October 14, 2007 Modern Design and Fine Art Auction

October 10, 2007

los angeles modern auctions

October 14, 2007

October 14, 2007

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California Design and Fine Art

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Preview: October 10 to 13, 11-6pm Auction: Sunday, October 14, 12pm Pacific Design Center Suite B229 8687 Melrose Avenue West Hollywood

As LAMA continues to celebrate

our fifteenth anniversary, we are delighted to share with you our first catalogue dedicated to California Art, Design and Craft. In this sale you will not only find works by internationally recognized artists like Hockney, Eames and Natzler; you will also see a selection of diverse artists that when taken together make up the unique patchwork that helped define California in the Twentieth Century. The inspiration for this catalogue was an article called “California Modern” by Alvin Lustig which interestingly was first published in October 1947, exactly sixty years ago. It is reprinted here in it’s entirety and is perhaps even more relevant today than ever before.

Among the Fine Art highlights is an excellent selection of works by Ed Ruscha, and Richard Diebenkorn; two artists that are indelibly inked by California. But also, you may notice works by Warhol, Kelly and Albers. None of whom will be mistaken for Californians, however, each created many important works here.

Judy Chicago’s landmark work “Car Hood” is dramatic visually, but breathtaking historically. It not only defines the artist’s early motivation, but is also fast becoming an icon for an entire movement. Also spotlighted in the sale is a selection of works by teachers and graduates from Otis College of Art and Design; an influential institution that has shaped the art scene in Los Angeles and beyond for nearly 90 years.

A stunning dining table and chairs by Sam Maloof is just one of many extraordinary examples of studio woodwork. We are, of course, equally excited about showing unique studio works in clay by legendary ceramicists and artists such as the Natzlers, Laura Andreson, Ken Price and John Mason.

To help shape this sale, we asked Gerard O’Brien of Reform to co-curate the selections. Gerard’s enthusiasm for even the most obscure artisans is immediately evident when one visits his gallery of California Design. We thank him for his dedication to this growing segment of Modernism.

We would also like to extend our very special thanks to our photographers Mario de Lopez and John Nelson, Elaine Lustig Cohen, Roz Bock at Sam Maloof’s workshop, Samuel Hoi and everyone at Otis College of Art and Design.

— Peter Loughrey

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California Modern Alvin Lustig

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here are diverse influences acting on Southern California, which, if properly synthesized, could produce great design.

We, who live and work in California, share the sense of exhilaration and growth that charges the very air. What is happing here? Is it just another boom following perpetual boom? Will a great and noble architecture raise its head to the sun or will we glut ourselves with cheap plaster husks? Will the land sprawl away from us into planless confusion? Do we as designers and architects have any special opportunities or responsibilities to ourselves or the community? Is this the “new world” really getting itself built, or are these the latest gestures of a tinseled unreality? Is our search for the New to end in great monuments of creative originality or mere architectural sensationalism?

It is common practice today to place the word “California” in front of almost any vagrant word and thus achieve a magic combination hopefully intended to make the heart jump and the purse strings fly open. The word “California” alone produces a wide range of emotional response, ranging from a snarl of contempt to ecstatic eye-rolling. I shall deal in this article with “California Modern” or any other phrase that implies something unique or special about modern design in this area. I maintain that something flies into your mind when the magic phrase “California Modern” is uttered, and I intend to examine this vision. It probably ranges from a picture of some of the best domestic architecture in the world to an overstuffed overripe kind of lushness that is particularly localized in this area.

It is certainly no secret that this area is particularly well suited for the development of modern architecture. The climate, the freedom from tradition, the heightened sense of life – all of these factors contribute to make a unique architectural opportunity. Is here, however, developing in this specific region a mature architecture reflecting the best features of the area, or are we being inundated by heavy-handed perversions of badly digested basic principles? I think we can safely say that both processes are taking place. Unfortunately, however, the majority of the work is still, at best, a rather hectic scrambling of clichés and ill-digested forms. That quality in our environment which gives us freedom also limits us by failing to impose disciplines.

One of the strongest factors in California’s favor is its freedom from European tradition. This lack of continuity with Western civilization is also one of the qualities deplored by the outsider. We lose the rigor and economy of thinking and acting that has characterized European thought and, reveling in our new-found freedom, often commit excesses that are somewhat horrifying. It is impossible for an area as young and unfettered as this to avoid making extravagant gestures, some of which do not come off. However, if we intend to take full advantage of our opportunity and are honestly seeking a real and even great architecture we must stop a moment and take stock.

Most of our excesses can be traced directly to an insufficient understanding of the basic aims and tendencies in modern architecture. It is not the intention of this paper to attempt to trace the development of this movement or to evaluate the contribution of the great pioneers such as Frank Lloyd Wright, Louis Sullivan, Mies van der Rohe and Le Corbusier, but rather to goad the reader into a more discerning selfcriticism and recognition of his responsibilities. My theme is that no matter how wondrous the physical opportunities are, without a clear understanding of the basic principles and even conflicts inherent in the movement, nothing but architectural harsh will be produced. Our opportunity lies in synthesis, and synthesis demands understanding of all of the factors involved. It is probably true that the form modern architecture has taken in rest of the world is not quite what we seek here; nevertheless, we are in no position to take liberties with it at least until we understand the factors involved. The prevalent willingness to “try anything”, instead of becoming a liberating force, often only produces a form of architectural sensationalism.

We are in no danger of producing a sterile and barren architecture.

Our threat lies in the other direction. Reacting to the exuberance and richness of the area we are inclined to encase poorly articulated skeletons in heavy surface effects that have nothing to do with design integrity. This is true whether it is a chair or a building we are examining.

It is certainly true that the skeletal approach which has characterized most good European design is probably not sufficient for us psychologically. At the same time we must at least understand the necessity for honestly revealed structure which is one of the prerequisites of good design. In our anxiety to appear sufficiently “rich” we camouflage our bad skeletons with endless textures and materials. Poor craftsmanship, paucity of imagination and an inability to think simply and structurally are covered with a heavy gravy of surface effects.

We do want rich and handsome buildings; but lightly and honestly expressed structure is the only skeleton on which the flesh hangs well.

During the last seventy-five years there has been evolving a concept of building which has placed human needs, structural honesty and a new understanding of space before any other stylistic considerations. This development has been diverse and often conflicting. Vital personalities and pioneers have made their great contributions to the swelling stream of a growing tradition. This new tradition, at first either denied or ignored, has emerged as the basis of a new architecture throughout the world. Like all rebellion, this development has often been self-conscious and even incomplete. We in California, especially the younger designers, have the great opportunity to inherit this treasure of beliefs, ideas, and discoveries and to carry further their logical development.

We cannot take these researches for granted or dismiss them with superficial understanding. If we are going to develop an architecture worthy of the terrain and the potential living pattern, we must be stern in our self-criticism and ask ourselves many questions.

Are these forms we are using integrated and honestly conditioned by the problem we are solving, or are they simply the residue of past solutions? Is this design in front of me just fashion, gesture and expediency, or is it at least an attempt at reflection of the organic quality of nature itself? We all can ask ourselves these questions, whether we are designers of buildings or chairs.

Although I am asking for a bit of soul-searching on the part of the designers, it is also true that some self-scrutiny would do no harm to the manufacturers, especially in the field of home furnishings. With only a few exceptions, the planning and production of furniture in the local area is done with remarkable shortsightedness. Eastern designers are brazenly stolen, thickened up and sold as “California” modern. Designs just “grow”, and rarely is a trained designer consulted. With the East languishing for California designs, we continually affront them with half-baked reflections of their own work.

As to any sort of coordinated program of research and design, such as made the California clothing fashions a world-wide influence, so far these is nothing visible. This is not true of ceramics and textiles.

Although they are usually produced by individuals or small concerns, they have made a distinct mark and often represent California at its best. These small industries reflect a care for craftsmanship and design quality which is rarely seen in the more ambitious manufacturing.

If we truly digested the basic principles, we are then in a position to synthesize and add to their growth. California offers every opportunity for this growth. Everything about it is attuned to a magnificent flowering of architecture. All the elements that architecture was denied in the past are new sought by the new architecture in just that region where they abound. Sun, light, air, vista and natural growth surrounds us. If we can measure the richness of these natural advantages against an intellectually clarified understanding of the precepts of modern architecture, then will we produce something truly unique and worth of the name California.

Copyright 1958 by Elaine Lustig Cohen.

First published in “Design,” October 1947

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1 Ed Ruscha Everybuilding on the Sunset Strip

2 Ed Ruscha & Billy al Bengston Business Cards

3 Ed Ruscha TwentySix Gas Stations

1966 First Edition Published by the artist

1968 First Edition Published by Heavy Industry Publications Signed by both artists

1969 Third Edition Published by the artist

$1,500-2,000

$1,500-2,000

$1,500-2,000

4 Ed Ruscha Various Small Fires and Milk

5 Ed Ruscha Thirtyfour Parking Lots in L.A.

6 Ed Ruscha Some Los Angeles Apartments

1970 Second Edition Published by the artist

1967 First Edition Published by the artist

1970 Second Edition Published by the artist

$1,500-2,000

$1,500-2,000

$1,500-2,000

7 Ed Ruscha Royal Road Test

8 Ed Ruscha Nine Swimming Pools and a Broken Glass

9 Ed Ruscha Crackers

1967 First Edition Published by the artist

1968 First Edition Published by the artist

1969 First Edition Published by Heavy Industries Publication

$1,500-2,000

$1,500-2,000

$1,500-2,000

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10 Ed Ruscha Real Estate Opportunities

11 Ed Ruscha A Few Palm Trees

12 Ed Ruscha Records

1970 First Edition Published by the artist

1971 First Edition Published by Heavy Industries Publication

1971 First Edition Published by Heavy Industries Publication

$1,500-2,000

$1,500-2,000

$1,500-2,000

13 Ed Ruscha Colored People 1972 First Edition Published by the artist $1,500-2,000

14 Ed Ruscha Hard Light 1978 First Edition Published by Heavy Industries Publication $1,500-2,000

15 Bruce Nauman Clear Sky Signed verso “B. Nauman” 12” x 12” $1,500-2,000

17 John Baldessari “Tristram Shandy”

16 John Baldessari “Choosing: Green Beans” and “Throwing a Ball Once to Get Three Melodies and Fifteen Chords” (2)

1988 Color lithograph Signed lower right; edition lower left Printers proof 8

1972 and 1975 respectively 1500 copies were made of Green Beans; and 2500 copies were made of Throwing $800-1,000

$1,000-1,500

18 Ed Ruscha “Spattership” 1990 Color Lithograph Signed and dated lower right; edition lower left Artists proof 1, from the edition of 100 36”h x 27” $3,000-4,000

19 Ed Ruscha “Pepto-Caviar Hollywood” 1970 Screenprint with 2 screens of organic substances (Pepto-Bismol and Caviar) Signed, dated and numbered in pencil Edition of 50 15”h x 42.5” $6,000-8,000

20 Ed Ruscha “South” 1991 Lithograph Signed, dated and numbered in pencil Edition of 50 plus 10 artist’s proofs 9” x 12.5” $4,000-5,000

21 Ed Ruscha “Lisp” 1970 Color Lithograph Edition of 90 19.75”h x 28” $3,000-4,000

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22 Sam Francis Untitled (O45) 1987 Unique mixed media with etching and aquatint wit collage elements Color trial proof 57�h x 32.5� $8,000-10,000

23 Sam Francis Untitled Color Lithograph Signed lower right; edition lower left # 20 of 55 25”h x 19.5” $2,000-3,000

24 Sam Francis “An Other Set - Y” (from the Pasadena Box)” 1964 Triptych lithograph in colors mounted on folding screen Signed, numbered and dated lower right (right panel) Edition of 100 plus proofs Each panel is 15.5”h x 22.5” (67.5” overall) $5,000-7,000

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25 JB Blunk Earthenware slab sculpture with white slip Studio, executed circa 1968 9”h x 7”w x 6”d Although it is wood sculpture that Blunk is primarily celebrated for, clay was his earliest passion. After studying with Laura Andreson at UCLA, Blunk was drafted into the Korean War. After two years of service he was discharged into Japan instead of returning to America.

It was here in a Mingei store that JB met Isamu Noguchi. This chance encounter was to set the course for his artistic journey. Learning about JB’s desire to continue his clay studies, Noguchi introduced JB to Shoji Hamada as well as Rosanjin Kitaoji, with whom JB fist apprenticed. JB went on to apprentice with another of Japan’s Living National Treasures, Toyo Kaneshige in Bizen.

In the Japanese tradition JB made all of his clay bodies from local Marin clays that he and his sons would gather from river & bay clay beds. $5,000-7,000

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26 JB Blunk Slip glazed earthenware plate with raised surface Studio, executed circa 1975 8�diameter $2,000-3,000

27 Barbara Willis Group of 18 ceramic works Barbara Willis Pottery, Executed circa 1949 Partially glazed ceramic vessels Each signed Various sizes Barbara Willis opened her Hollywood studio in 1943. Having studied at UCLA with Laura Andreson, Willis successfully captured the California landscapes in the texture of her crackled clay forms and colorful glazes. $2,500-3,500

28 Barbara Willis Group of 11 ceramic works Barbara Willis Pottery, Executed circa 1949 Partially glazed ceramic vessels Each signed Various sizes $2,000-2,500

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29 Paul Laszlo Pair of side tables Custom designed circa 1954 Dark teakwood finish with inset leather top Each 16”h x 23.5”square $8,000-10,000

30 Paul Laszlo Headboard with separate end table Custom designed circa 1954 Headboard 34.5”h x 81.75”l x 14”d; Side table 21.5”h x 16.5” x 20” $3,500-4,500

31 Paul Laszlo “Symphonic” cocktail table Brown Saltman, designed circa 1952 15.75”h x 34” x 48” $6,000-$8,000

32 Paul Laszlo coffee table Brown Saltman, designed circa 1950 14”h x 36”diameter $2,500-$3,000

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33 Paul Laszlo Coffee table Custom designed circa 1954 Teakwood finish with inlaid Capis shell top 14”h x 46”l x 27”w A similar version of this table was chosen for the Hudspeth Residence, designed by Laszlo in 1952. $8,000-12,000

34 Paul Laszlo Rare side chair Custom designed 1954 Retains the McCullough logo of “MC C” on the back of the chair 29”h x 20”w x 22”d Laszlo designed this chair for the McCullough chainsaw factory’s executive office in Los Angeles. $6,000-8,000

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35 Paul Laszlo “Americana” suite

36 Paul Laszlo console

37 Paul Laszlo coffee table

Pacific Iron Products, designed 1949 Comprised of a dining table, loveseat, lounge chair, 2 armchairs and one side chair Settee 33”h x 52”l x 32”d; Chairs 32”h x 24”w x 23”d; Table 28.5”h x 54.5”l x 34.75”w; low chair 31”h x 28.5”w x 29”d

Pacific Iron Products, designed circa 1949 for the Brentwood country club 28.5”h x 34.75”l x 23”d

Pacific Iron Products, designed circa 1949 19.5”h x 30.5”l x 20.5”d

$1,500-2,000

$1,200-1,500

Literature: I nteriors $1,500-1,800

magazine , December 1 95 0, pg 1 2 3

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38 Paul Laszlo Settee

39 Paul Laszlo Single chair

40 Paul Laszlo Pair of chairs

Custom designed, circa 1960 25.5”h x 63”w x 33”d

Custom designed, circa 1960 25.5”h x 35”w x 33”d

$6,000-8,000

$2,500-3,500

Custom designed, circa 1960 Retains Paul Laszlo label 25.5”h x 35”w x 33”d $5,000-7,000

41 R.M. Schindler “Unit” chair Custom, designed circa 1934 32”h x 32”w x 37”d One of Schindler’s most recognizable designs, these compartmentalized chairs can be seen in some of his most important commissions.

Literature: T he

Furniture of RM

S chindler , Berns, Universit y of C alifornia , Santa B arbara , 197 7, pg 57 and 1 24 .

