Post-War & Contemporary Art + Design — June 21, 2022 | John Moran Auctioneers by johnmoranauctioneers

Post-War & Contemporary Art + Design Tuesday, June 21, 2022 SINCE 1969

AUCTIONEERS & APPRAISERS

Post-War & Contemporary Art + Design Tuesday, June 21, 2022—12pm Featuring a selection of Prints & Multiples, and property from a notable private Hidden Hills estate, designed by Martyn Lawrence Bullard.

Sale 217 145 East Walnut Avenue, Monrovia, CA 91016 Previews: Friday, June 17th: 12-4pm Saturday, June 18th: 12-4pm Monday, June 20th: 12-4pm Or by appointment

Meet the Team John Simon Taylor

Hayden Hunt

Co-Head of Sale Post-War & Contemporary Fine Art Specialist hayden@johnmoran.com

Co-Head of Sale 20th Century Design Specialist jsimon@johnmoran.com

Anne Spink

Shannon Dailey

Fine Art Cataloguer anne@johnmoran.com

Senior Furniture & Decorative Arts Cataloguer shannon@johnmoran.com

Client Services Mario Esquivel

Ella Fountain

Office Manager mario@johnmoran.com

Client Services ella@johnmoran.com

SINCE 1969

AUCTIONEERS & APPRAISERS

Prints & Multipl Lots 1-40

les

Henri Matisse

(1869-1954, French) “Figure devant tapa africain,” 1929 Lithograph on Japan imperial paper under glass Edition: 35/50 Signed and numbered in pencil in the lower margin, at right: Henri Matisse Image: 21.25” H x 17.25” W; Sheet: 25.5” H x 19.625” W $6,000-8,000 Provenance: Mekler Gallery, Los Angeles, CA Property of an Estate, Beverly Hills, CA, acquired from the above Literature: Duthuit 515 “Picasso, Matisse, and Giacometti: A Graphic View of the Human Form,” Fresno Arts Center, March 15 - April 28, 1983, and The Art Museum of Santa Cruz County, May 15 - June 26, 1983, fig 35, illustrated. Notes: A copy of the above-mentioned 1983 exhibition booklet accompanies this lot.

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Alberto Giacometti

(1901-1966, Swiss) “La Suspension,” 1959 Lithograph on wove paper, watermark Arches, under glass Signed, dated and dedicated in pencil in the lower margin, at right: Pour Caroline avec toutes que “nous” confient [indistinct] / Paris le 5 Octobre 1961 Alberto Giacometti; Maeght, Paris, pub. Image: 23” H x 15.375” W; Sheet: 26” H x 19.75” W $4,000-6,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Lust 29 Notes: The edition was 75 plus some hors commerce impressions.

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(1893-1983, Spanish) Untitled, Plate 1 from “Gravures pour une exposition,” 1973 Etching and aquatint in colors on wove paper, watermark Arches, under glass Edition 50/75 (there were also 15 artist’s proofs and 5 hors commerce) Signed and numbered in pencil at the lower right and left, respectively; Pierre Matisse, New York, pub. Plate: 13.625” H x 27” W; Image/Sheet: 24.875” H x 36” W

(1893-1983, Spanish) Untitled, Plate 5 from “Gravures pour une exposition,” 1973 Lithograph in colors on wove paper, watermark Arches, under glass Edition 50/75 (there were also 15 artist’s proofs and 5 hors commerce) Signed and numbered in pencil in the lower margin: Miró; Pierre Matisse, New York. pub.

Joan Miró

$3,000-5,000

Image: 16.5” H x 30.5” W approx.; Sheet: 24.875” H x 35.75” W

Provenance: Property of an Estate, Beverly Hills, CA

$2,000-4,000

Literature: Dupin 606; cf. Cramer Books 174

Provenance: Property of an Estate, Beverly Hills, CA Literature: Mourlot 894; cf. Cramer Books 174

(1893-1983, Spanish) Untitled, Plate 2 from “Gravures pour une exposition,” 1973 Etching and aquatint in colors on wove paper, watermark Arches, under glass Edition 50/75 (there were also 15 artist proofs and 5 hors commerce ) Signed and numbered in pencil, lower right and left, respectively: Miró; Pierre Matisse, New York. pub. Image/Sheet: 24.875” H x 35.875” W

(1893-1983, Spanish) Untitled, Plate 4 from “Gravures pour une exposition,” 1973 Aquatint in colors on wove paper, watermark Arches, under glass Edition 72/75 (there were also 15 artist’s proofs and 5 hors commerce) Signed with the initial and numbered in pencil in the lower margin: M; Pierre Matisse, New York, pub. Plate: 13.625” H x 17” W: Sheet: 24.75” H x 36” W

Joan Miró

$3,000-5,000

$1,500-2,000

Provenance: Property of an Estate, Beverly Hills, CA

Literature: Dupin 607; cf. Cramer Books 174

Literature: Dupin 609; Cramer Books 174

Joan Miró

(1893-1983, Spanish) Untitled, Plate 3 from “Gravures pour une exposition,” 1973 Etching and aquatint in colors on wove paper, watermark Arches, under glass Edition 50/75 (there were also 15 artist’s proofs and 5 hors commerce) Signed and numbered in pencil in the lower margin: Miró; Pierre Matisse, New York. pub. Plate: 13.625” H x 26.875” W; Sheet: 25.5” H x 36.25” W $3,000-5,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Dupin 608; Benhoura 211; cf. Cramer Books 174

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Joan Miró

(1893-1983, Spanish) “Los Angeles County Museum of Art,” 1969 Color lithograph on wove paper, watermark Arches, under glass Edition: 34/100 Signed and numbered in pencil in the lower margin: Miró; Mourlot, Paris, prntr.; Los Angeles County Museum of Art, California, pub. Image: 24.75” H x 18.25” W; Sheet: 29.75” H x 22” W $4,000-6,000 Literature: Mourlot 623

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Joan Miró

(1893-1983, Spanish) “Acrobats in the Night Garden,” 1948 Color lithograph on wove paper, watermark Arches, under Plexiglas Edition: 57/75 Signed, dated and numbered in pencil in the lower margin: Miró; a Roman numeral VI, verso, possibly in another hand; Maeght Éditeur, Paris, prntr.; Mourlot, Paris, pub. Image: 21.75” H x 16.125” W; Sheet: 25.75” H x 19.625” W $3,000-5,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Mourlot 58

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Joan Miró

(1893-1983, Spanish) “Untitled” from “Série I,” 1952-53 Etching and aquatint in orange and black on wove paper, watermark Arches, under Plexiglas Edition: Inscribed “Bon à tirer” in pencil (the edition was 13) Signed, dated “28/V/52.,” and inscribed “Bon à tirer” all in pencil in the lower margin; inscribed “13” in pencil in the left margin; Atelier Lacourière, Paris, prntr.; Maeght Éditeur, Paris, pub. Plate: 15” H x 17.75” W: Sheet: 17.875” H x 25” W $15,000-20,000 Provenance: Timothy Yarger Fine Art, Beverly Hills, California Private Collection, California, acquired from the above, November 13, 2001 Literature: Dupin 78 Dupin indicates that the 13 editioned impressions of this image were printed on Arches paper measuring 19.75” H x 26” W. Nevertheless, this “Bon à tirer” example appears to retain its full margins, albeit on a slightly smaller sheet of the same type of paper. The plates for “Serie I” were executed by Miró at Stanley W. Hayter’s Atelier 17 in New York, then printed and published in Paris. Joan Miró, born in Barcelona in 1893, was a crucial figure in the Modernist movement. Miró moved to Paris in 1920, where he met artists such as Pablo Picasso and Andre Breton, the selfproclaimed founder of the Surrealist movement. Connecting with these artists and others significantly affected Miró’s style and artistic development. Miró described his works as being painted in stages. First, he would utilize a method of artmaking known as automatism to develop an image in free form by letting his unconscious guide his hand. While Miró was in some ways drawing from his imagination, he also allowed the landscape and everyday objects in the surrounding environment to influence his work. The second stage, far more precise and intentional, involved Miró’s conscious addition of minor touches and details. The results were highly vibrant, colorful, and playful -- as seen in “Acrobats in the Night Garden,” or the five plates from “Gravures pour une exposition” series, also featured in this sale. Miró consciously tried to avoid over conceptualizing his artwork throughout his career, instead choosing to create images that could not easily be associated with a single art movement or style. Instead, he allowed his work to be rebellious -- he sought to create artwork that functioned as commentary on social and political events happening around him, which contributed to him being considered one of the most influential artists of his time. Miró spent most of his career between Paris, France, and Mont-Roig del Camp, Spain, before passing away in 1983.

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Alfred Morang

(1901-1958, Santa Fe, NM) “Forms in Dusty Space,” 1956 Drypoint on paper under glass Edition of unknown size Signed, titled and dated in pencil in the lower margin: Alfred Morang Plate: 4” H x 5” W; Sight: 4.25” H x 5.25” W $500-700

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Alfred Morang

(1901-1958, Santa Fe, NM) “Dry-Point no. 1,” 1946 Drypoint on paper under glass Edition of unknown size Signed, titled and dated in ink in the lower margin: Alfred Morang Plate: 4” H x 4.875” W; Sight: 4.25” H x 5.25” W $500-700

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Maurits Cornelis Escher

(1898-1972, Dutch) “Puddle,” 1952 Color woodcut on thin, laid, Japan paper under Plexiglas Signed and inscribed in pencil in the lower margin: M. C. Escher, and “eigen druk” Image: 9.375” H x 12.5” W; Sheet: 12” H x 16” W $20,000-30,000 Literature: Bool 378 Born in 1898 in the Netherlands, Maurits Cornelis Escher was a graphic artist known for making realistic prints that often feature optical illusions. Escher studied at the School for Architecture and Decorative Arts in Haarlem, Netherlands, where he developed an interest in graphics and a specialty in woodblock printmaking. After completing his studies, Escher lived and worked in Italy, Switzerland, and Belgium. Escher’s mature artistic style first emerged in 1937, when he began producing realistic but highly surreal prints using lithography, mezzotint, wood engraving, and woodcut. He has been referred to as the “father of modern tessellations,” as many of his works show objects that blend into complex interlocking patterns that depict a scene or object from multiple perspectives simultaneously. Escher returned to the Netherlands during World War II, where he lived and worked until he died in 1972. Not closely aligned with any artistic movement, Escher struggled to gain critical acceptance for his work, despite being featured in over 300 exhibitions during his lifetime. Escher described himself as a mathematician rather than an artist. Nevertheless, he left behind an oeuvre of over 450 prints and about 2,000 drawings. Within the last decade, Escher has been the subject of major retrospective exhibitions in Brazil and Scotland, and nearly four hundred prints, drawings, and art-related objects are currently on view at the Museum of Fine Arts, Houston, through September 5, 2022.

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Antoni Tapies

(1923-2021, Spanish) “Mocador Lligat,” 1972 Etching in colors with carborundum on Vélin Guarro paper under glass Edition: 44/75 Signed lower right: Tapies; numbered lower left Image/Sheet: 22.75” H x 30.5” H $800-1,200 Provenance: Property of an Estate, Beverly Hills, CA Literature: Galfetti 289

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Louise Nevelson

(1899-1988, Ukrainian/American) “Reflections I,” 1983 Color etching and aquatint on wove paper under Plexiglas Edition 18/50 Signed, dated and numbered in pencil in the lower margin: Louise Nevelson; Pace Editions, New York, NY, pub. Plate: 39.5” H x 31.5” W; Sheet: 40” H x 37.5” W $1,200-1,800 Provenance: Sold: Toomey & Co Auctioneers, Oak Park, IL, September 15, 2019, Lot 0080 Private Collection, acquired from the above 22

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Louise Nevelson

(1899-1988, Ukrainian/American) “Reflections II,” 1983 Color etching and aquatint on wove paper under Plexiglas Edition 27/50 Signed, dated and numbered in pencil in the lower margin: Louise Nevelson; Pace Editions, New York, NY, pub. Plate: 39.25” H x 29.25” W; Sheet: 45.75” H x 35.25” W $1,200-1,800 Provenance: Sold: Susanin’s Auctions, Chicago, IL, September 20, 2019, Lot 2256059 Private Collection, acquired from the above w w w. j o h n m o r a n . c o m

Frank Stella

(b. 1936, American) “The Monkey-Rope,”1993, from “Moby Dick Deckle Edges” Color lithograph, etching, aquatint, relief and screenprint on white TGL handmade paper under Plexiglas Edition A.P. 10 (the edition was 32) Signed and dated in pencil, lower left: F. Stella; with the blindstamp of Tyler Graphics, Ltd., Mount Kisco, NY, pub. Image/Sheet: 23.5” H x 67.5” W approx. $10,000-15,000

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Robert Mangold

(b. 1937, American) “Untitled (Set of Three),” 1997 The set of three color aquatints on Fabriano Artistico paper, watermark C. M. Fabriano, under Plexiglas Edition: 13/30 (there were also 10 artist’s proofs and several other proofs) Each: Signed R. Mangold, and numbered, and inscribed: “A,” “B,” or “C,” respectively, all in pencil along the lower margin edge, at left; Doris Simmelink/Sukimoto Editions, Marina Del Rey, CA, prntr. and pub. Plate of each: 14.25” H x 20” W; Sheet of each: 22.375” H x 29.625” W $3,000-5,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Senior & Shopmaker 1997.06 Parasol, 2000, RM64

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Ellsworth Kelly

(1923-2015, American) “Yellow,” 1973-75 Color lithograph on wove paper under Plexiglas Edition: 40/48 (there were also artist’s proofs) Signed and numbered in pencil at the lower left Kelly; with publisher’s blindstamp; published by Gemini G.E.L., Los Angeles EK73-645 Image: 29” H x 29” W; Sheet: 38.5” H x 38” W $8,000-12,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Axsom 107 w w w. j o h n m o r a n . c o m

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(1928-1987, American) One print from the “Flowers (Hand-colored)” series, 1974 Screenprint with hand-coloring in watercolor on wove paper, watermark J. Green, under Plexiglas Edition 219/250 (there were also 50 artist’s proofs) Initialed in pencil at the lower right: AW; signed: Andy Warhol, dated and numbered, all in pencil, verso; Alexander Heinrici, prntr.; Peter M. Brant, Castelli Graphics, and Andy Warhol Multiples, Inc., New York, co-publishers, and with their copyright ink stamp, verso Sheet: 40.5” H x 27” W

Andy Warhol

$4,000-6,000

Provenance: Property of an Estate, Beverly Hills, CA

Literature: Feldman & Schellmann II.110

Literature: Feldman & Schellmann II.113

Andy Warhol

$4,000-6,000

Provenance: Property of an Estate, Beverly Hills, CA

Literature: Feldman & Schellmann II.111

Literature: Feldman & Schellmann II.116

Andy Warhol

In 1974, Warhol produced a suite of flower screenprints based on images of flowers found in a wallpaper catalog called “Interpretive Flower Designs.” The “Flowers (Hand Colored)” portfolio was originally sold as a suite of ten prints and published by Peter M. Brant in collaboration with Castelli Graphics and Multiples Inc. in two variations. The first consisted of black and white prints, while each work found in the deluxe edition was hand-colored with Dr. Martin’s aniline watercolor, dye-making each piece a unique color variation. Warhol depicted flowers in his work across all stages of his career. The “Flowers (Hand Colored)” portfolio, in contrast to the editions that he released in the mid-1960s, demonstrates Warhol’s ability to render a very traditional subject with a contemporary perspective.

Larry Rivers

(1923-2002, American) Dutch Masters, 1981 Cast paper in relief with charcoal and acrylic under Plexiglas Edition 16/16 Signed, dated and numbered in pencil at the lower right; with an unidentified blindstamp in the lower right corner 16” H x 22” W $3,000-5,000

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Robert Rauschenberg

(1925-2008, American) “Features #67,” from “Features from Currents,” 1970 Screenprint in colors on Aqua B 844 paper under Plexiglas Edition 4/50 Signed, dated and numbered in pencil in the lower margin, at right: Rauschenberg; Dayton Gallery 12, Minneapolis and Castelli Graphics, New York, pub. Image: 35” H x 35” W $1,500-2,000 Provenance: Sold: Swann Auction Galleries, New York, November 21, 2019, Lot 174 Private Collection, acquired from the above Literature: Foster 138 “Currents” by Robert Rauschenberg is comprised of four related groups of works that utilize the same imagery based on headlines, texts, and photographs found in both mainstream and counterculture U.S. newspapers, including: the New York Times, Los Angeles Times, and Berkeley Barb, among others. “Study for Currents” are the original collages that served as the source for the editioned prints in the series. “Features (from Currents)” and “Surface Series (from Currents)” are screenprints that were published by Daytonís Gallery 12, Minneapolis, and Castelli Graphics, New York. “Features (from Currents)” contains 26 works numbered 55 through 80, while “Surface Series (from Currents)” has 18 works numbered 37 through 54. All thirty-six original collages were reproduced in another editioned work, a fifty-four foot print also entitled “Currents.” 34

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Robert Rauschenberg

(1925-2008, American) “Features #77,” from “Features from Currents,” 1970 Screenprint in colors on Aqua B 844 paper under Plexiglas Edition 10/50 Signed, dated and numbered in pencil in the lower margin, at right: Rauschenberg; Dayton Gallery 12, Minneapolis and Castelli Graphics, New York pub. Image: 35” H x 35” W $1,500-2,000 Provenance: Sold: Swann Auction Galleries, New York, November 21, 2019, Lot 174 Private Collection, acquired from the above Literature: Foster 148 “Currents” by Robert Rauschenberg is comprised of four related groups of works that utilize the same imagery based on headlines, texts, and photographs found in both mainstream and counterculture U.S. newspapers, including: the New York Times, Los Angeles Times, and Berkeley Barb, among others. “Study for Currents” are the original collages that served as the source for the editioned prints in the series. “Features (from Currents)” and “Surface Series (from Currents)” are screenprints that were published by Daytonís Gallery 12, Minneapolis, and Castelli Graphics, New York. “Features (from Currents)” contains 26 works numbered 55 through 80, while “Surface Series (from Currents)” has 18 works numbered 37 through 54. All thirty-six original collages were reproduced in another editioned work, a fifty-four foot print also entitled “Currents.” w w w. j o h n m o r a n . c o m

Ed Ruscha (b. 1937, American) and Robert Rauschenberg (1925-2008, American)

“Stay Safe,” 1978 Color offset lithograph on paper under glass From the edition of unknown size Signed along the lower edges, at left: Rauschenberg; signed in the image to the right of center: Ed Ruscha; Alan Printing & Litho, Los Angeles, prntr.; Change, Inc., Los Angeles, pub.; Image/Sheet: 35.125” H x 23.125” W $1,000-2,000

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Friedensreich Hundertwasser

(1928-2000, Austrian) “Tennos Fly with Hats,” 1985 Woodcut in colors on Japan paper under Plexiglas Edition: 169/300 Signed in ink, dated, inscribed ‘30 April 1987 Vienna,’ and with the work number ‘844A’ in ink in the lower margin; five Japanese ink stamps in the lower margin; Akio Shimizu, Kyoto, Japan, 1985 prntr.; Gruener Janura AG, Glarus, Switzerland, 1987 pub. Image: 19.75” H x 16” W; Sheet: 22.375” H x 16.375” W $2,000-3,000 Provenance: Landau Fine Art, Montreal, Canada Notes: This work is accompanied by a gallery invoice from Landau Fine Art dated July 15, 1997

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James Rizzi

(1950-2011, American) “Let the Good Times Roll” 3-D color screenprint on wove paper, watermark BFK Rives, under glass Edition 83/225 Signed, titled, numbered and dated in pencil in the lower margin: James Rizzi; with the blindstamp of the publisher, John Szoke Graphics, New York, in the lower right margin corner Image: 26” H x 36” W; Sheet: 28” H x 40” W $3,000-5,000

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George Kleiman

(b. 1946, American) Untitled, 1994 Color lithograph on paper under Plexiglas Edition: 23/45 Signed, dated, and numbered in pencil in the lower margin: Kleiman Image: 34” H x 51” W; Sheet: 37.5” H x 54.25” W $600-800

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Jeff Koons

(b. 1955, American) “Balloon Dog (Yellow),” 2015 Limoges porcelain painted in chrome Signed, dated, and numbered: Jeff Koons / Limited Edition / Fine Porcelain / Plate number 1382-2300 / ‘15 / Bernardaud; titled to verso 10.5” H x 10.5” W x 5” D $6,000-8,000 Provenance: Museum of Contemporary Art Los Angeles, November 2, 2016 The Blake Byrne Collection, acquired from the above Notes: This lot is accompanied by a certificate and pamphlet from Bernardaud.

