May 19, 2013 Modern Art & Design Auction by LA Modern Auctions

MAY 19, 2013

PREVIEW

May 6 - 18, 2013 10 a.m. - 6 p.m.

AUCTION

Sunday, May 19, 2013 12 p.m. (PST)

16145 Hart Street Van Nuys, CA 91406

Let the Market Decide. After twenty years as an auctioneer, I have come to distill the basic

success of an auction down to these three simple rules: Know the Material, Know the Sellers, and Know the Buyers. Armed with these three principles one can develop a successful auction in any field; however, this year, I’m adding a fourth rule: Be Public. Or in other words, be transparent. Public auction records show more than just record high prices, they also build the very foundation of market value and consumer confidence. Auction houses large and small have been reporting an explosion of "private treaty" sales this year, so much so that many regularly scheduled auctions are beginning to look weak and picked over. The private treaty phenomenon is happening because exceptional works are easy to sell quickly and the revenue is instant; however, the long-term effect is an absence of feedback that the market needs to be stable. Savvy buyers are surely beginning to notice. While I will expound more on this later in our blog (lamodern.com/blog), I will say here that we feel it is critically important to assure the marketplace that we are offering the best works available here in these pages. For example, it would have been easy to find a buyer for the Vija Celmins painting (illustrated on the cover) with just a few phone calls; however, an important work such as this deserves to set a market level and will, by virtue of public sale, act as a bellwether for this artist’s work. Conversely, an undisclosed private sale would not give the market any information of which to gauge the currency or commodity of comparable work. In this sale we have several highlights that illustrate our commitment to bringing the finest examples of art and design to public sale. The aforementioned Celmins painting is not alone. There is also an extremely important painting by Billy Al Bengston, the first of his iconic "Dracula" works. This piece has all the hallmarks of historical import: it was shown at the legendary Ferus Gallery, the equally legendary Betty Asher acquired it, and it has exceptional exhibition history. Another grouping of works by Karl Benjamin shows the incredible range of this late local hero. From complex early works of the mid-1950s to the deceptively simple minimalist composition from 1965, each of these Benjamin paintings exemplifies one of California's first original modern art movements. Design, too, is represented with impressive offerings. Once again, we have a selection of rare Serge Mouille designs from an important continental collection, including a sublime ceiling lamp that was executed in 1960 for the Dior commission in Paris. The 1957 desk by Richard Artschwager beautifully bridges the gap between art and furniture in a way that surely forged a path for today's contemporary designers and artists that see no distinction between sculpture and function. In addition, the auction includes a collection of rare ceramics by Gio Ponti with the highlight being the Gli Amanti plate from 1925 manufactured by Richard-Ginori. Our Studio Craft offerings also do not disappoint with fine early examples from a quintet of inventive California ceramicists such as Glen Lukens, Peter Voulkos, Robert Arneson, David Gilhooly, and Ken Price. Additionally, works by George Nakashima, Sam Maloof, Paul Evans, and Dale Chihuly round out a uniquely American school of art. For better or for worse, let these pieces give us all a collective base for value. Compare these works to others you have seen and make your own judgments as to how much they may be worth. This is the real market at work. PETER LOUGHREY, DIRECTOR

1 CHARLES & RAY EAMES SIDE CHAIRS (5) Model no. DKR Herman Miller, executed 1973 Fiberglass, steel wire, original Alexander Girard upholstery Each retain Herman Miller delivery paper label and Herman Miller logo Each: 30.75” x 18.5” x 22.25” Provenance:

JA NET & I RVING G R E E N , LOS

AN G ELES, CA LIFORNI A ; T HENCE BY DESCENT

Literature:

NEU H A RT, JOH N & MA 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, PP 142- 43.

$2,000-3,000

2 CHARLES & RAY EAMES ARMCHAIRS (2) Model no. PAC-1 Herman Miller, executed 1969 Fiberglass, enameled and polished aluminum, original Alexander Girard upholstery Each retain Herman Miller logo, stamped serial number, Herman Miller delivery paper label Each: 31.5” x 25” x 22.5” Provenance:

JA NET & I RVING G R E E N , LOS A N G E L E S,

CAL IFO RNIA ; T HENCE BY DESCENT

Literature:

NEU H A RT, JOH N & MA R I LYN , E A M E S DE-

S IG N : T HE WORK OF TH E OFFICE OF C HA R L E S A N D R AY EAM ES, NEW YORK: A BRA MS, 1989, P P 1 39 - 4 0.

$1,500-2,000

3 CHARLES & RAY EAMES ARMCHAIRS (8) Model no. PAC-1 Herman Miller, executed 1973 Fiberglass, enameled and polished aluminum, original Alexander Girard upholstery Each retain Herman Miller logo, Herman Miller delivery paper label Each: 31.5” x 25” x 23” Provenance:

JA NET & I RVING G R E E N , LOS A N G E L E S,

CAL IFO RNIA ; T HENCE BY DESCENT

$4,000-6,000

4 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN Model nos. 670 and 671 Herman Miller, designed 1956, chair executed late 1960s, ottoman executed c. 1970 Laminated rosewood, black leather upholstery, polished and enameled aluminum Chair: 31” x 33.5” x 36”; Ottoman: 16.25” x 25.25” x 21” Literature:

N E UH ART, JOH N & 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 2 0 7.

$3,500-4,500

5 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN Model nos. 670 and 671 Herman Miller, designed 1956, thie example c. 1970s Laminated rosewood, black leather upholstery, polished and enameled aluminum Chair: 31” x 33.5” x 36”; Ottoman: 16.25” x 25.25” x 21” Literature:

N E UH ART, JOH N & 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 2 0 7.

$3,500-4,500

6 GEORGE NELSON RARE DAYBED WITH ARMS Model no. 5088 Herman Miller, designed c. 1949 Enameled metal, birch, upholstery 26” x 82” x 33” Literature:

TH E H E RM AN M I LLER

C O L L EC TIO N -F UR N ITU R E DESI G NED BY GEO R GE N E L S O N , C H AR LES EAM ES, I SAM U N O GUC H I, PAUL L ASZLO, M I C H I G AN: TH E H E R MAN MIL L E R F UR NI TU R E COM PANY, 19 48 , P 5 4 FO R S IMIL AR EXAM P LE.

$4,000-5,000

7 CHARLES & RAY EAMES RARE DINING CHAIRS (4) Model no. DCM Herman Miller, designed 1952, these examples executed 1968-72 Rosewood faced plywood, chrome-plated steel Each retain Herman Miller Inc., Zeeland MI label (one retains partial label); each retain Herman Miller medallion Each: 30” x 19.5” x 21” Literature:

N E UH ART, J O H N & MAR ILY N , E AME S D E S IGN : T H E WOR K OF TH E

O F F IC E O F C H AR L E S AN D R AY E AME S, N E W YO R K : AB R AMS, 1 989, P 75.

$3,000-5,000

8 CHARLES & RAY EAMES SIDE CHAIRS (3) Model no. DKX-1 Herman Miller, executed c. 1960 Enameled steel wire, Naugahyde Retains manufacturer’s label Each: 32.25” x 18.625” x 20” Provenance:

TH E K ING SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

Literature:

N E UH ART, JOH N & 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 P 142- 4 3.

$800-1,200

9 CHARLES & RAY EAMES LOUNGE CHAIRS (2) Model no. LCW Evans Products, designed 1945, executed late-1940s Laminated walnut Each retains Evans labels Each: 26.5” x 22” x 22” Literature:

N E UH ART, JOH N & 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 P 7 2-3.

$3,000-5,000

10 CHARLES & RAY EAMES ROCKER Model no. RKR-2 Herman Miller, executed c. 1952 Enameled steel, birch, upholstery Retains “Herman Miller Furniture Company/Venice, CA” label 28.5” x 19.5” x 27” Literature:

NEU H A RT, JOH N & MA 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 153.

$800-1,200

11 CHARLES & RAY EAMES SOFA COMPACT Model no. 473 Herman Miller, designed 1954 Enameled and chrome-plated steel, reupholstered in Alexander Girard fabric 35” x 71” x 27” Literature:

NEU H A RT, JOH N & MA 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 191.

$2,000-3,000

12 CHARLES & RAY EAMES TEAK AND LEATHER SOFA Model no. 3473 Herman Miller, designed 1976-84 Teak, polished aluminum, leather upholstery Retains Herman Miller sticker 33” x 79” x 33” This sofa was too expensive to produce and was only made for 9 years (19841993). It was also the last furniture design to come from the Eames Office. Literature:

NEU H A RT, JOH N & MA 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 451.

$3,500-4,500

13 HELEN FRANKENTHALER SUNSHINE AFTER RAIN 1987 Etching, aquatint and drypoint on Fabriano paper #16 of 67 Published by 2RC Edizioni d’Arte, Rome; printed by Raffaele d’Orsogna, Vigna Antoniniana Stamperia d’Arte, Rome Signed and dated in pencil lower right margin; edition lower left; publisher and printer blind stamps in upper and lower left margins Image: 33.25” x 27”; Sheet: 46.25” x 36.5” Literature:

H AR R IS ON, P EG R AM , H ELEN

F R AN K E N TH AL E R : A C ATALOG U E R AI SONNÉ O F P R IN TS, 19 6 1-19 9 4, NEW YOR K : ABR AM S, 19 9 6 , P 3 42 , # 12 6 .

$9,000-12,000

14 FRANK STELLA SHARDS III (FROM SHARDS SERIES) 1982 Offset lithograph and screenprint in colors on Arches cover #31 of 100 Published by Petersburg Press, New York; printed by Norman Lassiter and James Hutcheson, New York Signed and dated with edition in pencil lower right margin Sheet: 45.25” x 39.75”; Frame: 47.5” x 42” “In Shards, the staccato rhythms of floating eccentric shapes, reminiscent of Kandinsky’s biomorphic abstraction of the 1930s, creates a series that is whimsical and jazzy” (Axsom 154). Literature:

AXS O M, R I C H AR D, TH E P R I NTS

O F F R AN K STE L L A: A CATALOG U E R AIS O N N É, N E W YO R K : HU DSON H I LL S P R ESS, 19 83 , # 146 .

$4,000-6,000

15 TOM WESSELMANN BEDROOM FACE 1977 Aquatint in colors on Arches #64 of 75 Published by Multiples, New York; printed by Aeropress, New York Signed and dated with edition in pencil lower right margin Image: 16.5” x 23.75”; Sheet: 22” x 29.5”; Frame: 28” x 35.5” $5,000-7,000

16 ROY LICHTENSTEIN PAINTING ON CANVAS (FROM PAINTINGS SERIES) 1984 10-color woodcut, lithograph, screenprint, and collage on Arches 88 #18 of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right; Gemini G.E.L. blind stamps lower right margin Gemini G.E.L. #31.77 Image: 30.5” x 25.75”; Sheet: 33.75” x 28.875”; Frame: 36” x 31” Literature:

CORLET T, MA RY LEE , T HE

PRIN TS O F ROY LICH TENSTEIN: A C ATALO G UE RA I SONNÉ, 1948 -1993, 2ND E DI T I ON , NEW YO RK: H U DSON H I LL S PRESS, 2 002 , #202.

$12,000-15,000

17 ROBERT INDIANA HEPTAGON 1970 Color serigraph on white wove paper #113 of 125 Published by Edition Domberger, Germany; printed by Domberger KG, Germany Signed in pencil upper right; edition upper left Image: 12” x 11.75”; Sheet: 14” x 11.75”; Frame: 17.75” x 15.5” Literature:

S H E E H AN, SU SAN, R OBERT

IN D IAN A P R IN TS : A C ATALOG U E R AI SONNÉ, 195 1-19 9 1, N E W YO R K : SU SAN SH EEH AN GAL L E RY, 19 9 1, # 5 8 .

$1,500-2,000

18 ROBERT INDIANA THE FIGURE FIVE (FROM DECADE SERIES) 1971 Silkscreen on wove paper #199 of 200 Published by Multiples Inc., New York Signed and dated in pencil lower right margin; edition lower left; “copyright Robert Indiana 1971” printed lower left margin Image: 35.75” x 29.75”; Sheet (vis.): 38.75” x 31.75”; Frame: 39.5” x 32.5” This print was based on Robert Indiana’s 1963 painting, “The Figure Five” which was inspired by artist Charles Demuth’s famous 1928 painting, “The Figure Five in Gold.” Literature:

S H E E H AN, SU SAN, R OBERT

IN D IAN A P R IN TS : A C ATALOG U E R AI SONNÉ, 195 1-19 9 1, N E W YO R K : SU SAN SH EEH AN GAL L E RY, 19 9 1, # 6 6 .

$2,000-3,000

19 ELLSWORTH KELLY JACK/GRAY 1988; published 1990 2-color lithograph on Arches 88 #5 of 5 Special proofs aside from the edition of 35 Published by Gemini G.E.L., Los Angeles; printed by James Reid and Kenneth Farley, Gemini G.E.L., Los Angeles Signed in pencil lower right with edition in Roman numerals; Gemini G.E.L. blind stamp lower right; retains Gemini G.E.L. stamp verso with inscription “EK88-1191” Gemini G.E.L. #28.197 Sheet: 47” x 37.5” $2,000-3,000

20 ELLSWORTH KELLY YELLOW OVER YELLOW

21 ELLSWORTH KELLY YELLOW (II.2)

1964-65 Color lithograph on Rives BFK HC #8 of 13 aside from the edition of 75 Published by Maeght Editeur, Paris; printed by Marcel Durassier, Imprimerie Maeght, Levallois-Perret, Paris Signed in pencil lower right; edition inscribed in Roman numerals lower left Image: 22.5” x 15.5”; Sheet: 35.25” x 23.25”; Frame: 38.75” x 26.75”

1964-65 Color lithograph on Rives BFK #52 of 75 Published by Maeght Editeur, Paris; printed by Marcel Durassier, Imprimerie Maeght, Levallois-Perret, Paris Signed in pencil lower right; edition lower left Sheet: 35.25” x 23.75”; Frame: 38.125” x 26.75”

Literature:

AXS O M, R IC H AR D, TH E P R IN TS

AXS O M, R I C H AR D, TH E P R I NTS

O F E L L S WO RTH K E L LY: A C ATALO GUE

O F E L L S WO RTH K E L LY: A C ATALOG U E

R AIS O N N É , 19 49 -19 85, N E W YO R K : H UD S O N

R AIS O N N É , 19 49 -19 85, NEW YOR K : H U DSON

H IL L S P R E SS, 19 8 7, # 2 5 .

H IL L S P R E SS, 19 8 7, # 5.

$5,000-7,000

$4,000-6,000

22 ED RUSCHA NOW 1990 Color lithograph on Rives BFK #36 of 60 Published by Cirrus Editions, Los Angeles; printed by Francesco Siqueiros and Robert Dansby, Cirrus Editions, Los Angeles Signed and dated with edition in pencil lower right Image: 54.5” x 35.25”; Sheet: 60” x 40”; Frame: 63” x 43.25” Literature:

ENGBERG, SI RI , A ND C L I VE

PHILPOT, EDWA RD RU SCH A : EDI T I ON S 1 959 1 9 9 9, A CATA LOGU E RA I SONNÉ, N E W YOR K : DAP, 1 9 9 9, # 20 1.

$18,000-22,000

23 ED RUSCHA JUMPING FISH 1980 Etching on R.K. Burt paper #31 of 55 Published by Bernard Jacobson, Ltd., London; printed by Terry Wilson, Palm Tree Editions, London Signed and dated in pencil lower right margin; edition lower left; printer blind stamp lower right Image: 10” x 31.25”; Sheet: 19.25” x 39.25”; Frame: 19.75” x 39.5” Literature:

E N GB E R G, SI R I , AND CLI VE

P H IL P OT, E DWAR D R USC H A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # 113 .

$3,000-5,000

24 ED RUSCHA MAN WALKING AWAY FROM IT ALL 1980 Etching on R.K. Burt paper #12 of 55 Published by Bernard Jacobsen, Ltd., London; printed by Terry Wilson, Palm Tree Editions, London Signed and dated in pencil lower right margin with printer blind stamp; edition lower left margin Image: 10.25” x 31.75”; Sheet: 19.25” x 39.25” Literature:

E N GB E R G, SI R I , AND CLI VE

P H IL P OT, E DWAR D R USC H A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # 111.

$3,000-5,000

25 ED RUSCHA THREE DAUGHTERS 1980 Etching on R.K. Burt paper #18 of 55 Published by Bernard Jacobson, Ltd., London; printed by Terry Wilson, Palm Tree Editions, London Signed and dated in pencil lower right margin; edition lower left Image: 10.25” x 31.5”; Sheet: 19.25” x 39.25”; Frame: 26.5” x 46.5” Literature:

E N GB E R G, SI R I , AND CLI VE

P H IL P OT, E DWAR D R USC H A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # 112.

$4,000-6,000

26 ED RUSCHA VAN NESS, SANTA MONICA, VINE, MELROSE 1999 Lithograph #36 of 50 Signed and dated lower right; edition lower left; blind stamp lower right; retains Sue Scott Gallery label verso Sheet: 16” x 20”; Frame: 19.125” x 23.25” $4,000-6,000

27 ROBERT BECHTLE ‘64 IMPALA AND ‘63 BEL AIR (2) 1973 Color lithograph Each #46 of 60 Each signed and dated with edition; Each retain John Berggruen Gallery label verso Each: Image: 8.5” x 11”; Sheet: 13” x 17”; Frame: 16.25” x 18.5” $1,000-1,500

28 ED RUSCHA HOLLYWOOD COLLECTS 1970 Offset print on poster #79 of 220 Published by Otis Art Institute, Los Angeles Signed in pencil lower right beneath image; edition lower left This poster was designed to accompany an exhibition at Otis Art Institute the same year Image: 8” x 32.5”; Sheet: 23” x 35”; Frame: 24.5” x 36.25” Literature:

E N GB E R G , SI R I , AND C LI VE

P H IL P OT, E DWAR D R USCH A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # M1 9.

$1,000-1,500

29 ED RUSCHA BOLT I 1998 Lithograph on Murillo Avorio 360-gram paper #11 of 35 Published by Gemini G.E.L., Los Angeles; printed by Aaron Turner and Jennifer Turner Signed and dated lower right margin; edition lower left; Gemini G.E.L. blind stamps lower center margin Gemini G.E.L. #45.20 Image: 14.25” x 7.25”; Sheet: 22.125” x 14.125”; Frame: 28.25” x 20.25” Literature:

E N GB E R G , SI R I , AND C LI VE

P H IL P OT, E DWAR D R USCH A: EDI TI ONS 1 959 19 9 9, A C ATALO GUE RAI SONNÉ, NEW YOR K : DAP, 19 9 9, # 2 7 2 .

$2,000-3,000

30 ED RUSCHA BOLT II 1998 Lithograph on Murillo Avorio 360-gram paper #11 of 35 Published by Gemini G.E.L., Los Angeles; printed by Aaron Turner and Jennifer Turner Signed and dated lower right margin; edition lower left; Gemini G.E.L. blind stamps lower center margin Gemini G.E.L. #45.21 Image: 14.25” x 7.25”; Sheet: 22.125” x 14.125”; Frame: 28.25” x 20.25” Literature:

E N GB E R G , SI R I , AND C LI VE

P H IL P OT, E DWAR D R USCH A: EDI TI ONS 1 959 19 9 9, A C ATALO GUE RAI SONNÉ, NEW YOR K : DAP, 19 9 9, # 2 7 3 .

$2,000-3,000

31 ED RUSCHA EVERY BUILDING ON THE SUNSET STRIP 1966 Softcover accordion fold-out book of offset print on white paper; folded and glued in white cardboard and silver Mylar slipcase From the first edition of 1000 Published by the artist; printed by Dick de Ruscha, Los Angeles Box: 7.325” x 5.75”; Book: 7” x 5.625” x .325”; Unfolded: 299.5”

33 MASON WILLIAMS BUS BOOK

NEW YO RK: DA P, 1999, # B4.

1966 Hardcover From the edition of 500 Book designed by Edward Ruscha, photographs by Patrick Blackwell 9” x 6.25” x .325”

1967 Actual-sized photograph of a bus silkscreened on billboard stock in 16 sections; presented in a cardboard box From the edition of 200 Print published by the artist; printed by The Benline Process Color Company, Deland and Pacific Display, Los Angeles; Box printed and fabricated by Nehms Company, Los Angeles Box: 15” x 17.25” x 5”; Unfolded print: 123.5” x 434”

$3,000-4,000

$1,000-1,500

$3,000-5,000

Literature:

ENGBERG, SIRI , A ND C L I VE

PHILPOT, EDWA RD RU SCH A : EDIT I ON S 1 959 - 1 9 9 9, A CATA LOGU E RA I SONN É,

32 MASON WILLIAMS THE NIGHT I LOST MY BABY: A LAS VEGAS VIGNETTE

Photograph by Ken Kragen, Courtesy of Mason Williams Studio

34 ED RUSCHA A: EDWARD RUSCHA (ED-WERD REWSHAY) YOUNG ARTIST; B: EXHIBITION CATALOG (2) A: 1972; B: 1967 A, B: Exhibition Catalogue A: From the edition of 2000; B: Unknown edition size A: Published by the Minneapolis Institute of Arts, Minneapolis; printed by Kolorpress Inc., Minneapolis; B: Published by Alexandre Lolas Gallery, New York; printed by Sergio Tosi, Milan A: Signed and inscribed “Cheers Marv-/ Ed Ruscha” in blue pen on flyleaf A: This catalog accompanied an exhibition of prints, drawings, and books by Edward Ruscha at the Minneapolis Institute of Arts, April 18-May 28, 1972 B: This catalog accompanied an exhibition of Gunpowder drawings by Edward Ruscha at Alexandre Lolas Gallery, New York, 1967 A: 4.5” x 3.75” x 1.5”; B: 8.25” x 6.325” x .25” Literature:

E N GB E R G , SI R I , AND CLI VE

P H IL P OT, E DWAR D R USCH A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # M 25.

$1,000-1,500

35 ED RUSCHA CRACKERS

36 MASON WILLIAMS GROUP OF BOOKS (9) Bicyclists Dismount, 1964, softcover (3rd edition); Boneless Roast, 1967, Softcover; The Mason Williams Reading Matter, 1969 (4th edition), inscribed; Pat Paulsen for President, 1968, softcover, inscribed; Roadside Business, 1969, softcover, inscribed; Flavors, 1970 (5th edition), softcover, inscribed; The Mason Williams F.C.C. Report, 1969, softcover, Cancer Society Script, 1970, softcover; The Mason Williams’ Guitar Pieces Book, 1971 (1st edition), spiral-bound soft cover Largest example: 12.325” x 9.25” x .25” Smallest example: 8.5” x 5.5” x .25 $1,000-1,500

1969 Black-and-white offset print on Lithosheen gloss paper in softcover book with waxed freezer paper dust cover From the first edition of 5000 Published by Heavy Industry Publications, Hollywood; printed by G.R. Huttner Lithography, Los Angeles Signed and inscribed “Hi Dusty!/Ed Ruscha” in blue ballpoint pen on flyleaf 8.75” x 5.625” x .5” Based on Mason Williams’ “How to Derive Maximum Enjoyment from Crackers.” This publication features photographs by Ed Ruscha, Joe Goode, and Ken Price. Models used for the photographs include Larry Bell, Tommy Smothers, Rudi Gernreich, and Leon Bing. This publication would serve as the basis for Ruscha’s film Premium (1970). Literature:

E N GB E R G , SI R I , AND CLI VE

P H IL P OT, E DWAR D R USCH A: EDI TI ONS 195 9 -19 9 9, A C ATALO G U E R AI SONNÉ, NEW YO R K : DAP, 19 9 9, # B 10.

$1,000-1,500

37 J. R . DAVIDSON CUSTOM ARTICULATED WALL LIGHT Studio, custom designed and executed for the Kingsley residence c. 1946 Steel Together with an original photograph by Julius Shulman of the interior where the lamp was located in situ (below) 26” reach x 16” diameter shade Provenance:

TH E KI NGSLEY RES I DE N C E ,

PACIFIC PALI SA DES, CA LI FORNI A ; T HEN CE BY DESCENT

$1,500-2,000

J. R. DAVIDSON Architect and designer J. R. Davidson (1889-1977) was instrumental in transforming the Los Angeles landscape through his mid-century houses that employed expansive yet sensible floor plans. A German émigré who traveled throughout Europe before arriving in Los Angeles, Davidson received little formal education in architecture. The rest of his knowledge was experiential, gained from apprenticeships in Berlin, London, and Paris. After many successful years in Berlin designing lighting and interiors, Davidson and his wife Greta moved to Los Angeles in 1924, just like his friends and future collaborators Richard Neutra and K.E.M. Weber. In addition to designing interiors, he ushered in a modern sensibility through commissions for building facades, as well as hotel and home remodels. As Davidson’s reputation for practical storage solutions and innovative designs grew, he earned commissions to design Los Angeles-area residences. In 1945, John Entenza, editor of Arts & Architecture asked Davidson to design the first Case Study House; he also designed Case Study Houses #11 (1946) and #15 (1947). While the plans for Case Study House #1 were being finalized, Davidson designed two houses on adjoining lots in the Pacific Palisades. The Kingsley family purchased land on an old lemon grove – with many of the trees intact – that sloped downward facing the ocean. The “houses without halls” incorporated wide-open rooms encased by thin walls and large sliding glass doors that opened onto raised terraces. Much of Davidson’s custom-designed furniture adorned the interior of the Kingsley houses, including a dining suite, coffee table, and wall

light. Davidson realized a distinctly California modern space he described as having masculine exteriors and feminine interiors. Architectural historian Esther McCoy agreed, extending his analysis, “But also feminine was the proximity into which he brought people, the tight warm areas with cool intervals between.” The Kingsleys were so enamored with the final realization of the project that they recalled Davidson to their home between 1958 and 1962 in order to make structural changes and updates to the interior. McCoy, Esther. The Second Generation. Salt Lake City: Gibbs M. Smith, Inc, 1984. Print.

38 J. R . DAVIDSON CUSTOM BIOMORPHIC OCCASIONAL TABLE Studio, custom designed and executed for the Kingsley residence 1958-62 Aluminum, glass Each upright stamped with numbers 1 to 6 Together with one original photograph by Julius Shulman of the front of the Kingsley House and a copy of The Californian Magazine, March, 1949, featuring an article on the house 17” x 70.25” x 39” Davidson was recalled to the residence from 1958-62 to make updates and improvements to the interior. Designed for the lounge, this table was intended to mirror the shape of the built-in sofa and to replace the circular oak example also offered in this auction. Provenance:

TH E K ING SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$5,000-7,000

Architectural presentation drawing of the Kingsley residence, c. 1945, by J. R. Davidson (not included with sale)

39 J. R . DAVIDSON CUSTOM COFFEE TABLE Studio, custom designed and executed c. 1946 Oak Together with one original photograph by Julius Shulman of the interior where the table was located in situ and a copy of the Los Angeles Times Home Magazine, March 28, 1948, featuring an article on the house 15.5” x 48” diameter Provenance:

TH E K ING SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$4,000-6,000

40 J. R . DAVIDSON UNTITLED 1925 Ink, watercolor, and gouache on paper Signed and dated “Julius Davidson 25” lower left Image: 12.75” x 9.625”; Sheet (vis.): 15.5” x 11.5”; Frame: 16.25” x 12.25” Provenance:

JR DAVIDSON, CA L I FOR N I A ;

T HENCE BY DESCENT

$1,000-1,500

41 J. R . DAVIDSON CUSTOM COFFEE TABLE Studio, custom designed and executed for the Kingsley residence c. 1946 Laminated wood, walnut veneer, travertine marble Together with one original photograph by Julius Shulman of the rear exterior of the Kingley residence 15” x 56” x 22” Provenance:

TH E KINGSLEY RES I DE N C E ,

PACIFIC PALISA DES, CA LI FORNI A ; T HENCE BY DESCENT

$3,000-4,000

42 J. R . DAVIDSON CUSTOM DINING SUITE (11) Studio, custom designed and executed for the Kingsley residence c. 1946 Lacquered oak, upholstery Together with an original photograph by Julius Shulman of the interior where the dining table suite was located in situ Comprised of a table and 10 chairs (extension leaves not illustrated) Chairs each: 32” x 18” x 19.5”; Table: 29.5” x 38” x 66” (without leaves) Provenance:

TH E K ING SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$4,000-6,000

43 FRANK LLOYD WRIGHT CABINETS (2) Heritage Henredon, designed c. 1955 Mahogany Branded “Heritage Henredon by Frank Lloyd Wright”; retains Frank Lloyd Wright ink monogram decal Each: 25.25” x 31” x 17” $2,000-3,000

44 FRANK LLOYD WRIGHT OCCASIONAL TABLE Heritage Henredon, designed c. 1955 Mahogany Branded “450-A” and “8-55”; retains Frank Lloyd Wright monogram decal 15.5” x 33” x 33” $2,000-3,000

45 WILLIAM WESLEY PETERS CHAIRS (2) Custom designed for the Sorensen Residence, Wisconsin, 1963 Laminated wood, original upholstery Each: 31.75” x 32” x 29.75” William Wesley Peters was apprenticed in architecture to Frank Lloyd Wright and was a member of the Taliesin Fellowship. Provenance:

S O R E N SEN R ESI DENCE, VER-

MO N T TOW N S H IP, W IS CONSI N; P R IVATE C O L L EC TIO N , C ALI FOR NI A

$1,500-2,000

46 WARREN MCARTHUR ARMCHAIRS (2) Warren McArthur Corporation, designed and executed c. 1929 Aluminum, upholstery (not illustrated) Each: 29.125” x 19.75” x 24” These chairs were designed for the Biltmore Hotel, Phoenix, AZ. The building was completed by Albert Chase McArthur, with consultation from Frank Lloyd Wright in 1929. Warren McArthur supplied furniture designs for the interior schemes. $3,000-5,000

47 FRANK LLOYD WRIGHT ARCHITECTURAL DRAWINGS (3) AND OTHER EPHEMERA (30) Studio, 1955-59 Pencil and crayon on paper Comprised of 3 presentation drawings for the Pappas Residence, St. Louis, Missouri, 1955-59 Together with Taliesin portfolio tube (addressed to Robert Beharka), 2 stools, planter, 20 blueprints, 2 photocopies of architectural plans, and 4 hand-drawn plans of the Randall Fawcett residence Illustrated plans each: 28” x 35” and other: 25” x 35”; Stools each: 13.125” x 17.25” x 17.25”; Planter: 9” x 8.5” x 8.5”; Four other plans: 36.5” x 24”; Twenty blueprints and two photocopies of various dimensions Robert Beharka (1926-2009) was an apprentice under Frank Lloyd Wright during the conception and construction of the Fawcett residence, Los Banos, CA, 1955-1960. After completion of the project Beharka set up his own architectural practice. Provenance:

R O B E RT “BOB ” B EH AR KA ,

C AL IFO R N IA; P R IVATE C O L L EC TIO N, CALI FOR NI A

$20,000-30,000

48 MAN RAY UNTITLED c. 1958 Oil on panel Signed “Man Ray” lower right 5.5” x 7” Provenance:

TH E ESTATE OF JA M E S B

BYRNES, LOS A NGELES, CA LIFOR N I A ; T HENCE BY DESCENT

$8,000-12,000

49 MAN RAY ONE HAND 1966 2-color screenprint on Plexiglas #6 of 40 Published by Gemini G.E.L., Los Angeles; printed by Kenneth Tyler, Gemini G.E.L., Los Angeles Signature etched lower left; edition lower left; printed Gemini G.E.L. copyright beneath image Gemini G.E.L. #32.3 Image: 20.125” x 16.125”; Frame: 27” x 21” $3,000-5,000

50 MAN RAY UNTITLED 1945 Graphite on paper Signed “Man Ray 45” lower left Sheet: 25.625” x 19.75” Provenance:

TH E E STATE OF JAM ES B

BY R N E S, LO S AN GE L ES, C ALI FOR NI A; TH E N C E BY D E S C E N T

$12,000-15,000

51 HARRY BERTOIA BROOCH (UNTITLED) Studio, executed 1943-50 Hand-hammered silver LAMA would like to thank Celia Bertoia for her assistance in cataloging this work 2.825” x 3.325” After leaving Cranbrook Academy of Art in 1943, Bertoia moved to Los Angeles to work for Charles & Ray Eames and Evans Products in the experimentation with plywood. This brooch is characteristic of jewelry made during Bertoia’s brief residence in California. Provenance:

PRIVATE COLLECTI ON , SA N TA

CRUZ , CALIFORNI A

$10,000-15,000

52 HARRY BERTOIA BROOCH (UNTITLED) Studio, executed 1943-50 Hand-hammered silver LAMA would like to thank Celia Bertoia for her assistance in cataloging this work 3.5” x 2.5” After leaving Cranbrook Academy of Art in 1943, Bertoia moved to Los Angeles to work for Charles & Ray Eames and Evans Products in the experimentation with plywood. This brooch is characteristic of jewelry made during Bertoia’s brief residence in California. Provenance:

PRIVATE COLLECTI ON , SA N TA

CRUZ , CALIFORNI A

$10,000-15,000

53 HARRY BERTOIA UNTITLED (EARLY MONOGRAPHIC WORK) c. 1940-1943 Monoprint Bears the inscription “Bertoia 1940” on the frame backing verso Image/Sheet: 6.25” x 8.5”; Frame: 9” x 11” 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 P 5 8 - 6 0 FO R S IMIL AR E XAM P LES.

