March 6, 2011 Modern Art & Design Auction by LA Modern Auctions

Preview: February 25 - March 5, 10-6pm Auction: Sunday, March 6, 12pm (PST) 16145 Hart Street Van Nuys, CA 91406

For only the second time since 1992, LAMA is having an auction in March. Due to the increase in fresh material from local estates, we have added this auction to the schedule to handle the volume. With over 500 lots there is a lot to absorb, however, here are a few of the many special highlights. Ettore Sottsass has long been recognized as a major force in architecture and design for the latter part of the 20th century. Today, he continues to influence a new generation of designers and architects. His work has been the subject of many books, retrospectives, and museum exhibits around the world, including a landmark exhibition held at the Los Angeles County Museum of Art in 2006. Critics, historians and design professionals have known for some time that his works are historically significant, however collectors and dealers have been slow to recognize the power Sottsass pieces can bring to a collection. Max Palevsky was an early supporter of Sottsass and lived with an exciting mixture of ancient artifacts, Modern Art, Arts & Crafts, and Sottsass’ own distinct brand of Post-Modern. In fact, the timelessness of Sottsass’ designs helped showcase and enhance the beauty of Lichtenstein paintings, Roman statues, and Rodin bronzes, as well as the Malibu coastline they all shared together. LAMA is very proud to bring to the market for the first time a large number of Sottsass’ unique creations, and we are especially honored to represent them on behalf of the late Max Palevsky, a true visionary. All of the works from the Palevsky collection will be sold with no reserve, which makes for a once in a lifetime opportunity to acquire a piece with what will likely become legendary provenance in the future. Our special thanks to Ron Labaco for his essay on this collection starting on page 28. Another remarkable opportunity in this sale is the chance to acquire artworks from the first Curator of Modern & Contemporary Art at Los Angeles County Museum of Art. James Byrnes has collected Modern Art since the 1930’s from Man Ray, Alexander Calder, Emerson Woelffer, Elaine de Kooning, Al Held, and Roberto Matta, all of which are represented here. I particularly like the Harry Bertoia brooch that Mr. Byrnes acquired through his close friendship with Bertoia’s father in law, William Valentiner. Don’t miss our blog which can be found on our home page at www.lamodern. com for more interesting stories about this collection. As if there was not enough fresh material in the sale already, I am personally thrilled to be part of bringing back to the market a landmark sculpture of the 20th century. I first encountered Reg Butler’s “Maquette for The Unknown Political Prisoner” while writing a paper as a student at Sotheby’s Institute in London. It has not been on the market since 1963, and only two later replicas (one in the collection at MoMA, the other in the Tate) have been exhibited since the original was removed from public view in 1953. Read more about this work on page 59.

We hope you will enjoy this sale,

Peter Loughrey Director

1 RUDOLPH SCHINDLER SIDE CHAIR Studio, custom designed 1948 for the Janson House 30.5”h x 14”w x 23”d $3,000-5,000

ALBERT FREY: THE INTERNATIONAL While most know him as a Palm Springs Modernist architect, Albert Frey’s (1903-1998) career spans the western hemisphere and most of the 20th century. In the late 1920s, Frey worked for the Modern architecture master Le Corbusier designing buildings in Paris. Before moving from his native Switzerland to America in 1930, he worked in Brussels as the chief designer at the offices of Jean-Jules Eggericx and Raphael Verwilghen where he worked on the urban planning and design for two cities in Zaire. Fascinated by America and eager to evolve his modern technological aesthetic, he arrived in New York and immediately began working with architect A. Lawrence Kocher. One of their first projects was the Aluminaire, a full-scale house constructed of prefabricated materials first exhibited at the Grand Central Palace in New York in 1931 to “demonstrate the possibilities of affordable housing achieved through modern technology.” During the 1930s, Kocher and Frey’s partnership proved to be one of the most influential of the decade due to their frequent articles in Architectural Record exploring low-cost, yet functional single-family housing. As a result of economic conditions, the work was sparse for the pair and in 1934, Frey designed modern flat-roofed houses for the United States Department of Agriculture on its Farm Housing Project. In 1940, after achieving success with the Kocher-Samson Building and numerous residential constructions in Palm Springs, he designed and built the Frey House I, one of his most celebrated commissions and “the first house to exhibit his new interest in horizontal wall planes extending into the landscape.” This side chair and plywood bedroom storage unit are two pieces of furniture designed by Frey that add to the futuristic atmosphere of the Frey House I. Rosa, Joseph. Albert Frey, Architect. New York: Rizzoli, 1990. Print.

2 ALBERT FREY CABINET Custom designed 1940-47 for “Frey House I” 24.75”h x 42.25”w x 30”d Literature:

A L B E RT FREY, ARCHITECT,

R O SA , R I Z ZO L I , 1 9 9 0, PG 71- 83

Provenance:

A L B E RT FREY, EL SIE WOLF,

P R I VAT E C O L L EC T I O N

$5,000-7,000

3 ALBERT FREY SIDE CHAIR Custom designed 1940-47 for “Frey House I” 26”h x 26”w x 32”d Literature:

A L B E RT FREY, ARCHITECT,

R O SA , R I Z ZO L I , 1 9 9 0, PG 71- 83

Provenance:

A L B E RT FREY, EL SIE WOLF,

P R I VAT E C O L L EC T I O N

$5,000-7,000

4 CHARLES & RAY EAMES LOUNGE CHAIR AND OTTOMAN Model no. 670 & 671 Herman Miller, designed 1956 Retains Herman Miller tag 31”h x 33.5”w x 36”d $3,000-5,000

5 CHARLES & RAY EAMES SEAT CUSHION NOT ILLUSTRATED Fits model no. 670/671 Herman Miller, designed 1956 Black leather Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$300-500

6 CHARLES & RAY EAMES INTERMEDIATE DESK CHAIRS (2) Herman Miller, designed 1968 Retains Herman Miller tag Each 31”h x 25”w x 26”d Literature:

EAMES DESIGN: THE WO R K O F

THE OFFICE OF CHARLES AND RAY E A M E S, NEUHART, ABRAMS, 1989, PG 327

$700-900

7 EERO SAARINEN TULIP STOOL Model no. 153Y Knoll, designed 1956 18.5”h x 15”diameter Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$400-600

8 ALEXANDER GIRARD GIANT STRIPES Fabric #304 Herman Miller, designed 1960 Worsted wool and cotton 53.5”w x 144”l Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$500-1,000

7 9 HARRY BERTOIA PLATFORM BENCH Knoll, designed 1952 16”h x 18”w x 70”l $800-1,000

10 ALEXANDER GIRARD UPHOLSTERED BENCH Model no. 66333 Herman Miller, designed 1967 Retains remnants of upholstery tag Together with three Girard fabric samples: two are “Quatrefoil” and one “Miverel Stripe” Bench 14”h x 36” x 36” Literature:

A L E XA N DER GIRARD FOR HER-

M A N M I L L E R , P I N A , SCHIFFER PUBLISHING, 1998, PG 139

$3,000-5,000

11 GEORGE NELSON GROUP OF SIX SIDE CHAIRS Model no. 4671 Herman Miller, designed 1948 Each 31.5”h x 20.5”d x 19”w $2,000-3,000

12 GEORGE NELSON DINING TABLE Herman Miller, designed circa 1956 Rosewood Retains Herman Miller tag 29.5”h x 72” x 40” $1,800-2,500

13 GEORGE NELSON COCONUT CHAIR Model no. 5569 Herman Miller, designed 1955 33”h x 40”w x 36”d $2,000-3,000

14 GEORGE NELSON PLATFORM BENCH Model no. 4691 Herman Miller, designed 1947 14”h x 68”l x 18.5”w $700-900

WHO IS JAMES BYRNES From 1946 – 1953 James Byrnes was the first curator of Modern and Contemporary Art at Los Angeles County Museum of History, Science, and Art, which is now known as LACMA. In the thirties, Byrnes had studied art in New York at the National Academy of Design, the Art Students League, and the American Artists School, where he had met many artists before WWII. Byrnes, who served in the Navy during WWII, heard from an officer that a job was opening at the County Museum, so he left his home state of New York and moved to Los Angeles to pursue his career. In 1946, W. R. Valentiner became the director of the art wing of the County Museum and encouraged Byrnes in his love for modern art. While at the County Museum, Valentiner became Byrnes’ mentor and broadened his knowledge of art as a whole. As their friendship grew, Valentiner became the director of the North Carolina Museum of Art and decided to appoint Byrnes as his associate director. After Valentiner’s death in 1958, Byrnes subsequently became the director of the North Carolina Museum of Art. From 1962 – 1972, Byrnes would go on to direct the New Orleans Museum of Art, and finally from 1973 – 1975, he was the director of the Newport Harbor Art Museum where he would end his career of directing. James and his wife Barbara were heavily involved in the Los Angeles art scene in the 40s and 50s. They became friends with many noted artists from Man Ray, Emerson Woelffer, Harry Bertoia, Inez Johnston, to Max Ernst, Dorthea Tanning, and Roberto Matta, among others. Byrnes loved all that was modern. His son Ron Byrnes notes that his father “thought contemporary art was the thing that was happening.” Even though Byrnes painted early in his life, he decided that he was better suited to be a docent, a curator, and ultimately a director. Interview with Ron Byrnes, January 7, 2011 Tashjian, Dickran. Man Ray: Paris ~ LA. Santa Monica: Smart Art Press, 1996. Print.

15 EMERSON WOELFFER ITALIAN FACADE

16 EMERSON WOELFFER LUNA

1959 Oil on masonite Signed and dated lower right; signed, dated and titled verso 30” x 23”

1957 Oil on Masonite Signed and dated lower right; “Madrid” lower left; signed, titled and dated verso 30” x 23.5”

Provenance:

FROM THE COLLEC T I O N O F

F R O M T H E C O L L EC T I O N O F

JAMES BYRNES, LOS ANGELES

JA M E S BY R N E S, LO S A N G E L E S

$4,000-6,000

EMERSON WOELFFER UNTITLED (WHITE ON BLACK) Pastel on paper Signed lower left 30” x 22” Provenance:

F R O M T H E C O L L EC T I O N O F

JA M E S BY R N E S, LO S A N G E L E S

$1,000-1,500

18 EMERSON WOELFFER UNTITLED (ABSTRACT) 1997 Pastel on paper Initialed and dated lower left; inscribed “For Jimmy + Barbara” Sheet 29.75” x 22” Provenance:

F R O M T H E COLLECTION OF

JA M E S BY R N E S, LO S A N G ELES

$1,000-1,500

GLORIA DE HERRERA Gloria de Herrera (1929 – 1985) was first introduced to the Byrnes’ when she stepped into Barbara Byrnes’ American Contemporary Gallery on Hollywood Boulevard. Gloria, a young girl of seventeen at the time, would visit Barbara’s gallery to study the art and read art books. Barbara knew that James needed an assistant for his upcoming exhibit of contemporary California paintings at the 1949 California Centennial, so she suggested that Gloria take the job. While working for James, Gloria became friends with Man Ray and his wife Juliet, who asked Gloria to come with them to Paris in 1951. While in Paris, Gloria learned to restore art, where she put her skills to good use. Gloria’s first conservation projects included restoring a Mondrian and a damaged Chagall. She became known for her skills and was referred to Henri Matisse, who was seeking trained assistance with pasting together his cut-outs, which Gloria ultimately completed after his death. While living in Los Angeles and France, Gloria became friends with a variety of noted artists, such as Man Ray, Marcel Duchamp, and William Copley. James and Barbara Byrnes saw Gloria’s desire to surround herself with art and artists, and gave her the opportunity to seek out her passion. Interview with Ron Byrnes, January 7, 2011 Tashjian, Dickran. Man Ray: Paris ~ LA. Santa Monica: Smart Art Press, 1996. Print.

19 ROBERTO SEBASTIAN MATTA UNTITLED 1955 Crayon Signed and dated lower right and inscribed “a Gloria” Sheet 14.5” x 9.75”; image 11” x 6.125” Provenance:

GLORIA DE HERRER A ,

(ACQUIRED DIRECTLY FROM THE A RT I ST ) ; JAMES BYRNES, LOS ANGELES

$3,000-4,000

20 MATHIAS GOERITZ SCULPTURE Executed circa 1954 Signed “M.G” 22”h x 10.75” x 4” $3,000-5,000

21 MATHIAS GOERITZ GROUP OF FOUR GEOMETRIC SCULPTURES Executed circa 1968 Signed “MG” Tallest 10” x 10” $4,000-5,000

22 ELAINE DE KOONING UNTITLED 1949 Gouache on paper Signed and dated lower right “‘49 E. de K.” Sheet 13.5”h x 17.75”w; frame 17.75”h x 21.75” Exhibited: ISA AC

DEL GADO MUS E U M O F

ART 1971, SEE CATALOGUE “NEW O R L E A N S COLLECTS” 1971

Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$2,000-3,000

23 LEE MULLICAN UNTITLED 1957 Mixed media on canvas Signed and dated verso 8” x 10” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$800-1,200

24 LEE MULLICAN UNTITLED (THREE WORKS) 1982 and 1996 Ceramic plate Together with a drawing (ink on paper) and a hand written letter Drawing and plate signed and dated Plate 10.75”diameter; drawing 12” x 9” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$700-900

25 ALEXANDER CALDER UNTITLED 1953 Gouache on paper Foundation #A25187 This work was examined and registered with the Calder Foundation, January 2011 and issued registration #A25187 22.375” x 17.375” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$15,000-20,000

26 ALEXANDER CALDER PINWHEEL Circa 1970 Color lithograph #3 of 30 Signed lower right; edition lower left Image 53” x 36”; framed 68” x 51.5” $6,000-8,000

27 CARLO SCARPA TESSUTO VASE Venini, designed 1940 Etched signature “Venini/Murano/Italia” 9.75”h x 4” x 2.75” Illustrated:

THREE CALIFORNIA H O U S E S :

THE HOMES OF MAX PALEVSKY, B E TS KY, RIZZOLI, 2002, PG 89

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$3,000-5,000

28 ALESSANDRO MENDINI PAIR OF ACCO VASES (2) Venini, designed 1988; these examples 2000 Retains label “Venini 2000 A. Mendini” Each 17.25”h x 6.5”diameter Provenance:

F R OM THE ESTATE OF

M AX PA L E VS KY

$1,000-1,500

TAPIO WIRKKALA PAIR OF BOLLE BOTTLES (2) Venini, designed 1966; this example 2002 Etched “Venini 2002” Tallest 13.5”h Provenance:

F R OM THE ESTATE OF

M AX PA L E VS KY

$1,000-1,500

30 GIO PONTI INCALMO STOPPER BOTTLE Venini, designed 1948; this example 1998 Etched “Venini 98” and retains label “Venini Murano Made in Italy” 14”h Provenance:

F R OM THE ESTATE OF

M AX PA L E VS KY

$500-700

31 LAURA DIAZ DE SANTILLANA GROUP OF 5 PERFUME BOTTLES Venini, designed circa 1990 Monofiori blown handmade glass Signed “Venini” Tallest 10”h $600-900

32 HARVEY PROBBER COFFEE TABLE Harvey Probber Inc., designed circa 1968 Composite terrazzo 18”h x 66.5”l x 22”d $2,000-3,000

33 EDWARD WORMLEY PAIR OF SIDE TABLES Drexel, designed circa 1947 Each 26.25”h x 25”w x 16”d Literature:

EDWARD WORMLEY, THE

OTHER FACE OF MODERNISM (EX H I B I T I O N CATALOGUE), LIN-WEINBERG, 199 7, P G 1 9

$3,000-5,000

34 T.H. ROBSJOHN-GIBBINGS BIOMORPHIC COFFEE TABLE Widdicomb, designed 1950 Retains Widdicomb label 20”h x 70” x 35” $2,000-3,000

35 EDWARD WORMLEY PAIR OF ARMCHAIRS Dunbar, designed circa 1968 Retains Brass Dunbar tag Each 30.5”h x 23.5”w x 20”d $700-900

36 JENS RISOM MAGAZINE TABLE Model no. T539 Risom, designed 1950 Retains label “Jens Risom Design Inc.” 18”h x 25”w x 18”d Literature:

RISOM: CONTEMPORARY

DESIGN F U R N I T U R E CATALOGUE, 1955

$2,000-3,000

21 37 EDWARD WORMLEY PAIR OF SLIPPER BENCHES Model no. 684 Dunbar, designed circa 1950 Retains green Dunbar tag Each 20”h x 28.5”w x 19”d Literature:

D U N B A R : FINE FURNITURE OF

T H E 1 95 0 S, P I N A , S C HIFFER PUBLISHING, 2 0 0 0, P G 2 0 0

$2,500-3,500

38 PAUL MCCOBB CABINET Delineator Group Lane, designed circa 1962 78”h x 36.5”w x 15”d $2,000-3,000

39 AFRICAN DRUM Early 20th Century 45”h x 23”diameter $1,000-1,500

40 PAUL MCCOBB PAIR OF LOUNGE ARMCHAIRS

41 PAUL MCCOBB COFFEE TABLE

Calvin, designed 1952 Each 31”h x 24”w x 25”d

Model no. 8706 Directional, designed circa 1956 15”h x 72”l x 24”

$1,500-2,000

$1,000-1,500

42 FRANCOISE GILOT UNTITLED 1954 Drawing “L’amitie de F. Gilot” lower right; verso “Avril 54” & “Galerie Louise Leiris” & “1954 Dieux Amies No. 05771 F. Gilot” labels Sheet 19.75” x 25.75” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$1,500-2,000

43 IMOGEN CUNNINGHAM GERTRUDE STEIN-1937 1937; this example printed later Silver gelatin print Signed and dated lower right mat “Imogen Cunningham 1937”; retains artist label verso mat 7.5” x 7” Provenance: ACQUIRED THE ARTIST 1971

$4,000-6,000

DIRECTLY F R O M

44 RUTH BERNHARD PERSPECTIVE II 1967, later impression Silver gelatin print, mounted Signed lower right on the mat Image 9.5” x 15”; frame 20” x 24” $7,000-9,000

25 45 RUTH BERNHARD SAND DUNE 1967, later impression Silver gelatin print, mounted Signed lower right on the mat 10.75” x 19.5”; frame 22” x 28” $4,500-5,500

46 BILL BRANDT UNTITLED (NUDE BREASTS) Silver gelatin print Signed; retains Jane Corkin Gallery label verso 13.75” x 11.5” $2,000-3,000

47 SHIRLEY PETTIBONE UNTITLED 1963 Drawing Signed and dated lower right This authenticity of this drawing has been kindly confirmed by the artist. 14.75” x 11.75” $400-600

48 SHERRY SCHRUT CELEBRATION AND MEDIEVAL LEGEND (2) Studio, executed circa 1977 Enamel Each signed Each 8.125” x 8.125”; frame 9.25” x 9.25” $700-900

49 LYNN FOULKES LANDSCAPE 1962 1962 Mixed media Signed and dated lower right; Dilexi Gallery and Pasadena Art Museum labels verso Image 6” x 4.25”; frame 11.5” x 9.5” $1,000-1,500

50 JUDY FISKIN UNTITLED (2) Circa 1973 Silver gelatin print Each signed and dated verso 7.25” x 5.25” and 5.25” x 7.25” $1,000-1,500

ETTORE SOTTSASS & THE INFLUENCE OF MAX PALEVSKY BY RON LABACCO

Architect and designer Ettore Sottsass, Jr. (1917-2007) was one of the most powerful creative forces from the second half of the twentieth century. He is internationally acclaimed for his contribution to architecture, industrial design, furniture, ceramics, glass, jewelry, crafts, graphic design, and photography. One of Italy’s most versatile and expressive architect-designers, Sottsass’s prolific career spanned six decades of artistic production. His early landmark designs include the first Italian electronic computer—the Elea 9003—for which he was awarded the prestigious Compasso d’Oro in 1959; the bright red plastic Valentine portable typewriter (1969) which is now an icon of the period; and his mobile, multifunctional molded-fiberglass furniture units of the 1970s. His innovations continued in 1980 with the establishment of the Memphis group, whose groundbreaking approach to design made it a leader of postmodernism— spawning countless imitators and influencing the look of a decade. Sottsass’s exciting and provocative creations made him a living legend of design in the twentieth-century and on into the twenty-first. The Austrian-born Sottsass graduated from the Turin Politecnico in 1939 with a degree in architecture. In 1947 he opened a

design studio in Milan. Convinced that color played an essential part in the creation of space, Sottsass made a drastic break from the monochromatic preferences of the international style. In his early career, just after World War II, he was primarily interested in reconstruction projects for war-torn areas of Italy, and exhibition and product design. His architectural work emphasized the social role of spatial organization in encouraging community interaction.

groups, including Studio Alchimia, Cleto Munari, Global Tools, and Memphis. In 1980 Sottsass and four young architects formed a partnership, Sottsass Associati, with whom he created interiors, exhibitions, and hi-tech products. In the last decades of his life Sottsass’s commissions included furniture, ceramics, glass, jewelry, and architecture. Through his startling, eclectic, and irreverent aesthetic, he continued to be at the forefront of design.

Sottsass’s intuitive, philosophical outlook was reflected in his work, whether it be office machines (1957-69) for Olivetti, ceramic vases (1964) inspired by his experiences in India, a neoclassically-proportioned cabinet with ceramic tile accents (1966) for Poltronova, an unconventional room divider clad in patterned, laminated plastic for Memphis (1981), or large-scale, sculptural silver vases (2002). Poetic and spiritual values were fundamental to his creativity, and they found expression in the form of symbolic shapes and strong colors in even his most rationalized technological designs.

