March 1, 2015 Modern Art & Design Auction by LA Modern Auctions

MODERN ART & DESIGN MARCH 1, 2015

Preview February 16–28, 2015 10am–6pm (PT) Auction Sunday, March 1, 2015 12pm (PT) 16145 Hart Street Van Nuys, CA 91406

What’s New? What’s New? In a business that extolls the virtue of what

In this auction, I encourage you to join me in embracing

is old, you may think this an odd question. But, as a mod-

new technology and take the first steps with LAMA to cre-

ernist, I am always interested in embracing new technol-

ate a more efficient marketplace.

ogy if it can improve upon the status quo. In this catalogue you will see a number of lots designated There is no doubt that technology has already made an

with an

icon. This symbol denotes a lot on which

incredible impact on the auction industry. Just ten years

you can bid using your computer or mobile device if

ago, there was no expectation that a small company like

you download the Artsy app. During the live auction on

LAMA could compete with the larger brands in the world-

March 1st, these lots will NOT be sold in the traditional lot

wide auction market. However, the internet has proven

order, but rather will close and be marked sold at approxi-

to be the sling and stone for a David versus Goliath battle

mately 3:00 p.m. Pacific Standard Time. Visit artsy.net

over market share. These advances have so far given

or lamodern.com to learn more. If you would like to bid

LAMA an incredible advantage. For one, location is be-

on one of these designated lots, please take a moment

coming increasingly irrelevant. When you operate in the

to download the app and place a bid. If you don’t want to

ether, high street rent is no longer a necessary expense.

use this new technology, don’t worry, you may still bid on

Second, since we have eliminated nearly all of our direct

these lots via live bidding in the room, phone bidding, and

mail and print advertising, we have been increasingly

absentee bids as usual. However, I think this is an impor-

reliant on the efficiency of electronic communication.

tant first step to deliver an “Uber” style user experience to the fine art world. Additionally, your use and feedback

So what’s next? I believe the future of the auction busi-

of the app will help fine tune the next generation of bid-

ness lies firmly with mobile computing. One day soon,

ding apps and will bring material to market faster and

most bidders will simply use their smart phone or tablet

cheaper in the future.

to bid and buy at auction much the same way we now use these devices to hail a car or buy music. Raising a paddle

As usual, we are proud to bring you our most recent se-

in the air will go the way of raising your hand to hail a cab.

lection of available Modern Art and Design. From a large

Walking into an art gallery will be remembered (perhaps

group of “School of Paris” artists to an incredible survey

cherished) like walking into a record store. Writing a

of early Los Angeles contemporary artists, this sale is

check? Waiting for an invoice in the mail? These are

proof of LAMA’s ability to curate across borders and disci-

already things of the past.

plines. But, then again, that’s nothing new. Peter Loughrey, Director

1 ED RUSCHA City

1969 2-color lithograph on calendered Rives BFK paper #7 of 20 Published and printed by Tamarind Lithography Workshop, Los Angeles Signed and dated in pencil “E. Ruscha 1969” lower right sheet; edition lower left; Tamarind Lithography Workshop watermark verso; inscribed in pencil “8536,” and “G3056” verso Image/sheet: 17" x 24" LITERAT U RE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #19.

$8,000–12,000

2 ED RUSCHA Dish

1973 1-color lithograph on roll Rives paper #227 of 250 Published by Neighbors of Watts, Los Angeles; printed by Cirrus Editions, Los Angeles Signed and dated in pencil lower right margin of sheet; titled lower center; edition lower left margin of sheet with printer blind stamp Image: 3.5" x 7.75" Frame: 10.75" x 14.125" LITERAT U RE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #67.

$4,000–6,000

3 ED RUSCHA

Nine Swimming Pools and a Broken Glass, Babycakes with Weights, and A Few Palm Trees (3) 1976; 1970; 1971 4-color offset print on white paper; black-and-white offset print on white paper; black-and-white offset print on 80 lb. white Vicksburg Vellum paper From the second edition of 2,000; from the first edition of 1,200; from the first edition of 3,900 Published by the artist/Multiples, Inc., New York/Heavy Industry Publications, Hollywood; printed by Blair Litho, Los Angeles/Unknown/G.R. Huttner Lithography, Burbank A Few Palm Trees signed in blue ballpoint pen Largest: 7.5" high LIT E RAT URE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 19591999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #B8, B11, B13.

$3,000–5,000

SIGNATURE DETAIL

4 ED RUSCHA

Main Street (from Harvey Gantt Portfolio) 1990; published 1991 1-color screenprint on gray Rives BFK paper #89 of 250 Published to benefit the campaign of Harvey Gantt; printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #45.18 Image/sheet: 8.25" x 10.25" Frame: 14.5" x 16.5" LIT E RAT URE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 19591999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #60.

$3,000–5,000

5 ED RUSCHA

Heaven and Hell (2) 1988 Soap-ground aquatint on Somerset cream paper #3 of 25 each Published by Crown Point Press, Oakland; printed by Renee Bott, Crown Point Press, Oakland Each signed and dated in pencil lower right margin of sheet beneath image; each with edition lower left margin of sheet beneath image; each with printer blind stamp lower right edge of sheet Images each: 44" x 32" Sheets each: 54" x 40" Frames each: 62" x 48.5" P ROVENA NC E Meyer Bloom Gallery, Santa Monica, California; Private Collection, Santa Monica, California (acquired directly from the above) LITERATURE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #157-158.

$18,000–25,000

6 ED RUSCHA

Bailarina (from Portfolio California) 1988 3-color lithograph on Guarro paper 1 of 10 unnumbered Artist’s proofs aside from the edition of 75 Published by Polígrafa Obra Grafica, Barcelona; printed by Ediciones Polígrafa, Barcelona Signed and dated in pencil lower right; edition lower left Image/sheet: 29.625" x 22" Frame: 38" x 30.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) LIT E RAT URE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #164.

$5,000–7,000

7 ED RUSCHA

Pico, Flower, Figueroa (from The MOCA Portfolio) 1999 Etching, aquatint and chine-collé paper #1 of 80 Published and printed by the Lapis Press, Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; edition lower left Image: 15.5“ x 22.625” Sheet: 22” x 30” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA)

$2,500-3,500

8 ED RUSCHA

Flies (from Insects Portfolio) 1972 5-color screenprint on paperbacked wood veneer #20 of 100 Published by Multiples, Inc., New York; printed by Styria Studio, New York Signed and dated in pencil lower right sheet; edition lower left; printed artist’s and publisher’s copyright stamp verso Image/sheet: 20.125" x 27" LITERATURE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #60.

$2,000–3,000

9 ED RUSCHA

Red Ants (from Insects Portfolio) 1972 5-color screenprint on Fabriano Classico glazed-finish watercolor paper #20 of 100 Published by Multiples, Inc., New York; printed by Styria Studio, New York Signed and dated with edition in pencil lower center sheet; printed artist’s and publisher’s copyright stamp verso Image/sheet: 20.125" x 27" LITERATURE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #63.

$2,000–3,000

10 ED RUSCHA

Cockroaches (from Insects Portfolio) 1972 4-color screenprint on paperbacked wood veneer #20 of 100 Published by Multiples, Inc., New York; printed by Styria Studio, New York Signed and dated with edition in pencil left sheet; printed artist’s and publisher’s copyright stamp verso Image/sheet: 20.125" x 27" LIT E RAT URE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #64.

$2,000–3,000

11 ED RUSCHA

Pearl Dust Combination (from Insects Portfolio) 1972 9-color screenprint with pearl dust on Fabriano Classico glazed-finish watercolor paper #20 of 100 Published by Multiples, Inc., New York; printed by Styria Studio, New York Signed and dated in pencil lower right sheet; edition lower left; printed artist’s and publisher’s copyright stamp verso Image/sheet: 20.125" x 27" LIT E RAT URE Engberg, Siri, and Clive Phillpot. Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. Minneapolis: Walker Art Center, 1999. #65.

$2,000–3,000

Peter Alexander The atmospheric phenomena and contemporary art scene of Los Angeles have always been source and inspiration for Light and Space artist Peter Alexander. A surfer since the age of 13, the artist summed up his love of Los Angeles this way: “It had to do with the ocean. It had to do with climate. It had to do with the drive-ins. It had to do with all the aspects of what constitute this a place. Even though I loved being in London and Philadelphia…it never occurred to me to live in any of those places […]. It’s still the same. I don’t want to live anyplace else.” Initially pursuing a degree in architecture, Alexander realized that “architecture wasn’t for me” while working under preeminent modernist architects Richard Neutra and William Pereira. He went on to enroll in the art department at UCLA, where he would graduate with his BA and MFA in 1966. Several moments in his life coalesced to result in his signature plastic resin sculptures. While preparing his surfboard, he observed clear resin in a cup, and it sparked the idea to explore plastics not for its intended industrial, utilitarian use, but as an art medium. He was also conscious of experiments in plastics by Ferus Gallery artists such as Robert Irwin, and counted contemporary Larry Bell and his inimitable glass cubes among his greatest influences: “I recall what I loved most about it was that somebody would do something. You [Robert Irwin] would do something or Craig Kauffman would do something or Larry [Bell], and I would see it and go ‘wow thats amazing … I bet I can do better.’” The lots on offer—both acquired directly from the artist at the same time—are among some of Alexander’s earliest cast polyester resin pieces. Alexander relates the geometric qualities of these sculptures and the careful planning they require to his education in architecture. A mold is designed and created, then “the awful sticky, syrupy [resin]…so agonizing to get that stuff on you,” is poured. He discontinued the use of resin for a period of time due to negative health effects from the toxicity of the materials, and it was not until Alexander encountered the less toxic urethane that he continued his

work in this vein. Alexander recounts: “I mean, when I started working in resin, it was plastic. Art was not made out of plastic in those days. Art was made out of all the things that history has said art is made of. So one of the reasons why I liked plastic was that it was sort of anti-art, so to speak.” The gradient color in Wedge with Puff (1968) reflects and refracts to delightful effect, creating different qualities of light in one object. A bright, clear luster shines through the margins, while a more muted glow emanates from within the puff and its borders. Using a completely novel medium, Alexander continues the exploration of light in the tradition of Johannes Vermeer, considered “the master of light” in the art historical cannon. Green Sphere (Box) (1967) references Bell’s cubes, though Alexander adds a pale green floating orb within his angular sculpture. Both of these pieces capture the effects of sunlight and water that Alexander observed while surfing. Alexander asked himself, “How can I put “air” into an art form? How can I replicate a natural occurring thing by using industrial materials?” Alexander’s answer goes beyond just the visual: “…these are not literal translations, they are sensual translations.” Alexander continues to live and work in Los Angeles. In 2014, he was awarded the California Art Award by the Laguna Art Museum in Laguna Beach, California. The J. Paul Getty Museum featured his work prominently in their landmark initiative of 2011, Pacific Standard Time: Art in L.A. 1945–1980. Public holdings of his resin works include the Los Angeles County Museum of Art and the Museum of Modern Art, New York. Alexander, Peter, Dave Hickey, and Naomi Vine. Peter Alexander: In this Light. New York: Hudson Hills Press, 1999. Print. Getty Conservation Institute. “Peter Alexander: The Color of Light.” Online video clip. Youtube. Youtube, 26 Feb. 2014. Web. 8 Jan. 2015. “Robert Irwin and Peter Alexander, 04/19/13 Perception of Desire Dialog + Q&A.” Online video clip. Youtube. Youtube, 4 June 2013, Web. 8 Jan. 2015. “Oral history interview with Peter Alexander, 13 Dec. 1995–8 May 1996.” Archives of American Art. Smithsonian Institution, 16 Sept. 2003. Web. 8 Jan. 2015.

12 PETER ALEXANDER Green Sphere (Box) 1967 Polyester resin Together with copy of receipt from the artist 5.25" x 6.5" x 6.625" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1968)

$7,000â&#x20AC;&#x201C;9,000

13 PETER ALEXANDER Wedge with Puff 1968 Polyester resin Together with copy of receipt from the artist 11.5" x 15.25" x 11.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1968) LIT E RAT URE Plagens, Peter. “The Sculpture of Peter Alexander.” Artforum Oct. 1970: 48-51 for similar example from the same period illustrated.

$7,000–9,000

14 ED KIENHOLZ For $87.00

1969 Watercolor, pencil and ink stamp on paper in artist’s frame Signed and dated in pencil with artist’s thumb print lower right sheet Sheet: 11.5" x 15.75" Frame: 12" x 16.375"

$4,000–6,000

15 ALLEN RUPPERSBERG

Is One Thing Better Than Another?????? c. 1985 Silkscreen on lead panel Unique Printed by the Colby Poster Printing Company, Los Angeles 22" x 14"

$4,000–6,000

LABEL DETAIL

16 GEORGE HERMS Desk pad

1975 Matchbook, bottle caps, playing card, letter opener, ink stamps, and other mixed-media on leather desk pad Signed and dated in black ball point pen “G. Herms/1975” verso 8.875" x 10.5" Frame: 9.625" x 11.125"

$1,000–1,500

17 WALLACE BERMAN

Semina, Vol. 1-9, 1958-1964 1988-1992 Various mediums #260 of 300 Co-published by L.A. Louver Gallery, Venice, and the LOVE Press, Los Angeles Together with the LOVE Press, L.A. Louver Project, 1988-1992 sheet signed and numbered by George Herms Portfolio box: 2" x 12" x 10.125" From 1958-1964, the artist produced nine journals of poetry and art. L.A. Louver published a facsimile of these documents under the supervision of Berman’s friend and fellow artist George Herms.

$1,000–1,500

18 SAM FRANCIS

Untitled (SFE-112) 1994 Etching and aquatint on paper #20 of 22 Printed by The Litho Shop Inc., Santa Monica Signed with edition in pencil lower right margin of sheet beneath image Image: 11.875" x 16.25" Sheet: 20" x 23.5" Frame: 25.25" x 29"

$3,000–5,000

19 SAM FRANCIS For St. Gallen

1963 2-color lithograph on Rives BFK paper #55 of 150 Published by Kornfeld and Klipstein, Bern; printed by Emil Matthieu Atelier, Zurich Signed in pencil lower right sheet; edition lower left; retains The Litho Shop label verso Image/sheet: 25.75" x 19.75" Frame: 39" x 31" LITERATURE Lembark, Connie W. The Prints of Sam Francis : A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. New York: Hudson Hills, 1992. #L52.

$1,500–2,000

20 SAM FRANCIS

Untitled (L. L263; SF-272) (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1983; published 1984 #110 of 250 Published by MOCA, Los Angeles; printed by The Litho Shop, Inc., Santa Monica Signed in pencil lower right sheet; edition lower left

21 SAM FRANCIS Rug

1990 Woven wool Arterior Collection Vorwerk, Germany Retains Vorwerk/Arterior Collection tag 78.75" x 118.125"

Image/sheet: 42” x 28” L IT E RAT URE Šípek, Borek. The P ROVE N A N CE Private Collection, Los

International Design Yearbook.

Angeles, California (acquired directly

Vol. 8. New York: Abbeville, 1993.

from MOCA, Los Angeles)

163, #10.

$2,500-3,500

$8,000–12,000

22 VARIOUS ARTISTS

Irving Blum Gallery announcements (11) 1968-1969 Color offset lithograph on paper Unknown edition size Comprised of announcements for Carl Andre, Dan Flavin, Donald Judd, Craig Kauffman, Ellsworth Kelly, Roy Lichtenstein (2), Robert Morris, Ed Ruscha, Frank Stella, and Andy Warhol Sheets each: 12.5" x 9.25"

$3,000â&#x20AC;&#x201C;5,000

Lloyd Hamrol The sculptor Lloyd Hamrol (b. 1937) came of age in the vibrant, free-wheeling, and highly-charged art world of Los Angeles in the 1960s, as the city established its identity as a major crucible of contemporary art. Through his studio work, Hamrol made a name as a creator of conceptual installations. Along with Llyn Foulkes and Tony Berlant he was presented with the New Talent Purchase Award by the Los Angeles County Museum of Art, and was subsequently featured in their 1965 exhibition “Five Younger Los Angeles Artists.” At the same time, Hamrol was active in “situational” art events and installations—ephemeral, provocative, participatory, often political creations and “happenings”—working with fellow artists such as Claes Oldenburg, Mark di Suvero, and Judy Chicago, to whom Hamrol was married from 1969 to 1979. The present lot, Green Piece (One Up One Down) (c. 1969), is closely related to a work Hamrol showed in his installation, “5 X 9,” originally exhibited in Los Angeles in 1966 at the fabled Rolf Nelson Gallery. Using the basic unit of rectangular laminate-on-wood columns, Hamrol devised five articulated “modules,” which he then configured into nine discrete assemblages, or “sets.” The ensemble, Hamrol wrote when the exhibition was remounted at Cardwell Jimmerson

Contemporary Art in Culver City, CA, in 2010—was intended “to pose certain questions about the nature and definition of sculpture in the form of a user-friendly object …. [E]ach modular set was an embodiment of my idea of indeterminacy (uncertainty); each set could represent the concept, and the narrative could be told through a folding-unfolding game played by the viewer.” Since the 1970s, Hamrol has worked primarily in the field of public art. His architectural and environmental sculptures— which have been commissioned for sites across the country— include Uptown Rocker in Los Angeles, Gyrojack in Seattle, and Pier Plaza Amphitheater in Huntington Beach, CA. Hamrol’s work is included in the permanent collections of LACMA, the Smithsonian Institute, and the Laguna Art Museum. Drohojowska-Philp, Hunter. Rebels In Paradise: The Los Angeles Art Scene and the 1960s. New York: John Macrae Book/Henry Holt, 2011. Print. Hamrol, Lloyd. “ ‘5 X 9’; Artist’s Exhibition Notes.” Cardwell Jimmerson Contemporary Art (2010): n.pag. Web. 9 Dec. 2014. Tuchman, Maurice. Five Younger Los Angeles Artists: Tony Berlant, Melvin Edwards, Llyn Foulkes, Lloyd Hamrol, Philip Rich, Contemporary Art Council New Talent Purchase Award Recipients 1963–1965. Los Angeles: Los Angeles County Museum of Art, 1965. Print.

23 LLOYD HAMROL

Green Piece (One Up One Down) c. 1969 Formica and wood Together with copy of receipt from the artist 30" x 12" x 6" (dimensions adjustable) Sculptural works by Lloyd Hamrol can be found in the permanent collections of the Hirshhorn Museum and Sculpture Garden, the Los Angeles County Museum of Art, and the Norton Simon Museum. P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1969)

$2,000–3,000

24 JOE GOODE

L.A. Artists In Their Cars 1969 Color photo-offset lithograph calendar Image/sheet each: 22.375" x 14.25" P ROVENAN C E Rudi Gernreich and Orreste Pucciani, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above); Thence by descent LITERATURE Barron, Stephanie. Made in California: Art, Image, and Identity, 1900-2000. Los Angeles: Los Angeles County Museum of Art. 205.

$1,000â&#x20AC;&#x201C;1,500

25 JOHN ALTOON Untitled

c. 1965 Ink and water-based media pastel on illustration board Image/board: 40" x 60" Frame: 40.125" x 60.125" P ROV E NANC E Cindy Williams, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2002)

$6,000â&#x20AC;&#x201C;9,000

26 LARRY BELL Untitled

1959 Oil on canvas Signed and dated upper right “L. Bell ‘59”; signed “L. Bell” verso Canvas: 47.5" x 49.25" Frame: 48.375" x 50" LITERATURE Larry Bell. Dijon: Les presses du réel, 2010. 57 for similar example from the same period.

$20,000–30,000

27 LARRY BELL

Melin 35 (from Vapor Drawing Series) 1985 Vaporized metal on paper Signed and dated in pencil “L Bell ‘85” lower center; retains an L.A. Louver Gallery label verso Together with receipt and letter from L.A. Louver Gallery Image/sheet: 29.375" x 23" Frame: 30.25" x 24" P ROV E NANC E L.A. Louver Gallery, Venice, California; Private Collection, Chicago, Illinois (acquired directly from the above, 1986); Private Collection, Palm Desert, California (acquired directly from the above)

$5,000–7,000

28 ED MOSES

Untitled (2) 1993 Watercolor on paper; etching on paper Etching: #9 of 15 Each signed and dated in pencil; etching with edition and blind stamp Image/sheet: 7" x 10.5" Frame: 15.5" x 18.5" Image: 5.875" x 7.75" Sheet: 13.625" x 12" Frame: 16" x 14"

$1,500–2,000

29 PETER ALEXANDER Untitled (Quilt)

c. 1982 Black velvet, satin, and satin cord 72" x 84" P ROVENA NC E The Functional Art Store, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above)

$500–800

30 ANN HAMILTON

Written (from The MOCA Portfolio) 2000 Embossing on Hahnemühle Copperplate paper #1 of 80 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil with edition verso Image: 17“ x 21” Sheet: 22” x 30” P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from MOCA)

$1,000–1,500

31 CHARLES & RAY EAMES

Lounge chair & ottoman (2) Herman Miller, designed 1956; this example executed before 1976 Model nos. 670 (chair) and 671 (ottoman) Chair: 32" x 32" x 34" Ottoman: 16.25" x 25.25" x 22.5" LIT E RAT URE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 207.

$4,000–6,000

32 CHARLES & RAY EAMES

Lounge chair & ottoman (2) Herman Miller, designed 1956; this example executed before 1995 Model nos. 670 (chair) and 671 (ottoman) Chair: 32" x 32" x 34" Ottoman: 16.25" x 25.25" x 22.5" LIT E RAT URE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 207.

$3,000–5,000

33 CHARLES & RAY EAMES Child’s chair

Evans Molded Plywood Division, designed 1945 14.5" x 14.5" x 11" LITERATURE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 54-56.

$4,000–6,000

34 CHARLES & RAY EAMES Dining chair

Herman Miller, designed 1952 Model no. DCM 29.75" x 19.5" x 20" LITERATURE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 191.

$200–300

35 CHARLES & RAY EAMES Sofa

Herman Miller, designed 1964 Model no. 3473 33" x 79" x 33" This sofa was very expensive to produce and was only made for 9 years (19641973); the base was a precursor to the 1968 production of the Chaise. LITERATURE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 191.

$4,000–6,000

27 36 CHARLES & RAY EAMES Office chairs (8)

Herman Miller, designed 1958 Aluminum Group Each: 32" x 26" x 26" LIT E RAT URE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 226.

$4,000–6,000

37 CHARLES & RAY EAMES Office chairs (6)

Herman Miller, designed 1958 Aluminum Group Each: 40" x 22.5" x 20" LIT E RAT URE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 226.

$4,000–6,000

ORIGINAL BOX DETAIL

38 CHARLES & RAY EAMES Dining chairs (2)

Herman Miller, designed 1952 Model no. DCM Each chair with Herman Miller/Charles Eames label Together with original boxes Chairs each: 28" x 19.5" x 21" Boxes each: 29.75" x 21" x 21" LITERATURE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 191.

$5,000â&#x20AC;&#x201C;7,000

39 CHARLES & RAY EAMES Dining chairs (6)

Herman Miller, designed 1945-1946 Model no. DCM Each: 29.5" x 19.5" x 20" LIT E RAT URE Neuhart, John & Marilyn. Eames Design: The Work of the Office of Charles and Ray Eames. New York: Abrams, 1989. 58.

$3,000â&#x20AC;&#x201C;6,000

40 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed c. 1958 Model no. CSS Overall: 94.5" x 83" x 71"

$3,000â&#x20AC;&#x201C;5,000

41 DAVID HOCKNEY

My Pool and Terrace (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1983 #110 of 250 Published by MOCA, Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; edition lower left Image: 23.875” x 35.75” Sheet: 29” x 42” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA, Los Angeles)

$2,500-3,500

42 NIKI DE SAINT PHALLE

Untitled (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1983 Color lithograph on Rives BFK paper #110 of 250 Published by MOCA, Los Angeles; printed by The Litho Shop, Inc., Santa Monica Signed in pencil lower right sheet; edition lower left Image/sheet: 29” x 42” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA, Los Angeles)

$1,000-1,500

43 JEAN TINGUELY

Fontaine Jo Siffert (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1984 Color screenprint on paper #110 of 300 Published by MOCA, Los Angeles Signed in white crayon center right sheet; edition center left Image/sheet: 42” x 29” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA, Los Angeles)

$1,000-1,500

44 BILLY AL BENGSTON John

1966 Polyurethane, lacquer on aluminum

LABEL DETAIL

EXHIBITION POSTER

Retains LACMA exhibition loan labels verso Together with Billy exhibition catalogue (not illustrated) and Margo Leavin Gallery exhibition poster 34" x 31"

Photo Credit / Photograph Courtesy of Billy Al Bengston Laboratory

P ROVENA NC E Sterling Holloway, Laguna Beach, California; Private Collection, Los Angeles, California (acquired directly from the above) EXHIBITE D “Billy Al Bengston,” traveling exhibition, Los Angeles County Museum of Art, Los Angeles; Corcoran Gallery of Art, Washington, D.C.; Vancouver Art Gallery, Vancouver, B.C., November 26, 1968-January 12, 1969 ILLUSTRAT E D Monte, James.Billy. Los Angeles: Los Angeles County Museum of Art, 1968. #33.; Tuchman, Maurice. Art in Los Angeles: Seventeen Artists in the Sixties. Los Angeles: Los Angeles County Museum of Art, 1981. 27, fig. 4.

$20,000–30,000

John on display at the Frank Gehry designed exhibition, “Billy Al Bengston,” Los Angeles County Museum of Art, 1968

46 CHUCK ARNOLDI Untitled

1983 Acrylic and graphite on paper Signed and dated in pencil “Arnoldi 1983” lower right sheet Image/sheet (vis.): 52.5" x 43" Frame: 75" x 63"

$5,000–7,000

47 TONY BERLANT

The Geometry of Desire 1983-1985 Metal collage of found tin and nails in found wooden frame Signed, dated, and inscribed in black felt-tip marker “The Geometry of Desire/Berlant/1983 L.A./ To January 1985” verso Sheet: 9.375" x 7.5" Frame: 15.75" x 14"

$3,000–5,000

48 TONY BERLANT Sammy

1981 Metal collage of found tin and nails in found carved wooden frame Signed, titled, dated, and inscribed in black felt-tip marker “Berlant/ Sammy/1981/New York” verso; retains Xavier Fourcade, Inc. Gallery label verso Sheet: 18" x 14.5" Frame: 20.375" x 17"

$4,000–6,000

49 DE WAIN VALENTINE Blue Slab

1970 Cast polyester resin Together with copy of receipt from the artist 72.5" x 23.5" x 6.5" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1970)

$30,000â&#x20AC;&#x201C;50,000

De Wain Valentine The plastic sculptures of American Minimalist and California Light and Space artist De Wain Valentine (b. 1936) are notable not only for their luminous appearance, but also for the ground-breaking techniques used in their fabrication. In the 1960s and ‘70s, Valentine teamed with industrial plastics companies to formulate the material capabilities that he required for his poured and cast resin sculptures. According to fellow Light and Space artist Helen Pashgian, “He was a real innovator, willing to take risks with a new material. Most of these resins [then-available] were designed to be poured in very thin layers. That’s why De Wain had to develop his own resin.” Working with Hastings Plastics in Santa Monica, Valentine successfully created a new formula in 1966, which was commercially available under the registered trademark “Valentine MasKast Resin” by 1970. MasKast Resin had the capacity to be poured into molds, and resulted in sculptures far beyond the 50-pound limit that had been in place. Prior to the creation of Valentine MasKast, molded resin sculptures weighing more than 50 pounds had a tendency to crack when curing. Using his new resin, Valentine was able to create sculptures that ranged from hundreds to thousands of pounds in weight. After unmolding the sculptures, every inch of the surfaces had to be sanded and polished. Looking back, Valentine says, “I’m glad I did it when I was young. I thought I was going to live forever and could do anything.” Born, raised, and educated in Colorado, Valentine grew up with an appreciation for materials and industrial processes. He spent time with his uncles scavenging for copper and iron ore, and worked in a boat shop, where he first cultivated an interest in plastics. Lured by the fledgling but burgeoning 1960s Los Angeles art scene, Valentine moved to the city

in 1965. He quickly established his presence—he procured a studio next to Larry Bell in Venice, and secured a teaching position at UCLA in plastics technology. Speaking of his motivations and inspiration, Valentine swoons: “In Colorado, I had a love affair with the sky and the clouds and the mountains. You didn’t see the air in Colorado. It was just crystal. When I moved to California, the smog became a substance. The quality of the light had a body to it that was just thrilling.” Blue Slab (1970) and Top (1969) are prime examples of the possibilities of Valentine’s ability to make tangible the phenomena observed in the California sea, sky, and sun in cast plastic sculptures. Both pieces were acquired directly from the artist and come from the original owner. Top is comprised of polished, smooth curves. The slender points of the top are almost translucent, refracting and reflecting light, while the body approaches opacity and seems to absorb light. Blue Slab, in deep cerulean-colored resin, demonstrates the influence of the California landscape and coastline upon Valentine’s work. With its sleek, elongated wedge form, the piece is an important precursor to Valentine’s 1975 sculpture, Gray Column (1975–76), which was shown at the Getty Museum as part of Pacific Standard Time: Art in LA 1945–1980 in 2011–2012. Other examples of Valentine’s work can be found in institutions across the nation, including the Museum of Modern Art, New York; the Museum of Contemporary Art, San Diego; and the Laguna Art Museum. “From Start to Finish: De Wain Valentine’s Grey Column.” Pacific Standard Time: Art in LA 1945-1980. The J. Paul Getty Museum. Web. 17 Nov. 2014. Kennedy, Randy. “Reputation and Monolith, Both Stand Tall.” The New York Times. 18 Sept. 2011: AR74. Web. 17 Nov. 2014.

50 DE WAIN VALENTINE Top

1969 Cast polyester resin Together with copy of receipt from the artist 16" x 16" diameter P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1969)

$10,000–15,000

51 ERIC ORR

The Emergence of Red 1986 Mixed-media on panel Retains James Corcoran Gallery label verso Together with copy of receipt Panel: 39.375" x 34.25" Frame: 43" x 36" P ROVENA NC E James Corcoran Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1986)

$5,000â&#x20AC;&#x201C;8,000

52 ERIC ORR

Drawing on Glass for the Gold Room 1978 Metallic vapor vacuum drawing on glass Incised signature with date lower left Together with receipt Glass: 15.75" x 19.75" Frame: 16.125" x 20.25" P ROVENA N C E Cirrus Gallery, Los Angeles, California; Private Collection, Chicago, Illinois (acquired directly from the above, 1983); Private Collection, Palm Desert, California (acquired directly from the above) LITERATURE Eric Orr: A Survey of Works. Santa Monica: Robert Berman Gallery, 2007 for similar example.

$1,500â&#x20AC;&#x201C;2,000

53 KEN PRICE

Kauai Crab Cup & Hermit Crab Cup (2) 1972 18-color and 14-color screenprint on J. Green Mouldmade paper #26 of 60 Published and printed by Cirrus Editions, Los Angeles Each signed in pencil with edition and Cirrus blind stamps Image: 12" x 10.75" Sheet: 24" x 20" Frame: 30.125" x 24.75" Image: 15" x 11.75" Sheet: 28.125" x 22.125" LIT E RAT URE Davis, Bruce. Made in LA: Prints of Cirrus Editions. Los Angeles: Los Angeles County Museum of Art, 1995. 336.