$10,000-15,000

RM Schindler offered unit cabinetry in a limited production, many pieces available for purchase directly out of his Kings Road house. Each order could be customized to fit the clients needs.

can be assembled and reassembled to fit any design. Not just knockdown or sectional, they allow the creation of individual form and character through varied combinations.”

Schindler stated in 1932 during a lecture at the Universtiy of Southern California “Schindler units are a system of building furniture of mass fabricated parts which

S chindler , Marla Berns, U niversit y of

Literature:

The F urniture of RM

California , Santa Barbara , 1997, pg 132

42 R.M. Schindler unit cabinet Custom, designed 1933 27”h x 44”l x 22”d This model has two drawers raised on pedestals and is finished on all sides. $8,000-10,000

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43 R.M. Schindler Double drawer unit

44 R.M. Schindler double shelf unit

Custom, designed 1933 27”h x 22” x 22”

Custom, designed 1933 27”h x 22” x 22”

This example is made of two units stacked one on top of the other and is finished with a platform board added below.

This example features the shells of two units stacked one on top of the other. The groves visable inside each shelf relate to the runners which support drawers thus eliminating the need for separate compents for drawer or shelf units.

$6,000-8,000

$2,000-3,000

45 Julius Shulman Group of 7 vintage photographs of R.M. Schindler’s Walker house Printed 1937 Silver Gelatin print Each stamped verso “Julius Shulman” and signed and dated in ink Each 8” x 10” $4,000-6,000

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46 R.M. Schindler Sideboard Custom, designed circa 1926-40 for Basia Gingold, Los Angeles 38”h x 94.5”l x 20”d Provenance: B asia Gingold; Private Collection

$10,000-15,000

47 Richard Neutra Architectural Drawing the Corona School 1935 Color drawing 22”h x 32” This was Neutra’s first school design implementing his ideas on architecture and education.

Literature: R ichard

Neutra : Complete

Works, Mac L amprecht, Taschen , 2 0 0 0, pg 1 1 2

$6,000-7,000

48 Richard Neutra Architectural Drawing

49 Richard Neutra Architectural Drawing

Color drawing of a Ventura/Calabasas residence 31”h x 42”

Color drawing of an Italian facility (“Sanatorium Dottore Umberto De Martini”) 31”h x 41.5”

It is unknown if this project was built $5,000-6,000

$5,000-6,000

50 Richard Neutra Etching Signed lower right 10”h x 8”w

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$1,500-2,000

51 Richard Neutra Freestanding Desk Custom designed, 1951 32”h x 22.5”w x 62”l Provenance: Logar

Residence ,

grenada Hills, California

Illustrated: Richard

Neutra : C omplete

Works, Mac L amprecht, Taschen, 2000,

$3,000-5,000

52 Julius Shulman Rare vintage color photograph of the Ennis Brown Residence Printed July 1968 Signed lower right 24”h x 20” This photograph was taken of the Frank Lloyd Wright’s “Ennis-Brown” residence of 1924. $2,000-3,000

53 Luckhaus “Lovel Health House” by Richard Neutra Printed circa 1929 Embossed stamp lower right “Luckhaus” Mounted to board 6.5”h x 9” $3,000-5,000

54 Richard Neutra Poster Printed in lower right “Printing & Distribution Branch, Bonn” 33.25”h x 23.75”w $1,000-1,500

55 Richard Neutra Desk Custom designed 1956 for the Crawford Schwind residence $3,000-4,000

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56 Otto Natzler Mobile 1969 Hand strung mobile created from shells collected by Natzler Signed “Otto Natzler 1969” 47”h x 34”w Natzler collected the shells for each mobile made. This example was made as a gift to Mrs. Leonard Sperry in 1969, the year following the landmark exhibition of Sperry’s collection at LACMA. Provenance: G ift from Otto Natzler to M rs Leonard S perry; G ift from Mrs S perry to present owner .

$8,000-10,000

57 Gertrud and Otto Natzler Ceramic wind chime Studio, executed circa 1962 18.5”h x 6”diameter Sold with Julius Shulman vintage silver gelatin print and Natzler Christmas card. $7,000-10,000

58 Gerhard Bohm “Amerikanische Keramik der Gegenwart” 1957 Exhibition poster Printed in Stuttgart, Germany 33”h x 23.5”w $1,000-1,500

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59 Gertrud & Otto Natzler “Old Turquoise” mat glazed squat bottle Studio, circa 1968 Signed Natzler 3.5”h x 5.5”diameter $8,000-12,000

60 Gertrud & Otto Natzler Exceptional sulfur “Crater” bowl Studio, executed 1958 Signed Natzler with paper label J788 4.25”h x 5.75”diameter The glaze shows the effects of separation (crawling) during the firing process $10,000-12,000

61 Gertrud & Otto Natzler Turquoise blue high bowl with finger marks

62 Gertrud & Otto Natzler Early impressive pompeian glazed bowl

Studio, executed 1965 Signed Natzler with paper label N628 4.25”h x 5.75”diameter

Natzler Studio, executed 1940-42 Signed “Natzler” and with “12-1” 7”h x 8.5”diameter

$3,500-4,500

Provenance:

Estate of Robert Benton

$15,000-20,000

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63 Gertrud & Otto Natzler Grey “Lavastone” volcanic glazed bowl

64 Gertrud & Otto Natzler Mustard “hare’s-fur” glazed teardrop pregnant bottle

Studio, executed 1949 Signed Natzler 3.25”h x 7.25”diameter

Studio, executed 1966 Signed Natzler with paper label N907 7”h

$6,000-8,000

$7,000-9,000

65 Gertrud & Otto Natzler Red-orange “Crater” glazed low bowl

66 Gertrud & Otto Natzler Ceramic bowl with crater glaze

Studio, circa 1956 Signed Natzler 1.5”h x 5.5”diameter $3,500-4,000

Natzler Studio, executed 19XX Signed 10.5”h x 10”diameter $8,000-10,000

67 Rudi Gernreich Couture dress Circa 1968 Retains label Gernreich was a close friend and neighbor to fellow Austrian ĂŠmigrĂŠ, Gertrud Natzler.

Provenance:

S enta R aiz en (niece of

G ertrud Natzler )

$2,000-3,000

68 David Hockney “Table Flowable” 1991 Lithograph Signed lower left; edition lower right Artists Proof IX 44”h x 57” $12,000-15,000

69 David Hockney Untitled (Hat on Chair) 1998 Drypoint Signed, dated and numbered in pencil Edition of 35 plus proofs 29.5”h x 22” $7,000-9,000

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70 Robert Rauschenberg “Vale State” (Pages and Fuses) (RR73-640A) 1977 Handmade paper, pigment, screen print tissue laminated to paper pulp Signed verso Edition of 15 with 4 artist’s proofs 19.5”h x 23.75”w At Gemini G.E.L. tissue paper was screen printed with magazine images selected by Rauschenberg. This tissue paper was then sent to the paper mill to be place on the newly formed wet sheets of natural fiber handmade paper which was formed in a mold shaped to the design by the artist. $4,000-6,000

71 Josef Albers “White Embossing on Gray IX” 1971 Signed and dated lower right; edition lower left Printed at Gemini G.E.L. # 85 of 125 31”h x 24” $1,000-$1,500

72 Josef Albers “White Embossing on Gray V” 1971 Signed and dated lower right; edition lower left Printed at Gemini G.E.L. # 90 of 125 31”h x 24” $1,000-$1,500

73 Ellsworth Kelly “Blue/Green” (EK70-336) 1970 Color Lithograph Signed lower right; edition lower left #72 of 75 40”h x 38” Printed at Gemini G.E.L. by Mater Printer Kenneth Tyler (who later went on to open Tyler Graphics) $4,000-6,000

74 William Crutchfield “Art & Technology” 1971 Color lithograph Signature and edition middle left #83 of 300 Published by Gemini G.E.L. 31”h x 23.5”w $600-800

75 Ron Nagle Untitled (image on mirror) Studio, circa 1968 Rare artifact from Nagel’s 1st solo exhibition at Dilexi Gallery, San Francisco’s answer to Ferus Gallery. $800-1,000

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76 Wallace Berman Pair of Posters DATE 17.5”h x 12.5” and ……….other one $2,000-3,000

77 Saul Bass “The Man with a Golden Arm” 1955 One sheet movie poster from the Otto Preminger movie 35.5”h x 25”w This was one of Saul Bass’ most famous movie poster designs. During his successful career he designed over 50 title sequences for Otto Preminger, Alfred Hitchcock, Stanley Kubrick and John Frankenheimer. $1,500-2,000

78 Edward Kienholz “Nest Egg�

1964 Wood and metal with fiberglass resin Signed and dated Sold with a book (not illustrated) and poster on the artist 11�diameter $8,000-12,000

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79 Judy Chicago “Car Hood” 1964 Sprayed acrylic on Corvair car hood Signed Sold with custom display box 4’ x 6’ Please refer to the next page for its exhibition history and illustrations.

Provenance:

Purchased from the artist through the R olf Nelson Gallery, 1 9 6 5

$150,000-200,000

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n the company of Billy Al Bengston, Ken Price, Ed Ruscha, Peter Alexander and DeWain Valentine, Judy Chicago was one of the few women in the California post-war art community.

Known for her feminist imagery (often depicting vaginas, testicles and other body parts), she intended to be direct in her artworks. Shortly after completing her graduate degree at UCLA in 1964, she took spraypainting lessons from Percy Jeffries. In using this new medium she was able to transform her feminist imagery onto this very masculine object – a Corvair car hood.

“In Car Hood, which I made at auto body school, the vaginal form, penetrated by a phallic arrow, was mounted on the “masculine” hood of a car, a very clear symbol of my state of mind at this time”. (From Through the Flower: My Struggle as a Woman Artist, Judy Chicago, Doubleday, 1975, pg. 36-37.)

80 Judy Chicago “flashback” 1965 Color Silkscreen Artist’s Proof Signed and dated, lower right; title and edition lower left 20.5”h x 26” $1,000-1,500

Exhibited: La Jolla Museum of Contemporary Art, 1965 “Creativity: The Human Resource”, A traveling exhibition organized by California Academy of Sciences, and by Chevron Corporation, Seattle, 1979-1982 “Kustom Kulture”. A traveling exhibition at the Laguna Art Museum, Maryland College of Art, Baltimore, Center on Contemporary Art, Seattle, 1993-1994 “Made in California”, Los Angeles County Museum of Art, 2000-2001 National Museum of Women in the Arts, 2002 Pending exhibition loan “Los Angeles 1958-1968” Moderna Museet, Stockholm, October 2008-January 2009 Illustrated: Judy Chicago, Sackler, Watson-Guptill, New York, 2002, pg. 23 Made in California: Art, Image, and Identity, 1900-2000, Barron, University of California Press, 2000, pg. 204.

Kustom Kulture: Von Dutch, Ed “Big Daddy” Roth, Robert Williams and others, Laguna Art Museum exhibiton catalogue, 1993, pg. 90.

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81 John Nyquist Pair of armchairs

82 John Nyquist Pair of armchairs

Studio, executed circa 1972 Signed with artist cipher 37”h x 27”w x 27”d

En suite with previous

These exceptional chairs were commissioned by Penberthy International, a firm that specializes in exotic hardwoods for the architectural and studio furniture trade. The chairs were used in their “wood room” where clients would be shown samples. $7,000-10,000

$7,000-10,000

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83 Craig Lauterbach Freeform coffee table Designed circa 1960 Signed 15.5”h x 63.5” at longest point x 30” at widest point $7,500-10,000

84 joseph goethe “White cedar” Studio, executed circa 1960 Sold with exhibition catalogue 11.75”h x 8”w x 5.5”d $1,000-1,500

85 Mabel Hutchinson Sculptural door Studio, executed circa 1968 79.5”h x 36.5”w x 3.25”d After 20 successful years as a California watercolorist, at the age of 59 Mabel Hutchinson began to utilize the scraps of wood that fell on the studio floor of her Husband Milon and his woodworking partner Jocko Johnson. She had been inspired by a Louise Nevelson exhibition that she had seen at LACMA. At first the Nevelson influence was clear, but guided by Milon, her work changed to an original approach that was completely new. By 1965 she had gallery representation for her work in Los Angeles. In 1968 a pair of doors were accepted in the California Design Ten exhibition.

Provenance: M abel

Hutchinson , thence

by decent; Private Collection , Los A ngeles.

$10,000-$15,000

86 Milon HUTCHINSON LIDDED BOX Studio, designed circa 1970 5”h x 7” x 7“ Provenance: M abel

Hutchison ; Joan &

J ocko J ohnson; Private Collection

$700-900

87 Attributed to Jack Rogers Hopkins sculpture Studio, circa 1968 Stacked laminated Mahogany, Ash and Ebony 18”h x 55”w x 20” $6,000-8,000

88 jocko johnson carved wood sculpture Studio, circa 1968 20”h x 7.5” x 6” $3,000-4,000

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89 Doyle Lane Squat multi neck vessel

90 Doyle Lane Orange bottle vase

91 Doyle Lane early paddled vase

92 Doyle Lane Group of 3 “Weed” pots

Studio, executed circa 1965 Signed “Lane” 5”h x 6”diameter

Studio, executed circa 1970 Signed “Lane”

Signed “Doyle Lane” Studio, executed circa 1958 11”h x 7”diameter

Studio, executed circa 1965 Two with magnesium speckle glaze, one in matt speckle 5”h, 4.5”h, and 2.5”h

$1,200-$1,500

$800-1,200

$2,000-2,500

$1,500-$2,000

LOT 90

LOT 91

LOT 89

LOT 92

LOT 92

LOT 92

93 Doyle Lane Clay Painting

94 Doyle Lane Pair of “Weed” pots

Studio, executed 1976 Signed on verso, mounted on board 10” diameter

Studio, executed circa 1965 White crackle glaze and blue speckle glaze 5”h and 2”h

Literature: O bjects Exhibited: D oy le

U SA , Nordness, Viking, 1 9 7 0 pg 8 7

L ane Clay Paintings, Los Angeles C it y

$800-1,200

C ollege 1 9 76

$2,500-3,500

95 David Halbrook Pair of hanging pendants 1969 Each signed and dated $800-1,200

55

96 John Kapel Credenza

97 Attributed to John Kapel dresser

Glenn of California, designed circa 1968

Glenn of California, designed circa 1960 30”h x 20”d x 79”w

$2,500-3,000

$2,000-2,500

98 John Kapel Pair of night stands Glenn of California, designed circa 1965 23”h x 18”d x 24”w $2,000-2,500

99 Modern Pair of Night stands Glenn of California, designed circa 1965 20.75”h x 26”w x 19”d $2,000-2,500

100 Richard Thompson Pair of lounge chairs Glenn of California, designed 1968 29”h x 30”d x 27”w $2,500-3,000

101 Richard Thompson Armchair Glenn of California, designed circa 1965 30”h x 25.5”w x 27”d $1,500-2,000

57

102 Curtis Jere Pair of floor lamps Designed 1972 Labeled “C. Jere ‘72” 62.75”h x 9” x 9” $2,000-3,000

103 Arthur Elrod coffee table Custom designed circa 1975 With Ostrich print over steel base 15”h x 53.5”l x 25”w Provenance: E lrod

apartment resi-

dence Palm Springs

$1,500-1,800

104 Curtis Jere Wire starburst wall sculpture Executed circa 1984 Signed verso “Jere” Approximately 42”diameter $1,500-2,000

105 Peter Pepper Sculpture Peter Pepper Products, designed circa 1958 48”l x 8” $700-900

59

106 Bill Curry Pair of “Stemlite” lights Design Line, designed circa 1975 Comprised of a wall sconce and table lamp Retains labels $300-500

107 Charles Hollis Jones Pair of end tables CHJ, circa 1970 Each 23”h x 34”diameter $7,000-9,000

108 Charles Hollis Jones “Edison” lamp (model Hr-97) CHJ, 1970 36”h to top of finial This lamp won the 1970 California Design Competition 11 award. $1,200-1,500