$3,000-4,000

54 HARRY BERTOIA UNTITLED 1961 Ink on paper Retains two Staempfli Gallery labels and paper label inscribed “8-P Harry Bertoia Untitled Drawing 1961” verso Sheet: 39” x 24”; Frame: 40.5” x 25.5” Harry Bertoia’s first sculpture exhibition at Staempfli Gallery took place in 1959. $4,000-6,000

55 BOB WINSTON BROOCH Studio, designed c. 1950 Silver Stamped with designer's monogram "W" 4” x 4.25” x 1.75” $1,500-2,000

56 ED WIENER BROOCH AND EARRINGS (3) Studio, designed c. 1948 Hand-hammered silver Brooch stamped: “Ed.Wiener Sterling”; Each earring stamped “Sterling” Brooch: 2.25” x 2.25”; Each earring: .75” x .75” $2,000-3,000

57 GYÖRGY KEPES MICROLABYRINTH

DETAIL OF SIGNATURE VERSO, LOT 60

1939 Gelatin silver print Retains Shapiro Gallery label verso Image/Sheet: 8.75” x 6.875”; Frame: 20.625” x 16.75” Provenance:

S H AP IR O G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$2,500-3,500

58 GYÖRGY KEPES UNTITLED (LENS ABSTRACTION) 1939 Gelatin silver print Retains Shapiro Gallery label verso Image/Sheet: 5” x 4.25”; Frame: 20.75” x 16.75” Provenance:

S H AP IR O G ALLERY,

SAN F R AN C IS C O, C ALI FOR NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$2,500-3,500

59 GYÖRGY KEPES TOPOLOGICAL FORM

LOT 57

LOT 58

c. 1939 Gelatin silver print Image/Sheet: 5.75” x 4.125”; Frame: 20.25” x 16.75” Provenance:

S H AP IR O G ALLERY,

SAN F R AN C IS C O, C ALI FOR NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC LT Y FR OM TH E ABOVE)

$2,500-3,500

60 GYÖRGY KEPES LIGHT CALLIGRAPHY 1952 Gelatin silver print Signed and dated in pencil lower right mat; retains Shapiro Gallery label verso Image/Sheet: 5.75” x 4.625”; Frame: 20.125” x 16.25” Provenance:

S H AP IR O G ALLERY,

SAN F R AN C IS C O, C ALI FOR NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$2,500-3,500 LOT 59

LOT 60

61 HENRI CARTIER-BRESSON BEHIND THE GARE SAINT-LAZARE 1932; printed later Gelatin silver print Signed in ink lower right margin Image: 14.25” x 9.5”; Sheet: 15.875” x 12” Literature:

A RBA I ZA R , PH I LI PPE , A N D

JEAN CL AIR , H ENRI CA RTIER-BRE SSON : T HE MAN , TH E IMAGE & TH E WOR L D: A RET RO S PECTI VE, LONDON: TH A ME S & HUD S O N , 20 03, P 59, PL 45.

$5,000-7,000

62 AARON SISKIND GLOUCESTER, 1H 1944 Gelatin silver print Signed lower right; inscribed “Gloucester IH, 1944” lower left Image: 12.5” x 9.5”; Sheet: 13.75” x 10.75” Provenance:

S H AP IRO G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

Literature:

C H IAR E NZA , CAR L , A AR ON

S IS K IN D : P L E AS UR E S AND TER R OR S, BOS TO N : L IT TL E B R OW N , 1 982, P 1 1 7, #1 29.

$3,500-4,500

63 AARON SISKIND ROME 150 (HOMAGE TO FRANZ KLINE) 1973 Gelatin silver print Signed in black ink lower right margin; inscribed “Rome 150 1973/Homage to F.K.” lower left margin Image: 14.25” x 14.5”; Sheet: 19.75” x 15.875” Provenance:

S H AP IRO G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; P R IVATE C O L L EC TIO N, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$3,500-4,500

ILLUSTRATED OPPOSITE PAGE

64 HORACE BRISTOL RESCUE AT SEA, PBY BRISTOL GUNNER

65 HORACE BRISTOL UNTITLED (5)

1944; printed 1994 Gelatin silver print Artist’s proof #3 aside from the edition of 50 Signed with edition in pencil verso Image: 14.25” x 14”; Sheet: 20” x 16”

1946 Gelatin silver print Each signed in pencil verso A: Golden Gate Bridge, Pattern in Construction, 1936; B: Phrenologist Holding Magnifying Glass; C: Scuba Diving Women; D: Geisha; F: Japanese Men’s Sauna A: Image: 14.875” x 15”; Sheet: 19.875” x 16”; B: Image: 14.875” x 15”; Sheet: 19.875” x 16.125”; C: Image: 15.125” x 15”; Sheet: 19.875” x 16”; D: Image: 15” x 14.875”; Sheet: 19.75” x 16”; E: Image: 15” x 14.875”; Sheet: 20” x 15.875”

Literature:

E Y E O N TH E WO R L D : TH E

P H OTO GR AP H S O F H O R AC E B R ISTO L , LO S AN GE L E S : G R AY H AW K IN S GAL L E RY, 19 9 1, P 3 7.

$5,000-7,000

Literature:

E Y E O N T H E WOR LD: TH E

P H OTO GR AP H S O F H OR AC E B R I STOL , LOS AN GE L E S : G R AY H AWK I NS G ALLERY, 1 991 , P 18 .

$4,000-6,000

66 SEAN SCULLY #4, #6 AND #7 (FROM SANTO DOMINGO FOR NENE) 1999-2000 Chromogenic color print Each #12 of 24 Published by Galerie Bernd Klüser, Munich; Galerie Lelong, Paris and New York Each initialed and dated with edition and plate number verso Each image: 15.325” x 23”; Each sheet: 20” x 24” $8,000-12,000

67 SEBASTIÃO SALGADO SOUDAN 1985 Gelatin silver print Signed, titled, and dated in pencil verso “S. Salgado/Soudan/1985” Image: 12” x 17.5”; Sheet: 15.75” x 19.625” Provenance:

S H AP IR O G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; P R IVATE C O L L EC TIO N , CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$3,000-5,000

68 ROCKY SCHENCK ASYLUM 1995 Toned gelatin silver print #3 of 10 Signed, titled, and dated in pencil verso; inscribed “7018” verso Sheet: 16.125” x 23.75” Provenance:

S H AP IR O G ALLERY, SAN

F R AN C IS C O, C AL IFO R NI A; P R IVATE C O L L EC TIO N , CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

Literature:

R O C KY S CH ENC K P H OTO -

GR AP H S, AUSTIN : UN IV ER SI T Y OF TEXAS P R E SS, 2 0 03 , N P.

$1,500-2,500

69 JULIUS SHULMAN UNTITLED (2) A: 1955; B: 1953 Vintage gelatin silver print A: Retains Julius Shulman stamp and “2105-7” verso; B: Retains Julius Shulman stamp and “1647-2” verso A: Frederick E. Emmons Residence, Pacific Palisades, CA; B: Saint Matthew’s Episcopal Church, Pacific Palisades, CA (not illustrated) A: Image/Sheet: 7.875” x 9.875”; B: Image/Sheet: 9.875” x 8” $1,000-1,500

70 RUTH BERNHARD TWO FORMS 1963 Gelatin silver print Signed in pencil lower right mount; signed, dated, titled, and inscribed “SP” in pencil verso Image: 13.25” x 10.5”; Sheet: 20” x 16”; Mount: 22” x 18” Provenance:

SH A PIRO GA LLERY, SA N

FRAN CIS CO, CA LIFORNI A ; PRIVAT E COLLECTION, CA LIFORN I A ( ACQUIRE D DIRECTLY FROM TH E A B OVE )

Literature:

MI TCH ELL , MA RGA R E T K ,

RUT H BERNH A RD: TH E ETERNA L B ODY, CARM EL : PH OTOGRA PH Y W EST G R A P HI C S, 1 9 8 6, PL ATE # 25; ROSENBLU M, NAOM I , A HISTO RY OF WOMEN PH OTOGRA P HE R S, 3R D ED IT IO N , NEW YORK: A BBEVILLE P R E SS, 2 01 0, PL # 24 7.

$7,000-9,000

71 ANTOINE VERGLAS CARRE OTIS 3 2001 Pigment print #1 of 10 Signed lower right margin; edition inscribed lower left Image: 25.5” x 37.75”; Sheet (vis.): 26.75” x 39”; Frame: 32.25” x 44.5” $4,000-6,000

72 JOCK STURGES LOTTE, ALICE AND NIKKI: MONTALIVET, FRANCE, 1996 1996 Chromogenic color print Image: 19” x 24”; Sheet (vis.): 19.5” x 24.5”; Frame: 31” x 35.325” Literature:

J O C K STU R G ES: NEW WOR K

19 9 6 -2 0 0 0, Z UR IC H : SC ALO, 2000, P 82.

$1,500-2,000

73 JOCK STURGES NIKKI: MONTALIVET, FRANCE, 1998 1998 Gelatin silver print Image (vis.): 14” x 18.25”; Frame: 22.25” x 26” Literature:

J O C K STU R G ES: NEW WOR K

19 9 6 -2 0 0 0, Z UR IC H : SC ALO, 2000, P 4 9.

$1,500-2,000

75 PETER LINDBERGH UNTITLED (MICK JAGGER) 74 JUERGEN TELLER STEPHANIE SEYMOUR RECLINING ON JEFF KOONS 'PUPPY' 2002 Chromogenic color print Image: 14.5” x 22”; Sheet: 19.75” x 24”; Frame: 21.875” x 26”

1995 Gelatin silver print Inscribed in black marker verso “copyright Peter Lindberg [SIC]—all rights reserved/ROLLING STONE/Dec. 1995—/#M Jagger—M323-4696#724” and retains “Copyright Peter Lindbergh” stamp verso Image (vis.): 9.75” x 7.5”; Frame: 17.125” x 14.875”

76 MAURIZIO CATTELAN UNTITLED (PICASSO)

G OT T IN G EN, 20 0 2, NP.

This image was used for the cover of the December 1995 issue of Rolling Stone Magazine.

1998 Chromogenic color print; printed later #48 of 1000 Published by Eyestorm Gallery Edition in ink verso Image: 14.25” x 11”; Sheet: 16” x 12; Frame: 21.125” x 17.325”

$3,000-5,000

$2,000-3,000

Literature:

SEY MOU R , STEPH A NI E , A N D

JUERG EN TELLER , MORE, STEI DL :

77 REX DUPAIN CHIN-UP, BONDI, 1997 1997 Gelatin silver print Signed and dated in black marker lower right margin Image (vis.): 21.25” x 18.5”; Frame: 33.875” x 30.5” Literature:

IN S ID E S Y D NEY: P H OTOG R AP H S

BY MAX & R E X D UPAIN, S YDNEY: NEW H O L L AN D P UB L IS H E R S, 2004 , P L #1 51 .

$2,000-3,000

78 UTA BARTH GROUND #35 1994 Color photograph on panel #1 of 8 Signed and dated with edition verso Image/Panel: 19.5” x 12” Provenance:

80 DAMIEN HIRST FOR THE LOVE OF GOD

PRI VAT E C OL L EC T I ON , LOS

A ND CO, 20 10, P 6 7.

1994 Large-scale Polaroid Image (vis.): 23.5” x 19”; Frame: 35.25” x 29.75”

2007 Color silkscreen with diamond dust and glazes #505 of 1000 Published by Other Criteria, London Signed in white crayon lower right; edition lower left Image (vis.): 12.5” x 9.25”; Frame: 16.75” x 13.5”

$3,000-6,000

$3,000-5,000

$2,500-3,500

A NGELES (ACQ U IR E D F R OM DOM E ST I C SET TING, LOS A NGE L E S, 1 9 9 4 )

Exhibited:

“ U TA B A RT H A N D VI K KY

A LEXA NDER , ” DOM E ST I C SE T T I N G , LOS A NGELES, 1994

Literature:

BA RTH, U TA , T HE LON G

NOW, NEW YORK: G R EG ORY R M I L L E R

79 WILLIAM WEGMAN SHOE HEAD

81 CINDY SHERMAN UNTITLED (FORTUNE TELLER) 1993 Chromogenic color print on Agfa paper Signed and dated verso Image/Sheet: 6.5” x 4.875”; Frame: 11.25” x 9.25” $2,000-3,000

82 GEORGE NELSON KITE WALL CLOCK Model no. 2201 Howard Miller Clock Company, designed 1952-53 Enameled metal Retains “Herman Miller Clock Company” label 16.5” x 22” x 5” Literature:

EI SENBRA ND, JOCH E N ,

G EO RG E NEL SON: A RCH ITECT, WR I T E R , DES IG N ER , TEACH ER , W EI L A M RH EIN : VI T R A D ES IG N MU SEU M, 20 0 8, P 287.

$2,000-3,000

83 GEORGE NELSON PLATFORM BENCHES AND ONE STOOL BY J. R. DAVIDSON (3) Model no. 4690 & 4991 Herman Miller, designed 1946 Ebonized birch, smaller example with custom painted surface to the architect's specification Each bench retains manufacturer’s label Together with custom dressing stool designed by J. R. Davidson for the Kingsley residence (not illustrated) Ebonized bench: 14” x 56.5” x 18.5”; Other bench: 14” x 49.5” x 18.5”; Stool: 17.5” x 16.5” diameter Provenance:

TH E KINGSLEY RES I DE N C E ,

PACIFIC PALISA DES, CA LI FORNI A ; T HENCE BY DESCENT

Literature:

PI NA , LESLIE, H ERMA N M I L L E R

IN T ERIO R VI EWS, NEW YORK: SCH I F F E R , 1 9 9 8 , P 1 9 2.

$1,500-2,000

84 GEORGE NELSON COCONUT CHAIR Model no. 5569 Herman Miller, designed 1956 Enameled and chrome-plated steel, upholstery 31.75” x 40.75” x 30” Literature:

PI NA , LESLIE, FIFTI E S F U R N I-

T URE, NEW YORK: SCH I FFER , 1996 , P 2 2 3.

$2,000-3,000

85 GEORGE NELSON MINIATURE CHEST

86 GEORGE NELSON CHESS PIECE TABLE CLOCK

Model no. 5211 Herman Miller, designed 1952 Teak, lacquered wood, aluminum 13.5” x 20.125” x 12.875”

Model no. 2251 Howard Miller Clock Company, designed 1957 Walnut, cherry, brass Retains mark “Chronopak/Howard Miller Clock Company/Zeeland, Michigan” 14” x 8” x 4”

Literature:

87 GEORGE NELSON SIDEBOARD

G EOR G E N E L SON : A R C HI T EC T, WR I T E R , DE-

GEO R GE N E L S O N : AR C H ITEC T, W R ITE R , D E-

SI G N E R , T E AC HE R , WE I L A M R HE I N : VI T R A

S IGN E R , TE AC H E R , W E IL AM R H E IN : V ITR A

DE SI G N M U SE U M , 2 008, P 24 5.

D E S IGN MUS E UM, 2 0 0 8 , P 2 93 .

From the Thin Edge Series Herman Miller, designed 1952 Walnut, aluminum 33” x 19” x 80”

$3,000-5,000

$1,500-2,000

$3,000-5,000

E I SE N B R A N D, J OC HE N ,

E IS E N B R AN D, J O C H E N ,

88 GEORGE NELSON MARSHMALLOW SOFA Herman Miller, designed 1954-55 Enameled and chrome-plated steel, wool upholstery 30” x 51” x 28” Literature:

EI DELBERG, 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 480.

$10,000-15,000

89 GEORGE NELSON COMPREHENSIVE STORAGE SYSTEM Model no. CSS Herman Miller, designed c. 1958 Walnut, enameled aluminum 96” x 97” x 15.5” $4,000-5,000

90 GEORGE NELSON COMPREHENSIVE STORAGE SYSTEM Model no. CSS Herman Miller, designed c. 1958 Walnut, enameled aluminum Together with Charles & Ray Eames "Aluminum Group" office chair 96” x 81.5” x 71” (with desk) $4,000-5,000

91 BRUCE NAUMAN UNTITLED 1972 Drypoint on Rives BFK paper #15 of 25 Published by Cirrus Editions, Los Angeles; printed by Ed Hamilton, Los Angeles Signed, dated, and with edition in pencil lower right beneath image; blind stamp lower left Image: 20.75” x 29.5”; Sheet: 26.75” x 35.75”; Frame: 28.5” x 37.25” Literature:

C O R D E S, CH R I STOP H ER ,

B R UC E N AUMAN P R INTS 1 970 - 89: A C ATALO GUE R AIS O N NÉ, NEW YOR K : C ASTE L L I GR AP H IC S, 1 989, P 1 1 0, #1 0.

$2,000-3,000

92 BRUCE NAUMAN UNTITLED 1969 2-color offset lithograph on 100 lb. Kromekote paper Unnumbered edition size Published by Leo Castelli Gallery, New York Signed in pencil lower right Image: 23” x 19”; Sheet: 24.25” x 20”; Frame: 28.125” x 24.25” Published in conjunction with the exhibition “Bruce Nauman, Holograms, Videotapes, and Other Works” at Leo Castelli Gallery, May 24-June 14, 1969. Literature:

C O R D E S, CH R I STOP H ER ,

B R UC E N AUMAN P R INTS 1 970 - 89: A C ATALO GUE R AIS O N N É, N EW YOR K : C ASTELLI GR AP H IC S, 19 8 9, P 130; DAVI S, B R U CE, MAD E IN L A: P R IN TS O F CI R R U S EDI TI ONS, LO S AN GE L E S : LO S ANG ELES COU NT Y MUS E UM O F ART, 19 95, P 31 8.

$1,500-2,000

93 RICHARD SERRA UNTITLED (STILL FROM HAND CATCHING LEAD) 2009 Lithograph #61 of 117 Published by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower right margin; Gemini G.E.L. blind stamp lower right Image: 12” x 15.5”; Sheet: 18” x 21”; Frame: 28” x 31” $2,000-3,000

94 WILLIAM ZORACH WISDOM OF SOLOMON 1960 Patinated bronze #4 of 6 Signed “Zorach” near base; retains Zorach Collection label with edition 9.5” x 6.625” x 6.625” Literature:

W I LLI A M ZORACH : A R E T R O -

S PECT IV E EXH I BI TION OF MA JOR SC U L P T URES, NEW YORK: BERNA RD DA N E N B E R G G ALLERIES, 1968, # 49.

$18,000-25,000

95 ALEXEJ VON JAWLENSKY HEAD (KOPF) 1922 Lithograph on smooth-grained, light buff-colored paper Unnumbered edition size Signed “A Jawlensky” in pencil lower left margin in pencil; bears a signature lower left margin; Staatliches Bauhaus Weimar blind stamp lower left margin Image: 6.75” x 4.75”; Sheet: 11.25” x 9”; Mat: 13.875” x 11” Provenance:

J R DAVI DSON, OJAI ,

C AL IFO R N IA; TH E N C E BY D E S C E N T

Literature:

W IN GL E R , H ANS, G R AP H I C

WO R K F R O M TH E B AUHAU S, LONDON: LUN D H UMP H R IE S, 19 69, #I V/7, P L ATE 54 .

$3,000-5,000

96 KARIN LEWIN UNTITLED Oil on canvas Signed lower left Canvas (vis.): 22.5” x 22.5”; Frame: 27.5” x 27.5” Provenance:

P R IVATE COLLECTI ON, LOS

AN GE L E S, C AL IFO R N IA ( AC Q U I R ED DI R EC TLY F R O M TH E ARTIST )

$3,000-5,000

97 KARIN LEWIN UNTITLED 1984 Oil on canvas Signed lower left; signed and dated with illegible inscription verso Canvas (vis.): 9.5” x 7.75”; Frame: 15.325” x 13.25” Provenance:

P R IVATE C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N IA ( AC Q U I R ED DI R EC TLY F R O M TH E ARTIST )

$800-1,000

98 CHAIM GROSS THE DANCE 1963 Patinated bronze Signed and dated near base 26” (59” with base) x 21” x 16” Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST )

Literature:

GETLEI N, FRA NK , CHA I M

G RO SS, NEW YORK: A BRA MS, 1974 , #1 55; CHAIM G R OSS: A RETROSPECTIVE, N E W YO RK: FO RU M GA LLERY, 197 7, # 44 .

$10,000-15,000

99 CHAIM GROSS UNTITLED c. 1955 Graphite and gouache on paper Signed lower right Sheet: 21” x 12.5”; Frame: 28.25” x 19.325” Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST )

$500-700

100 CHAIM GROSS DANCING GIRLS 1958 Patinated bronze #1 of 6 Signed and dated near base with edition and incised “#5” 11.25” (12.5” with base) x 13” x 13” Provenance:

P R IVATE C OLLECTI ON,

LO S AN GE L E S, C AL IFO R NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

Literature:

GE TL E IN , FR ANK , CH AI M

GR O SS, N E W YO R K : A BR AM S, 1 974 , #1 55.

$5,000-7,000

101 MAX WEBER STILL LIFE (FLOWERS) 1942 Oil on canvas Signed and dated lower right Canvas (vis.): 18.5” x 15.5”; Frame: 23.25” x 20” Provenance:

TH E COLLECTION OF L EO -

PO L D MIT TMA N, NEW YORK (ACQU I R E D D IRECT LY FROM TH E A RTI ST ); T HEN CE BY DESCENT

$18,000-25,000

MAX WEBER A leader of avant-garde art in the first half of the 20th century, Max Weber (1881-1961) worked in various mediums, but achieved acclaim through his expressionistic paintings of still lifes, nudes, and Jewish subjects. Raised in a strict Orthodox Jewish family who recently emigrated from Russia to Brooklyn, Weber showed an early interest in art, but showing his drawings at home was forbidden. His parents forced him to enter the Normal course at the Pratt Institute where he studied art theory in preparation for becoming a teacher. After a few years of teaching in Virginia and Minnesota, Weber took an extended vacation in Paris and the rest of mainland Europe. There he studied drawing and painting at various French art institutions, a study tour that culminated in a course taught by Henri Matisse where he became friendly with his classmates Gertrude and Leo Stein. Revitalized and ready to assume the life of an artist, Weber returned to New York in 1909. He exhibited his paintings from his time in Europe at Alfred Stieglitz’ Little Galleries of the Photo-Secession. During this time, Weber’s paintings became distinctly modern, and he “became concerned with

formal distortions as a means of activating pictorial space.” By the beginning of the 1920s, critics acclaimed Weber as the most important American modern painter of his time, and in 1930, the first major retrospective of his career was held at the Museum of Modern Art, New York. While Weber played with various genres and mediums throughout his career, he frequently returned to painting still lifes, landscapes, and nudes. During the 1940s, Weber “began to manipulate space in a more challenging fashion than he had done in two decades,” and the resulting paintings breathed with emotional fluidity. Untitled (Bathers) from 1942 renders the human subjects indecipherable, yet rich, sweeping lines “suggest an emotional and intellectual state.” Likewise in Flowers Still Life (c. 1942), Weber abstracts the flowers with bold color that fades into a muted background. Towards the end of his accomplished career that explored every corner of American modernism, he was honored with three major retrospectives at the Whitney Museum of American Art in 1949, the Jewish Museum in 1956, and the Newark Museum in 1959. North, Percy. Max Weber: American Modern. New York: The Jewish Museum, 1982. Print.

101 MAX WEBER STILL LIFE (FLOWERS) See opposite page for lot details

102 MAX WEBER UNTITLED (BATHERS) c. 1940 Oil on panel Signed lower right Canvas (vis.): 13” x 16.5”; Frame: 19” x 22” Provenance:

TH E C O LLECTI ON OF LEO -

P O L D MIT TMAN , N E W YOR K ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST ) ; TH E N C E BY D E S C E N T

$10,000-15,000

103 MAX WEBER UNTITLED (SKETCHES) (2) c. 1940s Graphite on paper A: Signed lower center with inscription “L’Homme est...”; B: Signed lower right; retains Feingarten Galleries label verso A: Nude Figure; B: L’Homme A: Sheet: 11.5” x 14.5”; Frame: 14.75” x 11.5”; B: Image (vis.): 8.5” x 5.5”; Frame: 17” x 14.5” Provenance:

TH E COLLECTION OF L EO -

PO LD MIT TMA N, NEW YORK (ACQ U I R E D D IRECT LY FROM TH E A RTI ST ); T HENCE BY DESCENT

$2,000-3,000

104 SIMON SEGAL UNTITLED (STREET SCENE) c. 1935-38 Gouache on paper Signed “S.Segal” lower left Image (vis.): 14” x 20”; Frame: 20” x 25.75” Provenance:

TH E COLLECTION OF L EOP -

O LD MIT T MA N, PA RIS (ACQ U I RED D IRECT LY FROM TH E A RTI ST, C 1938); T HENCE BY DESCENT

$2,000-3,000

105 CONSTANTIN TERECHKOVITCH UNTITLED (PORTRAIT) c. 1935-38 Gouache on paper Signed upper right Image (vis.): 24.25” x 18.5”; Frame: 31.5” x 25.5” Provenance:

TH E COLLECTION OF L EOP -

O LD MIT T MA N, PA RIS (ACQ U I RED D IRECT LY FROM TH E A RTI ST, C 1938); T HENCE BY DESCENT

$2,000-3,000

106 SALVADOR DALÍ BEGONIA (FROM FLORDALI SERIES) 1968 Color etching and pochoir on BFK Rives #21 of 200 Signed with edition in pencil lower left Image: 23” x 15.25”; Sheet (vis.): 26.5” x 18.25”; Frame: 34” x 25.25” Literature:

LÖ P S IN GER , LU TZ, AND R ALF

MIC H L E R , SALVAD O R DALÍ : C ATALOG U E R AIS O N N É O F E TC H ING S AND M I X ED -M EDI A P R IN TS, 19 24 -19 8 0, MU NI CH : P R ESTEL , 19 9 4, # 2 3 3 .

$1,000-1,500

107 SALVADOR DALÍ WATER HIBISCUS AND SWAN 1972 Drypoint etching and lithograph on heavy Arches #87 of 350 Published by Editions Graphiques Internationales, Paris Signed in pencil lower right; edition lower left Image: 22” x 15.75”; Sheet: 26” x 19”; Frame: 38” x 30.5” Literature:

F IE L D, ALB ERT, TH E OFFI C I AL

C ATALO G O F TH E GR A P H I C WOR KS OF SALVAD O R DAL Í, ASTO R IA : S DALÍ AR C H I VES, 19 9 6 , # 7 2-7 C ; LÖ P S ING ER , LU TZ, AND R ALF MIC H L E R , SALVAD O R DALÍ : C ATALOG U E R AIS O N N É O F E TC H ING S AND M I X ED -M EDI A P R IN TS 19 24 -19 8 0, N EW YOR K : P R ESTEL , # 5 42 .

$1,000-1,500

108 AFTER SALVADOR DALÍ COMBAT DE CAVALIERS (CALDERÓN: LA VIE EST UN SONGE) c. 1971 Color-printed etching with aquatint #63 of 225 Signed in pencil lower right; edition inscribed lower left Image: 12.625” x 20.5”; Sheet (vis.): 15.5” x 22.5”; Frame: 29.25” x 36.25” Literature:

LÖ P S IN GER , LU TZ, AND R ALF

MIC H L E R , SALVAD O R DALÍ : C ATALOG U E R AIS O N N É O F E TC H ING S AND M I X ED -M EDI A P R IN TS 19 24 -19 8 0, N E W YOR K : P R ESTEL , P 6 0, # 5 16 FO R E D ITIO N TH I S WOR K I S BASED UP O N .

