LAMA's 20th Anniversary Auction [Part Two] by LA Modern Auctions

DECEMBER 16, 2012

PREVIEW

December 1 - 15, 2012 10 a.m. - 6 p.m.

AUCTION

Sunday, December 16, 2012 12 p.m. (PST)

16145 Hart Street Van Nuys, CA 91406

Welcome to Part Two of our 20th Anniversary. For the first time in our history, we’ve received so much material that we had to split our milestone auction into two parts, each brimming with some of the best examples of Modern Art & Design that we have ever sold.

Among the many highlights in this sale, I must mention the four works of Surrealist sculpture that all have functional raison d’être, as well as excellent provenance. The two exceptional, unique brooches by Jean Arp and Alexander Calder, each gifts from the artists themselves, were created as miniature sculpture that can be worn. Calder gave his silver brooch as a gift to the recipient on her 40th birthday, and Arp gave his biomorphic brooch as a gift to Josine Janco, daughter of Dada co-founder Marcel Janco. The Isamu Noguchi Chess table and Man Ray’s Lampshade are brilliant examples of how an artist creates the illusion of mass with only a few two-dimensional planes. The Noguchi Chess table, one of only a handful ever made, retains the sculptural tray, original birch finish, and comes with excellent provenance and exhibition history. Together these four works culminate in one of the strongest groupings of Surrealist sculpture that LAMA has ever offered. We are very proud to represent material from one of Los Angeles’ most renowned institutions, the Los Angeles County Museum of Art (LACMA). A special group of 15 lots from LACMA features rare works from the American Arts & Crafts period, many of which were gifts from the late Max Palevsky. These lots are being sold to benefit future museum acquisitions. This is a rare opportunity to acquire a work from an internationally recognized museum whose provenance will always be admired. Also, this sale offers ten works by Robert Rauschenberg. Our cover lot, Lattice, is a rare mixed media work from the artist’s groundbreaking Hoarfrost series. This pristine example from 1975 is the centerpiece in a mini survey of the artist’s work that includes many of his greatest hits created at Gemini G.E.L. in Los Angeles. There are also classic icons of design that are still accessible to a wide range of buyers, including designs by Hans Wegner, George Nelson, Arne Jacobsen, and Charles & Ray Eames, many of which are still priced about the same or lower than reproductions. In the twenty years since our first auction, the demand for good art and design is stronger than ever. So, whether you have been buying from LAMA since 1992, or you have just discovered us, we hope that the highlights in our sales will become the highlights in your home.

PETER LOUGHREY, DIRECTOR

1 GEORGE NELSON COMPREHENSIVE STORAGE SYSTEM (2) Model no. CSS and no. 4755D Herman Miller, designed 1959 and 1949 (clock) Walnut, enameled aluminum Sold with a George Nelson orange “Ball Clock” Unit: 93.5” x 129” x 15.125”; Clock: 13.75” diameter $4,000-6,000

2 VICTOR GRUEN HANGING LIGHTS (2) Aleco, designed c. 1962 Painted aluminum, brass, frosted glass Each retains label “American Lighting Equip. Co.” 19.5” x 16” diameter The proceeds of the sale of these lights are going to the Leo Baeck Temple, Los Angeles. Provenance: L EO B AEC K TE MP L E , LOS ANG ELES; P R IVATE C O L L EC TIO N, CALI FOR NI A

$4,000-6,000

3 HERBERT KRENCHEL KRENIT BOWLS (10) Torben Orskov, designed 1953 Enameled and frosted steel Several with printed manufacturer’s marks 5.5” x 10” x 10” (6); 2” x 4.75” x 4.75” (3); 3” x 7.75” x 7.25” (1) $1,500-2,000

4 CHARLES & RAY EAMES EARLY ROCKING CHAIR Model no. RAR Herman Miller, designed 1950 Fiberglass with rope edge, zinc wire, birch Retains Herman Miller label 27” x 25” x 26” Early in production, the wire base was re-configured in order to prevent the wire stretcher from catching the sitter's heels. Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON

$1,500-2,000

5 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model no. 670 & 671 Herman Miller, designed 1956, this example before 1971 Rosewood and black leather Retains Herman Miller label 31” x 33.5” x 36” Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON

$3,000-5,000

6 MARILYN NEUHART LION Handmade, c. 1961-65 Embroidered cotton with yarn 8” x 11” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

$1,000-1,500

7 CHARLES & RAY EAMES WIRE MESH CHAIR WITH DOWEL LEGS Model no. PKW Herman Miller, designed 1951-53 Enameled steel, “postman’s bag” brown leather, birch Retains Herman Miller upholstery tag 32” x 19” x 18” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

Exhibited: " MO D E R N

DESI G N: TH E

FAB ULO US 5 0 S, " C ALI FOR NI A H ER I TAG E MUS E UM, SAN TA MO NI C A , 2002

Illustrated: S MITH ,

TOBI , M ODER N DESI G N:

TH E FAB ULO US 5 0 S, L ANCASTER : SCH I FFER P UB L IS H IN G, 2 0 0 2 , P 28.

$1,500-2,000

8 CHARLES & RAY EAMES DINING CHAIR Model no. DCW Herman Miller/Evans Products Co., designed 1945-46, executed late 1940s Laminated wood, ebonized finish 28.75” x 19.25” x 20.5” Literature: N E UH ART,

JOH N AND M AR I LYN,

E AME S D E S IGN : TH E WOR K OF TH E OFFI CE O F C H AR L E S AN D R AY EAM ES, NEW YOR K : AB R AMS, 19 8 9, P 5 8 .

$800-1,200

9 GEORGE NELSON LAZY SUSAN DINING TABLE Model no. 5021 Herman Miller, designed 1950-64 Birch, Micarta, enameled steel base, with flush center lazy Susan turntable Special order with custom color top and black enameled base 29.375” x 47.75” Literature: EISENBRA ND,

JOCH E N , G EOR G E

NEL S O N: A RCH ITECT, WRITER , DE SI G N E R , T EACHER , W EI L A M RH EIN: VITRA DE SI G N MUS EUM , 20 0 8, P 259.

$3,000-5,000

10 GEORGE NELSON CONSTELLATION ELECTRIC KNIFE SHARPENER Chas. D. Briddell, Inc., designed 1955 Plastic, sharpening stone Retains Carvel Hall & Briddell label 3.25” x 5.25” x 3” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

Literature: E IS E N B R AND,

JOCH EN, G EOR G E

N E L S O N : AR C H ITEC T, WR I TER , DESI G NER , TE AC H E R , W E IL AM R H EI N: VI TR A DESI G N MUS E UM, 2 0 0 8 , P G 308.

$200-400

11 GEORGE NELSON FIVE-DRAWER CABINET Model no. 4620 (Basic Cabinet Series) Herman Miller, designed 1946-52 Mahogany, steel rod pulls 39.75” x 40” x 20” Literature: TH E

H E R M AN M I LLER COLLEC-

TIO N ( F UR N ITUR E C ATALOG U E) , 1 94 8, NP.

$2,000-3,000

12 VICTOR VASARELY UNTITLED Hand painted acrylic on wood #46 of 100 Signature and edition in graphite 2” x 14.125” x 6” $2,000-3,000

13 VICTOR VASARELY UNTITLED Hand painted acrylic on wood Signed in graphite 2” x 15.25” x 17.25” $3,000-5,000

ERNEST TROVA BANNER Amidst the 1962-63 New York City newspaper strike, gallery and museum organizers were unable to announce upcoming exhibitions. As an advertising solution, art dealer Robert Graham asked Pop artists to submit designs for felt banners to be hung outside of his Madison Avenue gallery. The results were overwhelmingly positive, so with the help of framer Barbara Kulicke, Graham organized a banner-making workshop called the Betsy Ross Flag and Banner Company. Multiple artists contributed designs, from Andy Warhol, Roy Lichtenstein, and Tom Wesselmann, to Jim Dine, Helen Frankenthaler, and Robert Indiana. St. Louis’ Ernest Trova (1927-2009), another emerging artist who was steadily gaining traction in the New York art scene, contributed his iconic Falling Man design to the company. In 1963, Trova exhibited his Falling Man paintings for the first time at the Pace Gallery in New York, and throughout the 60s he replicated the dystopian representation of “man at his most inhuman” as sculptures and prints, some of which reside in the permanent collection at the Museum of Modern Art in New York. Falling Man Banner (1968) packs the flattened silhouettes into a “fallible modern humanity,” a pattern that represents man’s continuous march towards destruction. From 1997-2000, an example of this design was included in the exhibition, “The Great American Pop Store: Multiples of the Sixties,” that traveled to over ten museums, including the Toledo Museum of Art and the Baltimore Museum of Art. Tietjen, Friedrich. “The Multiple as Label.” XCult.org. XCult Art & Communication. Web. 24 October 2012.

14 ERNEST TROVA FALLING MAN BANNER

1968 Felt, linen, and canvas banner #14 of 20 Betsy Ross Flag and Banner Co, Inc and Multiples Inc., New York; fabricated by Abacrome, New York Signature on label with edition 71” x 71” Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

Literature: GL E N N ,

CONSTANCE W, TH E

GR E AT AME R IC AN P O P ART STOR E: M U LTIP L E S O F TH E S IXTIE S, SANTA M ONI CA: S MART ART P R E SS, 1997, I LLU STR ATED P 2 7, # 7 9.

$2,000-3,000

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

ESTATE OF ROB E RT

C HUEY

$6,000-9,000

15 MICHELANGELO PISTOLETTO TUTTI DESIGNERS From the edition of 500 Meta Memphis, designed 1989 Neon tube, aluminum suitcase, chrome-plated steel 27.5” x 27” x .875” $1,000-1,500

16 ENOC PEREZ HOTEL EL PORTAL, SAN JUAN 2006 Watercolor on paper Retains Mitchell-Innes & Nash label verso Sheet: 13.75” x 10”; Frame: 17” x 12.875” $4,000-6,000

17 ERNESTO CAIVANO FOUNTAIN OF YOUTH 2002 Graphite on paper Signed “EC ‘02” in graphite lower right; retains Marc Selwyn Fine Art and Grant Selwyn Fine Arts labels verso Sheet: 11.625” x 15.75”; Frame: 19.625” x 24.375” $2,000-3,000

18 JEFF KOONS BALLOON DOG (BLUE) #1860 of 2300 MoCA Editions, 1995 Cast porcelain with blue reflective finish Signed verso with MoCA label Sold with original box and plate stands 10.25” diameter $7,000-9,000

19 DAMIEN HIRST LSD 2000 Lambda on gloss Fuji archive paper #113 of 300 Published by Eyestorm Media Ltd., London Signature in black ink with edition Sold with copy of receipt. Sheet: 42.125” x 50” Provenance: EY ESTORM

MEDIA LT D,

LO N D O N ; PRIVATE COLLECTI ON, NE W YOR K ( PURCHASED FROM TH E A BOVE); PRIVAT E COLLECTION, LOS A NGEL E S

$7,000-10,000

20 (OPPOSITE PAGE) DAMIEN HIRST OPIUM 2000 Lambda on gloss Fujifilm Fujicolor Crystal archive paper #173 of 500 Published by Eyestorm Media Ltd., London Signature in black ink lower right; edition inscribed in black ink verso Sold with copy of receipt. Sheet: 18.875” x 17” Provenance: EY ESTORM

MEDIA LT D,

LO N D O N ; PRIVATE COLLECTI ON, NE W YOR K ( PURCHASED FROM TH E A BOVE); P R I VAT E CO LLECT ION, LOS A NGELES

$5,000-7,000

21 DAVID PARK FIGURE PLAYING VIOLIN 1960 Gouache on paper Signed “Park 60” lower right; retains partial Staempfli Gallery label verso; retains Maxwell Galleries label verso; label “16. Figure Playing Violin” verso Sheet: 14” x 11”; Frame: 20.75” x 17.75” Provenance: MAXW ELL

GA LLER I E S, SA N

FRANCIS CO; PRIVAT E COLLECTION, LOS A NGE L E S (ACQUIRED FROM TH E A BOVE CIRCA 1 9 6 5 )

$18,000-25,000

DAVID PARK In September 1960, after a painful bout with cancer, Bay Area Figurative painter David Park (1911-1960) died in his Berkeley, California home. This final summer, however, was marked by an output of remarkable paintings that explored the themes of his career’s work: groups of people, rowboats, musicians, heads, and figures in landscapes. Park’s daughter, Helen Park Bigelow, spent each day with David during these final prolific months, and in 2009 wrote a biography of her father. Park experienced such extreme pain that he was unable to climb the steps to his studio, paint while sitting up, or stand back to gain better angles of his expansive oil paintings. Determined to paint, Park decided to use gouache on paper, a considerably lower impact process that would allow him to produce at least one painting a day while laying down on a chaise lounge recommended by his doctor. Though when Park first tried the chaise, it was too low and flimsy for his fragile body, so Richard Diebenkorn and Elmer Bischoff, close friends of Park, secured it to a homemade platform, complete with an improvised easel. Totaling over one hundred paintings, the group of works from 1960 is markedly vibrant and uplifting, filled with an array of delicate colors and smiling faces. One of these paintings, Figure Playing Violin (1960), depicts a woman in a blue dress with thick lines of purple outlining her fingers, arms, and face, suggesting intense concentration. The woman seems to be plucked right out of the crowd in one of Park’s last masterpieces from his final summer, a massive work of felt tip markers on a roll of paper. Filled with images of his childhood in Boston, the scroll, now owned by the University of California, Berkeley, stands as a final scrapbook of memories. Previous works by Park lack such direct emotional depth, and according to art historian Paul Mills, “In the presence of the reality of disease, suffering and death, Park’s figures stir into wakefulness and consciousness; they descend into the arena of human feeling and become an expression of Park’s own struggle with mortality.” Bigelow, Helen Park. David Park: Nothing Held Back. New York: Hudson Hills Press, 2009. Print. Mills, Paul. The New Figurative Art of David Park. Santa Barbara: Capra Press, 1988. Print.

22 DAVID PARK GIRL IN CHAIR BENDING OVER c. 1950s Black ink wash on paper Retains Maxwell Galleries label verso Sheet: 17” x 14”; Frame: 21.75” x 19.375” Provenance: MAXW E LL

G ALLER I ES, SAN

F R AN C IS C O ; P R IVATE C O L L EC TIO N , LOS ANG ELES ( ACQ UIR E D F R O M TH E AB OVE C I R C A 1 965 )

$10,000-15,000

23 PAUL WONNER IN A PARK (WM. THEOPHILUS BROWN) 2002 Acrylic on paper Signature in graphite verso; titled and dated verso; signed “Wonner” lower right Paul Wonner’s depiction of the Bay Area Figurative artist William Theophilus Brown. Sheet: 15.25” x 17.25” $2,000-3,000

24 LARRY COHEN VIEW OF CAPITOL RECORDS & DOWNTOWN L.A. 1994-2006 Oil on canvas Signature in pencil verso; signed with title in black ink verso Canvas: 28.25” x 28.25”; Frame: 28.75” x 28.75” $3,000-4,000

25 WILLIAM THEOPHILUS BROWN UNTITLED 2004 Gouache on paper Signed and dated in graphite lower left; inscribed lower left Sheet: 10.875” x 13.625” $1,000-1,500

26 BRUCE COHEN STILL LIFE WITH FRUIT AND STACK OF BOOKS 2000 Oil on canvas Signature in graphite verso Canvas: 18” x 14” $2,500-3,500

27 RICHARD DIEBENKORN SIX SOFTGROUND ETCHINGS 1978 Softground etching on paper Each #19 of 35 Published by Crown Point Press, Oakland; printed by Lilah Toland Each initialed and dated “RD 78” in graphite lower right sheet margin; each with edition in graphite lower left margin; each inscribed with title at lower center margin; each sheet with Crown Point Press blind stamp lower right sheet #1: Impression: 10.75” x 7.75”; Sheet (vis.): 39.5” x 25.25”; Frame: 40.5” x 26.5”; #2: Impression: 17.375” x 12.5”; Sheet (vis.): 39.5” x 25.5”; Frame: 40.25” x 26.5”; #3: Impression: 17.25” x 12.5”; Sheet (vis.): 39.5” x 25.5”; Frame: 40.5” x 26.5”; #4: Impression: 29.75” x 21.625”; Sheet (vis.): 39.5” x 25.5”; Frame: 40.5” x 26.5”; #5: Impression: 17.25” x 12.5”; Sheet (vis.): 39.5” x 25.5”; Frame: 40.75” x 26.75”; #6: Impression: 19.75” x 11.125”; Sheet (vis.): 39.125” x 25.25”; Frame: 40.25” x 26.5” Literature: B R OW N ,

KATH AN, I NK , PAP ER ,

ME TAL , WO O D : PAIN TER S AND SCU LP TOR S AT C R OW N P O IN T P R ESS, SAN FR ANCI SCO: C H R O N IC L E B O O KS, 1996 , I LLU STR ATED P 111, # 8 4.

$15,000-20,000

28 MILTON AVERY THOUGHTFUL GIRL 1945 Ink and graphite on paper Signature in graphite lower left; retains Esther Robles Gallery label verso This work has been submitted to the Milton & Sally Avery Arts Foundation. Sheet: 14” x 17”; Frame: 21” x 24” Drawing of a model named Stella that the artist would frequently sketch during this period. $10,000-15,000

29 SALLY MICHEL AVERY WATCHERS BY THE SEA 1975 Oil on canvas board Signed “Sally Michel 1975” in graphite lower right; inscribed “Watchers by the Sea by Sally Michel” and “oil” in graphite verso This work has been submitted to the Milton & Sally Avery Arts Foundation. Canvas: 19.875” x 24” $5,000-7,000

30 HANS J. WEGNER EARLY FOLDING CHAIRS (2)

31 HANS J. WEGNER ARMCHAIRS (2)

Model no. JH 512 Johannes Hansen, designed 1949, these examples 1950 Oak, woven cane Each chair with stamped mark “Johannes Hansen Copenhagen Made in Denmark” Purchased in Copenhagen, 1950. 30” x 23.875” x 30”

Model no. CH-22 Carl Hansen & Son, designed 1951 Oak, Danish papercord 27.75” x 26.75” x 19.5”

Literature: STEN

MOLLER , H ENR I K , HA N S

WEG N ER FU RNI TU RE CATA LOGU E, C I R C A 1 9 8 0, P 6.

$7,000-10,000

$2,500-3,000

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

N O RI TSU G U, H ANS J WEG -

N E R ’S 10 0 C H AIR S, JA PAN: C OR ONA B OOKS, 2002, P 68.

$4,000-6,000

25 33 HANS J. WEGNER PAPA CHAIR & OTTOMAN (2) Model no. AP 19 A. P. Stolen, designed 1951-53 Teak and upholstery Retains manufacturer's brand and Danish control tag Chair: 38.5” x 36” x 36”; Ottoman: 15.5” x 27.25” x 16” Literature: O DA ,

N O RI TSU G U, H ANS J WEG -

N E R ’S 10 0 C H AIR S, JA PAN: C OR ONA B OOKS, 2002, P 68.

$7,000-10,000

34 HANS J. WEGNER THE CHAIR Model no. JH 501 Johannes Hansen, designed 1949 Teak with cane seat Marked “Johannes Hansen/Copenhagen, Denmark” 30” x 25” x 20.5” Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON

Exhibited: "MODERN

DESI GN: THE

FABULO US 50 S, " CA LIFORNI A H ER I TAG E MUS EUM , SA NTA MONICA , 20 0 2.

Illustrated: SMI TH ,

TOBI , MODER N DE SI G N :

T HE FABULOU S 50 S, L A NCASTER : SC HI F F E R PUBL IS HING, 20 0 2, P 154.

$1,000-1,500

35 HANS J. WEGNER DINING TABLE Andreas Tuck, designed 1957 Oak, teak, brass, drop-flaps Branded “Fabrikat: Andr. Tuck/Arkitekt: Hans J. Wegner” and “Made in Denmark” 28” x 50.25” x 33.75”; Extended: 28” x 89.625” x 33.75” $3,000-5,000

36 HANS J. WEGNER SOFAS (2) Model no. 236/3 Getama, designed 1954 Oak, upholstery 31.5” x 82” x 30” Literature: N O R ITS UG A ,

ODA , H ANS J WEG -

N E R ’S 10 0 C H AIR S, JA PAN: C OR ONA B OOKS, 2 0 0 2 , P 19.

$4,000-6,000

37 HANS J. WEGNER SWIVEL DESK CHAIR Model no. JH 502 Johannes Hansen, designed 1955 Teak, chrome-plated steel, leather upholstery 29.25” x 25” x 24.75” Literature: STEN

MOLLER , H ENR I K , HA N S

WEG N ER FU RNITU RE CATA LOGU E, C I R C A 1 9 8 0, P 24.

$8,000-12,000

38 HANS J. WEGNER ROCKING CHAIR Model no. ML-33 Mikael Laursen, designed c. 1940s Oak, fabric upholstery 31.5” x 24” x 30” Literature: NORITSU GA ,

ODA , H AN S J WEG -

NER’S 1 00 CH A I RS, JA PA N: CORON A B OOKS, 2 002, P 1 8.

$2,500-3,500

39 STENERIK ERIKSSON SEAGULL CHAIR Fritz Hansen, designed 1968 Chrome-plated steel, leather 33.75” x 36.5” x 36.25” Literature: GO R DAN ,

DAN, SVENSKA STO -

L AR : O C H D E R AS FO RM G I VAR E 1 899 -2001, STO C K H O L M: BYGGFOR L AG ETM , 2005, P 2 0 9.

$8,000-12,000

40 MAX BILL TABLE CLOCKS (3) Junghans, designed 1959 Brass, laminate walnut veneer Manufacturer’s mark “Junghans” Each clock: 6.5” x 3” x 7” $3,000-6,000

41 KEN PRICE DOUBLE FROG CUP AND FOUR OTHER WORKS (5) 1968 Lithograph on German etching paper Each a trial proof; aside from the edition of 20 Published by Tamarind Lithography Workshop, Albuquerque A: Signed “Price” in pencil upper left sheet; E: Signed “Price” in pencil upper right sheet A: Cup Gets the Worm; B: 2 Frogs; C: Frog Cup; D: Double Frog Cup; E: Turtle Cup A: Sheet (irreg.): 13.875” x 9.25”; Frame: 18.25” x 13.25”; B: Sheet: 18.5” x 9.625”; Frame: 22.75” x 14.25”; C: Sheet: 8” x 9”; Frame: 12.25” x 14.25”; D: Sheet (irreg.): 8.25” x 11.5”; Frame: 12.25” x 14.25”; E: Sheet (irreg.): 8.5” x 10”; Frame: 12.25” x 14.25” Literature: CATA LOGU E

RA I SONNÉ : TA M A-

RIN D LIT H OGRA PH Y WORKSH OP, I N C , 1 9 6 0 1 9 70, AL B U Q U ERQ U E: U NI VERSIT Y OF N E W MEXICO A RT MU SEU M, 1989, ILLU ST R AT E D P 2 02 , #2492, # 2496, # 250 0, #2 501 .

$3,000-5,000

42 KEN PRICE UNTITLED (CITYSCAPE BOWL) c. 1991 Glazed ceramic Retains Charles Cowles Gallery inventory label “CCG/91/KP/6612” 2.25” x 9.75” diameter $6,000-9,000

43 BILLY AL BENGSTON UNTITLED Studio, c. 1957 Glazed stoneware Signed “Bengston” 13.125” x 7” x 10” $3,000-5,000

44 OSCAR BUCHER UNTITLED Studio, 1971 Glazed ceramic vessel Incised mark “Oscar Bucher ‘71” 36.5” x 10” diameter $2,000-3,000

31 45 J.B. BLUNK CERAMIC WORKS (2) Studio, designed c. 1960 Glazed and unglazed stoneware, gilt highlights 7.25” x .5” diameter; 3” x 3” diameter $1,800-2,500

46 ED RUSCHA JUST AN AVERAGE GUY 1979 Hard-ground etching on Rives BFK roll paper Artist’s Proof #10 of 12; aside from the edition of 45 Published by Multiples Inc., New York; printed by Aeropress, New York Signed and dated in graphite lower right; edition in Roman numerals lower left; title lower center; blind stamp lower right Impression: 8.75” x 35.75”; Frame: 15.5” x 43.375”

47 ED RUSCHA CITIES (WORLD SERIES)

This is the first editioned etching made by the artist.

1982 3-color lithograph on Arches 88 #28 of 40 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right; edition lower left; Gemini G.E.L. blind stamp lower right Gemini G.E.L. #45.16 Sheet: 25” x 47.5”

Literature: ENGBERG,

Literature: E N G B E R G ,

SIRI , A ND C L I VE

S IR I, AN D C L IV E

PHIL POT, EDWA RD RU SCH A : EDI T I ON S

P HI L P OT, E DWA R D R U S C H A: E D ITIO N S

1959 - 1 9 9 9 CATA LOGU E RA I SONNÉ , M I N N E-

1 959 - 1 9 9 9 C ATA LOG U E R AIS O N NÉ , MIN N E-

APO LIS : WA LKER A RT CENTER , 19 9 9, #1 04 .

A P OL I S: WA L K E R A RT C E N TE R , 19 9 9, # 12 1.

$3,000-5,000

$4,000-6,000

48 ED RUSCHA TWO PEOPLE TEMPORARILY SEPARATED 1980 Etching on R.K. Burt paper #47 of 55 Published by Bernard Jacobson, Ltd., London; printed by Palm Tree Editions, London Signed and dated lower right with printer blind stamp Impression: 10” x 31”; Sheet: 19.25” x 39.25”; Frame: 20.75” x 41”

49 ED RUSCHA EVERY BUILDING ON THE SUNSET STRIP

Literature: E N GB E R G,

Literature: E N GB E R G ,

S IR I, AN D C L IV E

1970 Offset lithograph on paper in white cardboard and silver Mylar slipcase From the second edition of 5000 Published by the artist; printed by Cinema Center Printing Co., Hollywood Folded: 7” x 5.625” x .375” SI R I , AND CLI VE

P H IL P OT, E DWAR D R US C H A: E D ITIO N S

P H IL P OT, E DWAR D R USC H A: EDI TI ONS

195 9 -19 9 9 C ATALO GUE R AIS O N NÉ , MIN N E-

195 9 -19 9 9 C ATALO GU E R AI SONNÉ, M I NNE-

AP O L IS : WAL K E R ART C E N TE R , 19 9 9, # 10 9.

AP O L IS : WAL K E R ART C ENTER , 1 999, #B 4 .

$5,000-7,000

$500-800

50 EDWARD & NANCY REDDIN KIENHOLZ THE JERRY CAN STANDARD 1981 Sculpture with metal gasoline can, epoxy resin, electrical components, metal and a formica stand, Fresnal lens system, cassette player, specially produced casette tape, automotive paint, and a doily #21 of 26 Published by Gemini G.E.L., Los Angeles Signature incised with edition on Gemini G.E.L. plaque verso Gemini G.E.L. #29.10 67.5” x 18” x 12” Literature: H OPPS,

WA LTER , A ND N A N C Y

RED D IN KI ENH OLZ, KI ENH OLZ: A R E T R O S PECT IV E, NEW YORK: W H ITNEY M U SE U M PRESS, 1 9 96, I LLU STRATED P 266 .

