARK ITE K TU RMU SE E T, 201 0, P 32.

$10,000-15,000


90 GRETA MAGNUSSON GROSSMAN RARE DOUBLE CONE FLOOR LAMP Ralph O. Smith, designed 1948-49 Enameled aluminum, brass 52.5” x 19” diameter Literature: F UR N ITUR E

FO R UM, VO L 1,

W IN TE R 19 49, S EC TIO N 3 , P 3 ( D E S IGN

91 GRETA MAGNUSSON GROSSMAN TRIPOD FLOOR LAMP Model no. 831 Ralph O. Smith, designed 1947-48 Enameled metal 50.25” x 15” diameter

IL LUSTR ATE D) ; WAE R N , KAR IN G, GR E TA MAGN USS O N GR O SS MAN : A C AR AN D S O ME

Literature: WAE R N ,

S H O RTS, AR K ITE K TUR MUS E E T, 2 0 10, P 3 2

N USS O N GR O SS MAN: A CAR AND SOM E

( D E S IGN IL LUSTR ATE D) .

S H O RTS, AR K ITE K TUR M U SEET, 201 0, P 32.

$7,000-9,000

$4,000-6,000

KAR I NG , G R ETA M AG -

55


92 HENDRIK VAN KEPPEL & TAYLOR GREEN SIDE TABLES (2) VKG, designed c. 1950 Laminated blonde mahogany Each 21" x 30" x 16" $2,000-3,000

93 MILO BAUGHMAN ROOM STORAGE DIVIDER Model no. 1700 Glenn of California, designed 1950 American walnut, select red birch 67” x 65” x 17” Literature: GLE NN

OF CALIFOR NIA

CATA LO G UE, NO DATE , NP.

$3,000-5,000


94 GRETA MAGNUSSON GROSSMAN, ATTRIBUTED BOOKCASE Model no. 704 Glenn of California, c. 1955 Walnut 29” x 48” x 12.5”

95 MITCHELL BOBRICK CONTROL LIGHT

LO G UE, NO DATE , NP.

Controlight Company, designed c. 1949 Enameled metal, ash, glazed pottery This design won an A.I.D. merit award in 1949. 60” x 20” x 28”

$2,000-3,000

$2,000-3,000

Literature: G L E NN

OF CAL IFORNIA CATA-

96 HENDRIK VAN KEPPEL & TAYLOR GREEN CAMEL TABLE Brown-Saltman, designed 1946 Retains label 14.5” (27.75” dining height) x 65.75” x 34” $1,500-2,000

57

ALTERNATE POSITION


97 WALTER LAMB ROCKING CHAIRS (2) Model no. C-5701 Brown-Jordan, designed c. 1950 Tubular bronze and yacht cord Each 31.75” x 21.25” x 31” Literature: WALTE R

L AMB FU RNI TURE

CATA LO G , 1956, NP.

$3,000-5,000

98 WALTER LAMB OTTOMAN Model no. C-5726 Brown-Jordan, designed c. 1950 Tubular bronze and yacht cord 10” x 20.25” x 17.5” Literature: WALTE R

L AMB FU RNI TURE

CATA LO G , 1956, NP.

$1,000-1,500

99 WALTER LAMB SIDE TABLE Model no. BL-3700 Brown-Jordan, designed c. 1950 Tubular bronze and glass 17.25” x 23.5” x 17.5” Literature: WALTE R

L AMB FU RNI TURE

CATA LO G , 1956, NP.

$1,000-1,500

100 WALTER LAMB DINING SET (5) Armchairs model no. C1700A; Table model no. C-2700 Brown-Jordan, designed c. 1950 Tubular bronze and yacht cord Comprised of a table and four chairs Table: 28.5” x 48.5” diameter Literature: WALTE R CATA LO G , 1956, NP.

$5,000-7,000

L AMB FU RNI TURE


101 WALTER LAMB DINING SET (5) Armchairs model no. C1700A; Table model no. C-2700 Brown-Jordan, designed c. 1950 Tubular bronze and yacht cord Comprised of a table and four chairs Table: 28.5” x 48.5” diameter Literature: WA LT E R

L A MB FU RNIT U RE

CATA LO G, 1 95 6 , N P.

$4,000-8,000

59

102 WALTER LAMB WIDE ARMCHAIR AND OTTOMAN (2) Model no. C-5700 and C-5706 Brown-Jordan, designed c. 1950 Tubular bronze and yacht cord Chair: 30.5” x 23.5” x 28”; Ottoman: 20” x 24” x 17.5” Literature: WA LT E R

L A MB FU RNIT U RE

CATA LO G, 1 95 6 , N P.

$2,500-3,500

103 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan, designed c. 1950 Tubular bronze and yacht cord 48” x 61.5” x 27” Literature: WA LT E R CATA LO G, 1 95 6 , N P.

$2,500-3,500

L A MB FU RNIT U RE


104 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER BOWLS (2)

105 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER BOWLS (2)

Earthgender, designed c. 1968 Black/brown glaze Each 11.125” x 15.125” diameter

Earthgender, designed c. 1968 Eggshell white Each 11.25” x 15.25” diameter

$1,000-1,500

$1,000-1,500

106 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER PLANTERS (2)

107 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER PLANTERS (2)

Earthgender, designed c. 1968 Natural bisque Each 15” x 15” diameter

Earthgender, designed c. 1968 Eggshell white with Starburst pattern Each 15.25” x 15” diameter

$1,000-1,500

$1,000-1,500

108 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER PLANTERS (2)

109 ROBERT MAXWELL & DAVID CRESSEY EARTHGENDER PLANTERS (2)

Earthgender, designed c. 1968 Grey fleck glaze Each 19.5” x 18” diameter

Earthgender, designed c. 1968 Natural bisque Each 19.25” x 18.25” diameter

$1,200-1,800

$1,200-1,800


110 DAVID CRESSEY PLANTER Model no. 4103 Architectural Pottery, designed c. 1963 Glazed ceramic with "Ribbed" texture From the Pro/Artisan Series 24.75” x 17” diameter $1,000-1,500

111 DAVID CRESSEY PLANTER Model no. 5050 Architectural Pottery, designed c. 1965 Brown glazed ceramic From the Pro/Artisan series 25” x 23 “ diameter $600-900

61 112 JOHN FOLLIS PLANTERS (2) Model no. CP13 Architectural Pottery, designed c. 1955 Red glazed ceramic 10” x 13” diameter and 9.25” x 12.5” diameter respectively $600-800

113 JOHN FOLLIS PLANTERS (2) Model no. K-35 and F-112 respectively Architectural Pottery, designed c. 1955 Bisque ceramic Metal stand designed by Rex Goode Cone: 18” x 15.75”; Planter with stand: 14.25” x 16.5” $800-1,200

114 JOHN FOLLIS GROUP OF PLANTERS (3) Model no. CPB-17, CPB-13, and CPB-21 respectively Architectural Pottery, designed c. 1955 Bisque ceramic with redwood bases Each impressed “Architectural Pottery/Made in USA” 13” x 17” diameter; 12.5” x 13” diameter; and 13” x 21” diameter respectively $1,500-3,000


115 DAVID CRESSEY MASSIVE PLANTER Model no. 5008 Architectural Pottery, designed c. 1965 Unglazed reduction-fired stoneware with “Rectangle” texture From the Pro/Artisan series 31” x 40” diameter $3,000-4,000


116 MALCOLM LELAND GROUP OF “EARTHWORKS” RELIEFS (3) Studio, 1963-65 Anodized aluminum A: 12” x 7” x 1”; Frame: 17” x 12”; B: 10” x 15” x 2”; Frame: 15” x 20”; C: 8.25” x 8.5” x .75”; Frame: 15.25” x 15.25” The largest example (illustrated center) is a pre-production sample for a fascia panel for the San Diego Zoo administration building, c. 1965. Provenance: P UR C H ASED

DI R EC TLY FR OM

TH E ARTIST.

Literature: ART

& ARCHITECTURE , AP R I L ,

19 6 3 ( ARTIC L E E X P LOR I NG LEL AND’S E X P LO R ATIO N IN TO CAST ALU M I NU M ) .

$2,500-3,500

63


117 MARGARET DE PATTA BROOCH Production, executed c. 1949-50 Sterling Sold with letter from the Estate of de Patta, dated April 2012 and vintage photograph mounted to board c. 1950. Provenance:

PRIVATE COLLECTION, CAL I-

FO RNI A ( ACQU IRE D FROM THE ESTATE OF M ARG ARET DE PAT TA)

$9,000-12,000

118 MARGARET DE PATTA BROOCH Studio, executed c. 1959-60 Onyx and Sterling Sold with letter from the Estate of de Patta, dated April 2012. Provenance:

PRIVATE COLLECTION,

CA LI FO RN IA (ACQU IRE D FROM TH E ESTATE O F M ARG ARE T DE PAT TA)

$9,000-12,000


119 BETTY COOKE SILVER NECKLACE WITH PENDANT Studio Sterling and ebony Stamped “Sterling” and “Cooke” $1,800-2,500

120 MARY RENK BROOCH Studio, executed 1982 Sterling Signed “Renk” and stamped “Sterling” Exhibited: SA N

F R A N CISCO META L A RT

GU I L D R E T R O S P EC T I VE, 2 0 0 6; DA LL AS MU S E U M O F A RT “ FO R M /U NFORMED : D ESIG N F R O M 1 9 6 0 TO T H E P R ESENT,” 2 0 1 0

$5,000-7,000

121 CLAIRE FALKENSTEIN PIN Studio, executed 1947 Brass, and polished stone Signed with artist cipher $5,000-7,000

65


122 (OPPOSITE PAGE) RICHARD DIEBENKORN BLUE SURROUND 1982 Spitbite aquatint and drypoint on Rives #25 of 35 Crown Point Press, Oakland, publisher Initialed and dated lower right in pencil; edition lower left; blind stamp lower right edge of sheet Sold with original Crown Point Press print documenation Impression: 21.875” x 18.5”; Sheet: 35” x 26.25”; Frame: 37.5” x 28.5” Literature: N O R D L A ND,

G ERA LD, D IEBEN-

KO R N : GR A P H I C S, 1 9 81-1 9 88, BILLING S: Y E L LOW STO N E A RT CENT ER , 1 9 89, PP 1 3 -1 4, #1 4.

$70,000-90,000

123 RICHARD DIEBENKORN UNTITLED (FROM CLUB/SPADE GROUP ‘81-82) 1986 6-color lithograph on white Arches Cover #86 of 250 MOCA, Los Angeles, publisher; Gemini G.E.L., Los Angeles, printer Initialed “RD 82” in pencil lower right; Gemini G.E.L. blindstamp lower right; edition lower left Gemini G.E.L. #15.1 Sheet: 40” x 27”; Frame: 49.25” x 35.25” $3,000-5,000

67


124 WAYNE THIEBAUD MADISON AVENUE, NY 1956 Gouache on paper Signed and dated “Thiebaud 56” lower right; title lower left Sheet (vis.): 15.25” x 12”; Frame: 24.5” x 21.75” $8,000-12,000


125 WAYNE THIEBAUD OLIVES (FROM DELIGHTS) 1964 Aquatint #39 of 100 Crown Point Press, publisher; Kathan Brown, printer Signed and dated lower right; edition lower center; title inscribed lower right Image: 3.875” x 3.875”; Sheet: 12.5” x 10.75”; Frame: 21” x 18.5” Literature: T H I E BAU D,

WAYNE, WAYNE

T H I E BAU D ; GR A P H I C S, 1 9 64 -1 9 71, PORTL A N D : PA R AS O L P R ESS, 1 9 71 , NO 8.

$3,000-5,000

126 WAYNE THIEBAUD FISH (FROM DELIGHTS) 1964 Drypoint on Rives #39 of 100 Crown Point Press, publisher; Kathan Brown, printer Signed and dated lower right; title inscribed lower left; edition lower center Image: 3.875” x 3.875”; Sheet: 12.5” x 10.75”; Frame: 21” x 18.5” Literature: T H I E BAU D,

WAYNE, WAYNE

T H I E BAU D : GR A P H I C S, 1 9 64 -1 9 71, PORTL A N D : PA R AS O L P R ESS, 1 9 71 , NO 2 8.

$3,000-5,000

69


California painter and printmaker Roland Petersen (b. 1926) had already achieved prominence with his Picnic Series, figurative paintings of afternoon picnics in California’s Central Valley, but in the early 1970s, an allergic reaction forced him to switch from oil paint to acrylic. According to Petersen, “Each painting has a different kind of mathematical solution; I’m not always able to solve it, but I try to work out a pattern of shapes.” Similarly, when he was faced with the problem of switching mediums, Petersen was intrigued by the possibilities of acrylic paint. Beginning with the Spectrum Band Series (as Roland now refers to the series), Petersen harnessed the properties of acrylic paint to create more vibrant canvases without losing the quality of solitude inherent in his geometric picnic scenes. Petersen painted The Other Side of the Rainbow in 1972 when he was teaching at the University of California, Davis. It is the perspective most commonly used in the Picnic Series, the viewer gazing across farmland toward the foothills. To achieve the hard edges that complement his bold colors, Petersen utilized a masking out technique he learned while studying with the legendary printmaker Stanley Hayter at Atelier 17 in Paris. Petersen cutout the desired shapes of contact paper and applied them directly to the canvas, resulting in “razor sharp edges.” This juxtaposition of geometric forms refers to the tension between the man and woman staring in different directions, each experiencing the rainbow’s illuminating effects in isolation, feasibly on the verge of a solution. His work can be viewed in the permanent collections of the San Francisco Museum of Art, the Museum of Modern Art in New York, and the Whitney Museum of American Art in New York. Petersen continues to paint, and in 2010, a career-spanning retrospective was exhibited at the Monterey Museum of Art. Amerson, Price. Interview with Roland Petersen. Roland Petersen: A Retrospective Exhibition. San Francisco: Harcourts Contemporary, 1989. Print. Petersen, Roland. Telephone interview. 11 Aug. 2012.

127 ROLAND PETERSEN THE OTHER SIDE OF THE RAINBOW 1972 Acrylic on canvas Signed and dated "Roland Petersen 1972" center right; signed, titled, dated, and inscribed "Rainbow Bridge Series" on canvas stretcher verso; retains partial Adele Bednarz Gallery label affixed to canvas stretcher verso; retains Frederic Stern Gallery label verso Canvas: 72” x 60”; Frame: 73” x 61” Exhibited: A DE L E

B E DN A R Z G A L L E R I E S, LOS A N G E L E S, 19 7 3 ; P O L L E S GAL-

LERY, SA N F R A N C I SC O, 1 9 7 2 ; F R E DE R I C ST E R N G A L L E RY, LO S AN GE L E S, 2 0 0 8 .

Literature: R OL A N D

P E T E R SE N : A R E T R OSP EC T I VE E X H IB ITIO N , MAY - J UN E

1989, SA N F R A N C I SC O: HA R C OU RTS G A L L E RY, 1 9 89, E X H IB ITIO N C ATALO G, N P, SEE PL AT E S FOR SI M I L A R E XA M P L E S F R OM T HI S SE R IE S.

$30,000-50,000

128 ROLAND PETERSEN STUDY FOR PICNIC TABLE 1964 Oil on board Signed, dated, and titled verso Board: 7” x 9.375”; Frame: 8.25” x 10.5” Literature: R O L AN D

P ETER SEN: A R ETR O -

S P EC TIV E E X H IB ITIO N M AY - JU NE 1 989, SAN F R AN C IS C O : H AR C OU RTS G ALLERY, 19 8 9, E X H IB ITIO N C ATALOG , NP, SEE P L ATE S FO R PAIN TIN GS FR OM TH E P I CNI C S E R IE S.

$7,000-9,000

71


129 PAUL WONNER STILL LIFE WITH BUD 1992 Lithograph in colors on wove paper Artist’s proof #7 of 8; aside from the edition of 80 Signed and dated in pencil lower right margin; edition lower left; blindstamp lower right Image: 29.5” x 21.875”; Sheet: 36.375” x 27.75” $800-1,200


130 PAUL WONNER ARTIST AND MODEL HANDS ON HIPS: YOUTH AND OLD AGE 2003 Acrylic and pencil on paper Signature in pencil with date and title verso Sheet: 14” x 13.5” $3,000-5,000

131 WILLIAM THEOPHILUS BROWN UNTITLED 1975 Gouache on paper Signed and dated “William Theo Brown 75” lower right Sheet: 7.75” x 11.5”; Frame: 15.25” x 19” $2,000-3,000

132 WILLIAM THEOPHILUS BROWN HOMAGE TO DE CHIRICO c. 1975 Mixed media on paper Title inscribed in pencil lower left mat Sheet: 7” x 9.75”; Frame: 18.25” x 22.25” $2,000-3,000

73


133 NATHAN OLIVEIRA WHITE LADY 1964 Lithograph #12 of 20 Tamarind Lithography Workshop, Los Angeles, publisher Signed and dated lower right; edition lower left; title lower center Sheet: 29.75” x 22.25”; Frame: 31.75” x 24.75” $1,000-1,500


134 RAIMONDS STAPRANS WAITING FOR SUNDAY 1965 Oil on canvas Signed and dated lower right; retains Maxwell Gallery, San Francisco, label verso Canvas: 22.25” x 25”; Frame: 27.75” x 30.5” $8,000-12,000

75

135 DAVID PARK BOY IN HOSPITAL c. 1959 Graphite on paper This is a sketch from the artist during his time spent at the hospital when he was diagnosed with cancer. Sheet (vis.): 10.25” x 8”; Frame: 16.5” x 12.5” $8,000-10,000


136 LARRY COHEN VIEW FROM THE MALIBU HILLS 2004 Oil on canvas Signature in pencil verso Canvas: 25.75” x 26”; Frame: 26.75” x 26.75” $2,000-3,000

137 LARRY COHEN OPEN WINDOW VIEW FROM REDONDO BEACH 2002 Oil on canvas Signed “Larry Cohen/LA” in pencil on canvas verso Canvas: 38” x 16”; Frame: 39” x 16.5” $2,000-3,000


138 ROGER HERMAN UNTITLED (MAN IN BOAT) 1985 Oil on canvas Signed and dated verso Canvas: 18” x 24”; Frame: 20” x 26” $3,000-5,000

77


Wilshire View, Los Angeles County Museum of Art, Š2008 Museum Associates/LACMA


Los Angeles County Museum of Art The following 16 lots are being sold by the Los Angeles County Museum of Art to benefit future acquisitions. 164 MARC CHAGALL CHLOE’S KISS (FROM THE DAPHNIS AND CHLOE PORTFOLIO) 1960-61 Lithograph in colors on Arches #41 of 60 Signed in pencil lower right; edition lower left Catalogue Raisonné, Mourlot #16, Cramer #46 Image: 16.625” x 12.625”; Sheet (visible): 20” x 13.625”; Frame: 28” x 22” Literature: MO UR LOT,

F E R N AN D AN D C H AR LES SOR-

L IE R , TH E L ITO GR AP H S O F C H AGAL L , M ONTE CAR LO: SAUR E T, # 16 .

$10,000-12,000

165 ARISTIDE MAILLOL FEMME NUE A LA DRAPERIE c. 1920s Lithograph Retains Galleries Maurice Sternberg label verso; Minneapolis Institute of Arts inventory label verso Visible image: 12.5” x 8.75”; Frame: 19.25” x 15.25” $800-1,200

79


139 GEORGE WALTON DISPLAY CABINET Studio, executed for The Phillippines, Brasted Chart, Kent, c. 1902 Walnut with gilt highlights, glass 77” x 66” x 17.5” George Walton designed the interior of the drawing room at The Phillippines, Brasted Chart, Kent, England in 1902. The gilt-wood elements featured on this cabinet were reflected in the wall paneling and cornice shelf within the room. Provenance: S O L D

BY T H E LO S A N GE L ES

140 JOHN EDNIE HIGH BACK SIDE CHAIR Wylie & Lochhead, c. 1900 Oak, rush seat Aside from seminal architect/designer Charles Rennie Mackintosh, John Ednie, Ernest Archibald Taylor, and George Logan, who worked for influential Glasgow cabinet makers Wylie & Lochhead, were the main designers of the Glasgow School. 46” x 16” x 16.5”

C O U N T Y M U S E U M O F A RT TO BE N E F I T F U T U R E AC Q U I S I T I O N S.

Illustrated: TH E

Provenance: S O L D

BY T HE LOS A NG ELES

C O U N T Y M U S E U M O F A RT TO BENEFIT STUD IO Y E AR B O O K O F

F U T U R E AC Q U I S I T I O N S.

Photo ©2012 Museum Associates/LACMA

D EC O R ATIV E ART, 19 0 7 ; MO O N , KAR E N ,

The Studio Yearbook of Decorative Art, 1907 illustration of a George Walton interior

GEO R GE WALTO N , D E S IGN E R AN D AR-

Illustrated: C O O P E R ,

C H ITEC T, OX FO R D : 19 93 , P 15 5 (GEO R GE

& E DWA R D I A N F U R N IT U RE & INT ERIORS,

WALTO N D R AW IN G R O O M IN TE R IO R IL-

LO N D O N : T H A M ES & H U D SON, 1 9 87, P 2 2 9

LUSTR ATE D) .

( AC T UA L C H A I R I L LU ST RAT ED).

$5,000-10,000

$1,500-2,000

JEREMY, V ICTORIA N

81


141 GLASGOW SCHOOL SALON SUITE (3) Possible design by E.A. Taylor and manufacture by Wylie & Lochhead, c. 1900 Quarter-sawn oak, fabric upholstery Inside leg of each chair stamped “R.L.” Comprised of a settee and pair of chairs A: 27.875” x 60” x 18.5”; B: 27.5” x 23.25” x 18”; C: 27.25” x 23” x 18” Provenance: SOLD

BY THE LOS A NG E L ES

C O UNT Y MU SE U M OF ART TO BE NE F IT FUT URE ACQU ISITIONS.

$1,500-2,000


142 ERNEST ARCHIBALD TAYLOR INLAID BOOKCASE Wylie & Lochhead, designed 1901 Mahogany, fruitwood, mother-of-pearl, copper, glass The inlaid stylized flower motif on the facade of this cabinet is identical to that which featured on a suite of chairs designed by E.A.Taylor for the Wylie & Lochhead Pavillion at the International Exhibition, Glasgow, 1901. 69.75” x 35” x 18.5” Provenance: S O L D

BY T HE LOS A NG ELES

C O U N T Y M U S E U M O F A RT TO BENEFIT F U T U R E AC Q U I S I T I O N S.

$3,000-5,000

83


143 ERNEST ARCHIBALD TAYLOR , ATTRIBUTED SIDE CHAIRS (2) Wylie & Lochhead, designed c. 1900 Oak with pierced back rest, rush seats Each 48” x 17” Provenance: SOLD

BY THE LOS A NG E L ES

C O UNT Y MU SE U M OF ART TO BE NE F IT FUT URE ACQU ISITIONS.

$1,000-1,500

144 CHICAGO SCHOOL FIREPLACE SURROUND Manufacturer unknown, designed c. 1892 Pierced and solid oak 57.5” x 82.5” x 14” The design bears similarities with Louis Sullivan and Dankmar Adler's designs for the Interior of the Chicago Stock Exchange, 1893-95. Exhibited: “COMMON

FORMS, HIG H ART:

T HREE CENTU RIES OF AME RICAN F URNIT URE,” LO S ANGE LES COU NT Y MU SE UM OF ART, 1995.

Provenance: SOLD

BY THE LOS A NG E L ES

C O UNT Y MU SE U M OF ART TO BE NE F IT FUT URE ACQU ISITIONS.

$2,000-3,000


145 ENGLISH SCHOOL CARD TABLE Possibly manufactured by J.S. Henry, designed c. 1902 Mahogany, ebony, and maple inlay 29.75” x 25” x 16.25” Exhibited: “ R E T H I N K I N G

146 ENGLISH SCHOOL OCCASIONAL TABLE

E N GL I S H A RTS

O C TO BE R - D EC E M BE R 1 9 95 .

Possibly manufactured by J.S. Henry, designed c. 1900 Mahogany with mother-of-pearl inlay 26.5” x 24”

Provenance: S O L D

Provenance: S O L D

A N D C R A F TS : T H E M O D E R N I ST T R A D I T I O N IN T U R N - O F-T H E- C E N T U RY BR I T I S H D ES I GN , ” M O D E R N E GA L L E RY, P H I L A D E L P H I A ,

BY T H E LO S A N GE L ES

BY THE LOS A NG ELES

C O U N T Y M U S E U M O F A RT TO BE N E F I T

C O U N T Y M U S E U M O F A RT TO BENEFIT

F U T U R E AC Q U I S I T I O N S.

F U T U R E AC Q U I S I T I O N S.

$1,500-2,000

$1,500-2,000

85


147 ALVAR AALTO DESK AND ROLLING CABINET

148 ALVAR AALTO RARE DESK CHAIR

Artek, designed before 1938; manufactured 1948-57 Laminated birch and metal casters Desk: 28.625” x 45.25” x 27.75”; File cabinet: 26.75” x 14.875” x 27.25”

Artek, designed 1947-48; manufactured 1947-57 Laminated birch, upholstery, and metal casters This desk chair was used at the Seniors’ Dormitory at Baker House, Massachusetts Institute of Technology, Cambridge, MA. 30.25” x 16” x 17”

Provenance: SOLD

BY THE LOS A NG E L ES

C O UNT Y MU SE U M OF ART TO BE N E F IT

Provenance: S O L D

FUT URE ACQU ISITIONS.

O F A RT TO BE N E F I T F U T U R E AC Q U I S I T I O N S.

$2,500-3,500

$1,000-1,500

149 ALVAR AALTO END TABLE WITH SHELF

150 ALVAR AALTO L-LEG SIDE CHAIR

Artek, designed c. 1947-57 Lacquered and natural birch plywood 22.25” x 23.5” x 13.625”

Artek, design executed 1933-35; manufactured 1947-57 Laminated birch 30.625” x 15.5” x 15”

Provenance: SOLD

FUT URE ACQU ISITIONS.

$1,000-1,500

151 ALVAR AALTO & OTTO KORHONEN STACKING CHAIRS (2)

BY THE LOS A NG E L ES

C O UNT Y MU SE U M OF ART TO BE N E F IT

Provenance: SOL D

BY TH E LO S A N GE L ES

C OUNT Y M USE UM OF ART TO BE N E F I T F UTURE AC QUISITIONS.

$500-700

BY T H E LO S A N GE L ES C O U N T Y M U S E U M

Model no. 11/611 Artek, designed c. 1929, manufactured c. 1936 Lacquered, solid, and laminated birch Each 31” x 17” x 16.25 Provenance: S O L D

BY T H E LO S A N GE L ES

C O U N T Y M U S E U M O F A RT TO BE N E F I T F U T U R E AC Q U I S I T I O N S.

Literature: A LVA R

& A I N O A A LTO, D ES I GN :

C O L L EC T I O N BI S C H O F BE R GE R , C O LO GN E : H ATJ E CATZ , 2 0 05 , P 1 9 ( D ES I GN I L LU S T R AT E D) .

$800-1,200


152 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model no. 670 & 671 Herman Miller, designed 1956; this example prior to 1971 Red leather and rosewood Both chair and ottoman retain “Herman Miller Inc.” labels Chair: 32.75” x 33.25” x 32”; Ottoman: 15.25” x 25.5” x 21” Provenance: S O L D

BY T HE LOS A NG ELES

C O U N T Y M U S E U M O F A RT TO BENEFIT F U T U R E AC Q U I S I T I O N S.

