The Collection of Richard Dorso by LA Modern Auctions

The Collection of Richard Dorso

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PREVIEW

September 19 - October 8, 2011 10am - 6pm

AUCTION

Sunday, October 9, 2011 12pm (PST)

16145 Hart Street Van Nuys, CA 91406

Los Angeles Modern Auctions (LAMA) is a participating gallery of Pacific Standard Time: Art in L.A. 1945 - 1980 LAMA presents Collecting in Los Angeles 1945â&#x20AC;&#x201C;1980, a three-week exhibition and preview that explores the collecting practices of Richard Dorso. Exhibition concludes with an auction of the entire collection on October 9, 2011.

front cover: Lot 161 John Baldessari SLEEP WHILE YOU GROW RICH, 1966-67 back cover: Lot 44 Robert Cottingham HOUSE WITH AWNINGS, 1968 Right (top): Richard Dorso with Norman Lear Right (bottom): Richard Dorso, Lyn Lear, Norman Lear, and Betty Dorso

INTRODUCTION I knew Dick Dorso for some fifty years. For forty-nine years, three hundred and sixty four days, twenty-three hours and fifty minutes we were best friends. It took us ten minutes to fall in love some time in 1960, at a “quick lunch” that lasted three hours. Dorso was one of the most unusual men I have ever known and you have only to look at the art he collected over a long and impeccable lifetime to see what I mean. He was an independent agent when I met him; went on to head Ziv TV, a powerhouse in its day; later opened DORSOS, on Camden Drive, the most elegant men and women’s fashion boutique Beverly Hills has seen.

Friend to every Lew Wasserman, Jim Aubrey and Billy Wilder in town, sartorial tutor to Cary Grant and every Cary Grant wanna-be, Dorso was also the most astute and informed collector of modern art, concentrating on the small pieces that suited his and wife Betty’s life style. Betty Dorso, an icon in the fashion field and herself a work of art, was among the earliest of the top VOGUE models. The Dorso’s apartments, whether here or in New York, were also works of art, crammed with elegantly lit little paintings, drawings and objets. I learned what I know about modern art from Dick Dorso and, more importantly, developed a taste for collecting myself directly from him. For years, every Tuesday, accompanied by the art dealer, Molly Barnes, we would visit galleries and artists in their studios throughout Los Angeles. I met every Billy Al Bengston, Ed Moses, Sam Francis, Ed Ruscha, Chuck Arnoldi, DeWain Valentine and John McCracken through the good graces of Richard Dorso. To own a piece of this collection is to own a piece of the art side of the legend that was Hollywood. NORMAN LEAR

The Collection of Richard Dorso

With the Getty’s Pacific Standard Time opening at cultural institutions across Southern California this month, we are proud to offer this single owner collection of Fine Art from the estate of Richard Dorso. While not every item in this auction fits the Getty’s criteria for works created in the Pacific time zone between 1945 and 1980, we have taken some license to show what a typical collector was interested in during this period. Top collectors were buying pieces by artists working in California like Baldessari, Ruscha, McCracken, and Cottingham, but they were not ignoring Warhol, Oldenburg and Lichtenstein. Mr. Dorso was an ideal collector in that he was aware of the centers and movements in the contemporary art world and took quick action to acquire works that caught his eye. He purchased his first work of art in 1930 at the age of 21, a single California Plein Air painting that snowballed into an important group of similar works, which he eventually sold as a collection in 1940. He then focused on Modern Masters, acquiring prints by Picasso, Braque, Tancredi, Soulages, and even a drawing by Klimt. By the 1960s, Dorso had developed a taste for Pop and Op artists like Kelly, Krushenick and d’Arcangelo as well as colorists like Albers and Bolotowsky. With the rise of the Los Angeles art scene in the 1960s, he began collecting more locally and acquired works by Wonner, Kauffman, Tuttle, Cottingham, and Baldessari. By the 1970s, he had discovered McCracken, Valentine, Graham, Gallo, and Alexis Smith. The 1980s brought works by Vasa, Wolf Kahn, Roland Reiss, and Bruce Houston. Throughout his life of collecting, Mr. Dorso says he was attracted to “happy pictures.” He was confident in what he liked, and as long-time friend and dealer Joni Gordon explained, “He would come see, buy, very privately. He looked quickly, deeply, fairly. Dorso was decisive and touched.” I am very honored to have gotten to know Mr. Dorso, albeit for just a few short weeks. This past February and March, I interviewed him over a number of short visits. Excerpts from our recorded conversations are printed throughout the catalogue. His last words to me were, “My life is in your hands.” So, the handling of this collection has taken on greater meaning for me. I am thankful to Richard Dorso for his trust and his eagerness to share, even at age 101. I also would like to thank Richard Dorso’s daughter, Bianca, for all of her patience, love and understanding. Jim Downey, Mr. Dorso’s stepson, provided invaluable insight, encouragement and personal knowledge. I am also grateful to Norman Lear, Grant Mudford and the dozens of artists, dealers and friends who shared their time and recollections to help create this catalogue. I hope you will find a piece in this auction that will make you as happy as it did Mr. Dorso. Enjoy!

PETER LOUGHREY, DIRECTOR

“I always bought new artists who were unknown, with the exception of Whistler and a couple of people. And then waited to see what would happen to them. And mainly and the only reason that I bought them was because I liked them.” Richard Dorso: You’ve been

the gallery openings on La

Something about the soap

anything, but because I liked

seeing a lot of things, haven’t

Cienega?

operas inspired his work. It

them. There is a Hannah

you?

RD: Well, there was the art

seems completely—

Stills in there. That is one of

Peter Loughrey: I have, I

walk Monday night. All of

RD: Contrary.

my favorite pieces and that is

have. This is very exciting for

the galleries would stay open

PL: Contrary, because his

the one that the box is made of

me, because I sometimes get

and the Mayor and crowds

works were so seemingly

wood, the burial ground.

to the point where I think I’ve

of people would walk up and

cerebral.

seen everything. And then I

down La Cienega, walk into all

RD: I liked his work. As a

PL: Can you tell me about

get to walk into a collection

of the galleries. And there was

matter of fact, I recommended

meeting any of the artists in

like this where I know I’ve got

a lot of excitement about it, and

to Norman that he buy it and

person and did that change

a lot to learn.

considerable buying. It was a

he bought it and then there

your view of the works?

RD: Well, it was spread over

different world.

was a big earthquake not

RD: No, not really. I knew

a long period of time - from 1940 to just a short time ago.

too much later and his whole

virtually all of the artists but

PL: Did you bring Norman

house almost fell down and the

it never changed my opinion

Lear to a show where you

McLaughlin was destroyed.

because I was always very

RD: Is it a pretty good

bought something and he also

The only painting they couldn’t

objective and subjective at the

collection?

bought something at the same

restore. They restored the

same time. I liked what I liked

PL: I think it is a great

show?

Diebenkorn, they restored the

and if I didn’t like it I wouldn’t

collection. I think it will be

RD: The Nick Wilders (gallery

de Kooning, the Rauschenberg,

buy it. No matter how friendly

one of the best collections that

shows). I bought something—

the Claes Oldenburg.

I was (with the artist).

I have handled.

wasn’t a McLaughlin, he

Bianca Dorso: Yeah, Pop!

bought a McLaughlin.

PL: I was curious about your

time that you acquired

RD: The reason I ask

PL: Did you ever meet

interests in such a diverse

something by happenstance

is everything I bought, I

McLaughlin?

range of modern artists. You

or by accident, as if you hadn’t

bought on the cheap. I always

RD: No.

have got so many different

turned that corner or if you

bought new artists who were

PL: Did you know that he

periods represented.

hadn’t walked into that gallery

unknown, with the exception

liked to watch soap operas

RD: That was my weakness

you wouldn’t have found this

of Whistler and a couple of

while he painted?

because I didn’t do what some

particular artist?

people. And then waited to

RD laughs

of my friends did which was

RD: Yes. There are a number

see what would happen to

RD: No, did he really?

that they collected a certain

of people. There is one piece,

them. And mainly and the

PL: That’s all he did, all day

area. I just bought what I

an overlay piece of a picture

only reason that I bought them

long, just watched soap operas

liked. For instance there are

of a car with a light. It is on a

was because I liked them.

and when the soap operas

about six Bolotowskys, and

black background. It is pieces

were over at the end of the

I didn’t buy them because I

of wood glued together - Rene

day, he would stop painting.

thought they would be worth

Picot. And I just walked into

PL: Can you describe

PL: Was there ever a

a gallery store and bought it.

spend time researching.’ I said

was totally different then.

I didn’t know who the artist

‘Nick, he is a creative man, he

They were characters. They

was. And I still like it. It’s on

knows what he wants’. And

were opinionated. There was

the wall with the Kostabi.

Nick reluctantly took two days

much more enthusiasm for art

to make up his mind (before

in those days, at least to me

PL: Was there anyone that

selling the works to him). He

there was. And buying art was

stood out that you were very

wasn’t going to sell them!

something that you did! Not

happy that you met in person?

many people do it today, or did

Or that you met at an opening

PL: Was there ever

it as much as we did in those

or you met by chance?

something that you saw at one

days.

RD: That is interesting. I

of the shows that you wish

would take people out to

you had gotten there first?

look at artists they didn’t

Something that got away from

know just because I loved

you that you felt you would

it. Molly Barnes would set

have bought?

it up, and Ruscha was one of

RD: Yes! (no hesitation).

them. And we took Norman

There were two Jim Dine

Lear out and we went to Nick

drawings. One of a robe and

Wilder’s gallery. I would take

other of a neck tie that I bought

out Norman, Billy Wilder,

actually, and gave as Christmas

Tina Sinatra, Dan…….a lot of

presents. I wished I’d kept

people, and they all bought.

them because I liked them

We were in the gallery with

enormously.

Nick and Norman looked at everything and then stood

P: What can you tell me about

back and said ‘I would take

Rex Evans the art dealer?

that’ and it was a McLaughin

R: I have a drawing on that

and ‘I’ll take that’ and it was

wall above the (Reginald)

a Robert Graham…And he

Pollack that I bought from

took about six pieces and Nick

Rex, and I bought the Dole

Wilder said, ‘I won’t sell it to

from Rex and I bought another

him.’ And I said ‘Why, Nick?’

drawing that is somewhere

and he said ‘Because, you

in here, I don’t know where

can’t buy it outright like that,

it is. Rex was a flamboyant

you have to examine it and

kind of a guy. The art market

Photography ÂŠ Grant Mudford.

1 PAULETTE HEATH 7 UP 1968 Serigraph Edition of 22 Signed and dated lower right; title and edition lower left Image: 23.75” x 17.25”; Frame 24.5” x 19.5” $500-700

2 ARTIST UNKNOWN SISTERS 1967 Serigraph Edition of 20 Signed lower right (signature partially hidden by frame); title lower left; edition and date lower middle Image: 23.75” x 18.125”; Frame 24.5” x 19.5” $200-300

3 ARTIST UNKNOWN UNTITLED (SCULPTURE) After 1950 Painted metal mounted on wood base 26” x 12” x 12.5” $200-300

4 GEORGE COHEN UNTITLED c. 1965 Gouache on paper Signed upper right; Richard Feigen gallery label verso Sheet: 13” x 17”; Frame: 13.25” x 17.25” $500-700

6 DICK CRAWFORD PEACE

Painted board Each board: 8” x 8”; Frame: 8.25” x 8.25” (3 unframed)

c. 1965-70 Serigraph Edition of 16 Signed upper right; title upper left; edition upper middle Quote from Alfred N. Whitehead, British mathematician and philosopher. Image: 18” x 23.75”; Frame: 19.5” x 24.5”

$200-300

$500-700

5 ARTIST UNKNOWN ! & ! & !& 1 & YIELD (5)

7 ILYA BOLOTOWSKY UNTITLED c. 1970 Acyclic with silkscreen #70 of 125 Signed Two-piece interlocking sculpture 30” x 7” x 7” $1,000-1,500

8 ILYA BOLOTOWSKY UNTITLED c. 1970-1980 Serigraph AP; aside from the edition of 125 Signed lower right Image: 19.25” x 38.5”; Frame: 30.75” x 40.25” $500-700

9 ILYA BOLOTOWSKY RED AND BLUE TONDO

10 ILYA BOLOTOWSKY UNTITLED

11 ILYA BOLOTOWSKY UNTITLED

c. 1970 Serigraph #100 of 125 Signed lower right; edition lower left Image: 22” x 22”; Frame: 24.25” x 24.25”

c. 1970 Serigraph #100 of 125 Signature and edition lower right Image: 21.25” x 22.75”; Frame: 24.75” x 24.75”

NOT ILLUSTRATED c. 1970-80 Serigraph AP Unframed diamond-shaped print Image: 29” x 29”; Sheet: 30.375” x 39.75”

$500-700

12 ILYA BOLOTOWSKY UNTITLED

13 ILYA BOLOTOWSKY UNTITLED

c. 1970 Serigraph #100 of 125 Signature and edition lower right Image/Sheet: 22” x 22”; Frame: 24.75” x 24.75”

c. 1970 Serigraph #100 of 125 Signature and edition lower left Image/Sheet: 22” x 22”; Frame: 24.75” x 24.75”

c. 1970 Serigraph #100 of 125 Signed and edition lower left Image: 22” x 22”; Frame: 24.25” x 24.25”

$500-700

14 ILYA BOLOTOWSKY UNTITLED

15 ALLAN D’ARCANGELO BRIDGE BARRIER 1969 Serigraph #53 of 120 Signed and dated lower right; edition lower left Image: 25.5” x 22.25”; Frame: 30.25” x 24.25” $800-1,200

16 ALLAN D’ARCANGELO UNTITLED (FROM ROAD SERIES) 1969 Serigraph #53 of 120 Signed and dated lower right; edition lower left Image/Sheet: 21” x 25.5; Frame: 21.375” x 26” $500-700

17 JOSEF ALBERS MMA 3 - VARIANT & MMA PILLARS (2) Each 1970 Screenprint Each #53 of 100 Printed by Sirocco Screenprints, published by Ives-Sillman, Inc., New Haven for the Metropolitan Museum of Art, New York Signed and dated lower right; edition lower left Image: 17.25” x 19.25”; Frame: 25” x 27” and Sheet: 19.25” x 17.625”; Frame 19.625” x 18” Published in commemoration of the 100th anniversary of the Metropolitan Museum of art Literature:

DAN ILOWI TZ, TH E P R I NTS OF

J O S E F AL B E R S : A C ATALOG U E R AI SONNÉ 19 15 -19 76, R E V IS E D E DI TI ON, M ANCH ESTER AN D N E W YO R K : H UD S ON H I LL S P R ESS, 2 0 10, # 2 0 2 , P G 145 A ND #1 99, P G 1 4 3.

$1,500-2,000

18 NOAH SHAIN FLAG c. 1990s Pencil and watercolor on paper Sheet: 17.625” x 23.5”; Frame: 18” x 24.25” $200-300

“‘What’s that?’ and Billy said, ‘It’s an Ellsworth Kelly. I just bought it.’ And the man said, ‘What does it mean?’” PL: I wanted to ask you about the people you inspired.

PL: Christie’s.

I know that you went around with Billy Wilder and with

BD: Or Sotheby’s?

Norman Lear, but I’d love to know particular stories or

RD: Whichever it was. It sold for around $35 million.

works that maybe you introduced them to, especially Billy

So it was considerable—he didn’t have big paintings

Wilder, who most of my clients know.

but he had a big Balthus and he had Renoirs and he

RD: Well, Billy was a big collector before I met him. He

had a wonderful eye. And when he lived in Paris, he

lived in Europe and it was right before the Invasion and

spent every quarter he had on art. So anyways, he took

he was a picture actor and director and he says he also

this amorphous looking Kelly and it was sitting in his

was a dancer for hire. I don’t know how much romance is

office and somebody came in who didn’t know anything

in that. The rest is nonsense. He was one of the funniest

about art and said, ‘What’s that?’ and Billy said, ‘It’s an

men in the world. I sold him an Ellsworth Kelly. He’d

Ellsworth Kelly. I just bought it.’ And the man said, ‘What

never seen an Ellsworth Kelly before.

does it mean?’

PL: Do you remember what year that was?

PL, BD and RD laugh, especially RD.

RD: About 1960. And he bought anything that he liked.

RD: And Billy said, ‘It’s the War of 1812.’ And then the

And he had a wonderful collection, which sold at the

man looked at him and said, ‘I can see what you mean.’

auction company.

All laugh again.

19 ELLSWORTH KELLY ORANGE AND BLUE OVER YELLOW 1964-65 Lithograph #3 of 10 Signed lower right; edition lower left Regular edition of 75. There were ten artist’s proofs. From the Suite of Twenty-Seven Color Lithographs Image: 16.75” x 23.25”; Sheet: 23.75” x 35.25”; Frame: 24.5” x 36” Literature:

AXSOM, TH E PRI NTS OF

EL L S WO RTH KELLY CATA LOGU E R A I SON N É 19 4 9 - 1 9 85, H U DSON H I LL PRESS, 1 9 87, #30, PG 5 3

$3,000-5,000

20 ELLSWORTH KELLY BLUE AND YELLOW AND RED-ORANGE 1964-65 Lithograph on Rives BFK paper #15 of 75 Signed lower right; edition lower left From the Suite of Twenty-Seven Color Lithographs Image: 25.25” x 13.75”; Sheet: 35” x 23.375; Frame: 35.375” x 23.75” Literature:

21 ELLSWORTH KELLY GREEN 1964-65 Lithograph on Rives BFK paper #44 of 75 Signed lower right; edition lower left From the Suite of Twenty-Seven Color Lithographs Image: 25.5” x 19”; Sheet: 35” x 23.75”; Frame 36” x 25”

AXSOM , T HE P R I N TS OF

22 ELLSWORTH KELLY CAMELLIA II 1964-65 Lithograph on Rives BFK paper #59 of 75 Signed lower right; edition lower left Sheet: 35.5” x 24”; Frame: 36” x 24.5” Literature:

AXS O M, TH E P R I NTS OF

ELL SWORTH K E L LY C ATA LOG U E R A I SON N É

Literature:

1949 -1985, HU DSON HI L L P R E SS, 1 9 87, #1 7

WO RTH K E L LY C ATALO GUE R AIS O N N É 19 49 -

19 49 -19 85, H UD S O N HI LL P R ESS, 1 987, #4 2,

PG 46.

19 85, H UD S O N H IL L P R E SS, 19 8 7, # 7, P G 41.

P G 6 0.