$3,000-5,000

51 EDWARD & NANCY REDDIN KIENHOLZ THE BLOCK HEAD 1981 Sculpture with pumice construction block, Fresnal lens system, wood, leather, and transistor radio #74 of 75 Published by Gemini G.E.L., Los Angeles Retains Gemini G.E.L. plaque with signature, date, title, and edition verso Gemini G.E.L. #29.11 12.5” x 8.5” x 12.25” $3,000-5,000

52 LADDIE JOHN DILL UNTITLED 1998 Glass and mixed media on wood Signed “Laddie John Dill 1998” verso 36” x 48” $2,000-3,000

53 LADDIE JOHN DILL PAIR OF TRIPTYCHS (6) 1997-1998 Mixed media on wood Signed and dated on verso of each panel Each: 24” x 12.25” $3,000-5,000

54 ROBERT GRAHAM MOCA TORSO 1992-95 Patinated bronze From the edition of 3500 Published by the Museum of Contemporary Art, Los Angeles Signed “R. Graham/Carlos M/Smiley” underneath base 11” x 4.5” diameter at base $3,000-5,000

55 JONATHAN BOROFSKY BERLIN DREAM LAMP 1986 Lithograph on Mylar with electric light fixture #22 of 25 Published by Gemini G.E.L., Los Angeles Signature with edition in black marker on Gemini G.E.L. plaque with unique 7-digit Borofsky number “2998621” Gemini G.E.L. #7.36 24” x 8” diameter $2,000-3,000

56 ED MOSES TARANTULA WINDOW 1983 Painted glass 74.25” x 76.25” This painted glass window once adorned the Frank Gehry designed interior of Rebecca’s Restaurant in Venice, California. Provenance: R E B EC CA’S

R ESTAU R ANT,

V E N IC E , C A; P R IVATE C OLLECTI ON, CA ( ACQ UIR E D F R O M TH E ABOVE, 1 998)

$6,000-9,000

57 LAWRENCE CARROLL OBITUARY SERIES (4)

58 LAWRENCE CARROLL THE WITNESS

c. 1980-1991 Mixed media collage on paper A: Inscribed “Look Inside/Look Outside” in graphite upper center; C: Inscribed “Oct 25, 11:59 - 12:01 Oct 26, 1986/1986/31 yrs old/32/yrs/April 2, 1991” upper right; D: Signed and dated “1980-91 Lawrence Carroll” lower right Titles as follows: A: "Bruce Nauman Dies”; B: “Sherrie Levine Dies”; C: “Mike Kelly, Dies”; D: "Peter Halley, Artist, Dies” A: Sheet: 23.75” x 17.75”; Frame: 27” x 21”; B: Sheet: 24” x 18.75”; C: Sheet: 24” x 18”; Frame: 27” x 21”; D: Sheet: 23.75” x 18”; Frame: 27” x 21”

1992 Mixed media collage Signed “Larry Carroll 92” in graphite lower left; inscribed “For my friend Chris for Witness” upper right Sold with mock-up for the movie poster Sheet: 54.5” x 38”; Frame: 61” x 43”; Mock-up: 26” x 20”

Provenance: P R I VAT E

This unique work was made for the short film “The Witness” starring Gary Sinise and Elijah Wood. Provenance: P R IVATE

C O L L EC TIO N , C AL I-

FO R N IA ( AC Q UIR E D F R O M TH E ARTIST )

C OL L EC T I ON , C A L I-

FOR N I A (AC QU I R E D F R OM T HE A RT I ST )

Literature: R OSSI ,

L AU R A M AT T I OL I , L AW-

R E N C E C A R R OL L , M I L A N : E DI ZI ON I C HA RTA , 2 008, P 4 3 (A N OT HE R E XA M P L E I N T HE SE R I E S I L LU ST R AT E D).

$10,000-15,000

59 GEORGE NAKASHIMA CONOID BENCH WITH SPINDLE BACK Studio, designed c. 1961 American black walnut, hickory, and East Indian rosewood 12.25” x 83.25” x 25”

60 GEORGE NAKASHIMA COFFEE TABLE

NAKAS HIMA : FU LL CIRCLE, A MER I C A N

Studio, executed c. 1963 American black walnut Incised “III” underneath 14.25” x 50” x 44”

CRAFT MU SEU M, 1989, P 157 FOR A

Provenance:

S IMIL AR EXA MPLE.

C A N A DA (AC QU I R E D I N 19 6 3 )

$15,000-20,000

$40,000-60,000

Literature: OSTERGA RD,

DEREK , G EOR G E

P R I VAT E C O L L EC TIO N ,

61 GEORGE NAKASHIMA SLAB COFFEE TABLE Studio, designed c. 1948 American black walnut 12.5” x 60.5” x 17” Literature: O STE R GAR D,

DER EK , G EOR G E

N AKAS H IMA: F UL L C IR C LE, AM ER I CAN C R AF T MUS E UM, 19 8 9, P 1 1 9 FOR A S IMIL AR E XAMP L E .

$7,000-9,000

62 GEORGE NAKASHIMA CUSTOM WALL MOUNTED SHELF Studio, designed c. 1974 American black walnut with corbels 12.5” (with corbels) x 83.5” x 17” $4,000-6,000

63 HARRISON MCINTOSH VASE Studio, c. 1955-59 Glazed stoneware Retains McIntosh Studio label and artist's cipher 19” x 7” diameter $4,000-6,000

64 HARRISON MCINTOSH VASE Studio, c. 1955-59 Glazed stoneware Incised “McIntosh” 9.5” x 7” diameter $1,500-2,000

65 HARRISON MCINTOSH BOWL McIntosh inventory no. 82107 Studio, 1982 Glazed stoneware Retains McIntosh Studio label and artist's cipher; retains handwritten label “#82107” 3.25” x 6” diameter $1,500-2,000

66 HARRISON MCINTOSH BOWL McIntosh inventory no. 67142 Studio, 1967 Glazed stoneware Retains McIntosh Studio label and artist's cipher; retains handwritten label “#67142” 1.5” x 6.75” diameter $1,000-1,500

67 EVELYN ACKERMAN GARDEN Model no. 980-C ERA Industries, designed 1963 Hand-hooked virgin wool needlepoint wall hanging Initials woven lower right; retains label verso 37.5” x 23.75”

68 EVELYN ACKERMAN CANAL ERA Industries, designed 1963 Hand-woven wool tapestry Initials woven lower center; retains label lower right 20” x 57” $1,500-2,000 "CANAL" LABEL

69 EVELYN ACKERMAN MOSAIC TILE COFFEE TABLE Model no. 103W Jenev, designed 1955 Inscribed in marker “A. Jenev Design”; retains label inscribed “Evelyn Ackerman/1960” 16” x 60” x 24” LAMA would like to thank the designer for her gracious assistance in cataloguing this work. $3,000-5,000

TABLE TOP DETAIL

LISTEN-TO-ME The furniture of Edward Wormley (1907-1995) breathes with warmth, elegance, and unparalleled craftsmanship. Throughout the mid-century, he collaborated with the furniture manufacturer Dunbar to produce chairs, tables, couches, and cabinets to furnish the modern American home. According to Wormley, “Furniture is needed for practical reasons, and because it must be there, it may as well be as pleasant as possible to look at, and in a less definable psychological way, comforting to the spirit.” This philosophy runs throughout the Listen-to-Me couch (1948), one of his most popular and enduring designs. This chaise lounge exploration established him among modern chaise lounge originators, including Mies van der Rohe, Le Corbusier, and Charlotte Perriand. Designed at Wormley’s New York office in the same year Dunbar asked him to be their exclusive designer, his chaise lounge delicately undulates atop a cherry and maple base to effortlessly support a lounging body. This pristine lounge, from 1948, is adorned with its original metallic threaded fabric, a special request sourced by Dunbar. Pieces like these that incorporate the warmth of wood and custom, hand-made production allowed consumers a “comfortable alternative to historic styles and extreme modern design,” helping Dunbar and Wormley to become leaders in luxury mid-century furniture design. Piña, Leslie. Preface. Dunbar: Fine Furnishings of the 1950s. Atglen, PA: Schiffer Publishing, 2000. Print.

70 EDWARD WORMLEY LISTEN-TO-ME COUCH Model no. 4873 Dunbar, designed 1948 Laminated cherry and maple, original upholstery 25.5” x 73.5” x 26.25” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

Exhibited:

" MO D E R N DESI G N: TH E

FAB ULO US 5 0 S, " C ALI FOR NI A H ER I TAG E MUS E UM, 2 0 0 2 .

Literature: P IÑA ,

L E S LI E: DU NB AR : FI NE

F UR N ITUR E O F TH E 1950S, L ANC ASTER : S C H IF F E R P UB L IS H ING , 2000, P 1 57.

Illustrated: S MITH ,

TOBI , M ODER N DESI G N:

TH E FAB ULO US 5 0 S, L ANCASTER : SCH I FFER P UB L IS H IN G, 2 0 0 2 , P 92.

$30,000-50,000

71 LEBADANG FLEURS c. 1970 Silkscreen on canvas Signed lower right; title inscribed verso Canvas (vis.): 27.5” x 21.5”; Frame: 37” x 31” Provenance: CEDA RS - SI NA I

MED I C A L

CENT ER

$500-1,000

72 DALE CHIHULY BOWL Studio, executed 1982 Glass Etched signature and dedicated “Happy Birthday/Oct 1/1982” 6” x 12” x 7.75” $3,000-5,000

73 ANDRÉE PUTMAN ARMCHAIRS (2) Atelier, designed c. 1980 Oak, leather 33” x 23” x 19.25” $6,000-8,000

PIERO FORNASETTI At a time when most designers were rejecting ornament, Italian artist, craftsman, and fashion designer Piero Fornasetti (1913-1988) embraced it, resulting in over 11,000 creations. Born in Milan where he lived and worked for his entire life, his career began when his silk scarves caught the attention of Gio Ponti and the fashion world. He eventually collaborated with Ponti on various pieces of furniture and interiors. A consummate craftsman with a proclivity toward Surrealism and the styles of Italy’s past, Fornasetti’s designs adorn a variety of home furnishings and materials, including furniture, lighting, screens, glass, fabric, and plates. His pieces present a peculiar juxtaposition of classical design with modern forms, placing Fornasetti the designer in a playful realm all on his own. One such piece is Giardino del 18th Secolo, a screen from circa 1955, the form simple and functional, yet lacquered in a surreal, dream-like repeating pattern of a stately home surrounded by pleasure gardens. The Vecchie Carte garden table (c. 1955) harkens back to the 19th century with a traditional wrought iron base that supports an enameled steel top. As if to defy order and celebrate a collecting craftsman’s frenzied workspace, Fornasetti creates a trompe l’oeil scene of delicately scattered themes and variations that grace so many of his other works: pastoral illustrations, French sheet music, English and Italian poetry, Dutch tobacco advertisements, and a box of butterfly specimens. A rare potpourri of designs, these works showcase a designer with a restless imagination who artfully poked fun at and paid homage to Europe's rich historical past. Mauries, Patrick. Fornasetti: Designer of Dreams, London: Thames and Hudson, 1991. Print.

74 PIERO FORNASETTI GIARDINO DEL 18TH SECOLO FOUR PANEL SCREEN Atelier Fornasetti, designed c. 1955 Transfer-printed lacquered wood, the reverse decorated in monochrome 56” x 51” x 1.25” Provenance: PRIVATE

COLLECTI ON , LOS

AN G ELES (ACQ U IRED FROM "I MP ORTA N T D ES IG N : TH E LI FE OF PIERO FORN ASE T T I ," CHRIST IE’S, LOS A NGELES, MAY, 1 9 9 8)

$6,000-8,000

75 PIERO FORNASETTI FAUX STONE COLUMN Atelier Fornasetti, designed c. 1955 Hand-painted and printed Masonite A similar design was employed by Piero Fornasetti for the interior of the Hotel Duomo, Milan. 94” x 12” diameter Provenance: PRIVATE

COLLECTI ON , LOS

AN G ELES (ACQ U IRED FROM "I MP ORTA N T D ES IG N : TH E LI FE OF PIERO FORN ASE T T I ," CHRIST IE’S, LOS A NGELES, MAY, 1 9 9 8)

$2,000-3,000

76 PIERO FORNASETTI FAUX MALACHITE OBELISK TABLE LAMP Atelier Fornasetti, designed c. 1955 Lithographically and transfer-printed metal Retains “Fornasetti Milano Made in Italy label” and Christie’s auction label 23” x 3.25” diameter base Provenance: P R IVATE

COLLECTI ON, LOS

AN GE L E S ( AC Q UIR E D FR OM "I M P ORTANT D E S IGN : TH E L IF E O F P I ER O FOR NASET TI , " C H R ISTIE ’S, LO S AN GELES, M AY, 1 998)

$1,500-2,000

51 77 PIERO FORNASETTI CAMMEI MAGIC MIRROR Atelier Fornasetti, designed c. 1955 Transfer-printed wood, mirror plate Retains Fornasetti paper label verso 1” x 10.25” diameter Provenance: P R IVATE

COLLECTI ON, LOS

AN GE L E S ( AC Q UIR E D FR OM "I M P ORTANT D E S IGN : TH E L IF E O F P I ER O FOR NASET TI , " C H R ISTIE ’S, LO S AN GELES, M AY, 1 998)

$1,500-2,000

78 PIERO FORNASETTI GRECA CEILING LIGHT (6) Atelier Fornasetti, designed c. 1955 Transfer-printed aluminum Together with five zinc lithograph printing plates and one hand-painted watercolor design study 25” diameter Provenance: P R IVATE

COLLECTI ON, LOS

AN GE L E S ( AC Q UIR E D FR OM "I M P ORTANT D E S IGN : TH E L IF E O F P I ER O FOR NASET TI , " C H R ISTIE ’S, LO S AN GELES, M AY, 1 998)

$800-1,200

79 PIERO FORNASETTI VECCHIE CARTE GARDEN TABLE AND STUDY (2) Atelier Fornasetti, designed c. 1955 Hand-painted and transfer-printed steel Table retains Fornasetti hang tag; print inscribed “TAV. 80/80 e 50/50 vecchie carte col su legno per colorare adoperare gli zinchi” lower center Together with hand-colored print of the design on paper Table: 30” x 31.5” x 31.5”; Print: 18” x 20” Provenance: PRI VATE

COLLECTI ON , LOS

AN G ELES (ACQ U IRED FROM "I MPORTA N T D ES IG N : TH E LI FE OF PIERO FORN ASE T T I ," CHRIST IE’S, LOS A NGELES, MAY, 1 9 9 8)

$3,000-5,000

TABLE TOP DETAIL

HAND-COLORED PRINT

80 GINO SARFATTI RARE ADJUSTABLE WALL & STANDARD LAMP Model no. 1045/VT Arteluce, designed 1951 Brass, enameled steel Stamped “Arteluce Made In Italy” 60” x 15.25” x 15.25” Literature: B ASS I,

ALBERTO, I TALI AN

L IGH TIN G D E S IGN : 19 4 5 -2000, M I L AN: P H AID O N P R E SS, 2 0 04 , P 4 4 .

$5,000-7,000

81 MARCELLO FANTONI TABLE LAMP Studio, designed c. 1955 Ceramic with incised and polychrome glaze decoration, later lacquered wood base Signed to underside of ceramic base 26” (top of finial) x 10.5” x 6.5” $1,500-2,000

82 MOBILIA MAGAZINE DESIGN PUBLICATION MAGAZINES (75 ISSUES) Various issues from April 1958 to February 1977 Each issue: 10.25” x 10.25” $1,200-1,500

83 GIO PONTI DIAMOND FLATWARE SERVICE (89) Reed & Barton, designed 1958 Sterling silver, stainless steel Comprised of 16 dinner forks, 16 knives, 14 salad forks, 8 soupspoons, 2 butter knives, 26 teaspoons large. Serving pieces comprised of serving fork, gravy spoon, large slotted serving spoon, 2 large serving spoons, serving spoon, and 2-pronged fork Together with original Reed & Barton manufacturer’s paperwork Each stamped “Reed & Barton Sterling” $4,000-6,000

84 GIO PONTI ALLEGORICAL CERAMIC TILE Richard Ginori & Cristoforo, executed 1923-30 Ceramic, hand-decorated polychrome glaze Signed “Gio Ponti”; reverse hand painted “M2155 D273 Richard Ginori & Cristoforo Milano” and with remnants of retailer label 17.125” x 10.875” x .25” $3,000-5,000

85 GIO PONTI HEIGHT ADJUSTABLE FLOOR LAMP

86 ERNO FABRY DINING CHAIRS (6)

Fontana Arte, designed 1960 Glass, brass, Bakelite, and enameled metal Specifically designed for use in the Hotel Parco dei Principi, Sorrento. 62” average height x 12.75” diameter shade

Fabry Associates, designed 1957 Mahogany, vinyl upholstery Each: 27.5” x 19.5” x 20”

Literature: L A

Literature: IN TE R IO R S

MAGAZ IN E, MAY,

195 7, P 17 5 .

$4,000-6,000

P I E T R A , UGO, GIO P O N TI:

L’A RT E SI I N N A M OR A D E L L’ IN D USTR IA , M I L A N : R I ZZOL I , 2 00 9, P 3 6 5 .

$5,000-7,000

87 MARIO BELLINI CAB CHAIRS (18) Cassina, designed 1977 Saddle leather, steel frames Retains Cassina labels Comprised of two side chairs and sixteen armchairs Each armchair: 32” x 22.5” x 18” $4,000-6,000

88 EVERT JELLE JELLES STERRENREGEN WALL APPLIQUES (2) Raak, designed 1964 Enameled steel, pierced decoration 21” x 11” x 5.5” $1,000-1,500

89 RAAK DESIGN TEAM CLAIR OBSCUR WALL APPLIQUES (2) Model no. 1516 Raak, designed 1960 Enameled steel, copper Retains manufacturer’s paper label and U.S. Union Made label 10.75” x 8” x 6” The Raak design team during this period included acclaimed Finnish designers Tapio Wirkkala and Nanny Still. $1,000-1,500

90 GAETANO PESCE DALILA TRE CHAIR Cassina, designed 1980 Molded polyurethane with epoxy resin 28” x 32.25” x 24” Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON (AC QU I R E D FRO M BO NH A MS, LONDON, 1999).

Exhibited: "GA ETA NO

PESCE: PI EC E S F R OM

A L ARG E PU ZZLE, " ITA LIA N CU LT U R A L IN ST IT UT E, LOS A NGELES, JU LY - AU G U ST 2 01 0.

$10,000-15,000

91 PETER SHIRE TWO-TONE CONE TEAPOT Studio, 1981 Glazed ceramic and brass Signed “Shire” and “E/P”, and dated "1981"; retains artist's label 5.75” x 18.5” x 10” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

$2,000-3,000

92 GAETANO PESCE TABLE LAMP (FROM THE OPEN SKY SERIES) Fish Design, designed 1995 Polyurethane resin 26.75” x 12” x 10” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

$2,500-3,500

93 ROMANO BIANCHI LIGHTED STONE STOOL Studio, designed c. 1980 Illuminated alabaster, enameled steel 25” x 14” diameter $400-600

94 ALVAR AALTO SOFABED Model no. 63 Wohnbedarf AG, designed 1930, this example produced later Chrome-plated steel frame, ebonized wood, leather upholstery 27” x 36” x 80” $3,000-5,000

ALTERNATE VIEW

96 ETTORE SOTTSASS RARE MOONLIGHT FLOOR LAMP 95 ITALIAN MODERN TRIENNALE FLOOR LAMP Arredoluce, c. 1950 Chrome-plated steel, enameled aluminum 60.75” x 21.25” (adjustable) $5,000-7,000

Arredoluce, designed 1970 Enameled steel and polished steel 73.5” x 10.25” x 10.25” Literature: F E R R AR I,

FU LVI O, AND NAP O -

L EO N E , LUC E : L AMPADE 1 96 8 -1 97 3, TU R I N: IL N UOVO D E S IGN ITALI ANO, 2002, P L 5 8 ( D E S IGN IL LUSTR ATED) .

$4,000-6,000

97 ARCHIZOOM SANREMO FLOOR LAMP Poltronova, designed 1968 Enameled steel, acrylic 88” x 15” x 15” Archizoom was a design collaboration between Andrea Branzi, Gilberto Corretti, Dario and Lucia Bartolini, Massimo Morozzi, and Paolo Deganello. Provenance: PROPERT Y

FROM A N I M P OR-

TAN T WEST COAST COLLECTI ON

Literature: A MBASZ,

EMILI O, I TALY: T HE

NEW D O MESTIC L A NDSCA PE, GRE E N WI C H: NEW YO RK GRA PH I C SOCI ET Y, 19 7 2 , P 1 00.

$4,000-6,000

98 JOHANNA GRAWUNDER LAMP WITH FOUR OPALINE TUBES Air Conditioning Series Design Gallery Milano, designed 1995 Laminate, fluorescent tube 8” x 21.25” x 19.5” Literature: D E S IGN

GALLERY M I L ANO:

J O H AN N A GR AW UN D ER , AI R C ONDI TI ONIN G, MAN UFAC TUR E R ’S C ATALOG U E, 1 995, F IG 24.

$5,000-7,000

99 ETTORE SOTTSASS GOLDEN EYE TABLE Custom, executed in India 1984 Plychromed and turned wood with marble top 31” x 76” x 33.5” Only two examples of this table were executed. Provenance: P R IVATE

COLLECTI ON, I TALY

( AC Q UIR E D F R O M TH E ARTI ST ) ; P R O P E RT Y F R O M AN I M P ORTANT WEST C OAST C O L L EC TIO N (ACQ U I R ED FR OM C H R ISTIE S, N E W YO R K , M AY 2000, LOT 4 4 )

Exhibited: " TH E

GO L D EN EYE: AN I NTER-

N ATIO N AL TR IB UTE TO TH E ARTI SANS OF IN D IA , " S MITH S O N IAN- C OOP ER H EWI T T N ATIO N AL D E S IGN MU SEU M , NEW YOR K , N OV E MB E R 19 85 -F E B R UARY 1 986.

$25,000-35,000

100 ETTORE SOTTSASS ALTAIR VASE Toso Vetri d’Arte for Memphis, designed 1982 Blown glass Signed “Memphis Made in Italy by Toso Vetri d’Arte” 16.5” x 8.5” diameter Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON.

Exhibited: "ET TORE

SOT TSASS, " LOS

AN G ELES COU NT Y MU SEU M OF A RT, M A R C H - JUN E 2 00 6.

Illustrated: L A BACO,

RONA LD T; E T TOR E

S OT TSASS: A RCH I TECT A ND DESI G N E R , LO N D O N : MERRELL PU BLI SH ERS, 2 006 , P 1 1 0.

$1,500-2,500

101 ETTORE SOTTSASS MENTA TOTEM Bitossi, designed c. 1966 Glazed ceramic Produced in the 1980s from an edition of less than 30 Signed â&#x20AC;&#x153;Sottsass" with label "Le Ceramiche di Bitossi" and maker's mark 69" Property from an Important West Coast Collection $9,000-12,000

ROBERT RAUSCHENBERG Throughout his half-century of revolutionary art making, Robert Rauschenberg (1925-2008) thrived on two principals: innovation and collaboration. By the 1960s, he had already experimented with painting, collage, Combines, theatre, and performance art, rigorously pushing genre boundaries to become an internationally renowned artist. Rauschenberg, however, considered lithography to be an outdated medium, famously stating, “The second half of the twentieth century was no time to start writing on rocks.” When he was living with Jasper Johns in New York in 1961, Rauschenberg helped the passionate printmaker Tatyana Grosman haul two enormous limestone slabs to Johns’ fourth-floor studio. In addition to working with Larry Rivers and Helen Frankenthaler, Grosman executed Johns’ Numbers (0-9), and with the help of Johns, she subsequently encouraged Rauschenberg to overcome his initial aversion to lithography. Finally in 1962, Rauschenberg collaborated with Grosman and her Universal Limited Art Editions (ULAE) studio to devise techniques for transforming his collages and found objects into prints. Working with master printers and other artists including Jim Dine and Jean Tinguely, Rauschenberg created over fifty editions at ULAE, many achieving international awards. Collaborative, experimental, and unprecedented, this was the inception of a lifelong relationship with lithography that began with ULAE, exploded with Gemini G.E.L. in Los Angeles, continued at Styria Studio in New York, and culminated in Rauschenberg’s own Untitled Press in Captiva, Florida. The innovations Rauschenberg pioneered at ULAE and later developed at Gemini G.E.L. have become industry standards. Treating “the skin of the stone” as a blank canvas for “anything that creates an image,” he challenged himself to assemble massive collages of interwoven images and materials, starting with Booster at Gemini in 1967, at the time the largest print ever produced by hand-lithography. He printed on Plexiglas, clothing, aluminum, clay, copper; nothing was off limits, and his team of printers and engineers were integral participants in the experiments. In 1969, he established Untitled Press in Florida as a sort of lithography retreat for artists looking to collaborate with Rauschenberg and Robert Petersen, an artist and Gemini master printer. Visitors included Cy Twombly, Brice Marden, and David Bradshaw. During this period he began printing on fabric, which led to an ambitious set of paintings called Hoarfrosts, born from experimentation with cheesecloth used to clean the stone; the opaque cheesecloth preserved some of the images from the previous printing. Capable of applying eight hundred pounds of pressure per square inch, Rauschenberg’s giant green press, Grasshopper, could print on just about any material. The resulting collage and solvent transfers on cloth, including Lattice (Hoarfrost), are gossamer-thin fabrics loosely pinned to the wall, designed to move with the passing wind and interact with the environment. A similar example can be found in the permanent collection of the Solomon R. Guggenheim Museum in New York. Rauschenberg eventually brought the idea to Gemini and created more Hoarfrosts using exotic silks and fabrics. Continued on page 70

102 ROBERT RAUSCHENBERG LATTICE (HOARFROST) 1975 Collage and solvent transfer on cloth Signed and dated in graphite at center of undersheet RR #75.010 Cloth: 59” x 44.5”; Frame: 67.5” x 48.5” Provenance: L EO

C ASTELLI , NEW YOR K ;

MAYO R GAL L E RY, LO NDON; JAME S C O R C O R AN GALLERY, C ALI FOR NI A; S O N N AB E N D GAL L E RY, NEW YOR K ; P R IVATE IN STITUTIO N, M I DWEST R EG I ON; KASS P UB L IS H IN G, INDI ANA; P R IVATE C O L L EC TIO N, CALI FOR NI A

Literature: DAV ID S O N,

SU SAN, AND

WALTE R H O P P S, R O B ERT R AU SC H ENB ER G : A R E TR O S P EC TIV E, N EW YOR K : G U G G ENH E IM P UB L IC ATIO N S, P P 354 -361 ( SI M I L AR E XAMP L E S IL LUSTR AT ED) .

$70,000-90,000

103 ROBERT RAUSCHENBERG PUBLICON--STATION IV (PUBLICONS) 1978 Sculpture composed of wood coated with nitrocellulose lacquer, collaged silk and cotton fabrics, bicycle wheel, baked epoxy enamel over polished aluminum, Plexiglas, and fluorescent light fixture #21 of 30 Published by Gemini G.E.L., Los Angeles Signature with edition and date on Gemini G.E.L. plaque verso Gemini G.E.L. #41.119 28” x 36” x 13” (closed); 52” x 64” x 13” (open) $9,000-15,000

As often as he filtered traditional techniques to accommodate his artistic perspective, Rauschenberg also reached back into his own childhood memories. His Publicons series explores his relationship with religion, an ongoing spiritual study that began as a teenager when he wanted to become a preacher. Another series created with the help of Gemini, these are his take on the Stations of the Cross (He made seven Publicon editions, exactly half the number of stations as are in the Christian versions.) The word Publicons is a combination of “public” and “icon” because he intended that viewers push, pull, and open the doors to reveal “an enshrined object.” While it deals directly with Rauschenberg’s spirituality, Publicon--Station IV (1978) drolly addresses “the matter of spirituality – or lack of it – in contemporary culture.” Continued on page 73

104 ROBERT RAUSCHENBERG FROM THE SEAT OF AUTHORITY (FROM SUITE OF NINE PRINTS) 1979 Screenprint and collage #59 of 100 Published by Multiples Inc., New York; printed by Styria Studio, New York Signature in graphite with edition and date lower right; Styria Studio blind stamp lower center Sheet: 30.25” x 22.75”; Frame: 36.125” x 28.5” $2,000-3,000

105 ROBERT RAUSCHENBERG SHOOT FROM A MAIN STEM (FROM SUITE OF NINE PRINTS) 1979 Screenprint and collage on wove paper #90 of 100 Published by Multiples Inc,, New York; printed by Styria Studio, New York Signature in graphite lower center with date and edition; Styria Studio blind stamp lower left Sheet: 30” x 23”; Frame: 36” x 28.5” $2,000-3,000

Like many of his projects, including Hoarfrosts, Publicons, and Bones and Unions, Rauschenberg’s collaborative style was equally intended for the viewer. In 1985, Rauschenberg created eight Sling-Shots, light boxes that house 14-color lithographs printed on Mylar and sailcloth. With Sling-Shots Lit #8 (1985), the audience is encouraged to pull the metal string to rotate the Mylar screens, each rotation producing a new color combination. These endless variations allude to his rotating Plexiglas discs of the 60s. Rauschenberg’s printed work – on any surface or material – incorporates his personal imagery that was often informed by his surroundings, and in his Sling-Shots, he provides the television for the viewer to change screens. Continued on page 77 106 ROBERT RAUSCHENBERG SLING-SHOTS LIT #8 (FROM SLING-SHOTS LIT) 1985 14-color lithograph, screenprint, and assemblage with sailcloth, Mylar, wooden lightbox, fluorescent light fixture, aluminum, Plexiglas bars, and a moveable window shade system #18 of 25 Published by Gemini G.E.L., Los Angeles Retains Gemini G.E.L. plaque with facsimile of signature in plate with date and edition on lower right side of lightbox Gemini G.E.L. #41.164 84.5” x 56.25” x 12.5” Literature: DAV ID S O N,

SU SAN, AND WAL-

TE R H O P P S, R O B E RT R AU SC H ENB ER G : A R E TR O S P EC TIV E, N E W YOR K : G U G G ENH EI M P UB L IC ATIO N S, S E R I ES M ENTI ONED P P 3 8 2 , 3 8 9.