$3,000-5,000

153 GILBERT ROHDE SMARTSET SERVER Kroehler Furniture Co., designed c. 1930s Mahogany, birch lining 34” x 48” x 16.5” Provenance: S O L D

BY T HE LOS A NG ELES

C O U N T Y M U S E U M O F A RT TO BENEFIT F U T U R E AC Q U I S I T I O N S.

Literature: P H IL L IS,

R OSS, G I LBERT

R O H D E : MO D E R N D E S I G N FOR LI VI NG, NEW H AV E N : YAL E UN IV E R SI T Y P R ESS, 2009, P 13 7 ( D E S IGN IL LUSTR ATED) .

$1,000-1,500

154 GILBERT ROHDE DINING SUITE (5) Chair model no. 4690 Heywood Wakefield, designed 1935 Walnut, vinyl upholstery Comprised of a table, leaves, and four chairs Table: 29.25” x 48” x 30”; extended: 29.25” x 72” x 30”; Each armchair: 33” x 22.25” x 25”; Each side chair: 33” x 16.25” x 25” Provenance: S O L D

BY T HE LOS A NG ELES

C O U N T Y M U S E U M O F A RT TO BENEFIT F U T U R E AC Q U I S I T I O N S.

$2,000-3,000

87


"Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

155 (OPPOSITE PAGE) WILLIAM MORRIS PEACOCK AND DRAGON WALL HANGING Morris & Co., c. 1878 Hand-loomed jacquard woven in colored wools 89” x 66”

WILLIAM MORRIS, 1880

The Peacock and Dragon pattern is one of Morris' most popular designs. Conceived in 1878, the design was first woven at Queen Square and later at Merton Abbey in Wandsworth. The design was employed in the drawing room at Morris' own home, Kelmscott House, Hammersmith, London. Literature: PA R RY,

L I N DA , WILLIA M MORRIS

T E XT I L ES, LO N D O N , 1 9 83 , CATA LOG U E NO 3 0 ; PA R RY, L I N DA , E D W I L L I A M MORRIS, EX HIBIT I O N CATA LO GU E, LO N D O N : V ICTORIA & A LBERT M U S E U M , 1 9 9 6 , CATA LO GUE M80.

$2,000-3,000

156 PAUL HORTI RARE CUBE SETTLE Shop of the Crafters, designed c. 1906 For the Crafters Library Set; quarter-sawn oak inlaid with various fruitwoods, lead-work finials, upholstered seat cushions Remnants of manufacturer’s label to underside Only 6 examples of the design are known to have been produced. 37” x 71” x 30” DETAIL OF INLAY

$10,000-15,000

89


157 GUSTAV STICKLEY MAGAZINE RACK Model no. 79 Studio, designed c. 1904 Quarter-sawn oak The design was described in Gustav Stickley’s 1904 Craftsman Catalogue, as “...a convenient rack for favorite books and periodicals.” The catalogue price for the design in 1904 was $8.50. 39.5” x 13.75” x 9.625” $1,500-2,000

158 HUGO BERGER CANDELABRA (3) Groberg, designed 1910 Wrought-iron Each stamped "Germany" 13.75” x 12.5” x 5” and pair 13.25” x 7.25” x 4.75” $1,500-2,000


159 PORTER BLANCHARD OSLO FLATWARE (88) Studio, designed c. 1940 Sterling Stamped “Porter Blanchard/Handmade/ Sterling� Comprised of twelve piece service for six (knife, dinner fork, salad fork, soup spoon, teaspoon, and spreaders); plus 8 demitasse spoons, 3 additional teaspoons, 1 master butter knife, and 2 sets of serving fork and spoon $6,000-9,000

91


160 ROY LICHTENSTEIN SUNRISE 1965 Offset lithograph in red, blue, and yellow Unknown edition size Leo Castelli Gallery, New York, publisher Signed lower right Corlett #II/7 Image: 17.25” x 23.25”; Frame: 18.5” x 24.5” Literature: WA LDMA N,

ROY LI CHT E N-

ST EIN: D RAW I NGS A ND PRI NTS, NE W YOR K : CHEL S EA H OU SE PU BLISH ERS, 196 9, #1 5, PG 2 22 ; CORLET T, MA RY LEE, TH E P R I N TS O F ROY LI CH TENSTEIN: A CATA LO G U E R A IS O N N É,1 9 48 -1993, 1ST EDI TION, NE W YOR K : HUD S O N H ILL S PRESS, 1994, # II / 7.

$8,000-12,000

161 ROY LICHTENSTEIN FISH AND SKY (FROM TEN FROM LEO CASTELLI) 1967 Screenprint on silver gelatin photographic print mounted on threedimensional lenticular offset lithograph on white composition board with window mount #6 of 200 Tanglewood Press, Inc., New York, publisher; Maurel Studios, New York, printer Signed “RF Lichtenstein” in pencil on the mount lower right; edition lower left; signed on verso upper right Image: 11” x 14”; Sheet: 23.75” x 20”; Frame: 18” x 21” Literature: CORLET T,

MA RY LEE, T HE

PRIN TS O F ROY LICH TENSTEIN: A C ATALO G UE RA I SONNÉ, 1948 -1993, 1ST E DI T I ON , NEW YO RK: H U DSON H I LL S PRESS, 1 9 9 4, P 8 7, #50.

$3,000-5,000


162 ROY LICHTENSTEIN TEMPLE 1964 Offset lithograph on smooth, cream wove paper #130 of 300 Leo Castelli Gallery, New York, publisher Signed and dated with edition lower center Corlett #II/3 Image: 23” x 17”; Sheet: 23.75” x 17.75”; Frame: 30.625” x 24.5” Literature: C O R L E T T,

M ARY LEE, TH E

P R IN TS O F R OY L IC H TENSTEI N: A CATALO GUE R AIS O N N É , 19 48 -1 993, 1 ST EDI TI ON, N E W YO R K : H UD S O N HI LL S P R ESS, 1 994, P 2 5 6 , #I I / 3 .

$4,000-6,000

163 ROY LICHTENSTEIN CRYING GIRL 1963 Offset lithograph on off-white wove paper Unknown edition size Leo Castelli Gallery, New York, publisher; Colorcraft, New York, printer Signed in pencil lower right margin Corlett #II/I Sheet: 17.25” x 23.25”; Frame: 25.5” x 31.5” Literature: C O R L E T T,

M ARY LEE, TH E

P R IN TS O F R OY L IC H TENSTEI N: A CATALO GUE R AIS O N N É , 19 48 -1 993, 1 ST EDI TI ON, N E W YO R K : H UD S O N HI LL S P R ESS, 1 994, P 2 5 4, #I I / I .

$30,000-40,000

93


After Richard Pettibone’s first show at the Ferus Gallery on La Cienega in Los Angeles and succeeding shows in New York, he was asked if he thought his work was conceptual. He famously answered, “It seems to me that it’s fairly original not to be original,” a fitting response from an artist who injects humor into his painstaking appropriations. Full of diminutive devotions to Duchamp, Warhol, Lichtenstein, and Johns, his Ferus Gallery one-man exhibition in 1965 was inspired by two major Southern California shows, the 1962 Warhol exhibition of 32 Campbell’s soup cans at the Ferus Gallery and the first American Marcel Duchamp retrospective at the Pasadena Museum of Art in 1963. Imitative of Pop Art yet meticulously wrought using his skills as a model train builder, his tiny paintings were deemed “miniatures.” Pettibone, however, was merely maintaining the size of the images of contemporary paintings he would find in Artforum magazine. In a text painting from 1985, A Snow Shovel is Nice, Pettibone declares his admiration for Duchamp while establishing his personal art-making practice: “Marcel Duchamp is without question my favorite artist, / He made being an artist seem so easy. / Just pick something. / Anything. / A urinal will do, or a bicycle wheel.” Duchamp is the starting point for appropriation, and for Pettibone at the time, a consummate wellspring of readymades. The 1965 painting, Marcel Duchamp, "Pliant de Voyage", 1917, is a modern re-imagining of the Underwood typewriter cover readymade that doubled as a portable exhibit and “skirt-like reference” to his girlfriend at the time, Beatrice Wood. In Katherine Dreier’s Room (1966), Pettibone silkscreened a replica of an existing photograph of art collector Katherine Dreier’s library. An homage to Warhol’s photographic reproductions, Katherine Dreier’s Room allows the viewer to behold – through the eyes of Pettibone the printer and painter of his own brand of readymades – two of Duchamp’s most ambitious works, The Large Glass and Tu m’. Revived in mint green and black, these pieces exhibit the marriage of Pettibone’s roles as master craftsman and discerning curator to result in impeccably wrought conceptual art documentation. In addition to Duchamp, at the Ferus show Pettibone revered Jasper Johns’ use of color, expressed through the Map paintings as well as five bicycle wheel readymades with the forks of each wheel painted in a primary color. He further explored John’s palette in 1967 with Jasper Johns, “Light Bulb,” 1958 (red, yellow, blue), three acrylic and photo-engraved canvases that replicate Johns’ bronze cast of a light bulb. Curator Michael Duncan asserts, “Pettibone in a sense desolidified Johns’ work, shifting it from a sculptural to a purely conceptual presence and enhancing its status as a Duchampian readymade.” Throughout his appropriations of modern and contemporary artists, including works by Frank Stella, Constantin Brancusi, Pablo Picasso, and Ed Ruscha, Pettibone maintains the model-maker’s attention to detail while evoking an innate passion for his contemporaries. Berry, Ian, and Michael Duncan. Richard Pettibone: A Retrospective. Saratoga Springs: The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2005. Print. Buskirk, Martha. “Thoroughly Modern Marcel.” October 70, The Duchamp Effect (Autumn, 1994): 113-125. Print. Mink, James. Marcel Duchamp: Art as Anti-Art. Cologne: Taschen, 2006. Print. Singer, Thomas. “In the Manner of Duchamp, 1942-47: The Years of the ‘Mirrorical Return.’” The Art Bulletin 86.2 (Jun., 2004): 346-369. Print. Wright Art Gallery. Forty Years of California Assemblage. Los Angeles: University of California, 1989. Print.

164 RICHARD PETTIBONE FRANK STELLA, "UNION", 1966 1967 Enamel on canvas in artist’s frame Signed in pencil on upper canvas stretcher verso "R. Pettibone 1967"; inscribed lower center canvas stretcher verso "Stella Union 1966" Canvas: 5.625" x 9.625"; Frame: 5.75” x 9.75” Literature: BERRY,

IA N A ND DU N C A N ,

MICHAEL , RICH A RD PET TI BONE: A R E T R O S PECT IV E, SA RATOGA SPRI NGS: F R A N C E S YO UN G TA NG TEACH ING MU SEU M , 2 005, P 8 6, #102 FOR A SI MI L A R EXA MPLE .

$18,000-25,000


165 RICHARD PETTIBONE MARCEL DUCHAMP, "PLIANT DE VOYAGE", 1917 1965 Acrylic and oil in artist's frame Signed verso “R. Pettibone 1965” and “Lee Enrose 1965” and “Duchamp” Canvas: 6” x 6”; Frame: 6.25” x 6.25” Literature: B E R RY,

IAN AND DU NC AN,

MIC H AE L , R IC H AR D PET TI BONE: A R ETR O S P EC TIV E , SAR ATO GA SP R I NG S: FR ANC ES YO UN G TAN G TE AC H ING M U SEU M , 2005, P G 48 , N O 3 3 FO R A SI M I L AR EXAM P LE.

$10,000-12,000

166 RICHARD PETTIBONE KATHERINE DREIER’S ROOM 1966 Silkscreened photograph on canvas Signed and dated in pencil upper canvas stretcher verso; inscribed “Set #2” upper canvas stretcher verso; inscribed “RP-37” lower canvas stretcher verso Canvas: 8” x 10”; Frame: 8.25” x 10.25” Exhibited: " FO RT Y

Y E AR S OF CALI FOR NI A

ASS E MB L AGE " , TR AV ELI NG EX H I BI TI ON, W IGH T ART GAL L E RY, U CL A , LOS ANG ELES, AP R IL 19 8 9 - F E B R UARY 1 990.

Literature: FO RT Y

Y EAR S OF ASSEM BL AG E ,

E X H IB ITIO N C ATALO G, LOS ANG ELES: W IGH T ART GAL L E RY, 1 989, P P 202-203, 2 3 3 , C AT N O 9 6 ; N AUM ANN, FR ANCI S M , AP R O P O S O F MAR C E L : TH E ART OF M AKIN G ART AF TE R D UC H AM P I N TH E AG E OF MEC H AN IC AL R E P R O D U CTI ON, NEW YOR K , C URT MAR C US GAL L E RY, 1 999, P 1 4 , NO 7.

$8,000-12,000

167 MIKE BIDLO FOUNTAIN DRAWING (MARCEL DUCHAMP) c. 1990 Gouache and ink on paper Sheet: 3.625” x 5.375”; Frame: 37.5” x 28.25” $2,500-3,500

95


168 RICHARD PETTIBONE JASPER JOHNS, “LIGHT BULB”, 1958 (RED, YELLOW AND BLUE) 1967 Acrylic and photo-engraving on canvas in handmade frame Signed “R. Pettibone 1967” in ink on canvas stretcher verso Each canvas: 5.875” x 7.875”; Frame: 6.25” x 8.25” Literature: B E R RY,

I A N A N D DU N C A N , M I C H AE L , R IC H AR D P E T TIB O N E : A R E TR O S P EC TIV E,

E XHI B I T I ON C ATA LOG , SA R ATOG A SP R I N G S : F R AN C E S YO UN G TAN G TE AC H IN G MUS E UM, 2 005, P 80, N OS 88 - 9 0; ASP EC TS DE L 'ART D U XX E S IEC L E L ' O UE V R E R E-P R O D UITE, A B B AYE- SA I N T A N DR E : M E YM AC C E N T R E D ' ART C O N TE MP O R AIN , 19 9 1.

Exhibited: "ASP EC T

DE L 'A RT DU XXE M E S IEC L E , " AB B AY E SAIN T-AN D R E , ME Y MAC ,

F R A N C E , AU G U ST- DEC E M B E R 1 9 9 1 ; "R I C HA R D P E T TIB O N E : A R E TR O S P EC TIV E , " TR AV E L IN G E XHI B I T I ON , I N ST I T U T E OF C ON T E M P OR A RY ART, P H IL AD E L P H IA; F R AN C E S YO UN G TAN G M U SE U M , SA R ATOG A SP R I N G S; L AG U N A A RT MUS E UM, L AGUN A B E AC H , AP R IL 2 0 05 -MAY 2 006 .

$90,000-125,000


Molding ordinary objects, restrained colors, and layered images atop constructed canvases, American artist Lawrence Carroll (b. 1950) straddles the border between painter and assemblage artist. Of Australian descent, Carroll moved to Santa Monica, California as a child and attended the Art Center College of Design in Pasadena. Upon moving with his own family to New York in 1984, his art career gained serious momentum, leading to his first solo exhibition in 1988. The Obituary Series from the late-80s are some of his earliest works that combine paint, pencil, and text cutout from newspapers. These works – created before any of the featured artists had actually died – directly confront the audience, forcing the viewer to react to the deaths of influential artists. In the examination of these premature obituaries presented as unearthed relics, the viewer questions the role of these artists in their lives. In addition to Carroll's own auto-obituary, Robert Rauschenberg is given a death notice; a fitting eulogy considering that some of Carroll’s recent constructions resemble Rauschenberg’s Combines. While Carroll often attaches everyday objects to his canvases, for his Calendar Series he used only a few materials to construct a common item. For Calendar (c. 1987-1989), an early example of a series he continues to revisit, he used layers of handmade canvas, wax, and resin to create a blank wall calendar in disrepair. Currently living in Venice, Italy, Carroll continues to create art that can be viewed in international exhibitions and permanent collections at the Museum of Contemporary Art, Los Angeles, the Guggenheim Museum in New York, and the National Museum of Modern Art, Tokyo. Hughes, Robert J. “Lawrence Carroll’s Corners.” Artslant.com. Art Slant Paris, 3 May 2010. Web. 12 Aug. 2012.

169 LAWRENCE CARROLL OBITUARY SERIES (4) c. 1987-1991 Mixed media collage on paper A: "Jasper Johns dies"; B: "Brice Marden is dead"; ; C: "R. Rauschenberg, shot to death"; D: "David Salle dies"; A: Inscribed and signed "For Chris from Larry" lower left; C: signed "Larry W Carroll" in pencil lower right A: Sheet (vis.): 23.75 x 18"; Frame: 35.75" x 29.5"; B: Sheet 23.75" x 17.75"; C: Sheet: 23.75" x 18.5"; Frame 36.5" x 31"; D: Sheet: 24" x 19" Provenance: ACQU IRE D Literature: R OSSI,

DIREC TLY F ROM TH E ARTIST

L AU RA M AT TIOL I, L AWRE NC E CARROL L , M I-

L AN: E DIZIONI CHARTA , 200 8 , ANOTH E R E XAM P L E IN TH E SE RIES I LLU STRATE D P 43.

$10,000-15,000


170 LAWRENCE CARROLL 12 X 12 BOX c. 1989 Oil, wax, resin, and staples on wooden box Unsigned 5.625” x 9.75” x 9.375” Provenance: AC Q U IRED

D IRECT LY FROM

T H E A RT I ST

$4,000-6,000

101 171 LAWRENCE CARROLL WE MUST WAKE UP AMERICA c. 1992 Mixed media on paper Signed “Larry Carroll” lower right Sheet (vis.): 23.25” x 17.5”; Frame: 28.25” x 22.5” Provenance: AC Q U IRED

D IRECT LY FROM

T H E A RT I ST

$3,000-5,000

172 LAWRENCE CARROLL CALENDAR c. 1987-89 Mixed media (resin, wax, handmade canvas paper) affixed to wooden support 16” x 9.25” x 1” Provenace: AC Q U IRED T H E A RT I ST

$5,000-7,000

D IRECT LY FROM


173 ANDY WARHOL SOME MEN NEED HELP 1982 Silkscreen inks and collage on paper Unique Signed upper right FS #IIIB/8 Original artwork for the poster of John Ford Noonan’s play “Some Men Need Help,” starring Philip Bosco and Treat Williams. Sheet: 39.75” x 39.75”; Frame: 46” x 46” Literature: FELDMA N,

FRAY DA AN D J OR G

S CHEL L M ANN, A NDY WA RH OL PR I N TS: A CATALO GU E RA I SONNÈ 1962-1987, 4 T H ED IT IO N, NEW YORK: DA P, 20 03, P 2 59, #IIIB/ 8 .

$18,000-25,000


174 ANDY WARHOL FISH 1983 Screenprint on wallpaper Unknown edition size Rupert Jasen Smith, New York, printer Made as a backdrop for the exhibition “Paintings for Children,” Bruno Bischofberger Gallery, Zurich, Switzerland, December 3, 1983-January 14, 1984. FS #IIIA/39 Sheet (vis.): 40.75” x 29”; Frame: 50.5” x 38.5” Literature: F E L D MAN,

FR AYDA AND JOR 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 NÈ 1 96 2-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I I A/39.

$4,000-6,000

175 ANDY WARHOL BRILLO SOAP PADS 1970 Silkscreen Unknown edition size Pasadena Museum of Art, Pasadena, publisher Signature lower left Poster made for the 1970 exhibition of Warhol at the Pasadena Museum of Art. Sheet: 30” x 26” $1,500-2,000

103


176 ANDY WARHOL UNTITLED (CAMPBELL’S SOUP CAN TOMATO) Marker on paper Inscribed “with much love Andy Warhol” Andy Warhol Authentication #102.122. Sold with certificate of authenticity from the Andy Warhol Art authentication board. Sheet: 11.875” x 8.5”; Frame: 19.125” x 15.625” Provenance:

R OBE RT SHAPAZIAN;

P RI VAT E COLLECTION, CALIFORN IA

$4,000-6,000

177 ANDY WARHOL CAMBELL’S SOUP CAN (TOMATO) 1966 Screenprint on shopping bag Unknown edition size Published by Institute of Contemporary Art, Boston Published for an exhibition at the Institute of Contemporary Arts, Boston, Massachusetts, October 1November 6, 1966. FS #II/4a Image: 16” x 9.125”; Bag: 19.25” x 17” Literature: FELDMA N,

FRAY DA A ND J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÈ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, P 5 9, #I I / 4 A .

$2,000-3,000


178 ANDY WARHOL CHICKEN NOODLE (FROM CAMPBELL’S SOUP I) 1968 Silkscreen printed in colors on wove paper #217 of 250 Factory Additions, New York, publisher; Salvatore Silkscreen Co., Inc., New York, printer Signed verso lower right with stamped edition FS #II/45 Sheet 35” x 23”; Frame 37.5” x 25.5” Literature: F E L D M A N ,

FRAYDA A ND JORG

S C H E L L M A N N , A N DY WA RHOL PRINTS: A CATA LO GU E R A I S O N N È 1 9 62-1 9 87, 4T H ED IT I O N , N E W YO R K : DA P, 2 0 03 , P 72 , #II/45 .

$15,000-20,000

105


179 ANDY WARHOL MAO 1972 Screenprint in colors on Beckett High White paper #100 of 250 Styria Studio, Inc., New York, printer Signed and dated verso with edition stamp FS #II/95 Sheet: 36” x 36”; Frame: 36.25” x 36.25” Literature: FE LDMAN,

FR AY DA AND JORG

S CHELLMANN, ANDY WAR HOL PRINTS: A CATA LOGU E R AISONNÈ 1962-19 8 7, 4 TH ED I T I O N, NE W YORK : DAP, 2003, P P 8 2- 83, #I I / 95.

$40,000-60,000


180 ANDY WARHOL COW 1976 Screenprint on wallpaper Unknown edition size with approximately 100 signed in felt pen Factory Additions, New York, publisher; Bill Miller’s Wallpaper Studio, Inc., New York, printer Signed lower right in felt pen FS #II/12A Published for an exhibition at the Modern Art Pavilion, Seattle Center, Seattle, Washington, November 18, 1976 January 9, 1977. Image (vis.): 44.5” x 28”; Sheet: 44.5” x 29.75”; Frame: 45.75” x 30.125” Literature: F E L D MAN,

FR AYDA AND JOR 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 NÈ 1 96 2-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I /1 2A .

$10,000-15,000

107

181 ANDY WARHOL SPACE FRUIT: PEARS (FROM SPACE FRUIT: STILL LIFES) 1979 Screenprint on Lenox Museum Board #129 of 150 Grippi/Zivian, Inc., New York, publisher; Rupert Jasen Smith and Joe Grippi, New York, printers Signed lower left with edition FS #II/203 Image: 30” x 40”; Sheet: 30” x 40”; Frame: 37” x 47” Literature: F E L D MAN,

FR AYDA AND JOR 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 NÈ 1 96 2-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #I I /203.

$3,000-5,000


182 TOM WESSELMANN MONICA WITH TULIPS 1989 Screenprint in colors #42 of 100 International Images, Inc., Putney, publisher Signed and dated in pencil with edition at lower right margin; two blindstamps lower right Image: 35.5” x 44.25”; Sheet: 44” x 53”; Frame: 45.75” x 54.5” Literature: TOM

WESSE LMANN: WORKS

O N PA P ER , L ASE R - CU T STE E L S A ND S CREEN P RINTS, K NOK K E : SAMU E L VANHO EG A ERDE N GALLE RY, 2008, P 4 6 .

$5,000-7,000

183 TOM WESSELMANN NUDE 1980 Color aquatint #57 of 100 Abbeville Press, NY, publisher Signed and dated in pencil lower right Image: 27.75” x 30”; Sheet (vis.): 28.25” x 30.75”; Frame: 35.25” x 37.75” $4,000-6,000


184 TOM WESSELMANN STILL LIFE WITH LICHTENSTEIN AND TWO ORANGES (FROM PORTFOLIO 90) 1993 Screenprint in colors on museum board Artist's proof # 6 of 12; aside from the edition of 90 International Images Inc., Putney, publisher Signature and edition lower right Image: 33” x 54.25”; Sheet: 42” x 59”; Frame 44” x 60” $4,000-6,000

109


185 CHUCK CLOSE JOEL (MAQUETTE) 1991 Black and white Polaroid photograph with tape and black ink mounted on foamcore Unique Signed and dated “Chuck Close 1991” lower center; title upper center Photograph: 24” x 19.5”; Foamcore: 28” x 23.5”; Frame: 31.5” x 27.25” Literature: GUAR E ,

J, CHU CK CLOSE :

LI F E AND WORK , 1988 -1995, NE W YORK , 1995, P 92 (DE TAIL ILLU STR ATIO N) .

$20,000-30,000


186 CHUCK CLOSE DALAI LAMA 2005 Digital pigment print on Hahnmuhle Photo Rag paper #27 of 30 Signed “Chuck Close” lower center margin in pencil; edition lower left; dated lower right Image: 40” x 33”; Sheet: 48” x 41”; Frame: 53” x 45” $6,000-9,000

111


187 JASPER JOHNS THE CRITIC SEES (FROM TEN FROM LEO CASTELLI PORTFOLIO) 1967 Embossing with silkscreen on Rives BFK From the edition of 200 Tanglewood Press, New York, publisher; Joan Farrar, printer Signature with title and date in pencil lower left; Joan Farrar blindstamp lower left Image: 4” x 6”; Sheet: 23.75” x 19.5”; Frame: 26” x 22.25” Literature: FIE LD,

RICHAR D S, TH E P RINTS

O F JAS P ER JOHNS 1960 -1993 : A CATALOG UE RA I S O NNÉ , NE W YORK : U L AE , 199 4 , # 39.

$3,000-5,000

188 JASPER JOHNS SUMMER (BLUE) 1985-1991 Lithograph in colors on J. Whatman paper #52 of 225 Brooke Alexander Editions, publisher; Douglas Volle and Richard Goldston, printers Signed and dated lower right; edition lower left; blindstamp lower left Image: 9” x 6”; Sheet: 16.25” x 11”; Frame: 17.75” x 12.5” Literature: FIE LD,

RICHAR D S, TH E P RINTS

O F JAS P ER JOHNS 1960 -1993 : A CATALOG UE RA I S O NNÉ, NE W YORK : U L AE , 199 4 , # 25 4 .

$2,000-3,000

189 LARRY RIVERS ACETATE CAMEL 1978 Lithograph in colors on acetate #109 of 120 Signed with date and edition lower right Sheet (vis.): 24” x 20.5”; Frame: 33.25” x 29.5” $2,000-3,000


190 RICHARD ESTES CAFETERIA (FROM RADICAL REALISM I) 1970 Offset lithograph #143 of 200 Mother Lode Editions and One Hundred Acres Gallery, publishers Signed “143 RE” in plate recto Sheet: 19.75” x 23.75” $1,000-1,500

191 CHRISTO ORANGE STORE FRONT, PROJECT 1991 Lithograph in colors, varnished with collage of brown wrapping paper, broadcloth, staples, acetate, and galvanized iron sheet on Arches cover mounted to museum board Artist’s proof #10 of 35; aside from the standard edition of 100 Leif Holm Gallery, Nassjo, and Claes Distner Gallery, Karlshamm, publishers; Landfall Press, Chicago, printer Signed “Christo” with edition in pencil lower center Sheet: 27” x 31.25”; Frame: 32.875” x 37.375” Literature: BE N EC K E,

JOSEPHINE,

C H R I STO A N D J E A N N E- CL AU D E, PRINTS A N D O BJ EC TS, 1 9 6 3 - 95 : A CATA LOG U E R A I S O N N É, M U N I C H : ED IT ION SCHELLMA N, 2 N D E D, 1 9 95 , #1 5 7.

