Los Angeles Modern Auctions (LAMA); October 20, 2019 Modern Art & Design Auction

16145 Hart Street Van Nuys, CA 91406 Preview: October 11 - 19, 2019 10am–6pm (PT) Auction: Sunday, October 20, 2019 12pm (PT)

Online and In-Person You may have noticed some changes to the first few

As always, we are pleased to offer an amazing group of

pages of our auction catalogue—let me explain. LAMA

lots, including fresh to the market pieces by Sturtevant,

has always aimed to be a resource for the Los Angeles

Mary Corse, and Ken Price, all of whom have held major

arts community. We serve as a place to get up close and

retrospectives at Los Angeles institutions in the last

personal with fine art and design, discover unfamiliar

ten years. Other top fine art lots include works by Judy

artists and designers, and even learn some Los Angeles

Chicago, John Baldessari, Roy Lichtenstein, and Ed Mo-

art history. As we’ve created a welcoming in-person

ses. Design highlights include a monumental carpet by

experience, we want to extend this spirit digitally.

Swedish textile artist, Marianne Richter, an iconic Sam Maloof rocking chair, and a group of Billy Haines pieces

With this in mind, we are introducing an online-only

from the late ‘40s and early ‘50s.

portion to our auction. This section is aimed at those of you just starting your collections as an introduction to

Whether you’re a long-time client or a first-time buyer,

the auction process, which can be opaque at times. With

remember, we are here to help! If you have any ques-

a small selection of curated works by LAMA mainstays,

tions about the online portion, or are ready to leap

the first 53 lots of the auction will be open to bidding

into phone bidding, we will gladly walk you through the

through LAMA’s proprietary app the day that the lots

process.

are posted online, up through the day of the auction.

Bidding on the auction block will start at lot 54, and proceed in numerical order from there.

Clo Pazera, Specialist

Timed Auction Lots

1

2

Day and Night

Untitled (2)

YAACOV AGAM

JOHN ALTOON

3 RICHARD ANUSZKIEWICZ

Rosafied

$2,000–3,000

$1,500–2,000

$800–1,200

4

5

6

Japanese Apricot 2

Untitled

Untitled

CHIHO AOSHIMA

ARMAN (ARMAND FERNANDEZ)

EDMONDO BACCI

$500–700

$5,000–7,000

$2,000–3,000

7

8

9

Untitled (2)

Earth Fireworks

Untitled

HANNELORE BARON $2,000–3,000

JENNIFER BARTLETT $600–800

IN THE MANNER OF STUART DAVIS $1,500–2,000

Timed Auction Lots

10

11

12

SONIA DELAUNAY

SONIA DELAUNAY

MARK DI SUVERO

$1,500–2,500

$2,000–3,000

$2,000–3,000

Cathédrale

13

CAROLE FEUERMAN

Untitled

$3,000–5,000

16

Untitled

14

Longing

15

SAM FRANCIS

SAM FRANCIS

$1,500–2,000

$1,500–2,000

Falling Star

17

An 8 Set - 1

18

HELEN FRANKENTHALER

ORONZO GASPARO

Still Life

Waterfall Drawing 15

$2,000–3,000

$800–1,200

$4,000–6,000

Monoprint IX - The Clearing

JOE GOODE

Timed Auction Lots

19

20

21

Untitled (Milan, 3 Photos)

MOCA Torso

Butchers

JOE GOODE

ROBERT GRAHAM

RED GROOMS

$1,000–1,500

$2,000–3,000

$3,000–5,000

22

23

24

Chromachord #16

Parade

KEITH HARING

JAMES HAYWARD

$3,000–5,000

$2,500–3,500

$800–1,200

25

26

27

Evian

Kneeling Figure II

Balloon Dog (Blue)

International Youth Year

JASPER JOHNS $4,000–6,000

ALLEN JONES $600–800

DAVID HOCKNEY

JEFF KOONS

$7,000–10,000

Timed Auction Lots

28

HENRI MATISSE

29

PAUL MCCOBB

30

RYAN MCGINNESS

Mimosa

Upholstered stools (2)

This Dream Is So Life-Like

$3,000–5,000

$1,500–2,000

$800–1,200

31

32

33

JOAN MITCHELL

GEORGE NELSON

Sunflower III

Lounge chair

LOUISE NEVELSON

$3,000–5,000

$800–1,200

$5,000–7,000

34

CLAES OLDENBURG

35

CLAES OLDENBURG

Untitled

36

PABLO PICASSO

Butt for Gantt

Soft Pencil Sharpener

50 Masterpieces

$800–1,200

$800–1,200

$400–600

Timed Auction Lots

37

38

39

Page 1 (from Pages and Fuses)

Lily Scent

Fireworks for President Clinton

ROBERT RAUSCHENBERG

ROBERT RAUSCHENBERG

JAMES ROSENQUIST

$2,000–3,000

$1,500–2,000

$1,000–1,500

40

41

42

Amen (State I)

Amen (State II)

Untitled

ED RUSCHA & RAYMOND PETTIBON

ED RUSCHA & RAYMOND PETTIBON

PETER SHIRE

$2,000–3,000

$2,000–3,000

$1,500–2,000

43

44

45

Abstraction, Belief, Desire

Mujer

Hombre

PAT STEIR

$1,000–1,500

RUFINO TAMAYO $2,000–3,000

RUFINO TAMAYO $2,000–3,000

Timed Auction Lots

46

47

48

WAYNE THIEBAUD

GERALD THURSTON

VASA (VELIZAR MIHICH)

$3,000–5,000

$1,500–2,000

$3,000–5,000

Freeway Building

49

Floor lamp

50

Sphere

51

VARIOUS ARTISTS

ANDY WARHOL

Paris Review

Purple Luster bottle

$200–300

$4,000–6,000

$1,000–1,500

Cyrk (Circus) (3)

52

BEATRICE WOOD

53

JONAS WOOD

FRANK LLOYD WRIGHT

$2,000–3,000

$2,500–3,000

Vote

Bedroom suite (3)

54 ED RUSCHA Sin

1970 8-color screenprint on Louvain Opaque Cover paper #46 of 150 Published and printed by Cirrus Editions, Los Angeles Signed and dated with edition in graphite lower left margin beneath image Image: 13" x 21.625" Sheet: 19.125" x 26.5" Frame: 20.375" x 28.875" (Image: 33 x 55 cm) LITERATURE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 338.; Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #41.

$10,000–15,000

55 ED RUSCHA Brews

1970 5-color screenprint on paper #24 of 75 Published by Editions Alecto, London; printed by Alecto Editions, London Signed and dated with edition in graphite lower left edge of sheet Image: 18" x 27" Sheet: 23" x 31.75" Frame: 26.25" x 35" (Image: 46 x 69 cm) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #40.

$3,000–5,000

56 ED RUSCHA It Is A Go

2009 Lithograph on Copperplate paper #31 of 50 Co-published by the Los Angeles County Museum of Art and Hamilton Press, Los Angeles; printed by Hamilton Press, Los Angeles Signed and dated in graphite lower right; edition lower left Image: 17.625" x 13.875" Sheet: 23.125" x 19" Frame: 28.75" x 24.5" (Image: 45 x 35 cm)

$5,000–7,000

11

57 ED RUSCHA

An Extremely Ordinary Person 1978 3-color lithograph on Rives BFK paper #4 of 20 Published and printed by Visual Arts Center/California State University, Fullerton Signed and dated in graphite lower right edge of sheet; retains Visual Arts Center blind stamp lower right; edition lower left Image: 4" x 20.5" Sheet: 15.75" x 30" Frame: 18.125" x 32.125" (Image: 10 x 52 cm) LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #97.

$10,000–15,000

13

58 ED RUSCHA

Street Meets Avenue 2000 Lithograph on Rives BFK paper #87 of 100 Published by Eyestorm, Ltd., London Signed and dated in graphite lower right edge of sheet; edition lower left Sheet: 22.25" x 30.125" Frame: 31.375" x 39.375" (Sheet: 56 x 76 cm)

$5,000–7,000

59 ED RUSCHA

Vowel #55 (E) 1996 Acrylic on Twentysix Gasoline Stations book cover Signed, dated “Aug. 6, 1996,” and inscribed “#55” to interior page; retains artist’s label to interior page Book: 7" x 5.5" Frame: 10.5" x 8.75" (Book: 18 x 14 cm) P ROVENA NC E Gagosian Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1996) EXHIBITE D “Ed Ruscha, Vowels,” Gagosian Gallery, Los Angeles, September 11-28, 1996

$15,000–20,000

60 ED RUSCHA

Some Los Angeles Apartments (from Book Covers series) 1970 1-color lithograph on white Arches paper #11 of 30 Published and printed by Graphicstudio, Tampa Initialed and dated with edition in graphite lower left edge of sheet; retains Graphicstudio blind stamps lower right Image: 8.5" x 11.375" Sheet: 16.125" x 20" Frame: 17.75" x 21.75" (Image: 22 x 29 cm) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #47.

$10,000–15,000

15 61 ED RUSCHA & MASON WILLIAMS

Royal Road Test and Crackers (3) Royal Road Test: 1967; Crackers: 1969 Offset print on paper Royal Road Test: from the 1st edition of 1,000; Crackers: from the 1st edition of 5,000 Royal Road Test: Published by the artist; printed by Blair Litho, Los Angeles; Crackers: Published

by Heavy Industry Publications, Hollywood; printed by G. R. Huttner Lithography, Burbank Comprised of two copies of Crackers and a copy of Royal Road Test Royal Road Test: 9.5" x 6.5" Crackers each: 8.875" x 6" (Royal Road Test: 24 x 17 cm) LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol. II. S. Engberg and C. Phillpot. 1999. #B6, B10.

$1,000–1,500

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

62 ALLEN RUPPERSBERG

Searching for Passion and Sex (and other things) 1982 Color screenprint on paper #2 of 33 Printed by Wasserman Silk Screen Co., Santa Monica Titled lower center sheet; signed and dated with edition in graphite with printer’s blind stamp lower right in image Sheet: 21" x 81.5" (Sheet: 53 x 207 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$1,000–1,500

63 MASON WILLIAMS Group of books (13) 1964-2003 Various publishers and printers The Mason Williams F.C.C. Rapport and The Mason Williams’ Guitar Pieces Book signed by the artist on title page Comprised of Bicyclists Dismount (3rd ed., 1964); The Night I Lost My Baby: A Las Vegas Vignette (1st ed., 1966); Tosadnessday (1st ed., 1966); Boneless Roast (1st ed., 1967); Pat Paulsen for President (2nd ed., 1968, with Jinx Kragen); The Mason Williams Reading Matter (4th ed., 1964/1969); Roadsign Business (1st ed., 1969); Flavors (5th ed., 1964/1970); The Mason Williams’ Guitar Pieces Book (1st ed., 1971); The Mason Williams F.C.C. Rapport (1st ed., 1969); Cancer Society Script (1st ed., 1970); Them Poems (1st ed., 2000); Classical Gas, The Music of Mason Williams (2nd ed., 1993/2003) Largest (The Mason Williams’ Guitar Pieces Book): 12.375" x 9.25" Smallest (Bicyclists Dismount, Flavors): 8.375" x 5.5" (Largest: 31 x 23 cm)

$1,500–2,000

17

64 DAVID WOJNAROWICZ

Untitled (ACT UP Diptych) (2) 1990 Color screenprints on wove paper #10 of 100 Published by ACT UP/New York, New York One signed and dated in graphite lower right margin beneath image; one with edition lower left; each retains Amdur Gallery stamp frame verso

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

65 HUBERT SCHEIBL Trancoso A

1998 Mixed-media on canvas Retains Tony Shafrazi Gallery label frame verso Sheet: 30.75" x 20.375" Frame: 36.25" x 26.125" (Sheet: 78 x 52 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health

Images each: 18.375" x 23.5" Sheets each: 23.125" x 27.5" Frames each: 27.5" x 31.75" (Images each: 46 x 60 cm)

(gifted directly from the above)

$6,000–8,000

$1,500–2,000

E XHIBIT E D “Hubert Scheibl: King of Saturn,” Tony Shafrazi Gallery, New York, October 13-November 7, 2001

66 HOWARD HODGKIN

David’s Pool at Night 1979-1985 Soft-ground etching and aquatint with handcoloring on white Hahnemühle mould-made paper #84 of 100 Published by Petersburg Press, London; printed by Atelier Crommelynck, Paris Initialed and dated in graphite lower center edge of sheet; edition lower left; retains Graphic Arts Council label frame verso Image/sheet: 25.25" x 31" Frame: 29.25" x 34.625" (Image/sheet: 64 x 79 cm)

$2,000–3,000

67 DAVID HOCKNEY

My Pool and Terrace (from Eight by Eight to Celebrate the Temporary Contemporary) 1983 Etching and aquatint on paper #242 of 250 Published by the Museum of Contemporary Art, Los Angeles Signed and dated in graphite lower right margin beneath image; edition lower left Image: 23.75" x 35.75" Sheet (vis.): 27" x 39" Frame: 35.875" x 47.5" (Image: 60 x 91 cm)

$4,000–6,000

68 DAVID HOCKNEY

The Poet (from The Blue Guitar Series) 1976-1977 Color etching and aquatint on Inveresk mould-made paper #143 of 200 Published and printed by Petersburg Press, London and New York Signed in graphite lower right margin beneath image; edition lower left Image: 13.5" x 16.625" Sheet: 18" x 20.625" Frame: 31" x 33.875" (Image: 34 x 42 cm) LIT E RAT URE David Hockney Prints 1954-77. M. Winton. 1979. #211.; David Hockney Prints 1954-1995. 1996. #190.

$2,000–3,000

69 DAVID HOCKNEY

In a Chiaroscuro (from The Blue Guitar Series) 1976-1977 Color etching, softground etching, and aquatint on Inveresk mouldmade paper #7 of 200 Published and printed by Petersburg Press, London and New York Signed in graphite lower right margin beneath image; edition lower left Image: 13.5" x 16.625" Sheet: 17.875" x 20.5" Frame: 31" x 33.5" (Image: 34 x 42 cm) LIT E RAT URE David Hockney Prints 1954-77. M. Winton. 1979. #207.; David Hockney Prints 1954-1995. 1996. #186.

$2,000–3,000

19

70 CHRISTO

Wrapped Fountain (Project for “La Fontana de Jujol, Plaza D’España- Barcelona”) 1975 Mixed-media on paperboard Titled lower left in composition; signed and dated lower right; retains Galeria Joan Prats label frame verso Composition/sheet: 28" x 22" Frame: 36.25" x 30" (Composition/sheet: 71 x 56 cm)

$30,000–50,000

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

71

72

CHRISTO

GREG COLSON

Surrounded Islands (Project for Biscayne Bay, Greater Miami, Florida) (Part I and II) 1987 Part I: Photograph with collotype, color screenprint, and collage on 350g Fabriano paper; Part II: Collotype and screenprint with collage, pink woven polypropylene fabric, and masking tape on 350g Fabriano paper #84 of 125 Published by Edition Schellmann, Munich and New York; printed by Domberger KG, Stuttgart Each with edition and title in graphite lower right edge of sheet; each retains printer’s blind stamp lower left Image/sheets each: 15" x 15.75" Frame: 22.125" x 40.25" (Image/sheets each: 38 x 40 cm) LIT E RAT URE Christo and JeanneClaude: Prints and Objects. 2nd ed.

J. Schellmann and J. Benecke, eds.

1995. #132.

$2,000–3,000

Group of prints (5) 1990 Lithographs on paper A, B: Printer’s proof aside from the edition of 15; C, D: Printer’s proof aside from the edition of 20; E: Printer’s proof aside from the edition of 25 Published by the artist; printed by Hamilton Press, Venice Each signed and dated in graphite lower right; edition with printer’s blind stamp lower left Comprised of A: Five Signals, State I; B: Five Signals, State II; C: Circled Wagons with Tent; D: Wagon, Tent, Signal; and E: Octopus Connections Largest (A, B): Image/sheet: 14.5" x 21.5" Mount: 21" x 28" Smallest (D): Image/sheet: 14" x 10.75" Mount: 20.5" x 17.25" (Largest: 37 x 55 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$2,000–3,000

21

Ronald Davis: Opening the Future of Painting Originally trained as a sheet metal mechanic, Ronald Davis didn’t pursue art until his early 20s when he moved to California to study painting at the San Francisco Art Institute.

While in the program, Davis moved through several distinct stylistic transformations before settling on the hard-edge, geometric style he is best known for. Completing his studies in 1964, Davis moved to Los Angeles and was featured in his first solo exhibition at Nicholas Wilder Gallery the following year. Davis was quick to attract both critical and institutional favor, and by 1968 his work had been acquired by the Museum of Modern Art, New York, the Tate Gallery, London, the Los Angeles County Museum of Art, the San Francisco Museum of Art, and the Art Institute of Chicago.

Surrounded by the innovative methods and materials of the California Light and Space movement, Davis began experimenting with resin and fiberglass in 1966. Davis first attempted to replicate the glossy look of Billy Al Bengston’s compositions by spraying cloth canvases with up to ten coats of paint and sanding each layer down to create an entirely smooth surface. Because this process proved exorbitantly timeconsuming, the painter then turned to plastics. His first effort to simply seal his works with resin still allowed for variability in texture, so he eventually substituted the canvas with fiberglass.

This created a flawless plane in which the foundational material served as a direct carrier for pigment.

While elevating the flatness that Minimalism prescribed, Davis rejected the style’s pictorial aversion. As Davis put it, “I attempted synthesis between ‘the Minimal Object,’ Pop and Op fashion, and traditional, emotion-driven expressionist painting.” Three Corners Slab (1969) (lot 73) demonstrates the same splattering technique popularized by Jackson Pollock, but lacks the style’s signature tactility, prioritizing the absolute flatness of the painting’s plane. The contrast of the splattered field against the imagined edges of the rectangular structure creates an impossible perspectival relationship. This illusory schema, that in Davis’ words “[pretends] to be rational,” unified the impression of Op art, the conceptual framework of abstract expressionism, the functionality of minimalism, and the materiality of the Light and Space movement to advance an entirely new definition of painting. Poignantly put by Michael Fried in 1966, “the possibilities which Davis [was] able to realize” in his works not only seemed “scarcely imaginable,” but “[opened] up…the future of painting.”

Fried, Michael. “Ronald Davis: Surface and Illusion.” Artforum, vol. 5, no. 8, 1967.

Kessler, Charles. “Ronald Davis Paintings 1962 – 1976.” Ronald Davis, Paintings, 1962 – 1976. Oakland Museum of Art, 1976.

“Ron Davis.” Laguna Art Museum, lagunaartmuseum.org/artist/ron-davis/.

Davis, Ronald. “A Painting’s Just Gotta Look Better Than the Wallpaper.” Ronald Davis: Forty Years of Abstraction: 1962–2002, Butler Institute of American Art, 2002.

Rose, Barbara. “Ronald Davis: Objects and Illusions.” www.irondavis.com/c_words/ c1_cat_essys/d16_rose_cat_essy.htm.

73 RONALD DAVIS

Three Corners Slab (from Small Slab Series) 1969 Molded polyester resin and fiberglass LAMA would like to thank the artist for his assistance in cataloguing this work 47.375" x 94" x 1.75" (120 x 239 x 4 cm)

$20,000–30,000

74 CHARLES ARNOLDI Untitled

1988 Acrylic on wood Signed and dated in black paint verso; retains artist studio label verso 24" x 21" x 3" (61 x 53 x 8 cm)

$6,000–9,000

75 CHARLES ARNOLDI Untitled (S.B.)

1986 Monoprint on two sheets of paper Unique Printed by Garner Tullis Workshop, Santa Barbara Signed in graphite lower right edge of left sheet; inscribed “S.B.” and dated “7/13/1986” to lower left edge of right sheet; inscribed “A.” to lower right edge of right sheet Sheets (overall): 44" x 60.25" Frame: 52.25" x 68.75" (Sheets: 112 x 153 cm)

$4,000–6,000

23

76 JONATHAN BOROFSKY Man with a Briefcase No. 3274682

1990 Unique woodcut with collage on handmade paper From a series of 58 unique woodcuts Published and printed by Gemini G.E.L., Los Angeles Signed in graphite lower left edge of sheet; stamped “JB90-170/ Gemini G.E.L. 1990/Los Angeles, Calif.” and inscribed “#7” backing board verso Gemini G.E.L. #7.65 Together with Glenn Dash Gallery announcement and original invoice from Glenn Dash Gallery dated December 29, 1990 Image/sheet: 90.25" x 38" Frame: 91.375" x 38.75" (Image/sheet: 229 x 97 cm) P ROVENA NC E Glenn Dash Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1990)

$7,000–10,000

77 WOODS DAVY Ocotillo

1989 Steel and stones on granite pedestal Signed and dated to base 58" x 19" x 14" (including base) (147 x 48 x 36 cm)

$4,000–6,000

25

78 LADDIE JOHN DILL Buffalo Portal 1982 Bronze Artist’s proof aside from the edition of 6 Published by Landfall Press, Chicago Etched signature with date and edition along lower left edge 23.625" x 15.75" x 2" (60 x 40 x 5 cm) P ROV E NANC E Private Collection, Beverly Hills, California (acquired directly from the artist, 1983)

$1,000–1,500

79 TONY BERLANT Untitled (House)

c. 1990 Metal collage on plywood with steel brads 8.5" x 7.25" x 6" (22 x 18 x 15 cm) P ROVENA NC E Gerald Peters Gallery, Santa Fe, New Mexico; Private Collection, Las Vegas, Nevada (acquired directly from the above)

$3,000–5,000

80 TONY BERLANT

Low Mileage Blonde 2011 Metal collage on plywood with steel brads 10.625" x 10.5" x 8" (27 x 27 x 20 cm) P ROVENA NC E Nyehaus, New York, New York; Private Collection (acquired directly from the above); Private Collection, San Miguel de Allende, Mexico (acquired directly from the above through Sotheby’s, New York, New York, September 25, 2013, lot 100)

$6,000–8,000

81 TONY BERLANT

Mistaken by the F.B.I.–Gallup, New Mexico #14 1992 Found metal collage on plywood with steel brads Signed, titled, and dated “#14– 1992” in felt-tip marker verso; retains Louver Gallery, L.A. Louver, and Gerald P. Peters labels verso 25.25" x 32" (64 x 81 cm) P ROV E NANC E L.A. Louver Gallery, Los Angeles, California; Private Collection, Las Vegas, Nevada (acquired directly from the above, 1993)

$4,000–6,000

27

82 LARRY BELL VSE 51

1982 Torn paper collage and vaporized metal on paper Signed and dated in graphite lower center edge of sheet; inscribed “VSE 51” frame verso Composition/sheet: 13.5" x 10.25" Frame: 14.25" x 11.25" (Composition/sheet: 34 x 26 cm)

$3,000–5,000

83 LARRY BELL SMVD #79

1989 Mixed-media on paper Signed and dated in graphite lower right beneath composition; inscribed “SMVD #79” frame verso; retains Galerie Montenay label frame verso Composition/sheet: 13.25" x 10" Frame: 16.25" x 12.25" (Composition/sheet: 34 x 25 cm)

$1,500–2,000

84 LARRY BELL SMVD #43

1989 Mixed-media on paper Signed and dated in graphite lower center sheet; inscribed “SMVD #43” frame verso; retains Galerie Montenay label frame verso Composition/sheet: 18" x 12" Frame: 20.25" x 16.25" (Composition/sheet: 46 x 30 cm)

$2,000–3,000

85 LARRY BELL

Untitled (Vapor Drawing) 1978 Vaporized metal on Arches 88 paper Signed and dated in graphite lower center edge of sheet Together with copy of letter from the artist and copies of two invoices from the artist dated August 9 and August 11, 1978 Composition/sheet: 42" x 30" Frame: 44" x 31.375" (Composition/sheet: 107 x 76 cm)

$6,000–8,000

29

Ed Moses’s Hegemann Series In 1970, Ed Moses was to be featured in an exhibition at Mizuno Gallery. Having been told that he “could do anything in her gallery,” even “take the roof off,” Moses decided to do just that.