$2,000–3,000

39 54 LADDIE JOHN DILL Untitled

1995 Cement, glass, cobalt, oxide Signed and dated in black felt-tip marker verso 24" x 60"

$2,000–3,000

ROBERT GRAHAM

1989 Cast copper bas-relief with unique patina

1992-1994 Patinated bronze

Untitled (Duke Ellington) V

#5 of 10 Fabricated by Mixografia, Los Angeles Marked “V” lower left; bears the inscription “V” verso Together with copy of receipt Relief: 20" x 48" Frame: 22.375" x 50.5" P ROVENA NC E The Remba Gallery, West Hollywood, California; Private Collection, Miami, Florida (acquired directly from the above, 2000) LITERATURE Tuchman, Maurice, and Earl A. Powell, III. Robert Graham: The Duke Ellington Memorial in Progress. Los Angeles: Los Angeles County Museum of Art, 1988. 18-23 for studies the edition was based on.; Neuendorf, Hans, ed. Robert Graham: Statues. Frankfurt: Galerie Neuendorf AG, 1990. #76.

$20,000–30,000

MOCA Torso

From the edition of 3,500 Published by MOCA Editions Signed “R. Graham” and “Juan” 11" x 4.5" diameter at base

$3,000–5,000

57 JIM GANZER

Neferure (Ganzer stand) 1981 Neferure: Slate, palm fronds, epoxy; Drawing: Colored pencil on paper Drawing: Artist’s initials lower left; dated “2-17-81” lower right; retains artist’s label verso Neferure: 33" x 30.5" x 28" Drawing: Image/sheet (vis.): 5.375" x 11.25" Frame: 20.75" x 22.75" Together with drawing, St. Lucia, 1981 and exhibition mailer P ROV E NANC E The Functional Art Store, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above)

$1,000–1,500

58 JIM GANZER

Ganzer stands (3) c. 1982 Ganzer stands: Palm fronds, plywood, epoxy; Tapestry: Woven wool Tapestry: #1 of 6 Tapestry: The Functional Art Store, Santa Monica Tapestry retains label “JIM GANZER/1/6/ The Functional Art Store” verso Together with wool tapestry and 1983 Los Angeles Institute of Contemporary Art exhibition pamphlet Largest: 43.5" x 18.5" diameter Smallest: 25.25" x 20.5" diameter Tapestry: 52" x 75.5" P ROV E NANC E The Functional Art Store, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above)

$2,500–3,500

ILLUSTRATION OF TAPESTRY NOT TO SCALE

59 LABEL DETAIL

JOHN BALDESSARI

National City Portfolio 1996 Eight color photographs handpainted with acrylic and mounted to 4-ply rag board on 1/8” Sintra

Patrick Painter Editions label with printed edition number verso Images each: 18" x 18" Sheets each: 19.125" x 18.75" LIT E RAT URE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue

#6 of 12

Raisonné of Prints and Multiples,

Published by Patrick Painter Editions, Inc., Los Angeles; printed by JAB Art Enterprises, Inc., Santa Monica

Press, 2009. #81-88.; Congdon,

Each signed in black marker on

1971-2007. Manchester: Hudson Hills Daniel. Patrick Painter Editions: 19912005. Hong Kong: Patrick Painter Editions, 2006. 231-239.

$40,000–60,000

60 JOHN BALDESSARI

Two Boats (from Hegel’s Cellar Portfolio) 1986 Photogravure and aquatint on torn Rives BFK paper #3 of 35 Published by Multiples, Inc., New York; printed by Iris Editions, New York Signed in pencil with edition verso Image: 19" x 25.875" Sheet: 19" x 26.25" Frame: 27.25" x 34" LITERATURE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 19712007. Manchester: Hudson Hills Press, 2009. #24.

$4,000–6,000

61 JOHN BALDESSARI

Leg, Straw, Diver (from Hegel’s Cellar Portfolio) 1986 Photogravure, aquatint, spit-bite aquatint, and sanding on torn Rives BFK paper #3 of 35 Published by Multiples, Inc., New York; printed by Iris Editions, New York Signed in pencil with edition verso Image: 25.625" x 19.125" Sheet: 26.125" x 19.5" Frame: 34" x 27.875" LITERATURE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #29.

$4,000–6,000

62 JOHN BALDESSARI

Two Unfinished Letters 1996 Color screenprint and lithograph on Arches 88 paper #64 of 80 Published by Brooke Alexander Editions, New York; printed by Arber and Son Editions, Alameda; Unified Arts, Albuquerque; and S.W. Prepress, Albuquerque Signed in pencil lower right margin of sheet beneath image; edition and blind stamp lower left margin of sheet beneath image Image: 29.5" x 18.875" Sheet: 31.5" x 21" P ROV E NANC E Brooke Alexander Editions, New York, New York; Private Collection, Los Angeles, California (gifted directly by The Chinati Foundation, Marfa, Texas, 1996) LIT E RAT URE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #62.

$3,000–5,000

63 JOHN BALDESSARI

The Overlap Series: Double Motorcyclists and Landscape (Icelandic 2003) 2001-2003 6-color lithograph on Somerset paper #50 of 90 Published by Brooke Alexander Editions, New York; printed by Derrière L’Étoile Studios, New York Signed and dated in pencil lower right sheet margin beneath image; edition lower left sheet margin beneath image Image: 28" x 27.5" Sheet: 29.25" x 28.5" Frame: 31" x 31" P ROV E NANC E Brooke Alexander Editions, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above) LIT E RAT URE Coplan Hurowitz, Sharon. John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. Manchester: Hudson Hills Press, 2009. #115.

$4,000–6,000

Ron Davis California artist Ron Davis (b. 1937) explores geometric shapes and the illusions of visual perspective using the new techniques and materials that came to be popular in Los Angeles via the thriving aerospace and plastics industries. Davis was born in Santa Monica and grew up in Wyoming, and returned to California to attend the San Francisco Art Institute in the 1960s. He was initially interested in Abstract Expressionism, but his move to Los Angeles in 1964 had a profound impact upon his work. He abandoned traditional painting and began to work with shaped canvases, colored plastic resins, and fiberglass, creating colorful, geometric artworks that played upon dimensionality and flatness, color, and visual perspective. The artist explains: “My work is comprised of aggressively decorative, meaningless, unidentified floating objects that pretend to be rational. Illusion is my vehicle. Opticality is paramount. Struggling to gain a fingerhold in the formidable tradition of abstract painting, I attempted a synthesis between the ‘minimal object,’ Pop … and traditional, emotion-driven expressionist painting.”

64 RONALD DAVIS

50" x 140"

Double Sawtooth 1970 Pigmented polyester resin and fiberglass

PROVE N A N CE Leo Castelli Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly

Signed on artist’s label with title verso

from the above, 1971)

Together with receipt from Leo Castelli Gallery, letter from Leo Castelli, and Kasmin Limited gallery mailer

L I T E RAT U R E Elderfield, John. “Ron Davis at Castelli.” Artforum Mar. 1971: 32-34 for similar works discussed and illustrated.

$8,000–12,000

Ironically, Davis’s avant-garde, highly material, and experimental work maintains the same concerns of color, space, volume, and perspective as in traditional painting. Davis connects his work to the history of art by saying: “If I’ve made any contribution at all, it is that counter to the glacial movement of serious twentieth century painting since Cézanne toward flatness, I’ve reintroduced the theorems of three-dimensional, mathematical perspective into my made objects; my constructions. This is my legacy; my contribution to the art history books.” In 1968, Davis was awarded a grant from the National Endowment for the Arts. His work is held in public collections including the Los Angeles County Museum of Art; the Museum of Modern Art, New York; the Tate Gallery; and the Art Institute of Chicago. Elderfield, John. “New Paintings by Ron Davis” Artforum March 1971. 32-34.“Ronald Davis Speaks About His Work.” Video clip. Pacific Standard Time at the Getty Center. The J. Paul Getty Museum, June 2011. Web. 2 Dec. 2014.

P ROV E NANC E Nicholas Wilder Gallery, Los

RONALD DAVIS

les, California (acquired directly from the above,

Angeles, California; Private Collection, Los Ange-

Notch Rectangle XIV

1971); Private Collection, Los Angeles, California

1971 Pigmented polyester resin and fiberglass

E XHIBIT E D “Rectangle Series,” Pasadena Art

51.75” x 135.75”

(acquired directly from the above, 1972)

Museum, Pasadena, September 27-November 14, 1971

Signed on artist’s label with title verso

LIT E RAT URE Elderfield, John. “Ron Davis at

Together with receipt from Nicholas Wilder Gallery and gallery mailer

Castelli.” Artforum Mar. 1971: 32-34 for similar works discussed and illustrated.

$8,000–12,000

66 POUL KJÆRHOLM Coffee table

E. Kold Christensen, designed 1956 Model no. PK61 Retains EKC monogram 13" x 33.5" x 33.5" LITERATURE Holm, Michael Juul. Poul Kjærholm - Furniture Architect. Denmark: Louisiana Museum of Modern Art, 2006. n. pag.

$5,000–7,000

67 POUL KJÆRHOLM Lounge chairs (2)

Fritz Hansen, designed 1956 Model no. PK22 Each stamped “Poul Kjærholm/Fritz Hansen/Denmark,” one retains label Each: 27.5" x 26" x 24.5" LITERATURE Holm, Michael Juul. Poul Kjærholm - Furniture Architect. Denmark: Louisiana Museum of Modern Art, 2006. n. pag.

$2,000–3,000

68 POUL KJÆRHOLM Lounge chairs (4)

Fritz Hansen, designed 1956 Model no. PK22 Each stamped “Poul Kjærholm/Fritz Hansen/Denmark” Each: 27.25" x 26" x 24.5" LIT E RAT URE Holm, Michael Juul. Poul Kjærholm - Furniture Architect. Denmark: Louisiana Museum of Modern Art, 2006. n. pag.

$6,000–8,000

69 FINN JUHL

Easy chair and settee (2) Niels Vodder, designed 1953 Settee branded “Cabinetmaker/ Niels Vodder/Copenhagen Denmark/ Finn Juhl” Chair: 29" x 29" x 30" Settee: 29" x 51" x 30" LITERATURE Hiort, Esbjørn. Finn Juhl: Furniture, Architecture, Applied Art. Copenhagen: The Danish Architectural Press, 1990. 58-59.

$20,000–30,000

70 FINN JUHL Armchair

Niels Vodder, designed 1945 Model no. NV-45 Branded “Niels Vodder Cabinet Maker/Copenhagen Denmark/Design: Finn Juhl” 32.5" x 30" x 27" LIT E RAT URE Hiort, Esbjørn. Finn Juhl: Furniture, Architecture, Applied Art. Copenhagen: The Danish Architectural Press, 1990. 34; Fiell, Charlotte & Peter. 1000 Chairs. Cologne: TASCHEN, 1997. 267.

$12,000–15,000

71 HANS WEGNER

Papa chair and ottoman (2) A. P. Stolen, designed 1951-1953 Model no. AP 19 Chair: 38.5" x 36" x 36" Ottoman: 15.5" x 27.25" x 16" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 68.

$10,000–15,000

72 HANS WEGNER Papa chair

A. P. Stolen, designed 1951-1953 Model no. AP 19 38.5" x 36" x 36" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 68.

$10,000–15,000

BACKREST DETAIL

73 HANS WEGNER

Executive Swivel chair Johannes Hansen, designed 1955 Model no. JH 502 Retains medallion “Johannes Hansen/ Cabinet Maker/Design by H.J. Wegner/ Copenhagen/Denmark” 28.5" x 29" x 25" LIT E RAT URE Møller, Henrik Steen. Hans Wegner Furniture Catalogue, c. 1980. 24.

$8,000–12,000

74 JOHAN ROHDE

Acanthus silver service (66) Georg Jensen, designed 1917, executed post-1945 Stamped maker’s marks Comprised of a five piece service for twelve, and seven serving pieces Various dimensions

PARTIAL ILLUSTRATION

$4,000–6,000

75 HANS WEGNER Sofa

Getama, designed 1954 Model no. 236 31" x 108" x 32" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 19.

$4,000–6,000

76 HANS WEGNER Shell side chair

Fritz Hansen, designed 1948 27.5" x 28.5" x 24" LITERATURE Oda, Noritsugu. Hans J. Wegner’s 100 Chairs. Japan: Corona Books, 2002. 33.

$3,000–5,000

77 PETER LØVIG NIELSEN Desk

Løvig, designed c. 1962 29" x 59" x 34.75"

$3,000–5,000

55 78 PETER WESSEL, ATTRIBUTED Armchairs (2)

Wessel, Norway, designed c. 1955 Each: 31.5" x 28.75" x 26"

$1,500–2,000

79 KAY BOJESEN Animals (11)

Studio, designed 1951-1957 Each branded “Kay Bojesen/Denmark/ Copyright” Comprised of two rabbits, two elephants, one hippopotamus, three bears, and three monkeys Largest (monkey): 18" high

$3,000–5,000

80 RUT BRYK

Untitled (plaque) Studio, executed c. 1968 Painted and glazed ceramic Signed “RB/II” verso 17.5" diameter

$1,500–2,000

81 BIRGER KAIPIAINEN Untitled (charger)

Arabia, executed c. 1968 Painted and glazed ceramic Signed “Kaipiainen/Arabia” 14.5" x 17.5" x 2.5"

$1,500–2,000

82 ARNE JACOBSEN

Egg chair and stool (2) Fritz Hansen, designed 1958 Model nos. 3317 (chair) and 3127 (stool) Chair: 42.5" x 32.25" x 27" Stool: 16" x 21.5" x 16" LIT E RAT URE Fritz Hansen-Furniture Catalogue, Copenhagen: Det Berlingske Bogtrykkeri, 1963. 70.

$3,000–5,000

83 ARNE JACOBSEN

Grand Prix chairs (5) Fritz Hansen, designed 1958 Model no. 4130 Each: 31" x 18" x 18" LIT E RAT URE Fritz Hansen-Furniture Catalogue, Copenhagen: Det Berlingske Bogtrykkeri, 1963. 24.

$2,000–3,000

84 ARNE JACOBSEN Swan chairs (2)

Fritz Hansen, designed 1958 Model no. 3320 Each: 32" x 28.25" x 24" LITERATURE Fritz Hansen-Furniture Catalogue, Copenhagen: Det Berlingske Bogtrykkeri, 1963. 70.

$2,500–3,500

85 ARNE JACOBSEN Swan settee

Fritz Hansen, designed 1963 30" x 56" x 28"

$3,000–5,000

86 RUT BRYK Untitled

Studio, executed c. 1968 Painted and glazed ceramic Marked “Rut Bryk” verso 51" x 18.5" x 2.24"

$7,000–9,000

87 LUCIAN FREUD

After Chardin (Small Plate) 2000 Hardground line etching on Somerset White 300-gram paper #1 of 80 Published by the Los Angeles County Museum of Art Artist’s initials in pencil lower right margin of sheet beneath image; edition lower left; artist’s initials in plate lower left image Together with print documentation and letter from MOCA Image: 6" x 7.75" Sheet: 15" x 19.875" P ROVENA NC E MOCA, Los Angeles, California; Private Collection, Los Angeles, California (gifted directly by the above, 2000) LITERATURE Figura, Starr. Lucian Freud: The Painter’s Etchings. New York: Museum of Modern Art, 2007. 33.

$8,000–12,000

88 FRANCIS BACON

Logique de la Sensation 1981 Color lithograph on Arches paper #143 of 150 Published by Les Editions de la Differénce, Paris; printed by Arts-Litho, Paris Signed in pencil lower right sheet; edition lower left with printer blind stamp Image/sheet: 17.5" x 12.5" Frame: 25" x 20" LIT E RAT URE Sabatier, Bruno. Francis Bacon: Œuvre Graphique. Paris: JSC Modern Art Gallery, 2012. 92-93, #28.

$8,000–12,000

Shahzia Sikander Shahzia Sikander (b. 1969) has proven herself to be one of the most vibrant, engaging, and multifaceted talents in contemporary art. The Pakistani-born artist—an American resident since the early 1990s—embraces many disciplines: painting, drawing, murals, digital animation, installations, videos, and performance art. A consistent theme in her work is an examination of culture—and cultural identity— when it is set in a new context of time and place. Richly layered with imagery and dense with symbols, her 1997 watercolor, Multiple Bearings, is an archetypal example of the resonant style that marks Sikander’s artistry, and marked the artist’s entry into the highest echelons of the art world. Multiple Bearings was created in the early phase of Sikander’s career, and shown in solo exhibitions at Deitch Projects (1997), the Renaissance Society at the University of Chicago (1998), and the Hirshhorn Museum and Sculpture Garden (1999–2000), giving her work its widest public exposure to date. The shows were revelatory. Curator Valerie Fletcher wrote in the Hirshhorn exhibition brochure: “Shahzia Sikan-

89 SHAHZIA SIKANDER Multiple Bearings

1997 Opaque watercolor, vegetable dyes, and tea wash on hand-prepared Wasli paper Signed and dated in pencil lower right sheet; retains Smithsonian Institution label verso; retains Hirshhorn Museum and Sculpture Garden exhibition label verso Together with copy of exhibition brochure from the Hirshhorn Museum and Sculpture Garden Image/sheet: 16" x 11.75" Frame: 24" x 19.5" P ROVENA N C E Deitch Projects, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1997) EXHIBITE D “Shahzia Sikander: Murals and Miniatures,” Deitch Projects, New York, November 1-December 20, 1997; “Shahzia Sikander,” The Renaissance Society at the University of Chicago, March 8-April 19, 1998; “Directions: Shahzia Sikander,” Smithsonian Institution, Hirshhorn Museum and Sculpture Garden, Washington, D.C., November 18, 1999-February 21, 2000 LITERATURE Shahzia Sikander. Chicago: University of Chicago Press, 1998. 23.; Fletcher, Valerie. Directions: Shahzia Sikander. Washington, DC: Smithsonian Institution, 1998. #18.

$10,000–15,000

der’s art is about complexity, contradiction, and synthesis— about past and present, Asia and America, self and society, reality and perception. Bringing together elements from diverse sources, she devises enigmatic images that reflect her own experiences and serve as the visual equivalents of mixed metaphors.” As with much of the work in Sikander’s oeuvre, Multiple Bearings is grounded in her study of Indo-Persian miniature painting, an ancient format requiring immense technical skill and attention to detail. Sikander’s work transforms the narrative tradition of the genre by superimposing translucent image upon image, creating juxtapositions and ambiguities. In Multiple Bearings, layered representations and iconographic gestures hint at the tensions between traditional values and contemporary life, dreams and reality, the individual and the culture at large. Sheets, Hilarie M. “Shahzia Sikander.” ARTnews 15 Apr. 2013. Web. 13 Nov. 2014. Toor, Salman. “Art History 101.” The Friday Times [Lahore, Pakistan] 20 Sept. 2013: Vol. XXV, No.32 ed. Web. 14 Nov. 2014.

90 STEVE RODEN

Constellation #9 1999 Acrylic, graphite on vellum Signed on artist’s label verso Sheet: 8.75" x 11.5" Frame: 16.5" x 13.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the Laguna Art Museum Annual Art Auction, 2000)

$1,500–2,000

91 WANGECHI MUTU Howl

2006 Archival pigment print with color screenprint on paper #8 of 40 Published by MOCA Projects Council, Los Angeles Signed in pencil lower right with date and edition Image/sheet: 35" x 24" Frame: 42” x 30”

$4,000–6,000

92 VALERIE JAUDON East End

1980 Oil on canvas Signed, titled, and dated on overlap 100" x 84.25" P ROVENA NC E James Corcoran Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1981)

$8,000â&#x20AC;&#x201C;12,000

93 BRICE MARDEN

L.A. Muses (from The MOCA Portfolio) 1999 3-color etching and lithograph on Somerset Velvet white 330-gram paper #1 of 80 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “B. Marden 99” lower right margin of sheet beneath image; Gemini G.E.L. blind stamps lower right margin of sheet; edition lower left margin of sheet beneath image Gemini G.E.L. #63.1 Image: 17" x 26" Sheet: 22" x 30" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA)

$3,000–5,000

94 SOL LEWITT

Brushstrokes in All Directions 1994 Silkscreen on paper #484 of 500 Published by Film Forum; printed by Watanabe Studio Ltd., Brooklyn Signed in pencil “Lewitt” lower right sheet; edition lower left Sol Lewitt Prints Catalogue Raisonné #1994.05 Image: 16" x 16" Sheet: 20" x 20" Frame: 23.625" x 23.625"

$900–1,200

Mary Corse An under-recognized figure in the male-dominated Light and Space movement of the 1960s, Mary Corse (b. 1945) developed entirely new methods to capture fluctuating light, changing visual perception, and dynamic surfaces. Born in Berkeley, California, Corse enrolled at the famed Chouinard Art Institute in the mid-1960s, alma mater of other Light and Space artists including Larry Bell and Robert Irwin, though she claims, “At the time, I was not part of this group nor was I influenced by their work.” In 1968, after working on a series that housed fluorescent lightbulbs in Plexiglas cases, Corse mixed small glass beads, “microspheres,” directly into the paint before brushing it onto the prepared canvas. This technique achieved a unique prism-like effect. Corse explains: “…my paintings are not reflective! […] They create a prism that brings the surface into view. I like that because it brings the viewer into the light as well.”

Corse “brings the viewer into the light” in Untitled (White, Black, Blue Double Arch) (2000) by using the dramatic contrast of light and dark and its subsequent push and pull. The deep blue and black fields of color act as doorways into recessive space, while the white, glassy, prismatic boundary creates the perception of floating and light. In Corse’s paintings, the light is as much a tool as are the canvas, the paint, or the paintbrush: “For me painting has never been about the paint, but what the painting does. I didn’t want to make a picture of light; I wanted to put the actual light in the painting…” In 2012, Corse unveiled a new body of work at Lehmann Maupin Gallery in New York. Her work can be found in the permanent collections of the Los Angeles County Museum of Art; MOCA, Los Angeles; the J. Paul Getty Museum, Los Angeles; and the Guggenheim Museum, New York. Wyma, Chloe. “19 Questions for Light and Space Artist Mary Corse.” Blouin ARTINFO 21 Feb. 2012. Web. 2 Dec 2014. Yablonsky, Linda. “Artifacts: Mary Corse.” T Magazine 24 Feb. 2012. Web. 2 Dec. 2014.

95 MARY CORSE

Untitled (White, Black, Blue Double Arch) 2000 Acrylic and glass microspheres on canvas Signed and dated in black felt-tip marker verso Together with copy of receipt from the artist Canvas: 63" x 76.5" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 2000)

$30,000–50,000

96 CARL ANDRE Untitled

c. 1960s Lithograph on paper #48 of 50 Signed with edition in ink lower center sheet Image/sheet: 21.625" x 15.625" Frame: 29.25" x 23.5"

$8,000–10,000

97 JAMES LEE BYARS

Four in a Dress proposal 1967 Double-sided typset on paper 11" x 8.5" LIT E RAT URE Elliot, James. The Perfect Thought: Works by James Lee Byars. Berkeley: University Art Museum, 1990. 84-85 for discussion of Four in a Dress.

$300–500

TAG DETAIL

98 RUTH ASAWA

Untitled, S.750 (Hanging Open Form with Four Fluted Edges) Early 1960s Looped thin copper wire ALTERNATE VIEW

Unique Retains copper tag “S.750/60” 10" x 15.5" diameter LAMA would like to thank Aiko Cuneo for her assistance in cataloguing this work P ROV E NANC E Private Collection, San Francisco, California (acquired directly from the artist); Thence by descent

$40,000–60,000

99 FRANK STELLA

Purple Series (9) 1972 The full suite of nine color lithographs on Zerkall Copperplate Deluxe paper #87 of 100 each Published and printed by Gemini G.E.L., Los Angeles Each signed with edition and date in pencil with Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #51.77-#51.85 Sheets each: 16" x 22" P ROVENANC E Los Angeles County Museum of Art LITERATURE Axsom, Richard H. The Prints of Frank Stella: A Catalogue Raisonné: 19681982. New York: Hudson Hills Press, 1983. #65-#72.

$18,000–25,000

100 RICHARD SERRA Hair of The Dog

1996 1-color etching on Lanaquarelle Watercolor paper #7 of 30 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “R Serra 96” lower right; edition lower left; Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #47.97 Image: 16" x 19" Sheet: 20.5" x 23.25" Frame: 22.5" x 25.25" LITERATURE Von BerswordtWallrabe, Silke, ed. Richard Serra: Werkverzeichnis : Druckgrafik, 19722007. 2nd ed. Düsseldorf: Richter Verlag, 2008. 139, #114.

$4,000–6,000

101 RICHARD SERRA Clinton ‘96

1996 1-color etching on Lanaquarelle Watercolor paper #51 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “R Serra 96” lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right margin Gemini G.E.L. #47.98 Image: 19.5" x 20" Sheet: 24" x 24" Frame: 26" x 26.25" LITERATURE Von BerswordtWallrabe, Silke, ed. Richard Serra: Werkverzeichnis : Druckgrafik, 19722007. 2nd ed. Düsseldorf: Richter Verlag, 2008. 139, #115.

$4,000–6,000

102 RICHARD SERRA

MOCA Print (from The MOCA Portfolio) 1999 1-color etching on Somerset Velvet white 330-gram paper #1 of 80 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right sheet; edition lower left Gemini G.E.L. #47.115 Image/sheet: 30“ x 22” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA)

$2,500-3,500

103 JOEL SHAPIRO

Untitled (Double Red) 1980 2-color lithograph on Arches Cover paper #2 of 30 Printed by Derrière L’Étoile Studios, New York Signed, dated, and with edition in pencil lower right margin of sheet Together with receipt and Joel Shapiro: Sculpture and Drawing exhibition catalogue from a 1980 traveling exhibition and Joel Shapiro: Lithographs 1979-1980 Image/sheet: 29.5" x 41.25" Frame: 37.25" x 49" P ROV E NANC E Cooper and Alexander Gallery, New York, New York; Private Collection, Chicago, Illinois (acquired directly from the above, 1980); Private Collection, Palm Desert, California (acquired directly from the above) LIT E RAT URE Joel Shapiro: Lithographs 1979-1980. New York: Brooke Alexander, Inc./Paula Cooper Gallery, 1980. #9.

$1,000–1,500

104 REVEREND ETHAN ACRES

Camel Passing Through the Eye of a Needle 1997 Crocheted-yarn, matchsticks, sewing needle As illustrated: 91 x 140" P ROVENA NC E Patricia Faure Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1997) EXHIBITE D “Lamb of God,” Patricia Faure Gallery, Santa Monica, 1997 ILLUSTRAT E D Perchuk, Andrew. “Reverend Ethan Acres.” Artforum Sept. 1997: 123. LITERATURE Drohojowska-Philp, Hunter. “A Preacher’s Art of Spreading the Word.” Los Angeles Times [Los Angeles] 8 June 1997, Arts section: 52.; Harvey, Doug. “Art for God’s Sake: The Gospel According to Reverend Ethan Acres.” LA Weekly [Los Angeles] 26 May 1999, Arts section.

$3,000–5,000

Reverend Ethan Acres Alabama-born, Las Vegas-based artist Reverend Ethan Acres (b. 1970) creates scripture-based performances and mixed-media sculpture that shock and surprise with their sensationalism, whimsy, kitsch, and ostentation. Acres received his MFA from the University of Nevada and an honorary doctorate of divinity from the online, mail-order World Christianship Ministries in Fresno, California, and he is fond of saying that he puts the “fun back in fundamentalism.” Camel Passing Through the Eye of a Needle (1997) appears to be a folksy wall hanging—it looks like something a crafty grandmother might crochet, with the exception of the tongue-in-cheek humor. The work plays off of a verse from The King James Bible: “And again I say unto you, It is easier for a camel to go through the eye of a needle, than for a rich man to enter into the kingdom of God” (Matthew 19:24). Acres interprets the metaphor

literally, as the knit camel slowly unravels to physically pass through the eye of the needle, one stitch at a time. A sense of sincerity surrounds the work—perhaps a message of inclusion for the wealthy who would be refused admission to heaven—until one notices the large and unmistakably human genitalia on the lower regions of the camel. Like his work, Acres is hard to pin down. His sincerity, or perhaps lack thereof, is always in question. And, as he keeps audiences guessing, he also continues to draw attention to his art and to his church. Acres’ work can be found in public collections including the Los Angeles County Museum of Art, the Fisher Museum at the University of Southern California, and the San Jose Museum of Art. Iannaccone, Carmine. “Reverend Ethan Acres, Patricia Faure Gallery.” Frieze Magazine 49 (1999): n.pag. Web. 8 Dec. 2014. Drohojowska-Philp, Hunter. “A Preacher’s Art of Spreading the Word.” Los Angeles Times 8 June 1997: n.pag. Web. 8 Dec. 2014.

105 TIM EBNER

Untitled (Kangaroo) 1995 Oil and wax on canvas Retains Rosamund Felsen Gallery label verso Canvas: 36" x 28" Frame: 37.75" x 29.75" P ROV E NANC E Rosamund Felsen Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above) E XHIBIT E D “Tim Ebner,” Rosamund Felsen Gallery, Santa Monica, September 9-October 7, 1995 LIT E RAT URE Darling, Michael. “Tim Ebner.” Review. Art Issues Nov.-Dec. 1995: 38.

$2,000–3,000

106 ALEXIS ROCKMAN Giant Ground Sloth

1999 Tar from the La Brea Tar Pits, soluvar, polyurethane, Japan drier, and gesso on rag paper Signed and dated in pencil upper right sheet; retains Paper Works of Art, Inc. label verso. Image/sheet: 11" x 8.5" Frame: 15" x 12.25"

$1,000–1,500

107 ALIGHIERO BOETTI Inaspettatamente (Unexpectedly) 1987 Embroidery on linen Signed and dated verso Together with photo certificate of authenticity signed by the artist 7" x 6.25"

$20,000â&#x20AC;&#x201C;25,000

108 ESTEBAN VICENTE

Black is Beautiful and the Law 1987 Paper collage on canvas Signed lower right; signed, titled, and dated verso Canvas: 38" x 28" Frame: 41" x 31"

$10,000â&#x20AC;&#x201C;15,000

109 MICHELANGELO PISTOLETTO Frattali

1999-2000 Acrylic on mirrored glass Unique Signed, titled, and dated verso Accompanied by a photo certificate of authenticity signed by the artist and stamped by the Associazione Culturale Arte Nova, Pescara 21.625" x 28.25"

$6,000â&#x20AC;&#x201C;9,000

110 ANGELO LELLI Table lamp

Arredoluce, Monza, Italy, designed c. 1950s Impressed with manufacturer’s cipher 14" x 13" x 10" LIT E RAT URE Fiell, Charlotte & Peter. 1000 Lights 1879-1959. Vol. 1. Cologne: TASCHEN, 2005. 489.

$2,000–3,000

111 ALESSANDRO PIANON Handblown glass figure (bird/Pulcini) Vistosi, designed 1962 11.5" x 7" x 4.5" LIT E RAT URE Heiremans, Marc. 20th Century Murano Glass: From Craft to Design. New York: Antique Collectors Club, 1997. 163.