$3,000-5,000

$2,000-3,000

AXS O M, TH E P R IN TS O F E L L S -

E L L S WO RTH K E L LY C ATALOG U E R AI SONNÉ

23 ARTIST UNKNOWN THANK YOU, CALL AGAIN After 1950 Acrylic on paper shopping bag Image: 16.25” x 12.25”; Frame: 17.5” x 13.5” $200-300

24 DAVID GIBBS UNTITLED (4) 1964 Acrylic on paper (2) and gouache on paper (2) Each signed and dated Sheet 22.25” x 30”; Frame 25.75” x 33” and Sheet 6” x 11”; Frame 11.75” x 17” and (2) Sheet: 11” x 6”; Frame: 16.5” x 13.75” $500-700

19 25 DAVID GIBBS UNTITLED “Nov. 1970” Acrylic on canvas Signed, dated, dedicated verso: “Richard Dorso from David Gibbs” Canvas: 8.25” x 10” $500-700

26 DAVID GIBBS PROPHET 1964 Acrylic on canvas board 1 Prophet 1964 label on verso Image: 8” x 10.75”; Frame: 9” x 11.5” $500-700

27 RICHARD SMITH ENVELOPE NO. 1 1968 Aluminum #17 of 30 Signature, date and edition; Richard Feigen Graphics label verso 16” x 16” x 2.5” $500-700

28 DAVID HALL DUO III c. 1965 Painted metal #4 of 9 Label verso with signature, date, and title of edition 9” x 21” x 6.75” $500-700

29 CHARLES HINMAN FAN DANCE 1968 Painted aluminum #15 of 30 Edition inscribed verso; Richard Feigen Graphics label verso 12” x 26” x 2.5” $600-900

30 GERALD LAING SMALL PINK 1967 Brass and lacquered aluminum on marble base #4 of 22 Signature, date and edition verso 10.5” x 7” x 3” $800-1,200

31 GERALD LAING PRINT 1965 Hinge chrome covered brass with acrylic paint on tooled aluminum #32 of 46 Signed with date, title, and edition verso 16.75” x 5.5 $800-1,200

32 MINEO MIZUNO SCREW (3) 1973 Ceramic Each signed; one dated A: 7” x 2.75” diameter; B: 20.25” x 8.5” x 4”; C: 8.25” x 8.375” x 8.375” $800-1,200

33 TANCREDI PARMEGGIANI (CALLED TANCREDI) UNTITLED c. 1955 Mixed media on board Board: 13.75” x 19.75”; Frame 24” x 29.75” $8,000-12,000

34 TANCREDI PARMEGGIANI (CALLED TANCREDI) UNTITLED c. 1955 Mixed media on paper Signed lower right Sheet 14” x 19.5”; Frame 19.75” x 25” $8,000-12,000

35 TANCREDI PARMEGGIANI (CALLED TANCREDI) UNTITLED c. 1955 Mixed media on paper Signed lower right Sheet: 13” x 17.5”; Frame 14” x 18.5” $4,000-6,000

36 TANCREDI PARMEGGIANI (CALLED TANCREDI) UNTITLED c. 1955 Mixed media on paper Signed lower right Sheet: 13” x 17.5”; Frame 14” x 18.5” $4,000-6,000

37 TANCREDI PARMEGGIANI (CALLED TANCREDI) UNTITLED c. 1955 Mixed media on paper Signed lower right Sheet: 13” x 17.5”; Frame 14” x 18.5” $4,000-6,000

38 PIERO DORAZIO UNTITLED 1964 Gouache on paperboard Signed and dated Sheet: 8.25” x 9.25”; Frame: 12” x 13” $2,000-3,000

39 PIERO DORAZIO UNTITLED 1964 Gouache on paperboard Signed and dated Sheet: 8.25” x 10.75”; Frame: 9” x 11.5” $2,000-3,000

40 PIERO DORAZIO UNTITLED 1964 Gouache on paperboard Signed and dated lower right Sheet: 8.25” x 10.75” ; Frame: 12” x 14.5” $2,000-3,000

41 LUCIO FONTANA CONCETTO SPAZIALE B 1968 Aquatint with punctured holes #59 of 210 Signed and dated lower right; edition lower left Image: 25.125” x 18.75”; Frame: 25.25” x 19” $1,000-1,500

25 42 ANGELO SAVELLI LISTENING TO THE UNIVERSE 1965 Intaglio #146 of 200 Signed and dated lower right; title lower middle; edition lower left Plate: 13.75” x 18.5”; Frame: 18.5” x 23” $500-700

43 LOREN MADSEN TORN CIRCLE 6 & CIRCLED TEAR #1 (2) 1976 Ink on torn paper Each signed, dated, and titled Sheet: 12” x 12”; Frame: 12.75” x 12.75”; Sheet: 10” x 8” ; Frame: 12.25” x 10.25” $500-700

Photography ÂŠ Grant Mudford.

44 ROBERT COTTINGHAM HOUSE WITH AWNINGS 1968 Oil on canvas Canvas: 59” x 59.5”; Frame: 59.5” x 60” Literature:

H OLLY WOOD STILL S: HOU SE

PO RT RAITS BY ROBERT COT TIGH A M, E XH CAT, LO N G BEACH MU SEU M OF ART, 1 9 9 7

Provenance:

MOLLY BA RNES GA L L E RY

$80,000-120,000

“Well, I’ll confess something. I like happy art - and you’ll notice most of the art is happy.”

American Photorealist painter Robert Cottingham (b. 1935) employs hyper-rich color, a photographic framework, and sharp lines and shadows in his depictions of the urban landscape. He is especially inspired by the details of storefront signage and building facades, and each city in which he has resided has been a catalyst for his distinct close-ups. Although many describe him as an American Pop artist, Cottingham is a self-proclaimed Photorealist who imprints onto the canvas a personal interpretation of his photographs. Currently an internationally recognized master of his genre, he began painting in Los Angeles in 1964 when his employer, the advertising agency Young & Rubicam, transferred him to provide some New York experience to the West Coast offices. Cottingham describes this move as an advantageous change, “I was restless. I had maybe two paintings under my belt, and they were small.” While working for the agency, he rented a small studio on Olympic Boulevard a few blocks east of Western Avenue that was once a shoe repair shop. The Southern California sunlight drenched Los Literature: Cottingham, Robert. Telephone interview. 20 Aug. 2011. “Robert Cottingham.” Forum Gallery. Forumgallery.com, 2011. Web. 20 Aug. 2011.

PL: I guess I’ll ask you about

and it was two days before the

the Cottingham a little bit,

show. So, I finally consented

too, because I want to write

and Bianca called him and

something special in the

said how much she liked the

catalogue about (it), do you

show. She says she thought

have any recollections of why

my picture was the best in the

you picked that one.

show and he said it may not be

RD: Well, I’ll confess

the best but it’s the happiest.

something. I like happy art -

The other house pictures were

and you’ll notice most of the art

threatening. Barbara Feldon - I

is happy.

took her into Molly Barnes and

PL: Right.

she got one, and it’s much more

RD: And this house is very

sinister. All the house pictures

happy. The Cottingham - there’s

were sinister except this one.

an interesting story about the

PL: They were sinister because

Cottingham. When he had the

the colors were darker?

show, Long Beach or—

RD: Dark, yeah. Blacker. More

BD: It was Long Beach.

night. Shadows. They were

RD: The gallery called and

threatening.

asked for my picture, early in

PL: Yeah. Well, this one

putting it together. And I didn’t

definitely is very bright and

want to ruin—I just don’t like

optimistic and—

when they …. So, he called

RD: Happy. That’s why I

and said, “Would you do it?”

bought it.

Angeles’ two-story urban sprawl, an unexplored landscape that was foreign to Cottingham. He recalls, “In New York, the buildings would block my subjects. It was like I was working in a canyon. In L.A., I was always sure the sun would get to my subject matter.” Enthralled with the ubiquity of elaborate advertisements, he took snapshots of Los Angeles’s urban scenes and objects – storefronts, busses, neon signs, and theater marquees – and transformed them into paintings. He was also interested in the residential architecture of Hollywood and surrounding neighborhoods, “These houses were so fascinating. So different from what I knew.” Cottingham had three shows from 1968-70 at the Molly Barnes Gallery where he exhibited his eight Hollywood Stills, including House with Awnings (1968), a Sunset Boulevard home saturated in sunlight in front of a cloudless sky. Robert Cottingham continues to paint and exhibit his work, and in addition to numerous solo and group exhibitions and a retrospective at the Long Beach Museum of Art, his paintings are in the collections of the Museum of Contemporary Art San Diego, the Museum of Modern Art, the Whitney Museum of Art, and the Hamburg Museum.

45 JOYCE TREIMAN NUDE STUDY c. 1960-70 Pastel drawing on paper Signed lower right Image: 8” x 12”; Frame: 14.75” x 18.75” $500-700

46 JOYCE TREIMAN NUDE STUDY c. 1960-70 Pastel drawing on paper Signed lower right Sheet: 14” x 16.75”; Frame: 21.5” x 24.5” $500-700

47 JAMES GILL UNTITLED (NUDE) (2) 1964 Oil on Masonite Signed and dated lower right Image: 10.25” x 7.875”; Frame: 13.25” x 10.75” $500-700

48 JAMES GILL GIRL WITH VIOLIN 1964 Oil on panel Signed and dated lower right Panel: 19” x 14”; Frame: 25” x 19” $500-700

49 BOB (ROBERT LOUIS) THOMPSON VENUS & ADONIS

50 BOB (ROBERT LOUIS) THOMPSON MYTHOLOGICAL SCENE

1964 Oil on canvas Signed “BThompson”, dated, titled verso Canvas: 10” x 8”; Frame: 11” x 9”

1964 Acrylic on paper Signed and dated lower left Image: 10.75” x 10.125”; Frame: 16.5” x 15.5”

$4,000-6,000

51 JERROLD BURCHMAN UNTITLED (NUDE COLLAGE)

52 JERROLD BURCHMAN UNTITLED (LANDSCAPE)

1966 Mixed media collage Signed and dated lower right Image: 12” x 11.5”; Frame: 16.5” x 16.5”

1965 Watercolor on paper Signed and dated lower right Image 11.5” x 8”; Frame 17” x 13.5”

$500-700

In the 1950s and 60s, Paul Wonner (1920-2008), a participant in the Bay Area Figurative movement, produced colorful, ethereal paintings. After completing military service in Texas and working in New York, he found his home in California as he earned his master’s degree at UC Berkeley. It is here that he gained recognition for his abstract figural paintings with loose brushstrokes of bold color, like Drawing in the Studio (1964). He spent about twenty years in Southern California teaching at the Otis Art Institute and UC Santa Barbara until he settled permanently in the Bay Area in 1976. Wonner found his niche within the Figurative movement in the late 60s when he began drawing and painting with a distinctly realist style characterized by sharper lines and dark shadows. In the 1970s, the artist turned his focus to carefully arranged still life compositions in which objects from contemporary life are meticulously rendered in a manner evocative of the still life tradition of the Dutch Baroque. Wonner’s mastery of color and composition is apparent in the expressive, narrative intensity of his figurative work as well as his highly detailed still life paintings. Literature: Baker, Kenneth. “What set Bay Area painters apart in ‘60s.” San Francisco Chronicle. 23 Jan. 2009. Web. 29 July 2011. Baker, Kenneth. “Bay Area Painter Paul Wonner Dies.” San Francisco Chronicle. 25 Apr. 2008. Web. 29 July 2011. Hopkins, Henry. 50 West Coast Artists. San Francisco: Chronicle Books, 1981. Print.

53 PAUL WONNER DRAWING IN THE STUDIO 1964 Oil on canvas Signed lower right; Felix Landau Gallery label verso Canvas: 24” x 30”; Frame: 24.75” x 31” Provenance:

FELI X L A NDAU GA LL E RY

$15,000-20,000

PL: Was there any artist that you were always looking for and it took you a long time to find it and when you found it you were happy that you got the piece that you always wanted? RD: I am thinking. I always liked the two Paul Wonners and I always liked Cottingham. PL: So you were aware of Wonner and Cottingham for a long time? How did you come about acquiring the pieces that you do have? RD: I would see them in the gallery and I would say, ‘I will take that.’

54 PAUL WONNER UNTITLED (NUDE) c. 1961 Watercolor on paper Signed lower left Sheet: 18” x 11.75”; Frame: 25” x 18.5” $8,000-12,000

35 55 PAUL WONNER UNTITLED (NUDE) c. 1961 Watercolor on paper Signed lower left Sheet: 11.75” x 17.75”; Frame: 18.5” x 24.75” $8,000-12,000

In 1952, San Francisco artist William Theophilus Brown (born 1919) left New York, where he was experimenting with Abstract Expressionism, to develop a more personal style of painting. A graduate of Yale’s art school, Brown studied at the University of California, Berkeley where he met fellow Bay Area Figurative painters, including Richard Diebenkorn, Elmer Bischoff, and his future partner, Paul Wonner. In 1956, his “Football” paintings were featured in Life magazine and two years later he had his first solo exhibition at the Felix Landau Gallery in Los Angeles. Bathed in vibrant color and rich landscapes, the human figure became the primary subject matter of his paintings. These seminal works such as Untitled (Nude with trellis & landscape) (1961), evocative of the French Impressionists in subject matter and abstraction yet distinctly Bay Area Figurative in color and style, contributed to this pivotal West Coast art movement. An experiment in mixed media, his Untitled (Portrait Study) (circa 1960) combines the restrained detail of drawing with vigorous and sweeping strokes of paint to depict a moment of strained concentration. Brown has taught at various institutions, including the California School of Fine Arts, San Francisco and the University of California, Davis. Currently, Brown creates abstract mixed media collages out of his studio in San Francisco. Literature: “William Theophilus Brown.” Eesgallery.com. Elins Eagles-Smith Gallery, 2011. Web. 27 Aug. 2011. “William Theophilus Brown.” Hacketfreedman.com. Hackett-Freedman Gallery, 2011. Web. 27 Aug. 2011.

56 WILLIAM THEOPHILUS BROWN UNTITLED (FIGURE ON LOUNGE CHAIR) 1961 Oil on board Signed and dated lower right Image: 10” x 13.5”; Frame: 13.5” x 17.25” $3,000-5,000

57 WILLIAM THEOPHILUS BROWN UNTILTED (NUDE WITH TRELLIS & LANDSCAPE) 1961 Oil on masonite Initialed and dated lower left, signed and dated verso Sold with 1967 exhibition catalog from Felix Landau Gallery. Board: 11.75” x 15.5”; Frame: 12.5” x 16.25” $3,000-5,000

58 WILLIAM THEOPHILUS BROWN UNTITLED (PORTRAIT STUDY) c. 1960 Mixed media on paper Signed lower right Image: 13.5” x 10.5”; Frame: 19” x 15.75” $1,500-2,000

An Abstract Expressionist painter with a deep fascination with existentialism, blank space, and the human figure, Nathan Oliveira (1928-2010) is identified with the San Francisco Bay Area Figurative movement of the 1950s and 60s. He attended art school in Oakland, his birthplace, and in the summer of 1950, he studied with the German painter Max Beckmann. He describes this time shortly before Beckmann’s death as “the most important experience of his formative years.” As he became more interested in European greats such as Beckmann, Edvard Munch, and Oskar Kokoschka, his oil paintings depicted single faceless figures accented with color and movement against vacant landscapes. The sweeping brush strokes and distorted bodies evoke transience while the heavy application of paint suggests a more permanent relationship with the void his figures inhabit. Oliveira explains his fascination with the human figure, “The image of the human figure is the vehicle with which I can most positively relate. My concern for the figure is primarily a formal one, growing out of the problems of painting itself.” After successful shows in California, his style caught the attention of the Alan Gallery in New York (1958) and a year later four of his paintings, including Standing Man with Stick and Standing Woman with Hat, appeared in the Museum of Modern Art’s exhibition “New Images of Man” (1959). He continued to experiment with collage and oil painting and for the remainder of his life taught at Stanford University, where he started a printmaking program and taught painting. Literature: Grimes, William. “Nathan Oliveira, 81, Dies; Painted Human Conflict.” New York Times 19 Nov. 2010. Web. 27 July 2011. Hopkins, Henry. 50 West Coast Artists. San Francisco: Chronicle Books, 1981. Print. Selz, Peter. New Images of Man. New York: The Museum of Modern Art, 1959. Print.

59 NATHAN OLIVEIRA PROFILE AND HEART 1962 Gouache on paper on panel The Alan Gallery (New York) label verso Image: 8.25” x 7.5”; Frame: 13” x 12.5” $3,000-5,000

60 NATHAN OLIVEIRA UNTITLED (NUDE) 1965 Watercolor and pencil on paper Signed and dated lower right Sheet: 9.75” x 8”; Frame: 14.5” x 12.5” $3,000-5,000

61 NATHAN OLIVEIRA UNTITLED (NUDE) 1965 Watercolor and pencil on paper Signed and dated lower right Sheet: 9.5” x 7.75”; Frame: 15” x 13” $3,000-5,000

Working almost exclusively with the female form, Frank Gallo (b. 1933) rose to prominence in the 1960s with nymph-like sculptures of nude women covered in a glossy resin. Born in Ohio, Gallo was inspired by works at the Toledo Museum of Art, where he took classes on the weekends throughout his childhood. He spent some time at the Cranbrook Academy of Art and eventually earned his master’s from the University of Iowa in 1959. His hauntingly beautiful female figures have been described as “human bric-a-brac: leftover party guests, moody teenagers…and semi-erotic spinsters posing before the mirror;” a realistic effect achieved through the use of an epoxy resin plastic. There is a robotic quality to Untitled (Nude) (1966) that offsets her human likeness with manikin plasticity. In regards to his motivation, Gallo remarked, “What I express in these pieces is worship, not exploitation. I’m interested in the beauty of the female figure, and I’m trying to express it the way I feel.” Literature: Burnham, Jack. Beyond Modern Sculpture. New York: George Braziller, Inc. Print. “The Weir Show.” Janice Mason Art Museum, 4 Oct. 2003. Web. 29 July 2011.

62 FRANK GALLO UNTITLED (NUDE) 1966 Epoxy resin Signed and dated in base 39” x 27” x 10.25”; With base (not illustrated) 51” x 28” x 11” $5,000-7,000

39 63 ARTIST UNKNOWN UNTITLED (NUDE IN DANCE POSE) After 1950 Bronze on wood base 23” x 5.5” x 5.25” $200-300

64 DANIEL BROBENDER UNTITLED (THREE WOMEN’S FACES) second half of 20th century Oil pastel on paper “Daniel Brobender” written on back of frame Sheet: 11” x 13.75”; Frame 17” x 20” $500-700

65 SHEILA WRONO UNTITLED (NUDE) 1964 Oil on panel Signed verso Panel: 4.25” x 3.75”; Frame: 5.5” x 5” $500-700

66 SHERMAN LABBY SUNDAY MORNING c. 1965-75 Oil on canvas Signed verso; signed lower right; Ankrum Gallery label verso Canvas: 11” x 7”; Frame: 11.5” x 7.5” $500-700

67 VERNON LOBB UNTITLED (PORTRAIT) 1963 Oil on board Signed and dated lower right Canvas: 5.5” x 4.5”; Frame 8” x 7” $500-700

68 JAMES JARVAISE UNTITLED (FIGURE BY WINDOW) 1961 Oil on canvas Initialed and dated lower right; Felix Landau Gallery label verso Canvas: 12.25” x 10.25”; Frame: 13” x 11” Provenance:

F E L IX L ANDAU G ALLERY

$2,000-3,000

69 JAN STUSSY UNTITLED (SEATED FIGURE)

70 MORRIS BRODERSON UNTITLED (SEATED FIGURE)

c. 1950-70 Gouache on paper Signed lower right Image: 25” x 19”; Frame: 30.75” x 24.75”

1959 Charcoal on paper Signed and dated upper left Image: 23” x 15.5”; Frame: 26” x 19.75”

$500-700

71 DANIEL MAFFIA NUDE 1963 Watercolor on paper Signed lower right Ingres Van Gelder Zonen paper laid down on Strathmore Artist Paper Image/Sheet: 11.625” x 8.875”; Frame: 18” x 15” $500-700

72 BERNARD ROSENQUIT UNTITLED (FIGURE ON A HORSE) c. 1955-60 Gouache and ink on paper Sheet: 7.75” x 4.625”; Frame: 12.5” x 9.25” $500-700

73 WOLF KAHN WOMAN KNITTING after 1955 Pastel on paper Signed lower right Image: 13.25” x 15”; Frame: 20.75” x 21.25” $2,000-3,000

74 WOLF KAHN MOTHER & CHILD after 1955 Pastel on paper Signed lower right Sheet: 11” x 14.5”; Frame: 16.75” x 20.75” $2,000-3,000

75 WILLIAM BRICE UNTITLED (NUDE) 1965 Pastel on paper Felix Landau Gallery Label verso; Artist’s obituary taped verso Image: 10.5” x 8.125”; Frame: 18.25” x 15.5” Provenance:

F E L IX L ANDAU G ALLERY

$600-900

76 WILLIAM BRICE KNEELING FIGURE 1965 Oil and pastel Felix Landau Gallery label verso Sold with 1966 exhibition brochure from Felix Landau Gallery. Image: 10.75” x 8.25”; Frame: 18.25” x 15.5” Provenance:

F E L IX L ANDAU G ALLERY

$600-900

77 REIF UNTITLED 1964 Gouache on paper Signed and dated lower right Sheet: 6.75” x 9.5”; Frame: 11.5” x 14.5” $200-300

Photography ÂŠ Grant Mudford.