$30,000-50,000

DETAIL OF BACKGROUND PANEL

107 ROBERT RAUSCHENBERG SAMARKAND STITCHES #III (FROM SAMARKAND STITCHES) 1988 Unique fabric assemblage with screenprinting From the edition of 74 Published by Gemini G.E.L., Los Angeles Signature and date stitched lower right Fabric: 61” x 46”; Frame: 65” x 53” Literature: DAVIDSON,

SU SA N, A N D WA L-

T ER HO P PS, ROBERT RAU SCH ENB E R G : A RET RO S P ECTIVE, NEW YORK: G U G G E N HE I M PUBLICATIONS, ILLU STRATED P 4 6 0, #39 8.

$18,000-25,000

108 ROBERT RAUSCHENBERG INTERNATIONAL VERY SPECIAL ARTS FESTIVAL, WASHINGTON D.C.

109 ROBERT RAUSCHENBERG TWO REASONS BIRDS SING (FROM SUITE OF NINE PRINTS)

1989 Offset color lithograph on wove paper #215 of 275 Signature in graphite with edition and date, co-published by the artist and the International Arts Festival, Washington D.C. Sheet: 35.25” x 26.25”; Frame: 42.25” x 33”

1979 Screenprint and collage #12 of 100 Published by Multiples Inc., New York; printed by Styria Studio, New York Signature in graphite with edition and date lower center; Styria Studio blind stamp lower right Sheet: 30.5” x 23”; Frame: 36.25” x 28.5”

$2,000-3,000

110 ROBERT RAUSCHENBERG QUORUM (BONES AND UNIONS) 1975 Rag-mud, rope, bamboo, and mud #9 of 13 Published by Gemini G.E.L., Los Angeles Signature with edition in black marker Gemini G.E.L. #41.107 64” x 45” x 4.5” $8,000-10,000

Throughout the 1970s, Rauschenberg embarked on adventures throughout France, the Middle East, and India to make art using the paper from some of the oldest and most respected paper mills in the world. In 1975, the Sarabhai family – admirers of Rauschenberg’s work – invited him to work in their paper mill that was originally founded by Gandhi as an ashram for sacred texts. When he arrived, he was amazed by “the contrast between the conspicuous wealth of the Sarabhai family and the poverty of the several hundred mill workers who worked for them.” Rather than working in the air-conditioned studio, he set up outdoor worktables in close proximity to the mill workers. For the series, Bones and Unions, Rauschenberg observed the workers’ ancient techniques: “These people looked like they were two hundred years old, just squatting for hours and hours – all these beautiful people working in the dreadful heat.” For Box Cars (1975), Rauschenberg and his crew poured white paper pulp mixed with Egyptian cotton on top of lattices of patterned fabric and bamboo strips. The resulting works, according to Rauschenberg, resembled kites. For Quorum (1975) from the same series, he wanted to use the mixture of mud and cow manure the families used to build their houses. This proved to be difficult since the mud washed away during the rainy season. With the help of the family, the workers, and the Gemini staff, he concocted two suitable, long-lasting mixtures. Comprised of paper pulp, fenugreek powder, ground tamarind seed, chalk powder, gum powder, and copper sulfate, Quorum is another collaborative effort that “present[s] contrasts as keen as those between the Sarabhais and their workers.” Kotz, Mary Lynn. Rauschenberg/Art and Life. New York: Abrams, 1990. Print. Davidson, Susan, and Walter Hopps, Robert Rauschenberg: A Retrospective, New York: Guggenheim Publications, 1997. Print.

111 ROBERT RAUSCHENBERG BOX CARS (BONES AND UNIONS) 1975 Handmade paper, bamboo, and fabric #12 of 31 Published by Gemini G.E.L., Los Angeles Signature with edition and date lower right Gemini G.E.L. #41.101 Assemblage: 34” x 26.5” x 3”; Frame: 39.5” x 34.5” $3,000-5,000

Los Angeles County Museum of Art Unless otherwise indicated, the following American Arts & Crafts lots through page 96 are being sold by the Los Angeles County Museum of Art to benefit future acquisitions.

STICKLEY & ELLIS In a 1901 issue of his Craftsman magazine, Gustav Stickley (1858-1942) outlined the design principles that guided him in producing his pioneering Craftsman furniture: “Do away with all needless ornamentation, returning to plain principles of construction and applying them to the making of simple, strong, comfortable furniture.” This was published just three years after his trip to England and Europe, where he finally experienced firsthand the designs of English Arts and Crafts furniture and European Art Nouveau. Stickley had already been producing well-crafted, albeit unremarkable furniture for two decades, but it wasn’t until 1898 that he began the experiments that would lead to his distinctive Craftsman style. His early chairs and tables – results of these experiments – gained immediate praise in trade publications throughout the country, including editorials and advertisements in House Beautiful. Based in Syracuse, New York, Stickley’s factory and offices became the vanguard of the American Craftsman movement, which demonstrated honest construction, respect for materials, and a guild union similar to those of medieval workshops. By 1903, Stickley had established an influential publication by which he shared his philosophy of “mutual cooperation as a way of life and simplicity as a goal of that style,” and he was continually achieving this intention with his Craftsman furniture guild. The brief but extremely influential tenure of architect Harvey Ellis (1852-1904), however, forever altered the designs of Stickley. Roaming from city to city, contributing designs to multiple firms, Ellis never achieved prominence as an architect. Some historians refer to him as a “paper architect,” one whose designs were never constructed, though it is likely that based on his skillful drawings and admiration from colleagues, some of his designs were probably built. Ellis arrived at the Syracuse workshop when Stickley was just finishing up the renovations to his fire-damaged house, considered to be the first Craftsman structure. Most likely hired as an architect to work with Stickley, who was becoming increasingly interested in translating his Craftsman aesthetic to architecture, in seven months Ellis designed houses, wall decorations, illustrations for The Craftsman, and furniture. According to Stickley historian, Mary Ann Smith, “Ellis’ real contribution, aside from his designs for Stickley, was to be the inspiration he provided at a critical point in Stickley’s development.” While almost every issue of The Craftsman during Ellis’ employment featured illustrations and an Ellis blueprint, none of his buildings were constructed. The same cannot be said for his furniture, which continued to influence Stickley after Ellis’ untimely death. His chairs and cabinets are marked by lightness previously unseen in Stickley pieces. The slats are thinner, the top and seat rails have curves, and metal inlays prominently adorned the center of the backrest. Stickley never used unnecessary ornamentation, but he most likely approved of the inlays – as seen in the side chair and rare inlaid armchair from 1903 – because of his appreciation of medieval imagery, which in the case of Ellis furniture, “emphasized the structure of the designs.” Ellis’ double-door bookcase (1903) evokes a distinctly architectural presence with overhanging tops and an arching skirt, likely inspired by Charles Rennie Mackintosh from the Glasgow School. When Stickley’s post-Ellis designs are compared to his pre-Ellis counterparts, it is clear that even after the architect’s death, Stickley employed curvature and lightness in many of his pieces. Harvey Ellis was the catalyst for a progressive change toward imaginative design possibilities that endured for the remainder of Gustav Stickley’s career. Smith, Mary Ann. Gustav Stickley: The Craftsman. Syracuse: Syracuse University Press, 1983. Print.

112 HARVEY ELLIS RARE INLAID ARMCHAIR Gustav Stickley’s Craftsman Workshop, Eastwood, NY, designed c. 1903 Oak, pewter, exotic inlaid woods Retains red decal for manufacture 1902-04 47” x 22.25” x 18.5” Provenance: R O B E RT W IN TE R , C ALI FOR NI A; LO S AN GE L E S C O UN T Y M U SEU M OF ART

Literature: VO L P E ,

TOD M , AND B ETH

C ATH E R S, TR E AS UR E S OF TH E AM ER I C AN ARTS AN D C R AF TS MOVEM ENT: 1 890 -1 920, N E W YO R K : TH AME S & H U DSON, 1 988, P 3 6 ( E XAMP L E W ITH VAR I ANT I NL AY I N TH E C O L L EC TIO N O F C AR NEG I E M U SEU M OF ART IL LUSTR ATE D) .

$10,000-15,000

115 GUSTAV STICKLEY SIDE CHAIR Gustav Stickley’s Craftsman Workshop, Eastwood, NY, 1905-07 Mahogany, upholstered seat Retains red decal for manufacture 1904-12 47.875” x 19.125” x 21.375”

113 STICKLEY BROTHERS INLAID SIDE CHAIR

114 L . & J. G. STICKLEY DRINK STAND

Gustav Stickley’s Craftsman Workshop, Eastwood, NY, c. 1905 Oak, ebony and pewter inlay, cane seat 42” x 18” x 16”

Model no. 22 L. & J. G. Stickley, designed c. 1910 Oak 28.25” x 18.25”

Provenance: MAX

Provenance: LOS

Provenance: M AX

MUS E UM O F ART, S E P TE MB E R 2 3 , 19 9 0 -

A NGELES COU NT Y

PAL E VS KY, C AL IFO R N IA;

LO S AN GE L E S C O UN T Y MUS E UM O F ART

Exhibited: " AME R IC AN

ARTS & C R AF TS :

V IRTUE IN D E S IGN , " LO S AN GE L E S C O UN T Y

MUS EUM OF A RT

LOS A N G E L E S C OU N T Y MUS E UM O F ART

JAN UARY 6 , 19 9 1.

$500-800

$2,000-3,000

$1,000-1,500

116 HARVEY ELLIS RARE INLAID SIDE CHAIR Gustav Stickley’s Craftsman Workshop, Eastwood, NY, designed c. 1903 Oak, mahogany, copper, pewter, rush seat 47.625” x 18.325” x 18.875” Provenance: MAX PAL E VS KY, C AL IFOR NI A; LO S AN GE L E S C O UN T Y M U SEU M OF ART.

Exhibited: " AME R IC A N

ARTS & C R AFTS:

V IRTUE IN D E S IGN , " LOS ANG ELES COU NT Y MUS E UM O F ART, S E PTEM B ER 23, 1 990 JAN UARY 6 , 19 9 1.

Illustrated: B OW MAN,

LESLI E G R EENE,

AME R IC AN ARTS AN D CR AFTS: VI RTU E IN D E S IGN, LO S AN GE LES: LOS ANG ELES C O UN T Y MUS E UM O F ART, 1 990, FI G 51 .

$4,000-6,000

ALTERNATE VIEW

117 GUSTAV STICKLEY TABLE LAMP Gustav Stickley’s Craftsman Workshop, Eastwood, NY, 1905-10 Copper, steer willow, silk Stamped manufacturer’s mark 18.75” x 16.375” Provenance: M AX PALEVSKY, CA LI FORNI A (AC QU I R E D FRO M DJ PU FFERT ’S AU CTION: THE A RTS & CRAFTS SH OP, SAU SA LI TO, CA L I FOR N I A , CIRCA 1 9 88); LO S AN G ELES COU NT Y MU SEU M OF A RT

Exhibited: "A MERI CA N

A RTS & CR A F TS:

V IRT UE IN DESI GN, " LOS A NGELE S CO UNT Y MU SEU M OF A RT, SEPET E M B E R 2 3, 19 9 0 -JANUA RY 9, 1991.

$1,500-2,000

118 L . & J. G. STICKLEY SERVING TRAY Model no. 347 Possibly made by Benedict Studio, Syracuse on behalf of L. & J. G. Stickley, c. 1912 Copper, repoussé decoration Stamped mark “LJGS” 1.125” x 18.875” diameter Provenance: MAX AN D E L L E N PAL EVSKY, CALI FOR NI A; LO S AN GE L E S C O UN T Y M U SEU M OF ART

Exhibited: " W ITH

H AM M ER , B LOWP I P E,

AN D W H E E L : TH E ART OF TH E C R AFTS MAN , 18 95 - 193 0, " LOS ANG ELES COU NT Y MUS E UM O F ART, MAR C H 1 3, 1 996 - JU LY 2 8 , 19 9 6 ; " AME R IC AN ARTS & C R AFTS: V IRTUE IN D E S IGN , " LOS ANG ELES COU NT Y MUS E UM O F ART, S E PTEM B ER 23, 1 990 JAN UARY 6 , 19 9 1.

Illustrated: B OW MAN,

LESLI E G R EENE,

AME R IC AN ARTS AN D CR AFTS: VI RTU E IN D E S IGN, LO S AN GE LES: LOS ANG ELES C O UN T Y MUS E UM O F ART, 1 990, FI G 93.

$1,000-1,500

PROPERTY OF ANOTHER OWNER

119 JOSEPH MARIA OLBRICH RARE TEAPOT Studio, designed 1903 Copper with repoussé decoration, brass, pewter wash interior Impressed/stamped “I” underside 8” x 6” diameter (12” diameter with spout and handle) Only one other example of the teapot is known to exist. Olbrich designed various pewter wares for manufacturer Eduard Hueck; however, this form was only ever executed by hand for specific clients. Literature: UL ME R ,

RENATE, AND JOSEP H

MAR IA O L B R IC H , AR C H I TECTU R E: COMP L E TE R E P O RT O F THE OR I G I NAL P L ATES 19 0 1-19 14, N E W YO R K : R I ZZOLI , 1 988, P 71 .

$3,000-5,000

120 HARVEY ELLIS RARE DOUBLE-DOOR BOOKCASE Gustav Stickley’s Craftsman Workshop, Eastwood, NY, designed 1903 Oak, lacewood, sycamore, beech, mahogany, padunk, glass, copper hardware Retains manufacturer’s label and red decal for manufacture 1902-03 55.625” x 55.625” x 12.625” Only one other example of this design with inlay is known to exist. Provenance: MAX

PA LEVSKY, CALI FOR NI A;

LO S AN GE L E S C O UN T Y M U SEU M OF ART

Exhibited:

" AME R IC A N ARTS & CR AFTS:

V IRTUE IN D E S IGN , " LOS ANG ELES COU NT Y MUS E UM O F ART, S E PTEM B ER 23, 1 990 JAN UARY 6 , 19 9 1.

Illustrated: B OW MAN,

LESLI E G R EENE,

AME R IC AN ARTS AN D CR AFTS: VI RTU E IN D E S IGN, LO S AN GE LES: LOS ANG ELES C O UN T Y MUS E UM O F ART, 1 990, FI G 35.

$12,000-15,000

121 ATTRIUBTED TO GEORGE PRENTISS KENDRICK RARE VASE Grueby Faience Company, 1897-1902 Stoneware, with faience glaze 12.875” x 8.75” diameter Provenance: M AX AN D ELLEN PA LEVSKY, CA LIFOR N I A ; LO S AN G ELES COU NT Y MU SEU M OF A RT

$6,000-9,000

ALTERNATE VIEW

PROPERTY OF ANOTHER OWNER

122 ROOKWOOD VASES (6) Rookwood, executed 1911-1928 Molded and glazed ceramic Molded manufacturer’s marks Largest: 10.25” x 4.75” diameter; Smallest: 5.25” x 3.5” diameter $3,000-5,000

PROPERTY OF ANOTHER OWNER

123 ROOKWOOD VASES (5) Rookwood, executed 1919-1929 Molded and glazed ceramic Molded manufacturer’s marks Largest: 10.75” x 4.75” diameter; Smallest: 4.5” x 3” x 1.5” $3,000-5,000

89 PROPERTY OF ANOTHER OWNER

124 ROOKWOOD VASES (7) Rookwood, executed 1902-1937 Molded and glazed ceramic Molded manufacturer’s marks Largest: 10.25” x 6.5” diameter; Smallest: 4.5” x 3.25” x .75” $3,000-5,000

PROPERTY OF ANOTHER OWNER

125 ROOKWOOD VASES (6) Rookwood, executed 1920-1934 Molded and glazed ceramic Molded manufacturer’s marks Largest: 11” x 6.75” x 6.75” diameter; Smallest: 5.25” x 3.25” diameter $3,000-5,000

126 L . & J.G. STICKLEY PRAIRIE SETTEE Model No. 220 L. & J. G. Stickley, 1912-17 Oak, wood, leather Retains gold and white decal “The Work of L. & J. G. Stickley” 29” x 84.625” x 36.75” Provenance: MAX AN D E L L E N PAL EVSKY, CALI FOR NI A; LO S AN GE L E S C O UN T Y M U SEU M OF ART

Exhibited: " AME R IC AN

ARTS & C R AFTS:

V IRTUE IN D E S IGN , " LOS ANG ELES COU NT Y MUS E UM O F ART, S E PTEM B ER 23, 1 990 JAN UARY 6 , 19 9 1.

Illustrated: B OW MAN,

LESLI E G R EENE,

AME R IC AN ARTS AN D CR AFTS: VI RTU E IN D E S IGN, LO S AN GE LES: LOS ANG ELES C O UN T Y MUS E UM O F ART, 1 990, FI G 6 3.

ALTERNATE VIEW

$8,000-12,000

127 L . & J. G. STICKLEY SERVER WITH ONE DRAWER AND SHELF L. & J. G. Stickley, c. 1912-15 Oak, patinated copper drop handles with hand-hammered surface Retains branded mark for manufacture 1912-16 36.125” x 42” x 20” Provenance: M AX AN D ELLEN PA LEVSKY, CA LIFOR N I A ( ACQUIRED FROM JORDA N VOLPE G A L L E RY, N EW YO RK); LO S AN G ELES COU NT Y MU SEU M OF A RT

$2,000-3,000

129 ATTRIBUTED TO HARVEY ELLIS DOUBLE-DOOR BOOKCASE

128 (OPPOSITE PAGE) AMERICAN ARTS & CRAFTS CARPET Manufacturer unknown, c. 1910 Woven jute, cotton 123.75” x 105.75” Provenance: MAX

PAL E VS KY, C AL IFO R N IA;

Gustav Stickley’s Craftsman Workshop, Eastwood, NY, designed c. 1903 Oak, leaded glass Retains manufacturer’s label for production 1907-12 and red decal for production 1904-12 57.875” x 45.625” x 14.3125” Provenance: MAX AN D E L L E N PAL EVSKY, CALI FOR NI A; LO S AN GE L E S C O UN T Y M U SEU M OF ART.

( AC Q UIR E D F R O M DJ P UF F E RT ’S AUC TIO N :

Exhibited: " AME R IC A N

TH E ARTS & C R AF TS S H O P, SAUSAL ITO,

V IRTUE IN D E S IGN , " LOS ANG ELES COU NT Y

C AL IFO R N IA , C 19 8 8) ;

MUS E UM O F ART, S E PTEM B ER 23, 1 990 -

LO S AN GE L E S C O UN T Y MUS E UM O F ART

JAN UARY 6 , 19 9 1.

Exhibited: " AME R IC AN

Illustrated: B OW MAN,

ARTS & C R AF TS :

ARTS & C R AFTS:

LESLI E G R EENE,

V IRTUE IN D E S IGN , " LO S AN GE L E S C O UN T Y

AME R IC AN ARTS AN D CR AFTS: VI RTU E

MUS E UM O F ART, S E P TE MB E R 2 3 , 19 9 0 -

IN D E S IGN, LO S AN GE LES: LOS ANG ELES

JAN UARY 6 , 19 9 1.

C O UN T Y MUS E UM O F ART, 1 990, FI G 56 .

$2,000-3,000

$5,000-6,000

130 GUSTAV STICKLEY SETTLE Model no. 286 Gustav Stickley’s Craftsman Workshop, Eastwood NY, 1905-09 Oak, upholstery Retains red decal for manufacture 1904-12 48.875” x 47.5” x 25.1875” Provenance: MAX

PA LEVSKY, CAL I FOR N I A ;

LO S AN G ELES COU NT Y MU SEU M OF A RT

Exhibited: "A MERI CA N

A RTS & C R A F TS:

V IRT UE IN DESIGN, " LOS A NGELE S C OU N T Y MUS EUM OF A RT, SEPTEMBER 23 , 1 9 9 0 -

ALTERNATE VIEW

JANUARY 6, 1991.

Illustrated: BOWMA N,

LESLIE GR E E N E ,

AM ERICAN A RTS A ND CRA FTS: VIRT U E IN D ES IG N, LOS A NGELES: LOS AN G E L E S CO UN T Y MU SEU M OF A RT, 1990, F I G 4 6 .

$5,000-7,000

NOT ILLUSTRATED 131 CHICAGO SCHOOL SIDEBOARD Manufacturer unknown, c. 1895 Solid and pierced oak, silvered metal pulls 58.25” x 83” x 58.25” The design bears similarities with Louis Sullivan and Dankmar Adler’s designs for the interior of the Chicago Stock Exchange 1893-94. The partner to this piece, a Fireplace Surround, was sold by LACMA with LAMA in October 2012 (lot 144) for $13,437. Provenance: LO S AN G ELES COU NT Y MU SEU M OF A RT

$1,000-1,500

PROPERTY OF ANOTHER OWNER

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

$5,000-7,000

ELIZABETH EATON BURTON The following two lots were commissioned in 1909 by noted patron of the arts Mrs. Anita Baldwin McClaughry, the daughter of entrepreneur and race horse owner Elias Jackson “Lucky” Baldwin. These two works adorned the interior of her palatial residence “Anoakia,” set within 16 acres in the foothills of Santa Anita Canyon, Los Angeles, California. Seminal architect Arthur B. Benton designed the house, with progressive interior schemes devised by some of the leading American artists and designers of the day, including Maynard Dixon, Ernest Batchelder, and Louis Comfort Tiffany. Elizabeth Eaton Burton is widely recognized as a leading figure in the development of California’s craft tradition, a movement that continued to flourish throughout the twentieth century. Due to the labor-intensive nature of Burton’s studio work and the relatively short period of time that she was active - from the opening of her studio in 1897 to her departure for Europe in 1920 - very few examples were ever produced. Her distinctive style, which featured tooled leather, seashells, and hand-wrought copper worked into organic and flowing forms, was informed partly by her upbringing in metropolitan Paris, which she left at the age of 17, and partly in response to the un-spoilt natural beauty of her home in rural Santa Barbara. The table lamp carries distinct echoes of the leading French fin-de-siècle exponent of the Art Nouveau style, Emile Gallé, with its copper frame, hand-hammered into the form of flowing foliage. The use of abalone for the shades and for the inlay to the recesses of the tooled leather picture frame clearly demonstrates the inspiration that she found within the natural environment where she gathered the seashells during excursions to the beach. An example of Burton’s abalone shell lamp design is currently included in the Gene Autry Museum’s exhibition, “California's Designing Women, 1896-1986.” Beresford, Hattie. The Way it Was: My Santa Barbara Scrapbook: 1886-1910. Santa Barbara: Santa Barbara Historical Museum, 2011. Print.

133 ELIZABETH EATON BURTON SHELL LAMP Studio, commissioned c. 1902 Hand-hammered copper, abalone shell shades 16.25” x 14” x 14” Provenance: MRS

A NITA BA LDW I N

MCL AUG HRY, A NOA KI A , SA NTA A N I TA , CAL IFO RNIA , 1914; PRIVAT E COLLECTION ( TH ENCE BY DES CEN T ) ; PRIVAT E COLLECTION, CA LIFORNI A

$10,000-15,000

134 ELIZABETH EATON BURTON FRAME Studio, commissioned c. 1902 Hand-tooled buckskin suede, abalone shell, hand-painted fabric Designer’s monogram recto 14.25” x 12” x .5” Provenance: MR S

ANI TA BALDWI N

MC L AUGH RY, AN OAK I A , SANTA ANI TA , C AL IFO R N IA , 19 14; P R IVATE C O L L EC TI ON ( TH ENC E BY DESCENT); P R IVATE C O L L EC TI ON, CALI FOR NI A

$4,000-6,000

135 ROBERT JARVIE IOTA CANDLESTICK Studio, executed c. 1905 Patinated bronze Chased mark verso “Jarvie” Jarvie produced candelsticks from 1905-12. 14.25” x 7.25” diameter base $4,000-6,000

136 MASSET UNTITLED (SCULPTURE) Paris Foundry, designed c. 1925 Patinated spelter, black and brown onyx 41.25” x 30.25” x 7.25” $1,500-2,000

137 ANDY WARHOL TRUMAN CAPOTE c. 1979 Screenprint on paper Unknown edition size Printed by Rupert Jasen Smith, New York F/S #IIIC.46 Sheet: 50.125” x 41.375”; Frame: 43.25” x 41.5” Literature: FELDMA N,

FRAYA , A ND J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ, 4TH EDIT I ON , N E W YO RK: DAP, 20 03, PP 92- 92, # II I C / 4 6 .

$20,000-30,000

138 ANDY WARHOL VOTE MCGOVERN 1972 Screenprint on Arches 88 #9 of 250 Published by Gemini G.E.L., Los Angeles; printed by Jeff Wasserman, Gemini G.E.L., Los Angeles Signature with edition in ball point pen verso; Gemini G.E.L. blind stamp lower right corner F/S #II.84 Sheet: 41.625” x 41.625”; Frame: 42.25” x 42.25” This work was published to generate funds for the George McGovern campaign for presidency. Literature: F E L D MAN,

FR AYA , AND JOR G

S C H E L L MAN N , AN DY WAR H OL P R I NTS: A C ATALO GUE R AIS O N NÉ, 4 TH EDI TI ON, NEW YO R K : DAP, 2 0 03 , P 80, #I I /84 .

$15,000-20,000

101

139 ANDY WARHOL MICK JAGGER 1975 Screenprint on Arches Aquarelle #78 of 250 Signed “Andy Warhol” lower right; signed by Mick Jagger lower left; edition lower left Published by Seabird Editions, London; printed by Alexander Heinrici, New York F/S #11.143 Sheet: 43.5” x 29”; Frame: 50” x 34.75” Literature: F E L D MAN,

FR AYA AND JOR G

S C H E L L MAN N , AN DY WAR H OL P R I NTS: A C ATALO GUE R AIS O N NÉ, 4 TH EDI TI ON, NEW YO R K : DAP, 2 0 03 , P P 92- 93, #1 1 /1 4 3.

$10,000-20,000

140 ANDY WARHOL JANE FONDA 1982 Screenprint on Lenox Museum Board #8 of 100 Published by Friends of Tom Hayden, Santa Monica, CA; printed by Rupert Jasen Smith, Santa Monica, CA Signature in graphite lower left with edition; inscribed in graphite by Jane Fonda “Peace, Jane Fonda ‘86” lower center F/S #II.268 Sheet: 39.5” x 31.5”; Frame: 41.5” x 33.5” Literature: FELDMA N,

FRAYA , A ND J OR G

S CHEL L M ANN, A NDY WA RH OL PR I N TS: A CATALO G U E RA I SONNÉ, 4TH EDIT I ON , N E W YO RK: DAP, 20 03, P 124, # 11/268.

$25,000-35,000

141 ANDY WARHOL HAMMER AND SICKLE (HAMMER AND SICKLE SERIES) 1977 Screenprint on Strathmore Bristol #28 of 50 Published by Andy Warhol Enterprises, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition in graphite lower left F/S #11.163 Sheet: 30” x 40”; Frame: 39.25” x 49.25” Literature: F E L D MAN ,

FR AYA , AND JOR G

S C H E L L MAN N , AN DY WAR H OL P R I NTS: A C ATALO GUE R AIS O N NÉ, 4 TH EDI TI ON, NEW YO R K : DAP, 2 0 03 , P 9 8, #1 1 /1 6 3.