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Walton Ford

(b. 1960, American) “I Don’t Like to Look at Him, Jack,” 2011 Offset lithograph in colors on smooth wove paper Exhibition poster from an edition of unknown size Signed in ink in the lower margin, at right: Walton; with printed title and text in the lower margin edge that reads, “Walton Ford. November 3rd December 23rd, 2011. Paul Kasmin Gallery, New York” Image: 21.375” H x 28.5” W; Sheet: 26.5” H x 33.25” W $600-800 Provenance: Private Collection, New York

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Berenice Abbott

(1898-1991, Monson, ME) “Newsstand, East 32nd Street and Third Avenue, Manhattan,” November 19, 1935 Gelatin silver print on photographic paper, dry mounted, under glass From the edition printed circa 1979 by Todd Watts Signed in pencil on the support board, lower right: Berenice Abbott; copyright ink stamps: Berenice Abbott/ Abbot, Maine ink stamp, and Artist’s Commerce Graphics LTD; also stamped: From the Federal Art Project: / “Changing New York” / Museum of the City of New York, all verso 18.25” H x 23” W $3,000-5,000 Provenance: Property of an Estate, Beverly Hills, CA Born in Springfield, Ohio, in 1898, Berenice Abbott’s artistic career began when she moved to Paris in 1921 to study sculpture. Though Abbott is recognized as an accomplished photographer, it was her complete unfamiliarity with photography that drew her to the Dada/Surrealist photographer Man Ray through an exhibition at his gallery; he would later hire her as his studio assistant in 1923. The time she spent in the darkroom printing his photographs helped Abbott discover her interest in photography. Less than three years after she began working with Man Ray, Abbott opened her own photography studio on the Left Bank with the financial support of Peggy Guggenheim. Abbott returned to the United States in 1929 and New York City became her new home and her muse. Her ensuing work chronicled daily life in the city. As part of a project titled “Changing New York,” Abbott focused her gaze on the city’s architecture and its residents. In 1935, Abbott was subsequently hired by the Federal Art Project, a program intended to support unemployed artists during the Great Depression, which enabled her to continue “Changing New York” during a period when she would have otherwise struggled to support herself and the project financially. In 1939, she published her first book of the same title, which is now recognized as a preeminent example of social documentary photography. Yet, Abbott’s photographs were not produced without controversy. During the McCarthy Era, she was labeled a‚ concealed communist by the FBI in 1951 due to her association with the Photo League, a socially conscious cooperative of photographers who lived and worked in New York City. Abbott, who became fearful of government surveillance until she was de-listed from the FBI’s watch list four years later, eventually resettled in Maine where she lived and worked until her death in 1991.

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Sabastiao Salgado

(b.1944, Brazilian) “Coal Mining, Dhanbad, India,” 1989 Gelatin silver print on photographic paper under glass Edition 12/300 (there were also 30 artist’s proofs) Signed, dated, inscribed “India,” and numbered, all in pencil, verso: Sabastiao Salgado Image: 14.25” H x 21.25” W; Sheet: 19” H x 23” W $2,500-3,500

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Peter Lik

(b. 1959, Las Vegas, NV) “Hollywood Nights” Photographic print under Plexiglas Edition 193/950; signed on an artist’s label affixed verso: Peter Lik; signed in the image lower right Sight: 19” H x 58” W $3,000-5,000

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Nadav Kander

(b. 1961, United Kingdom) “Monument, Utah, USA,” from “God’s Country” series, 1995 Archival pigment print on paper Edition: 47/100, printed 2013 Unsigned Image: 16.125” H x 20.125” W; Sheet: 20” H x 24” W $1,000-1,500 Provenance: Private Collection, New York Notes: This work is accompanied by a signed letter of authenticity from Counter Editions, London, England.

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Nadav Kander

(b. 1961, British) “Spanish Moss, Louisiana,” 1997 Archival pigment print on Hahnemuhle photorag paper Edition: 54/100, printed in 2013 Unsigned Image: 16.125” H x 20.125” W; Sheet: 20” H x 23.75” W $1,000-1,500 Provenance: Private Collection, New York Notes: This work is accompanied by a signed letter of authenticity from Counter Editions, London, England.

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Art & Design Lots 41-248

Doyle Lane

(1925-2002, American) Collection of tiles Glazed ceramic in wood frame Appears unsigned 7.125” H x 6.25” W x 1.125” D $1,000-1,500 Notes: This collection of tiles was purportedly gifted to the present owner by the artist.

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Otto Heino

(1915-2009, American) Two works: A wood fired vessel with raised grooves in red and black slip glaze, 2004 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 04 8.5” H x 9.5” W x 8.5” D A wood fired vase in red slip glaze with splattered black high gloss glaze, 2000 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 00 4” H x 5.25” Dia. $800-1,200

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Otto and Vivika Heino

(1915-2009 and 1910-1995, American) Charger with impressed leaf motifs in black and brown glaze, 1990 Glazed stoneware Incised signature and date: Vivika + Otto / ‘90 2.25” H x 17” W x 16.25” D $1,500-2,000 Otto Heino (1915-2009) was born in Connecticut to Finnish immigrant parents. Heino served five years in the US Air Force in London during World War II and would spend his military leave watching Bernard Leach throw pots which impacted Heino’s passion for pottery. After his return, Heino studied at the League of New Hampshire Craftsmen in 1949, where he met his teacher Vivika Heino (nee Place), who later became his wife a year later in 1950. The pair then became a husbandwife team which opened a pottery workshop together. Otto Heino took many influences, ranging from Japanese folk pottery to Scandinavian Modernism and even British ceramics. However, he created his pottery by throwing and glazing his works himself. After more than a decade of consistent practice, Otto and Vivika discovered a new formula for a glaze that nearly replicated a long-lost formula resulting in buttery yellow tones that are stylistically similar to Chinese pottery made during the era of the Qin Dynasty (221-206 BC).

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Otto Heino

(1915-2009, American) Two works: A wood fired vessel with impressed star border in red and black slip glaze, 2003 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 03 9” H x 10.5” Dia. A wood fired vase in red slip glaze with splattered black high gloss glaze, 2009 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 09 4” H x 4.75” Dia. $1,000-1,500

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Paul Soldner

(1921-2011, Claremont, C A tall weed vase with free Glazed stoneware Incised signature to unde 14.75” H x 4.5” Dia. $600-800

CA) e-form drip glaze, circa 1950s-60s

erside: Soldner

Donald Lester Reitz

(1929-2014, American) Footed charger, circa 1970s-80s Bisque stoneware and engobe Incised signature to underside: Reitz 7.5” H x 12.25” W x 12” D $800-1,200

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Isamu Noguchi

(1904-1988, American) “Cyclone” dining table for Knoll, designed 1955 With Knoll International paper label to underside of top The birch plywood top with white laminate surface over a chrome-plated steel wire column on a black powder coat finished case iron base 28.75” H x 47.5” Dia. $1,000-1,500 Isamu Noguchi is known today as a preeminent architect, sculptor, and designer of the 20th Century. Beginning his career as a pre-med student at Columbia University, Noguchi shifted his focus in the 1940s by starting to experiment with furniture making. His playful designs quickly caught the eye of a well-known furniture manufacturer, Hans Knoll, who suggested that he convert his wire silhouette and cast-iron design for a stool into a table. The “Cyclone” table, as it is known today, became known as one of Noguchi’s iconic table designs today made through Knoll in various sizes and as part of the Bertoia wire collection. Knoll manufactured the Cyclone table featured in this sale during the late 1950s.

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Leon Clayton Meyer

(1924-2003, American) Studio side chairs, circa 1970s-80s Walnut and metal Each signed and numbered in black pen to underside 6 pieces Each: 36” H x 17.5” W x 18.5” D $1,800-2,200

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Bruce Houston

(b. 1937, Los Angeles, CA) Untitled (Mondrian Truck), 1990 Oil on panel with assemblage Signed and dated on the underside of the lower edge: Bruce Houston 11.75” H x 12.5” W $1,500-2,000

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Peter Wegner

(b. 1963, American) “Wild Blue/Blue Yonder/Wild Blue Yonder,” 1998 (In three parts) Each: Oil on wood Each signed and dated verso: Peter Wegner Each: 14” H x 16” W $3,000-5,000 Provenance: Mary Boone Gallery, New York, NY, #MBG7744 Private Collection, Texas (acquired from the above) Born in 1963, Peter Wegner is an American artist and graduate of Yale University. His primary concern is color, and he often uses grids, words, charts, or codes to explore the different ways that one would organize visual perceptions. Exhibited around the world, most of Wegner’s works are in the permanent collections of the San Francisco Museum of Modern Art, Guggenheim Museum, the Museum of Modern Art in New York, and the Getty and the Museum of Contemporary Art in Los Angeles.

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Carla Nencioni and Armando Moleri

(b. 1925 and b. 1928, Italian) An “Unitre” stainless steel flatware service, circa 1971 Each impressed: Zani / Stainless Italy Designed 1971 for Zani & Zani, Toscolano, Italy, each stainless steel with a cylindrical knife and semi-circular fork and spoon that fit together in a modular design joined within a black plastic sleeve, service for twelve, 36 pieces Each: 7.25” L $1,000-1,500

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Allan Adler

(1916-2002, American) A “Starlit” sterling silver flatware service, circa 1950s Each marked: Allan Adler / Handhammered / Sterling Each hand-hammered sterling silver, comprising 12 hollow-handled New French place knives (9.625”), 12 place forks (7.5”), 12 salad forks (6.25”), 12 cream soup spoons (6.75”), 12 teaspoons (6.125”), 2 table/serving spoons (7.75”), 1 serving fork (7.875”), and 1 gravy ladle (6.125”), 64 pieces Weighable sterling: 93.55 oz. troy approximately $5,000-7,000 Allan Adler, an American silversmith, is widely known for completing commissions of silverware and holloware for a large clientele of Hollywood celebrities during the early 1940s. He designed crowns for the Miss Universe and Miss USA pageants and miniOscar trophies for the Academy Award winners. Referred to as the “Silversmith to the Stars,” he manufactured a silver coffee urn for John F. Kennedy’s presidential campaign. He also designed silver pieces for Frank Sinatra, Michael Jackson, and Tom Hanks.

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A Spritzer & Fuhrmann sterling silver tea and coffee service

20th Century Each marked: S&F / 925-100 / sterling / [rearing lion]; Variously numbered Each with dashed trimming, flower bud finials, and wood handles, comprising a coffee pot (7.875” H x 8.125” W x 5.25” D), a teapot (6” H x 7.875” W x 5” D), a covered sugar bowl (4.125” H x 3.75” W x 3.75” D), a creamer (3.5” H x 4.5” W x 3” D), and a serving tray (1” H x 19” W x 12” D), 5 pieces 89.795 gross oz. troy approximately $2,000-3,000

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A pair of Georg Jensen sterling silver compotes

Second-Quarter 20th Century; Copenhagan, Denmark Each marked: Georg Jensen / Sterling / Denmark; Further numbered: 242 Designed by John Rohde, each bowl with leaf-style supports on a round foot and with two matching forks, 4 pieces Each compote: 5” H X 7.25” Dia.; Each fork: 4.625” 30.555 oz. troy approximately $2,000-3,000 Notes: Georg Jensen (1866-1935) was born in the countryside outside of Copenhagen, Denmark. At age 14, Jensen began his training in goldsmithing and apprenticed with Guldsmed Andersen. Later, he incorporated his studies in sculpture into his practice and trained under a master silversmith, Mogens Ballin. By 1918, Jensen opened his own silversmithing business in Paris. Over time, Jensen’s firm became known for producing a wide array of silver objects inspired by the Art Nouveau movement and Scandinavian designers. His signature simple and sleek style is highly sought after today.

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A pair of Swid Powell silver plate “Skyscraper” candlesticks

Circa 1984-90s Each marked: Swid Powell / Made in Italy / Silver Plate / RM © Designed by Richard Meier, each silver plate with openwork geometric square patterning, 2 pieces Each: 9” H x 3.5” Dia. $600-800

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Herman Hahn

(1868-1945, German) Two standing women Patinated bronze Each signed in the casting: H Hahn; each further impressed: Guss V.A. Brandstetter, Munchen 2 pieces Larger: 17.5” H x 7.5” W x 5.5” D; Smaller: 17.5” H x 7” W x 5.5” D $2,000-3,000

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Otto and Vivika Heino

(1915-2009 and 1910-1995, American) Two volcanic glaze weed vases, circa 1960s Each glazed stoneware Each with incised signature: Vivika + Otto Larger: 7” H x 7.25” Dia.; Smaller: 4.25” H x 6” Dia. $600-900

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Otto and Vivika Heino

(1915-2009 and 1910-1995, American) Three works: An Otto Heino apple ash weed vase with black slip glaze, 2004 Glazed stoneware Incised signature and date: Otto / 04 6.75” H x 4.25” Dia. An Otto Heino vase in matte white glaze and brown glaze strokes, 2003 Glazed ceramic Incised signature and date: Otto / [OT cipher] / 03 3.5” H x 5” Dia. An Otto and Vivika Heino apple ash vessel with thick, crackling white and brown glaze, circa 1960-70 Glazed stoneware Impressed “V&O” mark with stars 3.5” H x 3.75” W x 3.25” D $500-700

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Otto Heino

(1915-2009 , American) Two yellow glaze vessels with spikes, 2007 Each glazed ceramic Each with incised signature and date: Otto / [OT cipher] / 07 Larger: 8.75” H x 4.75” Dia.; Smaller: 2.75” H x 4.5” Dia. $600-900

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Otto Heino

(1915-2009, American) Three works: A pot in peach and black slip glaze with splattered blue and cranberry high gloss glaze, 2006 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 06 6.625” H x 7.5” Dia. A vase in pink, blue, and red high gloss glaze, 1991 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 91 3.75” H x 5.25” Dia. A dish in purple, blue, pink, and black high gloss and matte glazes, 2007 Glazed stoneware Incised signature and date to underside: Otto / 07 1.375” H x 5.875” Dia. $500-700 w w w. j o h n m o r a n . c o m

Brother Thomas Bezanson

(1929-2007, Canadian) Two purple vases and one mottled white vase, circa 1980s Each glazed porcelain Each with incised cipher and variously signed 3 pieces Larger: 12.5” H x 6.5” Dia.; Smaller: 4” H x 3.5” Dia. $1,000-1,500

Otto Heino

(1915-2009, American) Charger in cream slip glaze with brown abstract bird, 1998 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 98 2.375” H x 21.5” Dia. $1,500-2,000

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Otto Heino

(1915-2009, American) Two works: A tall, ovoid vessel in cream and brown matte speckled glaze, 2007 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 07 11.75” H x 7.5” Dia. A bowl in peach slip glaze with splattered black design, 2006 Glazed stoneware Incised signature and date to underside: Otto / [OT cipher] / 06 5.5” H x 9.5” Dia. $800-1,000

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A Curtis Jeré bird sculpture

20th Century Signed: C. Jere The mixed-metal abstract sculpture depicting four birds in flight raised on a mirrored stand 64” H x 16” W x 16” D $1,000-2,000

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Duncan McClellan

(20th/21st Century, Americ “Don’t Make Waves,” 2002 Glass on wood base With engraved signature to 20.5” H x 11” Dia. $1,000-1,500

Provenance: Bella Vetri Gal

A Barovier & Toso “Graffito” Murano glass vase

Circa 1965; Venice, Italy Designed by Ercole Barovier, the clear glass vase with internally decorated elongated bubble design with white ribboning and gold leaf 7.25” H x 6” W x 4.625” D $3,000-4,000 Provenance: Private Collection, Chicago, IL Sold: Wright, Chicago, IL, “Important Italian Glass: A Private Chicago Collection,” May 23, 2013, Lot 205 Private Collection Sale: Wright, Chicago, IL, “Important Italian Glass Including a Private Collection of Works by Fulvio Bianconi,” June 11, 2021, Lot 196 Acquired from the above by present owner Literature: A similar example is illustrated in: Marina Barovier, ed., “Art of the Barovier: Glassmakers in Murano 1866-1972” (Venice: Arsenale Editrice, 1993), 202. Notes: This lot is accompanied by a copy of the Wright 2021 auction listing.