The California artist Roland Reiss (b. 1929) is committed to the teaching and advancement of contemporary art in Southern California. Both a renowned educator and a widely-exhibited artist, he split his time between teaching at the Claremont Graduate University, where he worked tirelessly to create a cutting-edge art program and is now professor emeritus, and maintaining a successful painting and sculpture career. The son of first generation Europeans, Reiss moved from Chicago to Pomona, California when he was in junior high. Reiss attended the University of California, Los Angeles. After completing his master’s degree in 1957, he immediately accepted a job at the University of Colorado, where he spent fifteen years honing his revolutionary work with plastics among artists such as David Hockney, Joan Brown, and Clyfford Still. He returned to California in 1971 and began a thirty-year career at the Claremont Graduate University. In the 1970s, Reiss found that he was fascinated with the “cultural dances” he engaged in on a daily basis. He took his daughter to several dance classes a week, which incited Reiss to question his understanding of social rituals. At the time, he discovered that his thinking was beginning to converge with the realist phenomenology of French writer and filmmaker Alain Robbe-Grillet, so he decided to create miniature tableau scenes encased in Plexiglas, completely void of humans, yet rife with evidence of recent activity. This scene, The Dancing Lessons: The Reconciliation of Yes and No (1977), takes place in a dance studio in America where young girls learn the ritual of the Chinese dance. He recalls, “This is engaging in dance from another culture. I want that dancing lesson to be a metaphor that reaches all over the place, to other moments in our lives.” The meticulously handcrafted, freshly scattered remnants – cigarettes in an ashtray, slippers, canes, and teacups – force viewers to imagine themselves entrenched in the scene. Reiss also created The Castle of Perseverance (1978), a life-size installation constructed entirely of light brown MDF particleboard that conveys an alternate banality of ritual. This and a group of his miniatures will be included in “Roland Reiss Personal Politics: Sculpture from the 1970s and 1980s” at the Pasadena Museum of California Art from September 17, 2011 to January 8, 2012. Literature: Littlefield, Kinney. “Light and Bright…With Bite.” Los Angeles Times. 7 Apr. 2001. Web. 21 Aug. 2011. Karlstrom, Paul. Oral history interview with Roland Reiss. Aug.-1997-June, Archives of American Art, Smithsonian Institution. Web. 21 Aug. 2011. Reiss, Roland. Telephone interview. 21 Aug. 2011.

78 ROLAND REISS THE DANCING LESSONS: THE RECONCILIATION OF YES AND NO c. 1977 Mixed media in Plexiglas case Signed lower right on the wooden platform; title lower left Case: 14” x 24.25” x 24.25” $4,000-6,000

79 DONNA DENNIS TOURIST CABIN 1975 Ink and watercolor on pebble board with black stockings Signed and dated lower right; Holly Soloman Gallery New York label and Adler Gallery Los Angeles label verso Object: 5” x 6” x 1.5”; Frame: 13.25” x 16.25” x 3” $500-700

80 BRUCE HOUSTON UNTITLED (DIORAMA OF WORSHIPERS) c. 1980-95 Mixed media Signed on bottom 11.675” x 11.375” x 5” $500-700

81 HANNAH STILLS UNTITLED (DIORAMA OF NATIVE AMERICAN SCENE) 1979 Mixed media Signed and dated on back 17.25” x 21 x 14” $500-700

82 LOREN MADSEN UNTITLED c. 1977 Plywood construction in painted wood frame 5” x 43.5” x 3.5 $500-700

83 ARTIST UNKNOWN ACME RUBBER STAMP CO. Cement and wire sculpture mounted on base 17.5” x 25.7” x 1.5”; With base: 19” x 34” x 9.25” $500-700

84 JERRY MCMILLAN UNTITLED (TORN BAG) 1971 Mixed media #52 of 100 11” x 6” x 5”; Box: 13” x 8.5” x 7” $500-700

85 BRUCE HOUSTON UNTITLED (BOWLING) c. 1980-95 Mixed media Box: 8.5” x 28.75” x 6” $500-700

86 BRUCE HOUSTON UNTITLED (TELEVISON ISLAND) c. 1980-1995 Mixed media 3.75" x 9" x 9" $500-700

87 ARTIST UNKNOWN UNTITLED (SCULPTURE) c. 1968 Painted metal “68” written on underside Object: 6.25” x 3.5” x 3”; Box: 7.75” x 6” x 5.25” $200-300

88 BRUCE HOUSTON FLAMINGOS c. 1980-1995 Mixed media on wood base Signed on bottom 3.5” x 7.5” x 5”; Case: 6.25” x 5.375” x 7.75” $500-700

89 MAUREEN O’HARA URE REAL ESTATE 1982 Mixed media construction Signed, dated, titled on the bottom “Maureen O’Hara Ure 1982 Oakland ‘Real Estate’” Object: 11.5” x 14” x 6.5” $500-700

90 NORMAN ZAMMITT, ATTRIBUTED UNTITLED c. 1970-85 Acrylic sculpture Sculpture: 20.5” x 14.25” x 12.5”; Base: 44” x 15.75” x 14” $500-700

91 M FISH PASS & MASK (2) 1976 Mixed media construction Signed and dated lower left A: 4” x 24” x 24”; with case 7” x 24” x B: (not illustrated): 24”; 8” x 5.5” x 3”; with mount: 12.5” x 9.5” x 4.5” $500-700

92 PABLO PICASSO FACE NO. 197 1963 White earthenware clay with enamel decoration under glaze #235 of 500 Edition Picasso Madoura 10â&#x20AC;? diameter Literature:

PA BLO PI CASSO: CATA LOG U E

O F T HE EDITED CERA MIC WORKS 1 9 4 7- 1 9 7 1, RAM IE, MA DOU RA , 1988, 251.

$2,000-3,000

93 KOSHIRO ONCHI FAMILY OF THE SEA 1937/1957 Woodblock Memorial edition Printed by Kichi Hirai Label verso with title and date (37), artist, “Memorial Edition Published Apr 57 Printed by Koichi Hirai” Sheet: 17.25” x 17.25”; Frame: 23” x 23.5” $500-700

94 KAREL APPEL MAN AND ANIMAL 1962 Lithograph #160 of 210 Signed and dated lower right; edition lower left Sheet: 18.25” x 22.875”; Frame: 18.5” x 23.375” $600-900

95 ALEXANDER CALDER THE BLACK LINE 1967 Lithograph #10 of 60 Signed lower right; edition lower left Frame: 22.625” x 30.375”; Sheet: 22.125” x 29.875” $600-900

96 GEORGES BRAQUE STILL LIFE WITH PURPLE FLOWERS c. 1950-60 Etching #193 of 200 Signed lower right; edition lower left Image: 18.75” x 11.25”; Sheet: 26” x 19.75”; Frame: 29” x 22.5” $1,500-2,000

97 GEORGES BRAQUE THÉIÈRE ET RAISINS 1956 Color etching #169 of 200 Maeght, Paris Signed lower right; edition lower left Plate: 13.25” x 23.5”; Frame: 24.25” x 33.25” Literature:

D E R R IÈ RE LE M I R OI R , DI X ANS

D’ É D ITIO N 19 46 -195 6, EDI TI ONS M AEG H T, PAR IS, 195 6 , N O 10 2 2

$1,500-2,000

98 GEORGES BRAQUE SUNFLOWER c. 1960 Lithograph #6 of 75 Signed lower right; edition lower left Image: 11.5” x 8.25”; Sheet: 15” x 10.5”; Frame: 19.75” x 15.25” $1,500-2,000

99 ZAO WOU-KI PETIT JARDIN 1956 Lithograph #44 of 200 Signed and dated lower right Image: 14.25” x 19”; Frame: 21.25” x 25” $800-1,200

100 ZAO WOU-KI UNTITLED ABSTRACT 1960 Etching and aquatint AP Image: 9.5” x 23.25”; Sheet: 19” x 28.25”; Frame: 21.75” x 31” $800-1,200

101 ZAO WOU-KI L’AURORE 1956 Lithograph #105 of 125 Printed by Desjobert, Paris, published by l’Oeuvre Gravée, Zurich Signed lower right; edition lower left Image: 17” x 25.5; Sheet: 22” x 30.25”; Frame: 25.75” x 33.75” $800-1,200

102 TERRY HAASS CYCLE NORDIQUE X & FLOREAL (2) after 1950 Etching #23 of 35 and AP Each signed lower right, title lower right, edition lower middle; one with Galerie Moderne label verso Image: 6.875” x 3.875”; Frame: 13.5” x 10.5”; Plate: 3.5” x 2.5”; Frame: 11.5” x 8.5” $500-700

103 ARTIST UNKNOWN UNTITLED 7/9/1960 Monoprint Dated lower left Image: 7.75” x 5.75”; Frame: 13.75” x 11.75” $200-300

59 104 ADOLPH GOTTLIEB HIEROGLYPH 1944 Drypoint #11 of 15 Signed lower right; edition lower left Plate: 5.875” x 4”; Sheet: 7.5” x 5”; Frame: 14.5” x 11.5” $600-900

105 ROGER BISSIÈRE UNTITLED

106 ARTIST UNKNOWN UNTITLED

c. 1955-60 Etching #34 of 45 Signed lower right; edition lower left Image: 5.75” x 4”; Frame: 13” x 10”

1958 Mixed media on paper Signed and dated Image 14.5” x 10.75”; Frame 19.75” x 15.75”

$500-700

$200-300

107 JEAN ARP LETTRE TERRESTRE 1968 Cast metal relief on acrylic stand #37 of 300 Stamped verso “Arp 37 of 300” 5.5” x 5.75”; with stand 10” x 12” x 4” $1,000-1,500

108 RENÉ MAGRITTE LA SOURIRE DU DIABLE (THE SMILE OF THE DEVIL) 1966 Etching Epreuve d’artist (Artist’s proof) Atelier Rigal, Paris Signed lower right, artist’s proof lower left Plate II from the series Aube à l’Antipode. 17 numbered examples, fifteen examples lettered A/O to O/O, and a small number of artist’s proofs. Plate: 7” x 5”; Frame: 17” x 14.25” Literature:

KA PL A N A ND BAU M , T HE

G RAPHIC WORK OF RENÉ MAGRI T T E, N E W YO RK: II EDITIONS, 1982, # 7.

$2,000-3,000

109 MARCEL DUCHAMP COFFEE MILL 1947 Etching Signed in plate lower left Plate: 7” x 3”; Frame: 13” x 9” $500-800

110 NICOLAS DE STAËL MEDITERRANEE 1952 Pochoir #10 of 200 Signed, dated, titled lower right; edition lower left Image: 14.25” x 18.25”; Frame: 22.75” x 26” $1,000-1,500

111 SERGE POLIAKOFF COMPOSITION BLEUE 1958 Aquatint #18 of 100 Signed lower right Image: 10” x 13.75”; Sheet: 15.25” x 21.5”; Frame: 18” x 24” $500-700

61 112 JACQUES VILLON OISEAU II & DENTS DE LAIT, DENTS DE LOUP (BABY TEETH, WOLF TEETH) BY HENRI PICHETTE (PORTFOLIO) & POÈMES DE CE TEMPS (PORTFOLIO) (3) 1957-59 Color lithograph together with unbound book in portfolio cover with 13 etchings and portfolio of lithographs #54 of 220; #127 of 135 (total edition of 211) and #40 of 70 Signed lower right; edition lower left See full listing online $500-700

113 ANTONI CLAVÉ DEUX POISSONS (TWO FISH) 1958 Lithograph E.A. H.C. Signed lower right; edition lower left Artist’s proof, hors de commerce, regular edition was 100 Image: 20.375” x 27.75”; Sheet: 22” x 30”; Frame: 27.5” x 35” Literature:

PASSERON, A NTONI C L AVÉ

L’O EUV RE GRAVÉ 1939 -1976, OFFI C E DU LIV RE SA , FRI BOU RG, 197 7, # 67, P G 1 35

$500-700

114 JEAN DUBUFFET LES MONTAGNARDS 1953 Lithograph #19 of 20 Signed lower right; edition lower left; title lower middle Image: 14.5” x 17.5”; Sheet: 17.75” x 22.25”; Frame: 20.25” x 25” Literature:

W EBEL , L’OEU VRE GR AVÉ E T

LES LIV RE S ILLU STRÉS PA R JEA N DU B U FFET CATALOGU E RA ISONNÉ, VOL 1, PA R I S: BAUD O IN LEBON, 1991, # 361, PG 9 9.

$900-1,200

115 PIERRE ALECHINSKY UNTITLED c. 1960s #30 of 75 Signed lower right; edition lower left Image: 7.5” x 6.75”; Frame: 10.5” x 11.75” $500-700

116 KAIKO MOTI STILL LIFE 1961 Etching #2 of 100 Signed and dated lower right; edition lower left Image: 17.5” x 21.5”; Sheet: 22.25” x 30”; Frame: 25.125” x 33.125” $500-700

117 KEES VAN DONGEN LE COQUELICOT (THE CORN POPPY) mid 20th century Lithograph #49 of 70 Signed in pen lower right; signed in plate lower left; edition lower left Image: 17.875” x 15”; Sheet: 25” x 18.5”; Frame: 28.5” x 22” $600-900

118 LÉONARD TSUGOUHARA FOUJITA JAPANESE GIRL WITH CAT c. 1930 Lithograph #183 of 200 Signed lower right Sheet: approx. 44” x 29.75”; Frame: 46” x 32” $600-900

119 ARTIST UNKNOWN EXHIBITION POSTER FOR “L’ECOLE DE PARIS 1900-1950” 1951 Lithograph Royal Academy of Arts, London Sheet: 30” x 20”; Frame: 34.25” x 24.25” $200-300

120 GASTON LACHAISE UNTITLED (FIGURAL DRAWING) c. 1925-30 Ink wash on paper E. Weyhe gallery New York label verso with “from The Estate of Isabel Lachaise”. Sheet: 9.5” x 7”; Frame: 14.25” x 12.25” $500-700

121 ARTHUR B. DAVIES UNTITLED (NUDE) c. 1918 Soft-ground etching Plate: 10.25” x 4.25”; Frame: 17.75” x 11.75” $500-700

122 AMEDEO MODIGLIANI PORTRAIT OF A BOY Etching Signed in the plate (signature in reverse) Posthumous print Image: 6.5” x 4.75”; Frame: 12.5” x 9.5” $500-700

123 ALBERTO GIACOMETTI TÊTE D’HOMME 1957 Lithograph #81 of 100 Signed lower right; edition lower left Sheet: 16” x 11.125”; Frame: 17.25” x 12.25” $2,000-3,000

124 CONSTANTIN TERECHKOVITCH DAHLIAS c. 1967 Lithograph #94 of 100 Signed lower right; edition lower left Image: 21.75” x 15.75”; Frame: 29.25” x 23” $500-700

125 CONSTANTIN TERECHKOVITCH JEUNE FILLE CHAPEAU c. 1950-60 Lithograph #49 of 170 Signed lower right; edition lower left Image: 25” x 19.5”; Frame: 30.5 x 22.75 $500-700

126 SCHAEFER UNTITLED (2) Watercolor on paper Signed “Schaefer” Each Image: 9.75” x 8”; Frame: 15.5” x 13.5” $500-700

127 PIERRE SOULAGES EAU-FORTE XI 1957 Etching #58 of 100 Image: 15.5” x 15.75”; Sheet: 26” x 19.5”; Frame: 28.5” x 22.5” $600-900

128 PIERRE SOULAGES EAU-FORTE XIII 1957 Etching #89 of 100 Image: 23.25” x 17.25”; Sheet: 30” x 22.25”; Frame: 33.75” x 26” $600-900

129 MIGUEL BERROCAL MINI-DAVID & PORTRAIT DE MICHELE (2) 1968-69 Nickel plated puzzle sculpture #682 of 9500 and #5281 of 9500 Signature and number inscribed 5.5” x 2.25” x 2.25”; and 4” x 2.75” x 2.125” $1,000-1,500

130 ANDRÉ MASSON LES EUROPHAGES 1 & UNTITLED (2) c. 1957-60 Etching and aquatint & etching #9 of 12 and #5 of 8 (AP) Signed lower right, edition lower left Untitled is artist’s proof for one of four etchings included in Mines de Rien with poetry by Robert Desnos Plate: 13” x 10.25”; Frame 18.5” x 15.25”; and Image: 5.25” x 4.25”; Frame: 15.5” x 11.75” $500-700

131 JEREMY GENTILLI LA FETE & UNTITLED (2) 1956 and 1959 Etching #5 of 25 and #7 of 10 Each signed and dated lower right; edition lower left Image: 9.75” x 6.625”; Sheet: 12.875” x 9.875”; Frame: 18.5” x 15.5”; and Sheet 15” x 11”; Frame 17.5” x 13.5” $500-700

132 THÉOPHILE ALEXANDRE STEINLEN MOTHER WITH CHILDREN early 20th century Lithograph #58 of 100 Signed lower middle; edition lower right Sheet: 14.25” x 10.75”; Frame: 20.25” x 17” $500-700

133 PAUL CÉZANNE TÊTE DE JEUNE FILLE 1873 Etching Signed in plate lower right Probably 3rd state edition of 600, posthumous Image: 4.75” x 3.75”; Sheet: 12.5” x 9.75” Literature:

VENTU RI , CÉZA NNE, SON A RT,

S O N O EUVRE, 2 VOL S, PAU L ROSE N B E R G , PARIS, 1 936, 1160

$500-700

134 PAUL SIGNAC LE PONT DES ARTS AVEC REMORQUERS 1927 Etching and aquatint Ed of 250 R. G Michel, Paris for “Dix Peintres au XX Siècle, Paris” Signed in plate lower left Image: 4.875” x 7.25”; Sheet: 9.75” x 12.75” Literature:

KORNFELD, CATA LOG U E

RAIS O N N É DE L’OEU VRE GRAVÉ E T L I T HO G RAPHIÉ DE PAU L SIGNAC, BER N E : E DIT IO NS KO RNFELD ET KLI PSTEIN, 1 9 74 , #24

$500-700

135 PIERRE BONNARD NUDE AT WINDOW 1927 Etching Signed with PB monogram in the plate Plate: 8.5” x 6.25”; Sheet: 10.25” x 7.75” $500-700

136 ARTIST UNKNOWN UNTITLED Late 19th century Etching Image: 5.25” x 4.375” $200-300

As described by Levy, “The first state, of which about 12 copies were printed, was reworked in two further states. In these the artist scraped away the unnecessary darks. Only two or three proofs of these states were pulled. When the stone was finally completed a number of copies were taken, some of which were exhibited at the Fine Art Society’s Gallery in 1895. Eventually, as more prints were taken, the old work began to re-appear. The drawing was again scraped. About 50 copies were finally pulled. Early Morning was intended for, but never published by Piccadilly.”

137 JAMES ABBOTT MCNEILL WHISTLER EARLY MORNING 1878 Lithotint Butterfly signature lower left Title verso, label verso: “Early Proof from the Macomber Collection” Image: 6.5” x 10”; Frame: 11.25” x 14.75” Literature:

L E V Y, W HI STLER LI TH O -

GR AP H S, LO N D O N : J U P I TER B OOKS, 1 975, # 17.

