LAMA March 5, 2017 Modern Art & Design Auction

MODERN ART & DESIGN MODERN & DESIGN MARCHART 5, 2017

MARCH 5, 2017

LAMA Preview: 16145 Hart Street, Van Nuys, CA 91406 February 20 - March 4, 2017 10am–6pm (PT) Palm Springs Art Museum Preview (For select "P.S. - An Art Auction" lots only): 101 N. Museum Drive, Palm Springs, CA 92262 February 28, 2017 10am–5pm (PT) Auction: 16145 Hart Street, Van Nuys, CA 91406 Sunday, March 5, 2017 12pm (PT)

The Luxury of Our Time In a time when many are yearning for stability and sanity,

But, enough opining and back to the apolitical message of

there is nothing more stable and sane than Jenny Holzer’s

how we can gain respite from today’s burden. Consider

Bethel white granite bench. Its strength and wisdom are

LAMA your politics free zone; a place to escape the

reflected in both its material and message. “There is a

fatigue of the 24-hour news cycle. Instead of facing the

period when it is clear that you have gone wrong,” begins

constant barrage of noise encountered at every turn and

the phrase, “but you continue.” Ms. Holzer states in her

in every media outlet, we invite you to experience an oasis

prescient statement from 1989, “Sometimes there is a

of calm, rational interaction. Come experience the soft

luxurious amount of time before anything bad happens.”

sound of Harry Bertoia’s sculptures. Contemplate the

Holzer reminds us, indeed warns us, that luxury can be a

resonance of Ed Ruscha’s Zip Rooster, as the year of the

length of time. Time, in this context, is the ultimate luxury

Rooster in the Chinese Zodiac recently commenced. Trace

today and how we collectively use our time right now may

your eyes over the simple lines of Keith Haring’s Sumi

define a generation. However, even the greatest issues of

ink masterpiece. Touch the free edges of a Nakashima

our time can succumb to fatigue or apathy if we cannot

table or try to find the beginning or end of a Sam Maloof

escape for moments of clarity and renewal.

armchair. These are the tactile and visual rituals we all need to use to cleanse ourselves of the constant din

On the subjects of clarity and renewal, two of my favorite

of daily life. This isn’t a call to withdraw from today’s

paintings in this sale are more than apropos. Sam Francis’

challenges, but rather a chance to restore sanity and

Untitled (SF53-101), a detail of which is pictured on the

stability in a way that is accessible to those who seek it.

opposite page, is the epitome of clarity. The ease with

Come in, sit down, look around. Spend time and consider

which Francis depicts seemingly simple ball-like shapes

what makes you happy, even if only for a brief moment.

in dizzying shades of bright blue shows a clarity of vision

That is the luxury of our time.

that belies the difficulty of pure abstraction. As for renewal, Alma Thomas creates a delicious abstract flower

One final note, please pay particular attention to a very

of rainbow colors set against a pink ground in Spring

special section in this catalogue of lots being sold to

Flowers in Washington D.C. Despite the title, and the fact

benefit the Palm Springs Art Museum beginning on page

that it was created in the midst of another controversial

116 with Jean Paul Riopelle’s Kenavo, a masterwork from

inaugural moment 48 years ago, this painting is actually a

the School of Paris. The proceeds raised from this portion

reminder of how we can collectively be reborn while at the

of the auction (lots 164 to 249) will benefit the museum’s

same time have faith that, like the annual blooming of the

acquisition and exhibition programs. Note that there will

cherry blossoms our capital is known for, so too can our

be NO BUYER’S PREMIUM added to any of the lots sold in

national conscience be regularly restored with the hope of

this section only.

a simple flower.

Peter Loughrey, Director

3

1 CHARLES & RAY EAMES

Aluminum Group armchairs (6) Herman Miller, designed 1958 Low-back chairs with stamped manufacturer’s mark Comprised of four low-back chairs and two high-back chairs Low-back chairs each: 33" x 23" x 23" High-back chairs each: 39" x 23" x 23" LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 226-229.

$2,000–3,000

2 CHARLES & RAY EAMES

Elliptical Table Rod Base coffee table Herman Miller, designed 1951 Model no. ETR 10" x 89" x 29.25" LITERATURE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 149.

$3,000–5,000

3 CHARLES & RAY EAMES

Lounge chair and ottoman (2) Herman Miller, designed 1956; this example produced before 1992 Model nos. 670 (chair) and 671 (ottoman) Chair: 31" x 33.5" x 36" Ottoman: 16.25" x 25.25" x 21" LIT E RAT URE Eames Design: The Work of the Office of Charles and Ray Eames. J. Neuhart. 1989. 207.

$3,000–5,000

4 CHARLES & RAY EAMES Tandem Shell seating

Herman Miller, designed 1963; this example produced 1971 Shells each stamped with Herman Miller logo and retain manufacturer’s tag 32" x 87" x 18" LIT E RAT URE Eames Design: The Work of the Office of Charles & Ray Eames. J. Neuhart. 1989. 280.

$1,500–2,000

5

5 EERO SAARINEN

Womb chair and ottoman (2) Knoll, designed 1946 Model nos. 70PC (chair) and 74PC (ottoman) Chair: 34.5" x 38.5" x 38" Ottoman 16" x 19.5" x 17.5" LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 116.

$2,000–3,000

6 EERO SAARINEN Side tables (3)

Knoll Associates, designed 1957 Model no. 160 (round tables) Each retains manufacturer’s label Comprised of two round tables and one oval table Oval table: 20" x 22.5" x 15" Round tables each: 20" x 16" diameter LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 146.

$1,800–2,500

7 AMERICAN MODERN Circular settee

Manufacturer unknown, designed c.

1955 29" x 57" x 55"

$2,000–3,000

8 ISAMU NOGUCHI Child’s table

Knoll, designed c. 1954 Model no. 87F-2 Retains Knoll label 19.5" x 24" diameter LIT E RAT URE Knoll: A Modernist Universe. B. Lutz. 2010. 144.

$1,500–2,000

7

9 JOSEPH CORNELL

Untitled (Waxed Collage) c. 1965 Paper collage on board framed behind glass Signed in mirror-image verso Collage/board (vis.): 11.25" x 8.25" Frame: 14.75" x 11.75" P ROVENA NC E Private Collection, New York, New York (acquired directly from the artist); Thence by descent EXHIBITE D “An Exhibition of Works

by Joseph Cornell,” Pasadena Art Museum, Pasadena, December 27, 1966-February 11, 1967 LITERATURE An Exhibition of Works

by Joseph Cornell. Pasadena Art Museum exh. cat. 1966. #72.

$15,000–20,000

VERSO

10 ED KIENHOLZ & NANCY REDDIN KEINHOLZ The Billionaire Deluxe

1976-1977 Metal, Fresnal lens system, light bulb, and a solid state electronic second counter #31 of 56 Published and fabricated by Gemini G.E.L., Los Angeles Signed with edition in felt-tip pen to brass plate verso; etched title and printed date to brass plate Gemini G.E.L. #29.6 11" x 15.125" x 14"

$2,500–3,500

11 BRUCE HOUSTON On Thin Ice

1981 Mixed-media assemblage Signed and dated to the underside 8.5" x 11.25" x 8"

$1,000–1,500

9

Chris Burden: Imminent Danger One of Southern California’s most provocative artists, Chris Burden (1946–2015) first exploded into the mainstream consciousness with his performance Shoot (1971). Burden was studying for his MFA at UC Irvine under Robert Irwin, when he invited a friend to shoot him with a .22 rifle from a distance of just 15 feet. In Trans-Fixed (1974), a similarly dramatic performance, Burden was crucified against a Volkswagen Beetle on Speedway Avenue in Venice, California.

Such absolute commitment characterized Burden’s practice and he continued to make radical, often controversial, performances, sculptures, and installations throughout his five-decade career.

12 CHRIS BURDEN

747, Bed Piece, and Prelude to 220 or 110 (4) 1971-1973 Gelatin silver print Each: #4 of 5 Each signed and dated with edition in felt-tip marker lower right sheet Images/sheets each: 10.5" x 13.5" (or alternate orientation)

These four gelatin silver print photographs: 747, Bed Piece, and Prelude to 220 or 110 (4) date from 1971–1973, a notable phase in Burden’s career when he created some of his most seminal work. Bed Piece documents a memorable performance in which the artist lay in a bed in an otherwise empty gallery for 22 days. Initially experienced as a tortuous confinement, Burden came to enjoy the performance after a few days. For visitors, the palpable tension created by the still body, on the verge of an ecstasy seemingly akin to death, had an enormously powerful psychological effect.

In 747, the artist can be seen shooting at an aircraft in the midst of takeoff, while in Prelude to 220 or 110, he lay bolted to a gallery floor with copper bonds whilst buckets of water containing 110 volt lines were arranged around him. The slightest disturbance by a viewer could have led to fatal injury. These performances share an interest in the psychological power of imminent danger, a principle driving much of Burden’s dramatic work, which remains as compelling today as when it was first created.

P ROVENA NC E Private Collection,

Cottom, Daniel. Unhuman Culture. Philadelphia: U of Pennsylvania,

Los Angeles, California (acquired

2006. 1. Print.

directly from the artist) LITERATURE Chris Burden: A Twenty-Year Survey. P. Schimmel. 1988.

50, 55, 59.; Chris Burden: Beyond the Limits. D. Kuspit. 1996. 201, 205.

Schröder, Johannes Luther. "Science, Heat and Time." Chris Burden: Beyond the Limits. Ed. Peter Noever. Ostfildern: Österreichisches Museum Für Angewandte Kunst, 1996. 193-209. Print.

Carr, Craig. On Edge: Performance at the End of the Twentieth Century. Hanover: Wesleyan UP, 1993. 16. Print.

$50,000–70,000

11

13 MIKE KELLEY

#12 (from We Communicate Only Through Our Shared Dismissal of the Pre-Linguistic) 1995 Ektacolor photograph mounted on museum board Printer’s proof aside from the edition of 5 Published by Patrick Painter Editions Signed in graphite verso; retains Patrick Painter Editions label with edition verso Together with certificate of authenticity from Patrick Painter Editions Image/sheet (vis.): 16.5" x 22.5" Frame: 25" x 31" LITERATURE Patrick Painter Editions: 1991-2005. 2006. 169.

$2,000–3,000

14 MIKE KELLEY

#3 (from We Communicate Only Through Our Shared Dismissal of the Pre-Linguistic) 1995 Ektacolor photograph mounted on museum board Printer’s proof aside from the edition of 5 Published by Patrick Painter Editions Signed in graphite verso; retains Patrick Painter Editions label with edition verso Together with certificate of authenticity from Patrick Painter Editions Image/sheet (vis.): 16.5" x 22.5" Frame: 25" x 31" LITERATURE Patrick Painter Editions: 1991-2005. 2006. 160.

$2,000–3,000

15 MIKE KELLEY

Untitled (Meditation on a Can of Vernors) c. 1980 Charcoal on paper Sheet: 23" x 35" Frame: 31.75" x 45.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$15,000–20,000

13

16 RAYMOND PETTIBON Untitled (No! Not Us!) 1990 Ink on paper Signed and dated verso Composition: 12" x 9" Sheet: 13.75" x 11" Frame: 16.25" x 13"

$8,000–12,000

17 RAYMOND PETTIBON

Untitled (The Creatures of Flesh...)

1990 Ink on paper Signed and dated verso Composition: 11" x 9" Sheet: 13.5" x 11" Frame: 16.25" x 13"

$8,000–12,000

18 JIM SHAW

My Mirage Logo #3 1989 Color screenprint on paper #18 of 50 Signed in graphite lower right margin of sheet; edition lower left margin; retains Linda Cathcart Gallery label verso Image: 16" x 13" Sheet (vis.): 16.5" x 13.5" Frame: 17.25" x 14.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) LIT E RAT URE It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art. D. S. Rubin. 1995. #58.; My Mirage. J. Shaw. 2011. 100.

$2,000–3,000

15

DETAIL OF VERSO

19 JONATHAN BOROFSKY

Flying Man with Briefcase No. 2816933 1983 Painted Gatorfoam sculpture #2 of 9 Published and fabricated by Gemini G.E.L., Los Angeles Signed with edition and Gemini G.E.L. blind stamp verso Gemini G.E.L. #7.18 94.5" x 24.5" x 1"

$6,000–9,000

20 JOHN BALDESSARI

Millennium Piece (with Pink Cup) 1999 Iris print with Lyson Equipoise inks, with no spray on surface, on Museo Crane paper #10 of 25 Published by Blind Spot Editions, Brooklyn; printed by Adamson Editions, Washington, D.C. Signed and dated lower right margin of sheet beneath image; edition lower left From a series of four prints Image: 14" x 14" Sheet: 16.5" x 16.5" Frame: 27" x 27" For Blind Spot magazine’s fourteenth issue, they featured a spread of six photographic images that the artist had created around the theme of the millennium. Four of the images became limited edition prints that were published by the magazine.

P ROV E NANC E Blind Spot Editions, Brooklyn, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1999) LIT E RAT URE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #104.

$2,000–3,000

21 JOHN BALDESSARI

The Overlap Series: Double Motorcyclists and Landscape (Icelandic 2003) 2001-2003 6-color lithograph on Somerset paper #35 of 90 Published by Brooke Alexander Editions, New York; printed by Derriere L’Etoile Studios, New York Signed and dated in graphite lower right sheet; edition lower left Image: 28" x 27.5" Sheet: 29.25" x 28.5" Frame: 33.75" x 33.125" LIT E RAT URE John Baldessari: A Catalogue Raisonné of Prints and Multiples, 1971-2007. S. Coplan Hurowitz. 2009. #115.

$3,000–5,000

17

22 NAM JUNE PAIK

Dharma Wheel Turns 1990 78 rpm and 45 rpm records, CD, reel-to-reel tape, headphones, TV tubes, TV knobs, tape cassettes #7 of 25 Fabricated by Mark Patsfall Graphics, Cincinnati Signed with edition “Paik 7/25” 18" x 15.25" x 12" P ROVE N A NC E Holly Solomon Collection; Thence by descent LITERAT U RE It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art. D. S. Rubin. 1995. 47.

$6,000–9,000

19

23 RALPH BACERRA Untitled

1991 Glazed ceramic Signed and dated to underside 33.25" x 17.75" x 5.25"

$10,000–15,000

24 MARCEL DZAMA Untitled

1999 Ink, watercolor, and root beer on paper Signed in ink lower right sheet Together with copy of invoice from Richard Heller Gallery dated June 7, 1999 Sheet: 12.5" x 10" Frame: 13.75" x 11.25" P ROVENA NC E Richard Heller Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999)

$1,500–2,000

25 MARCEL DZAMA Untitled

1999 Ink, watercolor, and root beer on paper Signed in ink lower right sheet Together with copy of invoice from Richard Heller Gallery dated June 7, 1999 Sheet: 12.5" x 10" Frame: 13.75" x 11.25" P ROVENA NC E Richard Heller Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1999)

$1,500–2,000

26 SHEPARD FAIREY Hope

2008 Offset color lithograph on paper Published and printed by OBEY, Los Angeles Signed and dated in graphite lower right margin of sheet Image: 34" x 22.25" Sheet (vis.): 35.375" x 23.375" Frame: 44.125" x 32.125" LIT E RAT URE Abraham Obama: A Guerilla Tour Through Art & Politics.

R. English. 2009. 6.

$1,500–2,000

21

DETAIL OF ONE PHOTOGRAVURE IN CASE

27 ELLEN PHELAN

A Clown, Some Colors, A Doll, Her Stories, A Song, A Moonlit Cove 1996 The complete set of 13 photogravures (3 with hand-coloring) on wove paper in green cloth-covered case #61 of 120 Published by the Library Fellows of the Whitney Museum of American Art, New York; printed by Leslie Miller, New York Loose print signed and dated lower right margin of sheet with edition; title inscribed lower center margin Written by Ann Lauterbach Together with loose color print Curtain Call by Ellen Phelan Case: 12" x 8.5" x 1.5"

$800–1,200

28 BOB KNOX

Harbor Freeway 2003 Acrylic on canvas Initialed, titled, and dated lower right; retains Jack Shainman Gallery label verso Canvas: 84" x 68"

$5,000–7,000

29 RICHARD PRINCE The Girl Next Door

1999 Ektacolor print on Kodak paper From the edition of 26, lettered A-Z Signed, dated, and inscribed “L” in ballpoint pen verso Image/sheet (vis.): 19" x 12.5" Frame: 26.75" x 20.25"

$5,000–7,000

23

30 MELANIE PULLEN

Red Stockings (from High Fashion Crime Scenes) 2005 Chromogenic print #1 of 5 Signed on artist’s label with edition verso Image/sheet (vis.): 63" x 47" Frame: 70" x 54.75"

$4,000–6,000

31 ROBERT LONGO

Untitled (pl. 8 from Men in the Cities) 2005 Digital pigment print on Crane portfolio rag paper #4 of 15 Published by Adamson Editions, Washington, D.C. Signed and dated lower right image; edition lower left Image: 40" x 26" Sheet: 43" x 30" Frame: 47.5" x 34"

$5,000–7,000

32 ROBERT LONGO

Untitled (from Men in the Cities) 1993 Lithograph on paper #3 of 5 H.C. aside from the edition of 35 Signed in graphite lower right sheet; edition lower left Sheet: 22.625" x 14.125"

$3,000–5,000

33 CINDY SHERMAN Mrs. Claus

1990 Chromogenic print From the edition of 125 Signed, dated, and with edition verso Image: 13" x 10" Sheet: 13.75" x 10.75" Frame: 15.25" x 12.25" P ROV E NANC E Private Collection, Los Angeles, California (gifted directly by Metro Pictures, New York, New York)

$1,500–2,000

25

34 HERB RITTS

Male Nude with Bubble 1987 Gelatin silver print on Agfa paper Artist’s proof aside from the edition of 7 Embossed signature “© HERB RITTS” lower right margin of sheet beneath image; inscribed in graphite verso ’Male Nude With Bubble’ Los Angeles 1987 Herb Ritts A/P 1” Image: 18" x 15.25" Sheet: 20" x 16" LITERATURE Herb Ritts: Work. T. Fairbrother. 1996. N.pag.

$4,000–6,000

35 DANNY LYON

Alba, Santa Marta, Colombia 1972 Gelatin silver print Signed, titled, and dated with photographer’s stamps verso Together with copy of invoice from Jan Kesner Gallery dated February 10, 1995 Image/sheet (vis.): 6.5" x 9.75" Frame: 15.25" x 18" P ROV E NANC E Jan Kesner Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1995)

$2,000–3,000

36 ELLEN VON UNWERTH Bas File, New Orleans 1998 Gelatin silver print From the edition of 30 Image/sheet (vis.): 18.375" x 12.125" Frame: 24.25" x 21" P ROV E NANC E Staley-Wise Gallery, New York, New York; Private Collection, Atlanta, Georgia (acquired directly from the above)

$1,500–2,000

27

Jenny Holzer: Weighted Words The work of Jenny Holzer is among the most recognizable today. Famed for her use of enigmatic phrases and powerful aphorisms, known as ‘truisms,’ her text-based work encompasses sculpture, painting, film, light installation, and photography. Holzer is often described as one of the Pictures Generation, alongside artists like Cindy Sherman, Louise Lawler, and Barbara Kruger, who rose to prominence in the late 1970s and 1980s. This term was coined by art historian Douglas Crimp to characterize artworks that appropriated the imagery and language of mass media in order to examine its assumptions.

Holzer was born in 1955 in Gallipolis, Ohio. She spent several years taking courses in art at institutions such as Ohio University, the University of Chicago, Duke University, and Rhode Island School of Design. It was during her time in the Whitney Independent Study Program in 1976 that her unique voice took form. There she began her first experiments with text and site-specific installations in public locations. As she became more established, she went on to create public projects of monumental proportions, including the vast LED light installation of the billboard Protect Me From What I Want (1982) in New York Times Square or the memorable For the City (2005), which was projected across the facade of the New York Public Library.

While these installations were met with great success, Holzer continued to test different scales and alternative media.

The Living Series: There is a period when it is clear… (1989) emerged during the decade in which the artist began working with marble and stone in response to a series of institutional

37 JENNY HOLZER

The Living Series: There is a period when it is clear...

1989 Bethel white granite bench From the edition of 3 and 1 artist’s proof Together with copy of original invoice from Stuart Regen Gallery dated April 18, 1990 17" x 36" x 18" P ROVENANC E Stuart Regen Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1990) LITERATURE Jenny Holzer: Retro. C. Levine.

2011. 11-17 for similar examples illustrated.

$60,000–90,000

DETAIL OF BENCH TOP

commissions. The text on the bench is carved in the United States Department of War typeface, also called ‘Government style’ font. This was designed in the 1930s for the Veterans’ Administration headstones and markers in use today. The form of the engraved bench is commemorative, yet its words invoke both a sense of threat and potential. Holzer warns of a future in which things may go awry without corrective action, and challenges the viewer to consider their own position in deeply critical terms. The importance of this message is underscored by the sculpture’s weighty materials and the font’s official origins, with its associations of gravitas and permanence.

In an interview Holzer explained the intention behind these works, “It's almost impossible to shock an art audience.

There may be a greater chance with the outdoor work that you might startle people so much that you have some hope of changing their thinking a little bit, or even prompting them to take some kind of action. You might have an incrementally better chance of altering something in the world with the public stuff just because you reach more people, and because the content of the writing is taken at face value, it is not dismissed as art.” This stately, austere piece relates to her site-specific sculptures for Dia: Chelsea, New York and the Walker Sculpture Garden, both executed in 1989.

Waldman, Diane. "Interview: Jenny Holzer and Diane Waldman."

Jenny Holzer. New York: Solomon R. Guggenheim Museum, 1989. N. pag. Print.

29

38 VARIOUS ARTISTS

The Magic Magic Book 1994 2-volume book comprised of essays and photoengravings #245 of 300 Published by the Whitney Museum of American Art, New York to benefit the Library Fellows of the Whitney Museum of American Art Signed in graphite by each artist on blank page at end of one volume Comprised of illustrations by Vija Celmins, Jane Hammond, Glenn Ligon, Justen Ladda, Philip Taaffe, and William Wegman; authored by Ricky Jay Volumes each: .5" x 10" x 8" Case: 1.5" x 10.625" x 8.5"

$1,500–2,000

DETAIL OF VERSO

39 MARY KELLY

Mea Culpa (Study for Beirut) 1999-2002 Compressed lint Signed and dated “Mary Kelly 2002” in black felt-tip marker verso Compressed lint: 7.5" x 23.25" Board: 24" x 30.25" Frame: 25.25" x 31.25" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$7,000–10,000

40 TAUBA AUERBACH Fold Slice Topo I

2011 Color aquatint on Somerset white paper #21 of 35 Printed by Paulson Fontaine Press, Berkeley Signed and dated in graphite lower right margin of sheet; edition lower left; printer blind stamp lower right corner of sheet Image: 36" x 27" Sheet: 45" x 35" Frame: 49" x 39.5" P ROV E NANC E Paulson Fontaine Press, Berkeley, California; Private Collection, San Francisco, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above)

$2,000–3,000

31

41 TAUBA AUERBACH Fold Slice Topo II

2011 Color aquatint on Somerset white paper #21 of 35 Printed by Paulson Fontaine Press, Berkeley Signed and dated in graphite lower right margin of sheet; edition lower left; printer blind stamp lower right corner of sheet Image: 36" x 27" Sheet: 45" x 35" Frame: 49" x 39.5" P ROV E NANC E Paulson Fontaine Press, Berkeley, California; Private Collection, San Francisco, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above)

$2,000–3,000

42 VIJA CELMINS

Desert (from Untitled Portfolio) 1975 2-color lithograph on Twinrocker handmade paper Unnumbered artist’s proof of 15 aside from the edition of 75 Published by Cirrus Editions, Los Angeles; printed by Lloyd Baggs, Cirrus Editions, Los Angeles Signed and dated in graphite lower right margin of sheet; edition lower left; printer blind stamp lower left corner of sheet Image: 12.25" x 16.375" Sheet: 15.875" x 19.75" Frame: 16.25" x 20.25" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) LITERATURE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 206.; The Prints of Vija Celmins. S. Rippner. 2002. #9.

$10,000–15,000

43 VIJA CELMINS

Sky (from Untitled Portfolio) 1975 3-color lithograph on Twinrocker handmade rag paper Unnumbered artist’s proof of 15 aside from the edition of 75 Published by Cirrus Editions, Los Angeles; printed by Lloyd Baggs, Cirrus Editions, Los Angeles Signed and dated in graphite lower left margin of sheet; edition lower left; printer blind stamp lower left corner of sheet Image: 12.25" x 16.5" Sheet: 16.5" x 20" Frame: 18.125" x 22.25" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) LIT E RAT URE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 206.; The Prints of Vija Celmins. S. Rippner. 2002. #7.

$8,000–12,000

33

44 JEFF KOONS

Balloon Dog (Red) 1995 Cast porcelain with red reflective finish #1,954 of 2,300 Published by MOCA Editions, Los Angeles Retains facsimile of signature on MOCA label verso with edition Together with original box and plate stands 10.25" diameter

$10,000–15,000

45 RICHARD HAMBLETON Untitled (Shadow Cat) 2005 Oil on canvas Signed and dated lower right; signed and dated verso Canvas: 31" x 20" Frame: 31.75" x 20.75"

$2,000–3,000

35

46 ROSS BLECKNER Untitled (Bird) 2004 Oil on canvas Signed, dated, and inscribed “RB3386/2004” verso Canvas: 10" x 8" Frame: 16.625" x 14.5"

$5,000–7,000

DETAIL OF SIGNATURE AND DATE VERSO

47 PETER HALLEY Golden Prison

1999 Acrylic, metallic acrylic, and Roll-ATex on canvas Signed and dated verso; retains Baldwin Gallery label verso Together with book Peter Halley: Maintain Speed signed by the artist Canvas: 44.25" x 38.5" P ROVENA NC E Baldwin Gallery, Aspen, Colorado; Private Collection, Los Angeles, California (acquired directly from the above, February 11, 2000)

$25,000–35,000

48 JAMES WELLING

Untitled (from Degrades) 2005 Kodak Ektacolor-Plus print silicone-mounted to acrylic Unique Image/sheet (vis.): 30.5" x 26.5" Frame: 35.5" x 31.75" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist) LIT E RAT URE James Welling Monograph. J. Crump. 2013. 171-173 for other examples illustrated.

$5,000–7,000

37

49 LOUISE BOURGEOIS

Crochet III (from Crochet Series) 1998 Mixografía print on handmade paper #45 of 50 Published and printed by Mixografía, Los Angeles Initialed in graphite lower right sheet Sheet: 28" x 33" Frame: 34.25" x 40" LIT E RAT URE On Paper: The Journal of Prints, Drawings, and Photography.

Vol. II. G. Fanning. 1997. 33.

$5,000–7,000

50 JERRY ACKERMAN Prototype coat rack

Studio, executed c. 1965 2" x 16" x 2.5" P ROVENA NC E The artist

$1,500–2,000

51 CLEO BALDON

X bar stools (3) Terra, designed 1964 Model no. XBS-35 Each: 35" x 20" x 16" LITERATURE Terra Retail Price List.

September 1964. N.pag.

$2,000–3,000

52 DANNY HO FONG Counter stools (4)

Tropi-Cal, designed c. 1965 Together with an additional stool and remnants of manufacturer’s tag Each: 38.75" x 20.5" x 21"

$2,500–3,500

53 MID-CENTURY MODERN Fireplace tool set (4)

Manufacturer unknown, designed c.