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can) 2

o underside: Duncan McClellan

llery, Kapalua, Hawaii

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Mark Peiser

(b. 1938, American) “Evening Still,” 199 Glass With engraved signature, date, and number to underside: Peiser / I3542 / 90 © 8.5” H x 15.25” W x 2.5” D $5,000-7,000 Provenance: Kurland/Summers Gallery, Los Angeles, CA

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Reuben Haley

(1872-1933, American) “Ruba Rombic” glass decanter, no. 824, circa 1928-1932 Glass 9.25” H x 7.25” W x 3.25” D $800-1,200

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Jean Jansem

(1920-2013, French) Still life, 1960 Oil on canvas Signed and dated lower right: Jansem; partial title on a label affixed verso 38” H x 77” W $18,000-22,000

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Vladimir Kagan

(1927-2016, American) “Snail” cocktail table, circa 1967 Walnut and glass 15.5” H x 36” W x 36” D $3,000-5,000

Po s t -War & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, J u n e 2 1 , 2022

Vladimir Kagan

(1927-2016, American) “Snail” cocktail table, circa 1967 Walnut and glass 15.5” H x 36” W x 36” D $3,000-5,000

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A crescent sofa, by Martyn Lawrence Bullard 21st Century The curved sofa upholstered in white chenille 28” H x 108” W x 54” D $3,000-5,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above, May 24, 2017

A crescent sofa, by Martyn Lawr 21st Century The curved sofa upholstered in white 28” H x 108” W x 54” D $3,000-5,000

Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, a

Po s t -War & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, J u n e 2 1 , 2022

Achille Castiglioni and Pier Giacomo Castiglioni (1918–2002 and 1913–1968, Italian) “Arco” floor lamp, designed 1962; Italy Carrara marble and stainless steel 90” H x 63” W x 12” D $3,000-5,000

rence Bullard chenille

d acquired from the above

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P o s t -War & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, J u n e 2 1 , 2022

21st Century The two-piece sectional upholstered in brown leather with low arms, 2 pieces Overall: 30” H x 180” W x 42” D

21st Century The two-piece sectional upholstered in brown leather with low arms, comprising a straight and curved section, 2 pieces Overall: 30” H x 136” W x 51” D

21st Century The two-piece sectional upholstered in brown leather with low arms, 2 pieces Overall: 30” H x 140” W x 42” D

A custom De Sede-style leather sectional sofa

$1,000-2,000 Provenance: Private Collection, Hidden Hills, CA

A custom De Sede-style leather sectional sofa

$1,000-2,000 Provenance: Private Collection, Hidden Hills, CA

A custom De Sede-style leather sectional sofa

$1,000-2,000 Provenance: Private Collection, Hidden Hills, CA

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George Ratkai

(1907-1999, Hungarian/American) Surrealist landscape with mermaid figure Oil on Masonite Signed lower right: Ratkai 30” H x 24” W $2,000-3,000 Provenance: Property from a Private Collection, Southern CA

P o s t -War & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, J u n e 2 1 , 2022

Attributed to George Ratkai

(1907-1999, Hungarian/American) Ark Oil on artist’s board Signed upper left: Ratkay; with unidentified ink stamp verso 24.25” H x 31.25” W $2,000-3,000 Provenance: Property from a Private Collection, Southern CA

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A pair of marble side tables, by Martyn Lawrence Bullard

21st Century Each black and white marble in the form of a cube with an internal cut-out circle, 2 pieces Each: 24” H x 24” W x 24” D $4,000-6,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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A stone side table, by Martyn Lawrence Bullard 21st Century Rectangular cut stone in hues of taupe and beige 18” H x 11.75” W x11.75” D $700-900 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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A contemporary wood stool

21st Century The shaped wood base with metal seat with white upholstered cushion 22” H x 15” Dia. $1,000-2,000 Provenance: Private Collection, Hidden Hills, CA

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A set of three petrified wood side tables 21st Century 3 pieces Larger: 17.75” H x 17.5” W x 14.25” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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A Minotti daybed

21st Century Upholstered in umber brown velvet with low arm and raised on metal legs 32” H x 53” W x 66” D $800-1,200 Provenance: Private Collection, Bel Air, CA

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A Minotti daybed

21st Century Upholstered in umber brown velvet with low arm and raised on metal legs 32” H x 53” W x 66” D $800-1,200 Provenance: Private Collection, Bel Air, CA

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Richard Diebenkorn Untitled

Richard Diebenkorn is an artist who defies easy classification. He is often associated with the Abstract Expressionist movement, which emerged in New York City during the mid-1940s. He is alongside his fellow artists during this movement, such as Jackson Pollock, Helen Frankenthaler, Willem de Kooning, Franz Kline, Lee Krasner, Joan Mitchell, Barnett Newman, and Clyfford Still. Working in the years that followed the end of World War II, this group of artists produced bodies of work so transformative that New York City effectively displaced Paris as the center of the art world in just a few short years. Yet, while Diebenkorn began his artistic career around the same time as the Abstract Expressionist movement emerged, he never lived in New York City. Instead, he was in the Marine Corps from 1943 to 1945, and after the war, he began studying painting at the California School of Fine Art. Following his undergraduate studies, Diebenkorn taught at CSFA for a couple of years, but in 1950 he left to complete a master's degree at the University of New Mexico, Albuquerque. He later worked in Urbana, Illinois, the San Francisco Bay Area, and traveled in Europe before settling in Santa Monica, where he would produce his highly acclaimed Ocean Park series. Before his death, Diebenkorn and his wife lived in Healdsburg, California. As an artist, Diebenkorn was very spontaneous in his work. He sought to bypass aspects of the conscious mind while searching for unrecognized forms and emotions which would inform his work. For his master's degree exhibition, Diebenkorn selected work from the seventeen months of his residency in New Mexico. "Untitled," produced during Diebenkorn's time in New Mexico, is believed to have been created around 1951 ahead of his master's degree exhibition. Having no prior experience with the medium but wanting to try his hand at open for recycled metal sculpture, Diebenkorn sought the help of a fellow graduate assistant, Herb Goldman, to teach him the fundamentals of welding. His contribution to the graduate students' exhibition would comprise sixteen paintings, six drawings, and at least two welded metal sculptures, "Untitled" is one of them. Unfortunately, the other sculpture from this exhibition is presumed lost as its whereabouts remain unknown to scholars. After the master's degree exhibition closed on May 5, 1951, Diebenkorn's scrap metal sculpture disappeared into a private collection for the next thirty-eight years. Finally, in 1978, the art historian Mark Lavatelli traced the work's whereabouts to a modest home located on the outskirts of Albuquerque, where the insect-like work had spent several decades affixed to an exterior wall. As Lavatelli would later recall, the sculpture's owner at the time had to use a large stick to help pry it off the wall for a closer look. For the past forty-one years, Diebenkorn's "Untitled" has resided in the private collection of Los Angeles-based collectors who acquired the work at auction in 1981. The present work was also included in several museum exhibitions. From October 2007 through most of 2008, the piece was part of a touring exhibit, "Diebenkorn in New Mexico," sponsored by The Hartwood Museum of Art at the University of New Mexico. The exhibition then traveled to the San Jose Museum of Art in Northern California before appearing at the Phillips Collection in Washington D.C. Jay Gates, the Director of The Phillips Collection at the exhibition, noted, "This important exhibition makes clear that Richard Diebenkorn's story has not been fully told until now. The works stand as powerful evidence that he found his artistic voice while in New Mexico." 1 0 6 Po s t -War & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, J u n e 2 1 , 2022

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Richard Diebenkorn

(1922-1993, American) Untitled, circa 1951 Welded scrap iron 20.5” H x 41” W x 29” D $70,000-90,000 Provenance: Lez Haas, Albuquerque, NM Robert Hooton, Albuquerque, NM Sold: Sotheby, Parke-Bernet, Los Angeles, CA, September 24, 1981, Sale 318, Lot 580 Private Collection, acquired from the above Exhibited: Harwood Museum of Art, University of New Mexico, Taos, “Diebenkorn in New Mexico, 1950-1952,” June 2 - September 9, 2007, catalogue titled “Richard Diebenkorn in New Mexico,” p. 18, fig. 17, pl. 13 (illustrated) San Jose Museum of Art, San Jose, CA, “Diebenkorn in New Mexico: 1950-1952,” October 13, 2007 - January 6, 2008 Grey Art Gallery, New York, “Diebenkorn in New Mexico: 1950-1952,” January 25, 2008 - April 4, 2008 The Phillips Collection, Washington D.C., “Diebenkorn in New Mexico,” June 21, 2008 - September 7, 2008 Leslie Feely Fine Art, New York, “Richard Diebenkorn: In Context, 1949-1952,” May 6 - June 26, 2010, p. 11 (illustrated) Richard Gray Gallery, New York, “Modern and Contemporary Sculpture,” September 16 - October 23, 2010 Nyehaus, New York, (organized with David Nolan Gallery, New York, Franklin Parrasch Gallery, New York, and Leslie Feely Fine Art, New York), “Bella Pacifica: Bay Area Abstraction, 1946-1963,” January 11 - March 5, 2011, pamphlet Leslie Feely Fine Art, New York, “Recent Acquisitions,” October 1 - 31, 2011 Leslie Feely Fine Art, New York, “Recent Acquisitions,” October 27 - November 16, 2012 Heather James Fine Art, San Francisco, “Richard Diebenkorn,” October 16, 2019-February 29, 2020 Literature: Mark Lavatelli, “Richard Diebenkorn: The Albuquerque Years,” Artspace, June 1980, p. 21, 22-23. Gerald Nordland, “Richard Diebenkorn,” Rizzoli: New York, 1987, p. 38. John Elderfield, “The Drawings of Richard Diebenkorn,” New York: Museum of Modern Art, 1988, p. 36, fig. 11. Mario Naves, “An Artist’s Wild Oats,” New York Observer, February 4, 2008. Michael O’Sullivan, “The Story Behind the Work,” Washington Post, June 27, 2008. John Goodrich, “Richard Diebenkorn in Context: 1949-1952,” City Arts, May 18, 2010, p. 16. Roberta Smith, “Art in Review: Richard Diebenkorn,” New York Times, June 25, 2010. Jane Livingston and Andrea Liguori, Richard Diebenkorn: The Catalogue Raisonné, Volume Two, New Haven 2016, cat. no. 1112, p. 399 (illustrated).

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Emil Bisttram

(1895-1976, Taos, NM) “The Pillar of Light” Pencil on cream paper laid to Maso Signed lower left: Bisttram; titled by Image: 18” H x 13.5” W; Sight: 19” $2,000-3,000

A contemporary wood and Lucite coffee table 21st Century With silvered wood planks encased in Lucite resin 17” H x 71” W x 34” D $2,000-3,000 Provenance: Private Collection, Hidden Hills, CA

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onite under glass y repute H x 14.5” W

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Sally Michel

(1902-2003, American) “Deserted Beach,” 1975 Oil on canvas board Signed and dated lower right: Sally Michel; signed again, titled and dated, verso 24” H x 36” W $8,000-12,000 Provenance: Property of an Estate, Beverly Hills, CA Born in Brooklyn, New York, in 1902, Sally Michel began her art studies at the Arts Students League of New York. She spent her summers painting in Gloucester, Massachusetts, where she met Milton Avery, who became her husband in 1926. For much of her life, Sally Michel invested her time and energy into furthering the career of her husband: she worked full-time as an illustrator for the “New York Times Magazine” and Macy’s department store for nearly thirty years so that her husband could paint full-time. Although Milton Avery is recognized today as a key figure in America’s Modernist movement, the work of Sally Michel has received far less critical attention than that of her husband. Yet, a close examination of her work today shows Michel to be an adept painter despite the lack of recognition she received during her lifetime.

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Milton Avery

(1885-1965, American) “Girl on Balcony,” 1941 Oil on canvas board Signed lower left: Milton Avery; signed again, titled, and dated verso 24” H x 18” W $7,000-9,000 Provenance: Property of an Estate, Beverly Hills, CA

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Deni Ponty

(20th/21th Century, Dutch/American) Sleeping nude male Oil on panel Signed lower right: Deni Ponty 9” H x 12” W $3,000-5,000 Provenance: Lizard/Harp Gallery, Los Angeles, CA

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Paul Winthrop McCobb

(1917-1969, American) “Planner Group” modular cabinet for Winchendon, circa 1955 With Winchendon Modern paper label; Numbered: 1544 Two modular maple chests of drawers with black finish and steel loop handles raised on a conforming stand with splayed conical legs 39” H x 48” W x 18.25” D $1,000-2,000

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Thomas Larkin

(20th Century, American) “Landscape: Somme” Patinated bronze Appears unsigned, titled to a label on underside 15.75” H x 15.5” W x 3.625” D $800-1,200 Provenance: Property of an Estate, Beverly Hills, CA

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Edward T. Deutsch

(1901-1981, New York / California) “Subway - N. Y. City” Conte crayon, oil pastel and pencil on paper under glass Signed very faintly at the lower left: Edw. T. Deutsch; titled lower right; signed “E. T. Deutsch” and titled again “N. Y. Subway,” both possibly in another hand, verso 7.75 “ H x 9.5” W $2,000-3,000

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Wayne La Com

(1922-2019, Los Angeles, CA) Female nude in a Knoll “Butterfly Chair,” 1952 Oil, gouache, and pen on board under Plexiglas Signed and dated lower right: Wayne La Com 31” H x 24” W $2,000-3,000 Notes: By repute: Woman is the wife of the artist.

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A pair of Cuero leather “Butterfly” chairs

21st Century Each with embossed Cuero mark Each with black leather on black finished Swedish steel frame, 2 pieces Each: 36.5” H x 34.5” W x 32” D $800-1,000 Provenance: Private Collection, Hidden Hills, CA

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Harrison McIntosh

(1914-2016, American) Large bowl, circa 1989 Glazed stoneware with engobe Impressed “HM” mark and paper label 7.75” H x 15.5” Dia. $3,000-4,000

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Harrison McIntosh

(1914-2016, American) Footed bowl Glazed stoneware with engobe Impressed “HM” mark and paper label 7.625” H x 9.25” Dia. $800-1,200 Literature: A similar form is illustrated in: Christy Johnson, et al., “Harrison McIntosh: A Timeless Legacy” (Pomona, CA: The American Museum of Ceramic Art, 2009), 35.

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Mohammed Ahmed Abdalla Abbaro

(1933-2016, Sudanese) Bowl, 1968 Glazed stoneware Incised signature and date to underside: M. A. Abdalla / 1968 4.125” H x 8.25” Dia. $1,000-2,000

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100

Mohammed Ahmed Abdalla Abbaro

(1933-2016, Sudanese) Pot, 1991 Glazed stoneware Incised signature and date to underside: MA Abdalla / 91 8” H x 6” Dia. $1,000-2,000

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101

Mathieu Matégot

(1910-2001, Hungarian/French) “Étendards” Wool tapestry Signed in the weaving lower right; manufacturer’s label affixed to verso 80” H x 51” W $3,000-5,000 Provenance: The Baxter Art Gallery, Pasadena, CA Private Collection, San Marino, CA, acquired from the above This lot is accompanied by various exhibition ephemera from the Hurschler Collection’s 1972 exhibition “Contemporary Tapestries” and a copy of: Bazin, Germain, et al. “Les tapisseries de Mathieu Matégot.” Paris: La Demeure, 1962. Known to be one of the most excellent avant-garde French designers of the 20th century, Mathieu Mategot incorporated various materials from wood, leather, glass, and metal into his designs. After studying at the Budapest School of Fine Art, Mategot began his career as a window dresser and women’s clothing designer in the 1930s. Between the 1940s and the 1960s, Mategot designed furniture before eventually devoting himself full time to tapestry design. Over time, Mategot became one of the leaders of the modern movement for French tapestry, highly regarded for his creations that were reminiscent of Abstract Expressionist paintings.

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102

Rico Lebrun

(1900-1964, Italian) “Fall of Samurai,” 1957 Black ink and wash on paperboard under glass Signed and dated lower right: Rico Lebrun, signed and dated again, and titled, upper left 36.25” H x 23.875” W $1,000-1,500 Provenance: Dorothy Cameron Gallery Ltd, Toronto, Canada

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103

Claude Weisbuch

(1927-2014, French) “La Chute” Oil on canvas Signed lower right: Weisbuch; signed again and titled verso 64” H x 51.25” W $3,000-5,000

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104

Stanton MacDonald-Wright

(1890-1973, Los Angeles, CA) Female in an interior, 1945 Watercolor on paper under Plexiglas Signed and dated lower left: S. Wright ‘45; annotated in another hand, verso Sight: 17” H x 13.75” W; Sheet: 17.75” H x 14.25” W $3,000-5,000 Notes: The annotation, verso, reads: This painting was a gift to me / from Stanton MacDonald Wright / in 1965 / [illegible name] 2/24/86

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105

A Philip and Kelvin LaVerne bronze coffee table

Circa 1969 With incised signature and numbered illegibly [possibly 70 or 16 and III] The “Persephone Enslaved” table with the base in the form of a recumbent female nude figure with free-flowing rope supporting an organically shaped glass top 17.75” H x 38” W x 26” D $3,000-5,000 Philip (1907-1987) and Kelvin LaVerne (b. 1937) are a father-son team who started creating their furniture designs in 1960 out of a studio in New York City. Philip studied art at the Arts Student League in New York, while his son Kelvi, who attended City College in New York City and Parsons, majored in metal sculpting and furniture design. Drawing upon their unique talents, the collaborative design duo continually experimented with various techniques that they selectively employed in their designs. While Philip focused on the artistic elements and subject matter, his son Kelvin worked on translating his father’s vision into functional furniture designs. As a result, they became known for incorporating multiple mediums -- such as pewter, patinated bronze, and silverì into a single unified furniture design. Their sources of inspiration varied greatly, and the pair often drew upon Classical motifs and those from Chinese, Egyptian, and Greek cultures. Cast bronze tables with a figural sculptural base, such as “Persephone Enslaved,” are rare within LaVerne’s body of work. As manufacturing such tables was time-consuming, expensive, and laborious, coffee tables such as Persephone Enslaved were produced in small editions for only a few years during the 1970s.

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106

David Wynne

(1926-2014, English) Reclining woman, 1963 Patinated bronze on an acrylic base Edition 1/6; signed and dated in the casting to foot: David Wynne / 1963 16” H x 35” W x 17” D $5,000-7,000

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107

Dimitri Hadzi

(1921-2006, American) “Terra III,” 1964-67 Patinated bronze on stone base Appears unsigned 49” H x 46” W x 26” D $15,000-20,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Seamus Heaney, “Dimitri Hadzi” (New York: Dense Gallery, 2008), 15. Seamus Heaney, et al., “Dimitri Hadzi” (New York: Hudson Hills Press, 1996), plate 5. Dimitri Hadzi was a Greek-American sculptor born in New York City in 1921. Born in Greenwich Village and raised in Brooklyn, Hadzi joined the Army Air Forces and served in the South Pacific during World War II. After the war, Hadzi became a student at Cooper Union under the GI Bill and graduated with honors in 1950. Awarded a Fulbright Fellowship, Hadzi studied Greco-Roman sculpture in Greece and lived in Rome for the next twenty-five years. Hadzi’s exposure to classical sculpture in Europe was central to his artistic identity. However, he chose to approach the medium from a Modernist perspective that tended towards abstraction. Hadzi represented the United States in the Venice Biennales of 1956, 1958, and 1962, which brought him several gallery shows and significant sculpture commissions. In 1975, Hadzi returned to the United States to become a professor at Harvard, where he taught classes on both sculpture and printmaking for the next fourteen years. After his retirement, Hadzi produced major sculptures installed in San Francisco, Birmingham, Alabama, and multiple solo exhibitions. At 85, Hadzi passed away, leaving behind a body of work that narrowed the gap between the classical and the contemporary. His work is in the Whitney Museum of American Art collections, the Museum of Fine Art, Boston, the Guggenheim, and the Museum of Modern Art, among many other institutions.

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108

109

(1921-2006, American) “Mycenae,” 1976-77 Patinated bronze on marble base Edition 11/11; engraved signature and numbered: Hadzi 17” H x 12.5” W x 7” D

(1923-2018, Spanish) Untitled, 1968 Patinated bronze on marble base Edition: 1/6 Signed, dated, and numbered in th 9” H x 6.75” W x 7.5” D

Dimitri Hadzi

$6,000-8,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: Seamus Heaney, et al., “Dimitri Hadzi” (New York: Hudson Hills Press, 1996), plate 16.

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Venancio Blanco

$1,000-1,500

110

Fletcher Benton

(1931-2019, American) Untitled, 1995 Patinated steel Engraved signature and date: Fletcher Benton / [inscribed illegibly is script] / 1995 26” H x 16” W x 13” D $3,000-5,000 Provenance: Property of an Estate, Beverly Hills, CA

he casting: Venancio / 68

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111

José Manuel Broto

(b. 1949, Spanish) “Los Tres,” 1987 Acrylic on canvas Signed, titled, dated, inscribed, and numbered verso: Broto/Paris/No. 87056 78.75” H x 78.75” W $8,000-12,000 Provenance: Galerie Adrien Maeght, Paris, France Property of an Estate, Beverly Hills, CA Literature: Paris, Galerie Adrien Maeght, “Broto”, October 6, 1987, p. 5 (illustrated)

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112

Mario Nigro

(1917-1992, Italian) Untitled, 1988 Tempera on paper under glass Signed and dated lower right: M. Nigro 14” H x 18.25” W $2,000-3,000

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113

Mario Nigro

(1917-1992, Italian) Untitled, 1989 Tempera on paper under glass Signed and dated lower right: M. Nigro Sight: 10.25” H x 14.5” W $1,500-2,000

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114

Thomas Nozkowski

(1944-2019, American) “Untitled (8-50),” 2003 Oil on linen on panel Signed, titled and dated on the backboard of the frame: Thomas Nozkowski 22” H x 28” W $8,000-12,000 Provenance: Max Protetch, New York, NY Property of an Estate, Beverly Hills, CA Exhibitions: The National Gallery of Canada, Ottowa, Ontario, Canada, according the museum’s label affixed to frame’s backboard. Literature: Marc Mayer, “Plates” in “Thomas Nozkowski” (Ottowa, CAN: National Gallery of Canada, 2009), p. 137, fig. 49 (illustrated) John Yau, “The Twenty-First Century” in “Thomas Nozkowski” (London, UK: Lund Humphries, 2017), p. 99, fig. 70 (illustrated) Notes: This lot is sold together with a copy of “Thomas Nozkowski” (Ottowa, CAN: National Gallery of Canada, 2009) by Marc Mayer, signed by the artist, and dedicated to the previous owner.