$2,000-3,000

138 JAMES ABBOTT MCNEILL WHISTLER GAIETY STAGE DOOR 1879 Lithograph Edition of 100 Butterfly signature middle left Penciled note on verso of frame: “Done in 1879 Gaiety Stage Door 100 Proofs Only” Published in Art Notes Image: 5” x 7.5”; Sheet: 6.75” x 8.5”; Frame: 11.25” x 13” Literature:

L E V Y, W HI STLER LI TH O -

GR AP H S, LO N D O N : J U P I TER B OOKS, 1 975, # 2 1.

$1,000-1,500

“I bought a lot of things from Molly Barnes. Number of things from Irving Blum. Number of things from Nick Wilder, and a lot of things from Felix Landau. (In the 1950's), I was basically interested in European artists….by that I mean representational art." 139 GUSTAV KLIMT NUDE STUDY c. 1917 Pencil on paper Stamped Gustav Klimt Nachlass left; Felix Landau Gallery label verso. Sheet: 21.5” x 13.5”; Frame: 29.75” x 21” This work will be included in the forthcoming supplement to the Drawings by Gustav Klimt, an Albertina publication being prepared by Dr. Marian BisanzPrakken, who noted that the drawing belongs to the group of studies (Strobl III, Nos. 2755-2764) for Klimt’s 1917 painting, Die Freundinnen. Provenance:

F E L I X L AN DAU GAL L E RY

$20,000-30,000

140 GUSTAV KLIMT 25 ZEICHNUNGEN AUSGEWÄHLT UND BEARBEITET VON ALICE STROBL 1964 Unbound book in portfolio cover Graz-Wein Portfolio of 25 drawings by Klimt with an essay by Alice Strobl. 23.875” x 16.875” x 1.125” $500-700

141 LEONARD BASKIN NUDE DRAWING 1948 Ink drawing Signed and dated lower right Sheet: 24” x 18.75”; Frame: 27.75” x 22.75” $500-700

142 LEONARD BASKIN THE CRY, BIRD IN THE SUN AND TOBIAS AND THE ANGEL (3) 1960, 1969, 1958 Woodcut, etching and wood engraving A: #255 of 300; B: AP; C (not illustrated) #15 of 300 Each signed with edition A: Image: 15” x 12.25”; Sheet: 19.75” x 16.25”; B: 1” x 3.5”; Plate: 7.75” x 9.75”; Frame: 15.625” x 22.75”; C: 15” x 15” $500-700

143 KERKOVIUS BIRD after 1950 Watercolor on paper Signed “Kerkovius” lower left Image: 10.75” x 8.5”; Frame: 16.75” x 14.5” $500-700

144 AUBREY SCHWARTZ BIRD c. 1960 Etching Image: 4” x 5”; Frame: 8.25” x 9” $500-700

145 JEAN-LOUIS FORAIN FOUR ETCHINGS B: “LES FOLIESBERGÈRE”; D: “LE CAFÉ DE LA NOUVELLE ATHÈNES” c. 1880 Etching Signed in the plate 4 etchings, “Les Folies-Bergère” for J.K. Huysmans Croquis Parisiens published in Paris in 1880, “Le Café de la Nouvelle Athènes” from an edition of 500 A: Image: 4.5” x 5.75”; Frame: 12.25” x 14. 25”; B: Image:3.75” x 5.75”; Frame: 12.25” x 14.25”; C: Image: 4.625” x 6.25”; Frame: 12.25” x 14.25”; D: Image: 6.125” x 4.5”; Frame: 14.5” x 12.75” $500-700

146 ARTIST UNKNOWN PORTRAIT OF A BEARDED MAN late 19th century Etching Image: 4.5” x 2.375”; Sheet: 8” x 6”; Frame: 10.25” x 8.5” $200-300

147 AUGUSTE LOUIS LEPÈRE “INTERIEUR D’OMMIBUS” late 19th or early 20th century Etching 3rd State Signed lower right and inscribed Label on frame verso: “Original Etching by A. Lepere, (1849-1919) ‘Interieur d’Omnibus’ L.B. 65 III (From Lotz-Brissomeau Collection)” Image: 4.875” x 6.125”; Frame: 10.25” x 11.5” $500-700

148 ARTIST UNKNOWN UNTITLED (COUPLE WALKING) Ink and crayon on paper Signed indistinctly lower right Image: 11.25” x 8”; Frame: 17.25” x 14” $200-300

149 ARTIST UNKNOWN UNTITLED (3) c. 1900-1925 Three prints (two not illustrated) A: Image: 2.75” x 3.5”; Sheet: 11.5” x 7.5”; B: Image: 2.25” x 3.25”; Sheet: 6.5” x 9”; C: Image: 2.5” x 1.5”; Sheet: 15” x 11.25” $200-300

Illustrator, printmaker, painter, and costume designer Marcel Vertès (1895-1961) was an Hungarian artist who relocated to Paris during World War I to pursue his art career. Emulating the style of Henri de Toulouse-Lautrec, he illustrated Parisian life during the height of the 1920s; his subject matter consisted of cabaret girls, street scenes, and urban life. Although Vertès was quite successful in his new home, he was forced to immigrate to the United States. His casual yet elegant illustrations and economy of design earned him cover designs and perfume advertisements for American fashion publications such as Harper’s Bazaar and Vogue. In 1952, Vertès won two Academy Awards for Costume Design and Art Direction for Moulin Rouge, the fictional account of Toulouse-Lautrec’s experience in the Parisian underground. After ten years in New York, Vertès returned home to Paris where he continued to draw and paint for the remainder of his life. These drawings, rare cartoons with text, include his satirical commentary on recent trends in contemporary art.

150 MARCEL VERTÈS “WE DON’T LIKE IT EITHER BUT ALL OF OUR FRIENDS HAVE ONE”

Literature: “Marcel Vertès (1895-1961), Hungary.” Kinseyinstitutegallery.com. Kinsey Institute Gallery, 2011. Web. 21 Aug. 2011.

151 MARCEL VERTÈS “I AM BEGINNING TO LIKE WHAT YOU’RE SHOWING ME”

mid 20th century Ink drawing Image: 18.25” x 23.25”; Frame: 19.5” x 24.25” $500-700

mid 20th century Ink drawing Signed upper right Sheet: 18.25” x 22.25”; Frame: 23.125” x 27.5 $500-700

152 EDWARD EICHELBAUM GENDARME c. 1960 Ink drawing Signed upper left; retains Helene Seiferheld Gallery label verso Image: 8.25” x 3”; Paper: 9.5” x 5.25”; Frame: 14.625” x 10.375” $500-700

153 ARTIST UNKNOWN FASHION ILLUSTRATION c. 1960 Crayon drawing on paper Unsigned Sheet: 23.75” x 18.75”; Frame: 31” x 25.5” $200-300

154 ARTIST UNKNOWN PROFILE PORTRAIT OF BETTY DORSO 1944 Pencil drawing on paper Signed Pencer or Spencer lower left Sheet: 23.75” x 18.75”; Frame: 31” x 25.5” $200-300

155 CECIL BEATON BETTY DORSO c. 1940-50 Graphite on paper Image: 6.25” x 5.75”; Frame: 12.25” x 11.75” $500-700

156 ARTHUR WILLIAM BROWN ORIGINAL FASHION ILLUSTRATION 1946 Watercolor, ink and pencil on board Signed and inscribed lower left Inscribed “To Betty with the Best Wishes of Brownie”; Notes on verso,”TW October 46 What Makes a Woman Beautiful p. 40-41” Board: 18” x 10.25” $500-700

157 BIANCA DORSO UNTITLED PHOTGRAPHS (2) Late 20th century Photograph; one #3 of 3 Signed in pencil lower right on mat; other signed lower right; A: Image: 4.125” x 3.375”; Frame: 10.25” x 8.25”: B: Image: 6” x 4” Frame: 14.125” x 11.25” $500-700

158 IRVING PENN UNTITLED (GROUP OF VOGUE PHOTOGRAPHERS, OYSTER BAY) 1946 Silver print Inscribed below image “To Betty from Penn, N.Y. 1946” Photographers pictured include Cecil Beaton, George Platt-Lynes, Horst P. Horst and Irving Penn with a single model (Betty Dorso). Photo: 7.5” x 9.375”; Frame 15.125” x 11.25” Provenance:

GIF T O F I RVI NG P ENN TO

BETTY DORSO

$3,000-5,000

159 IRVING PENN UNTITLED (PORTRAIT OF JOHNNY MERCER) 1946 Silver print Inscribed below image “Irving Penn 1946 for Betty and Jim” Photo: 9.25” x 6.625”; Frame 15.125” x 11.25” Provenance:

GIF T O F I RVI NG P ENN TO

BETTY DORSO

$3,000-5,000

Photography ÂŠ Grant Mudford.

160 JOHN BALDESSARI 8TH AND D, NATIONAL CITY 1966-68 Photographic emulsion and acrylic on canvas Retains Molly Barnes Gallery label verso 14” x 14” Provenance:

MOLLY BA RNES GA L L E RY,

LO S AN G ELES

Literature:

FORTH COMING CATA LOG U E

RAIS O NNE, # 1968 5 JO HN BALDESSA RI : NATI ONA L CI T Y, M U S EUM O F CONTEMPORA RY A RT, SA N DI EG O, 19 9 6, PG 105.

Exhibited:

“JOH N BA LDESSA RI : P U R E

BEAUT Y ”, MOLLY BA RNES GA LLE RY, LOS ANG EL ES, OCTOBER 6 -28, 1968

$80,000-120,000

PL: So I was curious if you remembered anyone else buying things at that show when you were there (at the Baldessari show at Molly Barnes Gallery). RD: No, I don’t, because I went in alone that day and the gallery was empty, except for Molly. I bought the (pictures)…and got out quickly.

In 1959 John Baldessari emerged from his post-graduate studies at the Otis Art Institute and Chouinard Institute a painter, though he was supremely frustrated and discouraged by his experiences in Los Angeles. While there, he lacked gallery space, was confused about what kind of artist he wanted to become, and he felt himself fading into irrelevance. He decided it was time to return to his hometown. Baldessari’s homecoming to National City, a working-class suburb between San Diego and the Mexican border, would be considered a poor decision by most. At the time, the town was known for little more than its “Mile of Cars”, a stretch of highway crowded with new and used car lots. He made his living teaching public school art courses, and with the help of his father, a real estate agent, he found a tiny studio space at the rear of a Laundromat. After searching for inspiration to paint, he abstained from traditional landscapes and overwrought contemporary variations in favor of photographs that document his hometown. He initially used his photos as “a sort of note-taking” and soon concluded, “‘Why do I have to translate this into a painting? What’s wrong with a photograph?’” It was in 1966 that Baldessari created a new form that emerged from what art critic and historian Jan Avgikos calls “a void characterized by cultural isolation, boredom, and estrangement.” From 1966 to 1970, Baldessari created phototext paintings that blur the distinction between painting and photography, the result of his existence in National City sequestered from any major art scene. Although his images are more snapshots with distracting obstructions and newspaper-style graininess, they depict with stark realism an understanding of National City as it really is. For his phototexts, including 8th and D, National City. (1966-68), Baldessari “hired a commercial sign painter who was instructed to use as straightforward a lettering style as possible.” At the Molly Barnes Gallery on La Cienega in 1968, Baldessari, with assistance from artist David Antin, somehow convinced Barnes to host a one-week show between two already scheduled artists. She agreed, but Baldessari had to pay the cost of the U-Haul truck to carry his works from National City. Instead of cash, he gave Barnes A Painting That Is Its Own Documentation (1968). This show was his first in Los Angeles, the city he fled a decade earlier in response to dissatisfaction with his own incessant figure drawings and abstract expressionist recreations. Paintings from the show, including Wrong (1967), now housed in the Los Angeles County Museum of Art, reveal an artist leading with a singular vision of art and nothing to lose. Sleep While You Grow Rich (1966-67) was also exhibited, which Richard Dorso bought on a quiet October afternoon. Literature: Avgikos, Jan. “Stating the Obvious.” John Baldessari: National City. Ed. Hugh M. Davies and Andrea Hales. San Diego: Museum of Contemporary Art, San Diego, 1996. 18-21. Print. Hales, Andrea. “National City Revisited.” John Baldessari: National City. Ed. Hugh M. Davies and Andrea Hales. San Diego: Museum of Contemporary Art, San Diego, 1996. 10-13. Print. Plagens, Peter. “First Break: Peter Plagens on John Baldessari.” ArtForum Feb. 2002. Print.

161 JOHN BALDESSARI SLEEP WHILE YOU GROW RICH 1966-67 Ink on canvas Signed and dated “Baldessari 67” recto; Molly Barnes Gallery label verso 12” x 12” Provenance:

MOLLY BA RNES GAL L E RY,

LO S AN G ELES

Literature:

FORTH COMI NG CATA LOG U E

RAIS O NNE, # 1967 5

Exhibited: “JOH N

BA LDESSA RI: P U R E

BEAUT Y ”, MOLLY BA RNES GA LLERY, LOS ANG EL ES, OCTOBER 6 -28, 1968

$80,000-120,000

PL: What inspired you to buy the Alexis

between Alexis Smith, Bruce Houston,

text based piece, and other works with

Smith?

Hannah Stills and Roland Reiss.

text on them. And then there are these

RD: Which one is the Alexis Smith?

PL: The more I look at your collection

Pop and Op and graphic works like

BD: The two martini glasses.

the more that I noticed there are so

Robert Indiana and Lichtenstein and the

RD: Oh, I had forgotten about that. I

many distinct areas. For example there

Warhol shopping bag and I wondered did

loved it. I was quirky in what I liked.

are a lot of the early classic modern

you move on, or did you continually buy

For instance, I liked Bruce Houston, and

works by the School of Paris artists like

things that you were interested in?

I think there are four Bruce Houstons

Braque and Zao Wou-Ki. I imagine that

RD: I am thinking. I just bought what I

(in the collection). I liked the Alexis

you collected those works in the 50s and

liked and there was no plan. I would see

Smith for the same reason. I went from

there are a lot of conceptual works from

something, like the Alexis Smith, which

paintings to assemblages and there

the 60s like text based works such as

I had forgotten about, and I loved it and

are about close to 10 of them I think

Baldessari’s paintings and Alexis Smith’s

bought it.

Los Angeles collage artist Alexis Smith (born 1949) interprets the American social and cultural landscape through an integration of found objects and literary references. After graduating from the University of California, Irvine in the early 1970s, she moved to Venice, a burgeoning artist’s community. She worked for Frank Gehry, and in her free time she steadily gathered a collection of fragments for her collages from motels, garbage bins, and thrift stores. As a passionate reader, Smith would sift through volumes of Walt Whitman poetry, Jorge Luis Borges short stories, and Raymond Chandler detective novels for literary snippets she could animate with her mounting stockpile of popular culture detritus. Raymond Chandler’s tales of murder in Los Angeles were particularly appealing to Smith, “I really got into his use of metaphor. He made these memorable comparisons to things. I thought, ‘I can do something with those. I can do the visual equivalent.’” For Chandlerisms #7 (1978), Smith extracted a quick, witty string of Chandler’s text and placed it below a pair of miniature cocktail glasses, which serve as a graphic focal point for the film noire dialogue. Smith explained that a unique frame was chosen for each of the Chandlerisms based on the content of the piece. Organized by the Whitney Museum of Art, a retrospective of her work at the Los Angeles County Museum of Art in 1992 showcased many of her Chandlerisms. Literature: Smith, Alexis. Telephone interview. 28 Aug. 2011. Watters, Sam. “Alexis Smith, collage artist uprooted.” Latimes.com. Los Angeles Times, 16 May 2009. Web. 28 Aug. 2011.

162 ALEXIS SMITH CHANDLERISMS #7 c. 1978 Collage in Plexiglas frame Quote from Trouble is My Business, “Sweet, isn’t he?” she said. “I’d like eight of him for my cocktail set.” Frame: 9.5” x 12.25” $1,500-2,000

163 ROBERT INDIANA FOUR (FROM NUMBERS)

164 ROBERT INDIANA FIVE (FROM NUMBERS)

165 ROBERT INDIANA SIX (FROM NUMBERS)

1968 Serigraph #99 of 125 Edition Domberger Signed and date lower right; edition lower left Image: 23.25” x 19.5”; Sheet 25.5” x 19.5” ; Frame: 28.25” x 22.25”

1968 Serigraph #99 of 125 Edition Domberger Signed and dated lower right; edition lower left Image: 23.5” x 19.5”; Sheet: 25.5” x 19.5”; Frame: 26” x 20”

1968 Serigraph #99 of 125 Edition Domberger Signed and date lower right; edition lower left Image: 23.5” x 19.75”; Sheet 25.5” x 19.5”; Frame: 25.75” x 20”

Literature:

KATZ, ROBERT INDIA N A : T HE P R I N TS

KATZ , R O B E RT IN D IAN A: TH E P R IN TS

KATZ , R O B E RT IN D IAN A: TH E P R I NTS

AN D PO STERS 1961-1971, STU T TG A RT A N D N E W

A N D P OST E R S 19 6 1-19 7 1, STUT TGART AN D N E W

AN D P O STE R S 19 6 1-19 7 1, STUT TGART AN D NEW

YO RK: ED ITI ON DOMBERGER , 1971, G 1 8, P G 36

YOR K : E DI T I ON D O MB E R GE R , 19 7 1, G19, P G 3 7

YO R K : E D ITIO N D O MB E R GE R , 19 7 1, G19, P G 38

$600-900

166 ROBERT INDIANA LOVE (2) after 1966 Aluminum Each 3” x 3” x 1.5” $200-300

167 ED RUSCHA HOT SHOT 1973 Lithograph on white wove paper Edition of 100 Published by Bernard Jacobson, Ltd., London From Small Prints; there were an unknown number of artist’s proofs in addition to the 100. 3 colors printed in 3 runs from 3 aluminum plates. 5.875” x 8.25”; Frame: 10.5” x 13” Literature:

E N GB E R G, SI R I , EDWAR D

R US C H A: E D ITIO N S 1959 -1 999: CATALOG U E R AIS O N N É, MIN N E AP O LI S: WALK ER ART C E N TE R , 19 9 9, 93 , # 7 1

$4,000-6,000

168 WALL BATTERTON TOY DISPENSER 1965 Construction Molly Barnes Gallery label verso 10.75” x 10.75” Provenance:

MO L LY BAR NES G ALLERY

$500-700

169 GIFFORD MYERS DO NOT TOUCH WORKS OF ART 1979 Unglazed ceramic relief on plaque Signed and dated lower left on verso, “4” lower right verso Gallery postcard for Gifford Myers exhibition attached to back 10.375” x 14.375” $500-700

170 BRIDGET RILEY UNTITLED (FRAGMENT 7) 1965 Screenprint on Plexiglas (on reverse of sheet) #33 of 75 Signed and dated lower right; edition verso Sheet: 19” x 37.75”; Frame: 20” x 39” Literature:

SCH U BERT, BRIDGE T R I L E Y: C OM P L E T E

PRIN TS 1 962-20 01, LONDON: RIDI N G HOU SE I N C OL L A B O RAT IO N WITH TH E H AY WA RD GAL L E RY, 2 001 , #5G , P G 7 0.

$5,000-7,000

171 VASARELY VICTOR TAU-CETI 1967 Serigraph #132 of 205 Signed lower right; title, date and edition lower left Image: 16.75” x 16.75”; Sheet 26” x 26”; Frame 26.25” x 26.25” $500-700

172 CHARLES HINMAN UNTITLED & COLOR DOOR (2) 1968-69 Lithograph and serigraph #46 of 60 and #59 of 65 Each with signature, date, title and edition Image: 18” x 24.25”; Sheet: 22.25” x 29”; Frame 24” x 31”; and Image: 24” x 18”; Frame: 30” x 22.25” $500-700

173 GARO ZAREH ANTREASIAN SHIELD 1965 Serigraph #28 of 210 Image: 27” x 19”; Sheet: 30.25” x 20.75”; Frame: 35” x 25.5” $500-700

174 TOD WILLIAMS UNTITLED 1969 Painted wood Signed and dated 15.25” x 7” x 7” $500-700

175 ROBERT GRAHAM UNTITLED 1973-74 Bronze relief AP aside from edition of 12 Signature inscribed 19.25” x 6” x 2.25” $8,000-12,000

176 ROBERT GRAHAM UNTITLED c. 1975 Porcelain relief in acrylic case Sold with an exhibition poster from the Nicholas Wilder gallery Object: approx 5.5” x 3.75” x .75”; Box: 7.25” x 6.25” x 2.75” $3,000-5,000

177 CHUCK ARNOLDI (CHARLES ARTHUR) UNTITLED 1977 Bronze sculpture #4 of 6 Signed with date and edition Object: 20” x 20” x 2”; with stand: 25.5” x 26” x 9” $5,000-10,000

Photography ÂŠ Grant Mudford.

