On the Arts: The Diana Zlotnick Collection 3 May 2022 by Wright Auction

ON THE ARTS:

THE DIANA ZLOTNICK COLLECTION

AUCTION / LOS ANGELES 3 May 2022 11 am pacific EXHIBITION / LOS ANGELES 22 April – 3 May 2022, 10 am – 5 pm 16145 Hart St Van Nuys CA 91406

Art collector, Diana Zlotnick with family displaying part of her collection in North Hollywood, CA, 1965. Credit: Los Angeles Times Photographic Archive, Library Special Collections, Charles E. Young Research Library, UCLA.

HUNGRY EYES:

dance, and, after a whirlwind romance, the couple

D I A N A Z L O T N I C K A N D P O S T- W A R A R T

married on July 3, 1955. Being a schoolteacher

IN LOS ANGELES

was decidedly not Zlotnick’s calling, nor was being a dental hygienist (she flunked the program). Encouraged by her husband, who was able to support the family as a veterinarian, Zlotnick stopped working—and started collecting.

Art energies are flowing in Los Angeles with a large

With determination, savvy, and a healthy dose

array of first-rate artists…

of chutzpah, she went on to amass an extensive

—Diana Zlotnick, Newsletter on the Arts, October/November 1976

collection from major artists as their stars were rising – among those who most captivated her were Wallace Berman, Chris Burden, Llyn Foulkes, George Herms, Channa Horwitz, Gloria Kisch, Ed Ruscha, and Richard and Shirley Pettibone.

A voracious collector, community builder,

Zlotnick herself marked her beginning as a “serious”

and champion of emergent contemporary artists,

collector with the purchase of a John Altoon

Diana Zlotnick tapped into the Los Angeles art

painting from Ferus Gallery in the late 1950s.

world at a particularly charged moment of post-war

Shortly thereafter, she would acquire assemblage

creative ferment. Today, the art milieu of the late

works from Daniel LaRue Johnson and George

1950s, 1960s, and 1970s Los Angeles has taken on

Herms and, in 1963, she bought her first Ed Ruscha

nearly mythic qualities, conjuring Bohemian fetes

at an auction for $30. The Studio City house that

in canyons, the experimental openness of CalArts,

the Zlotnicks purchased in the mid-1960s was to

Venice Beach warehouse studios, and, broadly,

become not only a home, but alternately a museum,

an explosion of material and conceptual inquiry

gallery, and salon, with artists and art aficionados

through performance, sculpture, video, painting,

frequently passing through. Diana paid little mind

publication, and more. Zlotnick immersed herself

to what “the neighbors might think” in the well-to-do

wholeheartedly in this atmosphere, led by fearless

community of Laurelwood – the couple’s younger

curiosity, dedication, and deeply felt connections

daughter Marianne recalls coming home from high

to the works that she brought home.

school one day to discover Timothy Leary as a guest.

Born in 1927 and raised in Los Angeles, Diana Zlotnick (née Shirley) attended Fairfax High School and would later support herself as a schoolteacher. She met Harry Zlotnick at a USO

When room to hang artwork became scarce, Zlotnick patched over the dining room windows to make more wallspace. At one point, she encouraged her older daughter Bonnie and friends to express themselves

by drawing directly on their bedroom walls as they

classes and seminars including at the University

pleased. Her husband was even known to treat artists’

of Southern California. The picture that emerges

animals—Marianne recalls a postcard from Wallace

is one of an art lover writing herself into history

Berman thanking Harry for “the medicine for Rover.”

from a place of pure passion, undaunted by any

Nowhere, perhaps, is Diana Zlotnick’s enthusiasm,

trappings of art world exclusivity.

curiosity, and zeal more apparent than within the

To engage with Diana Zlotnick and the works that

pages of Newsletter on the Arts (NOTA), which she

she loved is to glimpse a truly unique collector, one

wrote, published, and disseminated on a sometimes

who cast herself not merely as a benefactor, but

monthly, sometimes seasonal, basis from 1971–2019.

as a co-conspirator. She worked hard and thought

In its earliest incarnation, the typewritten missive

hard; as her daughter Marianne put it, “Aside from

was simply headlined “What’s Up?,” a nod to

her children and grandchildren, art was her life to

her boots-on-the-ground style of observing and

the end.” Indeed, prior to her passing in 2021, she

absorbing the city’s burbling art scene. Through

brought Ed Ruscha’s Thirtyfour Parking Lots when

Zlotnick’s idiosyncratic and frequently diaristic

she went for her Covid vaccine at Dodger Stadium –

chronicling, Newsletter on the Arts shared not only

in order to point out Ruscha’s photograph of the same

exhibitions and performances in Los Angeles, as

parking lot, taken decades earlier.

well as L.A. artists working in New York and abroad, but also births, marriage announcements, and obituaries, grant recipients and Guggenheim fellowships, acquittals, forthcoming publications, wanted ads, investment advice, personal invitations, and – significantly – her own art criticism.

Diana Zlotnick’s legacy as a collector lives on in the myriad institutions to which she gifted works, including the Museum of Contemporary Art, Los Angeles, the Orange County Museum of Art, the Laguna Art Museum, the Museum of Contemporary Art San Diego, and the San Francisco Museum

As her confidence and collection grew, Zlotnick

of Modern Art. LA Modern Auctions is proud to

continued to carve out a space for her own

be a part of this legacy, and to celebrate the world

reflections on the art she saw, including pointed

of Diana Zlotnick and the historic milieu that she

contradictions to the more formal critiques printed in

fervently bolstered as a collector and connector.

the LA Times and elsewhere. “The Los Angeles Times Does It Again,” Zlotnick wrote in the Spring 1978 issue of NOTA, “Critics Suzanne Muchnic and William Wilson failed to understand and enjoy the geometric forms of Channa Horwitz that bend, flow, expand, and diminish within a linear matrix.” Her ability to articulate her thinking on the works she loved did not stay confined to NOTA, either. She wrote a catalog essay for the 1986 show Southern California Assemblage: Past and Present, hosted events in her Studio City home, took a curatorial role in helping to organize exhibitions, and led

Artists survive by inventing their own options, rather than depending on choices predetermined by the culture. Art is a way to invent a lifestyle and not be programmed. NOTA Winter 1979-1980 Just as I decide to see how the rest of the world lives and read TIME MAGAZINE in order to talk about something besides Art, I am again seduced by a work of art. NOTA Fall/Winter 1977

Trained to revere innovation from his art school days was an isolated search that led to nowhere. Circa 1964, Richard [Pettibone] said, “I’ll be more original than all those other guys you’re collecting by meticulously copying the works of other artists who I really like.” Of course, he injected his own personality and had his trains running over Andy Warhol’s soup cans and carried the ridiculous to the sublime.

NOTA Winter 1979-1980

100 R I C H A R D P E T T I B O N E b. 1938 Andy Warhol, “Flowers” 1970 screenprint on canvas in artist’s frame 6 h × 6 w in (15 × 15 cm) Sold with original invoice from OK Harris Gallery. $ 25,000 – 35,000

Provenance Acquired in 1970 from OK Harris Gallery, New York

Copying a Stella in 1964, [Pettibone] firmly dedicated himself to poking fun at Modernism by diminishing it’s size twenty times. He found his aesthetic by violating Stella’s color concerns. NOTA Winter 1979-1980

101 R I C H A R D P E T T I B O N E b. 1938 Frank Stella, “Moultonville” acrylic on shaped canvas in artist’s frame 9 h × 6 w in (23 × 15 cm) $ 30,000 – 50,000

Provenance Acquired directly from the artist

102 R I C H A R D P E T T I B O N E b. 1938

Literature

Niagra #3

Richard Pettibone: A Retrospective, Berry

1963

and Duncan, pg. 30 illustrates this work

oil on glass in artist’s frame

Exhibited

14 ½ h × 24 ½ w in (37 × 62 cm)

Richard Pettibone: A Retrospective,

Signed, titled and dated to verso

30 April – 1 August 2005, Institute

‘Niagra #3 Richard Pettibone 1963’.

of Contemporary Art, Philadelphia

$ 10,000 – 15,000

(traveling exhibition) Provenance Acquired directly from the artist

103 R I C H A R D P E T T I B O N E b. 1938

Literature

Royal Gorge

Richard Pettibone: A Retrospective, Berry

1963

and Duncan, pg. 27 illustrates this work

mixed media in artist’s frame

Exhibited

8 ½ h × 10 ½ w × 2 ½ d in (22 × 27 × 6 cm)

Richard Pettibone: A Retrospective,

Signed, titled and dated to verso

30 April – 1 August 2005, Institute

‘Royal Gorge Richard Pettibone 1963’.

of Contemporary Art, Philadelphia

$ 15,000 – 20,000

(traveling exhibition) Provenance Acquired directly from the artist

104 R I C H A R D P E T T I B O N E b. 1938 Untitled 1962 mixed media 9 h × 9 ¼ w × 7 ½ d in (23 × 23 × 19 cm) Sold with postcard with hand-painted elements addressed to Diana Zlotnick and signed ‘M’. $ 20,000 – 30,000

Provenance Acquired directly from the artist

105 R I C H A R D P E T T I B O N E b. 1938 Andy Warhol, “Campbell’s Soup Can (Pepper Pot)” 1966 offset lithograph mounted to board in artist’s frame 3 ¾ h × 2 ¾ w in (10 × 7 cm) In the spirit of appropriation, Diana Zlotnick took a cutout of Andy Warhol’s Pepper Pot to Richard Pettibone who added the frame. The resulting artwork is signed by both Pettibone and Warhol. Signed and dated to verso ‘Richard Pettibone 1966’. Also signed to verso by Andy Warhol. $ 3,000 – 5,000

Provenance Acquired directly from the artist

106

107

R I C H A R D P E T T I B O N E b. 1938

Robert Freidus Gallery exhibition poster

Appropriation Print (with Andy Warhol,

1983

Frank Stella, and Roy Lichtenstein)

offset lithograph and acrylic

1970

16 ¼ h × 16 ¾ w in (41 × 42 cm)

screenprint in colors

Signed with artist’s thumbprints

12 ½ h × 16 w in (31 × 41 cm)

to lower right quadrant.

Signed and dated to lower right ‘Richard

$ 1,000 – 1,500

Pettibone 1970’. This work is from the edition of an unknown size. $ 1,000 – 2,000

108 A N D Y W A R H O L 1928–1987 Birmingham Race Riot from the X + X (Ten Works by Ten Painters) portfolio 1964 screenprint in colors on wove paper 20 h × 24 w in (51 × 61 cm) This work is from the edition of 500 by Sirocco Screenprinters and Ives-Sillman, Inc., New Haven and published by Wadsworth Atheneum, Hartford. $ 4,000 – 6,000

Literature Feldman/Schellmann II.3 Provenance OK Harris Gallery, New York

109 A N D Y W A R H O L 1928–1987 Flowers 1970 screenprint in colors 36 h × 36 w in (91 × 91 cm) Signed and numbered to verso ‘Andy Warhol 13/250’. This work is number 13 from the edition of 250 printed by Aetna Silkscreen Products, Inc., New York and published by Factory Additions, New York. $ 40,000 – 60,000

Literature Feldman/Schellmann II.65 Provenance OK Harris Gallery, New York

110 A N D Y W A R H O L 1928–1987 Marilyn Monroe (Marilyn) 1967 screenprint in colors 36 h × 36 w in (91 × 91 cm) Signed and numbered to verso ‘Andy Warhol A.P.’. This work is an artist’s proof apart from the edition of 250 printed by Aetna Silkscreen Products, Inc., New York and published by Factory Additions, New York. $ 100,000 – 150,000

Literature Feldman/Schellmann II.25 Provenance Acquired in 1971 from OK Harris Gallery, New York

111 A F T E R A N DY WA R H O L American Indian Series, Ace Gallery Poster 1977 offset lithograph 49 ¾ h × 35 w in (126 × 89 cm) Signed ‘Andy Warhol’. This example is also signed by Russell Means, an Oglala Lakota activist for the rights of Native Americans. This work is from an unknown edition size published by Ace Gallery, Los Angeles. $ 1,000 – 1,500

Provenance Ace Gallery, Los Angeles

112 A F T E R A N DY WA R H O L Muhammad Ali; Willie Shoemaker (two posters) 1981 offset lithograph in colors 35 h × 21 w in (89 × 53 cm) Signed to lower right of one example ‘Andy Warhol’. These works are from the edition published by The Los Angeles Institute of Contemporary Art for the exhibition, LeRoy Neiman and Andy Warhol: An Exhibition of Sports Paintings. $ 1,500 – 2,500

Provenance Los Angeles Institute of Contemporary Art

113 E D R U S C H A b. 1937 Suds Suite (three works) 1971 screenprint in colors on Arches 18 h × 23 ¾ w in (45 × 60 cm) The complete suite includes Blue Suds, Green Suds and Grey Suds. Signed, dated and numbered to lower left of each sheet ‘5/100 E. Ruscha 1971’. These works are number 5 from the edition of 100 published by Edizioni O, Milan. $ 10,000 – 15,000

Literature Engberg 57–59 Made in LA: Prints of Cirrus Editions, Davis, ppg. 342–343 Provenance Cirrus Gallery, Los Angeles

114 E D R U S C H A b. 1937 V. 1989 lithograph on gray Rives BFK 36 h × 27 w in (91 × 69 cm) Signed, dated and numbered to lower edge ‘27/35 Ed Ruscha 89’ with blindstamp. This work is number 27 from the edition of 35 printed by Hamilton Press, Venice and published by the artist. $ 12,000 – 18,000

Literature Engberg 185 Provenance Cirrus Gallery, Los Angeles

Dear Billy Al Bengston: Making up your own rules that always work; your show at Nick Wilder’s is incredible; like your mixture of techniques. NOTA November 1974 BILLY AL BENGSTON’S 1974 show at Nick Wilder’s proved him gifted in manipulating paint on canvas and a master of his own gestalt. His new work, shown recently at James Corcoran Gall., 8223 Santa Monica Bl., is conceptual & spontaneous. Exuberant play of images and lush color interact within framework of his icons: the iris, square, circular or spherical line. The sprayed image now appears in a sensuous, festive, floating banner form rather than remaining bolted to wall.

NOTA Summer 1976

115 B I L LY A L B E N G S T O N b. 1934 JW Screen 1966 enamel lacquer screenprinted on incised aluminum 24 h × 22 w in (61 × 56 cm) LAMA would like to thank the Billy Al Bengston Studio for their assistance in cataloguing this work. $ 15,000 – 20,000

Provenance Eugenia Butler Gallery, Los Angeles

116

117

B I L LY A L B E N G S T O N b. 1934

Conejo Valley Art Museum

Untitled

1979

1982

lithograph in colors

image: 17 h × 13 w in (43 × 33 cm)

30 ½ h × 25 ½ w in (77 × 64 cm)

sheet: 20 h × 14 ¾ w in (51 × 37 cm)

Signed, dated and numbered to lower edge

‘B.A.B. 60-110 1982 (c)’ with blindstamp.