$3,000-5,000

192 CHRISTO POSTER FOR PARIS REVIEW 1982 Offset lithograph Artist’s proof #1 of 10; aside from the edition of 250 Signed “Christo” on image lower center with edition; signed “Christo” lower center sheet margin Image: 31” x 24”; Sheet: 36” x 24”; Frame: 42.625” x 30.625” $1,500-2,000

113


DETAIL OF SIGNATURE


115


251 DAVID HOCKNEY MIKE IZZO IV 2003 Watercolor on paper in two sheets Signed and dated in pencil lower right; retains Richard Gray Gallery label verso; retains LA Louver gallery label verso; retains David Hockney copyright label with “#03F.11” handwritten verso Sheet: 23.5” x 36”; Frame: 26.75” x 39”

Provenance: PROPERT Y BARBARA COLLECTION

$40,000-60,000

FROM A SA N TA


193 GEORGE NAKASHIMA RARE EARLY SLED-BASE COFFEE TABLE Studio, 1969 Claro walnut and Rosewood Signed and dated in black marker “George Nakashima/Oct 1969” 14.875” x 56” Literature:

O ST E R GARD, D EREK , G EORG E

N A KAS H I M A : F U L L C IRCLE, A MERICA N C R A F T M U S E U M , 1 9 8 9, P 1 3 7 FOR A S I M I L A R E XA M P L E .

$100,000-150,000

117


“I use the same basic materials and techniques as my father did, and insist on the same standards of craftsmanship. In modern Western terms, however, this very continuity can be interpreted to mean that my work has not departed far enough from my father’s example to be considered original.” MIRA NAKASHIMA, 2003

195 (OPPOSITE PAGE) GEORGE NAKASHIMA & MIRA NAKASHIMA CONOID CHAIRS (14)

194 MIRA NAKASHIMA MINGUREN II DINING TABLE Studio, designed by George Nakashima c. 1960; this example 2001 American black walnut Signed “Mira Nakashima 2.22.01” and “Hill” 29.5” x 144” x 52.5” $20,000-30,000

Studio, designed by George Nakashima c. 1960; four chairs produced prior to 1990 and ten produced 2002 by Mira Nakashima American black walnut, hickory spindles Four are faintly marked “Carruthers” and eight are signed in marker “Nakashima March 27th 2002” Comprised of four examples by George Nakashima and ten by Mira Nakashima Each 35.5” x 20” x 20” Literature: OSTE RG ARD,

DE RE K , GEO R GE

NAKASH IM A : F UL L C IRC L E, AM E R I CA N C RAF T M USE UM , 1 9 8 9, P 1 5 5 FOR A SIM IL AR E XAM P L E .

$14,000-18,000


119


196 GEORGE NAKASHIMA PICTURE FRAME I Studio, executed 1966 Walnut Frame signed “Nakashima September 1966”; lithograph with printed signature lower right Sold with Ben Shahn print "Song of Degrees"; 1963; from the edition of 200. Sheet: 20.625” x 27”; Frame: 30.5” x 42” Ben Shahn and George Nakashima were close friends since their meeting in the late 1950s. George sold custom ordered frames for Ben's works from 1967 to 1969 during the time that his artwork was sold in the studio. Literature: OSTE RGARD,

DE RE K , G EORG E

NAKAS HI MA : FU LL CIR CLE, AME R ICAN C RAFT M U SE U M, 1989, P 174 FOR A SIM IL A R EXAMPLE ; NAKASHIMA , MIRA , NATURE FO RM & SPIRIT: THE LIFE AND LEG ACY O F G EO RGE NAKASHIMA , ABRAMS, 2003, P 183.

$5,000-7,000


197 MIRA NAKASHIMA HEADBOARD WITH PLANK BACK AND PLATFORM Studio, designed by George Nakashima c. 1954; this example executed 2001 American black walnut Headboard signed “Mira Nakashima 1.18.01”; platform signed “Mira Nakashima 2.22.01” Headboard: 45” x 110”; Platform: 14” x 80” x 78” Literature: O ST E R GA RD,

D EREK , G EORG E

N A KAS H I M A : F U L L C IRCLE, A MERICA N C R A F T M U S E U M , 1 9 8 9, P 1 5 3 FOR A S I M I L A R E XA M P L E .

$4,000-6,000

121


198 GEORGE NAKASHIMA AMOEBA TABLES (2)

199 GEORGE NAKASHIMA AMOEBA LOW TABLE

Studio, designed c. 1951 Madrona Wood Each 21” x 26.5” x 19.5”

Studio, first designed 1941 for the apartment of Andre Ligne, Seattle, WA; this example later Madrona wood 12.375” x 20.25” x 13.625”

Literature: OSTE RGARD,

DE RE K , G EORG E

N AKAS HI MA : FU LL CIRCLE, AME RICAN CRA FT M U SE U M, 1989, P 121 FOR A

Literature: OSTE RG A R D,

S I M I L A R EXAMPLE .

NAKASH IM A : F UL L C IR C L E, A M E R I CA N C RAF T M USE UM , 1 9 8 9, P 1 2 1 FO R A

$4,000-6,000

SIM IL AR E XAM P L E .

$1,500-2,000

200 GEORGE NAKASHIMA HEADBOARD Widdicomb, designed 1958-61 Walnut Branded mark “GEORGE NAKASHIMA” 43” x 63” x 2.375” Literature: NAKASHIMA ,

MIRA , NATURE

FO RM & S PIR IT: THE LIFE AND LEG ACY OF G EO RG E NAKASHIMA , ABRAMS, 2 003, P P 16 2-170.

$1,500-2,000

D E R E K , GEO R GE


201 GEORGE NAKASHIMA SLAB COFFEE TABLE

202 GEORGE NAKASHIMA CONOID CHAIR

Studio, designed c. 1948 American black walnut 12.5” x 60.5” x 17”

Studio, designed c. 1960; this example executed 1978 American black walnut and hickory Marked “Studio” and incised “LXXVIII” under seat 35.5” x 20” x 21”

Literature: O ST E R GA R D,

D E R E K , GEO R GE

N A KAS H I M A : F U L L C I R C L E, A M E R I CA N C R A F T M U S E U M , 1 9 8 9, P 1 1 9 FO R A S I M I L A R E XA M P L E .

$10,000-15,000

Literature: O ST E R GA RD,

D EREK , G EORG E

N A KAS H I M A : F U L L C IRCLE, A MERICA N C R A F T M U S E U M , 1 9 8 9, P 1 5 5 FOR A S I M I L A R E XA M P L E .

$4,000-5,000

123

203 GEORGE NAKASHIMA CUSTOM WALL MOUNTED SHELF Studio, designed c. 1974 American black walnut with corbels 12.5” (with corbels) x 83.5” x 17” $6,000-9,000


204 MIRA NAKASHIMA KORNBLUT NIGHTSTANDS (2) Studio, designed by George Nakashima c. 1964; these examples produced 2001 American black walnut, East Indian Rosewood, English oak burl, calf suede drawer lining Each signed and dated “Mira Nakashima February 22. 2001” Each 24” x 29.5” x 26.25” Literature: OSTE R GAR D,

DE R E K , G EORG E

N AKAS HI MA : FU LL CIR CLE, AME R ICAN CRA FT M U SE U M, 1989, P 165 FOR A SIM IL AR EXAMPLE .

$4,000-6,000

205 MIRA NAKASHIMA GREENROCK STOOLS (4) Studio, designed by George Nakashima c. 1973; this example produced by Mira Nakashima 2001 American black walnut, black/brown and white wool upholstery Each signed and dated “Nakashima 2.22.01” Each 11” x 20” x 21” The Greenrock stools were one of the last seating models designed by George. Literature: OSTE R GAR D,

DE R E K , G EORG E

N AKAS HI MA : FU LL CIR CLE, AME R ICAN CRA FT M U SE U M, 1989, P 155 FOR A SIM IL AR EXAMPLE .

$3,000-5,000


206 GEORGE NAKASHIMA ROUND COFFEE TABLE

207 MIRA NAKASHIMA SLIDING DOOR CABINET

Studio, designed 1955 American black walnut 13” x 47.625” diameter

Studio, designed by George Nakashima c. 1947; this example produced c. 2002 American black walnut and Pandanus cloth Inscribed on back panel “#2085 Berg” 31.75” x 60” x 22”

$6,000-9,000

Literature: O ST E R GA RD,

D EREK , G EORG E

N A KAS H I M A : F U L L C I RCLE, A MERICA N C R A F T M U S E U M , 1 9 8 9, P 1 67 FOR A S I M I L A R E XA M P L E .

$4,000-6,000

125


208 GEORGE NAKASHIMA CONOID BENCH WITH SPINDLE BACK Studio, designed c. 1961 American black walnut, Hickory and East Indian Rosewood 12.25” x 83.25” x 25” Literature: OSTE RGARD,

DE RE K , G EORG E

NAKAS HI MA : FU LL CIR CLE, AME RICAN C RAFT M U SE U M, 1989, P 157 FOR A S I M I L AR EXAMPLE .

$20,000-30,000


209 HAROLD CHRISTOPHER DAVIES UNTITLED 1947 Watercolor Signed and dated lower right Sheet (vis.): 7.375” x 10.75”; Frame: 13.375” x 16.625” $2,000-3,000

127

210 FRITZ SCHWADERER UNTITLED c. 1964 Oil on canvas Retains partial Ankrum Gallery label affixed to upper canvas stretcher verso Canvas: 27.25” x 29.25”; Frame: 32.75” x 35.5” Exhibited: “ R EC E NT

OIL PA INT ING S BY

F R I TZ S C H WA D E R ER”, EST HER ROBLES GA L L E RY, LO S A N G ELES, OCTOBER N OVE M BE R 1 9 6 4.

$1,000-1,500


211 OSKAR FISCHINGER THE WAVE 1948 Oil on canvas Signed and dated lower right; artist’s signet painted lower left; retains partial San Francisco Museum of Modern Art exhibition label verso; retains 2 partial Los Angeles County Museum of Art exhibition labels verso Canvas: 17.75” x 23.75”; Frame: 19” x 24.75” Exhibited: "NEW

PA INTINGS BY L A A RT I STS,"

SAN FRANCI SCO MU SEU M OF MODE R N A RT, 1 9 4 8 ; "AN NUA L TRAVELING A RTI STS E XHI B IT IO N," LO S A NGELES COU NT Y MUSE U M OF ART, 1 9 4 8

Literature: MORI TZ,

WILLI A M, OP T I C A L

PO ET RY: LIFE A ND WORK OF OSKA R F I SC HIN G ER , BLOOMI NGTON: INDIA NA UN I VE R SI T Y PRESS, 2 00 4, P 142 FOR SI MI L A R E XA M P L E FRO M T HE SERI ES OF WAVE PA I N T I N G S.

$10,000-15,000

212 HANS BURKHARDT THE COCK FIGHT 1954 Oil on canvas Signed and dated “H. Burkhardt 54” lower right; signed with title and date verso Canvas: 33” x 36.25” $10,000-15,000

213 (OPPOSITE PAGE) OSKAR KOKOSCHKA SELF-PORTRAIT FROM TWO ASPECTS 1923 Four color chalk lithograph mounted to linen Unknown edition size Kunstalon Wolfsberg, Zurich, publisher; J.E. Wolfensberger, Zurich, printer Signature in pencil Promotional poster for his 1923 exhibition at Wolsfberg Salon, Zurich Sheet: 46” x 34.625” Literature: KOKOSCHKA ,

LONDON : TH E

ARTS C O UNCIL , 1962, ILLU STRAT E D P 9 8 , #24 7; W I NGLE R , HANS M, KOKOS C H KA : DAS D RUCKGRAPHISCHE WE R K , SAL ZB URG : VERL AG G ALE R IE WE LZ SALZBU R G , 1 9 75 , P P 14 5 - 4 6 , #164.

$6,000-9,000


129


214 HAGENHAUER BOWL Hagenauer Werkstatte, c. 1950 Silvered-brass Stamped mark “Made in Austria WHW” 4.375” x 7.875” diameter $2,000-3,000

215 FRENCH MODERN GOBLETS (5) La Maison Desny, c. 1928 Silver-plate Each stamped “DESNY PARIS MADE IN FRANCE DEPOSE” Each 5.125” x 2.875” $3,000-5,000

216 ALPHONSE LA PAGLIA CANDLESTICKS AND BOWL (3) Georg Jensen, Inc., designed 1942-51 Silver Impressed “Georg Jensen, Inc, VSA L.P. Sterling 121” and “118” with artist cipher Each candlestick 9.125” x 3.5” diameter; Bowl: 5.75”” x 10 Alphonse La Paglia moved from his native Sicily to Copenhagen in order to study silversmithing under Georg Jensen. In the early 1940s he emigrated to the USA to design and create jewelry for Georg Jensen, Inc. $6,000-9,000


The First Class dining room on the SS Normandie from where this pair of chairs originated was the very height of taste and refinement when it was launched in 1935. Measuring 305 feet long, 46 feet wide and 28 feet high, the room was punctuated by 12 illuminated pillars by René Lalique and decorative bronze medallions by Raymond Subes. The underside of each chair has a wooden stretcher with four screw holes, which previously accommodated a device to anchor the chairs to the floor in the event of a rough crossing.

217 PIERRE PATOUT ARMCHAIRS FROM THE FIRST-CLASS DINING ROOM OF THE S.S. NORMANDIE (2) Manufacturer unknown, designed c. 1935 Mahogany, bronze sabots, upholstered seat and back Each 35” x 23” x 21” Literature: V I A N ,

LO U IS - RENE, A RT D ÈCO -

R AT I F S À BO R D D ES PAQ U EBOTS FRA NCA IS, 1 8 8 0 -1 9 6 0, PA R I S : FONMA RE, CONSEIL , 1 9 9 4, P P 2 1 3 , 2 1 6 , 2 1 7, 2 24 -2 2 6 (CONT EMP O R A RY P H OTO GR A PH OF T HE CHA IRS IN S I T U I N T H E 1 ST C L ASS D INING ROOM, SS NORMANDIE).

$9,000-12,000

218 QUEEN MARY DECK CHAIRS (2) Designed c. 1947 Solid and laminated beech Reverse of seat branded "Queen Mary Cunard" Each 33.5" x 22.75" x 33.5" $1,500-2,000

219 JUMO CIE BOLIDE DESK LAMP La Societe-Jumo, c. 1945 Bakelite, copper, and steel Branded “Jumo Brevete” and “Made in France” 11” (adjustable) x 6” $2,500-3,500

131


220 GEORGE SAKIER SINK American Radiator & Standard Sanitary Corporation, designed 1933 Pink-glazed porcelain, bakelite, chromeplated steel, and brass 30.5” x 29” x 18” An example of this design is in the permanent collection of the Museum of Modern Art. Literature: JOH NSON,

J STEWA RT,

AMERICAN MODERN 1925 -1940 : DE SI G N FO R A NEW AGE , NEW YORK: A BR A M S, 2000, P 1 19 (DESI GN I LLU STRATE D).

$4,000-6,000

221 KURT VERSEN FLIP TOP FLOOR LAMP Kurt Versen, Inc., designed c. 1935 Spun-aluminum, steel 62” $1,200-1,500

222 WALTER DORWIN TEAGUE KODAK CAMERA WITH ORIGINAL GIFT BOX AND PACKAGING Model no. 1A Gift Eastman Kodak Company, 1930 Lacquered metal, leather bound camera, lacquered metal tin and card packaging With manufacturer’s marks Gift box: 2.5” x 8.5” x 4.5” Literature: JOH NSON,

J STEWA RT,

AMERICAN MODERN 1925 -1940 : DE SI G N FO R A NEW AGE , NEW YORK: A BR A M S, 2000, P 65 (DESIGN I LLU STRATE D).

$4,000-6,000


223 ELOISE HOWARD FOLDING SCREEN Studio, 1927 Painted wood, oil on linen Signed “Eloise Howard 27” Howard studied at the Art Students League and the National Academy of Design, and exhibited nationally from the 1920s - 1940s. 67.75” x 59.25” (as illustrated) $3,000-5,000

133

224 AMERICAN ART DECO BULLOCKS WILSHIRE PHOTO ALBUM 1936 Album of gelatin silver prints Front of book stamped: "Shop windows and interiors Bullocks Wilshire Los Angeles August 1936/This book is the property of Edward Christie Miller." Contains interior photographs of Bullocks and other department stores in Los Angeles as well as exterior shots of the facades. Album: 11” x 15”; Photographs: 9” x 7.25” and 7.25” x 9” $5,000-7,000


225 SAMUEL MARX END TABLES (2) William J. Quigley, Inc., designed 1941 Burr-maple, marble Each 23.625” x 24” x 12” Samuel Marx was hired by actor Edward G. Robinson in 1941 to re-model his faux Tudor home at 910 North Rexford Drive, Beverly Hills to accommodate his growing art collection. This pair of tables were illustrated in an article featuring the interior in Time Magazine, March 1st, 1948. Provenance: EDWA RD

G ROBINSON ; P R I-

VAT E CO LLECTION, LOS A NGELES.

Illustrated: TIME

MAGAZINE , MA R C H 1 ,

1948.

$4,000-6,000

226 PAUL FRANKL CORK COFFEE TABLE Model no. 5016 Johnson Furniture Company, c. 1948 Lacquered cork, mahogany manufacturer’s marks to underside 14” x 48” x 24” $1,500-2,000


227 ELIEL SAARINEN & J. ROBERT SWANSON & PIPSAN SWANSON SAARINEN RARE FLEXIBLE HOME ARRANGEMENTS NESTING TABLES Johnnson Furniture Company, designed 1940 Birch, aluminum Underside with ink stencil “FHA JOHNSON FURNITURE CO. GRAND RAPIDS, MICH.” and ‘E15” 16.25” x 28.625” x 15.25”; 17” x 28.25” x 16.875”; 17.75” x 28” x 18.375” Literature: J O H N S O N,

J STEWART, AM ER I-

C AN MO D E R N 19 2 5 -194 0: DESI G N FOR A N E W AGE , N E W YO R K : ABR AM S, 2000, P 16 3 ( D E S IGN IL LUSTR ATED) .

$2,500-3,500 ALTERNATE VIEW

135


228 SAM FRANCIS UNTITLED (SF56-003) 1956 Egg tempera on paper Upper middle verso in pencil “egg tempera Sam Francis 1956” and “56-003 and 80” verso lower left Sheet: 12.75” x 14.5”; Frame: 21.125” x 22” Provenance:

PRIVATE COLLECTION,

CA LI FO RN IA (ACQU IRE D FROM TH E ARTIST JUNE 1970)

$100,000-150,000


It was the summer of 1950 and Sam Francis was eager for a change. Having completed his master of arts at Berkeley and already gaining attention in American painting, he moved to Paris to explore the European art scene. The following ten years proved to be the most pivotal in the development of Francis’ distinctive style. Always sensitive to the light of his environment, his paintings during his first two years in Paris mirrored the gloomy winter skies. Rich gray hues contrasted with muted yellows, blues, and greens dominate these works, known as the White Paintings. Although foggy and understated, color slowly reentered the white and gray landscapes, and by 1953 darker colors were thrust to the foreground. After a successful show at the Galerie du Dragon in 1952, he was invited to participate in the major shows “Signifiants de l’informel” (1952) and “Un art Autre” (1953). He frequented Parisian cafes and bistros with American painters Al Held, Ruth Francken, and Norman Bluhm, painted watercolors at critic Georges Duthuit’s house in Aix-en-Provence, and by the mid-1950s, he had exchanged paintings with Alberto Giacometti. In 1955, just five years after moving to Paris, Francis achieved a one-man show at the Galerie Rive Droite as well as shows in Bern, Rome, and Stockholm, propelling him to international acclaim. After he was featured in the 1956 exhibit at the Museum of Modern Art, “Twelve Americans,” Time magazine deemed him “the hottest young painter in Paris.” At these shows, paintings such as Big Orange (1954-55) and Red in Red (1955) compelled audiences with their magnitude and intense color outlined in white, yellow, and black, evocative of “geological strata in cross-section or a chemical suspension.” While Francis is known for these expansive canvases of nonobjective, colorful forms, throughout the 1950s, he regularly produced small and intimate paintings on paper. Francis enjoyed the properties of paper for allowing him to fully explore a color’s potential. Additionally, blue had reemerged and would remain the dominant color for years to come. In 1956, Francis painted Untitled (SF56-003), an egg tempera on paper depicting a nebulous blue formation atop layers of yellow, green, and red. In the upper left corner, a deep blue materializes from a well of black, the color that Francis described as the “color from which light emerges, often unexpectedly.” In this painting, however, black does not dominate the canvas like his works from the early 1950s. Instead, mounds of vibrant yellow – the opposite of black, according to Francis – lead foggy red, hints of green, and vigorous blues beyond the paper’s white boundaries. A notably similar painting on paper in the Los Angeles County Museum of Art’s permanent collection, Blue Spanish Shawl (1954-55), depicts these blue cells framed in yellow and red. Untitled (SF56-003) – for sale for the first time since it was purchased directly from Francis in 1970 – not only represents a turning point in his career, but also typifies his instinctive relationship with light and color. Royhatn, Jeanne Greenberg, and Belinda Marcus. Sam Francis: Paintings & Works on Paper from the 50s. New York: Lawrence Rubin Greenberg Van Doren Fine Art, 1999. Print. Selz, Peter. Sam Francis. New York: Abrams, 1982. Print.

137


229 BRUCE CONNER UNTITLED c. 1953 Charcoal, graphite, and watercolor wash on paper Signed “Conner” in graphite lower right Sheet: 18.5” x 12.25”; Frame: 24” x 17.5” LAMA wishes to thank the Estate of Bruce Conner for authenticating this work. Provenace: BATMAN

GALLE RY, SAN F RAN-

C I S CO ; P RIVATE COLLECTION, TIB URON; P RI VAT E COLLECTION, SAN FRAN C ISC O

$3,000-5,000


230 WILLIAM BRICE UNTITLED 1978 Oil on Masonite Initialed and dated lower right “WB 78”; retains 2 LA Louver Gallery labels verso; retains James Corcoran Gallery label verso; retains Polygram label verso Image: 31.25” x 36”; Frame: 31.5” x 36.75” $4,000-6,000

139 231 JOHN ALTOON UNTITLED c. 1965 Lithograph #1 of 20 Signed “Altoon” in pencil lower right; edition lower right Image (vis.): 21.5” x 29.75”; Frame: 30.5” x 37.5” $800-1,200


232 HOWARD WARSHAW UNTITLED 1948 Acrylic on board Signed and dated lower right Board: 20.75" x 13"; Frame 22.25" x 14" Provenance: THE

ESTATE OF

RO B ERT CHU E Y

$1,500-2,000

233 HOWARD WARSHAW UNTITLED 1953 Collage Signed and dated lower left in pencil Sheet (vis.): 11.5” x 16.675”; Frame 15.75” x 21” Provenance: FROM

THE COLLECTION OF

JA M ES BY RNES

$2,000-3,000


234 ROBERT CHUEY VOYAGE II 1953 Oil on canvas Signed and dated lower left in pencil; retains Frank Perls Gallery label on canvas stretcher verso Canvas: 26.625” x 35.5”; Frame: 25.5” x 34.5” Provenance: T H E

ESTAT E OF

R O BE RT C H U E Y

$2,000-3,000

235 ROBERT CHUEY UNTITLED 1954 Oil on canvas Signed and dated lower right Canvas: 13.75" x 15.75; Frame: 15” x 17” Provenance: T H E

ESTAT E OF

R O BE RT C H U E Y

$1,500-2,000

141


236 EDMUND TESKE UNTITLED (PHOTOGRAPHS OF JOSEPHINE CHUEY) c. 1960 Gelatin Silver photographs mounted on Strathmore deckle paper Each signed in pencil Each photograph approximately 9.5" x 7.75"; Sheet 22" x 15" Provenance: THE

ESTATE OF R OBE RT

C HUEY

$6,000-9,000


237 JOSEF SUDEK UNTITLED c. 1945 Pigment print Signature in pencil lower right sheet; inscribed in Czech verso by artist Impression: 3” x 3”; Sheet: 6.5” x 4” $3,000-5,000

VERSO DETAIL

143


238 EDWARD WESTON NUDE ON SAND, OCEANO 1936 Vintage silver gelatin photographic print Weston negative #237N Image (vis.): 7.5” x 9.25”; Frame: 14.5” x 16.25” Provenance: J OHN

STE PHE N CH ITWOOD,

M AYO R O F CAR ME L , CALIFORNIA ( ACQ UI RED FR OM THE ARTIST E A RLY 194 0 S ); JOHN STE PHE N CHITWOO D, JR , CA LI FO RN IA ; PR IVATE COLLECTIO N, CAL IFO RNI A (GIFTE D FROM THE ABOVE C IRCA 1955 )

Literature: CONGE R ,

AMY, E DWA RD

W ESTO N: PHOTOGRAPHS FROM T H E C OLLEC T I O N OF THE CE NTE R FOR CRE ATIV E P HOTO G RAPHY, TU CSON: CE NTE R FOR C REAT I VE P HOTOGR APHY, 1992, 1ST EDITION, FI G URE 928/193 6; STE BBINS J R , TH EODORE E, W ESTO N'S WESTONS: PORTRA ITS AND NUD ES, B OSTON: MU SE U M OF FIN E ARTS, 198 9, I LLUSTRATE D PL 54, CAT # 9 4 .

$4,000-6,000


239 TERRY O’NEILL BIANCA JAGGER, MUNICH, 1978 1978; printed 1986 C-Type print #1 of 10 Signed, titled, dated, and stamped “Terry O’Neill Legends” verso Photograph: 20" x 16" $3,000-5,000

145

240 LAURIE SIMMONS LYING OBJECTS (PERFUME BOTTLE) 1992 Color offset lithograph on Luxus Satin paper Trial proof; aside from the edition of 50 Signed lower right in pencil; inscribed “T.P” lower left Image: 9.5” x 14”; Sheet: 15.75” x 19.75”; Frame: 20.5” x 25.25” $1,000-1,500


241 DAVID HOCKNEY PETER ON BED SEATED 1968 Ink on paper Signed and dated lower right; retains Los Angeles County Museum of Art exhibition label verso; retains partial Steven Jones Art and Kasmin Ltd. labels on verso of frame Drawing of David Hockney’s former lover and muse, Peter Schlesinger Sheet: 16.75” x 13.75”; Frame: 24.25” x 21.25” Exhibited: " TH E

MIC H AE L AN D D O R OTH Y B L AN K FO RT C O L L EC TIO N , " LOS ANG E-

L E S C O UN T Y MUS E UM O F ART, AP R IL - J UN E 19 8 2

Provenance: KAS MIN

LTD, LO N D O N ; GR E E R GAL L E RY, N E W YO R K ; MI CH AEL AND

D O R OTH Y B L AN K FO RT, LO S AN GE L E S ; P R IVATE C O L L EC TIO N , LO S ANG ELES

Literature: E D GE RTO N ,

AN N E C AR N EGIE , AN D MAUR IC E TUC H MAN , TH E M I-

C H AE L AN D D O R OTH Y B L AN K FO RT C O L L EC TIO N , LO S AN GE L E S C O UNT Y M U SEU M O F ART, 19 8 2 , IL LUSTR ATE D P 4 7, C AT N O 7 1.