178 JACK ZAJAC UNTITLED (FIGURE) 1955 Etching Signed and dated lower right Frame: 19” x 15” $500-700

179 ARTIST UNKNOWN UNTITLED (MAN’S HEAD AND FOREARM) 20th century Pencil on paper Signed lower left Signature looks like “Baker” Sheet: 4.75” x 3.75”; Frame: 8.375” x 7.375” $200-300

180 ARTIST UNKNOWN UNTITLED (2) 1962 Pen and ink on paper Each signed and dated Sheet: 13.75” x 10.75”; Frame: 19.75” x 16.75”; and Sheet: 16.75” x 13”; Frame: 22” x 18.625” $200-300

93 181 ARTIST UNKNOWN UNTITLED (FIGURE WITH HORNS) Bronze 22.5” x 15” x 10” $600-900

182 LEONARD EDMONDSON UNTITLED (ABSTRACT) 1953 Gouache on board Image: 12.25” x 20.375”; Frame: 18.5” x 26.5” $800-1,200

183 VARIOUS ARTISTS ELEVEN PRINTS BY ELEVEN PRINTMAKERS 1961 Portfolio of prints #17 of 100 Pratt Graphic Art Center, distributed by Associated American Artists Gallery Each print signed with date, title, and edition number (17/100) in pencil Portfolio of prints by American artists on Pratt Institute faculty: Arthur Deshaies, Leonard Edmundson, Fritz Eichenberg, Shegeru Izumi, Yasuhide Kobashi, Jacob Landau, Seong May, Michael Ponce de Leon, Walter Rogalski, Andrew Stasik, Ansei Uchima Sheet size: 20” x 14”; Portfolio: 21” x 14.75” $200-300

184 YNEZ JOHNSTON BEYOND THE GOBI c. 1960 Etching and aquatint #135 of 200 Signed lower right; edition lower left; title lower middle Image: 17.75” x 11.5” Sheet: 22” x 15.75”; Frame: 25.5” x 19” $500-700

185 SISTER MARY CORITA KENT AS A CEDAR OF LEBANON - RED 1953 Serigraph Signed lower right Sheet: 22.25” x 17.5”; Frame: 28.75” x 23.75”

186 SISTER MARY CORITA KENT TOBIAS

187 MICHAEL PONCE DE LEON ENCHANTED MOUNTAIN

C AT #53 - 03

1956 Serigraph Signed lower right; titled lower left Image: 5” x 10.5”; Frame: 12” x 17.5”

c. 1960 Collograph Signed lower left; title lower middle Image: 17” x 22.75”; Sheet: 20” x 25”; Frame: 23.5” x 29”

$500-700

Literature:

C OR I TA A RT C E N TE R

188 RUFINO TAMAYO MUJER CON SANDIA (WOMAN WITH WATERMELON) c. 1960 Lithograph #51 of 100 Signed lower right, edition lower left Image: 25” x 19.25”; Sheet: 26” x 20”; Frame: 36.5” x 30” $800-1,200

189 HELENA MARKSON HAMPSTEAD POND c. 1965 Etching #7 of 50 Signed lower right; edition lower left; title middle Image: 23.75” x 17.75”; Frame 32 x 23 $500-700

190 JULIAN TREVELYAN STONEHENGE 1961 Etching and aquatint John Brunsdon, printer #38 of 50 Signed lower right; edition lower left Image: 22.5” x 18.25”; Sheet: 30.5” x 22.5”; Frame: 31.5” x 23.5” Literature: TUR N E R ,

JU LI AN TR EVELYAN:

C ATALO GUE R AIS O N NÉ OF P R I NTS, H AM P S H IR E , S C O L AR P R E SS, 1 998, #1 38, P G 7 3.

$500-700

191 DERRICK GREAVES UNTITLED (COMPOSITION IN ORANGE AND BLACK) c. 1965-1975 Etching #8 of 20 Signed lower right; edition lower left Plate: 18.5” x 19.75”; Sheet: 22” x 31.5”; Frame: 24” x 33” $500-700

192 MICHAEL GOLDBERG TREES AND POPPIES 1959 Oil on board Signed lower right; titled and dated verso 20.25” x 15.5” $5,000-7,000

193 JOHN LEVEE UNTITLED (4) 1954-60 Gouache on paper, mixed media on paper and lithograph Each signed and dated; two are inscribed (greeting cards) A: Sheet: 22.75” x 30.75”; Frame: 27.75” x 35.75”; B: Image: 3.75” x 6.25”; Frame: 8.75” x 11” ; Two not illustrated: Sheet: 6” x 10”; Frame: 9” x 13” and Sheet: 10.5” x 8.875”; Frame: 13.5” x 11.5” $800-1,200

194 JOHN LEVEE VARIATIONS ON A CONTAINED CROSS I & UNTITLED (4 WORKS TOTAL) 1953-64 Oil on paper and three prints (B) #7 of 75 and (C) #18 of 30 Each signed and dated; one inscribed; “Variations” has an Andre Emmerich Gallery label verso A: Image: 7.25” x 7.75”; Frame: 19.75” x 18.25”; B: Plate: 3.5” x 5.125”; Frame: 16.5” x 10.5”; C: Sheet: 22” x 17.25”; Frame: 26” x 21.5; D: Image: 5” x 8.25”; Frame: 8” x 10.5” $800-1,200

Carol Summers (born 1925), a celebrated and innovative printmaker, creates luminous visions of his travels around California and the world. His unconventional printing method, referred to as “The Carol Summers Technique”, consists of “rubbing” the ink onto handmade paper and finishing it with a solvent of mineral spirits that cause the ink to bleed and blend. His ability to maintain sharp edges and bold shapes contribute to his “own interpretations of nature.” In describing the results of his technique that he has developed over the past fifty years, he said, “Many people have mistaken my work for watercolor. Uneven color is a feature I very much value.” His parents were both artists from Woodstock, New York who instilled in him etching skills and ingenuity he would later use in printmaking. He studied at Bard College under the instruction of celebrated artist Louis Schanker, and just three years later, Summers’ work was featured in an exhibition of American woodcuts at the Museum of Modern Art. In 1954 he received a grant from the Italian government to study and work in Italy, and in 1961 he returned as a Fulbright Fellow. His travels greatly influence his woodcuts; ancient ruins, Roman myths, and cascading landscapes are abstracted into bleeding and vivid compositions as depicted in Arch of Triumph (1963). Summers also illuminates childhood experiences and landscapes as subject matter for his prints. He recalls the artificat that is the subject of one of his earliest prints, My Father’s Golden Samovar (1954), “I grew up with this golden samovar and I thought it was a fabulous thing. I made this on some oriental paper my mother had, which was 50 years old. It was very delicate but appropriate for the subject matter.” He continues to live and work in Santa Cruz and his prints are exhibited in international museums such as the Brooklyn Museum of Art, Bibliothéque nationale de France in Paris, and the Los Angeles County Museum of Art. Literature: “Carol Summers” Davidsongalleries.com. Davidson Galleries, 2010. Web. 26 July 2011. Summers, Carol. Telephone interview. 26 Aug. 2011. Watrous, James. A Century of American Printmaking: 1880-1980. Madison: University of Wisconsin Press, 1984. Print.

195 CAROL SUMMERS ARCH OF TRIUMPH 1963 Color woodcut Proof; regular edition of 50 Signed lower right; edition and title lower left Image: 29.5” x 19.75”; Frame: 31.25” x 21.5” $500-700

196 CAROL SUMMERS MY FATHER’S GOLDEN SAMOVAR 1954 Woodcut with metal leaf #15 of 15 Signed lower right; edition and title lower left Image: 42.25” x 18.5”; Frame: 45.5” x 23.5” $500-700

197 CAROL SUMMERS HUDSON RIVER SUNSET 1958 Woodcut #8 of 50 Signed upper right; edition and title upper left Gallery label verso: “The Contemporaries New York” Sheet: 37” x 36.25”; Frame: 39.25” x 38” $500-700

In the forties and fifties, Sylvia Wald developed an experimental print making method, which garnered her recognition as an Abstract Expressionist printmaker. Wald’s works are featured in many national and international collections, including the Metropolitan Museum of Art, Museum of Modern Art, The Brooklyn Museum, Brooklyn, The Whitney Museum of American Art, The Solomon R.Guggenheim Museum, in New York, Philadelphia Museum of Art, Philadelphia, Pennsylvania, National Gallery of Art, Washington D.C, Worcester Art Museum, Worcester, and Rose Art Museum, Brandeis University, Waltham, Massachusetts, Grunewald Collection Museum, U.C.L.A., Los Angeles.

101

198 SYLVIA WALD CAUGHT SHADOW & SUN CAUGHT IN ROCK & URSPRUNG (3) 1953-5 Each color screenprint #3 of 5 and #6 of 15 Each signed and dated lower right; edition and title lower left A: Sheet: 20.25” x 26.25”; Frame: 27.75” x 33.75”; B: Image: 21.75” x 11.75”; Sheet: 26” x 18.75”; Frame: 30.5” x 23.5”; C: Image: 18.25” x 24”; Sheet: 20” x 26”; Frame: 22.5” x 28.75” $600-900

199 HOWARD WARSHAW UNTITLED (COLLAGE OF BULL) 1959 Mixed media collage Signed and dated upper left “W 59” Image: 8.5” x 4.5”; Frame: 14.75” x 9.75” $600-800

200 VICTOR ELMALEH UNTITLED (4) 1976 Watercolor on paper Each signed and dated A&B: Each 3.5” x 5.5”; Framed together 13” x 10”; C (Not illustrated): Image: 2.75” x 4.75”; Sheet: 4” x 6”; Frame: 5.25” x 7”; D (Not illustrated): Image 2” x 3.125”; Matt 5” x 7” $200-300

201 J FENDELL STRATA c. 1955-65 Oil pastel on paper Signed lower right, titled lower left Probably Jonas Fendell Sheet: 48.75” x 16”; Frame 54” x 20.25” $500-700

202 J FENDELL SCIENCE SYMBOLS ORIENTAL FEELING c. 1955-65 Ink on paper Signed lower right; title lower left Probably Jonas Fendell Sheet: 54.25” x 22.5”; Frame: 58.5” x 26.5” $500-700

203 WILLIAM DOLE MIRROR 1961 Collage and watercolor Signed and dated lower right; Rex Evans Gallery label verso Image: 12.75” x 17.5”; Frame: 19.75” x 24.75” Provenance:

R E X E VANS G ALLERY

$600-900

103

204 ARTIST UNKNOWN HEAD STUDIES 1958 Mixed media on paper, two-sided Signed and dated lower right; titled lower left; verso signed and dated lower right Frame: 14” x 11” $200-300

205 NORMAN ZAMMITT UNTITLED (NUDE FIGURES) 1961 Mixed media on paper Initaled “NZ 61” lower left Image 12.5” x 7.5”; Frame 16.25” x 11.125” $500-700

206 NORMAN ZAMMITT UNTITLED (ABSTRACT LANDSCAPE) 1961 Mixed media on paper Initaled “NZ 61” upper left Image: 6.25” x 9.375”; Frame 12.25” x 15.5” $500-700

207 NORMAN ZAMMITT UNTITLED (NUDE) 1961 Oil on paperboard Signed lower left Sold with 1969 exhibition brochure from Felix Landau Gallery. Board: 6.5” x 7.75”; Frame: 11.5” x 12.5” $500-700

208 NORMAN ZAMMITT ARRANGEMENT III & UNTITLED (3) Each 1960 Oil on panel & Lithograph Each initialed and dated “NZ 60” Lithograph edition #1 of 5 Pair of oils each 4” x 6”; Frame: 4.5” x 6.5”; Lithograph Image: 18” x 11”; Frame: 26.5” x 9” $500-700

209 CRAIG KAUFFMAN BOYANT SHAPES

210 BRUCE CONNER LANDSCAPE

c. 1953 Oil on panel Landau Gallery label verso Kauffman’s first one-man show of paintings was at Felix Landau in 1953. 10” x 27”; Frame 14.5” x 32”

1955 Embossed etching #11 of 11 Signed and dated lower right; edition lower middle Image: 6” x 4.5”; Sheet: 8.75” x 6.875”; Frame: 13.75” x 11.75”

$3,000-5,000

$500-700

211 MAUREEN O’HARA URE THEATRE 1980 Mixed media construction Signed, titled and dated verso 17.5” x 13.5” x 4” $500-700

105

212 JOHN PAUL JONES UNTITLED (PORTRAIT OF A GIRL) 1960 Watercolor and ink on Arches Signed and dated upper right; Sheet: 22.25” x 30”; Frame: 29” x 36.75” $600-900

213 JOHN PAUL JONES RED LADY 1960 Intaglio in color #4 of 20 Signed lower right; edition and title lower left Plate: 19.75” x 17”; Sheet: 23” x 21.25”; Frame: 26.5 x 24.5” Literature:

A MERI CA N PRINTS TODAY,

PUBL IS HED BY TH E PRINT COU NC I L OF AM ERICA , 1962, PG 30

$500-700

214 HAROLD ALTMAN UNTITLED (3) c. 1959-68 Ink drawing, etching, and pen on paper Etching edition (#3 of 50) Each signed lower right, one dated A: Sheet: 12.5” x 20.5”; Frame: 17” x 25” B: Image: 6.875” x 8.875”; Frame: 13” x 14” C: Three works each 5” x 3”; all framed together: 20.5” x 6.75” $500-700

215 SCOT CUMMINGS UNTITLED (10) c. 1964 Pencil on paper and ink on paper Nudes, portraits, and landscapes Five framed, five unframed Largest work: Frame: 21” x 19” $500-700

107 216 REGINALD POLLACK UNTITLED (5) c. 1960-65 Lithograph #24 of 60; #8 of 62; one no edition Each signed lower right; two with editIon A: Sheet: 11.5” x 7.875”; Frame: 15” x 11.5” B: Sheet: 10.5” x 14”; Frame: 17” x 20.25” C: Image 9” x 14”; Frame 14” x 19” Together with two small unframed color lithographs (not illustrated), both signed from editions of 60. $500-700

217 HAROLD JACOBS PORTRAIT OF A WOMAN c. 1960 Ink drawing Signed lower right John Heller Gallery stamp verso Image: 9.5” x 11.5”; Frame: 17.25” x 19.25” Together with a drawing of a woman by an unknown artist (Sheet 19” x 24.375”; Frame 26” x 31”) $500-700

Photography ÂŠ Grant Mudford.

109

PL: Can you tell me where the Richard

PL: It’s pretty great. I think it could be

RD: 50 dollars.

Tuttle came from?

one of the top ten pieces (in the sale) and

PL: Wow, that’s great. Do you remember

RD: The Parsons Gallery. In New York.

I’d like to do research and write a special

anyone else who bought them at the time?

BD: Betty Parsons.

entry for that piece, so it’s nice to know

Did you have friends who also bought

PL: Betty Parsons. And was that the show

that you bought it from that gallery show.

them?

with all of the different letters?

RD: Oh yes. Betty Parsons was one of the

RD: No.

RD: All of them.

hot dealers in New York with new people

PL: Because that show was a very popular

PL: So, you could just pick one or you

and she was very enthusiastic.

show. All those pieces sold out and they

could buy all of them?

PL: Can you recall the show itself, like

show up occasionally on the marketplace.

RD: I don’t think anyone would buy all of

anything about the show opening or who

It’s kind of a legendary show for him.

them. But you could, if you wanted to. But

you went with?

RD: Oh really?

most of us were buying individual pieces.

RD: What I used to do was duck out at

PL: Oh yeah.

PL: What attracted you to this one?

noon and run through the gallery. And

RD: Well, it was a spectacular show

RD: It was a heart. And I liked hearts.

I got to the Parsons Gallery and I had

because it was a pretty good size gallery, I

PL: I really like the case that it’s in. And

never seen that kind of work before so it

think it was on 57th, and he had pieces—

the light on top.

stopped me cold, so I immediately bought

just packed on the wall.

RD: I did that.

the heart. I thought of buying a second

PL: How was this piece hung? Was it

PL: I think it shows it off really

one because whenever I liked anything,

hung on the wall or was it on—

beautifully.

I always bought a second picture. But for

RD: On the wall.

RD: Yeah. What do you think that’s worth

some reason, I was running out of time so

PL: On the wall. And did they just have it

today?

I bought that.

resting on pins?

PL: I’d put an estimate of 15,000 to

PL: Do you remember how much it was at

RD: Yeah.

20,000. But I think it would go for more.

the time?

PL: I like it better in a box.

BD: Wow.

RD: You sure you want to hear?

RD: Yeah, so do I. Makes it more

RD: I love the piece.

PL: I’d love to know.

important.

218 RICHARD TUTTLE UNTITLED FROM LETTERS (THE TWENTY-SIX SERIES) 1966/67 Soldered metal Sold with postcard from Betty Parsons Gallery Object: 8.25” x 10.5” x 0.5” Plexibox: 9.5” x 12.75” x 5.25” Literature:

TH E A RT OF RI CH A RD T U T T L E,2 005,

T HE SAN FRA NCI SCO MU SU EM OF A RT, #57

Provenance:

BET T Y PA RSONS G A L L E RY

$15,000-20,000

219 JULIO LE PARC FORME EN CONTORSION SUR TRAMES ROUGES 1968 Boxed kinetic multiple with motorized aluminum motif # 57 of 250 Editions Denise René, Paris Editions Denise René label verso 39.5” x 12” x 6” $4,000-6,000

111

Minimalist artist DeWain Valentine (born 1936) draws inspiration from the Southern California landscape to create translucent glass, acrylic, and polyester resin sculptures. During his childhood in Colorado, Valentine was introduced to various industrial processes including mining, car repair, and fiberglass molding. His fascination with the interplay of color and light progressed under the instruction of Richard Diebenkorn at the University of Colorado. After he completed his studies at the Yale School of Art, Valentine moved to Los Angeles to teach Plastics at UCLA. Beginning in 1965, he achieved considerable success at gallery shows around Los Angeles with his precise forms created using highly toxic industrial materials. In addition to an upcoming show at the Getty Museum, Valentine’s work is displayed at the Los Angeles County Museum of Art, the Museum of Contemporary Art, the Whitney Museum of Art, and the Museum of Modern Art in New York. Literature: "DeWain Valentine: Early Resins 1968-1972 and New Work.” Acegallery.com. ACE Gallery, 2011. Web. 28 Aug. 2011.