$4,000–6,000

112 GEORGE CONDO

Untitled (Surreal Graffiti Painting) 1984 Oil on canvas Dated lower left; retains Egret Management, Maloney Gallery, and Barbara Gladstone Gallery labels verso Together with copy of invoice Canvas: 19.75" x 15.75" Frame: 27.75" x 23.75" P ROVENA NC E Maloney Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1987)

$30,000â&#x20AC;&#x201C;50,000

113 GAJIN FUJITA

Fight of Street Fight 2006 Spraypaint, paint marker, and graphite on paper Artist’s red ink stamp lower right sheet Together with Zephyr: Paintings by Gajin Fujita exhibition catalogue Sheet: 19" x 30" Frame: 28.25" x 40" P ROV E NANC E L.A. Louver Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$10,000–15,000

114 MASAMI TERAOKA

Study for Woman and Iris 1974 Ink and graphite on paper Signed and dated in pencil lower right; title inscribed lower left Sheet (vis.): 23.5" x 18" Frame: 31" x 24.625"

$3,000–5,000

115 CRASH (JOHN MATOS) Untitled (Juggernaut)

1995 Watercolor and black ink on paper Signed and dated lower left sheet Image/sheet: 20" x 60" Frame: 28" x 68"

$2,000–3,000

116 CRASH (JOHN MATOS) Ceramics (5)

Grazia-Deruta, 1993 Painted and glazed ceramic Each signed and dated and with manufacturer’s mark; one signed “© Crash” Comprised of four vases and a large bowl Largest: 15.5" x 8" diameter Smallest: 3.125" x 14.125" diameter

$1,000–1,500

117 CRASH (JOHN MATOS) Untitled (The Flash) & Untitled (2)

1990; 1989 Gouache, crayon, and black ink on collage laid down to paper board; Watercolor and gouache on paper Each signed and dated Image/Sheet each: 30" x 22" Frames each: 33.25" x 25.5"

$3,000–5,000

118 CRASH (JOHN MATOS) Untitled (2)

1990; 1996 Watercolor, gouache, puffy paint, and black ink on paper; Gouache and watercolor on paper Each signed and dated Image/Sheet each: 41" x 30" Frames each: 48.75" x 36.75"

$3,000–5,000

119 TAKASHI MURAKAMI

DOB in Pure White Robe (2) 2013 Offset color lithograph on paper From the edition of 300 Kaikai Kiki Co., Ltd. Each signed in black felt-tip marker lower right; each with title, date, and manufacturer name printed lower left Comprised of DOB in Pure White Robe (Navy & Vermillion) and DOB in Pure White Robe (Pink & Blue) Image/sheet (vis.) each: 19.25" x 19.25" Frames each: 23.75" x 23.75"

$2,000â&#x20AC;&#x201C;3,000

120 TAKASHI MURAKAMI

And Then, And Then And Then And Then And Then (4) 2013 Offset color lithograph on paper From the edition of 300 Kaikai Kiki Co., Ltd. Each signed in black felt-tip marker lower right; each with title, date, and manufacturer name printed lower left

Comprised of And Then x 6 (Blue: The Superflat Method); And Then x 6 (Vermillion: The Superflat Method); And Then, And Then And Then And Then And Then. Yellow Universe; And Then x 6 (White: The Superflat Method, Pink & Blue Ears) Image/sheet (vis.) each: 19.25" x 19.25" Frames each: 23.75" x 23.75"

$4,000â&#x20AC;&#x201C;5,000

Jim Shaw The art of Jim Shaw (b. 1952) is distilled from the flotsam and jetsam of a quintessential boyhood, the ephemera of American pop, social, and consumer culture. Chameleonic in style and skilled in mediums ranging from drawing and painting to sculpture and video, Shaw—like the late Mike Kelley, Shaw’s longtime friend, fellow CalArts graduate, and band-mate in “anti-rock” group Destroy All Monsters—creates work that is dense with references and allusive images. Shaw mines both his memory and an astonishing trove of pedestrian artifacts—comic books, news clippings, “Rat Fink” trading cards, obsessive religious tracts, film and concert posters, advertising—that he has amassed since his youth. From this material, Shaw crafts units of narrative that are sometimes discrete, but more frequently serve as paragraphs and chapters in an epic of existence. Shaw “creates a munificent bounty of things that rivet us,” the critic and artist Doug Harvey has written. His work embodies “a conscious and conscientious willingness to engage contemporary culture in all its rippling, crackling, exponentially expanding and incomprehensible totality.”

121 JIM SHAW

Untitled (“Burma-Shave/Torture is Barbaric...”) c. 1988 Ink on paper Signed in pencil verso Sheet (vis.): 8.375" x 13.125" Frame: 12.125" x 17.125"

$4,000–6,000

The present lots show Shaw at both his pithiest and most expansive. Untitled (“Burma-Shave/Torture is Barbaric…”) (c. 1988) appropriates a Charles Addams cartoon to present a self-contained narrative that imparts a political and humanistic message. Objects of Desire (1989) is at once a discrete artwork and a piece in a larger narrative titled “My Mirage,” a kaleidoscopic, multimedia Bildungsroman that Shaw executed from 1986 to 1991. Comprised of some 170 works—drawings, photographs, paintings, silkscreens, video—“My Mirage” documents the story of Shaw’s alterego, Billy, a middle-class, middle-American kid tossed about in the cultural maelstrom of the ‘60s and ‘70s. With its intricately and exuberantly-rendered vortex of pop iconography and consumer goods that range from cake mix and candy to Band-Aids and liquor bottles, Objects of Desire is a rare, if not unique thing: a tour-de-force within a tour-de-force. Shaw, Jim, Noëllie Roussel, and Fabrice Stroun. Jim Shaw: Everything Must Go, 1974–1999. Luxembourg: Casino Luxembourg, Forum D’art Contemporain, 1999. Print. Kertess, Klaus. Recent Drawing: Roni Horn, Charles Ray, Jim Shaw, Mike Tetherow. New York: Whitney Museum of American Art, 1990. Print. Harvey, Doug. “Punks Out of the Past: Mike Kelley, Jim Shaw, and Destroy All Monsters.” Modern Painters Mar. 2012: 52-59. Web. 10 Dec. 2014.

LABEL DETAIL

122 JIM SHAW

Objects of Desire 1989 Graphite on paper Retains a Whitney Museum of Art exhibition label and a University Art Museum at U.C. Berkeley exhibition label verso Sheet: 17" x 14" Frame: 25.5" x 22" E XHIBIT E D “Recent Drawings,” The Whitney Museum of Art, New York, February 16-May 6, 1990; “My Mirage,” traveling exhibition, Matrix Gallery, University Art Museum, University of California, Berkeley; St. Louis Museum of Art, St. Louis; Feature Inc., New York, 1990

$15,000–20,000

123 MIKE KELLEY

Timeless/Authorless 1995 A series of fifteen black and white photographs mounted to museum board #5 of 5 Published by Patrick Painter Editions Each numbered, signed, dated, and with edition in pencil verso; each retains Patrick Painter Editions label verso Image/sheets each: 31" x 24" Frames each: 32" x 25" LITERATURE Welchman, John C, Isabelle Graw, and Anthony Vidler. Mike Kelley. 2nd edition. New York: Phaidon, 2011. 134-137.; Congdon, Daniel. Patrick Painter Editions: 1991-2005. Hong Kong: Patrick Painter Editions, 2006. 139.; Welchman, John C., ed. Mike Kelley: Minor Histories, Statements, Conversations, Proposals. Cambridge: Massachusetts Institute of Technology, 2004. 274.

$20,000â&#x20AC;&#x201C;30,000

124 MIKE KELLEY

Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses (Brunette Bandura Action) (2) 2001 C-print mounted to Plexiglas #1 of 2 Artistâ&#x20AC;&#x2122;s proofs aside from the edition of 3 Published and printed by Patrick Painter Editions Each retains Patrick Painter Editions label verso with edition and signed by the artist Images each: 23" x 49.75" Sheets each: 29.25" x 49.75" LIT E RAT URE Congdon, Daniel. Patrick Painter Editions: 1991-2005. Hong Kong: Patrick Painter Editions, 2006. 592-593.

$10,000â&#x20AC;&#x201C;15,000

125 RAYMOND PETTIBON

I Had Never So Much as Hinted... 1985 Black ink on paper Signed and dated verso; retains Centre Pompidou, The Drawing Center, and The Renaissance Society at the University of Chicago exhibition labels verso Sheet: 9" x 12" Frame: 18.25" x 15" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from Zero One Gallery, Hollywood, California, 1987) EXHIBITE D Zero One Gallery, Hollywood, 1987; “Raymond Pettibon,” traveling exhibition, The Renaissance Society at the University of Chicago, September 13-November 8, 1998; The Drawing Center, New York, February 20-April 10, 1999; Philadelphia Museum of Art, April 30-July 25, 1999; MOCA, Los Angeles, September 26, 1999-January 2, 2000; “Raymond Pettibon: Plots Laid Thick,” traveling exhibition, Museu D’art Contemporani de Barcelona, 2002; Tokyo Opera City Art Gallery, 2002; “Los Angeles 1955-1985: Birth of an Art Capital,” Centre Pompidou, Paris, March 8-July 17, 2006

$15,000–20,000

126 RAYMOND PETTIBON

The Left Eye Was Large and Watery (Self-Portrait) 1990 Red and black ink and pen on paper Signed and dated verso; retains The Renaissance Society at the University of Chicago exhibition label verso Sheet (vis.): 16.5" x 9.5" Frame: 23.125" x 16.125" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Richard/Bennett Gallery, Los Angeles, California, 1990) E XHIBIT E D Richard/Bennett Gallery, Los Angeles, 1990; “Raymond Pettibon,” traveling exhibition, The Renaissance Society at the University of Chicago, September 13-November 8, 1998; The Drawing Center, New York, February 20-April 10, 1999; Philadelphia Museum of Art, April 30-July 25, 1999; MOCA, Los Angeles, July 25-October 17, 1999; “Raymond Pettibon & Toba Khedoori,” Whitechapel Art Gallery, London, September 6-October 21, 2001; “Raymond Pettibon: Plots Laid Thick,” traveling exhibition, Museu D’art Contemporani de Barcelona, 2002; Tokyo Opera City Art Gallery, 2002

$18,000–25,000

127 RAYMOND PETTIBON As an “Empty Slot”... 2000 Black ink on paper Signed and dated “Raymond Pettibon 00” verso Sheet: 25" x 15" Frame: 28.125" x 20.75" P ROVENA NC E Regen Projects, Los Angeles, California; Private Collection, Europe (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above through Christie’s, London, June 29, 2011, Sale 7978, Lot 348) EXHIBITE D “L.A.-ex Performances,” Museum Villa Stuck & Marstall, Munich, April 12-June 12, 2000

$15,000–20,000

128 RAYMOND PETTIBON Assorted ‘zines (16)

1983-2001 Offset lithograph on paper; each staple-bound Published by SST Publications, Lawndale; Superflux Publications, Los Angeles Two signed Each: 8.5" x 5.5"

$4,000–6,000

129 JOSEPH RAFFAEL

Homage to Frank O’Hara 1967 Watercolor and collage on paper Bears the inscription in pencil “362 8193” upper left sheet Together with copy of receipt Sheet: 30" x 22" Frame: 30.25" x 22.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1967)

$600–800

130 VIJA CELMINS

Sky (from Untitled portfolio) 1975 3-color lithograph on Twinrocker handmade rag paper #61 of 75 Published by Cirrus Editions, Los Angeles; printed by Lloyd Baggs, Cirrus Editions, Los Angeles Signed and dated in pencil lower right margin of sheet; edition lower left with printer blind stamp Together with copy of receipt Image: 13" x 17" Sheet: 16.5" x 20" Frame: 19" x 20.625" P ROVENA NC E Broxton Gallery, Westwood, California; Private Collection, Los Angeles, California (acquired directly from the above, 1976) LITERATURE Davis, Bruce. Made in LA: Prints of Cirrus Editions. Los Angeles: Los Angeles County Museum of Art, 1995. 206.; Rippner, Samantha. The Prints of Vija Celmins. New York/New Haven: The Metropolitan Museum of Art/Yale University Press, 2002. 50.

$9,000–12,000

131 VIJA CELMINS

Untitled (Web 1) (from The MOCA Portfolio) 2001 Mezzotint on Hahnemühle Copperplate paper #1 of 80 Published and printed by the Lapis Press, Los Angeles Signed in pencil lower right margin of sheet beneath image; edition lower left Image: 7“ x 7.75” Sheet: 23” x 18.5” P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from MOCA)

$3,000-5,000

132

133

ROY MCMAKIN

Domestic Furniture Co., designed 1989 Retains Domestic Furniture Co. label

Domestic Furniture Co., executed 2003 Branded “Domestic Furniture/For MOCA - Los Angeles/BLM 2003”

Sofa

33" x 79" x 38"

Tray

6" x 18" x 16"

$4,000–6,000 P ROV E NANC E MOCA, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$1,000–1,500

Tejo Remy Designed in 1991, Tejo Remy’s You Can’t Lay Down Your Memory chest of drawers occupies a place at the margin between art and design: it is at once functional and sculptural. The piece debuted to great acclaim at the 1993 Milan Furniture Fair, as part of the inaugural collection by the famed conceptualist Dutch group Droog Design, and quickly became an emblem of avant-garde contemporary furniture-making. You Can’t Lay Down Your Memory is made up of 20 mismatched salvaged drawers, housed in custom-made maple sleeves that are bound together with a woven jute strap. The present lot is No. 55 from the original edition of 200 chests. Examples from this edition feature in the permanent collections of the Museum of Modern Art, the Victoria & Albert Museum, the Carnegie Museum of Art, and other institutions. For all its aesthetic brio and air of mirth, You Can’t Lay Down Your Memory has been closely examined by curators, scholars, and other design experts, who have variously interpreted Remy’s work as a manifestation of social, political, and environmentalist commentary. Tejo Remy spoke with Los Angeles Modern Auctions about his much-discussed design: Los Angeles Modern Auctions: What was the origin of the name, or title, you gave to the chest of drawers? Tejo Remy: It’s a line from a song by Nick Cave and the Bad Seeds. [“Knockin’ on Joe,” a track on the 1985 album The Firstborn is Dead.] LAMA: What’s the significance? TR: One of the ways I look at the chest is that it’s a metaphor for the human memory system. Socrates and the other ancient Greek and Roman philosophers had a technique they used to remember things. In their minds, they constructed a house, and in each of its rooms they put away special memories so they always knew where to find them. The drawers of the chest are like the rooms. You have a certain drawer for certain things, so you always recollect where they are. LAMA: You’ve also mentioned Robinson Crusoe when you speak about the chest. TR: Yes, that’s another one of my thoughts about the piece. The character Robinson Crusoe had to build his own paradise, his own world, from the things he found after he was shipwrecked. I feel that in our world we also have to use the

materials we find in our neighborhood—we should make do with what we have. LAMA: A great deal of meaning has been invested in the design by others. For instance, the Museum of Modern Art’s collection notes on the chest put it in this context: “In the hangover after the exuberance and excess of the 1980s, designers all over the world turned to a new value system based on economy, simplicity, and responsibility.” What do you think of that view? TR: In a way the design was a reaction, in the same sense that the colorful postmodern work of the Memphis Group was a reaction to how lifeless and stale modernist design had become by the ‘70s. And certainly by the early ‘90s we designers were very aware that the world was using up its resources. But I’m not sure how economical the chest is—a lot of labor goes into making one. LAMA: Do owners ever reassemble the drawers in a new way? TR: I hope they do! A chance to be creative gives the piece another kind of value. We would send the chest to buyers with the drawers disassembled, along with the strap and a photo of how that particular chest looked when we put it together in the studio. But people can do what they want. I once saw a picture of one that the owners had tried to put in a bathroom. They couldn’t get the strap to hold everything together, so they just stacked the drawers against a wall. You really do need three people to assemble one. LAMA: Even now, nearly 25 years after it debuted, the You Can’t Lay Down Your Memory chest has a kind of power. When people see one—whether they are familiar with the design, or have never seen the piece before—they stop in their tracks. TR: That’s something that you never expect to happen—and it’s such a pleasant surprise to see that effect. Maybe the piece was simply conceived and made at just the right moment, I don’t know. But you never expect to design an icon. Lowry, Glenn D. MoMA Contemporary Highlights: 250 Works Since 1980 from The Museum of Modern Art, New York. New York: Museum of Modern Art, 2008. Print. You Can’t Lay Down Your Memories.” Search the Collections. The Victoria & Albert Museum, n.d. Web 1 Dec. 2014. “Search the Collections.” Carnegie Museum of Art, n.d., Web 1 Dec. 2014.

MARKINGS DETAIL

134 TEJO REMY

You Can’t Lay Down Your Memory Droog Design, designed 1991 #55 of 200 Signed and with edition stamp; interior of each drawer with edition stamp 54.5" x 57" x 24" P ROV E NANC E Mark McDonald, New York, New York; Private Collection, Los Angeles, California LIT E RAT URE Ramakers, Renny. Simply Droog, 10 + 1 Years of Creating Innovation and Discussion. Amsterdam: Droog, 2004. 27.

$15,000–20,000

135 JAN DE SWART

Jonah and the Whale Studio, executed c. 1970 Painted and carved wood, string 49" x 13" x 27"

$5,000â&#x20AC;&#x201C;7,000

136 HELLA JONGERIUS Red White Vase (2)

Royal Tichelaar Makkum/Cappellini, designed 1997 Each marked “JongeriusLab/For Cappellini”with Makkum logo Each: 16" x 6" diameter

$1,500–2,000

137 MAARTEN BAAS

Smoke dining chairs (2) Moooi, designed 2003 Each: 42" x 19.75" x 23"

$5,000–7,000

MARKINGS DETAIL

138 FERNANDO & HUMBERTO CAMPANA Pandas chair

Estudio Campana, Brazil, September 2007 #7 of 25 Stitched edition in one of the Pandas “Pandas Chair/Limited Edition/Campana Brothers/07/25 2007” Together with catalogue and certificate of authenticity from Campana 34" x 48" x 36"

$35,000–45,000

101

The School of Paris “The School of Paris” does not indicate a singular style, but rather an outstanding era in history, wherein Paris became the epicenter of artistic dialogue and creative activity. Styles and mediums were varied, spanning Fauvism, Futurism, Cubism, Expressionism, and Symbolism across categories of painting and sculpture, but what tied these artists together was the continual, free-flowing exchange and application of ideas. Pablo Picasso (1881–1973) moved to Paris in 1904 at the age of 23, leading the influx of foreign artists immigrating to the cosmopolitan and avant-garde City of Lights, which would include Italian painter Amedeo Modigliani, Russian artist Marc Chagall, and Tokyo-born Léonard-Tsuguharu Foujita, among many others. This was roughly the beginning of a period in history and a loose affiliation of artists that would come to be known as the School of Paris, taking a cue from French art critic André Warnod, who stated confidently in 1925: “L’Ecole de Paris exists.” Between 1900 and 1940, the diversity of identities and ideas in the Paris art world encouraged an invigorating environment of expression and experimentation. The label ‘School of Paris’ indicated immediate geography as well as a renewed nationalism rooted in an artistic, creative rebirth. As Chagall poignantly proclaimed in 1925: “I was born in Vitebsk, but I was also born in Paris.” The last wave of artists affiliated with the School of Paris, often termed “the Internationals” for their diverse nationalities, included Jun Dobashi, Bernard Dufour, Antoni Clavé, and Massimo Campigli. Antoni Clavé (1913–2005) moved to Paris from Barcelona after the Spanish Civil War in 1939, met Picasso in 1944, and worked as a designer for the opera and the ballet from 1946– 1954. The painting on offer was created shortly after Clavé left set design to concentrate solely on painting. Entitled Nature Morte Pastèque Blanche (1955), which translates to “White Watermelon Still Life,” the work is a prime example of the multiple influences and innovative mix of aesthetics and styles that the School of Paris fostered. The imagery has the flatness of Pierre Bonnard and Édouard Vuillard, as well

as a slight nod to the cubist still-lifes of Georges Braque and Picasso. The white watermelon radiates against the backdrop of deep scarlet, while a mysterious shape evoking a fish skeleton is a variation on the traditional skull in memento mori still-lifes. Picasso was also a major influence upon Italian artist Massimo Campigli (1895–1971), a resident of Paris from 1919–1933. In addition, Campigli was immensely impacted by his viewing of ancient Etruscan frescoes while visiting Rome in 1928. Untitled (Figures) (1960) is an exceptional example of the artist’s mature style and his use of flat, totemic figures, a diluted color palette (in mimicry of faded frescoes), and the female form as subject. Abstract painter and lithographer Jun Dobashi (1910–1975) was born in Tokyo and lived in Paris from 1953–1969. His work, as well as that of French painter Bernard Dufour (b. 1922), is closely related to Art Informel, a close cousin to the Abstract Expressionist movement in the United States. As a reaction against the dominant Cubist tradition, Art Informel touted intuition and spontaneity, and, as in the work of Dobashi and Dufour, resulted in lyrical canvases swathed in velvety paint strokes. Indeed, the style is at times referred to as Lyrical Abstraction. The American interest in the global character of the School of Paris took hold early on. In 1959, the Museum of Modern Art drew up a press release announcing itself as having “the finest collection of the School of Paris outside of France.” More recently, the Solomon R. Guggenheim mounted Paris and the Avant-Garde, with a focus on the School of Paris, as part of a spate of exhibitions celebrating the museum’s 50th anniversary in 2010. Riding, Alan. “Arts Abroad: A Close-Up of Artists Who Made Paris Sizzle.” NYTIMES.com. The New York Times, 11 Jan. 2001: n.pag. Web. 3 Nov. 2014. Voorhies, James. “School of Paris.” Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2004. Web. 3 Nov. 2014. The Museum of Modern Art. The Museum of Modern Art and France. New York: The Museum of Modern Art, 18 Nov. 1959. Web. 10 Dec. 2014.

139 MASSIMO CAMPIGLI Untitled (Figures) 1960 Oil on canvas Signed and dated “Campigli 60” lower right; retains Florence Art Gallery label verso Together with copy of receipt from Galleria Fiorentina d’Arte Canvas: 23" x 32" Frame: 32.25" x 42.5" P ROV E NANC E Galleria Fiorentina d’Arte, Florence, Italy; Private Collection, Beverly Hills, California (acquired directly from the above); Thence by descent

$40,000–60,000

103

140 PABLO PICASSO

Femme regardant par la Fenêtre 1959; published 1960 Color linocut print on Arches paper #43 of 50 Published by Galerie Louise Leiris, Paris Signed in pencil lower right margin beneath image; edition lower left Image: 20.75" x 25" Sheet (vis.): 22" x 26" Frame: 28" x 32" LITERATURE Bloch, Georges, ed. Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. Berne: Editions Kornfeld Et Klipstein, 1971. 201, #925.; Baer, Brigitte, ed. Picasso: PeintreGraveur. Vol. V. Berne: Editions Kornfeld, 1989. 304, #1249 State II/B.

$18,000–25,000

141 PABLO PICASSO

Tête de Bouffon, Carnaval 1965 Color linocut print on Arches paper #71 of 160 Published by Le Patriote, Nice Signed in pencil lower right margin of sheet beneath image; edition lower left Image: 25" x 20.5" Sheet (vis.): 27.25" x 22.25" Frame: 38" x 32.5" LIT E RAT URE Bloch, Georges, ed. Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. Berne: Editions Kornfeld Et Klipstein, 1971. 252, #1193.; Baer, Brigitte, ed. Picasso: Peintre-Graveur. Vol. V. Berne: Editions Kornfeld, 1989. 534, #1356 State II.

$9,000–12,000

105

142 PABLO PICASSO

Femme Couchée et Homme au Grand Chapeau 1959; published 1960 Color linocut print on Arches paper #12 of 50 Published by Galerie Louise Leiris, Paris Signed in pencil lower right margin of sheet beneath image; edition lower left Image: 20.75" x 25" Sheet: 24.375" x 29.375" Frame: 31.625" x 36.625" LIT E RAT URE Bloch, Georges, ed. Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967. Vol. I. Berne: Editions Kornfeld Et Klipstein, 1971. 200, #919.; Baer, Brigitte, ed. Picasso: Peintre-Graveur. Vol. V. Berne: Editions Kornfeld, 1989. 281, #1236 State III/B.

$10,000–15,000

143 PABLO PICASSO

Untitled (Nature Morte á La Palette) November 1925 Graphite on paper Signed “Picasso” in ink lower right sheet; retains a China Basins Designs label verso Sheet (irreg.): 5.125" x 9.625" Frame: 19.625" x 24" P ROVENA NC E Bowles/Sorokko Galleries, San Francisco, California; Private Collection, Sydney, Australia (acquired directly from the above, 1995) LITERATURE Zervos, Christian. Pablo Picasso: Œuvres de 1923 a 1925. Vol. 5. Paris: Cahiers D’Art, 1952. 165, #406.

$40,000–60,000

144 PABLO PICASSO

Rêveries d’Opium: Fumeur en Calotte Papale... (from La Série 347) 1968; published 1969 Etching on Rives BFK paper #40 of 50 Published by Galerie Louise Leiris, Paris; printed by Atelier Crommelynck, Paris Signed in pencil lower right margin of sheet; edition lower left; dated in plate in reverse upper left image; retains Martin Lawrence Editions label verso Image: 6.5" x 8" Sheet (vis.): 8.25" x 10.5" Frame: 22" x 24" LIT E RAT URE Bloch, Georges, ed. Pablo Picasso: Catalogue of the Printed Graphic Work 1966-1969. Vol. II. Berne: Editions Kornfeld Et Klipstein, 1971. 298, #1775.; Baer, Brigitte, ed. Picasso: Peintre-Graveur. Vol. VI. Berne: Editions Kornfeld, 1994. 523, #1792.

$5,000–7,000

145 PABLO PICASSO Yan Face

1963 Turned pitcher of red earthenware clay, engobe decoration #274 of 300 Madoura Stamped “Edition Picasso,” and “Madoura Plein Feu,” and inscribed “Edition Picasso/274/300/V-102” Ramié #512 10.5" x 5" x 6" LIT E RAT URE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #512.

$5,000–7,000

107

146 PABLO PICASSO Wood-Owl

1968 Turned vase of white earthenware clay, decoration in engobes under partial brushed glaze, black patina #99 of 500 Madoura Stamped “Edition Picasso,” “Madoura Plein Feu,” and inscribed “R146,” and “Edition Picasso/99/500 Madoura” Ramié #542 11.625" x 6.25" x 9.25" LITERATURE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #542.

$12,000–15,000

147 PABLO PICASSO Wood-Owl

1969 Turned vase of white earthenware clay, engobe decoration engraved by boring-rod under partial brushed glaze, black patina #77 of 500 Madoura Stamped “Edition Picasso,” “Madoura Plein Feu,” and inscribed “R147,” and “Edition Picasso/77/500 Madoura” Ramié #607 12" x 6" x 9" LIT E RAT URE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #607.

$12,000–15,000

109

148 PABLO PICASSO Two Birds no. 95

1963 Round plate of white earthenware clay, engobe decoration under partial brushed glaze, black patina #141 of 150 Madoura Stamped “Madoura/Plein Feu” verso; stamped “Empreinte Originale de Picasso” verso Ramié #487 10" diameter LIT E RAT URE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #487.

$4,000–6,000

149 PABLO PICASSO Face in Profile

1953 Turned vase of red earthenware clay, engobe and paraffin decoration, partial brushed glaze #71 of 150 Madoura Incised “19-12-53,” and stamped “Edition Picasso,” and “Madoura Plein Feu”; incised “Edition Picasso/71/150” Ramié #209 9.5" x 10" diameter LITERATURE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #209.

$18,000–25,000

150 PABLO PICASSO Fish Subject

1952 Turned pitcher of red earthenware clay, decoration in engobes From the edition of 500 Madoura Bears the inscription “Edition Picasso Madoura” verso; stamped “Edition Picasso” verso Ramié #139 5.125" x 3.625" x 8.5" LIT E RAT URE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #139.

$4,000–6,000

151 PABLO PICASSO Bunch with Apple

1956 Plate of white earthenware clay, decoration accentuated with oxidized paraffin, oxides under glaze From the edition of 400 Madoura Stamped “Madoura Plein Feu” and “Empreinte Originale de Picasso” verso Ramié #307 9.875" diameter LIT E RAT URE Ramié, Alain. Picasso: Catalogue of the Edited Ceramic Works, 1947-1971. Vallauris: Madoura, 1988. #307.

$4,000–6,000

111

152 ANTONI CLAVÉ

Nature Morte Pastèque Blanche 1955 Oil on canvas Signed lower right; retains two Arthur Lenars & Cie, Paris labels verso; retains Galerie Beyeler Basel label verso Canvas: 44" x 57" Frame: 47" x 59" P ROVENA NC E Galerie Drouant-David, Paris; Private Collection, Beverly Hills, California (acquired directly from the above, 1958); Thence by descent EXHIBITE D “Antoni Clavé,” Galerie Beyeler, Basel, April-May 1957 LITERATURE Antoni Clavé. Basel: Galerie Beyeler, 1957. #9.

$30,000–50,000

LABEL DETAILS

153 BERNARD DUFOUR Untitled

1956 Oil on canvas Signed and dated “Bernard Dufour 56” lower right Canvas: 36.5" x 29.5" Frame: 37.75" x 30"

$3,000–5,000

154 AUGUSTIN UBEDA

Composition au Christ c. 1958 Oil on canvas Signed “A. Ubeda” lower right; signed “A. Ubeda” verso Canvas: 18" x 25.5" Frame: 19.375" x 26.75" P ROV E NANC E Galerie DrouantDavid, Paris, France; Private Collection, Beverly Hills, California (acquired directly from the above, 1958)

$2,500–3,500

113

155 JUN DOBASHI

Sunset, Clouds and Sails #4 c. 1955 Oil on canvas Retains a Dalzell Hatfield Gallery label verso; bears the inscription in pencil “DHH #4 Sunset, Clouds + Sails” canvas stretcher verso; retains an Arthur Lenars & Cie label canvas stretcher verso Canvas (vis.): 45" x 34.25" Frame: 49" x 38.5" P ROVENA NC E Arthur Lenars & Cie, Paris, France; Dalzell Hatfield Galleries, Los Angeles, California; Estate of Ira Kaufman, Beverly Hills, California; Private Collection, Los Angeles, California (acquired directly from Bonhams, Los Angeles, California, May 22, 2007)

$5,000–7,000

156 JUN DOBASHI

La Prière au Balcon c. 1955 Oil on canvas laid down on board Together with copy of exhibition catalogue Canvas (vis.): 34" x 27.25" Frame: 41" x 34.5" P ROV E NANC E Dalzell Hatfield Galleries, Los Angeles, California; Private Collection, Palm Springs, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above) E XHIBIT E D “Jun Dobashi,” Dalzell Hatfield Galleries, Los Angeles, March 11-30, 1957. ILLUST RAT E D Dobashi. Los Angeles: Dalzell Hatfield Galleries, 1957. n. pag.