$1,000-1,500

109 WALTER SPITZER L’OEUF 1966 Oil on canvas Signed lower left; dated verso Sold with signed book on Walter Spitzer and original exhibition catalog Image (vis.): 45” x 34.5”; Frame: 52.5” x 41.5” “The paintings that Walter Spitzer proposes to us today are born from an encounter, that of the painter with Jean-Paul Sartre, whose integral fictional work he has illustrated” (Walter Spitzer, 2002, p 111). Provenance:

PRI VATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST )

Exhibited:

“ WA LTER SPITZER , ” G A L E R I E

D RO UAN T, PA RIS, 1966

Illustrated:

WA LTER SPI TZER , PA R I S:

G ALERIE DROUA NT, 1966, # 15; WA LT E R S PITZ ER , PA RI S: FRAGMENT EDIT I ON S, 2 002, P 1 27, # 103.

$5,000-7,000

110 WALTER SPITZER UNTITLED (3) A: c. 1960s; B: 1962; C: 1969 Oil on canvas A: Signed upper left; B: Signed lower right; dated on canvas stretcher verso; C: Signed lower left; dated verso A: Untitled (Lady Seated); B: Untitled (Nude Bride); C: Untitled (Girl with Basket) A: Canvas (vis.): 5.5” x 3.5”; Frame: 9.325” x 7.5”; B: Canvas (vis.): 8.25” x 4.25”; Frame: 12.25” x 8.25”; C: Canvas (vis.): 8.25” x 5.75”; Frame: 12.25” x 9.75” Provenance:

P R IVAT E COLLECTI ON,

LO S AN GE L E S, C AL IFOR NI A ( ACQ U I R ED D IR EC TLY F R O M TH E ARTI ST )

$1,500-2,400

111 ENZO CINI UNTITLED (2) 1967 Ink and wash on paper A: Signed and dated with illegible inscription upper left; B: Signed and dated on mat lower right A: Image (vis.): 19.25” x 25.25”; Frame: 27.5” x 33.5”; B: Image/Sheet: 13.5” x 10.25”; Mat (vis.): 16.75” x 12”; Frame: 22.325” x 17.825” Provenance:

P R IVAT E COLLECTI ON, LOS

AN GE L E S ( AC Q UIR E D DI R ECTLY FR OM TH E ARTIST, C 19 6 9)

$400-600

112 VLADIMIR KAGAN CONTOUR LOUNGE CHAIR Kagan-Dreyfuss Inc, designed 1953 Walnut, upholstery 33” x 34” x 34” Literature:

KAGA N, VL A DIMI R , T HE C OM-

PLET E KAGA N: A LIFE OF AVA NT- GA R DE D ES IG N, NEW YORK: POI NTED LEAF P R E SS, 2 004, P 1 25.

$7,000-9,000

113 VLADIMIR KAGAN BAR CART Kagan-Dreyfuss, Inc, designed c. 1949 Walnut, glazed ceramic With tiles designed by Alexandra Kusaba 28.75” x 37.25” x 18.75” Literature:

EI DELBERG, 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 35.

$2,500-3,500

114 CEDRIC HARTMAN FLOOR LAMPS (2) Cedric Hartman, Inc., designed 1966 Brass 35.5” x 13” x 14” and 37” x 20.25” x 11.25” Literature:

H IE S IN GER , KATH RYN AND

GEO R GE MAR C US, D E SI G N SI NC E 1 94 5, NEW YO R K : R IZ ZO L I, 19 83 , P 1 4 6.

$2,000-3,000

115 GERALD MCCABE COFFEE TABLE Orange Crate Modern, designed c. 1968 Shedua, glass 28” x 60” x 36” $1,000-1,500

116 EDWARD WORMLEY ROLL TOP DESK Dunbar, designed 1967 Rosewood, brass 35” x 74.75” x 28” $3,000-5,000

117 EDWARD WORMLEY COFFEE TABLE Dunbar, designed c. 1950 Walnut 14.25” x 43.5” (67.5” extended) x 23.75” $3,000-5,000

118 EDWARD WORMLEY LOUNGE CHAIR Dunbar, designed c. 1947 Laminated walnut, steel tube, upholstery 30” x 26.5” x 30” Provenance:

TH E K I NG SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$1,000-1,500

119 EDWARD WORMLEY SOFA Dunbar, designed c. 1950 Walnut, upholstery 29” x 85.5” x 31” Provenance:

TH E K ING SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$1,500-2,000

120 SERGE MOUILLE RARE DIOR CEILING LAMP Atelier Serge Mouille, designed and executed 1960 Enameled aluminum, steel rod, brass collar Conceived for use in the health clinic, Atelier Christian Dior, Paris, 1960 32.25” x 51” Provenance: ATELI ER

CH RI STIA N DI OR , PA R I S;

PRIVAT E COLLECTION, EU ROPE

Literature:

GIROU DE, FRA NÇOI SE , A N D SAC HA VA N

D O RSS EN, CH RI STIA N DI OR 1905 - 57, PA R I S: 1 9 87, P 31 ; PRALUS, PI ERRE-EMI LE, SERGE MOU I L L E : A F R E N C H CL ASS IC, PA RIS: SA INT CY R AU MON T D’OR , 2 006 , P 1 6 3.

$30,000-40,000

121 SERGE MOUILLE AGRAFÉE CLAMP LAMP Atelier Serge Mouille, designed 1956, executed before 1964 Enameled aluminum, steel rod, brass collar 26” adjustable Provenance:

PRIVATE COLLECTI ON , PA R I S;

PRIVAT E COLLECTION, EU ROPE (AC QU I R E D DI R EC T LY FRO M T HE A BOVE C 1985 )

Literature:

PRA LU S, PIERRE-EM I L E , SE R G E M OU I L L E :

A FRENCH CL ASSIC, PA RI S: SA INT C YR AU M ON T D’OR , 2 006, P 1 33.

$4,000-6,000

122 SERGE MOUILLE SATURNE WALL APPLIQUES (3) Atelier Serge Mouille, designed 1957, executed before 1964 Enameled aluminum, steel rod, brass collar 12” x 9.5” diameter (shade) Provenance: P R IVATE

C OLLECTI ON, PAR I S;

P R IVATE C O L L EC TIO N, EU R OP E ( AC Q U I R ED D IR EC TLY F R O M TH E ABOVE C 1 985

Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 18 7 9 -1959, C OLOG NE: TAS C H E N , 2 0 05 , P 5 0 0.

$8,000-12,000

123 SERGE MOUILLE SUSPENSION À TROIS BRAS PIVOTANTS Atelier Serge Mouille, designed 1958, executed before 1964 Enameled aluminum, steel rod, brass collar 28” x 49” x 65” approximately Provenance:

PRI VATE COLLECTI ON , PA R I S;

PRIVAT E COLLECTION, EU ROPE (AC QU I R E D D IRECT LY FROM TH E A BOVE C 1985 )

Literature:

PRA LU S, PIERRE-EM I L E , SE R G E

MO UILLE: A FRENCH CL ASSIC, PA R I S: SA I N T CYR AU MONT D’OR , 20 0 6, P 111.

$25,000-35,000

124 SERGE MOUILLE COCOTTE TABLE LAMP Ateliers Serge Mouille, designed 1957, executed before 1964 Enameled aluminum, steel rod, brass collar 15” x 12.5” x 7” Literature:

PRA LU S, PIERRE-EM I L E , SE R G E

MO UILLE: A FRENCH CL ASSIC, PA R I S: SA I N T CYR AU MONT D’OR , 20 0 6, P 20 6.

$8,000-12,000

125 CARLOS MESQUITA RI-BEIRA 1985 Oil on canvas Signed, titled, and dated lower right Canvas (vis.): 56” x 66.5”; Frame: 57” x 67.5” $1,500-2,000

126 JOAN MIRÓ DANSE BARBARE 1963 Color lithograph on Rives Vellum #3 of 90 Published and printed by Maeght, Paris Signed in pencil lower right; edition lower left Sheet: 17.25” x 23.5”; Frame: 26.25” x 32” Literature:

CRA MER , PATRI CK , J OA N M I R Ó:

LIT HO G RA PHÉ , VOLU ME I I , PA RIS: M A EG HT, 1 9 7 2, #3 5 0.

$3,000-5,000

127 JOAN MIRÓ HOMMAGE À MIRÓ 1972 Color lithograph on Arches #8 of 75 Published by XXe Siècle, Paris; printed by Arte Adrient Maeght, Paris Signed in pencil lower right; edition lower left Image: 12” x 19.5”; Sheet: 18” x 24.125”; Frame: 27” x 32.75” Literature:

CRA MER , PATRI CK , J OA N M I R Ó:

LIT HO G RA PHÉ , VOLU ME I V, PA RI S: M A EG HT, 1 9 8 1, #8 68.

$3,000-5,000

128 JOAN MIRÓ UNTITLED (BLACK PLATE) c. 1977 Lithograph on paper #8 of 10 Signed lower right in graphite; edition in Roman numerals lower left Impression: 21.75” x 29.5”; Sheet (vis.): 26” x 35.5”; Frame: 36.5” x 45.5” $1,500-2,000

129 JOAN MIRÓ L’AMAZONE 1964 Color lithograph on Arches vellum #27 of 75 Published and printed by Maeght Editeur, Paris Signed lower right; edition lower left Image/Sheet (vis.): 23.5” x 34.5”; Frame: 31.5” x 42” Literature:

C R AME R , PATR I CK , JOAN

MIR Ó : L ITH O GR AP HÉ , VOLU M E I I I , PAR I S: MAEGH T, 19 7 7, # 3 2 5 .

$2,000-3,000

130 JOAN MIRÓ UNTITLED (PLATE FROM UBU AUX BALEARES) 1971 Color lithograph on Arches #9 of 120 Published by Tériade, Paris; printed by Mourlot, Paris Signed in pencil lower right; edition lower left Sheet: 19.75” x 26”; Frame: 33.75” x 40” Literature:

C R AME R , PATR I CK , JOAN M I R Ó:

L ITH O GR AP HÉ , VO LUM E I V, PAR I S: M AEG H T, 19 8 1, # 7 8 0.

$3,000-5,000

131 JOAN MIRÓ POSTER FOR THE EXHIBITION "MIRÓ," GALERIE MAEGHT, PARIS 1961 Color lithograph on Vélin de Rives #47 of 200 Published and printed by Maeght Editeur, Paris Monogram in plate lower right; edition in pencil lower left; Maeght Editeur blind stamp lower left Image (vis.): 25.125” x 18.125”; Frame: 29.25” x 22” Literature:

C R AME R , PATR I CK , JOAN M I R Ó:

L ITH O GR AP HÉ , VO LUM E I I , PAR I S: M AEG H T, 19 7 2 , # 2 95 A .

$3,000-5,000

132 JOAN MIRÓ UNTITLED Color lithograph on Arches vellum #66b of 100 Signed in pencil center right margin; edition lower left Sheet: 19.5” x 14”; Frame: 21.125” x 15.5” $1,000-1,500

133 MARC CHAGALL THE REST 1968 Color lithograph on Arches #12 of 50 Signed in pencil lower right; edition lower left Image: 10.875” x 18.125”; Sheet: 18.125” x 25.25”; Frame: 28.5” x 35” Literature:

GAU SS, U LRI KE, MA R C C HA-

G ALL : T HE LITH OGRA PH S, NEW YOR K : DA P, #55 5.

$3,000-5,000

134 AFTER GEORGES BRAQUE LES MARTINETS c. 1955 Color lithograph on BFK Rives #42 of 275 Published by Maeght Editeur, Paris Signed in pencil lower right margin; edition and Galerie Maeght blind stamp lower left Image: 4” x 8.25”; Sheet: 12.75” x 18.75”; Frame: 17.5” x 23.5” Literature:

VA LLIER , DORA , BRAQU E : T HE

CO MPLET E GRA PH I CS: CATA LOGU E R A IS O N N É, NEW YORK: GA LLERY BOOKS, 1 9 88, P 2 95 , MA EGH T # 1036.

$2,000-3,000

135 PABLO PICASSO TAUROMACHY SCENE 1957 Red earthenware clay with engobe decoration and knife engraving #282 of 500 Madoura Stamped “Madoura Plein Feu” and “Edition Picasso” verso; inscribed “K117/Edition Picasso/Madoura/282/500” verso Ramié #393 9.125” diameter Literature:

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MA DOU R A: G ALER I E MAD O UR A , 19 8 8 , # 3 93.

$2,500-3,500

136 PABLO PICASSO LANDSCAPE 1953 White earthenware clay, decoration in engobes, knife engraved under partial brushed glaze #185 of 200 Madoura Dated “9.12.53” recto; stamped “Madoura/Plein Feu” and “Edition Picasso” verso; inscribed “N 100/Edition Picasso/185/200/Madoura” verso Ramié #208 16.5” diameter Literature:

R AMIÉ , AL AI N, PAB LO P I CAS -

S O : C ATALO GUE O F THE EDI TED CER AM I C WO R KS 19 4 7-19 7 1, MA DOU R A: G ALER I E MAD O UR A , 19 8 8 , # 2 08.

$5,000-7,000

DETAIL OF VERSO

137 SALVADOR DALÍ TILE 1980 Bas-relief #32 of 99 Grisene Corporation, Spain Signature in plate lower center; “copyright Grisene Corporation” printed lower right; edition inscribed lower right; “made in Spain” printed lower right 31.5” x 24” x 1.75” $3,000-5,000

138 PIERRE JEANNERET SCISSOR CHAIRS (2)

139 GEORGES JOUVE MIRROR COAT HANGER

140 ROGER CAPRON ZOOMORPHIC SCULPTURE

Knoll Associates, designed 1950 Birch, upholstery, chrome-plated steel Each: 28.75” x 20.75” x 30”

Marcel Asselbur, designed c. 1960 Glazed ceramic, mirror glass, metal rod 20” x 16”

Vallauris, designed c. 1955 Glazed ceramic, iron 19” x 9” x 10”

$4,000-5,000

$1,000-1,500

Literature:

L A R R A B E E , E R I C , A N D M AS -

SI M O VI G N E L L I , K N OL L DE SI G N, N E W YO R K : A B R A M S, 1 9 9 0, P 4 2 .

$4,000-6,000

ILLUSTRATED OPPOSITE PAGE

141 DAN JOHNSON RARE SATYR TRIO OCCASIONAL TABLE

142 DAN JOHNSON RARE GAZELLE DINING TABLE

Model no. 53B Dan Johnson Studio, designed 1956 Cast bronze, glass 28.75” x 26” diameter

Model no. 33B Dan Johnson Studio, designed c. 1955 Cast bronze 28.75” x 38.25” x 60”

$15,000-20,000

$10,000-15,000

143 DAN JOHNSON RARE DINING SUITE (8) Hayden Hall Furniture, designed 1947 Blonde mahogany, glass, brass, upholstery Comprised of dining table, 5 side chairs, 1 armchair, and sideboard Table with drop leaves: 30.25” x 58” (82.25” extended) x 38”; Armchair: 33.75” x 21” x 18”; Side chairs: 32” x 19” x 18”; Sideboard: 57.75” x 37.75” x 17.75” $10,000-15,000

144 CLAIRE FALKENSTEIN UNTITLED (MOVING POINTS PAINTING I) 1968 Acrylic on canvas Signed and dated “CF 68” verso; inscribed “#P156” in pencil on canvas stretcher verso Claire Falkenstein Foundation #P156 Canvas: 8.875” x 11.75” Provenance:

TH E FA LKENSTEIN

FO UN DAT ION

$3,000-5,000

145 CLAIRE FALKENSTEIN OBJECT 1 (B.E.) Studio, 1940 Suspended metal sculpture with black string 11” x 5” x 3.5” Provenance:

TH E FA LKENSTEIN

FO UN DAT ION

$3,000-5,000

ALTERNATE VIEW

146 CLAIRE FALKENSTEIN UNTITLED Studio, 1940 2-part ceramic construction with carved wood base Initialed and dated “CF 40” verso 7.5” x 11” x 7.75” Provenance:

TH E FA LK ENSTEI N

FO UN DATIO N

$5,000-7,000

147 CLAIRE FALKENSTEIN MOBILE BROOCH Studio, executed c. 1958 Silver Signed “Claire” $4,000-6,000

148 ROBERT CHUEY UNTITLED (STILL LIFE) 1951 Oil on canvas Signed and dated lower right Canvas: 24” x 34”; Frame: 25” x 35” Provenance:

TH E ESTATE OF ROB E RT

CHUEY, LOS A NGELES, CA LI FORNI A ; T HENCE BY DESCENT

$2,000-3,000

149 ROBERT CHUEY HIGH PLACE 1967 Oil on canvas Signed and dated lower left; signed, titled, and dated with artist’s label verso Canvas: 29.875” x 24”; Frame: 30.5” x 24.75” Provenance:

TH E ESTATE OF ROB E RT

CHUEY, LOS A NGELES, CA LI FORNI A ; T HENCE BY DESCENT

$2,000-3,000

150 NORMAN ROCKWELL UNTITLED (PORTRAIT OF ROBERT CHUEY) c. 1965-69 Gouache on textured cardstock Signed and inscribed in pencil lower right “To my friend/Chuey/Sincerely/ Norman Rockwell” Image/Sheet: 20.125” x 16” Norman Rockwell and Robert Chuey maintained a close friendship from 1954 to 1977 when both artists lived in Los Angeles. Provenance:

TH E E STATE OF R OBERT

C H UE Y, LO S AN GE L E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$3,000-5,000

151 JACK ZAJAC UNTITLED c. 1961 Oil on canvas Signed upper right Canvas: 28.25” x 17.75”; Frame: 29” x 18.375” Betty Turnbull was the first Curator of Exhibitions for the Orange County Museum of Art (formerly the Newport Beach Harbor Art Museum). She coordinated important exhibitions including "The Last Time I Saw Ferus" (1975); "David Park 1911-1960, A Retrospective" (1977); and "Vija Celmins, A Survey" (1979). Provenance:

B E T T Y T U R NBU LL ,

C AL IFO R N IA; TH E N C E BY D E S C E N T; P R IVATE C O L L EC TIO N , LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D F ROM TH E ABOVE)

$2,000-3,000

152 SAM FRANCIS UNTITLED (SF 74-120)

153 SAM FRANCIS UNTITLED

1974 Acrylic on paper Signed and dated in pencil verso; retains Sam Francis Estate stamp verso Sheet: 22” x 30”; Frame: 25.25” x 33.25”

1988 Color screenprint on PTI Waterleaf #114 of 114 Published by the artist, Santa Monica; printed by Roland McPherson at La Paloma, Tujunga Signed in pencil with blind stamp lower right; edition lower left This print was commissioned by Crossroads School, Santa Monica Sheet: 30” x 22”; Frame: 38.125” x 29.325”

$25,000-35,000

Literature:

L E M B A R K , C ON NIE W, TH E

P R I N TS OF SA M F R A N C I S: A C ATALO GUE R A I SON N É 1 9 6 0 - 1 9 9 0, VOLU ME II, N E W YOR K : HU DSON HI L L S, 1 9 9 2 , # S 19.

$2,000-3,000

154 EMERSON WOELFFER L.A. HOLIDAY 1959 Oil and collage on canvas Retains partial Paul Kantor Gallery label verso Canvas: 24” x 18.25”; Frame: 24.5” x 18.75” Betty Turnbull was the first Curator of Exhibitions for the Orange County Museum of Art (formerly the Newport Beach Harbor Art Museum). She coordinated important exhibitions including "The Last Time I Saw Ferus" (1975); "David Park 1911-1960, A Retrospective" (1977); and "Vija Celmins, A Survey" (1979). Provenance:

B E T T Y TU R NB U LL , CALI-

FO R N IA; TH E N C E BY D E S C E N T; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D F R OM TH E ABOVE)

$3,000-5,000

155 EMERSON WOELFFER UNTITLED 1964 Oil on paper Signed and dated in pencil lower left Image (vis.): 23” x 18”; Frame: 29.25” x 24.25” $2,000-3,000

DETAIL OF VERSO

156 PETER VOULKOS UNTITLED (PLATE) Studio, executed 1979 Glazed ceramic Signed “Voulkos 79” 4.25” x 22.5” diameter $10,000-15,000

DETAIL OF VERSO

PROPERTY SOLD TO BENEFIT THE VENICE FAMILY CLINIC

157 PETER VOULKOS UNTITLED (PLATE) Studio, executed 1972-73 Glazed ceramic stoneware and porcelain Signed “Voulkos 73” 4.5” x 19” diameter Provenance:

LUC Y AND I SADOR E B

AD E L MAN FO UN DATION, SANTA M ONI CA , C AL IFO R N IA; V E N IC E FAMILY C L IN IC, VENI C E, C AL IFO R N IA

$8,000-12,000

158 SAM MALOOF ROCKING CHAIR Studio, custom executed 1982 Walnut, white oak, ebony Branded signature “Sam Maloof F.A.C.C.” and “No. 63 1982” Gifted to the consignor’s father on completion of 50 years of service with his company 44” x 26” x 44” Literature:

A DA MSON, JEREMY, T HE

FURN IT URE OF SA M MA LOOF, NEW YOR K : NO RTO N COMPA NY, 20 0 1, P 192.

$30,000-50,000

DETAIL OF SIGNATURE

159 SAM MALOOF LOW-BACK CHAIRS (2) Studio, designed 1952 Walnut, upholstery Stamped mark “Designed Made Maloof California” Each: 30” x 23.75” x 19” Literature:

ADAMS O N, JER EM Y, TH E

F UR N ITUR E O F SAM M ALOOF, NEW YOR K : N O RTO N C O MPAN Y, 2 001 , P 1 53.

$5,000-7,000

160 VIJA CELMINS UNTITLED (KNIFE AND DISH) 1964 Oil on canvas Signed and dated verso Canvas: 16” x 18” LAMA would like to thank the artist for her assistance in cataloging this work Provenance:

PRIVATE COLLECTI ON ,

LO S AN G ELES, CA LI FORNI A (ACQ U I R E D D IRECT LY FROM TH E A RTI ST, 1964 )

$300,000-500,000

VIJA CELMINS Southern California is the birthplace for some of the most important contemporary art of the 20th century. A contemporary artist such as Vija Celmins (b. 1938) is greatly admired throughout the world, but many forget that she had her start in Venice, California. Though before she arrived in America, Celmins and her family fled their hometown of Riga, Latvia to escape the imminent Soviet occupation of 1944. After a brief stay at a United Nations refugee camp in Germany, they eventually found solace in Indianapolis, Indiana in 1948. As a 16-year-old art student, she traveled to New York City where she encountered paintings by de Kooning and other Abstract Expressionists. Her infatuation with Action Painting was short-lived however, and upon graduating the John Heron Art Institute, she moved to Los Angeles in 1962 to begin her MFA at the University of California, Los Angeles. According to Department Head and Curator of Contemporary Art at LACMA, Franklin Sirmans, “… it was between 1964 and 1966, before [Celmins] was thirty years old, that she created some of her most important pieces.” “…When I came to L.A., I thought it was a new beginning,” recalls Celmins. From her studio at 701 Venice Blvd., she purged herself of what she knew – Abstract Expressionism, specifically the influences of Gorky and de Kooning – in hopes of finding her own artistic voice. Referring to the intense strokes employed in Action Painting, Celmins remembers, “I couldn’t resolve the stroke-making with the essential stillness of the painting.” In 1964, Celmins chose to venture into a minimal, almost primitive style, painting still lifes of common objects in her studio: a space heater, a fan, a lamp, eggs on a hot plate, cups, spoons, and forks. Painting these everyday objects, cloaked in muted grays, served as a way for Celmins to stop thinking and inventing; this was a period for her to revitalize her work and while doing so, she ultimately broke through to create a form of art that was

DETAIL OF SIGNATURE AND DATE VERSO

entirely her own. Celmins describes the transition of her work in 1964 in an interview with Chuck Close: “I decided to go back to looking at something outside of myself. I was going back to what I thought was this basic, stupid painting. You know: there’s the surface, there’s me, there’s my hand. There’s my eye, I paint. I don’t embellish anymore, I don’t compose, and I don’t jazz up the colour.” This brief period in Celmins’ early years in Los Angeles served as a breakthrough, the catalyst for the next phase, yet only a handful of her object paintings still exist. The objects in Untitled (Knife and Dish) (1964) rest alone in a vacuum, “relegated to a purgatorial no-man’s land” that suggest action without a table on which to rest or food to cut. Out of this stillness the viewer feels the tension of inaction, the heavy breathing of stasis, and the objects come to represent some unknown force from what lies ahead. In 1965, Celmins’ thesis show marked a pivotal point in her career, replacing the common, everyday objects from her studio with surreal, radical imagery, commenting on current and historical disaster. The cups, forks, and space heater were replaced with a rhinoceros, a smoking gun, and a World War II fighter plane. Her thesis show and first solo show at David Stuart Galleries propelled Celmins’ career and ultimately launched her to produce some of the most influential contemporary art of our time. Similar examples of Celmins’ object paintings from the same year remain in permanent museum collections, including Heater (1964) at the Whitney Museum of American Art, Gun with Hand #1 (1964) at the Museum of Modern Art, New York, and Eggs (1964) at the Museum of Contemporary Art, San Diego. Relyea, Lane, Robert Gober, and Briony Fer. Vija Celmins. New York: Phaidon, 2004. Print. Sirmans, Franklin, and Michelle White. Vija Celmins: Television and Disaster. New Haven: Yale University Press, 2010. Print.

VERSO

161 VIJA CELMINS UNTITLED (OCEAN WITH CROSS #1) 2005 Screenprint on Rives textured rag paper #105 of 108 Published by the Lincoln Center/List Print and Poster Program, New York; printed by Brand X Editions, New York Signed in pencil lower right margin; edition lower left; printer blind stamp lower left Image: 17.5” x 22.5”; Sheet: 24” x 28.75”; Frame: 26.5” x 31.125” Literature:

RI LEY, CH A RLES, A RT AT

LIN CO L N CENTER : TH E PU BLIC ART A N D LIST PRINT A ND POSTER COLLECT I ON S, NEW YO RK: TH E LI NCOLN PRI NT C E N T E R , 2 009, P 20 0.

$8,000-10,000

162 ROBERT LONGO STUDY FOR ORTHEUS 2005 Ink and charcoal on vellum Signed and dated in pencil lower right; inscribed “Study for Ortheus” lower left Image: 11.625” x 20.625”; Sheet (vis.): 12.75” x 21.5”; Frame: 23” x 31.5” $35,000-45,000

163 DAVID HOCKNEY LITHOGRAPH OF WATER MADE OF LINES 1978; published 1980 Color lithograph on white TGL handmade paper Artist’s proof aside from the edition of 39 Published by Tyler Graphics Ltd., Mount Kisco; printed by Kenneth Tyler, Roger Campbell, and Lee Funderburg, Mount Kisco Signed and dated in pencil lower right margin; edition lower left Image: 19.25” x 26.5”; Sheet: 26” x 34.5”; Frame: 32.5” x 39” Literature:

DAVI D H OCKNEY PRIN TS 1 954 -

1 9 95, TO KYO: MU SEU M OF CONTE M P OR A RY ART, 1 9 9 6, # 203.

$20,000-30,000

ILLUSTRATED OPPOSITE PAGE

164 DAVID HOCKNEY MUNICH OLYMPIC GAMES, 1972 1971 Offset color lithograph on Rives BFK #177 of 200 Published by Editions Olympia, Munich Signed and dated with edition lower right Image: 34.25” x 25.25”; Sheet: 39” x 25”; Frame: 42.5” x 33” Literature:

B AG G OT T, B R IAN , H O C K N E Y

P OST E R S, LON DON : PAVI L L IO N B O O KS LT D, 1 9 87, #2 5; B AG G OT T, B R IAN , DAV ID HOC K N E Y: P OST E R A RT, SAN F R AN C IS C O : C HR ON I C L E B OOKS, 1 9 95 , # 3 4.

$3,000-5,000

165 DAVID HOCKNEY VIEW OF HOTEL WELL I (FROM MOVING FOCUS SERIES) 1984-85 Color lithograph on handmade TGL paper #39 of 75 Published and printed by Tyler Graphics Ltd., Mount Kisco Signed and dated in pencil “David Hockney 1984-5” lower right margin; publisher blind stamp lower right Sheet: 30.5” x 41”; Frame: 36.75” x 47” Literature:

DAVI D H OCKNEY PRIN TS 1 954 - 1 9 95, TOKYO:

MUS EUM OF CONTEMPORA RY A RT, 1 9 9 6 , #2 7 2 .

$12,000-16,000

166 DAVID HOCKNEY I SAY THEY ARE (FROM THE BLUE GUITAR PORTFOLIO) 1977 Hardground etching and aquatint #103 of 200 Published by Petersburg Press, London Signed lower right margin in pencil; edition lower left Image: 13.75” x 20.5”; Sheet: 18” x 20.5”; Frame: 23.25” x 26.25” Literature:

DAV ID H OCK NEY P R I NTS 1 954 -

19 95, TO KYO : MUS E UM OF C ONTEM P OR ARY ART, 19 9 6 , # 193 .

$1,500-2,000

167 DAVID HOCKNEY IN THE DULL VILLAGE (FROM ILLUSTRATIONS FOR FOURTEEN POEMS FROM C.P. CAVAFY) 1966 Etching and aquatint on Crisbrook handmade paper #4 of 75 Published by Editions Alecto, London; printed by Alecto Studios, London Signed and dated in pencil lower right; edition lower left; stamped “ea 369” verso Image: 13.75” x 8.875”; Sheet: 22.5” x 15.5”; Frame: 28.25” x 22.25” Literature:

DAV ID H OCK NEY P R I NTS 1 954 -

19 95, TO KYO : MUS E UM OF C ONTEM P OR ARY ART, 19 9 6 , # 5 4.