109 Charles Hollis Jones “Metric Line” étagère Studio, designed 1963 $2,500-3,000

110 Steven Chase Lucite stool Custom designed circa 1985 19”h x 14”diameter $500-800

111 Charles Hollis Jones Lucite stool CHJ, designed circa 1970 19”h x 31”l x 14”d $500-700

61

112 David Cressey fused ceramic planter Architectural Pottery, designed circa 1963 18.5”h x 36” x 16” $1,200-1,500

113 David Cressey Fused ceramic planter Architectural Pottery, designed circa 1963 15”h x 25” x 18” $3,000-5,000

114 David Cressey Pro/Artisan “Phoenix-2” planter

115 David Cressey Pro/artisan “Phoenix -2” planter

Architectural Pottery, designed circa 1963 22”h x 23”diameter

Architectural Pottery, designed 1975 Impressed “LL-1-C” 22”h x 23”diameter

$2,000-2,500

$2,000-3,000

63

116 David Cressey Pro/Artisan stoneware planter (model no. 4047/R) with “Arc” texture Architectural Pottery, designed circa 1970 24”h x 22”diameter $2,000-2,500

117 David Cressey Pro/Artisan pot (model no. DC-1) with olive glaze Architectural Pottery, designed circa 1963 23”h x 12”diameter $1,500-2,000

118 David Cressey Flame Glazed planter (model no. 4028) Architectural Pottery, designed 1975 12”h x 11.5”diameter $900-1,200

119 David Cressey Pro/Artisan Collection Flame Glazed planter (model no. 5012) Architectural Pottery, designed 1975 11”h x 13.75”diameter $600-800

120 David Cressey Flame Glazed planter Architectural Pottery, designed 1975 13”h x 13.25”diameter $900-1,200

121 John Follis and rex Goode pro/artisan stoneware “sombrero” with iron stand #4048 Architectural Pottery, designed 1975 29.5”h $1,400-1,600

122 David Cressey Pair of Pro/Artisan planters with “Ribbed” texture Architectural Pottery, designed circa 1968 16”h x 10.5”diameter $600-800

123 David Cressey Pro/Artisan glazed pot with “Leaf” texture Architectural Pottery, designed 1970 17”h x 16.75”diameter $800-1,000

124 David Cressey Stoneware pot (model no. LT-24) Architectural Pottery, designed 1970 20”h x 18.5”diameter $900-1,000

125 David Cressey Pro/Artisan “bell” planter (model no. 5012) Architectural Pottery, circa 1970 15”h x 18”diameter $1,400-1,600

65

126 La Gardo Tackett Double cone Planter (model no. T-104)

127 La Gardo Tackett Double cone planter (model no. TH-03)

128 Malcolm Leland Planter (model no. L-20)

Architectural Pottery, designed circa 1951 25.5”h x 17.5”diameter

Architectural Pottery, designed circa 1951 15.5”h x 12”diameter

Architectural Pottery, designed circa 1955 Impressed “AP” 20”h x 13”diameter

$1,000-1,200

$800-1,200

$600-800

129 John Follis Group of 4 planters (model no.

CP-13) Architectural Pottery, designed 1955 11”h x 13”diameter $1,800-2,500

130 David Cressey Large planter with “Expressive” texture Architectural Pottery, designed 1970 30”h x 21”diameter $2,000-2,500

131 John Follis and Rex Goode Rare ocher glazed “Pig” planter (model no. g-99) Architectural Pottery, designed circa 1949 14”h x 40”w x 27”d $6,000-8,000

67

132 La Gardo Tackett Large Wok (model no. U-12) Architectural Pottery, designed circa 1958 12�h x 36�diameter $1,500-2,000

133 Hendrick Van Keppel and Taylor Green Pair of chaise lounges (2) VKG, designed circa 1946 One not illustrated Provenance:

David May; thence by

decent.

$2,000-3,000

134 La Gardo Tackett Planter (model no. IN-03) Architectural Pottery, designed circa 1951 16”h x 21”diameter $1,000-1,500

135 La Gardo Tackett “Buff” glazed stoneware vessel (model no. T-22) with sand sifter (model no. X-8) Architectural Pottery, designed circa 1955 14”h x 12”diameter $1,200-1,500

136 John Follis and Rex Goode White glazed “M-109” planter or “Sombrero” Architectural Pottery, designed circa 1949 8”h x 25”diameter $1,500-2,000

137 Marilyn Kay Austin Planter (model no. A-3) with Buff glaze Architectural Pottery, designed circa 1963 24”h x 13.5”diameter $1,500-2,000

69

138 Claire Falkenstein “Never Ending Screen” Circa 1975 Polished aluminum Stamped signature 24”diameter $10,000-15,000

139 Claire Falkenstein Untitled

140 Claire Falkenstein Untitled

Circa 1960 Ink and watercolor on paper 13.5”h x 11.5”w

Circa 1960 Ink and watercolor on paper 13.5”h x 11.5”w

$2,000-2,500

$2,000-2,500

141 Claire Falkenstein Untitled (Study of necklace) Circa 1960 Ink on paper 14”h x 11”w $2,000-2,500

71

In The Furniture of Sam Maloof, Jerry Adamson states “Maloof was an early leader of the Southern California Designer Craftsman Association, formed to promote the sale of homemade crafts as furnishings and accessories in contemporary houses.”

142 Sam Maloof Dining table and 8 chairs Sam Maloof Studio, executed 1963 Chairs 37.5”h x 21”w x 21”d; Table 28.5”h x 44”w x 84”l (or 130”fully extended) Branded signature Provenance:

R obert O and Lola Hunter

$100,000-150,000

73

143 Sam Maloof Highback armchair Sam Maloof Studio, designed circa 1960 47”h x 25”d x 24.5”w A nearly identical example of this chair was exhibited in the 1960 Southern California DesignerCraftsman Exhibition, LACMA. $12,000-15,000

144 Sam Maloof Rare and early table Studio, executed 1953 Signed “Made in 1953 Sam Maloof” 13.25”h x 24”w x 24”d Illustrated: T he

Furniture of Sam

Maloof, Adamson, Smithsonian 2 0 0 0, pg 4 6 .

$5,000-7,000

145 Sam Maloof Rare and early spindle back lounge chair Studio, executed 1953 Upholstered with Jack Lennor Larsen fabric selected by Maloof Signed “Made in 1953 Sam Maloof” 31”h x 27”w x 29”d $10,000-15,000

75

146 John Kapel Rare and early lamp table Studio, executed circa 1955 Signed with artists cipher, as well as paper label 22”h x 32”w x 20”d Kapel went to work for George Nelson and Associates after studying at Cranbrook and spending time in Prague on fellowship. It was after seeing an article with a photo of Sam Maloof sitting in an orange grove surrounded by his work, that he decided that was the life for him. $5,000-7,000

77

147 John Kapel Pair of lounge chairs Studio, designed circa 1956 31”h x 31”d x 29”w $10,000-15,000

148 Bob Stocksdale Turned wood bowl

149 Bob Stocksdale Turned wood bowl

Studio, executed circa 1955 Signed “Bob Stocksdale Teak from Siam” 5.5”h x 10”diameter

Studio, executed circa 1975 Signed “Bob Stocksdale Black Walnut from California” 5”h x 12.5”diameter

$2,000-3,000

$2,000-3,000

150 Bob Stocksdale turned wood bowl

151 Bob Stocksdale pair of Turned wood bowls

152 Bob Stocksdale Turned wood Platter

Designed circa 1965 Exotic Brazilian wood Signed “Bob Stocksdale” 3.25”h x 6.25” x 5”

Studio, executed circa 1955 Signed “Bob Stocksdale Teak from Siam” 2”h x 6”diameter

Bob Stocksdale, 1997 This example with wall mount built into the design Approx. 18”diameter

$800-1,000

$2,000-3,000

$1,800-2,500

79

153 Arthur Espenet Carpenter Rare and early custom radio cabinet Studio, executed 1948 The piece is accompanied by a letter from Bob Johnson and a copy of the 1948 inventory list for project.

67.5”h x 72”l x 18.75”d This piece represents the earliest work of the master California craftsman. The following quote is taken from Craftsman Lifestyle, the Gentle Revolution which was the final official act of the “California Design” exhibitions. “I really didn’t expect to crack the world of art. I had an idea I’d buy radio chassis and make cabinets for them. That turned out to be too expensive so I bought a lathe, which was

all I could afford, and began to turn bowls. I was thinking of it from a busi ness point of view. I planned to design and manufacture them, but then Edgar Kaufmann chose my work for the Good Design Show at the Museum of Modern Art in 1949 and I discovered exhibition was free publicity, so that’s the way I went. I just kept buying one machine at a time until I could make anything I wanted out of wood.”

Provenance: William

Wurster remodel

for J ohnson residence, San F rancisco, C A .

Literature: C raftsman

L ifest yle the

Gentle Revolution, E mery, C alifornia D esign Publications, 197 7, pg 171.

$4,000-6,000

De Swart, a Dutch émigré, arrived in California in 1929. His work explores themes of relationships, religion and nature. However, his experimentation with new materials also lead to his confidence in abstracted forms.

As Mike McGee put it best in a 1986 retrospective on the artists work at the Laguna Art Museum, “His passionate quest for individualistic freedom of expression underlines all of his work.”

154 Jan de Swart Vanity Mirror box Wood with mirror interior Executed circa 1965 18”h x 28” x 8” $2,000-3,000

155 Jan de Swart Chair Carved Jelutong wood Executed circa 1973-75 42”h x 73” x 32” $4,000-6,000

81

156 Jan de Swart Burled wood articulating table

157 Jan de Swart Sculpture

158 Jan de Swart “Cactus” sculpture

Executed circa 1960 18”h x 42” x 26”

Cast aluminum with imbedded plastic Executed circa 1960 13”diameter

Cast Aluminum Executed circa 1962 9”h x 6” x 4”

$1,500-2,000

$800-1,200

$3,000-5,000

159 Jade Snow Wong Enamel on copper bowl

160 Jade Snow Wong Pair of enamel bowls

Studio, circa 1945 2.5”h x 11”diameter

Studio, 1944 Lidded bowl 6”h x 6”diameter

$600-800

$1,000-1,500

83

161 Harrison McIntosh Footed stoneware bowl Studio, executed 1984 Signed with artists cipher and paper label 8404 4.5”h x 8.5”diameter $1,500-2,000

162 Harrison McIntosh Glazed bowl Executed circa 1958 Signed “McIntosh 441” 2.5”h x 6”diameter $700-900

163 Marguerite Wildenhain Stoneware incised jar Pond Farm, executed circa 1960 9.5”h $4,500-5,500

164 Marguerite Wildenhain Stoneware footed bowl Pond Farm, executed circa 1965 5”h x 6”diameter $2,000-2500

165 Marguerite Wildenhain Stoneware bottle form Pond Farm, executed circa 1960 7”h $1,000-1,500

166 Aiko and Robert Kinzie Massive slip glazed floor pot Studio, executed circa 1960 56”h x 13”diameter With illustrated entwined couple

167 Marg Loring Ceramic sculpture Executed circa 1968 Retains artist label and “628C” 10”h x 9” x 6” $800-1,200

$2,500-3,500

168 Edith Heath Glazed stoneware plate

169 Antonio Prieto Glazed stoneware plate

Studio, circa 1970 Signed “Heath” 9.5”diameter

Studio, executed circa 1957 3”h x 10.5”diameter $800-1000

$400-600

85

170 Vivika & Otto Heino Massive Sgraffito bowl with iron glaze Studio, circa 1968 8.5”h x 13”diameter $4,000-6,000

171 Vivika & Otto Heino Massive “Bird Head” vase Studio, circa 1968 14.5”h x 8”w x 6”d Literature: The

art of Vivika and Otto

Heino, Ventura C ount y Museum, 2 0 05 , pg 3 9 for a similar example

$3,500-4,500

172 Vivika and Otto Heino Massive paddled porcelain vase with iron blue culminate glaze Studio, executed circa 1970 8.5”h x 10.5”diameter $2,000-2,500

173 Beatrice Wood Green semi-lustre glazed bowl Studio, executed circa 1960 Signed 4“h x 8“d $1,500-2,000

174 Antonio Prieto Stoneware glazed bowl Studio, executed circa 1958 3”h x 10.5”diameter $1,000-1,500

175 Antonio Prieto Stoneware bowl with white slip Studio, executed circa 1956 4.5”h x 12.5”diameter $1,000-1,500

87

176 Robert Diebenkorn “High Green, Version I” 1992 Color etching and aquatint Signed and dated lower right; edition lower left # 30 of 65 52.5”h x 33.865” $120,000-150,000

177 Richard Diebenkorn “Sugarlift Spade” 1982 Aquatint Signed, dated and numbered in pencil Edition of 35 plus 11 artist’s proofs 16”h x 14.865” $6,500-7,500

89

178 Andy Warhol “Jane Fonda” 1982 Screenprint on Lenox Museum Board Andy Warhol signature and edition lower left; “Peace Jane Fonda” lower right; dedicated verso along with foundation mark # 37 of 100 39.75” x 31.75” This print of Jane Fonda was published by “The Friends of tom hayden” to raise funds for his campaign for california state assemblyman. $15,000-20,000

179 Robert Misrach “Playboy’s #38” 1990 Ektacolor Plus print 30”h x 25.5” The photographer found this advertisment page from a Playboy Magazine in the Mohave desert which had been used for target practice. $8,000-10,000

180 James Prestini Sculpture #157

181 Robert O. Dowd “Oreo” sculpture

Executed 1967 26.5”h x 8” x 5”

Circa 1967 Signed “O’Dowd” verso 12”diameter x 3”

Prestini won the Guggenheim Fellowship in 1967 for his work on this series.

Exhibited: San

$3,000-4,000

francisco museum of

modern art, 1 9 6 9.

Illustrated: James

Prestini: Sculpture

F rom Structural Steel Elements, N ordland, S F Mo M A , 1 9 6 9, pg 8

$8,000-10,000

91

182 Julius Shulman “Chemosphere” house by John Lautner

183 John Lautner and Harvey Metals collaboration Adjustable wall mounted clock

Vintage photograph, printed circa 1960 Retains photographers stamp on verso of matt Mounted to board 11”h x 14”

Designed 1949 Face 22”diameter x 16”d

Also known as the Malin Residence, the Chemosphere house shown here in Shulman’s photograph epotimize’s Lautner’s style of architecture. Having set up two cameras (facing East and West) Shulman waited until the right moment to utililize the cloud’s shadows thus creating the dramatic image shown here.

Literature: P hotographing

A rchitec-

ture and I nteriors, S hulman , Whitney Library, 1962.

$4,000-5,000

This clock was designed for the Harvey House, designed by John Lautner in 1949 and can be mounted in any direction.

Literature: J ohn

L autner , Architect,

E scher , Princeton P ress, 1 9 9 8 .

$5,000-6,000

184 John Lautner Hanging light Custom designed, 1969 Constructed of maple and steel with an inverted disc shade with 4 perforated steel inserts which create a pattern on the ceiling.