‘B.A.B. 131-200 1979’. This work is number

This work is number 60 from the edition of 110

131 from the edition of 200.

printed by De Soto Workshop, San Francisco.

$ 400 – 600

$ 600 – 800

118 T O N Y B E R L A N T b. 1941 Emerald Bay 2004 found metal and steel brad collage on woodblock 7 h × 7 w × 7 d in (18 × 18 × 18 cm) Sold with original correspondence between the artist and collector. $ 2,000 – 3,000

Provenance Acquired directly from the artist

Tony Berlant’s new work shows that his own art is approaching monumentality. He may become more known for his own art works than for his love of Indian Blankets.

NOTA March-early April 1975

Baldessari won’t tell. The idea is to raise issues rather than to provide answers. A playwright could create a three-act play from each one of Baldessari’s works. I’d rather have the art work.

NOTA June 21, 1990

119 J O H N B A L D E S S A R I 1931–2020 Object (with Flaw) 1988 lithographs on four sheets, two on Somerset, one on Arches 88, one on Plexiglas 43 h × 36 ½ w in (109 × 92 cm) 35 ¾ h × 30 ¾ w in (91 × 78 cm) 6 ¾ h × 41 ¾ w in (17 × 106 cm) Signed and numbered to lower edge ‘25/35 Baldessari’. This work is number 25 from the edition of 35 printed by Cirrus Editions, Los Angeles and co-published by Cirrus Editions, Los Angeles, and Multiples, Inc., New York. Sold with original hanging instructions and two postcards. $ 10,000 – 15,000

Literature Hurowitz 40 Made in LA: Prints of Cirrus Editions, Davis, pg. 89

Tony DeLap’s work will be shown because I admire the way he has combined his sculptural and painterly concerns into a three dimensional object. Tony’s multi-dimensional background includes a life-long interest in magic, presenting an element of mystery and charm. NOTA March 1980

120 T O N Y D E L A P 1927–2019 The Coo Coo Card 2004 acrylic on wood and aluminum 18 h × 15 w × 1 ¾ d in (46 × 38 × 4 cm) Signed, titled, dated and inscribed to verso ‘Tony DeLap 2004 The Coo Coo Card Wood Aluminum Acrylic’. $ 1,500 – 2,000

Provenance Patricia Faure Gallery, Los Angeles

121 T O N Y D E L A P 1927–2019 The Painting’s Vanished and Everyone’s on Edge 1979 acrylic on canvas and wood 59 ½ h × 4 w × 2 ¾ d in (151 × 10 × 7 cm) Signed, titled and dated to verso ‘The Painting’s Vanished and Everyone’s on Edge Tony DeLap 1979’. $ 7,000 – 9,000

Provenance Acquired directly from the artist

Robert Smithson would have liked Bryan Hunt’s surrealistic icons, dirigibles, dams, Empire State Buildings, beautifully executed sculptures which were shown at Jack Glenn’s, Corona del Mar, and one of which has been purchased by the Long Beach Museum of Art. If Long Beach keeps making decisions like this, it may well become L.A.’s art center.

NOTA January 1975

122 B R Y A N H U N T b. 1947 Untitled 1974 resin, canvas and pencil on paper 21 ¾ h × 30 w in (55 × 76 cm) Signed and dated to lower right ‘Bryan Hunt 74’. $ 1,000 – 1,500

Provenance Acquired directly from the artist

123 L L O Y D H A M R O L b. 1937 Maquette for Woven Cone c. 1973

rope, wood, nails, wooden dowels 24 ¾ h × 28 ¾ w × 28 ¾ d in (63 × 73 × 73 cm) This work is a maquette for Woven Cone, an outdoor rope sculpture that the artist and his students constructed at the California Institute of the Arts, Valencia in 1973. $ 2,000 – 3,000

Provenance Acquired directly from the artist

124

125

R O N M I Y A S H I R O b. 1938

Untitled

No. 68

1960

1961

charcoal and pastel on paper

mixed media collage in artist’s frame

9 h × 12 w in (23 × 30 cm)

5 ½ h × 7 ½ w in (14 × 19 cm)

$ 1,000 – 1,500

Signed, titled and dated to verso

Provenance Acquired directly from the artist

R Miyashiro No. 68 1-61’. $ 800 – 1,200

Provenance Acquired directly from the artist

126 R O N M I Y A S H I R O b. 1938 Untitled 1962 acrylic on canvas 61 h × 61 ¼ w in (155 × 155 cm) Signed and dated to verso ‘3-62 R. Miyashiro’. $ 3,000 – 5,000

Provenance Acquired directly from the artist

127 R O N M I Y A S H I R O b. 1938 Concord No. 8 1963 wood, cardboard and enamel 6 h × 11 w × 6 d in (15 × 28 × 15 cm) Signed, titled, dated and inscribed to underside ‘Ron Miyashiro Made in Japan Concord No. 8 Nov. 1963’. $ 1,500 – 2,000

Exhibited The Diana Zlotnick Collection: a collector/a point of view, 29 September – 23 October 1969, Cal State L.A. Fine Arts Gallery, Los Angeles Provenance Acquired directly from the artist

128 R O N M I Y A S H I R O b. 1938 Untitled (Moire Box) c. 1961

mixed media assemblage in artist’s frame 15 ½ h × 15 w × 4 d in (39 × 38 × 10 cm) $ 1,000 – 1,500

Provenance Acquired directly from the artist

129 B R U C E C O N N E R 1933–2008 Sunset Strip 1965 lithograph in colors on Rives BFK 14 ¼ h × 19 ½ w in (36 × 50 cm) Signed with artist’s thumbprint, numbered and inscribed to verso ‘Presentation Proof for Gloria’ with blindstamps. This work is a presentation proof apart from the edition of 20 printed by Kenneth Tyler and published by Tamarind Institute, University of New Mexico, Santa Fe. $ 600 – 800

Literature Tamarind 1293 Provenance Gloria Cortella Gallery, New York

130 J O H N A LT O O N 1925–1969 Untitled (Greek Ritual) 1959 ink on matboard 20 h × 30 w in (51 × 76 cm) Signed and dated to lower right ‘Altoon 59’. $ 3,000 – 5,000

Provenance Acquired directly from the artist

131 D A N I E L L A R U E J O H N S O N 1938–2017 Little Nut 1962 wood, metal, and paint on canvas in artist’s frame 15 ½ h × 15 ½ w × 1 ¼ d in (39 × 39 × 3 cm) $ 3,000 – 5,000

132 D A N I E L L A R U E J O H N S O N 1938–2017 Homage to Niggers; Our Fight #2; Yesterday’s Now (three works) 1964 lithograph largest: 19 h × 12 w in (48 × 30 cm) Signed, titled, dated and numbered to lower edge of each work ‘Daniel LaRue Johnson 64’ and ‘1/10 Yesterday’s Now’, ‘1/10 Our Fight #2’ and ‘8/10 Homage to Niggers’. These works are numbers 1, 1, and 8 from the editions of 10. $ 1,500 – 2,000

Provenance Acquired directly from the artist

133

134

D A N I E L L A R U E J O H N S O N 1938–2017

Break Away (Yellow and Black)

Break Away (Red and Black)

1965

screenprint on yellow paper

screenprint on red paper

21 ¼ h × 21 ¼ w in (54 × 54 cm)

Signed, titled, dated and numbered to lower

edge ‘5 Artist Proof Break Away Daniel LaRue

edge ‘5 Artist Proof Break Away Daniel LaRue Johnson

Johnson 65’. Signed and inscribed to verso

65’. Signed and inscribed to verso

‘To Diana, to the Neophyte of collectors.

‘To Harry, a friend, may your days be long and

The most beautiful lady I know who sees the truth.

your money longer, for the sake of art! Dan Johnson’.

Dan Johnson’. This work is artist’s proof number 5

This work is artist’s proof number 5 apart from

apart from the edition of an unknown size.

the edition of an unknown size.

$ 800 – 1,200

Provenance

Acquired directly from the artist

135 D A N I E L L A R U E J O H N S O N 1938–2017 Breaking Through c. 1977

lithograph in colors on Rives BFK 29 ¼ h × 22 w in (74 × 56 cm) Signed, titled and numbered to lower edge ‘10/50 Breaking Through Daniel LaRue Johnson’. This work is number 10 from the edition of 50. $ 800 – 1,200

Provenance Gloria Cortella Gallery, New York

136 B I L L B O L L I N G E R 1939–1988 Untitled c. 1967

aluminum 49 h × 43 ½ w × 2 d in (124 × 110 × 5 cm) $ 10,000 – 15,000

Provenance Bykert Gallery, New York

Today, when so much is fast, factual, and quickly forgotten, GUY DE COINTET’S word-image drawings are innovatively special! At the same time, they give rise to speculation. His images, purposely illusive, tend to enhance the impact and deepen the mystery of the written symbol.

NOTA Summer 1976

137

138

G U Y D E C O I N T E T 1934–1983

Then You Saw What Had Happened…

The Garden of the Forking Paths

1972

1971

ink on paper

22 ¾ h × 17 ¾ w in (58 × 45 cm)

24 h × 18 ¾ w in (61 × 48 cm)

Signed, titled and dated to lower edge

‘Then You Saw What Had Happened…

‘The Garden of the Forking Paths Guy

Guy de Cointet 72’.

de Cointet 71’.

$ 6,000 – 8,000

$ 5,000 – 7,000

Exhibited

Literature

Guy de Cointet: Who’s that Guy?, 16 October 2004 –

Guy de Cointet, de Brugerolle, pg. 41

16 January 2005, MAMCO, Geneva, Switzerland

illustrates this work

Provenance

Acquired directly from the artist

139 G U Y D E C O I N T E T 1934–1983

Exhibited

Tuvol (Sophie Rummel)

Guy de Cointet: The Paintings of Sophie Rummel,

1974 oil on canvas 18 h × 30 w in (46 × 76 cm) Signed, titled and dated to verso of one work ‘Sophie Rummel Guy de Cointet 74’. Sold with a photograph of the performance of “Recent Paintings” (A Guy de Cointet performance) at Cirrus Gallery on April 4th, 1974. $ 20,000 – 30,000

Literature Guy de Cointet, de Brugerolle, ppg. 96–97 illustrate this work

4 – 30 April 1974, Cirrus Gallery, Los Angeles 19 Artists—Emergent Americans: 1981 Exxon National Exhibition, 1981, Solomon R. Guggenheim Museum, New York Guy de Cointet: Who’s that Guy?, 16 October 2004 – 16 January 2005, MAMCO, Geneva, Switzerland Guy de Cointet, 19 December 2007 – 26 January 2008, Overduin and Kite, Los Angeles Provenance Acquired directly from the artist

140 G U Y D E C O I N T E T 1934–1983 Twist That Dial... 1971 ink on paper 18 ½ h × 23 ¾ w in (47 × 60 cm) Signed, titled and dated to lower edge ‘Twist That Dial… Guy de Cointet 71’. $ 5,000 – 7,000

Exhibited Summer 1985: Nine Artists, 26 June – 29 September 1985, The Museum of Contemporary Art, Los Angeles Provenance Acquired directly from the artist

141 G U Y D E C O I N T E T 1934–1983

Exhibited

Lost at Sea (…from a lagoon to another)

19 Artists—Emergent Americans: 1981

1975 mixed media on paper in artist’s frame 19 h × 42 w in (48 × 107 cm) This work was part of a performance with Virginia Farmer, Cirrus Gallery, Los Angeles, 14 January 1975. Signed, titled and dated to verso ‘Lost at Sea Guy de Cointet 75’. $ 20,000 – 30,000

Literature Guy de Cointet, de Brugerolle, ppg. 112–113 illustrate this work Guy de Cointet: Selected Works 1971–1982, Samuel Freedman Gallery exhibition catalog, unpaginated, illustrates this work

Exxon National Exhibition, 1981, Solomon R. Guggenheim Museum, New York Guy de Cointet: Who’s that Guy?, 16 October2004 – 16 January 2005, MAMCO, Geneva, Switzerland Guy de Cointet: Selected Works 1971–1982, 1 December – 5 January 2013, Samuel Freedman Gallery, Los Angeles Provenance Acquired directly from the artist

Guy’s drawings nourish the eye and relax the mind and body…I feel refreshed looking at Guy’s work. Truly a vacation at home. NOTA Winter 1979-1980

142 G U Y D E C O I N T E T 1934–1983 Perfect Marvel of Vegetable Health 1977 ink on paper 19 h × 23 ¾ w in (48 × 60 cm) Signed, titled and dated to lower edge ‘Perfect Marvel of Vegetable Health Guy de Cointet 77’. $ 6,000 – 8,000

Exhibited Guy de Cointet: Who’s that Guy?, 16 October 2004 – 16 January 2005, MAMCO, Geneva, Switzerland Provenance Acquired directly from the artist

143 G U Y D E C O I N T E T 1934–1983 The Leaves of the Breadfruit Tree… 1983 colored and black ink on Arches 20 h × 25 ½ w in (51 × 65 cm) Signed, titled and dated to lower edge ‘The Leaves of the Breadfruit Tree…Guy de Cointet 83’. $ 8,000 – 12,000

Provenance Acquired directly from the artist

144

145

GUY DE COINTET

G U Y D E C O I N T E T 1934–1983

AND LARRY BELL

ACRCIT

Animated Discourse

1971

1975

screenprinted newspaper

bound book

22 h × 18 w in (56 × 46 cm)

5 h × 15 ¼ w in (13 × 38 cm)

This newspaper was included as an accessory

Signed, dated and inscribed to endpaper

to the performances of Tell Me and of IGLU.

To Diana, May 31, 77 Guy Larry Bell Guy De

It was also included in various exhibitions of the

Cointet’. This artists’ book is from the edition

artist’s work. This work is from the edition of 700

of 1,000 published by Sure Company, Venice.

printed by Pierre Picot at the California Institute

$ 400 – 600

of the Arts, Valencia and published by the artist.