$3,000-5,000

168 DAVID HOCKNEY CATHERINA DOROTHEA VIEHMANN (FROM ILLUSTRATIONS FOR SIX FAIRY TALES FROM THE BROTHERS GRIMM) 1969 Etching and aquatint on Hodgkinson handmade paper #83 of 100 Published by Petersburg Press, London; printed by the Print Shop, Amsterdam Signed in pencil lower right; edition lower left beneath image; inscribed “1” lower left Image: 11” x 9”; Sheet: 24” x 17.5”; Frame: 27.625” x 20.75” Literature:

DAV ID H OCK NEY P R I NTS 1 954 -

19 95, TO KYO : MUS E UM OF C ONTEM P OR ARY ART, 19 9 6 , # 6 7.

$1,200-1,500

169 MASAMI TERAOKA UNTITLED (STUDY FOR LA SUSHI GHOST TALES SERIES) 1980 Ink and watercolor on rice paper Signed; retains Pamela Auchincloss Gallery label verso Sheet: 14.25” x 17.25”; Frame: 19.375” x 22.375” $4,000-6,000

170 LLYN FOULKES UNTITLED (3) 1974 Lithograph on heavy wove paper A: #18 of 50; B: #13 of 50; C: #25 of 50 A: Signed and dated in pencil lower right; edition lower left; inscribed verso “1738-282/3 pcs/ Foulkes, Llyn/In Memory of F.G. Hough #3/153CLF74/13.1978.12”; B: Signed and dated in pencil lower right; edition lower left; inscribed verso “154C-LF74”; C: Signed and dated in pencil lower right; edition lower left; inscribed verso “155C. LF’74” A: In Memory of F.G. Hough #3; B: Untitled (You This is Not...); C: In Memory of F.G. Hough #1 A: Image: 15” x 19.5”; Sheet: 19” x 24.5”; B: Image: 19” diameter; Sheet: 22.125” x 22.125”; C: Image: 16” x 16.125”; Sheet: 22.25” x 22.25” $2,500-3,500

171 RAYMOND PETTIBON BUY THIS PAINTING FOR $50 1983 Black ink on paper Signed and dated verso “Raymond Pettibon 7-83”; inscribed "Buy This Painting for $50" upper center; inscribed "Buy This Painting" lower center margin Sheet: 9” x 12” Provenance:

E X E N E CERVENKA OF TH E

B AN D “ X ” ( AC Q UIR E D DI R ECTLY FR OM TH E ARTIST, 19 83 )

$10,000-15,000

101

MARK TANSEY Since he began painting in the early 1970s, Mark Tansey (b. 1949) has earned a reputation as a “painter-historian” who explores the outermost boundaries of reproduction and Postmodernism. In addition to his own detailed strokes, he juxtaposes images and words from magazines, books, and critical essays from multiple eras and movements to produce “pictorial rhetoric.” Like Richard Pettibone, Tansey surveys and reproduces his historical influences – Jasper Johns, Frank Stella, Marcel Duchamp – and shrouds them in playful alterations for the viewer to uncover. Tansey’s sphere of influence, however, is not only more literary, but also more extensive. Both of Tansey’s parents taught art history, and his mother was also an accomplished slide librarian who developed one of the first computerized slide archives. Tansey was exposed to the art history canon from an early age, which led him to classes at the San Francisco Art Institute and the museums in the Bay Area. Deciding to become a representational artist, Tansey studied under the painters Lorser Feitelson, Llyn Foulkes, and Larry Dreiband at the Art Center College of Design in Los Angeles from 1969-1972. It was here that he became interested in appropriation, laying the foundation for his representational works. With precision and detail similar to Mike Bidlo reproducing a Pollock, Tansey reaches back to Impressionism to reproduce Renoir’s most famous painting. Tansey once said, “I think of the painted image as summarizing the problem we face when confronted with reality. Which reality? The reality of the flat image, or the multi-dimensional reality that exists between the viewer and the artist?” In Renoir (Luncheon of the Boating Party) (c. 1970-71) Tansey moves beyond scholarship to action in an attempt to understand this relationship. Sims, Patterson. Mark Tansey: Art and Source. Seattle: Seattle Art Museum, 1991. Print. “Mark Tansey.” Annual. Annual Magazine, 2013. Web. 30 March 2013.

172 MARK TANSEY RENOIR (LUNCHEON OF THE BOATING PARTY) c. 1970-71 Oil on canvas Signed “Renoir/Tansey” lower right Canvas: 44” x 59.5”; Frame: 45.75” x 61.75” $60,000-80,000

103

Photograph from the Archive of Malcolm Leland

173 MALCOLM LELAND FLOOR SCONCE

174 MALCOLM LELAND WALL APPLIQUES (2)

Studio, designed c. 1962 Patinated bronze 20.75” x 6.5” x 6.5”

Studio, designed c. 1962 Patinated bronze Each: 20.5” x 6.75” x 3.5”

Literature:

T I G E R MAN , B O B BY E , H AN D -

B OOK OF C A L I FOR N IA D E S IGN 193 0 -19 6 5

$3,000-5,000

C R A F TSP EOP L E , DE S IGN E R S, MAN UFACT U R E R S, LOS A N G E L E S : MIT P R E SS, 2 0 12 , P 1 6 5.

$3,000-5,000

105

175 JOHN FOLLIS PLANTER (PEANUT) Model no. F-508 Architectural Pottery, designed c. 1958 Bisque ceramic 6.25” x 15” x 62” Literature:

A RCH I TECTU RA L POT T E RY

CATALO G UE, MA RCH 1961, P 15.

$3,000-5,000

176 DAVID CRESSEY GROUP OF PLANTERS (4) Model nos. 4026, 5013, 5012, 5042 Architectural Pottery, designed c. 1968 Glazed ceramic with applied texture From the Pro/Artisan Series #4026: 7” x 11.25” diameter; #5013: 17” x 19.5” diameter; #5012 Scratch texture: 17” x 18.5” diameter; #5042: 11” x 18” diameter Literature:

A RCH I TECTU RA L POT T E RY

CATALO G UE, 1975, NP.

$2,000-3,000

177 MALCOLM LELAND PROTOTYPE BIRD SHELTER Studio, designed c. 1951 Terracotta 7” x 5” diameter $1,200-1,500

178 MALCOLM LELAND STANDING LANTERN Model no. 23L Architectural Pottery, designed c. 1951 Terracotta 21” x 11” x 8” Literature:

AR C H ITECTU R AL P OT TERY

C ATALO GUE, MAR C H 196 1 , P 1 9.

$3,000-5,000

179 DAVID CRESSEY PLANTERS (3) Model nos. 5043 (2) and 5005 Architectural Pottery, designed c. 1965 Glazed ceramic with applied texture From the Pro/Artisan series #5043: 14” x 25” diameter; #5043 Solar texture: 14” x 24.5” diameter; #5005 Expressive texture: 15” x 18.5” Literature:

AR C H ITECTU R AL P OT TERY

C ATALO GUE, 19 7 5 , N P.

$3,000-4,000

107

180 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 32.5” x 69” x 26.5” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$3,000-5,000

181 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 32.5” x 69” x 26.5” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$3,000-5,000

182 WALTER LAMB OCCASIONAL TABLES (2) Model no. AP-3701 Brown-Jordan Co., designed c. 1950 Tubular bronze, glass Glass tops not illustrated Each: 22” x 25.5” x 25.5” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$1,500-2,500

183 WALTER LAMB DINING TABLE AND ARMCHAIRS (5) Model nos. C-2700 and C-1700A Brown-Jordan Co., designed c. 1950 Tubular bronze, glass, cotton yacht cord Table: 28” x 48” diameter; Chairs each: 32” x 20.75” x 18” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$4,000-5,000

184 WALTER LAMB LOUNGE CHAIR AND OTTOMAN Model nos. C-5700 and C-5726 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord Chair: 30” x 24” x 22”; Ottoman: 10” x 20” x 17” Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$2,500-3,500

185 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 32.5” x 69” x 26.5” Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$2,500-3,500

186 ATTRIBUTED TO WALTER LAMB ROCKING CHAIRS (2) Possibly Brown-Jordan Co., designed c. 1950 Tubular bronze, canvas (not illustrated) Each: 30.75” x 21.25” x 32.25” $1,500-2,000

187 WALTER LAMB END TABLE Brown-Jordan Co., designed c. 1946 Painted tubular aluminum, glass 18” x 25.5” x 17.5” Provenance:

TH E K I NG SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$800-1,200

109

188 WALTER LAMB CHAISE LOUNGE Model no. C-4700 Brown-Jordan Co., designed c. 1950 Tubular bronze with plastic cord 32.5” x 69” x 26.5” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$2,500-3,500

189 WALTER LAMB ROCKING CHAIR Model no. C-5701 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 31.75” x 21.25” x 31” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$2,000-3,000

190 WALTER LAMB END TABLE Model no. BL-3700 Brown-Jordan Co., designed c. 1950 Tubular bronze, glass 17” x 23.5” x 18” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$800-1,200

191 WALTER LAMB DINING TABLE AND ARMCHAIRS (5) Model nos. C-2700 and C-1700A Brown-Jordan Co., designed c. 1950 Tubular bronze, glass, cotton yacht cord Table: 28” x 48” diameter; Chairs each: 32” x 21” x 18” Literature:

WA LTER L A MB FU RN I T U R E

CATALO G, 1954, NP.

$3,000-5,000

192 WALTER LAMB WAIKIKI LOUNGE Model no. 4720 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord 17.5” x 22” x 72” This lounge received the "Good Design Award" at the Museum of Modern Art, New York in 1952-53. Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$1,000-2,000

193 WALTER LAMB LOUNGE CHAIR, OTTOMAN & TABLE (3) Model nos. C-5720 and C-5726 Brown-Jordan Co., designed c. 1950 Tubular bronze with cotton yacht cord, limestone Chair: 30” x 22.5” x 22”; Ottoman: 10” x 20” x 17”; Table: 12.5” x 14.5” x 17” Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$3,000-5,000

194 WALTER LAMB DINING TABLE AND SIDE CHAIRS (5) Model nos. C-2700 and C-1700 Brown-Jordan Co., designed c. 1950 Tubular bronze with plastic cord Table: 28” x 42” diameter; Chairs each: 32.5” x 18” x 16” Literature:

WALTE R L AM B FU R NI TU R E

C ATALO G, 195 4, N P.

$3,000-5,000

111

195 ROBERT ARNESON UNTITLED Studio, c. 1960 Glazed ceramic stoneware vessel Signed “Arneson” LAMA would like to thank the Robert Arneson Estate for their assistance in cataloging this work 7” x 6” diameter $4,000-6,000

DETAIL OF SIGNATURE

196 ROBERT ARNESON UNTITLED Studio, c. 1960 Glazed ceramic stoneware vessel Signed “Arneson” LAMA would like to thank the Robert Arneson Estate for their assistance in cataloging this work 5.5” x 10” diameter $4,000-6,000

DETAIL OF SIGNATURE

197 RAUL CORONEL OCCASIONAL TABLE Studio, executed c. 1968 Earthenware, glass, marble (not illustrated) Sold with original marble top 16” x 36” diameter $2,500-3,500

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

113

BILLY AL BENGSTON & KEN PRICE Preceding his depictions as Los Angeles’ own motorcycle-racing, rogue artist in Ferus Gallery and LACMA exhibition catalogues, Kansas-born Billy Al Bengston (b. 1934) had been discharged from the California College of Arts and Crafts in 1955. Under the faculty of Richard Diebenkorn, Billy’s training was curtailed due to his aggressive advancement in ceramics and more so, rapid depletion of the school’s clay reserve. By 1956 Bengston had enrolled at Otis Art Institute to study under master ceramicist, Peter Voulkos. The roster of students under Voulkos’ training in 1956 also included Billy’s friend and fellow surfer, artist Ken Price, whom he had met surfing on the job as a beach attendant in 1953. True to his boisterous character, Bengston terminated his studies prematurely. Despite this, the artist cites both Voulkos and previous teacher Richard Diebenkorn as “showing me how I might physically approach painting…” Bengston and Price moved into a studio with beach access in Venice, California in 1960. During this period, Bengston stopped making ceramics and took up painting. He experimented with color, surface texture, and simple symbols after he had encountered Jasper Johns’ target paintings at the Venice Biennale in 1958. The use of the iris leitmotif in Bengston’s work first occurred with the oil painting Count Dracula at the Chessboard (1960). The title was concieved after Price noted that the central form mimicked that of the transformational shape of Count Dracula from vampire to bat. The hues of color, rendered on canvas in golden and ochre yellows, interact in their variations and glimmer throughout. The beautifully impastoed surface of paint carefully raised around the sharp image of the iris at the center suggests his training as a ceramicist and as a technically advanced master in the exploration of color and form. Bengston aborted the iris motif to explore other symbols such as chevron stripes and would not revisit the iris again until the 1970s. Los Angeles native Ken Price (1935-2012) shared many affinities with his studio mate. Both were quickly hoisted by art critics as colorful beacons of Los Angeles’ emerging young artists

scene. In 1970 Price retreated to Taos, New Mexico to work on the Happy’s Curios Series, which consumed him for more than five years. A self-funded project that he had fantasized about executing since his surf trips to Baja, California with Bengston and Larry Bell, Price discussed the impetus behind the project: “We always made a special point of hitting the curio stores in TJ [Tijuana] because they had great pottery…the makers considered themselves to be operating factories…they weren’t aware of themselves as artists… I got turned on and thought I would make a tribute to Mexican pottery in the form of a curios store.” Throughout the mid-1970s, Pr ice would create hand-painted ceramic wares, in addition to a handful of brilliantly colorful weavings conceived from his interpretations of themes culled from Mexican craft decorations to be sold in his curio shop. After years of trials, and ultimately, financial exhaustion, Price retired from the idea of setting up shop. These two wall hangings from the Happy’s Curios Series (1975) exhibited at his monumental second solo LACMA show demonstrate the artist’s fascination with vivid color palettes. Woven by Zapotec Indians of Teotitlán del Valle, Oaxaca, based on the artist’s drawings, the tapestries are a magnificent display of Ken Price’s capacity to explore other mediums and processes in a period of polychromatic triumph.

Wall hanging in the Ken Price Studio, Taos, New Mexico, c. 1975

Count Dracula at the Chessboard on display in the Frank Gehry designed exhibition, "Billy Al Bengston," Los Angeles County Museum of Art, 1968

Photograph Courtesy of Happy Price

Livingston, Jane. “Billy Al Bengston: Some Retrospective Thoughts.” Bengston: Paintings of Three Decades. Houston: Contemporary Arts Museum, Houston, 1988, 13-15. Print. Tsujimoto, Karen. “Painting as a Visual Diary.” Bengston: Paintings of Three Decades. Houston: Contemporary Arts Museum, Houston, 1988, 17-38. Print. Tuchman, Maurice. Ken Price Happy’s Curios. Los Angeles: Los Angeles County Museum of Art, 1978. Print. Price, Ken. “Ken Price: Personal Influences.” Ceramics Monthly, September 31-35, 1994. Print. Price, Ken. Interview by Michele D. De Angelus. Ken Price Sculpture: A Retrospective. New York: Prestel, 2012. Print.

Photograph Courtesy of Billy Al Bengston Laboratory

198 KEN PRICE UNTITLED (FROM HAPPY’S CURIOS) 1975 Wool wall hanging Unique Woven by Zapotec Indians of Teotitlán del Valle, Oaxaca, Mexico; produced by Lionel Beven, Everlasting Productions, Inc., Forth Worth, TX LAMA would like to thank the Ken Price Studio for their assistance in cataloging this work 100” x 74” Provenance:

P R IVAT E COLLECTI ON, SAN-

TA F E , N E W ME X IC O ( AC Q U I R ED DI R EC TLY F R O M TH E ARTIST, C 1 975 -7 7 )

Exhibited:

“ K E N P R IC E: H AP PY ’S CU R I OS, ”

LO S AN GE L E S C O UN T Y M U SEU M OF ART, LO S AN GE L E S, AP R IL 4 -JU LY 2, 1 978

Illustrated:

TUC H MAN, M AU R I C E, K EN

P R IC E : H AP PY ’S C UR IOS, LOS ANG ELES: LO S AN GE L E S C O UN T Y M U SEU M OF ART, 19 7 8 , # 2 5 , P 48 , 5 7.

$8,000-12,000

115

199 KEN PRICE UNTITLED (FROM HAPPY’S CURIOS) 1975 Wool wall hanging Unique Woven by Zapotec Indians of Teotitlán del Valle, Oaxaca, Mexico; produced by Lionel Beven, Everlasting Productions, Inc., Forth Worth, TX LAMA would like to thank the Ken Price Studio for their assistance in cataloging this work 75.5” x 70” Provenance:

P R IVATE COLLECTI ON, SANTA

F E , N M ( AC Q UIR E D D IR EC TLY FR OM TH E ARTIST, C 19 7 5 -7 7 )

Exhibited:

“ K E N P R ICE: H AP PY ’S CU R I OS, ”

LO S AN GE L E S C O UN T Y M U SEU M OF ART, LO S AN GE L E S, AP R IL 4 -JU LY 2, 1 978

Illustrated:

TUC H MAN, M AU R I CE, K EN

P R IC E : H AP PY ’S C UR IOS, LOS ANG ELES: LOS AN GE L E S C O UN T Y MU SEU M OF ART, 1 978, # 24, P 18 , 4 7.

$8,000-12,000

200 BILLY AL BENGSTON COUNT DRACULA AT THE CHESSBOARD 1960 Oil on canvas Signed and dated “Bengston/1960” upper center; retains Westside Jewish Community Center and partial Los Angeles County Museum of Art loan labels verso Canvas: 18” x 16”; Frame: 18.5” x 16.5” Provenance:

FERU S GA LLERY, LOS A N G E-

LES, CAL IFORNIA ; BET T Y AS HER , LOS A NGELES, CAL I FOR N I A ( ACQUIRED DI RECTLY FROM TH E A B OVE , 1 9 62 ) ; T HENCE BY DESCENT

Exhibited:

“GROU P SH OW, ” FERU S G A L-

LERY, LO S A NGELES, JU NE 20 -JU LY 1 6 , 1 9 60; “S ELECTIONS FROM TH E LM ASHE R FAM ILY COLLECTION, ” TH E A RT G A L L E RY, UN IV ERS IT Y OF NEW MEXICO, A LB U QU E RQUE, JANUA RY 20 -FEBRUA RY 23, 1 9 6 4 ; “BILLY AL BENGSTON, ” LOS A NGE L E S CO UN T Y MU SEU M OF A RT, LOS A NG E L E S; CO RCO RAN GA LLERY OF A RT, WASHI N G TON , D C; VANCOU VER A RT GA LLERY, VANCO UV E R , BC, NOVEMBER 26, 1 9 6 8 -JA NUARY 1 2 , 1 969

Literature:

SELECTI ONS FROM THE L M

AS HER FAMI LY COLLECTION, A LB U QU E RQUE: UN IVERSI T Y OF NEW MEXIC O P R E SS, 1 9 64 , #6.

Illustrated:

MONTE, JA MES, BI LLY, LOS

AN G ELES : LOS A NGELES COU NT Y M U SE U M O F ART, 1 968, # 9, NP.

$15,000-20,000

201 BILLY AL BENGSTON UNTITLED (DENTO) 1966 Enameled lacquer silkscreen on incised aluminum Unique 24” x 22” Betty Turnbull was the first Curator of Exhibitions for the Orange County Museum of Art (formerly the Newport Beach Harbor Art Museum). She coordinated important exhibitions including "The Last Time I Saw Ferus" (1975); "David Park 1911-1960, A Retrospective" (1977); and "Vija Celmins, A Survey" (1979). Provenance:

B E T T Y TU R NBU LL , CALI-

FO R N IA; TH E N C E BY D E S C E N T; P R IVATE C O L L EC TIO N, LOS ANG ELES, C ALIFO R N IA ( AC Q UIR E D F R OM TH E ABOVE)

$8,000-12,000

202 BILLY AL BENGSTON HONOLULU WATERCOLOR 1982 Watercolor and collage Retains artist’s studio labels verso Collage: 16.5” x 24”; Frame: 25.125” x 32.125” $2,000-3,000

117

203 KEN PRICE BOWL (POLUTO WARES SERIES) c. 1991 Glazed ceramic LAMA would like to thank the Ken Price Studio for their assistance in cataloging this work 2.5” x 6.5” diameter Works from this series were created by the artist when he lived and worked in his Venice, CA studio in the early 1990s. Price would paint the bowls and cups from this small series in the upstairs kitchen of his studio. The imagery was heavily influenced by the landscape of Los Angeles in stark contrast to his former home and studio residence in Taos, New Mexico. $4,000-6,000

204 KEN PRICE PRINT AND DRAWING (2) A: 1988; published 1990; B: 1996 A: Photoengraving on Japanese Toyoshi paper; B: Mixed media drawing on paper Artist’s proof #10 of 18 aside from the edition of 100 A: Published by Gemini G.E.L., Los Angeles; printed by Kenneth Farley, Gemini G.E.L., Los Angeles A: Signed and dated in pencil lower right beneath image; edition in Roman numerals lower left; B: Signed “Price 96” in pencil lower right; inscribed “To Richard, Merry Xmas ‘96” in black ink verso A: Gemini G.E.L. #39.21 LAMA would like to thank the Ken Price Studio for their assistance in cataloging these works A: Image (approx.): 2.75” x 3.25”; Sheet: 9” x 9.75”; Frame: 13.325” x 14”; B: Sheet: 3.875” x 9”; Frame: 4.25” x 10.875” $4,000-6,000

205 KEN PRICE UNTITLED 1974 Graphite, pencil, pen, and acrylic on paper Signed “Price 74” in pencil lower right LAMA would like to thank the Ken Price Studio for their assistance in cataloging this work Sheet (vis.): 4.5” x 6.5”; Frame: 8.75” x 10.625” This work was a study for Ken Price’s Happy’s Curios Series. Provenance:

P R IVAT E C OLLECTI ON, TEXAS

(GIF T O F TH E ARTIST, TAOS, NM , 1 974 )

$4,500-5,500

206 KEN PRICE UNTITLED 1974 Graphite, pencil, pen, and tempera on watercolor Signed “Price 74” in pencil lower right LAMA would like to thank the Ken Price Studio for their assistance in cataloging this work Sheet (vis.): 6.5” x 11”; Frame: 13.75” x 16.75” This work was a study for Ken Price’s Happy’s Curios Series. Provenance:

P R IVAT E C OLLECTI ON, TEXAS

(GIF T O F TH E ARTIST, TAOS, NM , 1 974 )

$4,000-5,000

119

207 DON BACHARDY BETTY ASHER 1991 Watercolor and gouache on paper Signed and inscribed upper left “Betty Asher, November 22, 1991 Bachardy” Sheet: 29.75” x 22”; Frame: 37” x 29” $3,000-5,000

208 LADDIE JOHN DILL THE ABACOS

209 WILLIAM DOLE UNTITLED

2008 Glass, cement/polymer, red iron oxide, blue cobalt oxide on marine plywood Signed and dated in black marker verso 36” x 18”

1959 Mixed media collage Signed and dated “W. Dole 1959” lower right Image (vis.): 19.5” x 24.25”; Frame: 21” x 25.75”

$3,000-5,000

$2,000-3,000

210 JOHN ALTOON ABOUT WOMEN 1966 Oil pastel on paper Signed and dated in pencil lower right “Altoon 66”; retains Westside Jewish Community Center exhibition label verso Sheet: 19” x 38”; Frame: 25” x 44” Exhibited:

“ART C O M M I T TEE C OLLECTS, ”

W E STS ID E J E W IS H COM M U NI T Y CENTER , LO S AN GE L E S, C AL IFOR NI A , 1 96 7

$10,000-15,000

121

211 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled aluminum, chrome-plated steel, brass Adjustable: 15” x 12” x 13” $6,000-8,000

212 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled aluminum, chrome-plated steel, brass Adjustable: 15” x 12” x 13” $3,000-5,000

213 GRETA MAGNUSSON GROSSMAN COBRA TABLE LAMP Ralph O. Smith, designed 1949 Enameled aluminum, chrome-plated steel, brass Adjustable: 15” x 12” x 13” $2,000-3,000

214 GRETA MAGNUSSON GROSSMAN END TABLES (2) Glenn of California, designed 1952 Walnut, laminate, enameled steel 20” x 31.5” x 18” Literature:

KAN E , L ILY, G R ETA M AG NU S -

S O N GR O SS MAN : D E SI G NER , NEW YOR K : R GAL L E RY, 2 0 0 0, P P 2 6 -27.

$4,000-6,000

215 GRETA MAGNUSSON GROSSMAN COCKTAIL TABLE Glenn of California, designed c. 1952 Walnut 14.25” x 60” x 47” $4,000-6,000

123

216 CALIFORNIA MODERN DOORS (2) Model no. LMA-63 Kaylien Doors Intl., designed c. 1970 Bonded metal over composite Each: 96” x 41.5” x 2.5” $20,000-30,000

217 MICHAEL & FRANCES HIGGINS OBJECTS (3) Higgins Studio, executed c. 1955 Hand-decorated glass, patinated bronze Bronze ornament signed “Higgins” in black marker Square glass dish: 1” x 7” x 7”; Rectangular glass dish: 5” x 7”; Bronze ornament: 10.125” x 7” $800-1,200

125

DETAIL OF VERSO

218 EVELYN ACKERMAN TEXTILES (2) ERA Industries, designed c. 1963 Hand-woven wool tapestry One with woven initials lower left; signed in black marker verso; retains ERA Industries label verso with model no. 781W and titled “Wedding” 51” x 11” and 37” x 23” $2,000-3,000

ILLUSTRATED OPPOSITE PAGE

220 CHARLES & RAY EAMES FREESTANDING KIOSK

219 CHARLES & RAY EAMES STORAGE UNIT Model no. ECS Herman Miller, designed 1961 This example was the showroom model at the Herman Miller Showroom in Los Angeles, constructed by Charles Eames 78” x 159” x 24”; (84” with bed) $3,000-5,000

Custom designed for the IBM Pavilion, New York World’s Fair, and fabricated by hand at DMI, Los Angeles, 1964 Iron, walnut, plastic-laminated, and hand-painted surfaces 192” x 111” x 122” Only two known examples are thought to have survived after the fair was disassembled. Literature:

N E U HA RT, J O H N & MAR ILY N ,

E A M E S DE SI G N : T HE WO R K O F TH E O F F IC E OF C HA R L E S A N D R AY E AME S, N E W YO R K : A B R A M S, 1 9 89, P 1 9 1 .

$20,000-30,000

ALTERNATE VIEW

127

221 KARL BENJAMIN UNTITLED 1955 Oil on canvas Signed and dated “Benjamin ’55” lower right Together with handmade Christmas card in crayon by the artist Canvas: 28” x 42”; Frame: 28.75” x 43”; Christmas card: 3.5” x 5.5” Provenance:

PRIVATE COLLECTI ON , C A L I-

FO RN IA ( ACQ U I RED DIRECTLY FR OM T HE ART IST, 1 955 )

$20,000-30,000

CHRISTMAS CARD

222 KARL BENJAMIN RED, PINK & UMBER I 1958 Oil on canvas Signed and dated “KB ’58” lower right; retains label and ink stamp verso Canvas: 25.75” x 42”; Frame: 26.75” x 42.75” Provenance:

P R IVATE C OLLECTI ON, CALI-

FO R N IA ( AC Q UIR E D DI R EC TLY FR OM TH E ARTIST, 195 8)

$20,000-30,000

129

223 KARL BENJAMIN #23 1965 Oil on canvas Initialed and dated lower right “KB 65”; signed, titled, and dated verso Canvas: 27” x 27”; Frame: 28” x 28” Provenance:

TH E COLLECTI ON OF JA M E S

HUET ER , CL A REMONT, CA LI FORNI A (ACQUIRED D IRECTLY FROM TH E A RTI ST )

$25,000-30,000

224 KARL BENJAMIN #20 1977 Oil on canvas Signed, dated, and titled in black marker on canvas stretcher verso Canvas: 31” x 31”; Frame: 32.125” x 32.125” $9,000-12,000

131

225 KARL BENJAMIN UNTITLED (TAPE GRID SERIES) 1961 Oil on canvas Signed “KB61” lower left; retains partial Esther Robles Gallery label verso; stamped “Karl Benjamin/675 W. 8th Street/Claremont, CA” on canvas stretcher verso Canvas: 29.875” x 24”; Frame: 31” x 24.75” $15,000-20,000

226 JOHN BALDESSARI KEYS (WITH INTRUSION) (FROM A FRENCH HORN PLAYER, A SQUARE BLUE MOON, AND OTHER SUBJECTS SERIES) 1991; published 1994 9-color screenprint on Arches 88 #11 of 49 Published by Gemini G.E.L., Los Angeles, printed by Stanley Baden, James Hirahara, and Claudio Stickar, Gemini G.E.L., Los Angeles Signed with Gemini G.E.L. blind stamp lower right; edition lower left Gemini G.E.L. #4.4 Image/Sheet: 29” x 48”; Frame: 32” x 51” Literature:

COPL A N H U ROW I TZ, SHA R ON ,

JO HN BALDESSA RI : A CATA LOGU E R A I SONN É O F PRI NTS A ND MU LTI PLES, 1 9 7 1 -2 007, M ANCHESTER : H U DSON H ILL S PR E SS, #7 1 .

$3,000-4,000

227 JOHN BALDESSARI STONEHENGE (WITH TWO PERSONS) ORANGE 2005 Mixografia print on handmade 100% cotton paper #60 of 60 Published and printed by Mixografia, Los Angeles Signed and dated lower right; edition lower left Image: 27” x 30”; Sheet: 29” x 32”; Frame: 30.625” x 33.75” Literature:

H U ROWITZ, SH A RON C OP L A N ,

JO HN BALDESSA RI : A CATA LOGU E R A IS O NNÉ O F PRINTS A ND MU LTI PLE S, 1 9 7 1 2007, MANCH ESTER : H U DSON H I L L S P R E SS, 2009, #158.