1960 Overall: 32" x 11.25" diameter LOT 53

LOT 54

$800–1,200

54 DONALD DESKEY

Andirons and fireplace tool set (6) Bennett, designed c. 1955 Comprised of a pair of andirons, fire tools, and stand Andirons each: 19.25" x 8.5" x 8" Fireplace tools (overall): 33.75" x 12.5" x 8.75"

$1,000–1,500

39

55 KENNETH LIND Room divider

Custom, executed 1955 66" x 72.25" x 13.25" P ROV E NANC E Max Finkelstein, Los Angeles, California; Thence by descent

$2,500–3,500

56 KENNETH LIND Bench

Custom, executed 1955 11.5" x 62" x 19" P ROV E NANC E Max Finkelstein, Los Angeles, California; Thence by descent

$1,500–2,000

57 ALVIN LUSTIG Wall cabinet

Custom, executed c. 1953 24" x 36" x 16.75" P ROV E NANC E Corinne Chochem-Kovarsky, Los Angeles, California (acquired directly from the artist, c. 1953); Thence by descent

$3,000–5,000

41

58 GLEN LUKENS Bowl

Studio, executed c. 1940 Partially glazed ceramic Signed “Glen Lukens” 3.125" x 14.75" diameter

$4,000–6,000

59 GERTRUD & OTTO NATZLER

Cylindrical vase on a conical base Studio, executed 1940 Natzler archives identification #954 Lavender glazed ceramic Signed “G & O/Natzler” LAMA would like to thank Gail Reynolds Natzler for her gracious assistance in cataloguing this work 7.625" x 5.875" diameter (19.5 cm x 14.7 cm diameter)

$4,000–6,000

60 GORDON NEWELL Bird in Flight

Architectural Pottery, designed c. 1961 Model no. N-3 6.25" x 26.5" x 22.5" LITERATURE Architectural Pottery.

Manufacturer cat. March 1961. 18.

$2,000–3,000

61 DAVID SHANER

Untitled (Hanging Landscape) c. 1993 Ceramic and steel wire One with incised signature; twelve with artist’s cipher Overall: 56" x 5.5" diameter LIT E RAT URE Following the Rhythms of Life: The Ceramic Art of David Shaner. P. Held, ed. 2007. 41 for similar example illustrated.

$4,000–6,000

62 PETER VOULKOS Vase

Studio, executed c. 1950 Glazed stoneware Etched signature to underside 10.25" x 6.5" diameter P ROV E NANC E Millard Sheets, California; Thence by descent

$4,000–6,000

63 STAN BITTERS Peanut stack

Studio, executed 2005 Glazed ceramic Signed and dated at base 33.25" x 12.25" x 10"

$2,500–3,500

43

64 BEATRICE WOOD Bowl

Studio, executed c. 1958 Glazed ceramic Signed “Beato” to underside 7" x 10.5" diameter

$5,000–7,000

65 BEATRICE WOOD Vase with handles

Studio, executed c. 1985 Luster glazed ceramic Signed “Beato” to underside 6.125" x 5.25" x 5.5"

$3,000–5,000

66

LOT 65

BEATRICE WOOD Vase

Studio, executed c. 1970 Luster glazed ceramic Signed “Beato” to underside 10" x 8" diameter P ROVENA NC E Millard Sheets, California; Thence by descent

$4,000–6,000 LOT 66

67 LAURA ANDRESON Vessels (3)

Studio, executed A: 1972, B: 1975, C: 1979 Glazed porcelain Each signed and dated A: 6.125" x 6.125" diameter B: 5.5" x 3.375" diameter C: 5.375" x 5.625" x 5.75"

$2,000–3,000

45 68 HARRISON MCINTOSH Vase

Studio, executed c. 1955 Glazed stoneware Retains paper label “Hand Thrown Stoneware/Harrison McIntosh/Claremont California” and impressed with artist’s cipher 12" x 7.75" diameter

$2,000–3,000

69 RUPERT DEESE Vase

Studio, executed c. 1980 Glazed stoneware Retains impressed artist’s cipher to underside 8.5" x 8" diameter

$1,000–1,500 LOT 68

LOT 69

Ed Ruscha: American Mythology Ed Ruscha is one of the most iconic American artists working today. With a career spanning over six decades, his painting, photography and books hold a lasting place in the artistic canon. Usually associated with Pop art, Ruscha’s work first came to the fore in 1962 when it was included in "New Painting of Common Objects," at the Pasadena Art Museum which was curated by Walter Hopps. Considered to be one of the first Pop art exhibitions, this cemented Ruscha’s reputation and placed him alongside figures such as Andy Warhol, Wayne Thiebaud, Jim Dine, and Roy Lichtenstein.

Ruscha went on to enjoy widespread exposure when he represented the U.S. at the Venice Biennale in 1970 and has continued to exhibit internationally ever since, including the recent major traveling retrospective "Ed Ruscha: Fifty Years of Painting," at the Hayward Gallery, London (2009), Haus der Kunst, Munich, and the Moderna Museet, Stockholm.

Born in Omaha, Nebraska in 1937 and raised in Oklahoma City, Ruscha moved to Los Angeles to study at Chouinard Art Institute in 1956. It was at Chouinard that he learned the techniques of commercial art that came to typify his work: striking images, linear typography, and graphic simplicity.

These qualities have been exploited to dramatic effect in the artist’s numerous studies of the icons of American popular culture, from gas stations and auto repair shops, to billboards and streetscapes. Ruscha’s subjects have also taken more rustic forms, from paintings of rugged mountains, wagons and night skies to his silhouette series of paintings, which depict the shadows of animals, galleons, and houses.

This somber painting, with its dusky tones, is a haunting and evocative representation of an archetype of American life. Its flat, graphic forms are characteristic of Ruscha’s streamlined aesthetic, but its soft colors, subtle gradation and blurred edges are a dramatic departure. Indeed, the silhouette paintings were created using an airbrush, a medium which the artist had previously disavowed. “I’ve always had a prejudice against using an air gun, but these paintings just couldn’t be done with a brush… I wanted to make a strokeless painting.” Ruscha has always embraced innovation and many of his series mark experimentation with a new subject or medium (for instance, previous series have substituted paint for unconventional pigments such as blackberry juice and chocolate). In this case, Ruscha has left a few inches at the top of the linen surface bare, revealing a raw band of unpainted linen. This gesture recurs in many of his paintings from this period and alludes to the absence of text in this series. This continual transgression of the limits of his chosen medium, even in the latter stages of his career, marks Ruscha as one of the most important artists of post-war American art.

Tomkins, Calvin. "Ed Ruscha's L.A." New Yorker 1 July 2013. N. pag.

Print.

Terry, Colleen, and D.J. Waldie. "Ruscha's West: A Selected Chronology." Ed Ruscha and the Great American West. Ed. Karin Breuer. Berkeley: U of California, 2016. N. pag. Print.

Rugoff, Ralph. "The Last Word." Leave Any Information at the Signal: Writings Interviews, Bits, Pages. Ed. Alexandra Schwartz.

Cambridge: MIT, 2004. 297. Print.

Zip Rooster (1994) is a superlative example of the latter strand of Ruscha’s work and exemplifies his practice of isolating and capturing the symbols of the American West, so crucial to the national mythology, with razor-edge precision.

The deadpan character of their representation undercuts the romanticism and nostalgia of such imagery. This acrylic on linen painting shows the silhouette of a rooster, a recurrent motif in Ruscha’s work featured in his paintings and prints since the 1970s. This farm animal, an invocation of agrarian culture, may be a nod to the artist’s upbringing in the Midwest or perhaps a reference to “Ross the Rooster,” a bird who lived in the backyard of the Hollywood home which Ruscha shared with fellow students (including artist Joe Goode) in the early 1960s.

70 ED RUSCHA Zip Rooster

1994 Acrylic on linen Signed and dated “Ed Ruscha ‘94” verso; titled and dated “Zip Rooster 1994” on linen overlap verso; retains artist’s studio label verso Linen: 12" x 15" Frame: 13.25" x 16.25" P ROV E NANC E Private Collection, Los Angeles, California ILLUST RAT E D Edward Ruscha: Catalogue Raisonné of the Paintings. Vol. V. R. Dean.

2012. #P1994.24.

$150,000–200,000

47

71 ED RUSCHA Sin

1970 8-color screenprint on Louvain Opaque Cover paper #33 of 150 Published and printed by Cirrus Editions, Los Angeles Signed, dated, and with edition in graphite lower left margin of sheet Image: 13" x 21.5" Sheet: 18.75" x 26" Frame: 21.25" x 28.625" P ROVENA NC E IKON Ltd., Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above) LITERATURE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 338.; Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné. 1st ed. Vol II. S. Engberg and C. Phillpot. 1999. #41.

$10,000–15,000

49

72 ED RUSCHA

There’s No Job Too Small 1975 3-color lithograph on white Arches paper #3 of 7 impressions aside from the edition of 20 Published and printed by Tamarind Institute, Albuquerque Signed and dated with edition in graphite verso Image/sheet: 30" x 22" Frame: 31.5" x 24.5" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné.

1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #90.

$15,000–20,000

73 ED RUSCHA

Bailarina (from in Barcelona Suite/Portfolio California) 1988 3-color lithograph on Guarro paper #27 of 75 Published by Ediciones Polígrafa, Barcelona; printed by Polígrafa Obra Gráfica, Barcelona Signed and dated in graphite lower right sheet; edition inscribed in Roman numerals lower left sheet Image/sheet: 29.5" x 22" Frame: 35.125" x 27.125" LITERATURE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné.

1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #164.

$7,000–10,000

74 ED RUSCHA

It’s Recreational (from World Series) 1982 3-color lithograph on Arches 88 paper #8 of 11 artist's proofs aside from the edition of 40 Published and printed by Gemini G.E.L., Los Angeles Signed and dated lower right sheet; edition lower left Gemini G.E.L. #45.13 Image/sheet: 25" x 33.75" Frame: 29.75" x 38.75" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné.

1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #118.

$5,000–7,000

51

75 ED RUSCHA Speed Racer

1997 4-color lithograph on Rives BFK paper #19 of 30 Published by Hamilton Press, Venice; printed by Ed Hamilton, Venice Signed and dated in graphite lower right sheet; edition lower left sheet Image/sheet: 30" x 22.5" Frame: 36.5" x 29.25" LIT E RAT URE Edward Ruscha: Editions, 1959-1999: Catalogue Raisonné.

1st ed. Vol. II. S. Engberg and C. Philpot. 1999. #259.

$5,000–7,000

76 CHARLES ARNOLDI Speedway

1977 Acrylic on canvas Signed, titled, and dated verso LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 84" x 74" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$20,000–30,000

ILLUSTRATED OPPOSITE PAGE

77 CHARLES ARNOLDI Decker

1989 Acrylic and sticks on plywood Signed LAMA would like to thank the artist for his assistance in cataloguing this work 88" x 83" x 10" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$20,000–30,000

53

78 PETER ALEXANDER Untitled

1967 Polyester resin Initialed and dated “P.A. 67” LAMA would like to thank the artist for his assistance in cataloguing this work 9" x 9.5" x 9" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) LITERAT U RE “The Sculpture of Peter Alexander.” P. Plagens. Artforum Oct. 1970. 48-51 for a similar example illustrated.

$30,000–50,000

79 JOE GOODE

Untitled (from Tree Series) c. 1988 Oil on canvas Canvas: 54" x 48" Frame: 56" x 50" P ROV E NANC E Private Collection, United States (acquired directly from the artist); Private Collection, California (acquired directly from the above)

$10,000–15,000

55

80 JOE GOODE

Untitled (Slick Watts) 1977 3-color lithograph on Arches Cover paper #69 of 125 Published and printed by Cirrus Editions, Los Angeles Signed and dated lower right margin of sheet with edition; copy of print documentation sheet affixed to frame verso Image: 14" x 17" Sheet: 15" x 20" Frame: 20" x 23.125" LIT E RAT URE Made in LA: Prints of Cirrus Editions. B. Davis. 1995. 241.

$1,000–1,500

81 DE WAIN VALENTINE Circle

c. 1970 Cast polyester resin LAMA would like to thank the artist for his assistance in cataloguing this work 2.25" x 28.5" diameter P ROVENA NC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$30,000–50,000

ILLUSTRATED OPPOSITE PAGE

82 DE WAIN VALENTINE Silver Flake Top

1965 Fiberglass reinforced polyester resin LAMA would like to thank the artist for his assistance in cataloguing this work 18" x 21" x 21" P ROVENA NC E Celeste and Armand Bartos, New York, New York; Private Collection, New York, New York (acquired directly from the above through Christie’s, New York, May 16, 2013, lot 118)

$30,000–50,000

83 HELEN PASHGIAN Untitled (Sphere) 2014 Resin and acrylic 6.75" diameter

$5,000–7,000

84 LARRY BELL

Untitled (Vapor Drawing) 1979 Vaporized metal on paper Signed and dated in graphite lower right sheet Sheet: 57" x 41" Frame: 58.25" x 41.75"

$12,000–15,000

59

85 GUY DILL

Untitled (from Spanish Mirror Series) c. 1987/2016 Painted steel Signed and dated to white-painted element LAMA would like to thank the artist for his gracious assistance 75" x 48" x 42"

$8,000–12,000

86 TONY BERLANT

Tree Sweet Venus 1966 Found tin, steel brads, and painted wood construction LAMA would like to thank the artist for his assistance in cataloguing this work 14.25" x 10" x 14"

$6,000–9,000

61

ALTERNATE VIEW

87 TONY BERLANT

Domestic Still Life (Blue) 1984 Metal collage on plywood with steel brads 10.5" x 8.5" x 11" P ROV E NANC E LA Louver Gallery, Venice, California; Private Collection, United States; Manny Silverman Gallery, Los Angeles, California; Jeanne Meyers Fine Art, Los Angeles, California (acquired directly from the above, 1993); Private Collection, Los Angeles, California; Thence by descent

$5,000–7,000

DETAILS VERSO

88 CRAIG KAUFFMAN V.P. with Red

1974 Acrylic and wood on muslin Initialed and dated verso; retains Ruth S. Schaffner Gallery label verso; retains La Jolla Museum of Art exhibition label verso LAMA would like to thank the Estate of Craig Kauffman for their assistance in cataloguing this work Overall: 73.75" x 63" EXHIBITE D “Craig Kauffman: A Comprehensive Survey 1957-1980,” (traveling), La Jolla Museum of Contemporary Art, La Jolla, March 14-May 3, 1981; Elvehjem Museum of Art, University of Wisconsin, Madison, September-October 1981; Anderson Gallery, Virginia Commonwealth University, Richmond, November 1981; The Oakland Museum, Oakland, February 8-April 5, 1982 ILLUSTRAT E D Craig Kauffman: A Comprehensive Survey 1957-1980.

La Jolla Museum of Contemporary Art exh. cat. 1981. #30.; “A Heartfelt Showing of Kauffman.” W. Wilson. Los Angeles Times. Mar. 1981. 81.

$7,000–10,000

Craig Kauffman: Architectural Painting The works of Craig Kauffman (1932-2010) are regarded among the most seminal made in post-war California.

Along with his peers from the Light and Space movement— Larry Bell, Peter Alexander and Robert Irwin— Kauffman employed industrial vacuum-forming technology to explore the sculptural and tactile properties of new materials like plastic and acrylic. Often characterized as ‘finish fetish’ due to its high polish and elegant form, Kauffman’s vibrant creations remain as captivating today as when they were first produced.

In the 1970s, Kauffman began to experiment with a new body of work, creating paintings that resembled fragmented buildings - termed “shanties” by art critic and curator Michael Auping. In the autumn of 1950, Kauffman enrolled in the USC School of Architecture. Although the young artist left USC after his first year to continue his studies in art at UCLA, he was continually fascinated with architecture and form for the remainder of his life. He started to make paintings using jelutong wood, a light, flexible, and sturdy material which enabled him to experiment with structural form. This body of work demonstrates the diversity of Kauffman’s practice, which continues to be reevaluated by critics and curators today.

One such example is V.P. with Red, an acrylic and wood on muslin painting from 1974, which was included in Kauffman’s survey exhibition in 1981-1982. In the catalogue essay for this exhibition, curator Robert McDonald wrote, “The earliest pieces in the group are structurally closely related to the several series of pressed formed Plexiglas, but with modified exterior frameworks […] as connectors of adjacent components, as in V.P. with Red.” The combination of curves, voids, and verticals combine to form an intricate, geometric composition and Kauffman’s skillful use of color is evident in the contrasting, textured strips of red, white, and blue.

V.P. with Red continues Kauffman’s 1960s experiments of replacing painterly gestures with sculptural form.

McDonald, Robert. Craig Kauffman: A Comprehensive Survey 1957-1980. La Jolla: Fellows of Contemporary Art, 1981. Print.

Allan, Ken, Lucy Bradnock, and Lisa Turvey. "For People Who Know the Difference: Defining the Pop Art Sixties." Pacific Standard Time: Los Angeles Art, 1945-1980. Ed. Rebecca Peabody. Los Angeles: Getty Research Institute and the J. Paul Getty Museum,

63

2011. 156. Print.

89 CRAIG KAUFFMAN Untitled

1989 Mixed-media on silk Initialed and dated lower left LAMA would like to thank the Estate of Craig Kauffman for their assistance in cataloguing this work Silk: 40" x 30" Frame: 42.75" x 33" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$5,000–7,000

90 ED MOSES OH

1999 Acrylic on canvas Signed verso; retains LA Louver Gallery label verso LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 66" x 54" P ROVENA NC E Private Collection, United States (acquired directly from the artist) EXHIBITE D “John Chamberlain & Ed Moses,” LA Louver Gallery, Venice, April 27-June 16, 2001

$18,000–25,000

65

91 ED MOSES A Gardner

2001 Acrylic on canvas Signed, titled, and dated verso Alternate title is Pan #2 LAMA would like to thank the artist for his assistance in cataloguing this work Canvas: 43.25" x 43.25" P ROV E NANC E Private Collection, United States (acquired directly from the artist) E XHIBIT E D New Image Art Gallery, West Hollywood, May 2001

$12,000–18,000

92 DAVID HOCKNEY

The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) - 19 March 2011 iPad drawing printed on paper #19 of 25 Signed and dated in graphite lower right margin of sheet; edition lower left; retains LA Louver Gallery label verso Image: 50" x 37.5" Sheet (vis.): 51.5” x 38" Frame: 57.5" x 44" P ROVENA NC E LA Louver Gallery, Venice, California; Private Collection, Los Angeles, California (acquired directly from the above) EXHIBITE D “David Hockney: The Arrival of Spring,” LA Louver Gallery, Venice, July 9-August 29, 2014

$25,000–35,000

93 DAVID HOCKNEY

Dr. Elizabeth Barton 2008 Inkjet printed computer drawing on paper #9 of 12 Signed and dated in graphite lower right margin of sheet; edition lower left; retains LA Louver Gallery label verso Image: 44" x 29.25" Sheet (vis.): 46" x 32" Frame: 55.5" x 40" P ROV E NANC E LA Louver Gallery, Venice, California; Private Collection, Los Angeles, California (acquired directly from the above)

$8,000–12,000

67

94 DAVID REMFRY

Diane & Michelle Fung c. 1985 Watercolor on paper Retains Ankrum Gallery label verso Sheet (vis.): 27" x 40.5" Frame: 34.5" x 47.5"

$1,000–1,500

George Nakashima: The Spirit of a Tree The designs of George Nakashima (1905-1990) are among the most elegant and enduring in post-war American furniture. Born in Spokane, Washington, he originally studied architecture before embarking on a series of worldwide travels that proved deeply influential on his future designs.

Nakashima is renowned for his sensitive approach toward natural materials. He conceived of furniture as a second incarnation of the wood and aimed to preserve its integrity, beauty, and utility by emphasizing the textures of their rich grains in his designs. In an interview Nakashima stated: “In order to produce a fine piece of furniture, the spirit of a tree lives on and I can give it a second life, something like the medical profession… I can make an object that can live forever, if used properly.”

in the designer’s smaller works, this is a rare example of such a motif applied to a dining table, which seldom appears at auction. The room divider, equipped with three sliding doors, is an exceptionally versatile piece as it is finished on the back, allowing the piece to be placed in various configurations.

Its gently curved profile follows the form of the walnut and adheres to Nakashima’s principle of respect for the ancient woods that he worked with. The wood slab coffee table remains one of Nakashima’s most iconic designs, with its rough-hewn form and neatly angled legs, the epitome of pared-back modernist grace. This is an extraordinary opportunity to acquire a suite of timeless pieces by a master craftsman.

Interview with George Nakashima. Dir. Jim Bunn. George Nakashima

A selection of four elegant walnut pieces by Nakashima, including a drop leaf table that was commissioned especially for the client’s mother, show the masterful range of his craft.

While the cross-legged dining table design is more common

Woodworker. N.p., 23 Apr. 2013. Web. 12 Dec. 2016.

95 GEORGE NAKASHIMA

Triple sliding door room divider Studio, executed 1977 Persian walnut and pandanus cloth 24" x 84" x 20" P ROVENA NC E George Abrams (acquired directly from the Nakashima studio, 1977); Thence by descent

$35,000–50,000 HARRY BERTOIA, BUSH LOT 316

96 GEORGE NAKASHIMA

Cross-legged drop-leaf dining table Studio, executed c. 1960 Walnut Together with a lazy Susan of similar style (not illustrated) 28.75" x 70" x 35.25" (62" extended) P ROV E NANC E Marjorie Garfield, New ALTERNATE VIEW

Hope, Pennsylvania (acquired directly from the Nakashima studio); Thence by descent

$12,000–15,000

69

97 GEORGE NAKASHIMA Wall shelf

Studio, executed c. 1960 Walnut 17" x 52.5" x 15.5" P ROVENA NC E Marjorie Garfield, New Hope, Pennsylvania (acquired directly from the Nakashima studio); Thence by descent

$3,000–5,000

98 GEORGE NAKASHIMA Wood slab coffee table Studio, executed c. 1970 Persian Walnut Signed “Studio” 13" x 76.5" x 22" P ROVENA NC E Shirley & Abe Arbetman, Dallas, Pennsylvania (acquired directly from the Nakashima studio, c. 1970); Thence by descent

$12,000–18,000

TABLE DETAIL

99 MIRA NAKASHIMA

Minguren I coffee table Studio, executed 2012 Maple burl and walnut Signed and dated in black felt-tip marker “Mira Nakashima/February 14, 2012” Together with copy of sketch from the Nakashima studio 17" x 32.5" x 27.5" P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the Nakashima studio, 2012)

$10,000–15,000

100 BERNARD “TONY” ROSENTHAL Untitled 1960 Bronze Incised signature and date near base Together with letter from the artist dated July 1, 1986, signed color Polaroid of the work, a Catherine Viviano Gallery catalogue, and a Kootz Gallery fold-out pamphlet 15.75" x 15" x 2" (20.25" x 15" x 6" with base) E XHIBIT E D “Bernard Rosenthal: Exhibition of Sculpture,” Catherine Viviano Gallery, New York, February 2-February 27, 1960

$6,000–9,000

71

Henry Moore: Powerful Form Henry Moore (1898–1986) was one of the most significant sculptors to emerge from Britain in the 20th century. Born into a mining family in Yorkshire, Moore served in the British Army in the First World War and went on to study at the Royal College of Art in London in 1921. During the 1930s he was awarded several commissions and exhibitions and he subsequently joined Unit One, an artists group which included major figures like Ben Nicholson, Paul Nash, and Barbara Hepworth. When Britain went to war once more, Moore worked as an official war artist. It was not until 1948 that he found lasting success, when he won the International Prize for Sculpture at the Venice Biennale.

Landscape and the human figure played a key role in Moore’s practice. He is known for his numerous drawings of the human form, made throughout his long career, from photorealistic renderings of his own hands to studies of figures reclining, sitting, and standing. Moore’s sculptures are made from bronze, slate, stone, and were often created in monumental proportions for public sites. It is believed that the gentle curves of these works are an homage to the rolling hills of his native town.

Another formative influence for Moore were the Egyptian, Mexican, and African sculpture collections readily available in London museums. This fascination is evident in Three-Quarter Figure (1961), a bronze sculpture produced in an edition of 9. The rounded forms of this piece traverse the boundary between abstraction and representation, indicating somewhat ambiguously the head and torso of a female body. Despite its diminutive size, Three-Quarter Figure is a powerful and timeless work, one which draws comparisons to ancient sculpture. In his monograph on the artist, the celebrated British photographer John Hedgecoe wrote that this work reminded him “of some white plaster casts of seated figures dating from the Neolithic period in the British Museum.”

"Henry Moore OM, CH: Biography." Tate, n.d. Web. 12 Dec. 2016.

Henry Moore. Ed. John Hedgecoe. New York: Simon & Schuster, 1968. 366. Print.

101 HENRY MOORE

Three-Quarter Figure 1961 Patinated bronze #3 of 9 Incised signature with edition verso 15" x 8.5" x 4" LIT E RAT URE Henry Moore: Sculptures and Drawings. Vol. III. A. Bowness, ed. 1965. #487.; Henry Moore. J. Hedgecoe, ed. 1968. 366-367.

$15,000–20,000 SIGNATURE AND EDITION DETAIL

73

102 ALEXANDER ARCHIPENKO Torso in Space

c. 1952 Oil, gold paint, gouache, and colored chalk on silk Signed “Archipenko” in ink lower right composition; retains printed label “103-227431 Item 2/The Archipenko Foundation” verso Composition: 13" x 35" Silk (vis.): 17.5" x 39.75" Frame: 19" x 41" P ROVENA NC E Private Collection, United States (acquired directly through Christie, Manson & Woods, London, United Kingdom, April 14, 1972, lot 152)

$30,000–50,000

103 RUFINO TAMAYO

Los Signos Existen 1973 Portfolio of six color lithographs on Rives paper #9 of 100 Published by Edizioni d’Arte AKA, Vaduz; printed by Franco Cioppi Each signed in graphite with edition and blind stamp along lower edge of sheet Together with original portfolio case Image/sheet each: 27.25" x 19.25" Portfolio case: 1.5" x 20.25" x 28.5" LIT E RAT URE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991.

J.C. Pereda. 2004. #156-161.

$12,000–16,000

75

Pedro Friedeberg: Surreal Design The wide-ranging oeuvre of maverick artist and designer Pedro Friedeberg is among the most distinctive of our time. Born in Florence, Italy in 1936, Friedeberg and his German-Jewish family immigrated to Mexico at the start of the Second World War, when he was three years old. He studied architecture at the Universidad Iberoamericana, where he encountered the artist Mathias Goeritz and began working in his studio. He went on to study in Boston and began exhibiting his work in the United States. It was Friedeberg’s famous ‘hand chair’ design that first brought him widespread attention. Shaped in the form of a cupped hand, this piece has remained in production since 1962.

It drew widespread acclaim from such prominent figures of the time as Surrealist writer and poet André Breton, filmmaker Roman Polanski, and actress Jeanne Moreau.

Friedeberg’s influences are as varied as his output, the artist drawing inspiration from Surrealism, Op Art, M. C. Escher’s woodcuts, and the fantastical paintings of Giuseppe Arcimboldo.

Constantinoplean Day-Dreaming Chair (1966) combines an elegant gold frame with human appendages, topped by a painted woman’s head, and legs that end in molded hands. This piece puns on the anthropomorphic nature of chair design, which feature back, legs and feet. A witty re-imagining of an everyday object, it epitomizes Friedeberg’s absurd yet fantastical vision, which rejected the prevailing modernist trend for stripped back, functional design.