Provenance Acquired directly from the artist

$ 400 – 600

Literature Guy de Cointet, de Brugerolle, ppg. 25–27, 54–59

146 G U Y D E C O I N T E T 1934–1983 Restless 1978 ink on paper 19 ¾ h × 25 ½ w in (50 × 64 cm) Signed, titled and dated to lower edge ‘Restless Guy de Cointet, 78’. $ 6,000 – 8,000

Exhibited Guy de Cointet: Who’s that Guy?, 16 October 2004 – 16 January 2005, MAMCO, Geneva, Switzerland Provenance Acquired directly from the artist

Belated Note to Channa Horwitz: Dear Channa: Thanks for presenting your work to my art collecting siminar [sic] group. Enjoyed seeing slides of early work. Responded to your strong visual energy. Love the music/dance presentation. As you communicated, you revealed your process of self-exploration, asking questions and then finding the answers by making art: charting/measuring time and allowing your audience to share your thought processes. Congratulations on your future exhibition at the San Francisco Museum of Modern Art. NOTA August 1977

147 C H A N N A H O R W I T Z 1932–2013 Sonakinatography Composition XVII 1987 plaka on mylar sight: 25 h × 22 w in (63 × 56 cm) Signed, titled and dated to left at center ‘© Channa Horwitz Sonakinatography Composition XVII 1987’. Signed and dated to lower right ‘Channa Horwitz 1987’. $ 3,000 – 5,000

Exhibited Made in L.A., 2 June – 2 September 2012, Hammer Museum, Los Angeles

148 C H A N N A H O R W I T Z 1932–2013 Noisy 1990 plaka on mylar graph paper 36 h × 39 w in (91 × 99 cm) Signed, titled and dated to lower right ‘Channa Horwitz Noisy 1990’. $ 3,000 – 5,000

Provenance Acquired directly from the artist

THE LOS ANGELES TIMES DOES IT AGAIN… Critics Suzanne Muchnic and William Wilson failed to understand and enjoy the geometric forms of CHANNA HORWITZ that bend, flow, expand and diminish within a linear matrix. Visually beautiful systems of notating color, form and volume need no mathematical background to recognize their eloquent sensibility…

NOTA Spring 1978

149 C H A N N A H O R W I T Z 1932–2013 Sampler 1986 plaka and gold leaf on mylar 26 h × 24 w in (66 × 61 cm) Signed, titled and dated to lower right ‘Channa Horwitz Sampler 1986’. $ 1,500 – 2,000

Provenance Acquired directly from the artist

150 C H A N N A H O R W I T Z 1932–2013 Untitled 1973 plaka and ink on mylar graph paper 35 ¼ h × 23 ¼ w in (90 × 59 cm) Signed and dated to lower left ‘Channa Davis Horwitz 1973’. $ 3,000 – 5,000

Provenance Acquired directly from the artist

151 C H A N N A H O R W I T Z 1932–2013 Centered III 1982 lithograph in colors on Rives BFK 23 h × 23 w in (58 × 58 cm) Signed, titled, dated and numbered to lower right corner ‘14/15 Centered III Channa Horwitz 1982’. This work is number 14 from the edition of 15 printed by Edward Hamilton and published by June Wayne’s Studio, Los Angeles. $ 800 – 1,200

Provenance Acquired directly from the artist

152

153

C H A N N A H O R W I T Z 1932–2013

Suite 8

Untitled (two works)

1979

2007

accordion-fold book with lithograph on Rives BFK

ink on cardstock

closed: 22 h × 20 w × ¼ d in (56 × 51 × 1 cm)

8 h × 10 w in (20 × 25 cm)

open: 22 h × 200 w × ¼ d in (56 × 508 × 0 cm)

5 h × 7 w in (13 × 18 cm)

Signed and numbered to verso ‘Channa Horwitz

Signed and dated to verso of one example

2/30’ with blindstamp. This work is number 2

‘Channa Horwitz 2007’. Signed and inscribed

from the edition of 30 printed by Ed Hamilton

to other example ‘Happy Holidays Love Channa’.

and published by Tamarind Lithography Workshop,

$ 1,500 – 2,000

Los Angeles. Sold with acrylic case. $ 600 – 800

Provenance Acquired directly from the artist

Provenance INCOGNITO third annual auction, 28 April 2007, Santa Monica Museum of Art, Santa Monica

154 J O H N M C C R A C K E N 1934–2011 Untitled 1980 watercolor on paper 3 ¾ h × 5 ½ w in (10 × 14 cm) Signed and dated to lower edge ‘11-16-80 J McCracken’. $ 1,500 – 2,000

Provenance Acquired directly from the artist

155 A L L A N M C C O L L U M b. 1944 Untitled 1974 5-color screenprint on Arches, backed by Roll Rives 6 h × 32 w in (15 × 81 cm) Signed and dated in two parts to lower corners ‘Collum 1974’ and ‘Allan Mc’. This work is from the edition of 50, each unique, printed and published by Cirrus Editions, Los Angeles. $ 4,000 – 6,000

Literature LA 74 Series #1: The Cirrus Editions, Wortz, unpaginated Made in LA: Prints of Cirrus Editions, Davis, pg. 304

Photography has always been an aid to Lita Albuquerque. Her eye reads nuance and detail as seen in the photograph but the small paintings/ drawings totally lack the frozen feeling created by a camera. Her marks are alive and gestural. Tender passions flow jubilantly forth. On notebook size paper, a few broadbrush strokes capture many feelings: the sun of the morning, the skin of a youth as well as moods conveying darkness, emptiness and depression. The artist is in touch with her feelings when she takes her paint brush in hand. Works are virginal, unaltered mental states, an extension of the artist’s muscular and conceptual imagination. Simple, yet individualistic.

NOTA Fall/Winter 1977

156 L I T A A L B U Q U E R Q U E b. 1946 Untitled 1975 oil and gesso on Masonite 54 h × 60 w in (137 × 152 cm) Signed and dated to verso ‘Lita Albuquerque ‘75’. $ 8,000 – 12,000

Provenance Acquired directly from the artist

157

158

G L O R I A K I S C H 1941–2014

Untitled

Table Chime #3

1975

1979

mixed media

metal, stones

3 ¾ h × 10 ¾ w × 8 ½ d in (10 × 27 × 22 cm)

17 ½ h × 14 w × 2 d in (44 × 36 × 5 cm)

Signed and dated to underside ‘Kisch 11-75’.

Signed, titled and dated to to underside

$ 1,000 – 1,500

‘Kisch - 79 Table Chime #3’. $ 1,500 – 2,000

Provenance Acquired directly from the artist

Gloria Kisch…sold a great number of her fabricated totems that express tender shades of male-female interaction. I hear several newsletter subscribers fell in love with Kisch’s work.

NOTA February 1975

159 G L O R I A K I S C H 1941–2014 Totems (three works) 1973–1974 plaster, twine, sand, paint 84 h × 4 w × 2 ¼ d in (213 × 10 × 6 cm) 26 h × 3 ¼ w × 2 d in (66 × 8 × 5 cm) 73 h × 2 w × 1 ½ d in (185 × 5 × 4 cm) Signed and dated to two works ‘Kisch’. $ 3,000 – 5,000

Provenance Acquired directly from the artist

160 G L O R I A K I S C H 1941–2014 Whisper Box Series #1; Whisper Box (two works) 1978 sandblasted acrylic, porcelain 8 ½ h × 8 ¾ w × 11 ¾ d in (22 × 22 × 30 cm) 7 ½ h × 6 ½ w × 8 ½ d in (19 × 17 × 22 cm) Incised signature, title and date to underside of one work ‘Kisch - 78 Whisper Box Series #1’. $ 1,500 – 2,000

Provenance Acquired directly from the artist

Gloria feels the role of the artist is inventor/innovator/explorer, to define oneself. Gloria Kisch expressing the unknown with a process of thought that allows her to follow her own vision. NOTA March/April 1977

161 L A D D I E J O H N D I L L b. 1943 Untitled 1975 cement, pigment and glass on panel 32 h × 48 w × 2 d in (81 × 122 × 5 cm) Signed and dated to verso ‘Laddie John Dill 1975’. $ 500 – 700

Provenance Acquired directly from the artist

When the first verifax collage became part of my collection, I was affected by its potency. Alive and inspirational, Berman’s collaged images of hand-held transistor radios emitted a melange of silent sounds.

Diana Zlotnick,

“Wallace Berman – Why I Collected His Work” NOTA May 27, 1992

162 W A L L A C E B E R M A N 1926–1976 Untitled c. 1966

Verifax collage in artist’s frame 30 ½ h × 33 ½ w in (77 × 85 cm) Signed to lower right ‘W. Berman’. $ 70,000 – 90,000

Literature Wallace Berman: Retrospective, Otis Art Institute Gallery of Los Angeles County exhibition catalog, pg. 112 Exhibited Wallace Berman: Retrospective, 22 October – 26 November 1978, Otis Art Institute Gallery of Los Angeles County, California Provenance Acquired directly from the artist

Berman: Says that he is a free agent and can be reached at (213) 455-2221 NOTA February 1972

163 W A L L A C E B E R M A N 1926–1976 Untitled (The Beard Poster) 1967 offset lithograph in colors 14 ¼ h × 8 ¾ w in (36 × 22 cm) $ 2,000 – 3,000

Literature Wallace Berman: Support the Revolution, Institute of Contemporary Art, Amsterdam exhibition catalog, pg. 168 Wallace Berman: American Aleph, Kohn Gallery exhibition catalog, pg. 62 Provenance Acquired directly from the artist

164 W A L L A C E B E R M A N 1926–1976 Untitled (CMN/Thumb Poster) 1965 offset lithograph in colors 21 h × 17 w in (53 × 43 cm) Signed, dated and numbered to lower left ‘32/150 W. Berman 1965’. Printed signature to lower right ‘W Berman’. This work is number 32 from the edition of 150. $ 2,000 – 3,000

Literature Wallace Berman: Retrospective, Otis Art Institute Gallery of Los Angeles County exhibition catalog, pg. 27 Wallace Berman: American Aleph, Kohn Gallery exhibition catalog, pg. 86 Provenance Acquired directly from the artist

I never tire of, never want to relinquish, the range of experiences, from joy to despair, from quiet meditation to impending destruction,

165 W A L L A C E B E R M A N 1926–1976 Untitled

that are manifest in [Wallace] Berman.

1972

Diana Zlotnick, “Wallace Berman – Why

acrylic, metal and stone

I Collected His Work,” NOTA May 27, 1992

6 h × 6 ¾ w × 6 ½ d in (15 × 17 × 17 cm) Signed and dated to underside of base ‘W. Berman 1972’. $ 10,000 – 15,000

Literature Wallace Berman: Retrospective, Otis Art Institute Gallery of Los Angeles County exhibition catalog, pg. 113 Exhibited Wallace Berman: Retrospective, 22 October – 26 November 1978, Otis Art Institute Gallery of Los Angeles County, California Provenance Acquired directly from the artist

166 W A L L A C E B E R M A N 1926–1976 Silent Series #10 1965 Verifax collage in artist’s frame 24 h × 26 w in (61 × 66 cm) Signed to lower right ‘W. Berman’. Signed, titled and dated to verso ‘W. Berman 1965 Silent Series #10’. $ 40,000 – 60,000

Provenance Acquired directly from the artist

167

168

W A L L A C E B E R M A N 1926–1976

Untitled

Timothea Stewart Gallery exhibition poster

print on paper

1977

23 ¾ h × 17 ¾ w in (60 × 45 cm)

offset lithograph

Signed to lower right ‘Berman’.

17 h × 10 ½ w in (43 × 27 cm)

$ 2,000 – 3,000

Provenance

Acquired directly from the artist

169 W A L L A C E B E R M A N 1926–1976 Two exhibition announcements 1965, 1970 letterpress, ink, and gelatin silver print on board 6 ¼ h × 4 w in (16 × 10 cm) 6 h × 4 ½ w in (15 × 11 cm) Printed signature and inscription to center of one ‘Love Bermans | Topanga’. $ 2,000 – 3,000

Literature Wallace Berman: Support the Revolution, Institute of Contemporary Art, Amsterdam exhibition catalog, pg. 153 Provenance Acquired directly from the artist

Talent is talent, so whether Llyn Foulkes paints or plays music, he communicates. Llyn composes lyrics and scores, introduces his home built musical instruments. Captured the crowds at the Pumpkin Festival in Calabasas and will record for Atlantic. Newsletter on the Arts hopes to sponsor an event for its subscribers. NOTA December 1974

170 L LY N F O U L K E S b. 1934 Untitled 1963 oil on Masonite 48 h × 48 ¼ w × 1 ¾ d in (122 × 122 × 4 cm) Signed and dated to lower right ‘Foulkes 63’. $ 20,000 – 30,000

Literature The West As Art: Changing Perceptions of Western Art in California Collections, Palm Springs Desert Museum exhibition catalog, pg. 4 Exhibited Llyn Foulkes, 1964, Rolf Nelson Gallery The West As Art: Changing Perceptions of Western Art in California Collections, 24 February – 30 May 1982, Palm Springs Desert Museum, California Provenance Rolf Nelson Gallery, Los Angeles

171 L LY N F O U L K E S b. 1934 In Memory of F.G. Hough no. 1 1974 lithograph in colors with hand-painted appliqué on illustration board image: 15 h × 19 ¾ w in (38 × 50 cm) sheet: 19 h × 24 ½ w in (48 × 62 cm) Signed, dated and numbered to lower edge ‘10/50 Llyn Foulkes 1974’. This work is number 10 from the edition of 50 published by Cirrus Editions, Los Angeles. $ 1,000 – 1,500

Exhibited Llyn Foulkes: Between a Rock and a Hard Place, 28 October 1995- 21 January 1996, Laguna Art Museum, California (traveling exhbition) Provenance Gloria Cortella Gallery, New York

There is greater unity between form and content in the latest works of LLYN FOULKES, also included in this tribute. His aesthetic is stronger and shows an even greater humanitarian concern than in the past. His genius still lies in the fact that he can state his intent succinctly.