The museum community has long recognized him as a major figure in his field. For the 1972 landmark exhibition Italy: The New Domestic Landscape at the Museum of Modern Art, New York, Sottsass created an “environment” by nullifying the need for conventional walls. Independent, free-standing plastic units on castors, each fitted with task-specific hardware such as shelves, tables, toilets, or sinks, could be combined, arranged, and rearranged to conform to the needs and whims of the individual. Sottsass viewed these units as exonerated from any formal commitment to a single conformation. In 1976 he was invited to exhibit a series of photographs of architecture in both desert and mountain environments by the Cooper-Hewitt Museum, now the National Design Museum, New York. That same year the Design Center in

A strong believer in collaboration, he worked with such internationally renowned designers as George Nelson and Camilo Olivetti. He was also co-founder of several successful design

Richard Barnes ÂŠ

Berlin organized Ettore Sottsass, Jr., a major exhibition of his work that traveled to Venice, Paris, Barcelona, Jerusalem, and Sydney. In 1994, the Centre Georges Pompidou in Paris held a retrospective, which covered his then almost fifty-year career. More recent retrospective exhibitions during his lifetime included the Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy (2005); Los Angeles County Museum of Art (2006); Design Museum, London (2007); and Ghent Design Museum, Belgium (2007). It was in 1978 at the Israel Museum in Jerusalem that Max Palevsky (1924-2010) and Sottsass first met. A philanthropist and art patron, Palevsky had established the museum’s design center—the Palevsky Design Pavilion—where the exhibition Ettore Sottass Jr. was on view. The two quickly bonded through their mutual interests, and they developed a deep friendship that would last three decades. In fact, Sottsass mentions “Max” in his 1992 essay “I Colori” from the book of his writings, Ettore Sottsass: Scritti, 1946-2001 (2002). In it he describes a hyper-sensorial experience of color and nature in the California desert at sunset, presumably while staying at Palevsky’s Palm Springs residence. Aaron Betsky captured the unique qualities of the Palm Springs retreat in his book Three California Houses: Homes of Max Palevsky

(2003). Also featured are the properties in Beverly Hills and Malibu, all noted for their architecture and remarkable art and design collections. He cites 1984 as the date that Sottsass was commissioned to transform the interior of Palevsky’s Spanish-Colonial style villa in Malibu, and other sources indicate that it was completed by 1985. At the time Sottsass had already achieved international fame as the founder of Memphis, established four years earlier, but he was already contemplating leaving the group. This may help explain the stylistic break of the Palevsky furniture from his Memphis designs that same year. Although the Malibu furnishings were still rooted in the principles of a Memphis design vocabulary, they reveal a growing interest in assemblage and in different combinations of color and materials that would later find full expression. One could say that the Malibu interior design commission served as the testing ground for this new aesthetic. Stylistically and materially, such furnishings (all unmarked) as the wall mirror and marble plant stand are closer in character to the Deldiaviolo floor mirror (1986) and Perlione pedestal (1987) that would be made by Ultima Edizione, Italy, when Sottsass turned to creating limited-edition furniture for art galleries. Other designs such as the writing desk take a nostalgic glance back at his oeuvre, like his furniture in wood for Poltronova from the

mid-1960s. But in general the works look to the future, predicting the interior designs of the residential masterpiece that he would soon realize—Wolf House in Ridgeway, Colorado, from 1987-1989. Architect and designer Johanna Grawunder was project architect for Sottsass Associati on Wolf House, among other important residential architecture commissions from the late 1980s and 1990s. She attributes the stylistic vocabulary of the Malibu furnishings to Sottsass’s “built-in” or “integrated” approach to furniture as elements within a broader architectural setting, in the vein of Adolf Loos, Frank Lloyd Wright, and Rudolf Schindler. This may be seen in the baldaccino-like structure in the living room, with red columns that visually reference the helical columns in the adjacent library, and its domed light source that echoes the arched windows above; the wall-mounted headboard-and-nightstands in the bedroom reflect this methodology as well. Thus the Malibu designs form a link between Sottsass’s break from Memphis and his return to his architectural roots.

Ronald T. Labaco is Marcia Docter Curator at the Museum of Arts and Design, New York. In 2006 Mr. Labaco curated the exhibition “Ettore Sottsass” at the Los Angeles County Museum of Art and co-authored the book Ettore Sottsass: Architect and Designer

Richard Barnes ÂŠ

Sottsass Associati hand colored rendering

51 ETTORE SOTTSASS CUSTOM SOFA Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 47”h overall (top of dome) x 156” max x 134” max Sold with an original hand-colored rendering and Polaroid of the working model. Illustrated:

THREE CALIFORNIA H O U S E S :

THE HOMES OF MAX PALEVSKY, B E TS KY, RIZZOLI, 2002, PG 80 - 85

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$8,000-12,000

Sottsass studio Polaroid of 1:1 scale model

52 ETTORE SOTTSASS RUG Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 157” x 110” Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

$3,000-4,000

53 ETTORE SOTTSASS COFFEE TABLE Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home White marble with Rosso top 18”h x 49” x 33.5” Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,500-2,000

ETTORE SOTTSASS ENTRY MIRROR Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Approximately 48” x 57” Illustrated:

T H R E E C A L I FO R N I A H O U S E S :

T H E H O M E S O F M AX PA L E VS KY, B E TS KY, R I Z ZO L I , 2 0 0 2 , P G 6 7

Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

$3,000-4,000

55 ETTORE SOTTSASS ENTRY TABLE Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Marble 32”h x 111”l x 20”d Illustrated:

T H R E E C A L I FO R N I A H O U S E S :

T H E H O M E S O F M AX PA L E VS KY, B E TS KY, R I Z ZO L I , 2 0 0 2 , P G 6 7

Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

$10,000-15,000

Sottsass Associati hand colored rendering

56 ETTORE SOTTSASS UNIQUE MARBLE CONSOLE Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 27.5”h x 71”l x 13.75”d Sold with an original hand-colored rendering Illustrated:

THREE CALIFORNIA H O U S E S :

THE HOMES OF MAX PALEVSKY, B E TS KY, RIZZOLI, 2002, PG 7 2

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$3,000-5,000

57 POST MODERN PAIR OF BOOK ENDS (2) Manufacturer unknown Marble Together with Three California Houses: The Homes of Max Palevsky, Betsky, Rizzoli, 2002 Each 5.5”h Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$100-200

58 ETTORE SOTTSASS CONSOLE Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Wood with glass top 30”h x 48”l x 18”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$500-700

59 ETTORE SOTTSASS COFFEE TABLE Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Wood with burl top and chrome feet 18”h x 37.25”l x 17.5”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$1,500-2,000

60 ETTORE SOTTSASS DESK Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 32.25”h x 41”w x 21.5”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$2,000-3,000

61 ETTORE SOTTSASS DESK Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 32.25”h x 41”w x 21.5”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$2,000-3,000

62 NATHALIE DU PASQUIER RUG Palmisano Edizioni Tessili, designed 1983 Retains button “Edizioni Tessili” 107” x 70.5” Illustrated:

T H R E E CALIFORNIA HOUSES:

T H E H O M E S O F M AX PALEVSKY, BETSKY, R I Z ZO L I , 2 0 0 2 , P G 8 9

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$2,000-3,000

63 ETTORE SOTTSASS HEADBOARD WITH ATTACHED DRAWERS Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 29.5”h x 118.5”l (77”l for bed) Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$2,000-3,000

64 ETTORE SOTTSASS MASTER BEDROOM BED FRAME Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Partially gilt burled wood 81.5”h x 75.5”w x 99”d Illustrated:

THREE CALIFORNIA H O U S E S :

THE HOMES OF MAX PALEVSKY, B E TS KY, RIZZOLI, 2002, PG 97

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$3,000-5,000

65 ETTORE SOTTSASS CUSTOM HEADBOARD Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Maple and burled wood 35”h x 163”l x 95”d (bed platform 70”l x 82.5”d) Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$2,000-3,000

66 ITALIAN MODERN GLASS WINDOW PANELS (4) Venini Murano, custom designed 1984 for Max Palevsky’s Malibu home Each panel 34” x 19.5” Illustrated:

T H R E E C ALIFORNIA HOUSES:

T H E H O M E S O F M AX PALEVSKY, BETSKY, R I Z ZO L I , 2 0 0 2 , P G 1 0 0 -101

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$10,000-20,000

67 ETTORE SOTTSASS BED WITH ATTACHED CANTILEVERED SIDE TABLE Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 56”h x 176”l x 84”d (bed platform 70”l x 84”d) Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$2,000-3,000

Sottsass Associati hand colored rendering

68 ETTORE SOTTSASS CIRCULAR COFFEE TABLE

69 ETTORE SOTTSASS MARBLE PEDESTAL STAND

Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 17”h x 32”diameter Sold with an original hand-colored rendering

Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Marble 56.25”h x 23”diameter

Provenance:

M AX PA L E VS KY

F R O M T H E E STAT E O F

M AX PA L E VS KY

$2,000-3,000

Provenance:

F R O M T H E E STAT E O F

$2,000-3,000

70 ETTORE SOTTSASS CLÉOPÂTRE VASE Sevres, designed 1990-94 Porcelain Retains Sevres marks and signed 20”h x 10”diameter Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

Literature:

ET TORE SOT TSASS: T U T TA L A

CERAMICA , FERRARI, ALLEMANDI & C O, TURNIN, 1996, PG 191

$1,000-1,500

ETTORE SOTTSASS VASE (VASO PERFIORI) Tendentse, designed 1984-85 Signed twice by Sottsass and retains label 19.5”h x 7” x 7” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

Literature:

E T TO RE SOT TSASS: TUT TA L A

C E R A M I C A , F E R R A RI, ALLEMANDI & CO, T U R N I N , 1 9 9 6 , P G 182

$1,000-1,500

72 ETTORE SOTTSASS VASE (VASO) Tendentse, designed 1986 Signed twice by Sottsass and retains label 20.5”h x 7”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

Literature:

E T TO RE SOT TSASS: TUT TA L A

C E R A M I C A , F E R R A RI, ALLEMANDI & CO, T U R N I N , 1 9 9 6 , P G 182

$1,000-1,500

73 ETTORE SOTTSASS FRUIT BOWL (FRUTTIERA) Tendentse, designed 1986 Retains label “Tendentse Made in Italy” 8.75”h x 17”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

Literature:

E T TO RE SOT TSASS: TUT TA L A

C E R A M I C A , F E R R A RI, ALLEMANDI & CO, T U R N I N , 1 9 9 6 , P G 191

$800-1,200

74 ETTORE SOTTSASS TABLE LIGHT

75 ETTORE SOTTSASS PAIR OF FLOOR LAMPS

76 ETTORE SOTTSASS SINUS LAMP WITH BOX

Pausania Artemide, designed 1982 17”h x 16.5”

Callimaco Artemide, designed 1982 79”h x 15.25”diameter

Literature:

Provenance:

Stilnovo, designed 1970 Designed for both vertical or horizontal lighting 12.5”

1000 LIGHTS: 1960 TO P R E S -

F R O M T H E E STAT E O F

ENT, FIELL , TASCHEN, 2005, PG 3 1 8

M AX PA L E VS KY

Provenance:

$3,000-5,000

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

77 ETTORE SOTTSASS DONAU DESK From the Modern Line Sottsass Associati, designed 1986 In association with the furniture maker Franz Leitner, this desk was a colloboration between Leitner, Ettore Sottsass, and Marco Zanini. 50”h x 47.5”w x 17”d $3,000-5,000

78 ETTORE SOTTSASS GROUP OF THREE CANDLESTICKS (3) “Starlight”, “Moonlight” and “Silvershade” Swid Powell, designed 1985 Silver plate Each signed Tallest 12.75” Literature:

THE 1980S, CAPELL A , RIZZOLI, 19 8 8 , P G 1 4 3

Literature:

SWID POWELL : OBJEC TS BY

ARCHITEC TS, TAPERT, GOLDBERG E R E T A L , RIZZOLI, 1 980, PG 87

$1,500-2,000

79 ETTORE SOTTSASS TABLE TOP CABINET Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home Red lacquered wood 9.25”h x 26.5”l x 14”d Illustrated:

THREE CALIFORNIA H O U S E S :

THE HOMES OF MAX PALEVSKY, B E TS KY, RIZZOLI, 2002, PG 89

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$800-1,200

80 ETTORE SOTTSASS BAY TABLE LAMP Memphis Milano, designed 1983 Plastic and Plexiglas 20.5”h x 16”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$1,500-2,000

81 ETTORE SOTTSASS, ATTRIBUTED BOWLS (4)

82 ETTORE SOTTSASS, ATTRIBUTED GROUP OF BLACK BOWLS (3)

Up & Up Massa Carrara marble Retains label “UP & UP/ Made in Italy/ Massa Carrara” Each 1.25”h x 6”diameter

Up & Up, designed circa 1984 Retains “Up & Up/ Made in Italy” label Each 2”h x 4.5”diameter

Provenance:

R I Z ZO L I , 2 0 0 2 , P G 1 05

FROM THE ESTATE O F

MAX PALEVSKY

$200-300

Illustrated:

T H R E E C A L I FO R N I A H O U S E S :

T H E H O M E S O F M AX PA L E VS KY, B E TS KY,

Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

$300-500

83 ETTORE SOTTSASS EASTSIDE LOUNGE CHAIRS (2) Model no. 35S1 Knoll, designed 1983 Retains Knoll ticking on fabric Each 33.25”h x 32”w x 30.25”d Reference:

KNOLL STUDIO CATA LO G U E ,

1988

$2,500-3,500

84 ETTORE SOTTSASS CIRCULAR COFFEE TABLE WITH SQUARE BASE (BAU.HAUS) Studio Alchymiai, designed 1980 Selected for Max Palevsky’s Malibu home Black marble 16”h x 24”diameter Illustrated:

T H R E E C A L I FORNIA HOUSES: THE

H O M E S O F M AX PA L E VS KY, BETSKY, RIZZOLI, 2002, PG 88

Provenance:

F R O M T H E ESTATE OF

M AX PA L E VS KY

$1,200-1,500

ETTORE SOTTSASS CIRCULAR COFFEE TABLE WITH SQUARE BASE (BAU.HAUS) Studio Alchymiai, designed 1980 Selected for Max Palevsky’s Malibu home White marble 16”h x 24”diameter Provenance:

F R O M T H E ESTATE OF

M AX PA L E VS KY

$1,200-1,500

86 KARL BENJAMIN UNTITLED #38 1964 Oil on canvas Signed, dated and titled verso and with Esther Robles Gallery label 10” x 8”; frame 10.75” x 8.75” $3,000-5,000

87 LORSER FEITELSON MAGICAL FORMS 1945 Pencil and gouache Signed and dated lower left; initialed lower right Sheet 6.5” x 4.75” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$1,000-1,500

88 JACK YOUNGERMAN BLACKOUT 1971 Wool tapestry #3 of 5 Handwoven by Gloria F. Ross Initialed into weave lower right; signature, date, edition and title on sewn label verso 8’ x 8’ Provenance:

F ROM THE ESTATE OF

M AX PA L E VS KY

$2,000-3,000

89 JACK YOUNGERMAN UNTITLED 1966 Lithograph #82 of 90 Signed and dated lower right; edition lower left Sheet 31.875” x 24” Provenance:

F ROM THE COLLECTION OF

JA M E S BY R N E S, LOS ANGELES

$700-900

90 PAUL JENKINS PHENOMENA SKYROS VASE 1976 Watercolor on Arches Signature, title, and date in ink verso; “dc-121-2000” and “3940” in pencil verso; blind stamp lower left Sheet 41” x 30”; frame 49” x 37.5” $7,000-9,000

91 HELEN FRANKENTHALER FLOTILLA 2006 Screenprint in 73 colors #49 of 120 Signature, date and edition lower left; also signed lower right Sheet 31” x 37”; framed 34.5” x 40.5” $6,000-8,000

Late last year, I went to a house in the hills above Malibu to look at furniture to possibly include in this auction. As the front door opened, I was exposed to a dramatic view of the Malibu coastline framed in floor-to-ceiling glass walls. It was the sort of architectural moment that real estate agents like to call “explosive”. However, I could hardly notice the view because of a small wire sculpture on a pedestal in the foreground.

92 REG BUTLER THE UNKNOWN POLITICAL PRISONER MAQUETTE

Many years ago, I was assigned a paper to write on the subject of propaganda in modern sculpture. I chose this very sculpture to illustrate a point that in the middle part of the 20th century, artists were using abstraction counter-intuitively to humanize their subjects.

Exhibited:

1952-53 Wire and metal on a cast plaster base Studio 17.5”h x 6.75” x 7.5” “ I N T E R N AT I O N A L S C U L P T U R E C O M P E T I T I O N : THE UNKNOWN PO L I T I C A L P R I S O N E R ” , I N ST I T U T E O F C O N T E M PORARY ARTS, LONDON, M A R C H 1 4 - 1 5 , 1 95 3 , H E L D AT T H E TAT E G A L L ERY.

Provenance:

Reg Butler’s “Maquette for the Unknown Political Prisoner” was chosen as the grand-prize winning entrant in a competition of the same name in 1952 that included entries from 3,500 artists. Other notable entrants were Calder, Hepworth, Chadwick, and Roszak to name just a few of the internationally known sculptors. The artists were asked to “pay tribute to those individuals who, in many countries and in diverse political situations, had dared to offer their liberty and their lives for the cause of human freedom.” Butler’s earlier studies for this work show a somewhat more obvious message of pain and struggle by impaling a human figure on the main vertical spire. But it was his final maquette, which captured the essence of the message through abstraction that impressed judges Roland Penrose, Alfred H. Barr, and Sir Herbert Read. The work resembles a large radar tower and at over 300 feet high, it would certainly have cut an imposing outline on the border of West and East Berlin, its desired location for construction. The figures below the structures (known as “watchers”) were to have been created much larger than life-size and captured not only the message of humanity looking out for examples of human rights violations, but also, with their heads looking upward, subconsciously reinforced growing fears and concerns surrounding the “red scare” and even UFO’s. This little maquette received extraordinary attention at the time, even appearing in Life magazine. Unfortunately the symbolism and implied scale were ignored by many art critics of the day, some of whom felt the works on exhibit were “too abstract (and therefore ‘inhuman’)”. When the exhibition of the winning entries were exhibited at the Tate Collection in London, a Hungarian refugee, echoing some of these opinions in the press, smashed the maquette in protest declaring the reduction of human suffering to “scrap metal” was “an absolute lack of humanism”. Butler quickly built a replica (now in the permanent collection at MoMA) to be on view until the end of the exhibition and carefully restored the original, which was eventually presented to the competition’s organizing director Anthony Kloman. A full-scale model was never realized, but a larger replica was created a few years later and was subsequently acquired along with studies and drawings by the Tate Gallery in London. Kloman sold the original maquette at Sotheby’s London salesroom in 1963, where it was acquired by an American private collector. It has been enjoying an “explosive” view of the Malibu coastline ever since.

R EG B U T L E R ; J O I N T P R O P E RT Y O F T H E I C A , LO N D O N A N D ACADEMY OF FINE ART, BERLIN; A N T H O N Y K LO M A N , N E W P O RT, R H O D E I S L A N D; P R I VAT E C O L L EC T I O N , M A L I B U, C A L I FO R N I A (PURCHASED AT S OT H E BY ’S LO N D O N , D EC E M B E R 1 9 6 3 F R O M THE A J T KLOMAN P R I VAT E C O L L EC T I O N )

Illustrated: ART AUJOURD’HUI , N O 5 , J U LY 1 95 3 , P G 6 - 1 1 ; M AST E R S O F M O D E R N A RT, A L F R E D H B A R R JR , NEW YORK , 1954, PG 159 N E W I M AG E S O F M A N, P E T E R S E L Z , N E W YO RK , 1959, PG 42

MOTIF 6 , S P R I N G 1 9 6 1 , P G 3 1 SOTHEBY & CO (CATALOGUE OF MODERN DRAWINGS PAINTINGS AND SCULPTURE) , D EC E M B E R 4 , 1 9 6 3 , P G 4 6 I VO RY H A M M E R 2 : T H E Y E A R AT S OT H E BY ’S, DAVIS, ET AL , 1964, PG 77

$20,000-30,000

93 MARY NEWCOMB WHITE TRELLIS 1965 Oil on canvas Signed and dated lower right; titled and signed verso 32.75” x 28.75”; frame 37.75” x 34” $3,000-5,000

94 MARY NEWCOMB UNTITLED Ink on paper Initialed lower right Image 10” x 13.5”; frame 17.5” x 20” $800-1,000

95 BARBARA HEPWORTH UNTITLED (FOUND OBJECTS)

96 BARBARA HEPWORTH UNTITLED (ANGRY STONE)

97 GRAHAM SUTHERLAND UNTITLED (PHOENIX BIRD)

98 KEITH MURRAY VASE

1951 Graphite on paper Signed and inscribed “Drawings from found objects shell fragments - Carbis bay September 18th 1951” Sheet 12” x 10.25”

1951 Graphite on Kraft paper Signed and inscribed “Drawings from Found objects the beach St Ives bone fragments Stones etc good clay May 19th 51” Sheet 12” x 10.5”

Lithograph #14 of 65 Signed lower right; edition lower left Image 18” x 18”; frame 26.5” x 26.5”

Wedgwood Moonstone Signed “Keith Murray Wedgwood/Made in England Moonstone” 7”h x 11”diameter

$5,000-7,000

$400-600

Provenance:

F R O M T HE ESTATE OF

M AX PA L E VS KY

$500-700

RACHEL WHITEREAD: SCULPTING NEGATIVE SPACE British artist Rachel Whiteread (born 1963), the first woman awarded the prestigious Turner Prize, is captivated by objects from the past that she transforms into representations using materials such as plaster, rubber, wood, and cardboard. Influenced by the formality of modern furniture design yet inextricably connected to her childhood experiences, Whiteread created “Untitled: Daybed” out of traditional mattress materials as a conceptual idea of the negative space underneath a daybed. By including four cylindrical holes at the corners and horizontal contours for slats or straps, “Untitled: Daybed” is a distillation of negative space evoked by the Mies van der Rohe Barcelona Daybed. Whiteread’s sculpture was first exhibited in Glasgow, Scotland and was then exhibited in the United States in New York in 2000. Rachel Whiteread: Daybed. A/D Gallery, 2000. Web. 14 Jan. 2011.