The two mixed-media works on board in the sale similarly embody the characteristics of Friedeberg’s art, namely mysterious symbolism, geometric patterns, figurative forms, and illusory space. La Prisionera del Shirshasana (1972) features three figures arranged in a series of poses against a starkly delineated receding prison cell. Friedeberg often borrows references from Jewish tradition, Mexican art and Eastern religions in his work. Here, a rich and allusive iconography of fish, stars, hands, and suns is inked into the ceiling above.

A retrospective of Friedeberg’s work was held at the Museo del Palacio de Bellas Artes in Mexico City in 2010. The appearance of these works is timely, for while Friedeberg’s cryptic designs and artwork have always been popular, of late there has been an enormous resurgence of interest in his work.

Travels in the Labyrinth: Mexican Art in the Pollak Collection. Ed. Dylis Pegler Winegrad. Philadelphia: U of Pennsylvania, 2001. 58. Print.

Feldman, Melissa. "Hands On." The New York Times. N.p., 2 Oct. 2009.

Web. 16 Dec. 2016.

The Age of Discrepancies: Art and Visual Culture in Mexico 1968-1997.

Ed. Olivier Debroise. 1st ed. Mexico City: Universidad Nacional Autónoma De México, 2006. 115. Print.

DETAIL OF LOT 104

104 PEDRO FRIEDEBERG

Constantinoplean Day-Dreaming Chair Studio, executed c. 1966 Retains Byron Gallery label Together with letter from the artist and two exhibition catalogues LAMA would like to thank the artist for his assistance in cataloguing this work 42" x 26.5" x 20" P ROV E NANC E Henry Simon, New Orleans, Louisiana (acquired directly from the artist, c. 1966); Justine & Richard McCarthy, New Orleans, Louisiana; Thence by descent; Private Collection, Los Angeles, California (acquired directly from the above, 2007) LIT E RAT URE Pedro Friedeberg. Byron Galleries exh. cat. 1966. N.pag. for similar example illustrated.

$10,000–15,000

105 PEDRO FRIEDEBERG Butterfly chair

Studio, executed c. 1980 One leg signed “Pedro Friedeberg” LAMA would like to thank the artist for his assistance in cataloguing this work 34" x 20" x 18"

$4,000–6,000

77

OCMA LABEL DETAIL VERSO

106 PEDRO FRIEDEBERG Untitled

c. 1966 Mixed-media on Bristol board Signed at upper left and lower center; retains Byron Gallery and OCMA labels verso LAMA would like to thank the artist for his assistance in cataloguing this work Board (vis.): 9.75" x 9.75" Frame: 13.25" x 13.25" EXHIBITE D “2013 California-Pacific Triennial,” Orange County Museum of Art, Newport Beach, June 30-November 17, 2013 LITERATURE 2013 California-Pacific Triennial. Orange County Museum of Art exh. cat. 2013. 201.

ILLUSTRAT E D Pedro Friedeberg.

D. Holtz and J. Carlos Mena, eds.

2009. 48.

$3,000–5,000

107 PEDRO FRIEDEBERG

La Prisionera del Shirshasana 1972 Oil and india ink on artist’s board Signed and dated in composition at center left; title inscribed in composition at center right; retains Galeria De Arte Misrachi label verso LAMA would like to thank the artist for his assistance in cataloguing this work Board (vis.): 14.5" x 14.5" Frame: 21.75" x 21.75" P ROVENA NC E Private Collection, Pasadena, California (acquired directly from the artist); Thence by descent

$3,000–5,000

108 ALEXANDER CALDER Pyramids

c. 1975 Color lithograph on paper #66 of 95 Published by Arts-Litho, Paris Signed in graphite lower right; edition lower center sheet Image/sheet: 29" x 43" Frame: 31.75" x 45.25"

$3,000–5,000

109 ALEXANDER CALDER Caracol

c. 1975 Color lithograph on paper #5 of 75 Signed in graphite lower right; edition lower left Image/sheet (vis.): 22.5" x 30.5" Frame: 25.5" x 34.25"

$1,500–2,000

110 ALEXANDER CALDER Untitled

1972 Color lithograph on paper #21 of 125 Signed in graphite lower right sheet; edition lower left Image: 25.5" x 19" Sheet: 25.5" x 19.5" Mat: 31.5" x 25"

$1,500–2,000

79

111 PABLO PICASSO Wood-owl

1969 Turned vase of white earthenware clay, decoration in engobes engraved by boring-rod under partial brushed glaze #138 of 350 Madoura Bears the inscription with edition “Edition Picasso,” and “Edition Picasso,” and “Madoura Plein Feu” stamps to underside Ramié #602 12" x 6.25" x 9.5" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #602.

$9,000–12,000

112 PABLO PICASSO Face no. 111

1963 Round plate of white earthenware clay, decoration in engobes and enamel under glaze #323 of 500 Madoura Bears the inscription with edition “Nº 111/Edition/Picasso/323/500/ Madoura,” and remnants of two unknown paper labels to underside Ramié #476 10" diameter LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #476.

$7,000–10,000

113

114

PABLO PICASSO

PABLO PICASSO

1952 Turned vase of white earthenware clay, decoration in oxides, knife engraved on white enamel

1957 Turned round plate of red earthenware clay, engobe decoration, knife engraved

#99 of 300

#172 of 500

Madoura

Madoura

Bears the inscription “Edition Picasso” with edition, and “Edition Picasso” and “Madoura Plein Feu” stamps to underside

Bears the inscription with edition “Edition/Picasso/172/500/ Madoura/K 118,” “Edition Picasso,” and “Madoura Plein Feu” stamps to underside

Woman-faced wood-owl

Ramié #144 11" x 6" x 9" LIT E RAT URE Pablo Picasso: Cata-

Bull, rim with leaves

Ramié #394 9.25" diameter

logue of the Edited Ceramic Works

LIT E RAT URE Pablo Picasso: Cata-

1947-1971. A. Ramié. 1988. #144.

logue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #394.

$7,000–9,000 $2,500–3,500

115 PABLO PICASSO Picador

1952 Turned round ashtray of white earthenware clay, oxidized paraffin decoration, white enamel From the edition of 500 Madoura Bears the inscription “Edition Picasso” with remnant of “Edition Picasso” stamp to underside Ramié #176 1.625" x 6.25" diameter LIT E RAT URE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié. 1988. #176.

$1,500–2,000 LOT 114

LOT 115

81

116 PABLO PICASSO Yan face

1963 Turned pitcher of red earthenware clay, engobe decoration #28 of 300 Madoura Bears the inscription with edition “28/300/Edition/Picasso,” with “Edition Picasso,” and “Madoura Plein Feu” stamps to underside Ramié #512 10" x 5" x 6.25" (including handle) LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié.

1988. #512.

$4,000–6,000

117 PABLO PICASSO Little solar face

1968 Square plaque of red earthenware clay, printed with engobe pad #46 of 200 Retains Madoura stamps to underside Ramié #551 6.625" x 6.625"

VERSO

LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié.

1988. #551.

$2,000–3,000

118 PABLO PICASSO Laughing mask

1968 Square plaque of red earthenware clay, printed with engobe pad #14 of 200 Retains Madoura stamps to underside Ramié #562 6.625" x 6.625" LITERATURE Pablo Picasso: Catalogue of the Edited Ceramic Works 1947-1971. A. Ramié.

1988. #562.

$2,000–3,000

VERSO

119 PABLO PICASSO

Plantes Tropicales 1949 Lithograph on paper #33 of 50 Signed in graphite lower left sheet; edition lower right sheet Image/sheet: 25.5" x 19.5" Frame: 33" x 27" LIT E RAT URE Pablo Picasso: Catalogue de l’œuvre gravé et lithographié, 1904-1967. Vol. I. G. Bloch.

1968. #611.

$3,000–5,000

83

120 PABLO PICASSO

Picasso–60 Years of Graphic Works 1966 Color lithograph on paper #31 of 100 aside from 2,500 unsigned, lettered impressions Published by the Los Angeles County Museum of Art; printed by Mourlot, Paris Signed in graphite lower right sheet; edition lower left Image/sheet: 23.25" x 17.875" Frame: 31" x 23" LIT E RAT URE Pablo Picasso: Catalogue de l’œuvre gravé et lithographié, 1904-1967. Vol. I. G. Bloch.

1968. #1302.; Picasso Posters. C. Czwiklitzer. 1971. #53.

$2,000–3,000

VINTAGE PHOTOGRAPH OF THE TAPESTRY

121 AFTER JOAN MIRÓ Le Rêve c. 1960 Tapestry Stitched signature verso; retains Charles E. Slatkin Gallery label verso 79" x 59.5"

$4,000–6,000

122 GINO SEVERINI Danseuse

1957 Color lithograph on paper #34 of 175 Published by L’Œuvre Gravée, Paris; printed by Michael Cassé, Paris Signed in graphite lower right margin; edition lower left Image: 22.25" x 15.375" Sheet (vis.): 23.5" x 16.375" Frame: 31.125" x 23.5" LIT E RAT URE Gino Severini: Tutta L’Opera Grafica. F. Meloni. 1982. #32.

$800–1,200

123 JOAN MIRÓ

Silencio (from Hai-Ku) 1967 Lithograph on Arches paper #49 of 75 Pulished by Maeght Éditeur, Paris; printed by Arte Adrien Maeght, Paris Signed in graphite lower right; edition lower left Image: 10" x 7.5" Sheet (vis.): 14.625" x 10.875" Frame: 15.75" x 11.875" LIT E RAT URE Joan Miró: Litógrafo.

Vol. III. J. Teixidor. 1977. #497.

$800–1,200

124 LEONARD EDMONDSON Siege of Saragossa

1957 Etching and aquatint on paper #17 of 50 Signed in graphite lower right margin; titled lower center; edition lower left Image: 13.125" x 21.625" Sheet: 15.875" x 24.5" Frame: 22" x 30.25"

$500–800

85

Georges Jouve: Sensuous Form Leading mid-century ceramicist Georges Jouve (1910–1964) was born in Fontenay-sous-Bois, France. He studied art history and sculpture at the renowned École Boulle in Paris. He worked as a set designer until the Second World War, when he was briefly enlisted in the war and promptly captured by the Germans. Jouve managed to escape to his stepparent’s home in the south of France, where the Vichy government had established a ‘Free Zone.’

There, he was inspired by the ceramic traditions continued by the local potters of the town, Dieulefit, and began to learn the craft.

125 GEORGES JOUVE Sconces (2)

Studio, c. 1955 Each with etched signature and artist’s cipher LAMA would like to thank Jousse Entreprise for their gracious assistance in cataloguing this work Each: 45.25" x 18.75" x 7.25" (including shades) P ROVENA NC E The artist; Thence by descent; Galerie Jousse Seguin, Paris,

Jouve’s first decorative works made from clay were modeled after the religious figures common in the region. This early influence accounts for the elegant, curving forms which are predominant throughout his pieces. Jouve returned to Paris in 1944, where he opened his studio and began creating ceramic vases, lamps, and tables for his growing clientele. He favored rich tones and employed a simple, but vibrant, palette of deep red, orange, yellow, white, and black. His pieces are comparable to the decorative lacquerware of modernist designer Eileen Gray, who was also working in Paris at this time.

Jouve went on to collaborate with the most acclaimed Parisian decorators and designers of his day, including Paule Marrot, Jacques Adnet, and Mathieu Matégot. His creations first reached a broad audience when Adnet invited him to participate in exhibitions held by the Compagnie des Arts Français, a popular furniture company. Jouve continued to exhibit in Paris and internationally at shows in Rio de Janeiro, Vienna, Toronto, Rome, and Cairo.

This distinctive pair of sconces was created around 1955, a period during which Jouve relocated to Aix-en-Provence and developed a new series of wall lights. Embodying his sensuous aesthetic, they comprise two slender stems, punctuated by rounded, stone-like shapes with smooth surfaces. These forms are dense with opaque color, which Jouve achieved through the use of matte enamel glazes. Hollowed on one side, they feature voids colored with vivid shades of red, green, and teal. The free forms of the sconces represent a development from Jouve’s earlier work and signaled his increasingly modern outlook, as he created pieces both decorative and functional. The asymmetry of the pieces drew from Jouve’s interest in Japanese aesthetics and are intended to express the ever-changing reality in which we live.

France; Private Collection, Atlanta, Georgia (acquired directly from the above,

“Georges Jouve.” Artsy, n.d. Web. 19 Dec. 2016.

c. 1998)

“Georges Jouve 13.11.2004-29.01.2005.” Jousse Entreprise. Jousse Entreprise, n.d.

$40,000–60,000

Web. 19 Dec. 2016.

87

126 SERGE MOUILLE

Two-arm wall appliqué Atelier Serge Mouille, designed 1954 24" x 50" (dimensions variable) P ROVENA NC E Galerie Jousse Seguin, Paris, France; Private Collection, Atlanta, Georgia (acquired directly from the above, c. 1997) LITERATURE Serge Mouille: A French Classic. P. Emile Pralus. 2006. 170.

$10,000–15,000

127 PIERRE JEANNERET

Easy armchairs from Chandigarh (2) Studio, designed c. 1955 Model no. PJ-SI-29-A One marked “St. C./25”; other marked “St. C./19” LAMA would like to thank Galerie Patrick Seguin for their gracious assistance in cataloguing these pieces 28.75" x 24.75" x 20.25" 27.5" x 24.5" x 20.25" P ROVENA NC E Galerie Patrick Seguin, Paris, France; Private Collection, Los Angeles, California (acquired directly from the above, 2006) LITERATURE Le Corbusier, Pierre Jeanneret: The Indian Adventure, Design-Art-Architecture. G. Moreau and E. Touchaleaume. 2011. 563.

$10,000–15,000

128 ANDRÉ KERTÉSZ

Chez Mondrian, Paris 1926; this example printed later Gelatin silver print Signed in graphite verso Together with copy of invoice from Peter Fetterman Gallery dated June 2, 1992 Image/sheet (vis.): 13.5" x 10.25" Frame: 22" x 18.5" P ROV E NANC E Peter Fetterman Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1992) LIT E RAT URE André Kertész. N. Bourcier. 2006. 15-16.

$7,000–10,000

89

129 ANDRÉ KERTÉSZ

Underwater Swimmer, Esztergom 1917; this example printed later Gelatin silver print Signed and dated in graphite “A. Kertész 1917” verso; inscribed “4” verso Together with copy of invoice from Peter Fetterman Gallery dated February 12, 1997 Image: 7" x 9.75" Sheet: 8" x 10" Frame: 17" x 20.375" P ROV E NANC E Peter Fetterman Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1997) LIT E RAT URE André Kertész: Photographs from the J. Paul Getty Museum.

Vol. I. A. Kertész. 1994. #3.

$4,000–6,000

130 HENRI CARTIER-BRESSON Srinagar, Kashmir

1948; this example printed later Gelatin silver print Signed in ink lower right margin of sheet; artist’s blind stamp lower left margin of sheet; verso bears the inscription in graphite “PF 1308” Image: 9.375" x 14.125" Sheet: 11.75" x 15.75" Frame: 16.25" x 20.25" LITERATURE Cartier-Bresson, The Decisive Moment. 1952. Pl. 87.; Henri Cartier-Bresson: Photographer. 1979.

Pl. 77.; Henri Cartier-Bresson: The Man, the Image and the World. 2003.

Pl. 407.; Henri Cartier-Bresson: The Modern Century. P. Galassi. 2010. 120.

$7,000–10,000

131 WILLIAM DASSONVILLE Monk

c. 1925 Vintage silver print Signed in graphite lower right margin of sheet Image: 9.75" x 7.875" Sheet (vis.): 10.75" x 8.25" Frame: 17.75" x 14.5"

$1,500–2,000

91 132 WALKER EVANS

Westchester, New York, Farmhouse 1936; this example printed 1971 Gelatin silver print #59 of 100 Signed in graphite lower right mount; edition and date inscribed lower left mount; inscribed “XIII” in graphite lower right mount Together with copy of invoice from Jan Kesner Gallery dated July 26, 1997 Image/sheet: 4.75" x 6.75" Mount (vis.): 16.5 x 14.25" Frame: 17.75" x 15.5" P ROV E NANC E Jan Kesner Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, 1997) LIT E RAT URE Walker Evans: The Getty Museum Collection. J. Keller.

1995. #150.

$2,000–3,000

133 BRASSAÏ (GYULA HALÁSZ) Couple at the Bal Nègre, rue Blomet

c. 1932; this example printed c. 1965 Gelatin silver print Together with copy of invoice from Peter Fetterman Gallery dated February 23, 1992 Image: 10.125" x 8" Sheet: 11.75" x 9.125" Frame: 20" x 16.125" P ROVENA NC E Peter Fetterman Gallery, Santa Monica, California; Private Collection, Los Angeles, California (acquired directly from the above, 1992) LITERATURE Brassaï: Images of Culture and the Surrealist Observer.

M. Warehime. 1996. #24.

$6,000–9,000

134 BERT STERN

Audrey Hepburn and Mel Ferrer 1963; this example printed later Gelatin silver print Signed in grease pencil lower right margin of sheet Image: 7.5" x 7.325" Sheet (vis.): 8.75" x 7.75" Frame: 16" x 15.125" In 1963, under the direction of Diana Vreeland, Bert Stern was given the task to photograph Audrey Hepburn and her then husband Mel Ferrer for Vogue magazine. It was Diana Vreeland's first year as editor-in-chief at the magazine.

LITERATURE The Photo Illustration: Bert Stern. J. Cornfield. 1974. 55.

$2,500–3,500

135 MAN RAY

Clifford Odets c. 1945 Gelatin silver print Signed in graphite lower right mat Image/sheet: 9.5" x 7.75" Mat (vis.): 10.75" x 8.75" Frame: 23.75" x 20.75" This image was taken by Man Ray while living in Hollywood from 1943 to March 1951.

P ROV E NANC E Clifford Odets; Private Collection, Los Angeles, California (acquired directly from the above); Private Collection, Los Angeles, California (acquired directly from the above through Los Angeles Modern Auctions, Van Nuys, California, October 14, 2007, lot 300)

$6,000–8,000

136 JULIUS SHULMAN

Portrait of Raymond Loewy c. 1947; this example printed later Gelatin silver print Retains Julius Shulman stamp verso Image/sheet (vis.): 9.375" x 7.25" Frame: 21.25" x 19.25"

$500–1,000

93

137 DOROTHY NORMAN

Alfred Stieglitz at an American Place c. 1930; this example printed later Gelatin silver print Signed in felt-tip marker mount verso; bears the inscription in graphite mount verso “Alfred Stieglitz spotting portrait of/ Dorothy Norman-/(with Marin Paintings and Stieglitz/Photograph in background)/An American Place - New York 1930’s” Together with letter from Aperture Foundation Image/sheet: 2.75" x 4" Mount: 14.75" x 12" Frame: 15.5" x 16.25" P ROVENA NC E Aperture Foundation, New York, New York; The Estate of Robert Anthoine (acquired directly from the above)

$1,000–1,500

138 J.J.P. OUD (JACOBUS JOHANNES PIETER OUD) Postcard to Alfonso Iannelli 1925 Ink on photo postcard Signed and inscribed “Dear Mr. Iannelli/Many thanks for/your letters! I am/hoping indeed we/ will meet not/later than next/year again! Back/side a cafe of/wood and cement. It/has to last only 10/ years. We all send/you most heartily/feelings. Yours xxx/Oud” 5.5" x 3.5" Alfonso Ianelli was an Italian-American sculptor and graphic designer mainly based in Chicago, where he contributed to many major projects, such as the Midway Gardens, Adler Planetarium, and the Prudential Building. The structure pictured on the front of the postcard was designed by J.J.P. Oud and executed in 1925.

$1,000–1,500

139 EUDORA WELTY

Sunday School, Holiness Church, Jackson, Mississippi c. 1930-1949; this example printed later Gelatin silver print #13 of 35 Signed in graphite lower right margin of sheet; edition verso with printed label “This photograph is provided through the cooperation of the Mississippi Department of Archives and History, repository of the Eudora Welty Collection.

All copyright interests, as well as exhibition, reproduction, and publication rights, are retained by Eudora Welty and the Mississippi Department of Archives and History.”

Image: 9.875" x 7.25" Sheet: 14" x 11" Frame: 18.25" x 14.25" P ROV E NANC E The Estate of Robert Anthoine

$1,500–2,000

140 EIKOH HOSOE Kamaitachi #8

1965; this example printed 1997 Gelatin silver print Signed and dated in felt-tip marker lower right margin of sheet; signed in graphite and dated verso; inscribed “For Aperture” verso Image: 8" x 5.5" Sheet: 10" x 8" Frame: 17.25" x 14.25" P ROV E NANC E Aperture Foundation, New York, New York; The Estate of Robert Anthoine (acquired directly from the above)

$1,000–1,500

95

141 PAUL STRAND

Landscape Near Sea in Montélimar c. 1950 Gelatin silver print Inscribed in graphite “Landscape near sea in Montélimar” verso; bears the inscription “MEH 128” and “PF112041” verso Image/sheet: 4.5" x 5.75" Mount: 14.75" x 12.25" P ROVE NA NC E Aperture Foundation, New York, New York; The Estate of Robert Anthoine (acquired directly from the above)

$3,000–5,000

142 BRETT WESTON

White Sands, New Mexico, 1946 1946; this example printed later Gelatin silver print Signed in graphite lower right mount Image/sheet: 7.5" x 9.5" Mount: 13.25" x 15" Frame: 18" x 18.75" P ROV E NANC E The Estate of Robert Anthoine LIT E RAT URE White Sands: Brett Weston. B. Weston. 2005. N.pag.

$1,500–2,000

143 JOSEF SUDEK

Villa Bertramka, Mozart Memorial c. 1958; this example printed before 1978 Gelatin silver print Together with photocopy of letter from Manfred Heiting to Robert Anthoine dated January 6, 1991 Image/sheet (vis.): 8.75" x 6.5" Frame: 19.25" x 15.5" P ROV E NANC E Manfred Heiting, Amsterdam, The Netherlands (acquired directly from the estate of the artist, 1978); Burden Gallery, New York, New York; The Estate of Robert Anthoine (acquired directly from the above)

$1,000–1,500

97

RECTO DETAIL

144 ARNALDO POMODORO Untitled

1960 Bronze mounted to wooden plaque Unique Incised initials and date “AP 60” lower right in wooden plaque Bronze: 24.25" x 4.75" Wooden plaque: 27.25" x 8" EXHIBITE D Los Angeles, 1962 ILLUSTRAT E D Arnaldo Pomodoro: Catalogo Ragionato Della Scultura.

Vol. II. F. Gualdoni, ed. 2007. #193.

$10,000–15,000

145 DUBÉ (DUILIO BARNABÉ) Wall plaque

Fontana Arte, designed c. 1956 Inscribed “Dubé * Fontana Arte*” 38" x 35" x .75"

$1,500–2,000

99

146 DUBÉ (DUILIO BARNABÉ) Glass bowl with stand

Fontana Arte, designed c. 1956 Inscribed “Dubé * Fontana Arte*” 8" x 24" diameter

$1,000–1,500

147 GIO PONTI

Diamond flatware (68) Reed & Barton, designed 1958 Some marked “Reed & Barton Sterling”; butter spreaders marked “Reed & Barton/Mirrorstele/Sterling handle” Comprised of a six piece service for eight (dinner forks, dinner knives, dinner spoons, salad forks, butter knives, dessert spoons), nine service pieces, plus additional pieces Various dimensions

$4,000–6,000 PARTIAL ILLUSTRATION

148 GIO PONTI

Flatware (32) Fraser’s, designed 1954 Some marked “Ponti/Fraser’s Italy”; others marked “Fraser’s Italy” Comprised of a four piece service for eight (dinner forks, knives, soup spoons, dessert spoons) Various dimensions LITERATURE Gio Ponti. U. La Pietra, ed.

1996. 300.

$2,000–3,000 PARTIAL ILLUSTRATION

149 MASSIMO VITALI

Vecchiano (from a Portfolio of Landscapes and Figures) 2006 Offset color lithograph on paper From the edition of 120 Published by Steidl Verlag, Göttingen Retains artist’s inkstamp and edition verso Image: 25.875" x 33.625" Sheet (vis.): 26.5” x 34.25” Frame: 32.5" x 40.375"

$2,000–3,000

101 150 MASSIMO VIGNELLI Pendant lamp

Venini, designed c. 1960 19.5" x 6.25" diameter

$2,000–3,000

151 ETTORE SOTTSASS Table lamp

Bitossi, designed 1955 Signed “Italy/B” 22.5" x 7.5" diameter LIT E RAT URE Ettore Sottsass: Tutta la Ceramica. F. Ferrari. 1996. #62-63 for similar examples illustrated.

$2,000–3,000

152 HANS BURKHARDT Untitled

1975 Oil on canvas Signed and dated lower right Canvas (vis.): 15.625" x 19.5" Frame: 23.5" x 27.5"

$4,000–6,000

153 HANS BURKHARDT Untitled (2)

1969; 1976 Pastel on paper Each signed and dated in graphite lower right sheet with artist’s blind stamp Sheet (vis.): 25.75" x 19.375" Frame: 27" x 20.75" Sheet (vis.): 23.5" x 17.5" Frame: 25.5" x 19.5"

$1,000–2,000

103

154 HANS BURKHARDT Untitled (2)

Charcoal: 1941; Woodblock: 1972 Charcoal on paper; color woodblock print on paper Woodblock: #12 of 16 Charcoal: Signed and dated lower right beneath composition; artist’s blind stamp lower right sheet; Woodblock: Signed and dated in graphite lower right margin beneath image; edition lower left Charcoal: Sheet (vis.): 17.25" x 23.25" Frame: 27.125" x 32.625" Woodblock: Image: 13.5" x 8.625 Sheet (vis.): 17.5" x 12.5" Frame: 27.75" x 22.75"

$1,200–1,800

155 SAM FRANCIS

Untitled (SF83-120) 1983 Acrylic on paper Signed and dated “Sam Francis/1983” in graphite verso Sheet: 29" x 41" Frame: 37.5" x 48.75" This work is identified with the interim identification number of SF83-120 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper.

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

P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist)

$50,000–70,000

105 156 SAM FRANCIS

Untitled (SFF.535) c. 1969-1970 Acrylic on canvas Canvas: 60" x 50" This work is included in the Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, 19461994, published by the University of California Berkeley Press (UC Press: 2011) under the No. SFF.535 and is also registered in the archives of the Sam Francis Foundation with the No. SFP69-21; SFP69-23; SFP69-1017. This information is subject to change as scholarship continues by the Sam Francis Foundation.

P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist) ILLUST RAT E D Sam Francis. Y. Michaud. 1992. 131.; Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, 1946-1994. W. C. Agee and D. Burchett-Lere. 2011. #535.

$250,000–350,000

157

Raisonné of Unique Works on Paper.

SAM FRANCIS

as scholarship continues by the Sam

Untitled (SF53-101)

Francis Foundation.

1953-1954 Watercolor on paper

PROVE N A N CE Private Collection,

This information is subject to change

Santa Monica, California (acquired

Signed and dated in graphite “Sam Francis/1954/1953” verso

directly from the artist)

Together with exhibition catalogue

on Paper 1953-1986: The Ranchito

This work was painted by the artist while in Paris

Brandstater Gallery, Loma Linda Uni-

Sheet: 18.625" x 24.625" Frame: 26" x 31" This work is identified with the interim identification number of SF53-101 in consideration for the forthcoming Sam Francis: Catalogue

E X H I B I T E D “Sam Francis Works Collection,” The Roy and Frances versity, Riverside, February 19-March 19, 1987 I L LU ST RAT E D Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #1.