$25,000-35,000


242 DAVID HOCKNEY FOUR FLOWERS IN STILL LIFE 1990; published 1991 Lithograph in colors on white Arches 88 mould made paper Artist's proof #7 of 12; aside from the edition of 50 Tyler Graphics, Mt. Kisco, publisher Signed and dated lower right; edition lower left Image: 21" x 32"; Sheet: 27" x 37.5"; Frame: 33.25" x 44.5" Literature: DAV I D

H OCKNEY: CATA LOG U E

R A I S O N N É O F T H E P RINTS 1 95 4 -1 9 95, TO KYO : M U S E U M O F CONT EMPORA RY A RT, 1 9 9 6 , #3 2 2 .

$6,000-8,000

14 7

243 DAVID HOCKNEY PARADE 1982 Serigraph on heavy paper Unknown edition size Petersburg Press, New York, publisher Signature in pencil upper left; printed “Petersburg Press 1982” lower center margin Sheet: 80.25” x 40.5”; Frame: 83” x 43.25” Literature: BAGGOT T,

BR I A N , H O C K N E Y:

P O ST E R S, N E W YO R K : H A R M O N Y BO O KS,

244 DAVID HOCKNEY INK IN THE ROOM (FROM SOME NEW PRINTS) 1993 23-color screenprint and lithograph on Arches 88 #17 of 68 Gemini G.E.L., Los Angeles, publisher Signed and dated lower right; edition lower left; Gemini G.E.L. blindstamp lower left Gemini G.E.L. #23.93 Sheet: 25.5” x 35.5”; Frame: 34.25” x 44.25”

1 9 8 7, #9 2 .

$1,500-2,000

Literature: DAV I D

H OCKNEY: CATA LOG U E

R A I S O N N É O F T H E P R INTS 1 95 4 -1 9 95, TO KYO : M U S E U M O F CONT EMPORA RY A RT, 1 9 9 6 , #3 3 3 .

$3,000-4,000


245 DAVID HOCKNEY WATER POURING INTO SWIMMING POOL, SANTA MONICA 1964 Lithograph in colors on Japanese handmade paper #51 of 75 Editions Alecto, Shoeburyness, publisher; Atelier Matthieu, Zurich, printer Signed “David Hockney ‘64” in pencil lower right; edition lower left with title Sheet: 19.5” x 26”; Frame: 26.375” x 32.125” Literature: DAVID

HOCK NE Y: CATALOG UE

RA I S O NNÉ OF THE PRINTS 1954 -1 9 95, TO KYO : MU SE U M OF CONTE MPOR ARY ART, 1996 , #380.

$7,000-10,000


149

246 HOWARD HODGKIN NICK 1977 Soft-ground etching with sugar lift and aquatint with hand colouring in watercolor on Crisbrook handmade paper Artist’s proof; aside from the edition of 100 Petersburg Press, London, publisher and printer Signed and dated lower right; inscribed “AP” lower left Image: 17.5” x 22.25”; Sheet: 18.5” x 23”; Frame: 20.5” x 24.5” Literature: L I ES BE T H,

HEENK , HOWA RD

H O D GK I N P R I N TS : A CATA LOG U E RA ISONNÉ, LO N D O N : T H A M ES A ND HU D SON, 2 0 03 , ILLU ST R AT E D P 6 0, #3 2.

$2,500-3,500


247 YNEZ JOHNSTON PALACE OF THE SNOW LEOPARD 1971 Mixed media on canvas Signed “Ynez Johnston/1971” verso Canvas: 20” x 30”; Frame: 21.25” x 31.125” Exhibited: “SOU THE RN

CALIFORN IA PAINT-

I N G : 1970S PAINTING PE R SE ", DAV ID RIC HARD C O N TE MPORARY, SANTA FE , JULY 201 1 .

Provenance: COLLECTION $5,000-7,000

OF TH E ARTIST


151

248 YNEZ JOHNSTON PURIFICATION RITE 1969 Mixed media and painted ceramic on wood relief Signed “Purification Rite/Ynez Johnston/1969” verso Ceramic: 18” x 30” x 1.5”; Frame: 22” x 34” Provenance: C O L L ECT ION $5,000-7,000

OF T HE A RT IST


249 29 YNEZ JOHNSTON GRETA MAGNUSSON GROSSMAN UNTITLED (SCULPTURE) TABLE LAMPS (2) c. 1975 Ralph Smith, 1949 MixedO. media ondesigned handmade Enameled metalconstruction and brass particle board Adjustable 17” x 23” x 16” 7” x 6.25” x 14” $5,000-7,000 $3,000-5,000

30 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled metal and brass Adjustable 15” x 12” x 13” $6,000-9,000

31 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled metal and brass Adjustable 15” x 12” x 13” $6,000-9,000


153

250 KEITH HARING CHOCOLATE BUDDAH (5) 1989 Suite of 5 lithographs in colors Each HC #3 of 15; aside from the edition of 90 F.B. Editions, Paris, publisher Each signed and dated “K.Haring 89” in pencil lower right margin; edition and plus symbol inscribed lower right margin Sold with original portfolio and colophon Each impression: 19” x 24.5”; Sheet: 22” x 27.75”; Frame: 28” x 34” Literature: L I T T MA N,

KL AU S, ED, KEIT H

H A R I N G: E D I T I O N S ON PA PER , 1 9 82-1 9 9 0, ST U T TGA RT: CA N TZ , 1 9 93 , ILLU ST RAT ED P P 1 2 2-2 5 .

$15,000-20,000


155

251 KEITH HARING UNTITLED (MOTORCYCLE TANK AND SIDE COVERS) (3) 1985 Paint, marker on metal Dated "85" on the tank Sold with letters from the Estate of Keith Haring with foundation identification numbers Tank: 24” x 12” x 14”; Side covers each: 4” x 10.625” x 8.5”

REVERSE SIDE OF TANK

$30,000-40,000


253 RAYMOND PETTIBON THE LIGHT FILTERED IN

254 RAYMOND PETTIBON UNTITLED (THERE IS MORE)

1990 Ink on paper Signed and dated verso in black ink Sheet: 22.25” x 16”; Frame: 25” x 18.5”

1987 Ink on paper Signed and dated verso Sheet: 17.25” x 12.5”; Frame: 19.875” x 14.25”

1990 Mixed media on paper Signed and dated “Raymond Pettibon/90” in blue ink verso Sheet: 14” x 10.5”; Frame: 21” x 17”

$8,000-10,000

$6,000-9,000

$8,000-12,000

252 (OPPOSITE PAGE) RAYMOND PETTIBON LEAD ME TO MY BAPTISMAL

157


255 RAYMOND PETTIBON UNTITLED (I SAW XENOPHANES IN MY ACID TRIP) 1987 Watercolor and ink on paper Signed “Nelson 87” lower center; signed “Raymond Pettibon” in black ink verso Collaboration between the artist and his nephew Nelson Tarpenny Sheet: 22.375” x 17.75” $5,000-7,000


159 256 RAYMOND PETTIBON JOAN BY RAYMOND OF HOLLYWOOD 1994 Acrylic and marker on board Signed verso Board: 23.75" x 19.5"; Frame: 26.375" x 22.75" Together with "Joan of Hollywood" T-shirt; edition #5 of 50; signature and edition in black marker Shirt (folded): 14.75" x 11"; Frame: 17.375" x 14.5" $6,000-9,000


257 (OPPOSITE PAGE) RAYMOND PETTIBON 12 PRINTS BY RAYMOND PETTIBON (PORTFOLIO) 1991 Serigraph Each #20 of 40 Ed Boswell, Richard Duardo, and Kay Koch, publishers; Multiples, Los Angeles, printer Each signed with edition in pencil A: Only the Fine; B: It Might Easily Here; C: Yes, but, alas; D: The Tea Kettle Refused Water; E: She Came Within Bloodshot; F: Crawling as We do; G: Open Wide; H: The Cathedral Floor from bare marble; I: Alice!; J: We sent him up once; K: Once upon a thousand and one nights Portfolio: 27” x 22”; A: 12” x 16”; B: 22” x 17”; C: 22” x 17”; D: 22” x 17”; E: 22” x 17”; F: 12” x 17”; G: 22” x 17”: H: 26” x 22”; I: 26” x 19.75”; J: 26” x 21”; K: 26" x 19.75" $12,000-15,000

258 RAYMOND PETTIBON MEANDERING ON A RIFF

259 RAYMOND PETTIBON GROUP OF MAGAZINES (3)

1988 Offset printed and staple bound magazine Unknown edition size Illiterati Press, Beverly Hills, publisher Inscribed on title page: “To ‘Engineer’ Bob Zoell/From yr pal, Raymond Pettibon” with hand drawn train in ink 11” x 8.5”

c. 1992 Offset print and staple bound magazines A: #72 of 75; B: #17 of 100; C: #14 of 100 Each with edition in pen lower right front cover; one dated A: The Train-Watcher; B: Super Session Ten; C: The Cloud of Unreading (co-authored by Nelson Tarpenny) Each 8.5” x 5.5”

$1,500-2,000

$900-1,200

161


260 S. CLAY WILSON GROUP OF DRAWINGS (3) 1982-1983 Mixed media on paper All signed, one is dated A: Untitled (Henry); B: Untitled (Smoker); C: Untitled (Misogynistic Demon) A: 5.25” x 5”; B: 9.875” x 6.875”; C: Sheet: 9.75” x 6.75”; Frame: 15.25” x 12.25” $10,000-15,000


261 PAUL DAVIS THE ORDEAL OF DANIEL ELLSBERG October 1972 Acrylic on board Signed lower right Board: 30.5” x 22.75”; Frame: 31.75” x 24” Provenance: P L AY BOY

ENT ERPRISES, CHI-

CAGO ; P R I VAT E C O L L ECT ION, CA LIFORNIA

Illustrated: P U BL I S H ED

IN PL AYBOY

MAGAZINE , O C TO BE R 1 9 72 .

$2,000-3,000

262 PAUL DAVIS MAN AND BEAST (BY MORTON HUNT) July 1970 Acrylic on cardboard cut and glued Signed lower right Image: 15.5” x 30”; Frame 21” x 35” Provenance: P L AY BOY

ENT ERPRISES, CHI-

CAGO ; P R I VAT E C O L L ECT ION, CA LIFORNIA

Illustrated: P U BL I S H ED MAGAZINE , J U LY 1 9 7 0.

$2,000-3,000

IN PL AYBOY

163


The lamps of Serge Mouille (1922-1988) – unlike many lighting designs of the 1950s that displayed increasingly more complicated forms and eye-catching bright colors – embody simplicity of form and silhouette, monochromatic elegance, and exquisite proportion that entice and enthrall the viewer. With tactile qualities of sensuous curves that invite touch and anthropomorphic forms that fire the imagination, these sculptural masterpieces of lighting design reflect the passion and virtuosity of the designer who created them almost 60 years ago. Serge Mouille’s precocious talent began at the tender age of fifteen in 1937, when he began the study of silversmithing and metallurgy under renowned Parisian silversmith, Gabriel Lacroix. Within four years Mouille had graduated from his studies and set up his own workshop with the intention of producing household silver utensils. Mouille grew increasingly restless with this narrow focus and set about the development and construction of an experimental stainless steel car body which he titled the Zebra. Whilst the car never went into production, the experience acted as a catalyst, inspiring him to the wondrous possibilities inherent in metal. While teaching at the silversmith department in 1952 at the l’Ecole des Arts Appliqué in Paris, his work came to the attention of internationally renowned French designer Jacques Adnet, who saw the potential in Mouille’s experiments and discoveries with metal. Adnet subsequently commissioned the young designer to conceive and develop a system of lighting, to counter what he saw as the ever-complicated excesses of Italian lighting design predominant in France at the time. The resulting designs were bold in their simplicity and unlike many competitors, were highly focused on functionality and versatility. One of the typically ingenious aspects can be found in the characteristic nipple form at the top of the shade on many designs, which as well as functioning as a way to hide the jumble of wires behind the bulb socket and concentrate light within the shade, also embodies a sculptural quality, which is in itself integral to the aesthetic beauty of the design. Mouille’s other great obsession was the versatility of his designs. He understood that a lamp has the power to bring a room to life and intended for his designs to be used in as many different ways as possible within an interior. For example, the Cocotte lamp (1957) was designed to be used either as a table lamp or attached to the wall as an appliqué. To this end the shades were attached to their frames by brass ball joints to enable the shade reflectors to be moved into as many positions as possible. Mouille avoided designing fixed ceiling center lights and only eventually created them due to pressure from his clients. The range found immediate popularity with Paris’ avant-garde elite and his popularity grew as the range became featured in 1956 at the legendary and influential Parisian design retailer Galerie Steph Simon, who also showcased the designs of Charlotte Perriand, Jean Prouvé, Isamu Noguchi, and Jean Luce. Whilst bringing public validation for his genius, this newfound commercial popularity also became a source of great pressure for Mouille. He was still a silversmith at heart. Each lamp was fashioned entirely by hand, with the shades being painstakingly cut and pressed into form without the use of machinery. In order to meet demand, he was forced to introduce mechanization to the production process; however, this was completely at odds with his craftsman sensibilities. In 1964, he finally decided to cease all production of the range and concentrate on teaching full time at the l’Ecole des Arts Appliqué, where he remained until his death in 1988. Although he may have abandoned the commercial lighting range, he still continued to produce small numbers of custom light sculptures for his regular clientele. Due to his exacting standards and arts and crafts sensibilities, the world is left with only a finite number of original works by Serge Mouille. Pralus, Emile-Pierre, Serge Mouille: Un Classique Francais 1922-1988. Paris: Mont Thou Editions, 2006. Serge Mouille Luminaires 1953-1962. Paris: Galerie 1950, 1983.

DETAIL OF BACK

263 SERGE MOUILLE TREPIED TABLE LAMP Atelier Serge Mouille, designed 1953; this example executed before 1964 Enameled aluminum, steel rod, and brass collar 17” Literature: AL AN

& COU NORD, SE RG E

M O UI LLE LU MINAIRES 1953 -1962, PARIS, P 37.

$10,000-15,000


264 SERGE MOUILLE COCOTTE TABLE LAMPS (2) Atelier Serge Mouille, designed 1957; this example executed before 1964 Enameled aluminum, steel rod, brass collar 13” $15,000-20,000

265 SERGE MOUILLE AGRAFÉE CLAMP TABLE LAMP Atelier Serge Mouille, designed 1956; this example executed before 1964 Enameled aluminum, steel rod, brass collar 26” adjustable $5,000-7,000

165


167

266 JEAN PROUVÉ RARE HOSTELLERIE DE LA SANAGA GUERIDON Ateliers Jean Prouvé, c. 1954 Welded aluminium, later pine top with mortice and tenon joints 30” x 55” diameter Provenance: H O STELLER I E

DE L A

SAN AGA , C AME R OON; P R I VATE C O L L EC TO N , C ALI FOR NI A

Illustrated: J O USSE,

P H I LI P P E,

S EGUIN , PATR IC K , JEAN P R OU VÉ, GAL E R IE S J O USS E SEG U I N - ENR I C O N AVAR R A , PAR IS, 1 998, P 84 ( TH I S AC TUAL TAB L E B ASE I LLU STR ATED) .

DETAIL OF BASE

$20,000-30,000


267 JEAN PROUVÉ STANDARD CHAIR Model no. 305 Les Ateliers Jean Prouvé, c. 1950 Enameled-steel, laminated beech, aluminum Sold with a copy of Galerie de Beyrie receipt dated May 1995 32” x 16” x 19” Provenance:

GA LERI E DE BEY RI E , PA R I S;

PRIVAT E COLLECTION (ACQ U IRED F R OM T HE ABOV E MAY 1995 )

$2,000-3,000

268 CHARLOTTE PERRIAND ARMCHAIR Atelier, designed c. 1945 Oak, rush seat, and back The design was used after 1945 to furnish mountain inns in Savoy, France. 30.5” x 20.375” x 22.875” Liteature: MCLEOD,

MARY, CHARLOT TE

P ERRI A ND: AN ART OF LIVING, NE W YORK : AB RA M S, 2003, P 216 (DESIGN I LLUST RATE D).

$3,000-5,000

269 CHARLOTTE PERRIAND LES ARCS STOOLS (3) Les Arcs, designed c. 1968 Pine Together with a stool of similar design Pair: 17.75” x 12.75” diameter; Other: 18” x 11” diameter $2,500-3,500

270 ROGER CAPRON COFFEE TABLE Vallauris, c. 1965 Stained beech, ceramic tile top with impressed flower decoration Impressed to top “CAPRON VALLAURIS FRANCE” 13.75” x 46.25” x 22” $1,000-1,500


271 CHARLOTTE PERRIAND WALL LIGHTS (8) Model no. CP1 Designed c. 1965 Enameled metal Each 7.25” x 5” x 3” Literature: C H A R LOT T E

PERRIA ND : U N

A RT D E VI VR E, E XH CAT, MU SÈE D ES A RTS D ÈC O R AT I F S, PA R I S, 1 9 85 , P 5 2 .

$4,000-6,000

272 PIERRE PAULIN WRITING DESK Thonet, designed 1954 Oak, laminate, enameled steel 29” x 51” x 25” Literature: P I E R R E

PAU LIN: U N U NIV ERS

D E FO R M ES, C H A P O U TOT, P 2 9.

$3,000-5,000

169


273 MARCEL DZAMA UNTITLED (NUDE WOMAN BIRTHS COWBOY)

274 MARCEL DZAMA UNTITLED (MASKED MAN/HAM RADIO)

1998 Ink, watercolor, and root beer on paper Signed “Marcel Dzama” lower right margin; retains Greg Kucera Gallery label verso of frame Sheet: 9” x 12”; Frame: 16.625” x 14.375”

2000 Ink, watercolor and root beer on paper Signed “Marcel Dzama” center right sheet; retains Greg Kucera Gallery label verso of frame Sheet: 12.5” x 10”; Frame: 16.625” x 14.375”

$2,000-3,000

$2,000-3,000


DETAIL OF BASE

275 JEAN PROUVÉ & PIERRE JEANNERET DAUM NANCY DISPLAY TABLE Ateliers Jean Prouvé, 1944-46 Bubinga veneer, solid oak 32” x 56” x 33” Provenance: SA L L E

D’EX POSIT ION D ES

VE R R E R I ES DAU M ‡ NA NCY, FRA NCE; P R I VAT E C O L L EC T I O N , CA LIFORNIA .

Literature: S U L Z E R ,

P, JEA N PROU VÉ

O E U V R E C O M P L Ë T E VOLU ME 3 1 9 44 -1 95 4, E D I T I O N S BI R K H AU S ER , BÂLE, 2 0 0 4, PP 5 4 - 5 5 ( S I M I L A R M O D EL EX ECU T ED FOR D R TA RT E I L LU ST R ATED).

$6,000-8,000

171


276 CLAUDE VENARD NATURE MORTE c. 1958 Oil on canvas Signed “C. Venard” lower right Canvas: 9” x 12.5”; Frame: 22.5” x 25.875” $2,500-3,500

277 PIERRE ALECHINSKY MONSIEUR 1970 Ink drawing on letter Signed and dated lower margin of sheet Sheet: 7.125” x 5.125”; Frame: 9” x 7” $2,000-3,000


278 GEORGES BRAQUE PICHET ET OISEAU c. 1955 Color etching #192 of 300 Signed in pencil lower right; edition lower left Maeght #1005 Impression: 16.25" x 20"; Sheet (vis.): 19" x 22.5"; Frame: 29.75" x 34" Literature: VA L L I E R ,

D ORA , BRAQ U E: T HE

C O M P L E T E GR A P H I C S, CATA LOG U E RA IS O N N É, N E W YO R K : GA LLERY BOOKS, 1 9 82 , P 2 9 2 , M A EGH T #1 0 05 .

$2,500-3,500

279 R .B. KITAJ THE DEFECTS OF ITS QUALITIES 1967 11-color screenprint, photo-screenprint, and collage From the edition of 70 Kelpra Studio, London, printer Signature with edition in pencil lower left This print won the Bradford Biennale in 1967. Sheet: 34.75” x 23.75”; Frame: 37” x 25.5” Literature: K I N S M A N,

JA NE, T HE PRINTS

O F R B K I TA J, A L D E R SHOT: SCOL A R PRESS I N ASS O C I AT I O N W I T H T HE NAT IONA L G A LL E RY O F AU ST R A L I A , 1 9 9 4, ILLU ST RAT ED P 3 6 , #2 9.

$1,000-1,500

173


280 PABLO PICASSO MAT OWL PLATTER 1955 White earthenware clay, decorated in engobes engraved by knife Edition of 450 Madoura “Edition Picasso Madoura” verso with Madoura stamp Ramié #284 15.25” x 12.25” Literature: R AMIÉ,

PABLO PICASSO: CATA-

LO G UE O F THE E DITE D CE R AMIC WORKS 194 7-1971, MADOU RA , 1988, # 28 4 .

$5,000-7,000


281 PABLO PICASSO PERSONNAGES #28

282 PABLO PICASSO PETITE VISAGE #12

1963 White earthenware clay, decoration in engobes and enamel #25 of 150 Madoura Inscribed “N 28/Edition Picasso/25/150/ Madoura” Ramié #463 10” diameter

1963 White earthenware clay, decoration in engobes and enamel #99 of 150 Madoura Inscribed “N 12/Edition Picasso/99/150/ Madoura” Ramié #460 10” diameter

Literature: RAM IÉ,

Literature: R A M IÉ,

PABLO P I CASS O : CATA-

PA BLO P I CASSO: CATA-

LOG UE OF TH E E DITE D CE R A M I C WO R KS

LO GU E O F T H E E D I T E D C E R A MIC WORKS

1 9 4 7-1 9 7 1, M ADOURA , 1 9 8 8 , #46 3 .

1 9 4 7-1 9 7 1, M A D O U R A , 1 9 8 8 , #460.

$3,000-5,000

$3,000-5,000

175

DETAIL OF VERSO

DETAIL OF VERSO


283 PABLO PICASSO TOROS c. 1957 Drawing in blue crayon Executed on a Museum of Modern Art “Picasso 75th Anniversary” exhibition catalogue, 1957 Sheet: 4” x 3.25”; Frame: 23.25” x 24.25” $8,000-12,000

286 PABLO PICASSO OISEAU SUR LA BRANCH

284 PABLO PICASSO PICADOR

285 PABLO PICASSO PICADOR

1955 Glazed earthenware clay From the edition of 500 Madoura Signed verso “Edition Picasso/ Madoura” Ramié #289 2.75” x 5” diameter

1952 White earthenware clay, oxidized paraffin decoration, white enamel From the edition of 500 Madoura Signed “Edition Picasso” with Madoura stamp Ramié #176 .625” x 6.625” diameter

1952 White earthenware clay with oxidized paraffin decoration and white enamel From the edition of 500 Madoura Signed “Edition Picasso” and stamped “Edition Picasso/ Madoura Plein Feu” Ramié #175 .875” x 5.625” diameter

Literature: R A M IÉ ,

Literature: R A M IÉ,

Literature: RAM IÉ,

PAB LO P ICASSO :

CATALOG UE OF TH E E DITE D C E RAMI C WORKS 1 9 4 7-1 9 7 1, M ADOURA , 1 9 8 8 , # 28 9.

$2,000-3,000

PA BLO P I CASS O :

PA BLO P I CASS O :

CATA LO GU E O F T H E E D I T E D C E-

CATA LO GU E O F T H E E D I T E D C E R A M I C

R A M I C WO R KS 1 9 4 7-1 9 7 1, M A D O U R A ,

WO R KS 1 9 4 7-1 9 7 1, M A D O U R A , 1 9 8 8 , T

1 9 8 8 , #1 76 .

#1 75 .

$1,500-2,000

$1,000-1,500


287 PABLO PICASSO, AFTER LES PORTRAITS IMAGINAIRES 19.3.69.II 1969 Color lithograph #245 of 250 Marcel Salinas, printer Inscribed in pencil “A” with edition lower left Sheet (vis.): 24.5” x 18.5”; Frame: 26.75” x 20.75” $2,500-3,000

288 PABLO PICASSO, AFTER LES PORTRAITS IMAGINAIRES 19.3.69.I 1969 Color lithograph #245 of 250 Marcel Salinas, printer Inscribed in pencil “A” with edition lower left Sheet (vis.): 24.5” x 18.5”; Frame: 26.75” x 20.75” $2,500-3,000

289 PABLO PICASSO LES METAMORPHOSES 1931 Portfolio of 30 etchings with cover #42 of 100 Albert Skira, Lausanne, editor Cramer #19 Book: 12.625” x 12.25” $4,000-6,000

290 PABLO PICASSO FAUNE AUX BRANCHAGES 1948 Lithograph Unnumbered artist’s proof of 5; aside from the edition of 50 Signed lower right in pencil; inscribed “Epreuve d’Artiste” lower left Sheet (vis.): 15” x 11.25”; Frame: 21” x 17” Literature: M O U R LOT,

FERNA ND, ED,

P I CASS O L I T H O GR A P H E, PA RIS: A SAU RET; E D I T I O N S D U L I VR E , 1 9 70, ILLU ST RAT ED P 8 7, #1 1 3 .

$3,000-5,000

17 7


291 CLIFF NELSON TAW 1956 Oil on board Signed and dated “C. Nelson 56”; retains Ester Robles Gallery label on verso of frame Board (vis.): 17.25” x 39.25”; Frame: 19.5” x 41.5” $1,000-1,500

292 JULES ENGEL UNTITLED c. 1960 Oil on canvas Signed “J. Engel” verso Canvas: 30” x 25”; Frame: 30.75” x 25.75” $2,000-3,000


After the chaotic Revolution of 1917, Russian artist Joseph Levin (born Iosif Michailovich 1894 – 1979) returned to the St. Petersburg Imperial Academy to conclude his studies under Avant-Garde artist Ilya Mashkov. By the 1920s, the young artist leaves for Siberia to undertake studies in Chinese calligraphy. Venturing to Moscow in 1923, Levin designs "Agitprop" or politically charged graphic art to be postered throughout the city streets. These experiences reflect in Untitled (c. 1945), as playful strokes of paint bounce around the surface of the canvas, with overlapping lines and vertices resembling a language composed of unknown forms. The use of characters and bold colors bring to mind the Proun Series by El Lissitzky from the 1920s. Levin relocates to Paris in 1926 and by 1935 emigrates to Greenwich Village in New York in hopes of flourishing within the U.S art scene. Exhibiting at the Brooklyn Museum in 1943, and at the De Young Museum in San Francisco in 1945, Levin proves his success as an artist. By 1950, he begins to produce what he describes as "Surconscious Art". By rejecting common or natural forms, he hoped to evoke a higher cosmic understanding. In Untitled (c. 1950), the viewer is presented with tangles of white, blue and light pink, however rough lines of black paint skate along horizontal and vertical axes creating a regimented order. The subtle, gridded nature of the composition shows the influence on Levin by non-representational artists such as Piet Mondrian and Kazimir Malevich. For Levin, these works showcase his experiences and most importantly, personal reflections serving as catalysts to a higher plane of thinking and representation. Boris Wilnitsky Fine Arts. “Joseph Levin.” Boris Wilnitsky Fine Arts: Russian Art. Wilnitsky, 2011. Web. 14 Aug. 2012. <http://www. wilnitsky.com/scripts/redgallery1/dll/details?/No=31126>. Boris Wilnitsky Fine Arts. “Pioneer of Surconscious Art.” Boris Wilnitsky Fine Arts: Russian Art. Wilnitsky, 2011. Web. 14 Aug. 2012. <www.wilnitsky.com/print/6/9/8/6981_scan10.pdf>.