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115

Thomas Nozkowski

(1944-2019, American) “Untitled (W-97),” 1992 Oil on paper under Plexiglas Signed, titled and dated verso: Thomas Nozkowski; signed, titled and dated again on the backing board Sheet: 10.25” H x 16.75” W $5,000-7,000 Provenance: Max Protetch Gallery, New York, NY Property of an Estate, Beverly Hills, CA

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118

Lila Katzen

(1925-1998, American) Untitled, 1989 Patinated bronze on lacquered base Signed: Lila Katzen; further inscribed illegibly 11.25” H x 4.5” W x 6.5” D $1,000-1,500 Provenance: Property of an Estate, Beverly Hills, CA

117

Scott Hanson

(b. 20th Century, American) “Manta Ballet,” 2003 Appears unsigned, numbered: 24/75 The sculpture table with an oval glass top supported on two bronze manta ray sculptures on black granite base 19” H x 60” W x 36” D $3,000-5,000

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116

A Minotti sectional sofa

21st Century The three-piece sectional upholstered in textured beige fabric with loose cushions, 3 pieces One larger: 25” H x 108” W x 40” D; Two smaller: 25” H x 70” W x 40” D $4,000-6,000 Provenance: Private Collection, Bel Air, CA Notes: The design company Minotti, established in 1948, was founded by Alberto Minotti. Its corporate reputation was cemented over time as the company became known for creating genuine Italian-made contemporary furniture and decorative objects with a high-quality manufacturing process. During Alberto Minotti’s beginning years of Minotti, and for the next fifty years, the production of its furniture was essentially an artisanal process. After Rodolfo Dorini became the company’s Art Director, he sought to build upon Minotti’s vision by broadening its focus to incorporate more architecture and interior design influences into its products. As a long-lasting family-owned company with a history that today spans three generations, Minotti continues to be known for its authentic designs created in collaboration with world-renowned designers.

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120

Guido Faleschini

(20th Century, Italian) A pair of “ Emmetre” lounge chairs, circa 1960s-70s Each with molded Faleschini mark to underside Each with black leather upholstery on a molded plastic frame, 2 pieces Each: 24” H x 32” W x 36” D $1,200-1,800 Provenance: Private Collection, Hidden Hills, CA

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119

A contemporary credenza, by Martyn Lawrence Bullard

21st Century The black lacquered wood credenza with three cabinets finished with gilt starburst design 33” H x 96” W x 20.75” D $3,000-5,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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121

A pair of Bower “Cylinder” mirrors

21st Century Each with Bower metal tag Each oval mirror consisting of a nested clear and black-tinted mirror with a bent walnut frame, 2 pieces Each: 89” H x 54” W x 1.5” D $800-1,200 Provenance: Private Collection, Hidden Hills, CA

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122

A Jonathan Louis linen sofa

21st Century Upholstered in white linen with tufted back and two throw pillows 34” H x 87” W x 36” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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123

An Alison Berger “Scripted Chandelier”

21st Century With fifteen glass pendant lights engraved with text suspended from a rectangular metal canopy, electrified 57” H x 48” W x 12”D $7,000-9,000 Provenance: Private Collection, Bel Air, CA Notes: Allison Berger has been blowing glass for more than two decades. Apprenticing under Dale Chihuly, Berger has works in the permenant collection of Corning Museum permanent collection and has been shown at the Museum of Modern Art and in the Cooper-Hewitt Museum’s National Design Triennial

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124

A contemporary Venetian wall mirror

21st Century The rectangular mirror with beveled edges, a scrolled crest, and applied floral elements 91” H x 40” W x 2” D $3,000-4,000 Provenance: Private Collection, Hidden Hills, CA

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125

Jess von der Ahe

(b. 1966, American) “Untitled (aka “Cumberband”),” 1999 Blood, gold leaf and epoxy resin on panel Signed, titled, dated, and inscribed “NYC,” all verso: von der Ahe; signed again [indistinct] and annotated “NYC” again on the gallery label affixed verso 14” H x 11” W $2,000-3,000 Provenance: Jay Grimm, New York, NY New York-based artist Jess von der Ahe has made her name in the art world by using an unorthodox (and what some consider to be taboo) medium for her paintings: her menstrual blood, combined with gold leaf and covered with resin, which ensures that the blood does not decay or crack. While von der Ahe’s use of this medium may be nontraditional, her working method is a form of personal expression that is intensely autobiographical. The compositions of her blood paintings often resemble a cell-like structure, resulting in a style that highlights the connection between menstrual blood and the essential elements of life. Von der Ahe’s blood paintings also seek to make the discussion of reproductive health less taboo. While conceptually intense, von der Ahe’s abstract paintings offer a captivating juxtaposition between the “wasteful” nature of the menses and the coveted and finite element of gold.

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Jess von der Ahe

(b. 1966, American) “Untitled (aka “Harem”),” 1999 Blood, gold leaf and epoxy resin on panel Signed, titled, dated, all verso: von der Ahe; signed again [indistinct] and dated again on the gallery label affixed verso 14” H x 11” W $2,000-3,000 Provenance: Jay Grimm, New York, NY

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127

Jess von der Ahe

(b. 1966, American) “Untitled (aka “Sweets of Sin”),” 1999 Blood, gold leaf and epoxy resin on panel Signed, titled, dated, all verso: von der Ahe; signed [indistinct] and dated again, and inscribed “NYC,” all on the gallery label affixed verso 14” H x 11” W $2,000-3,000 Provenance: Jay Grimm, New York, NY

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128

Jess von der Ahe

(b. 1966, American) “Transmission,” 1998; and “Untitled (aka “The Bishop”),” 1999 Each: Blood, gold leaf and epoxy resin on panel Each: Signed, titled and dated verso: von der Ahe; signed [indistinct] and dated again on the exhibition label affixed verso; “Transmission” further inscribed “NYC” on the same label Each: 10” H x 8” W $2,000-3,000

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129

Paul Winthrop McCobb

(1917-1969, American) “Planner Group” desk for Winchendon, no. 1560, circa 1955 Appears unmarked The maple desk with black finished drawers and steel loop handles raised on asymmetrical splayed conical legs 29.25” H x 48” W x 24.125” D $2,000-3,000

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130

Fernand Leger

(1881-1955, French) “Après le déluge,” from “Les Illuminations” by Arthur Rimbaud, 1949 Lithograph with pochoir and unique hand-coloring in gouache on cream wove paper, unidentified watermark, under Plexiglas Signed and inscribed in pencil in the lower right corner: F. Leger / bon définitif; ink stamped, as well as signed and inscribed in pencil on the verso by the publisher; Louis Grosclaude at Editions de Gaules, Lausanne, Switzerland, pub. Image/Sheet: 13” H x 9.75” W $10,000-15,000 Provenance: The Estate of William J. Solloway Private Collection, New York, NY, acquired from the above Literature: cf. Saphire 24-38, pp. 258-267 Notes: The pencil inscription and signature by Grosclaude on the verso appears to read: Colorée par l’artiste / Bon définitif [indistinct] / Fernand Léger pour Les / Illuminations de Rimbaud / Mars 1949 / L. Grosclaude. 395 examples of “Les Illuminations,” written by Arthur Rimbaud and illustrated Fernand Leger, were published in 1949, including both standard and deluxe editions. The French poet Arthur Rimbaud (1854-1891), who is regarded as a key member of the Symbolist movement, wrote the forty prose and two free-verse poems known as “Les Illuminations” when he was in his late teens. While the collection of poems was first published in 1886 without the author’s knowledge, “Les Illuminations” is now considered a masterpiece of Modernist poetry that firmly established Rimbaud’s reputation as one of France’s great poets. In 1949, the Swiss publisher Louis Groschaude commissioned the French artist Fernand Leger to create a series of fifteen illustrations that were to accompany a reprinting of “Les Illuminations.” This work, which accompanied the poem “Apres Le Deluge,” was one of nine illustrations that were individually hand-colored for a small deluxe edition of Groschaude’s printing of “Les Illuminations.”

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131

Leonard Edmondson

(1918-2002, American) “Woman with Coffee and Biscuit,” 1946 Oil on Masonite Signed and dated lower right: Edmonson; titled by repute 19” H x 15” W $1,500-2,500 California native Leonard Edmondson was a renowned painter and printmaker born in Sacramento in 1916. Edmondson, who spent his early years in Northern California, graduated from the University of California, Berkeley, with an M.A. in fine art in 1942. After completing his studies, he joined the U.S. Army and worked for military intelligence from 1942 to 1946. During that time, Edmondson traveled to Europe and visited the Louvre, where he saw works by artists such as Paul Klee, which proved to be a valuable source of inspiration. “Woman with Coffee and Biscuit” (1946) is one of the final naturalistic figural works Edmondson created before taking a turn towards abstract painting and printmaking in 1950. Soon after, Edmondson began showing solo exhibitions of his work in Los Angeles, Pasadena, and Santa Barbara. Leonard Edmondson continued to work and teach in Los Angeles until he died in 2002. 1 7 0 Po s t -War & C o n t e m p o r a r y A rt + De sig n l Tu e sd ay, J u n e 2 1 , 2022

132

Robert Frame

(1924-1999, American) “Summer Still Life” Oil on canvas Signed lower right: R. Frame; signed again and titled verso 50” H x 40” W $3,000-5,000

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133

Pedro Sanchez de Movell·n

(b. 1967, American) “Sail,” 1998 Mahogany, aluminum, and stainless steel Appears unsigned 72” H x 28” W x 10” D, dimensions variable $10,000-15,000 Provenance: Maxwell Davidson Gallery, New York, NY Property of an Estate, Beverly Hills, CA Literature: Maxwell Davidson IV and Charles C. Davidson, “Pedro S. De Movell·n Complete Works: 1990-2012” (Atglen, PA: Schiffer, 2013), 110.

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134

Pedro Sanchez de Movell·n

(b. 1967, American) “Chrono,” 1998 Stainless steel, mahogany, and bronze Sigend and numbered to base: P. Movellan / 3274 35” H x 32” W x 9” D $4,000-6,000 Provenance: Maxwell Davidson Gallery, New York, NY Property of an Estate, Beverly Hills, CA Literature: Maxwell Davidson IV and Charles C. Davidson, “Pedro S. De Movell·n Complete Works: 1990-2012” (Atglen, PA: Schiffer, 2013), 108.

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135

Pedro Sanchez de Movell·n

(b. 1967, American) “Open Face,” 1999 Aluminum and stainless steel Incised signature and date to underside: P. Movellan / 3/99 14” H x 11.75” W x 8” D $2,000-3,000 Provenance: Maxwell Davidson Gallery, New York, NY Property of an Estate, Beverly Hills, CA Literature: Maxwell Davidson IV and Charles C. Davidson, “Pedro S. De Movell·n Complete Works: 1990-2012” (Atglen, PA: Schiffer, 2013), 110.

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136

Hans Jørgensen Wegner

(1914-2007, Danish) A pair of lounge chairs for Getama, model GE-290 Each marked: Getama / Gedsted / Denmark / Design: Hans J. Wegner Each Danish mid-century modern chair with an oak frame with sculpted paddle arms flanking original wool upholstered seat and back, 2 pieces Each: 28” H x 29.5” W x 31” D $2,000-3,000 Hans Jorgensen Wegner, born in 1914, developed a passion for wood and design when he was fourteen years old and working as an apprentice to a master carpenter and cabinetmaker. After studying at the School of Arts and Crafts and Academy of Architecture in Copenhagen, Wegner opened his first workshop in the 1930s and eventually became a prominent Danish and Scandinavian design figure. Focusing on traditional craftsmanship and his utmost respect and care for wood, Wegner is now known for his thoughtful attention to detail that combined functionality and comfort in a range of iconic designs. For example, during Wegner’s prolific career, he is known to have designed over 500 chairs. This model, hand-built at Getama’s factory in Denmark, is a classic Wegner design notable for its low-back structure and consistent joinery throughout.

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137

A modern wood and mirror dining table, attributed to Paul Evans

Mid-20th Century The mid-century modern table with an oval, book-matched veneered top in a radiating fan design, centering a mirrored medallion and raised on a mirrored pedestal base, with one leaf 29” H x 72.75” W x 48.25” D; With extension: 92.75” W $2,000-3,000

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138

139

(1924-2003, American) A Studio armchair, circa 1970s-80s Walnut and metal Signed in black pen to underside 35.625” H x 21.25” W x 22” D

(1911-2011, Danish) A modern walnut wall system Marked: Made in Denmark The mid-century modern shelving system c sections with staggered shelves and four ca 79” H x 126” W x 19” D

Leon Clayton Meyer

$800-1,000

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Paul Cadovious

$3,000-4,000

consisting of four abinets

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140

Phillip Martin

(1927-2014, British) “Aix No. 12,” 1956 Oil on canvas Signed and dated lower left: Martin - 12/56; titled lower center; signed, dated and titled again verso 58.5” H x 76” W $2,000-4,000

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141

Lee Mullican

(1919-1998, American) “Drawing I Series O,” 1949 Pen and ink on Strathmore paper under Plexiglas Signed lower right: Mullican; titled and dated along the lower sheet edge, at right, under the matting; the Strathmore blindstamp in the lower left sheet corner; titled, inscribed, and numbered, verso: D1949-1 Sight: 10.5” H x 13.25” W; Sheet: 11.5” H x 14.5” W $1,500-2,500 Provenance: Grant Selwyn Fine Art, New York, NY and Beverly Hills, CA Property of an Estate, Beverly Hills, CA

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142

Natalia Dumitresco

(1915-1997, Romanian) “Abstract No. 15,” 1960 Gouache and ink on oatmeal-color paper Signed and dated lower left: Natalia Dumitresco; inscribed with the artist’s name and Parisian address, verso, possibly in another hand; titled by repute Image: 12.5” H x 18.5” W; Sheet: 16.125” H x 22.875” W $3,000-5,000 Provenance: Galleria Hybler (Copenhagen, Denmark) Private Collection, acquired from the above in 1968 Private Collection, by descent from the above Natalia Dumitresco was born in Bucharest, Romania. However, she spent most of her life in Paris, where she moved with her husband, Alexandre Istrati, in 1947. While in Paris, the couple became very close with the artist Constantin Brancusi, who they lived with until he died in 1957. She and Istrati were the driving force behind the restoration of the Brancusi workshop in 1977, in addition to helping his work gain the institutional attention that it has today. As an artist, Dumitresco gained recognition for her austere style of geometric abstraction that aligned her with the Salon des Reaites Nouvelles during her career. This artist organization, which cited Wassily Kandinsky as a significant influence, was dedicated to producing abstract art by its membersì a roster that included Jean Arp and Sonia Delaunay. Dumitresco was the recipient of the Kandinsky prize in 1955, and she lived and worked in Paris until she died in 1997. She and her husband Alexandre Istrati are buried with Constantin Brancusi at the Cimetiere du Montparnasse in Paris.

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143

Milo Baughman

(1923-2003, American) A chrome and green velvet sofa The sofa recovered by Martyn Lawrence Bullard in sage green velvet supported on chromed metal legs 25.5” H x 97” W x 35” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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144

A Philip and Kelvin LaVerne “Chin Yin” coffee table

Circa 1965 With raised etched signature and retail label to underside The coffee table in bronze with acid-etched and enameled brass, the top depicting dancing figures with enameled details 17.25” H x 70.125” W x 30” D $5,000-7,000 Philip (1907-1987) and Kelvin LaVerne (b. 1937) are a father-son team who started creating their furniture designs in 1960 out of a studio in New York City. Philip studied art at the Arts Student League in New York, while his son Kelvin, who attended City College in New York City and Parsons, majored in metal sculpting and furniture design. Drawing upon their unique talents, the collaborative design duo continually experimented with various techniques that they selectively employed in their designs. While Philip focused on the artistic elements and subject matter, his son Kelvin worked on translating his father’s vision into functional furniture designs. As a result, they became known for incorporating multiple mediums -- such as pewter, patinated bronze, and silver into a single unified furniture design. Their sources of inspiration varied greatly, and the pair often drew upon Classical motifs and those from Chinese, Egyptian, and Greek cultures.

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145

A custom Charles Hollis Jones Lucite and chrome étagère for Martyn Lawrence Bullard 21st Century With tubular Lucite frame joined by chromed metal fittings and with four Lucite shelves 90” H x 40.5” W x 22” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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146

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147

David Klamen

(b. 1961, American) Untitled, 1998 Ink and watercolor on wove paper under glass Signed and dated in pencil, verso: Klamen Sheet: 14.125” H x 20” W $2,000-3,000 Provenance: Property of an Estate, Beverly Hills, CA Literature: New York, Richard Gray Gallery, “David Klamen: Compound Views”, February 19-March 25, 2005, p. 27, no. 11 (illustrated) Madison, WI, Elvehjem Museum of Art, University of WisconsinMadison, “David Klamen: Paintings, Watercolors, and Drawings”, December 11, 2004-February 17, 2005, p. 40, no. 16 (illustrated)

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148

David Klamen

(b. 1961, American) Untitled, 2002 Graphite on paper under glass Signed and dated, verso: Klamen Image: 10” H x 14” W; Sheet: 15.25” H x 19” W $1,000-1,500 Provenance: Richard Gray Gallery, Chicago, IL and NY, NY Property of an Estate, Beverly Hills, CA

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149

Sam Maloof

(1916-2009, American) Rocking chair with ottoman, 1972 Walnut and leather Signed, dated, and numbered: Sam Maloof / No. 69 / 1972; matching ottoman by David Potterheight Chair: 48” H x 30.5” W x 28.5” D; Ottoman: 15” H x 22” W x 25” D $10,000-15,000 Sam Maloof was born to Lebanese immigrant parents in Chino, California. After serving in the U.S. Army during World War II, he worked as a studio assistant under Millard Sheets and began as a graphic artist and woodworker. Maloof was known for his contemporary craftsmanship and was a prominent figure in the modern design movement as a California artist and first-generation post-World War II designer. His chairs are world-renowned and featured in the White House Collection in 1982. He was also elected as a fellow of the American Craft Council and awarded the MacArthur Foundation fellowship in 1985, among other awards, grants, and contributions throughout his career.