$150,000–200,000

DETAIL OF SIGNATURE AND DATE VERSO

158 SAM FRANCIS

Untitled (Self-Portrait) (SF78322) 1978 Acrylic on paper Signed, dated, and inscribed in grease pencil “Sam Francis/Self Portrait/1978/for Marty Sosin/on Seder/1987” verso Together with exhibition catalogue Sheet: 14.5" x 12.25" Frame: 23" x 20.25" This work is identified with the interim identification number of SF78-322 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper.

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

P ROV E NANC E Private Collection, Santa Monica, California (acquired directly from the artist) E XHIBIT E D “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Riverside, February 19-March 19, 1987 ILLUST RAT E D Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #18.

$25,000–35,000

107

159 SAM FRANCIS

Untitled (SFM82-301) 1982 Monotype and woodcut of dry pigment, inks, and oils on paper Unique Signed in ink lower right sheet Created in collaboration with the Garner Tullis Workshop, Santa Barbara Together with exhibition catalogue Image/sheet: 29.75" x 25" Frame: 39" x 34.75" This work is identified in the interim identification number of SFM82-301.

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

P ROVENA NC E Private Collection, Santa Monica, California (acquired directly from the artist) EXHIBITE D “Sam Francis Works on Paper 1953-1986: The Ranchito Collection,” The Roy and Frances Brandstater Gallery, Loma Linda University, Riverside, February 19-March 19, 1987 ILLUSTRAT E D Sam Francis Works on Paper 1953-1986: The Ranchito Collection. The Roy and Frances Brandstater Gallery exh. cat. 1987. #23.

$10,000–15,000

160 SAM FRANCIS

Untitled (SFM81-100) c. 1981 Monotype of dry pigment, inks, and oils on handmade paper Unique Created in collaboration with the Garner Tullis Workshop, Santa Barbara Together with signed color photograph of work, letter from The Litho Shop, and copy of documentation card Sheet: 25" x 30.125" This work is identified with the interim identification number of SFM81-100.

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

P ROV E NANC E The Litho Shop, Santa Monica, California; Private Collection, United States

$12,000–18,000

109

DETAIL VERSO

161 PAUL JENKINS

Phenomenon Hamlet The Dane 1989 Acrylic on canvas Signed in paint lower left; signed, titled, and dated in felt-tip marker verso Canvas: 16" x 13" Frame: 20.25" x 17.125" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$5,000–7,000

162 RICHARD SERRA

Videy Afangar #2 (from Videy Afangar Series) 1991 1-color intaglio on Hahnemühle German etching paper #72 of 75 Published and printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower right margin of sheet; edition lower left; Gemini G.E.L. and artist’s blind stamps lower right corner of sheet Gemini G.E.L. #47.51 Image: 4.375" x 6" Sheet: 10.5" x 12" Frame: 16.25" x 17.75" LITERATURE Richard Serra: Druckgrafik-Prints-Estampes 1972-1999. S. Von Berswordt-Wallrabe. 1999. #65.

$2,500–3,500

163 ROBERT MOTHERWELL

In Blue and Bleeding Black #2 (from Lyric Suite) 1965 Colored ink on rice paper Initialed “RM” in graphite lower right sheet; retains Manny Silverman Gallery, John Berggruen Gallery, and color copy of a Marlborough Gallery labels verso Sheet: 11" x 9" Frame: 18.75" x 16.125" P ROV E NANC E Manny Silverman Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above) E XHIBIT E D “Robert Motherwell,” Galleria d’Arte il Gabbiano, Rome, October 15, 2008-January 15, 2009 ILLUST RAT E D Robert Motherwell.

Galleria d’Arte il Gabbiano exh. cat.

2009. #5.

$20,000–30,000

111

PHOTO CREDIT: TAYLOR SHERILL & ASSOCIATES

P.S. - An Art Auction The following lots (164 to 250) are being sold to benefit the Palm Springs Art Museum.

In this section, the lots are sold with no Buyer's Premium. Stay tuned for additional lots not listed here. Please go to www.LAMODERN.com for more information and the latest list of available lots.

Property Sold to Benefit the Palm Springs Art Museum

A Letter From The Palm Springs Art Museum Dear art lovers and friends, We want to thank Los Angeles Modern Auctions (LAMA) for hosting this special benefit auction for the Palm Springs Art Museum. Thanks to our partnership with Peter and Shannon Loughrey and their expert team at LAMA, they have created a special opportunity to present work from some of the best collections in the desert. We are extremely grateful, likewise, to the collectors and the patrons of the museum who generously donated outstanding artworks to this auction. Their gifts are a win/win for all: a great opportunity to buy unique art while raising vital support for the museum’s exhibitions, educational, and public programs.

and renewal for local, national, and global audiences. The auction focuses on art representative of the museum’s collecting strengths and features pieces by major modern and contemporary artists. Established in 1938 Palm Springs Art Museum is the largest cultural institution in the Coachella Valley and includes three locations in Palm Springs and Palm Desert.

The mission of Palm Springs Art Museum is to create transformative experiences that expand our understanding of ourselves and the world. Our collections, exhibitions, and programs connect people to the art and culture of our community and time. We foster and inspire reflection

Elizabeth Armstrong The Joann McGrath Executive Director Palm Springs Art Museum

Thank you for your passionate support of P.S. - An Art Auction. We look forward to sharing our museum and its galleries with you on your next visit to the desert.

Property Sold to Benefit the Palm Springs Art Museum

A special thank you for these donors and contributors to the auction Architecture and Design Council Becky Benaroya Benjamin Family, courtesy of Louis Stern Fine Arts Beth Rudin DeWoody & Firooz Zahedi Betty LaCombe Chip Tom and Michael Rabkin Contemporary Art Council Curtis Galleries, Minneapolis, MN Dave Hicks David Wiseman Deborah Page and Don Saxton Deidra Schumann and Lura Newhouse Estate Diane Gershowitz Donna MacMillan Dr. J. Patrick and Patricia A. Kennedy Edward Cella Art and Architecture Estate of Gladys M. Rubenstein Estate of John Fleming Feitelson/Lundeberg Art Foundation, courtesy Louis Stern Fine Arts Gwendolyn Weiner Hung Liu and Trillium Graphics Imago Galleries Iwan Baan Jamie Kabler Jean Carrus John H. Fleming Trust L.J. Cella Luc Bernard and Heather James Gallery Maloney Fine Arts Marcy Gregory and Izen Miller Gallery Mark Leonard Michael Childers Ming C. Lowe Parrasch Heijnen Gallery, Los Angeles Pat Lasch and Meredith Ward Fine Art Peter Alexander Photography Collection Council Phyllis and Gary Schahet Rob Pruitt Susan Goodman and Rodney Lubeznik Western Art Council William G. Butler

115

Property Sold to Benefit the Palm Springs Art Museum

164 JEAN PAUL RIOPELLE Kenavo

1962 Oil on canvas Signed and dated lower right; signed and titled wooden stretcher verso; retains Delamare & Cie. label on wooden stretcher verso Canvas: 18" x 21.75" Frame: 19" x 22.5" LITERATURE Jean Paul Riopelle: Catalogue RaisonnĂŠ. Vol. III. M. Waldberg, et al. 2009. 176.

$50,000–70,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

117

165 JOAN MIRÓ

Miró Obra Gráfica 1978 Color lithograph on paper H.C. aside from the edition of 99 Published by Dirección General del Patrimonio Artístico, Archivos y Museos, Madrid Signed in pencil lower right; inscribed “H.C.” lower left Image/sheet: 27.5" x 20" Frame: 38.5" x 30" LIT E RAT URE Joan Miró, Lithographe. Vol. VI. P. Cramer, ed. 1992. #1162.

$2,000–2,500

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Property Sold to Benefit the Palm Springs Art Museum

166 REBECCA HORN

Eclipse of the Moon (2) 1993 Ink on chromogenic print diptych From the edition of 20 Image/sheets (vis.) each: 27" x 39" Frames each: 29" x 40.5"

$1,500–2,500

167 NINA BOVASSO Untitled (2)

c. 2000 Acrylic, ink, and metallic ink on paper Sheets (vis.) each: 40.5" x 16" Frames each: 47" x 22.5"

$1,500–2,000

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Property Sold to Benefit the Palm Springs Art Museum

168 PAUL JENKINS Untitled

1972 Color lithograph on paper #62 of 75 Signed and dated with edition in graphite lower right sheet Image/sheet (vis.): 25.25" x 36.25" Frame: 33.5" x 44.625"

$500–700

119

169 SUSAN JENNINGS

Strangeness II (Leaf Veins/ Blood) (from The MOCA Photography Portfolio) 1998; published 1999 LightJet print on Fuji Crystal archive paper #39 of 250 Published by MOCA, Los Angeles; printed by Muse X Editions, Los Angeles Image/sheet (vis.): 12.25" x 18.5" Frame: 19.75" x 26"

$800–1,200

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Property Sold to Benefit the Palm Springs Art Museum

170 HELEN LUNDEBERG By the Sea

1960 Oil on Masonite

E X H I B I T E D “Helen Lundeberg Paintings,”

LIT E RAT URE Helen Lundeberg: A Retro-

Paul Rivas Gallery, Los Angeles, October

spective Exhibition. La Jolla Museum of

Signed and dated lower left; signed, titled, and dated verso; retains Louis Stern Fine Arts label verso

1960; “Helen Lundeberg,” The Long Beach

Art exh. cat. 1971. #36.; “Helen Lundeberg:

Museum of Art, Long Beach, April 7-April

The Sixties and the Seventies.” D. Moran.

28, 1963; “Helen Lundeberg: A Retro-

Art International. May 1979: 37.; Helen

LAMA would like to thank the Feitelson/Lundeberg Art Foundation for their assistance in cataloguing this work

spective Exhibition,” La Jolla Museum of

Lundeberg: A Retrospective. Los Angeles

Contemporary Art, La Jolla, December 10,

Municipal Gallery exh. cat. 1979. #13.

1971-February 13, 1972; “Helen Lundeberg: A Retrospective,” Los Angeles Municipal

Board: 20" x 23.75" Frame: 21" x 25"

Gallery, Barnsdall Park, Los Angeles,

P ROVENA NC E The artist; The Feitelson/

Gallery, Santa Barbara, July 22-Septem-

Lundeberg Foundation

January 16-February 18, 1979; “The LA That Influenced My Eye,” Sullivan Goss ber 22, 2004

No Buyer's Premium will be added to the hammer price of lots on this page

$10,000–15,000

Property Sold to Benefit the Palm Springs Art Museum

171 LORSER FEITELSON

Untitled (from Boulder Series) 1962 Acrylic on canvas Signed and titled verso; retains Tobey C. Moss Gallery and Louis Stern Fine Arts labels verso LAMA would like to thank the Feitelson/Lundeberg Art Foundation for their assistance in cataloguing this work Canvas: 20" x 20" P ROV E NANC E The artist; The Feitelson/Lundeberg Art Foundation E XHIBIT E D “Helen Lundeberg/Lorser Feitelson: And the Synergy of Geometric Abstraction,” Louis Stern Fine Arts, West Hollywood, March 1-May 10, 2014

$15,000–20,000

121

172 KARL BENJAMIN #1

1977 Oil on canvas Signed, titled, and dated on wooden stretcher verso; retains Louis Stern Fine Arts label verso Canvas: 31" x 31" Frame: 32.5" x 32.5" 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.

$10,000–15,000

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Property Sold to Benefit the Palm Springs Art Museum

173 ROB PRUITT Death Valley

2016 Acrylic on linen Signed and dated verso Linen: 30" x 40" P ROVENA N C E The artist and Gavin Brown's Enterprise, New York

$30,000–50,000

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Property Sold to Benefit the Palm Springs Art Museum

123

174 PETER ALEXANDER 11/11/15 (Blue Bar) 2015 Urethane LAMA would like to thank the artist for his assistance in cataloguing this work Overall: 77" x 6.5" x 1.5"

$20,000–30,000

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Property Sold to Benefit the Palm Springs Art Museum

175 TOM FRIEDMAN Untitled

1998 Lambda print #1 of 2 artist’s proofs aside from the edition of 4 Signed with edition in black ink on backing board verso; retains Wadsworth Atheneum Museum of Art exhibition label verso; retains Feature Inc. label verso; retains the Cartin Collection inventory label verso Image: 16" x 38" Sheet (vis.): 23.75" x 45.75" Frame: 25.25" x 47"

PROVE N A N CE Feature Inc., New York, New York; Janice and Mickey Cartin, Hartford, Connecticut; Private Collection, Palm Springs, California (acquired directly from the above through Phillips de Pury & Company, London, United Kingdom, June 29, 2008, lot 261) E X H I B I T E D “SNAP! Photography from the Collections,” Wadsworth Atheneum Museum of Art, Hartford, October 9, 2000-October 26, 2001 L I T E RAT U R E Tom Friedman. R. Hanley. 2000. 72.; Tom Friedman. D. Cooper, et al. 2001. 68.

$40,000–60,000

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Property PropertySold Soldto toBenefit Benefitthe thePalm PalmSprings SpringsArt ArtMuseum Museum

176 LOVETT/CODAGNONE Untitled (For You) (3)

2004 Chromogenic print triptych Each retains Maloney Fine Art label verso; each signed and dated verso Images/sheets each: 9" x 12" Frames each: 17" x 20" LIT E RAT URE Lovett/Codagnone. S. Di Stefano and C. Gute, eds. 2006. 51.

$2,000–3,000

125

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Property Sold to Benefit the Palm Springs Art Museum

177 TRACEY EMIN

International Woman Longchamp, executed 2004 Model no. Le Pliage Valise, from the edition of 200 Suitcase of cotton canvas, leather trimmings, and patchwork Signed and inscribed “Bangkok/Longchamp/Tracey Emin” with hand-drawn logo on affixed rosette ribbon; branded “Les Pliages Longchamp ‘Valise’/ modèle déposé - made in France” to leather trimming Together with Longchamp pamphlet 14.5" x 19" x 7" (as illustrated) LITERATURE Fashion and Imagination: About Clothes and Art. P. Calefato. 2010.

46.

$4,000–6,000

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Property Sold to Benefit the Palm Springs Art Museum

178 TRACEY EMIN Always Me

Longchamp, executed 2004 Model no. Le Pliage “S” 1621 Handbag of cotton canvas, leather trimmings, and patchwork Facsimile of signature and inscription “Bangkok/Longchamp/Tracey Emin” with logo on affixed rosette ribbon; branded “Les Pliages Longchamp Type ‘S’/modèle déposé - made in France” to leather trimming; facsimile of signature on label stitched to handbag interior Together with dust cover with leather label branded “Tracey Emin 4 Longchamp/2004” 8.25" x 13.5" x 6" (as illustrated)

$2,000–3,000

127

179 TRACEY EMIN Always Me

Longchamp, executed 2004 Model no. Le Pliage “M” 1623 Handbag of cotton canvas, leather trimmings, and patchwork Facsimile of signature and inscription “Bangkok/Longchamp/Tracey Emin” with logo on affixed rosette ribbon; branded “Les Pliages Longchamp Type ‘M’/modèle déposé - made in France” to leather trimming; facsimile of signature on label stitched to handbag interior Together with dust cover with leather label branded “Tracey Emin 4 Longchamp/2004” 10" x 18.25" x 8.25" (as illustrated)

$2,000–3,000

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Property Sold to Benefit the Palm Springs Art Museum

180 LUC BERNARD Cinergy no. 17 2016 Oil on canvas Signed, dated, and titled verso 52.75" x 52.25"

$8,000–10,000

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Property Sold to Benefit the Palm Springs Art Museum

129

181 PAT LASCH

Josephine McGrath 2014 Acrylic polymer paint, pearls, and beads Overall: 30" x 9.5" x 2"

$10,000–15,000

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Property Sold to Benefit the Palm Springs Art Museum

182 ALBERT FREY

A Night at Frey House II One of the most famous examples of midcentury architecture in Palm Springs, Frey House II, was designed and built by iconic desert modern architect Albert Frey for himself in 1963. Live the modern dream at this nationally recognized site...for

one glorious night. This rare and unique opportunity for you and a guest to experience the intimacy of Frey’s mountain aerie from sunset to sunrise begins with a private cocktail reception and dinner for you and up to 6 friends. High up a winding road, nestled into the hills of the San Jacinto Mountains with spectacular views of the Coachella Valley, enjoy your favorite Rat Pack cocktail and hors d’oeuvres as day

No Buyer's Premium will be added to the hammer price of lots on this page

becomes night. As the moon rises, bid farewell to your guests and relax with a dip in the pool while you experience a sublimely inspiring evening under the stars.

Additional details: Subject to availability year-round prior to September 30, 2017 Purchasers will be required to enter into a special use agreement provided by Palm Springs Art Museum

A portion of this purchase may be tax deductible Additional terms, rules, and conditions may apply The proceeds from this purchase will help support the ongoing maintenance and restoration of this special house, which is part of Palm Springs Art Museum’s collection.

$8,000–10,000

Property Sold to Benefit the Palm Springs Art Museum

131

PHOTO CREDIT: JAMES SCHNEPF

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Property Sold to Benefit the Palm Springs Art Museum

183 JULIUS SHULMAN & JUERGEN NOGAI

Sunnylands, Palm Springs, CA 2007 LightJet print on Fujicolor Crystal Archive paper #8 of 20 Signed by Shulman and Nogai, and dated lower right margin beneath image; edition lower left Image: 16" x 20" Sheet: 18" x 22"

$2,000–3,000

184 JULIUS SHULMAN & JUERGEN NOGAI

Elrod House, Palm Springs, CA 2007 LightJet print on Fujicolor Crystal Archive paper #8 of 20 Signed by Shulman and Nogai, and dated lower right margin beneath image; edition lower left Image: 16" x 20" Sheet: 18" x 22" LITERATURE Julius Shulman: The Last Decade. J. Nogai and T. Schirmbock. 2010. 119.

$2,000–3,000

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Property Sold to Benefit the Palm Springs Art Museum

185 JULIUS SHULMAN & JUERGEN NOGAI

Dinah Shore House, Palm Springs, CA 2007 LightJet print on Fujicolor Crystal Archive paper #8 of 20 Signed by Shulman, Nogai, and Donald Wexler, and dated lower right margin beneath image; edition lower left Image: 16" x 20" Sheet: 18" x 22" Donald Wexler was the architect of the Dinah Shore House.

LIT E RAT URE Julius Shulman: The Last Decade.

J. Nogai and T. Schirmbock. 2010. 115.

$2,000–3,000

186 JULIUS SHULMAN & JUERGEN NOGAI

Bougain Villa House, Palm Springs, CA 2007 LightJet print on Fujicolor Crystal Archive paper #8 of 20 Signed by Shulman and Nogai, and dated lower right margin beneath image; edition lower left Image: 16" x 20" Sheet: 18" x 22"

$2,000–3,000

187 JULIUS SHULMAN & JUERGEN NOGAI

Alexander Steel House No. 1, Palm Springs, CA 2007 LightJet print on Fujicolor Crystal Archive paper #8 of 20 Signed by Shulman, Nogai, and Donald Wexler, and dated lower right margin beneath image; edition lower left Image: 16" x 20" Sheet: 18" x 22" Donald Wexler was the architect of the Alexander Steel House No. 1.

$2,000–3,000

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133

Property Sold to Benefit the Palm Springs Art Museum

188 EZRA STOLLER

Chamberlain Cottage, Wayland, Massachusetts (Gropius and Breuer), 1940 1942; this example printed later Gelatin silver print Image: 9.5" x 12" Sheet (vis.): 10.25" x 13" Frame: 21.75" x 21.25" LITERATURE Modern Architecture: Photographs by Ezra Stoller. W. S. Saunders. 1990. 46, 79.

$2,500–3,500

189 HARRY CALLAHAN Cape Cod

1972; this example printed later Gelatin silver print #4 of 23 Image/sheet (vis.): 6" x 6" Frame: 21" x 17.25" LITERATURE Harry Callahan. S. Greenough. 1996. 2.

$2,000–3,000

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Property Sold to Benefit the Palm Springs Art Museum

190 ALBERT RENGER-PATZSCH Euphorbia bupleurifolia

c. 1923; this example printed later Gelatin silver print Image/sheet (vis.): 6.5" x 4.5" Frame: 21.25" x 17.25"

$800–1,200

135

191 TOM BARIL Gourds

2002 Toned gelatin silver print on Forte Polywarmtone paper From the edition of 18 Printed by John Tobias, Renaissance Press, Ashuelot Image/sheet (vis.): 23" x 17.75" Frame: 31" x 25.75"

$800–1,200

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Property Sold to Benefit the Palm Springs Art Museum

192 MICHAEL CHILDERS

Andy Warhol (Fur Coat) 1976; this example printed later Archival digital print on Epson Professional paper #5 of 10 Signed with edition in ink lower right margin Image: 48" x 32.25" Sheet (irreg.): 59" x 44"

$1,000–1,500

193 WILLIAM WEGMAN

Untitled (from the Cinderella Portfolio) 1994 Offset photolithograph on paper #81 of 120 Signed in graphite lower right margin; edition lower left margin Image: 20.5" x 17" Sheet (vis.): 22.25" x 17.75" Frame: 32.5" x 27.75"

$800–1,200

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Property Sold to Benefit the Palm Springs Art Museum

194 MING C. LOWE

Portrait of artist, Bruce Houston 2015 Epson Ultrachrome K3 print on paper #1 of 3 Together with certificate of authenticity signed by the artist Image/sheet (vis.): 16" x 11" Frame: 23.25" x 18.25"

$800–1,200

195 LARRY MERKLE Mannequins

N.d.

Gelatin silver print Signed in graphite lower right mat Image/sheet (vis.): 13.25" x 10" Mat: 19" x 15.75" Frame: 20.5" x 17.25"

$800–1,200

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137

Property Sold to Benefit the Palm Springs Art Museum

196 JIM DINE

Happy New Year (New Delhi) 2010 Softground copperplate etching and woodcut on paper #22 of 22 Signed and dated with edition in graphite lower left margin of sheet Image: 53" x 37.75" Sheet: 55" x 39.375" Frame: 59" x 43"

$8,000–12,000

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Property Sold to Benefit the Palm Springs Art Museum

197 CHRISTO (CHRISTO VLADIMIROV JAVACHEFF)

The Umbrellas, Joint Project for Japan and U.S.A. 1991 Color offset lithograph and fabric collage on two sheets of paper mounted to museum board From the edition of 600 Published by Lothar Weber; printed

by Les Ateliers Mourlot, Paris Signed on fabric sample in marker lower right; signature and date in plate Image (approx.): 18.25" x 27.5" Sheet: 27" x 39" Frame: 29" x 40.75" The fabric samples used in this edition are from the umbrellas utilized for the project.

$1,000–1,500

198 CLAES OLDENBURG

Chicago Stuffed with Numbers 1977 9-color lithograph on Arches Cover mould-made paper #8 of 85 Published by the Art Institute of Chicago; printed by Tyler Graphics Ltd., New Bedford Signed in graphite lower right margin of sheet; edition lower left Image: 38" x 26" Sheet (vis.): 45.5" x 29.25" Frame: 54" x 38" LIT E RAT URE Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #166.

$2,000–3,000

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139

Property Sold to Benefit the Palm Springs Art Museum

199 ROBERT GRAHAM Elisa

1993-1994 Individually cast bronze with unique patina Incised “2-10-94” and “NC1B” to the underside of the base LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 19" x 6" x 9" (58.5" x 16.5" x 16.5" with base) LITERATURE Robert Graham: Eight Statues. M. McClure. 1994. #6 for another example illustrated.

$18,000–25,000

DETAIL

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Property Sold to Benefit the Palm Springs Art Museum

200 ROBERT GRAHAM Sasha

1993-1994 Individually cast bronze with unique patina Incised “3-31-94” and “NC2B” to the underside of the base LAMA would like to thank the Robert Graham Studio for their assistance in cataloguing this work 19" x 4.5" x 4.5" (58.5" x 16.5" x 16.5" with base) LIT E RAT URE Robert Graham: Eight Statues. M. McClure. 1994. #2 for another example illustrated.

$18,000–25,000

DETAIL

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141

Property Sold to Benefit the Palm Springs Art Museum

201 RUFINO TAMAYO

Personaje Con Dos Árboles (from 16 Aguafuertes) 1976 Color etching and aquatint on Guarro paper #5 of 75 Published and printed by Ediciones Polígrafa, Barcelona Signed lower right sheet; edition lower left Image/sheet: 29.5" x 22" Frame: 36.75" x 29.25" LITERATURE Rufino Tamayo: Catalogue Raisonné: Gráfica 1925-1991.

J.C. Pereda. 2004. #192.

$1,500–2,000

202 JESUS LEUUS

Untitled (Familia) 1982 Acrylic on Masonite Signed and dated lower right; signed and inscribed verso “Con todo carino/para Shirley and Jack Lubeznik” Masonite: 43.25" x 31.5" Frame: 47.5" x 35.75"

$1,800–2,500

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Property Sold to Benefit the Palm Springs Art Museum

143

203 GIUSEPPE SCALVINI Untitled (Ballerina) c. 1965 Patinated bronze Incised signature near base 25" (26.5" including base) x 9" x 8"

$1,500–2,000

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Property Sold to Benefit the Palm Springs Art Museum

204 RICHARD DIEBENKORN

Seated Woman in a Striped Dress 1965 Lithograph on Arches paper #53 of 100 Published by Original Press, San Francisco; printed by Joseph Zirker, Original Press, San Francisco Initialed and dated in graphite lower right margin of sheet with blind stamp; edition lower left margin of sheet Image: 25.5" x 19.5" Sheet (vis.): 27.5" x 21.5" Frame: 36" x 30"

$3,000–5,000

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Property PropertySold Soldto toBenefit Benefitthe thePalm PalmSprings SpringsArt ArtMuseum Museum

205 HUNG LIU

Lotus Seeds 2011 Mixed-media on panel Signed, titled, and dated verso Panel: 20.375" x 20.25"

$3,000–5,000

206 MARCIA MARX Untitled

1974 Ink wash on paper Signed and dated lower right sheet Sheet (vis.): 11" x 15.25" Frame: 21.5" x 25.25"

$800–1,200

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145

Property Sold to Benefit the Palm Springs Art Museum

207 KIM DINGLE

Untitled (from the Wild Girls Series) 1993 Oil on canvas Signed and dated in felt-tip marker verso Canvas: 72" x 60" P ROVENA NC E Myron Kunin Collection, Minneapolis, Minnesota

$3,000–5,000

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Property Sold to Benefit the Palm Springs Art Museum

208 SHAHZIA SIKANDER Untitled

c. 1997 Gouache on rice paper Signed in black ink lower right sheet Sheet: 9" x 14" Frame: 15.75" x 20.75"

$4,000–6,000

209 BARRIE MOTTISHAW

Offramp (Field Painting) 2003 Oil on linen Signed and dated in graphite linen verso; signed and dated on wooden stretcher verso; retains Koplin Del Rio Gallery label on wooden stretcher verso Together with 29 September (2003), a signed and dated mixed-media collage on lined paper Linen: 14.125" x 26.5" Frame: 15.25" x 27.625"

$3,000–5,000 SOLD TOGETHER WITH LOT 209

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147

Property Sold to Benefit the Palm Springs Art Museum

210 ROBERT FRAME Pink Still Life N.d.

Oil on canvas Signed lower left; signed and titled canvas verso Canvas: 36" x 40" Frame: 36.75" x 40.875"

$3,000–5,000

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Property Sold to Benefit the Palm Springs Art Museum

211 FULVIO TESTA

Southern Landscape 1983 Watercolor and ink on paper Signed and dated lower left; retains Roger Ramsey Gallery label verso Sheet: 7.125" x 9.375" Frame: 16.75" x 20.5"

$800–1,200

149

212 GREGORY KONDOS

The White Barn, Napa Valley 1992 Pastel on paper Signed and dated lower right sheet; retains John Berggruen Gallery label verso Sheet (vis.): 21.75" x 18.25" Frame: 31.625" x 27.25"

$1,000–1,500

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Property Sold to Benefit the Palm Springs Art Museum

213 TONY BERLANT Cahuilla #17

2004 Metal collage on plywood with steel brads Signed, titled, dated, and inscribed “Cahuilla/#17-2004/Berlant” in black felt-tip marker verso 53.125" x 40.75" P ROVENA NC E Private Collection, Palm Desert, California

$5,000–7,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

214 WILLIAM BRICE Untitled #17

1988 Compressed charcoal on paper Signed and dated “B.88” in graphite lower right sheet; retains LA Louver Gallery label verso Sheet: 17.75" x 23.75" Frame: 28" x 34" E XHIBIT E D “William Brice: Drawings,” LA Louver Gallery, Venice, March 17-April 15, 1989

$800–1,200

151

215 KOSTA ALEX

Lady with Long Wavy Hair 1967 Painted corrugated cardboard collage Signed, dated, and titled in graphite lower right; bears the inscription “Kosta Alex/Darthea Speyer” frame verso; retains remnant of a label with printed text “Kosta Alex.../Galeria Speyer Paris” frame verso Composition: 36.5" x 22.5" Frame: 38" x 26.25"

$1,000–1,500

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

216 DAVID WISEMAN

Small Owl on Jade Branch 2017 Porcelain and bronze 26.5" x 17" x 5"

$10,000–15,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property PropertySold Soldto toBenefit Benefitthe thePalm PalmSprings SpringsArt ArtMuseum Museum

217 MARCY GREGORY Untitled

2015 Metallic paint on wood Signed and dated verso 26" x 21.5" x 4"

$2,000–3,000

153

218 BRYAN HUNT Untitled 1982 Bronze #2 of 5 Incised signature and date with edition stamped to base 18.5" x 15" x 7.5"

$4,000–6,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

219 REZA FEIZ

Bride's Veil Low Stool Phase Design, 2011 18" x 21" x 20.5"

$2,000–3,000

220 EERO SAARINEN

Womb chair and ottoman (2) Knoll, designed 1946 Model nos. 70PC (chair) and 74PC (ottoman) Chair: 34.5" x 38.5" x 38" Ottoman: 16" x 19.5" x 17.5" LITERATURE Knoll: A Modernist Universe. B. Lutz. 2010. 116.