30�h x 55�diameter This light was designed for the Mills Residence in Flintridge, Ca. $10,000-15,000

93

185 Malcolm Leland “Thermic Sculpture” Handmade sculpture, executed 1976 Sold with model Sculpture is 42.5”h x 20” x 19”; Model is 19”h x 5” x 7” In 1976 Leland was given a grant by the National Endowment for the Arts to assist his comprehensive study in thermic sculptures. This sculpture was an exciting result of this important endeavor. $5,000-7,000

186 Malcolm Leland Aluminum relief From frieze on administration building at the San Diego zoo Studio, executed circa 1960 19”h x 21”w x 4”d $800-1,200

187 Malcolm Leland “Cal Tech” Grille

95

Executed 1966 Wall mounted relief framed in wood 24.5” x 29” $1,800-2,000

188 Malcolm Leland Cloud sculpture (relief) Executed 1969 Signed “Leland 1969” Approximately 24” with stand $2,800-3,500

189 Malcolm Leland Terracotta Bird shelter with hand carved bird Architectural Pottery, designed circa 1951 12”h x 7.5” x 7” $3,000-5,000

190 Modern Pair of Starburst bronze doors

191 Paul Tuttle chaise lounge

192 Paul Tuttle Group of six armchairs

“Lustr Metl” Model LM-X Kaylien Doors, designed circa 1970 92 1/3”h x 1.75”d x 36”w

Strässle International, designed circa 1970

Strässle International, designed circa 1970 33.5”h x 22.25”d x 22”w

$8,000-10,000

$3,000-5,000

$4,000-5,000

97

193 Maurice Martiné Prototype lounge chair Maurice Martiné Designs, circa 1967 An usual form with teak, aluminum and leather 30”h x 30”w x 30” The construction of this chairs is completely without any screws, and represents an innovative use of the latest technologies available. After arriving on the California scene early with his rope chair in the late 40’s Martiné used the California Design 10 exhibition of 1968 to re-emerge. Sadly the market did not respond to this master craftsman’s designs and this chair was never produced. This chair is a testament to the grace and refinement of Martiné’s craftsman genius.

Provenance: Estate

of Martin é ;

private collection .

$3,000-4,000

194 Maurice Martiné Prototype dowel lounge chair Maurice Martiné Designs, circa 1967 With original suede piped cushions 25”h x 27”w x 31”d Provenance: Estate

of Martin é ;

private collection .

$3,000-4,000

195 Maurice Martine Lounge Chair Maurice Martine Designs, designed circa 1949 26”h x 21”d x 24”w Literature:

C hairs Nelson, W hitne y

Publications, Inc , 1953, pg 28 -29

$3,000-3,500

196 Dan Johnson Gazelle lounge chair (model 30W) Dan Johnson Studios, designed circa 1957 28”h x 26”d x 23.25”w $12,000-15,000

99

197 Dan Johnson “Gazelle” armchair Dan Johnson Studio Rome for Arch Industries Los Angeles, designed 1958 34”h x 18”w x 20”d Literature: I nterior

Design M agazine ,

J uly 1959, pg 4 7 full page advertisement

$7,000-10,000

198 Dan Johnson “Pull up” armchair Dan Johnson, designed circa 1952 31.75”h x 23”d x 18”w $1,000-1,500

101

199 Alvin Lustig Coffee table

200 Alvin Lustig Book cover illustrations (4)

Custom, designed circa 1948 16”h x 42”l x 23”w

Group of 4 books with dust jackets designed by Lustig in 1945 Comprised of A Room with a View, A Handful of Dust, The Longest Journey, and Rimbaud, A Season in Hell 16”h x 42”l x 23”w

A similar table was used in Lustig’s office on Sunset Boulevard in 1948 (see illustration). $3,000-5,000

$200-300

201 Gere Kavanaugh Unique wall hanging Custom, executed 1951 Signed lower right 40” x 32” $6,000-7,000

202 In the style of Lustig Fabric panel screen Manufacturer unknown, designed circa 1952 66”h x 70.5”w $1,000-1,500

203 Modern Side chair Chemold, circa 1952 $600-800

204 Attributed to Luther Conover Trapezoidal coffee table Designed circa 1950 15”h x 23.5”d x 59.5”w $1,200-1,500

103

205 Luther Conover Lounge chair

206 Luther Conover Iron fire tools

Designed circa 1950

Designed circa 1954

$1,800-2,500

$800-1,200

207 Modern Chest of drawers Vista Furniture Company, designed circa 1950 $1,000-1,500

208 Modern Mahogany and iron buffet Vista Furniture Company, designed circa 1952 28”h x 54”w x 18”d Literature: 1 95 2

Vista Furniture Com-

pany catalog, item # 3 05 .

$1,500-2,000

209 Modern Storage Headboard Vista Furniture Company, designed circa 1950 $1,500-2,000

105

210 Stuart Weber “Chair on Mat” & “Life”

211 Milo Baughman Walnut and birch coffee table

Vintage photographs (3) Life stamped verso “Stuart Weber” Each 8” x 10”

Pacific Iron, designed circa 1950 16”h x 40”w x 30”d $1,000-1,500

$1,200-1,500

212 Milo Baughman Birch and iron coffee table Pacific Iron, designed circa 1950 16”h x 32”w x 30”d $1,000-1,500

213 Mitchell Bobrick Floor lamp Control light Mitchell Bobrick, designed circa 1950 57�h x 24�diameter Literature: A rts

& A rchitecture , September 1 95 0

$2,000-3,000

214 Mitchell Bobrick “Control lamp” General Lighting, designed 1950 22”h x 18w x 19”d A rare example with attached iron bookshelf $1,500-2,000

107

215 La Gardo Tackett Rare and early vessel

216 La Gardo Tackett Ceramic bowl

Studio, executed circa 1950 Signed “Tackett” 2.25”h x 14”w x 4.5”d

Designed 19XX Signed “Tackett” 7”h x 15” x 10”

$1,500-2,000

$1,000-1,500

217 La Gardo Tackett “Forma” service with yellow glaze Schmid Ironstone, executed circa 1958 58 assorted pieces $1,200-1,500

218 La Gardo Tackett Pair of bowls Executed circa 1952 Red 2.5”h x 4.5”diameter; yellow 2.5”h x 5” x 4” $600-800

219 Kenji Fujita Porcelain vessels (2) Freeman Lederman, executed circa 1955 Signed with artist cipher $500-700

220 La Gardo Tackett Group of 3 “Sandpiper” vessels Freeman Lederman, designed 1953 Tallest bird 11.5”h x 3.5”w x 3”d A selection of these were displayed at the 1953 Museum of Modern Art “Good Design” exhibition $1,500-2,000

109

221 Milo Baughman room divider Glenn of California, designed 1949 60”h x 65”w x 17”d Literature: Modern

Furnishings for

the Home Vol 1, H ennessey, R einhold 1952, pg 159.

$4,000-5,000

222 Milo Baughman Corner table (model no. 327) Glenn of California, designed circa 1950 25”h x 42”square Literature: Modern

Furnishings For

The H ome Vol 1, H ennesse y, R einhold, 1952, pg 118.

$1,200-1,500

223 Evans Clark Room divider/bookcase Glenn of California, designed circa 1949 Closed 60”h x 32”l x 16”d; open 60”h x 64”l x 8”d Literature:

Glenn of C alifornia furni -

ture catalogue, circa 1949

$2,500-3,500

111

224 Milo Baughman sideboard with seagrass door Glenn of California, designed 1950 32.5”h x 65”w x 18”d $1,500-1,800

225 Hendrick Van Keppel and Taylor Green dining table and 6 chairs Brown Saltman, designed circa 1954 Table: 29”h x 64”w x 40”d; Armchair: 31”h x 23”w x 24”d $2,500-3,000

113

226 Hendrick Van Keppel and Taylor Green “Camel” table Brown Saltman, Designed 1946 As illustrated 14.75”h x 66”w x 34”d $2,500-3,000

227 Hendrick Van Keppel and Taylor Green Pair of end tables Brown Saltman, designed circa 1950 $1,500-2,000

228 Paul Laszlo End table Brown Saltman, designed circa 1948 Retains label 24.5”h x 23.75”diameter $1,200-1,500

229 Paul Laszlo “Treasure” chest” Brown Saltman, designed circa 1945” Branded “Treasure Chest G023” 36.75”h x 74”l x 20”d $2,500-3,500

115

230 Paul Laszlo Chest of drawers

231 Paul Laszlo Coffee table

232 Paul Frankl Pair of lamp tables

Brown Saltman, designed circa 1940 Retains Brown Saltman label 33.25”h x 59”l x 18.5”d

Brown Saltman, designed circa 1950

Brown Saltman, designed 1941

Literature: B rown

$2,000-2,500

$2,000-3,000

$1,200-1,500

circa 1 9 4 8

Saltman catalogue,

233 Evelyn Ackerman “Vineyards” carved wood panel ERA Industries, designed 1963 9”h x 39”w Provenance: ERA

I ndustries A rchives

$1,000 -1,500

234 Evelyn Ackerman “Pennants” Mosaic ERA Industries, circa 1958 49”h x 12.5”w $1,500-2,000

235 Evelyn Ackerman Prototype hand woven wool runner in “Linea” pattern ERA Industries, circa 1963 This design never went into production.

Provenance: Era $800-1,200

I ndustries archives.

236 Evelyn Ackerman “Moonscape” Hand woven tapestry ERA Industries, designed circa 1965 55”h x 22.5”w $800-1,000

237 Evelyn Ackerman “Op 66” Hand woven tapestry ERA Industries, designed circa 1968 68”h x 23.5”w Literature: C alifornia $900-1,200

238 Evelyn Ackerman Prototype hand woven wool “Linea” pattern pillows Designed and hand made in 1963 9.5”h x 21”w x 4”d Provenance: Era

Industries archives

$800-1,200

239 Jerome Ackerman Rare and early Glazed porcelain bird-head bowl Jenev, designed 1952 4”h x 6.5”w x 3.75”d $600-800

D esign T en,

Pasadena Museum catalog , pg 130

117

240 Ynez Johnston Untitled Circa 1955 Mixed media on paper laid on cardboard 14”h x 21”w $2,500-3,000

241 Dorr Bothwell “Invasion” 1953 Oil on masonite 28”h x 24” Exhibited: San Francisco M useum of A rt

$2,000-3,000

242 Ulfert Wilke “Dark Signs” 1961 Ink and color wash on panel Monogramed and dated Retains Primus Stuart Galleries label verso 43” x 51” $2,000-3,000

243 Frank Hodgkinson “California 22” 1961 Mixed media with collage Retains Primus Stuart Galleries label 49”h x 22”w $1,000-1,500

119

244 Joan Jacobs “Load Star” 1961 Oil on canvas Signed, titled and dated verso 68” x 68” Retains Everette Ellin Gallery label $2,000-3,000

245 NOT Bennett (needs help) Ceramic table lamp Designed 19XX Signed 14”h x 9”diameter $1,000-2,000

121

246 James Lovera Stoneware service

247 Monte Verde Young, attributed Coffee table

248 Mark Adams Untitled

Studio, executed circa 1952 Comprised of 10 plates, 8 cups and 1 serving bowl Plate 8”diameter; Bowl 4”h x 10.5”diameter

Designed circa 1972 15”h x 48”diameter

1958 Oil on canvas Signed and dated lower right 28”h x 9”w

$2,000-2,500

$800-1,200

Sold with book about this artist $2,500-3,500

249 Hendrik Van Keppel and Taylor Green “Refectory” table

250 Hendrick Van Keppel and Taylor Green Settee

VKG, designed circa 1952 This versatile design easily converts to a dining table or desk by simply opening the upright supports and placing both boards side by side.

VKG, designed circa 1952 29.5”h x 36”d x 52”w

Provenance: E state

of Muriel C oleman;

P rivate collection , Los Angeles.

Literature: Arts

& Architecture,

M arch 1 95 2 .

$4,000-5,000

$2,500-3,000

251 Hendrick Van Keppel and Taylor Green Settee VKG, designed circa 1952 29.5”h x 36”d x 52”w $2,500-3,000

252 Hendrik Van Keppel and Taylor Green Armchair (model no. 644)

253 Hendrick Van Keppel and Taylor Green Dining set

VKG, designed circa 1958 28.25”h x 26.25”w x 26.5”d

VKG, designed circa 1956 Comprised of a dining table and 4 side chairs Table 28”h x 38”w x 35.75”d; Chairs 31.5”h x 22.5”d x 22”w

$800-1,000

$3,000-4,000

123

254 Hendrik Van Keppel and Taylor Green sofa (model no. 636)

255 Hendrik Van Keppel and Taylor Green Occasional table

256 Hendrik Van Keppel and Taylor Green Candleholder

Brown Jordon, circa 1966 Retains label 26”h x 70.75”l x 26.5”d

VKG, designed circa 1962 With travertine top 27”h x 48”l x 24”w

VKG, designed circa 1952 Approximately 18” x 24”

$600-800

$3,000-4,000

$800-1,200

257 Hendrik Van Keppel and Taylor Green coffee table (400 series)

258 Hendrik Van Keppel and Taylor Green Group of 4 lounge chairs

VKG, designed circa 1958 16.5”h x 28.75”l x 26”w

VKG, designed circa 1949 26.25”h x 29.75”w x 25.5”d

$600-800

Literature:

Arts & Architecture ,

F ebruary 1 9 4 9.

$2,000-3,000

125

259 Hendrick Van Keppel and Taylor Green Pair of adjustable sofa/chaises VKG, designed circa 1950 15”h x 74”w x 30”d $4,000-6,000

260 Van Keppel and Taylor Green Pair of torchiers VKG, designed circa 1952 62”h $1,000-1,500

261 Hendrick Van Keppel and Taylor Green Dining suite VKG, designed circa 1952 Comprised of dining table, three arm chairs and three side chairs Table 29”h x 72”w; Armchair: 28.75”h x 22”d x 27.25”w; Side chair: 29”h x 22”d x 23”w Literature: F urniture

Forum : T he

Portfolio of Contemporary D esign , Vol 2 No 3 Pritchard, A pril 1951, S ection 1 -pg 4 1

$5,000-6,000

127

262 Hendrick Van Keppel and Taylor Green Coffee table VKG, designed circa 1950 $1,500-1,800

263 Roy McMakin Custom desk Executed circa 1986 With four areas designed to organize paperwork; one of which is a mounted wood cabinet, another is a raised unpainted platform, and two are unpainted areas.

30”h x 86”l x 35”d McMakin founded Domestic Furniture and designed this unique desk for his Beverly Boulevard showroom. $12,000-15,000

264 Jonathan Borofsky “3,785,264” Lithograph Signed in pencil lower right; edition lower left # 24 of 100 25.5”h x 18” $1,000-1,200

265 Craig Kauffman Untitled 1983 Lithograph 18.5”h x 14.5” Printed at Cirrus Gallery $1,000-1,500

129

266 Frank Gehry “Easy Edges” group of 3 chairs Easy Edges, designed 1969-73 Each 32”h x 16”w x 22”d Literature: frank

gehry buildings and

projects, arnell , ri z zoli , 1 9 85 , pg 6 4

$3,000-4,000

267 Peter Alexander TITLE Circa 1971 Signed lower right 28”h x 20.5” $1,500-2,000

268 Laddie John Dill Untitled 1982 Mixed media on plywood Signed verso 30”h x 32” $4,000-5,000

269 Laddie John Dill Untitled 1985 Color Lithograph Signed and dated lower right; edition lower left # 22 of 275 Printed on Arches paper 14”h x 27” $1,000-1,500

270 Guy Dill Untitled (Notes from the Campus Gate Series) 1992 Black painted steel 64”h x 104”l x approx. 26”d $12,000-15,000

271 Joe Goode “Slick Watts” 1977 Signed and dated lower right; edition lower left Edition 80 of 125 15” x 20” $1,000-1,500

272 Joe Goode “Ocean Blue” 1990 Color etching Signed and dated lower right; edition lower left Edition 5 of 10 17”h x 11.25” $1,500-2,000

131

133

273 Herbert Matter Untitled Woman with long dress and Woman on Steps Vintage photographs (2) Each stamped verso “Photo Herbert Matter” Arp 13.5”h x 10.25”; steps 8.25”h x 10” $1,500-2,000

275 Herbert Matter “Charles Eames experimental plywood stretcher” 274 Herbert Matter “Still Life (Ray Eames Sculpture)”

Vintage gelatin print, circa 1943 Inscribed in pencil verso “E413” 8” x 10”

Vintage photograph, printed circa 1943 Inscribed in pencil verso “E490” 8” x 10” This print shows the dramatic form of this famous sculpture.

This experimental “Body Litter” was never put into production. Matter not only documented the Eames’ early experimental works, but also revealed the artistic nature of the Eames office.