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150

A mid-century modern extendable coffee table

20th Century In the style of Glenn of California, the rectangular table with extendable top that divides down the center to reveal a black laminate surface raised on block legs 15” H x 66” W x 24” D; Extended: 95” W $600-900 Provenance: Private Collection, Hidden Hills, CA

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151

Raymond Loewy

(1893-1986, French) A drop-front secretary desk for Mengel Furniture Company, circa 1955 With impressed gilt Mengel label to drawer interior In two-tone finished wood with drop-front upper cabinet with grey painted interior over three drawers on metal legs 47.25” H x 36.125” W x 19” D $800-1,200

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152

A pair of mirrored sideboards, by Martyn Lawrence Bullard

21st Century Each black panels with inset, free-form mirrored panels and three cabinets, 2 pieces Each: 36.75” H x 78.25” W x 22.25” D $4,000-6,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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153

A large marble coffee table

21st Century Foil label to underside: Prod. Auth No. 9003200287 With rectangular white marble veneered top raised on conformingly designed block feet 15” H x 80” W x 50” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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154

A set of geometric stone coffee tables, by Martyn Lawrence Bullard

21st Century Each with a geometric-form black stone top raised on conforming bronze supports, 3 pieces Larger: 18” H x 56.25” W x 56.5” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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155

Laddie John Dill

(b. 1943, American) Charger, 2003 Concrete and engobe Signed and dated to the underside: Laddie John Dill / 2003 2.5” H x 20.5” W x 17” D $600-900

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156

Laddie John Dill

(b. 1943, American) Charger, 2006 Concrete and engobe Signed and dated to the underside: Laddie John Dill / 2006 2.375” H x 17.75” Dia. $600-900

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157

Laddie John Dill

(b. 1943, American) Untitled, 1993 Concrete, acrylic, and pigments With incised signature and date: Laddie John Dill 1993 36” H x 64” W x 7” D $1,500-2,500 Provenance: Collection of Harold and Lea Gould Private Collection, California

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158

Nathan Redwood

(b.1978, American) “Post Boxes,” 2007 Acrylic on canvas Signed: Redwood; dated verso: 1-07; titled by repute 88” H x 88” W $500-700 Provenance: Carl Berg Gallery The Blake Byrne Collection, acquired from the above

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159

Milo Baughman

(1923-2003, American) A set of chrome bar stools Each with a tubular chromed metal frame with footrest and upholstered in newer black and white jaguar print velour, 4 pieces Each: 41” H x 20.25” W x 20” D $1,000-2,000 Provenance: Private Collection, Hidden Hills, CA

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160

A set of chromed metal bar stools

21st Century Each chromed metal frame with extended box foot and black suede upholstered seat and back, 4 pieces Each: 39.5” H x 17.25” W x 21” D $600-800 Provenance: Private Collection, Hidden Hills, CA

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161

A set of Ludwig Mies Van Der Rohe-style chairs

21st Century Each cantilevered chair with woven rattan seat and back on a tubular steel frame, 6 pieces Each: 32.5” H x 18” W x 26” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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162

A set of contemporary T-back dining chairs

20th Century Each with espresso-colored molded plywood seats on hairpin-style black metal legs, 6 pieces Each: 31.75” H x 19.5” W x 18” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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163

A set of Milo Baughman-style armchairs

20th Century Each chromed metal frame with dual curved arms and covered in newer black velour upholstery, 6 pieces Each: 32” H x 20.5” W x 24” D $1,200-1,800 Provenance: Private Collection, Hidden Hills, CA

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164

Jim Dine

(b. 1935, American) “Jesse with a Shell I,” 1982 Watercolor, pastel, and charcoal on paper under glass Signed and dated lower right: Jim Dine; titled and dated on gallery label affixed to the backing of the frame 43” H x 30.5” W $8,000-12,000 Provenance: Richard Gray Gallery, Chicago, Illinois Property of an Estate, Beverly Hills, CA Notes: There is a second gallery label from Richard Gray Gallery affixed to the backing of the frame that reads: “Jesse with arms akimbo”/Jim Dine

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165

Muraina Oyelami

(b. 1940, African) “Mixed Marriage,” 1975 Mixed media on paper under glass Signed, titled and dated in pencil along the lower edge: Muraina Oyelami 30” H x 20” W $1,000-2,000

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166

A monumental dining table, by Martyn Lawrence Bullard

21st Century With a black and white composite stone top raised on five lacquered columnar legs 29.5” H x 168” W x 54” D $3,000-5,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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168

A contemporary marble and steel console table

21st Century With rectangular grey veined white marble top raised on brushed steel box-style tubular frame joined by an X-stretcher 30.5” H x 108” W x 40” D $3,000-4,000 Provenance: Private Collection, Hidden Hills, CA

167

An Emmemobili “UFO” dining table

21st Century Designed by Ferruccio Laviani, with a white lacquer oval top over a white lacquer base 29” H x 102” W x 47” D $2,000-3,000 Provenance: Private Collection, Bel Air, CA

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169

A Milo Baughman-style

20th Century With rectangular glass top 17.5” H x 60” W x 25.5” D $1,000-2,000

e glass and chrome cocktail table

with chromed metal box-style legs

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170

Richard Mann

(20th Century, American) Abstract Acrylic on Masonite Signed lower center: R. Mann 48” H x 48” W $800-1,200

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171

Nobuo Sekine

(b. 1942, Japanese) “Phase Conception: Spanish Window,” 1991 Mixed media with gold leaf on paper under Plexiglas Signed, sub-titled in Japanese, dated, and numbered on an artist’s label affixed verso: N. Sekine / G50-131 46” H x 36” W $10,000-15,000 The sculptor Nubuo Sekine was an early participant in the Mono-ha movement, which sought to criticize and counter the rapid development and industrialization taking place in Tokyo and other large cities through work that emphasized the relationship between natural and industrial materials. Works from Sekine’s “Phase Conception” series, which are often made with gold leaf, was influenced by the concept of “phase” in topology -- a subset of mathematics and physics that aims to relate abstract space to connectedness. Often inspired by the architecture and urban spaces he encountered in Asian and European cities, the abstract designs found in Sekine’s work show similarities to the shapes and forms found in buildings such as the Hang Nga Guesthouse in Vietnam, as well as the Casa Batllo by Antoni Gaudi located in Barcelona.

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172

Nobuo Sekine

(b. 1942, Japanese) “Phase Conception: Walls and Windows,” 1996 Mixed media with gold leaf on paper under Plexiglas Signed, sub-titled in Japanese, dated, and numbered on an artist’s label affixed verso: N. Sekine / G6-314 16.25” H x 12.5” W $7,000-9,000 Provenance: Private Collection, California

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173

Nobuo Sekine

(b. 1942, Japanese) “Phase Conception: The Pyramid,” 1993 Mixed media with gold leaf on paper under Plexiglas Signed, sub-titled in Japanese, numbered, and dated on an artist’s label affixed verso: N. Sekine / G6-293 16.25” H x 12.5” W $7,000-9,000

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175

Heidi Hornberger

(20th/21st Century, American) “Passion” Suar tropical hardwood on granite base Appears unsigned 19” Dia. x 4.5” D $1,000-2,000

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174

A William Stranger modern cocktail table

2014 Signed to underside: Stranger A custom made cocktail table by William Stanger, featuring a quilted/feathered English Walnut top with live edge and inset butterfly joinery on a stainless steel base with square reliefs 18.5” H x 68.5” W x 71.25” D $3,000-5,000

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176

A Catellani & Smith “PostKrisi” chandelier

21st Century With two molded fiberglass domes joined by three rods, electrified 146” H x 46” Dia. $1,000-1,500 Provenance: Private Collection, Bel Air, CA

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177

178

(1922-1991, American) “Bon Voyage,” 1985 Oil on canvas Signed and dated lower right: Treiman; titled on a gallery label affixed verso 48” H x 30” W

(1922-1991, American) “Flasher,” 1985 Oil on canvas Signed and dated lower right: Treiman; titled on a gallery label affixed verso 48” H x 30” W

Joyce Treiman

$1,500-2,500

Provenance: Schmidt-Bingham Gallery, New York, NY Tortue Gallery, Santa Monica, CA

Provenance: Schmidt-Bingham Gallery, New York,

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179

Joyce Treiman

(1922-1991, American) “Winking Woman, Joker, and Me,” 1986 Oil on canvas Signed and dated lower right: Treiman; signed and dated again verso; titled on a gallery label affixed verso 48” H x 42” W $2,000-3,000 NY

Provenance: Schmidt-Bingham Gallery, New York, NY

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180

Andrew Salgado

(b. 1982, Canadian) “Mauve,” 2015 Oil and plastic gemstones on canvas Signed, titled, dated and indistinctly inscribed verso: A. Salgado 75” H x 75” W $15,000-20,000 Provenance: Beers, London Private Collection, New York, acquired from the above Born in Canada in 1982, Andrew Salgado pursued his artistic studies at the Chelsea of College of Art in the United Kingdom, where he graduated with an MA in Fine Art in 2009. He is best known for his portraits executed in a style that, while representational, is often painterly and semi-abstract. Working fervently across the surface of a canvas, Salgado takes note of different planes of color across the sitter’s face and background before blending them into “a sort of chaotically orchestrated puzzle.” Salgado has had over fifteen solo exhibitions internationally, including in London, New York, Toronto, and Basel, Switzerland.

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182

Jack Zajac

(b. 1929, American) “Horn and Skull,” circa 1976 Patinated bronze lacquered wood base Appears unsigned Overall: 13.25” H x 26” W x 11” D $4,000-6,000 Provenance: Property of an Estate, Beverly Hills, CA

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181

Ingo Maurer

(1932-2019, German) “Birdie” chandelier, circa 2002-2017 Metal, 12 LED-bulbs, and goose-feather wings, electrified 41” H x 30” Dia.

$1,000-1,500

Provenance: Private Collection, Bel Air, CA

183

Jack Zajac

(b. 1929, American) Bound Goat, circa 1973 Patinated bronze on marble base Edition 2/12; signed and numbered in the casting: Zajac © 16.5” H x 17” W x 15” D $5,000-7,000 Provenance: Property of an Estate, Beverly Hills, CA

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184

Silas Seandel

(b. 1937, American) “Bronzeforms ll,” circa 1963-1968 Pewter on steel top with brassed bronze base Signed: Silas Seandel Larger element: 16” H x 32” W x 27” D; Smaller element: 16” H x 31” W x 23.5” D $8,000-12,000 Provenance: Property of an Estate, Beverly Hills, CA Notes: The Silas Seandel Studio assisted with the cataloguing of this lot.

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185

A B&B Italia “Bend” sectional sofa

21st Century With B&B Italia tags to underside Designed 2010 by Patricia Urquiola, the three-piece sectional upholstered in blue fabric with cream stitching, together with an ottoman, 4 pieces Larger: 25” H x 84” W x 44” D; Medium: 25” H 67” W x 44” D; Smaller: 25”H x 64” W x 44”D; Ottoman: 12” H x 44” W x 42” D $4,000-6,000 Provenance: Private Collection, Bel Air, CA

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188

An Aqua Creations “Stand By” silk pendant light 21st Century With crushed silk on metal frame, electrified 36” Dia. x 5” H $1,000-1,500 Provenance: Private Collection, Bel Air, CA

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187

Flavie Audi

(b. 1986, Lebanese/French) Two works from the “Bright Cloud” series, circa 2014 Glass and silver Each signed to underside: Audi Larger: 6” H x 12” W x 10” D; Smaller: 4.5” H x 7.5” W x 7.5” D $4,000-6,000 Notes: One is possibly “Bright Cloud 19” and “Bright Cloud 12.”

186

Flavie Audi

(b. 1986, Lebanese/French) “Dark Cloud II,” 2014 Glass and silver Signed to underside: Audi 7” H x 10” W x 10.5” D $5,000-7,000 Notes: Flavie Audi, born in Paris, France, in 1986, has spent most of her artistic career focusing on the manipulation of glass. From the 1248 consecration of SainteChapelle in Paris to Walter Gropius’ 1919 Bauhaus manifesto, the ethereal and seemingly immaterial qualities of glass continue to make it a medium of choice for many artists. Audi uses this relationship to create astral-like figures and shapes such as “Dark Cloud II,” which seems to visually oscillate between what might be either a dark digital screen or a sublime celestial entity. The uneven surface of her glass sculptures offers an entirely different outlook on the capabilities of glass and presents the viewer with a portal for introspection that allows one to question the confines of reality and experience a moment of self-reflection.

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189

Pedro Friedeberg

(b. 1936, American) “Decapitaciones Trantamorficas,” 1978 Mixed media on board under Plexiglas in artist’s frame Signed and dated lower right: Pedro Friedeberg / MCMLXXVIII; titled lower left Board: 29.5” H x 29.5” W $15,000-20,000 Provenance: Collection of Victor Aguilar Collection of Francisco Hunamuno Collection of Ramiro Alvardo Private Collection, acquired from the above Notes: This work is accompanied by a certificate of authenticity issued by the artist and dated January 31, 2022. Pedro Friedeberg is an artist and designer known for producing Surrealist artwork and decorative objects. Born in Florence, Italy, to Jewish-German parents, Friedeberg’s family moved to Mexico during World War II when he was only three years old. His interest in the Renaissance architecture of Italy and the Pre-Columbian architecture of Mexico led Friedeberg to study architecture in Boston. He ultimately dropped out of the program to pursue a career making fine art and designing furniture. Friedeberg was one of twelve artists who participated in an exhibition titled Los Hartos (The Fed-Ups) at Galeria Antonio Souza in Mexico City in 1961. The group advocated for art for art’s sake and decried how Muralism had come to dominate the conversation around Mexican art at the time. In the years that followed, Friedeberg became known for a two-dimensional body of work consisting of paintings, prints, and works on paper that extended Optical Art into the realm of fantasy and the psychedelic. In the three-dimensional realm, Friedeberg’s hand-shaped chairs have become an iconic example of a Surrealist design that functions as art. Friedeberg currently lives and works in Mexico.

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190

An Alexander McQueen “Military Brocade” rug

21st Century For The Rug Company, the silk rug with gold fern border centering a serpent on a cream field 223” L x 144” W $3,000-5,000 Provenance: Private Collection, Bel Air, CA Notes: This lot is accompanied by the detached retail label with serial number: 000203G50CN000367X0561C796

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191

An Alexander McQueen “Monarch Smoke” rug

21st Century For The Rug Company, the silk rug with a grey butterfly wing motif 167” L x 120” W $3,000-5,000 Provenance: Private Collection, Bel Air, CA

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192

A Fibre by Auskin Alpaca rug

21st Century With Fibre fabric label to verso The shag-style rug in “Cool Grey” Suri alpaca 239” L x 204” W $4,000-6,000 Provenance: Private Collection, Hidden Hills, CA

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193

A B&B Italia “Shelf X” shelving unit

21st Century With B&B Italia mark to bottom edge Designed 2005 by Naoto Fukasawa, the bookcase in white DuPont™ Corian® acrylic with three shelves joined by diagonal partitions 57” H x 51.75” W x 14.5” D $800-1,200 Provenance: Private Collection, Bel Air, CA

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195

194

Yves Klein

(1928-1962, French) “Table IKB,” designed 1961/1963 IKB pigment, glass, Plexiglas, wood, and steel With signed placard of authenticity affixed to the underside; serial no. CDE-TGFR 14.25” H x 49.25” W x 39.25” D $10,000-15,000

(1928-1962, French) “Table Monogold,” designed 1961/1963 Gold leaf, glass, Plexiglas, wood, and steel With signed placard of authenticity affixed to the underside; serial no. CCV-GFRE 14.25” H x 49.25” W x 39.25” D $15,000-20,000 Provenance: Private Collection, Hidden Hills, CA

Provenance: Private Collection, Hidden Hills, CA

On April 28, 1928, Yves Klein was born to parents who were notable abstract painters in Paris. From 1942 to 1946, Klein studied at the Ecole Nationale de la Marine Marchande, and the Ecole Nationale des Langues Orientales. He would become a pioneer in the development of performance art and a prominent visual artist whose work bridged the gaps between Minimalism, Pop Art, and the Nouveau Realism movement. Klein’s techniques and use of raw pigments in paintings, performances, and furniture design are highly regarded within the art and design industry. Arguably, his most avant-garde performances were those in which he arranged for naked women covered in pigment to roll their bodies over canvases in public settings. He also coated sponges in raw pigments that he then affixed to canvases and panels. In 1963, Klein began producing clear Plexi-glass tables filled with powdered pigment piles in shades of light pink and his trademarked International Klein Blue (IKB), a deep shade of ultramarine as seen in the following lot. His use of pure pigment as a viable medium challenged long-held beliefs on art’s relationship to both color and material in ways that continue to influence visual artists, performance artists, and interior designers working today.

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196

Yves Klein

(1928-1962, French) “Table Monopink,” designed 1961/1963 Rose pigment, glass, Plexiglas, wood, and steel With signed placard of authenticity affixed to the underside; serial no. ASE-ZSDE 14.25” H x 49.25” W x 39.25” D $10,000-15,000 Provenance: Private Collection, Hidden Hills, CA

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197

Beau Dunn

(b. 1987, American) “Plastic,” 2017 Neon light on acrylic, electrified 13.25” H x 48” W x 5” D $2,000-3,000 Provenance: Private Collection, Hidden Hills, CA

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198

A neon heart light

21st Century With heart-shaped neon light behind a clear acrylic front and raised on a white acrylic base, electrified 29” H x 24” W x 10” D $400-600 Provenance: Private Collection, Hidden Hills, CA

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199

A pair of Sylvan San Francisco faux crystal table lamps

21st Century One with Sylvan label to underside Each single-light lamp with rock crystal-style, obelisk-form bases, opposed shagreen ring handles, and an oxidized brass drum shade, electrified, 2 pieces Each: 30.75” H x 15.25” Dia. $1,500-2,000 Provenance: Private Collection, Hidden Hills, CA

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200

A chrome cherry light fixture, by Martyn Lawrence Bullard

21st Century The two-light chromed metal fixture in the form of two cherries suspended from a black cord with chromed canopy, electrified 47.5” H x 30” W x 12” D $500-700 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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201

Elise Remender

(20th Century, American) “Red Lips” Oil on board Signed lower left: Remender; titled by repute 36” H x 54” W $800-1,200 Provenance: Private Collection, Hidden Hills, CA

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202

An Eero Aarnio-style acrylic bubble chair

21st Century Appears unmarked The hanging chair in clear Lucite with two white fur cushions 38” H x 41” W x 22” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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203

A pair of Lucite and sheep skin chairs, by Martyn Lawrence Bullard

21st Century Each with a cantilevered Lucite frame with seat and back cushions upholstered in pink sheared sheepskin, 2 pieces Each: 32” H x 34.25” W x 34” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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204

A custom faux fur daybed, by Martyn Lawrence Bullard

21st Century With wide, high arms and three cushions upholstered in cream faux fur 29.5” H x 97” W x 41” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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205

A pair Restoration Hardware faux fur loveseats

21st Century Each with Restoration Hardware tag to underside Each with wide, high arms upholstered in cream faux fur Each: 30” H x 55” x 41” D $2,000-3,000 Provenance: Private Collection, Hidden Hills, CA

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206

A Paul Smith geometric rug

21st Century For The Rug Company, the silk rug with a polychrome radiating geometric pattern 166” L x 119” W $1,500-2,500 Provenance: Private Collection, Bel Air, CA

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207

A melting brass console table, by Martyn Lawrence Bullard 21st Century The cast brass table in the form of dripping metal 35.75” H x 58.5” W x 18.5” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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208

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211

Three contemporary suede ottomans

21st Century Each circular ottoman upholstered in suede, comprising one white, one grey, and one grey and beige, 3 pieces Larger: 14” H x 37” Dia. $800-1,000 Provenance: Private Collection, Hidden Hills, CA

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210

A set of Roche Bobois “Kasuka” side chairs

21st Century Designed by Roberto Tapinassi and Maurizio Manzoni, each with a winged backrest and completely covered in beige fabric, 4 pieces Each: 34” H x 19.5” W x 20” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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212

213

21st Century With pink cotton upholstery on a Lucite frame with circular rockers 37.5” H x 24” W x 31” D

21st Century With JJ Custom label to seat interior Upholstered in grey snakeskin vinyl on a swivel base 36” H x 33.5” W x 36” D

A contemporary Lucite rocking chair

A JJ Custom, Inc. vinyl snakeskin armchair

$800-1,200

$1,000-1,500

Provenance: Private Collection, Hidden Hills, CA

214

215

2019 With stamped Modernica, Nickelodeon, and J Balvin labels to underside and verso, dated: Sep 12 2019 / Made in California The molded fiberglass chair with printed upholstery and steel legs 32” H x 19” W x 20” D

(b. 1960, American) “Throne (Yellow),” 2014 Wood and rattan Unsigned 33.5” H x 22.625” W x 28” D