$6,000-9,000

228 BILL BARMINSKI UNTITLED (HYPE) c. 1999 Enamel on plaster on canvas Signed in black marker with drawing and inscription verso Canvas: 23.875” x 18” $800-1,200

VERSO

133

229 ROBERT GRAHAM MOCA TORSO A: 1992-95; B: 1982 A: Patinated bronze; B: Cast pewter A: From the edition of 3500; B: Unnumbered edition size A: Published by the Museum of Contemporary Art, Los Angeles; B: Cast by the students of the Devereux Schools Torso inscribed “RO 256” with illegible inscription underneath base; hand signed “RG 1982” Together with another sculpture after Robert Graham (Devereux) 11” x 4.5” diameter at base; Devereux: 2” x 5.25” x 3.25” $3,000-5,000

230 HELEN PASHGIAN UNTITLED 1988 Epoxy on canvas board Signed and dated verso Canvas: 36” x 36” $5,000-7,000

231 JOE GOODE UNTITLED (FROM VANDALISM SERIES) 1977 Torn oil on canvas mounted to board Retains James Corcoran Gallery label verso Image/Canvas (vis.): 29.75” x 71.75”; Frame: 30.75” x 72.75” Provenance:

J O E GOODE, LOS ANG ELES,

C AL IFO R N IA; C O R C O R AN GAL L E RY, LOS ANG ELES, C AL IFO R N IA; L AD D IE J O H N D IL L , LOS ANG ELES, C AL IFO R N IA

$10,000-15,000

135

ILLUSTRATED OPPOSITE PAGE

232 CHARLES ARNOLDI THIS NIGHT IS OVER 1988 Acrylic and wood chunks on plywood in two panels Signed and dated verso; retains artist’s label verso LAMA would like to thank the Charles Arnoldi Studio for their assistance in cataloging this work 90” x 80” x 9”

LO S AN GE L E S, C AL IFO R N IA , 19 8 9

1987 Acrylic on paper Signed and inscribed “SB/7/13/87/Arnoldi” in pencil lower center Sheet: 30” x 44”; Frame: 35” x 48.5”

$10,000-20,000

$2,500-3,500

Exhibited:

JAME S C O R C O R AN GAL L E RY,

LO S AN GE L E S, C AL IFO R N IA , 19 8 9 ; ART/ L A ,

DETAIL OF SIGNATURE VERSO

233 CHARLES ARNOLDI SB

137

234 FRANK O. GEHRY WIGGLE STOOL Easy Edges Inc., designed 1972 Cardboard, Masonite 15.5” x 17.25” x 15.5” $2,000-3,000

235 FRANK O. GEHRY POWER PLAY CLUB CHAIR AND OTTOMAN (2) Model no. 94L-GC Knoll, designed 1992; this example 1994 Laminated maple Retains branded signature, Knoll stamp and date “10/21/94” Chair: 32” x 32” x 32”; Ottoman: 14” x 24” x 24” In 1992 Gehry was awarded Time Magazine’s “Best Design” of the year for this chair design. Literature:

FIELL , CH A RLOT TE & P E T E R ,

1 000 CHAIRS, COLOGNE: TASCH E N , 1 9 9 7, P 64 6.

$2,000-3,000

236 NEAL TAIT UNTITLED 2000 Gouache on paper Retains Jay Jopling London label verso Image (vis.): 8” x 10”; Frame: 12.75” x 14.75” $3,000-5,000

237 MICHAEL GOLDBERG UNTITLED 1990 Oil and pencil on paper Signed and dated in pencil “Goldberg ‘90” lower right Sheet: 10” x 10.5” $8,000-12,000

139

RAIMONDS STAPRANS Originally from Latvia, Raimonds Staprans (b. 1926) creates paintings that unite the warm still lifes of the Bay Area Figurative Movement with the expressive capabilities of Color Field painting. Like many 20th century painters, Staprans experienced external turmoil early in his life that eventually informed his artistic sensibilities. Soviet tanks arrived in Latvia, forcing Staprans and his family to immigrate to the Pacific Northwest in 1940. “I decided to become a painter – [the invasion] also ended my innocence and forced me to become aware of aggression, injustice, and cruelty. Thus, in an oblique way, I owe my career as an artist to the misfortunes that befell us during that time.” After studying under Mark Tobey at the University of Washington, Staprans moved to the Bay Area to pursue his graduate studies. While his work shares many similarities with his Bay Area contemporaries Richard Diebenkorn, Paul Wonner, and Richard Park, Staprans focused on still lifes and distorted landscapes with color and light at the forefront. In Red Sky (1968) and Landscape (1972-78), color shards compete for space, yet reveal an expansive and dense spatiality. The subject matter is reminiscent of works by Richard Diebenkorn and Wayne Thiebaud, though according to poet and curator John Yau, Staprans' work achieves a distinct “emotional tenor” unlike Diebenkorn’s: “His landscapes are like tectonic plates. One senses that their alignment is precarious, and that everything could shift suddenly and violently in the blink of an eye.” Staprans’ work is held in the permanent collections of the Los Angeles County Museum of Art and the Fine Arts Museums of San Francisco, and a career retrospective was exhibited at the Pasadena Museum of California Art in 2006. Yau, John. “Harsh and Forgiving Light.” Raimonds Staprans. Los Angeles: Peter Mendenhall Gallery, 2008. Print. Staprans, Raimonds. “Four Reflections.” Raimonds Staprans. Berlin: Redmann Galerie and Kunsthandel, 1988. Print.

238 RAIMONDS STAPRANS PAINT CAN 1999 Oil on canvas Signed and dated “Staprans-99” lower right Together with a book Canvas: 49.5” x 41.5”; Frame: 50” x 42.325” $25,000-35,000

239 RAIMONDS STAPRANS LANDSCAPE 1972-78 Oil on canvas Signed and dated “Staprans 72-78” lower right Canvas: 38” x 48”; Frame: 40.5” x 50.5” $15,000-20,000

141

240 RAIMONDS STAPRANS RED SKY 1968 Oil on canvas Signed and dated “Staprans-68” lower right; retains Maxwell Galleries label verso; retains two Hackett-Freedman Gallery labels verso; retains Nightingale Galleries label verso Canvas: 22” x 25”; Frame: 24” x 27” Literature:

R AIMO N D S STAP R ANS: A

R E TR O S P EC TIV E E X H I B I TI ON OF WOR KS F R O M 195 3 TO 19 7 3, SAN FR ANC I SCO: MAXW E L L GAL L E R IE S, NP, FOR SI M I L AR E XAMP L E S.

$10,000-15,000

241 PAUL WONNER MODEL IN THE SUN 1964 Oil on board Signed lower right; retains Felix Landau Gallery label verso Image/Board: 9.75” x 4.5”; Frame: 13.325” x 7.75” Provenance:

FELIX L A NDAU GA LL E RY, LOS

ANG EL ES, CA LIFORNI A ; PRI VATE C OL L ECT IO N , LO S A NGELES, CA LI FORNI A (AC QU I R E D D IRECT LY FROM TH E A BOVE)

$3,000-5,000

242 PAUL WONNER SPOONS c. 1964 Oil on panel Signed lower right Image (vis.): 7.75” x 9.75”; Frame: 12” x 14” Betty Turnbull was the first Curator of Exhibitions for the Orange County Museum of Art (formerly the Newport Beach Harbor Art Museum). She coordinated important exhibitions including "The Last Time I Saw Ferus" (1975); "David Park 1911-1960, A Retrospective" (1977); and "Vija Celmins, A Survey" (1979).

243 PAUL WONNER UNTITLED

CALIFO RNIA (ACQ U I RED FROM THE A B OVE )

1973 Pencil on paper Signed in pencil lower right Sheet (vis.): 16.75” x 12.5”; Frame: 20.25” x 16.25”

$6,000-8,000

$1,000-1,500

Provenance:

BET T Y TU RNBU LL , C A L I FOR N I A ;

T HEN CE BY DESCENT; PRIVAT E COLLECTION, LOS A NGE L E S,

244 WILLIAM THEOPHILUS BROWN MODEL AND CAT 1962 Oil on paper mounted to board Signed and dated lower right; retains Felix Landau Gallery label verso Sheet: 17” x 14.25”; Frame: 21” x 18” Provenance:

F E L IX L ANDAU G ALLERY,

LO S AN GE L E S, C AL IFO R NI A; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

Exhibited:

“ W IL L IAM BR OWN: R ECENT

PAIN TIN GS, ” F E L IX L A NDAU G ALLERY, LOS AN GE L E S, MAR C H 11-30, 1 96 3

Literature:

W IL L IAM BR OWN: R ECENT

PAIN TIN GS, LO S AN GE LES: FELI X L ANDAU GAL L E RY, # 2 7.

$3,000-5,000

245 WILLIAM THEOPHILUS BROWN GROUP IN THE STUDIO 1961 Oil on paper Signed and dated lower center; retains Felix Landau Gallery label verso Image (vis.): 8.875” x 11.75”; Frame: 12.625” x 15.5” Provenance:

F E L IX L ANDAU G ALLERY,

LO S AN GE L E S, C AL IFO R NI A; P R I VATE C O L L EC TIO N , LO S AN G ELES, CALI FOR NI A ( AC Q UIR E D D IR EC TLY FR OM TH E AB OVE)

$2,500-3,500

143

246 LARRY COHEN VIEW OF DOWNTOWN 2005-6 Oil on canvas Signed, dated, and titled in pencil verso Canvas: 17.875” x 16”; Frame: 18.625” x 16.75” $1,500-2,000

247 LARRY COHEN VIEW OF CENTURY CITY 2007 Oil on canvas Signed in pencil on canvas verso Canvas: 30” x 20”; Frame: 31.5” x 21.5” $2,000-3,000

248 RICHARD DIEBENKORN UNTITLED 1991 Color lithograph on Arches Cover White Artist’s proof #16 of 20 aside from the edition of 75 Published and printed by Gemini G.E.L., Los Angeles Initialed and dated in pencil “RD91” lower right margin; edition lower left Gemini G.E.L. #15.11 Sheet: 16” x 14”; Frame: 21.325” x 18.625” $3,000-5,000

145

249 WAYNE THIEBAUD OLIVES (FROM DELIGHTS) 1964 Aquatint #39 of 100 Published by Crown Point Press, Oakland; printed by Kathan Brown, Oakland Signed, dated, and titled lower right; edition lower center Image: 3.875” x 3.875”; Sheet: 12.5” x 10.75”; Frame: 21” x 18.5” Literature:

TH IE B AU D, WAYNE, WAYNE

TH IE B AUD ; GR AP H IC S, 1 964 -1 971, P ORTL AN D : PAR AS O L P R E SS, 1 971 , #8.

$3,000-5,000

250 MARCEL BREUER LONG CHAIR Isokon, designed and executed 1935-36 Laminated birch Stamped “Made in England” 30.25” x 24.125” x 52.5” The stamp “Made in England” indicates that this example was produced for export. $3,000-5,000

251 THONET ROCKING CHAIR Thonet, designed c. 1890, executed first quarter of 20th century Steam-bent beech, cane 42.325” x 24” x 47” $400-600

252 JOSEF HOFFMANN & GUSTAV SIEGEL FLEDERMAUS CHAIRS (4) Model nos. 728 (side chairs) and 728F (armchairs) Side chairs manufactured by Mundus; armchairs manufactured by J. & J. Kohn, designed 1905, these examples of early manufacture Steam-bent beech, upholstery Armchairs retain paper manufacturer’s label; side chairs with stamped manufacturer’s mark Armchairs each: 28.75” x 21.125” x 19.5”; Side chairs each: 29.25” x 22.5” x 18” These chairs are named after a bar in Vienna called Kabaret Fledermaus, 1905. Josef Hoffmann designed the chairs and interior scheme. Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO GNE: TASC H EN, 1 997, P P 12 6 -7.

$3,000-5,000

14 7

253 DONALD DESKEY CHEST OF DRAWERS Widdicomb Furniture Company, designed 1935 Carpathian elm veneer, ebonized wood 49.5” x 29.5” x 17.5” $2,000-3,000

254 ATTRIBUTED TO DONALD DESKEY CUSTOM VANITY Studio, designed and executed c. 1935 Aluminum, striped mahogany, leather, mirror glass, lacquered wood 47.125” x 47.75” x 21” The vanity originates from the interior of M.L. “Bud” Cohn’s home in Beverly Hills, with furniture exclusively designed by Donald Deskey. Provenance:

ML “ B UD” COH N, BEVER LY

H IL L S, C AL IFO R N IA; TH E N C E BY D E S C E N T; J O N AS L IV IN GSTO N , B E VER LY H I LL S, C AL IFO R N IA; P R IVATE C O L L EC TIO N , C A LI FOR NI A

Literature:

H AN KS, DAVI D, AND JENNI FER

TO H E R , D O N AL D D E S K E Y DECOR ATI VE D E S IGN AN D IN TE R IO R S, NEW YOR K : EP D UT TO N , 19 8 7, P L 19, 2 8 , 59, 1 1 0 FOR S IMIL AR E XAMP L E S.

$7,000-9,000

149

255 PIERRE LE FAGUAYS UNTITLED (HUNTRESS AND HOUND) c. 1925 Silvered bronze on onyx plinth Cast by Les Neveux de J. Lehmann Incised signature “Le Faguays” on plinth; inset bronze foundry seal to base for Les Neveux de J. Lehmann 7.75” (8.75” with base) x 15” x 4” Provenance:

SOTH EBY PA RKE-B E R N E T,

LO S AN G ELES, CA LI FORNI A , C 197 2 ; PRIVAT E COLLECTION, LOS A NGE L E S, C A L IFO RNIA ( ACQ U IRED DIRECTLY FR OM A B OVE )

$2,500-3,500

256 HAGENAUER DEER Hagenauer Werkstätte, executed c. 1950 Mahogany, patinated bronze Stamped “Hagenauer/Hagenauer Wien/Austria” 13.25” x 11” x 5” $3,000-5,000

257 LOUIS SOGNOT & CHARLOTTE ALIX CHAIR Manufacturer unknown, designed c. 1927 Chrome-plated steel, upholstery 28” x 18.5” x 25” Literature:

B O UC H E T, LÉON, I NTÉR I EU R S

F R ANÇAIS AU SALO N DES ARTI STES DÉCO R ATE UR S, PAR IS : 19 2 9, P L 4 3.

$2,500-3,500

258 FRANZ SINGER DAYBED Metz & Co., designed 1928 Chrome-plated steel, upholstery 28.5” x 57” x 26.75” Exhibited:

" TUB UL AR STEEL FU R NI TU R E

O F TH E TW E N TIE S, " G ALER I E M ETR OP OL , N E W YO R K , J UN E 1-J ULY 2, 1 982

$2,500-3,500

151

259 WALTER KNOLL ARMCHAIR From the Knoll Antimott series Knoll Associates, designed 1927 Lacquered wood, upholstery Retains “Knoll Antimott D.R.P.” medallion 32” x 23” x 26” $1,500-2,000

260 OSCAR STONOROV & WILHELM VIGGO VON MOLTKE RARE MOMA CHAIR Red Lion Furniture, designed 1940 Ebonized wood, rush seat, and back 33” x 16.5” x 18” Designed for the New York Museum of Modern Art “Organic Design” competition, 1941. Due to the onset of WWII, the chair was only produced in limited quantities. $1,000-1,500

261 MANUEL ORTIZ DE ZÁRATE NU ASSIS DANS FAUTEUIL VERT c. 1930 Oil on canvas Signed “Ortiz” upper right; retains label verso “10195 Ortiz de Zárate/Huile sur toile/Nu assis dans fauteuil vert” Canvas: 29” x 23.75”; Frame: 34.75” x 29.75” $2,000-3,000

262 PHILIP H. JOHNSON PLAQUES (2) Studio, designed and executed c. 1930 Patinated iron and bronze 18” x 9” and 16.5” x 9” The Philadelphia Convention Center was a national landmark of Art Deco architecture. Completed in 1930 by architect Philip H. Johnson, the building featured numerous architectural plaques and decorative elements. The Convention Center was closed in 1996 and finally demolished in 2005. Provenance:

P H IL AD ELP H I A C ONVENTI ON

H AL L , P E N N S Y LVAN IA ( 1 930 -2005 ) ; P R IVATE C O L L EC TIO N, CALI FOR NI A

$1,500-2,000

153

GIO PONTI One of the most remarkable designers and architects of the 20th century, Gio Ponti (1891-1979) strived to enhance every aspect of our environment, from buildings, furniture, and ceramics, to glass, silverware, and industrial products. Among his architectural marvels, the Pirelli Tower in Milan (1956) and the Denver Art Museum (1971) rank as two of his most famous constructions. While his architecture reached an unparalleled level of artistic achievement, he was equally adept in any medium, and his work ethic matched his prowess. When he was well into his 70s, Ponti worked an average of twenty hours per day, adhering to his principle, “Think at night and work during the day.” In the forward to the double issue of Design Quarterly dedicated to Ponti, Charles Eames described the tireless innovator’s genius: “In this process of design or growth, where he anticipates and relives the experience that others will have – in this enthusiasm – he surely thinks of all people as rich human beings possessing those same capabilities and sensitiveness to experience that are his own. This is the only way – and this is the secret.” This secret of Ponti the artist-philosopher, in any project and medium, guided him in the achievement of form, beauty, and function. Gio Ponti was an architect who began with ceramics. One of his many design maxims applies here: “In each different thing, there is always the same process and the same hand.” At the age of 32 and just two years after he graduated from the Politecnico di Milano, Ponti was hired as the artistic director at the Societa Ceramica Richard-Ginori where he was given free reign to revamp the entire design process. He articulated his design acumen in every aspect of the operation, from designing the ceramics to directing photography and marketing the final product. The beautifully crafted result, the Richard-Ginori

catalogue, presented photographs of the entire inventory – some even in color – that the company could display at exhibitions and trade shows, events that Ponti was also instrumental in organizing. This multi-faceted and modern design approach precluded the marketing practices that would become standard in the second half of the century. Ponti’s Gli Amanti (1925) was most likely included in the Exposition Universelle in Paris where Ponti received the Grand Prix from an international jury for a Richard-Ginori stand. Two years later, Ponti’s name appears in the exhibition literature at the Monza Biennale, marking the beginning of the Gio Ponti brand. The porcelain plate, l’Amore della Antichita was produced in 1928; however, it carries two Ponti signatures from 1927 to commemorate his success at Monza. A contemporary account of the 1927 exhibition describes the porcelain on display: “They have a unity of style, and stand out among thousands, and have risen to the level of the best and most celebrated manufacturers of art ceramics in Europe.” Ponti continued producing the Richard-Ginori catalogue until 1930, using the publication as a springboard for the release of the first issue of his highly influential architecture magazine Domus in 1928. Ponti employed this passionate, streamlined approach – one that considered each multilayered aspect and possible outcome – for every project, from magazine layouts and furniture design to industrial products and massive skyscrapers. He worked from the ground upwards to examine life improved because ultimately, according to Charles Eames, he “practiced architecture in all his work.” Eames, Charles. Foreward. The Expression of Gio Ponti. Design Quarterly 69/70. Minneapolis: Walker Art Center, 1967. Print. Matteoni, Dario. Gio Ponti: Fascination for Ceramics. Milan: Silvana Editoriale, 2011. Print.

155

263 GIO PONTI GLI AMANTI PLATE Richard-Ginori, executed 1925 Transfer printed porcelain Retains facsimile signature "Gio Ponti 1925", "Richard * Ginori", "RichardGinori Pittoria di Doccia 1924", "Made in Italy" and "Gli Amanti 1925" LAMA would like to thank Oliva Rucellai at the Museo Richard-Ginori, Florence, for her assistance in the cataloging of this work 1” x 12.87” diameter Provenance:

PRIVATE COLLECTI ON ,

ITALY; PRIVAT E COLLECTION, U NITED STAT E S; T HENCE BY DESCENT

Literature:

RI CH A RD - GINORI, CE R A M I C HE

MO D ERNE D'A RTE, CA PI ZZA NO, MA N U FACT URER'S CATA LOGU E, MI L A N, 1930, P 30; L A PIET RA , U GO, GIO PONTI, NEW YOR K : RIZ ZO L I, 1 996, P 21.

$7,000-10,000

This model was exhibited at the Paris Exposition, 1925, where Gio Ponti was awarded the Grand Prix for his neoclassical designs for Richard-Ginori. The nature and number of marks on this example together with the signature of Gio Ponti, dated 1925, indicate the strong possibity that this particular example was made to be shown at the Paris Exposition. The Made in Italy mark on this piece - which is highly unusual on porcelain models further supports this theory. An internal Richard-Ginori memorandum stated, "The head office wrote that the pieces for Paris must be marked as Made in Italy or better, in my opinion, Fabbricato in Italia. Please add this writing to our markings in a clear and correct way" (Letter, June 4th, 1925).

DETAIL OF VERSO

157

264 GIO PONTI IL PELLEGRINO STANCO FIGURE Model no. 305P Richard-Ginori, designed 1922 Glazed ceramic Retains mark “Richard-Ginori S. Christoforo Milano Made in Italy Gio Ponti 1925 305P” 9.75” x 8” x 6” Literature:

L A P IE TR A , U G O, G I O P ONTI,

N E W YO R K : R IZ ZO L I, 1 996, P 30.

$5,000-7,000

DETAIL OF VERSO

265 GIO PONTI LE MIE TERRE VASE

DETAIL OF VERSO

Model no. 1186 Richard Ginori, designed 1929-30 Glazed maiolica Signed “Ginori/344-1186/Made in Italy” Together with original Ceramiche Moderne d’Arte Richard-Ginori catalogue, 1930 9.5” x 9” diameter The 1930s Richard-Ginori catalogue states that this model was available “in blue and yellow - in green and yellow or in various colours.” Plum was one of the other available colors; however, the popularity of the standard color ways meant that very few examples were ever produced in this color. Literature:

RI CH A RD GI NORI, CE R A M I C HE

MO D ERNE D’A RTE, CA PI ZZA NO, MA N U FACT URER’S CATA LOGU E, MIL A N, 1930, P 88; MAT T EO NI, DA RIO GIO PONTI FASC I N AT I ON FO R CERAMI CS, MI L A N: SILVA NA E DI TO RIALE, 2 011, P 126.

$10,000-15,000

ALTERNATE VIEW

DETAIL OF VERSO

266 GIO PONTI L’AMORE DELLA ANTICHITA PLATE Richard-Ginori, designed 1923, executed 1928 Transfer printed porcelain Retains facsimile signature “Gio Ponti 1927” twice, “Richard-Ginori Pittoria di Doccia 1925”, “Richard * Ginori 28=1”, “Made in Italy” and “l’Amore della Antichita 1923” LAMA would like to thank Oliva Rucellai at the Museo Richard-Ginori, Florence, for her assistance in the cataloging of this work 1” x 13.25” diameter The nature and unusual number of manufacturer's marks may allude to the possibility that this plate was made for the purposes of exhibition. The date stamp for January 1928 may indicate that the plate was exhibited at the Quadriennale, Pesaro and Fiera Campionaria, Milan, 1928. The presence of the two Gio Ponti signatures dated to the year previous, 1927, may have been created in honor of Ponti's success at the Biennale in Monza that same year. The existence of two Gio Ponti signatures for 1927 is unusual. Loris Manna states, "They are rarely present, often preceded and followed by small arrows, and always single, whereas for porcelain, mostly for those dated 1925, they can be double, so as to witness both the execution and planning of the decor" (Manna 14). Provenance:

P R IVAT E C OLLECTI ON, I TALY;

P R IVATE C O L L EC TIO N, U NI TED STATES; TH E N C E BY D E S C E N T

Literature:

MAN N A , LOR I S, G I O P ONTI

L E MAIO L IC H E, MIL AN: B I BLI OTECA DI VI A S E N ATO E D IZ IO N I, 2 0 00, P P 1 3, 1 4 ; M ATTEO N I, DAR IO, GIO P ONTI FASC I NATI ON FOR C E R AMIC S, MIL AN : S ILVANA EDI TOR I ALE, 2 0 11, P P 6 8 - 9.

$7,000-10,000

159

267 GIO PONTI DIAMOND FLATWARE (100) Reed & Barton, designed 1958 Sterling silver, stainless steel Stamped assay and manufacturerâ&#x20AC;&#x2122;s marks Comprised of 12 salad forks, 12 bread knives, 6 steak knives, 6 iced tea spoons, 12 dinner forks, 12 tablespoons, 6 seafood forks, 12 teaspoons, 12 dinner knives, and 10 serving pieces. Together with coffee service designed by John Prip comprised of coffee pot, creamer, and sugar bowl with cover Various dimensions In 1958 Reed & Barton commissioned Gio Ponti to design the Diamond pattern flatware service and John Prip to design the accompanying coffee service. Literature:

STERN, JEW EL , MOD E R N I SM

IN AM ERICA N SILVER , CONNECTIC U T: YA L E UN IV ERS IT Y PRESS, 20 05, P 24 7.

$6,000-9,000

161

268 MASSIMO CAMPIGLI UNTITLED 1959 Color lithograph #87 of 90 Signed and dated lower right margin; edition lower left Image: 19.5” x 14.5”; Sheet (vis.): 22.5” x 15.875”; Frame: 28.5” x 22” Literature:

MELONI, FRA NCESCO, A N D LU -

IG I TAVO L A , CA MPIGLI: CATA LOGO R AG I ONATO D ELL’OPERA GRA FI CA (LITOG R A F I E E IN CIS IO NI) 1930 -1969, ROME: EDI ZI ON E G RAPHIS A RTE, 1995, P 12.

$1,500-2,000

269 GIO PONTI VANITY Giordano Chiesa, designed 1953 Sycamore, brass, mirror glass Vanity: 30” (48” with mirror) x 37.25” x 17.5”; Mirror: 17.25” x 17.75” diameter Provenance:

H OTEL ROYA L , NA P L E S;

PRIVAT E COLLECTION, LOS A NGEL E S, CAL IFO RNIA

$6,000-8,000

270 PAOLO VENINI INCISO BOTTLE AND STOPPER Venini, designed 1955 Line-cut cased glass Manufacturer’s acid stencil mark “venini murano ITALIA” 7” x 4” x 3.5” $2,000-3,000

271 ATTRIBUTED TO GIO PONTI BOOKCASE

272 FRANCO ALBINI ARMCHAIR

Possibly manufactured by Giordana Chiesa, designed c. 1955 Fruitwood, beech, laminate, brass sabots Retains partial label “Ammistrazione Provinciale/Forli/Numero D’inven...”; retains label “Numero D’Inventorio A109” 34.25” x 40.5” x 15.5”

Model no. 62 Knoll Associates, designed 1938-39, executed 1950-62 Birch, upholstery 29” x 25” x 28”

$3,000-4,000

$2,000-3,000

Literature:

LUTZ , B R IAN , AN D R E E D K R O L-

O F F, K N O L L : A MO D E R N IST UN IV E R S E, N E W

273 ATTRIBUTED TO OSVALDO BORSANI DESK Possibly manufactured by Arredamenti Borsani Varedo, designed c. 1955 Indian rosewood, glass 30” x 74” x 28.75” $6,000-8,000

YO R K : R IZ ZO L I, 2 0 10, P 5 3 .

163

274 SALVIATI WALL APPLIQUES (2) Salviati, designed c. 1975 Blown glass Each: 25” x 13” x 5.5” $1,000-1,500

275 FONTANA ARTE CEILING LAMP Model no. 1990 Fontana Arte, designed c. 1960 Polished and acid-frosted glass, enameled brass 7” x 19.5” x 19.5” Literature:

FO N TAN A ARTE I LLU M I NAZI-

O N E, FO N TAN A ARTE C ATALOG U E, I TALY, 19 6 0, N P.

$3,000-5,000

165 276 MASSIMO VIGNELLI PENDANT LAMP Venini, designed c. 1960 Blown and cased glass Retains paper label “Ven. 011.6/80.00” 20” x 6” diameter $1,000-1,500

LOT 276

277 GINO SARFATTI TRIENNALE LAMP Arteluce, designed c. 1951 Enameled metal, marble, chrome-plated steel, leather Adjustable: 63.75” x 36” x 36.5” $3,000-5,000

278 OSVALDO BORSANI LOUNGE CHAIR Model no. P40 Tecno, designed 1955 Enameled steel, leather upholstery Retains Tecno sticker and Tecno medallions 36” x 27.25” x 33” Literature:

DESIGN FU RNITU RE F R OM

ITALY: CULTU RE A ND TECH NOLOGY OF T HE ITAL IAN FU RNITU RE 1950 -1980, R OM E : INST IT UTO NAZIONA LE, 1980, PP 7 8 -7 9.

$2,500-3,500

279 OSVALDO BORSANI LOUNGE CHAIR Model no. P40 Tecno, designed 1955 Enameled steel, leather upholstery Retains sticker “Modelo Depositato” and Tecno medallions 36” x 27.25” x 33” Literature:

DESIGN FU RNITU RE F R OM

ITALY: CULTU RE A ND TECH NOLOGY OF T HE ITAL IAN FU RNITU RE 1950 -1980, R OM E : INST IT UTO NAZIONA LE, 1980, PP 7 8 -7 9.

$2,500-3,500

280 OSVALDO BORSANI ADJUSTABLE SOFA Model no. D70 Tecno, designed 1954 Enameled steel, wool upholstery 29.5” x 72.5” x 40” Literature:

FU LVIO, IRACE, A ND G U I L I A N A

G RAM IG N A , OSVA LDO BORSA NI, M ODA & D ES IG N, MI L A N: LEONA RDO DELUC A , 1 9 9 2 , PP 2 52- 57.

$4,000-6,000

281 GRUPPO D.A .M. TOPOS CHAIRS (2) Gruppo Industriale Busnelli, designed c. 1970 Chrome-plated steel, leather Each: 33.25” x 19.5” x 20.5” $1,500-2,000

282 OSVALDO BORSANI DESK Tecno, designed c. 1975 Indian rosewood, leather, polished and enameled aluminum Retains Tecno medallion 28” x 98.5” x 43” Provenance:

B AN K OF AM ER I CA , LONDON;

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

$3,500-4,500

167

283 AFRA & TOBIA SCARPA ARTONA CHAIRS (8) Maxalto, designed 1975 Palissander, leather upholstery Each impressed with manufacturer’s mark Each: 31” x 22” x 17” These were amongst the first of the luxury Maxalto furniture range to be launched by B & B Italia in 1975. Due to the high cost of production and materials, a limited number of examples were produced. The design was available in either walnut or the more expensive option of palissander. Literature:

GR AMIGNA , G U I LI ANA ,

195 0 / 19 8 0 R E P E RTO RY: P I CTU R ES AND ID E AS R EGAR D IN G TH E H I STORY OF I TALI AN F UR N ITUR E, MIL AN : M ONDADOR I , 1 985, P 415 .