NOTA April/May 1976

172 L LY N F O U L K E S b. 1934 Hotel Vienna 1961 collage and paint on paper in artist’s frame 12 ¾ h × 11 ¾ w in (32 × 30 cm) Signed and dated to lower right ‘Foulkes 1961’. $ 5,000 – 7,000

Exhibited The Santa Monica Museum of Art, 2005–2006 Provenance The Artist Pasadena Art Museum, Pasadena

173 A F T E R E DWA R D K I E N H O L Z LACMA exhibition poster 1966 offset lithograph 14 ¼ h × 23 ¼ w in (36 × 59 cm) This work is an exhibition poster published on the occasion of Edward Kienholz’s exhibition organized by Maurice Tuchman for the Los Angeles County Museum of Art, 30 March - 15 May 1966. $ 100 – 200

174 E D W A R D K I E N H O L Z 1927–1994 $91.00

1969 watercolor and ink stamp on paper in artist’s frame 12 h × 16 ¼ w in (30 × 41 cm) Signed and dated to lower right ‘Kienholz 69’ with artist’s thumbprint. $ 4,000 – 6,000

Exhibited The Diana Zlotnick Collection: a collector/a point of view, 29 September – 23 October 1969, Cal State L.A. Fine Arts Gallery, Los Angeles

Llyn Foulkes, what are you doing? NOTA January/February 1973

175 L LY N F O U L K E S b. 1934

Exhibited

Untitled

Proof: Los Angeles and the Photograph

1960 cabinet card with paint in artist’s frame 13 ¼ h × 10 ¼ w in (34 × 26 cm) Signed and dated to lower left ‘Foulkes 1960’. $ 3,000 – 5,000

Literature Proof: Los Angeles and the Photograph 1960–1980, Laguna Art Museum exhibition catalog, pg. 42 illustrates this work Llyn Foulkes, Hammer Museum exhibition catalog, pg. 19 illustrates this work

1960–1980, 31 October 1992 – 17 January 1993, Laguna Art Museum, California Llyn Foulkes, 2 February – 19 May 2013, Hammer Museum, Los Angeles (traveling exhibition) Provenance Acquired directly from the artist

176 L LY N F O U L K E S b. 1934

Exhibited

Untitled

Proof: Los Angeles and the Photograph

1962 cabinet card with paint in artist’s frame 13 ¼ h × 10 ¼ w in (34 × 26 cm) Signed and dated to lower left ‘Foulkes 62’. $ 3,000 – 5,000

Literature Proof: Los Angeles and the Photograph 1960–1980, Laguna Art Museum exhibition catalog, pg. 43 illustrates this work Llyn Foulkes, Hammer Museum exhibition catalog, pg. 28 illustrates this work

177 G E O R G E H E R M S b. 1935

Exhibited

Genevieve

The Diana Zlotnick Collection: a collector/a point

1962 mixed media assemblage 26 h × 44 w × 8 ¾ d in (66 × 112 × 22 cm) Titled to upper edge ‘Genevieve’. Signed to verso ‘G. Herms’. Sold with original exhibition pamphlet from Cal State L.A. $ 2,000 – 3,000

Literature George Herms: The River Book, vol. 1, Hickey and Herms, pg. 111 illustrates this work The West as Art: Changing Perceptions of Western Art in California Collections, Palm Springs Desert Museum exhibition catalog, pg. 5 George Herms: Selected Works 1960–1972, Cal State L.A. Fine Arts Gallery exhibition catalog, unpaginated, illustrates this work

of view, 29 September – 23 October 1969, Cal State L.A. Fine Arts Gallery, Los Angeles George Herms: Selected Works 1960–1972, 5 November – 22 November 1972, Cal State L.A. Fine Arts Gallery, Los Angeles The West as Art: Changing Perceptions of Western Art in California Collections, 24 February – 30 May 1982, Palm Springs Desert Museum, Palm Springs Provenance Acquired directly from the artist

Herms: Needs a car. Will exchange Art Works for dependable wheels. NOTA February 1972 As time goes on, the work of GEORGE HERMS becomes more refined, minimal, sophisticated and clean. NOTA May/June 1977

178 G E O R G E H E R M S b. 1935

Literature

Thirty-two Palm Songs

Artists and Their Books: Books and Their Artists,

1967–1971 artist’s book with 32 loose sheets, lithograph on paper 7 dia in (18 cm)

Phillips and Reed, ppg. 100–101 George Herms: The River Book, vol. 2, Hickey and Herms, ppg. 180–183

Thirty-two Palm Songs is comprised of thirty-two

Provenance

poems on palm-sized, disc-shaped sheets intended

Acquired directly from the artist

to be sung (twelve shown), and it was printed with the artist’s own handpress. Signed and numbered to colophon: ‘George Herms #C/32’. This work is number C apart from the edition of 32 printed by The Love Press, Topanga, CA. Sold with Plexiglas case. $ 800 – 1,200

179 G E O R G E H E R M S b. 1935 Untitled 1963 mixed media assemblage 19 ½ h × 13 ½ w in (50 × 34 cm) Signed, titled, dated and inscribed to verso ‘Untitled 1963 G. Herms Love G’. $ 1,200 – 1,800

Provenance Acquired directly from the artist

180 G E O R G E H E R M S b. 1935 Untitled (Self-portrait) 1966 ink on paper 38 h × 19 ¾ w in (97 × 50 cm) $ 1,000 – 1,500

Provenance Acquired directly from the artist

181

182

G E O R G E H E R M S b. 1935

American Academy #1

Untitled (Center)

1983

1979

collage and ink on paper

mixed media collage on paper

11 h × 8 ½ w in (28 × 22 cm)

12 ½ h × 8 ¾ w in (31 × 22 cm)

Signed and dated to lower right

corner ‘G. Herms 1983.’.

‘G. Herms 1979’.

$ 1,000 – 1,500

Literature

Provenance

From George Herms with LOVE: Assemblage,

Acquired directly from the artist

Collage and Prints from the Last of the Los Angeles “Beat” Culture, Tobey C. Moss exhibition catalog, ppg. 10–11 discuss series Provenance Acquired directly from the artist

183

184

H O W A R D F I N S T E R 1916–2001

Love Is Home…

Trust God It Works

1989

felt-tip marker and paint on wood

12 ¾ h × 10 ¾ w × 4 d in (32 × 27 × 10 cm)

6 ¼ h × 15 ½ w × 3 ¾ d in (16 × 39 × 10 cm)

Signed, dated and inscribed to verso

Signed, dated and inscribed to verso ‘10,000,705

‘10,000,784 works since 1996 by Howard

works since 1976 by Howard Finster May-3-1989

Finster May 11, 1989 God Bless You All 4:29 PM’.

God Bless You All 3:40 Past Midnight’.

$ 600 – 800

Provenance

Acquired directly from the artist

185 H O W A R D F I N S T E R 1916–2001 Untitled (Cleanse My Lips…) 1989 felt-tip marker and paint on wood 16 ¾ h × 14 ½ w in (43 × 37 cm) Signed, dated and inscribed to lower right May-8 1989 by Howard Finster From God Man of Visions’. Signed, dated and inscribed to verso ‘10,000,756 works since 1976 by Howard Finster May-8-1989 God Bless You All 11:24 PM’. $ 800 – 1,200

Provenance Acquired directly from the artist

186 B R U C E H O U S T O N 1937–2016 Untitled (Nancy and Sluggo Lunchbox Truck) 2001 mixed media sculpture 7 h × 7 w × 2 ¼ d in (18 × 18 × 6 cm) Signed and dated to underside ‘Bruce Houston 2001’. $ 1,500 – 2,500

187 B R U C E H O U S T O N 1937–2016 Untitled (Mondrian Truck) 1987 mixed media sculpture 9 ½ h × 7 ¾ w × 2 d in (24 × 20 × 5 cm) Signed and dated to underside ‘Bruce Houston 1987’. $ 1,500 – 2,500

Roy Lichtenstein’s expansion of comic strip into Abstract Expressionism was a winner, as are his multi-dimensional color field ptgs. with imagined edges & volumes springing forth on canvas. NOTA Summer 1975

188 A F T E R ROY L I C H T E N S T E I N Temple of Apollo, multi-part poster (four sheets) c. 1967

lithograph on paper two panels: 60 h × 86 ¼ w in (152 × 219 cm) two panels: 60 h × 80 w in (152 × 203 cm) The Temple of Apollo, a billboard-sized poster was published on occasion of Roy Lichtenstein’s solo exhibition at the Pasadena Art Museum in 1967. Five examples of the large-scale work were published by Foster and Kleiser Outdoor Advertising, Los Angeles and produced as a donation to the museum. $ 10,000 – 15,000

Literature Roy Lichtenstein, Hamilton, Studio International, no. 896, January 1968, pg. 24 Provenance Barbara Haskell, Los Angeles

189

190

A F T E R ROY L I C H T E N S T E I N

R O Y L I C H T E N S T E I N 1923–1997

Surrealist Paintings Poster

Brushstroke (Leo Castelli Gallery Poster)

1978

1965

offset lithograph in colors

offset lithograph

60 h × 44 w in (152 × 112 cm)

image: 23 h × 29 w in (58 × 74 cm)

This work is from an edition of unknown

sheet: 25 ¼ h × 29 ¾ w in (64 × 76 cm)

size published by Ace Gallery, Los Angeles.

This work is from the unnumbered edition

$ 500 – 700

published by Poster Originals, Ltd., New York

Provenance Ace Gallery, Los Angeles

to announce Lichtenstein’s exhibition at Leo Castelli Gallery, 20 November - 16 December 1965. $ 300 – 500

Literature Corlett II.5

TOO BAD we all didn’t get a LICHTENSTEIN BROOCH for $50 in 1966. Better than gold. The value increased thirty-fold within fourteen years.

NOTA March 1980

191 A F T E R ROY L I C H T E N S T E I N Comic Iconoclasm exhibition t-shirt 1987 fabric 27 h × 21 ½ w in (69 × 55 cm) This t-shirt was published by the Institute of Contemporary Arts, London on the occasion of the exhibition entitled Comic Iconoclasm, 18 June - 12 September 1987. Sold with magazine supplement to the exhibition. $ 50 – 100

192 M E L R A M O S 1935–2018

Literature

Tiger Girl (from the One Cent Life portfolio)

Mel Ramos: Definitive Catalogue Raisonné

1963 double-sided lithograph in colors image: 15 ½ h × 11 w in (39 × 28 cm) sheet: 16 h × 11 w in (41 × 28 cm) One Cent Life was an avant-garde publication that combined written works by Walasse Ting with artworks by Pop and Abstract artists such as Roy Lichtenstein, Jim Dine, Joan Mitchell, Mel Ramos, Sam Francis, Andy Warhol, among others. Signed and inscribed to lower edge ‘Mel Ramos 124-162-159 F.’ This work is from the edition of 2,000 printed by Maurice Beaudet, Paris and published by E. W. Kornfeld, Bern, Switzerland. $ 200 – 300

of Original Prints, Galerie Ernst Hilger and the Estate of Mel Ramos, eds., pg. 24

193 M E L R A M O S 1935–2018 Virnaburger 1965 offset lithograph in colors image: 19 ¼ h × 16 w in (49 × 40 cm) sheet: 21 ½ h × 17 w in (54 × 43 cm) Signed and dated to lower right ‘Mel Ramos 65’. This work is from the edition of 500 printed and published by Bianchini Gallery, New York. $ 500 – 700

Literature Mel Ramos: Definitive Catalogue Raisonné of Original Prints, Galerie Ernst Hilger and the Estate of Mel Ramos, eds., pg. 208

194

195

L A R R Y R I V E R S 1923–2002

Big B Signs Up (from American Portrait 1776–1976)

Acetate Camel

1976

1978

lithograph in colors

color pochoir with airbrush and hand

19 ¼ h × 26 w in (49 × 66 cm)

additions on acetate and paper

Signed, dated and numbered to lower right

25 h × 21 ½ w in (64 × 55 cm)

‘E.A. 7/25 Larry Rivers 76’. This work is number

Signed, dated and numbered to lower right

7 of 25 artist’s proofs apart from the edition

‘54/150 Larry Rivers 78’ with blindstamp.

of 175 printed by Styria Studio, Inc., New York

This work is number 54 from the edition of

and published by Transworld Art, New York.

120 printed by RG Spritzpress and published

$ 300 – 500

by Marlborough Graphics, New York.

Provenance

$ 1,000 – 2,000

The Artist

Provenance

Gloria Cortella Gallery, New York

196 C L A E S O L D E N B U R G b. 1929 Untitled (New Pasadena Museum) (from Notes) 1968 lithograph in seven colors on Rives BFK 22 ½ h × 15 ¾ w in (57 × 40 cm) Signed, dated and numbered to lower edge ‘87/100 Oldenburg 68’. This work is number 87 from the edition of 100 printed and published by Gemini G.E.L., Los Angeles. $ 1,000 – 1,500

Literature Gemini G.E.L. 115 Axsom & Platzker 55.2

197 K A Z O S H I R O b. 1967 Combo Washer/Dryer #1 2005 acrylic and Bondo on stretched and shaped canvas 71 ¼ h × 24 w × 26 ½ d in (181 × 61 × 67 cm) Signed, titled and dated to verso ‘Kaz Oshiro 05 Combo Washer/Dryer #1’. Sold with original invoice and exhibition press release from Rosamund Felsen Gallery and Pomona College Museum of Art exhibition catalog. $ 15,000 – 20,000

Literature Kaz Oshiro, Pomona College Museum of Art exhibition catalog, ppg. 4–7 discuss project Exhibited Kaz Oshiro: Drone, 15 October – 12 November 2005, Rosamund Felsen Gallery, Santa Monica Provenance Rosamund Felsen Gallery, Santa Monica

198 R O L A N D R E I S S 1929–2020 The Dancing Lessons: The Levitation of Earthbound Entities 1977 mixed media maquette in Plexiglas case 14 h × 36 ½ w × 8 d in (36 × 92 × 20 cm) Signed and titled to lower edge of base ‘The Dancing Lessons: The Levitation of Earthbound Entities Roland Reiss’. $ 2,000 – 3,000

Literature Roland Reiss: A Seventeen Year Survey, Fellows of Contemporary Art exhibition catalog, pg. 86 Exhibited Roland Reiss: A Seventeen Year Survey, 19 November 1991 – 19 January 1992, Los Angeles Municipal Art Gallery, Los Angeles (traveling exhibition)

Roland was selected as his visual presentation of the “idea” make his concepts very clear. Even if the art is conceptual, Roland believes the visual must be very equal to the impact of the idea to be art rather than literature. NOTA March 1980

199 R I C K Y S W A L L O W b. 1974 Staggered Hats (Soot) 2011 patinated bronze 11 h × 8 w × 11 d in (28 × 20 × 28 cm) Impressed signature, date and number to underside ‘RS 2011 AP’. This work is an artist’s proof apart from the edition of 3. $ 3,000 – 5,000

Michael Frimkess started working with clay about the time he was potty trained. With a flashlight under the covers and a ball of clay in his hand, Frimkess molded his precious material. For over half a century Frimkess has been romancing with his beloved ceramic destiny…Most of Michael’s pots are decorated by his genius wife from Venezuela, Magdalena. The couple has been together for thirty years. Magdalena’s comic decorations are essays in appropriation with subject matter from the twelfth century to the present. The decorations are mixed and scattered into a highly personalized visual essay with linear and colored forms that flow like water. NOTA June 3, 1996

200 MICHAEL AND MAGDALENA FRIMKESS Katzenjammer Kids c. 1986

glazed stoneware 23 h × 11 ½ dia in (58 × 29 cm) Impressed signature to foot and underside ‘MF’. $ 12,000 – 18,000