Illustrated: Eames

Provenance: C harles

Design , N euhart,

& Ray Eames;

N euhart and Eames, abrams, 1 9 8 9,

J ohn & Marilyn Neuhart; Private col-

pg 40.

lection .

$4,000-6,000

$2,500-3,500

135

276 Herbert Matter “Charles Eames” Vintage silver gelatin print, circa 1946 Stamped verso “Exhibition of New Furniture 1946. March 13-31, 1946.

The Museum of Modern Art” 10”h x 7.75”h $2,000-3,000

277 Charles and Ray Eames “RAR” rocking chair

278 Charles and Ray Eames Rare and early “LAX” lounge chair

Zenith Plastics, designed circa 1951 Retains label 26.5”h x 24.5”w x 27”d

Zenith Plastics for Herman Miller, executed 1950 Retains Zenith paper label 26”h x 25”w x 25”d

$1,200-1,500

These early thin stock bases had a tendency to crack at the stress point where the rod base was drilled to accommodate screws for mounting, as a result the base was quickly modified to the standard “X” base. These early examples are very hard to find in this condition, even more so with a non faded red Zenith shell. $1,500-1,800

137

279 Charles and Ray Eames Armchair

280 Charles and Ray Eames “RAR-1” chair

Herman Miller, designed circa 1960 With Alexander Girard “Millchek” upholstery 31.”h x 26”w x 23”d

Zenith Plastics for Herman Miller, designed 1950 Retains Zenith label and red rope edge 26.5”h x 26”w x 28”d

$1,500-1,800

$1,500-1,800

281 Don Albinson, Bernard Cirlin and William Berlant Stephens “Tru-sonic” speaker Stephens Tru-sonic Inc, designed 1956 30”h x 30”w x 13”d In 1956 the Eames office redesigned the Stephens “Quadraflex” speaker. They incorporated a Herman Miller base from Eames’ “671” lounge chair and changed the curved wood veneer enclosure. $3,000-3,500

282 Don Albinson, Bernard Cirlin and William Berlant Stephens “Tru-sonic” speaker Stephens Tru-sonic Inc, designed 1956 Original finish with white grill on black 30”h x 30”w x 13”d $4,000-5,000

283 Charles and Ray Eames “DTM-2” table

284 Charles and Ray Eames Pair of “DCM” chairs

Herman Miller, designed 1947 Finished in black analine dye 28.5”h x 34” x 34”

Evans Products for Herman Miller, Executed 1948 Finished in black analine dye Each retains label Each 29.25”h x 19.5”w x 21.25”d

$1,500-1,800

$2,000-2,500

139

285 Charles and Ray Eames “LCM” Evans Products for Herman Miller, designed 1945 (this example circa 1949) Retains label 27.25”h x 22.25”w x 25.25”d $1,500-1,800

141

286 Charles and Ray Eames “DCM” Evans Products for Herman Miller, designed 1945 (this example circa 1948) Finished in red analine dye Retains Evans and Herman Miller labels 29.25”h x 19.5”w x 21.25”d $1,500-1,800

287 Charles and Ray Eames “DCW” Evans for Herman Miller, designed 1945 This example circa 1949 Retains label 29”h x 19”d x 19”w Literature: E ames

Design: The Work of

the O ffice of C harles and R ay Eames N euhart, Abrams, 1 9 8 9 pg 56

$1,500-2,000

288 Charles and Ray Eames “DCW” Evans for Herman Miller, designed 1945 This example circa 1949 29”h x 19”d x 19”w Retains label $1,500-2,000

289 Charles and Ray Eames “LKR-2” Herman Miller, designed circa 1950 26”h x 21.75”d x 19”w $800-1,000

290 Charles and Ray Eames “CTM” Herman Miller, designed circa 1946 15”h x 34”d x 34”w $1,500-2,000

143

291 Charles and Ray Eames freestanding Kiosk Custom designed for the IBM Pavilion, New York World’s Fair Fabricated by hand at DMI, Los Angeles, 1964 Approximately 16 feet high One of only two examples known to have survived after the fair. The lot offered here exemplifies the exuberence of Eames Design.

The carefully selected color combinations along with heraldic flags and decorative finials played an important part of the whole pavilion’s ability to attract the general public into IBM’s exhibits. Standing alone, this ingeniously engineered structure represents a rare opportunity to actually own a fully realized work of architecture by Charles Eames.

Illustrated: Eames

Design : T he Work of the O ffice of Charles and Ray Eames

Neuhart, A brams, 1989

$80,000-100,000

145

The follownig four lots are original attraction posters printed for use in Disneyland park. The park first openend in 1955 in Anaheim, California. The large format of these posters was designed to attract a park visitor’s attention from long distances. Each production run was only produced once. Reproductions of these graphic posters can still be seen around the park, but most have been redesigned and resized.

292 Disneyana “Space Station X-1” 1955 54”h x 36” An orginal opening day attraction, this feature of the park was only open for a few of the early years thus making the poster one of the rarest of all the attraction posters. $6,000-8,000

293 Disneyana “Rocket Jets” 1967 54”h x 36” Originally named “Astro Jets”, the attraction and the poster were redesigned in 1967 to reflect the dominance of jet airplane technology in travel. $5,000-7,000

294 Disneyana “Adventure thru Inner Space” 1967 54”h x 36” This attraction, which featured a trip on a miniaturized “Atommobile”, through a tiny snowflake into the world of the Atom was presented by Monsanto and featured the tag line “Where Miracles from Molecules are Happening Every Day” $5,000-7,000

295 Disneyana “Haunted Mansion” 1969 54”h x 36” One of the most famous of all the attraction posters was designed by Mark Davis, a Disney Animator who also created much of the designs for the attraction itself. Anyone who has been on the ride will remember the last line heard on the “doom” buggies - “Beware of hitchhiking ghosts.” $6,000-8,000

296 Carlos Diniz Print of Welton Becket’s GE Pavilion from the 1964 New York World’s Fair 1965 Signed in the image “Diniz 65” lower left 40”h x 26 $1,000-1,500

297 Carlos Diniz Print of Frank Gehry’s house 1964 Silkscreen Signed “Diniz 64” lower right 25”h x 36” $1,000-1,500

14 7

298 K.E.M. Weber “Airline” chair Airline Chair Company, designed 1934 for Walt Disney Studios 31”h x 25”w x 30”d

This Streamline Moderne chair is Weber’s most iconic design.

Literature: Design

Having designed the furniture for Walt Disney’s executive office suite, as well as all of the furnishings and buildings themselves for his Animators on the Disney Studios lot, Weber’s newly formed company the “Airline Chair Company” attempted to market this chair for mass production. Unfortunately, the knockdown low cost chair proved too expensive to produce. Ultimately, the only chairs made were the 300 for Disney’s projection rooms, lounges and executive suites; a few other slightly different versions exist from other later commissions.

Disney gave or sold many examples to employees in the late 1960’s or 70’s.

1 93 5 - 1 9 6 5 What Modern

Was, E idelberg , Abrams, 1 9 9 1 , pg 7 5 -7 7.

$12,000-15,000

299 Harry Bertoia Monoprint (XV1.1) Executed 1945-1947 Colored inks and oils on heavy map paper Label on verso of mat “Nierendorf Gallery” 6.5”h x 6.5” According to June Kompass Nelson, Bertoia showed his works at the Nierendorf Gallery from 1945 to 1947. Also during this time Bertoia exhibited at the San Francisco Museum of Art (1945) and shortly thereafter worked with graphics at Point Loma Naval Electronis Laboratory (1947-1949). This coincided with his work with Eames, whom he met a Cranbrook.

Literature: Harry

Bertoia , Printmaker :

M onot ypes and other Monographics, J une Kompass Nelson, Way ne Universit y Press, 1 9 8 8 , pg 76

$1,200-1,500

149

300 Man Ray “Clifford Odets” Executed circa 1945 Silver Gelatin print Signed on mat 7.75”h x 9.5”h This image was taken by Man Ray while living in Hollywood from 19X to March 1951.

Provenance: Clifford

O dets; Private

C ollection , Los Angeles.

$6,000-8,000

301 Walter Lamb Pair of tubular Bronze rocking chaises Brown Jordon, circa 1950 $5,000-7,000

302 Walter Lamb Chaise lounge Brown Jordan, designed circa 1950 14.5”h x 72”l x 23.5”w $4,000-5,000

303 K.E.M. weber armchair Lloyd Chrome Company, designed circa 1935 $1,500-2,000

304 Modern Pair of lounge chairs Deeco Mfg, designed circa 1935 Literature: R ichard

N eutra: Complete

Works, Mac L amprecht, Taschen , 2 0 0 0, pg 1 2 0

$1,400-1,600

151

305 Danny Ho Fong “Osetsu Dei” dining suite Tropi-Cal, designed circa 1958 Comprised of a table and 8 square stools 28”h x 72” x 36” $3,000-5,000

306 Modern Iron grill lamp with milk glass diffuser Possibly by Ralph O. Smith, designed circa 1950 $800-1,200

307 Modern Rocking chaise Designed circa 1946 16.5”h x 64”d x 21.25”w $1,200-1,500

153 308 Modern “Lobachi” fire pit Designed circa 1955 11.5“h x 44“diameter $1,200-1,500

309 Raymond Loewy & Associates Avanti “R-1” sports coupe Studebaker, designed 1961-62 This car is #777 of 2,416 made for the 1963 model year. $25,000-30,000

The year was 1961 and in a small modernist bungalow house in Palm Springs, California, the Studebaker Avanti with it’s new sleek Euro look, was designed in less than two weeks by a four man design team headed by one of the founders of the industrial design profession, designer Raymond Loewy. Working in a rented house turned into a secret design studio far from the prying eyes of Detroit stylists was Loewy’s small design team consisting of experienced designers and former Loewy employees, John Ebstein and Bob Andrews, as well as a young design student named Tom Kellogg, newly graduated from the Pasadena Art Center. The small design team quietly gathered in Palm Springs over the college student soaked atmosphere of a Palm Springs summer break and sequestered themselves in this house leased solely for the purpose of developing Loewy’s new advanced car design. Each team member had a role: Andrews and Kellogg handled the sketching, Ebstein oversaw the project, and Loewy served as the creative director, offering input on the design. In an amazing feat unequaled in automotive history to this day, the car was conceived of and fully designed with a clay model produced in 14 days by the four designers. Soon put into production by the Studebaker Corporation of South Bend Indiana, the Avanti was hand-built at the factory in extremely low numbers for only two years, producing only a 1963 and 1964 model.

The Avanti’s advanced luxury styling was unlike anything seen on American streets. New design details included the asymmetrical power bulge on the front hood, a fin-less sculpted body with virtually no chrome trim and no visible front grill, setting the tone for the next wave of sports coupes was the Avanti’s long hood and a short trunk. The advanced interior design features include aircraft styled instrumentation, concealed vanity tray, seat belts, ultra wide doors, and a fully padded safety dash. The first of it’s kind and handcrafted of 183 separate panels of molded fiberglass, the unusual “coke bottle” styling of the body was said to be partially inspired by the four designers interest in the bikini clad girls seen at nearby resorts while working on the shape of the Avanti.

Its performance package is powered by the original powerful Jet - Thrust R1 engine, a high-compression V-8 engine topped by a super fast four-barrel carburetor and high speed cams. Driving the new 1963 Avanti coupe at the Salt Lake Speed Flats, racer Andy Granatelli set a total of 24 new speed and endurance records for a stock American production car. By driving in excess of 168 miles per hour on the Flats, the Avanti became the fastest American car in production. It was also called America’s safest car when it was reviewed in the press because among the many safety features built into the Avanti, and for the first time on an American car, were front wheel disc brakes, a built-in steel roll bar over the driver, mid body gas tank, fully padded dash and interior and a light-weight aerodynamic shaped fiberglass body.

Offered is a completely original, un-modified 1963 R1 Avanti.

155

Otis College of Art and Design

O

tis College of Art and Design has left a distinctive mark on Southern California by training generations of artists and designers who have been in the vanguard of the cultural and entrepreneurial life of the region. Cross-fertilization between a region and creative education has rarely been this continuous and this successful.

The Otis Legacy Founded in 1918, Otis is Los Angeles’ first professional school of visual arts training. Its 88 years have been as fruitful, innovative, and eventful as the region’s own march into the future. But no matter what the name —Otis Institute of the Los Angeles Museum of History, Science & Art (1918), Otis Art Institute (1936), The Los Angeles County Art Institute (1954), The Otis Art Institute of Los Angeles County (1961), Otis Art Institute of Parsons School of Design (1978), and finally upon its severance from any affiliation, Otis College of Art and Design (1991)—the mission remains the same: to prepare students to enrich the world through their creativity, skills and vision. Over the years, its thousands of graduates have significantly influenced fine arts and design locally—and their cultural, economic, and social contributions continue to resonate not just in Los Angeles, but increasingly around the world.

The College’s formative impact on Los Angeles and Southern California is most remarkable. 1918 was the last year of the Great War, also one of the last years of a fledgling Los Angeles. From the moment General Harrison Gray Otis, publisher of the Los Angeles Times, deeded his Spanish Moorish mansion and grounds to Los Angeles County “for the advancement of art in the West,” Otis’ interdisciplinary curriculum set a course in step with the city’s own transition from dusty village to international center of creativity.

By 1924, Otis was the largest art school west of Chicago and Los Angeles was a boomtown the likes of which the world had never seen.

The film industry, soon to be joined by other creative endeavors and recreational reformers—a world of new enterprise, expertise, and lifestyle—was fueled by innovation Otis helped awaken. And the city provided Otis in turn with ideas and a highly diverse student body.

As Los Angeles grew and changed, so did Otis. New industries—from aerospace to automobile design, from the toy industry trendsetters to digital pioneers—blossomed in Los Angeles, nurtured by its daring, its liveliness, its lust for excitement and renewal. Here, these industries found creative capital benefiting their own prospects, and over and over, Otis—always quick to adapt its curriculum—delivered the design talent pool to advance these imaginative endeavors.

While Otis’ achievements in the design fields are undisputed, fine arts is the heart and soul of Otis, and artistic innovation is the hallmark of the school. For nine decades, the professional faculty has trained influential visual artists who helped launch contemporary art movements. The College’s impact on art cannot be overstated. The California Ceramics Revolution, started by Peter Voulkos and John Mason at Otis in the 1950s, transformed delicate craft into hefty sculptural presences, and stimulated the fertile Ferus Gallery scene of the 1960s.

Prominent artists associated with Southern California’s Light and Space movement attended the school, as well as leaders of the seminal conceptual art world of the 1970s. Moreover, Otis nurtured significant Latino artists and the mural group “Los Four” also originated at Otis in the 1970s.

Alumni Otis has trained diverse innovators that have changed the way we see and experience entertainment, art, technology, recreation, and related creative fields. And like the metropolis’ growth and embrace of the new, Otis’ alumni have mirrored and continue to mirror the changing face of the city. Diversity is highly valued among the faculty, staff, trustees and students of the Otis community. They share the same vision to move the school forward—drawing inspiration from the students’ diverse cultures to stimulate ideas that drive an emerging global economy. Resourcefulness, optimism, and a drive to work and succeed are palpable on Otis’ campuses and among Otis alumni.

Iconic and influential California artists like John Altoon, Billy Al Bengston, Stan Bitters, Robert Irwin, and Ken Price attended Otis in the 1940s and 1950s and alumni from the 1960s and 1970s Bryan Hunt, Barry Le Va, Roberto Gil de Montes, Richard Pettibone,

Masamai Teraoka, Bruce Yonemoto and MacArthur Prize-winner Kerry James Marshall set the stage for a host of cutting-edge contemporary artists to explore the landscape of popular culture and the significant impact of identity, politics and social policy at the intersection of art and society. More recent graduates like Alison Saar, Sandow Birk, Tami Demaree, Gajin Fujita, Ruben Ochoa, Patssi Valdez, Jeffrey Vallance, and Mario Ybarra exhibit locally, nationally, and internationally, and their cross-cultural contemporary work points both to the diversity of inspiration in Southern California and to the opportunities and advantages of an Otis education.