For the first time venturing into the environmental inquiries of the Light and Space artists who surrounded him, Moses sought to create a “container of light and shadow” as sunlight that spilled into the gallery space. Exposing one-by-four slats in the ceiling, the resulting shadows cast a grid configuration onto the canvas spread across the floor, revealing a “drawing created by light,” and outlining what would become Moses’s signature composition. As the character of the work variably responded to the changing conditions of natural light, this event-like work allowed Moses to more fully explore the notion of time, which he had previously been limited in expressing. While still resistant to the period’s gravitation toward three-dimensional and spatial renderings, Moses sought a mediation between traditional abstract painting and more experimental mediums. The new plastic technologies, that gained popularity amongst Moses’s friends and produced the “Finish Fetish” style, made this bridge possible.

Trading Days (1963), Elizabeth Hegemann. Drawing upon his early experience as a draftsman and reflecting his ongoing interest in architectural practices, Moses snapped red, green, or blue chalk lines and affixed simple masking tape on unstretched canvas to imitate the “lazy lines” present in traditional weaves.

He then poured resin through the back of the canvas, allowing it to permeate the cloth and solidify the markings on the other side. The set resin spread several inches beyond the edges of the canvas, creating a frame-like border for the grid imagery.

The resin’s caramel color, which produced blotchy rings and patterns as it soaked through the fabric, supplied a sense of age to the works and further alluded to Indigenous material culture through its resemblance to leather hides. This new type of painting harnessed both light and tactility within a flat plane.

Moses soon abandoned this form when it was found that liquid resins were highly toxic, but the brief Hegemann series offers an informative demonstration of his artistic flexibility. In works such as works such as Untitled (1971) (lot 86), the painter engaged the material experimentation of his contemporaries, while maintaining the formal mandates of abstract expressionism.

Concurrently, Tony Berlant introduced the Ferus Gallery circle to Indigenous textiles that he had acquired while in New Mexico.

Moses took particular interest in Navajo chief blankets and was taken with their patterns. Shortly after his Mizuno Gallery exhibition, Moses began working on the Hegemann series, named for the photographer and author of the book Navaho

Drohojowska-Philp, Hunter. “The Explorer.” Art & Antiques, Oct. 2014.

Yau, John. “Painting and Deconstructing, 1969-77.” Ed Moses: a Retrospective of the Paintings and Drawings, 1951-1996, Museum of Contemporary Art, 1996, pp. 27–29.

Samet, Jennifer. “Beer with a Painter, LA Edition: Ed Moses.” Hyperallergic, 31 July, 2015, hyperallergic.com/224449/beer-with-a-painter-la-edition-ed-moses/.

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

86 ED MOSES Untitled

1971 Powdered pigment, acrylic, and resin on canvas Initialed in graphite verso LAMA would like to thank the Ed Moses Estate for their assistance in cataloguing this work 83" x 113.375" (211 x 288 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$30,000–50,000

31

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

87 ED MOSES

Untitled (from Mutation Series) c. 1979 Acrylic on canvas mounted to panel LAMA would like to thank the Ed Moses Estate for their assistance in cataloguing this work 23.75" x 89" (60 x 226 cm) P ROVENA N C E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$15,000–20,000

88 ED MOSES Untitled

1988-1989 Acrylic and shellac on Washi paper Initialed and dated in graphite lower right sheet Composition/sheet: 32.125" x 24.25" Frame: 42.25" x 34.125" (Composition/sheet: 82 x 61 cm)

$4,000–6,000 THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

89 ED MOSES

Untitled (Abstract Drawing) 1978 Graphite, charcoal, and masking tape on board Signed in graphite lower right margin beneath composition; retains James Corcoran Gallery label verso LAMA would like to thank the Ed Moses Estate for their assistance in cataloguing this work Composition: 24.125" x 24.125" Sheet (vis.): 31.625" x 25.625" Frame: 32.5" x 26.375" (Composition: 61 x 61 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$4,000–6,000

33

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

90 JOE GOODE

Forest Fire #64 1983 Oil on canvas in three parts Center panel signed to canvas stretcher bar verso; left and right panels inscribed “64” to canvas stretcher bars verso; each retains James Corcoran Gallery label verso; center panel retains Charles Cowles Gallery label canvas stretcher bar verso LAMA would like to thank the Joe Goode Studio for their assistance in cataloguing this work Canvas (overall): 66" x 168.5" Frame (overall): 67.25" x 170" (Canvas: 168 x 428 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$30,000–50,000

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

91 JOE GOODE

Tree #25 (A9) 1986 Oil on wood panel Signed, dated, and inscribed “25” verso; retains James Corcoran Gallery label verso LAMA would like to thank the Joe Goode Studio for their assistance in cataloguing this work Panel: 51.25" x 48" Frame: 53" x 50.25" (Panel: 130 x 122 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$12,000–15,000

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

92 JOE GOODE Tree #11

1986 Oil on linen Retains Holly Solomon Gallery and two James Corcoran Gallery labels verso LAMA would like to thank the Joe Goode Studio for their assistance in cataloguing this work Linen: 28.25" x 22" Frame: 30.375" x 24.25" (Linen: 72 x 56 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$8,000–12,000

35

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

93 BILLY AL BENGSTON Manhattan Moon

1987 Acrylic on canvas mounted to panel Retains James Corcoran Gallery label panel verso 72" x 84" (183 x 213 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$12,000–18,000

94 BILLY AL BENGSTON August Watercolor

1987 Mixed-media on paper Initialed, dated, and inscribed “Honolulu/August 1987” in graphite lower center sheet; retains Artist Studio label verso Composition/sheet: 14.875" x 22.75" Frame: 23.5" x 31.5" (Composition/sheet: 38 x 58 cm)

$3,000–5,000

37

95 BILLY AL BENGSTON Mourning Cloak 1999 Acrylic on canvas Retains Artist Studio label verso Canvas: 7" x 5" Frame: 9.125" x 7.125" (Canvas: 18 x 13 cm)

$2,000–3,000

96 BILLY AL BENGSTON Turkey Dracula

1973 Watercolor on paper Initialed, dated, and inscribed “Venice” lower center edge of sheet Composition/sheet: 15.5" x 15.625" Frame: 22.75" x 22.75" (Composition/sheet: 39 x 40 cm)

$3,000–5,000

97 BILLY AL BENGSTON

Players Dracula Noveno 1968 Lithograph on paper #6 of 20 Initialed with edition lower right edge of sheet Image/sheet: 5.25" x 5.125" Frame: 16.625" x 13.75" (Image/sheet: 13 x 13 cm)

$1,500–2,000

98 LARI PITTMAN Untitled #11

2003 Matte oil, aerosol lacquer, and cel-vinyl on gessoed paper Retains Regen Projects label frame verso Composition/sheet: 29" x 22.875" Frame: 31.625" x 25.625" (Composition/sheet: 74 x 58 cm) P ROV E NANC E Regen Projects, Los Angeles, California; Private Collection, Las Vegas, Nevada (acquired directly from the above)

$5,000–7,000

39 99 ROY DOWELL

Untitled (#892) 2003 Acrylic and burlap on canvas Signed, titled, and dated in graphite canvas verso; retains Margo Leavin Gallery label canvas stretcher bar verso 26" x 20" (66 x 51 cm) P ROV E NANC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Las Vegas, Nevada (acquired directly from the above)

$1,500–2,000

100 STURTEVANT

Study for Warhol’s Marilyn 1965 Acrylic and screenprint inks on canvas Signed, titled, and dated canvas verso Together with books Sturtevant: The Brutal Truth (2004); Sturtevant–Drawing Double Reversal (2014); Under the Sign of [SIC]: Sturtevant’s Volte-Face (2013); Sturtevant: Push and Shove (2005) (2); and Sturtevant: Double Trouble (2014) 20" x 16.125" (51 x 41 cm) P ROVENA NC E Private Collection, Houston, Texas; Private Collection (acquired directly from the above, c. 1977)

$400,000–600,000

Sturtevant: Repetition and Redefinition While often misunderstood during her lifetime, Elaine Sturtevant (most commonly referred to simply as Sturtevant) has become the subject of great critical affection over the past decade. In 2014, the Museum of Modern Art, New York organized “Sturtevant: Double Trouble,” the first American retrospective of her five decade-long career. Together with the exhibition’s subsequent presentation at the Museum of Contemporary Art, Los Angeles, this was the only institutional showcase of her work in the United States since her breakout show at the Everson Museum of Art in 1973.

As a conceptual artist, Sturtevant shared the ideology of her contemporaries, which argued that the thought behind a work superseded its “optical experience.” Interested in the systems that drive modern art production, Sturtevant began “repeating” other artists’ seminal works in 1964, starting with works by Jasper Johns, Frank Stella, and Andy Warhol, specifically his Flowers paintings, which he had only begun producing that same year, and for which he lent Sturtevant the original screens. One of the most important qualifications of this practice was its defiance of mere copying. Instead, through close reading of her sources, Sturtevant created ‘works of works’ to examine the cultural function and “stylistic branding” of the originals themselves, calling into question the value of the art object. Working in what some described as a ‘parafictional’ genre, Sturtevant’s paintings, films, photographs, performances, and sculptures appear to perform one function on their surface, but in actuality operate in a very different capacity. This style “lays conceptual traps” for the viewer. In Sturtevant's case, her works momentarily masquerade as the originals. Upon closer inspection however, the intentional differences between her ‘repetitions’ and their forebearers, “jolt” the viewer with subtle differences that highlight ideas of identity and originality. By referencing and thus reinforcing the familiar signifiers of prominent artists, such as Jasper Johns’s flags and Andy Warhol’s Marilyns, Sturtevant sought to complicate her viewers’ automatic response to the image.

For many, Sturtevant’s repetitions represented a “dangerous” attack on the mechanisms that affirmed artistic authority and drove the art market. As a result, many prominent artists, collectors, and institutions refused to associate with her. Sturtevant’s relationship with Warhol, however, remained one of her most amicable ones. As a member of Rauschenberg’s circle in the early 1960s, Sturtevant had the opportunity to petition Warhol for access to the Marilyn screens that he had begun producing in 1962, as he had for Flowers. Eventually Warhol agreed to give her “whatever Marilyn [she] wanted,” but this failed to materialize. By what she described as a “one in a million chance,” Sturtevant

found the original publicity photo of Marilyn Monroe from the film Niagara (1953) that Warhol had used for his own series.

She then took the image to “Andy’s silkscreen man” and replicated Warhol’s original screen. Because Warhol himself had made a career out of “lifting” images, he never resisted her project, though Sturtevant stated that she believed that rather than understanding her intentions “…[Warhol] didn’t give a f***. Which is a very big difference, isn’t it?”

Sturtevant would go on to make over thirty iterations of the central Marilyn image, including this early example from 1965, Study for Warhol’s Marilyn (lot 100), which has been in the same private collection since around 1977.

Attracted to source works that themselves elicited strong and at times even violent reactions, Warhol’s Marilyn presented a prime target for Sturtevant’s manipulation.

Her engagement of the image was made even more “provocative” by its temporal proximity to Warhol’s original production. Described as a “feedback loop” of Pop art’s concern with celebrity, iconography, and gender, the efficacy of Sturtevant’s Marilyn series lies in the artist’s reenactment of Warhol’s own process of reiteration. As she put it: “The Abstract Expressionists were all about emotion, and the Pop artists all surface. That got me into thinking. What’s underneath?” As Warhol’s original series had taken up America’s fetishization of Marilyn Monroe’s demise and the “hollowing out” of the fated starlet’s identity through her overexposure, so Sturtevant considered the same hollowing out of both Warhol’s Marilyn image and his own artistic persona through over-distribution. Sturtevant suggested that the image’s proliferation displaced the primacy of the original articulation, rendering the authentic work valueless as an object. Given this framing, the artist insisted that her own art objects bore no significance or weight beyond their referential function.

During her lifetime Sturtevant rejected outside attempts to contextualize her repetition work, dispelling gendered readings of her process, as well as associations with both Pop and Appropriation art. It has been observed, however, that without Sturtevant’s deeply theoretical practice, Appropriation art would never have been able to seize a valid position in the American art dialogue. By redefining originality, artistic identity, and the ideological location of the art object, Sturtevant brought about “a decisive moment” in the history of art.

Lee, Patricia. Sturtevant, Warhol Marilyn. Afterall Books, 2016.

Eleey, Peter. “Dangerous Concealment: The Art of Sturtevant.” Sturtevant: Double Trouble. The Museum of Modern Art, New York, 2014.

Bagley, Christopher. “Sturtevant: Repeat Offender.” W Magazine, May 8, 2014.

41

101 ANDY WARHOL

The Shadow (from Myths) 1981 Screenprint on Lenox Museum Board #3 of 5 E.P. aside from the edition of 200 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower right edge of sheet; retains printer’s blind stamp lower right F/S #II.267 Image/sheet: 38" x 38" Frame: 43.875" x 43.875" (Image/sheet: 97 x 97 cm) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.267.

$30,000–50,000

43

102 ANDY WARHOL Flowers

1964 Offset lithograph on paper From an edition of approximately 300 Published by Leo Castelli Gallery, New York; printed by Total Color, New York Signed and dated in black ink lower right margin beneath image; retains Adele Bednarz Galleries label frame verso F/S #II.6 Together with frame Image: 22" x 22" Sheet: 23" x 23" (Image: 56 x 56 cm) LIT E RAT URE Andy Warhol Prints: A Catalogue RaisonnĂŠ. 4th ed. F. Feldman and J. Schellmann. 2003. #II.6.

$12,000–18,000

103 ANDY WARHOL

Giant Panda (from Endangered Species Portfolio) 1983 Screenprint on Lenox Museum Board #112 of 150 Published by Ronald Feldman Fine Arts, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition lower left edge of sheet; retains printer’s blind stamp lower left edge of sheet F/S #II.295 Together with copy of invoice from Silver Echo Gallery dated March 13, 2009 Image/sheet: 38" x 38" Frame: 44.25" x 44.25" (Image/sheet: 97 x 97 cm) P ROVENA NC E Silver Echo Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2009) LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.295.

$20,000–30,000

45

104 ANDY WARHOL

Marilyn (Castelli Graphics Invitation) 1981 Offset color lithograph on wove paper Published by Castelli Graphics, New York; printed by Colour Editions, Inc., New York Signed in black felt-tip marker along right edge of sheet Not in F/S Sheet: 12" x 12" (30 x 30 cm) This is an announcement for the exhibition “Andy Warhol: A Print Retrospective 1963-1981,” held at Leo Castelli Gallery, New York.

$7,000–10,000

105 ROY LICHTENSTEIN

Reflections on a Conversation (from Reflections)

Signed and dated with edition in graphite lower center right margin beneath image; retains Tyler Graphics blind stamp lower right edge of sheet

1990 Lithograph, screenprint, woodcut, and metalized PVC collage with embossing on mold-made Somerset paper

Image: 47.125" x 60.75" Sheet: 53.875: x 67" Frame: 58" x 71.125" (Image: 120 x 154 cm)

#25 of 68

Lichtenstein: A Catalogue Raisonné,

Published and printed by Tyler Graphics Ltd., Mt. Kisco

L I T E RAT U R E The Prints of Roy 1948-1993. 1st ed. M. Corlett. 1994. #240.

$80,000–120,000

106 VARIOUS ARTISTS One Cent Life

1964 Color lithographs on wove paper #1,006 of 2,000 Published by E.W. Kornfeld, Bern; printed by Maurice Beaudet, Paris Facsimile signature and red artist’s seal of Walasse Ting, Sam Francis, and E.W. Kornfeld to justification page Together with printed dust jacket and green cloth slip case Folded sheets each: 16.125" x 11.375" Full sheets each: 16" x 22.75" Slip case: 16.75" x 12" x 1.675" (Folded sheets each: 41 x 29 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Bonhams & Butterfields, San Francisco, California, November 6, 2007, lot 379)

$2,000–3,000

107 CLAES OLDENBURG Extinguished Match

1990 4-color lithograph on HMP Koller handmade white paper #5 of 58 Published and printed by Gemini G.E.L., Los Angeles Signed in graphite with Gemini G.E.L. blind stamps lower right corner; edition lower left Gemini G.E.L. #38.47 Image: 24.125" x 16.75" Sheet: 40.75" x 30.75" Frame: 43.75" x 34" (Image: 61 x 42 cm) LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #215.

$1,000–1,500

47

49 108 VARIOUS ARTISTS

Leo Castelli 90th Birthday Portfolio 1997; published 1998 The complete portfolio of nine prints in various mediums, colophon, dedication page, and cloth portfolio case #68 of 90 artist’s proofs aside from the edition of 90 Published by Jean-Christophe Castelli, New York Edition inscribed in Roman numerals to colophon; each sheet signed with edition in Roman numerals; some dated; Rosenquist titled Comprised of Leo (Jasper Johns); Blue (for Leo) (Ellsworth Kelly); Titled Quotation (for L.C.) (Joseph Kosuth); Interior with Chair (Roy Lichtenstein); Life Fly Lifes Flies (Bruce Nauman); Caucus (Robert Rauschenberg); The Flame Still Dances on Leo’s Book (James Rosenquist); “L.C.” (Ed Ruscha); Leo (Richard Serra) Sheets each: 37" x 27" (or alternate orientation) Portfolio case: 39" x 28.875" x 1.25" (Sheets each: 94 x 69 cm)

$30,000–50,000

109 FRANK STELLA York Factory II

1974 53-color screenprint on Arches Cover black paper #1 of 2 S.P. aside from the edition of 100 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right margin beneath image; retains Gemini G.E.L. blind stamps lower right edge of sheet Gemini G.E.L. #51.76 Image: 13.5" x 40.375" Sheet: 18.375" x 44.375" Frame: 20.75" x 46.5" (Image: 34 x 102 cm) LITERATURE The Prints of Frank Stella: A Catalogue Raisonné: 19671982. R. Axsom. 1983. #94.

$12,000–18,000

110 ELLSWORTH KELLY Dark Blue

2001 1-color lithograph on Rives BFK paper #45 of 45 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in graphite lower right margin beneath image; retains Gemini G.E.L. blind stamps lower left Gemini G.E.L. #28.243 Image: 27" x 19.875" Sheet: 30.625"x 24" Frame: 36" x 29" (Image: 69 x 50 cm) LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné. 2nd ed.

Vol. II. R. Axsom. 2012. #302.

$5,000–7,000

111 ELLSWORTH KELLY

Saint Martin Landscape 1976-1979 Lithograph and screenprint with collage on 350-gram Arches 88 paper and white Rives Satine paper #6 of 39 Published and printed by Tyler Graphics, Ltd., Bedford Signed lower right margin of sheet beneath image; edition lower left; Tyler Graphics blind stamp lower right edge of sheet Image: 15.375" x 22" Sheet: 26.875" x 33.625" (Image: 39 x 56 cm) LIT E RAT URE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #179.

$1,200–1,800

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THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

112 ROBERT RAUSCHENBERG

Sling-Shots Lit #6 (Black State) 1985 11-color lithograph and assemblage with a sailcloth, Mylar, a wooden lightbox, a fluorescent light fixture, aluminum, a moveable window shade system, and Plexiglas bars Printer’s proof II aside from the edition of 25 Published and printed by Gemini G.E.L., Los Angeles Signed, titled, and dated with edition on signature plaque on lower left side of lightbox Gemini G.E.L. #41.162 84.5" x 56.25" x 12.625" (215 x 143 x 32 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$12,000–18,000

113 JIM DINE

For Athena 1994 Cardboard intaglio on Arches Cover white paper #6 of 20 Printed by Spring Street Workshop, New York Signed and dated in graphite lower center sheet; edition lower left Image: 58.625" x 30.375" Sheet: 65.5" x 42.25" Frame: 71" x 47.25" (Image: 149 x 77 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Phillips, New York, New York, January 25, 2012, lot 86) LIT E RAT URE Jim Dine Prints: 19852000: A Catalogue Raisonné. E. Carpenter. 2000. #88.

$1,000–1,500

114 JIM DINE Historia

1971 Screenprint, lithograph, and etching with hand-painting in watercolor by the artist on Crisbrook Waterleaf paper #17 of 80 Published by Petersburg Press, London Signed and dated with edition in graphite lower center edge of sheet Image/sheet: 30.5" x 21.875" Frame: 35.625" x 27" (Image/sheet: 77 x 55 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian LIT E RAT URE Jim Dine, Prints: 197077. T. Krens. 1977. #150.