$8,000-12,000

142 ANDY WARHOL UNTITLED (CAMPBELL’S SOUP CAN NOODLE) Graphite on paper Signed “Andy Warhol” Sold with certificate of authenticity from the Andy Warhol Art authentication board. Andy Warhol Authentication #103.122 Sheet: 11.75” x 7.75”; Frame: 20” x 15” Provenance: R O B E RT

SH APAZI AN;

P R IVATE C O L L EC TIO N, CALI FOR NI A

$3,000-5,000

103

143 ANDY WARHOL ANDY WARHOL’S INDEX AND OTHER BOOKS (4) Publishers: A: Random House, New York; B: Phaidon, New York; C: Abrams, New York; D: Prestel, New York A: 1967; B: 2006; C: 2003; D: 2007 A: Andy Warhol’s Index (Book) by Paul Morrissey, Stephen Shore, Ondine, and Nico (sold with original plastic protective covering); B: Andy Warhol “Giant” Size by Steven Bluttal and Dave Hickey; C: I Bought Andy Warhol by Richard Polsky; D: Andy Warhol by Isabel Kuhl. Various dimensions $900-1,200

145 ANDY WARHOL CAMPBELL’S SOUP CAN (TOMATO)

S CHAPIRO, A MERI CA N EDGE, NEW M E XI C O:

1966 Screenprint on shopping bag Unknown edition size Published by the Institute of Contemporary Art, Boston Published for an exhibition at the Institute of Contemporary Art, Boston, Massachusetts, October 1 - November 6, 1966. F/S #II.4a Signature in pencil lower right Bag: 19.25” x 16.75”; Frame: 27.75” x 22.25”

AREN A EDITIONS, 20 0 0, ILLU STR AT E D P 87 ;

Literature: F E L DM A N ,

S CHAPIRO, STEPH EN, SCH A PI RO’S HE R OE S,

SC HE L L M A N N , A N DY WA R H O L P R IN TS : A

NEW YO RK: POWERH OU SE BOOKS, 2 007,

C ATA LOG U E R A I SON NÉ 1 9 6 2-19 8 7, 4TH E D I-

IL LUST RATED P 54.

T I ON , N E W YOR K : DA P, 20 03 , P 5 9, # II/ 4A .

$2,000-3,000

$3,000-5,000

144 STEPHEN SCHAPIRO WARHOL AND SEDGWICK ENTOURAGE, NYC, 1965 1965; printed later Photographic print Image: 17.625” x 57.75”; Sheet (vis.): 19.5” x 59.5”; Frame: 21” x 61” Literature: H I CKEY,

DAVE, A ND ST E P HE N

FR AY DA , AN D J O R G

105

146 SAM FRANCIS DRAWING SKETCH (SF65-076) 1965 Acrylic on paper Artist’s label verso “SF 65-076”; signed, dated and titled in graphite verso Sheet: 13” x 22”; Frame: 16.5” x 25.5” $5,000-7,000

FLORENCE KNOLL - CUSTOM SOFA Through her “total design” approach, American furniture designer and architect Florence Knoll (b. 1917) produced some of the most iconic furniture designs and interiors of the 20th century. After the sudden death of her husband and founder of Knoll Associates, Hans Knoll, she married Harry Hood Bassett, chairman of the Southeast Bank. Retired since the mid-60s, in 1982 Knoll was asked to design the interior of Southeast’s new building. Completed in 1983, the Southeast Bank Building in Miami, Florida was outfitted with custom furniture from Florence Knoll as well as an extensive collection of modern art, including works by Sol LeWitt, Alexander Calder, and Ellsworth Kelly. A plinth base variation of her classic models, this couch comes from one of the last major interior design commissions of her career. In 2008, the building reopened as the Knoll Miami showroom, redesigned according to Knoll’s original “reductive aesthetic,” incorporating “light, open spaces furnished with elegant woven fabrics, furniture grouped for informal conversation, and brightly colored wall panels.” “Knoll Miami Showroom.” Knoll.com. Knoll Associates, 3 Sept. 2008. Web. 30 Oct. 2012.

147 FLORENCE KNOLL CUSTOM SOFA Knoll International, designed 1982 Ebonized wood, wool upholstery Designed for the Southeast Bank, Miami, FL, 1982 30.5” x 85” x 31.5” Provenance: PRI VATE

COLLECTON , LOS

AN G LEES (ACQ U I RED FROM SOTH E BY'S, CHICAG O, NOVEMBER 1999, LOT 3 08)

$3,000-5,000

148 FLORENCE KNOLL COFFEE TABLE H.G. Knoll, designed 1950 Marble and steel 16” x 54.25” x 24” $2,000-3,000

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

B R I AN, K NOLL : A M OD -

E R N UN IV E R S E, N E W YOR K : R I ZZOLI , 201 0, P 105 .

$1,000-1,500

150 CHARLES & RAY EAMES SOFA COMPACT Model no. 473 Herman Miller, designed 1954 Cowhide and vinyl upholstery, enameled steel 36” x 71” x 29” Literature: N E UH ART,

JOH N AND M AR I LYN,

E AME S D E S IGN : TH E WOR K OF TH E OFFI CE O F C H AR L E S AN D R AY EAM ES, NEW YOR K : AB R AMS, 19 8 9, P 19 1.

$2,000-3,000

151 ISAMU NOGUCHI BIOMORPHIC COFFEE TABLE Model no. IN 50 Herman Miller, designed 1947 Lacquered wood, glass 15” x 50.5” x 36” Literature: P O S C H ,

KATAR I NA V, AND AL-

E XAN D E R VO N V EGE SAC K , I SAM U NOG U C H I : S C UL P TUR AL D E S IGN, WEI L AM R H EI N: V ITR A , 2 0 0 1, P 118 .

$1,500-2,000

107

152 GEORGE NELSON SWAG LEG CHAIR Model no. DAA Herman Miller, designed 1954 Fiberglass, enameled and chrome-plated steel 34” x 28” x 21” Literature: EISENBRA ND,

JOCH E N , G EOR G E

NEL S O N: A RCH ITECT, WRITER , DE SI G N E R , T EACHER , W EI L A M RH EIN: VITRA DE SI G N MUS EUM , 20 0 8, PG 249.

$1,500-2,000

153 GEORGE NELSON DESK AND RETURN Herman Miller, designed c. 1956 Walnut, aluminum, steel, lacquered Masonite Retains manufacturer’s label and stamped marks 26” x 80” x 72” $2,000-3,000

154 GEORGE NELSON SWAG LEG CHAIR Model no. DAF Herman Miller, designed 1954 Fiberglass, enameled and chrome-plated steel 30.75” x 29” x 19.5” Literature: E IS E N B R AND,

JOCH EN, G EOR G E

N E L S O N : AR C H ITEC T, WR I TER , DESI G NER , TE AC H E R , W E IL AM R H EI N: VI TR A DESI G N MUS E UM, 2 0 0 8 , P G 24 9.

$2,000-3,000

155 GEORGE NELSON OFFICE UNIT Herman Miller, designed c. 1956 Walnut, lacquered wood, aluminum, laminate, chrome-plated steel Retains manufacturer’s metal label 43.25” x 80.75” x 77.5” $2,000-3,000

109

156 GEORGE NELSON HOME OFFICE DESK Model no. 4658 & 601 Herman Miller, designed 1948 Maple, leather, steel This example contains the original Pendaflex file basket which was a special order. 41” x 54” x 28” Provenance: PROPERT Y

FROM A N I M P OR-

TANT WE ST COAST COLLECTION

Literature: EI SENBRA ND,

JOCHE N , G EOR G E

N EL S O N : A RCH ITECT, WRITER , DE SI G N E R , T EACHER , WEIL A M RH EIN: VITR A DE SI G N M US EUM, 20 0 8, P 258.

$5,000-8,000

157 GEORGE NELSON PLANT STAND Howard Miller Clock Company, designed c. 1952 Walnut, enameled metal, plastic 11.75” x 43” x 36” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON ( AC Q U I R ED F R O M W R IGH T AUC TIO N, JU NE 9, 2002, LOT 146 )

$7,000-9,000

111

158 CHARLES & RAY EAMES WIRE MESH CHAIR (2) Model no. DKR-2 Herman Miller, designed 1951-53 Enameled steel wire, naugahyde Each retains Herman Miller upholstery tag 32” x 18.75” x 15.5” Provenance: PROPERT Y

FROM A N I M P OR-

TAN T WEST COAST COLLECTI ON

Literature: NEU H A RT,

JOH N A ND M A R I LYN ,

EAM ES D ESI GN: TH E WORK OF THE OF F I C E O F CHARLES A ND RAY EA MES, NE W YOR K : ABRAMS, 1989, P 152.

$1,000-1,500

159 CHARLES & RAY EAMES LOUNGE CHAIRS (2) Model no. LCW Evans, designed 1945, these examples late 1940s Laminated calico ash One with ghost of a label Each: 27” x 22” x 22” Provenance: PROPERT Y

FROM A N I M P OR-

TAN T WEST COAST COLLECTI ON

$3,000-4,000

160 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN (2) Model no. 670 & 671 Herman Miller, designed 1956, this example produced before 1971 Rosewood and black leather Both retain Herman Miller medallions Chair: 32.5” x 32.5” x 32”; Ottoman: 16.25” x 25.5” x 21” $2,500-3,000

161 CHARLES & RAY EAMES FOLDING TABLE Model no. DTM-1 Herman Miller, designed 1947 Walnut face veneer, chrome-plated steel Retains Herman Miller label 29” x 53.75” x 34” Literature: TH E

H E R M AN M I LLER COLLEC-

TIO N ( F UR N ITUR E C ATALOG U E) , 1 94 8, NP.

$1,400-1,600

162 CHARLES & RAY EAMES FOLDING TABLE Model no. DTM-10 Herman Miller, designed 1947 White laminate, enameled steel 29” x 53.75” x 34” Literature: TH E

H E R M AN M I LLER COLLEC-

TIO N ( F UR N ITUR E C ATALOG U E) , 1 94 8, NP.

$1,400-1,600

113

163 CHARLES & RAY EAMES DINING SUITE (7) Aluminum group Herman Miller, designed 1958 Table: Aluminum, laminate; Chairs: Custom leather, aluminum, enameled steel Table retains Herman Miller tag Comprised of a table and six chairs Table: 28.5” x 60” diameter; Each chair: 33.75” x 18” x 23” Literature: NEU H A RT,

JOH N A ND M A R I LYN ,

EAM ES D ESIGN: TH E WORK OF THE OF F I C E O F CHARLES A ND RAY EA MES, NE W YOR K : ABRAMS, 1989, P 227.

$3,000-5,000

164 FRANZ KLINE OVER GREEN 1958 Oil and collage on paper attached to board Signed lower right 9.875” x 12.875” Provenance: S ID N E Y

JANI S G ALLERY, NEW

YO R K ; P R IVATE C O L L EC TIO N; MUS E UM O F MO D E R N ART LENDI NG SERV IC E , N E W YO R K ; S OTH E BY ’S N E W YO R K , NOVEM BER 1 986 , LOT 112 ; C H R ISTIE ’S N E W YO R K , NOVEM B ER 2007, LOT 2 2 6 ; P R IVATE C O L L EC TIO N, U NI TED K I NG DOM ; AC Q UIR E D BY TH E P RESENT OWNER FR OM TH E AB OV E

Exhibited: “ F R AN Z

K LI NE, ” SI DNEY JANI S

GAL L E RY, N E W YO R K , M AY-JU NE 1 958.

$50,000-70,000

115

165 OSKAR FISCHINGER UNTITLED 1957 Oil on canvas Signed “O.W. Fischinger” lower right; dated with artist’s signet lower left; “#277” inscribed in red ink verso Canvas: 10.125” x 9.875”; Frame: 17.125” x 17” $2,500-3,500

166 OSKAR AND ELFRIEDA FISCHINGER WEAVING c. 1963 Oil on board SIgnature verso; retains exhibition label verso Board: 13.5” x 10”; Frame: 15” x 20” Exhibited: “A

RETROSPECTIVE OF PA I N T-

ING S AN D FI LMS BY OSCA R FISCHI N G E R ,” LUCKMAN FINE A RTS GA LLERY, C SU LOS ANG EL ES, NOVEMBER 1 - DECEMB E R 1 5, 19 9 4

$1,500-2,000

167 HERBERT BAYER OWL PEOPLE 1948 Oil on canvas Signed and dated lower right; titled, signed, and dated verso Canvas: 17.5” x 23”; Frame: 18” x 23.5” $8,000-12,000

168 LEONARD EDMONDSON PROVOKING RED c. 1951 Oil and applied fabric strips on canvas Signature lower left; retains partial Pasadena Art Museum label on upper canvas stretcher verso Canvas: 42” x 50” Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

Exhibited: " L EO N AR D

EDM ONDSON EX H I BI-

TIO N , " PASAD E N A ART M U SEU M , 1 953

$5,000-7,000

117

169 HARRY BERTOIA UNTITLED (SCULPTURE) Studio, executed c. 1975 Welded and patinated bronze and copper 7.5” x 8” x 6.5” Provenance: PRIVATE

COLLECTI ON

( ACQUIRED FROM TH E A RTIST )

$9,000-12,000

119

170 HARRY BERTOIA UNTITLED (EARLY MONOGRAPHIC WORK) Early 1940s Colored inks and oils on mat board Board: 8.875" x 6"; Frame: 16" x 13.125" Literature: N E L S O N ,

JU NE KOM PASS,

H AR RY B E RTO IA , P R INTM AK ER , DETR OI T: WAY N E STATE UN IV E RSI T Y P R ESS, 1 988, P 5 8 - 6 0 ( S IMIL AR E XAMP LES)

$6,000-9,000

171 HARRY BERTOIA UNTITLED (RELIEF) Bronze Unmarked Sculpture: 6.25” x 6.5”; With stand: 8.75” x 6.5” x 2.75” $2,000-3,000

LAMA would like to thank Gail Natzler for her gracious assistance in cataloguing these works.

172 GERTRUD & OTTO NATZLER BOWL Studio, executed c. 1945 Velvet Chartreuse glazed ceramic Signed “Natzler” 3.5” x 5.875” x 5.6875” (9 cm x 15 cm x 14.5 cm) $3,000-5,000

173 GERTRUD & OTTO NATZLER BOWL Studio, executed c. 1950 Chartreuse glazed ceramic Signed “Natzler” 5.5” x 7.5” diameter (14 cm x 19 cm diameter) Provenance: PROPERT Y

FROM A N I M P OR-

TAN T WEST COAST COLLECTI ON

$5,000-7,000

174 GERTRUD & OTTO NATZLER BOWL Studio, executed c. 1954 Sky pale blue glazed ceramic Signed “Natzler” 3.5” x 7.5” diameter (9 cm x 18.5 cm diameter) Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

$3,000-5,000

121 175 GERTRUD & OTTO NATZLER BOWL Studio, executed c. 1950 Yellow glazed ceramic Signed “Natzler” 2.75” x 10.25” diameter (7 cm x 26 cm diameter) Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

$4,000-6,000

GRETA MAGNUSSON GROSSMAN Swedish designer and architect Greta Magnusson Grossman (1906-1999) achieved success on two continents, and remains one of the most influential female designers of the 20th century. She began her career in Sweden, blossomed in Los Angeles, and left her mark on an international scale. After a yearlong woodworking apprentice at a furniture workshop in her hometown of Helsingborg, Sweden, Grossman moved to Stockholm to enroll as a furniture design major at Konstfack, Stockholm’s university for artists, designers, and craftsmen. There she was awarded a travel grant to Europe where she encountered the architecture of Mies van der Rohe and Le Corbusier, as well as machine-made furniture. Upon her return to Sweden, she married the English bandleader Billy Grossman, who encouraged her to start her own furniture business. With the help of classmate Erik Ullrich, Grossman opened Studio, a store and workshop that became a meeting place for Stockholm’s young artists. The city’s newspapers loved Grossman due to her second-place award in the “combination furniture” category in a competition sponsored by the Stockholm Craft Association – the first time a woman earned this distinction. Throughout the 1930s, Grossman produced custom furniture for clients in France, Poland, Panama, and Finland, as well as pieces for Swedish elites, including Ingrid Bergman. Her gracefully simple and practical pieces earned her praise from critics, and in 1938, Grossman turned heads with one of her greatest achievements, a one-woman show at Stockholm’s Galerie Moderne. Greta and Billy had always planned on moving to New York, but a harrowing journey across Russia and Japan during the outbreak of World War II dropped the couple in San Francisco, and then eventually in Los Angeles. The American response to Swedish modern design was overwhelmingly positive, and once Grossman established her shop on North Rodeo drive in Beverly Hills, the Los Angeles press featured her in a flurry of articles. The space was expensive and the country was at war, so Grossman was forced to establish herself at a more modest location on North Highland in Hollywood. Once again Grossman’s space became a hub for the city’s urban planners, designers, and architects, including Richard Neutra. A newspaper article at the time announced that Grossman’s greatest ambition was “to work out designs for simple, inexpensive but esthetically high-class furniture for lower income homes.” She began designing furniture for the Los Angeles based manufacturer, Barker Brothers. So positive was the public’s reception that Barker Brothers transformed their fifth floor into a Modern Shop, complete with furnishings by Grossman and Finnish designer Alvar Aalto. The first of many collaborations with furniture and lighting manufacturers, the opening of the Modern Shop brought over 6,000 spectators, and solidified Grossman as one of the exclusive interior designers in Los Angeles. She went on to design dozens of homes throughout the second half of the century, filling mid-century modern homes with custom furniture as well as her most iconic designs. In the late 1940s and 50s, Grossman conceived a variety of designs for the lighting manufacturer Ralph O. Smith and the furniture manufacturer Glenn of California. She was keenly aware of the American design aesthetic that was becoming popular, and she blended it with the understated prominence of Scandinavian design to create distinctly Southern Californian furniture. She explored new materials, introduced a playful nature to her pieces, and responded to the changing lifestyle of the modern California household. An extremely rare piece, the bookshelf (designed c. 1950) incorporates characteristic Grossman features: black laminate contrasted with natural walnut, atomic balls for feet, and form-follows-function adjustable shelves. Light and elegant, her Tripod floor lamp (designed 1947-48) was designed to easily move from room to room for the open floor plan home. Another exceedingly rare piece, reminiscent of an ironing board, the rare occasional table (designed 1952) achieves a serene symmetry, both in the wood grain and plated stainless steel base. The Tripod floor lamp, the occasional table, and the bookshelf are on display at the Pasadena Museum for California Artists’ exhibition, “Greta Magnusson Grossman: A Car and Some Shorts,” as well as the Gene Autry Museum’s exhibition, “California's Designing Women, 1896-1986.” Snyderman, Evan, and Karin Åberg Wærn. Greta Magnusson Grossman – A Car and Some Shorts. Stockholm: Arkitekturmuseet, 2010.

176 GRETA MAGNUSSON GROSSMAN TRIPOD FLOOR LAMP Model no. 831 Ralph O. Smith, designed 1947-48 Enameled metal 50.25” x 15” diameter Literature: WAE R N ,

KAR I NG , G R ETA

MAGN USS O N GR O SS M AN: A C AR AND SOM E S H O RTS, VAR N AMO : AR K I TEK TU R M U SEET, 2 0 10, P 3 2 .

$5,000-8,000

123 177 GRETA MAGNUSSON GROSSMAN RARE OCCASIONAL TABLE Model no. 6401 Glenn of California, designed 1952 Walnut, plated stainless steel 13.5” x 59.5” x 35.25” Literature: H E N N E S EY,

WI LLI AM J, M OD -

E R N F UR N IS H IN GS FO R TH E H OM E, NEW YO R K : R E IN H O L D P UB LI SH I NG C OR P OR ATIO N , 195 6 , P 118 .

$10,000-15,000

178 GRETA MAGNUSSON GROSSMAN RARE BOOKSHELF Model no. 6210 Glenn of California, designed c. 1950 Walnut and laminate 38.5” x 41.5” x 12” A similar example is currently being exhibited in “California’s Designing Women, 1896-1986”, at the Museum of California Design at the Autry National Center, August 2012 - January 2013. Literature: GLENN

OF CA LIFORNI A (C ATA-

LO G UE) , U NPAGINATED, U NDATED.

$5,000-7,000

179 GRETA MAGNUSSON GROSSMAN LOW CONSOLE Glenn of California, designed 1952 Walnut 16” x 64.5” x 17.5” Literature: WA ERN,

KA RI N, GRETA M AG -

NUSS O N GROSSMA N: A CA R A ND SOM E S HO RTS, VA RNA MO: A RKI TEKTU R M U SE E T, 2 01 0, CHR ONOLOGY.

$2,500-3,500

180 MANUEL NERI UNTITLED (JOAN BROWN IN STUDIO 13, SAN FRANCISCO ART INSTITUTE) 1958 Tempera, acrylic, charcoal, and graphite on paper Sheet (vis.): 23.5” x 24”; Frame: 26.25” x 26.25” Literature: S C H E N K ,

M ARVI N A , M ANU EL

N E R I: A S C UL P TO R ’S DR AWI NG S, WASH I NG TO N , D C : C O R C O R AN G ALLERY OF ART, 1 994 ( S IMIL AR E XAMP L E S FR OM TH E P ER I OD) ; AME R S O N , P R IC E , MANU EL NER I : EAR LY WO R K , 195 3 -19 7 8, N E W YOR K : H U DSON H IL L S P R E SS, P P 15 8 -1 59 ( FOR DI SCU SSI ON O F S IMIL AR PAIN TE D WOR KS ON PAP ER ) .

$4,000-6,000

181 MANUEL NERI UNTITLED (JOAN BROWN SEATED ON MODEL STAND IN STUDIO 13, SAN FRANCISCO ART INSTITUTE) 1958 Tempera, acrylic, charcoal, and graphite on paper Sheet (vis.): 24” x 24”; Frame: 26.25” x 26.25” Literature: S C H E N K ,

M ARVI N A , M ANU EL

N E R I: A S C UL P TO R ’S DR AWI NG S, WASHIN GTO N , D C : C O R C O R AN G ALLERY OF ART, 19 9 4 ( FO R S IMIL AR EXAM P LES FR OM TH E P E R IO D) ; AME R S ON, P R I C E, M ANU EL N E R I: E AR LY WO R K , 1953 -1 978, NEW YOR K : H UD S O N H IL L S P R E SS, P P 1 58 -1 59 ( FOR D IS C USS IO N O F S IMIL AR PAI NTED WOR KS O N PAP E R ) .

$4,000-6,000

125

182 NATHAN OLIVEIRA BULL

183 NATHAN OLIVEIRA SOLDIER

1956 Monoprint Printed by the artist, San Francisco Signed and dated in graphite lower right Impression: 24” x 32”; Sheet (vis.): 25” x 33”; Frame: 26” x 34”

1956-7 Monoprint Printed at California School of Fine Arts, San Francisco Signed “N. Oliveira 57” in graphite lower right margin Impression: 24.25” x 14.75”; Sheet (vis.): 25.375” x 15.625”; Frame: 32.25” x 21.5”

Literature: BA LL ,

Literature: B A L L ,

MAU DET TE W, N AT HA N

M AU DE T TE W, N ATH AN

O LIV EIRA PRI NT RETROSPECTIVE , 1 9 4 9 -

OL I VE I R A P R I N T R E T R OSP EC TIV E , 19 49 -

1 9 8 0, LO NG BEACH : CA L STATE LO N G

1 9 80, LON G B E AC H: C A L STATE LO N G

BEACH MU SEU M A ND GA LLERIES P U B L I C A-

B E AC H M U SE U M A N D G A LL E R IE S P UB L IC A-

T IO NS, 1 9 80, # 23.

T I ON S, 1 9 80, #2 2 .

$1,000-1,500

184 NATHAN OLIVEIRA UNTITLED (NUDE) 1965 Watercolor and graphite on paper Signed and dated lower right 9.5” x 7.75”; Frame: 15” x 13” $1,000-1,500

185 CLAIRE FALKENSTEIN ALLEGORY 1982 Soft-ground etching Printer’s proof Signed and dated lower right; “Bon a tier” inscribed lower left; “Allegory” inscribed lower center This is a large-scale work by the artist. Impression: 39.5” x 52.125”; Sheet: 42.25” x 55.375”; Frame: 46.25” x 59.25” $2,500-3,500

186 MARK TOBEY LOUVRE 1961 Color lithograph on Arches #164 of 200 Signature lower right; edition lower left; retains two Cedars-Sinai labels verso Impression: 22” x 17”; Sheet (vis.): 29.25” x 20.75” Provenance: C E DAR S - SI NAI C E N TE R

$1,000-1,500

M EDI CAL

127

187 JACKSON GREGORY, JR . & D.R . BATES DESK AND CHAIR (2) Vista of California, designed c. 1955 Mahogany, enameled steel, vinyl upholstery Together with a chair by Paul Goldman (not illustrated) Desk: 28.375” x 42” x 22”; Chair: 31.75” x 19” x 17” $1,200-1,800

188 JACKSON GREGORY, JR . & D.R . BATES BOOKSHELF Vista of California, designed c. 1955 Mahogany, enameled steel 46.25” x 49.125” x 16.75” $1,000-1,500

189 CALIFORNIA MODERN TABLE LAMP Manufacturer unknown, designed c. 1955 Bisque ceramic, metal wire, paper 31” x 14” diameter $800-1,200

129

190 MITCHELL BOBRICK CONTROL LIGHT Controlight Company, designed c. 1949 Enameled metal, ash, glazed pottery Retains “Controlight” label 19.5” x 18” x 17” $2,000-3,000

191 EDWARD WORMLEY SIDE TABLE WITH DRAWER Drexel, designed c. 1955 Walnut, brass pulls Branded manufacturer’s mark 16.25” x 42” x 31.75” $2,000-3,000

192 MILO BAUGHMAN SEATING UNIT AND TABLE (2) Thayer Coggin, designed c. 1960 Walnut, vinyl upholstery Bench retains Thayer Coggin tag Bench: 31.5” x 78” x 24”; Table: 10.25” x 66” x 20” $1,200-1,800

193 MILO BAUGHMAN DESK Glenn of California, designed c. 1950 Birch, bronze pulls 28.75” x 62.5” x 25” $2,000-3,000

131

194 MILO BAUGHMAN LONG BENCH Glenn of California, designed c. 1950 Walnut, hickory 11.25” x 81” x 18” Literature: H E N N E SSEY,

WI LLI AM -JAM ES,

MO D E R N F UR N IS H IN GS FOR TH E H OM E, N E W YO R K : R E IN H O L D P U BLI SH I NG C OR P O R ATIO N , 195 2 , P 15 2 .

$1,500-2,000

195 ATTRIBUTED TO MILO BAUGHMAN ARMCHAIR Glenn of California, designed 1953 Walnut, cane back, upholstered seat Retains Glenn of California upholstery tag dated 3.20.53 29.25” x 21” x 21” $500-800

196 PABLO PICASSO FACE NO. 130 1963 White earthenware clay, decoration in engobes and enamel under glaze #452 of 500 Madoura Impressed “Edition Picasso” with Madoura and edition numbers Ramié #479 9.75” diameter Literature: RA MIÉ,

PA BLO PICASSO: C ATA-

LO G UE O F TH E EDITED CERA MIC WOR KS 1 9 4 7- 19 71, MA DOU RA , 1988, # 4 7 9.

$5,000-7,000

197 PABLO PICASSO FACE 9-Jan-69 White earthenware clay, decoration in engobes engraved by knife under partial brushed glaze #498 of 500 Madoura Impressed “Edition Picasso” with Madoura and edition numbers Ramié # 611 12.25” x 4” diameter Literature: RA MIÉ,

PA BLO PICASSO: C ATA-

LO G UE O F TH E EDITED CERA MIC WOR KS 1 9 4 7- 19 71, MA DOU RA , 1988, # 611.