LAMA is pleased to present the following 23 lots by these distinguished teachers and former alumni of Otis College of Art and Design.

157

310 John Mason Untitled Executed 1959 Partially glazed ceramic relief in parts Signed lower right 42.5”h x 72.5”l x 8”d Purchased at Ferus Gallery, 1963. $25,000-35,000

Mason, who once taught at Otis College of Art and Design, has executed numerous commissions of architectural wall reliefs and ceramic sculptures. He has had one man shows at Ferus Gallery (1958 and 1959), Los Angeles; Gumps Gallery (San Francisco), and Pasadena Art Museum (1960 and 1974). In addition he has exhibited at the Museum of Contemporary Crafts, New York (1964) and had an extensive show at the Los Angeles County Museum of Art (1966) and San Francisco Museum of Modern Art as well as exhibited in several international exhibitions, such as the International Ceramic Exhibition, Ostend, Belgium, 1959 and International Exhibit of Contemporary Ceramics, Prague, Czechoslovakia.

He and Peter Voulkos were influential in adapting the Abstract Expressionist aesthetics into ceramics in the mid 1950s.

159

311 Peter Voulkos Gas fired plate in stoneware with porcelain pass-through Studio, executed 1973 Signed “Voulkos 73” 4”d x 20”diameter Provenance: Honig

Commission of 2 0 0

plates, S F, 1 9 7 3

$12,000-16,000

161

312 Paul Soldner Slip glazed charger

313 Paul Soldner Pitcher

Studio, executed circa 1965 Signed 2.25”h x 12.5”diameter

Studio, executed circa 1965 Signed 6.5”h x 4.5”diameter

$2,000-2,500

$1,000-1,500

314 Stan Bitters Trough Studio, executed circa 1968 19”h x 36”l x 12”w $1,500-2,000

315 Stan Bitters Oval pot Studio, executed circa 1965 22”h x 22.5” x 13.5” $4,000-6,000

163

316 Stan Bitters Unique “Bell Pot” Hans Sumpf Company, designed circa 1963 18.5” h x 33” diameter Illustrated: Hans

Sumpf Company,

F resno, 1 9 6 3 catalog, pg.

14

317 Stan Bitters Pair of Ochre glazed “Thumb pots” with catch trays Hans Sumpf Company, designed circa 1963 Each 18”h x 24”diameter $3,000-4,000

$4,000-5,000

318 Stan Bitters Ochre glazed “Thumb pot”

319 Stan Bitters Stool

Hans Sumpf Company, designed circa 1963 1”h x 19.5” diameter

Studio, executed circa 1962 17.5” x 16” x 18”

$1,500-2,000

$4,000-6,000

320 Ken Price stoneware bow Studio, executed 1957 This early piece was made while Price was studying with Peter Voulkos at Otis. $2,000-3,000

321 Arthur Secunda “The Anarchist” 1968 Silkscreen print #21 of 27 Signed upper left 30”h x 24” $500-700

322 John Altoon Untitled (Abstract) 1966 Ink and watercolor on paper Signed and dated lower right 30.25”h x 40.5” $4,000-6,000

165

323 Jules Engel “Yellow Fall” 1960 Oil on canvas Signed lower right 30”h x 24”w Retains Esther Robles Gallery label verso $2,000-3,000

324 Emerson Woelffer “Small Mirror Painting #1” 1961 Oil on canvas Signed and dated lower left; titled and dated verso 16”h x 12”w Retains Primus Stuart Gallery label verso $3,000-4,000

325 Leonard Edmondson Untitled (Abstract) 1951 Gouache on board Signed and dated 17.5” x 21.5” $2,500-3,000

326 Leonard Edmondson Untitled (Abstract) 1951 Gouache on board Signed and dated 16.5”h x 21.5” $2,000-2,500

167

Richard Pettibone received his Masters of Fine Art from Otis College of Art and Design in 1962 and in 1965 he had his first major solo show at the Ferus Gallery.

327 Richard Pettibone “Stella Tahkt-I-Sulyimann III 1968” 1968 Acrylic on canvas Signed, titled and dated verso 6.25”h x 12”w $18,000-20,000

328 Richard Pettibone “Slieve More” 1965 Acrylic on canvas Signed and titled verso 8.25” x 6” $18,000-25,000

169

329 Richard Pettibone “Le Petit Blanc” 1963 Mixed media Signed and dated verso 12.5”h x 15.5” This is an early assemblage work with reverse painted glass and toy trains. $10,000-15,000

330 Richard Pettibone Untitled (Recent Paintings O.K. Harris) 1970 Silkscreen print Signed in pencil, lower right 13”h x 16” $3,000-4,000

331 Shirley Pettibone “Clouds” (5) 1968 Silkscreen on canvas Each signed, dated and with notes for hanging in sequence Each 8.5” x 10” This series is meant to hang horizontally. Each image in sequence shares details of the next to reinforce a sense of movement. $1,800-2,500

In 1966 Fidel Danielli reviewed these works in Art Forum and admired Pettibone’s “strong single minded presentation.” He further suggests “The Warhol gambit of endless repetition of a motif is the obvious source, but the units are cooly abstract and poetic for all their factualism... one enters into the very substance of the subjects, and thus into a dream.”

332 Shirley Pettibone “Water” (3) 1967 Silkscreen on canvas Each signed, dated Each 8.5” x 10” This series can also hang vertically or individually $3,000-4,000

171

333 Greta Magnusson Grossman Desk (model no. 6200) with rare top storage unit (model no.

6200A) Glenn of California, designed circa 1952 40”h x 47.5”l x 25”w $3,000-5,000

334 Milo Baughman Dining table Glenn of California, designed circa 1952 With two leaves 28.25”h x 40”d x 64”w $2,000-2,500

335 Greta Magnusson Grossman Set of 6 dining chairs (model no. 6260) Glenn of California, designed 1952 30.5”h x 17.5”w x 22”d These chairs won the “Good Design” Award at the Museum of Modern Art in 1952. $3,000-5,000

173

336 Greta Magnusson Grossman Rare “Cobra” floor lamp

337 Greta Magnusson Grossman Table lamp (model no. 733)

338 Greta Magnusson Grossman Tripod floor lamp (model no. 831)

Ralph O. Smith, designed 1950 Adjustable height

Ralph O. Smith, designed circa 1948 23”h x 10”diameter

Ralph O. Smith, designed 1949 49”h

$3,500-4,500

Literature:

Arts & Architecture,

Literature:

Arts & Architecture,

S eptember 1 95 0

S eptember 1 95 0

$5,000-7,000

$4,000-6,000

175

339 Greta Magnusson Grossman Floor lamp

340 Greta Magnusson Grossman “Cobra” table lamp

341 Greta Magnusson Grossman “Cobra” table lamp

Ralph O. Smith, designed 1949 52”h x 22”w x 12”d

Ralph O. Smith, designed 1949 These lamps were available in a wide range of colors.

13”h x 12”w

Ralph O. Smith, designed 1949 13”h x 12”w

Literature: Furniture

Forum vol 1 , no 1,

winter 1 9 4 9, section 3 pg 3

$5,000-6,000

$1,500-2,000

$1,500-2,000

17 7

342 Greta Magnusson Grossman Pair of side tables (model no. 6225X) Glenn of California, designed 1952 20”h x 18”w x 31.75”d Literature: Esempi

Tavoli Tavolini

C arrelli Seconda S erie, Hoepli, 1 95 5 , illus 85

$5,000-7,000

343 Greta Magnusson Grossman Bench/coffee table Glenn of California, designed circa 1954 $1,200-1,500

344 Laura Andreson Monumental matt glazed earthenware footed vase Studio, 1950 Signed and dated 10”h x 7”diameter $3,000-4,000

345 Laura Andreson Matt glazed earthenware bowl Studio, Executed 1948 Signed and dated 5”h x 7”diameter Blue one $1,500-2,000

346 Laura Andreson Porcelain vase (brown with speckles) Studio, 1985 Signed 6.5”h” $1,500-2,000

347 Laura Andreson Matte rose glazed earthenware bowl with incised walls Studio, executed 1954 Signed and dated $3,500-4,000

179

348 Laura Andreson Low teadust Temmoku glazed bowl Studio, Executed circa 1974 Signed 2.5”h x 8.5”diameter

349 Laura Andreson Teadust glaze porcelain vase Studio, 1975 Signed and dated 5.5”h $800-1,200

$1,500-2,000

350 Laura Andreson Uranium glazed earthenware bowl Studio, 1955 Signed 2.5”h x 5”diameter $700-900

352 Laura Andreson Yellow crystal glazed porcelain bowl

353 Laura Andreson Porcelain Compote together with a porcelain box (2)

354 Laura Andreson Monumental porcelain pot in green with oxblood brushstrokes

Studio, executed circa 1970s Signed with paper label “128” 3”h x 6.5”diameter

Studio, executed circa 1970s Each signed 4”h x 8.5”diameter and 1.5”h x 3.5”diameter

Studio, 1973 Signed and dated 5.5”h x 8”diameter

$800-1,200

$1,500-2,000

$3,000-5,000

351 Laura Andreson Red Onion glazed porcelain vase Studio, 1972 Signed and dated 3.5”h x 3.5”diameter $800-1,200

355 Laura Andreson Stoneware bottle form vase Studio, executed circa 1955 3.5”h x 3”diameter $1,000-1,500

356 Laura Andreson Stoneware bottle form vase Studio, executed circa 1955 5.25”h x 3”diameter $1,000-1,500

357 Laura Andreson Stoneware vase Studio, executed circa 1955 5”h x 4”diameter $1,000-1,500

358 Amy Donaldson White glazed stoneware footed bowl Studio, executed circa 1960 6”h x 8”diameter $500-700

359 Ruppert Deese Low stoneware bowl Studio, executed circa 1960 3.5”h x 12”diameter $800-1,200

360 George Robertson Rippled porcelain footed bowl Robertson Hollywood, executed circa 1937 6“h x 7”diameter $500-700

361 Philip Cornelius Massive lidded stoneware jar Studio, executed circa 1970 Decorated with Funk literature design 18.75”h x 14”diameter $2,500-3,000

362 Philip Cornelius Pair of lidded stoneware jars Studio, executed circa 1970 Decorated with Funk skull design Larger jar 10”h x 7.5”diameter $1,500-2,000

181

363 Ralph Bacerra “Condado” Studio, 1970 58”h x 24”w x 30”d Literature: C alifornia

Design Eleven

Pasadena Art M useum, California Design, 1 9 7 1 , pg 1 24

$15,000-20,000

183

364 Esteban Vicente “Comstock” 1962 Collage, paper & ink on panel Signed verso; dedicated recto Retains Los Angeles County Museum (LACMA) exhibition label verso 19.5” x 24.5” Provenance: The

Michael & D oroth y

B lankfort C ollection ; G ift of the artist.

Exhibited: “ The

Michael and D orothy

B lankfort Collection ”, Los A ngeles C ount y Museum of Art, 1982.

Literature: Exhibition

catalogue of the

L AC M A exhibition, catalogue no 170.

$10,000-15,000

365 William Wurster Circular coffee table

366 William Wurster Group of 3 occasional tables

Custom designed for the Froum House Sea Cliff, California, circa 1955

Custom designed for the Froum House, Sea Cliff, California, circa 1955 18.5”h x 21.25”w x 26.25”l; 18.5”h x 23.25” x 11.5”; 18.5”h x 24.34” x 23.24”

This table has glass “Lazy Susan” and slide out trays.

19”h x 61” diameter $2,000-2,500

$1,500-2,000

185

367 Alexander Nepote “West Canyon”

368 William Wurster Serving console

1959 Oil and tempra on panel Signed lower right 45.25” x 49.5”

Custom designed for the Froum House, Sea Cliff, California, designed circa 1955 33”h x 7”w x 22”d

Oakland Museum exhibition label verso Exhibited:

Oakland Art Museum, 1 95 9.

$1,500-2,000

$1,500-2,000

369 William “Billy” Haines Pair of table lamps Executed 19XX Leather wrapped lamps 28”h to top of finial Provenance: Nunnelly

J ohnson

$8,000-10,000

370 Maria Kipp Hand loomed drapery panel Custom designed circa 1954 Kipp, who immigrated to California in the 1920s, worked with well known designers and architects such as R.M. Schindler, Paul Frankl, Greta Grossman and Paul Laszlo. $2,500-3,500

371 Maria Kipp Screen Hand loomed fabric to make a wood panel screen Custom designed circa 1954 $1,200-1,500

187

372 Maurice Bailey Group of 3 Bar stools

373 Maria Kipp studio Textile sample

Monteverde Young, designed circa 1962 41”h x 19”l x 18”w

Designed circa 1945 Hand loomed with a variety of materials and texture. Kipp was one of the very first designers to encorporate Lurex, a Dow invented metallic fiber, into her loomed works.

She also wholesaled Lurex and custom vat dyed fibers to other weavers such as Dorothy Liebes.

$2,000-2,500

Similar samples of Kipp’s works are in the permanent collection at Los Angeles County Museum of Art (LACMA), Dallas Museum of Art, The Museum of Fine Arts, Boston (MFA), and the Brooklyn Museum. $1,000-2,000

189

“I

t is certainly the most practical city car yet designed, because of its unbeatable maneuverability. With imaginative and forceful promotion, there is every possibility that the Davis will become a permanent part of the American scene.”

Motor Trend, August 1950 Enter Gary Davis, the year is 1945. Davis, a 40 year natural salesman turned builder of cars for such A-list celebrities as Greta Garbo, had a dream to build a car to quench the appetite of young Americans searching for flash and excitement in the years after the war – but with a budget.

Using all of his charm he put his best marketing effort forward and unveiled a “tri-wheeled, streamlined dream car” and called it the “Californian”. With the promise of producing 50 cars a day and advertised to sell for $995, Davis set the stage for raising funds to open the Davis Motor Company in Van Nuys, California.

374 “Davis” Devan Convertable spectacular vintage three-wheel car Hand crafted by Davis Motor Company, Van Nuys, California, 1947-50 One of 17 total cars built (including three of other body styles) Painted polished aluminum body, original V-8 engine, custom double white-wall front tire, removable top, and a truly unique suspension. Odometer reads 6,352 miles.

Sold with extensive documentation on the Davis history, vintage photographs, videos, magazine articles and advertising material. $60,000-80,000

Fast forward to 20 months later. On November 12, 1947, Davis reveled his dream to the world with the prototype car called “Davis” (he called it “Baby”) at the Ambassador Hotel in Hollywood, California. Davis and his team of designers knew they had designed a car to possibly crack the toughest competition in the American auto market.

This first prototype was seen all over the country. Just a few months after it was unveiled at the Ambassador Hotel it was driven by Davis in the January 1, 1948 Rose Bowl Parade in Pasadena. Later it was flown East to Philadelphia where it went on display at Gimbel’s, as well as trips to New York and Chicago where it drew huge crowds at every turn. At a post-war time when Americans were craving a new fresh design, this “Jet airline” styled was the car of the future.

With an office off Sunset Boulevard, Davis was in good company with Raymond Loewy’s design firm nearby. Loewy, having just designed the 1946 Studebaker, was reported to have loaned his lushly furnished office to Davis to pitch prospective buyers.

18 months later a group of 4 designers and 7 engineers, who mostly came from aircraft factory backgrounds, had had built at least 10 cars and were ready for the public (refer to factory photograph). The Davis, with its cutting edge sleek and lightweight Aluminum body offered fuel efficiency (with its advertised 35-50 mpg), as well its top speed of 116 mph. The front wheel suspension remained unchanged from the first prototype with its single front wheel providing not only stability as its much common two-wheeled competitors but offers unparalleled handling.

The Davis carried a Hercules 4-cylinder engine with a 108” wheel base. The car sits 56” high, 72” wide, and weighed 1,385 pounds with the Hercules engine. Because each car was hand made, they differ slightly. This car being offered here has a Ford V-8 engine with stick shift transmission; similar to the original “Californian” engine.