$2,000–3,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

221 HOWARD BEN TRÉ Vessel of Light (2) 2010 Glass and gold leaf #13 of 30; #14 of 30 Each with etched signature and edition to underside Each: 12.875" x 3.5" diameter

$2,000–3,000

155

222 DAVE HICKS

Structured Composition (Leading Blue) 2016 Glazed ceramics and stainless steel 30" x 28" x 20"

$7,000–9,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

223 VICTOR VASARELY Untitled

c. 1970 Color screenprint on paper #66 of 200 Published by Editions Denise René, Paris Signed in graphite lower center sheet; edition lower left sheet with publisher’s blind stamp Image/sheet (vis.): 31" x 31" Frame: 31.625" x 31.625"

$800–1,200

224 JEAN DEWASNE

Anneau de Moebius Manufacture Nationale de Sèvres, executed 1977-1978 Unknown edition size Porcelain Retains manufacturer’s monogram and stamp 10.5" x 12" x 10.5"

$800–1,200

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

157

225 PHILIP BALDWIN & MONICA GUGGISBERG

Nonfoux V450, V495, V425 (3) c. 2000 Blown glass and metal Each inscribed “B/G Nonfoux”; one inscribed “00 #V450”; other “#V495”; other “#V425” 88.5" x 7.875" x 9.5" 96.5" x 7.875" x 9.375" 82.5" x 7.875" x 9.5"

$8,000–12,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

226 BERTIL VALLIEN

Untitled (Pilchuck) Studio, executed 1983 Glass Signed, dated, and inscribed “Pilchuck” 11.25" x 8.375" diameter

$1,000–1,500

227 ITALO SCANGA Untitled

1988 Painted wood Signature and date incised on affixed metal plaque 21" x 13" x 10"

$800–1,200

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

228 YANKEL GINZBURG Level Composition 1989 Oil on canvas Signed upper center; signed, titled, and inscribed “#300 (508)” canvas verso; retains Martin Lawrence Limited Editions label frame verso Together with copy of letter of authenticity from Martin Lawrence Limited Editions dated November 23, 1991 Canvas (vis.): 37.5" x 45.375" Frame: 46.25" x 54.25"

$3,000–5,000

159

229 MARK LEONARD Weaving #17

2011 Gouache and synthetic resin on panel Signed, titled, and dated panel verso Panel: 45.875" x 45.875" Frame: 47.25" x 47.25"

$3,000–5,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

230 DAVID FREELAND, JR Kachinas (7)

David Freeland, Jr. Studio, n.d.

Silver, turquoise, and precious stones Various dimensions

$3,000–5,000

231 DAVID FREELAND, JR Kachinas (7)

David Freeland, Jr. Studio, n.d.

Silver, turquoise, and precious stones Various dimensions

$3,000–5,000

No Buyer's Premium will be added to the hammer price of lots on this page

Property Sold to Benefit the Palm Springs Art Museum

161

232 NATIVE AMERICAN Jewelry (9)

Manufacturer unknown, N.d.

Silver, turquoise, and precious stones Comprised of four cuffs, three necklaces, and two brooches Various dimensions

$2,000–3,000

No Buyer's Premium will be added to the hammer price of lots on this page

250 GORDON ONSLOW FORD Egg Hatch Blue

1963 Parles paint on linen Dated lower center; signed, titled, and dated verso Linen: 78.75" x 49.5" Frame: 79.75" x 50.5" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$12,000–18,000

DETAIL VERSO

251 WOLFGANG PAALEN

Abstraction with Lyrical Form; Abstraction with Geometric and Lyrical Form (2) c. 1950 Woodblock print on paper A: #3 of 45; B: #5 of 45

252 GORDON ONSLOW FORD

Each signed in graphite with artist’s initials and edition lower right sheet

Untitled

Comprised of A: Abstraction with Lyrical Form; B: Abstraction with Geometric and Lyrical Form

Bears the inscription in graphite ”#1003“ lower left and upper left edges of linen; bears the inscription ”36" x 71" Shoot 4/2000 12 1950's #1003“ lower left right linen

A: Image: 13" x 6" Sheet (vis.): 15.25" x 9" Frame: 21" x 14.75" B: Image: 13" x 5.5" Sheet (vis.): 14" x 7.5" Frame: 19" x 15.25"

c. 1955 Acrylic on paper mounted to linen

Paper (composition): 35.5" x 70.25" Linen: 53.5" x 91.25" P ROV E NANC E The Estate of Robert

P ROV E NANC E The Estate of Robert

Anthoine (acquired directly from the

Anthoine

artist)

$1,500–2,000

$8,000–12,000

163

253 GORDON ONSLOW FORD The Muse and the Painter

1989 Acrylic on linen mounted to linen Signed, titled, and dated verso; dated lower center composition Composition: 42" x 72" Linen: 43.75" x 74" Frame: 44.5" x 75" P ROVENA NC E The Estate of Robert Anthoine (acquired directly from the artist)

$12,000–18,000 VERSO DETAIL

VERSO DETAIL

254 GORDON ONSLOW FORD V Space S

1966 Liquitex on paper, sprayed pay-coat mounted to linen Signed, titled, and dated verso Linen: 38.5" x 49.75" Frame: 40.5" x 51.5" P ROV E NANC E Private Collection, Sonoma, California (acquired directly from the above, 1974)

$8,000–12,000

255 GORDON ONSLOW FORD Radiant Being

1972 Acrylic on paper Dated lower center sheet; signed, titled, and dated frame verso Sheet: 30.5" x 22.5" Frame: 32.5" x 24.5" P ROV E NANC E The Estate of Robert Anthoine (acquired directly from the artist)

$3,000–5,000

165

Sam Maloof: Master Woodworker Sam Maloof’s enduring creations stand out as some of the most elegant furniture designs of the 20th century. Born in Chino, California in 1916, Maloof taught himself woodworking after World War II in order to furnish his first modest home with his wife Alfreda. He gradually built a reputation for his attention to detail and exquisite craftsmanship, creating pieces both durable and beautiful. One anecdote found him testing the stability of a chair’s joints by dropping it from the roof of his garage, noting that it survived the fall. Maloof’s walnut chairs were selected to furnish a number of the Case Study Houses, designed by figures like Richard Neutra, Charles Eames, and Craig Ellwood. Like these Modernist architects, Maloof prioritized functionality and simplicity, creating pared-back forms designed for optimal practicality.

His pieces are recognizable for their rounded forms that contour to the body for comfortable daily use.

As his studio gained more commissions, Maloof had the opportunity to work with more expensive woods, resulting in increasingly luxurious designs. These versatile rosewood pieces were created especially for the office of Frank Wyle, founder and president of Wyle Labs, and were in use until Mr. Wyle’s passing. In 1966 Maloof had an early exhibition at the Egg and the Eye, the restaurant and gallery that preceded the

256 SAM MALOOF

Upholstered bench Studio, executed c. 1965 Branded “designed-made/Maloof/ California” 17.5" x 36" x 36" P ROVENA NC E Edward H. Fickett, F.A.I.A., Los Angeles, California; Thence by descent; Private Collection, Los Angeles, California

$3,000–5,000

Craft & Folk Art Museum in Los Angeles, which was founded

by Wyle’s wife, Edith Wyle, in 1973. After that show, the Wyles established a long-standing friendship with Maloof and went on to commission numerous pieces from him throughout his lifetime.

The gentle curve of the legs and arms of the chairs and dining table suggest the warmth of the craftsman’s hand, smoothed for many years of use. When asked how he mastered the proportions of his chairs, he explained, “Well, I fit everything to myself. I'm not that tall but it seems that everything that I do, no matter if the person's 6'8" or 5'2", they seem to have very good support.” Ever the master woodworker, Maloof never worked with furniture manufacturers on an industrial scale like many of his peers, preferring instead to oversee every single piece that left his studio. Maloof’s unerring dedication to high quality design is evident in each of the fine pieces available here.

"Oral History Interview with Sam Maloof, 2002 Jan. 10-11."

Interview by Mary MacNaughton. Archives of American Art. Smithsonian Institution, 3 Oct. 2005. Web. 8 Dec. 2016.

257 SAM MALOOF

Dining/conference table Studio, executed c. 1968 Rosewood Branded “designed-made/Maloof/California” 28.5" x 60" diameter (fully extended) P ROV E NANC E The Estate of Frank & Edith Wyle, Los Angeles, California (acquired directly from the artist)

$25,000–35,000

258 SAM MALOOF Side table

Studio, executed 1969 Rosewood Branded “designed-made/Maloof/California” and etched “105 8-69/Wyle” 20" x 18.5" x 18" P ROV E NANC E The Estate of Frank & Edith Wyle, Los Angeles, California (acquired directly from the artist)

$6,000–9,000

259 SAM MALOOF Bar stools (3)

Studio, executed 1985 Walnut and leather Each etched “No [41-43] 1985/Sam Maloof f.a.c.c./©” Together with copy of invoice from the Sam Maloof Studio Each: 31" x 16.5" x 16.5" P ROV E NANC E Gene Kelly, Beverly Hills, California; Thence by descent

$7,000–10,000

167

260 SAM MALOOF Armchairs (2)

Studio, executed 1977 Rosewood and leather One etched “N° 12 1977/Sam Maloof f.a.c.c.”; other etched “N° 17 1977/Sam Maloof f.a.c.c.”

Each: 39.5" x 26.375" x 23.5" P ROVENA NC E The Estate of Frank & Edith Wyle, Los Angeles, California (acquired directly from the artist)

$10,000–15,000

261 SAM MALOOF Armchairs (2)

Studio, executed 1977 Rosewood and leather One etched “N° 13 1977/Sam Maloof f.a.c.c.”; other etched “N° 15 1977/Sam Maloof f.a.c.c.”

Each: 39.5" x 26.375" x 23.5" P ROVENA NC E The Estate of Frank & Edith Wyle, Los Angeles, California (acquired directly from the artist)

$10,000–15,000

262 SAM MALOOF Armchairs (2)

Studio, executed 1977 Rosewood and leather One etched “N° 14 1977/Sam Maloof f.a.c.c.”; other etched “N° 16 1977/Sam Maloof f.a.c.c.”

Each: 39.5" x 26.375" x 23.5" P ROVENA NC E The Estate of Frank & Edith Wyle, Los Angeles, California (acquired directly from the artist)

$10,000–15,000

263 SAM MALOOF

Executive desk Studio, executed 1968 Rosewood Branded “designed-made/Maloof/California” and etched “38 Wyle 6-68” Together with paper tray and letter opener 28.5" x 72.25" x 36.25" P ROV E NANC E The Estate of Frank & Edith Wyle, Los Angeles, California (acquired directly from the artist)

$40,000–60,000

169

264 SAM MALOOF

Executive desk chair Studio, executed c. 1968 Walnut and leather Branded “designed-made/Maloof/California” 51" x 30" x 24"

$5,000–7,000

265 GEORGE CHANN

Harbor at Mountains End c. 1967 Oil on canvas Signed “Geo Chann” in red pigment lower left; retains Ankrum Gallery label verso Canvas: 28" x 48" Frame: 29.25" x 49.25" P ROVENA N C E Ankrum Gallery, Los Angeles, California; Private Collection, United States (acquired directly from the above); Thence by descent

$20,000–30,000

LABEL DETAIL VERSO

171

266 GEORGE CHANN Inland Harbor

c. 1967 Pastel and watercolor on paper mounted on silk Signed “Geo Chann” and with artist’s monogram and signature in Chinese characters lower left; retains Ankrum Gallery label verso Composition: 35" x 7.25" Frame: 44.625" x 12.5" P ROV E NANC E Ankrum Gallery, Los Angeles, California; Private Collection, United States (acquired directly from the above); Thence by descent

$7,000–10,000

267 JAMES GILL

Political Prisoner 1968 Oil on canvas Signed lower right Canvas: 31" x 25" Frame: 31.75" x 25.75" LITERATURE New Paintings: James Gill. Felix Landau Gallery exh. cat.

1968. #2 for other similar examples illustrated.

$4,000–6,000

268 JAMES GILL Untitled

1963 Mixed-media on Masonite board Signed and dated lower right Board (vis.): 27.875" x 16.5" Frame: 34" x 22.5"

$2,000–3,000

173

269 JAMES GILL

Group of prints (8) c. 1967 Lithograph on paper Each: #4 of 20 Each signed in red ink lower center sheet; edition lower left Sheets each: 14.125" x 9.5"

$1,500–2,000

270 JAMES GILL Untitled (2)

1965 Graphite on paper Each signed and dated lower right sheet Sheets (vis.) each: 12.5" x 19.5" Frames each: 20.25" x 26.25"

$2,000–3,000

271 JAMES GILL

Untitled (Candy Apple Chick) c. 1967 Color screenprint on paper Unknown edition size Images each: 8.5" x 11.5" Sheet: 24" x 18" Frame: 25" x 20.5"

$1,500–2,000

272 TOM WESSELMANN

Nude (from 11 Pop Artists Vol. II) 1965; published 1966 Color screenprint on paper #194 of 200 Published by Original Editions, New York; printed by Knickerbocker Machine & Foundry Inc., New York Signed in graphite lower right sheet; edition lower left Image/sheet: 23.75" x 29.625" Frame: 24.25" x 30.125"

$4,000–6,000

175

273 JOE BRAINARD

Untitled (Flowers) 1972 Graphite and ink on paper Signed and dated in graphite lower right sheet Sheet: 13.5" x 10.5" Frame: 19.25" x 16.25"

$2,000–3,000

274 T.H. ROBSJOHN-GIBBINGS Armchair

Widdicomb, designed c. 1950 31" x 26" x 28"

$1,500–2,000

275 T.H. ROBSJOHN-GIBBINGS End table

Widdicomb, designed c. 1950 Retains Widdicomb brand and “True Grand Rapids” tag 20" x 28" diameter

$1,000–1,500

276 ALLAN ADLER

Swedish Modern flatware (60) Studio, designed c. 1960 Each stamped “Allan Adler Handhammered Sterling” Comprised of a six piece service for seven (dinner forks, dinner knives, dinner spoons, butter knives, dessert spoons, salad forks), seven serving pieces, plus additional pieces Various dimensions

$7,000–10,000

277 ALLAN ADLER

Starlit flatware (67)

PARTIAL ILLUSTRATION

Studio, designed c. 1960 Each stamped “Allan Adler Handhammered Sterling” Comprised of a seven piece service for eight (dinner forks, salad forks, dinner spoons, tea spoons, dinner knives, butter knives, oyster forks), six service pieces, plus additional pieces Various dimensions

$8,000–12,000

PARTIAL ILLUSTRATION

177

278 PAUL LÁSZLÓ Console

László, Inc., custom designed c. 1948 37" x 84" x 15"

$2,000–3,000

279 PAUL LÁSZLÓ Coffee table

László, Inc., custom designed c. 1948 15.5" x 48" x 36"

$4,000–6,000

280 PAUL FRANKL Coffee table

Johnson Furniture Company, designed c. 1951 Model no. 5005 Retains ink stamp “5005/256” 15" x 47.5" x 35.5" LIT E RAT URE Contemporary Designs

by Paul T. Frankl. Johnson Furniture Company cat. c. 1950. N.pag.

$4,000–6,000

281 RICHARD NEUTRA

Proof print of Barsha House 1937 Blueprint with graphite and colored pencil Signed, dated, and inscribed “Dear Mr. Barsha This is merely a proof print/showing how increased the height of the picture/and strengthened outlines. If the shape of the picture/is now all right, I shall go into having a negative-positive/ process reproduce it in clear strong lines/Best wishes for this 1937!/Cordially R. Neutra” Together with three photographs, a magazine, and two magazine articles Sheet: 9.125" x 12.125" Frame: 11.75" x 14.75" P ROV E NANC E Helen & Leon Barsha, North Hollywood, California (acquired directly from the artist); Thence by descent

$2,000–3,000

179

282 JOSEF ALBERS

Tenuous, Full, Reserved, and Joy (from Homage to the Square: Ten Works by Josef Albers) (4) 1962 Color screenprint on Mohawk Superfine Bristol paper Each from the edition of 250 Published by Ives-Sillman, Inc., New Haven; printed by R.H. Norton, New Haven Each with embossed plate number lower right margin of sheet Images each: 11" x 11" Sheets each: 16.5" x 16.5" Frames each: 17.625" x 17.625" LITERAT U RE The Prints of Josef Albers: A Catalogue Raisonné, 19151976. 2nd ed. B. Danilowitz. 2010. #156.3, #156.6, #156.9, #156.10.

$4,000–6,000

181

283 OSKAR FISCHINGER Falling-Rising

c. 1955 Oil on canvas panel Inscribed “’Falling-Rising’/Painting by/Oskar Fischinger/ca. 1955” and “#641” verso; stamped “Nachlaß/ Oskar Fischinger” verso 24" x 18"

$4,000–6,000

284 LE CORBUSIER Chaise lounge

Manufacturer unknown, designed 1928; this example produced later Model no. LC4 31" x 22" x 63" (adjustable)

$2,000–3,000

285 LUDWIG MIES VAN DER ROHE Barcelona chairs (2)

Knoll, designed 1929; these examples produced after 1990 Model no. MR 250 Each retains manufacturer’s label Each: 30" x 30.5" x 30"

$3,000–5,000

286 CRAIG ELLWOOD

Dinette table for the Rosen House Laverne Originals, custom executed c. 1963 28" x 60" diameter Paul Pancritius was the second owner of the Rosen House, which was designed by Craig Ellwood.

P ROVENA NC E Paul Pancritius, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above, c. 1990)

$3,000–5,000

183

287 CRAIG ELLWOOD Untitled

1979 Acrylic on canvas Initialed and dated canvas verso Canvas: 60" x 60"

$2,000–3,000

Lorser Feitelson: Abstract Classicism A leading light of modernism in Southern California, Lorser Feitelson (1898–1978) created an unparalleled body of pure abstract painting. Born in Savannah, Georgia, Feitelson was educated in New York and relocated to California in 1927.

He began teaching at the Chouinard School of Art where he met his wife, the painter Helen Lundeberg. Together, they embarked on the development of a new aesthetic they described in a manifesto as ‘New Classicism,’ a movement inspired by the associative imagery of surrealism. Termed the Post-surrealists by critics, the group quickly became prominent and held exhibitions at the San Francisco Museum of Art and the Brooklyn Museum. During this time, Feitelson began working under the Works Progress Administration to supervise their murals projects on the West Coast.

In the 1940s, Feitelson’s work took a new direction and he began to refine his forms to produce surrealist, non-representational paintings. His Magical Space Forms series of paintings emerged in the aftermath of the Second World War, with the intention of reflecting the new post-war reality.

These forms were intended to be both concrete, evocations of the natural world, yet also capable of stirring interior contemplation. For Feitelson, the relatively unformed art scene of Los Angeles—which he called an “artistic desert”— represented a field of possibility, a place in which radical new forms of art could be pursued. These paintings featured stripped-down geometric forms in vibrant tones, applied in flat planes of color. By 1950, he had found fame once more as one of the founders of California Hard-Edge painting, which rejected the gestural style of much abstract painting of the time, instead favoring smooth surfaces, crisp lines, and timeless shapes. In 1959, curator Jules Langsner included

288 LORSER FEITELSON Magical Space Forms 1962 Enamel on canvas VERSO DETAIL

Signed and dated verso; retains San Francisco Museum of Modern Art exhibition label verso LAMA would like to thank the Feitelson/Lundeberg Art Foundation for their assistance in cataloguing this work

some of his works in the seminal exhibition "Four Abstract Classicists" at LACMA, alongside John McLaughlin, Karl Benjamin, and Frederick Hammersley, which established Feitelson’s reputation as one of the country’s foremost artists.

Magical Space Forms (1962) was created when Feitselon was first experimenting with the curvilinear motifs that would recur throughout his work for the rest of his career.

One of the artist’s most pared-back paintings, this work is dominated by a creamy swathe in its center, bounded by two deep red waves. The universal forms of the work, reduced to the simplest elements, produce a sense of harmony and balance which sets it apart from the expressive and deeply personal abstraction of the artist’s New York peers. In a 1964 interview, Feitelson described his recent works as follows: “My abstract paintings essentially are dealing with instability of color, instability of line, to make things move psychologically.”

Cándida Smith, Richard. Utopia and Dissent: Art, Poetry, and Politics in California. Berkeley: U of California, 1995. 9-10. Print.

Anderson, Susan M. "Journey Into the Sun: California Artists and Surrealism." On the Edge of America: California Modernist Art. Ed. Paul J. Karlstrom. Berkeley: U of California, 1996. 202. Print.

Trenton, Patricia. "Before the World Moved In: Early Modernist Still Life in California, 1920-1950." The Not-so-still Life: A Century of California Painting and Sculpture. Berkeley: U of California, 2003.

70. Print.

"Oral History Interview with Lorser Feitelson, 1964 May 12-1964 June 9." Interview by Betty Hoag. Archives of American Art. Smithsonian Institution, 16 May 2005. Web. 14 Dec. 2016.

Canvas: 70" x 60" Frame: 71" x 61" P ROV E NANC E Craig Ellwood, Los Angeles, California (acquired directly from the artist); Thence by descent E XHIBIT E D Ankrum Gallery, Los Angeles, c. 1962; “Lorser Feitelson: A Retrospective Exhibition,” Municipal Art Gallery, Barnsdall Park, Los Angeles, August 16-September 17, 1972; “Lorser Feitelson and Helen Lundeberg: A Retrospective Exhibition,” (traveling), San Francisco Museum of Modern Art, San Francisco, October

2-November 16, 1980; The Frederick S. Wight Art Gallery, University of California, Los Angeles, March 15-May 3, 1981 ILLUST RAT E D Lorser Feitelson: A Retrospective Exhibition. Los Angeles Municipal Art Gallery exh. cat. 1972. #37.; Lorser Feitelson and Helen Lundeberg: A Retrospective Exhibition.

San Francisco Museum of Modern Art exh. cat. 1980. #48.

$50,000–70,000

185

289 FREDERICK HAMMERSLEY Covenant

1963 Screenprint on paper #8 of 50 Signed and dated in graphite lower right margin of sheet; edition and title lower left margin of sheet Image: 10.75" x 8.5" Sheet (vis.): 12.875" x 9.875" Frame: 20.125" x 16.75"

$2,000–3,000

290 BUZZ SPECTOR Old Rose

1989 Cibachrome print Retains Roy Boyd Gallery label verso Image/sheet (vis.): 38" x 60" Frame: 49" x 71"

$2,500–3,500

291 DOROTHY DEHNER Couple

1988 Patinated bronze #1 of 3 Signed and dated near base 55" x 48" x 12" P ROV E NANC E Richard L. Eagan Fine Art, New York, New York; Private Collection, United States (acquired directly from the above, 1994)

$8,000–12,000

187

292 DOROTHY DEHNER Chopiniana

1992 Painted steel and aluminum in three parts #1 of 3 One of the pieces signed near base 23.25" x 9" x 3.5" 29.25" x 16" x 9" 30.25" x 12" x 5.75" P ROV E NANC E Richard L. Eagan Fine Art, New York, New York; Private Collection, United States (acquired directly from the above, 1994)

$7,000–10,000

Dan Christensen: A Fresh Approach The vibrant paintings of Dan Christensen (1942-2007) have drawn comparison to artists like Helen Frankenthaler and Kenneth Noland and his work is most often categorized as Color Field painting. Christensen was born in Cozad, Nebraska, and was inspired to become an artist after encountering the work of Jackson Pollock during a trip to Denver. He went on to graduate with a B.F.A. from the Kansas City Art Institute in 1964 and promptly moved to New York City to embark on his career. His first solo exhibition was held at Noah Goldowsky Gallery, New York in 1967.

Renowned for his innovative use of brooms and squeegees, Christensen’s dynamic methods echo the techniques of Abstract Expressionist action painting. This unique approach resulted in numerous distinctive and energetic paintings, dominated by exuberant colors and vibrating swirls. The artist continued this formal experimentation with his series of spray loop paintings, made in the 1960s, which he produced using a spray gun. This was an increasingly popular technique at the time, as can be seen in the work of John Altoon and Billy Al Bengston. The shimmering surface of these paintings drew the attention of art critic Clement Greenberg, the foremost theorist of Abstract Expressionism, who described Christensen as “one of the painters on whom the course of American art depends.”

With its still, flat planes, Atlantic Frost (1969) departs from the frenetic energy of the spray loop works and marks Christensen’s return to minimalism. Painted in bold rectangular sections of black, blue, and murky green, this gridded work comes from the artist’s Plaid series, referencing the familiar blocky pattern. The work’s title and its muted, natural tones are reminiscent of an aerial

293 DAN CHRISTENSEN

Atlantic Frost (from Plaid Series) 1969 Enamel on canvas Signed, titled, and dated verso Canvas: 75" x 50" Frame: 76.5" x 51.5" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist) EXHIBITE D “Selections from the Mr. and Mrs. Robert A. Rowan Collection,” Pasadena Art Museum, Pasadena, September 15-November 15, 1970

$10,000–15,000

VERSO DETAILS

landscape view, though Christensen’s work was deliberately flat and non-referential. While Atlantic Frost is comprised of loosely geometric forms Christensen did not insist on strict measurements and thus did not tape the lines between his forms, thus foregrounding the exigencies of the painting process. Like his artistic icon, Jackson Pollock, Christensen worked from the floor to create this work, laying unstretched canvas on the ground and applying paint using house-paint rollers.