293 JOSEPH LEVIN UNTITLED c. 1945 Oil on canvas Signed “J. Levin” in paint lower right Canvas: 34” x 27”; Frame: 35” x 28” $2,000-3,000

294 JOSEPH LEVIN UNTITLED (COMPOSITION) c. 1950 Oil on canvas Signed “J. Levin” in paint lower right Canvas: 34” x 24”; Frame: 34.75” x 24.75” $2,000-3,000

179


295 JOAN MIRÓ UNTITLED (FROM LE MARTEAU SANS MAITRE) 1976 Engraving with etching and aquatint on Rives #50 of 50 Le Vent d’Arles, Paris, publisher; Morsang, Paris, printer Signed in pencil lower right with edition lower left in Roman numerals; retains Irving Feldman Galleries label verso Image: 11” x 9”; Sheet: 17.75” x 13.5”; Frame: 22.25” x 17.25” Literature: DU PIN,

JACQU ES AND ARIANE

LELO N G -MAINAU D, MIRÓ E NGRAU V E R , PA RI S : G A LE RIE LE LONG, VOL IV, 2001 , P P 34 -38 , #959.

$4,000-6,000

296 JOAN MIRÓ UNTITLED 1962 Color aquatint #9 of 35 Inscribed verso “#158”; edition lower right Impression: 3.75” x 5”; Sheet: 4.875” x 6” $1,500-2,000

297 JOAN MIRÓ TRACE SUR L’EAU 1963 Bound portfolio of photolithographs printed after original watercolors From the edition of 100 Maeght Editeur, Paris, publisher Book: 11.5” x 14” Literature: CRAME R ,

PATRICK , ED,

JOA N M I RÓ , THE ILLU STRATE D BO OKS: CATA LO G UE RAISONNÉ , GE NE VA : PATRIC K C RAM ER , 1989, # 82.

$1,800-2,500


298 ALEXANDER CALDER SANTA CLAUS (PORTFOLIO) 1974 9 etchings on Arches in original brown dust cover and linen covered clam-shell box Each #164 of 175 Editions de L’Herne, Paris, publisher Each signed “Calder” in pencil lower right with edition lower left With text by e.e. cummings Portfolio case: 27.75” x 21.75” x .5”; Each sheet: 19.75” x 25.75” $2,000-3,000

181


299 HERBERT MATTER UNTITLED c. 1943-44 Vintage silver gelatin print Inscribed "E128" verso Image (vis.): 10.875” x 10.875”; Frame: 18” x 18” Photograph of the industrial equiptment developed primarily by Gregory Ain to manufacture plywood parts for Vultee aircraft. Provenance: CH A RLES

& RAY EAM E S;

JO HN & MA RI LY N NEU H A RT; PRI VAT E C OLLECT IO N , LOS A NGELES

$1,500-2,000

300 CHARLES & RAY EAMES GROUP OF WORKS (7) Herman Miller & Evans, 1943-51 Comprising of a walnut DCW, early sample Leg Splint, Child's stool, two portrait photographs of Harry and his son Gary Soderblom, personal signed letter from Charles Eames to Harry Soderblom (not illustrated), and a photocopy of a photograph of Harry and Bernice Soderblom with Ray Eames (not illustrated), c. 1950s Leg splint marked in pen: "Sample Splint"; photograph of Gary marked in pen: "Pictures taken & developed by Charles Eames" 8.25” x 12” x 10.25” Provenance: H A RRY

SODERBLOM , LOS

AN G ELES ; TH ENCE BY DESCENT

$6,000-8,000

Harry Soderblom began working with Charles & Ray Eames in 1943 to assist in the production of the leg splint for the US Navy. Harry continued to work with Charles and Ray after the war until 1951. The items within this lot were given to Harry by Charles in gratitude for his years of service. The two portrait photographs of Harry and Gary are purported to have been taken and developed by Charles.


301 CHARLES & RAY EAMES CHAIRS (4) Model no. PKCC-2 Herman Miller, designed 1959 Enameled steel, aluminum, with later nylon bikini seat pads (not illustrated) Each 32.5” x 22” x 18” $1,500-2,000

302 CHARLES & RAY EAMES CABINET WITH TRU-SONIC SPEAKER Stephens Tru-sonic, Inc., designed 1956 Enameled metal, brushed aluminum, Saran plastic, walnut Retains Tru-Sonic Inc. label and medallion In 1956, the Eames office redesigned the Quadraflex to incorporate a Herman Miller base from the "671" and a curved wood enclosure. 27.75” x 29.5” x 13.25” Literature: N E U H A RT,

JOHN A ND MA RILYN,

E A M ES D ES I GN : T H E WORK OF T HE OFFICE O F C H A R L ES A N D R AY EA MES, NEW YORK : A BR A M S, 1 9 8 9, P 2 0 9.

$3,000-5,000

303 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model no. 670 & 671 Herman Miller, designed 1956, this example purchased 1977 Rosewood and black leather Sold together with original receipt of purchase and manufacturer’s care brochure. 31” x 33.5” x 36” Purchased by the vendor in Los Angeles, 20th January, 1977, for $726.10. $2,000-3,000

183


304 CHARLES & RAY EAMES EARLY PRODUCTION COFFEE TABLE Model no. CTM-3 Evans Products Co., designed 1946 Calico ash plywood, chrome-plated steel 15.375” x 34” diameter Literature: NE U HART,

J OHN AND M ARILYN,

EA M ES D ESIGN: THE WOR K OF TH E OF F IC E OF C HA RLES AND R AY E AMES, NE W YORK : AB RAM S, 198 9, P 8 0.

$5,000-7,000

DETAIL OF BASE


305 CHARLES & RAY EAMES COFFEE TABLE Model no. CTM Herman Miller, designed 1946 Laminated ash, enameled steel 15.25” x 34” diameter Literature: TH E

H E R M A N M I L L E R C O L L EC-

TION, M ANUFAC TURER ' S CATA LO GU E , 1 9 48 ,

306 CHARLES & RAY EAMES COFFEE TABLE Model no. CTW Herman Miller, designed 1946 Laminated ash 15.5” x 34” diameter

P 67 ( DESIG N IL LUST R AT E D) ; N E U H A RT, JOH N AND M ARILYN, E A M ES D ES I GN : T H E

Literature: N E U H A RT,

WORK OF TH E OF F IC E O F C H A R L ES A N D

E A M ES D ES I GN : T H E WORK OF T HE OFFICE

RAY E AM ES, NE W YOR K : A BR A M S, 1 9 8 9, P P

O F C H A R L ES A N D R AY EA MES, NEW YORK :

8 0, 8 2- 83.

A BR A M S, 1 9 8 9, P 8 0.

$800-1,200

$800-1,200

JOHN A ND MA RILYN,

185

DETAIL OF BASE

DETAIL OF BASE


307 CHARLES & RAY EAMES FOLDING SCREEN Model no. FSW-6 Herman Miller, designed 1946 Laminated calico ash, canvas Each panel 68”h x 9.5” Literature: THE

HE R MAN MILLE R C OL L EC TION, M ANUFAC-

T URER’S CATALOG, 1952, P 108; N E UH ART, JOH N AND M ARILYN , EA M ES DESIGN: THE WORK OF TH E OF F IC E OF C H ARL ES AND RAY E AMES, NE W YORK : ABRAM S, 1 9 8 9, P 7 9.

$3,000-5,000


308 CHARLES & RAY EAMES HANG-IT-ALL Tigrett Enterprises, designed 1953 Lacquered wood, enameled wire 15” x 20” x 7” Purchased by the vendor in 1953 from Jules Seltzer, Los Angeles. Literature: N E U H A RT,

JOHN A ND MA RILYN,

E A M ES D ES I GN : T H E WORK OF T HE OFFICE O F C H A R L ES A N D R AY EA MES, NEW YORK : A BR A M S, 1 9 8 9, P 1 8 4.

$1,000-1,500

309 CHARLES & RAY EAMES STORAGE UNIT Model no. ESU-421-C Herman Miller, designed 1950 58.675” x 47” x 16.75” Literature: N E U H A RT,

JOHN A ND MA RILYN

E A M ES D ES I GN : T H E WORK OF T HE OFFICE O F C H A R L ES A N D R AY EA MES, NEW YORK : A BR A M S, 1 9 8 9, P 1 2 9.

$5,000-7,000

187


310 GEORGE NELSON CREDENZA Herman Miller, designed 1952 Walnut, lacquered Masonite, chrome-plated steel, polished aluminum 25.625” x 55.75” x 18.375” $2,000-3,000

311 LUDWIG MIES VAN DER ROHE BARCELONA DAYBED Knoll International, designed 1929; this example produced after 1972 Black leather, walnut, and stainless steel Manufacturer's markings to underside of cushion 16” x 77” x 37.5” $4,000-6,000


"Good Design is as little design as possible. Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity." DIETER RAMS' ‘TEN PRINCIPLES OF GOOD DESIGN’, C. 1978

312 DIETER RAMS L2 SPEAKER Braun, designed 1958 Walnut, pine, lacquered wood, steel Case-back with printed mark “Braun L2 5 Ohm” 28.5” x 17” x 12.5” $2,500-3,500

313 FLORENCE KNOLL COUCH AND SIDE CHAIR (2) Couch model no. 66 Knoll International, designed 1958 Steel frame, wool upholstery Couch: 31” x 84” x 29”; Side chair: 31” x 24” x 29” Purchased by the vendor’s parents in New York City, 1962. $2,000-3,000

189


314 FLORENCE KNOLL FALL FRONT HANGING CABINET Model no. 123 Knoll International, designed c. 1955 Walnut, lacquered wood, glass, leather pulls, applied black paper to section of interior 18” x 72” x 16” Purchased by the vendor’s parents in New York City, 1962. $2,200-2,800 INTERIOR VIEW

315 FLORENCE KNOLL SLIDING DOORS HANGING CABINET Model no. 121 W-1 Knoll International, designed c. 1955 Walnut, lacquered wood, glass, leather pulls, applied pink paper to section of interior 18” x 72” x 16” Purchased by the vendor’s parents in New York City, 1962. $2,200-2,800

INTERIOR VIEW


316 LUDWIG MIES VAN DER ROHE BRNO CHAIRS (6) Model no. 255CS Knoll International, designed 1929 Chrome-plated steel, fabric upholstery Retains Knoll International upholstery tag Each 31” x 23” x 22” $2,500-3,500

191


317 FLORENCE KNOLL & HARRY BERTOIA DINING SUITE (7) Model no. 2480D (table) and 420C (chairs) Knoll, designed 1961; chairs 1952 Calacatta white marble and steel Comprised of a Knoll dining table and six Harry Bertoia chairs Table: 27.5” x 73” x 48”; Chairs: 29.75” x 21” x 20” Literature:

KNOLL STUDIO , COMPANY

CATA LO G UE , 1988, P 126.

$3,000-5,000

318 CHARLES POLLOCK GROUP OF POLLOCK EXECUTIVE CHAIRS (10) Knoll International, designed 1965, these examples manufactured 14th September, 1984 Polished-aluminum, polypropylene, leather upholstery Retains Knoll International label. Each 31” x 26” x 27” $3,000-5,000


319 EERO SAARINEN WOMB CHAIR Model no. 70 Knoll International, designed 1948 Chrome-plated steel, wool upholstery Chair retains “Knoll International Inc.” label 34.5” x 38.5” x 38” Literature:

K N O L L : A MOD ERN U NIV ERSE,

R I Z ZO L I , 2 0 1 0, P 1 1 6 .

$1,000-1,500

320 EERO SAARINEN GRASSHOPPER CHAIR Model no. 61U Knoll International, designed 1945 Birch, fabric upholstery 35.5” x 26.5” x 33” Literature:

K N O L L : A M ODER N U NI VER SE,

R IZ ZO L I, 2 0 10, P 105 .

$1,000-1,500

321 WARREN PLATNER LOUNGE CHAIRS AND SIDE TABLE (3) Model no. 1715L (chair) and 3 710T (side table) Knoll International, designed 1966, these examples executed 1980 Chrome-plated steel, velour upholstery, glass Manufacturer’s labels to the underside of each cushion Chairs: 30.25” x 36.5” x 28”; Table: 18.25” x 15.75” diameter Literature: K N O L L :

A M ODER N U NI VER SE,

R IZ ZO L I, P P 16 6 -16 7.

$2,500-3,500

193


322 LUDWIG MIES VAN DER ROHE VARIANT PROTOTYPE “MR” LOUNGE CHAIRS (2) Knoll International, c. 1955 Chrome-plated steel, leather Remnants of Knoll International label to underside. Each 30.25” x 26.5” x 22” Provenance: K NOLL

INTE R NATIO NAL

P RO D UC T DE VE LOPME NT; STANL E Y TIG E RM AN; B ENNE T GRE E NWALD; THE N C E BY D ES C ENT

$5,000-7,000

323 LUDWIG MIES VAN DER ROHE BARCELONA CHAIR AND OTTOMAN (2) Model no. MR 250 Knoll International, designed 1929; this example produced after 1972 Black leather, chrome plated steel Chair: 29.5 “ x 29.5” x 30”; Ottoman: 14.5” x 24” x 22” $2,500-3,500

Three examples of this variant of the MR chair were originally conceived and produced for Howard Dearnstyne's Berlin apartment in 1932. Dearnstyne was a close friend and former pupil of Mies van der Rohe, having been one of the few Americans to attend the Bauhaus school, Dessau and Berlin. During the early 1950s, at the request of Mies van der Rohe, Dearnstyne loaned one of his three chairs to Knoll for pattern production analysis. Several prototypes were produced as a test; however, Knoll decided not to proceed with production. The chairs were given to Bennet Greenwald by Stanley Tigerman. Greenwald's father, a real estate developer named Herbert, was a close friend and business partner of Mies van der Rohe until his death in 1957. The renowned Chicago architect Stanley Tigerman was a friend of Bennet's father, and his encounters with Mies van der Rohe are


324 THEODORE WADDELL LIGHT STICK LAMP Model no. 7 + Zanotta, designed 1970 Chrome-plated steel, glass, and plastic Impressed “Theodore Waddel Designer Brevettato Made in Italy” A similar example is part of the permanent collection of the Museum of Modern Art, New York. 3.75” x 23” x 11” Literature: ZANOT TA

BROCHURE , ITA LY,

N O DAT E .

$1,500-2,000

325 GEORGE NELSON CHROME BASE CHAISE LOUNGE Model no. 5490 Herman Miller, designed 1953 Chrome-plated steel, upholstered seat 27” x 67” x 30” Provenance: J O S E F

VA N D ER KA R

D ES I GN E D H O U S E FO R A LBERT & ROBERTA WO H L ST E T T E R R ES I DENCE, CA LIFORNIA ; P R I VAT E C O L L EC T I O N , CA LIFORNIA

Literature: GEO R GE

N EL SON: A RCHIT ECT,

W R I T E R , D ES I GN E R , TEACHER , V IT RA D ES I GN M U S E U M , 2 0 0 8, P 248.

$8,000-12,000

195


326 AFRA & TOBIA SCARPA ANDRE DINING TABLE Model no. 56T3 Knoll International, designed 1967 Chrome-plated steel, glass 28.375” x 70” x 30” Literature: K NOLL

STU DIO, COMPANY

CATA LO G UE , 1988, P 168.

$2,500-3,500

327 AFRA & TOBIA SCARPA ANDRE COFFEE TABLE Model no. 56T2 Knoll International, designed 1967 Chrome-plated steel, glass 15.375” x 45” x 45” Literature: K NOLL

STU DIO, COMPANY

CATA LO G UE , 1988, PG 168

$2,000-3,000


328 BRICE MARDEN UNTITLED (FROM 12 VIEWS FOR CAROLINE TATYANA) 1977-79 Etching and aquatint on Arches #3 of 59 Parasol Press, New York, publisher; Doris Simmelink, Santa Monica, printer Signature lower right; edition lower left Image: 9.875” x 14”; Sheet: 24” x 18”; Frame: 31.5” x 25.25” Literature: L E W I S O N ,

JEREMY, BRICE

M A R D E N P R I N TS 1 9 6 1-1 9 9 1 , A CATA LOG U E R A I S O N N É, LO N D O N : TAT E G A LLERY, 1 9 9 2 , I L LU ST R AT E D P 1 2 5 , # 2 9 E.

$2,000-3,000

329 ROBERT RYMAN UNTITLED (FROM SEVEN AQUANTINTS) 1972 Aquatint on Rives BFK #26 of 50 Parasol Press, New York, publisher; Crown Point Press, Oakland, printer Signed “Ryman 72” in pencil lower center Sheet: 11.75” x 13.75”; Frame: 27.75” x 27.75” $1,500-2,000

197


330 RICHARD ANUSZKIEWICZ REFLECTIONS II - GREEN LINE 1979 Screenprint with hand painted acrylic #12 of 70 Signed lower right Norman Lassiter, Editions LassiterMeisel, New York, printer Print documentation affixed verso of frame with artist's signature in ink with edition number Image: 65” x 47”; Frame: 66.125” x 49.25” $3,000-5,000


331 RICHARD ANUSZKIEWICZ REFLECTIONS II - RED LINE 1979 Screenprint with hand painted acrylic #12 of 70 Signed lower right Norman Lassiter, Editions LassiterMeisel, New York, printer Print documentation affixed verso of frame with artist's signature in ink with edition number Image: 65” x 47”; Frame: 66.125” x 49.25” $3,000-5,000

199

332 RICHARD ANUSZKIEWICZ UNTITLED (GATEWAY TO BLUE) 1971 Lithograph in colors #36 of 150 Signed and dated with edition lower right Sheet: 35.5” x 25.5”; Frame: 39” x 29” $800-1,200


334 (OPPOSITE PAGE) GEORGE RICKEY TWO CIRCLES TWO CUBES IV Studio, 1979 Stainless steel, gilded Incised “Rickey 1979” at base Base: 1.25” x 2”; Sculpture: 17.75” x 9.5” LAMA wishes to thank the George Rickey studio for their assistance in cataloging this work.

333 BEVERLY PEPPER GEOMETRIC SHAPES FORMED TO CREATE A RHOMBOID 1970 Stainless steel Incised “Beverly Pepper ‘70” 2” x 17” x 8.625” $3,000-5,000

Exhibited:

“G EORG E R I C K E Y AT M A K L E R

G AL L E RY,” M AK L E R GA L L E RY, P H I L ADE L P H IA , PA , NOV 8 - D EC 3 R D, 1 9 8 0, CATALOG UE L ISTING NO 2 .

Literature: R OSE N T H AL ,

N AN , GEO R GE

R I C K E Y, A B R A M S, 1 97 7, P P 95 - 9 9 FO R S IMIL A R E XA M P L E S.

$15,000-20,000


201


335 RICHARD ARTSCHWAGER UNTITLED 1973 Charcoal on fiber paper Signed and dated lower right; verso of frame retains Charlotte Jackson Fine Art Gallery label Sheet: 23” x 28.5”; Frame: 23” x 28.5” $20,000-22,000

336 RICHARD ARTSCHWAGER UNTITLED 1973 Charcoal on fiber paper Signed and dated lower right; retains Charlotte Jackson Fine Art gallery label on verso of frame Sheet: 19” x 25”; Frame: 22.25” x 28.25” $20,000-22,000


337 OSCAR TORLASCO TWIN BRANCH COUNTER-BALANCE CEILING LAMP Lumi, c. 1955 Enameled and patinated metal 33” x 70” (adjustable) $8,000-12,000

338 G. GATTA WALL SCONCES (2) Stilnovo, designed 1954 Enameled metal Each 15” x 19” diameter $2,500-3,500

203


339 VIJA CELMINS WEB 2009 Silkscreen #73 of 117 Signed “V. Celmins ‘09” lower right margin in pencil; edition lower left Image: 11” x 13”; Sheet: 17” x 19”; Frame: 21” x 22” $3,000-5,000

340 VIJA CELMINS BOOK AND UNTITLED (SATURN) Book: 1992; mezzotint: 1985 Book and 1-color mezzotint on Rives BFK Book: first edition; mezzotint: #50 of 50 Book title page is signed in pencil by Chuck Close and Vija Celmins; mezzotint signed in pencil with edition “Vija Celmins” book featuring interview by Chuck Close and edited by William S. Bartman, published by ART Press and DAP, 1992. Book: 10” x 8.75”; Etching impression: 2.5” x 2.375”; Sheet: 10” x 8.5” Literature: R IPPNE R ,

SAMANTHA , TH E

P RI N TS O F VIJA CE LMINS, NE W YORK : TH E M ET RO P OLITAN MU SE U M OF ART; YAL E UN I VERS I T Y PRESS, 2002, FIG 23 , P P 5 1-2.

$5,000-7,000


341 ALISON VAN PELT ON THE ROPES 2000 Oil on canvas Signed and dated verso; retains OCHI Fine Art label verso Canvas: 48” x 60” $8,000-12,000

205


Japanese artist, writer, and fashion designer Yayoi Kusama (b. 1929) eschews all classification and refers to herself as an obsessional artist. Escaping her overbearing mother in Japan, in the early 1950s she arrived in New York at age 29 with a portfolio of drawings and only a few words of English. Eighteen months later at her first show, her infinity net canvases – a web of minute brushstrokes painted “to establish a ‘distance’ between herself and the world” – earned her praise from Donald Judd and comparisons to Jackson Pollock. As her work gained attention in America and Europe, in New York public parks she staged “body festivals” comprised of nude models covered in polka dots, one of her trademark patterns that she continues to utilize in her sculptures, paintings, and installations. Her obsessive-compulsive disorder forced her to move back to Japan and check into a mental institution where she has resided since 1975. As the art world quickly forgot about Kusama, she established a studio near the hospital and continued her incessant painting, sculpting, and writing as a form of therapy: “I translate the hallucinations and obsessional images that plague me into sculptures and paintings.” Beginning in late 1980s, Kusama’s meticulous devotion to art making as an expression of her mental disorder caught the attention of museums and collectors. After the success of her infinity mirrored room at the 1993 Venice Biennale, an exhibition of solo work from her time in New York from 1956-1968 was held at the Museum of Modern Art in 1998. Her success continues with countless public polka-dotted pumpkin and flower sculptures throughout the world, in addition to major retrospectives, including a 2011 retrospective that opened at the Museo Reina Sofia in Madrid, traveling to the Centre Pompidou in Paris, the Tate Modern in London, and the Whitney Museum of American Art in New York in 2012. Each piece Kusama creates, especially her drawings, are infused with curious optical effects that result from an endless, labor-intensive process. In Birds (1981), Kusama layered pattern over pattern to produce a visual taxonomy of birds. Flowing red bricks provide a background for pattern-rich plumage and black and white polka dots, preserving them in serene stasis. Hasegawa, Yuko, and Pamela Miki. “The Spell to Re-integrate the Self: The Significance of the Work of Yayoi Kusama in the New Era.” After All: A Journal of Art, Context, and Inquiry 13 (Spring/Summer 2006): 46-53. Print. Moos, David, and Yayoi Kusama. Yayoi Kusama: Early Drawings from the Collection of Richard Castellane. Birmingham: Birmingham Museum of Art, 2000. Print. Turner, Grady, and Yayoi Kusama. “Yayoi Kusama.” BOMB 66 (Winter, 1999): 62-69. Print.

342 YAYOI KUSAMA BIRDS 1981 Handpainted acrylic and mixed media collage on paper Signed and dated lower right; inscribed in Japanese on verso of frame Sheet: 25.5” x 19.5”; Frame: 26.5” x 20.75” $30,000-50,000


207


343 JORGE PARDO UNTITLED (HANGING LAMP) Studio, 2006 MDF wood, Plexiglas, and lamp parts Sold with certificate of authenticity from the artist. 28” x 28” diameter $4,000-6,000

344 JORGE PARDO UNTITLED (TABLE) Studio, 2007 Walnut and Plexiglas Sold with certificate of authenticity from the artist. 15.625” x 22” x 14” $3,000-5,000

TOP DETAIL


345 ÁNGEL BOTELLO DOMITILA, TOMASA, FACUNDA c. 1965 Oil on wood panel Signed lower right Panel: 44.5” x 37.5”; Frame: 45.5” x 36” Literature: B OTE L LO :

ANG EL B OTELLO

B AR R O S, SAN J UAN : GALLER I A BOTELLO, 19 8 8 , P 13 9 FO R S IMIL AR EXAM P LES.

$25,000-30,000

209


346 ROBERT MOTHERWELL AMERICA-LA FRANCE VARIATIONS II 1983-84 Lithograph with collage on handmade T.G.L. paper #42 of 70 Tyler Graphics Ltd., Mt. Kisco, publisher; Roger Campbell and Lee Funderburg, Tyler Graphics Ltd., printers Signed “Motherwell” in penci lower left; edition lower left; blindstamp lower left Sheet: 45.5” x 29”; Frame: 54” x 37.5” Literature: BA NACH ,

JOA N A ND SI R I

ENG BERG , ROBERT MOTH ERW ELL : T HE CO MPLETE PRI NTS 1940 -1991: A C ATA LOG U E RAIS O N N É, 1ST ED, MINNEA POLIS: WA L K E R ARTS CENTER , 20 03, # 330.

$3,500-4,500

347 ROBERT MOTHERWELL ART 1981 CHICAGO PRINT 1981 Lithograph on white Arches Cover mould-made paper #132 of 150 Lakeside Group, Chicago, publisher; Tyler Graphics Ltd., New York, printer Signed with edition and blindstamp in pencil lower right sheet Made for the 1981 Chicago International Art Exposition. Sheet: 34” x 25”; Frame: 35.5” x 26.75” Literature: BANACH,

JOAN AND SIRI E NG -

B ERG , RO BE RT MOTHE RWE LL : TH E C OMP LET E P RINTS 1940 -1991: A CATALOG UE RA I S O NNÉ, 1ST E DITION, MINNE AP OL IS: WALKER ARTS CE NTE R , 2003, # 2 8 2.

$2,000-3,000


348 JUN KANEKO GOBLETS (3) Studio, 1967-68 Glazed earthenware A: 5.5” x 3.5” diameter; B: 5” x 5” (max. width) x 4” diameter; C: 6.375” x 3.5” diameter $2,500-3,500

211


LAMA wishes to thank the Kaneko Studio for their assistance in cataloguing these works.

349 JUN KANEKO VASE Studio, 1965 Glazed earthenware Signed “65/Kaneko” 13.5” x 6” diameter at base $3,000-5,000


350 JUN KANEKO FORM 1967 Glazed ceramic Signed “Kaneko/67” at base 13.5” x 6” diameter $1,000-1,500

213 DETAIL

351 JUN KANEKO LARGE BOWL Studio, 1965 “Stoney” glaze fired at Chouinard Art Institute Signed “Kaneko” 8.25” x 10” diameter $1,500-2,000


352 ELSA RADY UNTITLED (VASE & FACE) (2) 2007 Yellow and white glazed ceramic Signed “Elsa Rady/07” verso 13" x 4" x 5" and 5” x 2” x .375” $1,500-2,000

353 LEONARD EDMONDSON UNTITLED 1995 Glazed ceramic Signed and dated verso 4” x 20” x 11” $1,500-2,000

354 GERTRUD & OTTO NATZLER BOWL Natzler inventory no. H341 Studio, 1956 Mystic blue glaze ceramic Signed “Natzler” and retains paper inventory tag “H341” 3.5” x 9.125” diameter (8.3 cm x 23 cm) Literature: HE RMAN,

LLOYD, FORM AND

FI RE: NATZLE R CE RAMICS 193 9 -1 9 72, S M I T HS O NIAN INSTITU TE , 197 3 , P 1 08 .