$4,000-6,000

198 MICHEL CADESTIN & GEORGES LAURENT BEAUBOURG SIDE CHAIR Teda, designed 1976 Steel wire and rod, leather 31” x 18.375” x 20.5” Designed for use in the Centre Georges Pompidou, Paris 1977. $1,000-1,500

199 JEAN ROYÈRE BREAKFAST TABLE La Maison Gouffe, designed c. 1938 Oak Retains manufacturer’s metal label “Gouffe/46.48.50. Faubourg S Antoine Paris” 29.5” x 58.75” x 39” $10,000-15,000

133

200 PABLO PICASSO DWARF DANCER (BARCELONA SUITE) 1966 Offset color lithograph on Arches wove paper #34 of 60 Published by the Museo Picasso, Palacio Aguilar, Barcelona; printed by Foto-Repro S.A., Barcelona Signature in graphite lower right; edition lower left Impression: 22.25” x 12.5”; Sheet (vis.): 25.75” x 15.25”; Frame: 41” x 30” Literature: CZW I KLITZER ,

CH RI STOP HE R ,

PICASS O ’S POSTERS, NEW YORK: R A N DOM HO US E, 1 9 71, # 234.

$3,000-5,000

201 AFTER ALBERTO GIACOMETTI NUDE WITH FLOWERS c. 1960 Lithograph Signature in plate lower right; retains Cedars-Sinai and Weisman Collection labels on frame verso Sheet (vis.): 15.5” x 11.375”; Frame: 16” x 11.75” Provenance: CEDA RS - SI NA I

MED I C A L

CENT ER

Literature: LU ST,

H ERBERT C, GI AC OM E T T I ,

T HE CO MPLETE GRA PH I CS A ND 15 DR AWIN G S, NEW YORK: TU DOR , 1970, O R I G I N A L LIT HO G RAP H FROM TH E EDITION I L LU S T RAT ED P 45, # 32.

$5,000-7,000

202 AFTER PABLO PICASSO GRANDE MATERNITÉ c. 1963 Color lithograph on wove Arches paper #101 of 200 Signature in graphite lower right; edition lower left; signature and date in plate upper left Sheet: 35” x 25”; Frame: 46” x 35.5” $7,000-9,000

203 JULES PASCIN UNTITLED Early 20th century Watercolor and graphite on paper Sheet (vis.): 9.75” x 11.75”; Frame: 17.5” x 18.5” $3,000-5,000

204 FRANÇOIS GALL JOCKEYS & HORSES AT LONGCHAMPS Oil on canvas Signed lower right Canvas (vis.): 14.25” x 17.5”; Frame: 22.5” x 25.75” Provenance: C E DAR S - SI NAI C E N TE R

$3,000-5,000

M EDI CAL

135

205 JOAN MIRÓ LA FEMME ARBORESCENTE 1974 Etching, aquatint, and carborundum on Arches #33 of 50 Published by Maeght Editeur, Paris; printed by Morsang, Paris Signature in graphite lower right; edition lower left Sheet: 43.375” x 28.5”; Frame: 59” x 44” Literature: DU PI N,

JACQ U ES, ED, M I RÓ E N-

G RAV ER , VOLU ME I I I , NEW YORK: R I ZZOL I , 1 9 8 9, #649.

$10,000-15,000

206 JOAN MIRÓ LA FILLE DU JARDINIÈRE 1963 Color lithograph on Rives vellum #4 of 90 Published and printed by Maeght, Paris Signature in graphite lower right; edition lower left Sheet: 17.5” x 23.5”; Frame: 23.25” x 29.25” Literature: Q U ENEAU,

RAY MOND, J OA N

MIRÓ LIT H OGRA PH S, VOLU ME I I , N E W YO RK: LEON A MI EL PU BLISH ER , 19 7 5, #34 9.

207 JOAN MIRÓ UNTITLED (LE MARTEAU SANS MAÎTRE) 1976 Engraving, etching, and aquatint on Rives #14 of 50 Published by Le Vent d’Arles, Paris; printed by Morsang, Paris Signature in graphite with edition in Roman numerals Sheet: 17.375” x 26.5”; Frame: 30” x 37” Literature: C R AME R ,

PATR I C K , ED, JOAN

MIRÓ, TH E IL LUSTR ATED BOOKS: C ATALO GUE R AIS O N NÉ , GE NEVA: P C R AM ER , 19 8 9, # 2 16 .

$3,000-5,000

208 JOAN MIRÓ UNTITLED (LE MARTEAU SANS MAÎTRE) 1976 Engraving, etching and aquatint on Rives #23 of 50 Published by Le Vent d’Arles, Paris; printed by Morsang, Paris Signature in graphite with edition in Roman numerals Sheet: 17.375” x 26.5”; Frame: 29” x 37.75” Literature: C R AME R ,

PATR I C K , ED, JOAN

MIRÓ, TH E IL LUSTR ATED BOOKS: C ATALO GUE R AIS O N NÉ , GE NEVA: P C R AM ER , 19 8 9, # 2 16 .

$3,000-5,000

137

209 AFTER MARC CHAGALL TRIBE OF BENJAMIN 1964 Color lithograph #1 of 150 Printed by Charles Sorlier, Paris Artist’s signature in graphite lower right; edition lower left; signature in plate lower right; printed in plate lower left “Ch. Sorlier Grav. Lith” Impression: 24” x 18”; Sheet (vis.): 26.25” x 19.25”; Frame: 38” x 31” Literature: SORLI ER ,

CH A RLES, C HAG A L L

LIT HO G RA PH S, VOLU ME V: 1974 -7 9, N E W YO RK: CROWN PU BLI SH ERS, 1984, #C S2 3.

$8,000-12,000

210 MARC CHAGALL THE READING 1973 Color lithograph on Arches #11 of 50 Published by Maeght Editeur, Paris Signature lower right in graphite; edition lower left Impression: 20” x 16”; Sheet: 26.125” x 19”; Frame: 38” x 31” Literature: GAUSS,

U LR I K E, ED, M AR C

C H AGAL L : TH E L ITH O G R AP H S, TH E SOR LI ER C O L L EC TIO N : A C ATALOG U E R AI SONNÉ , N E W YO R K : DAP, 19 9 8 , I LLU STR ATED P 31 0, #688.

$8,000-12,000

139

211 JACQUES ADNET ARTICULATED TABLE LAMP Compagnie des Arts Français, designed c. 1930 Chrome-plated steel, ebonized wood 10” x 11.75” x 6.5” Literature: FIELL ,

CH A RLOT TE, 10 00

LIG HTS, COLOGNE: TASCH EN, 20 05, P 34 1 .

$4,000-6,000

212 JOHN HUTTON FAUTEUIL

213 JACQUES ADNET FLOOR LAMP

Donghia, designed c. 2000 Wood, leather upholstery Retains label “Donghia A John Hutton design” 33.75” x 23.75” x 25.25”

Hermès, designed c. 1950 Leather bound metal, brass, deer antler 66.5” x 14” diameter

$1,500-2,000

$3,000-4,000

214 STYLE OF JACQUES ADNET TABLE LAMP WITH INSET DRAWER Possibly manufactured by Hermès, designed c. 1950 Leather, wood 14” x 6.5” x 6.5” $1,500-2,000

141 215 STYLE OF PAUL DUPRÉ-LAFON TABLE LAMP Possibly manufactured by Hermès, designed c. 1930 Leather, wood, opaque glass 21.875” x 8.5” diameter base Provenance: AL AN

M OSS G ALLERY, NEW

YO R K ; P R IVATE C O L L EC TON, C ALI FOR NI A ( AC Q UIR E D F R O M TH E AB OVE)

$3,000-4,000

216 HERMÈS NAUTICAL TABLE LAMPS (2) Hermès, designed c. 1940 Leather, brass, Baccarat glass Large example with gold leaf stamped mark to base “Hermès-Paris 24 FgSt. Honoré”; Small example stamped to underside “Hermès-Paris Made in France”; top stamped “Arras” 11” x 3.5” diameter and 7.5” x 2.75” diameter $3,000-5,000

217 EMILE GALLÉ RARE LIBELLULE OCCASIONAL TABLE Atelier Emile Gallé, designed c. 1900 Mahogany, beech, inlaid with various exotic woods, depicting lakescape with flowers on top tier and dusk landscape scene on the lower tier with moon and dragonfly Inlaid signature “Gallé” and incised atelier mark “modèle et décor déposé” With hinged extension leaves 29.5” x 41.5” x 20” Literature: DU NCA N,

A L ASTA IR , T HE

PARIS SALONS: 1895 -1914, VOLU M E I I I : FURNIT UR E, LONDON: A NTIQ U E C OL L ECTO R’S CLU B, 1996, P 222 ( VA RI A N T DE SI G N ILLUST RATED).

Provenance: MA ISON

BL A NCH E, N E W OR-

L EANS ; PRI VATE COLLECTI ON, CAL I FOR N I A .

$4,000-6,000

143

218 CLAUDE VENARD STILL LIFE IN BLACK AND BLUE c. 1958 Oil on canvas Signed lower right; retains Cedars-Sinai label verso Canvas (vis.): 29” x 29”; Frame: 38” x 38” Provenance: CEDA RS - SINA I CENT ER

$4,000-7,000

MED I C A L

219 JOHN FERREN OUTDOORS 1952 Oil on canvas Signed lower right; retains Los Angeles County Museum of Art, Exposition Park label verso; signed and dated verso Canvas: 48” x 36” $1,500-2,000

145

220 ROBERT FRAME SHORE CLIFF 1966 Oil on canvas Signed and dated with title verso; retains Cedars-Sinai Art Council label verso; retains partial artist's label verso Canvas: 24” x 30" Provenance: C E DAR S - SI NAI C E N TE R

$2,000-3,000

M EDI CAL

221 ROBERTO SEBASTIAN MATTA THE NEW SCHOOL (PORTFOLIO) 1943; published 1980 Suite of ten etchings with hand-colored frontispiece on Arches #61 of 70 Published by Editions Sabatier-Satie, Paris Each etching signed in graphite lower right; edition lower left Each sheet: 15.125” x 11” Provenance: CEDA RS - SINA I

MED I C A L

CENT ER

Literature: SA BATI ER ,

ROL A ND, MAT TA :

CATALO G UE RA ISONNÉ DE L’OU EV R E G R AVÉ , 1 9 4 3 - 19 74, STOCKH OLM: SONET, 19 7 5, #1 -7.

$3,000-5,000

14 7

222 PAUL JENKINS PHENOMENA WINTER HARTH 1975 Oil and sand on canvas Signed lower left; signed, titled, and dated verso Canvas: 26” x 48”; Frame: 27” x 49.25” $8,000-12,000

223 PAUL JENKINS PHENOMENA CAUGHT 1961 Watercolor on Arches Signature in black ink lower right; inscribed “Paul Jenkins/Phenomena Caught/Paris 1961” and “#128” verso Sheet: 30.5” x 22.75”; Frame: 36” x 28” $3,000-5,000

224 KAREL APPEL JUMPING FOX WITH GREEN VIRGIN c. 1976 Original multiple handpainted wooden relief #13 of 50 Published by Editions Press, San Francisco Signed “Appel” lower right with edition and title on frame verso Relief: 19.25” x 23.75” x 3”; Frame: 25.5” x 30” $8,000-12,000

225 KAREL APPEL CAT 1960 Colored crayon and graphite on paper Signed and dated lower right; inscribed “For Joyce” at bottom margin Sheet (vis.): 17.5” x 23.5”; Frame: 24” x 30” $9,000-12,000

149

226 ARNE JACOBSEN GIRAFFE CHAIR Fritz Hansen, designed 1957 Laminated beech, ash, wool upholstery Designed and manufactured for use in the SAS Royal Hotel, Copenhagen, Denmark. 40.75” x 24” x 18” Literature: TH AU,

KA RSTEN, A ND KJ E L D

V IN D UM, ARNE JACOBSEN, COPEN HAG E N : T HE DANISH A RCH ITECTU RA L PR E SS, 2 002 , PP 4 3 7- 4 38.

$3,000-5,000

227 JENS QUISTGAARD DESK Lovig, Dansk, designed c. 1967 Walnut Branded “Lovig, Dansk, Denmark” 34” x 63.75” x 28.75” $2,500-3,500

151 228 ARNE JACOBSEN EARLY DESK CHAIR Model no. 3217 Fritz Hansen, designed 1955 Chrome-plated steel, leather upholstery Stamped “FH Danmark” 31” x 25” x 25” Literature: STE N

MO LLER , H ENR I K , H ANS

W EGN E R F UR N ITUR E CATALOG U E, CI R C A 19 8 0, P 10 1.

$1,500-2,000

229 ARNE JACOBSEN EARLY STACKING CHAIRS (6) Model no. 3105 Fritz Hansen, designed 1955 Teak-faced plywood, chrome-plated steel, with original metal clip Each stamped “FH Danmark” Each: 30” x 16” x 16.5” Literature: TOJ N E R ,

P OU L ER I K , AR NE

JAC O B S E N : AR C H ITECT & DESI G NER , C O P E N H AGE N : DAN S K DESI G N CENTER , 19 9 9, P 5 3 .

$1,500-2,000

230 ARNE JACOBSEN SWAN CHAIR Model no. 4325 Fritz Hansen, designed 1958 Laminated teak, wool upholstery 29.5” x 28.5” x 25.5” Provenance: PROPERT Y

FROM A N I M P OR-

TANT WEST COAST COLLECTION

Literature: FRI TZ

H A NSEN-FU RNI T U R E

CATALO G, COPENH AGEN: DET BER L I N G SK E BO G T RYKK ERI , 1963, P 70.

$800-1,200

231 ARNE JACOBSEN SWAN CHAIR Model no. 3320 Fritz Hansen, designed 1958 Cast aluminum, wool upholstery Retains Fritz Hansen manufacturer’s tag numbered “1267” 32.5” x 29.75” x 25” Provenance: PROPERT Y

FROM A N I M P OR-

TANT WEST COAST COLLECTION

Literature: FRI TZ

H A NSEN-FU RNI T U R E

CATALO G, COPENH AGEN: DET BER L I N G SK E BO G T RYKK ERI , 1963, P 70.

$1,000-1,500

232 ARNE JACOBSEN RARE TABLE CLOCK (2) Laur. Knudsen, designed c. 1940 Bakelite, enameled metal, glass Together with Arne Jacobsen wall clock (not illustrated) Retains manufacturers mark to underside 5” x 5” x 2" $2,000-3,000

233 ARNE JACOBSEN WALL MOUNTED DRAWER UNITS (2) Asmussen Weber, Denmark, designed c. 1958 Designed as drawer units for the SAS Royal Hotel, Copenhagen, Denmark. Each: 5.75” x 19.5” x 19.5” Literature:

F IE L L , C H AR LOT TE, SCANDI NA-

V IAN D E S IGN, C O LO GNE: TASC H EN, 2002, PG 298.

$4,000-6,000

153

234 HENNING KOPPEL PITCHER Model no. 992 Georg Jensen Silversmithy, Copenhagen, designed c. 1948 Sterling silver Stamped maker’s and assay marks 11.5” x 8.5” x 5.5” Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON

Literature: EIDELBERG,

MA RTI N, DE SI G N

1 93 5 - 19 65: W H AT MODERN WAS, N E W YOR K : ABRAMS, 1991, P 105.

$10,000-15,000

235 HENNING KOPPEL FAQUEIRO FLATWARE (117) Georg Jensen, designed 1957 Sterling Silver Comprised of 6 butter knives, 8 soup spoons, 6 sugar spoons, 22 teaspoons, 18 knives, 18 dinner forks, 16 dessert forks; plus 2 large serving forks, 8 iced tea spoons, slotted serving spoon, 2 large serving spoons, cake knife, meat fork, carving knife, 6 forks, and gravy spoon Stamped “Georg Jensen Sterling Denmark” Provenance: PROPERT Y

FROM AN I M P OR-

TAN T WEST COAST COLLECTI ON

$7,000-9,000

236 STIG LINDBERG VASES (3) Gustavsberg, designed c. 1960; these examples 1963-68 Glazed stoneware Each with incised signature and studio mark Large: 13.625” x 2.75” x 2.75”; Medium: 6.75” x 3.25” Small: 6.75” x 2.75” x 2.75” $2,500-3,500

237 STIG LINDBERG VESSELS (5) Gustavsberg, designed c. 1960; these examples 1963 Glazed stoneware Each with incised signature and studio mark to underside Largest example: 8” x 3.5” x 3.5”; Smallest example: 3.25” x 3.25” x 3.25” $2,500-3,500

155

238 GUNNAR NYLUND LARGE VASES (6) Rorstrand, designed c. 1950 Glazed stoneware Each incised with signature and studio mark to underside “R Sweden” Largest: 17” x 9” x 9”; Smallest: 14” x 3” x 3” $4,000-6,000

239 FINN JUHL INLAID DINING TABLE Model no. 511 Baker, designed c. 1954 Walnut, birch, brass inlay Retains manufacturer’s tag 29.5” x 103” x 41.75” fully extended $6,000-8,000

240 BERNDT FRIBERG VASE Studio, designed c. 1955 Stoneware with Ariana glaze Incised signature, studio mark, “K” and “42” 11” x 5.5” diameter $1,500-2,000

241 INGEBORG LUNDIN EXHIBITION VASE Orrefors, designed and executed 1961 Glass Etched “Orrefors Expo DU 85-61” 14.5” x 5.75” diameter base $1,500-2,000

242 FRITZ HENNINGSEN COFFEE TABLE Fritz Henningsen, designed c. 1940 Rosewood, brass drop handles, brass sabots 20.75” x 51.5” x 25” $1,000-1,500

157

243 FREDERICK HAMMERSLEY UNTITLED

244 FREDERICK HAMMERSLEY UNTITLED

1950 Lithograph in artist’s mount Printed by the artist Signed “F Hammersley/15 Jan 1950” in ink on mount verso; inscribed “7/9 - 1st 35” in ink on mount verso; inscribed “35B” in graphite on mount verso Lithograph: 3” x 3”; Mount: 7” x 7”

1950 Lithograph in artist’s mount Printed by the artist Signed “F Hammersley/22 Feb 1950” in ink on the mount verso with edition; inscribed “42a” in graphite and “42” on mount verso Lithograph: 3” x 3”; Mount: 7” x 7”

Literature: FREDERI CK

Literature: F R E D E R IC K

H A MMER SL E Y, VE N-

H AMME R S L E Y, V E N-

ICE: L A LOU VER , 20 12, PP 26 -33 (SI M I L A R

I C E : L A LOU VE R , 2 0 12 , P P 2 6 -3 3 ( S IMIL AR

EXAM PL ES I LLU STRATED).

E XA M P L E S I L LUSTR ATE D) .

$3,000-5,000

DETAIL OF VERSO

LAMA would like to thank Kathleen Shields, Director of the Frederick Hammersley Foundation for her gracious assistance in cataloguing these works.

245 KARL BENJAMIN UNTITLED 1957 Oil on canvas Initialed and dated lower right “KB ‘57”; retains artist’s label verso; color notations in pen on stretcher verso Canvas: 20” x 16”; Frame: 20.875” x 16.875” $15,000-20,000

159

246 KARL BENJAMIN #6 1968 Oil on canvas Inscribed on upper canvas stretcher verso “#6, 1968/Karl Benjamin” Canvas: 50.5” x 50.5”; Frame: 51.75” x 51.75” $35,000-45,000

247 KARL BENJAMIN BB #8 1962 Oil on canvas Signed and dated lower right “KB62”; signed, titled and dated verso; retains Esther Robles Gallery label verso Canvas: 42” x 30”; Frame: 43.5” x 31.5” $10,000-15,000

248 KARL BENJAMIN #20 1977 Oil on canvas Signed with title and date inscribed in black marker on canvas stretcher verso Canvas: 31” x 31”; Frame: 32.125” x 32.125” $18,000-25,000

161

249 SAM FRANCIS UNTITLED 1988 Color screenprint on PTI Waterleaf #100 of 114 Published by the artist, Santa Monica; printed by Roland McPherson at La Paloma, Tujunga Signature in graphite lower right; edition lower left; retains Cedars-Sinai label verso This print was commissioned by Crossroads School, Santa Monica. Sheet: 30” x 22”; Frame: 35” x 26.75” Provenance: CEDA RS - SINA I

MED I C A L

CENT ER

Literature: LEMBA RK ,

CONNI E W, T HE

PRIN TS O F SA M FRA NCIS: A CATALOG U E RAIS O N NÉ 1960 -1990, VOLU ME I I , N E W YO RK: HUDSON H ILL S, 1992, # S19.

$2,000-3,000

250 SAM FRANCIS UNTITLED Print Artist’s Proof VI Signed in graphite lower right; edition lower left with blind stamp Sheet: 11” x 7.5”; Frame: 23” x 19.875” $2,000-4,000

251 SAM FRANCIS UNTITLED (SFE 039) 1989 Aquatint on Somerset Textured Artist’s Proof #4; aside from the edition of 20 Published by The Litho Shop Inc., Santa Monica; printed by Jacob Samuel, The Litho Shop, Santa Monica Impression: 6” x 23.5”; Sheet: 17” x 33”; Frame: 19.5” x 36.5” Literature: L E MB AR K ,

CONNI E W, TH E

P R IN TS O F SAM F R ANC I S: A CATALOG U E R AIS O N N É 19 6 0 -19 9 0, VOLU M E I I , NEW YO R K : H UD S O N H IL L S, 1 992, #I -7 3.

$2,000-4,000

252 SAM FRANCIS HURRAH FOR THE RED, WHITE, AND BLUE, VARIANT II 1961 Color lithograph on Rives BFK #25 of 50 Published by Kornfeld and Klipstein, Bern, printed by Emil Matthieu, Emil Matthieu Atelier, Zurich Signed in graphite lower right; edition lower left Sheet: 19.75” x 25.5”; Frame: 28.5” x 34.875” Literature: L E MB AR K ,

CONNI E W, TH E

P R IN TS O F SAM F R ANC I S: A CATALOG U E R AIS O N N É 19 6 0 -19 9 0, VOLU M E I I , NEW YO R K : H UD S O N H IL L S, 1 992, #L1 9.

$2,000-4,000

163

253 RAYMOND PETTIBON GROUP OF DRAWINGS (6) 2008-2011 Mixed media on paper; D: black ink on found page from book A: Signed and dated “Raymond Pettibon 11” in graphite verso; B: signature in blue ink with inscription “JFK” in graphite verso; C: signature in blue ink with inscription “JFK” in graphite verso; E: signature with date and inscription “movie” in graphite verso; inscribed “Please...Be my Oscar? and “Oscar” in graphite recto; F: signed verso; inscribed “We’ve Picked the Winning Side” in blue ink recto A: Untitled (Book Excerpt); B: Movie; C: We’ve Picked the Winning Side; D: Untitled (Blue); E: Untitled (JFK); F: Untitled (JKF) A: Sheet: 7” x 4.125”; B: Sheet (irreg.): 7.125” x 5.25”; C: Sheet (irreg.): 7.125” x 7.75”; D: Sheet: 11” x 8.5”; E: Sheet: 10.875” x 8.5”; F: Sheet: 11” x 8.5”; $15,000-20,000

254 RAYMOND PETTIBON UNTITLED (DRAWING) Black ink and graphite on cardstock Signature in graphite verso Sheet: 14” x 10.25” $6,000-8,000

255 RAYMOND PETTIBON THE PETTING ZOO 2010 Hardcover book with dustcover First edition Published by Viking Adult, New York Signed with illustration in orange ink by Raymond Pettibon on blank page in book. Text by Jim Carroll, cover design by Raymond Pettibon. 9” x 6” x 1.25” $1,000-1,500 SIGNED ILLUSTRATION

165

256 RAYMOND PETTIBON PLOTS ON LOAN 2001 Hardbound book with 70 lithographs by the artist on Somerset paper Artist’s Proof #6 of 50; aside from the edition of 250 Co-published by Brooke Alexander Editions, New York and David Zwirner, New York; printed by Derriere l’Ettoile Studios, New York Signature in graphite with edition inscribed on end page 19” x 14.5” (closed) Literature: W Y E ,

D E BOR AH : ARTI STS

& P R IN TS : MASTE RWOR KS FR OM TH E MUS E UM O F MO D E R N ART, NEW YOR K : MUS E UM O F MO D E R N ART P U B LI C ATONS, 2 0 0 4, IL LUSTR ATE D P 24 9.

$2,000-3,000

257 RUSSEL WRIGHT LIBBILOO BOOKEND SCULPTURE

258 RUSSEL WRIGHT LIBBILOO BOOKEND SCULPTURE

Russel Wright, Inc., designed c. 1927 Nickel-plated metal 5.5” x 6.5” x 3.25”

Russel Wright, Inc., designed c. 1927 Nickel-plated metal Cast mark to underside “RW” 5.5” x 6.5” x 3.25”

Literature: DAV IE S,

KAR E N , AT H O ME IN

KAR EN, AT H OM E I N

MAN H AT TAN : MO D E R N D EC O R ATIV E ARTS

MAN H AT TAN : MO D E R N DECOR ATI VE ARTS

19 2 5 TO TH E D E P R E SS IO N, ( E X H IB ITIO N

19 2 5 TO TH E D E P R E SS I ON, ( EX H I B I TI ON

C ATALO GUE ) , YAL E UN IV E R S IT Y ART GAL-

C ATALO GUE ) , YAL E UNI VER SI T Y ART G AL-

L E RY: YAL E UN IV E R S IT Y P R E SS, 19 83 , P 5 9.

L E RY: YAL E UN IV E R S IT Y P R ESS, 1 983, P 59.

$4,000-6,000

$3,500-4,500

167

259 BORIS JEAN LACROIX TEA AND COFFEE SET (4) Atelier, designed c. 1930 Nickel-plated metal, painted fruitwood handles. Comprised of a coffee pot, teapot, sugar bowl and creamer 5” x 6.75” x 4.75” (2); 5” x 7” x 2.75”; 4.5” x 3.25” x 3.25” Literature:

BONY, A NNE, LES A NNÉ E S 30,

PARIS : ED I TIONS DU REGA RD, 20 05, P 1 051 ( D ES IG N VA RIA NT I LLU STRATED) .

$20,000-30,000

Boris Jean Lacroix (1902-84) was a French architect and designer who is particularly known for his lighting designs. This modular tea set design is rare, with only one other example known to exist. The other example features ebony handles as opposed to painted wood. It is likely that the tea set was made to order and never went into production.The design was first presented at the 22nd Salon des Artistes Décorateurs, Paris, 1932.

169

260 WALTER VON NESSEN CONSTELLATION TABLE LAMPS (2) Chase Brass, designed 1933 Pierced chrome-plated steel, glass The design was conceived by von Nessen for the Chicago World’s Fair, 1933. 9” x 7.25” x 7.25” $2,000-3,000

261 ART DECO TABLE LAMP Possibly manufactured by Chase Brass, designed c. 1935 Brushed and enameled steel, glass 7.5” x 4.25” diameter $2,000-3,000

262 K .E.M. WEBER LOUNGE SUITE (3) Lloyd Manufacturing Company, designed c. 1934 Chrome-plated steel, wood, upholstery Comprised of pair of chairs and sofa Sofa: 27” x 65” x 33”; Chairs: 27” x 27.75” x 28” Literature: GEBH A RD,

DAVID, A ND HA R-

RIET T E VON BRETON, H A RRIET TE , K E M WEBER : T HE MODERNE IN SOU TH E R N CAL IFO RNIA 1920 -1941, (EXH IBI TION CATALO G UE), SA NTA BA RBA RA : UC SA N TA BARBARA A RT GA LLERI ES, 1969, P 80 ( PHOTO G RA PH OF PERIOD LOS A NG E L E S IN T ERIO R W I TH TH IS DESI GN).

$10,000-15,000

265 HENRY DREYFUSS THERMOS PITCHER TRAY SET (4) 264 GILBERT ROHDE TABLE CLOCK 263 ELIEL SAARINEN, J. ROBERT SWANSON AND PIPSAN SWANSON SAARINEN CABINET Johnson Furniture Company, designed 1948 Birch, steel pulls Branded “B2” 30” x 36” x 21.5” $1,000-1,500

Herman Miller, designed 1932-33 Chrome-plated zinc, copper dial 6.25” x 4.5” x 2.75” The design was first introduced at the “Century of Progress” exhibition, Chicago, 1934. Literature: W IL S O N ,

R IC H AR D GUY, TH E

Model no. 539 American Thermos Bottle Company, designed 1936 Enameled steel, stainless steel, glass Molded marks to underside Comprised of small and large Thermos carafe and matching trays. Large carafe: 7.5” x 7” x 5.75”; Large tray: .5" x 3.75” x 7.75”; Small carafe: 5.75” x 4.5” x 5.5”; Small tray: .75" x 9.25” x 9.25”

MAC H IN E AGE IN AME R IC A 19 18 -19 41,

Literature: J O H N S O N,

B R O O K LY N : B R O O K LY N MUS E UM O F ART

C AN MO D E R N 19 2 5 -194 0: DESI G N FOR A

P R E SS, 19 8 6 , P 3 2 0.