A Spongebob x J Balvin x Louis De Guzman Modernica shell chair

Martin Kersels

$2,000-3,000

Provenance: Private Collection, Hidden Hills, CA

Provenance: Galerie George-Phillipe et Nathalie Vallois, Paris, France The Blake Byrne Collection Sold: John Moran Auctioneers, “Post-war & Contemporary Art +Design,” Los Angeles, CA, June 9, 2021, Lot 193 Private Collection, acquired from the above

216

A mid-century modern black hand chair Mid-20th Century Unmarked In black acrylic resin 44” H x 27” W x 27” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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217

A Bocci “28.20 Random” glass chandelier

21st Century Most glass pendants variously marked or numbered With twenty multi-colored, hand-blown glass pendant lights suspended from a headphone jack connection to a rectangular white powder coated metal canopy, electrified 143” H x 50” W x 28” D approximately $2,000-3,000 Provenance: Private Collection, Hidden Hills, CA

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218

A Bocci “28.20 Random” glass chandelier

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219

Three pink glass and chrome wall sconces

21st Century Each with a chromed metal wall bracket suspending a free-hanging light bulb against a pink glass disc, electrified, 3 pieces Each: 19” H x 17.75” W x 6” D $800-1,200 Provenance: Private Collection, Hidden Hills, CA

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220

Hubert Le Gall

(b. 1961, French) “Polyedres” chandelier White gold leaf on steel, electrified Appears unsigned 42.5” H x 36” W x 36” D $3,000-5,000 Provenance: Private Collection, Bel Air, CA

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221

Kelly McLane

(b. 1968, American) “Crack Her,” 2006 Oil and graphite on canvas over panel Signed, titled, and dated verso: Kelly McLane 36” H x 36” W $1,500-2,500 Provenance: Angles Gallery, Santa Monica, CA The Blake Byrne Collection, acquired from the above Notes: The Angles Gallery label includes a number: KM06 11

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222

Gen Paul

(1895-1975, French) “Course de Teaureaux” Gouache on paper under glass Signed upper right: Gen Paul; titled by repute 28” H x 34” W $1,500-2,500 Provenance: Private Collection, California

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223

A Christian Liaigre storage unit

21st Century With composite wood top and two small drawers beside a fitted compartment with a grey acrylic door 19.75” H x 94.5” W x 19” D $6,000-8,000 Provenance: Private Collection, Bel Air, CA

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224

A pair of Armani Casa nightstands

21st Century Each with Armani metal label to bottom edge Each dark wood with three drawers and brass pulls, 2 pieces Each: 18” H x 28.375” W x 16.75” D $800-1,200 Provenance: Private Collection, Bel Air, CA

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225

A contemporary chrome credenza

21st Century The credenza with a chromed metal frame joined by X-supports and fitted with inset black glass shelves 35.25” H x 56” W x 16.5” D $800-1,200 Provenance: Private Collection, Hidden Hills, CA

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226

A Matteo Grassi “Tent” dining table

21st Century With white painted wood and fitted smoked glass top raised on a square-form brown leather column with zipper sides 29.5” H x 51” Dia. $800-1,200 Provenance: Private Collection, Bel Air, CA

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227

Chris Scarborough

(20th Century, American) “The Devil was great, I swallowed burning cigarettes and ate ashes,” 2004 Oil on canvas over wood Signed, titled, and dated verso: Chris Scarborough 48” H x 60” W $500-700 Provenance: The Collection of Judith and Howard Tullman, Chicago, IL Sold: Hindman Auctions, November 19, 2019, Lot 290 Private Collection, acquired from the above

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228

A pair of contemporary cube chairs

21st Century Each upholstered in grey velvet with chromed metal legs, 2 pieces Each: 23” H x 37” W x 37” D $600-900 Provenance: Private Collection, Hidden Hills, CA

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229

A Milo Baughman-style chrome and glass coffee table

20th Century The square table with inset glass top and a chromed metal frame with intersecting crossed bar legs 17.5” H x 41” W x 41” D $500-700 Provenance: Private Collection, Hidden Hills, CA

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230

A pair of Jonathan Adler “Alphaville” chrome side tables 21st Century Each chromed metal with inset mirrored tops, 2 pieces 25” H x 22” Dia. $800-1,200 Provenance: Private Collection, Hidden Hills, CA

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231

Herman Braun-Vega

(1933-2019, Peruvian/French) “1° Serie del ‘Le Bain Turc,’” 1972 Acrylic on canvas Signed twice, titled, dated, and inscribed verso: H Braun New York; titled and dated again on a gallery label affixed to the stretcher 30” H x 30” W $2,000-3,000 Provenance: Lerner-Heller Gallery, New York, NY Notes: Braun-Vega’s title references the 1862 painting by Jean Auguste Dominique Ingres, “Le bain turc,” in the Louvre Museum, Paris.

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232

Herman Braun-Vega

(1933-2019, Peruvian/French) Female nude group with vase, 1972 Drawing on scraperboard under glass Signed and dated lower right: H. Braun Image: 10” H x 8.75” W; Scraperboard: 13.875” H x 11” W $800-1,200 Provenance: Lerner-Heller Gallery, New York, NY Notes: According to an ink stamp, verso, the Essdee brand of scraperboard used for this work was made in England and distributed in New York and Los Angeles by The Morilla Company.

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233

Herman Braun-Vega

(1933-2019, Peruvian/French) Female nude group, 1972 Drawing on scraperboard under glass Signed and dated lower right: H. Braun Image: 8.75” Dia.; Scraperboard: 14” H x 11” W $800-1,200 Provenance: Lerner-Heller Gallery, New York, NY Notes: According to an ink stamp, verso, the Essdee brand of scraperboard used for this work was made in England and distributed in New York and Los Angeles by The Morilla Company.

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234

Xavier Robles de Medina

(b. 1990, Surinamese) “In the realm of translation,” 2014-2018 Graphite and plaster Edition: 3/4 From the unsigned and unnumbered edition 17.25” H x 13” W x 3” D $1,000-1,500 Provenance: The Blake Byrne Collection Exhibitions: Praz-Delavallade, Los Angeles, CA, “Opportunity Cost,” January 19 - February 16, 2019 Praz-Delavallade, Los Angeles, CA, “The Sound of Silence,” July 13 - September 7, 2019 Praz-Delavallade, Los Angeles, CA, “Xavier Robles de Medina: Faya Lobi,” February 1 - May 23, 2020 Notes: Praz-Delavallade gallery identifies this work as no. 3 of an edition of 4.

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235

Milo Baughman

(1923-2003, American) A chrome and white linen tufted sofa for Thayer Coggin Retaining the original Thayer Coggin label to the decking The sofa reupholstered in white linen and supported on chromed metal legs 30” H x 88.5” W x 32” D $2,000-3,000 Provenance: Private Collection, Hidden Hills, CA

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236

Erwin Eisch

(1927-2022, German) Picasso Head - Sunlight, 1992 Molded glass and paint Signed and dated to verso: E. Eisch / 92; titled by repute 20.75” H x 13” W x 10” D $2,000-3,000

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237

A set of “Seat Belt” dining chairs, for Phillips Collection

21st Century Designed by Nuttapong Charoenkitivarakorn, each with white MDF and iron frames wrapped in braided off-white polycotton, 6 pieces Each: 33” H x 19.5” W x 26” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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238

Cornelius Quabeck

(b. 1974, German) “1745 (Garçon Sauvage),” 2004 Charcoal and spray paint on canvas Signed, titled, and dated verso: C. Quabeck 90.5” H x 75” W $2,000-4,000 Provenance: Galerie Christian Nagel, Cologne, Germany The Blake Byrne Collection, acquired from the above

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239

A vintage glass and Lucite coffee table

20th Century The two-tier clear Lucite table with beveled edges and inset clear glass shelves 17” H x 52” W x 30” D $1,000-2,000 Provenance: Private Collection, Hidden Hills, CA

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240

A “Gear Suspension” chandelier, by McEwen Lighting Studio

21st Century Model no. 4020, with corrugated metal band on a multi-light metal frame with mottled white and translucent glass interior lining, electrified 50” H x 36.5” Dia. $1,000-1,500 Provenance: Private Collection, Bel Air, CA

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241

A contemporary brass chandelier, by Martyn Lawrence Bullard

21st Century The large chandelier with a polished brass horizontal frame issuing twelve lights with white dome shades, electrified 38” H x 93” W x 33” D $2,000-3,000 Provenance: Martyn Lawrence Bullard Private Collection, Hidden Hills, CA, acquired from the above

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242

A contemporary zebra sculpture

21st Century The life-size fiberglass zebra figure painted white and with multi-colored paint splatters 62.5” H x 88” W x 24” D $800-1,200 Provenance: Private Collection, Hidden Hills, CA

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243

A partial banquet sectional sofa

21st Century Upholstered in off-white corded velveteen, with connection for further sectional 32” H x 227” W x 33” D $1,000-1,500 Provenance: Private Collection, Hidden Hills, CA

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244

A free-form lacquer dining table

21st Century With out swept, spiraling legs and a rectangular tempered, frosted glass top with pull-out extensions 29” H x 74.5” W x 41.5” D; Extended: 114.5” W $2,000-3,000 Provenance: Private Collection, Hidden Hills, CA

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245

A JANUS et Cie “Mood” outdoor daybed

21st Century With aluminum back frame, wrapped fabric back, and a teak slat wood seat and legs 27” H x 60” W x 70” D $1,000-1,500 Provenance: Private Collection, Bel Air, CA

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246

A pair of JANUS et Cie “Mood” outdoor sofas

21st Century Each with aluminum back frame, wrapped fabric back, and a teak slat wood seat and legs, 2 pieces 27” H x 87” W 36” D $1,500-2,500 Provenance: Private Collection, Bel Air, CA

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247

A JANUS et Cie “Mood” outdoor daybed

21st Century With aluminum back frame, wrapped fabric back, and a teak slat wood seat and legs 27” H x 60” W x 70” D $1,000-1,500 Provenance: Private Collection, Bel Air, CA

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248

A pair of JANUS et Cie “Mood” outdoor lounge chairs

21st Century Each with aluminum back frame, wrapped fabric back, and a teak slat wood seat and legs, 2 pieces 27” H x 33.5” W x 31” D $700-900 Provenance: Private Collection, Bel Air, CA

249

A set of JANUS et Cie outdoor teak coffee tables 21st Century Each with JANUS et Cie metal tags to side Each with slat top on block legs, 3 pieces Each: 11.25” H x 26” W x 26” D $600-800 Provenance: Private Collection, Bel Air, CA

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Condition Reports

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1 Generally very good condition. Full margins. Slight toning throughout. An occasional pale and very unobtrusive, pinhead-size foxmark. Scattered minor handling creases, and slight rippling at the margin edges, mostly visible in raking light. Hinged to the back mat along the verso of the upper margin edge. Frame: 35” H x 29” W x 2” D

Condition Reports

Frame: 30.5” H x 41.5” W x 1” D

2 Very good condition. Full margins, deckled along the upper and lower edges. Occasional very slight handling creases, including in the deckle of the lower margin edge, at right. Framed floating, hinged to the back mat from the verso of the margin corners.

8 Good condition. Full margins, deckled along the right margin edge. The paper slightly toned overall. Soft rippling attendant with hinges in seven places at the verso of the extreme margin edges. Scattered foxing to the upper portion of the back mat. Framed floating and mounted to the back mat.

Frame: 33” H x 26.5” W x 1.75” D

Frame: 36.5” H x 28.25” W x 1” D

3 Good condition. The full sheet, deckled at the left and right. Very slight surface soiling. A 1” diagonal crease in the lower edge, near the left corner. The sheet is framed floating, hinged to the back mat at the verso of all four corners.

9 Good condition. With full margins, deckled all around. The palest hint of unobtrusive old mat staining in the margins. Framed floating and hinged to the back mat at the verso of the upper margin corners

Frame: 31.5” H x 42.5” W x 1.25” D

Frame: 35” H x 28” W x 1” D

4 Very good condition. The full sheet, deckled along the left and right edges. Very pale toning overall. The sheet is floating, hinged to the back mat at the verso of the upper left and right corners.

10 Very good condition. Apparently full margins, deckled along the left and right edges. Slight time staining and very minor surface soiling commensurate with age along the margin edges. A soft crease at the tip of the lower right margin corner. Framed floating, hinged in various places to the back mat from the verso of the margins.

Frame: 31.75” H x 42.5” W x 1.25” D 5 Very Good condition. Full margins with deckled edges. Minor toning throughout, including broad, slightly darker vertical bands attendant with minor rippling of the paper. Normal offseting of the ink from the recto, and an occasional foxmark showing mostly on the verso. Framed floating and hinged to the back mat at the verso of the upper margin corners. Frame: 30.25” H x 40.25” W x 1” D 6 Good condition. Full margins, deckled along the right edge. Very slight time staining showing mostly along the upper edge. Slight rippling in the upper margin corners associated with the hinges, verso. The sheet is framed floating, hinged to the back mat. Frame: 30.5” H x 41.5” W x 1” D 316

7 Very good condition. Full margins, deckled left and right. Very pale toning throughout. Soft rippling along the upper margin edge. The sheet is framed floating, hinged to the back mat at the verso of the upper margin corners.

Frame: 29.25” H x 37” W x 1” D 11 Very good condition. A rich impression with burr on the drypoint and a delicate veil of platetone. Not examined out of the frame. Frame: 18” H x 21” W x 2” D 12 Very good condition. A rich impression with burr on the drypoint and carefully directed platetone. Very unobtrusive staining, approximately pinhead-sized, showing faintly in the upper left, lower left, and lower right margin corners, not affecting the plate. Not examined out of the frame. Frame: 18” H x 21” W x 2” D

13 Good condition. A rich impression with good colors, on a sheet with wide, nearly full, margins. The palest mat staining showing very slightly in the margins. A few extremely pale and unobtrusive foxmarks. A 0.125” linear, pale stain near the edge of the left margin, plus a tiny edge nick at the same margin edge, neither of which affect the image. Occasional very minor handling creases in the margins, not affecting the image. Hinged to the back mat from the verso of the upper margin edge. Frame: 15.5” H x 18.75” W x 1” D 14 Good condition. Full sheet with deckled edges along two sides. Very slight toning throughout. A pale, nickel-sized stain near the center of the lower edge. Framed floating and hinged to the back mat from the verso of the sheet corners. Frame: 31.5” H x 39” W x 1.25” D

19 Very good condition. Full margins. Some soft and very unobtrusive rippling in the lower left margin corner, visible only in a raking light. Framed floating and hinged to the back mat at the verso of the upper margin corners and again, approximately 13” down in the vertical margins. Frame: 41.5” H x 41” W x 1.75” D 20 Good condition. The full sheet with deckled edges. The color slightly faded. Very soft rippling throughout. The sheet is loose, not mounted. Frame: 41.25” H x 27.75” W x 1.5” D 21 Good condition. The full sheet with deckled edges. The color very slightly faded. Very soft rippling throughout. The sheet is loose, not mounted. Frame: 41.25” H x 27.75” W x 1.5” D

Frame: 48.5” H x 39.75” W x 1.5” D 16 Very good condition. Framed floating, mounted to the back mat. Frame: 52.25” H x 42.25” W x 1” D

17 Very good condition. Framed floating and mounted to the back mat. Frame: 31” H x 75” W x 3” D

18 Each: Very good condition. Full margins deckled along the upper and lower edges. With the central vertical crease as issued. Framed floating and hinged to the back mat. Frame of each: 25.25” H x 33” W x 0.75” D

22 Good condition. The full sheet with deckled edges. The orange perhaps very slightly faded. Very soft rippling throughout. A 0.5” vertical tear near the center of the lower edge. The sheet is loose, not mounted. Frame: 41.25” H x 27.75” W x 1.5” D 23 Good condition. The full sheet with deckled edges. The color slightly faded. Very soft rippling throughout. The sheet is loose, not mounted. Frame: 41.25” H x 27.75” W x 1.5” D 24 Good condition. The full sheet with deckled edges. The color slightly faded. Soft rippling to the paper throughout. The sheet is loose, not mounted. Frame: 41.25” H x 28” W x 1.5” D 25 Good condition. The full sheet with deckled edges. This example is not hand-colored. Very slight and unobtrusive, soft rippling to the paper. A short diagonal crease across the lower right sheet corner. The sheet is loose, not mounted.

Condition Reports

15 Very good condition. Framed floating and mounted to the back mat.

Frame: 41.25” H x 27.75” W x 1.5” D 317

26 Good condition. The full sheet with deckled edges. The color very slightly faded. Very soft rippling throughout. An unobtrusive fleck of foxing to the left of the leaf. A pea-sized, pale stain near the center of the lower edge. The sheet is loose, not mounted.

32 Very good condition. Two very slight handling creases near the center of the lower margin edge, not visible behind the overmat. The sheet is hinged to the overmat with linen tape from the verso of the upper sheet edge.

Frame: 41.25” H x 27.75” W x 1.5” D

Frame: 36.5” H x 45.75’ W x 1.25” D

27 Very good condition. Minor dust accumulation commensurate with age. The work is framed floating, mounted to the back mat. Not examined out of the frame.

33 Very good condition. Full margins, deckled along the lower edge. Very soft rippling in the margin corners attendant with the mounting verso. Framed floating and mounted to the back mat.

Plexiglas box frame: 18.75” H x 24.25” W x 3.25” D

Frame: 43.75” H x 61” W x 2” D

28 Very good condition. With wide marigns. Mounted to the overmat along the margin edges. Frame: 46” H x 46” W x 2.5” D

29 Very good condition. With wide margins. Mounted to the overmat along the margin edges. Frame: 46” H x 46” W x 2.5” D

34 Overall good condition with dust accumulation and inherent firing flaws commensurate with age. Minor inherent pinhole in glaze to side of rear glaze likely dating to time of manufacture. Includes original packaging from Bernardaud. 35 Fair condition. Toning throughout. Scattered small spots of staining in the upper left and right corners. Two 0.5” lines of minor creasing on and to the right of the figure’s top lip. The sheet is loose and unmounted, with curled ends. Unframed

30 Fair condition. Light stained with the colors significantly faded throughout except along the extreme outer edges where covered by the very narrow edge of the frame. The sheet is loose, not mounted.

36 Very Good condition. Slight mat burn to the extreme edges of the support board. Frame: 31.5” H x 37.5” W x 1.5” D

Condition Reports

Frame: 36.25” H x 24.25” W x 0.75” D

318

31 Very good condition. Full margins with deckled edges. A few faint, dime-sized, yellow spots of staining in the extreme upper right margin corner and along the upper margin edge, likely as a result of prior hinging. Framed floating and now archivally hinged to the back mat from the verso of the upper margin corners. Frame: 26.75” H x 20” W x 2” D

37 Good condition. Full margins. Some very soft rippling showing mostly in the left and right vertical margins. Four very small surface splits in the emulsion layer at the extreme outer margin edges, the longest measuring 0.375,” none of which affect the image. A 0.625” slight edge abrasion near the top of the extreme left margin edge, not affecting the image. The sheet is loose, not mounted, secured to the back mat with clear photographic corners. Frame: 24.5” H x x 30.5” W x 1” D

Frame: 35.75” H x 75.25” W x 1.5” D

39 Very good condition. The sheet is loose and unmounted. Unframed 40 Very good condition. The sheet is loose and unmounted. Unframed

46 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 47 Overall good condition with signs of wear and oxidation to bronze commensurate with age and use. Top with minor scattered chips to edge. Underside of top with heavy scratching and peeling to the finish. The chrome column with scattered light pitting. The base with a 0.25” chip to black coating at edge of rim. 48 Each overall good condition with scattered scuffs, scratches, shrinkage cracks, and separation at joints commensurate with age.