RACHEL WHITEREAD UNTITLED: DAYBED SCP, UK, 2000 Retains tag dated August 25, 2000 From the edition of 10 plus 2 artist’s proofs 16”h x 78”l x 33”w $10,000-15,000

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

P U R C HASED AT L AURA

C A R P E N T E R F I N E A RT, SANTA FE, 1994

$8,000-10,000

101 FRANCIS BACON PORTRAIT OF JOHN EDWARDS (STUDY) 1987 Color lithograph #42 of 180 Signed lower right; edition lower left Image 26.75” x 20”; frame 41” x 32” $5,000-7,000

102 SAM MALOOF ROCKING CHAIR Studio, executed 1986-89 Walnut and White Oak with Ebony Signed “No.4 1989 Sam Maloof F.A.C.C.” Sold with the original receipt and a signed copy of Sam Maloof Woodworker 44”h x 26”w x 44”d $20,000-30,000

103 DONALD JUDD UNTITLED (NO. 89) 1978 Aquatint in black #24 of 175 Signed lower right; edition and blind stamp lower left 40.25” x 29.75” $3,000-5,000

104 JOSEPH KOSUTH JORGE LUIS BORGES (BOOK OF SAND) 1995 Lithograph Printers proof four; aside from the edition Titled and dated Frame 27.5” x 35” $750-1,000

105 GENE DAVIS UNTITLED (3 WORKS) 1973 Lithographs, 2 not illustrated #65 of 75 (pictured) plus two others Signature, date and edition lower right in pencil Each sheet 30.5” x 40.5” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$1,000-1,500

106 HANS J. WEGNER PAIR OF TWIN BEDS WITH SIDE TABLES Getama, designed circa 1955 Getama brand Sold with copies of original receipt dated June 1968 and brochure $2,000-3,000

107 HANS WEGNER SOFA Model no. 236 Getama, designed 1954 31.5”h x 82”l x 30”w $3,000-5,000

108 HANS WEGNER SOFA Model no. 236 Getama, designed 1954 31.5”h x 82”l x 30”w $3,000-5,000

109 KURT OSTERVIG NESTING TABLES Model no. 12653 Illums Bolighus, designed circa 1956 Rosewood Retains Illums Bolighus tags Overall 20”h x 31”l x 14”d Literature:

ILLUMS BOLIGHUS: CENTER OF

MODERN DESIGN , DENMARK , (CATA LO G U E FROM 1961 ), UNPAGINATED

$800-1,200

110 SCANDINAVIAN MODERN WASTEBASKET Designed circa 1965 Illegible brand with “Made in Norway” 17.5”h x 15” x 8.5” $200-300

111 STIG LINDBERG CERAMIC VASE Gustavsberg, executed circa 1963 Signed “Stig L” with Gustavsberg cipher 15”h $1,200-1,500

112 HANS WEGNER TABLE AND 6 CHAIRS Table model no. 4602; chairs model no. 4103 Fritz Hansen, designed circa 1966 Retains illegible brand Table 27.75”h x 47”diameter; chairs 29”h x 20.5”w x 15.5”d $2,500-3,500

113 TAPIO WIRKKALA LEAF BOWL Soinn et Kni, designed 1951 Laminated wood Signed “TW” 1.75”h x 11” x 9” Literature:

DOMUS 266 (FEBRUA RY 1 95 2 ) ,

TASCHEN REPRODUCED THIS IN VO LU M E I I I ( 1950 -1954 ), 2006, PG 236

$2,000-3,000

114 WILHELM KAGE GLAZED CERAMIC PLATE Gustavsberg Studio, executed circa 1955 Stamped “Studio Gustavsberg” and “Farsta” and “Kage” 11.75” x 11.75” $2,500-3,500

115 ARNE JACOBSEN FLOOR LIGHT Louis Poulsen & Co., first designed for the SAS hotel 1960 71.5”h Literature:

ARNE JACOBSEN, FA B E R ,

PRAEGER , 1964, PG 155

$3,000-5,000

116 PAAVO TYNELL HANGING LIGHT Taito Oy, Finland, circa 1950 Brass Shade 11.5”h x 10”diameter $1,500-2,000

117 ARNE JACOBSEN THE SWAN CHAIR Model no. 3320 Fritz Hanson, designed 1958 Retains label “Made in Denmark by Fritz Hansen” 30.5”h x 30”w x 26”d $1,500-1,800

118 MODERN HOUSEWARES GROUP OF TEN ITEMS Various manufacturers, Comprised of Dansk salad set, three Heath ashtrays, Jacobsen icebucket, Aalto vase and two serving dishes Various dimensions Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$200-300

119 BRUNO MATTHSSON JETSON ARMCHAIR Dux, designed circa 1970 Retains label “Made by Dux Bruno Matthsson” 40”h x 25”w x 30”d Reference:

DUX FURNITURE CATALOGUE

DATED 1978, UNPAGINATED

$1,000-1,500

120 PIET HEIN PAIR OF BAR STOOLS Fritz Hansen, designed 1961; this example circa 1997 32”h x 14”diameter Literature:

SCANDINAVIAN DESI G N,

FIELL , TASCHEN, 2002, PG 240 - 4 1

$1,200-1,500

121 PETER HVIDT OCCASIONAL CHAIRS (2)

122 BORGE MOGENSEN LOW LOUNGE CHAIRS (2)

Model no. 18279 John Stuart, Inc, designed circa 1960 Retains label Designed with Molgaard -Nielsen Each 30.5”h x 23”w x 27.5”d

Fredericia, designed circa 1952 Each stamped “Made in Denmark/Fredericia &....Fabrik/Model....” 23”h x 22”w x 32”d

Literature:

$3,000-5,000

ILLUMS BOLIGHUS: CENTER OF

MODERN DESIGN , D E N M A R K , (C ATA LO G U E F R O M 1 9 6 1 ) , U N PAG I N AT E D

$2,500-3,500

123 MASSIMO VITALI UNTITLED Circa 1995 Color photograph #110 of 120; sheet 29 Label verso “Massimo Vitali Steidl Verlag, Gottingen For Brancolini Grimaldi” with edition and sheet number Image 25.75” x 33.5”; frame 27.75” x 35.5” $2,000-3,000

124 MASSIMO VITALI UNTITLED Circa 1995 Color photograph #110 of 120; sheet 32 Label verso “Massimo Vitali Steidl Verlag, Gottingen For Brancolini Grimaldi” with edition and sheet number Image 25.75” x 33.5”; frame 27.75” x 35.5” $2,000-3,000

125 MASSIMO VITALI UNTITLED Circa 1995 Color photograph #110 of 120; sheet 30 Label verso “Massimo Vitali Steidl Verlag, Gottingen For Brancolini Grimaldi” with edition and sheet number Image 25.75” x 33.5”; frame 27.75” x 35.5” $2,000-3,000

126 SERGE CLEMENT RUST 1993 Silver gelatin print #2 of 10 Signed and dated verso; retains Jane Corkin Gallery label verso 15” x 22.25” $300-500

127 NIGEL SCOTT UNTITLED (DANCER ON ROOF) 1989 Silver gelatin print #2 of 15 Signed and dated verso; Jane Corkin Gallery label verso 23” x 16.5” $800-1,200

128 NIGEL SCOTT UNTITLED (IZU, JAPAN) 1994 Cyanotype print #1 of 30 Signature, edition and annotated “Japan 1994”; verso “Izu Japan 1994 LR 1995”; Jane Corkin Gallery label verso 23” x 19” $800-1,200

129 JAMES GILL UNTITLED 1960 Oil on canvas Signed “Gill 60” upper right Frame 52” x 76” $2,000-3,000

130 DAVID HOCKNEY UNTITLED (FAIRY TALES SERIES) 2 WORKS 1969 Lithograph From the portfolio “Illustrations for Six Fairy Tales from the Brothers Grimm” Unsigned Each sheet 17.5” x 12”; frame 27.25” x 15.25” $900-1,200

131 DAVID HOCKNEY PLEADING FOR CHILD 1969 Lithograph From the portfolio “Illustrations for Six Fairy Tales from the Brothers Grimm” Unsigned 12” x 11.5”; frame 25” x 20.5” $600-800

132 JOCK STURGES HOLLY AND FAN CHEN; NORTHERN CALIFORNIA, 1978 1978 Photograph on Agfa Portiga Rapid Paper Unique Signed and dated verso Image 13.675” x 16.875” $2,000-3,000

133 JOCK STURGES FANNY, MONTALIVET FRANCE, 1997 1997 Photograph #14 of 40 Signed and dated verso Image 18.25” x 14.25”; sheet 18.75” x 14.875” $1,800-2,500

134 CYLLA VON TIEDEMANN FIGURES IN UNION 1996 Silver gelatin print #1 of 15 Signature, title, date and edition verso; Jane Corkin Gallery label verso 20” x 16” $500-700

135 BILL BRANDT LONDON (BREAST) Circa 1958 Silver gelatin print Signed in ink on matt; retains Jane Corkin Gallery label verso 13.5” x 11.5” $2,000-3,000

136 MICHAEL SPANO PATTERNED PORTRAIT 1988; this example printed in 1994 Solarized silver print #5 of 25; negative #428-84 Signature and date lower right; edition and negative number lower left; Jane Corkin Gallery label verso 36” x 27” $2,000-3,000

137 WEEGEE UNTITLED Photograph Stamped verso “Credit Photo by WeeGee” Image 9” x 7”; frame 21” x 17” $1,500-2,000

138 KIM DONG YOO DREAM 2001 Color lithograph Artist proof Signature and date lower right; title middle; edition lower left Image 15” x 11.75”, frame 26” x 22.5” Image 12” x 15.25”, frame 23.5” x 26” $1,500-2,000

139 VICTOR VASARELY STUDIES FOR JERUSALEM WALL (6) Circa 1965 Graphite and ink on graph paper Each signed Each sheet 19.75” x 25.5” Provenance:

FROM THE COLLECT I O N O F

JAMES BYRNES, LOS ANGELES

$4,000-5,000

140 VICTOR VASARELY KROA SCULPTURE 1968 Metal with black lithograph Signed “Vasarely ‘Kroa’ 1968” 12” x 12” x 12” $3,000-5,000

VICTOR VASARELY UNTITLED (2) Circa 1969 Lithograph #116 of 250 and #134 of 250 Each signed lower right; edition lower left Sheet 32” x 31” and 32.25” x 30” $1,200-1,500

142 VICTOR VASARELY UNTITLED Circa 1967 Lithograph #52 of 125 Signed lower right; edition lower left Image 18” x 18”; frame 29” x 28” $700-900

VASA: A CONTINUOUS VOCABULARY Known primarily for his multi-colored acrylic sculptures, Yugoslavian artist Vasa Mihich (born 1933) explores the interaction between light, color, and space. While studying and creating art in Belgrade, he visited Paris and was inspired by American art. In 1960, he moved to Los Angeles where his fascination with light and color came to fruition. After exhibiting his work at the Los Angeles County Museum of Art, he sold his first piece, a painted plywood sculpture entitled “Crimson, Yellow, and Green”. Vasa is most well-known for employing acrylic in his sculptures, however, his early painted wood constructions show strong parallels to the Hard-edge painters in California, who were painting compositions marked by geometric shapes and abrupt transitions of color as a reaction to the gestural, more painterly style of the Abstract Expressionists. By 1967, he had quickly moved away from this static medium by utilizing new technologies in his Los Angeles studio to construct acrylic tubes allowing him to use a multitude of colors, as represented in “Untitled (#2963)”. Vasa. Vasa Studio. Web. 14 Jan. 2011.

143 VASA (MIHICH) CRIMSON, YELLOW AND GREEN (TOWER) 1965 Painted wood construction Studio Signed and dated under base with Feigen Palmer Gallery label 55.5”h x 16.5” x 16.5” $6,000-8,000

144 VASA (MIHICH) UNTITLED Studio, 1979 Acrylic sculpture Signed “Vasa 79 #1564” 12” x 7” x 2” $800-1,200

145 VASA (MIHICH) UNTITLED (#2963) 1990 Acrylic Signed and dated With stand 92”h x 18” x 14” $5,000-7,000

146 RICHARD SCHULTZ PETAL TABLE Knoll, designed 1960 Together with four Charles Eames side chairs Table retains “Knoll Associates, Inc.” tag; chairs with remnants of paper label, impressed logo, and one marked “Dec 197..(illegible)” Table 28”h x 42”diameter $2,500-3,500

147 HENDRIK VAN KEPPEL SLAT BENCH VKG, designed circa 1950 Retains tag “A.T.M. 9044” 16.25”h x 26” x 72” $2,000-3,000

148 CLIFFORD ODETS THE GUARDED HOUSE 1947 Watercolor, gouache and ink on paper Signed “C Odets” and dated “5/47”; titled and dated verso 14” x 10” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$1,000-1,500

149 BILL CURRY CATTAIL LIGHT Design Line, circa 1968 43”h x 5”diameter $800-1,000

150 GEORGE NELSON SWAG LEG DESK Model no. 5850 Herman Miller, designed circa 1956 Retains Herman Miller medallion 34.5”h x 39”w x 29”d $2,500-3,500

151 GEORGE NELSON CAPE COD FIRELIGHTER Model no. H611 Howard Miller Clock Company, designed 1950-55 Marked “Howard Miller Zeeland, Mich #611” 11”h x 6.5”diameter Literature:

GEORGE NEL SON: AR C H I T EC T,

WRITER , DESIGNER , TEACHER , VI T R A D ESIGN MUS EUM, 2008, PG 304

$1,000-1,500

152 GEORGE NELSON ROLL TOP DESK Action Office Series Herman Miller, designed 1964 33”h x 66”l x 32”d $3,000-5,000

153 AMERICAN MODERN CANDELABRA Retailed at VKG, designed circa 1950 Wrought iron 25.5”h x 27” x 8” $300-500

154 MEL BOGART FIRE TOOL SET Felmore Associates, designed circa 1951 32”h x 11”diameter Literature:

ARTS & ARCHITECTURE MAGA-

ZINE , O C TO B E R 1 95 1

$400-600

155 VLADIMIR KAGAN, ATTRIBUTED COFFEE TABLE Model no. 413 Possibly Kagan & Associates, designed 1953 16”h x 37”diameter $1,200-1,500

156 VLADIMIR KAGAN, ATTRIBUTED SECTIONAL SOFA Possibly Kagan Design Group, designed circa 1979 Overall 29”h x 141”l x 35”d $4,000-6,000

157 VLADIMIR KAGAN PAIR OF CORK SCREW CHAIRS Directional, designed 1993 Each 28.5”h x 35.5” x 37” $3,000-5,000

158 VLADIMIR KAGAN SERPENTINE SOFA (BLUE) Kagan Design Group, first designed circa 1953; this example produced later 28.5”h x 96”l x 36”d $3,000-5,000

159 LOUIS DUROT “ASPIRALE” CHAIR Designed 1972 Polyurethane resin 25.5”h x 33”diameter $2,500-3,500

160 ROBERT MOTHERWELL FRENCH REVOLUTION BICENTENNIAL SUITE III 1988 Etchings with aquatint with hand applied collage #23 of 35 Signature and edition lower right Image 9.75” x 13.5”; frame 19.5” x 23” $4,500-5,500

161 ROBERT MOTHERWELL FRENCH REVOLUTION BICENTENNIAL SUITE II 1988 Etchings with aquatint with hand applied collage #23 of 35 Signature and edition lower right Image 9.5” x 13.5”; frame 19.5” x 23” $4,500-5,500

162 INGO MAURER PAIR OF BIBIBIBI TABLE LAMPS Ingo Maurer, designed 1982 “Bibibibi” label verso Each 25”h x 12”diameter $1,000-1,500

163 DONALD SULTAN EIGHT POPPIES 2010 Screenprint #49 of 75 Edition lower right; signed left 20.5” x 36” $3,000-5,000

VOGUE MAGAZINE ,

JANUARY 1, 1967

$25,000-35,000

165 SAUL STEINBERG EAST SIDE GOLEM (MASK) 1965 Collage, pastel and ink on paper From the Mask series Initialed and dated lower right and signed “c Saul Steinberg 1966” Sheet 29” x 23”; frame 36.5” x 29.5” Exhibited:

S I D N E Y JANIS GALLERY, NEW

YO R K , N OV E M B E R - DECEMBER 1966 AND I L LU ST R AT E D I N T H E EXHIBITION CATALO G U E ( # 1 4 )

$20,000-25,000

166 HENRI DE TOULOUSE-LAUTREC MAY BELFORT 1895 Colored lithograph poster Fourth state In margin lower right “Kleinmann, 8, rue de la Victoire” Catalogue Raisonne #126.IV Frame 32” x 24.5” Literature:

TOULOUSE-L AUTREC : T H E

COMPLETE GRAPHIC WORKS: A CATA LO G U E RAISONNE, ADRIANI, THAMES AN D H U D S O N , 1988, PG 178

$4,000-6,000

167 ALEX KATZ BRISK DAY I 1990 Aquatint #149 of 150 Signature and edition lower left Sheet 35.5” x 29”; frame 39.5” x 32.5” $6,000-8,000

168 PABLO PICASSO VASE WITH TWO HIGH HANDLES 1952 Partially glazed white earthenware clay Edition of 400 Madoura Signed and impressed “Edition Picasso” and impressed “Madoura” Ramie 141 15”h Literature:

PABLO PICASSO: CATA LO G U E

OF THE EDITED CERAMIC WORKS 1 9 4 7- 1 9 7 1, RAMIE, MADOURA , 1988, PG 78

$18,000-25,000

169 PABLO PICASSO DOVE AT THE DORMER 1949 Glazed white earthenware clay #56 of 200 Madoura Signed and impressed “Edition Picasso”, impressed “Madoura”, and with edition number Ramie 78 15.25”l x 12.5”w Literature:

PA B LO P ICASSO: CATALOGUE

O F T H E E D I T E D C E R A MIC WORKS 194 7-1971, R A M I E , M A D O U R A , 1 9 88, PG 51

$5,000-7,000

170 PABLO PICASSO BLACK ENGRAVED FACE

171 PABLO PICASSO WOOD-OWL WITH FEATHERS

24-Dec-53 Black glazed earthenware clay #25 of 100 Madoura Ramie 210 14”h x 8”diameter

1951 Earthenware clay, decorated in oxides with knife engraving From the edition of 300 Madoura Ramie 122 12”h x 9” x 7”

Literature:

PABLO PICASSO: C ATA LO G U E

OF THE EDITED CERAMIC WOR KS 1 9 4 7- 1 9 7 1,

Literature:

RAMIE, MADOURA , 1988, PG 114

O F T H E E D I T E D C E R A M I C WO R KS 1 9 4 7- 1 9 7 1,

$6,000-9,000

RAMIE, MADOURA, 1988, PG 71

PA B LO P I C ASS O : C ATA LO G U E

$2,000-3,000

172 PABLO PICASSO MAN’S FACE

173 PABLO PICASSO BIRD WITH WORM

17-Dec-66 Red earthenware clay printed with engobe pen #35 of 500 Madoura Stamped “Madoura Plein Feu Empreinte Originale de Picasso” with edition number Ramie 539 6.25”h x 4.25”; mounted 12” x 12”

1952 Turned round earthenware clay Edition of 500 Madoura Signed and impressed “Edition Picasso” and impressed “Madoura” Ramie 172 5.75”diameter

$1,800-2,500

Literature:

PA B LO P I C ASS O : C ATA LO G U E

O F T H E E D I T E D C E R A M I C WO R KS 1 9 4 7- 1 9 7 1, R A M I E , M A D O U R A , 1 9 8 8 , P G 95

$1,000-1,500

PABLO PICASSO BIRD NO. 83 1963 Glazed earthenware clay with decoration 36 of 200 Madoura Verso “No 83/Edition Picasso/Maoura” with edition number Raime 483 10” diameter Literature:

PA B LO P I C ASS O : C ATA LO GUE

O F T H E E D I T E D C E R A M I C WO R KS 1 9 4 7-1971, R A M I E , M A D O U R A , 1 9 8 8 , P G 24 9

Provenance:

F R O M T H E C O L L EC T I O N OF

JA M E S BY R N E S, LO S A N G E L E S

$3,000-4,000

175 PABLO PICASSO BEARDED YAN

176 PABLO PICASSO FACE

1963 Glazed red earthenware clay #91 of 300 Madoura Signed and impressed “Edition Picasso”, impressed “Madoura”, and with edition number Ramie 513 11”h

1955 Partially glazed white earthenware clay Edition of 500 Madoura Signed and impressed “Edition Picasso” and impressed “Madoura” Ramie 288 12.5”h

Literature:

O F T H E E D I T E D C E R A M I C WO R KS 1 9 4 7- 1 9 7 1,

PA B LO P I C ASS O : C ATA LO G U E

Literature:

PA B LO P I C ASS O : C ATA LO G U E

OF THE E D I T E D C E R A M I C WO R KS 1 9 4 7- 1 9 7 1,

RAMIE, MADOURA, 1988, PG 150

RAMIE, M A D O U R A , 1 9 8 8 , P G 2 5 6

$5,000-7,000

$4,000-6,000

177 PABLO PICASSO LITTLE FACE NO. 13

178 PABLO PICASSO FACE NO. 54

1963 White earthenware clay, decorated in engobes and enamel #140 of 150 Madoura Signed “no 13/Edition Picasso/Madoura” with edition number Ramie 461 9.75”diameter

1963 White earthenware clay, decorated in engobes and enamel with partial brushed glaze #122 of 150 Madoura Signed “no 54/Edition Picasso/ Madoura” Ramie 467 9.75”diameter

$2,500-3,500

101

179 CHARLES & RAY EAMES DESK

180 CHARLES & RAY EAMES STORAGE UNIT

Model no. ESU D-20-C Herman Miller, designed 1950 28.75”h x 60”w x 24”d

Model no. ESU-421-C Herman Miller, designed 1950 58.675”h x 47”w x 16.75”d

Literature:

EAMES DESIGN: THE WO R K O F

E A M E S D E S I G N : T H E WO R K O F

THE OFFICE OF CHARLES AND RAY E A M E S,

T H E O F F I C E O F C H A R L E S A N D R AY E A M E S,

NEUHART, ABRAMS, 1989, PG 129

N E U H A RT, A B R A M S, 1 9 8 9, P G 1 2 9

$7,000-9,000

$15,000-20,000

103

181 PAUL TUTTLE SURFBOARD TABLE

182 PAUL TUTTLE ALPHA LOUNGE CHAIR

Studio, executed circa 1956 for the Thornton Ladd studio “Hilltop” For Stan Reifel 24”h x 132”l x 34.75”w

Strassle International, 1973 Impressed “Collection Strassle International Paul Tuttle Design” and dated 34”h x 31”w x 37”d

$3,000-5,000

$2,000-3,000

105

183 FRANK GEHRY NESTING CHAIRS (2) Easy Edges, designed 1969-73 Corrugated cardboard 25.5”h x 18.5”w x 35”d and 22”h x 18.5”w x 30.25”d $3,500-4,500

184 FRANK GEHRY WIGGLE CHAIRS (2) Easy Edges, designed 1969-73 Corrugated cardboard Each 33”h x 16”w x 22”d $3,000-4,000

185 FRANK GEHRY OCCASIONAL TABLE Easy Edges, designed 1969-73 Corrugated cardboard 19”h x 21” x 17.25” $1,000-1,500

186 FRANK GEHRY UNTITLED (VILLE DE RENNES) 1993 Ink on paper Signed and dated lower right Together with commemorative Tiffany frame (not illustrated) Sheet 9” x 12” $2,000-3,000

187 MARIO BOTTA UNTITLED (S.F.M.O.M.A.) 1993 Charcoal on tracing paper Signed, titled and dated lower center; inscribed verso “Mario Botta, Lugano, Switzerland” 24.5” x 45.25” $3,000-5,000

107

188 BILLY AL BENGSTON LIPO DRACULAS 1981 Acrylic on Gatorfoam Artist label verso “Artist Studio Billy Al Bengston - Founder” with address; signature, title, edition and date verso; James Corcoran Gallery label verso 22” x 22”; frame 23.25” x 23.25” $2,000-3,000

189 JOHN (CRASH) MATOS UNTITLED Acrylic on canvas #8 of 95 Signed and titled verso 23.5” x 19.5” $2,000-3,000

190 TOM HOLLAND UNTITLED 1979 Mixed media Signed and dated verso; Retains Kass/ Meridian label verso Sheet 40” x 30”; frame 43” x 33” $1,500-2,000

191 JIM DINE THE HAND-COLORED VIENNESE HEARTS IV 1990 Screenprint, etching and aquatint with hand coloring on Velin Arches #39 of 50 Signature, date and edition lower left Raisonne # 34.4 Sheet 47” x 36.25” Literature:

J I M D I N E P R I N TS : A CATALOGUE

R A I S O N N E : 1 9 85 -2 0 0 0, C A R P E N TER , MINNEAPOLIS I N ST I T U T E O F A RTS, 8 7- 8 8

$12,000-15,000

192 JIM DINE OO LA LA (WITH RON PADGETT) 1970 Lithograph from zinc plates drawn by both artists Artist proof aside from the edition of 75 Published by Petersburg Press, London Signed by both artists lower center and right; edition lower right From a portfolio of fifteen prints Catalogue Raisonne #16-30 Sheet 17.5” x 27”; frame 23” x 32.5” Literature:

J I M D I N E P R I N TS : 1 970 -197 7, WILLIAMS

C O L L EG E , H A R P E R , 1 9 7 7, P G 5 0 - 51

$3,000-5,000

109 193 JIM DINE MULTICOLOURED ROBE FOR THE SEOUL OLYMPICS 1988 Lithograph #195 of 300 Signature, edition and date lower right Sheet 35” x 27”; frame 40” x 32” $1,800-2,500