$2,000–3,000

115

157 BERNARD LORJOU

Yellow Vase with Red Flowers c. 1966 Oil on canvas Signed “Lorjou” lower right; retains two Galerie Stiebel labels verso; bears the inscription “U2165” on canvas stretcher verso Together with copy of receipt Canvas: 39.75" x 29" Frame: 47.5" x 37" P ROV E NANC E Galerie Stiebel, Paris; Private Collection, Beverly Hills, California (acquired directly from the above, 1970); Thence by descent LIT E RAT URE Urban, André. Paris et les Fleurs en petit formats par B. Lorjou. Paris: Galerie Urban, 1966. For similar examples.

$5,000–7,000

158 EMILIO GRECO Bagnante

1961 Patinated bronze Signed and dated at base Together with copy of receipt 23.75" x 10" x 6" P ROVENA NC E Galleria La Barcaccia, Rome, Italy; Private Collection, Beverly Hills, California (acquired directly from the above, 1962); Thence by descent

$7,000â&#x20AC;&#x201C;10,000

159 EMILIO GRECO Pattinatrice

c. 1959 Patinated bronze Signed at base 13.5" x 4" x 10"

$4,000–6,000

160 JAN ŠTURSA Wounded

c. 1921 Patinated bronze on marble base Signed at base 8.5" (9" including base) x 3.75" x 3.75"

$1,000–1,500

117

161 MARC CHAGALL

Reprenez muses, reprenez avec moi le chant bucolique (Pl. 9 from Sur la Terre des Dieux) 1967 Color lithograph on Arches paper #12 of 75 Published by A.C. Mazo, Paris Signed in pencil lower right margin of sheet beneath image; edition lower left Image: 17.5" x 14" Sheet: 25.5" x 19.5" Frame: 35.5" x 30" LITERATURE Gauss, Ulrike, ed. Marc Chagall: The Lithographs. New York: D.A.P., 1998. #537.

$18,000–20,000

162 MARC CHAGALL

Dessins Pour la Bible Couverture 1958-1959; published 1960 Color lithograph on Arches paper #13 of 50 Published by Verve, Paris; printed by Draeger, Paris Signed in pencil lower right margin of sheet beneath image; edition lower left Image: 15.125" x 23.5" Sheet: 20.625" x 30" Frame: 30.5" x 40.25" LITERATURE Gauss, Ulrike, ed. Marc Chagall: The Lithographs. New York: D.A.P., 1998. #230.

$6,000–8,000

163 MARC CHAGALL

La Caverne des Nymphes (from Daphnis et Chloé) 1961 Color lithograph on Arches paper #109 of 250 Published by Teriade, Paris Retains a Feigen Palmer Gallery label verso Together with copy of invoice Image/sheet (vis.): 16.125" x 24.75" Frame: 24" x 32" P ROV E NANC E Feigen Palmer Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1965); Thence by descent LIT E RAT URE Gauss, Ulrike, ed. Marc Chagall: The Lithographs. New York: D.A.P., 1998. #321.

$4,000–6,000

164 AFTER MARC CHAGALL Le Cheval Rouge

c. 1965 Color collotype on paper #75 of 300 Published by Guy Spitzer, Paris Signed lower right margin beneath image; edition lower left; printed “Guy Spitzer-Editeur Paris” lower left beneath image; printed “Marc Chagall - Le Cheval Rouge” lower right margin beneath image Image: 17" x 20.75" Sheet (vis.): 18.5" x 21.5" Frame: 28.5" x 31.75"

$5,000–7,000

119

165 HENRI MATISSE Mimosa

1951 Hand-woven wool tapestry #355 of 500 Alexander Smith & Sons Co., New York Woven initials lower left; retains manufacturerâ&#x20AC;&#x2122;s label with edition and facsimile signature verso 57.5" x 36"

$2,000â&#x20AC;&#x201C;3,000

166 JOAN MIRÓ

Untitled (from Album 21) 1978 Color lithograph on Arches paper #31 of 75 Published by Maeght Éditeur, Paris; printed Imprimerie Mourlot, Paris Signed in pencil lower right; edition lower left Image/sheet: 19.625" x 25.375" Frame: 31" x 36.5" LIT E RAT URE Cramer, Patrick, ed. Joan Miró, Lithographe. Vol. VI. Paris: Maeght, 1992. 63, #1136.

$1,500–2,000

167 JOAN MIRÓ

Untitled (from Le Marteau Sans Maître) 1976 Etching and aquatint on Rives paper #23 of 50 Published by Le Vent d’Arles, Paris; printed by Morsang, Paris Signed in pencil lower right; edition inscribed in Roman numerals lower left Image/sheet: 17" x 26" Frame: 29" x 38" LIT E RAT URE Dupin, Jacques. Miró Engraver. Vol. IV. Paris: Daniel Lelong/Galerie Lelong, 2001. 34, #944.

$2,000–3,000

121

168 JOAN MIRÓ

Untitled (from Album 21) 1978 Color lithograph on Arches paper #31 of 75 Published by Maeght Éditeur, Paris; printed Imprimerie Mourlot, Paris Signed in pencil lower right; edition lower left Image/sheet: 25.25" x 19.125" Frame: 37.25" x 30.75" LITERATURE Cramer, Patrick, ed. Joan Miró, Lithographe. Vol. VI. Paris: Maeght, 1992. 61, #1134.

$1,500–2,000

169 JOAN MIRÓ

Astrologie III 1953 Color lithograph on Arches paper #65 of 100 Published by Maeght Éditeur, Paris Signed “Miro” in pencil lower right; edition lower left Image: 14" x 10" Sheet (vis.): 15" x 11" Frame: 22.5" x 18.25" LITERATURE Cramer, Patrick, ed. Joan Miró, Lithographe. Vol. II. Paris: Maeght, 1975. 47, #127.

$1,200–1,500

170 PIERRE SOULAGES Serigraphie No. 15

1981 Color screenprint on paper #30 of 250 Published by Circle Fine Art, Chicago; printed by Michael Caza, Cergy Signed with edition in pencil lower left Image/sheet (vis.): 40.375" x 27.75" Frame: 50" x 37.5" LITERATURE Encreve, Pierre. Soulages, L’œuvre Complet: Peintures. Vol. III. Paris: Editions du Seuil, 1998. #107.

$1,500–2,000

171 SALVADOR DALÍ

The Four Seasons Suite 1972 The complete set of four color lithographs on paper #117 of 200 Each signed with edition in pencil Images/sheets each: 29.5 x 22.5" or alternate orientation Frames each: 37.75" x 29.75" or alternate orientation LIT E RAT URE Lopsinger, Lutz, and Ralf Michler. Salvador Dalí: Catalogue Raisonné of Etchings and MixedMedia Prints, 1924-1980, Munich: Prestel, 1994. #233.

$4,000–6,000

123

172 MAN RAY L’Intrus

1967 Acrylic-painted papier-mâché, paper, masking tape, plywood, velvet fabric, and electrical elements in Plexiglas case Unique Signed and dated “Man Ray 1967” lower right; inscribed “L’Intrus” lower left; retains a Christie’s label verso; retains Helen Serger La Boetie, Inc. and MarlboroughGodard Gallery labels verso 14.75" x 17" x 10" P ROVENA NC E Marlborough-Godard Gallery, Toronto, Canada; Helen Serger La Boetie, Inc., New York, New York; Anonymous Sale, Sotheby’s, Paris, France, July 2, 2008, Lot 47; Private Collection, Los Angeles, California (acquired directly from Christie’s, New York, New York, June 24-25, 2014, Sale 2862, Lot 191)

$18,000–25,000

173 MAN RAY

Aerograph 1970 Silkscreen on Plexiglas #36 of 45 Signed lower right; edition lower left; dated “1912” in the plate lower right; retains Herbert B. Palmer and Company label verso Image: 19" x 16" Sheet: 22.5" x 19.5" Frame: 24.625" x 21.5"

$3,000–5,000

174 MAN RAY

LACMA exhibition poster 1966 Color offset lithograph on paper Unknown edition size Image/sheet: 22" x 37.875" Poster for Man Ray’s 1966 exhibition at the Los Angeles County Museum of Art curated by Jules Langsner and Maurice Tuchman.

$500–700

125

175 ROBERT MAPPLETHORPE Untitled (from Flowers Portfolio) 1983; published 1984 Photogravure on paper #19 of 40 Signed and dated lower right margin of sheet; edition lower left Image: 23" x 18" Sheet (vis.): 24.5" x 19.5" Frame: 30" x 24"

$4,000â&#x20AC;&#x201C;6,000

176 ROBERT MAPPLETHORPE Gregg Cauley-Cock 1980 Gelatin silver print Signed and dated in ink lower right margin of sheet beneath image; inscribed “For Ron” lower left margin of sheet; retains a Thomas Solomon’s Garage Gallery label verso Image: 7.5" x 7.5" Sheet (vis.): 8.25" x 7.75" Frame: 15.5" x 14"

$4,000–6,000

177 ROBERT MAPPLETHORPE Untitled (Nude on Bed) 1981 Gelatin silver print Signed lower right margin of sheet beneath image Image: 5.5" x 4.375" Sheet (vis.): 6" x 4.5" Frame: 17.25" x 13.75"

$5,000–7,000

127

178 HERB RITTS

Tony with Blackface - Profile 1986 Gelatin silver print Signed and inscribed in pencil “Tony with Blackface Profile 1986 Los Angeles Herb Ritts” verso; artist’s copyright stamp embossed lower right sheet Image/sheet (vis.): 18.25" x 15" Frame: 23.25" x 19.75" P ROVENA NC E Tony Ward, New York, New York (gifted directly by the artist); Private Collection, Los Angeles, California (acquired directly from the above)

$4,000–6,000

179 ANDRES SERRANO

Lesa Lewis (from Big Women Series) 1998 Color photograph on Kodak Professional paper #5 of 50 Initialed with title and edition in ink verso Image: 9" x 7.375" Sheet: 10" x 7.875" P ROVENA NC E The artist; Private Collection, San Diego, California (acquired directly from the above through ACRIA Benefit Art Auction, New York, New York) LITERATURE Andres Serrano: Big Women. Torino: Marco Noire Editore, 2000. n. pag.

$3,000–5,000

180 RON GALELLA

Jackie Onassis, New York, October 7, 1971 1971 Gelatin silver print Signed verso Image/sheet (vis.): 9" x 6.25" Frame: 21.125" x 17.125"

$1,000–1,500

129

181 WILLIAM WEGMAN Hand Some 2001 C-print From the edition of 150 Published by the Fabric Workshop and Museum, Philadelphia Together with announcement from the Fabric Workshop and Museum Image: 7" x 7" Sheet: 14" x 11" Frame: 16.625" x 13.625"

$1,500–2,000

182

183

ROBERT LONGO

2005 Archival pigment print on Crane portfolio rag paper

#7 of 15

#8 of 15

Published by Adamson Editions, Washington, D.C.

Signed and dated in pencil lower right image; edition inscribed in pencil lower left image

Image: 39.75" x 26.25" Sheet: 44" x 30" Frame: 47.5" x 34.125"

$5,000â&#x20AC;&#x201C;7,000

Untitled (Pl. 15 from Men in the Cities)

Untitled (Pl. 2 from Men in the Cities)

184 ROBERT LONGO

Untitled (from Men in the Cities) 1989 Lithograph on paper #2 of 12 Signed and dated in pencil beneath image lower right sheet; edition lower left; inscribed “3SS” lower left; retains Metro Pictures Gallery label verso Image: 16" x 29" Sheet: 21.75" x 30.25" Frame: 23" x 31.75"

$5,000–7,000

131

185 ALEX KATZ

The Orange Band 1979 25-color screenprint on Arches Cover White paper #25 of 80 Co-published by Simca Print Artists, Inc., New York and the artist; printed by Hiroshi Kawanishi, Simca Print Artists, Inc., New York Signed with edition in pencil lower left; printer blind stamp upper left sheet Image/sheet: 40" x 28.25" Frame: 49.125" x 37.25" LIT E RAT URE Albrecht Schröder, Klaus, Marietta Mautner Markhof, and Gunhild Bauer, eds. Alex Katz: Prints: Catalogue Raisonné, 1947-2011. Ostfildern: Hatje Cantz, 2011. #116.

$4,000–6,000

186 GEOFFREY FARMER

In The Beginning The End Often Looks Like This, Engulfed In Stillness, Immobile and Ultimately In the Final Version, Haunted 2004 Transmounted LightJet print #2 of 3 Together with receipt 71" x 71" P ROVENA NC E Catriona Jeffries Gallery, Vancouver, British Columbia; Private Collection, Los Angeles, California (acquired directly from the above, 2005) LITERATURE Intertidal: Vancouver Art & Artists. Vancouver: Morris and Helen Belkin Art Gallery, 2005. 29.

$3,000â&#x20AC;&#x201C;5,000

187 VIK MUNIZ

Vanitas (from Pictures of Soil Series) 1999 Gelatin silver print #1 of 10 Signed and dated with edition in pencil verso Image/sheet (vis.): 18.75" x 22.25" Frame: 28.75" x 32.75" LIT E RAT URE Corra do Lago, Pedro. Vik Muniz: Obra Completa 1987-2009: Catalogue Raisonné. Rio de Janeiro: Capivara, 2009. 284.

$7,000–10,000

133

188 DOUG AITKEN Conspiracy

1998 C-print mounted on Plexiglas Artist’s proof aside from the edition of 10 Printed by Muse X Editions, Los Angeles Retains Sotheby’s labels verso Image/sheet: 48" x 48" LIT E RAT URE Birnbaum, Daniel. Doug Aitken. London: Phaidon, 2001. 96.

$6,000–8,000

189 DAVID DREBIN

Los Angeles (from Cities) 2008 Digital C-print From the edition of 7 Signed with edition Image/sheet: 40" x 125" Frame: 42" x 128.75"

$6,000–9,000

190 MAX YAVNO

View from Twin Peaks 1947 Gelatin silver print Signed “Yavno” in pencil lower right mount beneath image Image/sheet: 7" x 13.25" Mount (vis.): 7.5" x 14" Frame: 16.125" x 21.125" LITERATURE Maddow, Ben. The Photography of Max Yavno. Berkeley: U of California, 1981. 51, #26.

$1,200–1,500

191 NICK BRANDT

Portrait of Old Chimpanzee, Mahale (from On This Earth Portfolio) 2003 Archival pigment print on paper #4 of 55 Signed and dated in pencil lower right margin of sheet beneath image Image: 11" x 13.75" Sheet (vis.): 11.75" x 14.25" Frame: 19.75" x 22.375"

$3,000â&#x20AC;&#x201C;5,000

192 NICK BRANDT

Portrait of Cheetah Against Dark Sky - Maasai Mara (from On This Earth Portfolio) 2004 Archival pigment print on paper #7 of 35 Signed and dated in pencil lower right margin of sheet beneath image Image: 13.625" x 10.875" Sheet (vis.): 14.5" x 11.375" Frame: 22.5" x 19.5"

$3,000â&#x20AC;&#x201C;5,000

135

193 MARTIN KERSELS

Pestering (Patty) (from The MOCA Portfolio) 1999 LightJet print on FujiCrystal archive paper Artist’s proof aside from the edition of 250 Published by MOCA, Los Angeles; printed by Muse X Editions, Los Angeles Signed with edition verso; retains Margo Leavin Gallery label verso Image/sheet (vis.): 12.5" x 18.5" Frame: 19.125" x 25.25" P ROVENA NC E MOCA, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$2,000–3,000

194 ALLAN MCCOLLUM & LAURIE SIMMONS

Untitled (from the Actual Photo Series) 1986 Cibachrome print Together with Spectacle Magazine This photograph was included with a special Fall 1986 issue of Spectacle Magazine Image/sheet (vis.): 4.75" x 3.25" Frame: 15" x 12.125" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from Spectacle Magazine

$3,000–5,000

195 LAURIE SIMMONS

Perfume Bottle (from Lying Objects Series) 1992 Color offset lithograph on Luxus Satin paper Trial proof aside from the edition of 50 Signed lower right in pencil; inscribed “T.P” lower left Image: 9.5" x 14" Sheet: 15.75" x 19.75" Frame: 20.5" x 25.25"

$1,000–1,500

137

Allan McCollum Employing repetitive production methods to create artworks made up of serial components and multiples, Allan McCollum (b. 1944) explores ideas surrounding the aura and the hand of the artist, and the sanctity placed upon singular, unique works of art. Applied to a larger context, McCollum seeks to understand and perhaps disrupt the values that society places upon objects of all types, from ordinary household items to the hallowed artwork. In an interview with PBS’s ART21, McCollum summed up his artistic concerns: “I was interested in how a painting wound up in a gallery or museum and all of the social aspects that determine the way we value things. I was interested in the structure of a couch, a table, a lamp or a potted plant as well as the painting. I was interested in how we define ourselves through artworks and also through other things like antiques or fossils or emblems that represent our city or state or country. It all goes back to an interest in cultural structure.” In 1985, the artist began his “Perfect Vehicle” series—the title refers to the phenomena of inanimate objects becoming symbols for a person’s or a culture’s intangible values. Five Perfect Vehicles (1986) is comprised of sculptures in the traditional shape of the Chinese ginger pot, a form that has been produced over and over again throughout history, both by artisans and in mass-production. However, McCollum’s versions are nonfunctioning, and only operate as vessels in the metaphorical sense. As with many of his projects, McCollum uses assembly-line methods, enlisting laborers, assistants, and other craftspeople to confuse or problematize

196 ALLAN MCCOLLUM

The Partridge Dance (from Constructed Paintings Series) 1972 Mixed cloth with silicone and canvas

197

Signed, dated, and titled verso

ALLAN MCCOLLUM

Together with copy of receipt dated April 18, 1972 from Jack Glenn Gallery 69" x 135" P ROVENA NC E Jack Glenn Gallery, Corona Del Mar, California; Private Collection, Los Angeles, California (acquired directly from the above, 1972); Thence by descent EXHIBITE D “Allan McCollum,” Jack Glenn Gallery, Corona Del Mar, 1972

Five Perfect Vehicles (5) 1986 Enamel and acrylic on solid cast hydrocal Unique One signed, dated, and inscribed “12-D” and “4 of 5” Each: 19" x 8" diameter L I T E RAT U R E Fraser, Andrea. Investigations Series: Allan McCollum.

LITERATURE Lawson, Thomas. Allan

Philadelphia: Institute of Contempo-

McCollum. Los Angeles: A.R.T. Press,

rary Art, U of Pennsylvania, 1987. For

1996. 7 for similar examples illustrated.

similar examples.

$10,000–15,000

$20,000–30,000

the value assigned to the artist’s unique mark. The paint for his sculptures is also typically commercially formulated and purchased off-the-shelf, as opposed to a proprietary blend unique to the artist. Throughout the course of his career, McCollum has been featured in more than 100 solo exhibitions. His work is in the collections of major institutions including the Museum of Modern Art, New York; the Whitney Museum of American Art; the Solomon R. Guggenheim Museum; and the Hirshhorn Museum and Sculpture Garden. Sollins, Susan. “Allan McCollum: In Charge of His Own Destiny.” ART21, Sept. 2013. PBS. Web. Dec. 2014. “Allan McCollum: Perfect Vehicles.” Projects. Public Art Fund, n.d. Web. 8 Dec. 2014.

139

198 GEORGE RICKEY Two Lines Up

1966 Bronze, stainless steel on marble base Unique Incised signature and date “Rickey 66” on base plate LAMA would like to thank the George Rickey studio for their assistance in cataloguing this work Overall: 19.125" x 2.5" x 2.5"

$35,000–45,000

SIGNATURE AND DATE DETAIL

199 CONSTANTIN BRÂNCUSI Leda

c. 1925 Gelatin silver print Inscribed in pencil “Leda/1917-1925” verso; bears the inscription in ink “4 x 3” verso; bears the inscription in colored pencil “III” verso; bears the inscription in pencil “CHW” and “P0272058” verso Image: 6.75" x 9.25" Sheet: 7" x 9.25" Mat: 15.25" x 20.75" P ROV E NANC E Irene Codreanu; Ubu Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above 1999) LIT E RAT URE Varia, Radu. Constantin Brâncusi, Photographe, 1876-1957. Paris: Galerie Hopkins-Custot, 2003. 38-39.

$5,000–7,000

200 LYNN CHADWICK Seated Woman

1969 Color lithograph on paper #81 of 210 Signed and dated in pencil “Chadwick 69” lower right; edition lower left Image: 21.5" x 17" Sheet (vis.): 22.25" x 31.25" Frame: 29.25" x 38.25"

$1,000–1,500

201 ALEXANDER CALDER

Untitled (LACMA Poster) 1965 Color lithograph on paper #9 of 100 Signed in pencil lower right sheet; edition lower left; retains an “Art Museum Council/Los Angeles County Museum of Art” Art Rental Gallery label verso Image/sheet: 33" x 25" Frame: 39.5" x 31.5" LIT E RAT URE Barron, Stephanie, and Lisa Mark, eds. Calder and Abstraction: From Avant-Garde to Iconic. Los Angeles: Los Angeles County Museum of Art and DelMonico Books/Prestel, 2013. 7 for poster version with text.

$1,500–2,000

141

202 HARRY BERTOIA Untitled

1961 Steel music wire, brass, and bronze Together with original invoice, exhibition mailer and press release from 1961, exhibition brochure from 1978, and vintage photograph of the sculpture taken by John D. Schiff 38.5" x 78" x 20" P ROVENA N C E Staempfli Gallery, New York, New York; Private Collection, Connecticut (acquired directly from the above, March 30, 1961) EXHIBITE D “Harry Bertoia: Recent Sculpture,” Staempfli Gallery, New York, March 14-April 1, 1961

$250,000–350,000

Harry Bertoia Sculptor, graphic artist, painter, metalsmith, and furniture and jewelry designer Harry Bertoia (1915–1978) was one of the great multidisciplinary talents of 20th century art and design, and a central figure in American modernism. As an artist, Bertoia’s style and technique were his, and his alone. Bertoia’s metal sculptures are by turns expressive and austere, powerful and subtle, intimate in scale and monumental. But all embody a tension between the delicacy, intricacy, and precision of Bertoia’s forms and the raw aesthetic and substantive strength of his materials: steel, brass, bronze, and beryllium copper. The sculptures offered in this sale exemplify Bertoia’s genius for abstracted representations of nature, a core theme in his work. These sculptures—one as dense as a thicket of brambles; another suggesting a copse of trees—are the products of an artistic career in full flower. Bertoia’s was a career that was in many ways charmed: for a man of quiet, unassuming character, he had an uncanny knack for being at the heart of the action in the worlds of art and design. Born in northeastern Italy, Bertoia immigrated to the United States at age 15, joining an older brother in Detroit. Even with his halting English, Bertoia’s gifts were noted early on at Cass Technical High School. Recognition led to awards that culminated, in 1937, in a teaching scholarship to attend the Cranbrook Academy of Art in suburban Bloomfield Hills, MI. At Cranbrook—one of the great crucibles of modernism in America—Bertoia formed friendships with architect Eero Saarinen, designers Charles and Ray Eames and Florence Knoll, and others that would shape the course of his life. In 1943, he left the school to work in California with the Eameses, helping them develop their now-famed plywood furniture. Late in that decade, Florence and husband Hans Knoll persuaded him to move east and join their furniture company, Knoll Inc. Bertoia’s wire-lattice “Diamond” chair, released in 1952, and its variants became, and remain, perennial best-sellers. Royalties allowed Bertoia to devote himself full-time to sculpture. Bertoia began sculpting in earnest in 1947. He had learned metalworking in high school, and taught a class in the discipline at Cranbrook. When wartime restrictions limited

the availability of metals, Bertoia focused on jewelry design. While in California, he mastered precision welding, allowing him to explore metal artwork in larger scale. As he began to garner commissions for architectural sculptures in the early 1950s—the first came via Saarinen—Bertoia refined his aesthetic vocabulary. In a sense, as much as metal, air became Bertoia’s primary material. His “sounding sculptures”—gongs and “Sonambient” groupings of rods that strike together and chime when touched by hand or by the wind—literally resonate. Bertoia’s naturalistic works—sculptures that suggest bushes, flower petals, leaves, dandelions, sprays of grasses— derive their power from the arrangement of space between structural elements. The thee works presented here manifest the latter Bertoia genre at its best. Commissioned by Florence Knoll for her design for the lobby of the First National Bank of Miami, Sculpture Screen is a 1959 work, one of ten 11-foot tall screens of melt-coated brass over steel panels. A 1960 review in Domus, the renowned Italian architecture and design magazine founded by Gio Ponti, described them as “abstracted trees with leaves of golden money.” The screens obtain their aesthetic force not only from their size but also from their placement together: they form an environment; a kind of indoor forest. Lot 202, a sculpture composed of steel music wire, brass, and bronze, was purchased by its owner directly from the piece’s exhibition in 1961 at New York’s Staempfli Gallery— a progressive venue that showed Brâncuši and Tinguely, and was the home gallery to Bertoia, Elmer Bischoff, Joan Brown, Paul Delvaux, and George Rickey. The piece is a tour de force: an initial impression of hectic, even manic, energy gives way to a realization of the meticulous, precise, and painstaking spatial composition of the piece. This is not chaos—it is a representation of the ordered complexity of all things. Nelson, June Kompass. Harry Bertoia: Sculptor. Detroit: Wayne State UP, 1970. Print. Schiffer, Nancy N., and Val O. Bertoia. The World of Bertoia. Atglen, PA: Schiffer Publications, 2003. Print. “Harry Bertoia, Biography.” Smithsonian American Art Museum. Smithsonian Institute, n.d. Web. 17 Nov. 2014. “Interni di una banca a Miami.” Domus Dec. 1960: n. pag. Print. Florence Knoll Bassett Papers. Archives of American Art, Smithsonian Institute, n.d. Web. 17 Nov. 2014.

143

203 HARRY BERTOIA

Sonambient Sculpture Executed c. 1970 Beryllium copper and brass Together with certificate of authenticity from the Bertoia estate 34" x 8" x 8"

$30,000â&#x20AC;&#x201C;50,000

204 HARRY BERTOIA

Sculpture Screen from the First National Bank of Miami, Florida 1959 Brass melt-coated steel 136" x 55" x 30" Commissioned by Florence Knoll for the First National Bank of Miami, Florida. P ROV E NANC E The First National Bank of Miami, Florida; Victor Elmaleh, New York, New York (acquired directly from the above); University of Virginia School of Architecture, Charlottesville, Virginia (gifted directly from the above, 2000); Private Collection, New York, New York (acquired directly from the above through Sotheby’s, New York, New York, 2014) E XHIBIT E D “Bertoia: A Celebration of Sound and Motion,” Sotheby’s, New York, February 11-March 9, 2014

$120,000–180,000

145

205 ANDY WARHOL

Sidewalk (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1983 #110 of 250 Published by MOCA, Los Angeles; printed by Rupert Jasen Smith, New York Signed in pencil with edition lower left sheet F/S #11.304

Image/sheet: 29” x 42” PROVE N A N CE Private Collection, Los Angeles, California (acquired directly from MOCA, Los Angeles) L I T E RAT U R E Danto, Arthur C., Donna De Salvo, Frayda Feldman, Claudia Defendi, and Jörg Schellman. Andy Warhol Prints: A Catalogue Raisonné: 1962-1987. 4th ed. New York: D.A.P., 2003. 132 #II.304

$6,000-9,000

206 ANDY WARHOL

Image/sheet: 38" x 38" Frame: 38.625" x 38.625"

Goethe

P ROV E NANC E Bobbie Greenfield

1982 Screenprint on Lenox Museum Board

Private Collection, Los Angeles, Cali-

Gallery, Brentwood, California; fornia (acquired directly from the

#99 of 100

above)

Co-published by Editions Schellmann & Kluser, Munich and New York, and Denise Rene/Hans Mayer, Dusseldorf; printed by Rupert Jasen Smith, New York

LIT E RAT URE Danto, Arthur C.,

Signed in pencil with edition lower left sheet; blind stamp lower right

Donna De Salvo, Frayda Feldman, Claudia Defendi, and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné: 1962-1987. 4th ed. New York: D.A.P., 2003. 125, #II.272.

$30,000–50,000

147

207 ROY LICHTENSTEIN Foot and Hand

1964 Offset color lithograph on white wove paper Unnumbered proof aside from the edition of 300 Published by Leo Castelli Gallery, New York Signed, dated, and inscribed in pencil “For Derek RF Lichtenstein 1964” lower center margin of sheet beneath image Image: 16.5" x 20.875" Sheet (vis.): 17" x 21.125" Mat: 25.25" x 29" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1964) LITERATURE Corlett, Mary Lee. The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. New York: Hudson Hills Press, 1994. #II.4.

$8,000–12,000

149 208 ROY LICHTENSTEIN Real Estate

1969; published 1971 Color lithograph on Arches paper #56 of 100 Co-published by Chelsea House Publishers, New York; Publications I.R.L., Lausanne; and Paul Bianchini, New York; printed by Atelier Mourlot, New York

209

Signed and dated with edition in pencil beneath image lower right margin of sheet; retains an “Art Museum Council/Los Angeles County Museum of Art” Art Rental Gallery label verso

ROY LICHTENSTEIN

Image: 13.5" x 32" Sheet: 19.5" x 39" Frame: 20.75" x 39.25"

Unknown edition size

P ROV E NANC E Paul Bianchini

Signed in pencil lower center

Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above)

Paper Plate

1969 3-color screenprint on white paper plate

Published by Bert Stern, for On 1st, New York

Plate: 10.25" diameter Frame: 14.25" x 14.25"

LIT E RAT URE Corlett, Mary Lee. The

Prints of Roy Lichtenstein: A Cata-

logue Raisonné, 1948-1993. New York:

Hudson Hills Press, 1994. #88.

Hudson Hills Press, 1994. #III.45.

$5,000–7,000

$1,000–2,000

211 JASPER JOHNS

Untitled (from Harvey Gantt Portfolio)

210 JASPER JOHNS Untitled I

1976 Intaglio on Auvergne paper #2 of 55 Published by Petersburg Press, New York; printed by Atelier Crommelynck, Paris Signed and dated in pencil lower right margin; edition lower left margin of sheet beneath image

1990 3-color lithograph on Arches 88 paper #160 of 250 Published to benefit the campaign of Harvey Gantt; printed by Gemini G.E.L., Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #26.104

Image: 13" x 19.375" Sheet: 20.5" x 26" Frame: 29.625" x 34.375"

Image: 6" x 4.75" Sheet: 10.5" x 8" Frame: 15.75" x 13"

LITERATURE Field, Richard. The

L I T E RAT U R E Field, Richard. The

Prints of Jasper Johns 1960-1993: A

Catalogue Raisonné. New York: ULAE,

1994. #171.

1994. #252.

$10,000–15,000

$2,000–3,000

212 JASPER JOHNS 0 Through 9

1977; published 1978 4-color lithograph on La Paloma handmade paper #34 of 60 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right margin of sheet beneath image; edition lower left; Gemini G.E.L. blind stamp lower right margin; retains Leslie Sacks Fine Art Gallery label verso Gemini G.E.L. #26.93 Image: 6" x 4.5" Sheet: 9.75" x 7.75" Frame: 21" x 19.25" LIT E RAT URE Field, Richard. The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. New York: ULAE, 1994. #190.