James Monte, a Whitney Museum of Art curator, has hailed Christensen’s Plaid series as momentous within the history of post-war abstract painting: “Much of minimal art in the 1960s and 1970s depended on a repetitive dullness in color, structure and layout. [Christensen] introduced a freshly conceived approach to geometric configuration, a necessary antidote to that all-consuming dullness."

Christensen’s work is included in numerous prominent public collections including Museum für Moderne Kunst, Frankfurt; Museum of Modern Art, New York; Kemper Museum of Contemporary Art, Kansas City; Museum of Fine Arts, Boston; Art Institute of Chicago, Chicago; and the Whitney Museum of American Art, New York. He was the recipient of numerous awards throughout his lifetime including the National Endowment Grant, 1968; a Guggenheim Fellowship Theodoran Award, 1969; a Gottlieb Foundation Grant, 1986, and a Pollock-Krasner Foundation Grant in 1992.

Peters, Lisa. "Dan Christensen-Artist-1942-2007." Dan Christensen. N.p., n.d. Web. 28 Nov. 2016. Dan Christensen: The Plaid Paintings. Perf. Ira Spanierman and Elaine Grove. Spanierman Modern, 11 Nov. 2009. Web. 28 Nov. 2016.

294 ROY LICHTENSTEIN

Still Life with Picasso (from Hommage à Picasso Portfolio) 1973 4-color screenprint on Arches 88 paper #89 of 90 Co-published by Propyläen Verlag, Berlin and Panthéon Presse, Rome; printed by Gemini G.E.L., Los Angeles Signed and dated in graphite lower center margin; edition lower left; Gemini G.E.L. blind stamp lower right corner of sheet Gemini G.E.L. #31.54 Image: 28.5" x 20.75" Sheet: 30" x 22" Frame: 36.25" x 28.25" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #127.

$15,000–20,000

191

295 ROY LICHTENSTEIN

Dr. Waldmann (from Expressionist Woodcuts Series) 1980 8-color woodcut and embossing on Arches Cover paper #19 of 50 Published and printed by Gemini G.E.L., Los Angeles Signed and dated with edition in graphite lower right margin of sheet; Gemini G.E.L. blind stamp lower right corner of sheet Gemini G.E.L. #31.64 Image: 35" x 27.5" Sheet: 41.5" x 34" Frame: 44" x 36.5" LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #173.

$9,000–12,000

296

297

ROY LICHTENSTEIN

ROY LICHTENSTEIN

1969; published 1971 1-color lithograph on Arches paper

1969 Polished bronze mounted to base

#88 of 100

#1 of 50 (there were also 50 in chromium-plated copper and 50 in silver)

Real Estate

Co-published by Chelsea House Publishers, New York, Publications IRL, Lausanne, and Paul Bianchini, New York; printed by Atelier Mourlot, New York Signed and dated with edition in graphite beneath image lower right margin of sheet Image: 13.5" x 32" Sheet (vis.): 15" x 33" Frame: 25.75" x 43.25" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #88.

$7,000–9,000

Salute to Airmail

Published by the International Collectors Society, New York Incised initials and edition stamped near base 4.375" x 2.5" x 1" (5.75" x 3.5" x 1.5" with base) This edition was produced to commemorate the fiftieth anniversaries of International Airmail Service and the United States Airmail Service.

L I T E RAT U R E The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. 27 for the edition discussed.

$4,000–6,000

298 ROY LICHTENSTEIN

Dinnerware Objects (6) 1966 Glazed ceramic china dinnerware From the edition of 800 Published by Durable Dish Co., Villanova; fabricated by Jackson China Co., Syracuse Each stamped “Jackson China for Durable Dish Co. by R. Lichtenstein © 1966” Comprised of a dinner plate, soup bowl, salad plate (not illustrated), bread-and-butter plate, cup, and saucer Dinner plate: 10.125" diameter Bread-and-butter plate: 6.25" diameter Bowl: 8.125" diameter Cup: 2.5" x 3.25" diameter Saucer: 6" diameter Salad plate: 8" diameter LIT E RAT URE Roy Lichtenstein. R. Morphet. 1969. #76.; The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett.

1994. 27 for the edition discussed.

$2,000–3,000

193

299 ROY LICHTENSTEIN

Roads Collar (from Brushstroke Figures Series) 1989 14-color lithograph, waxtype, woodcut, and screenprint on Saunders Waterford paper #27 of 30 Published and printed by Graphicstudio, University of South Florida, Tampa Signed and dated with edition in graphite lower right sheet with blind stamp Image: 46.5" x 22" Sheet: 52.5" x 28.875" Frame: 61" x 37.5" LITERATURE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #228.

$25,000–35,000

300 ROY LICHTENSTEIN

Blonde (from Brushstroke Figures Series) 1989 14-color lithograph, waxtype, woodcut, and screenprint on Saunders Waterford paper #49 of 60 Co-published by Waddington Graphics, London and Graphicstudio, University of South Florida, Tampa; printed by Graphicstudio, University of South Florida, Tampa Signed and dated with edition in graphite lower right margin of sheet with blind stamp; retains Graphicstudio label verso Image: 55.125" x 35.3125" Sheet: 57.75" x 37.25" Frame: 66.75" x 46.25" LIT E RAT URE The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948-1993. 1st ed. M. Corlett. 1994. #230.

$12,000–18,000

195

PORTFOLIO CASE

301 VARIOUS ARTISTS

Marginalia: Hommage to Shimizu (5) 1981 Various mediums Each: #90 of 100 Published by Marginalia Publication Group, Tokyo Each print signed in graphite lower right margin of sheet (Johns and Oldenburg prints also dated lower right margin of sheet); each print with edition lower left margin of sheet Comprised of Christo Pink Store Front, Project (lithograph with collage), Sam Francis Untitled (lithograph), Jasper Johns Cicada (screenprint), Claes Oldenburg Sketch for a Sculpture in the Form of a Steel Tack (etching/aquatint), and Jean Tinguely Untitled (lithograph) Together with portfolio case and original packaging Sheets each: 22" x 18" (or alternate orientation) Frames each: 23.5" x 19.5" (or alternate orientation) LITERATURE Christo Prints and Objects, 1963-1987: A Catalogue Raisonné. J. Schellmann, ed. 1988. #105.; The Prints of Sam Francis: A Catalogue Raisonné, 1960-1990. 1st ed. Vol. I. C. Lembark. 1992. #L235.; The Prints of Jasper Johns 19601993: A Catalogue Raisonné. R. Field.

1994. #204.; Printed Stuff, Posters, and Ephemera by Claes Oldenburg: A Catalogue Raisonné. R. Axsom and D. Platzker. 1997. #176.

$25,000–35,000

302 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 graphite lower left sheet Image/sheet: 35.875" x 24" Frame: 39.375" x 27.5"

$1,500–2,000

197

303 ROBERT RAUSCHENBERG

American Pewter with Burroughs IV (from American Pewter with Burroughs Series) 1981 4-color lithograph with embossing on Barcham Green Crisbrook paper #34 of 45 Published and printed by Gemini G.E.L., Los Angeles Dated in graphite lower right in image; signed with edition lower left; retains Tortue Gallery label verso Gemini G.E.L. #41.136 Image/sheet: 31.5" x 23.5" Frame: 36.875" x 27.875"

$1,000–1,500

SIGNATURE AND EDITION DETAIL RECTO

304 ANDY WARHOL

Untitled (from Muhammad Ali Portfolio) 1978 Color screenprint on Strathmore Bristol paper #121 of 150 Published by Andy Warhol Enterprises, Inc., New York; printed by Rupert Jasen Smith, New York Signed with edition in felt-tip marker lower right sheet; paper blind stamp lower right sheet F/S #II.181 Image/sheet: 40" x 30" Frame: 42.25" x 32.25" LITERATURE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.181.

$20,000–30,000

199

SIGNATURE AND EDITION DETAIL VERSO

305 ANDY WARHOL

Chicken Noodle Soup (from Campbell’s Soup I) 1968 Color screenprint on paper #33 of 250 Published by Factory Additions, New York; printed by Salvatore Silkscreen Co., Inc., New York Signed in ballpoint pen verso with stamped edition number F/S #II.45 Image: 31.5" x 18.5" Sheet (vis.): 30.5" x 22.5" Frame: 34.25" x 26.25" LIT E RAT URE Andy Warhol Prints: A Catalogue Raisonné. 4th ed. F. Feldman and J. Schellmann. 2003. #II.45.

$18,000–25,000

Pictured to the left: the artist in his studio with Untitled #3 illustrated in a 1988 catalogue

Keith Haring: Bold Forms The exuberant work of artist Keith Haring (1958–1990) crosses the boundaries between street and fine art. Haring first began his career as a graffiti artist in the 1980s, making his signature drawings in white chalk throughout the streets and subways of New York City. Employing a cartoonish vocabulary of hearts, flying saucers, babies, and Mickey Mouse heads, Haring’s themes included drug addiction, the fear of nuclear annihilation, and social justice. With its dynamic, bold forms and energetic execution, this body of work soon brought him to the attention of the art world, alongside peers such as Jean-Michel Basquiat.

DETAILS OF LABELS VERSO

306 KEITH HARING Untitled #3

1987 Sumi ink on paper Signed and dated in graphite “Sept.

19-87 © K. Haring 87“ verso; retains Martin Lawrence Galleries and Michael Kohn Gallery labels verso Together with catalogue and certificate of authenticity from Martin Lawrence Galleries Sheet: 40" x 30" Frame: 42" x 32" P ROVENA NC E Martin Lawrence Galleries, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, c. 1988) EXHIBITE D “Keith Haring,” Michael Kohn Gallery, Los Angeles, June-July 1988 ILLUSTRAT E D Keith Haring: 1988. D. Cameron. 1988. 15, 40.

$150,000–200,000

In Untitled #3, a large-scale drawing made in 1987, Haring employs the simplified outline of multiple interconnected human figures, a motif which recurs throughout his practice.

The forms are delineated with sumi, a rich, black ink often used in calligraphy, which creates a stark contrast between figure and ground. It was included in a solo exhibition of Haring’s work at Michael Kohn Gallery, Los Angeles in 1988.

In the catalogue, curator Dan Cameron noted the openness of this work to multiple interpretations: “Haring’s new paintings achieve a state of diagrammatic clarity that is peculiarly masked by their lack of specific references. We know we are looking at a codified depiction of our own society, but there is no sense of “us” or “them” to protect us from our own self-incriminations […] Haring’s best work imposes nothing on the hopeless viewer, preferring to let each one script a scenario or circumstance that best suits his or her situation.”

Untitled #3 emanates the effervescent energy of Haring’s best drawings and is an excellent example of the artist’s late work.

Cameron, Dan. "Keith Haring: The Cult of Awakening." Keith Haring: 1988. New York: Martin Lawrence Limited Editions, 1988. 13.

Print.

Blinder, Martin S. Introduction. Keith Haring: 1988. New York: Martin Lawrence Limited Editions, 1988. 7. Print.

DETAIL RECTO

307 KEITH HARING Apocalypse

1988 Comprised of ten color screenprints on museum board Each: #19 of 90 Published by George Mulder Fine Arts, New York; printed by Rupert Jasen Smith, New York Each signed and dated with edition in graphite right edge of each sheet; each with blind stamp lower left sheet Images/sheets each: 38" x 38" Frames each: 41.75" x 41.75" LITERATURE Keith Haring: Editions on Paper, 1982-1990. 1993. 98-109.; Keith Haring: Journey of the Radiant Baby. Reading Public Museum exh. cat. 2006. 88.

$40,000–60,000

203

308 GEORGE NELSON

Comprehensive Storage System Herman Miller, designed 1957 Model no. CSS Comprised of three poles, 10 shelves, and 8 bookends 95" x 97" x 15" (as illustrated) LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 245.

$3,000–4,000

309 SONJA BLOMDAHL Glass vessel

Studio, executed 1990 Etched signature and inscribed “B10590” 10" x 9" diameter

$1,500–2,000

310 JAKE BERTHOT Untitled

1974 Enamel and graphite on paper Initialed and dated in graphite lower right sheet; retains O.K. Harris Gallery label frame verso Composition: 16.75" x 26.75" Sheet (irreg.): 20.25" x 29.875" Frame: 24.25" x 31.75"

$1,000–1,500

205

311 JOEL SHAPIRO Untitled

1987 Charcoal on Fabriano paper Signed and dated in graphite “Shapiro 1987” verso Sheet: 37.75" x 27.75" Frame: 40.125" x 30.125"

$5,000–7,000

312 GEORGE NELSON Home Office desk

Herman Miller, designed 1946 Model no. 4658 Retains silver manufacturer’s label 41" x 54" x 28" LITERATURE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 256.

$3,000–5,000

313 ALEXANDER GIRARD Ottoman

Herman Miller, designed 1967 Model no. 66330 Retains Herman Miller medallion and upholstery tag 15.25" x 24" diameter LITERATURE Alexander Girard Designs for Herman Miller. L. Piña. 1998. 38.

$3,000–5,000

314 GEORGE NELSON

Wall-mounted bubble lamp Howard Miller, designed 1952 Model no. H-736 28" x 23" x 8" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 281.

$800–1,200

207

315 GEORGE NELSON

Swag Leg Home desk Herman Miller, designed 1954 Model no. 5850 Retains Herman Miller medallion 34.75" x 39" x 28.5" LIT E RAT URE George Nelson: Architect, Writer, Designer, Teacher. J. Eisenbrand.

2008. 261.

$4,000–6,000

Harry Bertoia: Elegant Form Harry Bertoia (1915-1978) stands out as one of the most prolific and inventive figures of 20th century art and design. Born Arieto Bertoia, he moved with his father from Italy to Detroit in 1930 where he attended a technical high school followed by the Art School of the Society of Arts and Crafts, where he studied metalwork and drafting. In 1937 Bertoia earned a scholarship to the esteemed Cranbrook Academy of Art in Bloomfield Hills, Michigan where he continued his education in metal working, sculpture, and graphics, including lithography, woodcuts, and monotypes—his favored technique. Bertoia came into contact with a rich community of architects and designers at Cranbrook, including figures such as Walter Gropius, Maija Grotell, Carl Milles, and Eliel Saarinen, whose streamlined modernist forms proved influential to the young designer.

The works being presented at auction display the elegant, pared-back aesthetic for which Bertoia is renowned. The graceful swirls of Series IV (1945) curve languorously across the darkened pages and hover between abstraction and representation, perhaps suggesting cosmic constellations.

For Bertoia, the monotype served as “a way of learning…a way of finding truth […] I draw what I don’t know in order to learn something about it.”

Each monotype was produced as a single imprint and Bertoia was known to often execute these works with his eyes closed in order to create a drawing “from within.”

Bertoia’s facility with his craft is evident in the five sculptures. In particular, the intricately massed stems of Bush (c. 1975) testify to his welding and form-making skills. Along with the dandelion, the bush was one of Bertoia’s preferred motifs and recurred throughout his work.

Made from copper and brass, Untitled (Sonambient) (c. 1965) and Untitled (Sonambient) (c. 1972) comprise a series of slender metal stems fixed into a metal base. These pieces are part of a larger body of ‘sounding’ sculptures made by Bertoia in the 1960s and 1970s, consisting of vertical rods in various configurations that produce sound. These innovative works attest to Bertoia’s playful approach and continued experimentation even in the latter stages of his career.

Bertoia, Val, and Nancy Schiffer. The World of Bertoia. Atglen, PA: Schiffer, 2003.

Print.

316 HARRY BERTOIA Bush

c. 1975 Welded bronze Together with photocopy of receipt signed by Harry Bertoia with appraisal by Val Bertoia from 1995

ALTERNATE VIEWS

LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work 16.5" x 17" x 17.5"

$100,000–150,000

209

317 HARRY BERTOIA

Untitled (Somnambient) c. 1965 Beryllium copper and brass Together with wooden crate from the artist inscribed in black felt-tip marker “from Harry Bertoia/Bally, PA 19503” 33.5" x 7.75" x 7.75" LIT E RAT URE The World of Bertoia.

V.O. Bertoia and N. Schiffer. 2003.

177-182 for similar examples.

$40,000–60,000

318 HARRY BERTOIA

Untitled (Sonambient) c. 1972 Beryllium copper and brass LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work 19.5" x 6" x 4.5" (including base)

$15,000–20,000

211

319 HARRY BERTOIA

Untitled (Maquette for Sculpture) c. 1973 Copper LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work 8.5" x 17.5" x 10" This is possibly a maquette for the sculpture in the A. Price Woodard Memorial Park in Wichita, Kansas.

P ROVEN A NC E Private Collection, Los Angeles, California (acquired directly from the artist, c. 1973); Private Collection, Los Angeles, California

$10,000–15,000

320 HARRY BERTOIA Bush

c. 1978 Copper and welded bronze LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work 7" x 11" x 7"

$15,000–20,000

321 HARRY BERTOIA Untitled

c. 1957 Monotype on paper Bears the inscription in graphite “3036” verso LAMA would like to thank Celia Bertoia for her assistance in cataloguing this work Sheet: 12.5" x 25.375"

$1,500–2,000

322 HARRY BERTOIA Series IV (3)

1945 Monotype on paper Series IV 1 bears an inscription in graphite “IV, 1” lower left margin of sheet; Series IV 2 bears an inscription “Harry Bertoia Series IV 2” in graphite verso; mat bears an inscription in graphite “Bertoia/1945/SFMOMA” verso; Series IV 16 bears an inscription “Harry Bertoia Series IV 16” in graphite verso; retains San Francisco Museum of Art label verso; mat bears an inscription “Bertoia/1945/SFMOMA” verso Comprised of Series IV 1, 2, and 16 LAMA would like to thank Celia Bertoia for her assistance in cataloguing these works 1: Image: 10" x 10" Sheet: 11.5" x 11.625" Mat: 16" x 16" 2: Image: 10" x 10" Sheet: 11.625" x 11.5" Mat: 16" x 16" 16: Image: 10" x 10" Sheet: 11.75" x 11.5" Mat: 16" x 16" E XHIBIT E D San Francisco Museum of Art, San Francisco, 1945 LABEL DETAIL VERSO

$5,000–7,000

213

Alma Thomas: A Gifted Colorist The work of Alma Thomas (1891–1978) has made a lasting contribution to the history of 20th century abstract painting.

The significance of her artistic legacy was finally recognized in the latter stages of her career when, in 1972, she became the first African-American female artist to be granted a solo exhibition at the Whitney Museum of American Art. Originally enrolled to study home economics at Howard University, Thomas switched her major to fine art where she became the school’s first fine arts program graduate in 1924. Art historian Judith Wilson describes this as a common origin point for African-American artists at this time, whose beginnings were often rooted in craft and decorative art. However, Thomas’s facility with color and composition transcended these vernacular traditions and established her as a respected figure in abstract painting.

Thomas began her career making representational paintings and worked as an arts educator for much of her life.

Dedicated to keeping abreast with artistic developments, she began to experiment with dark, abstract watercolors.

Her palette brightened considerably in the 1960s, informed by her study of color theory and she was influenced by the work of Wassily Kandinsky, Henri Matisse, and Josef Albers.

Though she is often associated with the Washington Color School, with whom she shared an interest in geometry, scale, and optical effects, Thomas’s technique and subject matter remained distinct.

The artist lived most of her life in the same house in Washington D.C., but she was continually inspired by the changing landscape of her garden, observing the patterns created by light filtering through the foliage.

323 ALMA THOMAS

In an interview she said, “That became my inspiration. There are six patterns in there right now that I can see. And every morning… the wind has given me new colors through the windowpanes.” Metaphors from the natural world recur throughout her oeuvre, particularly in the 1960s when this work was produced. The title, Spring Flowers in Washington D.C., references the best-loved season in her native city, when thousands of people from neighboring regions arrive to view the cherry trees in bloom, which were gifted to the city by the mayor of Tokyo in 1912.

The painting is dominated by an organic, circular form—a common motif in Thomas’s work, which symbolized an aerial view of trees and flowers, reduced down to bright blocks of pure color; eschewing hard edges, the circle contains multiple slivers of the rainbow color spectrum, itself a potent icon. Indeed, Thomas was found to have copied down a passage by Bauhaus artist Johannes Itten in which he states, “The rainbow is accounted a symbol of peace.” Each ring is painted in Thomas’s characteristic blocky segments, through which glimpses of the background can be seen. The artist’s deliberate mark-making here denotes a transition from the watercolor and gouache washes which dominated her earlier body of work. Humming with energy, Spring Flowers in Washington D.C. captures the modulation of bright light by the natural world.

The work was a major investment for the original owner, which he purchased directly from the artist while he was studying medicine. It is sold with a letter from the artist, dated October 24, 1969, in which she wrote, “I hope you will love the painting. So many of my friends want to buy it. I am painting more and more.”

Wilson, Judith. Foreword. Alma W. Thomas: A Retrospective of the Paintings. San Francisco: Pomegranate, 1998. 8. Print.

Munro, Eleanor. Originals: American Women Artists. New York:

Spring Flowers in Washington D.C.

Simon & Schuster, 1979. 194. Print.

1969 Oil on canvas

the Paintings. San Francisco: Pomegranate, 1998. 14. Print.

Yanari, Sachi. Introduction. Alma W. Thomas: A Retrospective of

Signed and dated lower right; signed, titled, and dated verso Together with letter from the artist dated October 24, 1969 Canvas: 24.875" x 24.875" Frame: 26" x 26" P ROVENA NC E Private Collection, Pasadena, California (acquired directly from the artist, 1969); Thence by descent

$125,000–175,000 VERSO DETAIL

“I hope you will love the painting. So many of my friends wanted to buy it�

- Alma Thomas in a letter to the owner of Spring Flowers in Washington D.C., dated October 24, 1969

324 SOL LEWITT Untitled

1995 Gouache on paper Signed and dated in graphite lower right sheet Sheet: 11.25" x 7.5" Frame: 18" x 14.25" EXHIBITE D “With an Eye and a Passion: Selections from the Allan and Susan Marion Collection,” The Bakersfield Museum of Art, Bakersfield, January 23-April 8, 2003 ILLUSTRAT E D With an Eye and a Passion: Selections from the Allan and Susan Marion Collection.

Bakersfield Museum of Art exh. cat.

2003. 24.

$7,000–9,000

325 SOL LEWITT

Lines of One Inch, Four Directions, Four Colors (16) 1971 Color lithograph on Magnani Italia paper Each: #7 of 10 artist’s proofs aside from the edition of 50 Published and printed by Landfall Press, Chicago Each signed lower right margin of sheet beneath image; edition lower left sheet Sol LeWitt Catalogue Raisonné #1971.17 Images each: 14" x 14" Sheets each: 23" x 23" Frames each: 23.25" x 23.25" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$3,000–5,000

326 SOL LEWITT

Two Asymmetrical Pyramids (pl. #3) 1986 Color screenprint on Arches Cover White paper #3 of 3 trial proofs aside from the edition of 20 Published by Multiples Inc., New York; printed by Jo Watanabe and Kei Tsujimura, New York Signed with edition lower right corner of sheet Sol LeWitt Catalogue Raisonné #1986.04 Image/sheet (vis.): 37.5" x 61.5" Frame: 39.75" x 63.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist); Thence by descent

$5,000–7,000

217

327 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 graphite 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"

$4,000–6,000

328 ELLSWORTH KELLY

Melon Leaf (Feuille de Melon) (from Suite of Plant Lithographs) 1965-1966 Transfer lithograph on Rives BFK paper #32 of 75 Published by Maeght Editeur, Paris; printed by Imprimerie Arte, Paris Signed lower right sheet; edition lower left sheet Image/sheet: 35.625" x 24.75" Frame: 37" x 26" LITERATURE The Prints of Ellsworth Kelly: A Catalogue Raisonné, 19491985. R. Axsom. 1987. #44.

$4,000–6,000

329 AL HELD

Hudson 13 1989 Watercolor on paper Signed, dated, and titled verso; retains Loretta Howard Gallery label verso; retains André Emmerich Gallery label and stamp verso Sheet: 22" x 29.25" Frame: 28.5" x 35.75"

$8,000–12,000

219

330 AL HELD

Straits of Malacca 1987 Hard-ground etching on paper From the edition of 50 Published and printed by Crown Point Press, San Francisco Image: 35.75" x 44.75" Sheet: 41" x 51" Frame: 44.25" x 54"

$1,500–2,000

331 RICHARD DIEBENKORN Blue with Red

1987 Color woodcut on Echizen Kozo Moshi paper #73 of 200 Published by Crown Point Press, San Francisco; printed by Tadashi Toda, Shiundo Print Shop, Kyoto Initialed and dated in graphite lower right margin of sheet; edition lower center; printer’s initials lower left; publisher blind stamp lower right edge of sheet in margin Image: 33.5" x 23" Sheet: 37.5" x 25.5" Frame: 45" x 33" LITERATURE Richard Diebenkorn: Graphics, 1981-1988. G. Nordland.

1989. #31.

$25,000–35,000

332 RICHARD DIEBENKORN The Barbarian

1992 Aquatint reversal with scraping, burnishing, and drypoint on paper #12 of 15 Published by Crown Point Press, San Francisco; printed by Renee Bott, Crown Point Press, San Francisco Initialed and dated in graphite lower right sheet beneath image; printer blind stamp lower right sheet; edition lower left sheet beneath image Image: 24" x 18" Sheet: 34" x 26.5" Frame: 39" x 31.5"

$2,000–3,000

333 LARRY COHEN

View of Downtown LA from Taft and Franklin 2001 Oil on canvas Signed verso; titled on wooden stretcher verso Canvas: 26" x 18" Frame: 26.75" x 18.75"

$2,000–3,000

221

334 JIM DINE

Awl (from 11 Pop Artists Vol. I) 1965; published 1966 Color screenprint on paper #194 of 200 Published by Original Editions, New York; printed by Knickerbocker Machine & Foundry Inc., New York Signed and dated in graphite upper right sheet; edition lower left sheet Image/sheet: 23.75" x 19.625" Frame: 24.25" x 20" LITERATURE Jim Dine: Complete Graphics. Galerie Mikro Berlin exh. cat. 1970. #35.