$6,000-9,000


355 CLAUDE CONOVER KALAX PLANTER Studio, designed c. 1961 Glazed ceramic with decoration Signed “Claude Conover 'Kalax'” verso Retains original plastic insert 21” x 12” diameter $6,000-8,000

356 LAURA ANDRESON BOWL Studio, 1951 Porcelain with Oxblood red glaze Signed and dated 2.75” x 5.5” diameter $800-1,000

357 LAURA ANDRESON CANDLESTICKS (2) Studio, 1950 Porcelain with matte black glaze Signed and dated Each 2.5” x 5.75” diameter $800-1,500

358 LAURA ANDRESON VASE Studio, c. 1961 Porcelain with brown iron crystal glaze Signed 6.75” x 6.5” diameter $1,500-2,000

215


217

359 PETER VOULKOS UNTITLED (SCULPTURE) Studio, 1958 Slab built and carved stoneware with sgraffito and glaze Signed and dated “Voulkos 58” 22.5” x 8.5” x 3.75” Provenance:

F E L IX L A NDAU G A LLERY,

LO S A N GE L ES ; P R I VAT E COLLECT ION, LOS A N GE L ES ( AC Q U I RED FROM T HE A BOV E); T H E N C E BY D ES C ENT

$15,000-20,000

DETAIL OF SIGNATURE AND DATE


360 PETER VOULKOS UNTITLED (PLATE) Studio, executed June 1976 Glazed ceramic This plate was created by Peter Voulkos in 1976 during a “World Crafts Council General Assembly” exhibition in Oaxtepec, Mexico. 4.5” x 22” diameter Provenance:

PRIVATE COLLECTION,

M EXI C O

$9,000-12,000

361 PETER VOULKOS CUP Studio, executed June 1976 Glazed ceramic This cup was created by Peter Voulkos in 1976 during a “World Crafts Council General Assembly” exhibition in Oaxtepec, Mexico. 3” x 3.25” diameter Provenance:

PRIVATE COLLECTION,

M EXI C O

$2,000-3,000

DETAIL OF BACK


362 JERRY ROTHMAN UNTITLED (BOWL) Studio, c. 1975 Glazed ceramic Signed 4.5” x 7” diameter DETAIL

$1,000-1,500

363 PAUL EVANS COFFEE TABLE Paul Evans Studio for Directional, c. 1970 Welded and torch-cut steel and glass 16” x 36” diameter $3,500-4,500

219


364 EVELYN ACKERMAN CARVED WOOD PLANTER BOXES (2) ERA Industries, 1973 Each 9” x 9.5” x 9.5” $1,000-1,500

365 EVELYN ACKERMAN RAIN (TEXTILE) Style #794W ERA Industries, 1965 Virgin Wool Initialed lower right “EA”; retains “Ackerman/ERA” label verso 34.5” x 23” $1,500-2,000

366 EVELYN ACKERMAN NETWORK (TEXTILE) ERA Industries, early 1960s Wool Signed “C Era Industries/Evelyn Ackerman-Design” in black marker verso 22” x 57” $900-1,200


367 MARION BROCKMANN FOUR PANEL SCREEN Studio, c. 1950 Woven wool and nylon thread, walnut frame Later inscribed “Marion Brockmann” 72” x 96” $2,000-3,000

368 MOROCCAN MODERN HIGH PILE RUG c. 1960s Hand-knotted wool 160” x 80” $3,000-4,000

221


369 LOUISE NEVELSON THE NIGHT SOUND 1973 Lead intaglio collage on Fabriano paper #21 of 150 Pace Editions, New York, publisher Signed and dated lower right; edition lower left; title lower center Sheet: 29.75” x 25”; Frame: 30.25” x 25.5” Literature: BARO,

GE NE , NE VE L S ON: TH E

P RI NTS, NE W YORK : PACE E DITIONS, 1 9 74 , #110.

$2,000-3,000

370 LOUISE NEVELSON SKY PASSAGE 1976 Mixed media assemblage #134 of 150 Pace Editions, New York, publisher Metal plate on verso with incised signature and edition; printed on plate: “copyright Pace Editions 1976/For the Benefit of the Dalton School” 10.25” x 5.625” x 2” $3,000-5,000


371 MAX FINKELSTEIN UNTITLED #1 1971 Enamel on aluminum Frame: 14” x 20” Provenance: C O L L ECT ION

OF T HE A RT IST

$3,000-4,000

223

372 MAX FINKELSTEIN MEDUSA 1956 Steel and brass, welded together 31” x 27” Provenance: C O L L ECT ION $5,000-7,000

OF T HE A RT IST


Original Julius Shulman photograph of the sculpture in situ in Case Study: Triad House A, 1960, designed by Edward Killingsworth

225

373 BERNARD “TONY” ROSENTHAL UNTITLED (SCULPTURE) (3) Studio, 1959 Patinated bronze Cast mark “Rosenthal 59”, “Front” and “Back” at base; photograph with Shulman studio stamp on verso Sold with original Julius Shulman photograph of the sculpture in situ in Case Study: Triad House A (see above) and Catherine Viviano exhibition catalogue, 1960 (not illustrated). Sculpture: 42” x 26”; Print: 8” x 9.875” Exhibited: A

S C U L P TU RE BY ROSENT HA L

O F T H E E XAC T D I M E N SIONS TO T HIS PIECE I S L I ST E D, A LT H O U GH NOT ILLU ST RAT ED, I N T H E “ E X H I BI T I O N O F SCU LPT U RE,” F E BR UA RY 2-2 7, 1 9 6 0, CAT HERINE V IV IA NO GA L L E RY, N E W YO R K , NY.

$10,000-15,000


374 JOEL STERNFELD MCLEAN, VIRGINIA, DECEMBER 4 1978; this example printed 1983 Dye-transfer print From the edition of 50 Sold with copy of the book American Prospects. Image: 13.5” x 16.75”; Sheet (vis.): 14.125” x 17.125”; Frame: 18.75” x 21.875” Literature: AME R ICAN

PR OSPECTS:

P HOTO G RAPHS BY J OE L STE RNFEL D, SAN FRA NC I S CO: FRIE NDS OF PHOTOGRAP H Y W I T H CHR ONICLE BOOKS, 1994, NP, I LLUST RATE D ON COVE R , # 28.

$12,000-15,000

375 RICHARD MISRACH UNTITLED (HAWAII SERIES) 1978; this impression 1980 Dye-transfer print #11 of 50 Edition and signature verso Image (vis.): 14.75” x 18.5”; Frame: 22.5” x 26.5” $1,000-1,500


376 WILLIAM WEGMAN FAIRY GODMOTHER SPELL 1991 Large-format Polaroid Polacolor print Signed and dated lower right; titled lower center Image: 26” x 21”; Sheet (vis.): 27.75” x 21.75”; Frame 39.5” x 32.5” $3,000-5,000

377 WILLIAM WEGMAN BETTY 1999 Photographic print on Kodak paper with hand-drawn background in black ink Unique Title inscribed in black ink lower left margin; signature lower right Image: 7” x 7”; Sheet: 10” x 8” Provenance: AC Q UIR ED TH E ARTIST

$3,000-5,000

DI R ECTLY FR OM

227


378 JAMES ROSENQUIST COLD ROLLED 1974-76 14-color lithograph with attached string and stone printed on 320 gram rolled white Arches HC #3 of 4 aside the edition of 60 Sidney Singer, publisher; Graphicstudio/ U.S.F., Tampa, printer Signed “Rosenquist 1974-76” in pencil lower right; edition lower left Sheet: 73.25” x 33”; Frame: 76” x 36.75” Literature: GLE NN,

CONSTANCE W, TIM E

D UST: RO SE NQU IST, COMPLE TE GRAP H IC S: 196 2-1992, NE W YORK : RIZZOLI, 1 9 93, # 8 6 .

$4,000-6,000


379 JAMES ROSENQUIST MASTABA 1971 9-color lithograph on wove paper and vacuum formed plastic hourglass containing plastic beads From the edition of 70 GraphicStudio, U.S.F., Tampa, publisher 30” x 22” x 1.75” Provenance: F R O M

THE COLLECT ION OF

JA M ES BY R N ES

Literature: GL E N N ,

TIME D U ST: JA MES

R O S E N Q U I ST C O M P L ET E G RA PHICS: 1 9 621 9 9 2, R I Z ZO L I , 1 9 93 , ILLU ST RAT ED, #44.

$2,000-3,000

229

380 JAMES ROSENQUIST STAR LADDER 1978 1-color etching with pochoir on Pescia Italia #1 of 78 Multiples Inc., New York, publisher; Patrik Lindhardt, Flatstone Studio, printer Signed and dated lower right; edition and title lower left; printer blindstamp lower right Image: 17.5” x 35.5”; Sheet: 22.75” x 39.75”; Frame: 26.75” x 44” Literature: GL E N N ,

CONSTA NCE W, T IME

D U ST: R O S E N Q U I ST, COMPLET E G RA PHICS: 1 9 6 2-1 9 9 2, N E W YO R K : RIZ ZOLI, 1 9 93 , #1 3 6.

$1,500-2,000


381 ISAMI ADACHI UNTITLED 1960 Acrylic and mixed media on canvas Signed and dated lower right Canvas (vis.): 19.625” x 29.5”; Frame: 24” x 33.25” $1,500-2,000

382 JOHN GRILLO UNTITLED 1948 Mixed media on paper Signed Sheet: 18.25” x 25” Provenance: FR OM

THE COLLECT ION OF

JA M ES BYRNES

$2,000-3,000

383 PAUL NINAS 3 FISHES 1948 Gouache and mixed media on paper Signed and dated in pencil lower right Sheet: 13.625” x 16.875” Provenance: FR OM

THE COLLECT ION OF

JA M ES BYRNES

$2,000-3,000


231

384 EDWARD H. FICKETT, F.A .I.A . BIOMORPHIC TABLE Studio, designed c. 1950 Custom-molded plywood Retains “Architectural Weldwood” label to underside 18.25” x 55.25” Provenance: E DWA R D

H FICKET T &

ASS O C I AT ES, BE V E R LY HILL S; PRIVAT E C O L L EC T I O N , LO S A NG ELES.

$1,500-2,000

DETAIL OF LABEL


385 GERALD SUMMERS ONE-PIECE LOUNGE CHAIR Alivar, Italy, designed 1933-34; this example produced c. 1990s Laminated-beech with birch face veneer 29.5” x 17.5” x 24” Literature: OSTERGA RD,

DEREK E D, B E N T

WO O D AN D META L FU RNI TU RE 1850 - 1 9 4 6, NEW YO RK , 1987, P 318, FIG 10 6 ( DE SI G N I LLUST RAT E D); MODERN BRITA IN 192 9 - 1 939, EXHIB CAT, LONDON, 1999, P 91 (DE SI G N IL LUST RATED).

$2,000-3,000

386 ALVAR AALTO DINING TABLE Artek, designed 1932, this example purchased 1941 Laminated birch 28” x 72” x 35.5” Purchased by the vendor’s parents in New York City, 1941. $3,000-5,000


387 ALVAR AALTO WALL SHELF Artek, designed c. 1938 Laminated birch 10.5” x 43.25” x 10” $2,000-3,000

388 ALVAR AALTO OCCASIONAL TABLE Model no. 75/915 Artek, designed 1930-31, this example purchased 1941 Birch The design was conceived for use in Alvar Aalto’s Paimio Sanatorium, Paimio, Finland, 1930-32. 23.5” x 24” x 20” Purchased by the vendor’s parents in New York City, 1941. Literature: ALVAR

& AI NO A ALTO, DESI G N:

C O L L EC TIO N B IS C H O FBER G ER , H ATJE C ATZ, C O LO GN E , 2 0 05 , P 5 1 ( DESI G N I LLU S TR ATE D) .

$3,000 5,000

389 ALVAR AALTO RARE SOFA Model no. 44 Artek, designed 1932 Laminated birch, upholstery 27.5” x 73” x 31” $3,000-5,000

233


390 GEORG PETERSENS EXTENDING DINING TABLE AND SIX CHAIRS (7) From the Selectform line Mobelfabrik A/S, designed 1969 Brazilian rosewood, chrome-plated steel, vinyl upholstery; table with extension leaf Each chair with manufacturer’s label Chairs: 30.5” x 20” x 18”; Table: 28” x 36” x 23” $2,000-3,000


391 ARNE JACOBSEN VISOR TABLE LAMPS (2) Model no. AJ Louis Poulsen, designed 1957 Enameled metal Retains Louis Poulsen label This lamp was first designed for the SAS Royal Hotel in Copenhagen in 1957. 21.5” x 13.5” x 6.5” Literature: F I E L L ,

C H A RLOT T E A ND PET ER ,

1 0 0 0 L I GH TS : 1 9 6 0 TO PRESENT, VOLU ME 2 , KO L N : TAS C H E N , 2 0 05 , P 5 3 3 .

$1,500-2,000

392 PREBEN FABRICIUS & JORGEN KASTHOLM LOUNGE CHAIRS (2) Alfred Kill, designed 1968 Steel, leather cord, leather upholstery Retains remnant of upholstery tag “Made by Alfred Kill” 30” x 29” x 30” $4,000-6,000

235


393 INGEBORG LUNDIN MELON VASE Orrefors, designed 1959 Mouth-blown glass engraved “Orrefors Expo Nr.9-59 Ingeborg Lundin” 13” x 12.5" diameter $2,000-3,000

394 VICKE LINDSTRAND & FLYGFORS VASES (4) Kosta, c. 1950s Glass, internally decorated (only two Vicke Lindstrand examples illustrated) Engraved A: “Kosta LH1257”; B: “Kosta LH1403”; C: (not illustrated bowl) acid stencil “LINDSTRAND KOSTA” and engraved “LH1041”; D: (not illustrated vase) engraved “Flygfors Flamingo” Together with Flygfors vase 10.25” tallest example; 4.5” smallest example $800-1,200

395 FLAVIO POLI, ATTRIBUTED SOMMERSO VASE Seguso Vetri d’Arte, c. 1955 Brown glass, cased in clear 8.5” x 9.25” x 4” $1,500-2,000

PARTIAL LOT ILLUSTRATION


396 ARMIN WIRTH ALU-FLEX FOLDING CHAIRS (4) Hans Zollinger Sohne, Zurich, designed 1951, manufactured 1951-53 Laminated-birch seat and back with aluminum frame The design was awarded the Die Gute Form award in 1953. 31.5” x 17.25” x 19.75” Literature: R U EGG,

A , SWISS FU RNIT U RE

A N D I N T E R I O R S I N T HE 2 0 T H CENT U RY, BAS E L , 2 0 0 2 , P 3 6 4 ( D ESIG N ILLU ST RAT ED).

$3,000-4,000

397 CEES BRAAKMAN PEDESTAL DESK Pastoe-UMS, designed 1958 Teak, enameled-steel, laminated teak drawer lining 28.25” x 61.75” x 31.125” $3,500-4,500

237


398 PAUL MCCOBB SUITE OF FURNITURE (6) Planner Group Winchendon, designed c. 1950s Birch Three-drawer dresser retains Planner Group label inside drawer; bookshelf branded with maker’s mark; eight-drawer dresser retains label inside drawer; cabinet branded with maker’s mark; tall bench branded with maker’s mark Comprised of pair of dressers, cabinet, bookshelf, and pair of long benches. Sold with 4 additional dowels. Three-drawer dresser: 33.375” x 36” x 18”; Two-tier bookshelf: 42.125” x 36” x 12”; Eight-drawer dresser: 33.125” x 60” x 18”; Tall bench: 19.75” x 60” x 17.75”; Small bench: 14.5” x 60” x 17.75” $3,000-5,000


399 GERALD THURSTON PROFILE FLOOR LIGHT Lightolier, designed c. 1955 Enameled-metal, brass, plastic, walnut 44.5” x 15.75” Literature: F I E L L ,

C H A RLOT T E A ND

P E T E R , 1 0 0 0 L I GH TS : 1 87 9 TO 1 95 9, KOLN: TAS C H E N , 2 0 05 , P 5 19.

$1,500-2,000

400 MARION ANDERSON NOYES CANDLESTICKS (2) Towle Silversmiths, designed c. 1957 Silver, plastic Stamped “TOWLE WEIGHTED & REINFORCED STERLING” Each 7.75” x 9.75” x 4.25” $1,000-1,500

239

401 HARVEY PROBBER COFFEE TABLE Harvey Probber Inc., designed c. 1968 Composite terrazzo and wood 18” x 72” x 22” $1,500-2,000


402 LEON ROSEN MEZZALUNA DESK WITH MATCHING SIDE TABLE (2) Pace, 1992 Japanese Tamo wood top and polished stainless steel frame Sold with photocopy of original receipt dated October 1992 Desk: 29” x 84” x 36”; Table: 20” x 24” x 12” $2,000-3,000


404 VLADIMIR KAGAN COSMOS LOUNGE CHAIRS (2)

403 KARL SPRINGER , ATTRIBUTED DESK Karl Springer, Ltd., designed c. 1970s Leather, chrome-plated steel, oak-lined drawer 29” x 59” x 29” $2,000-3,000

Model no. P112AH Vladimir Kagan Designs, Inc., c. 1970 Plexiglas with velour upholstery One chair retains partial “Preview Furniture Corporation/High Point, North Carolina” label Each 31.5” x 26.5” x 34” Literature: VL A D I M I R

KAG A N D ESIG NS,

M A N U FAC T U R E R ’S CATA LOG U E, 1 9 70, P 2 7.

$3,000-5,000

241


405 GAETANO PESCE SALVATORE TABLE LIGHT Edizione del Pesce, designed c. 2000 Polyurethane resin 20” x 13.5” x 7.5” $1,500-2,000

406 JULIAN SCHNABEL TRIPTYCH 1997 Screenprint #37 of 60 Signed and dated lower left; edition lower right Each sheet: 19.5” x 15.75”; Frame: 54.875” x 27” $2,000-3,000


407 RICHARD SERRA STUDIES (PLANS FOR SCULPTURE) (2) 1970 Marker on paper A: Signed and dated in pencil lower left; B: Signed and dated in pencil lower right These works are possibly studies for "Base Plate Deflection-In It Out It," 1970, a large rolled steel plate in the Norton Simon permanent collection. A: Sheet: 8.875” x 11.625”; Frame: 15.375” x 17.5”; B: Sheet: 8.5” x 11”; Frame: 15” x 17” Provenance: F R O M

T H E COLLECTI ON OF

JAME S BY R N E S

$2,000-3,000

243


408 FRANK O. GEHRY LITTLE BEAVER Vitra, c. 1993-94 Corrugated cardboard with original wood crate This is a rare 1:3 scale of the Little Beaver chair. Sold with the original presentation crate. Chair: 10.75" x 11.25" x 11.5"; Ottoman: 9" x 6.375" x 7.75 $1,000-1,500

409 MINEO MIZUNO UNTITLED 1985 Glazed ceramic Signed “Mizuno 85” verso 18” x 18” $1,000-1,500

410 MINEO MIZUNO PLATTER 1980 Glazed ceramic Signed "Mizuno 80" verso 1.5” x 19.75” x 11.75” $500-700


245

411 LARRY BELL UNTITLED (VAPOR SERIES) 1978 Vaporized metal on paper Signed “LBell ‘78” in pencil lower center Sheet (vis.): 28.5” x 21.75”; Frame: 41.5” x 33.75” Literature: ZO N ES

O F E X P E R I ENCE: T HE A RT

O F L A R RY BE L L , A L BU Q U E R Q U E: A LBU Q U ERQ U E M U S E U M , 1 9 9 7, P 1 1 0, P L AT E 29 FOR A SIMIL A R E XA M P L E F R O M T H E S E R I ES.

$1,500-2,000


412 JOE GOODE PORTFOLIO OF SIX LITHOGRAPHS (7) 1969; published 1970 Six lithographs on Tevere Liscia paper in black leather snapcase portfolio plus one additional lithograph #15 of 75; Additional: from the edition of 125 Edizioni O, Milan, publisher; Fantonigrafica, Venice, printer Each signed and dated in pencil lower center Impression: 16.5” x 15.5”; Sheet: 23.75” x 19.375”; Portfolio: 24.5” x 20” $3,000-5,000


413 ROBERT DOWD DOLLAR BILL 1963 Mixed media on paper Signed “Dowd 63” in pencil center right sheet; retains David Stuart Gallery label on verso; retains Los Angeles County Museum of Art loan sticker verso of frame Sheet: 12” x 16”; Frame: 16” x 20” Exhibited: “ S I X

M O R E,” LOS A NG ELES

C O U N T Y M U S E U M O F A RT, 1 9 63 .

Provenance: AS H E R

COLLECT ION, LOS

A N GE L ES ; P R I VAT E C O LLECT ION, M I N N ES OTA

$3,000-5,000

414 ROBERT GRAHAM MOCA TORSO 1992-95 Patinated bronze From the edition of 3500 The Museum of Contemporary Art, Los Angeles, publisher 11” x 4.5” diameter at base $3,000-5,000

415 TONY BERLANT UNTITLED (HOUSE) c. 2003 Found metal collage on plywood with steel brads 6” x 6” x 4.5” Literature: TO N Y

BE RL A NT: NEW WORK ,

1 9 9 0 - 93, VE N I C E : L A LOU V ER , EX HIBIT ION CATA LO G, N P, FO R S I MIL A R EXA MPLES.

$3,000-5,000

24 7


Venice Beach, California in the early 1960s was full of vacant buildings with cheap rent that were just a brief walk from the expansive views of the Pacific. In other words, it was the optimum environment for De Wain Valentine (b. 1936) to realize his sculptural potential. Valentine’s natural surroundings have always been a dominant influence in his work: “In Colorado, I had a love affair with the clouds and mountains. When I moved to California, the smog became a substance, and the quality of light had a body to it that was just thrilling.” Upon arrival in 1965, he immediately wanted to create sculpture that would embody the sea and the sky, as if he sliced a chunk straight from the landscape. To achieve the pristine surfaces and monumental size of his sculptures, he teamed up with the Hastings Plastics Company in Santa Monica to develop his own polyester resin. Referring to the intense industrial processes Valentine utilized, Larry Bell commented, “De Wain was doing stuff that had never been done before, inventing techniques that were unheard of.” He was “absolutely fearless” and poised to work with any material that would achieve his aesthetic vision. In the late 70s, Valentine began working with glass to create large fountains. Like the impetus behind his cast resin discs and columns, “The inspiration for the fountain grew out of a desire to sculpt a piece of the ocean or actually come as close as possible to carving out a section of the sea.” Constructed for a private residence in New Zealand in 1990, Curved Waterwall incorporates water as an additional layer to the sculpture, taming an elusive medium to manipulate light. The monolithic stature and wedge shape recalls one of Valentine’s largest sculptures, Gray Column (1975-1976), which was on view at the Getty Museum during Pacific Standard Time. In Curved Waterwall, he has succeeded in capturing a piece of the ocean in its mysterious infinity, and in any setting, it will exude a sense of tranquility only De Wain Valentine can create. “Gray Column.” Pacific Standard Time at the Getty Center. The J. Paul Getty Museum, 2012. Web. 13 Aug. 2012. “L.A. Art Scene.” Pacific Standard Time at the Getty Center. The J. Paul Getty Museum, 2012. Web. 13 Aug. 2012. Learner, Tom. From Start to Finish: De Wain Valentine’s Gray Column. Los Angeles: Getty Conservation Institute, 2011. Print.

416 DE WAIN VALENTINE CURVED WATERWALL 1990 Laminated glass 80” x 72” x 15” LAMA wishes to thank the artist for his kind assistance in cataloging this lot. Provenance:

C U STO M D ESIG NED 1 9 9 0

FO R SA L LY & R O BE RT HU NT; PRIVAT E C O L L EC T I O N , N E W Z EA L A ND.

$50,000-100,000

249

ILLUSTRATION OF SCULPTURE IN SITU, NEW ZEALAND


417 DE WAIN VALENTINE CYLINDRICAL COLUMN LAMINATED GLASS

Interview with De Wain Valentine August 15, 2012

c. 1980 Laminated glass 24” x 6” diameter

Paul Des Marais: Was Curved

you use any similar innovations,

$3,000-5,000

Waterwall your idea or did the

materials, or techniques to con-

patrons have a specific idea in

struct Curved Waterwall?

mind? DV: I was trying to figure out De Wain Valentine: At a MOCA

how to put the glass together.

gala when I was on the board of

At one point, I used up all the

directors, Sally and Robert Hunt

thicker glass I had trying to glue

won my fundraiser to have dinner

it together. I couldn’t afford the

at my house in Venice and we all

industrial companies so I had

became great friends. They saw

to figure out a way to do it. I was

some pieces of mine and said,

forced to invent the process,

“We want you to do a piece in

gluing it together and getting the

our backyard sculpture gar-

water to flow out.

den.” I made a proposal for their backyard in Encino. It was an in-

PD: You like finding a solution to

teresting project because I worked

a massive problem.

with her son who is a sculptor. He has a fabricating business on

DV: Right, my two A’s were in

the east side of L.A. He fabricated

Physics. My Physics project in

the stainless steel base for the

high school was on light diffrac-

piece. During the Northridge

tion and I’m still interested in

earthquake, the Encino house was

that.

red-flagged. They had a house up in Sun Valley, so they decided to

PD: Then it seems like glass was

move there and bring the sculp-

a natural progression. When

ture with them. They eventually

did you first begin working with

decided to move to New Zealand.

glass?

They moved the sculpture from Encino to Sun Valley to New

DV: I started working with glass

Zealand. That’s curious that it has

in New York City in 1976. I could

come all the way back to the Los

have the glass cut and delivered

Angeles area.

to the studio in Manhattan. There was no way I was going to haul

PD: That’s amazing, all the way

polyester to New York. I had a

back to L.A. You developed your

one-man exhibition in 1979 at

own polyester resin that allowed

LACMA that showed my glass.

you to create large-scale discs,

There was some overlap of glass

pillars, and columns without

and polyester, but the direction

cracks, such as Grey Column. Did

was predominantly glass, and it


still is. I still make some pieces in

DV: When I’m asked that ques-

cally. He started the Ocean Park

your design approach?

polyester. Plastics don’t do well

tion, I tell people it’s taken me

Series. We used to play softball

outdoors though.

all my life because it’s a point I

in Boulder, Colorado, the artists

DV: Adding a water element took

finally arrived at. I first thought

against the philosophy depart-

me another step closer to making

PD: You say you had your glass

about making glass in the 60s,

ment. It was just a fun game, but

water stand on edge, like taking a

delivered?

but I could never justify doing the

these philosophers were very

saw and cutting out a piece of the

glass. It was just too expensive.

serious about their athletics.

sky or ocean. The polyester and

DV: I had the good fortune of

Richard’s a good ball player. He

glass give me a chance to objec-

having an old time glass man

PD: The interaction of smog and

could catch and hit and run, very

tify that idea, to work with that

who befriended me. He worked

light in Los Angeles has heavily

athletic.

transparent colored space. For

for every major glass company in

influenced your work. Your sur-

town. He would take glass com-

roundings seem to be a constant

PD: [Laughs] That’s a great story.

it all together really, the water and

panies that were going flat and

influence. Once you had enough

Ok, so does Curved Waterwall

the sky.

he’d get them back in business.

money to create fountains, how

have any relation to the Cylindri-

Whatever company he was with,

did L.A. factor into the design of a

cal Column Laminated Glass?

PD: The water adds a whole new

he would get them to do my glass,

fountain like Curved Waterwall?