$2,000–3,000

151

213 JASPER JOHNS

Savarin 1 (Cookie) 1978 3-color lithograph on Richard de Bas paper #30 of 42 Published and printed by ULAE, West Islip Signed and dated in pencil lower right margin of sheet; edition lower left with printer blind stamp Together with receipt Image: 15.25" x 10.75" Sheet: 26" x 20.5" Frame: 27.5" x 21.75" P ROV E NANC E Castelli Graphics, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1979) LIT E RAT URE Field, Richard. The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. New York: ULAE, 1994. #191.

$10,000–15,000

214 JASPER JOHNS Green Angel

1991 6-color intaglio on Barcham Green paper #2 of 46 Published and printed by ULAE, West Islip Signed and dated in pencil lower right margin of sheet; edition lower left Image: 25.25" x 18" Sheet: 31" x 22.5" LITERATURE Field, Richard. The Prints of Jasper Johns 1960-1993: A Catalogue Raisonné. New York: ULAE, 1994. #253.

$5,000–7,000

153

215 JASPER JOHNS

Jasper Johns: Prints 1960-1970 exhibition poster 1970 Offset color lithograph on paper Unknown edition size Signed in ink lower right margin of sheet; printed “Copyright Jasper Johns, 1970” lower left sheet Image/sheet: 35" x 23.5" Frame: 36.25" x 25.25" P ROV E NANC E Private Collection, Los Angeles, California (gifted directly by the artist)

$1,500–2,000

155 Richard Pettibone’s studio, Los Angeles, California, 1965

216 RICHARD PETTIBONE

Photo Credit / James Edson, courtesy of Francis M. Naumann Fine Art, New York

Marcel Duchamp, “Bicycle Wheel,” 1913 Prototype 1965 Painted wood stool, bicycle wheel rim, and forks Unique prototype for the 1965 edition Together with certificate of authenticity signed by the artist 50" x 23.75" x 13" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist, 1965) LIT E RAT URE Forty Years of Assemblage. Los Angeles: Wight Art Gallery, 1989. 202-203, 233, #96 for one of the examples from the edition.; Berry, Ian, and Michael Duncan. Richard Pettibone: A Retrospective. Saratoga Springs: Frances Young Tang Museum, 2005. 49, #35 for one of the examples from the edition illustrated.

$30,000–50,000

217 RICHARD PETTIBONE

Jasper Johns #2, 1960 1960 Oil on wood panel in artist’s frame Signed and inscribed in ballpoint pen “Jaspers John [sic.] II/Pettibone 1960” Panel: 8" x 8" Frame: 8.625" x 8.5" “His appropriations of Jasper Johns, for example, seem steeped in respect for the painterly qualities and conceptual rigor of works such as Tennyson, Drawer, and the ‘Flag’ paintings. He treats Johns’ works as worthy readymades whose complex surfaces demand attention, even in small scale.” — from Michael Duncan’s essay “A Snow Shovel is Nice: The Works of Richard Pettibone,” published in Richard Pettibone: A Retrospective. P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) LITERATURE Berry, Ian, and Michael Duncan. Richard Pettibone: A Retrospective. Saratoga Springs: Frances Young Tang Museum, 2005. 82, #94-95 for similar examples of Jasper Johns “Target” appropriation paintings.

$20,000–30,000

218 RICHARD PETTIBONE

Duchamp.Fontaine.1917 1965 Silkscreen on canvas in artist’s frame Artist’s signature and date screened on canvas lower center Canvas: 8" x 5.875" Frame: 8.375" x 6.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) LIT E RAT URE Berry, Ian, and Michael Duncan. Richard Pettibone: A Retrospective. Saratoga Springs: Frances Young Tang Museum, 2005. 48, #32 for a similar example illustrated.

$9,000–12,000

219 TOM WESSELMANN

Tiny Dropped Bra #10 1980 Liquitex on cut paper construction in Plexiglas box Signed, titled, dated, and inscribed in pencil “#10/Wesselmann 80 (5)” verso 3.25" x 5" x 3" Plexiglas box: 6.25" x 8.25" x 4.25"

$5,000–7,000

157

220 TOM WESSELMANN

House and Barn in Distance 1991 Color screenprint on Arches 88 paper #87 of 100 Published by International Images, Putney; printed by Screened Images, Port Washington Publisher and printer blind stamps lower left edge of sheet; signed with edition in pencil lower right margin of sheet; retains Pasquale Iannati Art Galleries label verso Image: 20" x 30" Sheet: 30" x 40" Frame: 38" x 48.25"

$5,000–7,000

ORIGINAL BOX

221 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #254 of 2,300 Published by MOCA, Los Angeles Editions Retains facsimile signature on MOCA label with date and edition verso Together with original box and plate stand 10.25" diameter

$10,000–15,000

159

222 DAMIEN HIRST Carvacrol

2008 Silkscreen with bronze glitter on Somerset Tub-Sized 410-gram paper #101 of 150 Published by Other Criteria, London Signed in pencil lower right margin of sheet; publisher blind stamp lower right edge of sheet; edition lower left Image: 30" x 22" Sheet: 38" x 30" Frame: 44" x 35.375"

$6,000â&#x20AC;&#x201C;8,000

Joel Otterson Los Angeles contemporary artist Joel Otterson (b. 1959) is a maker in the old tradition, working with copper pipe, pottery, earthenware, concrete, marble, stained glass, quilting, lacemaking, and woodworking, but his ironic arrangements and pithily titled pieces are wholly au courant. A Los Angeles native, Otterson enrolled in Parsons School of Design in New York City in 1977 and went on to live in the city for over 20 years. In 1987, he was selected for a solo exhibition in the Projects Room of the Museum of Modern Art, New York. Otterson says of his work: “My work is loud, and I want it to yell at people.” In this boisterous example, American Portable Pottery Museum (Wall of China) (1994), the artist makes a wry and pointed comment on current global manufacturing practices—namely, that China is the primary trading partner of the United States

223 JOEL OTTERSON

American Portable Pottery Museum (Wall of China) 1994 125 ceramic pieces, copper plumbing pipe, steel, rubber casters Together with copy of invoice and exhibition loan receipt 93" x 104" x 30" P ROVENA NC E The artist; Shoshana Wayne Gallery, Santa Monica, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above, 1995) EXHIBITE D “The 57th Scripps Ceramic Annual,” Ruth Chandler Williamson Gallery, Scripps College, Claremont, January 20-April 1, 2001

$8,000–12,000

in manufactured goods. Every facet of the behemoth work, measuring almost 8-feet in height, conveys a message. The structure of the sculpture is a complicated lattice of copper tubing—China is the second-largest miner and producer of copper in the world. Pieces of found pottery populate the frame, bringing up the material history of earthenware in the United States and, by association, the long and complex history of porcelain in China. Two pieces by Otterson were prominently featured in the 2014 Whitney Biennial. Otterson’s work is in the permanent collections of the Cincinnati Art Museum, the Broad Foundation, the Israel Museum, and other institutions. Harrity, Christopher. “Artist Spotlight: Joel Otterson.” The Advocate 2012: n.pag. Web. 4 Dec. 2014. McKenna, Kristine. “ART: How to Push That BadTaste Button.” The Los Angeles Times 9 Oct. 1994: n. pag. Web. 4 Dec. 2014.

224 LEON MAYER Rocking chair

Studio, executed c. 1970 39" x 19.75" x 24"

$2,000–3,000

225 DAVID GILHOOLY Neo Greek Urn #6

1982 Painted and glazed ceramic Signed, titled, and dated 12.5" x 9" diameter

$3,000–5,000

161

226 KONSTANTIN KAKANIAS Instant History (for B.) 2001 Oil on canvas Retains Paul Kasmin Gallery label verso Together with gallery mailer Canvas: 80" x 65" P ROVENA NC E Paul Kasmin Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 2002)

$10,000â&#x20AC;&#x201C;15,000

227 JAMES LAWTON

Scalloped vase with lid and trivet with objects 1985 Painted ceramic Signed and dated on trivet Vase: 10" x 9" x 7.25" Trivet: 1" x 21.25" x 8.5"

$2,000–3,000

228 ADRIAN SAXE Untitled

c. 1990 Painted ceramic Signed 13.25" x 6" x 5"

$3,000–5,000

229 MICHAEL MAGLICH 41st Platter

1982 Painted ceramic Ceramic: 6.25" diameter Frame: 12.375" x 12.375"

$1,500–2,000

163

230 VIOLA FREY

Untitled (Man & Woman) 1982 Painted and glazed ceramic 40" x 17" x 22"

$15,000â&#x20AC;&#x201C;20,000

231 VIOLA FREY

Untitled (Plate) 1983 Painted and glazed ceramic Signed and dated verso 25.25" diameter LIT E RAT URE Kuspit, Donald. Viola Frey: Plate 1968-1994. New York: Nancy Hoffman Gallery, Inc., 1994. 28-30 for similar examples from the period.

$4,000–6,000

232 ANDREW LORD Vase

c. 1994 Painted and glazed ceramic Together with copy of receipt 22.75" x 20" diameter P ROV E NANC E MOCArtAuction’94, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1994)

$7,000–9,000

165

ALTERNATE VIEW

233 DAN JOHNSON

Gazelle armchair Dan Johnson Studio, designed c. 1958 33" x 18" x 20" P ROVENA NC E Los Angeles County Museum of Art

$6,000â&#x20AC;&#x201C;9,000

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

SIGNATURE AND LABEL DETAIL

234 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1946 Green Pompeiian Lava glazed ceramic Signed “Natzler” and retains Natzler inventory label “6996” 5" x 11" diameter (12.5 cm x 28.5 cm)

$15,000–25,000 SIGNATURE AND LABEL DETAIL

235 GERTRUD & OTTO NATZLER Bowl

Studio, executed 1962 Nocturne glazed ceramic Signed “Natzler” and retains Natzler inventory label “L839” 2.125" x 4.5" diameter (5.25 cm x 11.5 cm)

$2,500–3,500

167

236 SAM MALOOF Armchair

Studio, executed 2003 Walnut Etched “No. 13/2003/Sam Maloof d.f.a. r.i.s.d.” and with initials “M.j/ L.w./D.w” 29.75" x 21.75" x 21.5"

$10,000–15,000

237 DOYLE LANE

Weed pots (3) Studio, executed c. 1955 Glazed ceramic Each signed Together with associated vessel 2.25" x 2.75" 2" x 2.5" 1.5" x 2.5" Associated vessel: 2.75" x 2.75"

$2,000–3,000

169

238 HARRISON MCINTOSH Vase

Studio, executed c. 1960 Glazed stoneware Retains paper label “Hand Thrown Stoneware/Harrison McIntosh/Claremont California” and impressed with artist’s cipher 7" x 6" diameter

$600–800

239 JAMES PRESTINI Turned wood bowl

Studio, executed c. 1948 Stamped “PRESTINI” 2.5" x 6.5"

$800–1,200

240 PEDRO FRIEDEBERG Hand chairs (2)

Studio, designed c. 1970 Each: 34" x 18" x 20"

$8,000â&#x20AC;&#x201C;12,000

241 BEATRICE WOOD Chalice

Studio, executed c. 1985 Luster glazed ceramic Signed “BEATO” and marked “BWTF #213” 6" x 4" diameter

$3,000–5,000

242 BEATRICE WOOD Figurative bowl

Studio, executed c. 1985 Luster glazed ceramic Signed “BEATO” and marked “BWTF #422” 7.5" x 10" diameter

$2,500–3,500

171

243 EVELYN ACKERMAN Falconer

ERA Industries, designed c. 1958 Mosaic tile 49" x 13"

$1,000–1,500

244 EVELYN ACKERMAN

Mosaic tile coffee table Jenev, designed 1955 Model no. 103W Inscribed in marker “A. Jenev Design”; retains label inscribed “Evelyn Ackerman/1960” LAMA would like to thank Jerry Ackerman for his assistance in cataloguing this work 16" x 60" x 24"

$2,000–3,000

245 ELLAMARIE WOOLLEY

Double View (from Popular Chevron Series) 1972 Enameled ceramic plaque Signed in black felt-tip marker verso; inscribed “705” verso 17" x 17" E XHIBIT E D E.B. Crocker Art Gallery (Crocker Art Museum), Sacramento, March-April 1973 LIT E RAT URE Jazzar, Bernard N., and Harold B. Nelson. Painting with Fire: Masters of Enameling in America, 1930-1980. Long Beach: Long Beach Museum of Art, 2006. 157, #118 for similar example illustrated.

$4,000–6,000

246 ELLAMARIE WOOLLEY Untitled (P194)

Studio, c. 1975 Artist’s initials lower left; signed and inscribed “Ellamarie Woolley P194” verso Plaque: 7" x 10.25" Frame: 12.75" x 16"

$2,000–3,000

173

Paul Frankl As both a furniture designer and author, Paul T. Frankl (1886– 1958) had a powerful influence shaping the unique identity of American modernist design in the early 20th century. Stylish and astute, Frankl won a broad group of admirers, who ranged from Frank Lloyd Wright to a host of Hollywood stars, and a keynote of Frankl’s talent was the degree to which he absorbed aesthetic cues from his surroundings. As he wrote in his 1928 book New Dimensions: The Decorative Arts of Today in Words and Pictures: “The art of today must be created today. It must express the life about us. It must reflect the main characteristics and earmarks of our own complex civilization.” Few designers have been as attuned as Frankl to the forms and materials in their environment. Born in Vienna, Frankl trained in architecture there and in Berlin before moving to New York in 1914. He designed interiors and theatre sets, and opened a gallery selling furniture designed by himself and others. Frankl’s first great design success came with his “Skyscraper Furniture” line, first issued in 1925 and characterized by tall cabinets with staggered shelves meant to mimic the jagged setbacks of Manhattan office towers. In a few years, as buildings in the “Streamline Moderne” style rose, Frankl introduced his “Speed” club chairs and sofas – pieces with raked profiles suggesting forward motion.

247 PAUL FRANKL Coffee table

Johnson Furniture Company, designed c. 1951 Model no. 5042 14.25" x 60" diameter LITERATURE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$12,000–15,000

In 1934, Frankl moved to Los Angeles, where he would live out the rest of his life. Taken by the climate, scenery, and the casual pace of life, he pronounced it “heaven,” a perfect antidote to the “the mad rush, high tension and fierce pressure” he experienced in New York. Upon his move, Frankl’s entire approach to design changed. His furniture became lighter, simpler, and inflected by Asian design forms. His work attracted clients such as Katharine Hepburn, Cary Grant, and Fred Astaire, and, Frankl biographer Christopher Long maintains, prompted a trend to brighter, airy movie set decoration within the film industry. Most tellingly, Frankl embraced natural materials: texture-rich upholstery like hide and nubby wool; “combed” wood panels with raised striations; chair and sofa frames made of rattan; and cork finished with beeswax, which featured in the line of tables and consoles designed, beginning in the late 1940s, for the Johnson Furniture Company. These fresh, elegant designs are, perhaps, a testament not only to Frankl’s talents, but also to the transformative power of Southern California. Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale UP, 2007. Print. Frankl, Paul T. New Dimensions: The Decorative Arts of Today in Words and Pictures. New York: Payson and Clarke, 1928. Print.

248 PAUL FRANKL Buffet

Johnson Furniture Company, designed c. 1951 Model no. 2240 Branded “Johnson Furniture Company” and “2440” 32.25" x 72" x 19.5" LIT E RAT URE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$3,000–5,000

175 249 PAUL FRANKL

Two-tiered end tables (3) Johnson Furniture Company, designed c. 1951 Model no. 5001 Each branded “#5001” Each: 24" x 36" x 33" LIT E RAT URE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158; Contemporary Designs by Paul T. Frankl, Johnson Furniture Company catalogue, c. 1950. n. pag.

$3,000–5,000

250 PAUL FRANKL Dressers (2)

Johnson Furniture Company, designed c. 1951 Model nos. 1061 and 1062 (highboy) Branded “Johnson Furniture Company” and “#1061” and “#1062” 45.25" x 40" x 22" 32" x 40" x 22" LITERATURE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$4,000–6,000

251 PAUL FRANKL

Rectangular end tables and headboard (3) Johnson Furniture Company, designed c. 1951 Model nos. 5015 and 1030 Each table branded “5015 #321” Headboard branded “1030” Tables each: 20" x 30" x 18" Headboard: 34" x 80" x 3.25" LITERATURE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$2,000–3,000

252 PAUL FRANKL Desk

Johnson Furniture Company, designed c. 1951 Model no. 1069 Branded “Johnson Furniture Company” 29.25" x 54" x 22" LIT E RAT URE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$3,000–5,000

253 PAUL FRANKL

Corner tables (2) Johnson Furniture Company, designed c. 1951 Model no. 5029 Each branded “#5029” Each: 28.25" x 32" x 32" LIT E RAT URE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$3,000–5,000

177

254 PAUL FRANKL

Dining suite (7) Johnson Furniture Company, designed c. 1951 Model nos. 2253 (table), 2254 1/2 (armchairs), and 2254 (side chairs) Each branded with model numbers Comprised of a table, two leaves, two armchairs, and four side chairs Table: 29.5" x 72" x 42" Armchairs each: 32" x 25" x 25" Side chairs each: 32" x 21" x 25" LITERATURE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$6,000â&#x20AC;&#x201C;8,000

255 PAUL FRANKL Buffet

Johnson Furniture Company, designed c. 1951 Model no. 2250 Branded “Johnson Furniture Company” and “#2250” and retains remnants of a Johnson Furniture Company label 32.5" x 72" x 21" LIT E RAT URE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$5,000–7,000

256 PAUL FRANKL Dresser

Johnson Furniture Company, designed c. 1951 Model no. 2251 Branded “Johnson Furniture Company” and #2251” 32.5" x 48" x 23" LIT E RAT URE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$5,000–7,000

179

257 CLAIRE FALKENSTEIN Brooch

Studio, executed c. 1960 Stamped “© C. Falkenstein” 4" x 3.5" x .5"

$6,000–9,000

258 CLAIRE FALKENSTEIN Pendant

Studio, executed c. 1960 Stamped with artist’s cipher 4" x 2.5" x 1"

$4,000–6,000

259 CLAIRE FALKENSTEIN

Untitled (from Fusions Series) Studio, executed c. 1962 2.125" x 2.5" x 3"

$3,000–5,000

260 CLAIRE FALKENSTEIN Pendant

Studio, executed c. 1960 Stamped “© C. Falkenstein” 2.5" x 2" x 1.5"

$3,000–5,000

261 CLAIRE FALKENSTEIN Belt buckle

Studio, executed c. 1960 Stamped with artist’s cipher 3.5" x 4" x 1"

$3,000–5,000

181

262 WAYNE THIEBAUD Eight Lipsticks

1988 Color drypoint on Somerset Satin paper 1 of 7 unnumbered Trial proofs aside from the edition of 60 Published by Crown Point Press, Oakland; printed by Lawrence Hamlin, Crown Point Press, Oakland Signed and dated in pencil lower right margin beneath image; inscribed “T.P. E” lower left margin of sheet beneath image Image: 7" x 6" Sheet: 14" x 12" Frame: 17" x 15.5" P ROVENANC E Crown Point Press, Oakland, California; Private Collection, San Francisco, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Breuer, Karin. Thirtyfive Years at Crown Point Press: Making Prints, Doing Art. San Francisco/Berkeley: Fine Arts Museums of San Francisco/University of California Press, 1997. 134-135, #113.

$25,000–35,000

263 FLORENCE RESNIKOFF Necklace

Studio, executed c. 1965 Signed 9.75" x 5.75"

$4,000–6,000

264 MARGARET DE PATTA Earrings

Studio, executed c. 1955 One stamped “Sterling” the other with artist’s cipher and “de Patta” Each: 1.125" x 1.25" x .5"

$2,000–3,000

265 IRENA BRYNER Brooch

Studio, executed c. 1960 Stamped “I. Bryner Sterling” 1.25" x 3" x .75"

$1,500–2,000

183

Bruce Conner Actor, director, and artist, Dennis Hopper, once said: “In my opinion, Bruce Conner is the most important artist of the 20th century.” One of the more elusive artists of the latter 20th century, Conner (1933–2008) defied categorization. Driven by a questing intelligence, Conner embraced art forms ranging from sculptural assemblage to drawing, collage, and photography. He is best-known and appreciated for his complex and affecting experimental films—a medium he began to explore in the late 1950s. Conner’s quick-paced, montage-laden cinematic works have won a place in both film history and in the collections of the Whitney Museum of American Art and other institutions. To other Conner fans—who point to an early film, Cosmic Ray (1961), featuring the music of Ray Charles, and later collaborations with altrock icons such as David Byrne and the band Devo—he is the father of the music video. The experience of art was central to Conner’s work. The present lot—a group of eight hand-painted photographic slides— has its origin in a unique moment in Conner’s career, when he was given an opportunity to bring his diverse talents to bear on a single project. In 1967, while living in San Francisco, Con-

ner signed on with the North American Ibis Alchemical Light Show, a performance group founded by Ben Van Meter, a fellow experimental filmmaker. The group presented psychedelic light shows in tandem with music concerts, aiming to create events that offered a total immersive sensory experience. For more than three months in that year of the city’s “Summer of Love,” Conner, Van Meter, and their colleagues worked their magic at the Avalon Ballroom, the famed music hall that was home to such legendary acts as The Doors and The Grateful Dead. These slides—acquired directly from Conner by Van Meter—were used to flash visuals on screens mounted all around the hall. Conner was deeply gratified by the shows. “It was like a vast collaboration between the musicians and the light show… [T]he people who were there, the audience or people in the Avalon Ballroom, were also affecting what was happening just by their response,” he later told an interviewer from the Smithsonian Institution. “It more or less culminated all my work with motion pictures.” The imagery on the slides is Conner’s personal interpretation of the mandala, the spiritual symbol in Buddhism and Hinduism that represents the universe. Works by Conner employing his leitmotif can be found in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and the San Francisco Museum of Modern Art. Utilizing different media, Conner not only printed his varied mandala images onto each acetate slide, but also delicately hand-colored each one. In doing so, Conner transformed these works into unique collages. When projected in different venues, the space in which they are shown makes each viewing a unique experience, akin to a “happening,” that cannot be reproduced. These hand-colored slides offer a unique means of engagement with art beyond the static artwork, and manifest an art of experience—one that, depending on when, where, and with whom these art slides are projected, constantly changes, evolves and reveals new meanings and associations.

INSTALLATION VIEW OF PROJECTED SLIDE

Bruce Conner - BREAKAWAY. Dir. Chris Green. Prod. Matthew Shattuck. MOCAtv. MOCA, n.d. Web. 1 Dec. 2014. Bruce Conner – THREE SCREEN RAY. Dir. Chris Green. Prod. Matthew Shattuck. MOCAtv. MOCA, n.d. Web. 1 Dec. 2014. “Oral History Interview with Bruce Conner, 1974 Aug. 12, Archives of American Art, Smithsonian Institution.” Interview by Paul Karlstrom. Smithsonian Archives of American Art. Smithsonian Institution, n.d. Web. 1 Dec. 2014. Boswell, Peter. “Bruce Conner: Theater of Light and Shadow.” 2000 BC: The Bruce Conner Story Part II. Minneapolis: Walker Art Center, 1999. Print.

185

266 BRUCE CONNER

Slides from light shows with the North American Ibis Alchemical Company (8) c. 1967 Print with hand-coloring on acetate slide Together with original receipts from the artist Each: 2" x 2" P ROV E NANC E Private Collection, California (acquired directly from the artist, 1967) LIT E RAT URE Boswell, Peter. “Bruce Conner: Theater of Light and Shadow.” 2000 BC: The Bruce Conner Story Part II. Minneapolis: Walker Art Center, 1999. 70 for light shows discussed.

$40,000–60,000

267 RICHARD DIEBENKORN

Construct (Red) (from Eight Color Etchings) 1980 Color spit-bite aquatint and softground etching on paper #11 of 35 Published by Crown Point Press, Oakland; printed by Lilah Toland, Crown Point Press, Oakland Initialed and dated in pencil lower right margin beneath image; printer blind stamp lower right edge of sheet; edition lower left margin of sheet; retains a John Berggruen Gallery label verso Together with receipt Image: 11" x 9.75" Sheet: 26" x 19" Frame: 30.5" x 22.75" P ROVENA NC E John Berggruen Gallery, San Francisco, California; Private Collection, Chicago, Illinois (acquired directly from the above, 1980); Private Collection, Palm Desert, California (acquired directly from the above) LITERATURE Figura, Starr. Richard Diebenkorn: Prints 1948-1993. Katonah: Katonah Museum of Art, 2004. 33.

$4,000–6,000

268 RICHARD DIEBENKORN Domino II

1990 Softground and hardground etching with drypoint on paper #15 of 35 Published by Crown Point Press, Oakland; printed by Renee Bott, Crown Point Press, Oakland Initialed and dated lower right margin of sheet; edition lower left Image: 18" x 13" Sheet: 27" x 21"

$2,000–3,000

269 RICHARD DIEBENKORN

Untitled (from Club/Spade Group ‘81-82) (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1982; published 1986 #110 of 250 Published by MOCA, Los Angeles; printed by Gemini G.E.L., Los Angeles Initaled and dated in pencil lower right margin of sheet with Gemini G.E.L. blind stamp; edition lower left Gemini G.E.L. #15.1 Image: 38” x 23.5” Sheet: 40” x 27” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA, Los Angeles)

$2,500-3,500

187

270 RICHARD DIEBENKORN

#21 (Portrait of Phyllis) (from 41 Etchings Drypoints Portfolio) 1965 Softground etching on paper #15 of 25 Published by Crown Point Press, Oakland; printed by Kathan Brown, Crown Point Press, Oakland Initialed and dated in pencil lower right margin of sheet beneath image; edition lower left; inscribed “#21” lower center margin beneath image Together with receipt Image: 8.25" x 5.75" Sheet (vis.): 10.25" x 8" Frame: 21.5" x 17.5" P ROV E NANC E Brooke Alexander, Inc., New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1976)

$4,000–6,000

271 VARIOUS ARTISTS

Art Pro-Choice II Portfolio 1991 The complete set of eight prints in various mediums including woodcut, relief, photo-engraving, and dry point #17 of 125 Each sheet with artist’s signature or initials and edition in pencil; some with date Comprised of Jennifer Bartlett, Black, Gray, White; Ross Bleckner, Untitled; Francesco Clemente, Traditional Self-Portrait; Eric Fischl, Untitled; April Gornik, Flood Light; Claes Oldenburg, Wristwatch Rising; Cindy Sherman, Untitled; and Pat Steir, Dry Point Waterfall Each image dimension varies Sheets each: 20" x 15.75" P ROVENA NC E NARAL, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1991) LITERATURE Axsom, Richard H., and David Platzker. Printed Stuff, Posters and Ephemera by Claes Oldenburg: A Catalogue Raisonné. New York: Hudson Hills Press, 1997. 401, #233.1.

$5,000–7,000

189

272 NATHAN OLIVEIRA Figure and Pyramid

1967 Gouache and graphite on paper Signed and dated in pencil lower right Image/sheet: 17" x 20" Frame: 19.5" x 23" E XHIBIT E D “Nathan Oliveira: Recent Paintings,” Felix Landau Gallery, Los Angeles, May 13-June 8, 1968 LIT E RAT URE Nathan Oliveira: Recent Paintings. Los Angeles: Felix Landau Gallery, 1968. #9.

$6,000–9,000

273 LOREN CALAWAY

Sculpture and Abstract Line Drawing (2) 1982 Wood, brass, marble; painted wooden panel and ink Sculpture signed, dated, and inscribed “L.D. Calaway 1982 1-2”; Drawing inscribed “2-2” frame verso Sculpture: 19" x 4" x 22.5" Panel: 10" x 13.25" Frame: 11.875" x 15.25" LITERATURE Hoos Fox, Judith. Furniture, Furnishings: Subject and Object. Providence: Museum of Art, Rhode Island School of Design, 1984. 44-47 for similar examples.

$3,000–5,000

274

275

276

DONALD LIPSKI

1984 Baseball, glass cylinder, wire cages

1988 Axe head, glass fibers

1987 Fabric on metal saw wheel

Together with receipt and Donald Lipski: Poetic Sculpture

Together with receipt

Together with Donald Lipski exhibition catalogue from Galerie Lelong

Building Steam No. 286

Untitled No. 148

56" x 6" x 1"

4" x 29" x 4"

Untitled No. 104

29.5" diameter P ROV E NANC E Rhona Hoff-

PROVE N A N CE Private Collection,

man Gallery, Chicago, Illinois;

LIT E RAT URE Donald Lipski: Build-

Chicago, Illinois (acquired directly

Private Collection, Chicago, Illinois

ing Steam. New York: Germans

from Museum of Contemporary Art,

(acquired directly from the above,

Van Eck Gallery. 9 for similar

Chicago, Art Auction, 1989); Private

1988); Private Collection, Palm

example discussed.

Collection, Palm Desert, California

Desert, California (acquired directly

(acquired directly from the above)

from the above)

L I T E RAT U R E Donald Lipski: Building

LIT E RAT URE Donald Lipski: Building

Steam. New York: Germans Van Eck

Gallery. 17 for similar example.

Gallery. 13 for similar example.

$4,000–6,000

191

277 DAVID PARK

Untitled (Study C-828) 1960 Felt-tip pen and wash on paper Retains The Oakland Art Museum exhibition label verso; retains a Maxwell Galleries label verso Together with original receipt from Maxwell Galleries, Ltd. Image/sheet: 8.375" x 10.875" Frame: 16.5" x 18.625" P ROVENA NC E Maxwell Galleries, Ltd., San Francisco, California; Private Collection, Los Angeles, California (acquired directly from the above, April 13, 1985); Private Collection, Los Angeles, California (acquired directly from the above) EXHIBITE D “David Park: 1911-1960: A Retrospective,” traveling exhibition, Newport Harbor Art Museum, Newport Beach; The Oakland Art Museum, Oakland, September 16, 1977-January 15, 1978 LITERATURE David Park: 1911-1960. Newport Beach: Newport Harbor Art Museum, 1977. #158.

$10,000–15,000

Leon Golub American figurative and humanist painter Leon Golub’s (1922–2004) affecting, political canvases ponder the role of man and the state of humanity by portraying contemporary events in a fusion of styles, such as pre-Columbian and African art, classical Greek and Roman sculpture, and the history painting of Jacques-Louis David. Graduating with an MFA in 1950 from the School of the Art Institute of Chicago in his native city, Golub shunned the prevailing style of postwar Abstract Expressionism, denigrating it as being “non-referential and diffuse.” He opted instead for the expressionistic, figurative style practiced by other American artists of the period, including Bay Area Figurative movement leaders such as Richard Diebenkorn, David Park, and Ben Shahn. Head IX (1958) is an iconic work from Golub’s oeuvre of the 1950s and 60s. The blurred male visage has a receding hairline and round face, characteristics common to historical figures ranging from Spanish dictator Francisco Franco, to Communist leader Mao Zedong, to Secretary of State Henry Kissinger—all personalities that would eventually be

part of the artist’s 1970s series of portraits of world leaders. In answer to a 1966 query regarding the subjects of his head paintings during this period, Golub responded: “Who am I painting? I’m painting the citizens, you see. I am painting the citizens of our society but I am painting them in an irrational frenzy because part of our society has been ‘Buchenwald’ [a Nazi concentration camp].” The painting collapses the roles of attacker and attacked into one entity, placing mankind as the victim of its own violence and injustices. With their political and historical nature, it is no surprise that Golub’s paintings have entered the collections of important international institutions such as the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art; the Tate Gallery; and the Museo Nacional Centro de Arte Reina Sofía. Golub, Leon. Leon Golub: A Retrospective Exhibition of Paintings from 1947 to 1973. Chicago: Museum of Contemporary Art, 1974. Print. “Artist Biography: Leon Golub 1922–2004.” Art & Artists. Tate Museum, n.d. Web. 2 Dec. 2014.