Provenance Acquired directly from the artists

201 MAGDALENA SUAREZ FRIMKESS b. 1929 Vessels, collection of five 1989–2003 glazed stoneware largest: 2 ¼ h × 7 ¼ w × 8 ¼ d in (5 × 18 × 21 cm) smallest: 2 ¼ h × 4 ½ dia in (5 × 11 cm) Signed and dated to underside of three examples ‘Magdalena 2-03’, ‘5-89 Mag’ and ‘Magdalena 9-98’. $ 4,000 – 6,000

Provenance Acquired directly from the artist

202 MICHAEL AND MAGDALENA FRIMKESS Lobster Pot 1994 glazed stoneware 16 ½ h × 10 dia in (42 × 25 cm) Signed and dated to underside ‘M + M Frimkess 94’. $ 6,000 – 8,000

Provenance Acquired directly from the artists

203 MAGDALENA SUAREZ FRIMKESS b. 1929 Night Sky Motif Cylinder Pot 2003 glazed stoneware 8 ¾ h × 7 ½ dia in (22 × 19 cm) Signed and dated to underside ‘Magdalena 03-03’. $ 4,000 – 6,000

Provenance Acquired directly from the artist

204 MICHAEL AND MAGDALENA FRIMKESS Untitled 1989 glazed stoneware 15 ¼ h × 8 dia in (39 × 20 cm) Incised signature to underside ‘M’. $ 6,000 – 8,000

Provenance Acquired directly from the artists

205 MAGDALENA SUAREZ FRIMKESS b. 1929 Goblets, set of four 1990 glazed stoneware largest: 5 ½ h × 3 ¾ dia in (14 × 10 cm) smallest: 5 ¼ h × 3 ¾ dia in (13 × 9 cm) Signed and dated to underside to each work ‘2-90 Magdalena’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

206 MICHAEL AND MAGDALENA FRIMKESS Vase glazed stoneware 13 ¾ h × 6 dia in (35 × 15 cm) Signed to underside ‘M+M Michael’. $ 3,000 – 5,000

Provenance Acquired directly from the artists

207 MAGDALENA SUAREZ FRIMKESS b. 1929 Portrait bud vases, set of three 2001 glazed stoneware largest: 6 h × 2 ¾ w × 3 ½ d in (15 × 7 × 9 cm) smallest: 5 ½ h × 2 ½ w × 3 ¼ d in (14 × 6 × 8 cm) Signed and dated to underside of two works ‘Magdalena 9-2001’, ‘Magdalena 6-2001’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

208 MAGDALENA SUAREZ FRIMKESS b. 1929 Vase 2003 glazed stoneware 8 ½ h × 7 dia in (22 × 18 cm) Signed and dated to underside ‘Magdalena 2-0-3’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

209 MAGDALENA SUAREZ FRIMKESS b. 1929 Bird goblets, set of three c. 1999

glazed stoneware 6 ¼ h × 3 ¾ dia in (16 × 9 cm) 4 ½ h × 3 ¾ w × 4 d in (11 × 10 × 10 cm) 4 h × 3 ½ w × 4 ¾ d in (10 × 9 × 12 cm) Signed and dated to underside of two works ‘Magdalena 5-99’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

210

211

MICHAEL AND

MAGDALENA FRIMKESS

Vase

Untitled (Rose)

glazed stoneware

1998

9 ½ h × 9 dia in (24 × 23 cm)

glazed stoneware

Impressed signature to foot ‘MF’.

15 ¾ h × 8 dia in (40 × 20 cm)

$ 1,500 – 2,000

Signed and dated to underside

Provenance Acquired directly from the artists

‘M + M Frimkess 9 - 98’. $ 3,000 – 5,000

Provenance Acquired directly from the artists

212 MAGDALENA SUAREZ FRIMKESS b. 1929 Two plates and a coaster 1989–2002 glazed stoneware largest: 1 ½ h × 8 ½ w × 8 d in (3 × 22 × 20 cm) smallest: ½ h × 3 ¼ w × 3 ¼ d in (1 × 8 × 8 cm) Signed and dated to underside of each work ‘Magdalena 7-2002’, ‘Magdalena 1-97’, and ‘Magdalena 3-89.’ $ 3,000 – 5,000

Provenance Acquired directly from the artist

213

214

MAGDALENA SUAREZ FRIMKESS

MICHAEL AND

b. 1929

MAGDALENA FRIMKESS

Figure of woman

Vases, set of two

2003

1996

glazed stoneware

3 ½ h × 4 ½ w × 3 ¾ d in (9 × 11 × 10 cm)

4 ½ h × 6 ¼ dia in (11 × 16 cm)

Signed and dated to underside ‘5-03 Magdalena’.

4 ¼ h × 4 ¾ dia in (10 × 12 cm)

$ 1,500 – 2,000

Signed and dated to underside

Provenance Acquired directly from the artist

of one work ‘M+M Frimkess 4-96’. $ 2,000 – 3,000

Provenance Acquired directly from the artists

215

216

M A R C E L D Z A M A b. 1974

The Wolfman Saves the Day

Untitled

c. 1995

ink, watercolor and root beer on paper

12 ½ h × 10 w in (31 × 25 cm)

12 ½ h × 10 w in (32 × 25 cm)

Titled to upper left ‘The Wolfman Saves the

Signed to lower right ‘Marcel Dzama’.

Day’. Signed to lower right ‘Marcel Dzama’.

$ 1,000 – 1,500

Provenance Richard Heller Gallery, Santa Monica

217

218

M A R C E L D Z A M A b. 1974

Untitled

c. 1995

ink, watercolor and root beer on paper

9 ¾ h × 12 ½ w in (24 × 32 cm)

12 ½ h × 9 ¾ w in (32 × 25 cm)

Signed to lower right ‘Marcel’.

$ 1,000 – 1,500

Provenance

Richard Heller Gallery, Santa Monica

219 R A Y M O N D P E T T I B O N b. 1957 Twelve Works by Raymond Pettibon 1990 screenprint in colors 22 h × 17 w in (56 × 43 cm) The complete portfolio of 12 works each signed and numbered to lower edge ‘14/40 Raymond Pettibon’. Portfolio is number 14 from the edition of 40 printed by Multiples, Inc., Los Angeles and published by Ed Boswell and Kay Koch. $ 12,000 – 18,000

Provenance Los Angeles Contemporary Editions

220 R A Y M O N D P E T T I B O N b. 1957 No Title (My Prophecies Will Last Far Beyond My Years…) ink on paper 14 h × 11 w in (36 × 28 cm) $ 6,000 – 8,000

Provenance Richard Heller Gallery, Santa Monica

221 R A Y M O N D P E T T I B O N b. 1957 No Title (Purity of Line and Form, of Cheek and Chin…); No Title (Vavoom: The Real Straight Dope); No Title (Va-Voom: Those That Catch Birds…); No Title (What Kept Him Alive…) (four works) c. 1990

lithograph image: 18 h × 10 ½ w in (46 × 27 cm) sheet: 21 ¾ h × 15 w in (55 × 38 cm) Signed to lower right of each work ‘Raymond Pettibon’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

223

224

A F T E R R AY M O N D P E T T I B O N

R A Y M O N D P E T T I B O N b. 1957

Raymond Pettibon exhibition poster

No Title (I Thought California Would Be Different)

Rubbing Souls and Scratching Holes

2003

1989

1992

offset lithograph

lithograph

7-inch vinyl record, lithograph on paper

image: 13 ¾ h × 10 ¼ w in (35 × 26 cm)

image: 43 h × 27 ¾ w in (109 × 70 cm)

cover: 7 h × 7 ¼ w in (18 × 18 cm)

sheet: 18 ¾ h × 13 ¾ w in (47 × 35 cm)

sheet: 46 ¾ h × 31 ½ w in (119 × 80 cm)

record: 7 dia in (17 cm)

This work was published on the occasion of the Ninth

Signed to lower right ‘Raymond Pettibon’.

Performances by Super Session, cover art

Annual Los Angeles Art Show at the Barker Hanger,

This work is from the edition of 65.

by Raymond Pettibon. This work is from

Santa Monica Airport, 9-12 October 2003.

$ 1,000 – 1,500

an unknown edition size published by Piece

222

$ 50 – 100

Provenance Acquired directly from the artist

of Mind Records, San Francisco. $ 50 – 100

225 R A Y M O N D P E T T I B O N b. 1957 Knocking on the Louvre 1991 bound lithographs 8 ½ h × 5 ½ w in (22 × 14 cm) Numbered to lower right ‘49/75’. This work is number 49 from the edition of 75 published by Superflux Publications, Hermosa Beach, CA. $ 100 – 200

226 B A R R Y M C G E E b. 1966 Larceny 2004 bound printed paper 5 ½ h × 3 ½ w in (14 × 9 cm) This work is from the edition of 1,000 published by Iconoclast Editions, Oakley, California. $ 100 – 200

227 B A R R Y M C G E E b. 1966 Beck(y) Round Tote c. 2005

skateboard, fabric, silver paint 11 ¾ h × 8 w × 4 ¼ d in (30 × 20 × 11 cm) This bag was constructed from a skateboard by artist Beck Hickey and painted by Barry McGee as part of the 2005 Fifty-Fifty auction benefit for Adaptive Action Sports. Sold with two buttons and a copy of the receipt from Adaptive Action Sports. $ 3,000 – 5,000

Provenance Fifty-Fifty benefit auction, 18 June 2005, The LAB 101 Gallery, Culver City, CA

228 C H R I S J O H A N S O N b. 1968 Lives Run on Self Hate 2000 watercolor on paper 14 h × 8 ½ w in (36 × 22 cm) $ 1,500 – 2,000

Provenance Richard Heller Gallery, Santa Monica

229 C H R I S J O H A N S O N b. 1968 Honey 2000 gouache on paper 21 ½ h × 29 ½ w in (55 × 75 cm) $ 2,000 – 3,000

Provenance Richard Heller Gallery, Santa Monica

230

231

M A R C E L D Z A M A b. 1974

Untitled

c. 1995

ink, watercolor and root beer on paper

12 ¼ h × 9 ¾ w in (31 × 25 cm)

14 h × 11 w in (36 × 28 cm)

Signed to lower right ‘Marcel Dzama’.

$ 1,000 – 1,500

Provenance

Richard Heller Gallery, Santa Monica

232

233

M A R C E L D Z A M A b. 1974

Untitled

c. 1995

ink and watercolor on panel

ink, watercolor and root beer on paper

11 h × 14 w in (28 × 36 cm)

12 ½ h × 9 ¾ w in (31 × 25 cm)

Signed to lower left ‘Marcel Dzama’.

Signed to lower right ‘Marcel Dzama’.

$ 1,200 – 1,800

$ 1,000 – 1,500

Provenance

Richard Heller Gallery, Santa Monica

234 A L E X B E C E R R A b. 1989 Nine works 2012 ink and watercolor on paper largest: 12 h × 9 w in (30 × 23 cm) smallest: 8 ½ h × 5 ½ w in (21 × 14 cm) Signed and dated to verso of each ‘Alex Becerra 2012’. $ 1,500 – 2,000

235 M I N D Y S H A P E R O b. 1974 The Furry Eye Sac That Rolls Around Collecting Eyes 2002 ink on paper 44 h × 30 w in (112 × 76 cm) $ 600 – 800

Provenance Anna Helwing Gallery, Los Angeles

236 R U S S E L L C R O T T Y b. 1956 Toxic Storm 1988 oil and latex on panel 60 h × 60 w in (152 × 152 cm) Signed, titled and dated to verso ‘Toxic Storm Russell Crotty 1988’. $ 2,000 – 3,000

Provenance Cirrus Gallery, Los Angeles

237 R U S S E L L C R O T T Y b. 1956 Untitled 1989 acrylic on panel 36 h × 36 w in (91 × 91 cm) Signed, titled, dated, and inscribed to verso ‘Russell Crotty Feb 1989 Untitled from Drake and Russ- Many Thanks’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

238 R U S S E L L C R O T T Y b. 1956 California Homegrounds, Issue V, Volume II ink and bound paper 11 ½ h × 8 ½ w × 1 d in (29 × 22 × 3 cm) This work is from the artist’s ongoing surf-related sketchbook series. Titled to cover and interior page ‘California Homegrounds Issue V Volume II’. $ 800 – 1,200

Provenance Acquired directly from the artist

239

240

R U S S E L L C R O T T Y b. 1956

Motel Sequence

Surf Drawing in Black

1988–89

c. 1990

photocopies, latex, fin, resin and oil on panel

ink on paper

16 h × 16 w × 6 d in (41 × 41 × 15 cm)

40 h × 30 w in (102 × 76 cm)

Signed, titled and dated to verso ‘Russell

$ 1,500 – 2,000

Crotty Motel Sequence 1988-89’. $ 800 – 1,200

Provenance Acquired directly from the artist

SHIRLEY PETTIBONE’s new photo-realist watercolor lily painting scheduled for showing in Sweden is a superlative new realistic rendering. She’s a ‘hellofa’ painter.

NOTA May 1974

241

242

S H I R L E Y P E T T I B O N E 1936–2011

Black Swans

New Year 1967

1998

1967

monoprint on black paper

lithograph

22 h × 25 ¾ w in (56 × 65 cm)

image: 3 ¾ h × 2 ½ w in (9 × 6 cm)

Signed and dated to lower right

sheet: 6 h × 4 w in (15 × 10 cm)

‘Shirley Pettibone 1998’.

Signed, titled, dated and inscribed to lower

$ 200 – 300

edge ‘Shirley, Richard, New Year 1967’.