194 LADDIE JOHN DILL UNTITLED (BIRD) 1985 Glass and mixed media on wood Signed and dated verso 82” x 60” $5,000-10,000

195 LADDIE JOHN DILL UNTITLED (6) 1981 Glass and mixed media on wood Each marked “1 of 6” Signature, date and edition verso Each 16” x 12” x 2” $5,000-7,000

111

196 LADDIE JOHN DILL UNTITLED 1977 Glass and mixed media on wood Signed and dated verso 32” x 24” x 2” $3,000-4,000

197 CHARLES (CHUCK) ARNOLDI UNTITLED 1979 Etching #32 of 60 Edition lower left; signed lower middle; date lower right; James Corcoran Gallery label verso Image 6” x 5”; sheet 14.75” x 17.5” $400-600

198 RON DAVIS UNTITLED 1983 Acrylic on paper Signature, date and edition lower right Sheet 23” x 30.5”; frame 25.75” x 33” $1,000-1,500

199 BILLY AL BENGSTON TOM 1969 Lacquered polyester resin on aluminum #29 of 50 Artist label verso “Artist Studio Billy Al Bengston - Founder” with address; signature, title, edition and date verso 26” x 25” $3,000-5,000

200 JOE GOODE FOREST FIRE #21

113

1982 Oil on paper with gunpowder Title lower center, date lower right, “#21” lower left; James Corcoran Gallery labels verso Sheet overall 22.5” x 60”; frame 30” x 67.75” Provenance: AC Q U I RED T H E A RT I ST

$3,000-5,000

DIRECTLY FROM

RICHARD PETTIBONE JACKIE 1964 Acrylic and silkscreen on canvas with handmade frame In pen verso “Andy Warhol Jackie”, signed “R Pettibone”, dated twice “1963” and “1968”; in pencil “JE1” 2.75” x 2.5” $15,000-18,000

202 RICHARD PETTIBONE JACKIE 1964 Acrylic and silkscreen on canvas with handmade frame In pen verso “Warhol Jackie”, initialed “RP”, dated twice “64” and “68”; in pencil “JE2” 2.75” x 2.5” $15,000-18,000

203 RICHARD PETTIBONE JACKIE

204 RICHARD PETTIBONE JACKIE

1964 Acrylic and silkscreen on canvas with handmade frame In pen verso “Warhol Jackie”, initialed “RP”, dated twice “64” and “68”; in pencil “JE3” 2.75” x 2.5”

1964 Acrylic and silkscreen on canvas with handmade frame In pen verso “Warhol Jackie”, initialed “RP”, dated twice “64” and “1968”; in pencil “4 JE” 2.75” x 2.5”

$15,000-18,000

115

205 SAM FRANCIS UNTITLED 1960 Acrylic on paper Signed and dated verso “Paris 1960 Sam Francis” and with pencil mark “L 44.67.31” and “#15-A” Sheet 5.5” x 3.5” $7,000-9,000

206 SAM FRANCIS THE EAST IS RED 1970 Lithograph Signed; numbered lower center “SF-103” Sheet 22” x 33.75”; frame 24.5” x 36.5” $6,000-8,000

117

207 SAM FRANCIS UNTITLED (PROJECT FROM MARGINALIA: HOMMAGE TO SHIMIZU) 1979 Lithograph #38 of 100 Signed lower right; edition lower left; blind stamp lower right $3,000-5,000

ED RUSCHA 1984 1967 Lithograph with hand-coloring on Arches Artist Proof V aside from the edition of 60 Published by Gemini G.E.L. Signature, date and edition lower left Catalogue Raisonne #6 Frame 20.5” x 25.5” Literature:

EDWARD RUSCHA: ED I T I O N S

1959 -1999: CATALOGUE RAISONNE, E N G BERG, WALKER ART CENTER , PG 85

$8,000-10,000

209 ED RUSCHA VANISH 1973 Lithograph on Arches #40 of 50 Published by Cirrus Editions Signature, date and edition lower left Catalogue Raisonne #68 Sheet 20” x 28”; frame 22.5” x 30.5” Literature:

EDWARD RUSCHA: ED I T I O N S

1959 -1999: CATALOGUE RAISONNE, E N G BERG, WALKER ART CENTER , PG 93

$7,000-10,000

210 ED RUSCHA FRUIT-METRECAL HOLLYWOOD 1971 Screenprint on Copperplate Deluxe paper #65 of 85 Published by Cirrus Editions Signature, date and edition lower left Catalogue Raisonne #53 Sheet 14.5” x 41.5”; frame 15.75” x 43” Literature:

EDWARD RUSCHA: ED I T I O N S

1959 -1999: CATALOGUE RAISONNE, E N G BERG, WALKER ART CENTER , PG 9 1

$7,000-9,000

211 ED RUSCHA VOWEL O (FROM VOWELS: PAINTINGS ON BOOK COVERS) 6-Aug-96 Acrylic on Some Los Angeles Apartments book cover 7.125” x 5.675” Provenance:

P U R C H ASED FROM THE ART-

I ST ( V I A G AG O S I A N G ALLERY ) SEPTEMBER 1 9 9 6 F R O M A R U S C H A SHOW BENEFITING A I D S P R OJ EC T LO S A NGELES

$12,000-15,000

212 ED RUSCHA HOLLYWOOD COLLECTS 1970 Poster #20 of 220 Published by Otis Art Institute Signed and numbered This poster was designed to accompany an exhibition at Otis Art Institute the same year. Literature:

E DWA R D RUSCHA: EDITIONS

1 95 9 - 1 9 9 9 : C ATA LO G UE RAISONNE, ENG B E R G , WA L K E R A RT C ENTER , PG 129

$1,500-2,000

213 ED RUSCHA BAILARINA (FROM PORTFOLIO CALIFORNIA) 1988 Lithograph on Guarro paper #42 of 75 Published by Ediciones Poligrafa, Barcelona Signed and dated lower right; edition lower left Catalogue Raisonne #164 Sheet 19.5” x 21.5”; frame 35” x 27” Literature:

E DWA R D RUSCHA: EDITIONS

1 95 9 - 1 9 9 9 : C ATA LO G UE RAISONNE, ENG B E R G , WA L K E R A RT C ENTER , PG 105

$6,000-8,000

119

214 STAN BITTERS GARDEN PATHWAY Studio, executed circa 1968 for the designer’s own home Glazed ceramic tiles Sold with copy of book (see illustration) As illustrated approx. 46 feet x 65” Illustrated:

ENVIRONMENTAL CE R A M-

ICS, STAN BIT TERS, LIT TON EDUC AT I O N A L PUBLISHING, 1976, PG 63 - 65

Provenance:

STAN BIT TERS; PR I VAT E

COLLECTION, NORTHERN CALIFOR N I A ; PRIVATE COLLECTION, LOS ANGE L E S

$20,000-30,000

FEET

121

215 GEORGE NAKASHIMA CUSTOM WALL MOUNTED SHELF Specially designed and executed for the “Full Circle” exhibition, 1988 American Black Walnut and Rosewood 2.5”h x 90”l x 16”d This was created by Nakashima to be used at the entrance of the traveling retrospective exhibition “Full Circle” and prominently placed in each location of the exhibition. “Full Circle” was organized by the American Craft Museum and was the first major retrospective of the work of George Nakashima. Exhibited: GEORGE

NEL SON: FUL L C I R C L E ,

AMERICAN CRAFT MUSEUM, 1989

$20,000-25,000

123

216 GEORGE NAKASHIMA OCCASIONAL TABLE WITH TURNED LEGS Studio, designed 1955; this example after 1960 21”h x 40” x 17” Literature: N AT U R E

FO R M & SPIRIT: THE LIFE AND

L EG AC Y O F G EO R G E N A KAS H I MA , NAKASHIMA , A B R A M S, 2 0 03 , P G 9 9

$3,000-4,000

217 GEORGE NAKASHIMA TRESTLE-BASE DINING TABLE AND CHAIRS Dining table with two leaves Studio, designed 1951; this example after 1960 American Black Walnut Comprised of a dining table with leaves and six chairs Table 28.75” x 36”w x 88”l (extended) and 60”l (without leaves) Literature:

NATURE FORM & SPI R I T: T H E

LIFE AND LEGACY OF GEORGE NA KAS H I M A , NAKASHIMA , ABRAMS, 2003, PG 9 8

$15,000-20,000

218 GEORGE NAKASHIMA GROUP OF SIX NEW CHAIRS (4 SIDE, 2 ARM) Studio, designed 1955; these examples later Together with a seventh chair by Mira Nakashima One signed “Nakashima Showroom May 5 1994” Armchairs 36.25”h x 24”w x 22.5”d; Side chairs 36.25”h x 18.75”w x 20”d Literature:

N AT U R E FO R M & SPIRIT: THE LIFE

A N D L EG AC Y O F G EO R G E N A KASHIMA , NAKASHIMA , A B R A M S, 2 0 03 , P G 9 6

$15,000-20,000

219 GEORGE NAKASHIMA OCCASIONAL TABLE WITH TURNED LEGS Studio, designed 1955; this example after 1960 27”h x 28” x 30” Literature:

N AT U R E FO R M & SPIRIT: THE LIFE

A N D L EG AC Y O F G EO R G E N A KASHIMA , NAKASHIMA , A B R A M S, 2 0 03 , P G 9 9

$3,000-4,000

125

HARRY BERTOIA JEWELRY While teaching and working at the Cranbrook Academy in the late 1930’s, Harry Bertoia (1915-1978) began creating jewelry, which marked his first use of metal as an artist medium. Before this venture into such an unfamiliar form, Bertoia entered Cranbrook as a painting major, but found himself drawn to the metal shop. In the exploration of jewelry-making, he was faced with a very different set of challenges. According to John Willenbecher, “The jewelry forms he developed were highly sculptural in approach despite their small size.” This hammered, bent, and pierced silver brooch highlights Bertoia’s fascination with simple, organic forms blended with repeated voids. This example was created while Bertoia was living and working in Southern California between 1943 and 1950. It was acquired directly from Bertoia by James and Barbara Bynes who were close friends of William Valentiner, Bertoia’s father-in-law. . Schiffer, Nancy N., and Val O. Bertoia. The World of Bertoia. Atglen: Schiffer Publishing, 2003. Print.

220 HARRY BERTOIA BROOCH Studio, executed circa 1946 3.875” x 2.625” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$5,000-7,000

221 ED LEVIN BROOCH Studio, executed circa 1954 Sterling Silver Signed “Levin Sterling” 1.75” x .75” $500-700

HARRY BERTOIA “SOUNDING PIECES” As Bertoia was working on a sculpture that consisted of several standing rods, he accidentally broke a rod, causing it to crash into another rod, resulting in a sound that resonated deeply with the artist. According to Bertoia himself, this sound “initiated a deliberate gesture in search of understanding what a group of wires would do.” Throughout the 1960s, Bertoia created over 100 sound sculptures consisting of rows of flexible copper rods that sway when touched or blown, producing various tones depending on the length and mass of the rods. He referred to this sonorous atmosphere as Sonambient, the resulting environment created by the gentle clangor of the rods. These two pieces are early examples of the artist’s interaction with sound, evidenced by the brass cylinders atop the rods and the padded feet beneath the base. Schiffer, Nancy N., and Val O. Bertoia. The World of Bertoia. Atglen: Schiffer Publishing, 2003. Print.

222 HARRY BERTOIA SOUNDING PIECE Studio, executed circa 1965 Sold with packing crate made by Harry Bertoia 45.25” x 12” x 12” Provenance:

AC Q U I RED DIRECTLY FROM

T H E A RT I ST

$40,000-60,000

223 HARRY BERTOIA SOUNDING PIECE Studio, executed circa 1965 Sold with packing crate made by Harry Bertoia 33.5” x 8” x 8” Provenance:

AC Q U I RED DIRECTLY FROM

T H E A RT I ST

$30,000-50,000

127

224 CORRADO CAGLI CAPEO CIRCEO 1957 Oil and dry pigment on canvas Signed and dated lower left; signed and titled verso 28.5” x 31.5” Exhibited:

PHOENIX ART MUSEU M ,

JANUARY-MARCH 1963

$4,000-6,000

225 CORRADO CAGLI SERVI D’AMOR 1960 Oil on canvas Signed and dated lower right; label verso “1 Mostra Nazionale di Pittura September 1960” 40.25” x 27.5” Exhibited:

P H O E N I X ART MUSEUM,

JA N UA RY- M A R C H 1 9 6 3

$3,000-5,000

CORRADO CAGLI RE MIDA 1959 Oil on canvas Signed twice lower left; signed, titled and dated verso; remnant of gallery label verso 40.25” x 27.5” Exhibited:

P H O E N I X ART MUSEUM,

JA N UA RY- M A R C H 1 9 6 3

$3,000-5,000

227 CORRADO CAGLI CAPO GIUSEPPI 1961 Oil on canvas Signed lower left; signed and dated verso 20”h x 14”w Exhibited:

P H O E N I X ART MUSEUM,

JA N UA RY- M A R C H 1 9 6 3

$1,000-1,500

228 CORRADO CAGLI WOMAN’S HEAD Circa 1960 Pen and ink on rice paper Signed and dated lower left; inscribed “To dearest Yvone, the 22nd of September, with love as ever from Corrado” Sheet 12” x 13.125”; frame 16.5” x 17” Exhibited:

P H O E N I X ART MUSEUM,

JA N UA RY- M A R C H 1 9 63

$500-700

129

MIRKO BASALDELLA One of the most influential Italian artists of the twentieth century, Mirko Basaldella (1910-1969) was known for his abstract and figurative paintings. After achieving success with his solo exhibitions in Italy, some of his work was exhibited in the Comet Gallery in New York City alongside his influence and brother-in-law, Corrado Cagli. He then traveled to Paris and was heavily impacted by Cubism and Surrealism, which is evident in his paintings from 1939-1945. Upon moving to the United States in the early 1950s, his work was displayed at the Catherine Viviano Gallery and the Museum of Modern Art in New York. While continuing his artistic output that won him numerous awards, Mirko was appointed the director of Harvard University’s design workshop in 1957. In Mirko’s paintings from the early 1960s, there exists a primordial sense of life that is abstracted by dusky tones, characteristic of his idiosyncratic interpretation of Surrealism. Mirko. The Soloman R. Guggenheim Foundation, 2006. Web. 14 Jan. 2011. The Bundy Art Gallery. An Exhibition of Sculpture, Reliefs, and Paintings by Mirko. Waitsfield, Vermont: Bundy Art Gallery, 1964. Print.

229 MIRKO BASALDELLA ABSTRACT (CHICKEN ON A WALL) 1962 Wax pastel on paper applied to canvas Signed and dated lower left 29.5” x 39.5” $1,500-2,000

230 MIRKO BASALDELLA ABSTRACT (WOMAN’S HEAD AND BUST) 1962 Wax pastel on paper applied to canvas Signed and dated lower right 39.5” x 29.5” $1,500-2,000

231 MIRKO BASALDELLA ABSTRACT (MOTHER AND CHILD) 1962 Wax pastel on paper applied to canvas Signed and dated lower right 39.5” x 29.5” $1,500-2,000

232 MIRKO BASALDELLA WOMAN WITH LAMP 1960 Wax pastel on paper applied to canvas Signed and dated lower right 39.75” x 27.75” $1,500-2,000

233 MIRKO BASALDELLA ABSTRACT FIGURE & PERSONAGE (2) Circa 1960 Wax pastel on paper Each signed lower right 15.5” x 11.5” and 11.75” x 9.25” $800-1,200

234 MIRKO BASALDELLA ABSTRACT PERSONAGE 1962 Wax pastel on paper applied to canvas Signed and dated lower right 29.5” x 19.75” $1,000-1,500

131 235 MIRKO BASALDELLA ABSTRACT PERSONAGE 1962 Wax pastel on paper applied to canvas Signed and dated lower right 29.5” x 19.75” $1,000-1,500

236 GUSTAVE FOPPIANI DONNA CON BROCCA DI VINO 1960 Oil on wood (or encaustic) Signed lower left 32” x 16” $800-1,000

237 GUSTAVE FOPPIANI I CAPPANNI DI PONTENURE 1960 Oil on wood (or encaustic) Signed and dated lower right; titled on stretcher verso 9.25” x 16.25” $500-700

238 GUSTAVE FOPPIANI FIGURA CHE SUONA 1964 Oil on wood (or encaustic) Signed and dated lower left 14.5” x 11” $600-800

239 ALBERTO SARTORIS CITTA RITROVATA

240 ALBERTO SARTORIS IL RITORNO DEL PATRIARCA

241 ALBERTO SARTORIS I EVERRIERI

1959 Oil and mixed media on asbestos panel Signed and dated lower left; signed, title and dated verso; retains label “III Mostra di Pittura ‘Citta di Anagni’ Sept 1961” verso 29.25” x 38”

1960 Oil and mixed media on canvas Signed lower right; signed, title and dated verso; retains artist label verso 31.25” x 27.25”

Circa 1959 Oil on canvas Signed lower left; label verso Frame 22.5” x 18.25”

$1,000-1,500

$750-1,000

$300-500

133

Illustration of “I Everrieri” label verso

242 FRANCESCO MUZZI SOTTO IL SEGNO DIE PESCI 1962 Oil on canvas Signed lower right; signed and dated verso 39.5” x 30” $1,000-1,500

243 FRANCESCO MUZZI IL TORO 1962 Oil on canvas Signed lower right; signed, titled and dated verso; retains label “IV Rassegna di Arti Figurative di Roma e del Lazio” 39.5” x 30” $1,000-1,500

244 FRANCESCO MUZZI L’ARIETE (AIRES) 1962 Oil on canvas Signed and dated lower right; signed and dated verso 40”h x 29”w $1,000-1,500

245 FRANCESCO MUZZI L’UCCELLATORE 1962 Oil on canvas Signed and dated lower left; signed and dated verso 39.75” x 27.5” $1,000-1,500

246 FRANCESCO MUZZI LA SLIRACUSANA & IL CINEINO NOT ILLUSTRATED 1956 & 1959 Each oil on canvas Each signed and dated 19” x 13” and 29.25” x 17.5” $1,000-1,500

247 ALESSANDRO PIANON GLASS CHANDELIER Vistosi, designed 1965 28”h x 31” x 31” (each glass element 6”diameter) $2,000-3,000

248 GIO PONTI FLATWARE SET (66) Fraser’s, designed 1955 Stainless steel Various sizes Literature:

G I O P O N TI, UGO L A PIETRA ,

R I Z ZO L I , 1 9 9 6 , P G 3 0 0

$4,000-6,000

135

249 GUIDO GAMBONE GLAZED CERAMIC BOWL Studio, executed circa 1960 Signed “Gambone Italy” with donkey cypher and paper label “603/53” 4.5”h x 11”diameter $1,000-1,500

250 AMERICAN MODERN PAIR OF SCONCES Lightcraft Mfg. Corp., designed circa 1955 Retains label “Lightcraft Mfg. Corp” 14”h x 9”w $1,200-1,500

251 MARCELLO FANTONI TABLE LAMP Designed circa 1960 37”h to top of finial $800-1,200

252 ACHILLE CASTIGLIONI HANGING LIGHT Flos, circa 1960 22”h x 21”w $1,500-2,000

253 PERE VOLQUARTZ UNTITLED (DIPTYCH) 1969 Oil on canvas Signed and dated verso Each 30” x 30” $2,000-3,000

254 ENZO MARI GROUP OF GLASS BOWLS (10) Danese Milano, 1980 Some etched “Enzo Mari 1980 Danese Milano” 1.5”h x 8.25”diameter and 1”h x 5.5”diameter Provenance:

F R OM THE ESTATE OF

M AX PA L E VS KY

$600-900

255 GIOTTO STOPPINO TABLE LIGHTS (2) Model no. “KD32 Tic-Tac” Kartell, designed 1970 Retains molded manufacturer marks 6.5”h x 4.5”diameter $500-1,000

256 REGGIANI FLOOR LAMP Reggiani, designed circa 1965 58.5”h x 17”diameter $1,200-1,500

137

257 PAOLO VENINI PAIR OF PENDANT LIGHTS AND SHADES (4) Venini, circa 1960 Pendants 14.25”h; shade 13.5”h $3,000-5,000

258 MARCO ZANUSO SLEEPER SOFA Arflex, designed 1954 32”h x 74”l x 35”d Literature:

LES ANNEES 50 D’AN N E B O N Y,

EDITIONS DU REGARD, 1982, PG 2 74

$2,500-3,500

259 ITALIAN MODERN CLAMP-ON LIGHT Stilnovo, designed circa 1950 Retains stamp “Milano Stilnovo Italy” Extended 35”h $1,000-1,500

260 GIO PONTI DESK Singer, designed circa 1957 Marked “Made in Italy” 29.25”h x 50.5”w x 25.5”d $20,000-30,000

139

PAOLO BUFFA , STYLE MONUMENTAL CUSTOM DINING TABLE Studio, designed circa 1960 Brazilian Rosewood 29”h x 172” x 55” $30,000-50,000

262 CARLO DI CARLI GROUP OF EIGHT SIDE CHAIRS (8) Singer & Sons, designed circa 1951 Each 34”h x 17”w x 20”d $5,000-8,000

141

263 ANDY WARHOL MARILYN MONROE (F/S #11.29) 1967 Screenprint in colors From the edition of 250 Published by Factory Additions, New York Signed in pencil and rubber stamp edition verso 36” x 36” Literature:

ANDY WARHOL PRINTS : A

CATALOGUE RAISONNE 1962- 87, F E L D M A N / SCHELLMANN, 2003, PG 69

$60,000-80,000

264 ANDY WARHOL LOVE (F/S #11.312) 1983 Screenprint on Rives BFK Artist Proof 8 of 17; aside from the edition of 100 Published by Form K.K. Tokyo Signed and numbered lower left Sheet 26” x 19.5”; frame 32” x 25.5” Literature:

A N DY WA R H O L P R I N TS : A

C ATA LO G U E R A I S O N N E 1 9 6 2- 8 7, F E L D M A N / S C H E L L M A N N , 2 0 03 , P G 1 3 4

$8,000-12,000

265 ANDY WARHOL LOVE (F/S #11.311) 1983 Screenprint on Rives BFK Artist Proof 6 of 7; aside from the edition of 100 Published by Form K.K. Tokyo Signed and numbered lower left Sheet 26” x 19.5”; frame 31.75” x 25.5” Literature:

A N DY WA R H O L P R I N TS : A

C ATA LO G U E R A I S O N N E 1 9 6 2- 8 7, F E L D M A N / S C H E L L M A N N , 2 0 03 , P G 1 3 4

$8,000-12,000

266 ANDY WARHOL LOVE (F/S 11.310) 1983 Screenprint on Rives BFK Artist Proof 15 of 16; aside from the edition of 100 Published by Form K.K. Tokyo Signed and numbered lower left Sheet 26” x 19.5”; frame 31.75” x 25.5” Literature:

A N DY WA R H O L P R I N TS : A

C ATA LO G U E R A I S O N N E 1 9 6 2- 8 7, F E L D M A N / S C H E L L M A N N , 2 0 03 , P G 1 3 4

$8,000-12,000

143

ANDY WARHOL FLOWERS (F/S #11.112) 1974 Hand-colored screenprint with Dr. Martin’s aniline watercolor dyes Proof, aside from the edition of 250 Signed lower right Sheet 40.5” x 27”; frame 44.25” x 31” Literature:

ANDY WARHOL PRINTS : A

CATALOGUE RAISONNE 1962- 87, F E L D M A N / SCHELLMANN, 2003, PG 107

$6,500-8,500

268 ANDY WARHOL SPACE FRUIT: STILL LIFES (PEACHES) 1979 Screenprint in colors printed on Lenox Museum Board From the edition of 150 Signed lower left verso with edition number; blind stamp lower left; estate stamp verso with “Extra 191.035” F/S #II.202 30” x 40” Literature:

ANDY WARHOL PRINTS : A

CATALOGUE RAISONNE 1962- 87, F E L D M A N / SCHELLMANN, 2003, PG 107

$5,000-7,000

269 ANDY WARHOL SURVEY OF BOOKS (16) $3,500-4,500 A ndy W arhol ’ s E xposures (signed twice including drawing on title page), Colacello, 1979; A ndy W arhol T he D ay the F actory D ied , Von Hehenberg, 2006; W arhol F ilms , Abrahms, 1989; T he P hilosophy of A ndy warhol , Warhol, 1975; S tar -G azer A ndy W arhol ’ s W orld and his F ilms , Koch, 1973; M aking M oney , Warhol, 2010; POP T he G enius of A ndy W arhol , Scherman, 2009; A ndy W arhol , Koestenbaum, 2001;

A ndy W arhol , Kuhl, 2007; W arhol , Ratcliff, 1983; A ndy W arhol by A ndy W arhol , Warhol, 2008; A ndy W arhol P opstars D rawings and C ol lages , Crone, 2006; A ndy W arhol , Coplans, 1970; A ndy W arhol S hadows and O ther S igns of L ife , Buchloh, 2008; T he A uto biography and S ex L ife of A ndy W arhol , Wilcock, 2010; T hat ’ s G reat W arhol by G alella , O’Brien, 2008

270 JASPER JOHNS FLAG I 1973-74 Poster based on the print Signed lower right 34” x 31” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$1,000-1,500

145 271 JASPER JOHNS 0 THROUGH 9 (ULAE 190) 1977 Lithograph printed in colors Edition #57 of 60 Gemini Signed and dated lower right Sheet 9.75” x 7.85”; Image 6.25 x 5.15 $4,000-6,000

272 AL HELD UNTITLED (61-1) 1960 Liquitex on board Signed lower right “Al Held 60”; retains “Poindexter Gallery” label verso 18” x 23.5” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$4,000-6,000

273 SANTIAGO CALATRAVA PAIR OF CHAIRS De Sede, designed 1986 for the Tabouretti Theater 29”h x 18”w x 19”d $2,500-3,500

274 AUCTION CATALOGUES & BOOKCASE Circa 1990-2010 Approximately 1000 auction catalogues, including Design and Decorative Arts sales from American and European auction houses. A rare opportunity to acquire a nearly complete reference which identifies and values hundreds of thousands of modern objects. Sold with bookcase. $3,000-5,000

147

275 MODERN FURNITURE & DESIGN GENERAL SURVEY (26) $900-1,200 H einz und B odo R asch : D er S tuhl , 1992; I ntroduction to 20 th C entury D esign from the C ollection of M o MA NY , Drexler, 1959; E ileen G rey , Baudot, 1998; C hange of P ace : C ontemporary F urniture 1925-1975 , Rogers, 1975; T he M odern C hair : I ts O rigins and E volu tion , Magnusson, 1977; I ndustrial D esign , Heskett, 1980; R on A rad : R estless F urniture , Sudjic, 1989; O xford D ictionary of M odern D esign , Woodham, 2004; R.M. S chindler : T he G ingold C omissions , Hines, 2006; L iving B y D esign , Crosby, 1978; T he N ew L ook : D esign in the F ifties , Jackson, 1991; A H istory of D esign F rom the V ictorian E ra to the P resent , Ferebee, 1970;

E ileen G rey : A rchitect | D esigner , Adam, 1987; M arcel B reuer , Droste, 1994; H edendaags D esign , De Kooning, 2000; C ontempo : T he A merican T empo , Vassos, 1929; S tarck , Colin, 1986; M id -C entury M odern : F urniture of the 1950 s , Greenberg, 1984; O rnamo 1950-1954 , Taideteollisuutta, 1954; T he D ecorative T hirties , Battersby, 1971; T wentieth -C entury S tyle and D esign , Bayley, 1986; S am M aloof : W oodworker (signed by Sam Maloof), Maloof, 1983; S eamless , Hadid, 2006; H istory of M odern F urniture , Mang, 1979; W ild and R eal ? , Sachs, 2006; D esign M useum : B ook of 20 th C entury D esign , McDermott, 1997

276 PHOTOGRAPHY GENERAL SURVEY (27) $800-1,200 M an R ay , de L’Ecotais, 2007; M arilyn A ndre de D iennes , Crist, 2007; A aron S iskind + L ouis S ullivan : T he I nstitute of D esign P hoto S ection P roject , Plank, 2009; C allahan , Szarkowski, 1976; P hotographs by man R ay 105 W orks , 19201934 , Ray, 1979; B ill O wens , Homes, 2007; F ulvio R oiter , Roiter, 1982; A lfred S tieglitz ’ s C amera N otes , Peterson, 1993; M an R ay : P hotography and I ts D ouble , de L’Ecotais, 1998; B arbara M organ M asters of P hotography , Patnaik, 1999; P ioneers of S oviet P hotography , Shudakov, 1983; B ooks of N udes A lessandro B ertolotti , Bertolotti, 2007;

277 HOUSES & MODERN INTERIORS GENERAL SURVEY (20) $1,000-1,500 I nside T oday ’ s H omes , Faulkner, 1960; T he M odernist H ome , Benton, 2006; D esigners on D esigners : T he I nspiration B ehind G reat I nteriors , Gray, 2004; T he M odern F unctional B uilding , Behne, 1996; T hey C hoose T o B e D ifferent : U nusual C alifornia H omes , Crandall, 1972; B eautiful H omes and G ardens in C alifor nia , Weisskamp, 1964; M ini H ouse , Bahamon, 2002; T he G reen H ouse : N ew D irections in S us tainable A rchitecture , Stang, 2005; I nterieur D esign in D eutschland 19451960 , Mundt, 1993; T omorrow ’ s H ouse , Nelson, 1946;

C reative S pace : U rban H omes of A rtists and I nnovators , Gavin, 2009; I taly : C ontemporary D omestic L andscapes 1945-2000 , Bosoni, 1997; S arasota M odern , Weaving, 2006; T he M odernist H ouse , Baird, 2009; C ase S tudy H ouses 1945-1962 , McCoy, 1977; C lassic M odern H omes of the T hirties , Ford, 1989; M odern I nteriors T oday and T omorrow , Genauer, 1939; A ll A bout M odern D ecorating , Gillies, 1942; M odern I nteriors , Magnani, 1969; I talian I nterior D esign , Galindo, 2010

A leksandr R odchenko T he N ew M oscow , Tupitsyn, 1999; T he C ollection of A lfred S teiglitz 50 P io neers of M odern P hotgraphy , Naef, 1978; M an R ay P hotographs , Martin, 1981; M an R ay ’ s M ontparnasse , Lottman, 2001; S uburbia , Owens, 1973; A lfred S tieglitz , Stieglitz, 1975; A lfred S tieglitz , Norman, 1960; A lfred S tieglitz : P hotographer , Bry, 1965; L eisure , Owens, 2004; T homas R uff N udes , Houellebecq, 2003; M ark S eliger : T he M usic B ook , Seliger, 2008 C onversion the M odernism : T he E arly W ork of M an R ay , Naumann, 2003 V iews on N udes , Jay, 1971 A merica and A lfred S tieglitz , Frank, 1934

278 ARCHITECTURE GENERAL SURVEY (29) $1,200-1,500 F rank L loyd W right in P op -U p , Thomson, 2002; B arcelona D rawings , Isozaki, 1988; E ncyclopedia of 20 th C entury A rchitec ture , Lampugnani, 1986; M odern A rchitecture /1 , Tafuri, 1976; P eter E isenman : R ecent P rojects , Eisenman, 1989; M ario B otta : B uildings and P rojects 19611982 , Nicolin, 1984; B otta : T races d ’A rchitecture , Petit, 1991; L e C orbusier , Boesiger, 1983; D esigning for P eople , Dreyfuss, 1955; P rocess A rchitecture N o . 8: U lrich F ranzen A rchitecture in T ransition , Tsukio, 1979; R enzo P iano - F ondation B eyeler : A H ome for A rt , Blaser, 1998; R enzo P iano : P rojects and B uildings 19641983 , Dini, 1984; T he A rchitecture of A rata I sozaki , Drew, 1982; P rocess A rchitecture N o . 22: M odern A ustralian A rchitecture , Saunders, 1981; T he A rchitecture of M ario B otta , Zardini, 1984;

M asters of W orld A rchitecture : R ichard N eutra , McCoy, 1960; M ario B otta W atari -U m P roject in T okyo 1985-1990 , Bar, 1990; P aul M endes D a R ocho : F ifty Y ears , Artogas, 2007; M arcel B reuer , Droste, 1992; T he A rchitecture of U lrich F ranzen , Blake, 1992; J ohn L autner , A rchitect , Escher, 1998; A esthetics and T echnology in B uilding , Nervi, 1966; B uildings , P rojects , S tructures 19531963 , Nervi, 1963; E mberton , Ind, 1983; R aymond H ood , A rchitect : F rom T hrough F unction in the A merican S kyscraper , Kilham, 1973; M arcel B reuer , A rchitect , Hyman, 2001; M asters of W orld A rchitecture : L e C orbusier , Choay, 1960; M asters of W orld A rchitecture : O scar N iemeyer , Papadaki, 1960; P eter E isenman : H ouses of C ards , Eisenman, 1987; F elix C andela , Saito, 1995

149

279 FASHION GENERAL SURVEY (25) $800-1,000 Y ves S aint L aurent , Vreeland, 1984; C hanel B outique C ollection P rintemps -E te 1996 , Lagerfeld, 1996; C hanel B outique C ollection C roisiere 1995-1996 , Lagerfeld, 1996; C hanel B outique C ollection A utomne -H iver 1996-1997 , Lagerfeld, 1997; F ashioning F ashion : E uropean D ress in D etail 1700-1915 , Galliano, 2010; G iorgio A rmani , White, 2000; R ei K awakubo and C ommes des G arcons , Sudjic, 1990; L ouise D ahl -W olfe , Globus, 2000; C outure : T he G reat D esigners , Milbank, 1985; C hanel : T he M etropolitan M useum of A rt , Koda, 2005; V alentino : T hirty Y ears of M agic , Pelle, 1990; T he F ifties in V ogue , Drake, 1987; M atsuda S pring and S ummer 1987 , Branovan, 1987;

C hanel B outique C ollection P rintemps -E te 1997 , Lagerfeld, 1997; C hanel B outique C ollection A utomne -H iver 1995-1996 , Lagerfeld, 1996; F abulous F abrics of the 50 s , Bosker, 1992; C hanel B outique C ollection C roisiere 1998 , Lagerfeld, 1998; S oviet C ostume and T extiles 1917-1945 , Strizhenova, 1991; P ierre C ardin : F ifty Y ears of F ashion and D esign , Langle, 2005; P ierre C ardin E volution , Loyaute, 2006; Y ou C an F ind I nspiration in E verything , Smith, 2001; C artier S ummer 2007 , 2007; L e C atalogue L ouis V uitton M aroquin erie ,,2003; C hanel and H er W orld , Charles-Roux, 1979; L agerfeld H iver 1994-1995 , Lagerfeld, 1995

280 TOM WESSELMANN KUNSTLERPLATZTELLER PLATES (6)

281 ROY LICHTENSTEIN KUNSTLERPLATZTELLER PLATES (6)

Rosenthal, designed 1985-86 Verso “Tom Wesselman” with “Kunstlerplatzteller” and “Rosenthal Germany” Each 12.25”diameter

#2556 of 3000 Rosenthal, designed 1990 Verso “Roy Lichtenstein” with edition size and “Kunstlerplatzteller” and “Rosenthal Studio-Line Germany” Each 12.25”diameter

$2,000-3,000

282 SIDNEY JANIS GALLERY EXHIBITION CATALOGUES (28) Circa 1960s See complete listing online $500-700

ROY LICHTENSTEIN GROUP OF 7 SIGNED ART CATALOGUES One book by David Hockney 1970-78 R oy L ichtenstein at C al A rts (signed), 1977 R oy L ichtenstein S culpture (signed), Castelli Gallery catalouge 1977; R oy L ichtenstein (signed), Guggenheim Museum exhibition catalogue; R oy L ichtenstein : G raphics , R eliefs & S culpture 1969-70 (signed), 1970; UCLA exhibition catalogue ; R oy L ichtenstein E ntabla ture S eries (signed), 1976, Tyler Graphics; R oy L ichtenstein : T he M odern W ork 1965-1970 (signed), 1978, Institute of Contemporary Art exhibition catalogue; D avid H ockney : S elected P rints and D rawings 19621977 (signed and dedicated), 1977, Pittsburgh Press $800-1,200

284 CLAES OLDENBURG SKETCH FOR A SCULPTURE IN THE FORM OF A STEEL TACK 1981 Lithograph #38 of 100 Signature lower right; edition lower left Sheet 21.75” x 17.75”; frame 29” x 24.25” $1,800-2,500

285 JAMES ROSENQUIST ART GALLERY 1971 Print #6 of 30 Signature, date and edition lower left Sheet 30” x 22.5”; framed 32.25” x 24.25” $700-900

286 JIM DINE TOOL BOX (X) 1966 Screenprint and collage on commercial paper From the edition of 150 Initialed in pencil lower right “J.D.”; Dorsky Galleries, Limited label verso Catalogue Raisonne #42.J Sheet 23.5” x 18.5”w; framed 26” x 21.25”w Literature:

J I M D I N E C O M P L E T E GRAPHICS,

G A L E R I E M I K R O, B E R L I N , 1 9 7 0, U NPAGINATED

Provenance:

F R O M T H E C O L L EC TION OF JAMES

BY R N E S, LO S A N G E L E S

$700-900

151

287 CLEMENT MEADMORE UNTITLED 1981 Bronze #5 of 15 Signed “Meadmore ‘81 5/15” 5.5” x 8” x 7” $5,000-7,000

288 ANTONIO CITTERIO DINING SUITE B&B Italia Maxalto, designed 2006 Retains label “Made in Italy for USA” Comprised of Lucullo AC Collection Table, two Sela stools and two Musa Simple Classic chairs Table 29.5”h x 43.25” x 86.5”; benches 18”h x 39.5” x 17”d $3,000-5,000

289 ENZO MARI PAIR OF BOWLS (2) Danese Milano Stone Each labeled “Danese Milano Dis. Enzo Mari Made in Italy” 4”h x 8”diameter and 3.25”h x 9.75”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$200-300

290 ELLSWORTH KELLY PEACH BRANCH 1973-74 Lithograph on Arches #33 of 50 Published by Gemini G.E.L. Signed lower right in pencil; edition lower left in pencil Catalogue Raisonne #93 Frame 48.75” x 32.75” Literature:

T H E P R I NTS OF ELL SWORTH

K E L LY: A C ATA LO G U E RAISONNE 1949 -1985, AXS O M , H U D S O N H I LL , 1987, PG 88

Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$3,000-5,000

291 ELLSWORTH KELLY CYCLAMEN V 1964-65 Lithograph on Rives BFK paper #51 of 75 Published by Maeght, Paris Signed lower right in pencil; edition lower left in pencil Catalogue Raisonne #40 Sheet 35.75” x 24” Literature:

T H E P R I NTS OF ELL SWORTH

K E L LY: A C ATA LO G U E RAISONNE 1949 -1985, AXS O M , H U D S O N H I LL , 1987, PG 59

Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$2,000-3,000

153

292 SOL LEWITT MAQUETTE FOR PROJECT 1983 Three dimensional wood construction painted white #9 of 35 Published by Art in Public Places, Chicago Signed in black magic marker and numbered on a label verso 18.125” x 24” x 2.25” Provenance:

WITH SOTHEBY ’S, N E W

YORK , MAY 17, 1997 (SALE #6988 , LOT 1 1 7 8)

$8,000-12,000

293 SOL LEWITT WALL PIECE Circa 1988 Three-dimensional wood construction #16 of 20 Published by Editions Schellmann Signed and numbered 76.5” x 5.5” x 5.5” Provenance:

W I T H S OT HEBY ’S, NEW

YO R K , M AY 1 7, 1 9 9 7 ( SA L E #6988, LOT 1183)

$18,000-25,000

155

294 SOL LEWITT PYRAMIDS 1986 Lithograph #12 of 30 Signed lower right; edition lower left Sheet 8.75” x 26.5”; frame 16.25” x 34.25” $1,000-1,500

295 SOL LEWITT PYRAMIDS 1986 Lithograph #12 of 30 Signed lower right; edition lower left Sheet 8.75” x 26.5”; frame 16.25” x 34.25” $1,000-1,500

296 SOL LEWITT PYRAMIDS 1986 Lithograph #12 of 30 Signed lower right; edition lower left Sheet 8.75” x 26.5”; frame 16.25” x 34.25” $1,000-1,500

297 VIJA CELMINS OCEAN WITH CROSS #1 2005 Screenprint #86 of 108 Signed lower right; edition lower left 24” x 28.5”; frame 26.5” x 31” $7,000-9,000

298 DONALD BAECHLER FIVE FLOWERS II 2007 Etching #19 of 35 Signed and dated lower right; edition lower left Sheet 25.125” x 19.125”; frame 27.5” x 22” $2,000-2,500

299 BARRY “TWIST” MCGEE UNTITLED Circa 2006 Painted glass bottle 6.125”h x 3.5” x 1.5” $2,000-3,000

157

ROBERT GRAHAM: VIRGIN OF GUADALUPE Mexican sculptor Robert Graham (1938-2008) is famous for his sculptures exploring the sensuousness and beauty of the human figure. He created a gateway structure for the Los Angeles Memorial Coliseum to commemorate the 1984 Olympics as well as a bronze sculpture, The Dance Door, which sits prominently in front of the Los Angeles Music Center. In 2002, the Archdiocese of Los Angeles commissioned Graham to create The Great Bronze Doors for the Our Lady of the Angels Cathedral entrance. Above these doors stands The Virgin Mary, a humanistic rendering of Mary without a veil, arms outstretched and strong hands welcoming to the masses. One of his last major commissions, the front entrance has become the most prominent feature of the cathedral. This early study, Head of the Virgin of Guadalupe, with lips, nose, and eyes evocative of African, Asian, Latino, and Caucasian women, represents a dignified, hard-working Virgin Mary. Great Bronze Doors. Our Lady of the Cathedral. Archdiocese of Los Angeles, 2010. Web. 14 Jan. 2011.

300 ROBERT GRAHAM UNTITLED (HEAD OF THE VIRGIN OF GUADALUPE) Circa 2002 Maquette for Our Lady of the Angels Cathedral, Los Angeles. Signed “R Graham” 18”h x 8” x 8” $25,000-35,000

301 RICHARD PHILLIPS SUMKA 2008 Charcoal and chalk on gray toned paper Retains Gagosian Gallery label verso 12.5” x 8.25” $9,000-12,000

159

THE FAMILY CHRISTMAS PROJECT 302 KARA WALKER FREEDOM: A FABLE 1997 Norton Family Christmas Gift Pop-up book with 3-D cut-paper images $1,000-1,500

303 YINKA SHONIBARE DOLL HOUSE 2002 Norton Family Christmas Gift Cast resin, wood, paper and plastic Designed as a replica of a 19th Century Victorian Townhouse Stamped “Peter Norton Family Christmas Project 2002” and “Yinka Shonibare, Artist Lives Here” 11.5” x 8” x 9.5” $1,000-1,500

LORNA SIMPSON III 1994 Norton Family Christmas Gift sculpted wishbones encased in a felt-lined redwood box $1,000-1,500

Every year since 1988, computer programmer, software publisher, and Museum of Modern Art board member Peter Norton has been giving his annual Peter Norton Family Christmas Project gift to one thousand of his closest friends in the art community. Forgoing the typical holiday card, Norton chooses to showcase celebrated artists from his vast collection, resulting in these pieces becoming highly desirable objets d’art. Personally commissioned by Norton, the pieces intend to reinforce the idea that contemporary art can be “accessible and understandable, through an actual object that people can live with.” The 1994 gift from conceptual photographer Lorna Simpson, entitled III, consists of three sculptured wishbones encased in a felt-lined redwood box. Influenced by race and gender in the post-Civil War South, African-American artist Kara Walker created a pop-up book filled with 3-D cut-paper images of the dreams of “a soon-to-be-emancipated 19th-century Negress” for the 1997 gift. One of the largest and most difficult to produce, the 2002 gift by British artist Yinka Shonibare, Unititled (Dollhouse), is a replica of the 1872 Victorian town house in the East End of London where he now lives. Adorned with furnishings covered in Dutch wax print cloth and a miniature reproduction of Shonibare’s painting Diary of a Victorian Dandy: 14.00 Hours, his dollhouse is a mash-up of his traditional English historical references with his Nigerian roots. Kino, Carol. “Yes, Virginia, There Is a Resale Market.” New York Times 18 Dec. 2005. Web. 14 Jan. 2011.