$1,000–1,500

53

115 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956; this example produced 1977 Model nos. 670 (chair) and 671 (ottoman) Each retains manufacturer’s label and upholstery tag stamped “Dec 13 1977” to underside Together with copy of invoice from Mahogany Row dated November 29, 1977 Chair: 31.75" x 33" x 33.75" Ottoman: 17" x 26" x 21" (Chair: 81 x 84 x 86 cm) P ROVENA NC E Mahogany Row, Culver City, California; Private Collection, La Crescenta, California (acquired directly from the above, 1977) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 206-207.

$4,000–6,000

116 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956; this example produced 1977 Model nos. 670 (chair) and 671 (ottoman) Each retains manufacturer’s label and upholstery tag stamped “Dec 14 1977” to underside Together with copy of invoice from Mahogany Row dated November 29, 1977 Chair: 32" x 33" x 33" Ottoman: 17.375" x 26" x 21" (Chair: 81 x 84 x 84 cm) P ROVENA NC E Mahogany Row, Culver City, California; Private Collection, La Crescenta, California (acquired directly from the above, 1977) LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 206-207.

$4,000–6,000

117 CHARLES & RAY EAMES Dining suite (9)

Herman Miller, designed 1964 (table); designed 1971 (armchairs) Model no. EC432 (armchairs) Chairs each retain impressed manufacturer’s stamp, Summit ‘S’ stamp, and remnants of manufacturer’s tag to underside; table retains manufacturer’s label to underside Comprised of a table and eight armchairs Table: 28" x 89.5" x 41.5" Armchairs each: 32" x 25" x 22" (Table: 71 x 227 x 105 cm) LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 293.

$5,000–7,000

55

118 GEORGE NELSON Cone clock

Howard Miller Clock Company, designed 1954 Model no. 2218 Retains manufacturer’s label to underside 7.25" x 6.25" x 6" (18 x 16 x 15 cm) LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 289.

$3,000–5,000

119 ATTRIBUTED TO WARD BENNETT I-Beam occasional table

Manufacturer unknown, designed c.

1968 14.125" x 20" x 20" (36 x 51 x 51 cm)

$1,500–2,000

120 WARREN PLATNER Dining table

Knoll International, designed 1966; this example produced later Model no. 3716 27.25" x 53.125" diameter (69 x 135 cm) LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 166-167.; Knoll Furniture Price List. Manufacturer cat.

June 1983. 168.

$3,000–5,000

121 JAMES PRESTINI #255

c. 1970 Nickel-plated steel Impressed signature and title to underside 32.5" x 14" diameter (83 x 36 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Bonhams, Los Angeles, California, October 27, 2014, lot 195)

$8,000–12,000

57

122 OSCAR NIEMEYER Dining table

Estel, designed 1985 29.75" x 88" x 45.125" (75 x 224 x 115 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired through Wright, Chicago, Illinois, December 3, 2006, lot 117) LITERATURE Designed by Architects in the 1980s. J. Capella and Q. Larrea. 1988.

122-123.

$7,000–10,000

123 EILEEN GRAY

Bibendum chairs (2) Aram Designs, designed 1926; these examples produced later Each: 28.75" x 38" x 31" (73 x 97 x 79 cm)

$2,500–3,500

Michael Graves’ Postmodern Classicism Despite having been lauded in the 1960s as one of the “New York Five,” a group of East Coast architects whose practices epitomized modernist ideals, Michael Graves is best known for the works born out of his postmodernist conversion. After finishing his master’s degree in architecture at Harvard, Graves was awarded the Rome Prize in 1960 by the American Academy in Rome. He went on to spend two years in Rome studying ancient ruins and methods of construction. Graves was enthralled by the “romantic spaces” created by their classical formulas and, in particular, by the nearly theatrical function of Roman columns as an inconspicuous framing device for the visual information held by their surrounding environment.

where Graves taught. The design is a clear nod to the classical iconography that Graves so admired, and which greatly influenced his postmodern designs. The piece was gifted to choreographer and fellow Princeton faculty member, Geulah Abrahams, after the conclusion of the production.

Anderson, Catherine. “Michael Graves.” Encyclopædia Britannica, 8 July 2019, www.britannica.com/biography/Michael-Graves.

Copeland, Roger. “Postmodern Dance Postmodern Architecture Postmodernism.” Performing Arts Journal, vol. 7, no. 1, 1983, pp. 27–43.

Graves, Michael. “Drawing With a Purpose, By Michael Graves.” The New York Times, 1 Sept. 2012, www.nytimes.com/slideshow/2012/09/02/opinion/sun-

Graves' custom table was executed in 1983 as part of the stage design for a dance production based on Igor Stravinsky’s “The Soldier’s Tale” at Princeton University,

day/20120902-Graves-Drawing.html.

Tomalonis, Alexandra. “Joffrey's Rousing 'Cakewalk'.” The Washington Post, 26 Feb. 1983.

124 MICHAEL GRAVES Table

Custom, executed 1983 Incised “Built by/Doug/Cooper/May ‘83” to underside Together with copy of CAD drawing 27.875" x 40.125" x 40.125" (71 x 102 x 102 cm) This piece was designed for the set of a production of Igor Stravinsky’s “The Soldier’s Tale” in May 1983 at Princeton University, which was choreographed by Geulah Abrahams.

P ROV E NANC E Geulah Abrahams, Princeton, New Jersey (acquired directly from the artist, 1983); Thence by descent LIT E RAT URE Michael Graves: Buildings and Projects 1982-1989. K. Vogel Nichols, et al., eds. 1990. 80.

$10,000–15,000

59

125 MARGARET DE PATTA Jewelry selection (25)

Studio, designed c. 1930-1946 Various mediums Some impressed with artist’s cipher, name, and medium markings Various dimensions Comprised of four pairs of earrings, five pins, three customized key chains, one pair of customized cufflinks, four hair combs, two wedding bands, and one cuff bracelet belonging to the artist P ROVENA NC E The artist; Thence by descent

$5,000–7,000

61

126 CANDIDA HĂ–FER

Kunsthal Rotterdam I 2000 Type-C photograph on paper mounted to paperboard #3 of 6 Signed in black ink verso; printed title, date, and edition on information label verso; retains Karyn Lovegrove Gallery label frame verso Image: 23.5" x 23.5" Board: 33.5" x 33.5" Frame: 34.625" x 34.625" (Image: 60 x 60 cm) This photograph was taken in the auditorium of the Kunsthal art museum in Rotterdam, The Netherlands, which was designed by Rem Koolhaas.

P ROVENA NC E Sonnabend Gallery, New York, New York; Karyn Lovegrove Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2002)

$8,000–12,000

63

127 JOEL MEYEROWITZ

Dinner Table, Dawn, Provincetown 1983; this example printed 1985 Chromogenic print Signed, titled, dated, and inscribed “Dinner Table/1983/”Dawn”/Joel Meyerowitz/1985/Frontispiece #2493/JZ2493-83-1” in black ink verso Image: 18.5" x 23.375" Sheet: 19.875" x 24" Mount: 28" x 32.5" (Image: 47 x 59 cm)

$3,000–5,000

128 WILLIAM CHRISTENBERRY

Taylor’s Place, near Greensboro, Alabama 1974; this example printed 2006 Digital pigment print on Hahnemühle photo satin paper #5 of 25 Printed by Adamson Editions, Washington, D.C. Signed, titled, dated, and inscribed “Printed 2006” with edition in graphite verso; retains Pace/ MacGill Gallery label frame verso Image: 6.625" x 10" Sheet: 11" x 14.125" Frame: 14.5" x 17.5" (Image: 17 x 25 cm) P ROVENA NC E Pace MacGill Gallery, New York, New York; Marc Selwyn Fine Art, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2007)

$2,000–3,000 THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

129 WILLIAM WEGMAN

Portfolio (Bad Dog, Dusted, Elephant) (3) 1988 Photo-screenprints of Polaroid color photographs on paper Each: #39 of 96 Published by Laddie John Dill, Los Angeles; printed by Wasserman Silk Screen Co., Santa Monica Each signed and dated in graphite lower right margin beneath image; edition lower left; each retains printer’s blind stamp lower right corner Together with cloth portfolio case and colophon Images each: 27.25" x 22.125" Sheets each: 32.875" x 26" Portfolio case: 33.5" x 26.75" x 1" (Images each: 69 x 56 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$3,000–5,000

65

130 COLE WESTON

Think of Color as Form Portfolio 1983-1988 The complete portfolio of 10 Cibachrome prints Each signed and dated to the mount; each titled and dated mount verso Comprised of Punts, Le Quesnoy, France (1983); Pump, Arles, France (1983); Nude and Lava, Hawaii (1983); Hawaii (1983); Kelp, Point Lobos (1985); Tar, North Carolina (1985); Nacimiento River (1986); Eroded Rock, Bean Hollow Beach (1986); Combine, Missouri (1987); and Nude, Hawaii (1988) Images each: Various dimensions Mounts each: 22" x 28" (or alternate orientation) Frame: 22.25" x 28.25" Portfolio box: 22.5" x 28.5" x 1.25" (Mounts each: 56 x 71 cm)

$3,000–5,000

131 WILLIAM EGGLESTON

Plate 10 (from William Eggleston’s Graceland) 1983-1984 Dye transfer print #21 of 31 Published by Middendorf Gallery, Washington, D.C. Signed with edition and plate information verso Image: 14.375" x 22" Sheet: 20" x 23.625" Frame: 23" x 29" (Image: 36 x 56 cm) LITERATURE William Eggleston: Democratic Camera, Photographs and Video, 1961-2008. Whitney Museum of American Art exh. cat.

2008. Pl. 101.

$5,000–7,000

132 WILLIAM EGGLESTON

Plate 8 (from William Eggleston’s Graceland) 1983-1984 Dye transfer print #21 of 31 Published by Middendorf Gallery, Washington, D.C. Signed with edition and plate information verso Image: 14.625" x 22" Sheet: 20" x 23.875" Frame: 23" x 29" (Image: 37 x 56 cm) LITERATURE William Eggleston: Democratic Camera, Photographs and Video, 1961-2008. Whitney Museum of American Art exh. cat.

2008. Pl. 100.

$5,000–7,000

133 WILLIAM EGGLESTON

Plate 11 (from William Eggleston’s Graceland) 1983-1984 Dye transfer print #2 of 31 Published by Middendorf Gallery, Washington, D.C. Signed with stamped date, plate information, and edition verso Image: 14.5" x 22" Sheet: 20" x 23.625" Frame: 23" x 29" (Image: 37 x 56 cm)

$5,000–7,000

134 WILLIAM EGGLESTON

Plate 6 (from William Eggleston’s Graceland) 1983-1984 Dye transfer print #21 of 31 Published by Middendorf Gallery, Washington, D.C. Signed with edition and plate information verso Image: 22.125" x 14.625" Sheet: 23.875" x 20" Frame: 29" x 23" (Image: 56 x 37 cm)

$5,000–7,000

135 WILLIAM EGGLESTON

Plate 1 (from William Eggleston’s Graceland) 1983-1984 Dye transfer print #19 of 31 Published by Middendorf Gallery, Washington, D.C. Signed with stamped date, plate information, and edition verso Image: 22.125" x 14.75" Sheet: 23.875" x 20.125" Frame: 29" x 23" (Image: 56 x 37 cm)

$5,000–7,000

67

136 GARRY WINOGRAND

Centennial Ball, Metropolitan Museum, New York (from Women Are Beautiful) 1969; this example printed c. 1981 Gelatin silver print #29 of 80 Co-published by RFG Publishing and Robert Freidus Gallery, New York Signed with edition in graphite sheet verso; retains Jan Kesner Gallery label frame verso Image: 8.75" x 13" Sheet: 11" x 13.875" Frame: 14.5" x 18.75" (Image: 22 x 33 cm) P ROVENA NC E Jan Kesner Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2005)

$2,000–3,000

137 BERENICE ABBOTT S.S. Normandie

c. 1934; this example printed later Gelatin silver print #40 of 40 Signed in graphite to mount lower right beneath image; edition lower left Image: 6.625" x 9" Mount (vis.): 8.25" x 10" Frame: 15.25" x 17.25" (Image: 17 x 23 cm) P ROV E NANC E Jeffrey Steinberg, La Verne, California; Private Collection, Los Angeles, California (acquired directly from the above through Santa Monica Auctions, Santa Monica, California, June 6, 2010, lot 1) LIT E RAT URE Berenice Abbott: Changing New York. B. Yochelson.

1997. 375.

$1,500–2,000

138 VIK MUNIZ

Brooklyn, NY 1998 Gelatin silver print From an edition of 50 Signed and dated in black ink lower right margin beneath image; titled lower left Image: 6.125" x 9.375" Sheet: 8" x 10" Frame: 11" x 13" (Image: 15 x 24 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through AIDS Community Research Initiative of America (ACRIA) Benefit Auction, New York, New York)

$1,000–1,500

69

139 JULIUS SHULMAN

Case Study House #22 1960; this example printed later Gelatin silver print Signed in graphite verso Image: 14.75" x 12.125" Sheet: 19.875" x 16" (Image: 37 x 31 cm) LITERATURE Birth of the Cool: California Art, Design, and Culture at Midcentury. E. Armstrong. 2007.

34-35.

$4,000–6,000

71

140 JULIUS SHULMAN Kaufmann House

1947; this example printed later Gelatin silver print Signed and dated in graphite lower right margin beneath image; inscribed “Richard Neutra, Kaufmann, Palm Springs” in graphite lower left; retains Marc Selwyn Fine Art and Craig Krull Gallery labels verso Image: 15.875" x 19.875" Sheet (vis.): 16.625" x 20.375" Frame: 23.375" x 27.125" (Image: 40 x 50 cm) LIT E RAT URE Birth of the Cool: California Art, Design, and Culture at Midcentury. E. Armstrong. 2007. 34.

$3,000–5,000

LAMA would like to thank Gail Reynolds Natzler for her assistance in cataloguing these five lots.

141 GERTRUD & OTTO NATZLER Cylindrical bowl

Studio, executed c. 1950 Chartreuse glazed ceramic Signed “Natzler” 5.375" x 7.625" diameter (13 x 19 cm) P ROVENA NC E Private Collection, West Coast; Private Collection, Beverly Hills, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, December 16, 2012, lot 173)

$4,000–6,000

142 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1955 Lapis crystalline glazed ceramic Signed “Natzler” and retains Natzler inventory label “G839” Natzler archives identification #G839 1.5" x 5" diameter (4 x 13 cm) This example bears three dots in addition to the signature, indicating this was an experimental glaze. This example was one of only three pieces ever made using this particular glaze formula.

P ROVENA NC E Edwin A. Lipps, Los Angeles, California (gifted directly by the artist, c. 1955); Thence by descent

$2,500–3,500

143 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1961 Sky and Clouds light blue glazed ceramic Signed “Natzler” and retains Natzler inventory label “L781” Natzler archives identification #L781 2.625" x 4.5" diameter (7 x 11 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Bonhams, Los Angeles, California, April 16, 2012, lot 2382)

$2,500–3,500

144 GERTRUD & OTTO NATZLER Round bowl

Studio, executed c. 1945-1950 Gray opal glazed ceramic Signed “Natzler” 2.5" x 4" diameter (6 x 10 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Bonhams, Los Angeles, California, April 16, 2012, lot 2383)

$2,500–3,500

145 GERTRUD & OTTO NATZLER Bowl with inverted rim

Studio, executed 1948 Tiger Eye reduction glazed ceramic Signed “Natzler” Natzler archives identification #A071 3.25" x 5.875" diameter (8 x 15 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Bonhams, Los Angeles, California, April 16, 2012, lot 2384)

$3,000–5,000

73

146 PETER VOULKOS Vase

Studio, executed c. 1954 Glazed stoneware Signed LAMA would like to thank Sam Jornlin of Voulkos & Co. for her assistance in cataloguing this work 24" x 8.375" diameter (61 x 21 cm) P ROVENA NC E Private Collection, Palos Verdes Estates, California; Private Collection, Palos Verdes Estates, California (acquired directly from the above)

$8,000–10,000

VERSO DETAIL

147 PETER VOULKOS Bird plate

Studio, executed c. 1956 Partially glazed stoneware Signed to underside 17" x 16.5" (43 x 42 cm)

$4,000–6,000

148 JOEL EDWARDS Covered pot

Studio, executed c. 1960 Glazed ceramic Signed 9.625" x 7.875" diameter (24 x 20 cm)

$800–1,200

149 JOHN MASON Bowl

Studio, executed c. 1957 Painted and glazed stoneware Signed 4.75" x 14.625" diameter (12 x 37 cm)

$2,500–3,000

150 PAUL SOLDNER Covered pot

Studio, executed c. 1955 Glazed ceramic Signed 14.125" x 9.375" diameter (36 x 24 cm)

$1,500–2,000

151 RAUL CORONEL Bowl

Studio, executed c. 1970 Glazed stoneware Signed 4.875" x 12.375" diameter (12 x 31 cm)

$1,500–2,000

75

152 ROBERT MOTHERWELL

Mask (from Ingmar Bergman) 1989 15-color lithograph on white TGL handmade paper #6 of 62 Published and printed by Tyler Graphics Ltd., Mt. Kisco Signed with edition in graphite lower center edge of sheet; retains Tyler Graphics blind stamp lower right edge of sheet; retains remnant of unknown label frame verso Image/sheet: 52.5" x 41.75" Frame: 63.5" x 53" (Image/sheet: 133 x 106 cm) LITERATURE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #474.

$7,000–10,000

153 ROBERT MOTHERWELL

Soot-Black Stone #2; Soot-Black Stone #6 (2) 1974-1975 1-color lithographs on Georges Duchêne Hawthorne of Larroque handmade paper Soot-Black Stone #2: #4 of 47; Soot-Black Stone #6: #11 of 50 Published and printed by Gemini G.E.L., Los Angeles Soot-Black Stone #2: Signed with edition lower right margin beneath image; retains Gemini G.E.L. and artist’s blind stamps lower right corner; Soot-Black Stone #6: Signed with edition in graphite lower right edge of sheet; retains Gemini G.E.L. and artist’s blind stamps lower right corner Gemini G.E.L. #34.15 and #34.19 Soot-Black Stone #2: Image: 29.875" x 18" Sheet: 35.5" x 23.75" Frame: 45.25" x 33.5" Soot-Black Stone #6: Image: 30" x 11.875" Sheet: 35.5" x 18.375" Frame: 45.5" x 28" (Soot-Black Stone #2 image: 76 x 46 cm) LIT E RAT URE Robert Motherwell: The Complete Prints 1940-1991: Catalogue Raisonné. S. Engberg and J. Banach. 2003. #163, #167.

$2,000–3,000

77

154 EMERSON WOELFFER Aspen A

1951 Oil and collage on canvas Signed and dated lower right edge of canvas; signed canvas verso; titled to canvas stretcher bar verso Canvas: 35.875" x 24" Frame: 36" x 24.25" (Canvas: 91 x 61 cm)

$8,000–12,000

155 EMERSON WOELFFER Collage for Satie

1978 Torn paper collage on paper Signed and dated lower right in composition; signed, titled, and dated frame verso Composition: 24" x 18" Sheet: 30" x 22.125" Frame: 31.375" x 23.75" (Composition: 61 x 46 cm) P ROV E NANC E Private Collection, Palm Desert, California (acquired directly from the artist)

$2,000–3,000

156 EMERSON WOELFFER Untitled

1999 Oil stick on black paper Initialed and dated lower right edge of sheet; inscribed “ML” upper right Composition/sheet: 30.125" x 22.25" Frame: 34" x 25.875" (Composition/sheet: 76 x 56 cm) P ROV E NANC E Private Collection, Palm Desert, California (acquired directly from the artist)

$1,500–2,000

79

157 EMERSON WOELFFER Head

1947 Oil on canvas Signed and dated upper right edge of canvas; signed, titled, and dated canvas verso; retains The Artist’s Gallery and Manny Silverman Gallery labels frame verso Canvas: 18" x 15.125" Frame: 24.5" x 22" (Canvas: 46 x 38 cm) P ROVENA NC E Gerald Norland, Chicago, Illinois (acquired directly from the artist); Private Collection, Los Angeles, California

$10,000–15,000

81

158 EMERSON WOELFFER Untitled

c. 1951 Acrylic on Masonite Retains Hackett Freedman Gallery and Manny Silverman Gallery labels frame verso Masonite: 23.875" x 33.125" Frame: 26" x 35.375" (Masonite: 60 x 84 cm) P ROV E NANC E Private Collection; Private Collection, Los Angeles, California (acquired directly from the above through Skinner, Marlborough, Massachusetts, September 7, 2007, lot 763)

$5,000–7,000

“I liked the whole idea of incompleteness, but you could really figure the whole thing out from one of the bits."

-John Baldessari

159 JOHN BALDESSARI

Sketch for Fragment 1966 Acrylic on canvas Signed, titled, and dated “9-16-66” upper center edge of canvas 12.125" x 12.25" (31 x 31 cm) P ROVENA NC E Robert Matheny, San Diego, California (acquired directly from the artist); Cardwell Jimmerson Contemporary Art, Los Angeles, California; Dranoff Fine Art, New York, New York; Private Collection, Los Angeles, California EXHIBITE D “Southwestern College Faculty Art Exhibit,” Southwestern College, Chula Vista, October 3-28, 1966; “John Baldessari and Robert Matheny: Wholes & A Sum of Parts,” Purcell Art Gallery, Chapman College, Santa Ana, February 21-March 16, 1968; “San Diego and the Origins of Conceptual Art in California,” Cardwell Jimmerson Contemporary Art, Los Angeles, February 24-April 11, 2009 ILLUSTRAT E D “Baldessari: Knowledge is Fragmentary.” A. Kietzmann.

San Diego Union. Apr. 10, 1966. E7.; John Baldessari Catalogue Raisonné Volume One: 1956-1974. R. Dean and P. Pardo, eds. 2012. #1966.6.

$90,000–120,000

John Baldessari: Early Paintings Born in National City, California in 1931, John Baldessari would go on to become one of the most important artists of the Conceptual art movement. After receiving his bachelor’s degree from San Diego State College in 1953, Baldessari pursued post-graduate work at UC Berkeley, UCLA, the Otis Art Institute, and the Chouinard Art Institute. Upon returning to the San Diego area, Baldessari found the environment initially dismissive of any intention to pursue a serious career as an artist. Having expressed an early interest in art criticism, and having previously worked towards a degree in art history while at Berkeley, Baldessari set his sights on arts education with an emphasis on art history and critical writing. “I thought I would live in National City forever,” he recalled, “teach, maybe have a family, and do my art on the weekends.” Though initially a compromise, this launched a teaching career that would last nearly thirty years. After working briefly in Los Angeles, he found the “brawny, pugnacious L.A. art scene” unconducive for his practice. Baldessari soon became involved with the art department of the newly established Southwestern College in Chula Vista after returning to the “more congenial” group of artists working in San Diego.