278 LEON GOLUB Head IX

1958 Lacquer on canvas Signed “Golub” lower right; inscribed in pencil “Head IX/1958” verso; retains Allan Frumkin Gallery label verso; retains Rhona Hoffman Gallery label verso Canvas: 32" x 28" Frame: 32.75" x 28.75" P ROV E NANC E The artist; Rhona Hoffman Gallery, Chicago, Illinois (acquired directly from the above); Private Collection, Chicago, Illinois (acquired directly from the above); Private Collection, Palm Desert, California (acquired directly from the above) E XHIBIT E D “Leon Golub: A Retrospective Exhibition of Paintings from 1947 to 1973,” Museum of Contemporary Art, Chicago, September 7-October 20, 1974 LIT E RAT URE Alloway, Lawrence. Leon Golub: A Retrospective Exhibition of Paintings from 1947 to 1973. Chicago: Museum of Contemporary Art, 1974. n. pag.

$18,000–25,000

193

279 KENNETH NOLAND Untitled

1957 Oil on plywood Signed and dated “Kenneth Noland 1957” lower right Plywood: 22" diameter Frame: 32.25" x 32.25"

$20,000–25,000

280 KENNETH NOLAND Twin Planes

1969 Color screenprint on canvas mounted to board From the edition of 200 Published by Chiron Press, New York; printed by Sarah Lawrence Press, New York Image/canvas: 6.325" x 58.75" Frame: 9.375" x 62"

$3,000–5,000

281 RICHARD TUTTLE

Drawing Made with Three Lines of Any Color 1976 Color marker on paper Retains Young Hoffman Gallery label verso Together with receipt Sheet: 12" x 9" Frame: 20.75" x 17.625" P ROV E NANC E Young Hoffman Gallery, Chicago, Illinois; Private Collection, Chicago, Illinois (acquired directly from the above, 1978); Private Collection, Palm Desert, California (acquired directly from the above)

$5,000–7,000

282 RICHARD ARTSCHWAGER Port

1991 Painted wood and formica #10 of 50 Published by Multiples, Inc., New York Signed, dated, titled, and with edition in black felt-tip marker verso 19.5" diameter P ROV E NANC E MOCA, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1991)

$3,000–5,000

195

283 ROGER HERMAN

Untitled (Apartment Buildings) (2) 1985 Oil on canvas in two panels Each signed and dated with title verso Together with copy of receipt Canvases each: 100" x 80" Overall: 100" x 160" P ROVENA NC E Gagosian Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1986)

$10,000â&#x20AC;&#x201C;15,000

284 ENRIQUE MARTÍNEZ CELAYA I Underestimated the Size of the Tears 1989 Oil on canvas diptych Overall: 70.5" x 90" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Private Collection, Los Angeles, California (acquired directly from the above through Santa Monica Auctions, November 3, 2013)

$8,000–10,000

285 CARLOS ALMARAZ Tiny Car Crash

1982 Oil on Masonite board Initialed and dated lower right; retains Jan Turner Gallery label verso Masonite: 5" x 7" Frame: 11.5" x 13.5"

$2,000–3,000

197

Roger Brown American sculptor, painter, and collector Roger Brown (1941–1997) was a defining figure in the postwar Chicago art scene, though the range of his influences and artistic impact were national. Brown was raised in Alabama, and lived and worked in places as diverse as Chicago, the town of New Buffalo, Michigan, and the village La Conchita near Ventura, California. While attending the School of the Art Institute of Chicago, Brown was introduced to the work of Georgia O’Keeffe, Edward Hopper, and René Magritte—artists whose influences are discernable in Brown’s vibrant, clear, figural work. During this time, Brown formed a deep admiration for self-taught artists including Henri Rousseau, and Brown became an avid and esteemed collector of folk art and Outsider Art. In the early 1960s, Brown was a leading member of a cadre of fantastical-figurative Chicago painters who styled themselves “The Hairy Who”—a playful moniker meant to mock the self-importance of the art world. Members of the group and associated artists working in the city at the time are now best known as the Chicago Imagists. Brown’s masterful diptych of 1975, Just Around the Corner (Part I & Part II), epitomizes his idiomatic style. The piece depicts a mountainous road passing under the shadow of a group of buildings. The windows of the dwellings reveal silhouettes of people interacting—talking, holding hands, or otherwise reaching out to each other. The imagery suggests all manner of human exchange, while also referencing industrialization and municipal developments like Chicago’s ailing housing projects. In this work, Brown also explores ideas of perspective and dimensionality: the canvases are

meant to be installed in a corner of a room, to immerse the viewer in its setting. A letter from Phyllis Kind Gallery in 1982 notes that “this is the only painting to date in which [Brown] utilizes two panels and a corner format.” In 1971, Phyllis Kind gave Brown his first solo show, and the gallery would go on to represent the artist throughout his career. In 1987, Brown was featured in a retrospective at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. His work received widespread exposure in the 1990s through his two cover illustrations for Time magazine, and the 54-foot-long mosaic mural he created for the NBC Tower in Chicago. At his death, Brown bequeathed his three homes and their contents to the Art Institute of Chicago, and they are now administered as educational facilities that include the Roger Brown Study Collection in Chicago. The artist was posthumously inducted into the city’s Lesbian, Gay, Bisexual, and Transgender Hall of Fame in 2004. Brown’s career is being further examined in current research projects that will lead to a planned series of 2018 exhibitions on Midwestern art organized by Chicago’s Terra Foundation of American Art—a program that will be the regional equivalent of the Getty Foundation’s “Pacific Standard Time” initiative. An Overview of Roger Brown’s Gifts. The School of the Art Institute of Chicago, n.d. Web. 17 Nov. 2014. Pes, Javier. “Terra Foundation Plans ‘Pacific Standard Time’ for Chicago.” The Art Newspaper Oct. 2014: n. pag. Web. 17 Nov. 2014. INSTALLATION VIEW

199 286 ROGER BROWN

Just Around the Corner (Part I & Part II) 1975 Oil on canvas diptych Each titled on the overlap verso Together with letter from Phyllis Kind Gallery LAMA would like to thank Lisa Stone, Curator of the Roger Brown Study Collection at the School of the Art Institute of Chicago (SAIC), for her assistance in cataloguing this work Canvases each: 36" x 60" P ROV E NANC E Phyllis Kind Gallery, Chicago, Illinois; Private Collection, Los Angeles, California (acquired directly from the above, 1982) E XHIBIT E D “The Annual,” Group Exhibition, San Francisco Art Institute, San Francisco, June 5-August 28, 1977 ILLUST RAT E D The Annual, June 5-August 28. San Francisco Art Institute, San Francisco, 1977. n. pag.

$20,000–30,000

287 RICHARD SCHULTZ Armchairs (8)

Knoll, designed 1966 Lounge chairs each: 26.25" x 26" x 26" Armchairs each: 30" x 23.5" x 23" LITERATURE Lutz, Brian. Knoll: A Modernist Universe. New York: Rizzoli, 2010. 164.

$2,000–3,000

288 WARREN PLATNER Dining table base

Knoll, designed 1966 Model no. 3716T 27.75" x 48" diameter LITERATURE Knoll Studio price list, 1988. 272.

$4,000–6,000

289 EERO SAARINEN

Womb chair and ottoman (2) Knoll Associates, designed 1947 Model nos. 70 (chair) and 74 (ottoman) Chair: 34.5" x 38.5" x 38" Ottoman: 17" x 25" x 19.5" LITERATURE Lutz, Brian. Knoll: A Modernist Universe. New York: Rizzoli, 2010. 116.

$2,000–3,000

290 EERO SAARINEN Side tables (3)

Knoll Associates, designed 1956-1957 Model no. 163TR One retains Knoll Studios label Each: 20.5" x 20" diameter LIT E RAT URE Knoll Studios price list, 2000. 276.

$1,000–1,500

291 EERO SAARINEN

Model 71 chairs (8) Knoll, designed 1950 Model no. 71UBC Each: 31" x 25.5" x 25.5" LIT E RAT URE Lutz, Brian. Knoll: A Modernist Universe. New York: Rizzoli, 2010. 128.

$2,500–3,500

201

292 EDWARD WORMLEY Sofa

Dunbar, designed c. 1955 28" x 84" x 30"

$4,000–6,000

293 EDWARD WORMLEY Lamp table

Dunbar, designed 1956 Model no. 5742N With tile accents by Gertrud & Otto Natzler 22.5" x 30" x 22" LITERATURE Janus Series Catalogue, Chicago: Dunbar Furniture Company, 1957. 88-89.

$3,000–5,000

203

294 EDWARD WORMLEY Chair

Dunbar, designed c. 1955 27.5" x 29" x 30.5"

$2,000–3,000

295 EDWARD WORMLEY Sheaf of Wheat table

Dunbar, designed c. 1950 Model no. 5574 15.25" x 36" diameter LIT E RAT URE Hockaday, Margaret. The Dunbar Book of Contemporary Furniture. Berne: Dunbar Furniture Company, 1956. 192-193.

$2,500–3,500

296 EDWARD WORMLEY

Career Group chairs and table (7) Dunbar, designed c. 1952 Model nos. 673 (table) and 691 (chairs) Table retains partial label Table: 29" x 66" x 36" Chairs each: 31" x 23" x 22" LITERATURE The Dunbar Book of Modern Furniture. Berne: Dunbar Furniture Company, 1953. 49, 52.

$3,000â&#x20AC;&#x201C;5,000

297 MID-CENTURY MODERN Bedroom suite (6)

Specialty Woodcraft Inc., designed c. 1960 One retains partial label Comprised of dresser with hutch, two mirrors, two nightstands, and dresser. Dresser: 32" x 73.5" x 19" Nightstands each: 24.75" x 21.5" x 16" Mirrors each: 47.75" x 21" x 1" Dresser with hutch: 48" x 61.5" x 19"

$5,000â&#x20AC;&#x201C;7,000

205

298 GEORGE NAKASHIMA Dining chairs (6)

Studio, designed 1951 Each: 28.5" x 24.5" x 18"

$8,000–12,000

299 GEORGE NAKASHIMA Dining table

Studio, designed 1951 American Black Walnut Comprised of a dining table and two leaves Table: 29" x 60" (88" w/ leaves) x 36" LITERATURE Nakashima, Mira. Nature Form & Spirit: The Life and Legacy of George Nakashima. New York: Abrams, 2003. 98.

$8,000–12,000

300 GEORGE NAKASHIMA

Loose Cushion chairs (2) Studio, designed 1958 American Black Walnut Each: 31" x 24" x 34"

$7,000–9,000

207

301 GEORGE NAKASHIMA Dining chairs (6)

Studio, designed 1951 Each: 29.5" x 21.5" x 19"

$3,000–5,000

302 JOSEF ALBERS

Umschlungen/Encircled 1933 Woodcut on paper Unknown edition size (possibly from the edition of 20) Printed by Ullstein Press, Berlin under Albers’ supervision Signed and dated in pencil lower right; inscribed “Umschlungen” lower left; retains Brooke Alexander Editions label verso Image (irreg.): 9.5" x 13.5" Sheet (vis.): 11" x 15" Frame: 17.75" x 23" LITERATURE Danilowitz, Brenda. The Prints of Josef Albers : A Catalogue Raisonné, 1915-1976. 2nd ed. Manchester: Hudson Hills, 2010. 63, #62.

$5,000–7,000

303 JOSEF ALBERS

WLS XVI (from White Line Squares) (Series II) 1966 3-color lithograph on hand-cut Arches paper #25 of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “A 66” lower right margin of sheet beneath image; inscribed “WLS-XVI 25-125” lower left margin of sheet beneath image; Gemini G.E.L. blind stamp lower right margin; retains a Santa Barbara Museum of Art label verso Gemini G.E.L. #2.16 Image: 15.75" x 15.75" Sheet: 20.75" x 20.75" Frame: 29" x 29" LIT E RAT URE Danilowitz, Brenda. The Prints of Josef Albers : A Catalogue Raisonné, 1915-1976. 2nd ed. Manchester: Hudson Hills, 2010. 119, #172.8.

$1,500–2,000

304 JOSEF ALBERS

WLS X (from White Line Squares) (Series II) 1966 3-color lithograph on hand-cut Arches paper #23 of 125 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “A 66” lower right margin of sheet beneath image; inscribed “WLS-X 23-125” lower left margin of sheet beneath image; Gemini G.E.L. blind stamp lower right margin; retains a Santa Barbara Museum of Art label verso Gemini G.E.L. #2.10 Image: 15.75" x 15.75" Sheet: 20.75" x 20.75" Frame: 29" x 29" LIT E RAT URE Danilowitz, Brenda. The Prints of Josef Albers: A Catalogue Raisonné, 1915-1976. 2nd ed. Manchester: Hudson Hills, 2010. 118, #172.2.

$1,500–2,000

209

305 OSKAR FISCHINGER Flower

c. 1950 Oil on Masonite Signed “Fischinger” lower right; artist’s monogram lower left; retains Jack Rutberg Fine Arts Inc. Gallery label verso; retains The Pasadena Art Museum exhibition label verso; stamped “Oskar Fischinger” verso Masonite: 24" x 32" Frame: 26.75" x 34.75" P ROVENA NC E The artist; Thence by descent EXHIBITE D “Oskar Fischinger,” The Pasadena Art Museum, Pasadena, December 1956-January 1957

$6,000–9,000

Oskar Fischinger A champion of abstract artistic expression, filmmaker and painter Oskar Fischinger (1900–1967) was one of the great creative spirits of the 20th century and a pioneer of multimedia artistry. Fischinger’s work is often and admiringly compared to that of Wassily Kandinsky in his use of color and geometric forms. Among dedicated cineastes, Fischinger is revered for the avant-garde, abstract, animated motion pictures he began making in his native Germany in the 1920s, and continued in Hollywood after his move there in 1936. Using techniques as basic as stop-motion filming, and tools as simple as paper cut-outs hung on invisible wires, Fischinger produced an astonishing array of visual effects: brightly-colored circles, spirals, rectangles and polygons swoop, spin, dance, rush forward then recede to infinity. In the fine art world, Fischinger is admired for the stylistic dexterity of oil paintings that explore human perception and, as the art critic Esther Leslie wrote of Fischinger’s work, “a consciousness of space that is not geographical but graphic and time as non-linear and convoluted.” Fischinger began painting soon after his move to the United States. It was a natural adjunct to his work in film, and later a necessary creative outlet. Fischinger’s career in animation was repeatedly vexed. The Nazi regime that came to power in 1933 censored his work, deeming it—as they did

all abstraction—“degenerate art.” In Hollywood, Fischinger continually chafed under studio budgetary and creative restrictions. (He walked off the set of Fantasia in 1939 when Disney animators watered-down his abstract sequence for Bach’s Toccata and Fugue in D Minor by adding a background of moving clouds and other figurative images.) But when painting, Fischinger could give his creativity free rein. In his notes for a 1956 solo exhibition of his work at the Pasadena Art Museum—the pointillist Flower, (Lot 305), was among the works on display—Fischinger wrote that an artist must create “sentence after sentence of moving, developing visual images changing and changing, in continuously different ways.” The present lots—like the work of the artist in the collections of the Guggenheim Museum, the Smithsonian, the Los Angeles County Museum of Art and other institutions—demonstrate the breadth of technical versatility he achieved, and the depth to which Fischinger’s work challenges our apprehension of space, time and motion. Moritz, William. Optical Poetry: The Life and Work of Oscar Fischinger. Bloomington: Indiana UP, 2004. Print. Leslie, Esther. “Where Abstraction and Comics Collide.” Tate Etc. 1 May 2010: 4. Web. 20 Nov. 2014. Karlstrom, Paul J., and Susan Ehrlich. Turning the Tide: Early Los Angeles Modernists, 1920–1956. Santa Barbara: Santa Barbara Museum of Art, 1990. Print.

306 OSKAR FISCHINGER #382 and #81 (2) 1960-1961 Oil on board Each signed “O.W. Fischinger” lower right; each dated with artist’s monogram lower right; each with title inscribed verso; each inscribed “to Conrad/1979.” verso Panels each: 8.25" x 6.125" Frames each: 8.875" x 6.875" P ROV E NANC E The artist; Thence by descent

$6,000–9,000

211

307 FREDERICK HAMMERSLEY Sticks

1953 Oil on canvas board Signed “F Hammersley” lower center; dated “1953” lower right; retains artist’s label verso Board (vis.): 8.75" x 11.75" Frame: 14.75" x 17.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent LITERATURE Reed, Arden, Dave Hickey, David Pagel, Joseph Traugott, and Charlotte Grey Jackson. Frederick Hammersley. Santa Fe: Art Santa Fe, 2009. 30 for similar example from the period.

$12,000–15,000

308 FREDERICK HAMMERSLEY ENOUGH IS PLENTY, #29

1969 Computer generated drawing on paper From one complete set of the series of 72 Signed in pencil lower left margin of sheet; title printed lower center; date printed lower right; retains artist’s label verso; retains St. John’s exhibition label verso Image: 8.25" x 10.5" Sheet (vis.): 9.5" x 11.5" Mat board: 15" x 20" P ROVENA NC E Gary Snyder Fine Art, New York, New York (acquired directly from the artist); Private Collection, New York, New York; David Klein Gallery, Birmingham, Michigan; Private Collection, Los Angeles, California EXHIBITE D “St. John’s Annual Drawing Exhibition,” St. John’s College, Santa Fe, 1970 LITERATURE East, Elizabeth, and Frederick Hammersley. Frederick Hammersley: The Computer Drawings. Venice: LA Louver Gallery, 2013. 12, #2.; Reed, Arden, Dave Hickey, David Pagel, Joseph Traugott, and Charlotte Grey Jackson. Frederick Hammersley. Santa Fe: Art Santa Fe, 2009. 177.

$5,000–7,000

LABEL DETAIL

309 FREDERICK HAMMERSLEY Adjective

#9, 1966 Oil on canvas in artist’s frame Signed and dated “F. Hammersley 1966” lower left; retains a Gary Snyder Fine Art Gallery label verso; retains a Gary Snyder Fine Art Gallery exhibition label verso Canvas: 42" x 42" Frame: 42.75" x 42.75" E XHIBIT E D “Frederick Hammersley, A Retrospective Exhibition,” University of New Mexico Art Museum, Albuquerque, October 10-November 16, 1975; “2 Man Show,” Middendorf/Lane Gallery, Washington, D.C., November 1-December 12, 1977; “Rules and Exceptions,” L.A. Louver Gallery, Venice, February 17-March 17, 1981; “Geometric Abstraction 1937-1997,” Gary Snyder Fine Art, New York, May 30-August 15, 1997 ILLUST RAT E D Humblet, Claudine. The New American Abstraction. Milan: Skira, 2007. 448.

$60,000–90,000

213

310 KARL BENJAMIN #32

1975 Oil on canvas Signed, titled, and dated in black felt-tip marker verso Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin Canvas: 31” x 62" Frame: 32.25” x 63.25"

$20,000–30,000

311 KARL BENJAMIN #44

1964 Oil on canvas Initialed and dated “KB64” lower right; signed, titled, and inscribed in black felt-tip marker verso; retains Esther Robles Gallery label verso Louis Stern has confirmed the authenticity of this work. It will be included in the catalogue raisonné of the paintings, currently being compiled by Louis Stern Fine Arts and Beth Benjamin Canvas: 30 x 30" Frame: 30.75" x 30.75" P ROV E NANC E Private Collection, New York, New York; Wyeth Alexander Gallery, New York, New York; Private Collection, Los Angeles, California

$20,000–30,000

312 PATSY KREBS

Untitled (Magenta) 1985 Acrylic on canvas Signed and dated verso; retains Goldeen Gallery label verso Canvas: 26" x 30" Frame: 27.875" x 32"

$2,500–3,500

215

313 ELLSWORTH KELLY

Blue/Red-Orange/Green (from Series of Ten Lithographs) 1970-1971 3-color lithograph on Special Arjomari paper #64 of 64 Published and printed by Gemini G.E.L., Los Angeles Signed in pencil “Kelly” lower right sheet with Gemini G.E.L. blind stamps; edition lower left sheet; retains Jonathan Novak Contemporary Art Gallery and MOCArtAuction’92 labels verso Gemini G.E.L. #28.16 Image (irreg.): 32" x 11" Sheet: 42" x 30" Frame: 43.75" x 31.125" LITERATURE Axsom, Richard. The Prints of Ellsworth Kelly: A Catalogue Raisonné, 1949-1985. New York: Hudson Hills, 1987. 76, #75.

$4,000–6,000

314 ELLSWORTH KELLY Untitled

1996 1-color lithograph on Rives BFK white paper #13 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed in pencil lower right margin of sheet with Gemini G.E.L. blind stamp; edition lower left margin of sheet Gemini G.E.L. #28.214 Image/sheet: 16" x 19.5" Frame: 24" x 27.75"

$5,000–7,000

315 ELLSWORTH KELLY Red/Yellow/Blue

1999 3-color lithograph on Rives BFK paper #14 of 128 Published to benefit the Fogg Art Museum at Harvard University in 1999; printed by Gemini G.E.L., Los Angeles Artist’s initials and edition in pencil lower right sheet Gemini G.E.L. #28.221 Together with letter from James Cuno, former Director of the Harvard University Art Museums Image/sheet: 7.5" x 7.5" Frame: 14.75" x 14.5"

$2,000–3,000

217

316 ELLSWORTH KELLY Red Curve (For Joel)

1993 1-color lithograph on Arches 88 paper #39 of 130 Published and printed by Gemini G.E.L., Los Angeles Gemini G.E.L. blind stamp lower right sheet; artist’s initials blind stamp lower right sheet; date blind stamp lower right sheet; signed with edition in pencil lower right sheet Gemini G.E.L. #28.211 Image/sheet: 22" x 16" Frame: 31.625" x 25" This work was created in support of the campaign of Los Angeles City Councilman Joel Wachs.

$5,000–7,000

317 ELLSWORTH KELLY Blue/Yellow/Red

2000 3-color lithograph on Rives BFK paper #16 of 35 Published and printed by Gemini G.E.L., Los Angeles Signed with edition in pencil lower right; Gemini G.E.L. blind stamps lower right Gemini G.E.L. #28.222 Image: 32.375" x 24.75" Sheet: 41" x 33" Frame: 43.625" x 35.75" P ROVENA NC E Gemini G.E.L., Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 2000)

$5,000–7,000

318 ELLSWORTH KELLY

Untitled (from Eight by Eight to Celebrate the Temporary Contemporary Portfolio) 1983 #110 of 250 Published by MOCA, Los Angeles; printed by Gemini G.E.L., Los Angeles Signed in pencil with edition and Gemini G.E.L. blind stamp lower right margin of sheet Gemini G.E.L. #28.130 Image/sheet: 29” x 42” P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from MOCA, Los Angeles) LIT E RAT URE Axsom, Richard. The Prints of Ellsworth Kelly: A Catalogue Raisonné, 1949-1985. New York: Hudson Hills, 1987. 160, #201.

$2,500-3,500

319 ELLSWORTH KELLY Daffodil

1979-1980 Transfer lithograph on 300-gram Arches Cover paper #43 of 50 Published and printed by Tyler Graphics, Ltd., Bedford Signed in pencil lower right; edition lower left Image/sheet: 39.25" x 28.25" Frame: 41.5" x 30.75" LIT E RAT URE Axsom, Richard. The Prints of Ellsworth Kelly: A Catalogue Raisonné, 1949-1985. New York: Hudson Hills, 1987. 149, #188.

$4,000–6,000

219

320 YVARAL (JEAN-PIERRE VASARELY) Mona Lisa Synthétisée 1985 Acrylic on canvas Signed, titled, and dated verso; inscribed “ML263” verso Canvas: 79" x 79" Frame: 81" x 81"

$15,000–20,000

VERSO DETAIL

321 ILYA BOLOTOWSKY Column (from II)

c. 1970 Screenprint on Plexiglas interlocking panels #27 of 125 Printed by Chiron Screenprint Company, New York Signed with edition at base 30" x 5" diameter

$1,500–2,000

322 YAACOV AGAM

Double Metamorphosis #5 1973 Color screenprint on paper #25 of 180 Signed in pencil lower right margin of sheet beneath image; edition lower left margin of sheet; retains Silverwood Gallery label verso Image: 29" x 43" Sheet: 37" x 50" Frame: 44" x 57.25"

$1,500–2,000

221

323 ARTHUR & LUCIA MATHEWS Center table

Custom, executed 1913 for the Masonic Temple, San Francisco Branded signature 30" x 60" x 57.25" P ROVENA NC E Max Palevsky & Jodie Evans; Los Angeles County Museum of Art (gifted directly from the above)

$5,000â&#x20AC;&#x201C;10,000

324 PAUL LANDACRE

Headland, Big Sur Coast c. 1930 Wood engraving on paper #10 of 50 Signed in pencil lower right; inscribed “Big Sur Coast” lower left with edition Image: 5.875" x 7.75" Sheet: 7.25" x 10.875" Frame: 18" x 22" LIT E RAT URE Ruth Bourrie, Sally. Paul Landacre: Prints and Drawings. Ed. Phil Freshman. Los Angeles: Los Angeles County Museum of Art/ Museum Associates, 1983. 14, #3B.

$1,200–1,500

325 PAUL LANDACRE Anna

1938 Wood engraving on wove softsurface Japan-style paper #22 of 60 Signed in pencil lower right margin of sheet beneath image; edition and title inscribed lower left margin Image: 9" x 4.5" Sheet (vis.): 10.5" x 5.5" Frame: 20" x 15" LIT E RAT URE Ruth Bourrie, Sally. Paul Landacre: Prints and Drawings. Ed. Phil Freshman. Los Angeles: Los Angeles County Museum of Art/ Museum Associates, 1983. 32, #20B.

$1,200–1,500

223

SIGNATURE AND DATE DETAIL

326 WILLIAM MOORCROFT

Massive Pansy vases (2) Moorcroft, executed 1920 Each signed “W. Moorcroft 1920” and with impressed manufacturer’s mark Each: 16" x 11" diameter

$4,000–6,000

327 ALFRED HENRY MAURER

Fauve Landscape with Tree c. 1920 Gouache on paper Signed in pencil “A.H. Maurer” lower right sheet; retains Hollis Taggart Galleries label verso Sheet (vis.): 20.75" x 17.5" Frame: 29.5" x 26" P ROV E NANC E Salander-O’Reilly Galleries, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above)

$8,000–12,000

225

328 ILONKA KARASZ

Untitled (Children Playing Creekside) and Untitled (Gingerbread Man) (2) 1938 Gouache and graphite on paper Each signed and dated Image/sheet (vis.): 7.5" x 11.875" Frame: 16" x 20" Image/sheet (vis.): 9" x 12" Frame: 16" x 20"

$2,000–3,000

329 ALFRED PORTENEUVE Armchairs (2)

Atelier Porteneuve, designed c. 1935 Each with branded signature “a. Porteneuve” Each: 31" x 28" x 32.5" P ROVENA NC E Madame Jorda, Paris, France; Mr. & Mrs. Jacob Y. & Sandra Terner (acquired directly from L’ Arc en Seine, Paris, France, 1991); Los Angeles County Museum of Art (gifted directly from the above)

$7,000–9,000

330 AFTER OTTO WAGNER

Cafe table and two chairs (3) Manufacturer unknown, designed 1904 Chairs retain partial labels Table: 27.75" x 27.75" diameter Chairs each: 29.75" x 19.75" x 22" P ROVENA NC E Mr. & Mrs. Jacob Y. & Sandra Terner; Los Angeles County Museum of Art (gifted directly from the above)

$5,000–8,000

331 LE CORBUSIER, PIERRE JEANNERET & CHARLOTTE PERRIAND Grand Confort chairs (2)

Cassina, designed 1928; these examples manufactured after 1965 Model no. LC2 Each: 27.5" x 30" x 28"

$2,000–3,000

332 LE CORBUSIER, PIERRE JEANNERET & CHARLOTTE PERRIAND Chaise lounge

Cassina, designed 1928; this example manufactured later Model no. LC4 34" x 21" x 63"

$2,000–3,000

227

Installation view, The Andy Warhol Museum Theater

333 MARCEL BREUER

Theater chairs (10) Thonet, designed c. 1927-1928 Two groupings of four: 34" x 90" x 24" One grouping of two: 34" x 46" x 24" P ROVENA NC E The Andy Warhol Museum, Pittsburgh, Pennsylvania

$5,000â&#x20AC;&#x201C;7,000

Photo Credit / The Andy Warhol Museum

229

334 MARCEL BREUER

Suite of furniture (5) Knoll, designed 1925; these examples manufactured after 1960 Comprised of two chairs, two end tables, and a coffee table Chairs each: 29" x 31" x 27" Coffee table: 13.5" x 53.5" x 18.75" End tables each: 18" x 21.5" x 19"

$1,800â&#x20AC;&#x201C;2,500

335 PIERRE GUARICHE Wall light

Disderot, France, designed c. 1950 41.25" x 63" x 17"

$5,000–7,000

336 JEAN PROUVÉ Standard chair

Les Ateliers Jean Prouvé, designed c. 1950 32" x 16.5" x 18" LITERATURE Seguin, Jousse. Jean Prouvé. Turin: Galerie Jousse Seguin, 1998. 41.

$4,000–6,000

337 JEAN LUCE

Dove dinnerware service (97 pieces) Luce, designed c. 1950 Comprised of 15 dinner plates, 14 salad plates, 16 bread/butter plates, 16 cups, 16 saucers, 8 large bowls, 8 fruit bowls, 1 large tray, 1 teapot, and 2 oval bowls Various dimensions

$1,500–2,000

PARTIAL ILLUSTRATION

338 MATHIEU MATÉGOT Table lamp

Atelier Matégot, designed c. 1955 14.5" x 11" x 5.5"

$1,500–2,000

231

339 ROBERT MOTHERWELL Black Cathedral

1991 7-color lithograph on white TGL handmade paper #14 of 14 Artist’s proofs aside from the edition of 40 Published and printed by Tyler Graphics, Ltd., Mount Kisco Artist’s initials in pencil lower left margin of sheet beneath image; inscribed “AP 14/14” lower left margin of sheet; printer blind stamp lower right edge of sheet Image: 54" x 34" Sheet: 67" x 47" Frame: 71.25" x 51.5" P ROVENA NC E Private Collection, Winnetka, California (acquired directly from Tyler Graphics, Ltd., Mount Kisco, New York, 2000) LITERATURE Belknap, Dorothy, and Stephanie Terenzio. The Prints of Robert Motherwell: A Catalogue Raisonné, 1943-1990. New York: Hudson Hills Press, 1991. 396-397, #522.