305 TAKASHI MURAKAMI MELTING DOB E 2001 Color lithograph #90 of 300 Signature and edition lower right; date and title lower right Sheet 27” x 26.66” $2,000-3,000

306 TAKASHI MURAKAMI MELTING DOB D 2001 Color lithograph #90 of 300 Signature and edition lower right; date and title lower right Sheet 27” x 26.66” $2,000-3,000

307 TAKASHI MURAKAMI GURU GURU 1999 Color lithograph #92 of 300 Signature and edition lower right; date and title lower right Sheet 19.5” x 20” $2,000-3,000

308 TAKASHI MURAKAMI POKE! 1999 Color lithograph #89 of 300 Signature and edition lower right; date and title lower right Sheet 19.5” x 20” $2,000-3,000

161

309 DONALD SULTAN MIMOSA 2007 Screenprint in 18 colors #73 of 108 Signed right edge; edition lower right Sheet 27.25” x 39”; frame 31.5” x 43.5” $3,500-5,500

310 CHRISTO PINK STORE FRONT (PROJECT FROM MARGINALIA: HOMMAGE TO SHIMIZU) 1980 Color lithograph with collage of brown wrapping paper #38 of 100 $3,000-5,000

311 WAYNE THIEBAUD EYEGLASSES 1994 Hard-ground etching with drypoint Artist Proof 5 Printed by Crown Point Press Signature, date and edition lower left; blind stamp lower right; Paul Thiebaud gallery label verso Sheet 15.25” x 16.75”; frame 17.5” x 19” $7,000-9,000

312 PAUL WUNDERLICH NIKE 1990 Bronze 65”h x 11” x 18” $6,000-8,000

313 MIGUEL BERROCAL MINI-DAVID SCULPTURE 1968 Nickel plated aluminum #5275 of 9500 Signed and numbered 4”h assambled $1,000-1,500

314 RICHARD LINDNER UNTITLED 1972 Zinc mounted on black paper Signed and dated 8.25” x 5.75” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$500-1,000

163

315 TERRY WINTERS ALBUM-PORTFOLIO ETCHING #6 AND #1 (2 WORKS) 1988 #6 NOT ILLUSTRATED Etching Each #46 of 50 Each sheet 26” x 21”; frame 29.5” x 24” $2,000-4,000

316 KARL BLOSSFELDT UNTITLED (3) Circa 1928; these printed later Silver gelatin prints Each image 10.75” x 8”; frame 20.5” x 16.5” $1,000-1,500

317 LARRY COHEN VIEW OF DOWNTOWN L.A. 2005 Oil on canvas Signed, titled and dated verso 26” x 26” $3,000-5,000

318 LARRY COHEN VIEW OF THE OCEAN SANTA MONICA 2005 Oil on canvas Signed, titled and dated verso 14” x 23” $2,500-3,500

165

319 FRANK STELLA BILBEMTESIRO (FROM THE IMAGINARY PLACES II SERIES) 1996 Lithograph, screenprint, etching, aquatint, relief and engraving in colors #2 of 27 Signature, date and edition lower center 26”diameter; frame 30” x 30” $5,000-7,000

320 JOE BRAINARD MADONNA 1968 Mixed media on canvas Signed and dated verso Sheet 6” x 7.5”; frame 10.5” x 12” $4,000-6,000

321 MASON WILLIAMS BUS BOOK 1967 Actual-sized photograph of a bus printed on paper, presented in a cardboard box #3 of 200 123.5” x 434” $3,000-5,000

Photograph by Ken Kragen, Courtesy of Mason Williams Studio

322 KENNY SCHARF PALLEZION 1995 Acrylic and oil on canvas Signed verso Frame 50” x 41” $30,000-50,000

167

323 ROGER HERMAN UNTITLED (MAN IN ROW BOAT) 1986 Oil on canvas Signed and dated verso 15.5” x 19.5”; frame 22.5” x 26.5” $2,500-3,500

324 ROGER HERMAN UNTITLED (BLACK & WHITE BUILDING) 1987 Oil on wood Signed and dated verso 24” x 24”; frame 25.5” x 25.5” $2,500-3,500

325 FLETCHER BENTON TRUCKIN GEO #2 1988 Steel Signed, titled and dated 20’h x 18” x 5” This sculpture was illustrated in the Fletcher Benton book as part of the California International Arts Foundation Project Illustrated:

F L E TC H ER BENTON,

LU C I E- S M I T H , A B R A MS, 1990, PG 27 7

$8,000-10,000

169

326 MAN RAY IN-DESTRUCTABLE 1923-1975 Mixed media #33 of 200 Retains label “Edition The New York Cultural Center/Objet In-Desctructable 1923-1975” and signed “MR” and numbered 33/200 9.25”h x 4.5” x 4.5” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$2,000-3,000

327 JERRY UELSMANN PHILISTINE’S EYE 1961 Silver Gelatin print Initialed and dated lower right mat “J.U. 1961” and titled, dated and signed verso mat Image 6.25” x 6”; framed 14.25” x 11.25” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$1,000-1,500

328 MEL HENDERSON LEATHER WRAPPED HEAD

329 MEL HENDERSON LEATHER WRAPPED HEAD

330 IBRAM LASSAW “CHESS PROBLEM” SCULPTURE

Studio , executed circa 1957 Miscellaneous note “Byrnes Collection Mel Henderson 2 Leather Heads Bought in 1956/57 Berkeley” 21”h x 18”w x 10”d

Studio , executed circa 1957 22”h x 23”w x 11”d

Executed 1961 Copper, bronze and silver sculpture Purchased at Samuel Kootz Gallery, New York, January 1963 Sold with copy of original receipt from 1963 6.5”h x 10.5” x 7.5”

Provenance:

FROM THE COL L EC T I O N O F

JAMES BYRNES, LOS ANGELE S

$1,500-2,000

Provenance:

F R O M T H E C O L L EC T I O N O F

JA M E S BY R N E S, LO S A N G E L E S

$1,500-2,000

$5,000-7,000

331 DOROTHEA TANNING LES 7 PERILS SPECTRAUX; PORTFOLIO (7) Lithograph #5 HC from a total edition of 50 Each signed lower right; edition lower left; also signed on the Colophon page and inscribed “For Gloria with the warm sentiments of the artist” Each 19.75” x 12.75” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$2,000-3,000

171

332 YNEZ JOHNSTON LION IN THE FOREST 1952 Casein Signed and dated lower right; Fresno Art Museum label verso 17.675” x 28”; frame 26” x 36” Exhibited: FRESNO

ART MUSEUM,

JUNE 5 - AUGUST 16, 1992;

Provenance:

FROM THE COLLECT I O N O F

JAMES BYRNES, LOS ANGELES

$2,000-3,000

333 YNEZ JOHNSTON UNTITLED (2) Studio, circa 1993 Glazed ceramic plate, sold with a hand-colored etching (not illustrated) Signed verso Plate 9”diameter Etching 14.25” x 8.75” $800-1,200

334 YNEZ JOHNSTON PAIR OF SHAPED COMPOSITIONS Circa 1993 Mixed media on wood One verso inscribed “To Barbara Much Love Ynez” and “Happy Birthday Dear Jimmy! Love Ynez” 9.25” x 9” and 9.75” x 7” Provenance:

FROM THE COLLECT I O N O F

JAMES BYRNES, LOS ANGELES

$1,000-1,500

335 YNEZ JOHNSTON UNTITLED Collage Signed lower right; George Nix Gallery, Colorado Springs, label verso Image 8.25” x 12.75”; frame 16.75” x 20.5” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$800-1,200

YNEZ JOHNSTON SEA TOTEMS 1989 Mixed media Signed and dated verso 14.5” x 11.5” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$800-1,200

173 337 YNEZ JOHNSTON XMAS 93 1993 Mixed media on panel Titled verso and inscribed “To Dear Jimmy and Barbara Love-Ynez & John” 8” x 10” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$500-800

338 MARILYN NEUHART GROUP OF FOUR DOLLS Each unique Handmade, circa 1961-65 for the “Textiles & Objects” store $1,200-1,800

LUTHER CONOVER BENCH Possibly by Pacifica, designed circa 1953 15.75”h x 52” x 12” $1,000-1,500

340 GRETA VON NESSEN ANYWHERE LAMP Nessen Studios, designed 1952 15”h (adjustable) Literature:

1 0 0 0 L I GHTS: 187 9 TO 1959,

F I E L L , TAS C H E N , 2 0 05, PG 433

$1,000-1,500

175 341 DANNY HO FONG OSETSU DEI DINING SUITE Tropi-Cal, designed circa 1958 Table 28”h x 72”l x 36”d $3,000-5,000

342 STANLEY YOUNG SUITE OF FURNITURE (3) Glenn of California, designed circa 1951 Two with manufacturers mark Desk 30”h x 48”w x 18”d; dresser 37.5”h x 33”w x 18”d; chest of drawers 32.5”h x 65”l x 18”d $1,500-2,000

343 MILO BAUGHMAN ARMCHAIR Thayer Coggin, designed circa 1965 33”h x 27”w x 38”d $1,000-1,200

344 MILO BAUGHMAN SCOOP SETTEE Thayer Coggin, designed circa 1954 Retains Thayer Coggin tag 28”h x 43”w x 26”d $1,000-1,500

345 MILO BAUGHMAN HIGHBACK LOUNGE CHAIR Thayer Coggin, designed circa 1959 41”h x 28”w x 34”d (adjustable) $2,500-3,500

177

346 WILLIAM “BILLY” HAINES PAIR OF BRENTWOOD LOW CHAIRS Studio, custom designed 1936 Also known as hostess chairs, this design was one of Haines’ his most popular chairs and he often used them in his later commissions. 29”h x 24”w x 25”d Provenance:

JAC K WA R N E R , B E L A I R ;

DAV I D G E F F E N , B E L A I R ; C A R O L KA N E , LO S ANGELES

$15,000-20,000

WILLIAM “BILLY” HAINES GEMUTLICH TABLE Studio, designed circa 1950 From Jack Warner’s Los Angeles house designed by Billy Haines 25.5”h x 39”diameter Provenance:

W I T H CHRISTIES,

LO S A N G E L E S ( 9 / 1 5 / 99, #9200, LOT 116)

$5,000-7,000

179

348 GERTRUD & OTTO NATZLER RARE MINIATURE CERAMIC VASE Studio, executed 1965 Green Crystalline glaze Signed “n” .875”h x 1.125”diameter (2.2cm x 2.9cm) $1,500-2,000

THE NATZLER MINIATURE: A SMALL MASTERPIECE Otto and Gertrud Natzler, famous for some of the most admired ceramics of the 20th century, created each piece as a collaborative effort. Gertrud would throw each piece into a refined and elegant form and Otto would complete it using one of his 2,000 unique glazes. When asked about the relationship between Gertrud’s forms and his glazes, Otto explained, “the selection of the glaze is only half the story, since the form will interact with the natural performance of the glaze in the fire.” This creative relationship was particularly essential in 1965 when Gertrud developed a bothersome inflammation of the right elbow joint, which prevented her from effectively centering the clay on her wheel. Ceasing to mold clay was not an option for Gertrud, so she decided to create a set of miniatures that involved a low-impact, painless process. Initially, Otto thought she was wasting her time with such tiny creations, but upon closer inspection their beauty astounded him. Otto recalls this moment: “I realized with amazement that each form was sensed in its proportions to within a fraction of a millimeter; each was, in fact, a small masterpiece.” The next steps for Otto were to devise glazes that replicated the effects of the larger originals, a technique for applying them, and a firing process that would not distort the paper-thin forms. After several weeks of experimentation, Otto achieved success with his “miniature glazes” and multifirings and reductions. Throughout 1965 and 1966, the Natzler’s produced 300 miniatures, each about an inch in diameter and height. This particular miniature was one of nineteen applied with Otto’s customized green crystalline glaze. M.H. de Young Memorial Museum. The Ceramic Work of Gertrud and Otto Natzler. San Francisco: Palace of the Legion of Honor, 1971. The Renwick Gallery of the National Collection of Fine Arts. Form and Fire: Natzler Ceramics 1939-1972. Washington: Smithsonian Institution Press, 1973. Print.

LAMA wishes to thank Gail Natzler for her help and unmatched expertise in cataloging these works.

Shown actual size

349 GERTRUD & OTTO NATZLER CERAMIC BOWL Natzler inventory #C404 Studio, 1951 Lapis Lazuli glaze Signed “natzler” 3.625”h x 9.625”l x 7.25”w (9cm x 18cm x 25cm) $4,000-5,000

350 GERTRUD & OTTO NATZLER OVAL CERAMIC BOWL Natzler inventory #D572 Studio, 1952 Gray Earth Crater glaze Signed “natzler” 1.875”h x 5.25”l x 4.25”w (5.7cm x 13.3cm x 10.8cm) $3,000-4,000

351 GERTRUD & OTTO NATZLER TALL CERAMIC BOWL Studio, 1949 Lapis Lazuli glaze Signed “natzler” 3.75”h x 5”diameter (9.5cm x 12.9cm) $4,000-5,000

352 GERTRUD & OTTO NATZLER GLAZED CERAMIC BOWL Natzler inventory #B021 Studio, 1949 Lapis Lazuli glaze Signed “natzler” 1.625”h x 4.375”diameter (4.3cm x 11.1cm) $1,800-2,500

181

353 JERRY ACKERMAN TALL BOTTLE STOPPER AND ASSOCIATED VASE Janev, executed 1953-55 Glazed ceramic Stopper bottle signed “A Janev design by Ackerman” Associated vase attributed to Evelyn Ackerman Stopper bottle 14.5”h x 2.75”diameter; vase 6”h x 3”diameter $1,200-1,800

354 LAURA ANDRESON GLAZED VASE Studio, executed 1954 Signed and dated 6”h x 7”diameter $1,500-1,800

355 LAURA ANDRESON TALL GLAZED VASE Studio, executed 1953 Signed and dated 8”h x 7.75”diameter $1,500-1,800

356 LAURA ANDRESON GLAZED LARGE SHALLOW BOWL Studio, executed 1954 Signed and dated 2.75”h x 11.75”d $1,200-1,500

357 LAURA ANDRESON LAMP BASE AND BOWL Studio, executed circa 1960 Signed 8.5”h x 5”diameter and 5”h x 4.5”diameter $1,000-1,500

358 LAURA ANDRESON GLAZED CERAMIC BOWL (AS-IS) Studio, executed circa 1960 Signed 2.5” x 5.25” $400-600

359 BEATRICE WOOD OVAL BOWL Studio, executed circa 1960 Glazed ceramic Signed 2.5”h x 5.5”diameter $1,000-1,500

360 BEATRICE WOOD PAIR OF VASES (2) Studio, executed circa 1960 Glazed ceramic Signed 4.5”h x 2.5”diameter and 3.5”h x 4”diameter $1,500-2,000

183

361 BEATRICE WOOD LARGE PLATTER

362 BEATRICE WOOD BOWL

363 GLEN LUKENS PAIR OF GLAZED CERAMIC BOWLS

364 BEATRICE WOOD LARGE VASE

Studio, executed circa 1960 Glazed ceramic Signed “Beato” 2”h x 16.5”diameter

Studio, executed circa 1955 Pink Volcanic glaze Signed “Beato” 6.5”h x 6”diameter

Studio, executed circa 1945 Signed 2.5” x 3.5”diameter and 3.5” x 5”diameter

Studio, executed circa 1960 Glazed ceramic Signed “Beato” 8” x 10”

$2,000-3,000

$3,000-4,000

$1,000-1,500

$2,000-3,000

365 RALPH BACERRA CERAMIC PLATE

366 PHILIP CORNELIUS CERAMIC POT

367 MICHAEL FRIMKISS CERAMIC VASE

Executed circa 1978 Signed 2” x 14”

Studio, executed circa 1960 Signed 8” x 8.5”

Studio, 1986 “8-86” and signed “M+M Frimkiss” 11” x 5”diameter

$1,500-2,000

$500-700

$500-800

185

368 KEN HORVATH TEAPOT Studio Glazed ceramic Stamped signature 9”h x 8.5”diameter $800-1,200

369 KEN PRICE LARGE GLAZED CERAMIC TEA BOWL Studio, 1956 Signed “Ken Price 56” 3.5” x 4.25”diameter $800-1,200

370 KEN PRICE GLAZED CERAMIC CUP From Happy’s Curios, 1978 Studio 1.75” x 2.5” $2,500-3,500

371 MINEO MIZUNO GLAZED CERAMIC CUP Studio, circa 1978 Inscribed “Mizuno no 78” 2”h x 4”diameter $300-500

372 MINEO MIZUNO GLAZED CERAMIC PLATE Studio, 1984 Signed 3.125” x 22.875” $1,500-2,000

187

TONY ROSENTHAL IN LOS ANGELES

Bernard (Tony) Rosenthal (1914-2009), known for his monumental public art sculptures, employed an abstract expressionist style to create sculptures of wood, steel, bronze, iron, and aluminum. In 1967, Rosenthal was bestowed the honor of creating Alamo, the first public outdoor sculpture commissioned by New York City, which still sits opposite Cooper Union in Manhattan. However, from 1946 to 1960, Rosenthal had been quite prolific as a sculptor of public art structures and smaller-scale works where he lived in Los Angeles. In 1946, influenced by Charles and Ray Eames to relocate, Rosenthal began exhibiting his work in west coast galleries to much acclaim. In the next few years, Rosenthal began teaching sculpture at UCLA while creating public art structures for buildings throughout Los Angeles, including Computer Symbols for IBM’s western headquarters and a fountain for Robinson’s department store in Beverly Hills. Fountain (1952), a graceful bronze composition of flowing sea plants and open space, represents Rosenthal’s style at the time, which is continued in The Three Kings. In the November 1953 issue of Arts & Architecture, the magazine showcased his studio on the cover and ran a full spread chronicling his most recent work. The author described The Three Kings as “an adventure in space…lyric with the gaiety and gravity of a superbly wrought ballet”. This sculpture was exhibited at the Catherine Viviano Gallery in New York City where it was purchased in 1953. Albee, Edward, and Sam Hunter. Tony Rosenthal. New York: Rizzoli, 1999. Print. Danes, Gibson. “Rosenthal.” Arts & Architecture. Nov. 1953: 13-15. Print.

373 BERNARD “TONY” ROSENTHAL THE THREE KINGS 1953 Welded bronze Signed and dated 49”h x 11.75” x 9.5” Illustrated:

ARTS & ARCHITECTURE MAGA-

ZINE , N OV E M B E R 1 953

$8,000-12,000

189

374 MAX FINKELSTEIN ELECTRA 1953 Welded steel 24”h x 21.75”l x 8”w $5,000-7,000

375 OTTO KOLB ADJUSTABLE TABLE LAMP Manufacturer unknown, designed circa 1951 Approximately 27”h Literature:

1 0 0 0 L I G HTS: 187 9 TO 1959,

F I E L L , TAS C H E N , 2 0 05, PG 449

$5,000-7,000

376 ITALIAN MODERN TRIENNALE FLOOR LIGHT Arteluce, designed 1953 72.5”h $5,000-7,000

191

377 DONALD HAMILTON FRASER FLOWERS ON AN ORANGE TABLE 1960 Oil on canvas Retains Gimpel Fils Gallery (London) label Canvas 28” x 26”; frame 34” x 42” $1,500-2,500

378 DONALD HAMILTON FRASER NUDE ON A COUCH Circa 1960 Oil on pressed board Initialed lower left 14” x 18.25”; framed 20.125” x 25” $1,000-1,500

379 ROBERT FRAME BOUQUET OF SUN FLOWERS Oil on canvas Signed lower right; titled and signed verso Frame 36.75” x 25” $1,200-1,500

380 ARBIT BLATAS STILL LIFE WITH WINE BOTTLES After 1946 Oil on canvas Signed lower left 23.5” x 28.75”; frame 33” x 37.75” $3,000-5,000

381 DOUGLAS SHIVELY “STILL LIFE” Oil Signed lower left 9” x 13”; frame 13” x 17” $500-700

193

382 A .H. MAURER UNTITLED Gouache on paper Signed upper right and upper left corner Image 20.5” x 17”; frame 28” x 24” $15,000-25,000

383 HENRY MILLER UNTITLED (2) 1965 and 1969 Watercolor Each signed, dated and inscribed 17.5” x 12” and 17” x 12” $2,500-3,500

195

384 GEORGE RODRIGUE BILLY BLUE KID Circa 1989 Oil on canvas Signed lower left 48” x 36” $25,000-35,000

385 GEORGE RODRIGUE I THOUGHT YOU WERE MY LIFETIME BABYDOLL 1989 Oil on canvas Signed and dated lower left 48” x 36” $25,000-35,000

197

386 WALTER LAMB ARMCHAIR LOUNGES WITH THICK TUBING (2) The Brown-Jordan Co., designed circa 1950 Each 31.5”h x 24”w x 33.5”d $4,000-5,000

387 WALTER LAMB COFFEE TABLE Model no. S-3700 The Brown-Jordan Co., designed circa 1950 17.5”h x 48.5”diameter Reference:

THE BROWN-JORDAN CO F U R-

NITURE CATALOGUE

$2,500-3,000

388 WALTER LAMB DINING CHAIRS (4) Model no. C-1700 Brown-Jordan Co., designed 1953 Two armchairs and two side chairs Each armchair 32.5”h x 21.5”w x 23.5”d; Each side chair 32.5”h x 18.5”w x 21.5”d $4,000-6,000

WALTER LAMB PAIR OF DINING ARMCHAIRS & TABLE The Brown-Jordan Co., designed circa 1950 Table 29.25”h x 42”diameter; Chairs 33”h x 21.25”w x 21.5”d $3,000-4,000

390 EDGAR BARTOLUCCI & JACK WALDHEIM BARWA LOUNGE CHAIR Barwa Associates, designed 1946 42”h x 52”l x 20”d $300-500

199

333 PABLO PICASSO WOOD-OWL WITH FEATHERS From the edition of 300 Madoura, 1951 Earthenware clay, decorated in oxides with knife engraving Ramie 122 12”h x 9” x 7” $3,000-4,000

391 PORTER BLANCHARD SILVER SERVICE (149 PIECES) Greek Key Studio, circa 1930 Sterling Silver Comprised of eleven-piece service for twelve (Twelve each dinner forks, salad forks, cocktail forks, teaspoons, soup spoons, ice tea spoons, ConsommĂŠ spoons, demitasse spoons (only 11), dinner knives (only 11), butter knives, fish knives). Additional pieces include twelve additional teaspoons, one additional soup spoon and six serving pieces. $20,000-30,000

201

392 KURT VERSEN FLOOR LAMP

393 REIMANN PAIR OF CANDLESTICKS

394 PORTER BLANCHARD CANDELABRA

Designed circa 1935 62”high

Chase, designed circa 1937 Impressed “Design by Reimann” with “Chase” and Chase makers mark Each 8.5”h x 6” x 4”

Porter Blanchard for Colonial Pewter, designed circa 1935 Pewter Impressed “Porter Blanchard/Colonial Pewter Burbank, Cal” Each 2”h x 10.5”l x 2.5”w

$1,000-1,500

$800-1,200

$2,000-3,000

395 AMERICAN MODERN TABLE CLOCK Model No. 206 Lawson Time, Inc., Stamped “Lawson Time, Inc. Los Angeles, Calif.” and “Model No. 206” 4.5”h x 4.5”d x 9”l $800-1,200

396 DONALD DESKEY STYLE OCCASIONAL TABLE Manufacturer unknown, circa 1935 17.5”h x 28” x 14” $2,000-3,000

397 GARY FEEBACK UNTITLED Circa 1935 Image 10.5” x 13.25”; frame 17.5” x 20.5” $300-500

203

398 PABLO PICASSO THE LOBSTER 1949 Lithograph #24 of 50 Signed lower right in red; edition lower left Catalogue Raisonne Mourlot #143 Sheet 22” x 30; image 21.5” x 27.5” Literature:

PICASSO LITHOGRAP H S,

MOURLOT, BOSTON BOOK PUBLIS H E R , 1 9 7 0, PG 126

Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$6,000-8,000

399 PABLO PICASSO (AFTER) SALON DE MAI PRINT AND SCARF (NOT ILLUSTRATED) Scarf 1951 Printed at Mourlot Signed and dated within the design “Festival Mondial de la Jeunesse et des Etudiants pour la Paix” Print sheet 30” x 19”; scarf 28.5” x 31.75” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$1,000-1,500

400 PABLO PICASSO FLEURS (FOR UCLA) 1961 Color lithograph on Arches #86 of 100 Published by the Art Council of UCLA Art Galleries Signed and numbered Mourlot 351 Sheet 23” x 18” $4,000-6,000

401 PABLO PICASSO FEMME A LA MANTILLE AVEC UNE FEUR (FROM LE CARMEN DES CARMEN) 1949 Aquatint, unsigned Sheet 19” x 15”; frame 25” x 20.5” $2,000-2,500

402 PABLO PICASSO TROUPE D’ACTEURS 1954 Lithograph From the edition of 50 Signed and dated lower left Catalogue Raisonne Mourlot #250 Image 19.25” x 25”; frame 26.5” x 32.5” Literature:

P I C ASS O LITHOGRAPHS,

M O U R LOT, B O STO N BOOK PUBLISHER , 1970, PG 208

$3,000-5,000

205

403 ROGER DE LA FRESNAYE UNTITLED (HEAD AND TORSO OF A WOMAN) 1920 Pencil on paper Signed and dated lower right 16.25” x 9.75”; frame 24.5” x 17” $2,500-3,500

404 RICO LEBRUN UNTITLED 1956 Watercolor Signed and dated lower left Image 28.5” x 22.25”; frame 36” x 30” $1,000-1,500

405 RICO LEBRUN THE FORTUNE TELLER 1935 Pen and ink Signed and dated lower left; titled lower right; label verso “The Fortune Teller Pen and Ink, Rico Lebrun” Image 6.25” x 9.25”; frame 19.25” x 16.75” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$700-900

406 ALBERTO GIACOMETTI CHAISE ET GUERIDON 1960 Lithograph on Rives #4 of 90 Published by Maeght Signed lower right; edition lower left Catalogue Raisonne #33 Framed 30” x 27” Literature:

G I AC O M ET TI: THE COMPLETE

G R A P H I C S, LU ST, T U DOR PUBLISHING, 1 9 7 0, P G 4 6

$5,000-7,000

407 JOAN MIRO LE REVEIL AU PETIT JOUR (FROM CONSTELLATIONS) 1959 Porchoir over photolithography Image 14” x 17” Provenance:

F R O M THE COLLECTION OF

JA M E S BY R N E S, LO S ANGELES

$500-1,000

408 FERNAND LEGER , AFTER FEMME A LA CRUCHE (BY JACQUES VILLON) 1928 Blind stamp lower center; 6897 in pencil lower right Image 18.5” x 12”; frame 26.5” x 20.5” $800-1,200

207

409 PIERRE BONNARD JEUNE FILLE VUE DE DOS (GIRL SEEN FROM BEHIND) 1942-46 Lithograph # 24 of 80 Initialed and numbered lower right Sheet 25.5” x 20.5” $4,500-5,500

410 MARC CHAGALL LA BIBLE 1931-39, 1958 Hand colored etching #71 of 100 Initialed lower right; edition lower left Image 12.5” x 10”; frame 22.5” x 19” $3,000-4,000

411 JACQUES LIPCHITZ THE BULL AND THE CONDOR 1962 Lithograph Together with the exhibition catalogue signed by the artist (A Retrospective Selected by the Artist, UCLA Art Council, 1963) Sheet 30” x 22” $600-800

412 PIERRE SOULAGE UNTITLED Carborundum print with embossing Artist proof “epreuve d’artiste” lower left; dedicated and signed lower right “Pour Jim et Barbara” Sheet 26” x 19.75”; image 15.5” x 14.25” Provenance:

F R O M T H E C O L LECTION OF

JA M E S BY R N E S, LO S A N G E L E S

$700-900

209

413 ABBOTT PATTISON THREE DIVERS Executed circa 1959-62 Welded bronze Studio Unsigned 17.5”h x 14.5”w $2,500-3,500

414 JAMES MONT CHEST OF DRAWERS (2) James Mont, designed circa 1950 Wood with applied silver leaf Branded mark 32”h x 96.5”l x 21”d $5,000-6,000

415 JULES LELEU, ATTRIBUTED DINING TABLE Manufacturer unknown, designed circa 1940 29”h x 62”diameter $5,000-7,000

416 MAURICE PRE WARDROBE Studio, designed circa 1940s 68”h x 43”w x 18.75”d $3,000-5,000

211

417 MID CENTURY MODERN POLE LIGHT Stiffel, designed circa 1955 Retains Stiffel label Approximately 98”h (adjustable) $3,000-5,000

418 MARIO BELLINI COUCH & CHAIR (2) Cassina, designed 1976 Leather Couch 23”h x 94”l x 31”d; Chair 28”h x 37”w x 32”d Literature:

THE YEARS OF ITALIA N D E-

SIGN: A PORTRAIT OF CESARE CASS I N A , SANTINI, ELECTA , 1981, PG 114

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

419 CALIFORNIA MODERN PAIR OF TABLES Forms & Surfaces, designed circa 1970 13.25”h x 19.5” x 45.75” and 14”h x 17.5” x 19.5” $2,000-3,000

420 MILON & MABEL HUTCHINSON CHEST Corona Craft, designed circa 1968 19.5”h x 48”l x 17.5”d Literature:

C A L I FO RNIA DESIGN TEN,

PASA D E N A A RT M U S EUM, 1968, PG 40

$1,500-2,000

213

421 LOU HODGES EXECUTIVE DESK Possibly by California Design Group 29”h x 74”w x 34”d $3,000-5,000

422 OTTO & VIVIKA HEINO LARGE GLAZED CERAMIC BOWL Studio, executed circa 1968 Signed “Otto + Vivika” 7.25”h x 15.25”diameter $1,000-1,500

423 OTTO & VIVIKA HEINO BOWL WITH BIRD DESIGN Studio, executed circa 1955 Glazed ceramic Signed “Vivika + Otto” 6.5”h x 10”diameter $1,000-1,500

424 OTTO & VIVIKA HEINO VASE WITH HANDLES Studio, executed circa 1955 Glazed ceramic Signed “Vivika + Otto” 9.5”h x 11”diameter $1,000-1,500

425 DAVID CRESSEY PLANTER WITH RIBBED TEXTURE

426 LA GARDO TACKET PLANTER

Model no. 5050 Architectural Pottery, designed circa 1963 From the Pro/Artisan Series 24.5”h x 23”diameter

Model no. TH-03 Architectural Pottery, designed circa 1955 White glazed ceramic 16”h x 21”diameter

$400-600

$800-1,000

427 LA GARDO TACKETT, ATTRIBUTED DOUBLE CONE PLANTER Possibly by Architectural Pottery, designed circa 1955 Glazed black 19”h x 10.5”diameter $600-900

215

428 DAVID CRESSEY GROUP OF THREE EARTHGENDER PLANTERS Architectural Pottery, designed circa 1968 Designed with Robert Maxwell Each 24.5”h x 23.75” $2,500-3,500

429 DAVID CRESSEY GROUP OF THREE EARTHGENDER PLANTERS Architectural Pottery, designed circa 1968 Designed with Robert Maxwell Each 15”h x 22.5”diameter $1,800-2,500

430 DON S. SHOEMAKER ACCESSORIES AND GAME SET Senal, designed circa 1970 Most stamped Comprised of a candlestick holder, book ends, tray, and game Various sizes $1,500-2,000

431 JOHN KAPEL FOUR DRAWER CABINET Glenn of California, designed circa 1968 30.5”h x 68”l x 20”d $1,500-2,000

217

432 PERCIVAL LAFER LOUNGE CHAIR Studio, designed circa 1958 28”h x 33”d x 29”w $1,000-1,500

433 EDMUND SPENCE PAIR OF NIGHTSTANDS Industria Mueblera, designed circa 1960 Branded “Industria Mueblera.S.A.” 25.75”h x 22” x 22” $1,000-1,500

434 PIERRE SICARD LOS ANGELES LA CIENEGA BROWN Oil on canvas Signed lower right; titled verso and with Dalzel Hatfield Gallery label Frame 24.5” x 37” $2,000-3,000

435 DE VOICE BERRY CHILD WITH BASKET Crayon and pencil on paper 42.5” x 30” $1,500-2,000

436 VIN GIULIANI INFERNAL DIALOGUE (RED) Wood and nails Stamped Vin Giuliani, Greenwich, CT, verso 11.75” x 18” $1,000-1,500

219

437 ARTHUR SECUNDA I RISE IN FLAME CRIED THE PHOENIX 1959 Mixed media Signed and dated lower right 28” x 17.5” $1,500-2,000

438 ARTHUR SECUNDA YESTERDAY, THE LOOTERS, THE ROAD TO ARLES (3) Circa 1965 Lithographs #10 of 10, #5 of 15 and #9 of 125 Each with signature, edition and title Sheet 30” x 22.5”, two are 21” x 14” $800-1,200

331 EDWARD FIELDS RUG 1973 Virgin wool Signed verso 67” x 127” $3,000-5,000

439 ROBERT HANSEN MAN-MEN 135 AND MIRROR #10 1960 Lacquer on Masonite Signed and dated lower right; one with Comard Gallery label verso 12” x 24” and 24” x 12” $1,200-1,600

221 440 ROBERT HANSEN CREATION OF EVE II 1968 Enamel Signed and dated 12” x 12” Provenance: E STAT E $400-600

O F PAUL KASPER

441 MARINO MARINI CAVALIERS ET CHEVAUX, BORDURE VERTE 1951 Lithograph on Arches #1 of 40 Published by Mourlot Signed lower right; edition lower left Catalogue Raisonne #L34 Sheet 25.75” x 19.75” Literature:

MARINO MARINI: CATA LO G U E

RAISONNE OF THE GRAPHIC WORKS 1 9 1 9 1980, LESLIE SACKS EDITIONS, 19 93 , P G 235

Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$1,000-1,500

GIUSEPPE SANTOMASO LITOGRAFIE A COLORI; PORTFOLIO (6) 1950 Lithograph Each #81 of 121 Titled and signed “Santomaso 50”; signed and numbered on the Colophon page and further inscribed “a Barbara e James B. Byrnes Venezia 5-OTT-1951” Each sheet 13.25” x 19” Provenance:

F R O M T H E C O L L EC T I O N O F

443 WILLY BAUMEISTER UNTITLED PARTIAL PORTFOLIO (9)

444 AMEDEO MODIGLIANI GROUP OF 5 WORKS

1946 Lithographs #29 of 50 Each signed lower right; edition lower left; Colophon page signed Seven works not illustrated, two framed. Each 12” x 15”

Etchings Signed lower left in the plate Four sheets are 11.25” x 8.75”; one sheet 6.5” x 10”

Provenance:

F R O M T H E C O L L EC T I O N O F

JA M E S BY R N E S, LO S A N G E L E S

$1,000-1,500

$2,500-3,500

Provenance:

F R O M T H E COLLECTION OF

JA M E S BY R N E S, LO S A N GELES

$2,000-3,000

445 ROBERT MONTENEGRO FRIDA Y DIEGO AMOR Watercolor Signed lower right Sheet 19.5” x 26”; frame 31.5” x 37.5” $2,500-3,500

446 FRANK ROMERO WIRE SNIPS (5 TOTAL) 1965, 1969 Oil on paper Together with four sketches Drawing initialed and dated “FER 12/18/..”; three sketches signed and dated “Fe Romero 1969”; one sketch initialed “FER” and dated Three sketches are pencil and collage on graph paper, one sketch is graphite on paper $2,000-3,000

447 VICENTE ROJO UNTITLED Oil on canvas Signed lower right Image 23” x 15”; frame 29.5” x 22” $3,000-5,000

223

448 RUFINO TAMAYO UNTITLED Lithograph or drawing Signed lower right Sheet 22.5” x 17.5”

449 RUFINO TAMAYO UNTITLED

JAMES BYRNES, LOS ANGELES

Lithograph #8 of 100 Edition lower left; Kyron blind stamp lower right Sheet 22” x 18”; frame 29.25” x 25”

$1,500-2,000

$3,000-4,000

Provenance:

FROM THE COLLEC T I O N O F

450 LUIS GARCIA GUERRERO UNTITLED 1953 Oil on paper Signed, dated and inscribed lower left Sheet 12.5” x 9.5”; frame 26”h x 22.5” $2,500-3,500

451 GABRIEL FERNANDEZ LEDESMA UNTITLED (2) Circa 1950 Oil on panels Each signed lower right “G. Fernandez Ledesma” Each panel 15.75” x 15.75” and 16.5” x 13” $10,000-15,000

225

COY HOWARD & MAX PALEVSKY In 1988 when Max Palevsky asked architect Coy Howard to renovate his 1928 Beverly Hills Italianate villa, it was Howard’s most expansive commission to date. After moving to Los Angeles to complete his graduate studies in architecture at UCLA, Howard stayed on as a teacher and began his career as a designer and architect. Palevsky and Howard had become acquainted through their involvement with the design of the Museum of Contemporary Art and additionally, Howard had advised Palevsky in some of his collecting endeavors. According to Aaron Betsky, Coy Howard’s approach to the Palevsky house “is clearly related to an understanding among the ‘third-generation modernists’…that they needed [to create] an aesthetic that delighted in the sensuality of the unfinished.” The house is an experimentation of forms emerging from an existing structure. Howard even taught himself woodworking in order to create furnishings for the home’s interior. Betsky, Aaron. Three California Houses: The Homes of Max Palevsky. New York: Rizzoli, 2002. Print.

452 COY HOWARD HEADBOARD Studio, custom designed 1988 for Max Palevsky’s Beverly Hills house 39.25”l x 88.5”w Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$800-1,200

453 COY HOWARD WRITING DESK Studio, custom designed 1988 for Max Palevsky’s Beverly Hills house Oak with green marble 31”h x 72.5”w x 30”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$2,000-3,000

DIRK VAN ERP STYLE TABLE LAMPS (2) Manufacturer unknown, these examples produced circa 1985 Each 17.5”h x 16”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

455 ARTS & CRAFTS STYLE LOW OCCASIONAL TABLE Manufacturer unknown, produced circa 1990 18”h x 14” x 24” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$100-200

L& JG STICKLEY WASTEPAPER BASKET L&JG Stickley Inc., designed circa 1915; this example produced circa 1985 Retains L&JG Stickley mark 18.5”h x 14.25” x 14.25” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$200-300

457 L& JG STICKLEY PAIR OF SIDE TABLES L&JG Stickely Inc,, this example produced circa 1990 Each 27.5”h x 22”w x 16”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$600-800

458 L& JG STICKLEY DESK L&JG Stickley Inc., this example produced circa 1990 Retains “L&JG Stickley Inc” paper label, branded mark and metal tag 30.25”h x 66”w x 32”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$800-1,200

227

459 OVERBECK CERAMIC TILE TRIVIT Studio, designed circa 1915 Inscribed “OBK/EF” .625”h x 4.75” x 5.25” Provenance:

FROM THE ESTATE O F

MAX PALEVSKY (PURCHASED FRO M R AG O CRAFTSMAN AUCTION, MAY 2003 , LOT 3 7 5 )

$200-300

460 ROOKWOOD CERAMIC TILE Rookwood Pottery, designed circa 1915 With period oak frame 12”h x 12”; framed 20” x 20” $200-300

461 MEDIEVAL REVIVAL BAR & TABLE Manufacturer unknown, designed circa 1975 Bar 40.5”h x 95”w x 28”d; table 32.75”h x 80”l x 21”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

462 SPANISH REVIVAL PAIR OF LANTERNS (2) Manufacturer unknown, designed circa 1930 Wrought iron Each 58”h x 9.5”diameter Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$2,000-3,000

463 ANNA KATHERINE SKEELE FIRESCREEN Circa 1934 Oil on board with artist‘s frame Signed lower right 26”h x 30”w x 9”d $1,500-2,000

229

464 SPANISH REVIVAL PAIR OF CABINETS (2) Manufacturer unknown, designed circa 1974 Each 41.25”h x 62”l x 20”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$2,000-3,000

465 PHILIPPE STARCK MIRROR Driade, circa 1980 Approximately 18”h $1,000-1,500

466 PHILIPPE STARCK EASY LIGHT St. Germain-Lumiere, designed 1978 57”h x 2.5”diameter $2,500-3,500

PHILIPPE STARCK GROUP OF SIX SIDE CHAIRS Driade, designed circa 1982 Each 33.5”h x 17.5”w x 18.5”d $3,000-5,000

468 ITALIAN MODERN SCONCE

469 GILBERT WATROUS DESK LIGHT

470 VICO MAGISTRETTI PIANETA CHANDELIER

471 INGO MAURER PAIR OF TRICENA LAMPS

Manufacturer unknown, designed circa 1970 12”h x 12”l x 5.5”

Heifetz Manufacturing Company, designed circa 1951 31”h (adjustable)

Venini, designed 1986 Etched signature “Venini Italia 1986” 35.25”diameter

Ingo Maurer, designed 1968 Approximately 23”diameter

$800-1,200

$1,000-1,500

$3,000-5,000

$1,000-1,500

231

472 CHARLES PFISTER PAIR OF BLUE SOFAS (2) Knoll International, designed 1971 Each 23.5”h x 86.5”l x 33”d Literature:

SOURCEBOOK OF MO D E R N

FURNITURE, HABEGGER & OSMAN , N O RTO N , 1997, PG 422

Illustrated:

THREE CALIFORNIA H O U S E S :

THE HOMES OF MAX PALEVSKY, B E TS KY, RIZZOLI, 2002, PG 89

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$2,000-3,000

473 CHARLES PFISTER CLUB CHAIRS, BURGUNDY (3) Knoll International, designed 1971 Two not illustrated Each 27”h x 32.5”w x 33”d Literature:

SOURCEBOOK OF MO D E R N

FURNITURE, HABEGGER & OSMAN , N O RTO N , 1997, PG 422

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,500-2,000

474 CHARLES PFISTER CLUB CHAIR Knoll International, designed 1971 27”h x 32.5”w x 33”d Literature:

SOURCEBOOK OF MO D E R N

FURNITURE, HABEGGER & OSMAN , N O RTO N , 1997, PG 422

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$500-1,000

233

475 THONET GROUP OF 8 ARMCHAIRS Thonet, designed circa 1975 Each 31”h x 27.5”w x 29.5”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$1,000-1,500

476 KARL SPRINGER , ATTRIBUTED DINING TABLE Possibly Springer, designed circa 1975 Rosewood top with two leaves 28.75”h x 59”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$2,000-3,000

477 ITALIAN MODERN SOFA Manufacturer unknown, designed circa 1980 27.5”h x 72”l x 35”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

478 ITALIAN MODERN SOFA Manufacturer unknown, designed circa 1980 30”h x 76”l x 35”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

479 THONET GROUP OF THREE ARMCHAIRS Thonet, designed circa 1975 Each 31”h x 27.5”w x 29.5”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

480 MACHINE AGE MODERN PAIR OF TUBULAR STEEL LOUNGE CHAIRS Manufacturer unknown Each 30”h x 22.5”w x 33”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$800-1,000

481 JOSEF HOFFMANN CHAIRS & STOOL (5) Thonet, originally designed 1929; these examples 1975 Chairs 31”h x 16.5”w x 17”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$500-1,000

WARD BENNETT GROUP OF LOUNGE CHAIRS (3) Brickel Associates, designed 1967 Leather and wood Retains “Brickel Associates of Wisconsin Inc.” label Each 31”h x 25.5”w x 27”d Literature:

S O U R C E BOOK OF MODERN

F U R N I T U R E, H A B EG G ER & OSMAN, NORTON, 1 9 9 7, P G 3 1 7

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$1,000-1,500

235

483 WARD BENNETT GROUP OF YOKE ARMCHAIRS (3) Brickel Associates, designed 1984 Retains label “Ward Bennett Designs for Brickel Associates” Each 29”h x 23.5”w x 19.5”d Literature:

S O U R C E BOOK OF MODERN

F U R N I T U R E, H A B EG G ER & OSMAN, NORTON, 1 9 9 7, P G 1 74

Illustrated:

T H R E E CALIFORNIA HOUSES:

T H E H O M E S O F M AX PALEVSKY, BETSKY, R I Z ZO L I , 2 0 0 2 , P G 1 05

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$500-700

484 MARCEL BREUER GROUP OF ARMCHAIRS (6) Cesca Knoll, originally designed 1928; these examples circa 1975 Each 31”h x 23.25”w x 21”d Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$400-600

485 ITALIAN MODERN PAIR OF VASES Venini, designed circa 1998 Each signed “Venini” and dated 1998 and 2001 Each 11.75”h Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,500-2,000

486 TOBIA SCARPA LARGE OCCHI VASE Venini, designed 1959; this example 2002 Etched “Venini 2002” 13”h Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$500-700

487 LAURA DIAZ DE SANTILLANA SOMMERSI ORO GLASS VASE Venini, designed circa 1987 Handmade glass with gold leaf inclusions Signed “Venini Laura 87” 12.75”h Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$300-500

488 ITALIAN MODERN CALABASH VASE TOGETHER WITH PAIR OF OTHER VASES Venini, designed 2000 Opaque “Zanfirico” multicolored blown glass (see illustration above) Signed “Venini 2002” Calabash 5.75”h and 18.75”h and 16.75”h Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,500-2,000

489 ITALIAN MODERN VASES (2) Venini, designed circa 2001 Signed “Venini 2001” with Venini decal and “Venini 2002” 13.75”h and 6.5”h Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$300-500

VENINI: THE RECENT YEARS Established early in the 1920s, Venini & Co. produced some of the most beautiful and innovative glass sculptures of the 20th century. As the company’s reputation as a leader in artisan glass grew, they began collaborating with Gio Ponti and Fulvio Bianconi in the 1950s. Venini glass was beginning to be exhibited in museums all over the world, including New York’s Museum of Modern Art. The 1990s and 2000s, the later years of Venini glass designs, were marked by a vigorous redirection to the pioneering methods that established the company. Contemporary artists such as Alessandro Mendini, Laura Diaz de Santillana, and Ettore Sottsass began producing provocative designs with Venini & Co. History of Venini. Venini & C. Glass, 2010. Web. 14 Jan. 2011.