220 DEWAIN VALENTINE CIRCLE c. 1970 Polyester resin 17.25” diameter x 1.75” $3,000-5,000

221 DEWAIN VALENTINE IRREGULAR SHAPE c. 1970-80 Polyester resin 18” x 14 x 3.5” $3,000-5,000

The West Coast artist John McCracken (1934-2011) has worked with a variety of materials and forms, but he is known primarily for his Minimalist monoliths of impeccable construction and finish, colored planks that occupy the realms of both painting and sculpture. After graduating from the California College of Arts and Crafts, he had his first solo Los Angeles exhibition at the Nicholas Wilder Gallery in 1965 and the following year he was featured in the Jewish Museum’s exhibit, “Primary Structures”, where he introduced his leaning planks to a wider audience. Blue brushstrokes interrupt the deep red of Untitled (Plank – Red with Blue) (1976), a deviation from his monochromatic surfaces and perhaps the last vestiges of his earlier Abstract Expressionist style. The overall construction, however, is distinctly Minimalist. Literature: “John McCracken.” Davidzwirner.com. David Zwirner Gallery, 2011. Web. 28 Aug. 2011. Knight, Christopher. “John McCracken dies at 76; contemporary artist made geometric sculptures.” Los Angeles Times, 10 Apr. 2011. Web. 28 Aug. 2011. Smith, Roberta. “John McCracken, Sculptor of Geometric Forms, Dies at 76.” New York Times, 10 Apr. 2011. Web. 28 Aug. 2011.

222 JOHN MCCRACKEN UNTITLED (PLANK - RED WITH BLUE) 1976 Signed and dated Polyester resin, fiberglass and plywood 25” x 5.5” x 1”; with stand 28” x 8.5” x 6” $18,000-25,000

113

223 ROY LICHTENSTEIN SHIPBOARD GIRL 1965 Offset lithograph in red, blue, yellow, and black Unnumbered edition Leo Castelli Gallery, New York, Publisher Signed lower right Image: 26” x 19.25”; Frame: 27.5” x 20.5” Literature:

WAL D MAN, CATALOG U E R AI-

S O N N E # 12 ; R OY L IC H TENSTEI N: DR AWI NG S AN D P R IN TS, N E W YO R K , CH EL SEA H OU SE P UB L IS H E R S, 19 6 9, #1 2, P G 221

$15,000-20,000

224 ROY LICHTENSTEIN SUNRISE 1965 Offset lithograph in red, blue and yellow Unknown edition size Leo Castelli Gallery, New York, publisher Signed lower right Image: 17.25” x 23.25”; Frame: 18.5” x 24.5” Literature: WAL D MAN,

C ATALOG U E R AI-

S O N N E # 12 ; R OY L IC H TENSTEI N: DR AWI NG S AN D P R IN TS, N E W YO R K , CH EL SEA H OU SE P UB L IS H E R S, 19 6 9, #1 5, P G 222

$4,000-6,000

225 ROY LICHTENSTEIN ARTIST-SIGNED SHIRT Signed remnant of sailor shirt Signature on the shirt flap Molly Barnes Gallery label verso Frame: 14.25” x 18.25” Provenance:

MO L LY B AR NES G ALLERY

$600-900

226 DILLON BLONDIE 1978 Stencil on laminated newsprint Signed, dated, titled verso Sheet: 20” x 24”; Frame: 20.5” x 24.5” $500-700

115

“One of the things that always happened to me when I bought a piece was that I would have a buzz.”

227 ANDY WARHOL CAMBELL’S SOUP CAN ON SHOPPING BAG 1966 Screenprint Unknown edition size Published by Institute of Contemporary Art, Boston Image: 16.5” x 9.5”; Bag: 24” x 17” Frame: 27.25” x 20.25” $2,000-3,000

228 GEORGE KARL PFAHLER UNTITLED (2) Each c. 1960s-70s Serigraph Each image: 23.5” x 23.5”; Frame: 23.75” x 23.75” $500-700

229 KYOHEI INUKAI KLE 1 & UNTITLED (3) c. 1969-70 Serigraph #18 of 75; #15 of 100; #16 of 100 Each signed with edition lower right A: Sheet 25.5” x 19.5”; Frame: 25” x 20” B: Sheet: 25.5” x 19.75”; Frame: 28.125” x 22.25” C: (NOT ILLUSTRATED) Image: 18.75” x 30.75”; Frame: 24.5” x 36.5” $500-700

230 EDIE DANIELI HAZMAT SIGN 1966-1967 Acrylic on board Edie Danieli printed verso 12.25” x 12.25” x 0.5” $500-700

231 ARTIST UNKNOWN UNTITLED (FOUR PIECE SCULPTURE) After 1950 Laminated wood blocks and metal base 9.25” x 6” x 6” $500-700

117

232 FRITZ RUOFF MULTIPLE FRM2 & MULTIPLE FRM3 (2) 1969 Mixed media Each #22 of 25 Domberger, Stuttgart Edition Domberger label verso with artist, edition, media, and date Image: 6.375” x 4.25” x .5”; Frame: 15.5” x 13.25” x 1” and Image: 6.5” x 4.25” x .5”; Frame: 15.5” x 13.125” x 1” $500-700

233 NICHOLAS KRUSCHENICK UNTITLED (2) c. 1970-75 Serigraph Each Image/Sheet: 25.5” x 19.5”; Frame: 28.25” x 22.25” $600-900

234 CHUCK PRENTISS KINETIC BOX c. 1969 Stainless steel with lights 12” x 12” x 8” $500-700

235 L DWORKIN REFLECTION II 1973 Metal with bulbs AP Signed, titled and dated verso Note on verso “Repair parts and instructions inside” Box 16” x 16” x 9.5” $500-700

236 ARTIST UNKNOWN INTERLOCKING METAL HEARTS late 20th century Metal on acrylic base Object: 3” x 5” x 3”; with base: 4.75” x 6” x 4” $500-700

237 TONY DELAP TRIPLE TROUBLE 1967 Serigraph E-75 Signed, titled and date lower right Sold with 1966 exhibition brochure from Felix Landau Gallery. Image: 21” x 21”; Frame: 22.75” x 22.75” $500-700

238 WADE SAUNDERS LANDSCAPE c. 1975 Lead sculpture 2.5” x 8.5” x 4.5”; with base: 6.75” x 12.25” x 7.75” $500-700

239 ARTIST UNKNOWN PORTRAIT PROFILE ON A QUARTER c. 1965 Silkscreen on Quarter Quarter is dated 1965 Object diameter: .875”; Case: 5.5” x 4.25” x 2” $200-300

119

240 BILLY APPLE KITE 1967 Silkscreen on vinyl Edition of 100 Commissioned by Multiples, New York Signed and dated on the end of the tail Sold with Multiples brochure for the work 34” x 18” x 4” $500-700

241 ARTIST UNKNOWN COLORADO Late 20th century Fiberboard sculpture Marked verso “Colorado” 18.5” x 24.75” x 6” $200-300

242 ASTRID PRESTON UNTITLED (PAINTED HAND) 1980 Enamel paint on honeycombed aluminum Signature and date inscribed verso 8.5” x 5.25” x .75” $200-300

243 JOHN FRIEL UNTITLED 1966 Acrylic on canvas Signed and dated verso 33.75” x 32.25” $500-700

244 LISA LOMBARDI UNTITLED (CHINESE LANTERN-STYLE LAMP) 1983 Wood Signed and dated 11.5” x 9” x 9” $500-700

245 JAMES NORMAN NUMBER 7 1963 Acrylic on canvas Signed, titled and dated on stretcher; Westerly Gallery New York label verso on stretcher Canvas: 36” x 36”; Frame 37” x 37” Provenance:

W E STE R LY G ALLERY, NEW

YO R K

$500-700

246 RAY SMITH UNTITLED 1967 Acrylic on board Molly Barnes Gallery label verso 12” x 12” Provenance:

MO L LY BAR NES G ALLERY

$500-700

121

247 MARK KOSTABI UNTITLED (2) 8/25/1988 and 7/6/1980 Each crayon on paper Each signed lower left and dated A: Sheet: 20.25” x 17.5”; Frame: 22.5” x 19.75”; B: Sheet: 25” x 17.5”; Frame: 27.25” x 19.75” $500-700

248 TOM HOLLAND UNTITLED 1977 Acrylic on aluminum Intialed and dated lower right 12.25” x 9” x .5” $500-700

249 JON HENRY #8A VARCS 1/25/1965 Painted wood collage on board Signed, dated, titled verso Collage: 12.75” x 13”; Frame: 20.5” x 20.5” $500-700

250 JON HENRY #22 5.18.65 Painted wood collage on board Signed lower right 11.75” x 23.75” $500-700

251 MICHAEL KELLEY NETTUE 1977 Signed, dated and titled verso upper right 42.25” x 36.5” x 2” $500-700

252 ARTIST UNKNOWN UNTITLED (SCULPTURE WITH SAND) after 1950 Sand, painted wood, glass with metal fastenings Box: 16.25” x 16.25” x 2.875” $200-300

253 ARTIST UNKNOWN UNTITLED (GEOMETRIC COMPOSITION) c. 1970-80 Bent plywood and laminate Dedicated: “To: Molly Barnes From: George C..”(signature indistinct) 24” x 24” x 3” $200-300

123

Photography ÂŠ Grant Mudford.

125

“So, I told about ten or fifteen people who loved the show and they all went in and they all bought and the show was sold out.” Known primarily for his multi-colored cast acrylic sculptures, Yugoslavian artist Vasa Mihich (born 1933) explores the interaction between light, color, and space. While studying and creating art in Belgrade, he visited Paris and was inspired by American art. In 1960, he moved to Los Angeles where his fascination with light and color came to fruition. After exhibiting his work at the Los Angeles County Museum of Art, he sold his first piece, a painted plywood sculpture entitled Crimson, Yellow, and Green (1965). Vasa is widely known for employing acrylic in his sculptures; however, his early painted wood constructions show strong parallels to the California Hard Edge painters, who were creating compositions marked by geometric shapes and abrupt transitions of color as a reaction to the gestural, more painterly style of the Abstract Expressionists. By 1967, he began working with acrylic, a more dynamic material that allowed him to maintain his Hard Edge aesthetic through the interplay of multi-colored translucence. Untitled #1494 (1980), essentially a freestanding California Hard Edge painting in acrylic, was created in his Los Angeles studio where he continues to work. Literature: Mihich, Vasa. Telephone interview. 26 Aug. 2011.

PL: What about Vasa? You have several Vasa works. RD: Yes. PL: Did you know Vasa and did you visit him? RD: Yes, I did know him and I visited him two or three times. And I saw another … at a show for him. PL: What year was that? RD: Probably in the 70s. He had a show in the Valley, and I saw it and I had never seen (his work) before. And it was beautifully written and mounted, which he had done. So I told about ten or fifteen people who loved the show and they all went in and they all bought and the show was sold out. PL: Wow, that’s great. And is at that show where you acquired the Tall Tower? RD: No, that was a gift from him.

254 VASA VELIZAR MIHICH (KNOWN AS VASA) UNTITLED #1494 1980 Laminated cast acrylic Signed, titled and dated 74” x 6.25” x 6.25 (78”h with stand) $4,000-6,000

127

255 VASA VELIZAR MIHICH (KNOWN AS VASA) UNTITLED (2) 1977-79 Each laminated cast acrylic Each signed and date inscribed 5.5” x 8” x 2.5” and 5.5” x 8” x 3” $500-800

256 CLAES OLDENBURG GEOMETRIC MOUSE - SCALE C 1971 Black anodized aluminum #108 of 120 “CO 108/120” signed 19” x 20” x 13” $8,000-12,000

257 CLAES OLDENBURG FIRE PLUG SOUVENIR “CHICAGO AUGUST 1968” 1968 Cast plaster and acrylic paint #51 of 100 Signed with edition Object: 8” x 8” x 6”; Case: 12.5” x 10.5” x 8” Provenance:

R IC H ARD FEI G EN

GAL L E RY, C H IC AGO

$5,000-8,000

129

258 MARIS BISHOFS UNTITLED (CARTOON) 1975 Screenprint #120 of 195 Signed and dated lower right; edition lower left Sheet: 13.75” x 19.75”; Frame: 14” x 20” $500-700

259 ROBERT MARKS 1-3 VAR 1968 Acrylic and metal Signature, date and title inscribed on bottom Typewritten note attached to bottom reads, “The cube is a vehicle to express two phenomena which take place when light is projected on to and through a three-dimensional object; shadow and reflection. With shadow and reflection as my subject it is my intent to restate the relationship of object and its phenomena.” 11.25” x 11” x 11” $500-700

260 MORILLA UNTITLED late 20th century Mixed media on base Stamped on bottom “Morilla” Object: 5.875” x 5.875” x 2.25”; with base: 8.25” x 7” x 5” $500-700

261 ARTIST UNKNOWN UNTITLED (4) second half of 20th century Mixed media A: 11” x 33.5”; Framed: 35” x 12.5; B: 24.5 x 17; Framed: 25.75” x 18.625”; C: 36.5” x 6.125”; Framed: 38.75” x 7.5”; D: 36.25” x 6.5”; Framed: 38.5” x 7.75” $200-300

262 PAMELA SWEET UNTITLED (TOWER) 1976 Papier-mâché Signed and dated inside 20.5” x 4.5” x 11.5” $500-700

263 GENE DAVIS UNTITLED (LINE PRINT) 1973 Lithograph #69 of 75 Signature, date and edition lower right Image: 22.5” x 32.25”; Sheet: 29.625” x 40.5”; Frame 30.25” x 41” $500-700

264 ANDREW STASIK UNTITLED Nov. 1959 Lithograph Artist’s Proof Signed lower right; edition and date lower left Image: 9.75” x 10.5”; Frame: 18.5” x 17” $500-700

131

265 VERNON LOBB CITYSCAPE mid 20th century Oil on panel Signed lower right Image: 6.75” x 6”; Frame: 11.25” x 10.5” $500-700

266 MAURICIO LASANSKY PORTRAIT OF AN ARTIST 1961 Color engraving and etching #12 of 50, 2nd edition Signed lower right, title and edition lower left Plate: 20” x 17”; Frame: 23” x 19.75” $500-700

267 ARTIST UNKNOWN SOLDIERS AT REST (TITLE INDISTINCT) 1956 Mixed media on paper Signed “ZD 56” lower left Markings on lower left are indistinct “Tiebert Amber Pak I . ZD. 56” Sheet: 14” x 22.75”; Frame: 19.5” x 28.5” $200-300

268 ARTIST UNKNOWN UNTITLED (DI LIDO) after 1950 Oil on panel “di Lido” lower left Image: 2.125” x 6.375”; Frame: 3.5” x 7.25” $200-300

269 ARTIST UNKNOWN UNTITLED (LANDSCAPE WITH FIGURE) c. 1900-1950 Oil on panel with decorative frame Board: 11.25” x 15”; Frame: 15” x 18.75” $200-300

270 ARTIST UNKNOWN UNTITLED (LANDSCAPE WITH SHEEP) c. 1900-1950 Oil on panel with decorative frame Panel: 10.5” x 12.5”; Frame: 15” x 17” $200-300

271 RORY MCEWEN UNTITLED (OP-ART SCULPTURE) 1969 Plexiglas #9 of 10 Signed and dated lower right; edition lower left 13” x 8.5” x 1.75” $500-700

272 MICHAEL FRAM PADLOCK 101 c. 1970 Found object mounted on acrylic “M. Fram” etched on lower edge of case Object: approx 2.25” x 1.5” x .5”; Box: 10” x 7” x 2.25” $500-700

273 ARTISTS UNKNOWN UNTITLED (2) after 1950 Mixed media in acrylic Music box casing: 5.75” x 1.75” x 1.75”; Curio box: 5” x 5” x 3.5” $200-300

133 274 ARTIST UNKNOWN UNTITLED (SCULPTURE WITH TWO LENSES) c. 1970-80 Mixed media Box: 15.25” x 7.25” x 3.25” $200-300

275 JOHN HAAS OR HARRIS UNTITLED (ACRYLIC SCULPTURE IN NINE PIECES) circa 1975-85 Acrylic with wood base Signature inscribed on bottom corner of largest piece Approximately 10” x 20” x 10”; with base 13.5” x 20.5” x 11” $200-300

276 ARTIST UNKNOWN UNTITLED after 1950 Acrylic sculpture 16”diameter x 3.75 $200-300

277 ARTIST UNKNOWN UNTITLED (2) 1961 Embossed print & Intaglio print #10 of 15 and #64 of 200 Each signed indistinctly lower right A: Plate: 6” x 6.25”; Frame: 15.5” x 11.75” B: Sheet: 16.5” x 22.25”; Frame: 18.75” x 24.75” $200-300

278 ARTIST UNKNOWN UNTITLED (ABSTRACT) 1963 Intaglio print on Carborundum #20 of 50 Signed lower right; edition lower left; date lower middle Plate: 8.5” x 6.5”; Frame: 12” x 9.75” $200-300

279 JOAN FARRAR NEMESIS I c. 1960 Color relief etching #17 of 20 Signed lower right; edition lower left; title lower middle Image: 2.125” x 1”; Frame: 8” x 6” $500-700

280 DAVID SILVERBERG THE 3 GRACES 1959 Etching Artist Proof #4 Signed and dated lower right; edition lower left; title lower middle Plate: 8.75” x 7.5”; Frame: 13” x 12” $500-700

281 ARTIST UNKNOWN COMET & INVITATION (2) 1950 Intaglio print & etching #1 of 4 and #1 of 20 Each signed, dated and titled lower left; edition lower middle Sheet: 13” x 14.75”; Frame: 17.5” x 19.25”; Plate: 7” x 9”; Sheet: 8.375” x 10.125”; Frame: 10.5” x 13” $200-300

282 ARTIST UNKNOWN UNTITLED (ABSTRACT FIGURAL) After 1950 Oil on canvas possibly laid down on Masonite No markings Canvas 22” x 28”; Frame 23.5” x 29.5” $200-300

135 283 RENE B. PICOT DRIVING IN ENGLAND 5/1/1980 Mixed media construction Signed, dated, titled verso “May 1980 Santa Monica” Work: 16.5” x 26”; Frame: 18.25” x 27.5” x 2.25” $500-700

284 BILL ECKERT YEE MEE LOU 1982 Colored pencil and acrylic on paper Signed and dated lower middle Molly Barnes Gallery Label verso, artist label verso Sheet: 10” x 10”; Frame: 14.25” x 14.25” Provenance:

MO L LY BAR NES G ALLERY

$500-700

285 JACK LEVINE MEDITATION 1964 Etching and drypoint on BFK Rives #52 of 250 Printed by Emiliano Sorini, NY; Published by A. Lubin, Inc., NY Signed lower right Image: 7.125” x 4.875”; Sheet: 14.75” x 9.5”; Frame: 14.75” x 11.75” Literature:

TH E COMPLETE GRA P HI C

WO RK O F JACK LEVINE 24, DOVER P U B L ICAT IO NS, INC, NEW YORK , 1984, # 24 .