N E W AGE, N E W YO R K : ABR AM S, 2000, P

$2,000-3,000

J STEWART, AM ER I-

15 6 ; E ID E L B E R G, MARTI N, DESI G N 1 935 19 6 5 : W H AT MO D E R N WAS, NEW YOR K : AB R AMS, 19 9 1, P 8 2 .

$1,500-2,000

171

266 WARREN MCARTHUR EARLY SIDE CHAIR Warren McArthur Corporation, designed c. 1930 Brushed, enameled, and chrome-plated aluminum, upholstery 34.75” x 19.5” x 17.25” This rare design may be traced back to McArthur’s early days in Los Angeles. He moved to the city in 1929 in order to establish a metal furniture business shortly after completing work on the Biltmore Hotel, Arizona. The chair's form anticipates his later seminal designs in aluminum; however, during his early years in Los Angeles he was engaged in experimentation with metals and manufacturing processes and only carried out custom designs. Literature: NICH OL S,

SA RA H , A LU M I N U M

BY D ES IG N, EXH I BI TION CATATOGU E , PIT TS BURGH : CA RNEGI E MU SEU M OF A RT, 2 000, P 2 17.

$6,000-9,000

173 267 K .E.M. WEBER CHAIRS (2) Lloyd Manufacturing Company, designed c. 1935 Chrome-plated steel, wood, leather 28.5” x 32” x 25” $3,000-5,000

268 DONALD DESKEY MIRROR

269 DONALD DESKEY RARE FLOOR LAMP

Deskey-Vollmer Inc., designed c. 1930 Burr-walnut, aluminum, mirror plate 42” x 42” x 2”

Deskey-Vollmer Inc., designed c. 1930 Cold-painted steel, parchment shade 56.75” x 12” x 12”

$4,000-6,000

Literature: H AN KS,

DAV ID A , AN D J E N N I-

F E R TO H E R , D O N AL D D E S K E Y D EC O R ATIV E DE SI G NS AN D IN TE R IO R S, N E W YO R K : E P DU T TO N , 19 8 7, P 8 9 ( D E S IGN IL LUSTR ATE D

270 ATTRIUBTED TO K .E.M. WEBER DIGITAL CLOCK Model no. 304-P40 Lawson Time Inc., designed 1933 Brushed and chrome-plated steel, Bakelite 3.25” x 8” x 3.25” Literature: JOH NSON,

J STEWA RT, A M E R I-

CAN MO D ERN 1925 -1940 : DESI GN FOR A NEW AG E, NEW YORK: A BRA MS, 2 000, P 1 63 ( D ES IGN ILLU STRATED); EIDE L B E R G , MART IN, DESIGN 1935 -1965: W H AT M ODE R N WAS, NEW YORK: A BRA MS, 1991, P 7 7.

$1,000-1,500

I N P E R IO D P H OTO GR AP H O F E USTIC E SE L I G M AN ’S APARTME N T, 193 1 ) .

$10,000-15,000

K.E.M. WEBER SOMER COMMISSION During the 1920s, German designer K.E.M. Weber (1889-1963) introduced a new era of modernism in Los Angeles. Working out of Silver Tree, his studio in the downtown branch of Barker Brothers, the largest furniture manufacturer in America at the time, Weber was given creative license to design and furnish the new Modes and Manners section of the store. It was his vision to replace period revivals with fresh, modern design, and he believed that Southern California was the perfect market to begin his venture. Barker Brothers’ departure from the banal reproductions that most manufacturers churned out was an immediate success, thanks to Weber’s unceasing devotion to modernism in both his furniture and the Modes and Manners aesthetic. It was like nothing consumers had seen before, complete with “jagged shapes, startling colors, and frenzied patterns,” as well as designs from other leading modernists such as Paul T. Frankl. After a few successful years and a Weber-designed Barker Brothers branch in Hollywood, in 1927 he decided to open his own design studio in Los Angeles while remaining as a consultant to the company. Weber’s independence led to the development of his streamlined designs, in addition to unconventional pieces from commissions throughout California. One of these commissions was for the Somer & Kaufmann shoe store in San Francisco. They were clearly attracted to Weber’s unusual modern designs, yet they wanted to give their clients a sense of luxury while trying on shoes. For this reason, Weber used Macassar ebony, a sumptuous wood common among French furniture designers such as Émile-Jacques Ruhlmann. Having researched contemporary furniture on a voyage to Spain and Paris during his time at Barker Brothers, he was keenly aware of the leading European sensibilities. The resulting chair combines the materials of Art Deco with a distinctly modern form. Sharp lines, minimalist stature, and an angled black leather cushion churn like a locomotive toward the innovative designs that would later earn him international success. Long, Christopher. “Kem Weber and the Rise of Modern Design in Southern California.” TheMagazineAntiques.com. The Magazine Antiques. May 2009. Web. 1 Nov. 2012.

175

271 K .E.M. WEBER RARE ARMCHAIR Karpen Furniture, Chicago, designed 1929 Macassar ebony, leather Custom designed for the Somer & Kaufmann Shoe Store, San Francisco, 1929 29” x 22” x 19.25” $18,000-20,000

ALTERNATE VIEW

272 R .M. SCHINDLER CANTILEVERED ARMCHAIR Studio, c. 1926-40 Painted wood 26.75” x 20.875” x 17.875” Provenance: BASI A

GI NGOLD, (HE R M A N

SACHS MA NOL A COU RT A PA RTM E N T ), S ILV ER L A KE, CA LIFORNI A ; PRIVAT E COLLECTI ON, CA LIFOR N I A

$20,000-30,000

ALTERNATE VIEW

273 JULIUS SHULMAN RICHARD NEUTRA, VON STERNBERG HOUSE, 1936, NORTHRIDGE, CALIFORNIA 1947; printed later Gelatin silver print Image (vis.): 11” x 14”; Frame: 18.25” x 21” $1,500-2,000

274 FRANK LLOYD WRIGHT LIBRARY TABLE Custom designed, 1952 Pine 30” x 60” x 30” Provenance: R AY MO ND

C AR L SON H OU SE,

P H O E N IX , AZ ; P R IVATE C O L L EC TIO N, CA ( AC Q UIR E D F R O M B UT TER FI ELDS, M AR CH 3 0, 2 0 03 , LOT 117 3 ) ; P R IVATE C O L L EC TIO N, CA

$2,000-4,000

17 7

275 LE CORBUSIER , PIERRE JEANNERET & CHARLOTTE PERRIAND COUCH AND CLUB CHAIRS (3) Model nos. Grand Modele LC3 and Grand Confort LC3 Cassina, designed 1928, these examples manufactured 1985 Chrome-plated steel, leather upholstery Stamped and acid stencil manufacturer’s marks to frames Chairs: Each 23.75” x 38.5” x 28.25”; Couch: 23.75” x 66” x 28.25” $5,000-7,000

276 LUDWIG MIES VAN DER ROHE BARCELONA DAYBED Knoll Associates, designed 1929; this example before 1969 Black leather, rosewood, and stainless steel Retains manufacturer’s label 16” x 78” x 40” $4,000-6,000

277 GORDON ONSLOW FORD UNTITLED 1970 Sumi ink on paper Dated “5-7-70” in graphite lower center Sheet: 22.75” x 30.625”; Frame: 29.75” x 37.5” $2,000-3,000

179

278 GORDON ONSLOW FORD UNTITLED (TOO POROUS) 1954 Parles paint on paper Inscribed “too porous” in graphite lower left; inscription beneath signature lower left Sheet: 19.25” x 18”; Frame: 24.625” x 22.75” Exhibited: “ B AY

AR E A WOR KS ON PAP ER , ”

PAL M S P R IN GS ART MU SEU M , M AY 20 O C TO B E R 2 3 , 2 0 05 .

$2,000-3,000

279 MAN RAY LAMPSHADE (ABAT-JOUR) 1920; 1964 Enameled metal From the edition of 100 Edition MAT 14” x 18” diameter Based on the original paper lampshade design by Man Ray from 1920 for an exhibition at the Société Anonyme. The paper design was mistakenly destroyed. The artist reproduced the lampshade in limited editions throughout the mid-tolate 1950s and early 1960s. Literature: PA L AZZOLI ,

DA NIEL A , A N D G I L-

BERT PERLEI N, MA N RAY: RETROSP EC T I VE 1 9 1 2- 1 9 76, NI CE: MU SÉE D’A RT MO DE R N E E T D’ART CO NTEMPORA I N, 1997, # 84 .

$10,000-15,000

SURREALIST SCULPTURE Primarily recognized for their innovations in Surrealist sculpture, Jean Arp (1886-1966) and Alexander Calder (1898-1976) employed some of the same techniques used to create their large-scale works to produce stunning pieces of biomorphic jewelry. More than just a departure from abstract paintings and mobiles, jewelry, for Arp and Calder, was regarded as fine art, a diminutive exploration of sculptural forms. Calder even preferred to exhibit his jewelry alongside his sculptures, suggesting a “non-hierarchical approach much in keeping with the way Bauhaus teachers would instruct compositional principles that were as easily applied to painting as to tapestry.” In his brooch from 1957, a single piece of silver is bent and twisted into his characteristic spirals, and the surface – undulating hills and valleys of texture – bears the same hammer strikes of a large sculpture. It assumes new life and movement the moment it is mounted on the wearer. Likewise, Jean Arp’s brooch (circa 1945) began as a flat piece of metal. He cut holes and shaped the edges, elevating the material to a three-dimensional phantasm poised for spontaneous motion. Arp gave this piece as a gift to Josine Janco, daughter of artist and Dada co-founder Marcel Janco. Surrealists conjured life out of everyday objects, and Man Ray (1890-1976) believed that “the idea was always more important than the actual work.” Arising from a mishap in 1920, Man Ray demonstrated this belief with an ordinary piece of metal. On the night before his exhibition was set to open, a janitor accidentally threw away Man Ray’s first version of Lampshade, a spiraled piece of paper hanging from an armature. He was distraught, but upon the suggestion of Katherine Dreier, artist and art patron who co-founded the modern art venue Société Anonyme with Duchamp and Man Ray, he reconstructed Lampshade out of painted metal. Once flat and inert, this example from 1964 becomes a Dada readymade that produces a movement all its own. Baldwin, Neil. Man Ray: American Artist. New York: Man Ray Trust, 1988. Print. Rosenthal, Mark. “Sculpture to Jewelry.” Calder Jewelry. Ed. Alexander S.C. Rower. New York: Calder Foundation, 2007. pp 51-67. Print. Tait, Liv. “Man Ray, Museo d’Arte Lugano.” The Tait Global. TheTaitGlobal.com, 26 Apr. 2011. Web. 27 Oct. 2012.

181

280 JEAN ARP BROOCH c. 1945 Hand-cut silver 3” x 2” Provenance: J O S IN E

JANCO (G I FT OF TH E

ARTIST, C IR C A 19 45 - 4 9)

$20,000-30,000

VERSO

281 ALEXANDER CALDER BROOCH 1957 Hand-hammered silver and steel wire 6” x 4” This work is registered in the archive of The Calder Foundation, New York under application number A23874. Provenance: PRI VATE

COLLECTI ON ,

CAL IFO RNIA (GI FT FROM TH E A RT I ST ON T HE O CCASION OF TH E RECI PI ENT 'S 4 0T H BIRT HDAY ); TH ENCE BY DESCENT

Literature: ROWER ,

A LEXA NDER SC , E D,

CAL D ER JEWELRY, NEW YORK: CA L DE R FO UN DAT ION, 20 0 7, PP 54 - 55 (SI M I L A R EXAM PL ES I LLU STRATED).

$25,000-35,000

282 AFTER ALEXANDER CALDER TURQUOISE 1975 Handwoven jute maguey tapestry #16 of 100 Bon Art Signature woven with date lower right; “C” woven in tapestry upper left; edition lower left 57” x 84.25”

283 ALEXANDER CALDER PYRAMIDS

CENT E R

c. 1975 Color lithograph on Arches #45 of 50 Published by Arts-Litho, Paris Signature in graphite lower right; edition inscribed in Roman numerals lower center Sheet: 29.5” x 43.25”; Frame: 36” x 49.5”

$2,000-3,000

$1,500-2,000

Provenance: C E DA R S - SI N A I

M E DI C A L

284 AFTER ALEXANDER CALDER TEXTILE 1950 Silkscreen on fabric Contempora Series Laverne Originals, Long Island With title, artist, and manufacturer information in the selvedge 53.5” x 26” $600-900

183

Both sculptural and utilitarian, the Isamu Noguchi (1904-1988) Chess table (designed 1944-48) was a chance for Noguchi to marry his artistic vision with his desire to produce useable vessels. He designed the initial prototype shortly after leaving the Nisei Japanese internment camp in Arizona. In 1944, Noguchi was one of 32 artists (the number symbolic of the 32 pieces on a chess board), including Alexander Calder, Man Ray, Marcel Duchamp, and Max Ernst, invited to exhibit chess-inspired artwork for the show “The Imagery of Chess,” hosted by the Julien Levy Gallery in New York. A Newsweek critic described the table as “the most beautiful piece in the show.” George Nelson immediately bought Noguchi's hit piece, and for a brief period beginning in 1947 had it manufactured in limited quantities at Herman Miller. Three amorphous wooden shapes and a curvaceous aluminum compartment assemble as a three-dimensional biomorphic structure. Just as Arp and Calder avoided semi-precious stones and other materials typically used in jewelry, Noguchi preferred veneered plywood, aluminum, and acrylic plastic to keep the table affordable. Through these methods, these artists achieved the transformative power of Surrealism by manifesting an idea and realizing the object’s potential “to entrap” the user in “an art performance, even to become bewitched.” Johnson, Paul, and Martin Eidelberg. Design 1935-1965: What Modern Was. New York: Abrams, 1991. Print. K., Troy. “We’ve Got Game.” ARTicle. The Art Institute of Chicago, 14 Sept. 2011. Web. 6 Nov. 2012.

285 ISAMU NOGUCHI CHESS TABLE Model no. IN 61 Herman Miller, designed 1944-48 Birds-eye Maple, inlaid acrylic, inlaid red wax, painted black aluminum, steel rod, maple 18.75” x 26.25” x 25.5” Provenance: GAN S E VO O RT

GA LLERY, NEW YOR K ;

P R O P E RT Y F R O M AN IMP O RTANT WEST COAST C O L L EC TIO N ( AC Q UIR E D F R O M ABOVE 1 999)

Exhibited: " TH E

AME R IC AN C ENTU RY, PART I , "

W H ITN E Y MUS E UM O F AME R ICAN ART, 1 999; "VI TAL FO R MS : AME R IC AN ART AN D DESI G N I N TH E ATOM I C AGE , 19 40 -19 6 0, " B R O O K LY N M U SEU M OF ART, WAL K E R ART C E N TE R , F R IST CENTER FOR TH E V IS UAL ARTS, LO S AN GE L E S COU NT Y M U SEU M OF ART, AN D P H O E N IX ART MUS E U M , 2001 -2003; "SU RR E AL TH IN GS : S UR R E AL IS M & DESI G N I N 2007 AT TH E V& A , " B O IJ MAN S MUS E UM , AND G U G G ENH EI M MUS E UM B IL B AO

Literature: J O H N S O N ,

PAUL , AND M ARTI N EI DEL-

B E R G, D E S IGN 193 5 -19 6 5 : W H AT M ODER N WAS, NEW YO R K : AB R AMS, 19 9 1, P P 10 6 -1 08.

$150,000-250,000

185

286 JON HENRY #8A VARCS & #22 (2) 1965 Painted wood collage on board A: Signed, dated, titled verso; B: Signed lower right; dated verso A: Collage: 12.75” x 13”; Frame: 20.5” x 20.5”; B: 11.75” x 23.75” $1,000-1,500

187

287 PEDRO FRIEDEBERG UNTITLED (IT DOESN’T MATTER ANYMORE) AND (DESPUES DE VISITAR A STENDAHL) (2) c. 1978 A: Ink and acrylic on Grand Hotel BeauRivage, Geneva stationary and B: Ink and acrylic with stamps on Bertolinis Splendid Hotel, Rome envelope A: Signature in ink lower right; title inscribed lower left; B: Signature in ink lower left; dated in Roman numerals center right; inscribed lower center: “Despues de visitar a Stendahl, que se hallaba un poco enfermo fuimos a comprar unas lechugas” A: Sheet: 4.625” x 5.75”; Frame: 9” x 10.25”; B: Envelope: 6” x 5.75”; Frame: 9” x 11” $6,000-8,000

288 RICHARD TUTTLE ILLUMINATED SCULPTURE 1994 Wood, electrical parts, paper, and nails Signed “R.D.T”; retains label “A/D 2/50” 32.25” x 7.25” x 20.75” Provenance: PU RCH ASED

AT L AU R A

CARPEN T ER FINE A RT, SA NTA FE, 1 9 9 4

$4,000-6,000

289 ROBERT MOTHERWELL UNTITLED (THE BASQUE SUITE) 1971 Screenprint on J.B. Green paper #97 of 150 Published by Marlborough Graphics, Inc., New York; printed by Chris Prater, Kelpra Studios, London Initialed “RM” lower right with edition; Robert Motherwell blind stamp lower right margin Impression: 22.25” x 17”; Sheet: 41” x 28.25”; Frame: 45.5” x 33.25” Literature: B AN AC H ,

JOAN, AND SI R I

E N GB E R G, R O B E RT MOTH ERWELL : TH E C O MP L E TE P R IN TS 194 0 -1 991 : A C ATALOG U E R AIS O N NÉ, 1ST E D ITION, M I NNEAP OLI S: WAL K E R ARTS C E N TE R , 2003, #88.

$4,000-6,000

290 HELEN FRANKENTHALER AIR FRAME 1965 Color silkscreen on White Arches double-weight watercolor paper #199 of 200 Published by Tanglewood Press, New York; printed by Steve Poleski of Chiron Press, New York Signed lower right in graphite with date; edition lower left Sheet: 22” x 17”; Frame: 24.5” x 20” Literature: H AR R IS O N,

P EG R AM , FR AN-

K E N TH AL E R : A C ATA LOG U E R AI SONNÉ OF P R IN TS 19 6 1-19 9 4, NEW YOR K : AB R AM S, 19 9 6 , # 6 .

$3,000-5,000

189

291 ELLSWORTH KELLY PURPLE 2003 Color lithograph on Rives BFK #36 of 45 Published and printed by Gemini G.E.L. Editions, Los Angeles Signature lower right with Gemini G.E.L. blind stamp Gemini G.E.L. #28.248 Sheet: 29” x 22.375”; Frame: 35.25” x 29” $3,000-5,000

292 ELLSWORTH KELLY GREEN/WHITE 1972 2-color embossed lithograph on special Arjormari paper Artist’s Proof #4 of 9; aside from the edition of 60 Published by Gemini G.E.L., Los Angeles Signed lower right in graphite with Gemini G.E.L. blind stamp; edition inscribed lower left Gemini G.E.L. #28.20 Sheet: 27.5” x 44.375”; Frame: 35.5” x 52.5” Literature: AXS O M,

RI CH AR D H , TH E

P R IN TS O F E L L S WO RT H K ELLY: A C ATALO GUE R AIS O N NÉ , 19 4 9 -1 985, NEW YOR K : H UD S O N H IL L S P R E SS, 1 999, #81 .

$5,000-7,000

293 ELLSWORTH KELLY UNTITLED (EIGHT BY EIGHT TO CELEBRATE THE TEMPORARY CONTEMPORARY) 1983 Color lithograph on Arches 88 #182 of 250 Published by the Museum of Contemporary Art, Los Angeles; printed by Gemini G.E.L., Los Angeles Signature with edition lower right; Gemini G.E.L. blindstamp with “EK83-1029” in graphite verso Gemini G.E.L. #28.130 Sheet: 29” x 42” Literature: AXS O M,

RI CH AR D H , TH E

P R IN TS O F E L L S WO RT H K ELLY: A C ATALO GUE R AIS O N NÉ , 19 4 9 -1 985, NEW YOR K : H UD S O N H IL L S P R E SS, 1 999, #201 .

$3,000-4,000

191

294 ROBERT LONGO FOUR WORKS (4) 2011 Pigment print on watercolor paper Each #31 of 35 Published by Hatje Cantz Verlag, Ostfildern Each signed in graphite lower right with date; edition lower left A: Russian Bomb (Semipalatinsk) B: Spanish Blood (Lion’s Gate); B: Untitled (Shark 5); C: Untitled (Ulysses) Each image: 19.5” x 15.5”; Sheet: 23.5” x 17.5”; Frame: 27.5” x 21.5” Literature: ROBERT

LONGO: CH A R C OA L ,

O ST FILD ERN: H ATJE CA NTZ, 20 12 , (I L LU S T RAT IO N S OF TH E DRAW I NGS FRO M WHI C H T HES E AR E BASED).

$7,000-9,000

295 CHRISTOPH DRAEGER PSA CRASH, SAN DIEGO, CA, 1978 2004 Acrylic paintjet on puzzle Signed and dated in black marker on the frame backing verso; retains Catharine Clark gallery label on frame verso Image: 53” x 74”; Frame: 63” x 84” Exhibited: “ N E W

L ANDSC AP ES, ” C ATH A-

R IN E C L AR K GAL L E RY, SAN FR ANCI SCO, C A , 2 0 0 4.

$4,000-6,000

193

296 AMIR ZAKI UNTITLED 121 2007 Vivera pigment archival photograph #1 of 5 Signature on label with edition verso; Perry Rubenstein gallery label verso Image (vis.): 42.5” x 54.5”; Frame: 45.25” x 56.5” $4,000-6,000

297 DAVID LACHAPELLE CAMERON DIAZ: DOLLHOUSE DISASTER I c. 1997 Dye coupler print Image (vis.): 16.5” x 22.75”; Frame: 24.375” x 30.75” Literature: L ACH A PELLE,

DAVI D, HOT E L

L ACHAPELLE, NEW YORK: BU LFIN C H P R E SS, 19 9 7, IL LUSTRATED P 40.

$5,000-7,000

298 ROBERT MAPPLETHORPE ORCHID AND CALLA LILY PLATES (2) Unknown edition size Swid Powell, designed 1989 Glazed porcelain Orchid: “Swid Powell/copyright Robert Mapplethorpe/Orchid, 1987” printed verso; retains “Made in Japan” sticker verso; Calla Lily: “Swid Powell/copyright Robert Mapplethorpe/Calla Lily, 1984” printed verso; retains “Made in Japan” sticker Each: 1.75” x 12” diameter

195

$800-1,200

299 WILLIAM WEGMAN CROOKY 1999 Photograph on Kodak paper with hand drawn elements in black ink Unique Signature lower right; inscribed "The Villanous Crooky, for Villains" lower left Image: 7” x 7”; Sheet: 10” x 8” Provenance: P R IVATE

C OLLECTI ON, LOS

AN GE L E S (GIF T O F THE ARTI ST )

$3,000-5,000

300 LAURIE SIMMONS WALKING CAKE II (COLOR) 1989 Cibachrome print on Kodak paper #8 of 100 Signed “L. Simmons” in graphite verso; title, date, and edition inscribed verso Image: 11.5” x 7.5”; Sheet: 13.75” x 10.75” $1,500-2,000

301 COUSIN FRANK (GHOST) ABSTRACT BULLSHIT #5 c. 2011 Mixed media on canvas 36” x 36” Provenance: T T

U NDERGROU ND G A L L E RY,

NEW YO RK; PRI VATE COLLECTI ON, N E W YO RK ( ACQ U I RED FROM TH E A BOVE , 2 01 1 )

Exhibited: “ TH EN

A ND NOW: NEW WOR KS

BY G HO ST, ” T T U NDERGROU ND G A L L E RY, NEW YO RK , SEPTEMBER 20 11.

$3,000-5,000

302 SHEPARD FAIREY MANDALA ORNAMENT (2) 2010 Screenprint on 100% cotton rag archival paper Each #135 of 300 Published by OBEY, Los Angeles Each signed and dated in graphite lower right; edition lower left Each sheet: 24” x 18”; Frame: 24.25” x 18.125” $1,000-1,500

303 SHEPARD FAIREY LOTUS DIAMOND (RED, GOLD, SILVER) (3) 2011-12 Screenprint Gold: #63 of 200; Silver: #232 of 250; Red: #363 of 400 Published by OBEY, Los Angeles Each signed and dated lower right; edition lower left Each impression: 22.5” x 16.625”; Sheet (vis.): 23.5” x 17.5”; Frame: 25.25” x 19.125” $1,000-1,500

304 (OPPOSITE PAGE) TAKASHI MURAKAMI I KNOW NOT. I KNOW 2010 Offset lithograph #64 of 300 Kaikai Kiko Co., Ltd. Signed in silver ink with edition lower right; title printed lower center margin Image: 30” x 23”; Frame: 32.375” x 25.375” $1,000-1,500

197

305 JOHN BALDESSARI NOSES & EARS, ETC.: COUPLE AND MAN WITH GUN 2007 Lithograph with embossing, debossing, and metal die-cut on two sheets of Somerset #8 of 50 Published and printed by El Nopal Press, Los Angeles Signed and dated lower right in graphite; edition lower left Impression: 18.25” x 29.25”; Sheet: 22.25” x 33”; Frame: 30.5” x 41.5” Literature: H U ROW I TZ,

SH A RON C OP L A N ,

JO HN BALDESSA RI: A CATA LOGU E R A I SONNÉ O F PRINTS A ND MU LTI PLES, 19 7 1 -2 007, HUD S O N H ILL S PRESS, 20 0 9, # 181 .

$5,000-7,000

306 JOHN BALDESSARI TWO WHALES (WITH PEOPLE) 2010 Screenprint on heavy wove paper #36 of 50 Signed and dated lower right; edition lower left Impression: 29.75” x 23.25”; Sheet: 32.25” x 23.25”; Frame: 40” x 31.5” $5,000-7,000

307 PIERRE PAULIN LOUNGE CHAIR Model no. F598 Artifort, designed 1973 Steel frame, wool upholstery 25.5” x 32” x 23.5” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

Literature: F IE L L ,

C HAR LOT TE, 1 000

C H AIR S, KO L N : TAS C H EN, 1 997, P 51 5.

$500-700

199

308 PIERRE PAULIN LOUNGE CHAIR Model no. 560 Artifort, designed 1963 Red jersey-stretch upholstery Retains remnants of “Artifort” label 24.5” x 34” x 31” Provenance: P R O P E RT Y

FR OM AN I M P OR-

TAN T W E ST C OAST C OLLEC TI ON

Literature: F IE L L ,

C HAR LOT TE, 1 000

C H AIR S, KO L N : TAS C H EN, 1 997, P 4 4 7.

$500-700

309 PIERRE PAULIN ORANGE SLICE LOUNGE CHAIR Model no. 437 Artifort, designed 1959 Steel frame, upholstery Retains “Artifort” label 26.5” x 32.75” x 29.5” Provenance: PROPERT Y FROM

AN I M P OR-

TAN T WEST COAST COLLECTI ON

Literature: FI ELL ,

CH A RLOT TE, 1000

CHAIRS, KOLN: TASCH EN, 1997, P 4 4 7.