They look like they’re from the

luminosity.

which is custom cut. It gives it a

me, Curved Waterwall is putting

same period.

flaked, faceted edge. They score

DV: I grew up in Colorado and

the glass at the top with a regular

realized how beautiful the blue

DV: Yes it does! I’ve done many

to it. Sound as well, because it’s

old-fashioned glasscutter. Then

was. But when I moved to L.A., I

larger cylinders just like this.

water. I have a video of Curved

from underneath they tap it with

couldn’t understand why all the

Right now I’m working on a 12-

Waterwall down when it was

a ball pine hammer to give it that

headlights were yellow at night.

foot high cylindrical fountain.

in Encino; the sound, the light,

faceted look. Now it’s all cut with

The smog was so bad in 1965.

The first fountain, in fact, was a

everything. It’s a babbling brook

a computer operated machine.

The smog plus the vapor from the

cylinder at the Federal Reserve

sound, not a big water sound. It’s

ocean – I lived a half a block away.

Bank in San Francisco.

nice because it isolates you in a

PD: It’s faster, but not the same

I was very aware of that marine

effect.

atmosphere.

DV: No it’s not the same! We tried

PD: But it’s amazing that in L.A.

it and I got pretty good at it, but

you can escape it so easily.

DV: Yes it does, it adds liveliness

sound environment, not like a PD: Does it look like Cylindrical

rushing current.

Column Laminated Glass?

it gets expensive. You have to buy

LAMA would like to thank DV: Oh yes exactly like it. It was 7

De Wain and Kiana Valentine

feet high though.

for their generosity and

a complete order of glass. For the

DV: Yes! You’re out in a meadow

largest works, I had to buy 22

in the woods in some fairyland

PD: Ah it’s almost like a fountain

assistance.

thousand pounds of glass. The

only 30 minutes away. You

study. Was Curved Waterwall one

biggest pieces of glass were 500

think, “This is Los Angeles?” It’s

of the first fountains you made?

pounds each.

magical. My work changed so much when I got to L.A., just like

DV: It was the third fountain I

PD: It must have taken you a

Richard Diebenkorn when he

made.

long time to construct Curved

moved from the Bay Area to teach

Waterwall…

at UCLA, his work changed radi-

PD: How did adding water change


418 TAKASHI MURAKAMI MR. WINK/COSMOS BALL & RELATED ITEMS (4) Hiropon poster: 2001, Gagosian invite: 2011 Comprised of Mr. Wink/Cosmos Ball in its original packaging, mini-CD Rom case with “Hiropon” poster, business card and Gagosian invite Cardboard pyramid shipping box with “Mr. Wink/Cosmos Ball”: 18” x 11” x 11”; Gagosian invite: 10” x 8”; Murakami mini-CD Rom case: 4” x 2.5”; Fold-out “Hiropon” poster inside of CD Rom case: 11” x 8.75”; Business card: 4” x 2.5” $2,500-3,500


419 TAKASHI MURAKAMI AND THEN AND THEN AND THEN AND THEN AND THEN (BLUE) 1999 Offset lithograph #70 of 300 Kaikai Kiko Co., Ltd. Signed in silver ink with edition lower right Sheet (vis.): 26” x 26”; Frame: 32.75” x 32.75” $1,000-1,500

420 TAKASHI MURAKAMI MAIDEN IN THE YELLOW STRAW HAT (FIELD OF SMILING FLOWERS) 2010 Offset lithograph #37 of 300 Kaikai Kiko Co., Ltd. Signature with edition lower right Sheet (vis.): 26.25” x 26.25”; Frame: 28.75” x 28.75” $1,000-1,500

421 TAKASHI MURAKAMI FLOWERBALL (3D) FROM THE REALM OF THE DEAD 2010 Offset lithograph #152 of 300 Kaikai Kiko Co., Ltd. Signature with edition lower center Sheet (vis.): 26” x 26”; Frame: 32.75” x 32.75” $1,000-1,500

253


422 ROBERT LONGO GOVERNMENT 1983 Screenprint in colors on wove paper with plastic multiple #8 of 15 Edition Schellmann & Kluser, New York, publisher Signed and dated in pencil lower right; edition lower left 77” x 28” $20,000-30,000


255

423 ROBERT LONGO RICK

424 ROBERT LONGO TILLMAN

1994 Lithograph on Arches Cover #72 of 170 Greenpeace, New York, publisher Signed and dated in pencil lower right; edition lower left Sheet: 45.875” x 30”; Frame: 47.125” x 31.125”

2000 Lithograph on Arches #42 of 50 Wolfryd-Selway Fine Art, New York, publisher Signed and dated in pencil lower right Sheet: 69.5” x 40”; Frame: 45.75” x 75.75”

$5,000-7,000

$10,000-12,000

425 ROBERT LONGO UNTILED (PL. 2 FROM MEN IN THE CITIES) 2005 Digital pigment print on Crane portfolio rag #7 of 15 Signed and dated in pencil lower right image; edition lower left Image: 40” x 26”; Sheet: 43” x 30”; Frame: 48” x 34” $6,000-8,000


426 TONY SMITH YELLOWBIRD 1971 Tetrahedral cardboard multiple painted in enamel From the edition of 50 One signed and dated in black ink Each 3.25” x 8.5” x 6” $1,500-2,000

427 JOSEF ALBERS INTAGLIO DUO F 1958-59 Print #19 of 50 Pace Editions, publisher; printed with the assistance of the students of the Yale School of Art Signed in pencil lower right; title and edition lower left; retains Pace editions label verso Image: 5.125” x 13.5”; Sheet: 15” x 21.75”; Frame: 17.625” x 24.875” Literature: DANILOWITZ,

BR E NDA , TH E

P RI NTS O F J OSE F ALBE RS: A CATALOG UE RAI S O NNÉ 1915 -1976, MANCHESTE R : HUD S O N HILL S PRESS, 2010, 2ND E D, P P 8 8 - 9, #134.

$1,000-1,500


428 MARC NEWSON GLUON LOUNGE CHAIRS (2) Moroso, designed 1993 Black leather, painted wood, plastic, and metal Manufacturer’s logo to each Each 34” x 26.25” x 29” Literature: R AW ST HORN,

A LICE,

M A R C N E W S O N, 1ST ED IT ION, LOND ON: BO OT H - C L I BBO R N ED IT IONS, 1 9 9 9, P P 8 0 - 83 .

$2,000-3,000

257


429 HELEN FRANKENTHALER WALKING RAIN 1987 Lithograph, aquatint, spitbite aquatint, soft-ground etching, and engraving on white T.H. Saunders paper #44 of 54 Tyler Graphics Ltd., Mt. Kisco, publisher; Kenneth Tyler, printer Signed and dated with edition lower right; publisher blindstamp lower right Image: 29.5” x 22.25”; Frame: 32.35” x 24.75” Literature: PEGRAM,

HARR ISON, F RANK E N-

T HALER : A CATALOGU E R AISONNÉ: P RINTS 196 1-1994, NE W YORK : ABRAMS, 1 9 9 6 , #130; F I NE , R U TH E , HE LE N FRAN K E NT HALER P RINTS, WASHINGTON: N ATIONAL G A LLERY OF ART: NE W YORK : ABRAM S, 1993, #6 0.

$2,000-3,000

430 HELEN FRANKENTHALER PRANZO ITALIANO 1973 Sugar-lift etching and aquatint on white Fabriano paper #1 of 43 2RC Editrice, Rome; Valter and Eleonora Rossi, printers Signed and dated in pencil lower right; edition lower left Art: 8.5” x 7.875”; Sheet: 19.75” x 13.75”; Frame: 21” x 15.5” Literature: PEGR AM,

HAR RISON, F RANK E N-

T HA LER : A CATALOGU E RAISONNÉ: P RINTS 196 1-1994, NE W YORK : ABRAMS, 1 9 9 6 , # 4 4 ; F I NE, RUT H E , HE LE N FR ANK E NTH AL E R P RI NTS, WASHINGTON: NATIONAL G AL L E RY O F A RT: NE W YORK : ABRAMS, 1993, # 25 .

$1,500-2,000

431 HELEN FRANKENTHALER ORANGE HOOP 1965 Lithograph with tusche wash on cream Richard de Bas, Auvergne a la Main paper Artist’s proof; aside from the edition of 24 ULAE, West Islip, publisher; Zigmunds Priede, printer Signed and dated lower right; edition lower left Image: 20” x 15”; Sheet: 26” x 20” Literature: PEGR AM,

HAR RISON, F RANK E N-

T HA LER : A CATALOGU E RAISONNÉ : P RINTS 196 1-1994, NE W YORK : ABRAMS, 1 9 9 6 , # 7.

$2,000-3,000


432 CAROL SUMMERS BROOCH AND PIN (2) c. 1965-69 Brooch: sterling silver, bronze, and gold; pin: sterling silver and bronze Brooch #53 of 75; pin #25 of 75 Each with stamped signature Brooch: 5.5” x 5.75”; Pin: 4.25” x 1” LAMA wishes to thank the artist for his kind assistance with cataloguing these works. $2,000-3,000

259

433 CAROL SUMMERS RAINBOW 1958 Woodcut Unnumbered artist's proof of 11; aside from the edition of 41 Signed lower right sheet; title with edition lower left Sheet: 34" x 29"; Frame: 43" x 28" Literature: S UMME R S,

CAR OL , CAR OL SU M-

ME R S : C ATALO GUE R A I SONNÉ, 1 950 -1 988, N E W YO R K : B AR N E T T, BECK AND C C A G ALL E R IE S, 19 8 8 , P P 41 AND 26 , #29.

$1,000-1,500


434 JIM DINE BLUE HEART 2005 Lithograph on Rives BFK #134 of 200 Atelier Michael Woolworth, Paris, printer Signed and dated “Jim Dine ‘05” lower right sheet; edition lower left Sheet: 26.25” x 20.5”; Frame: 34.5” x 28.625” $2,500-3,500

435 JIM DINE GIRL AND HER DOG II 1971 Embossing with etching with handpainted heart in watercolor on J. Green mouldmade paper #60 of 75 Petersburg Press, London, publisher; Maurice Payne, printer Signed with date and edition lower right Image: 27” x 21.5”; Sheet: 35” x 28”; Frame: 37.5” x 30.5” Literature: J IM

DINE PR INTS: 19 7 0 -1 9 7 7, 1 ST

ED I T I O N, WILLIAMSTOWN: WILLIAM S C OLLEG E; HA RPE R & R OW, 197 7, ILLUSTRATE D P 54 , #37.

$3,000-4,000


436 JIM DINE TWO FIGURES LINKED BY PRE-VERBAL FEELINGS 1976 Etching with drypoint and photographically transferred drawing with handcoloring in red watercolor by artist on German etching paper Trial Proof; aside from the edition of 30 Pyramid Arts, Ltd., Tampa, publisher; Julio Juristo, printer Signature with edition and date in pencil lower left sheet Image: 28” x 23”; Sheet: 31” x 25”; Frame: 42.5” x 31.5” Literature: J I M

D I N E, PRINTS: 1 9 70 -1 9 7 7,

W I L L I A M STOW N : W I LLIA MS COLLEG E; H A R P E R & R OW, 1 9 7 7, 1 ST ED, ILLU ST RAT ED P 1 1 3 , #2 0 8 .

$2,500-3,500

437 JIM DINE UNTITLED (FROM DUTCH HEARTS PORTFOLIO) 1970 Lithograph printed in color with collage on Hodgkinson handmade paper Artist's proof aside from the edition of 85 Petersburg Press, London, publisher; Pier Clement, Amsterdam, printer Signed and dated in pencil lower right; edition lower right Sheet: 16.25” x 19.75”; Frame: 18.5” x 22.125” Literature: J I M

D I N E PRINTS: 1 9 70 -7 7, 1 ST

E D I T I O N , W I L L I A M TOWN: WILLIA MS COLL EGE ; H A R P E R & R OW, 1 9 7 7, ILLU ST RAT ED P 44, #2- 9.

$1,500-2,000

438 JIM DINE SELF-PORTRAIT 1978 Etching, soft-ground etching, aquatint, and drypoint on J.D. handmade linen paper #15 of 23 Pace Editions, New York, publisher; Jeremy Dine, New York, printer Signature with edition lower center sheet Image: 12.5” x 10.25”; Sheet: 25.25” x 19.5”; Frame: 28” x 22 Literature: D’O E N C H ,

ELLEN G A ND JEA N

E F E I N BE R G, J I M D I N E PRINTS 1 9 7 7-1 9 85, 1 ST E D, N E W YO R K : H A RPER & ROW, 1 9 86, P 7 3 , #2 9.

$1,000-1,500

261


439 CARLOS MERIDA LA FAMILIA 1977 Oil on board Signed and dated lower center Sold with copy of certificate of authenticity. Board: 13.625” x 6.5”; Mount: 15.5” x 9.25”; Frame: 20.5" x 15” $18,000-22,000


440 PEDRO FRIEDEBERG UNTITLED (ESCENOGRAFIA PARA EL REY LEAR) & (POR AVION) (2) c. 1978 Ink and acrylic on Hotel de Londres Place d’Espagne-Rome stationary and envelope A: Signed lower left; inscribed lower right “Escenografia para el rey lear”; B: Signed in ink lower left A: Sheet: 4.5” x 5.75”; Frame: 9” x 10.25”; B: Envelope: 5” x 6.375”; Frame: 9” x 11” $6,000-8,000

263

441 PEDRO FRIEDEBERG OCCASIONAL TABLE Pedro Friedeberg, designed c. 1975 Walnut, hardwood, applied gold leaf Signed “Pedro Friedeberg” at base Base: 23.75” x 13” diameter; Detachable glass top: 14.875” x 16.125” LAMA wishes to thank the Pedro Friedeberg studio for their assistance in cataloging this work. Provenace: P R I VAT E

COLLECT ION, NEW

O R L E A N S ; P R I VAT E C OLLECT ION, LOS A N GE L ES

$5,000-7,000


442 FRANCISCO ZUNIGA MATERNIDAD 1966 Ink and watercolor on white paper Signed and dated lower right Sheet: 25.5” x 19.75”; Frame: 35" x 28" Literature: ZU NIGA ,

ARIE L , FRAN C ISC O

ZUN I G A : CATALOGU E R AISONNÉ OF DRAWI N G S, 192 7-1970, 1ST E D, VOL III, M E X IC O: ALB ED RI O AND FU NDACION ZU NIG A L A B O RD E, AC, 2006, ILLU STR ATED P 26 1 , #1310.

$10,000-15,000

443 FELIPE CASTAÑEDA RECLINING NUDE 1972 White onyx Incised signature “F. Castaneda” with date 28” x 10” x 11.5” $10,000-15,000


444 FELIPE CASTAÑEDA MOTHER AND CHILD c. 1975 Pink onyx Sculpture: 15” x 12” 7.5”; With base: 17” x 14” x 9.5” $7,000-10,000

445 FELIPE CASTAÑEDA FERTILITY 1979 Black marble #2 of 7 Incised near base “F. Castaneda/1979/ II/VII” 22” x 15” x 8” Literature: T H E

WO MA N, MAG IC A ND

FO R M : S C U L P T U R ES OF FELIPE CASTA ÑE DA , FO RT L AU D E R DA L E : MA RV IN ROSENBAU M, 1 9 8 8 , P 5 5 FO R S I M I L A R EXA MPLE.

$9,000-12,000

446 FELIPE CASTAÑEDA UNTITLED 1975 Bronze #1 of 5 Incised signature with edition in Roman numerals and date at rear near base 12.5” x 12” x 7” $3,000-5,000

265


447 SANTIAGO CARDENAS UNTITLED (DARK GREEN) 1990 Charcoal, pastel, and acrylic on paper Signed and dated upper left; title upper left; retains Moss Gallery label on frame verso Sheet: 38” x 28”; Frame: 46.25” x 35.25” $4,000-6,000

448 JESUS LEUUS MEXICO 1967 Mixed media Signed “Jesus Leuus” with date and title lower right Image (vis.): 19.25” x 23.25”; Frame: 25.5” x 29.75” $1,500-2,000

449 RUFINO TAMAYO PORTRAIT OF A MAN (HOMBRE) 1953 Lithograph Signed lower right Sheet: 22.5” x 17.5” Provenance: FR OM

THE COLLEC TION OF

JAM ES BY RNES, LOS ANGE LES; PRIVATE CO LLEC T I ON, LOS ANGE LES

Literature: PE RE DA ,

RICO, TAMAYO

I LUST RA DOR , ME XICO: R M, 2002 , # 1 5 FOR S I M I L A R EXAMPLE .

$2,500-3,500


450 HUMBERTO CALZADA THE WAR OF SOLITUDE 1987 Acrylic on canvas Signed “Calzada” lower left; signed and dated “Calzada ‘87” verso; retains Moss Gallery label verso Canvas: 30.375” x 23” $5,000-7,000

451 ANNA KATHERINE SKEELE GROUP OF DRAWINGS (11) c. 1935-41 Mixed media on white and wax tracing paper A: Initialed "KSD" in pencil lower right; B: Signed "A. Katherine Skeele '41" lower right; C: Initialed "KSD" lower right; D: Initialed "KSD" lower right; E: Initialed "KSD" lower right; F: Signed "A. Katherine Skeele 1941" lower right; G: Initialed "KSD" lower right; F: Initialed "KSD" lower right; J: Signed "A. Katherine Skeele 1941"; K: Initialed "KSD" A: Sheet: 14” x 19”; B: Sheet: 17” x 14”; C: Sheet: 11” x 18.75”; D: Sheet: 16” x 13.875”; E: Sheet: 23.75” x 19”; F: Sheet: 16.75” x 13”; G: Sheet: 8.5” x 10.5”; H: Sheet: 15” x 19”; I: Sheet: 22” x 17”; J: Sheet: 23” x 19”; K: Sheet: 24” x 18” $1,500-2,000

267


452 ANGELO MANGIAROTTI CLIZIA STOOLS WITH SURROUNDING TILES (12) Agapecasa, designed 1990 Pietra Serena stone The pair of chairs are cut from a single block of stone simultaneously by two computer guided cutting machines. Overall: 17.25” x 85.25” x 64” $7,000-9,000


453 FRENCH MODERN CEILING LAMP Lumière, designed c. 1950 Frosted glass, patinated metal, brass Label to inside of one shade “Lumière” The design is similar to the design by Ico Parisi, for Stilnovo, c. 1949. 37” $3,500-4,500

454 MAURIZIO CATTELAN CERBERINO DINING TABLE Dilmos Milano, designed 1989 Patinated and welded iron, glass 29.5” x 55” diameter Literature: CA R LO

D U C CI (CU RATOR),

LU XU RY I N L I V I N G: I TA LIA N D ESIG N FOR I TA L I A N I N D U ST R I ES, E X HIBIT ION BOOK , P H O E N I X , JA N UA RY 1 4T H - FEBRUA RY 5 T H, 2 0 0 6 , P 1 40 ( D ES I GN I L LU ST RAT ED).

$7,000-10,000

269


271

455 PIERO FORNASETTI STRUMENTI MUSICALE (DOUBLE-SIDED THREE PANEL SCREEN) Studio, designed and executed c. 1950-1959 Lithographically and transfer printed wood and brass 61.625” x 58.75” Literature: M AU R I ES,

PAT RICK , FORNAS -

E T T I : D ES I GN E R O F D REA MS, LOND ON: 1 9 9 1 , P 1 6 6 ( VA R I A N T I L LU ST RAT ED).

$8,000-12,000

REVERSE OF SCREEN


456 OSVALDO BORSANI ADJUSTABLE CHAISE LOUNGE Model no. L77 Tecno, designed 1957 Enameled steel, rubber webbing brass medallion to frame “Tecno” Complete with the original detachable side panels and upholstered mattress (not illustrated). 29” x 75” x 29” (adjustable) $8,000-12,000

457 EUGENIO GERLI ROLLING BAR CABINET Model no. B106 Tecno, designed 1966 Lacquered ash plywood and steel Retains Tecno tag 29” x 34.5” x 21.5” (closed) Literature: R E PE RTOR IO

1950 -19 8 0,

G RAM I G NA , P 23 9.

$2,000-3,000

TOP DETAIL, CLOSED


458 OSVALDO BORSANI REVOLVING COAT RACK Model no. AT-16 Tecno, designed 1961, this example a later production Walnut, teak, oak, leather bound and enameled-steel, aluminum From 64” to 104” maximum (adjustable) x 26” diameter Literature: A LO I ,

R O BE RT, L’A RREDA MENTO

M O D E R N O VI I S E R I E, M I L A N: U LRICO HO E P L I , 1 9 6 4, P 1 46 ( D ES I G N ILLU ST RAT ED).

$5,000-7,000

273


459 ERCOLE BAROVIER INTARSIO TABLE LAMPS (2) Barovier & Toso, 1961-63 Blown, fused glass with controlled internal air bubbles 29.5” including shade; 15” glass component The highly skilled technical innovation of the Intarsia technique involves the laying of hand selected triangular sheets of colored glass on a flat surface. The composition is then fired to a high temperature until the panels become fused. $6,000-8,000

462 FULVIO BIANCONI PEZZATO VASE Venini, designed 1950, this example executed 2003 Mouth blown and fused glass Engraved “venini 2003 Fulvio Bianconi” 8.5”

460 ALESSANDRO PIANON HANDBLOWN GLASS FIGURE (BIRD/ PULCINI) 461 FLAVIO POLI SOMMERSO VASE

Vistosi, designed 1962 Glass, bronze wire 8” x 6” diameter

Literature: CA R LO

D U C C I (C U R ATO R ) ,

LU X U RY I N L I VI N G: I TA L I A N D ES I GN FO R I TA L I A N I N D U ST R I ES, E X H I BI T I O N BO O K , P H O E N I X , JA N UA RY 1 4T H - F E BR UA RY 5 T H ,

1996 , P 163 .

Seguso Vetri d’Arte, c. 1960 Red glass, cased in pink 8.75” x 8.5” x 4.5”

$2,000-3,000

$1,000-2,000

$1,000-1,500

Literature: HE IRE MANS,

20TH CE NTURY

M URA NO GL ASS: FROM CRAFT TO DESIG N,

2 0 0 6 , P 2 2 2 ( D ES I GN VA R I A N T I L LU S T R AT E D) .


The BBPR collective was founded in Milan in 1932 by architects Gian Luigi Banfi, Lodovico Barbiano di Belgiojoso, Enrico Peressutti, and Ernesto N Rogers. Their greatest architectural achievements include the Palazzo delle Poste, Rome, 1940, the Velasca Tower, Milan 1956-58, and the Piazza Statuto, Turin, 1962.

463 STUDIO BBPR RO TABLE LIGHT Artemide, designed 1962 Metal, frosted glass 16” Literature: F I E L L ,

C HA RLOT T E A ND PET ER ,

1 0 0 0 L I GH TS : 1 9 6 0 TO PRESENT, VOLU ME 2 , KO L N , TAS C H E N , 2 0 05 , P 3 9.

$1,500-2,000

464 STUDIO BBPR RO WALL SCONCES (2) Artemide, designed 1962 Chrome-plated steel, frosted glass 19” $2,000-3,000

465 FRANCO ALBINI MARGHERITA STOOLS (4) Vittorio Bonacina, designed 1951 Woven rattan Three: 15” x 24” diameter; Other: 11” x 22” diameter $1,500-2,000

466 GIO PONTI SIDE CHAIRS (4) Model no. 692 Cassina, designed 1952 Ash, brass, vinyl upholstery Each retains metal label “Figli di Amedeo Cassina/Tel. 77338 Meda (Milano)” on back of chair Accompanied with a certificate of authenticity from the Gio Ponti Archives, Milan. Each 32.625” x 18” x 20” Literature: GI O

P O N TI: L’A RT E SI INNA MO -

R A D E L L’ I N D U ST R I A , L A PIET RA , P 2 05 .

$4,000-6,000

275


467 ITALIAN MODERN TABLE NIGHT LIGHT Arredoluce, designed c. 1950 Enameled metal, frosted glass, brass 13” $1,800-2,200

468 ANGELO LELLI EASEL LIGHT Arredoluce, designed c. 1965 Brass, enameled metal 80.25” $4,000-6,000

469 GAE AULENTI PAIR OF PIPISTRELLO LAMPS Model no. 620 Martinelli Luce, designed 1965-66 Aluminum, plastic, enameled metal Each approximately 33” x 13” diameter Literature: FIE LL ,

CHAR LOT TE AND P E TE R ,

1000 LI G HTS: 1960 TO PR ESE NT, VOLUM E 2, KO LN : TASCHE N, 2005, P 88.

$2,000-3,000

FRAMED PICTURE IN ILLUSTRATION NOT INCLUDED IN THIS LOT


471 ACHILLE & PIER GIACOMO CASTIGLIONI SNOOPY TABLE LAMP

472 GAE AULENTI MONACA TABLE LIGHT

Flos, designed 1967, this example a later production Enameled metal, marble, glass 14”

Harvey Guzzini DH, designed 1972 Plastic, steel, rubber Retains “Harvey Guzzini Made in Italy” label 18.5” x 24” x 18”

Arredoluce, c. 1950 Chrome-plated steel, enameled aluminum 60.75” x 21.25” (adjustable)

Literature: F I E L L ,

Literature: F I E L L ,

$7,000-9,000

470 ITALIAN MODERN TRIENNALE FLOOR LAMP

C H A R LOT T E A N D

CHA RLOT T E A ND

P E T E R , 1 0 0 0 L I GH TS : 1 9 6 0 TO P R ES E N T,

P E T E R , 1 0 0 0 L I GH TS: 1 9 60 TO PRESENT,

VO LU M E 2 , KO L N : TAS C H E N , 2 0 05 ,

VO LU M E 2 , KO L N : TASCHEN, 2 0 05 , P

P 113.

2 5 4.

$600-800

$2,000-2,500

27 7


473 ACHILLE PERILLI UNTITLED 1961 Tempera on paper Signed “Perilli 61” lower left Sold with two labels no longer affixed to back of frame Sold with Galleria Odyssia, Rome label, Isaac Delgado Museum of Art, and Achille Perilli labels no longer affixed to frame. Image (vis.): 26.875” x 38.625”; Frame: 29.75” x 41.5” Provenance:

FR OM THE COLLEC TION OF

JA M ES BYRNES

$4,000-6,000


474 ITALIAN MODERN CHANDELIER Possibly designed by Gino Sarfatti for Arredoluce, designed c. 1955 Enameled-metal, brass 33” x 37” diameter $5,000-7,000

475 EMMANUELE ZENERE DINING TABLE Cattelan Italia, designed c. 1990 Black marquina marble 29.5” x 55” diameter $2,000-3,000

279


476 SALVATORE SCARPITTA UNTITLED 1953 Gouache on paper Inscribed “To Mr. Byrnes” uper left Image (vis.): 17.25” x 23.25”; Frame: 23.5” x 25.5” Provenance:

FROM THE COLLECTION OF

JA M ES BY RNES

$5,000-7,000

477 GASTONE NOVELLI UNTITLED (ALPHABET SERIES) 1957 Ink on paper Signed “G Novelli 57” in black ink lower right sheet Sheet: 20.5” x 13.75” Provenance:

FROM THE COLLECTION OF

JA M ES BY RNES

$6,000-9,000


478 CONSTANTINO NIVOLA DRAWING AND 5 ARCHITECTURAL STUDIES (6) 1962 Black ink wash and mixed media on paper Drawing signed and dated lower right in black ink Sheet (vis.): 11” x 8.5”; Frame: 17.5” x 15.25”; Architectural plans: each approx. 23.5" x 18" $2,000-3,000

281


479 ACHILLE & PIER GIACOMO CASTIGLIONI ARCO FLOOR LIGHT Flos, designed 1962, this example a later production Marble, polished aluminum, and brushed steel 93” (adjustable) Literature: FIE LL ,

CHAR LOT TE AND P E TE R ,

1000 LI G HTS: 1960 TO PR ESE NT, VOLUM E 2, KO LN : TASCHE N, 2005, P 54.

$1,200-1,800

480 SOTTSASS ASSOCIATI SA05 COFFEE TABLE LauraMeroni Design Collection, designed 2004 Chrome-plated steel and glass 16” x 29.5” x 29.5” Literature: CARLO

DU CCI (CU RATOR) ,

LUXURY I N LIVING: ITALIAN DESI G N FOR I TA LI A N I NDU STRIES, E XHIBITION B OOK , P HO ENI X , JANUARY 14TH - FE BR UARY 5 TH , 2 006 , P 198 (DESIGN ILLU STRATE D) .