$500-700

286 MAURITS CORNELIS ESCHER ENCOUNTER 1957 Lithograph Arta, Zurich #19 of 200 Signed with edition lower left There was also an edition printed in 1944 Image: 18.5” x 13.275”; Sheet 18.5” x 22.375” $500-700

287 ARTIST UNKNOWN UNTITLED (3) (INTERIORS AND LANDSCAPE) Late 20th century Ink on paper A signed B.B. lower left A: Image: 18” x 14”; Frame: 18.25” x 14.25”; B: Image: 14” x 11”; Frame: 14.25” x 11.25”; C: Image: 13.375” x 11”; Frame: 13.875” x 11.25 $200-300

288 JEAN MARZELLE & JIM FORSBERG & ARTIST UNKNOWN UNTITLED (3) after 1950 Lithograph, and Woodcut #16 of 50; #2 of 5; #5 of 20 Each with signature, date and edition A: Image: 9.625” x 15.5”; Frame: 17.25” x 21.75” B: Image: 18” 14”; Sheet: 21" x 17.25"; Frame: 27.5” x 23.5”; C: Sheet: 34.5” x 23.25”; Frame: 39.5” x 28.5” $200-300

289 HERBERT SIEBNER UNTITLED (PORTFOLIO OF 5 PRINTS) 1961 Serigraph #21 of 100 Each signed and dated lower right; edition lower left; title lower middle Each sheet: 26.175” x 10.5” $500-700

137

290 KEN STARBIRD UNTITLED (2) Late 20th Century Stoneware and wood Blue: 14.5” x 5.5” x 4”; White: 15.5” x 4” x 4” $500-700

291 AMERICANA PAIR OF PAINTED METAL DOOR STOPPERS 20th Century No markings Each 11.25”h x 6.5”l x 2”d $200-300

292 NORMAN SUNSHINE UNTITLED (FIGURE IN FRONT OF A HOUSE) c. 1975-85 Crayon and pencil on paper Signed lower right Image 13.25” x 16.5”; Frame 18.375” x 22.375” $500-700

293 ANDRE GISSON BEACH SCENE Late 20th century Oil on canvas Signed lower left Image: 9” x 12”; Frame: 11.25” x 14.5” $500-700

140 WILLIAM WEGMAN DOG CABIN, 1979 Printed 1982 Silver Gelatin print #19 of 20 Signature, date and edition verso Image 7.25” x 6.75”; Frame 20” x 17” $3,000-4,000

294 MICHAEL PETERS UNTITLED (COMIC STRIP) after 1950 Pen and ink on paper Michael Peters labeled verso Sheet: 11” x 14”; Frame: 11.25” x 14.25” $500-700

295 MICHAEL PETERS UNTITLED (COMIC STRIP) after 1950 Pen and ink on paper Michael Peters labeled verso Sheet: 11” x 14”; Frame: 11.25” x 14.25” $500-700

296 BEN ROBERTS UNTITLED , “WE ARE NOT ALONE”, “THINGS TO COME”, “NARROW PASSAGE”, AND “AWAKENING” (5 WORKS) c. 1965 Gouache on paper Initialed “BR” lower left A: Image: 9.25” x 13.25”; Frame: 13” x 17”; B: Image: 9.25” x 12.5”; Frame: 14.75” x 18.75”; C: Image: 7.75” x 9.75”; Frame: 11.5” x 13.5”; D: Image: 11.5” x 8”; Frame: 17” x 14”; E: Image: 8.25” x 11.25”; Frame: 13.75” x 16.75” $500-700

139

297 BIANCA DORSO UNTITLED DRAWING Late 20th century Ink on paper Signed in pencil middle right Sheet: 8.75” x 12” Frame: 16” x 12” $500-700

298 ARTIST UNKNOWN UNTITLED (HANDS, DOGS AND GIRLS) 1965 Lithograph #2 of 20 Signed and dated lower right; edition lower left Image: 16” x 14”; Frame: 22.5” x 20.5” $200-300

299 GRISHA DOTZENKO, ATTRIBUTED SHEPHERD 1959 Woodblock #3 of 37 Signed and dated lower Image: 23.25” x 7.5”; Frame: 36.25” x 14.875” $200-300

300 ARTIST UNKNOWN PIETRA DURAS (2) after 1950 Mosaic of polished stone B: Montici mark lower right A: 2.5” x 3.75”; Frame: 5.75” x 6.75”; B: 7.875” x 4.75”; Frame: 13” x 9.75” $200-300

301 JOAN DREW ANTIQUE SUN

302 RONALD MIYASHIRO ABSTRACT PASTEL AND CHARCOAL

1958 Serigraph #6 of 12 Signed and dated lower right; edition and title lower left Sold with unframed “Later” from 1958, #16 of 19. Image: 17.25” x 18.25”; Frame: 18.5” x 19.5”

1961 Pastel and charcoal Label from entry into “1961 Annual Exhibition, Artists of Los Angeles and Vicinity” verso Image: 12.5” x 14.5”; Frame: 20” x 22” $500-700

$500-700

303 FRANK ROTH ABSTRACT ETCHING 1962 Etching #9 of 50 Etching Image: 8.625” x 9.75”; Frame: 13.75” x 14.125” $500-700

304 GABOR PETERDI ANGRY WAVE 1959 Etching and engraving Possibly an artist’s proof Signed and dated lower right; title lower middle Plate: 11.75” x 16.75”; Sheet: 15.25” x 20”; Frame: 18.25” x 22.75” $500-700

305 MISCH KOHN LITTLE LION 1958 Sugar lift aquatint #30 Imp. Signed and dated lower right; edition lower left; title lower middle Image: 13.75” x 16.75”; Frame: 21.5” x 23.75” $500-700

306 GUILLERMO SILVA JARDIN (2) 1960 Etching Signed and dated lower right, “G. Silva S. 60” Sold with unframed etching, “La Nino de la Patineta” 1960, #43 of 100 Image: 1.5” x 3.375”; Frame: 5.75” x 9” $500-700

141

307 YOZO HAMAGUCHI UNKNOWN TITLE & ARTICHOKE & POMEGRANATE (3) 1957 Mezzotint A: #45 of 50; B: #43 of 50; C: #45 of 50 Each signed lower right A: Image: 11.5” x 11.5” Frame: 19” x 19”; B: Image: 11.5” x 15.5” Frame: 19” x 23”; C: Image: 11.5” x 13.5” Frame: 20” x 21.75” $2,000-3,000

308 GEN YAMAGUCHI UNTITLED (2) 1959 Woodblock A: #1 of 1 Each signed and dated with stamp lower right; one wtih edition lower left Each sheet: 14.5” x 12.75”; Frame: 18” x 16.5” $500-700

309 KATSUMA RYUSUI (ATTRIB.) & ARTIST UNKNOWN FROM UMI NO SACHI (TREASURES OF THE SEA) & UNTITLED (4) late 18th & 20th century Woodblock and Watercolor on fabric C: Helene C. Seiferheld, New York gallery label verso with attribution, “Riusui, Japanese early XVIII century for ‘Oumi no satchi,’ or ‘Fortunes of the Sea’, coll. Gouillard”. A: 30” x 12”; Frame: 39” x 15” B: Each: 37.5” x 7.125”, Frame: 40.375” x 9.5” C: Sheet: 3.75” x 5”; Matt: 10” x 11.5” $500-700

310 SHIKO MUNAKATA UNTITLED 1956 Woodblock Signed lower left, dated lower middle with artist’s red chop mark Sheet: 10.75” x 11”; Frame: 17.5” x 18” $1,500-2,000

311 SHIKO MUNAKATA THREE DIETIES 1959 Woodcut Signed lower left in pencil with artist’s stamp Image: 11.75” x 7.75”; Frame: 17” x 13” $1,500-2,000

312 SADAO WATANABE FIVE FISH 1961 Stencil on Momigami paper Edition lower right is unclear Signed and dated lower right Sheet: 22.5” x 23.”; Frame: 29.25” x 29.75” $500-700

143

Photography by Bianca Dorso

194 BOB STOCKSDALE TURNED WOOD BOWL Studio, executed circa 1968 Para Kingwood, Brazil Signed 2.75”h x 5.5” x 5” $700-900

195 ARTHUR ESPENET CARPENTER TURNED WOOD VASE Studio, executed circa 1960 Signed “Espenet” 6.25”h x 1.5”diameter $1,000-1,500

196 DANIEL LOOMIS VALENZA COVERED BOWL Studio, executed circa 1960s 5.5”h x 15”l x 7”w $1,000-1,500

313 ASIAN STYLE GROUP OF DECORATIVE BOXES (7) 20th Century Largest: 14” x 28” x 14” $200-300

314 ASIAN STYLE GROUP OF ORNAMENTAL FIGURES (7) 20th Century Wood, stone and ceramic Tallest: 16” $200-300

315 ASIAN STYLE GROUP OF ORNAMENTAL METAL FIGURES (5) 20th Century No markings Largest: 17” x 10” diameter $200-300

316 ASIAN STYLE PAIR OF TABLE LAMPS 20th Century Each 31” x 15.25” $200-300

317 ASIAN STYLE PAIR OF WOOD CANDLESTICKS 20th Century No markings Each 14”h $200-300

145

318 ASIAN STYLE TWO PANEL RED LACQUERED SCREEN 20th Century Manufacturer unknown Decorated with trees and birds 70.5” x 66” (open) $200-300

319 ASIAN STYLE TWO PANEL UPHOLSTERED SCREEN NOT ILLUSTRATED 20th Century Manufacturer unknown 72” x 44” (open) $200-300

320 ASIAN STYLE GROUP OF 30 DECORATIVE MINIATURE BOXES 20th Century Various sizes; largest 2.5” x 6” x 7” $200-300

321 ASIAN STYLE TABLE LAMP 20th Century 33” x 9” $200-300

322 ASIAN STYLE ORNAMENTAL FIGURES (5) & UNTITLED (2) 20th Century Tallest figure: 16” Together with Woodblock print and Watercolor and ink on paper works Sheet: 6.25” x 5.5”; Frame: 10.375” x 8” and Image: 10” x 14.75”; Frame: 14” x 18.25” $200-300

323 ASIAN STYLE LIDDED JAR 20th Century 8” x 8.5” $200-300

200 EDWARD MOULTHROP TURNED WOOD BOWL

201 EDWARD MOULTHROP TURNED WOOD BOWL

Studio, circa 1970 Maple Ash, signed 8.25”h x 13”diameter

Studio, circa 1970 Red Maple, signed 8”h x 12”diameter

$3,000-5,000

14 7

Photography by Bianca Dorso

324 ASIAN STYLE DECORATIVE VASES (3) 20th Century 24” x 8” diameter; 23.5” x 8” diameter; and 24” x 10” diameter $200-300

325 ASIAN STYLE PAIR OF FOO DOGS 20th Century Marked Each 11” x 10” x 8” $200-300

326 ASIAN STYLE GROUP OF PLATES (6) 20th Century Two 12” diameter; Two (not illustrated) 11.25” diameter; One (not illustrated) 3” x 9” x 9”; One (not illustrated) 8.5” diameter $200-300

327 ASIAN STYLE DECORATIVE LIDDED VASE AND PAIR OF LAMPS(3) 20th Century Vase: 18”x 9.5” diameter; Lamps: Each 23.25” x 9” diameter $200-300

149

328 ASIAN STYLE GROUP OF LIDDED VESSELS (5) 20th Century Ceramic Tallest: 16” $200-300

329 ASIAN STYLE PAIR OF BOWLS 20th Century 7.5” x 13.5” and 6” x 11.75” $200-300

330 ASIAN STYLE GROUP OF TABLE LAMPS (3) 20th Century 23.75” x 6.5”; 31.5” x 5.75”; and 21.75” x 6” $200-300

331 AFRICAN DECORATIVE KNIFE 20th Century 21” x 9.25” x 6” $200-300

332 ASIAN STYLE GROUP OF VASES (3) 20th Century 22” x 12”; 16” x 10”; and 13.5” x 7.5” $200-300

151

214 PAUL SOLDNER UNTITLED Executed circa 1962 Wheel-thrown and assembled stoneware sculpture Studio 51”h Provenance: P R IVATE

COLLECTI ON,

C AL IFO R N IA (GIF T FR OM TH E ARTI ST C IR C A 19 6 5 )

$5,000-10,000

Photography by Bianca Dorso

333 ITALIAN STYLE TWO DRAWER CHEST 20th Century Manufacturer unknown Paper label verso “Made in Italy” Peach painted wood with bird, butterfly and leaf decoration 29” x 31” x 18” $200-300

334 ASIAN STYLE PAIR OF LAMPS (2) 20th Century 33” x 7.5” and 34” x 19.25” $200-300

Photography by Bianca Dorso

335 ASIAN STYLE PAIR OF LAMPS (2) 20th Century Each 34” x 18” $200-300

336 ASIAN STYLE TILT TABLE WITH DECORATION 20th Century Manufacturer unknown 29.5”h x 27” x 19.5” (as a table) $200-300

153 337 ASIAN STYLE TILT TABLE WITH DECORATION 20th Century Manufacturer unknown 27”h x 31” x 24” (as a table) $200-300

338 VARIOUS MAKERS GROUP OF WATCHES (18) 19th-20th Century “Westclox Society” and “Made In U.S.A.”; “AFRS” (globe shaped one); “Switzerland”; “Elgin” (three works); “Waltham”; “United States Watch Co, New York, U.S.A.”; “American Waltham W. Co”; “Hebdomas Alsta/Swiss Made” with the initials “RS AF” (like other one); “Waltham Shock Resistant” “17 Jewels” “Swiss” and “Antimagnetic”; “Made in USA” (square one with burgundy & cream box); “Movado Switzerland” (slide out faux alligator box); “Elgin U.S.A.” and “15 Jewels” and “Wadsworth” Various sizes & manufacturers $200-300

339 ASIAN STYLE HIGHBACK LOUNGE CHAIR 20th Century Manufacturer unknown 40.5” x 31” x 28” $200-300

340 ASIAN STYLE PAIR OF HIGH BACK LOUNGE CHAIRS 20th Century Manufacturer unknown Each 41” x 23” x 24” $200-300

341 ASIAN STYLE GROUP OF DOG FIGURES (11)

342 ASIAN STYLE GROUP OF CAT SHAPED OBJECTS (21)

20th Century Comprised of 7 ceramic figures (including Pug), 2 metal figures, 1 pillow and 1 wood relief Various sizes; tallest 16.5” (pug)

20th Century Comprised of 10 ceramic figures, 3 pillows, 2 metal door stoppers, 2 shaped painted wood wall mounted figures, and 4 painted metal wall mounted figures Various sizes; tallest 14”

$200-300

343 ASIAN STYLE GROUP OF HEART SHAPED OBJECTS (31) 20th Century Various sizes; tallest 3.5” $200-300

344 ENGLISH STYLE CHEST OF DRAWERS 19th Century Manufacturer unknown 33” x 71” x 23.5” $200-300

345 ENGLISH STYLE ARMOIR 19th Century Manufacturer unknown 48” x 50.5” x 24” $200-300

155

Photography by Bianca Dorso

"The Dorso’s apartments, whether here or in New York, were also works of art, crammed with elegantly lit little paintings, drawings and objets." -Norman Lear

224 WILLIAM “BILLY” HAINES, DECORATOR DINING ROOM SIDEBOARD Manufacturer unknown, circa 1950 32”h x 60” x 18” Provenance: F HUG H A ND MA RY H ERBERT, BE L A I R

$1,500-2,000

ID 3755 MASSIMO VITALI UNTITLED (CARS) Circa 1995 Color photograph #110 of 120; sheet 30 Label verso “Massimo Vitali Steidl Verlag, Gottingen For Brancolini Grimaldi” with edition and sheet number Image 25.75” x 33.5”; frame 27.75” x 35.5” $2,000-3,000

346 DIANNE LAWRENCE HOUSE AND BUSH 1982 Painted board #11 of 81 Signed with edition verso Label verso with artist, title, date 25.75” x 25” x 4.5” $500-700

347 ARTIST UNKNOWN E second half of 20th century Painted resin 17” x 14.75” x 2” $200-300

348 GERMAN AND ENGLISH GROUP OF 26 MUGS 20th Century Various sizes; tallest 6.5” $200-300

349 TAI LLNG WONG & OTHERS FACES TO GO MASK FESTIVAL & OTHER UNTITLED MASKS (3) Late 20th century Mixed media 4 mask sculptures: case: 16” x 16” x 6”; Wong: 17.5” x 6.5” x 3.5”; Case: 22.5” x 11.5” x 4.5” Mask: 9.5" x 11"; Case: 14.25" x 16" x 4.75" $500-700

350 ARTIST UNKNOWN UNTITLED (STONES WITH PAINTED FACES) (3) c. 1990s Each paint and stone B: Signed “Nudella” or “Nodella” with date on mount C: Signed with initials “BN” on stone A: Frame: 11.5” x 8.75” x 6”; B: Object: approx. 2.5” x 1.5” x 1.5”; Frame with stand: 8.5” x 5.5” x 8”; C: Object: approx. 2” x 1.25” x .75”; Box: 6.5” x 4” x 4” $200-300

157

351 ASIAN STYLE GROUP OF DECORATIVE BOXES (8)

352 CORINTHIAN STYLE TALL PLINTH WITH HIDDEN DOOR

20th Century Largest: 16” x 25” x 14”

20th Century Manufacturer unknown 35.75”x 10.5” x 12”

$200-300

353 FRENCH STYLE UPHOLSTERED SETTEE 20th Century Manufacturer unknown 31”x 46”x 23” $200-300

354 ENGLISH STYLE SMALL SIDE BOARD ON WHEELS 19th Century Manufacturer unknown 35”x 35.5”x 17.5” $200-300

355 ENGLISH STYLE EXECUTIVE DESK

356 ASIAN STYLE MAGAZINE RACK

20th Century Manufacturer unknown 30.5” x 61”x 36”

20th Century Manufacturer unknown 33.5” x 21” x 18”

$200-300

357 ASIAN STYLE GROUP OF GLASS GLOBES/ORBS (38) 20th Century One marked “Tiffany & Co” (tennis ball) and other marked “Murano Glass Made in Italy”; most others not marked Various sizes; tallest 6” $200-300

358 SPANISH STYLE SQUARE TALL SIDE TABLE WITH TURNED LEGS 19th Century Manufacturer unknown 28” x 19.5” x 19.5” $200-300

359 DUTCH STYLE DINING TABLE WITH INLAID DETAIL 19th Century Manufacturer unknown 31” x 65” x 28” $200-300

360 FRENCH STYLE GROUP OF SIDE CHAIRS (4) 20th Century Manufacturer unknown A: 35.5” x 23” x 20”; B: 33” x 18.5”x 21”; C: 35” x 18” x 17”; D: 35” x 19.5” x 16” $200-300

361 FRENCH STYLE PAIR OF DINING ARMCHAIRS AND SETTEE 20th Century Manufacturer unknown Each chair: 35” x 24”x 20”; Settee: 33” x 45” x 26” $200-300

362 FRENCH STYLE LOUNGE CHAIR 20th Century Manufacturer unknown 39” x 29” x 22” $200-300

363 FRENCH COUNTRY STYLE HIGHBOY CABINET 19th Century Manufacturer unknown Retains “Made in Italy’ sticker verso and remnants of Macy’s New York shipping label 43” x 44.75” x 19.25” $200-300

159

364 ASIAN STYLE PAIR OF SIDE TABLES WITH UPHOLSTERED TOP

365 ASIAN STYLE OVAL OCCASIONAL SIDE TABLE WITH INSET CERAMIC TOP

20th Century Manufacturer unknown 20” x 17” x 13” (black lacquered) and 18.5” x 14” x 14”

20th Century Manufacturer unknown 23” x 15.5” x 11.5” $200-300

$200-300

366 ASIAN STYLE NESTING TABLES

367 ITALIAN STYLE PAIR OF RECTANGULAR STOOLS

20th Century Manufacturer unknown Tallest 22” x 14.5” x 12”

20th Century Manufacturer unknown Each 18” x 17.5” x 18”

$200-300

368 ASIAN STYLE SMALL SQUARE STOOL WITH UPHOLSTERED TOP

369 ASIAN STYLE PAIR OF LOW OCCASIONAL HEXIGONAL-SHAPED STOOLS

20th Century Manufacturer unknown 17” x 17” x 17”

20th Century Manufacturer unknown Each retains “Archer, Cowley & Co., Depository, Oxford” label Each 12.25”x 12”diameter

$200-300

370 ITALIAN STYLE OCCASIONAL STOOL WITH UPHOLSTERED TOP

371 ENGLISH STYLE HALL TABLE WITH DROP LEAVES AND DRAWER

20th Century Manufacturer unknown 18.5” x 21” x 15”

20th Century Manufacturer unknown 29” x 44” (open) x 34.5”

$200-300

372 ASIAN STYLE SMALL RECTANGULAR OCCASIONAL TABLE

373 ENGLISH STYLE RECTANGULAR LOW TABLE WITH HINGED TOP

20th Century Manufacturer unknown 12” x 26” x 12.5”

20th Century Manufacturer unknown 11” x 27” x 15”