$20,000-30,000

169

284 LUDOVICO DIAZ DE SANTILLANA CEILING LAMPS (2) Venini, designed c. 1960, executed 1960-68 Blown glass, chrome-plated steel Each: 65” drop x 12.5” diameter $12,000-18,000

171

285 GINO SARFATTI WALL APPLIQUES (2) Model no. 226 Arteluce, designed c. 1959 Chrome-plated brass 35” x 11” x 12.5” Literature:

D IEGO N I ZYM AN, CH R I STI NE,

GIN O SAR FAT TI, PAR IS : FR EDER I C LEI B O V ITZ , 2 0 0 8 , P 76 .

$4,000-6,000

RICHARD ARTSCHWAGER Richard Artschwager (1923-2013) straddled many genres of art throughout his career, from Pop to Minimalism to NeoMinimalism. This mercurial nature is partly due to his choice of materials: Artschwager has worked with a diverse array, including wood, paint, photographs, Formica, and metal. This versatility propelled him to international success throughout the second half of the 20th century, culminating in retrospectives in 1988 and 2012 at the Whitney Museum of American Art. In his most famous sculptures, including Table and Chair (1962-3) and Table with Pink Tablecloth (1964), Artschwager employed furniture-making techniques to “produce sculptures that mimicked actual objects while simultaneously betraying their identity as artistic illusions.” He learned these skills about a decade before his furniture was intended as fine art. To support his family, Artschwager worked as a furniture maker, and then opened his own workshop in the

286 RICHARD ARTSCHWAGER DESK Studio, 1957 American walnut Signed and dated “R. Artschwager 1957” 29” x 66.25” x 43” Exhibited:

"FU RNI TU RE BY CRAF TSM A N ,"

MUS EUM OF CONTEMPORA RY CR A F TS, N E W YO RK , 1 957

Illustrated:

A RMSTRONG, RICH AR D,

ARTS CHWAGER , RICH A RD, NEW YOR K : WHIT NEY MU SEU M OF A RT, 1988, P 1 5.

$7,000-10,000

287 RICHARD ARTSCHWAGER CHEST Studio, executed c. 1957 American walnut 29” x 66” x 18” $4,000-6,000

early 1950s. His simple, well-constructed furniture was not only commercially successful, but also critically acclaimed. Built in 1957, this American walnut desk – along with a swivel chair and shelves – was exhibited in “Furniture by Craftsmen” at the Museum of Contemporary Crafts, New York, just one year before his workshop and all of his materials were consumed in a fire. He continued receiving furniture commissions throughout the 50s and early 60s, but 1958 marked the moment when Artschwager left a successful furniture practice and turned definitively to art. Armstrong, Richard. Artschwager, Richard. New York: Whitney Museum of American Art, 1988. Print. Johnson, Ken. “Richard Artschwager, Painter and Sculptor, Dies at 89.” NYTimes.com. New York Times, 10 Feb 2013. Web. 30 Mar 2013. Livingstone, Marco. “Richard Artschwager.” MoMA. Museum of Modern Art, 2013. Web. 30 Mar 2013.

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

173

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

288 YAYOI KUSAMA FLOCK OF BIRDS 1981 Handpainted acrylic and mixed media collage on paper Signed and dated lower right; signed and dated verso with title inscribed in Japanese; signed with title inscribed in Japanese on frame backing verso Image/Sheet: 25.75” x 20”; Frame: 26.5” x 20.75” $30,000-50,000

VERSO OF FRAME

VERSO OF ARTWORK

175

289 JASON RHOADES 1724 BIRTH OF THE CUNT

ILLUSTRATED OPPOSITE PAGE

290 JASON RHOADES GASP AND GRUNT, FARFALLA (FROM MECCATUNA) #194

291 JASON RHOADES GALLIMAUFRY, COUNTY DOWN (FROM MECCATUNA) #214

2003 Neon lights mounted on Plexiglas with wire, string or lace, and transformer Transformer retains Meccatuna label 17.25” x 46.75”

This publication was made for the Jason Rhoades exhibition “My Madinah. in pursuit of my ermitage” at Hauser & Wirth Gallery, St. Gallen, Switzerland, 2004.

Exhibited:

Literature:

R HOA DE S, C OLOG NE : D UMO N T, 2 0 0 9, P P

R H OAD E S, C O LO GN E : D UMO N T, 2 0 0 9, P P

RHOAD ES, COLOGNE: DU MONT, 2009, P 93.

1 1 0 - 1 1 3.

110 -113 .

$3,000-5,000

$15,000-20,000

2004 Leather-bound book in clam shell box From the edition of 172 Published by Silverbridge Publications, Paris Text by Gianfranco Sanguinetti Box: 14.25” x 11.5” x 4”; Book: 13.25” x 10.5” x 3”

MEY ER-H ERMA NN, E VA , JASON

“M EC C ATUN A , ” DAV ID Z W IR N E R

“ MEC C ATUN A , ” DAV ID Z W IR N E R

G A L L E RY, N E W YOR K , S E P TE MB E R 12- O C TO -

GAL L E RY, N E W YO R K , S E P TE MB E R 12- O C TO -

B E R 2 5, 2 003

B E R 2 5 , 2 0 03

Literature:

M E YE R -H E R MAN N , E VA , JAS O N

ME Y E R -H E R MAN N , E VA , JAS O N

17 7

292 SHIRO KURAMATA FEATHER STOOL Ishimaru Company Ltd., Tokyo, designed 1990 Dyed feathers encased in acrylic, aluminum From the edition of 40 This model was conceived for Spiral, a gallery and shopping complex in Tokyo 21.25” x 13” x 16.25” Literature:

AIKAWA , M I C H I KO, SH I R O

KUR AMATA E X H IB ITIO N CATALOG U E, TO KYO : H AR A MUS E UM O F C ONTEM P OR ARY ART, 19 9 6 , P 19 6 .

$30,000-50,000

179

293 GOTTFRIED HELNWEIN THE RED GUN 2000 Oil and acrylic on canvas Signed “Helnwein” lower right Canvas: 107.875” x 119.625” $60,000-90,000

294 BENNY ANDREWS VIRGINIA 1978 Mixed media collage on canvas Signed, titled, and dated verso Canvas: 36” x 24” Literature:

B E N N Y A NDR EWS: SELECTI ONS

F R O M A L IF E IN ART, NEW YOR K : BI LL H O D GE S GAL L E RY, 19 97, NP FOR SI M I L AR E XAMP L E S.

$6,000-9,000

181

295 LOUISE BOURGEOIS CROCHET V (FROM CROCHET SERIES) 1998 Mixografia print on handmade paper #46 of 50 Published by Mixografia, Los Angeles Signed “LB” in pencil lower right; edition lower left Image: 28” x 9.75”; Sheet: 33.5” x 27.5”; Frame: 39.5” x 34” Literature:

P L ATZ K E R , DAVI D, AND

E L IZ AB E TH W YC KO F F, H AR D P R ESSED: 6 0 0 Y E AR S O F P R IN TS AND P R OC ESS, NEW YO R K : TH E IN TE R N ATI ONAL P R I NT CENTER , 2 0 0 0, # 8 4 FO R AN OT H ER EXAM P LE FR OM TH E S E R IE S.

$15,000-20,000

296 VARIOUS ARTISTS LINE DRIVE 2008 Portfolio of 12 lithographs in a handpainted portfolio cover #8 of 12 aside from the edition of 30 Co-published by Two Hands Press, Los Angeles and Hamilton Press Inc., Venice; printed by Ed Hamilton, Venice Signed by Ed Ruscha in black marker inside cover; each lithograph signed in pencil lower right; edition in Roman numerals lower left Portfolio cover designed and painted by Ed Ruscha Book: 19” x 16.25”; Each sheet (approx.): 18” x 15” Including lithographs by John Baldessari, Greg Colson, Robbie Conal, Gajin Fujita, Victor Gastelum, Joe Goode, R.B. Kitaj, Mark Licari, Paul McCarthy, Michael C. McMillen, and Raymond Pettibon. $4,000-6,000

PORTFOLIO COVER

PARTIAL LOT ILLUSTRATED

183

297 SHEPARD FAIREY HOPE 2008 Color screenprint on paper Unnumbered Artist’s proof aside from the edition of 350 Published and printed by OBEY, Los Angeles Signed and dated in pencil lower right margin; inscribed “AP” lower left margin Image: 34” x 22.25”; Sheet: 36” x 24 Literature:

E N GL IS H , R ON, AND DON

GO E D E , AB R AH AM O B AM A: A G U ER I LL A TO UR TH R O UGH ART & P OLI TI C S, CH I NA: P R O LO N G P R E SS LTD, 2009, P 6.

$4,000-6,000

298 UELI BERGER , ELEONORE PEDUZZI-RIVA & HEINZ ULRICH NON STOP SOFA Model no. DS-600 de Sede/Stendig, designed 1972 Leather upholstery 24 sections, each section: 29.5” x 10” x 39” (20’ approximate length with each unit linked together) $18,000-25,000

299 PHILIP C. JOHNSON & RICHARD KELLY FLOOR LAMP Edison Price, Inc., designed 1952, this example produced later Painted steel, aluminum 38.875” x 26” diameter at shade This design was originally conceived for Philip Johnson's Glass House, Connecticut. Provenance:

E D IS O N P R I C E, I NC, NEW

YO R K ; R AGO ARTS AUC TIO N , FEB R UARY 201 1 , N E W J E R S E Y; MO D E R N O N E , C AL IFOR NI A

Exhibited:

" TH E STR U CTU R E OF LI G H T:

R IC H AR D K E L LY AN D TH E I LLU M I NATI ON O F MO D E R N AR C H ITECTU R E, " YALE U NI VER S IT Y, N E W H AV E N , AUG U ST 23 - OCTOBER 2 , 2 0 10

Literature:

E ID E L B E R G , M ARTI N, DESI G N

193 5 -19 6 5 : W H AT MO DER N WAS, NEW YOR K : AB R AMS, 19 9 1, P 2 0 4.

$12,000-18,000

300 MILO BAUGHMAN LAZY SUSAN TABLE From the Environment 70 Collection Thayer Coggin, designed 1970 Rosewood veneer, lacquered wood, Formica 16.5” x 58” diameter $2,500-3,500

185

301 SERGIO ASTI KATMANDU VASE Toki Collection Superego Edition, designed 1980 Glazed ceramic Retains facsimile signature and manufacturer’s mark 17.5” x 14” diameter $1,800-2,500

302 GAETANO PESCE FOOT From the UP7 series B & B Italia, designed 1969 Polyurethane foam 32.5” x 63.75” x 26.5” Exhibited:

"GA ETA NO PESCE: PIEC E S F R OM

A L ARG ER PU ZZLE, " INSTITU TO I TA L I A N O DI CULT URA , LOS A NGELES, JU LY 7-AU G U ST 3 1 , 2 01 0

$2,000-3,000

303 ETTORE SOTTSASS DENEB VASE Toso Vetri d’Arte for Memphis, designed 1982, this example of early manufacture Glass Together with an original “Memphis: The True International Style” retail catalogue and two Memphis product pamphlets 9” x 4.5” diameter $800-1,200

187

304 ETTORE SOTTSASS ASHOKA LAMP Memphis, designed 1981 Chrome-plated, enameled steel 35” x 32.5” x 3” $3,000-4,000

305 THEODORE WADDELL & DANTE BANDINI LIGHT STICKS LAMP Ditta Manetti, Florence, Italy, for Knoll International, designed 1970 Chrome-plated steel, glass, and plastic Retains Knoll International label Bowl: 7.5” x 8.25” diameter Literature:

FI ELL , CH A RLOT TE & P E T E R ,

1 000 LIG H TS: 1960 TO PRESENT, C OLOG N E : TAS CHEN, 20 05, P 233.

$1,800-2,500

306 GINO VALLE WALL CLOCK Model no. CIFRA 12 Solari & Co., designed c. 1965 Enameled and cast steel, glass Manufacturer’s molded marks and model number 12.75” x 22.5” x 6.5” $2,000-3,000

307 ANGELO MANGIAROTTI VASES (5) Fratelli Brambilla, designed 1966 Glazed ceramic All but one stamped; one retains sticker “Made in Italy Fratelli Brambilla Milano Design Mangiarotti” Largest example: 11.25” x 4.75” x 4”; Smallest example: 10” x 5” x 3” $2,000-3,000

189

308 MAX FINKELSTEIN SENSOR #7A 1969 Aluminum Signed “Sensor #7A/M. Finkelstein/69” 16.5” x 6.5” x 6.75” $2,000-3,000

309 OLIVIER MOURGUE DJINN RELAXER Airbourne, designed 1965 Steel frame, jersey-stretch vert upholstery 25” x 66” x 25” $1,500-2,000

310 OLIVIER MOURGUE DJINN SOFA Airbourne, designed 1965 Steel frame, jersey-stretch upholstery 27” x 46” x 24.5” An example of this design may be seen on display at "Stanley Kubrick" at the Los Angeles County Museum of Art, November 1, 2012-June 30, 2013. $2,000-3,000

311 OLIVIER MOURGUE DJINN STOOLS (3) Airbourne, designed 1965 Steel frame, jersey-stretch rose tyrien, citron, and kaki upholstery Each: 15.5” x 26.5” x 23” $2,500-3,500

191 312 JOE COLOMBO SMALL ARMCHAIR WITH CURVED ELEMENTS (2) Model no. 4801 Kartell, designed 1964 Lacquered plywood Each: 22.5” x 24.625” x 26” Literature:

FAVATA , I G NAZI A , JOE C OLOM-

B O AN D ITAL IAN D E S IG N OF TH E SI XTI ES, MIL AN : ID E A B O O KS, 1 988, P 24 .

$5,000-7,000

313 CESARE CASATI & EMANUELE PONZIO PELOTA TABLE LAMPS (2) Lamperti, designed 1970 ABS plastic Stamped “Lamperti/Design Studio D.A./Castai e Ponzio” 12.75” x 9” x 4.5” Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 L IGH TS : 19 6 0 TO P R ESENT, COLOG NE: TAS C H E N , 2 0 05 , P 2 12.

$1,500-2,000

ILLUSTRATED OPPOSITE PAGE

314 ERWINE & ESTELLE LAVERNE LILY CHAIR

315 ERWINE & ESTELLE LAVERNE CHAMPAGNE CHAIRS (3)

Laverne Originals, designed 1967 Lucite, vinyl upholstery 36.5” x 29” x 26”

Laverne Originals, designed 1957 Lucite, aluminum, vinyl upholstery Each: 32” x 22.75” x 23”

$2,500-3,500

$2,000-3,000

193

316 AMERICAN OP ART COFFEE TABLE

317 VASA UNTITLED

Manufacturer unknown, designed c. 1968 Acrylic, neon 11” x 24” x 24”

Studio, 1985 Acrylic Signed and dated "Vasa 1985"; inscribed "#2664" 18.5” x 23” x 3”

$2,000-3,000 $1,000-1,500

318 FRIEDENSREICH HUNDERTWASSER DIE STADT-STADT 1979 13-color silkscreen with metal imprints in 3-colors on smooth paper #14 of 350 Published by Gruener Janura AG, Glarus, Switzerland; printed by Claudio Barbato, Spinea-Venice Edition information printed lower right margin with Japanese stamp; inscribed lower center in black pen “14/350 Version 1/2”; signed and dated lower center margin; printed lower center margin “801 Citta in Citta Spinea 1979 Citta Nella Citta Ville En Ville”; four blind stamps lower left margin There are 58 color variants and 3 paper variants for this edition Image: 17.5” x 25.375”; Sheet: 21.875” x 29.875”; Frame: 23.25” x 31” Literature:

KOSCH ATZKY, WA LTE R ,

FRIED EN S REI CH H U NDERTWASSE R : T HE CO MPLET E GRA PH I C WORK 1951-1 9 86, N E W YO RK: RIZ ZOLI, 1986, # 78.

$3,000-5,000

195

319 RICHARD ANUSZKIEWICZ DOUBLE SQUARES AND SPECTRAL SQUARES (2) A: 1969; B: 1970 Color screenprint on paper A: #18 of 200; B: #108 of 125 A: Published by Contemporary Collections Inc., Larchmont; printed by Masta, New York; B: Published by the artist; printed by Edition Domberger, Stuttgart A: Signed and dated with edition in pencil lower center margin; B: Signed and dated with edition in pencil lower right margin; blind stamp lower left margin A: Image: 23.75” x 23.75”; Sheet: 26.875” x 26.875”; Frame: 27.5” x 26”; B: Image: 23.75” x 23.75”; Sheet: 25.5” x 25.5”; Frame: 26.25” x 26.25” Literature:

R IC H AR D ANU SZK I EWI CZ:

P R IN TS & MULTIP L E S, 1 964 -7 9, WI LL IAMSTOW N : STE R L ING AND FR ANC I NE C L AR K IN STITUTE , 19 7 9, P 21 , 25; STEWART, AL B E RT, AN D E L AY N E H VAR I AN, R I C H AR D AN USZ K IE W IC Z : P R INTS, TALL AH ASSEE: UN IV E R S IT Y F IN E ARTS G ALLER I ES, 1 980, N P.

$1,000-1,500

320 DONALD JUDD UNTITLED (FROM SUITE OF SIXTEEN ETCHINGS) 1978 Etching on paper #71 of 75 Published by the artist; printed by Styria Studio, New York Signed and dated with edition in pencil lower right margin; Styria Studio blind stamp lower left Image: 22” x 27”; Sheet: 30” x 35”; Frame: 35.5” x 40.5” Literature:

JI T TA , MA RI ET TE JOSE-

PHUS, AN D JORG SCH ELLMA NN, DON A L D JUD D, PRINTS A ND WORKS IN EDI T I ON S: A CATALO G UE RA ISONNÉ, COLOGNE : E DI T I ON S CHELLMA NN, 1993, # 10 2.

$2,000-3,000

321 JOSEF ALBERS WHITE LINE SQUARE IX (FROM WHITE LINE SQUARES) 1966 3-color lithograph on Arches cover paper #38 of 125 Published by Gemini G.E.L., Los Angeles; printed by Kenneth Tyler and James Webb, Gemini G.E.L., Los Angeles Signed and dated lower right with Gemini G.E.L. blind stamp; edition lower left Gemini G.E.L. #2.9 Image: 15.5” x 15.5”; Sheet: 20.5” x 20.5”; Frame: 30.625” x 33.75” Literature:

DA NILOW I TZ, BRENDA , T HE

PRIN TS O F JOSEF A LBERS: A CATA LOG U E RAIS O N N É , 1915 -1976, 2ND EDI TION , M A NCHEST ER : H U DSON H ILL S PRESS, 2 01 0, #17 2/ 1.

$2,500-3,500

322 ROBERT MANGOLD FRAGMENTS (3) 1997-98 Color lithograph on cream calligraphy Twinrocker paper Each #14 of 25 Published by Brooke Alexander Editions, New York Each signed with edition; plate number inscribed lower left Each sheet: 23.75” x 17.5”; Each frame: 28” x 22” $2,000-3,000

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

323 JAMES LEE BYARS WHITE PAPER WILL BLOW THROUGH THE STREETS 1967 Offset lithograph Unknown edition size Image/Sheet: 27” diameter; Frame: 41” x 33.25” Literature:

JAME S LEE BYAR S, BÜ C H ER -

E D ITIO N E N -E P H E ME RA , B R EM EN: NEU ES MUS E UM W E S E R B UR G B R EM EN, 1 995, #4 3.

$1,500-2,000

197

324 ANDY WARHOL FLOWERS 1970 Color screenprint on paper #22 of 250 Published by Factory Additions, New York; printed by Aetna Silkscreen Products, Inc., New York Signed in ballpoint pen verso; edition stamped verso F/S #II.68 Sheet: 36” x 36”; Frame: 36.25” x 36.25” Provenance:

MA RGO LEAVI N GA L L E RY, LOS

AN G ELES, CA LI FORNI A ; PRIVAT E COLLECTI ON, LOS A NGEL E S, CAL IFO RNI A (ACQ U I RED DIRECTLY F R OM T HE ABOV E)

Literature:

FELDMA N, FRAY DA , AN D J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA I SONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # 11/ 6 8.

$15,000-20,000

325 ANDY WARHOL LIZ 1964 Offset color lithograph on white paper From the edition of approximately 300 Published by Leo Castelli Gallery, New York Signed and dated in ballpoint pen “Andy Warhol 66” lower right F/S #II.7 Image: 21.75” x 21.75; Sheet: 23” x 23”; Frame: 26.125” x 26.125” Provenance:

L EO C ASTELLI G ALLERY,

N E W YO R K ; P R IVATE C O L L EC TIO N , NEW YOR K ( ACQ UIR E D D IR EC TLY F R O M TH E ABOVE, 1 96 6)

Literature:

F E L D MAN, FR AYDA , 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 N É 1 962-1 987, 4 TH EDITIO N , N E W YO R K : DAP, 2003, #1 1 /7.

$40,000-60,000

326 ANDY WARHOL MARILYN (INVITATION) 1981 Offset color lithograph on wove paper From the edition of approximately 250 Published by Castelli Graphics, New York Signed in black felt tip marker center right Not in F/S Image/Sheet: 6.75” x 7”; Frame: 14.75” x 14.5” This was an announcement for the exhibition “Andy Warhol, A Print Retrospective 1963-1981” at Leo Castelli Gallery, New York. $9,000-12,000

199

327 ANDY WARHOL TRUCK (FROM TRUCK PORTFOLIO) 1985 Color screenprint on Lenox Museum Board #33 of 60 Published by Hermann Wunsche, Bonn; printed by Rupert Jasen Smith, New York Signed with edition lower right F/S #II.370 Sheet: 39.325” x 39.325”; Frame: 46.5” x 46.5” Literature:

FELDMA N, FRAY DA , A N D J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # II / 37.

$12,000-15,000

328 ANDY WARHOL SITTING BULL 1986 Color screenprint on Lenox Museum Board From the edition of 250 Printed by Rupert Jasen Smith, New York Retains the Estate of Andy Warhol stamp verso; inscribed “UP100.128” in pencil verso; printer blind stamp lower left F/S #IIIA.70 Image/Sheet: 36.125” x 36”; Frame: 36.325” x 36.5” Literature:

FELDMA N, FRAY DA , A N D J OR G

S CHELLMA NN, A NDY WA RH OL PR I N TS: A CATALO G UE RA ISONNÉ 1962-1987, 4 T H E DIT IO N, NEW YORK: DA P, 20 03, # II I A / 7 0.

$22,000-25,000

329 JASPER JOHNS CICADA II 1979-81 Color screenprint on Kurotani Hosho paper #43 of 50 Published by the artist and Simca Print Artists, Inc.; printed by Kenjiro Nonaka, Hiroshi Kawanishi, Takeshi Shimada Signed and dated in pencil lower right margin; edition lower left Image: 17.25” x 13.25”; Sheet: 23.75” x 18.25”; Frame: 31.5” x 26.5” Fifteen screens were used in making this work. Literature:

F IE L D, R ICH AR D, TH E P R I NTS

O F JAS P E R J O H N S 19 60 -1 993: A CATALO GUE R AIS O N N É, N E W YOR K : U L AE, 1 994 , # 2 14.

$20,000-30,000

201

330 LARRY RIVERS WHITE CAMEL 1980 Acrylic on canvas Signed and dated lower right; inscribed “White Camel 1980” verso; retains Marlborough Gallery and Elaine Horwitch Gallery labels verso Canvas: 60” x 42.5” Provenance:

EL A I NE H ORW I TCH G A L L E RY,

SANTA FE, NEW MEXI CO; PRIVAT E COLLECTION, W YOMING ( ACQUIRED DI RECTLY FROM TH E A B OVE )

Literature:

L A RRY RI VERS, PA I N T I N G S

AN D D RAWI NGS: 1951-20 0 1, NEW YOR K : MARL BO ROU GH GA LLERY, 20 05, #50 - 52 FO R S IMIL A R EXA MPLES.

$40,000-60,000

331 LARRY RIVERS CULTURE BOX (4 WORKS PLUS BOX) 1992 Color screenprint on folded sheet metal with original wooden box #3 of 25 Each signed, dated and numbered Box: 23” x 24” x 6” Provenance:

C O L L EC TI ON OF G LC ART

C O L LC , F LO R IDA; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA

$4,000-6,000

203

PARTIAL LOT ILLUSTRATED

332 CRASH (JOHN MATOS) UNTITLED 1997 Acrylic on canvas with custom frame Signed, dated, and inscribed verso “J.Crash/Matos/Untitled/11/97” Canvas: 12.25” x 39.75”; Frame: 12.325” x 40.5” $2,000-3,000

333 CRASH (JOHN MATOS) THE IRONMAN 1995 Acrylic on canvas with custom frame Signed, titled, and dated verso “The Ironman/Feb 1995/J. Crash/Matos” Canvas: 14” x 11”; Frame: 15” x 12” $1,500-2,000

334 CRASH (JOHN MATOS) UNTITLED (2) 1995 and 1996 Acrylic on canvas with custom frame Signed and dated verso “2/96/ Untitled/J.Crash/Matos”; other signed and dated verso “12/95/Untitled/J.Crash Matos” Canvas: 12.25” x 9”; Frame: 16.75” x 13.75”; Canvas: 14” x 11”; Frame: 17.5” x 14.75” $2,000-3,000

335 CRASH (JOHN MATOS) UNTITLED (3) 1996 and 1999 Acrylic on canvas with custom frame Each signed and dated verso Each canvas: 10” x 8”; Each frame: 13.5” x 11.75” $2,000-3,000

205

336 HELEN QUIGLEY SHE-GAME c. 1970 Oil on canvas Signed, titled, and inscribed verso “Helen Quigley/1285 Grizzly Peak/ Berkeley/She-Game” Canvas: 53” x 42”; Frame: 53.75” x 42.75” Provenance:

PRI VATE COLLECTI ON ,

SAN FRANCI SCO, CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

$2,000-3,000

337 BART PERRY UNTITLED 1969 Oil on canvas Signed and dated in pencil verso Canvas: 30” x 24”; Frame: 30.75” x 24.75” Provenance:

PRI VATE COLLECTI ON ,

SAN FRANCI SCO, CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

$500-1,000

338 GEORGE NORTH MORRIS CRACKED EGG CRIMSON, BLUE, ORANGE c. 1977 Acrylic on canvas Signed “GN Morris” lower right; signed and titled verso Canvas: 49.25” x 25.25”; Frame: 50.75” x 26.5” Provenance:

PRI VATE COLLECTI ON ,

SAN FRANCI SCO, CA LIFORNI A ; PRIVAT E COLLECTION, LOS A NGE L E S, CAL IFO RNIA (ACQ U I RED DIRECTLY F R OM T HE ABOVE)

$1,000-1,500

339 GEORGE SEGAL GIRL ON A CHAIR 1970 Wood, enamel, and plaster assemblage #18 of 150 Published by Editions Alecto, Ltd., London Signed and dated with edition on metal plaque verso 36” x 24” x 12.5” $3,000-5,000

207

340 LISA LOMBARDI UNTITLED (FLOWERS) 1981 2-part acrylic painted wood sculpture Signed and dated in paint near base 35” x 9.5” x 8” $1,500-2,000

341 ROBERT MOTHERWELL BLACK MOUNTAIN STATE II (RED) 1982-3 Etching and aquatint on Hawthorne of Larroque handmade paper #21 of 32 Published by Tyler Graphics Ltd., Mount Kisco Signed in pencil with artist’s blind stamp lower right margin; edition lower right Image: 17.75” x 23.5”; Sheet (vis.): 20.625” x 26.5”; Frame: 28.5” x 34.5” Literature:

BELKNA P, DOROTH Y, A N D

ST EPHAN IE TERENZIO, TH E PRINTS OF RO BERT MOTH ERWELL : A CATA LO G U E RAIS O N N É , 1943 -1990, NEW YORK : HU DSON HILL S PRESS, 1991, # 267.

$4,000-6,000

342 ROBERT MOTHERWELL SOOT-BLACK STONE #3 & 5 (2) 1973; published 1975 Lithograph on Georges Duchene Hawthorne of Larroque handmade paper #7 of 52 and #17 of 53 Published by Gemini G.E.L., Los Angeles; printed by Serge Lozingot, Gemini G.E.L., Los Angeles Signed in pencil lower right margin; initialed and dated in the plate in reverse upper right corner; Gemini G.E.L. and artist blind stamps lower right margin Each Image: 30” x 18”; Sheet (vis.): 36” x 23.5”; Frame: 43.75” x 31.75” Literature:

BELKNA P, DOROTH Y, A N D

ST EPHAN IE TERENZIO, TH E PRINTS OF RO BERT MOTH ERWELL : A CATA LO G U E RAIS O N N É , 1943 -1990, NEW YORK : HU DSON HILL S PRESS, 1991, # 164, # 166.

$3,000-5,000

343 JENS RISOM HIGHBACK CHAIRS (2) Jens Risom Design, Inc., designed c. 1960 Red leather, teak Each: 39” x 28” x 24” $5,000-7,000

209

344 FLORENCE KNOLL SOFA Model no. 575 Knoll Associates, designed c. 1955, executed before 1967 Enameled steel, glass, walnut, wool upholstery Retains “Knoll Associates” label 30.75” x 29” x 121” Literature:

L A RRA BEE, ERIC, A N D M AS -

S IMO V IG NELLI , KNOLL DESI GN, N E W YO RK: ABR A MS, 1990, P 85.

$3,000-5,000

345 HENDRIK VAN KEPPEL & TAYLOR GREEN NESTING TABLES (2) VKG, designed c. 1945 Limed oak, cork Each stamped “R.H.L.” 21” x 28” x 16.5”; 18.5” x 28” x 14” Provenance:

TH E KI NGSLEY RE SI DE N C E ,

PACIFIC PA LISA DES, CA LI FORNI A ; T HENCE BY DESCENT

$800-1,200

346 JENS RISOM STACKING TABLES (3) Model no. T710 Jens Risom Design, Inc., designed c. 1950 Enameled steel, laminate Each: 21” x 14” diameter Literature:

P IN A , L E SLI E, FI FTI ES FU R NI-

TUR E, N E W YO R K : S CH I FFER , 1 996 , P 1 33.