$1,500-2,000

481 ANTONIO CITTERIO & PAOLO NAVA DIESIS CHAISE LOUNGE B&B Italia, designed 1979, this example of recent manufacture Polished-steel, leather Retains B&B Italia label and impressed mark to leather armrest 37” x 50.5” x 47” Literature: CARLO

DU CCI (CU RATOR) ,

LUXURY I N LIVING: ITALIAN DESI G N FOR I TA LI A N I NDU STRIES, E XHIBITION B OOK , P HO ENI X , JANUARY 14TH - FE BR UARY 5 TH , 2 006 , P 8 0 (DESIGN ILLU STRATE D) .

$1,500-2,000


482 AMERICAN MODERN FLOOR LAMP Koch & Lowy Inc., designed c. 1970s Chrome-plated steel, leather-bound counter balance 58.75” x 18” diameter at base $1,000-1,500

483 ANGELO LELLI FLOOR LAMP

283

Arredoluce, designed c. 1967 Enameled and chrome-plated steel, marble 80.5” x 13” diameter at base $2,000-3,000

484 MARIO BELLINI CAB ARMCHAIRS (2) Cassina, designed 1977 Leather, steel frame One chair retains “Atelier International Ltd” label Each: 32” x 22.5” x 18” Literature: M C CA RT Y,

CA RA , MA RIO

BE L L I N I : D ES I GN E R , MU SEU M OF MOD ERN A RT E XH I BI T I O N CATALOG U E, 1 9 87, P 61 .

$800-1,200


485 ETTORE SOTTSASS MALABAR ROOM DIVIDER Memphis, designed 1982 Wood, plastic laminate, enameled metal Retains metal tag “Memphis Milano Made in Italy Ettore Sottsass 1982” 92.5” x 100” x 19.5” $4,000-6,000

486 ETTORE SOTTSASS RARE MOONLIGHT FLOOR LAMP Arredoluce, designed 1970 Enameled steel and polished steel 73.5” x 10.25” x 10.25” Literature: F E R R A R I ,

FU LV IO & NA PO -

L EO N E , LU C E : L A M PA D E 1 9 68 -1 9 7 3, T U RIN: I L N U OVO D ES I GN I TA L IA NO, 2 0 0 2 , P L 5 8 ( D ES I GN I L LU ST RAT ED).

$5,000-8,000

285


487 MARIO BELLINI CHIARA LAMP Flos, S.p.A., designed 1964 Stainless steel 57” x 11” Literature:

MCCART Y, CARA , MARIO

B ELLI NI : DESIGNE R , MU SE U M OF M ODE RN ART EXHI BITION CATALOGU E , 198 7, P 5 5 .

$2,000-3,000

488 MASSIMO IOSA GHINI BALZO SUITE (3) Moroso, designed 1989 Blue leather upholstery, chromeplated steel Comprised of settee, couch, and lounge chair Settee: 31” x 61” x 39.5”; Couch: 31” x 80” x 39.5”; Chair: 31” x 36.25” x 39.5” $2,000-3,000


491 PIERO FORNASETTI ACCESSORIES (6)

489 MATTHEO THUN VOLGA VASE Memphis, designed 1983 Glazed porcelain Retains label “M. Thune per Memphis” and “Made in Italy” An example of the design is held in the permanent collection of the Indianapolis Museum of Art. 21” x 9” x 7” $800-1,200

490 GEORGE J. SOWDEN OBJECTS FOR THE ELECTRONIC AGE TAZZA Memphis, designed 1984 Enameled metal, formica Manufacturer’s label to foot rim. 9.25” x 12.25” diameter $800-1,200

Studio, designed c. 1955 Glazed ceramic and enameled metal Fish tray and hand tray retain “Piero Fornasetti Milano” care label; blue dish, purple dish, black and white plate and sun medallion paperweight retain Piero Fornasetti manufacturer’s glaze mark Comprising large tray decorated with fish, large tray with arm, sun medallion paperweight, large plate Fish plate: 23.25” x 10”; Hand plate: 23.25” x 10”; Blue dish: 5.375” x 4.25”; Purple dish: 5.5” x 4.25”; Black and white plate: 12.25” diameter; Sun medallion: 1.75” x 4” x 3”

492 MASSIMO IOSA GHINI PLANA BENCHES (2)

Purchased from the estate of Piero Fornasetti.

Moroso, designed 1986 Chrome-plated steel, alcantara upholstery Each 16” x 86.5” x 21”

$1,500-2,500

$1,500-2,000

287


493 ROBERT FRAME BOUQUET OF SUNFLOWERS Oil on canvas Signed lower right; titled and signed verso Canvas: 26” x 34”; Frame: 36.75” x 25” $1,200-1,500

494 PAT CUCARO MARDI GRAS c. 1960 Mixed media on Masonite Signed Each panel: 6.125” x 35.375”; Frame: 21.25” x 41.375” $500-700


495 EDMOND KOHN UNTITLED 1963 Mixed media on canvas Initialed and dated “Nov 63”; inscribed on canvas stretcher verso “Nov 63 EK” Canvas: 27.875” x 35.875”; Frame: 28.25” x 36.5” $1,000-1,500

496 GEORGE CHANN UNTITLED c. 1960 Watercolor on paper Sold with original receipt from Ankrum Gallery. Sheet (vis.): 23” x 37.25”; Mat: 30” x 44.25” Provenance: A K R U M

G A LLERY, LOS A NG E-

L ES ; M I LTO N F E I N BE RG , LOS A NG ELES, CA ; P R I VAT E C O L L EC T I O N , LOS A NG ELES

$1,800-2,500

289


497 JAN STUSSY UNTITLED (FROM THE CRYPTIC MUSE SERIES) October 1967 Mixed media on canvas Inscribed verso “From Cryptic Muse Series” with signature; dated “Oct. 67 CA” verso Canvas: 60.5” x 51”; Frame 61” x 51.5” $3,000-5,000


498 EMERSON WOELFFER UNTITLED 1996 Acrylic on canvas Initialed “EW” and dated “96” lower right canvas; inscribed “for Ken/ Woelffer/1-14-98” verso 30” x 24” $5,000-7,000

499 EMIL JAMES BISTTRAM MARINE #2 c. 1950 Lithograph Unknown edition size Signed in pencil “Emil Bisttram Taos, N.M.” lower right; title lower left; blindstamp lower right Image: 12” x 13.25”; Sheet: 15.5” x 17.5” $800-1,200

500 JOHN PAUL JONES BOUNDARY 1951 Etching, engraving, soft-ground, and aquatint #20 of 25 Signed “John Paul Jones” in pencil lower right margin; edition lower left Image: 22” x 27.5”; Sheet: 28” x 22.25”; Frame: 41.5” x 31.5” Literature: J O H N

PAUL JONES: PRINTS

A N D D R AW I N GS, 1 9 48 -1 9 63, NEW YORK : T H E BR O O K LY N M U S EU M, 1 9 63 , CAT NO 1 5 .

$1,000-1,500

291


501 ED MOSES UNTITLED (2) 1980 Color etching on paper Unknown edition size 3EP, Ltd., Palo Alto, publisher Both initialed and dated in pencil “EMS 80” lower right; both retain publisher blindstamp lower left and blindstamp lower right A: Image: 8.75” x 30.75”, Sheet: 14.875” x 36.75”, Frame: 17.5” x 39.5”; B: Image: 12.75” x 28.5”, Sheet: 15” x 36.5”, Frame: 17.5” x 39.5” $1,200-1,500

502 JONATHAN BOROFSKY SELF-PORTRAIT WITH GOLD DOT 1991 Lithograph, screenprint, and collage with hand-painting by the artist on Arches 88 #27 of 35 Gemini G.E.L., Los Angeles, publisher Signed lower center; blindstamp lower right; printed “Copyright 1991JB + Gemini G.E.L.”; edition lower left Gemini G.E.L. #7.74 Image: 30” x 24”; Sheet: 38” x 31.5”; Frame: 38.625” x 32.25” $3,000-5,000

503 PETER ALEXANDER BOCA CHICA II 1991 Pastel and gouache on paper Signed and dated in pencil “P.A. 91” lower right Sheet: 9” x 10”; Frame: 13.625” x 14.625” $1,000-1,500


504 DON SORENSON UNTITLED 1981 Oil on canvas Signature and date verso Canvas: 26” x 43”; Frame: 33.25” x 50” $3,000-5,000

505 KIM ABELES OBSTRUCTIONS TO THE WEDGE 1986 Mixed media on painted wood construction 45.875” x 7” x 2.5” $1,500-2,000

506 GEORGE CONDO UNTITLED 1984 Oil stick on paper Signed and dated “Condo 84” lower left Sheet (approx.): 11.75” x 11” Provenance: PAT

H E A RN G A LLERY, NEW

YO R K ; P R I VAT E C O L L ECT ION, NEW YORK

$1,500-2,000

293


385 LOUISE NEVELSON BRACELET AND RING Studio, c. 1965 Lucite Bracelet $1,500-2,000

386 LOUISE NEVELSON NIGHT LEAF 1969 Cast polyester construction #123 of 150 Published by Pace Editions Inc., New York 12.75” x 12.75” x 2.25” $4,000-6,000


507 RICHARD PATTERSON SET OF “NEW” CHAIRS (4) Studio, executed 1978 Shedua wood, original upholstery Underside of one chair signed: “Richard Patterson 1978” Each 29.5” x 22” x 22” Provenance: AR R OYO

CR AFTSM AN G AL-

L E RY, PASAD E N A , 19 78 -7 9; P R I VATE C OLL EC TIO N , LO S AN GE L ES

$1,500-2,000

295 508 DANISH MODERN CAMPAIGN SOFA Manufacturer unknown, designed c. 1970 Brazilian rosewood, brass, vinyl upholstery, three inset drawers 81” x 24.75” x 29.75” $2,000-3,000

509 DANIEL GLUCK SCULPTURAL COFFEE TABLE Studio, designed c. 1960 Cast and welded bronze, glass 15.5” x 35.5” x 64” $3,000-5,000


510 PETER SHIRE CLAMPED TORSO Studio, 1991 Steel and enamel 26” x 33” x 8” $2,000-3,000

511 PETER SHIRE TEAPOT Studio, 1981 Glazed ceramic Signed and dated “Shire 1981” 5.5” x 7.5” x 1.5” $800-1,200


512 HERMÈS PATCHWORK CHRISTMAS TREE 2004 Hermès fabric mounted on Masonite in aluminum frame 78” x 31.5” x 31.5” Exhibited: “ L ES

SA P INS D E NOËL D ES

C R E AT E U R S, ” C E N T R E POMPID OU, PA RIS, 2 0 0 4.

$3,000-5,000

513 CONTEMPORARY CRAFT FOUNTAIN (4) Designed c. 1970s Glazed ceramic Red: 38” x 21” diameter; Black: 36” x 22.75” diameter; Yellow: 38” x 15” diameter; Orange: 38.5” x 22.5” diameter $3,000-4,000

297


514 ROBERT INDIANA NY STATE THEATER 1964 Offset lithograph Unknown edition size Albert A. List Foundation, New York, publisher Signed “R. Indiana 64” in red pencil lower right margin and inscribed “For Ray” Sheet: 45.5” x 29.5”; Frame: 47” x 31” Literature: ROBE RT

INDIANA : TH E P RINTS

A ND P O STE R S, 1961-1971, NE W YO RK : ED I T I O N DOMBE RGE R STU T TGART, 1 9 7 1 , P 6 4 , #P 4 .

$1,500-2,000

515 ROBERT INDIANA GREENPEACE LOVE 1994 Screenprint on wove paper #170 of 170 Signature in pencil lower right; title and edition lower left Image: 24” x 24”; Sheet: 32” x 29.5”; Frame: 35.5” x 32.625” $2,000-3,000

516 PETER MAX FACE AND OBJECTS 1994 Handmade color collage and wove paper Signed “Max” in paint lower center Sheet: 10.25” x 8.625”; Frame: 21.25” x 19.25” $500-1,000

517 MEL RAMOS CAMILLA PRINT AND WATCH BY CHAOS Serigraph: 1963; Watch: 1991 Serigraph #121 of 161 Serigraph: Robert Bane, Ltd., Beverly Hills, publisher; Watch: Chaos Signed lower right in pencil; edition lower left; stamped “Robert Bar Ltd” lower left; watch hand numbered “0779” and impressed with manufacturer’s mark; printed signature on watch with date Sold with watch (not illustrated). Image: 37” x 32”; Sheet (vis.): 41” x 35.5”; Frame: 44.25” x 38.75” $800-1,200


518 NICHOLAS KRUSCHENICK STUDY FOR PAINTING 1973 Mixed media on grid paper Signed and dated “N. Kruschenick 1973” lower right sheet in pencil Sheet: 8.375” x 11”; Mat: 9.75” x 13” $2,000-3,000

519 VICTOR VASARELY UNTITLED c. 1965 Serigraph #30 of 50 Signed in pencil lower right; edition lower left Image: 11.25” x 7.25”; Sheet (vis.): 12.75” x 8”; Frame: 20.75” x 14.75” $800-1,200

299

520 JULIO LE PARC UNTITLED 1970 Mixed media op-art construction #97 of 175 Wobron, SAIC, publisher Retains label verso with printed edition and signature in ink Op-art relief: 8” x 14”; Box/Frame: 12” x 17.25” $2,000-3,000

521 ARY BRIZZI UNTITLED (SCULPTURE) 1978 Colored 4-pane Plexiglas construction “A. Brizzi/78” printed lower right corner 11.75” x 11.75” x 2.75” $1,000-1,500


522 ERWINE & ESTELLE LAVERNE TULIP CHAIR Laverne International, designed c. 1960 Enameled steel, lacquered fiberglass 50” x 46” x 27” $2,000-3,000

523 EERO SAARINEN OCCASIONAL TABLES (2) Model no. 161TR Knoll International, designed 1957 Enameled metal, formica veneer Each retains Knoll International label Each 20.25” x 15.875” Literature: R OU L AND,

LINDA AND STE V E ,

KN O LL FURNITU R E : 1938 -1960, NE W YORK : S CHI F F ER , 2005, PP 121-123.

$1,000-1,500


524 ISAMU NOGUCHI COFFEE TABLE Model no. IN50 Herman Miller, designed 1944 Ebonised wood, aluminum, green-tinted glass 16” x 50” x 37” Purchased by the vendor’s parents in New York City, 1962. Literature: E I S E N BR AND,

POSCH & VON

VEGESAC K , I SA M U N OG U CHI: SCU LPT U RA L D ES I GN, P 1 1 8 .

$1,500-2,000

301

525 TOM SLAUGHTER THREE-PANEL SCREEN c. 1989 Acrylic on board/panel 74” x 48.375” $1,500-2,000


526 EDWARD WORMLEY MAGAZINE TREE Model no. 4765 Dunbar, designed 1947 Lacquered birch, walnut 24.75” x 19” x 24” $1,500-2,000

527 TOMMI PARZINGER FLOOR/TABLE LAMP Parzinger Originals, designed c. 1950 Mahogany, plastic laminate, brass sabots 60” x 22” x 22” $2,000-3,000

528 EDWARD WORMLEY PYRAMID BOOKSHELF Drexel, designed 1956 Ebonised-wood 42.25” x 56” x 18.5” $1,500-2,000

529 EDWARD WORMLEY OCCASIONAL TABLE Dunbar, designed c. 1952 Walnut, brass Retains Dunbar paper label 15.5” x 66” x 17” $2,000-3,000

530 EDWARD WORMLEY EXTENDING COFFEE TABLE Model no. 5427 Dunbar, designed 1954 Mahogany, Murano glass tiles, brass 18.125" x 44” (69.5” extended) x 24.75” Literature: GU R RA ,

J U DITH, WE INB E RG ,

LI N AND KE NNE DY, CHR IS, E DWARD WORMLEY: T HE OTHE R FACE OF MODE R NISM, 1997, NEW YORK , P 3 8.

$2,000-3,000


531 T.H. ROBSJOHN-GIBBINGS PAIR OF HIGH BACK CHAIRS Widdicomb, designed c. 1960 Faux-bamboo carved oak frame, fabric upholstery Each 40” x 24.5” x 25” $3,000-4,000

532 T.H. ROBSJOHN-GIBBINGS BIOMORPHIC COFFEE TABLE Widdicomb, designed 1952 Cherry wood, brass 20” x 71” x 43” $3,000-5,000

533 T.H. ROBSJOHN-GIBBINGS SIDE TABLES (2) Model no. 1643 Widdicomb, c. 1960 Lacquered wood Each retains “Widdicomb” label 23.5” x 30” x 20” $3,000-4,000

534 T.H. ROBSJOHN-GIBBINGS COFFEE TABLE Widdicomb, designed c. 1960 Walnut 14.75” x 66” x 19.5” $2,000-3,000

303


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 17th collection and storage fees will begin incurring immediately.

BUYER’S PREMIUM A buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 22.5% if payment by cash, check or bank wire is received by October 17th. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card or if full payment is not received by October 17, 2012. (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 8.75% 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.

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 can not 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 of reading all addendums and posted corrections to the catalogue prior to bidding.

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 17th. All property remaining after October 17th will be removed and stored in an off-site storage facility at the cost of the buyer. Purchases not removed by October 17th 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 can not 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 6th by 5:00 p.m. (PST) via fax to (323) 904-1954. 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 bids should be notified by phone by October 9th. 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.

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 buyers 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 experts 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 fees, attorney’s fees and other costs.

RIGHTS TO PHOTOGRAPHS It is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted. Buyers do not acquire the rights to reproduce any images in any form. 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 # 7900369478 Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406


Index A

F

Aalto, Alvar 147-51, 386-89 Abeles, Kim 505 Ackerman, evelyn 364-66 Adachi, Isami 381 Albers, Josef 427 Albini, Franco 465 Alechinsky, Pierre 277 Alexander, Peter 503 Altoon, John 231 Andreson, Laura 356-58 Anuszkiewicz, Richard 330-32 Artschwager, Richard 335-36 Aulenti, Gae 469, 472

Fabricius, Preben Falkenstein, Claire Fickett, edward H. Finkelstein, Max Fischinger, Oskar Follis, John Fornasetti, Piero Frame, Robert Francis, Sam Frankenthaler, Helen Frankl, Paul Friberg, Berndt Friedeberg, Pedro

B

G

Baldessari, John 15-17 Barovier, ercole 459 Baughman, Milo 93 Bell, Larry 411 Bellini, Mario 484, 487 Benjamin, Karl 68-70 Berger, Hugo 158 Berlant, Tony 415 Bianconi, Fulvio 462 Bidlo, Mike 167 Bisttram, emil James 499 Bitters, Stan 42-47 Blanchard, Porter 159 Bobrick, Mitchell 95 Borofsky, Jonathan 502 Borsani, Osvaldo 456, 458 Botello, Angel 345 Braakman, Cees 397 Braque, Georges 278 Brice, William 230 Brizzi, Ary 521 Brockmann, Marion 367 Brown, William Theophilus 131-32 Burkhardt, Hans 212

Gatta, G. Gehry, Frank O. Gerli, eugenio Ghini, Massimo Iosa Gluck, daniel Goode, Joe Graham, Robert Green, Taylor Grillo, John Grossman, Greta

C

Calder, Alexander Calzada, Humberto Capron, Roger Cardenas, Santiago Carroll, Lawrence Castaneda, Felipe Castiglioni, Achille Cattelan, Maurizio Celmins, Vija Chann, George Christo Chuey, Robert Citterio, Antonio Close, Chuck Cohen, Larry Cole, Max Condo, George Conner, Bruce Conover, Claude Cooke, Betty Cressey, david Cucaro, Pat

298 450 270 447 169-72 443-45, 456 471, 479 454 339-40 496 191-92 234-35 481 185-86 136-37 72 506 229 355 119 110-11, 115 494

d

davies, Harold Christopher davis, Paul de Kooning, Willem de Patta, Margaret diebenkorn, Richard dine, Jim dowd, Robert dzama, Marcel

209 261-62 23 117-18 122-23 434-38 413 273-74

e

eames, Charles

55-56, 59, 61, 152, 300-09 edmondson, Leonard 353 ednie, John 140 engel, Jules 292 estes, Richard 190 evans, Paul 35-38, 363

392 121 384 371-72 211 112-14 455, 491 493 228 429-31 226 7 440-41 338 408 457 488, 492 509 412 414 92, 96 382 89-91, 91

H

Hagenauer Hammersley, Frederick Haring, Keith Harwood, June Henningsen, Poul Herman, Roger Hermes Hicks, Sheila Hockney, david Hodgkin, Howard Horti, Paul Howard, eloise Hundevad, Poul

214 63-67 250-51 71 6 138 512 48-49 241-45 246 156 223 12

I

Indiana, Robert

514-15

J

Jacobsen, Arne Jenkins, Paul Johns, Jasper Johnston, Ynez Jones, John Paul

404 348-51 28-30 279 8 313-17 495 213 151 518 342

L

La Paglia, Alphonse 216 Lafer, Percival 75 Lamb, Walter 97-103 Laverne, erwine & estelle 522 Le Parc, Julio 520 Leland, Malcolm 116 Lelli, Angelo 468, 483 Leuus, Jesus 448 Levin, Joseph 293-94 Lewis, doris 73 Lichtenstein, Roy 160-63 Lindstrand, Vicke 394 Longo, Robert 422-25 Lundin, Ingeborg 393 M

Maloof, Sam Mangiarotti, Angelo

n

nakashima, George 193, 195-96, 198-203, 206, 208 nakashima, Mira 194, 197, 204-05, 207 natzler, Gertrud & Otto 354 nelson, Cliff 291 nelson, George 50-54, 57-58, 60, 310, 325 nevelson, Louise 369-70 newson, Marc 428 ninas, Paul 383 nivola, Costantino 478 noguchi, Isamu 524 novelli, Gastone 477 novembre, Fabio 62 noyes, Marion Anderson 400 O

O’neill, Terry Oliveira, nathan

239 133

P

391 39-41 187-88 247-49 500

K

Kagan, Vladimir Kaneko, Jun Kelly, ellsworth Kitaj, R.B. Klint, Kaare Knoll, Florence Kohn, edmond Kokoschka, Oskar Korhonen, Otto Kruschenick, nicholas Kusama, Yayoi

Mangold, Robert 74 Mapplethorpe, Robert 32 Marden, Brice 328 Marx, Samuel 225 Mathsson, Bruno 5 Matter, Herbert 299 Max, Peter 516 Maxwell, Robert 104-09 McCobb, Paul 398 McIntosh, Harrison 83-88 Merida, Carlos 439 Mies van der Rohe, Ludwig 311, 316, 322-23 Miro, Joan 295-97 Misrach, Richard 375 Mizuno, Mineo 409-10 Mogensen, Borge 2 Morris, William 155 Moses, ed 501 Motherwell, Robert 346-47 Mouille, Serge 263-65 Murakami, Takashi 418-21

77 452

Pardo, Jorge Park, david Parzinger, Tommi Patout, Pierre Patterson, Richard Paulin, Pierre Pepper, Beverly Perilli, Achille Perriand, Charlotte Pesce, Gaetano Petersen, Roland Petersens , Georg Pettibon, Raymond Pettibone, Richard Pianon, Alessandro Picasso, Pablo Pinzoni, Mario Platner, Warren Poli, Flavio Pollock, Charles Pomodoro, Arnaldo Ponti, Gio Probber, Harvey Prouve, Jean

Rosen, Leon 402 Rosenquist, James 378-80 Rosenthal, Bernard “Tony” 373 Rothman, Jerry 362 Ruscha, ed 18-21 Ryman, Robert 329 S

Saarinen, eero 319-20, 523 Saarinen, eliel 227 Sakier, George 220 Scarpa, Afra & Tobia 326-27 Scarpitta, Salvatore 476 Schnabel, Julian 406 Schwaderer, Fritz 210 Serra, Richard 407 Shire, Peter 510-11 Simmons, Laurie 240 Skeele, Anna Katherine 451 Slaughter, Tom 525 Smith, Tony 426 Sorenson, don 504 Sottsass, ettore 480, 485-86 Sowden, George J. 490 Springer, Karl 403 Staprans, Raimonds 134 Sternfeld, Joel 374 Stickley, Gustav 157 Studio BBPR 463-64 Stussy, Jan 497 Sudek, Josef 237 Summers, Carol 432-33 Summers, Gerald 385 T

Tamayo, Rufino Taylor, ernest Archibald Teague, Walter dorwin Teske, edmund Thiebaud, Wayne Thun, Matteo Thurston, Gerald Torlasco, Oscar Twombly, Cy

449 142-43 222 236 124-26 489 399 337 22

V

343-44 135 527 217 507 272 333 473 268-69, 271 405 127-28 390 252-59 164-66, 168 460 280-90 395 321 461 318 34 466 401 266-67, 275

Q

Quistgaard, Jens

14

R

Rady, elsa Ramos, Mel Rams, dieter Rauschenberg, Robert Renk, Mary Rickey, George Rivers, Larry Robsjohn-Gibbings, T.H. Rohde, Gilbert

352 517 312 24-26 120 334 189 531-34 153-54

Valentine, de Wain van Keppel, Hendrik Van Pelt, Alison Vasarely, Victor Venard, Claude Versen, Kurt Voulkos, Peter

416-17 92, 96 341 519 276 221 359-61

W

Waddell, Theodore Walton, George Warhol, Andy Warshaw, Howard Wegman, William Wegner, Hans J. Wesselmann, Tom Weston, edward Wilson, S. Clay Wirth, Armin Woelffer, emerson Wonner, Paul Wood, Beatrice Wormley, edward

324 139 33, 173-81 232-33 376-77 1, 3-4, 9, 11, 13 182-84 238 260 396 498 31, 129-30 78-82 526, 528-30

Z

Zenere, emanuele Zoell, Bob Zuniga, Francisco

475 27 442


AUCTION:

SUNDAY, OCTOBER 7, 2012

Peter Loughrey Director, Modern & Contemporary Fine Art

12 p.m. Noon (PST) Dan Tolson Director, 20th Century Decorative Art & Design

PREVIEW:

SEPTEMBER 19 - OCTOBER 6, 2012 10 a.m. - 6 p.m. (PST)

Shannon Loughrey Managing Director

ADDRESS:

Elizabeth Portanova Marketing Director

16145 Hart Street Van Nuys, CA 91406

Julie Wearing Client Services

TELEPHONE:

Zoe Weinberg Client Services

323-904-1950

Joe Alascano Shipping

WEBSITE: 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 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

Cataloguer/Editor Zoe Weinberg Dan Tolson Paul Des Marais Photography Susan Einstein Mario de lopez Essays Paul Des Marais Dan Tolson Zoe Weinberg


LAMA's 20th Anniversary Auction