ITALIAN MODERN GROUP OF FOUR VESSELS (4) Venini, designed circa 1983 Three signed “Venini” and dated 1983, 1998 and 2000; one not marked 10.5”h, 10”h, 10”h and bowl 4.75” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

491 ITALIAN MODERN PAIR OF GLASS VASES Veart, designed circa 1990 Etched “Veart Venezia” Each 22.75”h Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

492 ITALIAN MODERN VASES (2) Venini, designed circa 1980 Signed “Venini Italia 83” and “Venini 2001” Each 20”h Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

493 ITALIAN MODERN GROUP OF FOUR GLASS VASES Veart, designed circa 1990 Etched “Veart Venezia” 15.75”h and 13.5”h Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

237

494 ACHILLE CASTIGLIONI NOCE TABLE LIGHT Flos, designed 1972 7.25”h Literature:

1000 LIGHTS: 1960 TO P R E S -

ENT, FIELL , TASCHEN, 2005, PG 24 9

$200-300

495 ITALIAN MODERN PAIR OF ASHSTANDS (2) Manufacturer unknown, designed circa 1975 Aluminum with marble insert top 22”h x 10”diameter and 18.25”h x 10”diameter Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$100-200

496 ITALIAN MODERN FLOOR LAMP Manufacturer unknown, designed circa 1970 52.5”h x 20”w Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$500-700

497 PAOLO RIZZATTO BERENICE TABLE LAMPS (3) Luceplan, designed 1985 Each 49”h extended Literature:

ITALIAN DESIGN, BOR N S E N -

HOLTMANN, TASCHEN, 1994, PG 1 3 4

Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$300-500

MARIO ARNABOLDI MIRA FLOOR LIGHT Programmaluce, Milan, designed 1983 78”max height Literature:

1000 LIGHTS: 1960 TO P R E S -

ENT, FIELL , TASCHEN, 2005, PG 3 3 8

$1,000-1,500

499 PAOLO VENINI PAIR OF INCISO BOTTLES WITH STOPPERS (2) Venini, designed circa 1955 Signed “Venini 2002” Tallest 10.25”h Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

500 ITALIAN MODERN GROUP OF FIVE OPALINI VASES (5) Venini, designed circa 1980 Signed Each 11.5”h Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

$1,000-1,500

501 ITALIAN MODERN VASES (4) Venini, designed circa 1980 Signed “Venini 93” One small black vase not illustrated Tallest 11.25” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

502 ITALIAN MODERN GROUP OF FIVE OPALINI VASES (5, TWO NOT ILLUSTRATED) Venini, designed circa 1980 Each signed “Venini” and dated 1987, 1991, 1993, 1995, and 2000 Red and black vase not illustrated Each 14.25”h Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

503 ITALIAN MODERN GROUP OF SIX SMALL VASES (6) Venini, designed 1996 Etched signature and date Light blue, dark blue, green vases (6) Each 5.5”h x 5.5”diameter Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$500-700

ITALIAN MODERN GROUP OF THREE VASES (3) Venini, designed circa 1990 Each signed “Venini” and dated 1991, 1998 and 2000 10”h, 9.25”h, and 5.5” Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

239

506 HAI KNAFO SIXTY FOUR DOLLARS #2

505 MOROCCAN WOOL RUG Maroc Marruecos, circa 1974 Retains label “Maroc Marruecos Morocco” 54” x 88” Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$1,000-1,500

507 KIRSCH/HAMILTON ASSOCIATES WITH CORCHIA & DE HARAK AURORA DESK CLOCK Kirsch/Hamilton Associates, designed circa 1970 8”h x 8” x 4.75” $300-500

ITALIAN MODERN ARMCHAIR Maker unknown, designed circa 1970 Leather with chrome base 28”h x 22”w x 25”d Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$100-200

510 PERSIAN STYLE BOKHARA CARPET NOT ILLUSTRATED, circa 1974 (see illustration online) 104” x 84” Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$900-1,200

511 AMERICAN INDIAN DHURRIE STYLE WOOL CARPET NOT ILLUSTRATED, circa 1976 (see illustration online) 115” x 96” Provenance:

FROM THE ESTATE O F

MAX PALEVSKY

$500-800

1982 Folded currency on board Titled, signed and dated verso; OK Harris gallery label verso 26” x 26” Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

$300-500

508 NATIVE AMERICAN STYLE WOOL RUG Manufacturer unknown, circa 1974 101” x 67” Provenance:

F R O M T H E E STAT E O F

M AX PA L E VS KY

$1,000-1,500

512 MAX INGRAND PAIR OF TABLE LIGHTS (2)

513 ITALIAN MODERN FLOOR LAMP

514 AMERICAN CONTEMPORARY PAIR OF TABLE LAMPS

Model no. 1853; with replaced shades Fontana Arte, designed 1954 Marked switch “Fontana Arte” Each 21”h x 13.5”diameter

Possibly by Fontana Arte, designed circa 2000 69”h

NOT ILLUSTRATED, (see image online) Brushed steel Each 24.5”h to top of finial x 5.25”diameter

Literature:

T H E H O M E S O F M AX PA L E VS KY, B E TS KY,

Provenance:

F I E L L , TAS C H E N , 2 0 05 , P G 5 1 2

R I Z ZO L I , 2 0 0 2 , P G 8 8

M AX PA L E VS KY

Provenance:

$300-500

1 0 0 0 L I G H TS : 1 8 7 9 TO 1 95 9,

F R O M T H E E STAT E O F

Illustrated:

T H R E E C A L I FO R N I A H O U S E S :

F R O M T H E E STAT E O F

M AX PA L E VS KY

$300-500

F R O M THE ESTATE OF

515 AMERICAN MODERN MARBLE TABLE LAMP Model no. NS622 Nessen Studio, Inc., designed 1959 Belgian Clair Blanc marble Retains Nessen label 34”h to top of finial Literature:

NESSEN STUDIO, INC SALES

B R O C H U R E , 1 95 9, U N PAGINATED

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$150-200

241 516 WILHELM WAGENFELD PAIR OF TABLE LAMPS (2) Model no. ME1 Tecnolumen, designed 1923; these examples produced circa 1975 15”h x 6”diameter Literature:

1 0 0 0 L I GHTS: 187 9 TO 1959,

F I E L L , TAS C H E N , 2 0 05, PG 232

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

517 AMERICAN MODERN GROUP OF CHROME CYLINDER TABLE LAMPS (3) Model no. NS972 Nessen Studio, Inc., designed 1959 One retains Nessen label Each 17.5”h x 9”diameter Illustrated:

T H R E E CALIFORNIA HOUSES:

T H E H O M E S O F M AX PALEVSKY, BETSKY, R I Z ZO L I , 2 0 0 2 , P G 1 05

Provenance:

F R O M THE ESTATE OF

M AX PA L E VS KY

$300-500

518 KATAVOLOS, LITTELL AND KELLEY PAIR OF T-CHAIRS Laverne International, designed 1952 William Katavolos, Ross Littell and Douglas Kelley 32”h x 23.5”w x 23”d Literature:

SOURCEBOOK OF MO D E R N

FURNITURE, HABEGGER & OSMAN , N O RTO N , 1997, PG 143

$2,000-3,000

519 JAMES SIENA BATTERY VARIATION I AND BATTERY VARIATION III 2005 Screenprint Both edition #28 of 45 Signed and dated lower right; edition lower left $3,500-5,500

520 RICHARD ANUSZKIEWICZ UNTITLED 1969 Lithograph #51 of 200 Signature, date and edition lower right Sheet 23.5” x 37.5”; frame 23.75” x 37.75” Provenance:

FROM THE COLLEC T I O N O F

JAMES BYRNES, LOS ANGELES

$700-900

521 THONET PAIR OF “VIENNESE” ARMCHAIRS (2) Thonet, designed 1932; these chairs produced later Each 30”h x 22”w x 18”d Provenance:

F R O M T HE ESTATE OF

M AX PA L E VS KY

$300-500

522 ITALIAN MODERN SIDE CHAIR Cattelan, designed circa 1975 Red leather Retains label “Cattelan Italia” 32.5”h x 18”w x 17”d Provenance:

F R O M T HE ESTATE OF

M AX PA L E VS KY

$200-300

ETTORE SOTTSASS STOOL (RED) Sottsass Associati, custom designed 1984 for Max Palevsky’s Malibu home 18”h x 13”diameter Provenance:

F R O M T HE ESTATE OF

M AX PA L E VS KY

$200-300

524 ITALIAN MODERN STACKING CHAIRS Manufacturer unknown, designed circa 1980 Each 31”h x 23”w x 21”d Provenance:

F R O M T HE ESTATE OF

M AX PA L E VS KY

$500-700

243

los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions los angeles modern auctions

AUCTION: SUNDAY, MARCH 6, 2011 12PM NOON (PST)

PREVIEW: FEBRUARY 25TH - MARCH 5TH 10AM - 6PM (PST) ADDRESS: 16145 HART STREET VAN NUYS, CA 91406 323-904-1950 DIRECTIONS TO AUCTION & PREVIEW FROM HOLLYWOOD VAN NUYS AIRPORT

SEPULVEDA BLVD

405 FREEWAY

LAMA

WOODLEY AVE

SHERMAN WAY VALJEAN AVE

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

HART ST

FROM THE WESTSIDE

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

101 FREEWAY WOODLAND HILLS

HOLLYWOOD

GETTY CENTER

Complimentary Valet Parking

DIRECTOR

PETER LOUGHREY MANAGING DIRECTOR

SHANNON LOUGHREY

PHOTOGRAPHY MARKETING DIRECTOR

ELIZABETH PORTANOVA

CLIENT SERVICES

JULIE WEARING

MARIO de LOPEZ ROBERT WEDEMEYER ESSAYS/EDITING

PAUL DesMarais

FSC Stamp

NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW

ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING ACCEPTING

CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS CONSIGNMENTS

NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW NOW

JUNE 2011 Richard Pettibone Stella Sinjerli Variation II 1968 To be offered in June 2011 Auction | Estimate $8,000-10,000

Contact: Peter Loughrey, Peter@LAMODERN.com

245

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

PAYMENT All sales are final. All sold lots are to be paid for on the day of the sale. We accept cash, bank wire transfers, checks, and Mastercard and Visa (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax or e-mail). All payments made by personal checks will be subject to clearance before purchases can be collected. Buyers who have not purchased from Modern Auctions, Inc. (Los Angeles Modern Auctions) previously are asked to provide a method of payment and/or letter of reference from a bank or creditor prior to the auction. Bank wire information is available upon request, please phone (323) 904-1950. If payment is not received by March 16th collection & storage fees will begin incurring.

BUYER’S PREMIUM A buyer’s premium of 25% will be added to the hammer price on all property sold if bids are placed directly with Modern Auctions, Inc. This buyer’s premium can be discounted to 20% if payment by cash, check or bank wire is received by March 16th. The buyer’s premium will not be discounted for internet bidding (27.5%) or payment by credit card. (PLEASE NOTE: Credit card payments are accepted only when presented in person and will not be accepted over the phone, fax or e-mail).

CALIFORNIA SALES TAX Sales tax of 9.75% will be collected on all purchases removed from our premises or delivered within the state of California. Those holding a valid California State Resale License must register before each sale and present their valid resale number. No purchases will be released until all sales tax requirements are satisfied.

Absentee/Phone bids are on a first come first serve basis; thus, we encourage you to submit your form ASAP. If identical absentee bids are submitted, the earliest received will take precedence. The number of phone lines available are limited so please submit your phone requests early. On all absentee/phone bid forms, please leave a valid credit card number with expiration date; a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card payments in person. For those absentee/phone bidders who can not come in personally to pay, we will only accept either a certified check or wire transfer as a method of payment (see “Payment” notice). The party responsible for submitting the absentee or phone bid is solely responsible for the payment in full of the total invoice. We will not make any changes to an invoice. Should a dispute arise after the sale, our sale records are conclusive. We are not responsible for failure to execute a bid and have the right to reject any bid. We reserve the right to withdraw any property before the sale and shall have no liability whatsoever for such withdrawal. Should an item be withdrawn, the auctioneer will make an announcement at the time the lot would have been put up for sale. In addition, the auctioneer may add lots not previously listed in the catalogue or addendum. If the buyer does not comply with all of the notices to buyers, Modern Auctions, Inc, reserves the right to cancel the sale, hold the defaulting buyer liable for the purchase price and buyer’s premium, retain any deposit, and resell the property privately or at auction without further notice. In the latter, the defaulting buyer will be held responsible for all incurred expenses, such as warehouse and transportation costs, commissions, incidentals, and shall be liable for payment of any deficiency in the purchase price. This is strictly enforced. We reserve the right to assess a late charge of 1.5% of the total purchase price per month is payment is not made in accordance with any of these conditions of sale.

ESTIMATES & RESERVES

GUARANTEE

The estimates printed after each lot should be used as a guide only and should not be relied upon as a prediction of final selling prices. Many of the lots offered for sale carry a reserve and are confidential. The reserve is a minimum price at which the seller has agreed to let the auctioneer sell the property.

The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc. warrants only the authorship of an item (as printed in BLUE type) and does not guarantee the condition, age, or any identifying characteristic used by Modern Auctions, Inc, in any descriptions such as color, method of construction, and type of materials. Any lot using the terms “attributed”, “attribution,” “in the style of,” “in the manner of,” or “after” does not qualify for our guarantee. In addition, the buyer assumes responsibility of reading all addendums and posted corrections to the catalogue prior to bidding.

CONDITION EVERYTHING IS SOLD IN “AS-IS” CONDITION. No statement regarding condition of any item, whether it is made orally at the auction or at any other time or in writing in this catalogue shall be deemed to be a warranty, representation or assumption of liability. It is the sole responsibility of the buyer to inspect all goods prior to the sale. We strongly encourage all bidders to request a condition report on any item before bidding. All electrical items are sold for decorative value only and should be assumed not to be working. All measurements are approximate. Photographs of any lots not illustrated can be found on our website Lamodern.com

COLLECTION AND STORAGE ALL LOTS MUST BE REMOVED FROM THE AUCTION SHOWROOM BY 12:00 PM ON MARCH 16TH. All property remaining after March 16th will be removed and stored in an off-site storage facility at the cost of the buyer. Purchases not removed by March 16th will be assessed a daily storage fee of $15 per day per lot. Items in storage are not insured by Modern Auctions, Inc. Unless other arrangements are made and confirmed in writing; the buyer assumes sole responsibility for shipping, packing, insurance, and storage concerns. A list of shippers can be provided upon request.

BIDDING We encourage you to attend the sale in person. However, if you can not attend in person we offer an “absentee” or phone bidding service. For this service fill out and submit an “Absentee/Phone bid” form. To obtain this form please call (323) 904-1950 or go to our website. We will not execute absentee or phone bid orders unless a signed and completed bid form has been received. All Absentee/Phone bid forms must be received by Saturday, MARCH 5TH by 5:00 p.m. via fax to (323) 904-1954. We encourage you to call after faxing to confirm we have received your bid. We kindly ask that you do not call on the day of the sale to submit bids or to see if your bids were successful. All successful absentee bids should be notified by phone by March 8th. In addition, the auction prices realized will be posted the day after the sale on our website. Do not rely on any auction results (prices realized) unless published on www.lamodern.com or as provided directly by Modern Auctions, Inc.

RESCISSION Should the authenticity of an item be disputed after a sale, the buyer has 90 days from the date of the auction to provide written documentation or conclusive opinion of a mutually agreed upon independent expert, retained at the buyers sole expense, that the item in question is not as stated in the catalogue. In the event of an error, Modern Auctions, Inc. will rescind the purchase contract. Modern Auctions, Inc. will reimburse the buyer for no more than the hammer price plus the buyer’s premium and only after the item is returned to the original point of sale in the condition in which it was sold. Taxes, packing, shipping and storage costs will not be reimbursed. Modern Auctions, Inc. is not liable for any costs, such as experts and attorney’s fees. If the item is authentic, as stated in the Modern Auctions, Inc. catalogue, then the purchaser shall bear Modern Auctions, Inc’s expenses incurred in defense of the allegation, such as attorney’s fees and other costs. The limited right of rescission is only available to the original purchaser from Modern Auctions, Inc. once the item is resold, then all rights and liabilities of Modern Auctions, Inc. regarding authenticity end. THE PURCHASER’S SOLE AND EXCLUSIVE REMEDY AGAINST MODERN AUCTIONS, INC. FOR ANY REASON IS THE LIMITED RIGHT OF RESCISSION DESCRIBED IN THIS SECTION. The purchaser shall not be entitled to damages, compensatory, incidental, consequential, nominal or punitive, nor any expenses incurred during the proceedings, such as expert fees, attorney’s fees and other costs.

RIGHTS TO PHOTOGRAPHS It is important to note that the images printed in this catalogue are considered intellectual property and are copyrighted. Buyers of vintage prints do not acquire the rights to reproduce the images in any form. All images and text contained in this catalogue are the sole property of Modern Auctions, Inc. and may not be used or reproduced in any medium without the expressed written consent of Modern Auctions, Inc. Modern Auctions, Inc. Bond # 92-W6-8303-9 F Peter Loughrey, principal auctioneer Los Angeles Modern Auctions (LAMA) Po Box 56748, Sherman Oaks, CA 91413

INDEX A Ackerman, Jerry 353 Andreson, Laura 354-58 Anuszkiewicz, Richard 520 Arnaboldi, Mario 498 Arnoldi, Charles “Chuck” 197 B Bacerra, Ralph 365 Bacon, Francis 101 Baechler, Donald 298 Bartolucci, Edgar 390 Basaldella, Mirko 229-35 Baughman, Milo 343-45 Baumeister, Willy 443 Bellini, Mario 418 Bengston, Billy Al 188, 199 Benjamin, Karl 86 Bennett, Ward 482-83 Benton, Fletcher 325 Bernhard, Ruth 44-45 Berrocal, Miguel 313 Berry, de Voice 435 Bertoia, Harry 9, 220, 222-23 Bitters, Stan 214 Blanchard, Porter 391, 394 Blatas, Arbit 380 Blossfeldt, Karl 316 Bogart, Mel 154 Bonnard, Pierre 409 Botta, Mario 187 Brainard, Joe 320 Brandt, Bill 46, 135 Breuer, Marcel 484 Buffa, Paolo 261 Butler, Reg 92 C Cagli, Corrado 224-28 Calatrava, Santiago 273 Calder, Alexander 25-26 Castiglioni, Achille 252, 494 Celmins, Vija 297 Chagall, Marc 410 Christo 310 Citterio, Antonio 288 Clement, Serge 126 Cohen, Larry 317-18 Conover, Luther 339 Cornelius, Philip 366 Cressey, David 425, 428-29 Cunningham, Imogen 43 Curry, Bill 149 D Davis, Gene 105 Davis, Ron 198 de Kooning, Elaine 22 Deskey, Donald 396 di Carli, Carlo 262 Diaz de Santillana 31, 487 Dill, Laddie John 194-96 Dine, Jim 191-93, 286 Dong Yoo, Kim 138 Durot, Louis 159 E Eames, Charles & Ray 4-6, 179-80 F Fantoni, Marcello Feeback, Gary Feitelson, Lorser Finkelstein, Max Fiskin, Judy

251 397 87 374 50

Fong, Danny Ho

341

Foppiani, Gustave Foulkes, Lynn Frame, Robert Francis, Sam Frankenthaler, Helen Fraser, Donald Frey, Albert Frimkiss, Michael

236-38 49 379 205-07 91 377-78 2-3 367

G Gambone, Guido Garcia Guerrero, Luis Gehry, Frank Giacometti, Alberto Gill, James Gilot, Francoise Girard, Alexander Giuliani, Vin Goeritz, Mathias Goode, Joe Graham, Robert

249 450 183-86 406 129 42 8, 10 436 19-20 200 300

H Haines, William “Billy” Hansen, Robert Hein, Piet Heino, Otto & Vivika Held, Al Henderson, Mel Hepworth, Barbara Herman, Roger Hockney, David Hodges, Lou Hoffmann, Josef Holland, Tom Horvath, Ken Howard, Coy Hutchinson, Mabel Hvidt, Peter

346-47 439-40 120 422-24 272 328-29 95-96 323-24 130-31 421 481 190 368 452-53 420 121

I Ingrand, Max

512

J Jacobsen, Arne Janis, Sidney Jenkins, Paul Johns, Jasper Johnston, Ynez Judd, Donald

115, 117 282 90 270, 350 332-37 103

K Kagan, Vladimir Kage, Wilhelm Kapel, John Katavolos Katz, Alex Kelly, Ellsworth Knafo, Hai Kolb, Otto Kosoth, Joseph

155-58 114 431 518 167 290-91 506 375 104

L la Fresnaye, Roger de 403 Lafer, Percival 432 Lamb, Walter 386-89 Lassaw, Ibram 330 LeBrun, Rico 404-5 Ledesma, Gabriel Fernandez 451 Leger, Fernand 408 Leleu, Jules 415 Levin, Ed 221 Lewitt, Sol 292-96 Lichtenstein, Roy 281, 283

Lindberg, Stig Lindner, Richard

111 314

Lipchitz, Jacques Lukens, Glen

411 363

M Magistretti, Vico 470 Maloof, Sam 102 Man Ray 326 Mari, Enzo 254, 289 Marini, Marino 441 Mathsson, Bruno 119 Matos, John “Crash” 189 Matta, Roberto Sebastian 21 Maurer, A.H. 382 Maurer, Ingo 162, 471 McCobb, Paul 38, 40-41 McGee, Barry “Twist” 299 Meadmore, Clement 287 Mendini, Alessandro 28 Miller, Henry 383 Miro, Joan 407 Mizuno, Mineo 371-72 Modigliani, Amedeo 444 Mogensen, Borge 122 Mont, James 414 Montenegro, Robert 445 Motherwell, Robert 160-61 Mullican, Lee 23-24 Murakami, Takashi 305-8 Murray, Keith 98 Muzzi, Francesco 150-51, 242-45 N Nakashima, George 215-19 Natzler, Gertrud & Otto 348-52 Nelson, George 11-14, 150-52 Neuhart, Marilyn 338 Newcomb, Mary 93-94 O Odets, Clifford Oldenburg, Claes Ostervig, Kurt Overbeck

148 284 109 459

P Pasquier, Nathalie du 62 Pattison, Abbott 413 Pettibone, Richard 201-4 Pettibone, Shirley 47 Pfister, Charles 472-74 Phillips, Richard 301 Pianon, Alessandro 247 Picasso, Pablo 168-78, 398-402 Ponti, Gio 30, 248, 260 Pre, Maurice 416 Price, Ken 369-70 Probber, Harvey 32 R Reggiani 256 Reimann 393 Risom, Jens 36 Rizzatto, Paolo 497 Robsjohn-Gibbings, T.H. 34 Rodrigue, George 384-85 Rojo, Vicente 447 Romero, Frank 446 Rosenquist, James 285 Rosenthal, Bernard “Tony” 373 Ruscha, Ed 208-11 S Saaarinen, Eero

Santomaso, Giuseppe Sartoris, Alberto Scarpa, Carlo

442 239-41 27

Scarpa, Tobia 486 Scharf, Kenny 322 Schindler, Rudolph 1 Schrut, Sherry 48 Schultz, Richard 146 Scott, Nigel 127-28 Secunda, Arthur 437-38 Shively, Douglas 381 Shoemaker, Don 430 Shonibare, Yinka 303 Sicard, Pierre 434 Siena, James 519 Simpson, Lorna 304 Skeele, Anna Katherine 463 Sottsass, Ettore 51-85, 523 Soulage, Pierre 412 Spano, Michael 136 Spence, Edmund 433 Springer, Karl 476 Starck, Philippe 465-67 Steinberg, Saul 164-65 Stella, Frank 319 Stickley, L&JG 456-58 Stoppino, Giotto 255 Sturges, Jock 132-33 Sultan, Donald 163, 309 Sutherland, Graham 97 T Tacket, La Gardo 426-27 Tamayo, Rufino 448-49 Tanning, Dorothea 331 Thiebaud, Wayne 311 Toulouse-Lautrec, Henri de 166 Tuttle, Paul 181-82 Tuttle, Richard 100 Tynell, Paavo 116 V van Erp, Dirk 454 van Keppel, Hendrik 147 Vasa (Mihich) 143-45 Vasarely, Victor 139-42 Venini, Paolo 257, 499 Versen, Kurt 392 Vitali, Massimo 123-25 Volquartz, Pere 253 Von Nessen, Greta 340 von Tiedemann, Cylla 134 W Wagenfeld, Wilhelm Waldheim, Jack Walker, Kara Warhol, Andy Watrous, Gilbert Weegee Wegner, Hans Weisman, Jerry Wesselmann, Tom Whiteread, Rachel Williams, Mason Winters, Terry Wirkkala, Tapio Woelffer, Emerson Wood, Beatrice Wormley, Edward Wunderlich, Paul Y Young, Stanley Youngerman, Jack Z Zanuso, Marco

516 390 302 263-68 469 137 106-112 327 280 99 321 315 29, 113 15-18 359-64 33-37 312 342 88-89 258

247