$3,000-5,000

211

347 FLORENCE KNOLL DINING TABLE Knoll Associates, designed 1953 Enameled steel, laminate, maple With extension leaf 28.5” x 68” (90” extended) x 35.75” $3,000-5,000

348 EERO SAARINEN TULIP ARMCHAIRS (4) Model no. 164TR Knoll Studio, designed 1955-56 Enameled aluminum, plastic, upholstery Each: 32.25” x 26” x 23” Literature:

FI ELL , CH A RLOT TE & P E T E R ,

1000 CHAI RS, COLOGNE: TASCH EN , 1 9 9 7, P 3 19.

$2,000-3,000

349 HARRY BERTOIA BARSTOOLS (2) Knoll International, designed 1952, these examples executed 1971 Chrome-plated steel, fiberglass Each retains Knoll International labels and date stamp for 1971 Each: 42” x 20.5” x 18.5” $1,500-2,000

350 EERO SAARINEN SIDE TABLES (2) Knoll Associates, designed 1956-7, these examples executed before 1967 Enameled aluminum, laminate Each retains Knoll Associates, Inc. labels Each: 20.5” x 16” diameter Provenance:

TH E K I NG SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$800-1,200

213

351 THEODORE HANCOCK UNTITLED 1939 Watercolor on paper Bears the inscription in pencil “Theo Hancock ’39/Exhibited at San Francisco Museum of Art 1939” in pencil verso Sheet: 15.25” x 22.5”; Frame: 21.375” x 28.5” The National Aeronautics and Space Administration (NASA) commissioned the artist to document their space program in 1964. Hancock’s studies of NASA’s space initiatives are now in the Smithsonian’s collection. $3,000-4,000

352 GLEN LUKENS BOWL Studio, designed c. 1940 Partial crackle glazed ceramic Signed 1.5” x 7.75” diameter $3,000-5,000

215

353 MARGUERITE WILDENHAIN VASES (4) Pond Farm Studio, executed c. 1960 Glazed stoneware Each example incised “Pond Farm” Largest example: 9.15” x 6”; Smallest example: 4.25” x 4” $5,000-7,000

354 GERTRUD & OTTO NATZLER BOWL

355 GERTRUD & OTTO NATZLER BOWL

Studio, executed c. 1962 Copper matte glaze Signed “Natzler” and retains label “Hatfield” and “#4/RH” 3” x 9.5” diameter (7.6 cm x 24 cm)

Studio, executed c. 1945 Glazed ceramic Signed “Natzler” 3.75” x 5.625” x 5.625” (9.25 cm x 17 cm x 17 cm)

$4,000-6,000

$2,500-3,500

356 GERTRUD & OTTO NATZLER SHALLOW BOWL

357 GERTRUD & OTTO NATZLER BOWL

Studio, executed c. 1962 Matte green glazed ceramic Signed “Natzler” 2.5” x 10.25” diameter (6.5 cm x 26 cm)

Studio, executed c. 1958 Black glazed ceramic Signed “Natzler” 4.25” x 5.5” diameter (11 cm x 14 cm)

$3,000-5,000

$800-1,200

358 ISAMU NOGUCHI RADIO NURSE Zenith Radio Corporation, 1937 Bakelite Molded manufacturer’s marks 8” x 6.5” x 5.5” Literature:

VO N V EGESAC K , ALEXANDER ,

ISAMU N O GUC H I, S C U LP TU R AL DESI G N, E X H IB ITIO N C ATALO G U E, WEI L AM R H EI N: V ITR A D E S IGN MUS E U M , 2001 , P 1 1 0.

$5,000-7,000

217

359 MAX FINKELSTEIN TWO FORMS 1962 Welded brass Etched signature and date 18.375” x 14” x 3” Provenance:

C O L L ECTI ON OF TH E ARTI ST

$2,500-3,000

360 DALE CHIHULY VERIDIAN SOFT CYLINDER Studio, 1987 Blown glass Signed and dated “Chihuly 1987” 11.5” x 11” diameter $8,000-10,000

361 DALE CHIHULY UNTITLED Studio, 1983 Blown glass Signed and dated “Chihuly 1983” 6.25” x 11” diameter $3,000-5,000

362 DONALD COLFLESH CIRCA 70 COFFEE SERVICE (3) Gorham Manufacturing Company, designed 1958, executed c. 1963 Sterling silver, ebony Each stamped “Gorham Sterling 4163” Sugar bowl and cover: 4.5” x 6.75” diameter; Creamer: 6.625” x 3.5” diameter; Coffee pot: 11.75” x 7” diameter Literature:

STE R N , J EWEL , M ODER NI SM

IN AME R IC AN S ILV E R , EX H I B I TI ON CATALO GUE , DAL L AS : DAL L AS M U SEU M OF ART, 2 0 05 , P P 2 6 0 -2 6 1.

$5,000-8,000

219

363 MARCEL JANCO BOATS IN HARBOR c. 1953-60 Wool and cotton tapestry #3 of 8 Itche Mambush Workshop, Israel Woven signature lower left; retains label “An original work of art/by Marcel Janco/Executed at Itche Mambush Workshop/Ein Hod Artists Village, Israel/ Marcel Janco/Boats in Harbor” verso 48.5” x 61.5” This work was created by the artist during his stay at Ein Hod, a small village in Israel. In 1953, Marcel Janco along with other artists turned the small village into an artists' colony by establishing studios and workshops. $3,000-5,000

DETAIL OF LABEL

364 GRETA VON NESSEN TABLE LAMP Nessen Studio, designed c. 1950 Brushed steel, enameled aluminum 20.5” x 30” x 8.25” Provenance:

TH E K ING SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$1,500-2,000

221

365 POUL NØRREKLIT DESK Georg Petersens Møbelfabrik, designed c. 1970 Rosewood, Lucite, chrome-plated brass 27.5” x 67” x 31.5” $2,500-3,500

366 RUSSEL WRIGHT RARE FIRE DEER ANDIRONS (2) Russel Wright Studio, executed c. 1930 Wrought iron From Russel Wright’s popular Circus Series 15.5” x 21.5” x 6” $3,000-5,000

367 RUSSEL WRIGHT AMERICAN MODERN DINNER SERVICE (115 TOTAL PIECES) Steubenville, designed 1937 Coral glazed ceramic Comprised of 2 sugar bowls with 2 covers, 17 salad plates, 6 bowls with handle, 11 larger bowls with handles, 8 salt and pepper shakers, 14 dessert plates, 13 saucers, 8 cups, 3 sauce boats with 4 saucers, 1 large serving platter, 2 water pitchers, 21 dinner plates, 2 oval serving platters, 2-part serving platter, 2 finger bowls Various dimensions Literature:

H E N N E S E Y, WI LLI AM , R U SSEL

W R IGH T: AME R IC AN D ESI G NER , C AMB R ID GE : MIT P R E SS, 1 983, P 37.

$1,000-1,500

223

MORRIS GRAVES A member of the Northwest School that included the painters Guy Anderson, Kenneth Callahan, and Mark Tobey, Morris Graves (1910-2001) was an eccentric painter who channeled the lingering, dusky light of the Pacific Northwest. In his teenage years, Graves found a job on an American Mail Line ship headed to Asia, which included stops in China, Manila, and Japan. This marked the beginning of a lifelong fascination with the religion, aesthetics, and even art-making materials from the East. Upon his return, he began his painting career and quickly achieved success by winning the Seattle Museum of Art’s Northwest Annual Exhibition in 1933. The winning painting, Moor Swan, “a symbolic self-portrait, depicting the regal, aloof black swan smoldering in a dusky field,” was purchased for the museum’s permanent collection. Throughout his career, the subject matter of his immediate surroundings – the Northwest landscape, Pacific Ocean, and animals, particularly birds – remained as constant as his life of solitude. In Seattle in 1940, Graves met architect and furniture designer George Nakashima. They spoke of their shared belief that “form should grow from the natural properties of materials.” This friendship likely inspired Graves to build a house on twenty acres of land he bought for $40 on Fidalgo Island just north of Seattle. Secluded and submissive to the Northwest climate, Graves took midnight strolls around the island and painted until sunrise. Oriental Vessel with Candle (c. 1940) portrays this solitude with a single glowing candle amongst greens and blues steeped in warmth, representative of Graves’ lifelong adherence to self-determination. In 1942, Graves was included in the exhibition “18 Americans from 9

States” at the Museum of Modern Art in New York, where all 19 of his paintings sold, two of which remain in the permanent collection. The success of the MoMA show encouraged Graves to apply for a Guggenheim Fellowship, which he received in 1946. With the original intention to study in Japan, he ended up in Hawaii, inspired by the Oriental objects he found at the Honolulu Academy of Art to create the Chinese Ritual Bronze paintings. In Conflict Battling Crane Heads with Chinese Ceremonial Bronze (1947), Graves depicts birds at each other’s necks imagined as a ceremonial vessel, representative of the artist’s inner conflict and inability to finish his voyage to Japan. After many fruitful years of painting, with highlights including the Life magazine article “Mystic Painters of the Northwest” that celebrated Graves as the most important painter of the bunch, as well as a long-awaited return to Japan, Graves moved to the Dublin countryside in 1958. He dedicated his time to restoring his Irish manor and painting, yet he destroyed much of his work from this period when he left in 1964. In Glass with Flower from 1961, a solitary flower sitting in a chalice bathes in the same intermediate light reminiscent of the Washington sunset. Through all of his work, Graves is both inextricably connected with his surroundings and deeply concerned with the nature of human and spiritual consciousness. In this way, according to Los Angeles painter and writer Frederick S. Wight, “He speaks to the imagination. He is needed to connect two worlds, that of his painting and that of the daily existence to which his painting relates.” Wight, Frederick S. “Morris Graves.” Morris Graves: Retrospective. Fine Arts Patrons of Newport Harbor. Balboa: University of California Press, 1963. Print. Ament, Deloris Tarzan. “Graves, Morris (1910-2001).” HistoryLink. The State of Washington, n.d. Web. 29 Mar 2013.

225

368 MORRIS GRAVES ORIENTAL VESSEL WITH CANDLE c. 1940 Tempera on paper Signed lower right; retains Gordon Woodside/John Braseth Gallery label verso LAMA would like to thank Woodside/ Braseth Gallery for their assistance in cataloging this work Image (vis.): 41.25” x 23.75”; Frame: 53.75” x 34.5” Provenance:

P R IVAT E C OLLECTI ON,

E UR E KA , C AL IFO R N IA ( ACQ U I R ED DI R EC TLY F R O M TH E ARTIST ) ; WO O D S ID E / B R AS E TH G ALLERY, SEAT TLE, WAS H IN GTO N ; P R IVATE C O L L EC TIO N, SEAT TLE, WAS H IN GTO N

$40,000-60,000

369 MORRIS GRAVES CONFLICT BATTLING CRANE HEADS WITH CHINESE CEREMONIAL BRONZE 1947 Tempera on paper Signed lower right; signed and dated verso “Graves 47”; retains Gordon Woodside/John Braseth Gallery label verso Image/Sheet: 23.75” x 18”; Frame: 35” x 28” Provenance:

PRIVATE COLLECTI ON ,

EUREKA , CA LIFORNI A (ACQ U I RED DI R EC T LY FRO M T HE A RTI ST ); WO O D S ID E/BRASETH GA LLERY, SE AT T L E , WAS HING TON; PRIVAT E COLLECTION, SEAT TLE, WAS HING TON

Literature:

MORRI S GRAVES, NE W YOR K :

WILL ARD GA LLERY, 194 7, NP FOR SI M I L A R EXAM PL E.

$30,000-50,000

370 MORRIS GRAVES GLASS WITH FLOWER 1961 Tempera on paper Signed and dated “Graves 61” lower right; retains Gordon Woodside/John Braseth Gallery label verso Image (vis.): 24.25” x 18”; Frame: 36” x 29.75” Provenance:

P R IVAT E C OLLECTI ON,

E UR E KA , C AL IFO R N IA ( ACQ U I R ED DI R EC TLY F R O M TH E ARTIST ) ; WO O D S ID E / B R AS E TH G ALLERY, SEAT TLE, WAS H IN GTO N ; P R IVATE C O L L EC TIO N, SEAT TLE, WAS H IN GTO N

$15,000-20,000

227

DIMITRI HADZI Internationally recognized American sculptor Dimitri Hadzi (1921-2006) created modern bronze sculptures that evoke classical subjects through a careful interplay of abstract forms and open space. Raised in Brooklyn, New York, Hadzi studied art at Cooper Union and earned a Fulbright Scholarship to study in Greece upon graduating in 1950. He was immediately impressed with the ancient sculpture he could only encounter in museums as a child, “I was stunned. Very great invention was involved, and what was powerful to me was their interaction with the architecture of the Parthenon.” Preferring to learn from the masters of classical antiquity to “do something as new as possible,” Hadzi moved to Rome and didn’t return to the United States until the mid-1970s. As the American representative to the Venice Biennales of 1956, 1958, and 1962, he was at the forefront of European Modernism. Museums such as the Guggenheim, the Museum of Modern Art, New York, and the Hirshhorn Museum and Sculpture Garden purchased his work for their permanent collections. Thera II (1967-68) stands “like a ceremonial object placed on a tripod,” achieving a balance of vertical columns and bulbous masses. The sculpture is reminiscent of some of his major commissions such as K. 458 The Hunt (1966) in Avery Hall at the Lincoln Center for the Performing Arts in New York and Thermopylae (1969) on the plaza of the Walter Gropius designed John F. Kennedy Office Building Fox, Margalit. “Dimitri Hadzi, 85, Sculptor and Art Professor, Is Dead.” NYTimes. com. New York Times, 1 May 2006. Web. 30 Mar 2013. Selz, Peter, Joseph Masheck, and Debra Bricker Balken. Dimitri Hadzi. New York: Hudson Hills Press, 1996. Print.

371 DIMITRI HADZI THERA II 1967-68 Cast bronze #1 of 6 Incised signature with edition in Roman numerals near base 51.5” x 17” x 15” Provenance:

F E L IX L AN DAU GAL L E RY, LO S AN GE L E S, C ALI FOR NI A;

P R IVATE C O L L EC TIO N , C AL IFO R N IA ( AC Q UIR E D D IR EC TLY F R O M TH E AB OV E , 19 6 9)

Illustrated:

D E ME TR E S, C H AR L E S, D IMITR I H ADZ I: R EC E NT SCU LP -

TUR E, LO S AN GE L E S : F E L IX L AN DAU GAL L E RY, 19 6 9, # 2 3 .

Literature:

D IMITR I H ADZ I, S UMME R ARTIST-IN -R E S ID E NC E, H A-

N OV E R : JAF F E-F R IE D E GAL L E RY, 19 6 9, N P.

$40,000-60,000

DETAIL OF SIGNATURE

229

372 PAUL EVANS SCULPTURE Studio, executed 1965 Welded and torch cut steel Signed and dated “Paul Evans 65 D” 41” (78” with base) x 22.75” x 2.25” $20,000-30,000

231 373 PAUL EVANS HANGING LIGHT Studio, executed 1969 Welded and torch cut steel Signed “Paul Evans 69” 35” x 30” x 30” $3,000-5,000

374 PAUL EVANS CITYSCAPE CUBE TABLES (2) Paul Evans Studio for Directional, executed c. 1975 Burled maple Each retains “An Original Paul Evans” medallion Each: 18.125” x 12” x 12” $2,500-3,500

375 PAUL EVANS CITYSCAPE WALL CONSOLE Paul Evans Studio for Directional, executed c. 1975 Burled maple, glass 60” x 12” x 12” $1,500-2,000

LOT 335

376 ADRIAN PEARSALL DINING TABLE AND CHAIRS (7) Craft Associates Inc., designed 1972 Bronzed resin, glass, upholstery Comprised of dining table, 2 armchairs, and 4 side chairs Table: 29.5” x 72” x 42”; Armchairs each: 47” x 27” x 27”; Side chairs each: 47” x 19” x 24” $4,000-6,000

233

377 GEORGE NAKASHIMA COFFEE TABLE Studio, executed c. 1950s American black walnut, rosewood Together with copy of a letter from Mira Nakashima, dated July 2, 2012 11” x 74” x 31” In the letter, Mira Nakashima states, “Dick Rahill was a friend of Dad’s. Dad also made a beautiful rosewood altar for a church Rahill designed.....yours is a very special piece.” Provenance:

DI CK RA H ILL (A RCHI T EC T ),

BRYN G WELED H OMESTEA D, BU CKS CO UN T Y, PENNSY LVA NI A ; PRIVAT E COLLECTION, IOWA

$30,000-50,000

DETAIL OF TOP

378 GEORGE NAKASHIMA TABLE LAMP II Studio, designed 1961 American black walnut, maple, parchment 19.25” x 9.5” diameter Literature:

OSTERGA RD, DEREK , G EOR G E

NAKAS HIMA , FU LL CI RCLE, NEW YOR K : AM ERICAN CRA FT MU SEU M, 1989, P 1 7 2 .

$3,500-4,500

379 GEORGE NAKASHIMA FREE-EDGE ARMCHAIR Studio, executed c. 1950s Walnut Inscribed “Skriloff” under seat 32.25” x 30” x 18.75” $6,000-8,000

380 GEORGE NAKASHIMA COFFEE TABLE Studio, custom executed 1963 English walnut, rosewood 12.75” x 79” x 28.5” Sold with copy of receipt from the Nakashima studio dated 9/13/63, letter from Mira Nakashima dated November 2010, and vintage photograph Provenance:

D R AL FR ED M K EI R LE, OH I O;

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

$18,000-25,000

237

DETAIL OF TOP

381 MIRA NAKASHIMA DINING TABLE Studio, executed 2004 American black walnut and rosewood butterfly joints Signed and dated “Mira Nakashima 3.10.04” 29” x 94.5” x 58.25” $9,000-12,000

382 GEORGE NAKASHIMA CHESTS (2)

383 GEORGE NAKASHIMA PLATFORM BED

Widdicomb Furniture Company, designed c. 1955 Walnut, brass Each retain “Widdicomb, Grand Rapids” fabric label; one branded “George Nakashima” Each: 32” x 45” x 22”

Studio, executed c. 1950s Walnut, maple 10.125” x 74.5” x 48” $5,000-7,000

$8,000-12,000

239

384 GEORGE NAKASHIMA CUSHION LOUNGE CHAIR WITH ARMS (2) Studio, designed c. 1958 Walnut Marked “11-A” in pencil and other marked “a2” in pen Each: 30.125” x 29.25” x 31” $10,000-15,000

385 GEORGE NAKASHIMA TWO-TIER TABLE Studio, designed c. 1960 Walnut, burled walnut 26.5” x 36” x 35.25” $6,000-8,000

386 MIRA NAKASHIMA SIDE TABLE Studio, executed 1993 Walnut Signed “Mira Nakashima/April.1993” in black marker 21.25” x 26.5” x 20.5” $800-1,200

387 GEORGE NAKASHIMA PICTURE FRAME I WITH MIRROR Studio, executed 1966 Walnut, mirror Sheet: 20.625” x 27”; Frame: 30” x 40” Literature:

O STE R GA R D, DER EK , G EOR G E

N AKAS H IMA: F UL L C IR C LE, NEW YOR K : AME R IC AN C R AF T MU SEU M , 1 989, P 1 74 .

$3,000-4,000

388 GEORGE NAKASHIMA MIRA CHAIR (2) Studio, designed 1951-52 Walnut Each: 30.325” x 17.25” x 16.625” Literature:

N AKAS H I M A , M I R A , NATU R E,

FO R M & S P IR IT: TH E LI FE AND LEG AC Y OF GEO R GE N AKAS H IMA , NEW YOR K : AB R AM S, 2 0 03 , P 9 4.

$4,000-6,000

241

389 ROBERT RAUSCHENBERG PUBLICON--STATION I (FROM PUBLICONS) 1978 Sculpture composed of wood coated with nitrocellulose lacquer, collaged silk and cotton fabrics, gold-leafed paddle, and baked epoxy enamel over polished aluminum with light bulbs and Plexiglas #22 of 30 Published by Gemini G.E.L., Los Angeles signed and dated with edition on Gemini G.E.L. plaque verso Gemini G.E.L #41.116 59” x 30” x 12” (closed); 59” x 58” 12” (open) Literature:

KOTZ, MA RY LY NN, R AU SC HE N-

BERG : ART A ND LI FE, NEW YORK: A B R A M S, 1 9 9 0, P 2 18; FINE, RU TH , GEMINI G E L : A RT AN D CO LL A BORATION, WASH INGTON , DC : NAT IO NAL GA LLERY OF A RT, 1984, P 1 8, #43 .

$9,000-15,000

390 ROBERT RAUSCHENBERG MORE DISTANT VISIBLE PART OF THE SEA (FROM SUITE OF NINE PRINTS) 1979 Offset color lithograph on wove paper #92 of 100 Published by Multiples Inc., New York; printed by Styria Studio, New York Signed and dated with edition in pencil lower left; Styria Studio blind stamp lower right Sheet: 30.25” x 22.75”; Frame: 36” x 28.625” $2,000-3,000

391 ROBERT RAUSCHENBERG ONE MORE AND WE WILL BE MORE THAN HALFWAY THERE (FROM SUITE OF NINE PRINTS) 1979 Offset color lithograph on wove paper #99 of 100 Published by Multiples Inc., New York; printed by Styria Studio, New York Signed and dated with edition in pencil lower center; Styria Studio blind stamp lower right Sheet: 30.25” x 22.75”; Frame: 36.25” x 28.25” $2,000-3,000

243

ILLUSTRATED OPPOSITE PAGE

392 ROBERT RAUSCHENBERG PRIME PUMP, FROM ROCI USA (WAX FIRE WORKS SERIES)

393 ROBERT RAUSCHENBERG MARMONT FLAIR (FROM ILLEGAL TENDER L.A. SERIES)

1993 Color screenprint on paper and lexan in colors #6 of 17 Published by Saff Tech Arts, Oxford Signed and dated with edition lower left in marker; retains Robert Rauschenberg stamp on frame backing verso Image: 57” x 38.5”; Sheet: 59.75” x 40.5”; Frame: 63.5” x 44.25”

1991 4-color lithograph on HMP Koller handmade off-white paper Special proof #8 of 9 aside from the edition of 59 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil with edition lower right; retains Gemini G.E.L. blind stamp lower right Gemini G.E.L. #41.198 Sheet: 31” x 41”

$40,000-60,000

$2,500-3,500

245

ILLUSTRATED OPPOSITE PAGE

394 ROBERT RAUSCHENBERG SLING-SHOTS LIT #2 1985 10-color lithograph, screenprint and assemblage with sailcloth, Mylar, wooden lightbox, fluorescent light fixture, aluminum, Plexiglas bars and moveable window shade system #15 of 25 Published by Gemini G.E.L., Los Angeles Retains Gemini G.E.L. plaque with facsimile of signature with date and edition on lower right side of lightbox Gemini G.E.L. #41.156 84.5” x 50.25” x 12.5”

395 ROBERT RAUSCHENBERG SAMARKAND STITCHES #V (FROM SAMARKAND STITCHES SERIES)

TE R H O P P S, R O B E RT R AUS C H E N B E R G: A

1988 Unique fabric assemblage with screenprinting From the edition of 73 Published by Gemini G.E.L., Los Angeles Signature and date stitched lower left Gemini G.E.L. #41.186 Fabric: 65” x 46”; Frame: 62” x 62”

R E TR O S P EC TIV E, N E W YO R K : GUGGE N H E IM

Literature:

P UB L IC ATIO N S, S E R IE S ME N TIO N E D P P

B E R G: ART AN D L IF E, NEW YOR K : AB R AM S,

3 8 2 , 3 8 9.

19 9 0, P 3 9.

$30,000-50,000

$15,000-20,000

Literature:

DAV ID S O N , S USAN , AN D WAL-

KOTZ , MARY LYNN, R AU SC H EN-

24 7

ALTERNATE VIEW

396 DAVID GILHOOLY ORGAN TRANSPLANT 1982 Painted and glazed ceramic Signed, dated, and titled inside bowl “Fish & Ships Pot/Organ Transplant/David Gilhooly 7-82” 20.5” x 10.75” diameter $5,000-7,000

397 DAVID GILHOOLY JACKSON POLLOCK BEANS 1988 Painted and glazed ceramic Signed “Gilhooly 1988/Jackson Pollock Beans” 4.25” x 7.75” diameter $2,000-3,000

398 DAVID GILHOOLY CORNED BEEF ON RYE 1983 Painted and glazed ceramic Signed and dated 3.5” x 5.5” x 5” $2,000-3,000

399 DAVID GILHOOLY COOKIE AND POTATO (2) 1975 Painted and glazed ceramic Cookie signed “Gilhooly 75”; Potato signed “Gilhooly” Cookie: 4” diameter; Potato: 2.5” x 4.25” $1,000-1,500

249

400 LEONORA CARRINGTON BIRD WITH FISH 1979 Wool tapestry Woven signature, date and manufacturer’s mark lower right 74” x 51” $10,000-15,000

403 RUFINO TAMAYO LA NEGRESSE

401 PEDRO FRIEDEBERG MINIATURE CHAIRS (4) Studio, designed c. 1975 Hand-painted and carved wood, paper applique Each signed “Pedro Friedeberg” Largest example: 7.25” x 4.5” x 4.5”; Smallest example: 4.75” x 2.75” x 4.75” $3,000-5,000

402 JESUS LEUUS UNTITLED 1965 Mixed media on canvas Signed and inscribed “Jesus Leuus Mexico, Nob/65” lower right Canvas (vis.): 35” x 23.25”; Frame: 36” x 24.5” $1,500-2,000

1969 Lithograph on Rives #6 of 150 Published by Touchstone Publishers, New York; printed by Atelier Desjobert, Paris Signed with edition lower right Image: 27.25” x 21”; Sheet: 30” x 22.25”; Frame: 35” x 27.5” Literature:

P E R E DA , JUAN C AR LOS,

R UF IN O TAMAYO : C ATALOG U E R AI SONNÉ: GR AF IC A 19 2 5 -19 9 1, MEX I CO: DF FU NDAC IO N O LGA Y R UF IN O TAM AYO, 2004 , #1 09.

$2,500-3,500

251

404 ELISABETH FRINK BIRD (MAQUETTE) 1956 Plaster 16.25” x 5.5” x 7” Illustrated:

ELISA BETH FRINK SC U L P -

T URE: CATA LOGU E RA I SONNÉ, W I LTSHI R E : HARPVALE LIMI TED, 1984, P 143, #30.

$3,000-5,000

405 ELISABETH FRINK RECLINING FIGURE (MAQUETTE) c. 1956 Plaster 15” x 27” x 15” $3,000-5,000

PHOTOGRAPH OF THE ARTIST WITH PAINTING

406 STANLEY WILLIAM HAYTER FISH 1966 Oil on canvas Signed, dated, titled, and inscribed verso “Fish/66/MH/June 4/June 5” Together with invoice from Esther Robles Gallery, dated 1967 and color photograph of the artist with the painting in June 1967 and another of the artist alone 21.25” x 25.5” Provenance:

E STH E R R OB LES G ALLERY,

LO S AN GE L E S, C AL IFO R NI A; P R IVATE C O L L EC TIO N, LOS ANG ELES, C AL IFO R N IA ( AC Q UIR ED DI R ECTLY FR OM TH E AB OV E , 19 6 7 ) ; TH E N C E BY D E S C E N T

$3,000-5,000

407 LUCIE RIE & HANS COPER JUG Studio, designed c. 1960 Glazed stoneware Signed 4.325” x 5.325” diameter (7.25” with handle) $3,000-5,000

253

408 ARNE JACOBSEN OCCASIONAL TABLE Model no. 3512 Fritz Hansen, designed 1958 Teak, aluminum 18.625” x 42.25” diameter Literature:

FRI TZ H A NSEN FU RN I T U R E

CATALO G UE, 1963, P 96.

$1,500-2,000

409 HANS J. WEGNER SHELL LOUNGE CHAIR Fritz Hansen, designed 1948 Beech, laminated teak Retains ghost of a label; retains stamped manufacturer’s mark 27.5” x 28.5” x 21” Literature:

O DA , N O R ITS UGU, H AN S J

W EGN E R ’S 10 0 C H AIR S, JAPAN : C O R O N A B O O KS, 2 0 0 2 , P 3 3 .

$3,000-5,000

410 HANS J. WEGNER SHELL SOFA Fritz Hansen, designed 1948 Beech, laminated teak Retains branded manufacturer’s mark 27.5” x 48” x 21” Literature:

ODA , NORI TSU GU, H A N S J

WEG N ER’S 10 0 CH A IRS, JA PA N: C OR ON A BO O KS, 2 00 2, P 33.

$4,000-6,000

411 ARNE BANG VASE Studio, executed c. 1948 Intaglio carved glazed ceramic Incised mark “AB Danmark” 12.25” x 8.5” diameter Provenance:

TH E K I NG SLEY R ESI DENC E,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

$800-1,200

412 HANS J. WEGNER PEACOCK CHAIR Model no. 550 Johannes Hansen, designed 1947 Ash and teak Branded “Johannes Hansen/ Copenhagan Denmark” 42” x 27” x 24” Wegner designed this chair after the English Windsor chair, but fellow designer Finn Juhl famously renamed it the "Peacock" chair. Literature:

O DA , N O R I TSU G U, H ANS J

W EGN E R ’S 10 0 C H AIR S, JAPAN: COR ONA B O O KS, 2 0 0 2 , P 10 6 .

$4,000-6,000

413 ILLUM WIKKELSØ SOFA Soren Willadsen, designed c. 1960 Teak, upholstery 30” x 104” x 28.75” $3,000-5,000

255

414 KAY BOJESEN ANIMAL/TOYS (4) Kay Bojesen, designed c. 1951 Teak, oak, birch Each branded “Kay Bojesen Denmark Copyright” Comprised of monkey, bear, rabbit, and an elephant Monkey: 7.25” x 7.5”; Bear: 5” x 2.75”; Rabbit: 7.75” x 2.5”; Elephant: 5” x 9.25” $1,800-2,500

415 FINN JUHL SIDE CHAIRS (8) Model no. 402 Baker Furniture, designed 1955 Teak, leather upholstery Each: 32” x 21.75” x 19.75” $6,000-8,000

416 HERBERT KRENCHEL KRENIT BOWLS (22) Torben Ørskov, designed 1953 Enameled and frosted steel Some examples retaining manufacturer’s acid-stencil marks Largest example: 4.25” x 9.75” diameter; Smallest example: 1.75” x 3.75” diameter $1,000-1,500

417 FINN JUHL INLAID DINING TABLE Model no. 511 Baker, designed c. 1954 Walnut, birch, brass inlay Retains manufacturer’s tag 29.5” x 103” (fully extended) x 41.75” $4,000-6,000

257

418 ILLUM WIKKELSØ COFFEE TABLE Soren Willadsen, designed c. 1960 Teak, glass 21” x 48” x 37.75” $2,000-3,000

419 KURT ØSTERVIG CHAIRS (10) Brande Mobelindustri, designed c. 1955 Teak, oak, upholstery Comprised of 2 armchairs and 8 side chairs Each armchair: 29.75” x 26” x 18”; Each side chair: 30.5” x 19” x 19” $6,000-8,000

420 POUL KJAERHOLM LOUNGE CHAIRS (2) Model no. PK22 Fritz Hansen, designed 1956; these examples 2012 Steel, cane Each stamped “Poul Kjaerholm/Fritz Hansen/Denmark” Each: 27.25” x 24.5” x 26” Literature:

F IE L L , C H AR LOT TE & P ETER ,

10 0 0 C H AIR S, C O LO GNE: TASC H EN, 1 997, P 3 41.