Some other features of this remarkable car included an unparalleled turning radius, concealed headlight, a removable top (advertised to be removed in 15 seconds), SUSPENSION, as well as “Push-button doors”, considered a luxurious appointment in 1948.

To satisfy the curious public about a three-wheeled car, Motor Trend remarked “Gary Davis drove the car himself at exhibitions, bouncing over exposed railroad tracks at 60mph with his hands off the steering wheel, going into abrupt, sharp turns at such high speeds that the test track was lined with black streaks of rubber, spinning through fast figure 8’s that left his spectators gasping – and convinced. Those three wheels were on the ground to stay!”

“A custom built sports car suitable for mass production.” So, why did it not go into production?

In April 1949, the entire original design group, and other ex-employees filed suit against Gary Davis for back pay and car dealers convinced the district attorney to investigate the Davis Motor Company. In May 1949 the factory closed and Gary Davis is charged with grand theft, with its assets to be sold at auction to settle tax claims. Eventually he was indicted on 28 counts and spent 18 months in jail, with probation terms of not to build a car. An article in Road & Track (December 1970) explains that Davis had sold franchises with the right to sell the Davis. The dealers in turn pre-sold the cars, not realizing that their car

was from 12-18 months away from production. When the customers complained and demanded their money back, the dealers, whom many had spent the customer’s money to buy the franchise, turned on Davis.

In another article, speculation surfaced that the original “Californian” was actually Joel Thorne’s (the 1940 race car driver) custom car that Davis “borrowed”, wrecked and bought from Thorne for $50. From this Californian, the Davis was conceived.

All in all 17 or 18 “pilot models” were built, one of which as a “Jeep” version given to the US Army for testing, and another was a sedan.

To date it is believed that 13 versions of this car are known to have survived.

We are pleased to present the “most unforgettable three-wheeled car” and share its Hollywood story.

191

375 Max Finkelstein “Imprint in Time” 1961 Welded sculpture 14”h x 26” x 8” $4,000-5,000

376 Bob Freimark Tapestry Art Protis, executed 1973 $2,000-$3,000

377 Edgar Ewing “Frontier Trapper Oregon” and “Lumberman” (2) 1950 Oil on canvas Each signed lower right Each 16.5”h x 12” $600-800

378 Edgar Ewing Sculpture 1978 MEDIUM SIZE Provenance:

Edgar Ewing; Private

C ollection

$1,500-2,000

193

379 Arthur Ames Oil on canvas

380 Ellamarie and Jackson Woolley Enamel # 1315

Arthur Ames, 1965 Ames was the creative director for Milard Sheets

Studio, executed circa 1955 .75�h x 7�diameter

$1,000-1,500

$500-700

195

381 Pascual Cucaro “Figures in a Landscape” Oil on canvas Signed lower left; edition lower right 31.5”h x 41” $2,000-3,000

382 Bob Sinclair “Starburst” nail sculpture Studio, executed 1971 $1,000-1,500

383 Porter Blanchard Set of Sterling flatware (82 pieces) Studio hand wrought circa 1939 6-piece Sterling dinner service for 12 plus tong, serving knife and 8 Olive forks.

Stamped “Porter Blanchard Hand Made Sterling� $25,000-30,000

384 Peter Macchiarini “Primitive Necklace” Executed circa 1950 Ebony and Ivory Stamped “Macchiarini” $1,200-1,500

385 Peter Macchiarini “Swordfish” Executed circa 1950 Brass, Copper with stone Stamped “Macchiarini” 5.75” $1,500-2,000

386 Peter Macchiarini Brass and copper necklace Studio, executed circa 1948 Stamped “Macchiarini” Literature: Messengers

of M odernism ,

American Studio Jewelry 1940 -1960, Montreal Museum, pg 134 for artist profile

$3,500-4,000

387 Peter Macchiarini Sterling, copper, ebony and ivory ring Studio, executed circa 1955 Stamped “Mac” $3,000-3,500

388 Peter Macchiarini Sterling, brass, copper and red garnet ring Studio, executed circa 1945 Stamped “Mac” $4,000-4,500

197

389 Peter Macchiarini “Peace Plaque” 1939 Bas relief exhibited at 1939 San Francisco International exposition Signed and dated lower right 18”h x 30”w $15,000-$18,000

390 Peter Macchiarini Sterling copper and ebony brooch

391 Peter Macchiarini Sterling earrings with screw back

Studio, executed 1960 Etched “P. Macchiarini 1960”

Studio, executed circa 1947 Stamped “P. M”

$4,000-5,000

$2,000-2,500

199

392 Margaret De Patta Sterling dome ring

393 Margaret De Patta Sterling ring

394 Margaret De Patta Sterling screw back earrings

Studio, executed circa 1939 Stamped “de patta sterling

Studio, executed circa 1947 Stamped “de patta sterling”

Studio, executed circa 1940 Stamped “Sterling” with cipher

$3,500-4,000

$3,500-4,000

$4,500-5,000

395 Margaret De Patta Sterling “eyes” earrings with moonstone Studio, executed circa 1950 Stamped “Sterling” with artists cipher $4,500-5,000

396 Margaret De Patta Brooch

397 James Parker Sterling brooch with opal

Studio, executed circa 1939 Stamped with artists cipher

Studio, executed circa 1960 Stamped “JP handmade Sterling” 2.5”diameter

Literature: Decorative

A rts C atalog

of 1 93 9 San Francisco I nternational

pg 70, for similar example.

This lot was purchased at this fair.

E xpositio.

$4,000-4,500

$1,000-1,500

398 Gerald Stinn Hammered sterling necklace with stone pendant Studio, executed circa 1965 Stamped “Stinn Sterling” $1,000-1,500

399 Irena Bryner Sterling necklace with turquoise

400 Irena Bryner Sterling cuff links

Studio, executed circa 1950 Stamped “I. Bryner sterling”

Studio, executed circa 1950 Stamped “I. Bryner sterling”

$2,000-3,000

$600-800

401 Esther Lewittes Sterling and ebony cuff links

402 Esther Lewittes Sterling and ebony cuff links

Studio, executed circa 1950 Stamped “Lewittes Sterling”

Studio, executed circa 1950 Stamped “Lewittes Sterling”

$250-350

$250-350

405 Milton Cavagnaro Brass, ebony and sterling cuff links Studio, executed circa 1950 Stamped “Cavagnaro Sterling” $300-500

403 Esther Lewittes Sterling earrings with cultured pearl

404 Esther Lewittes Sterling bracelet with wood element

Studio, executed circa 1950 Stamped “Lewittes Sterling”

Studio, executed circa 1950 Stamped “Lewittes Sterling”

$400-600

$750-1,000

406 Vera Allison Sterling fish earrings

407 Milton Cavagnaro Sterling and Ebony cuff links

Studio, executed circa 1960 Stamped “Sterling Allison”

Studio, executed circa 1950 Stamped “Cavagnaro str. pat. 2472958”

$400-600

$300-500

201

408 Albert Lasnier Sterling cuff

409 Sammy Peter Gee Sterling ring with pearl

410 Arnold Frew Sterling ring with moonstone

Studio, executed circa 1950 Stamped “Lasnier handmade sterling”

Studio, executed circa 1950 Stamped “SP-GEE”

Studio, executed circa 1950 Stamped “Frew”

$2,000-2,500

$1,500-2,000

$2,500-3,500

411 Elsie Crawford Belt with enamel on copper clasp and hand-woven sash

412 Elsie Crawford Hand woven necklace with hammered brass pendant

413 Elsie Crawford Hand hammered brass necklace

Studio, designed circa 1980

Studio, designed circa 1980 With original label

$1,000-1,500

$1,000-1,500

Studio, circa 1980 $800-1,000

414 Robert Fritz Blown Glass vessel Studio, circa 1968 9”h x 6.5”w x 5”d Literature: Objects

USA , N ordness, Vi -

king , 1970, pg 154 for similar example and profile of artist work

$800-1,000

415 Robert Fritz Blown Glass Sculpture in transparent gold Studio, circa 1968 11.”h x 7.5”w x 8”d $1,000-1,500

416 Robert Fritz Blown Glass vase with

417 Robert Fritz Blown Smoked Glass Sculpture

Studio, circa 1970 6”h x 5”w x 4.25”d

Studio, circa 1968 14.25”h x 3.5”w x 3.5”d

$1,000-1,200

$800-1,000

203

418 James Wayne Free blown fumed “gas” glass vessel Studio, circa 1968 8.5”h x 9”w x 9”d Literature: C alifornia

Design 1 1 ,

Pasadena M useum, 1 9 7 1 , pg similar example

$1,200-1,500

419 James Wayne Free blown glass vessel Studio, circa 1968 3”h x 4”w x 2.5”d $400-600

420 ralph goings untitled Color lithograph Signed $600-800

421 Raol Coronel Massive “Branch” vessel Studio, executed circa 1960 Signed (drilled for lamp base) 28”h x 15”diameter $2,000-2,500

422 Ralph Bacerra “Condado” Studio, 1970 58”h x 24”w x 30”d Literature: California

Design

E leven Pasadena A rt Museum , California Design , 1971, pg 124

$15,000-20,000

423 Adrian Saxe glazed porcelain jar Studio, executed circa 1975 13.5”h x 5.5”diameter $1,800-2,000

424 Michael Arntz Bulbous glazed stoneware sculpture Studio, executed circa 1974 77”h x 41”diameter Literature: Art

in Clay, 1950’s to 1980’s

in Southern California E volution

Olympic Arts Festival Barnsdall Park, 1984, pg 14 for the artist’s profile

R evolution Continuation.

$4,000-6,000

205

425 Raymond Pelton Manzanita burl, draw tube box Studio, 1977 Signed and dated with artist cipher 11h x 12�d x 7�d $1,000-1,500

426 Dean Santner “Egg” box in Koa wood Studio, circa 1980 3.75”h x 14”w x 8”d Literature:

Woodworking the N ew

Wave , Meilach , Crown , 1 9 8 1 pg 1 7

$600-$800

427 Donald Saxby Walnut sculpture “Study of a Man” Studio, 1965 11.5h x 6”w x 3”d $1,000-1,500

428 Donald Saxby Weed vessel sculpture Studio, 1968 8”h x 7”w x 4”d $800-1,200

207

429 Raul Coronel “Lillies” Raul Coronel, 1965 From the collection of Lawry’s California Center $3,000-3,500

430 Raul Coronel “Roosting Bird” and “Nesting Bird” (2) Stoneware Designs, designed circa 1965 24”h x 18”w Literature: Stoneware

Designs, Inc

Catalog , circa 1968, pg 6

$1,000-1,500

431 Raul Coronel “Four Nesting Birds” Stoneware Designs, designed circa 1965 28”h x 21.75”w Literature: Stoneware

Designs, Inc

catalog , circa 1968, pg 3

$2,000-2,500

.

432 Brent Bennett Wall Relief 1966 Signed “Brent” 20” x 20” $2,000-2,500

433 Brent Bennett Stoneware mural Brent Bennett, circa 1970 26”h x 26”w $2,000-2,500

434 Gloria Ceramic relief Circa 1968 11.5”h x 44”l $1,200-1,500

435 Brent Bennett Pair of cylinder vases 1966 Each 12”h x 5.5”diameter $600-800

436 Brent Bennett vase 1966 12”h x 5”diameter $800-1,200

209

437 Frank Rohloff Map of the world

438 Frank Rohloff Coffee table

Rohloff studios, designed circa 1970 Each continent is represented by its native woods.

64”h x 102”

Rohloff studios, designed circa 1965 16.75”h x 27”d x 60”w

Similar maps were installed at the SAS ticket office in Beverly Hills. $1,500-2,000

$2,000-2,500

439 Howard McNab and Don Savage occasional table Peter Pepper Products, designed 1961 17”h x 16”square Literature: C A lifornia

Design 8 , Pasa-

dena Museum catalog, 1 9 6 2 , pg 2 3 .

$500-800

440 Howard McNab and Don Savage occasional “Peace” table

441 Howard McNab and Don Savage occasional “Flower” table

Peter Pepper Products, designed 1961 16” diameter

Peter Pepper Products, designed 1961 16” diameter

The resin tops for these tables were manufactured by Frank Rohloff.

August 1 9 6 1 , pg 9 6

$500-800

$500-800

Literature: Interior

D esign magazine,

211

442 Richard Thompson and Milo Baughman “Baronet” group stereo cabinet Glenn of California, designed circa 1959 36.75”hx 87”w x 18”d Literature: I nteriors 1959, page 114

$2,000-2,500

Magazine August

443 Kipp Stewart Group of 6 side chairs

444 Ed Frank “Spider” drop leaf dining table

Glenn of California, designed circa 1968 Retains upholstery tag “Glenn of California, Arcadia” 31.75”h x 17.25”w x 18.5”d

Glenn of California, designed 1954 28.5”h x 60”w x 44”d

$1,200-1,500

Literature:

Arts & Architecture,

M arch 1 95 4

$2,800-3,500

445 Martin Borenstein Sideboard Brown Saltman, designed circa 1958 34”h x 22”d x 72”w $2,500-3,000

446 Martin Borenstein Dining suite Brown Saltman, designed circa 1958 Comprised of a table, two leaves and 6 side charis $2,500-3,000

447 Brown Saltman Piano door credenza Brown Saltman, designed circa 1956 31”h x 66”w x 18.75”d $2,000-2,500

213

448 John Keal Coffee table

449 John Keal Group of occasional tables

Brown Saltman, designed circa 1955 15.5”h x 66”l (closed) x 24”w

Brown Saltman, designed circa 1955 14”h x 13.5”d x 16”w

Literature: California

$1,500-2,000

Design N ine

Pasadena A rt Museum , 1965, pg 1 1 5

$1,500-2,000

450 In the style of Paul Laszlo Upholstered oversize lounge chairs Brown Saltman, circa 1952 31.5”h x 35.25”w x 38” $2,000-$3,000

451 John Keal Biomorphic coffee table Brown Saltman, designed circa 1955 16”h x 66”w x 29”d $1,500-2,000

215

452 John Kapel “Hostess cart”

453 John Kapel “Hostess Cart”

454 Kipp Stewart Pair of caned armchairs

Glenn of California, designed circa 1965 27.75”h x 20”d x 42.5”w (62.5”w when open)

Glenn of California, designed circa 1965 22”h x 32”l x 20”d

Directional, designed 1962 31.25”h x 24”w x 27”d

Literature: California

Pasadena Art Museum, 1 9 6 5 , pg 9 1 .

dena Art Museum, 1 9 6 2 .

$1,000-1,500

$1,200-1,500

Design N ine

Pasadena A rt Museum , 196 5 , pg 9 1 .

$1,500-2,000

Literature:

C alifornia D esign N ine

Literature: C alifornia

Design 8 , Pasa-

455 Richard Thompson Group of six dining chairs Glenn of California, designed circa 1957 34”h x 20.5”d x 20”w $3,500-4,000

456 richard thompson Dining table Glenn of California, designed circa 1955 29”h x 55.75”l x 43.75”w $NEW FIGURE

217

457 Kipp Stewart and Stuart MacDougall Buffet with tambor doors Glenn of California, designed circa 1960 32.75”h x 64.75”l x 17.75”d $1,500-2,000

458 Kipp Stewart and Stuart MacDougall Two piece hutch Glenn of California, designed circa 1956 57”h x 18”d x 33”w $1,500-2,000

459 Milo Baughman Scoop lounge chair and ottoman Thayer Coggin, designed circa 1954 28”h x 28”d x 26.5”w $2,000-2,500

460 Craig Nealy (roBert Baron) Pair of leather strap chairs

461 Robert Baron Rosewood chest of drawers

Glenn of California, designed circa 1968

Glenn of California, designed 1970 28”h x 84”w x 20”d

$1,000-1,500

$1,800-2,500

462 Robert Baron Pair of Rosewood nightstands Glenn of California, designed 1970 20”h x 27” w x 18”d $2,000-2,500

463 Kipp Stewart and Stuart MacDougall Coffee table Glenn of California, designed circa 1958 16.25”h x 20”d x 48.25”w $2,000-2,500

464 Kipp Stewart and Stuart MacDougall High-back lounge chair Glenn of California, designed 1954 48”h x 30”w x 24”d Literature: Modern

F urnishings for

the H ome Vol 2 , Hennesse y, R einhold, 1 95 6 , pg 6 2

$2,500-3,000

219

465 Artist unknown Pair of doors Forms and Surfaces, designed circa 1975 Each 79”h x 32”w x 2”d $3,000-4,000

466 Artist Unknown “Panel Carve” Modular carved redwood panels for doors, walls, or other applications (9) Forms and Surfaces, circa 1960’s Tongue and groove edges permit easy assembly.