Provenance Acquired directly from the artist

$ 400 – 600

243 S H I R L E Y P E T T I B O N E 1936–2011 Water Lilies 1974 ink on paper 20 h × 20 w in (51 × 51 cm) Signed and dated to lower right ‘Shirley Pettibone 1974’. $ 800 – 1,200

Provenance Acquired directly from the artist

244 R I C H A R D P E T T I B O N E b. 1938 Two Shaker Chairs 1989 oil on canvas in artist’s frame 13 ¼ h × 15 ¼ w in (33 × 38 cm) Signed, titled and dated to verso ‘Two Shaker Chairs Richard Pettibone 1989’. $ 10,000 – 15,000

Provenance Curt Marcus Gallery, New York Michael Kohn Gallery, Santa Monica

245 R I C H A R D P E T T I B O N E b. 1938 Confucius 1989 wood 29 ½ h × 17 dia in (75 × 43 cm) This work is from the series which entangles elements of Constantin Brancusi sculpture, Shaker furniture, and the writings of Ezra Pound, including the epic poem Cantos and his controversial translations of Confucius. Impressed excerpts from Ezra Pound’s “Canto LXXIV” to table top and table edge. Impressed inscription to suspended element ‘Ezra Pound’ and ‘Canto LXXIV’. Impressed title to interior drawer ‘Confucius’. $ 6,000 – 8,000

Exhibited Richard Pettibone: Paintings and sculpture, 12 April – 14 May 1990, Michael Kohn Gallery, Los Angeles Provenance Michael Kohn Gallery, Los Angeles

246 R I C H A R D P E T T I B O N E b. 1938 Shaker Side Chair 1989 oil on canvas in artist’s frame 15 ¼ h × 11 ¼ w in (39 × 29 cm) Signed, titled and dated to verso ‘Shaker Side Chair Richard Pettibone 1989’. $ 8,000 – 12,000

Provenance Curt Marcus Gallery, New York Michael Kohn Gallery, Santa Monica

247 R I C H A R D P E T T I B O N E b. 1938 Periplum 1989 painted wood 29 ¾ h × 15 dia in (75 × 38 cm) This work is from the series which entangles elements of Constantin Brancusi sculpture, Shaker furniture, and the writings of Ezra Pound, including the epic poem Cantos and his controversial translations of Confucius. Impressed title to table top ‘Periplum’. Impressed signature, date, and inscription to underside of table top ‘Richard Pettibone 1989 See Ezra Pound Canto LXXIV’. $ 6,000 – 8,000

Exhibited Richard Pettibone: Paintings and Sculpture, 12 April – 14 May 1990, Michael Kohn Gallery, Los Angeles Provenance Michael Kohn Gallery, Los Angeles

248 R I C H A R D P E T T I B O N E b. 1938 Peter Becker, New York City, Feb. 1973 1973 oil on canvas in artist’s frame 4 ½ h × 4 ½ w in (11 × 11 cm) Signed, titled and dated to verso ‘Peter Becker New York City Feb. 1973 Richard Pettibone 1973’. $ 3,000 – 5,000

Provenance Acquired directly from the artist

249 CAROLINE KENT Five Portraits of Diana 1968 laminated photo cut-out largest: 7 ¼ h × 3 w × 1 ½ d in (18 × 7 × 3 cm) smallest: 3 ¼ h × 2 w × 1 ½ d in (8 × 5 × 3 cm) Lot is comprised of five works titled: Diane with Richard’s Stella, The Green Dress, Z.D. with Edie Danieli’s Stuffings, Teeny Warhol, and Striped Dress. Signed, titled, and dated to verso of each laminated cut-out. Sold with a framed document from Caroline C. Kent’s California Art Files. $ 300 – 500

Provenance Acquired directly from the artist

250 P H I L L I P H E F F E R T O N 1933–2008 Siren; My Kingdom for a Cigarette; A Door is a Door (three works) 1965 mixed media collage on paper 4 ¾ h × 6 ¾ w in (12 × 17 cm) 6 ¾ h × 4 ¾ w in (17 × 12 cm) $ 1,500 – 2,500

Provenance Rolf Nelson Gallery, Los Angeles

251 P H I L L I P H E F F E R T O N 1933–2008 Dog with Balloon (quadriptych) 1965 mixed media on paper each: 5 h × 6 ¾ w in (12 × 17 cm) overall: 16 ¾ h × 20 ¼ w in (43 × 51 cm) Signed to lower right of one work ‘PH’. $ 700 – 900

252 M I C H A E L O L O D O R T b. 1942 Untitled 1960 oil on canvas 58 h × 60 w in (147 × 152 cm) $ 2,000 – 3,000

Provenance Acquired directly from the artist

253 M I C H A E L O L O D O R T b. 1942 Untitled 1963 oil on canvas 60 h × 60 w in (152 × 152 cm) Signed and dated to verso ‘Oldort 1963’. $ 2,000 – 3,000

Provenance Acquired directly from the artist

254 M I C H A E L O L O D O R T b. 1942 Untitled (two works) c. 1963

mixed media and ink on paper 17 ½ h × 22 ½ w in (44 × 57 cm) 10 h × 13 w in (25 × 33 cm) Signed and dated to lower right of one work ‘Olodort 1963’. $ 800 – 1,200

255 M I C H A E L O L O D O R T b. 1942 Dancing Ghost Hanger; Untitled (Sphere) (two works) 1966, 1974 lithograph in colors, graphite on paper 19 h × 29 w in (48 × 74 cm) 28 ¾ h × 22 ¾ w in (73 × 58 cm) Signed, titled, dated and numbered to lower edge of one work ‘Dancing Ghost Hanger 20/50 Michael Olodort 4-74’. This work is number 20 from the edition of 50. Signed and dated to lower edge of additional work ‘Olodort Dec. 1966’. $ 200 – 300

Provenance Acquired directly from the artist

256

257

JASON MCLEAN

J A S O N M C L E A N b. 1971

Frog, I See U Slowly Falling; I May Not Always Love

Untitled

You (two works)

2004

2005

ink and watercolor on paper

ink and acrylic ink on paper

44 ½ h × 71 ¾ w in (113 × 182 cm)

14 h × 11 w in (36 × 28 cm)

Signed and dated to lower

15 h × 11 w in (38 × 28 cm)

right J. McLean 04’.

Signed, titled and dated to lower edge of each

$ 1,000 – 1,500

work ‘Frog, I See U Slowly Falling By J. McLean Jan. 05’ and ‘I May Not Always Love You By J. McLean 05’. $ 800 – 1,000

Provenance Richard Heller Gallery, Santa Monica

258

259

S A M E R E N B E R G b. 1943

Clouds/Landscape; Planet (two works)

Strange Interlude; Yellow Ground (two works)

1993

1986

photograph and oil on wood panel

paint on wood

9 h × 7 w × 2 d in (23 × 18 × 5 cm)

9 ¾ dia in (25 cm)

Signed and dated to verso of

Signed, titled, dated and inscribed to verso

each work ‘Sam Erenberg 1993’.

of Strange Interlude ‘VI.XXV.1986 S. Erenberg

$ 800 – 1,200

Number 43 Strange Interlude’. Signed, titled, dated and inscribed to verso of Yellow Ground ‘VI.X.1986 S. Erenberg Number 36 Yellow Ground’. $ 700 – 900

CHARLES HILL’S art and body language revealed fertile talents as early as 1972. Now departing from grid and using freer expression of line, still buries and shows work using new materials - cheesecloth and muslin. Highly successful, subtle, monochromatic, and collectable [sic]. NOTA October/November 1976

260 CHARLES CHRISTOPHER HILL b. 1948 Untitled mixed media collage 24 ¾ h × 31 w in (63 × 79 cm) $ 500 – 700

261 VA R I O U S A R T I S T S A Vital Matrix 1995 mixed media objects largest: 12 ½ h × 9 ¾ w in (32 × 25 cm) smallest: 1 ¾ h × 1 w in (4 × 2 cm) box: 6 h × 18 w × 11 d in (15 × 46 × 28 cm) Titled, dated and numbered to box ‘A Vital Matrix 1995 #37 of 60’. This work is number 37 from the edition of 60 published by Jane Hart Publisher, Los Angeles. These works were published as part of the group exhibition curated by Jane Hart at Domestic Setting 5 August - 16 September 1995. Sold with spiral bound exhibition catalog. Lacking works by Jacki Apple, Wallace Berman, Jim Hodges, Jeanne Patterson, Holly Rittenhouse, and Austin Thomas. $ 1,000 – 1,500

262

263

J E A N N E PAT T E R S O N

C A R O L E S I LV E R S T E I N

Fish Out of Water

densities and distances

1997

2002

acrylic hologram

acrylic ink on mylar

20 h × 14 w in (51 × 35 cm)

42 h x 30 w in (107 × 76 cm)

Signed, titled and dated to verso

Sold with original invoice from

‘J Pattz 1997 Fish Out of Water’.

Carole Silverstein Studio.

$ 500 – 700

$ 1,000 – 1,500

Provenance Acquired in 2002 directly from the artist

264 J E F F R E Y V A L L A N C E b. 1955 Wall Piece 2014 plexiglas display box, drywall, printed paper 3 h × 3 w × 3 d in (8 × 8 × 8 cm) This edition was created to commemorate the closing of Edward Cella Art + Architecture’s Miracle Mile space located at 6018 Wilshire Blvd. The work is comprised of an actual piece of drywall from the gallery. Signed to sheet ‘Jeffrey Vallance’. This work is number 6 from the edition of 10 published on the occasion of the exhibition 6018 Wilshire, 20 September - 20 December 2014, Edward Cella Art + Architecture, Los Angeles. LAMA would like to thank Edward Cella for his assistance in cataloguing this work. $ 800 – 1,200

Provenance Edward Cella Art + Architecture, Los Angeles

265

266

W I L L I A M P E T T E T b. 1942

B R U C E R I C H A R D S b. 1948

Untitled

Odalisque

c. 1969

1975

spray-applied paint on paper

oil on linen

14 h × 14 w in (36 × 36 cm)

12 ¾ h × 13 ¼ w in (32 × 34 cm)

$ 400 – 600

Signed, titled and dated to verso

Provenance Nicholas Wilder Gallery, Los Angeles

‘Bruce Richards 75 Odalisque’. $ 500 – 700

Provenance Acquired directly from the artist

267 C H A R L E S M A T T O X 1910–1996 Untitled (Parabolic Curve) 1970 painted wood sculpture with moving interior parts 23 ¼ h × 23 ¼ w × 2 ½ d in (59 × 59 × 6 cm) $ 1,500 – 2,000

Provenance Acquired directly from the artist

268 G E O R G E M I L L E R b. 1944 1 Cubic Foot of Water (from Nine Cubic Feet of Water) 1970 offset lithograph on paper, plaque overall: 9 ½ h × 12 w × 12 d in (24 × 30 × 30 cm) lead plaque: 4 h × 5 w in (10 × 13 cm) This work is from the installation piece Nine Cubic Feet of Water, which is comprised of a photograph of water 12 inches by 12 inches reproduced 18,000 times, stacked in 9 piles each 12 inches high. Engraved signature, title and inscription to lead plaque ‘1 Cubic Foot of Water 12 Inches × 12 Inches × 12 Inches 2,000 @ Approx. 80 Lb. Weight Paper’. $ 1,500 – 2,000

Literature George Miller: Circa, George Miller, pg. 14 illustrates this work

269

270

G E O R G E M I L L E R b. 1944

Untitled (from The Tower of Babel series)

Untitled (from Morocco Series)

1974–1975

1977

graphite on tracing paper

blackboard, chalk, film positive, type and paint

24 h × 19 w in (61 × 48 cm)

48 h × 48 w in (122 × 122 cm)

$ 1,000 – 1,500

Signed and dated to lower right ‘Miller 77’. Sold

Literature George Miller: Circa, George Miller, ppg. 30–31 discuss series Provenance Acquired directly from the artist

with a copy of Words as Images, WhiteWalls: A Magazine of Writings by Artists, No. 5 and The Morocco Story: Writings from the Blackboard Series by George Miller. $ 1,500 – 2,500

Literature Words as Images, WhiteWalls: A Magazine of Writings by Artists, No. 5, Winter 1981, ppg. 68–75 discuss series The Morocco Story: Writings from the Blackboard Series, George Miller, unpaginated Provenance Acquired directly from the artist

271 C H R I S B U R D E N 1946–2015 Remnants From Shout Piece 1971–1980 cassette tape, memorabilia overall: 16 h × 9 ½ w in (41 × 24 cm) case: 17 ½ h × 12 ½ w × 2 ¼ d in (44 × 31 × 6 cm) Lot is comprised of a casette recording from Shout Piece. F Space: August 21, 1971, and a hand-written letter and an envelope addressed to Diana Zlotnick. Signed and inscribed to letter: ‘Dear Diana Looking through some of my stored things in the garage I came upon this tape—which is the one you requested (I believe). Chris Burden’. $ 4,000 – 6,000

Literature Chris Burden: A Twenty-Year Survey, Newport Harbor Art Museum exhibition catalog, pg. 49 discusses performance Provenance Acquired directly from the artist

BLESSED EVENTS: Chris Burden acquitted. NOTA March/April 1973

272 C H R I S B U R D E N 1946–2015 If You Fly; If You Drive (diptych) 1973 lithograph in colors with hand-coloring on Arches 30 h × 22 ¼ w in (76 × 57 cm) Signed, dated and numbered to lower edge of each sheet ‘39/50 Chris Burden 73’ with blindstamp. This work is number 39 from the edition of 50 printed by Ed Hamilton, Cirrus Editions, Los Angeles and published by Newspace Gallery, Los Angeles. Sold withoriginal print documentation from Cirrus Editions. $ 3,000 – 5,000

Literature Made in LA: Prints of Cirrus Editions, Davis, pg. 189

Brewster’s researching sound related

Brewster is one of the most exciting

to spatial perception. He is an

artists around.

NOTA Winter 1979/1980

original thinker constantly discovering new properties of this auditory media. Personally, I was very moved by his high frequency sound works that produced a hangover of residual energy, an individualized sensation, like a low charge of electricity or the enervating feeling resulting from physical exercise.

NOTA February 1977

273 M I C H A E L B R E W S T E R 1946–2016 Long Narrow Spaces 1976 mixed media sight: 29 ¾ h × 29 ½ w in (75 × 75 cm) Signed and dated to lower right ‘Brewster 76’. $ 1,000 – 1,500

Provenance Acquired directly from the artist

274 VA R I O U S A R T I S T S Boxes at Dwan Gallery exhibition catalog 1964 offset lithograph, cardboard box box: 3 h × 7 ¼ w × 4 ½ d in (8 × 18 × 11 cm) sheet: 34 ¾ h × 6 ¾ w in (88 × 17 cm) Features the exhibition catalog on three sheets within a box. This work is from the edition of unknown size published on the occasion of the group exhibition Boxes, 2 - 29 February 1964, Dwan Gallery, Los Angeles. Participating artists include Peter Agostini, Tony Berlant, Joseph Cornell, Jim Dine, Marcel Duchamp, Letty Eisenhauer, Marisol (Marisol Escobar), Arman (Armand Fernandez), Louise Nevelson, Claes Oldenburg, Robert Rauschenberg, Marital Raysse, James Rosenquist, Kurt Schwitters, Andy Warhol, Robert Watts, Tom Wesselmann, and H.C. Westermann. $ 300 – 500

275 R O B E R T R A U S C H E N B E R G 1925–2008 Dwan Gallery Poster (Self-portrait) 1965 offset lithograph in colors 23 h × 25 w in (58 × 64 cm) Signed to lower right ‘Rauschenberg’. This work is from the edition published by Dwan Gallery, New York. $ 1,500 – 2,000

Literature Foster 34 Provenance Dwan Gallery, New York

276 WILLIAM COPLEY A N D VA R I O U S A R T I S T S S.M.S. Portfolio #1 1968 mixed media 11 ¼ h × 7 ¼ w in (28 × 18 cm) Portfolio includes: Su Braden, Project for a Bridge; James Byars, Black Dress; Christo, Store Front; Walter De Maria, Chicago Project; Richard Hamilton, A Postal Card - For Mother; Julien Levy, Pharmaceuticals; Kasper Konig, My Country Tis of Thee West Germany 1968 (4 Views); Irving Petlin, Cover Little Box of Earthquake and Cotton; Nancy Reitkopf, Luggage Labels; La Monte Young and Marian Zazella, Two Propositions in Black. $ 500 – 700

277

278

E D R U S C H A b. 1937

Some Los Angeles Apartments

A Few Palm Trees

1965

1971

black offset printing on 100 lb.

black-and-white offset printing on white 80 lb.

white Vicksburg Vellum text paper

Vicksburg Vellum text paper

7 h × 5 ½ w × ¼ d in (18 × 14 × 1 cm)

This work is from the first edition of 700

This work is from the edition of 3,900 printed by G. R.

printed by Anderson, Ritchie & Simon,

Huttner Lithography, Burbank, CA and published by

Los Angeles and published by the artist.