$800–1,200

335 JIM DINE

Blue Heart 2005 Color lithograph on Rives BFK paper #74 of 200 Printed by Atelier Michael Woolworth, Paris Signed and dated lower right sheet; edition lower left Image/sheet: 26.25" x 20.5" Frame: 31.75" x 25.75"

$2,000–3,000

336 NANCY GRAVES DIBA

1978 Watercolor on paper Signed and dated in graphite lower center and upper center sheet; retains M. Knoedler & Co. label verso Sheet: 43" x 52.5" Frame: 46.5" x 56" P ROV E NANC E M. Knoedler & Co., New York, New York; Private Collection, United States (acquired directly from the above, 1981)

$4,000–6,000

337 JANNE GREIBESLAND Passing Through 1993 Oil on canvas Initialed and dated verso; bears the inscription “Janne Greibesland/ Passing Through” on wooden stretcher verso Canvas: 24" x 36" Frame: 24.75" x 36.75"

$800–1,200

223

338 TAKASHI MURAKAMI Monogram Cherry

2007 Editioned canvas on chassis From the edition of 100 Co-published by Louis Vuitton and MOCA Editions, Los Angeles Incised “© MURAKAMI/The Museum of Contemporary Art/Los Angeles/2007” to metal stretcher bar verso Together with original Louis Vuitton packaging 15.75" x 15.75"

$5,000–7,000

339 TAKASHI MURAKAMI DOB Jump

1999 Color screenprint on paper #19 of 50 Signed, dated, and with edition in graphite verso Image: 15.625" x 15.625" Sheet (vis.): 19.75" x 19.75" Frame: 24" x 24"

$6,000–10,000

340 TAKASHI MURAKAMI Champignon

2003 Offset color lithograph on paper #101 of 300 Co-published by the artist and Kaikai Kiki Co., Ltd., Tokyo and New York Signed with edition in black ink lower right sheet Image/sheet: 20.5" x 20.5" Frame: 24.75" x 24.75"

$1,000–1,500

225

341 MR. (MASAKATSU IWAMOTO) Girl

1997 Acrylic on cotton over board Signed and dated in Japanese verso; retains Tomio Koyama Gallery label verso Board: 19.5" x 25.5" P ROVENA NC E Tomio Koyama Gallery, Tokyo, Japan; Holly Solomon Collection; Thence by descent

$10,000–15,000

227

342 TAKASHI MURAKAMI

Louis Vuitton Group (4) 2007 Editioned canvas on chassis Each from the edition of 100 Co-published by Louis Vuitton and MOCA Editions, Los Angeles Each incised “© MURAKAMI/The Museum of Contemporary Art/Los Angeles/2007” to metal stretcher bar verso Each together with original Louis Vuitton packaging Comprised of: Monogram Mini Multicolore–Black, Monogram Mini Multicolore–White, Monogram Multicolore–Black, and Monogram Multicolore–White Each: 15.75" x 15.75"

$25,000–35,000

343 KAREN & EBBE CLEMMENSEN Lounge chair

Fritz Hansen, designed 1963 Model no. 4305 Retains tag “Furniture Makers Control/ Danish” 27.5" x 24" x 25" LITERATURE Fritz Hansen-Furniture.

Manufacturer cat. 1963. 90.

$4,000–6,000

344 POUL KJÆRHOLM Daybed

E. Kold Christensen, designed 1957 Model no. PK 80 Marked “EKC” 12" x 32" x 75" LITERATURE Poul Kjærholm. 2nd ed. C. Harlang, ed., et al. 2001. 104-105.

$15,000–20,000

345 LISA JOHANSSON-PAPE

Wall-applied lamp and table lamp (2) Iittala, designed 1954 Wall-applied lamp: 30" x 7.5" x 17.5" (adjustable) Table lamp: 16.75" x 9.5" diameter LIT E RAT URE 1000 Lights. Vol. I. C. Fiell and P. Fiell. 2005. 508.

$1,500–2,000

229

346 AXEL SALTO

Budding vase Royal Copenhagen, executed 1964 Glazed ceramic Incised “SALTO” with manufacturer’s stamp and label 3.25" x 2.5" diameter

$2,000–3,000

347 OSCAR TORLASCO Table lamp

Lumi, designed c. 1955 Retains manufacturer’s label 15.5" x 14.5" diameter

$1,000–1,500

348 OSCAR TORLASCO Floor lamp

Lumi, designed c. 1955 Retains manufacturer’s tag 73" x 11" x 8"

$4,000–6,000

349 CARL AUBÖCK II Candle stand

Carl Auböck Werkstatte, designed 1949-1950 Stamped “Auböck Made in Austria” 10" x 8" x 7.5" LIT E RAT URE Carl Auböck, 1900-1957: Maler und Designer. Historisches Museum der Stadt Wien exh. cat. 1997. #5.11 for similar example illustrated.

$1,000–1,500

350 SORI YANAGI

Butterfly stools (2) Tendo, designed 1956 Each: 15" x 16.5" x 12" LIT E RAT URE 1000 Chairs. C. Fiell and P. Fiell. 1997. 327.

$5,000–7,000

231

351 JEAN GILLON

Sling chair and ottoman (2) Wood Art, designed c. 1965 Ottoman retains tag “Wood Art/Design

by Jean Gillon/Handmade Jacaranda-Wood/Industria Brasileira” Chair: 33" x 36" x 41" Ottoman: 15" x 26" x 17"

$1,500–2,000

352 SERGIO RODRIGUES Cabinet

Studio, designed c. 1965 Rosewood and leather 30.5" x 79.5" x 19.75"

$5,000–7,000

353 MARK HAGEN

To Be Titled (Additive Painting #55) 2011 Acrylic on burlap Signed and dated “Mark Hagen 8/11” in felt-tip marker on burlap overlap verso Burlap: 68" x 52" Frame: 69.5" x 53.5"

$8,000–12,000

233

354 PAUL EVANS Stool

Directional, designed 1971 Model no. PE 35 Retains upholstery tag; marked in pencil “PE 35/Copper” to underside 18" x 18" x 18"

$2,500–3,500

VERSO DETAIL

355 PAUL EVANS Door knocker

Studio, designed c. 1965 10" x 8.5" x 1.25" LITERATURE Paul Evans: Crossing Boundaries and Crafting Modernism. C. Kimmerle, ed. 2014. #34.

$2,500–3,500

235

356 MELVIN SCHULER No. 8

c. 1970 Copper over wood Retains unknown printed label affixed to base with artist’s name and title 90" x 12" x 12" (including base)

$3,000–5,000

Vasa: Refracted Light The work of Vasa Mihich is among the most vibrant and exquisitely crafted to emerge in the post-war art scene of Southern California. Born in Yugoslavia in 1933, the artist relocated to the United States in 1960, eventually settling in Los Angeles. Initially influenced by California Hard-Edge painters like John McLaughlin, Vasa became interested in the concept of producing pure planes of color in space.

Thus began his life-long experimentations with acrylic sculpture, for which he is best known. He was included in the momentous exhibition “American Sculpture of the Sixties” at LACMA in 1967 and was senior Professor of Design at UCLA for many years.

In these works, Vasa cut and laminated industrial pre-made plastic together to create geometric forms. This strand of his practice first emerged in 1967, during the heyday of the Light and Space movement in California, when artists like Larry Bell, Craig Kauffman, and Peter Alexander were also exploring the formal and perceptual properties of plastics.

Often characterized as ‘finish fetish,’ Vasa’s sculptures kaleidoscopically refract and reflect light, producing dramatic effects.

Vasa recently spoke with Los Angeles Modern Auctions to discuss his work: LAMA: You were a senior Professor of Design at UCLA for many years—how did you end up in Los Angeles and how important has the city been to your career?

VM: I came to the United States because I was inspired by the works of the Abstract Expressionists, which I saw in Paris in 1956. I stayed in New York for three or four months, then I went to Los Angeles to visit my parents. I had planned to move to San Francisco but I found L.A. more comfortable, with better weather. It turned out to be very good to end up here.

I love L.A. I talked about this with Reyner Banham in 1972 for “Reyner Banham Loves Los Angeles,” his documentary about the city. I said to him, “It’s the light, the people and the space.

Here, I feel like a fish in water. In this town, you feel free.”

I brought my paintings from my last show in Serbia in 1959 and showed them to the Silvan Simone Gallery on Olympic Boulevard in West Los Angeles. Mr. Simone was very excited but didn’t sell any of these works. I decided then to change my approach and make some new paintings and spent a

year on a body of work that I then proudly showed to the gallery. My new paintings had become more geometric, but Mr. Simone was into figurative art, so he looked at the work and said, “I don’t need another Mondrian.” My work, in fact, looked nothing like Mondrian. When I left the gallery—and was happy to do so – I decided that I had to learn more about what was happening in art in the United States. I had an academic education, but I didn’t know much about modern art, so I had to start again. I decided not to do any commercial art, so I was doing house-painting during the day, then studying and making art on my own at night. I never stopped making art and being an artist. It took five years until I was ready to exhibit.

When I came to Los Angeles in 1960, I realized that Abstract Expressionism was finished and that artists were reacting to this by taking new directions with their work. Looking back, I feel very fortunate that I was part of that period, perhaps my favorite time as an artist.

LAMA: Who are your formative artistic influences?

VM: It was between 1961-1965 that I was the most influenced by other contemporary artists, especially the California Hard-Edge painters. John McLaughlin deeply impressed me.

In 1965 I took a different approach, applying the abstract concepts from my paintings to three-dimensional geometric objects. This created the basis for a new direction in my art.

LAMA: Where do you see yourself in the art historical canon—do you fit with the Light and Space or “finish fetish” movement?

VM: My first Los Angeles show could be classified as Finish Fetish, so I’m fine with that label! Finish fetish was what was unique for Los Angeles at that time in the early 1960s.

LAMA: Many artists from that generation poured resins into molds, whereas you use pre-formed industrial acrylics that you cut and laminate together. Could you tell us more about the process by which you make your work?

VM: I have worked in plastic since 1967. Lots of important artists worked with plastic, but people sometimes try to put us into the same category because we use the similar material. We did exhibit together in “The Last Plastics Show” at CalArts in 1972, but my approach was different.

I had the idea to support the colors in space by laminating transparent colors in between clear plastic. Those artists who worked with polyester resin use molds, with a monolith of a single color which changes shade due to the changing thickness of the material. However, because of lamination, I ended up making sculptures that were closer to paintings, what I call, “painting with plastic.”

When I started to work with plastic, I met Frederick R. Weisman and his wife Marcia who were major collectors and good friends, too. They liked what I was doing and provided me with financial support to develop my work. This enabled me to buy some machines which I needed in my studio, so I had the opportunity to make some large sculptures. In 1970, I met the architect Craig Ellwood, who was designing a Palm Springs home for Max Palevsky and they commissioned me to make the biggest sculpture I have made to date. I made many sculptures for Fred and Marcia and in 1983 Fred asked me to make a large fountain for his garden, which you can see at the Frederick R. Weisman Foundation in Beverly Hills. There are several of my pieces there.

237

LAMA: There are some spheres in this sale, but a more common motif across your work is the rectilinear shape. What does this mean to you?

VM: I use universal geometric shapes as containers for transparency and refraction. It’s about optical effects, light and color – not geometry. I do use geometric shapes, but they are not the subject. I’ve also made spheres ad triangles and cylinders. The sphere is a different type of container because it creates a curvilinear reflection, in contrast to the reflections in a rectangular shape.

LAMA: You are best known for your acrylic sculptures, which refract and reflect light. Are you interested in exploring visual perception in these works?

357 VASA (VELIZAR MIHICH) Tower

1979 Laminated cast acrylic Signed, dated, and inscribed “#1405 Vasa 79” 99.625" x 10.25" x 9" Overall (including base): 105" x 20" x 19.75" P ROV E NANC E Private Collection, Beverly Hills, California (acquired

VM: The principle behind the constructions was to liberate the individual sections of color from the common flat surface of the painting and lift them into space, exposing them to the light in different angles. I don’t think too much about how people are going to see them, I make them because I am curious about these concepts, to see how they work.

Ultimately, the works are interactive. You have to walk all around them in order to fully see them. When you move around, one’s perception of the sculpture changes.

directly from the artist)

$5,000–7,000

358 VASA (VELIZAR MIHICH) Rectangular tower

1981 Laminated cast acrylic Signed and dated “#1948 Vasa 81” 45.75" x 25" x 3" Overall (including base): 75.75" x 31" x 12" P ROVENA NC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$2,500–3,500

359 VASA (VELIZAR MIHICH) Spheres (2)

1983; 1984 Laminated cast acrylic Large: signed, dated, and inscribed “#2053 Vasa 83”; small: signed, dated, and inscribed “#2272 Vasa 84” 12.5" diameter 5" diameter P ROVEN A NC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$3,000–5,000

239

360 VASA (VELIZAR MIHICH) Tower of Columns

1984 Laminated cast acrylic One signed, dated, and inscribed “#2365 Vasa 84” Columns each: 48" x 5.375" x 3.5" Overall (including base): 76.125" x 18" x 18" P ROV E NANC E Private Collection, Beverly Hills, California (acquired directly from the artist)

$4,000–6,000

361 LOUIS DUROT

Prenez-le chair Studio, designed c. 1980 43" x 28" x 31" LITERATURE Polyurethannes: Louis Durot. R. Rodriguez. 2005. N.pag.

$4,000–6,000

362 ACHILLE & PIER GIACOMO CASTIGLIONI Arco floor lamp

Flos, designed 1962 94" x 84" x 7" (as illustrated) LITERATURE Sourcebook of Modern Furniture. 3rd ed. J. Habegger and J. Osman. 2005. 330.

$1,000–1,500

363 MAURICE CALKA Boomerang desk

Leleu-Deshay, designed 1970; this example produced later Retains stamped manufacturer’s mark 29" x 71" x 42" P ROVENA NC E David A. Stewart, Los Angeles, California LITERATURE Jules et André Leleu. V. Jutheau. 1989. 164-165.; L’Utopie du Tout Plastique: 1960-1973. P. Decelle, D. Hennebert, and P. Loze. 1994. 78.

$15,000–20,000

364 GAETANO PESCE Workstation

Custom designed for TBWA\Chiat\Day, New York, 1991 52" x 64" x 43" P ROV E NANC E TBWA\Chiat\Day, New York, New York; Private Collection, Los Angeles, California

$2,000–3,000

365 VERNER PANTON

Pantonic chairs (2) Studio Hag, designed 1992 Model no. 5000 Each retains manufacturer’s label dated July 1994 Each: 34" x 17.5" x 21" LIT E RAT URE Verner Panton: The Collected Works. M. Remmele and A. von Vegesack, eds. 2000. 275

$1,500–2,000

366 PETER SHIRE

Still Life: Oranges, Lemons, and Watermelon 1992 Painted steel Signed and dated in black felt-tip marker to underside of base LAMA would like to thank the artist for his assistance in cataloguing this work 27.5" x 32" x 18"

$2,000–3,000

241

367 JOHN M. MILLER Untitled

1978 Acrylic on canvas Signed and dated “Mar 1978 Jim” along canvas upper edge Canvas: 39" x 32" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$7,000–9,000

368 RICHARD ANUSZKIEWICZ Untitled

1985 Acrylic on Masonite Initialed and dated in graphite “R.A. 85” lower right Masonite: 7" x 5.25" Frame: 7.75" x 5.875"

$3,000–5,000

369 JESÚS RAFAEL SOTO

Multiple I (from Jai-Alai Series) 1969 Perspex in white, yellow, blue, and black with metal and filament kinetic elements #185 of 300 Published by Marlborough Graphics, New York Incised signature with edition 21.375" x 25" x 7.5"

$4,000–6,000

ALTERNATE VIEW

243

VERSO DETAIL

370 TADASKY (TADASUKE KUWAYAMA) #B-155

1964 Acrylic on canvas Signed, titled, and dated verso; retains Kootz Gallery label verso Canvas: 27.875" x 27.875" Frame: 28.5" x 28.5"

$10,000–15,000

371 YAACOV AGAM Untitled (3)

c. 1975 Color screenprint on paper Each: #9 of 9 H.C. Each signed lower right in image; edition lower left Images/sheets (vis.) each: 23" x 21.75" Frames each: 30.125" x 28.625"

$2,500–3,500

372 YAACOV AGAM Star of Peace

c. 1979 Color screenprint on paper #8 of 9 H.C. aside from the edition of 180 Signed in marker lower left beneath image; edition in graphite lower right beneath image Sheet (vis.): 25.125" x 16.25" Frame: 31.625" x 22.625"

$800–1,200

245

373 VICTOR VASARELY Untitled

1942 Mixed-media on board Signed and dated in ballpoint pen lower center LAMA would like to thank Michele Vasarely for her assistance in cataloguing this work Board: 8.5" x 10.75" Frame: 20" x 23.125" P ROVENA NC E The artist; the Vasarely Center, New York; Private Collection, New York; Antal Fine Art, Reseda, California

$5,000–7,000

374 VICTOR VASARELY Untitled

c. 1980 Acrylic on wood #79 of 175 Edition inscribed lower left corner 24.25" x 13.5" x 2.75"

$2,000–3,000

375 VICTOR VASARELY Untitled (3)

c. 1975 Color screenprint on paper Each: #76 of 250 Published by Editions Denise René, Paris Each signed in graphite lower right margin; edition lower left; one with publisher’s blind stamp lower left in image Images each: 31" x 31" Sheets (vis.) each: 33.125" x 33.125" Frames each: 40.625" x 40.625"

$2,500–3,500

376 VICTOR VASARELY Untitled

c. 1975 Color screenprint on paper #53 of 275 Signed in graphite lower right margin; edition lower left Image: 23.625" x 23.625" Sheet (vis.): 27.75" x 27.75" Frame: 34.625" x 34.625"

$800–1,200

247

377 DENNIS GALLAGHER Untitled

1979 Low-fire ceramic Incised signature and date at base Together with two catalogues 55.5" x 18" x 8.5" P ROVENA NC E Reform Gallery, Los Angeles, California; Private Collection, Los Angeles, California (acquired directly from the above)

$3,000–5,000

378 GAWAINE DART Vessel

Studio, executed c. 1969 Glazed ceramic Signed 19.5" x 6.5" x 5"

$1,000–1,500

249

379 JANE DART Untitled

Studio, executed c. 1958 Ceramic relief with enamel 16.5" x 14.25" x 3.25"

$1,000–1,500

380 JACK ZAJAC Bound Goat

c. 1962 Patinated bronze #2 of 6 Signed “Z” with edition number 11.5" x 22" x 10"

$3,000–5,000

381 MAX FINKELSTEIN Medusa

1956 Welded steel and brass Signed, titled, and dated to underside 31" x 27" P ROV E NANC E The artist; Thence by descent

$2,000–3,000

382 PAUL KASPER Untitled

c. 1968 Welded metal 24" x 7" x 7" P ROV E NANC E Estate of Paul Kasper, California

$1,000–1,500

251

383 AMERICAN MODERN

Monumental atomic hanging lamp Lightolier, designed c. 1970 30" x 103" x 30"

$5,000–7,000

384 MARIO BELLINI

Cab armchairs (6) Cassina, designed 1977 Model no. 413 Each branded “Cassina” Each: 32" x 23" x 21" LITERATURE Sourcebook of Modern Furniture. 3rd ed. J. Habegger and J. Osman. 2005. 203.

$3,000–4,000

385 FRENCH MODERN Book case

Possibly Ligne Roset, designed c. 1985 86.75" x 22" x 14.5"

$1,500–2,000

386 RICHARD HUTTEN Table - Chair

Droog, designed 1991 Model no. dd-41 ALTERNATE VIEW

Overall: 28.5" x 23.5" x 23" LIT E RAT URE Droog Design: Spirit of the Nineties. R. Ramakers. 1998. 25.

$1,500–2,000

387 MAX INGRAND Table lamps (2)

Fontana Arte, designed 1954 Model no. 1853 Lamp switches with stamped manufacturer’s mark Each: 21" x 12.625" diameter LIT E RAT URE Fontana Arte: Gio Ponti, Pietro Chiesa, Max Ingrand. F. De Boni.

2012. #351.; 1000 Lights (1879-1959). Vol. I. C. Fiell and P. Fiell. 2005. 512.

$2,000–3,000

253

388 WALTER LAMB Chairs (6)

Brown-Jordan Co., designed c. 1950 Model nos. C-1700A (armchairs) and C-1700 (side chairs) Comprised of two armchairs and four side chairs Armchairs each: 32" x 21.5" x 23.5" Side chairs each: 32" x 19" x 22" LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$5,000–7,000

389 WALTER LAMB Dining table

Brown-Jordan Co., designed c. 1950 Model no. AE-2700 28" x 61.5” x 35.5" LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

390 WALTER LAMB Chaise lounge

Brown-Jordan Co., designed c. 1950 Model no. C-4700 32" x 27" x 66" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,500–3,500

391 WALTER LAMB 3-seat bench

Brown-Jordan Co., designed c. 1950 Model no. C-5714 14" x 72" x 24" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

255

392 WALTER LAMB

Side table and armchairs (3) Brown-Jordan Co., designed c. 1950 Model nos. AP-3701 (side table) and C1700A (armchairs) Comprised of a side table and two armchairs Side table: 22" x 25.5" x 25.5" Armchairs each: 32" x 21.5" x 23" LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$3,000–5,000

393 WALTER LAMB Rocking chair

Brown-Jordan Co., designed c. 1950 Model no. C-5701 32" x 33" x 22" LITERATURE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

394 WALTER LAMB Rocking chair

Brown-Jordan Co., designed c. 1950 Model no. C-5701 32" x 33" x 22" LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

257

395 WALTER LAMB

Dining table and side chairs (3) Brown-Jordan Co., designed c. 1950 Model nos. C-2700 (table) and C-1700 (side chairs) Comprised of a dining table and two side chairs Side chairs each: 32" x 19" x 22" Table: 28.5" x 42" diameter LIT E RAT URE Walter Lamb. Manufacturer cat. 1954. N.pag.

$2,000–3,000

396 SQUEAK CARNWATH Innocence

1988 Oil and alkyd diptych on canvas

E X H I B I T E D “Bay Area Masters:

Signed, titled, and dated verso

Art, Santa Clara, September 22-No-

LAMA would like to thank the Squeak Carnwath Studio for their assistance in cataloguing this work

New Work,” Dorothy Goldeen Gallery,

Twelve Artists,” Triton Museum of vember 13, 1988; “Squeak Carnwath: Santa Monica, February 18-March 18, 1989

Overall: 82" x 164"

I L LU ST RAT E D Squeak Carnwath:

This work was illustrated on the

Lists, Observations & Counting. S.

postcard announcement for the

Carnwath. 1996. 42.

artist’s exhibition at Dorothy Goldeen

L I T E RAT U R E “Deeper by the Doz-

Gallery in 1989.

en.” P. Albers. San Jose Metro 6-12

P ROVENA NC E Dorothy Goldeen Gal-

Oct. 1970. 12.; “A Bay Area Diversity.”

lery, Santa Monica, California; Private Collection, United States (acquired directly from the above, 1989)

D. Brookman. Artweek. 15 Oct. 1988.

N.pag.

$7,000–10,000

DETAIL VERSO

397 SCOT HEYWOOD Ascension #9

1997 Acrylic on canvas over wood panel Signed, titled, and dated verso Canvas: 60" x 40"

$2,500–3,500

398 JAMES HAYWARD Abstract #6 1998 Oil on canvas Signed, titled, dated, and inscribed in felt-tip marker verso Canvas: 21.125" x 16"

$2,500–3,500

259

399 ROGER HERMAN VII

1986 Oil on canvas Signed, titled, and dated verso Canvas: 30" x 24" Frame: 32.75" x 26.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$3,000–5,000

400 KAI BOB CHENG Untitled

1980 Watercolor on paper Signed and dated in graphite lower right sheet Sheet: 16" x 28" Frame: 18.75" x 30.75" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist)

$3,000–5,000

401 ELIZABETH MURRAY Untitled (3)

1981 Black ink on lined notebook paper Retains Paula Cooper Gallery label verso Together with copy of invoice from Paula Cooper Gallery dated May 6, 1988 Sheets (irreg.) each: 7.625" x 4.75" Frame: 19.25" x 34" P ROV E NANC E Paula Cooper Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1988)

$1,000–1,500

402 ELIZABETH MURRAY Untitled (2)

1988 Ballpoint pen on paper Retains two Paula Cooper Gallery labels verso Together with copy of invoice from Paula Cooper Gallery dated May 6, 1988 Sheets (irreg.) each: 8.875" x 6.5" Frame: 20.25" x 28.375" P ROV E NANC E Paula Cooper Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1988)

$2,000–3,000

261

403 MARTIN MULL Untitled (4)

1998; 1999 Watercolor on paper Two initialed and dated lower right; others initialed and dated lower center; each retains Samuel Freeman Gallery label frame verso Together with copy of invoice from the artist dated February 25, 2000 Sheets each: various dimensions Frames each: 17.125" x 15.125" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 2000)

$2,500–3,500

404 MARTIN MULL Seaside Romp

1994 Watercolor and collage on paper Initialed and dated in graphite lower right sheet; retains Goldeen and David Beitzel Gallery labels frame verso Together with copy of invoice from David Beitzel Gallery dated August 30, 1995 Sheet: 8" x 10" Frame: 19.875" x 21.125" P ROVENA NC E David Beitzel Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1995)

$1,000–1,500

263 405 JIM MORPHESIS Bruised Hearts

1997 Oil, enamel, charcoal, collage, and gold leaf on two affixed wood panels Signed, titled, and dated verso Overall: 30.25" x 36"

$500–1,000

406 FRITZ SCHOLDER Untitled

c. 1990 Lithograph on paper #19 of 100 Signed in graphite lower left sheet; edition lower right sheet Image/sheet: 30" x 22" Frame: 38" x 30.25"

$600–900

407 JENNIFER BARTLETT Elements: 2 Water 1990 Pastel on paper Retains Paula Cooper Gallery label frame verso Together with copy of invoice from Paula Cooper Gallery dated February 6, 1990 Composition/sheet: 31.5" x 31.375" Frame: 35.25" x 35.25" P ROVENA NC E Paula Cooper Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1990)

$3,000–5,000

408 JENNIFER BARTLETT Elements: 2 Fire 1990 Pastel on paper Retains Paula Cooper Gallery label frame verso Together with copy of invoice from Paula Cooper Gallery dated November 30, 1990 Composition/sheet: 31.25" x 31.375" Frame: 35.25" x 35.25" P ROVENA NC E Paula Cooper Gallery, New York, New York; Private Collection, Los Angeles, California (acquired directly from the above, 1990)

$3,000–5,000

409 JENNIFER BARTLETT Earth: Fireworks 1995 Charcoal on paper Together with copy of invoice from the artist dated July 5, 1995 Sheet (vis.): 20" x 28" Frame: 28" x 36" P ROVENA NC E Private Collection, Los Angeles, California (acquired directly from the artist, 1995)

$2,000–3,000

410 JOHN ALEXANDER

Oysters with Blue Background 1998 Oil on canvas Signed lower right; signed, titled, and inscribed “01128.11.98” in graphite canvas verso Canvas (vis.): 8.375" x 11.375" Frame: 14.125" x 17.125" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$1,500–2,500

411 JOHN ALEXANDER Raven Skull

1991 Pastel and charcoal on paper Signed in graphite lower right sheet; retains Marlborough Gallery label frame verso Together with copy of invoice from the artist Sheet: 12.75" x 20.25" Frame: 20.25" x 27.875" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$1,000–1,500

412 JOHN ALEXANDER Untitled (2)

1997 Watercolor and graphite on paper Each signed lower right Untitled (Bird on Branch): Sheet (vis.): 7" x 5.75" Frame: 14.75" x 13.5" Untitled (Lily Pads): Sheet (vis.): 7.5" x 5.75" Frame: 14.75" x 13.5" P ROV E NANC E Private Collection, Los Angeles, California (acquired directly from the artist)

$1,500–2,000

265

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

responsibility of the buyer to inspect all goods prior to the

warehouse and transportation costs, commissions, incidentals,

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

sale. We strongly encourage all bidders to request a condition

and shall be liable for payment of any deficiency in the purchase

“L.A. Modern Auctions,” or “LAMA”) on March 5, 2017. We are

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

price. This is strictly enforced. We reserve the right to assess

acting as an agent on behalf of our consignors.

for decorative value only and should be assumed not to be

a late charge of 1.5% of the total purchase price per month if

working. All measurements are approximate. Photographs of

payment is not made in accordance with any of these Conditions

PAYM E NT All sales are final. All sold lots are to be paid for

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

of Sale.

on the day of the sale. We accept cash, bank wire transfers,

com.