In November and December of 1961, Baldessari’s non-representational paintings and drawings were featured in the inaugural exhibition of the school’s gallery, which was spearheaded by one of the Southwestern College's original hires in the art department, artist Robert Matheny, to whom lot 159, Sketch for Fragment (1966), formerly belonged. This show was credited with setting the “controversial” tone of the gallery program and the school’s art department. By 1965, Baldessari had been brought on as a full-time faculty member.

During his tenure there, the line between making art and teaching started to blur. "I found it very much the same,” he said, “I am getting essentially the same message out, I hope.”

Sketch for Fragment, specifically, occupies an interesting temporal place in Baldessari’s development as an artist. As the spring of 1966 bookended the pre-breakthrough phase of Baldessari’s career, this work shows the artist’s evolving attitudes towards his practice. Inspired by the visual and literary achievements of Dadaism and Surrealism, Baldessari found fragments “of more interest than the whole.” He made a habit of extracting snippets of overheard conversations for later use in his works, understanding these slivers as a Saussurean type of raw material. Before enacting this text-based method however, Baldessari seems to have experimented with the visual application of this ‘extraction’ in Sketch for Fragment. At the same time, the artist was becoming increasingly interested in “what was outside the depicted image.” He seems to have approached this inquiry, which would lead to his “Art Lesson” series in 1967, in his deliberate representation of the debris of his artistic process.

In addition to featuring the unfinished outline of its color field, Sketch for Fragment maintains a more intimate tone through the precursory nature of its title. Baldessari noted that as a “closet formalist” he resisted signing his work in order to avoid it “becoming part of the composition.” Here, however, Baldessari loosens the work’s posture and his signature captions the image. These traces of the image’s creation, what some would define as the characteristics of a meta-image, are intentionally exposed to the viewer for their consideration.

As a great majority of the works produced in this period were destroyed at Baldessari’s own hand, Sketch for Fragment offers a rare look at the artist’s burgeoning voice on the precipice of his conceptual revolution.

Drohojowska-Philp, Hunter. “The Boring And The Beautiful.” Artnet, 12 Dec. 2008, www.artnet.com/magazineus/reviews/drohojowska-philp/john-baldessari7-14-10. asp.

Matheny, Bob. “Southwestern College: The First Decade (More or Less).”

In 1970, Baldessari ceremoniously “cremated” all of the works in his possession that he created between May of 1953, when his college graduation absolved his “obligation to make art,” and March of 1966, when he abandoned non-representational painting in favor of conceptual work. Sketch for Fragment was painted in September 1966, and thus just barely escaped this fate. Baldessari claimed that he was tired of being cast as an Abstract Expressionist and that the genre lacked potential, and works such as Sketch for Fragment (1966) show the beginnings of his breakthrough transition to text and photo-text based painting.

ObjectsUSA, Jan. 2007, www.objectsusa.com/?p=1728.

Pardo, Patrick, and Robert Dean. “The Making of John Baldessari's Cremation Project.” Yale University Press Blog, 25 Feb. 2016, blog.yalebooks.com/2012/07/24/ the-making-of-john-baldessaris-cremation-project/.

Tomkins, Calvin. “No More Boring Art.” The New Yorker, 18 Oct. 2010.

Tucker, Marcia, and Robert Pincus-Witten. John Baldessari. The New Museum, New York, 1981.

Wright, Karen. “John Baldessari.” Art in America, 23 Oct. 2009

83

160 JOHN BALDESSARI

Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts) 1973 The complete portfolio of 14 loose sheets; 12 sheets offset color photolithographs From the edition of 2,000 Published by Galleria Toselli, Milan; printed by Gimpolo Prearo, Milan Together with original slip case Images each: 7" x 10.125" Sheets each: 9.625" x 12.75" (Images each: 18 x 26 cm)

$2,000–3,000 PARTIAL ILLUSTRATION

85

161 PETER ALEXANDER Mabery

2000 Acrylic on panel Signed, titled, and dated in black felt-tip marker verso; retains Craig Krull Gallery label verso 53" x 48" (135 x 122 cm) P ROV E NANC E Craig Krull Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above)

$10,000–15,000

162 KEN SNELSON

Untitled (Study for X-Piece) 1967 Aluminum and Steelon wire 5.25" x 12" x 12" (13 x 30 x 30 cm) P ROVENA NC E Private Collection; Private Collection, San Francisco, California (acquired directly from the above through Phillips, New York, New York, December 17, 2010, lot 114)

$4,000–6,000

87

163 KNOPP FERRO Fugue 22-24 2009 Iron 44" x 12.5" x 14" (dimensions variable) (112 x 32 x 36 cm) P ROV E NANC E Louis Stern Fine Arts, West Hollywood, California; Private Collection, San Francisco, California (acquired directly from the above, 2009) E XHIBIT E D “Knopp Ferro: Sculpture Defying Gravity,” Louis Stern Fine Arts, West Hollywood, June 6-August 29, 2009

$3,000–5,000

164 JOSEF ALBERS

Homage to the Square: 10 Works by Josef Albers 1962 The complete portfolio of 10 screenprints on Mohawk Superfine Bristol paper From an edition of 250 Published by Ives-Sillman, New Haven; printed by R. H. Norton Co., New Haven Each with embossed plate number lower right margin of sheet Comprised of three framed works and seven unframed works Together with original portfolio case and colophon Images each: 11" x 11" Sheets each: 17" x 16.875" Frames each: 17.25" x 17.25" Portfolio case: 18.125" x 17.5" x 1.125" (Images each: 28 x 28 cm)

$10,000–15,000 PARTIAL ILLUSTRATION

89

165 ROBERT INDIANA American Chess

N.d.

Felt-tip marker and graphite on paperboard Stamped “© Robert Indiana” lower right edge of sheet; stamped “R. Indiana/Vinalhaven/Maine 04863” and “© Robert Indiana” sheet verso; retains signed and titled label frame verso Composition/sheet: 24.25" x 24" Frame: 31.25" x 31.25" (Composition/sheet: 61 x 61 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Fine Arts Work Center Annual Auction, Provincetown, Massachusetts, 1985)

$8,000–12,000

166 PETER SCHUYFF Untitled

N.d.

Acrylic and graphite on canvas Signed verso; retains Centre d’Art de Fribourg/Kunsthalle Freiburg label canvas stretcher verso 75" x 53" (191 x 135 cm) P ROVENA NC E Paul Kasmin Gallery, New York, New York; Private Collection; The Estate of Gerard L. Cafesjian (acquired directly from the above through Christie’s, New York, New York, January 10, 2006, lot 111)

$6,000–8,000

167 PETER SCHUYFF Untitled

1988 Oil on linen Signed and inscribed “RD 70481” to canvas overlap verso; retains unknown information label frame backing board verso Linen: 24.25" x 24.25" Frame: 26.625" x 26.625" (Linen: 61 x 61 cm)

$5,000–7,000

91

168 PETER SCHUYFF Untitled

1984 Oil on canvas Signed, dated, and inscribed “Los Angeles” canvas verso; retains Larry Gagosian Gallery label canvas stretcher bar verso 48" x 36" (122 x 91 cm)

$5,000–7,000

169 KARL BENJAMIN #35

1968 Oil on canvas Signed, titled, and dated to canvas stretcher verso; retains Jefferson Gallery label canvas stretcher verso Canvas: 23.25" x 23.25" Frame: 24.25" x 24.25" (Canvas: 59 x 59 cm) P ROVENA NC E The Ehrlich Family Trust (acquired through Butterfield & Butterfield, San Francisco, California, October 24, 2000, lot 5031)

$10,000–15,000

170 KARL BENJAMIN

Bars- Black, Yellow, Purple 1958 Oil on canvas Initialed and dated lower right edge of canvas; retains Esther Robles Gallery and Gary Snyder Fine Art labels canvas stretcher bars verso; inscribed “Karl Benjamin” canvas stretcher bar verso Canvas: 48" x 16" Frame: 49.5" x 17.5" (Canvas: 122 x 41 cm) P ROV E NANC E Gary Snyder Fine Art, New York, New York; Private Collection (acquired directly from the above, 2003)

$25,000–35,000

171 KARL BENJAMIN

Bars- Black and Purple 1958 Oil on canvas Initialed and dated lower right edge of canvas; retains Gary Snyder Fine Art label frame verso Canvas: 48" x 16" Frame: 49.75" x 17.5" (Canvas: 122 x 41 cm) P ROV E NANC E Gary Snyder Fine Art, New York, New York; Private Collection (acquired directly from the above, 2004)

$20,000–30,000

93

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

172 PATSY KREBS Untitled #5 1988 Oil on canvas Signed and dated in black felt-tip marker to canvas overlap verso; retains Kiyo Higashi and James Corcoran Gallery labels verso 59.5" x 59.5" (151 x 151 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$3,000–5,000

173 JULES ENGEL Untitled

1968 Acrylic on canvas Signed and dated in black ink to canvas stretcher verso; signed and inscribed “32” in graphite verso Canvas: 23.875" x 19.875" Frame: 24.625" x 20.625" (Canvas: 60 x 50 cm)

$2,500–3,500

174 JACK CARIGG Untitled

1964 Oil on canvas Signed in graphite canvas verso; signed and dated “7/20/64” in graphite to canvas stretcher verso 39.5" x 48" (100 x 122 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Los Angeles Modern Auctions, Van Nuys, California, June 18, 2006, lot 271)

$1,000–1,500

95

175 FRANCIS CELENTANO

Hexagon (Kinetic Painting) 1968 Acrylic on Masonite Retains Adler & Conkright Fine Art label verso 47" x 40.625" x 7" (119 x 103 x 18 cm) P ROVENA NC E Adler & Conkright Fine Art, New York, New York; The Estate of Gerard L. Cafesjian (acquired directly from the above, 2007)

$7,000–10,000

176 SOL LEWITT

Horizontal Composite (Color) 1970 Screenprint on Strathmore paper #78 of 150 Published by John Weber Gallery, New York; printed by John Campione, New York Signed lower right edge of sheet; edition lower left Sol LeWitt Catalogue Raisonné #1970.02 Image: 12" x 33.625" Sheet: 18" x 40" Frame: 20.25" x 42.25" (Image: 30 x 85 cm)

$4,000–6,000

177 LEONARD JANKLOW Celestial Bamboo

N.d.

Colored acrylic and Plexiglas Signed lower right 38.25" x 54.875" x 3.125" (97 x 139 x 8 cm)

$1,500–2,000

178 ANDRÉ WOGENSCKY Untitled

c. 1940 Woven wool Signed lower left in weave 78" x 115" (198 x 292 cm) Wogenscky was the chef d’agence of the Le Corbusier office in Paris from 1945-1956, and later president of the foundation.

P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Los Angeles Modern Auctions, Van Nuys, California, June 18, 2006, lot 247)

$1,500–2,000

97

MARKINGS DETAIL

179 SAM MALOOF Rocking chair

Studio, executed 1986 Walnut Incised “No. 34 1986/Sam Maloof f.a.c.c/©” 45.25" x 26.5" x 45" (115 x 67 x 114 cm)

$25,000–35,000

180 ILONKA KARASZ

Armchair with rounded back rest Custom, designed c. 1928 30" x 21" x 20" (76 x 53 x 51 cm) P ROV E NANC E Estate of Ilonka Karasz; Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, December 4, 2005, lot 103) E XHIBIT E D “Enchanting Modern: Ilonka Karasz (1896-1981),” Georgia Museum of Art, University of Georgia, Athens, November 15, 2003-February 8, 2004 ILLUST RAT E D Enchanting Modern: Ilonka Karasz (1896-1981). A. Callahan.

2003. 7, 82.

$3,000–4,000

181 ILONKA KARASZ Teapot

Paye & Baker, designed 1928 4.75" x 6.25" x 3.75" (12 x 16 x 10 cm)

$1,000–1,500

99

182 GEORGE NAKASHIMA Mira chair

Studio, executed 1987 American black walnut Signed, dated “Feb 1987,” and inscribed “Showroom/17”” in black felt-tip marker to underside 26.5" x 17.25" x 18" (67 x 44 x 46 cm) P ROVENA NC E Elihu and Geulah Abrahams (acquired directly from the studio, 1987); Thence by descent LITERATURE George Nakashima: Full Circle. D. Ostergard. 1989. 148-149.; The Soul of a Tree: A Woodworker’s Reflections: George Nakashima. D. Levy. 1981.

143.

$1,000–1,500

183 GEORGE NAKASHIMA Mira chairs (4)

Studio, executed c. 1965 Cherry Each: 26.125" x 17.125" x 18.5" (66 x 43 x 47 cm) P ROVENA NC E Elihu and Geulah Abrahams (acquired directly from the studio, c. 1965); Thence by descent LITERATURE George Nakashima: Full Circle. D. Ostergard. 1989. 148-149.

$3,000–5,000

184 GEORGE NAKASHIMA Grass-seated stool

Studio, executed 1968 Walnut and seagrass Together with copy of Nakashima studio order card dated September 2, 1967 and copy of letter of authenticity from the Nakashima studio 17" x 18" x 16" (43 x 46 x 41 cm) P ROVENA NC E Private Collection, Lake Balboa, California (acquired through Bonhams, Los Angeles, California, October 27, 2014, lot 94) LITERATURE George Nakashima: Full Circle. D. Ostergard. 1989. 138-139.

$1,000–1,500

185 PAUL EVANS

Dining suite (8) Directional, designed c. 1972 Wall cabinet initialed and dated “PE 72” Comprised of a table, four side chairs, two armchairs, and a wall cabinet Wall cabinet: 22.75” x 96.25” x 21.375” Armchairs each: 47.375" x 27" x 25" Side chairs each: 47.25" x 18.5" x 24.25" Table: 29.25" x 71.75" x 39.75" (Wall cabinet: 57 x 244 x 54 cm)

$1,500–2,000

186 PAUL EVANS

Patchwork hinged partition box Studio, executed c. 1965 3.5" x 14.125" x 5.125" (9 x 36 x 13 cm)

$1,500–2,000

101

Mary Corse: Light and Space Artist One of the few women recognized as a Light and Space artist in the 1960s, Mary Corse developed a signature vocabulary for the exploration of perception and experience within her works. Fascinated by color theory from a young age, the artist sought to manipulate and improve on the medium-specific tactics of the preceding generation of modernist painters. While other artists associated with the Light and Space movement prioritized the observable exchanges between their works and the environments in which they were situated, Corse focuses on the interaction between the work and the viewer’s movement through space, with works that remained on the gallery wall.

The patterns of Corse’s practice can be measured by distinctive shifts in her materials and methodology, but none are as emblematic of her artistic convictions as the integration of glass microspheres within her pigment. Beginning in 1968, these prism-like beads allowed Corse to fully draw the viewer into the energy of her work. The material has remained integral to the

artist’s practice as her ideas on the roles of both the artist and the viewer have evolved. Lot 187, Untitled (White Light Band) (1993), showcases the refractive nature of her microbead-laced paint, and the tonal separation of the painting’s inner band offers an access point to the viewer, a doorway that proposes depth and simulates motion over time. As demonstrated by Untitled (White Light Band), Corse’s interest in the inherent qualities and effects of her materials has produced a rich experimental process. After over 50 years of contributing to the advancement of the painting medium, Corse is now being featured in her first solo museum survey, “Mary Corse: A Survey in Light,” which traveled from the Whitney Museum of American Art, New York, and is currently being shown at the Los Angeles County Museum of Art. “Mary Corse: A Survey in Light.” LACMA, 2019, www.lacma.org/art/ exhibition/mary-corse.

103

187 MARY CORSE

Untitled (White Light Band) 1993 Acrylic and glass microspheres on canvas Signed and dated canvas verso 36" x 36" (91 x 91 cm) P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist, c. 1993)

$80,000–120,000

188 MARY CORSE Untitled

1977 Fired and glazed ceramic Signed and dated in graphite verso; inscribed “6/WS 05-06” verso 16.375" x 16.5" (41 x 42 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1978)

$12,000–18,000

189 MARY CORSE Untitled

1977 Fired and glazed ceramic Signed and dated in graphite verso; inscribed “S2 #3/WS C .06-.05” verso 16.75" x 16.75" (42 x 42 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1978)

$12,000–18,000

ALTERNATE VIEW

190 GISELA COLON

Irregular Rectangle Glo-Pod (Fluorescent Blue) 2013 Blow-molded acrylic Retains David Klein Gallery, Quint Contemporary Art, and artist’s label verso 13.5" x 21" x 6.875" (34 x 53 x 17 cm) P ROV E NANC E David Klein Gallery, Birmingham, Michigan; Private Collection (acquired directly from the above, 2014)

$7,000–10,000

105

191 DE WAIN VALENTINE Disk Amber

1968 Cast polyester resin 4.75" x 11" diameter (12 x 28 cm) P ROVENA NC E Franklin Parrasch Gallery, New York, New York; Private Collection, Beverly Hills, California (acquired directly from the above, 2015)

$15,000–20,000

107

ALTERNATE VIEW

192 DE WAIN VALENTINE Triangulated Glass Construction (3) c. 1979 Laminated glass Each: 19.25" x 47.5" x 16.75" (49 x 121 x 42 cm)

$15,000–20,000

Judy Chicago and The Social Conscience of Finish Fetish Cited as one the most important figures in the genesis of feminist art, Judy Chicago has built a complex body of work that examines the gendering of both artistic and physical spaces. However, her early explorations as an artist included forays into male-dominated movements like minimalism and the California-specific Finish Fetish movement. Dark Red, Blue, Green Domes (Small) (1968) (lot 193), demonstrates Chicago’s participation in the boldest visual discourses coming out of the West Coast in the 1960s.

Prior to 1973, when she developed her “core” feminine imagery, Chicago rigorously examined the limits of color. Operating within strict geometric forms and patterns, the artist used color as an agent for scrutinizing the nature of perception. In 1964, Chicago earned her MFA in painting and sculpture from UCLA. During her time as a student, the artist had shown an early interest in “biomorphic and sexually suggestive forms,” but was met with strong objections by the program’s faculty to both overtly feminine and potentially erotic representations. Upon graduating and embedding herself in the Los Angeles exhibition circuit, Chicago faced a culture dominated by macho practices and personalities. In response, she temporarily muffled any impulse to depict personal narrative within her work and set her sights on building a reputation as an “ambitious, serious artist” in order to “beat the guys at their own game.” She partially achieved this when her monumental work, Rainbow Pickett (1965), was included in the 1966 exhibition “Primary Structures” at the Jewish Museum in New York, and was lauded by art critic Clement Greenberg as one of the best pieces in the show.

Works such a Rainbow Pickett are often compared to and contextualized by the work of other leading minimalists like Tony Smith and Donald Judd, however, this reference point isn't quite comprehensive. Chicago used the formal qualities of minimalism as a framework for her central study of color, which ties her closer to the conceptual tenets of color field painters such as Joseph Albers, and the practitioners of the California Hard Edge movement. This is a critical distinction because the conceptual underpinning of minimalism, as it was articulated by Michael Fried, was “largely ideological” and predicated on a work’s occupation of a physical position of dominance in relation to the body of the viewer. The ‘authority’ of the industrial materials used and the often human-sized scale of minimalist objects forged a rhetoric of masculine aggression and power that some say responded to American violence, both at home and abroad, in the post-atomic era. While her work at this stage was devoid of explicit feminist content, Chicago’s use of minimalist aesthetics as a vehicle for the study of color reveals her covert resistance to the conceptual norms of the movement. In many ways her treatment of the form challenges the accepted artistic exchange between minimalist objects and their viewers.

Following her interest in minimalism, Chicago turned her attention to the Finish Fetish style that had sprung up in Los Angeles in the late 1960s. Described as a “Pop-industrial genre,” Finish Fetish was inspired by Southern California’s car culture.

Emulating the slickness of surfboards, motorcycles, and hot rods, Finish Fetish artists explored the characteristics of light and color through the use of plastics, lacquers, and auto body materials. The style undoubtedly brought with it the socialized masculine overtones of the everyday objects that inspired it. For many outsiders, the trend symbolized all of the worst stereotypes about Los Angeles culture, such as artificiality and transience. It was in this creative setting that Chicago began producing her Domes series, to which Dark Red, Blue, Green Domes (Small) (1968) belongs. These geometric forms, made with sprayed acrylic lacquer on acrylic glass, allowed Chicago to give color itself a sculptural presence, advancing her prior investigations. While this study is conceptually consistent with her minimalist work, scholars have read her Domes series as a more decisive expression of her feminist inquiries and personal voice. Along with the series’ “intimate” scale and soft round shapes, the Brooklyn Museum’s exhibition, “Chicago in L.A.,” pointed to Chicago’s use of the triangle formation as an early evocation of the vaginal form that would later appear in many of Chicago’s works, including her seminal installation, The Dinner Party (1974-79). Similarly, the artist’s negotiation of gradated color hues could allude to feminine erotic energy, a correlation that is corroborated by her later series of happenings, called "Atmospheres," in which colored smoke would be released into various environments to “feminize” spaces.

Dark Red, Blue, Green Domes (Small) offers a particularly illuminating portrait of the creative intersections that were present in Los Angeles’ Cool School art scene. In creating an opposition between artists like Billy Al Bengston, the oft-cited figurehead of the Finish Fetish movement, and L.A. artists like Ed Kienholz, whose works took a more social and political stance, some critics have unjustly relegated the Finish Fetish movement to the status of aesthetic indulgence. Chicago’s early works, however, rectify this false opposition. Dark Red, Blue, Green Domes (Small) reveals the movement’s refinement of form holds the capacity for deeper interpretation.

“Early Work/Minimal (1965-73).” Judy Chicago, www.judychicago.com/gallery/early-workminimal/ew-artwork/.

Fried, Michael. “Art and Objecthood.” 1967.

Johnson, Ken. “The Breakfast That Preceded ‘The Dinner Party.’” The New York Times, 10 Apr. 2014, p. 30.