$2,000-3,000

310 CLIFFORD PASCOE BOOKSHELF Pascoe, designed c. 1950 Birch 53” x 58” x 12” $1,500-2,000

311 ROBERT MANGOLD I, IV AND VI (FROM BOOK OF SILKSCREEN PRINTS & MULTIPLE PANEL PAINTINGS 1973-76) (3) 1992 Color screenprint on wove paper Each from the edition of 300 Co-published by Edition Domberger, Stuttgart and Parasol Press, Portland; printed by Domberger KG, Stuttgart One initialed and dated “RM 1992” lower right in graphite Each sheet (vis.): 11.5” x 23.5”; Each frame: 13" x 25" $2,500-3,500

201

312 ROBERT MANGOLD #3 (ATTIC SERIES II) 1992 Etching and aquatint #17 of 60 Published by Parasol Press, Ltd., Portland Signed in pencil “R. Mangold” lower right margin; title and edition inscribed lower left Impression (irregular): 23.5” x 21”; Sheet: 31.5” x 35.5”; Frame: 43.5” x 38.5” $2,000-3,000

313 LARRY ZOX UNTITLED 1970 Acrylic on canvas Signed and dated in graphite verso; retains Kornblee Gallery label on stretcher verso Canvas: 21.875” x 60”; Frame: 22.5” x 60.75” $5,000-7,000

314 LARRY ZOX UNTITLED 1971 Silkscreen Artist’s Proof Signed “Zox 71” in graphite lower right margin; inscribed “AP” lower left margin Impression: 17.875” x 29.5”; Sheet: 24.125” x 34.75”; Frame: 24.75” x 35.25” ` $1,000-1,500

315 DONALD JUDD UNTITLED 1974 Etching Artist’s proof; aside from the edition of 35 Co-published by Multiples Inc., New York and Castelli Graphics, New York; printed by Styria Studio, New York Signed “Judd” in graphite lower right margin; dated with edition lower right with blind stamp Impression: 21.25” x 27”; Sheet: 30.5” x 41”; Frame: 34.5” x 45” Literature: S C H E L L M ANN,

JOR G , ED,

D O N AL D J UD D, P R IN TS AND WOR KS I N EDITIO N S : A C ATALO GUE R AI SONNÉ , C OLOG NE, N E W YO R K : E D ITIO N SC H ELLM ANN, 1 993, #7 7.

$3,000-4,000

316 PATSY KREBS UNTITLED (CONCENTRIC RECTANGLE SERIES) 1985 Acrylic and vinyl on canvas Retains Cedars-Sinai Arts Council label verso Canvas: 9.875” x 8”; Frame: 13” x 11.125” LAMA would like to thank the artist for her gracious assistance in cataloguing this work. Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

Exhibited: TO RTUE MO N IC A , 19 85 .

$1,500-2,000

G ALLERY, SANTA

203

317 ART DECO RUG Nichols, designed c. 1930 Machine woven wool, cotton foundation 134.25” x 107” Provenance: D O RIS LESLIE BL AU, NEW YORK; PRIVAT E COLLECTION, CA LIFORNI A

$6,000-9,000

318 ART DECO CHINOISERIE CHANDELIER Manufacturer unknown, designed c. 1930 Lacquered wood, metal, parchment shades 41” x 39” diameter Provenance: TH E E STATE O F R O B IN R OBERTS; P R IVATE C O L L EC TIO N ( AC Q U I R ED FR OM TH E AB OV E F R O M C H R I STI ES, AP R I L 2008, LOT 117 )

$4,000-6,000

205

319 PAUL FRANKL WING-BACK LOUNGE CHAIR Frankl Galleries, designed c. 1927 Lacquered wood, tufted leather upholstery 32.375” x 30.25” x 34” Literature: LONG,

CH RI STOPH ER , PAU L T

FRAN KL AND MODERN A MERICA N DE SI G N, NEW HAV EN: YA LE U NIVERSIT Y PR E SS, 2 007, P 67 (DESIGN I LLU STRATED I N I N T ERIO R PHOTOGRA PH FROM 1927 ).

$6,000-8,000

320 PAUL FRANKL CORK COFFEE TABLE Model no. 5030 Johnson Furniture Company, designed c. 1948 Lacquered cork, mahogany Ink stamp “5030 # 283” 14” x 44.5” x 43.5” $4,000-6,000

207 321 PAUL FRANKL CORK COFFEE TABLE Model no. 5021 Johnson Furniture Company, designed c. 1948 Lacquered cork, mahogany Ink stamp “5021-1248” 14.25” x 47.5” diameter $3,000-5,000

322 GILBERT ROHDE RARE TABLE CLOCK Herman Miller, designed 1933 Enameled and chrome-plated steel, aluminum, glass 6.5” x 12” x 4.5” Literature: JOH NSON,

J STEWA RT, A M E R I-

CAN MO D ERN 1925 -1940 : DESI GN FOR A NEW AG E, A BRA MS: NEW YORK , 2 000, P 1 1 4 ( D ES IG N ILLU STRATED).

$6,000-9,000

323 GILBERT ROHDE EAST INDIA LAUREL BOOKCASE CABINET Herman Miller, designed 1934 East India laurel, ebonized wood, chrome-plated steel 41” x 47.75” x 14.875” Literature: PH I LLI S,

ROSS, GILBE RT

RO HD E: MODERN DESI GN FOR MO DE R N L I VIN G, NEW H AVEN: YA LE U NIVERSIT Y P R E SS, 2 009, P 1 17 (DESI GN I LLU STRATE D).

$3,000-5,000

324 GILBERT ROHDE CHEST Herman Miller, designed 1933 White holly, peroba, chrome-plated steel, Bakelite pulls Retains medallion “The Herman Miller Furniture Co./Zeeland MI/The Authentic Line” 46” x 33” x 18.5” Literature: P H IL L IS,

ROSS, G I LB ERT

R O H D E : MO D E R N D E S I G N FOR M ODER N LI VIN G, N E W H AV E N : YAL E U NI VER SI T Y P R ESS, 2 0 0 9, P 12 8 ( D E S IGN ILLU STR ATED) .

$3,000-5,000

325 GILBERT ROHDE CHEST Model no. 3323 Herman Miller, designed 1933 White holly, peroba, chrome-plated steel, Bakelite pulls, mirror plate Retains medallion “Made by Herman Miller Furniture Co./Original Rohde Design/Zeeland MI” Chest: 33” (62.25" with mirror) x 43.875” x 18.5”; Mirror: 25.875” diameter Literature: R O SS,

P H I LLI S, G I LB ERT

R O H D E : MO D E R N D E S I G N FOR M ODER N LI VIN G, N E W H AV E N : YAL E U NI VER SI T Y P R ESS, 2 0 0 9, P P 110, 15 1.

$4,000-6,000

326 GILBERT ROHDE WALL CLOCK Herman Miller, designed c. 1940 Enameled metal 8” x 2.375” $2,000-3,000

209

327 EDWARD MCKNIGHT KAUFFER MODERNIST CARPET Aktion Gegen Kinderarbeit, designed c. 1930, this example manufactured c. 2000 Machine woven Tibetan wool yarn Retains wool information label 145.75” x 109” This example is produced in a color way which was not employed by E. McKnight Kauffer in the original design from c. 1930. $2,000-3,000

328 WALTER DORWIN TEAGUE KODAK CAMERA & BOX Model no. 1A Gift Eastman Kodak Company, 1930 Lacquered metal, leather bound camera, and lacquered metal tin Retains manufacturer’s marks Box: 2.5” x 9” x 4.5” Literature: J O H N S O N,

J STEWART, AM ER I-

C AN MO D E R N 19 2 5 -194 0: DESI G N FOR A N E W AGE, N E W YO R K : AB R AM S, 2000, P 65 ( D E S IGN IL LUSTR ATE D) .

$4,000-6,000

329 WALTER DORWIN TEAGUE SPARTON TABLE RADIO Model no. 557 Sparks-Withington Company, designed 1936-37 Blue-tinted mirror glass, metal, wood, and rubber 8.75” x 17.5” x 8.375” $3,000-5,000

211

330 PAUL LÁSZLÓ DESK AND CABINET (2) Brown-Saltman, designed c. 1950 Mahogany Stamped “Brown Saltman, California/ Original design by Paul László” Desk: 29.5” x 52” x 34.5”; Cabinet: 24.5” x 15” x 26.75” $2,000-3,000

LOT 330

331 PAUL LÁSZLÓ CHEST AND MIRROR (2) Brown-Saltman, designed c. 1950 Mahogany, mirror plate Branded “Brown Saltman - California” and “Original Design by Paul László” Original owner, purchased 1951 Chest: 45.625” x 38” x 18”; Mirror: 29.875” x 32.5” $2,500-3,500

LOT 331

332 PAUL LÁSZLÓ CHEST AND MIRROR (2)

333 PAUL LÁSZLÓ BEDSIDE TABLES (2)

Brown-Saltman, designed c. 1950 Mahogany Branded “Brown Saltman - California” and “Original Design by Paul László” Original owner, purchased 1951 Chest: 33.75” x 60” x 20”; Mirror: 26” x 53” x 3”

Brown-Saltman, designed c. 1950 Mahogany Branded “Brown Saltman - California” and “Original Design by Paul László” Original owner, purchased 1951 Each: 21.25” x 22” x 19.5”

LOT 332

$3,000-5,000

LOT 333

NOT ILLUSTRATED 334 PAUL LÁSZLÓ BED FRAME

335 PAUL LÁSZLÓ VANITY CABINET AND CHAIR (2)

Brown-Saltman, designed c. 1950 Mahogany Original owner, purchased 1951 Branded “Brown Saltman - California” and “Original Design by Paul László" Headboard: 33.75” x 56.5” x 2”; Assembled: 33.75” x 56.5” x 80”

Brown-Saltman, designed c. 1950 Mahogany, upholstery, mirror plate Branded “Brown Saltman - California” and “Original Design by Paul László” Original owner, purchased 1951 Vanity: 27.25” x 51” x 17.5”; Chair: 24.75” x 21” x 19” (not illustrated)

$1,000-1,500

$1,500-2,500

LOT 335

336 STYLE OF JACQUES ADNET TABLE LAMP Possibly manufactured by Hermès, designed c. 1950 Leather, wood 16” x 5.5” diameter base $500-1,000

337 RUSSEL WRIGHT TABLE LAMP Manufacturer unknown, designed c. 1940 Maple, brass, fabric shade 16” x 9.75” diameter shade $1,000-1,500

338 PAUL FRANKL COMBED WOOD CONSOLE TABLE Brown-Saltman, designed c. 1940 Lacquered wood Branded “Brown-Saltman Co./Southgate, California/1288 Console Table” 30” x 54” x 18.25” $2,500-3,500

339 PAUL FRANKL COMBED WOOD SIDEBOARD Model no. 1256 Brown-Saltman, designed c. 1940 Lacquered wood, brass pulls Branded “Brown-Saltman/Southgate 1256 Buffet” 34.125” x 66.875” x 20.375” $2,000-3,000

213

340 KARL HAGENAUER BRONZE FIGURES (51) Hagenauer Werkstatte, designed c. 1920 Patinated bronze Each stamped “Hagenauer Austria” Various dimensions, largest 3” This collection was acquired by a businessman traveling to Austria from the 1920s to the 1940s. $3,000-5,000

341 ROSEVILLE POTTERY COMPANY FUTURA VASES (2) Roseville Pottery Company, designed c. 1920 Glazed pottery Retains manufacturer’s marks; smaller vase with manufacturer’s label 12.5” x 6” diameter and 9.75” x 8” diameter $800-1,200

342 GILBERT ROHDE TABLE LAMPS (2) Manufacturer unknown, designed c. 1935 Chrome-plated steel, glazed porcelain with gold colored paint highlights 11.25” x 4” diameter $2,000-3,000

343 FELIX AUBLET TABLE LAMPS (2) Ecart International, France, designed 1931; these examples c. 2000-09 Chrome-plated steel 12” x 6” x 6” $600-900

215

344 NORMAN BEL GEDDES CHEST Simmons, designed c. 1930 Enameled steel 44.375” x 38.75” x 19” $2,000-3,000

345 AMERICAN STREAMLINE FLOOR LAMP Possibly manufactured by Mutual Sunset Lighting Corp., designed c. 1930 Chrome-plated steel, lacquered wood 52” x 9” x 9” $1,000-1,500

346 K .E.M. WEBER LOUNGE CHAIR Lloyd Manufacturing Company, designed c. 1934 Chrome-plated steel, oak, upholstery 27.25” x 24” x 34” $6,000-9,000

347 NORMAN BEL GEDDES MIRRORS (2) Simmons, designed 1934 Brushed steel, wood, mirror plate Each: 21” x 20” x 5” $2,500-3,500

348 AMERICAN STREAMLINE NIGHTSTANDS (2) Manufacturer unknown, designed c. 1930 Lacquered wood 24.25” x 35.5” x 14.75” $1,500-2,500

217

349 E. BLOCHET FRENCH BAR CART Atelier Blochet, designed c. 1925 Mahogany, laminate, aluminum Ink stamp to underside “Creation E. Blochet Nice 1050” 24.5” x 34” x 15.325” $1,000-1,500

350 JEAN PERZEL FLOOR LAMP Luminator Française, designed c. 1930 Aluminum, plated brass Metal label on shade “Luminator Française-Unis Paris France” 68.75” x 11.5” diameter Literature: MOBILI ER

ET DÉCORAT I ON,

JULY, 1 93 4, PP 15 -16.

$3,000-5,000

351 GILBERT ROHDE UPLIGHTER FLOOR LAMP Model no. 3489 Mutual Sunset Lighting Corporation, designed c. 1935 Enameled and chrome-plated steel, aluminum Marked "MSLC No. 3489" 67.75” x 10.5” diameter $2,000-3,000

LOT 351

LOT 350

352 GILBERT ROHDE OCCASIONAL TABLE Troy Sunshade Company, designed c. 1935 Chrome-plated steel, wood 24” x 30” x 18” $2,000-3,000

353 GILBERT ROHDE CONSOLE TABLE Troy Sunshade Company, designed 1930 Chrome-plated steel, wood 26.75” x 41.75” x 11.75” $1,500-2,500

219

354 MAX FINKELSTEIN METROPOLIS #1 1953 Welded steel 20.5” x 14.75” x 14.75” $4,000-6,000

355 JAMES ROSENQUIST OFF THE CONTINENTAL DIVIDE 1973-4 Color lithograph on ivory wove Japan handmade paper #29 of 43 Published by Universal Limited Art Editions, New York; printed by Bill Goldston and James Smith Signed and dated in graphite lower right margin with publisher blind stamp; edition lower left; title inscribed upper left margin Impression (irreg.): 37” x 78.3125”; Sheet: 42” x 79.1875”; Frame: 46” x 83” Literature: GL E N N ,

CONSTANCE W, TI M E

D UST, R O S E N Q UIST: COM P LETE G R AP H I CS 19 6 2-19 9 2, N E W YO R K : R I ZZOLI , 1 993, #69.

$10,000-15,000

221

356 JAMES ROSENQUIST STAR LADDER (2ND STATE) 1978 Color etching #1 of 78 Published by Aripeka Ltd., Editions, London; printed by Charles Levine Signed and dated “August 1978” lower right; edition lower left; inscription lower center margin Impression: 17.625” x 36”; Sheet: 22.875” x 39.875”; Frame: 27” x 44” Literature: GL E N N ,

CONSTANCE W, TI M E

D UST, R O S E N Q UIST: COM P LETE G R AP HIC S : 19 6 2-19 9 2, N E W YOR K : R I ZZOLI , 1 993, # 13 6 A .

$1,500-2,000

357 CRASH (JOHN MATOS) UNTITLED 1998 Spraypaint on canvas Signed in blue grease pen “J. Crash Matos” verso; inscribed “5/98 Untitled” verso Canvas: 12” x 72”; Frame: 17” x 77” $4,000-6,000

358 CRASH (JOHN MATOS) UNTITLED (FOLDING SCREEN) 1999 Screenprint on textured paper Signed and dated 68” x 28" as illustrated $2,500-3,500

359 CRASH (JOHN MATOS) UNTITLED (SUPERMAN) 1994 Watercolor Signed and dated “J. Crash 94” in graphite lower left Sheet: 41.25” x 29.25” $2,000-3,000

360 CRASH (JOHN MATOS) IRON MAN ANNUAL 1989 Watercolor on Arches Signed and dated “Crash 89” Sheet: 41” x 29.25” $2,000-3,000

223

361 KEITH HARING UNTITLED 2 (FREE SOUTH AFRICA) 1985 Color lithograph on wove BFK Rives #12 of 60 Published by Edition Schellmann, Munich Signature lower right in graphite with artist’s signet and edition Sheet (vis.): 30.5” x 38.25”; Frame: 39.5” x 46.75” Literature: LIT TMA N,

KL AU S, ED, K E I T H

HARIN G : EDI TIONS ON PA PER , 19 82- 1 9 9 0, ST UT TG ART: CA NTZ, 1993, I LLU ST R AT E D P 42.

$5,000-7,000

362 KEITH HARING A VERY SPECIAL CHRISTMAS 1987 Color silkscreen Unknown edition size Published by A&M Records, Santa Monica Signature with date in grease pen lower right margin; signature and date in plate Impression: 14.75” x 18.875”; Sheet (vis.): 17.75” x 21.5”; Frame: 18.5” x 22.25” A&M Records commissioned the artist to design an album cover, posters, and a limited edition print with proceeds donated to the Special Olympics. $3,000-5,000

363 TOM WESSELMANN BEDROOM FACE #41 1990 Screenprint on wove paper HC #12 of 12; aside from the edition of 100 Published by International Images Inc., Putney Signature and edition in graphite lower right Impression: 50.25” x 58.375”; Sheet: 59” x 67”; Frame: 64” x 71.5” $8,000-12,000

225

364 ROY LICHTENSTEIN CRAK! 1963-64 Offset color lithograph on wove paper Aside from the edition of 300 Published by Leo Castelli Gallery, New York; printed by Colorcraft, NY Signed “rf lichtenstein” in graphite lower right Impression: 18.625” x 27.125”; Sheet: 19.25” x 27.625”; Frame: 24” x 32.25” Literature: CORLET T,

MA RY LEE, T HE

PRINTS O F ROY LICH TENSTEIN: A C ATALO G UE RAISONNÉ, 1948 -1993, 1ST E DI T I ON , N EW YO RK: H U DSON H I LL S PRESS, 1 9 9 4 , #II/ 2.

$25,000-35,000

ROY LICHTENSTEIN CUBIST CELLO 1998 Screenprint in colors on Somerset textured paper Artist’s Proof #6 of 15; aside from the edition of 75 Co-published by the Estate of Roy Lichtenstein, New York and Noblet Serigraphie, Inc., New York Signed “D. Lichtenstein” in graphite lower right; edition in Roman numerals lower left; estate stamp beneath signature Impression: 40.5” x 30”; Sheet: 50.5” x 39”; Frame: 54.5” x 43.25” This print was published by the Estate of Roy Lichtenstein to generate funds for the American Friends of the Tel Aviv Museum of Art. Literature: CORLET T,

MA RY LEE, T HE

PRINTS O F ROY LICH TENSTEIN: A C ATALO G UE RAISONNÉ, 1948 -1993, 2ND E DI T I ON , N EW YO RK: H U DSON H I LL S PRESS, 2 002 , #3 11 .

$15,000-20,000

366 RICHARD DIEBENKORN UNTITLED (FROM CLUB/SPADE GROUP ‘81-82) (EIGHT BY EIGHT TO CELEBRATE THE TEMPORARY CONTEMPORARY) 1986 6-color lithograph on Arches Cover white paper #182 of 250 Published by the Museum of Contemporary Art, Los Angeles; printed by Gemini G.E.L., Los Angeles Signed “RD82” in graphite lower right with Gemini G.E.L. blind stamp; Gemini G.E.L. stamp with “RD82-1065” in graphite verso Gemini G.E.L. #15.1 Impression: 38” x 23.5”; Sheet: 40” x 27” $3,000-4,000

227

367 DAVID HOCKNEY MY POOL AND TERRACE (EIGHT BY EIGHT TO CELEBRATE THE TEMPORARY CONTEMPORARY) 1983 Color lithograph #182 of 250 Published by the the Museum of Contemporary Art, Los Angeles Signature in graphite with date lower right margin Impression: 24” x 35.5”; Sheet: 29” x 41.5” $3,000-4,000

368 JOHN CAGE ROLYWHOLYOVER: A CIRCUS 1992 Metal, offset lithograph on paper Unknown edition size Published by Rizzoli International Publications, New York Catalogue for a major exhibition on John Cage issued in an aluminum case. Box: 10” x 11.5” x 1” $1,000-1,500

369 VARIOUS ARTISTS NORTON FAMILY CHRISTMAS GIFTS (3) A: 1995; B and C: 1990 Unknown edition size A and C: Peter Norton and MoMA; B: Peter Norton, MoMA, and Alan Lithograph, Inc. Comprised of A: Paper fan; B: 24 condoms in wrappers with printed messages inside a lithographically printed plastic display case; C: 4 cotton napkins inside box with Christmas card A: “Animai-no-bi (Ambiguous Beauty)” by Yasumasa Morimura; B: “Untitled (Condoms)” by Daniel Martinez; C: “Untitled (Napkins)” by May Sun A: 13” x 3” x 1.5” diameter; 11.5” x 19” (Open); B: Original shipping box: 11.25” x 12.625” x 1.5”; Display case: 8.5” x 7” x 1” diameter; C: Original box: 7” x 6.5” x 1.5”; Napkins each: 13.75” x 13.25”; Card: 5.875” x 6.625” $1,000-1,500

370 CLAES OLDENBURG DOUBLE-NOSE/PURSE/PUNCHING BAG/ ASHTRAY 1969; published 1970 Sculpture of leather, bronze, and wood with deerskin-covered book in redwood box #17 of 75; Book: #17/200 Published and printed by Gemini G.E.L., Los Angeles Gemini G.E.L. #38.20 and 38.21 Sold with A History of the Double-Nose/ Purse/Punching Bag/Ashtray Multiple Book signed in graphite on colophon; Gemini G.E.L. symbol and edition incised on punching bag 10.875” x 20.75” x 8.375”; Book: 4.5” x 3.25” Literature: AXS O M,

RI CH AR D H , P R I NTED

STUF F: P R IN TS, P O ST ER S AND EP H EM ER A BY C L AE S O L D E N B UR G : A CATALOG U E R AIS O N NÉ 195 8 -19 9 6, NEW YOR K : H U DSON H IL L S P R E SS, 19 9 6 , #71 ( B OOK ) .

$2,500-3,500

229

371 OLGA FISCH UNTITLED (RUG) Folklore, c. 1975-79 Ecuadorian sheep wool Signature “O. Fisch” woven in fabric; retains Folklore tag 102” x 150.25” $5,000-7,000

372 PERCIVAL LAFER LOUNGE SUITE (4) Lafer A.S. Ind. Com., designed 1958 Jacaranda, leather upholstery, slate table top Chairs retain label remnant Comprised of a couch, pair of chairs, and table Couch: 33.5” x 75” x 34”; Chairs: 34.25” x 36” x 33.5” $6,000-8,000

231

373 TERJE EKSTRÖM EKSTREM CHAIRS (2) Stokke, designed 1984 Jersey stretch upholstery, steel frame Each 31” x 28” x 27” Literature: FI ELL ,

CH A RLOT TE, S C A N DI N A-

V IAN D ES IGN, COLOGNE: TASCH EN , 2 002 , P 61 2 .

$1,000-1,500

374 MARCO POCCI FLIP OUTDOOR ROCKING CHAIRS (2) Bonaldo, designed c. 2000 Batch-dyed polyurethane Molded manufacturer’s marks “Archirivolto Design/Bonaldo Casa/Made in Italy” Claudio Dondoli & Marco Pocci 35” x 29” x 38” $1,500-2,000

375 MARIO BELLINI CAMALEONDA OTTOMAN C&B Italia, designed 1966 Velour upholstery Retains C&B Italia sticker and Atelier Ltd. label 15” x 37” x 25” Literature: MOODY,

ELL A , DECOR AT I VE A RT

IN MO D ERN I NTERIORS 197 2/3, ( VOLU M E 63 ) , MICHI GA N: VI KING PRESS, 197 2 .

$400-600

233 376 EERO SAARINEN TULIP DINING SUITE (7) Knoll Associates, designed 1956, this example executed 1966 Enameled aluminum, lacquered fiberglass, faux-rosewood laminate top, vinyl upholstery Comprised of dining table and six swivel armchairs. Special order by vendor with more expensive faux-rosewood top in 1966. Table retains Knoll Associates label Table: 29.25” x 48” x 77”; Chairs: 32” x 24.25” x 24” $3,000-5,000

PHILIPPE STARCK

Driade, designed 1991 Polished aluminum, glass, fabric upholstery 72.5” x 102” x 82”

French designer Philippe Starck (b. 1949) has explored just about every area of design imaginable, including hotels, restaurants, children’s clothing, motorcycles, food packaging, and furniture. He is guided by the principle that an object needs to be “good” before it can be beautiful. A sort of supplement to the Eames philosophy of democratic design, Starck strives to “increase the quality objects at lower prices so that more people can enjoy the best.” Through this philosophy, the willingness to venture into any design field, and his dedication to environmental sustainability, Starck has become one of the most sought-after contemporary designers. Some of his most popular works include the Louis Ghost chair, the Bubble Club sofa and armchair, and his designs for the Royalton Hotel in New York City. In 1988, Starck was asked to completely redesign the Gilded Age hotel – originally constructed in 1898 – to cater to a hip, cosmopolitan clientele. Outfitted with Starck furniture, a sleek lounge, and surreal, suggestive imagery, the resulting redesign marked the inception of a new era in boutique hotels. This bed, manufactured by Driade, features tapered steel legs that adorned most of the hotel’s furniture. At once inviting and mysterious, the bed’s lighting and glass fixtures recreate the dramatic experience of staying at the exclusive Royalton Hotel.

$3,000-5,000

Eder, Jasper. “Biography.” Starck.com. Starck, 2012. Web. 31 Oct. 2012.

377 PHILIPPE STARCK ROYALTON BED

378 XAVIER LUST LIMITED EDITION T CHAIR POLISH

379 PHILIPPE STARCK MISS DORN CHAIR

Elixir, designed 1999 Polished aluminum Executed as an exclusive U.S. limited edition for the San Francisco Museum of Modern Art Gift Shop, 2002. 31” x 17” x 20.5”

Disform, designed 1982 Enameled steel, upholstery The design was originally conceived for the Starck Club, Dallas, 1982. 27.625” x 20.25” x 17.25”

Provenance: SAN

F R AN C IS C O MO MA GIF T

S H O P ; P R IVATE C O L L EC TIO N C AL IFO R N IA

$2,500-3,500

$1,500-2,000

235

380 MARK KOSTABI UNTITLED (BROKEN TV) 1991 Graphite on paper Signed and dated in graphite lower right Sheet (vis.): 8.75” x 12.25”; Frame: 19” x 22.5” $2,000-3,000

381 MARK KOSTABI UNTITLED (FUNNEL) 1992 Graphite on paper Signed and dated in graphite lower right Image: 9” x 7.25”; Sheet (vis.): 10.25” x 8.5”; Frame: 21” x 19.25” $2,000-3,000

382 KENNY SCHARF AGUA POLLINATION c. 1983 Color silkscreen #137 of 150 Signature lower center; blind stamp lower right Sheet: 33.75” x 38.875”; Frame: 48.5” x 53” Magnuson, Ann, Kenny Scharf, New York: R IZ ZO L I, 2 0 0 9, ( PAI NTI NG I LLU S TR ATE D) P 3 5 AN D 6 5.

$1,000-1,500

383 PETER LODATO 3 MARIAS #2 1988 Oil on canvas Signed, dated, and inscribed “3 Marias #2 Egypt P. Lodato 88” on center canvas stretcher verso; retains Hunsaker/ Schlesinger Fine Art, Santa Monica gallery label on upper canvas stretcher verso Canvas: 28” x 40”; Frame: 29.5” x 41.5” “Peter Lodato: PAINTI NG ,

DR AWI NG &

S C UL P TUR E , ” H UN SA K ER - SC H LESI NG ER GAL L E RY, LO S AN GE LES, 1 989.

$2,000-3,000

237

384 AMERICAN CRAFT UNTITLED (LANDSCAPE) c. 1975 Machine-woven wool wall hanging Indistinctly signed “OQII” lower left 93” x 64.75” Provenance: CEDA RS - SI NA I

MED I C A L

CEN T ER

$1,000-1,500

385 GEORGE MULHAUSER SULTANA DINING SUITE (5) Plycraft, designed 1965 Painted plywood, laminate top, leather upholstery Manufacturer’s upholstery label Comprised of a table and four chairs Chairs: 24” x 23.25” x 20.75”; Table: 26” x 42” $3,000-4,000

386 CAROL SUMMERS CHINESE LANDSCAPE 1951 Woodcut #1 of 50 Signed in pencil lower right sheet; title with edition lower left Sheet: 21.25” x 36”; Frame: 31.5” x 45.5” Literature: S UMME R S,

CAR OL , C AR OL

S UMME R S : C ATALO GU E R AI SONNE, 1 950 19 8 8, N E W YO R K : B AR NET T, BECK AND C C A GAL L E R IE S, 19 9 8 , IL LU STR ATED P 6, #4 .