Each panel is 9”h x 36”w Provenance: E ra

Industries archives

$2,500-3,500

221

467 Bill Biggs Rocking chair

468 Lou Hodges Oak desk

469 Kent Handcrafted wood armchair

Studio, designed 1972 Exhibited at “Egg & Eye Gallery” circa 1973 37.5”h x 44.5”d x 22.5”w

Manufactured by California Design Group of San Diego 29”h x 58”w x 32”d

Studio, executed 1981 Signed “Kent” 32”h x 23”w x 21”d

$1,500-2,000

$1,000-1,500

$4,000-6,000

470 Giovanni Schoeman Untitled Mixed Media bas relief Executed circa 1970 Signed 48.5”h x 16.25” x 1” $1,000-1,500

471 Cleo Baldin Group of three bar stools Terra, designed 1965 35”h x 19”d x 15.5”w $1,500-2,000

223

472 Mel Bogart Daybed Felmore Associates, designed 1950 Retains labels 28”h x 59”w x 30”d $2,000-2,500

473 Gregg Fleishman & Gerald McCabe Pair of armchairs Studio, designed circa 1980 Each 39”h x 28”w x 26”d An interesting collaboration between McCabe and Fleishman $1,000-1,500

474 Gerald McCabe Cabinet with glass top/room divider Orange Crate Modern, designed circa 1968 58”h x 18 .25”d x 77.75”w $6,000-8,000

475 Gerald McCabe Coffee table Orange Crate Modern, designed circa 1968 28”h x 36” x 60” The wood base of this table can be turned on it’s side $2,000-3,000

225

476 Gerald McCabe Dining table and benches

477 Gerald McCabe Glass cube table

478 Gerald McCabe mirror

Orange Crate Modern, designed circa 1970 Table: 28.5”h x 52”d x 71”w x 48”diameter. (without leaves); Bench: 29.25”h x 18.5”d x 60”w

Eon Furniture, designed 1964 18” square

Orange Crate Modern, designed circa 1980 30”h x 1”d x 74”w

Literature: California

Design ’ 76 : A

Bicentennial Celebration , Anderson, R ichie, S imon, C alifornia D esign P ublications, 1976, pg 17

$2,500-3,000

Literature: C alifornia

Design 9, Pasa-

dena M useum catalog , 1 9 6 5 , pg 8 8

$1,000-1,500

$1,800-2,000

479 Michael Taylor Pair of oversized wicker lounge chairs Manufactured by Wicker Wicker Wicker, designed circa 1980 37” h x 45”w x 46”d $2,000-3,000

480 Attributed to Michael Taylor Lounge chair Manufacturer unknown, designed circa 1980 Concrete texture over fiberglass 29”h x 33.5”w x 39”d $2,000-2,500

481 Don Sorensen “Bull Ring #284” 1984 Oil on canvas Signed verso 72” x 96” Don Sorenson won the Young Talent Award by the Contemporary Arts Council, LACMA, 1984. $4,000-6,000

482 Pamela Weir-Quiton Pair of “Yea Dolls” Studio, executed 1984 Ebony and maple with Lucite stand 24”h x 15”w x 2”d $1,000-1,500

227

483 Peter Shire Teapot

484 Peter Shire Untitled

1982 Signed and dated 9.5”h x 10” x 17”

1969 Color Lithograph Signed and dated #106 of 200 25”h x 19.75”

$1,500-2,000

$400-600

485 Peter Shire Ceramic teapot Studio, 1983 Signed “Shire 1983” 8”h x 4” x 6.5” $1,800-2,000

486 Peter Shire Ceramic teapot Studio, 1981 Signed “Shire X 1981” 6”h $1,500-1,800

229

487 Sally Sirkin Lewis “Balleton” Console

488 David Herschler “The Dance of Life #3”

Custom designed 1998 “Verde Jade” marble top with 22k deep gold guiltwood and sgraffitto 33.5”h x 24”w x 72”l

1985 Stainless Steel Signed “c 1985 E.D. Herscher” Approximately 63”

Provenance:

Sold with original receipt from artist, exhibition catalogue and letter with price list.

E xecutive offices of

A rchitectural D igest

$8,000-12,000

$2,500-3,500

489 Vasa Mihich Acrylic sculpture (4 towers) 1972 Signed and dated along with numbered “BA6” and “6/25” Edition of 25 Each 13.5”h x 5” x 2.25” $2,000-3,000

490 Peter Lodato “Twins Revenge #3” 2002 Acrylic on canvas Signed and dated verso 96”h x 32” $3,000-5,000

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491 Milo Baughman settee Thayer Coggin, designed circa 1960 24”h x 84”l x 34.5”d $3,000-5,000

492 Milo Baughman Dining suite Thayer Coggin, designed circa 1960 Comprised of a table, two leaves, and four dining chairs Chairs 43”h x 18”w x 20”d; Table 30”h x 66”l x 40”w $4,000-6,000

493 Milo Baughman Settee Thayer Coggin, designed circa 1960 24”h x 64”l x 34.5”d $3,000-5,000

494 Milo Baughman Pair of lamp tables Thayer Coggin, designed circa 1968 Retains Jules Seltzer label 19.25”h x 29.75”d x 30.25”w $1,500-2,000

495 Milo Baughman Burled wood console Thayer Coggin, designed circa 1960 Retains label 24.5”h x 60”l x 27”d $1,500-2,000

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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 in person and will not be accepted over the phone.

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. (dba: 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 June 11th collection & storage fees will begin incurring.

Buyer’s Premium The buyer’s premium is 20% will be added to the hammer price on all property sold with Modern Auctions, Inc. For all property sold via eBay Live Auctions the buyer’s premium is 22.5%.

California Sales Tax Sales tax of 8.25% 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. This is a minimum price at which the seller has agreed to let the auctioneer sell the property.

Condition EVERYTHING IS SOLD IN “AS-IS” CONDITION. No statement regarding condition of any item, whether it is made orally at the auction or at any other time or in writing in this catalogue shall be deemed to be a warranty, representation or assumption of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate.

Photographs of any lots not illustrated can be found on our website www.lamodern. com

Collection and Storage All lots must be removed from the auction showroom by 12:00 pm on June 6th. All property remaining after June 6th will be removed and stored in an offsite storage facility at the cost of the buyer. Purchases not removed by June 6th will be assessed a removal fee of $15 per lot, and daily storage fees of $15 per day per lot. Items in storage are not insured by MAI. Unless other arrangements are made and confirmed in writing shipping, packing, insurance, and storage concerns are the sole responsibility of the buyer. 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) 9041950 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, June 2nd by 5:00 p.m. 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 see if your bids were successful. All successful absentee bids should be notified by phone by June 4th. 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 L.A. Modern Auctions.

Absentee/Phone bids are on a first come first serve 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 is 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 RED 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.

Should the authenticity of an item be disputed after a sale, it is the buyer’s responsibility to provide written documentation or conclusive opinion of a mutually agreed upon independent expert that the item in question is not as stated in the catalogue.

In the event of an error, 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.

Rights to Photographs It is important to note that the images printed in this catalogue are considered intellectual property and may be copyrighted. Buyers of vintage prints do not acquire the rights to reproduce the 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 consent of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 92-W6-8303-9 F Peter Loughrey, principal auctioneer Los Angeles Modern Auctions (LAMA) Po Box 462006 Los Angeles, CA 90046 (323) 904-1950 www.lamodern.com

Index A Aalto, Alvar 364–367 Adler, Allan 22 Adnet, Jacques 325, 326 Agnoli, Tito 374 Albini, Franco 286 Almaraz, Carlos 184 Alt, Otmar 393 Anuszkiewicz, Richard 377 Appel, Karl 45-49 Arp, Hans (Jean) 334, 336–338 Asti, Sergio 155 Austin, Marilyn Kay 309 B Baas, Maarten 149 Bass, Saul 184 Basse, Arne 38 Baughman, Milo 7–9, 293 Bayer, Herbert 380 Bengston, Billy Al 211 Berrocal, Miguel 371–372 Bertoia, Harry 57–59, 223, 315 Bill, Max 376 Bojesen, Kay 38 Boeri, Cini 228 Borofsky, Jonathan 390 Bosse, Walter 361 Brandt, Marianne 174 Braque, Georges 333 Brown Jordan 295-296 C Calder, Alexander 10–13, 15–21, 30 Capron, Roger 341–342 Carder, Frederick 142 Castaneda, Felipe 178–180 Coleman, Bill 202 Conover, Luther 282, 284–285 Crutchfield, William 184 D Dali, Salvador 339–340 Danish Modern 259–260 Daro, Willy 330 Davis, Ron 191 Davis, Stuart 106 Delaunay, Sonia 91 Deskey, Donald 171 de Swart, Jan 65–69 Diniz, Carlos 184 E Eames, Charles & Ray 92–93, 98, 100, 343–345, 348 Engholm & Willumsen 41 Enke, Ipsens 39 Espanna 274 Espenet, Arthur 200–201 F Falkenstein, Claire 189 Fantoni, Marcello 159–161 Farreras, Francisco 242–243 Finkelstein, Max 82

Follis, John 25–29, 184, 311–312 Fontana Arte 157 Foote, Jack 279 Franck, Kaj 363 Friberg, Berndt 255 G Gambone 118-121 Gehry, Frank 209, 222 Gillon, Jean 265 Giorgi, Fern 255 Girard, Alexander 88, 89, 94 Glaser, Milton 184 Grossman, Greta 291–292 Gruber, Aaronel deRoy 23 Guignebert, Jean-Claude Vincent 275 H Hagenauer, Carl 356 Haines, William “Billy” 183 Heckel, Erich 360 Herbert, Albert 87 Hinz, Bill 298 Hockney, David 184–186 Hoffman, Josef 355 Hundevad, Poul 42 Hutchinson, Mabel 199 Hutten, Richard 150 I Igaraski, Takenobu 184 Indiana, Robert 104 Ingrand, Max 114 Italian 112–113 Iversen, Wahl 249 J Jacobsen, Arne 50–53 Jalk, Grete 252 Jardiel, Jose Paredes 273 Jenkins, Paul 127–130 Jere, C. 385, 387 Johnson, Jocko 196–198 Jones, Charles Hollis 6 Juhl, Finn 31–36 K Kaasinen, Taisto 370 Kage, Wilhelm 37 Kann, Frederick I. 162 Kelly, Ellsworth 105 King, Perry 156 Kjaerholm, Poul 253 Komai, Ray 288 Knoll, Florence 220, 224–225, 231 Kuramata, Shiro 145, 147–148 Kyhn, Knud 258 L Larsen, Lisa 251 Lassen, Mogens 254, 257 Laurids, Lonborg 38 Le Corbusier 331 Lerner, Nathan 164 Lewittes 24

Lichtenstein, Roy 102 Lipchitz, Jacques 389 Lopez, Luis Feito 267–268 Lovera, James 188 Lundberg, Helen 184 M Maloof, Sam 192–195 McArthur, Warren 172–173 McCobb, Paul 131–139 Medgyes, Ladislas 169 Meier, Richard 229–230 Mies van der Rohe, Ludwig 60–64 Miranda, Santiago 156 Miro, Joan 83 Mogensen, Borge 250, 261 Mompo, Manuel Hernandes 270–271 Morley, Malcolm 391 Motherwell, Robert 109 N Nakashima, George 313–314, 321–323 Nason, Carlo 158 Nebel, Otto Wilhelm Ernst 163 Nelson, George 84–86, 95–97, 99, 346–347, 349–351, 353–354 Nierman, Leonardo 388 Noguchi, Isamu 289 Norell, Arne 248 Nyland, Gunner 37 O Oldenburg, Claes 215 Olsen, Hans 297 Ortman, George 111 P Panton, Verner 386 Parkhurst, Ken 184 Pelzel, Peter 123 Pergay, Maria 383 Peters, Jock 362 Pianon, Alessandro 122 Picasso, Pablo 233–238 Platner, Warren 216, 218 Pollock, Charles 227 Poons, Larry 110 Prestini, James 204–206 Price, Kenneth 210 Prieto, Antonio 190 Priking, Franz 244–245 Probber, Harvey 3–4 Propst, Robert 352 Pucciarelli, Giuseppe 272 Q Quistgaard, Jens 43–44 R Reinhardt, Ad 108 Robsjohn-Gibbings, T.H. 1–2 Rodrigues, Sergio 263-264 Rohde, Gilbert 182 Rood, Frank 255 Rosen, Leon 381

Royere, Jean 329 Rubin, Marvin 184 184, 211–214 Rucha, Ed S 184 Saar, Betye 217, 219, 221, 232 Saarinen, Eero 151 Sabattini, Lino 300 Sanders, Bill W. 324 Sandoz, Edouard Marcel 184 Saunders, Raymond 168, 168a Schreckengost, Paul 226 Schultz, Richard 126 Seguso, Archimede 255 Sills, Esther 146 Singier, Gustave 379 Soto, Jesus Rafael 153–154 Sottsass, Ettore 107 Stella, Frank 316–320 Stocksdale, Bob 378 Sugai 332 Survage, Leopold 184 Sussman, Deborah T 301–308, 310 Tackett, La Gardo 369 Tapiovaara, Ilmari 290 Taylor, Michael 90 Testa, Angelo 184 Thiebaud, Wayne 80 Thonet 392 Tobey, Mark U 239–241 Ubeda, Agustin V 395 Vallien, Bertil 294 Van Keppel & Green 54–56 Vasarely, Victor 327–328 Vautrin, Line 124–125 Venetian Glass 115, 117 Venini, Paolo 375 Venlo, Emwee 116 Vignelli, Massimo 152 Vignelli, Massimo & Lela 278 Vignoles, Andre W 101, 103 Warhol, Andy 287 Watrous, Gilbert 281 Watson, Robert 165–167 Weber, K.E.M. 246–247, 394 Wegner, Hans J. 184 White, Charles 373 Wild, Ernest 14 Wilhite, Bob 144 Williams, Milton 368 Wirkkala, Tapio 208 Wooddell, Joseph 70–79, 81 Wormley, Edward 175–177 Wright, Russel Z 335 Zadkine, Ossip 181 Zuniga, Francisco

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Directions to this Event

blvd

enter parking garage

monica santa

PDC melrose

la cienega blvd

Doheny Drive

Pacific Design Center (PDC) Suite B229 8687 Melrose Avenue West Hollywood

FROM THE 10 FREEWAY

Exit La Cienega Proceed NORTH on La Cienega Turn LEFT on San Vincente Proceed NORTH on San Vincente Go past Melrose Avenue Turn RIGHT into PDC Parking garage FROM THE 405 FREEWAY

beverly blvd

san vincente

N

Exit Santa Monica Blvd Proceed EAST into West Hollywood Turn RIGHT on San Vincente Turn LEFT into PDC Parking garage Parking

Please enter through parking garage off San Vincente only

239

Now accepting consignments for our winter auction INQUIRIES Peter Loughrey 323.904.1950 consign@lamodern.com

RAYMOND PETTIBONE “Frank Stella (Tahkt-I-Sulayman III)” 1968 Signed, titled and dated verso Acrylic on Canvas