$9,000–12,000

340 ROBERT MOTHERWELL Roth-Händle

1974-1975 Brushed aquatint and collage on Auvergne a la Main Richard de Bas handmade paper with offset-printed Roth-Händle cigarette label #50 of 53 Published by Brooke Alexander Editions, New York; printed by Catherine Mosley, artist’s studio, Connecticut Initialed with edition in pencil upper right margin of sheet Together with Robert Motherwell: Selected Prints: 1961-1974 exhibition catalogue from a 1975 show at John Berggruen Gallery Image/sheet: 19.25" x 15.5" Frame: 27.25" x 23.375" P ROV E NANC E John Berggruen Gallery, San Francisco, California; Private Collection, Los Angeles, California (acquired directly from the above, 1976) LIT E RAT URE Cohen, Arthur A. Robert Motherwell: Selected Prints: 1961-1974. New York/San Francisco: Brooke Alexander, Inc./John Berggruen Gallery, 1974. #33.; Belknap, Dorothy, and Stephanie Terenzio. The Prints of Robert Motherwell: A Catalogue Raisonné, 1943-1990. New York: Hudson Hills Press, 1991. 164-165, #168.

$3,000–5,000

341 ROBERT MOTHERWELL Norway

1980 3-color lithograph on Somerset paper B.A.T. aside from the edition of 50 Published by Derrière L’Étoile Studios, New York for the Sonja Henie-Niels Onstad Foundation, Oslo; printed by Derrière L’Étoile Studios, New York Inscribed in pencil “Proof/bon a tirer” lower right margin of sheet beneath image Image: 9.75" x 10.375" Sheet (vis.): 15" x 15" Frame: 23.75" x 24.25" LIT E RAT URE Belknap, Dorothy, and Stephanie Terenzio. The Prints of Robert Motherwell: A Catalogue Raisonné, 19431990. New York: Hudson Hills Press, 1991. 231, #274.

$1,500–2,000

233

342 ROBERT RAUSCHENBERG Trunk (from 7 Characters)

1982 Unique paper and fabric collage on Chinese Xuan 30-ply paper with mirror and embroidered hanging medallion From the series of 70 unique paper and fabric collages Published and printed by Gemini G.E.L., Los Angeles Signed and dated in pencil “Rauschenberg 82” lower right; stamped “Trunk” verso Gemini G.E.L. #41.44 Sheet: 30.5" x 26.5" Framed dimensions including hanging medallion and mirror: 43" x 31" x 2.5"

$5,000–7,000

343 ROBERT RAUSCHENBERG

Page 3 (from Pages and Fuses) 1974 Handmade paper #17 of 35 Published and fabricated by Gemini G.E.L., Los Angeles Embossed signature lower left sheet; edition and date in pencil verso Gemini G.E.L. #41.78 Sheet: 18.5" x 19" Frame: 22.5" x 23.75"

$2,500–3,500

235

344 ROBERT RAUSCHENBERG Shell (from Stoned Moon Series)

1969 2-color lithograph on Arches J. Perrigot Special MBM watercolor paper #25 of 70 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in pencil lower left margin of sheet; Gemini G.E.L. blind stamps lower center Gemini G.E.L. #41.18 Image: 24" x 19.5" Sheet: 32.125" x 26" Frame: 32.5" x 26.25"

$3,000–5,000

345 ROBERT RAUSCHENBERG Statue of Liberty (from New York, New York Series)

1983 Color screenprint with collage on Japon paper #122 of 250 Published by the New York Graphic Society, New York Signed and dated with edition in pencil lower left sheet Image/sheet: 35.875" x 24" Frame: 39.375" x 27.5"

$3,000â&#x20AC;&#x201C;5,000

346 ROBERT RAUSCHENBERG Pre-Morocco (from Eight by Eight to Celebrate the Temporary Contemporary) 1983; published 1984 11-color lithograph on Rives BFK paper #233 of 250 Published by MOCA, Los Angeles; printed by ULAE, West Islip Signed and dated in pencil with edition and printer blind stamp lower left sheet Image (irreg.): 34" x 23.5" Sheet: 41" x 29" Frame: 50.75" x 38.5"

$2,000–3,000

237

347 ROBERT RAUSCHENBERG Why You Can’t Tell #2 (from Suite of Nine Prints)

1979 Offset color lithograph on paper #43 of 100 Printed by Styria Studios, New York Signed, dated, and with edition in pencil lower left sheet; printer blind stamp lower center Image/sheet: 30.5" x 23" Frame: 41" x 33.5"

$1,200–1,500

348 CLAES OLDENBURG

Wrist Watch Rising, State II 1991 4-color woodcut on Korean Kozo paper #98 of 125 Published by the artist; printed by Joe Wilfer, The Spring Street Workshop, New York Initialed in pencil “CO” lower right sheet; edition lower left Image: 18" x 13" Sheet: 20.125" x 16" Frame: 28.5" x 24" LITERATURE Axsom, Richard H., and David Platzker. Printed Stuff, Posters and Ephemera by Claes Oldenburg: A Catalogue Raisonné. New York: Hudson Hills Press, 1997. 401, #233.2.

$1,500–2,000

349 CLAES OLDENBURG

The Soap at Baton Rouge 1990 Cast resin; vinyl filled with aluminum silicate; 2-color screenprint on acetate; deluxe edition of Claes Oldenburg: Multiples in Retrospect; 2-color screenprint on clothcovered portfolio box #31 of 250 Published by Carl Solway Gallery, Cincinatti; printed and fabricated by Resin Systems Corporation, Amherst; Chattanooga Corporation, Chattanooga; Mark Patsfall Graphics, Cincinatti; Laser Services, Inc., Westford Laser incised signature with edition and title on soap verso Soap: .75" x 4.75" x 2.75" Book: .75" x 12.5" x 9.5" Acetate: 12.5" x 9.5" LITERATURE Axsom, Richard H., and David Platzker. Printed Stuff, Posters and Ephemera by Claes Oldenburg: A Catalogue Raisonné. New York: Hudson Hills Press, 1997. 385, #219.

$1,500–2,000

350 CLAES OLDENBURG

Alphabet in the Form of a Good Humor Bar 1970; published 1971 4-color offset lithograph on paper From the edition of approximately 125 Published by the Professional and Administrative Staff Association of the Museum of Modern Art, New York; printed by Publications I.R.L., Lausanne Initialed and dated in pencil lower right; embossed initials and date lower right; edition lower left Image/sheet: 29" x 20" Frame: 30.25" x 20.5" LIT E RAT URE Axsom, Richard H, and David Platzker. Printed Stuff, Posters and Ephemera by Claes Oldenburg: A Catalogue Raisonné. New York: Hudson Hills Press, 1997. 156, #69.2.

$1,000–1,500

239

351 CLAES OLDENBURG Typewriter Eraser

1970 3-color lithograph on Rives BFK paper #55 of 100 Published by Publications I.R.L., Lausanne; printed by Gemini G.E.L., Los Angeles Initialed and dated in pencil lower right sheet; Gemini G.E.L. copyright blind stamp lower right sheet; edition lower left Gemini G.E.L. #38.18 Image/sheet: 12.25" x 9.5" Frame: 12.625" x 9.625" LIT E RAT URE Axsom, Richard H., and David Platzker. Printed Stuff, Posters and Ephemera by Claes Oldenburg: A Catalogue Raisonné. New York: Hudson Hills Press, 1997. 150, #65.

$800–1,200

352 CHRISTO

Yellow Store Front, Project 1980 Color lithograph with collage on Arches paper mounted to white board #18 of 23 Artist’s proofs aside from the edition of 100 Published by Abrams Original Editions, New York; printed by Landfall Press, Chicago

353

Signed in pencil lower right sheet; edition lower left

Poster for Paris Review

CHRISTO

Together with receipt

1982 Offset color lithograph on paper

Image/sheet: 32" x 23" Frame: 35.125" x 26.25"

#216 of 250

P ROVENA NC E Landfall Press, Chicago,

Signed with edition in pencil lower center image; printed signature lower center margin of sheet

Illinois; Private Collection, Chicago, Illinois (acquired directly from the above, 1980); Private Collection, Palm Desert, California (acquired directly from the above) LITERATURE Schellmann, Jörg, ed. Christo and Jeanne-Claude: Prints and Objects: Catalogue Raisonné. 3rd ed. New York: The Overlook Press, 2013. #104.

$2,500–3,500

Image/sheet: 36" x 24" Frame: 41.125" x 30.125"

$1,500–2,000

354 LOUISE NEVELSON

American Jewish Congress Print 1974 Color screenprint on paper Proof aside from the edition of 100 Published by Pace Editions, Inc., New York; printed by Maurel Studios, New York Signed and dated in pencil lower right margin of sheet Image: 27" x 22" Sheet: 32" x 26" Frame: 40.25" x 30" LIT E RAT URE Baro, Gene. Nevelson: The Prints. New York: Pace Editions, 1974. #107.; Baro, Gene, and Raffaello Causa. Louise Nevelson Grafica. Naples: Societa Editrice Napoletana, 1976. 19-20.

$1,000–1,500

355 JAMES ROSENQUIST Near and Far

1975 Color lithograph on paper #104 of 150 Signed and dated in pencil “Rosenquist 75” lower right; “printed in U.S.A.” printed lower right extreme edge of sheet; inscribed in pencil “near” upper center sheet; inscribed in pencil “far” center of sheet Image/sheet: 19" x 36" Frame: 25.75" x 38.75"

$1,000–1,500

241

356 WALTER LAMB Lounge chair

Brown-Jordan Co., designed c. 1950 Model no. C4700 33" x 67" x 27"

$3,000–5,000

357 WALTER LAMB Lounge chair

Brown-Jordan Co., designed c. 1950 Model no. C4700 33" x 67" x 27" LOT 356

$3,000–5,000

358 WALTER LAMB Lounge chair

LOT 357

Brown-Jordan Co., designed c. 1950 Model no. C4700 33" x 67" x 27"

$3,000–5,000

359 WALTER LAMB

LOT 358

Side tables (2)

LOT 359

Brown-Jordan Co., designed c. 1950 Model no. BL3700 Each: 18.25" x 23.25" x 18"

$3,000–5,000

360 WALTER LAMB

Armchairs and ottomans (4) Brown-Jordan Co., designed c. 1950 Model nos. C5700 (chair) and C5706 (ottoman)

LOT 360

Chairs each: 29.75" x 24" x 30" Ottomans each: 20" x 23.5" x 18"

$3,000–5,000

361 WALTER LAMB

Three-seat bench Brown-Jordan Co., designed c. 1958 14" x 72" x 24"

$2,500–3,500

LOT 361

362 WALTER LAMB Rocking chair

Brown-Jordan Co., designed c. 1950 Model no. C5701 31.5" x 21.25" x 31.75"

$2,500–3,500

363 WALTER LAMB LOT 363

Two-seat bench Brown-Jordan Co., designed c. 1958 14" x 48" x 24"

LOT 362

$2,500–3,500

364 WALTER LAMB

Sleigh chairs and ottoman (3) Brown-Jordan Co., designed c. 1950 Model nos. C5720 (chair) and C5726 (ottoman)

LOT 364

Chairs each: 29.5" x 22.75" x 30.5" Ottoman: 10" x 20" x 18"

$3,000–5,000

365 WALTER LAMB Armchairs (8)

Brown-Jordan Co., designed c. 1950 Model no. C1700A Each: 32" x 21.5" x 23.5"

$6,000–9,000

366 WALTER LAMB Dining table LOT 365

Brown-Jordan Co., designed c. 1950 Model no. C2700 28.5" x 48" diameter

$2,500–3,500

367 WALTER LAMB Dining table

Brown-Jordan Co., designed c. 1950 LOT 366

29.5" x 71.75" x 35.5" LOT 367

$2,000–3,000

243

368 DANNY HO FONG

Osetsu Dai dining suite (7) Tropi-Cal, designed c. 1958 Comprised of a dining table and six stools Table: 28" x 72" x 36" Stools each: 17" x 15" x 15"

$3,000â&#x20AC;&#x201C;5,000

369 LA GARDO TACKETT Massive planter

Architectural Pottery, designed c. 1950 32" x 25.5" diameter

$3,000–5,000

370 DAVID CRESSEY Planters (2)

Architectural Pottery, designed c. 1960 Pro/Artisan Collection Flame glazed ceramic Each: 22.5" x 15" diameter

$3,000–5,000

371 DAVID CRESSEY Planters (3)

Architectural Pottery, designed c. 1963 Two each: 14" x 14.25" diameter Other: 16" x 16.75" diameter

$2,500–3,500

372 DAVID CRESSEY Planters (3)

Architectural Pottery, designed c. 1963 Two each: 6.5" x 12" diameter Other: 10.5" x 10.25" diameter

$1,500–2,000

245

373 MILO BAUGHMAN Credenza

Thayer Coggin, designed 1965 34.5" x 72" x 18"

$3,000–5,000

374 MILO BAUGHMAN

Chairs and ottomans (4) Thayer Coggin, designed c. 1970 Chairs each: 34" x 42" x 27.75" Ottomans each: 14" x 29" x 26"

$5,000–7,000

375

376

377

CHARLES HOLLIS JONES

CLAY MICHIE

BILL CURRY

Custom, designed c. 1990

Knoll, designed 1952 Retains patent pending serial number markings

Design Line, designed c. 1968 Retains manufacturer’s label

Tables (3)

22.5" x 21" diameter 19.5" x 21" diameter 16.5" x 21" diameter

$1,500–2,000

Desk lamp

Cattail light

45" x 6" diameter

16" x 15" x 12"

$2,000–3,000 LIT E RAT URE Knoll International Sales Catalogue. 1959. 112.

$1,200–1,500

247

378 RICHARD NEUTRA Cabinet

Custom, executed 1956 for the Schwind House, Hillsborough, California 36" x 50.25" x 25.25" LITERATURE Hines, Thomas S. Richard Neutra and the Search for Modern Architecture. New York: Rizzoli, 2005. 297-298.

$3,000–5,000

379 STREAMLINE MODERN Lounge chairs (2)

Manufacturer unknown, designed c. 1939 Each: 34.5" x 22" x 35.5"

$2,500–3,500

380 HENDRIK VAN KEPPEL & TAYLOR GREEN Chairs (7)

VKG, designed c. 1950 Each: 31.5" x 20" x 19"

$2,000–3,000

249

381 HENDRIK VAN KEPPEL & TAYLOR GREEN

Sleigh chair and ottoman (2) VKG, designed c. 1950 Chair: 29" x 22.5" x 22" Ottoman: 10" x 20" x 17"

$1,000–1,500

382 WILLIAM “BILLY” HAINES, DESIGNER Table lamp

Custom designed for Mr. & Mrs. Benjamin & Elizabeth J. Thau, c. 1970 19.5" x 8" x 8.5" P ROVENA NC E Mr. & Mrs. Benjamin & Elizabeth J. Thau, Beverly Hills, California; Thence by descent

$2,500–3,500

383 WILLIAM “BILLY” HAINES, DECORATOR

Faux bamboo trellis armchairs (2) Manufacturer unknown, selected and customized for Mr. & Mrs. Benjamin & Elizabeth J. Thau, c. 1970 Each: 36" x 23" x 21" P ROVENA NC E Mr. & Mrs. Benjamin & Elizabeth J. Thau, Beverly Hills, California; Thence by descent

$3,000–5,000

384 MAURICE HEATON

Construction in Blue c. 1960 Fused glass on glass panel Initials on lozenge lower right; signed, titled, and inscribed verso Glass: 20.25" x 14.5" Frame: 21.75" x 16" Glass works by Maurice Heaton can be found in the permanent collections of the Metropolitan Museum of Art and the Corning Museum of Glass.

$1,500–2,000

251 385 PAUL LÁSZLÓ End tables (2)

Brown-Saltman, designed c. 1940 Retains Brown-Saltman label Each: 22" x 21" x 18"

$1,500–2,000

386 PAUL LÁSZLÓ

Mirrored coffee table Custom, executed 1946 17" x 39.5" diameter P ROV E NANC E Commissioned for Rene Williams, 606 North Beverly Drive, Beverly Hills, California

$2,000–3,000

387 PAUL FRANKL

Bedroom suite (5) Johnson Furniture Company, designed c. 1951 Comprised of a dresser, highboy, pair of nightstands, and a headboard Dresser: 36" x 73" x 22.5" Highboy: 45" x 40" x 20.5" Nightstands each: 24.25" x 24" x 17" Headboard: 34" x 80" x 3.25" LITERATURE Long, Christopher. Paul T. Frankl and Modern American Design. New Haven: Yale University Press, 2007. 158.

$5,000â&#x20AC;&#x201C;7,000

388 TOMMI PARZINGER Desk

Charak, designed c. 1960 Retains “Charak Modern” label 30" x 50.75" x 20.25"

$3,000–5,000

253

389 MID-CENTURY MODERN Lounge chairs (2)

Tomlinson Furniture Co., designed c. 1960 Each: 28.5" x 29" x 27.5"

$3,000–5,000

390 MID-CENTURY MODERN End tables (2)

Manufacturer unknown, designed c. 1960 Each: 19.75" x 27.25" x 27.25"

$2,000–3,000

391 PAUL JENKINS

Phenomena Iron Wood 1976 Watercolor on Arches paper Signed lower right; retains Gimpel & Weitzenhoffer Ltd. label verso Image/sheet: 42" x 30" Frame: 46.75" x 34.875" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist’s studio, 1977)

$6,000–9,000

392 JACK ZAJAC Untitled

c. 1955 Oil on canvas Signed “Zajac” lower left Canvas: 13.5" x 17.5" Frame: 25" x 29"

$2,500–3,500

393 KES ZAPKUS

White Study #22 1961 Oil on paper mounted to canvas Signed and dated verso; retains Gres Gallery label verso Canvas: 32" x 42" Frame: 45" x 33.75" P ROV E NANC E Private Collection, Chicago, Illinois; Thence by descent

$2,000–3,000

394 KARL KNATHS Aboriginal

n.d. Gouache and watercolor on paper Signed lower right sheet Image/sheet: 22" x 30" Frame: 27" x 35.25"

$2,000–3,000

395 HAROLD CHRISTOPHER DAVIES

Untitled (from Huntsville, Alabama Series) c. 1947 Oil on canvas Signed verso; retains Hoover Gallery label and ink stamp verso Canvas: 32" x 40" Frame: 32.75" x 40.625"

$2,000–3,000

255

396 RAFAEL CORONEL

Untitled (Female Nude) c. 1980 Pastel and charcoal on paper Signed in pencil “RAFAEL CORONEL” lower right Image/sheet (vis.): 30.375" x 23" Frame: 36.5" x 29"

$4,000–6,000

397 RAFAEL CORONEL Bearded Man

c. 1980 Pastel and colored pencil on paper Signed “RAFAEL CORONEL.” lower left Image/sheet: 39" x 27.5" Frame: 46.75" x 35.5" P ROVENA NC E B. Lewin Galleries, Palm Springs, California; Private Collection, Los Angeles, California (acquired directly from the above, 1984)

$4,000–6,000

398 PAUL CADMUS Untitled (Male)

c. 1984 Crayon on hand-toned paper Signed and inscribed “Cadmus/NM 175” lower left margin of sheet Image/sheet: 8.125" x 12.375" Frame: 16" x 20" LITERATURE Frankel, Stephen, ed. The Drawings of Paul Cadmus. New York: Rizzoli, 1989. 110-111 for similar examples illustrated.

$3,000–5,000

399 JEAN NEGULESCO

Untitled (Line Drawing) (2) 1958 Black marker on paper Each signed and dated Sheets each: 22" x 30" Frames each: 36" x 24"

$3,000–4,000

400 JEAN NEGULESCO

Untitled (Line Drawing) (2) 1958 Black marker on paper Each signed and dated Sheets each: 22" x 30" Frames each: 36" x 24"

$3,000–4,000

401 JEAN NEGULESCO

Untitled (Female Portrait) 1951 Sanguine crayon on paper Signed and dated lower left sheet Sheet: 18.5" x 23" Frame: 28.75" x 32.75"

$800–1,200

257

402 NINO CAFFE Ricreazione c. 1962 Oil on panel Signed “N. Caffe” lower left; retains Florence Art Gallery label verso Board (vis.): 7.75” x 15.25” Frame: 12.25” x 20”

$1,800–2,500

403 NINO CAFFE

Bolle di Sapone c. 1962 Oil on panel Signed “N. Caffe” lower left; retains Florence Art Gallery label verso Board: (vis.): 7.75” x 15.25” Frame: 12.25” x 20”

$1,800–2,500

404 NINO CAFFE

Altalena Rossa c. 1962 Oil on panel Signed “N. Caffe” lower left; retains Florence Art Gallery label verso Board: 9" x 24" Frame: 13.25" x 28.25"

$1,800–2,500

405 NINO CAFFE Passaggio

c. 1962 Oil on panel Signed “N. Caffe” lower left Together with copy of invoice Board: 8.625" x 17.25" Frame: 13.25" x 21.75" P ROVENA NC E Galleria La Barcaccia, Rome, Italy; Private Collection, Beverly Hills, California (acquired directly from the above, 1962); Thence by descent

$1,800–2,500

406 LAZZARO DONATI

Santo Spirito Dal Bel Turchese 1961 Oil on panel Signed upper left and center right; signed, dated, and inscribed “Lazzaro/Donati/Firenze/1961/S. Spirito Dal Bel Turchese” verso; retains a Florence Art Gallery label verso Together with copy of receipt Panel: 19.625" x 27.5" Frame: 24" x 32" P ROV E NANC E Galleria Fiorentina D’Arte, Florence, Italy; Private Collection, Beverly Hills, California (acquired directly from the above, 1961); Thence by descent

$800–1,200

259

407 MARIO RUSSO

Untitled (Ritratto) 1957 Oil on canvas Signed and dated “Russo/57” lower left; inscribed “eonon e” verso; retains “IV Concorso Nazionale di Pittura/Premio/Amaro Ramazzotti/Ha Partecipato con il N. 5” label verso Canvas: 26.25" x 22.75" Frame: 27.75" x 24.5" E XHIBIT E D “IV Concorso Nazionale di Pittura Premio Amaro Ramazzotti,” Milan, 1957

$1,000–1,500

408 SOTTSASS ASSOCIATI Lollipop lamp

La Murrina, designed 2003 13" x 9.5" diameter

$1,000–1,500

409 ENZO MARI

Tonietta chair Zanotta, designed 1985 32" x 19" x 14.5"

$1,000–1,500

410 ENZO MARI Paros vase

Up Group, designed 1964 14.25" x 6" diameter

$1,000–1,500

411 ETTORE SOTTSASS

Cantone corner shelf Zanotta, designed 1981 70.75" x 44.5" x 32"

$3,000â&#x20AC;&#x201C;5,000

261

412 ANTONIO CITTERIO Lounge seating (4)

B&B Italia, designed 1989 From the Baisity series Comprised of a sofa, round chair, and pair of square chairs Sofa: 32" x 84" x 39" Square chairs each: 32" x 34" x 37" Round chair: 32" x 32" x 36"

$4,000â&#x20AC;&#x201C;6,000

413 VICO MAGISTRETTI Atollo table light

O Luce, designed 1977 28" x 19" diameter LIT E RAT URE Fiell, Charlotte & Peter. 1000 Lights: 1960 to Present. Vol. 2. Cologne: TASCHEN, 2005. 282-83.

$1,000–1,500

263

414 FRANCO ALBINI Cabinet

Poggi, designed c. 1957 Leg stamped “Poggi/Pavia-Italia/ Arredamenti” 30" x 72" x 19"

$5,000–7,000

415 GAETANO PESCE

Triple Play tables (3) Fish Design, executed March 1996 #11 of 1000 Together with certificate listing the edition number and date of execution 15.25" x 16" x 15.75" 12.5" x 16" x 15.75" 9.5" x 16" x 15.75"

$3,000–5,000

416 DAISY YOUNGBLOOD

Wired Skull aka “Wired Waitress” 1977 Low-fire clay and wire Initialed and dated “DY 77” in the skull interior Together with receipt 5.5" (9" including base) x 4" x 7" P ROVENA NC E Barbara Gladstone Gallery, New York, New York; Private Collection, Chicago, Illinois (acquired directly from the above, 1984); Private Collection, Palm Desert, California (acquired directly from the above)

$8,000–12,000

417 JOHN ALEXANDER Lilies and Iris (2)

1983; 1969 Watercolor and graphite on paper Signed in pencil lower right; dated lower left; inscribed “D453.3.00” verso; other signed in pencil lower right; titled and dated “69 Iris” lower left; inscribed “D441.3.00” verso Sheets each: 7.875" x 5.75" P ROVENA NC E The artist; Private Collection, San Diego, California (acquired directly from the above through ACRIA Benefit Art Auction, New York, New York)

$2,000–3,000

418 ERIC FREEMAN Untitled (2)

2002-2003 Oil on canvas board Each signed and dated in black felt-tip marker verso Each: 8" x 10" P ROVENA NC E The artist; Private Collection, San Diego, California (acquired directly from the above through ACRIA Benefit Auction, New York, New York)

$3,000–5,000

419 ALEXIS SMITH

Untitled (from Series I) c. 1982 Woven-wool tapestry #5 of 6 The Functional Art Store, Santa Monica Retains label “ALEXIS SMITH/Series I, 5/6/The Functional Art Store” verso 68" x 84" P ROV E NANC E The Functional Art Store, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above)

$1,500–2,000

420 GWYNN MURRILL Untitled

c. 1982 Woven-wool tapestry Artist’s initials woven “GM #1” 47.5" x 65" P ROV E NANC E The Functional Art Store, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above)

$1,500–2,000

265

421 DAVID SALLE

Untitled (from the Raffael Portfolio) (2) 1984-1986 Aquatint with soft-ground, spit-bite, and sugar lift on Rives BFK paper #11 of 30 each Published by Maximilian Verlag Sabine Knust, Munich; printed by Aldo Crommelynck, Paris Each signed and dated in pencil beneath image lower right margin of sheet; edition lower left margin; each retains Christie’s stickers verso Images each: 18" x 24 Sheets (vis.) each: 20.5" x 26" Frames each: 27.25" x 32.75" LITERATURE Busche, Ernst A., ed. David Salle: Arbeiten auf Papier, 1974-1986. Dortmund: Museum am Ostwall, 1986. 80, #109.

$3,000–5,000

422 DAVID SALLE Untitled (2)

2003 Ink wash on paper Each initialed and dated in pencil lower right sheet Sheets each: 6" x 9" P ROVENA NC E The artist; Private Collection, San Diego, California (acquired directly from the above through ACRIA Benefit Art Auction, New York, New York)

$3,000–5,000

423 ROSS BLECKNER Untitled

1984 Gouache and watercolor on paper Retains Margo Leavin Gallery label verso; retains Luhring Augustine & Hodes Gallery label verso Together with copy of original receipt Image/sheet: 12" x 16" Frame: 19.5" x 23.25" P ROV E NANC E The artist; Mary Boone Gallery, New York, New York (acquired directly from the above); Margo Leavin Gallery, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above, 1990)

$3,000â&#x20AC;&#x201C;5,000

424 JULIAN SCHNABEL Olatz Lopez

1992 Color screenprint on Arches paper #125 of 250 Signed and dated in pencil lower right; edition lower left Image/sheet (vis.): 53.5" x 43" Frame: 58" x 45.75"

$1,500â&#x20AC;&#x201C;2,000

267

425 RAY SMITH

El Oculo and El Oculo (B, P, M, Q) (2) 1985-1986 Oil on canvas Each titled and dated verso Canvases each: 42.25" diameter

$5,000â&#x20AC;&#x201C;7,000

426 TOM WUDL Untitled

1974 Ink and graphite on paper Signed and dated in pencil lower left sheet; retains a Margo Leavin Gallery label verso Sheet: 44" x 46" Frame: 44.25" x 46.25" P ROVENA NC E Margo Leavin Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$2,000â&#x20AC;&#x201C;3,000

427 MARTIN PURYEAR

Untitled (from The MOCA Portfolio) 1999 Etching, aquatint, and chine-collé on paper #1 of 80 Published and printed by the Lapis Press, Los Angeles Signed in pencil lower right margin of sheet beneath image; edition lower left Image: 24“ x 17” Sheet: 30” x 20”

$1,000–1,500

428 MARTIN PURYEAR Dark Loop

1982 Woodcut on ivory Japanese paper #14 of 35 Published and printed by Landfall Press, Chicago Signed and dated in pencil lower right margin of sheet; edition with title lower left margin of sheet Image: 20.5" x 27.75" Sheet: 22.5" x 29.625" Frame: 23" x 30.25" LIT E RAT URE Wye, Deborah. Thinking Print: Books to Billboards, 1980-95. New York: The Museum of Modern Art, 1996. 12.

$2,000–3,000

429 LOREN MADSEN Broken Ring

1977 Lithograph on paper #9 of 125 Printed by Cirrus Editions, Los Angeles Signed and dated in pencil lower right margin of sheet beneath image; edition lower right; title inscribed lower center; printer blind stamp lower right margin of sheet Image: 19" x 28" Sheet: 22.25" x 30" Frame: 25.125" x 32.625"

$200–300

269

430 LARI PITTMAN Untitled #27

1987 Acrylic on paper Retains Rosamund Felsen Gallery label verso Sheet: 13" x 10" Frame: 20" x 17"

$5,000–7,000

431 ROY DOWELL

Untitled #347 & #382 (2) 1986-1987 Acrylic, graphite, printer’s ink, and collage on canvas; Acrylic, graphite, printer’s ink, gouache, and collage on paper Each retains Rosamund Felsen Gallery label verso Sheets each: 7.5" x 6.25" Frames each: 14.625" x 13.625"

$2,000–3,000

432 JOHN FRAME

Antarctica Burning - Blasted with Sighs 1982 Acrylic on paper Sheet: 22" x 30" Frame: 28.125" x 35.625"

$2,000–3,000

433 JIM KINNEY Untitled (2)

1986 Charcoal, graphite, and gouache on paper Sheet: 38.25" x 56" Frame: 40.75" x 59" Sheet (vis.): 44.5" x 54.75" Frame: 46" x 56"

$2,000â&#x20AC;&#x201C;3,000

271

434 HANS BURKHARDT Untitled (2)

1978 Pastel on paper; etching on paper Signed and dated in pencil “H Burkhardt 1978” lower right sheet Together with signed etching on paper (1977, #11 of 30), Christmas card signed by Hans Burkhardt, and Mark Tobey and Hans Burkhardt exhibition catalogue for their show at the Laguna Beach Museum of Art in 1978 Pastel on paper: Sheet (vis.): 23.5" x 17.25" Frame: 31.25" x 24.25" Etching: Image: 7" x 3.75" Sheet: 15" x 11.125" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$2,000–3,000

435 HANS BURKHARDT

Two Female Figures Standing 1966 Pastel on paper Signed and dated in pencil “H Burkhardt/66” lower left sheet; retains Feingarten Galleries label verso Sheet: 23" x 17" Frame: 31" x 24.5"

$1,200–1,500

436

437

438

SARAH TARRAB

c. 1985 Patinated bronze

Signed “Sarah T.” verso

Signed “Sarah T.”