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

checks, and credit cards. Please note: Credit Card payments carry a 3% processing fee on the total invoice amount.

CO L L ECT I O N & STO RAGE All lots must be removed

or other proceeding of any nature whatsoever is instituted

All payments made by personal checks will be subject to

from the auction showroom by 12:00pm (PT) on April 4, 2017.

in connection with any controversy arising out of these

clearance before purchases can be collected. Buyers who

Purchases not removed by April 4, 2017 will be assessed daily

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

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

storage fees of $15 per day per lot. Items in storage are not

breach thereof between the bidder or buyer and Modern

Modern Auctions) previously are asked to provide a method

insured by MAI. Unless other arrangements are made and

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

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

confirmed in writing, the buyer assumes sole responsibility

its attorney's fees and costs incurred in connection with

prior to the auction. Bank wire information is available upon

for shipping, packing, insurance, and storage concerns. A list

such proceeding. This Agreement shall be governed by and

request. If payment is not received in full by March 15, 2017,

of shippers can be provided upon request. If a purchased lot is

construed in accordance with California law, without reference

collection and storage fees will begin occurring immediately.

paid for but not collected within six months of the auction, the

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

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

buyer authorizes MAI, upon notice, to arrange a resale of the

The parties agree that all actions or proceedings arising in

added to the hammer price and is calcuated upon when

item by auction or private sale, with estimates and a reserve

connection with this Agreement shall be litigated exclusively

payment is received by MAI. Please see schedule below:

set at MAI's reasonable discretion. The proceeds of such

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

sale will be applied to pay for storage charges and any other

intended by the parties to be mandatory, thereby precluding

BUYER’S PREMIUM**:

outstanding costs and expenses owed by the buyer to MAI and

the possibility of litigation bewteen the parties with respect to

PAYMENT RECEIVED BY MARCH 15, 2017

the remainder will be forfeited unless collected by the buyer

or arising out of this Agreement in any other jurisdiction.

• 22.5% on the hammer price up to and including

within two years of the original auction.

$500,000 if bids are placed directly with LAMA;

GUA RA N TEE The authenticity of every item offered

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

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

for sale is guaranteed. MAI warrants only the authorship of

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

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

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

directly with LAMA;

an Absentee or Phone Bidding service. For this service fill

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

• 12.5% on the portion of the hammer price in excess

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

condition, age, or any identifying characteristic used by MAI

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

323.904.1950 or go to our website. We will not execute

in any descriptions such as color, method of construction,

Absentee or Phone bid orders unless a signed and completed

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

BUYER’S PREMIUM**:

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

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

PAYMENT RECEIVED AFTER MARCH 15, 2017

by Saturday, March 4, 2017 by 5:00pm (PT) via fax to

does not qualify for our guarantee. In addition, the buyer

• 25% on the hammer price up to and including

323.904.1954 or scanned and sent via email to shannon@

assumes responsibility for reading all addendums and posted

$500,000 if bids are placed directly with Modern

lamodern.com. We encourage you to call after faxing to

corrections to the catalogue prior to bidding.

Auctions, Inc.;

confirm we have received your bid. We kindly ask that you do

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

not call on the day of the sale to submit bids or to check if

RESCI SSI O N Should the authenticity of an item be

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

your bids were successful.

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

directly with Modern Auctions, Inc.;

All successful Absentee and Phone bidders will be notified

the auction to provide written documentation or conclusive

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

by phone or email by March 7, 2017. In addition, the auction

opinion of a mutually agreed upon independent expert,

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

Prices Realized will be posted the day after the sale on our

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

Modern Auctions, Inc.

website. Do not rely on any auction results (Prices Realized)

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

unless published on www.lamodern.com or as provided

will rescind the purchase contract. MAI will reimburse the

directly by MAI.

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

BUYER’S PREMIUM**: ONLINE BIDDERS

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

premium and only after the item is returned to the original

• The buyer's premium for online bidding is 28% on

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

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

the hammer price.

Bid Form ASAP. If identical absentee bids are submitted, the

packing, shipping, and storage costs will not be reimbursed.

earliest received will take precedence. The number of phone

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

**Payment by Credit Card carries a 3% processing fee

lines available are limited so please submit your phone requests

fees. If the item is authentic, as stated in the auction catalogue

on the total invoice amount and requires a completion of

early. By registering for the Phone Bidding service you

or lamodern.com, then the purchaser shall bear MAI’s expenses

LAMA's “Credit Card Authorization” form.

acknowledge and consent to allow MAI to record telephone

incurred in defense of the allegation, such as attorney’s fees

conversations. On all Bid Forms, please leave a valid credit

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

CA LI FORN IA SALES TAX Sales tax of 8.75% will

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

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

be collected on all purchases removed from our premises or

required for all absentee and phone bids. The party responsible

then all rights and liabilities of MAI regarding authenticity

delivered within the state of California. Those holding a valid

for submitting the Bid Form is solely responsible for the payment

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

California State Resale License must register before each sale

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

for any reason is the limited right of rescission described in

and present their valid resale number. No purchases will be

invoice.

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

released until all sales tax requirements are satisfied.

Should a dispute arise after the sale, our sale records are

compensatory, incidental, consequential, nominal or punitive,

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

nor any expenses incurred during the proceedings, such as

ESTIMATES & R ESE RVES The estimates printed

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

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

after each lot should be used as a guide only and should not

withdraw any property before the sale and shall have no liability

be relied upon as a prediction of final selling prices. Many of

whatsoever for such withdrawal. Should an item be withdrawn,

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

the lots offered for sale carry a reserve and are confidential.

the auctioneer will make an announcement at the time the lot

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

The reserve is a minimum price at which the seller has agreed

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

may not be used or reproduced in any medium without the

to let the auctioneer sell the property.

may add lots not previously listed in the catalogue or addendum.

expressed written permission of MAI.

If the buyer does not comply with all of the Notices to Buyers,

CONDITIO N Everything is sold in “As-Is” Condition. No

MAI reserves the right to cancel the sale, hold the defaulting

Modern Auctions, Inc. | Bond # 7900405194

statement regarding condition of any item, whether it is made

buyer liable for the purchase price and Buyer’s Premium, retain

Peter Loughrey, Principal Auctioneer

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

or process any deposit, and resell the property privately or

Los Angeles Modern Auctions (LAMA)

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

at auction without further notice. In the latter, the defaulting

16145 Hart Street, Van Nuys, CA 91406

representation, or assumption of liability. It is the sole

buyer will be held responsible for all incurred expenses, such as

Index A

E

Ackerman, Jerome . . . . . . . . . . . . . . . . 50 Adler, Allan . . . . . . . . . . . . . . . . . 276-277 Agam, Yaacov . . . . . . . . . . . . . . . 371-372 Albers, Josef . . . . . . . . . . . . . . . . . . . .282 Alex, Kosta . . . . . . . . . . . . . . . . . . . . . . 215 Alexander, John . . . . . . . . . . . . . 410-412 Alexander, Peter . . . . . . . . . . . . . . 78, 174 Andreson, Laura . . . . . . . . . . . . . . . . . . 67 Anuszkiewicz, Richard . . . . . . . . . . . .368 Archipenko, Alexander . . . . . . . . . . . . 102 Arnoldi, Charles . . . . . . . . . . . . . . . 76-77 Auböck II, Carl . . . . . . . . . . . . . . . . . . .349 Auerbach, Tauba . . . . . . . . . . . . . . . 40-41

Eames, Charles & Ray . . . . . . . . . . . . .1-4 Edmondson, Leonard . . . . . . . . . . . . . 124 Ellwood, Craig . . . . . . . . . . . . . . .286-287 Emin, Tracey . . . . . . . . . . . . . . . . . 177-179 Evans, Paul. . . . . . . . . . . . . . . . . .354-355 Evans, Walker . . . . . . . . . . . . . . . . . . . 132

B Bacerra, Ralph . . . . . . . . . . . . . . . . . . . . 23 Baldessari, John . . . . . . . . . . . . . . . 20-21 Baldon, Cleo. . . . . . . . . . . . . . . . . . . . . . 51 Baldwin, Philip . . . . . . . . . . . . . . . . . . . 225 Baril, Tom . . . . . . . . . . . . . . . . . . . . . . . . 191 Barnabé, Duilio (Dubé) . . . . . . . . 145-146 Bartlett, Jennifer . . . . . . . . . . . 407-409 Bell, Larry . . . . . . . . . . . . . . . . . . . . . . . 84 Bellini, Mario . . . . . . . . . . . . . . . . . . . .384 Ben Tré, Howard . . . . . . . . . . . . . . . . . 221 Benjamin, Karl . . . . . . . . . . . . . . . . . . . 172 Berlant, Tony . . . . . . . . . . . . . . 86-87, 213 Bernard, Luc . . . . . . . . . . . . . . . . . . . . 180 Berthot, Jake . . . . . . . . . . . . . . . . . . . 310 Bertoia, Harry . . . . . . . . . . . . . . . 316-322 Bitters, Stan . . . . . . . . . . . . . . . . . . . . . 63 Bleckner, Ross . . . . . . . . . . . . . . . . . . . . 46 Blomdahl, Sonja . . . . . . . . . . . . . . . . .309 Borofsky, Jonathan. . . . . . . . . . . . . . . . 19 Bourgeois, Louise . . . . . . . . . . . . . . . . . 49 Bovasso, Nina . . . . . . . . . . . . . . . . . . . 167 Brainard, Joe . . . . . . . . . . . . . . . . . . . . 273 Brice, William . . . . . . . . . . . . . . . . . . . . 214 Burden, Chris . . . . . . . . . . . . . . . . . . . . . 12 Burkhardt, Hans . . . . . . . . . . . . . .152-154

C Calder, Alexander . . . . . . . . . . . . . 108-110 Calka, Maurice . . . . . . . . . . . . . . . . . . . 363 Callahan, Harry . . . . . . . . . . . . . . . . . . 189 Carnwath, Squeak . . . . . . . . . . . . . . . . 396 Cartier-Bresson, Henri . . . . . . . . . . . . 130 Castiglioni, Achille & Pier Giacomo . 362 Celmins, Vija . . . . . . . . . . . . . . 38, 42-43 Chann, George . . . . . . . . . . . . . . .265-266 Cheng, Kai Bob . . . . . . . . . . . . . . . . . 400 Childers, Michael . . . . . . . . . . . . . . . . . 192 Christensen, Dan. . . . . . . . . . . . . . . . . 293 Christo . . . . . . . . . . . . . . . . . . . . . . . . . 197 Clemmensen, Karen & Ebbe . . . . . . .343 Cohen, Larry . . . . . . . . . . . . . . . . . . . . 333 Cornell, Joseph . . . . . . . . . . . . . . . . . . . . 9

F Fairey, Shepard . . . . . . . . . . . . . . . . . . . 26 Feitelson, Lorser . . . . . . . . . . . . . 171, 288 Feiz, Reza . . . . . . . . . . . . . . . . . . . . . . . 219 Finkelstein, Max . . . . . . . . . . . . . . . . . 381 Fischinger, Oskar . . . . . . . . . . . . . . . .283 Frame, Robert . . . . . . . . . . . . . . . . . . . 210 Francis, Sam . . . . . . . . . . . . 155-160, 301 Frankl, Paul . . . . . . . . . . . . . . . . . . . . .280 Freeland, David . . . . . . . . . . . . . . 230-231 Frey, Albert . . . . . . . . . . . . . . . . . . . . . 182 Friedeberg, Pedro . . . . . . . . . . . . 104-107 Friedman, Tom . . . . . . . . . . . . . . . . . . . 175

G Gallagher, Dennis . . . . . . . . . . . . . . . . 377 Gill, James . . . . . . . . . . . . . . . . . . 267-271 Gillon, Jean . . . . . . . . . . . . . . . . . . . . . 351 Ginzburg, Yankel . . . . . . . . . . . . . . . . .228 Girard, Alexander . . . . . . . . . . . . . . . . 313 Goode, Joe . . . . . . . . . . . . . . . . . . . . 79-80 Graham, Robert. . . . . . . . . . . . . . 199-200 Graves, Nancy . . . . . . . . . . . . . . . . . . . 336 Gregory, Marcy . . . . . . . . . . . . . . . . . . 217 Greibesland, Janne . . . . . . . . . . . . . . . 337

H Hagen, Mark . . . . . . . . . . . . . . . . . . . . 353 Halley, Peter . . . . . . . . . . . . . . . . . . . . . 47 Hambleton, Richard . . . . . . . . . . . . . . . 45 Hammersley, Frederick . . . . . . . . . . .289 Haring, Keith . . . . . . . . . . . . . . . .306-307 Hayward, James . . . . . . . . . . . . . . . . .398 Held, Al . . . . . . . . . . . . . . . . . . . . .329-330 Herman, Roger . . . . . . . . . . . . . . . . . . 399 Heywood, Scot . . . . . . . . . . . . . . . . . . 397 Hicks, Dave . . . . . . . . . . . . . . . . . . . . . 222 Ho Fong, Danny . . . . . . . . . . . . . . . . . . . 52 Hockney, David . . . . . . . . . . . . . . . . 92-93 Holzer, Jenny. . . . . . . . . . . . . . . . . . . . . 37 Horn, Rebecca . . . . . . . . . . . . . . . . . . . 166 Hosoe, Eikoh . . . . . . . . . . . . . . . . . . . . 140 Houston, Bruce . . . . . . . . . . . . . . . . . . . . 11 Hunt, Bryan . . . . . . . . . . . . . . . . . . . . . 218 Hutten, Richard . . . . . . . . . . . . . . . . . .386 Halász, Gyula (Brassaï) . . . . . . . . . . . 133

R Kienholz, Ed . . . . . . . . . . . . . . . . . . . . . . 10 Kjærholm, Poul . . . . . . . . . . . . . . . . . .344 Knox, Bob . . . . . . . . . . . . . . . . . . . . . . . . 28 Kondos, Gregory . . . . . . . . . . . . . . . . . 212 Koons, Jeff. . . . . . . . . . . . . . . . . . . . . . . 44

L Lamb, Walter . . . . . . . . . . . . . . . 388-395 Lasch, Pat . . . . . . . . . . . . . . . . . . . . . . .181 László, Paul . . . . . . . . . . . . . . . . . 278-279 Le Corbusier . . . . . . . . . . . . . . . . . . . .284 Leonard, Mark . . . . . . . . . . . . . . . . . . . 229 Leuus, Jesus . . . . . . . . . . . . . . . . . . . .202 LeWitt, Sol . . . . . . . . . . . . . . . . . . 324-326 Lichtenstein, Roy . . . . . . . . . . . 294-300 Lind, Kenneth . . . . . . . . . . . . . . . . . 55-56 Liu, Hung . . . . . . . . . . . . . . . . . . . . . . .205 Longo, Robert . . . . . . . . . . . . . . . . . .31-32 Lovett/Codagnone . . . . . . . . . . . . . . . 176 Lowe, Ming C.. . . . . . . . . . . . . . . . . . . . 194 Lukens, Glen . . . . . . . . . . . . . . . . . . . . . 58 Lundeberg, Helen . . . . . . . . . . . . . . . . 170 Lustig, Alvin. . . . . . . . . . . . . . . . . . . . . . 57 Lyon, Danny . . . . . . . . . . . . . . . . . . . . . . 35

M Maloof, Sam . . . . . . . . . . . . . . . . 256-264 Marx, Marcia . . . . . . . . . . . . . . . . . . . .206 McIntosh, Harrison . . . . . . . . . . . . . . . . 68 Merkle, Larry . . . . . . . . . . . . . . . . . . . . 195 Mies van der Rohe, Ludwig . . . . . . . .285 Miller, John M. . . . . . . . . . . . . . . . . . . . 367 Miró, Joan . . . . . . . . . . . . . . . . . . 123, 165 Moore, Henry . . . . . . . . . . . . . . . . . . . . .101 Morphesis, Jim . . . . . . . . . . . . . . . . . .405 Moses, Ed . . . . . . . . . . . . . . . . . . . . . 90-91 Motherwell, Robert . . . . . . . . . . . . . . . 163 Mottishaw, Barrie . . . . . . . . . . . . . . . .209 Mouille, Serge . . . . . . . . . . . . . . . . . . . 126 Mull, Martin . . . . . . . . . . . . . . . . 403-404 Murakami, Takashi . . . . . . 338-340, 342 Murray, Elizabeth . . . . . . . . . . . .401-402

N Nakashima, George. . . . . . . . . . . . .95-98 Nakashima, Mira . . . . . . . . . . . . . . . . . . 99 Native American . . . . . . . . . . . . . . . . . 232 Natzler, Gertrud & Otto . . . . . . . . . . . . 59 Nelson, George . . . . . . 308, 312, 314-315 Neutra, Richard . . . . . . . . . . . . . . . . . . 281 Newell, Gordon . . . . . . . . . . . . . . . . . . . 60 Noguchi, Isamu . . . . . . . . . . . . . . . . . . . . 8 Norman, Dorothy . . . . . . . . . . . . . . . . 137

I

O

Ingrand, Max . . . . . . . . . . . . . . . . . . . . 387 Iwamoto, Masakatsu . . . . . . . . . . . . . . 341

Oldenburg, Claes . . . . . . . . . . . . . 198, 301 Onslow Ford, Gordon . . . . . . . . 250-255 Oud, J.J.P. . . . . . . . . . . . . . . . . . . . . . . 138

D

J

Dart, Gawaine . . . . . . . . . . . . . . . . . . . 378 Dart, Jane . . . . . . . . . . . . . . . . . . . . . . 379 Dassonville, William . . . . . . . . . . . . . . . 131 Deese, Rupert . . . . . . . . . . . . . . . . . . . . 69 Dehner, Dorothy . . . . . . . . . . . . . 291-292 Deskey, Donald . . . . . . . . . . . . . . . . . . . 54 Dewasne, Jean . . . . . . . . . . . . . . . . . . 224 Diebenkorn, Richard . . . . . .204, 331-332 Dill, Guy . . . . . . . . . . . . . . . . . . . . . . . . . 85 Dine, Jim . . . . . . . . . . . . . . .196, 334-335 Dingle, Kim. . . . . . . . . . . . . . . . . . . . . . 207 Durot, Louis . . . . . . . . . . . . . . . . . . . . . 361 Dzama, Marcel . . . . . . . . . . . . . . . . . 24-25

Jeanneret, Pierre . . . . . . . . . . . . . . . . 127 Jenkins, Paul . . . . . . . . . . . . . . . . .161, 168 Jennings, Susan . . . . . . . . . . . . . . . . . 169 Johansson-Pape, Lisa . . . . . . . . . . . .345 Jouve, Georges . . . . . . . . . . . . . . . . . . 125

K Kasper, Paul . . . . . . . . . . . . . . . . . . . . .382 Kauffman, Craig . . . . . . . . . . . . . . .88-89 Kelley, Mike . . . . . . . . . . . . . . . . . . . . 13-15 Kelly, Ellsworth . . . . . . . . . . . . . . 327-328 Kelly, Mary . . . . . . . . . . . . . . . . . . . . . . . 39 Kertész, André . . . . . . . . . . . . . . .128-129

P Paalen, Wolfgang . . . . . . . . . . . . . . . . 252 Paik, Nam June . . . . . . . . . . . . . . . . . . . 22 Panton, Verner . . . . . . . . . . . . . . . . . . 365 Pashgian, Helen . . . . . . . . . . . . . . . . . . 83 Pesce, Gaetano . . . . . . . . . . . . . . . . . .364 Pettibon, Raymond . . . . . . . . . . . . . . 16-17 Phelan, Ellen . . . . . . . . . . . . . . . . . . . . . 27 Picasso, Pablo . . . . . . . . . . . . . . . .111-120 Pomodoro, Arnaldo. . . . . . . . . . . . . . . 144 Ponti, Gio . . . . . . . . . . . . . . . . . . . .147-148 Prince, Richard . . . . . . . . . . . . . . . . . . . 29 Pruitt, Rob . . . . . . . . . . . . . . . . . . . . . . 173 Pullen, Melanie . . . . . . . . . . . . . . . . . . . 30

Rauschenberg, Robert . . . . . . . .302-303 Ray, Man . . . . . . . . . . . . . . . . . . . . . . . . 135 Remfry, David . . . . . . . . . . . . . . . . . . . . 94 Renger-Patzsch, Albert . . . . . . . . . . . 190 Riopelle, Jean Paul . . . . . . . . . . . . . . . 164 Ritts, Herb . . . . . . . . . . . . . . . . . . . . . . . 34 Robsjohn-Gibbings, T.H. . . . . . . . 274-275 Rodrigues, Sergio . . . . . . . . . . . . . . . . 352 Rosenthal, Bernard "Tony" . . . . . . . . 100 Ruscha, Ed . . . . . . . . . . . . . . . . . . . . 70-75

S Saarinen, Eero . . . . . . . . . . . . . . .5-6, 220 Salto, Axel . . . . . . . . . . . . . . . . . . . . . .346 Scalvini, Giuseppe . . . . . . . . . . . . . . . .203 Scanga, Italo . . . . . . . . . . . . . . . . . . . . 227 Scholder, Fritz . . . . . . . . . . . . . . . . . . .406 Schuler, Melvin . . . . . . . . . . . . . . . . . . 356 Serra, Richard . . . . . . . . . . . . . . . . . . . 162 Severini, Gino . . . . . . . . . . . . . . . . . . . 122 Shaner, David. . . . . . . . . . . . . . . . . . . . . 61 Shapiro, Joel . . . . . . . . . . . . . . . . . . . . . 311 Shaw, Jim . . . . . . . . . . . . . . . . . . . . . . . . 18 Sherman, Cindy . . . . . . . . . . . . . . . . . . . 33 Shire, Peter . . . . . . . . . . . . . . . . . . . . .366 Shulman, Julius. . . . . . . . . . .136, 183-187 Sikander, Shahzia . . . . . . . . . . . . . . . .208 Soto, Jesús Rafael . . . . . . . . . . . . . . . 369 Sottsass, Ettore . . . . . . . . . . . . . . . . . . 151 Spector, Buzz . . . . . . . . . . . . . . . . . . .290 Stern, Bert . . . . . . . . . . . . . . . . . . . . . . 134 Stoller, Ezra . . . . . . . . . . . . . . . . . . . . . 188 Strand, Paul . . . . . . . . . . . . . . . . . . . . . . 141 Sudek, Josef . . . . . . . . . . . . . . . . . . . . 143

T Tadasky . . . . . . . . . . . . . . . . . . . . . . . . 370 Tamayo, Rufino . . . . . . . . . . . . . . 103, 201 Testa, Fulvio . . . . . . . . . . . . . . . . . . . . . . 211 Thomas, Alma . . . . . . . . . . . . . . . . . . . 323 Torlasco, Oscar . . . . . . . . . . . . . .347-348

V Valentine, De Wain . . . . . . . . . . . . . 81-82 Vallien, Bertil . . . . . . . . . . . . . . . . . . . . 226 Vasa . . . . . . . . . . . . . . . . . . . . . . . 357-360 Vasarely, Victor . . . . . . . . . .223, 373-376 Vignelli, Massimo . . . . . . . . . . . . . . . . 150 Vitali, Massimo . . . . . . . . . . . . . . . . . . 149 von Unwerth, Ellen . . . . . . . . . . . . . . . . 36 Voulkos, Peter . . . . . . . . . . . . . . . . . . . . 62

W Warhol, Andy . . . . . . . . . . . . . . . 304-305 Wegman, William . . . . . . . . . . . . . . 38, 193 Welling, James . . . . . . . . . . . . . . . . . . . 48 Welty, Eudora. . . . . . . . . . . . . . . . . . . . 139 Wesselmann, Tom . . . . . . . . . . . . . . . . 272 Weston, Brett. . . . . . . . . . . . . . . . . . . . 142 Wiseman, David . . . . . . . . . . . . . . . . . . 216 Wood, Beatrice . . . . . . . . . . . . . . . .64-66

Y Yanagi, Sori . . . . . . . . . . . . . . . . . . . . .350

Z Zajac, Jack. . . . . . . . . . . . . . . . . . . . . .380

SAM FRANCIS 1923 - 1994

CATALOGUE RAISONNÉ CALL FOR UNIQUE WORKS ON PAPER

We invite you to send information about unique works on paper that are owned by collectors, museums, galleries, or other institutions.

Photographs and writings regarding the artist are also requested.

Confidentiality and requests for anonymity will be honored.

Please send submissions to: Debra Burchett-Lere, Editor Sam Francis Foundation 26 E Colorado Blvd, Suite 7 Pasadena, California 91105 626 460-8551 phone 818 246-6690 fax Photograph by Meibao D. Nee

info@samfrancisfoundation.org WWW.SAMFRANCISFOUNDATION.ORG

Now available from University of California Press SAM FRANCIS: CATALOGUE RAISONNÉ OF CANVAS AND PANEL PAINTINGS, 1946 - 1994 Edited by Debra Burchett-Lere with featured essay by William C. Agee.

Visit www.ucpress.edu/go/samfrancis

A Story of Artistic Inspiration

Mar 11–May 29

Matisse/Diebenkorn is co-organized by the San Francisco Museum of Modern Art and The Baltimore Museum of Art. Presenting Sponsor

Major Sponsors

Major support is provided by Barbara and Gerson Bakar, Doris Fisher, and Susan and Bill Oberndorf. Generous support is provided by Deborah and Kenneth Novack, and Kay Harrigan Woods.

The exhibition is supported by an indemnity from the Federal Council on the Arts and Humanities and by an award from the National Endowment for the Arts.

Left: Henri Matisse, The Blue Window, 1913; The Museum of Modern Art, New York, Abby Aldrich Rockefeller Fund; © Succession H. Matisse / Artists Rights Society (ARS), New York; photo: digital image; © The Museum of Modern Art, New York / Licensed by SCALA / Art Resource, NY. Right: Richard Diebenkorn, Ocean Park #79, 1975; Philadelphia Museum of Art, purchased with a grant from the National Endowment for the Arts and with funds contributed by private donors; © the Richard Diebenkorn Foundation

INFORMATION

DIRECTIONS TO LAMA AUCTION & PREVIEW

STAFF

Auction

Peter Loughrey

Sunday, March 5, 2017

From Hollywood

Director,

12pm (PT)

• Make your way to the 101 Freeway

Modern Art & Design

Proceed North on the 101 Preview

• Merge onto the 405 Freeway,

Shannon Loughrey

LAMA

north Take the 4th exit onto “Sher-

Managing Director

16145 Hart Street, Van Nuys, CA

man Way, west”

February 20 – March 4

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Clo Pazera

101 N. Museum Drive,

street, which is a side street

Design Specialist

February 28

From the Westside

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10-5pm (PT)

• Take the 405 Freeway, north

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Palm Springs, CA

Continue past the Getty MuseAddress

um and the 101 Interchange

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16145 Hart Street

• Exit onto “Sherman Way,

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

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Telephone

• Proceed west on Sherman

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323.904.1950

Way • Turn left at the 3rd light

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Website

onto “Woodley”

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street

Shipping Department

LAMA MAP

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VAN NUYS AIRPORT OLD LAS PALMAS

W. AMADO RD

101 FREEWAY WOODLAND HILLS

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N

N

S. PALM CANYON DR.

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HOLLYWOOD

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PSAM

N. PALM CANYON DR.

N. BELARDO RD.

N. MUSEUM DR

SEPULVEDA BLVD

HART ST

405 FREEWAY

LAMA

WOODLEY AVE

VALJEAN AVE

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