$500-700

387 CAROL SUMMERS NAVARRO RIDGE 1973 Woodcut Artist’s Proof; aside from the edition of 75 Signature in graphite center right; title with edition inscribed center left Sheet: 49” x 37”; Frame: 60.5” x 48” Literature: S UMME R S,

CAR OL , C AR OL

S UMME R S : C ATALO GU E R AI SONNE, 1 950 19 8 8, N E W YO R K : B AR NET T, B ECK AND C C A GAL L E R IE S, 19 9 8 , # 11 2.

$500-700

388 CAROL SUMMERS GOKYO 1982 Woodcut and monotype #124 of 150 Signature in graphite lower right with edition and title Sheet: 18.75” x 18.25”; Frame: 24.25” x 24.25” Literature: S UMME R S,

CAR OL , C AR OL

S UMME R S : C ATALO GU E R AI SONNÉ, 1 950 19 8 8, N E W YO R K : B AR NET T, B ECK AND C C A GAL L E R IE S, 19 8 8 , # 176.

$500-700

239

389 CAROL SUMMERS ALTIPLANO 1977 Woodcut Artist’s Proof; aside from the edition of 90 Signature in graphite lower right; edition and title inscribed lower left Sheet: 24” x 37”; Frame: 35.5” x 48” Literature: SU MMERS,

CA ROL , CA R OL

S UMMERS: CATA LOGU E RA ISONNÉ , 1 950 1 9 8 8, NEW YORK: BA RNET T, BECK A N D C C A G ALLERIES, 1998, ILLU STRATED P 37, #1 39.

$500-700

390 J. ANDERSON ADOBE DE GRANVILLE 1979 Hand-hooked and tufted wool wall hanging Studio Signed, dated, and inscribed in red marker on the reverse “79 Adobe de Granville J. Anderson” 48” x 86” Provenance: CEDA RS - SINA I

MED I C A L

CENT ER

$1,000-1,500

391 STEVE LYDA UNTITLED c. 1975 Hand-hooked and tufted wool wall hanging Woven signature upper left 58” x 47” Provenance: CEDA RS - SINA I CENT ER

$1,000-1,500

MED I C A L

241

392 KARL SPRINGER DESK AND CHAIR (2) Karl Springer Ltd, designed c. 1975 Leather, wood Stamped leather label to each “Karl Springer 1983” Desk: 32” x 64” x 31”; Chair: 34.625” x 22.5” x 21” $5,000-7,000

393 LEONARDO NIERMAN ETERNAL FIRE c. 1977 Hand-woven wool tapestry Signature woven lower right with maker’s mark lower left 75” x 58” Provenance: CEDA RS - SI NA I CENT ER

$3,000-5,000

MED I C A L

394 LEONARDO NIERMAN UNTITLED (FIRE) c. 1961 Mixed media on Masonite Signature lower right Image: 48.125” x 35.375”; Frame: 48.5” x 36” Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

243

$2,000-3,000

395 LEONARDO NIERMAN CRATER (CELESTIAL FIRE) c. 1961 Mixed media on Masonite Signature lower left; inscribed “Celestial Fire” verso Image: 35.25” x 48”; Frame: 36.25” x 48.5” Provenance: C E DAR S - SI NAI C E N TE R

$2,000-3,000

M EDI CAL

396 MARTIN BORENSTEIN CHALLENGE SERIES SOFA AND SETTEE Croyden Furniture Inc., designed 1952 Walnut, gilt-plated stainless-steel, original upholstery Retains labels “Martin Borenstein Design” and “MB Designs, Oakland CA” Settee: 27” x 49.75” x 31.75”; Sofa: 27" x 195" x 31.5" $5,000-8,000

245

397 STAN BITTERS THUMB POTS (2) Hans Sumpf, executed c. 1995 Ceramic Etched “HSC B 21.18” Each: 14.75” x 18” diameter $1,500-2,000

398 STAN BITTERS THUMB POTS (2) Hans Sumpf, executed c. 1995 Ceramic Etched “HSC B 21.18” Each: 18” x 21” diameter $1,500-2,000

399 SORI YANAGI BUTTERFLY STOOL Tendo, designed 1954 Laminated rosewood, brass 16” x 16.5” x 12” $1,500-2,000

400 KLAUS GRABE CHAISE LOUNGE Studio, designed c. 1940 Laminated-pine, webbing 26” x 63” x 25.5” Bauhaus educated furniture designer best known for his simply-constructed plywood furniture, Klaus Grabe left Germany in the 1930s. His exile brought him first to Mexico, where he joined Josef and Anni Albers, and Hannes and Lena Meyer. He later moved to New York. $1,500-2,000

24 7

401 R .M. SCHINDLER BEDROOM SUITE (4) Custom, designed 1925; these examples produced c. 2000 Douglas fir with stained finish, leather Desk: 34” x 57” x 53”; Daybed: 14.5” x 80” x 33”; Assembled together: 34” x 57” x 114”; Chair: 27” x 21.5” x 20.5” Armchairs (2): Each 29” x 32” x 32” The furniture was custom designed by Schindler for How House, Silverlake, 1925. These examples were reproduced based on Schindler’s blueprints and drawings. $3,000-5,000

249 402 R .M. SCHINDLER DINING SUITE (12) Custom, designed 1925; these examples produced c. 2000 Douglas fir with stained finish, leather Dining table: 27.25” x 64” x 32”; Side chairs (11): Each 27” x 21.5” x 20.5” The furniture was custom designed by Schindler for How House, Silverlake, 1925. These examples were reproduced based on Schindler’s blueprints and drawings. $4,000-6,000

403 R .M. SCHINDLER SEATING UNIT AND SIDE TABLES (4) Manufacturer unknown, designed 1925; these examples produced c. 2000 Douglas fir with stained finish, glass, leather Seating unit: 48” x 100” x 52”; Glass cart table: 19” x 36” x 24”; Double-glass side table: 15” x 32” x 16”; Small side table: 16” x 18” x 16” The furniture was custom designed by Schindler for How House, Silverlake, 1925. These examples were reproduced based on Schindler’s blueprints and drawings. $3,000-5,000

404 R .M. SCHINDLER LIGHTING AND SEATING SUITE (9) Custom, designed 1925; these examples produced c. 2000 Douglas fir with stained finish, frosted glass, leather Bench (2): Each 32” x 42.5” x 17.5”; Table: 30” x 42” x 24.25”; Lamps (2): Each 56.5” x 16” x 22”; Large lamps (2): Each 49” x 14” x 27”; Table lamp: 17” x 9” x 16” Hutch: 80” x 57.25” x 16” The furniture was custom designed by Schindler for How House, Silverlake, 1925. These examples were reproduced based on Schindler’s blueprints and drawings. $3,000-6,000

251

405 GERALD MCCABE CIRCULAR COFFEE TABLE Orange Crate Modern, designed c. 1970 Shedua 15.5” x 41” diameter $1,000-1,500

406 GERALD MCCABE DESK Orange Crate Modern, designed c. 1970 Shedua Branded “Gerald McCabe Orange Crate Modern Eon Furniture Company, Santa Monica, CA” 28.75” x 60” x 31” $2,000-3,000

407 GERALD MCCABE NESTING TABLES (3) Orange Crate Modern, designed c. 1970 Shedua Each branded “Gerald McCabe Orange Crate Modern Eon Furniture Company, Santa Monica, CA” A: 19.75” x 16.75” x 16.75”; B: 18.5” x 15.75” x 14.5”; C: 17.5” x 13.75” x 13.75” $1,000-1,500

408 GERALD MCCABE RECTANGULAR COFFEE TABLE Orange Crate Modern, designed c. 1970 Shedua Branded “Gerald McCabe Orange Crate Modern Eon Furniture Company, Santa Monica, CA” 18” x 29.75” x 19.75” $1,000-1,500

LOT 407

LOT 408

NOT ILLUSTRATED 409 GERALD MCCABE WALL MOUNTED BED Orange Crate Modern, designed c. 1970 Shedua One side drawer signed “Gerald McCabe” With built-in drawers Mounted Headboard: 19.5” x 112” x 1.5” $2,500-3,500

NOT ILLUSTRATED 410 GERALD MCCABE VITRINES (2) Orange Crate Modern, designed c. 1970 Shedua, glass Each with four glass shelves Each: 72” x 36” x 16” $1,500-2,000

NOT ILLUSTRATED 411 GERALD MCCABE SOFA MIRROR Orange Crate Modern, designed c. 1970 Shedua, mirror plate 33” x 51” x .75” $1,000-1,500

412 GERALD MCCABE TRESTLE DINING TABLE Orange Crate Modern, designed c. 1970 Shedua, glass 28.75” x 72” x 40” $3,000-4,000

413 GERALD MCCABE BUFFET Orange Crate Modern, designed c. 1970 Shedua 36” x 84” x 17.75” $3,000-4,000

414 GERALD MCCABE CHEST OF DRAWERS (2) Orange Crate Modern, designed c. 1970 Shedua Branded “Gerald McCabe Orange Crate Modern Eon Furniture Company, Santa Monica, CA” Comprised of eight-drawer and six-drawer chest 36” x 54” x 20” and 28.75” x 60” x 21” $3,000-4,000

253

415 THEODORE ROSZAK UNTITLED (STUDY) 1939 Ink, graphite, and marker on tracing paper in original mat Signed “T. Roszak 1939” in graphite lower right; initialed upper left; mat inscribed “R.” lower right; mat retains ink stamp “Theodore Roszak/One Street Lukes Place/New York, NY 10014” verso Sheet: 8.375” x 10.875”; Mat: 16” x 20” $2,000-3,000

416 RICHARD SERRA PATHS AND EDGES #8 2007 Etching printed on heavy Lanaquarelle watercolor paper #19 of 60 Published by Gemini G.E.L., Los Angeles Signed and dated verso with edition; Gemini G.E.L. print information verso Sheet: 23.5” x 29.5”; Frame: 31.5” x 37.5” $5,000-7,000

417 EMIL BISTTRAM UNTITLED (ABSTRACT COMPOSITION) 1959 Oil on Masonite Signed “Bisttram 59” lower left with stylized “M” inscribed above signature Masonite: 48” x 36”; Frame: 49” x 37” The artist won the Grand Prize for painting at the New Mexico State Fair in the year this painting was executed. A retrospective at the Harwood Art Museum in Taos, New Mexico was also held in 1959. $6,000-9,000

255

418 (OPPOSITE PAGE) WILLIAM WOLFSON THE PLAYGROUND c. 1960s Oil on canvas Signed lower left Canvas: 63.5” x 48”; Frame: 67.5” x 51.625” William Wolfson studied under painter and founder of the Ashcan School, Robert Henri. Wolfson later went on to teach at Otis College of Art & Design. Provenance: C E DA R S - SI N AI

ME D IC AL

CENTER

$2,000-3,000

419 YEHOSHUA KOVARSKY CHIEF BLACK RAVEN

420 YEHOSHUA KOVARSKY JUDEAN WARRIOR

1964 Oil on canvas Signature in paint lower center; retains Cedars-Sinai label verso Canvas: 50” x 41.5”; Frame: 52” x 44”

1962 Oil on canvas Signed with date lower right; retains Cedars-Sinai label verso Canvas: 49.75” x 42”; Frame: 52” x 43”

Provenance: C E DA R S - SI N AI

Provenance: C E DAR S - SI NAI

ME D IC AL

CENTER

C E N TE R

$1,500-2,000

M EDI CAL

257

421 LIONEL BARRYMORE GROUP OF WORKS (3) Early 20th century Talio-chrome etching facsimiles Each retains Cedars-Sinai label on the frame verso A: Point Mugu; B: Purdy’s Basin; C: San Pedro A: Impression: 8.25” x 11.5”; Sheet (vis.): 11.5” x 14”; Frame: 12.5” x 15”; B: Impression: 8” x 10.25”; Sheet (vis.): 11.625” x 10.25”; Frame: 12.5” x 15”; C: Impression: 8.5” x 11.375”; Sheet (vis.): 11.625” x 13.825”; Frame: 12.625” x 14.825” Provenance: CEDA RS - SINA I CENT ER

$900-1,200

MED I C A L

422 RICO LEBRUN UNTITLED (FROM DANTE’S INFERNO) (4) 1963 Lithograph on Strathmore cover Two plates from the edition of 150 signed in graphite by the artist; aside from the edition of 2000 Published by Kanthos Press, Los Angeles; printed by Joe Funk, Kanthos Press, Los Angeles Each with signature in plate; one plate signed “Lebrun” in graphite lower center; one plate signed “Lebrun 63” in graphite with “95-125” inscribed lower left Four lithographs from Drawings for Dante’s Inferno with illustrations by Rico Lebrun and portfolio design by Leonard Baskin. A: Sheet: 17” x 12.5”; Frame: 23” x 19”; B: Sheet: 17” x 12.75”; Frame: 23.75” x 18.75”; C and D: Sheet: 21.75” x 28.75”; Frame: 22.25” x 29.25” Provenance: C E DAR S - SI NAI C E N TE R

$1,500-2,000

M EDI CAL

259

423 SADAMASA MOTONAGA UNTITLED (TAPESTRY) 1976 Machine-woven wool Signature in black marker verso “S. Motonaga ‘76” with “6” inscribed on label 39” x 117” This artist is part of the Gutai group, an association of conceptual and performance artists from Japan, founded in 1954. The Guggenheim New York will be showing the first U.S. museum retrospective of the Gutai group in February 2013. Provenance: CEDA RS - SI NA I

MED I C A L

CENT ER

$2,000-3,000

424 THOMAS ALTHAUS SOFA De Sede, designed c. 1990 Enameled steel frame, leather Retains ticking “De Sede of Switzerland” 29.5” x 95” x 36.5” $3,000-4,000

425 PAOLO PIVA ALANDA SOFA C&B Italia, designed 1982 Enameled metal, leather upholstery 34” x 81.5” x 32” $800-1,200

426 WILLIAM T. WILEY UNTITLED (LIL’ DECLARATION OF INDEPENDENCE AT CHRISTMAS) 1977 Color lithograph Unknown edition size Signed and inscribed in graphite “Dorothy Best Wishes for 78--Wiley” lower left Sheet (vis.): 29” x 22”; Frame: 30” x 23” Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

$2,000-3,000

427 JACK BETTS DON’T FALL FOR ENEMY PROPAGANDA c. 1943 Color lithograph Unknown edition size Published by Veterans of Foreign Wars of the U.S.; printed by L.I.P. & B.A., Kansas City Printed “illustrated by Jack Betts” lower right; publisher and printer information printed lower left Sheet: 21.75” x 16.75”; Frame: 22.125” x 17” Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

$500-700

428 AMOS SEWELL MILES OF HELL TO TOKYO! 1945 Lithograph Unknown edition size Printed and published by the Government Printing Office Printed lower margin “US Government Printing Office 1945” Printed by the Government for the War Manpower Commission Impression: 24.75” x 17.25”; Sheet: 25.75” x 18.125”; Frame: 26.25” x 18.5” Provenance: C E DAR S - SI NAI

M EDI CAL

C E N TE R

Literature: B R E D H O FF,

STAC EY, P OWER S

O F P E R S UAS IO N : P O STER ART FR OM WOR LD WAR II, WAS H IN GTO N: NATI ONAL AR C H I VES TR UST F UN D B OAR D, 1 994 , I LLU STR ATED P 2 0.

$500-700

261

429 T.H. ROBSJOHN-GIBBINGS DINING CHAIRS (6) Widdicomb, designed c. 1950 Walnut, fabric upholstery Comprised of four side chairs and two armchairs Each: 34” x 22.5” x 24”

430 EDWARD WORMLEY TUXEDO COUCH Dunbar, designed c. 1965 Mahogany, upholstery Sold with original manufacturer’s label and sample of original upholstery 26.25” x 84” x 30”

431 DANISH MODERN Y-LEG COFFEE TABLE Manufacturer unknown, designed c. 1955 Teak, oak Stamped “Denmark” 17.5” x 59” x 19.5” $500-700

432 CHARLES BRAGG THE GOLDEN CHRISTMAS DUCAT AND THE GRAND HOTEL (2) A: 1973; B: 1969 A: Oil on panel; B: Gouache on illustration board mounted to particle board A: The Golden Christmas Ducat; B: The Grand Hotel A: Board: 12.5” x 9.25”, Frame: 16.75” x 13.5”; B: Board: 10.75” x 14”, Frame: 12” x 15” Each signed Provenance: P L AY B OY E N TE R P R IS ES, C H I CAG O; P R IVATE C O L L EC TIO N, CALI FOR NI A

$2,000-3,000

263

433 SALVADOR DALÍ LINCOLN IN DALIVISION 1974 Bronze relief in velour clamshell case #154 of 195 Martin Lawrence, Ltd., Van Nuys, publisher; Grapholith, Paris, printer Signature incised lower right; edition lower left Sold with certificate of authenticity from the publisher Relief: 28” x 19” x .5”; Case: 29.5" x 20.5" x 2" Provenance: CEDA RS - SI NA I

MED I C A L

CENT ER

$1,000-1,500 CLAMSHELL CASE

434 JOHN OKULICK UNTITLED 1986 Hand painted metallic acrylic on wood Signed and dated underneath base 14.5” x 14” x 5” LAMA would like to thank the artist for his gracious assistance in cataloguing this work.

265

435 NIKI DE SAINT PHALLE UNTITLED (EIGHT BY EIGHT TO CELEBRATE THE TEMPORARY CONTEMPORARY) 1983 Color lithograph on Rives BFK #182 of 250 Published by the Museum of Contemporary Art, Los Angeles Signature with edition in graphite lower left margin Sheet: 28.75” x 41.75” $3,000-4,000

436 HENDRICK VAN KEPPEL & TAYLOR GREEN PATIO SUITE (12) Model no. 905 (table), 803 (Sun Chaise), 800 and 801 (lounge and ottomans) VKG, designed c. 1950 Comprised of four lounge and ottomans, three Sun Chaise and low table Table: 15.25” x 48” diameter; Chaise: Each 18.5” x 68.5” x 35.5”; Lounge chair: 26.25” x 20.75” x 33.25"; Ottoman: 11.25” x 20.75” x 18.25” Literature: VA N

KEPPEL- GREEN: M ODE R N

FURN IT URE (CATA LOGU E), NO DAT E .

$4,000-6,000

A Handbook of California Design, 1930–1965: Craftspeople, Designers, Manufacturers A new companion book to the Los Angeles County Museum of Art’s groundbreaking exhibition and catalogue California Design, 1930–1965: “Living in a Modern Way.” Documenting the lives and work of more than 140 of the most significant twentieth-century California design figures, including such highly distinguished designers as Charles and Ray Eames and Saul Bass, as well as many lesser known yet influential practitioners, this book offers new information and more than 100 rare photographs. It will become an indispensable resource for scholars, students, collectors, and all those interested in modern design.

Copublished by LACMA and the MIT Press Book designed by Irma Boom Paperback, 6 x 9 in. 320 pages 150 illustrations $34.95 Publication date January 2013

267

NOW ACCEPTING CONSIGNMENTS S P R I N G

2 0 1 3

A U C T I O N

Larry Rivers, White Camel, 1980 Acrylic on canvas, Signed “Larry Rivers ‘80” lower right; inscribed “White Camel 1980” verso; retains Marlborough Gallery and Elaine Horwitch Gallery labels on the canvas stretcher verso, Canvas: 60” x 42.5” Estimate: $40,000 - 60,000

To submit material for consideration, please email images to Shannon@lamodern.com or call 323-904-1950

The Young and the Beautiful:

Michael Cardew, Modern Pots and the Counterculture in North America, 1967-1981

Lecture by Tanya Harrod

independent design historian, author, and co-editor of the Journal of Modern Craft

the 2012-2013 DADC lecture series is sponsored by the Elsie de Wolfe Foundation

photo credit: By kind permission of Noel Osheroff

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

PAYMENT All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request, please phone (323) 904-1950. If payment is not received by December 24th, collection and storage fees will begin incurring immediately.

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INDEX A Aalto, Alvar 94 Ackerman, Evelyn 67-69 Adnet, Jacques 211, 213-15 Althaus, Thomas 424 Anderson, J. 390 Appel, Karel 224-25 Archizoom 97 Arp, Jean 280 Aublet, Felix 343 Avery, Milton 28 Avery, Sally 29

B Baldessari, John 305-06 Barrymore, Lionel 421 Baughman, Milo 192-95 Bayer, Herbert 167 Bel Geddes, Norman 334, 347 Bellini, Mario 87, 375 Bengston, Billy Al 43 Benjamin, Karl 245-48 Bertoia, Harry 169-71 Betts, Jack 427 Bianchi, Romano 93 Bill, Max 40 Bisttram, Emil 417 Bitters, Stan 397-98 Blochet, E. 349 Blunk, J.B. 45 Bobrick, Mitchell 190 Borenstein, Martin 396 Borofsky, Jonathan 55 Bragg, Charles 432 Brown, William Theophilus 25 Bucher, Oscar 44 Burton, Elizabeth Eaton 133-34

C Cadestin, Michel Cage, John Caivano, Ernesto Calder, Alexander Carroll, Lawrence Chagall, Marc Chihuly, Dale Cohen, Bruce Cohen, Larry Crash (John Matos)

198 368 17 281-84 57-58 209-210 72 26 24 357-60

D Dalí, Salvador de Saint Phalle, Niki Deskey, Donald Diebenkorn, Richard Dill, Laddie John Draeger, Christoph Dreyfuss, Henry Dupré-Lafon, Paul

433 435 268-69 27, 366 52-53 295 265 336

E Eames, Charles 4-8, 150, 158-63 Edmondson, Leonard 168 Ekström, Terje 373 Ellis, Harvey 112, 116, 120, 129 Eriksson, Stenerik 39

Fabry, Erno 86 Fairey, Shepard 302-03 Falkenstein, Claire 185 Fantoni, Marcello 81 Ferren, John 219 Finkelstein, Max 354 Fisch, Olga 371 Fischinger, Oskar 165-66 Ford, Gordon Onslow 277-78 Fornasetti, Piero 74-79 Frame, Robert 220 Francis, Sam 146, 249-52 Frankenthaler, Helen 290 Frankl, Paul 319-21, 338-39 Friberg, Berndt 240 Friedeberg, Pedro 287

LaChapelle, David 297 Lacroix, Boris Jean 259 Lafer, Percival 372 László, Paul 330-35 Le Corbusier 275 Lebadang 71 Lebrun, Rico 422 Lichtenstein, Roy 364-65 Lindberg, Stig 236-37 Lodato, Peter 383 Longo, Robert 294 Lundin, Ingeborg 241 Lust, Xavier 378 Lyda, Steve 391

G Gall, François 204 Gallé, Emile 217 Giacometti, Alberto 201 Ghost 301 Grabe, Klaus 400 Graham, Robert 54 Grawunder, Johanna 98 Gregory, Jackson 187-88 Grossman, Greta 176-79 Gruen, Victor 2

H Hagenauer, Karl 340 Hammersley, Frederick 243-44 Haring, Keith 361-62 Henningsen, Fritz 242 Henry, Jon 286 Hermès 216 Hirst, Damien 19-20 Hockney, David 367 Horti, Paul 132 Hutton, John 212

J Jacobsen, Arne Jarvie, Robert Jelles, Evert Jelle Jenkins, Paul Judd, Donald Juhl, Finn

M Mangold, Robert 311-12 Mapplethorpe, Robert 298 Masset 136 Matta, Roberto Sebastian 221 McArthur, Warren 266 McCabe, Gerald 405-14 McIntosh, Harrison 63-66 Mies van der Rohe 276 Miró, Joan 205-08 Moses, Ed 56 Motherwell, Robert 289 Motonaga, Sadamasa 423 Mulhauser, George 385 Murakami, Takashi 304

N Nakashima, George 59-62 Natzler, Gertrud & Otto 172-75 Nelson, George 1, 9-11, 152-57 Neri, Manuel 180-81 Neuhart, Marilyn 6 Nierman, Leonardo 393-95 Noguchi, Isamu 151, 285 Nylund, Gunnar 238

O 226-33 135 88 222-23 315 239

K Kauffer, E. McKnight 327 Kelly, Ellsworth 291-93 Kendrick, George Prentiss 121 Keppel-Green, Hendrick 436 Kienholz, Edward 50-51 Kline, Franz 164 Knoll, Florence 147-48 Koons, Jeff 18 Koppel, Henning 234-35 Kostabi, Mark 380-81 Kovarsky, Yehoshua 419-20 Krebs, Patsy 316 Krenchel, Herbert 3

Okulick, John Olbrich, Joseph Maria Oldenburg, Claes Oliveira, Nathan

434 119 370 182-84

P Park, David 21-22 Pascin, Jules 203 Pascoe, Clifford 310 Paulin, Pierre 307-09 Perez, Enoc 16 Perzel, Jean 350 Pesce, Gaetano 90, 92 Pettibon, Raymond 253-56 Picasso, Pablo 196-97, 200, 202 Pistoletto, Michelangelo 15 Piva, Paolo 425 Pocci, Marco 374 Ponti, Gio 83-85 Price, Ken 41-42 Putman, Andrée 73

Q Quistgaard, Jens

227

R Rauschenberg, Robert 102-11 RAAK 89 Ray, Man 279 Robsjohn-Gibbings, T.H. 429 Rohde, Gilbert 264, 322-26, 342, 351-53 Rookwood 122-25 Rosenquist, James 355-56 Roseville 341 Roszak, Theodore 415 Royère, Jean 199 Ruscha, Ed 46-49

S Saarinen, Eero 149, 376 Saarinen, Eliel 263 Sarfatti, Gino 80 Schapiro, Stephen 144 Scharf, Kenny 382 Schindler, R.M. 272, 401-04 Serra, Richard 416 Sewell, Amos 428 Shire, Peter 91 Shulman, Julius 273 Simmons, Laurie 300 Sottsass, Ettore 96, 99-101 Springer, Karl 392 Starck, Philippe 377, 379 Stickley Brothers 113 Stickley, Gustav 115, 117, 130 Stickley, L. & J. G. 114, 118, 126-27 Summers, Carol 386-89

T Teague, Walter Dorwin 328-29 Tobey, Mark 186 Trova, Ernest 14 Tuttle, Richard 288

V Vasarely, Victor Venard, Claude von Nessen, Walter

12-13 218 260

W Warhol, Andy 137-45 Weber, K.E.M. 262, 267, 270-71, 336 Wegman, William 299 Wegner, Hans J. 30-38 Wesselmann, Tom 363 Wiley, William T. 426 Wolfson, William 418 Wonner, Paul 23 Wormley, Edward 70, 191, 430 Wright, Russel 257-58, 337 Wright, Frank Lloyd 274

Y Yanagi, Sori

399

Z Zaki, Amir Zox, Larry

296 313-14

AUCTION:

SUNDAY, DECEMBER 16, 2012 12 p.m. Noon (PST)

Peter Loughrey Director, Modern & Contemporary Fine Art Dan Tolson Director, 20th Century Decorative Art & Design

PREVIEW:

DECEMBER 1 - 15, 2012 10 a.m. - 6 p.m. (PST)

Shannon Loughrey Managing Director

ADDRESS:

Elizabeth Portanova Marketing Director

16145 Hart Street Van Nuys, CA 91406

Julie Wearing Client Services

TELEPHONE:

Zoe Weinberg Client Services

323-904-1950

Joe Alascano Shipping

WEBSITE: LAMODERN.com

DIRECTIONS TO AUCTION & PREVIEW: FROM HOLLYWOOD

VAN NUYS AIRPORT

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

HART ST

Photography Susan Einstein Robert Wedemeyer Mario de lopez Essays Paul Des Marais Dan Tolson

FROM THE WESTSIDE 101 FREEWAY

WOODLAND HILLS

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

Cataloguer/Editor Zoe Weinberg Dan Tolson Paul Des Marais

HOLLYWOOD

GETTY CENTER

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

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