Martinique, Elena. “8 Early Works by Judy Chicago, Created During the Cool Years of Los Angeles.” Widewalls, 15 July 2018, www.widewalls.ch/judy-chicago-early-works-villa-arson/.

Wilson, William. “ART REVIEW : A Study in Plastic in ‘Finish Fetish’ : The Well-Intentioned Exhibition at USC’s Fisher Gallery Harkens Back to L.A.'s ‘Feel Good’ Period but Appears Superficial.” Los Angeles Times, 22 Mar. 1991.

193 JUDY CHICAGO

Dark Red, Blue, Green Domes (Small) 1968 Sprayed acrylic lacquer on acrylic glass Together with original acrylic case Domes each: 2" x 5" diameter Overall: 9.375" x 15.5" x 15.5" (Domes each: 5 x 13 cm) P ROV E NANC E David Richard Gallery, Santa Fe, New Mexico; Private Collection, Beverly Hills, California (acquired directly from the above, 2014) LIT E RAT URE Judy Chicago: An American Vision. E. Lucie-Smith.

2000. 22 for a similar example illustrated.

$35,000–40,000

109

194 SAM GILLIAM Untitled

c. 1970 Watercolor on paper Signed and dated indistinctly lower right edge of sheet Composition/sheet (irreg.): 24" x 34.5" Frame: 28.125" x 38.25" (Composition/sheet: 61 x 88 cm) P ROVENA NC E Private Collection, Wisconsin; Private Collection, Ohio (acquired directly from the above, c. 2014)

$10,000–15,000

195 NORMAN BLUHM Untitled

1973 Acrylic on paper Signed and dated lower left Composition/sheet: 13.875" x 9.75" Frame: 26.625" x 21" (Composition/sheet: 35 x 25 cm) P ROV E NANC E Private Collection; Mike Rivero, San Pedro, California (acquired directly from the above)

$2,000–3,000

196 JACK ZAJAC Deposition c. 1962 Bronze 16.5" x 7.5" x 7" (including base) (42 x 19 x 18 cm)

$1,500–2,000

111

197 SAM FRANCIS

Untitled (SF63-331) 1963 Mixed-media on Arches paper Signed and dated sheet verso; signed lower center to mount Composition/sheet: 9.875" x 5.5" Mount (vis.): 10.375" x 5.875" Frame: 18.875" x 14.375" (Composition/sheet: 25 x 14 cm) This work is identified with the interim identification number of SF63-331 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper.

This information is subject to change as scholarship continues by the Sam Francis Foundation.

P ROVEN A N C E Noel Neill, Santa Monica, California (gifted directly by the artist, 1991); Private Collection, Tucson, Arizona (acquired directly from the above, 2016)

$8,000–12,000

198 SAM FRANCIS Untitled

1994 Sugarlift and spitbite aquatint on paper #16 of 25 Signed with edition in graphite lower right edge of sheet; retains Leslie Sacks Fine Art label frame verso Image: 7.375" x 24.5" Sheet: 16.5" x 32.5" Frame: 21.75" x 37.75" (Image: 19 x 62 cm)

$2,000–3,000

199 SAM FRANCIS Green and Red

1966 4-color lithograph on German Etching paper #19 of 20 Published and printed by Tamarind Lithography Workshop, Los Angeles Signed in graphite lower left edge of sheet; edition lower center; retains Tamarind blind stamps lower right Image/sheet: 31" x 23" Frame: 37.375" x 29.25" (Image/sheet: 79 x 58 cm) LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #L85.

$3,000–5,000

200 SAM FRANCIS A Red Star

1987 10-color screenprint on PTI #120 Waterleaf paper #4 of 115 Published by the artist; printed by La Paloma, Tujunga Signed in red pencil lower right edge of sheet; edition lower left Image/sheet: 34" x 22" Frame: 44.25" x 32.375" (Image/sheet: 86 x 56 cm) LIT E RAT URE The Prints of Sam Francis: A Catalogue Raisonné, 19601990. 1st ed. Vol. II. C. Lembark. 1992. #P7.

$3,000–5,000

113

201 PAUL JENKINS

Phenomena Luke’s Tent 1963 Acrylic on canvas Signed in white paint lower right edge of canvas; signed, titled, and dated “Paris 1963” to canvas overlap verso; retains Galerie Karl Flinker label canvas stretcher bar verso Canvas: 39.375" x 39.375" Frame: 40.125" x 40.125" (Canvas: 100 x 100 cm)

$10,000–15,000

202 PAUL JENKINS

Phenomena Flinker High Flyer 1978 Watercolor on paper Signed lower center edge of sheet; inscribed “Phenomena/Flinker High Flyer/St. Croix 1978” frame verso Composition/sheet: 43.375" x 31.125" Frame: 50" x 37.5" (Composition/sheet: 110 x 79 cm)

$5,000–7,000

115

203 ALEXANDER CALDER

Untitled (Sun over Braniff Plane) c. 1975 Photograph with hand-painted additions Initialed lower right edge of sheet Image: 23" x 34.75" Sheet: 24.125" x 40" Frame: 29.25" x 40.375" (Image: 58 x 88 cm) P ROVENA NC E George Gordon (acquired directly from the artist, c.

1975); Private Collection (acquired directly from the above); The Estate of Gerard L. Cafesjian (acquired directly from the above through Sotheby’s, New York, New York, December 14, 2005, lot 324)

$5,000–7,000

204 AFTER ALEXANDER CALDER Hammock

1975 100% cotton manila, wood spreaders #28 of 100 Published by CAC Publications, New York; fabricated in Nicaragua Woven date and artist’s initials upper right; edition lower left; retains CAC Publications label verso 135" x 44" (laid flat) (343 x 112 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian (acquired through Los Angeles Modern Auctions, Van Nuys, California, June 3, 2007, lot 30)

$2,000–3,000

205

206

ALEXANDER CALDER

ALEXANDER CALDER

c. 1976 Color lithograph on Japon nacré paper

c. 1976 Color lithograph on Japon nacré paper

#30 of 50

#30 of 50

Published by Éditions de la Différence, Paris; printed by ArtsLitho, Paris

Published by Éditions de la Différence, Paris; printed by ArtsLitho, Paris

Signed in graphite lower right in image; edition in Roman numerals lower center sheet in image

Signed in graphite lower right in image; edition in Roman numerals lower left in image

There was also an edition of 100 numbered in Arabic numerals

There was also an edition of 100 numbered in Arabic numerals

Image/sheet (vis.): 19.625" x 27.875" Frame: 26" x 34" (Image/sheet: 50 x 71 cm)

Image/sheet: 20.375" x 28.25" Frame: 27" x 34.275" (Image/sheet: 52 x 72 cm)

$1,500–2,000

$1,500–2,000

207

208

ALEXANDER CALDER

ALEXANDER CALDER

c. 1976 Color lithograph on Japon nacré paper

c. 1976 Color lithograph on Japon nacré paper

#30 of 50

#30 of 50

Published by Éditions de la Différence, Paris; printed by ArtsLitho, Paris

Published by Éditions de la Différence, Paris; printed by ArtsLitho, Paris

Signed in graphite lower right in image; edition in Roman numerals lower left in image

Signed in graphite lower right in image; edition in Roman numerals lower left in image

There was also an edition of 100 numbered in Arabic numerals

There was also an edition of 100 numbered in Arabic numerals

Image/sheet: 20.375" x 28.25" Frame: 26.875" x 34.375" (Image/sheet: 52 x 72 cm)

Image/sheet: 20.375" x 28.25" Frame: 26.875" x 34.375" (Image/sheet: 52 x 72 cm)

$1,500–2,000

$1,500–2,000

Plate from La Mémoire Élémentaire

Plate from La Mémoire Élémentaire

Taches de Rousseur, Pl. 2 (from La Mémoire Élémentaire)

Plate from La Mémoire Élémentaire

117

209 HARRY BERTOIA Bush

c. 1969 Welded bronze and copper with patina Together with certificate of authenticity from the Harry Bertoia Foundation 8.75" x 7" diameter (22 x 18 cm) P ROVENA NC E Â Private Collection (acquired directly from the artist, 1969); Thence by descent

$22,500–30,000

119

210 FREDERICK KANN Untitled

c. 1940 Oil on canvas board Signed lower left 15.75" x 20" (40 x 51 cm) P ROV E NANC E Private Collection, Woodland Hills, California; Thence by descent

$5,000–7,000

211 OSKAR FISCHINGER Space Motion #1 1955 Oil on canvas Signed lower right; dated with artist’s cipher lower left; signed, titled, and dated in red ink to canvas overlap verso; titled and inscribed “#71” canvas verso Canvas (vis.): 55.375" x 41.25" Frame: 57.875" x 43.75" (Canvas: 140 x 105 cm) P ROVENA NC E Elfriede Fischinger, Los Angeles, California; Gordon Shwayder Rosenblum, Lakewood, Colorado (acquired directly from the above, c. 1982); Thence by descent

$8,000–12,000

212 OSKAR FISCHINGER Untitled

1964 Oil on board Signed lower right; dated with artist’s cipher lower left Board (vis.): 9.625" x 7.625" Frame: 15.875" x 13.875" (Board: 24 x 19 cm)

$2,000–3,000

213 OSKAR FISCHINGER Untitled

1962 Oil on board Signed lower right; dated with artist’s cipher lower left Board: 5.75" x 7.75" Frame: 12.625" x 14.125" (Board: 14 x 20 cm)

$2,000–3,000

121

214 HANS J. WEGNER Sofa

Getama, designed 1955 Model no. GE 236 Branded mark “Getama/Gedsted/Denmark/Design Hans J. Wegner” 30.25" x 83.625" x 32.75" (77 x 212 x 83 cm) LITERATURE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 182.; Georg Jensen.

Distributor cat. 1968. N.pag.

$3,000–5,000

MARKINGS DETAIL

215 HANS J. WEGNER Cube bar

Andreas Tuck, designed 1956 Model no. AT-34 Branded with designer’s and manufacturer’s names and inscribed “Denmark/Made in Denmark” to underside 19.75" x 19.75" x 20.5" (50 x 50 x 52 cm)

$5,000–7,000

ALTERNATE VIEW

216 HANS J. WEGNER

Papa chair and ottoman (2) A.P. Stolen, designed 1951-1953 Model nos. AP 19 (chair) and AP 29 (ottoman) Each stamped with designer’s and manufacturer’s mark to underside Chair: 38.125" x 36" x 35.625" Ottoman: 14.5" x 27.5" x 15" (Chair: 97 x 91 x 90 cm) LIT E RAT URE Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 68.

$6,000–9,000

123

217 TIAS ECKHOFF

Fuga flatware (90) Dansk Knivfabrik Lundtofte/Gense, designed 1958 Each stamped or etched “Gense Stainless 18-8 Denmark,” “Gense 18-8 Denmark,” or “Lundtofte Stainless Denmark” Comprised of a five-piece service for 16 (dessert forks, dinner forks, dinner spoons, dessert spoons, dinner knives), teaspoon, sauce ladle, four serving spoons, two serving forks, plus additional pieces Together with case Various dimensions P ROV E NANC E The Ehrlich Family Trust PARTIAL ILLUSTRATION

$2,000–3,000

218 HANS J. WEGNER

Executive Swivel chair Johannes Hansen, designed 1955 Model no. JH 502 29" x 28.75" x 21.5" (74 x 73 x 55 cm) P ROVENA NC E Larry Gelbart, Los Angeles, California LITERATURE Danish Chairs. N. Oda. 1999. 119.; Hans J. Wegner’s 100 Chairs. N. Oda. 2002. 82-83.

$7,000–10,000

219 HANS J. WEGNER Dining set (7)

Fritz Hansen, designed c. 1950 (table); designed 1952 (chairs) Model nos. 4602 (table) and 4103 (chairs) Each retains manufacturer’s brand to underside Comprised of a dining table and six chairs Table: 27.5" x 47.125" diameter Chairs each: 28.625" x 20.5" x 18" (Table: 70 x 120 cm) LIT E RAT URE Danish Chairs. N. Oda. 1996. 118.; 1000 Chairs. C. Fiell and P. Fiell.

1997. 272.; Fritz Hansen-Furniture. Manufacturer cat. 1963. 40, 42, 99.

$4,000–6,000

220 POUL HUNDEVAD

Guldhojstolen (Goldhill stool) Poul Hundevad, designed c. 1962 Model no. PH43 Stamped with manufacturer’s mark and bears “Danish Furnituremakers Control” stamp to underside; retains original information tag to underside 14.5" x 19" x 15" (37 x 48 x 38 cm) P ROV E NANC E Private Collection, Los Angeles, California (acquired through Los Angeles Modern Auctions, Van Nuys, California, June 3, 2007, lot 42)

$1,000–1,500

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ILLUSTRATED PREVIOUS PAGE

221 MARIANNE RICHTER Strålarna carpet

Märta Måås-Fjetterström, executed c. 1949 Wool Woven “AB MMF” to lower left corner; woven “MR” lower right 238.25" x 163.75" (605 x 416 cm) PROVE N A N CE FJ Hakimian, New York, New York; Private Collection, Berkeley, California (acquired directly from the above, c. 1999) L I T E RAT U R E Mattor Och Vävnader.

Manufacturer cat. 1957. N.pag.

$60,000–90,000

222 LISA LARSON Large vessel

223 AXEL SALTO Gourd vase

Gustavsberg, Sweden, designed c. 1975 Signed with impressed manufacturer’s mark to underside

Royal Copenhagen, executed c. 1950 Glazed ceramic Signed “Salto” with Royal Copenhagen marks

18.75" x 9.875" diameter (47 x 25 cm)

8.625" x 5.625" diameter (22 x 14 cm)

$3,000–5,000

$3,000–5,000

127

INSTALLATION OF "REAL TEARS" SHOW AT THE SAN FRANCISCO ARTS COMMISSION GALLERY IN 1992

224 KEVIN SULLIVAN

White Album with Kool-Aid Stain 1991 Oil on canvas Signed, titled, and dated canvas verso Together with Sue Spaid Fine Art exhibition announcement 48.125" x 48.125" (122 x 122 cm) EXHIBITE D “Kevin Sullivan: Residuum,” Sue Spaid Fine Art, Los Angeles, September 7-September 28, 1991; “Real Tears,” San Francisco Arts Commission Gallery, San Francisco, February 28-April 10, 1992; Galerie Max Hetzler, Cologne, July 3-August 8, 1992; “Kevin Sullivan,” Jose Freire Fine Art, New York, January 30-February 20, 1993; “Rock and Roll,” Nancy Solomon Gallery, Atlanta, October 27-December 3, 1994 LITERATURE “Mona Lisa’s Smile,” E. Hess. The Village Voice. Feb. 9, 1993.

77.; “Rock and Roll: Witty Pop-Culture Meditations Hit the Mark,” J. Cullum.

The Atlanta Journal-Constitution. Nov. 11, 1994. N.pag.

$5,000–7,000

Kevin Sullivan: The Performative Consciousness of Residuum A graduate of UCLA’s “New Forms and Concepts” program, which was spearheaded by Chris Burden, Kevin Sullivan sees experimentation as the core motivation of performance or ‘live’ art. In his own practice, Sullivan has been highly influenced by Allan Kaprow’s notions of “life as art” and examines the reciprocative relationships between everyday lived experiences and formal art encounters. While pursuing both painting and performance work, the artist is careful to distinguish himself from “performance painters” such as Yves Klein and Carolee Schneemann. He maintains a “traditional approach” to painting, to the degree that he hangs and shows his works in gallery spaces, completely independent from his performances. Nevertheless he “strives to load those paintings up with a lot of cultural information,” and that aim does produce an overlap into the history and theory of performance.

Sullivan’s 1991 series Residuum, which includes White Album with Kool-Aid Stain (lot 224) demonstrates this overlap.

According to Sullivan, Residuum was first inspired by a somewhat banal interaction with a cassette copy of The Rolling Stones album, Goats Head Soup (1973). When he went to fish the cassette out from under the seat of his car, he saw that crumbs from a Hershey’s bar had melted on the plastic, streaking the cover. Recalling that as a child he had found the combination of the album’s title and cover image slightly nauseating, the “culinary” clash in this incident amused him. He began to reflect on the pictorial prominence of rock albums in his childhood memories, noting that “by birth” he was “on the receiving end” of 1960s counter-culture. With Malcolm Morley’s “incredibly dense and labor intensive” phone book paintings in mind, and an interest in appropriation art, Sullivan set to recreating the album covers that populated his memory. Not unlike Rutherford Chang’s ongoing project, We Buy White Albums, the resulting series of paintings foregrounded the blemishes that accumulate on particularly well-loved record sleeves. When Residuum first showed in New York, one attendee mentioned “that the album cover had usurped painting as a window” of escapism for the “post-hippie” generation. Sullivan sought to capture the visual tension caused “by the wear... the food stains, the graffiti...the childish scrawling, [in order] to remind you of the physicality of the actual things.” Sullivan, in essence, wanted to strip the records back down to their simplest form, recasting the albums as designed objects, rather than an overlooked gateway to the music within. As Sullivan notes “… maybe I’m just so lost in the music and the picture, [that] I’ve never thought about [the fact] that this was made in a massive art edition [and that] there were artists involved with the production of vinyl album covers.”

White Album with Kool-Aid Stain replicates “the first record [Sullivan] was conscious of as an object.” Designed by the ‘father of Pop art,’ Richard Hamilton, the cover of The Beatles’ self-titled album (more commonly referred to as the “White Album”) was meant to imitate “the look of conceptual art.” Hamilton’s design massively contributed to the rich history of album art. When creators moved beyond using covers to simply ‘advertise’ albums to consumers, the images filling this space became more polished and cerebral, offering an introduction to or visual summary of the music.

The importance of this association is underscored by the persistence of cover art in an age when the majority of music is consumed digitally, free of the physical cases that once necessitated labeling.

When the series was conceptualized, Sullivan faced criticism due to a misinterpretation of his works. The more “sensationalist” branch of the performance tradition, in which Sullivan’s practice was forged, exploited the shock value of overt corporeality, and often employed bodily fluids (or what looked like bodily fluids) in their works. Though not a performance piece, Andres Serrano's Piss Christ (1987) had ignited a fierce national debate that led to the slashing of the National Endowment for the Arts’ budget. Against this backdrop, opponents of the series read Sullivan’s representations of “mayonnaise” or “chocolate” as euphemisms for more foul substances and charged the artist with “defacing” the records he portrayed. While admitting that he was toying with “the visuality of liquids,” the artist insists that this was merely a general reference to the raging dialog surrounding visual profanity and censorship. Similarly, some have attempted to associate White Album with Kool-Aid Stain with Ken Kesey’s “Acid Test” events where Kesey fed guests Kool-Aid laced with LSD. To this Sullivan responds: “I used Kool-Aid because it was the drink that me and countless other youths grew-up on. I guess I was aware that there would be a connection, but I thought it would just be a funny coincidence.”

Sullivan’s Residuum series has been compared to the works of Pop artists, who similarly took an image or style intended for mass consumption and painstakingly situated it in a ‘high art’ context for the express purpose of modifying the viewer’s relationship with their own mass-produced object. Residuum offers a rubric for the successful synthesis of remarkably technical craftsmanship and the affective ambitions of vanguard conceptualism.

Los Angeles Modern Auctions. “The Performative Consciousness of Residuum: An Interview with Kevin Sullivan.” 24 Aug. 2019.

129

225 RICHARD HAMBLETON Untitled (Shadowman) 2002 Acrylic on paper Signed and dated in graphite lower right Composition/sheet: 23.375" x 17.875" Frame: 32.125" x 26.5" (Composition/sheet: 59 x 45 cm) P ROVENA NC E Private Collection, New York, New York; Private Collection, New York, New York (acquired directly from the above through Rago, Lambertville, New Jersey, October 27, 2007, lot 282)

$15,000–20,000

226 PETER DOIG

Pinto (from 100 Years Ago) 2000-2001 Color etching and aquatint on Hahnemühle paper #18 of 46 Published by Paragon Press, London Signed with edition in graphite lower right margin beneath image Image: 34.25" x 51.75" Sheet: 43.75" x 60.5" (Image: 87 x 131 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian

$7,000–10,000

227 PETER DOIG

Haus Der Bilder (from 100 Years Ago) 2000-2001 Color etching and aquatint on Hahnemühle paper #18 of 46 Published by Paragon Press, London Signed with edition lower right margin beneath image Image: 25.875" x 34.25" Sheet: 35.25" x 43" (Image: 66 x 87 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Sotheby’s, New York, New York, February 26, 2007, lot 236)

$3,000–5,000

131

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

228 VITO ACCONCI

20-Foot Ladder for Any-Size Wall (8) 1979 Photoetching in grey on eight sheets of Rives BFK White paper #6 of 15 Published and printed by Crown Point Press, Oakland One initialed, titled, and dated with edition in graphite lower left edge of sheet; each retains Brooke Alexander Editions label frame verso Image/sheets (vis.) each: 29.25" x 41.5" Frames each: 29.875" x 42" (Image/sheets each: 74 x 105 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$3,000–5,000

THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

229 VITO ACCONCI Face Flag (3)

1984 Color lithograph on three sheets of Rives BFK paper with grommets #5 of 15 One signed and dated with edition in graphite lower right edge of sheet 20" x 30" 16" x 30" 12" x 30" (51 x 76 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$1,500–2,000

133 THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

230 VITO ACCONCI Crash (2)

1984 Photoetching, aquatint, and embossing on two sheets of paper #13 of 30 Published and printed by Print Workshop, University of Nebraska at Omaha, Omaha One signed and dated with edition in graphite lower left margin beneath image; one titled in graphite lower right margin beneath image Sheets each: 20" x 25.25" Overall: 20" x 50.5" (Sheets each: 51 x 64 cm) P ROV E NANC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$1,500–2,000

231 ALEX KATZ

Ada (from 23 Artistes pour Médecins du Monde portfolio) 1994 10-color screenprint on paper #5 of 100 Published by Médecins du Monde, Paris; printed by Atelier A, Paris Signed with edition in graphite lower left; retains Katharina Rich Perlow Gallery label verso Image/sheet: 25.875" x 26.25" Frame: 34.5" x 33.25" (Image/sheet: 66 x 67 cm) LITERATURE Alex Katz Prints: Catalogue Raisonné 1947-2011. K. Albert Schröder, ed. 2011. #288.