28" x 9" x 8.75"

57.5" x 16" x 18"

PROVE N A N CE The Bernard and

P ROV E NANC E The Bernard and

Edith Lewin Collection of Mexican

Art; Los Angeles County Museum

of Art

$1,000–1,500

Untitled (Figures Climbing Rocks Towards Woman)

Untitled (Standing Eve with Apple)

439 LOT 436

SARAH TARRAB

LOT 437

Untitled (Nude Woman Sitting on Moon Crescent with Stardust) 1985 Patinated bronze #1 of 3 Signed and dated with edition 34" x 34" x 14" P ROV E NANC E The Bernard and Edith Lewin Collection of Mexican Art; Los Angeles County Museum of Art

$1,000–1,500

LOT 439

LOT 438

440 SARAH TARRAB

Untitled (Figures Seated on Rocks with Birds) c. 1985 Patinated bronze Signed “S. Tarrab” 29" x 25" x 20" P ROV E NANC E The Bernard and Edith Lewin Collection of Mexican Art; Los Angeles County Museum of Art

$1,000–1,500 LOT 440

273

441 FRANCISCO ZÚÑIGA

443

Desnudos Sentados

1974 Double-sided sanguine chalk on paper

442

Signed and dated in charcoal lower left sheet

Untitled (Standing Torso)

Image/sheet: 20" x 25" Frame: 27.125" x 32.125"

EDWIN BINDER c. 1978 Marble

EDWIN BINDER

Untitled (Two Figures Seated Back to Back) 1978 Marble Signed and dated

35" x 13" x 8"

20" x 34" x 10"

cisco Zúñiga: Catalogue Raisonné

PROVE N A N CE The Bernard and

P ROV E NANC E The Bernard and

of Drawings, 1927-1970. 1st ed. Vol.

Edith Lewin Collection of Mexican

IV. Mexico: Albedrio and Fundacion

Art; Los Angeles County Museum

Zúñiga Laborde, AC, 2006. #2123.

of Art

$3,000–5,000

$1,000–1,500

ILLUSTRAT E D Zúñiga, Ariel. Fran-

444

445

VLADIMIR CORA

1986 Cedar with hand-painted acrylic

1987 Cedar with hand-painted acrylic

Signed and dated verso

61" (81" including base) x 15" x 12"

44" (55" including base) x 21" x 9.75"

P ROV E NANC E The Bernard and

Edith Lewin Collection of Mexican

Art; Los Angeles County Museum

of Art

$1,000–1,500

Señorita de Tecuala

Untitled (Standing Figure)

446 VLADIMIR CORA Bruja de Tecuala

1986 Cedar with hand-painted acrylic Signed and dated verso 16.5" (27.25" including base) x 7" x 9.5" P ROV E NANC E The Bernard and Edith Lewin Collection of Mexican Art; Los Angeles County Museum of Art

$1,000–1,500

275

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Modern Auctions, Inc. (Los Angeles Modern Auctions)

sole responsibility for shipping, packing, insurance, and

with any of these conditions of sale.

previously are asked to provide a method of payment

storage concerns. A list of shippers can be provided

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

upon request.

GUA RA N TEE The authenticity of every item offered for sale is guaranteed. Modern Auctions, Inc.

to the auction. Bank wire information is available upon request; please phone 323.904.1950. If payment is not

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

warrants only the authorship of an item (as printed

received by March 10, 2015, collection and storage fees

person. However, if you are unable to attend in person

in BLUE type) and does not guarantee the condition,

will begin incurring immediately.

we offer an “absentee” or phone bidding service. For

age, or any identifying characteristic used by Modern

this service fill out and submit an Absentee/Phone bid

Auctions, Inc., in any descriptions such as color, method

form. To obtain this form please call 323.904.1950 or

of construction, and type of materials. Any lot using

25% on the hammer price up to and including

go to our website. We will not execute absentee or

the terms “attributed,” “attribution,” “in the style of,”

$500,000 if bids are placed directly with Modern

phone bid orders unless a signed and completed bid

“in the manner of,” or “after” does not qualify for our

Auctions, Inc.

form has been received. All Absentee/Phone bid forms

guarantee. In addition, the buyer assumes responsibility

15% on the portion of the hammer price in excess

must be received by Saturday, February 28, 2015 by

for reading all addendums and posted corrections to

of $500,000 if bids are placed directly with

5:00p.m. (PST) via fax to 323.904.1954 or scanned

the catalogue prior to bidding.

Modern Auctions, Inc.

and sent via email to shannon@lamodern.com. We

BUY E R ’ S P R E MIU M ■■

■■

encourage you to call after faxing to confirm we have

RESCI SSI O N Should the authenticity of an item be

received your bid. We kindly ask that you do not call on

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

22.5% on the hammer price up to and including

the day of the sale to submit bids or to check if your

date of the auction to provide written documentation

$500,000 if bids are placed directly with Modern

bids were successful.

or conclusive opinion of a mutually agreed upon

Auctions, Inc. and if payment by cash, check, or

independent expert, retained at the buyer’s sole

bank wire is received in full by March 10, 2015.

offered for sale online via Artsy.net. If you bid on any

expense, that the item in question is not as stated

12.5% on the portion of the hammer price in

of these twenty four (24) lots, these will be subject

in the catalogue. In the event of an error, Modern

excess of $500,000 if bids are placed directly

to the Artsy Conditions of Sale and an Artsy account

Auctions, Inc. will rescind the purchase contract.

with Modern Auctions, Inc. and if payment by

will be created to execute these bids. However, MAI

Modern Auctions, Inc. will reimburse the buyer for

cash, check, or bank wire is received in full by

may execute your absentee or phone bids submitted

no more than the hammer price plus the buyer’s

March 10, 2015.

directly with MAI on your behalf by registering you

premium and only after the item is returned to the

**The buyer’s premium will not be discounted

with an Artsy account. All successful absentee/phone

original point of sale in the condition in which it was

for internet bidding via Artsy (25%) or via

bidders will be notified by phone or email by March 3,

sold. Taxes, packing, shipping, and storage costs

LiveAuctioneers (28%), payment by credit card, or

2015. In addition, the auction prices realized will be

will not be reimbursed. Modern Auctions, Inc. is not

if full payment is not received by March 10, 2015.

posted the day after the sale on our website. Do not

liable for any costs, such as expert’s and attorney’s

(Please note: Credit card payments are accepted

rely on any auction results (prices realized) unless

fees. If the item is authentic, as stated in the Modern

only when presented in person and will not be

published on www.lamodern.com or as provided

Auctions, Inc. catalogue, then the purchaser shall bear

accepted over the phone, fax, or e-mail).

directly by Modern Auctions, Inc.

Modern Auctions, Inc.’s expenses incurred in defense

of the allegation, such as attorney’s fees and other

BUY E R ’ S P R E MIU M D IS C OU N T * * ■■

■■

The lots indicated with an Artsy logo are being

Absentee/Phone bids are on a first-come, first-served

CA LIFO R NIA S ALE S TAX Sales tax of 9% will be

basis; thus, we encourage you to submit your form ASAP.

costs. The limited right of rescission is only available

collected on all purchases removed from our premises

If identical absentee bids are submitted, the earliest

to the original purchaser from Modern Auctions, Inc.

or delivered within the state of California. Those

received will take precedence. The number of phone

Once the item is resold, then all rights and liabilities

holding a valid California State Resale License must

lines available are limited so please submit your phone

of Modern Auctions, Inc. regarding authenticity

requests early. On all absentee/phone bid forms, please

number. No purchases will be released until all sales tax

leave a valid credit card number with expiration date;

requirements are satisfied.

a deposit of 25% may be required for all absentee and phone bids. Please note that we only accept credit card

end. The Purchaser’s sole and exlusive 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

E ST IMATE S & R E S E R VE S The estimates printed

payments in person. For those absentee/phone bidders

damages, compensatory, incidental, consequential,

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

who are unable to come in personally to pay, we will

nominal or punitive, nor any expenses incurred during

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

only accept either a certified check or wire transfer as a

the proceedings, such as expert’s fees, attorney’s fees,

Many of the lots offered for sale carry a reserve and

method of payment (see “Payment” notice). The party

and other costs.

are confidential. The reserve is a minimum price at

responsible for submitting the absentee or phone bid

which the seller has agreed to let the auctioneer sell

is solely responsible for the payment in full of the total

RI GH TS TO PH O TO GRA PH S All images and

the property.

invoice. We will not make any changes to an invoice.

text contained in this catalogue are the sole property

of Modern Auctions, Inc., and may not be used or

Should a dispute arise after the sale, our sale records

COND ITIO N Everything is sold in“As-Is” Condition.

are conclusive. We are not responsible for failure to

reproduced in any medium without the expressed

No statement regarding condition of any item, whether

execute a bid and have the right to reject any bid. We

written permission of Modern Auctions, Inc.

it is made orally at the auction or at any other time

reserve the right to withdraw any property before the

or in writing in this catalogue shall be deemed to be a

sale and shall have no liability whatsoever for such

warranty, representation, or assumption of liability. It is

withdrawal. Should an item be withdrawn, the auctioneer

Modern Auctions, Inc. | Bond # 7900405194 Peter Loughrey, Principal Auctioneer

the sole responsibility of the buyer to inspect all goods

will make an announcement at the time the lot would

Los Angeles Modern Auctions (LAMA)

prior to the sale. We strongly encourage all bidders

have been put up for sale. In addition, the auctioneer

16145 Hart Street, Van Nuys, CA 91406

277

FEBRUARY 20 –MAY 24, 2015

1 MUSEUM

Los Angeles

hammer.ucl a.edu

ORGANIZED BY THE NASHER SCULPTURE CENTER, DALLAS, PROVOCATIONS IS CURATED BY BROOKE HODGE, DEPUTY DIRECTOR OF COOPER HEWITT, SMITHSONIAN DESIGN MUSEUM. THE HAMMER’S PRESENTATION IS OVERSEEN BY CURATOR ARAM MOSHAYEDI. THE HAMMER MUSEUM’S PRESENTATION IS MADE POSSIBLE IN PARTNERSHIP WITH BURBERRY. ADDITIONAL SUPPORT IS PROVIDED BY LEWIS BASKERVILLE, RONNIE SASSOON, AND HELEN AND SAM ZELL. MEDIA SPONSORSHIP IS PROVIDED BY KCRW 89.9FM. SPECIAL THANKS TO HERMAN MILLER AND BOMBAY SAPPHIRE.

HEATHERWICK STUDIO. UK PAVILION, SHANGHAI WORLD EXPO, 2007 – 2010. COURTESY OF HEATHERWICK STUDIO. PHOTO BY IWAN BAAN.

The Architec ture and Design of Heatherwick Studio

Now Accepting Consignments

MAY 2015 MODERN ART & DESIGN

>> Email Peter@LAMODERN.com with items you wish to consign <<

Index A

Ackerman, Evelyn. . . . . . . . . . . . . . . 243-244 Acres, Reverend Ethan. . . . . . . . . . . . . . . 104 Agam, Yaacov. . . . . . . . . . . . . . . . . . . . . . 322 Aitken, Doug. . . . . . . . . . . . . . . . . . . . . . . 188 Albers, Josef. . . . . . . . . . . . . . . . . . . 302-304 Albini, Franco. . . . . . . . . . . . . . . . . . . . . . . . 414 Alexander, Peter. . . . . . . . . . . . . . . . 12-13, 29 Alexander, John . . . . . . . . . . . . . . . . . . . . . 417 Almaraz, Carlos. . . . . . . . . . . . . . . . . . . . . 285 Altoon, John . . . . . . . . . . . . . . . . . . . . . . . . 25 Andre, Carl. . . . . . . . . . . . . . . . . . . . . . . . . . 96 Arnoldi, Chuck. . . . . . . . . . . . . . . . . . . . . . . 46 Artschwager, Richard. . . . . . . . . . . . . . . . 282 Asawa, Ruth. . . . . . . . . . . . . . . . . . . . . . . . . 98

Baas, Maarten. . . . . . . . . . . . . . . . . . . . . . . 137 Bacon, Francis. . . . . . . . . . . . . . . . . . . . . . . 88 Baldessari, John. . . . . . . . . . . . . . . . . . 59-63 Baughman, Milo. . . . . . . . . . . . . . . . . 373-374 Bell, Larry . . . . . . . . . . . . . . . . . . . . . . . 26-27 Bengston, Billy Al. . . . . . . . . . . . . . . . . 44-45 Benjamin, Karl. . . . . . . . . . . . . . . . . . . . 310-311 Berlant, Tony. . . . . . . . . . . . . . . . . . . . . 47-48 Berman, Wallace. . . . . . . . . . . . . . . . . . . . . . 17 Bertoia, Harry. . . . . . . . . . . . . . . . . . 202-204 Binder, Edwin. . . . . . . . . . . . . . . . . . . 442-443 Bleckner, Ross. . . . . . . . . . . . . . . . . . . . . . 423 Boetti, Alighiero. . . . . . . . . . . . . . . . . . . . . 107 Bojesen, Kay. . . . . . . . . . . . . . . . . . . . . . . . 79 Bolotowsky, Ilya . . . . . . . . . . . . . . . . . . . . . 321 Brâncusi, Constantin. . . . . . . . . . . . . . . . . 199 Brandt, Nick. . . . . . . . . . . . . . . . . . . . . . 191-192 Breuer, Marcel. . . . . . . . . . . . . . . . . . 333-334 Brown, Roger. . . . . . . . . . . . . . . . . . . . . . . 286 Bryk, Rut. . . . . . . . . . . . . . . . . . . . . . . . 80, 86 Bryner, Irena. . . . . . . . . . . . . . . . . . . . . . . 265 Burkhardt, Hans. . . . . . . . . . . . . . . . 434-435 Byars, James Lee. . . . . . . . . . . . . . . . . . . . 97

Cadmus, Paul. . . . . . . . . . . . . . . . . . . . . . . 398 Caffe, Nino. . . . . . . . . . . . . . . . . . . . . 402-405 Calaway, Loren . . . . . . . . . . . . . . . . . . . . . 273 Calder, Alexander. . . . . . . . . . . . . . . . . . . . 201 Campana, Fernando & Humberto. . . . . . . 138 Campigli, Massimo. . . . . . . . . . . . . . . . . . . 139 Celaya, Enrique Martínez. . . . . . . . . . . . . 284 Celmins, Vija . . . . . . . . . . . . . . . . . . . . . 130-131 Chadwick, Lynn. . . . . . . . . . . . . . . . . . . . . 200 Chagall, Marc. . . . . . . . . . . . . . . . . . . . 161-164 Christo. . . . . . . . . . . . . . . . . . . . . . . . 352-353 Citterio, Antonio. . . . . . . . . . . . . . . . . . . . . 412 Clavé, Antoni. . . . . . . . . . . . . . . . . . . . . . . . 152 Condo, George. . . . . . . . . . . . . . . . . . . . . . . 112 Conner, Bruce . . . . . . . . . . . . . . . . . . . . . . 266 Cora, Vladimir. . . . . . . . . . . . . . . . . 444-446 Coronel, Rafael. . . . . . . . . . . . . . . . . 396-397 Corse, Mary. . . . . . . . . . . . . . . . . . . . . . . . . 95 Crash (John Matos) . . . . . . . . . . . . . . . 115-118 Cressey, David. . . . . . . . . . . . . . . . . . 370-372 Curry, Bill. . . . . . . . . . . . . . . . . . . . . . . . . . 377

Dalí, Salvador . . . . . . . . . . . . . . . . . . . . . . . 171 Davies, Harold Christopher. . . . . . . . . . . 395 Davis, Ronald. . . . . . . . . . . . . . . . . . . . . 64-65 de Swart, Jan . . . . . . . . . . . . . . . . . . . . . . . 135 de Patta, Margaret. . . . . . . . . . . . . . . . . . 264 Diebenkorn, Richard. . . . . . . . . . . . . 267-270 Dill, Laddie John. . . . . . . . . . . . . . . . . . . . . 54 Dobashi, Jun. . . . . . . . . . . . . . . . . . . . 155-156 Donati, Lazzaro. . . . . . . . . . . . . . . . . . . . . 406 Dowell, Roy . . . . . . . . . . . . . . . . . . . . . . . . . 431 Drebin, David. . . . . . . . . . . . . . . . . . . . . . . . 189 Dufour, Bernard. . . . . . . . . . . . . . . . . . . . . . 153

Eames, Charles & Ray . . . . . . . . . . . . . . 31-39 Ebner, Tim . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Falkenstein, Claire. . . . . . . . . . . . . . . 257-261 Farmer, Geoffrey. . . . . . . . . . . . . . . . . . . . . 186 Fischinger, Oskar . . . . . . . . . . . . . . . 305-306 Fong, Danny Ho. . . . . . . . . . . . . . . . . . . . . 368 Frame, John. . . . . . . . . . . . . . . . . . . . . . . . 432 Francis, Sam . . . . . . . . . . . . . . . . . . . . . . 18-21 Frankl, Paul . . . . . . . . . . . . . . . . 247-256, 387 Freeman, Eric . . . . . . . . . . . . . . . . . . . . . . . 418 Freud, Lucian. . . . . . . . . . . . . . . . . . . . . . . . 87 Frey, Viola . . . . . . . . . . . . . . . . . . . . . . 230-231 Friedeberg, Pedro. . . . . . . . . . . . . . . . . . . 240 Fujita, Gajin . . . . . . . . . . . . . . . . . . . . . . . . . 113

Galella, Ron. . . . . . . . . . . . . . . . . . . . . . . . . 180 Ganzer, Jim. . . . . . . . . . . . . . . . . . . . . . 57-58 Gilhooly, David. . . . . . . . . . . . . . . . . . . . . . 225 Golub, Leon. . . . . . . . . . . . . . . . . . . . . . . . 278 Goode, Joe. . . . . . . . . . . . . . . . . . . . . . . . . . 24 Graham, Robert. . . . . . . . . . . . . . . . . . . 55-56 Greco, Emilio. . . . . . . . . . . . . . . . . . . . 158-159 Guariche, Pierre . . . . . . . . . . . . . . . . . . . . 335

Haines, William “Billy”. . . . . . . . . . . 382-383 Hamilton, Ann. . . . . . . . . . . . . . . . . . . . . . . 30 Hammersley, Frederick . . . . . . . . . . 307-309 Hamrol, Lloyd . . . . . . . . . . . . . . . . . . . . . . . 23 Heaton, Maurice. . . . . . . . . . . . . . . . . . . . 384 Herman, Roger. . . . . . . . . . . . . . . . . . . . . 283 Herms, George . . . . . . . . . . . . . . . . . . . . . . . 16 Hirst, Damien. . . . . . . . . . . . . . . . . . . . . . . 222 Hockney, David. . . . . . . . . . . . . . . . . . . . . . . 41

Jacobsen, Arne. . . . . . . . . . . . . . . . . . . 82-85 Jaudon, Valerie. . . . . . . . . . . . . . . . . . . . . . 92 Jenkins, Paul. . . . . . . . . . . . . . . . . . . . . . . . 391 Johns, Jasper. . . . . . . . . . . . . . . . . . . 210-215 Johnson, Dan. . . . . . . . . . . . . . . . . . . . . . . 233 Jones, Charles Hollis. . . . . . . . . . . . . . . . 375 Jongerius, Hella . . . . . . . . . . . . . . . . . . . . . 136 Juhl, Finn. . . . . . . . . . . . . . . . . . . . . . . . 69-70

Kaipiainen, Birger. . . . . . . . . . . . . . . . . . . . . 81 Kakanias, Konstantin. . . . . . . . . . . . . . . . 226 Karasz, Ilonka . . . . . . . . . . . . . . . . . . . . . . 328 Katz, Alex. . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Kelley, Mike. . . . . . . . . . . . . . . . . . . . . 123-124 Kelly, Ellsworth. . . . . . . . . . . . . . . . . . 313-319 Kersels, Martin . . . . . . . . . . . . . . . . . . . . . . 193 Kienholz, Ed. . . . . . . . . . . . . . . . . . . . . . . . . . 14 Kinney, Jim . . . . . . . . . . . . . . . . . . . . . . . . 433 Kjærholm, Poul. . . . . . . . . . . . . . . . . . . 66-68 Knaths, Karl. . . . . . . . . . . . . . . . . . . . . . . . 394 Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . . . . . 221 Krebs, Patsy . . . . . . . . . . . . . . . . . . . . . . . . 312

Lamb, Walter. . . . . . . . . . . . . . . . . . . 356-367 Landacre, Paul. . . . . . . . . . . . . . . . . . 324-325 Lane, Doyle . . . . . . . . . . . . . . . . . . . . . . . . 237 László, Paul. . . . . . . . . . . . . . . . . . . . 385-386 Lawton, James. . . . . . . . . . . . . . . . . . . . . 227 Le Corbusier . . . . . . . . . . . . . . . . . . . . 331-332 Lelli, Angelo. . . . . . . . . . . . . . . . . . . . . . . . . 110 Lewitt, Sol. . . . . . . . . . . . . . . . . . . . . . . . . . 94 Lichtenstein, Roy . . . . . . . . . . . . . . . 207-209 Lipski, Donald. . . . . . . . . . . . . . . . . . 274-276 Longo, Robert. . . . . . . . . . . . . . . . . . . 182-184 Lord, Andrew. . . . . . . . . . . . . . . . . . . . . . . 232 Lorjou, Bernard. . . . . . . . . . . . . . . . . . . . . . 157 Luce, Jean. . . . . . . . . . . . . . . . . . . . . . . . . 337

Madsen, Loren. . . . . . . . . . . . . . . . . . . . . . 429 Magistretti, Vico. . . . . . . . . . . . . . . . . . . . . 413 Maglich, Michael. . . . . . . . . . . . . . . . . . . . 229 Maloof, Sam. . . . . . . . . . . . . . . . . . . . . . . . 236

Mapplethorpe, Robert . . . . . . . . . . . . 175-177 Marden, Brice . . . . . . . . . . . . . . . . . . . . . . . 93 Mari, Enzo . . . . . . . . . . . . . . . . . . . . . 409-410 Matégot, Mathieu. . . . . . . . . . . . . . . . . . . 338 Mathews, Arthur & Lucia. . . . . . . . . . . . . 323 Matisse, Henri. . . . . . . . . . . . . . . . . . . . . . . 165 Maurer, Alfred Henry. . . . . . . . . . . . . . . . 327 Mayer, Leon. . . . . . . . . . . . . . . . . . . . . . . . 224 McCollum, Allan . . . . . . . . . . . . . 194, 196-197 McIntosh, Harrison. . . . . . . . . . . . . . . . . . 238 McMakin, Roy . . . . . . . . . . . . . . . . . . . 132-133 Michie, Clay. . . . . . . . . . . . . . . . . . . . . . . . 376 Miró, Joan. . . . . . . . . . . . . . . . . . . . . . 166-169 Moorcroft, William . . . . . . . . . . . . . . . . . . 326 Moses, Ed. . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Motherwell, Robert. . . . . . . . . . . . . . . 339-341 Muniz, Vik. . . . . . . . . . . . . . . . . . . . . . . . . . 187 Murakami, Takashi . . . . . . . . . . . . . . . 119-120 Murrill, Gwynn. . . . . . . . . . . . . . . . . . . . . . 420 Mutu, Wangechi. . . . . . . . . . . . . . . . . . . . . . . 91

Nakashima, George. . . . . . . . . . . . . . 298-301 Natzler, Gertrud & Otto. . . . . . . . . . 234-235 Negulesco, Jean. . . . . . . . . . . . . . . . 399-401 Nelson, George. . . . . . . . . . . . . . . . . . . . . . 40 Neutra, Richard. . . . . . . . . . . . . . . . . . . . . 378 Nevelson, Louise. . . . . . . . . . . . . . . . . . . . 354 Nielsen, Peter Løvig. . . . . . . . . . . . . . . . . . 77 Noland, Kenneth. . . . . . . . . . . . . . . . 279-280

Oldenburg, Claes. . . . . . . . . . . . . . . . 348-351 Oliveira, Nathan . . . . . . . . . . . . . . . . . . . . 272 Orr, Eric . . . . . . . . . . . . . . . . . . . . . . . . . . 51-52 Otterson, Joel. . . . . . . . . . . . . . . . . . . . . . 223

Park, David. . . . . . . . . . . . . . . . . . . . . . . . . 277 Parzinger, Tommi . . . . . . . . . . . . . . . . . . . 388 Pesce, Gaetano. . . . . . . . . . . . . . . . . . . . . . 415 Pettibon, Raymond. . . . . . . . . . . . . . . 125-128 Pettibone, Richard. . . . . . . . . . . . . . . 216-218 Pianon, Alessandro. . . . . . . . . . . . . . . . . . . . 111 Picasso, Pablo. . . . . . . . . . . . . . . . . . . 140-151 Pistoletto, Michelangelo . . . . . . . . . . . . . . 109 Pittman, Lari. . . . . . . . . . . . . . . . . . . . . . . 430 Platner, Warren. . . . . . . . . . . . . . . . . . . . . 288 Porteneuve, Alfred. . . . . . . . . . . . . . . . . . 329 Prestini, James. . . . . . . . . . . . . . . . . . . . . 239 Price, Ken. . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Prouvé, Jean. . . . . . . . . . . . . . . . . . . . . . . 336 Puryear, Martin. . . . . . . . . . . . . . . . . 427-428

Raffael, Joseph. . . . . . . . . . . . . . . . . . . . . . 129 Rauschenberg, Robert. . . . . . . . . . . 342-347 Ray, Man. . . . . . . . . . . . . . . . . . . . . . . . 172-174 Remy, Tejo. . . . . . . . . . . . . . . . . . . . . . . . . . 134 Resnikoff, Florence. . . . . . . . . . . . . . . . . . 263 Rickey, George . . . . . . . . . . . . . . . . . . . . . . 198 Ritts, Herb. . . . . . . . . . . . . . . . . . . . . . . . . . 178 Rockman, Alexis. . . . . . . . . . . . . . . . . . . . . 106 Roden, Steve. . . . . . . . . . . . . . . . . . . . . . . . 90 Rohde, Johan. . . . . . . . . . . . . . . . . . . . . . . . 74 Rosenquist, James. . . . . . . . . . . . . . . . . . 355 Ruppersberg, Allen. . . . . . . . . . . . . . . . . . . . 15 Ruscha, Ed. . . . . . . . . . . . . . . . . . . . . . . . . . 1-11 Russo, Mario . . . . . . . . . . . . . . . . . . . . . . . 407

Saarinen, Eero. . . . . . . . . . . . . . . . . . 289-291 Saint Phalle, Niki de. . . . . . . . . . . . . . . . . . 42 Salle, David . . . . . . . . . . . . . . . . . . . . 421-422 Saxe, Adrian . . . . . . . . . . . . . . . . . . . . . . . 228 Schnabel, Julian. . . . . . . . . . . . . . . . . . . . 424 Schultz, Richard. . . . . . . . . . . . . . . . . . . . 287 Serra, Richard. . . . . . . . . . . . . . . . . . . 100-102 Serrano, Andres . . . . . . . . . . . . . . . . . . . . . 179 Shapiro, Joel. . . . . . . . . . . . . . . . . . . . . . . . 103

Shaw, Jim. . . . . . . . . . . . . . . . . . . . . . . . 121-122 Sikander, Shahzia. . . . . . . . . . . . . . . . . . . . 89 Simmons, Laurie. . . . . . . . . . . . . . . . . 194-195 Smith, Alexis. . . . . . . . . . . . . . . . . . . . . . . . 419 Smith, Ray. . . . . . . . . . . . . . . . . . . . . . . . . 425 Sottsass Associati . . . . . . . . . . . . . . . . . . 408 Soulages, Pierre. . . . . . . . . . . . . . . . . . . . . 170 Stella, Frank. . . . . . . . . . . . . . . . . . . . . . . . . 99 Štursa, Jan . . . . . . . . . . . . . . . . . . . . . . . . . 160

Tackett, La Gardo. . . . . . . . . . . . . . . . . . . 369 Tarrab, Sarah. . . . . . . . . . . . . . . . . . . 436-440 Teraoka, Masami. . . . . . . . . . . . . . . . . . . . . 114 Thiebaud, Wayne. . . . . . . . . . . . . . . . . . . . 262 Tinguely, Jean. . . . . . . . . . . . . . . . . . . . . . . 43 Tuttle, Richard. . . . . . . . . . . . . . . . . . . . . . . 281

Ubeda, Augustin. . . . . . . . . . . . . . . . . . . . . 154

Valentine, De Wain . . . . . . . . . . . . . . . . 49-50 Van Keppel, Hendrik. . . . . . . . . . . . . 380-381 Vicente, Esteban. . . . . . . . . . . . . . . . . . . . . 108

Wagner, Otto. . . . . . . . . . . . . . . . . . . . . . . 330 Warhol, Andy. . . . . . . . . . . . . . . . . . . 205-206 Wegman, William. . . . . . . . . . . . . . . . . . . . . 181 Wegner, Hans. . . . . . . . . . . . . . . . . . . . . . 71-76 Wessel, Peter. . . . . . . . . . . . . . . . . . . . . . . . 78 Wesselmann, Tom. . . . . . . . . . . . . . . 219-220 Wood, Beatrice . . . . . . . . . . . . . . . . . . 241-242 Woolley, Ellamarie. . . . . . . . . . . . . . . 245-246 Wormley, Edward. . . . . . . . . . . . . . . . 292-296 Wudl, Tom. . . . . . . . . . . . . . . . . . . . . . . . . . 426

Yavno, Max. . . . . . . . . . . . . . . . . . . . . . . . . . 190 Youngblood, Daisy . . . . . . . . . . . . . . . . . . . 416 Yvaral (Jean-Pierre Vasarely). . . . . . . . . 320

Zajac, Jack. . . . . . . . . . . . . . . . . . . . . . . . . 392 Zapkus, Kes. . . . . . . . . . . . . . . . . . . . . . . . 393 Zúñiga, Francisco. . . . . . . . . . . . . . . . . . . . 441

279

INFORMATION

DIRECTIONS TO AUCTION & PREVIEW

Auction

STAFF Peter Loughrey

Sunday, March 1, 2015

From Hollywood

12pm (PT)

■■

Make your way to the 101 Freeway

■■

Proceed North on the 101

Preview

■■

Merge onto the 405 Freeway, north

Shannon Loughrey

February 16–28, 2015

■■

Take the 4th exit onto “Sherman

Managing Director

10am–6pm (PT) Address

Modern Art & Design

Way, west” ■■

Proceed west on Sherman Way

Elizabeth Portanova

■■

Turn left at the 3rd light onto

Marketing Director

16145 Hart Street Van Nuys, CA 91406

Director,

“Woodley” ■■

Take the first right onto “Hart”

Zoe Weinberg

street, which is a side street

Fine Art Specialist

Telephone 323.904.1950 Website

From the Westside ■■

Take the 405 Freeway, north

■■

Continue past the Getty Museum

LAMODERN.com

Carolina Ivey Client Services

and the 101 Interchange

Jazmine Rivera

■■

Exit onto “Sherman Way, west”

Consignor Services

■■

(this is 4 exits North of the 101)

■■

Proceed west on Sherman Way

Joe Alascano

■■

Turn left at the 3rd light

Shipping

onto “Woodley” ■■

Take the first right onto “Hart”

Clo Pazera

street, which is a side street

Assistant to Peter Loughrey

Photography by Mario de Lopez Susan Einstein Essays by Greg Cerio Jennifer Li