Heavy Industry Publications, Hollywood.

$ 400 – 600

Literature

Engberg B3

Engberg B13

Provenance

Acquired directly from the artist

279

280

E D R U S C H A b. 1937

Real Estate Opportunities

Every Building on the Sunset Strip

1970

1966

black-and-white offset printing on

black offset printing on white paper;

80 lb. white Vicksburg Vellum paper

folded and glued

7 h × 5 ½ w × ¼ d in (18 × 14 × 1 cm)

7 ¼ h × 5 ¾ w × ½ d in (18 × 15 × 1 cm)

This work is from the edition of 4,000

This work is from the first edition of 1,000

printed by G. R. Huttner Lithography,

printed by Dick de Rusha, Los Angeles

Burbank, CA and published by the artist.

and published by the artist.

$ 200 – 300

$ 800 – 1,200

Literature

Engberg B12

Engberg B4

Provenance

Acquired directly from the artist

281

282

E D R U S C H A b. 1937

E D R U S C H A A N D B I L LY A L

Thirtyfour Parking Lots in Los Angeles

BENGSTON

1967

Business Cards

black offset printing on white paper

1968

10 h × 8 w in (25 × 20 cm)

black offset printing on paper, black

This work is from the first edition of 2,413

and white photograph, stapled cards

printed by Blair Litho, Los Angeles and

8 ¾ h × 5 ¾ w in (22 × 15 cm)

published by the artist.

Signed to cover ‘M.P...B.A.B. Ed Ruscha’.

$ 1,000 – 2,000

This work is from the first edition of 1,000

Literature Engberg B5

printed by Vaughan Printing Co., Santa Monica and published by Heavy Industry Publications, Hollywood. Sold with original book release

Provenance

invitation card and two order forms.

Acquired directly from the artist

$ 1,000 – 2,000

Literature Engberg B7 Provenance Acquired directly from the artist

283

284

E D R U S C H A b. 1937

Nine Swimming Pools and a Broken Glass

Colored People

1968

1972

4-color offset printing on white paper

4-color offset printing on 100 lb.

7 h × 5 ½ w × ¼ d in (18 × 14 × 1 cm)

Flocote Enamel paper

This work is from the first edition of 2,400

7 h × 5 ½ w × ¼ d in (18 × 14 × 1 cm)

printed by Blair Litho, Los Angeles and

This work is from the edition

published by the artist.

of 4,065 published by the artist.

$ 400 – 600

$ 300 – 500

Literature

Engberg B8

Engberg B16

Provenance

Acquired directly from the artist

285

286

E D R U S C H A b. 1937

Twentysix Gasoline Stations

Records

1963

1971

black offset printing on white paper

black-and-white offset printing

7 h × 5 ½ w in (18 × 14 cm)

on 100 lb. Lithofect paper

Numbered to last page of the book ‘247’. This

7 h × 5 ½ w × ¼ d in (18 × 14 × 1 cm)

work is number 247 from the first edition of 400

This work is from the edition of 2,000

printed by The Cunningham Press, Alhambra,

printed by G. R. Huttner Lithography,

CA and published by the artist.

Burbank, CA and published by Heavy

$ 600 – 800

Industry Publications, Hollywood.

Literature Engberg B1 Provenance Acquired directly from the artist

$ 200 – 300

Literature Engberg B15 Provenance Acquired directly from the artist

287

288

E D R U S C H A b. 1937

Crackers

Edward Ruscha (Ed-Werd Rew-Shay) Young Artist

1969

1972

black-and-white offset printing

exhibition catalogue; offset printing

on 60 lb. Lithosheen Gloss

on 40 lb. manila drawing paper

8 ¾ h × 6 w × ½ d in (22 × 15 × 1 cm)

4 ½ h × 4 w × 1 ½ d in (11 × 10 × 4 cm)

This work is from the first edition of 5,000

This work is from the edition of 2,000

printed by G. R. Huttner LIthography,

printed by Kolorpress, Inc., Minneapolis

Burbank, CA and published by Heavy

and published by The Minneapolis Institute

Industry Publications, Hollywood.

of Arts to accompany their exhibition, Prints,

$ 200 – 300

Drawings and Books of Edward Ruscha,

Literature Engberg B10 Provenance Acquired directly from the artist

18 April - 28 May 1972. $ 500 – 700

Literature Engberg M25

289

290

ED RUSCHA AND

ED RUSCHA, MASON WILLIAMS

L AW R E N C E W E I N E R

A N D PAT R I C K B L A C K W E L L

Hard Light

Royal Road Test

1978

1967

4-color offset printing on 60 lb.

black offset printing on 80-lb. white Prentice

Mountie Matte paper

Gloss Text paper with spiral binding

7 h × 5 w × ¼ d in (18 × 13 × 1 cm)

9 ½ h × 6 ½ w in (24 × 17 cm)

This work is from the edition of 3,560

This work is from the first edition of 1,000

published by Heavy Industry Publications,

printed by Blair Litho, Los Angeles and

Hollywood and Moved Pictures, New York.

published by the artist.

$ 300 – 500

Literature

Engberg B17

Engberg B6

Provenance

Acquired directly from the artist

291 ED RUSCHA AND ROBERT RAUSCHENBERG Stay Safe 1978 offset lithograph in colors 36 ¼ h × 23 w in (92 × 58 cm) Signed to lower left corner ‘Rauschenberg’ and signed to lower right quadrant ‘Edward Ruscha’. This work is from the edition of unknown size printed by Alan Printing & Litho, Los Angeles and published by Change, Inc., Los Angeles. $ 1,000 – 2,000

Literature Engberg M36 Provenance Acquired directly from the artist

292 A L E X K A T Z b. 1927 Ada Four Times 2 1979–80 screenprint and lithograph in ten colors on Arches Cover White 30 ¼ h × 22 ½ w in (77 × 57 cm) Signed and numbered to lower left ‘Alex Katz 81/120’. Inscribed to verso ‘ALK 0005’. This work is number 81 from the edition of 120 printed by Styria Studio, Inc., New York and published by GHJ Graphics, Inc., New York. $ 3,000 – 5,000

Literature Schröder 119 Maravell 117

293 E L L S W O R T H K E L LY 1923–2015 Black Form (from the 9 portfolio) 1967 lithograph on Rives BFK 17 h × 22 w in (43 × 56 cm) Signed and numbered to lower right ‘AP Kelly’. This work is an artist’s proof apart from the edition of 100 printed and published by Hollander’s Workshop, Inc., New York. $ 3,000 – 5,000

Literature Axsom 60 Ellsworth Kelly: Drawings, Collages, Prints, Waldman, ppg. 252–253 Provenance Acquired directly from the artist

294

295

N I G E L H A L L b. 1943

Untitled

1980

1981

charcoal on paper

30 ¼ h × 39 ¾ w in (77 × 101 cm)

53 ¾ h × 40 w in (137 × 102 cm)

Signed, dated and inscribed to

lower right ‘Nigel Hall #155 80’.

lower right ‘Nigel Hall #213 81’.

$ 1,500 – 2,000

Provenance

Acquired directly from the artist

296 PHYLLIS GREEN Archer; Little Lulu; Untitled (three works) 1981–2003 glazed ceramic, wood, mixed media 31 ¼ h × 22 w × 15 d in (79 × 56 × 38 cm) 9 ¼ h × 6 ¾ dia in (23 × 17 cm) 3 ¼ h × 12 w × 8 ¼ d in (8 × 30 × 21 cm) Signed and dated to underside of Archer: ‘PG 81’. $ 400 – 600

Provenance Acquired directly from the artist

297

298

PIXIE GUERIN

A N T H O N Y A U S G A N G b. 1959

Bridge 8 (Ancestor) (from The Bridge Series)

The Eyes Have It

2000

1991

acrylic on board

acrylic on canvas

11 h × 11 w in (28 × 28 cm)

18 h × 24 w in (46 × 61 cm)

Signed to lower right ‘Pixie’. Signed, titled,

Signed to upper left quadrant ‘Ausgang’. Signed

dated and inscribed to verso ‘Bridge 8 The

and dated to verso ‘Anthony Ausgang 4/91’.

Bridge Series Ancestor 2000 To Diane

$ 800 – 1,000

with Love, Pixie’. $ 500 – 700

Provenance Gift from the artist

Provenance Bess Cutler Gallery, Santa Monica

299 P H Y L L I S G R E E N b. 1950 Untitled (four works) c. 1987

carved wood, wire and cement largest: 62 ½ h × 26 w × 12 d in (159 × 66 × 30 cm) Signed and dated to underside of one example ‘P Green 87’. $ 800 – 1,200

Provenance Acquired directly from the artist

Don Sorenson “debuts with abstract ptg. of zig-zag patterns and ropy forms that make him the most promising newcomer around…”

NOTA February 1975

300 D O N A L D S O R E N S O N 1948–1985 Untitled c. 1984

oil on board 22 h × 28 w in (56 × 71 cm) $ 800 – 1,200

301 D O N A L D S O R E N S O N 1948–1985 Untitled 1975 paint and collage 20 h × 29 ¾ w in (50 × 76 cm) Signed and dated to verso ‘Sorenson 4/7/75’. $ 600 – 800

Exhibited Professor’s Choice, 20 September – 31 October 1981, Montgomery Gallery, Pomona College, Claremont, CA

302 S T E P H E N P R I N A b. 1954 Exquisite Corpse: The Complete Paintings of Manet, 51 of 556, Gitan (Bohemien) (Gypsy Man), 1862, Formerly in the Samson Collection, Paris (diptych) 1989 lithograph, ink wash on paper in artist’s frame 35 h × 29 w in (89 × 74 cm) 26 h × 32 ½ w in (66 × 83 cm) In the series, Exquisite Corpse: The Complete Paintings of Manet (1988-ongoing), Prina replaces the pictorial content of each work in Manet’s catalogue raisonne with a monochrome ink wash, retaining the size and shape of the original painting. The lithographic element of the diptych situates the appropriated painting in relation to Manet’s entire oeuvre. $ 3,000 – 5,000

Provenance Robert Berman Gallery, Santa Monica

303 R O B E R T G R A H A M 1938–2008 Untitled 1975 porcelain ceramic 9 ¼ h × 16 ¾ w × 1 ½ d in (23 × 43 × 4 cm) Inscribed to verso ‘To Marianne’. LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work. $ 3,000 – 5,000

Provenance The Artist Asher/Faure, Los Angeles

304 CHERYL HAMADA Untitled (two works) 1995 acrylic on mirrored glass, acrylic on panel 4 h × 4 w in (10 × 10 cm) 5 dia in (13 cm) Signed and dated to verso of one example ‘C. Hamada 1995’. $ 500 – 700

Provenance Acquired directly from the artist

305 M E R I O N E S T E S b. 1938 Fire Season 1982 acrylic, beads and glitter on canvas 71 ¾ h × 40 ¼ w in (182 × 102 cm) Signed, titled and dated to verso ‘Merion Estes 6/82 Fire Season’. $ 600 – 800

Provenance Robert Berman Gallery, Santa Monica

306 A L E X I S S M I T H b. 1949 Alone (two copies) c. 1975

bound printed paper 3 h × 2 ½ w in (8 × 6 cm) Printed signature to back cover of each ‘Alexis Smith’. These works are from the first edition published by the artist illustrating Edgar Allan Poe’s short poem Alone. $ 200 – 300

307 A L E X I S S M I T H b. 1949 Chandlerism #30 1978 mixed media collage in artist’s frame 12 ¾ h × 9 ¾ w in (32 × 25 cm) $ 1,500 – 2,500

Exhibited Alexis Smith, 20 November 1991 – 1 March 1992, Whitney Museum of American Art, New York (traveling exhibition)

308 G E O R G E H E R M S b. 1935 Spring Greetings Letter and Painting on Paper 1972 ink and pigment on paper 9 h × 6 w in (23 × 15 cm) Signed and inscribed to verso ‘From Herms’. $ 500 – 700

Provenance Acquired directly from the artist

309 G E O R G E H E R M S b. 1935

Exhibited

Three Cross

Painting and Sculpture in California: The Modern

1961 wood, wood cabinet door and metal faucet handle 25 h × 16 ¾ w × 9 d in (64 × 42 × 23 cm) Artist’s ‘LOVE’ stamp to lower left. Sold with an issue of Newsletter on the Arts, Volume XIII, No. 1, Spring 1987. $ 1,500 – 2,000

Era, 3 September – 21 November 1976, San Francisco Museum of Modern Art, San Francisco (traveling exhibition) Southern California Assemblage: Past and Present, 20 September – 25 October 1986, UC Santa Barbara and the Santa Barbara Contemporary Arts Forum, Santa Barbara (traveling exhibition)

Literature

Intuitive Eye: The Diana Zlotnick Collection,

Painting and Sculpture in California: The Modern

18 February – 26 March 2009, Art Gallery,

Era, San Francisco Museum of Modern Art

Los Angeles Valley College, Valley Glen

exhibition catalog, no. 247 Newsletter on the Arts, Volume XIII, No. 1, Spring 1987, Zlotnick, unpaginated, illustrates this work