41 Overall good condition with scattered minor scuffs and inherent firing flaws commensurate with age. Lower right corner tile with evidence of possible readherance, likely a glue material that fluoresces under blacklight. Frame is mounted for wall hanging.

49 Visual: Good condition. Minor surface dirt and grime. Extremely minor paint-chipping at the extreme edge of the upper right and lower right corners. A 0.125” line of wear at the center of the extreme upper edge.

42 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger with a spot of adhesive label residue to side.

Overall: 11.75” H x 12.5” W x 0.75” W

43 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 44 Each with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger in fair condition with two restored breaks to the rim and a patch of color variation in glaze due to prior presence of adhesive label. 45 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A possible 0.25” surface chip to foot rim, very unobtrusive along the inherently rough surface edge.

Blacklight: No evidence of restoration.

50 Visual of each: Good condition. With minor handling marks along the right and left edges. Fine surface marks evident in raking light. Blue Yonder: A 2” H x 1” W paint craquelure in the upper right within the blue.; Wild Blue: A .5” dent with unstable paint craquelure in the upper right corner.; Wild Blue Yonder: A .25” dent with unstable paint craquelure in the upper left corner. Surface scratches in the upper left corners with paint loss. Blacklight of each: No evidence of restoration. Each: Unframed 51 Overall good condition with scattered scuffs and light scratches and commensurate with age. Each black plastic sleeve with scratching from use. 52 Overall good condition with tarnishing and light scratches commensurate with age. Weight does not include hollow-handled items. Includes storage case.

Condition Reports

38 Generally good condition. Not examined out of the frame.

319

53 Each overall good condition with tarnishing and light scratches commensurate with age. Each with scattered minor indentations. With professional restorations to the handles.

63 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The tall vessel with surface dirt and dust accumulation.

54 Each overall good condition with tarnishing and light scratches commensurate with age.

64 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age.

55 Each overall good condition with tarnishing and light scratches commensurate with age.

65 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

56 Each overall good condition with minor scuffs and oxidation to bronze commensurate with age.

66 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Scattered minor fleabites to edges of cut design and inherent surface imperfections.

57 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The larger with a small spot of adhesive label residue to the side, an area of pink scuffing, and scattered patches of surface flaking to the slip glaze around the shoulder and bottom. 58 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. The white vase with tape residue to side.

Condition Reports

59 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

320

60 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 61 Each overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 62 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age.

With base: 28.5” H x 18.75” W x 18.75” D 67 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. One small fleabite to the top edge. 68 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Scattered minor fleabites and an surface chip to one corner. 69 Visual: Generally good condition. Blacklight: No evidence of restoration. Frame: 46” H x 84.5” W x 2.25” D 70 Overall good condition with scattered scuffs, scratches, shrinkage cracks, and separation at joints commensurate with age. Localized scuffing and darkening/soiling to wood at base edge. 71 Overall good condition with scattered scuffs, scratches, shrinkage cracks, and separation at joints commensurate with age. Localized scuffing and darkening/soiling to wood at base edge.

73 Overall good condition with scattered scuffing and soiling/staining commensurate with age. 74 Overall good condition with scuffs and light scratches commensurate with age. Scattered small surface chips to marble at edges.

81 Overall good condition with scuffs and scratches commensurate with age. Stone with inherent surfacereaching fractures, inclusions, and abrasions typical of the material. With scattered minor surface chips and wear to corners and edges. 82 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and soiling/staining commensurate with age.

75 Overall good condition with scattered scuffs, scratches, and typical wear commensurate with age.

83 Each overall good condition with scuffs and scratches commensurate with age. With inherent imperfections, surface-reaching fractures, inclusions, and abrasions typical of the material.

76 Overall good condition with scattered scuffs, scratches, and typical wear commensurate with age.

84 Overall good condition with slight wear and minor soiling/staining commensurate with age and use.

77 Overall good condition with scattered scuffs, scratches, and typical wear commensurate with age.

85 Overall good condition with slight wear and minor soiling/staining commensurate with age and use.

78 Visual: Generally good condition. Minor surface dirt and grime. Minor scuff marks scattered throughout.

86 Overall good condition with oxidation commensurate with age.

Blacklight: No evidence of restoration. Frame: 38” H x 32” W x 2” D 79 Visual: Generally good condition. Dust accumulation and grime commensurate with age. Scattered craquelure, some of which is slightly unstable. A few pinhead-size pigment losses near the center of the lower edge. A 0.125” scratch at the left edge, just affecting the R of the artist’s name. A 0.5” x 0.5” uneven surface area near the center of the upper edge. Selective varnish application. Blacklight: No evidence of restoration. Difficult to read under uneven varnish. Frame: 32” H x 40” W x 2” D 80 Each overall good condition with wear, dust accumulation, scuffs, scratches, abrasions, and minor chips to edges commensurate with age. Stone with inherent surface-reaching fractures and inclusions.

87 Overall good condition with scattered scuffs and light scratches commensurate with age. 88 Good condition. Slight toning throughout. Front mat laid to Masonite. Not examined under matting. Frame: 28” H x 23” W x 1.5” D 89 Visual: Very good condition. Blacklight: No evidence of restoration. Frame: 30.75” H x 43” W x .75” D

Condition Reports

72 Overall good condition with scattered scuffing and soiling/staining commensurate with age.

321

90 Good condition. Creases to the board with minor paint loss in the extreme upper and lower right corners. Blacklight: No evidence of restoration. Frame: 31.25” H x 25” W x 1.5” D 91 Visual: Very good condition. Dust accumulation and grime commensurate with age. Blacklight: No evidence of restoration. Frame: 19” H x 21.5” W x 1.5” D 92 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 93 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavier wear to feet, top with localized scratches and possible paint or pen marks. Areas of darkening to wood around edges and corners. 94 Good condition. Slight surface skinning and attendant pigment losses in places along the sheet edges, all of which appear to be related to the prior removal of old tape, possibly by the artist himself. Two pieces of old cellophane tape at the verso of the left corner. Minor time staining and dust accumulation commensurate with age. The sheet is loose, not mounted.

Condition Reports

Frame: 13” H x 14.75” W x 1” D 95 Good condition. A very small, unobtrusive, pinheadsized pressure mark at the upper center. Slight dust accumulation commensurate with age. Not examined out of the frame. Frame: 36.5” H x 29.5” W x 1.5” D 96 Each overall good condition light scuffs and scratches commensurate with age.

97 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Small pinhole to the interior glaze. 98 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. A small 0.25” white scuff to rim. 99 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. Rim with scattered minor fleabites and a 2” vertical hairline. The interior with a ring of beigecolored, matte chalky residue that fluoresces under blacklight, may be inherent to the piece. 100 Overall good condition with shelf wear, scattered minor scuffs, and inherent firing flaws commensurate with age. 101 Overall good condition with dust accumulation commensurate with age. 102 Good condition. Very pale light staining. Glue/tape residue at the corners and along the center of the left edge, the longest measuring 4.5” H x 0.125” W. Slight frame abrasions and mat staining along the edges. Tapped to the overmat from the verso of the paperboard edges. Frame: 41” H x 29” W x 2” D 103 Visual: Generally good condition. Craquelure scattered throughout. Blacklight: No evidence of restoration. Frame: 71.5” H x 58.5” W x 2.5” D

104 Good condition. Minor toning to the paper. Heavier toning along the extreme edges. Stains from previous mounting in places at the extreme sheet edges, verso. Hinged with archival tape to the overmat from the verso of the upper sheet corners. Frame: 26” H x 20” W x 1.25” D

322

106 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. With base: 18.5” H 107 Overall good condition with oxidation and weathering commensurate with age.

113 Generally good condition. An approximately 1” diagonal tear in the upper sheet edge, just affecting the image at the upper left, with related paper tape, verso. Slight rubbing and surface soiling in the margins. Scattered handling creases showing mostly at the outer edges. Scattered skinned patches from old mounting near the edges, verso. Frame: 17.5” H x 21.5” W x 1.5” D 114 Visual: Very good condition. Surface dirt and grime commensurate with age. Blacklight: No evidence of restoration.

With base: 53” H

Frame: 23.5” H x 29.5” W x 1.5” D

108 Overall good condition with minor scuffs and oxidation to bronze commensurate with age.

115 Visual: Generally good condition. Artist’s pinholes in the four corners. Framed floating and hinged to the back mat.

With base: 19” H x 13.5” W x 10.25” D 109 Overall good condition with minor scuffs to bronze commensurate with age. Marble with abrasions to edges. With base: 13” H 110 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. 111 Visual: Generally good condition. Small scratches with minor paint loss in the four corners.

Blacklight: No evidence of restoration. Frame: 18” H x 24.5” W x 1.5” D 116 Overall good condition with slight wear and minor soiling commensurate with age and use. 117 Overall good condition with minor scuffs, scratches, and darkening/oxidation to bronze commensurate with age.

Blacklight: No evidence of restoration.

118 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. Base with light scratches.

Unframed

With base: 12.75” H x 9” W x 5.75” D

112 Generally good condition. Two artist pinholes at the upper right and lower right corners. Taped to the overmat with newer scotch tape from the verso of the sheet edges.

119 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. Some doors fit tightly at hinges. Lacking shelves.

Frame: 25” H x 29” W x 2” D

120 Each overall good condition with scattered scuffs, scratches, rubbed wear/fading, and drying/wear to leather commensurate with age.

Condition Reports

105 Overall good condition with oxidation to bronze commensurate with age. Glass top with scattered scratches and fleabites; with a 1” chip and a 1” conchoidal fracture to edge.

323

121 Each overall good condition with scuffs and light scratches commensurate with age. 122 Overall good condition with wear, scattered scuffs, and soiling/staining commensurate with age. 123 Overall good condition with wear commensurate with age. Wiring should be checked by a qualified electrician prior to use.

125 Very good condition. Unframed. Overall: 14” H x 11” W x 0.875” D

Blacklight: No evidence of restoration.

126 Very good condition. Unframed. Overall: 14” H x 11” W x 1” D 127 Generally very good condition. A few scattered, slight, surface scratches or scuffs, the largest approximately 2” long, visible only in raking light. Unframed. Overall: 14” H x 11” W x 1” D

Condition Reports

Frame: 25” H x 21” W x 1.25” D

131 Visual: Generally good condition. Two scratches at the upper left, one 3” long and the other 1.5” long, as well as a 1” scratch lower center, all with attendant minor paint loss. A few small flecks of paint loss scattered throughout. Fine craquelure in the light green element left of center. Minor surface dirt and grime.

124 Overall good condition with scuffs, light scratches, and scattered minor chips commensurate with age.

324

130 Generally good condition. The sheet with deckled edges on two sides. Appears to be very slightly trimmed along the left edge. Pale toning and slight mat staining, both recto and verso. Scattered small and generally unobtrusive spots of reverse staining in the face at right. Small remains of clear tape from previous mounting at the upper sheet corners, verso. The sheet is loose, secured to the overmat with small pocket corners.

128 Each: Very good condition. Scattered tiny, very minor and unobtrusive surface scratches or scuffs, visible only in raking light. Unframed. Overall: 10” H x 8” W x 1” D 129 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Heavy sun fading throughout, possible moisture damage to the top’s rear left corner and drawer interiors, and heavier wear to feet.

Frame: 25.5” H x 21.5” W x 1.5” D

132 Visual: Generally fair to good condition. Surface dirt and grime. Craquelure scattered throughout, some of which is unstable and with attendant small losses, such as to the left of center. Uneven varnish application. Blacklight: Small areas of touch-up, the largest approximately 3” x 3” near the upper edge, left of center. Frame: 51” H x 41” W x 1.5” D

133 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. 134 Overall good condition with scuffs and light scratches commensurate with age. 135 Overall good condition with scattered scuffs and light scratches commensurate with age. One post slightly bent causing one disc to interact with the disc next to it.

136 Each overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Original upholstery with fading, dark stripes to verso of back cushions, and light soiling commensurate with age and use. Heavier scuffs and scratches to feet. 137 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. A 1” repair in the veneer to top edge. Scattered minor indentations to the base. 138 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. 139 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Interior or one cabinet with dark staining. Includes key. 140 Visual: Generally good condition. Craquelure and flecks of paint loss scattered throughout. A 0.5” tear to the canvas left center. The canvas is loose and rippled. Blacklight: No evidence of restoration.

143 Overall good condition with scuffs, scratches, soiling/ staining, and oxidation commensurate with age. Scattered areas of lifting to chrome plating. Sofa was recovered by Martyn Lawrence Bullard. 144 Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. The screws mounting the base to the top are replacements. Slight yellowing and chipping to enameled details.

145 Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. 146 Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. 147 Very good condition. Hinged to the back mat in two places at the verso of the upper sheet edge. Frame: 18.25” H x 22.75” W x 1” D 148 Very good condition. Hinged to the back mat from the verso of the upper margin corners. Frame: 18” H x 22” W x 1.5” D

141 Good condition. Slight toning throughout with pale mat staining around the outer edges, not affecting the image. Minor handling creases upper center. Frame: 20.25” H x 23.25” W x 1.25” D 142 Good condition. A few very pale and unobtrusive yellow stains in the margins, the largest being peasized. The margins slightly unevenly trimmed on all sides. The work is hinged to the back mat with linen tape from the recto of the upper sheet edge. Unframed

149 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. More visible scratching to left arm support at base, a 1” scratch to left arm, and localized scuffs/wear to feet. Leather seat with creasing and residual impression from use. Accompanied by an extra bolt of leather and a screw for the seat. 150 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

Condition Reports

Frame: 60.5” H x 78.5” W x 2” D

325

151 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, indentations, and separation at joints commensurate with age. Scattered surface chips to the veneer and rubbed wear to finish on metal legs. 152 Each overall good condition with scattered scuffs and scratches commensurate with age. Each with areas of desilvering to mirror edges, one door with a chip in the acrylic and a conchoidal fracture to the glass.

162 Each in overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 163 Each overall good condition with scattered scuffs, scratches, and minor spots of commensurate with age.

154 Each overall good condition with scattered scuffs, scratches, chips and abrasions to corners, and oxidation to metal commensurate with age.

164 Very good condition. Artist pin holes in all four corners. Framed floating, hinged to the back mat from the verso of the extreme sheet edges in numerous places.

155 Overall good condition with shelf wear, scattered minor scuffs, and inherent casting flaws commensurate with age.

Frame: 52” H x 39” W x 2” D

157 Overall good condition with scattered minor scuffs, scratches, and inherent casting flaws commensurate with age.

Condition Reports

161 Each overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. Each with bumpers to feet.

153 Overall good condition light scuffs and scratches commensurate with age. Scattered minor surface chips to edges and corners.

156 Overall good condition with shelf wear, scattered minor scuffs, and inherent casting flaws commensurate with age.

326

160 Each overall good condition light scuffs, scratches, and oxidation commensurate with age.

158 Visual: Very good condition. Dust accumulation commensurate with age. Blacklight: No evidence of restoration. Unframed Overall: 88” H x 88” W x 2” D 159 Each overall good condition with scuffs and light scratches commensurate with age. Recent upholstery.

165 Very good condition commensurate with age. Hinged to the back mat along the reverse of the upper sheet edge. Frame: 36.25” H x 25” W x 2” D 166 Overall good condition with scattered scuffs and scratches commensurate with age. Top with scattered minor chips to edges, one white section has a loose connection to the rest of the top, it is slightly wobbly, and has sunken approximately 0.25”. Please note that the table is not able to be deconstructed for shipping as is in excess of 500lbs. 167 Overall good condition with scattered scuffs and scratches commensurate with age. The base’s top with scattered cracking to finish visible when top is removed. 168 Overall good condition with scattered scuffs, scratches, minor surface abrasions commensurate with age.

169 Overall good condition with scuffs, scratches, and oxidation commensurate with age.

177 Visual: Generally good condition. Blacklight: No evidence of restoration.

170 Visual: Generally good condition. Craquelure in some of the white pigments. A small spot of paint loss along the top edge. Blacklight: No evidence of restoration. Unframed

Frame: 56.5” H x 38.5” W x 3.25” D

178 Visual: Generally good condition. Blacklight: No evidence of restoration. Frame: 55.5” H x 37.25” W x 3” D

171 Very good condition. Framed floating and mounted with screws to the back mat. Frame: 50.75” H x 40.75” W x 1.75” D 172 Very good condition. Framed floating and mounted with screws to the back mat. Frame: 21.25” H x 17.75” W x 1.74” D

179 Visual: Generally good condition. Blacklight: No evidence of restoration. Frame: 54” H x 48” W x 2.25” D 180 Visual: Good condition. Blacklight: No evidence of restoration.

Frame: 21.25” H x 17.75” W x 1.74” D 174 Overall good condition with scattered scuffs, scratches, shrinkage cracks, and separation at joints commensurate with age. A small chip to one corner. 175 Overall good condition with scattered scuffs and scratches commensurate with age. A small surface chip to one relief element toward top. With base: 25” H x 19” W x 9.25” D 176 Overall good condition with wear and scuffs commensurate with age. Scattered minor chips to raw fiberglass edge. Working condition unknown. Wiring should be checked by a qualified electrician prior to use.

Frame: 76.75” H x 76.75” W x 2” D 181 Overall good condition with scuffs, dust accumulation, and scattered discoloration/soiling to the feathers commensurate with age. Wiring should be checked by a qualified electrician prior to use. 182 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. 183 Overall good condition with minor scuffs and oxidation to bronze commensurate with age. With base: 18” H x 17” W x 15” D 184 Overall good condition with scattered scuffs, light scratches, indentations, and oxidation commensurate with age.

Condition Reports

173 Very good condition. Framed floating and mounted with screws to the back mat.

327

185 Each overall good condition with slight wear and minor soiling/staining commensurate with age and use.

195 Overall good condition with dust accumulation commensurate with age and use. Small chips to the corners of the glass.

186 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age.

196 Overall good condition with dust accumulation commensurate with age and use. A 0.5” chip to glass top on one corner. More prominent scratches to the top.

187 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. 188 Overall good condition with minor spots of soiling/ staining commensurate with age. Wiring should be checked by a qualified electrician prior to use. 189 Very good condition. Slight wear to the board in the four corners. Frame: 33” H x 33” W x 1.75” D

190 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains, evidence of prior spot removal, and pulled stitches throughout.

Condition Reports

191 Overall good condition with even pile-wear, soiling/ staining, and typical signs of wear commensurate with age and use.

328

192 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use.

197 Overall good condition with scattered scuffs and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. 198 Overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. 199 Each overall good condition with minor shelf wear, scuffs, and light scratches commensurate with age. Each with bending to the lighting column, resulting in the shade not sitting level. One shagreen handle with a crack. Wiring should be checked by a qualified electrician prior to use. 200 Overall good condition with scattered scuffs, light scratches, and oxidation commensurate with age. Wiring should be checked by a qualified electrician prior to use. Height measurement is from the bottom of the fixture to the canopy. 201 Visual: Generally good condition. Blacklight: No evidence of restoration. Frame: 43” H x 61” W x 1.25” D

193 Overall good condition with scuffs and light scratches commensurate with age. Scattered minor surface chip/fleabites to edges and a 1” chipped loss to back edge top at holes for wall mounting bracket. 194 Overall good condition with dust accumulation commensurate with age and use. Small chips to the corners of the glass.