$200-300

374 ASIAN STYLE SMALL RED RECTANGULAR OCCASIONAL TABLE

375 ASIAN STYLE RECTANGULAR SIDE TABLE

20th Century Manufacturer unknown 15” x 33” x 16.75”

20th Century Manufacturer unknown 18” x 24” x 18” $200-300

$200-300

376 ASIAN STYLE OCCASIONAL SIDE TABLE 20th Century Manufacturer unknown 19”x 10” x 14” $200-300

377 MORROCAN STYLE OCCASIONAL HEXAGONAL SIDE TABLE 20th Century Manufacturer unknown 16.5” x 16” x 16” $200-300

378 AESTHETIC STYLE DARK LACQUERED WOOD SIDEBOARD ON WHEELS

379 ASIAN STYLE SIDE CHAIR AND ROUND OCCASIONAL TABLE

20th Century Manufacturer unknown 29”h x 36” x 18”

20th Century Manufacturer unknown Chair: 33.5” x 17”w x 21”d; Table 19”h x 17”diameter

$200-300

161

380 ASIAN STYLE FOUR PANEL REVERSIBLE FOLDING SCREEN 20th Century Manufacturer unknown Four sections: each section 72” and 72”h $200-300

381 ASIAN STYLE TWO PANEL SCREEN 20th Century Manufacturer unknown Each panel 71.5” x 27.25” $200-300

382 ASIAN STYLE HINGED TABLE TOP MIRROR 20th Century Manufacturer unknown As illustrated 28.5” x 25” x 17” $200-300

383 ASIAN STYLE DECORATIVE JAR AND BOWL (2) 20th Century 18” x 9”; 3” x 12.75” $200-300

384 ASIAN STYLE LONG COFFEE TABLE BENCH 20th Century Manufacturer unknown 20.75” x 70.75” x 22” $200-300

385 ENGLISH STYLE SECRETARY DESK 19th Century Manufacturer unknown 35.75” x 34.25” x 15.5” $200-300

386 AESTHETIC STYLE PAIR OF SIDE CHAIRS 19th Century Manufacturer unknown Each 36” x 18” x 18” $200-300

387 ASIAN STYLE COFFEE TABLE 19th Century Manufacturer unknown 18.75” x 31” x 24” $200-300

388 AESTHETIC STYLE GROUP OF 8 SIDE CHAIRS 19th Century Manufacturer unknown Each 36”x 15”x 16” $200-300

389 ASIAN STYLE OCCASIONAL ROUND SIDE TABLE WITH TILT TOP 19th Century Manufacturer unknown 27” x 26”diameter $200-300

390 ENGLISH STYLE PAIR OF SIDE CHAIRS 19th Century Manufacturer unknown Each 34” x 19” x 19” $200-300

391 MID-CENTURY AMERICAN BACKGAMMON TABLE SET 20th Century Manufacturer unknown 30.75” x 21” x 39.5” $200-300

163

392 ARTIST UNKNOWN UNTITLED unknown date Framed in box: 6.25” x 9” x 3” $200-300

393 ARTIST UNKNOWN UNTITLED (MADONNA AND CHILD) Oil on panel Image: 9.25” x 6.75”; Frame: 12.5” x 10.5” $200-300

394 ASIAN STYLE DECORATIVE OBJECTS (8 TOTAL) 20th Century Candlesticks: Each 11”h; Four vases: Tallest 11”; Table lamp: 16.75” x 9.25”; Bowl (Not Illustrated): 14” x 9.5” $200-300

395 ASIAN STYLE TALL SECRETARY DESK 20th Century Manufacturer unknown 55” x 39” x 17” (closed) $200-300

396 PERSIAN STYLE AREA RUGS (15) One 55” x 32”; and others of various dimensions $200-300

397 ROY LEAF UNTITLED (ABSTRACT)

398 M. GANT LOVE

399 ARTIST UNKNOWN E MAIL

1961 Oil on canvas Signed and dated verso and recto 17.75” x 15.75”

Needlepoint Stitched signature lower right “LOVE” weaving Frame: 16.75” x 16.75”

$500-700

$200-300

Etching #15 of 30 Signed lower right; titled lower middle; edition lower left Image 15.5” x 12.5” ; Frame 26.5” x 20.25” $200-300

400 BEN SHAHN FUTILITY NOT ILLUSTRATED 1960 Woodcut #1 of 300 International Graphic Arts Society, publisher; Stefan Martin, printer Signed in red lower left; title and edition lower middle, printer lower right Image: 4.75” x 5.75”; Sheet: 10” x 12.5”

401 MICHAEL FRAM SHADOW BOX SCULPTURE ALONG WITH MOLLY BARNES GALLERY FLYER FOR A 1968 EXHIBITION

402 RYONOSUKE FUKUI UNTITLED (ABSTRACT)

NOT ILLUSTRATED 5/1/1968 Mixed media Signed and dated verso 12.5” x 12.5” x 6.25”

NOT ILLUSTRATED c. 1960s-70s Color etching #2 of 5 Signed lower right, edition lower left Image: 5.675” x 5.25”; 11.25” x 10.5”

$500-700

403 LARK ZIGON, ATTRIBUTED RESURRECTION

404 ROLF CAVAEL LITHOFA 61/44

405 PETER NEUFELD & BRIANA KAUFMANN METAL SCULPTURE

NOT ILLUSTRATED 1960 Etching #74 of 100 Signed and dated lower right, edition lower left, title lower middle Plate: 11.5” x 15.5”; Sheet: 13.75” x 19.5”

NOT ILLUSTRATED 1961 Color lithograph #16 of 200 Initialed lower right, edition lower left, title lower middle Image: 17” x 12”; Sheet: 22.5” x 16.5”

$500-700

NOT ILLUSTRATED Late 20th- Early 21st century Recycled metals Neufeld Kaufmann label on reverse Spoon sculpture by Peter Neufeld and Briana Kaufmann of Emeryville Metal Sculptors. 12.375” x 8.75” x 1.375” $200-300

165

406 SURVEY OF EUROPEAN ART BOOKS PABLO PICASSO AND OTHERS (9) Including Picasso’s Posters, Czwiklitzer, Random House, 1971 and Pablo Picasso Les Dejeuners, Editions Cercle d’Art, 1962 (with slip case) $200-300

407 BRIGITTE COUDRAIN NACHTLEGENDEN AUS DER VENDÉE NOT ILLUSTRATED 1964 Folio with signed etchings on BFK Rives paper in cloth clamshell box #18 of 100 Manus Presse, Stuttgart Signed with edition Hardcover: 16” x 9.5” x 1” $500-700

408 20TH CENTURY ART PUBLICATIONS ART IN AMERICA AND OTHERS(80) NOT ILLUSTRATED Including Art In America quarterlies from 1960 to 1965, other art quarterlies, various gallery exhibition catalogues $200-300

409 SURVEY OF EUROPEAN ART BOOKS ALBERTO GIACOMETTI AND OTHERS (28) Including Giacometti: The Complete Graphics, Lust, Tudor Publishing, 1970 $200-300

410 SURVEY OF MODERN ART KAREL APPEL AND VICTOR PASMORE AND OTHERS (17) Including Karel Appel: Works on Paper, Marshall McLuhan, Abbeville Press, 1980 and Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions and Graphics 1926-1979, Bowness, Rizzoli, 1980 $200-300

411 VARIOUS ARTISTS UNTITLED (7) second half of 20th century Lithographs Editions vary Dimensions vary See full listing online $200-300

167

412 ASIAN STYLE GROUP OF TABLE LAMPS (3) 20th Century 42” x 18.25; 40.5” x 18.25”; 34.5” x 18” $200-300

413 ASIAN STYLE GROUP OF TABLE LAMPS (3) 20th Century 27.25” x 18.25”; pair 28.25” x 9” $200-300

414 ASIAN STYLE GROUP OF TABLE LAMPS (3) 20th Century 21.25” x 9”; 24.25” x 12”; 22” x 9.5” $200-300

415 ASIAN STYLE PAIR OF TABLE LAMPS (2) 20th Century Each 37.75” x 19.25” $200-300

169

Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed in this catalogue to be sold by Modern Auctions, Inc. (L.A. Modern Auctions or “LAMA”). We are acting as an agent on behalf of our consignors.

PAYMENT All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request, please phone (323) 904-1950. If payment is not received by October 17th collection and storage fees will begin incurring.

BUYER’S PREMIUM A buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 22.5% if payment by cash, check or bank wire is received by October 17th. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card or if full payment is not received by October 17, 2011. (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax or e-mail).

CALIFORNIA SALES TAX Sales tax of 8.75% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied.

ESTIMATES & RESERVES The estimates printed after each lot should be used as a guide only and should not be relied upon as a prediction of final selling prices. Many of the lots offered for sale carry a reserve and are confidential. The reserve is a minimum price at which the seller has agreed to let the auctioneer sell the property.

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

COLLECTION AND STORAGE ALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON OCTOBER 17TH. All property remaining after OCTOBER 17th will be removed and stored in an off-site storage facility at the cost of the buyer. Purchases not removed by October 17th will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing; the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDING We encourage you to attend the sale in-person. However, if you can not attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an “Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, October 8th by 5:00 p.m. (PST) via fax to (323) 904-1954. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to see if your bids were successful. All successful absentee bids should be notified by phone by October 11th. In addition, the auction prices realized will be posted the day after the sale on our website.

Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc. Absentee/Phone bids are on a first-come, first-served basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who can not come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc, reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month if payment is not made in accordance with any of these conditions of sale.

GUARANTEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in BLUE type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc, in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed”, “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility of reading all addendums and posted corrections to the catalogue prior to bidding.

RESCISSION Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyers sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping and storage costs will not be reimbursed. Modern Auctions, Inc. is not liable for any costs, such as experts and attorney’s fees. If the item is authentic, as stated in the Modern Auctions, Inc. catalogue, then the purchaser shall bear Modern Auctions, Inc’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from Modern Auctions, Inc. Once the item is resold, then all rights and liabilities of Modern Auctions, Inc. regarding authenticity end. THE PURCHASER’S SOLE AND EXCLUSIVE REMEDY AGAINST MODERN AUCTIONS, INC. FOR ANY REASON IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert fees, attorney’s fees and other costs.

RIGHTS TO PHOTOGRAPHS It is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted. Buyers 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 permission of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 7900369478 Peter Loughrey, principal auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406

171

NOW DIG THIS!

ART & BLACK LOS ANGELES 1960–1980

OCTOBER 2, 2011 – JANUARY 8, 2012 Hammer Museum Los Angeles www.hammer.ucla.edu DAVID HAMMONS. AMERICA THE BEAUTIFUL, 1968 (DETAIL). LITHOGRAPH AND BODY PRINT. 39 x 291⁄2 IN. (99.1 x 74.9 CM). COLLECTION OF THE OAKLAND MUSEUM OF CALIFORNIA, THE OAKLAND MUSEUM FOUNDERS FUND.

LaGardo Tackett, Architectural Pottery, circa 1955, lent by the Lawrence Family in honor of Max and Rita Lawrence, photo © Museum Associates/LACMA, by Bill Stern; Charles and Ray Eames, Molded Plywood Division, Evans Products Company, DCW (dining chair wood), (silhouette), 1946–49, LACMA, Decorative Arts and Design Council Fund

October 1, 2011–March 25, 2012

The exhibition was organized by the Los Angeles County Museum of Art and funded through a lead grant from

Corporate sponsorship was provided by Additional funding was provided by the Henry Luce Foundation, Debbie and Mark Attanasio, Martha and Bruce Karsh, and LACMA’s Decorative Arts and Design Council. In-kind support provided by DuPont™ Corian®.

LOS ANGELES COUNTY MUSEUM OF ART |LACMA.ORG 5905 WILSHIRE BLVD (AT FAIRFAX AVE)

INDEX A Albers, Josef Alechinsky, Pierre Altman, Harold Antreasian, Garo Zareh Appel, Karel Apple, Billy Arnoldi, Chuck Arp, Jean

17 115 214 173 94 240 177 107

Baldessari, John 160-161 Baskin, Leonard 141-142 Batterton, Wall 168 Beaton, Cecil 155 Berrocal, Miguel 129 Bishofs, Maris 258 Bissière, Roger 105 Bolotowsky, Ilya 7-14 Bonnard, Pierre 135 Braque, Georges 96-98 Brice, William 75-76 Brobender, Daniel 64 Broderson, Morris 70 Brown, Arthur William 56-58, 156 Burchman, Jerrold 51-52

C 95 404 133 113 4 210 44 407 6 215

D D’Arcangelo, Allan Danieli, Edie Davies, Arthur B. Davis, Gene de Staël, Nicolas Delap, Tony Dennis, Donna Dillon, Dole, William Dorazio, Piero Dorso, Bianca Drew, Joan Dubuffet, Jean Duchamp, Marcel Dworkin, L

41 145 288 118 272, 401 243 402

Calder, Alexander Cavael, Rolf Cézanne, Paul Clavé, Antoni Cohen, George Conner, Bruce Cottingham, Robert Coudrain, Brigitte Crawford, Dick Cummings, Scot

Fontana, Lucio Forain, Jean-Louis Forsberg, Jim Foujita, Léonard Fram, Michael Friel, John Fukui, Ryonosuke

15-16 230 121 263 110 237 79 226 203 38-40 157, 297 301 114 109 235

Gallo, Frank Gant, M. Gentilli, Jeremy Giacometti, Alberto Gibbs, David Gill, James Gisson, Andre Goldberg, Michael Gottlieb, Adolph Graham, Robert Greaves, Derrick

62 398 131 123 24-26 47-48 293 192 104 175-176 191

H Haas or Harris, John Haass, Terry Hall, David Hamaguchi, Yozo Heath, Paulette Henry, Jon Hinman, Charles Holland, Tom Houston, Bruce

275 102 28 307 1 249-250 29, 172 248 80, 85-88

I Indiana, Robert Inukai, Kyohei

163-166 229

J Jacobs, Harold Jarvaise, James Johnston, Ynez Jones, John Paul

217 68 184 212-213

K Kahn, Wolf 73-74 Kauffman, Craig 209 Kaufmann, Briana 405 Kelley, Michael 251 Kelly, Ellsworth 19-22 Kent, Sister Mary Corita 185-186 Kerkovius 143 Klimt, Gustav 139-140 Kohn, Misch 305 Kostabi, Mark 247 Kruschenick, Nicholas 233

E Eckert, Bill 284 Edmondson, Leonard 182 Eichelbaum, Edward 152 Elmaleh, Victor 200 Escher, Maurits Cornelis (MC) 286

F Farrar, Joan Fendell, J Fish, M

279 201-202 91

L Labby, Sherman Lachaise, Gaston Laing, Gerald Lasansky, Mauricio Lawrence, Dianne Le Parc, Julio Leaf, Roy Lepère, Auguste Louis Levee, John Levine, Jack

66 120 30-31 266 346 219 397 147 193-194 285

Lichtenstein, Roy Lobb, Vernon Lombardi, Lisa

223-225 67-265 244

M Madsen, Loren 43, 82 Maffia, Daniel 71 Magritte, René 108 Marks, Robert 259 Markson, Helena 189 Marzelle, Jean 288 Masson, André 130 McCracken, John 222 McEwen, Rory 271 McMillan, Jerry 84 Miyashiro, Ronald 302 Mizuno, Mineo 32 Modigliani, Amedeo 122 Morilla 260 Moti, Kaiko 116 Munakata, Shiko 310-311 Myers, Gifford 169

N Neufeld, Peter Norman, James

280 162 246 27 127-128 290 264 132 81 69 195-197 292 262

T Tamayo, Rufino 188 Tancredi 33-37 Terechkovitch, Constantin 124-125 Thompson, Bob 49-50 Treiman, Joyce 45-46 Trevelyan, Julian 190 Tuttle, Richard 218

U 405 245

Ure, Maureen O’Hara

89-211

O Oldenburg, Claes Oliveira, Nathan Onchi, Koshiro

Silverberg, David Smith, Alexis Smith, Ray Smith, Richard Soulages, Pierre Starbird, Ken Stasik, Andrew Steinlen, Théophile Stills, Hannah Stussy, Jan Summers, Carol Sunshine, Norman Sweet, Pamela

256-257 59-61 93

P Penn, Irving 158-159 Peterdi, Gabor 304 Peters, Michael 294-295 Pfahler, George Karl 228 Picasso, Pablo 92 Picot, Rene B. 283 Poliakoff, Serge 111 Pollack, Reginald 216 Ponce de Leon, Michael 187 Prentiss, Chuck 234 Preston, Astrid 242

R Reif 77 Reiss, Roland 78 Riley, Bridget 170 Roberts, Ben 296 Rosenquit, Bernard 72 Roth, Frank 303 Ruoff, Fritz 232 Ruscha, Ed 167 Ryusui, Katsuma 309

S Saunders, Wade 238 Savelli, Angelo 42 Schaefer 126 Schwartz, Aubrey 144 Shahn, Ben 400 Shain, Noah 18 Siebner, Herbert 289 Signac, Paul 134 Silva, Guillermo 306

Valentine, DeWain 220-221 van Dongen, Kees 117 Vasa 254-255 Vasarely, Victor 171 Vertès, Marcel 150-151 Villon, Jacques 112

W Wald, Sylvia Warhol, Andy Warshaw, Howard Watanabe, Sadao Whistler, James Abbott Williams, Tod Wong, Tai Llng Wonner, Paul Wou-ki, Zao Wrono, Sheila

198 227 199 312 137-138 174 349 53-55 99-101 65

Y Yamaguchi, Gen

308

Z Zajac, Jack Zammitt, Norman Zigon, Lark

178 90, 205-208 403

DECEMBER 11, 2011

Modern Art & Design Auction Including works from an important West Coast collection CELEBRATING ICONIC CALIFORNIA ART AND DESIGN

175

JOHN CHAMBERLAIN UNTITLED 1962 Welded and painted steel with collage on particle board Signature and date lower right; Retains Leo Castelli Gallery label verso 12” x 12” $150,000-200,000

Provenance: L EO C ASTE L L I, N E W YO R K ; B E T T Y AS H E R , LO S AN GE L E S ( AC Q UIR E D F R O M AB OV E 1 96 2) ; P R IVATE C O L L EC TIO N , LO S AN GE L E S ( AC Q UIR E D F R O M ABOVE C 1 970)

los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles SUNDAY, modern auctions

AUCTION:

OCTOBER 9, 2011 12PM NOON (PST)

PREVIEW: SEPTEMBER 19 - OCTOBER 8 10AM - 6PM (PST)

ADDRESS: 16145 HART STREET VAN NUYS, CA 91406 TELEPHONE: 323-904-1950 DIRECTIONS TO AUCTION & PREVIEW FROM HOLLYWOOD VAN NUYS AIRPORT

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

SHERMAN WAY VALJEAN AVE

Make your way to the 101 Freeway Proceed North on the 101 Merge onto the 405 NORTH Take the 4th exit onto “Sherman Way, WEST” Proceed WEST on Sherman Way Turn LEFT at the 3rd light onto “Woodley” Take the first RIGHT onto “Hart” street, which is a side street

HART ST

FROM THE WESTSIDE

Take the 405 Freeway, North Continue past the Getty Museum and the 101 Interchange Exit onto “Sherman Way, WEST” (this is 4 exits North of the 101) Proceed WEST on Sherman Way Turn LEFT at the 3rd light onto “Woodley” Take the first RIGHT onto “Hart” street, which is a side street

101 FREEWAY WOODLAND HILLS

HOLLYWOOD

GETTY CENTER

Complimentary Valet Parking

DIRECTOR

PETER LOUGHREY MANAGING DIRECTOR

SHANNON LOUGHREY

MARKETING DIRECTOR

ELIZABETH PORTANOVA

CLIENT SERVICES

JULIE WEARING

CATALOGUER/EDITOR

JENNIFER MILLER PHOTOGRAPHY

SUSAN EINSTEIN ESSAYS

PAUL DesMarais

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