Provenance Acquired directly from the artist

310 G E O R G E H E R M S b. 1935 Collection of Ephemera ink on paper, postcards largest: 18 h × 16 ¼ w in (46 × 41 cm) smallest: 4 h × 5 ¾ w in (10 × 15 cm) Lot is comprised of exhibition announcements, correspondence and more. Signed with artist’s initials to six pieces. Several other works include the artist’s ‘LOVE’ stamp. $ 600 – 800

311 G E O R G E H E R M S b. 1935 Journal of Dexter Mill 1960 mixed media assemblage 27 ½ h × 15 w × 3 d in (70 × 38 × 8 cm) Titled to lower center ‘Journal of Dexter Mill’. Signed and inscribed to verso ‘Herms love G’. $ 1,500 – 2,000

Provenance Acquired directly from the artist

312

313

G E O R G E H E R M S b. 1935

Joy Jewels

Love Bubbles

1962

1968

collage on cardboard

hand press and oil monoprint on paper

7 h × 7 w in (18 × 18 cm)

28 h × 22 w in (71 × 56 cm)

$ 800 – 1,200

Signed, titled and dated to lower edge ‘Love Bubbles

Provenance Acquired directly from the artist

Herms 68’ with artist’s ‘LOVE’ stamps. This work was printed by The Love Press, Topanga, CA. $ 1,200 – 1,800

Provenance Acquired directly from the artist

314 G E O R G E H E R M S b. 1935 Silent Piano 1962 assemblage on pedestal 30 h × 24 w × 9 d in (76 × 61 × 23 cm) $ 2,000 – 3,000

Provenance Acquired directly from the artist

315 G E O R G E H E R M S b. 1935 Untitled (December’s Darling Box Factor Glued to Set Up Late Hit); Untitled (Dedicated to Horseshoe Rings in Progress Cherishing Living) (two works) ink on paper 22 ¾ h × 28 ¾ w in (57 × 73 cm) 22 ½ h × 28 ½ w in (57 × 72 cm) Signed to lower right of each work ‘G. Herms’. $ 1,200 – 1,800

Provenance Acquired directly from the artist

316 G E O R G E H E R M S b. 1935 Collection of Ephemera 1965–1973 offset lithograph largest: 23 h × 17 ½ w in (58 × 44 cm) smallest: 2 ½ h × 5 ½ w in (6 × 14 cm) Lot is comprised of various exhibition announcements, ephemera and a work on paper. Signed to two pieces. Several other works include the artist’s ‘LOVE’ stamp. $ 800 – 1,200

Literature Nicholas Wilder Gallery exhibition announcement: George Herms: The River Book, vol. 1, Hickey and Herms, pg. 147

317

318

L A N C E R I C H B O U R G b. 1938

C O N N O R E V E R T S 1928–2016

Self Portrait

Untited (Zora Gallery Exhibition Announcement)

1962

1964

oil on Masonite

lithograph

22 ½ h × 20 ¼ w in (57 × 51 cm)

image: 21 h × 14 ¾ w in (53 × 37 cm)

Signed, titled and dated to verso

sheet: 23 ½ h × 16 ¾ w in (60 × 43 cm)

Lance Richbourg 1962 Self Portrait’.

Everts created this work to announce his 1964

$ 500 – 700

exhibition at Zora Gallery in 1964 featuring

Provenance Acquired directly from the artist

works from his Studies of Desperation series. The exhibition was raided and Connor Everts was arrested and tried for obscenity. The Los Angeles community supported Everts and the artist was exonerated. Signed and numbered to lower edge ‘4/25 Connor Everts’. This work is number 4 from the edition of 25. $ 700 – 900

319 G U Y D I L L b. 1946 Untitled (Construct) 1975 steel, glass and wood 19 h × 24 w × 5 ¼ d in (48 × 61 × 13 cm) Signed and dated to verso ‘Guy Dill 1975’. $ 2,000 – 3,000

In my opinion, when the history books are written, GUY DILL will emerge as a major innovative figure in the field of sculpture. He has redefined its qualities by attaching sculpture to the wall, making the wall an integral part of the work…The viewer is arrested by Dill’s work, but allowed the freedom of his own introspection about them. Viewing his work is not a passive experience, rather it is a rebirth as one shares the artist’s mental energies. NOTA December 1976/January 1976

320 STEVE OGLESBY Time Is Dumb mixed media on wood, electrical motor 26 ¾ h × 29 ¾ w × 2 d in (68 × 76 × 5 cm) $ 800 – 1,200

321 STEVE OGLESBY Do You Like to Kiss mixed media 26 ½ h × 13 w × 1 d in (67 × 33 × 3 cm) $ 1,000 – 1,500

Provenance Acquired directly from the artist

322

323

N O R T O N W I S D O M b. 1947

Untitled

1986

acrylic on paper

oil on canvas

22 h × 14 w in (56 × 36 cm)

12 h × 9 w in (30 × 23 cm)

$ 400 – 600

$ 800 – 1,000

Provenance

Acquired directly from the artist

324 G O R D O N W A G N E R 1915–1987 Coin Gold 1972 mixed media assemblage 6 h × 5 w × 3 d in (15 × 13 × 8 cm) Signed and dated to underside ‘Wagner 72’. $ 1,000 – 2,000

325 G O R D O N W A G N E R 1915–1987 Memories of the Future 1972 lithograph box: 25 ¼ h × 18 ¼ w in (64 × 46 cm) sheet: 25 h × 18 w in (64 × 46 cm) The complete portfolio comprised of 19 lithographs with 12 plates of story poetry (six shown). Signed, titled, dated and numbered to lower edge of each lithograph ‘12/150 Wagner 72’. Portfolio is number 12 from the edition of 150 printed and published by Stone Publications, Inc., Los Angeles. Sold with original box. $ 600 – 800

PETER VOULKOS’ earth-colored, contemporary platters, gouged and impregnated with small, white ceramic, bean-shaped nodules are extensions of painted abstract gestures. They are refined and minimalized as a color field painting.

NOTA Christmas 1977

326 P E T E R V O U L K O S 1924–2002 White Day at Four Dot 1961 lithograph image: 18 h × 14 w in (45 × 36 cm) sheet: 25 ½ h × 18 ½ w in (65 × 47 cm) Signed, titled and dated to lower edge ‘White Day at Four Dot Voulkos 61’. $ 700 – 900

327

328

F R A N Z G E R T S C H b. 1930

J A S O N C R U M 1935–2004

Jean Frederick Schnyder

Rain on the Pacific Coast Hwy 1958

1972

1992

lithograph

oil on canvas

23 ¼ h × 34 w in (59 × 86 cm)

26 h × 38 w in (66 × 97 cm)

Signed and numbered to lower left ‘Franz

Signed and dated to lower left ‘JC 92’.

Gertsch 4/300’. This work is number 4 from

Titled to top left edge of canvas ‘Rain

the edition of 300 printed and published by

on the Pacific Coast Hwy 1958’.

Shorewood Atelier, Inc., New York.

$ 1,000 – 1,500

$ 500 – 700

Provenance Acquired directly from the artist

329 F R E D M A S O N b. 1938 Assare 1964 mixed media 9 ½ h × 7 ¾ w × 4 d in (24 × 20 × 10 cm) $ 300 – 500

Provenance Acquired directly from the artist

330

331

PA U L P L A N T E

S T E V E S C H M I D T b. 1964

Burrowing Owl; Elf Owl (two works)

Green Line; O — MA (two works)

1999

1998

pastel on paper

mixed media collage

5 h × 5 w in (13 × 13 cm)

10 ½ h × 10 ½ w in (27 × 27 cm)

Signed to lower edge of each work ‘Paul Plante’.

Signed, titled and dated to verso of each

$ 500 – 700

example ‘Steve Schmidt 1998 Green Line’

Provenance Richard Heller Gallery, Santa Monica

and ‘O - MA’. $ 300 – 500

Provenance Acquired directly from the artist

332 J O A N N E L S O N b. 1958 Untitled (four works) 1990 lithograph in colors on Rives BFK sheet: 16 h × 16 w in (41 × 41 cm) Signed, dated and numbered to lower edge of each example ‘38/45 Joan Nelson 90’ with blindstamp. These works are number 38 from the edition of 45 printed and published by Cirrus Editions, Los Angeles. $ 1,200 – 1,800

Literature Made in LA: Prints of Cirrus Editions, Davis, ppg. 324–325, 327–328

333

334

J O N S W I H A R T b. 1954

Untitled (Crucifixion)

Giverny, May; Giverny, July (two works)

1982

1988–89

oil on panel

10 ¾ h × 15 ¼ w in (27 × 39 cm)

9 h × 12 w in (23 × 30 cm)

Signed and dated to verso ‘Jon Swihart 1982’.

Signed, titled and dated to verso

$ 800 – 1,000

of each work ‘Jon Swihart’.

Exhibited

$ 1,200 – 1,800

California Contemporary Artists Number Nine:

Provenance

Jon Swihart, 24 September – 13 November 1982,

Tortue Gallery, Santa Monica

Laguna Beach Museum of Art, Laguna Beach Everydayland: Imagined Genre Scene Painting in Southern California, 1 September – 23 October 1988, Laguna Museum of Art, Laguna Beach Intuitive Eye: The Diana Zlotnick Collection, 18 February – 26 March 2009, Art Gallery, Los Angeles Valley College, Valley Glen Provenance Tortue Gallery, Santa Monica

335 J O N S W I H A R T b. 1954 Untitled (Male & Female) c. 1980

paint on two hinged panels 13 h × 12 ¾ w × 1 ¼ d in (33 × 32 × 3 cm) $ 800 – 1,000

Provenance Acquired directly from the artist

336 S A B I N A O T T 1955–2018 Portrait (Echo) II 1989 encaustic and oil on board 66 ½ h × 48 w in (169 × 122 cm) Signed, titled and dated to verso ‘Portrait (Echo) II Sabina Ott 89’. $ 500 – 700

Provenance Acquired directly from the artist

337 S A B I N A O T T 1955–2018 Valence 1986 oil on canvas 60 h × 72 w in (152 × 183 cm) Signed, titled and dated to verso ‘Valence Sabina Ott 86’. $ 600 – 800

Provenance Acquired directly from the artist

338 T E T S U J I A O N O b. 1969 Irreverent Virgin of Guadalupe 1997 ceramic, mixed media 16 ½ h × 8 dia in (42 × 20 cm) Signed and dated to underside of base ‘Tetsuji 97’. $ 800 – 1,200

Provenance Richard Heller Gallery, Santa Monica

Karen Carson’s vision shines in comparison to other artists...[she] has created a body of work that is humorous, intelligent and emotive, can be read on many levels. She renders an abstract space, which flexes in a constant progression and signals a deep spirituality by combining linear and figurative elements.

NOTA 1996

339 K A R E N C A R S O N b. 1943 Fire Box #2 2003 transparent vinyl on plexiglass, metal framed lightbox 26 h × 50 w × 4 d in (66 × 127 × 10 cm) $ 1,000 – 1,500

Provenance Rosamund Felsen Gallery, Los Angeles

340 C L I F F B E N J A M I N b. 1955 Untitled (two works) 1986 acrylic and oil on paper 49 ¾ h × 38 w in (126 × 97 cm) $ 800 – 1,000

Provenance Acquired directly from the artist

341 C H A Z B O J Ó R Q U E Z b. 1949 Curly at Zero 1994 acrylic on paper 27 ¼ h × 36 w in (69 × 91 cm) Signed and dated to lower right ‘Chaz 94’. Signed, titled and dated to verso ‘Chaz Bojórquez 1994 ‘Curly at Zero’ ’. $ 3,000 – 5,000

Provenance 01 Gallery, Los Angeles

342

343

A D A M R O S S b. 1962

P O R T I A H E I N b. 1971

Untitled (Color Study)

Untitled (two works)

2001

2003

oil and alkyd on wood

watercolor on paper

5 ¼ h × 11 ¾ w in (13 × 30 cm)

10 h × 7 w in (25 × 18 cm)

Signed, titled and dated to verso ‘Adam

$ 800 – 1,000

Ross, Untitled (Color Study), 2001’. $ 500 – 700

Provenance Anna Helwing Gallery, Los Angeles

Often, upon reflection, I relive the beautiful images of Leland Rice’s photographs…Leland’s total commitment seems a very natural activity. NOTA Spring 1980

344 L E L A N D R I C E b. 1940

Literature

Wolfen (Berlin Wall Series)

Messages from the Wall: Graffiti of the Berlin

1986–87 cibachrome print

Wall, Photographed by Leland Rice, Lufkin, San Francisco Chronicle, 9 August 1987, unpaginated

image: 39 ¾ h × 53 ½ w in (101 × 136 cm)

Provenance

sheet: 45 ¼ h × 58 ¾ w in (115 × 149 cm)

Acquired directly from the artist

Signed, titled, dated, numbered and inscribed to verso ‘1/5 1st Printing Wolfen (Berlin Wall Series) Leland Rice 1986-87’. This work is number 1 from the edition of 5. $ 3,000 – 5,000

345 ADRIAN DE LA PENA Untitled (From the Science Fiction Narrative: Netsuke) wood box, needle with polymer coating box (as illustrated): 6 ½ h × 4 ½ w × 4 d in (17 × 11 × 10 cm) sculpture: 1 ½ h × 8 w × 2 ¾ d in (4 × 20 × 7 cm) $ 300 – 500

346 M A R K D U T C H E R b. 1963 Portrait of Diana Zlotnick 2010 mixed media 30 h × 19 w × 3 d in (76 × 48 × 8 cm) Signed, titled and dated to verso ‘Dutcher 10 Portrait of Diana Zlotnick’. $ 800 – 1,200

347

348

BRIAN RUPPEL

The Gift

Bride Oh (triptych)

1993

1991

acrylic on canvas laid to Masonite

lithograph in colors on Arches, acrylic on canvas

47 h × 25 ¼ w × 3 ¾ d in (119 × 64 × 10 cm)

81 h × 71 ¾ w in (205 × 182 cm)

$ 600 – 800

Ruppel’ and titled to verso ‘’The Gift’’. $ 400 – 600

Provenance Acquired directly from the artist

349

350

BRIAN RUPPEL

Wonder

Untitled (Good and Evil) (diptych)

1999

1993–1999

acrylic on board

acrylic on canvas

24 h × 24 w in (61 × 61 cm)

each: 47 ½ h × 47 ½ w in (121 × 121 cm)

Signed, titled and dated to verso

$ 600 – 800

‘‘Wonder’ 1999 Brian Ruppel’. $ 400 – 600

Provenance Acquired directly from the artist

AUCTION / LOS ANGELES 3 May 2022 11 am pacific EXHIBITION / LOS ANGELES 22 April – 3 May 2022, 10 am – 5 pm 16145 Hart St Van Nuys CA 91406

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