202 Overall good condition with scuffs and scratches commensurate with age.

204 Overall good condition with typical signs of wear, scuffs, and light soiling/staining commensurate with age. 205 Each overall good condition with typical signs of wear, scuffs, and light soiling/staining commensurate with age. 206 Overall good condition with even pile-wear, soiling, and typical signs of wear commensurate with age and use. Issues include, but not limited to: scattered stains, evidence of prior spot removal, and furniture indentations. 207 Overall good condition light scuffs, scratches, and oxidation commensurate with age. 208 Overall good condition light scuffs, scratches, and oxidation commensurate with age. 209 Very good condition. Sheet is framed floating, hinged to the back mat. Very soft handling marks and rippling attendant with the hinging of the piece. Not examined out of the frame. Frame: 11.75” H x 15.5” W x 1” D 210 Each overall good condition with scattered scuffs and soiling/staining commensurate with age. One with heavier soiling to seat. 211 Each overall good condition with scattered scuffs and light soiling commensurate with age. 212 Overall good condition with scuffs, scratches, and light soiling commensurate with age and use.

213 Overall good condition with wear, scuffs, scratches, commensurate with age. 214 Overall good condition with minor wear, scuffs, and light soiling commensurate with age. 215

216 Overall good condition with scuffs and scratches commensurate with age. Scattered minor surface chips to resin, one filled chip along outer edge of palm. 217 Overall good condition with wear commensurate with age. Fraying and wear to the cords. Wiring should be checked by a qualified electrician prior to use. 218 Overall good condition with wear commensurate with age. Fraying and wear to the cords. Wiring should be checked by a qualified electrician prior to use. 219 Each overall good condition with scattered scuffs and light scratches commensurate with age. Each glass disc with small chips and fleabites around the mounting hole. Wiring should be checked by a qualified electrician prior to use. 220 Overall good condition with scattered scuffs and light scratches commensurate with age. Lacking three light bulbs. Height measurement is from the top to the bottom of the fixture, does not include hanging chain. Wiring should be checked by a qualified electrician prior to use. 221 Visual: Very good condition. Blacklight: No evidence of restoration. Unframed

Condition Reports

203 Each overall good condition with scattered scuffs, scratches, and soiling/staining commensurate with age.

329

222 Good condition. A 0.25” line of unstable craquelure in the upper center. A 1.5” surface abrasion with paint loss left of center. Hinged in two places from the verso of the upper sheet edge.

231 Visual: Good condition. Small scratches with very minor paint loss at the upper and lower left corners. A very slight and unobtrusive pressure mark in the table, lower center.

Frame: 28” H x 34” W x 1.5” D

Blacklight: No evidence of restoration.

223 Overall good condition with scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. The push to open mechanism on the grey door does not close completely. 224 Each overall good condition with scattered scuffs, scratches, nicks/chips, shrinkage cracks, and separation at joints commensurate with age. 225 Overall good condition with scuffs, light scratches, and oxidation commensurate with age. 226 Overall good condition with scattered scuffs and scratches commensurate with age. Scuffs mostly located to underside of tabletop. 227 Visual: Generally good condition. Blacklight: No evidence of restoration.

Condition Reports

Unframed

330

228 Each overall good condition with typical signs of wear, scuffs, and light soiling/staining commensurate with age. Stain on one chair, lower left. 229 Overall good condition with scattered scuffs, scratches, and oxidation commensurate with age. The glass top with a minot chip to one corner. 230 Each overall good condition with scattered scuffs, scratches, and oxidation commensurate with age.

Frame: 30.75” H x 30.75” W x 1.5” D 232 Good condition. Artist pinholes near the center of the scraperboard’s upper and lower edges, not affecting the image. A 0.75” delicate scratch, as well as a faint, pea-sized spot of black touch-up, likely by the hand of the artists, in the blank upper right portion of the board, neither of which affect the image. Taped in places to the overmat from the verso of the scaperboard’s edges. Frame: 17.75” H x 15.75” W x 1” D 233 Good condition. A few spots of green residue in the blank, lower right corner of the scraperboard, under the mat and not affecting the image. Very minor surface dirt along the upper edge of the scraperboard. Older hinge tape in places along the verso of the scraperboard’s edges. Frame: 15” H x 15” W x 1” D 234 Overall good condition commensurate with age. With inherent casting flaws in the plaster, including some minor ruptured air bubbles. 235 Overall good condition with scuffs, scratches, soiling/ staining, and oxidation commensurate with age. 236 Overall good condition with minor shelf wear and scuffs commensurate with age. Adhesive felt pads to the underside. 237 Each overall good condition with scattered scuffs, scratches, and soiling/staining commensurate with age.

238 Visual: Very good condition. Slight dust accumulation commensurate with age. Blacklight: No evidence of restoration. Unframed Overall: 90.5” H x 75” x 1” D 239 Overall good condition with wear, scuffs, and light scratches commensurate with age. With dust and grime accumulation around inset glass edge commensurate with use. 240 Overall good condition with scattered scuffs and light scratches commensurate with age. Scattered small chips to glass edges. Wiring should be checked by a qualified electrician prior to use.

246 Each overall good condition with weathering, scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. One with worn spots/fraying to the fabric straps. 247 Overall good condition with weathering, scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. 248 Each overall good condition with weathering, scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age. 249 Each overall good condition with weathering, scattered scuffs, scratches, nicks, chips, shrinkage cracks, and separation at joints commensurate with age. Each with wear to surface finish and bubbles/ discoloration in varnish. One with a loose leg.

241 Overall good condition with scattered scuffs and light scratches commensurate with age. Wiring should be checked by a qualified electrician prior to use. 242 Overall good condition light scuffs and scratches commensurate with age.

244 Overall good condition with scattered scuffs and scratches commensurate with age. 245 Overall good condition with weathering, scattered scuffs, scratches, nicks, shrinkage cracks, and separation at joints commensurate with age.

Condition Reports

243 Overall good condition with scattered scuffs, wear, and soiling/staining commensurate with age. The wooden base extends beyond the edge of the sofa which would enable a further section to be attached. Please note that the sofa is not able to be further deconstructed for shipping.

331

John Moran Auctioneers, Inc President, Auctioneer Jeffrey J. Moran

SPECIALISTS

Co-Head of Sale, Post-War & Contemporary Fine Art Specialist Hayden Hunt Co-Head of Sale, 20th Century Design Specialist John Simon Taylor Senior Vice President, Fine Art Director Morgana Blackwelder AAA Vice President, Furniture & Decorative Arts Director Roland Rynkiewicz Junior Specialist / Senior Fine Art Cataloguer Bobby Cullen Furniture & Decorative Arts Department Manager / Junior Specialist Danielle Kim Senior Furniture & Decorative Arts Cataloguer Shannon Dailey Fine Art Cataloguer Anne Spink Fine Art Department Administrator/Junior Cataloger Ian Anderson Western, American Indian Specialist Maranda Moran Decorative Arts Cataloguer Sally Andrew Jewelry Director Mollie Burns Keith, G.J.G Arizona Regional Representative Deborah Davis

CLIENT SERVICES

Office Manager Mario Esquivel Client Services Ella Fountain

OPERATIONS

Vice President, Business Director, Auctioneer Stephen Swan Finance & Human Resources Director Maha Darwish Consignment Coordinator Jean Rapagna Finance Administrator Julia Hamilton Seniot Art Handler Joe Miranda Senior Art Handler Richard Corral Art Handler Jacob Baer Art Handler Angel Baer

MARKETING

Advertising & Marketing Director, Art Design Nathan Martinez PR Manager Brenda Smith Graphic Designer Brian Olivas

PHOTOGRAPHY

Photographer Keith Berson Photographer Madison Torres

TRUSTS & ESTATES

Department Manager Noelle Valentino AAA

FOUNDERS

Founder John H. Moran (1942-2017) Co-Founder Madeleine Moran

This catalogue is meant merely as a guide. The Auctioneers do not warrant the accuracy, genuineness, authenticity, description, weight, count or measure of any of the lots specified herein.

BUYER’S PREMIUMS: BUYER’S PREMIUM is calculated at 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside of the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside of the United States.

BIDDING INCREMENTS:

$100 - $475 @ $25 increments $500 - $950 @ $50 increments $1,000 - $1,900 @ $100 increments $2,000 - $4,750 @ $250 increments $5,000 - $9,500 @ $500 increments $10,000 - $19,000 @ $1,000 increments $20,000 - $47,500 @ $2,500 increments $50,000 - $95,000 @ $5,000 increments $100,000 - $190,000 @ $10,000 increments $200,000 - $480,000 @ $20,000 increments $500,000 & above @ $50,000 increments, or at Auctioneer's discretion.

View Illustrated Catalogue Online @ www.johnmoran.com

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Conditions of Sale AUCTION HOUSE AS AGENT Except as otherwise stated, John Moran Auctioneers Moran's) acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer. BEFORE THE AUCTION (a) Public Preview: All property is available for inspection by public preview during the day of auction. In many cases, particular lots can be examined in advance by private appointment. Prospective buyers are strongly encouraged to personally examine any property in which they are interested. (b) Buyer's Responsibility: Buyers are responsible for determining to their own satisfaction the true nature and condition of any lot prior to bidding. Though buyers are not legally required to inspect lots prior to purchase, failure to do so may constitute a waiver of complaint that an item was not delivered in a condition equal to the existent condition at the auction. (c) Property Sold 'As Is': Neither Moran's nor the seller provides any guarantee in relation to the nature of the property, or to any errors or omissions in the catalogue or supplemental material apart from the Limited Warranty stated below. Condition reports are offered as a courtesy and are typically published in Moran's catalogue or can be made available upon request. The absence of a condition report does not imply than an item is free from defects or restoration, nor does a reference to particular defects imply the absence of others. AT THE AUCTION (a) Admission: The auction is open to the public, though Moran's reserves the right to refuse admission or participation to anyone at any time. The auctioneer may be recorded (visually, aurally or otherwise) and all participants consent to such recording. (b) Buyer Registration: Prospective buyers must register with Moran's before bidding. Moran's may require identification and financial references in advance of buyer eligibility. Registered bidders accept personal liability to pay the purchase price, including the buyer's premium plus all applicable charges, unless Moran's agrees in advance that the bidder is acting as agent on behalf of an identified third party acceptable to Moran's. In such case, Moran's will look to the third party for payment. (c) Bidding Guidelines: Bidding, whether in person, by agent, absentee bid, telephone, or internet, constitutes a bidder's acceptance of these conditions. The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer retains the absolute right to reject any bid, to withdraw, pass or divide any lots, to combine multiple lots, to advance the bidding at his or her absolute discretion and (in the case of error or dispute, whether during or after the sale) to determine the successful bidder, to continue the bidding, cancel the sale or to re-offer and sell the lot in question. Under no circumstances are the consignors' or agents acting on their behalf, permitted to bid on their consignment. In the event of any dispute after the auction Moran's sale record shall be conclusive. (d) Absentee, Telephone and Internet Bidding: Moran's offers absentee, telephone and internet bidding as a convenience to clients and does not accept liability for errors or failures to execute such bids. Absentee and telephone bids must be recognized by Moran's prior to auction day. When identical absentee bids are submitted that become the highest bids at the auction, the bid first received by Moran's shall be accepted as the winning bid. Telephone bidders are encouraged to leave minimum bids in case of technical failure. (e) Reserves: Unless indicated otherwise, lots may be offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve for any lot shall not exceed its published estimate. Moran's shall act to protect the reserve by bidding through the auctioneer, who may open bidding on any lot below the reserve by placing a bid on the seller's behalf. The auctioneer may continue to bid on behalf of the seller up to the reserve amount, either by placing consecutive bids or by placing bids in response to other bidders. Lots without reserves are typically opened for bidding at 50% of their low estimate. In the absence of a bid at that level, the auctioneer may proceed backwards at his discretion or deem the lot unsold if a bid is not recognized. AFTER THE AUCTION (a) Payment and Title Transfer: The buyer agrees to pay the sum of the hammer price plus Buyer's Premium, plus any applicable sales tax. Buyer's Premium is calculated as follows: 25% on the first $500,000 of the hammer price, plus 18% on any amount between $500,001 - $1,000,000, and 15% on any amount above $1,000,000 when paying by cash, check or wire transfer. Successful bidders using Live Auctioneers platform will be charged a Buyer’s Premium of: 30% on the first $500,000 of the hammer price, plus 23% on any amount between $500,001 - $1,000,000, and 20% on any amount above $1,000,000 when paying by cash, check or wire transfer. Credit card payments will be subject to an additional 3.5% acceptance fee. This fee is not more than the cost of accepting these cards. Buyers outside the United States must submit payment via wire transfer. Credit cards are not an accepted form of payment for buyers outside the United States. Buyers are strongly encouraged to provide full payment at the auction. Payment must be received by Moran's within five business days immediately following the auction. The buyer shall not acquire title or take possession of the lot until all amounts (including the hammer price, premium and applicable taxes) due to Moran's have been paid in full. (b) Collection: Buyers are strongly encouraged to collect purchased items from the sale site at the time of the auction. Packing material and labor are provided free of charge at the sale site during the auction. Packing and handling of purchased lot is undertaken by Moran's solely as a convenience to customers. Moran's is not liable for damage to property, regardless of cause, in connection with this courtesy service (c) Storage: Following the auction, uncollected lots shall be relocated to and stored in Moran's warehouse. Moran's shall retain possession of all purchases until full payment has been received from the buyer. Lots remaining uncollected after the fifth business day following the sale, regardless of payment status, are subject to a per-lot daily storage charge of $10.00. In addition to other remedies available by law, Moran's reserves the right to impose upon delinquent buyers a separate 1% monthly charge (of the

purchase price, or the maximum permitted by law) commencing on the sixth business day after the sale date. (d) Shipping: Buyers are responsible for arranging their own shipping estimates and deliveries. Moran's in our discretion and as a courtesy to buyers, can arrange to have purchased lots packed, insured and forwarded by a third-party shipper at the request, expense and risk of the buyer. Moran's assumes no responsibility for acts or omissions in such packing or shipping by other packers or carriers, even if recommended by Moran's. Nor does Moran's assume any responsibility for any damage to picture frames or to the glass therein. In circumstances where Moran's arranges for such third-party services, Moran's may apply an administration charge of 15% of that service fee. (e) All Sales Final: Notwithstanding other terms mentioned herein, refunds shall be given at Moran's sole discretion. Refunds requested on the grounds of authenticity must be made within 10 days of the auction and accompanied by a supporting written statement from a recognized authority (defined as a person who has authored, edited, or substantially contributed to a monograph on the artist, a person who has curated, organized or substantially contributed to a solo exhibition on the artist, a person who has represented the artist's estate or someone who represented or worked closely with the artist while they were alive and, in any of the above instances physically handled works of the period, medium and subject matter in question during the course of their duties) stating that the object sold is incorrect or not the work of the artist. Dealers, appraisers and representatives of other auction firms do not qualify as authenticators of individual artists unless they have had such specific involvement with that artist's work, as specified above, in addition to their daily duties. Refunded lots must be returned to Moran's in the same condition as when sold. Moran's does not grant extensions to refund considerations based upon authenticity due to shipping delays. There are no exceptions to this refund policy. LIABILITY AND LIMITED WARRANTY (a) Liability: The buyer expressly agrees that (i) neither Moran's nor the seller shall be liable, in whole or in part, for any special, indirect or consequential damages, including, without limitation, loss of profits and (ii) the buyer's damages, if any, are limited exclusively to the original purchase price paid for the lot. (b) Limited Warranty: All property is sold as is. Neither Moran's nor the consignor or our associates make any representation, express or implied warranty (including merchantability and fitness) or guarantee in condition, age, size, provenance, medium, signature, inscription, exhibition history, importance, rarity, country of origin, genuineness, historical relevance, monetary or other value, framing or lack thereof, mounting, conservation, coloring, palette, inscription, edition, style, label or other descriptor. No statement in the catalogue, brochures, website, bill of sale or invoice, any supplementary material, or statements by any Moran's employee shall be deemed such a warranty or representation or an assumption of liability. (c) Descriptions: No warranty, whether express or implied, is made with respect to any description contained in this auction or any second opinion. Any description of the items or second opinion is for the courtesy of identifying the items for those Bidders who do not have the opportunity to view the lots in person, and no description of items has been made part of the basis of the transaction or has created any express warranty that the goods would conform to any description made by the Auctioneer. Color variations can be expected in any electronic or printed imaging and are not grounds for the return of any lot. (d) Estimates: All estimates provided are carefully considered opinions of Moran's specialists, and are merely suggested guidelines for interested buyers. Buyers must be aware that all property sold is subject to fluctuating values depending on the subjective interests of collectors and a wide variety of other uncontrollable factors. The lots auctioned may sell at prices above, within, or below estimate. (e) Regulated Species: Lots with a "◊" symbol in the printed or digital catalog, or noted within the condition report of a lot, may contain regulated plant or animal materials and could be subject to certain import or export restrictions. It is the buyer’s responsibility to investigate any such restrictions and obtain any required import or export permits / licenses. The inability to obtain any such document(s) is not grounds for requesting a refund nor does it negate the buyer from making full payment for their purchase. (f) Notices, Demands and Refunds: Any demands for refunds, problems with the lot(s) sold or notices of any kind concerning the auction shall be in writing and addressed to John Moran Auctioneers, Inc, 145 East Walnut Avenue, Monrovia, CA 91016. ADDITIONAL MATTERS (a) Copyright: The copyright on all images, illustrations and written material produced by or for Moran's for this auction is and shall remain at all times the property of Moran's. Moran's and the seller make no representation or warranty that the buyer will acquire any copyright or reproduction rights to a purchased lot. (b) Buyer's Breach of Conditions: If a buyer fails to comply with any of these conditions, Moran's may, in addition to asserting all remedies available by law, including the right to hold that buyer liable for the purchase price, (i) cancel the sale, retaining as liquidated damages any payment made by the buyer, (ii) resell the property without reserve at public auction or privately upon notice to the buyer, or (iii) take such other action as we deem necessary or appropriate. If Moran's resells the property, the original defaulting buyer shall be liable for the payment of any deficiency between the original sale price and any subsequent mitigation sale, including warehousing, the expenses of both sales, reasonable attorney's fees, commissions, incidental damages and all other charges due hereunder. In the event that such buyer pays a portion of the purchase price for any property, Moran's shall apply the payment received to such property that Moran's in our sole discretion, deems appropriate. Moran's shall have the benefit of all rights of a secured party under the Uniform Commercial Code adopted in the State of California. (c) Severability: Should any of these conditions be deemed unenforceable, invalid or illegal in any court having jurisdiction, that part shall be discounted and shall have no effect on the enforceability of the remaining provisions contained herein, which shall remain valid to the fullest extent permitted by law. (d) Jurisdiction: The rights and obligations of the parties with respect to these conditions and the conduct of the auction shall be governed and interpreted by the laws of the State of California. By bidding, whether in person or by agent, by absentee bid, telephone, internet or other means, the buyer shall be deemed to have consented to the exclusive jurisdiction of the courts of the state of California or, if applicable, the federal courts sitting in this state. Further, the buyer agrees that the venue for any action arising out of the failure to abide by these conditions, or any conduct related to or arising out of the auction, shall be the Los Angeles Superior Court, North East Branch located at 600 Olive Street, Burbank, California.

Consign Today

Summer Modern & Contemporary August 30, 2022

Peter Fischli (b. 1952, Swiss) and David Weiss (1946-2012, Swiss) “As Far As It Goes,” 1986, from the “Equilibres” series

Price Realized: $26,000 Consignment and Auction Inquiries: hayden@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833

Consign Today

Post-War & Contemporary Art + Design November 1, 222

Charles Arnoldi (b. 1946, American) “Swamp,” 2000

Price Realized: $28,125 Consignment and Auction Inquiries: hayden@johnmoran.com

bid in person - absentee - telephone - live online 145 East Walnut Ave, Monrovia, CA 91016 | www.johnmoran.com · info@johnmoran.com · (626) 793-1833 w w w. j o h n m o r a n . c o m 3 3 7

SINCE 1969

AUCTIONEERS & APPRAISERS

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