$4,000–6,000

232 JACK YOUNGERMAN Untitled

1964 India ink on paper Initialed and dated in graphite lower right; retains Betty Parsons Gallery label frame verso Composition: 21.625" x 17" Sheet: 27.625" x 23" Frame: 29" x 24.25" (Composition: 55 x 43 cm)

$2,000–3,000

233 JAUME PLENSA Where are you?

1995 Mixed-media with collage on paper Signed and dated in graphite lower left edge of sheet Together with original invoice from Richard Gray Gallery dated May 6, 1996 Sheet: 15" x 11.25" Frame: 17.5" x 13.625" (Sheet: 38 x 28 cm) P ROV E NANC E Richard Gray Gallery, Chicago, Illinois; Roger Barrett, Winnetka, Illinois (acquired directly from the above, 1996); Norma Bussing, Los Angeles, California (acquired directly from the above)

$3,000–5,000

234 DAISY YOUNGBLOOD

Wired Skull aka “Wired Waitress” 1977 Low-fire clay and wire Initialed and dated “DY 77” to skull interior 6.25" x 4" x 6.25" 9.875" x 4" x 6.25" (including base) (16 x 10 x 16 cm) P ROV E NANC E Barbara Gladstone Gallery, New York, New York; Roger Barrett, Winnetka, Illinois (acquired directly from the above, 1984); Norma Bussing, Los Angeles, California (acquired directly from the above)

$5,000–7,000

135

DATE, TITLE, AND SIGNATURE DETAIL

235 ALISON SAAR Lily of the Nile

1985 Painted ceramic and mixed-media Signed, titled, and dated in blue paint to underside 13.125" x 10.375" x 6.625" (33 x 26 x 17 cm)

$5,000–7,000

236

237

ALISON SAAR

SANDRO CHIA

1982 Mixed-media sculpture

c. 1996 Bronze

Signed, titled, and dated to underside

#7 of 10 artist’s proofs aside from the edition of 50

18" x 6.25" x 6" (46 x 16 x 15 cm)

Stamped signature and edition to base

$3,000–5,000

25" x 11.25" x 11.125" (61 x 28 x 29 cm)

Jezebel Going to the Dogs

Cupido

P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Sotheby’s, London, United Kingdom, February 7, 2003, lot 280)

$3,000–5,000

137

238 HELEN FRANKENTHALER Skywriting

1997 Color screenprint on wove paper #98 of 110 Published by Brand X Editions, New York Signed with edition in graphite lower left in image; signed in plate lower right Sheet: 30" x 39.875" Frame: 36" x 46" (Sheet: 76 x 101 cm) P ROVENA NC E Zeito Photo Salon, Tokyo, Japan; The Estate of Gerard L. Cafesjian (acquired directly from the above through Christie’s, Los Angeles, California, December 14, 1999, lot 126)

$5,000–7,000

139

239 HELEN FRANKENTHALER West Wind

1997 Screenprint on paper #108 of 110 Published by the Paris Review, New York; printed by Brand X Editions, New York Signed with edition in graphite lower left edge of sheet; signed in plate lower right Image/sheet: 41.5" x 35.75" Frame: 47.125" x 41.25" (Image/sheet: 105 x 91 cm)

$6,000–8,000

240 JENNIFER BARTLETT Untitled (3)

N.d.

Watercolors on paper A: 13" x 9.875" B: 13.375" x 10.125" C: 11" x 10" (A: 33 x 25 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, Paris, France, September 13, 2006, lot 1089)

$3,000–5,000

241 JENNIFER BARTLETT

In the Garden #118; In the Garden #118 (2) 1982 42-color screenprint on Japanese handmade Kurotani Kozo paper; 3-color screenprint on Japanese handmade Mino Kozo paper RTP aside from the edition of 50; RRTP aside from the edition of 30 Co-published by the artist and Simca Print Artists, Inc., New York; printed by Simca Print Artists, Inc., New York Each signed and dated with edition in graphite lower right in image Image/sheets each: 29" x 38" Frames each: 32" x 41.125" (Image/sheets each: 74 x 97 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, New York, New York, February 8, 2005, lot 176) LIT E RAT URE Jennifer Bartlett: A Print Retrospective. M. D. Stelzer, ed.

1994. #7-8.

$1,200–1,800

242 JENNIFER BARTLETT Untitled (2)

N.d.

Charcoal on paper; ink on paper 11.5" x 9.75" 11.375" x 9.625" (29 x 25 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, Paris, France, September 13, 2006, lot 1092) PARTIAL ILLUSTRATION

$1,000–1,500

141

243 JANET FISH Buttercup

1974 Chalk pastel on colored paper Signed and dated in graphite lower right in composition; retains Gerald Peters Gallery and Eloise Spaeth Collection labels verso Composition/sheet: 22.25" x 14" Frame: 27.25" x 19" (Composition/sheet: 56 x 36 cm) P ROVENA NC E Eloise O. Spaeth Estate, New York, New York; The Estate of Gerard L. Cafesjian (acquired directly from the above through Christie’s, New York, New York, March 16, 2006, lot 295)

$4,000–6,000

244 ED BAYNARD

Provincetown Still Life 1979 Etching and watercolor on paper #8 of 12 Dated with edition and artist’s cipher lower right edge of sheet Image: 14.75" x 17.75" Sheet: 22.75" x 29.75" Frame: 29.375" x 31.875" (Image: 37 x 45 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian

$500–700

245 JOE ZUCKER Toucan

1980 Cast paper pulp on paper Signed and dated in graphite lower left; retains Crozier Fine Art label verso Sheet: 33" x 33" Frame: 35.25" x 35.25" (Sheet: 84 x 84 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, New York, New York, September 15, 2004, lot 124)

$3,000–5,000

246 LARRY COHEN

View of the Golden Gate Bridge, San Francisco 2006 Oil on canvas Signed in graphite canvas verso; signed in blue paint on canvas stretcher verso; titled on canvas stretcher verso Canvas: 26" x 26" Frame: 26.625" x 26.625" (Canvas: 66 x 66 cm)

$2,000–3,000

143

247 LARRY COHEN

View from Malibu Canyon Road 2009 Oil on canvas Signed in graphite canvas verso; signed in brown paint on canvas stretcher verso; titled on canvas stretcher verso Canvas: 32" x 20.5" Frame: 32.5" x 21" (Canvas: 81 x 52 cm)

$2,000–3,000

248 KEN PRICE The Blush

1994 Acrylic on fired ceramic Together with copy of original invoice from L.A. Louver Gallery dated June 15, 1994 14" x 12.75" x 17.25" (36 x 32 x 44 cm) P ROVENA NC E L.A. Louver Gallery, Venice, California; Private Collection, Los Angeles, California (acquired directly from the above, 1994)

$100,000–150,000

ALTERNATE VIEW

Ken Price Ceramics On a surfing trip to Mexico in the 1950s, Ken Price became enamored with the folk pottery that populated Tijuana’s shops and vendor carts. Along with textural and geometric appeal, each piece bore inadvertent traces of its maker’s hand. By the early 1960s, Price had travelled to Japan and similarly was taken by the culture’s reverence for fine craftsmanship. Having trained under revolutionary sculptor Peter Voulkos, who preached the dissolution of boundaries between fine art and craft, Price set to interpreting the clay artistry that had long been dismissed by the art establishment. Read as a reaction to the gestural style and scale of Voulkos’s works, Price turned to the creation of more intimate objects. In the late 1950s, Price began experimenting with ceramic cups. According to Price, the cup innately held “a set of formal restrictions” and “a preordained structure” as an essential utilitarian item, which designated it as a ready “vehicle for ideas.” Price also took interest in the primal nature of the object, as he identified a nurturing femininity in the action of “putting warm liquid in your mouth.”

As demonstrated by these two examples from the collection of photographer and gallerist Patricia Faure, Untitled (Cup) (lot 249) and Untitled (Cup) (lot 250), Price applied a wide array of decorative styles to his objects. These ranged from biomorphic shapes reminiscent of undersea creatures to cleaner studies of color and shape. Known for always being in the right place at the right time, Faure seemed to make a habit of playfully capturing moments that would inevitably take on meaningful cultural significance. In a series of photographs from 1972, Faure situated Price’s cups, physically and culturally, amidst the haute stardom of model Penny Hawks, and Toni Basil and Helena Kallianiotes, who had appeared together in the film Five Easy Pieces two years earlier. Through Faure’s classic fashion photography framing, Price’s fixation on elevating utilitarian objects could be compared to the revolution in fashion, where designers were similarly testing the boundaries between fine art and design

with avant-garde experimentations like Rudi Gernreich’s Unisex Line, for which Faure shot the campaign in 1970.

While Price gradually transitioned away from the cup form into more purely abstract sculptures, the bulbous character of Untitled (Cup) (lot 249) and geometric lines of Untitled (Cup) (lot 250) seem to have achieved their crystalline form in Price’s 1994 work, The Blush (lot 248). In the mid-1980s, Price shifted away from traditional glazing methods and began to experiment with the application of acrylic paint on ceramic. This allowed the artist to explore much more complex color relationships and fundamentally changed the character of his work. Sparked by his early investigation of the cup as an object, Price demonstrated a career-long interest in not only the vessel form, but the in broader duality of interior and exterior. Described as a “collision of raw and refined surfaces,” Price’s meteorite-like sculptures, such as The Blush, feature organic, opalescent exteriors that meet crisp and “highly polished” plains of hyper-saturated color and the hard edge of the interior opening. Though many of his works explore “the damp underside of things,” Price seems to offer an alternative perspective in this arrangement. Rather than a revelation of the strangeness that might lay beneath a domesticated façade, sophisticated lines emerge from the rough texture of an untamed shell, hinting at order beneath the chaos.

Cotter, Holland. “The East Coast of California.” The New York Times, 21 June 2013, p. C25, www.nytimes.com/2013/06/21/arts/design/ken-price-yes-the-ceramicsare-art.html.

“Ken Price: Early Cups and Related Works On Paper.” Franklin Parrasch Gallery, 2006, franklinparrasch.com/exhibitions/2006_4_ken-price/pressrelease/.

“Ken Price Cups.” National Gallery of Art, www.nga.gov/features/the-serial-impulse/ken-price.html.

Miles, Christopher. “Patricia Faure at Margo Leavin Gallery.” Artforum International, 24 Mar. 2005, www.artforum.com/picks/patricia-faure-8658.

Barron, Stephanie, and Laureen Bergman. Ken Price Sculpture: a Retrospective.

Los Angeles County Museum of Art, 2012.

145

PICTURED OPPOSITE: MODEL PENNY HAWKS PICTURED WITH UNTITLED (CUP) IN 1972 PHOTO CREDIT PATRICIA FAURE

249 KEN PRICE

Untitled (Cup) c. 1972 Glazed ceramic 3.25" x 5.25" x 3.125" (8 x 13 x 8 cm) P ROVENA NC E Patricia Faure, Los Angeles, California; Thence by descent

$4,000–6,000

PICTURED PREVIOUS: CHOREOGRAPHER AND ACTRESS TONI BASIL MODELING WITH UNTITLED (CUP) IN 1972 PICTURED BELOW: ACTRESS HELENA KALLIANIOTES PICTURED WITH UNTITLED (CUP) IN 1972

PHOTO CREDIT PATRICIA FAURE

250 KEN PRICE

Untitled (Cup) c. 1972 Glazed ceramic Together with contact sheet and three photo negatives 3.375" x 5.5" x 3.25" (8 x 14 x 8 cm) P ROV E NANC E Patricia Faure, Los Angeles, California; Thence by descent

$4,000–6,000

149

251 YNEZ JOHNSTON The Old Capitol 1963 Oil on canvas Signed and dated canvas verso; titled to canvas stretcher bar verso; retains Paul Kantor Gallery and Tobey C. Moss Gallery labels canvas stretcher bar verso Together with copy of invoice from Adele Bednarz Galleries dated July 28, 1966 Canvas: 30" x 36" Frame: 30.625" x 36.75" (Canvas: 76 x 91 cm)

$1,500–2,000

252 YNEZ JOHNSTON

City of the Green River 1979 Mixed-media on canvas Retains unknown information label frame verso Canvas: 30" x 24" Frame: 31.125" x 25.125" (Canvas: 76 x 61 cm) P ROV E NANC E Private Collection, Encino, California (acquired directly from the artist)

$4,000–6,000

253 YNEZ JOHNSTON Small Harbor

1983 Mixed-media on canvas Signed and dated to canvas overlap verso; titled canvas verso 20" x 16" (51 x 41 cm) P ROV E NANC E Private Collection, Encino, California (acquired directly from the artist)

$2,500–3,500

151

254 CLAIRE FALKENSTEIN

Whirling Cones, Interlocked Cones, and Conic Structure (from Fiori) (3) 1970 Color lithographs printed on both sides on Japan paper Whirling Cones: #27 of 60; Interlocked Cones: #16 of 60; Conic Structure: #40 of 50 Printed by Grafica Uno, Milan Each signed with edition in graphite to folded sheet Image/sheet (irreg.) (Whirling Cones): 27.75" x 17" Image/sheet (irreg.) (Interlocked Cones): 25.625" x 18" Image/sheet (irreg.) (Conic Structure): 28.625" x 14.75" (Whirling Cones image/sheet: 70 x 43 cm) P ROVENA NC E Galerie Stadler, Paris, France; Private Collection, Luxembourg, Luxembourg (acquired directly from the above, c. 1985); Private Collection, Luxembourg, Luxembourg (acquired directly from the above) LITERATURE Claire Falkenstein. J. Belloli. 2012. 182-183.; The Stamp of Impulse: Abstract Expressionist Prints. D. Acton. 2001. 130.

$2,500–3,500

153

255 CLAIRE FALKENSTEIN

Untitled (from Venezia Ha Dettato Cosi’ Portfolio) (3) c. 1972 Color screenprints on wove paper Each: Artist’s proof aside from the edition of 100 Published by Edizioni Plurima, Portogruaro Each signed in graphite with publisher’s blind stamp lower right; edition lower left Image/sheets each: 19.625" x 27.25" (50 x 69 cm) P ROV E NANC E Galerie Stadler, Paris, France; Private Collection, Luxembourg, Luxembourg (acquired directly from the above, c. 1985); Private Collection, Luxembourg, Luxembourg (acquired directly from the above)

$2,500–3,500

256 CLAIRE FALKENSTEIN Untitled

1953 Mixed-media on handmade paper Signed and dated in graphite upper left Composition/sheet: 23.375" x 18.375" Frame: 28.5" x 23.5" (Composition/sheet: 59 x 46 cm) P ROVENA NC E Collection of Michel Tapié, Paris, France; Private Collection, Luxembourg, Luxembourg (acquired directly from the above); Private Collection, Luxembourg, Luxembourg (acquired directly from the above)

$4,000–6,000

257 CLAIRE FALKENSTEIN Untitled (Horse)

1993 Pastel and ink on paper Initialed and dated lower right edge of sheet; signed and inscribed frame verso Composition/sheet: 9" x 12" Frame: 9.25" x 12.25" (Composition/sheet: 23 x 30 cm) P ROVENA NC E A. Quincy Jones & Elaine K. Sewell Jones; The Estate of Gerard L. Cafesjian (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, May 23, 2010, lot 99)

$600–800

155

258 STANTON MACDONALD-WRIGHT Guardian Angel

1973 Watercolor and graphite on paper Signed, dated, and inscribed “Lucca” in graphite lower center edge of sheet in composition; retains Lorraine Gallery label frame verso Composition/sheet (vis.): 12.25" x 8.875" Frame: 18.5" x 14.25" (Composition/sheet: 31 x 22 cm) P ROV E NANC E Private Collection, Encino, California (acquired directly from the artist)

$3,000–5,000

259 ROBERT NATKIN Bern No. 338A

1983 Acrylic on canvas Signed lower left edge of canvas; stamped “338A/Robert Natkin/1983” to canvas overlap verso and twice to canvas stretcher bars verso; retains Gloria Luria Gallery label canvas stretcher bar verso Canvas: 51.75" x 131.75" Frame: 53" x 132.75" (Canvas: 131 x 335 cm)

$8,000–12,000 THIS WORK IS BEING SOLD TO FUND NEW ARTWORK FOR UCLA’S HOSPITALS, MEDICAL CENTERS, AND CLINICS, ALONG WITH MUCH NEEDED REPAIRS AND UPKEEP OF ARTWORK IN THE COLLECTION

260 JOSEPH GOLDYNE Vendôme III

c. 1978 Monotype with watercolor on paper Unique Signed in graphite lower right margin beneath image; titled lower center sheet; inscribed “M.T. with watercolor” lower left Image: 28.5" x 20.5" Sheet: 31.125" x 22" Mount: 34.875" x 26" (Image: 72 x 52 cm) P ROVENA NC E James Corcoran, Los Angeles, California; UCLA Health (gifted directly from the above)

$2,000–3,000

261 LEE MULLICAN Tribal Head

1989 Oil, acrylic, and graphite on canvas Signed, dated, and inscribed “Taos” canvas verso; retains Herbert B. Palmer and Company label verso Together with Herbert Palmer Gallery announcement and brochure Canvas (vis.): 39.625" x 29.625" Frame: 41.5" x 31.5" (Canvas: 101 x 75 cm) P ROV E NANC E Herbert Palmer Gallery, Los Angeles, California; The Ehrlich Family Trust (acquired directly from the above, 1990) E XHIBIT E D “Lee Mullican: Tribal Shots,” Herbert Palmer Gallery, Los Angeles, September 29-October 28, 1989 ILLUST RAT E D Lee Mullican: Tribal Shots. Herbert Palmer Gallery brochure. 1989. Cover.

$2,000–3,000

262 JAN STUSSY

Girl in an Exotic Room N.d.

Acrylic on Masonite Signed lower right in composition; signed and titled in black felt-tip marker verso; retains Ceeje Galleries label verso Together with drawing and copy of handwritten letter by Jan Stussy Masonite (vis.): 47.75" x 47.75" Frame: 49.25" x 49.25" (Masonite: 121 x 121 cm)

$2,000–3,000

157

263 JEDD GARET

Wonderland of Forms 1983 Acrylic on canvas Signed, titled, and dated in black crayon verso; retains Robert Miller Gallery, Inc. and Texas Gallery labels to canvas stretcher verso Together with print by Jedd Garet 69.5" x 95" x 5.5" (177 x 241 x 14 cm) P ROVENA NC E Robert Miller Gallery, New York, New York; Texas Gallery, Houston, Texas; Steven Sloman Fine Arts, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above)

$3,000–5,000

264 CONRAD BUFF Untitled

N.d.

Oil on board Signed in red paint lower left; signed by Mary Elizabeth Buff and retains stamp inscribed “This painting is by Conrad Buff and has been stamped with its official estate signature/Mary Elizabeth Buff” Board (vis.): 29.75" x 23.5" Frame: 32.75" x 26.5" (Board: 75 x 60 cm) P ROVENA NC E Mike Rivero, San Pedro, California (acquired directly from the artist)

$2,000–3,000

DETAIL

159

265 MICHAEL LUCERO Untitled (Fish)

1981-1982 Hand-built white earthenware with glazes, metal rod, and wire Incised signature, date, and inscribed “N.Y.C” to top element 94.75" x 26.5" x 12" (240 x 67 x 30 cm) P ROV E NANC E Charles Cowles Gallery, New York, New York; Raymond and Patsy Nasher, Dallas, Texas (acquired directly from the above); Private Collection, Aspen, Colorado (acquired directly from the above through Sotheby’s, New York, New York, May 9, 2008, lot 28)

$3,000–5,000

266 TAKASHI MURAKAMI

And Then x 6 (Red: The Superflat Method) 2013 Offset color lithograph on smooth wove paper #29 of 300 Published by Kaikai Kiki Co. Ltd., Toyko and New York Signed with edition in black felt-tip marker lower right edge of sheet; title, date, and publisher information printed lower left Sheet: 19.5" x 19.5" Frame: 22.25" x 22.25" (Sheet: 50 x 50 cm)

$1,000–1,500

267 YOSHITOMO NARA

Pup Cup; The Little Wanderer (2) 2003 Injection-molded and rotationally-molded plastic From an open edition size Published by Cerealart, Philadelphia Each stamped by artist’s estate to underside Each together with original packaging The Little Wanderer: 12.625" x 8" diameter (including packaging) Pup Cup: 9.625" x 8.5" diameter (including packaging) (The Little Wanderer: 32 x 20 cm)

$1,200–1,800

161

268 HIRO ANDO

Samurai Cat Monology Orange 2006 Mixed-media resin and pigment polychrome on fiberglass under acrylic cap with LED #6 of 8 Published by Crazy Noodles Studio, Tokyo Signed and inscribed “June 27 2006” in English and Japanese to underside Together with copy of invoice from Modern Art Machine dated November 9, 2015 20" x 13.5" x 8.5" 27.5" x 21.375" x 17.375" (including case) (51 x 34 x 22 cm) P ROV E NANC E Modern Art Machine, Paris, France; Private Collection, Los Angeles, California (acquired directly from the above, 2015)

$3,500–5,000

269 CHUCK CLOSE

Phil (Anamorphic) 2007 Engraving with embossment on Twinrocker handmade paper, polished stainless steel cylinder, and wooden box/platform #4 of 20 Published by Two Palms Press, New York Signed and dated with edition in graphite along lower edge of sheet 9" x 22" x 22" Overall: 16" x 24.5" x 24.5" (including case) (23 x 56 x 56 cm) P ROVENA NC E John Berggruen Gallery, San Francisco, California; Private Collection, Beverly Hills, California (acquired directly from the above, 2008)

$7,000–10,000

270 DAMIEN HIRST

Untitled (Spin Painting) 2002 Acrylic, ink, and colored chalk on paper Signed in graphite lower center sheet; stamped “This is one of 100 original spins made for the AIDS Community Research Initiative of America/Damien Hirst/2002” verso 11.625" x 8.25" (29 x 21 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired through AIDS Community Research Initiative of America (ACRIA) Benefit Auction, New York, New York)

$5,000–7,000

163

271 VALAY SHENDE Dabbawala

c. 2015 Copper plated brass case, wrist watches, and gold plated fiberglass Together with copy of original invoice from Opera Gallery dated June 16, 2016 75" x 25" x 24.75" (including base) (191 x 64 x 63 cm) P ROV E NANC E Opera Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 2016) LIT E RAT URE Valay Shende: From Day To Day. Opera Gallery exh. cat.