$4,500-5,500

259 421 HANS J. WEGNER OX CHAIR AND OTTOMAN Model nos. AP 46 and AP 49 Erik Jorgensen, designed 1960; this example 1999 Tubular steel, leather upholstery Both retain manufacturer’s mark Chair: 34” x 39” x 35”; Ottoman: 13” x 30” x 17” Literature:

O DA , N O R I TSU G U, H ANS J

W EGN E R ’S 10 0 C H AIR S, JAPAN: COR ONA B O O KS, 2 0 0 2 , P 6 8 .

$8,000-10,000

422 SVEND AAGE HOLM SØRENSEN PENDANT LAMPS (3) Holm Sørensen & Co., executed c. 1960 Acid-frosted opaque glass, teak Each: 26” x 3.5” diameter $1,000-1,500

423 HANS J. WEGNER RARE DINING TABLE Johannes Hansen, designed 1949 Oak, teak Retains manufacturer’s branded mark 29.75” x 61.5” x 37.25” The model was first presented at the Cabinetmaker’s Guild Exhibition, Copenhagen, 1949, where it was presented with a suite of four “The Chairs.” Literature:

JA LK , GRETE, DA NSK MØ -

BELKUNST GENNEM 40 A A R : 194 7- 1 956, TÅST RUP : TEKNOLOGISK I NSTITUTS, FORL AG , 1 9 8 7, PP 98 -103.

$7,000-10,000

424 BRUNO MATHSSON EVA CHAIR Dux, designed 1934; this example 1979 Birch frame, tan Elmo leather Stamped “Bruno Mathsson by Dux” 32.75” x 23.5” x 26” Literature:

H A BEGGER , JERRY LL , A N D

JO S EPH O SMA N, SOU RCEBOOK OF M ODE R N FURN IT URE, 3RD EDITION, NEW YOR K : NO RTO N & COMPA NY, 20 05, P 399.

$2,000-3,000

425 PAAVO TYNELL HANGING LAMP Taito Oy, designed c. 1955 Pierced and solid brass 42” drop x 10” diameter $2,000-2,500

426 PAAVO TYNELL MONUMENTAL CEILING LIGHT Model no. 140/8 Taito Oy, designed c. 1940 Brass, glass Stamped mark ˝140/8 Taito Oy Made in Finland˝ 67.75” x 29.5” diameter $20,000-30,000

LOT 425

261

427 DANISH MODERN RUG Rya, designed c. 1970 Deep pile machine woven wool 81.5” x 52.5” $2,000-3,000

428 ALVAR AALTO SIDE CHAIRS (14) Model no. 611 Artek, designed 1929 Birch, linen webbing Literature:

PA LL ASMA A , JU H A NI , A LVA R

A ALTO FUR NITU RE, H EL SINKI: MU SE U M OF FIN N IS H A RCH I TECTU RE, 1984, P 2 03.

$4,000-6,000

429 ALVAR AALTO ARMCHAIR Model no. 44 Artek, designed 1931-32 Laminated birch, upholstery Each: 25” x 24.25” x 31.25” This chair was designed for use in Alvar Aalto’s architectural masterpiece, the Paimio Sanatorium, designed 1929-32. Literature:

PA LL ASMA A , JU H A NI , A LVA R

A ALTO FUR NITU RE, H EL SINKI: MU SE U M OF FIN N IS H A RCH I TECTU RE, 1984, P 1 2 6 .

$2,000-3,000

430 ALVAR AALTO RARE TWO-TIERED TABLE Variant of model no. 915 Artek, designed c. 1946-47 Laminated birch 23.25” x 23.875” x 15” $2,000-3,000

431 ALVAR AALTO RARE OCCASIONAL TABLE Model no. 76 Artek, designed c. 1946-47 Laminated birch Stamped “Aalto Design” and “76” 23.25” x 27.375” x 15.625” $2,000-3,000

432 TIMO SARPANEVA ART PIECES (3) Model nos. 3157, 3532, 3533 Iittala, designed 1951 Sandblasted and acid-frosted glass Each etched "Timo Sarpaneva Iittala," the dish dated “55” Comprising two Devil’s Churn vases and a Devil’s Churn dish 3157 dish: 2.5” x 10.125” diameter; 3532 vase: .325” x 3” diameter; 3533 vase: 2.625” x 2.75” diameter Literature:

F IN N IS H G L ASS, G L ASS

MAN UFAC TUR E R ’S B R OC H U R ES FR OM TH E 195 0 S, R IIH IMAK I: TH E FI NNI SH G L ASS MUS E UM, P P 2 8 - 9.

$2,000-3,000

433 VICKE LINDSTRAND VASE Kosta, designed c. 1955 Blown and internally decorated glass Etched “LH1257” 10.325” x 2.5” diameter $600-800

434 TAPIO WIRKKALA ART OBJECT Model no. 3366 Iittala, designed 1954, this example executed 1958 Line cut glass Etched “Tapio Wirkkala Iittala 58” 1.625” x 3.625” diameter Literature:

A AV, MARI ANNE, TAP I O WI R K-

KAL A , E Y E , H AN D AN D TH OU G H T, H EL SI NK I : MUS E UM O F ART & D ESI G N, 2000, P 333.

$600-800

435 VICKE LINDSTRAND AUTUMN VASE Kosta, executed 1950-73 Internally decorated glass Etched “Kosta LH753/Lindstrand” 6.5” x 4.25” $2,000-3,000 LOT 433

LOT 434

263

436 LAWRENCE CARROLL MARY BOONE, DEALER OF 80’S ART, DIES (FROM THE OBITUARY SERIES)

437 LAWRENCE CARROLL LAWRENCE CARROLL, DIES (FROM THE OBITUARY SERIES)

1987-1991 Mixed media collage on paper Signed and inscribed “For Chris G/Larry Carroll” Sheet: 22.25” x 17.5”; Frame: 33.875” x 29.25”

1990 Mixed media collage on paper Signed and inscribed “4 Chris G Lawrence Carroll” upper right; dated “90” upper left Sheet: 22.25” x 17.5”; Frame: 34” x 29”

Provenance:

PRI VATE COLLECTI ON , LOS A N G E-

P R I VAT E C O L L EC TIO N , LO S AN GE L E S,

LES, CAL IFORNIA (ACQ U I RED DIR EC T LY F R OM T HE

C A L I FOR N I A (AC QU I R E D D IR EC TLY F R O M TH E

ART IST )

A RT I ST )

Literature:

ROSSI , L AU RA MAT TI OL I , L AWR E N C E

Literature:

R OSSI , L AUR A MAT TIO L I, L AW R E N C E

CARRO L L , MIL A N: EDI ZI ONI CH A RTA , 2 008, A N OT H-

C A R R OL L , M I L A N : E DI Z IO N I C H ARTA , 2 0 0 8 , AN-

ER EXAM P LE IN TH E SERI ES ILLUST R AT E D P 4 3.

OT HE R E XA M P L E I N T H E S E R IE S IL LUSTR ATE D P 43 .

$2,500-3,500

438 LAWRENCE CARROLL DOCUMENTA 9 1992 Color lithograph #5 of 45 Signed, dated, and inscribed “Chris, Happy Birthday Love Lawrence Carroll 92" lower right; edition lower left; signed in the plate lower right Image: 22.25” x 18.25”; Sheet: 29” x 21”; Frame: 33” x 23.75” Provenance:

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

A N G E L E S, C A L I FOR N I A ( AC Q UIR E D D IR EC TLY F R OM T HE A RT I ST )

$1,500-2,000

439 YAACOV AGAM UNTITLED c. 1980 Gold-plated brass kinetic sculpture Signed at base 4.75” x 6” x 1.75” Provenance:

P R IVAT E C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N IA ( AC Q UIR E D D IR EC TLY FR OM TH E ARTI ST )

$4,000-6,000

440 SAUL STEINBERG OBJECT 1984 Painted wooden box with hinges Signed, dated, and inscribed in pencil “For Billy and Audrey/Love from Saul St./84” LAMA would like to thank the Saul Steinberg Foundation for their assistance in cataloging this work 1.625” x 7.625” x 2” Saul Steinberg and Hollywood director Billy Wilder had become great friends since meeting in the early 1950s. Literature: S MITH , J OEL , SAU L STEI NB E R G: IL LUMIN ATIO N S, NEW H AVEN: YALE UN IV E R S IT Y P R E SS, P 6 9, #75 FOR SI M I L AR E XAMP L E .

ALTERNATE VIEW

VERSO

$1,500-2,000

265

441 MATSUMI KANEMITSU A.M. AND P.M. (2) (FROM PACIFIC RIM SERIES) 1988 Acrylic on canvas diptych One signed and inscribed “Kanemitsu Pacific Series A.M.”; other signed “Kanemitsu 1990 Pacific Series P.M.” Each canvas: 144.25” x 36.25”; Each frame: 144.75” x 36.75” Matsumi Kanemitsu studied painting with Fernand Léger in Paris and later with Ukiyo-e master Utagawa Kuniyoshi in New York. $8,000-12,000

267

442 LOUISE NEVELSON UNTITLED (NUDE STUDY) c. 1930 India ink on paper Signed “Nevelson” in ink center right Sheet (irreg.): 12.25” x 17.75”; Frame: 20.75” x 26” Exhibited:

“GA LLERY SELECTION: WOR KS

O N PAPER ,” LOU I S STERN FI NE A RTS, LOS AN G ELES, OCTOBER 27, 20 0 1-JA N UA RY 5, 2 002

$3,000-4,000

443 LOUISE NEVELSON UNTITLED 1975 Aquatint with screenprint in colors and collage #76 of 90 Printed by 2RC Edizioni d’Arte, Rome Signed and dated in pencil lower right margin; edition lower left Image: 27.25” x 21.5”; Sheet (vis.): 28.5” x 23.25”; Frame: 48” x 42” $1,000-1,500

444 DOUG & MIKE STARN BLOT OUT THE SUN 1 1999 Inkjet print, Lysonic inks, bleached beeswax, Thai mulberry paper, and lens tissue paper in artists’ frame #2 of 3 Signed and dated with edition in pencil verso Image (vis.): 13.5” x 22”; Frame: 14.5” x 23” Literature:

H IR S C H , R OBERT, AND JOH N

VAL E N TIN O, P H OTO GRAP H I C P OSSI B I LI TI ES: TH E E X P R E SS IV E US E OF I DEAS, M ATER IAL S, AN D P R O C E SS E S, BOSTON: FOCAL P R E SS, 2 0 12 , P 2 5 1, F I G 1 3/1 4 .

$8,000-12,000

269

445 JUN KANEKO UNTITLED 1994 Painted and glazed ceramic Signed and dated verso LAMA would like to thank the Jun Kaneko Studio for their assistance in cataloging this work 29.25” x 22” x 2.5” Provenance:

P R IVATE C OLLECTI ON, LOS

AN GE L E S, C AL IFO R N I A (G I FT FR OM TH E ARTIST, 19 9 4 )

$3,000-4,000

446 MAURICE STERNE UNTITLED 1948 Oil on Masonite Signed and dated lower right Image: 17.875” x 23.75” $2,000-3,000

447 ARNOLD BELKIN UNTITLED 1963 Ink wash on paper Signed and dated lower left Sheet (vis.): 13.25” x 20.5”; Frame: 21” x 27” $300-500

448 ZAO WOU-KI UNTITLED 1967 5-color lithograph on Rives #1 of 5 unnumbered Artist’s proofs aside from the edition of 95 Published by Gerald Cramer, Geneva; printed by E. & J. Desjobert, Paris Signed and dated lower right margin; edition lower left Image: 18.125” x 17”; Sheet (vis.): 20.125” x 17.375”; Frame: 26.25” x 23.125” Literature:

MA RQ U ET, FRA NÇOI SE , A N D

YV ES RIV IÈRE, ZAO WOU -KI : LES E STA M P E S 1 93 7- 19 74, PA RIS: A RTS ET MÉTI E R S G RAPHIQUES, 1975, P 94, # 169.

$2,000-3,000

449 HENDRIK VAN KEPPEL & TAYLOR GREEN DINING TABLE AND SIDE CHAIRS (5) Model nos. 902 and 805 VKG, designed c. 1950 Metal, glass, cord Table: 26.5” x 48” diameter; Chairs each: 32” x 18” x 19.5” Provenance:

TH E K ING SLEY R ESI DENCE,

PAC IF IC PAL ISAD E S, CALI FOR NI A; TH E N C E BY D E S C E N T

Literature:

VAN K E P P EL- G R EEN: M ODER N

F UR N ITUR E, B R O C H URE, NO DATE.

$1,500-2,000

271

450 HENDRIK VAN KEPPEL & TAYLOR GREEN REFECTORY TABLE VKG, designed c. 1950 Varnished redwood, enameled steel 28” x 83.75” x 14” Literature:

ARTS & AR CH I TECTU R E

MAGAZ IN E, MAY 195 2 .

$4,000-6,000

451 MILO BAUGHMAN DESK Model no. 2631 Glenn of California, designed 1952 Walnut Branded “Glenn of California” 30” x 40.625” x 18” $500-1,000

452 MILO BAUGHMAN CHEST OF DRAWERS Model no. 2631 Glenn of California, designed 1952 Walnut 32.25” x 65” x 17.75” $2,000-3,000

453 MILO BAUGHMAN LOUNGE SUITE (3) Thayer Coggin, designed c. 1965 Walnut, lacquered wood, marble Retains manufacturer’s delivery label dated 1966 Comprised of two chairs and a coffee table Table: 11” x 24” x 26”; Chairs each: 25.5” x 24.25” x 24.5” $2,500-3,500

273

454 MILO BAUGHMAN LOVESEAT Thayer Coggin, designed c. 1970 Walnut, lacquered wood, upholstery Retains manufacturer’s label 28.25” x 88.25” x 34” $2,500-3,500

455 CHRIS FEREBEE PRE-PRODUCTION HIVE SHELVING UNIT 521 Design, designed 1999; this example executed 2002 Laminated walnut, steel Retains manufacturer’s label and signed and dated by the designer in black marker “#008/2002” 41” x 47.5” x 12” This example is from a limited run of 10 that were produced in 2002. Due to financial restrictions the units did not go into commercial production. Provenance:

CH RIS FEREBEE

$4,000-6,000

456 CHRIS FEREBEE PRE-PRODUCTION HIVE SHELVING UNIT 521 Design, designed 1999; this example executed 2002 Laminated walnut, steel Retains manufacturer’s label and signed and dated by the designer in black marker “#007/2002” 41” x 47.5” x 12” This example is from a limited run of 10 that were produced in 2002. Due to financial restrictions the units did not go into commercial production. Provenance:

CH RIS FEREBEE

$4,000-6,000

457 PUCCI DE ROSSI COFFEE TABLE Studio, designed c. 1975 Patinated bronze, glass 17.125” x 36” x 36” $2,500-3,500

458 ANTONIO CITTERIO IMPRIMATUR SOFA Maxalto, designed c. 2000 Brown leather, bronze-plated steel 28.5” x 89” x 36.5” $3,000-5,000

275

459 PHILIP & KELVIN LAVERNE CLASSICAL COFFEE TABLE Bronze panel executed at the Philip & Kelvin Laverne Studio, designed c. 1965 Patinated bronze, mirror glass Signed on the bronze “Philip K Laverne” 16.25” x 66.25” x 54.25” The bronze panel was custom fitted into a mirror glass frame c. 1970 for an interior scheme in an art collector’s home in Rancho Mirage, California. $3,000-4,000

DETAIL OF PANEL

27 7

460 FRIEDHELM BAKALOWITS MIRAKEL CEILING LAMP Bakalowits & Sohne, designed 1960 Glass, plated steel 23.5” x 36” diameter Provenance:

H AR O L D " H AL" LEVI T T H OU SE,

C AL IFO R N IA , 19 6 7 ; P R IVATE C O L L EC TIO N , C A LI FOR NI A

$5,000-7,000

461 CHARLES & RAY EAMES SIDE CHAIR Model no. DSR-4 Herman Miller, executed c. 1975 Fiberglass, vinyl, steel wire 30.25” x 18.5” x 21” Provenance:

JA NET & IRVING G R E E N , LOS

AN G ELES, CA LIFORNI A ; T HENCE BY DESCENT

Literature:

NEU H A RT, JOH N & MA 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, PP 142- 43.

$250-350

462 BRUCE BURDICK DESK Herman Miller, designed c. 1970 Enameled, polished aluminum, plastic Retains Herman Miller medallion 37” x 83” x 33.5” $2,000-3,000

279

463 ROY MCMAKIN DINING SUITE (8) Studio, designed c. 1987 Maple Comprised of a table, sideboard, and six side chairs Table: 29” x 72” x 40”; Sideboard: 46.5” x 44” x 19.625”; Each side chair: 35” x 17.25” x 17” Literature:

MC MAK IN, R OY, WH EN I S A

C H AIR N OT A C H AIR ?, NEW YOR K : R I ZZOLI , 2 0 10, P P 2 2 , 145 .

$4,000-6,000

464 CONRAD BUFF UNTITLED (2) c. 1966 A: Oil on paperboard; B: Lithograph Lithograph signed lower right Sold with lithograph “Navajo Country Eden” A: Image: 9.875” x 14.75”; Frame: 11.25” x 16.125”; B: Image: 12.75” x 9.625”; Sheet (vis.): 15.5” x 11.5”; Frame: 16.25” x 12.25” Provenance:

JR DAVI DSON, OJA I ,

CAL IFO RNIA ; T HENCE BY DESCENT

$800-1,200

465 CONRAD BUFF UNTITLED c. 1970s Oil on Masonite Signed lower right Image: 16.125” x 23.875”; Frame: 17.5” x 25.75” Provenance:

JR DAVI DSON, OJA I ,

CAL IFO RNIA ; T HENCE BY DESCENT

$1,800-2,500

466 CONRAD BUFF UNTITLED c. 1970s Oil on paper, double-sided Sheet: 15.825” x 23.75” Provenance:

JR DAVI DSON, OJA I ,

CAL IFO RNIA ; T HENCE BY DESCENT

Literature:

POU LTON, DONNA L , PA I N T E R S

O F UTAH’S CA NYONS A ND DESERTS, L AYTO N : G IBBS SMI TH , 20 0 9, PL ATE 6 - 4 (FOR S IMIL AR STU DY OF SA ME MONU ME N T F R OM T HE SAME PERIOD).

$1,800-2,500

VERSO

467 T.H. ROBSJOHN-GIBBINGS LOUNGE CHAIRS (2) Widdicomb Furniture Company, designed c. 1950 Walnut, leather upholstery One chair retains label “Widdicomb/designed by T.H. Robsjohn-Gibbings” Each: 30” x 29.25” x 30” $1,000-1,500

468 T.H. ROBSJOHN-GIBBINGS BIOMORPHIC COFFEE TABLE Model no. 1759 Widdicomb Furniture Company, designed 1954 Maple, aluminum Retains Widdicomb label and model number 20” x 70” x 35” $3,000-4,000

281

A N I M P O R TA N T C O L L E C T I O N O F

G E R T R U D

O T T O

N AT Z L E R C

F R O M T H E L E O P O L D A N D PAT R I C I A HIRSCHFELDT COLLECTION

FA LL

2013

283

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 May 29th, collection and storage fees will begin incurring immediately.

BUYER’S PREMIUM A buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 22.5% if payment by cash, check, or bank wire is received by May 29th. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card or if full payment is not received by May 29th, 2013. (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax, or e-mail).

CALIFORNIA SALES TAX Sales tax of 9% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied.

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

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

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

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

COLLECTION AND STORAGE ALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON MAY 29TH. Purchases not removed by May 29th will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing; the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDING We encourage you to attend the sale in-person. However, if you can not attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an “Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, May 18th by 5:00 p.m. (PST) via fax to (323) 904-1954 or scan and send via email to: shannon@lamodern.com. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to check if your bids were successful. All successful absentee/phone bids should be notified by phone by May 21st. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc.

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

RIGHTS TO PHOTOGRAPHS It is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted by Modern Auctions, Inc. Buyers do not acquire the rights to reproduce any images in any form. All images and text contained in this catalogue are the sole property of Modern Auctions, Inc., and may not be used or reproduced in any medium without the expressed written permission of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 7900369478 Peter Loughrey, Principal Auctioneer Los Angeles Modern Auctions (LAMA) 16145 Hart Street, Van Nuys, CA 91406

Support the Collections that Belong to All of Los Angeles

Contemporary Friends DA2: Decorative Arts and Design Acquisition Committee Whether your interest is contemporary art or decorative arts and design, you can join a community of collectors and art enthusiasts as a member of Contemporary Friends or DAÂ˛ at LACMA. Your support will allow important works of art to be enjoyed by museum-goers from around the world, for generations to come. Ă˝ (QJDJH GLUHFWO\ ZLWK /$&0$ FXUDWRUV Ă˝ (QMR\ \HDU URXQG HYHQWV VXFK DV VWXGLR YLVLWV FXUDWRU OHG tours, and exclusive invitations Ă˝ 6XSSRUW WDUJHWHG DFTXLVLWLRQV IRU /$&0$ĂśV FROOHFWLRQ A portion of your membership contribution is tax deductible. )RU PRUH LQIRUPDWLRQ RQ WKHVH RU RWKHU DFTXLVLWLRQV JURXSV at LACMA, contact Alexandra Zigrang at azigrang@lacma.org or 323 857-4774. David Cressey, Legend, 1959, stoneware, gift of the 2012 'HFRUDWLYH $UWV DQG 'HVLJQ $FTXLVLWLRQ &RPPLWWHH '$Â˛), on view now at the National Art Center Tokyo in California Design, 1930â&#x20AC;&#x201C;1965: â&#x20AC;&#x153;Living in a Modern Wayâ&#x20AC;?

Los Angeles County Museum of Art

INDEX A

Aalto, Alvar Ackerman, Evelyn Agam, Yaacov Albers, Josef Albini, Franco Altoon, John Andrews, Benny

428-31 218 439 321 272 210 294 Anuszkiewicz, Richard 319 Arneson, Robert 195-96 Arnoldi, Charles 232-33 Artschwager, Richard 286-87 Asti, Sergio 301

Bachardy, Don 207 Bakalowits, Friedhelm 460 Baldessari, John 226-27 Bang, Arne 411 Barminski, Bill 228 Barth, Uta 78 Baughman, Milo 300, 451-54 Bechtle, Robert 27 Belkin, Arnold 447 Bengston, Billy Al 200-202 Benjamin, Karl 221-25 Berger, Ueli 298 Bernhard, Ruth 70 Bertoia, Harry 51-54, 349 Bojesen, Kay 414 Borsani, Osvaldo 273, 278-82 Bourgeois, Louise 295 Braque, Georges 134 Breuer, Marcel 250 Bristol, Horace 64-65 Brown, William Th. 244-45 Buff, Conrad 464-66 Burdick, Bruce 462 Byars, James Lee 323

Campigli, Massimo 268 Capron, Roger 140 Carrington, Leonora 400 Carroll, Lawrence 436-38 Cartier-Bresson, Henri 61 Casati, Cesare 313 Cattelan, Maurizio 76 Celmins, Vija 160-61 Chagall, Marc 133 Chihuly, Dale 360-61 Chuey, Robert 148-49 Citterio, Antonio 458 Cohen, Larry 246-27 Colflesh, Donald 362 Colombo, Joe 312 Cooper, Hans 407 Coronel, Raul 197 Crash (John Matos) 332-35 Cressey, David 176, 179

Dalí, Salvador 106-108, 137 Davidson, J. R. 37-41 de Rossi, Pucci 457 de Santillana, Ludovico 284 Deskey, Donald 253-54 Diebenkorn, Richard 248 Dill, Laddie John 208 Dole, William 209 Dupain, Rex 77

Eames, Charles 1-12 219-20, 460 Evans, Paul 372-75

Fairey, Shepard 297 Falkenstein, Claire 144-47 Ferebee, Chris 455-56 Finkelstein, Max 308, 369 Follis, John 175 Foulkes, Llyn 170 Francis, Sam 152-53 Frankenthaler, Helen 13 Friedeberg, Pedro 401 Frink, Elisabeth 404-405

Gehry, Frank 234-35 Gilhooly, David 396-99 Goldberg, Michael 237 Goode, Joe 231 Graham, Robert 229 Graves, Morris 368-70 Green, Taylor 345, 449-50 Gross, Chaim 98-100 Grossman, Greta 211-15

Hadzi, Dimitri 371 Hagenauer 256 Hancock, Theodore 351 Hartman, Cedric 114 Hayter, Stanley Wm. 406 Helnwein, Gottfried 293 Higgins 217 Hirst, Damien 80 Hockney, David 163-68 Hoffmann, Josef 252 Hundertwasser, Friedensreich 318

Indiana, Robert

Jacobsen, Arne Janco, Marcel Jeanneret, Pierre Johns, Jasper Johnson, Dan Johnson, Philip C. Johnson, Philip H. Jouve, Georges Judd, Donald Juhl, Finn

17-18 408 363 138 329 141-43 299 262 139 320 415, 417

Kagan, Vladimir 112-13 Kaneko, Jun 445 Kanemitsu, Matsumi 441 Kaylien 216 Kelly, Ellsworth 19-21 Kepes, György 57-60 Keppel, Hendrik van 345 449-50 Kjaerholm, Poul 420 Knoll, Walter 259 Knoll, Florence 344, 347 Krenchel, Herbert 416 Kuramata, Shiro 292 Kusama, Yayoi 288

Lamb, Walter 180-94 Laverne, Erwine 314-15 LaVerne, Philip 459 Le Faguays, Pierre 255 Leland, Malcolm 173-74, 177-78 Leuus, Jesus 402 Lewin, Karin 96-97 Lichtenstein, Roy 16 Lindberg, Peter 75 Lindstrand, Vicke 433, 435 Lombardi, Lisa 340 Longo, Robert 162 Lukens, Glen 352

Maloof, Sam Mangiarotti, Angelo Mangold, Robert Mathsson, Bruno McArthur, Warren McCabe, Gerald McMakin, Roy Mesquita, Carlos Miró, Joan Morris, George N. Motherwell, Robert Mouille, Serge Mourgue, Olivier

158-59 307 322 424 46 115 463 125 126-32 338 341-42 120-24 309-11

Nakashima, George 377-88 Natzler 354-57 Nauman, Bruce 91-92 Nelson, George 6, 82-90 Nevelson, Louise 442-43 Noguchi, Isamu 358 Nørreklit, Poul 365

Østervig, Kurt

419

Pashgian, Helen 230 Pearsall, Adrian 376 Perry, Bart 337 Pesce, Gaetano 302 Peters, William Wesley 45 Pettibon, Raymond 171 Picasso, Pablo 135-36 Ponti, Gio 263-69 Price, Ken 198-99, 203-206

Quigley, Helen

336

Rauschenberg, Robert 389-95

Ray, Man 48-50 Rhoades, Jason 289-91 Rie, Lucie 407 Risom, Jens 343, 346 Rivers, Larry 330-31 Robsjohn-Gibbings, T.H. 467-68 Rockwell, Norman 150 Ruscha, Ed 22-35

Saarinen, Eero 348, 350 Salgado, Sebastião 67 Salviati 274 Sarfatti, Gino 277, 285

Sarpaneva, Timo 432 Scarpa, Afra & Tobia 283 Schenck, Rocky 68 Scully, Sean 66 Segal, George 339 Segal , Simon 104 Serra, Richard 93 Sherman, Cindy 81 Shulman, Julius 69 Singer, Franz 258 Siskind, Aaron 62-63 Sognot, Louis 257 Sorensen, Svend 422 Sottsass, Ettore 303-304 Spitzer, Walter 109-11 Staprans, Raimonds 238-40 Starn, Doug & Mike 444 Steinberg, Saul 440 Stella, Frank 14 Sterne, Maurice 446 Stonorov, Oscar 260 Sturges, Jock 72-73

Tait, Neal Tamayo, Rufino Tansey, Mark Teller, Juergen Teraoka, Masami

236 403 172 74 169 Terechkovitch, Constantin 105 Thiebaud, Wayne 249 Thonet 251 Tynell, Paavo 425-26

Valle, Gino 306 Vasa 317 Venini, Paolo 270 Verglas, Antoine 71 Vignelli, Massimo 276 von Jawlensky, Alexej 95 von Nessen, Greta 364 Voulkos, Peter 156-57

Waddell, Theodore 305 Warhol, Andy 324-28 Weber, Max 101-103 Wegman, William 79 Wegner, Hans 409-12, 421 423 Wesselmann, Tom 15 Wiener, Ed 56 Wikkelsø, Illum 413, 418 Wildenhain, Marguerite 353 Williams, Mason 32-33, 36 Winston, Bob 55 Wirkkala, Tapio 434 Woelffer, Emerson 154-55 Wonner, Paul 241-43 Wormley, Edward 116-19 Wou-Ki, Zao 448 Wright, Frank Lloyd 43-44, 47 Wright, Russel 366-67

Zajac, Jack Zárate, Manuel O. Zorach, William

151 261 94

Peter Loughrey Director, Modern & Contemporary Fine Art

AUCTION:

SUNDAY, MAY 19, 2013 12 p.m. Noon (PST)

Dan Tolson Director, 20th Century Decorative Art & Design

PREVIEW:

MAY 6 - 18, 2013 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

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

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

Complimentary Valet Parking

Cataloguer/Editor Zoe Weinberg Dan Tolson Paul Des Marais Photography Susan Einstein Mario de Lopez Essays Paul Des Marais Zoe Weinberg