2015. 2-3 for a similar example illustrated.

$20,000–30,000

272 JOAN MIRÓ

L’Aigrette Rouge 1976 Color etching, aquatint, and carborundum on Arches paper #30 of 50 Published by Maeght Éditeur, Paris; printed by Morsang, Paris Signed in graphite lower right margin beneath image; edition lower left Image: 45.5" x 28.5" Sheet (vis.): 51" x 33.25" Frame: 64.25" x 45.375" (Image: 116 x 72 cm) LITERATURE Miró Engraver. Vol. IV. J. Dupin and A. Lelong-Mainaud.

2001. #930.

$15,000–20,000

273 JOAN MIRÓ

Femme à la Colombe 1969 Color lithograph on Rives paper #6 of 75 Published by Maeght Éditeur, Paris; printed by Arte Adrien Maeght, Paris Signed lower right in image; edition lower left Image/sheet: 33.5" x 23.875" Frame: 44.125" x 34.75" (Image/sheet: 85 x 60 cm) LIT E RAT URE Joan Miró, Lithographe. Vol. III. P. Cramer, ed. 1976. #529.

$5,000–7,000

165

274 JOAN MIRÓ

Le Grand Écart 1969 Color lithograph on Rives paper #8 of 75 Published by Maeght Éditeur, Paris; printed by Arte Adrien Maeght, Paris Signed lower right in image; edition lower left Image/sheet: 33.5" x 23.75" Frame: 44.25" x 34.5" (Image/sheet: 85 x 60 cm) LITERATURE Joan Miró, Lithographe. Vol. III. P. Cramer, ed. 1976. #524.

$3,000–5,000

275 JOAN MIRÓ

Untitled (from Album 21) 1978 Color lithograph on Arches paper #31 of 75 Published by Maeght Éditeur, Paris; printed Imprimerie Mourlot, Paris Signed in graphite lower right in image; edition lower left Image/sheet: 25.625" x 19.625" Frame: 37.25" x 30.875" (Image/sheet: 65 x 50 cm) LITERATURE Joan Miró, Lithographe. Vol. VI. P. Cramer, ed. 1992. #1134.

$2,000–3,000

276 JOAN MIRÓ

Poster for the exhibition ‘Young Artists, ‘73’ 1973 Lithograph on Vélin d’Arches paper #7 of 75 Published by International Play Group, New York; printed by Arte Adrien Maeght, Paris Signed in graphite lower right in image; edition lower left Sheet: 35.25" x 24" Frame: 45" x 33.5" (Sheet: 89 x 61 cm) LIT E RAT URE Joan Miró, Lithographs. Vol. V. P. Cramer, ed. 1992. #925.

$3,000–5,000

277 JOAN MIRÓ

Poster for the exhibition ‘Sobreteixims’ 1973 Lithograph on Chiffon de la Dore paper #29 of 150 Published by Maeght Éditeur, Paris; printed by Arte Adrien Maeght, Paris Signed in graphite lower right in image; edition lower left Image/sheet (vis.): 33.125" x 22.5" Frame: 44.75" x 34" (Image/sheet: 84 x 57 cm) LIT E RAT URE Joan Miró, Lithographs. Vol. V. P. Cramer, ed. 1992. #919.

$2,000–3,000

167

278 SONIA DELAUNAY Venise

c. 1970 Color etching and aquatint on Arches paper #118 of 125 Signed in graphite lower right margin beneath image; edition lower left Image: 19.5" x 15.625" Sheet (vis.): 21" x 17" Frame: 28.5" x 24.125" (Image: 50 x 40 cm)

$2,000–3,000

279 SONIA DELAUNAY Untitled

c. 1970 Color etching and aquatint on Arches paper #118 of 125 Signed in graphite lower right margin beneath image; edition lower left Image: 19.375" x 15.5" Sheet (vis.): 21" x 17" Frame: 28.5" x 24.125" (Image: 49 x 39 cm)

$2,000–3,000

280 SONIA DELAUNAY Untitled

c. 1970 Color etching and aquatint on Arches paper #118 of 125 Signed in graphite lower right margin beneath image; edition lower left Image: 19.5" x 15.5" Sheet (vis.): 21" x 16.5" Frame: 29.25" x 23.625" (Image: 50 x 39 cm)

$2,000–3,000

PARTIAL ILLUSTRATION

169

281

282

283

SONIA DELAUNAY

SONIA DELAUNAY

VARIOUS ARTISTS

c. 1968 Pochoir on paper

1964 Color etching on wove paper

1949-1998 Etchings, aquatints, dry tips, lithographs, and serigraphs on paper

Signed in graphite lower right in composition

From an edition of 150

Most signed and dated with edition

Initialed in plate lower right; signed and dated in graphite lower right margin beneath image; retains Halper Gallery Inc. label frame verso

Comprised of works by Olivier Debré, Sonia Delaunay, Jean-Michel Folon, Claude Garache, Alain de la Bourdonnaye, Nicole, Pierre-Yves Trémois, Victor Vasarely, and after Jacques Villon

Y grec, préparation de l’alphabet

Composition/sheet: 12" x 10.25" Mount: 19.625" x 15.625" (Composition/sheet: 30 x 26 cm) PROVE N A N CE The Estate of Gerard L. Cafesjian (acquired through Bonhams, Los Angeles, California, April 4, 2012, lot 57)

Plate from Zwanzig Jahre Galerie d’Art Moderne Bâle

Image: 13.125" x 10.5" Sheet (vis.): 14.25" x 11.5" Frame: 22" x 17.5" (Image: 33 x 27 cm)

$2,000–3,000

Compositions (102)

Various dimensions P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Chris-

P ROV E NANC E The Estate of Gerard

tie’s, Paris, France, December 13,

L. Cafesjian (acquired through Chris-

2012, lot 201)

tie’s, New York, New York, October 5, 2011, lot 226)

$1,000–1,500

$3,000–5,000

284 PABLO PICASSO

Femme Couchée et Homme au Grand Chapeau 1959; published 1960 Color linocut print on Arches paper #12 of 50 Published by Galerie Louise Leiris, Paris Signed in graphite lower right margin beneath image; edition lower left Image: 20.75" x 25" Sheet (vis.): 23" x 27.25" Frame: 34.625" x 38.75" (Image: 53 x 64 cm) LITERATURE Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. G. Bloch. 1971. #919.; Picasso: Peintre-Graveur. Vol. V. B. Baer. 1989. #1236.

$15,000–20,000

285 JEAN (HANS) ARP Profile brooch

1963 Silver with inset pebble #37 of 100 Produced by Peter Ein-Hod, Ein Hod Impressed “Design by Arp/37/100” and “Peter Ein-Hod/Made in/ Israel/ST925” 3" x 1.875" (8 x 5 cm) LIT E RAT URE Jewelry by Contemporary Painters and Sculptors. R.S. Neu. 1967. #3.

$5,000–7,000

286 ASGER JORN Untitled

1956 Ink on paper Signed and dated in black ink lower right Composition/sheet (vis.): 10.625" x 13.375" Frame: 20.625" x 23.5" (Composition/sheet: 27 x 34 cm)

$3,000–5,000

171

287 MARC CHAGALL

The artist and biblic themes (L’Artiste et Thèmes bibliques) 1974 Lithograph on Arches paper #30 of 50 Signed in graphite lower right margin beneath image; edition lower left Image: 14.75" x 22.5" Sheet (vis.): 17.25" x 24" Frame: 27.5" x 34.25" (Image: 37 x 57 cm) LITERATURE Marc Chagall: The Lithographs. U. Gauss, ed. 1998. #722.

$4,000–6,000

288 RENÉ GRUAU

Dancer with Orange and Yellow Feathers N.d.

Ink and gouache on Canson “C” à grain paper Signed “G*” in black felt-tip marker lower right beneath composition; retains artist’s studio stamp verso Sheet: 25.75" x 19.75" (65 x 50 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, New York, New York, July 11, 2006, lot 225)

$2,000–3,000

289 OSKAR KOKOSCHKA Kouros II

1968; published 1970 Brown chalk lithograph on Rives Bütten paper #44 of 70 Published by Edition Olympia, München; printed by Luitpold Domberger, Stuttgart Signed in graphite lower right; edition lower left; signed in plate along lower left edge of sheet Image: 34.5" x 19.75" Sheet: 41.375" x 29.625" (Image: 88 x 50 cm) LIT E RAT URE Oskar Kokoschka: Das druckgraphische Werk. H. M. Wingler and F. Welz. 1975. #450.

$600–800

173

290 PAUL LÁSZLÓ Screen

Custom, executed 1947 Signed and dated lower left Hand-painted glass tiles by Bottega Karin Overall: 108" x 142" (274 x 361 cm) SIGNATURE AND DATE DETAIL

P ROVENA NC E Barbara Stanwyck, Beverly Hills, California; Private Collection, Los Angeles, California; Private Collection, Beverly Hills, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, June 26, 2011, lot 238)

$10,000–15,000

291 WILLIAM “BILLY” HAINES

Ledge-back Seniah chairs (2) Custom, designed c. 1947 Each: 31" x 30" x 34" (79 x 76 x 86 cm) P ROV E NANC E Dragonette, Ltd., Los Angeles, California; Private Collection, West Hollywood, California (acquired directly from the above)

$10,000–15,000

175

292 WILLIAM “BILLY” HAINES Low table

Custom, executed 1952 for the Schenecker House 22" x 41.75" diameter (56 x 106 cm) P ROV E NANC E Edmund and Polly Schenecker, Fort Worth, Texas; Collage, Dallas, Texas; Private Collection, Los Angeles, California (acquired directly from the above); Private Collection, West Hollywood, California (acquired directly from the above) ILLUST RAT E D Class Act: William Haines, Legendary Hollywood Decorator. P. Schifando and J. Mathison. 2005. 130-131, 220.

LIT E RAT URE “Shaped Like a Fan, The Texas House of Mr. and Mrs. Edmund Schenecker.” Vogue. Feb. 15, 1952. 84-85.

$10,000–15,000

293 EDWARD WORMLEY Sectional sofas (3)

Dunbar, designed c. 1947 Each: 28.25" x 72.75" x 35.5" (72 x 185 x 90 cm) P ROVENA NC E The Borax Family, Laguna Beach, California; Downtown, West Hollywood, California; Private Collection, Manhattan Beach, California (acquired directly from the above, 2000) ILLUSTRAT E D “Find Your Eclectic Style.”

L. Erenberg. Taunton’s Inspired House.

Feb. 2005. Cover, 49.

$6,000–9,000

DETAIL

294 EDWARD WORMLEY Cocktail table

Dunbar, designed c. 1953 Model no. 4542 Retains Dunbar green metal tag to underside 17.5" x 52" diameter (44 x 132 cm) P ROVENA NC E Downtown, West Hollywood, California; Private Collection, Manhattan Beach, California (acquired directly from the above, 2000) LITERATURE The Dunbar Book of Modern Furniture. Manufacturer cat.

1953. 9.

$2,500–3,500

DETAIL

295 EDWARD WORMLEY

Constellation tables (3) Dunbar, designed 1962 Model no. 479 Each retains gold ‘D’ manufacturer’s label Each: 18.875" x 12.875" diameter (48 x 33 cm)

$4,000–6,000

177

296 TOMMI PARZINGER Chests (2)

Parzinger Originals, designed c. 1960 Model no. 223 Branded with manufacturer’s mark to interior of drawer Each: 17" x 20.5" x 15.5" (43 x 52 x 39 cm) LIT E RAT URE Parzinger Originals. Manufacturer cat. N.d. N.pag.

$5,000–7,000

297 ROGER SPRUNGER Sofa

Dunbar, designed c. 1970 Retains remnant of unknown label to underside 30.5" x 90.375" x 29" (77 x 229 x 74 cm)

$3,000–5,000

298 MID-CENTURY MODERN

Double layer coffee tables (2) Manufacturer unknown, designed c.

1990 Each: 19.125" x 45.625" x 31.625" (49 x 116 x 80 cm) P ROVENA NC E Private Collection, Los Angeles, California (acquired through Otis College of Art and Design benefit auction, Los Angeles, California, 2005)

$2,500–3,500

299 DOUGLAS DEEDS Side chairs (4)

Architectural Fiberglass, designed c.

1965 From the FC-1000 series Each: 30.25" x 22" x 23.625" (77 x 56 x 60 cm) LIT E RAT URE California Design 10. Pasadena Art Museum exh. cat. 1968. 20-21.

$3,000–5,000

300 JOHN FOLLIS

Peanut planter Architectural Pottery, designed c. 1958 Model no. F-208 Together with reproduction base 7" x 62.25" x 14.5" (18 x 158 x 37 cm) LIT E RAT URE Architectural Pottery Catalogue. Manufacturer cat. March 1961. 15.

$3,000–5,000

179

301 MILTON AVERY Scholar

c. 1948 Oil on canvas Signed lower right edge of canvas; retains Heritage Gallery label frame verso Canvas (vis.): 21.125" x 15.625" Frame: 28.375" x 22.75" (Canvas: 54 x 40 cm) P ROVENA NC E Heritage Gallery, Los Angeles, California; Dalton and Cleo Trumbo, Los Angeles, California; Thence by descent

$40,000–60,000

302 MILTON AVERY Head

1950 Tempera and ink monotype on paper Signed and dated lower left; retains Heritage Gallery and unknown information label frame verso Image/sheet: 11" x 8.5" Frame: 20" x 16" (Image/sheet: 28 x 22 cm) P ROV E NANC E Heritage Gallery, Los Angeles, California; Dalton and Cleo Trumbo, Los Angeles, California; Thence by descent

$8,000–12,000

303 BEN SHAHN

Untitled (Couple) N.d.

Watercolor on paper Composition: 9.5" x 9.125" Sheet (vis.): 13" x 9.625" Frame: 19.125" x 15.75" (Composition: 24 x 23 cm) P ROV E NANC E Simon Abrahams, New York, New York; Thence by descent

$2,000–3,000

181

304 FRANZ KLINE

Little Red Bakery 1942 Oil on canvas Signed and dated lower right edge of canvas; initialed and dated canvas verso; titled frame verso Canvas: 15.75" x 21.625" Frame: 22.625" x 28.625" (Canvas: 40 x 55 cm) P ROVENA NC E Mr. and Mrs. Jacques Kline, Bristol, Pennsylvania; The Estate of Gerard L. Cafesjian (acquired directly from the above through Sotheby’s, New York, New York, October 3, 1991, lot 1)

$8,000–12,000

305 JAN MATULKA

Untitled (Still Life) c. 1935 Oil on board Signed lower right; inscribed “127” in red crayon verso Board (vis.): 13" x 15.25" Frame: 19.875" x 21.875" (Board: 33 x 39 cm) P ROV E NANC E Private Collection, Woodland Hills, California; Thence by descent

$3,000–5,000 THIS WORK IS BEING SOLD BY LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART

306 JOHN DOUGLAS DUDER Still Life with Trumpet 1956 Oil on canvas Signed and dated lower right Canvas (vis.): 7.5" x 17.375" Frame: 17.125" x 27.125" (Canvas: 19 x 44 cm) P ROV E NANC E B. Lewin Galleries, Palm Springs, California; Property of the Los Angeles County Museum of Art (gifted directly from the above)

$400–600

183

307 ZAO WOU-KI Untitled

1957 Etching on paper #2 of 10 artist’s proofs aside from the edition of 50 Printed by R. Dutrou, Paris Signed and dated in graphite lower right margin beneath image; edition lower left Image: 4.5" x 12.75" Sheet (vis.): 5.5" x 13.625" Frame: 12.25" x 20.375" (Image: 11 x 32 cm) LITERAT U RE Zao Wou-ki: Les Estampes 1937-1974. F. Marquet. 1975. #113.

$2,000–3,000

308 DIMITRI HADZI Talos I

c. 1975 Gilt bronze and marble #4 of 25 Signed with edition in Roman numerals to base of sculpture 11.875" x 2.25" x 3.25" (including base) (30 x 6 x 8 cm)

$2,000–3,000

309 KISHIO MURATA

Jardin Japonese de April 1966 Oil on canvas Signed and dated lower right Together with certificate of authenticity and original invoice from Art Collectors’ Gallery dated February 5, 1967 Canvas (vis.): 17.5" x 20.75" Frame: 25.25" x 28.25" (Canvas: 44 x 53 cm) P ROV E NANC E Art Collectors’ Gallery, Beverly Hills, California; Private Collection, Encino, California (acquired directly from the above, 1967); Thence by descent

$1,500–2,000

185

310 MENASHE KADISHMAN Untitled (Still Life) 1984 Acrylic on canvas Signed and dated lower left; signed and dated verso Canvas: 84.5" x 63" Frame: 85.375" x 63.75" (Canvas: 215 x 160 cm)

$10,000–15,000

311 CAMILLE BOMBOIS

Le Nu aux Bras Levés c. 1925 Oil on canvas Signed lower right edge of canvas; retains Perls Galleries and Neumann Family Collection labels canvas stretcher verso Canvas: 28.75" x 23.5" Frame: 38.75" x 32.75" (Canvas: 73 x 60 cm) P ROVENA NC E Perls Galleries, New York, New York; Morton Neumann Family Collection; The Estate of Gerard L. Cafesjian (acquired directly from the above through Tajan, Paris, France, July 21, 2012, lot 12)

$20,000–30,000

187

312 JACOB EPSTEIN Rani Rama

1934; produced later Bronze with brown green patina From an unnumbered edition size Signed 22.5" x 16.375" x 10.375" (57 x 41 x 26 cm) P ROV E NANC E Dalzell Hatfield Galleries, Los Angeles, California; Private Collection, Pasadena, California (acquired through Butterfield & Butterfield, San Francisco, California, May 3, 1981, lot 113); Thence by descent LIT E RAT URE The Sculpture of Epstein: With a Complete Catalogue.

E. Silber. 1987. #251.; Jacob Epstein: Sculptor. R. Buckle. 1963. #330.

$6,000–8,000

313 SIDEO FROMBOLUTI

Deux Femmes (Rouge) 1968 Oil on canvas Signed and dated in black crayon to canvas stretcher verso; retains Galerie Loevenbruck label verso Canvas: 60" x 70" Frame: 61.75" x 71.5" (Canvas: 152 x 178 cm) P ROVENA NC E Darthea Speyer, Paris, France; The Estate of Gerard L. Cafesjian (acquired directly from the above through Christie’s, Paris, France, July 7, 2010, lot 299)

$2,000–3,000

314 PHILIP MORSBERGER Olympia No. 1 1975 Oil on canvas Signed in black crayon lower left; signed, titled, and inscribed “For Sue and Neil Hoffman/Best Always” verso Canvas (vis.): 37.875" x 45.75" Frame: 39.25" x 47.125" (Canvas: 96 x 116 cm) P ROVENA NC E Private Collection, Palm Desert, California (acquired directly from the artist)

$2,000–3,000

315 ALBERTO VARGAS Lounging Nude

1943 Watercolor, pencil, and ink on paper Signed in red ballpoint pen in composition; signed and inscribed “To my friend “Jim” in deep appreciation” in red ballpoint pen lower right Composition/sheet (vis.): 17.625" x 28.25" Frame: 21.25" x 31.875" (Composition/sheet: 45 x 72 cm) P ROV E NANC E The estate of Sam Simon, Los Angeles, California (acquired through Illustration House, New York, New York, May 3, 1997, lot 142); Private Collection (acquired directly from the above through Sotheby’s, New York, New York, October 2, 2015, lot 140); Private Collection, Los Angeles, California (acquired directly from the above through Abell Auction Company, Commerce, California, February 21, 2016, lot 169)

$6,000–8,000

316 JAMES CHARLES PROHL I Think of You 1979 Oil on canvas Signed and dated lower right Canvas (vis.): 22.375" x 17.25" Frame: 26.125" x 21.125" (Canvas: 57 x 44 cm) P ROV E NANC E The Estate of William M.V. Kingsland; The Estate of Gerard L. Cafesjian (acquired directly from the above through Christie’s, New York, New York, June 22, 2011, lot 51)

$500–700

189

317 ITALIAN MODERN Mirror

Fontana Arte, designed c. 1940 40" diameter (102 cm)

$3,000–5,000

318 GIO PONTI

Console table Giordano Chiesa, designed c. 1960 30.5" x 47.25" x 24.25" (77 x 120 x 61 cm)

$5,000–7,000

319 GIO PONTI & CRISTINA LONGO Doors

Custom, designed 1953; customized 2011 Lacquered Italian walnut, ash, mirrored glass, and brass Each: 57.75" x 24" x 1.625" (147 x 61 x 4 cm) These doors were originally designed for the Royal Hotel in Naples, Italy. In the 2000s, architect Cristina Longo repurposed some of Ponti’s furnishings for a handful of interiors that she designed. In this case, she took the original doors and added white lacquer stripes.

P ROV E NANC E Royal Hotel, Naples, Italy; Private Collection, Paris, France; The Estate of Gerard L. Cafesjian (acquired directly from the above through Wright, Chicago, Illinois, April 26, 2012, lot 349) E XHIBIT E D “Centoventi Gio Ponti: Designer Senza Tempo,” Mercanteinfiera, Parma, February 26-March 6, 2011

$1,000–1,500

320 GIOVANNI (NINO) ZONCADA Side table

Studio, designed c. 1949 19.125" x 29.5" diameter (49 x 75 cm) This model was used on the French ocean liner, S.S. Stella Solaris, for which Nino Zoncada was a designer for the interiors.

$3,000–5,000

191

321 AFRA & TOBIA SCARPA Nictea hanging lamp Flos, designed 1961 12.5" x 18" diameter (32 x 46 cm) LITERATURE Afra and Tobia Scarpa: Architects 1959-1999, Tobia Scarpa: Architect: 2000-2009. R. Masiero and M. Maguolo, eds. 2009. #13.

$3,000–5,000

322 MAN RAY

Le Témoin Collezione Simon, designed 1971 Ultramobile Collection 16.75" x 59" x 27" (42 x 150 x 69 cm) LITERATURE Dino Gavina: Ultrarazionale, Ultramobile. R. Orsini. 1998. 151.

$2,500–3,500

323 UELI BERGER, HEINZ ULRICH & ELEONORE PEDUZZI-RIVA Non Stop sofa

De Sede for Stendig, designed 1972 Model no. DS-600 Comprised of 15 sections Sections each: 30" x 10" x 36" (76 x 25 x 9489 cm) LIT E RAT URE Sourcebook of Modern Furniture. J. Habegger and J. Osman.

1997. 496.

$10,000–15,000

193

324 ITALIAN MODERN Bracket wall lamp

Fontana Arte, designed 1960 6" x 8" x 8.5" (15 x 20 x 22 cm) LITERATURE Fontana Arte: Una Storia Trasparente. L. Falconi. 1998. 124.

$2,000–3,000

325 SUPERSTUDIO

Excelsior floor lamps (2) Poltronova, designed 1969 Each: 83.5" x 28" diameter (212 x 71 cm) LITERATURE Superstudio: Life Without Objects. P. Lang and W. Menking. 2003.

98.

$5,000–7,000

326 FULVIO BIANCONI

Fasce Orizzontali bottle

327 FULVIO BIANCONI

Fasce Verticali bottle with stopper

Venini, designed c. 1951 Retains manufacturer’s tag inscribed “Venezia/Murano/Made in Italy” to underside

Venini, designed c. 1953 Model no. 4496 Retains manufacturer’s tag inscribed “Venezia/Murano/N.4496/Made in Italy” to underside

23.25" x 5.625" diameter (59 x 14 cm)

19.125" x 4" diameter (49 x 10 cm)

P ROV E NANC E Richard Weisenberger,

P ROV E NANC E Richard Weisenberger,

New York, New York; Private Collection,

New York, New York; Private Collection,

New York, New York (acquired directly

New York, New York (acquired directly

from the above, 1993)

from the above, 1993)

LIT E RAT URE Fulvio Bianconi at Venini.

LIT E RAT URE I Vetri Venini. D. Klein.

M. Barovier and C. Sonego, eds. 2015.

1989. Pl. 125 for a similar example illus-

200-201 for similar examples illustrated.

trated.

$5,000–7,000

$2,000–3,000

195

328

329

LINO TAGLIAPIETRA

LINO TAGLIAPIETRA

Studio, executed 1998 Hand-blown glass with internal cane decoration Incised signature with date to interior edge

Studio, executed 1996 Hand-blown glass with internal cane decoration Incised signature with date to interior edge

7.25" x 66.375" x 6.25" (not including base) (18 x 168 x 16 cm)

6.625" x 64.5" x 6.5" (not including base) (17 x 164 x 17 cm)

$15,000–20,000

$5,000–7,000

Boat form

Boat form

197

330 IRENE REZZONICO Adamo; Eva (2) 1998 Glass Adamo: #9 of 10; Eva: #1 of 11 Fabricated by Berengo Studio, Venice Each with etched signature and edition to reverse of top element Adamo: 69.25" x 19.75" x 5.5" 81.125" x 15.75" x 9.75" (including base) Eva: 68.5" x 18.75" x 4.5" 80.375" x 15.75" x 9.75" (including base) (Adamo: 176 x 50 x 14 cm) LIT E RAT URE Berengo Collection: Glass: A Possibility of Art. J. Sillevis and A. Berengo, eds. 1998. 122 for similar example from edition.

$10,000–15,000

331 WILLIAM MORRIS Standing Stone 1989 Mold blown glass Etched signature with date 43.5" x 15.125" x 11.25" (110 x 38 x 28 cm) LITERATURE William Morris Glass Artifact and Art. K. Elliott, ed. 1989.

46-47, 50-51 for similar examples illustrated.

$5,000–7,000

332 WILLIAM MORRIS

Artifact Still Life (3) 1988 Blown glass in three parts Etched signature with date to underside of base element 12.25" x 21.75" x 22" (as illustrated) (31 x 55 x 56 cm) LIT E RAT URE William Morris Glass Artifact and Art. K. Elliott, ed. 1989.

60 for a similar example illustrated.

$3,000–5,000

333 PAUL SEIDE

Bio Morphic (from Cloud series) (2) c. 1988 Blown glass, gas, antenna plate, and radio wave transmitter 11.5" x 18" x 18" (as illustrated) (29 x 46 x 46 cm) LIT E RAT URE Glass: A Contemporary Art. D. Klein. 1989. 75 for a similar example illustrated.

$3,000–5,000

199

334 JEAN LURÇAT

Untitled (Le bouc aux étoiles) N.d.

Wool tapestry #223 of unknown edition size Fabricated by JP Paris Panneaux Gobelins, Paris Signed lower right in weave; retains JP Paris Panneaux Gobelins and signed D’Étoiles labels verso 44.5" x 74" (113 x 188 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian (acquired through Tajan, Paris, France, March 17, 2005, lot 262)

$1,000–1,500

335 JEAN LURÇAT

Le Grésivaudan c. 1950 Gouache on paper laid down to card Signed in graphite lower right; titled in graphite lower left; retains Waddington Galleries label verso Composition/sheet (vis.): 23.625" x 25.5" Frame: 28.625" x 30.625" (Composition/sheet: 60 x 65 cm) P ROV E NANC E Waddington Galleries, Montreal, Canada; The Estate of Gerard L. Cafesjian (acquired directly from the above through Christie’s, London, United Kingdom, April 7, 2005, lot 428)

$2,000–3,000

336 JEAN LURÇAT Pitcher

Sant Vicens, designed c. 1950 #22 of 80 Glazed stoneware Signed and inscribed “II Dessin/J. Lurçat/Sant-Vicens/A.H” with edition to underside 14.25" x 9.25" x 8" (36 x 23 x 20 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, New York, New York, March 9, 2005, lot 144)

$800–1,200

201

ILLUSTRATED PREVIOUS PAGE

337 CARLOS MÉRIDA Cástor y Pólux N.d.

Tapestry #1 of 5 Woven signature lower left; signed and titled with edition in black felttip marker to cloth label verso Tapestry: 55.875" x 40" Frame: 63.385" x 46.375" (Tapestry: 142 x 102 cm)

$5,000–7,000

203

338 MIGUEL COVARRUBIAS Tehuantepec River 1951 Lithograph on paper From an edition of 250 Published by Associated American Artists, New York; printed by George C. Miller, New York Signed in graphite lower right margin beneath image Image/sheet (vis.): 12.75" x 9" Frame: 23.875" x 18" (Image/sheet: 32 x 23 cm)

$1,000–1,500

339 ENRICO BAJ

Testa-segnale (Head-signal) 1959 Oil, collage, and decorative trimming on fabric Signed upper left; signed canvas stretcher bar verso; retains Landau Gallery label verso Fabric: 15.875" x 11.875" Frame: 16.375" x 12.25" (Fabric: 48 x 30 cm) ILLUSTRAT E D Enrico Baj Dada Impressionist. H. Lust. 1973. #470.

$8,000–12,000

THIS WORK IS BEING SOLD BY LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART

340 VLADIMIR CORA

Señorita de Tecuala No. 70 1984 Oil and acrylic on canvas Signed and dated in graphite lower left; retains B. Lewin Galleries label frame verso; signed, titled, dated, and inscribed “Acrilico y Oleo” in black felt-tip marker verso; inscribed “#10” in black ink to canvas stretcher verso Canvas (vis.): 31.25" x 40" Frame: 38" x 46.5" (Canvas: 79 x 102 cm) P ROV E NANC E B. Lewin Galleries, Palm Springs, California; Property of the Los Angeles County Museum of Art (gifted directly from the above)

$1,000–1,500

205

THIS WORK IS BEING SOLD BY LOS ANGELES COUNTY MUSEUM OF ART TO BENEFIT ACQUISITIONS OF LATIN AMERICAN ART

341 VLADIMIR CORA Still Life

1993 Oil and acrylic on canvas Signed and dated in graphite upper left; inscribed “#7” in black felt-tip marker frame verso; inscribed “B. Lewin” in graphite to canvas stretcher verso Canvas (vis.): 33.25" x 39.25" Frame: 41" x 47" (Canvas: 84 x 100 cm) P ROV E NANC E B. Lewin Galleries, Palm Springs, California; Property of the Los Angeles County Museum of Art (gifted directly from the above)

$1,000–1,500

342 FERNANDO BOTERO

Juan de Calabazas (After Velázquez) 1975 Charcoal and graphite on Arches paper Signed, titled, and dated lower right edge of sheet Composition/sheet: 30" x 22.25" Frame: 44.625" x 37.125" (Composition/sheet: 76 x 57 cm) P ROVENA NC E Galerie Claude Bernard, Paris, France; Private Collection, Athens, Greece; The Estate of Gerard L. Cafesjian (acquired directly from the above through Tajan, Paris, France, July 21, 2012, lot 13) EXHIBITE D “Botero: Aquarelles et Dessins,” Galerie Claude Bernard, Paris, March 1976 ILLUSTRAT E D Botero: Aquarelles et Dessins. Galerie Claude Bernard exh. cat. 1976. #22.

$20,000–30,000

343 FERNANDO BOTERO Untitled

c. 1960 Watercolor on paper Signed and inscribed “A Cecelia” lower left sheet; sketch of chicken verso Sheet: 11.75" x 9" Frame: 18.625" x 15.875" (Sheet: 30 x 23 cm) P ROV E NANC E Cecilia Perez Coombs, Philadelphia, Pennsylvania (acquired directly from the artist); Nancy Morgan Ambler, Philadelphia, Pennsylvania (acquired directly from the above); The Estate of Gerard L. Cafesjian (acquired directly from the above through Freeman’s Auctions, Philadelphia, Pennsylvania, November 6, 2011, lot 73)

$6,000–8,000

207

344 RALPH EUGENE CAHOON Detroit A Delray N.d.

Oil on Masonite Signed lower right Masonite (vis.): 21.5" x 29.125" Frame: 27.875" x 35.625" (Masonite: 55 x 74 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian (acquired through Eldred’s Auction Gallery, Dennis, Massachusetts, August 5, 2011, lot 1228)

$10,000–15,000

345 RALPH EUGENE CAHOON

Mermaid & Sailor on a Rocky Shore N.d.

Oil on Masonite Signed lower right Masonite (vis.): 17.5" x 13.5" Frame: 22.5" x 18.5" (Masonite: 44 x 34 cm) P ROV E NANC E The estate of Ms. Helen Ramsdell Bingham, West Palm Beach, Florida; The Estate of Gerard L. Cafesjian (acquired directly from the above through Leslie Hindman Auctioneers, Chicago, Illinois, May 2, 2012, lot 16)

$6,000–8,000

346 RALPH EUGENE CAHOON

Jealousy: Hair Pulling Mermaids on the Strand N.d.

Oil on Masonite Signed lower right Masonite (vis.): 9.5" x 13.5" Frame: 11.5" x 15.5" (Masonite: 24 x 34 cm) P ROV E NANC E Private Collection; The Estate of Gerard L. Cafesjian (acquired directly from the above through Sotheby’s, New York, New York, January 25, 2013, lot 470)

$5,000–7,000

209

347 DAVID SHEPHERD

The King of the Plains N.d.

Oil on canvas Signed lower right; retains The Tryon Gallery Ltd. label frame verso; inscribed “18412” in black felt-tip marker canvas verso Canvas (vis.): 8.5" x 15.5" Frame: 13" x 20" (Canvas: 22 x 39 cm) P ROVENA NC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, London, United Kingdom, June 5, 2013, lot 72)

$6,000–8,000

211

348 DAVID SHEPHERD Tiger

N.d.

Oil on canvas Signed lower right; inscribed “18324” in black felt-tip marker canvas verso Canvas (vis.): 9.375" x 15.5" Frame: 14" x 20" (Canvas: 24 x 39 cm) P ROV E NANC E The Estate of Gerard L. Cafesjian (acquired through Christie’s, London, United Kingdom, June 5, 2013, lot 75)

$6,000–8,000

Mary Corse: a survey in light

Always free for members and L.A. County youth 17 and under

July 28–Nov 11, 2019

^

Mary Corse, Untitled (White Light Series), 1966, Solomon R. Guggenheim Museum,New York, gift, Michael Straus, 2016, Š Mary Corse

los angeles county museum of art 5905 Wilshire Boulevard, near Fairfax Lacma.org |323 857-6010

Conditions of Sale/Notice to Buyers The following are our “Conditions of Sale” for the items listed

report on any item before bidding. All electrical items are sold

costs, commissions, incidentals, and shall be liable for payment

in this catalogue to be sold by Modern Auctions, Inc. (“MAI,”

for decorative value only and should be assumed not to be

of any deficiency in the purchase price. This is strictly enforced.

“L.A. Modern Auctions,” or “LAMA”) on October 20, 2019. We

working. All measurements are approximate. Photographs of

We reserve the right to assess a late charge of 1.5% of the total

are acting as an agent on behalf of our consignors.

any lots not illustrated can be found on our website, lamodern.

purchase price per month if payment is not made in accordance

com.

with any of these Conditions of Sale.

for on the day of the auction. We accept cash, bank wire

COL L ECT I ON & STO RAGE All lots must be removed

LEGA L F EES & V EN UE If a suit, action, arbritration

transfers, checks, and credit cards. Please note: credit card

from the auction showroom by 12:00pm (PT) on November

or other proceeding of any nature whatsoever is instituted

payments carry a 3% processing fee on the total invoice

19, 2019. Purchases not removed by November 19, 2019 will

in connection with any controversy arising out of these

amount. All payments made by personal checks will be subject

be assessed daily storage fees of $15 per day per lot. Items in

Conditions of Sale, the sale of items, the auction or any

to clearance before purchases can be collected. Buyers who

storage are not insured by MAI. Unless other arrangements

breach thereof between the bidder or buyer and Modern

have not purchased from Modern Auctions, Inc. (Los Angeles

are made and confirmed in writing, the buyer assumes sole

Auctions, Inc., the prevailing party shall be entitled to recover

Modern Auctions) previously are asked to provide a method

responsibility for shipping, packing, insurance, and storage

its attorney's fees and costs incurred in connection with

of payment and/or letter of reference from a bank or creditor

concerns. A list of shippers can be provided upon request. If a

such proceeding. This Agreement shall be governed by and

prior to the auction. Bank wire information is available upon

purchased lot is paid for but not collected within six months

construed in accordance with California law, without reference

request. If payment is not received in full by October 30, 2019,

of the auction, the buyer authorizes MAI, upon notice, to

to the conflicts of law rules and principles of such State.

collection and storage fees will begin occurring immediately.

arrange a resale of the item by auction or private sale, with

The parties agree that all actions or proceedings arising in

All lots are subject to a Buyer's Premium, this amount is

estimates and a reserve set at MAI's reasonable discretion.

connection with this Agreement shall be litigated exclusively

added to the hammer price and is calculated upon when

The proceeds of such sale will be applied to pay for storage

in the Los Angeles Superior Court. This choice of venue is

payment is received by MAI. Please see schedule below:

charges and any other outstanding costs and expenses owed

intended by the parties to be mandatory, thereby precluding

by the buyer to MAI and the remainder will be forfeited unless

the possibility of litigation between the parties with respect to

collected by the buyer within two years of the original auction.

or arising out of this Agreement in any other jurisdiction.

• 22.5% on the hammer price up to and including

BI DDI N G We encourage you to attend the sale in person.

GUA RA N TEE The authenticity of every item offered for

$500,000 if bids are placed directly with Modern

However, if you are unable to attend in person we offer

auction is guaranteed. MAI warrants only the authorship of

Auctions, Inc.;

an Absentee or Phone Bidding service. For this service fill

an item (as printed in the line directly below the lot number,

• 17.5% on the portion of the hammer price in excess

out and submit a Bid Form. To obtain this form please call

may be blue, pink, or white type) and does not guarantee the

of $500,000 up to $2,000,000 if bids are placed

323.904.1950 or go to our website. We will not execute

condition, age, or any identifying characteristic used by MAI

directly with Modern Auctions, Inc.;

Absentee or Phone bid orders unless a signed and completed

in any descriptions such as color, method of construction,

• 12.5% on the portion of the hammer price in

bid form has been received. All Bid Forms must be received

and type of materials. Any lot using the terms “attributed,”

excess of $2,000,000 if bids are placed directly with

by Saturday, October 19, 2019 by 5:00pm (PT) via fax to

“attribution,” “in the style of,” “in the manner of,” or “after”

Modern Auctions, Inc.

323-904-1954 or scanned and sent via email to shannon@

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assumes responsibility for reading all addendums and posted

BUYER’S PREMIUM**:

confirm we have received your form. We kindly ask that you

corrections to the catalogue prior to bidding.

PAYMENT RECEIVED AFTER OCTOBER 30, 2019

do not call on the day of the auction to submit bids or to

• 25% on the hammer price up to and including

check if your bids were successful.

RESCI SSI O N Should the authenticity of an item be

$500,000 if bids are placed directly with Modern

disputed after a sale, the buyer has 90 days from the date of

Auctions, Inc.;

notified by phone or email as late as October 22, 2019. In

the auction to provide written documentation or conclusive

• 20% on the portion of the hammer price in excess

addition, the auction's Prices Realized will be posted the day

opinion of a mutually agreed upon independent expert,

of $500,000 up to $2,000,000 if bids are placed

after the auction on our website. Do not rely on any auction

retained at the buyer’s sole expense, that the item in question

directly with Modern Auctions, Inc.;

results (Prices Realized) unless published on www.lamodern.

is not as stated in the catalogue. In the event of an error, MAI

• 15% on the portion of the hammer price in excess

com or as provided directly by MAI.

will rescind the purchase contract. MAI will reimburse the

of $2,000,000 if bids are placed directly with

buyer for no more than the hammer price plus the Buyer’s

Modern Auctions, Inc.

first-served basis; thus, we encourage you to submit your

Premium and only after the item is returned to the original

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point of sale in the condition in which it was sold. Taxes,

**Payment by credit card carries a 3% processing fee

earliest received will take precedence. The number of phone

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on the total invoice amount and requires a completion of

lines available are limited so please submit your phone requests

MAI is not liable for any costs, such as expert and attorney

LAMA's “Credit Card Authorization” form.

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acknowledge and consent to allow MAI to record telephone

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CA LIFO R NIA SALES TAX Sales tax of 9.5% will

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incurred in defense of the allegation, such as attorney fees

be collected on all purchases removed from our premises or

card number with expiration date; a deposit of 25% may be

and other costs. The limited right of rescission is only available

delivered within the state of California. Those holding a valid

required for all absentee and phone bids. The party responsible

to the original purchaser from MAI. Once the item is resold,

California State Resale License must register before each

for submitting the Bid Form is solely responsible for the payment

then all rights and liabilities of MAI regarding authenticity

auction and present their valid resale number. No purchases

in full of the total invoice, we will not make any changes to an

end. The Purchaser’s sole and exclusive remedy against MAI

will be released until all sales tax requirements are satisfied.

invoice.

for any reason is the limited right of rescission described in

this section. The purchaser shall not be entitled to damages,

PAY M E NT All sales are final. All sold lots are to be paid

BUYER’S PREMIUM**: PAYMENT RECEIVED BY OCTOBER 30, 2019

All successful Absentee and Phone bidders may be

Absentee or Phone Bidding service is on a first-come,

Should a dispute arise after the auction, our records are

EST IMAT ES & R ES E RVES The estimates printed

conclusive. We are not responsible for failure to execute a bid

compensatory, incidental, consequential, nominal or punitive,

after each lot should be used as a guide only and should

and have the right to reject any bid. We reserve the right to

nor any expenses incurred during the proceedings, such as

not be relied upon as a prediction of final selling prices.

withdraw any property before the auction and shall have no

expert’s fees, attorney’s fees, and other costs.

Many of the lots offered for auction carry a reserve and are

liability whatsoever for such withdrawal. Should an item be

confidential. The reserve is a minimum price at which the

withdrawn, the auctioneer will make an announcement at the

RI GH TS TO PH OTO GRA PH S All images and text

seller has agreed to let the auctioneer sell the property.

time the lot would have been put up for sale. In addition, the

contained in this catalogue are the sole property of MAI, and

auctioneer may add lots not previously listed in the catalogue

may not be used or reproduced in any medium without the

CO NDIT ION Everything is sold in “As-Is” Condition. No

or addendum. If the buyer does not comply with all of the

expressed written permission of MAI.

statement regarding condition of any item, whether it is made

Conditions of Sale/Notices to Buyers, MAI reserves the right to

orally at the auction, or in writing, or printed in this catalogue,

cancel the sale, hold the defaulting buyer liable for the purchase

Modern Auctions, Inc. | Bond # 7901002777

or at any other time shall be deemed to be a warranty,

price and Buyer’s Premium, retain or process any deposit, and

Peter Loughrey, Principal Auctioneer

representation, or assumption of liability. It is the sole

resell the property privately or at auction without further notice.

Los Angeles Modern Auctions (LAMA)

responsibility of the buyer to inspect all goods prior to the

In the latter, the defaulting buyer will be held responsible for

16145 Hart Street, Van Nuys, CA 91406

sale. We strongly encourage all bidders to request a condition

all incurred expenses, such as warehouse and transportation

INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, October 20, 2019

From Hollywood

Director,

12pm (PT)

• Make your way to the 101 Freeway

Art & Design

Proceed North on the 101 Preview

• Merge onto the 405 Freeway,

Shannon Loughrey

October 11 - 19, 2019

north

President

10am–6pm (PT)

• Take the 4th exit onto “Sherman Way, west”

Carolina Ivey

Address

• Proceed west on Sherman Way

Managing Director

16145 Hart Street

• Turn left at the 3rd light onto

Van Nuys, CA 91406

“Woodley”

Clo Pazera

• Take the first right onto “Hart”

Specialist

Telephone

street, which is a side street

323.904.1950

Joe Alascano From the Westside

Jose Ramirez

Website

• Take the 405 Freeway, north

Shipping

LAModern.com

Continue past the Getty Museum and the 101 Interchange

Jamie Shi

• Exit onto “Sherman Way,

Cataloguer

west” (this is 4 exits North of the 101)

Codie Lyons

• Proceed west on Sherman

Consignor Services

Way • Turn left at the 3rd light

Laura Begley

onto “Woodley”

Registrar

• Take the first right onto “Hart” street, which is a side

Susan Einstein

street

Robert Wedemeyer Photographers

LAMA MAP

Kathryn Hanlon-Hall Writer

VAN NUYS AIRPORT

HART ST

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

SHERMAN WAY

101 FREEWAY WOODLAND HILLS HOLLYWOOD

N

GETTY MUSEUM